Page 277 - The Age of Sultan Suleyman the Magnificent

the stems, producing a counterclockwise movement. White
hyacinths that evolve from the same spray lean over in the
opposite direction, providing contrary motion. Black cloud
bands, intersected by the foliate band around the central
medallion, fill the voids between the sprays.
The double swirling pattern is extremely effective and en-
livens the otherwise static design. Although there are several
slip-painted plates with concentric or circular designs, the ra-
diating and revolving movement depicted in this example is
extraordinary. Tulips decorated with blue and white chevrons
are also unusual.
Most slip-painted plates follow the classical composition
with sprays of blossoms springing from a central source, 126 as
exemplified by a blue-ground plate in Ecouen (204). Its plain
rim defined by foliated lines shows red carnations alternating
with bunches of white blossoms. The same flowers appear in
the sprays decorating the center, growing from a cluster of
leaves. The branch in the middle begins with a pair of white
blossoms, splits into two, extends to the sides with additional
white blossoms, and terminates with red carnations. The lat-
eral branches bear white sweet alyssum; one has an addi-
tional flower growing in the center, while the other sprouts a
pair of carnations. The remaining branches swing down along
203. Plate with tulips, second half sixteenth century (Kuwait National the lower edges and bear large white flowers.
Museum, LNS 323 C)
The symmetry of the composition is relieved by the carefree
placement of the blossoms, producing an airy and flowing de-
sign. The exterior of the plate shows the traditional scheme of
pairs of tulips alternating with multipetaled blossoms.
The same blue engobe appears on a tankard (205), a cylin-
body are eight bushes, each with stems bearing a white and drical vessel with an angular handle also produced in metal
red carnation, a white tulip, and a spray of blue blossoms. as well as in jade (see 53 and 66). The bands at the rim and
The stems and leaves are rendered in black, with white dots base employ the çintemani pattern with clusters of triple
added to the bases of the leaves. The stems with the tulips white dots separated by diagonal black wavy lines arranged
revolve around the bushes, bend at the top, and swoop down in a chevron pattern. The body depicts four large swooping
and across, their blossoms overlaying the other elements; this saz leaves that alternate with curving branches bearing blos-
feature has been observed on several other iznik examples soms with serrated petals, carnations, oversize irises, and tiny
(see 189, 198, and 199). Small black cloud bands, cut off by crocuses. The branches cross over one another behind the
the rim band, appear between each spray. The foot contains leaves, creating a delightfully vibrant contrapuntal composi-
white carnations alternating with blue blossoms, repeating tion. The sides of the handle have sketchy leaves, while the
the scheme on the body; the blossoms here, however, grow upper edge bears horizontal strokes commonly found on the
down toward the edge. The interior, also covered with en- handles of ceramic jugs and tankards.
gobe, has a central medallion enclosing the same bush de- The iris with linear petals and the crocus were represented
picted on the exterior. The bowl may have had a domical lid, on the plate with two birds (see 199). These motifs, once
similar to another polychrome example (see 197). within the repertoire of the potters, were applied to various
One of the slip-painted plates has a pinkish mauve engobe objects executed in different techniques.
and a radiating design in its center (203). Its lobed rim con- Some of the slip-painted pieces depict the main themes in
tains blue and white tulips alternating with blue leaves over- white on a blue ground or use polychrome on a coral-colored
laid by sprays of red blossoms. In the center is a blue blossom engobe. 127 A more unusual example is a red-ground bottle
surrounded by white flowers that recall sweet alyssum. Ra- decorated with rumis painted in a wider range of colors that
diating from this core are eight sprays alternately bearing blue includes blue, white, lavender, and purple. The body is
and white tulips or blue leaves superimposed with red sprays, pierced with regularly spaced holes, presumably to hold gems
repeating the theme used on the rim. One of the leaves set into mounts, 128 recalling the practice applied to a group of
swoops under the other, crosses over, and lies on top of porcelains. The embellishment of a slip-painted object with

276