Oriental carpets in Renaissance painting

1902: 1086: 2468: 1449: 1631: 1676: 2434: 1500: 1608: 1924: 899: 1077: 1946: 518:" disappeared from paintings by about the end of the 15th century. Only a handful of original animal-pattern carpets survive, two from European churches, where their rarity presumably preserved them. The "Marby rug", one of the finest examples, was preserved in a church of the Swedish town of Marby, and a bold adaptation of an originally Chinese "dragon and phoenix" motif is in Berlin. Both are rugs, less than 2 metres long, and about 1 metre wide, with two compartments, though the Berlin carpet lacks a border down one long side. The "Dragon and Phoenix" and the "Marby" rugs were the only existing examples of animal carpets known until 1988. Since then, seven more carpets of this type have been found. They survived in Tibetan monasteries and were removed by monks fleeing to Nepal during the 754: 2415: 350: 720: 34: 1172: 1426: 25: 388: 1484: 85: 341: 205: 763: 2105: 978: 1188: 2044:. He concluded that the majority of the surviving and painted carpets alike were produced by Christian Armenian weavers. The hidden Christian symbolism of the carpet patterns had therefore made the so-called "Christian oriental carpets" appropriate adornments for Western European Christian churches. Following this hypothesis, the lack of contemporary Western European written sources, which could otherwise provide independent evidence to support Gantzhorn's claims, is explained by the fact that the knowledge of the hidden symbols was subject to oral tradition, and restricted to a small religious élite. The 969: 1414: 1461: 2304: 908: 182: 1879: 1655: 2248: 711: 247:

carpets were integrated into secular contexts, but always served to represent the idea of opulence, exoticism, luxury, wealth, or status. First, their use was reserved for the most powerful and most wealthy, for royalty and nobility. Later, as more people gained sufficient wealth to afford goods of luxury, Oriental carpets appeared on the portraits of merchants and wealthy burghers. During the late 17th and 18th century, the interest in depicting carpets declined. In parallel, the paintings pay less attention to detail.

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cultural context. Whilst Islamic carpets initially served to adorn Renaissance paintings, later on the paintings contributed to a better understanding of the carpets. Comparative art historical research on Oriental carpets in Renaissance painting thus adds another facette, and leads to a better understanding of the highly multifaceted, and sometimes ambivalent, image of the Ottomans during the Western European Renaissance.

397: 1527:. Pinner and Franses champion this attribution because Syria was part first of the Mamluk, later of the Ottoman Empire at that time. This would explain the similarities with the colours and patterns of the Cairene carpets. The current dating of the "chequerboard" carpets is also consistent with European collection inventories from the early 17th century. Carpets of the "chequerboard" type are depicted on 1523:

enclosing a star pattern. All "chequerboard" carpets have borders with cartouches and lobed medallions. Their attribution is still under debate. The colours and patterns resemble those seen in Mamluk carpets; however, they are "S-spun" and "Z-twisted" and thus similar to early Armenian carpets. Since the early days of carpet science they are attributed to

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cultural history of the Oriental art of carpet weaving. This has in turn renewed and inspired the scientific interest in their countries of origin. Comparative research based on Renaissance paintings and carpets preserved in museums and collections continues to contribute to the expanding body of art historical and cultural knowledge.

2300:, in the background. Bellini's use of these decorative elements resembles the way Oriental carpets are depicted in 14th and 15th century Renaissance paintings: They are depictions of the exotic and the precious, they set a stage for an important person or action, but, as yet, essentially ignore their original cultural context. 800:, and the leading carpet scholar of his day. Some of these types ceased to be produced several centuries ago, and the location of their production remains uncertain, so obvious alternative terms were not available. The classification ignores the border patterns, and distinguishes between the type, size and arrangement of 1813:, which was an important center of Armenian carpet trade during the 15th–19th century. Many Armenians left their homes in Western Armenia ruled by Ottoman Turkey and founded craft centers of carpet weaving in Gherla, Transylvania. Hence, carpets of this type are known by a term of convenience as "Transylvanian carpets". 877:(1486), which shows the type hung over a balcony to the top left, and a different type of carpet over another balcony in the right foreground. These seem to be a transitional type between the early animal-pattern carpets and later purely geometrical designs, such as the Holbein types, perhaps reflecting increased 2209:

type of painting, depicts a group of people enjoying themselves, usually seated with drinks, and often music-making. In these pictures, Oriental carpets often cover and decorate the table, or are spread over the furniture. As such, they either underline the wealth and respectability of the portrayed,

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appears in a c. 1340–45 Sienese panel of the Holy Family attributed to Pietro or Ambrogio Lorenzetti (Abegg-Stiftung, Riggisberg) with alternating black and white animals within colorful octagonal medallions. European depictions of Oriental carpets were extremely faithful to the originals, judging by

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examined the Pazyryk carpet for various substances, it has been concluded that the red threads used in the carpet were colored with a dye made from the Armenian cochineal, which was anciently found on the Ararat plains. Moreover, the technique used to create the Pazyryk carpet is consistent with the

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An extremely rare group of carpets, "chequerboard" carpets were assumed to be a later and derivative continuum of the Mamluk and Ottoman Cairene group of carpets. Only about 30 of these carpets survived. They are distinguished by their design composed of rows of squares with triangles in each corner

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From the middle of the 15th century onwards, a type of carpet was produced in Egypt which is characterized by a dominant central medallion, or three to five medallions in a row along the vertical axis. Numerous smaller ornaments are placed around the medallions, such as eight-pointed stars, or small

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from the 15th to the beginning of the 16th century. The fringes of these carpets are often found at the sides of the painted carpets, not at the upper and lower ends. Either did the carpets have an uncommonly square shape, or maybe the artists have used some license and improvised with the authentic

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The general design of the Ghirlandaio type, as in the 1486 painting, is related to Holbein Type 1. It is defined by one or two central medallions of diamond shape, consisting of an octagon within a square, from whose sides triangular, curvilinear patterns arise. Carpets with this medallion have been

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The depiction of Oriental carpets in Renaissance paintings is regarded as an important contribution to a "world history of art", based upon interactions of different cultural traditions. Rugs from the Islamic world arrived in large numbers in Western Europe by the 15th century, which is increasingly

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had led to the loss of the oral tradition, and, subsequently, to an incorrect "Islamic" attribution of the carpets by the majority of Western art historians. The debate about Gantzhorn's hypotheses, which is at times conducted polemically and not entirely free of nationalistic constraints, is still

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Oriental carpets appear for the first time on early Renaissance paintings of the late 12th century. In most cases the carpets serve as a background for religious scenes. Saints were depicted enthroned or standing on carpets, thus being elated, and separated from their surroundings. Ordinary people,

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with a single "re-entrant" or keyhole motif at the bottom of a larger figure traced in a thin border. At the top end the borders close diagonally to a point, from which hangs down a "lamp". The design had Islamic significance, and its function seems to have been recognised in Europe, as they were

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Activities of scientists and collectors beginning in the late 19th century have substantially increased the corpus of surviving Oriental carpets, allowing for more detailed comparison of existing carpets with their painted counterparts. Western comparative research resulted in an ever more detailed

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anachronistically shows the patron saint of Venice preaching to Muslims. The architecture shown in the background is an incongruous assortment of buildings, not corresponding to contemporary Islamic architecture. The stage-like setting for St Mark's sermon is adorned by exotic animals like a camel

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China. Brüggemann and Boehmer further elaborate that it might have been introduced to Western Anatolia by the Seljuk, or Mongol invaders in the 11th or 13th century. In contrast to the manifold variation of patterns seen in other carpet types, the Ghirlandaio medallion design has remained largely

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of a human skull. Objects in still life paintings, regardless of their allegorical meaning, are often placed on precious velvet table cloths, marble plates, or Oriental carpets. As such, Oriental carpets are treated similar to other precious objects or materials, the focus being on their material

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carpets were often woven in large formats. As such, they represent a typical product of higher organized, town manufacture. They are characterized by large dark blue star shaped primary medallions in infinite repeat on a red ground field containing a secondary floral scroll. The design was likely

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survive than actual carpets contemporary with these paintings. Few Middle-Eastern carpets produced before the 17th century remain, though the number of these known has increased in recent decades. Therefore, comparative art-historical research has from its onset in the late 19th century relied on

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hardly show any differences in the details of the design or the weaving structure indicate that all three pictures might trace back to one single carpet Vermeer might have had at his studio. The paintings by Vermeer, Steen, and Verkolje depict a special type of Ushak carpet of which no surviving

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Visually, the carpets serve to draw attention either to an important person, or to highlight a location where significant action is going on. In parallel with the development of Renaissance painting, initially mainly Christian saints and religious scenes are set out on the carpets. Later on, the

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Oriental carpets were often depicted as a decorative element in religious scenes, and were a symbol of luxury, status and taste, although they were becoming more widely available throughout the period, which is reflected in the paintings. In some cases, such as paintings by Gentile Bellini, the

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The majority of Oriental carpets, however, continue to be depicted as objects with visual appeal, without political connotations, but ignoring their original cultural context. It was reserved to a later century to try and reach out for a better understanding of the carpets within their Islamic

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Type IV: Large-pattern Holbein. Large, square, star-filled compartments are combined with secondary, smaller squares containing octagons or other "gul" motifs. In contrast to the other types, which only contain patterns of equal scale, the type IV Holbein shows subordinate ornaments of unequal

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The tradition of precise realism among Western painters of the late 15th and 16th century provides pictorial material which is often detailed enough to justify conclusions about even minute details of the painted carpet. The carpets are treated with exceptional care in the rendering of colors,

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published his book on Oriental carpet design. He was relying more on European paintings than on the examination of actual carpets for lack of material, because ancient Oriental carpets were not yet collected at the time when he worked on his book. Lessing's approach has proven very useful to

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was adorned with carpets hanging from the windows of the surrounding palaces and houses on special occasions. Like the beautiful ladies looking out of the windows, the carpets function as a decorative framework, and highlight the important action which is going on. Similar to the inaccurate

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of Christ, however, represents a special case: The use of the motif could either have resulted from a mere similarity of the two pictorial patterns, but it can also be understood as an assertion of Renaissance Christian predominance. Europeans had reasons to fear the Islamic world: in 1529

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type, on the other hand, were exported in great numbers to Portugal, Spain, and the Netherlands, and are often represented in interiors painted by Velásquez, Rubens, Van Dyck, Vermeer, Terborch, de Hooch, Bol and Metsu, where the dates established for the paintings provide a yardstick for

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carpets usually have a red or blue field decorated with a floral trellis or leaf tendrils, ovoid primary medallions alternating with smaller eight-lobed stars, or lobed medallions, intertwined with floral tracery. Their border frequently contains palmettes on a floral and leaf scroll, and

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wrote that Bellini "portrayed the Emperor Mahomet from the life so well, that it was held a miracle". The dating and authorship of the portrait by Bellini have been placed in question, however, Bellini is the first great Renaissance painter who actually visited an Islamic Sultan's court.

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recognized as a pivotal temporal nexus in the cultural encounters that contributed to the development of Renaissance ideas, arts, and sciences. Intensified contacts, especially the increasing trade between the Islamic world and Western Europe, have provided material sources and cultural

1307:, Konya, dated to the 17th century. She relates these carpets to 19th century Caucasian "Dragon" rugs with a similar lozenge design (p. 71), and claims that carpets of a type as depicted by van Eyck and Petrus Christus are early Anatolian forerunners to the later Caucasian design. 856:

twice painted what seems to be the same small rug, with the centre taken up with a complex sixteen-pointed star motif made up of several compartments in different colours, some containing highly stylised animal motifs. Comparable actual carpets are extremely rare, but there are two in

1562:, the concept of the infinite repeat in star Ushak carpets is more accentuated and in keeping with the early Turkish design tradition. Because of their strong allusion to the infinite repeat, the star Ushak design can be used on carpets of various size and in many varying dimensions. 2467: 696:

The depiction of Oriental carpets in paintings other than portraits generally declined after the 1540s, corresponding to a decline in the taste for highly detailed representation of objects (Detailism) among painters, and grander classicising surrounds for hieratic religious images.

