KCI등재후보
高麗末 李巖의 書藝世界 : 『送李愿歸盤谷序』 帖을 中心으로 = The Calligraphic World of Yi Am : with Emphasis Album of Song Yi W n kwiban-goks
저자
발행기관
학술지명
권호사항
발행연도
1994
작성언어
Korean
KDC
609
등재정보
KCI등재후보
자료형태
학술저널
수록면
41-67(27쪽)
제공처
소장기관
The sast decades of the Koryperiod constituted a crucial turning point in the history of Korean calligraphy. The calligraphic style of Chao Ming-fu introduced from Yûan China in the period was a refined style that served as a fresh shock to the calligrapher of Kory, and was received by the emerging Koryliterati believing in Neo-Confucianism as suitable to express their new consciousness and spiritual state.
In calligraphy of Chinese Characters a new technique means a new linear rendition, a linear rendition being a way of abstract expression of one's inner consciousness. Yi Am(李’ 1297∼1364 ; penname : Hyang ch'on) was a master of the calligraphic style of Chao Meng-fu known as Songsl style after Chao's penname. Yi's calligraphic style was different from that of his contemporaries, and he had the reputation of being the secend best Korean calligrapher after Kim Saeng(金生) of Shilla.
Until very recently his extant calligraphic works were Munsu-sachanggyng-bi(文殊寺藏經碑) which is an inscription on stone, and Kwallan-Jngskkak(觀瀾亭石刻), Kogumbpchp(古今法帖), Ch'orokwanju(草露寬珠), Haedongmyongj k(海東名蹟), Tae-dongsbp (大東書法) and Tonggukmyngp'il(東國名筆), which are all inscriptions on wooden panels. It has been recently learned that the library of Yamaguchi Women's University in Japan has two calligraphic works by Yi. As most of these works are from his 30s and after, they were not very helpful for learning about Yi's style in his 20s when he introduced Songsl style to Kory . (Written sources mention that Yi was an active calligrapher at the time of the introduction of Songsl style.)
Fortunately, what appears to be the first inscription on wooden panels of Yi's Song Yi Wn kwiban-goks (送李愿歸盤谷序) has been discovered recently, providing us with reliable material to study his style at the time of the introduction of the songsl style.
In his 20s Yi wrote such works as Tonggukmyngp'il before the introduction of the Songsl style, Kwallan-jngs kkak which began to show the influence of Songsl style and Song Yi Won kwiban-gokso rendered under the influence of Songsl style, and in his 30s Yi left Munsu-sachanggyeng-bi, and in his 40s Yi did Haedongmyngjok and Taedongsbp to establish his own style which was an evolution from Songsl style. Two calligraphic works entitled Ch'unu(春雨) and Togang(渡江) are from his 50s and after. Before his exposure to the Songsl style Yi's brushstrokes and arrangement of radicals of Chinese characters were rather stark and meticulous. Yi's style in his 20s, or the early period when he was exposed to Songs l style, was warm and soft, closely resembling the Chinese master's technique. Yi's calligraphy in his 30s, or the middle period, indicates that while under the influence of the Songs l style he was developing his own firm strokes. The works in the late period, meanwhile, show that Yi Am was free the from the Songs l style and that the his style was generous and yet forceful. Yi's style in this period marked the beginning of the "Koreanized Songs l style" In his last period Yi Am's calligraphic works grew even more forceful. It may be said that these changes reflected the shift in the spiritual emphasis of the Korean people from the generous and merciful Buddhist values to the rigorous and disciplined Neo-confucian values and the ensuing changes in the aesthetic sense. The new calligraphic style may be said to reveal partly the aesthetic sensibility of the literati at the time.
Song Yi W n kwiban-goks extensively dealt with in this paper is presumed to be a work of Yi's 20s and is a reliable source for illustrating more clearly the process of the introduction of the Songs l style to Korea. The work shows a style that is characterized by aesthetically attractive brushstrokes generous use of space and a dignified air of refinement. It also reflects the influence of Wang Hsi-Chih(王羲之)
and Chu Yang-shun(歐陽詢).
In conclusion speaking, Yi Am's gentle yet forceful calligraphy of high refinement indicate characteristics of the late Kory period when the Song l style was introduced and that his style began the Koreanized Songs l style. In Korean calligraphic history Yi Am is significant as the calligrapher who successfully expressed the aes thetic sensibility of the newly emerging literati of the late Kory period and as the calligrapher whose tradition needs to be inherited and transcended for the further development of Korean calligraphy.
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