As autumn deepens in October, a special calligraphy exhibition titled 'One Word Calligraphy Exhibition' is set to open in Insadong, Seoul. Words like flower, heart, love, and sinabro—terms we use daily yet often overlook—are given new life through the brushstrokes of artists. This exhibition is not about lengthy poems or grand sentences; it focuses on a single word. Yet, within that word lies a person's life, a nation's culture, and sometimes even the mysteries of the universe.
The exhibition, organized by the Kangam Calligraphy Academic Foundation, will run from October 28 to November 3 at the Korean Art Museum in Insadong, followed by a display at the Jeonju Jeollabuk-do Arts Center from November 6 to 12. Among the 117 works contributed by calligraphers nationwide, 85 are in Hangul and 32 in Hanja. This exhibition serves as a platform for discovering the beauty of language and demonstrates how the tradition of Korean calligraphy continues to thrive in contemporary culture.
One name that comes to mind in connection with this exhibition is that of Kangam Song Seong-yong (1913-1999). He was not only a calligrapher but also a spiritual leader whose essence has been passed down to his students, who have cultivated their own artistic worlds across the country. His son, Song Ha-jin, a former governor of Jeollabuk-do, has returned to the brush after his public service, exploring new avenues in Hangul calligraphy.
Kangam Song Seong-yong: Elevating Human Dignity Through Brushwork
Kangam was born in 1913 in Gimje, Jeollabuk-do. His father, Song Gi-myeon, was a Confucian scholar from Honam. For Kangam, calligraphy was not merely a technical skill; it was a spiritual practice that revealed how individuals cultivate themselves and engage with the world.
The most challenging aspect of calligraphy may not be mastering the brush but rather mastering one's own mind before moving the brush. The act of grinding ink, calming one's breath, and clearing the mind before making the first stroke is a form of self-reflection for the calligrapher.
The brush reveals the truth; impatience can lead to shaky lines, excessive pressure can harden strokes, and too little force can cause loss of balance. Finding equilibrium between strength and softness, movement and stillness, fullness and emptiness is essential.
The name Kangam poses a question: What is true strength? Is it the power to dominate others, or is it the restraint and principles that protect oneself? We believe it is the latter. Interpreting Kangam's calligraphic spirit in contemporary terms suggests a harmony between a steadfast spirit and flexible expression. Principles should be firm, yet expression must be free; tradition should be respected, but innovation should not be feared.
Calligraphy is an art of lines, but it also questions human dignity. The beauty of calligraphy is not merely in its appearance; it is the culmination of years of training and reflection that moves the viewer's heart.
The value of Kangam's legacy cannot be measured solely by the number of works or fame. He prompts us to consider what humans learn throughout their lives and how they refine themselves through calligraphy.
Students of a Great Master: Beyond the Teacher's Calligraphy to Their Own Worlds
The greatness of a master is not solely in the number of students they produce but in how those students grow into independent artists.
Those who inherit Kangam's calligraphic spirit are actively continuing the tradition of Korean calligraphy through their works, education, and exhibitions across the country, particularly through the Kangam Calligraphy Association, which has been active since 1968. This group consists of Kangam's students who exchange ideas and uphold the tradition and creative spirit of calligraphy.
Among them, Kangam's second son, Song Ha-kyung, served as the dean of the Confucian Studies College at Sungkyunkwan University and has been the organizing chair for the Jeonbuk International Calligraphy Biennale from its first to third editions. He has contributed to expanding the academic foundation of calligraphy and nurturing future generations, emphasizing the importance of developing calligraphy as a field of study in universities rather than merely a technical skill.
Other calligraphers, such as Park Won-kyu, Lee Yong, Yoon Jeom-yong, and Kim Byeong-gi, have also developed their artistic worlds based on Kangam's teachings. While their styles differ, they all seek new expressions while deeply understanding tradition.
This exhibition features not only Kangam's students and successors but also a wide range of prominent artists in the Korean calligraphy scene, including 94-year-old Jo Jong-suk, president of the International Calligraphy Association Jeong Do-jun, and others who have made significant contributions to the field.