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paintings which show a predominantly geometric design with a lozenge composition in infinite repeat, built up from fine bands which connect eight-pointed stars. Yetkin has identified an Anatolian carpet with a similar, but more advanced lozenge design (Yetkin, 1981, plate 47 in the

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These art historians were also aware of the fact that their scientific approach was biased: Only carpets produced by manufactories were exported to Western Europe, and consequently were available to the Renaissance artists. Village or nomadic rugs did not reach Europe during the

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Dürer was buying various exotic luxury goods for Pirckheimer in Venice, and he mentions the two carpets amongst gold, jewels, and crane feathers. We do not know if Dürer in any way attributed artistic value to these carpets. No Oriental carpets were ever depicted by Dürer.

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ongoing. And it's high time to announce the real story of rugs/carpets to the world and present the first ancient rug found in Pazyryk as an ancient Armenian rag woven by fine and talented Armenian masters in the 5th century BC. When chemists and dye specialists of the

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often the donors of the painting, were sometimes allowed to participate in the atmosphere of holiness by depicting them near the holy person, or literally kneeling or standing "on the same carpet" as the saint. This context is still understood and at times used today.

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Due to their perceived rarity, preciousness and strangeness, Oriental carpets were depicted as a background for saints and religious scenes. Later on, the religious iconography was taken over by politically powerful persons in order to assert their status and

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Though they look very different from Holbein Type I carpets, they are a development of the type, where the edges of the motifs, nearly always in yellow on a red ground, take off in rigid arabesques somewhat suggesting foliage, and terminating in branched

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When Western scholars explored the history of Islamic carpetmaking, several types of carpet pattern became conventionally called after the names of European painters who had used them, and these terms remain in use. The classification is mostly that of

1809:(1627) are amongst the earliest paintings depicting a new type of Ottoman Turkish manufactory carpet, which was exported to Europe in large quantities, probably in order to meet the increasing demand. A large number of similar carpets were preserved in 1365:, about 1570. The large medallion is depicted in a way that it forms the nimbus of the head of Christ. The characteristic Mamluk carpet ornaments are clearly visible. Ydema has documented a total of sixteen dateable representations of Mamluk carpets. 1988: 1041:

Type III: Large-pattern Holbein. The motifs in the field inside the border consist of one or two large squares filled with octagons, placed regularly, and separated from each other and from the borders by narrow stripes. There are no secondary

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The exact interpretation of the religious context has been proposed by Volkmar Gantzhorn in 1998. He compared in detail the patterns and symbols of both the Renaissance paintings and surviving carpets with ancient ornaments, for example with

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in the last quarter of the fifteenth century, and are characterised by several lines coming off the motifs that end in "hooks", by coiling in on themselves through two or three 90° turns. Another example appears in a miniature painted for

1130:, who did so several times, though he was not the first artist to show them. Lotto is also documented as owning a large carpet, though its pattern is unknown. They were primarily produced during the 16th and 17th centuries along the 1582:. It is placed horizontally; the upper or lower end with the star-shaped corner medallion can be seen. Under the woman's hand which holds the glass, a part of a characteristic Ushak medallion can be seen. The carpet seen on Vermeer's 2433: 2156:"Anthoni Kolb will help me buying 2 carpets, the nicest, broadest and cheapest . As soon as I have them, I will hand them over to the young Im Hoff, and he will prepare them for transport. I will look for crane feathers as well." 1157:

To judge from paintings, they reached Italy by 1516, Portugal about a decade later, and northern Europe, including England, by the 1560s. They continue to appear in paintings until about the 1660s, especially in the Netherlands.

1878: 1856:). By this date they have become common in the homes of the reasonably well-to-do, as is shown by historical documentation of inventories. Carpets are sometimes depicted in scenes of debauchery from the prosperous Netherlands. 3026: 689:(the so-called re-entrant carpets, later called the "Bellini" type). The representation of such prayer rugs disappeared after 1555, probably as a consequence of the realization of their religious meaning and connection to 3652:

Examples in Polish collections led to their being miscalled "Polish carpets" in the 19th century, a misnomer that has stuck: "representations of 'Polish' silk rugs in paintings are rare" report Dimand and Mailey 1973,

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Vnd dy 2 tebich will mir Anthoni Kolb awff daz hubschpt, preytest vnd wolfeillest helfen khawffen. So jch sy hab, will jch sy dem jungen Im Hoff geben, daz er ys ewch einschlache. Awch will jch sehen noch den kranchs

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comparison with the few surviving examples of actual rugs of contemporary date. Their larger scale also allows more detailed and accurate depictions than those shown in miniature paintings from Turkey or Persia.

1448: 1630: 2387:, which ended on 12 September 1683, and their new Christian owners proudly reported back home about their plunder. Carpets exist with inscriptions indicating the new owner, and the date when it was acquired: 2012:

Oriental carpets were more generally perceived as a rare commodity, and objects of luxury and decoration. From the mid 16th century onwards, the iconological context sometimes extended towards the idea of

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By the end of the century, Oriental carpets had lost much of their status as prestige objects, and the grandest sitters for portraits were more likely to be shown on the high-quality Western carpets, like

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Non-royal portrait sitters were more likely to place their carpet on a table or other piece of furniture, especially in Northern Europe, though small rugs beside a bed are not uncommon, as in the

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ornaments composed of stylized floral elements. The innumerable small geometric and floral ornaments give a kaleidoscopic impression. Sixty of these carpets were given to the English cardinal

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Type I: Small-pattern Holbein. This type is defined by an infinite repeat of small patterns, with alternating rows of octagons and staggered rows of diamonds, as seen in Holbein the Younger's

1376:, the Cairene weavers adopted an Ottoman Turkish design. The production of these carpets continued in Egypt into the early 17th century. A carpet of the Ottoman Cairene type is depicted in 1483: 1460: 243:, the drawing of the individual patterns and motifs, and the way the pile opens where the carpet is folded over the steps, all suggest that the depicted textile is a pile-woven carpet. 3967: 2376:. On the eighth fresco, a table in front of the Pope's throne is covered by an Oriental carpet. It was hypothesized that the carpet might have been a trophy from previous expeditions. 1654: 3023: 2024:

In any case, Oriental carpets were used in Western Europe in different ways and contexts than in the Islamic world, and their original cultural context was never fully understood.

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Jtem allen fleis hab jch an kertt mit den tewichen, kan aber kein preiten an kumen. Sy sind al schmall vnd lang. Aber noch hab jch altag forschung dornoch, awch der Anthoni Kolb.

1227:

In his essay on "Centralized Designs", Thompson relates the central medallion pattern of oriental carpets to the "lotus pedestal" and "cloud collar (yun chien)" motifs, used in

1224:, and dated to the 16th century. Carpets with similar medallions were dated to the 17th, 18th and 19th century, respectively, and are still woven in the Çanakkale region today. 473:, Spain, or elsewhere. In fact these were not the finest Islamic carpets of the period, and few of the top-quality Turkish "court" carpets are seen. Even finer than these, 1978: 2166:"I've done all I could with the carpets, but I cannot get any of the broad ones. They are all narrow and oblong. I'm continuing my search every day, Anthoni Kolb as well." 514:(1440). These had been stylised and simplified into near-geometric motifs in their transmission to the Islamic world. The whole group, referred to in the literature as " 2020:

When contacts, often of a violent nature, grew closer between the Islamic world and Europe, Oriental carpets were sometimes used as a symbol of Christian self-assertion.

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Carpets remained an important way of enlivening the background of full-length portraits throughout the 16th and 17th centuries, for example in the English portraits of

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known in English as "musket" carpets, a corruption of "mosque". In the Gentile Bellini seen at top the rug is the "right" way round; often this is not the case. Later

2221:", the futility of human life. The allusion to futility is made apparent by the inclusion of symbols like a human skull, or inscriptions quoting the biblical book of 541:

Although the carpets were displayed on a public floor in a few examples, most carpets on the floor are in an area reserved for the main protagonists, very often on a

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paintings. Assorted valuable, exotic objects like Chinese porcelain bowls and animals like parrots are depicted, often with an allegorical meaning, or symbolizing "

1413: 1385: 2783:

Burke, S. Maureen (2011). "Mary with Her Spools of Thread: Domesticating the Sacred Interior in Tuscan Trecento Art". in John Garton and Diane Wolfthal, eds.,

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establish a scientific chronology of Oriental carpet weaving, and was further elaborated and expanded mainly by scholars of the "Berlin school" of History of

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Brancati, Luca E., 'Figurative Evidence for the Philadelphia Blue-Ground SPH and an Art Historical Case Study: Gaudenzio Ferrari and Sperindio Cagnoli',

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to Western artists during the next centuries to come. In turn, European market demands also affected the carpet production in their countries of origin.

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Burke, S. Maureen, 'Mary with Her Spools of Thread: Domesticating the Sacred Interior in Tuscan Trecento Art,' in John Garton and Diane Wolfthal, eds.,

1789:'s royal and aristocratic subjects had mostly progressed to Persian carpets, but less wealthy sitters are still shown with the Turkish types. The 1620 1085: 1012:

seen in Western Renaissance paintings, and continued to be produced for a long period. All are purely geometric and use a variety of arrangements of

1403:, 1628, shows the characteristic S-stems ending in double sickle-shaped lancet leaves. Various carpets of the Ottoman Cairene type are depicted in 3265: 1601:

counterpart is known. It is characterized by its rather sombre colours, coarse weaving, and patterns with a more degenerated curvilinear design.

779:, 1486, with Crivelli carpet in the upper left corner. See enlarged detail at left. Note that there is a second, different carpet at top center. 2845: 2660: 1551:

In contrast to the relatively large number of surviving carpets of this type, relatively few of them are represented in Renaissance paintings.

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do not appear until the end of the 16th century, but become increasingly popular among the very wealthy in the 17th century. The very refined

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writing in contemporary paintings, the European artists borrowed something from another culture which they, essentially, did not understand.

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Orientalische Teppiche : eine Darstellung der ikonographischen und ikonologischen Entwicklung von den Anfängen bis zum 18. Jahrhundert

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The influence of Bellinis encounter with the Islamic world is reflected by Oriental motifs appearing in several of his paintings. His 1507

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unaltered from the 15th to the 21st century, and thus exemplifies an unusual continuity of a woven carpet design within a specific region.

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geometric designs, with the earliest ones also using animal patterns such as the originally Chinese-inspired "phoenix-and-dragon", as in

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We do not understand exactly how Renaissance artists thought about the Oriental carpets they were depicting. We know that the Venetian

250:

The richly designed Oriental carpets appealed strongly to Western painters. The rich and various colours may have influenced the great

2348:. The painting can only be roughly dated to the 16th century. The use of the central medallion of an Oriental carpet to highlight the 898: 1327:

models. Alternatively, the carpets depicted by van Eyck and Petrus Christus could be of Western European manufacture. The undulating

1250: 1076: 1384:. Its border design and guard borders are the same as a carpet in the Rijksmuseum, Amsterdam. A similar carpet has been depicted by 1490: 5179: 1590: 797: 1778:, 14.40.617) shows such a carpet laid upon the table on which the lady's cavalier is sitting. Floral "Isfahan" carpets of the 4178:

Spallanzani Marco, 'Oriental Rugs in Renaissance Florence', The Bruschettini Foundation for Islamic and Asian Art, Genova 2007

812:. These names are somewhat random: many artists painted these types, and single artists often painted many types of carpets. 4025: 3423: 3313: 3068: 2452: 1322:

however, each show a non-Oriental undulating trefoil stem. Similar ornaments can be found in the borders of many carpets in

2504:Лятиф Керимов. Азербайджанский ковёр. Том III. VI. Карабахская школа. Б) Джебраилская группа. Б.: «Гянджлик», 1983, рис.121 2225: 1373: 1028: 988: 753: 1221: 327:

recognized the artistic and art historic value of village or nomadic carpets, were they appreciated in the Western World.

