Iznik supplies are Turkish pottery that blooms throughout the 16th century and up to the 17th century in Islamic works. In Iznik, there might have been pottery made of suitable clay at the beginning of the 12th century, but until the end of the 15th century, it was not thought that the pottery had become its own in Turkey. The production center was established in Iznik. At the beginning of the 16th century, Iznik merchants were influenced by the Ming dynasty's blue and white porcelain and Persian goods. The Iznik goods were soft and sandy, gray-white with a thin, usually white slip (a mixture of clay and water). The most common forms were plain dishes, but also casseroles, syrups, and flower vases were produced. These are painted with abstract linear motifs based on others such as natural styling and fish scales, along with stylized and symmetrical flowers, leaves and foliage patterns. Until the mid-16th century, the colors used in the decorations were blue and white to turquoise, various tones to green, purple and black. The red became a color frequently used towards the end of the 16th century. The quality of the Iznik products declined in the 17th century and the production ceased in 1800.
It is important to understand that no ethnic or geographical entity is Muslim at first, in order to understand whether an aesthetic, iconographic or stylistic unity of Islamic people is visually perceptible art. Therefore, there is no Chinese art or Islamic art which is French art. Not a period art such as Gothic art or Baroque art, but once a land or ethnic entity became a Muslim, Muslims remained except for a few exceptions such as Spain or Sicily. Political and social events change.
In the third quarter of the century, this natural flower repertoire in Turkish called sukuf was dominated by a new color scheme based on the combination of bright tomato red in light embossing from iron oxide. Beautiful emerald green. • In the last three decades of the sixteenth century, a highly diversified repertoire has also been expressed in such colors: abstract compositions, sometimes fish-scale reasons, figurative stages with animals or trunks, etc. This is a very fertile period, but the beginning of the seventeenth century will be followed by a period of slow decline. These incompetent versions were constantly reprocessed, the inspirations from the past were cut off and increasingly causing the loss of quality, not comparable to the creatures of the previous century.