금릉 남공철 서화발미 연구

남상무 대전대학교 일반대학원 2016 국내석사

A Study of the Epilogues of Paintings and Writings of Geumreung Nam Gong Cheol Nam Sang-Moo Majored in Calligraphy, Department of Calligraphy Graduate School, Daejeon University (Directed by Prof. Jeong Tae-Hee Ph. D.) Abstract Nam Gong Cheol was one of the most influential nobilities which largely dominated many areas of the Chosun Dynasty and was also a representative Gwangak (館閣: a government office of Chosun Dynasty) writer during the 18~19th century and left many poetry, poems, letters, epigraph, epilogues and tiba through keeping company with scholars while compiling Yeolseongeoje (列聖御製: collection of poetry composed by kings) of King Sunjo and King Ikjong. He wrote the books: Collection of the Literature Written by Geumreung, Good Official Servants of Goryeo, Continuation of Great Elderly, Continuation of the Continuation of Great Elderly and Collection of Books of Youngeun. In 1784, aged 25, he got the official position of Ikwisasema and was treated kindly by King Jeongjo for finishing his 49 year public career honorably. As a renowned scholar, Nam Gong Cheol studied the books of the Chinese Han, Dang, Song and Ming Dynasties and especially sacred the books, and respected Goo Yang Soo, a politician and writer who lived in the Song Dynasty China. That made him leave many excellent poems and letters and epigraph and historic landmarks inscribed in stone or iron as well. His family clan Nam was from Euiryeong, Korea. His nom de plume (pen name) was Geumreung and official nickname was Wonpyeong. His posthumous epithet given by the King after his death was Munheongong. In the 16th year of the regime by King Jeongjo, Nam won the first place in the state examination and was appointed to the public officer of Hongmungwan and Gyujanggak, and in 1803 he got the official position of interior minister. He was also appointed to minister of national defense and the second vice-premier in 1817 and then the position of Yeongjungchubusa in 1831 and received the position of Bongjoha as a retired official in 1833 respectively. That time was very turbulent politically and culturally, and therefore paintings and writings also had to experience some changes. In political viewpoint, the trend of Tangpyeong (system that equally and fairly picks talents from every political party) implemented from the regime of King Yeongjo to the regime of King Jeongjo was transformed into the system of only authority-based rule by the sudden death of King Jeongjo, resulting in big social changes. Faced with such confusing situations, writers right revealed their pattern of behavior and the result was decided by directions they were going to in literature. And they positively started to study Chinese letter literature during the 18~19th centuries. He wrote the volume of 116 epilogues for Chinese paintings and writings, which was only possible based on Daecheongseohwagyoseop (對淸書畵交涉: the Book of Interchange with the Writings and Painting of Qing Dynasty China) at that time. Daecheongseohwagyoseop made it possible for writers in the late Chosun Dynasty to appreciate a lot of Chinese paintings and writings and garner them and enhance their taste, and such atmosphere could be identified through social intercourse between Nam and other writers. They indeed had a valuable opportunity not only to get a wide recognition of Chinese letters and literature but to comprehensively review the epigraphy of the Chinese ancient monuments, and such movement was shown in many documents that referred to the change process of tombstones and their historical investigation. Those activities seem to be originated from Goo Yang Soo during the Northern Song Dynasty of China and the study of epigraphy was for the investigation of scripture history. Nam Gong Cheol put importance on the investigation and study of epigraph while writing a large number of poems, epilogues as well as papers for the comparison of epigraph. From the very early childhood, Nam had grown up with the teaching of his father and read many books of literature, and it seems that he inherited his genius from his father Nam Yu Yong and grandfather who both were learning-loving gentlemen. That background helped him to get remarkable performances in writings and study of epigraph even during his public life. Much interested in the miserable but gifted writers, he also showed off elegance and refinement with writing groups and chose friendship as a means of literature, all of which is clearly found in his essays and epistles. His friends were Lee Deok Moo, Park Je Ga, Yu Deuk Gong, Gang Se Hwang, Park Ji Won, Kim Sang Jo, Lee Man Soo, Seo Yeong Bo, Lee Sang Hwang, Shim Sang Kyu and others who were deeply involved in literature. From it, we could find that Nam Gong Cheol lived a successful life in both public career and literature world. He had a huge impact on literature, paintings and writings in the late Chosun Era and early received China's advanced culture and its paintings and writings and wrote many books including his collection of literature, Collection of the Literature Written by Geumreung. This is the abstract for my study.

