Chinese Painting Masterpieces Classic Library. Ancient Part. Qiu Ying

Author: Jia Dejiang, Editor-in-Chief
Publisher:
Publishing Date: 2002-01-01
Features: Qiu Ying was one of the most representative painters of the Ming Dynasty. Together with Shen Zhou, Wen Zhengming, and Tang Yin, he was later known as the "Four Masters of the Ming Dynasty" or the "Four Masters of Tianmen." Shen, Wen, and Tang were not only renowned for their paintings but also for their accompanying poems and inscriptions. In terms of artistic style, Tang and Qiu were particularly close. Qiu Ying generally only inscribed his name and date on his paintings. Qiu Ying, styled Shi Fu, also known as Shi Pu, was known as Shi Zhou, and was from Taicang (now Taicang, Jiangsu). He later moved to Wuxian (now Suzhou, Jiangsu). He was born around 1498, during the eleventh year of the Hongzhi era of the Ming Dynasty, and died in 1552 during the thirtieth year of the Jiajing era of the Ming Emperor.
Qiu Ying was originally a craftsman, initially working as a lacquerer and later painting buildings. He later pursued a career in painting. In his youth, he gained recognition for his skillful painting and connected with many contemporary masters, earning the respect of Wen Zhengming and Tang Yin. Qiu Ying's friend Peng Nian recorded: "Shi Zhou was highly appreciated by the Cross Elder (Wen Zhengming) from a young age." He also studied painting under Zhou Chen and had the opportunity to view numerous ancient masterpieces in the homes of renowned collectors such as Xiang Yuanbing and Zhou Liu. He diligently copied and created many excellent works.
Qiu Ying was extremely serious about his craft, meticulous in every detail, and his paintings were always rigorous, detailed, and meticulously executed. He excelled in painting figures, landscapes, flowers and birds, and architectural scenes, particularly in his ability to copy. His skills were profound, and he often imitated the drafts of Tang and Song Dynasty masters, such as After the Paintings of the Song People and After Xiao Zhao's Emperor Gaozong's Auspicious Response to Heaven. If compared with the original works, the first album is almost indistinguishable from the real thing. His painting style primarily drew inspiration from Zhao Bochu and the Southern Song "Academy Style," particularly in blue-green landscapes and narrative paintings. His figures were precise, delicate, elegant, and vibrant, with subtle and reserved colors. The tones were light, refined, and graceful, incorporating the themes and brushwork aesthetics cherished by literati painting.
Qiu Ying was particularly skilled in figure painting, especially in portraits of women. He paid great attention to depicting historical themes, absorbing the techniques of Ma Hezhi from the Southern Song and the Yuan Dynasty. His brushwork was strong, and he excelled in copying, often achieving a level of realism that made his paintings appear lifelike. His use of gold and green, combined with red and white, was exquisite and unparalleled, rivaling the ancients. He was especially adept at using brushes of varying thicknesses to depict different subjects, either smoothly flowing or sharply contrasted. He was skilled in both coloring and line drawing. His figures were accurately proportioned, expressive, and graceful, with fluid lines, setting him apart from the rigid and stylized trends of his time. He directly followed the style of the Song Dynasty, greatly influencing later artists such as You Qiu, Yu Ziding, and the courtly portraits of the Qing Dynasty, becoming a of the era's beauty. Later critics praised his meticulous brushwork in portraits of women, describing them as delicate, lively, exquisite, and vibrant, making him one of the outstanding figures of the Ming Dynasty.
His outstanding works include Figures and Stories, the scroll Spring Morning in the Han Palace, and The Official's Duty.
Qiu Ying's landscape paintings drew heavily from Zhao Bochu and Liu Songnian, developing the tradition of the Southern Song's "Academy Style" as practiced by Li Tang, Liu Songnian, Ma Yuan, and Xia Gui. He synthesized the strengths of previous masters, preserving the classical tradition of meticulous and vibrant art while infusing it with elegant and fresh aesthetics, creating a new of "neither rigid nor overly sweet." He also painted ink wash landscapes inspired by Li Tang, sometimes depicting architectural scenes with great detail. He often created The Imperial Garden, depicting figures, birds, beasts, forests, pavilions, flags, carriages, and military formations, all inspired by the works of ancient masters, achieving what could be called the pinnacle of painting and a triumph for the art world.
Zhang Chou, in The Clear River Boat, praised Qiu Ying's paintings, saying: "Qiu Ying's mountains and rocks follow Wang Wei, his trees follow Li Cheng, his figures follow Wu Yuanyu, and his colors follow Zhao Bochu. He combines the strengths of all masters into a harmonious whole, achieving perfection in every aspect." Dong Qichang, in his inscription for The Immortals Playing Go, remarked: "Qiu Shi Fu is the reincarnation of Zhao Bochu, and even Wen and Shen could not fully master his techniques." Later artists who followed Qiu Ying's style include Shen Shuo, Cheng Huan, You Qiu, and Shen Wan.