箊泉 崔重吉(1914?1979)은 한일합방 직후에 黃海道 信川의 海州崔氏 가문에서 태어나 左右이념의 대립이 한창이던 1948년경 처자를 데리고 남하하였다.
어려서 할아버지로부터 한학과 柳公權 글씨를 익히고, 남하한 후에는 畸園 李泰益․如初 金膺顯․鐵農 李基雨․雨田 辛鎬烈․月堂 洪震杓․小志 姜昌源 등과의 교류를 통해 한학과 書畵理論의 깊이를 더하였다. 당시 한국서단의 중추적인 인물인 소전 손재형의 서풍을 한 때 수용...
箊泉 崔重吉(1914?1979)은 한일합방 직후에 黃海道 信川의 海州崔氏 가문에서 태어나 左右이념의 대립이 한창이던 1948년경 처자를 데리고 남하하였다.
어려서 할아버지로부터 한학과 柳公權 글씨를 익히고, 남하한 후에는 畸園 李泰益․如初 金膺顯․鐵農 李基雨․雨田 辛鎬烈․月堂 洪震杓․小志 姜昌源 등과의 교류를 통해 한학과 書畵理論의 깊이를 더하였다. 당시 한국서단의 중추적인 인물인 소전 손재형의 서풍을 한 때 수용하였으나 독창적인 자신만의 서풍을 이룩한 보기 드문 서예가이다.
어천이 篆?隸?楷?行?草 오체에 모두 능할 수 있었던 근저에는 투철한 古法創新의 정신이 있었다. 특히 甲骨文․金文․漢隸․北魏楷와 唐楷, 왕희지 <蘭亭敍>와 褚遂良 <雁塔聖敎序>․顔眞卿 三稿 <爭坐位帖>?<祭伯文稿>?<祭姪文稿>․손과정 <書譜>․米芾 <離騷帖> 등을 중심으로 끊임없는 臨書를 통하여 각 법첩의 특징을 습득하였다. 古碑帖을 臨摹하되 帖을 중심으로 하였으며, 그 중에서도 손과정의 <書譜>는 어천의 行草를 이루는 가장 큰 힘이 되었다.
이러한 어천의 서예관 특징을 네 가지로 정리할 수 있었다. 첫째는 法古이다. 끊임없이 精微한 臨書를 통해 자신의 서풍을 확립하고자 노력하였다. 둘째, 文字香 書卷氣이다. 소식이나 김정희의 말처럼 글씨는 기예로만 이루어지는 것이 아니라 만권의 책이 胸中에 있어야만 기예를 뛰어넘는 진정한 글씨를 쓸 수 있다고 확신하였다. 셋째, 創新이다. 어천의 글씨는 하나의 법첩만을 따르지 않았다. 여러 古法을 투철하게 임서한 후 각 법첩의 특징을 한데 모아 하나의 서체에 混融하여 자신만의 새로운 서풍을 이루었다. 넷째, 心正筆正이다. 어려서부터 익힌 유공권의 “용필은 마음에 있으니, 마음이 바르면 붓도 바르게 된다.”는 旨論을 가슴 깊이 새기고 그 정신을 견지하고자 하였다. 이리하여 진정한 의미의 法古創新을 이룬 서예가이다.
箊泉 崔重吉(1914?1979)은 한일합방 직후에 黃海道 信川의 海州崔氏 가문에서 태어나 左右이념의 대립이 한창이던 1948년경 처자를 데리고 남하하였다.
어려서 할아버지로부터 한학과 柳公權 글씨를 익히고, 남하한 후에는 畸園 李泰益․如初 金膺顯․鐵農 李基雨․雨田 辛鎬烈․月堂 洪震杓․小志 姜昌源 등과의 교류를 통해 한학과 書畵理論의 깊이를 더하였다. 당시 한국서단의 중추적인 인물인 소전 손재형의 서풍을 한 때 수용하였으나 독창적인 자신만의 서풍을 이룩한 보기 드문 서예가이다.
