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Two other signs of winter… the vintage Nabob coffee jar filled with faux snow and the twiggy rustic sticks. The cute cloche makes a return appearance, this time housing some heavy twine for a warm winter’s feel. When I dashed off to Bella Rustica in September, it was such a blessing that we finally had a chance to meet!
Well, it’s now time to move beyond the light and the tinsel and go strike out some new memory making material.
May the cool winter sunshine stream right through your own windows, warming up your special spaces and your heart. Okay, one of my New Years resolutions is taking the time to leave more notes for my blogging friends!
We have an Art Studio in Sultanahmet area and we have 2 teachers that are professional in Traditional Turkish Tile & Ceramics workshop. 2 Hours Turkish Tile & Ceramic Workshop ( Per Student ) 2 - 5 Guest ,55 Euro ,6 - more ,40 Euro ,1 Guest 65 Euro,Tour Includes. Mimar Sinan University,The Anatolian Seljuks were of course influenced by the cultural heritage they encountered in their new homeland, adapting them to the techniques that they had brought with them from the Iranian plateau. A type of architectural decoration used in conjunction with glazed brick was hexagonal, triangular, square, and rectangular monochrome tiles. Excavations carried out in 1965-66 at Kalehisar near Alacahoyuk have revealed important evidence of the Seljuks' ceramics industry in the 13th century.
Sgraffito and slip-decorated wares continuing Seljuk techniques and styles were also produced during the Emirate period. The earliest example of the new styles that emerged in the early Ottoman period are the 'blue-and-white' Iznik ceramics. Another blue-and-white group from Iznik is erroneously called 'Golden Horn ware' because the first examples of it were discovered at a site on the Golden Horn in Istanbul. Iznik is also where another misnamed group of ceramics known as Damascus ware was manufactured. Yet another group of polychrome underglaze Iznik ceramics to be erroneously attributed to another place is the one misleadingly known as Rhodos wares, so-called because of the numerous examples of them purchased from the island of Rhodes and taken into the Cluny Museum. As late as the middle of the 16 century, the Ottoman ceramic industry was producing more utensils than architectural tiles. During the first half of the 19th century, Kutahya's ceramics industry suffered a downturn from which it slowly recovered during the second half and into the early part of this century. There is a third important group of Turkish ceramics that are quite different from both the sublime products of Iznik and the humbler wares of Kutahya. To summarize, the art of Turkish tile and ceramic-making developed over the centuries incorporating many different techniques and styles.
The art of Turkish tiles and ceramics have a very important in the history of Islamic art. There is a widely held but quite erroneous belief that figurative painting, is not found in Islamic art due to prohibition by the Koran.
We have an Art Studio in Sultanahmet area and we have 2 teachers that are professional in Traditional Turkish Tile & Ceramics workshop. Please send us an e-mail if you are interested in participating our classes as individual or a student group.
Azert remelem,hogy ezeket a magyar(-os) regisegeket Amerikaban,Kanadaban,Del Afrikaban stb. Nature is full of pictures, and they are to be found in what appears to the uninitiated the most unlikely places. ON A SUNNY JUNE MORNING in 1903, Lily White ventured beyond the comfort of her new houseboat, the Raysark, anchored in a snug harbor on the Columbia River near Lyle, Washington.1 With stray hairs blowing about her face, she sped away in a small gasoline-powered launch for the ten-mile crossing to The Dalles, on the Oregon side of the river, in search of a boat mechanic.
Refitting the pipe joints this time with greater difficulty in the dark, and replacing the needle valve, I tried to start the engine.
WHILE THE FAMILY STORIES of Lily White and Sarah Ladd have little in common, their lives intertwined in a friendship that lasted throughout their adult years.
WHEN THE FIFTH ANNUAL Oregon Camera Club exhibit opened on October 30, 1899, at the club's rooms on the second floor of the Oregonian building, three hundred photographs a€” arranged alphabetically and lit by electric lights a€” hung on a background of green burlap, surrounded by wood ferns, draperies, and banners of the stars and stripes. Art, love of the beautiful, ambitions to excel has raised the standard of the Camera Club's work high among amateurs. Included in Ladd's six displayed prints were A Japanese Phantasy, Silent the Phantom Wood by Waters Deep, a bucolic forest scene, and Youth and Old Age, an image portraying a butterfly amid the opened seedpods of an aging plant.
TOWARD THE END of the nineteenth century, photographic salons, where a rigorous jurying process approved only the most artistic work, appeared in Europe and the United States. IN THE SPRING OF 1903, White's custom-built houseboat, the Raysark, was towed up the Columbia River rapids by the steamer Regulator, and White and her friends were now free to explore the bays and inlets of the upper river. White and Ladd intended to photograph their surroundings and develop and print the results in the Raysark's darkroom.
BEGINNING IN JANUARY 1905, as entrepreneurs focused on promoting Oregon and the Lewis and Clark Exposition in Portland, Ladd's and White's photographs of the Columbia River Gorge began appearing in the Pacific Monthly, a magazine owned and published by Ladd's husband Charles. Ladd's images included a cloud-shrouded Mount Hood and photographs titled Celilo Falls, Morning Mists, St. It was a romantic, visual tour to entice people to experience the basalt ledges and peaks of the Gorge and the serenity of the river.
