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《秋江待渡图》轴，元，盛懋作，纸本，墨笔，纵112.5厘米，横46.3厘米，北京故宫博物院藏。是图以两段式长远构图法画近树振奋，远山编削，中间澄江如练，芦雁惊飞，风吹树杪，一片清秋歧视。岸上一年老儒者携书僮坐地待渡，江中一舟载客摇橹而来，境界清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。

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盛懋〔公元13-14世纪〕[元]，字子昭，浙江嘉兴东说念主，与吴镇为乡邻，生卒年不祥。父盛洪(字文裕)，善画，名臻工巧。盛懋收受家学，山水、东说念主物、花鸟俱精。始学陈琳，后宗赵孟頫法，善画山水、东说念主物和花鸟。传世作品有《溪山清夏图》轴、《秋舸清啸图》轴、《秋林高士图》轴等。运笔精劲，派遣深奥，峰峦浑朴，林木丰茂。后世对其绘制评价批驳不一，评者谓“精绝多余，特过于巧”，但其专有的院体与文东说念主画两者兼容的绘制作风，在元代画坛独树一帜。

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关于盛懋的绘制批驳不一，有一部分原因是因为那时社会关于文东说念主画追捧和关于画工绘制捏造。《中国好意思术史》就曾指出对盛懋绘制批评批驳不一的原因：“盛懋是个多产且多材多艺的群众，他既擅长与文东说念主‘墨戏’临近的简率、天真之作，又能作构图粘稠、笔法精细的巨作。不错思象，这种作风上的种种与其资助者有趣和境况的不同干系，这诠释他是一位粗略得志各种条件的画家。但这种才艺得不到文东说念主画家的观赏，在他们看来，从事专科绘制是一种贱业。”

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同期盛懋也积极主动地向文东说念主画家学习，在追求文东说念主画家画风除外，但他保留院体画家玄机深奥的画风，将水墨山水与青绿山水会聚首，设色淡而薄，保留墨线。用工笔法描摹设备、渔船、东说念主物，玄机深奥，但在画面全体声威上向文东说念主山水画歪斜，翰墨利用摇身一变，安然青睐翰墨、气韵、境界，描摹山石时，用笔活泼多变，中锋、侧锋交叉使用，干湿浓淡聚首，奋力追求书道用笔。

盛懋将文东说念主画和蔼清逸的情味融入到精整玉成的结构布局之中，创造了一种新的作派头式。这种专有的兼容院体与文东说念主画的绘制特色挑升意外方单合了那时普通匹夫的审好意思有趣，为他得回声誉的同期，也为后东说念主所诟病。觉得其绘制不如文东说念主画“雅”。

绘制究竟是雅已经俗，这是一个很难界定的事情。陈高华《元代画家史料》中觉得：“封建时间的筹议者，常以‘雅’、‘俗’来永诀文东说念主画和画工绘制，用以捏造画工的作品。其实，所谓‘俗’，不外是诠释画工的作品，比起文东说念主画来，有较热烈的生存气味，因而也就容易为一般东说念主民全球所喜爱肃除。这也正反馈出两者社会地位的隔离，咱们今天决不成再维执这种圭臬，不成无批评地吹捧所谓‘文东说念主画’，而应规行矩方法分析各种画家的创作特色。”

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似乎从古至今，都是一个值得热议且无唯一性的话题。

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我问她为什么这么淡定，她说：“唉！其实我早知道我们走不下去的。最早在一起的时候就觉得男朋友有点幼稚，觉得可能教一教就好了。

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此图是一幅为东说念主祝嘏的作品。图绘一株古松，实在占据了统统这个词画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以阻塞，无配景。画法工稳，翰墨强劲浑朴，浑沌清醒出刚猛之气魄，又不乏水墨柔润秀丽之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增多了其牢固感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体作风的遗意，又有我方工写相兼的专有惩办圭表，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。

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