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the pigments were applied.  These were all purely lamaistic in manner and subject, and showed no more and no less Chinese or Indian influence than do the Mongol paintings of today, which are for the most part painted in Tibet, Urga (Mongolia) or Wu T'ai Shan (North China).  It is probable that a careful study of these paintings will bring out points of interest which escaped me.  It may well be that fresh light may be thrown on the history of Lamaistic Buddhism and its spread from Tibet.  One painting on coarse cotton or linen cloth without any coating of gesso represented an unfamiliar steeple-crowned blue deity, possibly of Burman workmanship.
[[Margin Underline]]SCULPTURE[[/Margin /Underline]]Fragments of small sculptures in sun-dried clay covered with white gesso and colored with an approximation to reality, were comparable with those in the von le Coq collection in Berlin and the Stein collection in London.  Among them, one small head and trunk showed an obvious Western influence akin to that of the Gandharan Province and period.  It represented a Bodhisattva with curling hair and moustache.  A second head, executed in wood, was in the same style.
[[Margin Underline]]SO CALLED GANDHARAN TECHNIQUE[[/Margin /Underline]]  I consider it doubtful that the true Gandharan (or attenuated classical) influence could have persisted to Yuan times even in this outpost of civilization, and am forced to conclude either that these two examples were of earlier date than the rest of the collection or, which seems more probable, that the technique which we call "Gandharan" covers all the products of a certain impulse essentially Central Asian noticeable when it comes in contact with the Indian art to the South or Chinese art to the East.
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