Chao-shen Chiang Sold at Auction Prices

Painter, b. 1925 - d. 1996

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          • 江兆申CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 01, 2024

            江兆申CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$280,000 - NT$420,000

            翠林清談 Gathering by the Woods 釋文：松枝談妙字，鈴閣想遲留。 款識：為元先生、蕙玲夫人儷正，癸亥江兆申畫。 鈐印：江兆申印（白文）、茮原（朱文）、墨池飛出北溟魚（白文） Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 01, 2024

            江兆申CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$80,000 - NT$160,000

            臨江雅敘 Rendezvous by the River 釋文：水煙霜樹矗層巒，點破江心一簇寒。見說天多剩得月，為予間上上方看。 款識：戊辰茮原江兆申，慕白先生雅屬。 鈐印：萬人如海一身藏（朱文）、兆申之印（白文）、靈漚館（朱文） Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 臺靜農 ; 江兆申 ; 王壯為 ; 李猷TAI Jing-nong (Taiwanese, 1902-1990); CHIANG Chao-shen (Taiwanese, 1925-1996); WANG Chuang-wei (Taiwanese, 1909-1998); LEE Yu (Taiwanese, 1915-1997)
            Jun. 01, 2024

            臺靜農 ; 江兆申 ; 王壯為 ; 李猷TAI Jing-nong (Taiwanese, 1902-1990); CHIANG Chao-shen (Taiwanese, 1925-1996); WANG Chuang-wei (Taiwanese, 1909-1998); LEE Yu (Taiwanese, 1915-1997)

            Est: NT$90,000 - NT$180,000

            行書書法（四件一組） Calligraphy in Running Script (A Set of Four) 釋文略 款識： （一）惲壽平國香春霽詩畫，為憲澄吾兄法屬，靜農於龍 坡。 （二）錄蔡君謨詩並戲擬其書體，壬戌之秋，江兆申。 （三）憲澄侍講屬書，壬戌之秋，漸翁王壯為。 （四）憲澄世兄屬書，壬戌中秋，李猷。 鈐印： （一）觀海者難為水（白文）、靜農無恙（白文）、 歇腳盦（白文） （二）江兆申（白文）、茮原（朱文） （三）老至四壬戌（朱文）、王壯為印（朱文） （四）飛舄終南（朱文）、字是三唐句晚唐（朱文）、 李猷長壽（白文）、紅竝樓（朱文） Signed Jing-nong, CHIANG Chao-shen, WANG Chuang-wei and LEE Yu in Chinese With eleven seals of the artists

            Ravenel
          • 江兆申CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 01, 2024

            江兆申CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$60,000 - NT$120,000

            行書七言聯 Calligraphy Couplet in Running Script 釋文：溪頭竹葉分空翠，庭角梅花吹冷香。 款識：己巳江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • 江兆申CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 01, 2024

            江兆申CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$60,000 - NT$120,000

            行書書法 Calligraphy in Running Script 釋文：時新滿座聞名字，別久何人記色香。葉似楊梅蒸霧雨，花如盧橘傲風霜。每憐蓴菜下鹽豉，肯與葡萄壓酒漿。回首驚塵卷飛雪，詩情真合與君嘗。 款識：丙午仲夓書蘇長公書，江兆申。 鈐印：江兆申印（白文）、茮原近況（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • JIANG ZHAOSHEN (1925-1996) Calligraphy in Running Script Hanging scroll, in
            May. 31, 2024

            JIANG ZHAOSHEN (1925-1996) Calligraphy in Running Script Hanging scroll, in

            Est: $10,000 - $20,000

            JIANG ZHAOSHEN (1925-1996) Calligraphy in Running Script Hanging scroll, ink on paper 178 x 46 cm. (70 1⁄8 x 18 1⁄8 in.)

            Christie's
          • Chiang Chao-shen, Landscape 江兆申, 山水
            Dec. 17, 2023

            Chiang Chao-shen, Landscape 江兆申, 山水

            Est: NT$100,000 -

            Color on paper, Hanging scroll, 設色紙本 立軸 許宗瑋親筆題簽；得之畫家本人

            Johhan Auction
          • Chiang Chao-shen, Landscape 江兆申, 山水
            Dec. 17, 2023

            Chiang Chao-shen, Landscape 江兆申, 山水

            Est: NT$30,000 - NT$50,000

            Color on paper, Hanging scroll, 設色紙本 立軸

            Johhan Auction
          • JIANG ZHAOSHEN (1925-1996) River Landscape with Fisherman, 1983
            Dec. 02, 2023

            JIANG ZHAOSHEN (1925-1996) River Landscape with Fisherman, 1983

            Est: $70,000 - $120,000

            JIANG ZHAOSHEN (1925-1996) River Landscape with Fisherman, 1983 Ink and colour on paper, framed Inscribed and signed Zhiyuan Jiang Zhaoshen, with a dedication and three artist's seals Dated guihai year (1983) 60.5 x 98.5cm (24 x 38¾in)

            Bonhams
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 02, 2023

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$30,000 - NT$60,000

            行書書札 Letter in Running Script 款識:楚戈兄福星，孔博士秋泉賜啟，江兆申。秋泉兄勲右奉，書謹悉大千先生因身體不適入院，關於五月來韓之事，似仍照舊不改詳情當由楚戈兄詳告也，弟因雜務纏身且亦積倦在身，慶熙五月之約，擬稍置後乞。兄後婉轉為感，杜邦筆 一支，將意肅請，安不一。弟江兆申書三、廿六。 Signed CHIANG Chao-shen in Chinese

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 02, 2023

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$30,000 - NT$60,000

            行書東坡詩 Calligraphy in Running Script 釋文:野水參差落漲痕，疏林欹倒出霜根。扁舟一棹歸何處，家在江南黃葉村。 款識:蘇東坡書李世南所畫秋景，己巳九月茮原江兆申書。 鈐印:江兆申印(白文)、原父(朱文) Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 02, 2023

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$80,000 - NT$160,000

            行書八言聯 Calligraphy Couplet in Running Script 釋文:苔益山紋池添竹氣，酒憑花勸詩倩鳥唫。 款識:山齋舊藏曲園學人，此聯愛其句因 轉錄之，壬申夏日茮原江兆申書於靈漚小築。 鈐印:江兆申印(白文)、茮原(朱文)、 壹琴硯成雙宋(朱文) Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 03, 2023

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$50,000 - NT$100,000

            雲鶴Calligraphy 釋文:雲鶴。 款識:乙亥誌陽書為玉芬方家大雅，茮原江兆申試紙。 鈐印:江兆申(白文)、茮原(朱文)、奇趕無等倫 (白文) Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 03, 2023

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$280,000 - NT$420,000

            四季風情Landscape in Four Seasons 釋文: (一)給園支遁隱，虛寂養身和。春晚羣木秀，間關黃鳥歌。林棲居士竹，池養右軍鵝。 炎月北窗下，清風期再過。 唐孟浩然，晚春題遠上人南亭。蕓閣朝來雪，飄颻正滿空。 褰開明月下，校理落花中。色向懷鉛白，光因翰簡融。能令草玄者，回思入流風。 (二)仙蹕禦層氛，高高積翠分。嚴聲中谷應，天語半空聞。豐樹連黃葉，函關入紫雲。聖圖恢宇縣，歌賦小橫汾。 蘇頲奉和登驪山高頂應制。秋山寂寂是市喧不到處可羨。 (三)幷數登高日，延齡命賞時。宸遊天上轉，秋物雨來滋。降鶴承仙馭，吹花入睿辭。微臣復何幸，長得奉恩私。 蘇頲奉和聖製九日侍宴應制。夏雲多奇峰。 (四)公子正邀歡，林亭春未蘭。攀岩踐苔易，迷路出花難。窗覆垂楊暖，階侵瀑水寒。帝城歸路直，留興接鵷鸞。 春日宴宋主簿山亭唐沈佺期句。萬壑千嚴一樣寒，城中別有玉龍蟠。舊人秉興扁舟處，今日詩仙戴笠看。姜白石句。 款識: (一)茮原江兆申書。庚午茮原江兆申。 (二)茮原江兆申。兆申偶作。 (三)茮原江兆申。茮原江兆申。 (四)茮原江兆申。江兆申。 鈐印: (一)兆申茮原(白文)、雙菩提龕(白文)、兆申知印(白 文)、雙菩提龕(白文) (二)兆申茮原(白文)、雙菩提龕(白文)、江兆申(白 文)、茮原(朱文) (三)江兆申印(白文)、江兆申(白文)、茮原(朱文)、 大方無禺(白文) (四)兆申茮原(白文)、雙菩提龕(白文)、兆申(白文)、 茮原(朱文) Signed CHIANG Chao-shen in Chinese With sixteen seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 03, 2023

