During the Mongol epoch a large number of the Chinese scholars withdrew from official life. They lived in retirement among their friends, and devoted themselves mainly to the pursuit of the art of poetry, which had been elaborated in the Later Sung epoch, without themselves arriving at any important innovations in form. Their poems were built up meticulously on the rules laid down by the various schools; they were routine productions rather than the outcome of any true poetic inspiration. In the realm of prose the best achievements were the "miscellaneous notes" already mentioned, collections of learned essays. The foreigners who wrote in Chinese during this epoch are credited with no better achievements by the Chinese historians of literature. Chief of them were a statesman named Yeh-lue Ch'u-ts'ai, a Kitan in the service of the Mongols; and a Mongol named T'o-t'o (Tokto). The former accompanied Genghiz Khan in his great campaign against Turkestan, and left a very interesting account of his journeys, together with many poems about Samarkand and Turkestan. His other works were mainly letters and poems addressed to friends. They differ in no way in style from the Chinese literary works of the time, and are neither better nor worse than those works. He shows strong traces of Taoist influence, as do other contemporary writers. We know that Genghiz Khan was more or less inclined to Taoism, and admitted a Taoist monk to his camp (1221-1224). This man's account of his travels has also been preserved, and with the numerous European accounts of Central Asia written at this time it forms an important source. The Mongol Tokto was the head of an historical commission that issued the annals of the Sung dynasty, the Kitan, and the Juchen dynasty. The annals of the Sung dynasty became the largest of all the historical works, but they were fiercely attacked from the first by Chinese critics on account of their style and their hasty composition, and, together with the annals of the Mongol dynasty, they are regarded as the worst of the annals preserved. Tokto himself is less to blame for this than the circumstance that he was compelled to work in great haste, and had not time to put into order the overwhelming mass of his material.

The greatest literary achievements, however, of the Mongol period belong beyond question to the theatre (or, rather, opera). The emperors were great theatre-goers, and the wealthy private families were also enthusiasts, so that gradually people of education devoted themselves to writing librettos for the operas, where in the past this work had been left to others. Most of the authors of these librettos remained unknown: they used pseudonyms, partly because playwriting was not an occupation that befitted a scholar, and partly because in these works they criticized the conditions of their day. These works are divided in regard to style into two groups, those of the "southern" and the "northern" drama; these are distinguished from each other in musical construction and in their intellectual attitude: in general the northern works are more heroic and the southern more sentimental, though there are exceptions. The most famous northern works of the Mongol epoch are _P'i-p'a-chi_ ("The Story of a Lute"), written about 1356, probably by Kao Ming, and _Chao-shih ku-erh-chi_ ("The Story of the Orphan of Chao"), a work that enthralled Voltaire, who made a paraphrase of it; its author was the otherwise unknown Chi Chuen-hsiang. One of the most famous of the southern dramas is _Hsi-hsiang-chi_ ("The Romance of the Western Chamber"), by Wang Shih-fu and Kuan Han-ch'ing. Kuan lived under the Juchen dynasty as a physician, and then among the Mongol. He is said to have written fifty-eight dramas, many of which became famous.

In the fine arts, foreign influence made itself felt during the Mongol epoch much more than in literature. This was due in part to the Mongol rulers' predilection for the Lamaism that was widespread in their homeland. Lamaism is a special form of Buddhism which developed in Tibet, where remnants of the old national Tibetan cult (_Bon_) were fused with Buddhism into a distinctive religion. During the rise of the Mongols this religion, which closely resembled the shamanism of the ancient Mongols, spread in Mongolia, and through the Mongols it made great progress in China, where it had been insignificant until their time. Religious sculpture especially came entirely under Tibetan influence (particularly that of the sculptor Aniko, who came from Nepal, where he was born in 1244). This influence was noticeable in the Chinese sculptor Liu Yuean; after him it became stronger and stronger, lasting until the Manchu epoch.

In architecture, too, Indian and Tibetan influence was felt in this period. The Tibetan pagodas came into special prominence alongside the previously known form of pagoda, which has many storeys, growing smaller as they go upward; these towers originally contained relics of Buddha and his disciples. The Tibetan pagoda has not this division into storeys, and its lower part is much larger in circumference, and often round. To this day Peking is rich in pagodas in the Tibetan style.

The Mongols also developed in China the art of carpet-knotting, which to this day is found only in North China in the zone of northern influence. There were carpets before these, but they were mainly of felt. The knotted carpets were produced in imperial workshops--only, of course, for the Mongols, who were used to carpets. A further development probably also due to West Asian influence was that of cloisonne technique in China in this period.

Painting, on the other hand, remained free from alien influence, with the exception of the craft painting for the temples. The most famous painters of the Mongol epoch were Chao Meng-fu (also called Chao Chung-mu, 1254-1322), a relative of the deposed imperial family of the Sung dynasty, and Ni Tsan (1301-1374).