Michael Wood on the rise and fall of Asian empires

Watching the recent spectacle of those latter-day emperors President Xi of China and India’s Narendra Modi hugging each other at the summit in Tianjin, my mind cast back to an earlier image of a pan-Asian summit.

There’s a wonderful painting from 1618 of the Mughal emperor Jahangir embracing Shah Abbas of Iran – one of several such pictures painted for the Indian ruler. These heads of two superpowers were in fact not bosom buddies but intense geopolitical rivals, especially in the Kandahar region of south-west Afghanistan, then under Mughal control. Framed by a huge golden halo, in an image of peace, one stands on a lamb, the other on a lion, both on a globe whose surface extends from the strait of Gibraltar to the South China Sea: they literally bestride the world like colossi. In the foreground of the map, a product of the new science of cartography, are shown north Africa, India and south-east Asia, with the Nile, the Ganges and the Yangtze accurately depicted. The painting is allegorical; the hoped-for meeting never actually took place. But the timing, and the details, have much to tell us.

In the painting, western Europe lies, unseen, over the horizon. Yet at that moment the small, aggressive maritime powers on the edge of the Eurasian landmass were already extending their influence and carving up the New World – and were now threatening the old powers in the Asiatic heartland of civilisation. The Spanish had begun colonisation of the Philippines in 1565, the Portuguese leased Macao in 1557, the English East India Company was founded in 1600, and the Dutch East India Company was established two years later. Elizabeth I had earlier sent an ambassador to Jahangir’s father, Akbar, to negotiate trade links. In another painting, Jahangir greets a Sufi mystic in the presence of the Ottoman Sultan and King James VI & I – not an imaginary likeness but one taken from a portrait brought to India by the ambassador Thomas Roe in 1616. In an uncanny touch by the painter, James stares coolly out of the picture, straight at the viewer, as if to say: “Our time has come.” And it had.

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The Mughal artist Abu al-Hasan, who painted that magnificent picture of Jahangir and Abbas, cannot have imagined that his world – the world stretching from the Mediterranean to the Yellow Sea, created by the great Asiatic civilisations – was about to be shaken to its core by the violent energies, the inventiveness and the sheer ambition of the Europeans.

Jahangir never got his summit with Shah Abbas. Nor did he meet the ailing Wanli Emperor, who was destined to die a couple of years later in Beijing. Since then, the turning of the wheel of history has been astounding: empires, world wars, the colonisation of entire continents, the triumph of capitalism – changes so huge that it is hardly possible to take them all in. The world has been remade in our likeness. And now, in 2025, President Xi hosts a summit calling for an alternative world order – “a more just and equitable global governance system”.

We may not like President Xi’s choice of friends, but such is the realpolitik of our age. And to be sure, some would say that the American empire has accumulated enough misdeeds of its own to merit a reaction. Xi, in particular – an avid reader of history books (the Chinese translation of Peter Frankopan’s The Silk Roads reportedly among them) believes in the destiny of China. He thinks that China’s time has come, after the ‘Century of Humiliation’ at the hands of western powers. Eighty years on from the Second World War, Xi now says that China’s rise to global leadership is “unstoppable”.

So back to these images of empire: Jahangir and Abbas, Modi and Xi. Some would say that they represent wish fulfilment: a rebuke to what President Xi’s baleful friend Putin calls “outdated Eurocentric and Euro-Atlantic models”. But behind the hugs and the photo ops, behind that amazing piece of diplomatic grandstanding in the giant military parade in Beijing celebrating China’s role in the Second World War, perhaps there is more than that: a vision of the future, uncomfortable though it may be to us in the west. As for Jahangir’s globe, the painting was a dream. But there are few images from the past that more powerfully distil what might have been. And now, as Shakespeare put it, “the whirligig of time brings in his revenges”.

This column was first published in the November 2025 issue of BBC History Magazine