16-17세기 한글편지의 서체적 특징 -여성 한글편지의 중심축 변천에 대한 사상사적 고찰을 중심으로- = A Study on the Calligraphic Characteristics represented in the Letters written in Korean in the 16th and the 17th Centuries. -A Study of the ideological consideration about shifting the central axis represented in women`s letters written in Korean

다국어 초록 (Multilingual Abstract)

Analyzingletters written in Korean by women in the Chosun Dynasty, the central axis was in the middle of a character regardless of a class and a gender in the 16th century. However the central axis was shifted into a vertical stroke〔ㅣ〕inletters written in Korean by women including empresses by the middle of the 17th century. This kind of shift in a final consonant could be found in letters written by men as well. There wasn``t an article of the ideological consideration about the reason the shift occurred even though it has been studied aesthetically. I shall explain why the central axis was shifted into a vertical stroke〔ㅣ〕. Its fundamental reason was simply not the aesthetic aspect but the empress mental attitude - the control of their desires concerning the Ye-thought. Manners was reinforced in the 17th century with the Neo-confucianism of the 16th century settled in Chosun Dynasty. Expecially Jangryol empress, lnseon empress, Myeungseung empress and Inhyeon empress were the main people in the politic case such as Yesong studies and did their best to practice Ye(禮) from Shen tu(愼獨), coherent sincerity(誠), and intentional seriousness(敬). Their attitudes were expressed in a linear stroke. What they wanted to express using a linear stroke resulted form the ethical aesthetic thoughts. When it comes to its aesthetic category, the vertical stroke makes a writer express their aesthetic experience, their emotions or their thought. In other words the vertical strokes written by empresses were not the simple forms but the unity forms of the subject and the object, the inside and the outside, and the mental and the convention. Their vertical strokes included their academic achievement as well as ethical lives and mind. Also their vertical stokes represented the aesthetic thoughts in Chin Confucians like simplification, moderation, fairness and so forth. Such an aesthetic thoughts caused them to exercise imaginations. In the end the length shifts in consonants and vowels were begun. The full vitality and beautiful Gung-Che was completed by shifting the central axis into a vertical stroke〔ㅣ〕as the symmetry structure. I identified the probability that the central axis in characters written by maids were also shifted identically like empresses`` and the fact that empresses`` strokes were formed from the aesthetic thoughts in Chin Confucians in 17th century. Modern women in the 20th and the 21th centuries have been interested in this trend. Accordingly the result investigating the characteristics of the central axis is expected to help us infer the exact times Hangul books including both public and private materials were published.

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