According to the thought of many outstanding philosophers of art, aesthetics changes based on the historical context. The exchange of cultures and the clash or discourse of civilization is the cause of these paradigms and changes in content and form.
Certainly, Chinese artistic culture, which is shaped by a kind of spirituality and mysticism of dualism (Yin-Yang), due to various historical reasons such as the existence of the Silk Road, the Mongol invasion and its effect on the transfer of East Asian art to the West, and the tolerance of the Mongols due to not adhering to The specific ideology that allowed for the freedom of all thought processes and the dialectical relationship between nations and cultures has influenced many other civilizations throughout history.
There are serious differences between Chinese and Islamic spiritual understanding in the issue of metaphysics and life after death, but there are many similarities between the two cultures in spiritual transcendence, which have relatively similar effects on the aesthetics of the two cultures.
The effects of these influences can be examined in decorative motifs.
This article examines the type of influence of Chinese art on post-Mongol Iranian art with historical literature, but based on a phenomenological point of view, it believes that the underlying cause of this influence is the understanding and acceptance of the aesthetic meaning hidden in Chinese art by Muslim Iranians.
The reason for this understanding and acceptance goes back to a common mystical and spiritual infrastructure.
This hypothesis has been researched and proven based on documentary sources.