Earticle

서법예술은 한(漢)대를 거치면서 자각적 시대로 접어들었고, 이에 대량의 서법 관련 저서들이 등장하였다. 이 서적에는 서법의 본체(本體), 원류(源流), 품평(品評), 창작(創作) 등 다방면에 걸친 내용들을 다루고 있다. “Yingou(銀鉤)”라는 용어는 처음에는 은제 또는 은색 갈고리를 지칭하였고, 이후에는 그 의미가 일반화되고 확장되어 머리 장식, 문양 장식, 낚시 바늘 또는 초승달과 같은 여러 의미로 사용되었다. 서예에 도입된 이 “Yingou(銀鉤)”라는 용어는 역사적 시기에 따라 다른 의미를 나타내었다. 서예 작품과 문자에서 매끄럽고 구부러진 획을 의미하며, 특히 초서(草書)의 붓놀림인 “Xiaokai(小楷)”의 획을 가리킨다. 이는 획이 강하고 둥글며 넘쳐흐르는 선형적 아름다움을 사용하는 것을 말한다. 육조(六朝)시기 장초(章草)의 서예 용어인 “Yingouchaiwei(銀鉤蠆尾)”는 획의 몸짓과 글자의 몸짓이라는 두 가지 차원에서 이해할 수 있다. 육조 시기는 기본적으로 서술적이고 모호한 이미지를 그려내고자 하는 미적 추구에 기초한 것으로 보인다. 이에 반해 당대 시기 초서의 방식인 절채고(折釵股), 옥루흔(屋漏痕), 추화사(錐畫沙), 인인니(印印泥), 비조입림(飛鳥入林), 경사입초(驚蛇入草), 고봉자진(孤蓬自振)､ 경사좌비(驚沙坐飛) 등에서 드러나는 붓놀림의 급격한 변화와 필획의 질감은 “Yingouchaiwei(銀鉤蠆尾)”와 많은 부분에 있어 호환성이 높다고 할 수 있다. 이러한 점에서 붓놀림의 진일보한 직관과 세밀화라는 명확한 시대적 특징을 지니게 되었고, 그 예술적 함의 또한 더욱 생동적일 뿐만 아니라 지향성을 지니게 되었다. 이에 이러한 초서 필법은 초서 서체가 부단하게 성숙되고 초서의 양식과 형태가 풍부해짐에 따라 변형되고 진화되어 온 것임을 알 수 있다.

The term “Yingou (銀鉤)” originally referred to silver or silver hooks, which were later extended to include headdresses, decorations, fishhooks, crescent and other multi-layered meanings. Originally, the word “Yingou (銀鉤)” refers to a hook made of or had the colour of silver. As its meaning extends, Yingou is also used to refer to headwear, design pattern, fishhook or new moon. When introduced into calligraphy, the term comes to have the meaning of smooth, curved strokes in calligraphy works and letters, and especially it refers to the skilful handling of the brush in Caoshu (草書) and even specifically the strokes in Xiaokai(小楷). The artistic character of "Yingouchaiwei(銀鉤蠆尾)" should include two aspects: first, the strokes of the first finger are strong and smooth, and the strokes are long and short, with strong bones, rich bones and fleshy, flowing and resilient lines. The second-finger characters are very restrained, majestic and majestic, with a strong and elegant, flowing and clean, extremely grassy yet chic posture beauty. “Yingouchaiwei(銀鉤蠆尾)”, a calligraphy term in Zhangcao(章草) during Six Dynasties, shall be understood from two dimensions —the gesture of strokes and the gesture of characters. Compared to the aesthetic pursuit for descriptive, ambiguous images in Six Dynasties, manners of Caoshu(Shechaigu, Wulouhen, Zhuihuasha, Yinyinni, Feiniaorulin, Jingsherucao, Gupengzizhen, Jingshazuofei, etc.) in Tang Dynasty — the sharp changes in brushwork, the texture of strokes — resembles more closely to “Yingouchaiwei” and gives a more specific, vivid account of the writing process and the strokes. Such brushwork transforms and evolves with the maturing and enriching of the styles and forms of Caoshu. The Cursive Calligraphy of the Six Dynasties“Yingouchaiwei(銀鉤蠆尾)” to the Tang Dynasty,manners of Caoshu(Shechaigu, Wulouhen, Zhuihuasha, Yinyinni, Feiniaorulin, Jingsherucao, Gupengzizhen, Jingshazuofei, etc.) To a certain extent, it reflects the continuous comprehensive and richness of cursive calligraphy style and pen-use style.

