# data[].attributes.body
The gugu (Mongolian for "hat") or pronounced guguguan in Chinese, is a hat worn by Mongol noble women, before and during the Yuan dynasty (1271-1368).

Emperess Chabi, Khubilai Khan's chief wife, wears a heavily ornamented gugu hat in her official portrait. It is believed to be red silk fashioned with pearls. The interior of these hats were often rigid, sometimes made from birch bark, covered with cloth and with precious stones, gold, designs worked onto it, and sometimes feathers on top to extend its height.

The Flemish-Franciscan friar William of Rubruck commented that from afar, these noblewoman riding on horses looked much like soldiers with helmets.

(James C. Watt, The World of Khubilai Khan: Chinese Art in the Yuan Dynasty)

resource: Gugu hat explained

# data[].attributes.headline
View of the Mountains of the Immortals (1)

# data[].attributes.subject
View of the Mountains of the Immortals (1)

# data[].attributes.body
The Mountains of the Immortals is a painting done by Chen Ruyan during the time of the Yuan Dynasty in the late 14th century. When China was under the control of the Mongol Empire, this style represented communion with a distinctively Chinese cultural heritage. Back then such Blue and Green landscapes often evoked nostalgia for the idealized ancient times. The deep green offers a view into a secluded mountain valley, populated with animals such as deer and cranes. Chen Ruyan was an associate of several other painters from the Yuan dynasty. Chen aided in the downfall of the Yuan Dynasty which started the Ming Dynasty, he was later executed for an unknown offense in 1371.

https://archive.artic.edu/taoism/renaissance/l145.php

https://www.clevelandart.org/art/1997.95

# data[].attributes.body
The exterior of this porcelain jar depicts The Eight Immortals, the Daoist symbols of longevity and happiness. The Eight Immortals were a group of legendary figures in works of literature and plays in the Yuan dynasty.

# data[].attributes.attachment_link.readable_text
We are always open to learning more about our collections and updating the website. Does this record contain inaccurate information or language that you feel we should improve or change? Contact us here.

Please note that this particular artwork might not be on view when you visit. Don't worry-we have plenty of exhibitions for you to explore.

# data[].attributes.body
Made of red silk and detailed with gold metallic thread, this piece was likely part of a prince's robes because a coiled dragon pattern was usually reserved for male royalty. This is one of the earliest depictions of a five clawed dragon. A garment like this would typically be found in the Tang, Song, and Xixia dynasties.

metmuseum.org

# data[].attributes.attachment_caption
Jininglu Ancient City women's jacket - dated 1312.

# data[].attributes.body
Used primarily for decorative purposes, these short jackets were elaborately adorned. The jacket pictured, in particular, had gold leaf foil applied to it, using a stamping process until the entire jacket was covered in the gold foil. This stamping process would have taken a considerable amount of time, with the stamps themselves only being 3.5" tall and 8.5" wide. It does, however, give the jacket a patterned look, rather than just a singular, straight-forward gold-foiled look, emphasizing the elaboration. These jackets were, unsurprisingly, made of silk.

# data[].attributes.body
Central Asian tapestry

".... with its lively floral background and characteristic writhing dragon, must have been woven in eastern Central Asia, where the Uighur state had been established in the Turfan after the fall of the Uighur Empire in 840."

Pattern like these have survived until the Yang dynasty

founded in 1271 by the Mongol conqueror Khubilai Khan

# data[].attributes.body
This dark green silk cloth depicts in gold detail a hawk swooping down to attack a swan. This type of pattern was typically worn by Mongols, Jurchens, and Khitans during the spring season while participating in hunting. Hunting was an essential part of life, not only to provide a food source but also to provide martial training and display strength and power.

metmuseum.org

# data[].attributes.body
There were many different inscriptions on wine jars/pots that would describe the Wine Jar as "Delicate Wine Banquet".

Some Wine jars had Lotus shaped leaves as the lid and were made from silver.

