Description: 釋文:一蜂隨蜨上花梢 款識:天祐先生屬正,茮原秋海棠,歐介補成並識。 鈐印:江氏(朱文)、兆申(白文) Signed AU in Chinese With two seals of the artist 江兆申先生家學深厚,家族均擅書畫丹青,其祖父工仕女、翎毛、花卉,江父則善作沒骨花卉;然少時際遇讓他汲汲營生,除作詩文、練書法外,繪畫方面也只停留在畫松柏的階段;隨後拜溥儒門下,才專注其水墨繪畫的創作,但總多作山水、琢磨於筆墨畫境之中,1970年代後期才開始偶作墨荷,直至移居埔里「揭涉園」才多有花卉創作。另江氏與張大千、臺靜農等書畫大家交遊往來的情誼,始得親近墨荷之潑墨寫意、墨梅之勁骨疏寒;同時因在故宮任職,遍覽群畫必有所得。《一蜂隨蜨上花梢》是與嶺南畫派傳人歐豪年共同所作,江氏畫秋海棠葉、歐豪年補蜂蝶;秋海棠佈局於畫幅右側,主幹中鋒筆力醇厚,枝葉疏朗墨色酣暢,乃脫胎於徐渭《花竹軸》與《墨花卷》之筆意,潑墨勾染之餘,重寫意摹生,筆風變化多端,恣意揮灑中可見海棠葉的畫法各異,簡約清澹、別有韻致。歐豪年所畫之蜂蝶,蜂以藤黃拓暈、墨點成眼足,再以枯筆補成翅;蝶翅用筆勁秀、動感飄逸,蝶身目足則細膩雅緻。蜂伴蝶於秋海棠花間飛舞,尋蜜解渴,觀之但覺春意矜持、氣淑風和,江、歐兩人的文人雅興盡顯露於此畫當中。 Chiang was born to the family of rich literati background. His grandfather practised ladies, flowers and birds paintings, while his father excelled at boneless flower paintings. Chiang started learning from Pu Hsinyu, thus focused primarily on landscape paintings. From 1970s, Chiang explored lotus and more varieties of flowers after moving to Jieshe Garden in Puli. Chiang's relationship with Zhang Daqian and Tai Jingnong ignited his passion towards depicting lotus in splashed ink and plum in sturdy brushstrokes. His role in the National Palace Museum allowed him to study ancient scrolls. This work was painted with Au Ho-Nien. Chiang painted the leaves of begonia and Au added a bee and a butterfly. Begonia on the right were painted with centered brush and saturated ink, resembling Xu Wei's paintings. Splashed ink with variations adds vibrancy to the leaves. The bee and butterfly were meticulously painted by Au. Two insects fly towards the flowers in the search of sweet honey, adding a touch of Spring to the painting, thus showing the artists' literati dialogue in this work.