Khata’i Persian Art: China’s Legacy in Islamic Aesthetics

An impressive Chinese-inspired ewer and a pair of Iranian dishes showcasing the artistic phenomenon of Khata'i Persian Art.
The Khata’i, Persian art, Iran, British Museum; Phot by Kianoush for Craftestan

Spanning across cultures and centuries, artistic trends like Khata’i Persian art have the power to traverse borders and find homes in unexpected places. One such phenomenon is Khata’i, a Chinese-inspired aesthetic that radiated across the Islamic world, deeply rooted in the close relationship between China and Iran under the Mongols (1256-1353). As artistic styles, techniques, and ideas travelled across Asia, they shaped a unique and distinctive feature seen across Iran, Central and South Asia, and the Ottoman Empire. This article takes you through the journey of Khata’i, its development, and its influence on Islamic arts and architecture.

The Khata’i, Persian art, Iran, British Museum; Video by Kianoush for Craftestan

The Birth of Khata’i: A Blend of Cultures

Khata’i Persian Art (Persian: ختایی) epitomises the rich blend of cultures. The term Khata’i, rooted in the Persian word ‘Khatay’ (Persian: ختای), translates to ‘Cathay’ or North China, marking the birth of Khata’i Persian art that would influence the Islamic world for centuries. This fascinating cultural exchange dates back to the Ilkhanid Mongol period (1256-1353), a time of extensive cross-border interactions. During this era, the term ‘Khata’i’ or ‘Cathayan’ became synonymous with anything linked to East Asia, especially North China, marking the birth of a distinct style that would influence the Islamic world for centuries to come.

The Khata’i aesthetic is notable for its Chinese-inspired motifs such as lotuses, peonies, gnarled tree trunks, cloud bands, dragons, and phoenixes. These motifs were more than just imported designs; they represented a complex fusion of Eastern artistic techniques, materials, and colour schemes. The rich tapestry of symbols, hues, and patterns employed by Khata’i artists imbued their work with a sense of vibrancy and depth, evoking the vast landscapes and intricate cultural nuances of East Asia.

While the Khata’i aesthetic found resonance in the Persian-Islamic art sphere, its journey didn’t begin in isolation. It was, in fact, a culmination of centuries of extensive Silk Road trade, diplomacy, warfare, and cross-cultural interaction. Through this labyrinth of cultural exchange, the Khata’i style became a fascinating amalgamation of artistic languages, representing a shared dialogue between two ancient and proud civilizations.

An integral aspect of the Khata’i style was its technique and medium. The Chinese had long mastered the art of porcelain-making, producing white and blue ceramics that captivated the world. When these mesmerizing artifacts made their way to Persia via Silk Road merchants, local artisans were inspired and began incorporating Chinese porcelain techniques into their own work. The result was the development of fritware or stonepaste ceramics, a medium that mimicked the Chinese porcelain’s characteristics, yet distinctly Persian in its creative interpretation.

A stunning ewer exemplifying the Khata'i Persian Art style, combining Chinese and Islamic aesthetics, designed by Mahmud Mi'mar Yazdi and adorned by Zari. Khata'i Persian Art
Ceramic ewer, Mashhad, Iran, 1616-1617; British Museums; Photo by Kianoush for Craftestan

The Khata’i style’s motifs were intricately woven narratives of the natural world, echoing Daoist and Buddhist elements of Chinese culture. The lotus and peony, for instance, were not just beautiful flower representations but carried heavy symbolism. The lotus, a Buddhist symbol, signified spiritual enlightenment and rebirth, while the peony, China’s national flower, symbolised wealth and honour. The cloud bands, derived from Chinese motifs, were often linked to heavenly energy and the divine in Persian art, providing a celestial context to the work.

The influence of Chinese aesthetics in the Khata’i style was not limited to two-dimensional art forms like manuscript illustrations. Instead, it permeated all facets of the Islamic artistic milieu, from monumental architecture to the design of small portable objects. A vivid illustration of this wide-reaching impact is seen in the ewer designed by the Persian artist Mahmud Mi’mar Yazdi and decorated by Zari. This object represents an elegant fusion of Chinese and Islamic artistic sensibilities.

