고려 서예문화의 유가미학적 탐구

Abstract

In an aspect of calligraphic history, it is noticeable that calligraphers were hired as low-ranking government official in Goryeo Dynasty and that Myeongseoeop (明書業: job to investigate letters), one of civil service examinations for technical post was adopted to investigate letters and calligraphy. There was Seohakbaksa (書學博士, doctor of calligraphic study) in Seonggyungwan (national school of Goryeo) as an institution to foster them and in every government office, there were governmental scribes in charge of description including Seoryeongsa (書令史), Seoye (書藝), Siseoye (試書藝) and Seosu (書手). Such a complete system served as catalyst for generalization of calligraphy and the term 'calligraphy' was first used that period. It was Goryeo Dynasty when letters were not only regarded as tools for handwriting but they were recognized as 'art of writing.' There is a considerable amount of epigraphs in particular, which was based on Confucian order. As values in Confucian scriptures were emphasized at the national level, epigraphs widely spread and it was relevant to social ideas to encourage Confucian ideology. Therefore, epigraph calligraphy of Goryeo Dynasty is reflection of Confucian culture in Goryeo as well. Poetry and prose of Goryeo reflected the then calligraphic culture and Lee In-bok and Baek Mun-bo proved through poetry that King was excellent in painting and calligraphy and with a keen interest in them, King promoted generalization of calligraphy and painting. Lee Saek defined 'Four Art (四藝)' as 'Keumkiseohwa (琴碁書畵, geomungo, baduk, calligraphy and painting) among our custom and he considered calligraphy a universal form of art among the elite. Jeong Mong-ju expressed the importance of right mind to the then calligraphic trend biased to formative beauty and emphasized the spirit of loyalty with serving but one king through calligraphy. Yim Chun and Lee Je-hyeon thought that one's calligraphic style reflected his character with perspectives of 'Seosanggiyin (書象其人: letter forms arising out of the person)' and 'Seowisimhua (書爲心畵: letter to paint the mind).' In other words, they perceived calligraphic in a Confucian aesthetic frame by emphasizing self-cultivation rather than artistry. Such perception was somewhat affected by the literary taste like 'Sangui (尙意, respect for emotional expressions)' and 'Sinui (新意, originality)' in Song Dynasty which put emphasis on lyricism. In other words, it was recognized that there was a correlation between letters and calligrapher's nature and that Confucian aesthetic thinking which regarded self-cultivation as important was reflected. In addition, Lee Gyu-bo stressed Sinui and his comment on calligraphic style was based on Song's tendency of Sangui, putting emphasis on calligrapher's nature and mind and will. Lee In-ro took letters' Sinui as standard for criticism and deepened exploration in the essence of calligraphy by applying neo-Confucian theory of 'Li-yi-fen-shu (理一分殊, unity in diversity) to calligraphic theories. He particularly compared and criticized Chinese and our calligraphy, which instilled national pride. In other words, though the trend that stressed Song's Sangui and Sinui had a lot of influence on Goryeo calligraphy, it has significance in that excellence of independent calligraphic culture was perceived beyond that category.