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$380,000 - NT$600,000

            雪潤幽石Lofty Mountains in the Mist 釋文:康樂遺蹤地，言歸已有期。江流富春闊， 山沓括蒼危。雪潤飛晴靄，寒羅濾曉澌。東巖有幽石，應許折松枝。林和靖詩。 款識:丙寅，江兆申畫。 鈐印:江兆申印(白文)、茮園染翰(白文)、 雙谿行者(白文) Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 03, 2023

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$280,000 - NT$420,000

            翠嶺長林Appreciating the Lush Forest 釋文:林嶺靄春暉，程程入翠微。泉聲落坐石，花氣上行衣。詩正情懷淡，禪高論語稀。蕭閒水西寺，駐錫莫忘歸。 林和靖詩句。 款識:戊辰，江兆申畫。 鈐印:兆申書畫(白文)、靈漚(朱文)、 萬人如海一身藏(朱文) Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 03, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$50,000 - NT$100,000

            行書七言聯 Calligraphy Couplet in Running Script 釋文：芳藥遠闌春錦繡，庭菱拂地壽期頤。 款識：芳庭先生居正，壬戌五月江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 03, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$60,000 - NT$120,000

            竹泉松火行書七言聯 Calligraphy Couplet in Running Script 釋文：竹泉洗硯魚吞墨，松火烹茶鶴避煙。 款識：學起先生雅屬，乙巳仲冬江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 03, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$120,000 - NT$200,000

            靜謐山林 Dwelling by the Mountain 釋文：清溪流不極，林際帶疏鐘。鳥道連山屋，灘聲落水春。漲消新有岸，雲起本多峰。愁對猿啼峽，鄉關煙樹重。 款識：己巳茮原江兆申寫意。 鈐印：江兆申印（白文）、雙菩提樹盫（白文）、 快然自足（白文） Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 03, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$80,000 - NT$160,000

            行書對聯 Calligraphy Couplet in Running Script 釋文：念念不離心，要念而無念，無念而念，始算得打成一片。佛佛原同道，知佛亦非佛，非佛亦佛，即此是坐斷十方。 款識：微芬簇句。壬申茮原江兆申書。 鈐印：江兆申印(白文)、茮原(朱文) Signed CHIANG Chao-shen in Chinese With two seals of the artist.

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 03, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$850,000 - NT$1,400,000

            山館客話 Scholars Gathering in the Mountains 釋文：林表飛來色，猶憐久卜鄰。沿洄一水路，夢想五天人。謝絕空園草，沈冥滿幾塵。暮雲如有得，寧謝寄聲頻。 款識：茮原江兆申。 鈐印：江兆申印(白文)、茮原(朱文)、 我於維也斂衽無閒言(白文) Signed CHIANG Chao-shen in Chinese With three seals of the artist 江兆申先生的山水畫深植於傳統技法，在構圖佈局上卻能自成風格，從摹古到復古與前人一脈相承，卻又能「澤以時代之精神氣韻」，表現出屬於自我觀點、現代人視野的山川，《山館客話》一作屬於先生成熟時期的中堂形式作品，其畫風並非侷限於一般的自然寫景，而是在摹寫古代名蹟書畫的基礎上表現出復古畫風，此作以宋人巨山丘壑作為形式主體，畫面構成大膽地等分構圖，透過對景物的剪裁安排，讓墨韻與色調統一，富含傳統文人畫的意蘊。畫面主要的山石構圖以漸江鐵線勾勒法為用筆，章法奇險詭譎，以書法的筆勢快速地皴擦、點染出嶙峋的山壁，具有強烈的設計感；先生敷色不多，以墨色、赭色及花青略加渲染，除為層疊的山石做出陰陽面，讓其畫平添了幾分冷逸之感，水色連天的峻嶺與遠山呼應，更能呈顯出空靈且清新的山巒。前景安排林樹風景，雙鉤寫樹兼用濃墨、破墨與花青做出濃密交織排列的佈局，疏密穿插之間又歸於統一；繞山環抱的湧泉河流、丘壁上安置房舍錯落有致，簷下有高士三人閒坐清談，反映出江兆申對於隱逸生活和閑適情趣的嚮往，一派隱憂忘塵的氣息油然而生！先生畫作常題款宋代林逋詩句，以其孤高自好、性喜恬淡不趨榮利的性格自喻，盡顯現代文人的精神。 Classical techniques could be traced in Chiang Chao-shen's landscape paintings, with a unique structure, demonstrating a modern and individualistic point of view amongst classical techniques in the depiction of mountains and streams. This work was made at Chiang's mature stage of career. Techniques from ancient scrolls are prominently demonstrated with a close resemblance to nature itself. Majestic mountains of Song scrolls could be associated with this painting with a bold structure and delicate composition. Tone and colour of ink are synchronized in a literati style. Rocks were outlined boldly in Jianjiang style. Swift strokes of cun and dots highlight the texture of a rocky cliff in a stylistic approach. Colours are subtly chosen with ink, ochre and green carefully applied to highlight a realistic depiction of rock texture and to create a chilled tone to the painting. Mountains echo with the horizon with a fresh and majestic aura. Trees at the foreground were depicted with double lines, saturated and dried ink and colour. They are intertwined to form a dense forest. A river meanders through the valley with scattered houses, where three scholars chat casually. This suggests the ideal, secluded and relaxing lifestyle of Chiang. Lin Bu's poems were always used as inscriptions of Chiang, showing his preference towards an austere lifestyle of a literati.

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 03, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$90,000 - NT$180,000

            靜巒幽居 Residing by the Mountains 釋文：滿眼黃花初泛酒，隔煙紅樹欲迎霜。 款識：辛未茮原江兆申寫意。 鈐印：兆申之印(白文)、雙菩提樹盫(白文)、 目送歸鴻(白文) Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 04, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$60,000 - NT$120,000

            楷書八言聯 Calligraphy Couplet in Regular Script 釋文：敬業寅恭純嘏有慶，秉德雍穆眉壽咸釐。 款識：自後蜀有史以來，士人每喜用絳箋書吉語，應歲時令，此道法廢，因戲效其體，廣見承平餘意。甲辰十一月初吉，椒原江兆申書並記。 鈐印：蒼頭異軍（朱文）、江兆申印（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 04, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$60,000 - NT$120,000

            行書書法對聯 Calligraphy Couplet in Running Script 釋文：東閣梅花南浦月，吳江楓葉楚山雲。 款識：己巳茮原江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 04, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$60,000 - NT$120,000

            行書書法對聯 Calligraphy Couplet in Running Script 釋文：狎鷗偶得滄浪趣，騎鶴能生江海心。 款識：己巳茮原江兆申。 鈐印：江兆申印（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • 臺靜農 ; 江兆申 ; 王壯為 ; 李猷 TAI Jing-nong (Taiwanese, 1902-1990); CHIANG Chao-shen (Taiwanese, 1925-1996); WANG Chuang-wei (Taiwanese, 1909-1998); LEE Yu (Taiwanese, 1915-1997)
            Jun. 04, 2022

