Slip Painted Iznik Ceramics

Nurşen Özkul Fındık

AbstractThe use of slip for the purpose of both covering the surface of the vessel and using it for decoration has been known to us from different cultures and period. This essay examines a group of locally manufactured Byzantine slip-painted ceramics discovered during the excavations of the Roman theatre at Iznik (Nicea). These slip-painted wares, which are dated between the end of the eleventh and thirteenth centuries AD, are predominantly oxide yellow, green and light-yellow glazed. It is pointed out here that this particular ware made of reddish hard clay with inclusions represents a distinctive pottery group locally manufactured at Iznik.

Özet

Astar Boyalı (Slip) İznik SeramikleriAstarın kap yüzeyinde hem örtücü (kapatıcı) hem de bezeme amaçlı olmak üzere iki yönlü kullanımı çeşitli dönemlerde, farklı kültürlerde karşımıza çıkan bir uygulamadır. Bu çalışmada İznik Roma Tiyatrosu kazısında ele geçen bir grup İznik üretimi Bizans astar boyalı seramikler tanıtılmaktadır. 11. yüzyıl sonu – 13. yüzyıl arasına tarihlenen astar boyalı seramikler yaygın olarak hardal sarı, yeşil, açık sarı sırlıdır. Kırmızı hamur, sert, sık dokulu olup, yarı mamül, bisküvit pişirimi yapılmış küçük parçaların da aynı alanda bulunması, kendine özgü bezeme dünyasına sahip bu seramik grubunun İznik üretimi olduğuna işaret etmektedir.

Slip painted examples of the Iznik ceramic industry will be presented in this study. Slip painted Ottoman ceramics have been presented elsewhere, therefore this paper will focus on Byzantine examples only1. A dual function of slip as coating and decoration of vessel surfaces emerged in earlier times and indicates that slipping is one of the oldest and sig-nificantly decorative techniques of pottery production. Slips are simply applied with their own original color or with the addition of various kinds of colorant materials�. Compatibil-

1 For Ottoman slip painted pottery see: Özkul Fındık �001, 30-35. �64-�74. 375-383. � Metal oxides are used in the coloring of the slips. Ferric oxide (Fe�O3) and copper oxide (CuO) are usually used

to obtain red and green glazes. The crucial points are the determination of appropriate clay, adding of colorants

B. Böhlendorf-Arslan, A. O. Uysal, J. Witte-Orr (ed.), Çanak, BYZAS 7 (2007) X-X

Nurşen Özkul Fındık2

Fig. 1 Brownish yellow and green glazed, slip painted wares.

Slip Painted Iznik Ceramics �

ity of slip and fabric ensures a superior integration with the surface and improves comple-tion of the expansion process related to paste and glaze.

Slip (engobe in French) is defined as a colored/colorless fluid clay suspension or mixed solution of raw materials like fine clay, kaolin and quartz3.

The coating function of a slip is closely connected to the creation of lightly colored smooth surfaces, which are achieved by hiding fabric color and filling holes. Slipped surfaces pro-vide improved grounds for the application of paints or glazes. A wide range of decorations and ornamentations is easily accomplished on these improved grounds. The coating func-tion of the slip is mainly observed on ceramics with red or white fabric color. Interiors are fully slipped, but exteriors exhibit a different practice. Examples slipped up to the begin-ning of their bases are known besides others with slips only on their rims and more/less than half of their exterior surfaces.

Furthermore, there are examples which have a colored slip functioning as a coating ele-ment; others show a completely different use of the slip as direct paint. Slip is employed on the surfaces by brushing or pouring. Slip colors are one of the determinants of glaze colors. A contrast between the dark fabric and light slip is supported by the application of glazes.

Motifs are generally worked with free brush technique. The slip paint technique has its own motifs and composition characteristics like other decorative methods.

The slipping method, employed to make dark fabrics lighter and to decorate surfaces, came into use in the third century BC4. In the Middle Age slip was actually used as a car-rier for the glaze.