This particular ewer exemplifies the Iranian admiration for Chinese blue-and-white porcelain, a symbol of luxury and refinement. However, the design is not purely Chinese or purely Islamic; it also incorporates elements of Indian metalwork, representing the interconnectedness of artistic traditions across Asia. The ewer showcases a panelled decoration inspired by Chinese Kraak porcelain, a type of export porcelain that was widely appreciated in Europe, especially in the Netherlands, during the late 16th and early 17th centuries.

This example showcases not only the intricate blending of different cultural elements but also the role of trade and exchange in shaping art and aesthetics. It was the extensive trade networks of the Mongol Empire, encompassing much of the known world, that allowed such objects to travel and ideas to be shared, thereby giving birth to the distinctive Khata’i style.

A stunning ewer exemplifying the Khata'i style, combining Chinese and Islamic aesthetics, designed by Mahmud Mi'mar Yazdi and adorned by Zari. Khata'i Persian Art
Ceramic ewer, Mashhad, Iran, 1616-1617; British Museums; Photo by Kianoush for Craftestan

As the Khata’i aesthetic continued to evolve, it served as a testament to the rich and complex history of cultural exchange between China and the Islamic world. By drawing on the unique artistic traditions of both cultures, it created a visual language that celebrated their shared history and mutual influence, illustrating the dynamic and interwoven nature of artistic expression across cultures. This marked the birth of an artistic style that was to leave a lasting legacy in the Islamic world, shaping its art and architecture for centuries to come.

The Fluid Translation of Motifs in Khata’i: A Journey Across Cultures

In the rich tapestry of Khata’i, a unique aspect that stands out is the fluid translation and transformation of motifs across different cultures. These motifs, such as fantastical creatures like dragons and simurghs (Persian: سیمرغ) ,the Persian word for ‘phoenix’, are shared entities in both Chinese and Islamic artistic vocabularies, but they undergo fascinating metamorphoses in their interpretation and symbolic meaning. The journey of these motifs from one culture to another and the shifts in their representation offer a captivating glimpse into the intricate dynamics of cultural exchange.

A stunning Safavid pottery dish in the Khata'i style, featuring underglaze blue patterns, a central flying figure, and intricate flower scrolls. Khata'i Persian Art
Pottery dish, Iran, 1501-1550; British Museum; Photo by Kianoush for Craftestan

Dragons, for instance, bear different connotations in the Chinese and Islamic cultural spheres. In China, dragons are revered and noble creatures, regarded as symbols of power, strength, and good fortune. They are often depicted as serpentine, water-associated beings, embodying the dynamic forces of the natural world. On the other hand, in Iranian tradition, dragons are associated with chaos and evil, a representation far removed from their Chinese counterparts. This stark dichotomy in the symbolic interpretation of dragons serves as an intriguing illustration of the cultural transformation of motifs.

The dragon and phoenix motif on the tile is indicative of the synthesis of Chinese and Islamic artistic traditions. Even though the dragon symbol in Iran was typically associated with negative connotations, its combination with the phoenix in the tile suggests a fascinating adaptation of the Chinese narrative of harmony, where the dragon and phoenix are viewed as complimentary forces, similar to the concept of Yin and Yang.

Moreover, the depiction of the phoenix, or simurgh, marks another instance of the subtle transformation of motifs. In Chinese tradition, the phoenix often represents femininity, renewal, and imperial power. Conversely, in Persian mythology, the simurgh is a fantastical creature associated with wisdom and purification, often depicted as a large bird with a voluminous tail.

A remarkable Khata'i dish from the Ilkhanid dynasty, featuring underglaze black, blue, and turquoise paintings, including a chinoiserie bird within a panelled border. Khata'i Persian Art
Dish. Made of black, blue underglaze pottery, Iran, 1300-1350; British Museum; Photo by Kianoush for Craftestan.

