宋錢選煙江待渡圖　卷｜國家文化記憶庫2.0

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宋錢選煙江待渡圖　卷

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原始資料連結
原始資料連結
資料來源
國立故宮博物院(舊)
主題分類
藝術與人文
建檔單位
國立故宮博物院

作者
錢選,Qian Xuan
色彩
設色
裝裱形式
卷
數量
一卷
集叢號-類型
單件
典藏尺寸
本幅@#@21.6x111.2@#@@#@隔水一@#@10.2@#@@#@引首@#@22.1x55.1@#@@#@隔水二@#@22x10.7@#@@#@隔水三@#@21.8x11.4@#@@#@拖尾@#@21.7x323
質地
本幅@#@紙@#@@#@引首@#@紙@#@@#@隔水二@#@綾@#@@#@隔水三@#@綾@#@@#@拖尾@#@紙
題跋資料
作者款識@#@錢選@#@本幅@#@吳興錢選舜舉@#@行楷書@#@山橫一帶接秋江。茅屋數間更漏長。渡口有舟呼未至。行人佇立到斜陽。吳興錢選舜舉。 @#@@#@題跋@#@清高宗@#@本幅@#@丙寅春正御題@#@行書@#@白葦丹楓兩岸。鷗波烟艇中流。不肯飄然徑渡。憑消望裡清秋。秋崖小立斯湏。一葉扁舟可呼。竭詠霅溪詩意。邈思天水畫圖。丙寅春正御題。 @#@@#@題跋@#@李道大@#@拖尾@#@行書@#@隨喜一偈。貽笑名勝。白雲李道大。水淨山明兩眼秋。誰家結屋占清幽。年年看得魚?崖肥日。多有歸人立渡頭。乃題秋江待渡也。 @#@@#@題跋@#@何天麟@#@拖尾@#@壬寅石厓何天麟觀晚渡卷有感@#@行楷書@#@夷猶一葉碧波秋。人立斜陽古渡頭。誰料長江風浪惡。至今閒卻濟川舟。壬寅石厓何天麟觀晚渡卷有感。 @#@@#@題跋@#@王謙@#@拖尾@#@晉陵王謙。為鄉友錢友常。題于樂閒亭。@#@行楷書@#@江水瀰漫老樹秋。殘陽渡口動人愁。勸君且更斯須立。莫向風波趁小舟。晉陵王謙。為鄉友錢友常。題于樂閒亭。 @#@@#@題跋@#@宋懷@#@拖尾@#@吉郡宋懷@#@行書@#@萬頃煙波一葉舟。青山茅屋思悠悠。濟川有志來何晚。渡口西風落日秋。吉郡宋懷。 @#@@#@題跋@#@錢溥@#@拖尾@#@東吳錢溥@#@行書@#@滿屯??紅葉照秋明。一棹波間盡日行。纔濟江南又江北。不教閑向渡頭橫。東吳錢溥。 @#@@#@題跋@#@卞榮@#@拖尾@#@江陰卞榮@#@草書@#@秋江無波鏡面平。中有不測予心驚。毒龍吐涎蜃氣腥。一舟往來如葉輕。岸上人家住之久。碧樹團團遮戶牖。隔江待渡夕陽殘。況是天涯重回首。江陰卞榮。 @#@@#@題跋@#@張寧@#@拖尾@#@吳興張寧。書于西長安讀書處。@#@行書@#@題霅翁詩畫。解衣盤礡鬢如絲。閣筆推敲月上時。江海茫茫去遠。更誰能畫復能詩。吳興張寧。書于西長安讀書處。 @#@@#@題跋@#@劉昌@#@拖尾@#@姑蘇劉昌@#@楷書@#@平時不試濟川才。閒看群鷗日往來。喚渡有人垂望久。一舟聊趁晚風開。姑蘇劉昌。 @#@@#@題跋@#@金銑@#@拖尾@#@山陽金銑識@#@行楷書@#@彷彿錢唐接素秋。中流隱隱是歸舟。幾家紅葉孤煙外。一帶青山入越州。日沈天晚立江頭。煙起波心不見舟。今遇太平非此境。詩人莫向畫中求。舜舉遭叔世寫圖作詩。以見意云。故予發之。山陽金銑識。 @#@@#@題跋@#@文伯仁@#@拖尾@#@五峰文伯仁@#@行楷書@#@趙松雪嘗畫秋江待渡圖。張伯雨題詩云。郁木桁頭蕭侍郎。負薪歸去趁谿航。解包席地者誰子。日暮途話正長。仍書郁木桁。乃蕭子雲所居處。乃長挂幅。著色師唐人法。為時所重。張用蕭事。亦不知所謂。後有嶺南人。為吳郡守。攜之以去。舟覆長江。失之。至今興言及之。皆共惋惜。余幼時猶得見者。因記張作。每懸夢寐。曾假有粉本。臨一再過。終有邯鄲之愧。無優孟之彷彿。茲霅翁此卷。其亦因松雪而雪之者。用筆設色亦倣唐法。題句且深意。後題之者九人。共詩十首。皆我明文章巨擘。可謂精品。展玩不忍釋。