Slipping of the interiors to achieve smooth and lightly colored surfaces appeared within the 10th century in the Islamic world5. The introduction of incision and deep carving took place within the same time period.

Coating and decorative functions of slip continued during the Seljuq period in Anatolia. Seljuq slip painted ceramics developed in a different style from the Islamic wares. The

in proper amounts and arrangement of the firing degree according to each color. For details see Wensley 1989, 169-170.

3 Ökse 1993, �5; Doğer 1998, 179. 4 Red slipped wares were widely used during the Roman period. Terra Sigillata wares expanded over a wide geo-

graphical area during the Early and Late Roman periods (Keskin �00�, �68). They disappeared slowly with the collapse of the Roman Empire and were replaced by glazed wares from the Eastern Mediterranean. Glaze is known since earlier times but it dispersed in these periods.

5 Considering the absence of glazed ceramics before the Samanid period in eastern Iran, Wilkinson and Grube as-sert that underglaze slips emerged in the 10th century. Moreover, Chinese ceramics began to appear in the Near East in the 8th century; ceramic and porcelain imports from China began in the 9th century and Islamic potters coated yellowish red fabrics with white slips in order to imitate the white kaolin fabric of porcelain (Wilkinson 1973, 54; Grube 1976, 9�). The colors are clearly seen through the transparent glaze (Wilkinson 1973, 159-160).

Diversity in slip painted wares, especially known from Iran during the 10th and 11th centuries, did not continue during later times in Islamic art. Black on white wares, yellow stained black wares, polychrome on white wares, wares with a colored ground slip and slip wares imitating luster are all classified as slip painted ceramics. For details see Grube 1976, 9�-101; Grube 1994, 63-67. 76-91; Fehervari �000, 5�-64.

Nurşen Özkul Fındık�

diversity of Islamic ceramics is not found among them. Interiors are decorated by various methods (incision, deep carving and slip painting) but only slip paint is applied to the ex-teriors as on Byzantine examples. The best example is a bowl fragment from Hasankeyf. Its light cream slipped interior has a deeply carved decoration and the green glazed exterior is decorated in slip painting with a calligraphic design6. While interior surfaces of Korucute-pe bowls have incised and deep carved decorations, the exterior surfaces are usually plain or slip painted7. These examples are decorated with geometric and floral motifs and dated to 13th – 14th centuries. Kubadabad slip painted ceramics were recovered in the Small Pal-ace, and are mentioned in publications together with other kinds of decorated ceramics8. Twelve vessels from the Yozgat Archaeology and Ethnography Museum were published by Hakkı Acun. These vessels came from Osmanpaşa, located 38 km south of Yozgat, one of the important Seljuq settlements in Anatolia9. They were found within a double handled cauldron during a foundation excavation. Acun analyzed and published seven of them fol-lowing their arrival at the museum. The interiors are incised and deeply carved, but the exteriors are slip painted. Green or yellow slips are applied on both surfaces. Calligraphic imitations, drop, circle, bird and tree of life motifs are observed on the interiors. Writing, zigzag lines, small circles, vertical and circular lines, and spots are found on exterior sur-faces. These vessels are dated between the middle of the 13th and the beginning of the 14th century according to their contexts, forms, motifs and technical characteristics10.

Slip paint in Ottoman ceramics is similar to the Seljuq tradition during its earlier period. Ottoman slip paint is observed on red and white fabrics in various styles. Early, classical and late styles have been recognized in Ottoman slip painted pottery:

The first group of Ottoman slip painted wares recovered from Iznik consists of those with red colored fabrics. The interiors are fully slip painted but the exteriors have partial slip paint, usually coating half of the surface. Brownish yellow, green and turquoise glazes

6 Arık �003, �47.7 Bakırer 1980, ��18 Arık �000, �44. Öney and Bulut refer to the existence of slip painted ceramics at Samsat: Öney 1976, 1�3; Öney

�00�, 378; Bulut �000, 9.9 Acun 1995, 110 Acun 1995, 6.

