This paper examines Pal Ha's calligraphy theory and calligraphic spirit as portrayed in his work featured in 『Pilgam』. I would like to replace the conclusion by synthesizing what was discussed in the main body. First of all, as a professional calligrapher who worked in the Daegu calligraphy circle, he learned calligraphy from Changam in his youth, and was also an early teacher of Seokjae Seo Byeong-oh who is the renovation of Daegu literary painting, and is considered the origin of Daegu calligraphy in the 20th century. Pilgam was compiled to convey to his son Gyeong-soon, and is a rare professional calligraphy theory book in the late Joseon Dynasty. It comprehensively covers Palha’s calligraphic theories from basic techniques of one-stroke technique and Eight Principles of Yong (永字八法) to writing method, brushstroke method, letter closing method, ink usage, theory on copying practice with classics, theory on calligraphic font and the like along with appendices of Seobeopwonin (書琺原因), Jegapumpyeong (諸家品評, criticism on calligraphic masters) and his copying practice of 「Jinchocheonmun (眞草千文)」. The theory on calligraphic technique on 『Pilgam』 classified and examined one-stroke technique, Eight Principles of Yong, writing method, brushstroke method and letter closing method and the gist is as follows. The one-stroke technique and Eight Principles of Yong facilitated studying calligraphy (學書) with illustrations and metaphorical explanations with natural objects. The writing method stressed control of five fingers (指實), space given to the palm (掌虛), lifting the elbow (縣腕) and standing of a brush (管直). The brushstroke method placed much value on hiding of brush tip (藏鋒) and the principles of ‘movement inevitably followed by halt (無垂不縮)’ and ‘coordination of the top and the bottom (承上接下).’ The letter closing method put emphasis on harmony of sparseness and denseness (疏密) and untrimmedness (參差). The calligraphic view on 『Pilgam』 classified and examined theory on copying practice with classics, theory on calligraphic font and theory on criticism and the gist is as follows. The copying practice with classics emphasized academic attitude of learning strong points and supplementing weak points (取長補短) along with notions that one should establish a system for Lishu by using Zhuanshu; that for Xingshu by using Kaishu and; that for Caoshu through Caoshu written by Zhangzhi. As demonstrated above, 『Pilgam』 pursued the theory on calligraphic technique based on classical theories for learning calligraphy including one-stroke technique, Eight Principles of Yong and writing method and the calligraphic view of creating new by learning from the past (法古創新) and learning strong points and supplementing weak points (取長補短). Palha’s such calligraphic theory would be a proper guideline for calligraphic researchers as the basis for calligraphic study and creation.
{"title":"A Study on the Calligraphy Spirit of Palha in 『Pilgam』","authors":"Jiyoung Jeong","doi":"10.19077/tsoc.2023.42.2","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.2","url":null,"abstract":"This paper examines Pal Ha's calligraphy theory and calligraphic spirit as portrayed in his work featured in 『Pilgam』. I would like to replace the conclusion by synthesizing what was discussed in the main body. \u0000First of all, as a professional calligrapher who worked in the Daegu calligraphy circle, he learned calligraphy from Changam in his youth, and was also an early teacher of Seokjae Seo Byeong-oh who is the renovation of Daegu literary painting, and is considered the origin of Daegu calligraphy in the 20th century. \u0000Pilgam was compiled to convey to his son Gyeong-soon, and is a rare professional calligraphy theory book in the late Joseon Dynasty. It comprehensively covers Palha’s calligraphic theories from basic techniques of one-stroke technique and Eight Principles of Yong (永字八法) to writing method, brushstroke method, letter closing method, ink usage, theory on copying practice with classics, theory on calligraphic font and the like along with appendices of Seobeopwonin (書琺原因), Jegapumpyeong (諸家品評, criticism on calligraphic masters) and his copying practice of 「Jinchocheonmun (眞草千文)」. \u0000The theory on calligraphic technique on 『Pilgam』 classified and examined one-stroke technique, Eight Principles of Yong, writing method, brushstroke method and letter closing method and the gist is as follows. The one-stroke technique and Eight Principles of Yong facilitated studying calligraphy (學書) with illustrations and metaphorical explanations with natural objects. The writing method stressed control of five fingers (指實), space given to the palm (掌虛), lifting the elbow (縣腕) and standing of a brush (管直). The brushstroke method placed much value on hiding of brush tip (藏鋒) and the principles of ‘movement inevitably followed by halt (無垂不縮)’ and ‘coordination of the top and the bottom (承上接下).’ The letter closing method put emphasis on harmony of sparseness and denseness (疏密) and untrimmedness (參差). \u0000The calligraphic view on 『Pilgam』 classified and examined theory on copying practice with classics, theory on calligraphic font and theory on criticism and the gist is as follows. The copying practice with classics emphasized academic attitude of learning strong points and supplementing weak points (取長補短) along with notions that one should establish a system for Lishu by using Zhuanshu; that for Xingshu by using Kaishu and; that for Caoshu through Caoshu written by Zhangzhi. \u0000As demonstrated above, 『Pilgam』 pursued the theory on calligraphic technique based on classical theories for learning calligraphy including one-stroke technique, Eight Principles of Yong and writing method and the calligraphic view of creating new by learning from the past (法古創新) and learning strong points and supplementing weak points (取長補短). Palha’s such calligraphic theory would be a proper guideline for calligraphic researchers as the basis for calligraphic study and creation.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"44 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131356706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As the main representatives of calligraphy aesthetic activities, ancient Chinese intellectuals used Chinese characters as the medium to promote the continuous development of this unique oriental aesthetic characteristic of calligraphy. Ancient intellectuals understood the dialectical thinking of philosophy in the Qin Dynasty, and the literary and artistic thoughts in many famous works and the literary theories of the past dynasties even indirectly or directly shaped their aesthetic concepts of calligraphy. The philosophical concepts and philosophical categories in ancient Chinese classics have played a leading role in the construction of contemporary Chinese calligraphy aesthetics. It can be said that the aesthetics of ancient intellectuals is the original category of all art, and current calligraphy scholars should fully absorb and learn from it. Therefore, the construction of the discipline system of Chinese calligraphy aesthetics is particularly important for learning from ancient calligraphy aesthetics. The current aesthetics of calligraphy is different from the powerful scientific cognition system in the West. There are still many problems in the construction of aesthetics of Chinese calligraphy. The accurate construction of aesthetics of calligraphy requires not only a clear understanding, but also a deep understanding of ancient Chinese knowledge systems and literati traditions. Developed under the aesthetic consideration of calligraphy, and based on the integrated humanistic knowledge system, this is the only way to truly establish the current calligraphy aesthetics construction towards discipline and theory. In recent years, Chinese calligraphy scholars tend to interpret Chinese calligraphy art within the framework of Western culture, and are relatively lacking in understanding the depth of aesthetic concepts and artistic conception of Qin Dynasty philosophy, lacking in depth and breadth. This paper focuses on the construction of the discipline of Chinese calligraphy aesthetics, and analyzes the “gain and loss” of the academic tendency of Chinese calligraphy aesthetics, which is of great significance. 中国古代士人作为书法审美活动的主体，他们以汉字为媒介，推动着这一独具东方美学特色的书法艺术不断向前发展。古代士人深谙先秦哲学的辩证思维，诸思想名著中的文艺思想和历代文论更是间接或直接的塑造了他们的书法审美观念。中国古代先秦典籍中的哲学观念和哲学范畴更是对当下中国书法美学的建构起到了高屋建瓴的思想引领，可以说先秦士人审美观是一切艺术的元范畴，当下的书法学者应当充分的吸收、借鉴。因此，中国书法美学的学科体系建构对于借鉴古代士人传统下的书法审美观尤为重要。当下书法美学不同于西方强大的科学认知体系，中国书法美学建构仍存在着诸多问题，对当下书法美学的准确建构不仅要有清醒的认知，而且必须在深入了解中国古代知识系统和士人传统的审美观照下开展，并以浑融一体的人文知识系统为主，这才是真正确立当下书法美学建构走向学理化的必经之路。近年来，中国的书法学者倾向于以西方学问的框架诠释中国书法艺术，对于领悟先秦哲学的审美观念深度和意境内涵相对匮乏，缺少深度和广度。本文围绕中国书法美学学科的建设问题，充分分析了中国书法美学学术性倾向的“得失”，具有重要意义。
{"title":"Pros and Cons and Reflections on the Construction of Contemporary Calligraphy Aesthetics from the Perspective of Ancient Scholars","authors":"Zheng Chang, H. Kou","doi":"10.19077/tsoc.2023.42.9","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.9","url":null,"abstract":"As the main representatives of calligraphy aesthetic activities, ancient Chinese intellectuals used Chinese characters as the medium to promote the continuous development of this unique oriental aesthetic characteristic of calligraphy. Ancient intellectuals understood the dialectical thinking of philosophy in the Qin Dynasty, and the literary and artistic thoughts in many famous works and the literary theories of the past dynasties even indirectly or directly shaped their aesthetic concepts of calligraphy. The philosophical concepts and philosophical categories in ancient Chinese classics have played a leading role in the construction of contemporary Chinese calligraphy aesthetics. It can be said that the aesthetics of ancient intellectuals is the original category of all art, and current calligraphy scholars should fully absorb and learn from it. Therefore, the construction of the