Late-Míng professional garden designer, painter and rock-stacker, the most documented figure in his profession; zì Wúpǐ 無否 (“Not-No”), hào Pǐdào rén 否道人 (“Master Pǐ”), of Wújiāng 吳江 in Sūzhōu prefecture. Born 1582 (CBDB); death-date uncertain — alive in Chóngzhēn jiǎxū (1634, postface signed at age 53). Originally famed as a painter in the manner of the Five-Dynasties masters Guān Tóng 關仝 and Jīng Hào 荊浩; travelled in Yān 燕 (Héběi) and Chǔ 楚 (Húběi/Húnán) lands in youth; returned to Wú in middle age and settled at Rùnzhōu 潤州 (Zhènjiāng). Designed the 15-mǔ garden of the provincial intendant Wú Yòuyú 吳又予 in Jīnlíng (Nánjīng) on the old site of the Yuán-dynasty 溫相 gùyuán east of the city, and the Luánjiāng xīzhù of the zhōnghàn (court-secretary) Wāng Shìhéng 汪士衡. Father of Chángshēng 長生 and Chángjí 長吉*, named in the postface. Author of KR3h0090 Yuányě 園冶 (drafted 1631, published 1634), the single most important Chinese theoretical treatise on garden design — the foundational text of the Chinese tradition of garden criticism, with three canonical concepts: yīn 因 (working-with-site), jiè 借 (borrowing-views), and tǐyí 體宜 (appropriate-scale).