This theory—that the figure is Ming—technical evidence supports at least as strongly as it supports the T'ang attribution.
This name was abolished by the T'ang but restored by the Sung.
This, together with commercial interests, seems to have been the political motive of the Chinese Turkestan policy under the T'ang.
During the remainder of the T'ang dynasty there is little of importance to recount about Buddhism.
As the power of the empire grew, this zone of influence extended as far as Indonesia: the process had begun in the T'ang period.
In the troubled period which followed the downfall of the T'ang dynasty this independence became more permanent.
Internal fighting went on until 623, and only then was the whole empire brought under the rule of the T'ang.
When T'ang had all below heaven, he chose Yi-yin from the many, lifted him up, and the men without love fled.
Under the T'ang the regional establishments were a source of trouble to the government.
Technique apart, artistic consideration makes it clear that if the work is not T'ang it must be as late as Ming.