Fig. � Green colour on the slip painted wares.

Slip Painted Iznik Ceramics �

are applied over the slip paint. Big leaves, twisted branches, floral rosettes and palmettes are observed on the interior surfaces. A fairly large number of glazed and unglazed slip painted ceramics has been recovered during the Iznik excavations. These ceramics are classified and analyzed as 14th – 15th century, early Ottoman examples. Application of slip painting re-appeared after the first half of the 16th century.

With some alterations, slip painting was used in the decoration of white colored fabrics during this period. Slip was used both for coating and painting in these examples11.

Marble ware found in the Corinth and Ganos excavations could be recognized as one of the variations of Late Ottoman slip painted wares. Similar examples were also found in the excavations of Saraçhane and Eyüp. The ceramics found during the Tekfur Sarayı excava-tions and the Saliha Sultan Çeşmesi surveys have red fabric colors. Glazed and unglazed examples are found together and Eyüp is known as their production center. These wares date to the 19th century. Brown, red, green and black slip paintings are directly applied on the red fabric or cream slip. Combined application of glazes creates a marble-like effect. Monochrome or bichrome slip painting are applied irregularly1�. Ganos examples show a combination of colored slips and are dated to the 19th century. Similar marble wares are widely found in Greece and Italy.

11 Özkul Fındık �001, 30-35. �64. �74; Özkul Fındık �00�, 375-383.1� Barışta 1998, 70-�1; Yenişehirlioğlu 1996, 535-566; Özkul Fındık �001, 38�-383.

Fig. 3 Light yellow glazed slip painted wares.

Nurşen Özkul Fındık�

Very few tiles were manufactured in the slip technique, an example is a hexagonal tile from the Sultan Ahmet Mausoleum. Spotted tulips, small flowers and motifs are applied on a red ground with white slip paint as on ceramic examples13.

As with Islamic ceramics, the emergence of the slip coatings of the Byzantine period co-incides with the appearance of incised, deeply carved and monochrome-glazed ceramics. Earliest slip painted examples began to appear at the end of the 11th century14. Slip paint-ed ceramics are known from sites such as Bergama, Istanbul, Ganos, Kuşadası, Izmir and Çanakkale in Anatolia15. Another important site yielding Byzantine slip painted ceramics is Iznik. Slip painted ceramic fragments, which could be dated to between the end of the 11th and the 13th century, were found during the excavations of the Roman Theatre at Iznik16.

13 Two similar pieces in the Istanbul Archaeological Museum were published by Yetkin (Yetkin 1987, �3-�6). 14 Morgan classifies Corinthian slip painted wares into five groups. Earliest examples appeared together with 11th

century green-brown painted ceramics. According to him, the latest examples began in the 13th century and continued until the 14th century (Morgan 194�, 10�).

15 Slip painting is used on the exteriors of closed and the interiors of open shapes. Slip painting was also observed on the exteriors of open shapes. These are analyzed as local products in Pergamon (Spieser 1996, 17. 47). Few examples were recovered from the Byzantine Great Palace excavation in Istanbul, and are dated to the 11th – 1�th centuries according to a thick white slip painted fragment (Stevenson 1947, 50-51 pls. 1�-�5). Early Byz-antine and late Ottoman slip painting examples were found at Ganos (Armstrong – Günsenin 1996, 181). Seven-teen vessels found underwater, now in the Izmir Archaeology Museum, are dated to the end of the 1�th century and the 13th century (Doğer 1998). Slip painted ceramics found in Çanakkale are dated to the 19th century, while those from Beşiktepe date to the end of the 1�th or the 13th century (Böhlendorf-Arslan �00�, �6).

16 Yalman 1988, 53-97. The Iznik Theater excavations have been carried out under the direction of Dr. Bedri Yal-man since 1980. The theater was constructed in the 3rd century BC. It was used as a burial ground in later times and has a small Byzantine church within its cavea.

Fig. 4 Incised slip painted wares.

