忠南 洪城郡 長各面 月溪里 금석문의 서체분석

An Analysis of the Chirography of the Epigraph of the Stone Monurnent in Wolgye-ri, Janggok-myeon, Hongseong-gun, Chungnam Province -From the perspective of the calligraphy of Goun Choi Chiwon-

〈孤雲遺蹟〉에 대하여 洪思俊.金甲鉉.田玉鎭 두 분의 연구결과가 있었다. 孤雲의 필적은 폭넓은 예가 없어 이렇게 단편적인 예를 들어 분석하기에 는 어려움이 많다- 한 사람의 서체라 하더라도 얼마든지 다른 서체를 구사할 수 있고 시기적으로 차이가 있을 수 있다. 그러 나 글씨는 습관성이 있다는 점을 고려하고， 선각의 문헌연구를 바탕으로 고운의 필적인 국보 47호 雙磎寺 〈眞鑑禪師碑〉와 〈傳 孤雲筆跡〉등의 예를 들어 〈월계리금석문〉의 서체를 비교 분석하여보면 다음과 같다. 〈월계리금석문〉의 명문은 〈龍隱別墅).<龍隱別墅詩>.<雙磎>.<楓嶽>.<玉龍嚴>.<臥龍臺><錦石><碑開詩><枕漱臺><翠屛><石門><龍隱別墅篆><醉石><翠石><龍巖><端凝挺立><月峽> 등을 대상으로 하였다 . 그러나 이들 중 〈隨隱別墅詩>.<端凝挺立> 동은 서법이 다르게 보인다. 그러나 일단은 고운의 필적으로 가정하였고. <龍隱別墅篆>.<楓嶽>.<枕漱臺> 등은 소전과 초서로써 예가 없어 거론이 어렵다. 다만 도판을 실어 객관적으로 참고하도록 하였다. 한 글자 안에도 歐陽詢과 顔眞卿.柳公權， 北朝의 서법을 섞어 쓴 혼합체도 있다. 篆書는 傳 孤雲筆의 ‘紅流洞’과 같은 小篆의 서법이다. 특히 해서로 서사된 〈雙磎〉는 歐陽詢·로 專 孤雲筆〈雙溪石門〉의 ‘雙溪‘를， 초서인 〈楓嶽〉은 금강산에 있는 〈蓬萊風嶽元水洞天〉중에서 ‘楓嶽’을 그대로 옮겨 놓은 것이다. 〈月峽〉은 顔眞卿. <龍隱別墅〉는 北朝 書法이다. 이상과 같이 〈월계리금석문〉의 서체는 필획과 결구에서 〈진감선사비〉에 표출 되어있는 안진경.유공권의 필법， 구양순의 필획과 결구， 북조의 필법이 있다. 이런 孤雲 書法의 특징이 〈월계리금석문〉에도 많은 부분이 나타나 있는 점으로 미루어 〈월계리금석문〉의 글씨는 孤雲의 서법과 같은 부류의 筆勢로 비정하여 볼 수 있다.

There have been studies published on the <works of Goun> by Hong Sajun, Geum Gabhyeon and Jeon Okjin. Due to the lack of his calligraphic works, it’s very challenging to analyze his chirography only with a single work. The difficulties can further increase since a person could explore his styles freely and adoptdifferent styles for certain periods. This study, however, tried to analyze the chirography of the <Epigraph of the Wolgyeri Stone Monument> by Goun based on the idea that his certain calligraphic tendencies would exist and on the previous studies on <Jingamseonsa Mounment> that was National Treasure No. 47 and in Ssanggye Temple and<Jeon Goun Chirography> by Goun as well. The results were as follows: 1n investigating the <Epigraph of the Wolgyeri Stone Monument>, the following epigraphs were consulted; <Yongeunbyeolseo>, <Yongeunbyeolseosi> , <Ssanggye>, <Pungak>, <Okryongam> , <Waryongdae>, <Geumseok>, <Bigaesi>, <Chimsudae>, <Chuibyeong>, <Seokmun>, <Yongeunbyeolseojeon>, <Chuiseok> , <Chuiseok>, <Yongam>, <Daneungjeongrip>, and <Wolhyep>. Among them, the epigraphs of <Yongeunbyeolseo> and <Daneunjeongrip> seemed to have different calligraphic styles from the rest but were still assumed to be in line with Goun’s chirography. And <Yongeunbyeolseojeon> , <Pungak> and <Chimsudae> were difficult to discuss because their Sojeon and cursive style were not found in any other works of Goun. But their plates were included for the purpose of objective reference. There were found some examples of the combination s tyle with the GuYangsun, Ahn Jingyeong, Yu Gonggwon, and the Northern Dynasties 'calligraphy mixed together in one letter. His seal character was the Sojeon that was the same as ’Hongyudong’ in <Jeon Goun Chirography>. In particular, the <Ssangye> written in the square style of Chinese handwriting was in line of the Gu Yangsun style and the same as the ’Ssanggye’ from the <Ssanggyeseokmun> of <Jeon Goun Chirography). The <Pungak> written in the cursive style was the same as the ’Pungak’from the <Bongraepungakwonsudongcheon) located in Mt. Geumgang. And the calligraphy of <Wolhyeop) and that of <Yongeunbyeolseo) were in line with the Ahn Jingyeong and the Northern Dynasties' style respectively. 1n short, the Goun’s chirography in the <Epigraph of the Wolgyeri Stone Monument> showed the Ahn Jingyeong and Yu Gonggwon calligraphy from the <Jingamseonsa Mounment>, Gu Yangsun’s styles in the number of strokes in the calligraphy and the structure, and the calligraphy of the Northern Dynasties. These are, as a matter of fact , the major characteristics of Goun's chirography and were found a lot in the <Epigraph of the Wolgyeri Stone Monument>. Thus it can be concluded that the letters of the <Epigraph of the Wolgyeri Stone Monument> took the s tyle of Goun’s chirography.