參考書目@#@1.〈民國 江兆申 江上峰青〉,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218。
@#@@#@網頁展示說明@#@江先生大陸之行順道往遊富陽一帶山水,歸來後思緒縈繞百千年之上,於是提筆作富春江景,將富陽一帶多山的景況,包括富春大嶺、嚴陵東西二台歷史名蹟,寫入畫圖。題詩則書錄家鄉前輩許承堯的詩文,藉以抒發心中對東漢嚴光、南宋謝翱的崇敬。是年江先生尚有〈嚴陵釣臺〉之作,題詩同樣書錄許氏詩文,兩者合觀,可知對許氏尊敬的程度,錄其詩文,不作第二人想。(20100409)@#@@#@網頁展示說明@#@ During Chiang Chao-shen’s trip to Mainland China, he took an excursion to see the landscape in Fuyang and the surrounding area. After returning to Taiwan and pondering the cultural depth and richness of that area, he took the brush to render scenery of the Fuchun River, bring the mountain scenes of the Fuyang area, including such famous historic ones as Fuchun Summit and the Eastern and Western Terraces of Yanling, into his painting. And for the inscriptions he would transcribe the verse of an earlier poet from that area, Xu Chengyao, to represent his own admiration for Yan Guang of the Eastern Han dynasty and Xie Ao of the Southern Song period. In the same year as this painting Chiang Chao-shen also did “The Angling Terrace at Yanling,” likewise inscribing the verse of Xu Chengyao, the two being a perfect match. This shows the extent to which Chiang admired Xu, there being verse apparently no more appropriate than his.(20100409)@#@@#@網頁展示說明@#@江兆申氏は中國大陸を行き來する中で富陽一帶の山水に遊び、帰宅後に様々な思いをめぐらした結果、絵筆をとって富春江の風景を描き、多くの山々が連なる富陽近辺の風景─富春山脈や厳陵東西二台の史跡等が畫面におさめられた。題詩は故鄉の先達である許承尭氏の詩文を記し、前漢の厳光、南宋の謝翱に対する崇敬の念を表現した。この年には「厳陵釣台」も描き、題詩は同じく許氏の詩文を記した。この二作を合わせて鑑賞すると、江氏の許氏に対する尊敬のほどがうかがえる。許氏の詩文の他には考えられなかったのだろう。(20100409)