조선 유학자들의 서예인식에 관한 연구

Abstract

This article illuminates the relevance of the academic propensity of Korean Confucian scholars and the recognition of calligraphy. In other words, I understood what the calligraphic essence of the calligraphic viewpoint is and the calligraphic aesthetics of the calligraphy based on that perception. The scholars of the Joseon dynasty understand calligraphy in conjunction with the theory of mind and mind. Due to the neo-philosophical theory, Toegye Lee Hwang has assumed the essence of calligraphy, which is the conduit of Yuga, which is ultimately consistent with the attitude of “respect”. Wuam Song Cheol also puts the essence of calligraphy as its essence, while putting the aesthetics that embody the essence into a ‘straight’. The doctors generally recognized that calligraphy was the embodiment of the law of mind, and as a result, they formed the ethical calligraphy of the people’s righteous sentence. The practitioners of Joseon recognize calligraphy from a cosmological point of view as a philosophical point of view, or in connection with self-interest, essence, and truth based on realistic spirit. Although Okdong Isa succeeded the calligrapher of Toegye, he approaches the essence of calligraphy in a metaphysical way in terms of 『周易』. Leegye Hong Yang-ho is able to understand the essence of calligraphy as a reason for deviating from the thought of the present. Park Ji-won also recognized that calligraphy is a new form of expression and emotional expression based on the thought of mutation. Dasan Jung Yak-yong emphasizes overly idealistic and ideological trends in the paintings as a sickness and a realistic expression of the original and the spirit of the times. The calligraphers’ perception of calligraphy has been shifted from the existing science-centered aesthetics to the energy-centered aesthetics. The Yangmyung scholar of Joseon places the source of learning in good conscience and emphasizes the manifestation of subjective mind in calligraphy. Lee Kwang-sa stated that calligraphy is a realization of the true law of self-calmness. On the other hand, Chanam Lee Sam-man, who maintained the old-fashioned reason, regarded the calligraphy as the absolute level of selflessness which is beyond the extreme of all laws. Such a bilingual study. It is said that the tentative reason is to deviate already from the prevailing ethical calligraphy recognition and to aim for the emotionalism aesthetic. In this way, Joseon Confucian scholars can understand the ethics of calligraphy by linking academic thought and calligraphy. Expressed various views of artistry. Through this, it can be seen that Korean calligraphers have not developed uniformity but developed various perceptions and aesthetics.