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조각의 길, 서예의 길
원어 제목
The Way of Sculpture, the Way of Traditional East Asian Calligraphy
주제 분류
자료 유형
학술논문
저자
정세근 鄭世根   지음
발행일자
2018.11.10
기본언어/원문언어
/
수록면/분량
135-157쪽 / 총 23쪽
국문초록
외국어초록
The purpose of this essay lies in sketching the two paths trodden by Kim Chong Yung, who is called a “sculptor.” He harbored as much interest in traditional East Asian calligraphy as in sculpture; though he created many abstract works, he produced far more self-portraits than did anyone. In this respect, it is overly one-sided to classify Kim Chong Yung solely as a Western-style painter or a Western-style sculptor. He wished only to be an artist and steadfastly sought to tread the path of self-exploration. Kim Chong Yung’s lifelong issues can be summarized as the arts, religion, self, and world. The goal of his life was none other than attempting to overcome the dichotomies surrounding these issues. In artistic form, traditional East Asian calligraphy and sculpture were opposites. Indeed, binary oppositions were constant: the self and the audience in the purposes of the arts; the East and the West in the roots of philosophy; absence (nothingness) and presence (being) in metaphysics; abstract and concrete in the depiction of humans and nature; the arts and religion in the ultimate goal; silence and theory in language and communication methods; and universality and particularity in politics and society. Although evaluations of Kim Chong Yung have focused mainly on the latter items in such binary oppositions, the gist of this essay is that his works cannot be properly understood unless the former items-i. e., traditional East Asian calligraphy, self, East, absence, abstraction, arts, silence, and universality-are revealed. In Kim Chong Yung’s view, Kim Jeong-hui (penname: Chusa; 1786-1856), a revolutionary in traditional East Asian calligraphy, had perfected his art far more than had the post-impressionist painter Paul Cezanne. Kim Chong Yung was well aware that Kim Jeong-hui’s calligraphy had been most dynamic when executed in the clerical script (lishu). This is because structure shines more than does rhythm. The calligraphic style considered to be the most important by epigraphers including Ruan Yuan (1764-1849), a Chinese scholar, had been none other than the clerical script of the Han Dynasty (206 BC-220 AD) in China. It was in this context that Kim Jeong-hui had sought to reveal structural beauty three-dimensionally through the clerical script. He had successfully abstracted traditional East Asian calligraphy, thus establishing it as an abstract art. Kim Chong Yung was able to approach sculpture and traditional East Asian calligraphy with the same mindset because, to him, “Just as traditional East Asian calligraphy is the purest art, abstract art is the realization of the purest plastic concept.”
참고 문헌
『老子』 『김종영 미술관 소식지』11, 서울: 김종영미술관, 2015. 6. 1. 『金鐘瑛 인생·예술·사랑』, 서울: 김종영미술관, 2002. 박갑성, 「각백(刻伯)의 회상」, 『두 가지 고독』, 서울: 자유문학사, 1985, pp.197-219. 박갑성, 「김종영 이야기」, 우성 김종영기념사업회 편, 『金鐘瑛: 조각가의 그림』, 서울: 가나아트, 1998, pp.7-9. 박갑성, 「인간 각백을 말함」, 『초월과 창조를 향하여: 조각가 김종영의 소묘와 산문』, 서울: 열화당, 1983, pp.15-21. 『우성 김종영』, 과천: 국립현대미술관, 1980. 정세근, 「김정희의 문화운동과 금석학」, 『대동철학』 73, 2015, pp.289-305. 정세근, 「문인조각가의 서예정신」, 『김종영 선생의 삶과 예술적 가치』 초청강연회 자료집, 창원예술문화단체 총연합회, 2009. 12. 8. 정세근, 「평정과 대칭」, 『인간, 사회, 기초조형(Human, Society, Basic Design & Art)』(2007한국기초조형학회 가을 국제학술대회 대회보), 2007. 11. 3. 『초월과 창조를 향하여: 조각가 김종영의 소묘와 산문』, 파주: 열화당, 2005.
키워드
김종영 Kim Chong Yung, 자화상 self-portrait, 이분법 dichotomy, 무위 nonaction, 추사 김정희 Kim Jeong-hui
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