《清明上河圖》的原畫長528厘米，高24.8厘米，最早的版本為北宋畫家張擇端所作，現藏北京故宮博物院。該畫描繪北宋京城汴梁及汴河兩岸的繁華和熱鬧的景象和優美的自然風光。
The original picture of the river in the Qingming Dynasty is 528 cm long and 24.8 cm high. The earliest version was painted by Zhang Zeduan, a painter of the Northern Song Dynasty. It is now stored in the Palace Museum in Beijing. The painting depicts the prosperous and lively scene and beautiful natural scenery of Bianliang and both sides of Bianhe River, the capital of the Northern Song Dynasty.
作品以長卷形式，采用散點透視的構圖法，將繁雜的景物納入統一而富于變化的畫卷中，畫中主要分開兩部分，一部分是農村，另一部是市集。畫中有814人，牲畜60多匹，船只28艘，房屋樓宇30多棟，車20輛，轎8頂，樹木170多棵，往來衣著不同，神情各異，栩栩如生，其間還穿插各種活動，注重情節，構圖疏密有致，富有節奏感和韻律的變化，筆墨章法都很巧妙，頗見功底。
In the form of a long scroll, the work adopts the composition method of scattered perspective to bring the complex scenery into the unified and varied scroll. The painting is mainly divided into two parts, one is the countryside, the other is the market. In the painting, there are 814 people, more than 60 livestock, 28 ships, more than 30 buildings, 20 cars, 8 sedans, more than 170 trees, different clothes, different looks, lifelike. In the meantime, there are also various activities, paying attention to the plot, the composition is dense, full of rhythm and rhythm changes. The strokes and rules are very clever, which shows the foundation.
趙孟頫（fǔ）博學多才，能詩善文，懂經濟，工書法，精繪藝，擅金石，通律呂，解鑒賞。尤其以書法和繪畫成就最高。在繪畫上，他開創元代新畫風，被稱為“元人冠冕”；趙孟頫亦善篆、隸、真、行、草書，尤以楷、行書著稱于世。其書風遒媚、秀逸，結體嚴整、筆法圓熟，創“趙體”書，與歐陽詢、顏真卿、柳公權并稱“楷書四大家”。
Zhao Mengfu (f ǔǔ) is a versatile man who is good at poetry and literature, knows economy, works and calligraphy, is good at painting, is good at gold and stone, has a good command of rhythm and appreciation. Especially in calligraphy and painting. In painting, he created a new style of painting in the Yuan Dynasty, known as the "crown of the Yuan people"; Zhao Mengfu was also good at seal script, Li, Zhen, Xing and cursive script, especially regular script and running script. His book style is elegant, elegant, neat and well written. He created the "Zhao style" book, which is also known as the "four masters of regular script" together with Ouyang Xun, Yan Zhenqing and Liu Gongquan.
《清明上河圖》以精致的工筆記錄了北宋末葉、徽宗時代首都汴京（今開封）郊區和城內汴河兩岸的建筑和民生。該圖描繪了清明時節，北宋京城汴梁以及汴河 兩岸的繁華景象和自然風光。作品以長卷形式，采用散點透視的構圖法，將繁雜的景物納入統一而富于變化的畫面中，畫中人物500多，衣著不同，神情各異，其 間穿插各種活動，注重戲劇性，構圖疏密有致，注重節奏感和韻律的變化，筆墨章法都很巧妙。全圖分為三個段落。
The picture of going to the river in the Qingming Dynasty records the buildings and people's livelihood in the late Northern Song Dynasty, the suburb of Bianjing (now Kaifeng), the capital of Huizong era, and both sides of Bianhe River in the city with exquisite brushwork. The picture depicts the prosperous scene and natural scenery of Bianliang, the capital of the Northern Song Dynasty, and both sides of Bianhe River in the Qingming period. In the form of long volume, the work adopts the composition method of scattered perspective to integrate the complex scenery into the unified and varied picture. There are more than 500 characters in the picture, with different clothes and expressions. In the meantime, various activities are interspersed, with emphasis on dramatism, dense composition, rhythm and rhyme, and the strokes and rules are very ingenious. The whole picture is divided into three paragraphs.