Many Yuan Artists have also copied the Tibetans when it came to creating wooden jugs and other vessels.

# data[].attributes.body
Pine and Spring

Pine and Spring was painted in 1338 by Wu Zhen, a reclusive painter that received little attention during his life. He later became more popular for his style during the Ming period when he was deemed one of the Four Great Masters of the late Yuan dynasty. This piece is ink painted on paper and is 41 ⅝ by 12 ½ in. Pine and Spring is influenced by both Confucianism and Daoism as seen in his depiction of Wu playing qin and a crane. The former is an example of Confucian iconography while the latter is associated with Daoism. Both of these images are placed beneath a pine tree which has ties to both. This type of “dragon” tree symbolizes longevity and is believed to represent enlightenment within Daoist ideas. (2)

https://www.metmuseum.org/art/collection/search/41468

# data[].attributes.body
In the 1970s, these brimmed hats were excavated from the 13th century Wang Shixian family's tombs in Gansu Province.

The chin band consists of colorful hardstone beads, and the top is ornamented.

In the Yuanshi, Emperess Chabi is credited with adding (at Khubulai's suggestion) a brim to men's hats, to lessen the glare from the sun.

(James C. Watt, The World of Khubilai: Chinese Art of the Yuan Dynasty, Ch3)

# data[].attributes.body
Mongol robe with a "braided" waist from the 13th century, made of samite cloth with silk and metallic thread. Features square sections containing roundels with two sphinxes that have the bodies of winged lions and human heads with crowns. The design of gold patterns in weaving was called nasij and was especially favored by the Mongols, whose style of weaving was unknown in China until the Yuan dynasty. The World of Khubilai Khan | The Metropolitan Museum of Art (metmuseum.org)

# data[].attributes.headline
Dragon Amid Flowers Northern Song Dynasty (2) 

# data[].attributes.subject
Dragon Amid Flowers Northern Song Dynasty (2) 

# data[].attributes.body
Early 12th century

Made of silk

distinct features of Central Asian tapestries: Uneven surfaces

Made during the Song Dynasty (960-1127)

Source: https://www.hkums.com/activity/woven-paintings-in-the-qing-dynasty-with-dr-florian-knothe/

# data[].attributes.attachment_caption
Purple gauze jacket, with about ninety-nine motifs and pond scenes, inspiring poets around.

# data[].attributes.body
Another jacket at Jininglu was made of purple gauze silk, covered in a little under one hundred images and motifs, from the back and shoulders to the sleeves. These designs are almost entirely nature-related, with ducks and lotus flowers and hares and turtles making up most of these pond scenes. The design of this jacket had poets raving about it, the calligrapher Ke Jiusi (1290-1343) in particular. While contemplating on the pattern he said,

"Viewing lotus, rowing on the Taiye

Bright colored ducks among green leaves.

Little ones, note this: Embroidered on

Court ladies' coats are 'ponds of beauty'."

# data[].attributes.headline
Fourteen Portraits of Daoist Priest Wu Quanjie (3)

# data[].attributes.subject
Fourteen Portraits of Daoist Priest Wu Quanjie (3)

# data[].attributes.body
The Mongol Yuan dynasty abolished the civil service examination which was the main way for educated southern Chinese people to obtain government positions. However, Khublai Khan established the Xuanjiao, or Mysterious Teaching, a Daoist order which acted as the connection to the south, and mediated between the large region and the government. Under Yuan emperor Yingzong (r.1321-1323), Wu Quanjie, who commanded respect of Daoists and Confucians both, was appointed to be the patriarch of the Xuanjiao and served under 5 more emperors over his long career. He was painted onto silk 17 times, and this scroll compiles the 14 that survive. (Pictured is one of the portraits.) They emphasize Wu's harmony with nature, and include both Daoist and Confucian iconography.

https://collections.mfa.org/objects/29361/fourteen-portraits-of-the-daoist-priest-wu-quanjie-between-t;jsessionid=AAD896AC9623667FD252EF1A823C7ED7

James C.Y. Watt, The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, pp. 145-147.