The fluid translation of these motifs in Khata’i showcases the cultural adaptability and resilience of artistic expression. It elucidates how art serves as a medium for both maintaining and redefining cultural identities in an era of constant intercultural exchange. This instance further cements the role of the Khata’i aesthetic as a rich historical document, revealing the layers of cultural interaction, assimilation, and transformation that underpin the wider narrative of East-West encounters during the Ilkhanid period.

Imitation and Evolution: The Emergence of a Distinct Artistic Language

During this era of artistic amalgamation, a distinct hybrid visual language was born, blurring the cultural boundaries while preserving the uniqueness of both Chinese and Islamic art. The fusion was not just a simple act of replication, but a conscientious interpretation of Chinese aesthetics. Artisans from the Islamic world took elements of Chinese art that resonated with them and masterfully merged these with their indigenous aesthetic sensibilities, thus creating a new form of artistic expression that was as diverse as it was innovative.

Ming blue-and-white porcelains were an epitome of beauty and craftsmanship that left an indelible impression on the Islamic world. Their influence was palpable in both the Ottoman and Safavid courts. These porcelains were renowned for their cobalt blue hues painted onto a white slip, portraying intricate patterns and scenes of daily life, mythology, and nature.

Drawn to the ethereal beauty of these objects, the artisans of Ottoman and Safavid courts embarked on an artistic quest to produce similar wares, emulating the Chinese porcelain’s delicate curves and rich details. Yet, the Islamic craftsmen ensured their work wasn’t merely a reflection of the foreign aesthetics, but rather a testament to their own cultural identities and artistic prowess.

An intriguing example of this adaptation is the addition of turquoise decoration in the Islamic versions of the blue-and-white porcelains. Turquoise, a colour deeply rooted in Islamic art and architecture, was conspicuously absent in the Chinese originals. However, it was thoughtfully integrated into the design by Islamic artisans, who used it to enhance the aesthetic appeal of their work. This selective adoption and adaptation illustrate the Islamic world’s discerning artistic tastes and their intrinsic inclination to preserve their cultural identity even while being open to external influences.

A stunning Safavid dish with a turquoise glaze, featuring a central motif of an iris plant surrounded by flowers, intricately crafted from stonepaste. Khata'i Persian Art
Shallow dish with everted rim, Iran, Safavid dynasty, late 17th century; British Museum; Photo by Kianoush for Craftestan

Chinese Kraak ware played a pivotal role in shaping the artistic language of Khata’i Persian art. Recognizable for its panelled decoration radiating out like the spokes of a wheel, Kraak ware, with its rich cobalt blue and crisp white tones, was widely appreciated for its elegant simplicity and delicate craftsmanship. When these wares reached the Islamic lands during the reign of Safavid ruler Shah Abbas, they captivated local artisans and significantly impacted the trajectory of Khata’i Persian art.

A remarkable Khata'i Persian Art dish from the Ilkhanid dynasty, featuring underglaze black, blue, and turquoise paintings, including a chinoiserie bird within a panelled border. Khata'i Persian Art
Dish. Made of blue, black underglaze pottery. Isfahan, Iran, Safavid dynasty,1697-1698; British Museum, Photo by Kianoush for Craftestan

Instead of blindly mirroring the Chinese design, Islamic artisans ingeniously reimagined the motifs within the context of Khata’i Persian art. Scenes that depicted figures or animals ensconced in lush Chinese landscapes were reinterpreted through an Islamic lens. The motifs were “Persianised” and “Islamicised,” evolving into a unique style that seamlessly merged the artistic traditions of the two cultures and laid the foundations of Khata’i Persian art.

Take the transformation of Chinese-inspired flora and fauna motifs as an example in Khata’i Persian art. While these motifs carried the unmistakable stamp of Chinese aesthetics, Islamic artisans reinvented them by subtly weaving in traditional Islamic motifs such as intricate calligraphy and geometric patterns. This added an additional layer of complexity and depth to the artworks, allowing them to resonate with the cultural aesthetics of their Islamic audience.

