Timurid art in the context of "Timurid Renaissance"

Iznik pottery, or Iznik ware, named after the town of İznik in Anatolia where it was made, is a decorated ceramic that was produced from the last quarter of the 15th century until the end of the 17th century. The Ottoman Turkish motivation for creating İznik ware was to imitate the prestige and symbolic value of Chinese porcelain, not its specific decorative designs. While their conceptual origin lies in Chinese blue-and-white porcelain, their decorative design is a distinct Ottoman adaptation of the International Timurid style. This adaptation is marked by a transformation from the prototype's languid quality to a more forceful and contained design, distinguished by its intensity and three-dimensional feel. Technologically, these wares are unique, differing from the methods used for contemporary Iranian pottery and Ottoman architectural tilework. This distinct manufacturing process is thought to be an invention of Anatolian potters.

İznik was an established centre for the production of simple earthenware pottery with an underglaze decoration when, in the last quarter of the 15th century, craftsmen in the town began to manufacture high quality pottery with a fritware body painted with cobalt blue under a colourless transparent lead glaze. The change was almost certainly a result of active intervention and patronage by the recently established Ottoman court in Istanbul who greatly valued Chinese blue-and-white porcelain.

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.

Khamr (Arabic: خمر) is an Arabic word for wine or intoxicant. In Islamic context, is variously defined as alcoholic beverages, wine or liquor. The position of alcohol in Islam is a complex subject in terms of its historical implementation and nuanced scholarly interpretation. While the "dominant belief" among Muslims is that consumption of alcohol in any form is forbidden, and in addition selling, transporting, serving, etc. alcohol is also a sin, there are some disagreements; for example, the Hanafi school interprets khamr to mean only certain specified beverages, rather than all intoxicants. According to Murtaza Haider of Dawn, "A consensus (ijma) on how to deal with alcohol has eluded Muslim jurists for more than a millennium".

How khamr in Islam is defined varies by the school of jurisprudence (madhhab). Most Islamic jurists have traditionally viewed it as general term for any fermented intoxicating beverage, though one school (Hanafi) has limited it to alcohol derived from dates and grapes. Over time, other intoxicants, such as opium and khat, have been classed by jurists as khamr. A minority of Muslims do drink and believe consuming alcohol is not Qur'anically forbidden. Among Alawites, an esoteric sect of Islam, Sufi Bektashis, and Alevis, the consumption of alcohol is permissable. The punishment for consumption of alcohol is disagreed upon; some believe that any punishment for consuming alcohol is un-Islamic, while others believe it is flogging, though legal scholars disagree over whether the number of lashes should be 40 or 80.