Turkish Ceramics: A Complete History of Traditional Pottery and Tile Art in Turkey

The Deep Roots of Turkish Ceramic Art

Ceramics in Turkey have been around for thousands of years. It started in prehistoric Anatolia with basic sculpture and moved into more advanced forms used by the Hittites. People made pots, jars, and religious items that served a purpose. But even back then, they didn’t leave things plain. They added fine patterns and detailed carvings, showing that design always mattered.

Seljuk Turks and the Rise of Glazed Ceramics

Everything changed when the Seljuk Turks arrived in the 11th century. They brought new styles and stronger building traditions. More importantly, they brought new pottery methods. One major change was the use of glazed ceramic, which made pottery more durable and more visually striking. These Seljuk ceramics often showed off repeating geometric shapes and elegant floral designs, mimicking the spirit of Islamic art.

The Seljuks didn’t work in a vacuum. They picked up on the cultural influences already present in Anatolia and combined those with what they brought from Iran. That mix created a look and feel that was purely Anatolian Seljuk. By the 1200s, that style reached its peak. Mosques, schools, tombs, and palaces were all wrapped in ceramic beauty. You can still see some of these tile-covered buildings today in old Seljuk cities like Konya, Sivas, Tokat, Kayseri, Alanya, Beysehir, Erzurum, and Malatya.

Seljuk Tilework and the Use of Glazed Brick

During the Seljuk era, glazed bricks became a key part of building design. Builders arranged both glazed and plain bricks into patterns that stood out, especially on exterior walls. Turquoise was the go-to color, but cobalt blue, violet shades close to eggplant, and black also showed up in many places.

Another method Seljuk architects used involved solid-colored tiles in basic shapes like hexagons, squares, triangles, and rectangles. These weren’t for the outside of buildings. They were mostly used inside, where more refined layouts were possible. These tiles had a denser clay body than bricks and looked slightly yellowish before they were glazed. The glazes used on these tiles came in turquoise, cobalt blue, deep violet, and now and then, green. A few rare examples even show hints of gold.

This early attention to design and structure gave Turkish ceramics a strong foundation. Over time, the techniques grew, the colors expanded, and the patterns became even more layered. But it all started here, with the Seljuks setting the stage.

Mosaic Tilework in Seljuk Anatolia

Another major ceramic technique from the Anatolian Seljuks was mosaic tile. This method was mainly used indoors, especially in prayer niches, dome interiors, vaulted ceilings, and large wall sections. The process was labor-intensive. Craftsmen cut tile pieces into precise shapes that matched a planned design. Each piece had a conical, unglazed back and a glazed front. They placed the glazed sides face down, poured a light mortar over them, and once it hardened, lifted the entire section into place like a panel.

Most mosaic designs followed geometric layouts, but many also featured plants and flowers or stylized Arabic script like Kufic and Thuluth. The main colors were turquoise, cobalt blue, deep violet, and black. You can still see these intricate mosaics in several important Seljuk buildings: Karatay Medrese in Konya, built in 1251; Alaaddin Mosque in Konya from 1220; Gok Medrese and Mosque in Sivas from 1271; the Grand Mosque of Malatya, finished in 1247; and Ince Minareli Medrese in Konya, completed in 1264.

Minai and Luster: Techniques for Palaces

Aside from religious buildings, the Seljuks used more elaborate tile styles in palaces and civil structures. Two standout techniques were minai and luster. These were not used in mosques or tombs. The tile shapes were different, too. Instead of rectangles or squares, palace tiles were often shaped like stars or crosses. The patterns were not geometric. They showed vines, scrolls, people, animals, and palace scenes full of motion.

Minai tiles started in Iran in the 1100s and 1200s. They offered a wide range of colors that weren’t possible with other styles. You’d see deep violet, cobalt, turquoise, red, green, brown, black, white, and even gold. Artists used two glazing stages. First, they painted parts of the design under a glaze, then fired it. After that, they added more paint on top of the first glaze and fired it again, using a second glaze layer, either clear, white, or turquoise. The only place in Anatolia where minai tiles have been found is the Alaeddin Kiosk in Konya. The scenes on these tiles feel like court illustrations, showing moments from royal life with energy and detail.

Underglaze Painting: The Seljuk Standard

The most common tile method the Seljuks used was underglaze painting. Here, artists painted directly on the tile’s surface, applied a clear glaze over it, and then fired it. This gave a smooth, finished look that lasted over time. The top colors were turquoise, cobalt blue, green, violet, and black. Some tiles even had black outlines or images placed under a turquoise glaze, creating a bold contrast.

One of the best places to see this technique in action is at the site of the Kubadabad Palace in Beysehir. Excavations there turned up tiles covered in stylized plants, human figures, and animals. These designs show the variety and creativity of Seljuk ceramic artists.

Luster Tiles and the Shine of Metal

The luster technique began earlier in Abbasid Iraq and was later perfected by the Fatimids in Egypt. The Iranian Seljuks mastered it as well, and from there, it found its way into Anatolia. The only known example of luster tile in Turkey comes from the Kubadabad Palace. Today, those tiles are kept at the Karatay Medrese Museum in Konya.

Luster tiles used metallic oxides made with silver and copper. Artists painted these over a tile that had already been glazed and fired once. Then they fired the tile again at a lower heat. This second step gave the tile a shiny surface with golden and brown tones. The finished tiles often included twisting plants, detailed figures, and animals. The effect looked rich and refined, fitting for the walls of a royal palace.

Simple Shapes and Subtle Glazes in Seljuk Interiors

The Anatolian Seljuks often used simple tile shapes for indoor walls. Square, rectangular, hexagonal, and triangular tiles were common. These tiles were usually glazed in just one color, with turquoise, cobalt blue, or violet being the most popular. Artists applied the glaze using the underglaze method, which helped the color stay vibrant after firing. Some of these tiles once had gilded details added over the glaze, but most of that gold is gone now. Since overglaze gilding was either fired at a lower temperature or not fired at all, it didn’t last long.

Kalehisar Excavations and Ceramic Production

In 1965 and 1966, archaeologists dug at Kalehisar near Alacahöyük and uncovered clear signs of Seljuk ceramic production from the 1200s. They found two kilns, plenty of kiln debris, and many flawed or half-finished ceramic pieces. These included examples using both the sgraffito and slip techniques, which were important decorative styles in that period.

