秋史 書法正統觀의 筆法的 考察

Abstract

Chusa frequently mentioned about such keywords for succession of the authentic calligraphy as Yeseo (square block style calligraphy), tombstone calligraphy during Six Dynasties, Jongyo/Sakjeong/Wang Hui-ji, Ku Yang-soon and Jeo Soo-ryang in various parts of his 'Literary Collection.' From these keywords, the researcher could gain an insight into a deep relation between these keywords and his calligraphic style or 'Chusa style.' and thus, attempted to understand the ground and background for his calligraphic style. In particular, the researcher focused on 'naeyeop' and 'oetak' or the keys to his calligraphic style to understand his style. Chusa style may well be characterized in terms of form by elegant and powerful brush strokes, and hence, the outer blocks tend to be converged into the center. Such convergence is well featured in Yeseo and tombstone calligraphy during Six Dynasties - both of which formed the background for Wang Hui-ji style regarded by Chusa as calligraphic pr ogenitor - and Ku Yang-soon's style inheriting the core of Wang Hui-ji style. Such characteristics are formed primarily by 'naeyeop.' Then, it can be inferred that Chusa regarded 'naeyeop' as authentic calligraphy. The reason why he sticked to Wang Hui-ji was because Wang had inherited Northern School, while he had belonged to Southern School. Thus, Wang Hui-ji style was regarded ideal by Chusa who attempted to combine textbook calligraphic familiar to him with form and energy of tombstone calligraphy. In other words, Chusa wanted by combining Southern School calligraphy familiar to him with the tombstone calligraphy of Northern School during Six Dynasties to recover Wang Hui-ji's original calligraphy through Yeoseo which had been developed before the division. In addition, as a Confucian scholar, he wanted through calligraphy to realize his ideal of practicing 'sincerity' through cultivation of personality not deceiving his self ego.'