Riverside Scene at Qingming Festival

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This post was last edited by Qing_Xue on 2016-11-10 at 15:15. The \"Riverside Scene at Qingming Festival\" depicts the conditions of the capital city Dongjing during the Northern Song Dynasty (present-day Kaifeng in Henan Province), focusing on the natural scenery and prosperous scenes along the Bian River and in Bianjing. The Qingming Shanghe was a folk custom of that time, similar to today’s festival gatherings, where people came together to engage in commercial activities. The entire picture is roughly divided into three parts: the spring scenery in the suburbs of Bianjing, the scenes along the Bian River, and the streets and markets within the city. The folded dock on the Bian River was an **important hub for grain transportation and a key route for commercial activities during the Northern Song Dynasty. As can be seen in the illustrations, the area was densely populated with many merchant ships; some people rested in teahouses, others consulted fortune-tellers, while still others dined at restaurants. There’s also the “Wang Family Paper Horse Shop,” which sells items used for tomb-sweeping rituals. Boats ply back and forth on the river, one after another; some are pulled by tow laborers, while others are propelled by boatmen using oars. Some boats are laden with goods and sailing upstream, while others have docked at the shore, where workers are busily unloading their cargo. Spanning the Bian River is a massive wooden arch bridge, whose structure is ingenious and its design elegant. It resembles a flying rainbow; hence, it is called Rainbow Bridge. There is a large ship waiting to cross the bridge. The boatmen used bamboo poles for propelling them ； Useful for hooking bridges with a long pole ； Use hemp ropes to tie down the boat ； A few others were busy lowering the mast so that the ship could pass. The people on the nearby ship were also pointing and seeming to be shouting something loudly. Both inside and outside the ship, everyone was busy getting it ready to cross the bridge. The people on the bridge craned their necks, anxiously sweating over the tense scene of the ships passing by. This is the well-known Hongqiao Wharf area, where there are shops selling knives and scissors, food stalls, and various other goods along the bridge; two vendors are competing to attract a passerby to take a look at their merchandise. This place is truly a meeting point for water and land transportation, and can be regarded as the climax of the scene. The folded street is centered around a tall city tower, with houses lining both sides—one after another; there are tea houses, taverns, inns, butcher shops, temples, government offices, and more. The shops specialize in various goods such as silk and satin, jewelry and spices, incense and paper talismans. In addition, there are medical clinics, car repair shops, fortune-telling services, and facial grooming facilities – covering every possible industry. In front of the larger shops, colorful arches are erected along with banners to attract customers. The streets are crowded with people: merchants doing business, gentlemen enjoying the view, officials on horseback, peddlers selling their wares, wealthy families traveling in palanquins, monks carrying baskets on their backs, strangers asking for directions, children listening to stories in the streets, wealthy youths drinking heavily in restaurants, and disabled elders begging by the city walls. There are people of all ages and genders, from scholars to farmers, from merchants to artisans – everyone is represented here. Transportation vehicles: there are sedan chairs, camels, ox carts, rickshaws, as well as flatbed carts and other types; a wide variety of them is available, vividly portraying the bustling scene of a commercial city before people’s eyes. Folded-image association: http://p4.qhmsg.com/dr/220__/t010ccf043617ae8d64.png. The version of \"Riverside Scene at Qingming Festival\" in the form of a currency note. When this image is opened, one can see a convoy of camels on the road beside a stream; they are coming from the northeast direction, towards the city of Bianjing. Five donkeys are carrying heavy loads, and the driver in front guides the lead animal toward the bridge at the turn. The carriers behind use whips to urge their animals forward. Since they are nearing their destination, it’s clear from the skilled way in which they handle their loads that they belong to an experienced caravan team with many years of experience in traveling. A small boat was tied to a tree trunk beside the bridge, and several farmhouses were arranged in an orderly manner among the bushes. On the branches of a few tall trees, there were four bird nests, which appeared to be built in the same way and at the same heights as those built by crows. There are several stone rollers in the threshing ground, which are used for threshing during the autumn harvest; they remain unused at this time. There are several sheep in the sheep pen; next to it seems to be a coop for chickens and ducks. It appears that a large flock of chickens and ducks is raised there. It’s a truly peaceful rural scene—one can’t help but marvel at how advanced agriculture and animal husbandry were in China over a thousand years ago, during the Song Dynasty. The scene shown next is the intersection of agriculture and commerce. In the upper right corner, there is a procession going to fetch a bride, slowly turning in from the north. The groom is riding a jujube-red horse; behind him is a porter carrying the bride’s dowry, while in front of the horse, someone is holding the box containing the bride’s cosmetics. In front of all of them is a palanquin, likely meant for the bride to sit in, as its surface is decorated with various plants and flowers – this is what is known as a \"flowered palanquin\"“ ； The term “bridal sedan” probably originates from this cultural tradition, referring to the vehicle in which the bride rides on her wedding day. Behind the sedan chair, a porter carries a load of fish and meat, symbolizing that the bride’s family wishes her husband wealth and prosperity, with “fish” implying abundance. Starting from the time of Zhu Yuanzhang, tomb-sweeping during Qingming Festival became popular. Therefore, it is inappropriate to conclude from the word \"Qingming\" alone that this group is returning from visiting graves; it should be a group participating in a marriage ceremony. A farmhouse next to the teahouse housed two cows. Despite such a tremendous event having taken place in the vicinity, the cows remained unmoved; they continued to chew their cud leisurely. In the fields in the distance, the crops were growing healthily, and the farmer was watering and fertilizing them. A couple from the south set off on their