As one of many disciples of Woosung Kim Chong Yung(又誠 金鍾瑛)’s calligraphic artworks, efforts were made to examine the origins of learning sources and expressive tendencies, under the plea of Geumgangan(金剛眼). Titled as the founder of the field as the first modern abstract sculptor of Korea, the development of aesthetics was witnessed through Kim Chong Yung being immersed in the appreciation of traditional calligraphy. In other words, his efforts of practicing the modern role of the tradition and the future were reckonable in terms of his guidance provided for the juniors. Kim Chong Yung has been practicing the current trend of aesthetical expressions, while maintaining fine cultural aspects of the literary tradition. For example, Kim Chong Yung’s understanding and analysis of Chusa Kim Jeong-hui(秋史 金正喜)’s calligraphic aesthetics, empirically explains how traditional aesthetics was able to survive until today. That is, Kim Chong Yung’s calligraphic aesthetical analysis, on whether calligraphic aesthetics of the times led by Chusa can be vitalized even in modern art and prove its value in the future, was found to be penetrated into the sculpture world of Kim Chong Yung. The aesthetic notion of uniformity between calligraphy and sculpture is the result of Kim Chong Yung’s diachronic view that drew the inseparable complementarity beyond the confrontational relationship between the tradition and the modern. The unexpectedness of the texture of the writing brought by the dynamism of calligraphic strokes is the “extraordinary of the ordinary(格外之格)” ref lected in the “balance of imbalance”, which Kim Chong Yung pursued through sculpture. The “nature as the center of heaven”, under the pretense of strokes, define that personality must be the nature; that is, where capability(有爲) becomes idleness(無爲) in harmony, as well as “nature as the center of heaven” as an aesthetic expression of “the scent of writing and the spirit of words in books”. In the calligraphy acts of Kim Chong Yung, the strokes of language(筆劃言語) makes an organic construction of "capability(有爲)", where such harmony heads toward the boundaries of “idleness(無爲)”. There, “reason(理性)” dissolves into “sensibility(感性)”, and such sensibility is formed within the beauty of “neutralizing(中和)”. Such aesthetic viewpoint of Kim Chong Yung shows a mixed form of “semantics(意 味)” and “shape(形象)”, where “endless joy(遊戱三昧)” is shown in the form of “inseparability(不二之境)” between calligraphy(書) and sculpture(刻).

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