The Yuan is considered both a successor to the Mongol Empire and as an imperial Chinese dynasty. In official Chinese histories, the Yuan dynasty bore the Mandate of Heaven, following the Song dynasty and preceding the Ming dynasty. Although the dynasty was established by Kublai Khan, he placed his grandfather Genghis Khan on the imperial records as the official founder of the dynasty as Taizu. In addition to Emperor of China, Kublai Khan also claimed the title of Great Khan, supreme over the other successor khanates: the Chagatai, the Golden Horde, and the Ilkhanate. As such, the Great Yuan Empire was also sometimes referred to as the Empire of the Great Khan. However, although this claim of the emperors of the Yuan dynasty was at times recognized by the western khans, their subservience was merely nominal and they each continued their own separate development.

 

Government

 

The structure of the Yuan government took shape during the reign of Kublai Khan (1260–1294). While some changes took place such as the functions of certain institutions, the essential components of the government bureaucracy remained intact from the beginning to the end of the dynasty in 1368. The system of bureaucracy created by Kublai Khan reflected various cultures in the empire, including that of the Han Chinese, Khitans, Jurchens, Mongols, and Tibetan Buddhists. While the official terminology of the institutions may indicate the government structure was almost purely that of native Chinese dynasties, the Yuan bureaucracy actually consisted of a mix of elements from different cultures. The Chinese-style elements of the bureaucracy mainly came from the native Tang, Song, as well as Khitan Liao and Jurchen Jin dynasties. Chinese advisers such as Liu Bingzhong and Yao Shu gave strong influence to Kublai's early court, and the central government administration was established within the first decade of Kublai's reign. This government adopted the traditional Chinese tripartite division of authority among civil, military, and censorial offices, including the Central Secretariat to manage civil affairs, the Privy Council to manage military affairs, and the Censorate to conduct internal surveillance and inspection. The actual functions of both central and local government institutions however showed a major overlap between the civil and military jurisdictions, due to the Mongol traditional reliance on military institutions and offices as the core of governance. Nevertheless, such a civilian bureaucracy, with the Central Secretariat as the top institution that was (directly or indirectly) responsible for most other governmental agencies (such as the traditional Chinese-style Six Ministries), was created in China. At various times another central government institution called the Department of State Affairs mainly dealt with finance was established (such as during the reign of Külüg Khan or Emperor Wuzong), but usually became abandoned shortly afterwards. While the existence of these central government departments and the Six Ministries (which had been introduced since the Sui and Tangdynasties) gave a Sinicized image in the Yuan administration, the actual functions of these ministries also reflected how Mongolian priorities and policies reshape and redirect those institutions. For example, the authority of the Yuan legal system, the Ministry of Justice did not extend to legal cases involving Mongols and Semuren, where there were separate courts of justice for them. Cases involving members of more than one ethnic group were decided by a mixed board consisting of Chinese and Mongols. Another example was the insignificance of the Ministry of War compared with native Chinese dynasties, as the real military authority in Yuan times resided in the Privy Council.

 

Culture

 

In the China of the Yuan, or Mongol era, various important developments in the arts occurred or continued in their development. These developments included the areas of painting, mathematics, calligraphy, poetry, and theater, with many great artists and writers being famous today. Due to the coming together of painting, poetry, and calligraphy at this time many of the artists practicing these different pursuits were the same individuals, though perhaps more famed for one area of their achievements than others. Often in terms of the further development of landscape painting as well as the classical joining together of the arts of painting, poetry, and calligraphy, the Song dynasty and the Yuan dynasty are linked together. In the area of Chinese painting during the Yuan dynasty there were many famous painters. In the area of calligraphy many of the great calligraphers were from the Yuan dynasty era. In Yuan poetry, the main development was the qu, which was used among other poetic forms by most of the famous Yuan poets. Many of the poets were also involved in the major developments in the theater during this time, and the other way around, with people important in the theater becoming famous through the development of the sanqu type of qu. One of the key factors in the mix of the zaju variety show was the incorporation of poetry both classical and of the newer qu form. One of the important cultural developments during the Yuan era was the consolidation of poetry, painting, and calligraphy into a unified piece of the type which tends to come to mind when people think of classical Chinese art. Another important aspect of Yuan times is the increasing incorporation of the then current, vernacular Chinese into both the qu form of poetry and the zaju variety show.