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in exchange for a license for Venetian merchants to import wine to England. The earliest known painting representing a

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Inscription on the backside of an Oriental "Polonaise" carpet, once in the Moore collection, current location unknown.

1008:, and are sub-divided into four types (of which Holbein actually only painted two); they are the commonest designs of 719: 323:, and were not depicted in paintings. Not until the mid twentieth century, when collectors like Joseph V. McMullan or 33: 4926: 4191: 4078: 4064: 4050: 4028: 4017: 3814: 3598: 3389: 3288: 3060: 2683: 2591: 2557: 2540: 2315: 1915: 1439: 1283:

could be traced back to late Roman origins and related to early Islamic floor mosaics found in the Umayyad palace of

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interest, but for most painters they merely reflect the prestige of the carpets in Europe. A typical example is the

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Altorientalische Teppichmuster: Nach Bildern und Originalen des XV. - XVI. Jahrhunderts, translated into English as

1138:, but also copied in various parts of Europe, including Spain, England and Italy. They are characterized by a lacy 841:

where both ends have the diagonal pointed inner border, as at the top only of Bellini rugs, are sometimes known as "

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Oriental carpets : Their iconographical and iconological development from the beginnings to the 18th century

2513: 24: 5243: 4931: 4282: 4232: 2887: 591: 515: 493: 449:"...and here they make the most beautiful silks and carpets in the world, and with the most beautiful colours." 3166:

Der Orientalische Knüpfteppich. = Oriental Carpets: An Essay on their History. tr. C. G. Ellis, New York, 1960

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Der Orientalische Knüpfteppich. = Oriental Carpets: An Essay on their History. tr. C. G. Ellis, New York, 1960

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Der Orientalische Knüpfteppich. = Oriental Carpets: An Essay on their History. tr. C. G. Ellis, New York, 1960

4951: 4901: 4042: 4207: 4664: 4364: 3754:

In the collection of Harvard University Law School; illustrated in Dimand and Mailey 1973, p.193, fig. 178.

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Pinner, Robert; Franses, Michael (1981). "East mediterranean carpets in the Victoria & Albert Museum".

2535:. Translated by Beattie, May H.; Herzong, Hildegard. Berkeley, California: University of California Press. 2349: 1558:

influenced by northwest Persian book design, or by Persian carpet medallions. As compared to the medallion

1323: 631: 600: 3614: 3569: 3477: 3329: 2824: 340: 204: 4936: 1509: 258:. It has been suggested that the pictorial representation of carpets is linked to the development of the 2104: 762: 4976: 4916: 4896: 4891: 4674: 4307: 2260: 2173:

Jch hab awch zwen dewich bestelt, dy würd jch morgen tzalen. Aber jch hab sy nit wolfell kunen kawffen.

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in Egypt, two different cultures merged, as is seen on Mamluk carpets woven after this date. After the

557:. This presumably reflected the contemporary practice of royalty; in Denmark the 16th century Persian 523: 2645:

Ancient Oriental Carpet Patterns after Pictures and Originals of the Fifteenth and Sixteenth Centuries

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European painters continued to accurately depict Oriental carpets, now usually in Oriental settings.

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are rarely represented in paintings, as they were doubtless very unusual in European homes; however,

1048: 977: 387: 84: 5364: 4881: 4764: 4724: 4399: 2443: 2361:, and the Ottoman Empire remained a constant threat to Western Europe until the late 17th century. 2354: 2202: 1884: 1825:

of the "Transylvanian" type. In the American colonies, Isaac Royall and his family were painted by

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Pile carpets with geometric design are known to have been produced from the 13th century among the

121: 2176:"I've ordered two carpets, and will pay for them tomorrow. But I could not buy at a cheap price." 5207: 1739: 1730: 1578: 1139: 1126:

These were previously known as "small-pattern Holbein Type II", but he never painted one, unlike

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Pinner, R.; Franses, M. (1981). "East Mediterranean carpets in the Victoria and Albert Museum".

3151: 3124: 2970: 5217: 4956: 4759: 4539: 3688: 3200: 3097: 2358: 2344:

knew about the cultural background of the Mamluk carpet, which he used as a decoration for his

2334: 2041: 1861: 1397: 1276:

of the depictions, these are pile-woven carpets. No directly comparable carpets have survived.

1239: 1117: 968: 615: 3991: 5212: 4971: 4886: 4754: 4347: 2439: 2235: 2142: 1665: 1596: 263: 907: 5384: 5379: 5369: 5142: 5012: 4352: 4327: 4317: 2323: 2303: 2272: 2252: 1201: 634:

had various geographical origins, designated in contemporary Italy by different names: the

1102:, 1542, with two magnificent Oriental carpets, the one in the foreground the type for the 181: 8: 5328: 5071: 5002: 4941: 4835: 4815: 4810: 4097:

Brancati, Luca E., 'The carpets of the Painters' Exhibition catalogue, Skira, Milan 1999.

2772: 2558:"From grid to projected grid: Oriental carpets and the development of linear perspective" 2326:

standing on an Oriental carpet in front of a throne on the same carpet asserts the young

2210:

or add a context of exoticism and profligacy to brothel scenes, or scenes of debauchery.

2137:

In a series of letters from Venice dated 18 August – 13 October 1506, the German painter

565:

or out of windows for festive occasions, such as the processions through Venice shown by

519: 505: 376:

Right image: Phoenix-and-dragon carpet, first half or middle of the 15th century, Berlin.

367: 359: 3033:. There is a different type of carpet hung from the Virgin's house, at top center-right. 2526: 2524: 2522: 1517: 1220:

since the 16th century. A carpet fragment with a Ghirlandaio medallion was found in the

5300: 5157: 2654: 2341: 2307: 2116: 1735: 1431: 1404: 1284: 608: 535: 465:. The vast majority of carpets in 15th- and 16th-century paintings are either from the 310: 113: 2247: 235:

patterns, and details of form and design: The painted texture of a carpet depicted in

5343: 5338: 5187: 4981: 4840: 4581: 4302: 4187: 4074: 4060: 4046: 4021: 4013: 3947: 3922: 3897: 3872: 3810: 3594: 3419: 3385: 3309: 3284: 3064: 3056: 2734: 2679: 2621: 2587: 2536: 2519: 2067: 2045: 1685: 1646: 1393: 1016:, crosses and octagonal motifs within the main field. The sub-divisions are between: 869:

museum in Frankfurt shows it at the top, and the same carpet seems to be used in the

804:, or larger motifs in the central field of the carpet. In addition to four types of 566: 561:

is used under the throne for coronations to this day. They are also often hung over

558: 527: 251: 2380: 2138: 1864:, now being produced, whose less intricate patterns were also easier to depict in a 710: 677:

Some of the prayer carpets represented in Christian religious paintings are Islamic

627:. Both are shown sitting doing business at a carpet-covered table or shop counter. 5285: 5222: 5162: 5038: 4855: 4800: 4795: 4679: 4644: 3354:(1st ed.). Woodbridge, Suffolk, UK: Antique Collectors' Club, Ltd. p. 18. 3254:(1st ed.). Istanbul: Turkiye is Bankasi Cultural Publications. pp. 59–65. 3214: 2384: 2075: 2050: 1973: 1955: 1937: 1929: 1853: 1841: 1798: 1786: 1660: 1641: 1636: 1584: 1573: 1260: 821: 458: 324: 292: 4111:, The National Gallery, London, 1976. Revised and expanded edition, published as 3010: 1536: 946: 5137: 4997: 4850: 4709: 4684: 4669: 4639: 4611: 4374: 4337: 4277: 4034: 3946:. Translated by du C. de Vere, Gaston (Pbk. ed.). New York: Modern Library. 3030: 2676:

Pinner, R.: Editorial to "The history of the early Turkish carpet." by K. Erdmann

2420: 2268: 2256: 2122: 1911: 1814: 1794: 1771: 1474: 1265: 1013: 941: 825: 612:

of 1434. Carpets are seen on tables in particular in Italian scenes showing the

596: 570: 296: 236: 185: 161: 145: 129: 117: 54: 3418:(1st ed.). Wiesbaden, Germany: Dr Ludwig Reichert Verlag. pp. 87–176. 415:

Right image: Anatolian animal carpet, circa 1500, found in Marby Church, Sweden.

300: 5323: 5197: 5081: 5022: 4911: 4865: 4830: 4825: 4769: 4744: 4734: 4719: 4659: 4634: 4618: 4564: 4504: 4429: 4409: 4404: 4297: 4262: 4102:

New Studies on Old Masters: Essays in Renaissance Art in Honour of Colin Eisler

3856:] (in German) (1st ed.). Mainz: Florian Kupferberg Verlag. p. 49. 2785:

New Studies on Old Masters: Essays in Renaissance Art in Honour of Colin Eisler

2328: 2284: 2280: 2276: 2194: 1983: 1837: 1528: 1350: 1304: 1272:

have painted four different carpets, three of them of a similar design. By the

958: 878: 853: 845:" rugs, though this term is not as commonly used as the others mentioned here. 805: 772: 659: 586: 485: 474: 466: 422: 283: 193: 141: 137: 133: 3766: 3719: 3127:, Large-pattern Type III Holbein Carpets. See also note to the last paragraph. 2364:

In his 1502–9 cycle of the Piccolomini library frescoes at the Dome of Siena,

1407:

frescoes in the "Sala delle Dame" at the Palazzo Salvadego in Brescia, Italy.

446:...et ibi fiunt soriani et tapeti pulchriores de mundo et pulchrioris coloris. 5358: 5132: 5111: 5048: 4860: 4820: 4714: 4704: 4694: 4689: 4654: 4606: 4586: 4549: 4509: 4454: 4419: 4312: 4292: 4012:, "Carpet, S 2; History(pp. 187–193), Oxford University Press US, 2006, 3775:"Pope John Paul II's coffin placed on a Bijar carpet during his funeral mass" 3680: 3154:, Large-pattern Type IV Holbein Carpets. See also note to the last paragraph. 2206: 2027: 1993: 1892: 1613: 1346: 1273: 1127: 1099: 1009: 921: 729: 620: 1240:

Van Eyck and Petrus Christus: Painted carpets without surviving counterparts

5275: 5268: 5253: 5248: 5076: 4805: 4779: 4774: 4749: 4739: 4729: 4601: 4544: 4519: 4494: 4469: 4414: 4394: 2678:(1977 English ed. of the original, 1957 German ed.). London: Oguz Pr. 2473: 2369: 2365: 2222: 2108: 2080: 2038: 1810: 1755: 1681: 1621: 1559: 1466: 1245: 1232: 1228: 1205: 1204:

was found by A. Boralevi in the Evangelical church, Hâlchiu (Heldsdorf) in

1151: 1113: 1103: 1066: 1043: 1035: 937: 917: 838: 809: 801: 793: 413:

features an "animal carpet" with two opposed birds besides a tree, 1340-50.

304: 255: 208: 103: 4171:

Rocella, Valentina, 'Large-Pattern Holbein Carpets in Italian Paintings',

4039:

The Eastern Carpet in the Western World, From the 15th to the 17th century

2296:

and a giraffe, as well as architectural elements like an ancient Egyptian

1669:, 1663–6, stolen from the Isabella Stewart Gardner Museum, Boston, in 1990 1572:

The best known representation of a Medallion Ushak was painted in 1656 by

1231:. The origin of the design thus dates back to pre-Islamic times, probably 1217: 433:

had had commercial relations since 1220. The Medieval trader and traveler

315:

method for the dating of oriental carpets based on Renaissance paintings.

