KOREA FOUNDATION

Global interest in the Korean language and the Korean alphabet, Hangeul, has now extended to Korean letters and calligraphy. Through the medium of calligraphy, Hangeul has become more than a tool of communication—it’s art with a distinct aesthetic value. The KF recently sat down with calligraphy artist Park Byoung-chul, who introduces himself as a “letter farmer” sowing seeds of letters in the field of the mind. He told us how the Korean letters he writes with utmost effort tell stories that touch and console the hearts not only of Koreans but also of people around the world. Here is his story.

First of all, would you introduce yourself to the readers of the KF Newsletter?

I’m Park Byoung-chul, a calligraphy artist who loves Hangeul and tries to tell heart-warming stories using Hangeul letters. I’ve been practicing Hangeul calligraphy for the past 15 years. Calligraphy is often understood as a beautiful and stylish rendering of letters, but for me, it’s a means of publicizing and popularizing Hangeul to as many people as possible. By writing positive messages in appealing letters and adding drawings, I want to move the hearts of those who see my works, giving them consolation and encouragement. When I write out my letters, I care about more than their content and meaning; I try to select the right form, the right sound and pronunciation, and the right movement as an image.
   Recently the Rijksmuseum, the national museum of the Netherlands, commissioned me to start a new piece. I feel a great sense of pride and responsibility, and at the same time, I take this as a challenge; Hangeul artwork conveying Korean culture and messages is almost non-existent in Europe, whereas Chinese and Japanese calligraphy arts are fairly well known. My main work is calligraphy, but my concerns are much broader. I’m constantly seeking and developing diverse ways to create artwork using Hangeul in genres such as pop art, drawing, graffiti, painting, and performance.

Of all your various activities and creations, your calligraphy on the Gwanghwamun Geulpan, a billboard on the Kyobo Building in Seoul, seems to be the most popular with the public. Would you comment on that?

Speaking personally, and in the context of Hangeul calligraphy, the Geulpan work is a fine example of achievement as well as a representative symbol. Calligraphy today was born and developed for commercial purposes, and a common form of calligraphy is text found on packages of goods for sale: product names and other information. I, too, used to do similar works on liquor bottles, condiments, and many other food products. At the time, I longed to use my letters and drawings for more meaningful works, and I was able to realize such longing through the Geulpan.
   The billboard has become a wonderful example of calligraphy being utilized for public interest, something educational that can share lessons. When a few beautiful lines are selected from a poem or other literary work, I ponder on what type of writing style I should adopt to best express and convey their message, doing experiment after experiment. As the lines are meant to be for the public good, I don’t use pompous or showy calligraphy. I write simply and plainly so that everyone can read the text easily. My motto is to use my calligraphy as a tool to deliver the message embodied in the words.

You’ve carried out a variety of projects abroad also. Would you share a few memorable projects with us?

Quite a number of people have expressed support for my desire and goal of publicizing Hangeul, the Korean language, and Korean culture through Hangeul calligraphy, but such encouragement usually hasn’t been followed by substantial practical support and I’ve had difficulties in realizing my plans. Having said that, I should add that I’ll never forget the first Hangeul Party held in cooperation with the University of Minnesota Twin Cities in May 2015. It was a truly meaningful and successful event.
   After that first Hangeul Party, we were able to hold similar cultural exchange events in several other US cities including New York, Chicago, and Atlanta. In the fall of last year, I also had the opportunity to conduct similar events at the Korean Cultural Center and Korean School in São Paulo, Brazil. I was overwhelmed with the enthusiastic response of the local participants and had a great time. I was really filled with happiness and gratitude. More than 170 Brazilian university students took part in these events and I felt very proud as I presented Hangeul calligraphy to second- and third- generation Korean youths who had been born in Brazil.

Amid growing interest in Hangeul and the Korean language abroad, Hangeul calligraphy is also attracting global attention. What aspects of Hangeul calligraphy do you think appeal to foreigners?

Hangeul itself has more than a few merits, but we have to admit that more and more foreigners are paying attention to the Korean language, Hangeul, and Hangeul calligraphy due to the influence of Hallyu (the Korean Wave) and K-pop. For instance, we see many foreigners who encounter the Korean language and alphabet for the first time because of their love of K-pop artists and the lyrics they sing. Such love often develops into the wish to hand-write Korean letters.
   The greatest appeal of Hangeul calligraphy is its ease. It takes time to grasp the meaning of a letter and how to pronounce it, but it’s easy to learn reading and writing in a short time. This is why foreigners approach Hangeul calligraphy. They don’t think of Hangeul as phonograms but see it for its visuals. So when we explain the letter’s formation as if we were talking about a pictograph, they find it interesting and easy to understand. It’s like drawing characters or patterned designs.

We have high hopes that Hangeul calligraphy will become an avenue for public diplomacy and diplomatic efforts in the private sector. In this regard, is there anything you would like to say to the KF Newsletter’s readers?

&Apart from Hangeul calligraphy, there are many ways to make use of the Korean alphabet in publicizing Korea and Korean culture, and the KF has been doing a lot in this regard. I think it would be great if the KF could come up with even more opportunities because it’s difficult for individual Hangeul calligraphy artists and small cultural content firms and organizations to carry out such activities on their own. I think the KF and other public institutions engaging in diplomatic and cultural programs can generate more effective and progressive models of sharing. I myself want to gradually increase overseas activities to promote Korea and Korean culture by means of Hangeul. I will also continue to endeavor to create works that give consolation, sympathy, and hope to many people at home.

Interviewed by Kim Daniel