This paper is a study on Choi Chiwon’s(崔致遠) Calligraphy. It is inferred that he learned various calligraphy styles in each of his study period: before studying in Tang Dynasty(唐), he must have learned Unified Silla(統一新羅) Dynasty’s prevalent writing styles. When in Tang Dynasty’s educational institutions, he must have studied those of textbooks, which had been prevalent styles in Tang Dynasty. After success in civil service exam in Tang Dynasty, he wrote many poetry and proses in ancient China. While studying and doing literary activities in both countries, he studied and developed his own style of handwriting. After he returned to Silla, he wrote a lot of poetry and proses according to the Royal people. Among them, Jingamsensabi(眞鑑禪師碑) and Sungboksabi (崇福寺碑) are still remain today.
Choi Chiwon must have studied the writing styles of Seodangwhasangbi(誓幢和尙碑), Kimlipjichanseongjusabi(金立之撰聖住寺碑), and Hungduksabi((興德寺碑) of Unified Silla era. And he also must have studied various writing styles of numerous Tang Dynasty calligraphers such as Kuyangsun(歐陽詢) and Yukonkwon(柳公權). He succeeded and developed the writing styles of both Tang and Unified Silla. He fused various writing styles of both countries into his own international style.
The stone carving in Sangyeseokmun(雙磎石門) is considered to be a writing of Choi Chiwon’s. Jesiseokgak at Chiwondae in Hongryu-Dong was also confirmed to be a writing of Choi Chiwon’s. The stone carving in Hongryu-Dong is estimated to be a writing of his.
Afterward, many scholars studied his writings. The stone carving in Sangyeseokmun, especially, was described as a writing of Choi Chiwon’s among many Joseon(朝鮮) Dynasty scholars except a few.
Joseon Dynasty scholars’ evaluations about Choi Chiwon’s writing style are summarized as follows:
First, many scholars described his writing style as high alert and orderly. Second, his writing was evaluated as strong and sturdy. It’s obvious that robustness is one of his writing characteristics. Many scholars described the strokes of his brush are strong. Third, the strokes of his brush are so varied and dynamic that there is no general simple strokes. Fourth, ‘a amazingly exquisite strokes of brush’ is their another commom praise. Lastly, another compliments are ‘highly individual style’, ‘being antique’, ‘obedience to calligraphy principles’, and ‘creativity based on tradition’, etc.
Effects of Choi Chiwon’s writing style on Korean calligraphy history are summarized as follows:
First, Comparing Jingamseonsabi, which was composed and written by Choi Chiwon, with other Unified Silla era monuments such as Wonrangseonsabi(圓郞禪師塔碑), Nanghyewhasangbi(郞慧和尙碑), Jinkyoungdaesabi(眞鏡大師塔碑), and monument piece found at a temple ruins near Samcheok, each compared ideograph or letter is similar to that of Jingamseonsabi in that the shapes of the letters, applied calligraphy principles, and strokes of brush of the compared monuments have striking similarity. Second, Choi Chiwon’s style affected early Koryo (高麗) Dynasty. Letters in the back side of Jingongdaesabi(眞空大師碑), Nangwondaesabi(朗圓大師塔碑) resemble his style. The style of carved letters in Yongdusajichuldangan(龍頭寺址鐵幢竿) are also similar to his style in shapes and layouts of the letters. It’s difficult to exclude the similarities between the style of Jikwangguksabi and his style. Third, during Joseon era, calligraphers such as Yu Mongin and Lee Ok studied Choi Chiwon’s writing style. Their writings are considered to have accepted various Choi Chiwon’s writing style traits. Haedongmyongjeok ((海東名蹟 1515), by Sin Gongje, Daedonggumseokseo(大東金石書 1668), by Lee Woo, Jipgounja(集孤雲字 16C), by Hyujeong(1520-1604), and Daedongpilbub(17C) are another books that published his writings. In addition, Jingamseonsabi was engaved on wood-blocks in 1725.
Thus, throughout Joseon era as well as Unified Silla and Koryo eras, a lot of scholars studied and referred to Choi Chiwon’s writing style as well as his literary works.