5333: 5127: 5091: 4921: 4845: 4596: 4591: 4524: 4484: 4449: 4389: 4369: 4332: 4272: 4104:, Toronto: Centre for Reformation and Renaissance Studies, 2011, 289-307. 2126: 2098: 2014: 2001: 1869: 1826: 1023: 667: 582: 546: 501: 406: 320: 288: 93: 50: 2634: 2062: 1968: 1963: 1844:

showed their skill by depiction of light effects on table-carpets, like

920:

altarpiece of 1488–1490. The "hooked" motif defines a "Memling carpet".

481:

carpets from Egypt are occasionally seen, mostly in Venetian paintings.

5295: 5290: 5258: 5202: 5101: 5096: 5007: 4569: 4559: 4554: 4499: 4464: 4434: 4322: 4267: 3384:(1st ed.). Munich: Verlag Kunst und Antiquitäten. pp. 60–78. 2731:

Travels of Marco Polo, the Venetian: the translation of Marsden revised

2333:

s strength and power, by a deliberate echo of the pose of his father's

2214: 1822: 1131: 842: 833: 678: 562: 554: 454: 434: 46: 3699:, by Jan Vermeer (Metropolitan Museum of Art, 89.15.21, p.71, fig. 101 2562:

Proceedings of the Textile Society of America - 12th Biennal Symposium

2086: 1707: 1208:, attributed to Western Anatolia, and dated to the late 15th century. 619:, when he was engaged in his work as a tax-collector, and the life of 484:

One of the first uses of an Oriental carpet in a European painting is

5238: 5152: 4576: 4489: 4479: 4459: 4379: 4118:

Mills, John, 'Early animal carpets in western paintings - a review',

2458: 2090: 2066:

Carpets displayed over windows for a procession in Venice. Detail by

1865: 1454:

Ottoman carpet. Probably Cairo, Egypt. First half of the 17th century

882: 736:, 1523, with a "Bellini" carpet showing the keyhole re-entrant motif. 624: 574: 277: 165: 4208:

The Carpet Index: The Oriental Carpet in Early Renaissance Paintings

3841: 3308:(1 ed.). New York: The Metropolitan Museum of Art. p. 27. 1716: 1697: 866: 223: 197: 5305: 5263: 5192: 5106: 4529: 4444: 4439: 4217: 4125:

Mills, John, 'Small-pattern Holbein carpets in western paintings',

3944:

The lives of the most excellent painters, sculptors, and architects

3593:(1st ed.). Paris: L'Institut du Monde Arabe. 1989. p. 4. 2271:

was sent by the Venetian Senate as a cultural ambassador to Sultan

1524: 1361:

in 1555. Another representation can be found on Ambrosius Frankens

1213: 1147: 1135: 1109: 1004:

These in fact are seen in paintings from many decades earlier than

995: 858: 829: 782: 739: 671: 643: 426: 67:, late 15th to early 16th century, with "re-entrant" keyhole motif. 64: 2787:. Toronto: Centre for Reformation and Renaissance Studies. p. 295. 5147: 4534: 4384: 4287: 4182:

Born, Robert; Dziewulski, Michael; Messling, Guido, eds. (2015).

3675:

Dimand and Mailey 1973, p 67, illustrating floral Herat rugs in

3266:"17th century Ghirlandaio carpet sold at Christie's 5 April 2011" 2817: 2297: 2218: 1845: 1830: 1763: 1328: 470: 462: 43: 4143:

Mills, John, 'East Mediterranean carpets in western paintings',

4120:

HALI. The International Journal of Oriental Carpets and Textiles

3896:(2nd reprinted ed.). New Haven, CT: Yale University Press. 490:

Saint Louis of Toulouse Crowning Robert of Anjou, King of Naples

5053: 4906: 4699: 4474: 4424: 4357: 4248: 4157:

Mills, John, 'The 'Bellini', 'Keyhole', or 'Re-entrant' rugs',

4071:

Carpets and their datings in Netherlandish Paintings, 1540–1700

3837:(3rd ed.). Berlin: Deutscher Verein für Kunstwissenschaft. 3297: 3258: 2516:, Azerbaijan Carpet Museum, page 124-125 Accessed: 28. 07. 2013 2479: 1895:. Anatolian "animal-stype" carpet with a more developed design. 1759: 1150:. The type was common and long-lasting, and is also known as " 682: 577:

embarks they are hung over the sides of boats and footbridges.

550: 478: 430: 396: 371: 153: 149: 3457:(1st ed.). Castagnola: The Thyssen-Bornemisza Collection. 3407: 2283:

as part of the peace settlement between Venice and the Turks.

1836:

From the mid-century European direct trade with India brought

1142:, usually in yellow on a red ground, often with blue details. 5086: 5043: 4514: 4342: 2620:. University Park, Pa.: Pennsylvania State University Press. 2374:

a Diet of Princes at Mantua to proclaim a new crusade in 1459

2213:

By the 16th century, Oriental carpets were often depicted in

1779: 1419:

The "Baillet-Latour" Mamluk carpet, Cairo, early 16th century

927: 690: 686: 438: 190:

The Virgin and Child Enthroned with Saints Jerome and Francis

157: 4150:

Mills, John, 'Near Eastern Carpets in Italian Paintings' in

3206: 3186: 3184: 2586:(1. publ. ed.). Cambridge: Cambridge University Press. 2484:. Fresco at the Duomo di Siena, Piccolomini Library, 1502–9. 2184:

Albrecht Dürer, letters from Venice to Willibald Pirckheimer

1982:, 1450. At the bottom, detail of the Virgin's mantle hem in 1355:

Portrait of the Doge of Venice Loredan and his four advisers

3711: 3583: 3168:(3rd ed.). Tübingen: Verlag Ernst Wasmuth. p. 26. 3141:(3rd ed.). Tübingen: Verlag Ernst Wasmuth. p. 25. 3114:(3rd ed.). Tübingen: Verlag Ernst Wasmuth. p. 23. 1546: 1518:"Chequerboard" or Compartment carpets from the 17th century 1331:

design is a well-known feature of Western Gothic ornament.

542: 4057:

Bazaar to Piazza: Islamic Trade and Italian Art, 1300-1600

3615:"Medallion Ushak carpet at the Metropolitan Museum of Art" 3330:"19th century Ghirlandaio carpet at the Met Museum of Art" 3022:

King & Sylvester, pp. 14, 26, 57-58. Campbell, p. 189.

4184:

The Sultan's world: The Ottoman Orient in Renaissance art

4129:, Vol. 1 no. 4 (1978), 326-34; 'Three further examples', 3683:(Metropolitan Museum of Art, 17.190.20), p. 67,fig. 94; 3181: 3088:

King & Sylvester, pp. 26-27, 52-57. Campbell, p. 189.

2584:

On painting : a new translation and critical edition

1840:

versions of Persian patterns to Europe. Painters of the

1270:

Virgin and Child Enthroned with Saints Jerome and Francis

2582:

Alberti, Leon Battista (2011). Sinisgalli, Rocco (ed.).

2145:

about his efforts to buy two carpets for him in Venice:

4186:(1 ed.). Ostfildern, Germany: Hatje Cantz Verlag. 3491: 3283:(1st ed.). Munich: Eberhart Herrmann. p. 39. 3201:

Old Ottoman carpets. Type II Holbein or "Lotto" Carpets

545:

or in front of an altar, or down steps in front of the

164:, were used as decorative features in Western European 4181: 3470: 2379:

Precious Oriental carpets were part of the so-called "

1958:, whose sitters had mostly moved on to Persian carpets 808:, there are Bellini carpets, Crivellis, Memlings, and 700: 469:, or possibly European copies of these types from the 4136:

Mills, John, '"Lotto" carpets in western paintings',

2242: 1964:

Perception of Oriental carpets during the Renaissance

1754:

The finely-knotted silk carpets woven in the time of

1339: 940:, who painted several examples of what may have been 3942:

Vasari, Giorgio (2005). Jacks, Philip Joshua (ed.).

3919:

Dutch still-life painting in the seventeenth century

3439: 3437: 3435: 3343: 2796:

Mack, p.75. King & Sylvester, pp. 13, and 49-50.

1952:

Philip Herbert, 4th Earl of Pembroke with his Family

4010:

The Grove Encyclopedia of Decorative Arts, Volume 1

3281:

Seltene Orientteppiche/Rare Oriental Carpets Vol. X

2057: 1193:

