CHURCH LAMP
Earthenware and gold ,18th Century. Kutahya
CHURCH LAMP
Earthenware and gold ,18th Century. Kutahya
H 480mm
The egg, with a hook through it, hangs by a long thread from the church ceiling. The light from the wick, which never goes out and is soaked in a small bowl of oil, shines through the openwork wood. These lamps can still be seen in the Cathedral of St. James in Jerusalem.
A practical and unforeseen virtue of this ceramic egg was that it prevented mice, which were numerous in churches and monasteries, from lapping the oil out of the lamp.
Kütahya, a city of 200,000 inhabitants, located at 930m above sea level in the hills of western Anatolia, 300km southeast of Istanbul. It is still home to many ceramic workshops that have forged its reputation since the 16th century.
Armenian craftsmen were great innovators in the manufacture of earthenware in Kutahya, a village in the centre of present-day Turkey.
Inscriptions in Armenian characters, the use of the items manufactured, iconography, and historical and literary sources testify to the prominence of Armenian craftsmen in Christian and secular production at this great centre located in the heart of Anatolia.
Kutahya excelled in the manufacture of fine white ceramics, with polychrome decoration which was sometimes moulded. The dominant colours used were blue, bright yellow, bright green, sometimes manganese brown, and the brick red of the iconic Armenian ""bowl"", applied thickly to enhance or provide detail in a design. The oldest kind is decorated in blue and white. The shapes are very varied, with items intended for domestic use (cups, saucers, mugs, plates, teapots, ewers, flasks, rose water sprinklers), religious use (church balls, ornamental pieces), or decorative or dedicatory use (covering tiles).
There are also many kinds of decoration, including figurative, religious, plant motifs, and figures.
Many items bear the potter's mark on their base or under the lid. Some have a dedicatory inscription in Armenian characters and often with the date.
The compositions are highly original: the ornamental motifs consist of medallions, small patterns dotted over an area, garlands, chevrons, circular motifs, dots or scales, but it is rare for them to be repeated, there is no decoration stereotype and more emphasis is placed on spontaneity than order.
Frédéric Fringhian