Korean calligraphy is a captivating form of art known as Seoye (서예). Seoye carries a rich history woven into the fabric of Korean society, transforming simple handwriting into a visual performance. Over time, Korean calligraphers began to develop their own unique interpretations and techniques. The development of the Korean alphabet, Hangeul, in the 15th century, also gave rise to a new form of calligraphy, allowing for creative expression using the native script.

Throughout the 20th century and into the present day, Seoye has continued to evolve. While traditional techniques and principles remain foundational, contemporary calligraphers experiment with new materials, styles, and themes, pushing the boundaries of the art form while honoring its deep historical roots.

Introducing Korean calligraphy in a cultural event by Korean embassy in Iran (Photo by Nasim Gerami)

Kim Jeong-hui (김정희) (1786-1856): Kim Jeong-hui, also known by his pen name Chusa, is the most iconic figure in late Joseon calligraphy. He developed his distinctive chusa-che, characterized by its unconventional, rough, and deliberately awkward strokes. 

Shin Saimdang (신사임당) (1504-1551): Shin Saimdang's artistic influence extended well beyond her lifetime. While primarily known for her painting, particularly of nature subjects, her calligraphy was also highly regarded. Her style reflected her Confucian virtues of wisdom and artistic talent.

Lee Eung-no (이응로) (1904-1989): Lee Eung-no is arguably one of the most influential figures in modern Korean calligraphy. He fearlessly experimented with abstraction and modern art concepts. He's particularly known for his "People" series of works, composed of numerous abstract human figures rendered in dynamic brushstrokes. He also developed a style of abstract calligraphy known as Munja-do (문자도), where he incorporated characters into abstract compositions.

Kim Chung-hyun (김충현) (1921-2006): Kim Chung-hyun dedicated much of his life to promoting and developing Hangeul calligraphy. He experimented with different Hangeul fonts and compositions, creating a distinctive style characterized by its bold, modern lines and dynamic arrangements.

Lee Sang-hyun (이상현) (Born 1953): Lee Sang-hyun is a contemporary calligrapher known for his diverse range of styles, blending traditional techniques with modern sensibilities. He works with both Hanja and Hangeul, often incorporating unconventional materials and compositions into his works.

These are just a few of the many exceptional calligraphers who have shaped the art of Seoye in Korea. Their individual styles and contributions continue to inspire and influence contemporary artists.

From traditional brushes made of animal hair, to modern fountain pens, the types of calligraphy pens used in Korea have evolved over time. In the past, brushes made of horsehair or weasel hair were the most common tools used for calligraphy. These brushes were dipped in ink and used to create intricate and delicate strokes. However, as technology advanced, more modern calligraphy pens, such as the fountain pen, were introduced. These pens have a flexible nib that is perfect for creating thin and thick lines, making them a popular choice among calligraphy artists in Korea today.

The types of writing styles in Korea have also undergone significant changes over the years. Initially, the most popular style was known as “grass script” or “wild cursive”, characterized by its fast and flowing strokes. This style was favored for its expressive and spontaneous nature. As time went by, different styles emerged, each with its own unique characteristics. Some of the popular writing styles in Korea include “square script”, “regular script”, and “slanting script”. Each style requires different techniques and pens to achieve the desired effect.

The materials used in Korean calligraphy also hold great significance. Traditional Korean calligraphy uses four main materials: ink, paper, brush, and inkstone. The quality of these materials can greatly affect the final outcome of a calligraphy piece. Ink made from carbon black is preferred for its deep black color and stickiness. Mulberry paper, known as “hanji” in Korean, is used for its durability and smooth surface. Brushes made of animal hair, such as goat or rabbit, are highly valued for creating different types of strokes. Lastly, the inkstone, or “moktak”, is used to grind the ink and adjust its consistency.

There are various types of calligraphy practiced in Korea, each with its own unique characteristics. Some of the popular types include “myeongjo”, “inmyeongjo”, “haeseok”, “gohu”, and “haerim”. These styles differ in their stroke structure, thickness, and spacing.

Calligraphy has been an integral part of Korean culture and has been passed down through generations. As a result, calligraphy education has played a crucial role in preserving and developing this art form. During the Joseon Dynasty, calligraphy was mainly taught to male members of the noble class. However, in modern times, calligraphy education is open to all and is even offered as a course in universities. Today, there are various institutes and academies that offer calligraphy classes for all age groups.

In Korea, calligraphy is not only used as a form of art but also has a deep presence in public spaces. From street signs to storefronts, calligraphy can be seen everywhere in Korea. It is also a popular art form in temples and is often used as a way to display religious texts and teachings.

Calligraphy cards as a gift from our Korean teacher (Photo by Nasim Gerami)

Recently, I had the incredible opportunity to participate in a Korean calligraphy workshop organized by Isfahan Sejong Institute. Immersing myself in this art form offered a perspective alongside my Korean language studies. The workshop provided a comprehensive introduction to the history of Seoye, the evolution of different styles and renowned calligraphers. It was a particularly rewarding experience to learn about the lives and artistic philosophies of calligraphers whose style challenged notions of beauty and showcased the power of individual expression.

Under the guidance of an experienced instructor, we practiced basic strokes and attempted to replicate the styles of some of the masters. While my own attempts were far from perfect, the process was incredibly fun. Beyond the technical aspects, the workshop also provided a valuable cultural experience. I learned about the spiritual significance of calligraphy in Korean society, the importance of cultivating inner peace and harmony, and the power of art to connect us to our cultural heritage. It was an enriching experience that complemented my language studies, providing a deeper understanding of Korean culture and aesthetics.

The output of calligraphy workshop (Photo by Nasim Gerami)

In conclusion, the art of calligraphy in Korea has a rich and vibrant history. From the types of calligraphy pens used, to the various writing styles, and the materials and education associated with it, calligraphy in Korea is a true form of art and has stood the test of time. Its influence can be seen in various aspects of Korean culture and continues to be a highly valued and respected art form in the present day.