퇴계 태극(太極)에 기초한 서예의 창의·인성교육 시론

Abstract

This study stems from the inquiry into whether character development in calligraphy education can coexist with the creativity demanded by art education, which emphasizes individual expression. The cultivation of a person's character has been a crucial element in the history of calligraphy, often presented as a practical aspect of Confucian self-cultivation theory. With modernization, calligraphy was integrated into the art curriculum, and its role in character education has been primarily understood in terms of temperament changes and improved concentration. However, it is nearly impossible to engage in education that demands the suppression of one's innate disposition. Thus, it is essential to explore whether calligraphy, viewed through the lens of self-cultivation theory, is suitable for contemporary character education and creative arts. To argue that character education through calligraphy is feasible, one must start from the premise that 'human nature is inherently good (性善)'. If human nature is not considered good, the beneficial role of art, including its capacity to heal the human heart, would be fundamentally contradictory. A common learning method in calligraphy education is copy-training, which involves imitating calligraphy albums. The significance of imitation lies in the connection to creative creation. Imitation itself, which tries to resemble only the shape, does nothing to creativity. This study seeks to approach the topic through Neo-Confucianism, specifically Toegye’s Taiji (太極), which develops the theory of human nature in connection with the truth of Heaven. By reassessing the value of character education in calligraphy through the principles of Taiji and the inherent goodness of human nature, and by demonstrating that art which comprehends and follows one's nature is inherently creative, it is believed that the integration of creativity and character education in calligraphy learning can be effectively presented.