원교 이광사의 서예와 서결 연구

이명자 대전대학교 대학원 2015 국내석사

Wongyo Lee Gwangsa (1705~1777) was a calligrapher, philosopher and writer in the late 18thCentury.HewroteacalligraphybookcalledSeogyeol, which greatly contributed to the calligraphy development in the late Joseon period and left a big footprint in the Korean calligraphy. This study looks at the life of Wongyo Lee Kwangsa, one of the big calligraphers, and the time setting in the late Joseon period and examines his calligraphy, philosophy, and calligraphy theory based on Seogyeol. During his time in the late Joseon period, the Korean culture was about to re-emerge. Injobanjeong (a coup to change a king to the King Injo), Japanese invasion in 1592 and the Manchu War of 1636 had deeply shaken Joseon’s social norms and highlighted its political and economic problems, which in turn brought about revolution and new changes. Meanwhile, Yangmingism and Silhak, newly emerged schools of Confucianism, had spread across the late Joseon society, culture and art. There was a dramatic development in the Korean calligraphy history since it had adopted the ancient calligraphy from the Wei and Qin dynasties as well as Ming and Qing’s calligraphy styles. In addition, lots of renowned calligraphers, such as Yun Soon, Lee Gwangsa, Lee Samman, and Kim Jeonghee had joined the calligraphy circles. Joseon adopted the epigraphy from Qing at that time when seal script and clerical script styles were introduced and the active study on the epigraphy was going on, all leading up to the calligraphy renaissance in the late Joseon period. During the time when Wongyo was active, there were some bitter feelings and regrets over Chi Hsi’s Neo-Confucianism, which cherished loyalty and justification in the politics and society. He called to establish human independence and recover sensitivity. He established Yangmingism reasoning in order to accept and strengthen ego, personality, and individual being. He studied under Hagok Jeong Jedu, who established his own study, and he was also deeply influenced by his teacher’s calligraphic philosophy. Contrary to Neo-Confucianism, so-called ‘School of Reasoning’, Yangmingism, ‘School of Mind’, reiterates unity of knowledge and action and individual duties. This also connects to the importance in creativities of artists and the sincerity. He tried to show these values, as well as human ego, in his calligraphy as important features. He kept on concentrating on his study and calligraphy while going under the fall of his family and political disasters in the midst of political fights and finally being forced to exile. Thinking Joseon failed to achieve the proper law of calligraphy, he tried to reform the art of calligraphy at that time. He spread his calligraphy theory by writing his book, Seogyeol based on his expansive knowledge on Korean, Chinese and Japanese calligraphy histories and calligraphy theories. Seogyeol, focused on new calligraphy, consists of the two original and two sequel books. The original contains the original texts of WiBuInPilJinDo and WangUGunJaePilJinDoHu and has his editorials to each point. The sequel Volume 1 has more explanations and his own experiences that he thought the original lacked and the sequel Volume 2 has his comments on the old calligraphy. His son Lee Ryeongik wrote it for him and he revised it. Seogyeol, covering comprehensive calligraphy theories, is regarded to have laid the foundation for the calligraphy theory in the late Joseon calligraphy history. He quoted and adopted previous calligraphers’ works and laid his own views on them and went ahead with his unique calligraphy theory, centering on concrete and practical features by making his theory public. The book has served as a guide in the Korean calligraphy history and became the foundation and powerhouse where contemporary and next scholars could share their knowledge and ideas. At the core of his calligraphy theory, his philosophy put emphasis on the seal script and clerical script styles as the basis and law of calligraphy. He regarded calligraphy as a kind of learning so that he made it important to learn the basic calligraphy through endless study. He also stressed that we should not stop at copying old calligraphers’ works but go beyond to make a good use of them and write scripts with all our minds and strength. In Seogyeol you can realize that Wongyo’s calligraphic ideal was to achieve a wonder of harmony by getting the image of mind. By analyzing Seogyeol of Wongyo, a great scholar, calligrapher and creator of a calligraphic theory, it is meaningful to restore his status as a great calligrapher, which had been downgraded since the time of Chusa and to expand our recognition of the current calligraphy culture as part of our efforts to create the new based on the old.

