창암 이삼만, 工拙을 벗어난 서예

이성배(Lee, Sung-Bae) 한국서예학회 2007 서예학연구 Vol.11 No.-

This study aims at exploring the history of Korean calligraphy and Changma, Samman Lee's calligraphy by dividing calligraphy into schools of rational and emotional calligraphy. This approach helps to provide a more various and broader understanding of the materials of calligraphy and presents a new way to understand the identity of Korean calligraphy. Changam, Samman Lee(1770-1847) possessed a very unique calligraphy style. This study investigates the commonalities and differences of Changam's calligraphy from his predecessors in terms of both his rational and emotional calligraphy styles. In the late Josun Dynasty, Changam freely pursued both rational and emotional calligraphy styles, not clinging to elaboration. His calligraphy practice and theory had two special aspects. His rational calligraphy style was shown in epitaphs or printed-style tablets, and his emotional style was written with printed, semi-cursive and cursive style. Both of his styles resulted from his unique consciousness of calligraphy. Changam's rational calligraphy style was based on his strict academic standards, serious consideration of process, and his endless endeavor to enter the ideal world of calligraphy. Meanwhile, his emotional calligraphy style was based on Jinhanwe's calligraphy which was different from Jindang calligraphy that had aesthetics of ugliness, pursuing strong strokes and a temperament overcoming the soft beauty. Changam's calligraphy presents Jinhanwe's style of strong, simple and honest strokes as well as reflecting the calligraphy trend of the late Joson Dynasty which focused on Jongyo, Wangheji. That is, his calligraphy crosses the boundaries between rational and emotional calligraphy and his aesthetics of calligraphy, as one of ugliness, shows another trend of Joson's calligraphy. 본고는 서예를 이성파와 감성파로 구분하고 이를 한국 서예사와 창암 이삼만 서예에 적용해 고찰한 글이다. 이성과 감성의 시각으로 접근하는 것은 기존의 서예자료에 대한 다양한 접근과 폭넓은 이해를 위한 한 방도이며, 한국 서예의 정체성을 이해하려는 새로운 방도이다. 이러한 차원에서 매우 독창적인 글씨로 알려진 창암 이삼만(1770-1847)에 대해 이성서예와 감성서예의 시각으로 그의 서예와 서론이 이전과 어떠한 同異點이 있는지에 관해서도 살펴볼 수 있겠다. 조선 말기의 창암은 감성서예와 이성서예를 추구하면서 공교에 구애 받지 않고 자유롭게 추구하려 하였다. 그의 많은 서예작품과 서론은 이 두 가지 측면을 보여주고 있다. 그의 이성서예는 비문이나 크고 작은 楷書, 편액 글씨 등에서 내용에 따라 다양하게 나타난다. 이에 비해 감성서예는 해서와 行書草書를 막론하고 다양하게 보였다. 창암의 이성서예와 감성서예는 그의 독특한 서예의식에서 비롯된다. 그의 이성서예는 엄격한 학서기준과 과정을 중시하고, 끊임없이 서예의 眞境에 들고자 엄청난 노력을 통해 나타났다. 이에 비해 감성서예는 당시 서예에서 추구하던 晉唐서예에서 벗어나 秦漢魏의 서예에서 古法을 추구하고, 연미함에서 벗어나 골기와 필세가 강한 愚拙의 美感을 추구하는 경향으로 나타났다. 따라서 창암의 서예는 조선 말기의 鍾繇? 王羲之를 중시하는 당시의 서예경향을 반영하면서도 한 단계 더 나아가 骨氣가 강하고 질박한 秦漢魏시기의 서예미감을 추구하였다. 이에 그의 서예는 이성서예와 감성서예를 넘나들었고, 그의 서예의식 은 愚拙의 美感을 보여주고 있다. 이것은 또한 당시 조선 서예가 추구하는 한 서예 경향을 보여주는 것이다.