FEW ARTISTIC PHOTOGRAPHERS of this era were able to devote themselves fulltime to making photographs. Sarah Ladd, A Fish Wheel is Shown at the right Extending from an Island near the Middle of the river. SARAH LADD WAS FIFTY-EIGHT years old when her husband died on March 20, 1920, at age sixty-three. I wish to thank Terry Toedtemeier for introducing me to the work of Lily White and Sarah Ladd and also Wayne Travillion, Lily White's grandnephew, for his generosity in providing information about White's family background. Content in the History Cooperative database is intended for personal, noncommercial use only.
The house was decked out so full and pretty, with the Christmas ladder tree, and Christmas tree forest in a crate, and nothing was really in the way. They were still lightly misted with faux snow from the holidays, which provided the perfect winter highlight. The kids would sneak downstairs, turn the corner into the living room, and see the massive tree all aglow with it’s heavy sparkling tinsel and vintage lights with the scalloped metal reflectors. One can only hold sweet memories if the experience was good, and you are blessed with that. In our place, we give beginner, intermediate & advanced level of traditional Turkish Tile & Ceramic painting lessons. This resulted in a distinctively Anatolian style of Seljuk architecture that was in full bloom by the 13th century.
Unlike brick, these were preferred for indoor applications and were suitable for a multiplicity of geometrical arrangements.
Two kilns were unearthed along with a substantial quantity of kiln material and incomplete and spoiled examples of ceramics decorated with the sgraffito and slip techniques.In the sgraffito technique, the object is allowed to dry to leather-hardness after which the design, usually plant and floral motifs, is incised into the surface, which may or may not be given a coat of slip beforehand.
During early Ottoman times, they appear among Iznik wares reflecting the tastes of folk art.In the course of excavations at the site of ancient Miletus, the archaeologist and art historian F. The techniques involved in their manufacture are quite advanced as compared with anything previously done.
Dr Oktay Aslanapa's excavations at Iznik have demonstrated incontrovertibly that these wares were manufactured there.
Thereafter however production shifted heavily in favor of the latter as there was a strong surge in the demand for tiles as decorations in the extensive building programs undertaken by Suleyman I (1520-1566) and his successors when the Ottoman Empire was politically, economically, and culturally at its peak. Thus do we find examples of Kutahya-made tiles decorating a number of late-Ottoman buildings.
Canakkale ceramics have begun attracting the interest and attention of researchers and collectors more and more in recent years.The earliest examples of these ceramics can be dated to the end of the 17th century.
Enriched by the arrival of the Seljuks, the ceramic industry in Anatolia achieved a deservedly worldwide reputation with the support of the Ottoman court. Its roots can be traced at least as far back as the Uighurs of the 8th and 9th centuries.
Religious rulings issued only in the ninth century discouraged the representation of any living beings capable of movement but they were not rigidly enforced until the fifteenth century. Let the honest student then choose some district with which he is in sympathy, and let him go there quietly and spend a few months, or even weeks if he cannot spare months, and let him day and night study the effects of nature, and try to produce one picture of his own, which shall show an honest attempt to probe the mysteries of nature and art, one picture which shall show the author has something to say and knows how to say it, as perhaps no other living person could say it; that is something to have accomplished. All day the mechanics cut, turned, and fitted, making many trips to and from the workshop, until without rest or food they finished the repairs just as the sun was sinking from view. Through their work, the Raysark became legendary, providing the two women and their friends congenial summer memories and a source of their most enduring photographs. Profiting from civic expansion projects, real estate, farming, and the burgeoning river transportation business, the Ladds became wealthy Portland bankers. The movement nurtured amateur photographers who created artistic images purely for personal pleasure as opposed to commercial photographers who mass-produced studio portraits for profit.
Judd of Pendleton donated a trophy a€” a large three-handled silver loving cup with gold lining a€” to be awarded each year for best general exhibit by an individual amateur photographer. The twenty-eight-page exhibition catalogue highlighted the club's studio in the tower of the Oregonian Building, furnished with an enlarging camera, a lantern slide-reducing camera, a stereopticon, and developing rooms. In early 1901, San Francisco opened its first photographic salon at the Mark Hopkins Institute of Art with nearly five hundred photographs, including numerous works by Sarah Ladd and Lily White's A Soul Looked In and Rest.
Stieglitz could single-handedly influence a photographer's future by accepting or rejecting his or her work in exhibitions, by publishing it in Camera Notesa€” the journal of the Camera Club of New York, which he edited a€” or by returning it with his deflating comments about work being technically perfect but pictorially deficient. White confessed to creating that setting by damming a stream and letting part of it run wild in Fulton Park, an area between Portland and the Ladd estate. Camera Craft judged Ladd's Eyes of the Earth to be the best of her five carbon prints and reproduced it with their review. Included were Ladd's A Decorative Panel, three flower studies presented as carbon prints on celluloid.37 In May 1902, the Camera Club of New York hung Ladd's work, and in July Stieglitz added Sarah Ladd to his list of photographers invited to represent the United States in the Turin International Exhibition at the Exposition of Decorative Arts in Turin, Italy. The events connected photographers from across the United States and Europe, especially when their work was reviewed and published in journals and exhibition catalogues. Each active member contributed one print a month to a portfolio that traveled to cities where the club had members.
