Culturally the eleventh century was the most active period China had so far experienced, apart from the fourth century B.C. As a consequence of the immensely increased number of educated people resulting from the invention of printing, circles of scholars and private schools set up by scholars were scattered all over the country. The various philosophical schools differed in their political attitude and in the choice of literary models with which they were politically in sympathy. Thus Wang An-shih and his followers preferred the rigid classic style of Han Yue (768-825) who lived in the T'ang period and had also been an opponent of the monopolistic tendencies of pre-capitalism. For the Wang An-shih group formed itself into a school with a philosophy of its own and with its own commentaries on the classics. As the representative of the small merchants and the small landholders, this school advocated policies of state control and specialized in the study and annotation of classical books which seemed to favour their ideas.

But the Wang An-shih school was unable to hold its own against the school that stood for monopolist trade capitalism, the new philosophy described as Neo-Confucianism or the Sung school. Here Confucianism and Buddhism were for the first time united. In the last centuries, Buddhistic ideas had penetrated all of Chinese culture: the slaughtering of animals and the executions of criminals were allowed only on certain days, in accordance with Buddhist rules. Formerly, monks and nuns had to greet the emperor as all citizens had to do; now they were exempt from this rule. On the other hand, the first Sung emperor was willing to throw himself to the earth in front of the Buddha statues, but he was told he did not have to do it because he was the "Buddha of the present time" and thus equal to the God. Buddhist priests participated in the celebrations on the emperor's birthday, and emperors from time to time gave free meals to large crowds of monks. Buddhist thought entered the field of justice: in Sung time we hear complaints that judges did not apply the laws and showed laxity, because they hoped to gain religious merit by sparing the lives of criminals. We had seen how the main current of Buddhism had changed from a revolutionary to a reactionary doctrine. The new greater gentry of the eleventh century adopted a number of elements of this reactionary Buddhism and incorporated them in the Confucianist system. This brought into Confucianism a metaphysic which it had lacked in the past, greatly extending its influence on the people and at the same time taking the wind out of the sails of Buddhism. The greater gentry never again placed themselves on the side of the Buddhist Church as they had done in the T'ang period. When they got tired of Confucianism, they interested themselves in Taoism of the politically innocent, escapist, meditative Buddhism.

Men like Chou Tun-i (1017-1073) and Chang Tsai (1020-1077) developed a cosmological theory which could measure up with Buddhistic cosmology and metaphysics. But perhaps more important was the attempt of the Neo-Confucianists to explain the problem of evil. Confucius and his followers had believed that every person could perfect himself by overcoming the evil in him. As the good persons should be the _elite_ and rule the others, theoretically everybody who was a member of human society, could move up and become a leader. It was commonly assumed that human nature is good or indifferent, and that human feelings are evil and have to be tamed and educated. When in Han time with the establishment of the gentry society and its social classes, the idea that any person could move up to become a leader if he only perfected himself, appeared to be too unrealistic, the theory of different grades of men was formed which found its clearest formulation by Han Yue: some people have a good, others a neutral, and still others a bad nature; therefore, not everybody can become a leader. The Neo-Confucianists, especially Ch'eng Hao (1032-1085) and Ch'eng I (1033-1107), tried to find the reasons for this inequality. According to them, nature is neutral; but physical form originates with the combination of nature with Material Force (_ch'i_). This combination produces individuals in which there is a lack of balance or harmony. Man should try to transform physical form and recover original nature. The creative force by which such a transformation is possible is _jen_, love, the creative, life-giving quality of nature itself.

It should be remarked that Neo-Confucianism accepts an inequality of men, as early Confucianism did; and that _jen_, love, in its practical application has to be channelled by _li_, the system of rules of behaviour. The _li_, however, always started from the idea of a stratified class society. Chu Hsi (1130-1200), the famous scholar and systematizer of Neo-Confucian thoughts, brought out rules of behaviour for those burghers who did not belong to the gentry and could not, therefore, be expected to perform all _li_; his "simplified _li_" exercized a great influence not only upon contemporary China, but also upon Korea and Annam and there strengthened a hitherto looser patriarchal, patrilinear family system.

The Neo-Confucianists also compiled great analytical works of history and encyclopaedias whose authority continued for many centuries. They interpreted in these works all history in accordance with their outlook; they issued new commentaries on all the classics in order to spread interpretations that served their purposes. In the field of commentary this school of thought was given perfect expression by Chu Hsi, who also wrote one of the chief historical works. Chu Hsi's commentaries became standard works for centuries, until the beginning of the twentieth century. Yet, although Chu became the symbol of conservativism, he was quite interested in science, and in this field he had an open eye for changes.

