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      한국 서예의 정체성에 관한 연구 -羅末麗初를 중심으로-

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      https://www.riss.kr/link?id=A101809633

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      다국어 초록 (Multilingual Abstract)

      Looking for the identity of Korean Calligraphy is quite important but not easy work also hard to define what it is in a sentence. However, it is needed to find out what is identity of it. The reason why it is hard to find out is that Korean have basic identity but the identity of Calligraphy has been different by centuries. It can be largely divided into three reasons. Firstly, the period from three Kingdoms to the beginning of Goryeo, Secondly, the period between the end of Goryeo and the middle of Joseon, this is the time when the doctrines of Chu-tzu was dominated to the society. Thirdly, the end of Josen is the period when scholars of the Realist School of Confucianism were appeared. In this periods, Buddhism was flourished but Buddhist insisted the intercommunication of three religions named Confucianism, Buddhism and Immortal Taoism. The ancient tasteful ideas was called Geupbaek(皀帛) scholar in Koguryo, Hwarang(花郞) scholar in Shilla and Taoist in Goryeo that could be unique. This intercommunication of three religions was expressed as scholar or Taoist by the people named Choi Chiwon, Lim Chun, Lee Gyubo and etc. They could have different the period of their lifetime or ages, but have the similarity of the selection of words through their articles. Thus, it could be known that the identity of calligrapy was considered by the articles about calligraphy or poems of these three people mentioned formerly. From this research, the identity of calligraphy from late Shilla to early Goryeo was influenced by the intercommunication of three religions based on tasteful ideas followed by Hwarang sprit and the scholar thought. And, it is summarized that the identity of calligraphy is Taoist ideology because this scholar thought could be concluded to Taoist ideology through the directivity of great writing and conduct.
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      Looking for the identity of Korean Calligraphy is quite important but not easy work also hard to define what it is in a sentence. However, it is needed to find out what is identity of it. The reason why it is hard to find out is that Korean have basic...

      Looking for the identity of Korean Calligraphy is quite important but not easy work also hard to define what it is in a sentence. However, it is needed to find out what is identity of it. The reason why it is hard to find out is that Korean have basic identity but the identity of Calligraphy has been different by centuries. It can be largely divided into three reasons. Firstly, the period from three Kingdoms to the beginning of Goryeo, Secondly, the period between the end of Goryeo and the middle of Joseon, this is the time when the doctrines of Chu-tzu was dominated to the society. Thirdly, the end of Josen is the period when scholars of the Realist School of Confucianism were appeared. In this periods, Buddhism was flourished but Buddhist insisted the intercommunication of three religions named Confucianism, Buddhism and Immortal Taoism. The ancient tasteful ideas was called Geupbaek(皀帛) scholar in Koguryo, Hwarang(花郞) scholar in Shilla and Taoist in Goryeo that could be unique. This intercommunication of three religions was expressed as scholar or Taoist by the people named Choi Chiwon, Lim Chun, Lee Gyubo and etc. They could have different the period of their lifetime or ages, but have the similarity of the selection of words through their articles. Thus, it could be known that the identity of calligrapy was considered by the articles about calligraphy or poems of these three people mentioned formerly. From this research, the identity of calligraphy from late Shilla to early Goryeo was influenced by the intercommunication of three religions based on tasteful ideas followed by Hwarang sprit and the scholar thought. And, it is summarized that the identity of calligraphy is Taoist ideology because this scholar thought could be concluded to Taoist ideology through the directivity of great writing and conduct.

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      목차 (Table of Contents)

      • Ⅰ. 서론
      • Ⅱ. 한국철학사상의 근원
      • Ⅲ. 神仙사상의 동경
      • 1. 神筆과 仙書
      • 2. 선천과 후천의 조화와 통일의 仙風··
      • Ⅰ. 서론
      • Ⅱ. 한국철학사상의 근원
      • Ⅲ. 神仙사상의 동경
      • 1. 神筆과 仙書
      • 2. 선천과 후천의 조화와 통일의 仙風··
      • 3. 神仙사상의 동경
      • Ⅳ. 결론
      • 참고문헌
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      참고문헌 (Reference)

      1 한국철학사연구회, "한국철학사상사" 심산 2003

      2 한국철학회, "한국철학사" 동명사 2002

      3 최영성, "한국유학통사" 심산출판사 2006

      4 웅병명, "중국서예이론체계" 천진교육출판사 2003

      5 송민, "중국서예미학" 동문선 1998

      6 劉詩, "중국고대서법가" 문물출판사 2003

      7 이철화, "우리 겨레의 미학사상" 보리 2006

      8 "高麗史"

      9 이만규, "高麗史" 조선 과학원 1963

      10 "說卦傳"

      1 한국철학사연구회, "한국철학사상사" 심산 2003

      2 한국철학회, "한국철학사" 동명사 2002

      3 최영성, "한국유학통사" 심산출판사 2006

      4 웅병명, "중국서예이론체계" 천진교육출판사 2003

      5 송민, "중국서예미학" 동문선 1998

      6 劉詩, "중국고대서법가" 문물출판사 2003

      7 이철화, "우리 겨레의 미학사상" 보리 2006

      8 "高麗史"

      9 이만규, "高麗史" 조선 과학원 1963

      10 "說卦傳"

      11 임춘, "西河集"

      12 최치원, "桂苑筆耕集"

      13 서거정, "東文選 권5" 다운샘 1994

      14 이규보, "東國李相國集"

      15 손과정, "書譜"

      16 최치원, "孤雲集"

      17 牟宗三, "中國哲學19강" 연합출판공사 1983

      18 "三國史記"

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