Iznik Pottery

Anadolu coğrafyasında çapraz işleme tekniği olarak bilinen kanaviçe, geleneksel tekstil işleme yöntemlerinden biridir. Kanaviçe diğer geleneksel tekstil işleme yöntemleriyle karşılaştırıldığında uygulama açısından daha pratiktir. Bu yöntemde geniş dokuma keten bezi veya farklı sıklık aralıklarına sahip olan etamin kumaş kullanılmaktadır. Kumaş üzerine işlenecek motifin özelliklerine uygun biçimde renkli ipliklerle çarpı biçiminde yapılan bu uygulama, teknik açıdan oldukça kolay olması nedeniyle Anadolu coğrafyasında yaygın bir biçimde kullanılmıştır. Çeyiz geleneğinin devam ettiği yörelerde özellikle mutfak, yatak odası ve salon tekstillerinde bu yöntem hala kullanılmaktadır. Tekstilin bir sanat dalı olarak kabul edilmesi ve tekstil ürünlerinin çağdaş sanat alanında kullanılmaya başlanması beraberinde geleneksel tekstil işleme yöntemlerinin plastik sanatlar alanına entegre edilmesiyle sonuçlanmıştır. Günümüzde kanaviçe gibi geleneksel tekstil işleme yöntemlerinin ve geleneksel kanaviçe motiflerinin çağdaş seramik sanatında bir dekor aracı olarak kullanıldığı görülmektedir. Araştırmanın amacı çağdaş seramik sanatında bu kullanım biçiminin dekor ve teknik açıdan irdelenerek, bu tür uygulamaların seramik alanında kullanılan dekor yöntemlerine olan katkısını değerlendirmektir.

Long regarded as a quintessentially Islamic invention-mihrab, an architectural feature also used in textiles that designates the direction of Mecca-it appears, under closer scholarly scrutiny, not as a novel creation but as the continuation of a concept rooted in the earliest civilizations.

Hereke rugs are among the most coveted of collectibles: beautiful, costly, and-like all objects of great aesthetic value-frequently imitated. The town of Hereke, not far from Istanbul, became synonymous with luxury weaving when Sultan Abdülmecid I (1823-1861) established an imperial manufactory there in 1843; production started in 1845 to supply the newly rising Dolmabahçe Palace (1843-1856). A masterpiece silk and metal thread Hereke Size 50x70cm From its looms came silk and wool masterpieces destined for palaces, embassies, and gifts of state-works that set the standard for refinement in Ottoman textile art. It is said that the finest artists were brought from the Persian city of Kerman to Hereke, where their skill and talent were harnessed to produce carpets worthy of the Ottoman imperial palaces.

Ferda Tazeoğlu Filiz, 2009’da Anadolu Üniversitesi Güzel Sanatlar Fakültesi Cam Bölümü’nde lisans eğitimini tamamlamıştır. 2016’da Anadolu Üniversitesi Güzel Sanatlar Enstitüsü Seramik Anasanat Dalı’ndan “21. yy.’da seramik ve cam malzemelerin mimaride yüzey oluşturma ve kaplamada kullanımı” adlı yüksek lisans tez çalışmasıyla, 2022’de Anadolu Üniversitesi Güzel Sanatlar Enstitüsü Seramik Anasanat Dalı’ndan “Beton, porselen ve cam malzemelerinin sanat alanında inovatif kullanım olanaklarının araştırılması” adlı sanatta yeterlik tez çalışmasıyla mezun olmuştur. Disiplinler arası bir sanat eğitimi alan Tazeoğlu Filiz, bu yaklaşımı malzeme, teknik ve kavramsal süreçlerine yansıtmaktadır. Üretimlerinde ağırlıklı olarak alçı kalıpla şekillendirme yöntemini tercih eden sanatçı, bu yöntemle oluşturduğu birimleri parça eklemeli dekor tekniğiyle bir araya getirerek bütüncül kompozisyonlar üretmektedir. Endüstriyel teknikleri sanatsal seramik üretimine entegre etmesi, parça eklemeli dekor tekniğine getirdiği özgün yorum ve inovatif malzeme kullanımı, Filiz’in çağdaş seramik sanatçısı kimliğini oluşturmaktadır.

A series of scientific methods (X-ray analyses, optical and electron microscopy, Raman spectroscopy and thermal analyses) was used to research the ceramic bodies and glazes of forty vessels from Renaissance Prague. The set of Early Modern Age archaeological glazed ceramics contained tableware, kitchenware and technical ceramics. The main aim was to characterise ceramic materials and glazes used over two centuries. Attention was also paid to the identification of defects and corrosion products of the glazes. The research was conducted with an emphasis on the context of the original use of the ceramic artefacts and the environment of the waste pits from which they were excavated. The archaeological finds include three technical ceramic vessels (a rectifier, a bowl and a jar), which together could have formed a distillation apparatus. Since these vessels represent a rare finding, they were subjected to a detailed investigation. Based on the similarity of ceramic bodies and glazes, it w...

