This chapter traces how Chinese pictorial idioms—cloud collars, dragons, phoenixes, scattered “axe-cut” mountains, silver water, asymmetrical balance and ink-line spontaneity—entered Persian painting between the Il-Khanid and late-Timurid courts. Initially copied from textiles, porcelain and the handful of Yuan scrolls that reached Tabriz, these motifs were gradually naturalised: gnarled trees, shell-shaped waves and profiled beasts became standard vocabulary in Jalayirid and Timurid ateliers. The chapter reviews landmark manuscripts to show that borrowing was selective: Persian colourist sensibility, narrative density and mystical symbolism resisted wholesale sinicisation. What emerged was a hybrid idiom in which Chinese dynamism and surface pattern served Persian poetic and heroic themes, while the Timurid workshop system codified the new style into the canonical “Herat school” that would dominate later Islamic painting.