Mongol elements in Western medieval art

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The hem band on Giotto's Madonna and Child (1320–1330) is a mix of Arabic and Mongol script characteristic of Giotto.[1]

Mongol elements can be seen in European works of art ranging from the 13th to the 15th century.

'Phags-pa script
in Medieval European art, as well as the representation of "Tartar" cloth and Mongol soldiers in a number of contemporary European paintings.

Mongol script in medieval art

'Phags-pa letters, written horizontally rather than vertically. 1296–1300, Church of San Francesco Assisi.[3]

During the period of interaction between the Mongols and the West, from the late 13th century to early 14th century, some Italian painters incorporated Mongol script (particularly the 'Phags-pa script) into their religious painting.[4][5] Examples can be seen especially in the frescos of the Upper Church of San Francesco at Assisi, or in the paintings of Giotto and related painters.[5][6]

'Phags-pa inscriptions, 1324.[7]

These inscriptions often imitated the Mongol 'Phags-pa, probably discovered by the artists through Mongol paper money or

Virgin Mary's robe is decorated with a hem in a mix of Arabic and Mongol script.[1] Giotto again used the Mongolian script in the Scrovegni Chapel.[5]

Besides the influence of exchanges between the Western and Mongol realms during the period, the exact reason for the incorporation of Mongol script in early Renaissance painting is unclear. It seems that Westerners believed 13–14th century Middle-Eastern scripts (such as Mongol and Arabic) to be the same as the scripts current during Jesus's time, and thus found it natural to represent early Christians in association with them. This may have been partly because some objects from the Islamic era with inscriptions were treated as relics.[11] Another reason might be that artist wished to express a cultural universality for the Christian faith, by blending together various written languages, at a time when the church had strong international ambitions.[12] Possibly, the usage of Mongol cultural markers was also a way to express the eastern links of European religious orders such as the Franciscans.[5]

In the East, a certain degree of cultural and artistic interaction is known due to the development of

Nestorian Christian steles, such as those found in Quanzhou which are dated to the 14th century.[7]

The use of

Phags-pa Mongol script in Medieval European painting had remained unnoticed however, until it was first identified in the 1980s by the Japanese scholar Hidemichi Tanaka.[13] His findings were published in his 1983 paper The Mongolian Script in Giotto Paintings at the Scrovegni Chapel at Padova.[14] Kufic Arabic script is even more often used in a similar way, known as Pseudo-Kufic
.

  • Giotto's Crucifixion with soldier wearing headband in pseudo-Mongol script, circa 1330.[1]
    Giotto's Crucifixion with soldier wearing headband in pseudo-Mongol script, circa 1330.[1]
  • Madonna and Child with Saints and Angels, Filippo di Memmo, Siena, circa 1350.
    Madonna and Child with Saints and Angels,
    Filippo di Memmo, Siena
    , circa 1350.
  • Saint Lawrence, by Fra Filippo Lippi, circa 1440.
    Fra Filippo Lippi
    , circa 1440.

Mongol Empire "Tatar" textiles in medieval art

Main article: Tartarium
Annunciation by Simone Martini (1333).[15][16]

Around 1300, an influx of Mongol Empire textiles found their way to Italy, and were to prove quite influential in Italian art.

Ayas by the Mamluks in 1347.[21] The Tatar cloths were a produce of transcultural exchange under Mongol rule.[22] They are described as Mongol nasij cloth, coming from Mongol, by author Lauren Arnold.[16]

Pope Boniface VIII at the 1300 jubilee with a "Tartar cloth" in front of him, with a "rhythmic Sino-Mongolian pattern".[23]

Mongol Empire textiles had a strong impact on Italian textile design from around 1330.

Annunciation by Simone Martini (1333).[25]

Other designs involved naturally flowing compositions of flowers and vines with fantastic animals.[26] Such a textile is depicted as the background curtain in Giotto's Coronation of the Virgin (circa 1330), the earliest such depiction of a Tartar cloth.[26] Chinese types of floral designs were also adopted, as visible in the mantles of Christ and Mary in Coronation of the Virgin by Paolo Veneziano (circa 1350).[27]

Transmission of Chinese textile designs from the Mongol

Yuan Dynasty also occurred: Textiles of Iran and Iraq in the 14th century incorporated Chinese phoenix designs in silk and gold thread, and Italian weavers adopted such designs from the second half of the 14th century, complete with phoenix designs and silk and gold thread. These designs are of Chinese origin, and reached Europe via the Mongol realm.[28]

  • Fig. 28: Chinese-style floral designs are visible in the mantles of Christ and Mary in Coronation of the Virgin by Paolo Veneziano (circa 1350).[27]
    Fig. 28: Chinese-style floral designs are visible in the mantles of Christ and Mary in Coronation of the Virgin by Paolo Veneziano (circa 1350).[27]
  • Lampas with phoenix, silk and gold, Iran or Iraq, 14th century.
    Lampas with phoenix, silk and gold, Iran or Iraq, 14th century.
  • Lampas textile, silk and gold, Italy, second half of 14th century.
    Lampas textile, silk and gold, Italy, second half of 14th century.

