| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈續編（乾清宮），第一冊，頁416
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁366
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收藏著錄
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故宮書畫圖錄，第七冊，頁93-94
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參考書目
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1.江兆申，〈文徵明江南春圖 軸〉，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294。
2.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。
3.黃捷瑄，《書畫鑑定方法研究--以文徵明(1470-1559)山水畫為例 》，國立臺南藝術學院藝術史與藝術評論研究所碩士論文，2005年。
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參考書目
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吳誦芬、童文娥、譚怡令，〈明文徵明江南春圖 軸〉，收入《明四大家特展－文徵明》（臺北：國立故宮博物院，2014.03），頁54-57、318。
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內容簡介（中文）
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倪瓚作江南春詞，吳中人士和之者極多，蓋一時成為風尚矣。徵明此畫，工整中極見飄逸，經營處極見天機，是徵明工筆中最精之品。文徵明七十八歲。
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內容簡介（中文）
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文徵明（1470－1559），江蘇長洲（今江蘇蘇州）人。初名壁，字徵明，後以字行。亦字徵仲，號停雲生、衡山居士。詩文、書畫並佳，畫師沈周，為明四大家之一。
此圖成於嘉靖丁未（1547），時年七十八歲。該作筆意細秀，設色古雅。畫山僅畫輪廓，稍用乾墨擦之，皴筆絕少，但覺山痕樹影，無處不是早春景象。筆墨固佳矣，而章法似又勝之。章法固佳矣，而意象似又勝之，誠為文氏畫中極精之品。
(20110913)
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內容簡介（中文）
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文徵明，江蘇長洲人，初名壁，字徵明，後以字行，亦字徵仲，號停雲生、衡山居士。詩文書畫並佳，畫師沈周，而別有成就，為明四大家之一，影響明代晚期畫風甚鉅。（童文娥）
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內容簡介（中文）
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文徵明（西元1470-1559年），江蘇長洲人。初名璧，字徵明，後以字行，亦字徵仲，號停雲生、衡山居士。詩文書畫並佳，畫師沈周，為明四大家之一。 此圖成於嘉靖丁未，作時已七十八歲，筆意極秀婉而極精工。畫山但畫輪廓，稍稍用乾墨擦之，皴筆絕少，但覺山痕樹影，無處不是早春景象。筆墨固佳矣，而章法似又勝之。章法固佳矣，而意象似又勝之，是文畫極精之品。
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內容簡介（英文）
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Spring in Chiang-nan Wen Cheng-ming (1470-1559) Ming Dynasty Wen Cheng-ming was a native of Ch’ang-chou (Su-chou), Kiangsu. He was originally named Pi; later he took his style name Cheng-ming for his given name. Wen Cheng-ming excelled in all the literati arts; poetry, prose, calligraphy and painting. He studied painting with Shen Chou and became one of the Four Masters of the Ming. This painting, dated 1547, when the artist was seventy-seven, is particularly delicate and refined. Distant mountains are little more than outlines with just a little texturing, yet the feeling of spring is suggested everywhere. Brush and ink, composition and lyricism combine to make this one of Wen Cheng-ming’s finest works.
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內容簡介（英文）
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Wen Zhengming (original name Bi; style name Zhengming [by which he later went] and also Zhengzhong; sobriquets Tingyun sheng and Hengshan jushi) was a native of Changzhou in Jiangsu (modern Suzhou, Jiangsu). Excelling at poetry and prose, calligraphy, and painting, he studied painting from Shen Zhou and became one of the Four Ming Masters.
This painting, dated to the equivalent of 1547, when the artist was 78 by Chinese reckoning, is particularly delicate and refined in brush manner with archaic and elegant coloring. The rendering of the mountains is little more than outlines with just a bit of dry ink and extremely few texture strokes. However, evidence from the mountains and trees everywhere suggests a sense of spring. The use of brush and ink is excellent, and the composition appears even better, only to be outdone by the lyricism, making this one of Wen Zhengming’s finest works.
(20110913)
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