본고는 창암의 서론(書論)과 서적(書跡)의 내용을 중심으로 ‘창암체’ 형성 기반으로서의내면적 사유(思惟)와 용필법(用筆法)의 특징을분석 하고 ‘창암체’에 투영된 양상을 논의하였다. 창암은 당대서풍의 문제점을 개혁하고 옛 법을 회복하여 서예의 새로운 이정표를 제시하기 위하여 서론(書論)을 저술하였다. 書를 書道로 천명한 창암은 자연의 경지에 계합하는 서를 이루기 위해 음 양(陰陽)의 상반응합(相反應合)의 조형원리를 도입하고 귀어자연 (歸於自然)의 목표를 설정하였다. 뿐만 아니라 극공(極功)의 연마를 강조하면서 내면적 사유와 실제 글씨와의 일체경계를 지향하였다. 즉 서가의 도정(道程)으로 유법(有法)의 연마에 극공을 기울여 마침 내 무법(無法)의 자연에 계합할 것을 제시하였다. 그가 용필법을 중 시한 이유는 필법의 오묘함을 터득했을 때에야 만물의 형태가 기묘 한 書로 드러난다고 보았기 때문이다. 본고에서 논의한 것처럼 창암의 사유(思惟)와 필법적 특징은 ‘창암체 (蒼巖體)’에그대로투영되었다. 창암은내면적 사유와실질적필법이란 두 측면을잘 융합시킨것이다. ‘창암체’는 순수(純粹), 소박(素朴), 졸박 (拙朴), 생동(生動)의 풍격을 띠고 있으며, 자연만물처럼 소박하고 단순 하면서도 무궁한 것을 함유하고 있어 일명 ‘행운유수체(行雲流水體)’라 는별칭을얻기도하였다. 창암이서예를자연물과동일한층차(層次)의 존재물로보고자연을담아냄으로써‘창암체’는자연만물과같은객관성 과 실재성을 지니게 된 것이다. 서예사적관점에서볼때창암의친자연주의적서예관은동국진체(東 國眞體) 서가들의 천인합일적 서예관념을 계승한 한편으로, 자연이 書 의전형이자귀착점이라고인식했던창암자신의미학적사유의결과이 다. 그는 조선의 산천과 조선인의 심상에 부합하는 새로운 풍격의 서예 미학을개척하여한국적고유성의영역을확장함으로써결국19세기동 국진체 서가로 우뚝 선다. 결과적으로 서예로서 시대정신을 대변하고 선도하는 중요한 역할을 담당한 창암은 조선 후기 예술사에서 서예의 위상을 확고히 한 인물이라 할 수 있다.

Based on main concerns of Changam's calligraphic theory and artworks, this study sought to characterize his internal thoughts and yongpil-beob (command of brush writing) as the foundations of ‘Changamche’ and discuss aspects projected on ‘Changamche.’ Changam authored the Theory of Calligraphy (書論) to reform the issues of his contemporary calligraphic trends, recover traditional rules of calligraphy and introduce a new milestone of calligraphy. He clarified calligraphy (書) as seodo (書道, a part of artistry realized with calligraphy). In order to implement calligraphy complying with the stage of nature, Changam introduced a formative principle of sangban eunghab (相反應合) between yin (陰) and yang (陽), and also set a goal toward guieojayeon (歸於自然). Furthermore, he underlined cultivation with extreme efforts (極功) and pursued integration of internal thoughts with practical writings. In other words, Changam advised that radical efforts should be made to cultivate yubeob (有法) through processes required for calligraphers, and ultimately harmonize with nature of mubeob (無法). The reason why he valued yongpil-beob is that the mastery of subtle and profound artistry of pilbeob is considered to make all things formed and revealed in marvelous calligraphy. As discussed in this study, internal thoughts and pilbeob characteristics of Changam became projected on ‘Changamche (蒼巖 體).’ He successfully combined these two aspects - internal thoughts with practical pilbeob - with each other. ‘Changamche’ is well characterized by purity (純粹), simplicity (素 朴), coarseness (拙朴) and vividness (生動). This calligraphic style encompasses something humble, simple but unlimited like all things in nature, so it is also called ‘Haengun-Yusuche (行雲流水體).’ Changam viewed calligraphy as a being on the same level of natural creature before expressing nature with his calligraphy. That is why ‘Changam-che’ came to have objectivity and practicality like all things in nature. From the viewpoints of calligraphic history, Changam's nature-friendly insight of calligraphy is the result of his aesthetical thoughts that nature is a model and ultimate conclusion of calligraphy as well as his succession to the calligraphic ideology of Cheonil Habil (天人合一) pursued by Donggukjinche (東國眞體) calligraphers. Changam pioneered a new style of calligraphic aesthetics to comply with the nature of Korea and the image of Korean people, so he extended the sphere of Korean originality enough to deserve an outstanding position of Donggukjinche calligrapher in the 19th century. As a result, Changam played a major role as calligrapher in representing and leading his contemporary mentality, so he deserves a title of Korean calligrapher who contributed to establishing the standing of calligraphy in the history of pre-modern Korean art during late period of Joseon dynasty.

Ⅰ. 序論
Ⅱ. ‘蒼巖體’ 形成의 思惟的基盤
1. 陰陽論的造形原理
2. 歸於自然의 書藝理想
Ⅲ.蒼巖書藝理論의 筆法的特徵
Ⅳ. 蒼巖書藝美學의 ‘蒼巖體’에 投影된 樣相
1. 蒼巖의 書藝美學과 篆·隸書
2. 蒼巖의 書藝美學과 楷·行書
3. 蒼巖의 書藝美學과 草書
Ⅴ. 結論

• 문정자(단국대학교 외래교수) | Moon Jung Ja