Qinjin Song

Professional artist, graduated from Xi’an Academy of Fine Arts, China. In 2012, she founded Herborist Shanfang’s personal studio in Beijing. He currently lives and works in Shanghai and Beijing and has held numerous solo exhibitions in Beijing and Shanghai.

Her publications include “Jie Yu Hua”, “Picking Up Flowers – Chinese Paintings of Qinjin Song”, “Looking for Fragrance on the Road – New Ink and Flowers of Qinjin Song”, “Looking at Flowers on the Road – New Ink and Flowers of Qinjin Song “, “On the Path – Qinjin song’s Sketches from Life”, etc.

Works are published in “Oriental Art”, “Chinese Painting and Calligraphy”, “Art Observation”, “Research on Painting and Calligraphy”, “Art Newspaper China”, “Rongbaozhai”, “Art Market”, “Contemporary Chinese Painting”, “Chinese Art”, “Collection “, “Art School” and other publications.





The paintings of Qinjin Song were based on traditions and the practices established by Yun Nantian, Chen Baiyang and others but Song came up with new techniques of her own. Based on inheriting Yun Nantian’s elegant brushwork, bright and quiet colouring techniques of boneless flowers, Song’s art also combines Chen Baiyang’s freehand ink painting and the expressive skills of Western painting, gradually forming a style that emphasizes similarity and expressiveness, not only neat and beautiful, but also like freehand brushwork, the painting style of both work and writing has expanded the expressive space of small freehand flower and bird paintings to a certain extent.

Song painted wildflowers with colours instead of black ink. Traditional Chinese painting has experienced a development track from colour to ink painting, emphasizing ink and suppressing colour has gradually become the mainstream attitude towards painting of literati who have the right to speak in the ancient Chinese social structure, and it has been passed down to this day. However, Song tried to separate ink from colour, emphasized the beauty of colour in nature, and put ink at the end. This is a bold decision under the current trend of advocating the charm of ink and wash.

Looking at the works of Song you will find that these paintings full of poetic experience are not only the painter’s description of the external image of wildflowers but also the praise of their character behind the art form. The artist sings in harmony with her own temperament and natural atmosphere, which not only reveals the artist’s realm of “wild groves and plains like stalks” and “joys for flowers and whiskers”, but also reflects his indifferent and peaceful state of mind and elegant and quiet artistic taste. This kind of pursuit is just like the wildflowers that germinate in the early spring, and the wildflowers in the cold and humble will eventually turn into the fragrance of the mountains and wilds.




The Tranquility Inside One’s Heart – Qinjin Song’s Paintings

“Qinjin Song’s flower-and-bird paintings have two characteristics. On one hand, they come from the observation and praise of natural objects, and through those colourful rendering, they reveal the spiritual expression of life; on the other hand, they come from the revelation of Song’s inner state, which is the true nature and emotion enshrined in the mountains and wildflowers. Let us approach, listen carefully, and feel the artist’ simple feelings, and dwell in the peaceful world.”     – Shuyu Yin

(Shuyu Yin, originated from Bazhou, Hebei, China, was born in Xianghe, Hebei in 1974. He graduated from Hebei Light Industry School with a major in ceramic art in 1994. In 2000, he graduated from the Chinese Painting Department of China Academy of Art with a bachelor’s degree. In 2005, he graduated from the Department of Chinese Painting of Central Academy of Fine Arts with a master’s degree. In 2011 he graduated from the Central Academy of Fine Arts’ Institute of Formative Arts with a doctorate degree. Now he is an associate researcher at the Chinese National Academy of Arts, host of the “Art Observation” column and a member of the China Artists Association.)

The paintings of Song have an elegant style, and you can see freshness in the simplicity. Through every flower and grass in nature, she makes us see the vitality of nature with subtlety and grandeur. Especially now when the natural ecological environment is constantly being destroyed, Song has brought us “one flower, one world, one grass, and one universe” through the exhibition, thus reminding the relationship between man and nature, man and ecology.

From the perspective of painting, freshness and elegance are very important styles in Chinese painting. In fact, the more elegant things are, the more difficult it is to draw. The boneless flowers of Song have layers in the details, rich in the shades, and vast in the light. Her paintings incorporate many painting methods. It not only absorbs the traditional boneless flower painting method and ink painting technique, but also draws lessons from some western painting methods. It can be said that this is an improved contemporary boneless painting method. Song painted with great care, and the brushwork was particularly delicate, not careless, but meticulous. This is the strength of female painters, and it is beyond the reach of many male artists. It is through such subtle and delicate depictions that her painting realm and style are immediately revealed.


We often talk about “elegant interest”. Whenever I read Shiqiu Liang’s short essays, I have the aftertaste of seeing the big in the small. Similarly, I feel the same way when I appreciate and read Song’s paintings. Elegance is her technique and her realm. She expresses her authenticity, and the authenticity of the world. The world has a noisy side and a quiet side, but people often pay attention to the noisy side and ignore the quiet side. In urban life, elegant and quiet things can improve the quality of life. If Song’s paintings are displayed in the living room and bedroom, we will be happy after seeing them after a tiring day. This feeling of appreciation and reading will make people naturally return to the true state of life. Of course, painting has many expressive themes, but it cannot be judged by the theme. Whether it is paintings of major historical themes, urban ink landscapes and figures, fresh and elegant flowers, and wild grasses, all of them have their own meaning and value, and they will bring completely different feelings to people. The paintings of Song are not only needed in galleries, but also homes. They can comfort the soul and make people relax in the heavy life. In fact, this is the art that is very much needed in today’s era.

宁静的心灵世界 –- 宋秦晋的绘画艺术

“宋秦晋的山花野卉,动人可爱。她的花鸟画有两个方面的特质,一方面来自于对自然物象的体察与赞美,通过那些斑斓的色彩,透露出对生命的灵性表现;另一方面,来自于她内心状态的流露,那是寄托在山花野卉当中本真的心性与情感。让我们走近、细听、感悟画者朴素的情怀,驻足于宁静的心灵世界。 ”