唐宋시기 顔眞卿의 영향력에 관한 연구

Abstract

The stature of Yan Zhenqing (709-785) in Chinese calligraphy has been progressively elevated over the years. There were three stages of development during the Tang-Song period, the late Ming dynasty, and the Qing dynasty. During the Tang-Song period, Yan Zhenqing's character was revered, and with the emergence of epigraphy studies in the late Ming and Qing dynasties, his calligraphy gained significant influence. The artistic influence of his calligraphy and its social impact worked together to establish Yan Zhenqing's high status in his time. This paper focuses on the Tang-Song period and discusses Amy McNair's perspective on Song dynasty calligraphy, specifically her reverence for Yan Zhenqing, in her work "Zhongzheng Zhi Bi". The paper draws meaningful conclusions as follows. Firstly, the reverence for Yan Zhenqing traces back to the late Tang dynasty. After the An Lushan Rebellion, the aristocrats of that time showed interest in "Zhongzheng" and incorporated it into calligraphy. Secondly, the reverence of Song literati for Yan Zhenqing continued the discourse of the contemporary aristocrats, emphasizing "the person" rather than "the writing" itself. Thirdly, the elevation of Yan Zhenqing's calligraphy status is closely related to structural changes within the literati group. The view that Song literati regarded Yan Zhenqing's calligraphy as the highest form was greatly exaggerated by later generations. Through this study, we aim to understand the causes and changes in the increasing influence of Yan Zhenqing during the Tang-Song period. We welcome readers' valuable feedback on any shortcomings in this paper.