Delftware vs Iznik Pottery

デルフト焼 / イズニク陶器

Both sit in Ceramic Styles, so the question is not what they belong to but how they behave. Both are read here as style. They are reached for with some of the same intent, which is where they get confused.

Delftware

Delftware — デルフト焼の皿 1760頃（CC0）Delftware — デルフトの藍絵付皿（CC BY 4.0）Delftware — デルフトのフラワー・ピラミッド 1695年頃（V&A） — Wikimedia Commons / Public domain

Longing for Chinese porcelain, Delft produced tin-glazed pottery of its own. Windmills, ships and Eastern scenes painted in blue alone fixed 'blue and white' as a Western language of table and room, chinoiserie put into practice.

Iznik Pottery

Iznik Pottery — イズニクの大皿 16世紀末 撮影 Faqscl — Wikimedia Commons / CC BY-SA 4.0Iznik Pottery — 帆船文の大皿 イズニク 1600年頃 メトロポリタン美術館 — Wikimedia Commons / CC0Iznik Pottery — リュステム・パシャ・モスクのイズニクタイル 16世紀 撮影 Dosseman — Wikimedia Commons / CC BY-SA 4.0

The pottery reached by the Ottoman kilns, setting brilliant blue and red on a white body. Tulips and carnations turn in spirals around the curve of the vessel, and on the wall tiles of a mosque geometry and plant ornament coexist on a single surface.

DelftwareIznik Pottery
Era1600s–15th–17th century
FamilyCeramic StylesCeramic Styles
KindStyleStyle
CuesPainting in blue alone / White tin-glaze ground / Eastern motifs translated / From tiles to tablewareThe brilliance of a white body under transparent glaze / Cobalt blue and a red that stands in relief / Spiralling plant ornament / A continuous composition turning around a curved surface
Best used forPulling tableware and walls into one room through blue painting alone · Using Eastern motifs while admitting openly that they are translationsTurning a pattern around a curved surface without a break · Getting density and brilliance from a limited palette
TypeKeep marks small on the underside and leave the face to paintingIf you use lettering, run it as a band and give it the same rank as the ground pattern.
CompositionLet each tile stand alone, with corner motifs linking them into a fieldPair a composition radiating from the center with a band at the rim.
MaterialCobalt on white tin glaze, painted in one pass with no correctionTransparent glaze over a white body, with the red raised to give relief.
CautionAiming to pass as real porcelain turns the thick earthenware body and the speed of the brush from virtues into faults.Tiling the ornament flat loses the logic of the vessel. The handling of the curve and the rim is the pivot of the style.

Put these two together

Ceramic Styles

IndexStyle