Qingming ShangheTu silk tapestry (Riverside Scene at Qingming Festival silk tapestry)3361, 700lines quality,there are 58lines of knots per inch and 3400knots per square inch. It is 33cm by 61cm. The design is from one part of the famous painting " Qing Ming Shang He Tu", which describes the scenery of the ancient capital city Kaifeng in the Song Dynasty. Qing ming shang he tu is one of the most celebrated ancient Chinese painting scrolls, it is collected in the Palace Museum of the Forbidden City. There are several copy versions handed down.For this small tapestry It is very thin and intricate.The piles are as thin as our hair. It is very difficult to make. It is called soft gold due to its refined workmanship. It is a nice piece of weaving art for collection.

清明上河图真丝挂毯收藏品3361,33x61公分,标准700道,3400结每平方英寸工艺,此挂毯极为精细,丝线如同发丝,结点密集,编织时极为费时费力,它是一张不可多得的顶级收藏品,被内行人视为软黄金.

More introduction about Qingming Shanghe Tu painting scroll:
The famous Qingming Shanghe Tu scroll by Zhang Zeduan is an ancient Chinese painting which portrays the scene of Kaifeng city, the capital of Song Dynasty during Qingming period. Along the River during the Qingming Festival is the title of several panoramic paintings; the original version is generally attributed to the Song Dynasty artist Zhang Zeduan (1085-1145). It captures the daily life of people from the Song period at the capital, Bianjing, today's Kaifeng. The theme shows the festive spirit and worldly commotion at the Qingming Festival, rather than the holiday's ceremonial aspects, such as tomb sweeping and prayers. The entire piece was painted in hand scroll format and the content reveals the lifestyle of all levels of the society from rich to poor as well as different economic activities in rural areas and the city. It offers glimpses of period clothing and architecture. As an artistic creation, the piece has been revered and court artists of subsequent dynasties have made several re-interpretive replicas. The painting is famous because of its geometrically accurate images of boats, bridges, shops, and scenery. Because of its fame, it has been called "China's Mona Lisa".
Similar to the Mona Lisa, the Qingming scroll was sold, changing hands among numerous private owners, before it finally returned to public ownership. The Qingming scroll is notable historically as being among the paintings from the former imperial collection that remain in public ownership in mainland China; it was a particular favorite of emperor Puyi, who took it with him to Manchukuo and thus kept the Song Dynasty original (24.8 by 528.7 cm) out of the collection of the National Palace Museum. It was later re-purchased in 1945 and kept at the Palace Museum in the Forbidden City.
About 20 to 30 variations on this topic by artists of subsequent dynasties were made. Several Ming and Qing versions can be found in public and private collections around the world. Each version follows the overall composition of the original fairly faithfully; however, the details often vary widely. The Song Dynasty original and the Qing version, in the Beijing and Taipei Palace Museums respectively, are regarded as national treasures and are exhibited only for brief periods every few years.
The scroll is 24.8 high by 5287cm long. There are around 814 humans, 28 boats, 60 animals, 30 buildings, 20 vehicles, 9 sedan chairs, and 170 trees on the scroll. The countryside and the densely populated city are the two main sections in the picture, with the river meandering through the city.
The right section is the rural area of the city. There are crop fields and unhurried rural farmers, goatherds, and pig herders. A country path broadens into a road and joins with the city road.
The left half is the urban area, which eventually leads into the city proper with the gates. Many economic activities, such as people loading cargoes onto the boat, shops, and even a tax office, can be seen in this area. People from all walks of life are depicted: peddlers, jugglers, actors, paupers begging, monks asking for alms, fortune tellers and seers, doctors, innkeepers, teachers, millers, metalworkers, carpenters, masons, and official scholars from all ranks.
Outside the city proper, there are businesses of all kinds, selling wine, grain, secondhand goods, cookware, bows and arrows, lanterns, musical instruments, gold and silver, ornaments, dyed fabrics, paintings, medicine, needles, and artifacts, as well as many restaurants. The vendors extend all along the great bridge, called the Rainbow Bridge or, more rarely, the Shangtu Bridge.
Where the great bridge crosses the river is the center and main focus of the scroll. A great commotion animates the people on the bridge. A boat approaches at an awkward angle with its mast not completely lowered, threatening to crash into the bridge. The crowds on the bridge and along the riverside are shouting and gesturing toward the boat. Someone near the apex of the bridge lowers a rope to the outstretched arms of the crew below.
In addition to the shops and diners, there are inns, temples, private residences, and official buildings varying in grandeur and style, from huts to mansions with grand front and backyards.
People and commodities are transported by various ways: wheeled wagons, beasts of labor (in particular, a large number of donkeys and mules), sedan chairs, and chariots. The river is packed with fishing boats and passenger-carrying ferries, with men at the river bank, pulling the larger ships.
Many of these details are roughly corroborated by Song dynasty writings, principally the Dongjing Meng Hua Lu, which describes many of the same features of life in the capital city Kaifeng.

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