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　　IZNIK, Türkiye, June 30 (Xinhua) -- In the historic town of Iznik in northwestern Türkiye, renowned for its centuries-old ceramic tradition, master artisan Adil Can Guven is devoted to preserving and revitalizing this ancient craft.

　　Widely recognized as a "culture bearer," the 72-year-old has spent decades reviving and advancing the art of Iznik tiles, a passion that continues to shape his life and work.

　　In an interview with Xinhua, Guven reflected on his lifelong dedication to ceramics, his recent cultural exchange trip to China, and the enduring artistic dialogue between two of the world's most celebrated porcelain traditions.

　　In 2023, Guven traveled to China at the invitation of the Chinese government, which took him to Jingdezhen, widely known as the "porcelain capital" of the world. It was his first visit to the historic city, and the experience left a deep impression on him.

　　"They showed us not just the art, but the soul behind it -- the people, the stories, and centuries of craftsmanship," Guven said.

　　Jingdezhen's rich ceramic heritage resonated strongly with Guven, who has spent his career reviving the artistic and technical legacy of Iznik tiles. He was particularly impressed by the city's modern restoration laboratories, a museum housed in a former brick factory, and the robust institutional support for ceramic research.

　　"There was a research center -- they called it a 'gene bank' --dedicated to material analysis and preservation. That kind of commitment is something we desperately need in Iznik," Guven said, emphasizing the need for similar investment in his own town's ceramic future.

　　During the visit, Guven also took part in hands-on workshops, working alongside Chinese artisans to shape clay and observe restoration techniques up close.

　　"The techniques may differ, but the passion is the same," he said. "It reminded me that ceramic art transcends borders -- it's a universal language."

　　Regarding the historical connection between Chinese porcelain and Iznik ceramics, Guven said that while Iznik's tradition was initially inspired by Chinese models, it eventually developed into a distinct Ottoman art form.

　　"The Ottoman court admired Chinese blue-and-white porcelain and asked local artisans to create something similar," he explained. "But true porcelain requires firing at around 1300 degrees Celsius, which our kilns couldn't reach. Kilns in Iznik, a town of potters, would often collapse above 950 degrees Celsius."

　　To overcome this challenge, local artisans turned to an ancient Seljuk technique: adding frit, or ground glass, to the clay mixture.

　　"This created a white, durable ceramic body that looked like porcelain but was made from entirely different materials," Guven said.

　　By the mid-15th century, Iznik's ceramics had refined the technique. "These ceramics, fired at around 950 degrees Celsius, became the foundation of Iznik tiles," he explained. "The earliest examples were blue-and-white and clearly influenced by Chinese designs, as requested by the palace."

　　Over time, Iznik developed its own distinctive style, he noted. "But it all began with that cross-cultural inspiration."

　　Today, at his workshop in Iznik, Guven continues to study and recreate ceramic works from 13 historical periods, using traditional materials, original techniques and age-old motifs.

　　He is also committed to passing on his skills to younger generations, believing that preserving this heritage not only honors the past, but also helps shape the future. ■