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There is a craftsman named Qiu Ying
He came from a humble background and was forced to make a living
At the age of twelve or thirteen, he went to work as a painter
He was not good at poetry or calligraphy
But in his short life he created it
A large number of exquisite paintings have been passed down to future generations
Characters, landscapes, flowers and birds, green, light, ink
Brushwork, white drawing, coloring
Do everything, do everything
His paintings rarely have rivers and rivers
There is also no steep composition
It's just a landscape that you know all around
A hard-working farmer, an elegant literati
Naughty children, laughing women
Those nuanced life scenes
Simple and not monotonous, bland and not ordinary
Like his temperament, seriousness
Meticulous, both in accordance with the law and at the right time
Accumulated over time, it was finally the diligence and humility of a craftsman
Became with Shen Zhou, Wen Zhengming, Tang Yin
And called the Ming Four Houses of the future
- He is Qiu Ying
Part of Qiu Ying's "Map of the Upper River of the Qing Dynasty"
When Qiu Ying was born, Shen Zhou, the founder of the Wumen School, was more than 70 years old, and Wen Zhengming and Tang Bohu were also nearly old. But I couldn't imagine that this child, who was very different in age from them, would become a generation of painting masters who were comparable to them in the future.
Qiu Yingsheng was born in a civilian family in Taicang County, Suzhou, his father was a lacquer craftsman, although at that time there were many workshops in Suzhou and the commodity economy sprouted, but Qiu Ying's family situation was not good, often living with hunger. Therefore, he had to come out at the age of twelve or thirteen to help his father and learn to be a lacquer painter for a living. When it comes to lacquer painters, many people will have some contempt, but for Qiu Ying, that is real life, and he has no choice.
Part of Qiu Ying's "Hidden Map of Fish in Lotus Creek"
Qiu Ying was stubborn when he was a child, and at that time, a game called "two kicks" was popular, that is, standing on one foot, the other foot was placed horizontally on the knee supporting the foot, and then the children bumped into each other for fun, if anyone was small, they would be knocked over on their backs. This should be a game that big kids love to play, but the skinny Qiu Ying can always persist to the end. In fact, he didn't have any tricks, but when the big man bumped into him, he either dodged quickly or clenched his teeth, and the supporting foot was stuck on the ground. After such a long time, the big man couldn't help but feel numb in his legs and feet, and he sighed and conceded defeat.
Qiu Ying imitates Song paintings
Qiu Ying in life is also as stubborn and stoic, as a painter to learn to recognize, color, and even design patterns, but also often deal with the dealer shop. Therefore, the young Qiu Ying can often see all kinds of good paintings. Whenever he had the opportunity, he always looked at it silently and refused to leave for a long time. Of course, the poor Qiu Ying could not afford to buy these expensive scrolls, he just came gently, quietly, and endured the white eyes of the boss and the ridicule of the rich. Even so, as soon as he had time, he ran to the painting shop, crouched at the window, and secretly sketched, although no one applauded, but he was also very happy.
Qiu Ying's Song paintings have reached the level of chaos and truth-grabbing
Like most young people, about seventeen or eighteen years old, Qiu Ying made the most important decision in his life: he left Taicang, bid farewell to his old and sick parents, and came alone to the bustling city of Suzhou to fight for the painting dream in his heart. Suzhou in the 15th century was a melting pot of society and art, just like Florence, where the Renaissance was underway in the West, and the enthusiasm of art was igniting every stirring soul.
Qiu Ying came to Suzhou without hesitation and chose to settle in Taohuawu, first, because of the collection of handicraft workshops in this area, jade shops, furniture shops, inlay shops, fan shops, lamp shops, piano shops, gold and silverware workshops have everything, painters, painters, painters abound, at this time, he can only make a living as a lacquer artist he is good at. Second, because most of the Wumen painters who were in the sky at that time lived here, Qiu Ying had already heard about it. Tang Yin's "Peach Blossom Wood Villa" goes without saying, Wen Zhengming's "Wen Ya Alley" and Zhu Yunming's "Sanmaoguan Lane" are also here, which can be described as talented and steamed, and it is a moment of brilliance.
Qiu Ying worked in a handicraft workshop, working diligently as a painter during the day and secretly painting at night, often painting all night. When the morning rooster was called, he quickly flushed his face with cold water and plunged into the next day's toil. Sometimes the workshop owner sent him to work outside, so he took the opportunity to find a place to paint in some bustling temples and song houses. In the noisy city of Suzhou, there were many craftsmen and painters like him at that time, and he was so fully immersed in his own creation. Heaven really likes to take care of people who work hard, and one day, just as Qiu Ying was sitting on the street corner painting as usual, Wen Zhengming found him.
