퇴계 서예의 중화미 고찰

Abstract

Toegye emphasized restoration from the Songseol Style which was settled as Gukseo Style at the time to Wang Hee-ji Style. The elegance of Wang Hee-ji calligraphy was expressed as moderation of aesthetic style, embodiment of Sinocentrism, the reconciliation of Jangbep (overall atmosphere of calligraphy, the elegant, majestic and elegant structure and method of frame, and the gentle and soft Sinocentric beauty of dots and strokes. The reason, that Wang Hee-ji was revered as a calligraphic saint and his calligraphy adored as a standard, was the Sinocentric beauty, neither intense nor intimidating. As a Confucian scholar, Toegye laid out the graceful and orderly world of calligraphy based on the Sinocentric beauty in calligraphy of Wang Hee-ji. Gyeong(keeping balance of the mind not to be dispersed), the Toegye's life view, is revealed in his calligraphy. In the state where the mind is settled, the Sinocentric beauty which is neat, graceful and orderly based on Gyeong can be seen. Also there is Hwahaedaedae (becoming companions and opponents at the same time) in his calligraphy. In other words, various elements which are discriminatory contradictions and opponents harmonize with each other, resulting in a total refinement and not losing individual subjectivity. There are various contents of beauty in harmony and unification. The Sinocentric beauty is the beauty of life. When practicing the morality of Sinocentrism, all things of heaven and earth will be held in place and grow, being filled with vitality. There is such a active Sinocentric beauty in which vividness does not stop in Toegye's calligraphy. Therefore, there is the Sinocentric beauty which does not get distorted or biased in Toegye's calligraphy. He contacted the calligraphy in everyday life with his mind full of morality and virtue. In that way, the calligraphic work as purposiveness of non-finality was naturally created.