ARTS AND INTERIORS OF

KOREA
Prepared by: IDr. Diane Arnette A. Bacong
 HISTORICAL
BACKGROUND
HISTORICAL BACKGROUND

● Societies on the Korean peninsula appear in Chinese records as

early as the fourth century BCE
● After a period of conflict among the “Three Kingdoms”—
Goguryeo in the north, Baekje in the southwest, and Silla in the
southeast—Silla defeated its rivals and unified most of the
Korean peninsula in 668 CE
● Traditional Korea borrowed much of its high culture from China
● Buddhism, originally from India, also came to Korea from China,
and from Korea spread to Japan
HISTORICAL BACKGROUND

● After devastating invasions by the Japanese at the end of the sixteenth century
and by the Manchus of Northeast Asia in the early seventeenth, Korea enforced a
policy of strictly limited contact with all other countries.
● For some 250 years Korea was at peace and internally stable (despite growing
peasant unrest from about 1800), but from the perspective of the Europeans and
Americans who encountered Korea in the nineteenth century, Korea was an
abnormally isolated country, a “hermit kingdom” as it came to be known to
Westerners at the time.
KOREAN
ARTS
 ARTS

● naturalistic and simple

● gentle and mellow
● favored the beauty of raw materials (e.g. natural patterns of
wood grains)
● avoidance of extremes; sharp angles, strong lines, steep
planes, and garish colors are all avoided
 ARTS

● Hanji (Korean Paper) – paper handmade from the mulberry

tree
● Calligraphy – art of writing; conveys the artist’s emotions
while illustrating the strength, purity and perpetuity of this
ancient tradition
● Minhwa (Korean Folk Painting) – reflects common people’s
freedom of expression and reveals their innermost thoughts
and dreams
● Watch: https://www.youtube.com/watch?v=Z YndKzq6lgE
 KOREAN
CERAMICS
 CERAMICS

● pottery decoration typically employs plants, flowers, and

wildlife
● reflects the country’s religious heritage with Buddhist motifs
and minimalist Confucian designs
NEOLITHIC PERIOD

● brown bowls with either a flat or pointed base, both with

incised decoration
● zigzag or comb-like incisions
● Chumulun – comb wares
● some have square spiral incisions or raised decorations
 BRONZE AGE

● undecorated
● walls are thicker
● great variety of shapes – steamers, bowls with pedestals
and jars with handles
● burnished wares are either black (long-necked jars) or red
(small bulbous jars)
 IRON AGE

● grey type with paddle and incised decoration, especially

close hatching
● typical form is the round-bottomed jar which has a small
foot and distinctive small handles on the neck in the form
of horns
● square cup set on a pedestal which is lacquered black
THREE KINGDOMS

● high-fired grey stoneware

● stemmed cups
● kobae – bowls with wide stands
● changgyong ho – long-necked jars
● kurut pachim – stands used to support large bowls
● decorated with incisions, applying additional clay pieces,
and cutting away the clay to create a latticework effect
THREE KINGDOMS

● Baekje potters produced low-fired pottery, light brown in

color (bulbous jars, footed vessels, tripods and roof tiles)
● influence from Buddhism
● manufacture of urns
● Buddhist motifs prevail as stamped decoration such as
lotus buds, lotus flowers, and clouds
GORYEO PERIOD

● Celadon – greenware; finest and most elegant pottery

pieces produced; typified by their pale green luster
reminiscent of jade and a super smooth glaze
● vases, jugs, and bowls
● Maebyeong – tall vase with a narrow base and bulbous
neck
GORYEO PERIOD

● vessels were decorated with low or high relief designs,

especially floral patterns using the lotus leaf and flower,
peony and chrysanthemum flowers, grapevines, and birds
such as waterfowl
● Sanggam – a technique in which designs are carved on
the surface and the inlays are added before applying a
translucent slip
● adding a dark red color to pick out designs or used for
outlines became common
 jOSEON PERIOD
Buncheong (Punchong) Wares
● blue-green ceramic covered with a white slip
● similar to celadons
● produced by non-state controlled potteries
● influenced by regional preferences and wishes of the ordinary
people
● bulbous vases with tall necks, cylinder flasks with a single top
spout, and flat turtle-shaped bottles with a small side spout
● common motifs are geometric forms, peony flowers (symbol of
wealth), birds, dots and pairs of fish (symbol of good fortune,
fertility and happiness)
 jOSEON PERIOD
Maksabal Ware
● used clay not deemed good enough for buncheong
production

