书体:

色彩:

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：沈源；题跋位置：本幅；款识：臣沈源恭绘；书体：行楷书；全文： 印记：臣沈源

主题:

主要主题：节令与二十四节气清明 ；其他主题：山水  ；其他主题：山水江河、湖海 ；其他主题：山水田畴 ；其他主题：山水石壁、岩洞 ；其他主题：人物仕女 ；其他主题：人物百姓 ；其他主题：人物农夫 ；其他主题：人物挑夫 ；其他主题：人物车夫 ；其他主题：人物轿夫 ；其他主题：人物渔夫、船夫 ；其他主题：人物纤夫 ；其他主题：人物乐队 ；其他主题：人物表演者、杂耍艺人 ；其他主题：人物商贩 ；其他主题：树木  ；其他主题：树木杨柳 ；其他主题：树木竹 ；其他主题：树木松 ；其他主题：走兽骡．驴 ；其他主题：走兽骆驼 ；其他主题：走兽马 ；其他主题：走兽羊 ；其他主题：走兽狗 ；其他主题：建筑台阁 ；其他主题：建筑水榭 ；其他主题：建筑房舍 ；其他主题：建筑桥 ；其他主题：建筑城门 ；其他主题：建筑店舖 ；其他主题：建筑池水 ；其他主题：建筑栏杆 ；其他主题：建筑篱笆、围墙 ；其他主题：建筑城墙 ；其他主题：建筑戏台 ；其他主题：建筑校场 ；其他主题：船  ；其他主题：船渔船 ；其他主题：船帆船 ；其他主题：船篷舟 ；其他主题：船客舫 ；其他主题：车人力车 ；其他主题：车兽力车 ；其他主题：车轿 ；其他主题：器用  ；其他主题：器用挑担 ；其他主题：器用仪仗（佛教宝盖） ；其他主题：器用耕织渔猎 ；其他主题：器用桨、篙 ；其他主题：器用秋千 

技法:

