收藏著錄@#@故宮書畫錄(第三卷),第一冊,頁420-421@#@@#@參考書目@#@1.江兆申,〈文徵明跋范庵書石湖詩 冊〉,收入國立故宮博物院編,《吳派畫九十年展》(臺北:國立故宮博物院,1975年初版,1976年再版,1981年三版),頁300。
@#@@#@參考書目@#@吳誦芬、童文娥、譚怡令,〈明賢翰墨 冊 文徵明隸書跋范庵書石湖詩〉,收入《明四大家特展-文徵明》(臺北:國立故宮博物院,2014.03),頁226-229、341。@#@@#@內容簡介(中文)@#@文徵明(西元一四七○-一五五九年)江蘇長洲人,初名壁,字徵明,後以字為名,又有徵仲、停雲生、衡山居士諸字號。他從沈周學畫,書畫雙絕,被稱譽為明代四大家之一。他享高壽,傳世畫蹟頗多,影響後世也大。這一幅隸書,用的是較有彈性的毛筆書寫,筆劃顯得挺直銳利;字形的結體,主要受唐朝人書寫隸書的影響,不強調熟練的技巧,反而表現的是一種古老天真的趣味。@#@@#@內容簡介(英文)@#@Wen Cheng-ming, a native of Soochow, studied painting from Shen Chou and excelled at both painting and calligraphy, becoming known as one of the Four Masters of the Ming. Active into his later years, many works of his painting and calligraphy survive. He had a major influence on later generations of artists. In this work of clerical script, Wen Cheng-ming used a more flexible brush to create brush strokes that are clearly upright and sharp. The form of the characters appears to reflect mostly the influence of clerical script as practiced by T’ang (618-907) calligraphers. However, it does not emphasize perfected techniques, but rather expresses a kind of naïve maturity. This work dates to 1504.