【作者】 汪世基；

【导师】 张荣庆；

【作者基本信息】 中国艺术研究院 ， 美术学， 2010， 博士

【摘要】 台湾的历史文化,同大陆有深厚的渊源关系。台湾美术包括书法艺术,渐成为台湾美术史学者研究的主要目标之一。书法之研究涉及面甚广,本文仅取当代台湾书法创作这一侧面,试图做些较为深入的探索。“当代”这一词概念是不十分具体的,其时间的界定说法不一。但它与当下的联结最为密切,这是无庸置疑的。本文取义的“当代”,以1945年为始点,因这年台湾光复,回归中华文化体制。书风发展进入一个新的历史时期。因此,本文着重针对此后之台湾书风现象作探讨。全文综合前人之研究成果,加上近年来问世之资料,以及本人对当下具代表性之书家表现的观察,企图概述台湾半世纪以来之书风流变。因资料繁多,论述难免遗漏,祈能一窥大致面貌。全文导言部分,概述台湾自清前书风形成之源由、代表人物及书风特质。综合前人论述,及查阅相关文献,精要陈述台湾从早期延续至日据时期之书风变化。第一章,日据时期与光复后台湾本土书风及其延续：重点论述活跃于台湾光复前后之代表书家和他们的创作实践。其中因有不少书家在战后因故而疏离书事,资料散失不全,以致难以完整并详细陈述,殊为可惜。第二章,1949-1987年间台湾书坛创作之景观：以于右任、溥心畲、台静农、江兆申为主述,加上多位渡台书家,包括军政元老、学者、画家等之代表书家,介绍其不同之文化背景和书风特色,及陈述对台湾书坛之影响。第三章,1988年以来台湾书坛创作多元化之发展态势：随着社会的开放及西方思潮的涌进。不少书家积极探索,寻求不同的表现型式。书法创作者思考如何将书法艺术继往开来,产生所谓之当代书法。并随社会结构的变化,女性书家的增加,为当代台湾书坛增加多元的风貌。第四章,台湾官方展事及师门型社团下之书法现象：台湾光复后之全省美术展览,始自1946年至2006年止,而1967年省展才开始增加了书法部。此因公开征件,集结众人作品,经过评审,选出作品等第名次,一较作品之优劣高下。参赛之书写者无不绞尽脑汁,勤练技巧,细心经营,完成一幅刻意具有技巧兼设计之书法作品。历经四十届之比赛,其中产生了特殊之书风现象。此章节论述省展书法历年来作品,探求其型式、书风及内容之变化。并论及代表性之师门型社团。最后结语：1945年至今,约一甲子的台湾书风演进,留下不少令人追忆的书法历史。近二十多年来,台湾随着社会的转变及西方艺术思潮的涌入,不少书法创作者思考如何从传统中延续并另辟新意。随着大陆经济发展迅速,人民生活水平提高。相较于台湾,大陆书法创作人口及书论研究迅速增加,大陆书风表现丰富多量,新旧资料的研究与出版丰富多产。随着两岸书法交流日渐频繁,台湾书法风气将呈现另种景观。更多还原

【Abstract】 The history and culture of Taiwan originate from the mainland of China. The fine arts of Taiwan including the art of calligraphy have become one of the key objectives studied by the Taiwanese scholars of fine arts history. By considering that the study of Chinese calligraphy involves multiple fields, this article focuses on the contemporary creation of calligraphy art in Taiwan only, attempting to do some relatively deeper researches.The word of "contemporary" does not mean an exact concept of time because the period cannot be defined unanimously. However, undoubtedly it is closest connected with the current time. In this article, "contemporary" means the period starting from the year 1945 when Taiwan was recovered from Japanese occupation and returned to the Chinese cultural system. And accordingly, the artistic style of the calligraphy stepped into a new historical era. So, this article focuses on researching the artistic styles and phenomenon of the calligraphy art creations in Taiwan since then. By integrating the achievements of the forerunners’study and the materials that have been published in the recent years and by observing the performances of the typical calligraphers at current time, the author aims at sketching out the transformation of the calligraphy styles in the recent half century in Taiwan. Due to the large quantity of the materials, omissions can hardly be avoided. Hopefully a rough picture could be shown.The section of preamble summarizes the origins of the artistic styles of the Taiwanese calligraphy art since the early period of the Qing Dynasty, the representative calligraphers and the characteristics of their artistic styles. By integrating the analysis of the forerunners and consulting the related documents, the author describes briefly the transformations of the artistic styles of the Taiwanese calligraphy art during the period from early stage to the Japanese occupationChapter one reviews the artistic styles of the native calligraphy art and its continuation in Taiwan during and after the Japanese occupation. It mainly describes the representative calligraphers who lived around the recovery of Taiwan and their creation practices. While, unfortunately many of these calligraphers seldom created calligraphy works for some reasons after the war and many materials were lost, so that it is hard to describe them completely in detail.Chapter two combs the artistic creations in the calligraphy field of Taiwan during the period from 1949 to 1987. With the emphasis on Yu Youren, Pu Xinshe, Tai Jingnong and Jiang Zhaoshen, it introduces some representative calligraphers that migrated to Taiwan from the mainland including military and political senior leaders, scholars and painters. The different cultural backgrounds and artistic characteristics of them as well as their influences upon the calligraphy circle of Taiwan were described.Chapter three describes the development trend of the pluralism in artistic creation of the Taiwanese calligraphy field since 1988. Along with the opening of the society and the afflux of western thoughts, many calligraphers have been actively pursuing various modes of their artistic expressions. They have been thinking about how to continue with the past and open up the future for the calligraphy art so as to form the so-called contemporary calligraphy. On the other hand, with the transformation of the social structure, more and more female calligraphers are coming into the stage, which reinforces the pluralism feature of the current calligraphy circle of Taiwan.Chapter four analyzes the calligraphy exhibitions held by the Taiwan authority and the calligraphy phenomenon characterized by teaching-sect leagues. After the recovery of Taiwan, the provincial exhibitions of fine arts began in 1946 and were stopped in 2006. Meanwhile, the section of calligraphy was not added into the provincial exhibitions until the year 1967. By collecting works publically and assessment the calligraphy works were ranked. Besides hard practising the writing skills, all the participants racked their wits with designing the layouts of their calligraphy works. The contests that had been held for forty times produced a special phenomenon of calligraphy trend. By analyzing the exhibited calligraphy works, this chapter tries to probe into the transformation of their patterns, artistic styles and the written contents. Otherwise, some typical calligraphy leagues characterized by teaching sects are discussed too.Conclusion:the evolution of the artistic styles of the Taiwanese calligraphy that has lasted for sixty years since 1945 produced a memorable history of Chinese calligraphy art. In the latest over twenty years, with the social transformation in Taiwan and the inburst of western artistic thoughts, lots of calligraphers have been considering innovations on the basis of continuing the traditions. Along with the rapid economical development in the mainland of China, the lives of the people have been improved to a higher level. Comparing with Taiwan, both the population of calligraphy work creators and the study of calligraphy theories in the mainland have been increased rapidly, the calligraphy fashion is more various and colorful, and the quantity of publications of studying the new and old materials is larger. With the more and more frequent calligraphy exchanges between both sides of the strait, the calligraphy atmosphere of Taiwan will present new sceneries.更多还原