Şennur Kaya | Istanbul University (original) (raw)
Papers by Şennur Kaya
Journal of the European Ceramic Society, 2019
The excavation at Iznik tiles kilns continues as the third period of the field mission. We presen... more The excavation at Iznik tiles kilns continues as the third period of the field mission. We present here the first onsite, non-invasive analyses performed with portable XRF instrument on twenty-five excavated tiles and two residue materials of the kiln. The shards studied were attributed to the productions from 14th-to 17th-centuries. The comparison was made by the discussion of characteristic elemental ratios selected from the ceramic technology criteria and PCA/Euclidean distances analysis. Three groups of body and glaze technologies were evidenced. We encountered that the amount of tin oxide in the glaze decreased over the centuries. Besides, two different types of fluxes were used in the glaze, some containing only potassium, and the others having potassium and calcium. The decors, which were investigated in this study were blue, turquoise, green, red colours, and black lines. A copper-iron mixture in the red areas was documented, which reflects the use of bornite.
Heritage, 2020
The aim of this study is to estimate the uncertainty of a portable X-ray fluorescence (p-XRF) ins... more The aim of this study is to estimate the uncertainty of a portable X-ray fluorescence (p-XRF) instrument for the (semi-quantitative) analyses of tiles with underglaze decoration. Before starting the campaign of on-site measurements, the optimum acquisition time and the most accurate calibration mode were selected. For this purpose, the elemental composition of two glass standards of NIST (SRM610 and SRM612) and a Corning A standard were measured with varied times (5-360 s) and in different calibration modes (Mining, Mining Light Elements, Soil, and Rare Earth Elements). Afterwards, a set of blue-and-white tiles that was unearthed at Iznik Tile Kilns Excavation between the dig seasons of 2015 and 2019 was examined with p-XRF by selecting ten points of measure from each layer (body, transparent glaze, and blue coloured areas). The elemental composition of different layers was evaluated by means of the intragroup and intergroup data. They were also compared to the previous studies and ...
Kütahya, which is located in the Aegean Region of Turkey, was founded in the 3 th thousand BC. It... more Kütahya, which is located in the Aegean Region of Turkey, was founded in the 3 th thousand BC. It was ruled by Phrygia, Bithynia, Pergamon, Rome and Byzantium until it was fully conquered by the Seljuks in the first half of the 13 th century. Before joining the Ottoman Empire in 1429, Kütahya became the ruling center of the Germiyanids, who declared independence at the beginning of the 14 th century.
the Journal of Academic Social Sciences
Itudergisi B, Jun 29, 2009
... İzmit'teki azınlık yapıları Şennur KAYA*, İlknur AKTUĞ KOLAY İTÜ ... içerisi... more ... İzmit'teki azınlık yapıları Şennur KAYA*, İlknur AKTUĞ KOLAY İTÜ ... içerisindedir. 1921-22 (?) tarihli kent haritaları- nın Kozluk Mahallesi'ne ait paftasında Kapanca Sokağı'nın batısında, doğu-batı akslı bir yapı dikkati çekmektedir (Şekil 3). ...
Osmanlı mimarisinin temel yapı malzemelerinden olan tuğla, Tanzimat dönemine kadar geleneksel met... more Osmanlı mimarisinin temel yapı malzemelerinden olan tuğla, Tanzimat dönemine kadar geleneksel metotlarla tuğla harmanlarında üretilmiştir. Endüstri Devrimi sonrası XIX. yüzyılın başlarından itibaren Avrupa'da üretilmeye başlanan modern tuğlaların 1840'lı yılların başlarından itibaren iç piyasada çoğalması, yerli tuğla üreticilerini fiyat, kalite ve standart bakımından bunlarla rekabet edemez duruma getirmiştir. Diğer taraftan, Osmanlı sanayileşme hamleleri bağlamında yine 1840'lı yılların başlarından itibaren önemli Devlet adamları öncülüğünde İstanbul'da da tuğla fabrikaları açılmaya başlanmış, bunların sayıları Osmanlı İmparatorluğu'nun sanayi yatırımı yapmak isteyen özel şirketlere tanıdığı teşvikleri arttırmasının etkisiyle XIX. yüzyılın ikinci yarısında çoğalmıştır. Tüm bunların yanı sıra, önceki dönemlerde olduğu gibi, Devlet'in tuğla ihtiyacını karşılamak için 1880'li yılların başlarında Yıldız Sarayı civarında, Sütlüce'de ve Alibeyköy/Çobançeşme'de Hazine-i Hassa bütçesi ile üç tuğla fabrikası kurulduğu Başbakanlık Osmanlı Arşivi belgelerinden tespit edilmiştir.
