Persian miniature painting began in the Mongol period at the beginning of the 13th century, when Persian painters were exposed to Chinese art, and Chinese painters worked at the Ilkhan courts in Iran. It is not known whether Persian artists went to China before the 15th century; but it is certain that Chinese artists, imported by the Mongol rulers, went to Iran, like those whom Arghun used to paint the walls of Buddhist temples. Unfortunately, the works of these artists as well as the whole collection of secular mural paintings are lost.
Miniature painting, of a high artistic level, was the only form of painting to survive from this period. In Ilkhanid miniatures, the human figure, which had previously been depicted in stocky and stereotyped fashion, was now shown more gracefully with truer proportions; drapery folds gave the impression of depth. Animals were observed more carefully than before and lost their decorative rigidity, mountains lost their smooth appearance and skies were enlivened by typically curly white clouds with twisted garland shapes. These influences progressively fused with Iranian paintings and were finally assimilated into new forms. The major centre of Ilkhan painting was Tabriz.
Some of the effects of Chinese influence can be seen in the painting of Bahram Gur's Battle with the Dragon from the famous Demotte "Shah-namah" (The Book of Kings), illustrated in Tabriz in the second quarter of the 14th century. The mountains and landscape details are of Far Eastern origin as of course is the dragon with which the hero is locked in combat. By using the frame as a window and placing the hero with his back to the reader, the artist creates the impression that the event is actually taking place before our eyes.
Ancient murals and engravings depicting the lion dance have been found dating back to the Han Dynasty (206 BC - 221 AD). Lions are not naturally indigenous to China, so the dance was probably developed through foreign influence. China had commercial ties with Persia via the "Silk Road", and Persian envoys brought lions as gifts to the emperors. Artisans created facsimiles of the animals using materials such as bamboo and paper, and the dance eventually became a traditional part of Chinese culture. Legend has it that the lion was made to drive off a monster which was raiding Chinese villages. Ever since, the lion has been considered a good omen and takes part in happy occasions in Chinese communities around the world. Sh'ir, the original Persian from which Hindi sher comes, becomes shizi in China, which means lion.
The book in which I found this mentions neither technique nor material. It is from Zandaneh, near Bukhara, in Central Asia and exhibits a mix of styles typical of many cities along the Silk Road, combining, among others, Persian and Chinese elements.
