Lusterware Pottery

One of the most important groups of clay pottery in the Middle Islamic period which have been made with new techniques painting on glaze is well-known luster ware pottery. According to the archeological studies have shown that the potteries have been produced on the distance to the Early to Late Islamic period, but the heyday of these pottery is 12 – 14AD. About the Middle Islamic of luster ware in Iran has published many studies, but done mostly by Western scholars. While in recent years in parts of Iran, archaeological excavations carried out in which the evidence was obtained that luster ware pottery production during the centuries. Unfortunately, due to the limit publisher our data from this excavation is very slight, although these low evidence are also of particular importance. Thus the aim of this study is based on this fact which we review the history of luster ware with special emphasis on medieval Islamic of Iran, to discuss its pottery production centers.

This essay is on pottery as art and archaeology and the role of touch and how we view pottery as artists, archaeologists and as viewers in the gallery or museum. To make pottery, the potter needs to touch and shape clay by hand. The potter uses fire to set those shapes and decoration for all time. People who use pottery touch the object in different ways depending on its purpose. The archaeologists who recover pottery from their sites, touch pottery to recover, conserve and interpret finds. The pottery on display in museums or art galleries moves against the very nature of pottery as storage vessels, serving dishes or cooking vessels and usually cannot be touched.

Geleneksel Türk seramiğinde kullanılan teknikler, fritli çamur, sıraltı fırça dekoru, renkli astar (slip) ile sıraltı fırça dekoru, şeffaf turkuaz sır altı siyah renk bezeme (silüet bezeme), barbutin, kalıp baskı, sgraffito (astar kazıma), champleve, akıtma, renkli sır, sır kazıma (sahte mozaik), mozaik, cuerda seca, lakabi, sırlı tuğla, kakma çiniler (bacini), ajur, sırla kapatılmış ajur, minai, lakvardina, altınlama, çömlek, porselen, lüster başlıklarıyla aktarılmıştır. Bu çalışmada Türk çini sanatında kullanılan tekniklerin günümüz uygulanma durumu kısaca aktarılarak, bu teknikleri kullanmayı tercih eden sanatçıların ürünlerinden gerekli görülen örnekler, yorumlar aktarılacaktır. Lüster tekniğinin günümüz uygulamalarının, Geleneksel Türk sanatları alanında bazı akademisyenler tarafından Çini alanı dışında olarak değerlendirilebildiği görülmüştür. Bu nedenle Türk çini sanatı tekniklerinden lüster, ayrıca detaylı olarak ele alınmıştır.

In this study, the current practices of the techniques used in traditional Turkish ceramic art is briefly explained, the artists who prefer to use these techniques will be stated with necessary examples and interpretations. Techniques discussed: fritware, underglaze decoration by brush: with readymade colours, slip (angobe), black colour under turquoise glaze (known as siluette ware). Barbotine, moulded relief designs. Sgraffito: slip, underglaze colours, champleve, deep carving with flowing glaze, glaze (imitation mosaic). Coloured glazes, mosaic, cuerda seca, glazed brick, openwork, glaze filled open work, potteries, porcelain, gilding, minai, luster.  It has been observed that today's practices of the Luster technique can be evaluated as outside the traditional Turkish ceramic area by some academics in the field of Traditional Turkish Arts. For this reason, luster which is one of the techniques of traditional Turkish ceramic art will be discussed in detail.

