Lajvardina Tiles and Ceramics Bringing Together Far and Near Eastern Cultures

Sevcan Ölçer

Makale detayları

Lajvardina Tiles and Ceramics Bringing Together Far and Near Eastern Cultures

Yazarlar:

Sevcan Ölçer

Yayıncı:

Ege University

Ana Başlıklar:

İslam Sanatları | Sanat Tarihi

Dergi:

Sanat Tarihi Dergisi Vol.33 Issue 2, pp.861-891

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001337670

pISSN:

1300-5707

Anahtar kelimeler:

Özet:

 Ceramic artifacts, which have been produced in various techniques and types since the Neolithic period, have been influenced in many different ways such as the geographical borders, political and social life, technological inventions, economic prosperity, commercial activities and gifts of the age and region in which they are located while adhering to ancient traditions. Ceramics, which are divided into various groups according to their techniques, production centers and periods, have attracted the attention of researchers and have been studied many times under different headings such as unglazed, monochrome glazed, underglaze, overglaze, luster, embossed, lakabi and minai. Among these studies, the Lajvardina technique is one of the most important ceramic groups that has not yet been comprehensively analyzed. Tiles and ceramics in the Lajvardina technique are earthenware works with geometric and vegetal decorations, separated by a dark blue glaze, decorated with overglaze red, white, black paints and gold leaf. The Lajvardina technique is an overglaze technique used by the Iranian Seljuks between the end of the 12th century and the end of the 13th century, and was produced during the Ilkhanate period following the Mongol invasion of Iran in 1219. Lajvardina tiles and ceramics, which have not been evaluated on their own with their technical aspects and important examples until now, have a very important place in Islamic ceramic art and are one of the qualified and privileged ceramic decoration techniques that should be examined. In this study, a detailed research has been conducted on the Lajvardina technique, which has been researched in different disciplines such as archaeology, art history and archaeometry, and on the production and technical characteristics of Lajvardina tiles and ceramics, their usage areas and the geography of their spread. Based on historical sources, archaeological data and various visuals, the lajvardina technique and lajvardina tiles and ceramics are analyzed in a historical and analytical manner by evaluating them together with new archaeological data in the light of artifacts in museums and collections. The Mongols, who invaded Iranian cities in 1220, 1231 and 1258, also dominated the Iranian decorative arts with Uighur-based illuminators. There was stagnation in various branches of art in these regions until the end of the 13th century, but with the declaration of Tabriz as the capital of the Ilkhanid State 1256-1335 founded by Hûlâgû, new developments in tile and ceramic art were experienced in Iran. Although ceramic production, especially in Kashan, was temporarily halted in the mid-13th century, many of the new styles and techniques established during the Seljuk period were continued and developed with new insights during the Ilkhanid period. The lajvardina ceramics, which occupy a privileged place in the Iranian ceramic repertoire, provide important data in terms of reflecting the cultural level of their makers, the manufacturing environment and their purchasers. The cultural picture of urban life in this period was defined by artists, architects and craftsmen from the surrounding area. Lajvardina tiles and ceramics, representing a special group, are important as documents of gift-giving or exchange through social, political and cultural interaction. It is evident that there were urban merchant classes with an experienced ceramic tradition that ensured the distribution of Lajvardina ceramics. In addition, the migration of Iranian masters to China or other countries for various reasons, the trade in ceramics between countries, and the interaction between producers and consumers led to stylistic changes over time.

