現代 中國 書藝 現狀 -三人의 中靑年 作家를 중심으로-

Abstract

The calligraphy environment of modern China is very different from the survival environment of traditional calligraphy. The use of pencils and ballpoint pens and strong writing instruments did not make use of brushes anymore. By this way, the calligrapher became distant from everyday life and modern people could not understand calligraphy. Second, calligraphers in the traditional society were classmates with Moonji, whereas calligraphers of modern times were weakened by Moonji. Third, the form of traditional calligraphy is not suitable for expressing contents of modern poetry. Therefore, a new format for modern poetry should come out, but there are still no successful cases. According to the change of calligraphy environment described above, the viewpoint of calligraphy also changed a lot. Third, the form of traditional calligraphy is not suitable for expressing contents of modern poetry. Therefore, a new format for modern poetry should come out, but there are still no successful cases. According to the change of calligraphy environment described above, the viewpoint of calligraphy also changed a lot. From a macro perspective, it is a linear development. In addition to the development of the calligraphic context in which the fonts and westerly winds change with time, the calligraphy is aimed at positioning itself in line with other contemporary art genres such as painting, architecture, sculpture, and design. Calligrapher Baeja calligraphy, which belongs to a piece of contemporary art, also wants to accept beneficial elements that can develop from other art genres such as painting, architecture, sculpture, and design. Likewise, calligraphy will also influence its own value and merit in other art genres such as its own technique and reasoning. In this way, calligraphers are expected to actively participate in developing contemporary art and contemporary culture while mutually complementing other artistic genres. If we do this, the value of modern Chinese calligraphy will be far greater than traditional calligraphy. From a microscopic standpoint, the viewpoint of modern calligraphy is getting deeper. The minimum unit of traditional calligraphy appreciation method was the appreciation of 'single letter'. On the other hand, modern calligraphy appreciation method is moving toward 'divided minimum space'. This transition of view seems to be a small change, but the transition of this appreciation mode can be a big step to discover contemporary calligraphy in traditional calligraphy. This paper divided the present situation of modern Chinese western world into three categories: succession and deepening of tradition, creation of new western style through negotiation with new genre, and pioneering new calligraphy world beyond the limits of traditional calligraphy. The object was divided into three groups of calligraphers, who were born in the 1960s and later became the 40s and 50s, and they have illustrated and illustrated each three representative artists.