The Essence of Korean Beauty, Gyeop
What keywords might illuminate the aesthetic consciousness shared by Koreans? Delving into the bedrock of the Korean spirit, MorningCalm seeks to unfold its meaning within the contemporary landscape, and the second theme in this exploration is gyeop, or layering. The concept of gyeop encompasses the accumulation of time, formative depth and even spiritual infusion, functioning as a form of aesthetic sensibility embedded within the historical experiences and cultural narratives of the Korean people.
- Gradation K is a column dedicated to exploring the distinctive aesthetics of Korea, tracing its inherent beauty and elegance from tradition to modernity. The second theme is the aesthetics of gyeop (layers), formed through the accumulation of time, the pervading spirit of an era and formative elements.
Hanbok: Embodying Korean Aesthetics
The History of Hanbok
With a history spanning some 5,000 years, hanbok (traditional Korean clothing) stands as the most tangible example of cultural heritage representing Korean identity and culture. Having evolved through the currents of time, the roots of hanbok can be traced to the attire of nomadic cultures in Northeast Asia. It has taken on its present form by adapting to political and social changes, varied climates and local customs. While the formal expression of Korean aesthetic
consciousness has changed with the times, a consistent aesthetic sensibility oriented towards nature lies at its core. This tendency developed hand-in-hand with shifting spiritual mores throughout history.
The form of hanbok most familiar to us today originates from the attire of the Joseon Dynasty (1392 – 1910). In the early Joseon period, hanbok emerged from the seonbi (scholar-official) culture rooted in Confucian values. Entering the later Joseon period, it further evolved through fusion with the pungnyu culture of scholars who lived in harmony withnature. By the end of the Joseon era, an aesthetic of bium (“emptiness”) was emphasized, shifting towards the pursuit of elegant beauty within simplicity.
- Hanbok designed by Christina Kim ⓒ Images courtesy of ONJIUM
The Aesthetics of Hanbok
Traditional clothing carries significance beyond mere garments. Hanbok stands tall as a symbolic representation of the Korean spirit. One notable example of this can be seen in the seonbi spirit. Manifested in the long-term aspirations and the daily lives of these scholar-officials, this mindset forms a major school of thought in Korean spiritual heritage, tracing back to the Joseon Dynasty, potentially going back as far as the Three Kingdoms period.
According to the concepts inherent in the Neo-Confuscianist text Sohak (Lesser Learning), a fundamental principle for a seonbi was to always maintain neat attire, cultivate a refined appearance and adhere to a restrained lifestyle. In the Joseon era where etiquette was often judged by clothing, great importance was placed on dressing formally and maintaining decorum, not only in official robes but also conveying a certain degree of propriety in everyday wear. In that it differs from the typical official robes worn for government posts, the appearance of everyday wear can be seen as a product of the aesthetic consciousness shaped by the dignified culture of the seonbi. The practice of layering several garments over the basic baji (trousers) and jeogori (basic upper garment) was an expression of the seonbi spirit, signifying an intent to maintain propriety in attitude and demeanor. This style of layering garments upon garments necessitated thin fabrics, simple lines and restrained designs.
Meanwhile, Joseon seonbi strived to become true paragons of character, pursuing the unity of scholarship and art. Beyond the fundamentals of literature, history and philosophy, they cultivated the three skills of poetry, calligraphy and painting (siseohwa) — known collectively as pungnyu — as essential refinements. While maintaining their dignity and sense of decorum by wearing layered garments according to the rules of proper etiquette, seonbi also cultivated another identity that revolved around pungnyu, and hanbok wholly reflects all these aspects. Records indicate that even women in the late Joseon period perfected their silhouette by wearing seven layers of undergarments beneath diaphanous skirts.
The Colors of Hanbok
The aesthetic value most cherished by Koreans over time is “beauty found in nature.” Koreans were previously dubbed the baekui minjok or “white-clad folk” because they particularly loved the natural whites of undyed ramie, hemp, cotton and silk. Around the country’s enlightenment period (late 19th to early 20th century), sosaek hanbok became prominent, highlighting respect for the colors bestowed by nature and the inherent textures of fibers, while restraining excessive ornamentation and channeling beauty into its unadulterated natural form. Embodying the seonbi spirit to be “frugal but not humble, and splendid but not extravagant”, the hanbok of this period exemplifies a simple yet refined grace, much like Joseon white porcelain.
French painter Joseph de La Nézière, who visited Korea in 1900, noted: “White is the color of Korea. In the unique attire of Joseon, one encounters various kinds of white, from bright whites reminiscent of white jade to coarse, burlap-like whites.
