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- 저자 : 진복규 (검색결과 2 건)
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진복규 경주대학교대학원 문화재학과 1999 국내석사
Kim Kyujin (金圭鎭 1868-1933), Hae-gang(海岡 his pen name), a calligrapher, led most productive period of his life and was the most productive calligrapher of his country in the early 20th century, when Japanese imperialists took national prestige away from Chosun Dynasty and depressed its people. His enthusiasm for calligraphy can be estimated by appreciating his Pyun-Aeks(扁額 Great Tableau Writings), Sa-Gun-Jas(四君子 The Four Gracious Plants) and Mun-In-Whas(文人畵 Literati Painting). Above all things, I have been interested in his Pyun-Aek works, because his Pyun-Aek works are so widely scattered about that they are found in palaces, Buddhist temples, pavilions, scenic spots and even places of historic interest all over the country. In the course of studying his Pyun-Aek works, I came across Seo-Wha-Dam(書畵談 The Theory of Calligraphy and Painting). Luckly, I had an golden opportunity to study his theory of calligraphy and Pyun -Aek. It was a remarkable scholarly achievement in studying his theories for me to discover Seo-Wha-Dam. Ⅰ His time and life Ⅱ I divided his life into 4 periods at my option, ie, 1.Family History and Birth 2.Studying Period 3.Studying-In-China Period 4.Working Period. Ⅲ I made a general classification of the history of Korean Pyn-Aek-Seo. It is apparent that Kim Kyu-jin's works reach big figure and that had unexampled various calligraphy styles. Ⅳ Kim Kyujin's theories of Pyn-Aek can be appreciated by reading his books such as Seo-Wha-Dam and Seo-Bup-Jin-Gyeol(書法眞訣). He claimed that calligraphy should harmonize with natural surroundings and that calligraphy should vigorous and natural. Ⅴ The characteristics of Kim Kyujin's Pyun-Aek. This chapter deals with his various calligraphy techniques. Generally, his stroke of touch is thick and soft but sometimes sharp and vigorous. In my opinion, his best works are Song-Kwang-Sa(松廣寺)Pyun-Aek. Ko-Un-Sa(孤雲寺)Pyun-Aek, Sang-wang-San-Gae-Sim-Sa(象王山開心寺)Pyun-Aek, Kyung-Kug-Sa-Yung-San-Jeon(慶國寺靈山殿) Pyun-Aek. To put it briefly, Appreciating Kim Kyujin's Pyun-Aek writing, we can see that he use splendid and various calligraphy styles freely.
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This paper is a study on Choi Chiwon’s(崔致遠) Calligraphy. It is inferred that he learned various calligraphy styles in each of his study period: before studying in Tang Dynasty(唐), he must have learned Unified Silla(統一新羅) Dynasty’s prevalent writing styles. When in Tang Dynasty’s educational institutions, he must have studied those of textbooks, which had been prevalent styles in Tang Dynasty. After success in civil service exam in Tang Dynasty, he wrote many poetry and proses in ancient China. While studying and doing literary activities in both countries, he studied and developed his own style of handwriting. After he returned to Silla, he wrote a lot of poetry and proses according to the Royal people. Among them, Jingamsensabi(眞鑑禪師碑) and Sungboksabi (崇福寺碑) are still remain today. Choi Chiwon must have studied the writing styles of Seodangwhasangbi(誓幢和尙碑), Kimlipjichanseongjusabi(金立之撰聖住寺碑), and Hungduksabi((興德寺碑) of Unified Silla era. And he also must have studied various writing styles of numerous Tang Dynasty calligraphers such as Kuyangsun(歐陽詢) and Yukonkwon(柳公權). He succeeded and developed the writing styles of both Tang and Unified Silla. He fused various writing styles of both countries into his own international style. The stone carving in Sangyeseokmun(雙磎石門) is considered to be a writing of Choi Chiwon’s. Jesiseokgak at Chiwondae in Hongryu-Dong was also confirmed to be a writing of Choi Chiwon’s. The stone carving in Hongryu-Dong is estimated to be a writing of his. Afterward, many scholars studied his writings. The stone carving in Sangyeseokmun, especially, was described as a writing of Choi Chiwon’s among many Joseon(朝鮮) Dynasty scholars except a few. Joseon Dynasty scholars’ evaluations about Choi Chiwon’s writing style are summarized as follows: First, many scholars described his writing style as high alert and orderly. Second, his writing was evaluated as strong and sturdy. It’s obvious that robustness is one of his writing characteristics. Many scholars described the strokes of his brush are strong. Third, the strokes of his brush are so varied and dynamic that there is no general simple strokes. Fourth, ‘a amazingly exquisite strokes of brush’ is their another commom praise. Lastly, another compliments are ‘highly individual style’, ‘being antique’, ‘obedience to calligraphy principles’, and ‘creativity based on tradition’, etc. Effects of Choi Chiwon’s writing style on Korean calligraphy history are summarized as follows: First, Comparing Jingamseonsabi, which was composed and written by Choi Chiwon, with other Unified Silla era monuments such as Wonrangseonsabi(圓郞禪師塔碑), Nanghyewhasangbi(郞慧和尙碑), Jinkyoungdaesabi(眞鏡大師塔碑), and monument piece found at a temple ruins near Samcheok, each compared ideograph or letter is similar to that of Jingamseonsabi in that the shapes of the letters, applied calligraphy principles, and strokes of brush of the compared monuments have striking similarity. Second, Choi Chiwon’s style affected early Koryo (高麗) Dynasty. Letters in the back side of Jingongdaesabi(眞空大師碑), Nangwondaesabi(朗圓大師塔碑) resemble his style. The style of carved letters in Yongdusajichuldangan(龍頭寺址鐵幢竿) are also similar to his style in shapes and layouts of the letters. It’s difficult to exclude the similarities between the style of Jikwangguksabi and his style. Third, during Joseon era, calligraphers such as Yu Mongin and Lee Ok studied Choi Chiwon’s writing style. Their writings are considered to have accepted various Choi Chiwon’s writing style traits. Haedongmyongjeok ((海東名蹟 1515), by Sin Gongje, Daedonggumseokseo(大東金石書 1668), by Lee Woo, Jipgounja(集孤雲字 16C), by Hyujeong(1520-1604), and Daedongpilbub(17C) are another books that published his writings. In addition, Jingamseonsabi was engaved on wood-blocks in 1725. Thus, throughout Joseon era as well as Unified Silla and Koryo eras, a lot of scholars studied and referred to Choi Chiwon’s writing style as well as his literary works.
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