SòngYuán transition poet, the senior figure of the Hángzhōu late-Sòng / early-Yuán poetic circle. Zì Rénjìn 仁近 (also Rénfù 仁父); self-styled Shāncūnmín 山村民 (“Mountain-Village Commoner”) after his residence at Qiú Mountain 仇山 on Yúháng Stream 餘杭溪 outside Hángzhōu. Native of Qiántáng 錢塘 (Hángzhōu, modern Zhèjiāng). The catalog meta gives “b. 1261” but this is inconsistent with the Sìkù editors’ own remark that Qiú was already poetically famous in the Xiánchún 咸淳 reign (1265–1274); the standard CBDB date 1247–1327 is followed here.
Career. Already poetically famous in the late Sòng Xiánchún era (1265–1274); after the Sòng fall, served the Yuán as Lìyáng jiàoshòu 溧陽教授 (Lìyáng education-instructor — modern Jiāngsū Nánjīng region), briefly during the Zhìyuán era; soon dismissed and retired to roam Lake and Mountain. Painted by Gāo Kègōng 高克恭 as the subject of the famous Shāncūntú juàn 山村圖卷.
Poetic doctrine. Qiú’s preserved utterance — “for jìntǐ I take Táng [as master]; for gǔtǐ I take the Wénxuǎn [as master]” (近體吾主唐, 古體吾主選) — is a foundational Sòng-Yuán-transition poetic statement, deliberately rejecting the late-Sòng Jiānghú 江湖 and Sìlíng 四靈 schools’ “no-allusion” (bù yòng shì 不用事) doctrine. Qiú argued: “[students] take ‘no-allusion’ as the first-rank-grade — but Dù Fǔ has not one character without source. The ‘no-allusion’ saying is in fact a fault of writing-without-reading.”
With Bái Tǐng 白珽 白珽 (1248–1328), Qiú is paired in fame as “QiúBái” 仇白 — the two most-celebrated late-Sòng / early-Yuán Hángzhōu poets.
Poetic network. Exchanged compositions with Zhōu Mì 周密, 趙孟頫, Wú Qiūyǎn 吾邱衍, Xiānyú Shū 鮮于樞, Fāng Huí 方回, 黃溍, and 馬臻. His students included 張翥 張翥 (1287–1368) and Zhāng Yǔ 張羽 — both major Yuán-era poets who carried the Táng-orthodoxy into the Yuán mainstream.
Within the Kanripo corpus. KR4d0447 Jīnyuān jí 金淵集 (撰); KR4d0448 Shāncūn yíjí 山村遺集 (撰).