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.
이용수
초록· 키워드
오류제보하기
The Korea-China exchange in calligraphic activities in the 19th century has frequently issued Seal Script and Clerical Script styles of Deng shiru(鄧石如, 1743-1805) and his followers. This paper examines how this Beipai(碑派) calligraphic style from Ching dynasty came to be introduced and understood in Korea, and in which process the introduced style came to be accepted to local calligraphic circles. For working on the above missions, this paper thoroughly goes through the below three points:
Firstly, Beipai calligraphic circle was led by Deng shiru and his followers. Secondly, Joseon calligraphic circles came to widely favoured Clerical Script as Kim Jeonghee preferred it. Lastly, as for the understanding exchange networks between Korea-China calligraphic activities, almost all Ching calligraphers who associated Joseon calligraphers, were from Jiangzhe( Jiangsu江蘇 and Zhejiang浙江). This paper develops discourses based on the above points.
Calligraphers who initiated the style of Deng shiru and his followers, are mainly Lee Sangjeok, Oh Gyeongseok, and Kim Seokjun under the Kim Jeonghee"s supervision and Park Gyusu and Min Yeongik followed them. These calligraphers associated various Ching calligraphers. Among them, there are Zhang Yaosun(張曜孫), his companions including one of his diciples, Fang Shuo(方朔), and Zhao Zhiqian(趙之謙), Wu Dacheng(吳大?), Wu Changshuo(吳昌碩) from Shanghai circle who followed Deng shiru style. They introduced a number of calligraphic works by exchanging various calligraphers from Ching dynasty. Meanwhile, its introducing aspects show that Palbun(八分) was predominant in the late 19th century, while Seal Script with consideration of the previous flows, was so in the early 20th century.
The significance of introducing and accepting Beipai calligraphic style from Ching dynasty can be summarized in two points: first of all, it contributed to connecting the 19th century calligraphic circles with modern circles. Kim Taeseok succeeded the trend of Kim Jeonghee"s style in the amid of modern calligraphic development which Kim Jeonghee style was predominant. Secondly, it facilitated development of various styles. The early 20th century witnessed various styles in visual aspects, and tried formative interpretation. In other words, a new possibility to the calligraphic circles of the time, in which Joseon calligraphic tradition mixed with styles from Ching and Japan.
Firstly, Beipai calligraphic circle was led by Deng shiru and his followers. Secondly, Joseon calligraphic circles came to widely favoured Clerical Script as Kim Jeonghee preferred it. Lastly, as for the understanding exchange networks between Korea-China calligraphic activities, almost all Ching calligraphers who associated Joseon calligraphers, were from Jiangzhe( Jiangsu江蘇 and Zhejiang浙江). This paper develops discourses based on the above points.
Calligraphers who initiated the style of Deng shiru and his followers, are mainly Lee Sangjeok, Oh Gyeongseok, and Kim Seokjun under the Kim Jeonghee"s supervision and Park Gyusu and Min Yeongik followed them. These calligraphers associated various Ching calligraphers. Among them, there are Zhang Yaosun(張曜孫), his companions including one of his diciples, Fang Shuo(方朔), and Zhao Zhiqian(趙之謙), Wu Dacheng(吳大?), Wu Changshuo(吳昌碩) from Shanghai circle who followed Deng shiru style. They introduced a number of calligraphic works by exchanging various calligraphers from Ching dynasty. Meanwhile, its introducing aspects show that Palbun(八分) was predominant in the late 19th century, while Seal Script with consideration of the previous flows, was so in the early 20th century.
The significance of introducing and accepting Beipai calligraphic style from Ching dynasty can be summarized in two points: first of all, it contributed to connecting the 19th century calligraphic circles with modern circles. Kim Taeseok succeeded the trend of Kim Jeonghee"s style in the amid of modern calligraphic development which Kim Jeonghee style was predominant. Secondly, it facilitated development of various styles. The early 20th century witnessed various styles in visual aspects, and tried formative interpretation. In other words, a new possibility to the calligraphic circles of the time, in which Joseon calligraphic tradition mixed with styles from Ching and Japan.
목차
[표지]
I. 유입과 수용(受容)
II. 조선 문인과 등석여(鄧石如) 추종자 간의 교유
III. 서단의 변화
IV. 평가와 의의
참고문헌
Abstract
참고문헌 (62)
참고문헌 신청
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-600-000668016