Calligraphy & Calligrapher

Many versions of Thousand Character Classic written by chinese calligraphers such as Ouyang Xun, Chu Suiliang, Yan Zhenqing, Huaisu, Zhao Mengfu, including Wang Xizhi’s 4th great grandson Zhiyong, have been handed down up to this day. The famous korean calligraphers, including Seokbong Hanho(石峯 韓濩, 1543-1605), also wrote their own version of it. He was a representative calligrapher of Joseon Dynasty. He has greatly affected upon the history.

It was made by drawing a 'Letter' of Hanho's text, drawing a contour with a line, and filling the inside with a ink. This technique is called Goulefa(鉤勒法). The Thousand Characters Classic created in this format is very rare.

Toegye, Yi Hwang (退溪 李滉, 1501-1570) was a representative of Confucianism in the middle of the Joseon Dynasty. This calligraphy is a poem which he traveled along the Dodam(島潭) with his brother in 1548.

It is a poem titled "Chusa (秋思)", written by King Hyojong (孝宗, 1619-1659), the 17th king of Joseon dynasty. He wrote his poem, written in running script, as he missed his hometown.

'Gye Seong Sa' is a shrine to honor the fathers of saints such as Confucius and Mencius. In Confucian society, this shrine was very meaningful. It was first built during the Ming Dynasty. In the Joseon Dynasty, this shrine was erected at the time of Sukjong.

It is a poem (Gye Seong Sa, 啓聖祠) written and written by King Sukjong (肅宗, 1661-1720) himself, and it is called 'King's Poetry (御製詩)'. It is the poem that sang the joy in the time when this shrine was completed.

'Gye Seong Sa'
卜基新建祠
思樂泮宮裏
日永方趨功
禮成正在邇
豈徒遵漢模
良欲奉明旨
從此可倫全
春秋同祭司

It is a poem titled 'Dongji(冬至)', written in 1701 by King Sukjong(肅宗, 1661-1720), the 19th king of Joseon. It is a draft of poetry, meaning there is a trace of fixing the wrong part.

The letter was written in 1568 by Toegye, Yi Hwang (退溪 李滉, 1501-1570). It's not clear who is receiving the personal letter explaining the reason for going to Seoul where the king lives and expressing gratitude and respect.

This is a letter that Cheongeum, Kim Sangheon (淸陰 金尙憲, 1570-1652) sent to his family when he was in exile in Shenyang (瀋陽).

Uam, Song Siyeol (尤庵 宋時烈, 1607-1689) is a Confucian scholar and the leader of Noron (老論) who represents the 17th century. He used to write large letters to his juniors and disciples. This work is written in 16 large letters written by Song Siyeol. This work was written by Song Siyeol as 16 large letters and gave to Kwon (權後重), the local town of Andong.

君子存心 當如靑天白日 人得而見之也.
"The mindset of Gentlemen must be like the bright sun of the blue sky, and people can see it."

Dasan, Jeong Yakyong (茶山 丁若鏞, 1762-1836) was a realist school of Confucianism(實學者) of the late Joseon Dynasty.

It is a Calligraphy written by Heo Mok in the Chinese seal script. Misu, Heo Mok (眉叟 許穆 ,1595-1682) is a Confucian scholar representing the 17th century Joseon Dynasty, and was also named in writing. This calligraphy is part of the "Book of Poetry(詩經)".

It is part of the a album of calligraphy by Baekha, Yoon Soon (白下 尹淳, 1680-1741). He is a bureaucrat of late Joseon Dynasty and a famous calligrapher. Yoon Soon wrote a famous poem by Do Yeon-myeong in his handwriting.

農人告余以春及
將有事於西疇
When farmers tell me that spring has arrived,
It is time to get ready for farming by the western side.

It is part of the a album of calligraphy by Baekha, Yoon Soon (白下 尹淳, 1680-1741). He is a bureaucrat of late Joseon Dynasty and a famous calligrapher. Yoon Soon wrote a famous poem by Yu Dalin (呂大臨) in his handwriting.

It is a calligraphy work by Wongyo, Yi Gwangsa (圓嶠 李匡師, 1705-1777) in clerical script. He had completed his style by understanding the importance of researching on the various monuments done by Wang xi-zhi (王羲之). As part of emphasizing the revival of ‘Wang xi-zhi style’, he studied the basic of calligraphy earlier and wrote calligraphy that can be a match for that of Wang xi-zhi. The theory of calligraphy by Wongyo, Yi Gwangsa features a method of creating a new style(his own Wongyo style (圓嶠體) by studying the old styles and patterns and imitating them externally.

It is a calligraphy work by Wongyo, Yi Gwangsa (圓嶠 李匡師, 1705-1777) in seal script. In terms of discussing a calligraphic style, he argues for that five callagraphic styles are integrated (五體一道), which means that coming to a mutual understanding by the spirits of five callagraphic styles can be regarded as truly versed in writing. He thought the basics of writing were in the seal script (篆書) and the clerical script(隸書).

It is a calligraphy work by Wongyo, Yi Gwangsa (圓嶠 李匡師, 1705-1777) in standard script. This is a verse from the poem "Separation (別離)" written by Tang Dynasty poet Lu Guimeng (陸龜蒙).

Kiwon, Yoo Hanji (綺園 兪漢芝, 1760-1834) is a wenren (文人) and calligrapher who represents the late Joseon Dynasty. Although he was good at all script styles, seal script and clerical script especially well.

This is a calligraphy work of the famous calligrapher of the Joseon Dynasty. He translated a letter from the famous calligrapher of the Northern Song Dynasty. It was given as a gift to a friend who left far. It was originally made as a folding screen, but now it is being framed. It corresponds to 1/6 of the whole, and the rest is not left.

Chusa, Kim Jeonghee (秋史 金正喜, 1786-1856) has embraced and developed the epIgraphy(碑學) of the Qing Dynasty. It is based on the writing style of the Tang Dynasty famous calligrapher,QuyangXun (歐陽詢, 557-641), and he wrote his favorite passages in his old age handwriting.

Mongin, Jeong Hakkyo (夢人 丁學敎, 1832-1914) was a famous painter and calligrapher in the late Joseon Dynasty. Made in the style of 'Calligraphy Couplet (對聯)', which was popular during the period of King Yeongjo and King Jeongjo, the calligraphy works were written in seal script.