文档介绍：中国美术学院一书法系一林鹏程一米芾草书创作研究【内容摘要l: 米芾是北宋尚意书风的杰出代表,也是入古最深的一位书家,中年以前号称“集古字”。在其取法对象的不断更迭变化中,米芾最终把晋人书迹作为自己终身追求的理想境界,并在后来对唐代的书风颇不以为然,形成“尚晋卑唐’’的书法思维。在米芾为数不多的草书作品中,我们明显地看到他对晋人的极力模仿和追随,相对于更具有其个人风格的、具有代表性的行书作品,更能看得出他极力压抑自己的个性施展,对晋人书风亦步亦趋的精神面貌。从中不仅可以窥见米芾对于晋人书迹的崇拜心理,同时也流露出米芾对于个人草书创作的底气不足,显得拘谨和稚嫩。本文从草书的角度出发探讨米芾草书创作观的特征,尚晋思维的形成原因及其衍变过程。 I关键词】:米芾草书尚晋 IAbstractJ: As theoutstanding representative among nature adorationcalligraphers in Song Dynasty,and acalligrapher who adoresandfulfillsformermaster’Sworks Fuwas socalled“JiGuZi”(Gathering characterstyles from formermaster’sworks inhiscalligraphy creation).During hisimitating process in which hismodel always changing,Mi Fualways chasing calligraphy masters in JinDynasty ashisultimate idealrealm instead ofworks created by masters in Tang Dynasty,that’S isMi Fu’Sideaof‘‘Shang JinBeiTang’’(which means who adore masterpieces inJinDynasty ratherthanTang Dynasty).In the few cursive script ofMiFu,We can easily figure out hisimitationandfollowing of masterpieces in paring withhisrunning script creationwhich consideredasmorerepresentativeand individualstyle ofhimself,we can find out Mi Fu tried torepress his individual incalligraphy creation,and extremely imitation on masterpieces other words,we can peek thatMi Fu’Sadoration psychology onmasterpieces created inJinDynasty and weakness thought during his cursive script creation,SO some works seemed restrained and immature PaDer argues withMi Fu’Screation viewpoint on cursive script fromtheangle ofcursivescriptitself,and theforming process and reasonof hisideas ofadoringmasterpieces createdbyformer mastersin JinDynasty. 【KeyWordsl:Mi Fu;Cursive Script;Adoring Masterpieces Created by Former Masters inJinDynasty. 中国美术学院一书法系一林鹏程一米芾草书创作研究绪论米芾(1051年一1107年),北宋书画家。字元章,号襄阳漫士、海岳外史等。世居太原,迁襄阳,后定居润州。曾任书画学博士和礼部员外郎,人称“米南宫”。又因狂放,并有洁癖,也称其为“米颠”。能诗文,擅书画, 精于鉴别,好收藏名迹,是北宋历史上最具代表性的书家之一,与蔡襄、苏轼、黄庭坚合称“宋四家”。在其存世的大量书迹之中,公推以行书的造诣最高,影响最大,有“风樯阵马,沉着痛快”之评。米芾自论“壮岁未能立家, 人谓吾书为集古字,盖取诸长处总而成