A Study on the Relationship between Changam Lee Sam-man and Yeongnam Calligraphy

The purpose of this study is to investigate the relationship between 蒼巖 晩 (1770-1847), a teacher of Palha calligraphy, before shedding light on 八 徐錫止 (1826-1906), a calligrapher who represents Yeongnam in the modern era, and his student, Stone 徐丙 (562-1936). Although Changam was a man of the middle class, he was a professional calligrapher who represented Honam by pioneering his own calligraphy style called “Flowership” with hard work and writing 『筆訣』 that organized his own book theories even in difficult circumstances. In the case of Palha, he devoted himself to writing and wrote the introductory 『筆鑑』 for 50 years from the age of 30 after learning calligraphy from Changam, and it is considered that Changam had a great influence on Palha's ability to hone his calligraphy and understand the essence of calligraphy. On the other hand, Seokjae did not directly 私淑 Changam, but was influenced by Palha, and some of the colors of Changam remain in his writings. Many of the contents of Palha's 『calligraphy』 were found to inherit or cite the contents of Changam's calligraphy. In other words, the study and interpretation of '一', the beginning of the introduction of Changam, approaches and analyzes very practically and concretely compared to existing calligraphers in the late Joseon Dynasty, and Palha learned the calligraphy theory of Changam early, and his lifelong research was analyzed in detail into 12 parts. In addition, in terms of his views on writing, his views on Unpil, and his views on yin and yang, it was confirmed that Changam inherited and developed a calligraphy theory similar to Changam by accepting a large part of the contents of his calligraphy theory as a professional calligrapher. Changam's original west wind is also weak in the Seohae, which is the most difficult to express emotions in the calligraphy, and this characteristic can be seen in the Seohae of Palha. In Maaeseo, it seems that Changam's high school graduate spirit and the will of Cheon Chi Ja-yeon have been transferred to Palha's handwriting. The energetic and wriggling strokes, strict conclusion, and grand style that appear in the signboard book of Changam also show the 枯淡 and relaxed will of Changam in the signboard book of Palha. Meanwhile, in the Haengchoseo book written by Palha in his later years, the flow of 展豪's unwritten pen, which seems to be a slight inclination, and a natural stroke as if water were flowing stand out. Seokjae, a disciple of Palha, also faithfully learned the writing method from Changam to Palha and Palha to Stone, and while maintaining the writing method, he accepted a new and unconventional formation through his descendants. As he returns to the stage of 險絶 through such a process, the writing method that he has learned since childhood is revealed. In particular, in the autologous calligraphy style of stone around the 60s, there is a rich ecological aesthetic, such as the dynamic feeling like flowing water seen in the writings of Changam and Palha, a 潚灑 of refreshing, an effort not bound by writing method, and a lively momentum by 展毫. This sense of aesthetics can be said to be a succession of Changam's 順 calligraphy aesthetics, which embodies the ecological characteristics of Korea's landscape nature by crossing the borders of ancient 今 and 巧拙 of calligraphy.