朝鮮中期 南窓 金玄成의 書藝硏究

김현봉 대전대학교 2006 국내석사

In Chosun Dynasty(朝鮮), the era of King Sunjoe(宣祖) and Kwanghaegoon(光海君) that Namchang(南窓) Hyun-seong Kim(金玄成) was mainly active was one of internal and external troubles. In the country, powerful men of Sarim(士林) who tried to realize the philosophic ideal world in the era of King Yeonsangoon(燕山君) but were all cleaned up by Kimyosahwa(己卯士禍). After that got their power again in the central government in the era of King Sunjoe. And then they were separated into the East and the West, and had politic party struggle. At that time, outside of the country, Imjin War(壬辰倭亂) and Jeongyou War(丁酉再亂) broke out by the invasion of Japanese that made people impoverished. In the midst of these disturbances, the cultural capability was so great in the era of King Sunjoe and Kwanghaegoon that all kinds of books were published and studies became to be deeply indigenous, ones of our own on the basis of which Chosun Dynasty's own color on overall culture started to be assumed. Literary men at that time didn't devote themselves to ideological, the basic principles and the atmospheric force of nature, but were formulating a thought system on the basis of philosophy ranging over the extensive various advanced learning. Namchang(南窓) is one of them. He was put on a record as a master of poetry, books, pictures but the real state of things is that he isn't evaluated properly due to his insufficient remains or direct descendants. Consequently, this study tries to explore his position in the Korean calligraphy history. The purpose and the method, direction of this study would be proposed in chapter I. In chapter II, I examined Namchang's family lineage and his lifetime, especially his relationship of friends, poetry and literature, etc. For these kinds of things could show his thoughts and background of his calligraphy. And I also explored some issues related with, which factor affected Namchang and what is the keynote of Namchang's calligraphy. Then I surveyed the calligraphy history of early Chosun Dynasty. In chapter III, I divided into three categories as the square style, the semi-cursive style, the cursive style of writing. First, the square style was just the transition process of Namchang's square style. I examined the characteristics of his style by the selection of a representative stone writing which could be divided into the former term and the latter term on the basis of 1600, from acquiring his pen name in 1568 to 1621 that he passed away. Second, for the semi-cursive style, I compared Namchang's style with Maeng-boo Joe, Jing-myung Moon who are the master in Yuan era, and the prince Ahnpyung, Soo-chim Seong who are the master in the former term of Chosun Dynasty, Yup Jeong, Dong-ryang Park, Young-seok Cho, etc., who are the master in the latter term of Chosun Dynasty. Third, for the cursive style, many calligraphers would be compared by selecting the cursive style among the semi-cursive and cursive style, because there weren't data called specifically as of it. Lastly, I tried to examine the changes of Namchang's style of writing. For this, I'd like to propose that three styles of Namchang's writing(the square, the semi-cursive, the cursive style) would be divided into three terms. In chapter IV, the influence on Korean calligraphy and the position of Nam-Chang in the Korean calligraphy history would be restudied through the vogue of Namchang's style of writing and the evaluation of the age and after ages. In conclusion, I would like to propose the position of Namchang's style of writing as the master of Chosun Songseolche(朝鮮松雪體) in the Korean calligraphy history

