『宣和書譜』에 담긴 帝王들의 서예심미관 (Emperors’ Calligraphic Aesthetics Reflected in Xuanhe-Shupu)

서지정보

· 발행기관 : 중국사학회
· 수록지 정보 : 중국사연구 / 82호 / 1 ~ 30페이지
· 저자명 : 이정미

초록

This study is to research the collection ‘Xuanhe-Shupu’ that shows the twelve emperors’ calligraphic perspectives, calligraphic aesthetics reflected in their handwritings and calligraphic styles and cultural trends in respective eras. The collection contains comments on 197 historic calligraphers’ handwritings a total of 1,240 copybooks printed from the works of 197 historic calligraphers and their biographies, in addition to the twelve emperors’. It deals with historic calligraphers’ aesthetics, from Zhang Zhi (the Eastern Han dynasty (25-220)) to Cai Bian (the Northern Song dynasty), and contains the list of their scrapbooks, which enable readers to get a sense of their characters, eruditions, accomplishments, originality and aesthetical potentials.
The collection ‘Xuanhe-Shupu’ shows that all the twelve emperors tried to analyze realistic systems and perspectives and to put them to theories, policies and practical uses. Emperor Taizong of Tang, who was determined to put them to policies, is the representative emperor. He politically systematized calligraphic theories, which well provides a look at the face of his will to artistic policy. Add to that, he founded a royal archive (Hongwenguan) as part of promoting calligraphic culture. It implies that his reign and cultural policy aimed to engage intellectuals and popularize culture and art. In particular, he went after ideal aesthetics, following the artistic spirits of previous generations, and as a result could have unique aesthetics, which could not be possible without outstanding calligraphers, writers and critics such as Yu Shinan, Zhu Suiliang and Wei Zheng. Besides, he carried various reforms into effect in the multicultural society of those days. He was instructed in how to do away with old-fashioned customs and to set up new systems without big backlashes.
The collection ‘Xuanhe-Shupu’ contains diverse calligraphic works of different epochs made by emperors, poets, nobles, civil ministers, military officials, monks, ascetics and even barmaids and nuns. It exemplifies the artistic theory of Xuanhe-Shupu, i.e., to wise the ways of the world presented by intellectuals, and to engage men of ability, character, erudition and accomplishment as part of cultural and artistic policies. For instance, in Xuanhe-Shupu it is written that Yan Zhenching’s loyalty is beyond compare and wordly-wise; to be specific, a person’s measure is taken with his intellectual capacity and loyalty. The same applies to calligraphers introduced in Xuanhe-Shupu. To give an example, Zhuge Liang, Li Bai and Bai Juyi had renown for a politician, a writer and a poet respectively, but in the collection they are classified as calligraphers of different epochs. The reason why it makes much of their erudition, character, cultural sensibility and accomplishment is to aggressively body out human’s creative thinking and aesthetical potential associated with intellectual capacity and pursuit of beauty.

영어초록

This study is to research the collection ‘Xuanhe-Shupu’ that shows the twelve emperors’ calligraphic perspectives, calligraphic aesthetics reflected in their handwritings and calligraphic styles and cultural trends in respective eras. The collection contains comments on 197 historic calligraphers’ handwritings a total of 1,240 copybooks printed from the works of 197 historic calligraphers and their biographies, in addition to the twelve emperors’. It deals with historic calligraphers’ aesthetics, from Zhang Zhi (the Eastern Han dynasty (25-220)) to Cai Bian (the Northern Song dynasty), and contains the list of their scrapbooks, which enable readers to get a sense of their characters, eruditions, accomplishments, originality and aesthetical potentials.
The collection ‘Xuanhe-Shupu’ shows that all the twelve emperors tried to analyze realistic systems and perspectives and to put them to theories, policies and practical uses. Emperor Taizong of Tang, who was determined to put them to policies, is the representative emperor. He politically systematized calligraphic theories, which well provides a look at the face of his will to artistic policy. Add to that, he founded a royal archive (Hongwenguan) as part of promoting calligraphic culture. It implies that his reign and cultural policy aimed to engage intellectuals and popularize culture and art. In particular, he went after ideal aesthetics, following the artistic spirits of previous generations, and as a result could have unique aesthetics, which could not be possible without outstanding calligraphers, writers and critics such as Yu Shinan, Zhu Suiliang and Wei Zheng. Besides, he carried various reforms into effect in the multicultural society of those days. He was instructed in how to do away with old-fashioned customs and to set up new systems without big backlashes.
The collection ‘Xuanhe-Shupu’ contains diverse calligraphic works of different epochs made by emperors, poets, nobles, civil ministers, military officials, monks, ascetics and even barmaids and nuns. It exemplifies the artistic theory of Xuanhe-Shupu, i.e., to wise the ways of the world presented by intellectuals, and to engage men of ability, character, erudition and accomplishment as part of cultural and artistic policies. For instance, in Xuanhe-Shupu it is written that Yan Zhenching’s loyalty is beyond compare and wordly-wise; to be specific, a person’s measure is taken with his intellectual capacity and loyalty. The same applies to calligraphers introduced in Xuanhe-Shupu. To give an example, Zhuge Liang, Li Bai and Bai Juyi had renown for a politician, a writer and a poet respectively, but in the collection they are classified as calligraphers of different epochs. The reason why it makes much of their erudition, character, cultural sensibility and accomplishment is to aggressively body out human’s creative thinking and aesthetical potential associated with intellectual capacity and pursuit of beauty.

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