What Is Iznik Ceramic?

Subject	Iznik Ceramic
Period	15th–17th centuries; peak period: c. 1550–1620
Production Center	Iznik, ancient Nicaea, Bursa, Ottoman Empire
Technique	Underglaze decoration, quartz-based fritware body
Raw Material	Quartz; SiO₂ content approximately 75–85%
UNESCO Recognition	2016, Representative List of the Intangible Cultural Heritage of Humanity
Contemporary Producer	Iznik Mavi Cini, 2002–present, Iznik/Bursa

Iznik Ceramic

Iznik ceramic is one of the most distinctive ceramic art forms in world history, produced in the Ottoman city of Iznik between the 15th and 17th centuries. It is known for its high-quartz fritware body, underglaze decoration technique and luminous color palette. Its four-layer structure — body, slip, decoration and glaze — clearly separates traditional Iznik ceramics from ordinary clay-based ceramics.

This page has been prepared by Iznik Mavi Cini to present the history, technical structure, motif development and contemporary production of Iznik ceramic through academic sources and workshop-based knowledge. The historical and technical information in this guide draws on archaeometric research carried out by institutions such as the University of Oxford, CNRS in France and Istanbul Technical University.

Developed under the patronage of the Ottoman court, Iznik ceramic art decorated some of the most important monuments of Islamic architecture, from the works of Mimar Sinan to Topkapı Palace, Selimiye Mosque and the Dome of the Rock. After the production knowledge was largely lost in the 18th century, the tradition remained silent for centuries until revival efforts began in the late 20th century. Today, Iznik Mavi Cini continues this heritage in Iznik through traditional techniques supported by R&D-based production control.

Origins: From Central Asia to Anatolia

The roots of Turkish tile and ceramic art reach back to the Uyghur period of the 8th and 9th centuries. Kiln remains and ceramic fragments found during excavations in Turfan, in Eastern Turkestan, are among the earliest evidence of this artistic and technical tradition.

Among the first Muslim Turkic states, the Karakhanids, approximately 955–1212, carried the tradition of glazed brick into architectural decoration. The Kalyan Minaret in Bukhara, dated 1127, the Vabkent Minaret, dated 1141, and the Shah-i-Zinda complex in Samarkand are among the most important monumental examples of this early ceramic and tile heritage.

The Great Seljuk period, 11th–12th centuries, introduced a major technological development in ceramic production: the fritware, or stonepaste, body. The city of Kashan in Iran became a major ceramic production center during this period, where luster, underglaze painting and mina’i enamel techniques were developed. The 1301 treatise of Abu’l-Qasim describes a stonepaste recipe of “10 parts silica, 1 part glass frit and 1 part clay.” This formula would become one of the foundations of Iznik ceramic technology.

During the Anatolian Seljuk period, from 1071 to the early 14th century, tile art was carried into Anatolia. Mosaic tile decoration reached a high point in this era. Turquoise, cobalt blue, aubergine purple and black glazed tile pieces were cut, arranged face down and joined with plaster. Konya Karatay Madrasa, dated 1251, is one of the finest masterpieces of this technique, creating the impression of a celestial dome through blue mosaic tile surfaces. Kubadabad Palace near Beyşehir, dated to around 1236, is especially notable for its figural palace tiles, where star- and cross-shaped tiles feature underglaze-painted human figures, animals, sphinxes and double-headed eagles.

Anatolian Seljuk tile art was not limited to Konya. Structures such as Sivas Gök Madrasa, dated 1271, and Erzurum Çifte Minareli Madrasa, 13th century, show how widely tile decoration spread across Anatolia. During this period, tile production was often carried out by itinerant workshops. Masters and their teams traveled from building to building, producing and applying ceramic decoration on site. This mobile workshop tradition helped Seljuk tile art spread across a broad geography.

Early Ottoman Period: The Beginning of Production in Iznik

In the 14th and 15th centuries, Iznik was still a center producing relatively simple red-bodied ceramics. These early wares were long misidentified as “Miletus ware” because they were first discovered during excavations at the ancient city of Miletus. Later kiln excavations in Iznik demonstrated that these ceramics were in fact produced in Iznik (Atasoy & Raby, 1989).

