Iznik: The Artistry Of Ottoman Ceramics

Book Summary

Walter B. Denny, Professor of Art History at the University of Massachusetts, offers new perspectives on one of the most popular Islamic art forms. Covering both Iznik pieces de forme and the famous Iznik titles that decorate Ottoman imperial monuments, the book integrates the entire spectrum of Iznik production, both titles and wares, with the broader artistic tradition in which it originated. Professor Denny begins with a discussion of the particular nature of Islamic art under the Ottomans. He then examines the relationship between the court style of Istanbul and the cermaic ateliers in Iznik in nearby Bithynia, and the crucial role of two styles dubbed by the author the "enchanted forest" and "heavenly garden" (the saz and aux quartre fleurs styles) and their creators, Shah Kulu and Kara Memi. Finally, he covers Iznik works with human or animal imagery, the patronage of non-Muslim communities within the Ottoman Empire, and the chronicle of destruction and damage of tiled monuments due to war, earthquake, and fire. The book ends with a look at the extraordinary '[storical legacy of Iznik ceramics, from early imitations in the Ottoman Empire and Europe to the astonishing appearance of ceramics in the Iznik style created by European studio potters in the nineteenth century. The first study of Iznik ceramics to combine these different thematic elements, the book reflects Professor Denny's ambition, almost thirty-five years after completing his doctoral dissertation on Iznik tiles and after well over a dozen publications on the subject, to create a comprehensive overview of this beautiful and popular art form. In this beautifully illustrated book, Walter Dennypresents a vision of one of the best-known andmost internationally renowned Islamic art forms: Iznik ceramics. Covering both Iznik pieces de formeand the famous Iznik tiles that decorate Ottomanimperial monuments, the book integrates the entirespectrum of Iznik production, both tiles and wares, and the broader artistic tradition in which it originated.The book showcases the array of motifs--floral, vegetal, and figurative--used on Iznik wares, looksat the relationship between non-Moslem communitiesand the Ottoman empire, and closes with anexamination of the rich stylistic heritage that Iznikceramics have given to Western art. Lavishly illustratedin color throughout, this is a panoramicoverview of a spectacular and refined art form.

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