清明上河图真迹在哪（清明上河图）

清明上河图真迹在哪（清明上河图）The three-section tableau (画面) of the painting is presented in a rhythmic yet contrastive way. The remoteness in the beginning poses a sharp contrast to the tension at the Rainbow Bridge and the lively street scenes. In the arrangement of the scenery there are high and low points. After a slow beginning in the first section the picture proceeds to its climatic scene at the Rainbow Bridge and af

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A Riverside Scene at Qingming Festival

A Riverside Scene at Qingming Festival was a painting created by the court artist ZhangZeduan (birth and death dates unknown) at the end of the Northern Song Dynasty. It is now housed in the Palace Museum in Beijing，and one of its copies is now housed in the Taipei "Palace Museum".

A Riverside Scene at Qingming Festival is a horizontal scroll more than five meters long.It depicts the hustle and bustle (熙熙攘攘) along the banks of the Bianhe River during the Qingming Festival. It starts from the right with a depiction of spring in the outskirts of the city of Bianliang: brooks (溪水) gurgling (潺潺流动) in the wilderness with cottages tucked away among trees and roads crisscrossing into the far distance. Old trees greet the breeze their branches and twigs already tinged (轻淡地染色) with light green. In the distance are boundless fields enveloped in hazy mist. Suddenly a group of people appear leading several donkeys on their way to the city. To the left there are lines of travelers who are either on their way to graves to make offerings or are sightseers just back from the city.Donkeys and horses are seen neighing (嘶鸣) and people talking and laughing.

As the scroll unrolls we come to the second section of detailed features. The Bianhe River begins to come into view It is a river connecting south and north on which boats busily come and go effectively reflecting the prosperity of the time. At the start there are only a couple of boats moored (停泊) along the bank but as the river flows leftward it becomes wider the water becomes swifter and many boats are seen sailing quickly in both directions.

The scroll unveils further to the main scene in the second section and also the focal point of the whole painting. This depicts a scene in the center of Bianliang—the Rainbow Bridge area. A magnificent-looking wooden bridge arches over the Bianhe River with people coming and going: merchants travelers and sightseers. Many are holding onto the railings of the bridge looking down at the river. Some are making animated gestures appearing to be speaking or shouting in surprise while others appear astounded (震惊)in fright. Underneath a big boat is trying to pass under the bridge its bow (船头) lower than its stern (船尾). On the bow stands a man frantically waving his arms his mouth wide open as if giving orders. The boat is going forward leaving whirls in its wake (船迹).

The third section of the painting features street scenes. The Bianhe River makes a bend here and flows toward the east. Along the banks a wide road leads to the high city gate at the foot of which people are either resting talking or simply looking around. Camels are passing the city gate with only their heads seen out of the gate —all presenting a busy road scene.Past the city gate is Bianliang a city of crisscrossing streets with shops teahouses taverns (客栈) go clubs martial arts arenas temples and everything imaginable lining both sides of the streets. There is heavy traffic on the streets: carts coming and going；some people in twos or threes either walking in a hurry or stopping for a look of whatever interests them; others in groups talking in high spirits or looking around enjoying the street scene. Shop owners are hospitably soliciting (招揽) customers. Suddenly a cart drawn by four mules (骡) is seen rushing along adding a sense of surprise to the leisurely scene. Here vendors (小贩) yamen runners scholars monks old men and young children all look vivid and lifelike and all wear different facial expressions.

The three sections of this scroll painting depict different scenes of the countryside the river and then the urban area each focusing on one scene: sweeping willows in the first the Rainbow Bridge in the second and the city gate for the third. By centering on a major scene the picture looks quite orderly although many misellaneous (各种各样的) details have been included. The atmosphere conveyed by each of the three sections is different. The first presents a carefree atmosphere of calm and detachment; the second tension and stimulation as enhanced by the whirling water; and the third boundlessness and richness conveyed through trivialities (琐事) and details.

