• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.327-334
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• 2020

Changam, Lee Samman(1770~1845), who created his own handwriiting to be referred to as the three great writers of the late Joseon Dynasty, the valued 'beobgo'. Based on the calligraphy of the Han-Wi era, Lee Kwangsa who completed DonggugJinche was regarded as the teacher of the heart. In his later years, he wrote 『ChangamSeogyeol』 to teach how to use the right brush, revealing the basic principles of universal calligraphy and his own calligraphy. The typeface of Changam is completed by choseo through the establishment of haeseo geungol. For this, I valued Han-Wi's haeseo training, OnhuGanwon Han-Wi geungol shows a state without natural law. This shows that nature is the core and ultimate goal of Changam calligraphy theory. This is a return to the state of 'No law' at the height of the law, where eum-yang is created and bizarreness occurs when form, power and energy are promoted. On the other hand, he emphasized that jangbeob and pochi form IlunMujeog DeugpilCheonyeon when expressing naturalness as it is, without being bound by the old law. His typeface constantly tried to combine the beauty of Joseon's own calligraphy while sublimating nature into art. Thus, he acquired IlunMujeog, a body rich in geungol and full of vitality and dynamism. And DeugpilCheonyeon achieved aesthetics with the highest level of excellence, embodied as the original 'Haengunyusu Typeface', and further developed handwriiting and Calligraphy spirit of DonggugJinche in Honam province.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.99-106
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• 2020

Changam, Lee Samman(1770~1845), who created his own handwriiting to be referred to as the three great writers of the late Joseon Dynasty, invented as the original 'Haengunyusu Typeface' and developed Calligraphy spirit of DonggugJinche in Honam province. He ultimately pursued the state of tonglyeong by raising the personality of 'writing is the person's personality' and the attitude of learning the old. Through the book chang-amseogyeol, he basically polished Haeseo of Han Dynasty and Wi Dynasty and emphasized that Haengseo and Choseo are done automatically when muscle strength and bone strength are established. And since calligraphy originated from 'nature', it goes through the 'Beobcheongwijin' spirit. After doing so, expressed the state of tonglyeong of " mubeob-ibeob ", the stage of reaching. In addition, Changam showed the aesthetic that you can get the novelty by pursuing the philosophy of 'Wu' and the 'beauty of Stupid and Lacking' based on LaoTzu and ChuangTzu. This is a philosophy that follows nature's logic to reveal nature's nature. And it is an aesthetic that protects his 'True Wu' without knowing and greedy. On the other hand, Changam promoted natural and vital beauty through force in the method of using the brush. He suggested the 'Push and Hard' of the Han dynasty, pushing it with force using this power properly. In particular, the feeling of an IlunMujeog brush in 『Changam Calligraphy-The cloud stays Poem』 overflows with the vitality and bizarre and strange dynamism of the spirit and typeface as eum-yang harmonizes with each other. In addition, the beauty of Push and Hard containing polyeoghamse is misaligned, but it has achieved a natural aesthetic without invading. This work demonstrates the real look of Changam choseo. In addition, the beauty of Push and Hard containing polyeoghamse is misaligned, but it has achieved a natural aesthetic without invading. Changam proves the real look of "Haedong's best Chose Maestro".

• (The)Study of the Eastern Classic
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• no.49
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• pp.357-392
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• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.

• (The)Study of the Eastern Classic
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• no.32
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• pp.29-50
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• 2008

This thesis is an introduction and critique of the recently released 'Wongyo-Jinjeok(원교진적)'. 'Wongyo-Jinjeok' is the critique of Seokjeong Jeong-Jik Lee (석정 이정직, 1841-1910), a practical scientist and writer during the last years of the Korean Empire, on the calligraphy of Wongyo(원교) Gwang-Sa Lee (이광사, 1705-1777). Even though whether or not Seokjeong follows the flow of Donggukjinche(동국진체) is to be determined by the specialists in this field, this thesis is based on the view that Seokjeong was influenced by Donggukjinche. The academic value of 'Wongyo-Jinjeok' is Seokjeong's preface and epilogue which critiques Wongyo's writing. 'Wongyo-Jinjeok'is a collection of calligraphic specimens from the 18 pieces of Chinese poetry Wongyo had written before and after June 1756 which was the year after he was banished to Booryung. Seokjeong critiqued the writing of Wongyo from the perspective of calligraphic history in the preface and epilogue of 'Wongyo-Jinjeok'. Seokjeong had been positive about Wongyo's taking after the pre-Wangheejee calligraphic style. But at the same time, Seokjeong thought that Wongyo's ability to create was limited by the public morals of that time. Such thought of Seokjeong can be interpreted as an evaluation of Wongyo's calligraphy as having been externally stern but failing to transcend the realm of mastery to the realm of creation.