Our History
Armenian ceramics holds a distinction in the realm of pattern and creativity with a tradition stretching back centuries. During Ottoman rule, Kütahya emerged as a significant hub for ceramics, rivaling the renowned Iznik pottery. The town's pottery was notably influenced by its Christian artisans, predominantly Armenians, who played a crucial role in its history. Kütahya tiles stood out for their bright yellow hues and the inclusion of human and animal figures, distinguishing them from Iznik ceramics. However, by the 20th century, political turmoil and genocide had severely diminished the rich artistic diversity of Kütahya pottery, bringing an end to its illustrious legacy.
1920s
From Kütahya to Jerusalem: A Legacy Replanted
Three Armenian ceramists, Ohanessian, Balian and Karakashian, were invited to Jerusalem by the British authorities to help restore the tiles of the Dome of the Rock. Bringing with them their rich ceramic traditions from Kütahya, they established workshops that not only crafted beautiful ceramics but also laid the foundation for a distinctive Jerusalemite Armenian branch of Kütahya pottery—known as Armenian Ceramics—that today represents an enduring symbol of Jerusalem’s rich tapestry and cultural heritage.
1940s
Hagop Antreassian’s Early Inspirations
As a young boy, Hagop Antreassian watched his grandfather, the master potter Taniel Kitishian, skillfully throw (technique of shaping) ceramic plates at the Ohannesian factory. Stories of Kitishian’s artistry left a lasting impression on Hagop, even though only a handful of his grandfather’s works survived. Among these rare pieces is a ceramic plate depicting the renowned Birds of Musrara mosaic, unearthed in 1894 near Jerusalem’s Damascus Gate.
1980s
Honoring the Past, Shaping the Future
In 1980, Hagop set out on his own and founded Hagop’s Studio for Armenian Pottery and Ceramics in Jerusalem’s St. James Armenian Convent, carrying the mantle of his grandfather’s artistic legacy dating back to the 1940s. Working alongside his wife, Armine, who played a pivotal role from the mid 1980s to the early 1990s, they both enriched the studio's offerings with their artistic collaboration.
2020s
Revival and Renewal
When COVID-19 forced the closure of Hagop's studio after four decades, it seemed the Antreassian legacy might end. But in Belgium, his daughter Kayane felt the pull of her family's calling. In 2024, she began reimagining the ancient craft for contemporary audiences—preserving traditional hand painting techniques while embracing minimalist aesthetics. In 2025 the Antreassian name graced ceramics once again, carrying the Jerusalem Armenian tradition across continents into a new chapter.