A Comparative Study of the Ilkhanid Cloud Motif with the Song, Yuan, and Ming Schools of Painting

Document Type : Research Paper

Authors

1 B.A. Student in Iranian Painting, Faculty of Visual Arts, Tabriz Islamic Art University, Tabriz, Iran.

2 PhD Candidate in Comparative and Analytic History of Islamic Art, Department of Advanced Studies in Art, School of Visual Arts, College of Fine Arts, University of Tehran, Tehran, Iran,

3 Associate Professor, Department of Advanced Studies in Art, Faculty of Arts, Soore University, Tehran, Iran.

Abstract

Introduction: Iran and China are among the lands that have been in contact with each other in different periods of history. The invasion of the Mongols caused changes in the culture of Iran and influenced the civilizations of Iran and China, which is even evident in their art. Landscape painting and inspiration from the surrounding world are subjects that can be considered one of the widest and most interesting art forms. Among these, landscape paintings in Chinese and Iranian art play a brilliant role. The main cause of this phenomenon is the thoughts and culture of these two civilizations, which make nature dominant over man and try to show this worldview. Clouds and rain are important elements of nature that play a significant role in growth and development, which are also considered blessings and mercy, and were very important for these two ancient civilizations of China and Iran, and their artists continuously tried to portray this role model. Reflecting on the cloud motif elucidates the aforementioned points; furthermore, the evolution and appearance of this motif in Chinese and Iranian art allow for a detailed analysis of its influence and reception.
Purposes & Questions: This study aims to find the commonalities and differences of the motif of the cloud in the art of Iran and China, and to express how it reflects and manifests its mutual effects, and to answer the following question: What are the differences and similarities of the motif of the cloud in terms of its reflection in the paintings of the Ilkhanid period of Iran and the Song, Yuan and Ming periods of China.
Methods: This study employs a descriptive–analytical, comparative approach. Data were collected from the library and online sources and analyzed inductively. The corpus comprises seven Ilkhanid artworks, three from the Song dynasty, three from the Ming dynasty, and six from the Yuan dynasty; analysis was qualitative and used purposive sampling.
Findings & Results: The results indicate that despite the similarities in the motif of the cloud, which represents the interactions between Iran and China in the field of art, differences can also be identified in terms of the visual and thematic characteristics of the clouds, which are specific to the works of each period and land. Ilkhanid clouds have a decorative and metaphorical appearance, and of course, a wider application than usual, which is in harmony with Iranian culture and art. This motif is used as a symbol and metaphor of the whole sky in the upper part of the picture in the patriarchal paintings, and it is even a symbol for the sanctity of the divine saints that are placed above their heads. In some cases, it also plays a protective role for the person. The colouring of thick twisted lines inside the clouds has been done with great softness and with colours such as blue, red, and gold. Compared to the Chinese examples, these clouds have many points of difference and commonality, and the differences are much greater in the Song and Yuan periods than in the Ming period. The clouds painted in the Song period are foggy and dusty, often appearing in white or the paper’s original colour. Lacking the decorations and twists seen elsewhere, these elements are used throughout the painting to create an eerie atmosphere and establish atmospheric perspective. Yuan clouds were observed with less intensity than the foggy state, and they are more massive, and the constituent lines inside them are more visible with fine black lines, but they are still useful for creating a naturalistic atmosphere. In the Ming period, most subscription funds were found. The distribution of the clouds, their location, and even in a few cases their use is the same as the Ilkhanid samples. In some cases, their drawing method is completely similar to the Ilkhanid clouds and they are decorated with thick yellow lines, which is very different compared to the previous examples of Chinese art, and it is similar to the Iranian example, and it can be said that these types of clouds with Iranian stylistic characteristics can be seen to some extent in the works of the Ming period of Chinese civilization. Of course, in general, the type of application has not changed much, and it has followed the same course of thought and approach to nature, but the influence of the way of drawing Iranian clouds is evident in the paintings of the Ming period. The cloud is an important and widely used element in the paintings of both civilizations, and due to the investigation of the mutual effects of how the cloud element is used in the paintings and their commonalities and differences to gain knowledge on the impact and impressions of Iranian and Chinese art, this research is important.

Keywords

References

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Negareh Journal
Volume 21, Issue 77
March 2026
Pages 6-37

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History

  • Receive Date: 25 February 2025
  • Revise Date: 02 August 2025
  • Accept Date: 14 August 2025

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