參考書目@#@1.民國 江兆申 行書蘇詩四屏〉,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234。@#@@#@內容簡介(中文)@#@此幅四屏聯書錄東坡詩〈六月二十七日望湖樓醉書五首〉、〈和文與可洋州園池三十首〉,前者五首全錄,後者錄其第一首〈湖橋〉。江先生研究中國書畫多年,對「宋四家」書法的意趣多所許可,此幅四屏聯寫來才氣洋溢,令人聯想到四家之一米芾的書法。全作筆勢活絡,結字末尾若逢豎畫,往往略加拖長,微作弧度伸展,如「新」、「滯」、「鄉」諸字行筆的律動,都發揮活絡行氣的作用。(20100409)@#@@#@內容簡介(英文)@#@ These four panels of calligraphy form two couplets and a set, transcribing the poetry of Su Shi (Dongpo): “Five Poems Written When Drunk at the Lake View Tower on the 27th of the Sixth Month” and “Thirty Poems Written with Wen Yuke at Yangzhou Garden Pond.” Five poems of the first set were transcribed, while only one of the latter was calligraphed (“Lake Bridge”). Chiang Chao-shen studied Chinese painting and calligraphy for many years, and many nuances of the Four Song Masters’ calligraphy can be found in his own. These four couplet panels overflow with brilliance, reminding the viewer of calligraphy from one of the Four Song Masters--Mi Fu. The brushwork is loose throughout, and the last strokes of the character forms, if vertical, are often slightly elongated and with arcing extensions. Examples include “xin 新,” “zhi 滯,” and “xiang 鄉,” which have a rhythmic sense that gives full expression to the liveliness of the lines here.(20100409)