In its regional announcement, Camera Craft emphasized the inclusion of the Secession's western members a€” Anne Brigman from California and Sarah Ladd, Lily White, and Myra Wiggins from Oregon.48 Considering the distance from New York City and the relative isolation of western states from the New York City photographic hub, the accomplishments of these women are notable.
The Columbia River became her home for creating pictures at any time of day, with rock formations, clouds, water, trees, and light creating the soft moodiness that was indicative of the photographic style of the time. The periodical, with a circulation of six thousand by 1900 and distributed throughout the Pacific Northwest, published western fiction, humor, travelogues, literary installments, and articles about economic progress and development in the Pacific Northwest and California.
Like so many photographers of flowers, Ladd created images that reflect the view that all art originates in nature and defies the complicated technical requirements to leave an impression of natural simplicity. While these photos possessed the atmospheric content that asked viewers to contemplate the natural world a€” a popular theme of the era a€” they were reproduced to attract leisure-class tourists and potential new residents to the region. Sarah Ladd's social obligations often required her attention, and those appearances increased when her husband Charles became involved with the 1905 Lewis and Clark Exposition, which provided an opportunity to glorify Portland's business and society and served as the culmination of personal ambitions for many of the city's elite.
About a dozen subscribers to The Nautilus have discontinued the magazine on becoming Christian Scientists. On June 9, 1908, while living in Oswego and already a member of the First Church of Christ, Scientist, in Portland, she joined The Mother Church, The First Church of Christ, Scientist, in Boston.67 A year later, she was living with Sarah and Charles Ladd at Cedarhurst and working as a Christian Science practitioner at 616 Beck Building. Accustomed to moving on her own path, she set in motion a new course, and in July 1921 she was elected a member of the Christian Science Society in McMinnville. Ladd was noted for her beauty and during her married life in Portland won more than local recognition because of her interest in flowers and gardening, an interest she maintained throughout her life. White fit the archetype of the strong independent western female, while Ladd had been part of Portland's high society. I am also grateful to the staff of the Oregon Historical Society Research Library for their assistance.
Lily White probably taught photography to Fred and Oscar Kiser who, in 1903, created the Kiser Photographic Company, specializing in scenic photography. Catalogue, Sixth Annual Print Exhibition (Portland: Oregon Camera Club, October 29a€“November 3, 1900). Constitution, Oregon Camera Club [1895], Research Library, Oregon Historical Society, Portland [hereafter OHS Research Library]. In 1899, the Oregon Industrial Exposition featured a photography exhibition judged by Ida Rae Myrick, W. Minutes of the Oregon Camera Club, December 15, 1894a€“June 10, 1902, 57 OHS Research Library [hereafter OCC Minutes]. I maintain that many photographs attributed to Lily White were actually made by Sarah Ladd.
Judith Huenneke, The Mary Baker Library, e-mail correspondence with the author, July 2, 2004. David Nartonis, Assistant for Administration, The First Church of Christ, Scientist, Boston, Massachusetts, letter to the author, June 13, 1988. You may not reproduce, publish, distribute, transmit, participate in the transfer or sale of, modify, create derivative works from, display, or in any way exploit the History Cooperative database in whole or in part without the written permission of the copyright holder.
They reminded me of the intense ice storms we use to have, while we huddled around the kitchen table, a flickering candle illuminating our board game.
I don’t remember her using it, but I do remember her wringer washing machine greeting you at the back porch door as you walked in. You bet I booked it in as a separate piece of luggage in order to get it home in one piece. Its subsequent development was influenced by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art.
Usually lessons are 2 hours based and by the end of 2 hours, you will be able to finish one item like a tile, plate or a figure. Seljuk mosques, medreses (theological academies), tombs, and palaces were lavishly decorated with exquisite tiles. The resulting design is then covered with a transparent glaze of a different color and then the piece is fired. Sarre came across a type of polychrome pottery that erroneously became known as 'Miletus ware'.
Raby has proposed calling them the 'Tugrakes spiral style' instead.5 The motifs of tiny leaves and flowers on spirals are executed in shades of cobalt blue, turquoise, and black.


The forerunner of the style is said to be a lamp in the Dome of the Rock that is dated 1549 and bears the signature 'Musli'. These ceramics have an extensive palette and are generally decorated with naturalistic flowers. Countless examples of mosques and tombs not only in Istanbul but all over the empire were adorned with the products of the Iznik potters' skill.These underglaze-decorated ceramics and tiles were decorated with a rich palette of shades of cobalt blue, turquoise, green, black, brown, and the famous 'coral' or tomato red, the last of which appears in a slight relief resembling sealing-wax.
The tiles on the Tomb of Sultan Mehmed Resad V in Eyup (Istanbul, 1918) for example were made at the manufactory of Hafiz Emin Usta, which was then operating in Kutahya.
