Final answer:
The artwork serves to legitimize Mongol leaders, display their wealth, and connect with Persian history through art. It also exemplifies the adaptation of Mongol leaders to the local culture and religion to reinforce their rule. The variation in religious depiction responds to the complex religious landscape in different Mongol-ruled regions.
Step-by-step explanation:
Artwork Function and Mongol Leaders
The artwork in question serves multiple functions, reflecting the complexities of Mongol rule and cultural adaptation. Firstly, it is meant to reinforce the legitimacy of Mongol leaders by linking them to the indigenous traditions and dominant religions of the regions they governed. These depictions embrace local cultures and religions, with rulers like Ghazan converting to Islam and having Persian poets write them into world history, while Ayurbarwada adopted the Confucian practices of his Chinese subjects.
Secondly, the artwork was a display to demonstrate the wealth of the patron. The use of valuable materials and the portrayal of regal bearing in these works were a testament to the wealth and power of the Mongol patrons. Illustrated manuscripts standing as prestige items and architectural wonders like the Ilkhanid Mausoleum show a keen awareness of the power of art to signal wealth and prestige.
Thirdly, the artwork functioned to tell a story of Persian kings, often borrowing from Persian traditions such as the depiction of heroes and kings in a way that linked Mongol rulers with Persia’s past, enhancing their authority by associating them with the great heroes of the region. The depiction of Bahram Gur defeating the Karg, for instance, combines Persian tradition with the Mongol heritage by portraying him as both a Persian hero and a Mongol horseman.
Understanding Religious Depictions
The religious events depicted in two of the images likely illustrate the Mongol leaders’ assimilation into the predominant religions of their regions, to align themselves with their respective subjects. As for the Yuan dynasty’s ruler who might have avoided religious depictions, it could be due to the complex religious landscape in China involving Confucianism, Buddhism, and Daoism. A Mongol ruler like Ayurbarwada might choose a more secular representation to avoid alienating any part of his diverse subject population and to portray himself as a stabilizing force above sectarianism.