Calligraphy Style Research Articles

The Art of Chinese Calligraphy: Educational Protection and Literacy Study of Cultural Heritage

Chinese traditional calligraphy is an important part of Chinese culture, with rich cultural value, historical value, artistic value and educational value. Traditional calligraphy art has shown new characteristics in the current era. This research objectives are: 1) to study the historical development and cultural value of Chinese calligraphy; 2) to analyze the current situation and issues of Chinese calligraphy; 3) to identify the way in which inheritance and literacy of Chinese calligraphy art can be protected. This research adopts qualitative methods, collecting field data through literature document, surveys, interviews, observations, and group discussions. Our results summarize the multiple eras through which the historical development of Chinese calligraphy took place. Our study focused on the content and artistic styles of Chinese calligraphy, categorizing its development into four periods; namely (i) Primitive Society to 2070 BC, which is characterized by pictographic writing and primitive symbols. (ii) 2070 BC to 221 BC, the period of formation of written characters and invention of the writing brush and ink, (iii) 221 BC to 589 AD, characterized by the standardization of Xiaozhuan and the invention of papermaking, and (iv) 589 AD to 1905 AD characterized by development and refinement of the five script styles influenced by the imperial examination system. Our results also depict the current situation and problems of Chinese calligraphy and the problems it faces. Finally, the results also show the multiple ways in which Chinese calligraphy could be preserved. As an excellent cultural heritage, traditional Chinese calligraphy art will shine with new light in modern society.

Increasing Offline Handwritten Chinese Character Recognition Using Separated Pre-Training Models: A Computer Vision Approach

Offline handwritten Chinese character recognition involves the application of computer vision techniques to recognize individual handwritten Chinese characters. This technology has significantly advanced the research in online handwriting recognition. Despite its widespread application across various fields, offline recognition faces numerous challenges. These challenges include the diversity of glyphs resulting from different writers’ styles and habits, the vast number of Chinese character labels, and the presence of morphological similarities among characters. To address these challenges, an optimization method based on a separated pre-training model was proposed. The method aims to enhance the accuracy and robustness of recognizing similar character images by exploring potential correlations among them. In experiments, the HWDB and Chinese Calligraphy Styles by Calligraphers datasets were employed, utilizing precision, recall, and the Macro-F1 value as evaluation metrics. We employ a convolutional self-encoder model characterized by high recognition accuracy and robust performance. The experimental results demonstrated that the separated pre-training models improved the performance of the convolutional auto-encoder model, particularly in handling error-prone characters, resulting in an approximate 6% increase in precision.

The Study on the Reasons and Cultural Inheritance of Huang Daozhou’s Calligraphy in the "Xiaojing"

Huang Daozhou (1585-1646), also known as Shizhai, was a famous scholar and calligrapher of the late Ming and early Qing dynasties. In the final stages of his life, he was imprisoned for his candid advice to the emperor, during which he wrote 120 volumes of the "Xiaojing" (The Classic of Filial Piety). This paper aims to explore Huang Daozhou's motives for writing the "Xiaojing" in prison and its cultural significance. By analyzing Huang Daozhou's life, educational background, reasons for imprisonment, and calligraphy style, the paper reveals the importance of the "Xiaojing" in Huang Daozhou's mind and how he expressed his loyalty and filial piety to the nation and family through his calligraphy. The study shows that Huang Daozhou's calligraphy is not only an artistic creation but also a reflection of his moral and political stance.

전통주 패키지 디자인에 나타난 한글 서예 변용에 관한 연구

Traditional Korean alcoholic beverages, or “traditional liquor,” constitute a significant part of Korean culture, with their packaging design serving as a crucial medium for conveying cultural values and brand identity. This study aims to examine how changes in the design of traditional liquor packaging influence the market positioning and consumer perception of these brands, focusing on the usage and versatility of Hangul Seo-yeh. With the growing interest of younger consumers in the traditional liquor market, there's an implication that when designers more systematically utilize Hangul Seo-yeh style and employ calligraphic techniques that encapsulate Korean identity, they can expand into broader domains. The objective of this research is to analyze the various forms and styles of Hangul Seo-yeh, calligraphy, and fonts that appear in traditional liquor packaging design. The methodology involves analyzing the packaging of the top 20 selling products in the categories of makgeolli, yakju, and distilled spirits (soju) based on data from the Korea Agro-Fisheries & Food Trade Corporation on Naver Shopping, spanning from August 30, 2021, to August 30, 2022. The results indicate that the combination of calligraphy and illustration accounts for the highest proportion, with the combination of Seo-yeh with illustration, and fonts with illustration also being significant design types. The overall usage rate of calligraphy was about 35.5%, with calligraphy at 43.5% and fonts at 21%. Frequency analysis of Seo-yeh styles revealed that a free style of Minche (민체) had the highest usage rate at 33.3%. These results demonstrate the importance of the adaptability of Seo-yeh style in traditional liquor package design, especially the need to break away from uniformity and explore unique aesthetics in the digital age. This study is expected to aid in improving the design strategies of traditional liquor brands and enhancing their market competitiveness. Future research tasks include exploring the extent of adaptability of Hangul Seo-yeh, the possibility of its integration with Hangul Seo-yeh style, and its combination with illustrations.

