Qiu Ying -- Wu.2

Author: Zi Du, Geng Jing, Yan Ai Hua
Publisher:
Publish Date: 2004-09-01
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 Great 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 Shi Fu), was known as Shi Zhou and was from Taicang (now Taicang, Jiangsu). He later moved to Wu County (now Suzhou, Jiangsu). He was born around 1498, during the 11th year of the Hongzhi reign of the Ming Dynasty, and died in 1552, during the 30th year of the Jiajing reign of Emperor Shizong.
Qiu Ying was originally a craftsman. In his early years, he worked as a lacquerer and also painted decorative designs on buildings. Later, he turned to painting as his profession. During his youth, he gained recognition for his painting skills 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 appreciated by the respected Hong Weng (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 like Xiang Yuanbi 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 skillful imitations. His expertise was profound, and he often imitated the drafts of famous Tang and Song Dynasty masters, such as Imitation of Paintings by Song Dynasty Artists and Imitation of Xiao Zhao's Emperor Gaozong's Auspicious Response to the Restoration of the Realm. 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 his blue-and-green landscapes and narrative paintings. His figures were precise, delicate, elegant, and vibrant, with subtle and reserved colors. The tones were light, elegant, and refined, incorporating the themes and brushwork favored by literati painting.
Qiu Ying was particularly skilled in figure painting, especially in portraits of women. He paid great attention to depicting historical subjects, absorbing the techniques of Ma Hezhi from the Southern Song Dynasty and the Yuan Dynasty masters. His brushwork was strong and vigorous, and he excelled in imitation. His paintings on yellow paper with white outlines were so lifelike that they appeared almost real. In terms of gold and green pigments, his works were exquisite and brilliant, rivaling the ancients. He was especially adept at using different brushstrokes to depict various subjects—sometimes smooth and flowing, sometimes abrupt and forceful. He was skilled in both colored painting and ink wash. His figures were accurately proportioned, with strong summarization, elegant and beautiful forms, and flowing lines, setting him apart from the rigid and stylized trends of his time. He directly followed the tradition of the Song Dynasty masters and had a significant influence on later artists such as You Qiu and Yu Ziding, as well as on the court portraits of the Qing Dynasty. He became a of the era's ideal 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.
Outstanding works include Figure Story Painting, the scroll Spring Morning in the Han Palace, and The Official's Duty among others.
Qiu Ying's landscape paintings drew heavily from Zhao Bochu and Liu Songnian, developing the tradition of the Southern Song "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 tastes, creating a new of "neither rigid nor sweet." He also painted ink wash landscapes inspired by Li Tang, sometimes depicting architectural scenes with great detail. He often created works like The Imperial Garden, depicting figures, birds and beasts, mountains and forests, pavilions and towers, flags and carriages, and military formations—all meticulously inspired by the masterpieces of ancient sages. These works were considered the pinnacle of painting and the triumph of the art world. Zhang Chou praised his work in The Clear River Boat, 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 and achieves perfection in every aspect."
Dong Qichang, in his inscription on The Immortal 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 included Shen Shuo, Cheng Huan, You Qiu, and Shen Wan.