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학위논문 동서

篆書의 造形性에 관한 硏究:古文을 중심으로

윤의균

부산: 동아대학교 1993. -

60장: 삽도; 27cm. -

학위논문(석사)- 동아대학교 대학원 미술학과 94년2월

영문초록 : While the Chinese Characters were started from the Paintings of ancients, and went through a Primitive Figure Characters to a Hieroglyphic Characters, the will for the aesthetic expression of human beings had an influence upon it, and thus the calligraphy arts originated from it. So, it has historically produced Jia Gu(甲骨) characters - Inscription on bones and tortoise carapces in Yin Age, Jin Wen(金文) and Dai Zhuan(大篆)in Chou Age, Xiao Zhuan(小篆) formed in Qin Age, and brought the change of a various style handwriting as like Lei Shu(隸書), Kai Shu(楷書), Hang Shu(行書), Cao Shu(草書) etc. In this study, the formative characteristics of Zhuan Shu(篆書) shown in these process is considered, and then its results is arranged and summarized as shown in the followings. Firstly, Jia Gu(甲骨) characters known as the oldest characters is that of the considerably-developed stage, and has the characteristics to have the simple mind of People in Yin Age which they consulted with a fortuneteller about their own fortune, and then considered to be dependent upon the will of God, and thus shows the particular formation beauty caused by its specific materials and indication method. That is to say, the inscribed slim and strong straight lines made with the knife gives the cold-feeling, and the characters of geometrical figure made by those presents the vigorous and broad-minded and plain feelings. Secondly, Jin Wen(金文) as the casted characters can be shown to have many a curved lines, and to make the beautiful form intentionally, and then the strictness of religious service which respects the courtesy dwells in that characters. Jin Wen(金文) was very prosperous in Chou Age, and there were many a Fei Bi(肥筆) which is thick in the middle of stroke at first, and the stroke of character is not uniform, but the handwriting is graceful and has the mobility. In the latter period, the Fei Bi(肥筆) disappeared and the stroke of character was well-balanced, and courteous and generous and elegant. Also, the number of letters of excellent composition(銘文) become full, and we can look at which the letters was placed in the regular interval and thus it became standardized to one type. Thirdly, Dai Zhuan(大篆) as the courteous and grave handwriting was correct in the character style and was more well-balanced and was regular in the interval of letters against Jin Wen(金文), and had many a stroke and was complicated against Xiao Zhuan(小篆). Fourthly, Xiao Zhuan(小篆) generally consisted of the oblong style, and the thickness of its stroke is same in the initial and end, and thus has the blank lines. So, it forms the symmetrical balance, and has the stable and immobile feeling. Fifthly, Zhuan Shu(篆書) was not used frequently and did not present many a work since the Han Dynasty. In the Tang Age, Xiao Zhuan(小篆) was attempted to be recovered by Li, Yang Bing(李陽氷) and the attentions on the classics became high together with the development of Epigraphy in the age of Qing, and thus many a 篆書家 was produced. The characteristics of this age was to give the full feeling and rhythem to the strokes of the blank Xiao Zhuan(小篆), and to display the motion senze. About Zhuan Shu(篆書) in the modern age, its utility disappeared except for the partial cases as like the seall impression, but its artisfic value is rather keeping a new life power, and thus even the western painters have been much interested in the Hieroglyphic Character of Orient. As like Picasso found its source from the native arts, and Dvorak from the folk music, we meet primitive formation of character which we look for Jia Gu(甲骨) Wen or Jin Wen(金文) today, and thus it became the basis of the Modern Calligraphy Works, and also will be able to gain the new active power from it. Accordingly, we make it as the basis of Calligraphy Works by the deep understanding and consideration to Zhuan Shu(篆書) and have to devise the new and developmental forming method. Finally, the parts which is not deeply handled in this study, that is to say, 1) General Study considering the character and region character of Calligrapher on the Individual Works as well as the change of time with regard to the formation of Zhuan Shu(篆書), 2) In particular, in case of Jin Wen(金文), Type of Graved Broze Vessel or the formative harmony with Character Shape and Its Analysis, 3) Zhuan Shu(篆書) is widely and deeply handled for the tendency activated in the Abstract Fine Arts of Western Country and then Zhuan Shu(篆書) style is considered to have the value and necessity to be studied as the pure and artistic materials.

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