張桂香의 書藝世界

국문 초록 (Abstract)

張桂香(1598~1680)은 여성의 활동이 흔치 않았던 조선 중기에 성리학적인 학문관과 사상으로 修己治人을 가장 잘 실천하였으며, 시인 ․ 화가 ․ 서예가 ․ 사상가 ․ 교육가 ․ 사회사업가 ․ 요리전문가 ․ 찬술가로써 활발한 활동을 하여 당대에 이미 ‘女中君子’라는 칭송을 받았던 인물이다.
그의 부친 張興孝(1564~1634)는 퇴계학파로서 ‘理’를 궁리하고 ‘敬’철학을 실천하여 몸을 닦는 요체로 삼았으며, 이러한 사상을 딸에게 직접 교육하여 퇴계학풍을 잇게 하였다. 이에 장계향은 성리학적 사유를 가지고 옛 성현들의 가르침을 본받아 몸소 실천함과 동시에 학문적 · 문학적 소양으로 시 · 서 · 화를 겸비하였으며, 특히 서예부문에서는 어려서부터 뛰어난 筆才로 괄목할 만한 많은 작품을 남겼다.
한문서예작품으로는 초서로 쓴『鶴髮帖』 · 『張夫人筆帖』과 해서로 쓴 <寄兒徽逸>이 있다. 초서작품은 李滉(1501~1570) · 楊士彦(1517~1584) · 黃耆老(1521~?) 등 당대 초서 대가들의 영향을 받아 고졸하면서 생동감이 있고 골기가 있으며 힘있는 필치를 느낄수 있다. 또한 해서작품은 특히 鍾繇의 <宣示表>의 자유롭고 졸박한 풍모를 엿볼수 있으며, 이러한 위 · 진 서풍을 바탕으로 송설체를 수용하여 張桂香 자신만의 독특한 개성적 필치를 이루고 있다.
한글서체 중에서는 직접 찬술한 한국 최초의 요리서인 『음식디미방(飮食知味方)』에서 판본필사체와 궁체 등 다양한 필적을 남기고 있다.
이 책에 쓰여진 판본필사체는 당시에 쓰여진 <상원사중창권선문> · <숙종어필>과 비교하여 보았을때, 앞의 두 작품은 초성 · 중성 · 종성에 변화가 없는 반면에 <음식디미방>은 초성 · 중성 · 종성의 다양한 변화로 자유분방하면서도 方正한 기품을 엿볼수 있고, 궁체로는 <인선왕후 편지글> · <산성일기 병> 과 비교했을때 세작품 모두 ‘ㅣ’ · ‘ㅡ’모음에서 유사성을 찾을 수 있었는데, 특히 장계향만의 독특한 한문서예의 筆意를 접목한 다양한 변화를 추구하고 있음을 살펴볼 수 있었다.
당시의 여성으로서는 활동하기 어려운 사회적인 여건속에서도 부친의 학문적 훈도 와 더불어 갖추게 된 서예기본에 관한 교육과 기초 필법 연마는 고법을 고수하면서도 자신만의 독특하고 개성이 강한 풍격을 나타내는 서풍을 형성하였으며, 특히 초서는 당시 여성으로서는 보기 드문 작품으로 필획의 골기가 강하고 조형성 또한 뛰어 남으로써 조선시대 초서대가들과 비교해도 손색이 없다는 평가를 받고 있다.
또한 한글서체의 특징에 있어서도 한문 서체의 기본필법을 접목하여 유려하면서도 강건한 필법으로 146종의 요리서에서 다양하게 표현하고 있으며 높은 書格을 나타내고 있다.
본 고의 고찰을 통해 이러한 장계향의 서예작품이 조선중기 한국서예사와 한글서예사 변천 연구의 중요한 자료가 되고, 여류서예가로서의 위상을 제고할 수 있는 계기가 되기를 바라며, 앞으로도 조명되지 못하고 있는 여류서예가들에 대한 관심과 연구가 지속되기를 바라는 바이다.

