A Study on Typeface of the 19th Century Hangeul manuscript Yoon’s personal records

This study investigated the typeface of “Yoon’s personal record” a Hangeul manuscript of a noble woman(兩班家) in the 19th century, in terms of calligraphy. “Yoon’s personal record” is a manuscript by Haepyeong Yun’s(1834-1882) which recounts hers life and narrates his situation and feelings in chronological order. Currently, many of the letters of Joseon women have been found and known, but records of their own narratives about women's lives are extremely rare. In particular, Joseon in the 19th century is a male-centered society, and few articles containing women's voices are found, and even if there is a record, only a few manuscripts are published in the royal family and the noble family. In this regard, “Yoon’s personal record” is of special value as a historical record of Hangeul calligraphy of women in the 19th century. In terms of calligraphy history, it is noteworthy that it is a free and unique calligraphy of penmanship, unlike Gungche(宮體), a formal female font of the time. Therefore, this paper analyzed the font characteristics of “Yoon’s personal record” based on the use of a brush method(用筆) and the structure(結構)and the composition of a work(章法). First, in the use of a brush method(用筆), various techniques such as Bangpil(方筆) and Wonpil(圓筆), Nobong(露鋒) and Jangbong(藏鋒), Jungbong(中鋒) and Cheukbong(側鋒) were used. Therefore, the diversity of strokes stands out and the harmony of the straight line and curve is harmonized. There is a sense of rhyme through changes in writing speed and strength, and flexibility and simplicity are combined. Second, in the structure(結構), a jagged form, long and short, sparse and dense, large and small, long and short, and confrontation appear, revealing a rough and simple feeling. In the composition of consonants and vowels, the shape of the brush is naturally formed as it is without applying uniform rules and formalities, and there are many changes according to the narrative flow. The typeface is generally characterized by a mixture of the shapes of Jungja and Jinheulim, and the formability stands out through the harmonious in reponse between the consonants and letters. Third, in the composition of a work(章法), it is not bound to a set form, is naturally connected according to the narrative flow, and the arrangement of black and white is ideal. In addition, the change in the free movement of the central axis of the letter reveals a dynamic and lively penmanship. “Yoon’s personal record” shows a new aspect as a Korean calligraphy of a unique woman of the time. In particular, it is noteworthy that it is possible to see the possibility of expanding the Hangeul calligraphy typeface by mixing various types of fonts away from the formalized Gungche. Therefore, this paper is meaningful in that it was the first study to attempt “Yoon’s personal record” in terms of calligraphy, discovered a new Hangeul calligraphy typeface, enhanced the status of female Hangeul calligraphy in the 19th century, and intends to provide materials for the development and creation of Hangul calligraghy in the future.