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A study on Donghae(東海) Cho, Jong-jin(趙琮鎭)’s Calligraphy and Literary theory from a viewpoint of ‘Yang-Gi(養氣)’

Choi Yoo Jin 1

1한국고전번역원

Candidate

ABSTRACT

This study discussed the fact that Donghae(東海) Cho Jong‐jin(趙琮鎭)’s theory of calligraphy and theory of literature were developed with emphasis on the cultivation of gi(氣). Starting from the idea that the original gi(氣) of nature grows muddled over time, he stressed the cultivation of gi(氣) in order to keep gi(氣) from fainting away in the process of socialization. First of all, in the process of literary creation, along with ri(理) as a literary principle, gi(氣) was regarded as an important element to rule the work in harmony with other elements of creation. In addition, the work of heaven’s inspiration(天機), which is the writer’s psychological element of creation, can reach the ideal state of Shin(神) only when artificiality and consciousness are excluded, and with regard to this, he emphasized the importance of the role of gi(氣). In his theory of calligraphy, Donghae(東海) is pursuing the learning of the old and the cultivation of gi(氣) as major elements. As a method of restoring damaged vitality and faulty calligraphic skills, he emphasized the accumulation of gi(氣) in the writer by the learning of old rules, the excursion of noted mountains and rivers. Going beyond the subjective limitation of learning through books, he pursued the refining of inner mind and the restructuring of inner competence through excursing together with noble figures and expanding experiences. Gi(氣) cultivated in this way becomes an aesthetic base for ruling the work, and the more gi(氣) is emphasized the more it is configured into the perfect form of the inner structure of the work.

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