Wood carving Iran in the Umayyad era

In the Umayyad period, however, Islam was the true heir to Sassanid art, the concepts of which were adapted and given new life, and revived and revived by using ancient aesthetic rules and iconography. The art of Islamic Iran gained distinct and authentic quality in the light of the favorable combination of historical and climatic conditions, and Sassanid art continued through it among the tribes and cultures ruled by Islam and established its contact again during its long history.
Henry René writes of early 20th century Islamic art in Iran: At the beginning of the seventh century AD, during the Arab invasion of Iran, the course of Iranian art was inevitably halted, as the invincible and victorious Arab invaders looked at the world and everything in it with contempt. Not only did Omar Sardar himself oppose any glory, but he did not refrain from destroying any kind of work of art.
Ibn Khaldun writes in this regard: If a desert Arab needs a stone to close the stove on which he puts his pot, he will destroy the building to get the stone he needs; If he wants wood for his tent pole, he breaks down the roof of the house to use the wood. In the fourth chapter of his book, Titus Burkehart writes about Islamic art (language and expression):
The Arab invasion without Islam in the first century AH – assuming it was possible without religious motives – was nothing more than an event in the history of the Middle East. The Arabs had nothing to offer the world artistically, but they had with them a school that brought about a great change in the art of the world, and that school was the great religion of Islam. It is true that this religion, like other religions, opposed the creation of many works of art, but this opposition led to the creation of styles and maps that the art of Islamic art, which had doubled in size and grandeur, introduced to the world.