Chinese literature of the period also showed conservative tendencies. Poetry composition remained a favorite pastime of the educated class, including the Sinicized scholars of Mongol, Central Asian, and western Asian origins, but no great works or stylistic innovations were created. During the last chaotic decades of the Yuan, some notable poets emerged, such as the versatile Yang Weizhen and the bold and unconventional Gao Qi. Many prose works dealing with contemporary events and persons were written under the Yuan, but these are notable for their content, not their literary merit. Surprisingly harsh criticism and satire against the Mongols and also undisguised Song loyalism found open expression, presumably because the Mongols were uninterested in what the Chinese wrote in Chinese and, moreover, were mostly unable to read it. Some writers collected rare or interesting and piquant items and transmitted many aspects of Song culture to future generations. The lament for the refinement and grandeur of the Song is a constant theme in Yuan writings.

During the early Yuan period, the traditional Chinese official historiography was restored under the charge of the Hanlin Academy, which sponsored the compilation of the official dynastic histories of the Song, Liao, and Jin states conquered by the Mongols and undertook the compilation of the reign chronicles (shilu) and other governmental compendiums. The major achievement of official historiography was the compilation (1329–33) of the Jingshi dadian, a repository of 800 juan (chapters) of official documents and laws; the text is now lost. Private historiography, especially works on the events of the Song, fared rather poorly under the Yuan because of the adverse political and intellectual climate. The most-distinguished contribution was written by Ma Duanlin and titled Wenxian tongkao (“General Study of the Literary Remains”): an encyclopedic documentary history of Chinese institutions from the earliest times to the middle reign of the Nan Song dynasty.

In urban society a literature in the vernacular language began to flourish, untrammeled by rigid norms of formalistic or ideological orthodoxy. Novels and stories were written for the amusement of a wide-reading public, and dramatic literature reached such a peak in Yuan China that later literary criticism regarded the Yuan as the classical age for operatic arias, or qu (a word that is also used for a full opera, with arias and chanted recitatives). The collection Yuanquxuan (“Selection from Yuan Operas”), with 100 opera librettos, and the storyteller “prompt books” for dramatized historical romances such as Sanguo (“Three Kingdoms”) give ample evidence for the creativity and vitality of Chinese dramatic literature. This phenomenon may perhaps be considered as evidence that under the Yuan a certain urbanization took place and something like a bourgeoisie emerged, because dramatic literature and colloquial novels found their clientele chiefly among the merchant and artisan classes.

Foreigners, chiefly of Turkic or Persian origin, also contributed to Chinese literature under the Yuan. They wrote poetry and painted in the Chinese way in order to distinguish themselves in fields where they could gain prestige among the educated Chinese. All the foreigners who wrote in Chinese seem to have avoided any reference to their foreign origin or creed. Nothing, in fact, could be more Chinese than their productions. Even foreigners who, like the Persians, came from a country with a considerable literary tradition of its own never attempted to introduce their native forms, subject matter, or religions. No literary symbiosis seemed possible, and, although China was exposed to more external influences under the Yuan than ever before, Chinese literature shows little effect from such contacts with the outside world. It is perhaps symptomatic that under the Yuan no literary works from other civilizations were translated into Chinese and that practically no translations of Chinese Classical and historical works into Mongol have survived. There seemed to be only the alternatives of complete rejection of Chinese civilization, as practiced by most Mongols, or wholesale absorption by Chinese culture.

The arts

Conservatism played a dominant role in the arts during the Mongol period. In sponsored arts such as sculpture and ceramics, the Mongols’ desire to lay claim to the Chinese imperial heritage was not complemented by any strong artistic vision of their own, and conservatism meant mere perpetuation. Song, Liao, and Jin ceramic types were continued, often altered only by increased bulk, while the great artistic achievement of the era, blue-and-white ware, probably derived from non-imperial sources. Government-sponsored Buddhist sculpture often attained high artistic standards, preserving the realism and powerful expression of Tang and Song traditions, while in the finest sculpture of the time, such as the reliefs at Juyong Pass north of Dadu (1342–45), this was combined with a flamboyant surface decor and a striking dramatization better suited to foreign taste than to the increasingly restrained Chinese aesthetic.

Conservatism also tempered the private arts of calligraphy and painting: the scholar-amateurs who produced them felt impelled to preserve their heritage against a perceived foreign threat. Conservatism, however, often took the form of a creative revival that combed the past for sources of inspiration and then artistically transformed them into a new idiom. In calligraphy, Zhao Mengfu gave new impetus to the 4th-century style of Wang Xizhi, which then became a standard for Chinese writing and book printing for centuries. In painting, Zhao and his contemporary Qian Xuan helped to complete the development of a distinctively amateur style that ushered in a new phase in the history of Chinese painting. Their work did not continue that of the previous generation but ranged widely over the available past tradition, and past styles rather than observed objects became the subject of artistic interpretation. The naturalism of Song painting gave way to calligraphically inspired abstractions. Paintings became closely linked in style to the written inscriptions that appeared upon them with increasing frequency and prominence. Skillful professional techniques and overt visual attractiveness were avoided, replaced by deliberate awkwardness and an intellectualized flavor. Their works were done for private purposes, often displaying or concealing personal and political motives, to be understood only by fellow literati through the subtle allusions of their subject matter, stylistic references, or inscriptions.

Naturalistic painting styles also continued in popularity throughout the first two-thirds of the period, painted by such important artists as Li Kan and Ren Renfa. Perpetuating northern traditions of the Tang and Song periods, these styles were practiced chiefly by scholar-officials associated with the court at the capital. Several members of the Mongol royal family became major patrons or collectors of such conservative styles, although imperial patronage remained slight in comparison with earlier periods.

In the latter third of the dynasty, with a sharp decline in the practice of painting by scholar-officials and northerners, Yuan painting was increasingly represented by the innovative approach of Zhao Mengfu as practiced by reclusive scholars from the Suzhou-Wuxing area. Four of these—the landscape painters Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng—transformed and blended certain elements from the past into highly personal, easily recognizable styles and later came to be known as the Four Masters of the Yuan dynasty. In the early Ming period the Hongwu emperor decimated the Suzhou literati and with it Suzhou painting; by the end of the 15th century, however, Suzhou artists once again dominated Chinese painting, and the styles of the Four Masters became the most influential of all painting models in later Chinese history.