<P> Turkish painting, in the Western sense, developed actively starting from the mid 19th century . The very first painting lessons were scheduled at what is now the Istanbul Technical University (then the Imperial Military Engineering School) in 1793, mostly for technical purposes . In the late 19th century, human figure in the Western sense was being established in Turkish painting, especially with Osman Hamdi Bey . Impressionism, among the contemporary trends, appeared later on with Halil Pasha . The young Turkish artists sent to Europe in 1926 came back inspired by contemporary trends such as Fauvism, Cubism and even Expressionism, still very influential in Europe . The later "Group D" of artists led by Abidin Dino, Cemal Tollu, Fikret Mualla, Fahrünnisa Zeid, Bedri Rahmi Eyüboğlu, Adnan Çoker and Burhan Doğançay introduced some trends that had lasted in the West for more than three decades . Other important movements in Turkish painting were the "Yeniler Grubu" (The Newcomers Group) of the late 1930s; the "On'lar Grubu" (Group of Ten) of the 1940s; the "Yeni Dal Grubu" (New Branch Group) of the 1950s; and the "Siyah Kalem Grubu" (Black Pen Group) of the 1960s . </P> <P> Carpet weaving represents a traditional art, dating back to pre-Islamic times . During its long history, the art and craft of the woven carpet has integrated different cultural traditions . Traces of Byzantine design can be detected, Turkic peoples migrating from Central Asia, as well as Armenian people, Caucasian and Kurdic tribes either living in, or migrating to Anatolia, brought with them their traditional designs . The arrival of Islam and the development of the Islamic art also influenced Turkish carpet design . The history of its designs, motifs and ornaments thus reflects the political and ethnic history and diversity of the area of Asia minor . However, scientific attempts were unsuccessful, as yet, to attribute a particular design to a specific ethnic, regional, or even nomadic versus village tradition . </P> <P> Turkish miniature is an art form, which can be linked to the Persian miniature tradition, as well as strong Chinese artistic influences . The words taswir or nakish were used to define the art of miniature painting in Ottoman Turkish . The studios the artists worked in were called Nakkashanes . The miniatures were usually not signed, perhaps because of the rejection of individualism, but also because the works were not created entirely by one person; the head painter designed the composition of the scene, and his apprentices drew the contours (which were called tahrir) with black or colored ink and then painted the miniature without creating an illusion of third dimension . The head painter, and much more often the scribe of the text, were indeed named and depicted in some of the manuscripts . The understanding of perspective was different from that of the nearby European Renaissance painting tradition, and the scene depicted often included different time periods and spaces in one picture . They followed closely the context of the book they were included in, resembling more illustrations rather than standalone works of art . </P> <P> The earliest examples of Turkish paper marbling are thought to be a copy of the Hâlnâme by the poet Arifî . The text of this manuscript was rendered in a delicate cut paper découpage calligraphy by Mehmed bin Gazanfer and completed in 1540, and features many marbled and decorative paper borders . One early master by the name of Şebek is mentioned posthumously in the earliest Ottoman text on the art known as the Tertib - i Risâle - i Ebrî, which is dated based on internal evidence to after 1615 . Several recipes in the text are accredited to this master . Another famous 18th - century master by the name of Hatip Mehmed Efendi (died 1773) is accredited with developing motifs and perhaps early floral designs, although evidence from India appears to contradict some of these claims . Despite this, marbled motifs are commonly referred to as "Hatip" designs in Turkey today . </P>

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