<<宣和書譜>>의 書藝分類史觀 (The Chirographic Significance of Six Volumes in Xuanhe Shupu)

서지정보

· 발행기관 : 중국사학회
· 수록지 정보 : 중국사연구 / 77호 / 1 ~ 33페이지
· 저자명 : 이정미

초록

In the history of East Asian chirography, the changes of letterforms richly infused creative semanticity into transformative diversity and enhanced artistic values by means of letter symbolism and natural phenomena. It is well known that the changes of letterforms, shell-and-bone characters to grass characters, continued till Sui Dynasty (581-618) and Tang Dynasty (618-907). Subsequent letterforms have continuously been developed and tempered with the stream of times and literature and thus have systematized calligraphic artistry and its distinguishing significance. Hereat, a study was made of a collection ‘Xuanhe Shupu.’ It was complied during the reign of Huizong (1100-1125) of Song Dynasty, which describesrenownedcalligraphers’handwritingsandexplicates aesthetic views in chronological order. It is recognized that the collection contributed to the standardization of ancient letterforms.
The collection ‘Xuanhe Shupu’ is in 20 volumes. Currently, it is being managed with other royal keepsakes. As aforesaid, it describe the works of 197 calligraphers of many generations, explicates chirographies in 1,240 copybooks in the order, and deals with their biographies, e.g., Zhang Zhi of Dong Han Dynasty (Eastern Han Dynasty; 25-220), Wang Anshi (1021-1086), Cai Jing (1047-1126), Cai Bian (1048-1117) and Mi Fu (1051-1107) of Bei Song Dynasty (NorthernSongDynasty;960-1279).Incommonwith‘Xuanhe Huapu’, opinions differ as to when this collection was compiled and who wrote it.
At any rate it is judged that this collection might be written by many, not one, considering its contents, worth and graphonomic thoughts. For reference, Xuanhe Huapu presents not only literary artists’ paintings that came into vogue at the time, centering around the nobility in those days, in harmony with historical background and religious, ideological, cultural and educational characteristics, but also Yuantihua style brought into vogue in the imperial family. It implies that there is the need to review the collection Xuanhe Shupufromasymmetrical,syntagmaticandcomprehensive perspective.

영어초록

In the history of East Asian chirography, the changes of letterforms richly infused creative semanticity into transformative diversity and enhanced artistic values by means of letter symbolism and natural phenomena. It is well known that the changes of letterforms, shell-and-bone characters to grass characters, continued till Sui Dynasty (581-618) and Tang Dynasty (618-907). Subsequent letterforms have continuously been developed and tempered with the stream of times and literature and thus have systematized calligraphic artistry and its distinguishing significance. Hereat, a study was made of a collection ‘Xuanhe Shupu.’ It was complied during the reign of Huizong (1100-1125) of Song Dynasty, which describesrenownedcalligraphers’handwritingsandexplicates aesthetic views in chronological order. It is recognized that the collection contributed to the standardization of ancient letterforms.
The collection ‘Xuanhe Shupu’ is in 20 volumes. Currently, it is being managed with other royal keepsakes. As aforesaid, it describe the works of 197 calligraphers of many generations, explicates chirographies in 1,240 copybooks in the order, and deals with their biographies, e.g., Zhang Zhi of Dong Han Dynasty (Eastern Han Dynasty; 25-220), Wang Anshi (1021-1086), Cai Jing (1047-1126), Cai Bian (1048-1117) and Mi Fu (1051-1107) of Bei Song Dynasty (NorthernSongDynasty;960-1279).Incommonwith‘Xuanhe Huapu’, opinions differ as to when this collection was compiled and who wrote it.
At any rate it is judged that this collection might be written by many, not one, considering its contents, worth and graphonomic thoughts. For reference, Xuanhe Huapu presents not only literary artists’ paintings that came into vogue at the time, centering around the nobility in those days, in harmony with historical background and religious, ideological, cultural and educational characteristics, but also Yuantihua style brought into vogue in the imperial family. It implies that there is the need to review the collection Xuanhe Shupufromasymmetrical,syntagmaticandcomprehensive perspective.

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