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Qiu Ying (Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the <i>gongbi</i> brush technique.<br/><br/> Qiu Ying was born to a peasant family in Taicang (Jiangsu Province) and studied painting under Zhou Chen in Suzhou. Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Qiu Ying (Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying was born to a peasant family in Taicang (Jiangsu Province) and studied painting under Zhou Chen in Suzhou. Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Qiu Ying (Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying was born to a peasant family in Taicang (Jiangsu Province) and studied painting under Zhou Chen in Suzhou. Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Qiu Ying (Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying was born to a peasant family in Taicang (Jiangsu Province) and studied painting under Zhou Chen in Suzhou. Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Qiu Ying (Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying was born to a peasant family in Taicang (Jiangsu Province) and studied painting under Zhou Chen in Suzhou. Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Qiu Ying (Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying was born to a peasant family in Taicang (Jiangsu Province) and studied painting under Zhou Chen in Suzhou. Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Qiu Ying (Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying was born to a peasant family in Taicang (Jiangsu Province) and studied painting under Zhou Chen in Suzhou. Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
In the waning years of the Yuan dynasty (1279-1368), <i>wokou</i> (Japanese pirates) raided the coastal provinces of eastern China with increasing regularity. Despite suffering defeat in Shandong in 1363, raiding parties continued, pushing even farther south along the coast to Fujian Province.<br/><br/> The scroll in its entirety shows a party of Japanese pirates landing in a coastal community, scouting and raiding local residences, the flight of refugees, and the response of Ming troops who defend the area in a pitched battle on the water.
Qiu Ying (Chinese: 仇英; pinyin: Qiú Yīng; Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying's courtesy name was Shifu (实父), and his pseudonym was Shizhou (十洲). He was born to a peasant family in Taicang (太仓 - now Jiangsu Province) and studied painting under Zhou Chen in Suzhou.<br/><br/> Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Qiu Ying (Chinese: 仇英; pinyin: Qiú Yīng; Wade–Giles: Ch'iu Ying) was a Chinese painter who specialized in the gongbi brush technique.<br/><br/> Qiu Ying's courtesy name was Shifu (实父), and his pseudonym was Shizhou (十洲). He was born to a peasant family in Taicang (太仓 - now Jiangsu Province) and studied painting under Zhou Chen in Suzhou.<br/><br/> Though Suzhou's Wu School encouraged painting in ink washes, Qiu Ying also painted in the green-and-blue style. He painted with the support of wealthy patrons, creating images of flowers, gardens, religious subjects, and landscapes in the fashions of the Ming dynasty.<br/><br/> He incorporated different techniques into his paintings, and acquired a few wealthy patrons. His talent and versatility allowed him to become regarded as one of the Four Masters of the Ming dynasty.
Emperor Xuanzong of Tang ( 8 September 685-3 May 762), also commonly known as Emperor Ming of Tang (Tang Minghuang), personal name Li Longji, known as Wu Longji, was the seventh emperor of the Tang dynasty in China, reigning from 712 to 756. His reign of 43 years was the longest during the Tang Dynasty. In the early half of his reign he was a diligent and astute ruler, ably assisted by capable chancellors like Yao Chong and Song Jing, and was credited with bringing Tang China to a pinnacle of culture and power. Emperor Xuanzong, however, was blamed for over-trusting Li Linfu, Yang Guozhong and An Lushan during his late reign, with Tang's golden age ending in the great Anshi Rebellion of An Lushan.