Slip Painted Iznik Ceramics 7

A base fragment dated to the end of the 11th and the beginning of the 1�th century, accord-ing to Morgan’s classification, is decorated with large dots and has a sparsely tempered compact A10 fabric (fig. 5). Determination of glaze color was not possible. Later fragments, dated to the 1�th and 13th centuries, have sparsely tempered hard and compact fabrics with few voids. Fabric colors range in the red tones of D11, C9, F10 and E11, and there are grayish tones in the fab-rics besides well-fired examples. Generally, mus-tard, green and light yellow colored glazes deco-rate the vessels. Matte and protuberant glazed vessels are found besides shiny and slippery glazed vessels. Most of the exteriors are glazed up to the base. Tripod traces are observed on all of the base fragments. Base fragments, rim and body sherds of open and closed forms like dishes, bowls, deep bowls and jugs are found in the ceramic assemblage. Motifs are gener-ally geometric and consist of concentric circles, dots inside or outside the circles, and wavy lines inside the circles. Motifs are applied in a free brush method.

New motifs and compositions appeared in the Byzantine ceramic decoration with the spread-ing of the incision technique. Circles of incised decoration dots of slip painting were integrated into the new techniques. Spirals gained impor-tance in the ornamentation during this period. An impression of luster has been achieved in one of the groups by the application of a metal-lic yellow glaze over the thin slip paint (fig. 3-4). Slip painting and incisions are combined in the decoration of these fragments. Incised interiors and slip painted-incised exteriors are found in this group together with fragments that have in-cisions and slip paint on both surfaces (fig. 4).

Red fabrics of tones E9 and E10 have similar characteristics to other fragments. All of the fragments have a light yellow glaze, which can be shiny, slippery, or protuberant and is in some cases corroded. Small circle series, spot series, spirals and chevrons are the main mo-tifs observed in this group. Unlike the other groups, slip paint is not thickly applied on the surfaces. It could be said that this group has carefully applied thin paint and decoration.

Fig. 5

Fig. 6

Nurşen Özkul Fındık�

Feet are everted and despite their small di-ameters they have high pedestals. Applica-tion of a mustard glaze, concentric circles, tripod traces, everted ring pedestals and a high standard of production provide some similarities with the B1 group of Megaw’s Zeuxippus ceramics17.

The interior surface of a bowl rim sherd has a yellow glaze applied over partial slip paint. This fragment indicates that, apart from the incision, the slip paint is also used in combination with painting (fig. �, 1�). A similar kind of application is also observed on a base fragment. It is decorated with cir-cles and dots on the exterior surface and has a light yellow glaze. The circles are colored green in this fragment (fig. 8).

The application of mustard, green and yel-low glazes on the slip painted Byzantine ce-ramics recovered from the Theatre excava-tion provides a similarity to the ceramics of Corinth, Phokis, Kadmeia, Athens, Cyprus, Caesarea, Pergamon and Anaia18. The dec-oration of the Iznik ceramics is closer to ex-amples from Greece and Pergamon. Single circles on the exteriors, small circle series, spot series on the rims, concentric circles on the interiors, spots inside the circles,

and small spots around a motif are used in the slip painted ceramics of Corinth (11th – 1�th centuries), Serres (13th century), Kadmeia (1�th century) and Pergamon19. On the other hand, the influence of the Islamic tradition on Byzantine shapes and decorations is fairly clear. Broad bordered spirals and spot series in and around the circles have close relations with Sirjan glazed wares, particularly the painted Group �. Small and large spots on interiors, exteriors and rims, small spots in the middle of large spots, broken short lines and total covering of the surfaces (especially in the Corinth slip painted wares) in-

17 Megaw 1968, 71.18 Morgan 194�; Armstrong 1988, 41-4�; Armstrong 1993, 313; Frantz 1938, 431; Megaw – Taylor 1951, 4. Slip

painted Caesarea ceramics are dated to the 1�th – 13th centuries. Yellow, brown and green glazes are applied on them. Pringle 1985, 177-179 fig. 3; Spieser 1996, 17; Doğer �005, 108.