首段，汴京郊野的春光：
在疏林薄霧中，掩映著幾家茅舍、草橋、流水、老樹、扁舟。兩個腳夫趕著五匹馱 炭的毛驢，向城市走來。一片柳林，枝頭剛剛泛出嫩綠，使人感到雖是春寒料峭，卻已大地回春。路上一頂轎子，內坐一位婦人。轎頂裝飾著楊柳雜花，轎后跟隨著 騎馬的、挑擔的，從京郊踏青掃墓歸來。環境和人物的描寫，點出了清明時節的特定時間和風俗，為全畫展開了序幕。
The first section, the spring light of Bianjing Countryside:
In the sparse forest and mist, there are several thatched houses, grass bridges, running water, old trees and boats. Two porters drove five donkeys loaded with charcoal to the city. A willow forest, the branches just out of the green, people feel that although the spring is chilly, but has returned to spring. A sedan chair with a woman in it. The top of the car is decorated with willows and miscellaneous flowers, and the back of the car is followed by horsemen and bearers who come back from the outskirts of Beijing to visit the tomb. The description of the environment and the characters points out the specific time and customs in the Qingming period, which is the prelude to the whole painting.
中段，繁忙的汴河碼頭：
汴河是北宋國家漕運樞紐，商業交通要道，從畫面上可以看到人煙稠密，糧船云 集，人們有在茶館休息的，有在看相算命的，有在飯鋪進餐的。還有王家紙馬店，是掃墓賣祭品的，河里船只往來，首尾相接，或纖夫牽拉，或船夫搖櫓，有的滿載 貨物，逆流而上，有的靠岸停泊，正緊張地卸貨。橫跨汴河上的是一座規模宏大的木質拱橋，它結構精巧，形式優美。宛如飛虹，故名虹橋。有一只大船正待過橋。 船夫們有用竹竿撐的；有用長竿鉤住橋梁的；有用麻繩挽住船的；還有幾人忙著放下桅桿，以便船只通過。鄰船的人也在指指點點地象在大聲吆喝著什么。船里船外 都在為此船過橋而忙碌著。橋上的人，也伸頭探腦地在為過船的緊張情景捏了一把汗。這里是名聞遐邇的虹橋碼頭區，車水馬龍，熙熙攘攘，名副其實地是一個水陸 交通的會合點。
In the middle section, the busy Bianhe wharf:
Bianhe river was the national water transport hub and the commercial transportation thoroughfare in the Northern Song Dynasty. It can be seen from the picture that there were dense people, grain boats, people resting in teahouses, looking at each other and telling their fortune, and people eating in restaurants. There are also Wangjia paper horse shops, which are used to sweep tombs and sell sacrifices. Boats come and go in rivers, head to tail, or are pulled by a boat puller or rowed by a boatman. Some of them are loaded with goods, going up against the current, some are berthing on the shore, and are unloading goods nervously. Across the Bianhe river is a large-scale wooden arch bridge, which has exquisite structure and beautiful form. It's like a flying rainbow, so it's called Hongqiao. There is a big ship waiting to cross the bridge. The boatmen supported the boat with bamboo poles; the boatmen hooked the bridge with long poles; the boatmen tied the boat with hemp ropes; and several people were busy putting down the mast so that the boat could pass through. The people in the next boat were pointing as if they were shouting something. Both inside and outside the boat are busy crossing the bridge. The man on the bridge, with his head outstretched, pinched a sweat for the tense scene of passing the boat. Here is the famous Hongqiao wharf area, full of traffic and bustling, which is a meeting point of land and water transportation.