The diversity of artists from different generations, regions, styles, and areas of activity is a key feature of this exhibition. The Kangam Calligraphy Academic Foundation has selected artists broadly, ensuring that this exhibition is not just a platform for Kangam's students but a stage for the entire Korean calligraphy community to share their artistic worlds.
However, it is essential to clarify that merely replicating a master's calligraphy does not constitute true inheritance. Art evolves when the spirit left by the master is expressed anew through the artist's own era and sensibilities.
Some calligraphers delve deeply into the solemn brushwork of traditional Hanja calligraphy, while others develop the form of Hangul, and still others reinterpret the structure and whitespace of characters with a modern sensibility. Despite their different paths, they share a common spirit of respecting the brush and refining themselves through writing.
The 'One Word Calligraphy Exhibition' serves as a platform for this originality. Artists must showcase their artistic worlds through a single word, rather than relying on lengthy sentences or famous verses. While the meaning of the word may be the same, the speed and thickness of the strokes, the ink's depth, and the whitespace differ from artist to artist.
One artist may depict 'flower' as a symbol of vibrant life, while another may express the loneliness of falling petals. The word 'heart' can evoke calmness for one artist and passion for another.
This is the creativity of calligraphy. While tradition teaches form, art allows one to discover their voice within that form.
The works of Kangam's students and successors blooming across the country resemble a large tree giving rise to a new forest. They do not remain in the shadow of their master but draw vitality from those roots to grow toward their own skies.
Kangam Calligraphy Foundation: Transforming a Personal Legacy into Cultural Heritage
The Kangam Calligraphy Academic Foundation plays a crucial role in preserving Kangam's spirit to this day. Established in 1993, the foundation celebrated its 30th anniversary in 2023. It has worked to promote calligraphy culture, inspire creativity among calligraphers, and nurture future generations.
Kangam dedicated his resources during his lifetime to establishing a calligraphy museum and foundation. He aimed not only to preserve his works but also to create a foundation for future generations to learn, exchange, and create. The Kangam Calligraphy Association, the Kangam Calligraphy Museum opened in 1995, and the Kangam Calligraphy Academic Foundation have become cultural foundations connecting people, works, education, and support.
The Jeonju Kangam Calligraphy Museum serves as a cultural space where Kangam's spirit resides. It preserves and exhibits not only Kangam's works but also valuable materials from the history of Korean calligraphy, passing them on to future generations. The Kangam Calligraphy Competition also serves as a pathway to discover new calligraphy talents and encourage creative activities.
The foundation's role should not be limited to merely commemorating an artist. It must continually question how cultural heritage can hold meaning for today's citizens and future generations while preserving it.
Song Hyun-sook, the foundation's director and Kangam's daughter, is dedicated to expanding the foundation's operations to create an environment where various artists in the calligraphy community can collaborate while carrying on the legacy of their predecessors.
Her initiative is noteworthy in that it seeks to bridge the gap between calligraphy and the public by focusing on everyday words rather than lengthy classical texts or familiar calligraphic forms.
The concept of 'one word' is simple yet profound. Its brevity demands deeper reflection. A single stroke or character can change the entire atmosphere of a work. Even the whitespace becomes an expression of the artist.
The foundation's future tasks are clear: systematically research and preserve Kangam's works and records, connect the artistic achievements of students and successors, teach calligraphy to youth, and promote the beauty of Hangul calligraphy to the world.
Cultural heritage is more important to share than to possess. Preservation alone keeps us in the past, but education and creation lead us to the future.
From Politics to Calligraphy: The New Life of Song Ha-jin
When discussing Kangam's artistic legacy, one cannot overlook his fourth son, Song Ha-jin, the former governor of Jeollabuk-do.
Song Ha-jin led local administration for 16 years, serving as mayor of Jeonju for eight years and governor for another eight. However, alongside his public service, he has roots as the son of a calligrapher.
Growing up watching his father wield the brush and listening to stories about calligraphy, Song Ha-jin describes this experience as 'mokyu-iyeom' (目濡耳染), meaning he absorbed it naturally over time. Calligraphy was not a sudden hobby for him but a culture that permeated his life from an early age.