The major transformation began with Bursa Green Mosque and Green Tomb, built between 1412 and 1424. Commissioned by Sultan Mehmed I Çelebi, the tile decorations of these monuments bear the inscription “amel-i üstâdân-ı Tebrîz,” meaning “the work of the masters of Tabriz.” The tile program directed by Nakkaş Ali bin İlyas Ali and Muhammed Mecnun represents one of the earliest uses of the cuerda seca technique in Ottoman architecture. The sarcophagus of Sultan Mehmed I in the Green Tomb, covered with relief tiles in yellow, dark blue and white, is considered one of the masterpieces of early Ottoman tile art.

By the late 15th century, a fundamental change took place in Iznik. Instead of red-bodied pottery, craftsmen began producing ceramics with cobalt blue decoration on a white fritware body. One of the driving forces behind this transformation was the Ottoman court’s desire to emulate Chinese blue-and-white porcelain. The Topkapı Palace collection contained more than 10,000 Chinese porcelain pieces, which became an important source of inspiration for Iznik artisans.

Baba Nakkaş, the chief designer of the reign of Mehmed II, created a distinctive Ottoman synthesis by combining Chinese-inspired hatayi motifs with rumi forms of Byzantine and Anatolian origin. Dense arabesque patterns painted in white on a dark cobalt blue ground, scrolling leaves and lotus flowers characterize this early major phase of Iznik ceramic design.

The Technical Structure of Iznik Ceramic: Four Layers and Chemical Composition

The uniqueness of Iznik ceramic lies in its complex structure, composed of four distinct layers. This structure was scientifically described in the pioneering 1989 study published in Archaeometry by M.S. Tite and his team at the University of Oxford (Tite, 1989 — Archaeometry) and was later expanded through the 2004 reassessment by Paynter, Okyar, Wolf and Tite.

Body: Quartz-Rich Fritware

The body of Iznik ceramic is fundamentally different from ordinary clay-based ceramics. It has a fritware, or stonepaste, composition defined by an exceptionally high quartz (SiO₂) content.

According to the 2019 study by Dr. Gülsu Şimşek Franci of Koç University and Prof. Philippe Colomban of CNRS, published in the Journal of the European Ceramic Society (Şimşek & Colomban, 2019 — J. Eur. Ceram. Soc.), samples from the Iznik kiln excavation showed SiO₂ values of 72–81% and Al₂O₃ values of 3.5–7%. In 15th–16th century tiles from mosques in Edirne, SiO₂ values were measured within a range of 65–85%. In modern reproduction work, this ratio can reach 85–90%.

XRF (X-ray fluorescence) analyses carried out at the Iznik Mavi Cini R&D Laboratory confirm that the quartz content of the ceramics produced in the workshop is consistent with the historical values documented in academic literature.

The 2004 Archaeometry study by Paynter and colleagues showed that Iznik bodies differed from other Islamic fritwares by containing both soda-lime and high-lead glasses in the glass phase. This characteristic is specific to Iznik and is not found in any other Islamic ceramic tradition.

Slip: The Characteristic Bright White Surface

A fine white slip applied over the body creates the characteristic bright white ground of Iznik ceramic. Raman spectroscopy studies by Prof. Colomban of CNRS have shown that, in many examples, this whiteness comes not from tin oxide opacifier but from α-quartz particles.

The compatibility between the thermal expansion coefficients of the body and the slip — body: 8.41 × 10⁻⁶ K⁻¹; slip: 8.48 × 10⁻⁶ K⁻¹ — is a critical factor in preventing cracking during firing. This delicate balance reflects a level of technical control developed through experience by Iznik masters and admired by modern materials scientists.

Decoration: Metal Oxide Pigments

Pigments mixed with glass frit are applied by brush over the slip. The six principal colors of the Iznik palette and their chemical sources are as follows:

Cobalt blue is the earliest and most consistent color in the Iznik palette. It is obtained from cobalt oxide (CoO) dissolved in the glaze matrix. The 2019 study by Şimşek and colleagues identified at least three different cobalt ore sources used in different periods: a European cobalt-nickel-arsenic mixture, a Chinese-like manganese-rich source and a third arsenic-free source.