discipline system of Chinese calligraphy aesthetics is particularly important for learning from ancient calligraphy aesthetics. The current aesthetics of calligraphy is different from the powerful scientific cognition system in the West. There are still many problems in the construction of aesthetics of Chinese calligraphy. The accurate construction of aesthetics of calligraphy requires not only a clear understanding, but also a deep understanding of ancient Chinese knowledge systems and literati traditions. Developed under the aesthetic consideration of calligraphy, and based on the integrated humanistic knowledge system, this is the only way to truly establish the current calligraphy aesthetics construction towards discipline and theory. In recent years, Chinese calligraphy scholars tend to interpret Chinese calligraphy art within the framework of Western culture, and are relatively lacking in understanding the depth of aesthetic concepts and artistic conception of Qin Dynasty philosophy, lacking in depth and breadth. This paper focuses on the construction of the discipline of Chinese calligraphy aesthetics, and analyzes the “gain and loss” of the academic tendency of Chinese calligraphy aesthetics, which is of great significance. \u0000中国古代士人作为书法审美活动的主体，他们以汉字为媒介，推动着这一独具东方美学特色的书法艺术不断向前发展。古代士人深谙先秦哲学的辩证思维，诸思想名著中的文艺思想和历代文论更是间接或直接的塑造了他们的书法审美观念。中国古代先秦典籍中的哲学观念和哲学范畴更是对当下中国书法美学的建构起到了高屋建瓴的思想引领，可以说先秦士人审美观是一切艺术的元范畴，当下的书法学者应当充分的吸收、借鉴。因此，中国书法美学的学科体系建构对于借鉴古代士人传统下的书法审美观尤为重要。当下书法美学不同于西方强大的科学认知体系，中国书法美学建构仍存在着诸多问题，对当下书法美学的准确建构不仅要有清醒的认知，而且必须在深入了解中国古代知识系统和士人传统的审美观照下开展，并以浑融一体的人文知识系统为主，这才是真正确立当下书法美学建构走向学理化的必经之路。近年来，中国的书法学者倾向于以西方学问的框架诠释中国书法艺术，对于领悟先秦哲学的审美观念深度和意境内涵相对匮乏，缺少深度和广度。本文围绕中国书法美学学科的建设问题，充分分析了中国书法美学学术性倾向的“得失”，具有重要意义。","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122272961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.19077/tsoc.2022.41.02
M. Jo
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.
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Pub Date : 2022-09-30DOI: 10.19077/tsoc.2022.41.08
Xiao-yu Wang
During the Song Dynasty in which Cai Xiang lived, Confucian ideology formed a powerful force in both public and private life. His calligraphy thought was also deeply influenced by this ancient philosophy, ethics and educational concept. Taking Confucianism as the starting point, this paper attempts to examine the influence of Confucianism on Cai Xiang's calligraphy thought and calligraphy creation. In the study of Cai Xiang's calligraphy thought, if it is only discussed from the simple aspect of calligraphy, it will inevitably be incomplete. Calligraphy is a unique art gradually conceived and developed in the soil of traditional culture. As a scholar-bureaucrat deeply influenced by Confucianism, Cai Xiang's calligraphy thought must have a profound and intricate relationship with Confucian cultural thought. From the perspective of Confucianism, to examine Cai Xiang's calligraphy thought and to seek the correlation among them can make Cai Xiang's image of a literati calligrapher more three-dimensional and comprehensive.In the thesis, relying on the evaluation of Cai Xiang's calligraphy by contemporaries and later generations, it illustrates Cai Xiang's position in the history of calligraphy and the rationality of his calligraphy thought from the side. Relying on Cai Xiang's own calligraphy theory, we then examine the meaning and value contained in his calligraphy thought. The paper mainly involves several parts: First of all, in the context of the sluggish calligraphy circle in the early Song Dynasty, Cai Xiang's advocacy of "methodology" and "ancient meaning". It makes the development of calligraphy in the early Song Dynasty to undertake the main line of Jin and Tang Dynasties again and return to Daotong. Secondly, while attaching importance to the value of "methods" in calligraphy, Cai Xiang also emphasized the pursuit of "charm" and "spirit" in calligraphy works. Personality spirit and artistic spirit are always complementary and unified in traditional aesthetics. The pursuit of "Charm" and "Spirit" is also a manifestation of the pursuit of the harmonious and unified realm of human and artistic environment. Thirdly, the inheritance and innovation of calligraphy under the thought of "Zhizhonghe". In his calligraphy theory, Cai Xiang showed his traditional Confucian mentality of "Zongyong" aesthetics, and at the same time, he highly praised the ideal realm of the beauty of neutrality in Wei and Jin calligraphy. Cai Xiang's grasp of the common laws of different calligraphic styles is also the embodiment of the Confucian "neutralization" thought in his creative practice. Cai Xiang completes his own personality cultivation in the seemingly contradictory but complete and unified calligraphy thought and creative practice. It is also the "unbiased" style of his calligraphy that established his key position in the calligraphy circle of the mid-Northern Song Dynasty. 蔡襄所生活的宋朝时期，儒家意识形态在公共和私人生活领域形成一股强大力量，其书学思想也深受这种古代哲学伦理和教化观念观的影响. 本文以儒家思想作为切入点，试图考察儒学对于蔡襄书学
