Southern-Sòng cí-writer and ink-plum (mòméi 墨梅) painter (1097–1171), zì Bǔzhī 補之, hào Táochán lǎorén 逃禪老人 (“Old Man Who Fled to Chán”) and Qīngyí chángzhě 清夷長者, of Qīngjiāng 清江 in Línjiāngjūn (Jiāngxī). Surname properly written 楊 in the Sìkù tíyào and 揚 elsewhere — the Túhuì bǎojiàn derives him from the Hàn-period 揚雄 (Yáng Xióng) and so prefers the 才-radical 揚; modern usage divides. Refused to serve under Qín Guì 秦檜 and rejected repeated court summons, living in private retirement at Qīngjiāng and later Yùzhāng. Yáng is the foundational figure of the post-Sòng mòméi painting tradition — the Liǔfù tú in the National Palace Museum (Taipei) is by his hand — from whom every later school descends. His cí (collected in the Táochán cí KR4j0032, in one juǎn, around 73 pieces in the Quán Sòng cí) are independently of high quality, especially the méi / liǔ / yángzhōu màn pieces that read as a literary parallel to his painting. Frequently confused with Cháo Bǔzhī 晁補之 (also zì Bǔzhī) — the Sìkù tíyào and Máo Jìn 毛晉’s colophon disentangle the homonym confusion. Principal English-language study: Maggie Bickford, Ink Plum (Cambridge, 1996).