journey, hiring two animals and a porter; in addition, there was a footman who carried the items they needed, heading slowly in a southeast direction. Across the street from the teahouse, there is a hotel. It hasn’t raised its signs to attract customers yet because it doesn’t serve breakfast. The hotel is located near a bulk cargo port, so its business is quite good. However, the guests are busy with their work, and it’s not yet time for them to eat or drink. You can see that the cargo owners at the port are counting the goods that need to be sent somewhere, while the port workers are stacking the delivered goods, preparing to arrange loading and unloading according to the distance of the delivery destination – in other words, load first, then handle the rest. Another ship is also unloading its cargo; through the branches and leaves of these trees that are a hundred or two hundred years old, one can see thick masts and ropes – it must be a large ship with a displacement of around sixty to seventy tons. In the middle of the street between the hotel and the teahouse, there was someone calling out to a fortune-teller. Presumably, he wanted the fortune-teller to predict something—whether it concerned marriage, family, or business. Upon hearing that business had come his way, the fortune-teller hurried over with light steps, clearly filled with joy. Looking down the street, a person from a takeout shop is talking with a vendor carrying goods on a load; it seems possible to hear their conversation – about what items such as oil, salt, soy sauce, and vinegar should be ordered tomorrow, and when the payment will be made. Further along, there are several more shops, and then another main road stretches into the distance, with pedestrians and donkeys and horses walking along it. A few more shops ahead lead to the main road, Bianliang Avenue. On both sides of this main road, there is heavy traffic and numerous shops, all clustered around this strategically advantageous location for cargo handling and storage. This freight depot is in an excellent geographical position, with streets leading in all directions; to the south it is adjacent to a deep-water harbor, where several ships are docked, loading and unloading goods one after another. One ship is currently being unloaded, with several dockworkers carrying sacks containing goods such as grain off the ship. People inside the ship’s hold are sorting through the goods and loading them onto the ship, and it seems possible to hear the sounds of workers lifting the sacks onto their shoulders from inside the hold. Ships waiting to be unloaded or loaded were anchored right by the warehouse dock. Once the captain boarded the ship, they would eat and set sail. The captain in front of the warehouse had just finished settling the bill and was about to board his ship when he happened to meet an acquaintance. Though he was eager to continue on his journey, he couldn’t afford to delay his acquaintance or friend, so he exchanged a few brief words with them in haste before bidding farewell with a bow. By this time, their steps had already turned, and their hurried rush toward the boat was evident. In the main channel of the dock, a cargo ship was sailing upstream, and the sailors on the right side of the ship were watching carefully to react promptly and avoid colliding with the ships that were moored there. It is very important to ensure safety when navigating rivers. A ship is anchored at the dock in front of the vessel; a sailor from that ship has already come out to keep a close eye on the movements of the other ships, ready to prevent any collisions between them. It seems that the ship in motion is about to dock, and the person at the front of the tug team has turned around to signal to his teammates to pull back the ropes. Looking further upstream along the river, there was a boat with eight oarsmen rowing; this indicated that the flow of water was quite fast. A helmsman kept a close eye on the conditions of the water and the boat as it moved forward. The ship in front is busy docking; this is a passenger terminal. There are over twenty people on that ship, working diligently. Several crew members on the deck are retracting the sails and lowering the masts, while others are catching the ropes thrown from the bridge in order to pull the ship toward the dock and secure it to the mooring posts there, thereby increasing the ship’s stability. Sailors on the left side use oars to push the ship toward the dock, thus adding momentum to its approach. At the bow, two sailors push the ship to the right while keeping an eye on the dock, so as to align the ship with it and adjust the force used for pushing. Another crew member waves his right hand with an oar, giving instructions to the crew at the dock; it seems he is the captain of this ship. The passenger ship has a wide hull and good stability; the crew members perform their duties skillfully and in perfect coordination – it’s clear that they are highly qualified workers. The cargo areas are enclosed and separated from each other, with doors provided for passengers to enter and exit. These doors are never opened until the ship has come to a complete stop. The safety measures are quite thorough, and it can be concluded that this is a passenger ship capable of undertaking long-distance trips with high safety standards. There were also many people on the dock waving at the passenger ships; they were there to welcome their family members or friends and relatives. Some even climbed onto the gangplanks so as to wave from a higher height and thus meet their loved ones sooner. On a smaller passenger ship nearby, people were also waving to attract business, calling out to those who needed to go to the docks along the Fenhe Waterway. It is evident that transportation in the Bian River basin was highly developed at that time, with water and land routes forming a comprehensive network for passenger and freight transport. The Rainbow Bridge is truly magnificent; it is so tall that even the largest ships in the Bian River basin can pass beneath it without difficulty. Its width and sturdiness allow several carts loaded with goods to travel side by side along it. Structurally speaking, it represents a remarkable feat of engineering. The entire bridge was constructed entirely from wood. Given that the currents of the Bian River were quite strong at the time, it would have been difficult to erect bridge piers in the riverbed. The engineers of that era thus utilized their ingenuity by placing large wooden beams side by side and joining them together via mortise-and-tenon joints to support the bridge’s span. The bridge deck was further reinforced by rows of wooden planks tightly fastened together, creating one massive, sturdy structure while also distributing the load evenly across all the supporting