학술논문
晩明 狂狷書風 審美取向과 現代 美感의 同質性 硏究 / A Study on the Aesthetic Orientation and the Homogeneity of Modern Aesthetics in Late Ming Dynasty of 'Crazy Calligraphy Style'
Document Type
Dissertation/ Thesis
Source
Subject
Language
Korean
Abstract
광견의 체현은 숭고하고 초탈한 자연 · 자유상태이며, 중화에 대한 비판이 아니라 軟媚와 詭異에 대한 비판으로 雄奇進取하고 대담한 창조이다. 연구자는 서예의 광견을 ‘積極進取, 緇而不涅’의 학문상태 및 심미이념으로 정의하였다.서예 작품을 창작할 때의 ‘狂’은 반드시 자신의 본심에서 출발하여 진심을 유지하고 대담하게 감정을 나타냄으로써 자신의 모습을 형성하는 것이다. ‘狷’은 위선자[鄉願]의 서예처럼 시속의 서풍에 휩쓸려서는 안 되며 緇而不涅 해야만 한다. 李日華의 성령설을 바탕으로 神摹의 서법 임모 습관, 성정의 서법 창작관을 제시함으로써 광견미를 이룰 수 있다.중국 만명기에는 복잡한 정치환경, 황제의 해이, 환관들의 세력 확대로 인해 당쟁현상이 심해지고 정치질서가 문란해졌으며 행정의 비효율성과 사회의 폐해가 만연하였다. 그러나 이와 동시에 상품경제가 빠르게 발전하고 자유주의 경제사상이 활성화되면서 자본주의의 싹이 텄다.경제의 발전은 문화를 더욱 다양화하였고 문학, 회화 등의 방면에 변화를 추구하는 사상이 나타나게 되었으며 真情真心을 가지고 예술 작품을 창작하고자 하였다. 이때 양명심학 사상은 점차 발전, 사람을 중시하여 “心即理”, “知行合一”, “致良知”를 주장하였다. 인욕과 천리가 통일되어야 한다고 생각하여 정주이학의 인간사상에 대한 속박을 풀어주었기 때문에 당시 개성사조의 주류사상이 되었다.심학 사상의 영향 아래 사상의 자유를 추구하는 狂士들이 대거 출현하였다. 그들은 호걸적인 인격을 숭상하고 봉건예교의 속박을 타파를 도모하였다. 또한 자아를 부각시키며 개성의 자유 및 해방을 추구하는 반역 사조를 격양하려 하였다. 이러한 창신적이고 개척적인 학풍정신은 서예 방면에도 영향을 미쳐 만명 일대의 서가들이 崇奇를 예술 이념으로 삼았다. 창작 형식이나 이념에 관계없이 개성화를 추구하는 奇特함은 이전 세대와 크게 달라졌다. 서위의 論書는 天成을 주장하여 瀟散卷滾의 필법으로 종이를 가득 채우는 煙雲의 효과를 이루었다. 장서도는 側鋒取妍과 壓扁字形의 방식으로 奇崛한 충격을 형성했다. 왕탁은 옛 사람들의 계승하여 붓의 力과 活을 독특한 軸線을 통해 사용했으며 奇斜錯落하고 虛實渾然한 예술 풍모를 형성하였다. 팔대산인은 공간 대비 관계를 통해 공허한 결체를 이루었다. 부산은 인간의 기교와 流美庸俗에 반대하는 “四寧四毋”의 書學을 주장하였다.이들 서가는 時風의 속박을 깨고 대담하게 창조함으로써 자신을 표현하였고, 강렬한 개성의 서풍을 통해 역사에 이름을 남기며 중국 서예의 새로운 공간을 열었다. 특히 서가마다 다른 성공의 길은 당대 서가들에게 귀감이 된다. 이에 연구자는 광견이라는 말로 만명 서법의 예술양식을 정의하고 만명 광견 서법을 거울삼아 현대서법의 심미 감각과 만명 광견서풍의 동질성을 연구하였다.한국의 동국진체의 이념과 서예에서도 이광사의 天機論, 이삼만이 추구하는 逸韻美는 광견미와 같은 함축성을 갖고 있다. 일본 少字數 서도 유파는 제2차 세계대전 이후 서양예술과 한자의 문자적 함의 및 예술적 형식을 과감히 결합해 내적 감정을 과감히 표현함으로써 서도의 세계화를 크게 촉진했다.오늘날의 사회 발전은 빠르고 각 분야의 교류도 갈수록 빈번해지며 많은 중국 당대의 서예가들이 서예와 기타 예술 품목을 융합하여 서예 발전의 새로운 길을 열고자 애쓰고 있다. 王冬齡이 제시한 性情의 亂書, 曾翔의 古拙樸稚의 醜書 모두 서법 본체를 재창조해 중국 서법의 발전을 모색한 새로운 길이다. 서예 창작은 결코 자세하고 완전무결의 연미함이 아니라 험절한 가운데 큰 힘을 들여 위험한 국면을 만회하는[力挽狂瀾] 眞血性, 眞性情을 나타내는 것이다. 연구자의 서예 창작도 줄곧 광견미를 추구하고 있으며 만명의 尚奇의 심미이념은 연구자에게 영향을 미쳤다. 행초서는 주로 왕탁을 取法의 대상으로 삼아 변화무쌍한 변화를 추구하였다. 한글 서예는 작품 속에서 개인의 감정과 글씨, 서양의 예술과의 유기적인 결합을 도모하였다.통일된 서예 풍격은 서예의 出路가 아니다. 다원화적인 발전만이 서예 발전의 최종목표이다. 유가사상에서 잉태된 광견정신은 중국서예의 지속 갱생과 奇變의 강력한 출처이며, 예술창조를 심령에 걸맞는 경지에 이르게 한다.
"Crazy" embodies a state of natural freedom that is lofty and detached, and "Crazy" is not a criticism of "neutralization", but a criticism of softness and quirkyness, a bold creation of great enterprise.The researchers define" wild-mindedness" in calligraphy as" aggressive, social and non-reflective" academic state and aesthetic concept."Crazy" is a calligraphy work that must start from one's own original heart, keep one's true heart, dare to express one's feelings, finally form one's self-image.Like the calligraphy of "hometown wishes", the "genre" should not be attacked by the prevailing style of calligraphy, but should be able to achieve socialism without resistance.Based on Li Ilhua's theory of "sexuality spirit", he advocated the concept of calligraphy practice of "divine imitation" and the concept of "characteristic" calligraphy creation. In late Ming Dynasty of China, the political environment was complicated, the emperor was negligent, the eunuchs were constantly expanding, which led to serious party strife, political order was disturbed, administrative inefficiency was low and social malpractice