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Pub Date : 2022-09-30DOI: 10.19077/tsoc.2022.41.09
H. Sur
The purpose of this research is to find out what strategies Chinese artist Wenda Gu (1955~) used to build awareness in the international art world and China. In the early 1980s, the trend of modern Western philosophy and modern art flowed into China following the wave of China's reform and opening up. In addition, global interest in Chinese contemporary art is increasing. Amid this trend, the 85 New Wave, which called for the modernization of Chinese art, served as a turning point in history as a major event that revealed its presence in the global art world. In this study, Wenda Gu, a leading Chinese avant-garde writer, examined the significance of the 85 New Wave through analysis of his work as a person who participated in the 85 New Wave. The 85 New Wave is a kind of cultural movement in which young artists, including Wenda Gu, try to reform Chinese society and art through art, and this completely changed the trend of modern Chinese art. In order to investigate Wenda Gu art strategy, he first visualized China's turbulent political and economic situation, and then went to the U.S. to grasp the characteristics of the expansion of the art world and internationalization factors that enabled artists to succeed. It can be seen that he incorporated elements of traditional Chinese culture into his works and actively utilized elements of literati culture in his works. This study is meaningful because it aims to present another perspective on his work based on his attitude change using traditional Chinese cultural elements depending on his position in China and international art circles.
{"title":"A Study on the Art Strategy of Wenda Gu","authors":"H. Sur","doi":"10.19077/tsoc.2022.41.09","DOIUrl":"https://doi.org/10.19077/tsoc.2022.41.09","url":null,"abstract":"The purpose of this research is to find out what strategies Chinese artist Wenda Gu (1955~) used to build awareness in the international art world and China. In the early 1980s, the trend of modern Western philosophy and modern art flowed into China following the wave of China's reform and opening up. In addition, global interest in Chinese contemporary art is increasing. Amid this trend, the 85 New Wave, which called for the modernization of Chinese art, served as a turning point in history as a major event that revealed its presence in the global art world. \u0000In this study, Wenda Gu, a leading Chinese avant-garde writer, examined the significance of the 85 New Wave through analysis of his work as a person who participated in the 85 New Wave. The 85 New Wave is a kind of cultural movement in which young artists, including Wenda Gu, try to reform Chinese society and art through art, and this completely changed the trend of modern Chinese art. \u0000In order to investigate Wenda Gu art strategy, he first visualized China's turbulent political and economic situation, and then went to the U.S. to grasp the characteristics of the expansion of the art world and internationalization factors that enabled artists to succeed. It can be seen that he incorporated elements of traditional Chinese culture into his works and actively utilized elements of literati culture in his works. \u0000This study is meaningful because it aims to present another perspective on his work based on his attitude change using traditional Chinese cultural elements depending on his position in China and international art circles.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"120 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123486181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.19077/tsoc.2022.41.01
Dae-Won Kim
"The Precept for Human Rights of the Seol Clan" by Sun Chang-seol (1429-1508), a government official, is the oldest promotion of virtue text of Joseon left by an individual, and is very meaningful. Soon Chang-seol, a government official, was the first female writer, painter, and calligrapher in Joseon dinasity, 75 years before Sin Saimdang was born. This promotion of virtue text is a valuable artifact of Mrs. Seol's achievements in calligraphy and painting, as well as a measurement and standard of Buddhist culture at that time. Since Joseon was a country where Confucianism was established, officials in the Joseon Dynasty, which was centered on the “godfather of Shinheungsa” criticized Buddhism beyond the criticism of Buddhism by Buddhist Buddhism. However, from “King Taejo”, most of the royal family, including the king were in a position to prevent the abolition of the Buddhist community which caused social problems rather than the policy of deterrence. In particular, during the reign of King Seongjong from King Sejong, where the government, Soon Chang-seol lived, it was friendly to Buddhism, including publishing copies of Buddhist texts such as "Seokbosangjeol" and "Wolincheon