wooden elements. Just imagine: over a thousand years ago, without any modern construction machinery, it must have been extremely challenging to lay such massive wooden beams across the river. The sheer scale and grandeur of this project are truly awe-inspiring. There are sturdy guardrails along the bridge to ensure the safety of vehicles and pedestrians, thereby bringing the functionality and quality of the project to an impeccable level. Hongqiao is a vital thoroughfare; the bridge surface is bustling with traffic and pedestrians. Due to the high foot traffic, vendors take advantage of the situation to set up stalls – some selling goods, others offering food, and there’s even one stall that sells small hardware items such as knives, scissors, and padlocks. To make their goods more visible, these stalls are designed with slopes. This scene extends all the way to the bridge entrance, creating a distinctive commercial area. Beneath the bridge, a boat was moving upstream, seemingly intending to dock. The boatman at the bow was testing the depth of the riverbed. Generally, large stones are placed in the riverbed near the bridgehead to prevent the flowing water from eroding the embankment and causing it to collapse. Therefore, great care must be taken when maneuvering a boat in this area, so as to avoid running aground and damaging the vessel. http://p2.qhmsg.com/dr/220__/t01cdd3a004c98724ac.png A portion of the \"Riverside Scene at Qingming Festival\" (the tavern section). Not far upstream, several boats are moored along the shore in a row; two boats are sailing in the main channel. The chants of the oarsmen and those of the boat pullers echo in the air, gradually fading away. These human-centered scenes, combined with the beautiful scenery of the river, create a picturesque view of local customs. Therefore, it is a place highly sought after by scholars, artists, and nobles. In the river bend on the opposite bank, merchants have placed two pleasure boats there, allowing people to drink wine, sing, and enjoy the views of the Bian River. Further on, the scene shows a bustling commercial area outside the city; this is the region between the Bian River dock and the city gates, making it highly suitable for trade activities. As there have been no wars for many years, inns and teahouses have gradually developed here, with various shops lining the streets. Carriages, mules, and horses are constantly in motion. It is clear to see two craftsmen in a woodworking workshop busy working on a mule-drawn carriage. On a street that bends, a merchant is renting a donkey, while porters are loading goods onto it. There is also a woman who intends to rent a sedan chair for transportation. Further ahead lies a small labor market, which is also a necessary route to enter the city; as a result, business activities are frequent. An astrologer took advantage of this situation by building a house there, and many people come to him to have their lifespan and financial fortunes predicted, so his business is very prosperous. In front of the labor guild’s gate, near the small bridge over the stream, there were many laborers. Some were sitting down to rest, others were dozing off, and still others had simply lain down to take a rest. Inside the guild, mules and horses were also tied up; it seemed they were conserving their energy so they could work diligently once work became available. Although there was no work at the moment, they didn’t try to snatch business from one another—they strictly adhered to the rules of the guild. As you can see, business among the laborers in the square was booming: one sedan chair had already been hoisted onto shoulders, while another was waiting to be rented. On the bridge, a vendor had finished selling his goods and was heading home. Nearby, on the bridge near some residential houses, there were several donkeys. Beside a house, a woman was holding a baby in her arms; not far from her, several fat pigs lay resting. Just around Labor Square is the Moat Bridge, and businessmen take the opportunity to set up stalls there. A vendor was selling wicker and bamboo baskets; such items are lightweight, sturdy, and durable. Another vendor specializing in lanterns was doing brisk business. Once lit, these lanterns provide bright illumination while also being windproof—they make excellent companions for nighttime lighting. Look, someone just bought one and was about to leave, but the vendor immediately called out to another potential customer. Pedestrians were constantly crossing the bridge, and many people standing along its railings were gazing into the river, wondering whether anyone had managed to catch any big fish. More interesting is a street vendor in front of the city gate. He’s in a half-standing, half-kicking posture, waving at a man on horseback; it seems he tries to sell his weird gadgets to every passerby. A few people behind him are also paying attention to his business activities—they really resemble hangers-on helping with sales. The city gates were tall and magnificent. Several camels slowly made their way outside the city; these animals were not found in the interior regions and were native to the Gobi Desert. They were used as means of transportation. It was likely Western Regions merchants who came to Bianliang to do business, part of international trade caravans that traveled along the Silk Road. Another distinctive feature within the town is a commercial establishment that seems to be engaged in freight transportation; the freight logistics industry is already taking shape. Next to it is an sesame oil processing workshop, which enjoys good sales. There’s also carriage service for deliveries, and with an abundant supply of raw materials, the business has already reached a certain scale. There’s also a multi-story inn; its entrance is bustling with guests, and there are plenty of patrons inside as well—they must be wealthy merchants and businessmen. Across the street, there’s a barbershop; people in the town pay great attention to their appearance. The city has a complete range of functions; everything needed for daily life is available. One silk shop is particularly large, filled with silks and fabrics of various colors, which shows that sericulture and silk weaving were quite advanced at that time. The business of delivering water was also thriving, as the groundwater was as sweet and refreshing as mineral water. In just this small area within the city, there were two clinics. Dr. Yang was expert in the treatment of sores and abscesses, while Dr. Zhao was even more skilled; he had expertise in medicine for men, women, and children, and had a wide range of pills and remedies available. The standard of medical care at that time was quite high. A group of people was coming from the direction of the inner city; at the front, an honor guard led the