옹방강(翁方綱)의 서예사론(書藝史論) ― 해서(楷書)를 중심으로 (The idea for history of Chinese calligraphy by Wen, Fanggang)

서지정보

· 발행기관 : 한국미학회
· 수록지 정보 : 美學(미학) / 68호 / 1 ~ 33페이지
· 저자명 : 정혜린

초록

This thesis is on the theories of Chinese calligraphy by Wen, Fanggang. He considered himself to be an art historian and had an aesthetic idea once had realized by Wang, Xizi, the harmony of several contrasting aesthetic properties especially easily shown on works written in kai shu. It also has two inherited calligraphic styles, round and smooth zhuan shu and angular and straight li shu inside of it. He regarded calligraphy works which had such a kind of beauty as noteworthy ones on the calligraphy history and looked down on the works of stone inscription of North dynasties in 4th to 6th century on this view as well as praised a few works of stone inscription of Sui dynasty for their beauties handed down from Wang. Same criterion was applied to the works of stone inscription of Tang dynasty and one more criterion, the Tang's own style, which intensified the contrasting aesthetic properties from Wang's style, were added. Especially Ou, Yangxun's <huatusi> was regarded to meet two criteria and to be the best among works in Tang as a result by him. The acute weak point of his theories, the beauty of Wang's works which already had disappeared soon after Wang's dead, was pointed by Ruan, Yuan. Ruan praised only the beauties of existing works, that of li shu's. He criticized even the kai shu works with the criterion, the beauties of li shu and gave the calligraphers of next generation a chance to be enthusiastic to li shu.

영어초록

This thesis is on the theories of Chinese calligraphy by Wen, Fanggang. He considered himself to be an art historian and had an aesthetic idea once had realized by Wang, Xizi, the harmony of several contrasting aesthetic properties especially easily shown on works written in kai shu. It also has two inherited calligraphic styles, round and smooth zhuan shu and angular and straight li shu inside of it. He regarded calligraphy works which had such a kind of beauty as noteworthy ones on the calligraphy history and looked down on the works of stone inscription of North dynasties in 4th to 6th century on this view as well as praised a few works of stone inscription of Sui dynasty for their beauties handed down from Wang. Same criterion was applied to the works of stone inscription of Tang dynasty and one more criterion, the Tang's own style, which intensified the contrasting aesthetic properties from Wang's style, were added. Especially Ou, Yangxun's <huatusi> was regarded to meet two criteria and to be the best among works in Tang as a result by him. The acute weak point of his theories, the beauty of Wang's works which already had disappeared soon after Wang's dead, was pointed by Ruan, Yuan. Ruan praised only the beauties of existing works, that of li shu's. He criticized even the kai shu works with the criterion, the beauties of li shu and gave the calligraphers of next generation a chance to be enthusiastic to li shu.

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