Qiu Xiaoyu, with pen name Qiu Han, was a famous painter of China. He learned from some great masters at an early age such as Wu Guanzhong and Huang Yongnian and then took advanced study in France. He has integrated knowledge system, outstanding discriminability and wider horizon, for which he has created many excellent artworks. He is modest and gentle and indifferent to fame and wealth. In his traditional Chinese paintings, there is a kind of splendid beauty.

海潮退了,海面平靜,那是一種優美;海潮再起,波濤壯闊,那是一種壯美;圓,僅止于圓;方,僅止于方;而弧三角千變萬化,不齊之齊,黃賓虹稱之為內美;康有為評南北碑“一曰魄力雄強,二曰氣象渾穆,三曰筆法跳越,四曰點畫峻厚,五曰意志奇逸,六曰精神飛動,七曰興趣酣足,八曰骨法洞達,九曰結構天成,十曰血肉豐美”可稱之為大美,邱皛雨的中國畫,應該是一種大美。
在我的記憶里,有幾件書畫最為深刻,一件是宋徽宗趙佶的《瑞鶴圖》,一件是黃公望《富春山居圖》,一件是梁楷的《潑墨仙人圖》,一件是《懷仁集王羲之書圣教序》,一件是《始平公造像記》。還有兩件,它們是馬蒂斯的《舞蹈》及蒙德里安的《布基——伍基的勝利》,為何記憶深刻?因為美到了極致,無論優美、壯美、內美、大美。
在邱皛雨的中國畫中,記憶深刻的有那么幾件作品。一是《空門》,畫了四個和尚,三個并立,一個側立,頭部只用黃黑色塊作大體交待,比之梁楷的減筆更減筆,然而音容笑貌躍然紙上,簡潔的衣紋、鞋靴以及黃、紅、灰黑的色調構成,如讀“早悟三空之心”。

二是《四君子組畫》畫梅,畫面下方是老枝發出新枝,老枝蒼勁,新枝俏拔,花或含苞或開放、正側俯仰的芳姿顯得格外精神,畫面上方一枝倒掛,改俏拔為柔和,上下相映成趣,渾然天成。畫蘭畫菊亦同此章法,但垂下的蘭葉如同長長的柳枝,是書法的錐畫沙兼屋漏痕,而葉梢的一朵半蘭花,格外天真逗人。菊與梅不同之處是,梅,上下都是開放式的,菊卻上面疏放而俏皮,下面的粗枝棒著重重的金菊,幾點濃淡墨的葉子使金菊更為提神。……