Request PDF on ResearchGate | On Jan 1, , George Lane and others published Islamic Chinoiserie: The Art of Mongol Iran (Edinburgh Studies in Islamic. Islamic Chinoiserie: The Art of Mongol Iran (Edinburgh: Edinburgh University Press, paperback, ). Yuka Kadoi. Uploaded by. Yuka Kadoi. Files. 1 of 2. The Mongol invasion in the thirteenth century marked a new phase in the development of Islamic art. Trans-Eurasian exchanges of goods, people and ideas.

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The Mongol Empire was the largest contiguous land empire in history, connecting the two edges of the Eurasian land cbinoiserie under a single political authority. The lotus motif originates from Buddhist China.

Yuka Kadoi. Islamic Chinoiserie: The Art of Mongol Iran

It also provides a sense of consistency and value. Read, highlight, and take notes, across web, tablet, and phone. Edinburgh University Press- Art – pages. Key Features covers various media of decorative and pictorial arts from Iran, Central Asia and China deals with a diverse range of issues related to the Chinoisfrie artistic relationship in the Middle Ages features in-depth studies of style, technique and iconography in Iranian art under the Mongols includes illustrations, 24 in colour.

The Art of Mongol Iran. West Asia meets East Asia 1. The observation of this iwlamic artistic phenomenon serves to promote the understanding of the artistic diversity of Islamic art in the Middle Ages. The chaptering of the book has, however, been influenced by the technical aspects, for example imports of ceramic-making techniques before the Mongols, followed by imports of ceramics motifs during the Mongol period.


This resulted in a significant amount of cultural interaction between East and West.

Published by Edinburgh University Press. The dragon symbolized the emperor of China, but Iran transferred the symbol to refer to the Mongol rulers in Iran.

Islamic Chinoiserie

Oxford University Press is a department of the University of Oxford. From inside the book. This illustrated book offers a fascinating glimpse into the artistic interaction between Iran and China under the Mongols. Emon, Matthew Levering, and David Novak. Examples are images of dragons and phoenixes.

The observation of this unique artistic phenomenon serves to promote the understanding of the artistic diversity of Islamic ilamic in the Middle Ages. The result is a mixture of different elements, iconography and motifs each with its own history brought together under the art of Islam. Highly illustrated, Islamic Chinoiserie offers xhinoiserie fascinating glimpse into the artistic interaction between Iran and China under the Mongols.

It had a strong symbolic meaning referring to purity and the Buddha.

The typical Chinese phoenix would be depicted with a long impressive tail and a distinctive face within a naturalistic setting or background.

Choose your country or region Close. However an overview of the phenomenon has yet to be made. Trans-Eurasian exchanges of goods, people and ideas were encouraged on a large scale under the auspices of the Pax Mongolica. Abstracta Iranica Revue bibliographique pour le domaine irano-aryen. Iran depicted dragon-like creatures as a snake, but after the Mongol invasion, Iranian depiction of dragons incorporated Chinese style but was combined with their own decorative motifs.

After more than two centuries of scholarship on the Mongol Empire, we now have a fairly sophisticated understanding of the empire itself and of its organization, but we still know very little about the Mongol legacy in the regions where they ruled in the mojgol medieval and early modern periods.


No eBook available Amazon. Yuka Kadoi, now at the Art Institute of Chicago, has accomplished this work due to her double background in Chinese and Islamic studies.

Islamic Chinoiserie – Hardcover – Yuka Kadoi – Oxford University Press

The Mongol rulers favoured interregional long distance trade at the expense of agriculture, and introduced new techniques of politics, law, and warfare in the places where they were in power. Natural Law Anver M. The Mongols were very interested in textiles and used it as a form of art propaganda.

Academic Skip to main content. Perhaps the lotus acquired a new symbolic meaning in the Islamic Iranian context. The multi-cultural education of researchers and a team approach are the keys to accessing sources originating in eastern and western Asia.


By using rich visual materials from various media of decorative and pictorial arts – textiles, ceramics, metalwork and manuscript painting – the book illustrates the process of adoption and adaptation of Chinese themes in the art of Mongol-ruled Iran in a visually compelling way. Kadoi concluded by explaining how her research in Islamic Chinoiserie examines the Islamic admiration and understanding of Chinese style and techniques and how that was fundamental in developing Iranian Islamic art during and after the Mongol invasion.

Paintings combined Christian, Buddhist, and Islamic iconography.