本文以晚明城市长卷《皇都积胜图》作为研究对象, 通过图本分析和图本比较的方式，对晚明城市长卷画的演变做出综述，探讨不同图本之间的共性和差异。 笔者以美学角度为切入点, 将《皇都积胜图》及《南都繁会图》与张择端版本的《清明上河图》三个长卷的画面语言进行分析比对，分析画面表现技法及创作风格的不同，并深入探讨画家的创作意图。本文主要由五个部分构成：第一章对《皇都积胜图》的创作背景、基本信息、创作年代、作者等图像信息进行了挖掘，重点介绍了画中呈现的主要内容。第二章对该类画卷所呈现的特色进行分析，发现画家集中表现了物质繁盛的景况，并且有意表现出节日的气氛，以此来表现当时的百姓生活富足。第三章主要针对画面的艺术表现形式进行分析, 首先是对晚明城市长卷所呈现的透视关系进行分析，了解不同时期的画家对散点透视及焦点透视的运用，不同透视法带来的视觉效果都不太一样，从而体现出画家对画面处理的思考。其次是就笔墨技法谈画家在城市长卷绘画中的运用，如线条，设色等手法都有些许不同之处。第四章，探讨政治以及审美趋势对城市长卷画创作的影响。对晚明城市画卷的进步意义进行分析。第五章则综述后世对《皇都积胜图》的评价，以及笔者将所学转化至实践的体会。 本论文的最终结论：《皇都积胜图》所描绘的城市景象图, 不是当时的现实写照，但画家在简约的描绘手法下，仍旧为我们呈现了一幅精良的城市图卷。该画卷赋予了时代精神，也为后人的长卷创作提供了范式。

This paper takes the late Ming city chart "The Image of the Imperial Capital" as the object of study. Through the analysis of the map and the comparison of the maps, the evolution of the late Ming city map is reviewed, and the commonalities and differences between the different maps are explored. From an aesthetic point of view, the author compares the language of the three long volumes of "Imperial Capital Chart" and "Nan du Fan Hui tu" with that of Zhang Zeduan’ s "version of Along the River During the Tomb-sweeping Festival", and analyzes the technique of picture representation, different creative styles, and in-depth exploration of the artist’s creative intent. the main contents presented in the painting are mainly introduced. The second chapter analyzes the characteristics of this kind of picture scroll. It is found that the painter focused on the material prosperity of the scene, and intended to show the festive atmosphere, in order to show the people at that time rich life. The third chapter mainly analyzes the forms of artistic expression, first of all, it analyzes the perspective relationship of the mayor’s scroll in late Ming dynasty, in order to understand the painters’ use of scattered perspective and focus perspective in different periods, the visual effect brought by different perspective method is not quite the same, which reflects the artist’s thinking on the picture processing. Secondly, on the techniques of brush and ink artists in the city scroll painting, such as the use of lines, color, and other techniques are somewhat different. The fourth chapter discusses the influence of aesthetic trend on the creation of urban scroll painting.The fifth chapter summarizes the evaluation of "The Image of the Imperial Capital" by the later generations, and the author’s experience of transforming what he has learned into practice. The final conclusion of this thesis is that the urban scene constructed by "Imperial Capital Chart", though it reflects the social reality to some extent, is not an objective portrayal of the social reality at that time. The painter was committed to convey for future generations of long-volume creation. Nowadays, painters need to think about how to express their “View of the city”, that is to say, “Unofficial view of the city”. Art comes from life and is higher than life, how to let the picture bearing humanistic care and thinking, we need to think.