玉洞 李漵의 書藝審美理想과 ‘玉洞體’의 상관성에 관한 고찰 = A Study on Correlation between Calligraphic Aesthetics and ‘Okdongche(玉洞體)’ in Okdong(玉洞) Lee Seo(李漵)

다국어 초록 (Multilingual Abstract)

Okdong(玉洞) Lee Seo(李漵) s『Pilgyeol(筆訣)』and ‘Okdongche(玉洞體)’ correspond to the world of Seodo(書道) that was integrated with Yudo(儒道). Okdong established the calligraphic theory in Yeokseoilche(易書一體) with standing for Seobonjuyeokron(書本周易論), Eumyangron(陰陽論), and Hadonakseoron(河圖洛書論). The core calligraphic esthetic ideal out of it includes Jeonshinron(傳神論), Jungjeongron(中正論), Jayeonhyeongsangron(自然形象論).
Jeonshinron(傳神論) is what tries to implements it in Seo(書, writing) by imitating the truth of nature in the world and a saint(聖人). God of Jeonshin(傳神) is Cheondo(天道, the way of Heaven). Jungjeongron(中正論) is a theory that tries to implement Jungjeong(中正), which is Cheondo(天道), in writing. In other words, the world continues to move,
change and develop with two actions of yin and yang(陰陽). Likewise, even calligraphy is what achieves writing in Sijung(時中) through Susicheobyeon(隨時處變).
Jayeonhyeongsangron(自然形象論) is the aesthetic spirit of life, which seeks the essence of writing in nature as the manifestation of Cheondo(天道). That is to say, it is what tries to create writing(書) in Saengsaengbuli(生生不已) by reflecting the order & harmony in Cheonmun(天文), Gise(氣勢) in all things, and rhythm in life in calligraphy. This esthetic ideal is shown with being literally projected in ‘Okdongche(玉洞體).’
Okdongche(玉洞體) is the writing(書) of Jungjeong(中正) as he had aimed, and includes diverse Punggyeok(風格, characteristic) such as “correctness, robustness, ruggedness, minuteness, smoothness, generosity, communication, extensiveness.” It connoted magnificent spirit like Taesan(泰山) and Gyoak(喬嶽) amidst the strict, elaborate and static image, and also expressed the dynamic musicality with being continued a lengthy flow of Gimaek(氣脈). Especially, as a result of which he pointed out the integrative implementation of Cheondo(天道), Indo(人道) and Seodo(書道), Okdongche(玉洞體) is revealed a characteristic of Giunsaengdong(氣韻生動) by being reflected the vitality of Saengsaeng(生生),’ which is the most important virtue of heaven and earth. In a word, Okdongche(玉洞體) can be said to be the art of Yeok(易), the art of Sijung(時中), and the art of Giunsaengdong(氣韻生動).
A series of the process that Okdong creates Okdongche(玉洞體) through writing 『Pilgyeol(筆訣)』and reflecting its theory is just the process of seeking for true handwriting. Thus, he is called Seoga(書家) who founded Jinche(眞體). Accordingly, Okdongche(玉洞體) is directly Jinche(眞體), and is melted there the nature & history in
this land and the reason & emotion of a person, thereby being naturally shown color peculiar to race.
Okdong s Jinche(眞體) has significance and value in the calligraphic history in terms of being the first product that is combined theory and practice in the Korean calligraphic history.

목차 (Table of Contents)

• Ⅰ. 序論
• Ⅱ. 玉洞의 書藝審美理想
• 1. 天道指向의 傳神論
• 2. 陰陽造化의 中正論
• 3. 生生不已의 自然形象論
• Ⅲ. ‘玉洞體’에 투영된 書藝美學
• 1. 楷行書에 투영된 造化無窮의 自然美學
• 2. 草書에 투영된 氣韻生動의 生命美學
• Ⅳ. 結論