Zhuzhai shiji 竹齋詩集

Zhuzhai shiji 竹齋詩集 "Collected poems from Bamboo Studio" was written during the Yuan period 元 (1279-1368) by Wang Mian 王冕 (d. 1359), courtesy name Yuanzhang 元章, style Zhushi Shannong 煮石山農，Fanniu Weng 飯牛翁, Guiji Waishi 會稽外史 or Meihua Wuzhu 梅華屋主, from Zhuji 諸暨 (now in Zhejiang province). Wang travelled to Beijing, where he was widely admired for his scholarship but was not given an official post. In 1348, he returned south and journeyed through the southeastern regions, where he became acquainted with notable scholars such as Gu Ying 顧瑛 (1310-1369), Yang Weizhen 楊維禎 (1296-1370), and Zheng Yuanyou 鄭元祐 (1292-1364). Shortly thereafter, he returned to his hometown and lived in seclusion, focusing on his studies and teaching. In 1359, Wang Mian advised Zhu Yuanzhang 朱元璋 (1328-1398), the eventual founder of the Ming dynasty 明 (1368-1644), strategising for the unification of the empire.

Wang Mian excelled in both poetry and painting. He was exceptionally skilled at portraying flowers, especially plum blossoms. While living in seclusion on Jiuli Mountain 九里山, he planted a thousand plum trees, with which he kept company day and night. Consequently, he captured the essence and spirit of plum blossoms in his art, using red ink to create the flowers' "bone structure", a technique pioneered by Wang Mian. His writings include the Meipu 梅譜, which has been passed down through the generations.

The collection consists of three juan, with a supplement (Xuji 續集) of one fascicle and an appendix (a biography of Wang Mian by Lü Sheng 呂升), along with the text's revision completed by Wang Mian's son, Wang Zhou 王周 (d. 1407). The first three fascicles of this book feature poetry, while the Xuji includes prose writings in addition to poems.

Although Wang Mian was not a collector, he possessed a wide range of experiences. The numerous poems and writings on paintings featured in his book faithfully record his views on the works of earlier painters and his impressions of the contemporary art scene. From these writings, it is possible to gain insight into his perspective on painting, his likes and dislikes, and the state of the painters and calligraphers of his time.

The poems reflect the style of imperial court painting during the Song period 宋 (960-1279). They express views on the works of famous painters and describe the techniques and styles used in the paintings. These works reflect the achievements of the painting community at the end of the Yuan dynasty, especially those of painters from Zhejiang and Jiangsu (Liang Zhe 兩浙). The poems also include insights into Wang Mian's interactions, his circle of friends, and their shared admiration for certain painting styles.

The poetry and writings accompanying Wang Mian's paintings showcase his unique artistic style, subject matter, and aesthetic tastes. Furthermore, some postscripts, filled with jest, anger, and sharp humour, reflect the bold and humorous style of late Yuan-period literati. This candid expression is rare. While it was common for Yuan-period literati painters to write poems and postscripts on their works, most adopted a more conventional approach. Wang Mian's free-spirited and distinctive style of writing highlights his innovative style.

In the supplement of the book, a considerable number of his self-written poems about plum paintings are included, categorised into types such as "white plum" (sumei 素梅), "ink plum" (momei 墨梅) and "red plum" hongmei 紅梅) to facilitate readers' appreciation and interpretation.

The book is included in the series Siku quanshu 四庫全書.