It is notable that there have not been published specific studies concerning cursive script (草書) in Korea. Practicing and studying of cursive script require many times because it is the most abbreviated type in Sino-Korean characters. For this reason, it is only calligraphers and scholars of classics who can read and write this script. Generally, traditional calligraphers copied several Chinese famous models for the purpose of practicing calligraphy. Scholars of classics had a responsibility to read, understand, and teach it for their students on the base of teachings of masters' Therefore, cursive script has been thought to be the secret and it caused to make difficult in building any theories on it. In today's Asian countries sharing Chinese characters, cursive script dictionaries containing famous calligraphers' works have been compiled. In this context, this paper attempts to explore some aspects as follows. In the first place, the writer investigates what stage of cursive script in the successive changes of Chinese characters is. Running script (行書) was devised in order to write clerical script easily as well as rapidly in Chin dynasty China. The writer attempts to erudite that cursive script was derived from clerical script(隸書), and running script was derived from standard script(楷書) in the development of cursive script from Han till Tang dynasties China. Secondly, the development of cursive script of the Joseon dynasty was broadly fallen to the first and second stages. In the first stage, early Joweon period, cursive script was written without regulation while it was controlled by disciplines in the late Joseon period. Yi-Ik(李瀷) and Yi Kyu-hyeong(李圭景), scholars of the late Joweon period, remained their writings concerning cursive script. Finally, this paper explores characteristics of cursive script showed in calligraphic works, letters, and historical manuscripts. Aspects on social status of calligraphers, size of each character, and documents are also considered. As mentioned above, this paper only is an attempt, but it covers all formative stages of cursive script throughout the Joweon dynasty. For the further research, other undertakings such as an analysis of calligraphic details and materials are waiting.

본 논문은 메를로-퐁티(Merleau-Ponty)의 신체현상학 이론을 토대로 초서(草書) 창작의 분석을 통해 전통 서예이론에서 이른바 "뜻이 붓보다 먼저 있다[意在筆 先]."는 이성적 관점을 재성찰한 글이었다. 즉, 메를로-퐁티의 신체현상학을 도입하여 신체도식을 사전반성적 지각의 주체로 설정함으로써, 동작이 사고와 결정에 의존하지 않고 동작도식이 공간적 쓰기 안에서 외화될 수 있음을 제시하였다. 이로써 신체는 더 이상 심지(心智)의 객체로 환원되지 않고 이를 넘어섰다. 구체적으로, 역대 중국 서론 의 지배적인 관점인 "뜻이 붓보다 먼저 있다."는 강조는 대뇌의 이성적 통제가 쓰기 동 작을 지배한다고 보았다. 그러나 폭발적인 발현성과 속도를 중시하는 초서 창작에서, 대뇌의 사전 예설(豫設)에 전적으로 의존하는 과도한 이성화는 오히려 신체와 붓·먹 사이의 지각적 연결을 단절시키는 결과를 초래했다. 이를 실증하기 위해 본 논문은 『제질문고(祭姪文稿)』사례 분석을 시도하였다. 기필(起筆) 단계의 엄정한 자형(字 形) 구성에서 출발하여,"부친은 사로잡히고, 아들은 죽었다[父陷子死]."와 같은 참혹한 대목에 이르러 비통한 정서가 신체의 본능을 통해 쓰기를 접수하면서 자형 공간이 극 단적으로 압축되고 필법이 변이되는 양상을 드러냈다. 이는 초서 창작이 의식적 통제 에서 신체 본능의 구동으로 도약하는 '체화된 지각(embodied perception)'의 행위 구조임을 보여주었으며, 이러한 시각은 동시대 서예 창작과 이론 연구에 새로운 차원 을 제공하였다.

Taking Maurice Merleau-Ponty’s phenomenology of the body as its point of departure, this article re-examines the rationalist stance of “intent precedes the brush” embedded in traditional calligraphy theory through the creative practice of cursive script (caoshu). By introducing Merleau-Ponty’s embodied phenomenology, it proposes “intent precedes the brush,” treating the body schema as the pre-reflective subject of perception: movement need not depend on thought or decision-making, but can allow the motor schema to be externalized through spatial inscription, thereby enabling the body to surpass its reduction to an object of the mind. Classical Chinese calligraphy has long emphasized “intent precedes the brush,” assuming that the brain rationally governs writing movements; yet cursive creation is an explosive, speed-intensive mode of writing, and an exclusive reliance on advance mental pre-programming and command results in an over-rationalization that severs perceptual continuity between the body and brush-and-ink. The paper’s case analysis of the Draft of a Requiem for My Nephew traces a progression from the rigorous structure of the characters at the initial strokes to the moment of writing such heartbreaking words as “the father was captured, and the son died / was killed,” when grief enables bodily instinct to take over the act of writing, producing an extreme compression of spatial character-forms and mutations of brushwork. This, more profoundly, reveals the behavioral structure of embodied perception in cursive creation —where writing moves beyond conscious control and crosses over into bodily, instinct-driven propulsion—thereby opening a new dimension for contemporary calligraphic practice and theoretical inquiry.

