Having a particularly significant role in the art history of the world, the chronicle of Turkish tile and ceramic art dates all the way back to the 8th and 9th centuries, to the Uighurs. But the real shift had begun with the Great Seljuks and continued with the Anatolian Seljuks and Ottomans. The Anatolian Seljuks, by combining this legacy of the Great Seljuks with the cultural past of Anatolia, achieved a successful synthesis. The British and Victoria and Albert Museums, in particular, centered upon Iznik tiles from time to time, and reorganized their exhibits by bringing the Iznik tiles into the foreground in their Islamic Arts departments. Some of the most important exhibitions of these world-famous museums are the ones dedicated to Iznik tiles. Possibly transported illegally from Turkey to England these tile artifacts have been presented to the appreciation of visitors by being displayed in carefully selected showcases, lit with special lighting techniques.
Nefise Vase is not made of one single tile but was created by combining many different tile pieces. When the tiles were brought together, inspiration was drawn from the ancient Japanese tradition of ‘kintsugi*’, which reminds how valuable they were. And this, in fact, draws attention to hundreds of tiles now abroad, appropriated from Turkey. Hundreds of Iznik tiles and ceramics are exhibited in museums around the world, especially in British and Louvre Museums. Nefise Vase is produced from handmade opal cream glass and all relief patterns on it are decorated with 24-carat gold, gilt and enamel paints. The production of the Nefise Vase is limited to 500 pieces. (*Kintsugi is based on Ancient Japanese Philosophy celebrating imperfection, impermanence and incompleteness where nothing is really broken. Artists using the Kintsugi technique, create works that bear the unique and incomparable traces of truelife experiences by adhering broken ceramics pieces with gold and silver alloys.)