Usually, since calligraphy could be written well only after

typicality of royal handwriting and royal woman's handwriting

1.
As the old saying '身言 Book 判' has been said, handwriting has been treated as a major factor in determining a person's identity. In the present world, there is a tendency that people do not care much about handwriting because they are familiar with computer keyboards. Even in the Joseon Dynasty, brush was used as a daily writing instrument, so handwriting was used as a measure of each individual's ability. Usually, since calligraphy could be written well only after learning from someone, the handwriting of calligraphy revealed the region, civilization, and class where the person lives. Since the Joseon Dynasty was a thorough class society and the academic channels were limited according to the class, those who learned well and those who did not learn were not good at handwriting. Sometimes, those who were born with skills and who did not learn much wrote well, but these were only a few. Also, there was a popular typeface according to the circumstances of the times, so it was possible to know that it was written from a certain period when looking at the typeface. The letters of the Goryeo Dynasty were different, the letters before and after the Joseon Dynasty were different, and the letters of the modern period were different.

In more detail, when historically outstanding calligraphers or great scholars who are good at writing appeared, calligraphy similar to their handwriting became popular for a while. In the middle of the Joseon Dynasty, when Chaucer such as Hwang Gi, Baek Kwang-hoon, and Yang Sa-eon became popular, many people wrote similar writings to them, and in the late Joseon Dynasty, similar handwriting such as Okdong Seo-seo, Baekha Yoon-soon, Wongyo Lee Gwang-sa, and Songha Cho Yoon-hyung appeared. During the Silhak period, the calligraphy of the Qing Dynasty was introduced, and the handwriting of the Silhak scholars had their own personality, and the calligraphers' calligraphy writing, Chusa Kim Jeong-hee, which he realized while visiting China, was called 'Wandang Wind', so that it changed the handwriting of calligraphers and writers all over the country. Even in the midst of such a wandang wind, the handwriting of Nul Jo Gwang-jin in the Pyongyang region was popular, and in Jeolla-do, only Changam Lee's handwriting was popular. As such, the power of the calligraphy style was another criterion for looking at history in the era of Tang Dynasty. On the one hand, most of the literary students of the Daehak scholars used similar handwriting, and most of the literary students of Uam Song Si-yeol and Toegye Lee Hwang, the best scholars of the Joseon Dynasty, spoke similar handwriting. In particular, Toegye literary scholars used similar handwriting that made it difficult to distinguish between individuals, so they could tell if it was Toegye literary. In the modern era, the Gimje region formed a western faction centered on Ganjae Jeon Woo and Seokjeong Lee Jung-jik, and in Gangwon-do, scholars under Yoo In-seok often showed similar handwriting.

2.
In some cases, the typeface spoken by each class is different, and the typeface of the yangban class and the royal court was not in the same series as the typeface used in Hangan. In particular, the royal writings were different from that of ordinary government officials. The letters of the king and the prince are different from those of ordinary nobles. The royal writings, which have been learned from the Crown Prince since he was, had a different aspect from those of the world. Even now, the handwriting of royal figures at that time easily reminds me of that of royal figures even without the name of the person who wrote it. It seems that the royal family had a special education system different from the writings learned by the aristocrats of the world going to the Seodang and preparing for the past. In fact, when looking at the letters of the kings who wrote well, such as King Seonjo, Sukjong, Yeongjo, and Jeongjo, they show a unique handwriting that looks neat but slightly immature, and on the other hand, elegant. The letters of King Gojong, Sunjong, and King Yeongchin were also connected in their own Western style. This aspect may have been differentiated from the relationship between the four masters and may have been differentiated from the use of special luxury goods in terms of materials such as brush, ink, and paper. In any case, the court's handwriting clearly had a different aspect.

Not only the king's handwriting but also the women's handwriting in the court was different from that of the world. Of course, the Joseon Dynasty was a time when women could not write freely. In a time when the idea of a male and female queen was strong, most women could not learn and write. Even in the royal family, this trend was observed. As a result, even for royal women's handwriting, the court style of royal women and courtiers continued to be used in cotton, and the calligraphy culture of systematically writing Chinese characters was not commonplace. As a result, the Chinese characters of royal women such as the queen showed a unique appearance. Chinese characters that are exceptionally used by royal women have characteristics that are difficult to explain that give bizarre nuances. It is not common for women such as queens, concubines, and crown princes to write large letters. There are rarely large letters for national events or for friendship within the court, and most of the letters at this time are written in Korean court style. At this time, some of the letters sent to the house have written Chinese characters, and these letters have several characteristics. First of all, they use the finest paper of the time. They usually use colored paper, but they are often used on roll paper that is connected with various types of colored paper. The aura is also strange, but it is not yet clear whether they are inexperienced because they have learned less, or whether they have their own unique royal handwriting. In any case, from experience so far, the handwriting of royal women shows a very unique appearance. In addition, there are many cases where there is no handwriting, and it can be seen as a symbol of the authority of the royal family or as a way to protect the security from confusion such as party strife.

3.
I saw a collection of letters. These are the letters that are kept in the house of a person who was commissioned during the Japanese colonial era. Among them are works of calligraphy, and there are also personal writings about the 60th birthday or the dangho. The family is the family of Yeoheung Min, a renowned family of the time, and the owner is the descendant of Min Gun-sik (1879-1944 閔健植), the son of Min Yeong-gi (1858-1927), who has been baron for generations from father to son. There are more than 20 letters written by Min, including one by Min Byung-seok, a senior in his family's sixth cousin, and a unique handwriting that is unknown to the author. The handwriting of Min Gun-sik and Min Byung-seok has historical wrongdoings and has no significant artistic value, so I do not want to pay attention. However, the name of the person has no intention of paying attention to it