한글 궁체의 서예사적 의미에 관한 소고

서지정보

ㆍ발행기관 : 동아시아문화학회 ㆍ수록지정보 : 동아시아문화와예술 / 6권
ㆍ저자명 : 정헌이

목차

I. 머리말
II. 궁체의 형성과정
1. 궁체 이전의 한글 서체
2. 궁체의 발생
3. 궁체의 정착 및 확산
III. 궁체의 정체성
1. 궁체는 ‘한국적’ 서체인가
2. 궁체는 ‘여성적’ 서체인가
IV. 맺음말: 궁체는 ‘예술적’ 서체인가

한국어 초록

한글 서예의 기원으로서의 최고판본은 1446년 훈민정음 반포와 함께 만들어진 <훈민정음해례>이다. 한글 서예는 훈민정음 반포 당시의 이 판각체에서 비롯하여 550여년이 흐르는 동안 점차 쓰기에 편한 필사체로, 더 나아가 보고 감상하기에도 아름다운 다양한 한글 서예체로 변화 발전하였다. 이 글에서는 한글 서예의 변천 과정에서 한글의 대표적인 서에체로 자리잡은 궁체의 한국 서예사적의미와 그 예술적 가치를 살펴보고자 한다.

영어 초록

As invented phonetic characters for recording oral Korean, Hangeul was created in 1446 by King Sejong and his royal scholars, disseminated among the people who did not receive
a formal Confucian education. Although King Sejong wanted to communicate directly with his people, the gentleman intellectuals and officials repudiated Hangeul as “women’s letters from the very beginning. The first Hangeul calligraphy style, gungchae was gradually developed by court ladies who had to record their daily duties in letters. This article pays attention to the process of gungche’s development from the court ladies’ writing style to its establishment as a representative calligraphic style of Hangeul .Because Hangeul was regarded as a language for women and laymen, Hangeul calligraphy could not achieve the highly aesthetic quality of Chinese calligraphy according to the general rationale of the intellectuals of the Joseon dynasty. Yet, not only royal families, but also the gentlemen intellectuals used Hangeul
when they had to send letters to their wives, or when they enjoy writing lyric poem.
It is interesting that scholars who studied Hangeul calligraphy made every effort to designate these early Hangeul letters by royal family and gentlemen intellectuals as the origin of gungchae style. It is because they wanted to connect gungche with the great tradition
of calligraphic style which is originated from China. Compared with Chinese characters, which are ideographic, the phonological, alphabetic characters of Hangeul are limited in quantity and
restricted in physical shape. The fact that Hangeul characters do not have much plastic variety gives some substance to the critique. In this article, I don’t try to “de-feminize” gungchae . Accepting the historical situation, we can still discuss gungchae ’s identity as a calligraphic style. Gungchae was in women’s everyday life; in their memoranda, diaries, letters, and storybook copies. Rather than just mimicking Chinese style, these court ladies developed a certain calligraphic style which is proper to Hanguel, the formal structure of which is quite different from Chinese. Studies on calligraphy has been restricted to tracing the stylistic connection. The practice of calligraphy is not limited to purely aesthetic domain, but
expands to vast areas of social, political, and cultural struggle.

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