A remarkable Timurid pottery dish showcasing foliate decoration and a crouched cervid or bixie motif, crafted from glazed pottery. Khata'i Persian Art
Glazed pottery dish, Iran, 1500-1520; British Museum; Photo by Kianoush for Carftestan

Figures and animals, characteristic elements of Chinese art, were depicted in a manner that was in tune with the cultural norms and artistic conventions of the Islamic world. This ingenious blending of two artistic languages underscores the Islamic world’s ability to appreciate, absorb, and adapt foreign influences without compromising its own cultural identity.

In conclusion, the evolution of an independent artistic language in the Islamic world, profoundly inspired by Chinese art, stands as a testament to a fertile period of cross-cultural exchange. It serves as a vibrant symbol of the world’s interconnected histories and shared cultural heritage, weaving a tale of mutual admiration and artistic fusion that spans centuries. Today, this richly layered artistic language continues to enthral art historians and enthusiasts, offering fascinating insights into our shared past.

A pair of life-size ceramic shoes from the Safavid era, showcasing Khata'i style with blue painted designs on stonepaste underglaze." Khata'i Persian Art
Pair of shoes, made of stonepaste, Kirman, Iran, Early 17th Century; British Museum; Photo by Kianoush for Craftetan

Technological Progress and Architectural Patronage: Shaping the Khata’i Aesthetic

The development and evolution of the Khata’i aesthetic wasn’t an isolated cultural phenomenon; it was intricately tied to the technological advancements of the time and strongly influenced by architectural patronage. Two major areas in which these advancements left their mark were ceramics production and architectural design, creating a significant shift in the visual culture of the region.

A stunning Safavid Khata'i Persian Art dish with underglaze black and blue paintings, depicting a cypress tree, pheasants, and a Persian inscription, crafted from stonepaste. Khata'i Persian Art
Dish, made of stonepaste, Kirman, Iran, 1677-1678; British Museum; Photo by Kianoush for Craftestan

During the 1100s, Iranian ceramics underwent a transformative revolution that would redefine the art form and impact Khata’i Persian art. New techniques led to the emergence of ‘haft rangi’ (Persian: هفت رنگی), or ‘seven coloured’, a distinct style of decoration that greatly emphasised figural imagery. This innovation went beyond the existing use of limited palettes and simplistic patterns. By introducing a richer, more diverse range of colours, haft rangi gave ceramists the ability to depict complex narratives, intricate patterns, and a variety of forms, further pushing the boundaries of Khata’i Persian art. This shift played a pivotal role in elevating ceramics from merely functional items to pieces of high aesthetic value, embodying the spirit of Khata’i in their blend of cultures and motifs.

The influence of architectural patronage in shaping the Khata’i Persian art aesthetic can’t be overstated. The vast wealth of Timur, the Turco-Mongol conqueror and the founder of the Timurid Empire, enabled a major building programme that included monumental structures, embellished with intricate decoration. Architectural techniques like black-line decoration and mosaic work came to the forefront, transforming building surfaces into vibrant tapestries of colour and design. These methods added an unprecedented depth and dynamism to architectural elements, reflecting the cosmopolitan spirit of Khata’i.

A stunning Ilkhanid bowl crafted from stonepaste, painted with lustre, blue, and turquoise decorations, featuring a bird and foliage motif, palmette motifs, and inscription.Khata'i Persian Art
Bowl. Fritware (stonepaste), Iran, Ilkhanid dynasty, 1275-1300; British Museum, Photo by Kianoush for Craftestan

This nexus of technological innovation and architectural patronage played a crucial role in shaping the Khata’i aesthetic, creating a unique visual culture that reverberated across centuries and still resonates in the realm of Islamic arts today. Through their commitment to innovation and their generous patronage, figures like Timur and his family left an indelible mark on the history of art and architecture, propelling the evolution of the Khata’i aesthetic.

