Iznik

Iznik, which derives from the former Greek name Nicaea [pronounced = N-IKEA] is a city in Turkey which is known primarily as the site of the First and Second Councils of Nicaea, the first and seventh Ecumenical councils in the early history of the Christian church, the Nicene Creed, and as the capital city of the Empire of Nicaea (i.e. interim capital city of the Byzantine Empire between 1204 and 1261, following the Fourth Crusade in 1204, until the recapture of Constantinople by the Byzantines in 1261).

The city lies in a fertile basin at the eastern end of the Lake Iznik (Turkish: Iznik Gölü), bounded by ranges of hills to the north and south. It is situated with its west wall rising from the lake itself, providing both protection from siege from that direction, as well as a source of supplies which would be difficult to cut off. The lake is large enough that it cannot be blockaded from the land easily, and the city was large enough to make any attempt to interdict the boats from shore-based siege weapons very difficult.

The city is surrounded on all sides by 5 km of walls about 10 m high. These are in turn surrounded by a double ditch on the land portions, and also include over 100 towers in various locations. Large gates on the three land-bound sides of the walls provide the only entrance to the city.

Today the walls are pierced in many places for roads, but much of the early work survives and as a result it is a major tourist destination. The town has a population of about 15,000.

The city of Iznik was instrumental in starting the First Crusade at Byzantium's request in 1095, and armies from Europe along with smaller units from Byzantium converged on the city in 1097. After the European armies laid siege to the city and penetrated the walls, they were surprised to awake the next morning to see the Greek flags of Emperor Alexius I flying over the city. Robbed of their chance to plunder the city, the crusaders and Byzantines were soon at odds. In the peace which was afterwards concluded the city was ceded to the Byzantines.

Constantinople later fell in 1204 to the European armies in the Fourth Crusade, who set up the Latin Empire of Constantinople. They had poor control over the area, and a number of Byzantine successor states sprung up as well, including Epirus and Trebizond. However it was Nicaea that formed the core of the successor Byzantine Empire after Theodore Lascaris (who became Theodore I) founded the Empire of Nicaea (Western Asia Minor) there. Theodore I and his successors slowly expanded their domains, and in 1259 Michael VIII Palaeologus usurped the throne. He captured Constantinople from the Latins in 1261, and restored the Byzantine Empire.

Çini (earthenware glazed tiles) are usually used in architecture, and products such as pots and bowls are referred to as ceramics.

Although the word Çini might seem to have something to do with China, experts accept that the art is totally indigenous to the Turkish people.

Until the 18th century, çini in architecture were called Kasi and çini objects used in daily life (plates, vases, bowls etc.) were called evani (kitchen equipment). At that time, Chinese porcelain was very popular and widely imported. In order to emphasize the quality of the Turkish-made kasi, these began to be called çini.

Çini, which is a branch of ceramic art that developed in Central Asia, was brought to Anatolia by the Seljuks. It occupied a very important place in Ottoman architectural decoration and embellished mosques, medreses (theological schools), tombs and palaces. The early Ottoman period continued the Seljuk heritage. Geometric writings with figures, plant designs, and yellow and green colors were used. Iznik, which also used to be a center of ceramic art, maintained its dominant position between the 14th-18th centuries.

In addition to the Iznik workshops, which lost much of their importance in the 17th century, Kütahya became another center for ceramics in the 15th century, although the quality of its products was inferior to those of Iznik. Kütahya-styled ceramics are generally blue, red, yellow, purple and green.

In the 18th century, Çanakkale ceramics that demonstrate regional characteristics appeared. After the 17th century, ceramics began to degenerate. Up to the republican period, we mainly see Kütahya and Iznik ceramics, as well as Y1ldiz porcelain, the raw material, which was imported from France.

In the 18th century, the ceramic arts in Iznik finally died out. At the same period, Kütahya cini reached their peak but began to lose quality during that same century. In the 19th, 20th and 21st centuries, Iznik designs began to be imitated elsewhere. Today, the center of this art is Kütahya. Here, Seljuk designs and colors are being revived.