The Ottoman art of ceramic production extending from the 14th to 20th century nurtured from three... more The Ottoman art of ceramic production extending from the 14th to 20th century nurtured from three centres such as İznik, Kütahya, and Çanakkale. Çanakkale, one of these centres, as compared to others, is distinguished from others through the primitive attitude in technique, form and designs, which is considered as " folk art ". Animal shaped forms such as lion, horse, camel and kangaroo in the traditional Çanakkale ceramics from the end of the 18th century to the first quarter of the 20th century fulfilled functions such as trinkets, box or candy box, or ashtray. The disproportion of these ceramics can sometimes be attributed to the practical attitude of the craftsmen, and sometimes to their wish to give a " funny " impression. On the other hand, as in many products of folk art, it is possible to observe forms and designs from prehistoric ages extending to the 20th century in Çanakkale ceramics. This surprising continuity can be explained by referring to the fact that production, independent of the " official " art of the period, continued by transfer from the master to the apprentice, without feeling the historical obligation. In this article, we will introduce interesting examples of past forms and designs in Çanakkale ceramics located in various museums and private collections and we will deal with their projections today.
During the Tanzimat Period sea transport had been mainly used fort he domestic and foreign trade ... more During the Tanzimat Period sea transport had been mainly used fort he domestic and foreign trade in the Ottoman Empire, thus custom houses had beeb built to fulfill the increasing trade demands at the port cities. This article aims to study the arhitectural and functional charecteristics of the masoury customs buildings coustructed at the port cirties of having different trade capacities in the Tanzimat Period. The survey varifies that the size of the masonry customs buildings which were built proportional to the trade capacity of the port. Meanwhile nearly all custom buildings hauses offices for the customs administration and officers including rooms for goods control and depot. The function of the buildings were taken into consideration in design and Neo-clasik style is preferded. ÖZET Osmanlı İmparatorluğu'nda Tanzimat döneminde artan iç ve dış ticarette daha çok deniz ulaşımı kullanılmıştır. Böylelikle gelişen liman kentlerinde, artan ticari talebe cevap verecek, gümrük yapıları inşa edilmiştir. Bu makalede Tanzimat döneminde çeşitli ticari kapasiteye sahip liman kentlerindeki gümrük binaları üzerinden, gümrük binalarının mimari ve işlevsel özellikleri belirlenmeye çalışılmıştır. Elde edilen sonuçlara göre kâgir sistemde inşa edilen gümrük yapılarının bulundukları limanın ticari hacmiyle orantılı büyüklükte inşa edildikleri saptanmıştır. Ayrıca genelde tüm gümrük yapılarının gümrük idaresine ve gümrük memurlarına ait ofislerden, mal kontrol yeri ile gümrük ambarından oluştukları gözlenmiştir. Üslupsal açıdan ise işlevsel yönü ön planda tutulan gümrük yapılarında, yalın Neoklasik üslubun tercih edildiği anlaşılmıştır. Anahtar Kelimeler: Gümrük Binaları, Tanzimat Mimarisi, Liman Binaları, Ticaret Binaları.
