필획의 재해석과 현대적 변용(變容)

Abstract

ABSTRACT

Research on Concept of Brush Stroke

Jeon, Jong-ju Advisor: Prof. Park, Hong-soo Department of Fine Arts Graduate School of Chosun University

As the history of calligraphy art has continued on for more than 3 thousand years, brush stokes have become the standard tool to evaluate the artist's creative process. Although it has a rich history, there hasn’t been much research on the conceptualization, after a period of Jinhan, the whole nature of calligraphy was touted as just another form of writing and therefore did not generate enough interest to motivate the research any further.

In the late 1980's, Modern Calligraphy Movement actively sought out to conceptualize the justifications of brush strokes.

Escaping the limits of Characters, and emerging as the new frontier of artistic expression, In other words, brush strokes are the icons of modern calligraphy.

A brush stroke usually is a single stroke of line or dot for writing or a painting. Also a way of counting the foundations of a character, and representation of the lines, dots and its flow brought on forth by oriental brush and its writing essential called Muk.

Eastern Art has always been responsive to the forms of nature and its principles, and in its attempts to express such spirits, has been built very subjectively and ideologically. The most important expressive tool in the art of calligraphy is single stroke.

It is based upon yin and yang, backed by enlightened expressions of the universe; it is a distillation of time and space in a single line that is a stroke. Recognizing the law of nature, law of order and circulation in a single rhythm, concentrated into a single effort.

The form and emotions of a stroke should be excluded from any actions that are planned. For that is a method of learning the principles of nature and using that knowledge to put soul into the artistic expressions. To make the strokes into living lines, an expression of such stroke always coexists with the natural surroundings and practices indifference.

After a critical review into your own nature, and careful examination of the creative ownership and distinction, you realize that, rather than a superficial appeal single stroke has the underlying mentality behind it.

Traditional calligraphy was more of Artistic writing expression, in that it explores the given expressive medium, In Modern calligraphy, there is more freedom, in that there no more are any limitations from characters and the author is able to truly express their emotional subject in creative form. You are able to sing the law and principles of nature in time and space.

Expressing not only external features, but also the internal order of yin and yang, hardness of the brush, emotions and personalities of a stroke, gloss, texture, and expressiveness is all determined by the climate of the environment, and condition.

To distinguish them in the oriental tradition of yin and yang, they come out to five different personalities. Gold, Water, Wood, Fire, Earth

Stroke with a gold characteristics have big and strong appearance, with a little bit cold personalities. Water strokes have the thinnest lines and most flexible, they tend to flow naturally like water and are recognized as calm and permanent. Wood strokes tend to have large scale, extravagant and very distinct in the beauty with prestige and authority. Fire strokes are very passionate, are rather hot tempered but also slim, sophisticated while Earth strokes are rather spacious, gentle, optimistic and peaceful.

Justification of such strokes and conceptualization will bring forth new interpretations and contemplating on such new meanings and concepts will set stage to make modern calligraphy into more logical and rational. From that point on, research on such visualization and conceptualization of Strokes may be possible. When that happens, and such results crystallize, bigger artistic spectrums and dimensions will be shared between calligraphers on a scale of being able to distinguish diverse variety of expressions and authorship. | 예술은 자기표현이다. 그것은 독자적이고 창조적이어야 한다. 자기만의 언어와 어법이 있어야 하기 때문이다. 자기표현은 자기성찰에 의한 자기 확신이이 있어야 하고, 조형에 대한 자기만의 사상과 철학이 있어야 비로소 자기표현이 가능해지는 것이다. 그런데 도제교육에 의해 평생을 전통의 모방과 답습에 길들여진 서예가들에게는 자기표현의 한계가 있을 수밖에 없다. 엄격하고 경직된 사승(師承) 관계로 이어지는 도제교육의 특성 때문에 창작의 독자성과 차별성은 매몰되고, 스승의 기법과 기교중심만으로 수업을 진행하는 도제교육의 폐해가 일란성 쌍생아처럼 비슷해지는 동질성을 예술로 호도함으로서 특정집단의 획일화로까지 확산되고, 그것이 계열과 계파로 자리 잡게 되면서 반 예술적인 형태로 퇴행하고 몰락하게 되는 것이다. 내용으로서의 정신은 없고, 형식으로서의 기법과 기술만 있는 것은 마치 매미나 뱀이 벗고 간 허물과 다름없을 뿐이다. 더욱이 그 허물을 예술로 호도하거고, 또 그것을 믿는 무지로 예술가를 흉내 내는 것을 용인해서는 안 될 것이다.