Ceramic traditions share stories of everyday life

Entering the historic Tiled Pavilion in the tranquil courtyard of the Istanbul Archaeological Museums, visitors are immediately greeted by the refined geometry of Ottoman imperial tiles.

Tucked among the pavilion's grand displays is a distinctly different pottery style: rustic plates and pitchers decorated with loosely painted sailboats and playful depictions of lions, camels and horses.

These are Canakkale ceramics, a vibrant folk tradition that emerged in the late 17th century. Unlike the highly regulated Iznik tiles produced for Ottoman palaces, these wares were crafted for everyday use by ordinary people, offering a glimpse into daily life in the past.

Thousands of kilometers away, a parallel tradition with roots stretching back over a millennium flourished in China, particularly in the historic porcelain center of Jingdezhen, Jiangxi province: minyao, or folk kilns. This tradition continues today, with household wares made by and for ordinary people, often featuring painted scenes of everyday life.

Both folk traditions are gaining renewed attention today. In July, Jingdezhen's traditional ceramic handicraft sites were added to the UNESCO World Heritage List, while traditional ceramic production in Canakkale, which ceased in the mid-20th century, is also undergoing a revival.

"Historically, cultural links between China and the Ottoman Empire have been studied largely through the lens of imperial porcelains," says Turan Takaoglu, a researcher at the Archaeology Department of Canakkale Onsekiz Mart University.

However, Canakkale ceramics and China's minyao provide richer soil for cultural study.

"When we study Canakkale ceramics, China's minyao tradition has always been a significant reference," Takaoglu says. "Comparative studies could bring the two ceramic communities together at the academic level, allowing both sides to learn from each other."

For Ke Guoxing, general manager of the Jingdezhen porcelain official flagship store in Istanbul, the importance of minyao lies in what it reveals about ordinary society.

"Imperial ware tells us about the court; while folk kilns tell us about society," he says.

Unlike imperial porcelain, folk kilns were produced in far greater volumes for everyday use — from family tableware and storage jars to teahouse cups and pieces for weddings and festivals. Freed from strict palace regulations, its decoration drew instead on daily life and popular beliefs, featuring fish, birds, auspicious symbols, and folktales, Ke says.

Now, with this renewed attention, cooperation between museums and cultural institutions of the two countries can be further elevated.

Rahmi Asal, director of the Istanbul Archaeological Museums, says temporary exhibitions, expert exchanges and joint publications could provide practical avenues for deeper cooperation between Turkiye and China.

He proposes a joint exhibition of Jingdezhen minyao and Canakkale ceramics, allowing visitors to explore both traditions through the lens of everyday life and reframing Chinese-Turkish ceramic exchange as a story not of emperors and sultans, but of the artisans and communities behind these objects.