최흥효崔興孝와 15세기 서단書壇

Abstract

The major subject of this study is Choi Heunghyo(崔興孝, c. 1370~d. after 1452), a prominent Korean calligrapher in the early 15th Century. With his outstanding cursive style, he was praised as the great calligrapher along side of Yi Yong(李瑢) the Grand Prince Anpyeong, the representative of the semi cursive style. Focusing on the calligraphy world during the early 15thcentury, when the calligraphy style of Zhao Mengfu(趙孟頫) of Yuan dynasty, known as pain-snow calligraphy style, was not yet widely disseminated in Korea, this thesis aims to examine the feature of the transition period in Korean calligraphy history. The transitional phenomenon epitomized in Choi Heunghyo’s works. The earlier studies on the calligraphy world in the late Goryeo and early Joseon periods and in the 15th century focused on the pine-snow calligraphy style in particular among the various calligraphy styles which were introduced from the Yuan dynasty during the late Goryeo period. And these studies made a generalization error to ascribe varied styles of those times to the pine-snow calligraphy style only. Analyzing Korean model calligraphy albums of all time as well as royal orders(王旨) and royal instructions(敎旨), this study illuminates that in the early 15th century, when not only Zhao Mengfu’s style but also Yuan dynasty calligraphy styles of Xian Yushu(鮮于樞) and Kangli Naonao (康里巎巎) were in wide currency in Korea. Especially this study revealed that Choi Heunghyo’s cursive writing as the expression of his far-outness and free vigor was broadly influenced by the style of Kangli Naonao on the base of traditional styles. Like the old story that the two Jin(晉) dynasty calligraphers Yu Yi(庾翼) and Wang Xizhi(王羲之) was used to be compared with each other, Choi’s handwriting often compared with that of Grand Prince Anpyeong. And even Choi Heunghyo was mentioned in relation to Yu Yi, who has no connection whatever with Choi. It is regarded as the result of exclusive understanding in the mainstream of Korean calligraphy world which persists in pine-snow calligraphy style which is followed by the attempt to place the Grand Prince Anpyeong’s writings with good command of pine-snow calligraphy style on the equivalence of typical model of Wang Xizhi’s style.