As  Tori's  bronzes  provide  us  with  a  reflection  of  the
Wu  (Chinese)  style  of  the  fifth-sixth  centuries,  so  the
elongated  Kwannon,  Figure  7,  reproduces  the  Korean
type  as  it  had  been  developed  toward  the  opening  of  the
seventh  century.  This  superb  figure,  part  wood,  part  lac-
quer, represents  one  of  the  noblest  expressions  of  Korean
art,  as  evolved  from  the  Chinese  sculpture  of  the  North-
ern School  at  that  early  date.  The  Yumedono  Kwatnnon,
which  we  shall  presently  describe,  may  be  called  the  final
expression  of  Korean  genius,  as  developed  from  this

i  A  great  province  about  the  modern  Hangchow  and  Amoy.
