This cornice fragment shows floral patterns and the beginnings of some vine scroll motifs. These organic motifs are present in many definitive early works of Islamic art, such as the Umayyad mosaics i..
This cornice fragment shows floral patterns and the beginnings of some vine scroll motifs. These organic motifs are present in many definitive early works of Islamic art, such as the Umayyad mosaics in the Dome of the Rock, and carry through to much later traditions such as this one. The large swaths of turquoise glaze along with the organic motifs are comparable to other late 16th-century Iznik wares (cf. Cambridge, The Fitzwilliam Museum, C.14-1950). Decorative tiles like this fragment would have been present in both courtly and religious spaces, and this type of non-figural ornament is fundamental across artwork of the Islamic world. We should consider this fragment as a part of a much larger tile work that likely covered a large section of wall. The opaque white background of the tile fragment shows a longstanding tradition and early link to Chinese porcelain. Starting in the 9th century after exposure to this pure white high-fire pottery production in China through trade and travel, efforts were made to reproduce it in the Islamic world. When the technique could not be achieved, potters began imitating porcelain through the use of white opaque glaze on lower-fire pottery (earthenware, stoneware), and then later the practice was picked up by tile workshops. This original mimicry also saw the use of painted blue designs and similar motifs seen on Chinese goods copied onto Islamic products. As the efforts to develop porcelain were not possible with the resources in the Middle East, the development of glazing techniques and colors flourished, beginning with the Seljuks in the 11th century. Underglazes were created using ground silica, and introduced a new color palette to ceramic goods. This rich Seljuk tradition became important in informing the work coming out of the later Ottoman Empire. The Iznik tradition, coming out of the Iznik province of present-day Turkey, is said to have had ties to the Iranian workshop, Masters of Tabriz, who were influential in the development of these colored glazes and high quality craftsmanship under the Ottoman Empire. The Iznik workshop is famous for their red underglaze, aptly named Iznik Red, seen here, created by the use of iron oxide mixed with a glaze base of alkaline-lead and glass powder (technique known as fritware). This color was difficult to produce and needed to be applied in thick layers underneath the glaze to create the proper coloring; this is visible in the raised surface of the red colored sections. Produced in perhaps the most prestigious workshop of its time, Iznik tile work was highly prized and respected. See also 2020.367. Nadine Richardson ('21), April 2021