18세기 서예론의 배경과 전개양상 일고— 李匡師, 姜世晃, 金相肅을 중심으로 —

Abstract

This is a comparative study on each theory of calligraphy of the leading calligraphists in the 18th century such like Wongyo Gwang-sa Lee(1705~1777), Pyoam Se-hwang Gang (1713~1791), Baewa Sang-suk Kim(1717~1792) and this research is purposed to define each theory of calligraphy with their respective personality. Kwang-sa Lee had completed his style by understanding the importance of researching on the various monuments done by xi-zhi Wang(王羲之). As part of emphasizing the revival of xi-zhi Wang style, hestudied the basic of calligraphy earlier and wrote calligraphy that can be a match for that of xi-zhi Wang. Although he took example by xi-zhi Wang, he had studied on the various stone monument of Han(漢) and Wei(魏) dynaste faithfully, who were the grounds of the style and worked on the conventional patterns and the strength in it to accomplish his own unique style. Se-hwang Gang viewed that the square style is much closer to the semicursive style than cursive style. Also if anyone sticks to only the square style, his style could be stiffened with limited sight, while one who studies the semicursive style will gain extended sight through the flexibility and space perception given by the writing speed. So he believed if one does the square style in the way of the semicursive style, he would secure broad and firm strength in his calligraphy. Therefore Se-hwang Gang claimed that all the calligraphy methods are actually identical and it’s unnecessary to divide between the semicursive style and the cursive style. Sang-suk Kim didn’t imitate other styles but had a thorough research on the collections of yao Zhong(鍾繇) such like xuanshibiao(宣示表), jianjizhibiao(薦季直表), and limingtie(力命帖) by imagining the ancient ethics in those works. At result, he accomplished a style called ‘Jikha’ which has thin and strong writing pattern with less streaks and moderate phrases. His style contains simple but sharp ethics in it and features thin squares and hemistiches mainly revealing the loftiness of a classical scholar.