《秋江待渡图》卷，元，钱选绘，纸本，设色，纵26.8cm，横108.4cm。
款署“吴兴钱选舜举画并题。”钤印“舜举印章”（白文）、“舜举”（朱文）、“钱选之印”（白文）。
引首乾隆御题“秋江待渡”四大字，钤“御书”（朱文）印，本幅有乾隆行书自题五言律诗一首，后纸有陈恭、胡惟仁、朱庸、胡敦等17家题记或题诗。曾经《式古堂书画汇考》、《大观录》、《江村销夏录》、《江村书画目》、《墨缘汇观》、《石渠宝笈续编·养心殿》等著录。引首、画心、前后隔水、尾纸有高士奇、安岐、清内府等鉴藏印近80方。
此图描绘江南的湖光山色。起首一处茅舍数楹，处在茂树环抱之间，屋前水波不兴，屋后群峰高耸，远处淡雾轻岚，气氛宁静平和，恍若神山仙境。画幅中央是一大片开阔的水域，江天浩淼，远景秋山隐隐，起伏连绵。江水左岸土坡上青红杂树，一人独立待渡，秋水望穿，而将要渡他的客船才刚刚驶离对岸。卷后自题七言绝句：“山色空濛翠欲流，长江浸徹一天秋。茅茨落日寒烟外，久立行人待渡舟。”此卷采用诗、书、画结合的形式，以诗意充实画意，开创了元代绘画的新风格。
以墨线勾勒山石林木轮廓，再施以青绿重彩，几乎不用皴笔，画法接近展子虔“游春图”，明显带有“复古”的韵致，意境苍茫。
--------Introduction in English--------
Qiujiang Waiting to Crossing Pictures" Volume, Yuan, Qian Pictures, Paper, Colour Settings, 26.8cm Vertical, 108.4cm Transverse.
"Wu Xingqian selected Shun Ju's paintings for the same title." Jun seal "Shun Ju Seal" (Bai Wen), "Shun Ju" (Zhu Wen), "Qian Xuan's Seal" (Bai Wen).
Quote the four characters of Qianlong's imperial Title "Qiujiang Waiting for Crossing". Jun's "imperial script" (Zhu Wen) is printed. There is a five-character poem titled by Qianlong's walking script, followed by 17 inscriptions or inscriptions such as Chen Gong, Hu Weiren, Zhu Yong and Hu Dun. It has been recorded in the Collection of Classical Ancient Tang Calligraphy and Painting, Daguanlu, Jiangcun Sales Summer Record, Jiangcun Calligraphy and Painting Bibliography, Moyuan Huiguan, Shiqu Baodu Continuation, Yangxindian, etc. Leading, painting heart, front and back waterproof, tail paper has Goldschild, Anqi, Qingneifu and so on, nearly 80 recipes of identification and imprinting.
This picture depicts the lakes and mountains in the south of the Yangtze River. The first cottage is surrounded by Maple trees. The water waves in front of the house are not happy, the peaks behind the house are high, the distant mist is light, the atmosphere is quiet and peaceful, like a fairyland in the mountains. In the center of the picture is a vast expanse of water, with vast rivers and vast skies, hidden and rolling autumn mountains. On the soil slope of the left bank of the river, the green and red miscellaneous trees stand alone, and autumn water looks through, while the passenger ship that will be crossing him has just left the other side. After the volume, I wrote seven sentences: "The mountains are green and the Yangtze River is immersed in autumn and autumn." Outside the cold smoke and sunset of Maotz, pedestrians wait for the ferry for a long time. This volume uses the combination of poems, books and paintings to enrich the painting and create a new style of painting in the Yuan Dynasty.
Drawing the outline of rocks and trees with ink lines, then applying green and green color, almost without using pen, the painting approach to the "Spring Tour" of Zhanzi pious, obviously with the charm of "retro" and the dim mood.