Coral red, or bole red, is the most distinctive and technically challenging color of Iznik ceramic. It is created by applying an iron oxide (Fe₂O₃, hematite) clay layer thickly beneath the glaze, producing a raised surface that can be felt by touch. This technique is unique to Iznik in the history of world ceramics and is not found in any other Islamic ceramic tradition. It entered the Iznik palette around 1555–1560.

Turquoise is produced with copper oxide (CuO/Cu₂O) and was used from around 1520 onward. It remains one of the most recognizable colors of Iznik ceramic.

Green comes from chromium-bearing pigments. Colomban’s Raman analyses detected uvarovite garnet (Ca₃Cr₂(SiO₄)₃) and chromite inclusions in green areas. Magnesiochromite deposits in Eskişehir, Bursa and Kütahya are considered possible sources.

Manganese purple is produced with manganese dioxide (MnO₂) and was used from around the 1540s in the period often associated with so-called “Damascus ware.”

Black outlines are drawn with chromium trioxide (CrO₃) or crushed chromite spinel and are used to define the boundaries of the design.

Glaze: Lead-Alkali Transparent Covering

The uppermost layer is a lead-soda silicate glaze with a viscous white consistency before firing. It typically contains 20–40% PbO, 45–47% SiO₂ and 10–15% Na₂O. The exceptional purity of Iznik glazes is notable: they contain less than 1.5% K₂O and CaO, and less than 1% Al₂O₃. This suggests the use of purified mineral soda rather than standard plant ash (Tite and colleagues, 2016).

Firing Temperatures and Production Process

Iznik ceramics go through a two-stage firing process. In the first, or biscuit, firing, the body and slip are fired at approximately 900–1000°C. Designs are transferred onto the surface through paper patterns prepared in the imperial design studio, pierced with a needle and dusted with charcoal powder — a technique known as pouncing. After glazing, the second firing takes place at 900–950°C for approximately 10–12 hours. For coral red, a third firing at a lower temperature may also have been used (Colomban and colleagues, 2004).

At the Iznik Mavi Cini workshop, these traditional techniques are applied together with modern quality control processes supported by the R&D laboratory. For more information about our production process, you can visit our Our Workshop page.

The Golden Age: Iznik Ceramic in the 16th Century

The 16th century represents the most mature period of Iznik ceramic in terms of technique, artistic language and architectural use. Designs prepared in the Ottoman imperial design studio were transferred onto ceramics in the Iznik workshops through the underglaze decoration technique, creating a strong and systematic relationship between court aesthetics and workshop production.

During this period, the Iznik color palette became richer, with cobalt blue, turquoise, emerald green and coral red used together. The saz style of Şahkulu, the naturalistic floral language of Karamemi and the architectural program of Mimar Sinan transformed Iznik ceramic from a decorative surface material into one of the most powerful visual expressions of Ottoman art.

The Imperial Design Studio: The Design Center of the Ottoman Court

Mehmed II turned the imperial design studio into a central coordination point for many branches of Ottoman art. Designs prepared in Istanbul were sent to Iznik and applied by ceramic workshops. This system helped create a consistent Ottoman visual language across textiles, metalwork, manuscript illumination and ceramic decoration. In the second half of the 16th century, approximately 600 artists worked for the court, including 45 designers and painters.

Şahkulu and the Saz Style

Şahkulu, also known as Şāhqulī-i Bağdādī, d. 1556, was a designer of Iranian/Azerbaijani origin. After the 1514 Battle of Çaldıran, he was brought from Tabriz to Istanbul and joined the imperial design studio in 1520–21. He served as chief designer for approximately 42 years. In the palace artists’ register of 1525–26, he appears as the head of 29 painters and 12 apprentices, with a high daily wage of 22 akçe.

The saz style created by Şahkulu is defined by long, dagger-shaped serrated leaves, composite lotus blossoms and mythological figures such as dragons and phoenixes arranged within an enchanted forest-like composition. It blends Chinese, Iranian and Timurid influences into a distinctive Ottoman style. The dragon drawing in the Topkapı Palace Library and the flying fairy figure in the Freer Gallery in Washington are two signed works attributed to Şahkulu that survive today.

