{"title":"A new genre of Chinese calligraphyintegrating the seal, cursive and semicursive components of characters","authors":"Seong-in Kim, Cheon-kyu Kang","doi":"10.19077/tsoc.2023.43.8","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.8","url":null,"abstract":"The four main styles of Chinese calligraphy characters are in the general order of their appearance: seal script, clerical script, regular script, and cursivesemicursive script. Generally, all the characters in a calligraphic art work have a consistent type of script. In this paper, we develop a new genre of calligraphy art, in which the components constituting one character are expressed into the seal script and cursivesemicursive script, which is a fusion of the two scripts.
 The fusion of these scripts brings forth various aesthetic characteristics by greatly expanding the formativeness of the scripts. This fusion script maintains the aesthetic characteristics of each of the two scripts, and in combined form, it shows its own diverse yet unique aesthetic aspects.
 The calligraphic art work in this fusion script genre inherits the artistry in both of the seal script genre and the cursiveorsemicursive script genre. Furthermore, as a synergy effect of the two genres, it has infinite potential artistry and displays an inspiringly profound and rich yet unique artistic atmosphere and inspiration.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Suggestions for Training Calligraphy Education Professionals","authors":"Jae-woo Lee, Han-bin Son","doi":"10.19077/tsoc.2023.43.2","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.2","url":null,"abstract":"This article suggested ways to train and promote calligraphy education professionals to internalize the basic plan for calligraphy promotion.
 First of all, the current status and necessity of training professionals, and the opinions of related institutions and individuals were comprehensively confirmed. Currently, the training of professionals in the field of calligraphy is centered on universities (graduate schools), and only one university is currently in existence, and since graduate schools assist in the role of universities, it has been confirmed that the size of training and production of calligraphy education professionals is gradually decreasing. On the other hand, most institutions and individuals are aware of the importance of fostering calligraphy education professionals, and suggested the establishment of training institutions, standard curriculum and textbook development, treatment and employment issues after completion of training.
 Next, professional manpower training and promotion measures were classified into three categories and suggested. First of all, the designation and operation of a calligraphy professional training institution were presented. The institution designation suggested cooperation and cooperation among professional educational entities, the use of local educational institutions, consultation with local governments, and operation of designated educational institutions according to the standard curriculum for training professionals.
 Second, the introduction of a qualification system for professionals in calligraphy education was suggested. Through this, the status of calligraphy education and the promotion of quality of employment, and the linkage with measures to revitalize cultural infrastructure and tourism development were described. In addition, it suggested improving operational elasticity by linking related tasks and curricula such as planning calligraphy education, establishing educational operation plans, conducting field classes, operation, and administrative tasks, establishing an organic cooperative system.
 Finally, the formation of a calligraphy promotion network and the establishment of a foundation were presented. Specifically, it was suggested to establish a comprehensive calligraphy promotion management system for long-term stabilization of calligraphy promotion policies, and to clarify and unify policies through expert forums.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aesthetic Analysis of Calligraphy Art on the Plaque of Gyeongbokgung Palace","authors":"Guo-xin Zhang","doi":"10.19077/tsoc.2023.43.10","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.10","url":null,"abstract":"Gyeongbokgung Palace is the top five palaces in Seoul, and it has an important influence in Korea and even in the world. There are many plaques written in Chinese characters on the gates, houses, and corridors of the palace. These plaques are part of the architecture, part of the traditional Korean culture, and a wonderful example of traditional calligraphy. Currently, there are 121 tablets hanging in Gyeongbokgung Palace, including four types of characters: regular script, official script, line and seal, which are different in form and writer. The author collected information on all the plaques through various verification and field investigation, combed the year, author and font of the plaques in as much detail as possible, and arranged them into tables. This article focuses on the detailed artistic aesthetic analysis of these plaques, from the visual arts, described their artistic characteristics, including brushwork, structure, atmosphere and so on. The five aesthetic types are developed one by one, and the corresponding pictures and texts are used to provide readers with a reference dimension to the aesthetic world of calligraphy in Gyeongbokgung Palace.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A study on The Acceptance of 『Jeon-ye Geumganggyeong』 by 『Jeon Jungyong』","authors":"Chul-seung Park","doi":"10.19077/tsoc.2023.43.5","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.5","url":null,"abstract":"『Jeon Jungyong(篆中庸)』 is a book published by Park Young(朴詠) in 1544 by transcribing the main text of 『Jungyong janggu(中庸章句)』 in 33 types of Seal script.
 Since it is impossible to create all 33 styles by Park Young alone, this paper focused on identifying the reference book, 'Dangbon(唐本)', which he mentioned in the epilogue. However, until the Tang Dynasty, records of various character types belonging to Seal script were examined, but there was no extant data that could confirm the actual writings. A little bit, Wei Xu(韋續)'s 「56 style's writing(五十六種書)」 thought that there was a possibility of be a model. Because there are many types of Japchejeon(雜體篆) and explanations of the creative process. During the Northern Song Dynasty Jingde(景德, 1004-1007) years, Monk Dawken(釋道肯) added 「56 style's writing」 to <18 style's Seal script Monument(十八體篆書碑)」 and published 『32 style's Seal script Gold Sutra(三十二體篆書金剛經)』. The original disappeared early, but many reissue versions were produced afterwards.