19 Morgan 194�, pl. XXX f, j; Armstrong 1993, 313; Papanikola-Bakirtzis 199�, �8 fig. 18-19. Circle motifs are domi-nant on the slip painted ceramics from Pergamon, while spots surrounding the circles dominate the composi-tions of Iznik examples. Spieser 1996, fig. �73. �79. 330. 413.

Fig. 7

Fig. 8

Slip Painted Iznik Ceramics �

dicate further interaction with the Islamic slip painted wares�0. Unlike the Kinet Höyük examples, “kufic” imitations are not found in the Iznik examples. Avoiding such motifs in the decoration symbolizes the eternity principle of Islamic art. This kind of symbolic understanding can also be observed on Byzantine ceramics. Semi-circles interrupted by the rim give the feeling of continuation into eternity (fig. 6). Fairly simple designs, leav-ing wide areas on the surfaces, are preferred in the Iznik slip painted ceramics. Poured or thickly applied line slips are not found within the slip painted fragments recovered from the Iznik Theatre excavations. Close examples of the body fragments of two jugs, one of which has handles, are known from Caesarea�1 (fig. 1, 10). Wavy lines on the Iznik slip painted ceramics are frequently observed as well as spots, circles and spiral motifs. They are observed on limited or unlimited areas on their own or sometimes combined with straight lines or spots. These kinds of wavy lines are frequently used in incised and incised-

painted Byzantine ceramics. Spirals and wavy lines inside small squares are regularly used on ceramics from Thessaloniki (13th – 14th centuries), like Byz-antine incised ceramics (1�th – 13th centuries) from Iznik��.

Despite their fairly small number, three different painting styles are observed in the Byzantine slip painted ceramics of Iznik. The Iznik slip painted ware, which has similarities and differences with oth-er Byzantine ceramics, developed its own style and motif repertoire. The Ottoman conquest of Iznik in 1331 instigated a new period in ceramic production. Ceramic workshops were constructed in the theatre. Ongoing excavations revealed six pottery kilns with-in this area. A large number of Ottoman products or semi-products, related to pottery manufacture, were found in this area during the excavations. Byzantine ceramics and tripods from the same area indicate production activity during the Byzantine period. This makes Iznik one of the distinctive pottery production centers which continued its activity between the 9th and the 17th centuries uninterruptedly.

�0 Morgan – Leatherby 1987, fig. 18-�1. Small and big spots are widely used in slip painted Iranian ceramics during 10th century to fill the empty surfaces. For details see Grube 1994, 80-81 fig. 70-71; for short lines: Fehervari �000, 63 fig. 67.

�1 Pringle 1985, fig. 4, 31-3�.�� Papanikola-Bakirtzis 1999, fig. �16. ��0. ��1.

Fig. 9

Nurşen Özkul Fındık10

Catalogue1. Base fragment, Fig. 1, 1. 5. Diameter 6,1 cm, Fabric color A10, burnt glaze, everted low pedestal,

big spot decoration.

�. Base fragment, Fig. 1:�. Diameter 5 cm, Fabric color F9, green glaze, everted low pedestal and small spot decoration.

3. Base fragment, Fig. 1,3. Diameter 8 cm, Fabric color C9, mustard glaze, everted low pedestal and four small spotted circles within a big circle.

4. Base fragment, Fig. 1, 4. Diameter -, Fabric color D11, green glaze, small spot decoration be-tween two concentric circles.

5. Base fragment, Fig. 1, 5. Diameter 8 cm, Fabric color E11, mustard glaze, everted low pedestal and big spot decoration.

6. Base fragment, Fig. 1, 6. Diameter 5 cm, Fabric color D11, mustard glaze, everted low pedestal and big spot decoration.

7. Base fragment, Fig. 1, 7. Diameter 6 cm, Fabric color K1�, mustard glaze, everted low pedestal, small spot and circle decoration.