West Anatolian ‘Ghirlandaio’ rug, late 17th century

526:, which parallels a painting by the Sienese artist 457:, and one is shown in a fresco of the 1340s in the 173:carpets represented in datable European paintings. 3894:A worldly art : the Dutch Republic, 1585-1718 3773: 3478:"Ottoman-Cairene carpet in the Met. Museum of Art" 3455:The Thyssen-Bornemisza Collection of Oriental Rugs 3373: 2442:standing on a star Ushak carpet, workshop copy of 278:Origin and limitations of the comparative approach 168:from the 14th century onwards. More depictions of 3871:(1. publ. ed.). : Islamic Art Publications. 3432: 3379: 2825:"Animal carpet at the Metropolitan Museum of Art" 2393:A. D. Wilkonski XII septembris 1683 z pod Wiednia 1972:At the top, detail of the Virgin's mantle hem in 1698:Persian and Anatolian carpets in the 17th century 1290:Similar, but not identical carpets appear in the 1200:A carpet closely related to the 1483 painting by 5356: 4213:Carpets in Western Europe During the Renaissance 3921:(Facsim. ed.). New York: Hacker art books. 3828: 3826: 3664:Oriental Rugs in The Metropolitan Museum of Art, 3367:From Konya to Kokand - Rare Oriental Carpets III 2028:Sacred Ground – or "Christian Oriental Carpets"? 589:at the feet of the Virgin Mary in the 1456–1459 366:features a large carpet with a Chinese-inspired 3349: 3245: 3243: 3241: 3239: 2729:Marsden, William (2010). Wright, Thomas (ed.). 2611: 2609: 2607: 2605: 2603: 437:himself mentioned that the carpets produced at 3272: 2372:convoking, as the Latin inscription explains, 2000:The perception of Oriental carpets during the 1807:Portrait of Constantijn Huyghens and his clerk 1618:Presentation of the ring to the Doge of Venice 4962:Textile Museum (George Washington University) 4233: 3823: 3540: 3497: 2531:Erdmann, Kurt (1970). Erdmann, Hannah (ed.). 2530: 1934:Portrait of Constantijn Huygens and his clerk 3382:Teppiche der Bauern und Nomaden in Anatolien 3380:Brüggemann, Werner; Boehmer, Harald (1982). 3236: 2697: 2695: 2600: 2397:"A. D. Wilkonski, Vienna, 12 September 1683" 2228:. As early as 1533, Hans Holbein's painting 1783:establishing the chronology of the designs. 930:18th century carpet with Memling gul design. 176: 3835:A. Dürer. Schriftlicher Nachlass / Writings 1829:in 1741, posed round a table spread with a 1620:, 1534. The only depiction of a large Star 1508:, 1628, Jan Bruegel and Peter Paul Rubens, 994:Right image: Small-pattern Holbein carpet, 522:. One of these carpets was acquired by the 4240: 4226: 4164:Mills, John, 'The animal rugs revisited', 3891: 3562: 3413: 2713: 2659:: CS1 maint: location missing publisher ( 1279:The carpet pattern depicted on van Eyck's 3916: 3800: 3350:Zipper, Kurt; Fritzsche, Claudia (1995). 3013:, about a third of the way down the page. 2692: 2500: 2498: 2004:is characterized by three main aspects: 5281:Oriental carpets in Renaissance painting 4073:. Antique Collectors' Club, Woodbridge, 3970:. Nationalgallery.org.uk. Archived from 3832: 3591:Tapis - Present de l'orient a l'occident 3570:"Star Ushak, Metropolitan Museum of Art" 3364: 3278: 2943:Mack, p.84. King & Sylvester, p. 58. 2302: 2246: 2121: 2103: 2085: 2061: 1967: 1889:Dorothy Cary, later Viscountess Rochford 1547:Large Ushak (star and medallion) carpets 1334: 203: 180: 170:Oriental carpets in Renaissance painting 49:, seen from the top, at the feet of the 4059:, University of California Press, 2001 3847: 3717: 3452: 3212: 3163: 3136: 3109: 2728: 2673: 2640: 2615: 2581: 2533:Seven Hundred Years of Oriental Carpets 2267:In September 1479 the Venetian painter 1591:Girl Reading a Letter at an Open Window 1368:After the 1517 Ottoman conquest of the 1310:The main borders of the carpets in the 553:, or rulers, in the manner of a modern 5357: 3941: 3249: 2991:King and Sylvester, pp. 14-16, 56, 58. 2495: 2478:Pius II convokes a Diet of Princes at 1512:, depicting an Ottoman Cairene carpet. 1506:Christ in the House of Martha and Mary 1489:Ottoman Cairene carpet, 16th century, 1401:Christ in the House of Mary and Martha 1179:Madonna and Child enthroned with Saint 1161: 992:, with a small-pattern Holbein carpet. 916:Left image: yellow Oriental carpet in 654:(probably imported through Rome), the 4221: 3809:] (in German). Cologne: Taschen. 3727:(1st ed.). Rome: Verduci Editore 3416:Der Orientteppich/The Oriental Carpet 3303: 3203:. King and Sylvester, pp. 16, 67-70. 2647:. London: H. Sotheran & Co., 1879 2461:standing on a Holbein carpet, c.1547. 1491:Museum für angewandte Kunst Frankfurt 1477:, depicting an Ottoman Cairene carpet 538:, each with a smaller animal inside. 4649: 4247: 3869:Venice, Dürer, and the oriental mode 3866: 3721:Antique Ottoman Rugs in Transylvania 2555: 1357:from 1507. A French master depicted 798:Museum für Islamische Kunst (Berlin) 738:Right image: Re-entrant prayer rug, 4173:Oriental Carpet and Textile Studies 4166:Oriental Carpet and Textile Studies 4152:Oriental Carpet and Textile Studies 4092:Oriental Carpet and Textile Studies 3693:National Gallery of Art, Washington 3232:– via www.transsylvanian rug. 2733:. : Bibliobazaar, Llc. p. 28. 2618:A world art history and its objects 2514:Azerbaijani carpets: Karabakh group 1624:with eight-pointed star medallions. 848: 701:Carpet patterns named after artists 120:, late 14th to early 15th century, 13: 4084: 2383:" (lit.: "Turkish loot") from the 2243:Objects of European self-assertion 1340:Mamluk and Ottoman Cairene carpets 1046:" motifs. The carpet in Holbein's 952: 888: 815: 742:, late 15th to early 16th century. 330: 196:depiction of a pile-woven carpet. 108:Still Life with a Jug with Flowers 14: 5396: 4927:Museum of Applied Arts (Budapest) 4201: 4161:, Issue 58 (1991), 86-103, 127-8. 3055:, AuthorHouse, 2009, p.182(344), 2482:to proclaim a new crusade in 1459 2316:Royal Museum of Fine Arts Antwerp 1916:Royal Museum of Fine Arts Antwerp 1819:Portrait of a family making music 1738:" type prayer rug, 17th century, 1727:Portrait of a family making music 1440:Royal Museum of Fine Arts Antwerp 986:Left image: Unknown painter, The 75:Islamic influences on Western art 3662:Maurice Dimand and Jean Mailey, 2805:King & Sylvester, pp. 49-50. 2466: 2451: 2432: 2425:St. Mark Preaching in Alexandria 2413: 2340:Nothing is known about how much 2318:, with an Egyptian Mamluk carpet 2293:St. Mark Preaching at Alexandria 2131:Still life with globe and parrot 2058:Objects of luxury and decoration 2054:Armenian double knot technique. 1944: 1922: 1900: 1877: 1715: 1706: 1674: 1653: 1629: 1606: 1498: 1482: 1459: 1447: 1442:, with an Egyptian Mamluk carpet 1424: 1412: 1186: 1170: 1084: 1075: 1060: 976: 967: 906: 897: 871:Annunciation, with Saint Emidius 781:Right image: "Crivelli" carpet, 761: 752: 718: 709: 638:(Mamluk design from Egypt), the 573:(see gallery); when Carpaccio's 492:, painted in 1316–1319. Another 395: 386: 348: 339: 92: 83: 32: 23: 4967:Turkish and Islamic Arts Museum 3985: 3960: 3935: 3910: 3885: 3860: 3794: 3763:King & Sylvester, pp. 22-23 3757: 3748: 3739: 3702: 3669: 3656: 3646: 3637: 3628: 3607: 3553: 3534: 3519: 3510: 3461: 3446: 3398: 3358: 3322: 3193: 3172: 3157: 3145: 3130: 3118: 3103: 3091: 3082: 3073: 3045: 3036: 3024:National Gallery zoomable image 3016: 3003: 2994: 2985: 2976: 2964: 2955: 2946: 2937: 2928: 2919: 2910: 2901: 2892: 2881: 2872: 2863: 2850:National Gallery London NG 1317 2838: 2808: 2799: 2790: 2777: 2765: 2756: 2747: 2722: 2704: 1034:Type II: now more often called 785:, late 15th-early 16th century. 262:, which was first described by 5244:Early Anatolian animal carpets 4932:Museum of Applied Arts, Vienna 4140:, Vol. 3 no. 4 (1981), 278-89. 3352:Oriental Rugs Vol. 4 - Turkish 3079:King and Sylvester, pp. 56-57. 2667: 2575: 2549: 2507: 1690:Portrait of Willem de Vlamingh 453:Carpets were also produced in 364:The Marriage of the Foundlings 1: 4952:Museum of Islamic Art, Berlin 4122:, Vol.1 no. 3 (1978), 234-43. 4043:Arts Council of Great Britain 4002: 2239:value and decorative effect. 1791:Portrait of Abraham Graphaeus 1725:Left image: Pieter de Hooch: 1359:The Three De Coligny brothers 1324:Early Netherlandish paintings 832:in 1479) painted examples of 630:The Oriental carpets used in 216: 42:Left image: A "Bellini type" 3850:Europa und der Orientteppich 3833:Rupprich, Hans, ed. (1956). 3369:. Munich: Eberhart Herrmann. 1908:Portrait of Abraham Grapheus 1320:Virgin and Child with Saints 1300:Virgin and Child with Saints 1106:, the other a "para-Mamluk". 777:Annunciation with St Emidius 632:Italian Renaissance painting 441:were the best in the world: 7: 4937:Museum of Islamic Art, Doha 4147:, Vol. 4 no.1 (1981), 53-5. 4133:, Vol. 3 no. 3 (1981), 217. 4094:Vol. V part 1 (1999) 23-29. 3892:Westermann, Mariët (2007). 3854:Europe and the Oriental Rug 3801:Gantzhorn, Volkmar (1998). 3414:Brüggemann, Werner (2007). 3365:Herrmann, Eberhart (1982). 3306:How to Read Islamic Carpets 3279:Herrmann, Eberhart (1988). 