• The Journal of the Convergence on Culture Technology
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• v.5 no.1
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• pp.107-112
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• 2019

Seokjeong LeeJeongzic(1841~1910) is a representing scholar in Honam Confucianism and master of three classes, caligography, painting. Seokjeong's calligraphy activities include not only creative activities, but academic activities as calligraphers and critics. Seokjeong uses Wang Hui-ji as an example of calligraphy. And if hard beauty is mastered truly and skillfully and skillfully, it reaches harmony level by itself and is Bugochangsin. Meanwhile, in "Geseokyoulsanglon5go8su" "Yeonseoksanbangmijeungsigo" there is a 5ungosi8su who criticizes Chinese calligrapheres. There are including WangHuij criticized their calligraphy by selecting 11 people in China. Also wrote reviews for "WonkyoJinjeok" "SonghaJinjeok" "ChangamSeocheub". And here, he made his own calligraphy theory by making calligraphy comments about calligraphy artists such as Wonkyo, Songha, Changam in Korea.

• 한국정보교육학회:학술대회논문집
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• 2004.08a
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• pp.668-676
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• 2004

미술영역 중 서예영역은 7차 교육과정으로 개편되면서 $3{\sim}5$학년 각 8시간, 6학년 6시간으로 한 단원씩 배당되어 6차에 비해 시간수가 11% 감소되었다. 그로 인하여 각 단계별 학습내용을 체계적으로 학습할 시간이 부족하며, 지도할 자료 부족과 자료제작의 어려움, 또한 학생 개인 수준 차이로 서예지도에 많은 어려움이 있다. 이러한 문제를 해결하고자 본 논문에서는 초등 미술과 서예영역의 교육과정을 분석하여 각 학년별 교과 내용의 효과적인 필법 자료를 단계별로 학습의 흐름에 맞추어 투입할 수 있도록 다양한 멀티미디어 자료들을 본 학습 자료와 심화 학습 자료를 재구성하거나 개발하여 적용하는 초등학생을 위한 웹 기반 서예교육 시스템을 설계하고자 한다. 이를 통해 서예 지도를 위한 교사들의 자료 준비와 부족에 대한 부담감이 줄고, 학생 개인차를 고려하여 자료를 투입할 수 있어 자기 학습력 신장을 엿볼 수 있으며, 학생 스스로도 서예에 대한 흥미도가 높아져 향상된 작품을 볼 수 있을 것이다.

• Journal of Digital Convergence
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• v.14 no.8
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• pp.497-502
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• 2016

The survey is designed to provide fundamental data for assessing effects of calligraphy therapy program. An opened questionnaire asking psychological and physical experiences (3 advantages and 3 disadvantages) was given to 150 persons practicing calligraphy. Collected data were categorized into 10 psychological advantages (435 items), 6 psychological disadvantages (129 items), 9 physical advantages (302 items), and 7 physical disadvantages (150 items). Those subjective experiences were multidisciplinarily interpreted in terms of the mental and physical health and the humanistic education. A new structured assessing tool which will be developed based on the findings from the study may contribute in activating the calligraphy therapy program.

• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.493-503
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• 2022

With the rise of epigraphy and textology, and the emerge of many famous outstanding clerical script masters, Qing Dynasty becomes another important innovation period in the development of the clerical script. Jin Nong and Yi Bingshou are two important clerical script masters in the Qing Dynasty. Thus, researches on the courses of their careers as well as a comparative study between these two calligraphers, Jin Nong and Yi Bing, are specially important. The comparative study of Jinnong and Yibingshou's clerical script is a relatively new subject, which is entered from the angel of comparative perspective between their clerical scripts works. Through an in-depth research on different inheritance routes, which are origin from Han Dynasty clerical scripts, of Jin Nong and Yibingshou, it is found that these two calligraphers are different in innovation of clerical script style, theory of calligraphy and of clerical script practice. This paper focuses on a comparative study of the different clerical theories and clerical script works between Han Dynasty, Jinnong and Yi Bingshou. A comparative study of clerical script works of Jin Nong and Yibingshou in Qing Dynasty provides a more comprehensive and in-depth understanding on these two calligraphers; meanwhile, it provides valuable learning paths for later calligrapher in the field of clerical script, and can be regarded as references in the innovation of the official script style.

• The Journal of the Convergence on Culture Technology
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• v.8 no.3
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• pp.61-70
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• 2022

His study was started in the sense of examining the direction of nurturing calligraphy education professionals as the Act on Promotion of Calligraphy was enforced. The purpose of this study is to derive the direction of nurturing manpower in the calligraphy field, and to suggest a direction for nurturing professional manpower different from the existing Seodang-style and apprenticeship methods. To this end, we first looked at the current status of manpower in the calligraphy field through a fact-finding survey and prior research. As of March 2022, the overall status of the curriculum of the Department of Calligraphy at Korean universities was analyzed and its characteristics were examined. In this study, the direction of nurturing professional manpower using teacher job training and the direction of nurturing professional manpower through designated institutions were presented. For the direction of nurturing professional manpower using teacher job training, we selected an autonomous training method that enables training members to collaborate together to enhance the competency of participants. presented as Training and training for professional manpower through designated institutions Major . operation . A total of 26 programs were presented for communication competency.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.57-65
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• 2023

