參考書目@#@1.民國 江兆申 隸書座右銘〉,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236。@#@@#@網頁展示說明@#@江先生寫隸書從「臨古」入手,如〈禮器碑〉、〈乙瑛碑〉、〈衡方碑〉、〈西嶽華山廟碑〉、〈張遷碑〉、〈西狹頌〉等,均再三揣摩,持續不斷地研習漢隸各種風格,從中比較筆法的差異。以江先生的觀點,〈禮器碑〉允稱隸書經典之作,此幅座右銘用筆清勁,體勢即近於〈禮器碑〉的風格,其中一部分結字偏旁尚且融入篆體結構,不僅呈現隸書俯仰波勢的美感,也別具篆書古樸的意趣。(20100409)@#@@#@網頁展示說明@#@Chiang Chao-shen began his study of clerical script by "copying from the ancients," including such works as the "Ritual Vessels Stele," "Yiying Stele," "Hengfang Stele," "Xiyue Huashan Temple Stele," "Zhang Qian Stele," and "Xixia Eulogy," which he all carefully studied over and over. By continually learning from and practicing the various styles of Han dynasty clerical script, he was able to compare their differences in brushwork. From Chiang's point of view, the "Ritual Vessels Stele" represented a classic example of clerical script. In his motto here, the brushwork is pure and strong, the force of the characters similar in style to that of the "Ritual Vessels Stele." Some of the character forms are slanted and incorporate the structure of characters in seal script, not only revealing the wavelike beauty of clerical script, but also the archaic simplicity of seal script.(20100409)@#@@#@網頁展示說明@#@江兆申氏は「臨古」から隷書に取りかかった。例えば、「禮器碑」、「乙瑛碑」、「衡方碑」、「西嶽華山廟碑」、「張遷碑」、「西狹頌」等である。それぞれ繰り返し臨模して研鑽を積み、漢隷の各種様式や趣を絕えず研究して修練を重ね、そうする中で筆法の差異を比較した。江氏の観点によれば、「禮器碑」は隷書の古典とも言える作品であり、本作の用筆は清らかでありながら力強く、気勢は「禮器碑」の趣に近い。一部の結字や偏、旁には篆書体の結構を取り入れており、上下に波打つような隷書の美しさだけではなく、篆書の古めかしく素朴な味わいがある。(20100409)