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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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The adoption of the governing policy focused on civil administration had greatly contributed to the prosperity of literary and noble people in the period of the Northern Sung Dynasty. With the sense of responsibility and ideals, these people took the lead in the area of literature and arts during the period. In particular, their works and interest were mostly concentrated on paintings in the literary artist´s style and calligraphic works dedicated to expressing their thoughts.
As King Taejong, who had great interest in calligraphic works, published “Sunghawgakcheop (淳化閣帖)”, at the early Northern Sung period, a trend to consider the calligraphic style developed by Wang Xizhi and his son important had been widely established among literary people. The calligraphic style of the period was evolved again during the period of King Injong, Sinjong, Cheoljong and Hwijong, trying to interpret the notion of old style freshly and even more emphasizing the importance of individuality and faith.
Gu Yangsu (1007~1072), Chae Yang (1012~1067), So Sik (1036~1101, Hwang Jeonggyeon (1045~1105) and Mi Bul (1051~1107) were among the most representative figures who had lead such changes. They not only discussed and mentioned about calligraphic works and the four precious things of the study in their poetry and prose, Ganchals (Letters) and Jebalmuns (postscript) but also collected, appreciated and possessed them enthusiastically. As they did, the literary and noble class in Song Dynasty took calligraphy and the four precious things as the subjects of discourse and considered them as a method of communication. As a result of that, a new semantic structure for paintings and calligraphic works and the four precious objects was created.
The people’s interest in the four objects of the study was generally considered to have been established during the period of Sung Dynasty. Among many records, Munbangsabo written by So I Gan (957~995) was thought to be a kind of technical book that provided information about the notion of the four precious objects at that time as well as the development process before and after the period. These works and literatures indicate that the taste of literary people in calligraphic tools have been diversified and grown professionally.
As King Taejong, who had great interest in calligraphic works, published “Sunghawgakcheop (淳化閣帖)”, at the early Northern Sung period, a trend to consider the calligraphic style developed by Wang Xizhi and his son important had been widely established among literary people. The calligraphic style of the period was evolved again during the period of King Injong, Sinjong, Cheoljong and Hwijong, trying to interpret the notion of old style freshly and even more emphasizing the importance of individuality and faith.
Gu Yangsu (1007~1072), Chae Yang (1012~1067), So Sik (1036~1101, Hwang Jeonggyeon (1045~1105) and Mi Bul (1051~1107) were among the most representative figures who had lead such changes. They not only discussed and mentioned about calligraphic works and the four precious things of the study in their poetry and prose, Ganchals (Letters) and Jebalmuns (postscript) but also collected, appreciated and possessed them enthusiastically. As they did, the literary and noble class in Song Dynasty took calligraphy and the four precious things as the subjects of discourse and considered them as a method of communication. As a result of that, a new semantic structure for paintings and calligraphic works and the four precious objects was created.
The people’s interest in the four objects of the study was generally considered to have been established during the period of Sung Dynasty. Among many records, Munbangsabo written by So I Gan (957~995) was thought to be a kind of technical book that provided information about the notion of the four precious objects at that time as well as the development process before and after the period. These works and literatures indicate that the taste of literary people in calligraphic tools have been diversified and grown professionally.
목차
1. 서언
2. 사대부의 서예취향
4. 문방사보의 발달
5. 결어
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UCI(KEPA) : I410-ECN-0101-2013-911-001578660