Fairly good-quality wares continued to be produced up until the beginning of the 19th century. Its subsequent development was influenced by Karakhanid, Ghaznavid, and (especially) Iranian Seljuk art. Figural art is especially rich in tiles as well as stone and stucco reliefs of the Seljuk period, adorning both secular and religious reliefs monuments. Remember that your photograph is a rough index of your mind; it is a sort of rough confession on paper. She must make her own landing and arrive on the high deck of the wharf as best she could and under fire from a regiment of critical eyes. Early amateur photographers such as White and Ladd, who had leisure time and economic freedom, undertook their work not for money, but for creative adventure. Ayer a€” a Portland bookseller, stationer, and printer a€” and lived in her grandfather's home at 348 Fourth Street. Amateurs often printed their work on paper coated with light-sensitive platinum rather than ordinary silver coatings, and making carbon prints became popular with Camera Club enthusiasts in Portland. A photographer had to win the competition three times in order to keep the Judd Cup and have his or her name inscribed on it. Beach, general manager of the Interchange, each camera club must prepare 50 to 125 slides, each 3A? inches by 4 inches. Her Bridge of Hope, taken from her houseboat near Castle Rock that summer, recorded a rainbow, which was considered an unusual achievement for a photographer.32 White also exhibited several photographs of Native Americans, including A Shadow of the Past, which depicted a mother and her baby.
After each member wrote comments about the prints, they were sent to the next city until eventually they returned to the owners. White and Ladd remained Photo-Secession members at least through 1905.49 Overall, the camera club structure and amateur movement created a symbiotic relationship, in this case a vertical one, scaled by Lily White and Sarah Ladd. Steamers from Portland conveyed guests to and from her boat, which was often anchored near Lyle, Washington, a busy shipping port for wheat and sheep eighty-two miles east of Portland. While White's darkroom-equipped houseboat was probably unique to Portland and the Columbia River Gorge, it was not an original idea. With this latest technology, the two friends could wait for the clouds to form, the water to calm, and reflections to appear. Telegraph poles peer below the looming cliff of White's Upper Cape Horn, Near Celilo Falls of the Columbia. Photographs in the Pacific Monthly appeared with the descriptive titles or local literary connections that were commonly used by photographers but were also likely to appeal to tourists.
When making flower photographs, there were aesthetic considerations of composition and lighting along with the formal qualities connected to the photographers' intentions, from the desire to portray botanical specimens to romantic associations, emotions, or beauty. Ladd and White had become successful, benefiting from the prestige associated with their work and maintaining their economic independence by making artistic photographs for commercial projects.
The Ladds attended a banquet to honor the arrival of Vice President Charles Fairbanks, for example, and joined a thousand people at an opening reception of the American Inn, which Charles Ladd built on the fairgrounds.63 The festive activities offered quite a contrast to Sarah Ladd's life on the river. Elizabeth Struble Towne, born in Portland in 1865 (one year before White), was a follower of Quimby's and the publisher of the Nautilus, an influential periodical associated with New Thought.
On June 2, 1911, Ladd joined White as a member of the Mother Church of the First Church of Christ Scientist in Boston.69 In July, she and nine other women organized the Carlton Civic Improvement Association.
Together, they joined the local Christian Science Church, where they remained members until their deaths. Each had a photographic and aesthetic vision that gave them the same status as the men who photographed the Columbia River at the same time, and both adopted a religion that allowed them to take prominent roles that were not permissible in traditional religions. The Kiser brothers grew up on the Columbia River opposite Beacon Rock, near Dodson, Oregon, where White would sometimes stop.
The lectures were available after the club renewed its membership with the American Lantern Slide interchange in 1901.
The slides most preferred by the Interchange board of managers were cloudy landscapes, figures studies, and genre subjects. According to Penrose Annuals from this time period, Photoloid was introduced as a print material that would give a "true carbon [look] unattended with the great labor and care that the latter requires. Given that Bell's intention was to organize the Salon Club as a challenge to Alfred Stieglitz and his Photo-Secession, it is interesting to note the inclusion of Sarah Ladd and the initial listing of Myra Wiggins, both Photo-Secession members. Twenty-two-year-old Oscar Kiser disappeared on Saturday, November 4, 1905, from the Charles Ladd boathouse at Riverdale, where he worked as the caretaker.
Ladd left $3,000 to the Christian Science Society of McMinnville for the maintenance of their grounds and set aside $1,500 for a drinking fountain in Carlton in memory of her husband. From 1930, Lily White lived on Scenic Drive between Martin Way and Carmel Point with Mabel Spicker.
One example that you might want to try for your apartment is the luxurious minimalist design. I put all this snow stuff out and white this and that, stood back, but  it felt like Christmas all over again. Just the sound of crashing ice from the tall tree branches breaking, and our laughter in the dark. Grandma also had one of those clothespin hanger things that looked like a mini vintage apron. I still remember dashing to the tree and hugging our dream gift, while madly unwrapping the other ones.
With the Seljuks' victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate.There is a widely held but quite erroneous belief that figurative painting, is not found in Islamic art due to prohibition by the Koran.
Examples of such tile-clad structures can still be seen in the Seljuks' capital city of Konya as well as in the cities of Sivas, Tokat, Beysehir, Kayseri, Erzurum, Malatya, and Alanya.The most frequently-encountered type of architectural decoration during the Anatolian Seljuk period involved the use of glazed brick in which glazed (and also unglazed) bricks were arranged to produce a variety of patterns, mostly on the facades of buildings. In the slip technique, the design is painted onto a red-paste surface using diluted white slip to produce a slightly molded effect. We now know, as a result of recent excavations, that these wares were actually made in Iznik. In this object we find a new palette of colors incorporating, in addition to the traditional cobalt blue and turquoise, eggplant violet and a cumin green. Many examples of Kutahya ceramics from this period are to be found in museum and private collections in Turkey.The difficult straits into which the Iznik industry had fallen in the 18th century inspired some in Istanbul to establish a reliable source of tiles that was closer to home and easier to control. In addition, efforts are also being made in private workshops and educational institutions in Iznik, Istanbul, and Bursa to keep the art of traditional Turkish tiles and ceramics alive and develop it so that it can address the demands of modern-day life.Felt Making Workshops in Istanbul,Traditional Turkish Felt Making,Felt is a non-woven cloth that is produced by matting, condensing and pressing woollen fibres. With the Seljuks' victory over the Byzantines at Malazgirt in 1071, the art followed them into Anatolia and embarked upon a new period of strong development fostered by the Anatolian Seljuk sultanate.