When Wen Zhengming discovered Qiu Ying, Qiu Ying's painting skills were not superb at that time, but in his elegant brushstrokes, there was a simple charm flowing, which was exactly what Wen Zhengming admired. After talking with Qiu Ying, when he heard about his difficult origins, Wen Zhengming couldn't help but glance at Qiu Ying. Since then, he has vigorously promoted this simple and diligent junior.
In 1517, Wen Zhengming first invited Qiu Ying to paint "Lady Xiang", when Wen Zhengming was forty-eight years old, Qiu Ying was probably only twenty years old, and he had just embarked on the road of painting, whether from the painter or in his heart, he had not reached the realm of a mature painter.
Wen Zhengming's paintings
According to records, at that time, Wen Zhengming "made Qiu Shi's father set colors." Both are dissatisfied. It is a self-made gift to Mr. Lu Ji. "It is said that Wen Zhengming let Qiu Ying set the color, changed it twice and was not satisfied, and finally did it himself." Presumably, this incident was a big blow to Qiu Ying, but Qiu Ying did not feel aggrieved, but felt that he had somewhat failed wen Zhengming's expectations. So Qiu Ying began to study color with vigor, which made the height he later reached in color design that few people could surpass.
Part of Qiu Ying's "Taoyuan Picture Scroll"
Even Dong Qichang, a harsh critic, had to admit that Qiu Ying had done a great job, especially Qiu Ying's green landscape. He said: "Li Zhaodao's faction is Zhao Boju and BoXiao, who are extremely skilled and have morale, and those who imitate them by posterity cannot afford to be ya, and if The Ding Yefu of The Yuan and Qian Shunju (Qian Xuan) are also." Cover five hundred years and have Qiu Shi's father, in Ruowen Taishi (文征明) extremely obedient, Taishi painted in this family, can not but inferior to the Qiu clan. ”
This is to the effect that there are many painters in the history of painting who paint green landscapes, but many people only have Seiko in their paintings, and there is no elegance. It has been five hundred years before there is a qiu Ying. In the green landscape, even Wen Zhengming was inferior to him. Indeed, few people can match the colors of ochre, taibai, stone blue, and stone green so well like Qiu Ying, elegant and simple.
Part of Qiu Ying's "Xunyang Farewell Map"
Suzhou has been a great tradition of learning since ancient times, and it has always been a tradition in Wuzhong to bring up future generations. In 1526, Tang Yin died, and the literary style of a generation of talents ended, and in this year, Wen Zhengming also entered the capital with an annual tribute and was given the hanlin edict. For Qiu Ying, his heart was extremely unwilling, and Wen Zhengming was also very relieved about Qiu Ying, who had just emerged. At the moment, Tang Yin had passed away, zhu Yunming was also seriously ill, and there was no second person in the Suzhou painting world at that time except For Zhou Chen. So Wen Zhengming asked Qiu Ying to take his painting and go to the Zhou family.
Of course, Wen Zhengming's face Zhou Chen could not but give, and he read Qiu Yingzuo's "Sending Zhu Ziyu Ling along the Mountain Map" with great courage and great prospects, so he gladly agreed to accept thisnother disciple after Tang Yin. Zhou Chen might not have imagined that the two disciples he had inadvertently received would all have the name of Blue out of Blue in the future.
After receiving Zhou Chen's guidance, Qiu Ying's painting skills improved by leaps and bounds. Qiu Ying has been an extremely serious person since he was a child, and he has copied the famous paintings of past generations meticulously, almost chaotically. In the bustling place of Suzhou, the sound of silk bamboo and the beauty of the singers and prostitutes are naturally indispensable to the ears, but Qiu Ying is also deaf and blind, just bent on painting, and from time to time sends the paintings to the capital for Wen Zhengming to comment.
Although there is no record of Qiu Ying's diligent study of painting, the painting is the voice of the heart, and from some of the paintings he left behind, we can still see his long-term diligence and humility. Qiu Ying's paintings rarely have Tang Bohu's profligacy, most of them are painstaking management, neat and elegant, and the pen and brush are implemented in a down-to-earth manner, which requires the accumulation of time and serious planning.
Part of Qiu Ying's "Spring Dawn map of the Han Palace"
From the "Spring Dawn Of the Han Palace", it is enough to explore the essence of Qiu Ying's painting and the meticulousness of his mind. The painting, which is nearly six meters long, depicts the daily life of the concubines (more than a hundred people) in the royal spring palace. Some of the paintings are reading on the table, some are dressing up, some are playing music, some are chatting, they are fighting grass, they are fluttering butterflies, they are enjoying flowers, and they are embroidering. There are also eye-catching Go activities, with few cloths on the chess floor and clear and recognizable vertical and horizontal chess paths. Each concubine in the painting has her own posture, each with its own posture, full of lively and happy atmosphere.
Qiu Ying painted many huge long scrolls during his lifetime, and there is one painting that cannot be ignored, that is, the volume of "Drawing on the River of the Qing Dynasty".
