丰坊，鄞县（今浙江宁波）人，以书法闻名于世。生卒年不详，是明代的一位杰出书家，也被称作道生、存礼或人翁。他更有号南禺外史，在嘉靖二年的进士考试中脱颖而出，后来担任南京吏部考功主事的职务。丰坊在书学方面具备深厚的造诣，他擅长使用枯笔，这种技巧需要强劲的手腕和精准的控制，但他的作品在风格上略显单调，有时会被认为缺乏神韵。

尽管如此，丰坊在草书方面尤为突出，他还是一位优秀的篆刻家，并且擅长绘画山水景色。在晚年，由于身体原因，他常常感到麻木并跌倒，这些状况都对他的书写带来了一定影响。他留下了一系列著作，如《书诀》、《古书世学》、《春秋世学》和《诗说》，其中许多作品至今仍能传承下来，如《唐人诗屏》、《谦斋记卷》、《秣陵七歌册》以及《唐诗长卷》等。

特别是他所创作的《谦斋记》，这是一幅以嘉靖二十七年（1548）完成的手稿，全用行書体ritten on paper with ink. Its vertical dimension measures 28.2 centimeters and is now housed in the Kyoto Myoshin-ji Temple in Japan. This work showcases the author's mastery of style, as well as his unique characteristics that set him apart from others who simply imitate without fully understanding.

Upon closer inspection, one can see that although he drew inspiration from the works of other masters like Huang Tingjian, he did not blindly follow their lead but rather infused his own personality into them. His brushstrokes are bold yet not clumsy; he combines slow, steady, and heavy strokes to create a sense of sharpness and grandeur while maintaining a lively rhythm.

In addition to his focus on creating flowing lines, he also paid close attention to spacing between characters and lines. The harmonious distances allow for proper expansion when adding embellishments or calligraphy flourishes, ultimately giving the piece an expansive feel that engages the viewer's senses.

Through these techniques and principles, we can appreciate how richly textured yet balanced this artwork is – a testament to its creator's skillful craftsmanship across various artistic mediums during his time in history.