A Confluence of Traditions: The Making of a Distinctive Artistic Idiom in Khata’i Persian Art

In the cultural cauldron of the Timurid kitabkhanas, or workshop-ateliers, the mingling of Chinese-inspired aesthetics and local traditions gave rise to a distinct visual language intrinsic to Khata’i Persian art. This artistic transformation wasn’t spontaneous; it was a product of consistent exposure to Chinese objects and keen observation of Chinese artistic methods. The seminal period of this development coincided with the reign of the Ming emperor Yongle, who, in a significant move, officially reopened trade with the West.

As a result of this renewed interaction, Persian artisans had access to an array of Chinese artefacts, including blue-and-white wares, jade cups, and ornate metalwork. These objects, bearing the essence of Chinese aesthetics, presented an artistic vocabulary that Persian artisans embraced and adapted. Rather than just replicating these motifs, local artists ingeniously blended Chinese elements with Persian styles and subjects.

A standout example of this fusion was Persian blue-and-white pottery. Though clearly inspired by Chinese ceramics, these Persian creations weren’t mere imitations; they were distinctive pieces that often incorporated Islamic scripts and Persian themes. In the same vein, jade cups and metalwork pieces became platforms for expressing the hybrid artistic language of Khata’i, combining intricate Persian carving techniques with Chinese-inspired motifs.

A Safavid Khata'i Persian Art bottle crafted from stonepaste, featuring cobalt blue and chromium black paintings, showcasing scenes of European-inspired figures and hunting motifs. Khata'i Persian Art
Bottle, made of stonepaste, Mashhad, Iran, 17th Century; British Museum; Photo by Kianoush for Craftestan

Moreover, the Chinese practice of depicting narrative scenes in their ceramics and metalwork was incorporated and transformed by local artisans. They adapted the Chinese visual narrative technique to depict stories from Persian epics and Islamic mythology, creating a compelling blend of narrative traditions that transcended cultural boundaries.

Khata’i: A Testament to Artistic Dynamism and Cross-cultural Exchange

In conclusion, the phenomenon of Khata’i Persian art is a resounding testament to the dynamism of artistic expression and the profound impact of cross-cultural exchange.. From the birth of an independent visual language to the evolution of revolutionary ceramic techniques and robust architectural patronage, Khata’i encapsulates the intertwined nature of the world’s artistic traditions.

A stunning Safavid Khata'i dish in 'Kraak' ware style, featuring blue and black underglaze decoration depicting a royal dandy, crafted from stonepaste. Khata'i Persian Art
“Kraak” ware dish, Iran, late 1600s, British Museum, Photo by Kianoush for Craftetan

While its roots lie in the confluence of Chinese and Islamic aesthetics, Khata’i has blossomed beyond these origins. It emerged as a distinctive artistic feature across the vast expanses of Iran, Central and South Asia, and even the Ottoman Empire. It imprinted its unique aesthetic on various forms of art, from ceramic ware to architectural grandeur, and continues to influence the contemporary artistic landscape.

In a world often marked by division, the story of Khata’i serves as a reminder of the transformative power of cultural interchange. It illustrates how the union of different artistic traditions can birth a shared language that transcends geographical and cultural boundaries, leaving an enduring impact on the realm of art and architecture.

Craftestan: Continuing the Legacy of Khata’i through Authentic Persian Artistry

Through the rich narrative of Khata’i, we see how the flow of ideas, aesthetics, and techniques traverses boundaries, creating new artistic expressions that continue to inspire and captivate. Much like the artisans of old, preserving this age-old craft tradition while innovating upon it, is a responsibility that must be carried forward. This is where Craftestan comes in.

Craftestan, rooted in a deep respect for Persian craftsmanship, offers you a chance to experience the grandeur of Persian art firsthand. Each item you find on our website is an authentic piece of art, handcrafted by skilled Iranian artisans. When you browse through our collection of homewares, you’ll find yourself lost in the swirling patterns of decorative plates, or the intricate designs of our vases – each a perfect testament to the captivating aesthetics of the Persian art style.

