| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈三編（乾清宮），第二冊，頁568
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁376
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收藏著錄
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故宮書畫圖錄，第七冊，頁99-100
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參考書目
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1.江兆申，〈文徵明古木寒泉 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 - 295。
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參考書目
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吳誦芬、童文娥、譚怡令，〈明文徵明古木寒泉 軸〉，收入《明四大家特展－文徵明》（臺北：國立故宮博物院，2014.03），頁72-75、319。
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內容簡介（中文）
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嘉靖己酉，徵明年八十矣。此幀意境，與本院藏丁酉（一五三七）冬所畫檜木泉石扇及美國克里夫蘭裴里夫婦藏辛亥五月所畫古木寒泉軸相同。惟檜木泉石扇及古木寒泉軸皆於畫之上方留大片天空，使人有胸襟遐闊意氣舒徐之感。此幀則滿幅布局，寒地漫天，用筆亦魯莽不平，深雄險峻，是此老粗筆大幅中極精之品。
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內容簡介（中文）
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文徵明（西元一四七０－一五五九年），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。 柏樹老幹紛披，枒杈四出；松樹參雲直上，兩幹並伸。背景更添石壁，濃密緊迫，幾無餘地，忽於絕高處畫飛泉一道，遂使通幅於緊迫之中，遽爾空靈。此幅成於嘉靖二十八年（一五四九），文氏時年八十。
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內容簡介（中文）
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文徵明（西元一四七０－一五五九年），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。詩文書畫並佳，為明四大家之一。 一松一柏相傍而生，松樹幾從畫幅底端貫穿至頂，兩幹並伸，有擎天的氣勢；柏樹則老幹紛披，枒杈四出。全幅筆墨秀逸沈厚，景物濃密至幾無餘地可尋，只高處飛泉一道，忽見空靈。八十歲高齡而能作此精力充沛之作，實屬難得。
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內容簡介（中文）
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文徵明（西元一四七○－一五五九年），江蘇長州人。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。 一松一柏，相傍而生。柏樹老榦紛披，枒杈四出；松樹參雲直上，兩榦並伸。背景更添石壁，濃密緊迫，幾無餘地，忽於絕高處界出飛泉一道，遂使通幅緊迫之中，遽爾空靈，確是神來之筆。此幅成於嘉靖二十八年，為衡山八十高齡所畫，而精力充沛，反勝盛年。
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內容簡介（英文）
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Wen Cheng-ming was a native of Ch’ang-chou in Kiangsu. Although his given name was Pi, he is best known by his style name, Cheng-ming. Another style name is Cheng-chung. His sobriquets include T’ing-yun-sheng and Heng-shan Chu-shih. In painting Wen followed the style of his teacher, Shen Chou. Noted for his poetic and literary talents as well as for his consummate skill in painting and calligraphy, Wen Cheng-ming is considered one of the Four Great Masters of the Ming dynasty. One pine and one cypress are shown growing together on one side of the painting. Four intertwining branches come forth from the trunk of the old cypress. The pine tree grows straight upward, the two trunks equally erect. A stone curtain fills the background, dense and unbroken, with no space to spare. From far above falls a cascade unifying the center of the composition. Such use of the brush is truly extraordinary. Old Trees by a Cold Waterfall was painted in 1549 when Wen Cheng-ming was 79 years old. The purity and strength of the execution reflect the full maturity of his years.
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內容簡介（英文）
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Wen Cheng-ming, a native of Soochow, was gifted in poetry, prose, painting, and calligraphy. He was known as one of the Four Masters of the Ming. Pines and cedars grow next to each other here. Two pines at the left crisscross as they emerge from the bottom up almost to the top. The two trunks extend with a force penetrating to the heavens. The old trunks of the cedars are draped with numerous craggy branches twisting all over the bottom half of the work. The brush and ink is elegant and free yet mature and substantial. The scenery is dense to the point that almost no space exists, and above is a lone waterfall for a dramatic touch. This kind of painting done by Wen at the lofty age of 80 with such energy and vitality is indeed truly impressive.
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內容簡介（英文）
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Wen Cheng-ming, a native of Soochow, was gifted at all the scholarly arts of poetry, prose, calligraphy and painting. A student of Shen Chou, he became one of the Four Great Masters of the Ming. The old trunks of cypress trees twist and turn at the bottom of the painting as a pine tree grows straight upward behind, with the two trunks shown as equally erect. A stone cliff like a curtain fills the background, dense and unbroken, with seemingly no space to spare. From some place far above the waterfall is a cascade that unifies the center of the composition. This work was painted in 1549 at the age of 79.
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內容簡介（英文）
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Old Trees by a Cold Waterfall was painted in 1549, when the artist was eighty years old. This painting is quite similar to another work by Wen Cheng-ming in the Palace Museum collections: a fan depicting cypress trees and a rocky stream, which was painted in the winter of 1537. The two works differ in that in the fan’s composition Wen has left an expanse of sky in the background, thus communicating a feeling of vastness and openness. In Old Trees, however, a mountainous slope fills the entire composition, leaving only a small patch of sky visible above. The agitated, deliberately uneven handling of ink creates a sense of rugged precipitousness. This work is one of the finest examples of Wen’s later, heavier brushwork. Wen Cheng-ming was a native of Ch’ang-chou, Kiangsu. A superb painter, calligrapher, poet, and writer, he is considered one of the “four masters of the Ming dynasty.”
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