earticle

영어

Toegye Lee Hwang is a neo-Confucian scholar in the mid-Joseon Dynasty, and his philosophy of holding respectfulness is the origin of the aesthetics of Korean calligraphy. This study examines Toegye Lee Hwang‘s philosophy of Holding respectfulness by applying it to calligraphy. Toegye’s calligraphy is the calligraphy of Holding respectfulness. Toegye practiced his life based on ‘Holding respectfulness in all aspects of the study, thought, art, and life. Chijing(持敬) means to hold and possess respectfulness. Toegye said, “Anytime, anywhere, there is no lack of doing the only thing, so the study of respectfulness is to focus on the one thing.” Thus, Toegye’s respectfulness is to concentrate his whole mind upon one thing. Toegye intended to establish and be aware of his moral subjectivity through respectfulness. To concentrate one’s mind on one thingDoing one thing mainly is Doing one thing mainly. Respectfulness is a subject of controlling movements and includes the body of the mind that is tranquil and does not move and the action of the mind that responds and communicates. In other words, the mind dominates the body, and respectfulness controls the mind. Therefore, respectfulness is the leader of mind and body. If you look at Toegye's calligraphy, there are no place where his thought of holding respectfulness has not been applied to the calligraphy creation, brush wielding, and characters. Calligraphy is a creation that a calligrapher expresses his spirit with his talents in writing. How can the mind emerge well in terms of holding respectfulness? With what kind of mind should I engage in calligraphy creation? How can I express the elements of Holding respectfulness applied to the brush wielding? How do the elements of Holding respectfulness appear in the calligraphic characters? Lee Hwang created calligraphy works with the mind of holding respectfulness. Therefore, I could find the answers by reviewing the respectfulness expressed in his calligraphy. In Chapter Ⅱ, I summarized the characteristics of Toegye’s thought of holding respectfulness. First, I investigated the difference between the meaning of general holding respectfulness and the meaning of Toegye’s. Second, I figured out the characteristics of Toegye’s holding respectfulness is cultivating himself by preserving his mind. In Chapter Ⅲ, I intended to find the elements of holding respectfulness in Toegye’s calligraphy aesthetics. Thus, I examined the meaning of holding respectfulness in Lee Hwang's calligraphy in three aspects: the meaning of holding respectfulness as the picture of mind, the thought of holding respectfulness applied to brush wielding, and the idea of holding respectfulness appeared in the characters.

한국어

퇴계는 학문·사상·예술·생활 전반에 ‘持敬’에 근원 삶을 실천하였다. 持敬은 敬을 잡아 지키는 공부이다. 퇴계는 ‘어느 때 어느 곳이든 一을 주로 하지 않음이 없게 되는 것이 敬이고, 서예를 쓸 때 ’敬의 공부는 存一에 있다고 하였다. 본 연구는 퇴계의 持敬 철학을 서예에 적용하여 고찰한 것이다. 퇴계는 持敬의 書藝를 지향한다. 퇴계의 ‘持敬’ 사상을 서예에 적용하면 심화로서의 서예의 창작, 운필, 자체 어느 한 곳이라도 적용되 지 않은 곳이 없다. 퇴계는 心畵로서의 서예를 持敬측면에 적용한다. 본 논문에서는 이런 점을 다음과 같은 내용을 통하여 규명하고자 하였다. 먼저 Ⅱ장에서는 퇴계 ‘持敬’ 사유의 특징을 첫째, 毋不敬·思無邪로서의 持敬둘째, 動靜의 存心省察의 持敬에 초점 을 맞추어 살펴보았다. Ⅲ장에서는 퇴계 서예 미학의 持敬사유를 첫째, 心畵로서의 持 敬둘째, 운필에 적용된 持敬셋째, 字體에 나타난 持敬으로 퇴계 서예에 담긴 持敬에 초점을 맞추어 살펴 보았다. 이상과 같은 내용을 통해 퇴계의 敬은 고요하여 움직이지 않는 마음의 본체와 感應하여 소통하는 마음의 작용을 포함하며 動靜을 貫通하는 주체 임을 확인하였다. 즉 身을 主宰하는 것은 心이고 그 心을 主宰하는 것은 敬이었다. 이 처럼 敬은 心身의 主宰者인데, 이같은 ‘경을 잡고서[持敬]’ 서예창작에 임할 것을 강조 한 것이 퇴계 서예미학의 핵심임을 알 수 있었다. 아울러 이런 지경을 통한 서예창작은 心畵로서의 持敬, 運筆에 적용된 持敬, 字體에 나타난 持敬요소와 밀접한 관련이 있음 을 알 수 있었다.