Giriş Osmanlı İmparatorluğu'nun ilk tersanelerinden olan ve XX. yüzyılın ortalarına kadar kentin ... more Giriş Osmanlı İmparatorluğu'nun ilk tersanelerinden olan ve XX. yüzyılın ortalarına kadar kentin fiziki yapısında yer alan İzmit Tersanesi, tarihsel açıdan çeşitli yayınlara konu olmuştur 1. İzmit Körfezi'nin kuzeyinde doğu-batı aksında lineer gelişen kent modelini oluşturan İzmit'teki Osmanlı tersanesinin ise kentin batı kıyısında olduğu bilinmektedir (Ş.1). Ancak bu tersanenin günümüze ulaşmamış olması, buradaki tersane yapıları üzerinde çalışma yapma şansını da ortadan kaldırmıştır. Dolayısıyla erken dönemlerine ilişkin yapısal özellikleri hakkında bilgilerimizin yetersiz olduğu 2 bu tersanenin mimari bileşenleri de ancak XIX. yüzyıldan itibaren sayıca artan görsel kaynaklardan tespit edilebilmektedir. Ayrıca çeşitli görsel belgelerde karşılaştığımız tersane yapılarının tersane alanındaki yerlerini ve fonksiyonlarını belirlememizde ilk defa Atilla Çetin tarafından tanıtılan 1906 tarihli tersane planından 3 da büyük ölçüde yararlanılmıştır (Ş.2). Bu çerçevede elde ettiğimiz tespitlere geçmeden önce İzmit Tersanesi'nin mimari yapısına da etki eden tarihsel süreci kısaca özetlenmiştir. İzmit Tersanesi'nin Tarihsel Gelişimi İzmit kenti, Astakoz adıyla MÖ VIII. yüzyılda ilk kurulduğu tarihten itibaren bir tersane kenti ve harp limanı olma özelliğini hep koruyacak olmasını şüphesiz Marmara denizinin doğusunda oldukça derin biçimde kara içine sokulan körfeze borçludur 4. Buna göre bugünkü yerleşim sahasının yaklaşık 6 km güneydoğusunda körfezin bitim yerinde kurulan Astakoz'daki tersane dışında, MÖ 264/263 tarihinde Nikomedia adıyla kenti bugünkü yerinde kuran I. Nikomedes'in 5 ve Nikomedia'yı kendi hükümdarlığı altındaki doğu topraklarının yönetim merkezi olarak belirleyen Roma İmparatoru Diokletianus'un 6 kentte tersane inşa
The traces of the city's historical past that have reached today, belongs to the Germiyanids and ... more The traces of the city's historical past that have reached today, belongs to the Germiyanids and the Ottomans. The settlement inside the castle was the point of origin for the city's expansion during the Preottoman and the Ottoman periods. The first settlements of residence and trade outside the castle began on the eastern side of the castle and expanded towards the north, spread towards the plain beneath the Hıdırlık Hill. The physical structure of the city until the 19 th century represents the classical Ottoman architecture and city planning forms. However, the Ebniye Nizamnameleri, which became effective along with the changes in the institutional, social, cultural and economic structures, formalized by the declaration of the Tanzimat reforms in 1839, generated a significant change in the structures of Anatolian cities. The architecture of the governor's office, the prison, the barracks and Idadi (high school), generated a new public space. The change is perceived throughout the city resulting from the renovations that carry out influences from the Western architectural styles. In this paper, the religious and public buildings will be analyzed together in the light of archive documents, considering the development of the city and the restructuring. Tile-making which is the main reason of Kütahya's renown will be analyzed in terms of utilization characteristics in the buildings and an evaluation will be made considering the city and the period. 2 URBAN DEVELOPMENT OF KÜTAHYA CITY The expansion area of Kütahya, which is located in the Central Western Anatolia of the Aegean Region is between the Yellice Mountain and the Hıdırlık Hill, on the east-west axis in the skirts of the Yellice Mountain 1. It is estimated that the foundation of Kütahya, which is mentioned as Kotiaeion, Kotiaion, Cotyaeum and Cotyaium in historical documents, date back to BC 3000 2. In the chronology of Anatolian civilizations, the city was under the rule of Phrygia, Bithynia, Pergamon, Rome and Byzantium, and came under the Seljuk rule in the first half of the 13 th century. Kütahya, which became the ruling center of the Germiyanids that declared independence at the beginning of the 14 th century, joined the Ottoman Empire in 1429. Under the Ottoman rule, it was first the ruling centre of the district, and shortly after it became the centre of the Anatolia State. In 1841, it became a district of Hüdavendigar Province. In 1915, it was an independent district and after the proclamation of Republic, it became a province 3. This brief historical background provides the turning points of Kütahya in terms of urban transformation and development. In this respect; the settlement area which was likely to have been inside the Byzantian castle previously, constituted the centre of the expansion area of the city before and during the Ottoman period, and it was found that the first settlements of trade and residence outside the castle starting from the eastern skirts