Geleneksel Türk Sanatları alanının, hammadde, coğrafya, tarih fark etmeksizin Türklerin ürettiği somut ve soyut kültürel miras ile ilgili olduğu bilinmektedir. Bu çalışmanın amacı, Anadolu’dan başka bir coğrafyada yaşamış Türk Devletlerinden olan Altın Orda Devleti’nin, seramiklerini ulaşılabilen yayınlardan örneklendirmektir. Ayrıca Türkiye toprakları dışındaki Türk Devletlerinin seramiklerine online ulaşabilmek için izlenebilecek bir yolu aktarmaktır. Altın Orda Devleti’nin seramikleri konusunda, Türkiye ‘de fritli- sırçalı çamur alanında çalışanların, İznik, Kubadabad, Tebriz, İran, Kaşan gibi bilinen üretim yerlerini genişleterek Türk çini sanatındaki kimyasal analizler konusu gibi araştırmalarını karşılaştırabilme, geliştirebilme olanağını arttırmak amaçlanmıştır. Altın Orda Devleti’nin, Anadolu Selçuklularının son, Osmanlıların ise başlarına zamandaş olan bir Türk-İslam Devleti olması nedeni ile etkileşimlerin ve ilişkilerin bilinmesi, araştırılabilmesi, Türk çini sanatı alanında üretenler tarafından değerlendirilmesi gerekmektedir. Bu nedenle ön araştırma ve kaynakça niteliği olan bu çalışmada, Altın Orda Devleti’nin ulaşılabilen diğer adları, ilgili şehir ve bölgelerin çeşitli adları, Türkiye Türkçesi ile İngilizce yazılışları, ulaşılabilen ilgili müzelerin isimleri ve araştırmaya yardımcı olduğu için seramikler yanısıra ilgili haritalara yer verilmiştir. Fritli-sırçalı çamur, Türkiye’de fritware, stoneware, taş çini, çini, faience, İznik çamuru, kuvars çini, sırçalı çamur, Iznikware, kuvarslı bünye gibi adlar ile bilinen teknik, Altın Orda seramiğini yayınlayan araştırmacılarda kashin, kashi- cashine pottery, kachine ceramic, olarak geçmektedir. Özellikle Kuzey İpek Yolu’nun güvenliğini sağlayabilmesi sayesinde güçlendiği anlaşılan Altın Orda Devleti’nde Selitrennoye (Saray) ve Tsarevskoye (Saray-al-Dzhedid) de üretilen fritli- sırçalı çamur, Solkhat (Solhat, Staryi Krym), Caffa (Kefe), Kaffa'da (Theodosia) Sudak (Soldaya), Azak, Madjar (Madzar), Akkerman, Shirvan, Balaklava (Chambalo), Ukek (Saratov), Bolgar, Bilyar, Juketau, Saraycık (Saraichik), Taurica, Lusta'da (Alushta) (Aluşta) seramikleri, kalıp baskı, lacvardina (ladgewardin), silüet (siyah üstü turkuaz sır) İspanyol lüsteri, milet işleri, kazıma dekor (sgrafitto) vd. yerel ile ihraç üretimler ulaşılabilen yayınlardan örneklenmiştir.

This study examines Mycenaean and tile art from a comparative perspective, exploring the cultural, aesthetic, and functional features of both artistic forms. While Mycenaean art holds a significant place in the Late Bronze Age Aegean with its geometric abstractions and masculine architectural designs. Tile art emerges as an expression deeply rooted in Anatolia's rich cultural heritage, blending religious and aesthetic elements. The shared character istics of Mycenaean and tile art, such as the use of ceramics, symbolism, and functionality, are highlighted, while their differences are analyzed within historical and geographical contexts. The historical interaction between art, technology, and culture is further enriched by the opportunities provided by today's digital technologies. Artificial intelligence technologies like Generative Adversarial Networks (GANs) and Variational Autoencoders (VAEs) play a transformative role in analyzing and reproducing these traditional art forms. In this context, the similarities and differences between the two arts were revealed using a Venn diagram based on the parameters of material, aesthetic, and religious influence. This study discusses how digital technologies contribute to the understanding of traditional art forms and shape modern artistic approaches. The findings present an innovative perspective that bridges the artistic expressions of the past and the future. Öz Bu çalışma, Miken ve Çini sanatlarını karşılaştırmalı bir perspektifle ele alarak, her iki sanat biçiminin kültürel, estetik ve işlevsel özelliklerini incelemektedir. Miken sanatı, geometrik düzenlemelere dayalı soyut estetiği ve maskülen mimarisiyle Ege Geç Tunç Çağı'nda önemli bir yer tutarken, Çini sanatı Anadolu'nun zengin kültürel mirasından etkilenerek daha çok dinî ve estetik unsurları bir araya getiren bir ifade biçimi sunmuştur. Çalışmada, Miken ve Çini sanatlarının ortak paydaları arasında seramik kullanımı, sembolizm ve işlevsellik ön plana çıkarılmış, ayrıştıkları noktalar ise tarihî ve coğrafi bağlamlar çerçevesinde analiz edilmiştir. Sanatın tarihsel bağlamda teknoloji ve kültürle olan etkileşimi, günümüz dijital teknolojilerinin sunduğu olanaklarla daha kapsamlı bir şekilde değerlendirilmek tedir. Generative Adversarial Networks (GANs) ve Variational Autoencoders (VAEs) gibi yapay zekâ teknolojileri, bu geleneksel sanat biçimlerinin hem analizinde hem de yeniden üretiminde etkili bir rol oynamaktadır. Bu bağlamda, Venn diyagramı kullanılarak her iki sanatın benzerlik ve farklılıkları materyal, estetik ve dinî etki parametreleri baz alınarak ortaya konulmuştur. Çalışma, dijital teknolojilerin geleneksel sanat formlarının anlaşılmasına ve modern sanatsal yaklaşımların şekillenmesine nasıl katkıda bulunduğunu tartışmaktadır. Elde edilen bulgular, geçmiş ve geleceğin sanatsal ifade biçimlerini birleştiren yenilikçi bir yaklaşım sunmaktadır.