전통주 패키지 디자인에 나타난 한글 서예 변용에 관한 연구

Traditional Korean alcoholic beverages, or “traditional liquor,” constitute a significant part of Korean culture, with their packaging design serving as a crucial medium for conveying cultural values and brand identity. This study aims to examine how changes in the design of traditional liquor packaging influence the market positioning and consumer perception of these brands, focusing on the usage and versatility of Hangul Seo-yeh. With the growing interest of younger consumers in the traditional liquor market, there's an implication that when designers more systematically utilize Hangul Seo-yeh style and employ calligraphic techniques that encapsulate Korean identity, they can expand into broader domains. The objective of this research is to analyze the various forms and styles of Hangul Seo-yeh, calligraphy, and fonts that appear in traditional liquor packaging design. The methodology involves analyzing the packaging of the top 20 selling products in the categories of makgeolli, yakju, and distilled spirits (soju) based on data from the Korea Agro-Fisheries & Food Trade Corporation on Naver Shopping, spanning from August 30, 2021, to August 30, 2022. The results indicate that the combination of calligraphy and illustration accounts for the highest proportion, with the combination of Seo-yeh with illustration, and fonts with illustration also being significant design types. The overall usage rate of calligraphy was about 35.5%, with calligraphy at 43.5% and fonts at 21%. Frequency analysis of Seo-yeh styles revealed that a free style of Minche (민체) had the highest usage rate at 33.3%. These results demonstrate the importance of the adaptability of Seo-yeh style in traditional liquor package design, especially the need to break away from uniformity and explore unique aesthetics in the digital age. This study is expected to aid in improving the design strategies of traditional liquor brands and enhancing their market competitiveness. Future research tasks include exploring the extent of adaptability of Hangul Seo-yeh, the possibility of its integration with Hangul Seo-yeh style, and its combination with illustrations.

The Influence of “POTI” Style on Contemporary Higher Calligraphy Education

A definition of Wang Xianzhi's "POTI" in Shuyi by Zhang Huaiguan. The characteristic of "POTI" is to break the boundary between truth, action and grass, to blend a variety of writing styles, with its own characteristics, and to show the strong creativity of calligraphy. POTI has existed in ancient and modern times, the so-called "neither breaking nor standing". Chinese calligraphy higher education has made great progress after decades of development, but the current research on Chinese calligraphy higher education has not been fully developed, and the research mainly stays in the combing and basic skills training of five-body books. Contemporary calligraphy higher education should break the boundaries of five-body books, carry out creative practice on the hybridisation of calligraphy, and research and explore the calligraphy style in line with this era. Thus inject fresh blood into the contemporary calligraphy creation and expand the vast space.

A Novel CNN Model for Classification of Chinese Historical Calligraphy Styles in Regular Script Font.

Chinese calligraphy, revered globally for its therapeutic and mindfulness benefits, encompasses styles such as regular (Kai Shu), running (Xing Shu), official (Li Shu), and cursive (Cao Shu) scripts. Beginners often start with the regular script, advancing to more intricate styles like cursive. Each style, marked by unique historical calligraphy contributions, requires learners to discern distinct nuances. The integration of AI in calligraphy analysis, collection, recognition, and classification is pivotal. This study introduces an innovative convolutional neural network (CNN) architecture, pioneering the application of CNN in the classification of Chinese calligraphy. Focusing on the four principal calligraphy styles from the Tang dynasty (690-907 A.D.), this research spotlights the era when the traditional regular script font (Kai Shu) was refined. A comprehensive dataset of 8282 samples from these calligraphers, representing the zenith of regular style, was compiled for CNN training and testing. The model distinguishes personal styles for classification, showing superior performance over existing networks. Achieving 89.5-96.2% accuracy in calligraphy classification, our approach underscores the significance of CNN in the categorization of both font and artistic styles. This research paves the way for advanced studies in Chinese calligraphy and its cultural implications.

