‘캘리그라피’ 현상의 서예사적 타당성 고찰

Abstract

CIt has been more than 20 years since calligraphy appeared in our society. Compared to the history of Chinese character calligraphy over 2,000 years and the development and refinement of Korean calligraphy over 500 years, calligraphy's artistic experience is insignificant, and it is thought that it has yet to show mature works. However, sometimes it is not without fresh attempts and achievements that are different from traditional calligraphy. Looking back on the history of calligraphy in detail, there have been considerable changes, but it cannot help but admit that it is not enough to adapt to culture and art in the 21st century. Therefore, in this paper, we looked for the possibility of transforming into fresh calligraphy by recalling the 'cagliography phenomenon' that has already occurred and is progressing considerably in a positive manner. First, the phenomenon of calligraphy is deeply related to the trend of postmodernism that respects digital civilization, disintegration, convergence, and individual sensibility. Second, by examining the form of Latin calligraphy for alphabetic characters, which are phonetic symbols similar to Hangul, we examined whether it was possible to benchmark the formative method of Hangul. Third, we looked at the transition process of Chinese characters, the prototype of calligraphy and the model of Hangeul calligraphy, and found similar events to the Korean calligraphy phenomenon in the process, and exemplified works published in the modern era that seem to be related to the calligraphy phenomenon. Fourth, by examining the transition process of Hangul itself and comparing the structure of Hangul itself with the structure of Chinese characters, the weaknesses and tasks of supplementing Hangul calligraphy as a formative art were presented. Fifth, both Chinese character calligraphy and Hangeul calligraphy suggested the necessity of horizontal writing methods in art, as in everyday activities, in order to secure the contemporaryity of art. Calligraphy as a formative art for characters requires securing the autonomy of sculpture based on the premise of character and formability collateral. For this, some readability and formulation are also required. However, if art does not capture the culture and sensibility of the times, its existence itself may be threatened. Calligraphy is digitally literate and postmodernist, which is ‘fashion’ and in the contemporary culture in the soil grew and grew up and think. ‘fashion’ Iran, evidence of practice with evidence of an era gongtonggam. It is these new era of ‘Calligraphy of the status quo’ in terms of a fresh set of calligraphy instant messaging, calling for.