The Ottoman art of ceramic production extending from the 14th to 20th century nurtured from three... more The Ottoman art of ceramic production extending from the 14th to 20th century nurtured from three centres such as İznik, Kütahya, and Çanakkale. Çanakkale, one of these centres, as compared to others, is distinguished from others through the primitive attitude in technique, form and designs, which is considered as " folk art ". Animal shaped forms such as lion, horse, camel and kangaroo in the traditional Çanakkale ceramics from the end of the 18th century to the first quarter of the 20th century fulfilled functions such as trinkets, box or candy box, or ashtray. The disproportion of these ceramics can sometimes be attributed to the practical attitude of the craftsmen, and sometimes to their wish to give a " funny " impression. On the other hand, as in many products of folk art, it is possible to observe forms and designs from prehistoric ages extending to the 20th century in Çanakkale ceramics. This surprising continuity can be explained by referring to the fact that production, independent of the " official " art of the period, continued by transfer from the master to the apprentice, without feeling the historical obligation. In this article, we will introduce interesting examples of past forms and designs in Çanakkale ceramics located in various museums and private collections and we will deal with their projections today.
Journal of the European Ceramic Society, 2019
The excavation at Iznik tiles kilns continues as the third period of the field mission. We presen... more The excavation at Iznik tiles kilns continues as the third period of the field mission. We present here the first onsite, non-invasive analyses performed with portable XRF instrument on twenty-five excavated tiles and two residue materials of the kiln. The shards studied were attributed to the productions from 14th-to 17th-centuries. The comparison was made by the discussion of characteristic elemental ratios selected from the ceramic technology criteria and PCA/Euclidean distances analysis. Three groups of body and glaze technologies were evidenced. We encountered that the amount of tin oxide in the glaze decreased over the centuries. Besides, two different types of fluxes were used in the glaze, some containing only potassium, and the others having potassium and calcium. The decors, which were investigated in this study were blue, turquoise, green, red colours, and black lines. A copper-iron mixture in the red areas was documented, which reflects the use of bornite.
Heritage, 2020
The aim of this study is to estimate the uncertainty of a portable X-ray fluorescence (p-XRF) ins... more The aim of this study is to estimate the uncertainty of a portable X-ray fluorescence (p-XRF) instrument for the (semi-quantitative) analyses of tiles with underglaze decoration. Before starting the campaign of on-site measurements, the optimum acquisition time and the most accurate calibration mode were selected. For this purpose, the elemental composition of two glass standards of NIST (SRM610 and SRM612) and a Corning A standard were measured with varied times (5-360 s) and in different calibration modes (Mining, Mining Light Elements, Soil, and Rare Earth Elements). Afterwards, a set of blue-and-white tiles that was unearthed at Iznik Tile Kilns Excavation between the dig seasons of 2015 and 2019 was examined with p-XRF by selecting ten points of measure from each layer (body, transparent glaze, and blue coloured areas). The elemental composition of different layers was evaluated by means of the intragroup and intergroup data. They were also compared to the previous studies and ...
