Чжан цзэдуань праздник цинмин на реке

Along the River During the Qingming Festival
清明上河圖
A small section of the painting depicting scenes at the Bianjing city gate
Artist	Zhang Zeduan
Year	1085–1145
Type	Ink and color on silk; handscroll
Dimensions	25.5 cm × 525 cm (10.0 in × 207 in)
Location	Palace Museum, Beijing

Along the River During the Qingming Festival
Traditional Chinese	清明上河圖
Simplified Chinese	清明上河图
Literal meaning	Title can be considered a literal translation; alternatively A Picture up the River at Qingming
Transcriptions Standard Mandarin Hanyu Pinyin Qīngmíng Shànghé Tú Wade–Giles Ch‘ing-ming Shang-ho T‘u

Along the River During the Qingming Festival (Qingming Shanghe Tu) is a handscroll painting by the Song dynasty painter Zhang Zeduan (1085–1145) and copied many times in the following centuries. It captures the daily life of people and the landscape of the capital, Bianjing (present-day Kaifeng) during the Northern Song. The theme is often said to celebrate the festive spirit and worldly commotion at the Qingming Festival, rather than the holiday’s ceremonial aspects, such as tomb sweeping and prayers. Read right to left, as a viewer unrolled it, successive scenes reveal the lifestyle of all levels of the society from rich to poor as well as economic activities in rural areas and the city, and offer glimpses of period clothing and architecture.^[1] The painting is considered to be the most renowned work among all Chinese paintings,^[2][3] and it has been called «China’s Mona Lisa.»^[4]

As an artistic creation, the painting has been revered and artists of subsequent dynasties made hundreds of replicas, copies of copies, and even forgeries of well-regarded copies, each following the overall composition and the theme of the original but differing in detail and technique.^[5] Over the centuries, the Song original was kept by private collectors before it eventually returned to public ownership. The painting was a particular favorite of Puyi, China’s Last Emperor, who took it with him when he was forced to leave the Forbidden City in 1924. It was recovered in 1945 and kept at the Palace Museum in the Forbidden City. The Song original and later versions are regarded as national treasures and are exhibited only for brief periods every few years.^[6]

The Song original[edit]

The original painting is celebrated as the most famed work of art from the Song dynasty.^[7] However, little was directly known about its painter, who is generally presumed to be Zhang Zeduan, since records were destroyed when the Jin dynasty overthrew the Northern Song dynasty. There is continued debate and research over its creator, the date and location of where it was painted, and the intended meaning of the work. The earliest attribution to Zhang Zeduan is an inscription dated 1186, which was added on the basis of an earlier catalog by the Jin imperial curator, Zhang Zhu (active late 12th century) to the original scroll:^[8]

Hanlin [Academician] Zhang Zeduan, courtesy name Zhengdao, was a native of Dongwu. He went to the capital to study when he was young. Later he learned painting. He mastered jiehua and took particular pleasure in depicting boats, carts, markets, bridges, city walls, and streets. He even established his own style. According to Mr. Xiang’s critiques on paintings, [the works] Xihu zhengbiao tu (Dragon Boat Regatta on the West Lake) and Qingming shanghe tu belong to the divine class; collectors should treasure them.^[9]

The scroll is 25.5 centimetres (10.0 inches) in height and 5.25 meters (5.74 yards)^[10] long. In its length there are 814 humans, 28 boats, 60 animals, 30 buildings, 20 vehicles, 8 sedan chairs, and 170 trees.^[1] Only about twenty women appear in the Song dynasty original, and only women of low social rank are visible out of doors unless accompanied by men.^[11]

The countryside and the densely populated city are the two main sections in the picture, with the river meandering through the entire length. The right section is the rural area of the city. There are crop fields and unhurried rural folk—predominately farmers, goatherds, and pig herders—in bucolic scenery. A country path broadens into a road and joins with the city road. The left half is the urban area, which eventually leads into the city proper with the gates. Many economic activities, such as people loading cargoes onto the boat, shops, and even a tax office, can be seen in this area. People from all walks of life are depicted: peddlers, jugglers, actors, paupers begging, monks asking for alms, fortune tellers and seers, doctors, innkeepers, teachers, millers, metalworkers, carpenters, masons, and official scholars from all ranks.

Outside the city proper (separated by the gate to the left), there are businesses of all kinds, selling wine, grain, secondhand goods, cookware, bows and arrows, lanterns, musical instruments, gold and silver, ornaments, dyed fabrics, paintings, medicine, needles, and artifacts, as well as many restaurants. The vendors (and in the Qing revision, the shops themselves) extend all along the great bridge, called the Rainbow Bridge (虹橋 Hong Qiao) or, more rarely, the Shangdu Bridge (上土橋).

Where the great bridge crosses the river is the center and main focus of the scroll. A great commotion animates the people on the bridge. A boat approaches at an awkward angle with its tow-mast not completely lowered, threatening to crash into the bridge. The crowds on the bridge and along the riverside are shouting and gesturing toward the boat. Someone near the apex of the bridge lowers a rope to the outstretched arms of the crew below. In addition to the shops and diners, there are inns, temples, private residences, and official buildings varying in grandeur and style, from huts to mansions with grand front- and backyards.

People and commodities are transported by various modes: wheeled wagons, beasts of labor (in particular, a large number of donkeys and mules), sedan chairs, and chariots. The river is packed with fishing boats and passenger-carrying ferries, with men at the river bank, pulling the larger ships.

Many of these details are roughly corroborated by Song dynasty writings, principally the Dongjing Meng Hua Lu, which describes many of the same features of life in the capital.