Onggi Ware
● storage vases and cooking vessels
● often decorated with bold curved line created by the potter
using thumbs when the glaze was still wet
 jOSEON PERIOD
Paekcha Ware
● white porcelain
● thinner and durable than any previous Korean ceramics
● whiter and has very smooth glaze
● Bowls, beveled bottles, pear-shaped vases, squat bulbous
jars with lids, 'Moon' jars (so-called because of their circular
form), brush holders, epitaph tablets, and water droppers in
animal or fruit shapes were common
 jOSEON PERIOD
Paekcha Ware
● Designs include flowers (especially lotus, orchid, and
chrysanthemum), plants, bamboo (symbolic of integrity as it
grows straight and true), grass, grape vines, willow trees,
plum trees, birds, deer, dragons, and clouds, and are usually
inlaid in the same way as celadons
● Blue (initially from cobalt and then a cheaper substitute
known as 'Mohammedan blue') or a brown (from iron oxide)
underglaze are the usual colours used to render the designs
 KOREAN
ARCHITECTURE
& interiors
 ARCHITECTURE
& interiors

● The wooden structural system of Chinese building was

introduced in Korea as early as 57 B.C.E., but no structures
of such an early date survive
● Our knowledge of them comes from images in wall paintings
in houses and tombs
● Wooden construction uses small panels assembled in a frame
to cope with the varying seasonal climate of Korea
 ARCHITECTURE
& interiors

SILLA PERIOD
668 to 935 C.E.
● Peninsula came under single rule
● Left only stone buildings such as Buddhist pagodas, without
significant interior space
● Written texts describe houses of wooden construction, with
spectacularly painted and gilded details and tiled and
ornamented roofs
 ARCHITECTURE
& interiors

gORYeO PERIOD
918 to 1392
● System of bracketed connections between wood columns
and beams was introduced from China, but there
developed a bracket design unique to Korea
 GORYEO PERIOD

BULGUKSA TEMPLE IN KYONGJU

535 C.E.

● Buddhist architectural influence that

can be traced to China
 GORYEO PERIOD

MURYANGSUJON OF THE
PUSOKSA TEMPLE IN YONGU
13TH CENTURY
● thought to be the oldest wooden construction
● has a six-bay hall interior forming a single unified space
surrounded by a porch or platform, which is sheltered by
the overhang of the tiled roof
 GORYEO PERIOD

Palaces in Seoul
15TH TO 19TH CENTURIES

● Loggia of the Gyeongbok Palace

● Hall interior of the Changdeok Palace
● Anapji pond
 KOREAN
furniture
 furniture

● Korean furniture is close parallel with that of China

● Meant to be portable and could be brought in or out as
needed (except for large storage cabinets)
● Korean interiors do not use chairs, elevated beds, or tables
● Seating is on pads on the floor, and shelves, writing tables,
and many storage units are low
● Some cabinets are of full height
 furniture

● Furniture for use by men is usually of austere, functional

design in natural wood finishes
● Women’s furniture uses more colorful woods, lacquer
finishes, and more decorative details
● Metal hardware, hinges, knobs and catches are also often
partly ornamental
 TRADITIONAL
SCHOLAR’S HOUSE
 TRADITIONAL
SCHOLAR’S HOUSE
● topography and local precipitation determined layout and
materials used
● class distinctions, regulations and codes of behavior were a
factor
● Yang-ban class (military and civil official or scholar class)
were governed by specific regulations concerning housing,
clothing and expected behavior
● most that still exists today are dated from the latter half of
the Choson dynasty (1700-1910)
 TRADITIONAL
SCHOLAR’S HOUSE

COMMONER
● used mud for walls and had thatched roofs
● layout may be L-shapes, parallel or square shapes
● most of the living, kitchen and work spaces in close
proximity
 TRADITIONAL
SCHOLAR’S HOUSE

UPPER-CLASS
● used tiled roofs
● living areas were subdivided into distinct sections for men
and women
● some parts of the house were elevated
● basic framework consisted of pillars and beams supporting
the roof, with walls consisting of windows, sliding doors,
and wooden frames covered by three layers of wallpaper
 TRADITIONAL
SCHOLAR’S HOUSE
UPPER-CLASS
● windows were covered with rice paper to allow privacy but
still admit light
● sliding doors ran along grooves into the wall, opening up
or closing rooms as needed
● panels lifted up in summer to allow summer ventilation,
and could be closed to keep out winter winds
● Hanji — traditional Korean paper that is made from the
bark of the mulberry tree; pasted on doors due to its
excellent insulating capacity and its transparency
 TRADITIONAL
SCHOLAR’S HOUSE

UPPER-CLASS
● Ondol – heated floors; flooring consisted of internal
sections of heated floors covered by oiled paper
● Maru – flooring in areas that were open to the outside
covered with wooden sections
● Ceilings: open rafter ceilings for the main hall and drop
ceilings covered with layers of rice paper in enclosed
rooms
 TRADITIONAL
SCHOLAR’S HOUSE

DESIGN & LAYOUT

● functional layout reflected Neo-Confucian principles and
practices
● respect for the ancestors and elders
● separation of men’s and women’s functions
● passing of inheritance to the eldest son or substitute
 TRADITIONAL
SCHOLAR’S HOUSE