CycleGAN with auxiliary classifier for chinese calligraphy style transfer and font classification

As a minor field that remains traditional, few have tried to integrate machine learning with Chinese calligraphy. This ancient form of visual art, on the contrary, is a considerable stage for computer vision. The numerous preservations of Chinese calligraphy make the rich context for machine learning studies that potentially make the field more valuable both aesthetically and pedagogically. This study transfers between stone inscriptions and ink marks, two unique forms of Chinese calligraphy, and classifies the fonts of the pieces. The model of this study is based on the outline of CycleGAN, a powerful generative algorithm for image style transfer. An auxiliary classifier, whose loss is trained together with the GAN loss and the cycle consistency loss, is deployed on the discriminator of CycleGAN, enabling the network to function as a classifier simultaneously. The model succeeds to convert the forms of stone inscriptions and ink marks, with the properties of each style vividly presented. It also successfully optimizes both the discriminator loss and the classification loss, showing the practicability of an auxiliary classifier on CycleGAN. This study points to a decent potential for further combinations of machine learning techniques with Chinese calligraphy studies, to make the job more versatile and detailed.

FONTS AND WRITING STYLES OF GRAPHIC ELEMENTS OF JAPANESE IDOGRAPHIC WRITING, SELECTED BY STUDENTS AND SCHOOLCHILDREN

The article presents the results of a scientific study using a questionnaire in the Google form system, in order to identify selected (preferred) types of fonts and writing styles of graphic forms of the Japanese language, used in the process of teaching Japanese ideographic writing. The online survey “The influence of styles, types and forms of the ideographic sign of the Japanese language on cognitive perception” was conducted in two groups of interviewees: 1 group of schoolchildren aged 14 - 17 years old in a general education institution, 26 people; Group 2 university students 18 – 23 years old, 74 people. The results of the study showed the preferred attitude of students to the kyokashotai font in 82.8% of the respondents for writing hieroglyphs in the statutory style, 78.6% of the surveyed students chose the kyokashotai font for writing Hiragana and Katakana alphabet characters. When comparing the signs of the Hiragana alphabet and the signs of the Katakana alphabet written in different styles and fonts, schoolchildren chose kyokashotai as the most preferred font for calligraphic writing (68.6%). The calligraphy style chosen for teaching ideographic writing of the Japanese language in two groups of respondents is the authorized kaishotai style (80%). When developing and publishing textbooks and textbooks using Japanese fonts and writing styles of ideographic signs, it is nec-essary to take into account the preferred cognitive perception of Russian-speaking students, their choice mainly of the kyokashotai font in the statutory style, on average 76.6%.

향파 이주홍 書畵의 미학적 고찰

Lee Juhong(1906-1987) was a writer, educator, and artist, born in Hapcheon, Gyeongsangnam-do, and worked in Busan. This paper is a study of his calligraphy, poetry, and painting. He experienced various hardships during his life of 80 years, including Japanese rule and the Korean War. Therefore, he expressed human agony and the fundamental essence of his difficult life through various genres of art, including literature. He led students to culture and art during his entire life as a professor of the Department of Korean Language and Literature at the National Fisheries University of Busan, integrated by Pukyong National University in Busan afterward. In addition, he was a comprehensive artist who engaged in artistic activities in a variety of genres, including poetry, novels, essays, plays, and criticism, as well as children's poems, fairy tales, juvenile fiction, calligraphy and painting, folk paintings, comics, book designing and binding, and theater directing. He also wrote collections of literary works and translations that amount to about 300 volumes.
 I analyzed and examined Hyangpa Lee Juhong’s calligraphy and painting by classifying them into literary communication aesthetics of calligraphy and painting and authentic East Asian aesthetics of calligraphy. The simple beauty, humorous beauty, and natural beauty abstracted from the literary communication aesthetics of calligraphy and painting help the aesthetic emotions organically linked in Hyangpa’s poetry, painting, and calligraphy to communicate through the integrated empathy of creation and appreciation. Therefore, I confirmed that simple, humorous, and nature-friendly works become communication aesthetics that heals complex minds.
 I summarized the authentic East Asian aesthetics of calligraphy into five beauties.: The first is the simple and gentle beauty that looks smiling. The second is the beauty that to have and to lack generate each other, and the third is the beauty that expresses a neat yet majestic aura with flowing strokes. The next is the beauty that is plain but not sick of, and the last is the magnanimous beauty while remaining faithful to nature without restraint. He used diverse genres of literature and various fields of art. He attempted many experimental things in calligraphy, so we could evaluate that he created a new style and method of calligraphy. In addition, the humanistic, literary, and aesthetic sentiments accompanying Confucius's humanism and Zhuangzi's vital freedom at the bottom of Hyangpa art formed his view of literature, art, and life. Thus, they elaborately emerged in Hyangpa’s calligraphy and painting.

