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except that it was made in a partially ruined stupa at Karakhoto.  All the paintings which I examined were of Buddhist subjects done quite in the hierarchical manner with the exception of one fragment of a painting on silk which represented ducks and reeds, and had something of the Sung and Yuan freedom of the lay painters.
     So far as I know none of the paintings are datable, or found in connection with positive evidence of a datable kind. But on the whole, the impression that I took away with me was that it must date from the Sung or early Yuan periods.
     The specimens which I examined might be classed roughly as follows:
[[underlined]]CHINESE[[/underlined]] True Chinese paintings, seemingly of Sung-Yuan [[underlined]]TYPE[[/underlined]]  date and coarse workmanship.  The silk employed was of a sort which I associate rather with the Yuan period than the Sung, but which can not yet be dated with accuracy. Neither in manner nor subject did these pictures show traces of Mongol culture.  The subjects were (in Japanese equivalent): Kwannon of the Willows (4 or 5), Amida (3 or 4), Shi-Tenno (3 or 4), Fugen (5), Monju (1), Nikko, Gwakko etc.  Many of these Buddhist paintings were of special interest as having portraits of the donors on a small scale below.  I doubt if the existence in that part of Mongolia of any sect or sects could be determined by a study of the ichonography represented.  Some examples were on paper, but the majority were on silk.
[[underlined]]TIBETAN[[/underlined]] Lamaistic Paintings: executed on rather coarse [[underlined]]TYPE[[/underlined]]  cotton canvas covered with a thick white [[underlined]]gesso[[/underlined]] on which

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8/13/14 final underline on page was not noted added