• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.113-118
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• 2019

Choi Buk(1712-1786) is the master of three poems, caligraphy, paintings of the Middle Class Painter. There is a resisting cynicism against discrimination, a madly free and unbridled madness that is not bound by itself, and a master sense due to pride in his artistic talents. Madness and stubborn as an image of a unique painting through unworldly and clasical scholar oriented Muninhwa. His muninhwa has many poetic picture paintings where poetry and painting are one, and the technique of painting depicting objects is based on the power of the muscles and is a madness brush which is not bound anywhere. And it expresses the level of art in a higher level through the unconventional composition of the unconventional composition, the simplicity of the line, and the unique operation of margins and colors. His Muninhwa appeared naturally in the works of art, which is a pride of enterprising people and a belief that aesthetic pursuit of a change of the unchanging ones.

• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.107-112
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• 2019

Seokjeong LeeJeongzic(1841~1910) is a representing scholar in Honam Confucianism and master of three classes, caligography, painting. Seokjeong's calligraphy activities include not only creative activities, but academic activities as calligraphers and critics. Seokjeong uses Wang Hui-ji as an example of calligraphy. And if hard beauty is mastered truly and skillfully and skillfully, it reaches harmony level by itself and is Bugochangsin. Meanwhile, in "Geseokyoulsanglon5go8su" "Yeonseoksanbangmijeungsigo" there is a 5ungosi8su who criticizes Chinese calligrapheres. There are including WangHuij criticized their calligraphy by selecting 11 people in China. Also wrote reviews for "WonkyoJinjeok" "SonghaJinjeok" "ChangamSeocheub". And here, he made his own calligraphy theory by making calligraphy comments about calligraphy artists such as Wonkyo, Songha, Changam in Korea.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.271-278
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• 2019

Sochi Heo Ryeon (1808 ~ 1893), who was born in Jindo in the late Joseon Dynasty, is a master of three classes, caligography, painting.It is a representative painter who is called the founder of the Honam Paintings. He learned Confucianism, Buddhism, Taoism from choui and learned the basics of painting.He became a student of Kim Chung Hee as an introduction of choui. Since then, I have correctly understood the painting aesthetic that realizes the painting by the paintings and paintings of chusa. And he succeeded it in the art world of Honam. His life and artistic features are the wandering that lasted over 70, many work activities, and details the records habit of details of "Sochisillok". Sochi's paintings aimed at Namjong painting, expressing the simple and clear beauty of the free brush and the landscape painting of ye-hwang style. In addition, the peony was painted with bizarre rocks, expressing the lively beauty by changing the brush to be called 'Heo-peony'. And it fulfilled the desire for riches and honors and the taste of Sunbee at the same time, and it became a representative material of 'Unlimsanbang' after being passed on to the house. His naturalized style of painting and painting aesthetic have been influential to the art world in modern Korea until now, forming a painter 's vein for 200 years over 5 generations.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.273-280
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• 2021

GangAm Song Sungyong (1913~1999) was from Gimje, Jeollabuk-do. And he is a calligrapher from the last Confucian scholar of the 20th century and a writer of poetry, calligraphy, and painting. While wearing a topcoat and hanbok for the rest of his life, he approached the study, thought, and calligraphy art of Yoo Jae Song Kimyeon and Kojae Lee Byungeun from the perspective of 'GucheSinyong'. And he kept the philosophical subjectivity that tries to maintain character and a right mind. It was based on 'Guche', which is a faithful succession to the reverence of the old. When I was young, I practiced Mibul and Dong Kichang with Gu Yangsun as the center, and Hwang Jeonggyeon, Hanye, Oh Heejae, and Sojeon typefaces were grafted together during the national exhibition. Then, in 1965 (age 53), he moved to Jeonju, and learned several typefaces such as Chusa typeface on his own, creating a Gangam typeface without any obstacles. And he created 'Sinyong' with Windy Bamboo painting, which embodied strange and unconventional meanings. In addition, he re-established his identity by reexamining the fundamental spirit and natural aesthetics of calligraphy, and based on this, he greatly contributed to expanding the aesthetics of modern calligraphy and painting art by pursuing an aesthetic that explores novelty. In particular, Windy Bamboo painting has strong abstraction based on the principle of 'drawing the will'. And, in terms of discipline, the ethical aesthetic of Express Tao with pictures (畵以載道), which expresses the high level of elegance of observing small things in a big way, based on deep research on the logic of things and fulfilling human nature. By implementing it, Tao and Art become one. The Jeonbuk calligraphy group achieved the greatest prosperity in the Gangam era, and at the end of the 20th century, it entered a period of revival as it established itself as the central calligraphy group of Korean calligraphy.