『宣和書譜』에 담긴 帝王들의 서예심미관
Emperors’ Calligraphic Aesthetics Reflected in Xuanhe-Shupu
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참고문헌
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초록
This study is to research the collection ‘Xuanhe-Shupu’ that shows the twelve emperors’ calligraphic perspectives, calligraphic aesthetics reflected in their handwritings and calligraphic styles and cultural trends in respective eras. The collection contains comments on 197 historic calligraphers’ handwritings a total of 1,240 copybooks printed from the works of 197 historic calligraphers and their biographies, in addition to the twelve emperors’. It deals with historic calligraphers’ aesthetics, from Zhang Zhi (the Eastern Han dynasty (25-220)) to Cai Bian (the Northern Song dynasty), and contains the list of their scrapbooks, which enable readers to get a sense of their characters, eruditions, accomplishments, originality and aesthetical potentials. The collection ‘Xuanhe-Shupu’ shows that all the twelve emperors tried to analyze realistic systems and perspectives and to put them to theories, policies and practical uses. Emperor Taizong of Tang, who was determined to put them to policies, is the representative emperor. He politically systematized calligraphic theories, which well provides a look at the face of his will to artistic policy. Add to that, he founded a royal archive (Hongwenguan) as part of promoting calligraphic culture. It implies that his reign and cultural policy aimed to engage intellectuals and popularize culture and art. In particular, he went after ideal aesthetics, following the artistic spirits of previous generations, and as a result could have unique aesthetics, which could not be possible without outstanding calligraphers, writers and critics such as Yu Shinan, Zhu Suiliang and Wei Zheng. Besides, he carried various reforms into effect in the multicultural society of those days. He was instructed in how to do away with old-fashioned customs and to set up new systems without big backlashes. The collection ‘Xuanhe-Shupu’ contains diverse calligraphic works of different epochs made by emperors, poets, nobles, civil ministers, military officials, monks, ascetics and even barmaids and nuns. It exemplifies the artistic theory of Xuanhe-Shupu, i.e., to wise the ways of the world presented by intellectuals, and to engage men of ability, character, erudition and accomplishment as part of cultural and artistic policies. For instance, in Xuanhe-Shupu it is written that Yan Zhenching’s loyalty is beyond compare and wordly-wise; to be specific, a person’s measure is taken with his intellectual capacity and loyalty. The same applies to calligraphers introduced in Xuanhe-Shupu. To give an example, Zhuge Liang, Li Bai and Bai Juyi had renown for a politician, a writer and a poet respectively, but in the collection they are classified as calligraphers of different epochs. The reason why it makes much of their erudition, character, cultural sensibility and accomplishment is to aggressively body out human’s creative thinking and aesthetical potential associated with intellectual capacity and pursuit of beauty.
Abstract
This study is to research the collection ‘Xuanhe-Shupu’ that shows the twelve emperors’ calligraphic perspectives, calligraphic aesthetics reflected in their handwritings and calligraphic styles and cultural trends in respective eras. The collection contains comments on 197 historic calligraphers’ handwritings a total of 1,240 copybooks printed from the works of 197 historic calligraphers and their biographies, in addition to the twelve emperors’. It deals with historic calligraphers’ aesthetics, from Zhang Zhi (the Eastern Han dynasty (25-220)) to Cai Bian (the Northern Song dynasty), and contains the list of their scrapbooks, which enable readers to get a sense of their characters, eruditions, accomplishments, originality and aesthetical potentials. The collection ‘Xuanhe-Shupu’ shows that all the twelve emperors tried to analyze realistic systems and perspectives and to put them to theories, policies and practical uses. Emperor Taizong of Tang, who was determined to put them to policies, is the representative emperor. He politically systematized calligraphic theories, which well provides a look at the face of his will to artistic policy. Add to that, he founded a royal archive (Hongwenguan) as part of promoting calligraphic culture. It implies that his reign and cultural policy aimed to engage intellectuals and popularize culture and art. In particular, he went after ideal aesthetics, following the artistic spirits of previous generations, and as a result could have unique aesthetics, which could not be possible without outstanding calligraphers, writers and critics such as Yu Shinan, Zhu Suiliang and Wei Zheng. Besides, he carried various reforms into effect in the multicultural society of those days. He was instructed in how to do away with old-fashioned customs and to set up new systems without big backlashes. The collection ‘Xuanhe-Shupu’ contains diverse calligraphic works of different epochs made by emperors, poets, nobles, civil ministers, military officials, monks, ascetics and even barmaids and nuns. It exemplifies the artistic theory of Xuanhe-Shupu, i.e., to wise the ways of the world presented by intellectuals, and to engage men of ability, character, erudition and accomplishment as part of cultural and artistic policies. For instance, in Xuanhe-Shupu it is written that Yan Zhenching’s loyalty is beyond compare and wordly-wise; to be specific, a person’s measure is taken with his intellectual capacity and loyalty. The same applies to calligraphers introduced in Xuanhe-Shupu. To give an example, Zhuge Liang, Li Bai and Bai Juyi had renown for a politician, a writer and a poet respectively, but in the collection they are classified as calligraphers of different epochs. The reason why it makes much of their erudition, character, cultural sensibility and accomplishment is to aggressively body out human’s creative thinking and aesthetical potential associated with intellectual capacity and pursuit of beauty.