Sgraffito: Carved Designs Beneath a Glaze

Sgraffito pottery was made by letting the clay dry to a leather-like texture. Then, craftsmen carved designs into the surface. These were usually floral or leafy patterns. Sometimes they first covered the clay with a layer of slip, and sometimes they didn’t. After carving the design, they coated the piece with a transparent glaze in a different color and fired it. The result was a layered, carved look where the design showed through under the glaze.

Slip Decoration and Two-Tone Surfaces

The slip technique started with a red clay surface. Artists painted designs using a thin white slip. This gave a slightly raised texture. Then, they added a transparent glaze in colors like blue, green, or either shade of brown before firing the piece. During firing, the areas with slip stayed lighter, while the rest turned a deeper tone. Common motifs included stylized leaves and vines, sometimes with basic rumi scrollwork.

Emirate Period: Transition and the Rise of Cuerda Seca

As the Seljuk period came to an end, Turkish ceramics moved into the Emirate period. Most of the styles continued from earlier, but one new method stood out: cuerda seca. This technique appeared in the late 1300s and early 1400s and would later be refined by the Ottomans.

Cuerda seca tiles began with red clay covered in white slip. Artists either carved or stamped a pattern into the surface, then filled it with colored glazes. The key to the method was using a wax or fat mixture, combined with manganese oxide, to outline the design. During firing, the wax burned off, leaving black or reddish lines that kept the glazes from mixing. This allowed for sharper lines and more detailed patterns.

Cuerda seca made it possible to use many colors in one design. Along with floral themes, artists added calligraphy and, less often, geometric patterns that linked back to Seljuk styles. The color range was wider, too. Tiles came in turquoise, cobalt blue, lilac, yellow, pistachio, black, and sometimes included gold accents.

You can still see fine cuerda seca tiles today at the Green Mosque in Bursa and its tomb, built between 1419 and 1422. More are found at the Mosque of Murad II in Edirne, the Tiled Kiosk in Istanbul, and the Tomb of Prince Mehmed, dated 1548, also in Istanbul.

Folk Art Styles in the Ottoman Period

Even as styles evolved, older Seljuk techniques like sgraffito and slip decoration didn’t disappear. During the Emirate years and into the early Ottoman era, artists kept producing these types of pottery. Some of these pieces ended up blending into Iznik wares, taking on a more local and folk-inspired look while keeping ties to the past.

The Mislabeling of 'Miletus Ware' and Its Real Origins

During digs at the ancient site of Miletus, the archaeologist F. Sarre found a group of colorful ceramics that were wrongly called "Miletus ware." For a long time, people thought these pieces were made in Miletus. But newer findings proved that they were actually made in Iznik. These ceramics showed up in the second half of the 14th century and were made with a red clay body.

The decoration was bold. Artists used blue, turquoise, and violet shades painted under clear or sometimes tinted glazes. Some versions outlined the designs in black, while others had black patterns beneath a turquoise glaze. Most of these were bowls and dishes. One thing that stands out about these pieces is that while the inside was coated with slip, the outside and bottom were often left bare. The designs leaned toward plant patterns and geometric shapes, though animals sometimes appeared too. A lot of the decoration seems to resemble metalwork from the same period. One design in particular, large patterns circling around a center, looks almost identical to engraved metal wash bowls.

The Rise of Ottoman Ceramics in the Early Iznik Period

The late 1400s and early 1500s mark a turning point for Ottoman tiles and ceramics. This was when Iznik became the heart of production. Artists working for the Ottoman court created the designs. These were then sent to Iznik, where ceramicists turned them into finished pieces for palace use. That kind of direct support from the court pushed both the artistry and the technology to a new level.

One of the earliest styles from this period is the blue-and-white Iznik ceramic. These pieces were a big step forward compared to older styles. The clay was firm, clean white, and very refined. In reports from the 1981–82 digs, Dr. Ara Altun pointed out that these ceramics were likely fired at extreme temperatures, up to 1,260 degrees Celsius. That’s way beyond the usual 900 degrees and puts them close to the strength of porcelain.

That level of quality stayed consistent even as styles changed over time. For much of the late 15th and early 16th centuries, Iznik focused more on making blue-and-white ceramics than on the wall tiles it became known for later on. The designs and techniques used in these wares were totally different from anything in the Seljuk period.

A big reason for that change was influence from Chinese porcelain. Ming dynasty pieces had started reaching the Ottoman court, and Iznik potters tried to match that quality. The glazes were clear and smooth. There were no visible cracks. The lines outlining the designs were fine, and the painting was done with high precision. Deep cobalt blue dominated most of the work, though bits of turquoise showed up too. The patterns often featured stylized plants, flowing arabesques, and cloud shapes based on Chinese art, either used alone or blended into complex, well-balanced layouts.

Iznik Blue-and-White Ceramics: Style and Symbolism

Iznik blue-and-white ceramics can be sorted into different groups based on how they look and what patterns they use. One well-known group features leaf designs with curled ends. This style is linked to a 15th-century designer named Baba Nakkas, who worked in the Ottoman court’s art studios. That’s why it’s called the Baba Nakkas style. These pieces mostly use different shades of cobalt blue. A little later on, hints of turquoise were added.

Another style from Iznik, often misnamed Golden Horn ware, got its name because it was first found near the Golden Horn in Istanbul. A better name, suggested by researcher J. Rahas, is the Tugrakes spiral style. These pieces show tiny leaves and flowers swirling in spiral shapes. The designs use cobalt blue, turquoise, and black.

Blue-and-white Iznik tiles made for buildings are rare, but they do exist. Most of them are hexagon-shaped. You can still see some in Edirne, at the Mosque of Murad II and the Uc Serefli Mosque. Others are in Bursa, inside the tombs of Prince Ahmed, Prince Mustafa, and Prince Mahmud. A few are also in the Topkapi Palace in Istanbul.

Damascus Ware: Made in Iznik, Not Syria

There’s also a group of ceramics wrongly called Damascus ware. These pieces were actually made in Iznik around the mid-1500s. The earliest known example is a mosque lamp from the Dome of the Rock, signed by someone named Musli in 1549. This marked the start of a new color range. Alongside cobalt blue and turquoise, you now had eggplant violet and cumin green. This period also brought in more realistic floral patterns. You start to see tulips, roses, pomegranates, and hyacinths added to the older abstract plant shapes and arabesques. In the second half of the 16th century, Iznik pottery moved fully into polychrome decoration.

