Korean calligraphy
| Korean calligraphy | |
| Hangul | 서예 |
|---|---|
| Hanja | 書藝 |
| Revised Romanization | Seoye |
| McCune–Reischauer | Sŏye |
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Korean calligraphy, also known as Seoye (Korean: 서예), is the Korean tradition of artistic writing. Calligraphy in Korean culture involves both Hanja (Chinese logograph) and Hangul (Korean native alphabet).
Early Korean calligraphy was exclusively in Hanja, or the Chinese-based logography first used to write the Korean language. During the Goryeo and Joseon dynasties, utilitarian objects were often inscribed with calligraphy such as brush stands, padlocks, incense burners, porcelain, lacquer, and branding irons.[1] Even after the invention of the Korean alphabet Hangul in 1443, Korean calligraphers preferred Chinese characters as they saw it as more prestigious. Hanja continued to be used as the official script until the late 19th century. This changed when both North Korea and South Korea, after their split, separately institutionalized Hangul as the official orthography of Korean. Today many calligraphers, particularly in South Korea, are experimenting with new styles of Hangul, which has become an important part of the larger practice of Korean calligraphy.[2]
History
[edit]Chinese calligraphy was introduced to Korea as early as the 2nd or 3rd century CE, and became popular in the 7th century. In the 8th century, Kim Saeng became known as the earliest Korean calligraphic master, producing work that was compared with that of master Chinese calligrapher Wang Xizhi.[3] In the 9th century, poet Ch'oe Ch'i-wŏn became known for his calligraphy both in his home country Silla and in the Tang Dynasty.[4]
The angular calligraphy styles of the early Tang masters, Yu Shinan, Ouyang Xun, and Yan Zhenqing, persisted in popularity until the 14th century, when the more rounded style of Zhao Mengfu came into vogue.[5] Korean calligraphy became increasingly formalistic in the years that followed.[6] Gim Jeong-hui (김정희, 金正喜, (1786–1856), also known as Kim Jeong-hui, is considered the greatest calligrapher in the Joseon dynasty, and he was also a scholar-official, painter, epigrapher, and practicing Buddhist. He was a master of many calligraphic forms but is most famous for Chusache, the bold, freeform style he perfected while in exile on Jeju Island.[7] He is known as the chusa style after his pen name 秋史, inspired by the ancient Chinese lishu script.
As the scholarly classes used Chinese characters, Korean calligraphy used hanja until the 1910–1945 Japanese occupation of Korea. Nationalist sentiment led to the popularization of the native hangul alphabet, and calligraphic works using hangul have since seen a revival, although hanja calligraphy is still popular today.
The Korean calligraphy is developing its own style, steadfastly. Fonts that are not square are being developed, considering jong-sung, or sound coming after the vowel.
Types
[edit]There are five major types of Korean Hanja calligraphy, which are derived from Chinese calligraphy.[2]
- Seal scripts (Korean: 전서; Hanja: 篆書; RR: jeonseo) are scripts featuring uniformity of stroke thickness and spacing of vertical, horizontal, and curved lines. It is often use for seals and chops.
- Cursive or grass script (초서; 草書; choseo) is known for extreme economy in individual pen strokes. Extreme cursive script is not legible for most people because different characters may resemble each other when written in cursive script.
- Block script (해서; 楷書; haeseo) Each block script character is roughly the same size proportion and fitted into a square space. Chinese characters are frequently written in block script.
- Semi-cursive script (행서; 行書; haengseo) is a practical style intermediate between block and cursive script. It is legible for most people.
- Official script (예서; 隸書; yeseo) was developed from seal script form. It is angular in appearance and much more legible than cursive or seal script.
The "four friends" of tools
[edit]Called Munbangsawoo (文房四友) in Korean, the "four friends" refers to:
- Paper – A traditional hanji (韓紙) made of Korean mulberry is used. It is well-suited for absorbing ink and reflecting its colors.
- Brush – Animal hairs bristles of the same length are formed into straight and a sharply pointed tip.
- Ink stick – Made from soot from burned trees and glue. A good ink stick has extremely fine particles.
- Ink stone – The surface on which the ink stick is ground. Made from a non-absorbent stone, such as jade.
In addition, the following equipment is also used for calligraphy: yeonjeok, a container of water, used for making ink with ink stick; boot tong, a container for holding brushes after being used; munjin, a long and flat paper weigh; and pilse, a bowl for washing the brush.[8]
How has Seoye changed from the past?
