• The Journal of the Convergence on Culture Technology
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• v.4 no.4
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• pp.161-166
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• 2018

Sojeon, Son Jaehyung(1903~1981) was interested in the composition of the classical writing style of Han-gul and its merits in the operation of the brush. And a genius, modern sense of sculpture and ingenious ideas applied to the calligraphy. Thus, he succeeded Tonggukjinche by sublimating it into a unique Handwriting pure and humorous. Sojeon Hangul Calligraphy is exaggerated in consideration of the change of direction, thickness and length of the stroke. There is nothing strange about law and organization and express the great beauty of the great art of harmony and change. Sojeon's contribution is significant in that it has not only become a model for the development of Han-gul calligraphy, but also created a new area of space in modern calligraphy.

• (The)Study of the Eastern Classic
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• no.49
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• pp.357-392
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• 2012

An author is bound to reflect his or her own thinking and inclination in his or her works. The previous studies on Changam(蒼巖), however, mostly discussed the aesthetics in the forms of his introductions and works, hardly addressing his thinking reflected in his works. Recognizing that he had the "reactionism tendency" unlike the Bukhak-School(北學派), which was the cultural mainstream of the days, this study examined the specific patterns of the reactionism calligraphy style in his learning and calligraphy processes and works. He loved to write xing-cao-shu(行草書) with a focus on the materials written in one's own calligraphy, but he also emphasized that one should obtain the force of his or her calligraphy style by mastering kai shu before calligraphy xing cao shu. He thus left a lot of works in the xiao kai(小楷) of the Wang Xzhi(王羲之) calligraphy style throughout his life, which is attributed to the influences of the calligraphers of dong-guk-jin-che(東國眞體) in the latter half of Joseon(朝鮮) and those of Lee Gwang-sa(李匡師), his master in spirit. He is distinguished from the other calligraphers of the times in that he made lifelong efforts to compensate for the lacking stroke of the pen in the model calligraphy of Wang Xzhi. In the calligraphy theory, he put importance on the traditional method of Han-Wei(漢魏) and took Cai Yong(蔡邕) and Zhong Yao(鍾繇) as the fundamentals. For da kai(大楷), he constantly practiced the with the stroke of the pen by added to it, the letters of Wei(魏) Wudi(武帝), by Yan Zhenqing(顔眞卿), and letters of Kim Saeng(金生). His late works using the intended conception of and , in particular, present his unique calligraphy style that added the crooked forms of to the shapes of characters of that were in the kai-shu(楷書) style. It is a limitation that a considerable number of calligraphy materials Changam studied or consulted were either reprint copy or block book rather than original rubbing edition due to time and space restrictions. However, it is also true that those restrictions made an important contribution to his creation of his unique calligraphy style with deep local colors at the result of his constant efforts.

• The Journal of the Convergence on Culture Technology
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• v.9 no.1
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• pp.419-425
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• 2023

The research object of this paper is "Yi" and "Yi" in ancient calligraphy theory, as an aesthetic category with oriental characteristics, from Laozhuang philosophy of pre-Qin Dynasty to literature field of literature.The second chapter describes the emergence and development of the concept of "Yi", which has evolved into two concepts in ancient calligraphy and painting theory, namely, the concept of "Yi".In the third chapter, "Yi" is mainly used as an adjective to describe the speed, power and strength of writing, and in the fourth chapter, "Yi" is used to describe the writer's character.Based on the study of ancient sages' calligraphy, this paper attempts to explore the inner spirit of "Yi" and to systematically analyze and summarize the theory of calligraphy and painting.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.235-244
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• 2023

We aimed to identify the differences between Korean and Chinese calligraphy therapy by examining the trends in Korean and Chinese calligraphy therapy and the effectiveness of the dependent variables. For the study, we initially screened 288 Korean articles and 429 Chinese articles, totaling 717 articles, published from January 1997 to December 2021. Using the PICOTS-SD standard, 6 Korean articles, 9 Chinese articles, and 15 total articles were identified as eligible for the study, and the collected data were analyzed using SPSS 26.0, a Microsoft EXCEL program. We found that there were significant differences in the number of follow-ups among publication formats, disease types, and main activity techniques (p<.05), and significant differences in the number of research and experimental participants in calligraphy therapy studies published in Korea and China and in the type of effect verification of the dependent variable (p<.01). In addition, based on the literature review and data analysis, it was found that there were differences in the qualities and experience of Korean and Chinese therapists and the intervention contents and methods of calligraphy therapy.

