元 吾丘衍의 『學古編.三十五舉』 印章論 연구

• 영문명: Studies on the theory of Seal throughStudies of ancient series(學古編).Thirty-five articles(三十五舉)by Wu Qin Yan(吾丘衍) in the Yuan dynasty(元)
• 발행기관: 한국서예학회
• 저자명: 이인숙(Lee, In-suk)
• 간행물 정보: 『서예학연구』서예학연구 제17호, 277~316쪽, 전체 40쪽
• 주제분류: 예술체육 > 예술일반
• 파일형태: PDF
• 발행일자: 2010.09.30

국문 초록

본고는 인장예술론의 고전으로 후대의 인장이론과 창작실천에 깊은 영향을 끼친 吾丘衍(1268-1311)의 『學古編.十五舉』를 한글로 번역하고 여기에 나타난 장론을 살펴본다. 실용품으로서 오랜 역사를 가지고 있었던 중국의 인장은 宋나 라 이후 문인사대부들과 서예가들의 관심을 받아 점차 예술의 영역으로 발전하였다. 『학고편.십오거』는 인장론에 관한 최초의 전문 저술로서 전각이 독립된 예술로 형성되는 과정에서 매우 중요한 위치를 차지한다. 방 몽고족의 정복왕조인 元나라의 서예는 晋.唐을 학습하는 복고적인 서풍이 세여서 고대서체인 篆書를 학습하는 사람도 많았고 문자학 저술도 다수 출현하였다. 元代의 특징적인 인장 양식인 圓朱文은 小篆을 둥글고 유려하게 구사하였다. 이러한 원주문의 형성에는 소전을 전서의 정통으로 삼아야한다는 오구연의 인장론과 元代 서단의 전아한 고전주의의 영향이 컸을 것이다. 학고편의 인장론은 ‘‘古’의 존중’, ‘『說文解字』의 중시’, ‘小篆의 정통’, ‘漢印의 範’ 등으로 파악된다. 古印의 심미성과 제작 규칙을 바르게 이해하고, 『說文解字』로서 문자의 구조와 전서의 올바른 자형을 익혀야하며, 소전을 정통으로 전서를 학습해야한다고 하였다. 漢印은 가장 중요한 治印의 典範으로서 반드시 이를 따라야 한다고 하였다. 오구연의 인장론이 이후 명 ․ 청대의 전각 이론과 실천에 미친 영향은 매우 커서‘학고편’ 또는 ‘삼십오거’라는 이름을 차용함으로서 오구연의 인장론에 대한 존중을 나타내고 있는 何震의 『續學古編』, 桂馥의『續三十五舉』, 姚晏의 『再續三十五舉』, 黃子高의 續三十五舉 등의 후속편들이 저술되었다. 오구연은 학고편을 저술하여 漢印의 인장 풍격과 특징을 구체적으로 설명함으로서 전각 학습의 방향을 제시하였다. 인장에 대한 인식과 사용이 보편화되지 않았던 시기에 漢印의 심미성과 중요성을 확신하고 전각의 방향을 제시한 점은 이후 전각이 서화와 서로 나란히 독립적인 예술로서 성립될 수 있는 중요한 역할을 하였다.

영문 초록

In this study, Studies of ancient series(學古編) ․ Thirty-five articles(三十五舉)written by Wu Qin Yan(吾丘衍) in the Yuan dynasty(元) is translated into Korean, and also Wu Qin Yan's theory of seal is looked into, which influenced, as a classic of art theory of seal, on the seal engraving theory and the creative practice to posterity. In China, Seal had been considered as a practical object which had a long history, and since the Song dynasty literary noblemen paid attention to it and, it slowly started to develop into an artistic area. In this procedure, Studies of ancient series ․ Thirty-five articleshad a strong influence on it. The Yuan dynasty(元) was a conquest dynasty by different ethnic group, and during this era retro style of calligraphy was in general trend. Zhao Mengfu(趙孟頫) succeeded Wang Xizhi(王羲之)'s calligraphy style, and he was good at the seal character(篆書) and the ornamental seal character(隸書) as well as the square style of Chinese handwriting(楷書) and the semicursive style of writing(行書). Many calligraphers in the Yuan dynasty who followed Zhao Mengfu were also good at writing the ancient writing style, the seal character, and quite a few of writings on graphonomy were written. Signature seal(花押印) and Yuan Zhu mun(圓朱文) are characteristic style of the Yuan dynasty, Signature seal is free and active, and Yuan Zhu mun made use of Xiaozhuan(小篆) code law and it is round and beautiful.Studies of ancient series is made up of｢the preface of the Studies of ancient series(學古編序), the first volume ｢Thirty-five articles｣, and the second volume ｢combined writers to items(合用文籍品目)｣. The first volume has 35 articles, explaining the essentials of the laws of the seal and the right use of it. The first 17 articles explains the seal character and the ornamental seal character seeing into the characters from Gwadumun(蝌蚪文) to the ornamental seal character, and the last 18 articles explains the various kinds of the seal and its institution, and along with it much more detailed explanations for the right use of the seal such as the composition and the form of the character, writing skills, and the artful matters. The second volume is intimately comprised the whole, presenting the list of reference books and documents, which enables one to practice the theory in the first volume earnestly. The theory of the seal in Studies of ancient serieshas its point on ' respect the old(古)', 'lay stress on the origin of Chinese characters(說文解字)','authenticity of the Xiaozhuan(小篆)', 'model of the seal in the Han dynasty(漢印)' and so on. As to 'the old(古)', it presents in several articles that one needs to understand the methods of the ancients and needs to follow the rules of manufacturing as well as the valuable sides of the style of the seal. According to it, to have the right knowledge of the structure and the shape of the seal character, one must knowthe origin of Chinese charactersvery well, and one has to learn the seal character considering Xiaozhuan as the authenticity. It also says that a seal engraver has to learn the seal taking in the seal in the Han dynasty as the most important model. Since then, the theory of the seal by Wu Qin Yan had a great impact on the engraving theory and practice in Ming Qing(明淸) era, and so sequels like Sequel to studies of ancient series(續學古編)(in 1622) by He Zhen(何震), Sequel to the thrity-five articles(續三十五舉)(during 1778-1785) by Gui Fu(桂馥), renewed sequel to the thrity-five articles(再續三十五舉)(in 1818)by Yao Yan(姚晏), Sequel to the thrity-five articles(續三十五舉)by Huang Gao(黃子高) were written by borrowing the names of 'studies of ancient series' or 'the thrity-five articles' i

목차

Ⅰ. 머리말

Ⅱ. 시대적 배경

Ⅲ. 『學古編』(1300년)의 구성과 개요

Ⅳ. ｢三十五舉｣의 印章論

Ⅴ. 『學古編.十五舉』의 후속편

Ⅵ. 맺음말

키워드

吾丘衍 學古編 三十五舉 印章論 漢印 Wu Qin Yan Studies of ancient series Thirty-five acts Theory of Seal Seal in the Han dynasty