작업 소개

57STUDIO는 예술의전당 서예박물관에서 개최된 2018 평창올림픽 & 패럴림픽 기념 전시 《동아시아 필묵의 힘》의 전시 영상 콘텐츠를 기획 및 제작하였습니다. 본 전시는 한·중·일을 대표하는 75명의 서예 작가가 참여하여, 동아시아 서예의 정신과 조형적 특징을 조명하는 자리였습니다.

57STUDIO는 전시장 내 상영될 작품 영상을 통해 서예가 지닌 힘과 아름다움을 시각적으로 표현하는 데 집중하였습니다. 강원도 양양, 고성 일대와 화재 이전의 낙산사 풍경을 촬영한 장면에 서예 작품을 합성하여, 자연의 흐름과 서예의 역동성을 조화롭게 담아냈습니다. 이를 통해, 전통 서예가 단순한 조형 예술을 넘어 자연과 조응하는 깊은 철학적 의미를 지니고 있음을 전달하고자 하였습니다.

57STUDIO는 영상 매체를 활용하여 서예의 시각적·정신적 깊이를 새롭게 해석하고, 관람객들이 보다 몰입감 있게 감상할 수 있도록 구성하였습니다.

57STUDIO planned and produced the exhibition video content for The Power of East Asian Ink, a commemorative exhibition for the 2018 PyeongChang Olympic & Paralympic Games, held at the Seoul Calligraphy Art Museum in the Seoul Arts Center. This exhibition featured 75 leading calligraphy artists from Korea, China, and Japan, highlighting the spirit and aesthetic characteristics of East Asian calligraphy.

57STUDIO focused on visually expressing the power and beauty of calligraphy through exhibition videos displayed in the gallery. By integrating calligraphy works into footage shot in Yangyang and Goseong, Gangwon Province, as well as pre-fire landscapes of Naksansa Temple, the videos harmoniously captured the dynamic energy of calligraphy alongside the natural flow of the environment. This approach aimed to convey that traditional calligraphy is not merely a visual art form but also carries a profound philosophical connection to nature.

Through the use of video media, 57STUDIO reinterpreted the visual and spiritual depth of calligraphy, creating an immersive experience that allowed visitors to engage with the art on a deeper level.

The Universality and Uniqueness of East Asian Calligraphy

The Power of East Asian Ink (EAS) exhibition views Korea, China, and Japan as a unified calligraphic community connected through the language of writing. Featuring works by 75 leading calligraphy artists from these three nations, the exhibition explores the shared heritage and distinctive characteristics of East Asian calligraphy.

In Korea, calligraphy is referred to as Seoye (書藝), in China as Shufa (書法), and in Japan as Shodo (書道).

Art (藝), Method (法), and Way (道).

These terms reveal how Korea, China, and Japan share a common foundation in calligraphy (書) while interpreting it in distinct ways.

A prime example of this cultural distinction is the use of different scripts—Hangul, Chinese characters (漢字), and Kana (仮名). Calligraphy (書) is the act of writing characters (文字) using brush and ink (筆墨). These characters integrate both content (內容) and form (造形), uniting text and imagery into a single artistic expression. Here, content refers to literature (文學), while form relates to visual arts (視覺藝術), much like painting.

The section dedicated to the literary aspect of calligraphy focuses on Brush and Ink (筆墨) and Poetry (詩), inviting viewers to appreciate calligraphy not just as visual art, but as a medium rich in meaning and expression.

Brush and Ink (筆墨) and Poetry (詩)

Calligraphy (書) is the art of writing characters (文字) using brush and ink (筆墨).
Characters (文字) embody both content (內容) and form (造形), meaning that text and imagery exist as one. Content represents literature (文學), while form is akin to visual art (視覺藝術), much like painting. This section focuses on the literary essence of calligraphy, emphasizing Brush and Ink (筆墨) and Poetry (詩).

If poetry (詩) is the soul of calligraphy (書), then brush and ink (筆墨) serve as poetry before language (言語), emerging only at the point where words cease to exist—where meaning transcends language (言語道斷).

Form (體) and Carving (刻)

This section focuses on the formal, sculptural aspects of calligraphy. “체 (體)” refers to the various calligraphic typefaces—such as Seon (篆), Ye (隸), Hae (楷), Haeng (行), and Cho (艸)—and in short, the history of calligraphy is the history of its typefaces.

Among these, Jeonseo (篆書), when carved (각, 刻) into stone (석, 石) using a knife (도, 刀), is known as Jeongak (篆刻), or seal engraving. In this sense, Gak (刻) serves as the foundation of calligraphy (Seo, 書), where the act of writing with a brush takes precedence.

Daija (大字)

Daija (大字) serves as the culmination of both the content and form of calligraphy (Seo, 書). It is the “great house of characters,” where the structural composition of each character—formed by fundamental strokes like pillars and rafters—becomes the key focus.

Seo (書) Emerged from Nature

Calligraphy (Seo, 書) was born from nature, embodying the vast diversity of all things (Mansang, 萬象). It serves as the foundation of all arts, encompassing literature (Munhak, 文學), visual arts (Misul, 美術), and architecture (Geonchuk, 建築), extending even to dance and music.

Thus, it is essential to approach Seo with a sense of multiplicity and depth. If you have previously viewed Korean (Han, 韓), Chinese (Jung, 中), and Japanese (Il, 日) calligraphy as distinct, we hope this exhibition provides an opportunity to see Han-Jung-Il (韓中日) as a unified Brush and Ink Community (Pilmungh Gongdongche, 筆墨共同體), allowing for a comprehensive and interconnected perspective on the current landscape of East Asian calligraphy.