This DB is as like down below. 1) A comprehensive collection of materials related to calligraphy theory or 'calligraphy aesthetics collection' could be cited as O Sechang(吳世昌)’s 『Geunyeoksehwajing(槿域書畵徵)』 and Jin Hongseop(秦弘燮)’s 『Korean Art History Data Collection(韓國美術史資料集成)』. In addition, there is a collection of books on paintings of the Joseon Dynasty Annals, which was compiled by the Academy of Korean Studies. The collections compiled by the individuals such as O Sechang or Jin Hongseop have several limitations because they are the work done in the days when it was not possible to have access to a wide variety of materials such as the Collection of Korean Literary Works, the series of literature, the collection documents of museums and libraries. Therefore, in the Compilation and Annotation of the Original Texts on Korean Calligraphic Aesthetics, we aimed to compile the actual calligraphy materials that differ from the previous materials. 2) It is not simply a collection of data but the material to provide a chance to understand the big frame of calligraphy aesthetics. Also, based on the DB built, it is possible to identify what characteristics of calligraphy aesthetics performed in Korea. Moreover, it is possible to deeply understand calligraphic theories through the professional annotations of the calligraphic aesthetics about the calligraphic theories. 3) Most of the existing researches only contain the materials related to calligraphic theories. However, our study expanded the scope of calligraphy and encompassed the data linked directly or indirectly with calligraphy such as seals and the four precious things of calligraphy. These materials not only help researchers of Korean calligraphic aesthetics to study Korean people's calligraphic aesthetic consciousness, aesthetic ideal, aesthetic interest, aesthetic appreciation, etc., but also provide a broad understanding of calligraphy through expanding the scope of the materials related to calligraphy.
Expected effect and utilization plan are as follows. 1) It is possible to lay a foundation to broaden the scope of interdisciplinary research. Traditionally, poetry, calligraphy and paintings have not been considered as a separate art in East Asia. Of course, each has different characteristics. However, in practical creation and theoretical aspects, the affinity and the correlation between each other are always emphasized. With a few examples, it is common to find that the criticism and aesthetic category in poetry are applied to calligraphy and paintings as they are. As the literary atmosphere of the calligraphy continues with that of the paintings, the thought that calligraphy reflects the calligrapher’s character continues with the thought that painting reflects the painter’s character. It is not an exaggeration to say that the theory of calligraphy is basically the same as that of seal engraving except that the seal is engraved with a knife. As such, calligraphy has an affinity and a correlation with not only poetry but also paintings, and it is frequently mentioned with paintings together. Therefore, the understanding of the calligraphic theories can be a cornerstone of interdisciplinary research with other genres of East Asian arts including literature. 2) Accessibility to calligraphy in East Asian art culture can be improved. In contrast with the West, the art we can encounter the most in actual life is calligraphy. Nonetheless, the art we do not know the best is calligraphy. In general, a calligraphy work looks the same as other calligraphy works, and people do not know why the calligraphy work is better than others. Moreover, people rarely know that such a calligraphic work is not merely meaningful to the character itself. Furthermore, it is true that calligraphy has been regarded as like a password even though it has been always around us. The problem is that researchers belonging to other art genres always encounter the limitations of the material even if they want to be interested in calligraphy. This foundation study has the advantage of increasing the accessability to get to know the calligraphy culture. This advantage will provide a great opportunity to understand not only Korean calligraphy culture but also characteristics of East Asian art culture. 3) We can make a positive contribution to the introduction of calligraphy culture theory and creative idea in the world of Korean calligraphy. The world of Korean calligraphy today has a dual structure unlike other fields. One class majors in science of calligraphy at university, and the other specializes in calligraphic art. It is different from the painting field, which continues the tradition of paintings and acquires the professional painting theory, with Dohwaseo(painting bureau in Joseon dynasty) as the center. Completion of "The Compilation and Annotation of the Original Texts on Korean Calligraphy Aesthetics" will play a major role in raising the creative ability and professional knowledge of the world of Korean calligraphy.