지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.12
- 수록면
- 283 - 319 (37page)
이용수
초록· 키워드
오류제보하기
The present study is about calligraphy theory of the first half Chosun period. It consists of four main parts: general ideas on calligraphy, conception of calligraphic scripts, views on Chinese model calligraphies & noted calligraphers, and comments on Korean excellent calligraphers.
Firstly, literary class of this period regarded Confucian books and moral practicing as a "right way (大道)", but they regarded poem, prose, calligraphy, and painting as "small arts (小技)". So they always were cautious about not plunging into those small arts. It is called "wan-wu-shang-zhi (玩物喪志: if one indulge in small things, his spirit will be damaged)". It was the fundamental and general ideas on calligraphy, which must be more strengthened by the Confucian doctrines from the establishment of Chosun dynasty.
On the other hand, literary class also accepted the public utility of calligraphy and painting as a means of managing national necessities, and the mental function as a means of expressing one's mind freely and cultivating one's nature as well. And they also thought of one's nature (天性) and character (人品) as a standard of esthetic appreciation and deepened it into the trinity of poem, calligraphy, and painting (試書畵一律). These conceptions are based on a traditional idea that one's calligraphy style is derived from his character.
Secondly, conception of calligraphic scripts (書體) was put emphasis on Chao Meng-fu (趙孟?)'s standard-script as a general model. For official use Chosun government promoted classical styles of Chin period like as Wang Hsi-chih (王義之)'s and reprinted Chinese model calligraphies many times and spreaded them to public. In large standard-script, Hsueh-an (雪菴)'s style of Yuan was popularized and used steadily until the later half of Chosun period. Also in running-script and grass-script, Wang's and Chao's styles were principal models. However, after 16th century new styles of mad grass-script (狂草) as Zhang P'i (張弼)'s of Ming also were introduced and become popular. And small seal-script of Ch'in period (秦代小篆) was regarded as a standard and in clerical-script the formalized style as a dictionary I-yun (隷韻), which was firstly printed in Southern Sung, was general.
Thirdly, concerning to model calligraphies, Tung-shu-t'ang-chih-ku-t'i (東書堂集古帖), printed in 1416 and Bi-hae-dang-jip-go-cheop (匪懈堂集古帖) compiled by Prince An-pyeang (安平大君) in 1443 was the representatives in this period. In particular the later contained many Zhao meng-fu's works, so it should help to spread his style. In addition, single model calligraphy like as Wang Hsi-chih, Chu Hsi (朱熹), Zhao Meng-fu, Hsien-yu Shu (鮮于樞), Hsueh-an etc. were printed by the government and in these Wang's and Zhao's were many. However, calligraphy style of Ming period must be accepted in a certain extant, but not be popularized except Zhang P'i's. Futhermore the first official record on introduction of Wen Zheng-ming (文徵明)'s calligraphy was very late in 1600. But as the pseudo-classical (擬古的) trend of literary thought was introduced in the second half of 16th century, calligraphy theory of Ming period must be introduced too. A popular calligrapher as Han Ho (韓濩) was concerned about epitaph & calligraphy postscripts by Wang Shih-chen (王世貞), who was a powerful leader of Ming literary world.
Finally, in comments on Korean excellent calligraphers, many Chosun commentator succeeded the tradition of later Koryeo period, in which they commented on Kim Saeng (金生), Yeong Eup (靈業), Yo Geuk-il (姚克一) of Unified Silla Kingdom and Tan Yeon (坦然), Yi Am (李?) of Koryeo Dynasty. It is very special that Yi Am was highly praised by many critics from the early Chosun period since the Zhao Meng-fu's style become popular. And appreciation on Chosun calligraphers, we can find general tendency of impressive or metaphorical expression rather than concrete or specific. For example, Yi Yong (李瑢), Seong Su-chim (成守琛), Yi Hwang (李滉), Hwang Gi-ro (黃耆老) were the representative calligraphers, and appreciation on them almost based on the idea that one's calligraphy style is similar with his own personality.
As mentioned above, calligraphy theory in the first half of Chosun period shows the general comprehension and recognition on calligraphy. Its major points are similar to painting theory in equivalent period. And comparing with painting theory, it is possible to say that comments on noted calligraphers show a tendency to emphasize one's nature. In the future, if calligraphy theory of the later half Chosun period will be studied, we can find more detailed characteristics of each period.
Firstly, literary class of this period regarded Confucian books and moral practicing as a "right way (大道)", but they regarded poem, prose, calligraphy, and painting as "small arts (小技)". So they always were cautious about not plunging into those small arts. It is called "wan-wu-shang-zhi (玩物喪志: if one indulge in small things, his spirit will be damaged)". It was the fundamental and general ideas on calligraphy, which must be more strengthened by the Confucian doctrines from the establishment of Chosun dynasty.
On the other hand, literary class also accepted the public utility of calligraphy and painting as a means of managing national necessities, and the mental function as a means of expressing one's mind freely and cultivating one's nature as well. And they also thought of one's nature (天性) and character (人品) as a standard of esthetic appreciation and deepened it into the trinity of poem, calligraphy, and painting (試書畵一律). These conceptions are based on a traditional idea that one's calligraphy style is derived from his character.
