The free trade of silk in the markets of the Mongol Empire brought enormous revenues to the imperial court. Thus, Marco Polo, describing the income of the great Khan only from the city of Kinsai (Hangzhou), mentions a large duty on silk: "In short, silk is charged ten percent. A lot of money from him" [1955, p. 163]. High incomes stimulated the Mongol khans to expand silk production and attract foreign craftsmen to the empire's markets, as well as increase the social status of merchants, which contributed to the revival of trade routes through Eurasia, where silk was the main product of exchange [Watt and Wardwell, 1997, p. 15]. In the Mongol empire, silk became a kind of state symbol, as indicated by the main directions of its use - as currency, tribute, gifts to foreign missions, remuneration to persons in the civil service and military officials, for the manufacture of official court clothes, use in Confucian rituals and ceremonies [Ibid., p. 18]. Silk was also a coveted trophy, reward or commodity for the ordinary population of the Mongolian state, as it marked the social status of the owner, his belonging to the subjects of the empire, and provided a certain hygienic comfort [Dode, 2006, pp. 164-167]. The history of the existence of "Mongolian" silks also has an important cultural context. The design of silk fabrics, reflecting aesthetic ideas, at the same time was filled with a deep worldview of the peoples who created works of weaving art in China, Iran and Central Asian countries. Each element of the ornament is symbolic and reflects the value system of the time and culture to which the master belonged. Images of animals or birds, trees or flowers in Chinese art symbolized human qualities. Thus, phoenixes and peacocks express superiority, cranes - majesty, falcons - cruelty, waterfowl and wild geese - calmness, peonies - wealth, willow - softness, pine and cypress-courage, fortitude and honesty [Zhao Feng, 1999, p. 211]. The design of medieval "Mongolian" si ... Read more