书体:

色彩:

设色,青绿

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸隔水一绫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：寿
鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：妙意写清快
鑑藏宝玺：墨云
鑑藏宝玺：八征耄念
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：古稀天子
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
收传印记：子安珍藏记
收传印记：沫湖埜人

题跋资料:

题跋类别：作者款识；作者：盛懋；题跋位置：本幅；款识：子昭□雪坡作；书体：篆书；全文：

题跋类别：题跋；作者：曹鼎；题跋位置：本幅；款识：天台曹鼎；书体：楷书；全文：两舡相并两翁闲。笑语舡头饱看山。不惜功名取身贵。了无踪迹到人间。天台曹鼎。印记：秋署清思

题跋类别：题跋；作者：何自学；题跋位置：本幅；款识：何自学；书体：行楷书；全文：渺渺长江火因浪平。扁舟并驾晚风生。轻摇兰桨过前浦。回首西山落日明。何自学。印记：秋官政暇

题跋类别：题跋；作者：冯善；题跋位置：本幅；款识：锡山冯善；书体：行楷书；全文：拍矶流水清。落渚轻云薄。渔艇无常邻。相逢时并泊。锡山冯善。印记：学之不已

题跋类别：题跋；作者：林震；题跋位置：本幅；款识：林震；书体：楷书；全文：天际凉风起。千山草木秋。吴江鲈正美。相与棹归舟。林震。印记：玉堂清暇

题跋类别：题跋；作者：王佐；题跋位置：本幅；款识：王佐；书体：楷书；全文：两两钓鱼翁。平生靡忧患。齐桡泛归航。红树日将晚。王佐。印记：吉水王佐功载

题跋类别：题跋；作者：叶恩；题跋位置：本幅；款识：叶恩；书体：楷书；全文：一苇汎中流。得鱼即沽酒。齁齁春梦长。富贵无何有。叶恩。印记：冰清玉壶

题跋类别：题跋；作者：□仲麟；题跋位置：本幅；款识：仲麟；书体：楷书；全文：晴沙灿晓星。落叶飘红雨。萧萧楚客舟。暮入吴江浦。仲麟。印记：有声之画

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：无；书体：楷书；全文：神印记：乾隆御赏之宝

题跋类别：题跋；作者：卫九鼎拖尾天台卫九鼎；书体：隶书；全文：子昭与馀交最早。往时一意仲美。兹幅人物忽入赵吴兴室中。而山以幽胜。木以拙胜。觉秋爽迎人。只在几案间。雪翁保重。毋使叔明见之。谓盛丈又持彼渭阳公麈柄也。至正辛丑(1361)十一月之望。天台卫九鼎。印记：九鼎

题跋类别：题跋；作者：清高宗隔水二  (乾隆御题。诗文不录)印记：几暇鑑赏之玺、乾隆御笔

题跋类别：题跋；作者：清高宗引首乾隆御笔；书体：行书；全文：江枫秋艇。乾隆御笔。印记：乾隆御笔、所乐在人和、与物皆春、观书为乐题籤清高宗题籤  御笔题籤。印记：御赏、乾隆宸翰

主题:

主要主题：山水秋景 ；次要主题：人物高士（士人、隐士）高士；次要主题：树木寒林．枯树 ；次要主题：花草藤萝 ；次要主题：船篷舟 ；其他主题：山水江河、湖海江河；其他主题：人物侍从（侍女、童仆）侍从；其他主题：树木  ；其他主题：花草芦苇 ；其他主题：翎毛  

技法:

写意 人物衣纹描法(匀称线条) 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1196 收藏着录： 故宫书画录（卷四），第二册，页149 收藏着录： 故宫书画图录，第十八册，页9-12 参考书目： 1.王耀庭，〈元盛懋江枫秋艇〉，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87-89。2.林莉娜，〈元盛懋江枫秋艇〉，收入林莉娜编，《秋景山水画特展图录》（台北：国立故宫博物院，1989年十月初版），页71-72。 内容简介（中文）： 盛懋（活动于十四世纪前半）字子昭，浙江临安人，后移居浙江嘉兴魏塘。精擅山水，也画人物、花鸟。 本幅山石用长披麻皴法，交互描画，形成网状的皴纹，这是他惯用的手法。舟船、人物线条纤细而笃定。浓重的树叶是以「介」字法变化而成，风格独具，而藤萝、枫叶，水光潋灩，尤其突显了秋天的意味，是他的代表佳作。 内容简介（中文）： 盛懋（活动于14世纪中期），字子昭。浙江临安（今杭州）人，后迁浙江嘉兴魏塘镇，与吴镇居比邻。善画山水、花鸟、人物。初随陈琳学画，后技法渐趋成熟，遂形成其个人风格。本幅是盛懋的代表佳作，山石用长披麻皴交互描画，形成网状的皴纹，为其惯用笔法。舟船、人物线条纤细而笃定。浓重的树叶是以「介」字法变化而成，风格独具，而藤萝、枫叶，水光潋灩，尤其突显了秋天的氛围。(20110913) 内容简介（英文）： Sheng Mao (style name Zizhao) was a native of Lin’an in Zhejiang (modern Hangzhou) and later moved to the town of Weitang in Jiaxing, Zhejiang, being a neighbor of Wu Zhen. He excelled at painting landscapes, figures and birds-and-flowers. In the beginning, Sheng studied with Chen Lin and later gradually modified his style, ultimately creating a personal manner of his own.This is an excellent painting representative of Sheng Mao’s work. For the mountains and rocks here, the artist used long, intertwined “hemp-fiber” strokes that form a web-like texture much in his personal style. The lines for the boat and figure are also delicate and steady. The dense tree leaves are adapted from the shape of the character “jie 介,” creating a unique manner. The wisteria and maple leaves, as well as the glistening ripples of water, resonate with and accentuate the atmosphere of an autumn day.(20110913) 内容简介（英文）： Sheng Mou, a native of Hangchow who later resided in Chia-hsing, excelled at painting landscapes as well as figures and birds-and-flowers. In painting the mountains and rocks here, the artist has used long, intertwined hemp fiber strokes that cross and form a texture like that of a net, which is much in his personal style. The lines for the boat and figure are delicate and steady. Though the dark, heavy leaves are adaptations on the standard form in the shape of the character chieh (介), his style is very distinctive. The wisteria and maple leaves, as well as the glistening cascades of water, resonate with autumnal tones. This masterpiece is an excellent example of Sheng Mou's style.