            臺靜農 ; 江兆申 ; 王壯為 ; 李猷 TAI Jing-nong (Taiwanese, 1902-1990); CHIANG Chao-shen (Taiwanese, 1925-1996); WANG Chuang-wei (Taiwanese, 1909-1998); LEE Yu (Taiwanese, 1915-1997)

            Est: NT$90,000 - NT$180,000

            行書書法（四件ㄧ組） Calligraphy in Running Script (A Set of Four) 釋文略 款識： （一）惲壽平國香春霽詩畫。為憲澄吾兄法屬。靜農於龍坡。 （二）錄蔡君謨詩並戲擬其書體。壬戌之秋。江兆申。 （三）憲澄侍講屬書。漸齋王壯為。 （四）憲澄世兄屬書。壬戌中秋。李猷。 鈐印： （一）觀海者難為水（白文）、靜農無恙（白文）、歇腳盦（白文） （二）江兆申（白文）、茮原（朱文） （三）老至四壬戌（朱文）、王壯為印（朱文） （四）飛舄終南（朱文）、字是三唐句晚唐（朱文）、李猷長壽（白文）、紅竝樓（朱文） Signed TAI Jing-nong, CHIANG Chao-shen, WANG Chuang-wei and LEE Yu in Chinese With eleven seals of the artists

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 04, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$80,000 - NT$160,000

            ​靜壑松影 Pine Trees in a Tranquil Scene 款識：​靜壑連松影，霜天染北枝。壬戌，江兆申寫小景。 鈐印：江兆申印（白文）、略無丘壑（白文）、雙谿行者（白文） Signed CHIANG Chao-shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 04, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$1,100,000 - NT$1,800,000

            溽暑閑居 Residing in the Woods 釋文：夜鶴曉猿時復聞，寥寥長似耿離羣。月中未要恨丹桂，嶺上且來看白雲。 棋子不妨臨水著，詩題兼好共僧分。新憂他日榮名後，難得幽棲事靜君。 款識：林和清詩句慕，江兆申畫於靈漚小築時溽暑為蒸，雨雲四合，苦帋少墨，沽瀾不能騁筆。 鈐印：江兆申印（白文）、椒原璽（朱文）、奇趕無等倫（白文） Signed CHIANG Chao-shen in Chinese With three seals of the artist 1980年代以後江兆申的水墨進入結合傳統與新意的創作期，多用傳統筆法重新詮釋台灣山林風景，雖以宋人丘壑作為山體形式，然多用清代的筆墨技法加上現代水墨的精神氣韻，揮灑出既有復古畫意、又能展現突出鮮明的個人特質之作品。 《溽暑閑居》此作為江兆申遷居靈漚小築後期的作品，描繪溽夏時節、雲雨蒸潤的山林風景為主題，畫面上可看出來自摹寫歷代名畫的基礎，更參照了當時台灣現代水墨對於本土寫生的實踐，對於景物的安排剪裁，墨韻與色彩的處理，都讓人驚艷且大開眼界；江兆申水墨創作以書法用筆與章法結構切入，作畫時不打草稿，所有佈局構圖了然於心，在用筆的技巧上多有獨到且精采的變化，此畫採用上下兩部、刻意以等分的構圖寫景：上半部以書法的線條融入山水的架構之中，取用漸江「鐵線」勾勒的筆法將山峰雄偉之勢析出遠近，主要以快速、寬長筆線把山石鋪陳逼入險境，層疊的山巒峭壁由右至左更加地連緜，畫筍峰無不險中求奇絕、一揮即就，設色雖以淡赭為主，然江兆申盡脫新安畫派枯澹的風格，多用敷染作出深淺不一的冷灰墨色，連續的夾山絕壁中央以掛垂的流瀑作為破題點睛之筆，且又能平衡畫面的重心，讓壁面與山頂密林營造出靜謐致遠之感。下方山水的佈局則以南方吳派水墨的暈染做為表現，藉由多變的水色烘染山石與疏密穿插的林樹、房舍，與其間幾株盤踞聳立的奇松形成強烈的對比，墨色暈滲出的雲天絕景，使得上下兩段遠山既能呼應又可自然地連結一片，完美地呈現出山景的溫潤與靈奇。畫幅上題北宋隱逸詩人林和靖之詩句，是江兆申發自傳統文人畫精神與素養的寄託，對應畫中文人獨行、幽居獨坐，頗有淡泊自適的人生寫照，此作造境新穎，又能達到氣韻丰神的境界，實為江氏難得一見的精品大作。 By the 1980s, Chiang Chao-shen reached his mature stage of blending classical and modern innovation in ink art. The classical approach was often used to represent the Taiwanese landscape. The depiction of hills from Song and ink application of Qing were mixed with a modern twist, which became his unique artistic style. This work was made after his relocation to his cottage Lingou. The landscape smothered in the heat of summer. Classical structure was used in the depiction of Taiwanese landscape, which was considered as the modern approach of the period. The composition of subjects created visual impact under a meticulous treatment of ink and colour. Calligraphic strokes were used spontaneously in the painting without initial drafts. An excellent control of brush reflects the variations of strokes. This work is divided into two parts: The upper half were composed with swift brushstrokes and the outline of Jian Jiang to depict the layers and outlines of the mountainous landscape. As the landscape extends from right to left, rugged knolls were painted in gradations of grey and ochre, derived from the Xinan style. A waterfall at the center enlivens the painting, balancing the peacefulness of the whole scene. In the lower panel, the structure took reference of the Wu School. Rocks, forest and huts were painted with light colours, heightening the contrast with the crooked pines. Through the application of colour and ink, the upper and lower parts of distant hills and the foreground echo with one other, forming a majestic landscape. The inscription is an extract of the poem by Lin He-jing from the Northern Song dynasty, showing the inspiration of Chiang from literati poems. The poem echoes with the lone scholar and his secluded lifestyle, creating an exquisite work of art.

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 04, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$700,000 - NT$1,100,000