한국 서예치료의 회고와 전망

이성배(Lee, Sung-bae) 한국서예학회 2006 서예학연구 Vol.9 No.-

전통서예에 혼재되어 나타나는 주술성·실용성·예술성·수양성은 서예가 다른 예술 장르와 구분될 수 있는 중요한 요소들이다. 지금 書藝는 治療性을 강조하면서 새로운 변화를 시도하고 있다. 서예치료는 서구에서 출발한 미술치료·음악치료·향기치료 등의 다양한 치료 기법보다 늦게 시작되었지만 오히려 동아시아적 정서를 반영한 치료법으로서 정체성을 중시하는 최근의 정서와 함께 새롭게 주목을 받기 시작한 예술치료의 한 분야이다. 국내에서 서예치료는 2001년에 韓國書藝治療學會가 창립되었고, 2002년에 원광대 보건행정대학원 예술치료학과에 書藝治療科目이 개설되는 등 학문적인 연구를 할 수 있는 구조적인 토대가 마련되었다. 그동안 한국서예치료학회는 이론적인 심화와 임상을 두 축으로 병행하여 많은 성과를 거둘 수 있었다. 한국서예치료학회는 이 과정에서 서예와 서예치료의 개념 차이를 논의하였고 高尙仁 선생의 연구 내용을 소개하고, 미술치료나 심리학 등 타 분야의 이론을 어떻게 수용할 것인지에 대한 문제 등등 열띤 논의를 수없이 하였다. 이제는 다양한 분야에 다양한 서예치료방법을 적용한 연구와 임상을 진행 중이기 때문에 조만간에 이에 대한 가시적인 성과를 기대할 수 있다고 본다. 그렇지만 현재 한국서예치료학은 아직도 정체성을 찾는 작업이 진행 중이라 말할 수 있다. The incantation characteristic, practicality, artistic characteristic and mental training characteristic are the crucial things which can be differentiated from the other genre of Art. Now, Calligraphy attempts to change newly while putting emphasis on the therapy. Calligraphic Therapy set off later than various therapy technology, such as art therapy, music therapy, aroma therapy which originated from western countries. But it begins to be noted as the therapy which reflects the East siatic emotion. And it is the field of artistic therapy which begins to attract attention newly with recent emotion. And the recent emotion takes a serious view of the identification. The Korean Caligraphic Therapy Association was founded in 2001 for Calligraphy Therapy within the country. And a course of Calligraphic Therapy was opened in Department of Artistic Therapy of Public Health Administration Graduate School in Wonkwang University in 2002. This arrangement came to prepare the structural base. In the meantime, The Korean Calligraphic Therapy Association was able to achieve many outcomes in a parallel motion with a theoretical profundity and a clinical lecture. During this process, The Korean Calligraphic Therapy Association decussed the difference between Calligraphy and Calligraphic Therapy. And it introduced Ko, Sang-in's research contents. And they also debated ardently many time how to accommodate the theory of other area. Now, we are processing the clinical lecture and the research, which are applied to the various Calligraphic Therapy method about the various area. So, I think that we soon could expect the visual achievement about this. But, at present, we might say that The Korean Calligraphic Therapeutics is still searching for its identity.

청소년들의 이종격투기에 대한 미디어 시청동기가 시청태도와 행동에 미치는 영향

공성배(Seong Bae Kong),성낙훈(Nak Hun Seong),배상일(Sang Il Bae),방환복(Whan Bog Bang),이원희(Won Hi Lee) 한국사회체육학회 2007 한국사회체육학회지 Vol.0 No.31

The purpose of this study is to investigate the effects of teenagers` viewing motivation of the mixed martial arts program on viewing attitude and viewing behavior. For this study, teenagers who have seen the mixed martial arts program in Sung-nam and Young-in City were selected as the population. Then, 336 teenagers chosen by systematic stratified cluster random sampling were analyzed. Exploratory Factor Analysis, Reliability Analysis and Multiple Regression were conducted by SPSS Window 12.0. The results were as follows:First, there were statistically significant differences in viewing attitude and viewing behavior according to the gender. Second, there were no statistically significant differences in viewing attitude and viewing behavior according to the school years. Third, there were statistically significant differences in viewing attitude and viewing behavior according to the viewing time. Fourth, there were statistically significant differences in viewing attitude and viewing behavior according to the viewing period. Fifth, it was found that viewing motivation significantly influences viewing attitude and explains 69.2%(R2=.268) of the variance. Vicarious satisfaction, entertainment pursuit motivation, time consuming motivation, and social exchange motivation which are subordinate constructs of viewing motivation have significantly a positive effect on viewing attitude in the order. Sixth, it was found that viewing motivation significantly influences viewing behavior and explains 69.3%(R2=.268) of the variance. Time consuming motivation, entertainment pursuit motivation, vicarious satisfaction, and social exchange motivation which are subordinate constructs of viewing motivation have significantly a positive effect on viewing behavior in the order. However, information pursuit motivation have significantly a negative effect on viewing behavior.

