Özet:

In this study, the term Chinese is used in the meaning of traditional Turkish ceramics. The peak period of Turkish Chinese art is the stage of Iznik production dated the 16th century. These Chinese are one of the most refined state of the Middle East-based ceramic technology, where the main component of the quarks is formed, and one of the most successful simulations of real porselen since that time. When it comes to the 18th century, the production of chinns in Iznik faces disappearance, the secrets in production technology are also forgotten. The Republic of Turkey looks at China, as an element of the mining that proves the art power of the Turkish nation. In this regard, it is insistently emphasized that his idea is "the property of Turkey is an art." Although this perspective passes over time in parallel with the departure from the founding principles of the Republic, it continues until the 1980s. In the sharply changing socio-economic and cultural environment of Turkey after 1980, the tendency to see Chinese as an Islamic art begins to develop and settle. The judgment of the identity or historical context of Turkish Chinese is a separate subject of discussion. But it is clear that the idea of the nation-state, which forms the basis of the Republic, will be seen over the years, especially after the 80s, even through Chinese.

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