秋史 金正喜의 書藝形態論에 대한 考察

• 영문명: A Study on Chusa Gim, Jeonghui’s Morphology of Calligraphy
• 발행기관: 한국서예학회
• 저자명: 김광욱(Kim, Kwang- Ug)
• 간행물 정보: 『서예학연구』서예학연구 제29호, 41~62쪽, 전체 22쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2016.09.30

영문 초록

This study aimed at investigating Chusa Gim, Jeonghui(1786-1856)’s morphology of calligraphy, which was one of his calligraphic theories. It categorized the morphology into four laws: wielding brush, structuring, disposing and using ink. The first is the law of wielding brush. Chusa emphasized the law of wielding brush and insisted on attaining a state of form and a flavor through the correlation and the variation of a square stroke and a circle stroke and the management of an upright brush and a tilted brush. Also, he considered that the law of wielding brush was profoundly concealed and its life and death were determined according to whether it attained the principle or not. In addition, he emphasized a harmonious management of a fast stroke and a slow stroke and the principle of reversing at entering and tilting at exiting. Furthermore, he explained a stroke as the principle of yin and yang, and he thought that a stroke of yin and a stroke of yang were not fixed but accommodate to circumstance. The second is the law of structuring. Chusa insisted that structuring was the same as plotting by quoting Map of Strokes Disposition. It said that it would be collapsed without a plot even if weapon and armor were sophisticated, soldiers were agile, and fortress was entrenched. Moreover, he emphasized that calligraphers should be cautious about that they unavoidably resisted the old law and that they could go downhill if they only exercised a sharp edge without attaining an empty and profound flavor. The third is the law of disposing. Chusa emphasized that elegance of points and strokes and profundity of convexness and concaveness, up and down and reflection and response should be satisfied in the condition of disposing. Blank is the space which is not congested but lively and infinitive, and it is the significant formative factor that points and strokes are mingled in. A formative consciousness is based on the cognitive system that does not cognize it as a limited section but considers it as a figment in the universal space which diachronically moves. The forth is the law of using ink. Chusa expressed that calligraphers should make efforts to use ink well because the characters on paper were only written with ink. Calligraphers regard ink as the highest, and they consider brush as a tool for using ink. Also, he indicated that calligraphers should effectively utilize thick, thin, smooth and rough ink in the right places. Chusa’s morphology of calligraphy is significant in the sense that it cognizes the formative thinking of that accomplishment and solid qualities are equally blended, which indicates both the spiritual beauty the formative beauty should be managed together.

목차

Ⅰ. 序言

Ⅱ. 書藝形態論 分析

1. 運筆法

2. 結構法

3. 章法

4. 墨法

Ⅲ. 結語

키워드

Morphology of Calligraphy Law of Wielding Brush Law of Structuring Lawof Disposing Law of Using Ink