Hidai Tenrai (Kou, 1872-1939) is one of great calligraphers who marked a significant achievement in the world of calligraphy in modern times and highly appreciated for his contribution in nurturing many disciples who play major roles in the calligraphic society today. Hidai issued “Shogakuin kensetsu shuisyo” in 1919 with the aim to found an institution for comprehensive research of calligraphy. He toured through Japan in order to raise funds for the project and, as a part of the effort, visited Korea in September, 1926, which led to his encounter with excellent works of Korean calligraphy. In 1931, he published Chosen shodo seika (five volumes) with help from some experts and introduced works of Korean calligraphy to a wide Japanese audience, who had known very little about them until then.

  This article examines the reality and positioning of the research by Hidai Tenrai of Korean calligraphy by focusing on Chosen shodo seika, whose value and position have been rarely mentioned beforehand, and by illuminating the background, circumstance, and process of its publication.

  The findings indicate that Hidai actively tried to appreciate works of unknown calligraphers based on his own critical eyes and unique view of calligraphic history. It is highly possible that his effort may have introduced multifaceted viewpoints to the study of Korean calligraphy and on this point, Chosen shodo seika has its significance.

  It should be also appreciated that the fact that Hidai met Kim Donhee and had teaching from him in editing Chosen shodo seika to complete the collection as a kind of joint work had an effect of relativizing the study of Korean calligraphic history, which had been traditionally led by people of the suzerain state.

  The environment surrounding calligraphy and painting changed drastically along with the political environment from the late Joseon dynasty to the Korean Empire period. The painting bureau and SaJaChong were abolished in 1894 in the Gabo Reform and as a result, the Court Painters, SaJaGuans and other employees searched for other ways to continue practicing painting and calligraphy. Moreover, while descendants of the Yohang literati were engaged in politics as public employees and actively negotiated with other countries, they interacted with foreigners through calligraphy as well, the impact of which is confirmed in their surviving works. Given this background, I believe that at that time there were “professional calligraphers” in a broad sense, who made a living with calligraphy such as writers, connoisseurs and scholars, even if they were not what we think of as professional calligraphers today.

  In the present study, based on the above premise, I mainly explore the activities of three bureaucrats-turned-calligraphers who practiced calligraphy in the late Joseon dynasty and the Korean Empire period, namely Kim Okgyun, Oh Sechang and Kim Gyujin, to reveal both the processes by which Korean calligraphers at that time became full-time professionals as well as the characteristics of their calligraphy-related activities during the colonial period.

  As a result, I conclude that the origins of full-time calligraphers in the colonial period can be traced to the practices of calligraphers before colonization; the latter were mainly former bureaucrats who were also active in politics, and had both the knowledge and skills to become full-time calligraphers. Even when their country was colonized and they could no longer retain their political roles as bureaucrats, they sought ways to make a living with calligraphy in various areas. This led to the diversification of full-time calligraphers, with their works manifesting the characteristics of modern Korea.

本論は、マイノリティによって書かれた文学作品を研究するに際して、論者自身が経験した問題について報告するものである。具体的には、ハンセン病療養所の詩人・船城稔美（一九二三～二〇〇三年）を紹介する。二〇二三年、