Only two places are known to have Damascus-style architectural tiles: the Mosque of Hadim Ibrahim Pasa in Silivrikapi, built in 1551, and the Yeni Kaplica bathhouse in Bursa, built in 1552.

The Truth About Rhodos Wares

Another set of Iznik ceramics has been mislabeled for years. These are called Rhodos wares because many were found on the island of Rhodes and later ended up in the Cluny Museum. But digs led by Dr. Oktay Aslanapa proved they were made in Iznik. These pieces have a wide color range and often show naturalistic flowers as their main theme.

The Switch from Utensils to Architectural Tiles

Even into the mid-1500s, Ottoman potters were making more dishes, bowls, and jugs than tiles. But that started to change. Tile production picked up fast when demand rose during the massive building projects ordered by Sultan Suleyman I and those who came after him. At the time, the Ottoman Empire was at its highest point in terms of politics, culture, and wealth. Iznik potters filled that need, and their work showed up in mosques and tombs across the empire.

These underglaze-painted tiles and ceramics used a wide mix of colors. Cobalt blue, turquoise, green, black, and brown were common. The most famous was a bold red often called coral or tomato red. It had a shiny, raised look, almost like sealing wax. This color showed up in tilework for the first time in the Suleymaniye Mosque in Istanbul, finished in 1557. After that, it appeared in many more places, including the Tomb of Hurrem Sultan, the Rustem Pasa Mosque, the Tomb of Suleyman I, the Sokullu Mehmed Pasa Mosque, the Piyale Pasa Mosque, and the Valide Atik Mosque in Uskudar. All of them still show the fine skill and detailed design that defined Iznik tilework at its peak.

Natural Motifs and Changing Styles in Ottoman Ceramics

As Ottoman tile art moved forward, the designs began to change. Older patterns like arabesques, cloud bands, and stylized plants were still used, but new forms started to take over. Artists leaned toward more lifelike images. You began to see tulips, roses, carnations, hyacinths, lilies, spring flowers, grape vines, and even cypress trees. These floral motifs were laid out in a looser, more open way. The compositions felt more relaxed, less rigid, allowing artists to experiment with richer, layered designs.

Calligraphy played a big role too. It appeared on tiled bands along buildings, each script style different from the next. Everyday objects like bowls and pitchers were covered with pictures of ships, wave-like lines, clustered dots, animals, and fish-scale patterns. There was also a big increase in the variety of ceramic forms. Potters were making deeper bowls, footed dishes, ewers, oil lamps, mugs, candle holders, and more. The range of shapes and styles kept growing.

The Decline of Iznik Ceramics

By the mid-1600s, Iznik pottery started to decline. The Ottoman Empire was struggling with political chaos and economic hardship, and it hit the ceramic workshops hard. Colors that were once bold and bright started to fade. The well-known tomato red turned muddy or vanished altogether. Patterns became sloppy. Workmanship grew careless. The clay got rough, and glazes began to crack. Instead of focusing on fine orders for the palace in Istanbul, Iznik potters began selling more to local buyers with lower standards. There are even records of complaints from the court about late shipments and poor quality.

By the 1700s, Iznik’s ceramic scene had collapsed. It stopped completely. Kutahya, a town that had already been making pottery for centuries, stepped in to fill the gap. It had never reached Iznik’s level of fame or skill, but when Iznik shut down, Kutahya kept going.

Kutahya’s Rise as a Ceramic Center

At first, Kutahya’s workshops tried to copy Iznik’s famous blue-and-white style, but the results were second-rate. Over time, though, they found their own approach. The potters in Kutahya, including many Armenian artisans, made religious ceramics for churches and created pieces with distinct forms, bold colors, and different techniques. These included liturgical tiles and decorative items with Christian themes, something not seen in Iznik.

Kutahya ceramics from the 1700s were made using a white clay base. The patterns were painted under the glaze in a wide range of colors: yellow, red, green, cobalt blue, turquoise, black, and violet. The designs were loose and freehand, giving the pieces a more personal feel. Though many were multicolored, blue-and-white pieces still appeared. The shapes varied, too. Potters made delicate cups, shallow bowls, pitchers, small ewers, flasks, incense burners, lemon squeezers, and even ceramic eggs.

Kutahya Ceramics in the 19th Century and Beyond

Kutahya’s pottery industry took a hit during the first half of the 1800s. Business slowed down. But things slowly turned around in the second half of the century. By the early 1900s, Kutahya tiles were being used in new Ottoman buildings again. One example is the Tomb of Sultan Mehmed Resad V in Eyup, Istanbul. The tiles there were made by the workshop of Hafiz Emin Usta, still active in Kutahya at the time. Many pieces from this later period now sit in museums and private collections across Turkey.

A Failed Attempt at Revival in Istanbul

When Iznik faded out in the 1700s, Istanbul officials tried to restart tile production closer to the capital. Grand Vizier Ibrahim Pasa, who served under Sultan Ahmed III, built a tile factory at Tekfur Sarayi in Istanbul. The goal was to create a steady local supply of tiles. But the results were disappointing. The designs were weak imitations of Iznik’s work. The colors were flat, the glazes had a bluish tint, and the finish lacked clarity.

Even so, tiles from Tekfur Sarayi were used in a few Istanbul buildings. These include the Hekimoglu Ali Pasa Mosque (1734), the Yeni Valide Mosque in Uskudar (1708), the restored Cezeri Kasim Pasa Mosque in Eyup (restored in 1726), and the Kandilli Mosque (1751). One fireplace made with these tiles now sits in the Victoria and Albert Museum in London.

The Tekfur Sarayi factory lasted about thirty years before it shut down. It never matched the skill or quality of Iznik or even Kutahya, but its story still reflects the deep effort to keep the ceramic tradition alive in changing times.

The Unique Style of Canakkale Ceramics

Canakkale ceramics are a different branch of Turkish ceramic history. They don’t look like the refined tiles of Iznik or the modest wares from Kutahya. They’ve got their own thing going on. Over the past few years, collectors and researchers have started to pay more attention to these pieces.

The earliest Canakkale ceramics showed up at the end of the 1600s. They kept producing pretty decent work up until the early 1800s. These items were made with coarse clay, usually red or sometimes beige. The surface was decorated with hand-painted designs under the glaze. You’d see things like ships, flowers, birds, fish, and buildings. The painting style was loose and free. The colors used were usually a deep purple-brown, orange, yellow, white, and dark blue. Most of the time, these pieces were plates, bowls, or jars.