8. Base fragment, Fig. 1, 8. Diameter 8 cm, Fabric color F10, mustard glaze, everted low pedestal, wavy lines within the circle.

9. Base fragment, Fig. 1, 9,7. Diameter 5.� cm, Fabric color E10, green glaze, everted low pedestal, wavy lines within the circle.

10. Jug body fragment, Fig. 1, 10. Diameter -, Fabric color D11, unglazed interior, mustard glaze on exterior, vertical lined decoration and spotted circle.

11. Dish rim fragment, Fig. 1, 11,6. Diameter �3 cm, Fabric color F10, mustard glaze, deep broad body, rounded rim, circle on exterior and spotted circle interior.

1�. Bowl rim fragment, Fig. �, 1�, 8. Diameter 18 cm, Fabric color E9, greenish yellow glaze, convex body, direct rim, wavy lines and small spots within the big spot.

13. Base fragment, Fig. �, 13. Diameter -, Fabric color D11, yellow glaze, everted low pedestal, small spot decoration inside and outside of circles on the exterior surface.

14. Base fragment, Fig. 1, 14. Diameter 8 cm, Fabric color F10, green glaze, everted low pedestal, two concentric circles.

15. Base fragment, Fig. 1, 15. Diameter -, Fabric color E11, mustard glaze, everted low pedestal, short broad lines.

16. Base fragment, Fig. 1, 16. Diameter 8,� cm, Fabric color D11, green glaze, everted low pedestal, wavy lines within the circle, square and spot decorations.

17. Dish rim fragment, Fig. 1, 17. Diameter �1 cm, Fabric color D11, yellow glaze, slightly convex and shallow body, everted rim, wavy line, spiral and spot decorations.

18. Dish rim fragment, Fig. 1, 18. Diameter-, Fabric color C9, yellow glaze, everted, spotted and short wavy line decoration.

19. Body fragment, Fig. 1, 19. Diameter-, Fabric color F10, green glaze, spotted and wavy line deco-ration.

�0. Body fragment with handle, Fig. 1, �0. Fabric color F10, unglazed interior, green glaze on exte-rior, straight and wavy lines.

�1. Base fragment, Fig. 3, �1,. Diameter 8,5 cm, Fabric color E10, light yellow glaze, everted me-

Slip Painted Iznik Ceramics 11

dium pedestal, and chevron motif.

��. Base fragment, Fig. 3, ��, 9. Diameter 6 cm, Fabric color D11, light yellow glaze, everted me-dium pedestal, spots and circles on interior, twisted branch and spiral on exterior.

�3. Base fragment, Fig. 3, �3. Diameter 6 cm, Fabric color D11, light yellow glaze, everted high ped-estal, spirals intersected in the center.

�4. Deep bowl rim fragment, Fig. 3, �4. Diameter 16,5 cm, Fabric color F10, light yellow glaze, deep convex body and inverted rim, yellow slipped decoration on interior, spot and twisted branch decoration on exterior.

�5. Dish rim fragment, Fig. 3, �5. Diameter �0 cm, Fabric color E9, light yellow glaze, spots on inte-rior, spiral bordered rim and spirals on the exterior.

�6. Base fragment, Fig. 4, �6. Diameter 5 cm, Fabric color E10, light yellow glaze, everted high ped-estal, incision, slip painting, spot and circle decoration on interior, spiral and slip painting on exterior.

�7. Base fragment, Fig. 4, �7, 10. Diameter -, Fabric color E9, light yellow glaze, incised concentric circles on interior, slip painted spiral and spot on exterior.

�8. Base fragment, Fig. 4, �8. Diameter -, Fabric color D10, light yellow glaze, incised and slip paint-ed concentric circles and spots between them on interior surface.

�9. Deep bowl fragment, Fig. 4, �9. Diameter �0 cm, Fabric color F10, light yellow glaze, deep con-vex body, everted rim, incised lines on interior, incised and slip painted straight lines and small circles on exterior.

Fig. 10

Nurşen Özkul Fındık12

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