秋史 金正喜 書簡의 書藝美學的 硏究 : 한글·한문서간을 대상으로

다국어 초록 (Multilingual Abstract)

This study is to research the epistemology of the calligraphic viewpoints of Chusa Kim Jeonghee (1786～1856), a calligrapher born late in Joseon dynasty, to see his artistic and aesthetic senses shown on the characters written by him in his Korean and Chinese mails, and then to analyze the formative aesthetic structure and artistic and aesthetic features of such mails.
His mails show clearly when they were written and their own aesthetic features that he sought in his times together with the changes of his calligraphic styles. “The less intended, the greater the piece is created”, said So Sik (蘇軾). Like So Sik said, Chusa's characters in his mails do not show any artificial nature but they reflect such essential features of calligraphy as improvisation, emotion, readability, artistic sense and etc, so that they are appropriate enough to be researched on their periodical and aesthetic aspects at the same time. Such essential features of calligraphy are seen also on such artistic masterpieces as ChoWolCheop by Wang Hee Ji (王羲之), JaengJwaWiCheop by Ahn Jin Gyeong (顔眞卿), MuEeGuGokDoBal by Toigye and etc. I, thereby, put the objective of this study on the effort to find out the artistic value of Chusa's characters by selecting 40 pieces from both Chinese and Korean mails respectively he had written for entire of his life.
For this study, I analyzed basically the Chapter III, an Epistemological Study on Chusa's Calligraphic Viewpoints, under which, I analyzed, first, his basic cognition of calligraphy in both aspects of him seeking solution from reality and of him valuing the old and searching out toward the origin, and, second, his cognition for practice in the aspects of art-critics/identification and art-learning/technique through his theory of letter-wiring, which I applied as logics to searching out the calligraphic values of the characters written by him in his mails.
In the Chapter IV, an Analysis of Formative Aesthetic Structure of the Characters Written by Chusa in his Mails, I analyzed first his calligraphic rules of 14 Chinese and 12 Korean mails among the 40 mails of his selected for this study, which indicated that such calligraphic rules shown on every mail analyzed were similar to each other with regularity and showed liquidity and harmonization in letter allocation. I analyzed second the formation of 192 Chinese characters of 48 styles and 144 characters of 36 styles, which indicated that the calligraphic styles of every character were as same as those of the structure of the authentic formation rules of HaengCho calligraphic rule, and that the calligraphic style used before he was banished tended to be Cho calligraphic style [hard-dragging] for contacting each other consecutively more than the other styles and the styles after banishment tended to be Hang calligraphic style [dragging] for breaking each other more than the other styles. The results of comparison of most of his calligraphic styles with those of Jo Song Seol [in Chusa's mails to his father] and those of Wang Hee Ji [in Chusa's mails to his mother] indicated that all his calligraphic styles were as same as those of Jo Song Seol and Wang Hee Ji in basic structure but calligraphic moods were a little bit different. Third, the formative aesthetic relation between Chinese and Korean mails written by him showed that both Chinese and Korean mails were similar each other in their written rules, and the letter forms were analyzed to be different each other while there was large relation in the calligraphic forms of basic dots and strokes shown on the formations between Chinese and Korean mails.
In the Chapter V, the Artistic and Aesthetic Features of the Characters Written by Chusa in his Mails, I analyzed such features in the aspect of regular formative static beauty into the principle of rough shaping for variety-diversity and the principle of balance for unity-harmony, which indicated that the characters written by him were expressed to meet a variety of letter-writing factors based on the principles of rough shaping and balance. Second, I analyzed the features of the characters written by him in his mails in the aspect of dynamic motional beauty <of the characters written by him> into dynamic balance principle and spectacle transformation principle. This analysis result indicated that dynamic and transforming expressions changed year by year in the characters written by him in both Chinese and Korean letters of his. Third, I analyzed his paying attention to empty style ugliness <shown in his sentences> into the aesthetic features of happy blending of feeling and setting and the aesthetic features of ugliness based wise beauty. This analysis result indicated that the characters written in his mails had the features of empty style ugliness based beauty. It also indicated that such ugliness based wise beauty features were blended with comparison factors of dotting and stroking; that such features used ink-bar using rule for both surplus and shortness; and that the calligraphic rules of Jeon-Ye-Hae-Haeng-Cho were expressed altogether in the characters written in his mails.
Such artistic beauty of the sentences-characters written in his Chinese and Korean mails analyzed above indicated that the expression features changed per period of his based on a regular aesthetic principle. In general, the characters written in his Chinese mails were entirely divided into two calligraphic beauties before and after the mail written when he was 47. Especially the mail written when he was 71 showed the typical features of Chusa Calligraphic Style. The expressions of the characters written in small size in his mails were analyzed to meet the features of 'Chusa Calligraphic Style' so-called a calligraphic style for big size characters, so that such characters written in his mails were verified to be highly valuable calligraphic style. As the characters written in Chusa's Chinese [Korean] mails had been highly recognized and applied as great calligraphic pieces in various mails written by famous Chinese calligraphers for a long time, I would like to suggest that we should run to excavation of the characters written in his mails and apply such characters to creation and education of authentic calligraphic pieces.