way, looking very impressive. As the saying goes, civil officials travel in palanquins while military officers ride horses – and this was indeed a military officer, with someone else carrying a guandao sword for him behind him. Two others were at the dock, holding bits in both hands; this is the most effective way to prevent the horses from getting startled or losing their footing. Here, there is a discordant note in the imagery compared to before. How can such military officers fight? They’ve been living in such comfort and luxury. One can only imagine how the civil and military officials, as well as the high-ranking nobles within the inner city, must be living. Appreciation of the folded content: http://p1.qhmsg.com/dr/220__/t013a81f69354d5a0e4.png By Zhang Zeduan of the Northern Song Dynasty, \"Riverside Scene at Qingming Festival\" (partial view of the Rainbow Bridge). Several distinct artistic features can be observed in this painting: the brushwork is both precise and expressive, the colors are delicate, and it differs from ordinary landscape paintings, representing what might be called a separate artistic style of its own. The composition uses an aerial panoramic view to realistically and concisely depict this typical area at the southeast corner of Bianjing at that time. The author uses the traditional scroll format and organizes the composition with a \"scattered perspective\" approach. The scene is long yet not tedious, complex yet not chaotic; it is tightly structured, as if created in one continuous flow. The scenes captured in the painting range from quiet fields, vast rivers, to towering cities ； Not even the figures in the vehicles, the goods displayed by the vendors, or the words on the market signs are missed in the slightest. Within a scene featuring over 500 characters, various plots are interspersed in an orderly yet engaging manner. The folded content is rich in detail, depicting a wide range of things. In terms of its artistic techniques, The Along the River During the Qingming Festival uses a method of continuously moving the viewpoint, that is, the \"scattered-point perspective\", to capture the desired scenes. From vast plains, mighty rivers, and towering city walls to the nails and rivets on boats and carts, the small wares sold by vendors, and the inscriptions on shop signs—all are harmoniously organized into a unified whole. The painting features various figures such as scholars, farmers, merchants, doctors, fortune-tellers, monks, Taoists, clerks, women, children, boatmen, and rope handlers, as well as animals like donkeys, oxen, and camels. There are scenes involving market-going, buying and selling, strolling, drinking, chatting, rowing boats, pulling carts, riding in sedan chairs, horseback riding, etc. In the painting, there are streets and alleys filled with shops; hotels, teahouses, pastry shops, and a wide variety of other establishments can be seen. There are also city towers, rivers and harbors, bridges, cargo ships, as well as numerous government residences and thatched cottages. The \"Riverside Scene at Qingming Festival\" depicts 1,695 people, over sixty various animals, more than twenty wooden boats, over thirty buildings and pavilions, as well as more than twenty carts and palanquins. Such a rich variety of content is rare in ancient paintings from past dynasties. The various characters engage in different activities; not only do they wear different clothes and have distinct expressions and temperaments, but the various events are also interwoven together, filled with dramatic conflicts that leave the audience with much to ponder after watching. The folded structure is well-organized: complex yet not chaotic, lengthy but not redundant, with clear sections. It is commendable that, with such rich and diverse content, the main theme stands out, the beginning and end are connected, and the entire work forms a cohesive whole. Every character, scene, and detail in the painting is arranged logically. The relationships between elements such as density, complexity, movement versus stillness, and grouping versus dispersion are handled perfectly, resulting in a composition that is rich yet not cluttered, and abundant yet orderly. It fully demonstrates the painter’s profound insight into social life and his high level of skill in organizing and controlling the visuals. In terms of content, this painting belongs to the genre of genre paintings and possesses the characteristics of such paintings. In terms of technique, the folding method combines bold strokes with delicate ones. It is adept at choosing those things, scenes, and plots that are not only vivid and poetic but also possess essential characteristics to be depicted. Extremely meticulous observations of daily life, depicting every character and prop. Each person has their own identity, expression, and storyline. Building structures such as houses and bridges are depicted with great precision, stroke by stroke. Cars, horses, and boats are all included; the details are taken care of without losing the overall picture or its momentum. For example, the objects on ships, the methods of nailing and riveting, and even the ways of tying knots are described in great detail—it’s truly astonishing. Historical background of the folding scroll: In 1101, Zhang Zeduan created the “Along the River During the Qingming Festival”, which was then incorporated into the imperial collection. Emperor Huizong of Song, Zhao Ji, inscribed five signatures at the beginning of the scroll and stamped it with a small double-dragon seal (now lost). In 1127, following the Jingkang Incident, The Along the River During the Qingming Festival ended up in the territory of the Jin people. In 1186, Zhang Zhu, Zhang Gongyao, Li Quan, Wang Jian, Zhang Shiji, and others wrote inscriptions at the back of the painting. In 1260, after the establishment of the Yuan Dynasty, “Along the River During the Qingming Festival” was placed in the imperial archives. The attendants in charge of framing paintings secretly swapped them with forgeries and took them out of the palace. Sold to a high-ranking official, but later stolen and sold by the custodian to Chen Yanlian in Hangzhou. In 1351, Yang Zhun purchased it from Chen, with a long postscript describing the entire process. The following year, Liu Han from Jiangxi obtained a copy from Yang Zhun and wrote an inscription for it, praising it as having \"an unparalleled level of craftsmanship.\" In 1365, Li Qi of the Yuan dynasty recorded a map showing the Zhou family’s residence in Jingshan. Around 1461, Wu Kuan of the Ming dynasty wrote that the painting was in the possession of Zhu Hepo, the head of the Dali Temple. “Zhu Gong said, ‘There is a draft of this painting; it’s in the possession of Lord Zhang Ying.’ ’”In 1451, Li Dongyang of the Ming dynasty wrote two lengthy inscriptions at the back of the painting, detailing its content and the history of its circulation in China and Korea during the Ming dynasty: after the Hongzhi era, it came to belong to Xu Pu, the grand scholar of Hua Gai Hall. On his deathbed, Xu gave it to Li Dongyang. In 1524, it was placed under the authority of Lu Wan, the Minister of War. Lu wrote an inscription. After Lu Wan died, his son sold it to the Gu Dingchen family in Kunshan; soon after, it came into the possession of Yan Song and his son Yan Shifan, who were prime ministers. During this period, many rumors circulated in society about Yan Gao and his son using \"Riverside Scene at Qingming Festival\" to attack and frame the censor Wang Bao, and these rumors were recorded by people of that time in their notes and writings. Yan Song was defeated; his assets were confiscated and he was taken to the palace. In 1578, a postscript by Feng Bao of the Imperial Secretariat during the Ming Dynasty. The painting was transferred from the imperial palace to Feng Bao’s possession. In 1644, after coming under Qing rule, it was successively collected by Lu Feichi, Bi Yuan and others. In 1799, four years after Bi Yuan’s death, his property was confiscated, and his paintings were taken to the imperial palace and recorded in the \"Shi Qu Bao Ji San Bian\". After 1911, The Along the River During the Qingming Festival, along with other precious paintings and calligraphy works, was smuggled out of the palace by Puyi, the last emperor of the Qing dynasty, under the pretense of giving it to Pujie; it was first kept in Zhangyuan in the Tianjin Concession. In 1921, Puyi smuggled out cultural relics such as The Along the River During the Qingming Festival from the palace under the pretense of giving them to Pujie, and transported them from Tianjin to the puppet Manchukuo imperial palace in Changchun. In 1932, with the support of the Japanese, Puyi established the puppet state of Manchukuo; as a result, this famous painting was taken to Changchun and stored in the library building in the eastern courtyard of the puppet imperial palace. In August 1945, as World War II was coming to an end, the end of the Japanese invaders had also arrived. As the situation turned critical, Puyi and his Japanese masters fled by plane to Dali Zigou; the puppet Manchukuo imperial palace was in complete disarray due to a fire. Amid the chaos, many people took the opportunity to enter the palace in order to steal valuables; a large number of precious items from the fake imperial palace were scattered among the people during this turmoil, including the \"Riverside Scene at Qingming Festival\". Intercepted in Tonghua. The painting was stored at the Northeast Museum and later transferred to the Palace Museum in Beijing. In 1948, the People’s Liberation Army of China liberated Changchun. Zhang Kewei, a cadre of the People’s Liberation Army, gathered through local officials more than a dozen volumes of precious paintings and calligraphy works that had been scattered from the Puppet Manchukuo Imperial Palace, among which was \"Riverside Scene at Qingming Festival.\" In 1949, Comrade Zhang Kewei was transferred to work at the Northeast Administrative Committee. Before leaving, he handed over these more than ten scrolls to Comrade Lin Feng, who was one of the main leaders in establishing the revolutionary base area in the Northeast at that time. Through Lin Feng’s efforts, The Along the River During the Qingming Festival was brought to the Northeast Museum, and later transferred to the Palace Museum in Beijing for preservation. The folded versions of Song Dynasty artist Zhang Zeduan’s “Riverside Scene at Qingming Festival” are world-famous realistic paintings depicting everyday life. For over a thousand years, this painting has enjoyed great fame and popularity, with many imitations created. There are many copies and forgeries in the hands of private and public collectors across the country. It is estimated that there are over 30 existing versions of \"Riverside Scene at Qingming Festival,\" of which more than 10 are held on the Chinese mainland, 9 in Taiwan, 5 in the United States, 4 in France, and one each in the UK and Japan. The National Palace Museum in Taipei alone holds 7 such versions. The most exquisite folded Song Dynasty version: http://p3.qhmsg.com/dr/220__/t01b9a8df86a7d6ae08.png. Created by Zhang Zeduan during the Northern Song Dynasty, it depicts the scene of the streets in Kaifeng. The artist is Zhang Zeduan, and the artwork is currently housed in the Palace Museum; hence it is known as the \"Qingming Shanghe Tu\" version in the Palace Museum collection. “The Along the River During the Qingming Festival” is one of the most famous works in the history of Chinese painting; it not only boasts a high level of artistic skill but also has many interesting stories associated with it. There are many paintings in the history of art titled \"Riverside Scene at Qingming Festival,\" but only one is the genuine original. After research on this topic by numerous scholars and experts, there is general consensus that the painting currently held in the Palace Museum in Beijing is the original work by Zhang Zeduan of the Northern Song Dynasty. Other paintings with the same name are all later copies or fake works fabricated to impersonate Zhang Zeduan. The folded version of this painting is also known as the “Qiu Ying version”. It was created by Qiu Ying, one of the \"Four Masters of Wu School\", a famous painter from the Ming dynasty. Drawing on the theme of \"Riverside Scene at Qingming Festival\" and adhering to the compositional structure of the Song dynasty versions, he created a new painting set against the backdrop of Suzhou city during the Ming dynasty. He used a rich green and blue color scheme in his artwork, giving it a style that differs significantly from that of the Song dynasty versions. “\"Qiu Ben\" also served as the prototype for numerous imitations in later generations. Records from the Ming dynasty indicate that at that time, a wide range of works were created based on this original, and it soon became a luxury gift exchanged among high-ranking officials and wealthy families. It is known as a copy in the style of Qiu Ying. Currently housed in the National Palace Museum in Taipei. Many panoramic images of The Along the River During the Qingming Festival that are circulating on the Internet today are actually versions of this work. The folded version of the Qingyuan edition can be found at http://p8.qhmsg.com/dr/220__/t012a917e45cef39838.png. This is a partial view of the Qingyuan edition of \"Riverside Scene at Qingming Festival.