This project seeks to examine the romantic, picturesque, and oriental images that appeared in illustrated magazines, newspapers, and travelers’ accounts in the United States, France, and Greece in the 20th century. My project aims to analyze the choices of the words, monuments, and viewpoints of each author and each artist. It includes books, other written, photographic accounts and other artworks by American, French and Greek travelers. As audiences around the world consumed the publications described above, in this project, I propose to present photographs, books, and reproductions of documents and artworks (paintings, prints and photographs) that helped form the opinion of outsiders toward Mount Athos, this over-a-thousand-year old monastic community and cradle of Byzantine and Post-Byzantine culture. Most importantly, I seek to directly and creatively approach and contextualize the way that those audiences understood Mount Athos shortly before the global economic crisis of 1929 and till the first two decades after WWII.

The Melan Tekke in Nepravishta, Libohova, dates back to the 19th century and represents an important monument of cultural and religious heritage in the Gjirokastër region. As a spiritual and social centre for the Bektashi community, the Tekke has played a key role in preserving the area's cultural and religious identity. This article examines the importance of restoring the Tekke by documenting its current condition, analysing the degradation, and proposing interventions to preserve its historical and architectural authenticity.
The analysis of the degradation of the Melan Tekke focuses on identifying the damages that have affected this important monument's structural and aesthetic integrity. Various damages have been observed caused by environmental, structural, and human factors. One of the most significant damages includes the lateral additions made during the communist period, which are incompatible with the original construction materials and techniques. Visible cracks have been identified in some parts of the wall, threatening the stability of the structure. At the same time, the accumulation of moisture and the growth of vegetation further worsen the masonry condition. Additionally, decorative stones are missing from some areas of the façade, and the connections between blocks have been damaged due to moisture. The damage to the roof and wooden elements is another major concern, requiring urgent intervention to protect the structure from natural factors.
The proposed restoration interventions aim to address every aspect of the degradation of the Melan Tekke through an integrated restoration approach. These include the demolition of the lateral additions, reinforcement of the masonry, improvement of gutters and water drainage to avoid moisture accumulation and restoration of the roof and façades. Stitching the wall corners with metal rods and placing metal rings around the dome drum to absorb thrust forces are some of the specific structural measures planned. For the restoration of the façade, architectural elements such as windows and railings, materials, and techniques will adhere to the authenticity of the original building. These interventions aim to preserve and protect the structure from further degradation, ensuring its sustainability.
The article concludes that the Melan Tekke faces a series of damages threatening its structural and aesthetic integrity.
The proposed restoration interventions are essential for preserving this important cultural and religious heritage and restoring Melan Tekke to its original splendour. Applying specialised methods to ensure structural sustainability and the preservation of architectural authenticity is vital for protecting Melan Tekke from further degradation.

The Fatimid, who had often considered themselves to be completely descendants of the Prophet, became prominent, and they made a claim to the prophet's succession. Within this, by leading this political and religious sense of mission, they tried to predominate over the whole Islamic world, despite the political tensions between Berber tribes in North Africa, the caliphs of Bagdad, Byzantium, and the later crusaders too. But the most remarkable achievement of this period is probably the art of engraving on wood and ivory. Ivory carvings from Fatimid Egypt often display the lively figural scenes, including animals such as hares, birds, or deer, or more complicated compositions such as hunting or courtly scenes. Many of these Fatimid carved wood panels are in public collections, such as the Islamic art museum in Cairo, Islamic art museum in Berlin, national art museum of Florence, Louvre museum in Paris, Metropolitan museum of art in New York and David's collection in Denmark. This paper will focus on the carved wooden panels and ivory carvings of the Fatimid era that make it possible to classify these panels for various applications. Moreover, their patterns can be classified in inscription, herbal, human, and animal designs, and in some instances, a combination of the mentioned patterns. It should be noted that Ivory carvings are technically similar to wooden engravings. The aims of this study are introducing of wood and ivory carving of the Fatimid period, and searching for designs that used these traces of the carved wooden panels and ivory carvings of this period. In each of these specific patterns, various meanings are searching for that give information about the religious concepts of the inscriptions, the metaphoric images to abstract herbal designs extracted from nature, and human life depicting the social lives of people.

The Martin Brothers are a family that lived in England in the 19th century and are known for their original grotesque ceramic works and a business known by their names. The lives of the Martin Brothers, the functioning of their studio, and the increasingly unique style of their artworks have caused them to be remembered at a different point than other studios and artists producing in the same period. Even though the artworks of the Martin Brothers attracted the attention of buyers and collectors at that time, with the effect of getting rid of the aesthetic concerns of the period they lived in, their unique social behaviors, and health problems, they did not get the appreciation they deserved. Despite this, they are considered to be the pioneers of Art Pottery and therefore contemporary ceramic art with their style and unique design concepts that transform functional objects into grotesque sculptures without losing their function. The aim of the research is to discuss the ceramic production adventure of the Martin Brothers in the context of their unique styles, different current events and the creation processes fed by art disciplines, and to reveal the contributions of the Martin Brothers to contemporary ceramic art. The descriptive design model was used in the research. Nine artworks, including the three chronological phases of the Martin Brothers’ art, constitute the sample of the study. The artworks were analyzed using the content analysis method. As a result of the study, it has been found that the Martin Brothers' artworks and business model have contributed to contemporary ceramic art beyond what is mentioned in the literature.

