關於 dynasty scrolls ，我們在網路上蒐集到這些相關的討論、資訊與評價

國立故宮博物院和臺南市政府攜手合作，於甫落成的臺南市立圖書館新總館舉辦「藝起冒險–一場始於十七世紀的數位旅程」，本次展覽呼應圖書館及博物館同樣作為文化傳承與維護的寶庫，以讀萬卷書、行萬里路的探索角度，運用人文跨域科技的方式，呈現文化藝術之美。
讓我們來看看其中一件新媒體藝術展件。
The National Palace Museum (NPM) and Tainan Public Library have joined forces to organize the exhibition NPM ArtVenture at the newly-inaugurated New Main Library.The theme is aimed at highlighting the shared role of libraries and museums as receptacles where culture can be transmitted and upheld. This ten-thousand-mile journey will traverse countless book pages and scrolls, combining humanities and technology to showcase the beauty of art and culture.
Let's take a look at the new media artwork.

冒險地圖
　　本區為數位旅程的首站，請冒險家仔細觀察清代南懷仁所繪製的〈坤輿全圖〉(西元1674年)，透過認識世界，踏出探險的第一步吧！
Adventure Map
The section "Adventure Map" is the starting point for this quest. Adventurers need to carefully observe the Kunyu Quantu (Great Universal Map in 1674) from Ferdinand Verbiest in the Qing Dynasty and start the first step in your adventure!
　　本區展陳新媒體藝術作品「南懷仁的坤輿世界」擴增實境(AR)、「坤輿藝境-十七世紀的世界探險」虛擬實境(VR)，以及〈坤輿全圖〉、《坤輿圖說》高品質數位輸出畫，呈現十七世紀人們對於世界的認識及想像。
This area includes the AR-based new media artwork Ferdinand Verbiest's Kunyu Worldview, The Realm of Kunyu—An Adventure into the World of the 17th Century and the replica of the Kunyu Quantu are used as means to integrate real and virtual objects and take visitors on a survey through the physical geography and illustrations of various creatures from the 17th century.
　　仔細看一看，〈坤輿全圖〉上有好多世界各地的動物，展場裡還有古今動物對照翻翻牆，和臺南市立圖書館精選的世界地理書籍，運用多元互動方式，讓今昔文化產生交匯與對話。
Please take a close look! The AR-based Ferdinand Verbiest's Kunyu Worldview including ancient Chinese depictions of what we now call "giraffe", "turkey", "rhinoceros", "lion", and "ostrich". World maps from the collection of Tainan Public Library are also shown in this section alongside interactive exhibits for educational purposes, as to contrast ancient and modern conceptions of animals, as well as enhance understanding on historical maps and relevant records.
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藝起冒險—一場始於十七世紀的數位旅程
【展期】2021/01/02~07/02
【地址】臺南市立圖書館新總館（台南市永康區康橋大道255號）
【展覽時間】週二至週六：09:00-21:00、週日：09:00-17:30（週一、國定假日休館）
https://theme.npm.edu.tw/exh110/npmTainan/

NPM ArtVenture
Dates: 02 JAN 2021~02 JULY 2021
Time: Tuesdays-Saturdays, 9:00 -21:00、Sundays, 9:00-17:30 (Closed on Mondays and National Holidays)
Location: Tainan Public Library (New Main Library)
Address：No. 255, Kangciao Blvd., Yongkang Dist., Tainan City 710038, Taiwan
https://www.npm.gov.tw/en/Article.aspx?sNo=04011591

明　宣德　青花纏枝蓮紋三足爐
Porcelain tripod censer with lotus scrolls in underglaze blue
Xuande reign (1426-1435), Ming dynasty

這件青花三足爐作樽式型，圓口、深壁、平底並帶三短足。器身外壁以纏枝番蓮花紋作為裝飾，口沿下方並有「大明宣德年製」青花六字楷書橫式款識。對照嘉慶年間的《陳設檔》，可以知道這件三足爐曾和其他二十餘件銅器、玉器以及宋、明、清等各朝瓷器，同時擺放在養心殿的一組室內木質層架之中，作為陳列、裝飾、賞鑑的對象。

