Shinan Yu made remarkable achievements alongside Xun Ouyang during the early Tang Dynasty while recognized by the founding emperor Shihmin Li of the Tang Dynasty. In the history of calligraphy, the early Tang Dynasty was the period of aggregation and... Shinan Yu made remarkable achievements alongside Xun Ouyang during the early Tang Dynasty while recognized by the founding emperor Shihmin Li of the Tang Dynasty. In the history of calligraphy, the early Tang Dynasty was the period of aggregation and completion in the course of development from the invention of characters to thousands of years of changes and advancements, and it was also the pivotal period which led 1,500 years. This study examined Shinan Yu’s works centering on his major works such as 〈孔子廟堂碑〉,〈破邪論序〉, and 〈汝南公主銘稿〉 based on original texts including calligraphy theories such as 『舊唐書』, 『新唐書』, and 『書苑菁華』, and compared him with Xun Ouyang who was active in his time to prove the thesis. Shinan Yu’s calligraphy became the model for ‘內含剛柔’ style. Also, it was considered superior than Xun Ouyang’s ‘外露筋骨’ style. Huaiguan Zhang of the later generation compared their relationship to an old story, ‘韓盧之追東郭魏’, where the world’s finest dog called ‘Hanzilu’ chased after the world’s sliest rabbit called ‘Dongguoqun’ all its life but died together after all without dividing victory or defeat, but rated Shinan Yu higher than Xun Ouyang by describing him as ‘noble man hides his skills.’ Shinan Yu’s calligraphic aesthetic view aggressively incorporates Laozi’s ideology of ‘Calm Mind and Non-Action’ into the calligraphy based on the cultural ideology of Yi, displaying sophisticated aesthetic view, and became the essential theory for all calligraphy theorists from the Tang Dynasty to today. Among his theories, ‘Subtle Enlightenment’ in 〈筆髓論〉 stated that one can achieve mysterious and subtle calligraphy by engaging in calligraphy through the action of ‘intensification’ to connect virtue and aesthetic ideal through the observation of the Mother Nature and enter the state of ‘non-action’ and that the true state of ‘non-action’ depends on the enlightenment within the mind by emphasizing the ‘opening of the eyes of the mind.’ This ‘subtle enlightenment’ is based on Confucian aesthetic philosophy and incorporated Taoist aesthetic philosophy into it and was expressed in calligraphy in full. In the later generations, 〈孔子廟堂碑〉 has been described as “it seemed the soul is alive where the brush touched”, “For his upright character, he did not follow the everyday custom prevalent in the mundane world. He was gentle but did not tolerate insult. Although he was collectively referred to as ‘Four Great Calligraphers of Tang’, his morality and righteousness were rated rather higher than those of Xun Ouyang”, and “All calligraphers of the Tang Dynasty naturally considered Shinan Yu to be the best, followed by Xun Ouyang, Suiliang Chu, and Ji Xue, in respective order. In terms of calligraphic history, Shinan Yu’s printed style, 〈孔子廟堂碑〉, can be analyzed as follows; In the process of ‘Composure → Extraordinariness → Composure’ suggested by Guoting Sun of the Tang Dynasty, You Zhong’s 〈宣示表〉 which is considered as the model for early printed style corresponds with the first ‘composure’, in other words, having peaceful and neat composition of the structure in the first stage sets the model for ‘composure, the overall characteristic of calligraphy during the North Wei Dynasty corresponds with the ‘extraordinariness’ after You Zhong, and Shinan Yu’s printed style becomes the third ‘composure’, the ‘composure to create the new’ which combines the first ‘composure’ and ‘extraordinariness’, and this very stage is where he ‘creates the new based on the old.’ As Cao Song of the Qing Dynasty described, “The famous calligraphers of the Tang Dynasty put all of their heart and strength into their works, and they are Xun Ouyang and Zhenqing Yan. If anyone is to discuss their ordinary styles, it would be proper to follow 〈東方朔畵贊〉, 〈樂毅論〉, 〈曹娥碑〉, 〈洛神賦〉, and 〈破邪論序〉 written by You Zhong, Xizhi Wang, Shinan Yu as others’ were unnecessary”, Shinan Yu’s 〈破邪論序〉 considered as important as the works of You Zhong and Xizhi Wang and set the model for the ‘small printed style’ and even influenced Mengfu Zhao at the end of Won Dynasty and the beginning of the Ming Dynasty and later constituted the calligraphic style during the Joseon Dynasty in Korea. If 〈孔子廟堂碑〉 and 〈破邪論序〉 showed the character of Shinan Yu as they are printed style, his 〈汝南公主銘稿〉 clearly shows his calligraphic aesthetics not to mention his temperament as they are semicursive style. Shizhen Wang of the Ming Dynasty said, “I belatedly obtained the draft of Shinan Yu’s 〈汝南公主墓志〉 and found that the simple and peaceful posture and the taste occasionally reveal the meaning beyond the writing”, matching it with ‘intention’, the central proposition of the calligraphic theory of Xizhi Wang, to elevate his status to the highest level. The comparison with Xizhi Wang’s major works, 〈蘭亭序〉 and 〈汝南公主銘稿〉, clearly shows that he borrowed the basic structure of characters came from Xizhi Wang and added his own aesthetic view to complete a style with more intense scale length, density, and speed than 〈蘭亭序〉. This is clearly the case of ‘surpassing the teacher.’ Therefore, it is certain that Shinan Yu is the one who most properly succeeded to the legacies of Xizhi Wang, the ‘Saint of Calligraphy’, in the five thousand years of history of calligraphy, and furthermore, is the model of ‘Creating the New.’ ，韩语毕业论文，韩语论文范文 |