5G 통신 기반 드론을 활용한 야드 안전점검에 대한 연구

임성배(Lim Sung Bae),이형운(Lee Hyung Woon),하정훈(Ha Jung Hoon),정우성(Woo-Sung Jung) 한국통신학회 2023 한국통신학회 학술대회논문집 Vol.2023 No.6

북송대의 상의적 서예교육론 일고찰

이성배(Lee, Sung Bae) 한국서예학회 2009 서예학연구 Vol.15 No.-

송대 사대부들은 唐末 五代를 거치면서 쇠락한 서예에 대해 새로운 의미를 부여하면서 일종의 書藝 復興運動을 일으켰다. 이러한 운동은 歐陽脩와 蔡襄 등을 중심으로 그의 학문에 동조하는 무리와 문인들을 중심으로 일어났다. 그들은 서예를 그들의 정신과 이념을 구현할 수 있는 대상으로 보았다. 仁宗朝의 慶曆 正學運動이宋學을 크게 부흥 시켰듯이 송대 서예도 이 시기에 새로운 意味作用을 일으키고,새로운 文化的인 性格을 가지며, 새로운 美學的 機能을 낳게 되었다. 이러한 송대서예는 尙意 書藝로서 특징을 갖게 되었다. 사대부들은 이러한 상의 서예를 구현할수 있는 敎育 方法과 敎育 目標를 갖고서 그들의 이념적 정체성과 예술적 이상을드러낼 수 있는 독특한 서예 교육을 추구하였다.북송대의 尙意的 書藝 敎育은 尙法 書藝에서 尙意 書藝로 이행하면서 宋代 士大夫들의 일관되고 의도적이며 그리고 일정한 知性的 趣向이 서예 교육에로 적극 반영되어 나타난 것으로 판단된다. 그들의 尙意的인 精神은 書體, 筆線, 章法, 筆墨,美意識 등에 반영되어 나타났으며, 상의 서예의식은 서예 敎育方法과 目的에 나타나고 있다. 상의적인 서예 교육 방법론에는 그들의 독특한 勉學論과 學書論으로 나타났고, 이것은 결국 높은 자각을 바탕으로 예술적 창조성을 지향한 新意論으로나타났다. Sadaebu (Scholar-bureaucrats) of the Song Dynasty, going through the era of Five Dynasties in the later Tang Dynasty, began to give a new meaning to the declined calligraphy and promoted a kind of revival movement. Such an effort was made by Yangsu Gu and Yang Chae and groups of people and literary men who followed their knowledge. They believed that calligraphy would realize their spirits and ideas. Like the Kyongryok Junghakundong (慶曆正學運動: a movement for which held onto the academic legitimacy of Confucianism) of the Injongjo period greatly revived Sung Confucianism, calligraphy of the Song Dynasty, as well, raised a new signification at this time; it was given a new cultural attribute and generated a new aesthetic function. Such calligraphy in the Song Dynasty had characteristics as sangui calligraphy (尙意calligraphy: calligraphy that expresses the artist's idea, emotion, and aesthetic desire as well as its own visible beauty). Sadaebu, with their own methods and objectives of training to realize such sangui calligraphy, pursued peculiar calligraphy education which could show their ideological identity and artistic ideal. The education of such sangui calligraphy during the era of North Song Dynasty changed from the normal method to the sangui calligraphy and sadaebu of the Song Dynasty's constant, intentional and certain intellectual taste was reflected greatly in the calligraphy education. Their sangui mentaliTy was reflected in the style of writing, lines of letters, rules of phrases, pen and ink, and aesthetic consciousness, etc. and sangui calligraphy mind was reflected in the education method and objectives. The sangui calligraphy methodology has its own theologies of Myeonhak(勉學) and Hakseo(學書) and this, after all, appeared as theodicy which pursued the artistic creativity based on high level of perception.