이 글은 양녕대군의 초서로 알려진 <후적벽부>의 필자에 대해 고찰한 것이다. 초서 <후적벽부>는 이미 양녕대군의 글씨로 널리 알려져 있고, 그의 위패를 모신 사당 至德祠 에는 <후적벽부>를 새긴 판목이 현재까지 보존되고 있다. 그러나 그 판목 어디에도 양녕 대군이 썼다는 기록이 전혀 없고, 다만 이 판목을 저본으로 하여 담양 몽한각에서 중각한 판목에 양녕대군이 썼다는 기록이 있을 뿐이다. 그러나 담양 몽한각의 판목 역시 19세기 말에 새긴 것으로 추정되고 있어, 그 이전에는 초서 <후적벽부>가 양녕대군의 진적임을 밝혀주는 어떠한 기록도 없는 실정이다. 본고는 초서 <후적벽부>의 필자가 과연 양녕대군일까라는 의문점에서 출발하였다. 이 를 해결하기 위해 크게 세 가지 분석을 시도하였다. 우선 서풍을 분석하여 유사한 필적과 비교해보았으며, 다음으로 양녕대군의 저술이 수록되어 있고 그의 행적과 관련된 기록을 모아놓은 『至德誌』에서 글씨와 관련된 기록을 찾아보았으며, 마지막으로 <후적벽부>를 새겼다는 기록이 수록되어 있는 역대 책판 목록을 검색해보았다. 그 결과 초서 <후적벽 부>는 양녕대군의 글씨가 아니며 16세기 초반에 성행했던 張弼 또는 黃耆老의 글씨일 가능성이 크다는 결론을 내렸다.

This article examined the writer of the <Hujeokbyeokbu(後赤壁賦)> that was allegedly to be written in cursive hand by Yangnyeong Infante. The cursive script <Hujeokbyeokbu> has been widely known as the Infante's work. Moreover, the wood block on which it is carved is being kept still in the Jideoksa(至德祠), the shrine his ancestral tablet is kept. However, nothing is recorded on that block that tells it was written by him but only on the wood block of Monghangak in Damyang that was carved on the basis of Jideocksa's block. But as the block of Monghangak is assumed to be made in the late 19th Century, there is no precedent evidence that proves the cursive script <Hujeokbyeokbu> was written by Yangnyeong Infante. This article started from the question whether Yangnyeong Infante wrote the cursive script <Hujeokbyeokbu> or not. To find the answer, three kinds of analysis were conducted: penmanship trends analysis and comparison with similar handwriting, literature search on 『Jideokji(至德誌)』that collected his writings and life's trail records, and search of all the book lists that have the records about the carving of <Hujeokbyeokbu>. As a result, this article arrived at a conclusion that the cursive script <Hujeokbyeokbu> was not written by Yangnyeong Infante and is more likely to be written by Jang pil(張弼) or Hwang Gi-ro(黃耆老) that were popular in the early 16th Century.

The purpose of this paper is to summarize the cursive script of traditional calligraphy and develop further possibilities based on the study of the painting and postscript of Ink bambooo, which was painted by wu zhen （吳鎮）during the Yuan Dynasty. The second section in this paper provides a summary of wu zhen（吳鎮）’s life, in addition to "Ink bambooo" and its painting postscript. The third and fourth sections are focused on analyzing the cursive script in the painting postscript of Ink bambooo, including the left-and-right structure, head prefix symbols, and bottom prefix symbols. The aim of this paper is the study of cursive script, and the theories and methods of the characters proposed by Dr. Cai Yonggui (from Fujian Normal University) and Dr. Liu Dongqin (from Southeast University) will be used to provide a summary. The presentation of the research results of this paper is designed to develop further possibilities for this type of traditional calligraphy.