Thessaloniki was the biggest city conquered by the Ottomans before Istanbul. Furthermore, it was conquered by force. Thus, this city is a good example for researchers to understand how the Ottoman state transformed a Byzantine metropolis into an Ottoman one, starting from a zero point-in terms of the population-in 1430. This paper, based on a meticulous analysis of the three extant Ottoman tax registers of the first Ottoman century and a variety of other sources, tries to discern the urban and demographic development until ca. 1530, when the Ottomanization process had been accomplished and Thessaloniki became an Ottoman metropolis, having, together with Edirne, the highest population in the Balkans.

Patterns in nature result from dynamic relationships of forces and constraints. What is analogous for patterns in art? Art is created by human hands motivated by inspiration and thought. It is the product of creativity and skill. Creativity is constrained by cognitive processes and skill by the limits of technology. Based upon the author's studies of Oriental carpets, this paper suggests that patterns in art result from dynamic relationships of choices and constraints. Typically, traditional Oriental carpets from historical rug-weaving regions of the world exhibit a multiplicity of patterns-field patterns and border patterns that express a vast array of designs and various possibilities for their repetition in linear arrangement or to cover a plane. In classical Oriental carpets, the repetition of a design to cover a pattern is accomplished by counting and repeating sequences of knots. This paper explores dynamic relationships of choices and constraints, by which weavers have used both symmetry and symmetry-breaking to transform repetitive patterns into great works of art.

READING THE EPIC MASTERPIECE SHAHNAMEH THROUGH TILES AND CERAMICS

The epic poem Shahnameh, written in the Masnavi style by the epic poet Ferdowsi, is considered Iran's national epic and a masterpiece of Persian literature. Ferdowsi began writing this epic between 980-990 and completed it in 1018, composing it in sections. Beginning with a prologue about the creation of the universe, the Sun, the Moon, the planets, and the first human, Shahnameh is shaped around the heroic events during the periods of the Pishdadian, Kayanian, Ashkanian, and Sassanian dynasties. It is an immense work consisting of approximately sixty thousand couplets. Soon after Shahnameh was written, it was translated into Arabic, which sparked great interest not only in Iran but throughout the entire Islamic art world. It reached a wide readership and, with its high literary value and epic depictions, also influenced the artists of the time. As it was recited aloud or narrated from memory, storytellers of Shahnameh and Shahnameh painters who illustrated these stories emerged. Until that time, Shahnameh stories had only been read or told, and their illustration led to the development of a visual form of reading
In this study, selected scene depictions of Shahnameh stories identified on tiles and ceramics produced using the lustre and mina'i techniques from the Seljuk and Ilkhanid periods, dated to the 12th-13th centuries, have been investigated. The depictions of Shahnameh stories identified in tile and ceramic works have been examined under the titles "Faridun and the Cow of Barmayah," "Zanhak’s Capture by Faridun and Kaveh the Blacksmith" "Faridun Dividing his Kingdom among his Three Sons," "Bijan and Manijeh," "Bahram Gur and Azade," and "Bahram Gur’s Indian Bride Sipinud’s Wedding Procession." These scenes are analyzed in chronological order, following their appearance in the text. The Shahnameh depictions have been thoroughly examined in terms of composition, scene arrangement, and the symbolic elements of the characters. The imaginal sources of the schematic, recurring scene depictions have been investigated. The long narratives in the stories were adapted onto ceramic objects or tiles by combining specific scenes, transforming them into a summarized representational form. By focusing on how the narrative of the Shahnameh and the depiction relate to each other in parallel or contrast, the research highlights the points of convergence or divergence. In this context, the study aims to explore the imaginal aspects of the representation of Shahnameh stories in tile and ceramic works, in light of current data and analyses.
Keywords: Ferdowsi, Shahnameh, Seljuk, Tile, Ceramic.

This dissertation focuses on Palia Sagiada, a little-known deserted settlement in Thesprotia, coastal Epirus-Greece, aiming to reconstruct tangible and intangible aspects of a bygone culture on the contested border between Greece and Albania. Employing an interdisciplinary methodology that takes into consideration the rich material evidence, historical records, and ethnographic perspectives, this work delves into the domains of architecture, residential areas, and public spaces through the lens of late Ottoman urbanism. Following the settlement's reconstruction post the 1872 earthquake and subsequent abandonment after World War II, this research offers a historical view that juxtaposes macro-scale cultural phenomena onto the micro-scale of this rural frontier.

