Pub Date : 2023-03-31DOI: 10.19077/tsoc.2023.42.11
Jing Ting
The topic of modern calligraphy has been a heated topic of discussion in recent years. Modern calligraphy goes against the traditional aesthetic of calligraphy and is seen as simply copying Western abstract art theory. There are many opposing views that claim modern calligraphy is not true calligraphy. However, modern calligraphy is not only calligraphy, but also a highly artistic form of calligraphy. Modern calligraphy is rooted in tradition and not simply copying Western art theory and forcing it into calligraphy. Calligraphers have developed a unique artistic language through folk calligraphy. This article focuses on the study and discussion of the view that modern calligraphy is the inheritance and innovation of the writing nature and the principle of dialectical unity in traditional calligraphy. The practice achievements of modern calligraphy are analyzed from two aspects: ink art and calligraphy art. The chapter on ink art mainly refers to Western painters who are influenced by traditional Eastern ink art elements and embody them in their works. The chapter on calligraphy art analyzes and demonstrates the innovations of modern calligraphy from two aspects: spatial art practice and writing art practice. By analyzing innovative modern calligraphy works, the artistic features of exaggerated letterforms, expressive self-spirit, and the expressive process of writing are revealed. The research concludes by recognizing the development direction and significance of modern calligraphy. 关于现代书法，是近些年一直讨论非常火热的话题。现代书法违背了传统书法的审美观，现代书法完全照搬西方的抽象画艺术理论，现代书法不是书法等等反对观点层出不穷。现代书法不仅是书法，而且是艺术性较高的书法。现代书法植根于传统，并不是完全照搬西方艺术理论，生搬硬套在书法上，书家们通过民间书法，生发出独特艺术语言的书法风格。本文立足于现代书法是对传统书法书写性与对立统一规律的继承与创新这一观点展开研究与论述，从水墨艺术和文字艺术两方面分析现代书法的实践成果，水墨艺术这一章节主要是指受东方的传统水墨艺术元素影响的西方画家在作品中，对东方水墨元素的体现；文字艺术这一章节从空间艺术实践和书写艺术实践两个方面分析论证现代书法的创新之处，通过创新的现代书法作品分析出现代书法的具有字形的夸张性、自我精神的表现性和书写过程的表现性的艺术特征，通过研究认识到现代书法发展方向与存在的意义。
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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.2022.41.07
Eun-A Kim
This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to DongWon embraces such art-philosophical leveled question as ‘Where did Seo and Hwa come from’, which shows the art spirit and aesthetic goal of the literary noblemen who approached the creation of Seo and Hwa. Such thoughts also contain the idea that painting works must be expressed with YongPil (用筆: ways of brushing) and PilEui (筆意: intention of brushing) of calligraphy in order to fully realize the art world sought for by the literary noblemen. First of all, in this aspect, it is required to analyze what kind of art calligraphy is in aesthetic and philosophical viewpoints in order to correctly understand the thoughts of DongChe, DongChul, DongWon and DongBeop (書畵: Calligraphy and painting are same in rules of creating works). In the Chinese history of SeoHwa (Calligraphy and Painting), creation of every piece of work begins from drawing a stroke. The commonness between Seo and Hwa and SeoHwaHyoNeungIlCheSeol (書畫效能一體說: the theory that Seo and Hwa have same effect) argued by Shí Tāo (石濤) based on his IlHoikRon (一劃論: the theory of one stroke) emphasized that every painter must learn the calligraphic principle for actual art creation activity. Looking into the relation between calligraphy and painting with consideration of such emphasis, it is desirable to create painting pieces using PilHoik (brush and stroke) of calligraphy. That is, the thoughts of DongChe, DongChul, DongWon and DongBeop are thought to be as same as the philosophical thoughts related with use of one stroke. In the tendency of art creation, calligraphy has CheeDoSeol (取道說: the theory of taking truth) leveled art spirit with which the artist must take the principle of truth in metaphysical aspect and set such truth as the base of calligraphy. Such CheeDoSeol based calligraphic forms are related with the thought of GwanMulCheeSangRon (觀物取象論: the theory of taking forms by viewing things), which causes artists to give painting leveled meaning to the character forms and fonts simply showing why painting must take PilBeop (rules of brushing) and PilEui of calligraphy. In such aspects set forth above, therefore, this article looks into how the theories of Seo and Hwa have been established and transited in relation with the perception of calligraphy and painting in the Chinese history of Seo and Hwa in the viewpoints of IlHoikRon, SeoHwaHyoNeungIlCheSeol, CheeDoSeol, metaphysical perception of call
{"title":"Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon","authors":"Eun-A Kim","doi":"10.19077/tsoc.2022.41.07","DOIUrl":"https://doi.org/10.19077/tsoc.2022.41.07","url":null,"abstract":"This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to DongWon embraces such art-philosophical leveled question as ‘Where did Seo and Hwa come from’, which shows the art spirit and aesthetic goal of the literary noblemen who approached the creation of Seo and Hwa. Such thoughts also contain the idea that painting works must be expressed with YongPil (用筆: ways of brushing) and PilEui (筆意: intention of brushing) of calligraphy in order to fully realize the art world sought for by the literary noblemen. First of all, in this aspect, it is required to analyze what kind of art calligraphy is in aesthetic and philosophical viewpoints in order to correctly understand the thoughts of DongChe, DongChul, DongWon and DongBeop (書畵: Calligraphy and painting are same in rules of creating works). \u0000In the Chinese history of SeoHwa (Calligraphy and Painting), creation of every piece of work begins from drawing a stroke. The commonness between Seo and Hwa and SeoHwaHyoNeungIlCheSeol (書畫效能一體說: the theory that Seo and Hwa have same effect) argued by Shí Tāo (石濤) based on his IlHoikRon (一劃論: the theory of one stroke) emphasized that every painter must learn the calligraphic principle for actual art creation activity. Looking into the relation between calligraphy and painting with consideration of such emphasis, it is desirable to create painting pieces using PilHoik (brush and stroke) of calligraphy. That is, the thoughts of DongChe, DongChul, DongWon and DongBeop are thought to be as same as the philosophical thoughts related with use of one stroke. \u0000In the tendency of art creation, calligraphy has CheeDoSeol (取道說: the theory of taking truth) leveled art spirit with which the artist must take the principle of truth in metaphysical aspect and set such truth as the base of calligraphy. Such CheeDoSeol based calligraphic forms are related with the thought of GwanMulCheeSangRon (觀物取象論: the theory of taking forms by viewing things), which causes artists to give painting leveled meaning to the character forms and fonts simply showing why painting must take PilBeop (rules of brushing) and PilEui of calligraphy. \u0000In such aspects set forth above, therefore, this article looks into how the theories of Seo and Hwa have been established and transited in relation with the perception of calligraphy and painting in the Chinese history of Seo and Hwa in the viewpoints of IlHoikRon, SeoHwaHyoNeungIlCheSeol, CheeDoSeol, metaphysical perception of call","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"19 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":"130509020","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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