            四季山水 Landscape in Four Seasons 釋文： （一）霽色破春昏，高樓日未曛。林梢零舊雨，山頂入殘雲。醉粉勻花頰，風羅縐水紋。踏青入誤約。芳思幾紛紛。 （二）平昔常聞溪口路，重山復水去無窮，禪餘試問舟人看，幾宿還能到剡中。 （三）山近覺寒早，草堂霜氣晴。樹凋窗有日，池滿水無聲。果落見猿過，葉乾聞鹿行。素琴機慮靜，空伴夜泉清。 （四）倚杖望晴雪，谿雲幾萬重，樵人歸白屋，寒日下危峰。野火燒岡草，斷煙生石松。卻迴山寺路，聞打暮天鐘。 款識： （一）茮原江兆申。 （二）茮原江兆申，己巳。 （三）江兆申。 （四）己巳七月，茮原江兆申寫四景。 鈐印： （一）茮原兆申（白文）、雙菩提盦（白文） （二）兆申之印（白文）、雙菩提樹盦（白文）、 快然自足（白文） （三）茮原兆申（白文）、雙菩提盦（白文） （四）茮原兆申（白文）、雙菩提盦（白文） Signed CHIANG Chao-shen in Chinese With nine seals of the artist 溥心畬曾稱讚一位藝術家：「觀君文藻翰墨，求之今世，真如星鳳⋯⋯讀君來詩，取經至高，擇言至雅，倘有時來此，至願奉接談論。」這位就是江兆申。出身自書香世家，詩書畫印皆擅，並因為學養底蘊深厚，被溥心畬錄為寒玉堂弟子，後曾任職於國立故宮博物院。期間廣覽翰墨典藏，窺探名作法帖，汲取歷代名家的筆法氣韻，公餘臨摹作畫，深入書畫的堂奧。一次與巴東聊到蘇東坡的才華過人，信手拈來，行雲流水，不費絲毫力氣，寫出非凡的詩詞，也許現代藝壇上只有江兆申能與古代文人媲美。據其學生憶述，江老師行筆迅速肯定，用筆謹慎，態度從容，卻寫出筆墨俊逸、恬靜自然的山景。其深厚的文學根底及勤奮的臨摹過程，讓江兆申的畫作呈現寒玉堂的高潔古雅，散發著濃厚的文人素養，儒雅的情懷。 此作四季山水連屏山勢連貫，以不同視覺觀四季風景的變異，四景的人物以形態簡拙獨到，簡筆刻畫各自的神情，猶如帶領觀者逐幅懷念回憶中的鄉景。春景並無選擇繁花似錦的時間，而是描繪萬物自寒冬慢慢甦醒的過程，是頑強生命力的象徵，也是大自然真實恬淡的一面。山石呈塊狀而成，以折皴法表現出受冰雪冲刷的陡峭山崖石紋，林木青翠盎然，比較耐寒的紅花驟現樹冠，猶如鬧鐘敲響寂靜沉睡的山景。春柳臨水，慵懶的漁人獨坐於小舟隨流漂浮，一派清曠秀雅之氣油然而生。夏林水霧氤氳，熾熱蒸騰，奇險嶔崎的石壁施以破墨染漬，增加山體盤桓的厚實感。中景峰巒拱揖，泉石迴抱，以雲霧相隔，木林安排高低有序，以濃墨渲染，色墨互襯，墨色酣暢淋漓，山林鬱氣浸於丘壑。林中君子亭內憩休，彷彿在看雨聽蟬，悠閑寫意地遙望塵世。秋景橫逸清曠，淡墨欹毫渾染山石，山間雲霧濕潤，筆下的靄氣潤澤蒼茫的秋色。全幅樹林疏密有致，紅葉為蕭瑟凋殘的秋天帶來清新俊逸的點綴。兩位文人在茅亭內聊天吟詩，旁邊潺潺河流自橋底流過，成為詩句的背景陪襯。冬景凌寒澈霜，天色以淡墨輕染，輕點飄雪。群山擁聚，崢嶸幽藹，樹木凋零枯萎，斑駁地露出禿枝。一位高士瑟縮在家中，欣賞雪中倔強綻開的梅花，遠看著梅花旁的小階梯，引領至河邊，彷彿讓在等待友人來訪，在蒼勁寒冬之中抱著君子的信念。此幅四屏畫作得寒玉堂的高潔神韻，金石的疏朗俊逸，蒼勁中帶嫵媚，擁有現代的儒雅卻不失古代的情懷，定下藝術史上入古出新的里程碑。 Pu Hsin-yu once complimented Chiang Chao-shen's immense depth of scholarly background in literature and ink. This comes as no surprise, as Chiang came from a scholarly family and specialised in literature, painting, ink and seal carvings. He was admitted to Hanyu Tang with outstanding talents and was appointed to senior positions in the National Palace Museum. Chiang immersed himself in Chinese classical paintings and painted with steadfast dedication. In a conversation with Chiang, Ba Dong mentioned Su Dong po's outstanding talents that Su's poems were eloquent with minimal effort. In the modern era, it seems that only Chiang could live up to Su's standard. According to his students, Chiang painted swiftly with outstanding control, allowing his work to appear light and natural, achieving the style of Hanyu Tang. The four panels are synchronized yet could be viewed separately. Four panels showing the changes in seasons with simplistic figures reliving stories of the past. The spring panel depicted a tranquil scene recovering from the harshness of winter chills, carrying a symbol of renaissance of life. Rugged rocks were carved by ice at sharp angles. Forests are lushly covered with green leaves; while red flowers merged from the canopies waking up the sleepy mountains. A fisherman sails slowly across the river, forming a tranquil and refreshing scene. The summer scene smothers in scorching heat and dampened moist. Splashed ink was used to depict heaviness in the rugged cliffs. Mists cut through the mountains and forests. Trees were aligned and painted in rich ink, echoing with the humidity. A scholar resting under a kiosk, appreciating nature. The autumn scene is refreshing as light ink brushes across the hills and rocks. Mists at the center balance the humidity of autumn, while red leaves ornate the scene. Two scholars are chatting and making poems in a hut as a river drifts slowly under the bridge nearby, forming a perfect backdrop. The winter chills creep from the winter panel as light ink brushes across the sky with drops of snow. Mountains gather under the chill as trees are left with bare branches. A scholar huddles up in a hut looking afar towards a blossoming plum tree and a path leading to the river, as if expecting a friend's visit. With the connotation of plum trees, this also echoes with the perseverance of a Chinese noble scholar. These four panels possess the elegance of Hanyu Tang, the light and liveliness of Jinshi with hints of sturdiness and tenderness. Such a combination of classic and modern styles makes Chiang's paintings a prominent milestone in art history.

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 04, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$480,000 - NT$700,000

            墨蓮圖 Lotus in Ink 釋文：朝出沙頭日正紅，晚來雲起半江中。賴逢鄰女曾相識，並著蓮舟不畏風。 款識：孝章兄雅教，江兆申畫並錄唐人句。 鈐印：江兆申印（白文）、茮原（朱文）、奇趕無等倫（白文） Signed CHIANG Chao-shen in Chinese With three seals of the artist 江兆申出身自書畫世家，曾拜寒玉堂門下，兼善「詩書畫印」於一身。曾任故宮博物院副院長暨書畫處處長，研究成果上汲宋代馬遠、元代趙孟頫，下至唐寅、文徵明、仇英等名家，全面完備了明代吳派畫的脈絡。豐沛的書畫史背景讓江兆申的畫作自傳統古意體現出新時代的意趣，藝評家楚戈曾說：「我一生為提倡新繪畫而奮鬥，然而看到江兆申的國畫，心中卻了無新舊之爭了—原來在舊基礎上，也能產生如此令人感動的新意。」汲古潤今的平衡讓江兆申的畫作增添現代的趣味，經歷時代的變化。 此幅《墨蓮圖》巨大的尺幅的潑墨蓮花，磅礴大氣，筆法豪放圓潤，突出蓮花的多元姿態與墨韻變化。右側題上唐代張潮的〈採蓮詞〉刻畫一群採蓮女朝起暮歸，乘坐著小小的蓮舟不畏狂風惡浪，勤勞工作，襯托蓮花出淤泥不染的清高本質。面對這疾風惡劣的環境，採蓮女團結一致抵抗風浪，展露出女性的堅毅，她們在亂世中可能稍微花容失色，卻又帶點嫵媚的英姿，沉著的意志。全幅構圖疏密有致，格調獨具一格，黑白的用色更顯墨韻的變化，畫面更顯清新典雅。全幅荷葉大方舒展，墨韻濃淡相間有序，近景以濃墨枯筆散鋒掃出，破筆揮就，中後景以濕筆側鋒落筆敷染，兼以碑體書法的筆勢營造出柔中帶剛的效果，墨色淋漓中顯蒼勁，讓蓮蓬蓮葉輕如浮雲卻又重如崩瀑。明代畫家徐渭於〈五月蓮花圖〉寫道 「五月蓮花塞浦頭，長竿尺柄揮中流。縱令遮得西施面，遮得歌聲渡葉否。」以蓮喻君子，君子的清高正直不被繁繞亂世所掩蓋。縱使蓮葉亂蓬失色，在驟雨疾風之下，花蕾自空隙冒出，各自亭亭玉立，數朵冒起，更顯蓮花空靈蘊秀，香遠益清。蓮花以淡墨中鋒疾筆白描蓮瓣，姿勢各異，或是飽滿綻放，或是含苞待放，如採蓮女一樣，各自在疾風顛簸的環境展露高雅嫵媚，襯托君子中通外直、堅毅不移、高潔正直的特質。 Born from a scholarly family, Chiang Chao-shen was admitted to Hanyu Tang with outstanding talents in literature, paintings, calligraphy and seal carving. He was the vice chairman of the National Palace Museum and led the Chinese paintings and calligraphy department, with extensive research covering Ma Yuan of Song, Zhao Mengfu of Yuan and prominent artists of the Wu School of Ming dynasty. Such a rich scholarly background allowed Chiang to adopt classical style into his modern paintings, which was praised by Artist Chu Ko as an ingenious adaptation, and paved his works in the course of art history. This colossal ink painting of lotus was done in splashed ink highlighting the artist’s sophisticated control of brush and intonation changes of ink. The poem by Zhang Chao of Tang dynasty describes a group of ladies battling against the wind and waves on a small boat while harvesting lotus. Together in unity, their womanhood shines with resilience and courage, which echo with the literary quality of the flower. The structure was well planned and unique, highlighting the gradation of ink with black and white colour composition. The large leaves of various shades of black are accentuated by the force of wet and dried brush. These strokes carry hints of sturdiness of rubbing calligraphy, creating changes in heaviness of leaves, thereby a degree of disturbance. Throughout history, lotus are compared to noble scholars. In this work, among the disruption of leaves in the gusts, lotus flowers rise from gaps showing their purity and fairness. Such disposition further echoes with the poem and the connotations of the noble character of a Chinese scholar.

