王鐸의 書藝美學思想考察

A Study on Calligraphy Aesthetic Theory of Wang-duo

본고는 중국서예사에서 帖學이 衰退해지던 시기에 帖學의 復興을 불러일으키고, 훗날 碑帖之爭의 先聖이 되었던 王鐸의 書藝美學思想을 考察한 것이다. 王鐸은 極中庸사상을 바탕으로 서예를 통해 개성의 解放을 주장하고, 이른바 反中和的‘異端’의 미학사상을 기초로 左右傾斜의 奇格美, 巨幅雄强의 膽大美, 八極 之勢의 激情美를 실현하였다. 王鐸의 서예 연원은 二王․ 米芾을 계승함으로써 그의 서예미학사상은 중국전통 미학에 기초를 두고 있다. 極中庸을 주장하면서도 中庸을 반대한다고 하지 않은 王鐸은 狠․ 膽․ 怒․ 氣․ 力을 찬미하였으며, 膽大의 美도 실현하게 되었다. 또한 그의 八極之勢의 激情美는 역대에 있어본 적이 없는 創新性이 돋보이는 章法이며, 이 밖에 一筆書, 漲墨法역시 王鐸의 서예를 특징짓는 요소가 되고 있다. 王鐸의 이러한 서예미학의 創新性은 中和美를 중시하는 전통미학사상에 기초하면서도 참신하고 독자적인 개척한 것이라고 평가할 수 있다.

This study has been made on the calligraphic aesthetic idea of Wang-duo, who raise study of calligraphy grounded on notebook-written letters in the age when study of calligraphy grounded on notebook written letters was declining and became a forerunner of academic argument about study based on stone- monument engraved letters and later notebook-written letters in Chinese calligraphic history. Wang-duo advocated the liberty of individuality based on the idea of immoderate and realized the beauty of eccentricity for leftright-slant beauty of boldness for granduer expressed in wide canvas and beauty of passion for power of universe based on the aesthetic idea of 'heresy' against neutralization. Wang Tack's calligraphy succeeded that of Yee Wangㆍ Mi Bul, so that his calligraphic aesthetic idea was based on Chinese traditional aesthetics. Not saying that he was against the middle-of-the-road while advocating immoderate, he praised the beauty of fightㆍbravenessㆍangerㆍ energyㆍpower and then realized also the beauty of Damdae. Furthermore, the beauty of Gyeokjeong for Palgeukjise by him was a rules of sentence with remarkable creativity that had never been shown before. In addition, his writing several letters in one touchㆍ calligraphic of blotting techniques also shows the characteristics of his calligraphy. Such creativity of his calligraphic aesthetics can be assessed to open a new and independent world based on the traditional aesthetic idea that values neutralization.