Gangjigok." In particular, King Sejo claimed to be a Buddhist disciple and built the “Odaesan Sangwonsa Temple Jungchangwon Gate”, and circulated it to the central government and local officials to raise funds for the reconstruction of the “Sangwonsa Temple”. With this extensive circulation to the "Odaesan Sangwonsa Temple" became a sample of promotion of virtue text which was later produced. And 17 years after this, the "Seol Clan's Human Rights Proposition" is based on the style of “Jo Maengbu” which was popular at the time, and the style of the border line, line, and seal which according to the status of the upper and lower ranks. However, the "Seolsibu Human Rights Proposition" has its own special features, which provide a preview of the temple with its unique narrative style and incredible writing and the first “Cheongnoksan Painting” of the Joseon Dynasty.
{"title":"A Study of the Background in 〈Lady Seol’s Kwonsonmun(薛氏夫人勸善文)〉","authors":"Dae-Won Kim","doi":"10.19077/tsoc.2022.41.01","DOIUrl":"https://doi.org/10.19077/tsoc.2022.41.01","url":null,"abstract":"\"The Precept for Human Rights of the Seol Clan\" by Sun Chang-seol (1429-1508), a government official, is the oldest promotion of virtue text of Joseon left by an individual, and is very meaningful. Soon Chang-seol, a government official, was the first female writer, painter, and calligrapher in Joseon dinasity, 75 years before Sin Saimdang was born. This promotion of virtue text is a valuable artifact of Mrs. Seol's achievements in calligraphy and painting, as well as a measurement and standard of Buddhist culture at that time. \u0000Since Joseon was a country where Confucianism was established, officials in the Joseon Dynasty, which was centered on the “godfather of Shinheungsa” criticized Buddhism beyond the criticism of Buddhism by Buddhist Buddhism. However, from “King Taejo”, most of the royal family, including the king were in a position to prevent the abolition of the Buddhist community which caused social problems rather than the policy of deterrence. \u0000In particular, during the reign of King Seongjong from King Sejong, where the government, Soon Chang-seol lived, it was friendly to Buddhism, including publishing copies of Buddhist texts such as \"Seokbosangjeol\" and \"Wolincheon Gangjigok.\" In particular, King Sejo claimed to be a Buddhist disciple and built the “Odaesan Sangwonsa Temple Jungchangwon Gate”, and circulated it to the central government and local officials to raise funds for the reconstruction of the “Sangwonsa Temple”. \u0000With this extensive circulation to the \"Odaesan Sangwonsa Temple\" became a sample of promotion of virtue text which was later produced. And 17 years after this, the \"Seol Clan's Human Rights Proposition\" is based on the style of “Jo Maengbu” which was popular at the time, and the style of the border line, line, and seal which according to the status of the upper and lower ranks. However, the \"Seolsibu Human Rights Proposition\" has its own special features, which provide a preview of the temple with its unique narrative style and incredible writing and the first “Cheongnoksan Painting” of the Joseon Dynasty.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121243046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.19077/tsoc.2022.41.06
S. Yoo, In-geun Sung
There are two theories about the lyricist of A framed picture written on the south and north sides of Independence Gate. It was written by Lee Wan-yong(1858-1926), who was patriotic but degenerated into a traitor, and by Dongnong Kim Ga-jin(1846-1922), who devoted himself to modernization of Joseon and campaigned for independence until he turned his back on the world. Independence Gate is a national monument modeled after the Arc de Triomphe in Paris in the form of a 14.2m high and 11.48m wide stone gate that greeted the envoys of Cheong since the Independence Association advocated the construction of Independence Gate in 1896. The south side of Independence Gate is engraved in Korean, and The north side is engraved with three letters of Independence Gate in Chinese characters. As both Lee Wan-yong and Kim Ga-jin were known as the best handwritings of the time, it is highly likely that they wrote the compilation of the Independence Gate. In addition, Lee Wan-yong was the chairman of the Independent Association and the foreign minister of the Joseon government at the time of the establishment of the Independent Gate, and Kim Ga-jin was also a member of the Independent Association and a high-ranking official of Joseon. Therefore, it is considered reasonable to interpret the answer to who wrote the compilation of the independent text in a calligraphy manner through the genuine enemies left by Lee Wan-yong and Kim Ga-jin. Therefore, this paper analyzes the calligraphy context of Lee Wan-yong and Kim Ga-jin and the font characteristics of similar handwriting left by them based on two different theories about independent writers.
