Description: 釋文:江流去不定,山石來無窮。步步有勝處,水清石玲瓏。安得扁舟系絕壁,臥聽漁童吹短笛。弄水看山到月明,過盡行人不相識。 款識:壬戍之秋寫范石湖詩,茮原江兆申於靈漚小築。 鈐印:江兆申印(白文)、椒原鉢(朱文)、雙谿行者(白文)、靈漚館(朱文) Signed CHIANG CHAO-SHEN in Chinese With four seals of the artist 蔣勳曾言江兆申先生的畫和漸江、唐寅頗有淵遠,《臨江清會》一作,看似簡澹輕遠,實則雄俊剛沉,通幅明亮秀麗,以平遠視角構成;江氏善用長筆,畫遠山以亂筆、枯筆乾擦帶出奇險之勢,得自新安畫派的枯澀畫風,但除了墨線之外,以暖色赭石的水色將跌宕的山形烘托出斧鑿之痕、跌宕萬千,更遠處則以石青渲染出溫潤,彌補了冷峻乾筆的荒涼。中段山石以實線勾勒、筆韻絕險,在雲霧繚繞中的林樹暈染層次分明,兩處山坳由橋樑銜接,更覺景深;近景以圓筆、赭色烘染為石,自右到左的錯落鋪疊出前方一角的山頂古松與房舍,精心的構圖分出前後遠近,讓山舍中對坐的高士能夠遠觀群山之雄偉、俯眺江流之奔騰,筆墨節奏鮮明,閑逸中透剛勁。此畫重心於畫幅右側,本有右重左輕之慮,然提范石湖詩於左側,則可讓畫面取出平衡、更與留白處相應相生,在虛實之間得到空靈又質樸的效果。江兆申作畫取景造情感性,認為作畫是為了自己而不為別人,忠於自性,有自己的人生觀才有繪畫風格,筆墨丰神才能俱足矣。 Zhang Xun once mentioned the references of Chiang's paintings to Jian Jiang and Tang Yin. In this work, simple composition, light coloured and flat perspectives were used. Rough rocky hills from afar were depicted using dried brushstrokes and criss-crossing strokes. This technique was obtained from Xinan School of Art. A warm ochre colour tone was applied to highlight the depth of mountains, accompanied with green to give a balance. Mist concealed forests in the middle ground, bridges creates more depth to the painting. The foreground was carefully depicted with an ancient pine and cottages. Scholars gathered to admire the mountainous relief. Subject matters are put on the right, and a poem by Fan Shihu was then put on the left to maintain the balance. Chiang believed painting is not for pleasing viewers but to create his own style, thus making his paintings unique.