s "Broken Ladies" Porcelain Trinket Series Evaluation in the Context of Kitsch ÖZ Porselen (porcellana) kelimesi ilk olarak Marco Polo tarafından deniz kabuklarını ifade etmek için kullanılmıştır. Çin'de üretilmiş olan porselen kapları gördüğünde onları da bu deniz kabuklarına benzerlikleri bakımından porcellana (porselen) olarak adlandırmıştır. Bu kavramın İtalyanca ve Fransızca karışımı bir lehçe olan Languedoc dilindeki karşılığı "porcelaine, " İtalyanca dilindeki karşılığı ise "porsellena" dır. Porselen biblo yapımında genellikle kalıpla şekillendirme yöntemi kullanılmaktadır. Biblo üretiminde kullanılan porselen malzeme özelliği bakımından sıvı, akışkan, beyaz ve yüksek pişirim tekniğine uygundur. Üretimi sağlanan porselen biblolar, bisküvi pişirimi sonrasında sır üstü veya sır altı dekorlama tekniğiyle renklendirilerek alıcısının beğenisine sunulur. Dekoratif üretimler olarak yaşamlarımızda yer alan bu nesneler, yani biblolar, niteliği itibariyle "kitsch" olarak adlandırılmaktadırlar. Kitsch en yaygın tanımıyla genel beğeniye hitap eden, duyguyu yüzeyinde barındıran, çoğunlukla taklit ve seri üretime dayalı olan nesneleri ifade eder. Yoz, rüküş, bayağı gibi tanımlamalarda karşılık bulan bu kavram "yüksek sanat" ayrıştırılmış zevksiz ve tecimsel ürünler olarak görülmektedir. Bu bağlamda Jessica Harrison'ın porselen biblo üretimlerindeki sıra dışı yaklaşımlarının, özellikle beden bütünlüğü bozulmuş ve kana bulanmış olmaları bakımından, kitsch yaklaşımlar taşıyıp taşımadığı incelenmesi gereği görülmüştür. Bu araştırmanın örneklem kümesi oluşturulurken seramik sanatçısı Jessica Harrison'un biblolarından bir seçki yapılmıştır. Sanatçının porselen üretimlerinden olan "Broken Ladies" serisinin örnekleri kitsch bağlamında irdelenmiştir. Yöntem olarak; elektronik ortamda sanatçıyla soru-cevap şeklinde yapılan görüşmelerden yararlanılmıştır.

The goal of this study is to investigate the connective role of Art Education between Traditional Aegean Architecture and Cultural Heritage. For this purpose 160 students of the Department of Primary Education, University of the Aegean, during the winter semester of 2013 were involved in a project entitled: "Discover the traditional settlement of Lindos through Art and Geometry", for the course, Art Education and Visual Creations forms. The research shows that students came into contact with the traditional Architecture and in direct contact with the natural environment of Lindos. The project and the artistic exercises, gave them the opportunity to build an infrastructure of aesthetics and culture which can be passed to their future students whatever the geographical location of the place

Increasing the surface quality of porcelain tiles, preferred in public, commercial, and living centers, where human density is high, is one of the crucial goals. Surface applications can be applied on the tiles produced as glazed and unglazed tiles in different versions. In lappato glazed tiles, staining-resistance is of great importance besides glossy-surface and wearresistance. In this study, technical properties such as staining, chemical agent-resistance, color-parameters, thermal-behavior (heat microscopy), roughness, abrasion resistance, and microstructure of glazes (SEM/EDS) depending on the optimizing grinding time were examined with compared to standard lappato-glaze under the industrial conditions. It was observed that with the increase of the glaze grinding, the whiteness value and the increasing smoothness, and higher staining chemicals resistance and the glaze which has lower characteristic temperatures than the standard. As the surface roughness decreased due to grinding, the number and size of pores in the microstructure decreased. The glassy phase exhibited homogeneous distribution due to the dissolution of anorthite crystals.

The  breech-loading  rail  guns  appeared  in  Europe  in  the  15th  century,  and  in  the  next  century  they  were  widely  used  as  light naval artillery. They were characterized by a high rate of fire, thanks to the use of replaceable chambers a mug-shaped device called a chamber or breech block, previously charged with gun powder and a projectile. In Portugal they were called ‘berço’,  called  ‘verso’  in  Spain.  These  guns  were  commonly  found  on  board  ships  sailing  East  on  the  Carreira  da  India  during the reign of King D. Manuel I and earned the nickname ‘manuelino’ after this ruler. A berço manuelino marked Durr 876 is housed in the KwaZulu Natal collection in Pietermaritzburg, South Africa. This cannon was salvaged from the San-tiago shipwreck that sank in the Bassas da India atoll in the Mozambique Channel in 1585. It is an excellent example of the berço manuelino from the period of their widespread use in the Portuguese fleet. Its condition is satisfactory, considering that the cannon lay for 400 years on a coral reef flooded by sea waves. Berço manuelino Durr 876 witnessed one of the most famous and tragic maritime disasters of the 16th century, described in numerous accounts.

Clothing, which is one of the most basic needs of human beings, has developed every period since the existence of humanity and has continued to the present day. In the study, the medieval period of clothing-textiles and the developments in the Egyptian region within this period were discussed. One of the reasons why Egypt is an Egypt-centred study is that it has a coast to the Eastern Mediterranean and is located in a strategic position between the Middle East, Asia and Europe. With this feature, it has hosted a blended structure where many different religions and races live together. In the Middle Ages, Egypt was also renowned as a producer of high-quality textiles. With their unique styles and variety of clothes, they were among the countries that sewed the most famous, most popular and demanded clothes of the period. They left their mark on the period with their colourful fabrics, dyeing techniques and ancient linen clothing traditions. In this study, while the textile activities in

