6世紀 新羅金石文의 書藝美 考察

Study on the Calligraphic Beauty of Epigraph during the Silla Dynasty in the 6th century

신라는 삼국 가운데 대외 문화의 유입과 문자의 사용 시기가 가장 늦은 데도 불구하고, 금석문이 가장 많이 출토되었다. 그 중에서도 6세기 신라 금석문은 형식과내용이 다양하여 고대 신라사와 서예를 연구하는 데 귀중한 자료이다. 그러므로 본고에서는 6세기 신라 금석문 중「냉수리비」와「봉평비」의 자형을 서예학적으로고찰하여 서예미를 조명하고자 한다.신라의 대중교류는 고구려를 통해 시작되었다. 신라가 중국관계에서 최초로 교류한 나라는 前秦이다. 이후 진흥왕이 한강 유역을 확보하면서 중국과의 통교를 본격적으로 시도하게 되었다. 이러한 과정에서 북위, 양, 북제, 진과의 교류가 확대되면서 남북조 서예문화의 영향을 받기도 하였다.「냉수리비」와「봉평비」에 나타나는 자형의 특징과 서예미에 대하여 분석한결과를 요약하면 다음과 같다.「냉수리비」의 筆劃은 가늘고 잘 다듬지 않아 자연스러우며, 起筆과 收筆에 있어서는 주로 古隷의 필법으로 쓰였다. 結構가 똑바르지 않고 한 쪽으로 기울어 있어서 不定形적인 자형이 많다. 前面의 章法은 ‘縱有行․橫無列’ 형, 後面은 ‘縱有行․橫有列’ 형, 上面의 경우 그 장법이 前面과는 반대로 왼쪽으로 경사진 형태를 취하고있는 점이 특징이라 할 수 있다.「봉평비」의 필획은 비교적 가늘면서도 陽剛의 美가 있고, 方筆과 直筆을 혼용하여 同字異形을 추구하였다. 결구는 정방형의 기본 틀에서 장방형․편소방대형․편대방소형․참치형․부정형 등 다양한 유형을 취하면서 변화를 추구했다. 장법은 ‘縱有行․橫無列’ 형으로 行間은 어느 정도 줄을 맞추었으나, 字間은 뚜렷하게 구분하지 않고 석질의 상태에 따라 자유분방하게 서사했다.따라서「냉수리비」와「봉평비」에 나타나는 서예미는 여러 가지 형태로 나타나지만, 무기교의 기교와 無作爲에서 나오는 자유분방한 自然美와 소박한 古拙美가 주류를 이루고 있다.

The Silla Dynasty was the last the Three States(三國) accepting foreign culture and using Chinese characters. Therefore, in recent times it has had the most epigraph remains excavated. Among the excavations, epigraphs from the Silla Dynasty in the 6th century are very valuable reference for researching the history of ancient Silla and calligraphy due to its various forms and contents. Therefore, this study examines「Naengsuri Stele」and「Bongpyeong Stele」of epigraphs from the 6th century of the Silla Dynasty in view of calligraphy, and aims at investigating the status and significance of each epigraph. The trade with China in Silla was started by Goguryeo. The first country with which Silla started to trade was the Early Qin Dynasty(前秦). After King Jinheung secured the area of Han River, it started trying the friendly relations with China in earnest. In the process of this, treade with the Northern Wei(北魏), the Liang(梁), the Northern Qi(北齊) and Chen(陳) Dynasty became expanded, and Silla was also likely to be affected by calligraphic culture of both the Northern and Southern China. The analysis of the features and calligraphic beauty focus the shape of the character from each epigraph. The results from this analysis are summarized as follows. The stroke of「Naengsuri Stele」was narrow and not refined so that it was natural. In the Gipil (起筆) and Supil(收筆), the style of penmanship was usually Goye(古隸). The structure was not straight and it was tilted into one way so that it had many irregular shapes of characters. The rule of sentence of front face wasvertical line alignment and no horizontal line(縱有行․橫無列), and the back face was bothvertical and horizontal line alignment(縱有行․橫有列). In the upper face, the rule of sentence was opposite of the front face so that it was characterized by slanting toward left side. The stroke of「Bongpyeong Stele」was narrow and looks bright and strong. It used mixture of Bangpil(方筆) and Jikpil(直筆) so that it pursued same character with different shape(同字異形). The structure was from the basic frame of square to various styles such as rectangle style, small left and big right style, big left and small right style, uneven style, unsettled style and so on. The rule of sentence was set by aligning between lines by takingvertical line alignment and no horizontal line (縱有行․橫無列), however, the gap between character was not distinct and it differed from the quality of stones. Therefore, the calligraphic beauty from 「NaengsuriStele」and 「Bongpyeong Stele」showed various types, however it was dominated by natural beauty of liberty coming from artistic skill from non-technique and simple archaic beauty.