{"title":"A Study on the Written Writers of Independent Literature","authors":"S. Yoo, In-geun Sung","doi":"10.19077/tsoc.2022.41.06","DOIUrl":"https://doi.org/10.19077/tsoc.2022.41.06","url":null,"abstract":"There are two theories about the lyricist of A framed picture written on the south and north sides of Independence Gate. It was written by Lee Wan-yong(1858-1926), who was patriotic but degenerated into a traitor, and by Dongnong Kim Ga-jin(1846-1922), who devoted himself to modernization of Joseon and campaigned for independence until he turned his back on the world. Independence Gate is a national monument modeled after the Arc de Triomphe in Paris in the form of a 14.2m high and 11.48m wide stone gate that greeted the envoys of Cheong since the Independence Association advocated the construction of Independence Gate in 1896. The south side of Independence Gate is engraved in Korean, and The north side is engraved with three letters of Independence Gate in Chinese characters. \u0000As both Lee Wan-yong and Kim Ga-jin were known as the best handwritings of the time, it is highly likely that they wrote the compilation of the Independence Gate. In addition, Lee Wan-yong was the chairman of the Independent Association and the foreign minister of the Joseon government at the time of the establishment of the Independent Gate, and Kim Ga-jin was also a member of the Independent Association and a high-ranking official of Joseon. Therefore, it is considered reasonable to interpret the answer to who wrote the compilation of the independent text in a calligraphy manner through the genuine enemies left by Lee Wan-yong and Kim Ga-jin. Therefore, this paper analyzes the calligraphy context of Lee Wan-yong and Kim Ga-jin and the font characteristics of similar handwriting left by them based on two different theories about independent writers.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114601578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.19077/tsoc.2022.41.05
Song Han
Among the golden stone gates of the Joseon Dynasty made in Korea, Lee Yun-tak Hangeul Monument in Seoul was produced in 1536, the Hangeul Tombstone in Inheung-gun Cemetery in Pocheon-si, Gyeonggi-do was produced in 1686, and Joryung 'Wildfire Dawn Sim in Mungyeong, Gyeongsangbuk-do, which is presumed to have been made during the reign of King Jeongjo'. There is a stone monument, the Hangeul Monument of Uigoksa Temple in Jinju, Gyeongnam, which has two theories of production date in 1796 and 1916, and the Geochang Hangeul Iron Monument, which was produced in 1879 and is the backside of the Bulmangbi by Kim Gye-jin of Geochang, Gyeongsangnam-do. These five inscriptions are from the 16th to 19th centuries, and are important cultural heritages that allow you to examine the history, society, culture, and art of the Joseon Dynasty in a situation where historical documents in Hangeul are rare. In the Joseon Dynasty, the font style of Hangeul Geumseokmun is similar to the popular font used in the 16th, 17th, 18th, and 19th centuries, respectively, when Hangeul inscriptions appeared. In other words, various fonts of Haerye, Eonhae, and Minche can be found in the Hangeul Geumseokmun. Through this, the golden stone inscriptions of Hangeul in the Joseon Dynasty become an important historical material that cannot be missed in the history of Hangeul calligraphy, and at the same time have an important calligraphic value. In the Joseon Dynasty, Hangeul gold stone inscriptions have sufficient cultural value as historical materials with rarity and specificity only in their material and quantity. Through the contents of Geumseokmun, it was possible to know the language life of the Joseon Dynasty well, and in particular, it has an important historical value in terms of the Korean language through the vocabulary shown in the Hangeul sentences. Also, through the background and purpose of their construction, it can be seen that these inscriptions become an important medium to connect with the social image of the Joseon Dynasty.
