Attributed to Zhang Zeduan
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            This is a wooden structure with a spacious, curved bridge that connects the two banks directly, with no piers or bridge jars in between. The bridge is painted in red and, when viewed from afar, looks like a rainbow. The bridge is equipped with a guardrail to protect pedestrians, and four wind-signalling poles are erected at both ends to indicate the direction of the wind for navigators. The two sides of the bridge are made of stone, with iron boulders (commonly known as silver ingots) and a footpath with steps and guardrails, which were designed for slimmers.
                
Apart from the boatman at the bow, who is plucking the sculls, the rest of the men appear relaxed, some talking to people on the bridge, others still concerned about the boat behind them. The artist's arrangement is a true reflection of life, but at the same time original and unobtrusive. In these two boats, one at ease and the other at work, we see both the cooperative and In these two boats, we can see both the spirit of co-operation and determination of the workers in their struggle against the odds, and the relief and pleasure they felt after overcoming the hardships. In addition, the two boats are not cut off by the bridge, just as in Chinese painting, where the brush is broken, creating a sense of constant movement.
An imitation from the Song original
This version of Along the River During the Qingming Festival was copied and imitated from Zhang Zeduan Song Density by an unknown artist in Ming density. The artist here therefore probably intended for the viewer to grasp the full scope of prosperity in the capital.
            The version here traditionally attributed to Zhang includes such scenes starting from the right as a rustic countryside followed by a colourful bridal procession, the main arched bridge with a market, areas surrounding the city walls, and various bridges and waterfront activities.
The method of painting the earth and trees differs markedly from those of the original by Zhang, and the brushwork here is somewhat weaker. The colouring is also more decorative and the rendering of space appears flattered, suggesting an imitation from the Ming dynasty (1368-1644) instead.