다국어 초록 (Multilingual Abstract)

Jang, Gye-hyang(張桂香, 1598~1680) who was actively engaged as a poet, painter, calligrapher, educator, thinker, social worker, professional cook, and author, was praised for a wise man of women by the people at that time. In fact, it was the time that the activity of women was uncommon, but she cultivated her mind and managed the people. She practiced well that she had cultivated her mind and managed the people through her academic view and her thought based on Seonglihark (性理學) in the middle age of Chosun.
Jang, Heung-hyo(張興孝, 1564~1634) who was her father, was one of Toegye(退溪)'s school. He made it the cardinal point to cultivate himself for searching 'the reason' and practicing the philosophy of 'the respect' as a scholar of Toegye's. Personally he educated his daughter for this thought and made her succeed to the academic traditions of Toegye.
Therefore, it was so natural that she thought metaphysically and followed the teaching of the old sages and then practiced it for herself. As she had the knowledge of learning and literature, she could have the abilities in the poetry, calligraphy and painting at the same time. Especially she was so good at calligraphy from a child that she left behind many amazing works of calligraphy.
For her calligraphy works in Chinese characters, there are 『Harkbalcheob (鶴髮帖)』 and 『 Jangbuinpilcheob (張夫人筆帖)』 written in the grass style of writing. And there is <Giahuiil (寄兒徽逸)> written in the printed style of writing, as well. We can feel the antique and simple, vivid, mettlesome, and powerful touch in her works of the grass style of writing which was influenced by the great masters in the grass style of writing at that time, such as Lee, Hwang (李滉, 1501~1570) Yang, Saeon (楊士彦, 1517~1584) and Hwang, Giro (黃耆老,1521~?), etc.
And also, in her works of the printed style of writing we can guess the unskillful and simple features particularly like <Seonsipyo (宣示表)> by Jongyo(鍾繇). She accepted the Songseolche (松雪體) on the basis of the calligraphic style of Wei and Jin, and finally completed her own style of calligraphy.
She wrote 『Eumsikdimibang(飮食知味方)』 in person which was the first cookbook in Korea and written in the style of Hangul calligraphy (Korean calligraphy style). In the style of Hangul calligraphy, she left the various styles of handwriting in 『Eumsikdimibang』 like the copying style of block book and the court style of Hangul calligraphy.
Compared with <Sangwonsajungchangkwonseonmun> and <Sukjongeopil> written in that time, the copying style of block book in 『Eumsikdimibang』 gives us the unrestricted and upright dignity through the variation of the initial consonant, the medial vowel of Korean orthographic syllable and the final consonant. On the other hand, we can not find the variation of three sounds between two works.
But we can find the similarity among three works in the use of vowels of ʻㅣʼ ․ ʻㅡʼ, comparing with ˂ A letter by Queen Inseon˃ and ˂Sangseongilgi Byeongja˃ written in the court style of Hangul calligraphy.
Especially, we can learn that she grafted the meaning of calligraphy style of Chinese characters into the calligraphy of Hangul on her own style and pursued the various changes. In spite of the hard social circumstances at that time, as a woman she became to possess the all fundamentals of calligraphy through her father's teaching and trained to write holding fast to the old way of writing. At last, she formed her own peculiar individuality and expressed her own style of calligraphy into the works of calligraphy.
For the grass style of calligraphy in particular, though women's works in the grass style of calligraphy were rare to see at that time, there were the mettle and the formality in her stroke of calligraphy. So she was held in a high estimation that her grass style of calligraphy was so excellent when it was compared with the masters in the grass style of calligraphy of Chosun.
In addition, she grafted the basic writing in the style of calligraphy of Chinese characters into the style of Hangul calligraphy. As the result, she could write the 146 kinds of recipes by the elegant and strong writing style of calligraphy.
I hope Jang, Gye-hyang's works of calligraphy will be important research materials to study the Korean history of calligraphy and the history of Hangul calligraphy in the middle age of Chosun through this thesis. And I want this thesis will be the opportunity to raise the social position as a woman calligrapher, and the research and interest on many ill-lit woman calligraphers will be continued.

목차 (Table of Contents)

• Ⅰ. 序論 1
• Ⅱ. 家系와 學問 4
• 1. 時代的 · 書藝史的 背景 4
• 2. 家系와 生涯 7
• 1) 家系 7
• 2) 生涯 11
• 3. 思想과 學問 15
• 1) 性理學的 思惟 15
• 2) 文學性의 表出 20
• 3) 撰述活動 25
• Ⅲ. 書藝世界 30
• 1. 한문서예의 특징 30
• 1) 草書 서풍 31
• 2) 楷書 서풍 39
• 2. 한글서예의 특징 43
• 1) 판본필사체 44
• 2) 궁체 51
• Ⅳ. 女流書藝家로서의 書藝史的 意義 60
• Ⅴ. 結論 63
• 參考文獻 65
• 附 錄 71
• 1. 年譜 72
• 2. 儒學系譜(退溪學派) 75
• 3. 『음식디미방(飮食知味方)』146종 76