• Archives of design research
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• v.16 no.4
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• pp.163-172
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• 2003

Nowadays calligraphy technique is widely utilized in diverse areas throughout the world. It is adopted in the visual environment of modern people comprehending from graphic design areas such as advertisement, package, symbol marks, logotypes, and movie posters to modern abstract paintings. It is because its dynamic and suggestive power of expression as symbolic and kinetic representation has been appreciated anew. In response to modern people's aversion from the mechanical and artificial digital environment as well as from the uniform, official, and modernistic trend, calligraphy technique is attracting people's attention as a new expressive style with oriental mysticism and emotional intimacy. Therefore, this study aims at illuminating the history of calligraphy, understanding its characteristics, searching for the expanded value of modern paintings and graphic designs, and ultimately contributing to the propagation of visual languages and expressive styles. In addition, this study attempted to establish the concept of Calli-Illust, which combines oriental painting techniques and materials and calligraphy techniques, and to explore for its potential uses in order to expand the area of illustration. According to the results of this study, calligraphy technique is a painting style of abstract expressionism, contributing to the expansion of the territory of a new formative area. Furthermore, this study proved that it is necessary to develop new expressive styles to overcome the limitation of design styles based on western rational, logical, and geometric functionalism, which have been received uncritically in the design environment of diversity. What is more, the concept and definition of calli-illust, which has been understood as a part of the concept of calligraphy so far, were clarified Research on calli-illust is just in its beginning stage. The present researcher expects that deeper and more extensive studies will be carried out in the future, so that calli-illust can be applied to communication design in various ways.

• Journal of the Korean Wood Science and Technology
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• v.38 no.3
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• pp.185-190
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• 2010

This study was focused to make a wooden plate that is engraved with writings or pictures on the medium density fiberboard (MDF), and then to produce a calligraphy-carving artwork by carbonization of the carved MDF. The external appearances and anatomical changes were investigated on the carbonized MDF and aesthetic characteristics was also discussed. No split and no twist were found after the carbonization (at $850^{\circ}C$) of the calligraphy-encarved MDF, shrinkages of the MDF were observed with portions of 21.8% in length, 18.8% in width and 43.5% in thickness, and 69.2% of weight loss with density decrease of 14.8% were observed as well. From the observation of the carbonized board by a scanning electron microscope, specific phenomena were found: the adhesives, surrounding the fiber's surface and pits, were carbonized, the woody fibers were changed smoothly, the pits were opened, the fiber' size was uniformized, and the organization was compacted. By the combination of handmade calligraphy-woodcarving and crack-free carbonizing methods, it was able to find a new method for manufacture carbonized calligraphy-woodcarving artwork. It is concluded that the calligraphy-woodcarving artwork using carbonized board can be a new access for the eco-friendly art that has the advantage of the functionality of charcoal and the aesthetic of calligraphy-woodcarving simultaneously.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.327-334
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• 2020

Changam, Lee Samman(1770~1845), who created his own handwriiting to be referred to as the three great writers of the late Joseon Dynasty, the valued 'beobgo'. Based on the calligraphy of the Han-Wi era, Lee Kwangsa who completed DonggugJinche was regarded as the teacher of the heart. In his later years, he wrote 『ChangamSeogyeol』 to teach how to use the right brush, revealing the basic principles of universal calligraphy and his own calligraphy. The typeface of Changam is completed by choseo through the establishment of haeseo geungol. For this, I valued Han-Wi's haeseo training, OnhuGanwon Han-Wi geungol shows a state without natural law. This shows that nature is the core and ultimate goal of Changam calligraphy theory. This is a return to the state of 'No law' at the height of the law, where eum-yang is created and bizarreness occurs when form, power and energy are promoted. On the other hand, he emphasized that jangbeob and pochi form IlunMujeog DeugpilCheonyeon when expressing naturalness as it is, without being bound by the old law. His typeface constantly tried to combine the beauty of Joseon's own calligraphy while sublimating nature into art. Thus, he acquired IlunMujeog, a body rich in geungol and full of vitality and dynamism. And DeugpilCheonyeon achieved aesthetics with the highest level of excellence, embodied as the original 'Haengunyusu Typeface', and further developed handwriiting and Calligraphy spirit of DonggugJinche in Honam province.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.179-186
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• 2020

