Chinese Influences: The Japanese were forced out of the Korean peninsula in the sixth century, but not before the Koreans had bequeathed to the Yamato court copies of the sacred images and scriptures of Chinese Buddhism. Just as Christianity introduced Mediterranean culture into northern Europe, so Buddhism brought Chinese culture into Japanese society. Throughout the seventh and eighth centuries numerous Japanese monks, scholars, and artists made the perilous trip west across the Sea of Japan to study Chinese religion, history, music, literature, and paintinglater to be brought back for further development in Japan. An outstanding figure of this time was Prince Shotoku, who in 604 developed the "Seventeen-Article Constitution," outlining a code of human conduct and the ideals of state as a basic law for the nation. He also established relations with the Sui dynasty in China. Through him, the Japanese imperial court developed Chinese patterns of centralized government, with its formal bureaucracy of eight court ranks. The Chinese calendar was used to calculate the year of Japan's foundation by counting back the 1,260 years of the Chinese cosmological cycle. Thus, 660 b.c. is still the official date celebrated nationwide. At this early stage in its history Japan was already (for the most part) only nominally ruled by the emperor. De facto power was exercised by the militarily and economically strongest family. The Sogas had promoted Buddhism as an imperially sanctioned counterweight to the native Shinto religion, along with the new Chinese customs, to weaken the influence of their more conservative rivals. But they in turn were ousted in a.d. 645 by Nakatomi Kamatari, founder of the great Fujiwara clan, which was to rule Japanese affairs for hundreds of years and provide prominent advisers to the emperor even up to the 19th century.

What year is known as the year of Japan's foundation?

Some of the most unusual effects of Hellenization can be seen in Afghanistan and India, in the region of the relatively late-arising Greco-Bactrian Kingdom (250 BC-125 BC) in modern Afghanistan, Pakistan, and Tajikistan and the Greco-Indian Kingdom (180 BC - 10 CE) in modern Afghanistan and India. There on the newly formed Silk Road Greek culture apparently hybridized with Indian, and especially Buddhist culture. The resulting syncretism known as Greco-Buddhism heavily influenced the development of Buddhism and created a culture of Greco-Buddhist art. These Greco-Buddhist kingdoms sent some of the first Buddhist missionaries to China, Sri Lanka, and the Mediterranean (Greco-Buddhist monasticism). The first figural portrayals of the Buddha, previously avoided by Buddhists, appeared at this time; they were modeled on Greek statues of Apollo. Several Buddhist traditions may have been influenced by the ancient Greek religion: the concept of Boddhisatvas is reminiscent of Greek divine heroes, and some Mahayana ceremonial practices (burning incense, gifts of flowers, and food placed on altars) are similar to those practiced by the ancient Greeks. One Greek king, Menander I, probably became Buddhist, and was immortalized in Buddhist literature as 'Milinda'. The process of Hellenization extended to the sciences, where ideas from Greek astronomy filtered eastward and had profoundly influenced Indian astronomy by the early centuries AD. For example, Greek astronomical instruments dating to the 3rd century BC were found in the Greco-Bactrian city of Ai Khanoum in modern-day Afghanistan while the Greek concept of a spherical earth surrounded by the spheres of planets was adopted in India and eventually supplanted the long-standing Indian cosmological belief of a flat and circular earth. The Yavanajataka and Paulisa Siddhanta texts in particular show Greek influence.

Give an example of how Hellenized artforms were used in Indian art.

In architecture Durer cites Vitruvius but elaborates his own classical designs and columns. In typography, Durer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra. Here Durer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention. In all these, Durer shows the objects as nets. Finally, Durer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. It was in Bologna that Durer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Durer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles. In addition to these geometrical constructions, Durer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective.
In which book does Durer show the understanding of Euclidean principles?