跳到主要內容區塊

:::

民國江兆申四色宮絹蘇詩屏 軸

(第一則)黑雲翻墨未遮山。白雨跳珠亂入船。卷地風來忽吹散。望湖樓下水如天。(第二則)放生魚鼈逐人來。無主荷花到處開。水枕能令山俯仰。風船解與月裴徊。(第三則)烏蔆白芡不論錢。亂繫青菰裹綠盤。忽憶嘗新會靈觀。滯留江海得加餐。(第四則)獻花游女木蘭橈。細雨斜風濕翠翹。無限芳洲生杜若。吳兒不識楚辭招。(第五則)未成小隱聊中隱。可得長閒勝蹔閒。我本無家更安往。故鄉無此好湖山。(第六則)新月生魄迹未安。纔破五六漸盤桓。今夜吐艷如半璧。游人得向三更看。(第七則)三更向闌月漸垂。欲落未落景特奇。明朝人事誰料得。看到蒼龍西沒時。甲戌(西元一九九四年)夏書玉局詩兆申。

基本資訊

  • 作者
    江兆申,Chiang Chao-shen
  • 書體
    行書
  • 裝裱形式
  • 創作時間
    中華民國八十三年(1994)
  • 數量
    四軸
  • 作品語文
    漢文
  • 集叢號-類型
    單件
  • 典藏尺寸
    本幅@#@135.1x32.2
  • 質地
    本幅@#@紙
  • 印記資料
    作者印記@#@江兆申印@#@@#@作者印記@#@茮原信鉥
  • 參考資料
    參考書目@#@1.民國 江兆申 四色宮絹蘇詩屏〉,收入何傳馨主編,《茮原翰墨 江兆申夫人章桂娜女士捐贈書畫篆刻展》(臺北:國立故宮博物院,2010年初版一刷),頁235。@#@@#@內容簡介(中文)@#@此幅書錄蘇東坡七言絕句詩「六月二十七日望湖樓醉書五絕」、「夜泛西湖五絕」,前者五首全錄,後者錄其第一二首。江先生寫行書轉折慣用方筆,偶或圓轉用筆,如「論」、「滯」二字,兼得變化的趣味。其結字的規律則傾向欹側取勢,或者微見左傾,或者右斜,前後行氣的呼應銜接自然,予人無意於妍美的印象。宋人論書,曾以為無意於工拙乃能跌宕生姿,所言與此作正合。(20100409)@#@@#@內容簡介(英文)@#@ This work transcribes two sets of truncated verses by Su Shi (Dongpo): “Five Poems While Drunk at Lake View Pavilion on the 26th Day of the 6th Month” and “Five Poems on Boating at Night at West Lake.” The first set of five poems is transcribed in its entirety, while the latter includes only the first and second poems. Chiang Chao-shen often used angular brushwork when doing the turns in brushwork in his running script, but sometimes he revealed rounded brushwork, such as in the characters “lun 論” and “zhi 滯,” to create a sense of variety. The regularity of his characters lies in their tendency to slant with vigor, occasionally slightly to the left and at other times to the right, the lines echoing each other to naturally connect and present the viewer with an unintentional form of beauty. In Song dynasty discussions of calligraphy, writers praised the ability to express this kind of unintentional beauty, which also is found here as well.(20100409)
  • 地圖

本網站使用Cookies收集資料用於量化統計與分析,以進行服務品質之改善。請點選"接受",若未做任何選擇,或將本視窗關閉,本站預設選擇拒絕。進一步Cookies資料之處理,請參閱本站之隱私權宣告