Metropolitan Sanat Müzesi Örneğinde Türk Hat Sanatında Şeyh Hamdullah Ekolü

The art of calligraphy, also known as "hüsn-i hat" in Islamic culture, involves writing Islamic script in accordance with aesthetic principles. Executed using Arabic letters, this art form emphasizes the aesthetics and meaning of writing. The calligraphers, known as "hattat," adhere to rules to create Imagely pleasing scripts. The essence of calligraphy lies in expressing the aesthetics and essence of writing. Influenced by Islam's emphasis on writing and avoidance of imagery, calligraphy has become one of the most valued forms of Islamic art. This study aims to examine the contributions of the prominent Calligrapher Shaikh Hamdullah, a pioneer of Turkish Calligraphy, to the art through the example of a " thuluth and naskh hadith and poetry panel." Conducted through a literature review, this research delves into the Ottoman calligraphy, aklâm-ı sitte(six scripts), and the Shaikh Hamdullah school, focusing on his muraqqa at the Metropolitan Museum of Art. During the Ottoman era, aklâm-ı sitte styles like thuluth and naskh; muhaqqaq and rihani; tawqi and riq'a, evolved under Hamdullah's influence. His style of naskh calligraphy became the preferred method for transcribing the Quran across the Islamic world, giving rise to the Shaikh Hamdullah School. His contributions encompass Qur'an manuscripts, calligraphic panels, and muraqqas, held in prestigious collections worldwide. The tradition of granting, or certification, has preserved Shaikh's style, allowing his teachings to endure. The discussed artwork, a part of Shaikh's muraqqa album, features thuluth headings and naskh text lines drawn with ink and reed pen on marbled paper. The calligraphy is characterized by its harmonious thuluth and naskh styles, with minimal gold-painted floral motifs and borders. This study provides insights into the Shykh Hamdullah School and its impact on Turkish Calligraphy.

Relational Aesthetics Through Islamic Calligraphy Workshop

Malay calligraphy is known as Jawi and is a form of writing that is less popular compared to other modern writings such as those already listed in the font selection on students' computers. Therefore, Jawi workshop was held at the Fine Arts Studies, College of Creative Arts, MARA University of Technology for 77 students of the 3rd semester who enrolled Form and Soul course. The first objective is to introduce and further strengthen the writing skills of traditional Malay writing with the theme of 'knowledge'. Secondly, the whole activity of the workshop is to establish relational aesthetic form where the facilitator and students interact directly during the demonstration and practice throughout the workshop. The theoretical concept of knowledge involved the theme, selection of phrases related to knowledge, transformation of Roman writing into Jawi spelling, and identifying calligraphy styles. The students also been introduced to several artists who applied Jawi elements in contemporary artworks. Mumtaz Caligraphy set helps the creations of beautiful Jawi calligraphy letters, the arrangement of the lines, the decoration and composition of the letters and also the layout through the assistance of Associated Prof. Dr Nor Azlin Hamidon and her teammates. Relational aesthetics artwork successfully unites traditional elements and contemporary forms into a meaningful artistic creation and beneficial art for society.