 Ceramic artifacts, which have been produced in various techniques and types since the Neolithic period, have been influenced in many different ways such as the geographical borders, political and social life, technological inventions, economic prosperity, commercial activities and gifts of the age and region in which they are located while adhering to ancient traditions. Ceramics, which are divided into various groups according to their techniques, production centers and periods, have attracted the attention of researchers and have been studied many times under different headings such as unglazed, monochrome glazed, underglaze, overglaze, luster, embossed, lakabi and minai. Among these studies, the Lajvardina technique is one of the most important ceramic groups that has not yet been comprehensively analyzed. Tiles and ceramics in the Lajvardina technique are earthenware works with geometric and vegetal decorations, separated by a dark blue glaze, decorated with overglaze red, white, black paints and gold leaf. The Lajvardina technique is an overglaze technique used by the Iranian Seljuks between the end of the 12th century and the end of the 13th century, and was produced during the Ilkhanate period following the Mongol invasion of Iran in 1219. Lajvardina tiles and ceramics, which have not been evaluated on their own with their technical aspects and important examples until now, have a very important place in Islamic ceramic art and are one of the qualified and privileged ceramic decoration techniques that should be examined. In this study, a detailed research has been conducted on the Lajvardina technique, which has been researched in different disciplines such as archaeology, art history and archaeometry, and on the production and technical characteristics of Lajvardina tiles and ceramics, their usage areas and the geography of their spread. Based on historical sources, archaeological data and various visuals, the lajvardina technique and lajvardina tiles and ceramics are analyzed in a historical and analytical manner by evaluating them together with new archaeological data in the light of artifacts in museums and collections. The Mongols, who invaded Iranian cities in 1220, 1231 and 1258, also dominated the Iranian decorative arts with Uighur-based illuminators. There was stagnation in various branches of art in these regions until the end of the 13th century, but with the declaration of Tabriz as the capital of the Ilkhanid State 1256-1335 founded by Hûlâgû, new developments in tile and ceramic art were experienced in Iran. Although ceramic production, especially in Kashan, was temporarily halted in the mid-13th century, many of the new styles and techniques established during the Seljuk period were continued and developed with new insights during the Ilkhanid period. The lajvardina ceramics, which occupy a privileged place in the Iranian ceramic repertoire, provide important data in terms of reflecting the cultural level of their makers, the manufacturing environment and their purchasers. The cultural picture of urban life in this period was defined by artists, architects and craftsmen from the surrounding area. Lajvardina tiles and ceramics, representing a special group, are important as documents of gift-giving or exchange through social, political and cultural interaction. It is evident that there were urban merchant classes with an experienced ceramic tradition that ensured the distribution of Lajvardina ceramics. In addition, the migration of Iranian masters to China or other countries for various reasons, the trade in ceramics between countries, and the interaction between producers and consumers led to stylistic changes over time.

 Ceramic artifacts, which have been produced in various techniques and types since the Neolithic period, have been influenced in many different ways such as the geographical borders, political and social life, technological inventions, economic prosperity, commercial activities and gifts of the age and region in which they are located while adhering to ancient traditions. Ceramics, which are divided into various groups according to their techniques, production centers and periods, have attracted the attention of researchers and have been studied many times under different headings such as unglazed, monochrome glazed, underglaze, overglaze, luster, embossed, lakabi and minai. Among these studies, the Lajvardina technique is one of the most important ceramic groups that has not yet been comprehensively analyzed. Tiles and ceramics in the Lajvardina technique are earthenware works with geometric and vegetal decorations, separated by a dark blue glaze, decorated with overglaze red, white, black paints and gold leaf. The Lajvardina technique is an overglaze technique used by the Iranian Seljuks between the end of the 12th century and the end of the 13th century, and was produced during the Ilkhanate period following the Mongol invasion of Iran in 1219. Lajvardina tiles and ceramics, which have not been evaluated on their own with their technical aspects and important examples until now, have a very important place in Islamic ceramic art and are one of the qualified and privileged ceramic decoration techniques that should be examined. In this study, a detailed research has been conducted on the Lajvardina technique, which has been researched in different disciplines such as archaeology, art history and archaeometry, and on the production and technical characteristics of Lajvardina tiles and ceramics, their usage areas and the geography of their spread. Based on historical sources, archaeological data and various visuals, the lajvardina technique and lajvardina tiles and ceramics are analyzed in a historical and analytical manner by evaluating them together with new archaeological data in the light of artifacts in museums and collections. The Mongols, who invaded Iranian cities in 1220, 1231 and 1258, also dominated the Iranian decorative arts with Uighur-based illuminators. There was stagnation in various branches of art in these regions until the end of the 13th century, but with the declaration of Tabriz as the capital of the Ilkhanid State 1256-1335 founded by Hûlâgû, new developments in tile and ceramic art were experienced in Iran. Although ceramic production, especially in Kashan, was temporarily halted in the mid-13th century, many of the new styles and techniques established during the Seljuk period were continued and developed with new insights during the Ilkhanid period. The lajvardina ceramics, which occupy a privileged place in the Iranian ceramic repertoire, provide important data in terms of reflecting the cultural level of their makers, the manufacturing environment and their purchasers. The cultural picture of urban life in this period was defined by artists, architects and craftsmen from the surrounding area. Lajvardina tiles and ceramics, representing a special group, are important as documents of gift-giving or exchange through social, political and cultural interaction. It is evident that there were urban merchant classes with an experienced ceramic tradition that ensured the distribution of Lajvardina ceramics. In addition, the migration of Iranian masters to China or other countries for various reasons, the trade in ceramics between countries, and the interaction between producers and consumers led to stylistic changes over time.