 In 1288, 'the reissued by Ken monk’ version with a preface written by Chen Shuzhao(陳叔昭), 『Jeon-ye Geumganggyeong(篆隸金剛經)』 was introduced to Korea. This many woodblock versions still have survived to this day. It proves that the influence was great in the meantime. It is presumed that Park Young used this as a standard and published 『Jeon Jungyong』.
 『Jeon-ye Geumganggyeong』 contains 32 types of japchejeon names, sources, and actual letter shapes. The 33 types of 『Jeon Jungyong』 coincide with the 29 types of 『Jeon-ye Geumganggyeong』.
 Afterwards, in the preface and epilogue to 『Jeon-un pyeonlam(篆韻便覽)』 written by Gyeong Yu-Gyeom(景惟謙) in 1651, the existence and interrelationship between 『Jeon Jungyong』 and 『Jeon-ye Geumganggyeong』 were mentioned. And in 1675, 『Jeonhae simgyeong(篆海心鏡)』 through the preface written by Kim Man-Gi(金萬基), it can be seen that the 38 japchejeons of 『Jeon Daehag(篆大學)』 completed by Kim Jin-Heung(金振興) in 1661 are based on 『Jeon-ye Geumganggyeong』. In all, it can be confirmed that 『Jeon Jungyong』 played a leading role.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Confucian Calligraphy Concept in Jiang Kui's “Xu Shu Pu”","authors":"Xiao-yu Wang","doi":"10.19077/tsoc.2023.43.9","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.9","url":null,"abstract":"The Song Dynasty created another peak different from the previous dynasties in terms of ideology such as literature, art, and philosophy. In this era of cultural prosperity and development, artistic activities such as poetry, calligraphy, and painting have shown outstanding achievements in both artistic creation and theory. Jiang Kui is one of the representative figures. He not only left rich literary and artistic achievements for future generations in literature and calligraphy creation, but also left precious ideological wealth for future generations in terms of literary and artistic theory, especially calligraphy theory. As an artist with profound attainments and unique insights into calligraphy, Jiang Kui pondered and summarized his many years of writing experience and artistic experience, and conducted a series of basic questions on calligraphy aesthetics, basic techniques, and cultural meanings. “Xushupu” can be said to be one of the works with remarkable achievements and great influence in the Southern Song Dynasty calligraphy theory, and it has been valued by calligraphers of all dynasties. This article intends to focus on “Xu Shu Pu”, by interpreting Jiang Kui's calligraphy theory, and examining his Confucianism-inspired calligraphy concept. Jiang Kui established “Fengshen” as the highest aesthetic standard of calligraphy art in “Continued Books”, and launched his theoretical interpretation with “Fengshen” as the core. Influenced by Zhu Xi's thoughts and Neo-Confucianism, he also showed an obvious tendency to respect “yili” and “gufa” in his calligraphy theory.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aesthetic Consideration of Hyangpa Lee Juhong’s Calligraphy and Painting","authors":"Kyeong-hee Seol","doi":"10.19077/tsoc.2023.43.7","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.7","url":null,"abstract":"Lee Juhong(1906-1987) was a writer, educator, and artist, born in Hapcheon, Gyeongsangnam-do, and worked in Busan. This paper is a study of his calligraphy, poetry, and painting. He experienced various hardships during his life of 80 years, including Japanese rule and the Korean War. Therefore, he expressed human agony and the fundamental essence of his difficult life through various genres of art, including literature. He led students to culture and art during his entire life as a professor of the Department of Korean Language and Literature at the National Fisheries University of Busan, integrated by Pukyong National University in Busan afterward. In addition, he was a comprehensive artist who engaged in artistic activities in a variety of genres, including poetry, novels, essays, plays, and criticism, as well as children's poems, fairy tales, juvenile fiction, calligraphy and painting, folk paintings, comics, book designing and binding, and theater directing. He also wrote collections of literary works and translations that amount to about 300 volumes.
 I analyzed and examined Hyangpa Lee Juhong’s calligraphy and painting by classifying them into literary communication aesthetics of calligraphy and painting and authentic East Asian aesthetics of calligraphy. The simple beauty, humorous beauty, and natural beauty abstracted from the literary communication aesthetics of calligraphy and painting help the aesthetic emotions organically linked in Hyangpa’s poetry, painting, and calligraphy to communicate through the integrated empathy of creation and appreciation. Therefore, I confirmed that simple, humorous, and nature-friendly works become communication aesthetics that heals complex minds.
