These Beautiful Turkish Traditional hand Painted bowls are made from ceramic covering with attractive tulips and different flowers. These are so lovely and can use as gifts, home decor, cosy, birthday, house warming, wedding. Designed with traditional styled flowers, it’s a gorgeous addition that’s sure to add a touch of style to your settings.
You can choose
These bowls are individually hand painted, they have slight variations to one another, such as patterns, coloration. We will send you a similar design bowl to the pictures.
Dimensions of Complete Ashtray:
Weight : 15cm / 5.9 inch
Height: 7 cm / 2.7 inch
An important cultural center during the reign of Suleyman the Magnificent, the rural town of Iznik (ancient Nicea) nestles on a lakeside in Northwest Turkey. Here in the early 16th century an “Imperial ware,” now called Iznik, was made for the Istanbul court of the Ottoman Sultan–the richest, most powerful monarch in Europe. Originally inspired by Chinese pottery, Imperial ware was so exquisite that European collectors in the mid 19th century thought it came from Persia. Only in the 1920s did scholars accept that Iznik ceramics were Ottoman, giving due recognition at last to Turkish potters for some of the world´s most beautiful and striking designs. Iznik ware has survived to the present day in all its splendor. Iznik tiles adorn palaces and mosques; the largest collection of ceramic vessels is in the British Museum.18Th CC.
The Production of Turkish Ceramics
Tiles and ceramics are produced from the same material. Those used for architectural decoration are called tiles , whereas others produced as pottery are called ceramics in the western languages.
At the start of production, the clay is cleaned of impurities and mixed with water to a muddy consistency. It is then left to settle in three consecutive pools. In the last, the clay settles to the bottom and the liquid on top is drained. The clay is shaped on the wheel for pottery or poured into moulds for tiles and left to dry. The surfaces are polished with emery before the pieces are put into the oven. Whereas the Seljuks used to fire their ceramics at 700-800º C, the Ottomans did so at 900-1000º C.
Hardened by the heat, the products are taken out from the gradually cooled oven to be painted. If they are to be decorated, the patterns are first punched with fine pins onto transparent paper which is put on the tiles or ceramics. Charcoal powder is then laid on the punched paper to outline the pattern to be painted on the surface. After painting, the tiles and /or ceramics are covered with a coloured or colourless glaze that becomes transparent with the following firing. This technique of underglazing has shown differences within time periods although it was mastered in Anatolia reaching perfection in the Ottoman Era.
Another technique used for glazing and colouring Turkish tiles and ceramics is overglazing, where the fired clay is first covered with an opaque glaze and put into the oven before it is painted. Then it is fired again after painting. This is known as glossing. Depending on the kind of paint used, the object sometimes gains a metallic glaze following the glossing. This technique of overglazing was mostly used in the Seljuk Period. Other than these, monochrome, opaque, glazed and plain tiles were widely used in Anatolia.
It is also possible to obtain a multicolour surface by using both the underglazing and overglazing techniques together, a technique called minai that was developed by the Iranian Seljuks for ceramics of daily use at the time. Minai means enamel in Persian. Seven colours are used in the minai technique where
some of the colours are painted underglaze and others overglaze.