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영어

Seokjeong Lee, Jeongzic (1841-1910), a scholar representing Honam confucianism in the late Choseon in 19C, is called one of Honamsamgul including Haehak Lee, Gi (1848-1909), Maecheon Hwang, Hyun (1855-1910). In secluding himself in Buan region, he continued to possess an practical attitude drawn from Bangesurok wirtten by Bange Yu, Hyungwon (1622-1673). He contributed to thriving practical studies in the center of Honam even under politically urgent circumstance in the late Choseon. In additon to philosophy, he devoted his life to studying virtually everything that was considered to be necessary in life: horoscope, mathematics, and machine. Not only was he remarkable to the point that he left Yeonseoksanbangmijeongmungo composed of 25 books, he was also extraordinary in other fields such as linguistics, astronomy, geography, medical study, paintings and calligraphic arts. He introduced Western philosophers, Kant and Bacon, in the name of Sinmunhwak-new studies, to the nation first. Furthermore, he mastered various studies ranging from Chinese studies to Korean studies. He was highly respected as a literature expert who helped 'old literature' to root in Honam region. As shown in the collection of literature, he had, also, studied in Bukkyeong at the age of 28. Hoharkjeongsin emphasizing extensive learning and practical evidence and interconnection between studies melted down in his studies and paintings and calligraphic arts. Cultures and arts in Bukkyung served as motives for him to widen his eyes related to aesthetic arts. Needless to say about calligraphy and seal craving, enormous energy stemming from extensive, intensive learning is revealed in his paintings and calligraphyic arts, involving mountain and water, flower and bird, and feathers of birds. Since he was good natured, he was called a first Samjeol author, who shows excellency in poem, calligraphy, and painting, also called Tongyu, which referred to a person who exhibited extraordinaries in Confucianism at that time, in Jeonbuk Province. Seokjeong's thought system based on his poems, calligraphy, and paintings is closely related to Sung Confucianism, and he repeatedly practiced his calligraphy by imitating Jinchop(a calligraphy book of Jin) or Dangchop(a calligraphy book of Tang). However he thought that being a great calligrapher is not only blindly practicing writing letters but also there should be some way and process. His roll model for calligraphy was Wanghiji from Jin who had three elements of calligraphy such as geungol(muscle and bone), jeongeui(meaning and energy), and pungsin(soul and refined taste). He didn't think anyone could reach the level of Wanghiji. He thought that people who had reached even one element of three are Mibul of Song who had geungol, Joemaengbu of Won who had jeongeui, and Donggichang of Myeoung who had pungsin. He emphasized that to reach the level of Whaghiji's calligraphy, one should practice these three great calligraphers' calligraphy respectively and make unification with succession of strong point and compromise. Seokjeong enjoyed writing haeseo of Guyangsun and hangseo of Mibul and Donggichang, tombstoneletters of Anjinggyeong based on Wanghiji style. Seokjeong must be influence by Jaha, Sinwee and Chusa, Kimjeonghee, judging from his work. Above all his hangseo of Donggichangstyle is great, but skill is very simple, geungol in writingstyle is weak but soft and beautiful, because it inclined to hangseo. The theory of Seohwaron -paintings and calligraphy- by Seokjeong suggests that adopting confucianism as a guide, which emphasizes the importance of old things, is a method in which potential talents can be developed further. Prose and poetry founded on theory of old literature called Gomunron showed a view of which Muninhwa must be acquired through practicing calligraphy first. Insisting on Bubgochangsinron which specifies that the ability of creating new things can be only achieved through learning old things, he took spirit of art and boundary of meanings as gracious beauty by outlook and will shown in practical theories based on physical evidence in the process of acquiring old disciplining method in which once one gets what an object ultimately represents, don't think about its physical looking any more. Seokjeong's calligraphy was based on ideology and thought of confucianism. He expressed his firm and strong character affected by his father, Leegyewhan who wrote poems very well in spite of a military officer and flavor that enjoy isolated life from society living in the countryside in his works with the harmony of relativity, yang and yen, and the beauty of balance. And he emphasized that before writing letters one should examine his calligraphy, philosophy, and theme, and then visualize his idea calmly and sufficiently, therefore, one could express his pure and clean spirit. So his artistic temperament that he valued his lifestyle enjoying poems, calligraphy, and paintings while interchanging between like-minded friends was expressed as a beauty of high leveled spirit that letters could reveal to one's personality. In particular, the appearance of Seokjeong at Jeonbuk Calligraphy Organization helped form a unprecedented, significant vein - learning in the presence of mentors and passing down what learned to next followers. In addition to the establishment of traditional calligraphy in this way, he contributed Samjeol, which consists of poem, writing, and paintings and calligraphic works, to being full blown in pursuing paintings and calligraphic works as Muninhwa. Thereby, it can be said that 19C Jeonbuk Calligraphy Art Organization deeply connected to Seokjeong was able to pave a concrete way for Jeonbuk Seodan by providing an unprecedented, indomitable foundation.