安平大君 李瑢의 書藝術에 關한 硏究

방기욱 대전대학교 2015 국내석사

Ⅰ. 序 論 본 논문은 安平大君 李瑢의 書藝術을 硏究하는데 목표를 둔다. 이 과제를 적절히 수행하기 위해서는 무엇보다도 먼저 본 논문의 핵심 개념인 안평대군의 시대적 배경과 문예?서예의 특징을 분명히 해야 할 것이다. 우리나라의 역대 書藝術을 고찰함에 있어서는 중국의 서예술에 견주어 논하게 되며, 시대와 지역을 감안하지 않고서는 서예의 변천사를 논할 수 없다. 우리나라의 서예 역사는 2천년을 거슬러 올라갈 수 있으며 많은 名書藝家들이 배출되었다. 조선 초기 세종조의 예술계를 이끈 安平大君 李瑢은 고려 말 萬卷堂을 통해 유입된 趙孟?(1254~1322)의 松雪體를 적극 수용하여, 이를 광범위하게 보급시켜 조선전기 송설체의 유행을 主導하였다. 그의 글씨는 조맹부의 송설체가 밑바탕이 되었으나, 안평대군은 송설체의 외형만을 지킨 것이 아니라, 자신의 특성을 충분히 드러내어 명필로서의 독창성을 유감없이 발휘하였다. 世宗年間에 조선시대의 문화가 처음으로 활짝 피어났고, 세종대왕은 集賢殿을 설치하여 性理學을 본격적으로 학습, 硏讚케 하였다. 성리학적 소양을 갖춘 학자들로 하여금 문화정책을 과감하게 추진하였으며, 집현전학자들을 중심으로 이러한 역할을 주도한 인물이 바로 안평대군이다. 당시 藝苑은 그의 서체를 쫓아 송설체 일색이었다. 그런데 송설체를 조선에 정착시킨 주역들은 불행하게도 癸酉靖亂과 死六臣사건으로 희생되어 일시 송설체의 정착이 주춤하게 되었다. 그러나 잔존한 집현전 세력인 姜希孟, 徐居正, 成任 등이 송설체의 맥을 꾸준히 이었고, 후에 成宗이 집현전학풍 부활을 염원하여 안평체를 사숙하였다. 결국 성종대에 신진사대부에 의해서 송설체는 드디어 조선서체로 정착하게 된다. 안평대군의 글씨에 대해서는 조선조를 대표할 만한 최고의 명필이라고 극찬하는 서예가들이 많은 반면 圓嶠 李匡師만은 안평대군의 글씨는 순전히 趙法을 따랐기 때문에 俗氣를 면할 수 없다고 평가하기도 하였다. 이광사는 조맹부를 배척한 董其昌의 견해를 취해서 안평대군의 서예를 속된 것으로 보고 있다. 때문에 안평대군 서예술의 독창성에 대한 새로운 인식과 재조명이 절실히 요구된다고 하겠다. 이러한 관점에서 동기창이 조맹부를 배척한 뚜렷한 증거와 원인을 밝혀 조맹부의 위치에 대한 재평가가 이루어지고, 송설체를 올바르게 이해함으로써 안평대군 서예술의 가치를 재확인할 수 있을 것이다. 이와 같이 안평대군 이용은 세종조의 문화발전에 있어서 주역이었고, 한 시대의 역사적 현상을 풍미하는 존재임에도 불구하고, 안평대군에 대한 김인선, ?安平大君의 生涯와 藝術:雨中歸家圖를 中心으로?, 성신여자대학교 석사학위논문, 1984. 안재환, ?安平大君 李瑢의 繪畵觀 硏究?, 부산대학교 석사학위논문, 1992. 신정범, ?安平大君 李瑢의藝書術에 대한 硏究?, 계명대학교 석사학위논문, 1996. 김홍남, ?安平大君 소장 中國 書藝:宋 徽宗, 蘇軾, 趙孟?, 鮮于樞?, ??미술사학회??, 한국미술연구소, VoI.8, 1999. 이종묵, ?安平大君의 문학 활동 연구?, ??震檀學報??, 진단학회 VoI.93, 2002. 이완우, ?安平大君 李瑢의 文藝活動과 書藝?, 한국학술진흥재단, 2003. 김재천, ?安平大君 李瑢의 書藝 硏究?, 원광대학교 석사학위논문, 2004. 황정연, ?15세기 서화 수집의 중심, 안평대군?, ??내일을 여는 역사??, VoI.137, 2009. 정준식, ?安平大君 李瑢의 書藝美學 硏究?, 성균관대학교 유학대학원, 동아시아사상·문화학과 서예학·동 양미학전공 석사학위논문, 2013. 충분한 고찰이 이루어지지 못한 경향이 있다고 여겨진다. 따라서 본 논문에서는 안평대군 서체의 특징, 서예사적 의의 등을 구체적으로 규명해 보고자 한다. 그리하여 조선조 서예의 이해와 더불어 현대 한국서예의 새로운 가능성을 모색하는데 微微하나마 보탬이 되고자 한다. 이 과제를 단정하기 위해 본 논고는 다음과 같은 사항을 차례로 논하게 될 것이다. 연구방법으로 제Ⅱ장에서는 송설체의 유입과 성행, 안평대군의 생애를 살펴보고 제Ⅲ장에서는 안평대군의 文藝와 書藝로 나누어 살펴보겠다. 먼저 문예활동에서는 당시의 조정문사와 집현전 학사들과의 詩?書?畵 활동을 통하여, 얻어진 산물에 대해 살펴보겠다. 또 안평대군의 생활공간 이었던 武溪政舍와 淡淡亭 등에서 집현전 학사들과 시회를 가졌던 내용들을 중심으로 안평대군이 이룩한 문화적 업적을 살펴보고자 한다. 서예작품 분석에서는 眞蹟, 碑文筆跡, 模刻筆跡, 集帖筆跡, 傳稱作으로 나누어 살펴보고, 이어 안평대군의 글씨는 秀麗美가 돋보이는데, 이것은 송설체를 수용하는 과정에서 드러나는 양상으로 자세하게 자형을 분석해 보고자 한다. 먼저 해서로 쓴 안평대군의 <夢遊桃源記>와 조맹부의 ???風七月詩??의 서체를 분석 하고, 행?초서인 안평대군의《少苑花開帖》과 조맹부의 ??赤壁賦??, 또 안평대군의 <送嚴上座歸南序>와 왕희지의 ??集字聖敎序??와 조맹부의 ??赤壁賦??의 서체 분석을 통해 차이점과 유사점을 알아보고자 한다. 끝으로 Ⅳ장에서는 안평대군의 서예에 대한 평가와

