The first half of the fourteenth century was a discrete period in Ilkhanid Iran during which paintings that pictured elite Mongol women in their true courtly milieu, participating in courtly life and in their contemporary place within societal hierarchies, were produced. It will be argued that a correlation existed between the power wielded by these women in Mongol socio-economic and political spheres and their depictions as formative, important members of the ruling elite; and that the decrease, and ultimate halting, of such representations coincided with changes in their political, cultural and social power. Using Ilkhanid enthronement scenes in the Diez and Istanbul albums to illustrate how visible and prominent the Khātūns were, a fact corroborated by written testimonials of visitors to the Mongol courts, this paper then examines how such images became symbols of legitimacy for later Il-Khans as well as later Persianate rulers in the fourteenth to sixteenth centuries. It will be argued that the image of an enthroned royal Ilkhanid couple carried the weight of political and dynastic legitimacy, and that the inclusion of the Mongol Khātūn was integral to this symbolic importance.

十四世纪上半叶是伊朗伊尔汗王朝的一个独立时期，在此期间创作了描绘精英蒙古女性在她们真正的宫廷环境中、参与宫廷生活以及她们在社会等级制度中处于当代地位的绘画。将论证的是，这些女性在蒙古社会经济和政治领域所掌握的权力与她们被描述为统治精英的形成性重要成员之间存在相关性；这种代表的减少和最终停止与他们的政治、文化和社会权力的变化相吻合。使用 Diez 和 Istanbul 相册中的 Ilkhanid 登基场景来说明 Khātūns 是多么显眼和突出，这一事实得到了蒙古宫廷访客书面证词的证实，然后，本文研究了这些图像如何成为 14 至 16 世纪后来的伊尔可汗以及后来的波斯统治者的合法性象征。有人会争辩说，登基的伊尔汗王室夫妇的形象承载着政治和王朝合法性的分量，而蒙古哈吞的加入是这种象征意义不可或缺的一部分。