Abstract

In this paper, I analyzed and reviewed the formative characteristics of the calligraphic style that appeared in gentry men’s Hangeul correspondence in the Joseon Dynasty. The Chinese characters and Hangeul letters written by Kim Seong-il, Song Si-yeol, and Kim Jeong-hui, known as the best calligraphers for Chinese characters, were analyzed. As a result of a comparative analysis of the relationship between their Chinese characters and Hangeul letters based on eight strokes of Yong(永), there was only a difference in the form, and the method of using the brush was similar. Moreover, the characteristics of calligraphic styles of Chinese characters are also present in the Hangeul characters. In general, the calligraphic styles of the gentry men’s Hangeul letters followed the writing method of Chinese character calligraphy in disposition, structuring, and brush wielding. In terms of strokes, the method of exposing and hiding the tip of the brush was mix-used, which is similar to Chinese character calligraphy. Disposition of the columns and characters takes advantage of the penmanship of the semi-cursive and cursive script of Chinese character calligraphy and adopts a free-spirited method of disposition. Since the connection between letters and strokes depends not on the content but the breath, the size of the letters, and the amount of ink the brush holds, the expression of density and size is natural. Although they say 37Hangeul lacks artistry due to its simple strokes and shapes, due to the spatial leeway provided by the concise strokes and shapes, we can show the artistry such as shortening or expansion of the strokes, and the style and personality are realized and revealed. I believe that we can expand the horizons of Hangeul calligraphy further if we use well the calligraphic styles used in the gentry men’s Hangeul letters in the Joseon Dynasty.