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심영환 翰林大學校 泰東古典硏究所 2003 泰東古典硏究 Vol.19 No.-
It is notable that there have not been published specific studies concerning cursive script (草書) in Korea. Practicing and studying of cursive script require many times because it is the most abbreviated type in Sino-Korean characters. For this reason, it is only calligraphers and scholars of classics who can read and write this script. Generally, traditional calligraphers copied several Chinese famous models for the purpose of practicing calligraphy. Scholars of classics had a responsibility to read, understand, and teach it for their students on the base of teachings of masters' Therefore, cursive script has been thought to be the secret and it caused to make difficult in building any theories on it. In today's Asian countries sharing Chinese characters, cursive script dictionaries containing famous calligraphers' works have been compiled. In this context, this paper attempts to explore some aspects as follows. In the first place, the writer investigates what stage of cursive script in the successive changes of Chinese characters is. Running script (行書) was devised in order to write clerical script easily as well as rapidly in Chin dynasty China. The writer attempts to erudite that cursive script was derived from clerical script(隸書), and running script was derived from standard script(楷書) in the development of cursive script from Han till Tang dynasties China. Secondly, the development of cursive script of the Joseon dynasty was broadly fallen to the first and second stages. In the first stage, early Joweon period, cursive script was written without regulation while it was controlled by disciplines in the late Joseon period. Yi-Ik(李瀷) and Yi Kyu-hyeong(李圭景), scholars of the late Joweon period, remained their writings concerning cursive script. Finally, this paper explores characteristics of cursive script showed in calligraphic works, letters, and historical manuscripts. Aspects on social status of calligraphers, size of each character, and documents are also considered. As mentioned above, this paper only is an attempt, but it covers all formative stages of cursive script throughout the Joweon dynasty. For the further research, other undertakings such as an analysis of calligraphic details and materials are waiting.
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정현숙 한국서지학회 2007 서지학연구 Vol.38 No.-
The calligraphic relics of the Pingcheng period of the Northern Wei is not as many as those of the Luoyang period. Nonetheless, they are valuable resources which exhibit the formation of Luoyang calligraphy. Most of them are shown on the monuments for emperors, inscriptions for Taoism or Buddhism, and tombstones. The calligraphic style of the Pingcheng period changes over time. Overall, it shows the transition from the “new clerical style” to the standard script since the early to the late fifth century. What is noteworthy is that the clerical script of the Han and Wei, popular in the contemporary capital, Luoyang, and Shandong, did not directly inspire the Pingcheng calligraphy. Rather, the small seal script of the Wei and Wu, the “new clerical style” of the Eastern Jin, and the standard script of the Song, with the elements of “new clerical style,” inspired the Pingcheng calligraphic style during the early fifth century, while the mature standard script of the Song and Qi, without the elements of clerical script, were imbued in it during the late fifth century.The changes in Pingcheng Calligraphy is the result of the interactions between the Northern Wei and Southern courts and the “Taihe Reforms” through which the Northern Wei government attempted to assimilate themselves to the Han Culture. 북위 평성시기 서적은 낙양 시기에 비하여 양은 비록 적지만 종류가 다양하고 북위의 체변을 보여주어 매우 귀중한 사료이다. 이 시기의 서적으로는 황제의 순수비, 도교와 불교 명문, 그리고 묘지명 등이 있다. 평성시기 초기에는 신예체를 주로 사용했으나 후기에는 해서로 바뀌었는데 그 해서체는 동진의 왕희지 해서체를 닮고 있다. 이것은 동시대 남조 금석 명문에서의 체변과 같은 경향을 따른 것이다. 이러한 변화는 후기의 마지막 시기인 480년대의 서적에서 더욱 두드러지게 나타나는데 이것은 동시대 남조와의 공적인 또는 사적인 교류에 의한 영향이라고도 볼 수 있으며, 태화개혁을 통해 스스로 국가를 한화시키려는 북위 탁발 정부의 자발적인 행동의 결과라고도 볼 수 있다. 이러한 서체상의 변화는 낙양시기 초기에서도 다시 나타나는 현상이므로 북위 서예의 흐름을 알기 위해서라도 평성시기 서예의 변화에 대한 연구는 서예사적 측면에서 매우 중요하다.
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정현숙 한국서지학회 2014 서지학연구 Vol.57 No.-
This paper examines the characteristic of calligraphic script of Jipangoguryeobi and its influence on Silla calligraphy. The shape and calligraphic script of Jipangoguryeobi, built after Gwanggaetowangbi, are different from those of the previous Goguryeo stelae. It is typical of Han stele shape because the head has a triangular shape, and the root shows it originally had a foot. The front is composed of 218 characters. It was written in clerical script with the brush technique of regular script. It can be called “Goguryeo style clerical script” due to its difference with the standard Han clerical script. Its calligraphic style in natural taste is similar to that of 6th century Silla stelae, so it seems to influence on Silla calligraphy. The stele occupies an important position in the ancient Korean calligraphy history in two aspects: its calligraphic script in a different taste and its influence on Silla calligraphy. 본고는 <집안고구려비>의 서체와 그것이 신라 서예에 미친 영향을 살펴보기 위한 것이다. 이 비는 <광개토왕비>이후에 세워진 것으로, 그 형태와 서체가 지금까지 알려진 고구려비와는 다르다. 碑身은 납작한 장방형이고 碑首는 규형이며, 하부에는 돌기형 뿌리인 榫頭가 있어 碑座가 있었다는 것을 말해 준다. 전면의 명문은 10행, 매행 22자(마지막 행은 20자)로 총 218자이다. 서체는 해서 필의가 있는 예서인데 한대의 표준 예서와는 달라 ‘고구려풍의 예서’라고 해도 무방하다. 서체의 변천상으로 본다면 古隸인 <광개토왕비>보다 진화한 것으로 예서 필의가 있는 해서인 <중원고구려비> 앞에 두어도 어색하지 않으며, 6세기 신라비의 서풍과 유사하여 신라 서예에 영향을 미친 것으로 보인다. <집안고구려비>는 질박한 고구려 예서 서풍을 보여주고, 신라 서풍에 영향을 미친 점에서 한국 고대 서예사에서 상당히 중요한 지위를 차지한다.
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