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Jun. 04, 2022

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$50,000 - NT$100,000

            行書峨嵋山月歌 Calligraphy in Running Script 釋文：峨嵋山下半輪秋，影入平羌江水流。夜發清溪向三峽，思君不見下渝州。 款識：​李青蓮峨嵋山月歌，己已茮原江兆申。 鈐印：江兆申（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • JIANG ZHAOSHEN (1925-1996) Conversation in a Hunt Scroll, mounted and frame
            May. 30, 2022

            JIANG ZHAOSHEN (1925-1996) Conversation in a Hunt Scroll, mounted and frame

            Est: $80,000 - $120,000

            JIANG ZHAOSHEN (1925-1996) Conversation in a Hunt Scroll, mounted and framed, ink and colour on paper 62 x 99 cm. (24 3/8 x 39 in.)

            Christie's
          • JIANG ZHAOSHEN (1925-1996) / LI DAMU (1926-2002) Calligraphy in Running Sc
            Mar. 02, 2022

            JIANG ZHAOSHEN (1925-1996) / LI DAMU (1926-2002) Calligraphy in Running Sc

            Est: $10,000 - $20,000

            JIANG ZHAOSHEN (1925-1996) / LI DAMU (1926-2002) Calligraphy in Running Script / Calligraphy in Seal Script Two horizontal scrolls, ink on paper JIANG ZHAOSHEN (1925-1996) Calligraphy in Running Script 59.5 x 120 cm. (23 3/8 x 47 1/4 in.) (2)

            Christie's
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 04, 2021

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$50,000 - NT$100,000

            行書東坡句 Calligraphy in Running Script 釋文：月與高人本有期，掛簷低戶映蛾眉。只從昨夜十分滿，漸覺冰輪出海遲。 款識：​東坡句，國楨兄少冰夫人儷賞，丁卯夏日，茮原江兆申書。 鈐印：江兆申（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 04, 2021

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$70,000 - NT$140,000

            宿立公山房圖 Landscape 釋文：（上）支遁初求道，深公笑買山。何如石巗趣，自入戶庭間。苔澗春泉滿，蘿軒夜月閒。能令許玄度，吟臥不知還。 款識：​（上）孟浩然《宿立公山房》詩，江兆申書。 鈐印：（上）可以自怡（白文）、江兆申印（白文） （下）江印（白文）、兆申（朱文）、依樣（朱文） Signed CHIANG Chao-shen in Chinese With five seals of the artist

            Ravenel
          • 江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)
            Dec. 04, 2021

            江兆申 CHIANG Chao-shen (Taiwanese, 1925-1996)

            Est: NT$60,000 - NT$120,000

            行書七言聯 Calligraphy Couplet in Running Script 釋文：珍禽芳樹邊鸞，畫仙露明珠後主詞。 款識：​己巳茮原江兆申書。 鈐印：江兆申印（白文）、茮原（朱文） Signed CHIANG Chao-shen in Chinese With two seals of the artist

            Ravenel
          • CHINESE CALLIGRAPHY BY JIANG ZHAOSHEN
            Sep. 19, 2021

            CHINESE CALLIGRAPHY BY JIANG ZHAOSHEN

            Est: $600 - $1,000

            A Chinese calligraphy in ink on paper by Jiang Zhaoshen and dedicated to the consigner. The calligraphy has two seals, and it is mounted on a silk backing with wooden dowels. Dimensions are: 46 inches tall X 12 inches wide, 116.8 cm X 30.5 cm. All measurements are approximate. High resolution photos can be found here.

            Oakridge Auction Gallery
          • 江兆申CHIANG Chao-shen(Taiwanese, 1925-1996)
            Jul. 17, 2021

            江兆申CHIANG Chao-shen(Taiwanese, 1925-1996)

            Est: NT$380,000 - NT$600,000

            山水 Landscape 釋文：團團石甕琢青瑤，仰月看雲覺動搖。誰著天瓢灑飛雨，半空翻轉玉龍腰。 款識：壬申秋，江兆申畫。 鈐印：兆申之印（朱文）、雙菩提樹盦（白文） Signed Chiang Chao-shen in Chinese With two seals of the artist 此作《山水》寫於1992年秋季，為江兆申自故宮博物院退休後於南投埔里的創作，作畫於日本上乘京都金紙，構圖上特有創舉，巨巖山勢集中聳立於畫幅中央，呈現上下呼應的三角型佈局，除求取協調的畫面感外，更有高不見頂、衝溢出紙的巧妙安排。以中鋒用筆鉤勒山稜線條，漬墨橫掃、苔點厚重，融黃賓虹及新安畫派於一處，將視覺重心集中於畫作中央，蒼鬱中可得其樸勁的筆力。江兆申晚期山水多以一層層的設色堆疊累積而成，墨色透紙，顯出其墨瀋華滋的厚實感，以新墨作出骨氣清朗的境界。江氏取景畫面使用了水法渲染，營造出靈山空水、秀色氤氳的意境，畫幅右段與中上處的林木濃淡交疊，山脊處以乾筆皴擦兼施點染，略敷淡赭作出山體的陰陽向背處，呈現出一派秋山的輕盈與野逸。畫風既有南北宗山水的況味，也可細品出吳派疏秀與馬夏的精簡蕭淡。郭熙《林泉高致》曾題出「三遠說」，此幅《山水》更是融高遠、深遠、平遠於一畫之中，觀看此作的視覺於前中後的空間取景，明快地將突出高聳的山峰（高遠）佈局在畫面中段、左右留白（平遠），又取徑李唐山水重巒疊山的結構（深遠），細觀可得其率性恣為的筆意。畫中題元代黃華峪詩作，更增添濃郁古雅的文氣，流露出文人典雅的風範，詩畫合璧，如星月輝映，為江兆申晚期難得一見的山水精品。 This work was painted in the autumn of 1992, after his retirement. Painted on high quality Jingdu paper from Japan, the composition is innovative with a huge mountain in the middle of the painting, forming a triangular composition. This balances the work, and highlights the height of the mountain in the background. Outlines were used to highlight the landscape, while thick ink and dots creates a sturdy character of the mountain, taking reference to Huang Bin-hong and the Xin'an School. This also focuses the viewer's attention to the center, where brushwork is vividly portrayed. Such style is common in the late career of Chiang, as he applied layers of ink forming a luscious landscape. High fluidity of ink was used to create the misty environment in the hills. Dense and light ink was used intermittently to depict a dense forest. Dried cun and light ochre were used for the edge of the mountain, to highlight the light and shadows and the colours of autumn. Skills of both the Southern and Northern schools were used in the painting, with hints of the School of Wu and Ma Xia. Guo Xi once mentioned theories on the spatial distance of horizontal, vertical and depth. With the soaring mountain extending beyond the frames (vertical distance), blank spaces on both sides (horizontal distance), and overlapping mountains (depth), Chiang perfectly demonstrated the theory. An inscription is adopted from the poem of Huang Hua-yu highlighting the scholarly character of the painting.

