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that it affects the great value and interest of the material to attribute them to this later period of which we know so little. My reasons for believing this attribution of a Sung date to be true are too numerous to be given here in detail. But accepting the dated finds from T'ung Huan as an undoubted T'ang type, and adding the evidence thrown on T'ang painting by the frescoes of the Japanese Hakuho period and the many examples of dated T'ang sculpture, the Chotscho frescoes show a more unctuous and rounded line, fuller countenances and more characterless drapery with less of what might be called the "sculpturesque" technique in painting. Moreover, the impression given is less one of a true religious purpose, than of a desire to cover large wall spaces with decorative scenes of appropriate significance.
     A distinct resemblance was noticeable between the manner and technique of these frescoes and that of some of the less important religious paintings dating from Sung times. Even the strong Central Asian character or some of them did not disguise this likeness.
     For these reasons I found the large mass of material collected by Professor von le Coq to be of great interest and importance. It goes far to prove that while the influence of Central Asia on China had practically ceased by the end of the T'ang dynasty,--a fact which we know from historical evidence,--the tide soon after began to set in the other direction and Turkestan was fed from Chinese sources.
     The textiles, also, were of unusual interest, but I failed to find in them evidence sufficient to suggest even an