By the 1800s, the quality of Canakkale ceramics started to slide. During this period, you’d find vases, pitchers, candle holders, flowerpots, and animal or human figurines. These pieces used a single glaze color. On top of that, they might have added extra painted designs in black, blue, red, yellow, white, or even gold. Ceramic work in Canakkale kept going until about the middle of the 1900s.

Ceramic Factories and Mass Production in the 20th Century

By the mid-20th century, mass production had taken over. Ceramic factories began popping up across Turkey. These facilities pushed ceramic production to a whole new scale. More pieces were made, and the overall quality kept getting better. Turkey quickly became known as a global source for ceramic products.

The Role of Turkish Ceramics Federation

In 1997, the Turkish ceramics sector got more organized. Turkish Ceramics was founded with help from the Ministry of Economy, the Central Anatolian Exporters Union, and the Turkish Ceramics Federation. Their goal was simple: show the world what Turkish ceramics could do.

They started entering trade fairs, running design competitions, and setting up international exhibitions. They also hosted trade missions and made sure to get featured in major design magazines. These efforts helped Turkish ceramics gain serious global visibility.

Avanos: The Heart of Cappadocian Pottery

In Cappadocia, Avanos stands out as one of the top ceramic hubs. This small village is packed with tradition. Potters there still use red clay pulled from the Red River. It's the same red clay they’ve worked with for generations. One of the most famous workshops in Avanos is Chez Galip, run by Galip Körükçü.

Galip was born and raised in Avanos. His workshop runs out of a cool cave to protect the vivid colors of the painted pottery from sun damage. The studio has been in his family for six generations. He works alongside his wife Lilian, a Dutch artist, and their three daughters. They make both modern and classic ceramic pieces inside a space carved into Cappadocia’s volcanic rock. Their work blends old techniques with modern creativity.

Chez Galip is known around the world, not just for the quality of the pottery but also for the hair museum tucked inside the studio. The museum holds thousands of locks of hair from women across the globe. It’s strange, but it earned Galip a spot in the Guinness Book of World Records. Visitors can watch the pottery being made and browse the showroom, all in the same cave location.

Why Turkey Is a World Leader in Ceramics

Turkey’s long ceramic history comes from both its culture and geography. Many different civilizations lived in Anatolia, and each one left its mark on ceramic art. But it’s not just the past that shaped Turkish ceramics. The land itself gave them an edge. Anatolia has rich clay and natural materials that are perfect for pottery. These resources are still used today and even shipped abroad.

Turkey now leads in both traditional ceramics and advanced ceramic technology. Local producers don’t just stick to old methods. They also work with top designers to make new products that look good and work well. Turkish ceramics are rooted in history, but they’re also evolving. That’s what keeps them relevant in both global markets and modern homes.

We basically mentioned almost everything that has to do with Turkish ceramics. For a detailed overview of what we mentioned before, keep reading below.

What Made Iznik Pottery Stand Out

Iznik pottery, also called Iznik ware, comes from the town of Iznik in Anatolia. It was made between the late 1400s and the late 1600s. These ceramics were known for their detailed hand-painted patterns and bright colors. Iznik designs were deeply influenced by Chinese porcelain, which the Ottoman court admired and collected.

Before this high-quality production started, Iznik was already known for simpler earthenware with underglaze patterns. Then, in the last part of the 15th century, local craftsmen began creating more refined ceramics. They used a fritware body, painted it with cobalt blue, and covered it in a clear, glossy lead glaze. The look blended traditional Ottoman motifs with Chinese design. This change likely happened because the Ottoman palace in Istanbul wanted to recreate the style of Chinese blue-and-white porcelain.

Color and Pattern Evolution in Iznik Ceramics

Over the 1500s, the patterns became more fluid and less rigid. The early cobalt blue was joined by turquoise. Later, they added shades of green and a soft purple. Mid-century, Iznik became the main supplier of tiles for royal buildings designed by Mimar Sinan. With this demand came new colors. A bold red called bole red replaced purple. Bright emerald green took the place of earlier sage tones.

Toward the end of the 1500s, quality dropped. Even though potters kept producing through the 1600s, the designs lacked the beauty of earlier work. The Sultan Ahmed Mosque in Istanbul, also called the Blue Mosque, was the last major building decorated with Iznik tiles. It was finished in 1616.

Where Iznik Ceramics Can Be Seen Today

The Topkapı Palace in Istanbul has more than 10,000 pieces of Chinese porcelain but very few examples of Iznik pottery. Most surviving Iznik ceramics are in museums outside Turkey. However, many Iznik tiles remain in place across Turkish cities like Istanbul, Bursa, Edirne, and Adana. In Istanbul, you can still see these tiles in places like the Rüstem Pasha Mosque, the Sokollu Mehmet Pasha Mosque, the tomb of Selim II near the Hagia Sophia, and in parts of the Topkapı Palace such as the Circumcision Room and the Baghdad Kiosk.

How Chinese Porcelain Shaped Iznik Ware

When the Ottoman Empire took shape in the 1300s, Iznik potters followed the earlier Seljuk ceramic style. But soon, they started copying Chinese porcelain, which Ottoman sultans loved. Because local potters couldn’t make actual porcelain, they created fritware instead. This mix of silica and glass made a solid base for painted decoration.

Even though they borrowed from Chinese styles, the Iznik craftsmen made something original. They adapted. Chinese ceramics had been popular in the Islamic world for centuries, especially in both the Ottoman and Safavid courts. This led to a blend of Chinese shapes and Islamic patterns. By the mid-1500s, Iznik artists had developed their own set of Turkish floral and abstract motifs. The style moved from strict symmetry to more dynamic, flowing forms.

Western Confusion Over Iznik Styles

From the late 1800s to the early 1900s, European collectors didn’t fully understand Iznik pottery. They thought the different styles came from different places. Today we know most of this ceramic art was made in Iznik, with some also from Kütahya.

In the 1800s, Islamic ceramics were usually called “Persian ware.” Then, between 1865 and 1872, a museum in Paris got a set of colorful fritware pieces with bold red glazes. These had all been found on the island of Rhodes. People assumed they were made there, so the name “Rhodian ware” stuck for that group.

Collectors also found pieces in blue, turquoise, pale purple, and green. They thought these came from Damascus and started calling them “Damascus ware.” Another type, blue-and-white fritware, was named “Abraham of Kutahia ware” after a small ewer with Armenian writing on the base. It mentioned Abraham from Kütahya and was dated to 1510.

