參考書目@#@1.民國 江兆申 篆書四屏〉,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)@#@江先生家學淵源,少年時期即在長輩的指導下讀書寫字、畫畫刻印,對於篆書的探索為時甚早。據目前流傳的書蹟看來,從甲骨、大篆、秦篆以至於漢篆等等均在探索之列,此幅毛公鼎銘聯屏正如書後所記,為民國八十二年臨書之作。以江先生的觀點,臨書、讀帖、現場觀摩都有助於書法的鍛鍊,其中臨書宜從古代書蹟入手,通過一遍又一遍臨寫,反覆揣摩筆法,便可得其門而入。(20100409)@#@@#@內容簡介(英文)@#@ Chiang Chao-shen was a widely learned scholar who in his youth studied writing, painting, calligraphy, and seal carving from members of older generations. In particular, his delving into seal script calligraphy began quite early. According to examples today, seal script can be traced from oracle bone to large seal, Qin seal, and Han seal script types. This work consisting of couplets transcribed from the inscription on the Maogong bronze cauldron in the National Palace Museum collection was, as indicated in Chiang’s postscript, copied in 1993. From Chiang’s point of view, copying calligraphy, studying modelbooks, and observing on the spot were all key to the art of writing. Among them, he felt it best to start with the copying ancient works. Copying over and over, and repeating the brushwork carefully, one could plumb the true depths of calligraphy.(20100409)