遂錄張詩如右。且述趙畫之所由。豈當勝國之末。人各有所寓意。而寫之畫。賦以詩耶。蓋亦當時一段公案也。觀者宜重之。況有好事者。其愛護珍藏。又宜何如哉。萬曆甲戌九月朔。書於西湖客次。五峰文伯仁。 @#@@#@題跋@#@梁詩正@#@拖尾@#@臣梁詩正敬題@#@行書@#@澹澹蓼花風。踈踈楓葉雨。野艇橫中流。寒潮相吞吐。吳山一髮青。依約江南樹。長吟招隱詩。客心正懷古。臣梁詩正敬題。 @#@@#@題跋@#@汪由敦@#@拖尾@#@乾隆丙寅春正。臣汪由敦敬題。@#@行書@#@秋水淨天碧。一棹破蒼烟。沙平江岸闊。利涉知何緣。皇皇問津者。延佇呼長年。乾隆丙寅春正。臣汪由敦敬題。 @#@@#@題跋@#@勵宗萬@#@拖尾@#@臣勵宗萬恭和敬題@#@行書@#@白石磯邊喚渡。丹楓樹下臨流。閒看一江烟水。蕭蕭蘆萩鳴秋。舟人知道邛須。遙見中流手呼。添箇烟波釣叟。宛然張志和圖。臣勵宗萬恭和敬題。 @#@@#@題跋@#@張若靄@#@拖尾@#@臣張若靄敬題@#@行書@#@澹烟一抹遠蒼茫。秋到江南草未黃。記得晚涼人影亂。片帆飛渡過韓莊。臣張若靄敬題。 @#@@#@題跋@#@裘曰修@#@拖尾@#@臣裘曰修敬題@#@行楷書@#@江雨風未可期。秋江欲渡尚遲遲。似聞傳語操舟者。莫恃波平浪靜時。臣裘曰修敬題。 @#@@#@題跋@#@陳邦彥@#@拖尾@#@臣陳邦彥敬題@#@行楷書@#@野艇寒江落照黃。蒹葭露白樹蒼蒼。人間只有閒鷗鳥。翻笑溪道問渡忙。臣陳邦彥敬題。 @#@@#@題跋@#@董邦達@#@拖尾@#@臣董邦達奉勅觀敬題@#@隸書@#@水淨沙明天宇闊。遠岸浮空烟一抹。黃葉滿村茆屋新。日夕牛羊齊下括。行人心汲居人閒。渡口呼舟舟未還。不如解包沽酒飲。坐看倒影淩蒼山。臣董邦達奉勅觀敬題。
印記資料
鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@重華宮鑑藏寶@#@@#@鑑藏寶璽@#@壽@#@@#@鑑藏寶璽@#@五福五代堂古稀天子寶@#@@#@鑑藏寶璽@#@古稀天子@#@@#@鑑藏寶璽@#@八徵耄念之寶@#@@#@鑑藏寶璽@#@樂善堂圖書記@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@收傳印記@#@子京@#@@#@收傳印記@#@子孫永寶@#@@#@收傳印記@#@神品@#@@#@收傳印記@#@墨林秘玩（重一。半印一）@#@@#@收傳印記@#@項元汴印（重一）@#@@#@收傳印記@#@項子京家珍藏@#@@#@收傳印記@#@項墨林鑑賞章（重一）@#@@#@收傳印記@#@墨林山人（重一）@#@@#@收傳印記@#@子孫永保（重一）@#@@#@收傳印記@#@子京父印@#@@#@收傳印記@#@項墨林秘笈之印（重一）@#@@#@收傳印記@#@天籟閣@#@@#@收傳印記@#@檇李項氏家寶玩@#@@#@收傳印記@#@子京所藏@#@@#@收傳印記@#@子京所藏@#@@#@收傳印記@#@墨林項季子章@#@@#@收傳印記@#@寄傲@#@@#@收傳印記@#@項子京珍藏印@#@@#@收傳印記@#@墨林子@#@@#@收傳印記@#@項叔子@#@@#@收傳印記@#@清森閣書畫印@#@@#@收傳印記@#@何良俊印@#@@#@收傳印記@#@南史氏@#@@#@收傳印記@#@吳廷書畫之印@#@@#@收傳印記@#@吳希元印（重一）@#@@#@收傳印記@#@吳希元印@#@@#@收傳印記@#@會侯珍藏（重二）@#@@#@收傳印記@#@真賞（重二）@#@@#@收傳印記@#@漢水耿會侯書畫之章（重二）@#@@#@收傳印記@#@平生真賞@#@@#@收傳印記@#@宜爾子孫（重二）@#@@#@收傳印記@#@湛思記@#@@#@收傳印記@#@珍秘（重二。半印一）@#@@#@收傳印記@#@會侯珍藏（重一）@#@@#@收傳印記@#@琴書堂（重一）@#@@#@收傳印記@#@耿會侯鑑定書畫之章@#@@#@收傳印記@#@丹誠@#@@#@收傳印記@#@陳定@#@@#@收傳印記@#@陳定畫印@#@@#@收傳印記@#@陳定畫印@#@@#@收傳印記@#@陳以御@#@@#@收傳印記@#@以御@#@@#@收傳印記@#@俞安期印@#@@#@收傳印記@#@俞堯長@#@@#@收傳印記@#@震維@#@@#@收傳印記@#@吳翔鳳印@#@@#@收傳印記@#@袁定昌印@#@@#@收傳印記@#@鼎成@#@@#@收傳印記@#@仲輝氏