The subjects included nobility as well as servants, hunters and hunting animals, trees, birds, sphinxes, lions, sirens, dragons and double-headed eagles. When a woman will step into the world of action and do a few vigorous things for herself, she may do all the resta€”ahem!
And here it was, during the time which followed, that I learned the real meaning of stillness.
In Portland, privileged men and women chartered riverboats for moonlight excursions on the Willamette and Columbia rivers and enjoyed the new sport of golf a€” and they documented their leisure activities by taking photographs. Her mother, Nancy Hoffman White, had crossed the plains from Illinois at age eleven with her parents and twelve brothers and sisters. Ladd's son, Charles Elliot, graduated from Amherst College in 1881 and brought his bride Sarah L. Lily White taught Oregon Camera Club members the latest photography and darkroom techniques, using ready-to-expose, emulsion-coated glass plate negatives and platinum paper for image-making.
Favored for its permanence and ability to produce colored prints at a time when color photography was rare, carbon printing involved exposing a negative against pigmented tissue sensitized with potassium bichromate. To select the winner, the club chose three judges a€” a professional photographer, an artist, and an amateur who was not a club member a€” to evaluate each personal grouping of photographs (at least six but not more than ten pictures mounted, with framing optional).
Individual slides had to be as technically perfect as possible, without areas too dense or too clear, matted and labeled, and without too much soot. Stieglitz's pronouncements signaled a new era, but Ladd and White's adventures on the river had already begun. White had supervised the boat's construction, and the Raysark was built to accommodate her personal needs. They might move closer to or farther away from Castle Rock (now Beacon Rock) or stand on a sandy beach.
In a change from her typical landscapes, White also captured the work of fish seining on the Columbia with her photographs of horses and men grappling with the nets spread by boats.57 The exhilaration of the two women's work and the pleasures of life on the river, away from the pace of city life, contributed to a series of photographs that many believe is unmatched by other photographers. There were also many decisions to make concerning plate development, paper selection, and mounting techniques. Their first project involved working with the city council to purchase trash cans for the streets.70 Unlike White, Ladd continued to exhibit her photographs despite the changes in her life.
Living near the ocean in a creative, invigorating community of writers and artists would have supported and nurtured their interests, but their life together was not to last long. Their work as artists influenced the Oregon Camera Club, which depended on photographers whose photographs reflected their lifestyle, the artistic genre of their era, and the landscapes they cherished.
Photoloid consists of a colloid emulsion placed upon a cellulose base, from which combination the name evolved.
The same author then discussed the formation of a Western Division of the Salon Club, a group organized by photographer Curtis Bell. In 1904, Charles Ladd bought it from Jay Cooke, a railroad financier, and then sold it to Henry J. Holman, a lawyer and amateur rose grower, suggested that every Portland home should plant roses the following spring so the plants would have three years' growth by the time the Lewis and Clark Centennial opened. A bronze medallion of Charles Ladd, Chinese vases, and Greek glass bowls were left to the Portland Art Museum. The design looks so minimalist but luxurious with the combination of white color and some grey as the accent.
Religious rulings issued only in the ninth century discouraged the representation of any living beings capable of movement but they were not rigidly enforced until the fifteenth century. We also have the Tile owen to finish the process.Group lessons for High Schools and Universities can be provided all year long.
Turquoise was the most frequently-used color for glaze although cobalt blue, eggplant violet, and sometimes black were also popular.
There are rare examples with traces of gilding.A third technique in which the Anatolian Seljuks were skilled was that of mosaic tile. The surface is then given a coating of transparent glaze colored blue, green, or light or dark brown and then fired. The styles, designs, decorations, and techniques of these ceramics are quite distinct from Seljuk traditions. During this period, naturalistic such as tulips, roses, pomegranates and hyacinths begin to enrich the repertoire of stylized plant motifs and arabesques. Although the traditional designs of stylized plant motifs, arabesques, and Chinese clouds appear in the compositions, there is a shift towards a more naturalistic style in which tulips, carnations, hyacinths, roses, spring blossoms, lilies, cypress trees, and clusters of grapes and vine leaves appear. Ibrahim Pasa, a grand vizier during the reign of Ahmed III (1703-1730), had a tile-making factory set up at Tekfur Sarayi in Istanbul.
Designs consist of underglaze spots, simply-drawn ships, flowers, fish, birds, and buildings that are applied free-hand. While some types of felt are very soft, some are tough enough to form construction materials. Camera clubs across the country were giving amateur photographers the opportunity to socialize, obtain darkroom assistance, share ideas and information, and go on organized outings on bicycles, trains, or river steamers. Despite the death of Nancy's father on the Snake River, the family arrived in Oregon in 1852.