After stepping down from public office, he is now channeling that long-standing interest into serious artistic endeavors. In 2023, he was elected as the organizing chair for the Jeonbuk International Calligraphy Biennale, taking on a role to promote international calligraphy exchange and the development of calligraphy culture in Jeollabuk-do.
In September 2024, he will hold his first solo exhibition after retirement, titled 'Writing Without Hesitation—Song Ha-jin.' The title itself reflects his calligraphic philosophy, advocating for a calligraphy that respects tradition while transcending overly formal conventions to align with modern sensibilities.
His concerns can be summarized in three main points: First, Hangul must confidently occupy the center of Korean calligraphy. Second, horizontal writing that aligns with modern reading habits should be actively developed. Third, calligraphy should evolve as an art form that embodies the individuality and creativity of the artist, rather than being constrained by past formal conventions.
This is not a rejection of traditional Hanja calligraphy. Instead, it is a proposal to respect the long-standing aesthetic achievements of Hanja while expanding the expressive potential of Hangul, the central script of contemporary Korean life and language.
In October 2025, he held an exhibition titled 'K-Calligraphy Capturing the Beauty of Hangul' at the Park Yeon Cultural Center in Sejong Government Complex, showcasing over 60 Hangul calligraphy works. This continued the dialogue he initiated in his first exhibition in 2024.
These assertions represent a significant discourse surrounding the future of Korean calligraphy. How can we harmonize the depth of traditional brushwork with modern horizontal writing and free-form expression? What is needed for calligraphy to develop as an independent art form while remaining connected to the culture of written language in daily life? Song Ha-jin's work raises these questions.
Of course, Song Ha-jin's works should be evaluated based on their artistic merit, independent of his public service career or his father's reputation. Nevertheless, it is noteworthy that he has embraced Hangul calligraphy as his new realm of activity after leaving public office.
Rather than merely imitating his father's brushwork, he is creating new pieces through his own experiences and sensibilities. Inheriting Kangam's legacy ultimately gains meaning through this independent creation.
Song Ha-jin's ongoing interest in the activities of the Kangam Calligraphy Academic Foundation and the development of calligraphy culture can also be seen as a reflection of his appreciation for his father's spiritual legacy. However, the true value of that affection lies not only in preserving the family name but also in broadening the creative environment for calligraphers and creating opportunities for the next generation to take up the brush.
While the father lived his era through calligraphy, the son walked the path of administration before returning to the world of calligraphy. Their lives are different, yet the cultural connection through brush and ink runs deep.
Life may have retirement, but the growth of the spirit knows no retirement. Discovering a new self in another world after completing a role in one field is also a beautiful aspect of life.
Flowers Represent Nature, Hearts Represent Humanity, and Calligraphy Represents Culture
Consider the word 'flower' among the words featured in this exhibition. A flower is not merely a part of a plant. It is the result of roots that have endured winter, the time spent waiting for spring, and the life created by sunlight, wind, and water.
If a calligrapher writes the character for 'flower,' they are not just reproducing a single character. They can encapsulate their experiences of spring and autumn, encounters and farewells, and the beauty and transience of life.
What about 'heart'? Humans do not fully understand their own hearts. They experience joy and sorrow, love and hate, certainty and doubt. Expressing that invisible world through brush movements transforms the human inner self into visual art.
The word 'love' embodies the relationships between humans. Loving family and neighbors, as well as nature and culture, ultimately means not placing oneself at the center.
And 'sinabro' signifies gradual change that occurs unnoticed. The growth of trees, the maturation of people, and the accumulation of culture all represent sinabro. The transmission of Kangam's spirit to his students and successors, along with Song Ha-jin's return to the brush, can also be interpreted as a cultural inheritance developed over time.
I view humanity, culture, and nature as an inseparable world. Humans are born from nature and create culture, which embodies the wisdom of living alongside nature.
Calligraphy is the art where these three worlds converge. The brush, ink, and paper made from materials derived from nature carry the human spirit, and those traces become culture.
The whitespace in calligraphy is also significant. The space without characters is not an empty void. It is the breath between lines, a place that connects the visible and the invisible.