TEKFUR SARAYI GEREK KONUMU GEREK ÇÖZÜMLEMESİ GÜÇ
MİMARİSİYLE DIŞARIDAN KENDİSİNİ SEYREDENLERDE HER DÖNEM BİR MERAK OLUŞTURUR. ŞİMDİLERDE MÜZE OLARAK  ZİYARET EDEBİLDİĞİMİZ BU YAPI, ZAMANINDA METRUK VE  DÖRT DUVARDAN İBARETTİ. ANCAK TARİH ÇERÇEVESİNDE GÖZ ATTIĞIMIZDA TANIKLIK ETTİĞİ TÜM KOŞULLAR YAPIYI BİZE ÖZEL BİR RUHLA SUNUYOR. BİZANS DÖNEMİNİN GÜZEL SARAYI, BİR DÖNEMİN AHIRI, BİR DÖNEMİN ÇİNİ
ATÖLYESİ… HATTA YAKIN TARİHE KADAR BİRÇOK FİLMİN SAHNE DEKORU. BİZ ŞİMDİ BU YAPININ ÇİNİ ATÖLYESİ OLARAK KULLANILDIĞI DÖNEME, ÇİNİLERİNİN NİTELİĞİNE BAKMADAN ÖNCE TEKFURU EN BAŞTAN TANIYARAK BAŞLAYALIM…

Antonis ve Alexandros Benaki kardeşler tarafından oluşturulan koleksiyonu anlatan eser, 320 sayfadan oluşmaktadır. Kitap, 112 seramik, 59 çini levha ile 223 tane seramik parçasından (dip, ağız, gövde gibi fragman parçalar) oluşan koleksiyonun tamamını ilk kez bütüncül bir biçimde ele almıştır. Kitabın dili İngilizce olup tamamı renkli basımdır. Kitap İznik seramikleri ve koleksiyon çalışmaları üzerinde çalışan ilgili uzmanlar için hazırlanmış gibi görünse de konuya merakı olan herkesin rahatlıkla anlayabileceği şekilde hazırlanmıştır.

2024 Türkiye Türkçesinde “çini” kelimesi, genel olarak Osmanlı nakkaşhane desen ve motifleri ile Selçuklu mimari bezemelerindeki kompozisyon ve renkleri olarak algılansa da Güzel Sanatlar Fakülteleri Geleneksel Türk sanatları Bölümü kapsamında “çini”, Türklerin Anadolu, Orta Asya ve diğer coğrafyalarda, Zerdüşt, Müslüman v.d. inanç sistemlerini ayırt etmeden, Türklerin kullandığı seramikler yani tüm pişmiş toprak ürünleri kapsamaktadır. Türkiye’de pişmiş toprak alanında çalışanlarda, çini kelimesinin anlamı ayrıca çeşitlenmektedir.
Bilindiği gibi Türklerin tarihi, Selçuklu ve Osmanlı ile sınırlı değildir. Güzel sanatlar vb. adlardaki Üniversite bünyesindeki fakültelerde, sadece 1000 yıllık geçmiş ele alınacak ise daha eski ya da Anadolu’daki Türkler ile eşzamanlı farklı coğrafyalardaki Türklerin ürettiği ya da kullandığı kültürümüzün maddi ürünlerini, toprağı şekillendirip, seramik üretebilen hangi fakülte bilimsel olarak araştırıp çalışabilecektir?
Bu çalışmada, Türk sanatlarından çininin, günümüzdeki durumu, Güzel Sanatlar Fakülteleri  Geleneksel Türk Sanatları Bölümündeki Çini Alanı ilgili kısa bilgiler, Türk Sanatı Araştırmaları, Güzel Sanatlar Fakültesi Geleneksel Türk Sanatları Bölümü hakkında, Sanat, zanaat ve el sanatları kavramları hakkında, Dijital ortam ve Geleneksel Türk Sanatları, Kaybolmakta olan Geleneksel Üretim Teknikleri Hakkında,  Çini Müzesi, çini nedir? konu başlıkları altında kısaca değerlendirilip, Anadolu ile sınırlandırılmaması gerektiği konuları ele alınmaktadır.

Öz: Anadolu Selçuklu sanatı, 12. ve 13. yüzyıllarda Selçuklu Devleti'nin sanat anlayışını temsil eden önemli bir Türk sanatıdır. Farklı kültürlerin etkileşimiyle zenginleşen bu sanat; mimari, taşınabilir sanatlar ve cam işçiliği alanlarında kendini göstermiştir. Cam işçiliği ise Anadolu Selçuklu sanatında önemli bir yer tutmaktadır. Kaplar, kandiller, süs eşyaları ve pencere camları gibi çeşitli buluntular, dönemin cam işçiliğini yansıtmaktadır. Bu buluntular, Selçuklu dönemi cam sanatı ve üretim teknikleri hakkında önemli bilgiler sunarken, aynı zamanda tarih ve kültür araştırmaları için de değerli bir kaynak oluşturmaktadır. Ancak Anadolu Selçuklu dönemlerine ait cam yapımıyla ilgili bilgiler oldukça sınırlıdır. Dolayısıyla makalenin temel hedefi, Anadolu Selçuklu döneminde cam üretimi konusunda eksik veya sınırlı olan bilgileri derleyerek bir bütünlük sağlamaktır. Bu bağlamda çalışma kapsamında, Anadolu Selçuklu döneminde cam üretiminde kullanılan teknikler ve cam ürünler incelenecektir. İnceleme, Anadolu Selçuklu dönemi cam üretimi ile ilgili mevcut tüm yazılı kaynaklar ışığında gerçekleştirilecektir.