Copies[edit]

The original painting was a pride of the imperial collections for centuries.^[4][8] It was frequently copied by later artists of successive periods and it became familiarized among the nobles, scholar officials, urban residents and merchants. Many scholars thought of the Song original as the «masterpiece», and gave little respect to later versions, which they called mere copies, forgeries, reproductions, reinterpretations or elaborations, more than a hundred of which are now in museums in China, Japan, Korea, Taiwan, the United Kingdom, North America, and France. The significance and value of these «copies,» however, has recently been recognized.^[12][13]

An early copy, generally considered to be faithful to the original, was made by Zhao Mengfu during the Yuan dynasty.

The Ming dynasty (14th to 17th centuries) painter Qiu Ying is credited with several copies, which have considerable differences from the original. One version came to the Metropolitan Museum of Art in New York in 1947.^[14] Another has a length of 6.7 meters, longer than the original. It also replaced the scenery from the Song dynasty to that of the Ming dynasty based on contemporary fashions and customs, updating the costumes worn by the characters and the styles of vehicles (boats and carts). The Song wooden bridge is replaced with a stone bridge in the Ming remake. The arc of the stone bridge is much taller than that of the wooden original, and where the original had a boat about to crash into the bridge, the reinterpretation has a boat being methodically guided under the bridge by ropes, pulled by men ashore, several other large boats dutifully waiting their turn, undisturbed.^[15] Another 12 meter long copy from the late Ming period is kept in the Museum of Applied Arts, Vienna in Austria.^[16]

In the late Ming and early Qing dynasties, dozens of copies were made by little-known professional painters in Suzhou, usually carrying the (forged) signature of either Zhang Zeduan or Qiu Ying.^[12][17] The scholar Chang Su-chen argues that these paintings should not be dismissed as mere «copies.» These painters, she says, created “distinctive paintings that visualized pre-modern viewers’ various conceptions of a “great age,” an ideal society from the traditional Chinese perspective.”^[13]

Quite different was the painting, known as the «Qing Court Version,» commissioned by the Yongzheng Emperor, which was completed only after his death by five court painters (Chen Mu, Sun Hu, Jin Kun, Dai Hong and Cheng Zhidao).^[18] These five artists worked from a draft scroll in ink, also shown below, by Shen Yuan, another court painter, who apparently worked under the emperor’s personal supervision.^[19][20] It was presented to the Qianlong Emperor on January 15, 1737. This is distinguished by its innovative modern style, high degree of detail, and intact preservation.^[21] This version, shown below, was later moved, along with major portions of the imperial collection, to the National Palace Museum in Taipei in 1949.^[22] There are many more people, over 4,000, in this remake, which also is much larger (at 11 metres by 35 cm, or 37 ft by 1 ft).^[23] The leftmost third of this version, which does not appear in the Song version, is within the palace, with buildings and people appearing refined and elegant. Most people within the castle are women, with some well-dressed officials.

Associated poem[edit]

In April 1742, the Qianlong Emperor composed a poem to be added to the right-most end of the 1737 scroll. The calligraphy is in the running script style, and is in the hand of Liang Shizheng (梁詩正), a prominent court official and companion of the emperor.^[24] The poem reads as follows:

Notable exhibitions[edit]

In a rare move, the Song original was exhibited in Hong Kong from June 29 to mid-August 2007 to commemorate the 10th anniversary of Hong Kong’s transfer to the People’s Republic of China. It is estimated that the costs of shipping the painting ran into tens of millions of dollars in addition to an undisclosed cost of insuring this piece of priceless art.

From January 2–24, 2012, the painting was exhibited in the Tokyo National Museum as the centerpiece of a special exhibition to mark the 40th anniversary of normalized diplomatic relations between China and Japan,^[3] with the Japanese museum officials providing the «highest security standards» for the work.^[26]

Digital version[edit]

For a three-month period in the World Expo 2010 presented at the China Pavilion, the original painting was remade into a 3D animated, viewer-interactive digital version, titled River of Wisdom; at 128 × 6.5 m, it is roughly 30 times the size of the original scroll. The computer-animated mural, with moving characters and objects and portraying the scene in 4-minute day and night cycles, was one of the primary exhibitions in the Chinese Pavilion, drawing queues up to two hours with a reservation. Elaborate computer animation gives life to the painting.

After the Expo, the digital version was on display at the AsiaWorld–Expo in Hong Kong from November 9 to 29, 2010,^[27] where it was a major commercial success.^[28] It was then exhibited at the Macau Dome in Macau from March 25 to April 14, 2011.^[29] The digital painting also traveled to Taiwan and displayed at the Expo Dome in Taipei from July 1 to September 4, 2011.^[30] From December 7, 2011 to February 6, 2012, in an exhibition titled A Moving Masterpiece: The Song Dynasty As Living Art, the digital reproduction was exhibited at the Singapore Expo.^[31] Today, it is on permanent exhibition at the China Art Museum, Shanghai.

Gallery[edit]

Analysis and questions[edit]

Scholars have studied the painting carefully in the second half of the twentieth and beginning of the twenty-first century but do not agree on many basic points.^[5] Scholars question the accuracy of the translation of the painting’s name; the word Qingming may refer to either «peace and order» or to the Qingming Festival. Other translations have been suggested:

• Along the river during Qingming Festival
• Going Upriver on the Qingming Festival
• Life along the Bian River at the Qingming Festival
• Life Along the Bian River at the Pure Brightness Festival
• Riverside Scene at Qingming Festival
• Upper River during Qing Ming Festival
• Spring Festival on the River^[33]
• Spring Festival Along the River
• Peace Reigns Over the River

During the late 1960s, the Taipei Palace Museum released a series of books (later digitized as CD-ROM), videos, and stamps about the scroll that translated it loosely as A City of Cathay.^[23][34]

