书体:

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸引首纸隔水二绫隔水三绫拖尾纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：寿
鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：古稀天子
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：嘉庆御览之宝
收传印记：子京
收传印记：子孙永宝
收传印记：神品
收传印记：墨林秘玩（重一。半印一）
收传印记：项元汴印（重一）
收传印记：项子京家珍藏
收传印记：项墨林鑑赏章（重一）
收传印记：墨林山人（重一）
收传印记：子孙永保（重一）
收传印记：子京父印
收传印记：项墨林秘笈之印（重一）
收传印记：天籁阁
收传印记：檇李项氏家宝玩
收传印记：子京所藏
收传印记：子京所藏
收传印记：墨林项季子章
收传印记：寄傲
收传印记：项子京珍藏印
收传印记：墨林子
收传印记：项叔子
收传印记：清森阁书画印
收传印记：何良俊印
收传印记：南史氏
收传印记：吴廷书画之印
收传印记：吴希元印（重一）
收传印记：吴希元印
收传印记：会侯珍藏（重二）
收传印记：真赏（重二）
收传印记：汉水耿会侯书画之章（重二）
收传印记：平生真赏
收传印记：宜尔子孙（重二）
收传印记：湛思记
收传印记：珍秘（重二。半印一）
收传印记：会侯珍藏（重一）
收传印记：琴书堂（重一）
收传印记：耿会侯鑑定书画之章
收传印记：丹诚
收传印记：陈定
收传印记：陈定画印
收传印记：陈定画印
收传印记：陈以御
收传印记：以御
收传印记：俞安期印
收传印记：俞尧长
收传印记：震维
收传印记：吴翔鳯印
收传印记：袁定昌印
收传印记：鼎成
收传印记：仲辉氏

题跋资料:

题跋类别：作者款识；作者：钱选；题跋位置：本幅；款识：吴兴钱选舜举；书体：行楷书；全文：山横一带接秋江。茅屋数间更漏长。渡口有舟呼未至。行人伫立到斜阳。吴兴钱选舜举。印记：舜举、钱选之印、舜举

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：丙寅春正御题；书体：行书；全文：白苇丹枫两岸。鸥波烟艇中流。不肯飘然径渡。凭消望里清秋。秋崖小立斯湏。一叶扁舟可呼。竭咏霅溪诗意。邈思天水画图。丙寅春正御题。印记：乾隆宸翰、御赏、几暇临池

题跋类别：题跋；作者：李道大拖尾 ；书体：行书；全文：随喜一偈。贻笑名胜。白云李道大。水净山明两眼秋。谁家结屋占清幽。年年看得鱼?崖肥日。多有归人立渡头。乃题秋江待渡也。印记：白云处士李守卿

题跋类别：题跋；作者：何天麟拖尾壬寅石厓何天麟观晚渡卷有感；书体：行楷书；全文：夷犹一叶碧波秋。人立斜阳古渡头。谁料长江风浪恶。至今閒却济川舟。壬寅石厓何天麟观晚渡卷有感。印记：石厓

题跋类别：题跋；作者：王谦拖尾晋陵王谦。为乡友钱友常。题于乐閒亭。；书体：行楷书；全文：江水弥漫老树秋。残阳渡口动人愁。劝君且更斯须立。莫向风波趁小舟。晋陵王谦。为乡友钱友常。题于乐閒亭。印记：王氏益夫、仲子、东斋

题跋类别：题跋；作者：宋怀拖尾吉郡宋怀；书体：行书；全文：万顷烟波一叶舟。青山茅屋思悠悠。济川有志来何晚。渡口西风落日秋。吉郡宋怀。印记：雪舫中人、备员内卿、赐进士

题跋类别：题跋；作者：钱溥拖尾东吴钱溥；书体：行书；全文：满屯??红叶照秋明。一棹波间尽日行。才济江南又江北。不教闲向渡头横。东吴钱溥。印记：原溥、学士之章、九峰清气

题跋类别：题跋；作者：卞荣拖尾江阴卞荣；书体：草书；全文：秋江无波镜面平。中有不测予心惊。毒龙吐涎蜃气腥。一舟往来如叶轻。岸上人家住之久。碧树团团遮户牖。隔江待渡夕阳残。况是天涯重回首。江阴卞荣。印记：华伯、金榜中人、兰轩

题跋类别：题跋；作者：张宁拖尾吴兴张宁。书于西长安读书处。；书体：行书；全文：题霅翁诗画。解衣盘礡鬓如丝。阁笔推敲月上时。江海茫茫去远。更谁能画复能诗。吴兴张宁。书于西长安读书处。印记：龙门春水、张靖之、惜分阴处

