《乾隆皇帝抚琴图》轴，清，张宗苍绘，纸本，水墨，纵194厘米，横159厘米。
款识：“乾隆癸酉清和月臣张宗苍恭绘。”下钤二朱文方印“张”、“宗苍”。“癸酉”为乾隆十八年（1753年），乾隆皇帝时年43岁。画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。构思坐盘陀，飘然衫带宽。能者尽其技，劳者趁此闲。谓宜入图画，匪慕竹皮冠。癸酉夏日题。”下钤“陶冶赖诗篇”朱文方印、“乾隆宸翰”白文方印。该诗文与张宗苍于同一年奉勅绘的《乾隆皇帝松荫挥笔图》轴所题内容相同。本幅钤嘉庆朝内府鉴藏印“嘉庆御览之宝”、“石渠宝笈”、“宝笈三编”、“嘉庆鉴赏”、“三希堂精鉴玺”、“宜子孙”，共6方。
此图与北京故宫博物院现藏的董邦达《乾隆皇帝松荫消夏图》轴相比较，在画幅的大小尺寸、质地、构图、笔法，甚至乾隆皇帝的面部神态上均非常近似。由董氏画作包首处所贴黄签“澄观斋殿内东阁东墙面西挂”及图上所钤“避暑山庄”藏印而知，当年董氏的画作并没有像张宗苍的此幅一样存在紫禁城皇宫，而是挂在了乾隆皇帝的重要行宫避暑山庄内的澄观斋殿，由此可见，乾隆皇帝对表现他品茶消夏的行乐题材是何等的重视和喜爱。
乾隆皇帝自幼受汉满文化的熏陶，有着深厚的文化底蕴。他对汉族文人所追求的种种理想境界十分向往，谕令宫廷画家创作了多幅表现其儒雅生活的作品，如春日松下品茶、盛夏观荷纳凉、秋季熏香抚琴、冬季赏雪吟诗或集雪烹茶等，这其中有的是他亲历亲为的行乐活动，有的则是他理想中的一种行乐状态，此图便是他谕令宫廷画家张宗苍创作的表现他脱离世嚣，于山野之中悠然自得的臆想之作。
--------Introduction in English--------
"Qianlong Emperor Fuqin Tu" axis, Qing Dynasty, Zhang Zongcang painting, paper, ink, 194 cm in length, 159 cm in horizontal.
Qian Zhi: "Qianlong Youqing and Yuecheng Zhang Zonggong painted it." "Zhang" and "Zongcang" are printed in Xiajun Erzhu Wenfang. "Guiyou" was the eighteenth year of Qianlong (1753). Emperor Qianlong was 43 years old. On the right side of the picture, the Emperor Qianlong's five-character poem with imperial inscriptions reads: "Between pine and stone streaming springs, it's gloomy in summer and cold in winter." The idea of sitting on Pantuo, the bandwidth of Piaoran shirt. The skilled do their best, the laborers take advantage of this leisure. It is appropriate to enter the picture. Bandits admire bamboo crowns. Summer Question." Xiajun "Molding Lai's Poems" Zhu Wenfang Seal and "Qianlong Chenhan" Bai Wenfang Seal. This poem is the same as Zhang Zongcang's "Songyin Picture of Emperor Qianlong", which was painted by Zhang Zongcang in the same year. There are six inscriptions of "Jiaqing Royal View Treasure", "Shiqu Treasure", "Baotu Three Series", "Jiaqing Appreciation", "Sanxitang Fine Appreciation Seal" and "Yizi Sun" in this picture.
Compared with the axis of Dong Bangda's Songyin and Summer Elimination Picture of Emperor Qianlong in Beijing Palace Museum, this picture is very similar in size, texture, composition, brushwork and even the facial expression of Emperor Qianlong. It is known from the yellow sticker "Chengguanzhai Palace east wall West hanging" on Baotou's painting place and the Tibetan seal of "Summer Resort" on the picture that Dong's painting did not exist in the Forbidden City Palace like Zhang Zongcang's, but hung in Chengguanzhai Palace, an important palace of Emperor Qianlong, in the summer resort, thus it can be seen that Dong's painting did not exist in the Forbidden City Palace like Zhang Zongcang's. Emperor Qianlong attached great importance to and loved the theme of his tea tasting for summer.
Emperor Qianlong was influenced by Han and Manchu culture from his childhood, and had profound cultural connotations. He yearned for all kinds of ideal realms pursued by the Han literati. He instructed the court painters to create a number of works expressing their elegant life, such as Panasonic tea in spring, Honaliang in midsummer, fumigating the perfume in autumn, enjoying snow poems or collecting snow tea in winter, and so on. Some of them were his own activities, while others were his own. In his ideal state of amusement, this picture is his edict to the court painter Zhang Zongcang to create the performance of his freedom from the world, leisurely and comfortable in the mountains and wilderness of the imagination.