            Ravenel
          • 江兆申CHIANG Chao-shen(Taiwanese, 1925-1996)
            Jul. 17, 2021

            江兆申CHIANG Chao-shen(Taiwanese, 1925-1996)

            Est: NT$1,400,000 - NT$2,200,000

            四季山水 Landscape in Four Seasons 釋文： （一）卷經歸太白，躡蘚別蘿龕。若屢浮雲上，須看積翠南。倚身松入漢，瞑目月離潭。此境堪長往，塵中事可諳。 （二）一入仙山萬慮寬，夜深寧厭倚虛欄。鶴和雲影宿高木，人帶月光登古壇。芝朮露濃谿塢白，薜蘿風起殿廊寒。更陪羽客論真理，不覺初鐘叩曉殘。 （三）晚來山北景，圖畫亦應兆。村點飄黃葉，人家濕翠微。樵當雲外見，僧向水邊歸。一曲誰橫篴，蒹葭白鳥飛。 （四）散漫陰風裡，天涯不可收。壓松猶未得，撲石蹔能留。閣靜縈吟思，途長拂旅愁。崆峒山北面，早想玉成丘。 款識： （一）茮原江兆申山中作。 （二）林蔭為薺谿聲競起，江兆申畫。 （三）茮原江兆申寫。 （四）癸酉春暮寫四景，茮原江兆申於揭涉園中，雲影四山芳枝滿眼。 鈐印： （一）兆申茮原（白文）、雙菩提盦（白文） （二）兆申茮原（白文）、雙菩提盦（白文） （三）兆申茮原（白文）、雙菩提盦（白文） （四）兆申茮原（白文）、雙菩提盦（白文） Signed Chiang Chao-shen in Chinese With eight seals of the artist 《四季山水》作於1993年,時江兆申已移居南投埔里揭涉園,期間描繪的水墨作品多為自家窗外景致,此四聯作最可觀之處在於逐幅的山脈走勢均能連貫,似乎是以不同的視角與季節觀看同樣的山景,取景構圖集中於畫幅中下段處,因此逐幅觀看又能得「會當凌絕頂,一覽眾山小」之感受。綜觀此畫山勢連綿、跌宕多姿,江兆申以借景的方式引園外窗景入畫,進而內化成胸中丘壑,再造自然的審美觀念,則是來自當時隨遇而安、任性自然的心境。自故宮去職後多遊歷台灣山水名勝,此時期的作品也以直幅為主,構圖雖簡化但頗有新意,畫面的留白又讓山形輪廓線淡化,與石塊壁面的皴染合而為一,畫作中塊面體的增加與平面化又加重山景的重量與沉穩感。江兆申曾言作山水畫特別要注意構圖,「排列之中的虛、實、鉤、搭才是畫家的本領」,於是在《四季山水》中得以窺見江氏對於元人所謂的「平遠、闊遠、高遠」的重新詮釋,畫幅結構既安於穩定齊整,又能以變化的筆勢佈局構築出「奇」的氛圍。 春景以冷灰的淡墨寫就,下幅以「之」字型佈局山坵邊坡,再以小橋連接兩岸更顯深遠,溪石清流、春柳臨水,一派清曠秀雅之氣油然而生。中段以墨漬渲染出密林,林中茅屋一文士獨坐,呼應遠山之壯闊,自出於胸臆,意境清遠曠渺。夏景則取用新安畫派的佈局,以細筆墨線勾勒山巒走勢,中幅山壁直落而下、奇險嶔崎,下方以濃墨漬染成現出山體盤桓的厚實感,施以破墨兼用赭色佈局出山脈稜角及層次,墨色酣暢淋漓,線條用簡卻以墨染出其深邃貌,江兆申善用濕墨表現山川林木鬱茂的景色,觀之能得「蒼蒼莽莽、有林下風」的況味。寫秋景則著重於秋林蕭颯清曠之意,筆鋒穎脫,墨法精緻,取用歷代水墨名家之長,呈現出倣古的畫境,以山前窺山後的平視角度營造出山景的深遠。冬景則多用乾筆皴擦與澹墨輕染,蒙蒙茸茸之處可見江兆申用筆沉著的經營,雪山上一抹寒梅的嫣紅點破了近乎沉悶的蕭瑟冬景,使得畫作產生猶如聚光燈的效果,特別具有戲劇張力。此四聯作的保證書於1997年6月由璞莊藝術中心發行,附有江夫人章桂娜女士簽名蓋章。當時章女士非常珍惜這作品,更認為是江兆申晚期最精彩的作品。《四季山水》初觀有著濃郁古雅的文氣,但處處可見江兆申在古人與造化中的體悟,不僅兼備文人畫各宗派的長處,更能開創吞吐大荒的意象江山,實不愧被喻為中國傳統文人畫「最後的一筆」。 These four panels were painted in 1993 when Chiang Chao-shen had already relocated to Puli of Nantou. During this time, he would paint the scenery outside his windows. The four panels seem to form a continuous relief with different scenes of the seasons. Each individual work represents a majestic landscape on its own. The artist was trying to use this perspective as a glimpse into the emotional state, thus his own appreciation towards nature. Since his retirement from the National Palace Museum, he visited the mountains of Taiwan. Vertical structure was commonly used during this period. A simplistic composition with blank space and clear outline of the relief, balances the cun strokes of the rocks, creating sturdy and geometric forms of the mountains. Chiang Chao-shen put emphasis on structure in his landscape paintings. The harmony between blank spaces, objects and the lines is the key to one's artistic skills. These four panels thus demonstrate spatial distance in its depth, its horizontal and vertical forms, common in the Yuan dynasty. Despite having a well structured composition, the brushwork used in the painting brings surprises to the viewers. The Spring panel has a grey tone depicted by light ink. A Z-shaped relief leads the eye to the bridge below. A running stream and spring willow bring freshness to the whole scene. Dense forest in the middle forms unveils a cottage and a lone scholar inside. This echoes the artist's mentality to embrace the grandeur of nature. The Summer panel was painted with a structure common in Xin'an School. Fine outline of the relief leads the eye downwards through the rugged cliff to the soggy forest depicted with wet dense ink. Splashed ink of ochre was used to create layers of the mountain. The richness of the ink enhances the dense smothering state of the forest. The Autumn scene is fresh, depicted with the tip of the brush with reference to past ink masters. Layers and depth was created by overlapping mountains. The Winter panel was created with light ink and dried brush. A thin layer of ink was applied with careful brushwork creating a velvety sky. Amidst the snowy scene, plum blossoms gleam in red, forming a dramatic scene. These four panels were issued with a certificate of authenticity in June 1997 by the Emerald House Art Center, Taipei with a seal of the artist’s wife Ms Chang. They were considered by Ms Chang as the most precious works of the artist’s late career. The four panels are classic in composition, with a broad emotional state of the artist. By taking reference to ancient techniques, such a majestic landscape was created, making him one of the greatest artists in modern history.

