It’s Wu Zhen.
Wu Zhen was born in the seventeenth year of the Yuan Dynasty and died in the fourteenth year of the Yuan Dynasty, at the age of seventy-five. His ancestral name was Wu Ze, and his courtesy name was Bo Chang. During the Southern Song Dynasty, he moved from Bianliang (Kaifeng, Henan) to Jiaxing and settled in Weitang, Jiaxing, Zhejiang (now Weitang, Jiashan, Zhejiang). Wu Zhen was good at swordsmanship when he was young. When he became an adult, he and his brother Wu Qi studied the Book of Changes at Liu Tianji in Piling (now Wujin, Jiangsu Province). From then on, he kept a low profile and taught about nature and life. He persisted in lofty ambitions, did not agree with others, and understood Confucianism and Taoism. , explain the three teachings, and achieve life and knowledge. He has lived in Weitang for a long time and lives in seclusion and simplicity. He was a simple and solitary person, lived in poverty all his life, had a high self-esteem, lived in seclusion, and rarely interacted with dignitaries. He once taught in village schools and sold divination in Qiantang and other places.
Wu Zhen began to study painting at the age of eighteen or nineteen. When he was young, he traveled to Hangzhou and Wuxing, and enjoyed the scenery of Taihu Lake. It opened his eyes and gained insights, and the real mountains and waters of nature inspired his creative inspiration. When Wu Zhen was sixty-eight years old (in the seventh year of Zhizheng (1347)), he lived in Chunbo Guest House outside Chunbo Gate, Jiaxing (now Jiaxing City), and wrote ink bamboo. At that time, I met my friends in the monk's residence of Jingyan Temple, and I fell in love with Buddhism, so I called myself "Mei novice monk". Four years later, he returned to Weitang. Before his death, he chose his birthplace and wrote an inscription on his own: "Plum Blossom Monk's Tower". The tomb is next to today's Meihua Nunnery.
He is good at poetry and calligraphy, and his painting subjects are mostly fishermen, ancient trees, bamboos and stones, etc. He is good at painting landscapes and plum blossoms. The cursive calligraphy is learned from Gong Guang, the landscape is learned from Dong Yuan. Juyuan is unique and ingenious. He uses powerful brushwork and rich ink techniques to create a vast, melancholy, ancient and simple atmosphere. He specialized in writing about bamboo under the tutelage of Li Jin. In his later years, he specialized in writing about ink bamboo. Mozhu Zong Wentong was another great master after Wentong. He is good at using ink, and he is the best among Yuan people. He is also good at ink painting and portraiture. He used bamboo to cover his painting, Zhen used his painting to cover his bamboo. Although his paintings cannot be taken away, they can only be obtained by throwing them with good paper and pen, and being happy with them and doing whatever you want. The poetry style is simple and powerful, with sincere emotions. He often expresses his feelings through comparison, which is close to Tao Qian's poetry style. He looks plain on the outside but depressed and angry on the inside. Calligraphy can combine the strengths of Wang Xizhi and Huai Su and become unique. Every time he painted, he often wrote poems and texts on it, either in lines or in cursive, and the ink was dripping. The poems, calligraphy and paintings complemented each other and became interesting. People at the time called him the "Three Wonders". His painting style had a great influence on the development of landscape painting in the Ming and Qing Dynasties. He is as famous as Wang Meng, Huang Gongwang, and Ni Zan, and is called the Four Yuan Dynasties.
It is said that Wu Zhenben lived with Sheng Maobi's gate. There were many people from all over the world asking for Sheng's paintings with gold and silk, but Wu's gate was silent. My wife laughed at it. Said: "I won't see you again in twenty years." The consequences are as he said.
The album of Wu Zhen's works and his deeds are included in "Painting History Meeting", "Qinghe Painting and Calligraphy Boat", "Liuyanzhai Notes", "Rongtai Collection" and "Cangluo Collection". The ink marks that survive today include the scroll of "Double junipers in the distance" (collected by the National Palace Museum in Taiwan), the scroll of "Picture of the Fisherman" (collected by the Palace Museum in Beijing), the scroll of "Picture of the Fisherman" (collected by the Freer Museum of Art in the United States), and the scroll of "Picture of the Fisherman" (collected by the National Palace Museum in Beijing). "Pine Picture" axis (collected by Nanjing Museum), "Cursive Script Heart Sutra" volume (collected by the Palace Museum, Beijing), etc. His Fengzhu stone carvings are on display at the Yanyu Tower in Nanhu, Jiaxing, and his eight-bamboo stele and cursive "Heart Sutra" stele are on display at Meihua Temple in Jiashan. There are also two volumes of "Mei Daoren's Remaining Ink", which are his poems and inscriptions compiled by later generations.
Wu Zhen loved plum blossoms very much, so he planted plum trees all around his house and named his house "Plum Blossom Temple". Because there is an oak forest where he lives, the study is also called the "oak room".
The tomb of Wu Zhen is now located in Meihua Nuan, which is an ancillary building commemorating Wu Zhen. On the east side of the tomb, it was built to guard the tomb during the Wanli period of the Ming Dynasty. It is located on the west side of Huayuan Lane Road, Weitang Town. In the first year of Taichang in the Ming Dynasty (1620), the city magistrate Wu Xu and the city gentry Qian Shisheng raised funds to repair the tomb passage, build an ancestral hall with three columns, a pavilion with three columns, and a monk's house with five columns. Chen Jiru of Huating wrote "Record of the Repair of Plum Blossom Nunnery", and there is a plaque of "Mei Hua Nunnery" written by Dong Qichang. Houyi people raised funds to rebuild it several times. After the founding of New China, Wu Zhen Tomb and Meihua Temple were repaired many times. It was announced by the Zhejiang Provincial People's Government as a provincial key cultural relic protection unit.