2008, Vol., No.40

Journal of Studies in Bibliography 2023 KCI Impact Factor : 0.65

pISSN : 1225-5246 / eISSN : 2671-8758
https://journal.kci.go.kr/korbiblio

The purpose of this experimental study is to investigate the standard adhesiveness of the traditional Korean ink for printing. The major findings are as follows: (1) Korean traditional ink is a name which people generically calls a block of ink mass made from soots and pine pitch, and it can be classified into pine-pitch ink and oil-pitch ink according to the type of soot. (2) It has been known that pine-pitch ink is appropriate for block printing, while oil-pitch ink is appropriate for printing with movable types. (3) Only oil-pitch ink is currently available, and its basic adhesiveness required for making ink is 18℃ in Japan, 25℃ in China, and 22℃ in Korea. (4) The lower the adhesiveness of an ink stick is, the easier it can be rubbed and the less often it gets cracked. (5) Generally it is better to keep less thinness of traditional Korean mulberry papers, and the standard adhesiveness of ink as 23℃-27℃ , when oil-pitch ink is used for printing with movable types. (6) It is strongly expected that the traditional technique of making oil-pitch ink, currently unavailable, is recovered and succeeded as soon as possible.

This study explores the characteristics and origin of the calligraphic styles found in Mugu jeonggwang dae darani-gyeong(Great Dharani Sutra of Immaculate and Pure Light) published in the United Silla Period. It can be said that this Sutra inferred to be published in the 8th century was influenced in part by the Tang dynasty, because it contains the Wu-Zhou characters made during the Wu-Zhou Period. Its calligraphic style, however, is not the same as the Chu Suiliang's and Yu Shinan's styles which were very popular in copying sutras during the Tang Dynasty. The callygraphic style of this Sutra are also different from the orderly styles found on the tombstones of the royal families in the United Silla through the 7th to the 8th centuries, written mostly in the Ouyang Xun's style. This unique style seems to come from the unrestricted calligraphic styles of the Old Silla in the 6th century, often found on the tombstones written by unknown calligraphers. "The Sillanization" of its calligraphic style is one of the proofs that this Sutra was published in Silla during the United Silla Period. The importance of its calligraphic style should be valued as much as its bibliographical research, and therefore is worth further pursuing.

This study investigated the overall system of storing books in the nineteenth century in the late Joseon Period, and the compilation of Kyujanggakji published in the eighteenth century and Kyujanggakbu written by (Yi Ok; 李鈺, 1760-1812). The major findings from the analysis of Kyujanggakji compiled as the basic resource for operating Kyujanggak and the documents related to other institutions are as follows: ① Kyujanggakji was compiled by seven famous scholars and accurately revised by six revisers. It means that its publishing was done with strict review and careful revision. ② Kyujanggakji documented such issues as its merger with Kyoseogwan, finances, concurrent assignment of officials in charge, rules and regulations, and correction of Gakji. ③ Records were added about such institutions as Seohyanggak(書香閣), Uimoonwon (摛文院), 宜春門庫(Uichunmoongo), Gaeyoowa(皆有窩), Yeolgogwan(閱古館) and others which had also kept books during the reign of King Jeongjo(正祖) and King Soonjo(純祖). ④ Yi Ok(李鈺, 1760-1812)'s literary work Kyujanggakbu documented the establishment of Kyujanggak, the storage system for Chinese books, and the general features and operations of the above mentioned institutions.