국문 초록 (Abstract)

이 논문은 朝鮮後期 유학자이면서 서예가인 秋史 金正喜(1786～1856)가 직접 筆寫한 한문및 한글 편지 글씨[書簡]의 書藝美學的 特徵을 考察한 연구이다.
추사의 書簡은 쓴 시기가 명확하고 매 시기 서체의 변화와 함께 당시에 추구하였던 미학적 특징이 나타난다. 서간은 蘇軾이 말한 “佳作을 의도하지 않을 때 더욱 佳作이 된다〔書初無意於佳乃佳〕”는 것처럼 作爲性이 없으며, 卽興性과 抒情性, 可讀性과 藝術性 등 서예의 본질적 특징이 반영되어 있어 시대적으로나 미학적으로 특징을 함께 연구할 수 있는 當爲性이 있다. 이를 書藝術의 명작으로 알려진 王羲之의「初月帖」,顔眞卿의「爭座位帖」,退溪의「與南冥曹楗仲書」등의 書簡에서 찾아 볼 수 있다. 이로서 秋史가 일생 동안 써서 남긴 한문&#8228;한글서간 수백 편 중 각각 40편씩 선정하여 書藝的 價値를 찾아내고자 하는데 본 硏究의 目的을 두었다.
硏究修行으로 書簡 分析의 基底論을 제Ⅲ장 秋史 書藝觀의 認識論的 探究라는 題目아래 첫째 추사의 書藝에 대한 基本的 認識을 實事求是的인 面과 尊古&#8228;溯源的인 面에서 探索해 내고, 둘째 實踐的 認識을 批評&#8228;鑑識的인 面, 學習&#8228;技法的인 面에서 추사의 書論을 통해 探索해 내어, 書簡의 書藝的 價値를 찾아내는데 論理的으로 적용했다.
이어서 제Ⅳ장에서 추사 서간의 造形的 審美構造 分析에서 첫째, 한문[한글] 연구대상 서간 40편 중 14편[12편] 書簡을 선정하여 章法을 분석한 결과 모든 서간의 장법이 유사하며 규칙적이고, 문자의 行間 配字에서 流動性과 調和로움이 나타난다. 둘째 한자[한글] 48종 192자[36종 144자] 文字의 結構分析을 한 결과 모든 문자의 서체는 行草書體의 올바른 結構法에 의한 文字 構造와 같고, 流配 前 서체는 連綿性의 草書體[진흘림] 傾向 , 流配 後는 斷切性 行書體[흘림] 傾向이 더 나타난다. 그리고 대부분 서체는 趙松雪, 王羲之 書體[秋史 父親, 秋史 母親]와 비교한 결과 文字의 基本 結構는 모두 같으나 書風은 각각의 개성미가 있어서 조금씩 다른 것으로 보인다. 셋째. 漢文-한글書簡의 造形的 審美關係를 비교해 보면 章法은 비슷하고, 結構상의 基本 點&#30059;의 &#30059;形은 관계성이 크지만 字形은 차이점이 있다.
第Ⅴ章 秋史 書簡 文字와 文章의 書藝 美學的 特徵을 분석한 결과, 첫째, 文字의定形的 靜態美측면의 특징을 定形的 槪形美와 調和的 均齊美로 나누어 분석한 결과 개형미와 균제미가 잘 갖추어진 서체로 분석되었다. 둘째, 문자의 力動的 動態美 측면의 특징을 力動的 均衡美와 多樣的 變形美로 나누어 분석한 결과 문자의 역동적 동태미 표현이 잘 이루어진 것으로 나타났다. 셋째, 문장에 나타나는 對待的 形象美를 對待的 視覺美와 綜合的 融和美로 나누어 분석한 결과 시기별로 보는 추사체의 변화되는 형상이 서간에서도 뚜렷이 보였으며 넷째, 문장에 나타나는 虛和的 心態美를 情景合一 交融的 특징과 以醜現美 審醜的 특징으로 나누어 분석한 결과 서간문의 특징인 서정적인 면과 글씨에서 풍기는 서체의 특징이 합일된 특징을 도출해 낼 수 있었으며, 추사의 파란만장하고 桎梏된 삶에서 나타나는 醜的인 美가 끊임없는 鍊餐의 노력에서 나오는 大美로 형상화 시킨 추사체의 精魂을 찾아 낼 수 있었다. 이는 추사의 한문과 한글서간이 일반작품에서와 같이 靜態美, 動態美, 形象美, 心態美 등의 書藝美學的 要素가 잘 갖추어진 것으로 분석되었고, 篆-隸-楷-行-草書의 筆法이 추사의 書簡體에 混融되어 表現되었다.
이상과 같이 분석된 추사의 한문과 한글서간의 文章-文字의 書藝美는 공통적으로 일정한 美學的 表現의 原理에 준하여 시기별로 특징이 나타나게 표현된 것으로 분석되었다. 대체로 추사 漢文書簡 전체를 47세에 쓴 書簡을 기준으로 書體美가 兩分되는 현상이 나타나는 것으로 분석되었다. 특히 71세의 秋史 書簡에는 일반적으로 불리는 秋史體의 특징이 그대로 드러났다. 이러한 추사가 작은 문자로 쓴 書簡體의 現象은 큰 문자의 서체로 일컬어지는 ‘秋史體’의 특징과 부합되는 것으로 분석됨에 따라 서예적 가치가 큰 것으로 확증이 되었다. 추사의 漢文[한글]書簡體를 中國 歷代 有名 書家들이 쓴 각종 帖[書札]이 오랜 세월동안 有名 書藝作品으로 높이 評價되고 應用되듯이 秋史의 書簡書體 發掘에 박차를 가하여 正統 書藝作品 創作과 敎育에 應用할 것을 提言하여 본다.

