Bystander Of Literary World

In the middle of Ming Dynasty,Shen Zhou,Wen Zhenming,Tang Yin and Qiu Ying were honored as “The Four of Ming Dynasty ",also known as " The Four of Wu School ".They had a profound influence on the painting art circle in the middle and late Ming Dynasty.In addition,Shen Zhou and Wen Zhenming were also known as the leaders of “Wu School”,and at the end of the Ming Dynasty,when Dong Qichang put forward the concept of " Wu School“,Tang Yin and Qiu Ying had not been included in the school,In the subsequent painting history and painting commentary,Tang Yin and Qiu Ying sometimes were included in the "Wu School” while sometimes they were excluded.In the painting history,the identity of QiuYing was confusing.He was painter-borned while his painting skills were outstanding.Whether his social status was independent? How could he form good interactive relationships with other literati and ultimately become one of " The Four of Ming Dynasty”? This paper carries out a case study of Qiu Ying,with his special identity as starting point,trying to reflect Suzhou painting art circles and its breeding social and cultural environment in the middle of the Ming Dynasty As a professional painter,Qiu Ying had a very high degree of recognition,and wasn’t obliterated in a large number of professional painters.He followed in the footsteps of literati as a bystander and making unremitting efforts to get rid of workman feature.As a result,his paintings had double aesthetic tastes of both Hang School and Li School.This paper explores the internal and external causes of Qiu Ying is painting subject selection and formation of painting appearance.Meanwhile,this paper focuses on making clear the relationship among "Li School" paintings,"Hang School" paintings,literati paintings,school paintings and professional painters’ paintings,and making In-depth interpretation and analysis of several major tangled propositions in painting history.