Written by: Mahnoor Fatima
Posted on: August 07, 2019 | 
| 中文
Zumrud Shah Falls Into a Pit and is Beaten by Gardeners
One often thinks that the Chinese and Mughal empires have existed as equally powerful yet distinctly separate entities. However, in a time when borders were not so clearly demarcated, the free flow of ideas techniques lead to more hybrid art and culture. Such was the case for the Chinese dynasties and Mughal Empire, as shown by both art and artifacts which showcase fascination for Chinese culture that has formed a deeply fascinating aspect of Mughal culture and vice versa.
While it is not sure when Mughal fascination for Chinese art truly began, artifacts show evidence when this trend first became popular. Chinese designs and symbols became sought-out particularly during the reign of Akbar, Jehangir and Shah Jehan, which spans from 1556 to 1666. This time period coincides with the Ming and Tang Dynasties, although the former marked more serious interactions between the two empires in terms of trade.
Chinese motifs have indirectly found their way in Mughal art through Persian art. Much of the Chinese aesthetics also come from the Mongols, the ancestors of the Mughals who ruled over Chinese lands and incorporated their designs in Mongol art. But the Persians and Mughals were deeply fascinated by Chinese motifs related to mythology, clouds, plants and animals. Such fantastical creatures were an effective way of both imitating art and incorporating Chinese imagery into the Mughal lexicon.
Perhaps the most prominent and striking image taken from Chinese mythology was the Dragon. Fierce, mystic and powerful, the Dragon is an amalgamation of the divine horse, fish and the snake (also an image from Indian Buddhism). The painting “Umar defeats a dragon” is the best example of such a design, as one sees the Caliph Umar challenge a curiously alien creature in front of an awestruck crowd.
Dragons were meant to symbolize spiritual power or evil forces. Such motifs allowed Mughal artisans to use these contrasting ideas of evil and spirituality to show fantastic inward and outward battles. The Dragon, along with the Tiger – a symbol of strength – became worthy adversaries to Mughal kings, who not only had to show physical prowess but also wisdom and intelligence over their own fallacies.
Other equally fascinating paintings with Chinese imagery can be found in Hamzanama, a series of paintings commissioned by Emperor Akbar, which depict the travels of the Prophet’s uncle Hamza. The famous Mughal artist Ustad Mansur’s famous painting ‘A Pair of Cranes’, is said to be deeply inspired by the Chinese’s reverence of cranes.
But some elements differ between Chinese and Mughal art, given their specific contexts and beliefs. For example, the Qilin (Unicorn) is present in the art of both cultures. But in Chinese art, it is meant to signify good omens or benevolence, while it is merely used for decorative purposes in Mughal art. Similarly, clouds were also merely decorative to the Mughals, while the Chinese saw them as spirits of nature. Some historians believe that Chinese art focuses on the dominance of nature over man, while the Mughals saw man dominating nature.
Nevertheless, historical accounts showcased the Mughal’s deep respect for the skill and attention to detail, which Chinese art possessed. Although subtle, one can still locate Chinese techniques in places like the Sultana Palace of Fatehpur Sikhri, and the emblems on the wall of the Lahore Fort. Similarly, jade artifacts with Mughal designs have been displayed by the Chinese University of Hong Kong (CUHK) as recently as 2015.
Chinese pottery and crockery has been just as important to art as paintings; this was the medium in which a two-way exchange between the empires took place. An account tells of Jehangir sending an envoy to acquire a Ming dynasty dish and cutlery for his court. Now at the Victoria and Albert Museum, this yellow enamel dish dates back to Jingdezhen (in Jiangxi province at the South East end of the country) in 1612-1613, but has the Emperor’s name in Persian letters along with Chinese lettering.
And the typical Chinese white and blue porcelain vase became a popular decoration for the Mughals and the Chinese around the 16th to 17th Century. Indian flowers became staples of Chinese designs, as many pots discovered in the Jiangxi province show. Incorporating these exotic elements into decoration, especially during a time when Chinese or Mughal ornaments were particularly in fashion, gave certain decorations a comparative edge at the time. But, for us in the present, these artefacts signify an exchange of ideas beyond simple trade.
In a world which did not know borders, and the flow of information was much more organic, particular symbols and images were shared by many cultures. China and Pakistan have not only remained connected through geographic boundaries, but by the way in which our cultures have historically relied on each other for ideas and aesthetics. From serene plants to fearsome beasts, each motif has a unique history which enmeshes both cultures in the most fascinating ways.
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