江兆申

 1965年，在台北市中山堂举办个人书画篆刻作品展览。个展的成功除赢得各界 的好评之外，也因而被举荐进入国立故宫博物院服务。国立故宫博物院丰富的中国艺术典藏，让先生得以汲取历代名家的精华。随著职务需要，先生深入古书画研究，精深的传统文人素养，加上本身书画创作的经验，除了能提出精辟的论文以外，也为学术研究与展览立下了相辅相成的先河。在国立故宫博物院任职的二十七年里，先後担任书画处处长、副院长。可见先生除了学术专业外，同时是一位不可多得的博物馆行政长才。虽然，行政事务繁琐，江先生总是把握住公馀之暇，竭力创作。

 1991年九月退休之後，先生移居南投埔里的鲤鱼潭。田园的山光水色，让先生将中国的山水绘画，与文人的雅趣美学，推展出一番新面貌。这时期的江先生创作力旺盛，作品质量俱佳，并且经常受邀参展与讲学。遗憾的是，1996年的五月十二日，在东北沈阳的学术演讲会中，因心肌梗塞而离开人世。

在文人艺术的传统领域里，江先生诗书画印，无一不精。当代的艺评家推崇他为「中国传统文人的新典型」与「中国现代艺术史上的奇才」，充分的显示出江先生在继承传统，开创现代中国山水画上的卓越贡献。文人画传统强调的是创作者需具备许多书画的相关修养，所以说：「腹有诗书气自华」。因此，认为徒有技巧表现而无内涵的书画，只是工匠的作品而已。欣赏展览的书画时，可看出江先生的作品，基本上是在传统的基础所发展出来的。书法方面，他对行、楷、篆、隶等书体都擅长，字体的书写安排，婀娜多姿，整篇充满活泼生气，自是独具一格。绘画方面，以山水画为主的创作，同样地以传统的技法，表现出现代人所见的山川。例如是描绘太鲁阁、天祥与东海岸的风景；所记述的是台湾山野风光；此外，则是中国大陆景致的写景作品。画面上，透过他个人对景物的剪裁安排，色彩和墨韵的处理，总引人进入别有一番天地的情境中，而且让人感受到一股清新且能够洗涤凡尘的气息，这应是来自江先生丰厚的传统文人素养所呈现的精神！

本展览展出江兆申先生书画作品共三十馀件，以及江先生生前所用之文房用品，如笔筒、毛笔、印章等，这些日常用品也展现出江先生自我的文人情怀。观众不仅可观赏精彩的书画，更可窥见一位二十世纪文人画家的风雅。

In 1965, an exhibition of individual calligraphy, painting and seal cutting works was held in Zhongshan Hall, Taipei. The success of the solo exhibition not only won praise from all walks of life, but also was recommended to serve in the National Palace Museum. The national the Imperial Palace museum is rich in Chinese art collections, so that it can draw the essence of famous masters of all ages. With the needs of his position, Mr. Chen's in-depth study of ancient calligraphy and painting, profound traditional literati literacy, and his own experience in painting and calligraphy creation, in addition to being able to put forward brilliant papers, also set a complementary precedent for academic research and exhibition. In his 27 years at the National Palace Museum, he has successively served as the director and vice president of the painting and calligraphy department. It can be seen that Mr. Zhang is not only an academic major, but also a rare Museum administrator. Although administrative affairs are complicated, Mr. Jiang always grasps his spare time and works hard.

After retiring in September 1991, he moved to Liyutan in Puli, Nantou. The landscape of the countryside, let Mr. China's landscape painting, and the elegant aesthetics of scholars, to promote a new look. During this period, Mr. Jiang had a strong creative power and excellent quality, and he was often invited to participate in exhibitions and lectures. Unfortunately, on May 12, 1996, he died of myocardial infarction at the symposium in Shenyang, Northeast China.

In the traditional field of literati art, Mr. Jiang's poetry, calligraphy and painting are all exquisite. Contemporary art critics praise him as "the new model of Chinese traditional literati" and "the genius in the history of Chinese modern art", which fully shows Mr. Jiang's outstanding contribution in inheriting the tradition and creating modern Chinese landscape painting. The tradition of literati painting emphasizes that the creators need to have a lot of culture related to painting and calligraphy, so it is said that "the belly has the spirit of poetry and calligraphy from the Chinese". Therefore, it is only the work of craftsman to think that the painting and calligraphy which have no connotation but skill. When appreciating the paintings and calligraphy in the exhibition, we can see that Mr. Jiang's works are basically developed on the basis of tradition. In calligraphy, he is good at line, regular script, Zhuan, Li and other calligraphic styles. The writing arrangement of the font is graceful, and the whole article is full of vitality, which is unique. In the aspect of painting, the creation of landscape painting is mainly based on traditional techniques to show the mountains and rivers seen by generations. For example, it depicts the scenery of tailuge, Tianxiang and the east coast; it describes the scenery of Taiwan's mountains; in addition, it is the landscape works of China's mainland. On the screen, through his personal tailoring arrangement of scenery, color and ink rhyme treatment, it always leads people into a different situation, and makes people feel a fresh and clean atmosphere, which should come from the spirit of Mr. Jiang's rich traditional literati accomplishment!

In this exhibition, Mr. Jiang zhaoshen's painting and calligraphy works, as well as the stationery used by Mr. Jiang before his death, such as pen holder, brush, seal, etc., are exhibited. These daily necessities also show Mr. Jiang's own feelings of literati. The audience can not only enjoy the wonderful paintings and calligraphy, but also see the elegance of a 20th century literati painter.