朝鮮 前期 書藝의 흐름

A Study on the Transition of Calligraphy in the early Chosun Dynasty

이제까지 우리는 한국 서예를 중국 서예의 模倣이나 踏襲에만 불과한 것으로 여기고 그 중요성을 격하시켜 왔다. 사실 한국의 書藝史는 정치적으로나 지리적으로또는 사상 면에서 그들과 밀접한 관계를 맺어 왔기 때문에 중국의 書藝와 떨어져생각할 수는 없을 것이다. 고구려는 漢과 北朝, 백제는 南北朝, 신라는 이러한 중국의 영향을 받은 고구려의 영향을 받다가 후기에는 唐의 영향을 받았으며 통일신라 이후 고려 후기까지는 왕희지와 구양순의 필법이 유행하였다.고려는 무신정권 기간 중에는 문화, 예술의 발전이 정체되어 이렇다 할 발전이없었다. 그 후 몽고의 침입으로 무인정권이 무너지고 고려는 원과의 교섭이 잦아지면서 문화적 교류는 밀접하게 되었다. 충선왕이 원의 부마로 장기간 원에 체류하면서 원을 대표하는 서가 조맹부에게 서화를 전수 받음으로 그의 작품이 대량으로고려에 유입되었다. 고려말과 조선전기에 걸쳐 조맹부체가 성행하게 되어 杏村 李嵓과 같은 명가를 배출하게 되었고 조선초기에는 안평대군 이용에 이르러 조맹부 체의 전성기를 맞게 된다.조맹부 서예의 도입은 당시의 시대적 상황에서 자연스러운 것이었으며, 그의 서예는 한국 서예의 발전에 중요한 역할을 담당했다고 할 수 있다.

In the late Koyro(高麗) dynasty, the close relations of Koyro with the Wüan(元) dynasty made the Koreans possible to contact the various Chinese cultural achievements. A king, Chung-sun(忠宣), who spent most of his life in palace of Wüan emperor, summoned one of his subject Lee, Jae-Hyen (李齊賢) to Yen-ch'ing(燕京) in order that he would correspond with Chao Meng-fu(趙孟頫). Therefore it is certain that the Sung-Hsüeh style of calligraphy was introduced by Lee, Jae-Hyen and gave continuous influences to the Korean calligraphy from the late Koyro dynasty to the early Chosun(朝鮮) dynasty. From this point of view, this thesis is going to give a light on the process of introduction of the Sung-Hsüeh style and to analyze its transition in the Korean calligraphy. The Sung-Hsüeh style highly developed in the reign of Chosun king, Sae-Jong(世宗). In the period of his reign Sae-jong not only supported scholarships and technical development, but also ordered institutional reorganization, and the confucianism had its importance in Chosun society. Under these environment the Sung-Hsüeh style expanded widely in use centering around the king's palace. Since the reactionalism and traditionalism argued by Chao Meng-fu identified with the national inclination toward confucianism, the Sung-Hsüeh style could be easily accommodated in Chosun. Chao Meng-fu learned the calligraphic style of Wang Hsi-Chih(王羲之) and his son, Wang Hsien-Chih(王獻之), insisting the cultural revival of Chin(晋) and T'ang(唐) dynasties. For this reason, the calligraphic style of Wang Hsi-Chih became more important in accordance with Chao. In fact, the writings of Kim Saeng(金生) in Silla imitated the traditional Chinese calligraphy begun by the Wangs. In addition, the calligrapic style of Gu Yang-soon(歐陽詢) which was popular in Koyro dynasty based on the style of Wang Hsi-chih. It was on this calligraphic tradition that the Sung-Hsüeh style was to be accepted in Korea without deterrence. Nevertheless, the Sung-Hsüeh style did not continue more than one century in Korea. Most of Korean scholars indulged in the traditional calligraphic style of Wang rather than the mixed style of Sung-Hsüeh. Therefore, we can observe that the main calligraphic style of Chosun from the sixteenth century was Wang Hsi-Chih style. Some of Koreans tried to learn the old style of An Jin-Kyeng(顔眞卿) and Hsi-so(懷素) in T'ang dynasty and showed an effort to adapt it to cultural climate of Korea.