2916:King & Sylvester, p. 20 2878:King & Sylvester, p. 14 2814:King & Sylvester, 49-50 2753:King & Sylvester, 10-11 2322:The 1547 depiction of King 1510:National Gallery of Ireland 1244:The Netherlandish painters 520:Chinese cultural revolution 59:Madonna and Child Enthroned 10: 5401: 4977:Victoria and Albert Museum 4917:Metropolitan Museum of Art 4897:Brukenthal National Museum 4892:Dar al Athar al Islamiyyah 3917:Bergström, Ingvar (1983). 3252:Historical Turkish Carpets 3178:King and Sylvester, p. 17. 2261:Victoria and Albert Museum 1803:Portrait of an unknown man 1776:Metropolitan Museum of Art 1768:A Lady playing the Theorbo 1064: 956: 681:, with such motifs as the 532:The Marriage of the Virgin 524:Metropolitan Museum of Art 511:Marriage of the Foundlings 72: 5314: 5231: 5178: 5120: 5072:Ghiordes and Senneh knots 5062: 5031: 5018:Truckmount carpet cleaner 4990: 4947:Museum of Textiles (Lyon) 4874: 4788: 4627: 4255: 4154:, Vol. II (1986), 109-21. 3718:Ionescu, Stefano (2005). 3304:Denny, Walter B. (2014). 3213:Ionescu, Stefano (2004). 3190:King and Sylvester, p. 67 3053:Plague, Weather, and Wool 3042:King and Sylvester, p. 57 2846:"National Gallery London" 1569:pseudo-kufic characters. 1029:Somerset House Conference 989:Somerset House Conference 581:carpets reflect an early 177:Art historical background 63:Right image: Prayer rug, 5138:Madder (Rubia tinctorum) 4882:Azerbaijan Carpet Museum 3643:King & Sylvester, 19 3453:Beattie, May H. (1972). 3000:King & Sylvester, 78 2925:King & Sylvester, 14 2762:King & Sylvester, 17 2710:King & Sylvester, 49 2641:Lessing, Julius (1877). 2489: 2444:Hans Holbein the Younger 2355:Suleiman the Magnificent 1229:the art of Buddhist Asia 875:National Gallery, London 122:Azerbaijan Carpet Museum 5208:DOBAG Carpet Initiative 3526:"The Sala delle Dame". 3250:Yetkin, Serare (1981). 2616:Carrier, David (2008). 2042:illuminated manuscripts 1979:Saint Louis de Toulouse 1740:National Museum, Warsaw 1731:Cleveland Museum of Art 1398:Jan Brueghel the Elders 1096:The Alms of St. Anthony 881:enforcement of Islamic 796:, once Director of the 534:, 1423. It shows large 494:Anatolian animal carpet 192:(detail), 1457, with a 5218:Savonnerie manufactory 5213:A & M Karagheusian 4957:Saint Louis Art Museum 4175:Vol. VI (2001), 68-73. 4168:Vol. VI (2001), 46-51. 3968:"The Sultan Mehmet II" 3848:Erdmann, Kurt (1962). 3697:Woman with a Water Jug 3689:Philippe de Champaigne 3685:Portrait of Omer Talon 3677:A Visit to the Nursery 3404:King and Sylvester, 20 3164:Erdmann, Kurt (1965). 3137:Erdmann, Kurt (1965). 3110:Erdmann, Kurt (1965). 2674:Erdmann, Kurt (1977). 2405: 2319: 2264: 2193:A very common type of 2187: 2134: 2119: 2101: 2071: 1997: 1177:Domenico Ghirlandaio: 1118:Saint Louis Art Museum 936:These are named after 451: 227: 201: 4972:Turkmen Carpet Museum 4887:Carpet Museum of Iran 3995:by Jane Fawcett p.156 3867:Raby, Julian (1982). 3215:"Transsylvanian Tale" 3100:, see also last note. 2389: 2306: 2250: 2236:anamorphic projection 2234:prominently shows an 2147: 2143:Willibald Pirckheimer 2125: 2113:Merrymakers in an Inn 2107: 2089: 2065: 1971: 1386:Adriaen van der Venne 1353:is Giovanni Bellinis 1335:Specific carpet types 1212:woven in the Western 1108:Right image: Western 443: 411:Virgin Mary and Child 295:, and his successors 264:Leon Battista Alberti 207: 184: 16:Aspect of art history 5143:Indigofera tinctoria 5013:Hot water extraction 4801:Sir Francis Crossley 4113:Carpets in Paintings 3708:Ydema 1991, p. 48–51 3634:Ydema 1991, p. 39–45 3516:Ydema 1991, p. 21–25 3467:Ydema 1991, p. 19–20 2982:King & Sylvester 2556:Bier, Carol (2010). 2324:Edward VI of England 2273:Mehmed the Conqueror 1868:manner. A number of 1222:Divriği Great Mosque 1202:Domenico Ghirlandaio 650:(North Africa), the 136:origin, either from 110:, late 15th century. 61:, late 15th century. 5329:Armenian Orphan Rug 5003:Dry carpet cleaning 4942:Museo Poldi Pezzoli 4816:Arshag Karagheusian 4811:Arthur T. Gregorian 4109:Carpets in Pictures 3152:Old Ottoman carpets 3125:Old Ottoman carpets 3098:Old Ottoman carpets 2971:Old Turkish carpets 2251:Portrait of Sultan 2169:(8 September 1506) 2095:The way you hear it 1821:depicts an Ottoman 1405:Moretto da Brescias 1378:Ludovicus Finsonius 1162:Ghirlandaio carpets 592:San Zeno Altarpiece 506:Domenico di Bartolo 360:Domenico di Bartolo 5315:Notable individual 5301:Transylvanian rugs 5232:Carpets in culture 5170:Dyes in Uzbekistan 5158:Armenian cochineal 4055:Mack, Rosamond E. 4008:Campbell, Gordon. 3782:. 19 February 2011 3695:, p.70, fig. 98); 3029:2009-05-07 at the 2342:Ambrosius Francken 2320: 2308:Ambrosius Francken 2265: 2135: 2120: 2117:Walters Art Museum 2102: 2072: 1998: 1989:Virgin of Humility 1645:(detail), 1662–5, 1432:Ambrosius Francken 1390:Geckie met de Kous 609:Arnolfini Portrait 536:confronted animals 260:linear perspective 228: 202: 5352: 5351: 5344:Coronation Carpet 5223:Ziegler & Co. 5188:Axminster Carpets 4866:Charles T. Yerkes 4841:Arthur Upham Pope 4033:King, Donald and 4026:978-0-19-518948-3 3745:Ydema 1991, p. 51 3559:Ydema 1991, p. 43 3530:(200): 208. 2019. 3443:Ydema, 1991, p. 9 3425:978-3-89500-563-3 3315:978-1-58839-540-5 3199:Cambell, p. 189. 3069:978-1-4389-5187-4 3051:Todd Richardson, 2179:(13 October 1506) 2159:(18 August 1506) 2141:tells his friend 2068:Vittore Carpaccio 2046:Armenian genocide 1686:Nikolaas Verkolje 1647:Buckingham Palace 1541:The musical party 1394:Peter Paul Rubens 1374:conquest of Egypt 1285:Khirbat al-Mafjar 1116:", 16th century, 839:Ushak prayer rugs 567:Vittore Carpaccio 559:Coronation Carpet 528:Gregorio di Cecco 500:Most carpets use 252:Venetian painters 226:Museum, Frankfurt 200:Museum, Frankfurt 5392: 5375:Rugs and carpets 5286:Pictorial carpet 5163:Polish cochineal 5065:and installation 4856:Wilhelm von Bode 4796:James F. Ballard 4249:Rugs and carpets 4242: 4235: 4228: 4219: 4218: 4197: 4045:, London, 1983, 4035:Sylvester, David 3997: 3989: 3983: 3982: 3980: 3979: 3964: 3958: 3957: 3939: 3933: 3932: 3914: 3908: 3907: 3889: 3883: 3882: 3864: 3858: 3857: 3845: 3839: 3838: 3830: 3821: 3820: 3798: 3792: 3791: 3789: 3787: 3777: 3770: 3764: 3761: 3755: 3752: 3746: 3743: 3737: 3736: 3734: 3732: 3726: 3715: 3709: 3706: 3700: 3673: 3667: 3660: 3654: 3650: 3644: 3641: 3635: 3632: 3626: 3625: 3623: 3621: 3611: 3605: 3604: 3587: 3581: 3580: 3578: 3576: 3566: 3560: 3557: 3551: 3550: 3538: 3532: 3531: 3523: 3517: 3514: 3508: 3507: 3495: 3489: 3488: 3486: 3484: 3474: 3468: 3465: 3459: 3458: 3450: 3444: 3441: 3430: 3429: 3411: 3405: 3402: 3396: 3395: 3377: 3371: 3370: 3362: 3356: 3355: 3347: 3341: 3340: 3338: 3336: 3326: 3320: 3319: 3301: 3295: 3294: 3276: 3270: 3269: 3262: 3256: 3255: 3247: 3234: 3233: 3231: 3229: 3219: 3210: 3204: 3197: 3191: 3188: 3179: 3176: 3170: 3169: 3161: 3155: 3149: 3143: 3142: 3134: 3128: 3122: 3116: 3115: 3107: 3101: 3095: 3089: 3086: 3080: 3077: 3071: 3049: 3043: 3040: 3034: 3020: 3014: 3007: 3001: 2998: 2992: 2989: 2983: 2980: 2974: 2968: 2962: 2959: 2953: 2950: 2944: 2941: 2935: 2932: 2926: 2923: 2917: 2914: 2908: 2905: 2899: 2896: 2890: 2885: 2879: 2876: 2870: 2867: 2861: 2860: 2858: 2856: 2842: 2836: 2835: 2833: 2831: 2821: 2815: 2812: 2806: 2803: 2797: 2794: 2788: 2781: 2775: 2769: 2763: 2760: 2754: 2751: 2745: 2744: 2726: 2720: 2717: 2711: 2708: 2702: 2699: 2690: 2689: 2671: 2665: 2664: 2658: 2650: 2638: 2632: 2631: 2613: 2598: 2597: 2579: 2573: 2572: 2570: 2568: 2553: 2547: 2546: 2528: 2517: 2511: 2505: 2502: 2470: 2455: 2436: 2417: 2403: 2359:besieging Vienna 2314:, 16th century, 2205:, the so-called 2199:Dutch Golden Age 2185: 2076:Piazza San Marco 2051:Hermitage Museum 1974:Antonio Vivarini 1956:Anthony van Dyck 1948: 1938:National Gallery 1930:Thomas de Keyser 1926: 1904: 1881: 1854:Royal Collection 1842:Dutch Golden Age 1815:Pieter de Hoochs 1799:Thomas de Keyser 1787:Anthony van Dyck 1719: 1710: 1678: 1661:Johannes Vermeer 1657: 1642:The Music Lesson 1637:Johannes Vermeer 1633: 1610: 1585:The Music Lesson 1576:in his painting 1535:, as well as on 1502: 1486: 1473:. 