当代草书创新的研究20002001.pdf

中国美术学院—书法系—陈胜凯—当代草书创作研究（2000—2010 ） 目 录 论文摘要 ·········································································································3 英文论文摘要 ··································································································4 前言 ·················································································································5 第一章 当代草书创作（2000—2010 ）综述 ··················································7 第一节 “新帖学”的兴起和草书创作的回归经典预示着草书盛世的曙光···8 第二节 书法网络的兴盛使草书家的视野空前拓展 ····································· 10 第三节 重大展赛推波助澜下的草书创作精彩纷呈 ····································· 12 一、当代书法展览极大促进了草书创作的繁荣··········································· 13 二、碑帖共兴是今后很长一段时间内草书创作的一个基本趋势··························14 第四节 惊世骇俗的王冬龄大字狂草创作研究 ············································ 16 一、巨幅狂草《逍遥游》诞生及其意义 ······················································ 16 二、 《共逍遥》的闪亮登场及又一巨幅狂草 《老子》的问世 ····················21 第五节 渐趋成熟的老中青三代草书代表书家解析 ·····································36 一、沈鹏、马世晓的草书艺术 ·····································································36 二、当代中青年草书名家创作综述 ·········································································46 第二章 当代草书创作面临的问题 ·······························································57 第一节 草书话语权的不时旁落 ···································································57 第二节 二王体系草书书风的表面化与同质化 ············································58 一、追慕二王书风渊源 ·················································································58 二、当代二王草书风的表面化与同质化··································································59 第三节 展厅效应使当代草书趋于大型化 ····················································65 第四节 纯度、个性和士气的失缺 ·······························································67 一、纯度的缺失 ····························································································67 二、个性的失却·································································