The three-section tableau (画面) of the painting is presented in a rhythmic yet contrastive way. The remoteness in the beginning poses a sharp contrast to the tension at the Rainbow Bridge and the lively street scenes. In the arrangement of the scenery there are high and low points. After a slow beginning in the first section the picture proceeds to its climatic scene at the Rainbow Bridge and after portraying the street scenes inside and outside the city gate in the third section the street scenes suddenly stop. The effect of lasting appeal that Chinese fine arts emphasizes is well embodied and realized in this painting.

《清明上河图》

《清明上河图》是北宋末年宫廷画家张泽端（生卒日期不详）创作的，现保存于北京故宫博物院，台北“故宫博物院”保存着它的其中一件复制品。

《清明上河图》是一幅五米多长的横幅，描绘了清明节期间，沿河两岸熙熙攘攘的热闹景象。从右边开始，描绘的是汴梁市郊的春天：荒野中溪涧流水潺潺，树木掩映村舍，道路纵横交错，一直延伸到远方。微风轻拂着古树，已给枝叶染上一层淡淡的绿意。远处是笼罩在迷雾中的无边无际的田野。突然，一群人出现了，牵着几头驴子，正在往城里赶路。这群人的左边走着一排排的行人，他们要么在前往上坟扫墓的路上，要么是刚从城里回来的观光客。驴叫马嘶相闻 人们谈笑风生。

随着卷轴的展开，我们将进入第二个具有明晰特征的画面。汴河开始映入眼帘，它是一条连接南北的河流，河面上来往穿梭的船只有力地反映出当时的繁荣。一开始，只有几艘船沿着河岸停靠，但随着河流向左流动，变得更宽，水流更急，可以看到许多船只沿着不同的方向快速穿行在河面上。

卷轴进一步展现了第二部分的主要场景，也是整幅画的焦点。该场景描绘的是位于汴梁中心的虹桥地区。一座看起来气势宏伟的木桥横跨在汴河上，人们熙来攘往，有经商的、有赶路的、也有观光的。许多人抓住桥的栏杆，俯视着河流。一些人做着生动的手势，似乎在喊话或惊叫，还有些人显得十分惊恐。桥的下面，一艘大船正试图从桥下通过，船头比船尾低。船头站着一个人，疯狂地挥舞着双臂，张大嘴巴，好像在发号施令。船向前驶去，尾迹留下一串串清晰可见的漩涡。

这幅画的第三部分以街景为特色。汴河在此转了个弯，向东流去。沿着河岸，有一条宽阔的道路通向高高的城门，人们要么在城门下休息、聊天，要么只是四处闲逛张望。骆驼正经过城门，城门外只看到它们的头，繁忙的街景全都给呈现得清清楚楚。穿过城门就是汴梁。这是一个街道纵横交错的城市，有商店、茶馆、客栈、 棋牌馆、武术馆、寺庙，以及所有可以想象得到的东西，沿着街道两旁次第排开。街道上交通拥挤：手推车来来往往、行人三三两两，要么急匆匆地忙着赶路，要么驻足观看他们感兴趣的东西，也有人在一起兴高采烈地交谈，或环顾四周欣赏街景。店主热情地招揽着客户。突然，一辆四匹骡子拉着的大车急匆匆一路驶来，为悠闲的景色增添了一丝惊喜。画面中，小商贩、衙门的跑腿、书生、僧侣、老人和小孩子，个个显得栩栩如生，表情各异。

这幅卷轴描绘了农村、河流和城市三个不同部分，每部分都有一个核心场景：第一个是垂柳，第二个是虹桥，第三个是城门。尽管许多场景细节繁杂，由于每部分都有一个核心，因此画面看起来依然井然秩序。这三个部分所传达的气氛各不相同，第一部分呈现出一种平静和超然的无忧无虑的气氛；第二部分中翻滚的漩涡增加了画面的紧张和刺激；第三部份通过市井生活的琐碎和细节的描绘传达出丰富和无尽之意。

三个部分形成起伏回环的节奏，但对比鲜明。开始时的悠远和虹桥下的紧张、街道上的热闹形成鲜明的对比。在长卷的整个布局上，有起有伏。开始一段是缓慢的进入，到虹桥达到全幅的高峰，经过第三段城楼内外街景的描绘之后，街景戛然而止。中国艺术强调的余音绕梁的效果在这幅画中得到体现、得以实现。

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