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For
archaeologists, the remains of pottery found in
excavations are a vital source of information
about prehistoric peoples. Ceramic culture began
in Anatolia around 5000 BC and gradually spread
around the world, each period and region developing
its distinct characteristics. The pottery of the
recent past is as fascinating as that of anquity,
and in Turkey Canakkale ware which dates
back to the Ottoman period is a subject of research
in its own right. Canakkale ware is quite
different in design, colour and form from earlier
Turkish wares like Ýznik, Kütahya
and Miletus. The area around Çanakkale
in northwestern Turkey had deposits of fine quality
clay, which was used to make all kinds of objects
for daily use and domestic articles that were
at the same time decorative. Plates, jars, jugs,
vases, cups, water bottles, candlesticks, lamps
in the shape of ships, bowls and many other objects
were made; all displaying a creative use of colour
and form. The clay used to make pottery in the Canakkale
region for many centuries was deposited in river
beds as a result of erosion, floods and alluvial
silting. Two types of clay are found in the
region, potters preferring the finer quality
red clay which contains a high level of iron
and produces the best results. The second type,
which is paler in colour, results in poorer
quality pottery which is more brittle.
Three principal techniques are used to make
this pottery: the pottr’sq wheel, the coil
strip method, and moulding. The pottr’sn
wheel turns on a shaft and is rotated by a foot
pedal, so employing centrifugal force to shape
circular vessels. In the coil strip method the
potter makes rope-like lengths or strips of
clay and coils them around a mould, forming
a basket weave effect. The third method involves
making a preparatory plaster mould of the required
shape, and then using this to make the casting
moulds.Into
these are poured clay or other ceramic substance
mixed to a fluid consistency. When dried the mould
is removed.Ottoman period Canakkale ceramics
consist largely of small sized pieces, generally
characterised by underglaze decoration over a
white or cream coloured slip, and a transparent
glaze.
Slip is still used to cover the Canakkale
ware made today, and most pieces are fired for
a second time after the glaze is applied. In the
18th century unglazed, single fired pieces were
also produced.Canakkale ceramics, which
are now sought after around the world, are often
fired in modern electric kilns today, but some
traditional workshops continue to use the old
wood-fired kilns. In the latter the articles turned
on a wheel are dried in the openair by the sun
before firing. In modern workshops and factories
they are dried indoors and fired at varying temperatures
in automatically adjustable kilns according to
the type of form and glaze. Glazing is an important
part of the process, involving covering the ware
with a glass-like layer.This
prevents the liquids they contain from being absorbed
by the clay body of the vessel. Glazing techniques
have changed little over the centuries, the main
raw material of glazes being sand, to which lead
or zinc are added to facilitate the melting process.
Metal oxides are sometimes added to the glaze
to lend it colour, and water to increase its fluidity.Lead
glazes are the most common type used on Canakkale
ware, and may be either transparent or opaque
coloured glaze. In the 19th century Canakkale
ware with monochrome glaze was often decorated
with relief flowers, rosettes and other appliées
designs. Jugs with protruding lips, sometimes
in the form of birds’ beaks or hors’si
heads, became popular. The ‘horse’ jugs
have globular bodies and narrow necks, plain handles
and spouts in the form of horse heads, a motif
thought to derive from mythology. Sometimes the
body, too, is in the form of a horse. Most of
these pieces have transparent glaze, and applied
decoration on the front of the body and neck.Early 20th century pieces frequently have bodies
in the form of animals or figures, the former
again with beak-shaped lips, either small or large,
and with globular bodies and narrow necks, and
sometimes lids. The thick handles are usually
twisted, and the colour glaze is transparent.
The late period pottery often features overglaze
decoration in the form of baroque style floriate
designs in earth pigments over a dark brown or
green glaze. Painted decoration over the glaze
on beak lipped jugs was occasionally highlighted
with gold or silver paint in the late period,
when we also find vessels in the form of animals,
such as lions, horses and poultry. Most of these
pieces, which have a transparent colourless or
coloured glaze, have applied relief rosettes and
other motifs. These jugs, made for decoration
as much as practical use, have bodies in stylised
shapes.Each piece of handmade Canakkale ware
reflects the individual personality of the potter,
and with their striking, unique designs, this
type of pottery remains a popular handcraft
today.
By
Filiz SANAY
Source: Skylife 09/2001
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