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논문 기본 정보

자료유형
학술저널
저자정보
션위창 (대만 국립타이난예술대학)
저널정보
한국미술연구소 미술사논단 美術史論壇 제49호
발행연도
2019.12
수록면
7 - 33 (27page)
DOI
10.14380/AHF.2019.49.7

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초록· 키워드

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The written theories of Chinese ancient calligraphy commenced in mid-Eastern Han. Among all, Cui Yuan’s The Propensity of Cursive Script possesses unprecedented qualities of comprehensive evolutional backgrounds and scope of its time. The book not only serves as the origin of the Chinese ancient calligraphy theories but also the first to cite myth and employ images to illustrate the theories. However, at the end of Han, Wei and Six Dynasties, the image portraying style started to fade; in Five Dynasties period, it became a rarity and by the time in Song Dynasty, the style almost died out. Nevertheless, the myth style by setting off with the origin of the civilization had triumphed through the time. Perhaps it wasn’t an innocent coincidence that The Propensity of Cursive Script, the origin of all Chinese ancient calligraphy theories, started out with the beginning of civilization and adopted images to portray calligraphy. The aim of this thesis is to underline that the citation of the myth in The Propensity of Cursive Script was to recognize the values of the evolving characters as well as to reflect the positive contemplation from the scholars in the Qin and Han Dynasties regarding the fatal fates of Xia, Shang and Zhou Dynasties. The employment of images in The Propensity of Cursive Script was to rein the invisible and unpredictable force, to reflect how the thinking in Warring States Period had gradually transcended toward the abstract direction and to exhibit the fateful development of power jointly viewed in Qin and Han Dynasties.

목차

Ⅰ. 머리말
Ⅱ. 서론의 출현
Ⅲ. 서예 이미지의 출현
Ⅳ. 서예 이미지의 사상
Ⅴ. 맺음말
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ABSTRACT

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