SD Rat를 이용한 o-Phthalodinitrile의 급성 흡입독성시험

이성배(Sung-bae Lee),김태현(Tae-hyun Kim),박가영(Ka-young Park),서동석(Dong-seok Seo),김현영(Hyeon-Young Kim) 환경독성보건학회 2017 한국독성학회 심포지움 및 학술발표회 Vol.2017 No.10

북송대 문방사보에 대한 연구

이성배(Lee Sung-bae) 湖西史學會 2011 역사와 담론 Vol.0 No.60

The adoption of the governing policy focused on civil administration had greatly contributed to the prosperity of literary and noble people in the period of the Northern Sung Dynasty. With the sense of responsibility and ideals, these people took the lead in the area of literature and arts during the period. In particular, their works and interest were mostly concentrated on paintings in the literary artist's style and calligraphic works dedicated to expressing their thoughts. As King Taejong, who had great interest in calligraphic works, published "Sunghawgakcheop (淳化閣帖)", at the early Northern Sung period, a trend to consider the calligraphic style developed by Wang Xizhi and his son important had been widely established among literary people. The calligraphic style of the period was evolved again during the period of King Injong, Sinjong, Cheoljong and Hwijong, trying to interpret the notion of old style freshly and even more emphasizing the importance of individuality and faith. Gu Yangsu (1007~1072), Chae Yang (1012~1067), So Sik (1036~1101, Hwang Jeonggyeon (1045~1105) and Mi Bul (1051~1107) were among the most representative figures who had lead such changes. They not only discussed and mentioned about calligraphic works and the four precious things of the study in their poetry and prose, Ganchals (Letters) and Jebalmuns (postscript) but also collected, appreciated and possessed them enthusiastically. As they did, the literary and noble class in Song Dynasty took calligraphy and the four precious things as the subjects of discourse and considered them as a method of communication. As a result of that, a new semantic structure for paintings and calligraphic works and the four precious objects was created. The people's interest in the four objects of the study was generally considered to have been established during the period of Sung Dynasty. Among many records, Munbangsabo written by So I Gan (957~995) was thought to be a kind of technical book that provided information about the notion of the four precious objects at that time as well as the development process before and after the period. These works and literatures indicate that the taste of literary people in calligraphic tools have been diversified and grown professionally.

