Our knowledge of the arts is drawn from two sources--literature, and the actual discoveries in the excavations. Thus we know that most of the painting was done on silk, of which plenty came into the market through the control of silk-producing southern China. Paper had meanwhile been invented in the second century B.C., by perfecting the techniques of making bark-cloth and felt. Unfortunately nothing remains of the actual works that were the first examples of what the Chinese everywhere were beginning to call "art". "People", that is to say the gentry, painted as a social pastime, just as they assembled together for poetry, discussion, or performances of song and dance; they painted as an aesthetic pleasure and rarely as a means of earning. We find philosophic ideas or greetings, emotions, and experiences represented by paintings--paintings with fanciful or ideal landscapes; paintings representing life and environment of the cultured class in idealized form, never naturalistic either in fact or in intention. Until recently it was an indispensable condition in the Chinese view that an artist must be "cultured" and be a member of the gentry--distinguished, unoccupied, wealthy. A man who was paid for his work, for instance for a portrait for the ancestral cult, was until late time regarded as a craftsman, not as an artist. Yet, these "craftsmen" have produced in Han time and even earlier, many works which, in our view, undoubtedly belong to the realm of art. In the tombs have been found reliefs whose technique is generally intermediate between simple outline engraving and intaglio. The lining-in is most frequently executed in scratched lines. The representations, mostly in strips placed one above another, are of lively historical scenes, scenes from the life of the dead, great ritual ceremonies, or adventurous scenes from mythology. Bronze vessels have representations in inlaid gold and silver, mostly of animals. The most important documents of the painting of the Han period have also been found in tombs. We see especially ladies and gentlemen of society, with richly ornamented, elegant, expensive clothing that is very reminiscent of the clothing customary to this day in Japan. There are also artistic representations of human figures on lacquer caskets. While sculpture was not strongly developed, the architecture of the Han must have been magnificent and technically highly complex. Sculpture and temple architecture received a great stimulus with the spread of Buddhism in China. According to our present knowledge, Buddhism entered China from the south coast and through Central Asia at latest in the first century B.C.; it came with foreign merchants from India or Central Asia. According to Indian customs, Brahmans, the Hindu caste providing all Hindu priests, could not leave their homes. As merchants on their trips which lasted often several years, did not want to go without religious