Histopathology image classification: Highlighting the gap between manual analysis and AI automation

Part of a series on
Calligraphy
By script Arabic Arabic Islamic Turkish Persian Brahmic Indian Tibetan Cyrillic Serbian Vyaz Georgian Hanzi-based Chinese Korean Japanese Vietnamese Latin Western Mongolian

Part of a series on the
Culture of Korea
Society
History People Diaspora Language Names of Korea Religion
Arts and literature
Architecture Art Pottery Painting Dance Film North South Literature North South Poetry Manhwa Webtoon Media Television K-drama Music Traditional North South K-pop Theater
Other
Cuisine Kimchi Banchan Mythology Folklore Holidays Clothing Hanbok Tal Sports Martial arts Taekwondo Ssireum Video games
Symbols
"Arirang" Mugunghwa Paektu Mountain "Aegukka" North Korea "Aegukga" South Korea Flags Taegeuk Emblem of North Korea Emblem of South Korea World Heritage Sites 100 Cultural Symbols of Korea

Korean calligraphy, also known as Seoye (Korean: 서예), is the Korean tradition of artistic writing. Calligraphy in Korean culture involves both Hanja (Chinese logograph) and Hangul (Korean native alphabet).

Early Korean calligraphy was exclusively in Hanja, or the Chinese-based logography first used to write the Korean language. During the Goryeo and Joseon dynasties, utilitarian objects were often inscribed with calligraphy such as brush stands, padlocks, incense burners, porcelain, lacquer, and branding irons.^[1] Even after the invention of the Korean alphabet Hangul in 1443, Korean calligraphers preferred Chinese characters as they saw it as more prestigious. Hanja continued to be used as the official script until the late 19th century. This changed when both North Korea and South Korea, after their split, separately institutionalized Hangul as the official orthography of Korean. Today many calligraphers, particularly in South Korea, are experimenting with new styles of Hangul, which has become an important part of the larger practice of Korean calligraphy.^[2]

Chinese calligraphy was introduced to Korea as early as the 2nd or 3rd century CE, and became popular in the 7th century. In the 8th century, Kim Saeng became known as the earliest Korean calligraphic master, producing work that was compared with that of master Chinese calligrapher Wang Xizhi.^[3] In the 9th century, poet Ch'oe Ch'i-wŏn became known for his calligraphy both in his home country Silla and in the Tang Dynasty, where he worked and studied.^[4]

The angular calligraphy styles of the early Tang masters, Yu Shinan, Ouyang Xun, and Yan Zhenqing, persisted in popularity until the 14th century, when the more rounded style of Zhao Mengfu came into vogue.^[5] Korean calligraphy became increasingly formalistic in the years that followed.^[6] Gim Jeong-hui (김정희, 金正喜, (1786–1856), also known as Kim Jeong-hui, is considered the greatest calligrapher in the Joseon dynasty, and he was also a scholar-official, painter, epigrapher, and practicing Buddhist. He was a master of many calligraphic forms but is most famous for Chusache, the bold, freeform style he perfected while in exile on Jeju Island.^[7] He is known as the chusa style after his pen name 秋史, inspired by the ancient Chinese lishu script.

As the scholarly classes used Chinese characters, Korean calligraphy used hanja until the 1910–1945 Japanese occupation of Korea. Nationalist sentiment led to the popularization of the native hangul alphabet, and calligraphic works using hangul have since seen a revival, although hanja calligraphy is still popular today.

The Korean calligraphy is developing its own style, steadfastly. Fonts that are not square are being developed, considering jong-sung, or sound coming after the vowel.

There are five major types of Korean Hanja calligraphy, which are derived from Chinese calligraphy.^[2]

• Seal scripts (Korean: 전서; Hanja: 篆書; RR: jeonseo) are scripts featuring uniformity of stroke thickness and spacing of vertical, horizontal, and curved lines. It is often use for seals and chops.
• Cursive or grass script (초서; 草書; choseo) is known for extreme economy in individual pen strokes. Extreme cursive script is not legible for most people because different characters may resemble each other when written in cursive script.
• Block script (해서; 楷書; haeseo) Each block script character is roughly the same size proportion and fitted into a square space. Chinese characters are frequently written in block script.
• Semi-cursive script (행서; 行書; haengseo) is a practical style intermediate between block and cursive script. It is legible for most people.
• Official script (예서; 隸書; yeseo) was developed from seal script form. It is angular in appearance and much more legible than cursive or seal script.

