江兆申JIANG ZHAOSHEN
1925~1996 / 71歲 /
He entered the Hanyu Hall and learned calligraphy, painting, poetry and literature. Eventually, Chiang was given the opportunity to view at first hand the works of the great masters at the Forbidden Palace Museum. With his industrious persistence Chiang finally became a great artist in his own right. Well-versed in all five major styles of calligraphy-semi-cursive script, regular seript, seal script, official script and cursive script-Ching executed his works in stele and script forms. His calligraphy was done in a vibrant and stylish manner and his works possess their own unique style. Apart from possessing the rustic feel of the ancient “Stone Drum” style, his seal and official script imitations also carry hints of restraint akin to that of Zhang Qian, as well as the luxuriant feel of the Huashan Mountains, with an overtone of ancient Qin and Han periods. Chiang's regular script focuses on the structure of Ouyang Xun of the Tang Dynasty, complemented by forceful strokes without being overly deliberate. Chiang's cursive hand was free-flowing and carrises a florish that gives it considerable life. Chiang's traditional paintings possess an interesting mix of both brosd stroke-work and fine details. Chiang's landscape paintings are superb in structure with exquisite details of high cliffs, streams and rocks amid overlays of broad strokes. Luxuriant hills are depicted in an unhurried manner and appear tp be shrouded in hazy mists. Chiang was uniquely capable of using a mildness of style and his unique and majestic style and his unique and majestic style was carried out using the tip of the brush. The ability he possessed in executing both casual and intense was truly remarkable. Indeed his landscape paintings at once possess the intonations of Yuan and Ming periods without deviating from the Tang and Song framework. This was all coupled with the Hanyu style that possessed an elegance that can only can bye described as heavenly. Put together, these elements make his paintings display an unmatched tranquility. Chiang's flora and fauna paintings capture the essence of the subjects and show a sense of tenderness despite the forceful strokes. Chiang's mastery of ink can also be seen in his paintings. It is firm but pleasant, with black ink interspersed with colors; the texture of hills and forests is clear, giving the viewer a sense of serenity. Colors do not overwhelm the ink; instead their light tones complement the ink to make the paintings appear life-like.
