• Journal of architectural history
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• v.28 no.3
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• pp.19-28
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• 2019

The purpose of this study is to identify the form and components, decoration and locality of pyongnangans(平欄干) in Yangban's Houses(32 Houses) in Gyeongbuk region, The results of this study, which were carried out through both survey and on-site study, are as below. First, Pyongnangans of Gyeongbuk region Yangban's Houses can be classified into 4 different types, which are (1)Mureum type, (2)Gyoran(交欄) type, (3)Mureum-Saldae combination type, (4)Simplified Saldae type. And these 4 types are again subdivided into eight types, depending on differences of both detailed form and framework. Gyoran type are the most common cases in Yangban's Houses of Gyeongbuk region, whose number is followed by the order of Mureum type, Mureum-Saldae combination type and Simplified Saldae type Pyongnangans. Decorative 亞 shaped Gyoran type are more set up in Sarangchaes than in Anchaes, and this was because Decorative Gyorans are more appropriate to show the Social status and class of a patriarch than humble Mureum type. Pyongnangans of Yangban's Houses in Gyeongbuk region have their peculiarities in the exclusion of decorativeity, by consistent use of plain single-layer Pyongnangans. A certain locality is reflected on the types and detailed forms of Pyonnangans. Mureum type are widely found in Gyeoungju region Yangban's Houses, while Gyoran type were more often used in Andong region. In Bonghwa region, Mureum-Saldae combination type are found in large quantities. This was due to the locational chateristics of Sarangchaes in Bonghwa region, which were usually built on steep slopes.

• Journal of architectural history
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• v.2 no.2 s.4
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• pp.50-65
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• 1993

Most of the studies on Yangban Houses dealt with the existing houses which were constructed, in most part, after the 17th century. Therefore it is important to identify the actual process of change from before the 17th century which is critical in understanding the history of residential architecture of the Chosun Dynasty. This study aims to clarify that the architectural condition after the 17th century is the result of the major change in sound the 16th century, and the prime motivation of that change was initiated by the family ritual which become very important social and idealogical base of the change. To be able to practice the family ritual, the spatial arrangement had to be changed, Man's quarter had to be enlarged, which a stone-floored room was added on one side of the centural wooden floor of the lady's quarter. Also, family shrine was erected on eastern side of the site. Thus, unless the major change in the 16th century, which was caused by the practice of family ritual, is understood, the study of historical background of Yangban houses can never be complete.

• Korean Institute of Interior Design Journal
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• v.22 no.5
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• pp.225-232
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• 2013

The spatial separation of male's and female's area due to the law of 'Naeoei' is one of the trademark features of residence by the building principle of 'Confucianism' in the upper class house in the late of the Chosun Dynasty. Thanks to modernized agriculture and commerce, the residence of 'Sinheung-Yangban' developed. And they were influenced by the economic and living characteristics than traditional custom. So the residence of 'Sinheung-Yangban' is very important in terms of the course of modernizing of the korean traditional residence. Researcher figures out the influences of the law of 'Naeoei' in residence and the characteristics of male's and female's field in terms of daily life with investigating the residence of 'Sinheung-Yangban' as the upper class house in the late of the Chosun Dynasty. Through this, the goal of this study is to find the properties of male's and female's field of upper class houses in the late of the Chosun Dynasty. With this study, the followings are the characteristics of male's and female's spatial composition of upper class houses in Gyong-gi Province in the late of the Chosun Dynasty. First, the traditional law of 'Naeoei' plays a primary role as the principle of building of upper class houses in Gyong-gi Province in the late of the Chosun Dynasty. With a natural result, there is a clear spatial separation as the male's and female's social role. Second, 'An-Chae' and 'Sarang-Chae' as male's and female's living space are separated physically, but real living life tends to be syntagmatically made with 'An-Madang' as the center. Third, spatial integration of 'An-Madang' as the center results in the development of architectural connection factors of 'An-Chae' and 'BaKat-Chae' adjoining 'An-Madang', facing 'Toei-Gan', 'Maru', and 'door'. Forth, the boundary of male's and female's areas is relatively clear between dwellers and visitors, but on the other hand, the separation of male's and female's spaces between family members has little significance.

• Journal of architectural history
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• v.3 no.2 s.6
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• pp.47-66
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• 1994

Chosun dynasty had accepted the Confucianism as a means of governing whole society and in its practical aspect ${\ulcorner}$Garye${\lrcorner}$ and the ceremonies of family ritual regarded as important. As a result, after mid-Chosun dynasty family ritual was begun to popularized on a national scale, and the socio-culture system which was interrelated with it changed into confucian ones. These fill-scaled change, on the other hand, resulted into the change of spatial use and plan type of yangban houses. In this aspect, this study intends to clarify the influence of family ritual on spatial use of yangban houses through the comparison between ideal pattern and behavioral one of family ritual. And this study made Gwanhonrye except Sangjerye an object because these two ceremonies were peformed in sucession in those day's behavior. The research setting is the Korean traditional society prior to modernization. The collected materials are based on ethnographic information as well as personal documents, public records, field works and the books on family ritual. The methodology for the present study is primarily based on the comparison study between available documents and field work. Especially, as the books on family ritual include some explanatory diagrams of the ideal pattern, these diagrams are compared with another ones made by the author of the behavioral pattern. The major findings are as follows. Firstly, in the aspect of Gwanhonrye's process, the ideal pattern is similar to the behavioral one. But even the essential course of the ideal pattern of Honrye is 'chinyoung', it has never been accepcted in Chosun dynasty on account of 'seoryubuga'. Secondly, even though the names of the performing space of family ritual are different each pattern, the methods of spatial use in processing these two ceremonies are similar. In other words, according to the books on family ritual the major performing spaces of Gwanhonrye are 'chungsa' and 'jungchim', but in practical process of both ceremonies 'sarangchae' and 'anche' are used. Lastly, as family ritual like Gwanrye and Honrye had been practiced at yangban houses after mid-Chosun dynasty as mentioned above, the spatial arrangement had to be changed to a certain extent.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.461-469
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• 2021

Houses contain our own characteristics and philosophy. As a Yangban house in the late Joseon Dynasty, the house of Kwon Hee-moon was constructed over 250 years to the present. Therefore, this house can more objectively examine the aesthetic ideals, such as the thoughts and philosophies of the house owners across the generations. The name of Sarang-Chae is Ui-Wang-Seo(嶷汪棲), it shows thoughts and philosophies symbolically. Ui(嶷)·Wang(汪) mean the elements of nature, and Seo(棲) symbolizes living together, It is aesthetics of Nature, aesthetics of Human boundary. Aesthetics of Nature boundary is aesthetics of Ui(嶷)·Wang (汪), so it is clear and fine. Aesthetics of Human boundary is aesthetics of Seo(棲), so it has meditation and purity. As such, the aesthetic ideal of Kwon Hee-moon's house pursues the ideal of life. Through the aesthetic boundary of the house of Kwon Hee-moon, we can understand the aesthetic boundary of Honam Yang-ban House in the Late Chosun Dynasty.