Abstract:

The term ‘traditional Turkish ceramic’, which is rarely used in fine arts education, includes the meaning of ‘çini’ referring to a traditional production style. There are debates about using the term ‘çini’ instead of the term ‘traditional Turkish ceramic’ causes conflict in the ceramic sector and education. Because the production methods and materials are similar, this creates a misimpression in students’ understanding, which is presuming the ceramic and ‘çini’ education have different modes of application and design. Even the types of clay, glaze, painting and firing degrees show differences, the products/artworks that are formed are a part of the same family. Defining ‘çini’ artworks as ‘traditional ceramic’ will provide a better understanding of the term. The aim of this paper is to present suggestions about how both fields of study and application may benefit mutually, which have similar producing and forming styles. In this paper, it is intended to discuss in which ways the style of traditional Turkish ceramic production, which is generally known as art of ‘çini’, and the traditional forms and materials used in scope of this production can take place in Ceramic departments; in addition, the identity problem of contemporary and traditional Turkish ceramic is discussed. Thus, suggestions are made in terms of identifying points that can combine contemporary and traditional Turkish ceramic in today’s ceramic education.

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