Kalemişi Dergisi
Cilt 10, Sayı 21  2022/Güz  (ISSN: 2148-046X, E-ISSN: )

NO Makale Adı

Kütahya, one of the building blocks of Turkish tile art, has been one of the centers of ceramic production for centuries with the adequacy of the raw material resources of the region where it is located and the presence of rich clay deposits. When the tile workshops operating intensively in Iznik during the Ottoman period began to have difficulty meeting the demands of the palace, the workshops located in Kütahya started to produce ceramics for the palace together with Iznik, in addition to the ceramics they made for the public.14. and 19. although the ceramic and tile workshops, which have been active for centuries, have been Decommissioned from time to time for some reasons, and even some of them have been closed, production activities have not stopped in the region. One of the most important reasons contributing to the continuity of tile art in Kütahya and its existence in the historical process is the fact that the people of the region belong to different origins. Apart from the tiles and ceramics they make for the needs of the daily life of the people, it has also been made possible by the presentation of works specific to their beliefs and cultures. The fact that not only the people live together, but also work together Decisively has helped to form the identity of Kütahya with a collective consciousness. 19. by the century I. With the National Architectural movement, the use of many elements belonging to Ottoman and Seljuk architecture has caused a revival in tile workshops. Hafiz Mehmed Emin Efendi, one of the most well-known masters of the period, the Minesyan Brothers and David Ohannessian decorated official and private buildings in major cities such as Istanbul, Ankara, Izmir, Konya with Kutahya tiles. Workshop partnerships of Muslim, Armenian and Greek artisans, I. It ended with the beginning of World War II and caused the masters to part ways. While Muslim artisans went to war in the region, non-Muslims started their new lives after migrations. Ohennessian, one of the masters raised by Kütahya who contributed to the history of tiles, also continued the tradition of tile and ceramic production in Jerusalem. Kütahya, where ceramic and tile production has been going on for centuries, is also located in the cultural memory of the region where it was moved with the structure involved in the extension of its history and the ongoing effects of the masters it raised in the flow of their lives.

Keywords: Turkishtile, Traditional, Ceramic, Kütahya, Jerusalem