《十咏图》卷，北宋，张先绘，绢本，淡设色，画心纵52cm，横125.4cm。
画前引首有清乾隆皇帝弘历手书“诵芬写妙”四字，拖尾有南宋陈振孙，元颜尧焕、鲜于枢、脱脱木儿四跋，画中有北宋孙觉一跋。本幅上有南宋贾似道“悦生”、“秋壑”、“秋壑玩赏”等印，明初“典礼稽察司印”半印，清乾隆、嘉庆宝玺十余方，又溥仪印三方。
《石渠宝笈·续编》著录。
宋熙宁五年（1072年），张先82岁，致仕家居，出于对父亲的怀念，翻阅他生前诗作，其中一首七律《吴兴太守马大卿会六老于南园人各赋诗》的最末两句说到“它日定知传好事，丹青宁羡洛中图”，对张先有所触动，启示他创作了这幅《十咏图》。
此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。
南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。
张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。
这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。
此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。
1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”
--------Introduction in English--------
"Ten Wing Pictures" Volume, Northern Song Dynasty, Zhang Xian Painting, Silk, light color, 52 cm vertical heart, 125.4 cm horizontal.
Before the painting, there are four characters in Hongli handwriting of Emperor Qianlong of Qing Dynasty: "chanting Fen and writing miraculously", followed by Chen Zhensun of Southern Song Dynasty, four posts of Yuan Yan Yaohuan, Xianyushu and Tuobaoer, and one postscript of Sun Jue of Northern Song Dynasty. In this picture, Jia Xiandao of the Southern Song Dynasty has such seals as "Yuesheng", "Qiuqi", "Qiuqi Playing and Appreciating". In the early Ming Dynasty, he has half seals of "Ceremony Inspection Department". In the Qing Dynasty, Qianlong and Jiaqing Baoxi have more than ten seals, and Puyi seals have three sides.
Description of Shiqu Baodu Sequel.
In the fifth year of Song Xining (1072), Zhang Xian, 82 years old, came to his official residence. Out of his memory for his father, he read his poems in his lifetime. The last two sentences of one seven-line poem, "Wuxing Taishou Ma Daqing Hui Six Older than Nanyuan Renren's Poems" said, "It will surely tell good things, Danqing Ning envies Luozhong Tu", which touched Zhang Xian and inspired him to create this "Ten Yong Tu".
This picture is a landscape figure painting. The opening part of the scroll is the corner of Wuxing South Garden. The main building is a pavilion on the top of a hill with double eaves. It matches the small pavilion with winding balustrades, flowers and trees, cranes in the courtyard, flowers in the corner of the pavilion. The environment is elegant and magnificent. In the pavilion, Matthew is accompanying the two elders to play chess; in the pavilion, the two elders hold railings while enjoying the scenery while gossiping; the other two elders come with piano or stick. In addition, there are child servants accompanied by waiters. It was a romantic and elegant gathering, relaxed and happy, showing a peaceful and prosperous atmosphere. This paragraph expresses the contents of three poems, in addition to the one mentioned above, there are two poems, Tinghe and Jade Butterfly Flowers.
Nanyuan was built on the other side of the lake, Zhuting Chau, village cottages, lush trees and green hills, showing the contents of seven poems: Gufan, Suqingjiang Cottage, Guiyan, Wenanzhu, Suhou Chen Zhuang Idol Shu, Sending Ding Xiuci to Ju and Poor Girl.
Zhang Xian's paintings, whether historical or documentary, are the only one. As for its era, from the point of view of the method of mountainous stone chains and layout, it is generally the inheritance of the northern landscape, belonging to the Jinghao and Guantong system, without the traces of Li Cheng and Guoxi, and not into the style of the Southern Song Dynasty, which is obviously the style of the early Northern Song Dynasty.
The literary value of this work has always been valued by predecessors. The cultural activities and related figures recorded in this work are the only existing first-hand materials. Chen Zhensun made detailed records and textual research on various characters according to Nanyuan Lishi. The stone carvings were destroyed in Yuan Dynasty. Yan Yaohuan's postscript records are quite detailed. Today, his paintings and all the inscriptions and postscripts are more precious.
The painting was originally collected in the Qing Palace. Puyi stole it from the palace in the name of Pujie, and then took it to Changchun. When the puppet Manchu regime collapsed, the painting was stolen, and its whereabouts were unknown for the next 50 years.
In 1995, the painting came out again at the auction of Beijing Hanhai Auction Company. According to the suggestions of Xu Bangda, Qigong, Liu Jiu'an and other experts, and with the approval of the State Administration of Cultural Relics, the Palace Museum bid 18 million yuan to buy the painting back, so that the national treasure found its proper destination. The State Administration of Cultural Relics and the Palace Museum have spent so much money to protect a national treasure. In Mr. Qigong's words, "Two words are worth it."