Several moonlight scenes bring forth the latent beauties of pale lights and dark backgrounds.
On another day, they might hike inland for a view of Upper Cape Horn, near Celilo Falls, catch the rays of sun reaching through the clouds after a storm, or capture the early morning mists. The Panamaa€“Pacific International Exposition opened in San Francisco in 1915, and Ladd exhibited fourteen photographs in the Art Room of the Oregon Building. White's Camera Club demonstrations encouraged countless photographers to progress in style and technique. The emulsion is a fairly rapid one to be developed in approximately the usual way like developing paper. During the following days, the Oregonian and Oregon Daily Journal reported he had fled the city, been shanghaied, met foul play, and been murdered. Twenty-three practitioners are listed in the city 1909 directory, fifteen of whom worked in the Beck Building. This apartment interiors design is becoming the inspiration for many apartments that many people have. Figural art is especially rich in tiles as well as stone and stucco reliefs of the Seljuk period, adorning both secular and religious reliefs monuments. This was also employed in interiors, especially in mihrab niches, the interiors of domes, transitions to domes, vaults, and walls. During the firing, the areas decorated with slip assume a lighter shade of the glaze color, which appears darker in the ground.
They are decorated with motifs executed in tones of blue, turquoise, and violet under a colorless or colored glaze.
These changes in the Iznik potters' production habits are attributed to attempts to imitate the 15th-century Ming porcelains that were reaching the Ottoman court in various ways.
Compositions are relaxed and free, offering greater scope for experimentation with new and richer arrangements. The output unfortunately was incomparably inferior to that of Iznik: designs were poor copies of Iznik originals, glazes had a blue cast and were flawed, and colors were dull and lifeless. Felt can be of any colour, and made into any shape or size.Many cultures have legends as to the origins of feltmaking. In Portland, White and Ladd dedicated themselves to the Oregon Camera Club and the nascent photographic movement in the city.


They were easily transported and could be exposed and developed whenever it was convenient rather than on location, as wet-plate negatives required.
Prints could result in tints of yellow, green, red, or violet by varying the toning or amount of light and carbon tissue paper used.18 Experimentation with photographic printing techniques and materials was indicative of the true craftsmanship of amateur photographers who thought of themselves as artists.
That year, 28 slides by 12 members of the Oregon Camera Club were accepted by the board of managers. For scale, they sometimes added a human figure or their houseboat as a reminder of their location and how they lived.
The two friends' boundless physical and creative energy shaped an image of the Pacific Northwest seen by thousands of people. His body was found December 25, 1905, in the Willamette River downriver from the Ladd boathouse. As an addition to that, they also have some examples of the apartment interior design based on the size of the apartments. Examples in which the motifs have black contours are also known, as are pieces with black decorations under a turquoise glaze. Tile manufacturing at Tekfur Sarayi lasted thirty years or so and the enterprise was generally regarded as a failure.
The most common forms are dishes, plates, and jars.During the 19th century, quality dropped off sharply. Both women understood the power of photography to record their own ways of seeing a landscape. Portraits were never better and afford new studies that would appeal to the eye of an artist.
While Ladd's photographs received more attention than those of Lily White, both locally through the Pacific Monthly and on the East Coast, it was White's sense of adventure and the opportunities she created on the Raysark that set the tone for their posterity.
Maud Ainsworth was awarded first prize of ten dollars in the Architecture and Interiors Division for Melrose Abbey.
White and sister of Milton White), Lily White may have thought of Maud Ainsworth as her cousin. In an interesting twist, White is listed on the April 1910 United States census twice a€” once boarding with the Ladds in Portland and working as a Christian Science physician and again living in her family residence on Fourth Street working as an artist with a studio.
Therefore, you will not need to worry if you have the considerably limited space in your apartment. Different styles of calligraphy adorn the tile friezes on monuments; on utensils we find images of ships, 'rock-and-wave' motifs, triple-spots, animal figures, and fish-scale patterns. Nevertheless some of its output was used in buildings in Istanbul such as the Hekimoglu Ali Pasa Mosque (1734), the Yeni Valide Mosque (Uskudar, 1708), the Cezeri Kasim Pasa Mosque (Eyup, a restoration done in 1726 of a mosque originally built in 1515), and Kandilli Mosque (1751). Forms from this period consist of jars, ewers, jugs, vases, flower-pots, and candle-holders as well as animal and human figurines. The story of Saint Clement and Saint Christopher relates that while fleeing from persecution, the men packed their sandals with wool to prevent blisters. During those years, they also cultivated opportunities for personal promotion that intersected with Portland's rise in regional and national status.
Sarah established a formal garden there with imported plants, a bowling green, a tennis court, a barn, stables, and a caretaker's home. The Expo, which was open for four weeks, featured music, art, trapeze artists, bands, cakewalks, a photography show, and military, mining, and agricultural, displays. The pieces were arranged glazed-side down after which a whitish mortar was poured over them. A feature of most 'Miletus' ware is that the interiors are given a coating of slip but part of the exteriors and the bases are not. There is also a proliferation in vessel forms of which deep and footed bowls, vases, ewers, dishes, lamps, candle-holders, and mugs are but a few.Around the middle of the 17th century, the quality of the Iznik potteries began to feel the impact of the economic distress and political upheavals from which the Ottoman Empire had begun to suffer. There is also a hearth, now in the Victoria and Albert Museum in London, whose tiles were made at Tekfur Saray.
