the reign of Ashurnasirpal II, who might have been inspired by the Hittite monumental art that he saw on his campaigns to the Mediterranean. Wall paintings such as those made under Tukulti-Ninurta I in the Middle Assyrian period also continued to be used, sometimes to supplement wall reliefs and sometimes instead of them. Interior walls could be decorated by covering the mudbrick used in construction with painted mud plaster and exterior walls were at times decorated with glazed and painted tiles or bricks. The most extensive known surviving sets of wall reliefs are from the reign of Sennacherib. In terms of Neo-Assyrian artwork, modern scholars have paid particular attention to the reliefs produced under Ashurbanipal, which have been described as possessing a distinct "epic quality" unlike the art under his predecessors. Scholarship and literature Ancient Assyrian literature drew heavily on Babylonian literary traditions. Both the Old and Middle Assyrian periods are limited in terms of surviving literary texts. The most important surviving Old Assyrian literary work is Sargon, Lord of Lies, a text found in a well-preserved version on a cuneiform tablet from Kültepe. Once thought to have been a parody, the tale is a first-person narrative of the reign of Sargon of Akkad, the founder of the Akkadian Empire. The text follows Sargon as he gains strength from the god Adad, swears by Ishtar, the "lady of combat", and speaks with the gods. Surviving Middle Assyrian literature is only slightly more diverse. A distinct Assyrian scholarship tradition, though still drawing on Babylonian tradition, is conventionally placed as beginning around the time of the beginning of the Middle Assyrian period. The rising status of scholarship at this time might be connected to the kings beginning to regard amassing knowledge as a way to strengthen their power. Known Middle Assyrian works include the Tukulti-Ninurta Epic (a narrative of the reign of Tukulti-Ninurta I and his exploits), fragments of other royal epics, The Hunter (a short martial poem) and some royal hymns. The clear majority of surviving ancient Assyrian literature is from the Neo-Assyrian period. The kings of the Neo-Assyrian Empire began to see preserving knowledge as one of their responsibilities, and not (as previous kings had) a responsibility of private individuals and temples. This development might have originated with the kings no longer viewing the divination performed by their diviners as enough and wished to have access to the relevant texts