\" The three versions were created in the first year of the Qianlong era (1736) by five painters from the Imperial Painting Academy: Chen Mei, Sun Hu, Jin Kun, Dai Hong, and Cheng Zhidao. These works are based on replicas from various dynasties, combining the strengths of different artists. Additionally, they reflect the unique customs of the Ming and Qing dynasties, such as outings in the countryside and various entertainment activities like performances. As a result, there are many intricate elements included, such as dramas, monkey shows, acrobatic acts, and combat scenes. Although it lacks the traditional style of the Song dynasty, this work remains an essential resource for studying the social customs of the period between the Ming and Qing dynasties. At the same time, influenced by Western painting styles, the buildings along the streets were drawn using perspective principles, with Western-style buildings also included among them. This scroll features vibrant and bright colors, as well as skillful and delicate brushwork; the depictions of bridges, buildings, and figures are all precise and meticulous, making it a truly outstanding work among court paintings. This version is currently held in the National Palace Museum in Taipei. It is known as the Qingyuan Edition of Along the River During the Qingming Festival. Later critics of this folding-style artwork noted that the artist used long scrolls and a perspective-based composition technique to incorporate complex scenes into a unified yet varied visual whole. The distances and heights of the city walls, bridges, houses, and pavilions depicted in the painting; the sizes of the grass, trees, cows, donkeys, and camels as well as their movements; and the activities of the inhabitants and travelers, along with the arrival and departure of boats and vehicles—all of these are portrayed in great detail, too numerous to count. The entire scene is vast in scale and rich in content. The painting boasts a grand atmosphere, a precise composition, and delicate brushwork, all of which reflect the painter’s profound insight into social life and his exceptional artistic skills. The Along the River During the Qingming Festival is not only a magnificent masterpiece of realist painting art; it also provides us with first-hand information on the commerce, handicrafts, folk customs, architecture, and modes of transportation in the major cities of the Northern Song Dynasty, holding great historical value as a document. Its rich ideological content, unique aesthetic perspective, and realistic artistic techniques have made it a classic work in the history of painting in China and around the world. The \"General History of China (Illustrated Edition)\\", for which Bai Shouyi served as an advisor, evaluates \"Riverside Scene at Qingming Festival\" as follows: The entire painting features over 500 figures, more than 50 animals, over 20 various types of vehicles and boats, numerous houses, countless props; it presents a grand scale, well-defined sections, a strict structure, and is organized in an orderly manner. Skilled in technique, with delicate brushwork, strong and powerful lines, and a mature and refined style. It reflects a highly refined painting skill and outstanding artistic achievements. At the same time, since the paintings depict the reality of society at that time, they provide important historical materials for later generations to understand and study urban social life during the Song Dynasty. The Concise Britannica, in its entry on Zhang Zeduan, describes The Along the River During the Qingming Festival as a long scroll depicting customs of great historical value; the artist successfully portrayed the life of people from all social classes in Bianjing city and its suburbs during the Qingming festival. The main characters are workers and small-town folks. The handling of the interrelationships between characters, buildings, vehicles, trees, and water currents is highly ingenious, creating a strong sense of unity; it holds great historical value. All the urban genre paintings created in subsequent generations were influenced by it. The Mystery of the Painting: The Theory of a Folded Autumn Scene http://p6.qhmsg.com/dr/220__/t01006e169466dca462.png \"Riverside Scene at Qingming Festival\" by Zhang Zeduan of the Northern Song Dynasty (suburbs of Kaifeng). This long scroll depicting daily life, created by the Northern Song painter Zhang Zeduan, is an artistic treasure renowned throughout the world. Like Han Heng’s ‘Picture of Five Oxen,’ it is regarded as a ‘national treasure’ in the world of painting. Its first collector was Emperor Huizong of Song (Zhao Ji); the original version of \"Riverside Scene at Qingming Festival\" written in his unique Shoujin script, along with the seal featuring two dragons (an informal seal used by Song emperors to mark artworks for appreciation or collection), serves as evidence that the painting was initially kept in the imperial palace. After Bianjing fell in 1126, all the precious artifacts in the palace, including this famous painting, were seized by the Jurchens, who at first did not realize its value. Another 59 years passed, to the 26th year of Dading in the reign of King Jin Shizong (1186), when Zhang Zhu of the Jin dynasty was the first to write an inscription for the \"Along the River During the Qingming Festival\" painting, citing the \"Xiang’s Comments on Paintings\" to confirm that Zhang Zeduan of the Song dynasty had created both this painting and another titled \"The Competition by the West Lake.\" It was thus that the name \"Along the River During the Qingming Festival\" was finally established. Throughout history, there have been some debates regarding the date when Zhang Zeduan created “Along the River During the Qingming Festival” and the meaning of the phrase “along the river”. However, since the Jin Dynasty, there seems to be no disagreement that the scene depicted in the painting is set during the Qingming Festival. The \"Wei Shui Xuan Diary\" from the Ming Dynasty records that this painting not only features an inscription in Emperor Huizong of Song’s delicate script as well as a small seal with the image of two dragons, but it also contains a poem written by Emperor Huizong of Song ； There is a line in the poem that reads, “Water flows above in the springtime river.” Thus, there is no doubt that the painting depicts a spring scene; modern and contemporary art historians such as Zheng Zhenduo, Xu Bangda, and Zhang Anzhi all support the theory that it represents a spring view. However, some people have raised objections to this. The first to doubt the claim about the spring scenery was Mr. Kong Xianyi, a teacher from Kaifeng. In the second issue of the magazine \"Fine Arts\" in 1981, he published an article titled \"Doubts about ‘Qingming’ in The Along the River During the Qingming Festival\", in which he listed eight reasons to conclude that what is depicted in The Along the River During the Qingming Festival is a autumn scene. I. At the right end of the