仇英，约生于弘治末，卒于嘉靖三十一年前后（1505-1552）。字实父，号十洲，江苏太仓人，后居苏州，出身工匠。其生平事迹，画史记载极少。擅长画人物、山水、花鸟、楼阁界画，尤善于临摹，临仿唐宋名家稿本为多。画法主要师承赵伯驹和南宋“院体”，以工笔重彩为主。与沈周、文徵明、唐寅并称为“明四家”。代表作品有《中兴瑞应图》（现藏故宫博物院）、《莲溪渔隐图》（现藏故宫博物院）、《人物故事》（现藏故宫博物院）等。 此卷描写佛家普度众生 。画面布局工整，以细笔勾勒。人物形态自然，各个人物姿态描写精确，刻画细腻入微。树木造型工整严谨，减弱色彩纯度的同时，加以淡青绿色渲染，呈现出一种雅逸之气。

Qiu Ying was born at the end of Hongzhi and died around the 31st year of Jiajing (1505-1552). He was born in Taicang, Jiangsu Province. He lived in Suzhou and was born as a craftsman. His life story is rarely recorded in the history of painting. He is good at painting figures, landscapes, flowers and birds, and pavilions, especially in copying. He imitates many famous works of Tang and Song dynasties. Zhao Boju and Yuan style of the Southern Song Dynasty are the main painters of the painting technique. Together with Shen Zhou, Wen Zhengming and Tang Yin, they are called "four Ming schools". His representative works include the painting of Ruiying in Zhongxing (now in the Palace Museum), the fish hidden in Lianxi (now in the Palace Museum), and the story of characters (now in the Palace Museum). This volume describes Buddhism's universal salvation. The layout of the picture is neat and well-defined. The shape of the characters is natural, and the description of each character's posture is accurate and delicate. The tree modeling is neat and rigorous, reducing the color purity at the sa阿me time, rendering it light green, showing a kind of elegant atmosphere.