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页787 收藏着录： 故宫书画录（卷八），第四册，页49 收藏着录： 故宫书画图录，第二十一册，页13-20 参考书目： 1.童文娥，〈明仇英清明上河图〉，收入童文娥主编，《绘苑璚瑶-清院本清明上河图》（台北：国立故宫博物院，2010年四月出版一刷），页186。2.陈韵如，〈制作真境：重估〈清院本清明上河图〉在雍正朝画院之画史意义〉，《故宫学术季刊》，第28卷第2期（2010年冬），页1-64。 内容简介（中文）： 沈源，乾隆时（西元一七三六－一七九五年）供奉内廷，善画佛像，并工山水界画。 沈源「清明上河图」的构图，与清院本「清明上河图」几乎相同，但以水墨为主，在用色方面，更只用赭色稍加钩染，自有一番清新雅淡的韵味。用笔熟练，界画桥樑、屋宇、人物皆极为精细工整，亦清画院中之佳作。 内容简介（中文）： 沈源，乾隆时（西元一七三六－一七九五年）供奉内廷，善画佛像，并工山水界画。 沈源「清明上河图」的构图，与清院本「清明上河图」几乎相同，但以水墨为主，在用色方面，更只用赭色稍加钩染，自有一番清新雅淡的韵味。用笔熟练，界画桥樑、屋宇、人物皆极为精细工整，亦清画院中之佳作。(20100408) 内容简介（英文）： Shen Yuan, a painter in the Imperial Academy of the Qianlong Emperor (r. 1736-1795), excelled in painting Buddhist figures and was also skilled in landscape and architectural themes in the method known as “ruled-line painting” (jiehua).Shen Yuan’s version of “Up the River During Qingming” remarkably resembles the famed cooperative Qing academy scroll in terms of composition, except he has primarily used monochrome ink, with only umber for outlines. Through this, he has created a refreshing effect of elegance and grace. His brushwork is highly practiced, and the bridges and buildings depicted in the ruled-line method as well as the figures are all executed in great detail. This represents a fine example of Qing court painting.(20100408) 内容简介（英文）： Shen Yuan, a painter in the Imperial Academy of the Ch’ien-lung emperor (r. 1736-1795), excelled in painting Buddhist figures and was also skilled in landscape painting and architectural paintings in the ruled-line method (chieh-hua). Shen Yuan’s version of Along the River During the Ch’ing Ming Festival Season remarkably resembles the Ch’ing academy scroll in terms of composition, except that he has primarily used monochrome ink, only using umber for outlines. Through this, he has created a refreshing effect of elegance and grace. His brushwork is highly practiced, and the bridges and buildings depicted in the ruled-line method as well as the figures are all executed in great detail. This represents a fine example of court painting from the Ch’ing dynasty. 网页展示说明 沈源，生平籍贯不详，善画佛像，亦工山水界画。乾隆时（1736-1795）供奉内廷，在《活计清档》的记录中，沈源最早的活动时期为乾隆元年，作品署款的年代，大都在乾隆十年左右，曾与唐岱合作《豳风图》。其活动年代应为乾隆朝早期。沈源《清明上河图》的构图与场景的安排，几与《清院本清明上河图》相同，只有一些枝微末节的增减，如在此卷前有扫墓哭坟的画面，中段金兰居的位置近似，但在店名、建筑结构与画法有所差异；其次在状元府第的庭园景布置亦略有不同，而富贵人家除了庭园有更动外，楼阁的结构也不同，亦无西式建筑的样貌；后段大木桥后的捕鱼网罟前安排了一段狗儿打翻食担的戏码。此图以水墨为主，在用色方面，更只用赭色稍加钩染，自有一番清新雅淡的韵味。用笔熟练，界画桥樑、屋宇、人物皆极为精细工整，亦是清代画院佳作。(20100408) 网页展示说明 Shen Yuan, whose native place and years of birth and death are unknown, excelled at painting Buddhist subjects and also was good at landscapes and ruled-line subjects. He served the court during the Qianlong reign (1736-1795), and his earliest record of activity in the Qing Palace Workshop Archives mentions the first year of the Qianlong reign. Since most of his dated works are from around the tenth year of the Qianlong reign, and he once cooperated with Tang Dai (1673-1752) in illustrating the "Odes of Bin," Shen Yuan's period of activity was thus probably in the early Qianlong reign. The composition and arrangement of scenes in Shen Yuan's "Up the River During Qingming" are almost identical to the Qing court cooperative version. Only a few minor changes were made, such as the scene of crying during tomb sweeping at the front of the scroll. The location of Gold Orchid Tavern is also similar, but the tavern name, structure, and method of depiction vary slightly. Small differences can likewise be found in the garden arrangement of the official's mansion. Other changes include the homes of the wealthy, pavilion structures, and the lack of Western-style architecture. There is also the arrangement of a humorous scene of a dog overturning a food pole before the netting fish activity and after the large wooden bridge. This work was done mostly in monochrome ink with only slight washes of umber used for coloring, giving it a light and refreshing quality. Shen Yuan's brushwork is skillful and the rendition of the ruled-line bridges, buildings, and figures all done with exceptional precision, making this another gem related to the Qing court academy of painting. (20100408) 网页展示说明 沈源の出生地や生涯についてはわかっておらず、仏画を善くし、山水や界画を得意とした。乾隆年间（1736-1795）に内廷に仕え、『活计清档』の记录に基づくと、乾隆元年には既に活动していた。作品の署款の时期は乾隆十年前后に集中しており、唐岱と『豳风図』を共同で完成させている。このため、沈源の活动年代は乾隆朝の早期であったと思われる。沈源の『清明上河図』の构図と场面の配置は、『清 院本清明上河図』とほぼ同じであり、细部における増减の违いだけが见られる。例えば前段の墓参の场面や中段の金兰居の位置などは『清 院本清明上河図』とほとんど変わらないが、屋号や建筑の构造、画法が异なるほか、状元邸宅の庭园の景観なども若干异なっている。さらに豪邸の庭园や楼阁の构造にも相违があり、西洋建筑の特徴も沈源の作品には见られない。また、后段の大木桥の渔网の前には、犬が积んだ食べ物をひっくり返す场面が描かれている。本作は水墨を中心とし、红褐色で軽く钩染（轮郭を描いて彩りをする）を加えただけで、爽やかで淡雅な趣がある。用笔は熟练しており、界画による桥梁、家屋、人物の描写はいずれも精致であり、画院の佳作である。(20100408) 网页展示说明 沈源，乾隆时（西元一七三六－一七九五年）供奉内廷，善画佛像，并工山水界画。沈源〈清明上河图〉的构图，与清院本〈清明上河图〉几乎相同，但以水墨为主，在用色方面，更只用赭色稍加钩染，自有一番清新雅淡的韵味。用笔熟练，界画桥樑、屋宇、人物皆极为精细工整，亦清画院中之佳作。(20121016) 网页展示说明 Shen Yuan, a painter in the Imperial Academy of the Qianlong Emperor (r. 1736-1795), excelled in painting Buddhist figures and was also skilled in landscape and architectural themes in the method known as "ruled-line painting" (jiehua).Shen Yuan's version of "Up the River During Qingming" remarkably resembles the famed cooperative Qing academy scroll in terms of composition, except he has primarily used monochrome ink, with only umber for outlines. Through this, he has created a refreshing effect of elegance and grace. His brushwork is highly practiced, and the bridges and buildings depicted in the ruled-line method as well as the figures are all executed in great detail. This represents a fine example of Qing court painting.(20121016) 网页展示说明 沈源、乾隆时代（1736－1795）に宫廷に仕えた。仏像画を善くし、山水画にも优れていた。沈源「清明上河図」の构図は、清院本「清明上河図」のそれにほぼ等しいが、主に水墨で描かれており、着色は赭色（赤褐色）でわずかに轮郭を取ったのみで、自ずと清新で上品な味わいをかもし出している。熟练の笔遣い、界画による桥と家屋、人物など、全てが极めて精细かつ丁宁に描写されており、清代画院の佳作である。(20121016)