After the Yuan government re-instituted the civil service examination system in 1315, many non-native scholars gradually became interested in Chinese literature, history, the Classics, and art. In particular, some new members in or associated with the ruling class participated in painting activities from the 1320s to the 1350s (when civil unrest erupted). With their support, the works of native Chinese painters crossed boundaries of ethnicity and gained wider audiences to form a new development in painting. For example, the southern painters T'ang Ti (1287-1355) and Wang Yuan (fl. late 13th c.-1st half of 14th c.) received the support of Emperor Wen-tsung. Their style was related to the monumental "imperial landscape" manner of the Northern Sung (960-1126) to reflect the ideals of imperial stability and authority. These artists also created ideal images of a thriving and peaceful people under the emperor. In other cases of such patronage, the scholar Ts'ao Chih-po painted "Two Pines" for the Khitan Shih-mo-chi-tsu and "Mountain Peaks Covered in Snow" for the Tibetan A-li-mu-pa-la. Chao Yung (1290-1360), son of the famous scholar-official artist Chao Meng-fu, painted "Five Horses" for the Mongol general Pei-yen-hu-tu. The southern poet-painter Wang Mien (?-1359) also received the patronage of Mongol and Central Asian officials when he was in the capital at Ta-tu (Peking). Such examples demonstrate the importance of artistic patronage by non-native ethnic groups in China during the middle Yuan dynasty.