西周末期 金文의 藝術性 硏究

이윤호 대전대학교 2006 국내석사

As we know already, Chinese character was derived from pictograph (hierographic character) and developed to ideograph which has strict system. This character acts as informer, as well as it has an esthetic sense. Character is a kind of method to express the meaning of things, thoughts, feeling etc, on the other hand it is natural, for character which has unique form, to give visual sense of beauty for the people. So we can consider that the origin of calligraphy have been developed toghter with the origin of the character. Therefore we have to understand the formation process of the calligraphic esthetic sense. Particulary, the research for Geummun calligraphy through the Eunsang period and Yangjoo period when accomplished great progress, is very important. Above all, that of the end stage of Seojoo period when they used Geummun actively, is the most important. In this paper I want to see the changes and differences between the Sanssiban that was representative work for Yeowang stage, and Mogongjeong and Goekgyesabaekban for Seonwang stage. And I want to catch the intrinsic artistic points of value in these works, then consider the historical significance and value of them, through of which we can obtain advance in creation of gold character calligraphy. This is the motive and aim of this paper. Gold character of the end stage of Seojoo period expresses esthetic sense and it is reliable these are the last and the most works during that period. I classify esthetic standard as quality and technique, and make an conclusion that Mogongjeong and Goekgyesabaekban come under quality genre, and Sanssiban comes under technique genre. Therefore we consider that Sanssiban is more creatively expressed than Mogongjeong. Moreover Geummun opened the gait of stone carving calligraphy. Of course it was possible at that time, people regards those works as worthlessly or coarsely, but these days we place high value on those works with our point of esthetic view. Probably it is the esthetic sense of today. According to these analytic point of view, we understand the esthetic sense of that time and have to make more advance to new calligraphic creation gradually

학남 정환섭의 서예 연구

이동원 대전대학교 대학원 2017 국내석사

학남 정환섭(1926~2010)은 일제 강점기 3.1운동 이후 독립운동 전선을 이간하고 분열시키는 가혹한 식민통치를 은폐하려는 문화통치기에 충청남도 홍성의 부유한 경주정씨 가문에서 태어났다. 유소년기를 고향에서 보내고 서울로 상경 학업중 1945년 8월 15일 광복을 맞는다. 그 후 국립 서울대학교가 개교되면서 미술대학에 입학하여 소전 손재형에게 사사 받으며 서예공부에 정진하여 전･예･해･행･초서의 각 서체를 섭렵하고 전･예서와 고문자에 천착하여 독자적인 서예세계를 펼친다. 1949년 국전을 통해 서단에 발을 들여 현대 한국서예의 발자취를 걸어온 학남은 서예의 예술성 제고를 위해 역할을 한 인물이다. 그는 서예를 현대미술의 한 장르로써 미적가치 구현과 서예의 현대적 재해석이라는 새로운 조형의식 속에 뚜렷한 자신의 독창적인 서예세계를 위해 평생을 전념 하였다. 초기 전통적인 서예연마로 각 서체를 섭렵하여 안목을 높이고 그를 바탕으로 특히, 고문자의 상형성과 상징성으로 대표되는 금문 자형의 상형성에 관심을 가지고 서예계 최초로 동양화 기법인 높은 곳에서 밑을 내려다보고 그리는 부감법과 높은 곳을 밑에서 올려다보고 그리는 고원법을 차용하고 산수화구도를 응용하여 여백의 미를 드러내는 회화성 짙은 작품을 꾸준하게 발표하였으며 한국 현대서예술에 새로운 바람을 일으키는 주역으로 등장한다. 서예가 예술이냐 아니냐라는 한계의 고비마다 중심에 있었던 학남은 동양의 전통적인 작가의 품격과 인문학적 소양을 바탕으로 한 서예와 서양의 미적가치 창조 인식이라 할 수 있는 조형예술로써 서예를 바라보는 관점에 있어서 전자를 바탕으로 자유로운 예술창작 세계의 순수예술로 후자에 마음을 두고 서예술을 펼쳤다. 학남의 이러한 작품세계에 있어서 그의 서예관을 요약하면 첫째, 옛 것을 토해내고 새로운 것을 받아들인다 라는 토고납신이다. 둘째, 서예의 문자적 약속은 지켜져야 한다는 문자 영역 내에서의 작품을 추구 함이다. 셋째, 상형문자의 회화성에 중점을 두고 서예의 본질적인 근원으로 되돌리고자 하는 서화동원이다. 넷째, 서예술의 창작세계는 독자적인 선을 창조할 수 있으며, 기운생동한 선의 생명력과 여백을 활용하여 미를 드러내고 있는 예술관이다. 학남은 국전 1세대 서예가로서 서예가 현대미술의 한 장르임을 확고히 자리매김하는데 있어서 가장 활발한 실험과 연찬으로 한국 서예사에 또 다른 현대서예라는 장르로의 확장과 태동할 수 있는 토대를 마련하였으며, 독자적인 작품세계를 성숙시키고 구축한 진정한 예술가이다.