Only a single-color glaze was used in these ceramics and there are instances in which black, white, blue, red, yellow, or gilded designs were applied over the glaze.10 Ceramic manufacturing at Canakkale was still being carried out as late as the middle of the 20th century. At the end of their journey, the movement and sweat had turned the wool into felt socks.Feltmaking is still practised by nomadic peoples in Central Asia and northern parts of East Asia, where rugs, tents and clothing are regularly made. She filled her home with mahogany furniture, china and silver serving pieces, and imported statues and vases of bronze and porcelain. Designs tend to be plant motifs and geometrical arrangements but animal figures are also encountered.
The decorations include stylized foliage, arabesques, and Chinese clouds alone or in skillfully-executed compositions.Iznik blue-and-whites can be classified in a number of subgroups on the basis of their motifs and styles. Some of these are traditional items, such as the classic yurt, while others are designed for the tourist market, such as decorated slippers. Cruikshank examined the minutes of the membership meetings in 1902a€“1922 and the early membership list. Mosaic-tile compositions are generally geometrical but floral motifs and Kufic or Thuluth calligraphy are also found.
The contours of the designs are picked out with a mixture of beeswax or vegetable fat and manganese oxide.
One group, with motifs consisting of stylized lobed leaves with curling tips is attributed to a 'Baba Nakkas', a chief designer at the Ottoman court studios in the 15th century, and is therefore known as the Baba Nakkas style .4 Cobalt blue in various tones is the principal color. In the Western world, felt is widely used as a medium for expression in textile art as well as design, where it has significance as an ecological textile.Traditional Turkish Felt Workshop by Mehmet Girgic Mehmet girgic is a master Craftmen in Felt Making in Istanbul and we make our workshops in his Studio by himself or his assistants. During the firing, the wax or fat burns away producing contours of red or black that also prevent the differently-colored glazes from running into one another.The cuerda seca technique permits extremely complex and detailed designs to be applied to ceramic surfaces.
One, a composition of thick motifs radiating around a central motif, is identical to the grooved designs on metal bath-bowls.2,The late 15th and early 16th century marks the beginning of a new period in Ottoman tile and ceramic-making.
In addition to plant motifs, examples decorated with calligraphy and (less commonly) geometric patterns that are a continuation of Seljuk traditions are to be found. During this period the Iznik manufactories apparently turned their attentions more and more to the demands of customers who were less finicky than the Istanbul court and its circles. A rich and subtle palette of colors was available with colors such as turquoise, cobalt blue, lilac, yellow, black, and pistachio.
Designs prepared by artists who were employed in the studios of the Ottoman court were sent to Iznik to be executed in wares ordered for use at the palace.
There is even evidence, in the form of written complaints, that orders placed by the court in Istanbul were being delayed.8 By the 18th century, the ceramic industry in Iznik had died out completely and Kutahya replaced it as the leading center in western Anatolia.
In the lesson you will make the whole stages of a Felt making process and by the evening, you will be able to finish 1 item like a hat, bag, shoe, a scarf or a design that you choose.. The only place in Anatolia were tiles of this type have been found is Alaeddin Kiosk in Konya. The court's patronage stimulated and supported the development of an artistically and technically advanced ceramic industry in Iznik.
Indeed, Kutahya had been in operation as a secondary center along with Iznik since the 14th century 9 but its production always paled in Iznik's brilliance.
The palette of colors that this technique offers is much greater and one finds shades of violet, blue, turquoise, green, red, brown, black, and white as well as gilding. Fine examples of cuerda seca tiles are to be found at the Bursa Green Mosque (1419-1420) and Tomb (1421-1422) the Mosque of Murad II (Edirne, 1436), the Tiled Kiosk (Istanbul), and the Tomb of Prince Mehmed (Istanbul, 1548). But where production at Iznik was discontinued, Kutahya plodded on.For a while, the Kutahya potters produced inferior copies of Iznik blue-and-whites but they also began producing ceramics whose forms, colors, and techniques are quite distinct. Some colors were applied under the glaze and then fired; others were applied over the glaze which then received a secondary opaque white, transparent, or turquoise glaze and was fired again. Among them are a group of Christian liturgical utensils and tiles with religious themes that were made by Armenian potters for their churches. The designs of minai tiles are lively and reminiscent of miniatures with themes taken from palace and court life.In underglaze tiles, the designs are painted onto the surface, which is then glazed before the tile is fired. 18th-century Kutahya ceramics are made with a white paste and are usually decorated with underglaze-applied designs in yellow, red, green, cobalt blue, turquoise, black, and violet.
Betul is our professional Artist that is graduated from Mimar Sinan University department of fine Arts in Istanbul. She is professional in Ottoman Calligraphy - Tile Design & Turkish Motives - Ottoman Paper Marbling.
Turkish Paper marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name. Forms, which can be elegant, include thin-walled small cups, saucers, bowls, ewers, pitchers, flasks, incense-burners, lemon-squeezers, and ornamental eggs. The patterns are the result of color floated on either plain water or a viscous solution known as size, and then carefully transferred to a sheet of paper (or other surfaces such as fabric). Fine examples of these tiles have been discovered at the excavations of the Kubadabad Palace in Beysehir, where the tiles are decorated with plant motifs as well as with figures of human beings and animals.The luster technique first appeared in Abbasid Iraq. This decorative material has been used to cover a variety of surfaces for several centuries.