In the previous report, I introduced the original text and translation texts through a decoding of the first half of Hwagan(華簡), from the first letter to the twenty-second letter that composed of six sheets. This is a follow-up research paper on the second half of Hwagan, from the twenty-third letter to the thirty-fifth letter that five Qing Dynasty’s scholars—Cheng, Gong-shou(程恭壽), Wang, Zhon-gxi(汪重熙), Wen, Zhong-yan(溫忠彥), Wen, Zhong-shan(溫忠善), and Sun, Qi(孫楫) sent to Choson Dynasty's envoy, Pak, Hong-yang(朴弘陽) and the conversations by writing in January, 1855. Through a preliminary decoding of eleven sheets, an inquiry about the consensus, I investigate that these correspondences include a deep sadness of parting, an outpouring of their friendship for Pak, Hong-yang, a praise for Pak, Hong-yang' poetic accomplishments, a mutual exchange of paintings, calligraphic works, books, etc. Besides, I also investigate that the matters comprised in the conversations by writing include 4 impromptu verses by Qing Dynasty’s scholars, a string of questions and answers about traditional ancestral rituals and imperial examination at the time, etc. Finally, this paper wishes to provide an additory research method about envoy travel records of Pak, Hong-yang and several Qing Dynasty’s scholars in Korean and Chinese academic circle.

Hwagan(華簡), now in the rare books collection of Korea Univ. library, is a collection of cursive letters, poems and conversations by writing that five Qing Dynasty’s scholars--Guan Yi-e(管貽萼), Wang Zhongxi(汪重熙), Wen Zhongyan(溫忠彥), Wen Zhongshan(溫忠善), Sun Qi(孫楫) sent to Choson Dynasty's envoy, Pak Hongyang(朴弘陽) in Xianfeng four years(1854). Testifying to the various cultural exchanges between two cultures and nations in the late 19th century, it is an invaluable historical material for the study of the envoy travel literature to China, and the responding poems by the scholars of two different regions. Through a preliminary decoding of Hwagan that composed of eighteen sheets, an inquiry about the consensus among scholars about some of its ambiguous sentences, and a comparative study of relevant historical documents as background information, I investigate the undiscovered contents of “Yeonhaengnok”(燕行錄), and some of lost listings in poem anthologies of the period, but also translate its sentence into Korean. This paper is the first half of Hwagan, from the first letter to the twenty-second letter. Finally, this paper wishes to provide an new research method about envoy travel records of Pak Hongyang and Guan Yi-e’s poetry in Korean and Chinese academic circle.

고려대학교 도서관 한적실에 소장되어 있는 ≪중조학사서한록≫은 1858년 동지부사 자격으로 연행한 바 있는 소정 김영작이 귀국을 전후하여 청나라 문인인 정공수, 진한, 이함, 옹학함, 장병염, 이문원 등 6명의 청나라 문인들로부터 받은 14편의 친필서한과 그의 아들 도원 김홍집이 1892년에 조정황에게서 받은 1편의 친필서한을 모아놓은 척독자료이자, 19세기 한중 양국 문인들의 시문 교류 상황을 연구하는 데 있어 중요한 의미를 지닌 역사자료이다. 원문 전체에 대해 초보적으로 진행한 탈초와 교석, 한중 양국 문헌의 비교 작업을 통해 ≪중조학사서한록≫ 15편의 서한 내용 중에서 현전하는 연행록 및 이들의 문집자료에 미 수록된 내용들이 발견됨으로써, 김영작 부자와 청나라 문인들의 관련 사적에 대해 새롭게 검토하고 김영작 부자의 문집에 미 수록된 내용들을 보완할 수 있게 되었다. 이 외에도 본 척독자료는 19세기 한중 양국 문인들이 담론한 사학 관념, 심리 변화, 문헌 교류 및 상호 문화 등에 관한 교류 정황 및 의의에 대해 검토할 수 있는 생생한 내용들이 담겨 있는데, 이에 본고에서는 그 원문과 각주, 현대어 번역문을 차례로 정리하여 학계에 소개하고자 한다.

This study aims to reassess the stylistic significance of cursive script in the late Joseon period by systematically examining the graphic characteristics of Cursive Script Ode (草書歌行) by Gosan Hwang Giro. The most distinctive feature throughout the work is the operation of the continuous “silk-thread” technique (絹絲), in which strokes may appear segmented yet retain an uninterrupted kinetic flow that permeates the entire composition. Despite variations in thickness, direction, speed, and pressure, Hwang maintains a stable axial structure that harmonizes the essential qualities of classical and wild cursive—continuity, vitality, and expressive dynamism. Organic transitions among initial, medial, and terminal strokes, particularly in components such as san-jeom-su (三點水), elongated radicals, and curved strokes with pronounced concave and rounded movements, reveal Gosan’s distinctive piyi (筆意) and refined technical control. Furthermore, his linkage of three to five characters into extended clusters through thread-like connections enhances the visual coherence and rhythmic unity of each line. The omission, attenuation, and transformation of individual strokes, along with simplified connective forms, function not merely as stylistic devices but also as visual mechanisms reinforcing the textual rhythm and semantic tension of the poem. Through this analysis, Cursive Script Ode emerges not simply as a literary calligraphic work but as a condensed embodiment of Hwang Giro’s technique, aesthetics, and intellectual orientation, serving as an essential reference for understanding the originality and developmental trajectory of cursive script in late Joseon calligraphy.

