圓嶠 李匡師의 서예론 일고

Abstract

This is a comparative study on each theory of calligraphy of the leading calligraphists in the 18th century such like Wongyo Gwang-sa Lee(1705～1777) and this research is purposed to define each theory of calligraphy with their respective personality. Kwang-sa Lee had completed his style by understanding the importance of researching on the various monuments done by xi-zhi Wang(王羲之). As part of emphasizing the revival of xi-zhi Wang style, hestudied the basic of calligraphy earlier and wrote calligraphy that can be a match for that of xi-zhi Wang. Although he took example by xi-zhi Wang, he had studied on the various stone monument of Han(漢) and Wei(魏) dynaste faithfully, who were the grounds of the style and worked on the conventional patterns and the strength in it to accomplish his own unique Wongyo style(圓嶠體). His style contains simple but sharp ethics in it and features thin squares and hemistiches mainly revealing the loftiness of a classical scholar. The calligraphy in the 18th century mostly features the styles of xi-zhi Wang as Kwang-sa Lee practiced his style based on xi-zhi Wang collections and created his own Wongyo style(圓嶠體) by individualizing the styles of ji-chang Dong. The theory of calligraphy by kwang-sa Lee features a method of creating a new style by studying the old styles and patterns and imitating them externally. He stressed that in calligraphy, one has to be detail and complete and if he studies the ethics and spirit shown in the collections of the old styles and reaches to the point of understanding them fully, he can achieve his own new style escaping from simple imitation. This is his theory that says ‘study on the old styles to create a new style’. Each theory of Kwang-sa Lee and their achievement of new calligraphy styles have brought out the glorious days for the calligraphy in the 18th century. They took xi-zhi Wangas the chief model for them to study on and accomplished the new calligraphy styles of their own by reviving the old styles with creativity and new spirit. Their independent art activities have led de-standardization, de-regularization and de-formalization out of the conventional viewpoints that used to emphasize the outward rules and formality in calligraphy and they suggested a new viewpoint of aesthetics focusing on the importance of the mind of calligraphist and that was a huge change in the viewpoint of aesthetics in the late Chosun dynasty. Likewise, each one of them achieved genuine creativity and spirit of Chosun in their calligraphy works through their theories such as ‘study the old styles to create a new style’