This process involves richly decorating cearmic, tile or porcelain pieces then covering the design in a thick glaze. This style, produced most often in Iznik and Kütahya, had it's peak between the 14th and 17th centuries. Three regions in turkey are prized for their cermic production:

       1. Iznik
       2. Kütahya
       3. Çanakkale

Usually small in size, miniatures are typified by sumptuous ornamentation coupled with detailed elements. Particularly important to Ottoman art are the works of the Zubdat-al-Tawarikh and the artist Levnî. Elements used include the arrowpoint illumination and the marbling of paper.

Calligraphy is the art of fine handwriting. The term may refer to letters, words, pages, or even whole documents to which aesthetic principles and skilled penmanship have been applied. In Islamic culture, calligraphic writing is accomplished by using a broad-edged reed, quill, or nib pen held at a slant.

Carpet&Rug weaving hold particular importance in Anatolia and its heritage can be seen throughout the world. From 17th century Dutch genre scenes to today's museums, the kilim and rug arts span time and use.

The Kayseri Ethnographic Museum containt extensive wood examples. The Anatolian region is endowned with many forests, which constitued the majority of vernacular architecture. In the arts, the inlay or mother-of-pearl was common in Ottoman and Moorish furniture. Wood was also formed into works of filigree producing a “hanging lace” effect. Finally, wood was covered with gilt or simple engraved.

The Anatolian region is well-stocked with silver mines, and gold was readily available from the Near East. Jewelry of gold and repoussé of silver and other metals was and still quite popular. Braziers and bath bowls used in bath houses also employed this art. Typical motifs included calligraphy and arabesque or floral designs.

Meerschaum pipes and the wide Ottoman spoons are two unusual and particularly Turkish crafts found even today.

Marbling is the art of creating colorful patterns by sprinkling and brushing color pigments on a pan of oily water and then transforming this pattern to paper. The special tools of the trade are brushes of horsehair bound to straight rose twigs, a deep tray made of unknotted pinewood, natural earth pigments, cattle gall and tragacanth. It is believed to be invented in the thirteenth century Turkistan. This decorative art then spread to China, India and Persia and Anatolia. Seljuk and Ottoman calligraphers and artists used marbling to decorate books, imperial decrees, official correspondence and documents. New forms and techniques were perfected in the process and Turkey remained the center of marbling for many centuries. Up until the 1920's, marblers had workshops in the Beyazit district of Istanbul, creating for both the local and European market, where it is known as Turkish marble paper.
 
The Art of Marbling

Talik calligraphy done on lightly marbled paper, decorated with sand marbling in the inner border and oversized marbling around the exterior.
Following its acceptance of the Islamic faith, the Turkish nation so bound itself to that religion that there was not another on earth which had so devoted its blood in the name of God.

Becoming on the one hand the Sword of Islam and conquering countries in God's name, at the same time, it dedicated nearly all its art to the most beautiful expression of the pine; for the most part in its music, in its architecture, in its calligraphy, and in its decorative arts, the Turkish nation dealt with that which was mystical. Indeed, quite a few branches of the arts were developed in religious lodges, yet out of the humbleness afforded by dervish training no signatures are to be seen below them.

Of the Ottoman arts, Calligraphy was the most important. Such mundane items as tax reports, property deeds and imperial edicts became exquisite works of art. This aptly reflects the bureaucratic nature of the empire, with its stress on writing and registering. Turkish calligraphers contributed to the development of new and more ornate styles of calligraphy. Each of the sultans had their own monogram in stylized script, called a Tugra. Sultan Ahmet III and Sultan Bayezit II were skilled calligraphers. In 1928 Ataturk introduced the Latin alphabet, sounding the death knell of the art of Arabic calligraphy in Turkey. Many of the greatest works were preserved in the extensive Ottoman archives and can be seen at Topkapi Palace and Ibrahim Pasha Museum.

 

As The Holly Qur’an was complied into a book, many scribes were trained to preserve the revelation in the best possible way. In compliance with the utmost importance Islam gave to science and literature, the art of writing has developed significantly to become a distinguished branch of fine arts.

Turkish Calligraphy, basically, is the writing of Latin letters applied within the esthetics of Calligraphy, which has received interest to a certain degree in the last 30 years. 20-30 Individuals are estimated to be dealing professionally with Turkish Calligraphy. To mention some of their names: Sinan Sinangil, Hasan Erdogan, Ismail Uzumlu and Eray Idil.

The scribes usually display their skills at fairs and exhibitions as they produce works of Calligraphy in a few seconds without any template, in the presence of visitors with customized on-demand applications. The Admirers of this art ask the scribe to write a person’s name, the name of a company, or beautiful saying on cards, key rings, plates and tablets to use as ornaments of gifts.