한국어

石亭 李定稷(1841-1910)은 구한말 호남 儒學을 대표하는 文豪로, 海鶴 李沂(1848-1909), 梅泉 黃玹(1855-1910)과 더불어 ‘湖南三傑’로 일컬어지는 인물이다. 그의 학문에 대한 열정과 역량은 대단하여 어학ㆍ천문ㆍ지리ㆍ의학ㆍ서화 등 여러 분야에서 一家를 이루었는데, 新學問으로 불리는 독일의 칸트(Kant)와 베이컨(Bacon) 철학을 국내에 최초로 소개하기도 하였다. 석정은 28세(1868년)에 燕京을 다녀온 유학파로서, 燕京에서의 문화ㆍ예술적 자극은 그의 심미의식의 시야를 폭넓게 넓혀주는 주요한 요인이 되어 博學과 實證을 중시하는 實事致用的 好學精神과 학문의 유기적 연관성이 그의 서화예술세계에 그대로 투영되었다. 석정은 詩文集 『燕石山房未定藁』『燕石山房未定藁』는 2001년 김제문화원에서 『石亭李定稷遺藁』Ⅰ-Ⅳ라는 이름으로 번역하여 완간되었다. 를 통해 자신의 학문적 성과와 서예가로서의 자신의 書藝觀을 남겼다. 그의 書藝論은 원형이나 근본으로 돌아가 古를 師法으로 삼아 새로운 이론을 모색하는 것이 재능을 펼칠 수 있는 방법임을 제시하면서, 뛰어난 작품일수록 法古性的인 전통요소와 創新性的인 시대요소가 조화를 이루어야 역사 속에 오래 살아남게 된다는 法古創新論을 주장했다. 그리하여 晋帖이나 唐帖과 같은 기존의 전통서법을 부단한 연마를 하였지만, 기존의 형식에 얽매이려 하지도 않았다. 석정이 서예의 이상적인 典範으로 삼은 이는 筋骨ㆍ精意ㆍ風神이라는 글씨의 삼박자를 골고루 갖춘 晋代의 王羲之인데, 그의 경지에 한 부문이라도 도달했던 인물로써 宋代의 米芾이 筋骨을, 元代의 趙孟頫가 精意를, 明代의 董其昌이 風神을 얻었다고 보았다. 후대인들이 왕희지가 도달했던 서예의 경지에 도달하려면 무엇보다도 이들 三家가 얻었던 전통적인 각각의 경지를 먼저 傳習하여 이들의 장점을 계승하고 하나로 융합하여 조화를 이루어야 眞熟의 예술경지에 도달할 수 있고, 眞熟한 이후에야 가히 變化할 수 있다고 보았다. 석정은 구양순의 楷書에 미불과 동기창의 行書를, 때로는 안진경의 楷書와 行書를 접목시켜 또 다른 行草의 세계를 調和ㆍ創出시켜냈다. 이는 眞熟의 통합과정을 거쳐 筋力과 結構라는 形似的ㆍ手藝的 차원을 뛰어넘어 보다 높은 寫神的 차원에 들어서는 造化의 경지를 보여준 것이다. 석정 서예는 書의 예술적 표현이라는 형식미의 분석보다는 性情의 발현이라고 하는 보다 본질적인 측면에서 陰陽對待의 中和美를 구현했고, 교유관계를 통해 흥취가 돋우면 그 자리에서 詩를 짓고, 그 자리에서 筋骨을 강조한 氣韻生動의 興趣美로 붓을 들어 써 내려 갔다. 또한, 書如其人的 인품론을 중시하였고, 剛毅嚴正한 風神美를 발현하였다. 그러나 너무 法古에 치중하고, 行書에 치우쳐 기예가 단조로운 면이 있고, 서체에 筋骨이 약하고, 平澹軟媚한 느낌이 들어 超逸의 創新경지를 자신의 이론대로 제대로 구현하지 못한 아쉬움이 남는다. 하지만 석정은 단순한 실기 중심의 서예가가 아니라, 학문과 기예를 함께 겸비한 서예가였다. 특히 書畵에 대한 제반 문제를 학문적 이론으로 승화시켰다는 점에서 근현대 서화예술계에 시사하는 바가 크다. 석정의 출현은 조선 말기의 수준 높은 지방 문화계의 한 면모를 잘 보여준 것으로써, 전북서단은 이전과는 달리 뚜렷한 師承的 書脈을 형성하게 되었고, 호남은 물론이거니와 한국서단의 한 脈을 형성하여 찬란한 문인ㆍ예술의 경지를 확보하기에 이른다.