Increasing the accuracy of handwriting text recognition in medical prescriptions with generative artificial intelligence

The object of the research is a system for recognizing handwritten text in medical prescriptions. The peculiarities of handwriting, the variety of calligraphy styles, as well as the specificity of medical prescriptions, create many problems and challenges for recognition algorithms, causing errors and reducing recognition accuracy. The work presents a new system with additional components of post-processing the recognition results to increase the accuracy of the final results. An algorithm for combining words into lines and blocks is proposed, which makes it possible to group words while preserving contextual connections between them. Also, a generative neural network with a large language model is used to analyze the recognition result and correct possible errors. The results of the testing show an improvement in recognition accuracy by 0.13 %. Successful cases of generative artificial intelligence usage are analyzed, as well as examples of the results deterioration, that are related to grammatical errors in the initial input data. The obtained results show the use of generative artificial intelligence as an additional step for processing the recognition results really can improve the accuracy of text recognition systems. The results of the study can be used for further experiments to improve recognition results in other tasks related to text recognition and in related fields.

Real-time Classifier of Multilingual Font Styles based on ResNet, SwordNet, Logistic Regression and Random Forest Algorithms

Different languages have different characters. At the same time, each character has a lot of font styles. This makes it difficult for humans to recognize different font styles for different characters. However, being able to detect and identify these font styles quickly and accurately has many important application use cases in different fields. At the same time, a large number of Internet users use web pages to query font styles. Therefore, I choose to make this real-time multilingual font style recognition algorithm. In this paper, I propose an algorithm that recognizes the input text and pictures in real time to judge the language and style of the text. It includes ResNet, SwordNet, logistic regression and random forest algorithms. The whole algorithm also calls pytesseract and Google Tesseract to realize text recognition and text positioning. I used Font Datasets used in "Font and Calligraphy Style Recognition Using Complex Wavelet Transform" for training. At the same time, I also built an image text recognition algorithm and generated various font styles as a data source. Based on this data, we adjusted the parameters and finally achieved an accuracy rate higher than 90%.

A PRELIMINARY STUDY OF LI LIUFANG'S VIEW OF CALLIGRAPHY AND HIS RELATIONSHIP WITH DONG QICHANG

Li Liufang was an influential artist in the art scene of the late Ming Dynasty in Jiading. He excelled in poetry, calligraphy, and painting. Gui Youguang’s “theory of nature and spirit” had a significant impact on his view of calligraphy. He advocated “Learn the virtues of the ancients” and “Writing one’s own thoughts”. Dong Qichang was the most prominent artist of the late Ming Dynasty in Songjiang. Because of Songjiang’s proximity to Jiading and the relationship between the two, Li Liufang is often seen as a follower of Dong Qichang when many scholars study the history of the acceptance of Dong qichang’s art. However, this is incorrect. The interaction between Li Liufang and Dong Qichang was minimal, and their styles of painting and calligraphy differed significantly. Both Dong and Li’s academic roots can be traced back to the Tang-Song school of literature and art in the late Ming Dynasty. Thus, there are similarities between Dong and Li’s literary and artistic philosophies. Dong Qichang received the inheritance from Tang Shunzhi, which is similar to the “theory of nature and spirit”. In other words, these two men received their literary ideas from the same school of inheritance, and there is no mutual imitation between the two.

Art of Bahari Quran Manuscripts from MJRL

Islamic art, enjoying the fundamentals of religious intellectual in different forms, expresses the modes of its spiritual nature in Islamic civilizations as well as in Muslim art. Appearance of Quranic manuscript concepts in perspectives of Muslim arts in different creative periods. Multiplicity of artistic approaches in Islamic culture, through its exceptional element expressing the principles derived from the Allah’s words, leads to living Muslim artist for the establishment of masterpieces of Islamic art, the most glorious artistic reflections, that it has established at an extensive level which can be observed in book compositioning, illumination, embellishment and planning. This article discusses the illumination of Bahari Qur?anic manuscripts in the collection of Masvd Jhandher research library, privately run at the small town sardarpur Jhandher in tehsil mailsi, district vehari (Punjab, Pakistan). This paper compares the illuminative styles of the particular script comparing it with other contemporary to this calligraphy style, and the evolutionary phase of the calligraphy style and the paper used specially for these manuscripts. Bahari manuscripts are mostly written in the 14th to 18th century, lesser efforts are applied to adorn the manuscript but visually the script of the manuscript was composed and stylized in an expressive tone, as the illuminative elements are quite simpler than the later manuscripts.

