The Mongols also developed in China the art of carpet-knotting, which to this day is found only in North China in the zone of northern influence. There were carpets before these, but they were mainly of felt. The knotted carpets were produced in imperial workshops--only, of course, for the Mongols, who were used to carpets. A further development probably also due to West Asian influence was that of cloisonné technique in China in this period. Painting, on the other hand, remained free from alien influence, with the exception of the craft painting for the temples. The most famous painters of the Mongol epoch were Chao Mêng-fu (also called Chao Chung-mu, 1254-1322), a relative of the deposed imperial family of the Sung dynasty, and Ni Tsan (1301-1374). (B) The Ming Epoch (1368-1644) 1 _Start. National feeling_ It was necessary to give special attention to the reasons for the downfall of Mongol rule in China, in order to make clear the cause and the character of the Ming epoch that followed it. It is possible that the erroneous impression might be gained that the Mongol epoch in China was entirely without merits, and that the Mongol rule over China differed entirely from the Mongol rule over other countries of Asia. Chinese historians have no good word to say of the Mongol epoch and avoid the subject as far as they can. It is true that the union of the national Mongol culture with Chinese culture, as envisaged by the Mongol rulers, was not a sound conception, and consequently did not endure for long. Nevertheless, the Mongol epoch in China left indelible traces, and without it China's further development would certainly have taken a different course. The many popular risings during the latter half of the period of Mongol rule in China were all of a purely economic and social character, and at first they were not directed at all against the Mongols as representatives of an alien people. The rising under Chu Yüan-chang, which steadily gained impetus, was at first a purely social movement; indeed, it may fairly be called revolutionary. Chu was of the humblest origin; he became a monk and a peasant leader at one and the same time. Only three times in Chinese history has a man of the peasantry become emperor and founder of a dynasty. The first of these three men founded the Han dynasty; the second founded the first of the so-called "Five Dynasties" in the tenth century; Chu was the third.