[YeitSuda] The Spirit and Soul Embedded in Calligraphy

Ahn Jung-geun, the independence activist.

[Asia Economy Reporter Kim Heeyoon] Joseon scholars believed that a person's spirit and soul were imbued in their handwriting. While it was called shufa (書法) in China and shod? (書道) in Japan, Korea referred to it as seoye (書藝), placing more emphasis on its artistic value rather than rules or methods. Chusa Kim Jeonghui once said, "One must have thousands of books in their heart for it to overflow into paintings and calligraphy." Ultimately, handwriting was a mirror reflecting and revealing the person.

A few years ago, upon a friend's recommendation, I participated in an online art auction. While browsing antique artworks, a pair of calligraphy pieces displayed side by side on one page caught my eye. The piece on the left was by Il-dang Lee Wan-yong, and the one on the right was by Baekbeom Kim Gu. Although the size and themes of the two works were not significantly different, the auction prices were worlds apart. While Kim Gu's calligraphy fetched hundreds of millions of won, Lee Wan-yong's piece remained stuck at the starting bid of 200,000 won.

Lee Wan-yong was a renowned calligrapher of his time, recognized from a young age for his exceptional talent in calligraphy. He was adopted by his influential relative Lee Ho-jun and, from the age of 14, studied calligraphy under the era's top masters. His deep love for calligraphy led him to establish Korea's first modern art school, the Seohwa Art Association (書畵美術會), in 1912, contributing significantly to the education of future generations. However, industry insiders reveal that due to his life and pro-Japanese collaboration, his works are rarely traded in the market and are sold at very low prices.

Calligraphy equates the artwork with the artist's character. Just as Chusa's handwriting showed marked differences before and after his exile, it reflects the writer's life, philosophy, and spirit. Calligraphy expert and former prosecutor Koo Bonjin, author of "Change Your Handwriting, Change Your Life," evaluated Lee Wan-yong's calligraphy as "weak in spirit, vigor, and structure," noting that "while his dexterity allowed for skillful stroke execution and composition, it lacked restraint and dignity." It seems the trajectory of his life is also etched into his handwriting.

Calligraphy by Ahn Jung-geun. "Serving the country with devotion is the duty of a soldier" (위국헌신군인본분). Photo by Cultural Heritage Administration

In the upcoming film Hero, Ahn Jung-geun writes calligraphy twice?once early in the film and once near the end. More than 200 of Ahn's calligraphy pieces survive today, but the Ahn Jung-geun Memorial Hall officially recognizes only 57. All are Chinese-character inscriptions left in Lushun Prison after he assassinated Ito Hirobumi.

Ahn Jung-geun stamped each of his calligraphy works with his signature, "DAEHAN GUKIN AN JUNG-GEUN," and used the tip of his left hand, from which he had cut off a finger, to imprint an ink seal in place of a traditional stamp. On February 7, 1909, at a guesthouse near Graskino called Kari, he and 12 comrades, including Kim Gi-ryong and Baek Gyu-sam, severed their left ring fingers and pledged their commitment to independence by writing "Daehan Doknip (大韓獨立)"?Korean Independence?on the front of the Taegeukgi flag in blood.

The film, which depicts Ahn's one year from the Korean Patriotic Alliance to the assassination of Ito Hirobumi and his execution, briefly shows his calligraphy, which exudes strong power and spirit. On the morning of March 26, 1910, at 9 a.m., just before his execution, Ahn Jung-geun left a final calligraphy piece for his escort, Corporal Chiba Toshichi (千葉十七), who had requested it. His inscription, "?國獻身 軍人本分 (Devotion to the Nation is a Soldier's Duty)," has become the motto of the Republic of Korea Armed Forces and continues to symbolize the spirit of soldiers today. The public's reverence for his calligraphy, deemed priceless, is another expression of respect and admiration for the life behind the strokes.

Editor's NoteYeitsuda (藝It Suda) is a shortened form of "Art Talk," a column covering issues and trends across the arts, including music, visual arts, and performances.

This content was produced with the assistance of AI translation services.