There is further discussion of the painting’s meaning and content, questioning three things that had been accepted about the original Song dynasty painting: that the city depicted is Kaifeng; it was painted before the fall of the Northern Song dynasty in 1127, and it depicts the Qingming Festival.^[5]

Some scholars have further suggested that the city depicted is an idealized non-existent city; ^[35] that it was painted after the fall of the Northern Song dynasty in 1127; and that it depicts a scene in early autumn. However, another study replied that the city depicted is indeed Kaifeng, but that the painting depicts a day in the Qingming solar term of the Chinese calendar, but not the Qingming Festival itself.^[36]

An interpretation published in 2013 proposed that the painting was a subtle entreaty to the emperor to recognize dangerous trends beneath the surface of prosperity. Since Kaifeng depended on grain from the far south, the painting showed only a lowly official was on duty at the docks, only a few guards were stationed at the city gate and the docks and did not appear to be alert. The term «Qingming» did not refer to the solar term but was taken from the phrase 清明之世 («A bright and enlightened era») from the Book of the Later Han, and the name of the painting was ironic.^[37]
The wooden bridge depicted in the original version was reconstructed by a team of engineers and documented by the PBS television show NOVA during their Secrets of Lost Empires series.^[38]

See also[edit]

• Chinese painting
• Culture of the Song dynasty

References[edit]

References and further reading[edit]

• Chang, Su-Chen (2013). Improvised Great Ages: The Creating of Qingming Shengshi (PhD). Vancouver: University of British Columbia. Online at University of British Columbia Open Collections.
• Cheng, Wen-Chien (2016). «Paintings of Traveling Bullock Carts (Panche Tu) in the Song Dynasty (960–1279)». Archives of Asian Art. 66 (2): 239–269. doi:10.1353/aaa.2016.0018. S2CID 193398156.
• Hansen, Valerie (1996). «Mystery of the Qingming Scroll and Its Subject: The Case Against Kaifeng» (PDF). Journal of Song-Yuan Studies (26): 183–200.
• Hansen, Valerie (1996b). The Beijing Qingming Scroll and Its Significance for the Study of Chinese History. Albany, NY: Journal of Sung-Yuan Studies, Dept. of East Asian Studies, University at Albany. ISBN 1889145017.
• Johnson, Linda Cooke (1996), «The Place of «Qingming Shanghe Tu» in the Historical Geography of Song Dynasty Dongjing», Journal of Song-Yuan Studies, 26 (26): 145–182, JSTOR 23496051
• Ihara, Hiroshi; Yoshida, Mayumi (2001). «The «Qingming Shanghe Tu» by Zhang Zeduan and Its Relation to Northern Song Society: Light and Shadow in the Painting». Journal of Song-Yuan Studies (31): 135–156.
• Tsao, Hsingyuan (2003). «Unraveling the Mystery of the Handscroll ‘Qingming Shanghe Tu». Journal of Song-Yuan Studies (33): 155.
• Murray, Julia K. (1997). «Water under a Bridge: Further Thoughts on the «Qingming» Scroll». Journal of Song-Yuan Studies (27): 99–107.
• Priest, Alan (1948b). Ch’ing Ming Shang Ho, Spring Festival on the River. A Scroll Painting (Ex. Coll. A.W. Bahr) of the Ming Dynasty after a Sung Dynasty Subject, Reproduced in Its Entirety and in Its Original Size in a Portfolio of 23 Collotype Plates and 12 Enl. Details. New York: Metropolitan Museum of Art.

• Wang, Cheng-Hua (2020), «One Painting, Two Emperors, and Their Cultural Agendas: Reinterpreting the Qingming Shanghe Painting of 1737», Archives of Asian Art, 70 (1): 85–117, doi:10.1215/00666637-8124988, S2CID 225963905
• Whitfield, Roderick (2021). «A Word for Shen Yuan». Archives of Asian Art. 71 (1): 123–129. doi:10.1215/00666637-8866698. S2CID 236691312.
• Zhang, Lu (2018), «Along the River During the Qingming Festival: A Living Painting with a Long History», in Bekken, Deborah, A. (ed.), China, Chicago: University of Chicago Press, pp. 145–172, doi:10.7208/9780226456171-008 (inactive December 31, 2022){{citation}}: CS1 maint: DOI inactive as of December 2022 (link)

External links[edit]

• The Palace Museum, Beijing
• The National Palace Museum, Taiwan
• Interactive paintings from the Harvard University one (archived on June 6, 2020) and two
• Along the River During the Qingming Festival at the Columbia University
• Interactive site with versions by Qiu Ying and the Qing Court Version in the National Palace Museum, Taibei
• Along the River During the Qingming Festival at China Online Museum

Along the River During the Qingming Festival
清明上河圖
A small section of the painting depicting scenes at the Bianjing city gate
Artist	Zhang Zeduan
Year	1085–1145
Type	Ink and color on silk; handscroll
Dimensions	25.5 cm × 525 cm (10.0 in × 207 in)
Location	Palace Museum, Beijing

Along the River During the Qingming Festival
Traditional Chinese	清明上河圖
Simplified Chinese	清明上河图
Literal meaning	Title can be considered a literal translation; alternatively A Picture up the River at Qingming
Transcriptions Standard Mandarin Hanyu Pinyin Qīngmíng Shànghé Tú Wade–Giles Ch‘ing-ming Shang-ho T‘u

