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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 한국미술연구소 미술사논단 美術史論壇 2018 특별호
- 발행연도
- 2018.11
- 수록면
- 159 - 215 (57page)
- DOI
- 10.14380/AHF.2018.01.159
이용수
초록· 키워드
오류제보하기
As one of many disciples of Woosung Kim Chong Yung(又誠 金鍾瑛)’s calligraphic artworks, efforts were made to examine the origins of learning sources and expressive tendencies, under the plea of Geumgangan(金剛眼).
Titled as the founder of the field as the first modern abstract sculptor of Korea, the development of aesthetics was witnessed through Kim Chong Yung being immersed in the appreciation of traditional calligraphy. In other words, his efforts of practicing the modern role of the tradition and the future were reckonable in terms of his guidance provided for the juniors.
Kim Chong Yung has been practicing the current trend of aesthetical expressions, while maintaining fine cultural aspects of the literary tradition. For example, Kim Chong Yung’s understanding and analysis of Chusa Kim Jeong-hui(秋史 金正喜)’s calligraphic aesthetics, empirically explains how traditional aesthetics was able to survive until today.
That is, K im Chong Yung’s calligraphic aesthetical analysis, on whether calligraphic aesthetics of the times led by Chusa can be vitalized even in modern art and prove its value in the future, was found to be penetrated into the sculpture world of Kim Chong Yung.
The aesthetic notion of uniformity between calligraphy and sculpture is the result of Kim Chong Yung’s diachronic view that drew the inseparable complementarity beyond the confrontational relationship between the tradition and the modern. The unexpectedness of the texture of the writing brought by the dynamism of calligraphic strokes is the “extraordinary of the ordinary(格外之格)” ref lected in the “balance of imbalance”, which Kim Chong Yung pursued through sculpture.
The learning method and expressions of calligraphy are unconscious of the unnatural doctrinaire tendency of the normative tradition of the so-called “penmanship(書法)”, which professional writers of the times exerted to pursue. Instead, it clearly shows the “stage of enjoying talents(遊藝之境)” which “spirits of writings(文氣)” are rooted in as the ultimate worldview of calligraphy. This is to overcome the tradition of “quantitative(定量) formality” through such “quantitative formality”, and to head towards the unreserved status(無碍) as a boundary of aesthetic sense, which confirms the present aspects of the tradition.
To rephrase, the core of Kim Chong Yung’s calligraphic act lies in the fact that it overcame the standard “rules(法)”, called “penmanship”, with its own “rules”. This is what Chusa referred to as “nature as the center of heaven(性中天)” and “the scent of writing and the spirit of words in books(文字香書卷氣)” as the place to search for “formality(格)”. Such formality is concluded as a “formality of the nature(自然之格)” instead of a doctrinaire formality.
The “nature as the center of heaven”, under the pretense of strokes, define that personality must be the nature; that is, where capability(有爲) becomes idleness(無爲) in harmony, as well as “nature as the center of heaven” as an aesthetic expression of “the scent of writing and the spirit of words in books”.
In the calligraphy acts of Kim Chong Yung, the strokes of language(筆劃言語) makes an organic construction of "capability(有爲)", where such harmony heads toward the boundaries of “idleness(無爲)”. There, “reason(理性)” dissolves into “sensibility(感性)”, and such sensibility is formed within the beauty of “neutralizing(中和)”.
Such aesthetic viewpoint of Kim Chong Yung shows a mixed form of “semantics(意味)” and “shape(形象)”, where “endless joy(遊戱三昧)” is shown in the form of “inseparability(不二之境)” between calligraphy(書) and sculpture(刻).
Titled as the founder of the field as the first modern abstract sculptor of Korea, the development of aesthetics was witnessed through Kim Chong Yung being immersed in the appreciation of traditional calligraphy. In other words, his efforts of practicing the modern role of the tradition and the future were reckonable in terms of his guidance provided for the juniors.
Kim Chong Yung has been practicing the current trend of aesthetical expressions, while maintaining fine cultural aspects of the literary tradition. For example, Kim Chong Yung’s understanding and analysis of Chusa Kim Jeong-hui(秋史 金正喜)’s calligraphic aesthetics, empirically explains how traditional aesthetics was able to survive until today.
That is, K im Chong Yung’s calligraphic aesthetical analysis, on whether calligraphic aesthetics of the times led by Chusa can be vitalized even in modern art and prove its value in the future, was found to be penetrated into the sculpture world of Kim Chong Yung.
The aesthetic notion of uniformity between calligraphy and sculpture is the result of Kim Chong Yung’s diachronic view that drew the inseparable complementarity beyond the confrontational relationship between the tradition and the modern. The unexpectedness of the texture of the writing brought by the dynamism of calligraphic strokes is the “extraordinary of the ordinary(格外之格)” ref lected in the “balance of imbalance”, which Kim Chong Yung pursued through sculpture.
The learning method and expressions of calligraphy are unconscious of the unnatural doctrinaire tendency of the normative tradition of the so-called “penmanship(書法)”, which professional writers of the times exerted to pursue. Instead, it clearly shows the “stage of enjoying talents(遊藝之境)” which “spirits of writings(文氣)” are rooted in as the ultimate worldview of calligraphy. This is to overcome the tradition of “quantitative(定量) formality” through such “quantitative formality”, and to head towards the unreserved status(無碍) as a boundary of aesthetic sense, which confirms the present aspects of the tradition.
To rephrase, the core of Kim Chong Yung’s calligraphic act lies in the fact that it overcame the standard “rules(法)”, called “penmanship”, with its own “rules”. This is what Chusa referred to as “nature as the center of heaven(性中天)” and “the scent of writing and the spirit of words in books(文字香書卷氣)” as the place to search for “formality(格)”. Such formality is concluded as a “formality of the nature(自然之格)” instead of a doctrinaire formality.
The “nature as the center of heaven”, under the pretense of strokes, define that personality must be the nature; that is, where capability(有爲) becomes idleness(無爲) in harmony, as well as “nature as the center of heaven” as an aesthetic expression of “the scent of writing and the spirit of words in books”.
In the calligraphy acts of Kim Chong Yung, the strokes of language(筆劃言語) makes an organic construction of "capability(有爲)", where such harmony heads toward the boundaries of “idleness(無爲)”. There, “reason(理性)” dissolves into “sensibility(感性)”, and such sensibility is formed within the beauty of “neutralizing(中和)”.
Such aesthetic viewpoint of Kim Chong Yung shows a mixed form of “semantics(意味)” and “shape(形象)”, where “endless joy(遊戱三昧)” is shown in the form of “inseparability(不二之境)” between calligraphy(書) and sculpture(刻).
목차
Ⅰ. 서(書)란 무엇인가
Ⅱ. 서의 시작과 학습에 대하여
Ⅲ. 서체별 서풍의 경향과 문장
Ⅳ. 김종영의 아호(雅號)와 심미의식
Ⅴ. 서예심미의 경향
Ⅵ. 우성 서품의 성격
참고문헌
ABSTRACT
참고문헌 (32)
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