As discussed, the Chinese letters called “Hanji” was a major focal point to write calligraphy in Korea up until the 1900s. All the way from 500 B.C. to the 19th Century, Koreas always opted for the Chinese lettering system since it provided a large combination letter to write compared to Hangul. This writing system was also harder to learn which caused the language to be seen as a skill of wealthy people. However, only in the last century has Hangul had a significant impact on Korean calligraphy. This has been largely due to Korean patriotism that erupted from Japanese colonization during 1910-1945. After World War 2 had ended, Koreans began proudly utilizing their Korean lettering system opposed to historical Chinese trends that dominated the popular view. After 1945, Korean calligraphy artists adapted both forms of calligraphy lettering while maintaining their historic styles. Many historic artists such as Lee Chul Kyung or Hwang Suk Dong have incorporated both Hanji and Hangul in their artwork. These artworks can be seen at the National Museum of Korea where many other famous calligraphy artworks can be seen on display at their Calligraphy & Artwork Department.
Moreover, in modern day, the styles and fonts have moderately changed due to individualist mindset reforms from generations starting in the 1900s. Today’s calligraphy, instructors often teach that “all new ideas are made of old ideas.”. With the difference being, “Traditional calligraphy pursues the unity of writing and calligraphy. However, modern calligraphy emphasizes calligraphic image more than the readability of characters or the subject of the writing.” (National Museum of Modern and Contemporary Art, July 2020). Although it is taught to keep traditional practices in mind, modern calligraphers challenge the new artforms with heavily expressive writing styles such as Lee Chul Kyung’s (1914-1989) “gungche” writing style. Gungche refers to writing elegantly and beautifully like it was printed from a machine or written by an angel. This type of writing symbolized characteristics of women ideals such as beauty, perfection, or gracefulness, which is still an endorsed trait by females.
Alternatively, an artist named Hwang Suk Dong also displayed a modern way of writing style that challenged artwork in the 1900s. Hwang’s piece called “On Board” demonstrates the dynamic and large visual impact based solely on how he writes. This new technique was meant to capture the writer’s expressions and emotions more clearly than before. Similarly, in another work, the same artist mashes together many pictograms of the Hanji character for “Horse” (Which is also the title of the artwork). Together with all the pictograms for horses, it becomes an art illusion that challenges the viewer’s point of view. Hwang incidentally created a work of “Abstract Art” as people would now call it. Many artists like these individuals continue to incorporate, build on, and challenge traditional styles of historic calligraphy.
How is Seoye used Today?
Seoye calligraphers, or calligraphers around the world in general, typically provide a wide range of specialized materials, tools, and ink to meet a customer’s specific needs. Calligraphers can be expected to do anything in between inscribing a neatly wrote letter in unique font, writing a sporadic sign for a restaurant’s plaque, creating a formal certificate in cursive, or designing unique props and images. It would largely depend on the artist’s portfolio and capabilities to provide service to their customers. Alternatively, many calligraphers enter calligraphy competitions to earn prize money as a side gig. Lastly, calligraphers often become calligraphy instructors to those who want to better their writing or learn about Korean calligraphy culture. These workshops often attract a lot of foreign customers who wish to experience Korean culture.
Calligraphers are still in demand at the present. Potential organizations that are looking to hire Calligraphers include Event management firms, media firms, graphic design firms, educational institutions, wedding planning firms, or film/television companies all are looking to incorporate unique and beautiful writing forms for their respective. In fact, my drama television shows hire calligraphers to create a solid headline for a movie or show. Some of our favorite shows most likely have some or a lot of calligraphy influence in the behind-the-scenes production of the trailers or covers. Although there is demand, there is likely to be no further growth projected in this industry. This job profession is heavily dependent on the public and businesses’ need for artistic forms of writing. Hopefully, art will become a growing industry that requires rejuvenating cultural artforms in countries around the world, such as Seoye.
Gallery
[edit]-
Calligraphy by scholar-official Seong Sam-mun (1418–1456). -
Korean mixed script calligraphy in a replica of the Hunminjeongeum Haerye (1446). -
Calligraphy by one of Korea's most celebrated calligraphists, Kim Jeong-hui (1786–1856). -
Korean calligraphy written in Hangul.
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References
[edit]- ^ Little, Stephen; Moon, Virginia, eds. (2019). Beyond Line: The Art of Korean Writing. Prestel. ISBN 9783791358147.
- ^ a b Brown, Ju; Brown, John (2006). China, Japan, Korea: Culture and Customs. Ju Brown. pp. 102–104. ISBN 978-1419648939.
- ^ Chen, Tingyou (2011). Chinese Calligraphy. Cambridge University Press. p. 116. ISBN 978-0521186452.
- ^ Choi, Yearn-hong (2016-07-08). "Choe Chi-won, great Tang and Silla poet". The Korea Times. Retrieved 2017-12-10.
- ^ Woo-Yong, Kim (2009). "Korean calligraphy". Encyclopædia Britannica.
- ^ Yi, Ki-baek (1984), A New History of Korea, Harvard University Press, ISBN 9780674615762
- ^ Yu, Hong-june. "The masterful calligraphy of Gim Jeong-hui". Koreana. 15 (3).
- ^ "Calligraphy – the art of writing". AntiqueAlive.