This research goal is a comparative analysis of bird’s role in the Al-Buwayh in the Iran and the Fatimids in the Egyptian era. The main question of this research is compilation through library method, what is the difference and similarity of bird’s role pattern in cloths of both historical periods? Research concludes with a descriptive and analytical method. These patterns can be seen more on textiles and silk pieces, draw birds similar to those eras. With the differences of the Iran’s art (Al-Buwayh and Seljukian) have much more capability in drawing patterns, combination patterns with background and patterns drawing instructor adjustment below the eyes. Drawing bird pattern from the front view angle in the Ancient Egypt (Fatimids) art is done much more, but more attention has been given in the Iranian perspective and side view.

The architectural results of the archaeological excavation of the large, rectangular, east-west oriented Ottoman palace, measuring approximately 18.5×9.0 m, identified in 2018 in the centre of the Early Modern Age castle of Szolnok, were presented in the previous issue of Hungarian Archaeology. This palisaded, representative, two-storey building with two wings, which stood from the second half of the 16th century until 1685/1687 and was built in an architectural style typical of the Ottoman Balkans, was the palace and residence of the actual sanjak-bey (sancakbeyi) of Szolnok. The study provides an overview of the sporadical archaeological, visual, and written sources known from the territory under Ottoman rule, as well as similar buildings and wall structures from Anatolia and the Balkans. The main focus is the presentation of the construction phases and the theoretical reconstruction of the palace in Szolnok. This post-framed building with mud brick walls reinforced with a horizontal beam structure is currently unique in the once-occupied part of Hungary.

This article deals with the study of an assemblage of scrap bronze guns recovered from the Delta III site, identified as a Dutch merchant ship lost in the port of Cadiz, Spain, about the third quarter of the seventeenth century. This kind of remains is seldom preserved and therefore stands as a unique source for addressing modern bronze gunfounding. Its main characteristics and drawbacks were outlined and discussed on historical and archaeological grounds. The gun remains and casting by-products were recorded, and pieces were identified through their design, decoration, and marks. A metallurgical study of selected samples was carried out by visual inspection and microstructural and chemical analyses by light microscopy and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy. A better understanding of the quality and manufacturing process of the pieces and the conditioning factors of the failed casting was achieved by this approach. Results provided new insights into the gunfounding process, with emphasis on a renowned atelier of German bell and cannon founders, along with the associated international markets and recycling practices.

s "Broken Ladies" Porcelain Trinket Series Evaluation in the Context of Kitsch ÖZ Porselen (porcellana) kelimesi ilk olarak Marco Polo tarafından deniz kabuklarını ifade etmek için kullanılmıştır. Çin'de üretilmiş olan porselen kapları gördüğünde onları da bu deniz kabuklarına benzerlikleri bakımından porcellana (porselen) olarak adlandırmıştır. Bu kavramın İtalyanca ve Fransızca karışımı bir lehçe olan Languedoc dilindeki karşılığı "porcelaine, " İtalyanca dilindeki karşılığı ise "porsellena" dır. Porselen biblo yapımında genellikle kalıpla şekillendirme yöntemi kullanılmaktadır. Biblo üretiminde kullanılan porselen malzeme özelliği bakımından sıvı, akışkan, beyaz ve yüksek pişirim tekniğine uygundur. Üretimi sağlanan porselen biblolar, bisküvi pişirimi sonrasında sır üstü veya sır altı dekorlama tekniğiyle renklendirilerek alıcısının beğenisine sunulur. Dekoratif üretimler olarak yaşamlarımızda yer alan bu nesneler, yani biblolar, niteliği itibariyle "kitsch" olarak adlandırılmaktadırlar. Kitsch en yaygın tanımıyla genel beğeniye hitap eden, duyguyu yüzeyinde barındıran, çoğunlukla taklit ve seri üretime dayalı olan nesneleri ifade eder. Yoz, rüküş, bayağı gibi tanımlamalarda karşılık bulan bu kavram "yüksek sanat" ayrıştırılmış zevksiz ve tecimsel ürünler olarak görülmektedir. Bu bağlamda Jessica Harrison'ın porselen biblo üretimlerindeki sıra dışı yaklaşımlarının, özellikle beden bütünlüğü bozulmuş ve kana bulanmış olmaları bakımından, kitsch yaklaşımlar taşıyıp taşımadığı incelenmesi gereği görülmüştür. Bu araştırmanın örneklem kümesi oluşturulurken seramik sanatçısı Jessica Harrison'un biblolarından bir seçki yapılmıştır. Sanatçının porselen üretimlerinden olan "Broken Ladies" serisinin örnekleri kitsch bağlamında irdelenmiştir. Yöntem olarak; elektronik ortamda sanatçıyla soru-cevap şeklinde yapılan görüşmelerden yararlanılmıştır.

Carpet weaving is one of the oldest and most important arts of Iran, which is always known as a symbol of the culture and history of this country. Among the different regions of Iran, Niriz is known as one of the prominent centers for the production of handwoven carpets. This article examines the characteristics, history and importance of reed carpets.