Kütahya, which is located in the Aegean Region of Turkey, was founded in the 3 th thousand BC. It... more Kütahya, which is located in the Aegean Region of Turkey, was founded in the 3 th thousand BC. It was ruled by Phrygia, Bithynia, Pergamon, Rome and Byzantium until it was fully conquered by the Seljuks in the first half of the 13 th century. Before joining the Ottoman Empire in 1429, Kütahya became the ruling center of the Germiyanids, who declared independence at the beginning of the 14 th century.
the Journal of Academic Social Sciences
Itudergisi B, Jun 29, 2009
... İzmit'teki azınlık yapıları Şennur KAYA*, İlknur AKTUĞ KOLAY İTÜ ... içerisi... more ... İzmit'teki azınlık yapıları Şennur KAYA*, İlknur AKTUĞ KOLAY İTÜ ... içerisindedir. 1921-22 (?) tarihli kent haritaları- nın Kozluk Mahallesi'ne ait paftasında Kapanca Sokağı'nın batısında, doğu-batı akslı bir yapı dikkati çekmektedir (Şekil 3). ...
Osmanlı mimarisinin temel yapı malzemelerinden olan tuğla, Tanzimat dönemine kadar geleneksel met... more Osmanlı mimarisinin temel yapı malzemelerinden olan tuğla, Tanzimat dönemine kadar geleneksel metotlarla tuğla harmanlarında üretilmiştir. Endüstri Devrimi sonrası XIX. yüzyılın başlarından itibaren Avrupa'da üretilmeye başlanan modern tuğlaların 1840'lı yılların başlarından itibaren iç piyasada çoğalması, yerli tuğla üreticilerini fiyat, kalite ve standart bakımından bunlarla rekabet edemez duruma getirmiştir. Diğer taraftan, Osmanlı sanayileşme hamleleri bağlamında yine 1840'lı yılların başlarından itibaren önemli Devlet adamları öncülüğünde İstanbul'da da tuğla fabrikaları açılmaya başlanmış, bunların sayıları Osmanlı İmparatorluğu'nun sanayi yatırımı yapmak isteyen özel şirketlere tanıdığı teşvikleri arttırmasının etkisiyle XIX. yüzyılın ikinci yarısında çoğalmıştır. Tüm bunların yanı sıra, önceki dönemlerde olduğu gibi, Devlet'in tuğla ihtiyacını karşılamak için 1880'li yılların başlarında Yıldız Sarayı civarında, Sütlüce'de ve Alibeyköy/Çobançeşme'de Hazine-i Hassa bütçesi ile üç tuğla fabrikası kurulduğu Başbakanlık Osmanlı Arşivi belgelerinden tespit edilmiştir.
The Ottoman art of ceramic production extending from the 14th to 20th century nurtured from three... more The Ottoman art of ceramic production extending from the 14th to 20th century nurtured from three centres such as İznik, Kütahya, and Çanakkale. Çanakkale, one of these centres, as compared to others, is distinguished from others through the primitive attitude in technique, form and designs, which is considered as " folk art ". Animal shaped forms such as lion, horse, camel and kangaroo in the traditional Çanakkale ceramics from the end of the 18th century to the first quarter of the 20th century fulfilled functions such as trinkets, box or candy box, or ashtray. The disproportion of these ceramics can sometimes be attributed to the practical attitude of the craftsmen, and sometimes to their wish to give a " funny " impression. On the other hand, as in many products of folk art, it is possible to observe forms and designs from prehistoric ages extending to the 20th century in Çanakkale ceramics. This surprising continuity can be explained by referring to the fact that production, independent of the " official " art of the period, continued by transfer from the master to the apprentice, without feeling the historical obligation. In this article, we will introduce interesting examples of past forms and designs in Çanakkale ceramics located in various museums and private collections and we will deal with their projections today.
