Image Not Available
Images may not be available due to copyright, cultural or privacy reasons, or an object has not been photographed.
Turkish tile fragment
Object No. A9636-6
The height or classic phase of the imperial style of the Ottoman Empire's long reign can be seen in this Iznik tile of c. 1575. This tile is an example of how high-points in world history can remain represented long after a period's demise by splendid survivors of art, literature and music. It is no accident that when a political power reaches a certain economic stature, it has the means to support, encourage and patronise 'luxury' activities that for the rulers benefit their lifestyle, promote their stature and celebrate their success. Inevitably this synchronicity of power and artistic output share their day in the sun and generally decline into mutual mediocrity and another cycle repeats. The Powerhouse tile fits stylistically with the height of Iznik production in the last half of the 16th century. It is identical to tiles identified at the Ayub Ansari (Eyüp Sultan) mausoleum complex in Istanbul (Saunders 1987: 11, pl. 3; Lane 1960: Pl. 15B). Arthur Lane maintains that tiles of this style from the baths at the Mosque of Eyub Ensari (Victoria & Albert Museum No. 401-1900) represent (along with tiles from the Mosque of Piale Pasha built in 1573-4) 'the highest quality of tilework ever produced in Turkey' (Lane 1960: 21). At this time (1550 to 1620) some of the most celebrated monuments were completed under Suleyman II (the Magnificent, 1520-1566) and his immediate successors including the Süleymanye Mosque, sections of the Topkapi Palace in Istanbul, and the mosque of Rüstem Pasha. The crucial link in this period was Sinan (1489-1588), the justly-famous and prolific chief Ottoman architect. Tile designs were usually commissioned for specific projects and while it is not impossible that the same tiles were used on another building it is exciting to speculate that the Powerhouse tile had been removed during renovations of the Ayub Ansari at some stage in its renovations over the centuries. In the Topkapi Palace for example it is known a number of rooms had been 'improved' during the 18th century by replacing Iznik tiles with the fashionable Dutch Delft. Such are the vagaries of novelty but it is just such activities that have released tiles to the market and institutions. When we remember that constructions such as the Blue Mosque of Sultan Ahmet contained approximately 20,000 tiles, it is easy to imagine opportunities when maintenance and change have released tiles such as this gem now in the Powerhouse Museum collection. Paul Donnelly, Curator, September 2009 References Saunders, Gill, 1987. 'Tile Paintings' Victoria & Albert colour books, Webb and Bower, London Lane, Arthur 1960. 'A guide to the collection of tiles', Victoria and Albert Museum, London
Loading...
Summary
Object Statement
Tile fragment, part of collection, earthenware / glaze, maker unknown, Iznik, Turkey, c.1570-1580
Physical Description
Rectangular tile (cut portion of once square tile), earthenware, Iznik, Turkey, c.1570-1580. Silica / frit body giving clear white ground with a part-pattern showing a spray of plum/prunus blossom overlaid with a feathery saz leaf, the upper right corner with a quarter of a large pomegranate flower, the lower right hand corner with a portion of a palmette. Outlined in black and painted in two shades cobalt blue, raised sealing-wax red (Armenian bole) and green glazes. Forming part of a larger pattern, Iznik, Turkey, c.1570-1580.
DIMENSIONS
Height
245 mm
Width
170 mm
Depth
15 mm
PRODUCTION
Notes
Within a century of Ottoman control of Byzantine Constantinople, the rebuilding into Istanbul began apace. It was with the construction of the Süleymanye Mosque (beginning 1550) that there arose a dramatic demand for tiles met for the next half century by the Iznik workshops 100 kilometres to the south west of the capital. Iznik already had a history of ceramic production as ancient Nicaea but it found renewed fame through experiments in crafting a stark white body of quartz (silica and frit) in imitation of Chinese porcelain, and decorating it with a startling but controlled palette of black-outlined designs in 'sealing wax red', turquoise, blue, purple, and green. The designs were dominated by the celebrated red which stands proud of a tile's surface for which the first dateable occurrence is a mosque lamp of 1557 (Atasoy et al. 1989: 224). The Powerhouse tile fits stylistically with this height of Iznik production in the last half of the 16th century. Between 1550 and 1620 some of the most celebrated monuments were completed under Suleyman II (the Magnificent, 1520-1566) and his immediate successors including the Süleymanye Mosque, sections of the Topkapi Palace in Istanbul, and the mosque of Rüstem Pasha. The crucial link in this period was Sinan (1489-1588), the justly-famous and prolific chief Ottoman architect. The Powerhouse tile's crisply applied and fired motifs of are in the hatyayî style dominated by a combined turquoise serated saz (reed) leaf and tulip with quarter palmettes at opposite corners in purple and 'sealing wax' red respectively. Tying the design together are Chinese-inspired sprigs of blue and red prunus flowers on brown stems - with one idiosyncratically 'snapped' at an angle to fit the field. Paul Donnelly, Curator, September 2009 References Atasoy, Nurhan, and Julian Raby, 1989. 'Iznik: The pottery of Ottoman Turkey', Alexandria Press with Thames & Hudson, London
HISTORY
Notes
This tile is from the Ayub Ansari complex in Istanbul, built by Muhammad II in 1465-1496. The Powerhouse tile is a portion of a once complete tile. Comparison of the Museum's tile with illustration of walls decorated with the same tile design (Saunders 1987: 11, pl. 3) shows that the Powerhouse tile is a rectangular portion cut on two sides leaving approximately 55% of the original square tile. Closer scrutiny of the tile itself shows the glaze of the uncut sides gathering along the edge whereas the glaze of the cut sides end abruptly. Interestingly only one of the cut sides is angled at 90 degrees, whereas the remaining cut side mirrors the manufactured sides in being undercut at 75 degrees. It is safe to guess the Powerhouse tile was trimmed either through necessity at the time it was originally used, or because it was damaged during removal and the edges straightened later for sale. The mosque, mausoleum and bathhouse architecture upon which tiles were affixed is typically complex and tiles frequently required cutting to fit around pillars, and within panels, mihrabs etc. The difference in finish of the cut sides of the Powerhouse tile might be significant in suggesting different times for the trimming; possibly a combination of pre and post use. The tile was purchased in 1983 along with thirty-five others from the region using funds from the 'Patrons of the Powerhouse Museum'. Paul Donnelly, Curator, September 2009 References Saunders, Gill, 1987. 'Tile Paintings' Victoria & Albert colour books, Webb and Bower, London
SOURCE
Acquisition Date
13 December 1983
Copyright for the above image is held by the Powerhouse and may be subject to third-party copyright restrictions. Please submit an Image Licensing Enquiry for information regarding reproduction, copyright and fees. Text is released under Attribution-Non Commercial-No Derivative licence.
Image Licensing Enquiry
Object Enquiry