By Gladys Toh

 

Hanging on the walls by the entrance of the Chinese Southeast Asia Collection section of the Central Library (Level Five), the pair of reliefs in gold finish is a reproduction of the renowned Chinese artwork, Along the River During the Qingming Festival (shortened to Along the River in this blog post). This meticulously detailed work capturing the panoramic view of the prosperous Bianjing (汴京), one of the ancient capitals in China (today Kaifeng City of Henan Province), has been reproduced by artists in all mediums following its creation. [Note: Given the tradition of referencing great works of the past, numerous artworks across different time periods share similar titles. When referencing it from various museums, the specific titles used by each institution will be adopted. Otherwise, “Along the River During the Qingming Festival,” the title which the artwork is most popularly known by, will be used for consistency.]

Known to most scholars as the earliest extant version of the scroll is the handscroll painted by Zhang Zeduan (张择端, 1085 – 1145) of the Song Dynasty (960 – 1279) (Hansen, 1996). It was presented to Emperor Huizong of Song (宋徽宗, 1082 – 1135), who named the artwork personally and inscribed it in his unique slender gold style calligraphy (瘦金体) (Huang & Zhang, 2016). Zhang Zeduan’s Along the River is available for viewing in The Palace Museum’s collection, and a reproduction can also be accessed at NUS Libraries. 

The painting follows the Bian River (汴河), the economic artery of the city, documenting life in Bianjing (汴京) during the Qingming Festival, also known as the Tomb-sweeping Festival (Huang & Zhang, 2016). Clues are found in the painting, willow tree sprigs adorning the palanquin, and bunches of willow leaves decorating houses were traditional customs that ward off evil spirits during the tomb-sweeping festival (Yu, 2010). This custom known as “Cha Liu” (插柳)” or “Dai Liu” (戴柳) was recorded by the eminent agronomist, Jia Sixie (贾思勰) of Northern Wei, in his notable agricultural text, Qimin Yaoshu (齐民要术), which translates to the Essential Techniques for the Welfare of the People (Huang & Zhang, 2016). He wrote, “pick a willow tree sprig and hang it above your door, no ghosts can enter the house” (取柳枝著户上， 百鬼不入家) (Huang & Zhang, 2016). In winter, the river freezes, all movements on the river come to a halt and the pace of the city slows down. Liveliness is rekindled during the Qingming Festival, which falls on the fifteenth day after the spring equinox on the lunar calendar (春暖花开，万物复苏) (The Palace Museum, n.d.). This vibrant occasion marks a time of renewal, as people honour their ancestors and celebrate the awakening of nature in the spring (The Palace Museum, n.d.). 

The diptych, however, does not replicate Zhang Zeduan’s version of the Along the River. A visual comparison shows that the diptych is more similar to the Along the River painted in the Qing Dynasty (1644 – 1912) by five imperial artists, Chen Mei (陈枚, 1694? – 1745), Sun Hu (孙祜), Jin Kun (金昆, 1662-1722), Dai Hong (戴洪) and Cheng Zhi Dao (程志道). This artwork commissioned by Emperor Qianlong (乾隆帝, 1711 – 1799, also known as Emperor Gaozong of Qing 清高宗) was completed in 1736 and known as the Qing Court Version of Up the River During the Qingming Festival (清院本清明上河图) (Yu, 2010). While the subject in the artwork remains the same, the portrayal and the style have evolved, reflecting the time, cultural shifts, preferences in taste and progress in society (Yu, 2010). 

