Book contents
- The Cambridge History of the Mongol Empire
- The Cambridge History of the Mongol Empire
- Copyright page
- Dedication
- Contents
- Figures in Volume I
- Figures in Volume II
- Maps in Volume I
- Maps in Volume II
- Tables in Volume I
- Contributors to Volume I
- Contributors to Volume II
- Acknowledgments
- Notes on Dates and Transliterations
- Abbreviations
- Volume I
- Introduction
- Volume I Part 1 Political History
- Volume I Part 2 Thematic Histories
- 6 Mongol Imperial Institutions
- 7 Imperial Ideology
- 8 The Military Machine
- 9 Economic Exchange
- 10 Religious Exchange
- 11 Scientific Exchange
- 12 Artistic Exchange
- 13 The Climate and Environment of the Mongol Conquest
- 14 Women and Gender under Mongol Rule
- Volume I Part 3 Views from the Edges
- Volume I Part 4 External Histories
- Epilogue
- Volume II
- Index to Volume I
- Index to Volume II
- References
12 - Artistic Exchange
from Volume I Part 2 - Thematic Histories
Published online by Cambridge University Press: 01 January 2024
Book contents
- The Cambridge History of the Mongol Empire
- The Cambridge History of the Mongol Empire
- Copyright page
- Dedication
- Contents
- Figures in Volume I
- Figures in Volume II
- Maps in Volume I
- Maps in Volume II
- Tables in Volume I
- Contributors to Volume I
- Contributors to Volume II
- Acknowledgments
- Notes on Dates and Transliterations
- Abbreviations
- Volume I
- Introduction
- Volume I Part 1 Political History
- Volume I Part 2 Thematic Histories
- 6 Mongol Imperial Institutions
- 7 Imperial Ideology
- 8 The Military Machine
- 9 Economic Exchange
- 10 Religious Exchange
- 11 Scientific Exchange
- 12 Artistic Exchange
- 13 The Climate and Environment of the Mongol Conquest
- 14 Women and Gender under Mongol Rule
- Volume I Part 3 Views from the Edges
- Volume I Part 4 External Histories
- Epilogue
- Volume II
- Index to Volume I
- Index to Volume II
- References
Summary
Although Mongol authority built its empire through military might and administration, the cultural construction of empire happened through artistic exchange. Visions of desire, beauty, and power – as well as the materials that made creativity possible – were essential to the ideological projects of Mongol imperial reach. As governors of a Eurasian-wide commercial empire, Mongol rulers required effective visual representations of their power that could easily be understood by diverse audiences. This could be achieved through widespread dissemination and integration of material culture. Reliance on already recognizable symbols of authority that could be adapted and repurposed for contemporary political goals was both expedient and effective.
Keywords
- Type
- Chapter
- Information
- The Cambridge History of the Mongol Empire , pp. 575 - 602Publisher: Cambridge University PressPrint publication year: 2023
References
Allan, W. J. 1985. The History of So-Called Egyptian Faience in Islamic Persia. London.Google Scholar
Allsen, Thomas T. 1997. Commodity and Exchange in the Mongol Empire: A Cultural History of Islamic Textiles. Cambridge.Google Scholar
Allsen, Thomas T. 2002. Technician Transfers in the Mongolian Empire. Bloomington, IN.Google Scholar
Belting, Hans. 2011. Florence and Baghdad: Renaissance Art and Arab Science, tr. Deborah Lucas Schneider. Cambridge, MA.Google Scholar
Bemmann, Jean. 2010. Mongolian–German Karakorum-Expedition, vol. 1, Excavations in the Craftsmen-Quarter at the Main Road. Wiesbaden.Google Scholar
