earticle

영어

Wang Xianzhi, along with Wang Xizhi, referred to as one of the twin masters is a calligrapher of enormous influence in Chinese calligraphy history. From the end of the Qin Dynasty to the Sui and Tang period (the first period of literary history divided into four during the Tang Dynasty of China), Wang Xianzhi‘s influence on handwriting was sweeping through the society, however, with the policy of “Chongxi and Yixian” by Emperor Taizong of Tang, Wang Xianzhi’s original handwriting was severely disparaged. But as times change, the change in aesthetic consciousness and the world of art that always seeks new things which would make it difficult to allow a single handwriting to last, Wang Xianzhi‘s calligraphy was revisited under the atmosphere of Shegng tang (the second period of the division of the Tang Dynasty) and his Fagu chuangxin’(to imitate the old and create the new) spirit was thereby inherited. In this study, I will explore the calligraphy world of Wang Xianzhi‘s “Creating new things” aesthetically through Zhang Huaiguan’s Calligraphy Theory to search for clues that can be applied to modern calligraphy without losing the basic spirit of calligraphy. Specifically, Wang Xianzhi’s “The Blend Style Calligraphy”, which is a mysterious and noble style created by changing Wang Xizhi’s “semi-cursive script”, and Xiaosa, which absorbed the distinct advantages of Zhangzhi’s “ a stroke of brushstrokes”, and later established a new conduit to the development of Cursive script (meaning free, cool, and unbound and natural) yiqi (refers to the neat style of sentences and calligraphy that transcends the mundane world) and examined the calligraphy aesthetics of ‘xingcaozhijian’ with a particular focus on those from Zhang Huaiguan’s Calligraphy Theory. Calligraphy is an art that represents a continuous rhythm of time in a limited space by turning static into dynamic. Shu yi yìxiang is the result of “Adopting Symbols by Watching or Looking at images” that combines the ideas and aesthetics of the calligrapher, capturing the life of the universe’s nature which has been transformed from the abstract “Xian(line)” and thus is expressed in vivid ‘Hu’ (the whole line or dot drawn once in a letter or picture). According to Zhang Huaigan’s essay, which defined the essence and characteristics of calligraphy as “Soundless Music and Formless Imagery”, the beauty created by Wang Xianzhi calligraphy was thoroughly examined through and , which are considered representative works of “the Blend style Calligraphy” and “a stroke of brushstrokes”.

한국어

王獻之는 王羲之와 더불어 ‘二王’으로 겸칭되는 중국서예사에서 그 영향력이 상 당한 서예가이다. 晉代말기에서 初唐시기에 이르기까지 왕헌지의 書風이 풍미하였으나 唐太宗의 ‘崇羲抑献’의 정책으로 왕헌지의 독창적인 서풍은 심하게 폄훼되었다. 그러나 시대가 변함에 따라 심미의식의 변화와 늘 새로운 것을 구하는 예술의 세계는 하나의 서풍이 지속되는 것을 허용하기란 쉽지 않기에 왕헌지의 서예는 盛唐의 氣象아래 재 조명되고 그의 ‘法古創新’ 정신은 계승되었다. 왕헌지의 이러한 ‘창신’의 서예세계를 본고에서는 張懷瓘의 書論을 통해 미학적 으로 고찰하여 서예의 기본 정신을 잃지 않으면서 현대서예에 적용할 수 있는 실마리 를 찾고자 한다. 구체적으로 왕헌지가 왕희지의 ‘行書’를 변화시켜 창조한 神韻이 깃든 ‘破體書’와 張芝의 ‘一筆書’의 장점을 흡수하여 이후 草書의 발전에 새로운 물꼬를 튼 瀟 灑한 逸氣가 돋보이는 ‘行草之間’의 서예미학적인 내용을 장회관의 서론에 나온 내용을 중심으로 살펴보았다. 서예는 정적인 것을 동적인 것으로 바꾸어 제한된 공간에서 연속적인 시간의 리 듬을 나타내는 예술이다. 서예가의 사상과 미의식이 결합한 ‘觀物取象’의 결과물인 書 藝意象은 추상적인 ‘線’에서 전환된 우주 자연의 생명성을 담아내는 생생한 ‘劃’으로 표 현된다. 이러한 예술로서의 서예가 가지는 본질과 특성을 ‘無聲之音․無形之相’으로 규 정한 장회관의 논술에 따라 왕헌지 서예가 창출한 미의식을 ‘파체서’, ‘일필서’의 대표작 으로 꼽히는 <十二月帖>과 <鸭头丸帖>을 통해 톺아보았다.