was numerous.But at the same time, the commodity economy developed rapidly, liberal economic thought became active, and capitalism sprouted.With the development of the economy, culture has become more diverse, and changes in literature and painting have emerged, striving to create works of art with sincerity and sincerity.At that time, Yang Ming's thought of psychology gradually developed, emphasized human-centeredness, advocated that human desire and natural reason should be unified, and thus became the mainstream of individual thought.Under the influence of psychological thought, a large number of" madmen" have appeared, who admire the heroic personality, try to break through the fetters of feudal etiquette and religion, highlight themselves, and stir up rebellious thoughts of individual freedom and liberation.This pioneering and innovative style of study also influenced calligraphy. Many calligraphers in late Ming and Ming dynasties took the "wonder" as their artistic concept.Xu Wei's book advocated "Tiancheng", which formed a cloud of paper smoke by means of small brush strokes, Zhang Jui-tu formed a stubborn style by taking the side edge and flattening the shape of characters, Wang Duo inherited the ancient people's brush strokes.These calligraphers broke through the shackles of the times, boldly innovated and expressed themselves, and created a new space in Chinese calligraphy with a strong style of calligraphy.In particular, every calligrapher's different path to success is worth learning from contemporary calligraphers.Therefore, researchers define the artistic style of late Ming calligraphy by using the term" crazy-jack", and then study the aesthetic sense of modern calligraphy and the homogeneity of late Ming" crazy-jack calligraphy style".The philosophy and calligraphy of Korea's Dongguk body show that Lee Hong-sa's theory of heavenly movements and Lee Sam-man's pursuit of the beauty of Yi-yun are all similar to those of the "beauty of the wild."After the end of World War II, the Japanese school of "low-character number calligraphy" boldly combined the Chinese characters' connotation with the art form to express my inner feelings, which greatly promoted the globalization of calligraphy. Today's society is developing rapidly, and exchanges between various fields are becoming more frequent. Many contemporary Chinese calligraphers are trying to integrate calligraphy with other art categories to create a new way of developing calligraphy.For example, Wang Dongling's "Random Handwriting" and Zeng Xiang's "Ugly Handwriting" were both re-created in the body of calligraphy and explored Chinese calligraphy.a new path forward for France.This is the inevitable development of calligraphy in the present day. For these works, we can no longer look at tradition as the only criterion, we need to look at them with the contemporary human spirit.Calligraphy does not show the soft charm of the whole world, but the true spirit and true nature of fighting against danger.The calligraphy of the researchers has been pursuing the" wild beauty", and the aesthetic concept of" strange" in late Ming has been influencing the researchers.The unified style of calligraphy is not the way out, the diversified development is the ultimate goal of calligraphy development, and the spirit of" wildness" nurtured by Confucianism is a powerful source of Chinese calligraphy.