Mongols in European painting

Mongol commander of a thousand troops (at left), in Ambrogio Lorenzetti's Martyrdom of the Franciscans, 1330.

Mongols are visible in a variety of European paintings from the 13–14th century. They suggest that Italian artists had been in direct contact with people from Tartary.[29] The Mongols seen in the European paintings from the late 13th century and throughout 14th century are from a diverse ethnic population of the Golden Horde composed of Tatars, Mongols who adopted Islam later, as well as Finns, Sarmato-Scythians, Slavs, and people from the Caucasus, among others (whether Muslim or not).[30] The horde's population of soldiers and commanders are from a diverse ethnic Mongols, Turkic Tatars, Europeans, with Mongols being the ruling core.

The battle of Liegnitz, 1241, between the Mongols (left) and European knights (right). 14th century drawing.
Kubilai Khan
giving financial support to the Polo family

As early as 1253, during the initial encounters of the Mongols with the West following the Mongol invasion of Europe, Matthew Paris represented Mongol soldiers with their characteristic conical hat as cannibals in his Chronica Majora.[5]

Later, the Mongols would appear in much less caricatural portrayals. The travels of Marco Polo to the Mongol Empire gave rise to opulent descriptions of the Mongol ruler Kublai Khan and his court.[31]

Mongols were then occasionally incorporated in the work of European painters, particularly illustrations of events in Asia or the

Papal Jubilee in Rome.[32]

Mongol archers are also shown shooting at Sebastian in Martyrdom of Saint Sebastian, Giovanni del Biondo, circa 1370,[33] and Mongol commanders in uniform appear in Ambrogio Lorenzetti's Martyrdom of the Franciscans (1285–1348) with their characteristic conical hat decorated with a feather.[5][34][35]

  • Mongol horseman in the Crucifixion of Saint Peter, Giotto, circa 1299.[32]
    Mongol horseman in the Crucifixion of Saint Peter, Giotto, circa 1299.[32]
  • Ambrogio Lorenzetti's Martyrdom of the Franciscans (1285–1348) depicting the garb of a Mongol commander of a thousand (conical hat with the feather).[34][35]
    Ambrogio Lorenzetti's Martyrdom of the Franciscans (1285–1348) depicting the garb of a Mongol commander of a thousand (conical hat with the feather).[34][35]
  • Mongol archer shooting at Sebastian in Martyrdom of Saint Sebastian, Giovanni del Biondo, circa 1370.[33]
    Mongol archer shooting at Sebastian in Martyrdom of Saint Sebastian, Giovanni del Biondo, circa 1370.[33]
  • Bargaining for the Cloth of Christ in Crucifixion, Master of the Trecento, circa 1350.
    Bargaining for the Cloth of Christ in Crucifixion, Master of the Trecento, circa 1350.

