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영어

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on ‘Guche’, which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created ‘Sinyong’ with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.

한국어

剛菴宋成鏞(1913~1999)은 전북 김제 출신으로서 20C 마지막 儒生서예가이자 시·서·화 삼절작가이다. 그는 평 생 보발과 한복을 유지하며 선친 裕齋宋基冕과 장인 顧齋李炳殷의 학문과 사상, 서화예술을 舊體新用論的관점으로 접근하여 인격 도야 및 正心을 유지코자 하는 주체적 철학정신을 견지하였다. 法古에 대한 충실한 계승이라는 ‘舊體’ 를 근간으로 어려서는 구양순을 중심으로 미불, 동기창을 익혔고, 국전 출품기에는 황정견, 한예, 오희재, 소전체 등을 접목하였다. 이후 1965년(53세)에 전주로 이거, 추사체 등 여러 서체를 자가화하여 無待自得한 剛菴體를 이루었고, 기 괴적이고 파격적으로 寫意化한 風竹으로 ‘新用’을 창출해 내었다. 또한, 서예의 본원적 정신과 자연적 예술미를 재점 검하여 정체성을 재확립하고, 이를 바탕으로 부단한 探新의 미학을 추구하여 현대서화의 심미를 확장하는데 크게 이 바지하였다. 특히 풍죽은 寫意정신을 원리로 한 추상성이 강하며, 수양론적으로는 窮理와 盡性을 바탕으로 하여 以 小觀大의 高雅美를 발현한 畵以載道論的理學美學을 구현함으로써 道藝一致를 이루었다. 전북 서단은 剛菴시대에 최 고봉을 이루면서 20C 말 한국서예의 중심 서단으로 자리 잡으면서 중흥기를 맞이하게 된다.