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鑑藏宝玺：乾隆御览之宝题跋资料:
题跋类别：作者款识；作者：张廷彦；题跋位置：本幅；款识：臣张廷彦恭画；书体：楷书；全文： 印记：恭、画主题:
主要主题：山水名胜瀛洲主要主题：经史‧故事 唐十八学士登瀛洲主要主题：建筑桥 主要主题：人物官员（臣）十八学士主要主题：树木杨柳杨；次要主题：船渔船 ；次要主题：建筑回廊 ；次要主题：建筑水利水闸；次要主题：建筑栏杆 ；次要主题：建筑亭 ；次要主题：建筑宫殿 ；次要主题：树木松 ；次要主题：树木柏 ；次要主题：人物侍从（侍女、童仆）侍从、童仆；次要主题：建筑台阁 ；次要主题：走兽马三；次要主题：器用文玩（琴棋书画）琴、书（书卷）；次要主题：建筑水榭 ；其他主题：山水田畴 ；其他主题：器用香炉．火盆炉；其他主题：器用文房用具纸筒、笔、水盂；其他主题：器用花器花瓶；其他主题：器用饮食器茶杯、壶、茶盘、食盒；其他主题：器用家俱（屏风）桌椅；其他主题：建筑庭院 ；其他主题：山水瀑布 ；其他主题：走兽鹿一；其他主题：树木竹 ；其他主题：树木 ；其他主题：山水江河、湖海江河；其他主题：山水石磴、栈道石磴技法:
工笔 界画 皴法 皴法披麻皴皴法雨点皴皴法斧劈皴人物衣纹描法(粗细线条)参考资料:
收藏着录： 石渠宝笈三编（延春阁），第五册，页2453 收藏着录： 故宫书画录（卷八），第四册，页127 收藏着录： 故宫书画图录，第十三册，页431-432 收藏着录： 以文会友-雅集图特展，页200-207、280 参考书目： 1.陈德馨，〈治世能臣抑或危国邀功之徒？ 张廷彦〈登瀛洲图〉与乾隆题画诗的解析〉，《故宫文物月刊》，第268期（2005年7月），页66-77。 内容简介（中文）： 张廷彦，生卒年里均不详。乾隆时，供奉内廷，工人物画。登瀛洲，典出唐书，褚亮传。太宗既平寇乱，留意儒学，乃于宫城西起文学馆，以待四方文士。并属杜如晦、房玄龄等，以本官兼文学馆学士。遣人图其状貌，题其名字爵里，复命褚亮为像赞，号十八学士。写真图藏之书府，以彰礼贤之重，预入馆者时所倾慕，谓之登瀛洲。此幅画法极为工致精细，可为院画之代表作品。 内容简介（英文）： Nothing is known of Chang T’ing-yen’s life except that he was active during the Ch’ien-lung era (1736-1795) when he was a member of the palace painting academy. He was an excellent figure painter. Teng Ying-chou refers to an episode from the Biography of Ch’u Liang. In 621 Emperor T’ai-tsung, built the Wen-hsüeh Hall (Hall of Literature) to the west of the palace. He summoned there the greatest scholars of the Empire and ordered Yen Li-pen to paint their portraits and Ch’u Liang to inscribe a commemorative eulogy. The emperor had recorded their names and ranks, giving them the name of ‘The Eighteen Scholars.’ The work was kept in the palace collections to demonstrate the court’s attention to cultural life. The gathering of the scholars made such a deep impression throughout the empire that the name of the event was recorded in history. Although the original scroll was lost much earlier, this painting done with painstaking attention to minute detail, commemorates the scholarly meeting. It is a good representative of Ch’ing Academy painting. 内容简介（英文）： The court painter Chang T'ing-yen was a native of Yangchow and active in the Ch’ien-lung era (1736-1795). Chang’s father, Chang Wei-pang, was a painter in the Ju-i Hall at court and once studied painting from the Italian Jesuit Giuseppe Castiglione, his fusion of Western and Chinese methods winning court approval. With his father's influence, Chang T'ing-yen also had the chance to serve the court, taking part in several cooperative projects from 1744 to 1767. He also cooperated in painting with Castiglione. This work incorporates elements of Western perspective, in which objects near and far correspond to their ratio of sizes in reality, thus giving the classical T'ang (618-907) theme of the Eighteen Scholars a modern interpretation.
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