http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 이성배(Lee, Sung-bae) (검색결과 398 건)
- 무료
- 기관 내 무료
- 유료
-
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.
-
-
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
-
-
-
이성배(Lee Seong Bae) 한국서예학회 2004 서예학연구 Vol.5 No.-
Choseon culture was developed on the center of Seonglihak (School of Nature and Order) by the nsmg class ical scholars. Seonglihak was introduced as the central idea of understanding not only calligraphy policy and s tyle of calligraphy but also theory and criticism of calligraphy during the Choseon Dynasty. Unlike Koryeo Kingdom, in the Choseon Dynasty government offices educated calligraphy because Choseon Dynasty had no special educational ins titutions. Kings of many generations had policies of collecting great works and publis hing them. However, their policies were changed due to the political influences. At the beginning of Choseon Dynasty, Songseolche , a kind of calligraphy style , was popular. Since a great calligrapher like Prince Ahn Pyeong appeared, the style of calligraphy was in clined to be changed into Choseon s tyle. But, along with the change of political influence , it began to be gradually transformed into Wanghuiji’s style. And, in the aspect of its theory, calligr aphy was regarded as a way of cultivating and s trengthening body and mind under influence of metaphys ics. This inclination became a turning point of deepening the recognition of calligraphy from the point of view of Joo Ja’s theory showing that ha ndwriting is re lated to morality. Next, the traditional s tyle of calligraphy was s tressed, and classical grace was purs ued in the mood of maintaining the old style of writing. AIso, in the aspect of creativity, creative strokes and the free use of the brushes were emphasized beyond the old style. Finally, the critical materials concerning criticism of successive calligraphy and plaques were so rare that they could not be handed down rightly, but the critical records about the cursive style of brushmanship existe d rather than other parts. Especially , Prince Ahn Pyeong was a celebrated calligrapher at home and abroad. Also he found true philosophy of Songseolche. Thus, he was evaluated as a person who led the style of calligraphy in the beginning of Choseon Dynasty because of his graceful and beautiful strokes of the brush.
-
-
-
ScienceON연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