金正喜의 書藝意識과 不定形 書藝 硏究

안명옥 대전대학교 2006 국내석사

The advent of Chusa Kim Jeong-hee (1786-1856) in the late Chosun dynasty resulted in evolution of Chosun calligraphy. He exploded the Chosun's established aesthetic thoughts on art which was based on Sung Confucianism and designed a new style of calligraphy which came from the philosophy of art-oriented school unity after learning the methodology of historical researches in Ching dynasty introduced by Buk-Hak school. The new style of calligraphy which was called 'Chusa style' was based on letters in the Han dynasty and was the specific style of calligraphy having advantages of Jung-Che. This thesis attempts to explore the close relationship between Kim Jeong-hee's outlook on calligraphy and his calligraphic style and lay a foundation for understanding of his view of calligraphy through the organization and systematization of information as a whole. For this purpose, first, Sil-Sa-Gu-Si which was a cultural background of th late Chosun dynasty is explored. Since a change in philosophy and an art are closely related each other, the scientific trend of Sil-Sa-Gu-Si might have much influence on the art world in its day. Second, under this social background, Chusa's family and background of his growth are investigated. Also, Chusa's calligraphic awareness is studied by means of having an accurate grasp of friendship based on calligraphy. Third, how Chusa criticized and accepted traditional calligraphy and calligraphy of the age is explored. Also, through his acceptance of epigraphy, how Chusa's calligraphic awareness is changed and how his works are affected are studied. Fourth, Chusa's calligraphic view and works are investigated by exploring his specific works which used an indeterminated form of Hea-seo, Heang-seo, and Yea-seo. Fifth, Chuso's characteristics of calligraphy which overcame a view of China-centered world are researched by considering an indeterminated form of Hea-seo, Heang-seo, and Yea-seo. The study finds followings as a result: First, Sil-Sa-Gu-Si was received in Chusa's works and poetry by scholastic interchange with Chinese calligraphers and writers such as Wan-Yuan. Particularly, he accepted the methodology of historical researches and epigraphy and these affected his works as well as Chosu calligraphy. Second, Chusa came of a decent family who are relatives of a royal family, hence his artistic ability could be shown. He formed a connection with Weng Fang-Gang and his followers in China and Park Jea-Ga, Yu Duk-Gong, and Lee Deok-Moo in the country. Third, Chusa's calligraphy received traditional views of calligraphy critically and pursued the calligraphy of the age. In particular, he exploded the Chosun's established aesthetic thoughts on art which was based on Sung Confucianism and designed a new style of calligraphy which came from the philosophy of art-oriented school unity after learning the methodology of historical researches in Ching dynasty introduced by Buk-Hak school. Fourth, Chusa's outlook on calligraphy and his indeterminated letters were identified by his works using Hea-seo, Heang-seo, and Yea-seo. As a result of analyzing his masterpieces, Chusa's calligraphy displayed the genius of him and the perfection of man-created beauty. Also, in his works, Yea-seo was most preferred and was studied much by him.

