仇英（约1497年-1552年），字实父，号十洲，汉族，江苏太仓人，后移居吴县，中国明代绘画大师，儒客大家，吴门四家之一。其画法主要师承赵伯驹和南宋“院体”，擅画人物，尤长仕女，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或圆转流美，或劲丽艳爽，偶作花鸟，亦明丽有致。仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。

仇英擅长画人物、山水、花鸟、楼阁界画，画法苍秀，构思巧妙，笔墨俊雅，尤长于临摹。常临仿唐宋名家稿本，如《临宋人画册》和《临萧照高宗中兴瑞应图》，前册若与原作对照，几乎难辩真假。画法主要师承赵伯驹和南宋“院体”画，青绿山水和人物故事画，形象精确，工细雅秀，色彩鲜艳，含蓄蕴藉，色调淡雅清丽，融入了文人画所崇尚的主题和笔墨情趣 。仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人，尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范。后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代画坛之杰出者。传世作品有《竹林品古》、《汉宫春晓图》卷（配图为此画局部）、《供职图》等。

Qiu Ying (about 1497-1552), the real father, Xizhou, Han, Taicang, Jiangsu Province, later moved to Wu County, master of Chinese Ming Dynasty painting, Confucian guests and one of the four Wu Men. His painting method is mainly taught by Zhao Boju and the "courtyard style" of the Southern Song Dynasty. He is good at painting characters. She is colorful, but also good at ink painting and painting. He can use a variety of brushwork to show different objects, or round to beautiful, or beautiful, occasionally flowers and birds, also bright and beautiful. Qiu Ying was one of the most representative painters of the Ming Dynasty. With Shen Zhou, Wen Zhengming and Tang Yin were later known as the "Ming Four" and "Wu Men Four", also known as the "Four Heroes of Tianmen Gate". Shen, Wen, Tang three, not only to win the painting, but also with poems and postscript, as far as the case is concerned, Tang, Qiu close. Qiu Ying in his painting, generally only titled, as little as possible, not to destroy the beauty of the picture, so painting history evaluated him for the pursuit of the artistic realm of the immortal.

Qiu Ying is good at painting figures, landscape, flowers and birds, pavilions in the boundary of painting, beautiful painting method, clever conception, elegant pen and ink, especially good at copying. Chang Linxian copied the manuscripts of famous Tang and Song masters, such as "Linxian Song people picture album" and "Linxia according to the map of Gaozong Zhongxing Rui". If the preface is compared with the original work, it is almost difficult to argue true or false. The painting method is mainly the division of Zhao Boju and the "courtyard style" painting of the Southern Song Dynasty. Green landscape and character story painting, accurate image, fine and elegant work, bright colors, implicit implication, elegant and elegant and beautiful colors, into the theme and ink interest advocated by literati painting. Qiu Ying was good at figure painting, especially official ladies. She attached importance to the depiction and depiction of historical themes, and absorbed the techniques of horse and Yuan people in the Southern Song Dynasty. She was good at copying, powder and yellow paper, and writing. As for hair cui hao gold, comprehensive, perfect, worthy of the ancients, especially good at using different thickness to express different objects, or smooth, or frustration strength, both long color, and good at tracing. The character shape is accurate, strong summary, beautiful image, smooth lines, different from the current blackboard carving, straight to the Song Dynasty room, on the later You, Yu Ding and the Qing palace painting have a great influence, become the model of the beauty of The Times. Later generations rated their working and pen ladies, exquisite depiction, energetic, beautiful and elegant, for the outstanding painting circle in the Ming Dynasty. The works handed down include "Ancient Bamboo Forest", "Spring Festival Map of the Han Palace" volume (drawing part for this), "Work Map", etc.