참고문헌 (128)
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- "歷代諸帝: 觀其批張九齡表․賜裴耀卿詩, 與夫嘉賓之勑․ 五王之贊, 議者言其豐茂英特, In 宣和書譜 卷1"
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- "歷代諸帝: 肅宗早歲時, 明皇爲選佳士如賀知章等, 侍讀左右, 氣味漸摩, 曾非一日, In 宣和書譜 卷1"
- "歷代諸帝: 肅宗以子職侍東宮, 方溫凊定省間, 得無過庭之訓? 是宜行書亦有家法, 而其氣韻與能字者爭衡也, In 宣和書譜 卷1"
- "歷代諸帝: 即位之明年, 遣韋見素迎上皇自蜀還京, 使明皇感悟, 自謂“吾始得爲天子父, 不其美歟?” 其盛德成功, 雖未足以比跡湯武, 而至於削平禍亂, 再造唐室, 亦傑然用武之君. 是以郭子儀․李光弼之徒, 真天下豪傑之士, 功名爲中興第一, 皆肅宗善將將而能禦之要, 知英主自有真也, In 宣和書譜 卷1"
- "歷代諸帝: 侍讀左右, 氣味漸摩, 曾非一日. 又當明皇在禦,以行書․八分․章草書爲時矜式, In 宣和書譜 卷1"
- "歷代諸帝: 聰明寛厚, 喜怒不形於色, 好學強記, 深於易象, In 宣和書譜 卷1"
- "歷代諸帝: 宵旰之暇, 留心翰墨, 於行書益工. 大抵有唐自太宗以還, 世相祖襲, 至代宗家學未墜. 論其筆力, 則非有太宗․明皇超邁之氣, 然亦 有足觀者. 今及見者, <春日雨晴燕諸王>與夫<秋中月夜>之詩, 筆法勁媚, 尚可以 追配昔人云, In 宣和書譜 卷1"
- "新唐书卷6: 代宗之时, 馀孽犹在, 平乱守成, 盖亦中材之主也", ~
- "歷代諸帝: “初在宗藩, 譽望已著. 性識強敏, 一經於目, 往往不待學而能. 其所以自任者, 亦複如此, In 宣和書譜 卷1"
- "歷代諸帝: 故群臣章奏來上, 皆即批答, 筆無滯思, 翰墨落落可觀. 大抵唐以文皇喜字書之學, 故後世子孫尚得遺法. 至於張官置吏以爲侍書, 世不乏人, 良以此也, In 宣和書譜 卷1"
- "歷代諸帝: 齒胄之年, 便爲統帥. 既總萬幾, 頗勵精治道, 思前王能事, 以壯大猷, In 宣和書譜 卷1"
- "歷代諸帝: 性嚴重寡言, 宮中以爲不慧. 然精於聽斷, 而專事明察, 其所以黜陟臣下, 皆出於已, In 宣和書譜 卷1"
- "歷代諸帝: 故諸宗承襲太宗之學, 皆以翰墨流傳, 至宣宗複以行書稱, 蓋其典刑猶在也, In 宣和書譜 卷1"
- "歷代諸帝: 爲人明倩, 多喜作書字, In 宣和書譜 卷1"
- "歷代諸帝: 觀其以<衣襟書>賜鏐,, 當時不能無意. 其書雖不稱於世, 而興複之志於斯可見矣, In 宣和書譜 卷1"
- "歷代諸帝: 新史貶而傳之, 舊史以謂窮妖白首, 良以爲訓, In 宣和書譜 卷1"
- "歷代諸帝: 武則天順聖皇后武氏諱曌, 幷州文水人, 凜凜英斷, 脫去鉛華脂韋氣味, 椉高宗溺愛而窺覦竊起, In 宣和書譜 卷1"
- "歷代諸帝: 當時臣下奏章與天下書契, 鹹用其字. 然獨能行於一世, 而止唐之石刻載其字者, 知其在則天時也. 雖然, 亦本於喜作字.…… 自此筆力益進, 其行書駸駸稍能有丈夫勝氣, In 宣和書譜 卷1"
