This book, introduced together with Buddhism, is regarded as the driving force for the application of Chinese characters in Korean. Before King Sejong released Korean in15th century, Chinese characters were the only characters in Korea. In any case, even after the invention of Korean characters, most Korean scholars continued to use Chinese characters until the early 20th century.
Teach children to learn Chinese characters in thousands of characters from 1583, that is, Han Zhuo (Han Hao; ; 1544- 1605) carved into wood blocks and printed.
On the back of "Three Uses Bao Tong" (Korean coins in the Korean Dynasty), 44 legends from "Heaven" to "Water" were recorded one by one with thousands of words.
Thousand-character script displays Chinese characters in its unique form. For every Chinese character, the character not only embodies its meaning (training), but also its sound (sound). Although the Korean language has developed, the vocabulary correspondence training (saegim) remains unchanged in each version. Of course, there are some differences in the interpretation of individual Chinese characters between Gwangju Edition and Han Shifeng Edition, which were also written by16th century. The changes between Han Shifeng Edition and Gwangju Edition are generally reflected in the following aspects:
The definition is broader or the semantic range of each single Chinese character changes.
The previous definition was replaced by synonyms,
3. The pronunciation of some items has changed.
From these changes, we can see the substitution of Korean native language for "Chinese characters". Basically, few lexical meanings are considered to be before16th century, because they may be fossils of Korean native words or influenced by Jeolla dialect.
The "Iron Threshold" and "Back to the Tomb" Left by Zhi Yonglin's "Thousand Characters"
Wang Xizhi's seventh grandson, a monk named Zhiyong in the Sui Dynasty, practiced in yunmen temple for 30 years, and wrote 800 imperial copies of Thousand-Character Works, a real grass, which was distributed to temples in eastern Zhejiang. Because there are many book seekers, the threshold of the residence has been trampled through several times, so it is wrapped in iron, which is called the "iron threshold". He used countless pens in his life, and the waste pens were piled into baskets and mountains. He wrote an inscription, buried it in the ground and named it "Huibi Tomb". His Thousand Characters is a biography of the Wangs, which has far-reaching influence. There are also carved stones in the forest of steles in Anbei. Zhi Yong's great contribution in the history of China's calligraphy art has two aspects: first, he developed the purport of "eight methods of eternal words" and gradually became a master of literati in Sui and Tang Dynasties; Secondly, The Collection of Thousand-character Essays opened the wind of calligraphers writing "Thousand-character Essays". There are 800 copies of Zhi Yong's portrait, Qian Zi Wen, and one copy of temples in eastern Zhejiang, which makes people write temporarily, and then becomes the first children's book in China.
Famous calligraphers among Zhiyong's disciples are Zhiguo, Shi Shu, Shi Te, Cai Bian and Yu Shinan.