In the early 1900s, while building a post office in Istanbul’s Sirkeci district near the Golden Horn, workers found ceramic fragments with spiral patterns on a white base. That led to another style name: “Golden Horn ware.”

Even with the confusion in labels, the original source was mostly the same: Iznik. The city shaped a major chapter in Turkish ceramic history, leaving behind a style that mixed Ottoman taste, Chinese influence, and local creativity.

How Iznik Became the Center of Ottoman Ceramics

It wasn’t until the 1930s that experts figured out most of the different Ottoman pottery styles probably came from one place: Iznik. Before then, it wasn’t clear. In 1957, Arthur Lane from the Victoria and Albert Museum wrote a key article that laid out a timeline for pottery made in this region. He said the “Abraham of Kütahya” pieces likely came from around 1490 to 1525. “Damascus” and “Golden Horn” styles followed from 1525 to 1555. Then came “Rhodian” ware, which ran until the Iznik pottery industry faded out in the early 1700s. That timeline is still mostly accepted today.

What Kütahya Had to Do With It

The 1510 ewer known as “Abraham of Kütahya” isn’t the only item linked to that town. There’s also a damaged water bottle done in the Golden Horn style, with two Armenian inscriptions under the glaze. One is dated 1529 and names the bishop who ordered it. The other says it was sent as a gift to a monastery. Lane didn’t think either of these pieces were actually made in Kütahya.

But later digs at Kütahya turned up broken pieces of unfinished pots in the blue-and-white Iznik style. These were wasters, meaning they were flawed during production. That means Kütahya did have fritware pottery workshops in the 1500s. The materials and methods match what was used in Iznik. Still, Kütahya was farther from Istanbul and likely didn’t produce nearly as much. It was probably a small center that worked on a more limited scale. Some pottery we now call “Iznik” may have come from there, but we can’t yet tell which ones.

Art historian Julian Raby put it this way: for now, we lump all 16th and 17th century Ottoman glazed ceramics under “Iznik,” but with time, we may learn how to spot true “Kütahya ware.”

Underglaze Ceramics in 1500s Istanbul

Blue-and-white underglaze pottery wasn’t just made in Iznik or Kütahya. In the early 1500s, it was also being produced right in Istanbul. There’s a 1526 payroll document from the Ottoman court that lists a master tilemaker from Tabriz and his ten assistants. They were likely brought over after Selim I’s short conquest of Tabriz in 1514. Their workshop was in the Tekfur Sarayı area near the Palace of the Porphyrogenitus.

These artisans handled all imperial tilework until the Süleymaniye Mosque project in the 1550s. Most of the tiles from this period used colored glazes applied through the cuerda seca method, which created sharp outlines between colors. It also required less work than older glazing techniques. A few tiles, though, were painted under the glaze in cobalt blue and turquoise.

Some of these underglaze tiles still exist. They show up on the Holy Mantle Pavilion at Topkapı Palace and in the tomb of Çoban Mustafa Pasha, who died in 1529. One of the most impressive examples is a set of five long rectangular tiles, each about 1.25 meters wide, found on the Circumcision Room at Topkapı Palace. That building dates from 1641, but the tiles likely came from an earlier structure built in 1527 or 1528. These tiles are covered in highly detailed designs, suggesting that court artists were directly involved in creating them.

Imperial Workshops and Early Iznik Tilemakers

There are no surviving records that tell us exactly what the imperial ceramic workshops produced, but it’s likely the same artisans who crafted the famous blue and white underglaze tiles also made other items for the Ottoman court. Art historian Gülru Necipoğlu pointed to a mosque lamp and a ceramic ball from the Yavuz Selim Mosque as examples. Both objects have cobalt blue inscription bands under the glaze, though the mosque itself is only decorated with cuerda seca tiles. This suggests those finer objects may have come from the imperial tilemakers.

By 1566, that workshop had shrunk to just three tilemakers. But around this time, with the building of the Süleymaniye Mosque in Istanbul, Iznik stepped into the spotlight as the new hub for underglaze tile production.

Iznik’s Switch From Earthenware to Fritware

In the early 1960s, archaeologist Oktay Aslanapa led excavations in Iznik. What he found confirmed that Iznik had been making pottery long before it became known for its blue and white tiles. The digs turned up shards of what had been called “Miletus ware,” a type of earthenware that had been misattributed. The confusion started in the 1930s, when a German archaeologist found similar pottery fragments in Miletus and assumed they had been made there.

Later evidence showed that the bulk of Miletus ware was actually made in Iznik, with smaller amounts from towns like Kütahya and Akçaalan. The kilns and broken test pieces found in Iznik sealed the case. These early pieces likely date back to the 1400s. Other finds across Turkey show that Miletus ware was produced in large batches and widely traded.

Miletus ware was made using red clay. Potters applied a white slip, then painted over it with dark cobalt blue before finishing the surface with a transparent alkaline glaze. They also used turquoise, green, and purple for decoration. Many plates had a central flower design surrounded by rings of ridged, scallop-like patterns.

The Birth of Iznik Fritware

By the end of the 15th century, Iznik potters had moved beyond earthenware. They began using white fritware clay and painting bold cobalt blue designs under a clear glaze. This was a huge change. Both the materials and the look were different from Miletus ware. Fritware had existed in the Islamic world since the 1200s, but Iznik’s version, with its smooth white finish, was a major step forward.

Fritware, also called stonepaste, is a mix of crushed quartz, glass frit, and a small amount of clay. During firing, the glass melts and binds everything together. In 13th-century Iran, the city of Kashan became known for making high-quality fritware. A tilemaker from Kashan named Abū'l-Qāsim even wrote a treatise in 1301 that included a recipe for making it. He suggested using 10 parts silica, 1 part frit, and 1 part clay.

Iznik potters didn’t leave behind any written guides, but analysis of their surviving work shows they followed a very similar formula. One difference was the frit itself. In Kashan, frit was made by heating quartz with soda. In Iznik, they added lead oxide to that mix, which affected the final glaze and gave it its own character.

These material changes helped Iznik ceramics stand out. They laid the groundwork for what would become some of the most iconic Ottoman tiles and pottery ever produced.

How Iznik Pottery Was Made: Tools, Techniques, and Materials

Fritware, unlike regular clay, doesn’t bend easily. It doesn’t hold together well on the wheel either. So instead of shaping a whole piece in one go, Iznik potters built their vessels in separate parts. Each section dried a bit before they were joined together with more frit paste. This method often gave the finished pieces a slightly stiff, angled look.

