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)