DESIGN & LAYOUT

● family members moved about a house several times during
their lives and occupied different rooms as their positions
changed
● as families expanded, new rooms could be added to the
existing ones, connected by sliding doors
● rooms could also be accessed by narrow maru connecting
to rooms
 TRADITIONAL
SCHOLAR’S HOUSE

DESIGN & LAYOUT

● kitchens were built at lower level with a dirt floor,
surrounded by fire-resistant walls
 TRADITIONAL
SCHOLAR’S HOUSE

FLOOR CULTURE
● stepping up into the house
● taking shoes off on special stepping stones just outside
the room
● sitting in crouched positions on floor cushions
● windows were positioned lower down
● furniture built for lower level activities
 TRADITIONAL
SCHOLAR’S HOUSE

KAN
● basic unit of measurement
● the square formed by four support posts
● houses could number 30 kan, 40 kan and so on
● the permitted number of kan depended on one’s rank
 TRADITIONAL
SCHOLAR’S HOUSE
01 Taech’ong
● a public reception area at the front for
the male of the house to receive guests
● features a maru (wooden) floor and an
exposed rafter ceiling
● functions as an intermediary area

02 SADANG
● ancestor shrine
● for the private use of the family to
attend ancestral rites at designated
times of the year

03 Sarang-ch’ae
● men’s area

04 Anch’ae
● women’s area
● secluded and accessible only to family
members and female servants
 Sarang-ch’ae
● men’s quarters
● includes the taech’ong, the sarang and a master bedroom for
the principal male; may have a detached library
● Sarang/Sarangbang – study/drawing room
● Numaru – a connected enclosed verandah; used for
relaxation and enjoyment
● Rangan – latticework and railings that decorates the three
exposed sides of the numaru
 Sarang-ch’ae
● furniture was largely undecorated
● preference to the natural tone of the wood
● T’akcha – open shelf; holds few objects, books and several
drawers on the lower section
● Poryo – a large cushion for seating
● Ansok – cushion for the back while seating
● Sabangch’im – square cushion for arm resting
● Soan – desk for reading and writing
● Tunggyong – lampstand
● Kabi – mail holder
 Sarang-ch’ae
● Byongp’ung – folding screens located behind the large
cushions; provides a focal point for the room or a backdrop
to the main person sitting in the room; divides space and
create a sense of privacy and enclosure; paintings on the
screen provide aesthetics (Chinese calligraphy or classical
scenery in the Chinese style)
 An-ch’ae
● women’s quarters
● generally located to the north of the rest of the house
● rooms usually all face an inner courtyard
● includes the anbang, konnabang (secondary room),
antaech’ong (main hall), ch’anggan (kitchen) and
changdokdae (storage room)
 An-ch’ae
● Anbang – where the principal woman resides
● Konnabang – secondary room; most often used by the
daughter-in-law
● Antaech’ong – main hall; similar in style to the men’s taech’ong
with a wooden maru floor, and raised up off the ground
● Ch’anggan – for food storage and preparation; most of a
woman’s life was spent in this area; personal bathing took place
in this room as well using heated water from the hearth
● Changdokdae – storage room and stone platform area; contains
numerous large pots for condiments (sauces) and other foods
 An-ch’ae
● Chang – wardrobe chests
● Pandaji – chest containing bedding as well as clothing (to
suit the four seasons)
● Nong – stackable chests; often decorated with inlaid mother
of pearl, bamboo or reed mat
● Sewing kit for handicrafts
● Chwag-yong – mirrored cosmetic or vanity box
The Japanese invasion of Korea (1592-1597),
and earlier cultural contacts, resulted in the
introduction of Korean design into Japanese
practice, so that it is possible to trace a
degree of continuity in the history of Chinese,
Korean, and Japanese design, although each
has unique characteristics.
THANK YOU!
 REFERENCES
Book:
• Pile, J. & Gura, J. (2014). A history of interior design (4th Edition). USA: John Wiley & Sons, Inc.
Internet Sources:
• Asian Art Museum. (2000, February 26). Temple, Palace, Scholar’s House: Three Settings of Traditional
Korean Culture. Retrieved from: https://education.asianart.org/wp-
content/uploads/sites/6/2019/09/Temple-Palace-Workshop.pdf
• Cartwright, M. (2016, October 25). Korean pottery. Retrieved from Ancient History Encyclopedia website:
https://www.ancient.eu/Korean_Pottery/
• Hanok (Traditional Korean House) – a place of subtle beauty and quiet dignity. Retrieved from:
http://www.antiquealive.com/Blogs/Hanok_Traditional_Korean_House.html
• Korean arts. Retrieved from: http://www.antiquealive.com/Blogs/Korean_Arts.html
• Korean history and political geography. Retrieved from: https://asiasociety.org/education/korean-history-
and-political-geography
• Korean House, Hanok. Retrieved from: https://artsandculture.google.com/exhibit/korean-house-hanok-jo-
sanku/gQR542M5?hl=en