近代 이후 東海地域 書藝家의 系譜와 作品硏究
A Study on the Genealogies and Works of Calligraphers in the Region of Donghae in the Modern Times
- 발행기관 강릉대학교 교육대학원
- 지도교수 이규대
- 발행년도 2007
- 학위수여년월 2007. 2
- 학위명 석사
- 학과 및 전공 역사교육전공
- 원문페이지 iv, 70 p.
- 본문언어 한국어
초록/요약
Donghae, which is far away from Seoul, has long been a politically, economically and culturally disadvantaged area, being encircled by the Taebaek Mountains. However, learned men in the past had handed down their academic heritage from generation to generation, regardless of the given geographic conditions. For them, calligraphy was one of required courses to acquire to improve their scholarship, and that consequently made the same progress as the academic attainments of the nation, and Donghae was no exception. In the modern times, a new style of calligraphy was created and established by Sonam Lee Hoi-su in Donghae. His style was basically originated in that of Baekha Yun-sun, Weongyo Lee Gwang-sa and Nulin Jo Gwang-jin, and that was passed onto Manjae Hong Rak-seop, Gyenam Sim Ji-hwang, Seokjae Choi Jung-hui, Sosong Lim Byoeng-gi, Maeam Kim Jeong-gi, Yengye Hong Yeoung-hyeon and Dongwu Kim Yeoung-gyeong. At the same time, there appeared another calligraphic style that was generated by Okram Han Il-dong and distinguished from that of Sonam. All the calligraphers in that region tried to stay humble all the time while making profound research into calligraphy, and didn't sell their works just to earn money. They strived to nurture younger scholars without neglecting their own studies, and they contributed to taking the calligraphic style of this area to another level. The modern calligraphers showed activity in that region from the early 1900s to the mid-1990s. It's confirmed in this study that they produced 75 works in total, which included six by Sonam, 22 by Manjae, 19 by Gyenam, 24 by Seokjae, one by Sosong and three by Okram. Out of them, 62 works are available for viewing. As Okram made his works in North Korea for a long time, there weren't many works of him in and around Donghae. When the works of the calligraphers were analyzed by style, theme, hanging board, time and geographic area, Hangseoche was identified as a common basic style. As for theme, a lot of their works were hung on arbors, lecture halls and Jaesa(齋舍). By hanging board, many were found on arbors. Concerning time for their works to be produced, it's possible to guess when nineteen works were written, and the calligraphers produced their works mostly in Gangnung, Donghae and Samcheok. As a result of looking into those regions, the largest number of the works were found in Donghae, followed by Samcheok and Gangnung. It's no wonder that the styles of the calligraphers in Donghae, who inherited that of Sonam, was different from that of other calligraphers in other contemporary large urban communities including Seoul from the late 19th century to the late 20th century. And given the geographical and cultural conditions of that region, they could be highly prized for their unique style.
more목차
Ⅰ. 序 論 = 1
1. 硏究目的 = 1
2. 硏究方法 = 2
Ⅱ. 東海地域 書壇의 형성과 활동 = 4
1. 동해지역 서단의 형성배경 = 4
(1) 근대 동해지역의 서풍 = 4
(2) 少南 李喜秀의 동해 정주와 서단의 형성 = 6
(3) 少南 李喜秀의 동해 정주 이후의 동향 = 11
2. 동해지역 서단의 계보 = 17
(1) 少南의 제자 晩齋 洪樂燮 = 18
(2) 晩齋의 제자들 = 23
가. 桂南 沈之潢 = 23
나. 石齋 崔中熙 = 29
다. 少松 林炳錡 = 30
라. 梅菴 金?起 = 31
마. 延溪 洪 = 31
바. 東愚 金英卿 = 32
(3) 玉藍 韓溢東 = 32
3. 동해지역 서예가의 교습활동 = 38
(1) 교육활동의 특성 = 39
(2) 교육과정 = 40
Ⅲ. 東海地域 書藝家의 작품과 특징 = 43
1. 작품소개 = 43
2. 작품구분 = 52
Ⅳ. 結 論 = 58
【 附 錄 】 = 60
參考文獻 = 67
ABSTRACT = 69