The Sung period is so important, because it is also the time of the greatest development of Chinese science and technology. Many new theories, but also many practical, new inventions were made. Medicine made substantial progress. About 1145 the first autopsy was made, on the body of a South Chinese captive. In the field of agriculture, new varieties of rice were developed, new techniques applied, new plants introduced.

The Wang An-shih school of political philosophy had opponents also in the field of literary style, the so-called Shu Group (Shu means the present province of Szechwan), whose leaders were the famous Three Sus. The greatest of the three was Su Tung-p'o (1036-1101); the others were his father, Su Shih, and his brother, Su Che. It is characteristic of these Shu poets, and also of the Kiangsi school associated with them, that they made as much use as they could of the vernacular. It had not been usual to introduce the phrases of everyday life into poetry, but Su Tung-p'o made use of the most everyday expressions, without diminishing his artistic effectiveness by so doing; on the contrary, the result was to give his poems much more genuine feeling than those of other poets. These poets were in harmony with the writings of the T'ang period poet Po Chue-i (772-846) and were supported, like Neo-Confucianism, by representatives of trade capitalism. Politically, in their conservatism they were sharply opposed to the Wang An-shih group. Midway between the two stood the so-called Loyang-School, whose greatest leaders were the historian and poet Ssu-ma Kuang (1019-1086) and the philosopher-poet Shao Yung (1011-1077).

In addition to its poems, the Sung literature was famous for the so-called _pi-chi_ or miscellaneous notes. These consist of short notes of the most various sort, notes on literature, art, politics, archaeology, all mixed together. The _pi-chi_ are a treasure-house for the history of the culture of the time; they contain many details, often of importance, about China's neighbouring peoples. They were intended to serve as suggestions for learned conversation when scholars came together; they aimed at showing how wide was a scholar's knowledge. To this group we must add the accounts of travel, of which some of great value dating from the Sung period are still extant; they contain information of the greatest importance about the early Mongols and also about Turkestan and South China.

While the Sung period was one of perfection in all fields of art, painting undoubtedly gained its highest development in this time. We find now two main streams in painting: some painters preferred the decorative, pompous, but realistic approach, with great attention to the detail. Later theoreticians brought this school in connection with one school of meditative Buddhism, the so-called northern school. Men who belonged to this school of painting often were active court officials or painted for the court and for other representative purposes. One of the most famous among them, Li Lung-mien (ca. 1040-1106), for instance painted the different breeds of horses in the imperial stables. He was also famous for his Buddhistic figures. Another school, later called the southern school, regarded painting as an intimate, personal expression. They tried to paint inner realities and not outer forms. They, too, were educated, but they did not paint for anybody. They painted in their country houses when they felt in the mood for expression. Their paintings did not stress details, but tried to give the spirit of a landscape, for in this field they excelled most. Best known of them is Mi Fei (ca. 1051-1107), a painter as well as a calligrapher, art collector, and art critic. Typically, his paintings were not much liked by the emperor Hui Tsung (ruled 1101-1125) who was one of the greatest art collectors and whose catalogue of his collection became very famous. He created the Painting Academy, an institution which mainly gave official recognition to painters in form of titles which gave the painter access to and status at court. Ma Yuean (_c_. 1190-1224), member of a whole painter's family, and Hsia Kui (_c_. 1180-1230) continued the more "impressionistic" tradition. Already in Sung time, however, many painters could and did paint in different styles, "copying", i.e. painting in the way of T'ang painters, in order to express their changing emotions by changed styles, a fact which often makes the dating of Chinese paintings very difficult.

Finally, art craft has left us famous porcelains of the Sung period. The most characteristic production of that time is the green porcelain known as "Celadon". It consists usually of a rather solid paste, less like porcelain than stoneware, covered with a green glaze; decoration is incised, not painted, under the glaze. In the Sung period, however, came the first pure white porcelain with incised ornamentation under the glaze, and also with painting on the glaze. Not until near the end of the Sung period did the blue and white porcelain begin (blue painting on a white ground). The cobalt needed for this came from Asia Minor. In exchange for the cobalt, Chinese porcelain went to Asia Minor. This trade did not, however, grow greatly until the Mongol epoch; later really substantial orders were placed in China, the Chinese executing the patterns wanted in the West.