Secondly, conception of calligraphic scripts (書體) was put emphasis on Chao Meng-fu (趙孟?)'s standard-script as a general model. For official use Chosun government promoted classical styles of Chin period like as Wang Hsi-chih (王義之)'s and reprinted Chinese model calligraphies many times and spreaded them to public. In large standard-script, Hsueh-an (雪菴)'s style of Yuan was popularized and used steadily until the later half of Chosun period. Also in running-script and grass-script, Wang's and Chao's styles were principal models. However, after 16th century new styles of mad grass-script (狂草) as Zhang P'i (張弼)'s of Ming also were introduced and become popular. And small seal-script of Ch'in period (秦代小篆) was regarded as a standard and in clerical-script the formalized style as a dictionary I-yun (隷韻), which was firstly printed in Southern Sung, was general.
Thirdly, concerning to model calligraphies, Tung-shu-t'ang-chih-ku-t'i (東書堂集古帖), printed in 1416 and Bi-hae-dang-jip-go-cheop (匪懈堂集古帖) compiled by Prince An-pyeang (安平大君) in 1443 was the representatives in this period. In particular the later contained many Zhao meng-fu's works, so it should help to spread his style. In addition, single model calligraphy like as Wang Hsi-chih, Chu Hsi (朱熹), Zhao Meng-fu, Hsien-yu Shu (鮮于樞), Hsueh-an etc. were printed by the government and in these Wang's and Zhao's were many. However, calligraphy style of Ming period must be accepted in a certain extant, but not be popularized except Zhang P'i's. Futhermore the first official record on introduction of Wen Zheng-ming (文徵明)'s calligraphy was very late in 1600. But as the pseudo-classical (擬古的) trend of literary thought was introduced in the second half of 16th century, calligraphy theory of Ming period must be introduced too. A popular calligrapher as Han Ho (韓濩) was concerned about epitaph & calligraphy postscripts by Wang Shih-chen (王世貞), who was a powerful leader of Ming literary world.
Finally, in comments on Korean excellent calligraphers, many Chosun commentator succeeded the tradition of later Koryeo period, in which they commented on Kim Saeng (金生), Yeong Eup (靈業), Yo Geuk-il (姚克一) of Unified Silla Kingdom and Tan Yeon (坦然), Yi Am (李?) of Koryeo Dynasty. It is very special that Yi Am was highly praised by many critics from the early Chosun period since the Zhao Meng-fu's style become popular. And appreciation on Chosun calligraphers, we can find general tendency of impressive or metaphorical expression rather than concrete or specific. For example, Yi Yong (李瑢), Seong Su-chim (成守琛), Yi Hwang (李滉), Hwang Gi-ro (黃耆老) were the representative calligraphers, and appreciation on them almost based on the idea that one's calligraphy style is similar with his own personality.
As mentioned above, calligraphy theory in the first half of Chosun period shows the general comprehension and recognition on calligraphy. Its major points are similar to painting theory in equivalent period. And comparing with painting theory, it is possible to say that comments on noted calligraphers show a tendency to emphasize one's nature. In the future, if calligraphy theory of the later half Chosun period will be studied, we can find more detailed characteristics of each period.
#書論(Calligraphy Theory)
#朝鮮前期(First Half Chosun Period)
#小技論(Idea on Small Arts)
#玩物喪志(Wan-wu-shang-zhi)
#天性論(Idea on One's Nature)
#詩書畵一律(Trinity of Poem, Calligraphy, and Painting)
#書體論(Conception of Calligraphic Scripts)
#法帖論(Views on Model Calligraphies)
#韓國書家論(Comments on Korean Excellent Calligraphers)
목차
Ⅰ. 조선 전기의 書論 자료
Ⅱ. 書藝一般論
Ⅲ. 書體論
Ⅳ. 中國名蹟論
Ⅴ. 韓國書家論
Ⅵ. 조선 전기 書論의 의미
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
캘리그래피 확산에 따른 제문제
서예학연구
2020 .01
-
퇴계(退溪)의 심성수양적 ‘점획존일(點劃存一)’의 서예관
서예학연구
2018 .01
-
安平大君 李瑢의 文藝活動과 書藝
미술사학연구(구 고고미술)
2005 .09
-
근대기 서화합작품 연구
미술사논단
2009 .12
-
『서예학연구』 20년, 그 연구 성과와 성찰
서예학연구
2020 .01
-
서예의 무대 공연 시안(試案) 연구 - 무용과의 관련성에 근거하여 -
대한무용학회논문집
2009 .01
-
초등학교 미술과 서예 분야 교육과정 및 교과서 분석 고찰
동양예술
2018 .01
-
朴珪壽의 實事求是的 書畵思想 硏究
서예학연구
2019 .01
-
安岐와 王翬의 교류를 통해 본 清初 北方 商人의 書畫收藏 취미와 행위
미술사학연구(구 고고미술)
2015 .12
-
캘리그래피(Calligraphy)의 조형요소가 시지각에 미치는 영향에 관한 연구 : 수용자가 캘리그래피를 통해 지각하게 되는 감성 어휘를 중심으로
한국디자인학회 국제학술대회 논문집
2009 .05
-
醜書의 審醜 의미 解析
동양예술
2019 .01
-
중국 논서시 개관
동양예술
2016 .01
-
20세기 초 전통적 서화관의 근대적 변용
서예학연구
2020 .01
-
한국 대학의 서예교육과 교원양성 실태 - 경기대학교를 중심으로
서예학연구
2018 .01
-
서예 ‘用筆法’의 핵심, ‘提按法’의 原理
서예학연구
2019 .01
-
对狂狷书风影响下的东国真体的考察
동양예술
2020 .01
-
‘誠中形外’ 思惟의 儒家書藝美學的 硏究
서예학연구
2020 .01
-
退溪 『聖學十圖』에 나타난 書藝 修養論的 意味 고찰
서예학연구
2019 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-014719255