Along the River During the Qingming Festival (Qingming Shanghe Tu) is a handscroll painting by the Song dynasty painter Zhang Zeduan (1085–1145) and copied many times in the following centuries. It captures the daily life of people and the landscape of the capital, Bianjing (present-day Kaifeng) during the Northern Song. The theme is often said to celebrate the festive spirit and worldly commotion at the Qingming Festival, rather than the holiday’s ceremonial aspects, such as tomb sweeping and prayers. Read right to left, as a viewer unrolled it, successive scenes reveal the lifestyle of all levels of the society from rich to poor as well as economic activities in rural areas and the city, and offer glimpses of period clothing and architecture.^[1] The painting is considered to be the most renowned work among all Chinese paintings,^[2][3] and it has been called «China’s Mona Lisa.»^[4]

As an artistic creation, the painting has been revered and artists of subsequent dynasties made hundreds of replicas, copies of copies, and even forgeries of well-regarded copies, each following the overall composition and the theme of the original but differing in detail and technique.^[5] Over the centuries, the Song original was kept by private collectors before it eventually returned to public ownership. The painting was a particular favorite of Puyi, China’s Last Emperor, who took it with him when he was forced to leave the Forbidden City in 1924. It was recovered in 1945 and kept at the Palace Museum in the Forbidden City. The Song original and later versions are regarded as national treasures and are exhibited only for brief periods every few years.^[6]

The Song original[edit]

The original painting is celebrated as the most famed work of art from the Song dynasty.^[7] However, little was directly known about its painter, who is generally presumed to be Zhang Zeduan, since records were destroyed when the Jin dynasty overthrew the Northern Song dynasty. There is continued debate and research over its creator, the date and location of where it was painted, and the intended meaning of the work. The earliest attribution to Zhang Zeduan is an inscription dated 1186, which was added on the basis of an earlier catalog by the Jin imperial curator, Zhang Zhu (active late 12th century) to the original scroll:^[8]

Hanlin [Academician] Zhang Zeduan, courtesy name Zhengdao, was a native of Dongwu. He went to the capital to study when he was young. Later he learned painting. He mastered jiehua and took particular pleasure in depicting boats, carts, markets, bridges, city walls, and streets. He even established his own style. According to Mr. Xiang’s critiques on paintings, [the works] Xihu zhengbiao tu (Dragon Boat Regatta on the West Lake) and Qingming shanghe tu belong to the divine class; collectors should treasure them.^[9]

The scroll is 25.5 centimetres (10.0 inches) in height and 5.25 meters (5.74 yards)^[10] long. In its length there are 814 humans, 28 boats, 60 animals, 30 buildings, 20 vehicles, 8 sedan chairs, and 170 trees.^[1] Only about twenty women appear in the Song dynasty original, and only women of low social rank are visible out of doors unless accompanied by men.^[11]

The countryside and the densely populated city are the two main sections in the picture, with the river meandering through the entire length. The right section is the rural area of the city. There are crop fields and unhurried rural folk—predominately farmers, goatherds, and pig herders—in bucolic scenery. A country path broadens into a road and joins with the city road. The left half is the urban area, which eventually leads into the city proper with the gates. Many economic activities, such as people loading cargoes onto the boat, shops, and even a tax office, can be seen in this area. People from all walks of life are depicted: peddlers, jugglers, actors, paupers begging, monks asking for alms, fortune tellers and seers, doctors, innkeepers, teachers, millers, metalworkers, carpenters, masons, and official scholars from all ranks.

Outside the city proper (separated by the gate to the left), there are businesses of all kinds, selling wine, grain, secondhand goods, cookware, bows and arrows, lanterns, musical instruments, gold and silver, ornaments, dyed fabrics, paintings, medicine, needles, and artifacts, as well as many restaurants. The vendors (and in the Qing revision, the shops themselves) extend all along the great bridge, called the Rainbow Bridge (虹橋 Hong Qiao) or, more rarely, the Shangdu Bridge (上土橋).

Where the great bridge crosses the river is the center and main focus of the scroll. A great commotion animates the people on the bridge. A boat approaches at an awkward angle with its tow-mast not completely lowered, threatening to crash into the bridge. The crowds on the bridge and along the riverside are shouting and gesturing toward the boat. Someone near the apex of the bridge lowers a rope to the outstretched arms of the crew below. In addition to the shops and diners, there are inns, temples, private residences, and official buildings varying in grandeur and style, from huts to mansions with grand front- and backyards.

People and commodities are transported by various modes: wheeled wagons, beasts of labor (in particular, a large number of donkeys and mules), sedan chairs, and chariots. The river is packed with fishing boats and passenger-carrying ferries, with men at the river bank, pulling the larger ships.

Many of these details are roughly corroborated by Song dynasty writings, principally the Dongjing Meng Hua Lu, which describes many of the same features of life in the capital.

Copies[edit]

The original painting was a pride of the imperial collections for centuries.^[4][8] It was frequently copied by later artists of successive periods and it became familiarized among the nobles, scholar officials, urban residents and merchants. Many scholars thought of the Song original as the «masterpiece», and gave little respect to later versions, which they called mere copies, forgeries, reproductions, reinterpretations or elaborations, more than a hundred of which are now in museums in China, Japan, Korea, Taiwan, the United Kingdom, North America, and France. The significance and value of these «copies,» however, has recently been recognized.^[12][13]

An early copy, generally considered to be faithful to the original, was made by Zhao Mengfu during the Yuan dynasty.