{"title":"A Study on the Hangeul Geumseokmun in the Joseon Dynasty","authors":"Song Han","doi":"10.19077/tsoc.2022.41.05","DOIUrl":"https://doi.org/10.19077/tsoc.2022.41.05","url":null,"abstract":"Among the golden stone gates of the Joseon Dynasty made in Korea, Lee Yun-tak Hangeul Monument in Seoul was produced in 1536, the Hangeul Tombstone in Inheung-gun Cemetery in Pocheon-si, Gyeonggi-do was produced in 1686, and Joryung 'Wildfire Dawn Sim in Mungyeong, Gyeongsangbuk-do, which is presumed to have been made during the reign of King Jeongjo'. There is a stone monument, the Hangeul Monument of Uigoksa Temple in Jinju, Gyeongnam, which has two theories of production date in 1796 and 1916, and the Geochang Hangeul Iron Monument, which was produced in 1879 and is the backside of the Bulmangbi by Kim Gye-jin of Geochang, Gyeongsangnam-do. These five inscriptions are from the 16th to 19th centuries, and are important cultural heritages that allow you to examine the history, society, culture, and art of the Joseon Dynasty in a situation where historical documents in Hangeul are rare. \u0000In the Joseon Dynasty, the font style of Hangeul Geumseokmun is similar to the popular font used in the 16th, 17th, 18th, and 19th centuries, respectively, when Hangeul inscriptions appeared. In other words, various fonts of Haerye, Eonhae, and Minche can be found in the Hangeul Geumseokmun. Through this, the golden stone inscriptions of Hangeul in the Joseon Dynasty become an important historical material that cannot be missed in the history of Hangeul calligraphy, and at the same time have an important calligraphic value. \u0000In the Joseon Dynasty, Hangeul gold stone inscriptions have sufficient cultural value as historical materials with rarity and specificity only in their material and quantity. Through the contents of Geumseokmun, it was possible to know the language life of the Joseon Dynasty well, and in particular, it has an important historical value in terms of the Korean language through the vocabulary shown in the Hangeul sentences. Also, through the background and purpose of their construction, it can be seen that these inscriptions become an important medium to connect with the social image of the Joseon Dynasty.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124678872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.19077/tsoc.2022.41.04
Myungho Lim
Park Jega was a scholar and thinker active in the late 18th century of the Joseon Dynasty. Although he never presented a precise painting theory, he said that he has been a painting enthusiast since childhood and continued to enjoy painting even after he grew up. Thus, in this paper, I analyzed his view of the painting by investigating his preface, postscript, and inscribed poem of painting. I briefly summarized Park Jega's view of painting to empty the mind and cultivate nature as follows. First, I analyzed the aspect that he emphasized the form of spirit as an image beyond the image from the stance of focusing on the rhythm of spirit. As a result, Park Jega actively affirmed the value of calligraphy and painting by applying the theory that the boundary of poetry is mutually compatible with that of painting to the creation of calligraphy and painting. He embodied the natural painting will that exudes the spiritual taste of literati painting. Also, he realized the world of describing the thinking while faithfully possessing the formative beauty of resembling the form. Thus, he was faithful to the rhythm of spirit that expresses the image beyond the image. Second, I examined the fact that he created the vitality of the natural taste of nature in terms of the natural spirit. As a result, the emptiness to empty the mind is a premise that can achieve aesthetic communion with external objects and was also related to Park Jega’s open thinking. Since people already have preconceived notions, they should empty their minds before painting. Park Jega called that prejudice Gakmak(角膜). He said people must first remove the Gakmak that blocks them from recognizing beauty as beauty. In short, Park Jega insisted on discarding stereotypes and closely observing objects because people can create a good painting only in an unintentional state to obtain the form of the spirit. We cannot fully comprehend Park Jega's view of painting through the above discussion. It is necessary to have a broad understanding of his worldview and an integrated discussion of his poetry, calligraphy, and painting to understand his view of painting more in-depth.