The scope of the "cini" field of the Faculty of Fine Arts, Traditional Turkish Arts Department should be valued as traditional Turkish ceramics, unlike the meanings of the word "cini" used in today's Turkey Turkish. Like today's plastic, technological and all similar goods, the forms used in the past and exhibited in museums today were produced to facilitate human life. The forms , such as plates, beekeeping, architectural structures and decoration elements that are needed in daily life including public and palace of The Turkish States ruled by Turks and symbolized with the 16 stars on the Presidential Seal of Turkey, were produced with in the same possibilities and technical knowledge of that time. Regardless of the material, all of these products are the material elements of the culture. In addition to those produced in the Turkish States, fired clay forms that were produced by other States, primarily to order, but needed, liked and used by the Turks, should also be evaluated in the field of "cini" in Faculty of Fine Arts, Department of Traditional Turkish Arts. In order for students to design and produce the right product and to conserve the past product accurately, they should be able to consider and evaluate Turkish culture as a whole, without distinguishing between ceramic, porcelain, cini, and fritware. In this study, with this point of view, the production techniques that can be used in creating a "cini" ground work are conveyed with examples.

Luster (or lustre) decoration was used at least as early as the ninth century by Persian and Syrian potters on fritware, and, by the fifteenth century, was incorporated into Iberian and Italian ceramic technology. The technique was revived in the eighteenth century by German and French porcelain manufactories and adopted by English potters in the early nineteenth century. By 1808 American newspapers along the Eastern seaboard offered consumers lusterware tea and coffee set—“pots separate”—and numerous other forms. This article briefly traces the history of silver lusterware, and examines some of the evidence above and below ground for this often-overlooked material in early nineteenth-century America.

This paper examines three categories of fifteenth and sixteenth-century ceramics that employed illusory techniques to impress, surprise, and even deceive viewers in the context of dining in Spain, Italy, and France. The first category of lusterware provided an inexpensive means of replicating the visual effects of silver and gold dishware, while also incorporating legible representations of narratives. In the second category, Medici patrons sought to emulate Chinese porcelain and Iznik pottery through the commissioning and display of maiolica “alla porcellana” and soft-paste porcelain in order to demonstrate understanding of refined materials and comprehensive collecting practices. The final category of Bernard Palissy’s rustic ware, decorated with a variety of species including lizards and snakes, suited contemporary enthusiasm for the study of the natural world, as well as the creation and use of grottoes as dining spaces. This paper focuses on the messages of wealth and knowledge that these ceramics conveyed to diners.

En este artículo se dió a conocer por primera vez que en Calatrava la Vieja (Ciudad Real), en el centro de la Península Ibérica y en la zona de Alto Guadiana, durante los 17 años de dominio almohade (1195-1212), hubo una produción propia de cerámica de reflejo dorado. La constatación de este tipo de cerámca de lujo, de la que las fuentes escritas no habían dado ninguna noticia, se deriva de los análisis físicos de "lámina delgada" realizados en varias muestras cerámicas procedentes de este yacimiento andalusí y de otros peninsulares de la misma cronología almohades.

ENGLISH ABSTRACT
In the middle of the 11th century, the renowned monastery of Nea Moni was founded by the Byzantine Emperor Constantine IX Monomachos in the central part of the island of Chios in the Aegean Sea. During the same period (between 1043 and 1049), a large cistern was built to serve the needs of the monastic community in water. In the 15th century, when the island was ruled by the Genoese maona, imported Spanish vases were used to an extensive repair of the roof of the building. The majority of the vases belong to a type of large amphora and secondly, to a type of pithoi. The vessels originate from the region of Valencia and witness the flourishing trade between Chios and Spain.
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RESUMEN ESPAÑOL
A mediados del siglo XI, el emperador bizantino Constantino IX Monomachos fundó el célebre monasterio de Nea Moni en la zona central de la isla de Quíos, en el Egeo. Durante este mismo período (entre 1043 y 1049) se construyó una gran cisterna para abastecer de agua a la comunidad monástica. En el siglo XV, cuando la isla se encontraba bajo el gobierno de una maona genovesa, cerámica española de importación fue utilizada en una reparación a gran escala del techo del edificio. La mayoría de las piezas utilizadas corresponde a una tipología de ánfora de gran capacidad y la segunda en importancia, a un tipo de pithos. Estas vasijas proceden de la zona de Valencia y dan prueba del floreciente comercio entre Chios y España.