The history of the spread and development of Chinese characters in Korea is very long. Chinese characters were introduced into the Korean peninsula as early as in the period from the end of the Han Dynasty to the Three Kingdoms (A.D. 3C). Until the end of the 19th century, Chinese characters were the official writing system in Korea. The Korean peninsula has a history of using Chinese characters for over 1,500 years. It has an incomparably rich collection of ancient texts and documents written with Chinese characters. Of them are a considerable number of stone carvings that authentically recorded the profound literacy of the Korean people in the Middle Ages as far as the culture of Chinese characters is concerned. At the same time, these stone carvings are also of valuable reference for the developmental transformations and the configurational patterns since the formation of the clerical script, through the Wei-Jin period, the Sui and the Tan dynasties, and all the way through modern times. The present study takes as an example of the stone tablet of Master Chinkam Sŏnsa of the Silla era collected in Korean Grand Compendium of Ancient Inscriptions published by the Korean Studies Institute. I specifically summarized and analyzed the alternative script of ancient Chinese characters in the Korean stone carvings. I found out that there are characters written with different strokes or in a different internal structure, those which have been simplified, those which some parts have been added to or subtracted from, and those with a different position. Then I explored the formation and the developmental trajectory of individual variant forms of a Chinese character. Thus, I grasped the reasons for the formation of the variant Chinese characters in Korean ancient stone carvings as well as their writing characteristics.

The study aims to discuss the relation between square-shaped Chinese Characters and the attitudes of life. There are six structures of Chinese Characters, which influence six kinds of attitudes of life of Chinese people. First, the right-and-left structure ( , ex.好) and the vertical structure ( , ex. 惡) demand symmetry and balance, which shows the love of equitable attitude of Chinese people. Second, the axis positioning of Chinese Characters, shows that Chinese people persist in moderation. Third, surrounding structures encourage Chinese people to be introverted and humble. Fourth, the Pyramid-shaped structures (ex.品) show the respect for seriousness and solemnity. Fifth, the components combined in layer strengthen Chinese people’s values of order and group. Last, the straight strokes and vertical writing reflects Chinese people respect for decency and uprightness. The six structures and the six attitudes influence and accomplish one another. This research is also hoped to inspire different thoughts on the cultural aspect of Chinese Characters. Most of all, the knowledge can lead us to know learn more about the Kaishu’s value in both the ancient and modern times.