From the 1320s to the early 1350s, non-native scholars and officials not only were patrons of Chinese painting, but they also directly participated in art to form a new group of artists. Kao K'o-kung (1248-1310), who was of Uighur Turk descent to China's west, is an early Yuan example of a non-native painter. His "Spring Mountains after Rain" follows mainly in the landscape style of the Sung scholar painters Mi Fu and Mi Yu-jen with peaks and hills wrapped in fog and clouds. However, in "Cloud-girdled Peaks", he adds the imposing Northern Sung monumental landscape style to the Mi-style cloudy mountains. Furthermore, the texturing and washes of the mountains have an element of sketching that sets this work apart from established traditions. After Kao K'o-kung, the painting "Angling Terrace at Yen-ling" by the Uighur artist Sa Tu-la (ca. 1300-1350) takes a famous site above the Fu-ch'un River as the subject. "Clouds and Pines in an Ancient Valley" by the Kao-ch'ang painter Po-yen-pu-hua (mid-14th c.) takes the distinctive pines of Mt. Huang as the subject. Both artists used a form of sketch painting to record the scenes before their eyes to create a new form of directness that lies beyond traditional painting conventions.