宮體의 變遷과 美意識 硏究

김선경 대전대학교 일반대학원 2015 국내석사

Hangeul, ranked as the thirteenth world-wide language in being used and the tenth in the number of online users, has been arousing ever greatest global interest. The more there are those learning Hangeul, the more people are engaging in learning history of Hangeul and expressing it as a form of art. In the history and artistry of Hangeul, there is found the shared piece, calligraphy (書藝), which is unique artistic form of Hangeul. After Hunminjeongeum (訓民正音) promulgated, its letter style had been through social and cultural transition. In the course of practical use, it had been developed in female community to create Gung style (宮體, palace style), the representative letter style in Hangeul, and this is when the letter style began to be varied. At the very beginning of Hangeul, there had been no Gung style. It had been used in practical purpose to be arranged as an independent letter style with the artistry pursued. The tendency to add artistic touch has begun while its transcription spread in general at practical purpose. Such transcription was performed mostly by court ladies (宮女) and they created new genre of letter style, Gung style. From then, it has become the representative letter style of Hangeul. To make Hangeul far more valuable in terms of artistry, it must be preceded to seek methodical approach in learning and analyze theoretical materials in descriptive education. Making an independent academic area for its calligraphy is required. Also, the formal definition of names and forms of letter style leads to further studies on the right ground. This study puts the published literatures, else materials and the unrevealed ones together and suggests how to develop the artistry of Hangeul. Furthermore, this study aims to seek the way to apply Gung style to modern society. The followings are the research for the transition and aesthetic consciousness of Gung style. First, there is research for the creation and historical context of Gung style and, second, the transition of Gung style through classification by specific attributes. At last, by researching on life style of the times when Gung style was utilized, the philosophy embedded in Gung style is considered in aesthetic approach. In the regency period of Queen Jeonghee, the demand for Gung style was raised among professional writing substitutes who wrote messages or letters for others in court. Those are called transcription court lady. The first transcription court lady was Jo Dudae who had served four kings; King Sejo, King Yejong, King Seongjong, the dethroned-king Yeonsangun. Unfortunately, any of her pieces haven't been discovered. The court lady, Jo Dudae, must have been the truly greatest transcriptionist and a pioneer of calligraphy at the early stage of Hangeul distribution. With the history went by, Gung style went through transition to be every new one. In this study there is classification to name three types of Gung style- the square style, the cursive style, the strong cursive style- based on how curved each line is and it follows one another in drawing sequence. This study assumes the creation of Gung style might have been in the era of King Sejo and King Jungjong but the historical evidence to support remains few as the hand-written letters of court ladies seldom exist. After the creation period, followed by the stabilization period and the development period- which had become national letter style, Gung style had more aesthetic attributes as the period progressed. The aesthetic consciousness of Gung style that came from the combined beauty of both exterior in letter itself and internal attributes of transcription court lady herself has been derived from the routine of court ladies. They had responsibility for serving the royal based on obligation to learn the virtue of obedience in the middle of strict court rules. They followed strict rules and customs in the controlled life since they were young. They, whereas, tried to harmonize with the given circumstances by balancing freedom and restrain. Gung style, created in such context, had become the typical letter type in late Joseon (朝鮮). Also, it deserves to be appreciated as masterpiece which represents the art derived from endurance. That is, Gung style has its root on long-lasting endurance to be refined personality and energy. Hence, Gung style is worth being appreciated as historical heritage. As it has prestige as the best letter ever in the world, it is the most distinctive and priceless cultural heritage in both typeface and artistic ways.

初等學校 書藝敎育 活性化 方案 硏究

홍정임 대전대학교 대학원 2015 국내석사

국 문 초 록 초등학교 서예교육 활성화 방안 연구 홍 정 임 서예는 동양의 유구한 역사와 함께 독특한 필기도구인 탄력성이 풍부한 모필을 사용하여 서사하는 방식으로 민족의 문화와 역사를 반영하며 형성되어진 분야이다. 그러므로 다른 분야와는 달리 그 예술적 활동이 학문과 수양을 겸비한 민족전래의 특수한 예술로 끊임없는 발전과 애호를 받아 왔으며, 인격도야의 예술로 존중되어 왔다. 이런 이유로 서예교육은 오래 전부터 단순한 기능의 습득이 아니라 전인교육으로서의 인성교육에 목적을 두고 어린 나이부터 시작하여 지속적으로 교육해 왔다. 그럼에도 불구하고 현재 우리나라의 학교 교육현장에서는 서예교육이 잘 이루어지지 않고 있다. 이에 본 논문에서는 초등학교에서의 서예교육 현황을 한·중·일 나라별로 살펴보고, 국어쓰기교육과 한자교육과의 교육 연계성 및 실태를 분석하여 그 문제점을 밝히어, 국가에서 시행하는 문화예술교육 정책을 바탕으로 초등학교 서예교육이 활성화 될 수 있는 방안을 제시해 보고자 한다. 본 논문을 통하여 얻은 결론은 다른 분야에서는 할 수 없는 기능과 역할을 서예를 통해 이루어 낼 수 있는 방안으로 어릴 때부터 꾸준히 늘 생활 속에서 접하게 하는 것이 서예학습의 효과뿐만 아니라 인성교육의 극대화를 이룰 수 있다는 것이다. 그러기 위해서는 초등학교 내에 서예 전용실을 설치하여 서예전문 강사를 배치하고 전교생이 국어, 한자, 미술 시간 등을 활용하여 주1회 꾸준히 단계적이며 체계적인 서예교육을 하는 것이 가장 이상적이다. 서예를 처음 접하게 되는 초등학교 시절에 본 논문에서 제시한 프로그램은 개별지도가 가능하며 본인들이 단계별로 자기의 실력과 진도를 스스로 가늠하고 나아갈 수 있어서 체계적인 수업이 가능하다. 그렇기 때문에 학생들 스스로가 점점 많은 양의 글자를 연습해 나아갈 수 있으며 많은 글자를 쓸 수 있는 충분한 인내심과 끈기가 길러진다. 즉, 서예수업은 조용하게 진행되지만 아이들 스스로 해야 할 것들이 많고 그 속에서 느끼는 성취감과 편안함은 정서적인 힐링의 시간을 갖게 된다. 학교교육이 창의성 개발, 인성교육 등을 목표로 다른 여타과목에서 가시적으로 많이 보여주기 위한 교육과 재미, 흥미유발 이런 것들로 인해 오히려 학생들이 점점 조용히 있는 것은 재미없는 것으로 인식한다. 그로 인해 잠시도 가만히 있지 못하고 모든 것들이 점점 빨리 돌아가는 것에 익숙해지고 말초신경을 자극하는 주변의 것들로 조용히 깊어지지 못하는 것은 현대인의 가장 큰 정신적 위안을 방해한다. 이런 서구 문물로 인해 편리해 진만큼 뒤따라오는 병폐들은 우리의 전통 문화로 치유해 나아가야 한다. 다양한 무늬와 화려한 색깔들로 수업하는 미술의 수업처럼 서예를 하는 것보다 미술과는 다른 흰색과 검은색만으로도 아름다움과 재미를 느낄 수 있으며 조용하고 차분한 마음으로 나의 시간을 가지며 그 속에서 인내심과 끈기가 생기는 것 이런 교육은 다른 과목으로는 절대 할 수 없는 것이라 생각한다. 처음 연필로 글씨를 쓸 때는 마음대로 쓰라고 하지 않으면서 붓으로 처음 글씨를 쓸 때는 마음대로 쓰라고 하는 것이 창의성 교육이라고 한다. 서예수업의 학습계획안 안에 다양한 재료로 수업하면 재미있는 수업이라고 한다. 다양한 재료로 접목하여 수업하는 것은 미술수업으로 대치가능하다. 서예의 본질을 망각해서는 안된다. 서예는 미술과 다르고 더군다나 미술에 포함되어서는 안된다. 반드시 미술과는 별개의 과목으로 인정받고 서예교육을 정상화 해야 할 것이다.