# data[].attributes.body
Cizhou pillows were a piece of Chinese pottery used to depict scenes of Daoist figures in Yuan dramas. Daoist figures in Yuan culture more correlated with entertainment and decoration rather than objects of worship, which is why they are generally depicted productions of Yuan dramas. With this influence in the south, northern Daoism has also spread in the south.

# data[].attributes.body
Textile with Floral Pattern, late 13th to mid-14th century, Central Asia. Made from lampas with silk and metallic thread. The heavy use of gold is typical of Mongol textiles from this period, while the dense floral pattern is reminiscent of Central Asian kesi cloths. These types of silk textiles from Central Asia were traded internationally under the flourishing Mongol trade network, with many such surviving pieces being found in European church inventories. This particular piece was part of a liturgical vestment associated with Pope Benedict XI (died 1304). Textile with Floral Pattern | Central Asia | The Metropolitan Museum of Art (metmuseum.org)

# data[].attributes.body
This is an ink painting on a silk scroll depicting Kublai Khan with his empress and some attendees engaging in a hunt near the edge of the Gobi Desert. The image was painted by Lui Guandao who was appointed the commissioner of the Imperial Wardrobe Bureau approximately one year before creating this image.

https://theme.npm.edu.tw/khan/Article.aspx?sNo=03009149&lang=2

# data[].attributes.attachment_caption
Mant Daoist and Buddhist statues were made from porcelain. Today they are accepted as works of art from customers from foreign lands.  The artistic Tradition of the Jin territory spread with centers of Henan and Shanxi to the Yuan Territory. These can be found in many sacred religious buildings and burial grounds. 

# data[].attributes.body
The Poems for Two Paintings are two images followed by poems for both of them by Zhang Yu (1283-1350). In this piece, a synthesis of expressive characters and poetic meaning gives life to a vivid supernaturalism. Hang Yu, who is one of the most prominent Daoist calligraphers of all time, was a pioneer in vertical calligraphic scroll format. In the poems, Zhang describes two no longer extant landscape paintings, only one of those paintings has survived. Zhang Yu re-creates Zhang Yanfu's immortal mountain paintings by describing them. Although Zhang YU found favor with the emperor and encouraged to stay in the capital, he chose to stay in South China to live a secluded life.

# data[].attributes.body
Beneficent Rain

A handscroll made of ink on paper, Beneficent Rain was created by Zhang Yucai. The artist was only active for a short period from 1294-1316 making Beneficent Rain his only extant painting. The painting is 10 ⅝ by 107 in and depicts a group of dragons swirling among waves and shadows. As the scroll is opened and closed they appear to emerge and disappear into the depth Zhang Yucai created.  The gentle flow of the dragons and the water bring to mind rain, a technique many praised the artist for. The resemblance suggests it may have been created to be used in rainmaking rituals. (6)

# data[].attributes.headline
Textile with Aquatic Birds and Recumbent Animal (3)

# data[].attributes.subject
Textile with Aquatic Birds and Recumbent Animal (3)

# data[].attributes.body
13th century

Eastern Central Asia

Kesi silk tapestry

"It also resembles a boot cover made from a tapestry-woven silk textile with a purple backgroun excavated from a Mongol-period site in Mingshui Inner Mongolia"

# data[].attributes.attachment_link.title
Textile with Aquatic Birds and Recumbent Animal

# data[].attributes.body
Textile with Phoenix, Winged Animal, and Flowers, Central Asia, 13th to early 14th century. Made of lampas fabric with silk and metallic thread. This piece showcases the creativity of Central Asian textiles that were produced under the Mongol dynasty. The relocation of weavers from around the Mongol Empire included Chinese, Central Asian, and Iranian artistic styles and led to a unique style that cannot be seen anywhere else.

