custom. On the fifteenth of July, his ashes were buried in the stupa at Gangziyuan, Xiangshan, Wanping County (near the capital). The inscription on the stele set up in his memory reads: When the sage (Kublai) arose, All could behold. He knew he should come, As if to parent's home, Like all the spokes that merge in the hub, Like all the brooks that flow to the ocean. With sincere minds and open arms, Each of them finds the other man's heart. Emperor Kublai has a natural flair. Nothing he cannot perceive, nothing he cannot achieve. The graceful Duke of Liang is the essence of the West. Having joined the Sangha, He traveled to the East. Enlightening was the teaching, Like the shining sun. His words to the Emperor were modest and excellent. "Why have you come?" "For the people of the West." Extend your virtue, and expand your kindness. In the dialogue emerges a mutual understanding. The Emperor is virtuous, and the subject dutiful. Their words are clement, their deeds are beneficent. To his superb skill all lands pay tribute. For every thing it is appropriate to begin and continue, So that it can last for thousands of years. The artists in the past were by no means stupid. (But) some had no chance, Others were not appreciated. Only the Duke of Liang twisted gold and cut jade. The splendid temples he built, Are towering and majestic. Who says he was a guest? He wore royal robes. Returned to the laity, He achieved fame and fortune. His birth was glorious, his death was grievous. His began with care, he ended with grace. His sons continue his offices, Good news never ends. The plain of Wanping is the place for the Minister. Luxuriant trees grow on the undulating hills; Limpid ripples flow, In the meandering brooks. The glory assembled here, Will last forever. Why eulogizing in a poem? The historian completes the order. Legacy Arniko's imperial portraits represent the watershed between Song, Yuan and later imperial portraits. The aim of later portraits were no longer to suggest virtuous conduct, but physiognomy. This approach was followed not only in later Yuan imperial portraits but also in the Ming and Qing imperial portraits which became increasingly frontal and rigid, and eventually more and more realistic under the new influence of European portraiture. The history of Chinese Buddhist art witnessed three major waves