Notes

  1. ^ a b c d Mack, p.61
  2. ^ The subject has been especially described by Rosamond E. Mack, in Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600.
  3. ^ "Texts of Jerome (Fig.43; destroyed in the 1997 earthquake), Augustine, and Pope gregory I are written in squared units of vertical, horizontal, and curved strokes that can be called pseudo-Mongol. Though the artist has aligned the units horizontally on the page in Western style, the script itself imitates 'Phags Pa, which is written vertically", Mack, p.52
  4. ^ "During the Pax Mongolica a few Italian painters imitated a Mongol script called 'Phags Pa", in Mack p.51
  5. ^ a b c d e f The art, science, and technology of medieval travel by Andrea Kann p.94
  6. ^ "The Assisi painters, and Giotto as is shown below, were imitating a Mongol script before 1307, when reports of Friar John of Montecorvino's success in Beijing arrived in the West, precipitating major missionary efforts in central Asia and China" Mack, p.51
  7. ^ a b Jesus on the Silk Road by Dale A. Johnson p.73
  8. ^ Mack, p.52
  9. ^ "The texts of Jerome (Fig.43, destroyed in the 1997 earthquake), Augustine and Pope Gregory I are written in squared units of vertical, horizontal, and curved strokes that can be called pseudo-Mongol. Though the artist has aligned the units horizontally on the page in Western style, the script itself imitates 'Pags Pa, which is written vertically" in Mack, p.52
  10. ^ Mack, p.54
  11. ^ Mack, p.52, Mack, p.69
  12. ^ "Because the Arabic and 'Pag Pa were associated with the Holy Land and the Early Christian Era, the frames could emphasize the origin and age of the images they surround. Perhaps they marked the imagery of a universal faith, an artistic intention consistent with the Church's contemporary international program." Mack, p.69
  13. ^ "Hidemichi Tanaka in a brilliant insight has persuasively established that Giotto was exposed to Mongol Phags-pa script, and that he used it as a decorative motif at Padua and elsewhere." in Arnold, p.124
  14. ^ The Mongolian Script in Giotto Paintings at the Scrovegni Chapel at Padova in Europäische Kunst um 1300, Akten des XXV. Internationalen Kongresses für Kunstgechichte, 1983 The oliphant: Islamic objects in historical context Avinoam Shalem p.96 Note 56
  15. ^ Mack, p.35-36: "A well-documented example of a delayed but creative Italian response to the new Tatar cloths is that of the tiny-pattern design, in which small leaves or plants and animals rhythmically organized in dense, allover composition. (...) During the early fourteenth century, the Angevins of Naples donated numerous Tatar cloths, including velvets, to San Franceso at Assisi. Since Simone executed the painting in Naples, the Tatar cloths, as well as Oriental carpets -also the earliest in Italian painting- and a particular crozier in Figure 65 probably represent prized artifacts at king Robert's court. Later Simone brilliantly captured the vibrant shimmering effect of the tiny pattern on a white ground in the archangel Gabriel's robe in the Annunciation painted for the cathedral of Sienna in 1333 (Fig. 23)" – Mack, p.35
  16. ^ a b "Simone Martini (...) depicted this angel wearing a robe of Mongol nasij cloth -a gold working of leaves on a white background- usually described in western inventories as panno tartarico albo ad floria aurea" in Princely gifts and papal treasures by Lauren Arnold p.121
  17. ^ "The Pax Mongolica brought an influx of influential "Tatar" textiles into Italy about 1300 (see for example Fig. 22, 25, 32) and left its mark on fourteenth-century Italian art in Mongol figures, costumes (see Fig. 160), and script (see Fig. 43, 49) in paintings and in references to monuments along the caravan routes on the facades of the Doge's Palace in Venice (see Fig. 10)" in Mack, p.18
  18. Il-Khanids of Persia, the new imports attracted no attention from Italian painters for two more decades and from local designers for three.", in Mack, p.35
  19. ^ Mack, p.18
  20. ^ Mack, p.18, Mack, p.35
  21. ^ Mack, p.16-17
  22. ^ Mack p.35: "Tatars cloths were themselves products of transcultural exchange. As the nomadic Mongol warriors became imperial rulers, they adopted many aspects of the sophisticated textile cultures in conquered Islamic lands and developed a preference for silk lavishly ornamented with gold threads. Customarily, the Mongols spared skilled weavers -both Muslim and Chinese- from the sword, distributed them as booty, and transported them to new workshops scattered across the empire. Captive artisans served royal courts, the military and government officials, who were often recruited from the conquered. For example, it is known that Herati and Chinese craftsmen worked together, and some Herati were sent back to their homes in eastern Persia (now Afghanistan). The cultural mix among the imperial elite and the craftsmen working for them resulted in a rich and distinctive blend of Islamic and Chinese techniques and patterns."
  23. Mongol ruler, and distinguished by its rhythmic Sino-Mongolian pattern" "Silk" p.41 [1]
    .
  24. ^ Mack, p.35
  25. ^ Mack, p.35-36
  26. ^ a b Mack, p.37
  27. ^ a b Mack, p.38
  28. ISBN 0-520-22131-1
    p.27-49
  29. ^ Arnold, p.124
  30. ISBN 978-0-253-20445-5
    .
  31. ^ America views China: American images of China then and now by Jonathan Goldstein, Jerry Israel, Hilary Conroy p.36
  32. ^ a b Arnold, p.54
  33. ^ a b Arnold, p.113
  34. ^
    ISBN 0-520-22131-1), p. 151: "The Mongol physiognomies of the ruler and two warriors wearing tall pointed hats, however, were probably observed among emissaries whom the Il-Khanids sent to Italy during the first decades of the fourteenth century. This hat with a neck-covered flap and feather on top accurately depicts the headgear of commanders of one thousand men in the Mongol army. Such headgear might even have been seen in Siena: perhaps Tommaso Ugi
    , a Sienese who had taken the name Tumen, had visited Siena when he accompanied the Il-Khanid emissaries in 1301."
  35. ^ a b Mack notes the "Mongol figures and costumes" in the painting: "Mongol figures, costumes (see Fig. 160)", Mack, p.18

References

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