歷史上首次發生從日本海到黑海的歐亞大陸廣大地區在13世紀中葉至14世紀中葉都被同一宗主—大汗，也就是大蒙古帝國統治。伊兒汗國，即蒙古政權在伊朗、伊拉克、阿富汗地區建立的汗國，與中國中央政府（元朝）之間互有往來，彼此交流著物資、商品、知識、科技以及人才。本文考察在13世紀下半葉伊兒汗國早期階段傳入西亞美術的諸多東亞美術要素，以及發掘這二種不同的傳統如何在交流的最初階段找到共存的方式。本文特別選擇二件伊兒汗國早期具有紀念碑性質的美術作品作為探討。

第一件作品是定年為西元1270年代建於Takht-e Soleimān的伊兒汗國行宮，我們可從中觀察到其具有諸多蒙古宮殿的特徵，例如宮殿整體設施維持朝向南南東方的傳統、設施中包含一些多角形的建築物，以及使用在中國具帝王象徵的龍與鳳凰圖像來裝飾建築物。另一方面，我們又可見到伊朗陶工延用了伊朗傳統式的宮殿設計，擷取伊朗的國民敘事詩－菲爾多西（Ferdousī）所著的《王書》（Shāhnāma）裡描寫的場面以及引用文本文字來裝飾這座伊兒汗國行宮。

另一作品則為Ibn Bakhtīshū’所著的《動物的效用》（Manāfe‘-e ḥayāvān）其完成於西元1297－1298年的寫本（藏於摩根圖書館M.500）插圖，從中可看出三種不同的畫風，也就是說插畫是由一位中近東樣式、二位外來樣式的畫家所完成的。本文旨在討論三位具不同畫風的畫家如何在同一寫本上分工繪製插圖，以及二位外來樣式畫家如何根據文本敘述內容而創造出新的動物圖像。

For the first time in history a vast area of the Eurasian Continent from the Black Sea to the Japan Sea was ruled by a single sovereignty, the Great Khan, in the Great Mongol Empire from the mid-thirteenth to mid-fourteenth centuries. The Ilkhans, the Mongol rulers of Iran, Iraq and Afghanistan, exchanged materials and products, knowledge and technology, and human resources with the central government in China. This paper observes the introduction of various elements of East Asian art into West Asian art in the early Ilkhanid period in the second half of the thirteenth century and explores how the two different traditions found the way for coexistence in this earliest stage of their encounter. Specifically two monumental works of early Ilkhanid art is discussed.

At an Ilkhanid pleasure palace at Takht-e Soleimān datable from the 1270s CE, some characteristics of Mongol palaces, such as maintaining the south-southeast orientation of the palace complex, containing some polygonal buildings, and decorating the buildings with the imperial symbols of Chinese dragons and phoenixes, can be observed. On the other hand, Iranian potters followed the traditional Iranian program of palace decoration by using the scenes and the quotations from the Shāhnāma, the Iranian national epic by Ferdousī.

In the illustrations of the manuscript of the Manāfe‘-e ḥayāvān (Benefits of animals) of Ibn Bakhtīshū’ dated to 1297-1298 CE (Morgan Library M. 500), three different styles of paintings are observed: one Middle Eastern and two foreign. The paper discusses what the situation was, in which the painters of distinctively different styles shared the subjects in one manuscript and how the foreign painters had to create new iconography based on the text description.

伊兒汗國; 蒙古; Takht-e Soleimān (Takht-i Sulaimān); Ibn Bakhtīshū’

Ilkhanid; Mongol; Takht-e Soleimān (Takht-i Sulaimān); Ibn Bakhtīshū’