主題
主要主題@#@山水@#@秋景@#@@#@次要主題@#@山水@#@江河、湖海@#@江河 @#@@#@其他主題@#@人物@#@漁夫、船夫@#@@#@其他主題@#@人物@#@百姓@#@@#@其他主題@#@樹木@#@@#@其他主題@#@建築@#@房舍@#@@#@其他主題@#@建築@#@茅草屋@#@@#@其他主題@#@建築@#@籬笆、圍牆@#@籬笆 @#@@#@其他主題@#@船
技法
工筆@#@@#@皴法@#@披麻皴
參考資料
收藏著錄@#@石渠寶笈初編（漱芳齋），下冊，頁1194 @#@@#@收藏著錄@#@故宮書畫錄（卷四），第二冊，頁64 @#@@#@收藏著錄@#@故宮書畫圖錄，第十六冊，頁375-380@#@@#@參考書目@#@1.王耀庭，〈宋錢選煙江待渡圖〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁83-84。 @#@@#@內容簡介（中文）@#@錢選（西元1239─1301年），霅川（浙江湖州）人。字舜舉，號玉潭，霅豁翁等。南宋景定鄉貢進士。入元後不仕，以書畫終其身。山水師法趙令穰與趙伯駒，花鳥師趙昌，人物師李公麟，然不為前人法度所拘。此卷繪秋景山水，山巒平坡多用硬拙直筆勾皴，既表現出青綠山水的古雅工麗，又富有文人畫的恬靜意趣。樹叢以細筆皴點，蔥鬱清麗，構圖平遠浩渺，頗有絕世出塵之境。畫家藉著創作此幽寂靜謐，充滿詩意的山水，並在畫上題詩，委婉曲折地表達自己隱遁避世之願望。@#@@#@內容簡介（中文）@#@錢選（西元一二三九─一三0一年），字舜舉，號玉潭，霅豁翁等。宋景定年間進士。工畫，宋亡不仕，流連詩酒以終其生。此卷繪秋景山水，山巒平坡多用硬拙直筆勾皴，既表現青綠山水的古雅工麗，又富有文人畫的恬靜意趣。畫家藉此幽寂靜謐的山水，並題詩畫上，委婉地表達隱遁避世的願望。幅右樹根處有千字文第七八0「運」字編號，為項元汴天籟閣舊藏。@#@@#@內容簡介（中文）@#@錢選（約1235－1307），吳興（今浙江湖州）人。字舜舉，號玉潭、巽峰等。入元後不仕，以書畫終其身。山水師法趙令穰與趙伯駒，花鳥師趙昌，人物師李公麟，然不為前人法度所拘。本幅繪秋景山水，山巒平坡多用硬拙直筆鉤皴，既表現出青綠山水的古雅工麗，又富有文人畫的恬靜意趣。樹叢以細筆皴點，蔥鬱清麗，構圖平遠浩渺，頗有絕世出塵之境。畫家藉畫上題詩，表達自己隱遁避世之願。 (20110913)@#@@#@內容簡介（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)@#@@#@內容簡介（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 運,” the 780th from the “Thousand Character Classic” and an accession number used for the collection of Xiang Yuanbian’s Hall of Heavenly Sounds.@#@@#@內容簡介（英文）@#@Ch'ien Hsuan (style name Shun-chu; sobriquets Yu-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 Yuan 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 Hsuan 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.