To make dishes, potters most likely used molds. They’d roll out the fritware paste into a thin sheet, like rolling pastry dough. That sheet got pressed into a mold to shape the inside of the dish. As the wheel turned, the potter would shape the bottom with a template. Once the form had dried a bit, they carved out the leafy edges by hand.

After shaping, the surface of each piece was covered in a white slip. This slip was made from the same ingredients as the body but ground even finer and cleaned of iron traces to keep it bright white. They probably added a natural binder, like tragacanth gum, to help the slip stick and stay smooth.

Although the Persian guide from Abū'l-Qāsim said pottery should dry in the sun before decorating, Iznik potters likely did a first firing, known as biscuit firing. This gave the piece enough strength for painting. The paints were made by mixing pigments with powdered frit and grinding them wet, probably using a stone mill. For certain patterns, potters used stencils and a pouncing method to transfer the outline onto the surface.

Colors and Their Origins

At first, Iznik artists only used cobalt blue. That cobalt likely came from Qamsar, a village in central Iran known for mining the mineral. Abū'l-Qāsim even mentioned Qamsar in his writing.

By around 1520, the color range expanded. They added turquoise made from copper oxide. Soon after, purple from manganese, green, black, and grey followed. One of the most striking additions came around 1560: a bold red slip made from iron oxide, known today as Iznik red. It was applied thickly beneath the glaze. Even though the palette grew over time, many pieces still featured only a few colors.

Glaze Composition and Appearance

Iznik wares were finished with a clear glaze made from a mix of lead, soda, silica, and a little tin. Chemical analysis shows the glaze usually had 25 to 30 percent lead oxide, 45 to 55 percent silica, 8 to 14 percent sodium oxide, and 4 to 7 percent tin oxide. Normally, tin is used to make glazes look white and cloudy. But in Iznik ceramics, the tin stayed dissolved in the glaze, keeping it clear and shiny.

This careful mix of materials and step-by-step craftwork gave Iznik pottery its rich surface, vivid color, and lasting form. The process was exact. The results were timeless.

Firing Methods and Early Blue-and-White Iznik Ceramics

Abū'l-Qāsim, writing in the early 14th century, mentioned the use of earthenware saggars with tight-fitting lids to protect pottery during firing. While Miletus ware bowls were usually stacked directly on top of each other in the kiln with small spacers called spurs, Iznik fritware doesn’t show those same marks. This suggests that Iznik potters probably used saggars instead. Their kilns worked with an updraft system, reaching temperatures close to 900 degrees Celsius.

By the late 1400s, Iznik craftsmen had started producing blue-and-white fritware that reflected the tastes of the Ottoman elite in Istanbul. There’s no written explanation for how or why this change happened, but there is hard evidence. The first record linking Iznik pottery to the palace appears in the bookkeeping for the Imperial kitchens at Topkapi, from the years 1489 to 1490. It notes the purchase of 97 ceramic vessels.

The oldest datable examples of Iznik tiles come from the tomb of Şehzade Mahmud, son of Sultan Bayezid II, who died around 1506 or 1507. These tiles, placed along the border of the tomb’s walls, were decorated in cobalt blue and white, marking the new style’s early spread.

Baba Nakkaş Ware and Rumi-Hatayi Design

Early pieces of Iznik fritware were once grouped under the label “Abraham of Kütahya ware,” named after a dated ewer from 1510 that carries the name Abraham of Kütahya. But that ewer doesn’t match most of the other pieces from the same period. Art historian Julian Raby suggested dropping that label and instead proposed the term “Baba Nakkaş ware.” Baba Nakkaş was a leading designer at the Ottoman court, and his name better fits the refined look of early Iznik ceramics.

Some of the earliest surviving fritware objects from Iznik, likely made around 1480, were deep blue vessels covered with detailed white decoration. These pieces show clear zones where two styles meet. One area uses Ottoman arabesque designs, while another shows Chinese-style floral patterns. This mix is known as the Rumi-Hatayi style. "Rumi" refers to the curving Ottoman motifs, and "Hatayi" to the floral elements influenced by Chinese art.

A lot of these early patterns, especially the tightly painted arabesques, seem to borrow from Ottoman metalwork. You can see the same precision and balance in both.

While the overall use of blue and white, as well as the shape of some large dishes, was clearly inspired by Chinese porcelain from the Yuan and Ming dynasties, Iznik potters didn’t simply copy those foreign models. They reworked them. Some pieces, like a large charger in the Çinili Koşk Museum in Istanbul, use only pure Ottoman Rumi design. No Chinese elements at all.

Iznik ceramics took what they needed from outside styles, but they turned those ideas into something entirely their own. That creative mix is what made them stand out, and it’s what still sets them apart today.

Early 1500s: A Change in Ottoman Ceramic Style

In the early 16th century, Ottoman ceramics began to change. Brighter blue tones showed up. White backgrounds became more common. Artists leaned into floral patterns more than before. This change wasn’t sudden, but over the first two decades of the 1500s, the style clearly evolved.

One key example comes from the mausoleum of Sultan Bayezid II, built in Istanbul around 1512 to 1513. Inside were several ceramic mosque lamps. Four stayed in Istanbul, while a fifth likely from the same set ended up in the British Museum. These pottery lamps copied the shape of earlier Mamluk glass ones. They weren’t made to light up rooms. They had no function as actual lighting. Instead, they hung in mosques for decoration and carried symbolic meaning.

These Bayezid II lamps were detailed with kufic script and geometric lines, but the main design sat around the middle. A thick band filled with stylized lotus flowers and bold rosettes wrapped around the body, standing out strongly.

Blue and White Influence: The Chinese Connection

One of the most striking traits of these ceramics was the use of blue over white. This was a direct nod to Chinese porcelain. The white ceramic base helped the detailed blue designs pop. That contrast wasn’t just pretty, it was powerful. The fine vegetal patterns in vivid blue gave the pieces a bold, clean look. This style soon became the signature of Iznik ceramics.

The Ottoman Empire’s Building Boom

When the Ottomans conquered Constantinople in 1453, they didn’t just take over the city. They transformed it. New palaces, mosques, and public buildings rose across Istanbul and beyond. Sultan Süleyman, his wife Hürrem, and Grand Vizier Rüstem Pasha poured money into massive architectural projects.