어천이 篆?隸?楷?行?草 오체에 모두 능할 수 있었던 근저에는 투철한 古法創新의 정신이 있었다. 특히 甲骨文․金文․漢隸․北魏楷와 唐楷, 왕희지 <蘭亭敍>와 褚遂良 <雁塔聖敎序>․顔眞卿 三稿 <爭坐位帖>?<祭伯文稿>?<祭姪文稿>․손과정 <書譜>․米芾 <離騷帖> 등을 중심으로 끊임없는 臨書를 통하여 각 법첩의 특징을 습득하였다. 古碑帖을 臨摹하되 帖을 중심으로 하였으며, 그 중에서도 손과정의 <書譜>는 어천의 行草를 이루는 가장 큰 힘이 되었다.
이러한 어천의 서예관 특징을 네 가지로 정리할 수 있었다. 첫째는 法古이다. 끊임없이 精微한 臨書를 통해 자신의 서풍을 확립하고자 노력하였다. 둘째, 文字香 書卷氣이다. 소식이나 김정희의 말처럼 글씨는 기예로만 이루어지는 것이 아니라 만권의 책이 胸中에 있어야만 기예를 뛰어넘는 진정한 글씨를 쓸 수 있다고 확신하였다. 셋째, 創新이다. 어천의 글씨는 하나의 법첩만을 따르지 않았다. 여러 古法을 투철하게 임서한 후 각 법첩의 특징을 한데 모아 하나의 서체에 混融하여 자신만의 새로운 서풍을 이루었다. 넷째, 心正筆正이다. 어려서부터 익힌 유공권의 “용필은 마음에 있으니, 마음이 바르면 붓도 바르게 된다.”는 旨論을 가슴 깊이 새기고 그 정신을 견지하고자 하였다. 이리하여 진정한 의미의 法古創新을 이룬 서예가이다.
Eocheon Choi, Jung-gil(箊泉 崔重吉, 1914?1979) was born in the Choi family originated in Haejoo in Shincheon of Hwanghaedo immediately after the Japanese annexation of Korea. He came to the south with his wife and children around 1948 in the midst of the ideological antagonism of the left and the ...
Eocheon Choi, Jung-gil(箊泉 崔重吉, 1914?1979) was born in the Choi family originated in Haejoo in Shincheon of Hwanghaedo immediately after the Japanese annexation of Korea. He came to the south with his wife and children around 1948 in the midst of the ideological antagonism of the left and the right.
When he was a child, he learned the Chinese classics from his grandfather and calligraphy from Yu, Gong-gwon(柳公權). After coming to the south he had association with Giwon Lee, Tae-ik(畸園 李泰益)?Yeocho Kim, Eung-hyeon(如初 金膺顯)?Chellong Lee, Gi-woo(鐵農 李基雨)? Woojeon Shin, Ho-yeol(雨田 辛鎬烈)?Woldang Hong, Jin-pyo(月堂 洪震杓) ?Soji Kang, Chang-won(小志 姜昌源), etc.
His Chinese classics and calligraphy deepened through the association with them. Once he accepted the calligraphy style of Sojeon Son, Jae-hyeong(素筌 孫在馨), who was the central person in the Korean calligraphy world at that time and also was his teacher. But he did not totally imitate Sojeon. He advanced rather than his teacher, and he became the calligrapher who accomplished the creative style of his own.
Eocheon was good at five styles of calligraphy: Jeonseo(篆書), Yeseo(隸書), Haeseo(楷書), Hangseo(行書), Choseo(草書). There was a thorough spirit of reviewing the old and the creating the new (法古創新)in the foundation of his calligraphy.
He mastered the characteristics of each album of calligraphic works through the continuous Imseo(臨書) of inscriptions on animal bones and tortoise carapaces (甲骨文), inscriptions on the metals(金文),Yeseo of Han, Haeseo of Tang, Nanjeongseo (蘭亭書) by WangXizhi(王羲之), Antapseonggyoseo(雁塔聖敎書) by Zhu suiliang(褚遂良), Samgyo by Yan zhening(顔眞卿), Seobo(書譜) by Sunguoting(孫過庭), Isocheb(離騷帖) by Mifu (米芾)etc.
He wrote the old albums of inscriptions through Immo(臨摹), but he put emphasis on the album of calligraphy works. Especially Seobo by Sunguoting became the source of Hangchoseo to Eocheon.
