Description: 款識:丙辰冬,用明琢端溪硯古隃麋墨黑谷楮紙,寫於雙溪,兆申。 鈐印:江兆申印(白文)、略無丘壑(白文)、伯時過目(朱文) Signed CHAO-SHEN in Chinese With three seals of the artist 著錄: 《靈漚館風 : 江兆申的創作與傳承》,中華文化總會,台北,2014 年4 月初版,頁47 ILLUSTRATED: The Paintings of Chiang Chao-Shen and His Students, The General Association of Chinese Culture, Taipei, 2014, p.47 江兆申先生作畫不打草稿,只在心中琢磨佈局,《危巗掛松》一作以背分倚側的墨線在畫面定出輪廓,將其用筆與章法:承自清初畫家漸安的奇險線條,依附在矗立的巖崖之上,忠實地將山石的量感與表面的粗礪質感表現出來,線條剛勁有力、疾中帶澀,轉折間筆法方勁,盡顯其精於行、楷、隸體的書法造詣;色彩使用上則得益於文徵明與唐寅的墨色渲染,江氏沿著主要的線條以墨色暈染分出層次結構,畫中山石壁面蒼勁有力,兼用石青渲染出秀潤的水色,一改畫面線條的荒冷、而讓畫面清雅且透明,畫面右方的奇松懸於峭壁,只見枝葉不見主幹的畫法更顯奇趣,此作明白道出書畫運筆方法與脈息相通的概念,進而到達「丰神」的境界。另一可觀之處在於畫中提字,說明了此作的紙墨使用:江氏用的是明朝的端溪名硯,乃硯中之上品,有澀不留筆、滑不拒墨的特點;古隃麋墨則是清朝方密菴製作的名貴老墨,墨質精良、墨色細膩滋潤;用紙則是來自日本京都的黑谷楮紙,紙張做工繁複、保留了纖細的植物纖維,平滑之外還有結實的優點,特別能夠凸顯古硯老墨的溫潤墨色;江兆申對於文房用品的使用毫不吝惜,除了突顯其文人雅好的審美趣味之外,更可知曉江氏對此畫的用心與重視。 Chiang Chao-Shen paints without sketches. In this work, sketches were made on the rocks, resembling works of Jian An from Qing dynasty. Rough surface was depicted with sharp lines and angles, suggesting Chiang's skillful use of brush in calligraphy. Layers of ink were used in the style of Wen Zhengming and Tang Yin. A touch of green was applied to enhance the lusciousness of the plants and the painting. A pine near a cliff was depicted primarily with leaves. Brushwork from this painting shows strong correlations between art and calligraphy. Poem on the painting describes Chiang's use of Duanxi inkstone, Guyumei ink, which are the best of their kinds in the Ming and Qing dynasties. Heigu mulberry paper from Japan was used, making the painting with dense and saturated ancient ink. This shows Chiang's strong preference of stationery, to uphold a scholar's standard.