            Ravenel
          • 江兆申CHIANG Chao-shen(Taiwanese, 1925-1996)
            Jul. 17, 2021

            江兆申CHIANG Chao-shen(Taiwanese, 1925-1996)

            Est: NT$280,000 - NT$400,000

            林壑靜憩 Residing in the Forest 釋文：湖上山林畫不如，霜天時候屬園廬。梯斜晚樹收紅柿，筒直寒流出白魚。石上琴尊苔野淨，籬邊松竹禽犬竹叢疏。一關兼是和雲掩，敢道門無卿相車。 款識：甲子臘，江兆申畫於靈漚小築。 鈐印：江兆申印（白文）、茮園染翰（白文）、日利千萬（白文） Signed Chiang Chao-shen in Chinese With three seals of the artist 1984年,時年江兆申已移居至南港山間的靈漚小築,此時的江氏創作正盛,繪畫風格已然成熟,且廣涉博徵各家之長,在豐富的生命經歷與畫歷的激盪下,許多重要的水墨作品多成就於此時。 此作《林壑靜憩》畫幅滿佈,近景山崖羅列幾近重疊,以大塊面的山巒結構組織前景,以乾筆斧劈皴出線條分出山勢走向兼用濃墨側筆橫掃佔據下方近二分之一的圖面,筆法粗放讓渲染與皴擦並行,中鋒用筆頓挫出石塊的肌理,取法南宗的渾厚圓潤,然江兆申追求畫面奇絕險峻的性格,以淡赭作出山脈向陽背陰之樣貌,又用暈瀋墨色的包圍山壁作出濃蔭蓊鬱之貌,揮灑之間可見其縱橫的筆意,不僅能凸顯出山勢的高低前後,更將視點融合了俯視的深遠遼闊。畫幅中段往左的佈局則是以簡筆構出茅舍與人物,以極輕的筆法作出觀看的視覺重點,江兆申畫樹法多以王原祁為本,雜樹竹林並陳,墨色濃澹兼施,淋漓的墨色作出林樹縱恣的茂盛之姿,一樹紅葉掩映清健,寫竹則以淡筆輕描,後用花青設色延伸出蒼茫氤氳的一派生機,墨色凝重中卻顯山野幽僻的風貌,林蔭前後相踞,文士獨坐對景,頗有沁人心脾的靈氣。畫幅上半不山勢則用漸江筆勢勾出山巖險峻的結構,率筆寫景中直取石濤老辣的筆墨韻味,山勢中段墨色的推移至左右兩側,以淡赭醒之作出岩層的結構層次,多用短勁方折的筆線將墨色交融熨貼,可看出其活用筆墨的靈動姿態,山勢更遠處則用花青墨色渲破、以濃淡溼潤的變化作出清淡秀潤的韻致,雖滿紙密佈,但仍有「疏可走馬,密不透風」的雅趣;畫幅題款宋人林逋七言詩句,更可深切體會到江兆申承繼文人畫脈的繪畫境界,詩畫齊觀,可謂難得之絕品佳作。 By 1984, Chiang Chao-shen had already moved to his cottage in Nangang. During this period, Chiang gathered his experience from old masters paintings to his individual experience, hence his artistic career had reached its peak. This painting has a full frame structure depicting a stretch of overlapping mountains into the distance. A giant mountain structure sketched with dried axe-cun and dense ink, occupying half of the panel in the foreground. Centered brush with a mix of cun strokes were applied to accentuate the texture of rocks, echoing with the Southern School. Light ochre was used for the shadows and dark ink for the dense forest. Intersecting strokes leads through the meandering hills into the distance. A scholar and his cottage were added with a gentle brush at the center, balancing with the heaviness of the dark forest. The techniques of trees were adopted from Wang Yuan-qi. An array of trees in dense ink form a luscious forest. Amidst the lusciousness, an autumnal tree of red leaves emerged, creating a visual impact. Bamboo grove was lightly sketched, and blended with the other vegetation by the application of green. Jian Jiang's style of landscape was adopted on the top half of the panel, with a slight hint of Shi Tao. Light ochre and dense dark ink was used to feature the rough texture of rocks. Short and swift strokes enhance the vivid depiction of landscape. Grey green was used to depict distant hills forming a balanced and elegant scene. A Song poem by Lin Bu is inscribed on the top, unifying the whole poetic scene.

            Ravenel
          • 江兆申CHIANG Chao-shen(Taiwanese, 1925-1996)
            Jul. 17, 2021

            江兆申CHIANG Chao-shen(Taiwanese, 1925-1996)

            Est: NT$170,000 - NT$260,000

            山中秋思 Meditating in the Autumn Landscape 釋文：石床彈月鶴聽琴，玉宇吟秋絕點塵，萬里無雲銀漢遠，一天風露濕星辰。 款識：庚午春日，茮原江兆申。 鈐印：兆申之印（白文）、雙菩提盫（白文） Signed Chiang Chao-shen in Chinese With two seals of the artist 《山中秋思》作於1990年,此時期的江氏山水已博取廣涉各家之長,江兆申晚期風格根植於摹寫歷代書畫名跡的深層基礎上,不僅呈現出倣古畫風,更展露出融合傳統色彩的美學。畫幅中高拔的群山挾出和緩的丘壑,左側巖壁拔出古松,松葉濃墨淋漓與右方平臺上的紅樹兩相呼應對照,後方雜樹密林掩映中隱現房舍,兩文士對坐清談,一派秋景清曠之雅意盎然。 此作佈局臻至化境,畫幅主要山石皴法與構景出自漸江一脈,鐵線細勾取出山脈險奇之貌,以多樣角度的塊面增加山形輪廓的體積,近景以濃墨橫掃作出視覺重心、中段巨巖直插而立,令人耳目一新,遠山以敷色作出深遠層次,這樣的構圖脫自明代文徵明、唐寅一脈,又直取北派馬夏半角山水的構圖和筆墨技巧,畫幅右方特意大面積的留白,更讓此作層次分明且富有變化、取出和諧感。此圖用色施墨簡潔恬淡,以花青、赭石、石綠等對比設色,濃淡繁簡交錯的峰巒、穿插疏密的林樹,既有對比又能收攝統一,清淡的色調更給觀者清新靈秀之感。此作筆法、墨韻的修飾上可見江兆申「大膽落筆、小心收拾」的功力。畫中題款為宋朝詩人黃庚之詩作,自成一格的江派書法融隸書筆勢於行楷之中,觀之特有蒼渾樸茂之感,筆勢抑揚頓挫中可見爭讓進退,江體字的靈動讓原本恬靜自然的秋景圖增添了任性天真的文人巧思,此作尺幅精巧,更能顯出江兆申在構圖中的新意與生動,實為難得的清賞雅作。 This work was painted in 1990 in Chiang's mature period after in-depth studies of classical landscape masterpieces. This work demonstrates a classical character with a traditional tone. Mountains stand aloft creating a valley at the center. Ancient pine trees perch from the cliff on the left. Its dense ink echoes with the red autumn leaves on the right. Amidst the autumnal dense forest, two scholars sit in a cottage chatting. Cun strokes throughout the work show hints from Jian Jiang. Delicate outlines were used to depict the relief. Multiple planes were used to highlight the volume of the mountains. Dense ink was used in the foreground and a giant rock was placed in the middle to add individuality to the painting. Distant hills were coloured lightly, with reference to Wen Zheng-ming and Tang Yin from the Ming dynasty. The composition of landscape and brushwork could be referred to the Northern school of Ma Xia. Blank space was located on the right to highlight the layers of the painting. Intermittent light and dark colours of turquoise, green and ochre were used on overlapping hills and forest to create contrast and enhance the balance of freshness in the painting. Brushwork demonstrates the skillfulness of Chiang Chao-shen. An inscription adopted from Huang Geng of the Song dynasty is steeped in an ancient character, highlighted through the clerical scripts. The calligraphy of the inscription creates an animated character in this tranquil autumnal scene, thus making this a painting for aesthetic appreciation.