题跋类别：题跋；作者：刘昌拖尾姑苏刘昌；书体：楷书；全文：平时不试济川才。閒看群鸥日往来。唤渡有人垂望久。一舟聊趁晚风开。姑苏刘昌。印记：钦谟、写骚亭、自成一家

题跋类别：题跋；作者：金铣拖尾山阳金铣识；书体：行楷书；全文：彷彿钱唐接素秋。中流隐隐是归舟。几家红叶孤烟外。一带青山入越州。日沈天晚立江头。烟起波心不见舟。今遇太平非此境。诗人莫向画中求。舜举遭叔世写图作诗。以见意云。故予发之。山阳金铣识。印记：宗润、秪以自嬉、守约斋

题跋类别：题跋；作者：文伯仁拖尾五峰文伯仁；书体：行楷书；全文：赵松雪尝画秋江待渡图。张伯雨题诗云。郁木桁头萧侍郎。负薪归去趁谿航。解包席地者谁子。日暮途话正长。仍书郁木桁。乃萧子云所居处。乃长挂幅。着色师唐人法。为时所重。张用萧事。亦不知所谓。后有岭南人。为吴郡守。携之以去。舟复长江。失之。至今兴言及之。皆共惋惜。馀幼时犹得见者。因记张作。每悬梦寐。曾假有粉本。临一再过。终有邯郸之愧。无优孟之彷彿。兹霅翁此卷。其亦因松雪而雪之者。用笔设色亦倣唐法。题句且深意。后题之者九人。共诗十首。皆我明文章巨擘。可谓精品。展玩不忍释。遂录张诗如右。且述赵画之所由。岂当胜国之末。人各有所寓意。而写之画。赋以诗耶。盖亦当时一段公案也。观者宜重之。况有好事者。其爱护珍藏。又宜何如哉。万历甲戌九月朔。书于西湖客次。五峰文伯仁。印记：五峰、文伯仁、冰香室、（一印不识）

题跋类别：题跋；作者：梁诗正拖尾臣梁诗正敬题；书体：行书；全文：澹澹蓼花风。踈踈枫叶雨。野艇横中流。寒潮相吞吐。吴山一发青。依约江南树。长吟招隐诗。客心正怀古。臣梁诗正敬题。印记：臣、诗正

题跋类别：题跋；作者：汪由敦拖尾乾隆丙寅春正。臣汪由敦敬题。；书体：行书；全文：秋水净天碧。一棹破苍烟。沙平江岸濶。利涉知何缘。皇皇问津者。延伫呼长年。乾隆丙寅春正。臣汪由敦敬题。印记：臣、由、敦

题跋类别：题跋；作者：励宗万拖尾臣励宗万恭和敬题；书体：行书；全文：白石矶边唤渡。丹枫树下临流。閒看一江烟水。萧萧芦萩鸣秋。舟人知道邛须。遥见中流手呼。添箇烟波钓叟。宛然张志和图。臣励宗万恭和敬题。印记：臣宗万、敬书

题跋类别：题跋；作者：张若霭拖尾臣张若霭敬题；书体：行书；全文：澹烟一抹远苍茫。秋到江南草未黄。记得晚凉人影乱。片帆飞渡过韩庄。臣张若霭敬题。印记：臣霭、馀事

题跋类别：题跋；作者：裘曰修拖尾臣裘曰修敬题；书体：行楷书；全文：江雨风未可期。秋江欲渡尚迟迟。似闻传语操舟者。莫恃波平浪静时。臣裘曰修敬题。印记：臣裘曰修、一朵红云

题跋类别：题跋；作者：陈邦彦拖尾臣陈邦彦敬题；书体：行楷书；全文：野艇寒江落照黄。蒹葭露白树苍苍。人间只有閒鸥鸟。翻笑溪道问渡忙。臣陈邦彦敬题。印记：臣邦彦、学书

题跋类别：题跋；作者：董邦达拖尾臣董邦达奉勅观敬题；书体：隶书；全文：水净沙明天宇濶。远岸浮空烟一抹。黄叶满村茆屋新。日夕牛羊齐下括。行人心汲居人閒。渡口呼舟舟未还。不如解包沽酒饮。坐看倒影凌苍山。臣董邦达奉勅观敬题。印记：臣邦达印、文学侍从

主题:

主要主题：山水秋景 ；次要主题：山水江河、湖海江河；其他主题：人物渔夫、船夫 ；其他主题：人物百姓 ；其他主题：树木  ；其他主题：建筑房舍 ；其他主题：建筑茅草屋 ；其他主题：建筑篱笆、围墙篱笆；其他主题：船  

技法:

工笔 皴法披麻皴

参考资料:

