Tile in the context of "Ceramic glaze"

Ceramic art is art made from ceramic materials, including clay that serves as a cultural, professional, and historical representation of individuals and groups across centuries of art. It may take varied forms, such as artistic pottery, tableware, tiles, figurines and other sculpture. As one of the plastic arts, ceramic art is a visual art. While some ceramics are considered fine art, such as pottery or sculpture, most are considered to be decorative, industrial or applied art objects. Ceramic art can be created by one person or by a group, in a pottery or a ceramic factory.

In Britain and the United States, modern ceramics as an art took its inspiration in the early twentieth century from the Arts and Crafts movement, leading to the revival of pottery considered as a specifically modern craft. Such crafts emphasized traditional non-industrial production techniques, faithfulness to the material, the skills of the individual maker, attention to utility, and an absence of excessive decoration that was typical to the Victorian era.

In geometry, a square is a regular quadrilateral. It has four straight sides of equal length and four equal angles. Squares are special cases of rectangles, which have four equal angles, and of rhombuses, which have four equal sides. As with all rectangles, a square's angles are right angles (90 degrees, or π/2 radians), making adjacent sides perpendicular. The area of a square is the side length multiplied by itself, and so in algebra, multiplying a number by itself is called squaring.

Equal squares can tile the plane edge-to-edge in the square tiling. Square tilings are ubiquitous in tiled floors and walls, graph paper, image pixels, and game boards. Square shapes are also often seen in building floor plans, origami paper, food servings, in graphic design and heraldry, and in instant photos and fine art.

A tessera (plural: tesserae, diminutive tessella) is an individual tile, usually formed in the shape of a square, used in creating a mosaic. It is also known as an abaciscus or abaculus.

Decoration in Ottoman architecture takes on several forms, the most prominent of which include tile decoration, painted decoration, and stone carving. Beginning in the 14th century, early Ottoman decoration was largely a continuation of earlier Seljuk styles in Anatolia as well as other predominant styles of decoration found in Islamic art and architecture at the time. Over the course of the next few centuries, a distinctive Ottoman repertoire of motifs evolved, mostly floral motifs, such as rumî, hatayî, and saz styles. Calligraphic inscriptions, most characteristically in a thuluth script, were also a mainstay. From the 18th century onward, this repertoire became increasingly influenced by Western European art and architecture and went as far as directly borrowing techniques and styles from the latter.

Ottoman tiles attained a prominent role in decoration. Starting in the early 15th century, cuerda seca tiles in vivid colours were widely used in various buildings, using mostly vegetal arabesque motifs, of which the most dramatic early example is the Green Mosque and Green Tomb in Bursa (circa 1424). Various examples of tilework from this century seem to show possible Iranian influence and connections to Timurid art. A distinctive style of blue-and-white fritware, influenced by Chinese motifs and often attributed to an early stage of Iznik tilework, is evidenced by the late 15th century and characterizes the early 16th century. Iznik tiles became highly favoured during the rest of the 16th century and reached their artistic peak in the second half of the century. They featured stylized floral and vegetal motifs in blue, white, red, and green colours. The Iznik industry declined by the end of the 17th century, with production of lower-quality tiles shifting to Kütahya. In the early 18th century, a revival of tile art was attempted through the establishment of a new workshop at Tekfursaray in Istanbul, but ultimately the industry faded after this and tile decoration lost its importance.

A tile-based game is a game that uses tiles as one of the fundamental elements of play. Traditional tile-based games use small tiles as playing pieces for gambling or entertainment games. Some board games use tiles to create their board, giving multiple possibilities for board layout, or allowing changes in the board geometry during play.

Each tile has a back (undifferentiated) side and a face side. Domino tiles are usually rectangular, twice as long as they are wide and at least twice as wide as they are thick, though games exist with square tiles, triangular tiles and even hexagonal tiles. Modern games may use unconventional non-tileable shapes such as the curved-shaped Bendominoes, or use many different shapes that together tile a surface such as the polyominoes in Blokus.

A kiln is a thermally insulated chamber, a type of oven, that produces temperatures sufficient to complete some process, such as hardening, drying, or chemical changes. Kilns have been used for millennia to turn objects made from clay into pottery, tiles and bricks. Various industries use rotary kilns for pyroprocessing (to calcinate ores, such as limestone to lime for cement) and to transform many other materials.

The que (simplified Chinese: 阙; traditional Chinese: 闕; pinyin: què; Jyutping: kyut3) is a freestanding, ceremonial gate tower in traditional Chinese architecture. First developed in the Zhou dynasty (1046–256 BC), que towers were used to form ceremonial gateways to tombs, palaces and temples throughout pre-modern China down to the Qing dynasty (1644–1912). The use of que gateways reached its peak during the Han dynasty (202 BC – 220 AD), and today they can often be seen as a component of an architectural ensemble (a spirit way, shendao) at the graves of high officials during China's Han dynasty. There are also some que found in front of temples. Richly decorated, they are among the most valuable surviving relics of the sculpture and architecture of that period.