Benedict the Pole, . 2008. “The Narrative of Brother Benedict the Pole.” In The Mongol Mission, ed. Dawson, Christopher, 79–84. New York.Google Scholar
Biran, Michal. 1997. Qaidu and the Rise of the Independent Mongol State in Central Asia. Richmond.Google Scholar
Blair, Sheila S. 1986. “The Mongol Capital of Sultaniyya, the Imperial.” Iran 24: 139–52.CrossRefGoogle Scholar
Blair, Sheila S. 1995. A Compendium of Chronicles: Rashid al-Din’s Illustrated History of the World. New York.Google Scholar
Bloom, Johnathan. 2000. “The Introduction of Paper to the Islamic Lands and the Development of the Illustrated Manuscript.” Muqarnas 17: 17–23.CrossRefGoogle Scholar
Bloom, Johnathan 2006. “Paper: The Transformative Medium in Ilkhanid Art.” In Beyond the Legacy of Genghis Khan, ed. Linda Komaroff, 289–302. Leiden.CrossRefGoogle Scholar
Boyle, John A. 1968. “Dynastic and Political History of the Ilkhans.” In CHI5, 303–421.Google Scholar
Boyle, John A. 1977. “Literary Cross-fertilization between East and West.” Bulletin (British Society for Middle Eastern Studies) 4.1: 32–36.CrossRefGoogle Scholar
Cahill, James. 1994. The Painter’s Practice: How Artists Lived and Worked in Traditional China. New York.CrossRefGoogle Scholar
Cantelli, Giuseppe. 1996. Storia dell’oreficeria e dell’arte tessile in Toscana: Dal medioevo all’eta moderna. Florence.Google Scholar
Charleux, Isabelle. 2010. “From Ongon to Icon: Legitimization, Glorification and Divinization of Power in Some Examples of Mongol Portraits.” In Representing Power in Ancient Inner Asia: Legitimacy, Transmission and the Sacred, ed. Roberte Hamayon, Isabelle Charleux, Gregory Delaplace, and Scott Pearce, 209–61. Bellingham, WA.Google Scholar
Cooperson, Michael. 2001. “Images without Illustrations: The Visual Imagination in Classical Arabic Biography.” In Islamic Art and Literature, ed. Oleg Grabar and Cynthia Robinson, 7–19. Princeton.Google Scholar
Cowen, Jill Sanchia. 1989. Kalila wa Dimna: An Animal Allegory of the Mongol Court. The Istanbul Album. Oxford.Google Scholar
Durand-Guedy, David, ed. 2013. Turko-Mongol Rulers, Cities and City Life. Leiden.CrossRefGoogle Scholar
Finlay, Robert. 2010. The Pilgrim Art: Cultures of Porcelain in World History. Berkeley.Google Scholar
Franke, Herbert. 1950. “Two Yuan Treatises on the Technique of Portrait Painting.” Oriental Art 3.1: 27–32.Google Scholar
Geijer, Agnes. 1963. “Some Thoughts on the Problems of Early Oriental Carpets” Ars Orientalis 5: 79–87.Google Scholar
Grabar, Oleg, and Natif, Mika. 2003. “The Story of Portraits of the Prophet Muhammad.” Studia Islamica 96: 19–38 and Figures 4–9.Google Scholar
Grupper, Samuel M. 2004. “The Buddhist Sanctuary-Vihara of Labnasagut and the Il-Qan Hulegu: An Overview of Il-Qanid Buddhism and Related Matters.” AEMA 13: 5–77.Google Scholar
Hillenbrand, Robert. 2006. “Erudition Exalted: The Double Frontispiece to the Epistles of the Sincere Brethren.” In Beyond the Legacy of Genghis Khan, ed. Linda Komaroff, 183–212. Leiden.Google Scholar
Hillenbrand, Robert 2011. “Propaganda in the Mongol ‘World History’.” British Academy Review 17: 29–38.Google Scholar
Hoeniger, Cathleen S. 1991. “Cloth of Gold and Silver: Simone Martini’s Techniques for Representing Luxury Textiles.” Gesta 30.2: 154–62.CrossRefGoogle Scholar
Hoffman, Eva R. 1993. “The Author Portrait in Thirteenth-Century Arabic Manuscripts: A New Islamic Context for a Late-Antique Tradition.” Muqarnas 10: 6–20.CrossRefGoogle Scholar