The Ming dynasty (14th to 17th centuries) painter Qiu Ying is credited with several copies, which have considerable differences from the original. One version came to the Metropolitan Museum of Art in New York in 1947.^[14] Another has a length of 6.7 meters, longer than the original. It also replaced the scenery from the Song dynasty to that of the Ming dynasty based on contemporary fashions and customs, updating the costumes worn by the characters and the styles of vehicles (boats and carts). The Song wooden bridge is replaced with a stone bridge in the Ming remake. The arc of the stone bridge is much taller than that of the wooden original, and where the original had a boat about to crash into the bridge, the reinterpretation has a boat being methodically guided under the bridge by ropes, pulled by men ashore, several other large boats dutifully waiting their turn, undisturbed.^[15] Another 12 meter long copy from the late Ming period is kept in the Museum of Applied Arts, Vienna in Austria.^[16]

In the late Ming and early Qing dynasties, dozens of copies were made by little-known professional painters in Suzhou, usually carrying the (forged) signature of either Zhang Zeduan or Qiu Ying.^[12][17] The scholar Chang Su-chen argues that these paintings should not be dismissed as mere «copies.» These painters, she says, created “distinctive paintings that visualized pre-modern viewers’ various conceptions of a “great age,” an ideal society from the traditional Chinese perspective.”^[13]

Quite different was the painting, known as the «Qing Court Version,» commissioned by the Yongzheng Emperor, which was completed only after his death by five court painters (Chen Mu, Sun Hu, Jin Kun, Dai Hong and Cheng Zhidao).^[18] These five artists worked from a draft scroll in ink, also shown below, by Shen Yuan, another court painter, who apparently worked under the emperor’s personal supervision.^[19][20] It was presented to the Qianlong Emperor on January 15, 1737. This is distinguished by its innovative modern style, high degree of detail, and intact preservation.^[21] This version, shown below, was later moved, along with major portions of the imperial collection, to the National Palace Museum in Taipei in 1949.^[22] There are many more people, over 4,000, in this remake, which also is much larger (at 11 metres by 35 cm, or 37 ft by 1 ft).^[23] The leftmost third of this version, which does not appear in the Song version, is within the palace, with buildings and people appearing refined and elegant. Most people within the castle are women, with some well-dressed officials.

Associated poem[edit]

In April 1742, the Qianlong Emperor composed a poem to be added to the right-most end of the 1737 scroll. The calligraphy is in the running script style, and is in the hand of Liang Shizheng (梁詩正), a prominent court official and companion of the emperor.^[24] The poem reads as follows:

Notable exhibitions[edit]

In a rare move, the Song original was exhibited in Hong Kong from June 29 to mid-August 2007 to commemorate the 10th anniversary of Hong Kong’s transfer to the People’s Republic of China. It is estimated that the costs of shipping the painting ran into tens of millions of dollars in addition to an undisclosed cost of insuring this piece of priceless art.

From January 2–24, 2012, the painting was exhibited in the Tokyo National Museum as the centerpiece of a special exhibition to mark the 40th anniversary of normalized diplomatic relations between China and Japan,^[3] with the Japanese museum officials providing the «highest security standards» for the work.^[26]

Digital version[edit]

For a three-month period in the World Expo 2010 presented at the China Pavilion, the original painting was remade into a 3D animated, viewer-interactive digital version, titled River of Wisdom; at 128 × 6.5 m, it is roughly 30 times the size of the original scroll. The computer-animated mural, with moving characters and objects and portraying the scene in 4-minute day and night cycles, was one of the primary exhibitions in the Chinese Pavilion, drawing queues up to two hours with a reservation. Elaborate computer animation gives life to the painting.

After the Expo, the digital version was on display at the AsiaWorld–Expo in Hong Kong from November 9 to 29, 2010,^[27] where it was a major commercial success.^[28] It was then exhibited at the Macau Dome in Macau from March 25 to April 14, 2011.^[29] The digital painting also traveled to Taiwan and displayed at the Expo Dome in Taipei from July 1 to September 4, 2011.^[30] From December 7, 2011 to February 6, 2012, in an exhibition titled A Moving Masterpiece: The Song Dynasty As Living Art, the digital reproduction was exhibited at the Singapore Expo.^[31] Today, it is on permanent exhibition at the China Art Museum, Shanghai.

Gallery[edit]

Analysis and questions[edit]

Scholars have studied the painting carefully in the second half of the twentieth and beginning of the twenty-first century but do not agree on many basic points.^[5] Scholars question the accuracy of the translation of the painting’s name; the word Qingming may refer to either «peace and order» or to the Qingming Festival. Other translations have been suggested:

• Along the river during Qingming Festival
• Going Upriver on the Qingming Festival
• Life along the Bian River at the Qingming Festival
• Life Along the Bian River at the Pure Brightness Festival
• Riverside Scene at Qingming Festival
• Upper River during Qing Ming Festival
• Spring Festival on the River^[33]
• Spring Festival Along the River
• Peace Reigns Over the River

During the late 1960s, the Taipei Palace Museum released a series of books (later digitized as CD-ROM), videos, and stamps about the scroll that translated it loosely as A City of Cathay.^[23][34]

There is further discussion of the painting’s meaning and content, questioning three things that had been accepted about the original Song dynasty painting: that the city depicted is Kaifeng; it was painted before the fall of the Northern Song dynasty in 1127, and it depicts the Qingming Festival.^[5]

Some scholars have further suggested that the city depicted is an idealized non-existent city; ^[35] that it was painted after the fall of the Northern Song dynasty in 1127; and that it depicts a scene in early autumn. However, another study replied that the city depicted is indeed Kaifeng, but that the painting depicts a day in the Qingming solar term of the Chinese calendar, but not the Qingming Festival itself.^[36]

An interpretation published in 2013 proposed that the painting was a subtle entreaty to the emperor to recognize dangerous trends beneath the surface of prosperity. Since Kaifeng depended on grain from the far south, the painting showed only a lowly official was on duty at the docks, only a few guards were stationed at the city gate and the docks and did not appear to be alert. The term «Qingming» did not refer to the solar term but was taken from the phrase 清明之世 («A bright and enlightened era») from the Book of the Later Han, and the name of the painting was ironic.^[37]
The wooden bridge depicted in the original version was reconstructed by a team of engineers and documented by the PBS television show NOVA during their Secrets of Lost Empires series.^[38]

