DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.62931#0084
OTHER ISLAMIC FABRICS
acting as a foil to the more delicate treatment of the birds and
flowers. Persian velvets are the most beautiful in all Asia, and
were mostly produced at Yezd and Kashan, those of the latter being
of a finer texture than the Yezd velvets.
Plate 29 is taken from a characteristic brocaded pattern of the late
16th century; and the introduction of the figures, birds, animals, and
fishes into the decorative landscape is typical of the daring of the
Eastern craftsman. The pattern is admirably drawn, having consider-
able reticence of detail, combined with perfect distribution. The verti-
cal lines of the trees, apart from their significance, give stability and a
rhythmical quality to the design. Plate 27 gives a similar treatment.
Contemporaneously with the Persian fabrics, many fine velvets
and brocades were produced at Broussa, Bilejik, Hereke, and Scutari
in Turkey, corresponding in design with the broad ogival bands of
Persia, but frequently having some of the detail distinctly Islamic
in character. On plate 31 are two examples of early brocades
showing Persian influence, where the pomegranate shapes are enclosed
by bold ogival bands, upon which are trailed a delicate rendering of
the rose, pink, and tulip. Plate 30 is also a representative example
of this class, with the central filling of typical Mohammedan ornament.
The woven patterns of Persia have probably had a wider and
more lasting influence upon European fabrics than those of either
China or India, due doubtless to the interest and beauty of the
natural form selected and the skilful patterning, and also to the
migratory habits of the Eastern weavers.
OTHER ISLAMIC FABRICS
The rise of the Mohammedan power, which was destined to
exercise such a remarkable influence upon the arts, was contemporary
with the Byzantine civilisation.
The history commences with Mohammed (a.d. 570—632), who
founded the religion. In 635 Damascus became the capital, and
Kula and Bassora were founded in Persia. Jerusalem was captured
in 637. Egypt was conquered in 641, Persia in 642, and Sicily in
827. Spain was invaded in 711, and India in 997. Thus the
Arabs, from a roving tribe, became, by religious zeal and conquest,
the most powerful and wealthiest nation of medieval times, assimi-
lating and encouraging the industrial arts of provinces and nations,
and in none of the arts was their influence more widely felt than in
that of woven fabrics.
The Fatimide caliphs of Egypt (969-117 1) and their courts wore
sumptuous attire of figured silks shot with gold ; magnificent tents of
46
acting as a foil to the more delicate treatment of the birds and
flowers. Persian velvets are the most beautiful in all Asia, and
were mostly produced at Yezd and Kashan, those of the latter being
of a finer texture than the Yezd velvets.
Plate 29 is taken from a characteristic brocaded pattern of the late
16th century; and the introduction of the figures, birds, animals, and
fishes into the decorative landscape is typical of the daring of the
Eastern craftsman. The pattern is admirably drawn, having consider-
able reticence of detail, combined with perfect distribution. The verti-
cal lines of the trees, apart from their significance, give stability and a
rhythmical quality to the design. Plate 27 gives a similar treatment.
Contemporaneously with the Persian fabrics, many fine velvets
and brocades were produced at Broussa, Bilejik, Hereke, and Scutari
in Turkey, corresponding in design with the broad ogival bands of
Persia, but frequently having some of the detail distinctly Islamic
in character. On plate 31 are two examples of early brocades
showing Persian influence, where the pomegranate shapes are enclosed
by bold ogival bands, upon which are trailed a delicate rendering of
the rose, pink, and tulip. Plate 30 is also a representative example
of this class, with the central filling of typical Mohammedan ornament.
The woven patterns of Persia have probably had a wider and
more lasting influence upon European fabrics than those of either
China or India, due doubtless to the interest and beauty of the
natural form selected and the skilful patterning, and also to the
migratory habits of the Eastern weavers.
OTHER ISLAMIC FABRICS
The rise of the Mohammedan power, which was destined to
exercise such a remarkable influence upon the arts, was contemporary
with the Byzantine civilisation.
The history commences with Mohammed (a.d. 570—632), who
founded the religion. In 635 Damascus became the capital, and
Kula and Bassora were founded in Persia. Jerusalem was captured
in 637. Egypt was conquered in 641, Persia in 642, and Sicily in
827. Spain was invaded in 711, and India in 997. Thus the
Arabs, from a roving tribe, became, by religious zeal and conquest,
the most powerful and wealthiest nation of medieval times, assimi-
lating and encouraging the industrial arts of provinces and nations,
and in none of the arts was their influence more widely felt than in
that of woven fabrics.
The Fatimide caliphs of Egypt (969-117 1) and their courts wore
sumptuous attire of figured silks shot with gold ; magnificent tents of
46