It is now in the national palace museum in Taipei
After experiencing the difficult years in the early years, Qiu Ying finally gained a firm foothold in the Suzhou painting world and gained a place. Many of his works were accepted by society, many elegant merchants rushed to buy them, and many collectors rushed to invite him to paint.
At this time, Qiu Ying no longer had to worry about his livelihood, nor did he have to make a living as a lowly lacquer craftsman, and what was shown in front of him was a smooth road. His travel scope also expanded further, and he began to meet some rich families and collectors, such as Xiang Yuanbian, Saturday Guan, Chen Guan, Wang Xianchen, Xu Zongcheng, Zhu Ziyu and so on. To some extent, these people are the parents of Qiu Ying in the second half of his life, and Qiu Ying basically lives in their homes to paint, so Qiu Ying has the opportunity to copy the famous paintings of the past generations and read a lot of books, which makes his artistic cultivation to a higher level. So he was ambitious and began to climb a new scale in his painting style.
Qiu Ying's "Map of the Upper River of the Qing Dynasty" was created based on zhang Zeduan's "Map of the Upper River of the Qingming Dynasty" in the Song Dynasty. It is said that the creation is because Qiu Ying's "Drawing on the River of the Qing Ming Dynasty" is compared with the original picture, and there are great differences in shape, size, structure, plot, brushwork, and artistic expression.
Zhang Zeduan's "Map of the Upper River of the Qingming Dynasty" depicts the prosperous scene of the Northern Song Dynasty capital City of Bieliang during the Qingming Festival. Qiu Ying painted a scene of the prosperity and wealth of Suzhou City in the middle of the Ming Dynasty. Judging from the preservation situation, Zhang Zeduan's "Qingming River Map" is 525 cm long and 25.5 cm high. Qiu Ying's "Map of the Upper River of the Qing Ming Dynasty" is 987.5 cm long and 30.5 cm high. In addition to increasing the height of the former, Qiu Ying almost doubled in length. The "Qingming River Map" draws about 500 characters, while Qiu Ying paints more than 700 lifelike characters, which have vivid expressions and are radiant.
From the picture, you can see that there are rich men riding high-headed horses and walking leisurely, there are also rich ladies sitting on palanquins, and many people are watching the drama around the stage. There are merchant ships moored in the river, and the arch bridges on both sides of the river are full of people, including farmers, merchants, craftsmen, officials, readers, fortune tellers, and all kinds of vendors.
There are also a variety of shops, liquor stores, workshops, tea houses, and brands with their own eye-catching brands. The noisy scene in the street market was depicted by Qiu Ying in a reasonable and orderly manner. At the same time, distant mountains and near water, green trees and pavilions, dotted with each other, set off each other. The elegance, beauty and elegance unique to Jiangnan are vividly remembered and fascinating.
Qiu Ying painted for four years, and he titled himself on the painting, "Painting four years to start the competition." It can be seen that Qiu Ying has paid a lot of time and effort for this painting, which really shows the amazing perseverance and outstanding talent of Qiu Ying.
In fact, as a professional painter, Qiu Ying has always been placed in an awkward position. Although his paintings were greatly recognized at that time, he was never written as a painter by the people of the time, and the records of him in the zhengshi were almost zero, and even qiu Ying's birth and death years were about the same time, and the stories about him could only occasionally glimpse some clues from some celebrity inscriptions.
It is said that Qiu Ying later married the daughter of a farmer and raised a son and two daughters. One of the daughters was named Qiu Zhu, because she had heard about it since she was a child, and when she grew up, she also became a well-known female painter at that time. Because she is a woman, not many people have been recorded, only that Qiu Zhu has been early and wise since childhood, and often watches her father paint, which is similar to the painting of Wen Zhengming's granddaughter Wen Shu.
The lower left corner is Qiu Ying's drop on the "Xunyang Farewell Map"
Regarding Qiu Ying, although history has only left a few words, his paintings still show him very honestly. Qiu Ying's paintings often only write a name and stamp it, and some people may say that Qiu Ying is not good at poetry, which is a manifestation of clumsiness. But I think that through the efforts of the day after tomorrow, Qiu Ying's cultivation is far more than this, which is more like a restrained gentleness, not over-expressed, just hope that people will see his frankness and diligence one by one. Carefully hiding himself behind the painting, the honesty and humility of this is enough to touch the hearts of the world.
Part of Qiu Ying's "Shanglin Tu" is based on Sima Xiangru's "Shanglin Fu"
Qiu Ying's "South China Autumn Water Map"
Part of Qiu Ying's "Album of Six Scenes of the Linsong and Yuan Dynasties"
Part of Qiu Ying's "Chibi Futu"
Part of Qiu Ying's "Hidden Map of Lianxi Fishing"
Qiu Ying's "Double Hook Orchid Diagram"
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