书体:

色彩:

设色

装裱形式:

册(推蓬装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

题跋资料:

主题:

主要主题：山水秋景 ；次要主题：树木松 ；次要主题：建筑房舍 ；次要主题：建筑桥 ；其他主题：山水溪涧、湍泉湍泉；其他主题：人物渔夫、船夫船夫；其他主题：人物行旅 ；其他主题：树木  ；其他主题：树木寒林．枯树枯树；其他主题：走兽骡．驴驴；其他主题：建筑亭 ；其他主题：建筑栏杆 ；其他主题：船  

技法:

工笔 写意 皴法斧劈皴人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页256 参考书目： 1.许郭璜，〈宋人秋溪待渡图〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页253-254。2.许郭璜，〈「七十件书画册页名品特展」精选(二) — 宋人秋溪待渡图〉，《故宫文物月刊》，第147期（1995年6月），页100-102。3.陈韵如，〈秋溪待渡〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页358。 内容简介（中文）： 巨石旁，二松挺翠，岸际二人负行囊待渡，舟子　篙渐至。石后屋宇数间，错落有致。主仆五人春郊游罢，渡桥而归。茅亭左侧，水声淙淙，若泉若瀑，数折而下，屋后山峦横亘，半为云烟所掩。 本幅为「艺林集玉」册第二幅。旧题秋景山水，然以渍染颜色和画枝叶茂密言，或写春游之景。而依布局端整平实，笔墨设色含蓄蕴借看，俨然有北宋遗韵。 内容简介（中文）： 巨石旁，二松挺翠，岸际两人负行囊待渡，舟子撑篙渐至。石后屋宇数间错落有致，主仆五人郊游渡桥而归。茅亭左侧，水声淙淙，若泉若瀑，数折垂下，屋后山峦横塘，半为云烟所掩。画中神采气息，颇有米芾（1051-1107）所述：「峰峦出没，云雾显晦，不装巧趣，皆得天真。」的神韵。幅中松针以墨、汁绿画成，再以淡墨及绿烘染，取法与李唐（约1049－1130后）〈万壑松风〉之松树脉息相通；山石造型圆浑不露圭角，带擦带皴，笔重而不滞，其法则可得自关仝（西元10世纪）〈秋山晚翠〉；馀杂树画法及全幅墨层层托染，气息与郭熙（11世纪）〈早春图〉最为接近。通幅笔墨设色含蓄蕴籍，技法上融合了北宋诸家特质而又能表现出独自风格，是难得的佳作。本幅无作者款印，旧籤题为秋景山水，然而从画树木和染色，以及从主题观察，或是描写春郊行游的景色。（许郭璜） 内容简介（中文）： 右侧绘双松耸峙坡岸，松下挑担二人等待渡江。松树掩映中景，则是一处大型院落，院落门径隐藏在山石之后，两人骑驴与侍仆数人正要从桥上前往探访。此开已融入多位北宋山水名家风貌。画中双松与李唐〈万壑松风〉描绘松叶手法相近； 山石的处理则讲究烟气迷茫，质面皆不见皴擦笔踪，兼具郭熙、王诜山水画风特质。画中远景烟气迷茫，但对涧水湍石的描绘仍具谨实态度，应属两宋之际山水面貌。(20101015) 内容简介（英文）： Depicted on the right here are two pines standing tall on a foreground bank, and underneath the pines are two people with poles as they wait for the ferry to cross the river. The pines mask some of the scenery in the middleground with a large courtyard complex, the gate to which is hidden behind the mountain rocks. Two figures ride donkeys as they cross the bridge making their way to the buildings. This album leaf already incorporates the stylistic features of several major Northern Song landscape painters.In terms of the technique for rendering the pine needles, the two pines here are similar to those in Li Tang’s “Wind in Pines Among a Myriad Valleys.” The treatment of the rocks also reveals particular attention to the hazy use of mists, the facets of land not revealing traces of brushwork for texturing. The painting combines the landscape characteristics associated with the works of Guo Xi and Wang Shen of the Northern Song. The misty use of haze in the distant scenery contrasts with the meticulous rendering of water and rocks, thus demonstrating a landscape style combining elements of both the Northern and Southern Song sometime during the mid-twelfth century.(20101015) 内容简介（英文）： By a large rocky promontory where two tall pines grow, two men stand at the shore with belongings as they wait for a ferry being gradually poled to them. Behind the promontory are scattered buildings. A master and four retainers return from a spring outing and cross a bridge. To the left of the thatched pavilion behind them emerges the sound of a winding stream tumbling down below. The hills are half-concealed by clouds and mist. This is the 2nd leaf from the album Collected Gems of Art. The original title slip reads Autumn Landscape, but the colored washes and dense leaves suggest a spring outing instead. The balanced, centered composition as well as the reserved use of brush and ink indicate a Northern Sung (960-1126) style.