All of them used tiles on a grand scale. The Blue Mosque alone contains over 20,000 tiles. The Rüstem Pasha Mosque may not be as big, but its interior is packed with dense tilework. Even Topkapı Palace, home to Ottoman rulers, was loaded with ceramic decoration. This building surge drove up demand for Iznik tiles. For a while, tile production became the main focus of the Iznik workshops.

Iznik Wares Under Süleyman the Magnificent

During Sultan Süleyman’s reign from 1520 to 1566, the call for Iznik pottery skyrocketed. Artisans crafted everything from hanging lamps and cups to jugs, dishes, and bowls. Their designs drew from books, metals, and Chinese ceramics. Some large plates had looser, more open patterns. You’d find images of ships, trees, flowers, and animals. Most had pierced bases, showing they were meant to be hung for decoration. But many also show scratches from real use.

One major design transformation in the 1520s was the "saz" style. It used long, jagged reed leaves laid out in strong, sweeping curves. These bold shapes were set off with steady, circular forms like rosettes. Then, in the second half of the century, came a softer, more natural style called "quatre fleurs." This pattern focused on four key flowers: tulips, roses, carnations, and hyacinths. The court artist Kara Memi, or Kara Mehmed Çelebi, helped popularize it. By 1557 or 1558, he had become the lead designer for the Sultan’s court.

Golden Horn Ware: A Unique Variation

From the late 1520s to the 1550s, another style appeared. Known today as Golden Horn ware, it used a variation of the classic blue-and-white palette. The name came from fragments dug up around Istanbul’s Golden Horn. At first, people thought the pieces were local, but later studies confirmed they came from Iznik. The style showed fine spirals with little leaves. The rims of plates featured thin, curving lines that imitated the swirling scrolls used in royal Ottoman documents, especially around Sultan Süleyman’s official monogram or tuğra.

Some experts call this "Tuğrakeş spiral ware" because tuğrakeş were the court’s elite calligraphers. Early pieces stuck to cobalt blue, but later ones added turquoise, olive green, and black.

Several dishes from this period also show clear links to Italian design. In particular, they resemble the tondino dishes from Italy’s maiolica tradition between 1500 and 1530. Small bowls with wide, flat rims matched the Italian shapes closely, proving that Ottoman ceramics looked East and picked up ideas from the West.

Imperial Influence and Chinese Inspiration in 16th-Century Iznik Ceramics

In the 1520s, Iznik pottery reached a turning point. Potters began creating spiral-patterned pieces now known as Golden Horn ware. These designs were closely tied to the decorative work in imperial manuscripts. Pottery styles at this time also started reflecting the details of Ottoman buildings. That connection between architecture and ceramics became stronger as imperial tastes shaped production. At the same time, Chinese porcelain had a major impact. Pieces collected at the Topkapi Palace influenced new Iznik designs, leading to bold changes in patterns and color.

The Damascus Style and the Rise of Polychrome Ceramics

Between 1540 and 1555, a new style appeared during the rule of Suleiman the Magnificent. Collectors later called it Damascus ware, but that name is misleading. The ceramics weren’t made in Damascus. That confusion came from art buyers in the 1800s who saw the pastel color palette and linked it to Syrian tiles. But the real source was Iznik.

This phase marked the start of true polychrome ceramic work. Alongside the usual cobalt blue and turquoise, potters started adding soft purple and sage green. These new shades expanded the design vocabulary and paved the way for more complex decoration. Damascus ware showed how Iznik potters were pushing past earlier limits in both style and color.

A Rare Dated Lamp and Its Role in Dating Iznik Pottery

One of the most important Iznik pieces from this period is a mosque lamp now held at the British Museum. It’s the best-documented example of Iznik pottery and gives scholars a solid reference for dating other works. The lamp was found in the mid-1800s on the Temple Mount in Jerusalem. It likely came from the renovations of the Dome of the Rock, ordered by Suleiman the Magnificent.

The lamp’s base features several inscriptions. It names the artist, Musli, and dedicates the piece to Eşrefzâde Rumi, a Sufi saint from Iznik. It’s also marked with the date AH 956, which matches AD 1549. The surface shows green, black, and two shades of blue. You’ll see pale blue cloud forms, tight arabesques on a green background, and tulip buds in deep blue frames. These same patterns show up on other vessels from that period, especially some large footed basins that, while different in shape, borrow similar design elements.

The Rare Use of Purple Tiles in Ottoman Architecture

Only two buildings still stand today with tiles that use the soft purple color from this era. The first is the Yeni Kaplica bathhouse in Bursa. Its walls are covered in hexagonal tiles arranged with their points facing up. Each tile has floral or arabesque designs painted in blue, turquoise, olive green, and purple. There are nine unique patterns. These tiles were originally made for another building but were moved to Yeni Kaplica during a renovation led by Grand Vizier Rüstem Pasha around 1552 or 1553. Based on their style, the tiles probably date to the late 1540s.

The second building is the Hadim Ibrahim Pasha Mosque in the Silivrikapi area of Istanbul. Mimar Sinan, the empire’s chief architect, designed it. The mosque was finished in 1551. Its north side has a portico with three tiled lunette panels and two roundels. Each panel has white thuluth script set against a deep blue background, with turquoise and purple flowers filling the space between the letters. Inside the mosque, above the mihrab, there’s another lunette panel painted in dark olive green, turquoise, and cobalt blue.

Iznik Tile Production for Imperial Buildings

By the mid-1500s, Iznik potters began producing colorful fritware tiles for the major buildings designed by Mimar Sinan. While we don’t know all the details of how production was organized, Sinan likely played a role in matching tile design with the architecture.

This period demanded a massive output of tiles. In the 1550s and early 1560s, Iznik workshops supplied tilework for the Süleymaniye Mosque in Istanbul, the mausoleum of Hurrem Sultan (finished in 1558), the Great Mosque in Adana (around 1560), the Rüstem Pasha Mosque in Istanbul (finished around 1563), and the mausoleum of Suleiman the Magnificent (completed in 1567). Both Suleiman’s and Hurrem Sultan’s tombs are located within the grounds of the Süleymaniye Mosque.

The Introduction of Red and the Change in Iznik Aesthetics

This era brought a big change in style. Potters started using a red tone made from iron-rich clay known as bole. This red was added under the glaze and became one of the standout colors in later Iznik pottery. The first building to use tiles with red was the Süleymaniye Mosque, completed in 1557 and designed by Mimar Sinan.