后段，熱鬧的市區街道：
以高大的城樓為中心，兩邊的屋宇鱗次櫛比，有茶坊、酒肆、腳店、肉鋪、廟宇、 公廨等等。商店中有綾羅綢緞、珠寶香料、香火紙馬等的專門經營，此外尚有醫藥門診，大車修理、看相算命、修面整容，各行各業，應有盡有，大的商店門首還扎 “彩樓歡門”，懸掛市招旗幟，招攬生意，街市行人，摩肩接踵，川流不息，有做生意的商賈，有看街景的士紳，有騎馬的官吏，有叫賣的小販，有乘座轎子的大家 眷屬，有身負背簍的行腳僧人，有問路的外鄉游客，有聽說書的街巷小兒，有酒樓中狂飲的豪門子弟，有城邊行乞的殘疾老人，男女老幼，士農工商，三教九流，無 所不備。交通運載工具：有轎子、駱駝、牛馬車、人力車，有太平車、平頭車，形形色色，樣樣俱全。繪色繪形地展現在人們的眼前。
Back section, busy urban streets:
Taking the tall city tower as the center, there are many houses on both sides, such as tea house, wine shop, foot shop, butcher shop, temple, public house, etc. In addition, there are medical clinics, cart repair, fortune telling, face dressing, all walks of life, all kinds of things. In the front of the big shops, there are also "Choi Lou Huan men", hanging the banner of market recruitment, soliciting business, people in the street, coming one after another, flowing all the time. There are businessmen who do business, gentry who look at the street view There are officials on horseback, peddlers, family members in sedans, monks with baskets on their backs, tourists from other places who ask for directions, children in streets who have heard about books, children from rich families who drink in restaurants, disabled elderly people who beg at the city's edge, men, women, children, scholars, farmers and businessmen, all kinds of things. Means of transport: sedans, camels, chariots, rickshaws, Taiping cars, flat cars, all kinds of things. Color and shape are displayed in front of people's eyes.
此副孟頫作家清明上河圖，共繪了五百五十多個各色人物，牛、馬、騾、驢等牲畜 五、六十匹，車、橋二十多輛，大小船只二十多艘。房屋、橋梁、城樓等也各有特色，體現了宋代建筑的特征。趙孟頫的《清明上河圖》是一幅描寫北宋汴京城一角 的現實主義的風俗畫，具有很高的歷史價值和藝術水平。
This is a picture of Meng Fu's writer going to the river in the Qingming Dynasty. He has painted more than 550 people of various colors, including five or sixty cattle, horses, mules and donkeys, more than 20 cars and bridges, and more than 20 boats of different sizes. Houses, bridges and city buildings also have their own characteristics, reflecting the characteristics of architecture in Song Dynasty. Zhao Mengfu's picture of going to the river during the Qingming Festival is a realistic custom painting depicting a corner of Bianjing city in the Northern Song Dynasty, which has a high historical value and artistic level.
它的藝術構思，充分體現了中國傳統的繪畫方面的重要特點，它不是像西洋畫一樣，把視點固定于一定的位置上，而是采取“移動透視”或者“散透視”、“不定透視”的 手法來處理構圖方式，這種手法更具有靈動性。比如，虹橋上下，既畫橋下，有畫橋上， 室內室外面面俱到。畫家的觀察和表現物象的能力和技巧，實在是驚人的，它跳出焦點透視的局限，根據主題的要求和藝術的規律，虛實、節奏巧妙組織畫面，并按 照圖畫的需要，延長或者縮短上下上下左右的距離，更好地表現了畫家的創作意圖。此外，它也將其廣闊的生活畫面活壯麗的山河景象，有頭有尾地表現出來，充分 地體現著中國古代勞動人民的藝術魅力。
Its artistic conception fully embodies the important characteristics of traditional Chinese painting. It does not fix the point of view in a certain position like western painting, but adopts the methods of "mobile perspective" or "scattered perspective" and "indefinite perspective" to deal with the composition, which is more flexible. For example, on and off Hongqiao, both under the painted bridge and on the painted bridge, both indoor and outdoor. The painter's ability and skill of observing and expressing images is really amazing. It jumps out of the limitation of focus perspective. According to the requirements of the theme and the law of art, the painting is organized in virtual reality and rhythm, and according to the needs of the painting, the distance between the top, the bottom, the top, the bottom, the left and the right is extended or shortened, so as to better express the painter's intention of creation. In addition, it also shows its vast life pictures and magnificent scenery of mountains and rivers, which fully embodies the artistic charm of ancient Chinese working people.
