A Study on the Relevance between the Calligraphic Styles of Gentry Men’s Correspondence Written in Chinese Characters and Hangeul in the Joseon Dynasty: Focused on the Correspondence Written by Kim Seong‒il, Song Si‒yeol, and Kim Jeong‒hui

조선시대 남성 사대부의 한글서간에 나타난 조형미의 특징을 분석 검토하였다. 한자 명필로 알려진 김성일, 송시열, 김정희의 한자‒한글서간에서 영자8획을 기준으로 관련성을 비교 분석한 결과 형태의 차이만 있을 뿐 붓을 운용하는 방법은 비슷하여 한자 자형에서 나타나는 서체 특징이 한글 자형에서도 나타나고 있음을 밝혔다. 대체로 남성 사대부의 한글서간은 장법, 결구법, 용필법에서 모두 한자의 필법을 따랐으며 획법에서 한자의 행서필법과 유사한 노봉과 장봉을 혼용하였다. 즉 배행･배자는 한자 행초서의 필의를 살려 자유분방한 장법을 취하고 있으며, 연결어휘는 내용에 따르지 않고 호흡에 따라, 혹은 문자의 크기에 따라 또는 붓이 머금고 있는 먹의 양에 따라 연결을 달리하여 소밀-대소 표현이 자연스러웠다. 한글은 필획이나 자형이 간결하여 예술성이 부족하다고 하지만 간결한 필획과 자형이 주는 공간적 여유로 인해 오히려 필획의 축약이나 신축등의 예술성이 이입되어 멋과 개성이 구현되어 드러남을 볼 수 있다. 조선시대 사대부들의 한글서간 서체를 잘 활용한다면 한글서예의 지평을 더욱 확장시킬 수 있으리라 여겨진다.

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.