scroll, there is a donkey carrying 10 baskets of charcoal. According to Meng Yuanlao’s “Record of the Eastern Capital” from the Northern Song Dynasty, every year in the tenth month of the lunar calendar, Bianjing would “supply charcoal for warming stoves; wine was served in front of the curtains as part of warmth-giving gatherings.” It would go against the customs and practices of the Song people to supply such charcoal around the time of the Qingming Festival. Meng Yuanlao and Zhang Zeduan lived in the same era. “Dreams of the Eastern Capital” is an important source for studying the customs and traditions of Bianliang during the Northern Song Dynasty; thus, the historical events described in it are likely to be reliable. II. In the scene, there is a farmhouse with a low fence surrounding plants that resemble eggplants; what’s more interesting is that several children are playing and chasing each other naked – none of these are things typical of the Qingming Festival. III. There are over ten figures in the painting holding fans; some are fanning themselves, while others are using them to shield themselves from the sun. Common sense dictates that fans are used during hot summer days; it’s very rare to see people using fans in early spring. IV. Straw hats and bamboo hats appear multiple times in the picture. “Straw hats and bamboo hats are items used to protect against the sun and rain. Since it isn’t raining in the picture, they must be intended for protection from the sun. Given the climate of Bianliang at that time, there seems to be no need for such protection during the Tomb-Sweeping Festival; this is something worth questioning. ”V. There are multiple taverns depicted in the picture; on their wine banners are the characters “new wine”. According to “Dongjing Meng Hua Lu”, “Before the Mid-Autumn Festival, all shops sold new wine... Zui Xian Jin was so popular that people rushed to drink it” (see the entry for “Mid-Autumn Festival” in this book). ”During the Song Dynasty, when the new grain arrived, people would brew wine to celebrate the bountiful harvest; otherwise, there would be no new wine at all. VI. There is a small tea stall with a sign on it that reads “Kou Shu Yin Zi”. “If the character ‘shu’ in ‘Koushuinzi’ is correct, this is sufficient to indicate its season. ”VII. On the riverbanks and bridges, there are several stalls where cut watermelons are displayed. In early spring, when the weather in Bianliang, the ancient capital of the Song Dynasty, was still chilly despite some warmth, it was impossible to have fresh fruits like watermelons. VIII. A procession of people riding in sedan chairs or on horses, accompanied by servants; a section behind the earthen tombs leading toward the city. Upon closer analysis, although it is possible for these people to visit graves, it would be more appropriate to describe it as returning from an autumn hunt; after all, grave visits can take place in all four seasons. As for placing flowers, this can be explained by the spring and autumn seasons as well. Judging from various phenomena in the scene, it seems more accurate to say that it’s autumn. Following Kong Xianyi’s article \"Questions about ‘Qingming’ in The Along the River During the Qingming Festival,\" the theory regarding a folded epithet was put forward in the mid-1980s by Mr. Zou Shencheng at the Chinese Society for the Study of the Song Dynasty, in his paper \"The Social Significance of Visual Historical Materials from the Song Dynasty.\" He argued that \"Qingming\" is neither a seasonal term nor a place name. Here, the term “Qingming” was originally an inscription written by the painter Zhang Zeduan when he presented this painting. Therefore, some believe that the term “Qingming” here should be understood in a broad sense. The Book of the Later Han provides an example from Izumo: “It is truly fortunate to be born in an ‘era of clarity and integrity’…” Judging from the tone, this “clarity and integrity” refers to enlightened governance. The inscription in the painting, reading “Qingming,” was originally a poem written by Zhang Zeduan as a tribute to present this painting to the emperors for their appreciation. The inscription left by the Jin people on the painting reads: “On that day, the Hanlin Academy presented the painting; its scenery is truly worthy of being passed down.” ”It is clear that the theme of this painting is to depict the peaceful scenes of everyday life. As for Zhang Zeduan’s age at the time of creation, he worked in the Hanlin Academy of Calligraphy and Painting during the reign of Emperor Huizong. The first person to own this painting was Emperor Huizong of the Song dynasty, which indicates that the painter intended to praise the prosperous era and win the favor of the supreme ruler. With this background in mind, it is clear that the term “Qingming” does not refer to a seasonal festival. There are also theories regarding the authenticity of \"Along the River During the Qingming Festival.\" Already during the Ming and Qing dynasties, there were various rumors on this subject. In the Qing dynasty, Xu Shupi recorded in his work \"Shi Xiao Lu\" that there are four people in the painting playing dice; two of the dice show a six, while another die is spinning. The person throwing the dice opens his mouth as if to shout \"six,\" hoping for another six to appear. The \"Riverside Scene at Qingming Festival\" depicts the scenery of Bianliang. A frame-maker named Tang Qin believed that the people of Bian (Kaifeng) pronounced the character for \"six\" with a pursed-mouth sound, whereas the people in the painting pronounced it with an open mouth, indicating that it was the Fujian dialect being used. He suspected that the painting was a forgery; similar accounts can be found in Yan Gongqing’s \"Leisurely Notes on Spending the Summer\". Historical records state that Tang Qin also studied the two claws of the sparrow in the painting; it was perched on two tile edges, which was likely a flaw committed by the copyist. Tang Qins, an unknown figure – is what he says really reasonable? It seems further research is needed. The mystery of the meaning behind folding: Zhang Zeduan’s “Riverside Scene at Qingming Festival” is such a monumental work; it must surely have some underlying meaning. So what do “Qingming” and “Shanghe” mean in the painting \"Riverside Scene at Qingming Festival\"? Experts and scholars studying The Along the River During the Qingming Festival have put forward three views based on their research into the meaning of \"Qingming\": First, the meaning of the Qingming Festival” ； Second, the meaning of Qingming Fang” ； Three, which means “the meaning of a prosperous and peaceful era”. Experts and scholars who hold the view on the \"Qingming Festival\" include the late cultural relics appraisal expert Mr. Zheng Zhenduo, as well as the