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.

한국과 일본의 자연주의극 성립에 대한 비교 연구

국어국문학회 2012 국어국문학 Vol.- No.162

<P>&nbsp;&nbsp;This study is aimed at grasping the characteristics of Korean and Japanese naturalism drama formed at the turning point of modern times and analyzing them in the viewpoint of dramatical history. The special features of Western naturalism drama at the formation of modern drama are the challenge to taboo of the times and reinforcement of the reality of drama.</P><P>&nbsp;&nbsp;The important works of Japanese naturalism drama were Chubouchi Syoyou’s Odongnip hana and Simamura Hogetu’s Buhwal. Odongnip hana caused the audience to sympathize through the suffering protagonist and strengthened the dramatic reality by cutting off writer’s intervention but it avoided connecting its theme with the social problems of the those days. These features of Odongnip hana were adopted into Buhwal and came to become the characteristics of ‘Japanese style naturalism drama’.</P><P>&nbsp;&nbsp;During the formation of naturalism drama in the colonized Joseon, Lee Kwangsoo’s Kyuhan, Choi Sungman’s Hwanghon, and Cho Myunghee’s Kim youngileui sa were important works. Kyuhan and Hwanghon criticized the premodern way of thinking of those days’ society through the evil effects of early marriage by match making. These works caused the audience’s sympathy using the suffering protagonist and reinforced the dramatic reality by means of explaining the protagonist’s inner state. But they also avoided linking their themes with the major contradictions of those society, which explains that Korean drama was influenced by ‘Japanese style naturalism drama’. Kim youngileui sa treating the self studying Korean student’s death in Japan had the characteristics of ‘Japanese style naturalism drama’, but it had special experience that it caused the criticism to reality when Korean audience in the colonized Joseon met Kim Youngil, the protagonist’s death.</P><P>&nbsp;&nbsp;It was the characteristic of ‘Japanese style Naturalism drama’ that it paid attention to the reinforcement of dramatic reality but its themes avoided connecting with important contradictions of those society. The spirit of challenge, the important feature of Western naturalism drama appeared weakened in ‘Japanese style naturalism drama’, which came from Chubouchi Syoyou’s ant-utilitarian point of art view. Simamura Hogetu advocated the new naturalism, reinforcing Chubouchi Syoyou’s naturalistic point of view in the theoretical aspect.</P><P>&nbsp;&nbsp;The naturalism in the colonized Joseon were influenced by ‘Japanese style naturalism’ but the experience from the performance of Kim youngileui sa awaken the importance of challenge spirit and the awareness that the people involved Singuk should treat the major contradictions of colony to them. After that, through the works like Leeyoungneo, the special features of naturalism drama in colonized Joseon which intervened actively in the social problems of those days began to be secured.</P><P>&nbsp;&nbsp;After all Japanese naturalism became strikingly weakened, passing 1910s, while the Korean naturalism drama in Colonized Joseon grew strengthened more and more in 1920s.</P>

한국과 일본의 자연주의극 성립에 대한 비교 연구

김재석(Kim, Jae-suk) 국어국문학회 2012 국어국문학 Vol.- No.162

This study is aimed at grasping the characteristics of Korean and Japanese naturalism drama formed at the turning point of modern times and analyzing them in the viewpoint of dramatical history. The special features of Western naturalism drama at the formation of modern drama are the challenge to taboo of the times and reinforcement of the reality of drama. The important works of Japanese naturalism drama were Chubouchi Syoyou’s Odongnip hana and Simamura Hogetu’s Buhwal. Odongnip hana caused the audience to sympathize through the suffering protagonist and strengthened the dramatic reality by cutting off writer’s intervention but it avoided connecting its theme with the social problems of the those days. These features of Odongnip hana were adopted into Buhwal and came to become the characteristics of ‘Japanese style naturalism drama’. During the formation of naturalism drama in the colonized Joseon, Lee Kwangsoo’s Kyuhan, Choi Sungman’s Hwanghon, and Cho Myunghee’s Kim youngileui sa were important works. Kyuhan and Hwanghon criticized the premodern way of thinking of those days’ society through the evil effects of early marriage by match making. These works caused the audience’s sympathy using the suffering protagonist and reinforced the dramatic reality by means of explaining the protagonist’s inner state. But they also avoided linking their themes with the major contradictions of those society, which explains that Korean drama was influenced by ‘Japanese style naturalism drama’. Kim youngileui sa treating the self studying Korean student’s death in Japan had the characteristics of ‘Japanese style naturalism drama’, but it had special experience that it caused the criticism to reality when Korean audience in the colonized Joseon met Kim Youngil, the protagonist’s death. It was the characteristic of ‘Japanese style Naturalism drama’ that it paid attention to the reinforcement of dramatic reality but its themes avoided connecting with important contradictions of those society. The spirit of challenge, the important feature of Western naturalism drama appeared weakened in ‘Japanese style naturalism drama’, which came from Chubouchi Syoyou’s ant-utilitarian point of art view. Simamura Hogetu advocated the new naturalism, reinforcing Chubouchi Syoyou’s naturalistic point of view in the theoretical aspect. The naturalism in the colonized Joseon were influenced by ‘Japanese style naturalism’ but the experience from the performance of Kim youngileui sa awaken the importance of challenge spirit and the awareness that the people involved Singuk should treat the major contradictions of colony to them. After that, through the works like Leeyoungneo, the special features of naturalism drama in colonized Joseon which intervened actively in the social problems of those days began to be secured. After all Japanese naturalism became strikingly weakened, passing 1910s, while the Korean naturalism drama in Colonized Joseon grew strengthened more and more in 1920s.