Songseol Jo, Maeng-bu (1254-1322), the descendant of the found of the Song dynasty Jo Gwang Yun, is a calligrapher who dominated the Yuan dynasty. He is a leading calligrapher representing not only the Yuan dynasty but also the Chinese calligraphy his...
Songseol Jo, Maeng-bu (1254-1322), the descendant of the found of the Song dynasty Jo Gwang Yun, is a calligrapher who dominated the Yuan dynasty. He is a leading calligrapher representing not only the Yuan dynasty but also the Chinese calligraphy history. He also demonstrated his remarkable ability as a politician, scholar, musician, poet, and economist. Therefore, it is not exaggerating to say that he is a versatile and outstanding artist who represents the Chinese intellectuals in the Yuan dynasty.
Though he belonged to the royal family of the Song Dynasty, he entered government service in the Yuan dynasty and got promoted up to Hanrimhaksaseungji. He lived relatively peaceful life in terms of both career and personal life. During his life, he wrote lots of works including quite a few poems and essays in 『Songseoljemunjib』. He also advocated the theory that calligraphy has the same origin as painting and espoused the idea that poetry, calligraphy and painting have the same origin. In addition, he proposed revivalism to pay respect to Wang-Hui-ji's calligraphy works. Overall, he is a calligrapher who accomplished great achievements in the calligraphy history.
Jo, Maeng-bu studied every calligrapher's works throughout the entire history and created Songseolche whose style is elegant and beautiful. The influence of Songseolche reached beyond the Yuan dynasty and into the following dynasties. It also affected foreign counties. Korea was also placed under its influence. It dominated Korean calligraphy from the late Goryeo dynasty to the mid Joseon dynasty. Those who were influenced by Songseolche included Lee Am, Lee, Je-Hyeon, Choe, Heung-hyo, and Lee Kang in the Goryeo dynasty and prince Anpyeong and his scholar friends, and lots of other calligraphers in the Joseon dynasty.
Besides, Jiphyeonjeon scholars and other general calligraphers and scholars followed Jo, Maeng-bu's Songseolche style. On the other hand, a Joseon dynasty king ordered to collect Jo, Maeng-bu's calligraphy works and to publish them in a calligraphy handbook. Besides, as those who involved in book printing also followed Songseolche style, printed books were mostly written in Songseolche style.
In the second year of King Munjong (1452), with regard to the matter of modifying cast of Gyeongja-ja prince Anpyeong ordered Lee Yong to write characters for printing and have them casted in copper. This is how Imsinja was created. As King Sejo ascended to the thrown, Imsinja was modified. He ordered to Kang, Hhi-an who was good at Songseolche style calligraphy to write characters. This became Eulhaeja which represents Korean printing types along with Gabinja. Eulhaeja had been used in printing books until the Imjin war. Especially, it was often employed in printing Buddhist books.
Eulhaeja contributed a lot to spreading Songseolche style in the early Joseon dynasty. The reason Songseolche could gain huge popularity is largely because lots of books at that time were printed in Songseolche style.
This study examined leading calligrapher in the Yuan dynasty, Songseol Jo, Maeng-bu's works, focusing on his calligraphy works. It explored the characteristics of his calligraphy and looked into how his style of calligraphy was adopted and become popular. In addition, through people who contributed to the settlement of Songseolche, it discussed how popular it was in the Joseon dynasty. Furthermore, it also analyzed Songseolche style used in printed types and examined various kinds of printing types and their characteristics.