During the Tanzimat Period sea transport had been mainly used fort he domestic and foreign trade ... more During the Tanzimat Period sea transport had been mainly used fort he domestic and foreign trade in the Ottoman Empire, thus custom houses had beeb built to fulfill the increasing trade demands at the port cities. This article aims to study the arhitectural and functional charecteristics of the masoury customs buildings coustructed at the port cirties of having different trade capacities in the Tanzimat Period. The survey varifies that the size of the masonry customs buildings which were built proportional to the trade capacity of the port. Meanwhile nearly all custom buildings hauses offices for the customs administration and officers including rooms for goods control and depot. The function of the buildings were taken into consideration in design and Neo-clasik style is preferded. ÖZET Osmanlı İmparatorluğu'nda Tanzimat döneminde artan iç ve dış ticarette daha çok deniz ulaşımı kullanılmıştır. Böylelikle gelişen liman kentlerinde, artan ticari talebe cevap verecek, gümrük yapıları inşa edilmiştir. Bu makalede Tanzimat döneminde çeşitli ticari kapasiteye sahip liman kentlerindeki gümrük binaları üzerinden, gümrük binalarının mimari ve işlevsel özellikleri belirlenmeye çalışılmıştır. Elde edilen sonuçlara göre kâgir sistemde inşa edilen gümrük yapılarının bulundukları limanın ticari hacmiyle orantılı büyüklükte inşa edildikleri saptanmıştır. Ayrıca genelde tüm gümrük yapılarının gümrük idaresine ve gümrük memurlarına ait ofislerden, mal kontrol yeri ile gümrük ambarından oluştukları gözlenmiştir. Üslupsal açıdan ise işlevsel yönü ön planda tutulan gümrük yapılarında, yalın Neoklasik üslubun tercih edildiği anlaşılmıştır. Anahtar Kelimeler: Gümrük Binaları, Tanzimat Mimarisi, Liman Binaları, Ticaret Binaları.
Giriş Osmanlı İmparatorluğu'nun ilk tersanelerinden olan ve XX. yüzyılın ortalarına kadar kentin ... more Giriş Osmanlı İmparatorluğu'nun ilk tersanelerinden olan ve XX. yüzyılın ortalarına kadar kentin fiziki yapısında yer alan İzmit Tersanesi, tarihsel açıdan çeşitli yayınlara konu olmuştur 1. İzmit Körfezi'nin kuzeyinde doğu-batı aksında lineer gelişen kent modelini oluşturan İzmit'teki Osmanlı tersanesinin ise kentin batı kıyısında olduğu bilinmektedir (Ş.1). Ancak bu tersanenin günümüze ulaşmamış olması, buradaki tersane yapıları üzerinde çalışma yapma şansını da ortadan kaldırmıştır. Dolayısıyla erken dönemlerine ilişkin yapısal özellikleri hakkında bilgilerimizin yetersiz olduğu 2 bu tersanenin mimari bileşenleri de ancak XIX. yüzyıldan itibaren sayıca artan görsel kaynaklardan tespit edilebilmektedir. Ayrıca çeşitli görsel belgelerde karşılaştığımız tersane yapılarının tersane alanındaki yerlerini ve fonksiyonlarını belirlememizde ilk defa Atilla Çetin tarafından tanıtılan 1906 tarihli tersane planından 3 da büyük ölçüde yararlanılmıştır (Ş.2). Bu çerçevede elde ettiğimiz tespitlere geçmeden önce İzmit Tersanesi'nin mimari yapısına da etki eden tarihsel süreci kısaca özetlenmiştir. İzmit Tersanesi'nin Tarihsel Gelişimi İzmit kenti, Astakoz adıyla MÖ VIII. yüzyılda ilk kurulduğu tarihten itibaren bir tersane kenti ve harp limanı olma özelliğini hep koruyacak olmasını şüphesiz Marmara denizinin doğusunda oldukça derin biçimde kara içine sokulan körfeze borçludur 4. Buna göre bugünkü yerleşim sahasının yaklaşık 6 km güneydoğusunda körfezin bitim yerinde kurulan Astakoz'daki tersane dışında, MÖ 264/263 tarihinde Nikomedia adıyla kenti bugünkü yerinde kuran I. Nikomedes'in 5 ve Nikomedia'yı kendi hükümdarlığı altındaki doğu topraklarının yönetim merkezi olarak belirleyen Roma İmparatoru Diokletianus'un 6 kentte tersane inşa
