북송대의 상의적 서예교육론 일고찰

A Study on the Education of sangu-calligraphy during the era of North Song Dynasty

송대 사대부들은 唐末 五代를 거치면서 쇠락한 서예에 대해 새로운 의미를 부여하면서 일종의 書藝 復興運動을 일으켰다. 이러한 운동은 歐陽脩와 蔡襄 등을 중심으로 그의 학문에 동조하는 무리와 문인들을 중심으로 일어났다. 그들은 서예를 그들의 정신과 이념을 구현할 수 있는 대상으로 보았다. 仁宗朝의 慶曆 正學運動이宋學을 크게 부흥 시켰듯이 송대 서예도 이 시기에 새로운 意味作用을 일으키고,새로운 文化的인 性格을 가지며, 새로운 美學的 機能을 낳게 되었다. 이러한 송대서예는 尙意 書藝로서 특징을 갖게 되었다. 사대부들은 이러한 상의 서예를 구현할수 있는 敎育 方法과 敎育 目標를 갖고서 그들의 이념적 정체성과 예술적 이상을드러낼 수 있는 독특한 서예 교육을 추구하였다.북송대의 尙意的 書藝 敎育은 尙法 書藝에서 尙意 書藝로 이행하면서 宋代 士大夫들의 일관되고 의도적이며 그리고 일정한 知性的 趣向이 서예 교육에로 적극 반영되어 나타난 것으로 판단된다. 그들의 尙意的인 精神은 書體, 筆線, 章法, 筆墨,美意識 등에 반영되어 나타났으며, 상의 서예의식은 서예 敎育方法과 目的에 나타나고 있다. 상의적인 서예 교육 방법론에는 그들의 독특한 勉學論과 學書論으로 나타났고, 이것은 결국 높은 자각을 바탕으로 예술적 창조성을 지향한 新意論으로나타났다.

Sadaebu (Scholar-bureaucrats) of the Song Dynasty, going through the era of Five Dynasties in the later Tang Dynasty, began to give a new meaning to the declined calligraphy and promoted a kind of revival movement. Such an effort was made by Yangsu Gu and Yang Chae and groups of people and literary men who followed their knowledge. They believed that calligraphy would realize their spirits and ideas. Like the Kyongryok Junghakundong (慶曆正學運動: a movement for which held onto the academic legitimacy of Confucianism) of the Injongjo period greatly revived Sung Confucianism, calligraphy of the Song Dynasty, as well, raised a new signification at this time; it was given a new cultural attribute and generated a new aesthetic function. Such calligraphy in the Song Dynasty had characteristics as sangui calligraphy (尙意calligraphy: calligraphy that expresses the artist's idea, emotion, and aesthetic desire as well as its own visible beauty). Sadaebu, with their own methods and objectives of training to realize such sangui calligraphy, pursued peculiar calligraphy education which could show their ideological identity and artistic ideal. The education of such sangui calligraphy during the era of North Song Dynasty changed from the normal method to the sangui calligraphy and sadaebu of the Song Dynasty's constant, intentional and certain intellectual taste was reflected greatly in the calligraphy education. Their sangui mentaliTy was reflected in the style of writing, lines of letters, rules of phrases, pen and ink, and aesthetic consciousness, etc. and sangui calligraphy mind was reflected in the education method and objectives. The sangui calligraphy methodology has its own theologies of Myeonhak(勉學) and Hakseo(學書) and this, after all, appeared as theodicy which pursued the artistic creativity based on high level of perception.