李之儀는 소식 문하의 사인이다. 그러나 그의 사는 소식의 호방사와 다른 부드럽 고(淸婉) 섬세(峭茜)한 풍격을 가진다. 또 그의 사를 내용별로 살펴보면 연정사가 절 반 이상을 차지한다. 이는 그의 인생 경력과 그의 사에 대한 관점에서 연유하는 바 가 크다. 그는 폄적지인 당도에서 가기 양주와 운명적으로 만나 그녀와 가정을 이루 지만 다시 헤어지게 된다. 이런 만남과 이별이라는 일련의 과정들 속에서 이지의는 그녀를 위해 많은 연정사를 짓게 된다. 이지의 사가 완약 청신하며 민가풍의 고악부 적 용어를 사용할 수밖에 없었던 이유는 이런 개인적 인생사에서 연유되었던 바가 크다. 아울러 그의 사론은 청신한 사 창작의 또 다른 기준이 되었다. 본고는 이지의 연정사와 사론을 통해 이지의 사 풍격 형성의 소이연을 고찰했다.

Seven Easy Pieces, the performances that Marina Abramović had shown at Guggenheim Museum in November, 2005 gathered attentions for she represented the performances that had been in 1960s and 70s by the artists herself and her colleagues on those term. The complex meaning of the title, Seven Easy Pieces was enough to make an issue. It contained the meaning of the musical concept and the slogan of the designer Donna Karen simultaneously and showed the performances of 1960's and 70's every night during a week. This show included and presented as follows, Bruce Nauman's Body Pressure(1974), Vito Acconci's Seedbed(1972), VALIE EXPORT's Action Pants: Genital Panic(1968), Gina Pane's The Conditioning(1973), Joseph Beuys' How to explain pictures to a Dead Hare?(1965), her own performance Lips of Thomas(1975) and Entering the Other Side(2005) at the last night.This show was progressing with the performance biennale 'Performa05', at the same time but was not a part of it. However, there is the major significance that Guggenheim made agreement with Abramović to make the performance art meaningful. Also it looked like going together with the meaning of 'Performa05' that Abramović chose the performances during 1960s and 70s when the performance arts have animated. Though, we should consider that the purpose of Seven Easy Pieces was really in remembering the early performances just like she had chosen. Because It had too many interesting points.First, Abramović asked to the major artists in 1960 and 70 the permissions to re-perform their works or paid for copyrights to progress her show. In this pregress, Chris Burden refused to let his work, Trans-Fixed(1974) perform again by Abramović, and Guggenheim denied to re-perform Abramović's Rhythm0(1974). This was the unheard-of thing in the re-performance some works. So, it could be understood as because the performance art was shown in 'the present', in 'the museum', consequently Abramović had to accept the conditions of 'time' and 'space'.Second, there were lots of differences between the original performances and Abramović's re-performances in Seven Easy Pieces. Actually it is not possible to revive the original works as those were, but Seven Easy Pieces is worthy of notice that Abramović adapted the original things. This can be explained by residing in that Abramović couldn't experience the real scene at that time and she planed this show only depending on the documents. And this point can occur the problems of the relationship between the original performance, the documents, and the re-performance based on the documents.Therefore this study set up the purpose to shape up Abramović's intention and the meaning of the re-performance with investigating the re-performed works in Seven Easy Pieces.