張擇端《清明上河圖》（北京故宮博物院藏）被認為是「清明上河圖」作品群最早之作，但其明確的創作時間與脈絡意義卻仍歧見紛呈。此中糾結，多因判定畫中物象的年代標準不同所致。為解決此一糾結，本文並不擬從畫中物象定年，而著眼於畫中段落之前後邏輯順序。本研究以此畫卷本身為主要研究對象，首先，本文仍針對《清明上河圖》的創作年代加以論考，除引用學人意見之外，更考證畫卷現況與題跋內容關連，確立本卷創作年代應屬於宋徽宗朝無虞。接著本文以《清明上河圖》的整體性為焦點，擬從畫卷本身的整體內在序列關係入手。經由重新檢視其中的描繪順序之後，陳述此卷具有內在邏輯順序。而此一邏輯順序並非無意的安排，實能符合此卷創作的脈絡與情境。本文認為《清明上河圖》雖有表現城市街道的內容，但顯然並不僅止於此；其中還顯露出對《詩經》內容的暗喻。特別是畫中隱藏的邏輯順序，正與《詩經》〈大雅〉章節旨意相符。這一不同於過去所理解的《清明上河圖》畫意，在宋徽宗朝畫學活動的特殊背景下，亦具有重要意義，可視為宋徽宗朝各項文化活動的重要面向之一。此可推測為宋徽宗朝廷用以寄託對聖王治世的想望。此一針對《清明上河圖》的研究案例，呈現出一個得以深究宋代文化史的重要視角，亦是一個足以作為探查宋徽宗朝繪畫措舉企圖的重要個案。本文即擬藉此一作品，透過畫作脈絡的掌握，提出一個觀察宋徽宗朝繪畫活動在畫史上的意義。

The present study takes Zhang Zeduan's Qingming shanghe tu (in the Palace Museum, Beijing) as its main object. The first part involves further investigation into dating the painting, not only taking into consideration the opinions of other scholars, but also examining the current condition of the handscroll and the relationship between the painting and its colophons, confirming that it should be placed within the context of Emperor Huizong's court in the late Northern Song. What follows is an overall assessment of Qingming shanghe tu, beginning with an unraveling of the internal order and relationship among the sections in the painting. Following a reappraisal of the order of the scenes depicted, it becomes evident that the handscroll has an internal logic and order. And this order was intentionally arranged so as to conform to the sequence and situation of the painting. It is a contention of the present study that Qingming shanghe tu, despite its focus on urban scenery, involves much more than meets the eye, among which is the allusion to contents found in Shijing (The Classic of Poetry). In particular, the logical order concealed in the painting tallies well with main idea in the 〞Da ya〞 (〞Major Court Hymns〞) section of Shijing. This diverges from the understanding of the meaning behind Qingming shanghe tu in the past, because within the special context of Painting School activities at Huizong's court, the painting takes on significance as one of the important facets to the various cultural activities there. Thus, it can be inferred that Huizong's court used the painting as a lodging to yearn for the virtuous rule of a sage emperor. The present study on Qingming shanghe tu reveals a significant perspective for examining the cultural history of the Song dynasty and is an important case study that provides a measure for understanding the role of painting at Huizong's court. The study thus employs this painting to grasp the crux behind its production and to observe the significance of Huizong's painting activities in the history of Chinese art.