HAL is a multidisciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

In this essay, I aim to follow Golombek’s and Fiala’s leads to imagine the atmosphere of early Islamic living spaces by focusing specifically on furnishing textiles. The first section outlines difficulties in studying early Islamic textiles, while the second considers a corpus of fabrics that can
be attributed to the era on stylistic, epigraphic, and technical grounds. Larger questions about the spread of designs and motifs in the early Islamic period are considered in the final section. The overall aim is to draw attention to an understudied group of early Islamic textile fragments and to reintegrate textiles into discussions of the built spaces of the Umayyad and early
ʿAbbāsid worlds.

Because the majority of surviving tiraz textiles from medieval Egypt name caliphs, are written in Arabic, and feature Islamic phrases and prayers, we tend to think first of their Muslim makers and users. Yet Christian and Jewish communities thrived in Egypt for centuries before and after the spread of Islam in the seventh century, and these groups, too, greatly valued tiraz. Scholars long viewed tiraz as a Muslim innovation introduced to Egyptian society, with the underlying idea that local communities had minimal cultural context for inscribed textiles before the arrival of Islam. Following this logic, it would be easy to assume that Christians and Jews using the textiles in the later medieval period were imitating the practices of their Muslim neighbors.

However, historical images, texts, and objects present a different picture of the appreciation for tiraz among Egypt’s Christian and Jewish communities. The practice of inscribing textiles with words and phrases can indeed be traced in late Roman and Byzantine Egypt (c. 3rd–7th century), allowing us to perceive continuities with past traditions in medieval examples while at the same time recognizing the novelty of Islamic tiraz. As the institution of tiraz became ever more established in Egypt in the medieval period, Christian and Jewish uses of inscribed fabrics became at once reactionary and adaptive, a point of cultural convergence and a marker of difference. These complexities reflect the status of Christian and Jewish communities in medieval Egypt more generally, as textiles present a microcosm of broader attitudes about the processes of cultural adoption, adaptation, and reinterpretation at the heart of these groups’ interactions with the Muslim population.

https://yalebooks.yale.edu/book/9780300260090/social-fabrics/

Textiles counted among the most precious and prized categories of material culture in the medieval world: made with care in specialized workshops, handed down over generations as part of family wealth, repurposed until threadbare for use as dress and furnishings, serving as diplomatic gifts and luxury trade goods, cloth played a major cultural role across premodern societies. Such importance stands in contrast to how fabrics are often viewed by students today, as cheaply-made, disposal material outsourced from distant factories for mass consumption. The disjuncture between premodern attitudes toward cloth and prevailing views today offers a compelling entry point for students to contemplate historical continuities and difference through the lens of a universally familiar medium of textiles.

This pedagogical file considers textiles’ mobilities across premodern Afro-Eurasia to explore medieval global networks through a focus on exchanges evidenced in material culture. The presented examples focus on textiles in European and North American museum collections, thus layering in also more recent mobilities of these objects as artworks with modern collecting histories.

to survive Iong periods of Immersion in sea water relatively wel'l. Also because of their mass, they were often left behind on shipwrecks that were otherwise heavily salvaged. Therefore, cannons are one of the most frequently discovered artifact types found on historic wrecks and probably the most easily identified on a coarse level. However, to refine the identification to year, nationality, manufacturer or other truly useful category can be extremely difffcuit, if not impossible, given the current state of reference material on the subject. This study is the foundation of a long-term effort to rectify the lack of useful identification references for cannons, particularly smooth bore, muzzle loading pieces. A tangible need exists For such a citable reference which a researcher unfamiliar with the intricacies oF cannon characteristics may use to identify an artifact found on an archaeological site. This thesis provides a standardized recording system and a method of manipulating recorded data whereby a corpus oF information on guns will be collected. Eventually, a cannon identification key will be produced from this corpus of information. Current tate of the iterature A complete bibliography oF cannon literature would be a weighty tome indeed. To quote lan V. Hogg, author of Artiller : its Ori in ~Hd ~D1t *. "th* 1tt t th b3* t i t ly th but immense" (1970r304). The earliest use of cannons was concurrent with the invention of the printing press. All the technical writers and historians who felt they had something to say about the subject have kept those presses busy since the beginning. Such a panoply of references would at First appear to be a boon to the researcher. However, a single word suffices to describe all of the works to date when considering the subJect of identifying cannons. That word ts 'inadequate'. The modern researcher trying to identify cannons using archival sources is handicapped by a factor comson to all of the contemporary authors, from Birlnguccio (1540) and Tartaglia (1547) through Muller ( 1780) and up to the end of the era: they lived during the era they wrote about. Understandably, they were not writing cannon identification keys for the convenience of archaeologists or historians 400 years later. These people were, ln the main, technical writers producing expansive manuscripts on broad subjects. Their descriptions of cannons were almost unlversaliy very basici length, calibre, weight of shot. Sometimes they provide a few extra details such as weight of gun, or length of bore. The rare illustration was generally not to scale. Such scanty descriptions are, today, insufficient to date a gun with accuracy. Twentieth century authors writing books on muzzle loading cannons are, by definition, writing histories. These authors take one of two approaches. The first approach relies primarily on information from archives and contemporary authors. As a result of this approach, the works of these authors, exemplified by Ivan V. Hogg's mentioned above, B. P. Hughes's British Smooth-bore Artiller (1969) and Lewis's Armada Guns (1961), are subJect to the same limitations as the works on which they are based. These books are extremely valuable works on cannons in CANNONS. PRG