The Golden Horn ware style also developed during this period. Named after ceramic fragments found in the Sirkeci area of Istanbul near the Golden Horn, this style is dated to approximately 1525–1555. It is known for fine spiral scrolls, small leaves and compositions reminiscent of illumination motifs seen in the tughra of Sultan Süleyman. Arthur Lane was the first scholar to date and classify this style systematically through his work at the Victoria and Albert Museum.

Karamemi and the Naturalistic Floral Revolution

Karamemi, also known as Kara Mehmed Çelebi, was one of Şahkulu’s most talented students. After Şahkulu’s death in 1556, he became chief designer. Karamemi moved away from highly stylized forms and introduced a more naturalistic approach to floral depiction, becoming known as the founder of the şükufe, or floral, style.

Four signature flowers — tulip, carnation, hyacinth and rose — became defining symbols of this period. Walter Denny described this floral palette as the “Quatre Fleurs,” or Four Flowers, style. Karamemi designed 370 original floral designs and 1,552 decorative panels for Sultan Süleyman’s Muhibbî Divan, dated to around 1566.

The Discovery of Coral Red

One of the most striking innovations of this period was the addition of coral red, also known as bole red, to the Iznik palette around 1555–1560. An iron oxide-rich clay was applied thickly beneath the glaze, creating a raised surface that can be felt by touch. This technique is specific to Iznik and is not found in any other Islamic ceramic tradition. Coral red first appeared in architectural tilework at the Süleymaniye Mosque, completed in 1557.

With the introduction of coral red, sage green was replaced by a brighter emerald green. The mature six-color Iznik palette was complete: cobalt blue, turquoise, coral red, emerald green, black outlines and a luminous white ground.

Important Motifs and Symbols

The design repertoire of Iznik ceramic was not limited to flowers. The çintamani motif consists of three circles arranged in a triangular formation and two wavy lines, often described as “tiger stripes.” Derived from a Sanskrit term meaning “auspicious jewel,” the motif was widely used as a symbol of power and sovereignty from the late 15th to the late 17th century in ceramics, textiles, carpets and metalwork.

Rumi motifs are stylized vegetal scrolls and palmette forms inherited from the Seljuk tradition. The cloud band, or tchi, is a wave-like ribbon form transmitted from Chinese art through the Mongol world. Hatayi motifs are stylized floral forms of Central Asian origin. These motifs were used either independently or in combination to create compositions based on the principle of continuity and infinity.

Mimar Sinan’s Vision for Ceramic Decoration

The large-scale architectural program of Mimar Sinan, chief imperial architect from 1539 to 1588, greatly increased the use of Iznik ceramics in Ottoman architecture. In Sinan’s mosques, ceramic decoration was not treated merely as surface ornament. It was used as an architectural element that strengthened mihrabs, window lunettes, imperial galleries, portico façades and interior focal points.

In structures such as Rüstem Pasha Mosque, Sokollu Mehmed Pasha Mosque, Süleymaniye Mosque and Selimiye Mosque, Iznik tiles were integrated with the spatial organization of light, color and pattern. This approach shows that 16th-century Iznik production was not limited to vessels and decorative objects; it became one of the defining visual elements of Ottoman architectural identity.

Major Monuments Decorated with Iznik Tiles

Rüstem Pasha Mosque, Istanbul, c. 1563

Built by Mimar Sinan for Grand Vizier Rüstem Pasha, this mosque is one of the most richly tiled monuments in Ottoman architecture. Approximately 2,300 Iznik tiles and more than 80 different patterns cover nearly all vertical surfaces of the interior, including the walls, mihrab, minbar, portico façade and columns. Walter Denny described Rüstem Pasha Mosque as a kind of pattern catalogue displaying the results of a competition among young artists.

During the 2020 restoration of the mosque, Iznik Mavi Cini produced 133 replacement Iznik tiles for missing and damaged tiles on the exterior walls, following the original dimensions, surface character and design language of the historical examples.

Selimiye Mosque, Edirne, 1568–1575

Selimiye Mosque, described by Mimar Sinan as his “masterwork,” contains Iznik tiles from the absolute peak of Iznik ceramic production. The walls of the mihrab projection, the imperial gallery and the window lunettes are decorated with Iznik tiles. A total of 101 different tulip designs have been identified in the building.

The Iznik tile decoration of Selimiye reflects the full maturity of the 16th-century Ottoman ceramic palette, combining luminous white ground, cobalt blue, turquoise, emerald green, coral red and black outlines within a highly controlled architectural setting.