남정 최정균의 서예술 연구

김세은 대전대학교 대학원 2013 국내석사

Namjeong Choi Jeong-kyun is a calligrapher who firmly expressed a new world of creation on his own by engraving traditional classics onto his modern sensibilities and individuality. Based on his knowledge and philosophy on literature which was accumulated from when he was working as a teacher of Korean, he could freely approach classics. Even in social chaos and poverty after the Korean War, he passionately devoted himself to discussing arts and life. A reason why he could consistently have his dream without frustration in that social turmoil was that he believed in hope and possibility to be a calligrapher. Being a calligrapher himself can be considered a result from steadily pursuing the classics. His religious beliefs on Won Buddhism were a strong support making him one of constant artists and his unique poetic turn of mind from the time when he was a teacher was also a motive for his being a warm-hearted and delicate artist. As Korean Art Exhibition was founded in 1948 along with the birth of Korean Art Association after the Independence from Japan occupation, Namjeong started his activities. He met his teacher Sojeong Son Jae-hyung and, after constant exertions, he started to stand out with being awarded a special selection at the 16th Korean Art Exhibition on calligraphy in 1961 and also awarded at the Exhibition by Minister of Education in 1965. His artistry was well recognized with being awarded six times at the most reputational contest exhibition of the time so he became the most promising and distinguished calligrapher. In the calligraphic world represented with Sojeong Son Jae-hyung and Iljung Kim Chung-hyeon, Namjeong emerged as a main feature to lead Korean calligraphy and he marked a big stroke through various activities as a recommended artist, an invited artist, a judge, a steering committee at the Korean Art Exhibition. With rich experience at home and abroad, he well established his position, formed his artworks with unique calligraphy, paintings in the literary artist´s style and seal engravings based on his individuality and fostered younger generation as well. The best of his achievements was to establish the department of calligraphy for the first time in Korea at Wonkwang University in 1989. He opened a way to foster genuine, classical scholars both with knowledge and artistry that were needed from the dimensions of modern society through college education when calligraphy was merely considered a means of spiritual culture. With its establishment in 1989, he also became the dean of the department and made a ceaseless effort to found a basis for educating younger students throughout his tenure of office by the time he retired in 1994. Following his achievement, the department of calligraphy started being established at various universities including Keimyung University in 1992, Deagu Arts University in 1995, Daejeon University in 1998 and Kyonggi University in 2003. This thesis intends to clarify Namjeong's artistry with his calligraphy and paintings and define his status as a pioneer in establishing the department of calligraphy from the view of Korean calligraphic history. Therefore, Chapter II examines his inner side with his nature and thought through his life and historical background and his activities in calligraphic world. Chapter III investigates characteristics of his works by classifying them into his view of art, calligraphy with Chinese letters, paintings in the literary artist´s style and seal engravings and draws his artistry for the unique creation and the pioneer spirit. Chapter IV reaches a conclusion by clarifying his status in the modern calligraphic world and evaluation on his achievements.