«Մասնակից:Արմին-Կարապետյան/Ավազարկղ»–ի խմբագրումների տարբերություն

Chinese influences included the early adoption of the vertical format natural to a book, which led to the development of a birds-eye view where a very carefully depicted background of hilly landscape or palace buildings rises up to leave only a small area of sky. The figures are arranged in different planes on the background, with recession (distance from the viewer) indicated by placing more distant figures higher up in the space, but at essentially the same size. The colours, which are often very well preserved, are strongly contrasting, bright and clear. The tradition reached a climax in the 16th and early 17th centuries, but continued until the early 19th century, and has been revived in the 20th.

 

No Islamic artistic product has become better known outside the Islamic world than the pile carpet, more commonly referred to as the ''Oriental carpet'' ([[oriental rug]]). Their versatility is utilized in everyday Islamic and Muslim life, from floor coverings to architectural enrichment, from cushions to bolsters to bags and sacks of all shapes and sizes, and to religious objects (such as a [[prayer rug]], which would provide a clean place to pray). They have been a major export to other areas since the late Middle Ages, used to cover not only floors but tables, for long a widespread European practice that is now common only in the [[Netherlands]]. Carpet weaving is a rich and deeply embedded tradition in Islamic societies, and the practice is seen in large city factories as well as in rural communities and nomadic encampments. In earlier periods, special establishments and workshops were in existence that functioned directly under court patronage.<ref>Davies, Penelope J.E. Denny, Walter B. Hofrichter, Frima Fox. Jacobs, Joseph. Roberts, Ann M. Simon, ''David L. Janson's History of Art'', Prentice Hall; 2007, Upper Saddle, New Jersey. Seventh Edition, {{ISBN|0-13-193455-4}} pg. 298</ref>

 

Very early Islamic carpets, i.e. those before the 16th century, are extremely rare. More have survived in the West and [[oriental carpets in Renaissance painting]] from Europe are a major source of information on them, as they were valuable imports that were painted accurately.<ref>King and Sylvester, throughout, but 9–28, 49–50, & 59 in particular</ref> The most natural and easy designs for a carpet weaver to produce consist of straight lines and edges, and the earliest Islamic carpets to survive or be shown in paintings have geometric designs, or centre on very stylized animals, made up in this way. Since the flowing loops and curves of the arabesque are central to Islamic art, the interaction and tension between these two styles was long a major feature of carpet design.