The traces of the city's historical past that have reached today, belongs to the Germiyanids and ... more The traces of the city's historical past that have reached today, belongs to the Germiyanids and the Ottomans. The settlement inside the castle was the point of origin for the city's expansion during the Preottoman and the Ottoman periods. The first settlements of residence and trade outside the castle began on the eastern side of the castle and expanded towards the north, spread towards the plain beneath the Hıdırlık Hill. The physical structure of the city until the 19 th century represents the classical Ottoman architecture and city planning forms. However, the Ebniye Nizamnameleri, which became effective along with the changes in the institutional, social, cultural and economic structures, formalized by the declaration of the Tanzimat reforms in 1839, generated a significant change in the structures of Anatolian cities. The architecture of the governor's office, the prison, the barracks and Idadi (high school), generated a new public space. The change is perceived throughout the city resulting from the renovations that carry out influences from the Western architectural styles. In this paper, the religious and public buildings will be analyzed together in the light of archive documents, considering the development of the city and the restructuring. Tile-making which is the main reason of Kütahya's renown will be analyzed in terms of utilization characteristics in the buildings and an evaluation will be made considering the city and the period. 2 URBAN DEVELOPMENT OF KÜTAHYA CITY The expansion area of Kütahya, which is located in the Central Western Anatolia of the Aegean Region is between the Yellice Mountain and the Hıdırlık Hill, on the east-west axis in the skirts of the Yellice Mountain 1. It is estimated that the foundation of Kütahya, which is mentioned as Kotiaeion, Kotiaion, Cotyaeum and Cotyaium in historical documents, date back to BC 3000 2. In the chronology of Anatolian civilizations, the city was under the rule of Phrygia, Bithynia, Pergamon, Rome and Byzantium, and came under the Seljuk rule in the first half of the 13 th century. Kütahya, which became the ruling center of the Germiyanids that declared independence at the beginning of the 14 th century, joined the Ottoman Empire in 1429. Under the Ottoman rule, it was first the ruling centre of the district, and shortly after it became the centre of the Anatolia State. In 1841, it became a district of Hüdavendigar Province. In 1915, it was an independent district and after the proclamation of Republic, it became a province 3. This brief historical background provides the turning points of Kütahya in terms of urban transformation and development. In this respect; the settlement area which was likely to have been inside the Byzantian castle previously, constituted the centre of the expansion area of the city before and during the Ottoman period, and it was found that the first settlements of trade and residence outside the castle starting from the eastern skirts
The Ottoman art of ceramic production extending from the 14th to 20th century nurtured from three... more The Ottoman art of ceramic production extending from the 14th to 20th century nurtured from three centres such as İznik, Kütahya, and Çanakkale. Çanakkale, one of these centres, as compared to others, is distinguished from others through the primitive attitude in technique, form and designs, which is considered as " folk art ". Animal shaped forms such as lion, horse, camel and kangaroo in the traditional Çanakkale ceramics from the end of the 18th century to the first quarter of the 20th century fulfilled functions such as trinkets, box or candy box, or ashtray. The disproportion of these ceramics can sometimes be attributed to the practical attitude of the craftsmen, and sometimes to their wish to give a " funny " impression. On the other hand, as in many products of folk art, it is possible to observe forms and designs from prehistoric ages extending to the 20th century in Çanakkale ceramics. This surprising continuity can be explained by referring to the fact that production, independent of the " official " art of the period, continued by transfer from the master to the apprentice, without feeling the historical obligation. In this article, we will introduce interesting examples of past forms and designs in Çanakkale ceramics located in various museums and private collections and we will deal with their projections today.