백제와 남조 ? 수 ? 당의 서예비교 : 백제 서예의 의미와 해석 그리고 새로운 방향 찾기를 위한 작업

이성배(Lee, Sung Bae) 한국서예학회 2008 서예학연구 Vol.13 No.-

본고는 백제 서예를 한성시기, 웅진시기, 사비시기로 구분하고, 예서, 해서, 행서,초서를 중심으로 중국과 비교하였다. 먼저 隷書를 보면, 한성시기의 , 웅진시기의 , 사비 시기의 등에서 古隷를 많이 사용하였음을 볼 수 있다. 八分隷는 아직 확인되지 않았다.다음에 楷書를 보면, 한성시기의 토기와 웅진시기의 무령왕릉에서 출토된 유물들과 사비시기의 등에서 북위서풍과 수당서풍을 반영하고 있는 백제적인 특성이 있는 해서를 볼 수가 있다. 특히 목간에 쓰인 해서는 서사의 실용성을 살린 자연스런 특성을 보여주고 있다.중국의 楷書는 魏의 鍾繇를 거쳐 東晋의 王羲之와 王獻之에 이르러 귀족적인 세련미를 더하며 완성도를 높였다. 南朝는 대체로 鍾繇와 二王의 해서를 계승하였고,北朝는 北魏를 중심으로 웅방한 해서를 발전시켰다. 隋의 해서는 남북조 서예의 특성을 아울러서 방정함과 세련성을 더했다. 初唐의 해서는 더욱 완성도 높고 筆法이분명하며 靜的인 安定性이 극도로 강한 해서로 발전시켰다. 구양순 ? 우세남 ? 저수량 등이 대표적인 서예가들이다.다음에 行書는 웅진시기의 무령왕릉에서 출토된 유물 속의 ‘甲乙’ 墨書와 사비시기의 木簡 등에 쓰인 것이 서사 수준이 높고 필의도 다양하다. 중국의 행서는 魏晉 이후 二王의 행서풍이 가장 왕성하게 발전하였다. 백제의 목간 행서는 남조와수당의 행서에 결코 뒤지지 않는 높은 수준이다.마지막으로 草書는 자료가 드물지만 웅진시기의 초서인 ‘梁官下爲師矣’를 보면대범하고 능숙하며 공간활용이 뛰어나다. 중국에서 초서는 東晋의 二王에 의해 예술성 높은 완성을 이루며 최고의 수준에 도달하였다. 남조 梁은 梁武帝와 蕭子雲 등 뛰어난 서예가들이 있었고, 陳의 智永 등이 二王의 서예를 이어갔다. 백제 초서는 이들과 교류하면서 발전 시켰을 것으로 보인다. In this article, I compared the calligraphy of Baekje with that of China focusing on Yeseo, Haeseo, Hangseo and Choseo calligraphic styles by identifying it based on the eras of Baekje's capitals: Hanseong era, Ungjin era and Sabi era. Regarding Yeseo, first, Chiljido of Hanseong era, Ujeonpalbeongyeong of Ungjin era and Changwangmyeongsarigam of Sabi era indicate that Goye (古隸: a style of Yeseo) was mainly used. Use of Palbunyeo (八分隸: a style of Yeseo) has not been yet found. Regarding Haeseo, the earthenwares of Hanseong era, heritages excavated from the King Muryeong's tomb of Ungjin era and Sataejijeokbi of Sabi era show the Baekje style Haeseo that reflects the calligraphic styles of Bukwi (北魏: a Chinese dynasty), Sui and Dang. Especially the Haeseo written on such wood documents show its unique natural styles that come with practicality of narration. Chinese Haeseo had enhanced its completion by adding noble style fine beauty to it through Jong Yo of Wi (魏: a Chinese dynasty) finally at Wang Hee Ji and Wang Heon Ji of Dongjin (東晋: a Chinese dynasty). Namjo succeeded to Jong Yo's and such two Wangs' Haeseo styles in general while Bukjo (北朝: North dynasties in the period of north and south Chinese dynasties) improved magnificent and free style Haeseo centered on Bukwi. Haeseo of Sui added neatness and fineness to it embracing the calligraphic features of Nam-Bukjo (南北朝: Dynasties in the period of north and south Chinese dynasties). The early years of Dang upgraded Haeseo to that with higher completion, clear letter-writing rules and extremely static stability. This period is represented by the calligraphers Gu Yang Soon, Woo Se Nam, Jeo Soo Ryang and etc. Regarding Haengseo, the ink based wording ‘甲乙’ found in the heritages excavated from the King Muryeong's tomb of Ungjin era and the wordings written on the wood documents of Sabi era show the Haengseo with high level narration and various writing meanings. In China, such two Wangs' Haengseo styles had grown most energetically since the era of Wi and Jin (晉: a Chinese dynasty). The Haengseo written on the wood documents of Baekje is high leveled enough that it can never be worse than that of Namjo, Sui and Dang. Regarding Choseo, finally, there are only few data for it but Yanggwanhawisaeui that was the Choseo of Ungjin era is bold, skillful and excellent in using space. In China, Choseo had achieved its highest level with high artistic completion thanks to such two Wangs in the era of ongjin. Yang (梁: a Chinese dynasty) of Namjo had such excellent calligraphers as the emperor Yangmuje, So Ja Woon and etc while Ji Young of Jin (陳: a Chinese dynasty) succeeded to the calligraphy of suchtwo Wangs. It is thought that Baekje's Choseo grew up interchanging with that of such Chinese dynasties set forth above

