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The current study examined the concept of so called 'Donggukjin Style' that appeared at the calligraphy field in the 18th century. The concept of 'Donggukjin Style' was developed based on 『Haengjang』, the annex of 『Hongdoseonsaengyugo』 written by Seongjae Heojeon (1797~1886) in the next generation, which is not directly related with Lee Gwang-sa as well as Lee Seo and Yun sun who are referred to as the leaders of Donggukjin Style.
Therefore, the current study examined the concept of 'Donggukjin Style' from a different point of view, while bringing forth a counterargument against the argument that Donggukjin Style was formed during the switchover of Jo Maeng-bu Style to Wang Hee-ji, and has the identity of the 18th calligraphy field. From reciprocal comparison among the existing research outcomes, it was found that so called Donggukjin Style cannot become a unique noun by unifying Lee Seo's style, Yun Doo-seo's style, Yun Sun's style and Lee Gwang-sa's style into one because Okdong Style, that is, Donggukjin Style based on the school of Lee Hwang's Joseon Sung Confucianism changed in quality while transmitting to Yun Sun, and so called Donggukjin Style of Ming Dynasty style that was formed by Yun Sun through acquiring the technique of calligraphy using fakes of Wang Jeo at the beginning of the North Song Dynasty has more reinforced Joseon atmosphere of Han Seok-bong style.
Hence, as for 'Donggukjin Style is a true calligraphy of the Joseon Dynasty' and 'Lee Gwang-sa's Donggukjin Style reinforces Joseon atmosphere of Han Seok-bong style' in the previous studies, the current study changed that the former as 'Donggukjin Style is a unique calligraphy of Joseon calligraphers' and the latter as 'so called Lee Gwang-sa's Donggukjin Style restored the trend to Wuijingobeop adding Seokbong Style. In addition, the current study claimed that changing the concept of so called Donggukjin Style that has been beautified by the former researchers as the return to Wang Hee-ji Style, restoration of pure spirit of calligraphy and the presentation of reformative spirit of calligraphy to Lee Sec's Okdong Style, Yun Sun's Baekha Style and Lee Gwang-sa's Wongyo Style can not only expand the aesthetic range of calligraphy and characteristic beauty of individual calligraphers in the 18th century calligraphy field, but also provide a true clue for the calligraphy theory of Kim Jeong-hee in the 19th century and his unique Chusa Style.
Therefore, the current study examined the concept of 'Donggukjin Style' from a different point of view, while bringing forth a counterargument against the argument that Donggukjin Style was formed during the switchover of Jo Maeng-bu Style to Wang Hee-ji, and has the identity of the 18th calligraphy field. From reciprocal comparison among the existing research outcomes, it was found that so called Donggukjin Style cannot become a unique noun by unifying Lee Seo's style, Yun Doo-seo's style, Yun Sun's style and Lee Gwang-sa's style into one because Okdong Style, that is, Donggukjin Style based on the school of Lee Hwang's Joseon Sung Confucianism changed in quality while transmitting to Yun Sun, and so called Donggukjin Style of Ming Dynasty style that was formed by Yun Sun through acquiring the technique of calligraphy using fakes of Wang Jeo at the beginning of the North Song Dynasty has more reinforced Joseon atmosphere of Han Seok-bong style.
Hence, as for 'Donggukjin Style is a true calligraphy of the Joseon Dynasty' and 'Lee Gwang-sa's Donggukjin Style reinforces Joseon atmosphere of Han Seok-bong style' in the previous studies, the current study changed that the former as 'Donggukjin Style is a unique calligraphy of Joseon calligraphers' and the latter as 'so called Lee Gwang-sa's Donggukjin Style restored the trend to Wuijingobeop adding Seokbong Style. In addition, the current study claimed that changing the concept of so called Donggukjin Style that has been beautified by the former researchers as the return to Wang Hee-ji Style, restoration of pure spirit of calligraphy and the presentation of reformative spirit of calligraphy to Lee Sec's Okdong Style, Yun Sun's Baekha Style and Lee Gwang-sa's Wongyo Style can not only expand the aesthetic range of calligraphy and characteristic beauty of individual calligraphers in the 18th century calligraphy field, but also provide a true clue for the calligraphy theory of Kim Jeong-hee in the 19th century and his unique Chusa Style.
목차
1. 서론
2. 개인서풍의 전개와 東國眞體의 생성맥락
3. 東國眞體에 대한 문제와 비판
4. 결론
참고문헌
Abstract
참고문헌 (31)
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