Our society fills spaces with too much. Buildings, roads, advertisements, images, information, and noise fill our daily lives. Yet, the time to think and the space to reflect are diminishing.
Calligraphy asks us: What truly matters is not how much we fill but what we leave behind and what we leave empty.
In the Age of AI, What Should Humanity's Brush Preserve?
Now, artificial intelligence can write, draw, and compose music. By inputting a single word into a computer, countless fonts and images can be generated in an instant.
Does this mean that the act of holding a brush becomes unnecessary?
We should instead focus on the opposite possibility. As technology advances, we must delve deeper into the meaning of human actions.
AI can learn and imitate the visual characteristics of calligraphy. However, it cannot replicate the life experiences and years of training that a person accumulates while holding a brush.
Each brushstroke carries the breath of the day, the state of the body, and the memories of a lifetime. The ink that settles on paper cannot be easily undone. This irreversibility demands responsibility and concentration from the artist.
What humanity must preserve in the age of AI is not merely manual skill. It is the values that determine what to express, the reflections on why a particular word was chosen, and the responsibility for how to relate to others through the work.
The spirit of calligraphy extends into the ethics of language. We exchange countless words daily, but how many of those words do we take responsibility for? Do we speak of love while ignoring our neighbors, advocate for justice while condoning injustice, and champion freedom while infringing on the dignity of others?
Just as it is important to draw a precise stroke, it is equally important to treat each person with respect. We must consider the balance of our writing as we think about the balance in society and leave space for the freedom of others, just as we do with whitespace on paper.
Life, Work, and Dreams: The Cosmic Spirit Encapsulated in One Word
I often think of human life in terms of three words: food, work, and dreams. Food represents survival, work signifies responsibility to the world, and dreams are the force that leads humanity beyond current limitations.
If there is only food without dreams, life becomes barren. If there are dreams without work, changing reality becomes difficult. If there is only work without love for humanity, achievements may remain, but the fragrance of life fades.
What would it look like if we wrote those three words with a brush? 'Food' would evoke the hands of farmers tilling the land and family gatherings at the table. 'Work' would embody the sweat of those quietly holding their positions. 'Dreams' would carry the hopes of humanity toward an unseen future.
The lives of Kangam, his students who carry on his spirit, and Song Ha-jin, who is unfolding a new artistic world after leaving public office, ultimately converge on the question of how to fulfill the lives given to them.
In this process, there is a word we must not forget: truth, justice, and freedom. Truth warns us against falsehood, justice compels us to consider the dignity of the weak, and freedom protects the right of individuals to think and choose for themselves.
If these words are not practiced in life, no matter how beautifully they are written, they remain mere decoration. What calligraphy teaches us is not just the form of beautiful writing but the attitude of living in accordance with the words we write.
As autumn deepens and trees shed their leaves, nature prepares for the next spring while wrapping up the year's time. People, too, must sometimes reduce their words and gather their hearts. Stepping away from the noise and information for a moment to gaze at a single word on paper can change our inner selves.
The spirit left by Kangam Song Seong-yong has not ended as a legacy of one era. His students and successors across the country continue to carry on that spirit, the Kangam Calligraphy Academic Foundation connects tradition and modernity, and his son Song Ha-jin has taken up the brush again to unfold his own world of calligraphy.
This resembles the natural principle of a single tree becoming a forest, which in turn nurtures new life.
The greatest gift that the 'One Word Calligraphy Exhibition' may leave us is perhaps not the elaborate brushwork but the preciousness of words we have forgotten.
Writing about flowers fosters a love for nature, writing about hearts fosters an understanding of humanity, and writing about love dreams of the future of culture. This is the world where humanity, culture, and nature are interconnected.
If a single stroke of the brush can move a person's heart, and that heart can be conveyed to another, making the world a little warmer, then art has already fulfilled its mission.
Though Kangam's brush has stopped, the fragrance of his ink is revived at the fingertips of people.
In a single stroke lies a life, and in a single word lies the universe.
And passing that universe on to the next generation is the power of culture.
* This article has been translated by AI.
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