Ottoman Turks inherited the design and the craftsman ship of Seljuk's Ceramic arts and developed the techniques of ceramic making. The late 15th and early 16th century marks the beginning of a new period in Ottoman tile and ceramic-making. The most important center active at this time was Iznik. Designs prepared by artists who were employed in the studios of the Ottoman court were sent to Iznik to be executed in wares ordered for use at the palace. The court's patronage stimulated and supported the development of an artistically and technically advanced ceramic industry in Iznik. The techniques involved in their manufacture are quite advanced as compared with anything previously done. The pastes are quite hard, pure white, and of fine quality. In that period these ceramics must have been fired at temperatures as high as 1,260 degrees Celsius rather than the normal 900 degrees adding that, at such temperatures, one is in the realm of light porcelain. The techniques and quality employed in these ceramics were to last through various changes in style until the middle of the 17th century. Although the traditional designs of stylized prior to 17th century are plant motifs, arabesques, and Chinese clouds appear in the compositions, there is a shift towards a more naturalistic style in which tulips, carnations, hyacinths, roses, spring blossoms, lilies, cypress trees, and clusters of grapes and vine leaves appear. Compositions are relaxed and free, offering greater scope for experimentation with new and richer arrangements. ). Different styles of calligraphy adorn the tile friezes on monuments; on utensils we find images of ships, 'rock-and-wave' motifs, triple-spots, animal figures, and fish-scale patterns. There is also a proliferation in vessel forms of which deep and footed bowls, vases, ewers, dishes, lamps, candle-holders, and mugs are but a few. Around the middle of the 17th century, the quality of the Iznik potteries began to feel the impact of the economic distress and political upheavals from which the Ottoman Empire had begun to suffer. By the 18th century, the ceramic industry in Iznik had died out completely and Kutahya replaced it as the leading center in western Anatolia. Indeed, Kutahya had been in operation as a secondary center along with Iznik since the 14th century 9 but its production always paled in Iznik's brilliance. But where production at Iznik was discontinued, Kutahya plodded on. 18th-century Kutahya ceramics are made with a white paste and are usually decorated with under glaze-applied designs in yellow, red, green, cobalt blue, turquoise, black, and violet. The designs are freely executed. In addition to polychrome wares, examples of blue-and-whites are also encountered. Forms, which can be elegant, include thin-walled small cups, saucers, bowls, ewers, pitchers, flasks, incense-burners, lemon-squeezers, and ornamental eggs.
To summarize, the art of Turkish tile and ceramic-making developed over the centuries incorporating many different techniques and styles. Enriched by the arrival of the Seljuk's, the ceramic industry in Anatolia achieved a deservedly worldwide reputation with the support of the Ottoman court. Today, Kutahya has been revived as an important center of tile and ceramic-making. In addition, efforts are also being made in private workshops and educational institutions in Iznik, Istanbul, and Bursa to keep the art of traditional Turkish tiles andceramics alive and develop it so that it can address the demands of modern-day life.