- "歷代諸帝: 駕馭英雄, 使人人各爲其用, 不旋踵踝移唐室, In 宣和書譜 卷1"
- "歷代諸帝: 梁太祖朱氏諱溫, 批答賀表行書字體, 雖純熟, 然乏氣韻. 當是筆吏所書, In 宣和書譜 卷1"
- "歷代諸帝: 方時溫以唐之臣子, 盜竊神器, 故多引瑞物爲受命之符, In 宣和書譜 卷1"
- "歷代諸帝: 梁末帝諱瑱, 太祖溫第四子也, 以唐文德元年生於東京. 美容儀, 爲人沈厚, 未嘗妄語言, 喜與聞人儒士遊, In 宣和書譜 卷1"
- "歷代諸帝: 瑱無他伎, 喜弄翰墨, 多作行書批勅, 大者或近盈尺. 筆勢結密, 有王氏羲․獻帖法, 流傳到今, 覽之便知, 非侍書者所能及也, In 宣和書譜 卷1"
- "歷代諸帝: 周世宗, 柴氏, 諱榮, 睿武孝文皇帝太祖聖穆柴后之侄也. 丱歲事君後以孝謹聞, 太祖愛之, 及長, 委以主器之重, 乃克負荷. 迨其繼明在禦, 因任舊臣, 相與紹述前烈, 增大基構, In 宣和書譜 卷1"
- "歷代諸帝: 故宜神武之略, 氤氳盤磚發於筆端, 其運用處, 自己過人遠甚. 觀<賜張昭詔>, 有行書法, 亦可見其略也, In 宣和書譜 卷1"
- "歷代諸帝: 然以優勤得之, 以佚樂棄之, 其後東西分裂而爲兩晉, 後世論優劣, 鹹自武帝始, In 宣和書譜 卷1"
- "歷代諸帝: 夫可謂繼志述事之主. 然以優勤得之, 以佚樂棄之, In 宣和書譜 卷1"
- "歷代諸帝: 毅然爲一代祖, 豈齪齪戲弄筆墨之末以取勝者. 惜乎不克終譽, 而信賈充之言, 舍衛瓘之忠, 不爲經遠計以貽翼子, 故爲有爲者之所痛恨也, In 宣和書譜 卷1"
- "歷代諸帝: 司馬氏執魏國威柄. 凡三世矣, 至武帝時神器始歸之. 獨江左有吳後附皓者, 擅五十九年之業, 一旦用王浚, 唾手而得, 故天下始一於晉, In 宣和書譜 卷1"
- 曹文柱, "西晉前期的黨爭與武帝的對策", 北京師範大學學報, 5, pp.44~51 (1989)
- 郭魯鳳, "中國書藝80題", pp.41~45 (1997), 동문선
- "歷代諸帝: 庶幾成康, 夫可謂近古之英主, In 宣和書譜 卷1"
- "歷代諸帝: 太宗乃以書師世南, 然嘗患戈腳不工. 偶作‘戩’字,遂空其落戈, 令世南足之, 以示魏徵. 徵曰“今窺聖作, 惟‘戩’字戈法逼真.” 太宗嘆其高於藻識, 然自是益加工焉, In 宣和書譜 卷1"
- "歷代諸帝: 世南既亡, 以褚遂良侍書, 凡人間所上羲之帖, 惟遂良究其真贗, 故所學尤勝, In 宣和書譜 卷1"
- "歷代諸帝: 複善飛白, 一日宴三品以上於玄武門, 作飛白以賜, 臣下椉酒爭取, 以爲娛樂. 置弘文館, 選貴遊子弟有字性者, 出禁中所藏書令斆學焉. 海內有善書者, 亦許遣入館. 由是十年間, 翕然向化, In 宣和書譜 卷1"
- "歷代諸帝: 考其出新意持臆說, 增減前人筆畫, 自我作古爲十九字, In 宣和書譜 卷1"
- 孟子, "萬章章句, 頌其詩, 讀其書, 不知其人, 可乎. 是以論其世也是尙友也", ~
- "忠貫白日, 識高天下, In 宣和書譜 卷3"