Visual analysis of inscriptions in the Tang Dynasty: a case study on the calligraphy style of Wang Xizhi

The art of inscriptions is one of the most important components of the glorious ancient culture in China. It is an essential method not only for ancients to record history and disseminate culture but also to provide original written and pictorial records for subsequent generations to learn about ancient Chinese culture. However, the art of inscriptions and calligraphy is currently not widely available because of its professional chirography, style and composition. Moreover, traditional calligraphy exhibitions cannot provide the public with an interactive and intuitive way to present the features of Chinese characters, such as stroke thickness. Therefore, in this paper, we present an interactive visual system to support the public in understanding and appreciating the calligraphic style of the inscriptions of the Tang Dynasty and the evolutionary path of the calligraphic style of Wang Xizhi. We first employ image processing technology to extract calligraphy features. Then, we help users explore the development of calligraphy from the spatial-temporal dimension and analyze the similarity between the works at two granularity levels: Chinese character structure and the works’ style. Furthermore, the system also provides a metaphorical visualization method to enhance the concretization of calligraphic appreciation. Case studies and comprehensive evaluation demonstrate the usability of our proposed visual analysis system of the calligraphic style of the inscriptions in the Tang Dynasty.

Feature fusion and decomposition: exploring a new way for Chinese calligraphy style classification

Feature fusion and decomposition: exploring a new way for Chinese calligraphy style classification

Tangut character image generation based on cycle-consistent adversarial networks

Tangut characters were created by the Tangut of the Western Xia (Xi Xia) Dynasty in ancient China and are over 1000 years old. In deep-learning-based recognition studies on Tangut characters, the lack of category-complete datasets has been problematic. Data augmentation cannot augment the character categories of unknown styles, whereas the use of image generation can effectively solve the problem. In this study, we consider the generation of antique book calligraphy styles of Tangut characters as a problem of learning to map from existing printed styles to personalized antique book calligraphy styles. We present M-ResNet, a multi-scale feature extraction residual unit, and Tangut-CycleGAN, a model for generation Tangut characters that combine M-ResNet and a cycle-consistent adversarial network (CycleGAN). This method uses unpaired data to generate Tangut character images in the calligraphy style of ancient books. To enhance the response of the model to significant channels, a squeezing-and-excitation (SE) module is introduced based on Tangut-CycleGAN to design the Tangut-CycleGAN+SE method for generating images of Tangut characters. This method is not only suitable for Tangut character image generation, but also can effectively generate calligraphy with aesthetic value. In addition, we propose an overall quality discrepancy evaluation metric, FA (Fréchet inception distance + Accuracy), to evaluate the quality of character image generation, which combines style discrepancy and content accuracy metrics.

조선시대 18세기 한글 간본문헌의 서체특징과 서예사적 의의

The subject of this study is the published Hangeul documents in the 18th century of the late Joseon Dynasty. Its purpose is to trace and inspect the process of change of Hangeul scripts in documents, reveal its aesthetic characteristics, and examine the value that can affect the creation of Hangeul calligraphy and modern Korean life. Among the Hangeul documents published by government offices and the private sector in the 18th century, I selected 60 types of Hangeul documents with excellent calligraphic scripts, high readability, and clear bibliographical information and studied them.
 The scripts of the published Hangeul documents in the 18th century are flexible in strokes and shapes and appear in various ways depending on the printing method, such as woodblock, wooden type, and metal type. In particular, Oryunhaengsildo(1797), which was printed in an organized wooden type, shows the settled appearance of Hangeul characters in the 18th century in terms of the balance and stability of calligraphic scripts. On the other hand, in terms of content, the published Hangeul documents in the 18th century reflect the trends and demands of the times in various ways, such as Yuneum Eonhae(the king’s word with Hangeul annotation), edification books, and foreign language learning books. The characteristics of the published Hangeul documents during this period and their significance in calligraphy history are as follows.
 1. In the early 18th century, Hangeul literature for edifying people was mainly published. In the later period, Hangeul literature on history, foreign languages, literature, and medicine reflecting changes throughout society, politics, and economy was published, and there was much of Hangeul literature related to foreign language education, such as Qing, Mongolian, Wae(Japanese), and Manchurian.
 2. The Hangeul documents in the 18th century printed by the king’s order mainly used Musinja(metal type cast in 1668). The appearance of the characters is long and rigid, but the woodblock print of the central government edition led by the state is close to the elegant handwriting. In the latter years, it begins to change into the manuscript form of court-style calligraphic scripts.
 3. Books on military science were published in the local government offices, and most medical books were published by the central government.
 4. I could find the characteristics of calligraphy history that the Dodum style(block print style of calligraphy) in the early days of Hangeul creation changed and settled down as the Batang style(manuscript style of calligraphy).