Jacoby, David. 2010. “Oriental Silks Go West: A Declining Trade in the Later Middle Ages.” In Islamic Artifacts in the Mediterranean World: Trade, Gift Exchange and Artistic Transfer, ed. Catarina Schmidt Arcangeli and Gerhard Wolfin, 71–88. Venice.Google Scholar
Jacoby, David 2014. “Cypriot Gold Thread in Late Medieval Silk Weaving and Embroidery.” In Deeds Done beyond the Sea: Essays on William of Tyre, Cypress and the Military Orders presented to Peter Edbury, ed. Susan B. Edgington and Helen J. Nicholson. Farnham.Google Scholar
Jacoby, David 2016. “Oriental Silks at the Time of the Mongols: Patterns of Trade and Distribution in the West.” In Oriental Silks in Medieval Europe, ed. Juliane von Fircks, Regula Schorta, and Michael Alram, 92–123. Riggisberg.Google Scholar
Jing, Anning. 1994. “The Portraits of Khubilai Khan and Chabi by Anige (1245–1306), a Nepali Artist at the Yuan Court.” Artibus Asiae 54.1–2: 40–86.CrossRefGoogle Scholar
Jing, Anning 2004. “Financial and Material Aspects of Tibetan Art under the Yuan Dynasty.” Artibus Asiae 64.2: 213–41.Google Scholar
John of Plano Carpini, . 1996. The Story of the Mongols Whom We Call the Tartars, tr. Erik Hildinger. Boston.Google Scholar
Juliano, Annette L. 2006. “Chinese Pictorial Space at the Cultural Crossroads.” In Eran ud Aneran: Studies Presented to Boris Ill′ie Marsak on the Occasion of His 70th Birthday, ed. Compareti, Matteo, Raffetta, Paolo, and Scarcia, Gianroberto, 301–5. Venice.Google Scholar
Jungeon, Oh, Leo. 2005. “Islamicised Pseudo-Buddhist Iconography in Ilkhanid Royal Manuscripts.” Persica 20: 91–154.CrossRefGoogle Scholar
Kramarovsky, Mark G. 1992. “The New Style of Filigree in the Mongol Era: A Problem of Provenance.” In Foundations of Empire: Archaeology and Art of the Eurasian Steppes, ed. Gary Seaman, 191–200. Los Angeles.Google Scholar
Lach, Donald F. 1970. Asia in the Making of Europe, vol. 2, A Century of Wonder, book 1, The Visual Arts. Chicago.Google Scholar
Lee, Sherman E. 1968. “The Art of the Yüan Dynasty.” In Chinese Art under the Mongol Yüan Dynasty (1279–1368), ed. Lee, Sherman E. and Wai-kam, Ho, 1–72. Cleveland.Google Scholar
McCausland, Shane. 2003. “‘Like the Gossamer Thread of a Spring Silkworm’: Gu Kaizhi in the Yuan Renaissance.” In Gu Kaizhi and the Admonitions Scroll, ed. Shane McClausland, 168–82. London.Google Scholar
McCausland, Shane 2011. Zhao Mengfu: Calligraphy and Painting for Khubilai’s China. Hong Kong.Google Scholar
McCausland, Shane 2014. The Mongol Century: Visual Cultures of Yuan China, 1271–1368. Honolulu.Google Scholar
Marshak, Boris. 1992. “The Style of Filigree in the Mongol Era: Pan-Eurasian Affinities.” In Foundations of Empire: Archaeology and Art of the Eurasian Steppes, ed. Gary Seaman, 184–90. Los Angeles.Google Scholar
Masuya, Tomoko. 2013. “Seasonal Capitals with Permanent Buildings in the Mongol Empire.” In Turko-Mongol Rulers, Cities and City Life, ed. David Durand-Guédy, 223–56. Leiden.Google Scholar
Meoni, Maria Luisa, Luzi, Mario, and Muzzi, Francesco. 2005. Utopia and Reality in Ambrogio Lorenzetti
’s Good Government. Florence.Google Scholar
Monnas, Lisa. 1993. “Dress and Textiles in the St. Louis Altarpiece: New Light on Simone Martini’s Working Practice.” Apollo 137: 166–74.Google Scholar
Nasr, Seyyed Hossein. 1969. “‘The World of Imagination’ and the Concept of Space in Persian Miniatures.” Islamic Quarterly 13: 129–34.Google Scholar
Perkinson, Stephen. 2008. “Likeness, Loyalty, and the Life of the Court Artist: Portraiture in the Calendar Scenes of the Très Riches Heures.” Quaerendo 38.2–3: 142–74.CrossRefGoogle Scholar
