石渠寶笈初編(養心殿),上冊,頁629&故宮書畫錄(卷四),第二冊,頁307&故宮書畫圖錄,第二十一冊,頁413-420&「清明上河圖」是寫實風俗畫的傑作,歷代臨仿者甚多,此卷是由清宮畫院的五位畫家陳枚、孫祜、金昆、戴洪、程志道在乾隆元年(西元一七三六年)合作畫成,因此又稱為「清院本」。所畫的事物繁多,可以說是按照各朝的仿本,集各家所長的作品。用色鮮麗明亮,用筆圓熟,界畫橋樑、屋宇、人物皆細膩嚴謹,雖失去了宋代古制,卻是研究明清之際社會風俗不可缺的材料。&Up the River on the Ch’ing-ming Festival Court Artists Ch’ing Dynasty(1644-1911) The original version of Up the River on the Ch’ing-ming Festival from the Sung dynasty is a masterpiece of genre painting. Many copies were made over the centuries. This is a collaborative effort of 5 Ch’ing court artists-Ch’eh Mei, Chin K’un, Tai Hung, and Ch’eng Chih-tao-and was completed in 1736, hence its name as the “Ch’ing court version.” The contents are extremely rich, following after the styles and contents of previous versions. With its bright coloring and mature brushwork, the ruled-line representation of the architecture and the rendering of the figures are fine and exact. Although it departs from the Sung version (960-1279), it is an invaluable source of study for Ming and Ch’ing society and customs. & 宋張澤端(活動於西元十二世紀前期)「清明上河圖」是畫史中寫實風俗畫的一件傑作,歷代臨仿者甚多,在故宮即藏有七種不同的本子,其中就屬清院本「清明上河圖」最為有名。此卷為乾隆元年(一七三六)由宮廷畫院畫師陳枚、孫祜、金昆、戴洪、程志道等五人合繪。 此卷設色鮮麗,用筆圓熟,界畫橋樑、屋宇及人物皆十分細膩嚴謹,是院畫中之極精者。所畫事物甚多,雖失去了宋代古制,但也足以代表明清之際北京風物。 &Along the River During the Ch’ing-ming Festival Season Court Painters Ch’ing Dynasty (1644-1911) Along the River During the Ch’ing ming Festival Season by Chang Tse-tuan (fl. early 12th cent.) is a masterful depiction of popular customs which has been revered and often copied throughout the dynasties. There are seven versions alone in the National Palace Museum, and this one by court painters of the Imperial Painting Academy of the Ch’ien-Lung emperor (r.1736-1795 ) is the most famous. This painting is a collaborative work by the court painters Ch’en Mei, Sun Yu, Chin K’un, Tai Hung, and Ch’en Chih-tao. Brilliantly colored and characterized by sure, round brushwork, this represents a fine example of Ch’ing dynasty court painting. The bridges and buildings depicted in the ruled-line method (chieh-hua) as well as figures are exquisitely detailed. Although this painting has lost the archaic feel of the Sung dynasty version, it presents a tableau of the scenes of Peking from the late Ming and early Ch’ing period.