In one of the reliefs, the pivotal point of Along the River is depicted (Hansen, 1996). A vessel transporting goods did not lower its mast in time and was about to go through the arch bridge, Hong Qiao (虹桥) or the Rainbow Bridge. This is the busiest section of the painting, many are crossing the bridge, including peddlers balancing goods on poles, and a troop led by a parasol and a nobleman riding on a horse (Yu, 2010). The two sides of the streets are neatly lined with shops. Underneath the bridge, men holding paddles are seen pointing towards the vessel’s direction. The boatmen are scrambling to lower the mast to avert collision while onlookers on two sides of the river watch anxiously, their eyes fixed on the unfolding chaos. Although the scene is busy, it is not chaotic when compared to Zhang Zeduan’s Along the River. Food peddlers are scattered on the two sides of the bridge, leaving little space for traffic, while woven structures serve as makeshift roofs. In the Qing version, the bridge’s infrastructure was significantly improved, with shops neatly lined beneath structured roofs, and there was ample space for pedestrians to cross. 

The reliefs were gifted to NUS Libraries between the late 1990s to early 2000s by Mr Phua Jiang Xi (潘江西) and his family. The former Head of the Chinese Library, Mr Lee Ching Seng, received the first of the two reliefs in the late nineties while Dr Sim Chuin Peng, the current Deputy University Librarian received the second in 2008. They recalled that the artwork was originally part of a triptych; however, only two of the reliefs were donated to the library (C. S. Lee & C. P. Sim, personal communication, January 21, 2025). The library places great value on the artworks, both pieces underwent conservation (cleaning and framing) to restore them back to their former glory. Due to their substantial weight, scaffolding was set up and several workers were required to install them on to the walls, and to ensure they were hung securely (C. S. Lee & C. P. Sim, personal communication, January 21, 2025). During the major renovation of the Central Library building from 2018 to 2021, the reliefs were carefully stored before a new location was chosen to install the artworks (C. S. Lee & C. P. Sim, personal communication, January 21, 2025).  

The Chinese Southeast Asia Collection section (Level Five) was strategically chosen to create a connection between the artworks and the collection. The Qingming Festival, a tradition brought to Singapore by Chinese immigrants, continues to hold great significance locally today. Tomb sweeping, a custom during this festival, is not only a way of honouring one’s ancestors but also an expression of filial piety. It serves as a reminder to educate future generations about the importance of remembering their roots. In addition, the reliefs are significant as they serve as both historical and artistic representations, offering valuable insights into the period’s social, economic, and cultural activities. They not only enrich the NUS Libraries’ collection but also ensure the continuation of this visual legacy, making them important cultural artefacts for future generations to study and appreciate. 

  

References and Bibliography 

Chinese National Treasure. (2013, June 4). 国宝档案 《清明上河图》话”清明” [Guo Bao Dang An Qing Ming Shang He Tu Hua Qing Ming] [Video]. Youtube. 

Hansen, V. (1996). The Beijing Qingming Scroll and Its Significance for the Study of Chinese History. Journal of Sung-Yuan Studies, Dept. of East Asian Studies, University at Albany. 

Hansen, V. (1996). The Mystery of the Qingming Scroll and Its Subject: The Case Against Kaifeng. Journal of Sung-Yuan Studies, 26, 183 – 200. 

Huang, X. L., & Zhang, W. C. (2016). 清明上河图 [Qing Ming Shang He Tu]. 天行书苑. 

National Palace Museum. (2010). (Qing Court Version of) Up the River During Qingming.  

The Palace Museum. (n.d.). 《北宋张择端<清明上河图>揭秘》余辉 [Bei Song Zhang Zeduan Qing Ming Shang He Tu Jie Mi Yv Hui]. 

The Palace Museum. (n.d.). 张择端清明上河图卷 [Zhang Zeduan Qing Ming Shang He Tu Juan].  

The Palace Museum. (2012). 张择端 《清明上河图》卷新探 余辉 [Zhang Zeduan Qing Ming Shang He Tu Juan Xin Tan Yv Hui]. 

Yu, H. (2010). 清院本《清明上河图》 [Qing Yuan Ben Qing Ming Shang He Tu]. 紫禁城 [Forbidden City]. 4, 8 – 27.  

Zhang, A. Z. (1979). 清明上河图 [Qing Ming Shang He Tu]. 人民美术出版社.