明代 法帖의 국내 전래와 수용 양상

Abstract

This paper has an intention of understanding the background on which Ming period's model calligraphic works albums were introduced into Joseon and the aspects in which they was received. Ming period's model calligraphic works albums have very important meaning in connection with the development of calligraphy in Joseon as well as Chinese dynasties because the albums pertain every aspect of the works of each period's calligraphy masters and the change of calligraphic styles, at the same time, showing the fact that the calligraphic works of Two Wang (Wang Yi Zhi (王羲之) ㆍ Wang Xian Zhi (王獻之)), the father and son, had been respected through all periods. As there are not many documentary records about the introduction courses, it is currently impossible to know the detailed context. However, most of albums were purchased through private tours or envoy trips. Ming period's model calligraphic works albums were usually come in without big time difference. They were closely related with Joseon's calligraphic styles that were popular during certain time or created big sensation. Such situations show that Ming period's model calligraphic works albums had influenced significantly on the formation of Joseon's calligraphic styles. In early period, government had pushed forward publication business laying the promotion basis of album publication and diffusion. Thereafter, the types of album became diverse as private individuals copied from and published the albums. Calligraphers of Joseon, besides copying after the albums for training calligraphy, made the copy versions of albums and made out textbooks by engraving the copy versions on stone and wood. Such an aggressive attitude toward album study served as the first step of the album filled with the works of Joseon's own masters. Various albums of domestic masters functioned as textbook as well as played an important role for the appearance of many calligraphic styles in later ages.