參考書目@#@1.〈民國 江兆申 山窗靜寄〉,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227。@#@@#@參考書目@#@吳誦芬,〈民國江兆申山窗靜寄 軸〉,收入宋兆霖主編《天保九如-九十年來新增文物選粹》(臺北:國立故宮博物院,2015.10),頁280-281。@#@@#@網頁展示說明@#@江先生移居埔里揭涉園後,仍然定時回靈漚小築授課,行蹤所至不忘筆硯,這幅山居圖即作於靈漚小築。畫景構思縈繞揭涉園景,結合真實與想像,用筆墨為生活剪影。畫面下方留白,有「無畫處是畫」不言之妙;題記中書錄辛稼軒詞語,透露「聽風聽雨,吾愛吾廬」,頗能喚起江先生的共鳴。寧謐的氣息自筆墨中散發出來,可以感受到江先生得到心靈上的安頓,在稼軒詞裡,也在自己的小園中。(20100409)@#@@#@網頁展示說明@#@ After Chiang Chao-shen moved to the Qishe Garden in Puli, he still regularly returned to the Ling’ou Studio to give lessons, never forgetting to bring his brushes and inkstone. In fact, this painting of a mountain retreat was done at the Ling’ou Studio. The scenery is conceived around that of the Qishe Garden, combining both real and imagined to provide a sketch from life. The blank area at the bottom of the painting is a literal rendition of the expression “painting where there is no painting.” The inscription is a transcription of lines from Xin Qiji’s poetry on the Jia Pavilion (“Listening to wind and listening to rain, I love my abode”) that may have particularly echoed Chiang Chao-shen’s own sentiments. A peaceful and tranquil aura radiates from the brush and ink, as if Chiang had settled at heart in his own little garden.(20100409)@#@@#@網頁展示說明@#@江兆申氏は南投県埔里の「揭渉園」に転居してからも、定期的に靈漚館で授業をし、どこへ行くにも筆と硯を忘れずに持ち步いた。この山居図は靈漚館で描かれた作品である。揭渉園を取り卷く構図に現実と想像とを結び付け、筆墨によって生活の片鱗を描いている。畫面下方の空白に「無畫処是畫」とあり、不言の妙である。辛稼軒(辛棄疾)の詞語を題記とし、「聽風聽雨、吾愛吾廬」という一節が、強く江氏の共鳴を呼んでいる。靜かで穩やかな雰囲気が自らの筆墨から発せられており、辛稼軒の詞にも、江氏の小さな庭園の內にも、江氏が得た安らかな境地が感じられる。(20100409)