문화(文化) : 우암 송시열의 서예와 비평의식

이성배 ( Sung Bae Lee ) 한국사상문화학회 2008 韓國思想과 文化 Vol.42 No.-

17세기 조선 서예는 성리학을 바탕으로 하는 서예인식이 심화되었다. 당시의 서예는 16세기 이후로 크게 떨친 石峯體를 많이 쓰고 있었다. 노론계통에서 석봉 글씨를 많이 썼는데 尤庵과 同春의 글씨에서 그러한 흔적을 볼 수 있다. 아울러 顔眞卿體와 朱子體도 忠節과 義理를 상징하는 의미를 갖기 때문에 우암의 서예에 반영되었음을 볼 수 있다. 우암의 書論은 朱子의 書畵認識을 계승하여 자신의 서화 비평의 기준으로 삼았다. 그는 모든 면에서 주자를 철저히 계승하려 한 것이 서예에서도 그대로 반영되어 나타났다. 우암의 書論은 주자 사상을 바탕으로 하고 있지만 단지 서체를 익히는 1차적인 계승이 아니라 내면의 의리정신을 수용하고 구현하고자 하는 2차적인 계승이라 할 수 있다. 주자의 학문과 사상은 우암에게 正派로서 인식되었고 直思想과 春秋大義로 주자를 계승하고자 하였다. 우암의 서론은 이런 의식이 반영되어 있고 이것을 바탕으로 서화에 대한 비평을 하였던 것이다. 우암은 書藝와 인간의 德性이 상관있다는 德藝相關論의 인식을 갖고 있는데 이것은 주자의 관점을 계승한 것이다. 그렇지만 우암은 이 관점을 한 단계 더 발전 시켜서 心劃을 강조하였고 또 단지 心劃에만 머물지 말고 心法을 보라고 강조하였다. 더 나아가 글씨만 사랑하는 愛書 보다는 글씨 쓴 사람의 심성을 사랑하는 愛人을 강조하고, 또 애인보다는 도를 사랑하는 愛道를 강조하여 궁극적인 道의 입장에서 글씨를 볼 것을 강조 하였다. 이상으로 우암의 서예와 비평을 살펴볼 때 그는 주자와 안진경과 석봉의 글씨를 쓰고 효종의 글과 명황제의 글씨를 새겨서 사상과 의리와 예술과 정치적 구심점을 조성하여 당대의 헤게모니를 구축하는 내면 의지를 살필 수 있다. In the 17th century, Joseon calligraphy was deepened in terms of calligraphic idea based on Study of SungRi. The calligraphic field of that time was prevailed by SeokBongChe (石峯體: Han Seok Bong`s Letter-Writing Style) that had been popular since the 16th century. Many scholars of NoRon sector also used such SeokBongChe, which was traced on the letters written by Uam and Dongchun. In addition, AhnJinGyeongChe (顔眞卿體: Ahn Jin Gyeong`s Letter-Writing Style) and JuJaChe (朱子體: Ju Ja`s Letter-Writing Style) were also reflected in Uam`s calligraphy because they symbolized faith and moral sense respectively. Uam`s idea of letter-writing succeeded Ju Ja`s recognition of letter-writing and painting and became his standard for criticism on letter-writing and painting. He made a big effort to follow Ju Ja in every aspect and such his effort was reflected in his calligraphy as it was. Uam`s idea of letter-writing was based on Ju Ja`s idea. However, it was not the 1st phase succession of simply learning Ju Ja`s letter-writing style but the 2nd phase succession of accepting and realizing the spirit of moral sense dwelling in Ju Ja`s idea. Ju Ja`s study and idea were recognized by Uam as a genuine idea, so that he tried to inherit Ju Ja`s idea as Idea of Jik (直思想: Idea of Right Mind) and ChunChuDaeEui (春秋大義: A Great Moral Sense to show Just and Great Cause). These ideas were reflected in Uam`s idea of letter-writing, based on which he criticized the letter-writing and painting. Uam believed that there was relation between calligraphy and moral character of a person. His belief was succeeded from Ju Ja`s viewpoint. However, Uam upgraded such Ju Ja`s viewpoint to emphasis on SimHoik (心劃: Mindful Stroke). He, furthermore, emphasized that you should see SimBeop (心法: Principle of Using Mind) beyond SimHoik; emphasized AeIn (愛人) of loving the writer`s mind beyond AeSeo (愛書) of loving only letter; and emphasized AeDo (愛道) of loving Do (道: justice) beyond AeIn. As a result, he emphasized that you should see the letter based on Do (道: justice). In conclusion, this study on Uam`s calligraphy and criticism indicates that he wrote letters in the letter-writing styles of Ahn Jin Gyeong and Han Seok Bong and engraved King HyoJong`s letters and King Ming`s letters in his mind to form the center of idea, moral sense, art and politics and then build up hegemony of that period through his internal will.

고려말 李嵒의 書藝와 松雪體

李星培(Lee Sung-bae) 호서사학회 2008 역사와 담론 Vol.0 No.49