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106. Yuan shi 1976, ch. 78, 1940. 107. , Zhao 1999, 202. 108. See also Hansen 1950, 6–11, fig. 4. 109. For this textile, see WSWG, 135, fig. 63; Folsach 2001, no. 639. It is highly probable that, judging by the occurrence of cloud collars in a group of early thirteenth-century Daghestan sculpture (Salmony 1943, figs 1–3), they may have been disseminated into the Caucasus region. 110. See Grabar and Blair 1980, pls 14, 28. 111. , Lentz and Lowry 1989, 216–19. indd 38 19/6/09 13:27:11 CHAPTER TWO Ceramics A study of ceramics provides further clues to the artistic contact between Iran and China and a deeper understanding of how the Iranian desire to imitate the works of Chinese art was developed throughout the ages.

60. See Chü 1972; Oshima 1983. The involvement of weavers from Central and West Asia in Yuan textile production caused the revival of Occidentalism in the art of China during the Mongol period. 06). 61. Similar pieces are found in Utrecht and Berlin (SPA, 2060, fig. 667; Wardwell 1988–9, fig. 54). 62. WSWG, 110, no. 28; Zhao 1999, pl. 09. The so-called swan hunt motif (haidongqing) was typical of Jin brocades and was famous for its use in royal robes designed for spring hunting (Jin shi 1975, ch.

For this principle, see Ettinghausen 1979b. 66. ) 1982. 67. See, for the development of Chinese cloud patterns, Wu 2000. 68. See Laing 1998, 32. 69. Rawson 1984, 139. 70. , WSWG, no. 9. 71. This point will be addressed in the following chapters on manuscript painting. For further discussion, see Kadoi 2002. indd 36 19/6/09 13:27:10 TEXTILES 37 72. They read, ‘Glory to our lord the sultan, the king, the just, the wise Nasir’ (Folsach and Bernsted 1993, 30). 73. Ibid. 29–30. For further discussion on Ilkhanid–Mamluk gift exchanges, see Little 2006.

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