Sultan Ahmed Mosque, Istanbul, 1609–1617

Sultan Ahmed Mosque, widely known as the Blue Mosque, contains 21,043 handmade Iznik tiles and represents one of the last major imperial architectural commissions from Iznik. In 1613, Sultan Ahmed I issued an imperial order preventing Iznik tiles from being produced or sold for other purposes until his own commission was completed.

By this period, however, signs of decline had already begun to appear in Iznik production: colors became paler, glazes showed more cracking and the designs became less refined. The highest-quality tiles in the mosque are found on the upper gallery walls of the northern façade. During the 2019 restoration of the minarets, Iznik Mavi Cini produced 200 turquoise oval-rectangular Iznik tiles for the project.

Other Important Monuments

Süleymaniye Mosque, completed in 1557, is the first major architectural monument where coral red appears in Iznik tilework. Sokollu Mehmed Pasha Mosque, dated 1571–72, presents some of the finest examples from the most brilliant period of Iznik production. Topkapı Palace contains Iznik tiles in several important sections, including the Circumcision Room, Baghdad Kiosk and the Harem.

The exterior façade of the Dome of the Rock in Jerusalem was covered with Iznik tiles during the reign of Sultan Süleyman, between 1545 and 1552. In Istanbul, during the 2020 restoration of Yeni Cami, Iznik Mavi Cini produced 850 Iznik tiles in accordance with the original dimensions and surface character of the historical tiles.

Decline and Loss of Production Knowledge

From the late 16th century onward, the quality of Iznik ceramic declined rapidly. This decline had several causes: the slowing of new construction due to economic crisis in the Ottoman Empire, the weakening of court patronage, the state’s practice of fixing tile prices despite inflation, competition from cheaper Chinese porcelain arriving through Dutch trade and, most critically, the loss of master craftsmen.

Technical knowledge such as the formula and firing behavior of coral red was transmitted largely through oral tradition. When the chain of transmission was broken, many of these specialized production secrets disappeared with the craftsmen who had mastered them.

By 1716, ceramic production in Iznik had come to an end. No complete written technical documentation of the original production methods was left behind. This absence is one of the clearest examples of the fragility of oral craft knowledge and the importance of systematic technical recording.

In 1718, during the Tulip Period, Grand Vizier Nevşehirli Damat İbrahim Pasha established a tile workshop at Tekfur Palace in Istanbul. This initiative lasted approximately 25–30 years but never reached the quality of classical Iznik. The clay body was less homogeneous, glazes often showed cracks and bluish tones, and the colors remained weaker. From the 18th century onward, Kütahya partly filled the gap left by Iznik, but its production had a more folk-art character rather than the courtly aesthetic associated with classical Iznik. The quartz content of Kütahya tiles is also generally lower than that of classical Iznik ceramics.

Iznik Ceramics in World Museums

Most Iznik tiles, especially architectural tiles, remain preserved in historic buildings in Turkey and the wider Ottoman world. Ceramic vessels, plates and other objects, however, are now found in many of the world’s leading museum collections.

The Musée National de la Renaissance in Écouen, near Paris, holds one of the largest Iznik collections in the world, with 475 pieces. The British Museum in London holds important Iznik works within the Frederick DuCane Godman collection of approximately 600 Islamic ceramic pieces. Among them, the Iznik mosque lamp signed by Musli and dated 1549 is one of the most important documented examples for the dating of Iznik ceramics.

The Victoria and Albert Museum in London is closely associated with Arthur Lane’s work on the chronology of Iznik pottery. The Louvre in Paris presents important Iznik pieces in its Department of Islamic Art, opened in 2012. The Metropolitan Museum of Art in New York holds large ceramic panels and individual tiles related to the type used in the chamber of Sultan Murad III. Other major collections include the Ashmolean Museum in Oxford, the Calouste Gulbenkian Museum in Lisbon, the Benaki Museum in Athens, the David Collection in Copenhagen and the Sèvres National Museum of Ceramics in Paris.

In Istanbul, the Tiled Kiosk, part of the Istanbul Archaeological Museums, displays early Iznik fritware examples, while the Sadberk Hanım Museum and the Museum of Turkish and Islamic Arts also hold important Iznik ceramic collections.