Called Munbangsawoo (文房四友) in Korean, the "four friends" refers to:

• Paper – A traditional hanji (韓紙) made of Korean mulberry is used. It is well-suited for absorbing ink and reflecting its colors.
• Brush – Animal hairs bristles of the same length are formed into straight and a sharply pointed tip.
• Ink stick – Made from soot from burned trees and glue. A good ink stick has extremely fine particles.
• Ink stone – The surface on which the ink stick is ground. Made from a non-absorbent stone, such as jade.

In addition, the following equipment is also used for calligraphy: yeonjeok, a container of water, used for making ink with ink stick; boot tong, a container for holding brushes after being used; munjin, a long and flat paper weigh; and pilse, a bowl for washing the brush.^[8]

How has Seoye changed from the past?

Up until the 1900s, Korean calligraphy was written in Chinese letters called “Hanji." From 500 B.C. to the 19th Century, Koreans opted for the Chinese lettering system since it provided a larger combination of letters than Hangul. This writing system was also harder to learn, leading to perceptions of the language as a sign of wealth and education. Only in the last century has Hangul exerted an influence on Korean calligraphy. This is largely due to Japanese colonization (1910-1945) and the resulting response of Korean patriotism. After World War 2, Koreans began introducing the Korean lettering system to calligraphy. From 1945 onwards, Korean calligraphers have adapted both forms of calligraphy lettering. Many artists such as Lee Chul Kyung or Hwang Suk Dong have incorporated both Hanji and Hangul in their artwork. These works are displayed in the Calligraphy & Artwork Department in the National Museum of Korea.

Today, traditional styles and fonts are influenced by the individualist mindset reforms of the post-war generations. Instructors often teach that “all new ideas are made of old ideas.”. With the difference being, “Traditional calligraphy pursues the unity of writing and calligraphy. However, modern calligraphy emphasizes calligraphic image more than the readability of characters or the subject of the writing.” (National Museum of Modern and Contemporary Art, July 2020). Although it is taught to keep traditional practices in mind, modern calligraphers challenge the new artforms with heavily expressive writing styles such as Lee Chul Kyung’s (1914-1989) “gungche” writing style. Gungche refers to writing elegantly and beautifully like it was printed from a machine or written by an angel. This type of writing symbolized characteristics of women ideals such as beauty, perfection, or gracefulness, which remains a cultural expectation of females in Korea.

Alternatively, Hwang Suk Dong also displayed a writing style that differed from traditional artwork in the 1900s. Hwang’s piece called “On Board” demonstrates the dynamic and large visual impact based solely on how he writes. This new technique was meant to capture the writer’s expressions and emotions more clearly than before. Similarly, in another work, the same artist mashes together many pictograms of the Hanji character for “Horse” (Which is also the title of the artwork). Together with all the pictograms for horses, it becomes an art illusion that challenges the viewer’s point of view. Hwang incidentally created a work of “Abstract Art” as people would now call it. Many artists like these individuals continue to incorporate, build on, and challenge traditional styles of historic calligraphy.

How is Seoye used Today?

Seoye calligraphers today have expanded in the direction of commercialization. Seoye calligraphers typically provide a wide range of specialized materials, tools, and ink to meet a customer’s specific needs. Calligraphers can be expected to do anything in between inscribing a neatly wrote letter in unique font, writing a sporadic sign for a restaurant’s plaque, creating a formal certificate in cursive, or designing unique props and images. It would largely depend on the artist’s portfolio and capabilities to provide service to their customers. Alternatively, many calligraphers enter calligraphy competitions to earn prize money as a side gig. Lastly, calligraphers often become calligraphy instructors to those who want to better their writing or learn about Korean calligraphy culture. These workshops often attract a lot of foreign customers who wish to experience Korean culture.

Calligraphers are still in demand at the present. Potential organizations that are looking to hire Calligraphers include Event management firms, media firms, graphic design firms, educational institutions, wedding planning firms, or film/television companies all are looking to incorporate unique and beautiful writing forms for their respective. In fact, my drama television shows hire calligraphers to create a solid headline for a movie or show. Some of our favorite shows most likely have some or a lot of calligraphy influence in the behind-the-scenes production of the trailers or covers. Although there is demand, there is likely to be no further growth projected in this industry. This job profession is heavily dependent on the public and businesses’ need for artistic forms of writing.

• Newspaper article with visuals on Korean calligraphy