本稿通过装饰北宋翰林学士院正厅——玉堂的历代山水壁画和屏风的复原考察,来探讨一下北宋山水画的发展情况。由应该称作皇帝秘书官的翰林学士们所组成的学士院的建筑物,一贯都被设置在宫城里,但在神宗朝代里,伴随着所谓元丰的改修,其建筑用地有若干移动,建筑物也全面的被修改了。因而,作为本稿的目的——翰林学士院的壁画和屏风的历史,可以以元丰的改修为界限,明显地分成前后两个时期。最初是玉堂中堂的北壁及东西壁,共计围了八间,总延长长度大约五十米的董羽的龙水壁画,估计是从太宗的太平兴国五年到八年之间制作成功的。接着,淳化三年前后,又在中堂北壁中央玉座背后的壁面一间 This manuscript through the decoration of the Northern Song Dynasty Imperial College, the main hall - Yutang ancient landscape murals and the restoration of the screen to explore the Northern Song Dynasty landscape development. The buildings of the academy, which is composed of the Hanlin bachelors who should be called the emperor’s secretary, have always been set up in Miyagi. However, in the Shenzong dynasty, with the so-called Yuanfeng renovation, The building was also comprehensively modified. Therefore, for the purpose of this manuscript, the history of the murals and screens of the Imperial Academy can be divided by Yuanfeng Renovation and obviously divided into two periods. Initially Yubei Zhongtang’s north wall and east-west wall, a total of eight Dongfeng murals with a total extension of about 50 meters were estimated to have been produced from Taiping’s rejuvenation between five and eight years. Then, Chunhua three years ago, again in the hall north wall of Central Queens Tower behind a wall