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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。是图以两段式久了构图法画近树茁壮，远山鼎新，中间澄江如练，芦雁惊飞，风吹树杪，一片清秋敌视。岸上一大哥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。
盛懋〔公元13-14世纪〕[元]，字子昭，浙江嘉兴东谈主，与吴镇为乡邻，生卒年概略。父盛洪(字文裕)，善画，名臻工巧。盛懋罗致家学，山水、东谈主物、花鸟俱精。始学陈琳，后宗赵孟頫法，善画山水、东谈主物和花鸟。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，打发追究，峰峦壮健，林木丰茂。后世对其画图评价驳倒不一，评者谓“精绝多余，特过于巧”，但其专有的院体与文东谈主画两者兼容的画图立场，在元代画坛独树一帜。
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关于盛懋的画图驳倒不一，有一部分原因是因为那时社会关于文东谈主画追捧和关于画工画图指责。《中国好意思术史》就曾指出对盛懋画图批评驳倒不一的原因：“盛懋是个多产且多材多艺的大众，他既擅长与文东谈主‘墨戏’左近的简率、天真之作，又能作构图稠密、笔法精细的巨作。不错思象，这种立场上的千般与其资助者意旨和境况的不同联系，这讲解他是一位粗略得志各样条件的画家。但这种才艺得不到文东谈主画家的鉴赏，在他们看来，从事专科画图是一种贱业。”
同期盛懋也积极主动地向文东谈主画家学习，在追求文东谈主画家画风以外，但他保留院体画家工致概述的画风，将水墨山水与青绿山水相王人集，设色淡而薄，欧比体育注册保留墨线。用工笔法描摹成立、渔船、东谈主物，工致概述，但在画面全体阵容上向文东谈主山水画歪斜，文字期骗鬼出神入，逐渐疼爱文字、气韵、境界，描摹山石时，用笔生动多变，中锋、侧锋交叉使用，干湿浓淡王人集，尽力追求书道用笔。
盛懋将文东谈主画温文清逸的情性融入到精整周至的结构布局之中，创造了一种新的立场形态。这种专有的兼容院体与文东谈主画的画图特色专诚意外方单合了那时芜俚庶民的审盛情旨，为他得回声誉的同期，也为后东谈主所诟病。以为其画图不如文东谈主画“雅”。
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画图究竟是雅仍是俗，这是一个很难界定的事情。陈高华《元代画家史料》中以为：“封建时期的商讨者，常以‘雅’、‘俗’来辞别文东谈主画和画工画图，用以指责画工的作品。其实，所谓‘俗’，不外是讲解画工的作品，比起文东谈主画来，有较锋利的生存气味，因而也就容易为一般东谈主民群众所喜爱间隔。这也正响应出两者社会地位的死别，咱们今天决不成再复旧这种圭臬，不成无批评地吹捧所谓‘文东谈主画’，而应不务空名地分析各样画家的创作本性。”
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皇冠体育此图是一幅为东谈主祝嘏的作品。图绘一株古松，险些占据了扫数画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以羁系，无配景。画法工稳，文字远大壮健，隐晦知道出刚猛之风格，又不乏水墨滋养秀逸之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而加多了其适应感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院身形度的遗意，又有我方工写相兼的专有措置时局，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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