earticle

영어

Calligraphy and seal engraving are character arts based on classical Chinese characters. Although they are different genres of arts, it can be said that the two arts are inevitably related in that they have been developed from the practical level to the artistic level. In this study, I examined for the relationship between these two arts by exploring the grounds of the fundamental and technical identity that they have in common in terms of a beauty of external form and a beauty of internal content from the point of aesthetic view. In terms of the beauty of form, calligraphy expresses an aesthetic sense through the brush, and seal engraving does through the graver. In seal engraving, the seal is engraved with the seal script of calligraphy, so it is said that ‘seal engraving comes from calligraphy(印從書出)’. On the other hand, calligraphy expresses a beauty of stroke and a beauty of disposition as the taste of graver on the paper, so it is said that ‘calligraphy enters from seal engraving(書從印入)’. Since calligraphy and seal engraving have a complementary relationship although they use different tools from each other, the same technique of both recreates a new classy beauty of characters by spanning two arts. In addition, in the basis of this aesthetic sense expressed as an external form in both arts, the principle as the origin of the creation and changes of the universe, symbolized as ‘Yin and Yang’, is equally applied. Moreover, a harmonious beauty of coexistence of external form is created as two contradictory elements correlatively coexist based on the thought of the Yin and Yang movement. In both calligraphy and seal engraving, the thoughts that ‘a calligrapher should have the will before wielding brush(意在筆先)’ and ‘a seal engraver should have the will before using graver(意在刀先)’ are necessary as if ‘a painter should have complete bamboo in mind before painting bamboo(胸中成竹)’ in the theory of painting in terms of pursuing a beauty of internal content as a preliminary stage for creating a beauty of external form. It is the thought of emphasizing a creator’s subjective idea and control, and it requests to conceive a design to express the will which contains the artist’s spirit and to determine technique and disposition before creation. At the same time, it warns about the negative effect of blind imitation. In the actual creation after undergoing these steps, a creator goes through the step of practice in which his mind and hands correspond as he intends. Both calligraphy and seal engraving ultimately aim at reaching the stage of ‘Transcendence(逸)’ full of natural taste in which the artist forgets any means and methods and does not need any laws. In this stage, the art work is nature itself, and it is extended to the realization of the beauty of transcendence that emerges as the beauty of simplicity, that stands for ‘the way without rules(無法而法)’. Both calligraphy and seal engraving are merely small Ways by simple skills. Although the tools used in the two arts are different from each other, they are in the same artistic area in that they aim at realizing the Way that consistently produces and reproduces all things in nature. In addition, understanding and perception of correlation that the two arts have the same origin and technique has a mutual influence on creating the new. Therefore, I hope that the deeper meaning of artistry as a delicate craft will become clearer as the aesthetic correlation of the two arts sought from the aspect of the beauty of form and the beauty of content is mutually permeated and harmonized in the stage of actual creation.

한국어

본 논문은 서예와 전각이라는 서로 다르게 여겨지는 두 예술장르가 그 근원과 창작의 미학적 차원에서 상관적 동일성을 지녔음을 모색한 것이다. 양자는 한자를 매개체로 하는 조형예술이라는 점에서 필연적 동일성을 지님에도 불구하고 서로 다른 영역의 예술로 인식되어 전반적인 창작 과정에서 상호 호환 되지 못함에 따라 독특한 예술성의 드러남이 미흡하였다. 이에 본고 Ⅱ장에서는 형식미 측면에서 서예와 전각의 상관성을 모색한다. 먼저 1절에서는 서예의 筆法과 전각의 刀法의 동일성 관점에서 ‘書從印入·印從書出’의 사유를 논한다. 구체적으로 書 ·刻은 骨法用筆의 주재 하에 운용되는 線 즉 劃의 直曲, 굵기, 작가의 서체적 특징 등이 형식미의 기법적 측면에서 동일하게 운용되어 서로 영향을 줌으로써 외재적 예술성이 상호 보완됨을 다룬다. 2절에서는 양자 예술에서 외재적 형상으로 드러나는 획에 생명미를 부여하는 기저에는 음양론적 시각에서 우주 자연의 對待相生的 사유가 동일하게 근간이 됨을 인식하여, 창작 과정 중에 음양이라는 두 인소에 의해 ‘㓉物로서의 획’이 상관성을 지님을 살펴본다. Ⅲ장에서는 내용미 측면에서 서예와 전각의 상관성을 탐색한다. 먼저 1절에서는 양자 예술에서 창작주체자의 기법적 주관성, 체현하고자 하는 성정의 뜻을 세우는 것이 작품에 앞서 필연적 사전단계라는 ‘意在筆·刀先’의 사유를 언급한다. 이어서 2절에서는 ‘意在筆·刀先’이 세워진 후 실질적 창작 단계에서, 用筆과 用刀가 ‘熟’의 단계를 거친 후 心手相應하여 어느 것에도 얽매이지 않는 神彩의 경지로서, 書·刻이 궁극적으로 지향하는 ‘無法而法’에 이른 ‘逸趣’의 경지를 논한다. 마지막 Ⅳ장에서는 앞서 논의된 양 측면에서의 미적 상관성을 인식함으로써 이를 계기로 서예와 전각이 비록 상이한 도구에 의해 전개되는 예술이지만, 이러한 상관성이 두 영역으로 상호 삼투되고 용해되면서, 우주의 道를 체현하는 현묘한 기예로서의 미의식이 심층적으로 체현되기를 기대하는 예술임을 밝힌다.