The original upon which this work is based is by Chang Tse-tuan (fl. early 12th c.) and masterful unfolds the Sung dynasty life and customs at the capital of K'ai-feng in a long handscroll format. This theme, popular in the Northern Sung (960-1126), has been copied often throughout the ages. There are seven versions alone in the National Palace Museum, and this one by court painters of the imperial painting academy under the Ch'ien-lung Emperor (r. 1736-1795) is one of the most famous. Each version reflects not only the style of the period, but also the life and appearances of the time.

     This version represents a collaborate work by five court painters (Ch'en Mei, Sun Hu, Chin K'un, Tai Hung, and Ch'en Chih-tao) and was finished in 1736. This work can be said to be a copy that combines the style and features of previous versions along with the unique customs of the Ming and Ch'ing, such as the entertainment that was popular then. The lively activities include a theatrical performance, monkey, acrobatics, and a martial arts ring to lend a festive air to the scene.

     Brilliantly colored and characterized by sure, fine brushwork, this represents a great example of Ch'ing court painting. Although this painting has lost much of the archaic feel of the Sung dynasty version, it is a valuable source of information for late Ming and early Ch'ing life and customs. The style also reflects the influence of Western techniques, which were popular in court painting of the time. The buildings and streets, for example, were rendered with Western style perspective and even some Western-influenced architecture appears. The bridge and buildings depicted in the ruled-line method (chieh-hua), and the figures are also exquisitely detailed.