Publication Date
About 957-963/about 1550-1555
Publication Place
-
Museum of Technical Industries
Subject
Fired quartz porcelain with patterns on a glaze.
Type
Other
Language
Undetermined
Digital
Yes
Manuscript
No
Physical Dimensions
الارتفاع: 6.5 سم؛ القطر: 37.7 سم
Library
Museum With No Frontiers
Library Asset ID
KGM 1898, 266
Record ID
object;ISL;de;Mus01;36;ar
Library Location
Museum of Islamic Art
Date
About 957-963/about 1550-1555
Notes
The large plate has a flat edge, decorated with multi-colored decorations and a black contour line. There is a shrub full of flowers and leaves, from which emerge three bouquets of flowers in the form of baskets, along with lilies and honeysuckle on thin stems that are almost straight to the top. As for the large flower bouquets, they take the form of baskets in which palmettes, lotus flowers and pumpkins are inserted together to form a harmonious unit. This was referred to as “artificial botany.” This image is part of the so-called four-flower style, consisting of four ornamental flowers, namely roses, carnations, iris and iris, which since about 1540 has been the basic scene of Turkish ceramic works. On the transverse edge we see the scene of “Rock and Water”, which dates back to a Chinese influence and is formed here from scenes of white waves in front of rocks drawn in a spiral. This view dates back to the art of Chinese ceramics in the fifteenth century. Chinese porcelain was collected in the Ottoman court and used as dinnerware, and some of these pieces are still preserved today in the Topkapi Palace in Istanbul. On the outside of the plate there are three pairs of iris and three so-called “triple balls” or the Gintmani scene, which is a symbol of luck dating back to Buddhist cultural circles. Here we find three dot-filled circles arranged in a pyramidal shape and connected with scenes of leopard-striped bands. The plate is a typical example of the so-called Ottoman court style that was developed in Khannaqāsh, “writing houses.” Here the designs used to decorate books, fabrics, embroidery, metal and ceramic works appeared. Many of the potters in Iznik dealt directly with the court artists in the palace. Artistic craftsmen in court workshops in Istanbul would also come to Iznik and stay there for periods in which they would advise the masters of the ceramic industry. The fact that Ottoman ceramics have existed since the sixteenth century, at least in many European countries, proves that Iznik ceramics were more beautiful and more accepted than “tsarist Chinese ceramics.”
Sample Text
Annette Hagedorn “Large plate with floral decoration” in Discover Islamic Art. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;ISL;de;Mus01;36;ar
