Who is the greatest calligrapher in Korean history? Typically, people think of Chusa Kim Jeong-hee, Seokbong Han Ho, or Wongyo Lee Gwang-sa. While opinions on the criteria for a great calligrapher vary, there are measurable indicators such as price and the number of national heritage designations. By these two measures, Ahn Jung-geun stands out as the best.
First, Ahn’s works command unparalleled prices. His piece “How can the majestic appearance of a dragon and a tiger compare to that of a worm and a cat (龍乕之雄勢豈作蚓猫之熊)” sold for 1.95 billion won in December 2023. Another piece, “People’s hearts change from morning to evening, but the mountain’s color remains the same from past to present (人心朝夕變山色古今同),” sold for 1.3 billion won in February 2024. Since the sale of “Success depends on man’s efforts; accomplishment depends on heaven’s will (謀事在人 成事在天)” for 460 million won in December 2006, the prices of his works have risen significantly. This is unusual in Korea, where the value of calligraphy is not typically well recognized. The market’s evaluation is often more accurate and objective than that of experts.
Next, Ahn has 31 works designated as national heritage (treasures), which is the highest number. Even when combined, the works of Kim Jeong-hee, Han Ho, and Lee Gwang-sa do not surpass this number. Being designated as national heritage means that the works have officially recognized historical, artistic, and academic value.
Why are Ahn’s works so highly valued and treasured? Is it because of the quality of his calligraphy or his character? There has been long-standing debate on whether calligraphy reflects character. During the Qing Dynasty, Qian Daxin argued that art and character are two separate matters. However, during the Ming Dynasty, Feng Ban contended that art and character are inseparable. Su Shi took a middle ground, stating that while art is related to character, it also involves skill and does not always align perfectly. Based on over 20 years of collecting and studying the calligraphy of independence activists and pro-Japanese collaborators, it is evident that character is accurately reflected in calligraphy and often correlates significantly. Therefore, the calligraphy of Ahn, who had an exemplary character, naturally reaches the highest level.
Ahn’s calligraphy possesses all the qualities that great calligraphy should have and reaches an exceptionally high level. His strokes are thick, disciplined, elegant, composed, strong, and courageous. Visiting the 100th anniversary memorial exhibition of Ahn’s calligraphy in late 2009 was overwhelming due to the powerful energy, weight, and dignity radiating from his works. The sharpness, strong momentum, and intimidating presence of his calligraphy are evident. The most notable feature of the calligraphy of independence activists is the ‘angle,’ which represents strong will. Ahn’s calligraphy is a prime example, indicating his firm and upright character. The strong pressure of his brushstrokes signifies a strong spirit and energy. The spacing between characters and lines shows strong self-assurance and consideration for others. Even if born in another era, he would have accomplished great deeds.
From the perspective of Eastern calligraphy, Ahn’s writing exemplifies the An Jin-gyeong style with thick, precise strokes and strict formality. His works show the calligraphic principle of “hiding the head and protecting the tail (藏頭護尾).” The contrast in the pressure and duration of his brushstrokes during the writing process maximizes tension and relaxation. It is fitting that Ahn, who acted on the philosophy of Joseon scholars willing to sacrifice themselves for their country, resembles the style of An Jin-gyeong, known for his loyalty.
Ahn’s calligraphy has unique characteristics. Firstly, it was written at the peak and at the end of his life. Most of his known works were written during the 40 days from October 26, 1909, when he assassinated Ito Hirobumi, to March 26, 1910, when he was executed. The recipients of Ahn’s calligraphy during this time were Japanese officials, including judges, prosecutors, clerks, lawyers, police officers, prison guards, military policemen, and interpreters. The Japanese lined up with hundreds of sheets of silk and paper to receive Ahn’s calligraphy, impressed by his scholarly depth, righteous actions, and words. Approximately 50 pieces remain, either in physical form or photographs, as the Japanese who received them secretly kept them and took them back to their hometowns, treasuring them until their deaths. Ahn’s works, written before his execution, are highly valued. In art, works created at the peak of an artist’s career are prized, but in calligraphy, the last works are considered the best. Secondly, Ahn’s works are distinguished by the unique handprint stamp and the phrase “Great Korean (大韓國人) Ahn Jung-geun.” No one else used a handprint stamp, but Ahn, pledging his loyalty to Korea, used it alongside this phrase, adding to the impact and uniqueness.
In collecting and analyzing calligraphy, the question of what constitutes good calligraphy always arises. Ultimately, the best calligraphy comes from those with excellent character. While skill is an added benefit, it is secondary. In this regard, the calligraphy of independence activists is a model of good calligraphy. In the United States, letters signed by figures related to the War of Independence or the Declaration of Independence, such as those by Benjamin Tallmadge, are traded at high prices, reflecting their historical significance. Among independence activists, Ahn Jung-geun is the most esteemed. His calligraphy, aside from his heroic deed in Harbin, has made a significant contribution to society by exemplifying what good calligraphy should be. The market prices reflect this faithfully.
