As invented phonetic characters for recording oral Korean, Hangeul was created in 1446 by King Sejong and his royal scholars, disseminated among the people who did not receive a formal Confucian education. Although King Sejong wanted to communicate directly with his people, the gentleman intellectuals and officials repudiated Hangeul as “women’s letters from the very beginning. The first Hangeul calligraphy style, gungchae was gradually developed by court ladies who had to record their daily duties in letters. This article pays attention to the process of gungche’s development from the court ladies’ writing style to its establishment as a representative calligraphic style of Hangeul .Because Hangeul was regarded as a language for women and laymen, Hangeul calligraphy could not achieve the highly aesthetic quality of Chinese calligraphy according to the general rationale of the intellectuals of the Joseon dynasty. Yet, not only royal families, but also the gentlemen intellectuals used Hangeul when they had to send letters to their wives, or when they enjoy writing lyric poem. It is interesting that scholars who studied Hangeul calligraphy made every effort to designate these early Hangeul letters by royal family and gentlemen intellectuals as the origin of gungchae style. It is because they wanted to connect gungche with the great tradition of calligraphic style which is originated from China. Compared with Chinese characters, which are ideographic, the phonological, alphabetic characters of Hangeul are limited in quantity and restricted in physical shape. The fact that Hangeul characters do not have much plastic variety gives some substance to the critique. In this article, I don’t try to “de-feminize” gungchae . Accepting the historical situation, we can still discuss gungchae ’s identity as a calligraphic style. Gungchae was in women’s everyday life; in their memoranda, diaries, letters, and storybook copies. Rather than just mimicking Chinese style, these court ladies developed a certain calligraphic style which is proper to Hanguel, the formal structure of which is quite different from Chinese. Studies on calligraphy has been restricted to tracing the stylistic connection. The practice of calligraphy is not limited to purely aesthetic domain, but expands to vast areas of social, political, and cultural struggle.