收藏着录： 石渠宝笈初编（漱芳斋），下册，页1194 收藏着录： 故宫书画录（卷四），第二册，页64 收藏着录： 故宫书画图录，第十六册，页375-380 参考书目： 1.王耀庭，〈宋钱选烟江待渡图〉，收入王耀庭编，《青绿山水画特展图录》（台北：国立故宫博物院，1995年七月初版一刷），页83-84。 内容简介（中文）： 钱选（西元1239─1301年），霅川（浙江湖州）人。字舜举，号玉潭，霅豁翁等。南宋景定乡贡进士。入元后不仕，以书画终其身。山水师法赵令穰与赵伯驹，花鸟师赵昌，人物师李公麟，然不为前人法度所拘。 此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借着创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。 内容简介（中文）： 钱选（西元一二三九─一三0一年），字舜举，号玉潭，霅豁翁等。宋景定年间进士。工画，宋亡不仕，流连诗酒以终其生。 此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现青绿山水的古雅工丽，又富有文人画的恬静意趣。画家借此幽寂静谧的山水，并题诗画上，委婉地表达隐遁避世的愿望。幅右树根处有千字文第七八0「运」字编号，为项元汴天籁阁旧藏。 内容简介（中文）： 钱选（约1235－1307），吴兴（今浙江湖州）人。字舜举，号玉潭、巽峰等。入元后不仕，以书画终其身。山水师法赵令穰与赵伯驹，花鸟师赵昌，人物师李公麟，然不为前人法度所拘。本幅绘秋景山水，山峦平坡多用硬拙直笔钩皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借画上题诗，表达自己隐遁避世之愿。(20110913) 内容简介（英文）： Qian Xuan (style name Shunju; sobriquets Yutan and Xunfeng) was a native of Wuxing (modern Huzhou, Zhejiang). He did not seek office after the rise of the Yuan dynasty, instead making a living through his painting and calligraphy. He took the landscape styles of Zhao Lingrang and Zhao Boju, bird-and-flower manner of Zhao Chang, and figure style of Li Gonglin as his teachers. Qian Xuan was, however, not confined by the methods of previous masters. This is a painting of an autumnal landscape in which the mountain ridges and level slopes are depicted mostly with angular texture strokes using a stiff, awkward brush held upright, assisting to express the archaic elegance and delicate beauty of a blue-and-green landscape that fully possesses the peaceful atmosphere of literati painting. The groups of trees are rendered with fine texture strokes and dots, conveying luxuriant growth and pure beauty. The painting has a flat-distance composition with a vast body of water suggesting an otherworldly and unsullied realm, the artist’s poetry inscribed at the top of the painting expressing his wish to live in reclusion and retire from the world.(20110913) 内容简介（英文）： Qian Xuan was a Presented Scholar (jinshi) of the Jingding reign (1260-1264). Excelling at painting, he did not serve in office after the Song fall, spending his life indulging in poetry and drink. This scroll depicts an autumn landscape with mountains and slopes mostly outlined and textured using a stiff, upright brush. With its “blue-and-green” beauty and classic archaism, the work is filled with a lyrical, literati sense of tranquility. The artist used this serene landscape to inscribe poetry, subtly expressing his private wish to become a hermit. The root of a tree to the right is inscribed with the character “yun 运,” the 780th from the “Thousand Character Classic” and an accession number used for the collection of Xiang Yuanbian’s Hall of Heavenly Sounds. 内容简介（英文）： Ch'ien Hsüan (style name Shun-chü; sobriquets Yü-t'an and Cha-hsi-weng) was a native of Cha-ch'uan modern Hu-chou, Chekiang. He passed the chin-shih civil service examination, but did not serve the alien Mongol rules in the succeeding Yüan dynasty (1279-1368), making a living instead with his painting and calligraphy. He took the landscape styles of Chao Ling-jan (fl. ca. 1070-1100) and Chao Ch'ang (ca. 960-after 1016 ), and the figure style of Li Kung-lin (1049-1106) as his teachers. He was, however, not confined by the methods of previous painters in his own style. This is a hand scroll painting of an autumnal landscape in which the mountain ridges and level slopes are depicted mostly with angular texture strokes using a stiff, awkward brush held upright,assisting to express the archaic elegance and delicate beauty of this blue-and green landscape which fully possesses the peaceful atmosphere found in literati paintings. The groups of trees are rendered with fine texture strokes and dots, conveying the luxuriant growth and pure beauty of the trees. The painting has a flat distance composition with its vast body of water suggesting an other-worldly and unsullied realm. On the pretext of creating this quiet scene of seclusion and tranquility, Ch'ien Hsüan has filled the landscape with a poetic atmosphere. Furthermore, in the inscribed poem at the top of the painting, the painter subtly and intricately expressed his private wish to become a hermit and shun society.