The school of Ma dominated the entire subsequent period and his influence extended as far as Korea, where traces of it were still to be found as late as the fifteenth century. As the history of Korean painting becomes better known, we shall be able to say with more accuracy what it owes to other Chinese masters; but in so far as those mentioned are concerned, their influence appears to have been sufficiently strong to impress a certain type on fragmentary works from Korea which have become known to us recently. We are far from being as well informed regarding Hsia Kuei, but we have that which is worth more than written records, a few paintings preserved in Japanese collections, which it seems legitimate to attribute to him without reservation. It is readily seen why his name is always linked with that of Ma Yüan. His work shows the same energy and power and discloses an ideal which is similar to that of his confrère. He seems to have penetrated even further than Ma Yüan along the path of daring simplifications, and to have approached at times the calligraphic style. He painted both landscape and figures and was skilled in obtaining strange effects, as if of color, through his use of monochrome. Another painter whose name dominates the history of this time and whose work serves to characterize a special aspect is Li Lung-mien. It is naturally difficult to prove that all the works attributed to him are authentic. However, collections in Japanese temples or privately owned, possess paintings which passed as his at a very early date and in which at least we can recognize his style. In reviewing the centuries of history, it is interesting to note that the work of Li Lung-mien is not without similarity, in certain of its elements, to the paintings of Ku K'ai-chih. His line is delicate and flexible and he draws his outlines with the same subtlety, the same grace and the same instinct for harmonious curves and an extraordinary rhythm.