Editing Medieval art (section)

==The influence of Islamic art==
[[File:Moissac.2.jpg|thumb|The Romanesque portal at [[Moissac]]—see text. Detail of the tympanum [[:File:Abadia de Saint-Pierre de Moissac - Portalada Sud de Moissac.JPG|here]]]]
{{main|Islamic influences on Western art}}
[[Islamic art]] during the Middle Ages falls outside the scope of this article, but it was widely imported and admired by European elites, and its influence needs mention.<ref>Hoffman, 324; Mack, Chapter 1, and passim throughout; [http://www.metmuseum.org/toah/hd/sumay/hd_sumay.htm The Art of the Umayyad Period in Spain (711–1031), Metropolitan Museum of Art timeline] {{Webarchive|url=https://web.archive.org/web/20190717131139/http://www.metmuseum.org/toah/hd/sumay/hd_sumay.htm |date=2019-07-17 }} Retrieved April 1, 2011</ref> Islamic art covers a wide variety of media including calligraphy, illustrated manuscripts, textiles, ceramics, metalwork and glass, and refers to the art of Muslim countries in the Near East, Islamic Spain, and Northern Africa, though by no means always Muslim artists or craftsmen. [[Islamic glass|Glass production]], for example, remained a [[Jewish]] speciality throughout the period, and Christian art, as in [[Coptic art|Coptic Egypt]] continued, especially during the earlier centuries, keeping some contacts with Europe.  There was an early formative stage from 600-900 and the development of regional styles from 900 onwards.  Early Islamic art used mosaic artists and sculptors trained in the Byzantine and Coptic traditions.<ref>{{Harvnb|Honour|Fleming|1982|pp=256–262}}.</ref> Instead of wall-paintings, Islamic art used painted [[tile]]s, from as early as 862-3 (at the [[Mosque of Uqba|Great Mosque]] of [[Kairouan]] in modern [[Tunisia]]), which also spread to Europe.<ref>{{Harvnb|Honour|Fleming|1982|p=269}}.</ref>  According to [[John Ruskin]], the [[Doge's Palace, Venice|Doge's Palace]] in [[Venice]] contains "three elements in exactly equal proportions — the Roman, the Lombard, and Arab. It is the central building of the world.&nbsp;... the history of Gothic architecture is the history of the refinement and spiritualisation of Northern work under its influence".<ref>''[[The Stones of Venice (book)|The Stones of Venice]]'', [http://www.victorianweb.org/authors/ruskin/sov/1.html chapter 1, paras 25 and 29] {{Webarchive|url=https://web.archive.org/web/20131224114534/http://www.victorianweb.org/authors/ruskin/sov/1.html|date=2013-12-24}}; discussed pp.&nbsp;49–56 here [https://books.google.com/books?id=QzI3Pf0TSn4C&dq=Ruskin+Orientalism&pg=PA59] {{Webarchive|url=https://web.archive.org/web/20221123135302/https://books.google.com/books?id=QzI3Pf0TSn4C&pg=PA59&lpg=PA59&dq=Ruskin+Orientalism&source=bl&ots=TF5qlcqm2M&sig=PwSUx7Ghq5kozj-Y7AIWLOxPlk8&hl=en&ei=3AqjTfWYOpG4hAfP2tDWCA&sa=X&oi=book_result&ct=result&resnum=10&ved=0CE4Q6AEwCQ#v=onepage&q=Ruskin%20Orientalism&f=false|date=2022-11-23}}</ref>
[[File:WLA lacma 1430 ceramic dish.jpg|thumb|360px|[[Hispano-Moresque]] dish, [[Manises]], 1430-1450, Diameter: 14 in. (35.56 cm)]]

Islamic rulers controlled at various points Sicily ([[Emirate of Sicily]]) and most of the Iberian Peninsula ([[Al-Andalus]]), thus also ruling Christian populations. The Christian [[Crusade]]rs equally ruled Islamic populations. [[Crusader art]] is mainly a hybrid of Catholic and Byzantine styles, with little Islamic influence, but the [[Mozarabic art]] of Christians in [[Al Andaluz]] seems to show considerable influence from Islamic art, though the results are little like contemporary Islamic works. Islamic influence can also be traced in the mainstream of Western medieval art, for example in the Romanesque portal at [[Moissac]] in southern France, where it shows in both decorative elements, like the scalloped edges to the doorway, the circular decorations on the [[lintel]] above, and also in having ''Christ in Majesty'' surrounded by musicians, which was to become a common feature of Western heavenly scenes, and probably derives from images of Islamic kings on their [[Divan (furniture)|diwan]].<ref>{{Harvnb|Beckwith|1964|pp=206–209}}.</ref> [[Calligraphy]], ornament and the [[decorative arts]] generally were more important than in the West.<ref>Jones, Dalu & Michell, George, (eds); ''The Arts of Islam'', [[Arts Council of Great Britain]], 9, 1976, {{ISBN|0-7287-0081-6}}</ref>