His view of calligraphy could be characterized into four points.
The First was reviewing the old. He tried to build up his own style of calligraphy continuously through the precise and minute Immo.
The second was the incense in calligraphy characters and the spirit in calligraphy books. The calligraphy was not made by only handicraft but also there had to be ten thousands of books in the mind like as Kim, Chung-hee'words. Chusa was sure that calligraphy had to surpass the handicraft and then the truth had to be represented in the characters.
The third was creating the new. Eocheon's calligraphy didn't follow one man's style. After he followed the Chinese characters in many people's styles thoroughly, he gathered the each characteristics and blended them into one style and Finally he made the new calligraphy style.
The fourth was the right mind and right writing. When he was in early life, he took lessons from You, Gong-kwon, who had taught "The use of a rush is in the mind, and so if the mind is right, the brush will be right." He always kept it in his mind and tried to practice.
Thus, he was a calligrapher who had accomplished “reviewing the old and creating the new" in the truest sense of the word.
Eocheon Choi, Jung-gil(箊泉 崔重吉, 1914?1979) was born in the Choi family originated in Haejoo in Shincheon of Hwanghaedo immediately after the Japanese annexation of Korea. He came to the south with his wife and children around 1948 in the midst of the ideological antagonism of the left and the right.
When he was a child, he learned the Chinese classics from his grandfather and calligraphy from Yu, Gong-gwon(柳公權). After coming to the south he had association with Giwon Lee, Tae-ik(畸園 李泰益)?Yeocho Kim, Eung-hyeon(如初 金膺顯)?Chellong Lee, Gi-woo(鐵農 李基雨)? Woojeon Shin, Ho-yeol(雨田 辛鎬烈)?Woldang Hong, Jin-pyo(月堂 洪震杓) ?Soji Kang, Chang-won(小志 姜昌源), etc.
His Chinese classics and calligraphy deepened through the association with them. Once he accepted the calligraphy style of Sojeon Son, Jae-hyeong(素筌 孫在馨), who was the central person in the Korean calligraphy world at that time and also was his teacher. But he did not totally imitate Sojeon. He advanced rather than his teacher, and he became the calligrapher who accomplished the creative style of his own.
Eocheon was good at five styles of calligraphy: Jeonseo(篆書), Yeseo(隸書), Haeseo(楷書), Hangseo(行書), Choseo(草書). There was a thorough spirit of reviewing the old and the creating the new (法古創新)in the foundation of his calligraphy.
He mastered the characteristics of each album of calligraphic works through the continuous Imseo(臨書) of inscriptions on animal bones and tortoise carapaces (甲骨文), inscriptions on the metals(金文),Yeseo of Han, Haeseo of Tang, Nanjeongseo (蘭亭書) by WangXizhi(王羲之), Antapseonggyoseo(雁塔聖敎書) by Zhu suiliang(褚遂良), Samgyo by Yan zhening(顔眞卿), Seobo(書譜) by Sunguoting(孫過庭), Isocheb(離騷帖) by Mifu (米芾)etc.
He wrote the old albums of inscriptions through Immo(臨摹), but he put emphasis on the album of calligraphy works. Especially Seobo by Sunguoting became the source of Hangchoseo to Eocheon.
His view of calligraphy could be characterized into four points.
The First was reviewing the old. He tried to build up his own style of calligraphy continuously through the precise and minute Immo.
The second was the incense in calligraphy characters and the spirit in calligraphy books. The calligraphy was not made by only handicraft but also there had to be ten thousands of books in the mind like as Kim, Chung-hee'words. Chusa was sure that calligraphy had to surpass the handicraft and then the truth had to be represented in the characters.
The third was creating the new. Eocheon's calligraphy didn't follow one man's style. After he followed the Chinese characters in many people's styles thoroughly, he gathered the each characteristics and blended them into one style and Finally he made the new calligraphy style.
The fourth was the right mind and right writing. When he was in early life, he took lessons from You, Gong-kwon, who had taught "The use of a rush is in the mind, and so if the mind is right, the brush will be right." He always kept it in his mind and tried to practice.
Thus, he was a calligrapher who had accomplished “reviewing the old and creating the new" in the truest sense of the word.
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