There are differing opinions among scholars as to whether "chuseo" (ugly writing) should be considered as one of the schools in modern calligraphy. Those who do not recognize "chuseo" argue that it lacks traditional rules for stroke formation and therefore loses its distinctiveness. However, the existence and development of "chuseo" are closely related to the constant exploration and reform of modern calligraphy, as well as the increasing aesthetic awareness and changing aesthetic standards of calligraphers with changing times. As a result, there are now more people who recognize "chuseo" as a legitimate form of calligraphy. Calligraphers who lead the times learn and accumulate experiences by adhering to traditional calligraphic principles. However, there are calligraphers who discard the traditional Confucian concept of "chungyong" (中庸) and display "ugliness" in their works. Ok Heung-hwa and Jeung Sang are two such calligraphers who created their own style by incorporating ancient oracle bone inscriptions as their main focus and folk calligraphy as their bloodline. This paper aims to explore and study the definition and formation process of "chuseo" by analyzing the works of Ok Heung-hwa and Jeung Sang. At the same time, it aims to summarize the characteristics and aesthetic beauty of "chuseo".

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.235-244
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• 2023

We aimed to identify the differences between Korean and Chinese calligraphy therapy by examining the trends in Korean and Chinese calligraphy therapy and the effectiveness of the dependent variables. For the study, we initially screened 288 Korean articles and 429 Chinese articles, totaling 717 articles, published from January 1997 to December 2021. Using the PICOTS-SD standard, 6 Korean articles, 9 Chinese articles, and 15 total articles were identified as eligible for the study, and the collected data were analyzed using SPSS 26.0, a Microsoft EXCEL program. We found that there were significant differences in the number of follow-ups among publication formats, disease types, and main activity techniques (p<.05), and significant differences in the number of research and experimental participants in calligraphy therapy studies published in Korea and China and in the type of effect verification of the dependent variable (p<.01). In addition, based on the literature review and data analysis, it was found that there were differences in the qualities and experience of Korean and Chinese therapists and the intervention contents and methods of calligraphy therapy.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.327-334
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• 2020

Changam, Lee Samman(1770~1845), who created his own handwriiting to be referred to as the three great writers of the late Joseon Dynasty, the valued 'beobgo'. Based on the calligraphy of the Han-Wi era, Lee Kwangsa who completed DonggugJinche was regarded as the teacher of the heart. In his later years, he wrote 『ChangamSeogyeol』 to teach how to use the right brush, revealing the basic principles of universal calligraphy and his own calligraphy. The typeface of Changam is completed by choseo through the establishment of haeseo geungol. For this, I valued Han-Wi's haeseo training, OnhuGanwon Han-Wi geungol shows a state without natural law. This shows that nature is the core and ultimate goal of Changam calligraphy theory. This is a return to the state of 'No law' at the height of the law, where eum-yang is created and bizarreness occurs when form, power and energy are promoted. On the other hand, he emphasized that jangbeob and pochi form IlunMujeog DeugpilCheonyeon when expressing naturalness as it is, without being bound by the old law. His typeface constantly tried to combine the beauty of Joseon's own calligraphy while sublimating nature into art. Thus, he acquired IlunMujeog, a body rich in geungol and full of vitality and dynamism. And DeugpilCheonyeon achieved aesthetics with the highest level of excellence, embodied as the original 'Haengunyusu Typeface', and further developed handwriiting and Calligraphy spirit of DonggugJinche in Honam province.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2004.05a
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• pp.687-687
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• 2004

예술의 전당 하부를 통과하는 우면산터널은 예술의 전당 자료관, 오페라하우스, 음악당, 서예관, 미술관 등의 건물과 인접하여 설계되었다. 이들 건물은 진동의 전달경로에 따라 구조-구조의 전달경로인 자료관과 구조-지반-구조의 전달경로인 오페라하우스, 음악당, 서예관으로 분류할 수 있다. 자료관은 하부의 기조 중 일부가 우면산 터널의 통과를 위해 설치한 박스(box) 터널 상부와 구조계를 형성하고 있고, 오페라하우스와 음악당 및 서예관 주변으로는 우면산 터널의 상행선과 하행선이 각각 인접하여 통과하는 구조계를 형성하고 있다. 본 연구는 서울시 서초구 서초동～우면동에 이르는 우면산 터널에 실험 차량이 통과할 때 차량 통행으로 인해 발생하는 진동이 예술의전당 자료관, 오페라하우스, 음악당, 서예관 등의 건축구조물에 전달되는 고체전파음의 발생특성 파악하고, 예술의전당 통과구간에 방진패드에 의한 도로포장 공사 후 그에 대한 효과를 비교하였다. 또한, 우면산 터널 예술의 전당 통과구간에 대하여 다공성 아스팔트로 도로포장한 후 그에 대한 효과도 파악하였다.