17th century, 1471:The Annunciation 1463: 1451: 1438:, 16th century, 1428: 1416: 1382:The Annunciation 1370:Mamluk Sultanate 1318:, as well as in 1296:Dresden triptych 1261:Dresden Triptych 1190: 1174: 1088: 1079: 1052:is of this type. 980: 971: 942:Armenian carpets 910: 901: 849:Crivelli carpets 824:and his brother 822:Giovanni Bellini 765: 756: 734:Husband and Wife 722: 713: 459:Palais des Papes 399: 390: 352: 343: 325:James F. Ballard 293:Wilhelm von Bode 241:Virgin and Child 221: 218: 96: 87: 36: 27: 5400: 5399: 5395: 5394: 5393: 5391: 5390: 5389: 5365:Renaissance art 5355: 5354: 5353: 5348: 5316: 5310: 5227: 5174: 5116: 5064: 5058: 5027: 4998:Carpet cleaning 4986: 4870: 4851:Friedrich Sarre 4836:George H. Myers 4784: 4623: 4612:Uzbek Napramach 4251: 4246: 4204: 4194: 4087: 4085:Further reading 4005: 4000: 3993:Historic floors 3990: 3986: 3977: 3975: 3966: 3965: 3961: 3954: 3940: 3936: 3929: 3915: 3911: 3904: 3890: 3886: 3879: 3865: 3861: 3846: 3842: 3831: 3824: 3817: 3799: 3795: 3785: 3783: 3772: 3771: 3767: 3762: 3758: 3753: 3749: 3744: 3740: 3730: 3728: 3724: 3716: 3712: 3707: 3703: 3674: 3670: 3661: 3657: 3651: 3647: 3642: 3638: 3633: 3629: 3619: 3617: 3613: 3612: 3608: 3601: 3589: 3588: 3584: 3574: 3572: 3568: 3567: 3563: 3558: 3554: 3539: 3535: 3525: 3524: 3520: 3515: 3511: 3496: 3492: 3482: 3480: 3476: 3475: 3471: 3466: 3462: 3451: 3447: 3442: 3433: 3426: 3412: 3408: 3403: 3399: 3392: 3378: 3374: 3363: 3359: 3348: 3344: 3334: 3332: 3328: 3327: 3323: 3316: 3302: 3298: 3291: 3277: 3273: 3264: 3263: 3259: 3248: 3237: 3227: 3225: 3217: 3211: 3207: 3198: 3194: 3189: 3182: 3177: 3173: 3162: 3158: 3150: 3146: 3135: 3131: 3123: 3119: 3108: 3104: 3096: 3092: 3087: 3083: 3078: 3074: 3050: 3046: 3041: 3037: 3031:Wayback Machine 3021: 3017: 3008: 3004: 2999: 2995: 2990: 2986: 2981: 2977: 2969: 2965: 2960: 2956: 2951: 2947: 2942: 2938: 2933: 2929: 2924: 2920: 2915: 2911: 2906: 2902: 2897: 2893: 2888:Carpaccio image 2886: 2882: 2877: 2873: 2868: 2864: 2854: 2852: 2844: 2843: 2839: 2829: 2827: 2823: 2822: 2818: 2813: 2809: 2804: 2800: 2795: 2791: 2782: 2778: 2771:Mack, p.74-75. 2770: 2766: 2761: 2757: 2752: 2748: 2741: 2727: 2723: 2718: 2714: 2709: 2705: 2700: 2693: 2686: 2672: 2668: 2652: 2651: 2639: 2635: 2628: 2614: 2601: 2594: 2580: 2576: 2566: 2564: 2554: 2550: 2543: 2529: 2520: 2512: 2508: 2503: 2496: 2492: 2485: 2471: 2462: 2456: 2447: 2437: 2428: 2421:Gentile Bellini 2418: 2404: 2401: 2396: 2385:siege of Vienna 2335:famous portrait 2312:The Last Supper 2269:Gentile Bellini 2257:Gentile Bellini 2245: 2231:The Ambassadors 2203:Flemish Baroque 2186: 2183: 2175: 2171: 2170: 2165: 2161: 2160: 2153: 2060: 2030: 1966: 1959: 1949: 1940: 1927: 1918: 1912:Cornelis de Vos 1905: 1896: 1882: 1795:Cornelis de Vos 1772:Gerard Terborch 1745: 1744: 1743: 1742: 1733: 1722: 1721: 1720: 1712: 1711: 1700: 1693: 1679: 1670: 1658: 1649: 1634: 1625: 1611: 1566:Medallion Ushak 1549: 1529:Pietro Paolinis 1520: 1513: 1503: 1494: 1487: 1478: 1475:Museo del Prado 1464: 1455: 1452: 1443: 1436:The Last Supper 1429: 1420: 1417: 1363:The Last Supper 1342: 1337: 1266:Petrus Christus 1242: 1198: 1197: 1196: 1195: 1194: 1191: 1183: 1182: 1175: 1164: 1152:Arabesque Ushak 1124: 1123: 1122: 1121: 1107: 1091: 1090: 1089: 1081: 1080: 1069: 1063: 1049:The Ambassadors 1027:(1532), or the 1002: 1001: 1000: 999: 998:, 16th century. 993: 983: 982: 981: 973: 972: 961: 955: 953:Holbein carpets 934: 933: 932: 931: 925: 913: 912: 911: 903: 902: 891: 889:Memling carpets 865:of 1482 in the 851: 818: 816:Bellini carpets 806:Holbein carpets 789: 788: 787: 786: 780: 768: 767: 766: 758: 757: 746: 745: 744: 743: 737: 725: 724: 723: 715: 714: 703: 597:Andrea Mantegna 571:Gentile Bellini 475:Persian carpets 448: 419: 418: 417: 416: 414: 402: 401: 400: 392: 391: 380: 379: 378: 377: 375: 355: 354: 353: 345: 344: 333: 331:Characteristics 297:Friedrich Sarre 280: 237:Petrus Christus 219: 186:Petrus Christus 179: 162:Northern Africa 127: 126: 125: 124: 118:Karabakh school 111: 99: 98: 97: 89: 88: 77: 71: 70: 69: 68: 62: 55:Gentile Bellini 39: 38: 37: 29: 28: 17: 12: 11: 5: 5398: 5388: 5387: 5382: 5377: 5372: 5367: 5350: 5349: 5347: 5346: 5341: 5336: 5331: 5326: 5324:Ardabil Carpet 5320: 5318: 5312: 5311: 5309: 5308: 5303: 5298: 5293: 5288: 5283: 5278: 5273: 5272: 5271: 5266: 5261: 5251: 5246: 5241: 5235: 5233: 5229: 5228: 5226: 5225: 5220: 5215: 5210: 5205: 5200: 5198:Cormar Carpets 5195: 5190: 5184: 5182: 5176: 5175: 5173: 5172: 5167: 5166: 5165: 5160: 5155: 5145: 5140: 5135: 5130: 5124: 5122: 5118: 5117: 5115: 5114: 5109: 5104: 5099: 5094: 5089: 5084: 5079: 5074: 5068: 5066: 5060: 5059: 5057: 5056: 5051: 5046: 5041: 5035: 5033: 5029: 5028: 5026: 5025: 5023:Vacuum cleaner 5020: 5015: 5010: 5005: 5000: 4994: 4992: 4988: 4987: 4985: 4984: 4979: 4974: 4969: 4964: 4959: 4954: 4949: 4944: 4939: 4934: 4929: 4924: 4919: 4914: 4912:Mevlana Museum 4909: 4904: 4899: 4894: 4889: 4884: 4878: 4876: 4872: 4871: 4869: 4868: 4863: 4858: 4853: 4848: 4843: 4838: 4833: 4831:William Morris 4828: 4826:Julius Lessing 4823: 4818: 4813: 4808: 4803: 4798: 4792: 4790: 4786: 4785: 4783: 4782: 4777: 4772: 4767: 4762: 4757: 4752: 4747: 4742: 4737: 4732: 4727: 4722: 4717: 4712: 4707: 4702: 4697: 4692: 4687: 4682: 4677: 4672: 4667: 4662: 4657: 4652: 4647: 4642: 4637: 4631: 4629: 4625: 4624: 4622: 4621: 4616: 4615: 4614: 4609: 4599: 4594: 4589: 4584: 4579: 4574: 4573: 4572: 4567: 4562: 4557: 4552: 4547: 4542: 4537: 4532: 4527: 4522: 4517: 4512: 4507: 4502: 4497: 4492: 4487: 4482: 4477: 4472: 4467: 4462: 4457: 4452: 4447: 4442: 4437: 4427: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4387: 4382: 4377: 4372: 4367: 4362: 4361: 4360: 4355: 4350: 4345: 4340: 4335: 4330: 4325: 4320: 4315: 4310: 4305: 4300: 4295: 4290: 4285: 4275: 4270: 4265: 4259: 4257: 4253: 4252: 4245: 4244: 4237: 4230: 4222: 4216: 4215: 4210: 4203: 4202:External links 4200: 4199: 4198: 4192: 4179: 4176: 4169: 4162: 4155: 4148: 4141: 4134: 4123: 4116: 4105: 4098: 4095: 4086: 4083: 4082: 4081: 4067: 4053: 4031: 4004: 4001: 3999: 3998: 3984: 3959: 3953:978-0375760365 3952: 3934: 3928:978-0878172795 3927: 3909: 3903:978-0300107234 3902: 3884: 3878:978-0856671623 3877: 3859: 3840: 3822: 3815: 3793: 3765: 3756: 3747: 3738: 3710: 3701: 3668: 3666:p. 60, fig.83. 3655: 3645: 3636: 3627: 3606: 3599: 3582: 3561: 3552: 3533: 3518: 3509: 3490: 3469: 3460: 3445: 3431: 3424: 3406: 3397: 3390: 3372: 3357: 3342: 3321: 3314: 3296: 3289: 3271: 3257: 3235: 3205: 3192: 3180: 3171: 3156: 3144: 3129: 3117: 3102: 3090: 3081: 3072: 3044: 3035: 3015: 3002: 2993: 2984: 2975: 2963: 2954: 2945: 2936: 2927: 2918: 2909: 2900: 2891: 2880: 2871: 2862: 2837: 2816: 2807: 2798: 2789: 2776: 2764: 2755: 2746: 2740:978-1142126261 2739: 2721: 2712: 2703: 2691: 2684: 2666: 2633: 2627:978-0271034157 2626: 2599: 2592: 2574: 2548: 2541: 2518: 2506: 2493: 2491: 2488: 2487: 2486: 2472: 2465: 2463: 2457: 2450: 2448: 2438: 2431: 2429: 2419: 2412: 2399: 2329:fidei defensor 2281:Constantinople 2244: 2241: 2195:genre painting 2181: 2139:Albrecht Dürer 2097:, circa 1665, 2059: 2056: 2029: 2026: 2022: 2021: 2018: 2010: 1984:Jacopo Bellini 1965: 1962: 1961: 1960: 1950: 1943: 1941: 1928: 1921: 1919: 1906: 1899: 1897: 1885:William Larkin 1883: 1876: 1817:1663 painting 1749:William Larkin 1734:Right image: " 1724: 1723: 1714: 1713: 1705: 1704: 1703: 1702: 1701: 1699: 1696: 1695: 1694: 1680: 1673: 1671: 1659: 1652: 1650: 1635: 1628: 1626: 1612: 1605: 1548: 1545: 1537:Gabriël Metsus 1519: 1516: 1515: 1514: 1504: 1497: 1495: 1488: 1481: 1479: 1465: 1458: 1456: 1453: 1446: 1444: 1430: 1423: 1421: 1418: 1411: 1341: 1338: 1336: 1333: 1305:Mevlana Museum 1241: 1238: 1192: 1185: 1184: 1176: 1169: 1168: 1167: 1166: 1165: 1163: 1160: 1112:knotted wool " 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4065:0-520-22131-1 4062: 4058: 4054: 4052: 4051:0-7287-0362-9 4048: 4044: 4040: 4036: 4032: 4030: 4027: 4023: 4019: 4018:0-19-518948-5 4015: 4011: 4007: 4006: 3996: 3994: 3988: 3974:on 2007-08-26 3973: 3969: 3963: 3955: 3949: 3945: 3938: 3930: 3924: 3920: 3913: 3905: 3899: 3895: 3888: 3880: 3874: 3870: 3863: 3855: 3851: 3844: 3836: 3829: 3827: 3818: 3816:3-8228-0397-9 3812: 3808: 3804: 3797: 3781: 3776: 3769: 3760: 3751: 3742: 3723: 3722: 3714: 3705: 3698: 3694: 3690: 3686: 3682: 3681:Gabriel Metsu 3678: 3672: 3665: 3659: 3649: 3640: 3631: 3616: 3610: 3602: 3600:9782906062283 3596: 3592: 3586: 3571: 3565: 3556: 3548: 3544: 3537: 3529: 3522: 3513: 3505: 3501: 3494: 3479: 3473: 3464: 3456: 3449: 3440: 3438: 3436: 3427: 3421: 3417: 3410: 3401: 3393: 3391:3-921811-20-1 3387: 3383: 3376: 3368: 3361: 3353: 3346: 3331: 3325: 3317: 3311: 3307: 3300: 3292: 3290:3-923349-60-2 3286: 3282: 3275: 3267: 3261: 3253: 3246: 3244: 3242: 3240: 3223: 3216: 3209: 3202: 3196: 3187: 3185: 3175: 3167: 3160: 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1593: 1592: 1587: 1586: 1581: 1580: 1579:The Procuress 1575: 1570: 1567: 1563: 1561: 1560:Ushak carpets 1556: 1552: 1544: 1542: 1538: 1534: 1533:Self portrait 1530: 1526: 1511: 1507: 1501: 1496: 1492: 1485: 1480: 1476: 1472: 1468: 1462: 1457: 1450: 1445: 1441: 1437: 1433: 1427: 1422: 1415: 1410: 1409: 1408: 1406: 1402: 1399: 1395: 1391: 1387: 1383: 1379: 1375: 1371: 1366: 1364: 1360: 1356: 1352: 1351:Mamluk carpet 1348: 1347:Thomas Wolsey 1332: 1330: 1325: 1321: 1317: 1316:Lucca Madonna 1313: 1308: 1306: 1301: 1297: 1293: 1292:Lucca Madonna 1288: 1286: 1282: 1281:Paele Madonna 1277: 1275: 1271: 1267: 1263: 1262: 1257: 1256:Lucca Madonna 1253: 1252: 1251:Paele Madonna 1247: 1237: 1234: 1230: 1225: 1223: 1219: 1215: 1209: 1207: 1203: 1189: 1180: 1173: 1159: 1155: 1153: 1149: 1143: 1141: 1137: 1133: 1129: 1128:Lorenzo Lotto 1119: 1115: 1111: 1105: 1101: 1100:Lorenzo Lotto 1097: 1087: 1078: 1068: 1061:Lotto carpets 1054: 1051: 1050: 1045: 1040: 1037: 1036:Lotto carpets 1033: 1030: 1026: 1025: 1019: 1018: 1017: 1015: 1011: 1010:Anatolian rug 1007: 997: 991: 990: 979: 970: 960: 950: 948: 947:René of Anjou 943: 939: 929: 926:Right image: 923: 922:Louvre Museum 919: 909: 900: 886: 884: 880: 876: 872: 868: 864: 860: 855: 846: 844: 840: 835: 831: 828:(who visited 827: 823: 813: 811: 810:Lotto carpets 807: 803: 799: 795: 784: 778: 774: 764: 755: 741: 735: 731: 730:Lorenzo Lotto 721: 712: 698: 694: 692: 688: 684: 680: 675: 673: 669: 665: 661: 657: 653: 649: 646:region), the 645: 641: 637: 633: 628: 626: 622: 621:Saint Eligius 618: 617: 611: 610: 604: 602: 598: 594: 593: 588: 584: 578: 576: 572: 568: 564: 560: 556: 552: 548: 544: 539: 537: 533: 529: 525: 521: 517: 513: 512: 507: 503: 498: 495: 491: 487: 482: 480: 476: 472: 468: 464: 460: 456: 455:Islamic Spain 450: 447: 442: 440: 436: 432: 428: 424: 412: 408: 398: 389: 373: 369: 365: 361: 351: 342: 328: 326: 322: 316: 314: 312: 306: 302: 298: 294: 290: 285: 275: 273: 267: 265: 261: 257: 253: 248: 244: 242: 238: 232: 225: 214: 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Retrieved 2561: 2551: 2532: 2509: 2477: 2474:Pinturicchio 2424: 2406: 2392: 2391: 2390: 2378: 2373: 2370:Pope Pius II 2366:Pinturicchio 2363: 2345: 2339: 2337:by Holbein. 