# data[].attributes.attachment_caption
"Hairpin, earring, and two rings. Mongol Yuan dynasty (1271-1368), made of gold, malachite, glass, and pearl. Length of hairpin 4 in. (10.2 cm). These were excavated from the Shi family tombs located in Houtaibaocun, Shijiazhuang, Hebei Province in 1994."(https://www.pinterest.com/pin/516154807263718418/)

# data[].attributes.body
During the Yuan dynasty, both men and women wore earrings. In addition, women wore pearls, feathers and other ornaments in their hair. Men did not, as they "seemed to shave the crown of their head". The hair left on the back of their heads was often grown long and tied into two braids.

Clothing in the Mongol Empire - World History Encyclopedia

# data[].attributes.body
The depiction of lotus flowers on this Mongol garment signifies the Mongol's success in conquering other parts of Asia, as this is not a typical Mongol symbol. It is suggested that for this particular pattern, they were inspired by Iranian art styles.

# data[].attributes.attachment_caption
Male and Female Clothing of Imperial Mongolians during the Yuan dynasty, at the Intangible Cultural Heritage Exhibition, National Museum of China, Beijing.

# data[].attributes.headline
Male/Female Imperial Court Attire; Mongolia, Yuan Dynasty (6)

# data[].attributes.subject
Male/Female Imperial Court Attire; Mongolia, Yuan Dynasty (6)

# data[].attributes.headline
Wine Jar with Lotus Leaf Lid (Longquan ware) (5)

# data[].attributes.subject
Wine Jar with Lotus Leaf Lid (Longquan ware) (5)

# data[].attributes.body
This porcelain win jar depicts the leaves of a lotus flower, which is a significant symbol for spiritual enlightenment and purity in Buddhist culture.

# data[].attributes.body
The tiger and the dragon represent yin and yang, water and fire. In this silk painting from the Song dynasty (second half of the 13th century) they are seen biting and twisting around each other, surrounded by a storm. Despite the chaotic scene, it creates a visual harmony between the two forces.

https://collections.mfa.org/objects/10492

James C.Y. Watt, The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, pp. 150-151.

# data[].attributes.body
An artifact dated from 1294 (or 1234) This piece is known as the Yuan style, (an art form heavily influenced by the Song)  which is a form of art that was brought to life after the political unification of China or the fall of the Song Dynasty. One way to tell if an art piece is in the style of Yuan is its complex surface-level look as well as 3D pattern along the entire piece.

For this particular piece is lacquer which is a type of hard and usually shiny coating or finish applied to materials such as wood or metal. It is most often made from resin extracted from trees and waxes. It is a picture of two birds flying in a kind of a circle shape with flowers surrounding them. The circle shape can represent a kind of harmony or a notion of unity, no beginning no end just existence. In the late 13th century this Song style with birds was often depicted.

# data[].attributes.body
Silk gold

"Dye analysis has been done on some of the colored yarns in this fragment. The orange, scarlet, and pink dye comes from the safflower plant, the red and darker pink dye from the bark of a small evergreen tree called the China brasiliensis, and the blue dye from the indigo plant."

likely intended for garments

the lions are a symbol for royalty

Chinese inspired layout

Dates back to the Sasanian dynasty of Iran (226-637 CE)

Source: https://www.clevelandart.org/art/1991.3

# data[].attributes.body
(Dated mid to late 14th century.) This piece is known as the Yuan style, (an art form heavily influenced by the Song)  which is a form of art that was brought to life after the political unification of China or the fall of the Song Dynasty. One way to tell if an art piece is in the style of Yuan is its complex surface-level look as well as 3D pattern along the entire piece.

“Dish with two birds and hollyhocks. This piece is carved lacquer of the late Yuan but is more complex than other Yuan arts. Other pieces show little or no overlap and the specific figures on the dish would not touch but this one they are touching and it just shows another way we can depict the Song art form Yuan art and the complexities of the societies.

