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영어

In an aspect of calligraphic history, it is noticeable that calligraphers were hired as low-ranking government official in Goryeo Dynasty and that Myeongseoeop (明書業: job to investigate letters), one of civil service examinations for technical post was adopted to investigate letters and calligraphy. There was Seohakbaksa (書學博士, doctor of calligraphic study) in Seonggyungwan (national school of Goryeo) as an institution to foster them and in every government office, there were governmental scribes in charge of description including Seoryeongsa (書令史), Seoye (書藝), Siseoye (試書藝) and Seosu (書手). Such a complete system served as catalyst for generalization of calligraphy and the term 'calligraphy' was first used that period. It was Goryeo Dynasty when letters were not only regarded as tools for handwriting but they were recognized as 'art of writing.' There is a considerable amount of epigraphs in particular, which was based on Confucian order. As values in Confucian scriptures were emphasized at the national level, epigraphs widely spread and it was relevant to social ideas to encourage Confucian ideology. Therefore, epigraph calligraphy of Goryeo Dynasty is reflection of Confucian culture in Goryeo as well. Poetry and prose of Goryeo reflected the then calligraphic culture and Lee In-bok and Baek Mun-bo proved through poetry that King was excellent in painting and calligraphy and with a keen interest in them, King promoted generalization of calligraphy and painting. Lee Saek defined 'Four Art (四藝)' as 'Keumkiseohwa (琴碁書畵, geomungo, baduk, calligraphy and painting) among our custom and he considered calligraphy a universal form of art among the elite. Jeong Mong-ju expressed the importance of right mind to the then calligraphic trend biased to formative beauty and emphasized the spirit of loyalty with serving but one king through calligraphy. Yim Chun and Lee Je-hyeon thought that one's calligraphic style reflected his character with perspectives of 'Seosanggiyin (書象其人: letter forms arising out of the person)' and 'Seowisimhua (書爲心畵: letter to paint the mind).' In other words, they perceived calligraphic in a Confucian aesthetic frame by emphasizing self-cultivation rather than artistry. Such perception was somewhat affected by the literary taste like 'Sangui (尙意, respect for emotional expressions)' and 'Sinui (新意, originality)' in Song Dynasty which put emphasis on lyricism. In other words, it was recognized that there was a correlation between letters and calligrapher's nature and that Confucian aesthetic thinking which regarded self-cultivation as important was reflected. In addition, Lee Gyu-bo stressed Sinui and his comment on calligraphic style was based on Song's tendency of Sangui, putting emphasis on calligrapher's nature and mind and will. Lee In-ro took letters' Sinui as standard for criticism and deepened exploration in the essence of calligraphy by applying neo-Confucian theory of 'Li-yi-fen-shu (理一分殊, unity in diversity) to calligraphic theories. He particularly compared and criticized Chinese and our calligraphy, which instilled national pride. In other words, though the trend that stressed Song's Sangui and Sinui had a lot of influence on Goryeo calligraphy, it has significance in that excellence of independent calligraphic culture was perceived beyond that category.

한국어

서예사적 측면에서, 고려시대는 서예인을 이속직으로 채용했다는 점과 과거의 잡과에 明書業을 두어 문자와 서법을 구명하였다는 점이 주목할 만한 사실이다. 그들을 양성하는 기관으로 성균관 안에 書學博士가 있었고, 서리로는 각 관서마다 書令史․書藝․試書藝․書手가 있어 서사를 담당케 했다. 이러한 제도의 완비는 서예의 보편화에 촉매제 역할을 하였으며, ‘서예’란 용어도 이때부터 사용된 것이다. 고려시대는 글씨를 실용적인 寫字의 도구로만 보지 않고, ‘書의 예술’이라는 점을 인식하는 시기였다. 특히 고려의 금석문 묘지명이 차지하는 비중이 많은데, 이는 유가적 유교질서가 바탕이 되었다. 유교경전을 통해 중시되는 가치관들이 국가적으로 강조되면서 묘지명이 확산되었고, 이는 유교적 이념이 장려되던 사회사상과 유관하다. 따라서 고려의 금석서예는 고려 유교문화의 반영물이기도 하다. 고려의 詩文은 당대 서예문화를 반영하고 있는데 李仁復, 白文寶 등은 시를 통해 왕이 서화에 뛰어났으며 서화에 대한 관심도가 높아서 서화의 보편화를 촉진했음을 입증하였다. 李穡은 우리나라 풍속 중 ‘四藝’를 ‘琴碁書畵’라 규정하면서, 서예를 지식층의 보편적인 예술로 간주하였다. 鄭夢周는 조형미에 경도된 당시의 서예사조에 대해 心正의 중요성을 피력하고, 서예를 통해 不事二君의 충의정신을 강조하였다. 林椿과 李齊賢은 書品이 그 사람의 人品을 반영한다고 보아 ‘書象其人’, ‘書爲心畵’의 관점을 견지하였다. 즉, 예술성보다는 수양성을 강조함으로써 유가적 관점에서 서예를 인식하였다. 이러한 인식은 송대 문인들이 抒情을 중시하는 문인취향인 ‘尙意’, ‘新意’에서 영향 받은 것이기도 하다. 즉, 글씨와 서가의 성정 간에 상관성이 있음을 인식하고, 수양성을 중시하는 유가미학적 사유를 반영하였다. 아울러 李奎報는 新意을 중시했으며, 書品을 평함에 있어서도 송대 尙意 풍조에 바탕하여 서가의 성정과 心意를 강조하였다. 李仁老는 글씨의 新意를 비평준거로 삼고, 성리학의 이론인 ‘理一分殊’를 書論에 적용시켜 서예본질에 대한 탐구를 심화시켰다. 특히 중국서예와 우리나라 서예를 비교 평하면서 민족적 자긍심을 고취시켰다. 즉, 송대의 尙意, 新意를 중시하는 풍조가 고려 서예에 많은 영향을 끼쳤지만, 이러한 범주를 넘어 주체적 서예문화의 우수성을 인식했다는 점에서 의의가 있다.