As opposed to "leftover" painters and calligraphers who avoided or discriminated against the new "foreigners", some Chinese scholars chose to accept the Mongol Yuan court, in part as a way to perpetuate traditional Chinese culture. Chao Meng-fu (1254-1322), descendant of the Sung imperial clan, accepted the Yuan court's call to office, and he served in Confucian education and as a literary advisor to the emperor. Along with Hsien-yu Shu (1256-1302), who traveled from Hopeh in the north to Hangchow to serve as an official, they dedicated themselves to revivalism in painting and calligraphy. They found new life in art through the practice and interpretation of ancient models. Their "Album of Calligraphy" reveals their enthusiastic discussion of painting and calligraphy by the ancients. Chao Meng-fu's painting of "Autumn Colors on the Ch'iao and Hua Mountains" for his friend Chou Mi uses a simple composition and calligraphic lines to portray a contemporary yet archaic landscape where reality and imagination fuse for a dream-like rendering of Chou's ancestral land. The painting, furthermore, serves as a vehicle for Chao's own desire to retreat to an idyllic life of reclusion.