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Chapter Summary

This conclusory chapter explores the dragon imagery as potent symbol of cross-cultural connection and artistic exchange during the Mongol era in general and the Ilkhanid period in particular. In the Mongol visual arts, including coinage, sculptural and architectural elements, as well as in manuscript illustrations, the dragon appears in different stylistic guises as elements of Chinese and Western Asian derivation combine, testifying to the meeting and merging of cultural elements from east and west and providing evidence of early acculturation in the development of an Ilkhanid idiom. The personal interest taken by the Muslim Ilkhans in Islamic mysticism extended to the teachings of wandering dervishes known for their antinomian and heterodox outlook. The dragon was used as a link to narrative intersections of otherwise unconnected heroic and saintly figures whose identities became connected and often amalgamated.

Keywords: cross-cultural connection; Ilkhanid period; Islamic mysticism; Mongol era; Muslim Ilkhans



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