See also[edit]

• Chinese painting
• Culture of the Song dynasty

References[edit]

References and further reading[edit]

• Chang, Su-Chen (2013). Improvised Great Ages: The Creating of Qingming Shengshi (PhD). Vancouver: University of British Columbia. Online at University of British Columbia Open Collections.
• Cheng, Wen-Chien (2016). «Paintings of Traveling Bullock Carts (Panche Tu) in the Song Dynasty (960–1279)». Archives of Asian Art. 66 (2): 239–269. doi:10.1353/aaa.2016.0018. S2CID 193398156.
• Hansen, Valerie (1996). «Mystery of the Qingming Scroll and Its Subject: The Case Against Kaifeng» (PDF). Journal of Song-Yuan Studies (26): 183–200.
• Hansen, Valerie (1996b). The Beijing Qingming Scroll and Its Significance for the Study of Chinese History. Albany, NY: Journal of Sung-Yuan Studies, Dept. of East Asian Studies, University at Albany. ISBN 1889145017.
• Johnson, Linda Cooke (1996), «The Place of «Qingming Shanghe Tu» in the Historical Geography of Song Dynasty Dongjing», Journal of Song-Yuan Studies, 26 (26): 145–182, JSTOR 23496051
• Ihara, Hiroshi; Yoshida, Mayumi (2001). «The «Qingming Shanghe Tu» by Zhang Zeduan and Its Relation to Northern Song Society: Light and Shadow in the Painting». Journal of Song-Yuan Studies (31): 135–156.
• Tsao, Hsingyuan (2003). «Unraveling the Mystery of the Handscroll ‘Qingming Shanghe Tu». Journal of Song-Yuan Studies (33): 155.
• Murray, Julia K. (1997). «Water under a Bridge: Further Thoughts on the «Qingming» Scroll». Journal of Song-Yuan Studies (27): 99–107.
• Priest, Alan (1948b). Ch’ing Ming Shang Ho, Spring Festival on the River. A Scroll Painting (Ex. Coll. A.W. Bahr) of the Ming Dynasty after a Sung Dynasty Subject, Reproduced in Its Entirety and in Its Original Size in a Portfolio of 23 Collotype Plates and 12 Enl. Details. New York: Metropolitan Museum of Art.

• Wang, Cheng-Hua (2020), «One Painting, Two Emperors, and Their Cultural Agendas: Reinterpreting the Qingming Shanghe Painting of 1737», Archives of Asian Art, 70 (1): 85–117, doi:10.1215/00666637-8124988, S2CID 225963905
• Whitfield, Roderick (2021). «A Word for Shen Yuan». Archives of Asian Art. 71 (1): 123–129. doi:10.1215/00666637-8866698. S2CID 236691312.
• Zhang, Lu (2018), «Along the River During the Qingming Festival: A Living Painting with a Long History», in Bekken, Deborah, A. (ed.), China, Chicago: University of Chicago Press, pp. 145–172, doi:10.7208/9780226456171-008 (inactive December 31, 2022){{citation}}: CS1 maint: DOI inactive as of December 2022 (link)

External links[edit]

• The Palace Museum, Beijing
• The National Palace Museum, Taiwan
• Interactive paintings from the Harvard University one (archived on June 6, 2020) and two
• Along the River During the Qingming Festival at the Columbia University
• Interactive site with versions by Qiu Ying and the Qing Court Version in the National Palace Museum, Taibei
• Along the River During the Qingming Festival at China Online Museum

張擇端, Чжан Чжэн-дао 張正道. 1085?, область Дунъу 東武 (совр. уезд Чжучэн 諸城, пров. Шаньдун). Художник, один из ведущих мастеров бытового жанра эпохи Северная Сун (Бэй Сун 北宋, 960-1127).

  О жизни Чжан Цзэ-дуаня известно лишь, что он в юности приехал в столицу (г. Бяньлян 卞梁, на месте совр. г. Кайфэн, пров. Хэнань), получил профессиональное живописное образование и в годы правления императора Хуй-цзуна 徽宗 (Чжао Цзи, 1100-1025) был принят в штат Академии живописи (Хуа-юань  畫院). Как сложилась судьба Чжан Цзэ-дуаня после гибели империи Северная Сун (1127 г.), точно не известно, хотя в старых китайских сочинениях и современной научной литературе существует версия, что он благополучно добрался до столицы новой империи (Южная Сун, Нань Сун 南宋, 1127-1279) – г. Линьаня 臨安 (на месте совр. г. Ханчжоу, пров. Чжэцзян), вновь стал художником-академистом и (ориентировочно к 1140-м гг.) дослужился до высокого поста дай-чжао  待詔 («ожидающий императорских указаний»). Тем не менее, жизнь и творчество этого художника традиционно соотносятся с эпохой Северная Сун. В каталогах дворцовых собраний династий Мин 明 (1368-1644) и Цин 清 (1644-1911) называется несколько его утраченных впоследствии картин — судя по названиям — пейзажей, например, «Весна в горах», «Гора Уи», «Тайчжэн в весеннем купании». В историю китайского искусства Чжан Цзэ-дуань вошел благодаря единственному произведению — «Цинмин шан хэ ту» 清明上河 («[Праздник] Цинмин на реке»), сохранившемуся в нескольких копиях, из которых наиболее близким к оригиналу признается свиток (24,8х528 см, шелк, тушь) из пекинского Музея Гугун. Эта картина посвящена весеннему Празднику Чистого света (Цинмин 清明), справлявшемуся в один из дней с 4-го по 6-е апреля, когда было принято поминать предков и приводить в порядок семейные могилы. На ней изображено празднование Цинмин в столице империи Северная Сун, расположенной на берегах реки Бяньхэ卞河, поэтому отечественные искусствоведы нередко интерпретируют название «Цинмин шан хэ ту» как «День поминовение предков на реке Бяньхэ».

