Mongol and post-Mongol Iran, particularly Timurid period (1370 -1507) experienced a flourishing life of artistic relations with China. Diplomats, bureaucrats, traders, and travelers were mediators and agents of this significant cultural exchanges. Although there are considerable scholarship about the influence and achievements of this relation based on remaining paintings, porcelains, textiles and other artificial objects, the perception of Chinese art in Iranian historiography still needs to be investigate. In one hand Persian histories contain considerable reports and descriptions about artistic relations between Iran and China, mostly through diplomatic exchanges and also some direct observations. On the other hand they have been affected in their historiography by elegance of Chinese art, specifically painting. Persian Timurid and post-Timurid histories such as Zafar-Namah, Zobdat al-Tawarikh, Matla’ al-Sa’deyn, Rozat al-Safa and Neqawat al-Āthar contain frequent metaphors, metonymies and idioms honoring Chinese painting houses (Negārkhāneye Chin , Suratkhāneye Chin), Chinese mirrors (Āyeneye Chin) and so on. This presentation tries to clarify these two dimensions of Chinese art in Iranian historiography which follows the real course of artistic connections between two countries.

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