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THE EXQUISITE ART OF  THE CERAMICS AND POTTERY OF ARMENIA, ASIA MINOR AND ANATOLIA

Photo: An old and rare photo of an Urarturian shoe shaped drinking vessel from the 7^th century B.C. found in Karmir-Blur .

The Christian Anatolian art and mass production of ceramics saw the light for the first time in the 9^th  century B.C. It was a rudimentary art that lacked refined motifs and ornamentation, nevertheless, the pre-historic Hyskos ceramics art offered an astonishing variety of products, objects and wares such as vases, bowls, urns, jars, dishes, jugs, plates and cups. But, in the 11^th century A.D. a refined style and a distinctive art of ceramics developed rapidly due to the travels and migration of several Armenians potters and artists, despite of the reign of the Seljuks which spread terror and fear over the Armenian territories. Many Christian Anatolian artists feared the Turks. Consequently, they regrouped in the  concentrated area of Cotyaeum (Today, Kutahya in modern Turkey) which relatively in a short period of  time was transformed into Asia’s most important ceramics, tiles and pottery production and industry center. Thus, Kutahya became the major competitor of Iznik, the famous and principal  production source of most Islamic ceramics, vessels and tiles of the Ottoman empire. The early Anatolian and Asia Minor ceramics art flourished between the 11^th century and the 14^th century and was characterized by very distinctive patterns and designs borrowed from or influenced by the illuminated manuscripts paintings. In the 15^th century, the Turks gave support to Armenian artists, a sign of generosity and tolerance never given before by any Ottoman ruler. This new assistance and support through the patronage and  the protection of the Turkish court were an enormous boost for the Armenian arts of ceramics and pottery. Yet, the Ottomans remained very suspicious of the Armenian artists and kept a vigilant “eye watch” over their whereabouts, travels and centers of ceramic production. Asia Minor/Anatolian ceramics from the 17th century.

Infidel potters and ceramics makers

Photo: A rare and old photo of an Asia Minor/Anatolian ceramic vase from the 17th century.

Armenian potters and ceramics artists were nicknamed “ infidel potters and ceramics makers” by the Turks. At that time, Armenian artists never felt secure under the Ottoman occupation nor among their Muslim neighbors who occupied the whole territories of Asia Minor, Anatolia and almost all the Middle and Near East countries. Consequently, they refrained themselves from decorating their objects with Christian patterns, designs and patterns. But, in the 17^th century, Armenian artists began to decorate their urns, jars, incense holders , oil and water containers with various Christian symbols, crosses and religious motifs. Many of the potters and ceramics makers began to  incorporate Turkish and Greek motifs as well. This innovation helped them to broaden their market and to extend their business. Many mosques and Muslims centers of worship were among their customers. A great number of Masajeds and Jawamehs  in Turkish cities such as Istanbul, Konya, Ankara, Adana and Kutahya were decorated with Armenian ceramics and tiles. The Armenian ceramics business became a very profitable enterprise. In the early 16^th century, Armenian ceramics were decorated in the traditional blue and white ware colors. In the 17^th century, a distinctive highly polychrome faience was produced with green, yellow and vibrant red colors. In the 17^th century, another center for Armenian ceramics production was also prosperous. It was New Julfa, an Armenian suburb of the marvelous city of Isfahan, founded in the early years of the 17^th century.

P. 125. History of the Civilization and Arts of Armenia from the Bronze Age to Present. By Maximillien de Lafayette. The Globe Weekly News

Photo: An 18^th century Anatolian rose water ewer made in the famous city of Kutahya

Even though, the Armenians did not complete the work, they were welcome to stay with their families in Palestine. Later on, the three of them decided to go in the ceramics business and they did.  One very particular missing “detail” in the early Armenian ceramics and pottery objects produced during the Ottoman occupation caught my attention while I was examining an exquisite set of Kutahya ceramics; the signature of the artist who designed and made the set. Evidently, the artist refrained himself from signing his work for obvious reasons. This reminded me of a strange and a bizarre story of a  famous Muslim Persian rug weaver who offered the Shahinshah of Persia two sets of Isfahani carpets. Proud of his work, the weaver expected a handsome remuneration. Instead, the Persian monarch ordered the weaver’s hands to be cut off, because he dared to incorporate his signature in one of the corners of the rugs. The most beautiful set of Kutahya ceramics tiles is in the Armenian Cathedral of St. James in Jerusalem. It consists of a particular series of tiles with polychrome biblical scenes and passages from  the Old and New Testament. The set was  commissioned in the early 18^th century for the decoration of the Church of the Holy Sepulcher. Today, in Armenia, ceramics tiles and objects in the style of the historical Ani and Dvin  are still in production in many villages throughout the homeland  as well as in Jerusalem, Israel.

Photo: Anatolian rose water ewer featuring a Makara-headed spout  elegantly influenced by the Arabesque style and characterized by the refined shape of the handle as a symbol or a suggestive representation of a flying deer. The interior  of the ewer is made out of  Iznik clay. The body is glazed with Mohammedan cobalt blue.

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