  Свиток начинается с показа пейзажей в предместьях столицы, отмеченных признаками наступающей весны. По мере приближения живописного повествования к центру города, художественное пространство все более насыщается изображениями людей и построек: воспроизводятся городские стены, ворота, башни, кварталы, пересеченные улицами, улочками и переулками, застроенные всевозможными зданиями, и мостами через реку, которые служат местом действия множества разворачивающихся на глазах  зрителя сценок праздничной столичной жизни. Толпы нарядно одетых горожан растекаются по улицам; бродячие торговцы снуют среди прохожих; покупатели толкутся в лавке; караван верблюдов невозмутимо шествует по главной улице; лодки, плывущие по реке, заполнены любителями речного катания; зеваки, рассматривают их, теснясь на мосту. Всего на свитке изображено более 550 человек, около 55 животных, свыше 20 лодок и 20 паланкинов и телег. Для каждого типа изображений художник находит особую живописную и графическую характеристику: в архитектурных элементах и телегах преобладают ровные, прямые линии, фигуры людей и животных исполнены тонкими, извилистыми мазками. Художественная целостность свитка обеспечивается единством темы, которому подчинены все сюжетные линии полотна, а также общностью настроения и стилистической манеры живописца.

  Значимость картины Чжан Цзэ-дуаня в истории китайской живописи определяется не только ее высочайшими художественными достоинствами, но и тем, что с ней связана важная веха в эволюции отдельного тематического направления, называемого в современном искусствоведении «архитектурным стилем» — цзяньчжу-хуа  建築畫 («живопись/изображения строений»). Установлено, что его истоки восходят к древнему декоративно-прикладному искусству, (мастера которого иногда вводили изображения построек в декор своих изделий) и к монументальной живописи (рисунки строений часто фигурировали в погребальных и, возможно, дворцовых стенописях). Целостные композиции на основе архитектурного пейзажа начали создаваться, видимо, не позднее эпохи Тан (816-906), в буддийской монументальной живописи, о чем свидетельствуют росписи пещерного монастыря Могао 莫高 (Дуньхуан 敦煌), в которых наряду с небесными дворцовыми ансамблями — обителями буддийских божеств и праведников, воспроизводятся и обычные городские виды. В светской станковой живописи «архитектурный стиль» стал складываться во второй половине X – начале XI вв. Впервые он выделен в качестве самостоятельной жанровой разновидности (пинь 品), под термином у-му 屋木 («жилища»), в жанровой классификации, предложенной в трактате Лю Дао-чуня 劉道醇 (X-XI вв.) «Сун-чао мин-хуа пин» 宋朝名畫評 («Оценки прославленных живописцев династии Сун»), созданном в конце Х в. Основоположником «архитектурного стиля» литературные источники называют художника Го Чжун-шу 郭忠恕 (?-977), рассказывая о написанных им картинах с постройками среди деревьев. Единственным материальным свидетельством творчества этого мастера является свиток «Сюэ цзи цзян син ту» 雪霽江行圖 («На реке после прекращения снегопада», 74,1х69,8 см, шелк, тушь. Национальный дворцовый музей, г. Тайбэй). Свиток изображает два плывущих по реке корабля с тонко выписанными величественными надпалубными строениями. Подобные рисунки кораблей, строящихся на верфи в предместье столицы, присутствуют и в картине Чжан Цзэ-дуаня. В северо-сунской академической живописи утвердился панорамный вариант «архитектурного стиля», зачинателем которого и предшественником Чжан Цзэ-дуаня считается художник-академист Янь Вэнь-гуй 燕文貴 (967?-1044), автор утраченного позднее архитектурного пейзажа «Ци си е ши ту» 七夕夜市圖 («Городской рынок в ночь [Праздника] Седьмого дня»).

  В южно-сунской живописи дополнительно выделилось несколько других вариантов «архитектурного стиля», включавших композиции с божественными чертогами, например, свиток Чжао Бо-цзюя 趙伯駒 (1120-1182) «Сянь шань лоу гэ ту» 仙山樓閣圖 («Башни и палаты в горах бессмертных»), а также изображения единичных строений — дворцов, павильонов, беседок, башен, которые исполнялись в небольших форматах (чаще всего, альбомных листах) и могли содержать черты пейзажа и бытовой живописи. Таковы картины строений на фоне озерного или горного ландшафта, показательным примером которых выступает альбомный лист Ли Суна 李嵩 (XII в.) «Юэ е кань чао» 月夜看潮 («Лунной ночью взирая на озеро», 27,4х43,1 см, шелк, тушь краски. Национальный дворцовый музей, г. Тайбэй),  и изображения жилищ, оживленные бытовыми сценами, чаще всего, с участием женщин — т.н. красавиц (ши-нюй  仕女).

