10 Travel
WATCH
Dr Yongchan Kwon discuss Hahoe Village and 3D
modelling of how a traditional hanok was constructed
Baek In-Je House Museum, Bukchon, showing the men’s quarters with its glass windows and red brick structure
SEE
an aerial view of Bukchon Hanok Village
Aerial view of Bukchon Hanok Village, Jongno district, Seoul, courtesy of Seoul Metropolitan Government
A dividing wall was used to segregate male and female quarters in noble houses during the Joseon period, Norakdang, Jogno district, Seoul TRADITIONAL HOUSE T
he traditional house of Korea, hanok, comes from a building culture that was created in
response to the distinct four seasons in Korea, where both extreme hot weather and cold weather exist. To cope with this climate, an underground flooring system (ondol) is installed in part of the house for the winter, and during the summer, the house has a separate living area with a wooden-floored hall (daechong maru). Te term hanok (Korean house) is used to distinguish traditional Korean homes from Western-style architecture (yangok). Hanok are unique to the country, differing from architecture found in Japan and China. In
the past, the structure of
residential buildings reflected Neo- Confucian ideology. Tis system of social and ethical philosophy became the state ideology in the Joseon dynasty (1392-1910) in the late 14th century. It clearly differentiates between the status of master and servant, man and woman, and senior and junior. Aristocratic residences were erected high above the ground to emphasise the social hierarchy between the upper and lower classes. Te houses of the nobility also had higher foundations than the dwellings of servants. Te difference in height forced anyone standing in the courtyard to look up to see a person present in the main hall. Room dimensions also varied. For instance, the patriarch’s rooms had much taller ceilings and were more spacious than the rooms used by other members of the family. A hanok’s harmony with the
environment is also important. It considers the location, structure, style and building material, as well as the
ASIAN ART | WINTER 2024 | Plan of a traditional hanok, courtesy Korean Culture Box
courtyard spaces. During the Joseon dynasty, housing was directly related to traditional social order as influenced by Confucian beliefs. Te importance of being in harmony with the natural environment is an important part of Pung-su theory (wind-water) in Korean, Feng shui in Chinese, where certain sites or locations are considered more favourable or auspicious than others. Te best location is where vital energy (qi) and balance can be found, bringing happiness and fortune to the residents. Te yang and yin principle governed
the selection of both
residential and grave site locations. Buildings are adjusted to existing geographical conditions in a manner that ensures harmony with the environment, and builders of traditional Korean housing would adhere to these concepts of geomancy. Hanok were usually built with their
#AsianArtPaper | asianartnewspaper | Traditional
hanok were built using geomacy and Confucian principles
backs towards the mountains with soft contours;
for example, slightly
elevated roof corners. Te entire building would be harmonised with its surroundings – ideally the open space in front of the hanok should be protected by a stream and one or two hills or mountains. Larger aristocratic residences comprised up to six buildings with adjoining courtyards enclosed by fences to show a clear separation between the structures. Te low walls surrounding the hanok were
predominantly designed for
dividing inner household space, as their main role was to protect the inhabitants of the respective buildings – especially women – from unexpected visits or glances, both from non-family member guests and other household members In accordance with the Confucian
Interior courtyard of a modern sinhanok, Seoul
asianartnewspaper |
concept of separate roles for men and women, it was accepted that male family members were tasked with maintaining ties with the outside world. Terefore, their centrally located quarters (sarangchae) were clearly visible either directly after
Asian Art Newspaper
passing through the large main gate with a high upper roof (soteul daemun), or after crossing over the main gate and the courtyard in the servant’s quarter (haengrangchae). Te sarangchae gradually evolved from a small room beside the front gate where guests would be received into much larger spaces. Tis evolution occurred at the same time as the patriarchal system became more established and the separation of the sexes was Confucian
strictly society
demanded rules.
by Te
sarangchae became the symbol of a family’s authority, where the head of the household and the eldest son carried out their everyday activities. Te master of the house occupied the most important room in the hanok – the study (sarangbang), which was used for dining, sleeping, reading, drinking tea, receiving guests, resting, studying, practising calligraphy, and playing music and games. In contrast, the women’s quarters or
inner quarters (anchae) were usually situated next to the sarangchae but behind a low wall. From here, the mistress of the house ran the household and managed the servants. Te anchae was the working centre of the home and reflected the lives of women from the elite and noble classes during the Joseon dynasty period. After marriage, a woman moved into the anchae of her husband’s house and, in extreme cases, did not leave it for the rest of her life. In larger households, the
composed of a mistress’ room (anbang), a
daughter-in-law’s
anchae was room
(geonneonbang), a kitchen and a storeroom. Te terrace for onggi (earthenware jars containing basic condiments such as soy sauce, soybean paste, red pepper paste, and salted
HANOK KOREA’S
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