| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈續編（御書房），第四冊，頁2001
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁393-394
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收藏著錄
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故宮書畫圖錄，第七冊，頁161-162
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參考書目
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1.江兆申，〈文徵明畫蘭竹 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313 - 314。
2.本社，〈明文徵明蘭竹圖〉，《故宮文物月刊》，第13期（1984年4月），封底 。
3.許郭璜，〈明文徵明畫蘭竹〉，《故宮文物月刊》，第106期（1992年1月），頁124-131。
4.〈明文徵明畫蘭竹 軸〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁132-133。
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參考書目
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吳誦芬、童文娥、譚怡令，〈明文徵明畫蘭竹 軸〉，收入《明四大家特展－文徵明》（臺北：國立故宮博物院，2014.03），頁236-237、342。
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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），江蘇長洲人。詩、文、書、畫均極擅長，繪畫師法沈周，兩人同被尊為「吳派」的支柱，對明代中後期的影響，尤其顯著。 本幅是以「金粟山藏經紙」來作畫，描繪竹石和幽蘭的線條，下筆勁健有力，又迴旋自如，彷彿書家揮毫一般，全畫充滿了清逸高雅的文人氣息。雖然沒有註明年份，但從左上方畫家題字的風格來推測，應該是他七十多歲時的作品。
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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），江蘇長洲人。初名壁，字徵明，後以字行。更字徵仲，號停雲生、衡山居士。畫師沈周（一四二七－一五○九），詩文書畫均佳，為明中葉四大家之一，對明末畫壇影響甚鉅。 本幅以藏經紙畫竹石幽蘭，蘭與石皆學趙孟頫，筆墨酣暢，誠屬得意之作。未識年份，但款字書風與丁未年（一五四七）作之「一川圖」、「江南春圖」近似，推斷應成於此際，時徵明七十八歲。
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內容簡介（中文）
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文徵明（1470-1559），江蘇長洲人。詩文書畫均擅長，畫師沈周，兩者對明代中後期畫壇影響顯著。
繪蘭竹叢生，葉長如帶，彎垂下折。湖石承襲趙孟頫（1254-1322），下筆勁健有力，迴旋自如。沒骨繪寫盛放蘭花花冠、花舌，濃墨點寫花蕾。旁襯墨竹兩竿，「人」字型竹葉交錯，能兼顧轉折面。構圖表現風中之蘭竹，描繪精妙，頗有情境。全圖詩畫、款印之佈局安排縝密嚴謹，自題詩首句描寫蘭竹幽雅秀麗之姿，末二句則表達以畫贈知己。(20110102)
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內容簡介（英文）
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Wen Zhengming, a native of Changzhou in Jiangsu, excelled at poetry, painting, and calligraphy. In painting, he studied under Shen Zhou (1427-1509), the two of them becoming influential leaders in painting during the middle and late Ming dynasty.
In this painting of a cluster of orchids and bamboo, the orchid leaves grow long and ribbon-like as they curve and droop downwards. The style of the rocks follows in the manner of Zhao Mengfu (1254-1322), the application of the brush strong and forceful, but also turning with ease. The “boneless” method of painting in washes portrays the corolla and ray of the orchids in full blossom, and dark ink renders the buds. To the side are two stalks of bamboo in ink with crisscrossing leaves in the shape of the Chinese character “ren” (人) as the artist paid particular attention to the sides. The whole work, including the arrangement of poetry and seal impressions, is deliberate and exacting. The first line of the artist’s own poem describes the elegantly beautiful poses of the orchid and bamboo, while the last two lines express the intimacy of the painting.(20110102)
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內容簡介（英文）
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Wen Cheng-ming (original name Pi, later style name Cheng-chung, and sobriquets T’ing-yun-sheng and Heng-shan chu-shih) was a native of Ch’ang-chou, Kiangsu. In painting, he followed after Shen Chou (1427-1509), but he also excelled at calligraphy, poetry, and prose. He became knownas one of the Four Great Masters of the middle Ming and he had an enormous influence on the art field in the late Ming. This painting of bamboo, rocks, and orchids was done on special “sutra” paper. The rendering of the orchids and stones reflects the study of the style of Chao Meng-fu (1254-1322). The brushwork is flowing and fluent and done in an easy and confident manner. Although this painting is not dated, the style of inscription is calligraphically similar those on View from the Riverside and Spring in Kiangnan, which were done in 1547. Thus, this painting may have been completed at around this time.
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內容簡介（英文）
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Wen Cheng-ming, a native of Soochow, excelled at the arts of poetry, writing, calligraphy, and painting. His style followed that of Shen Chou(1427-1509), and both have been praised as the pillars of the "Wu School", having a profound influence on on middle and late Ming art circles. This work was done on "Mt. Chin-shu sutra paper". It depicts rocks and bamboo along with orchids done in lines of brushwork that are powerful yet natural, much like those of a calligrapher. The work is filled with the lofty and elegant style of the scholar. Although this work is undated, the style of Wen Cheng-ming's calligraphy inscribed in the upper right appears to have been done sometime after the age of 70.
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