The Modern Revival of Iznik Ceramic

The revival of Iznik ceramic production began in the second half of the 20th century. Masters such as Faik Kırımlı, d. 2011, Turgut Tuna and Rasih Kocaman carried out pioneering work to research traditional production methods and restore Iznik ceramics to their original character. Research programs supported by institutions such as TÜBİTAK, Istanbul University and Istanbul Technical University played an important role in the rediscovery of lost production techniques.

In 2016, “Traditional craftsmanship of Çini-making” was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. This recognition confirmed the universal cultural value of the Turkish çini-making tradition at an international level.

Today, Iznik ceramic production continues through a limited number of workshops in Iznik, Bursa, the historical birthplace of the tradition. However, not every product sold under the name “Iznik ceramic” or “Iznik tile” belongs to the same production tradition. Products made in different ceramic centers may also be marketed under this name. Since there is no single official institution regulating or certifying the use of the name, buyers should pay attention to production location, technique and quartz content. Authentic Iznik ceramics are distinguished by a high-quartz fritware body, underglaze decoration and hand-painted workmanship.

Iznik Ceramic vs. Industrial Ceramic

Feature	Traditional Iznik Ceramic	Industrial Ceramic
Body	Quartz-based fritware body; SiO₂ approximately 75–85%	Clay-based body
Decoration Technique	Underglaze hand painting with a brush	Screen printing or transfer printing
Glaze	Lead-soda silicate glaze, applied as a viscous white glaze before firing	Industrial transparent glaze
Firing	Two to three stages, approximately 900–1000°C	Single firing, generally at higher industrial temperatures
Production	Entirely handmade; production may take weeks	Machine-based serial production
Coral Red	Raised iron oxide layer applied by hand	Flat printed effect; no raised surface
Each Piece	Unique, with natural small variations	Identical repeated copies

Iznik Mavi Cini: Continuing the Tradition with R&D

Iznik Mavi Cini was founded in Iznik in 2002 by Mahmut Çalışkan, Serap Ereyli and İsmail Kaya. The company’s purpose is to continue the Iznik ceramic tradition, whose historical production continuity was interrupted in the 18th century, by combining traditional techniques with modern R&D methods.

In 2004, Iznik Mavi Cini succeeded in producing a single-piece 40×80 cm Iznik ceramic tile for the first time after 450 years. To date, more than 10,000 m² of Iznik ceramic production has been completed across 20 restoration projects and 143 architectural projects.

Mahmut Çalışkan, a graduate of Anadolu University Bilecik Vocational School, Department of Mining, oversees Iznik Mavi Cini’s raw material and R&D processes. Designer Serap Ereyli graduated from Mimar Sinan University, Department of Traditional Turkish Arts and Ceramics, and leads the company’s pattern design department. İsmail Kaya is responsible for production coordination. The three partners’ different areas of expertise — raw material science, design and production management — form the foundation of Iznik Mavi Cini’s multidisciplinary approach.

Bearers of Intangible Cultural Heritage

The three founding partners of Iznik Mavi Cini — Mahmut Çalışkan, Serap Ereyli and İsmail Kaya — are registered by the Republic of Türkiye Ministry of Culture and Tourism as Bearers of Intangible Cultural Heritage. Having all three founding partners hold this title is a distinctive position within the Iznik ceramic field.

R&D Laboratory and Quartz Analysis

Iznik Mavi Cini controls each stage of production through scientific methods in its in-house R&D laboratory. XRF (X-ray fluorescence) analyses are used to measure raw material composition, and glaze crazing resistance tests are carried out as part of the quality control process.

For more information about our R&D work, you can visit our R&D Laboratory page.

Restoration and Architectural Projects

Iznik Mavi Cini has taken part as a producer in the tile restoration of some of the most important historical monuments in Turkey and abroad, as well as in contemporary architectural projects.