 
Все указанные варианты «архитектурного стиля» продолжили существование в китайском изобразительном искусстве последующих исторических эпох

  Литература:
Виноградова Н. А. Искусство Китая, Альбом. М., 1988; Кравцова М.Е. История искусства Китая. СПб, 2004; Пострелова Т. А. Академия живописи в Китае в X — ХШ вв. М., 1976; Сун жэнь хуа-цэ (Альбомные листы сунских художников) // Сост. Чжэнь Чжэн-до и др. Пекин, 1957; Фу Си-нянь. Чжунго гудай дэ цзяньчжу-хуа (Древнекитайский «архитектурный стиль») // Вэньу («Культурное наследие», ж. г. Пекин). 1998, №3; Чжуан Цзя-и, Не Чун-чжэн. Чжунго хуйхуа (Китайская живопись). Пекин, 2000; Чжунго и хай (Море китайского искусства). Шанхай, 1994; Чжунго лидай хуйхуа. Гугун боугуань цзан хуацзи (Китайская живопись различных исторических эпох. Коллекция живописных произведений из собрания музея Гугун). Т.3. Пекин, 1982; Чжунго мэйшу да цыдянь (Энциклопедический словарь искусства Китая) / Под ред. Шэнь Жоу-цзяня, Шао Ло-яна. Шанхай, 2002; Чжунго мэйшу цюань цзи. Хуйхуа бянь (Энциклопедия китайского искусства. Живопись). Т. 3. Пекин, 1986; Чжунго хуйхуа цюаньцзи (Полное собрание произведений китайской живописи). Т.1. Ханчжоу. 1997; Lachman Ch. (tr.) Evaluations of Sung Dynasty Painters of Renown: Liu Tao-ch’un’s Sung-ch’ao ming-hua p’ing Translated with an Introduction by Charles Lachman. Leiden-N.Y., 1989; Paintings in Chinese Museums // Arts of China. Vol. 3. Tokyo, 1970; Siren O. Chinese Painting. Leading Masters and Principles. Vol. 1-3. L., 1958.

  Ст. опубл.: Духовная культура Китая: энциклопедия: в 5 т. / гл. ред. М.Л. Титаренко; Ин-т Дальнего Востока. — М.: Вост. лит., 2006–. Т. 6 (дополнительный). Искусство / ред. М.Л. Титаренко и др. — 2010. — 1031 с. С. 816-817.

одна из самых известных китайских картин в китае: “Праздник Цинмин на реке Бянъхэ” (в оригинале 清明上河图). другой перевод названия: “По реке в День поминовения усопших”. неофициальное название: “китайская мона лиза”. тут надо сказать, что “мона лиза” она ровно потому, что ее повторяют и повторяют в разных видах и стилях.

недавно была новость, что картину воспроизвели в виде понорамы (куклы, игрушечные домики, ссыль не нашел — верьте на слово). картину отсканировали в hd и воспроизводили в большом, размером с баскетбольное поле, зале на стенах.

странно то, что по этой картине практически не найти русских источников. это на самом деле самая известная картина китая. ее бесконечно копируют и делают ремейки. причем с точки зрения китайского художника, и то и другое является копированием. говорят про 30 только официальных версий картины. хотел бы я знать, кто определяет неофициальность всех остальных копий.

итак, что же представляет из себя этот шедевр, практически неизвестный русскому человеку? горизонтальный свиток, высотой 24,8см и шириной 5,28м. (положите перед собой альбомный лист горизонтально. добавьте еще коробок спичек к высоте. теперь представьте склеенными 18 листов вдлинну.) на оригинальном свитке изображено около 814 человеческих фигур, 28 лодок, 94 животных и 170 деревьев.
и сразу дальше споры. считается, что китайские свитки смотрят справа налево. официальная русская китаистика предлагает вариант слева направо. проблема в том, что разный порядок просмотра свитка предлагает разное прочтение. разные стороны картины просто по разному нагружены смыслом. поэтому есть разница.
но я спрашиваю: вот у вас в руках свиток. вы его разворачиваете. это все же почти 5,5метра. вы его разворачиваете и смотрите. вы его будете тут же сворачивать в другую сторону? а в конце вы его будете перематывать на начало? так что я подозреваю, что свиток просматривают в том порядке, в котором он был смотан на момент начала просмотра. и больше того, я думаю, что китайцы на это не особо заморачиваются.
к этому добавлю, что на выставке народ идет от левого края к правому. при этом полотно выложено за стеклом, полностью раскрытым.

и еще добавлю, что вертикальные свитки вывешивались для гостей, или на время,
именно вертикально, и обычно не в одиночку. но горизонтальные свитки предназначались именно для просмотра. как современные комиксы. т.е. свиток передавался гостю или хозяину, и он его перематывая(!) просматривал, как кино, или книгу, или диафильм…

пойдем дальше. свиток датируют 1085-1145 годами нашей эры. точную дату никто не рискует ставить. автор Чжан Цзэдуань (張擇端), китайский придворный художник династии северная Сун. картина считается началом направления “городская зарисовка”. второй самой известной копией картины, которую видимо долго путали с оригиналом, является ремейк 17-го века (династия Мин). это полотно длиннее — 6,7м. (потом, уже в 18 веке при Цинь, был создан 11-метровый ремейк, над которым работали 5 авторов).
11-метровый вариант я не видел (собственно реальных свитков я не видел совсем, и все это пишется “от гугла”), а вот свитки 12 и 17 веков запросто гуглятся. и я понимаю, почему более поздний считали оригиналом. он тупо лучше! причем его точно путали с оригиналом, потому что большинство ремейков, включая современные, делают именно на свиток 17-го века.

ок. смотрим саму картину. даю ссылки, потому что заливать все это в сообщение — не очень хорошая идея. сканы весят по несколько мег.
оригинал 12-го века:
http://upload.wikimedia.org/wikipedia/commons/8/86/Alongtheriver_QingMing.jpg
более поздний и известный ремейк — оригинал для подражателей:
http://www.ccview.net/download/qmsht.jpg
в русской и английской версии wiki, обе работы идут друг за другом. а в упрощенной китайской — только более новая версия.

и я надеюсь, что я еще ченить черкну по этому шедевру, потому что работа реально сидит в памяти.