Description: 釋文: (一)鵝湖山下稻粱肥,豚柵雞棲半掩扉。桑柘影斜春社散,家家扶得醉人歸。 (二)翠屏山對鳳城開,碧落搖光霽後來。 回識六龍巡幸處,飛煙閑繞望春臺。 (三)五柳先生本在山,偶然為客落人間。秋來見月多歸思,自起開籠放白鷳。 (四)北闕彤雲掩曙霞,東風吹雪舞仙家,瓊章定少千人和,銀樹長芳六出花。 款識: (一)寫唐人詩句。曩曾旅居鵝湖己人家萬族,非復嚮時景矣,江兆申。 (二)小杜詩清新中而有遊俠氣,誦之令人神旺。江兆申。 (三)甲子秋日寫此景用,唐人詩句,江兆申。 (四)甲子孟冬歇四景用淨楮蘆簾紙試筆。茮原。 鈐印: (一)江兆申印(白文)、大方無禺(白文) (二)江兆申印(白文)、大方無禺(白文) (三)茮園染翰(白文)、物外真游(朱文) (四)江兆申印(白文)、物外真游(朱文) Signed CHIANG CHAO-SHEN in chinese With eight seals of the artist 來源: 敦煌藝術中心,台北 私人收藏,亞洲 PROVENANCE: Caves Gallery, Taipei Privare Collection, Asia 江兆申先生的繪畫藝術,得益自詩文、脫胎於書法,因此對其水墨創作的欣賞,須與畫中筆墨的變化而觀之。此作四季山水連屏,創作於江氏耳順之年,畫幅中的造境來自遍覽群山名勝後的豐富閱歷,將創意揮灑於紙上,加之精研古書畫的經驗,對於筆墨技畫與造境方式已在心中瞭若指掌。 春景中的山石以細線勾勒出形勢輪廓,後方遠山以墨染呈現出山脈走勢,畫面中心奇石盤踞並以赭色烘染流露出清剛之氣;山中屋舍隱掩在濃墨的綠蔭林中,間有梅樹一株,春意盎然,透露出江氏對春色的嚮往與鄉間生活的渴望。 夏景以水色渲染出山勢,雄渾厚重,中景則以雲霧區隔出氤氳的靈山秀色,林木高低排列有致、濃淡相間,林中亭臺建於水瀑之上,亭中文人望山閑談,下方溪石以墨色暈染滲出融融水氣,頗有元代吳鎮畫中林風蒼茫的筆意,空靈中帶有輕新。 秋景設色清朗,畫幅前中後空間的佈局明顯,山巖結構取自溥儒,率性自然筆意又從吳派的疏朗,佈局平遠渲染且虛無縹緲、飛瀑流翠;楓樹枝幹筆法老辣、以尖筆斜點紅葉,畫中高人歸家見山色秋光興起思懷,盡顯文人典雅風範。 冬景以一山高聳呈現雄偉之勢,山石以乾筆皴擦:落筆奇險;淡青設色林木:筆墨秀潤。構圖脫自唐寅《函關雪霽圖》,全幅墨色氣韻淡雅,但布局奇妙、筆法精練,在古人與造化中廣設博取、盈然掌中。 Chiang Chao-Shen's works are based on poetry and calligraphy, thus the interpretation of his works should be made from this angle. This work was made at Chiang's prime period. The subject and composition were made based on the artist's experience from his travels, his study of ancient scripts and his mature use of ink and composition. In the Spring panel, hills and cliffs were sketched to depict its texture, whereas mountains from afar were depicted by dashes of ink. A plum blossom blooms in the forest suggesting the arrival of Spring and Chiang's eagerness towards living in the countryside. The Summer panel highlighted the luscious forest. The middle ground was separated by heavy mist, adding mysteriousness to the countryside. The forest was formed by an array of trees. River and rocks were depicted with rich dense ink, suggesting the style of Yuan scholar Wu Zhen. Autumn panel gives a fresh and spacious composition. The composition of landscape took reference from Pu Hsinyu, Such scene shows an optimistic autumn scene suggesting the elegance of a literati. The Winter scene feature mountainous relief with rough rocks depicted by dried cun strokes. This structure was adopted from Tang Yin, creating serenity in the scene, yet displaying sophisticated knowledge and techniques used by the artist.