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High traditions of Syrian craftsmanship-a visit to national museums will confirm it-manifested itself in the
most varied fields, despite the prohibition of representation, whether human or animal. This was not always respected,
especially in the beginning right up to the 14th century, which explains the relative scarcity of three-dimensioned
sculptures, although they could still express themselves in many other fields.
The Islamic world excelled in the kiln arts and one will find in show-windows of museums superb glass works tinted
or enameled, ceramics, varnished or not, enameled earthenware which provided some of the most beautiful examples
to the glory of Islamic art. Gold and silver works, finely engraved, delicately carved woods and ivories, carpets
and textiles and in particular the famous brocades, damask, of pure or mixed silk, Damascus works (copper, brass,
iron or steelworks inlaid with gold, silver or copper wire), show the nobility of the old Syrian handicraft traditions
and are enjoyed today by the connoisseur who finds them in museums. Old artisan techniques have somewhat suffered
from the intrusion of machinery into some crafts (textiles or example), but artistic life never stopped, despite
unfavorable social and economic circumstances with the beginning of the 16th century. The artistic revival of Syria
was considerably hindered by the lack of contacts with the more flourishing art centers, and later by the need
for other priorities, and by the new social gap between the craftsman and the artist, or by the awkward integration
of Islam and national values into an aesthetic expression, both secular and universal.
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