            Ravenel
          • JIANG ZHAOSHEN (1925-1996) Landscape Scroll, mounted and framed, ink and co
            May. 26, 2021

            JIANG ZHAOSHEN (1925-1996) Landscape Scroll, mounted and framed, ink and co

            Est: $30,000 - $50,000

            JIANG ZHAOSHEN (1925-1996) Landscape Scroll, mounted and framed, ink and colour on paper 44.5 x 52 cm. (17 ½ x 20 ½ in.)

            Christie's
          • JIANG ZHAOSHEN (1925-1996), Winter Landscape,
            Dec. 09, 2020

            JIANG ZHAOSHEN (1925-1996), Winter Landscape,

            Est: $2,000 - $4,000

            JIANG ZHAOSHEN (1925-1996) Winter Landscape Hanging scroll, ink and color on paper 44 x 48.3 cm. (17 3/8 x 19 in.) Entitled, inscribed, and signed, with two seals of the artist Dated early winter, guichou year (1973) ,

            Christie's
          • JIANG ZHAOSHEN (1925-1996), Scholars by the Cliff,
            Dec. 09, 2020

            JIANG ZHAOSHEN (1925-1996), Scholars by the Cliff,

            Est: $300 - $600

            JIANG ZHAOSHEN (1925-1996) Scholars by the Cliff A pair of round fan leaves, mounted for framing, ink and colour on silk Each scroll measures approx. 22.5 cm. (8 7/8 in.) in diameter Inscribed and signed, with four seals of the artist ,

            Christie's
          • 江兆申 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
            Dec. 05, 2020

            江兆申 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

            Est: NT$280,000 - NT$400,000

            墨荷 Lotus 釋文：荷葉披披一浦涼，青蘆奕奕夜吟商。平生最識江湖味，聽得秋聲憶故鄉。 款識：乙丑十一月寫，為端溥先生雅正，茮原江兆申。 鈐印：江兆申（白文）、茮原（朱文）、奇趕無等倫（白文） Signed Chiang Chao-Shen in Chinese With three seals of the artist 江兆申先生1925年出生於安徽歙縣，1949年渡海抵台即於中學執教，詩文書畫漸長，後求拜寒玉堂門下，盡得溥心畬心法真傳，兼善「詩書畫印」於一身，造詣之高更有「天上文曲星」之美名。江氏一生課徒無數，靈漚門下多有傑出弟子，如：周澄、李義弘、侯吉諒等，均為台灣當代水墨名家。江兆申除了在水墨創作上擁有非凡的成就外，他更是當代首屈一指的中國書畫史學者：1965年任職故宮博物院副研究員，1978年陞任副院長暨書畫處處長，研究成果上汲宋代馬遠、元代趙孟頫，下至唐寅、文徵明、仇英等名家，全面完備了明代吳派畫的脈絡。江兆申除了在故宮任職期間遍覽名品外，更數度前往美日觀摩研究，豐沛的經歷磨練了江氏的眼力，也體現在他創作上風格的轉變。 此作《墨荷》寫於1985年，是年江兆申於美國大都會博物館發表〈從唐寅的際遇來看他的詩書畫〉一文，江氏自1970年代末期開始偶作墨荷，可窺知其畫風來自唐寅筆意，寫意中猶帶工秀；又因故宮任職訪美期間結識了張大千這位忘年莫逆之交，曾親炙大千居士磅礡大氣的墨荷名作：大千畫荷脫自徐渭大寫意法，以主觀的意識與潑墨變形的形式來表現荷花的內涵，然而江兆申在畫荷的概念與技法上，既有大千的筆意也蘊含了其師溥心畬的內斂雅緻，兩相衝擊下造成他畫荷技法上兼有兩家之長。江兆申畫圖從不打草稿，《墨荷》自右方澹墨漸濃至中軸，荷梗一筆寫就，由下直上中鋒起筆，略帶圓折；疾筆寫白描蓮瓣綻放，神韻天成，更顯綽約風姿；中段荷葉佈局用墨分五色法，近景以濕筆側鋒落筆敷染，表現出豐富的毛、澀變化，兼以碑體書法的筆勢營造出柔中帶剛的效果，墨色淋漓中可見蒼勁；後景以水色濕墨輕掃敷染，營造出一派濃淡參差、飄逸閑散的荷塘景致；行書題詩於左側布白處，觀之但覺拙樸倨傲，與墨荷兩相映趣，實屬江兆申寫荷難能可貴的神品逸作。 Chiang Chao-Shen was born in 1925 in Anhui and arrived in Taiwan in 1949 as a secondary school teacher. He was talented in calligraphy and poems, thus he was accepted to Hanyu Tang as a student. His all-round talent covers literature, calligraphy and seals, and was renowned as a literary star. Chiang himself had outstanding achievements in ink art and was a notable scholar, as he was the deputy researcher at the National Palace Museum in 1965, and later, the Deputy Director and Head of Chinese Paintings in 1978. Chiang studied ancient scrolls at the museum and furthered his research in the US and Japan. This rich experience allowed him to further excel in his art. This work was drawn in 1985 when Chiang published his research of Tang Yin at the Metropolitan Museum in the US. He started drawing lotus at leisure at the end of the 1970s with a hint of Tang Yin's brushwork that combines broad and refined strokes. He also acquainted Zhang Da-Qian and observed the grandiosity of his lotus paintings, which possesses the carefree style of Xu Wei, further polished with broad splashed ink to refine lotuses' characters. Chiang's lotus paintings were composed with the grandiosity of Zhang Da-Qian, with the humble and elegance of his teacher Pu Hsin-Yu. Chiang Chao-Shen never made any draft. The lotus on this work perks from the right to the center in concentrated ink in a single vertical stroke. Petals were painted in swift strokes. Lotus leaves were coloured with a variation of colours. The foreground was painted with ink-filled slanted strokes, depicting the different textures and the balance of strength in stone rubbing script. The background was moist with light ink, composing a relaxed and serene scene. The inscribed poem was written on the left in running script, to enhance the solemness and elegance of the whole scene.

            Ravenel
          • 江兆申 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
            Dec. 05, 2020

            江兆申 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

            Est: NT$120,000 - NT$220,000

            行書九言聯 Couplet in Running Script 釋文：幸有兩眼明多交益友。苦無十年暇熟讀奇書。 款識：壬申春日，茮原江兆申書。 鈐印：江兆申（白文）、茮原（朱文）、埔里（白文） Signed Chiang Chao-Shen in Chinese With three seals of the artist

            Ravenel
          • 江兆申 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
            Dec. 05, 2020

            江兆申 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

            Est: NT$140,000 - NT$240,000

            行書五言聯 Couplet in Running Script 釋文：鏡銘延壽篆，鐙鑄吉祥文。 款識：癸酉冬吉，茮原江兆申書。 鈐印：江兆申（白文）、茮原（朱文） Signed Chiang Chao-Shen in Chinese With two seals of the artist

            Ravenel
          • 江兆申 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)
            Dec. 05, 2020

            江兆申 CHIANG CHAO-SHEN (Taiwanese, 1925-1996)

            Est: NT$140,000 - NT$240,000

            德門居冠字長聯 Couplet in Running Script 釋文：德行有何奇，只在父慈子孝。門庭無別翫，當盡兄友弟恭。 款識：德門居舊句，甲寅九秋之吉，茮原江兆申補書。 鈐印：江兆申印（白文）、茮原（朱文） Signed Chiang Chao-Shen in Chinese With two seals of the artist

            Ravenel
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