員嶠 「書訣」에 나타난 書法論에 대한 考察1. 머리말

Abstract

Wongyo, Yi Gwangsa (員嶠 李匡師1705-1777), who was renowned as a best calligrapher in the 18th century, was a philosopher, leading the school of Ganghwa after Hagok, Jeong Ja Doo(霞谷 鄭齊斗), and as a literary man, he was versed in history, graphonomy, phonology, and painting. In addition, he gained his fame as one of 4 calligraphers in the latter period of Chosun dynasty. Like this, Wongyo, Yi Gwangsa, who spent his whole life on calligraphy, compiled calligraphic theory; called「Seogyeol 書訣」that was professionally and systematically organized under the sense of duty in accordance with an era in order to guide junior scholars. The idea of Wongyo, Yi Gwang Sa is reflected in the penmanship of handwriting, which rejects the restraint of nature(執持檢束) and maintains the realization of nature( 活優游潑) by following the school of Ganghwa, putting emphasis on the inside of human beings Wongyo, Yi Gwang Sa, defines that handwriting is fulfilled in the structure based on a style of penmanship and emphasizes the importance of penmanship. However, his basis of handwriting rejects the stereotyped and uniformed (方板一律的)style through pursuing the idiomatic, adamant, and unworldly (蒼勁拔俗)style under the standard of daily basis. That is, as for him, handwriting is not a fixed structure, but it is changed according to spirit. Consequently, we can investigate that the penmanship of Wongyo emphasizes that calligraphy is faithful to its purpose of use and operation if handwriting exhibits individual nature and spirit based on the exact style of penmanship, reveals true character, given by the heaven, and harmony, and subsequently, carry out endless change.