Our direct connection with the artisans’ community across Iran ensures that every piece you buy is not only a work of art, but a direct support to the craftspeople behind them. Craftestan is committed to fair trade practices, guaranteeing that the skilled hands creating these mesmerising pieces are rewarded fairly for their dedication, talent, and expertise.

Imagine a piece of Persian artwork adorning your home – a beautiful vase placed on a mantelpiece, or an ornate plate hung on a wall. These aren’t just decorative items, but stories told through craft; narratives of cultural exchange, artistic transformation, and timeless creativity that span centuries.

By investing in our products, you not only acquire an elegant, handcrafted piece for your home, but also become a part of a rich cultural legacy. You partake in the journey of the Persian art, from the workshops of the ancient Silk Road to your home, each product telling its own tale of tradition, craft, and cultural fusion.

Persian craftsman working in his workshop. Khata'i Persian Art
Iranian craftsman working in his workshop

Take a journey through our collection, and let the fascinating world of Persian craft unfold before your eyes. With each artifact’s unique allure, you’ll discover the unrivaled beauty and finesse that is the hallmark of Iranian artistry.

Join us in celebrating the legacy of Khata’i. Explore our collection today at Craftestan, and bring home a piece of history. Start your journey here.


What is the significance of Khata’i in the history of art and culture?

Khata’i is significant as it stands as a testament to the dynamism of artistic expression and the profound impact of cross-cultural exchange. Rooted in the confluence of Chinese and Islamic aesthetics, it blossomed beyond these origins to shape artistic traditions across Iran, Central and South Asia, and even the Ottoman Empire. It imprinted its unique aesthetic on various art forms, from ceramic ware to architecture, and continues to influence the contemporary artistic landscape.

How did Islamic artisans reinterpret Chinese designs in their art?

Islamic artisans ingeniously reinterpreted Chinese designs by infusing them with traditional Islamic motifs. They adapted scenes featuring figures or animals set in Chinese landscapes through an Islamic lens. These motifs were “Persianised” and “Islamicised,” creating a unique style that blended the artistic traditions of the two cultures.

What is ‘haft rangi’ and its importance in Iranian ceramics?

‘Haft rangi’, translating to ‘seven coloured’, is a distinct style of decoration that emerged in Iranian ceramics during the 1100s. It greatly emphasised figural imagery, allowing ceramists to depict complex narratives, intricate patterns, and a variety of forms using a rich, diverse range of colours. This shift elevated ceramics from functional items to pieces of high aesthetic value, embodying the spirit of Khata’i in their fusion of cultures and motifs.

How did architectural patronage influence the Khata’i aesthetic?

Architectural patronage played a significant role in shaping the Khata’i aesthetic. The vast wealth of Timur, the Turco-Mongol conqueror and founder of the Timurid Empire, enabled a major building programme that incorporated intricate decoration. Techniques like black-line decoration and mosaic work transformed building surfaces into vibrant tapestries of colour and design, reflecting the cosmopolitan spirit of Khata’i.

How did the Khata’i aesthetic evolve to include narrative traditions from different cultures?

The Khata’i aesthetic evolved to include narrative traditions from different cultures by adapting Chinese visual narrative techniques. Local artisans used these techniques to depict stories from Persian epics and Islamic mythology, creating a compelling blend that transcended cultural boundaries.


Akbarnia et al 2018 / The Islamic World: a History in Objects (p.145, fig.3)

Canby 1999 / The Golden Age of Persian Art 1501-1722 (112, fig. 103)

Canby 2009 / Shah ‘Abbas: The Remaking of Iran (14, p.54)

Charleston 1979 / Islamic Pottery (fig.69)

Golombek, Mason & Bailey 1996a / Tamerlane’s Tableware. A New Approach to the Chinoiserie Ceramics of Fifteenth- and Sixteenth-Century Iran  (p.152, table A.2)

Pinder-Wilson 1976b / Oriental Ceramics, the world’s great collections: the British Museum (fig.302)

Rogers 1983a / Islamic Art and Design, 1500-1700 (149)

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