# data[].attributes.body
Armor was made to be light as Mongol warriors rode horses and shot arrows, and extra weight could obstruct either operation. Helmets were either made of iron or hardened leather.

Sometimes the helmet might include a neck guard, and on top possibly a plume or a ball and spike.

# data[].attributes.body
By Chen Rong, dated 1244, this is another long scroll, of which this picture is only a snippet. Chen Rong was a Daoist artist and politician of the Song Dynasty, and used strange techniques for the painting such as splattering and blowing ink onto the paper.

https://www.britannica.com/art/Chinese-painting/Five-Dynasties-907-960-and-Ten-Kingdoms-902-978#ref601975

https://collections.mfa.org/download/28526

# data[].attributes.body
Cloudy Mountains

Painted sometime in the later half of the 14th century by Fang Congyi, Cloudy Mountains is ink and color on paper in the form of a handscroll. Mysterious landscapes such as the misty mountain view in this piece show the Daoist desire to find one’s destiny. The artist was  born in the south of Yuan but spent time in the Yuan capital with access to the imperial collection of paintings from the Jin-dynasty. This means that Fang Congyi was influenced by other artists coming from both southern and northern areas of the Yuan dynasty and Cloudy Mountains is clear evidence of this. (9)

# data[].attributes.body
The particular weaving technique used on this piece is most commonly associated with Mongols and Yuans. Not much is known about the details of this pattern, other than a rabbit is depicted running.

# data[].attributes.body
This is a cloud collar from the Yuan dynasty. These are made to resemble clouds using fine cloth, it is worn around the neck typically over a robe, draping over the back and shoulders similar to a shawl.

# data[].attributes.attachment_caption
Cloth of Gold with Winged Lions and Griffins

# data[].attributes.headline
Cloth of Gold with Winged Lions and Griffins (12)

# data[].attributes.subject
Cloth of Gold with Winged Lions and Griffins (12)

# data[].attributes.body
This garment portrays pairs of winged lions turning to face each other, with griffins shown in the background. The pattern was likely woven with gold thread. Even though this was an official Mongol textile, there is clear influence from China, the main feature being the dragon heads at the end of the lions' tails.

# data[].attributes.body
This is a art piece (form late 12th century) from the Southern Song dynasty, Song porcelain here represented by celadons is spotted by it’s fluid lines in the items contour  also with no “inflection points” this particular cup was probably used to hold liquids or other drinks

# data[].attributes.body
The piece pictured is a Mongolian garment, excavated from Mingshui. The piece is typical within Mongolian dress, possessing the typical wide waistband, fitted long sleeves, and free skirt. This design prioritized ease of movement and mobility. The cut and style of this garment were prolific at the period, mirroring garments found in tombs dating to the Jin Dynasty.

The fabrics used for this style of garment varied greatly depending on the ethnicity and area in which the garment was produced. The intricacy of the garments also varied, some have been discovered with impressive ornamentation and others have abstained from any decoration at all. The ornamentation is suspected to delineate the occasion it was worn, not the status of the wearer.

Other styles of dress have been uncovered for the Mongols. There were garments with heavy ornamentation to delineate the occasion it was used for. The ornamentation is suspected not to announce status or professional prowess, instead announcing skill for leisure activities. Common symbols were game animals, such as deer or hare.

# data[].attributes.body
This discusses the meaning of colors in the perspective of Chinese culture.

For example, red symbolizes luck, prosperity, and beauty. Yellow is the color of royalty, reserved for Emperors. Green represents fertility and growth.

Blue means healing, longevity, and can symbolize spring. Black is assigned to water and represents heaven, and also is the color of knowledge and power. White symbolizes mourning and is worn at funerals.

"In the Chinese Five Elements Theory, a traditional philosophy about natural interactions used in fengshui etc., red represents 'fire', yellow 'earth', white 'metal', black 'water', and green (or blue) 'wood'."