"Crazy" embodies a state of natural freedom that is lofty and detached, and "Crazy" is not a criticism of "neutralization", but a criticism of softness and quirkyness, a bold creation of great enterprise.The researchers define" wild-mindedness" in calligraphy as" aggressive, social and non-reflective" academic state and aesthetic concept."Crazy" is a calligraphy work that must start from one's own original heart, keep one's true heart, dare to express one's feelings, finally form one's self-image.Like the calligraphy of "hometown wishes", the "genre" should not be attacked by the prevailing style of calligraphy, but should be able to achieve socialism without resistance.Based on Li Ilhua's theory of "sexuality spirit", he advocated the concept of calligraphy practice of "divine imitation" and the concept of "characteristic" calligraphy creation. In late Ming Dynasty of China, the political environment was complicated, the emperor was negligent, the eunuchs were constantly expanding, which led to serious party strife, political order was disturbed, administrative inefficiency was low and social malpractice was numerous.But at the same time, the commodity economy developed rapidly, liberal economic thought became active, and capitalism sprouted.With the development of the economy, culture has become more diverse, and changes in literature and painting have emerged, striving to create works of art with sincerity and sincerity.At that time, Yang Ming's thought of psychology gradually developed, emphasized human-centeredness, advocated that human desire and natural reason should be unified, and thus became the mainstream of individual thought.Under the influence of psychological thought, a large number of" madmen" have appeared, who admire the heroic personality, try to break through the fetters of feudal etiquette and religion, highlight themselves, and stir up rebellious thoughts of individual freedom and liberation.This pioneering and innovative style of study also influenced calligraphy. Many calligraphers in late Ming and Ming dynasties took the "wonder" as their artistic concept.Xu Wei's book advocated "Tiancheng", which formed a cloud of paper smoke by means of small brush strokes, Zhang Jui-tu formed a stubborn style by taking the side edge and flattening the shape of characters, Wang Duo inherited the ancient people's brush strokes.These calligraphers broke through the shackles of the times, boldly innovated and expressed themselves, and created a new space in Chinese calligraphy with a strong style of calligraphy.In particular, every calligrapher's different path to success is worth learning from contemporary calligraphers.Therefore, researchers define the artistic style of late Ming calligraphy by using the term" crazy-jack", and then study the aesthetic sense of modern calligraphy and the homogeneity of late Ming" crazy-jack calligraphy style".The philosophy and calligraphy of Korea's Dongguk body show that Lee Hong-sa's theory of heavenly movements and Lee Sam-man's pursuit of the beauty of Yi-yun are all similar to those of the "beauty of the wild."After the end of World War II, the Japanese school of "low-character number calligraphy" boldly combined the Chinese characters' connotation with the art form to express my inner feelings, which greatly promoted the globalization of calligraphy. Today's society is developing rapidly, and exchanges between various fields are becoming more frequent. Many contemporary Chinese calligraphers are trying to integrate calligraphy with other art categories to create a new way of developing calligraphy.For example, Wang Dongling's "Random Handwriting" and Zeng Xiang's "Ugly Handwriting" were both re-created in the body of calligraphy and explored Chinese calligraphy.a new path forward for France.This is the inevitable development of calligraphy in the present day. For these works, we can no longer look at tradition as the only criterion, we need to look at them with the contemporary human spirit.Calligraphy does not show the soft charm of the whole world, but the true spirit and true nature of fighting against danger.The calligraphy of the researchers has been pursuing the" wild beauty", and the aesthetic concept of" strange" in late Ming has been influencing the researchers.The unified style of calligraphy is not the way out, the diversified development is the ultimate goal of calligraphy development, and the spirit of" wildness" nurtured by Confucianism is a powerful source of Chinese calligraphy.