A Study on the Status of Korean Calligraphy in Toegye Yi Hwang's Calligraphy Aesthetics

Abstract

In the history of calligraphy in the Joseon Dynasty, the 16th century is meaningful in that there were various calligraphy styles besides Wang Xizhi’s calligraphy style and Zhaomengfu’s calligraphy style. Before and after Lee Hwang was alive, there were calligraphers such as Kim Gu, Seongsuchim, Hwang Gi-ro, Yang Sa-eon, and Han Ho. Each of them unfolds a variety of calligraphy styles based on their artistry, and from the perspective of calligraphy aesthetics, it is necessary to pay attention to Lee Hwang’s calligraphy aesthetics. This is because Lee Hwang understood calligraphy in the Joseon Dynasty in terms of ‘painting of the heart’ and ‘painting with calligraphy works’ based on the new Confucianism. Lee Hwang is not considered a famous calligrapher when discussing at a technical level. Lee Hwang is not considered a famous calligrapher when discussing at a technical level. The reason why Lee Hwang was established as a calligrapher is that he unfolded a world of calligraphy creation in which his knowledge and character were combined. Lee Hwang’s evaluation of calligraphy was based on ethics rather than art understood at the technical level. This tells us that Lee Hwang’s studies and art are one. The results of Lee Hwang’s calligraphy creation are evaluated as ‘stiff, robust, upright, and solemn’. Applying this to the philosophy raised by Lee Hwang, the idea that ‘when reason works, energy follows’ is a result of art. In addition, it is the result of Lee Hwang’s philosophy of ‘catch respect’. As such, Lee Hwang’s perception of art that all art should be art on which reason worked emphasizes the calligraphy trend developed by Wangxizi and others. In addition, it develops as a reason for criticizing Zhaomengfu and Zhangbi. The key to Lee Hwang’s evaluation of Zhaomengfu and Zhangbi was that they did not understand the reason properly and worked on art creation. Both Zhaomengfu and Zhangbi. belong to the failure to properly operate the calligraphic meaning of ‘the right law of the heart’ and ‘respect’ in New Confucianism. In addition, it belongs to ignoring the right law and the old law and operating it arbitrarily. If the Korean calligraphy history is identified at an aesthetic level, the calligraphy aesthetics raised at the level of ‘catch respect’ and ‘picture of the mind’ presented a typical example of calligraphy aesthetics that Confucian scholars of the Joseon Dynasty later sought. In this regard, there is a historical significance in Korean calligraphy.