In addition to its poems, the Sung literature was famous for the so-called _pi-chi_ or miscellaneous notes. These consist of short notes of the most various sort, notes on literature, art, politics, archaeology, all mixed together. The _pi-chi_ are a treasure-house for the history of the culture of the time; they contain many details, often of importance, about China's neighbouring peoples. They were intended to serve as suggestions for learned conversation when scholars came together; they aimed at showing how wide was a scholar's knowledge. To this group we must add the accounts of travel, of which some of great value dating from the Sung period are still extant; they contain information of the greatest importance about the early Mongols and also about Turkestan and South China. While the Sung period was one of perfection in all fields of art, painting undoubtedly gained its highest development in this time. We find now two main streams in painting: some painters preferred the decorative, pompous, but realistic approach, with great attention to the detail. Later theoreticians brought this school in connection with one school of meditative Buddhism, the so-called northern school. Men who belonged to this school of painting often were active court officials or painted for the court and for other representative purposes. One of the most famous among them, Li Lung-mien (ca. 1040-1106), for instance painted the different breeds of horses in the imperial stables. He was also famous for his Buddhistic figures. Another school, later called the southern school, regarded painting as an intimate, personal expression. They tried to paint inner realities and not outer forms. They, too, were educated, but they did not paint for anybody. They painted in their country houses when they felt in the mood for expression. Their paintings did not stress details, but tried to give the spirit of a landscape, for in this field they excelled most. Best known of them is Mi Fei (ca. 1051-1107), a painter as well as a calligrapher, art collector, and art critic. Typically, his paintings were not much liked by the emperor Hui Tsung (ruled 1101-1125) who was one of the greatest art collectors and whose catalogue of his collection became very famous. He created the Painting Academy, an institution which mainly gave official recognition to painters in form of titles which gave the painter access to and status at court. Ma Yüan (_c_. 1190-1224), member of a whole painter's family, and Hsia Kui (_c_. 1180-1230) continued the more "impressionistic" tradition. Already in Sung time, however, many painters could and did paint in different styles, "copying", i.e. painting in the way of T'ang painters, in order to express their changing emotions by changed styles, a fact which often makes the dating of Chinese paintings very difficult.