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皇帝的多寶格
Curio Boxes of Qianlong Emperor
展期（Date）：2019/12/25 ~ 2021/12/26
陳列室：南部院區　201
Gallery: (Southern Branch) 201

明人畫出警圖
絹本　設色畫
縱：92.1公分　橫：2601.3公分

明人畫入蹕圖
絹本　設色畫
縱：92.1公分　橫：3003.6公分

這支盛大的皇家謁陵隊伍，由北京城得勝門出發，直至皇帝謁陵的目的地，離京城四十五公里外的天壽山，這裡是明朝歷代皇帝的陵寢區。
「出警圖」與「入蹕圖」雖是各自分開的二幅長卷，但是所繪的卻同是掃墓、巡視的過程，因而通常被合稱為「出警入蹕圖」。
畫家將皇室謁陵的整個時空歷程出發→抵達→返回，濃縮於二幅長卷之中。傳統觀賞「出警圖」是由右往左；「入蹕圖」則由左往右。「出警圖」繪皇帝騎馬，由陸路出京，「入蹕圖」畫皇帝坐船，走水路還宮。這兩幅圖卷不但是國立故宮博物院所收藏手卷畫作中最長的兩幅（「出警圖」的橫長有26公尺，「入蹕圖」更是超過30公尺），人物眾多，場面宏偉，更是歷代繪畫作品中少見的超級鉅作。
這二幅作品，均未署名作者姓名。但可以確定的是，得出動許多宮廷畫師的合力創作，才能完成這二幅佈局精采生動的鉅作。

Anonymous, Ming dynasty
Departure Herald Imperial Procession Leaving the Palace
Handscroll, ink and color on silk, 92.1 x 2601.3 cm

Anonymous, Ming dynasty
Return Clearing Imperial Procession Returning to the Palace
Handscroll, ink and color on silk, 92.1 x 3003.6 cm

In this handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou.

"Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour. Usually considered as a pair, they are collectively known as "Departure Herald and Return Clearing".

Encapsulated into both scrolls, the artists depicted the entire event over time and space from the departure, arrival at the destination, and return to the capital. The traditional means of viewing "Departure Herald" is from right to left, whereas "Return Clearing" is from left to right. "Departure Herald" represents the emperor riding a horse, taking land route from the capital, while in "Return Clearing", he is shown riding on a boat, taking a water route back to the palace.

These two scrolls are not only the two longest handscrolls in the collection of the National Palace Museum ("Departure Herald" measuring 26 meters and "Return Clearing" more than 30 meters in length), they represent a rare, enormous effort in terms of the number of figures and majesty of the scenery seen among surviving works of Chinese painting.

Neither of these two works were signed or sealed by the artists who painted them. However, judging from the style, content, and great effort, it most likely took a cooperative effort of many court artists in order to complete these two great masterpieces of imperial Chinese painting.

明人畫出警圖
絹本　設色畫
縱：92.1公分　橫：2601.3公分

明人畫入蹕圖
絹本　設色畫
縱：92.1公分　橫：3003.6公分

這支盛大的皇家謁陵隊伍，由北京城得勝門出發，直至皇帝謁陵的目的地，離京城四十五公里外的天壽山，這裡是明朝歷代皇帝的陵寢區。
「出警圖」與「入蹕圖」雖是各自分開的二幅長卷，但是所繪的卻同是掃墓、巡視的過程，因而通常被合稱為「出警入蹕圖」。
畫家將皇室謁陵的整個時空歷程出發→抵達→返回，濃縮於二幅長卷之中。傳統觀賞「出警圖」是由右往左；「入蹕圖」則由左往右。「出警圖」繪皇帝騎馬，由陸路出京，「入蹕圖」畫皇帝坐船，走水路還宮。這兩幅圖卷不但是國立故宮博物院所收藏手卷畫作中最長的兩幅（「出警圖」的橫長有26公尺，「入蹕圖」更是超過30公尺），人物眾多，場面宏偉，更是歷代繪畫作品中少見的超級鉅作。
這二幅作品，均未署名作者姓名。但可以確定的是，得出動許多宮廷畫師的合力創作，才能完成這二幅佈局精采生動的鉅作。

Anonymous, Ming dynasty
Departure Herald Imperial Procession Leaving the Palace
Handscroll, ink and color on silk, 92.1 x 2601.3 cm

Anonymous, Ming dynasty
Return Clearing Imperial Procession Returning to the Palace
Handscroll, ink and color on silk, 92.1 x 3003.6 cm

In this handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou.

"Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour. Usually considered as a pair, they are collectively known as "Departure Herald and Return Clearing".

Encapsulated into both scrolls, the artists depicted the entire event over time and space from the departure, arrival at the destination, and return to the capital. The traditional means of viewing "Departure Herald" is from right to left, whereas "Return Clearing" is from left to right. "Departure Herald" represents the emperor riding a horse, taking land route from the capital, while in "Return Clearing", he is shown riding on a boat, taking a water route back to the palace.

These two scrolls are not only the two longest handscrolls in the collection of the National Palace Museum ("Departure Herald" measuring 26 meters and "Return Clearing" more than 30 meters in length), they represent a rare, enormous effort in terms of the number of figures and majesty of the scenery seen among surviving works of Chinese painting.

Neither of these two works were signed or sealed by the artists who painted them. However, judging from the style, content, and great effort, it most likely took a cooperative effort of many court artists in order to complete these two great masterpieces of imperial Chinese painting.

明人畫出警圖
絹本　設色畫
縱：92.1公分　橫：2601.3公分

明人畫入蹕圖
絹本　設色畫
縱：92.1公分　橫：3003.6公分

這支盛大的皇家謁陵隊伍，由北京城得勝門出發，直至皇帝謁陵的目的地，離京城四十五公里外的天壽山，這裡是明朝歷代皇帝的陵寢區。
「出警圖」與「入蹕圖」雖是各自分開的二幅長卷，但是所繪的卻同是掃墓、巡視的過程，因而通常被合稱為「出警入蹕圖」。
畫家將皇室謁陵的整個時空歷程出發→抵達→返回，濃縮於二幅長卷之中。傳統觀賞「出警圖」是由右往左；「入蹕圖」則由左往右。「出警圖」繪皇帝騎馬，由陸路出京，「入蹕圖」畫皇帝坐船，走水路還宮。這兩幅圖卷不但是國立故宮博物院所收藏手卷畫作中最長的兩幅（「出警圖」的橫長有26公尺，「入蹕圖」更是超過30公尺），人物眾多，場面宏偉，更是歷代繪畫作品中少見的超級鉅作。
這二幅作品，均未署名作者姓名。但可以確定的是，得出動許多宮廷畫師的合力創作，才能完成這二幅佈局精采生動的鉅作。

Anonymous, Ming dynasty
Departure Herald Imperial Procession Leaving the Palace
Handscroll, ink and color on silk, 92.1 x 2601.3 cm

Anonymous, Ming dynasty
Return Clearing Imperial Procession Returning to the Palace
Handscroll, ink and color on silk, 92.1 x 3003.6 cm

In this handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou.

"Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour. Usually considered as a pair, they are collectively known as "Departure Herald and Return Clearing".

Encapsulated into both scrolls, the artists depicted the entire event over time and space from the departure, arrival at the destination, and return to the capital. The traditional means of viewing "Departure Herald" is from right to left, whereas "Return Clearing" is from left to right. "Departure Herald" represents the emperor riding a horse, taking land route from the capital, while in "Return Clearing", he is shown riding on a boat, taking a water route back to the palace.

These two scrolls are not only the two longest handscrolls in the collection of the National Palace Museum ("Departure Herald" measuring 26 meters and "Return Clearing" more than 30 meters in length), they represent a rare, enormous effort in terms of the number of figures and majesty of the scenery seen among surviving works of Chinese painting.

Neither of these two works were signed or sealed by the artists who painted them. However, judging from the style, content, and great effort, it most likely took a cooperative effort of many court artists in order to complete these two great masterpieces of imperial Chinese painting.