 Neolitik dönemden beri çeşitli tekniklerde ve türde üretilen seramik eserler, eski geleneklere bağlı kalarak bulundukları çağın ve bölgenin coğrafi sınırları, siyasi ve sosyal yaşamı, teknolojik buluşları, ekonomik refahı, ticari eylemleri ve hediyeleşmeler gibi pek çok farklı yoldan etkilenmişlerdir. Tekniklerine, üretim merkezlerine ve dönemlerine göre çeşitli gruplara ayrılan seramikler çoğunlukla araştırmacıların ilgisini çekmiş; sırsız, tek renk sırlı, sıraltı, sırüstü, lüster, kabartmalı, lakabi ve minai gibi farklı başlıklar altında pek çok kez incelenmiştir. Bunlar hamur yapısı, astar ve sırlama, üretim tekniği, bezeme üslupları ve benzeri başlıklar altında çeşitli dönemler ve bölgeler içinde sınırlandırılmış, bazen karşılaştırmalı bazen de oldukça geniş bir perspektiften değerlendirilmiştir. Ancak Lajvardina tekniği ve bu teknikte üretilen seramik ve çiniler henüz kapsamlı olarak ele alınmamıştır. Şuana kadar teknik yönleriyle ve önemli örnekleriyle başlı başına değerlendirilmeyen bu eserler, İslam seramik sanatı içinde oldukça önemli bir yere sahip, irdelenmesi gereken son derece nitelikli eserlerdir. Lajvardina tekniği İranda 12. yüzyıl sonlarından 13. yüzyıl sonlarına kadar Selçuklular tarafından kullanılan, 1219da İranın Moğol istilasını takiben İlhanlı hükümdarlığı boyunca üretilen bir sırüstü tekniğidir. Lajvardina tekniğinde çini ve seramikler, lacivertkoyu mavi renkte sırla karakterize edilen, sırüstü kırmızı, beyaz, siyah boyalar ve altın varakla süslenen, geometrik ve bitkisel bezemeli pişmiş toprak eserlerdir. Bu çalışmada arkeloji, sanat tarihi ve arkeometri gibi farklı bilim dallarında araştırılan lajvardina tekniği ile lajvardina çini ve seramiklerin üretim ve teknik özellikleri, kullanım alanları ve yayıldığı coğrafya üzerinde ayrıntılı bir araştırma yapılmıştır. Tarihi kaynaklara, arkeolojik verilere ve çeşitli görsellere dayanarak ele alınan lajvardina tekniği ile lajvardina çini ve seramikler, müze ve koleksiyonlardaki eserler ışığında yeni arkeolojik verilerle birlikte değerlendirilerek tarihsel ve analitik bir şekilde incelenmiştir.

Makale detayları

Lajvardina Tiles and Ceramics Bringing Together Far and Near Eastern Cultures

Yazarlar:

Sevcan Ölçer

Yayıncı:

Ege University

Ana Başlıklar:

İslam Sanatları | Sanat Tarihi

Dergi:

Sanat Tarihi Dergisi Vol.33 Issue 2, pp.861-891

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001337670

pISSN:

1300-5707

Lajvardina

Tile

Ceramic

Ilkhanid

Mongolian

Chinese

InteractionLajvardina

Çini

Seramik

İlhanlı

Moğol

Çin

Etkileşim

Sayı

Makale detayları

Yazarlar: Sevcan Ölçer

Yayıncı: Ege University

Ana Başlıklar: İslam Sanatları | Sanat Tarihi

Dergi: Sanat Tarihi Dergisi Vol.33 Issue 2, pp.861-891

Belge Tipi: Makale

Yayın Tarihi: 12/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001337670

pISSN: 1300-5707

Sayı

Yazarlar:

Sevcan Ölçer

Yayıncı:

Ege University

Ana Başlıklar:

İslam Sanatları | Sanat Tarihi

Dergi:

Sanat Tarihi Dergisi Vol.33 Issue 2, pp.861-891

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001337670

pISSN:

1300-5707