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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。是图以两段式潜入构图法画近树茂盛，远山移动，中间澄江如练，芦雁惊飞，风吹树杪，一片清秋憎恶。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。

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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，生卒年省略。父盛洪(字文裕)，善画，名臻工巧。盛懋收受家学，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，打法风雅，峰峦富厚，林木丰茂。后世对其绘图评价辩驳不一，评者谓“精绝过剩，特过于巧”，但其私有的院体与文东谈主画两者兼容的绘图立场，在元代画坛独树一帜。

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关于盛懋的绘图辩驳不一，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绘图虚构。《中国好意思术史》就曾指出对盛懋绘图月旦辩驳不一的原因：“盛懋是个多产且多艺多才的群众，他既擅长与文东谈主‘墨戏’周边的简率、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真谛意旨真谛和境况的不同计划，这诠释他是一位简略满足各种条件的画家。但这种才艺得不到文东谈主画家的抚玩，在他们看来，从事专科绘图是一种贱业。”

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除外，但他保留院体画家秘要紧密的画风，将水墨山水与青绿山水集合拢，设色淡而薄，保留墨线。用工笔法形容设置、渔船、东谈主物，秘要紧密，但在画面举座声势上向文东谈主山水画歪斜，文字诈欺苍狗白衣，渐渐心疼文字、气韵、境界，形容山石时，用笔天真多变，中锋、侧锋交叉使用，干湿浓淡聚拢，尽力追求书道用笔。

盛懋将文东谈主画见原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方式。这种私有的兼容院体与文东谈主画的绘图特色专门不测方单合了那时平凡庶民的审盛意旨真谛意旨真谛，为他取得声誉的同期，也为后东谈主所诟病。以为其绘图不如文东谈主画“雅”。

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绘图究竟是雅已经俗，这是一个很难界定的事情。陈高华《元代画家史料》中以为：“封建期间的沟通者，常以‘雅’、‘俗’来差异文东谈主画和画工绘图，用以虚构画工的作品。其实，所谓‘俗’，不外是诠释画工的作品，比起文东谈主画来，有较热烈的生计气味，因而也就容易为一般东谈主民人人所喜爱终结。这也正反应出两者社会地位的辞别，咱们今天决不可再复旧这种圭表，不可无批评地吹捧所谓‘文东谈主画’，而应粉墨登场所分析各种画家的创作特色。”

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此图是一幅为东谈主祝嘏的作品。图绘一株古松，果然占据了统共这个词画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以封闭，无配景。画法工稳，文字遒劲富厚，婉曲表示出刚猛之风格，又不乏水墨滋养潇洒之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增多了其幽闲感与树皮的质感。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私有处治才调，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。

而孙颖莎更是要在亚运会中要参加四个项目，分别为团体，女单/又、混双，她的比赛强度更是显而易见的强，这对于莎莎来说确实是一个非常大的考验，比赛刚结束紧接着又要参加兰州球星挑战赛，这样的强度对于一位运动员来说确实容易产生伤病，也不易取得好成绩。

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