British Museum blog

London, a world city in 20 objects: Iznik pottery basin

Iznik pottery basinVenetia Porter, British Museum

The ceramics made in Ottoman Turkey at Iznik, south-east of Istanbul, are among the highest achievements not only of Turkish potters but of ceramicists anywhere. Decorated with highly elaborate and colourful floral designs they were made for the Ottoman court. A taste for them developed in Elizabethan England, and they later inspired the English nineteenth century potter William de Morgan.

Iznik pottery basin

Iznik pottery basin

At Iznik, established as a major centre in the late fifteenth century, the potters were able to achieve great technical innovations, producing an enormous range of pottery with richly-painted designs that combined motifs such as arabesques, found in the arts of earlier periods in Turkey and elsewhere, with those inspired by imports of Chinese porcelain – the glorious blue and white vessels associated with the Yuan dynasty specially made for Middle eastern patrons. The Iznik designs evolved, new colours were introduced, delicate blues and greens, and finally red.

The design of this magnificent bowl is made up of an undulating pattern of flowers that may once have been lotuses or peonies but are now hybrids unknown to nature. They are intersected with a serrated edge leaf known as the saz. Inside, is a symmetrical arrangement of lozenges framed by pairs of delicate hyacinths, within which is another Chinese inspired design, known as a cloud band. The exuberant cocktail of designs found on Iznik pottery becomes the hallmark of Ottoman art of the sixteenth and seventeenth centuries, there were artists and designers at court supplying the patterns and these bold and beautiful designs appear on the kaftans of the sultans, on metalwork and on delicate book bindings.

Much of the impetus for this can be attributed to Sultan Suleyman, the Magnificent, (ruled 1520-1566) known as Kanuni or lawgiver on account of the beneficial changes he brought in relation to education and taxation. During his reign the Ottoman Empire reached its greatest extent covering the Middle East and North Africa and into Europe as far as Hungary until checked at the siege of Vienna in 1529. As patron of the arts, he initiated bold architectural projects that changed the character of Istanbul and other major cities of the Ottoman Empire and that were realised by the great architect Sinan (d. 1588). It was also during his reign, from about 1550, that the potteries began to produce the glorious tiles that were to adorn the facades and interiors of Ottoman buildings.

An inventory of the Ottoman treasury mentions ‘foot basins’; could this mean that the sultan and his family washed their feet in bowls such as these? It is not difficult to imagine when strolling through the exquisite gardens of Topkapi palace, entering that gilded world, and glimpsing the opulent objects with which the sultans clearly surrounded themselves.

This was first published in the London Evening Standard on 3 January 2013.

The Iznik pottery basin is on display in Room 34: The Islamic world

If you would like to leave a comment click on the title

Filed under: Collection, London: a world city in 20 objects,

2 Responses - Comments are closed.

  1. Gorgeous! I wish I had bowls as beautiful as these. Someone should really fashion a pattern out of this design.


  2. wsforchrist says:

    What a great post! So descriptive and well written!


Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,491 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

#todayimet goddess of love, Aphrodite. In this statue the voluptuous Aphrodite crouches down at her bath and turns her head sharply to her right, as if surprised by her audience. This Roman copy from the 2nd century AD is based on an original sculpture from Hellenistic Greece. This statue is lent to the British Museum by Her Majesty the Queen.
You can fall for the goddess of love in Room 23, one of our Greek and Roman sculpture galleries.
We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum #WWIM12 For @instagram's 5th birthday we’re sharing portraits of some of the characters you can find in the British Museum.
#todayimet this Ming Dynasty figure, who helped judge people in the underworld! The belief in Hell entered China with Buddhism during the early 1st millennium AD. This figure of a judge’s assistant is holding records of evil deeds under his left arm. Meet this fearsome figure (if you dare!) in our Asia gallery (Room 33) #WWIM12 We’re celebrating @instagram's 5th birthday by sharing portraits of some of the characters you can find in the Museum.
#todayimet Ramesses II, who ruled Egypt for 67 years over 3,000 years ago. This colossal statue is one of the largest pieces of Egyptian sculpture in the British Museum. Like all Egyptian statues, it was originally painted. Traces of pigment remain: black for the eye pupils, red for the skin, and blue and yellow for the stripes on the headcloth.
Meet the pharaoh for yourself in our Egyptian Sculpture Gallery (Room 4) #WWIM12 Our #Celts exhibition opens today! It brings together the incredible Iron Age, Roman and early medieval collections of the British Museum and @nationalmuseumsscotland.
Roman control of southern Britain broke down around AD 410. New leaders established Anglo-Saxon kingdoms in England, and Roman towns and cities were largely abandoned. Neighbouring communities in Scotland, Ireland and Wales continued to develop their own unique identities. Monasteries in these areas stood out as European centres of art, learning and literacy, perpetuating and reinventing local traditions. Communities here spoke languages that we now call Celtic, and practiced a distinctive form of Christianity.
Striking stone crosses, such as this one found in Monifieth, Scotland, combined ancient Celtic curves with Anglo-Saxon knotwork and interlace designs to express these distinctive Celtic identities in Scotland, Ireland and Wales. This sculpture may have been a personal memorial or grave-slab.
Slab of grey sandstone with a cross on one side. From Monifieth, Angus, Scotland, c. AD 800–900. National Museums Scotland.
Find out more about #Celtic art and history and book tickets at Our #Celts exhibition opens today! It brings together stunning objects from the British and Irish Isles as well spectacular loans from across Europe.
This magnificent cauldron is one of the most important and intriguing finds from ancient Europe. It reveals connections between communities thousands of miles apart. Although it depicts objects used in central and western Europe,
it was found in a bog near Gundestrup in Denmark, beyond the northern edge of the Celtic regions. The style of the designs suggests that it was made further east, in Bulgaria or Romania. The strange animals and cross-legged pose of
the antlered figure hint at even wider influences, from as far afield as Asia. The scenes on the panels give a glimpse into a world of ancient myths, and the stories of gods and heroes whose names are now lost.
The Gundestrup cauldron was probably reserved for important rituals. It is likely that most people would have viewed it from a distance, seeing only the forbidding faces of gods and goddesses on the outer panels. The fantastical scenes on the inside would have been revealed to those allowed to experience the cauldron close up.
Gundestrup cauldron. Iron Age, c. 100 BC–AD 1. Found in Gundestrup, northern Jutland, Denmark. @nationalmuseet, #Denmark.
Find out more about #Celtic art and history and book tickets at Our major new #Celts exhibition is now open! Come on a 2,500-year journey tracing what it means to be Celtic...
The peoples first referred to as Celts lived across much of Europe north of the Alps, in villages or fortified hilltop settlements. Although not a single distinct group, they were interconnected, sharing cultural ideas across the continent. The objects they made for feasting, religious ceremonies, adornment and warfare were both stunning works of art and powerful ways to convey shared values and beliefs. Their unique abstract style set them apart from the classical world, but their technological accomplishments stand on par with the finest achievements of the ancient Greeks and Romans.
2,000 years ago valuable objects like this were cast into rivers. This magnificent shield was found in the River Thames at Battersea Bridge. It was not made for serious warfare as it is too short to provide sensible protection. Instead, it was probably made for flamboyant display. The highly polished bronze and glinting red glass would have made for a great spectacle.
The Battersea shield. Iron Age, c. 350–50 BC. Found in the River Thames, London, England.
Find out more about #Celtic art and history and book tickets at

Get every new post delivered to your Inbox.

Join 14,491 other followers

%d bloggers like this: