《乾隆皇帝松荫消夏图》轴，清乾隆，董邦达绘，纸本，水墨，纵193.5厘米，横158厘米。
作者款识：“臣董邦达恭写。”下钤“臣邦达印”白文方印、“文学侍从”朱文方印。乾隆皇帝御制诗：“世界空华底认真，分明两句难踈亲。最中第一尊崇者，却是忧劳第一人。梦中自题小像一绝，甲子夏五所记也，乙丑季夏清晖阁再书。”下钤“虚忠澂照”朱文方印、“乾隆宸翰”白文方印。 “甲子”是乾隆九年（1744年），乾隆皇帝时年34岁；“乙丑”是乾隆十年（1745年），乾隆皇帝时年35岁。画幅内钤有清内府及乾隆皇帝玺印：“避暑山庄”朱文方印、“澂观”朱文椭圆形印、“绘事践素”白文椭圆形印、“陶冶性灵”朱文方印。
图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。
此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。
--------Introduction in English--------
"Qianlong Emperor Songyin Summer Drawing" axis, Qianlong Qing Dynasty, Dong Bangda drawing, paper, ink, 193.5 cm vertical, 158 cm horizontal.
Author Qian Xue: "Minister Dong Bangda respectfully." Xiajun "Chen Bang Da Yin" in white and Zhu Wen "Literary Servant" in Chinese. Emperor Qianlong's imperial poems: "The world is empty and the bottom is serious. It is difficult to distinguish between two sentences. The first worshipper is the first to worry. Dream of self-titled Xiaoxiang, Jiazi Xia Wu also recorded, the second ugly season Xia Qinghui Pavilion again. Xiajun "Xuzhong Maozhao" Zhu Wenfang Seal and "Qianlong Chenhan" Bai Wenfang Seal. "Jiazi" was the ninth year of Qianlong (1744). Emperor Qianlong was 34 years old; Emperor Yichou was the 10th year of Qianlong (1745), and Emperor Qianlong was 35 years old. Inside the picture are the seals of the Qing government and the Emperor Qianlong: "Summer Resort" Zhu Wen square seals, "Maoguan" Zhu Wen elliptical seals, "Painting Practice Elements" Bai Wen elliptical seals, "Molding Spirit" Zhu Wen square seals.
Pictured on the outskirts of mountains and rivers, Emperor Qianlong, dressed in Han costume, sat beside the stone case and watched the children cooking tea. In addition to tea cups, there are stringed piano and books on the stone case, which shows his cultural accomplishment besides the tea ceremony. This picture is ingeniously conceived. Instead of drawing Emperor Qianlong as the Son of Heaven, the author integrates him into the natural landscape, and then naturally encloses him in the central part of the picture through the way of landscape embracing and pine embracing, thus highlighting his personal image and the supreme imperial power. Position. The complex and scattered structure of the rocks in the picture, with sharp brushwork and elegant writing style, is not only the lingering rhyme of the Yuan Dynasty, but also the brush and ink work of the Song Dynasty, thus successfully rendering the quiet and elegant realm of the exotic Taoyuan. The portrait of Emperor Qianlong in the actual painting should come from Lang Shining's hand.
This picture axle has a yellow sticker at the head of the package, titled "Eastern Cabinet of Chengguanzhai Hall hangs to the West on the East wall", which indicates that this picture, as an interior decorative painting, was once hung in Chengguanzhai Hall of Summer Resort.