For the Al-Masjid an-Nabawi restoration project in Medina, 2019–2020, a total of 462 Iznik ceramic pieces were produced in sizes including 25×25 cm, 8×25 cm, 10×25 cm and 12×25 cm. In this project, brushwork traditionally associated with painted ornament was integrated into the underglaze decoration technique to match the original character. For the Eyüp Sultan Tomb restoration, 2013–2015, a total of 2,200 Iznik ceramic tiles were produced. For this project, 11 different red tones were developed in the Iznik Mavi Cini R&D department, and 6 of them were used in the restoration tiles. In the Bursa Green Tomb restoration, 85 m² of border tiles, inscribed panels and mosaic panels were produced with the approval of Istanbul Technical University.

Other restoration projects include Rüstem Pasha Mosque, 133 pieces, 2020; Sultan Ahmed Mosque, 200 pieces, 2019; Yeni Cami, 850 pieces, 2020; Sivas Gök Madrasa, Pandeli Restaurant and Sirkeci Liman Han.

In architectural projects, major works include the monumental 12×16 meter panel at Kayseri City Square, Istanbul Çamlıca Mosque and Ataşehir Mimar Sinan Mosque.

For the full list of our restoration and architectural works, you can visit our Restoration Projects and Architectural Projects pages.

International Collaborations

The company exports to Denmark, the Netherlands, Italy, the United Kingdom and the United States. In collaboration with Copenhagen-based specialty coffee brand April Coffee Roasters, Iznik Mavi Cini designed limited-production Iznik ceramic brewers, cups and mugs. Production continues in the Iznik workshop with a skilled team of 20 people.

For more information about our founders and company history, visit our Our Story page. To explore our handmade Iznik ceramic collection, visit our Collections page.

Frequently Asked Questions

What is Iznik ceramic?

Iznik ceramic is a ceramic art form produced in the Ottoman city of Iznik, Bursa, mainly between the 15th and 17th centuries. It is known for its high-quartz fritware body, four-layer structure — body, slip, decoration and glaze — and underglaze decoration technique. It is considered one of the most distinctive ceramic traditions in world art history.

How is Iznik ceramic made?

Traditional Iznik ceramic production is a multi-stage process. First, a quartz-rich body is prepared and shaped. After drying, the first biscuit firing is carried out at approximately 900–1000°C. A white slip is then applied, the design is hand-painted by a decorator, and the piece is covered with a white glaze. The second firing takes place at approximately 900–950°C and usually lasts around 10–12 hours.

What is the difference between Iznik ceramic and Kütahya ceramic?

Iznik ceramic is defined by its high-quartz fritware body, with SiO₂ values commonly associated with the 75–85% range in historical examples. Kütahya ceramics generally use a different body composition and usually contain a lower quartz ratio. Classical Iznik ceramics were closely connected with the Ottoman court design tradition, while Kütahya production developed with a stronger folk-art character in later periods.

What is the difference between Iznik ceramic and regular ceramic?

Ordinary ceramics are generally clay-based, while traditional Iznik ceramic uses a quartz-based fritware body. This high quartz content gives Iznik ceramic its distinctive durability, color depth and luminous surface. Iznik ceramic also has a complex four-layer structure — body, slip, decoration and glaze — that is not found in standard industrial ceramics.

Why are Iznik ceramics expensive?

Iznik ceramics are expensive because they are handmade and require a long, technically demanding production process. The quartz-rich body is difficult to prepare and shape, firing requires careful control, and the designs are hand-painted one by one by skilled decorators. Each piece carries both craft value and artistic value, making it fundamentally different from industrial ceramic products.

What is the quartz content of Iznik ceramic?

According to academic research, historical Iznik ceramics often contain a high SiO₂, or quartz, ratio. Studies by the University of Oxford and Koç University have measured SiO₂ values in Iznik kiln excavation samples and historical tiles within ranges such as 72–81% and 65–85%, depending on the sample group. This high quartz content is one of the most important features distinguishing Iznik ceramic from ordinary ceramics.

What makes Iznik Mavi Cini different?

Iznik Mavi Cini has been producing Iznik ceramics in Iznik since 2002. The company’s three founding partners — Mahmut Çalışkan, Serap Ereyli and İsmail Kaya — are registered by the Republic of Türkiye Ministry of Culture and Tourism as Bearers of Intangible Cultural Heritage. Production quality is supported by an in-house R&D laboratory using XRF analysis, and the workshop has produced tiles for major restoration projects including Al-Masjid an-Nabawi, Rüstem Pasha Mosque and Sultan Ahmed Mosque.