목차 (Table of Contents)

• Ⅰ. 序論 1
• 1. 硏究目的 1
• 2. 硏究方法 6
• Ⅱ. 秋史의 生涯와 書簡 槪況 10
• 1. 秋史의 生涯 및 書簡 形成背景 10
• 1) 秋史의 流配 前時期 11
• 2) 秋史의 流配 後時期 . 22
• 2. 書簡의 槪念과 書藝的 價値性 26
• 1) 書簡의 槪念과 分類 26
• 2) 書簡의 書藝的 價値性 32
• 3. 秋史 書簡의 槪況 38
• 1) 秋史書簡의 重要性 38
• 2) 秋史書簡의 槪況 41
• Ⅲ. 秋史 書藝觀의 認識論的 探究 52
• 1. 秋史 書藝觀의 基本的 認識論 54
• 1) 實事求是的 書藝認識 54
• 2) 尊古溯源的 書藝認識 61
• 2. 秋史 書藝觀의 實踐的 認識論 68
• 1) 批評鑑識的 書藝認識 . 68
• 2) 學書技法的 書藝認識 81
• Ⅳ. 秋史 書簡의 造形的 審美構造 91
• 1. 秋史 漢文書簡의 造形的 審美構造 92
• 1) 書簡의 章法的 審美構造 92
• 2) 書簡의 書體的 審美構造 143
• 2. 秋史 한글書簡의 造形的 審美構造 179
• 1) 書簡의 章法的 審美構造 179
• 2) 書簡의 書體的 審美構造 224
• 3. 漢文-한글書簡의 造形的 審美 關係 252
• 1) 書簡의 章法的 審美 關係 252
• 2) 書簡의 書體的 審美 關係 257
• Ⅴ. 秋史 書簡의 書藝 美學的 特徵 265
• 1. 定形的 靜態美 265
• 1) 定形的 槪形美 特徵 265
• 2) 調和的 均齊美 特徵 273
• 2. 力動的 動態美 284
• 1) 力動的 均衡美 特徵 285
• 2) 多變的 變化美 特徵 295
• 3. 對待的 形象美 304
• 1) 對待的 視覺美 特徵 305
• 2) 統合的 融和美 特徵 312
• 4. 虛和的 心態美 322
• 1) 情景合一 交融的 特徵 322
• 2) 以醜現美 審醜的 特徵 329
• Ⅵ. 結論 338
• 參考文獻 343
• ABSTRACT 354