The [[Hispano-Moresque]] pottery wares of Spain were first produced in Al-Andalus, but Muslim potters then seem to have emigrated to the area of Christian [[Valencia, Spain|Valencia]], where they produced work that was exported to Christian elites across Europe;<ref>Caiger-Smith, chapters 6 & 7</ref> other types of Islamic luxury goods, notably silk textiles and carpets, came from the generally wealthier<ref>[[Hugh Thomas (writer)|Hugh Thomas]], ''An Unfinished History of the World'', 224-226, 2nd edn. 1981, Pan Books, {{ISBN|0-330-26458-3}}; [[Fernand Braudel|Braudel, Fernand]], ''Civilization & Capitalism, 15-18th Centuries, Vol 1: The Structures of Everyday Life'', William Collins & Sons, London 1981, p. 440: "If medieval Islam towered over the Old Continent, from the Atlantic to the Pacific for centuries on end, it was because no state (Byzantium apart) could compete with its gold and silver money&nbsp;..."; and Vol 3: ''The Perspective of the World'', 1984, {{ISBN|0-00-216133-8}}, p. 106: "For them [the Italian maritime republics], success meant making contact with the rich regions of the Mediterranean - and obtaining gold currencies, the dinars of Egypt or Syria,&nbsp;... In other words, Italy was still only a poor peripheral region&nbsp;..." [period before the Crusades]. The [http://www.ggdc.net/MADDISON/oriindex.htm Statistics on World Population, GDP and Per Capita GDP, 1-2008 AD] {{Webarchive|url=https://web.archive.org/web/20190216033959/http://www.ggdc.net/MADDISON/oriindex.htm |date=2019-02-16 }} compiled by [[Angus Maddison]] show Iran and Iraq as having the world's highest per capita GDP in the year 1000</ref> eastern Islamic world itself (the Islamic conduits to Europe west of the [[Nile]] were, however, not wealthier),<ref>Rather than along religious lines, the divide was between east and west, with the rich countries all lying east of the [[Nile]]: [[Angus Maddison|Maddison, Angus]] (2007): "Contours of the World Economy, 1–2030 AD. Essays in Macro-Economic History", Oxford University Press, {{ISBN|978-0-19-922721-1}}, p. 382, table A.7. and Maddison, Angus (2007): "Contours of the World Economy, 1–2030 AD. Essays in Macro-Economic History", Oxford University Press, {{ISBN|978-0-19-922721-1}}, p. 185, table 4.2 give 425 [[Geary–Khamis dollar|1990 International Dollars]] for Christian Western Europe, 430 for Islamic North Africa, 450 for Islamic Spain and 425 for Islamic Portugal, while only Islamic Egypt and the Christian Byzantine Empire had significantly higher GDP per capita than Western Europe (550 and 680–770 respectively) ([[Branko Milanovic|Milanovic, Branko]] (2006): "An Estimate of Average Income and Inequality in Byzantium around Year 1000", ''Review of Income and Wealth'', Vol. 52, No. 3, pp. 449–470 (468))</ref> with many passing through Venice.<ref>The subject of Mack's book; the Introduction gives an overview</ref> However, for the most part luxury products of the court culture such as silks, ivory, precious stones and jewels were imported to Europe only in an unfinished form and manufactured into the end product labelled as "eastern" by local medieval artisans.<ref>Hoffman, Eva R. (2007): ''Pathways of Portability: Islamic and Christian Interchange from the Tenth to the Twelfth Century'', pp.324f., in: Hoffman, Eva R. (ed.): ''Late Antique and Medieval Art of the Mediterranean World'', Blackwell Publishing, {{ISBN|978-1-4051-2071-5}}</ref> They were free from depictions of religious scenes and normally decorated with [[Ornament (architecture)|ornament]], which made them easy to accept in the West,<ref>Mack, 4</ref> indeed by the late Middle Ages there was a fashion for [[pseudo-Kufic]] imitations of Arabic script used decoratively in Western art.