 I summarized the authentic East Asian aesthetics of calligraphy into five beauties.: The first is the simple and gentle beauty that looks smiling. The second is the beauty that to have and to lack generate each other, and the third is the beauty that expresses a neat yet majestic aura with flowing strokes. The next is the beauty that is plain but not sick of, and the last is the magnanimous beauty while remaining faithful to nature without restraint. He used diverse genres of literature and various fields of art. He attempted many experimental things in calligraphy, so we could evaluate that he created a new style and method of calligraphy. In addition, the humanistic, literary, and aesthetic sentiments accompanying Confucius's humanism and Zhuangzi's vital freedom at the bottom of Hyangpa art formed his view of literature, art, and life. Thus, they elaborately emerged in Hyangpa’s calligraphy and painting.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Study on Mao Zedong's Cursive Style","authors":"Yu Qin","doi":"10.19077/tsoc.2023.43.11","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.11","url":null,"abstract":"Mao Zedong was a famous calligrapher in modern times. Because of his unique style, his calligraphy lived alone in the calligraphy world. Later generations were called Mao Style.Especially known for cursive writing, the spirit of superiority, still into the holy territory, by the world praise, admiration.Mao Zedong's cursive calligraphy has a wide range of methods, and its origin can be traced directly to the Eastern Han Dynasty cursive calligraphy.Because of the complexity of the learning experience and the wide range of methods, Mao Zedong's cursive style is studied in stages to reveal his choice of cursive script and to better explain his “inheritance” and “innovation”.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Study on Chusa’s Handwriting on Gim Bok-gyu⋅Gim Gi-jong","authors":"Yong-wha Han","doi":"10.19077/tsoc.2023.43.6","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.6","url":null,"abstract":"This study aims to investigate Chusa Kim Jeong-hui’s handwriting on Kim Bok-gyu⋅Kim Ki-jeong Jeongnyeobi (金福奎⋅金箕鍾 旌閭碑) and the calligraphic aesthetics. This is based on the records that Gim Bok-gyu⋅Gim Gi-jong Jeongnyeobi has its roots in Haseungbi. \u0000Jeongnyeo refers to the the king's commendation to loyalists, filial sons, and chaste women. During the Joseong Dynasty, Confucianism was the national ideology. Based on the Samgangohrun(三綱五倫) in Confucianism, loyalists, filial sons, and chaste women were commended (旌閭) so they could set an example for others. If a family member was commended, to signify the commendation, a commemorative pavilion would be built, in which there was a jeongnyeobi. Also, there would be a memorial gate (旌門) to signify the commendation and honor their spirit. \u0000This study first investigated in detail Gim Bok-gyu⋅Gim Gi-jong Jeongnyeobi. Then, it was confirmed that there was great interest in Haseungbi during the 18th centuries when Chusa lived. Lastly, it was identified that Chusa emphasized training of rubbings (碑帖). \u0000In conclusion, although Chusa wrote the jeongnyeobi based on Haseungbi's handwriting(筆意) that received great interest during the 18th centuries, he created a new type of calligraphic beauty based on the existing Haseungbi that is even more sophisticated.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Study on Aesthetics of Confucian & Taoistic Calligraphic Theory in East Han","authors":"Soon-ok Lee","doi":"10.19077/tsoc.2023.43.4","DOIUrl":"https://doi.org/10.19077/tsoc.2023.43.4","url":null,"abstract":"An overview of the history of Chinese calligraphy shows that many people in Tang Dynasty such as Zang Huaiguan(張懷瓘), Yu Shinan(虞世南), expressed very precise and philosophical views on calligraphy. Yet, there have already been discussions related to calligraphy in thr Eastern Han Dynasty before such in-depth views of calligraphy in Tang Dynasty. Yang Xiong(揚雄) has already clarified the espression of the mind of calligraphy by saying that 'Shu(書)〔originally a book, but later understood as a calligraphy〕is picture of the mind, which is composed of characters written with a brush. however, people that understood and practically applied it to calligraphy are the Cui Yuan(崔瑗) and Cai Yong(蔡邕) in the Eastern Han Dynasty.
 In「Caushushi(草書勢)」, Cui Yuan gave calligraphy an independent aesthetic value that deviated from practical functionality. Moreover, it contains content that shows the aftistry of the individual's self-awarenss. In order words, it describes the artistic characteristics of the cursive script through the origin of calligraphy, the occurrence of the cursive script and the feeling of the shape and its force of the cursive script.
 Cai Yong wrote「Bilun(筆論)」, and it says what kind of mindset and brushstroke is used in calligraphy creation to make calligraphy creation with true beauty possible. It is the so-called ‘calligraphy is an art that works on creation by relaxing the tension of the mind 〔書者, 散也〕’ In other words, it revealed for the first time what kind of mind could be conveyed through what kind of creative attitude and what kind of movement of the brush could be used to write truly beautiful writing. It shows that the recognized calligraphy in Taoist aesthetic thought.
 Cui Yuan and Cai Yong not only mentioned calligraphy techniques and the method of wielding brush related to actual calligraphy creation but also clarified what conditions must be met for calligraphy to become a magnificent art. Such remarks by Cui Yuan and Cai Yong contain. the contents of understanding calligraphy through the taoist philosophy, on their views. Thus, from the perspective of calligraphy aesthetics, various andswers to the question 'what kind of art is calligraphy can be obtained through the views and perceptions of calligraphy by Cui Yuan, Zhao Yi and Cai Yong in the Eastern Han Dynasty.","PeriodicalId":474009,"journal":{"name":"Seo'yehag yeon'gu","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135427816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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