Countless examples of mosques and tombs not only in Istanbul but all over the empire were adorned with the products of the Iznik potters' skill. Although the traditional designs of stylized plant motifs, arabesques, and Chinese clouds appear in the compositions, there is a shift towards a more naturalistic style in which tulips, carnations, hyacinths, roses, spring blossoms, lilies, cypress trees, and clusters of grapes and vine leaves appear. Compositions are relaxed and free, offering greater scope for experimentation with new and richer arrangements. There is also a proliferation in vessel forms of which deep and footed bowls, vases, ewers, dishes, lamps, candle-holders, and mugs are but a few. Around the middle of the 17th century, the quality of the Iznik potteries began to feel the impact of the economic distress and political upheavals from which the Ottoman Empire had begun to suffer.
Colors become dull, the famous tomato red turns brown and even disappears entirely.
Designs become crude and are haphazardly executed. Pastes become coarse and glazes suffer from cracking.