The literati of the Joseon Dynasty, who regarded Neo-Confucianism as the basis of their scholarship, hardly recognized the artistic value of calligraphy. Tasan(茶山) Jeong Yak-yong(丁若鏞)’s academic world showed several innovative aspects that distinguished him from the existing Neo-Confucian scholars, but he did not show much interest in calligraphy, and did not show any significant difference from the traditional Confucian position. Therefore, despite the excellence of his calligraphy, there are difficulties in clarifying the aesthetic qualities of his calligraphy. This paper attempted to clarify the aesthetic qualities of his representative work, Ha Pi Cheop(霞 帔帖), while fully recognizing these difficulties. In Jeong Yak-yong‘s complete works, a.k.a. Yeoyudang Jeonseo(與猶堂全書), there are a few mentions of calligraphy. Through the analysis of the articles related to calligraphy in Yeoyudang Jeonseo, it was confirmed that Tasan had a positive attitude toward the calligraphic style of Mi Fu(米芾), which was popular in the late Joseon period. In the actual analysis of Ha Pi Cheop’s running and cursive script(行草書), he clarified its aesthetic qualities by contrasting it with one of Mi Fu’s representative works, Shu Su Tie(蜀素帖). Through this, it was shown that Ha Pi Cheop’s running and cursive script calligraphy showed a similar appearance to the realization of the values of naturalness and transcendence that Mi Fu’s Shu Su Tie calligraphy had achieved, while creating his own aesthetic sense through his own variation and form creation. Ha Pi Cheop’s running and cursive script successfully achieved a contrasting manifestation of naturalness and conscious figuration in its structure(結構), posture(體勢), and stroke(筆畫). The calligraphy of Joseon’s literati was difficult to clarify its aesthetic qualities due to their cautious attitude toward calligraphy based on Confucian restraint, and Tasan Jeong Yak-yong was no exception. This paper analyzed various formal characteristics shown in Ha Pi Cheop, a representative calligraphic work left by Tasan Jeong Yak-yong, who was a capable calligrapher, and clarified its aesthetic qualities. Through this, it tried to present one possibility for the establishment of Tasan Jeong Yak-yong and Joseon literati calligraphy aesthetics.

한글 타이포그래피는 근대화 과정에서 가로쓰기 체계를 중심으로 시각 질서를 구축해왔다. 이 체계는 정보 전달의 효율성과 균형, 정렬, 표준화의 원리를 기반으로 하며, 근대성이 지향한 합리성과 규범성을 시각적으로 구현한 결과였다. 본 연구는 이와 같은 체계 내부에서 흘림체가 점유한 조형적 위치와 감각적 의미를 분석한다. 흘림체는 특정한 기능에 고정되지 않은 채, 필기성, 속도감, 감정의 흐름을 담고자 한 감각적 실천으로 호출되어 왔다. 그러나 이러한 조형 감각은 가로쓰기 체계 안에서 반복적으로 구조적 긴장과 충돌을 유발해왔다. 동시에 흘림체는 세로쓰기 시절의 감각 질서를 간접적으로 환기하며, 제도화된 조형 체계의 균열을 드러낸다. 본 연구는 흘림체를 단순히 주변화된 형식으로 보지 않고, 제도적 구조와 감각 질서 사이의 경계에서 타이포그래피의 감각 언어를 재구성하는 실천으로 해석하고자 한다.

Hangeul typography was historically shaped through the adoption of horizontal writing, particularly during the process of modernization. Grounded in the principles of efficiency, balance, alignment, and standardization, this system visually embodied the rationality and normativity pursued by modernity. This study investigates the typographic position and sensory significance of cursive script (heullimche) within this framework. Freed from specific functional constraints, cursive script has been continuously evoked as a sensory practice that conveys handwriting, velocity, and emotional flow. Yet such sensibility has repeatedly produced structural tensions and conflicts within the regime of horizontal writing. At the same time, cursive script indirectly recalls the sensory order of the vertical writing era, thereby exposing fractures within institutionalized typographic structures. This paper interprets heullimche not simply as a marginalized form, but as a typographic practice that reconfigures the sensory language of typography at the threshold between institutional structures and sensory orders.