Wongyo Lee KwangSa (1705~1777) is a scholar and artist who represented an era in the period of change and revival of Korean culture and art in the 18th century. In 1755 (31st Yeongjo), he was transferred to Sinjido due to the Naju Byeokseo Incident, and died in exile for a total of 23 years. He tried to correct the problems of the flow of calligraphy in common writing and the flow of calligraphy in the Joseon Dynasty, and wrote 『Wonkyo Seogyeol』. By realizing an original artistic state that is evaluated as having completed the 'Dongguk Jinche', which is a unique and subjective and self-conscious calligraphic flow of the Korean people who wants to reestablish the essence of calligraphy, it has had an absolute influence on the Honam area. Wonkyo's calligraphy aesthetics are developed into the beauty of ChanggyeongBalsog based on Shimjin of Yangminghak, Yanggangmi of Power of controlling all the stands of brush hair, and Vitality of Push out the brush with all your might. He recognized free sculpting and energetic, muscular strokes as the key to calligraphy, and suggested honing the old tombstones written in JeonYe. Vibrant stroke means that Cheongi naturally permeates in the midst of Samgwa and Gilgok, and the brush is operated with Push out the brush with all your might of Power of controlling all the stands of brush hair. These calligraphy aesthetics radiated sinchae with geungol and singi, and were expressed in Wongyo font, full of vitality as a living creature, pursuing the unique pilgrimage and pilgrimage unique to our nation, revealing the true nature of nature.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.57-65
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• 2023

There are differing opinions among scholars as to whether "chuseo" (ugly writing) should be considered as one of the schools in modern calligraphy. Those who do not recognize "chuseo" argue that it lacks traditional rules for stroke formation and therefore loses its distinctiveness. However, the existence and development of "chuseo" are closely related to the constant exploration and reform of modern calligraphy, as well as the increasing aesthetic awareness and changing aesthetic standards of calligraphers with changing times. As a result, there are now more people who recognize "chuseo" as a legitimate form of calligraphy. Calligraphers who lead the times learn and accumulate experiences by adhering to traditional calligraphic principles. However, there are calligraphers who discard the traditional Confucian concept of "chungyong" (中庸) and display "ugliness" in their works. Ok Heung-hwa and Jeung Sang are two such calligraphers who created their own style by incorporating ancient oracle bone inscriptions as their main focus and folk calligraphy as their bloodline. This paper aims to explore and study the definition and formation process of "chuseo" by analyzing the works of Ok Heung-hwa and Jeung Sang. At the same time, it aims to summarize the characteristics and aesthetic beauty of "chuseo".

• The Journal of the Korea Contents Association
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• v.10 no.3
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• pp.166-174
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• 2010

As the speed of social change consumers' buying patterns change, with an effective and competitive means of communication is an effort to find ads world. Characters have to maximize its own image, the character font used for the situation fits perfectly expressed in the formative Calligraphy differentiated pay plan as part of Calligraphy is considered. People feel in the hand by writing letters that can not be standardized as a strong symbol and symbolism, and the appeal and beauty, dynamic motion, mystery, and can be expressed. Design disciplines across all areas of Calligraphy extensive coverage, digital coolness of the hard preparation for the soft and warm lyricism analogue availability is required to meet contemporary needs. Media ads that emphasize the use of the Calligraphy emotional representation of the contents of the ads favorable to improve cognitive function, attention, recall of positive affect and, therefore, character-driven emotional expression as an art communications capabilities with one of the media is situated in the heart of the culture.