康有爲『廣藝舟雙楫』의 碑學的 基盤 (Foundation of stone scrubbing script of 『Kangyejussangjeub』of Kangyouwei)

서지정보

· 발행기관 : 한국서예학회
· 수록지 정보 : 서예학연구 / 15호 / 199 ~ 227페이지
· 저자명 : 김영배

초록

중국서예사를 일별할 때 남과 북의 차이점을 흔히 南帖北碑라는 말을 한다. 남첩의 중심에 왕희지가 있다면 북비가 융성하게 되는 데는 강유위가 있었다.
강유위는 청나라 말기 ‘戊戌變法’이라 불리는 정치 개혁을 시도했지만 실패하자 남은 생애를 비학 연구와 서예창작에 몰두 한다. 명대까지는 ‘첩학’이 위주였지만 청대가 되면서 금석학이 발달함과 맞물려 포세신은『예주쌍즙』을 저술한다. 강유위는 포세신의 『예주쌍즙』의 기본 사유를 이어받고 ‘정치와 서예는 비슷하다’는 입장에서『광예주쌍즙』을 저술한다.『광예주쌍즙』에서는 ‘變은 하늘의 이치이다’.라고 해서 ‘變’을 강조한다. 서체도 세월이 지나면 변한다는 것을 말한다. 이런 점에서 볼 때 이 책은 강유위의 정치 이상인 ‘變法自疆’을 서예학적으로 置換한 것이라고 수 있다. 청나라 말기 光緖15년(1989) 강유위의『광예주쌍즙』이 출판 되자 비학파의 서예이론은 큰 세력을 얻게 된다. 강유위는 청나라 서예의 발전 과정을 종합적으로 총결 하였고, 포세신과 마찬가지로 帖을 낮추고 碑를 높인다. 『광예주쌍즙』은 각종 비각의 원류와 변천, 풍격의 특징, 소장과 임서 및 기법 경험 등을 조리가 분명하게 논증하였기 때문에 비학이론을 집대성한 것이라고 해도 과언이 아니다. 청대 이전에는 ‘첩학’을 중시 했지만 ‘첩’은 청대에 와서는 여러 번의 復刻으로 인해 진본을 볼 수가 없어져 진본에 가까운 ‘碑’를 중시하게 된다. 강유위는 북비의 웅장하면서도 기이하고 강건하며, 樸拙하고 渾厚한 풍격미가 있는 씩씩하고 아름다운 것을 중시 하였다. 그는 특히 六朝體의 아름다움을 10가지로 설명하면서 ‘碑’를 높인다. 이처럼 북비가 왜 아름다운지 하는 것을 10가지 아름다움을 들어 말하듯이『광예주쌍즙』에 의해 전개된 청나라의 비학 존중 사유는 二王을 중심으로 내려 온 면모를 일시에 바꾸어버리게 된다. 청나라 중엽부터 서예가들은 전에 생소했던 北碑로부터 문아하고 귀족적인 첩학에서 보지 못했던 새로운 형식 기교와 심미 세계를 발견했다. 거칠고 질박하여 서민적 정취와 자연미가 있는 비학서예는 섬약한 첩학에서 벗어날 길을 찾고 있었던 서예가들에게 출로와 創新의 토대를 제공해 주었다. 이것은 강유위가 북비에 대한 풍부한 심미 세계와 서예본질의 대한 깊이 고찰이 있었기 때문에 가능했다고 할 수 있다.

영어초록

When taking a glimpse of the history of Chinese calligraphy, it is often said as Namcheobbukbi/South Book North Tomb stone when speaking about difference between South & North. If there is Wang Xizhi in the center of Namcheob/South Book script, there is Kangyouwei in the center of Bukbi/North Tomb stone script.
Kangyouwei had attempted political reform called as ‘Musulbyeonbeob/Change laws in the year of Musul’ at the end period of Qing Dynasty but he had failed and he had indulged in researches on Bihak/Study of Tomb stone calligraphy scripts and creation of calligraphy during his remaining life. Until Ming Dynasty, ‘Ceobhak/Study of calligraphy in books’ was the main stream but when it changed to Qing Dynasty, Poseshin published 『Yejussangjeub』together with development of epigraphy. Kangyouwei had taken over the basic idea of『Yejussangjeub』 of Poseshin and he published 『Kangyejussangjeub』in a position that ‘politics is similar to calligraphy.’ In『Kangyejussangjeub,』 'Byeon/Change' was emphasized by saying ‘Byeon/Change is the principle of the heaven.’ I means that styles of calligraphy are changing throughout elapse of time. In this sense, this book can be said that 'Byeonbeobjagang/Become strong through changes of laws,’ which was an ideal of Kangyouwei, was converted into calligraphy. When 『Kangyejussangjeub』of Kangyouwei was published in the 15th year of reign of Gwangseo at the end of Qing Dynasty (1989), the theory of section of Bihak/Science of Tomb stone calligraphy scripts became to gain big power. Kangyouwei had summarized the processes of development of calligraphy of Qing Dynasty comprehensively and just like Poseshin, he had upgraded Bi/Tomb stone calligraphy script while downgrading Cheob/Calligraphy in books. It is not exaggeration that 『Kangyejussangjeub』is compilation into one book of the theories of Bihak/Science of Tomb stone calligraphy script since 『Kangyejussangjeub』had clearly verified origination and changes of various Tomb stone carvings, characteristics of quality of dignity, possession and Imseo/Coping as well as experiences of techniques. ‘Chenhak/Science of calligraphy in books’ was regarded important before Qing Dynasty but ‘Cheob/Books’ became almost hard to find original scripts due to numerous copying during Qing Dynasty and therefore,'Bi/Tomb stone,' which were more similar to original scripts became more important. Kangyouwei had considered grandiose, grotesque, strong, small & rough, warm, brave and beautiful dignity of Bukbi/North tomb stone as important. In particular, he had explained the beauty of the style of Yukjo in ten kinds and had upgraded ‘Bi/Tomb stone calligraphy scripts.’ Like this, why Bukbi/North tomb stone calligraphy scripts were beautiful were explained by listing ten beauties, reasons for respecting Bihak during Qing Dynasty, which was deployed by 『Kangyejussangjeub,』 had changed aspects inherited centering on Eewang/King Ee just in one time. From the middle period of Qing Dynasty, calligraphers had discovered graceful and noble new style techniques and the aesthetic world, which were not found in Cheobhak/Science of calligraphy scripts in books, from Bukbi/North tomb stone calligraphy scripts. Bihak calligraphy, which is rough but has emotion of common people and the natural beauty, had provided the foundation of exits and new creation for calligraphers who tried to find ways to get out of weak Cheobhak/Science of calligraphy scripts in books. It is believed that it was possible because Kangyouwei had examined about abundant aesthetic world of Bukbi/North tomb calligrapht script and profound review about substance of calligraphy.

참고자료

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