QiuYing (1494-15520), Taoyuan Fairyland, Chinese ink wash and drawing on silk scroll,66.7 x 173 cm

QiuYing (1494-15520), Taoyuan Fairyland, Chinese ink wash and drawing on silk scroll,66.7 x 173 cm

QiuYing’s Green Landscape

Wednesday, April 13, 2016

Green landscape is one of the classic styles of traditional Chinese painting, and is mainly a unique way to express the real nature and the painter’s inner emotional feelings. It has a glorious historical background and unique aesthetic characteristics. Green landscape has two styles, one is strong green landscape and the other one is pastel green landscape. The strong green landscape with gorgeous colors is very beautiful, and the pastel green landscape with light colors is full of charm. But no matter which one is full of magnificent momentum, gorgeous colors, strong decorative screen and symbolic expression of art, making it a beautiful traditional Chinese painting that can’t be ignored, thus it has always been standing in the stage of art.

In advocating ink paining style of the Ming Dynasty, Qiu Ying achieved recognition and achievements with green landscape, which could be said to be unique rare case in the Ming Dynasty landscape painters. In generally speaking, Qiu Ying green landscape style can be divided into two categories: one is strong green landscape with gorgeous, and the other one is pastel green landscape with calligraphic elements. The middle of the Ming Dynasty was a special feudal development period, with the rapid development of economic, the progress of humanistic thinking and the transformation of artistic environment and social aesthetic. All of them contributed to the formation of Qiu Ying aesthetic proposition, so as to guide the style of Qiu Ying green landscape. In addition, the painting pigment of the Ming Dynasty in the development and changes, also had made great progress than before, providing more convenient conditions and abundant resources. Qiu Ying’s experiences of learning painting were both difficult and rich. In the grasp of colors and feelings, his experience as a young painter had brought him great help that was solid color skills and steadfast, hard learning attitude.

After that, Wen Zhengming appeared who was very important for Qiu Ying. He not only took care of Qiu Ying, but also introduced him to a highly respected teacher------Zhou Chen. Qiu Ying learned to pure painting language of Yuan Ti painting and rigorous artistic style from Zhou Chen there, which provided a great help to Qiu Ying future of art, but also had laid a solid foundation for his green landscape style of art. Qiu Ying, in the old age, lived in the home of the wealthy for a long time. He could study hard all previous art achievements. As the communication of Qiu Ying and “Wu Men painting branch” s deepening, eventually formed his unique new painting style of green landscape, which had a profound influence on later generations. Qiu Ying green landscape connected the secular life with the ideal of ordinary citizens fully together, which was full of strong vitality. When viewers see his art works, just like back in that time, they will have feelings of warm and natural, and this makes it easier for the public to be accepted and loved.

Qiu Ying beautiful green landscape in addition to the expression on the pure color language and the ink language, still followed the development of the times, and closely connected with cultural ideological trend at that time. There were many secular themes of the Ming Dynasty and meaningful emotions of literati class in Qiu Ying’s works. Taoyuan fairyland is his representative work, which was to meet the aesthetic needs of society and increase the level of appreciation. This made people love his works, including the literati class and the public sectors. Qiu Ying successfully found his own unique painting language of art that is a balance between the Yuan Ti painting and the literati painting.


ZiWei Wang, a student from The Central University Of Finance and Economics (CUFE) in BeiJing. She engaged in Chinese calligraphy study and Chinese traditional painting study for many years.  ZiWei has published seven articles in Chinese Calligraphy, Chinese Calligraphy Communication, Chinese Painting World,Oriental Art,The Research of Calligraphy and Painting, The Collected Works of The Central University Of Finance,Business Guide of Chinese Calligraphy and Painting during her undergraduate period. ZiWei Wang is a 3+2 program graduate student of Multidisciplinary Master’s (Visual Arts) at SUNY Buffalo S