How can you identify authentic Iznik ceramic?

Authentic Iznik ceramic can be identified through several key features: a high-quartz body, a deep and luminous glaze surface, underglaze hand painting and natural small differences in the painted details. When coral red is used, it may have a slightly raised texture that can be felt by touch. Production location, technique, quartz content and authenticity documentation are also important indicators.

What are the most common motifs in Iznik ceramic?

Iznik ceramic has several major design periods and motif groups, including the Baba Nakkaş style with hatayi and rumi motifs, Golden Horn ware with fine spiral scrolls, the saz style with dagger leaves and mythological figures, and Karamemi’s naturalistic floral style with tulips, carnations, hyacinths and roses. Çintamani, cloud bands, geometric interlace and calligraphic decoration are also frequently used.

Where can I buy authentic Iznik tiles and ceramics?

Authentic Iznik tiles and ceramics can be purchased from workshops in Iznik, Bursa, where the tradition historically developed. When buying Iznik ceramic, it is important to check whether the piece is produced in Iznik, whether it uses a quartz-based fritware body and whether it is hand-painted. Iznik Mavi Cini has been producing Iznik ceramics since 2002. You can visit our workshop and gallery in Iznik or order online through iznikmavicini.com. To explore our available products, visit our Collections page.

Where is Iznik ceramic used today?

Today, Iznik ceramic is used in mosques, public spaces, hotels, restaurants, private interiors and cultural heritage restoration projects. Iznik Mavi Cini has taken part as a producer in many restoration and architectural projects, from Al-Masjid an-Nabawi and Istanbul Çamlıca Mosque to Eyüp Sultan Tomb and Kayseri City Square.

Bibliography

The information on this page is based on the following academic and reference sources:

Arık, R. & Arık, O. (2008). Anadolu Toprağının Hazinesi: Çini. Kale Grubu Kültür Yayınları — A comprehensive documentation of Anatolian tile art from the Seljuk and Beylik periods.

Atasoy, N. & Raby, J. (1989). Iznik: The Pottery of Ottoman Turkey. Alexandria Press — A foundational 784-page monograph on Iznik pottery, with 991 illustrations.

Carswell, J. (2006). Iznik Pottery. British Museum Press — A concise and authoritative history of Iznik pottery.

Colomban, Ph., Milande, V. & Le Bihan, H. (2004). On-site Raman analysis of Iznik pottery glazes and pigments. Journal of Raman Spectroscopy, 35 — A pioneering non-destructive analysis of Iznik ceramics in the Sèvres Museum.

Denny, W.B. (2004). Iznik: The Artistry of Ottoman Ceramics. Thames & Hudson — A detailed study of the relationship between the Ottoman court, design workshops and Iznik ceramic production.

Lane, A. (1957). Later Islamic Pottery. Faber & Faber — A key study that helped demonstrate that the major stylistic groups were produced in Iznik.

Mason, R.B. & Tite, M.S. (1994). The beginnings of Islamic stonepaste technology. Archaeometry, 36 — A fundamental article on the origins of stonepaste, or fritware, technology.

Necipoğlu, G. (1990). From International Timurid to Ottoman: A Change in Taste in Sixteenth-Century Ceramic Tiles. Muqarnas, 7 — A major study on the evolution of Iznik design from Timurid to Ottoman visual language.

Öney, G. (1976). Türk Çini Sanatı. Yapı Kredi Yayınları — A comprehensive account of Turkish tile art from the Seljuk period to the Ottoman era.

Paynter, S., Okyar, F., Wolf, S. & Tite, M.S. (2004). The production technology of Iznik pottery — A reassessment. Archaeometry, 46 — A University of Oxford study demonstrating the technical differences between Iznik and other Islamic fritwares.

Şimşek (Franci), G. & Colomban, Ph. (2019). On-site pXRF analysis of body, glaze and colouring agents of the tiles at the excavation site of Iznik kilns. Journal of the European Ceramic Society, 39 — A non-destructive analysis of Iznik kiln excavation samples.

Tite, M.S. (1989). Iznik pottery: An investigation of the methods of production. Archaeometry, 31 — A foundational scientific study establishing the technical framework of Iznik ceramic production.

Last updated: May 2026