Description: 釋文:沙觜參差漲落痕,秋林欹倒出霜根。扁舟一棹歸何處?家在江南黃葉村。 款識:江兆申 鈐印:江兆申印(白文)、茮園浪墨(朱文) Signed CHIANG CHAO-SHEN in Chinese With two seals of the artist 《沙觜秋林》一作,兼有新安畫派風格與黃賓虹的佈局與筆法,畫右主峰山崖攀高頂立,苔點成樹分出山脈走勢,山腰屋舍倚據面臨江景,江水蜿蜒之上有一頁扁舟歸渡,江南水鄉之景,真趣橫生;右方則用簡澹的披麻皴成山,兼以圓筆畫石,逸趣橫生。前景秋樹染霜,赭石設色頗有唐寅畫意,更以濃墨、破墨之法構成林木姿態萬千,承襲自黃氏「黑、密、厚、重」的畫風,特別注重筆線點畫的勢態、方向感、運動感,及用筆所體現的一氣呵成,筆筆相生、相應的內在氣魄,使得江兆申的山水畫得有清剛爽健、雄偉氣象的關鍵所在。後景遠山以淡墨暈染、層次分明,渾拙中見其真性。全畫雖摹古但卻處處新意,透過江氏個人對景物的佈局安排、色彩和墨法的處理,總引人進入別有一番天地的意境之中,對於繪畫更要求「自性」、對筆墨要求「簡」、「澹」,並且能讓人感受到一股清新且能洗滌凡塵的氣息。 The composition and brushwork of this work resemble that of Xinan School of Art and Huang Binhong. A mountain rises from the right of the panel, dots representing trees highlight the mountain ranges. Cottages stand by the hill facing a winding river, where a boat sails. Hemp-fiber strokes were used to depict the cliff, where smooth brushstrokes for stones. Frost on autumn leaves in the foreground and ochre rocks resemble the style of Tang Yin. Saturated and splashed ink was used to depict the different types of trees. This resembles the style of Huang and his attention to the use of brushstrokes, its direction and speed. Brushstrokes reflect an artist's personality, and this painting suggests Chiang's sturdy character. Mountains in the background were painted in light ink, highlighting the hilly relief in the area. Traditional techniques were applied through Chiang's new interpretation and composition, thus creating a fresh style of literati painting.