Late-Yuán painter, poet, and fēngliú recluse of Wúxī 無錫 (Xīshān 錫山). Style-name Yuánzhèn 元鎮; sobriquet Yúnlín 雲林; alternative Níyū 倪迂 (“Stubborn Ní”) and Fēngyuè zhǔrén 風月主人. One of the Four Yuán Masters of Painting (Yuán sìjiā: Huáng Gōngwàng, Wáng Méng, Wú Zhèn, Ní Zàn). Born to substantial wealth, in his mature years he handled none of the family wealth, devoting himself instead to building the Qīngmì gé 清閟閣 (“Pure-and-Private Pavilion”) to house his ancient calligraphy and painting collection. His painting style — sparse landscape, river-side trees, an empty pavilion, no people — became the defining late-Yuán yùn (resonance) and was the principal influence on the early Wú-school painting (Shěn Zhōu 沈周 → Wén Zhēngmíng 文徵明). He was extraordinarily fastidious about cleanliness — a much-anthologized eccentricity, frequently compared to the Sòng-period Mǐyuè 海岳 (Mǐ Fú 米芾). In the late Zhìzhèng era, with warfare imminent, he distributed his estate, took to a small boat, and lived between the Wǔhú 五湖 (Tàihú) and the Sānmǎo 三泖 (the Sōngjiāng river-channels), spending his last decades as a “tiānsuízǐ”-style floating recluse. He survived to Hóngwǔ 7 (1374). His Ní Yúnlín xiānsheng shī jí 倪雲林先生詩集 (KR4d0575) and Qīngmìgé quánjí 清閟閣全集 (KR4d0576) are the two main literary collections; the first was compiled by Jiǎn Xī (Cháoyáng) 蹇曦 of Jīngxī, with a 1460 preface by Qián Pǔ 錢溥; the second is the Sìkù WYG recension (12 juǎn, edited by the Míng Cáo Péilián 曹培廉). His friendship with Gù Yīng 顧瑛 (KR4d0574), Yáng Wéizhēn 楊維楨, Zhāng Yǔ 張雨, and Dài Liáng 戴良 (KR4d0569) — who composed his Yúnlín xiānshēng shī xù — is documented in many late-Yuán Wúzhōng sources.