Description

Original bdg. Dust wrapper. 4to. (33 x 25 cm). In English. 405 p. Color ills. Some areas of art history have been overlooked in comparison to others, attracted less attention, and for this reason been the subject of less research and evaluation. Such situations are observed in particular where one branch or period of art in a country is so prominent as to overshadow its neighbours and counterparts. These neglected areas often deserve far more interest than circumstances grant them. Moreover, the bright light cast by their more famous cousins makes it harder, or even sometimes impossible, to do them justice and gain a true understanding of their qualities. A striking example of this phenomenon in Ottoman art is Kutahya ceramics, which have remained relatively unnoticed with the spotlight of attention focused on Iznik. When speaking of Ottoman ceramics it is first of all those of Iznik that spring to mind today, and this was no less true in the past. Kutahya pottery, like that of Canakkale, has been left to straggle far behind. Yet even a little examination reveals that although in comparison with these splendid 'court art' of Iznik, the pottery of Kutahya is regarded as provincial in character, and that of Canakkale as 'folk art', both these traditions are marked by lively originality and creativity. This book has been designed to throw new light on one of these overshadowed areas, the richly endowed world of Kutahya ceramics. In a region where pottery has been produced without interruption through the Phrygian, Greek, Roman, Byzantine, Ottoman and modern periods, Kutahya's long history of pottery production - its development, materials, workshops and craftsmen - has now been re-examined in new depth. Garo Kurkman has combed museums and archives all over the world, bringing to light a myriad documents and photographs that have never been published before, and his fascinating study based on all this new information takes us on a thrilling journey through the magical world of clay, fire and glaze. Some aspects of art history are inevitably overshadowed, and attracting less attention are inadequately researched and evaluated. This happens particularly when one branch or period of a country's art rises to the fore and casts a dazzling light in which other close and similar forms pale into indignificance. arts which are so outshone do not receive the appreciation they really deserve, the brigjht of their illustrious fellow over shadwowed arts possess unexpected riches, uniqe flavours and unforeseen depths thath await discovery by the alert arthistorian, the sharp eyed collector, and the art lover who enjoys following rarely trodden paths.