Xiāo Yúncóng 蕭雲從 (1596–1673; CBDB gives 1591–1668, but the standard art-historical literature dates him 1596–1673 — the discrepancy is noted here, and the more widely-followed 1596–1673 dates are adopted in the frontmatter), zì Chǐmù 尺木, hào Mòsī 默思 / Wúmèn dàorén 無悶道人 / Zhōngshān lǎorén 鍾山老人, of Wúhú 蕪湖 in Tàipíngfǔ 太平府 (modern Wúhú, Ānhuī).
Late-Míng jǔrén who refused to serve the Qīng after the conquest and lived as an yímín 遺民 painter, calligrapher, and book illustrator. Founder of the Gūshú 姑孰 school of landscape painting, named for Tàipíngfǔ’s classical name. His landscape work — bony, angular, and indebted to Yuán-dynasty masters and to Huángshān 黃山 imagery — made him a major influence on the early Qīng wénrén 文人 painting tradition; his contemporaries Méi Qīng 梅清 and Shítāo 石濤 acknowledged the line.
His most famous publication is the 《離騷圖》 Lísāo tú (1645) — a printed pictorial Chǔcí with engraved illustrations of every section, executed at the height of his yímín engagement and read both as a Chǔcí picturebook and as a coded lament for the fall of Míng. The book reached the Qīng court by the Qiánlóng era and became the basis for the imperially-sponsored expansion 《欽定補繪蕭雲從離騷全圖》 (KR4a0006), in which the missing illustrations were filled out by court artists.
CBDB id 88410. The CBDB lifedates (1591–1668) follow one strand of the Wúhú xiànzhì tradition; the 1596–1673 dating used here is the consensus of modern art-historical reference (e.g. Zhōngguó měishù jiā rénmíng cídiǎn and standard catalogues of Anhui-school painting).