Later developed to a high level by the Fatimids in Egypt, it was successfully employed by the Iranian Seljuks.
It is often employed as a writing surface fo calligraphy, and especially book covers and endpapers in bookbinding and stationery. Part of its appeal is that each print is a unique monoprint.Need a break from the hustle and bustle of tourist life in Istanbul? The tiles discovered at the excavations of the palace are now on display at the Karatay Medrese Museum in Konya. Luster tiles are decorated in an overglaze technique in which the design is painted with lusterA?a mixture of metallic oxides incorporating silver and copperA?onto a previously glazed and fired surface. Ottoman - Turkish Calligraphy, also known as Arabic calligraphy, is the art of writing, and by extension, of bookmaking. The tiles are then given a second firing at a lower temperature producing a range of lustrous, mostly brownish and yellowish tones.
Seljuk palace luster tiles are decorated with plant motifs as well as with human and animal figures.Anatolian Seljuks sometimes used square, rectangular, hexagonal, and triangular tiles to cover interior walls. Its origin might ultimately hark back to China, where a document from the T'ang dynasty (618-907) mentions a process of coloring paper on water with five hues.
These tiles are plain, with turquoise, violet, or cobalt blue being the chief colors applied in the underglaze technique. Sometimes the traces of overglaze gilding are to be found; however because the gilding was fired at a low temperature (or not fired at all), it was not durable and has mostly disappeared. By carefully laying the paper over the bath, the floating picture on top of it is readily transferred to the paper; thus, each ebru is a one of a kind print. To obtain beautiful ebru results, one needs to have a light hand, refined taste, and an open mind to the unexpected patterns forming on the water. Patience and a good knowledge of traditional culture are characteristic of ebru masters.After the 1550's, booklovers in Europe prized ebru, which came to be known as ‘Turkish papers’.
Many specimens in their collections and in the several album amicorum books are visible today in various museums.
Also, early texts dealing with ebru, such as “Discourse on decorating paper in the Turkish manner”, published in 1664 by Athanasius Kircher in Rome, helped to disseminate the knowledge of this kind of marbling art. There is agreement amongst scholars that the so-called Turkish Papers played a colourful influence on the book arts in Europe.MATERIALS USED IN CLASSICAL TURKISH MARBLING Gum tragacath – Dye – Paintbrush – Basin – Water – Paper - Gall Gum Tragacant is obtained from trunk of a thorny plant growing naturally in Anatolian, Persian and Turkestan mountians and called “gaven”. The sap coming out of scratches made on the branches dries up later and solidifies in bone white colored pieces .
Turkish is a very rich country in respect of such natural dyes.Any kind of earth may be first translated into mud then filtered and crushed to from a dye. In older times rainwater was favorite but because of acide rain in our times it is no longer advisable. Paper: The ideal paper is the one handmade and having a high absorbtion capacity and acid-free. In order to increasethe absorbtion capaticy and to fix the dye on it(more durable) and alumina solution may be applied on the paper surface.
For instance when blue yellow are simultaneously applied and mixed up as much as possible never green comes out.3. MARBLING APPLIED TO PAPER PATTERNS,Marbling is similar to cooking; it is impossible to give the exact recipe. The density of the gummed water and the relationships between the water and the dye, the dye and the tensioning agent (gall), the quantity of gall in the dye are all very important.
Now if this basic pattern is handled by parellel lines made by a thin pencil or chip moved back and forth you obtain “the back-and-forth”. When a convolute line is applied from the outer circumference towards the centre you obtain a “nightingale nest”. In the event small colorfull dots are spotted on the back-and-forth or shawl design you get the “sprinkled marbling”.
If, instead, you apply larger dots (which means with higher rate of gall contents) you obtain the “prophyry marble” which resemble most to marble.,Nonetheless above patterns may be divesified by selecting one of the above as a basis and making concentric drops of different colors. Mehmet Efendi (the orator of Saint Sophia, deceased in 1973) first formed flower and other patterns, wich were subsequenly called the “Orator pattern” (Hatip ebrusu). The paper is then careflly lifted off the basin without stripping too much the gum off the surface. This infinity of colors and shapes quickly formed makes the marbling amazing at and fascinates the spectator (if any). Hikmet BARUTCUGIL,Mimar Sinan University paper marbling, fabric marbling, faux marbling, parrys graining and marbling, marbling paint, contemporary create design fabric marbling paper technique traditional, Turkish Marbling - Ebru Lessons in Istanbul.Turkish Paper marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name.
It is often employed as a writing surface for calligraphy, and especially book covers and endpapers in bookbinding and stationery.
Come take an art class with the remarkable Turkish artist Bahar !LEARN the secrets of creating the rich patterns of handmade marble paper . CONTEMPORARY create design fabric marbling paper technique designs on paper, glass or on silk fabrics .Our teacher that is shown in our pictures is Ms.
Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions in their work.LEARN the secrets of creating the rich patterns of handmade marble paper .
EXPERIENCE the sensuous flow of Ottoman Calligraphy,CONTEMPORARY create designs with Turkish patternts on tiles,Our teacher that is shown in the pictures are Mrs.



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