2327: 2321: 2311: 2292: 2290: 2266: 2229: 2223:Ecclesiastes 2212: 2192: 2188: 2178: 2172: 2168: 2162: 2158: 2155: 2149: 2148: 2136: 2133:, circa 1658 2130: 2112: 2109:Simon de Vos 2094: 2081:pseudo-kufic 2073: 2035: 2031: 2023: 1999: 1987: 1977: 1951: 1933: 1907: 1888: 1858: 1850:Music Lesson 1849: 1835: 1818: 1811:Transylvania 1806: 1802: 1790: 1785: 1767: 1756:Shah Abbas I 1753: 1746: 1726: 1689: 1664: 1640: 1622:Ushak carpet 1617: 1595: 1589: 1583: 1577: 1571: 1565: 1564: 1554: 1553: 1550: 1540: 1532: 1531:(1603−1681) 1521: 1505: 1470: 1467:Louis Finson 1435: 1400: 1389: 1381: 1367: 1362: 1358: 1354: 1343: 1319: 1315: 1311: 1309: 1299: 1295: 1291: 1289: 1280: 1278: 1269: 1259: 1255: 1249: 1246:Jan van Eyck 1243: 1226: 1210: 1206:Transylvania 1199: 1181:, circa 1483 1178: 1156: 1144: 1132:Aegean coast 1125: 1114:Lotto carpet 1104:Lotto carpet 1095: 1094:Left image: 1067:Lotto carpet 1047: 1038:- see below. 1022:Portrait of 1021: 1003: 987: 949:about 1460. 938:Hans Memling 935: 918:Hans Memling 870: 863:Annunciation 862: 852: 819: 794:Kurt Erdmann 790: 776: 771:Left image: 733: 728:Left image: 695: 676: 663: 655: 651: 647: 639: 635: 629: 623:, who was a 613: 607: 605: 590: 579: 540: 531: 509: 499: 489: 483: 452: 445: 444: 420: 410: 405:Left image: 363: 358:Left image: 317: 308: 305:Kurt Erdmann 301:Ernst Kühnel 281: 268: 256:Quattrocento 249: 245: 240: 233: 229: 212: 209:Jan van Eyck 189: 169: 128: 114:Mugan carpet 107: 104:Hans Memling 102:Left image: 58: 5385:Islamic art 5380:Orientalism 5370:Iconography 5334:Badding Rug 5128:Natural dye 5092:Rug hooking 5063:Manufacture 4922:Miho Museum 4846:Alois Riegl 4665:Bessarabian 4365:Bessarabian 4318:Demirchilar 4278:Azerbaijani 3731:7 September 3506:(1): 39–40. 2952:Mack, p.85. 2381:Türkenbeute 2346:Last Supper 2127:Pieter Boel 2099:Mauritshuis 2002:Renaissance 1870:Orientalist 1862:Savonneries 1827:Robert Feke 1805:(1626) and 1692:, 1690–1700 1666:The Concert 1597:The Concert 1380:' painting 1024:Georg Gisze 834:prayer rugs 679:prayer rugs 648:barbareschi 614:Calling of 583:Orientalist 563:balustrades 547:Virgin Mary 516:animal rugs 425:in eastern 407:Lippo Memmi 321:Renaissance 289:Islamic art 220: 1430 51:Virgin Mary 5359:Categories 5296:Red carpet 5291:Prayer rug 5259:Elibelinde 5203:Dilmaghani 5102:Tack strip 5097:Rug making 5008:Floorcloth 4680:Chiprovtsi 4003:References 3978:2013-09-17 3009:One shown 2961:Mack, p.90 2934:Mack, p.77 2907:Mack, p.67 2869:Mack, p.76 2719:Mack, p.74 2701:Mack, p.75 2440:Henry VIII 2215:still life 2115:, 1630–9, 2017:or vanity. 2015:profligacy 1891:, 1614–8, 1823:prayer rug 1555:Star Ushak 1258:, and the 1216:region of 843:Tintoretto 668:Circassian 662:) and the 656:turcheschi 640:damaschini 601:see detail 555:red carpet 435:Marco Polo 272:influences 215:(detail), 73:See also: 47:prayer rug 5239:Eagle rug 5153:Cochineal 4675:Caucasian 4645:Axminster 4460:Bakshaish 4455:Bakhtiari 4420:Pakistani 4375:Catalogne 4308:Caucasian 4293:Arraiolos 3780:The Times 3620:30 August 3483:27 August 3224:(137): 53 2655:cite book 2649:. Berlin. 2567:27 August 2459:Edward VI 2446:, c.1530. 2427:, c. 1507 2253:Mehmet II 2091:Jan Steen 1866:painterly 1539:painting 1248:, in his 1233:Yuan time 1218:Çanakkale 1214:Anatolian 1148:palmettes 1140:arabesque 883:aniconism 672:Caucasian 664:simiscasa 636:cagiarini 625:goldsmith 575:St Ursula 311:ante quem 282:In 1871, 266:in 1435. 194:realistic 166:paintings 156:state of 5306:War rugs 5264:Evil eye 5193:Brintons 5107:Underlay 4991:Cleaning 4710:Karabakh 4685:Crivelli 4670:Bradford 4640:Armenian 4587:Seychour 4545:Seraband 4495:Karadagh 4470:Borujerd 4415:Oriental 4395:Kashmiri 4338:Karabakh 4303:Borchaly 4283:Absheron 3691:, 1649 ( 3549:(1): 40. 3027:Archived 2400:— 2368:depicts 2279:capital 2263:, London 2226:1:2;12:8 2182:— 2151:federen. 2039:Armenian 1992:, 1440. 1936:, 1627, 1914:, 1620, 1729:, 1663, 1525:Damascus 1392:, 1630. 1136:Anatolia 1110:Anatolia 1014:lozenges 996:Anatolia 859:Budapest 830:Istanbul 783:Anatolia 740:Anatolia 652:rhodioti 644:Damascus 427:Anatolia 138:Anatolia 65:Anatolia 5317:carpets 5148:Carmine 5032:Fabrics 4770:Turkish 4765:Swedish 4745:Persian 4735:Memling 4725:Lilihan 4720:Holbein 4660:Bergama 4650:Bellini 4635:Arabian 4628:Carpets 4597:Turkmen 4592:Tibetan 4565:Varamin 4525:Mashhad 4520:Kurdish 4505:Kashmar 4485:Isfahan 4450:Ardabil 4430:Persian 4400:Lilihan 4390:Flokati 4385:Dhurrie 4370:Braided 4288:Aghajly 4273:Alcaraz 4263:Arabian 4115:, 1983. 3575:11 July 3335:16 June 3228:22 June 2973:website 2855:12 July 2830:12 July 2298:obelisk 2277:Ottoman 2275:'s new 2219:vanitas 2197:of the 1848:in his 1846:Vermeer 1831:Bergama 1764:Isfahan 1574:Vermeer 1493:St. 136 1329:trefoil 1274:realism 1268:in his 1031:(1608). 1006:Holbein 879:Ottoman 873:in the 861:. The 826:Gentile 685:or the 616:Matthew 502:Islamic 471:Balkans 463:Avignon 429:, whom 368:phoenix 254:of the 146:Armenia 130:Carpets 44:Islamic 5054:Soumak 5039:Frieze 4982:Wilton 4907:Louvre 4875:Places 4789:People 4760:Sarouk 4705:Hereke 4700:Gabbeh 4695:Fitted 4690:Ersari 4655:Berber 4570:Zanjan 4560:Tabriz 4555:Shiraz 4540:Sarouk 4510:Kerman 4500:Kashan 4475:Gabbeh 4465:Bidjar 4435:Abadeh 4425:Petate 4410:Navajo 4405:Mughal 4358:Shedde 4268:Afghan 4190: 4077: 4063: 4049: 4024: 4016: 3950: 3925: 3900: 3875: 3813: 3786:7 July 3597: 3422: 3388: 3312: 3287: 3067: 3059: 2737: 2682: 2624: 2590: 2539: 2480:Mantua 2350:nimbus 2285:Vasari 2070:, 1507 2009:power. 1838:Mughal 1797:, and 1760:Kashan 1594:, and 1298:, and 1264:, and 1056:scale. 867:Städel 683:mihrab 551:saints 479:Mamluk 431:Venice 372:dragon 303:, and 224:Städel 198:Städel 154:Mamluk 152:, the 150:Levant 142:Persia 5087:Rubia 5044:Jajim 4780:Yomut 4775:Ushak 4750:Pirot 4740:Milas 4730:Lotto 4715:Konya 4619:Yürük 4602:Uzbek 4515:Kilim 4490:Jozan 4480:Heriz 4380:Chobi 4343:Kilim 4323:Ganja 4298:Arran 4037:eds. 3852:[ 3805:[ 3725:(PDF) 3687:, by 3653:p.59. 3218:(PDF) 2773:Image 2490:Notes 1954:, by 1833:rug. 1780:Herat 1312:Paele 928:Konya 820:Both 691:Islam 687:Kaaba 439:Konya 370:-and- 158:Egypt 53:, in 5121:Dyes 5082:Pile 5049:Shag 4755:Quba 4530:Nain 4445:Arak 4440:Ahar 4348:Quba 4313:Chul 4256:Rugs 4188:ISBN 4159:HALI 4145:HALI 4138:HALI 4131:HALI 4127:HALI 4075:ISBN 4061:ISBN 4047:ISBN 4022:ISBN 4014:ISBN 3948:ISBN 3923:ISBN 3898:ISBN 3873:ISBN 3811:ISBN 3788:2015 3733:2015 3622:2015 3595:ISBN 3577:2015 3543:Hali 3528:Hali 3500:Hali 3485:2015 3420:ISBN 3386:ISBN 3337:2015 3310:ISBN 3285:ISBN 3230:2015 3222:HALI 3065:ISBN 3057:ISBN 3011:here 2857:2015 2832:2015 2735:ISBN 2680:ISBN 2661:link 2622:ISBN 2588:ISBN 2569:2015 2537:ISBN 2357:was 2201:and 1762:and 1684:and 1396:and 1314:and 543:dais 5249:Gul 4577:Rya 4535:Qom 4333:Jek 3679:by 2255:by 1986:'s 1976:'s 1910:by 1887:'s 1801:'s 1793:by 1770:by 1758:at 1682:Jan 1388:in 1154:". 1134:of 1098:by 1044:gul 802:gul 775:'s 732:'s 674:). 670:or 603:). 595:by 569:or 549:or 508:'s 488:'s 409:'s 362:'s 239:'s 160:or 132:of 106:'s 57:'s 5361:: 4041:, 4020:, 3825:^ 3778:. 3545:. 3504:IV 3502:. 3434:^ 3238:^ 3220:. 3183:^ 3063:, 2848:. 2694:^ 2657:}} 2653:{{ 2602:^ 2560:. 2521:^ 2497:^ 2476:: 2423:: 2310:: 2259:. 2129:, 2111:, 2093:, 1932:: 1751:. 1688:, 1663:, 1639:, 1616:, 1588:, 1543:. 1469:, 1434:, 1294:, 1287:. 1254:, 885:. 693:. 530:, 461:, 299:, 291:: 222:. 217:c. 211:, 188:, 148:, 144:, 140:, 116:, 4241:e 4234:t 4227:v 4196:. 3981:. 3956:. 3931:. 3906:. 3881:. 3819:. 3790:. 3735:. 3624:. 3603:. 3579:. 3547:4 3487:. 3428:. 3394:. 3339:. 3318:. 3293:. 3268:. 2859:. 2834:. 2743:. 2688:. 2663:) 2630:. 2596:. 2571:. 2545:. 2331:' 1996:. 1852:( 1774:( 1120:. 1042:" 924:. 666:( 658:( 642:( 599:( 313:" 309:"

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