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./0钱选 花鸟图卷(全卷二版)纸本38x316.7天博.jpg!w300?_upt=83443f6c1715935617)
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纸本35x849辽博.jpg!w300?_upt=d20694461715935617)
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