尙意書藝의 歷史的 展開와 具現에 關한 硏究

다국어 초록 (Multilingual Abstract)

This study examines the historical development and aesthetic structure of Shangyi Calligraphy (calligraphy that values meaning and intention) in the history of Chinese calligraphy. Rather than viewing calligraphy merely as a system of written communication, this research focuses on how calligraphy evolved into an artistic form expressing the inner spiritual world of the writer. The transition from technical form (external rules and structure) to inner intentionality (mental attitude and artistic intent) was shaped by three major cultural foundations: Wenzhi binbin (harmony between refinement and authenticity) in Confucian thought, Do beop jayeon (“the Way follows nature”) in Daoism, and Jeong hye ilche (unity of meditative stillness and wisdom) in Buddhist aesthetics. These ideas collectively redirected calligraphy from external discipline toward the expression of individuality, spirit, and philosophical depth.
Chapter II clarifies the conceptual and philosophical basis of Shangyi, which literally means “honoring meaning.” In this view, calligraphic value lies not in technical perfection or decorative form but in the movement of the brush (brush intention) and the expression of spirit. This idea grew from early beliefs such as “Calligraphy is the picture of the heart,” and later transformed during the Wei-Jin period through concepts prioritizing spiritual perception over formal technique. By the Song dynasty, this perspective became a mature artistic ideology opposing purely technical calligraphy.
Chapter III traces the evolution of this aesthetic through the Han, Wei-Jin, Tang, and Song periods. The Han dynasty established calligraphy as an extension of emotional and mental response through Sim-su sang-eung(harmony between heart and hand). The Wei-Jin period introduced qiyun shengdong (lively resonance of spirit), emphasizing dynamic vitality. In the Song dynasty, literati artists such as Su Shi, Huang Tingjian, Mi Fu, Cai Xiang, and Zhao Ji refined the aesthetics of expressive freedom, articulating concepts such as Il-un (effortless elegance), Pagok(wave-like rhythm), and Sin-gi-un (unity of spirit, energy, and resonance)—thus establishing calligraphy as a medium of intellectual autonomy and emotional expression.
Chapter IV analyzes the formal characteristics of Shangyi Calligraphy. The interplay among form, energy, and intention produced expressive vitality, while later artists of the late Ming and early Qing—particularly Wang Duo and Fu Shan—further advanced this tradition into Gwang-gyeon seopung Calligraphy a style balancing bold spontaneity and moral restraint), achieving a unity between artistic character and personal virtue.
Finally, Chapter V explores how Shangyi aesthetics continues to influence modern calligraphy. By comparing East Asian calligraphy with Western abstract art, the study demonstrates that Shangyi represents not merely visual abstraction but a form of spiritual abstraction rooted in thought, perception, and inner cultivation.
In conclusion, Shangyi Calligraphy stands as one of the highest aesthetic achievements of East Asian art, representing a philosophical and artistic framework in which vitality, spirit, and heart are inseparably integrated. This study argues that Shangyi aesthetics should be regarded not only as a historical theory of calligraphy but as a foundational principle of the broader East Asian artistic worldview.

목차 (Table of Contents)

• 目 次 ⅰ
• 表 目 次 ⅲ
• 圖 目 次 ⅳ
• 제Ⅰ장 序 論 1
• 1. 問題 提起 및 硏究 目的 1
• 2. 先行 硏究 檢討 및 硏究의 意義 3
• 3. 硏究 範圍 및 方法 4
• 제Ⅱ장 尙意 槪念 形成 및 哲學的 背景 6
• 1. 尙意書藝의 槪念과 美學的 構造 6
• 2. 儒･佛･道 思想과 尙意 思惟의 哲學的 基盤 14
• 3. 尙意 傳統과 思惟構造 背景 49
• 4. 尙意美學의 哲學的 意義 55
• 제Ⅲ장 尙意書藝 美學思想의 歷史的 展開 60
• 1. 漢代의 書爲心畫 思想 62
• 2. 魏晉時期의 神彩爲上論 74
• 3. 唐代 書如其人과 浪漫主義 思想 96
• 4. 宋代 文人書와 師意不師跡 121
• 제Ⅳ장 書藝術의 尙意的 具現과 變容 142
• 1. 漢代 書藝의 心手相應 142
• 2. 魏晉南北朝 時期 中和와 恬淡 152
• 3. 唐代 法에서 意･形･心 變容 170
• 4. 宋代 知法而能違法 182
• 5. 元･明･淸, 書法美學의 統合 201
• 제Ⅴ장 尙意美가 後代 書藝 審美意識에 미친 影響 207
• 1. 元代 法･意･氣의 新復古 207
• 2. 明代 淸玩古風，書貴淸遠 215
• 3. 淸代 碑帖融合 强柔相濟 218
• 4. 淸代의 碑帖派와 秋史 金正喜 235
• 5. 現代 書藝 美學의 擴張과 現代的 轉換 244
• 제Ⅵ장 結 論 251
• 參 考 文 獻 254
• 英 文 抄 錄 259