芸楣 민영익의 서예

Abstract

Unmi Min Yeong-Ik(芸楣 閔泳翊, 1860-1914) used various types of script in his calligraphy, however, the "running" script(行書) takes the most part of his works, with "clerical" script(隸書), "regular" script(楷書), "cursive" script(行草), and Korean script taking the rest. His Calligraphy works number fewer than his paintings. But, because we can make out the production year of his calligraphy through inscription(題跋) and seals(印章) on his paintings, we can attempt a chronological division of his callgraphy. Accordingly, I divided his "running" script(行書) calligraphy into three periods; the early period(前期, 1878-1890), the mid period(中期, 1890-1900), the later period(後期, 1890-1914년). I also examined his "clerical" script(隸書) and "regular" script(楷書). First, the "running" script of his early period when he was active as government official in Joseon, is closely related to that of Kim Jeong-Hui(金正喜) which was prevalent in 19th century. His calligraphy was strongly affected by that of his father Min Tae-Ho(閔台鎬) and Shin Wi(申緯). both of whom followed in the style of Kim Jeong-Hui. Besides, he accepted the calligraphic style of such Chinese calligraphers as Zheng Xie(鄭燮) and Tung Qi-Chang(董其昌). His seals used on his paintings and calligraphy works are Unmi(‘雲楣’), Unmi(‘芸楣’), Min Yeong-Ik(‘閔泳翊’), etc. His mid period corresponds to the time when he frequented China. Accordingly, his style reflected both the styles of the late Joseon Dynasty and that of the late Ch'ing Dynasty. This is the period he began associating with the calligraphers of the Shanghai school, and his calligraphy style showed more diversity. While maintaining the influence of the "running" script style of his father, Min Tae-Ho, his works show stylistic relations with that of Liu Yong(劉墉) and He Shao-Ji(何紹基) who studied the calligraphic style of Yan Zhen-Qing(顔眞卿), as well as Qian Feng(錢灃). Specially, we can give attention to the inscriptions(題跋) in the style of Zhu Yun-Ming(祝允明). His seals on paintings and calligraphic works were diversified into Min Yeong Ik(‘閔泳翊’), Juk On(‘竹韞’), Seok On(‘石韞’), Gyun Seok(‘筠石’), Cheonsimjukjae(‘千尋竹齋’), etc. which are different from those used in his early period. As he associated with the calligraphers of the Shanghai School, he acquired many seals from them as gift and used them. His "running" script in the later period are works done after he settled down at Cheonsimjukjae, his residence in Shanghai(上海). And he used seals like Su Seok Jeong(‘藪石亭’), Won Jeong(‘園丁’), and Cheonsimjukjae(‘千尋竹齋’), etc. in his works. However, his calligraphy works number fewer than other periods, and it is difficult to make a detailed examination of his style. Although Min Yeong-Ik associated closely with such leading artists of the Shanghai School as Wu Chang-Shuo(吳昌碩) and Pu Hua(蒲華), his paintings and calligraphic works are surely different from theirs. Even though the Shanghai School gave great jnfluences on the art of modern Japan and Korea, Min Yeong-Ik who was the core mediator between Joseon and China, was not much affected by its style.. Lastly, I considered his "clerical" script and "regular" script. His "clerical" script reflects the influence of the Kim Jeong-Hui school prevalent in Joseon in his time. His "regular" script followed the style of Yan Zhen-Qing and that of He Shao Ji that were widely popular in China at that time. Because Min Yeong-Ik was not a professional calligrapher, his calligraphy works are few in number and did not have much influence on later calligraphers. Thus, a study of his calligraphy is meaningful in that it helps a better understanding of his world of painting.