Iznik Tiles are admired worldwide for the following reasons:

* Iznik Tiles are made on a very clean white base with hard backs and underglazed decorations in a unique technique.
* 70-80 percent of an Iznik tile is composed of quartz and quartzite. Its beauty arises from the harmonious composition of three successive quartz layers and a paste-slip-glaze combination which is extremely difficult to bring together. The mixture of quartz, clay and glaze disperses in a very wide thermic spectrum at 900 centigrade. After painstaking research, the problem of the fluctuating thermal behavior of the tiles due to their quartz and rock crystal composition is solved. The result is a tile made primarily out of a semi-precious stone: quartz.
* Even though it may appear to be against the principle of "ceramic textural unity", the porous structure of the tiles cause dilatation or shrinkage in hot, cold or freezing conditions. It is said that this particular aspect of the structure "allows it to breathe".
* In Iznik tiles, one can observe colors resembling those of semi-precious stones such as the dark blue of lapis lazuli, the blue of turquoise, the redness of coral, the green of emerald.
* Some of the colors observed on the tiles and utensils, particularly the coral red, are very hard to obtain and apply. To obtain all of these colors, the cornea white and opaque sheen glazes are required. The slightly opaque quality of the glaze on the tiles absorbs light and reduces strain on the eyes. It not only protects the tile but also help it breathe.
* The figures on the tiles and utensils reflect allegorical and symbolic characteristics and the flora and fauna of the region. The geometrical designs can be interpreted almost cosmologically as a general description or depiction of the world or the Universe. They blend beautifully with the surrounding architectural constructions in which they are found, and are never overpowering or overstated, but always tend towards a timeless discretion and moderation.
* The Foundation researchers have been using the classical Iznik tile designs on the productions, reviving the mystery of the creation of the Iznik tile. Throughout the production processes, the main objective is to master the traditional technological methods rather than embrace those of our own day. In order to preserve the authenticity of the Iznik tiles, the Iznik Foundation utilizes raw materials that are akin to those of the 16th century.

Iznik tiles reached their heyday in the 16th century, and the masterpieces produced at that time are regarded as the most valuable specimens of the art of ceramics by the leading museums of the world.

Iznik Kiln excavations, carried out for more than 20 years by the Istanbul University Department of Archaeology and History of Art, give us clues as to the types of kilns and ceramics used in the Art of Iznik tile making. In the Iznik Tiles Atelier opened in mid 1996, following the opening of the Iznik Foundation in 1993 and the Tile and Ceramic Research Center in 1995, it is now possible to produce tile nearly equaling the quality of those of the 16th century.

Obviously, to reach this point, many experiments were made and everything about %u0130znik tiles was investigated, since the old masters took the secrets to their graves, with the result that even the slightest clue to their manufacture lay concealed for centuries.

The composition of the tiles and the percentage of the components within the micro-structure of the material are carefully studied. The availability of these materials and reserves within the region are considered.

Following the excavations, it is observed that Iznik tile production was fire high on wastage owing to the large proportion of quartz in the ceramic. Similarly, a number of experiments with the minerals in the area was carried on in the course of which thousands of experimental plates were produced only to be broken and thrown away. The most unfortunate setback the Foundation has had to face has been the absolute lack of documentation regarding the process. Not even the names of the towns and villages where the materials originated were known.

Thus, the conclusion was arrived at that only through the most meticulous scientific research could a unified Iznik tile concept be formed.

In its efforts, the Iznik Foundation has received the support of scientific foundations and NGO' s such as TUBITAK, M.A.M. (Marmara Research Center), I.T.Ü. (IStanbul Technical University), I.Ü. (Istanbul University), in Turkey, and Princeton and M.I.T. (Massachusetts Institute of Technology) in the United States in a vast range of analysis.
The production of handmade tiles of the desired quality in this era of speed and automation is a particularly difficult task.

Today, Iznik tiles are used as an architectural element in old and modern buildings by the discriminating decorator and Art-lover alike.

Iznik Tiles Applied in the Suleymani Mosque in Istambul



Iznik Tiles Applied in the Suleymani Mosque in Istambul Courtyard Dome Built 1550-1557



Iznik Tiles Applied in the Rustem Pasha Mosque in Istambul