백제 웅진시기 서예 다시읽기 = Rethinking the Ungjin Period Calligraphy of the Baekje

다국어 초록 (Multilingual Abstract)

We believe the isolation of time and space as a unique characteristic of calligraphy. While writing calligraphy, a writer can capture the specific moment. By examining the calligraphy, it is possible to reminisce that particular moment in the future. Hence if we interpret those moments from a novel point of view, the isolation will no longer be considered as a characteristic. Since the paleolithic period, mankind carved or drew images on stones that are now considered very meaningful. We can infer different thoughts and unique cultural traces through rock-carvings of the paleolithic period, oracle bone and bronze inscriptions of the Shang and Zhou, and stone and brick inscriptions of the Qin and Han. Thus, because the calligraphy sometimes reveals and sometimes hides various cultural sensibility of each period, it is necessary for us to reinterpret the calligraphy in a wide range of angles. In that case, what interpretation can we do on the Baekje calligraphy? Since then, excavated calligraphic relics of the Baekje are Muryeongwangjiseok, Sataekjijeokbi, Changwangmyeongsarigam. In addition, there are inscriptions on potteries, roof tiles, and wooden tablets that are recently discovered. In comparison to the various shapes of relics, the previous studies on the Baekje calligraphy were not diverse. In conclusion, this paper will explore a wide variety explanations through calligraphic relics rather than limited and narrow interpretations of calligraphy known in the past. Focusing on the Ungjin period, I attend to rethink all Baekje items. Next, based on my findings, I will propose a different perspective than that in the past, which seems to be passively influenced by China. I believe Baekje calligraphy was developed by its people and then had a calligraphic relationship with China. Through this, the Ungjin period calligraphy of the Baekje has vivid tastes and senses.