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民國江兆申三徑高蹤 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者江兆申
- 色彩水墨
- 裝裱形式軸
- 創作時間中華民國八十四年（1995）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@139x70.1@#@@#@全幅@#@234.5x88.8
- 質地本幅@#@紙
- 題跋資料作者款識@#@江兆申@#@寒松聳拔倚蒼岑。綠葉扶疏自結陰。丁固夢時還有意。秦皇封日豈無心。常將正節棲孤鶴。不遣高枝宿眾禽。好是特凋群木後。護霜淩雪翠逾深。唐炙轂子詠松。（行書）。三逕就荒松菊猶存。（篆書）。乙亥（西元一九九五年）夏日寫晉陶元亮文句。茮原江兆申于揭涉園。隨錄唐人詠松詩句。（行書）。@#@行書
- 主題主要主題@#@樹木@#@松@#@@#@次要主題@#@花草@#@菊
- 技法寫意@#@@#@皴法
- 參考資料參考書目@#@1.〈民國 江兆申 三徑高蹤〉，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230。@#@@#@內容簡介（中文）@#@東晉詩人陶淵明不為五斗米折腰，有歸隱田園之作〈歸去來辭〉，表明心志。其中「三徑就荒，松菊猶存」話語，迭經文人畫家思索，提煉為入畫的題材。江先生也沿續此一母題，以松菊作為隱逸的象徵，透過筆墨來詠歎。全作藉松菊比例上的差距，概分賓主。松樹斜角構景有得於明人的啟發，為避免畫幅左右輕重懸殊，復於菊花頂端空白處，錄寫唐人詠松詩，使畫面重心歸於穩定。(20100409)@#@@#@內容簡介（英文）@#@ Tao Qian (Yuanming), the famous Eastern Jin poet, refused to submit as an official to his pay of five pecks of rice, instead opting to return to his rustic home and live a life of reclusion. He thus wrote the famous “Homecoming Ode” to express his feelings and aspirations. A pair of lines from this classic, “Paths are filled with weeds, but pines and chrysanthemums are still there,” has been pondered by scholar-painters repeatedly over the ages and refined to become the subject of many works. Chiang Chao-shen has also followed in this tradition, using the subject of the pine and chrysanthemum as symbols for an untrammeled life of reclusion, of which he sung praise in brush and ink. In this painting the difference in proportion between the pine and chrysanthemums suggests their roles as main and supporting characters. The pine tree extending diagonally was inspired by the compositions of Ming dynasty artists, but to avoid an unbalanced arrangement, Chiang also transcribed a Tang dynasty poem in praise of the pine in the blank space above the chrysanthemums, thus making the compositional center of gravity more stable.(20100409)
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