Prazniak, Roxann. 2010. “Siena on the Silk Roads: Ambrogio Lorenzetti and the Mongol Global Century, 1250–1350.” Journal of World History 21.2: 177–217.CrossRefGoogle Scholar
Prazniak, Roxann 2014. “Ilkhanid Buddhism: Traces of a Passage in Eurasian History.” Comparative Studies in Society and History 56.3: 650–80.CrossRefGoogle Scholar
Rice, D. S. 1959. “The Oldest Illustrated Arabic Manuscript.” BSOAS 22.2: 207–20.CrossRefGoogle Scholar
Robinson, Cynthia. 2001. “The Lover, His Lady, Her Lady, and a Thirteenth-Century Celestina: A Recipe for Love Sickness from al-Andalus.” In Islamic Art and Literature, ed. Oleg Grabar and Cynthia Robinson, 79–115. Princeton.Google Scholar
Seckel, Dietrich. 1993. “The Rise of Portraiture in Chinese Art.” Artibus Asiae 53.1–2: 7–26.CrossRefGoogle Scholar
Smine, Rima E. 1993. “The Miniatures of a Christian Arabic Barlaam and Joasaph: Balamand 147.” Parole de l’Orient 43: 171–229.Google Scholar
Soucek, Priscilla P. 1972. “Nizami on Painters and Painting.” In Islamic Art in the Metropolitan Museum of Art, ed. Ettinghausen, Richard, 9–21. New York.Google Scholar
Soudavar, Abolala. 1996. “The Saga of Abu-Saʿid Bahador Khan: The Abu-Saʿidname.” In The Court of the Il-Khans, 1290–1340, ed. Raby, J. and Fitzherbert, T., 95–218. Oxford.Google Scholar
State Hermitage Museum in St. Petersburg. 2001. “The Treasure of the Golden Horde.” Atwww.hermitagemuseum.org/wps/portal/hermitage/what-s-on/temp_exh/1999_2013/hm4_1_p/?lng= (accessed June 15, 2021).Google Scholar
Steinhardt, Nancy Shatzman. 1988. “Imperial Architecture along the Mongolian Road to Dadu.” Ars Orientalis 18: 59–93.Google Scholar
Sun, Zhixin Jason. 2010. “Dadu: Great Capital of the Yuan Dynasty.” In The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, ed. James C. Y. Watt, 41–63. New York.Google Scholar
Tanaka, Hidemichi. 1984. “Giotto and the Influences of the Mongols and Chinese on His Art.” Art History 6: 1–15.Google Scholar
Tanaka, Hidemichi 1989. “Oriental Script in the Paintings of Giotto’s Period.” Gazette des beaux-arts 6.113: 214–26.Google Scholar
Vesely, Rudolf. 2008. “When Is It Possible to Call Something Beautiful? Some Observations about Aesthetics in Islamic Literature and Art.” Mamlūk Studies Review 12.2: 223–29.Google Scholar
Wardwell, Anne E. 1988–1989. “Panni Tartarici: Eastern Islamic Silks Woven with Gold and Silver (13th and 14th Centuries).” Islamic Art: An Annual Dedicated to the Art and Culture of the Muslim World 3: 95–173.Google Scholar
Watson, Oliver. 2006. “Pottery under the Mongols.” In Beyond the Legacy of Genghis Khan, ed. Linda Komaroff, 325–45. Leiden.Google Scholar
Watt, James C. Y. 2010. “The Decorative Arts.” In The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, ed. James C. Y. Watt, 269–99. New York.Google Scholar
Watt, James C. Y., and Anne Wardwell, . 1997. When Silk Was Gold: Central Asian and Chinese Textiles. New York.Google Scholar
Wieck, Roger S. 1991. “The Savoy Hours and Its Impact on Jean, Duc de Berry.” Yale University Library Gazette 66: 159–80.Google Scholar
Wieck, Roger S. 1997. Painted Prayers: The Book of Hours in Medieval and Renaissance Art. New York.Google Scholar
William of Rubruck. 1990. The Mission of Friar William of Rubruck, tr. Peter Jackson, ed. David Morgan. London.Google Scholar
Yamabe, Nobuyoshi. 2002. “Practice of Visualization and the Visualization Sutra.” Pacific World 4: 123–52.Google Scholar