painting and calligraphy appraisal expert Mr. Xu Bangda, among others. Mr. Zheng Zhenduo even pointed out that it was the Qingming Festival itself. The expert who held the view of \"Qingming Fang\" was the late Mr. Kong Xianyi from Kaifeng Middle School in Henan. In 1981, Mr. Kong Xianyi published an article titled \"Along the River During the Qingming Festival – Questions and Doubts\" in the \"Art Magazine\". In his article, Mr. Kong Xianyi, through research and analysis of items such as charcoal, grinding stones, fans, watermelons, and clothing, concludes that it depicts an autumn scene. The meaning of Qingming refers to “Qingming Fang”. According to this, the city of Tokyo was divided into 136 districts at that time, and the eastern suburbs of the outer city were divided into three districts, with the first one being the \"Qingming District\". Among the experts and scholars who hold the view of a \"prosperous era of peace,\" is the renowned appraisal expert Mr. Shi Shuqing. Mr. Shi Shuqing pointed out that \"Qingming does not refer to the day of the Qingming Festival itself, but rather serves as a metaphor for praising an era of peace and prosperity; in other words, it denotes political clarity and order.\" ”Many experts and scholars have offered various interpretations and debates regarding the meaning of “Qingming” in The Along the River During the Qingming Festival. So what does “Shanghe” in the ‘Riverside Scene at Qingming Festival’ refer to? For a long time, various experts and scholars have also put forward many interpretations of the meaning of the term “Shanghe”. There are several main views regarding the meaning of “Shanghe”: some experts and scholars believe that “Shanghe” refers to the upper reaches of a river” ； Some experts and scholars believe that “Shanghe” means “sailing against the current” ； Some experts and scholars also believe that “Shanghe” means “going to a grave”” ； Some experts and scholars also believe that “Shanghe” means “going to the market or streets”. According to the \"Records of the Splendid Times in Tokyo,\" the Bian River splits off from the Luo Kou area in the Western Capital and flows into the capital city; from there it heads east to Sizhou and then into the Huai River, carrying grain from the southeast. According to this text, water flows from northwest to southeast; otherwise, it flows from southeast to northwest. Therefore, some experts and scholars believe that “shanghe” refers to sailing upstream on the Bian River. However, some experts and scholars have put forward different views. According to the inscription by Li Dongyang of the Ming dynasty in \"Riverside Scene at Qingming Festival,\" it is said that \"‘Riverside’ refers to what is valued in society; it’s similar to how people bury their dead these days, which is why it is named thus.\" ”This is the key reason why some experts and scholars propose that “shang he” means “visiting graves”. However, some experts and scholars have put forward different views, arguing that “Shanghe” should not be interpreted as a verb but rather as a proper noun; if interpreted as a noun, “Shanghe” would refer to the Imperial River. Some scholars have also raised doubts: although The Along the River During the Qingming Festival depicts a magnificent and prosperous scene, it also shows beggars asking for alms, pigs running in the streets, and lazy soldiers sitting in front of government offices. How can these other scenes, which contradict an era of peace and prosperity, be explained? Foldable edit Section: Author profile http://p9.qhmsg.com/dr/220__/t019fe716b9415b7b48.png Zhang Zeduan. Zhang Zeduan (1085–1145), styled Zhengdao. Han ethnicity, from Dongwu in Langya (present-day Zhucheng, Shandong). A famous painter from the Northern Song Dynasty. His genre painting, \"Riverside Scene at Qingming Festival,\" is one of the world’s famous paintings and also his masterpiece. He was eager to learn from a young age; in his early years he traveled to Bianjing (present-day Kaifeng, Henan) to study, and later turned to painting. During the reign of Emperor Huizong of Song, he worked at the Hanlin Academy of Painting, specializing in landscape painting of palaces and buildings; he was particularly skilled at depicting boats, vehicles, markets, bridges, streets, and city walls. Later, he lived in a humble home, made a living by selling paintings, and created works such as \"The Competition at West Lake\" and \"Riverside Scene at Qingming Festival\". He was a distinguished realist painter at the end of the Northern Song Dynasty. Most of his works have been lost; the surviving pieces, “Along the River During the Qingming Festival” and “The Regatta at Jinming Pool”, are invaluable treasures of ancient Chinese art. The \"Riverside Scene at Qingming Festival\" is currently housed in the Palace Museum in Beijing. Additionally, the Tianjin Art Museum houses a small-scale painting titled “The Regatta on the West Lake” signed by “Zhang Zeduan”; it was a commissioned work and has now been transferred to the Tianjin Museum. The “Along the River During the Qingming Festival” painting still exists; it serves as the best illustration for works such as “Record of Dreams of the Eastern Capital”, “Ode to the Sacred Capital”, and “Ode to Bianjing”. It holds great value for historical research. Not only does it continue and develop China’s ancient genre paintings, which had long been lost, but it also carries on the fine traditions of historical genre paintings from the early Northern Song Dynasty. Zhang Zeduan depicted the movements and expressions of each character in a highly realistic and vivid manner. This fully demonstrates that Zhang Zeduan had a wealth of life experiences and was extremely skilled in his artistic techniques. Foldable edit section: The original artworks will be on display. Starting from September 2015, the Forbidden City will resume closing on Mondays. With the 90th anniversary celebration of the Forbidden City approaching, a series of major exhibitions will be unveiled one after another. At the top of the list is the special exhibition on the \"Shi Qu Bao Ji\" collection, which starts on September 8th; treasures such as the \"Riverside Scene at Qingming Festival\" will be returned to storage in advance on October 12th to \"rest.\" The original version of Zhang Zeduan’s “Riverside Scene at Qingming Festival” from the Song Dynasty will be displayed in its entirety after a ten-year interval. Zeng Jun, director of the Palace Museum’s Calligraphy and Painting Department, explained that most of the exhibits in this show are first-class cultural relics from the Song and Yuan dynasties, and they will be displayed mainly in the Wuying Hall. After the exhibition, these national treasures will be stored away to enter a \"dormant\" state, and will not be on display again for at least 3 years.