Inside, the tilework focuses on the qibla wall around the mihrab. The design features repeating rectangles with floral shapes painted in a stencil-like way on white. Most of the flowers are blue, but you’ll also spot red, black, and turquoise. Outside, in the mosque’s north courtyard, rectangular tile panels appear above the windows. These show verses from the Quran in white thuluth script set on a deep blue background. The red glaze appears here too, reinforcing how central this new color had become in Ottoman ceramic design.

The Rüstem Pasha Mosque and the Rise of Iznik Tile Art

By 1563, the Rüstem Pasha Mosque in Istanbul was finished. Designed by Mimar Sinan, it marked a big change from his earlier work. Unlike the calm, limited tile use in the Süleymaniye Mosque, this one was packed with color and patterns. Tiles covered the inside walls and even the outer façade near the entrance. Over 80 different tile patterns were used in total. Many of them followed repeating designs where each tile matched the next, creating a seamless look.

This mosque is also the first known example featuring red tulips and carnations based on Kara Memi’s floral style. Some tiles were painted with a thin, reddish-brown tone, especially near the mihrab. In other parts, the red was thicker, like sealing wax, raised slightly from the surface.

At the same time, another color, purple, was being used on what’s called Damascus ware. But it didn’t blend well with the rich red. So, purple and red only appear together in a few places. One known example is a tile panel showing a blooming prunus tree just to the left of the entrance, under the portico at Rüstem Pasha Mosque.

The Use of Color in Iznik Tiles and Ceramics

Damascus ware also included a sage green glaze. It had a soft, gray-green tone and was used sparingly. You can find it on the tiles inside Hurrem Sultan’s mausoleum, completed in 1558. But it didn’t show up at all on the Great Mosque in Adana around 1560 or in the mausoleum of Rüstem Pasha from 1562. With one small exception - a later panel added above a doorway - no green appears in the original tiles of Rüstem Pasha Mosque.

The first time a bright emerald green was used came a few years later, on the panels outside Süleyman’s mausoleum, finished in 1567. That color would later become an important part of Iznik tile work.

The First Use of Bole Red in Iznik Pottery

One key object in the history of Iznik ceramics is a mosque lamp now kept in the Victoria and Albert Museum in London. It’s believed to have been made for the Süleymaniye Mosque, completed in 1557. This lamp is the earliest dated example with the red clay-based paint known as bole red, which became a signature look in Iznik tiles and pottery. But the red on this lamp is thin, patchy, and brownish. A few dishes from the same period use this early form of red as well.

There’s a big gap in surviving pottery between 1549 and 1606. No vessels from those years have confirmed dates. However, since many Iznik tiles still exist in buildings from this period, researchers can roughly date pottery by comparing the tile styles to dish and vessel designs. The layouts and patterns often line up even if the items were used differently.

The Decline of İznik Pottery After the 1500s

By the end of the 1500s, İznik pottery started to decline. The quality dropped. One reason was that the Ottoman court stopped ordering as much pottery. Another was the fixed-price system introduced during a time of rising costs. Potters were stuck with low pay.

At the same time, a lot of fine Chinese porcelain was being brought into Turkey. It was cleaner, more precise, and more polished than local wares. İznik artists couldn’t keep up. They started painting simpler, rougher patterns to cut corners. While Chinese porcelain never replaced local tilework, there was less need for tiles anyway. Big state-funded building projects slowed down.

Even when the court did ask for new tiles, like for Ahmed I’s tomb between 1620 and 1623, the low prices didn’t give potters much to live on. So they turned to other markets. They exported tiles to places outside Ottoman control.

One place was Cairo. In 1651, Ibrahim Agha updated the Aksunkur Mosque there using İznik tiles. Another place was Mount Athos in Greece. In 1678, the Monastery of the Great Lavra added colorful tiles with Greek writing. Despite these small waves of business, production kept falling. By the mid-1600s, only a few kilns were still running. The last known pottery from that era includes rough dishes with simple Greek letters from 1678.

Modern İznik-Inspired Pottery from Kütahya

Today, traditional İznik styles still live on, but in a different form. In Kütahya, ceramic makers create pottery that blends old İznik patterns with modern looks. These pieces are mostly made for tourists, keeping the craft alive in a new way.

 

The Origin and Legacy of Çanakkale Ceramics

Çanakkale ceramics began to take shape in the 1600s. They came directly out of the Iznik tradition, which had ruled Ottoman ceramic art from the 14th to 15th centuries. Iznik ceramics were top-tier in their time, widely admired for their detailed designs and rich colors. These early works were usually made with earthenware, a soft clay blend, though beige-toned clay was sometimes used. Most pieces featured blue and white hand-painted patterns. You could see each brushstroke, linking them to both everyday pottery and the refined style favored by the Ottoman elite.

As Iznik ceramics reached their peak, Çanakkale artisans started to borrow these same methods. They built their own look by mixing inherited techniques with a fresh approach.

The Craft of Making Çanakkale Ceramics

Çanakkale ceramics took time to make. Artists often coated the finished forms with a thick, creamy glaze, usually clear. These ceramics weren’t all the same, though. Makers produced a wide variety of objects: plates, deep bowls, covered dishes, tall bottles, oil lamps, vases, and even clay figures shaped like animals. Many of those animal-shaped pieces came out during the 1800s and 1900s.

The process always started with a base coat, either red earthenware or a layer of white slip called engobe. After that, pieces dried under the sun before painting began. Cross-hatching was one of the common ways artists created surface patterns. It gave the designs a strong handmade feel.

Çanakkale Ceramics Gain Popularity

Even though the tradition started earlier, it wasn’t until the 17th century that Çanakkale ceramics became widely known. That rise happened as Iznik production started to fade. With fewer Iznik pieces being made, people turned to Çanakkale for handmade pottery that still had character and charm.

One big reason Çanakkale ceramics caught on was tourism. The city sits in western Anatolia, close to travel routes used by foreigners. Visitors didn’t usually buy these items for daily use. Instead, they picked them up as keepsakes and gifts. The name of the city itself gives a clue to its role in pottery. The Turkish word "çanak" means bowl, which may be how the place got its name - a center for ceramics.

By the 1800s, Çanakkale pottery also became trendy in Western countries. But the fame didn’t last forever. By the time the 20th century rolled in, demand dropped sharply. Çanakkale ceramics, once a symbol of Ottoman craft and a traveler’s treasure, became less common as styles changed and times changed.