{"title":"Study on Chojeong Park Jega’s View of Painting to Empty Mind and Cultivate Nature","authors":"Myungho Lim","doi":"10.19077/tsoc.2022.41.04","DOIUrl":"https://doi.org/10.19077/tsoc.2022.41.04","url":null,"abstract":"Park Jega was a scholar and thinker active in the late 18th century of the Joseon Dynasty. Although he never presented a precise painting theory, he said that he has been a painting enthusiast since childhood and continued to enjoy painting even after he grew up. Thus, in this paper, I analyzed his view of the painting by investigating his preface, postscript, and inscribed poem of painting. \u0000I briefly summarized Park Jega's view of painting to empty the mind and cultivate nature as follows. First, I analyzed the aspect that he emphasized the form of spirit as an image beyond the image from the stance of focusing on the rhythm of spirit. As a result, Park Jega actively affirmed the value of calligraphy and painting by applying the theory that the boundary of poetry is mutually compatible with that of painting to the creation of calligraphy and painting. He embodied the natural painting will that exudes the spiritual taste of literati painting. Also, he realized the world of describing the thinking while faithfully possessing the formative beauty of resembling the form. Thus, he was faithful to the rhythm of spirit that expresses the image beyond the image. Second, I examined the fact that he created the vitality of the natural taste of nature in terms of the natural spirit. As a result, the emptiness to empty the mind is a premise that can achieve aesthetic communion with external objects and was also related to Park Jega’s open thinking. Since people already have preconceived notions, they should empty their minds before painting. Park Jega called that prejudice Gakmak(角膜). He said people must first remove the Gakmak that blocks them from recognizing beauty as beauty. In short, Park Jega insisted on discarding stereotypes and closely observing objects because people can create a good painting only in an unintentional state to obtain the form of the spirit. \u0000We cannot fully comprehend Park Jega's view of painting through the above discussion. It is necessary to have a broad understanding of his worldview and an integrated discussion of his poetry, calligraphy, and painting to understand his view of painting more in-depth.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"121 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132731197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.19077/tsoc.2022.41.03
Ji-bok Yoo
Kim-In-hoo wrote the introduction to the Collected Poetry by the Sages of the 1519 Purge. He showed that calligraphy could be a medium for realizing the "Tao" just as the "Writing" was a means of expressing the "Tao". He wrote a "Boating Song of the Nine Bends at Wuyi" by Zhu Xi and wrote an explanation of the poem to his sons-in-law Cho Hee-moon and Yang Ja-jing. The shape of this character is based on the Regular Script of Wang Xizhi, but it is unique that Ahn Jinkyung's style of writing is added. Kim's cursive script is typical of his calligraphy. His cursive script strongly reflects the influence of Zhang Bi, which is close to the wild cursive script. Kim placed importance on the spirit that appears in the handwriting. His vigorous appearance in cursive script express his deviant spirit through cursive script. Jo Hui invited Kim In-hoo, Jeong Sa-ryong, and Shin-jam to his pavilion. At that time, one or two people wrote seven poems for them, which is very sensuous. It has not been revealed so far who wrote it, but it was confirmed that it was a cursive script by Kim. This work remains the only cursive script handwritten by him. Therefore, along with "Thousand-Character Classic in Cursive Style" it is valuable as a representative handwriting of Kim's cursive script.
{"title":"A Study on Calligraphy of Haseo(河西) Kim-In-hoo(金麟厚)","authors":"Ji-bok Yoo","doi":"10.19077/tsoc.2022.41.03","DOIUrl":"https://doi.org/10.19077/tsoc.2022.41.03","url":null,"abstract":"Kim-In-hoo wrote the introduction to the Collected Poetry by the Sages of the 1519 Purge. He showed that calligraphy could be a medium for realizing the \"Tao\" just as the \"Writing\" was a means of expressing the \"Tao\". He wrote a \"Boating Song of the Nine Bends at Wuyi\" by Zhu Xi and wrote an explanation of the poem to his sons-in-law Cho Hee-moon and Yang Ja-jing. The shape of this character is based on the Regular Script of Wang Xizhi, but it is unique that Ahn Jinkyung's style of writing is added. \u0000Kim's cursive script is typical of his calligraphy. His cursive script strongly reflects the influence of Zhang Bi, which is close to the wild cursive script. Kim placed importance on the spirit that appears in the handwriting. His vigorous appearance in cursive script express his deviant spirit through cursive script. \u0000Jo Hui invited Kim In-hoo, Jeong Sa-ryong, and Shin-jam to his pavilion. At that time, one or two people wrote seven poems for them, which is very sensuous. It has not been revealed so far who wrote it, but it was confirmed that it was a cursive script by Kim. This work remains the only cursive script handwritten by him. Therefore, along with \"Thousand-Character Classic in Cursive Style\" it is valuable as a representative handwriting of Kim's cursive script.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"233 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131513603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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