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Notify me when it’s in stockThis 30 cm Iznik ceramic plate, specially designed by Cini Evi, was inspired by Halic and Damascus-style motifs. It is produced with first-class handcraftsmanship and has no duplicate.
Product Features
Each Iznik ceramic piece is unique, just like a fingerprint. Even if the same product is produced again in the same way, it will not be exactly identical.
The exact same piece you are viewing now cannot be produced again.
We recommend purchasing the product you like immediately if it meets your needs.
The value of Iznik ceramics never decreases, they never go out of fashion, and they do not become outdated. They are artistic heritage pieces that can be passed down from generation to generation.
Pattern Information: Halic Motif
The Halic motif first appeared in Iznik ceramics in the 16th century. The ceramics were made in the city of Iznik, located near the Golden Horn.
The Golden Horn is generally seen as a symbol of prosperity, abundance, and good fortune.
The natural beauty and strategic location of the Golden Horn made it an important trade and commerce center during the Ottoman Empire.
The Halic motif is popular in Iznik ceramics for many reasons, including its symbolic meaning, beauty, and durability.
Sea and water: The Golden Horn is a body of water in Istanbul, and Halic motifs in Iznik ceramics symbolize the sea and water. Water is accepted as the source of life and a cleansing power. These motifs reflect the flow of water, the movement of waves, and the captivating beauty of the sea.
Symbol of Istanbul: The Golden Horn is one of the symbols of Istanbul. Halic motifs in Iznik ceramics represent the historical and cultural importance of Istanbul; these motifs emphasize Istanbul's connection with the sea and its historical past.
Decoration and aesthetics: Halic motifs are one of the decorative elements of Iznik ceramics and add aesthetic value to the ceramics. These motifs reflect the visual appeal of the ceramics and the skill of the craftsmen.
In general, Halic motifs in Iznik ceramics reflect the flow of water, the beauty of the sea, the symbolic value of Istanbul, and the aesthetic value of ceramics.
Pattern Information: Meaning of the Damascus-Style Motif
The "Damascus style" motif represents a number of things, including the beauty of nature, the abundance of life, and the power of the Ottoman Empire.
Beauty of nature: The "Damascus style" motif is usually filled with stylized flowers and other motifs inspired by nature. This may suggest that the "Damascus style" motif is a way of representing the beauty of nature.
Abundance of life: The "Damascus style" motif is usually characterized by the use of vivid colors. This may suggest that the "Damascus style" motif is a way of representing the abundance of life.
Power of the Ottoman Empire: The "Damascus style" motif was first developed during the rise of the Ottoman Empire. This may suggest that the "Damascus style" motif is a way of representing the power of the Ottoman Empire.
The "Damascus style" motif is a beautiful and distinctive type of Iznik ceramic decoration. It is a reminder of Turkey's rich history and culture and continues to be popular today.
Damascus ware is the name given to a group of ceramic vessels produced in Iznik in the mid-16th century.
This name, attributed by Western collectors because the first examples were taken to Europe from Damascus toward the end of the 19th century, was accepted without dispute for many years.
Recent research has revealed that these vessels were produced not in Damascus, but in Iznik, and that they form one of the groups that constitute the most competent examples of Iznik ceramic art. Today, these ceramics are also called "pomegranate-artichoke" because of the decorative motifs on them. Their most striking feature is that sage green, and later eggplant purple and black in the outer outlines, were added to the colors such as blue, white, and turquoise seen in Iznik ceramics from the late 15th and early 16th centuries.
In Damascus ware examples, it is also observed that the crowded composition approach of earlier periods was abandoned and the motifs were used more sparingly.
Large plants reminiscent of pomegranates or artichokes, covered with scale-like motifs, were often placed in an open, sometimes symmetrical arrangement on a background left white. In addition to these, flowers such as tulips, roses, and carnations, as well as trees and saz leaves, were also used in the decoration.