The harmony created by the diverse waves of white clothing seen everywhere on the streets of Joseon is like a veritable feast of tones.” The unity created by hanbok on the streets of Joseon was the very embodiment of the harmony of ivory hues. Additionally, the saekdong (literally “colorful strips”) of hanbok cannot be overlooked. Saekdong originates from the five cardinal colors (obangsaek), linked to shamanistic beliefs. Believed to ward off evil spirits and bring good fortune, it was primarily used in children’s clothing and wedding attire.
- Written by Cho Hyosook
- Photography by Arumjigi Foundation and Guru Visual
- Cho Hyosook is an expert in Korean clothing history, currently serving as a Distinguished Chair Professor in the Department of Fashion Industry at Gachon University and as the Director of the Clothing Studio at the Onjium Traditional Culture Research Institute.
Jongmyo: Layers of Repetitionand Difference
Layered History and Tradition
Designated a UNESCO World Heritage site in 1995, Jongmyo Shrine is a space where traditional architecture and ancestral rite culture known as jerye are impeccably preserved. Its layout in harmony with nature, its solemn architectural style, and design emphasizing sacred space showcases the essence of traditional Korean architecture. Jongmyo eschews ornate decoration and superfluous elements, maintaining a simple structure imbued with tension. This reflects the influence of Confucian thought, fostering a sublime and reverent atmosphere.
Jongmyo is divided into Jeongjeon (Main Hall) and Yeongnyeongjeon (Hall of Eternal Peace), with Jeongjeon being the most representative structure. Showcasing the pinnacle of Korean architectural beauty, Jeongjeon is one of the world’s longest wooden buildings, characterized by its elongated, low form where individual kan (distance between two columns) collectively form the whole. Individual sinsil (spirit chambers) come together layer upon layer, creating a single, grand horizontal architectural form. An expansive stone platform known as woldae stretches out broadly, rendering the space majestic and lofty.
Difference and Repetition: The Spirit Chambers of Jongmyo
Located in Jongno 3-ga, Seoul, Jongmyo Shrine consists of two main shrine buildings. The basic unit of these shrines is the sinsil, a single chamber serving as an independent room enshrining the spirit tablets of a king and queen. Jeongjeon is a long, connected shrine composed of 19 sinsil arrayed side-by-side, while the Yeongnyeongjeon comprises 16 sinsil in a similar layout. The total of 35 sinsil signifies 35 monarchs.
However, the Joseon Dynasty had 27 reigning kings. Excluding Yeonsangun and Gwanghaegun, only 25 monarchs are enshrined at Jongmyo. When Jongmyo was first established, only the Jeongjeon shrine was built consisting of seven chambers. By the reign of the fourth monarch, King Sejong the Great, all seven chambers were filled, leaving no space for Sejong after his passing. Consequently, a separate shrine, the Yeongnyeongjeon, was constructed. As the royal lineage continued, the chambers of both shrines were further expanded. With the fall of the Joseon Dynasty in 1910, further expansion was no longer needed.
Each sinsil at Jongmyo is an independent, complete shrine. Thus, the chamber of one king holds equal rank with that of any other, without hierarchy. Jeongjeon follows a “west takes precedence” principle, enshrining the first king, Taejo, in the westernmost chamber, with subsequent kings placed progressively eastward. While the side-by-side sinsil repeat in form, differences exist based on subtle ordering principles. The chamber of a single king is thus a holistic entity — both part and whole, whole and part, a space where repetition and differences coexist.
Jeongjeon and Yeongnyeongjeon: Transcendent and Human Scale
The two shrine buildings, Jeongjeon and Yeongnyeongjeon, differ little in overall length and share the same function as ancestral shrines. However, while Jeongjeon’s roof forms a single massive entity, the Yeongnyeongjeon’s roof differs in form, with the part over the central four chambers raised one step higher than the wings on either side. This simple difference completely alters the perceived scale of the two buildings. Here, scale refers to the relative size of a structure as perceived by humans. Generally, the range of human perception is about 5 stories vertically and 5 chambers horizontally; this is based on what’s called “human scale.” Dimensions exceeding this are called “monumental scale.”
Scale is not an absolute size but a relative concept. Jeongjeon, with its 19 sinsil lined up at the same height, is built on a monumental scale, evoking solemnity and transcendence. In contrast, Yeongnyeongjeon, segmented into three parts, adopts a human scale, and feels relatively more intimate. By varying the scale while creating two similar shrines, the architects emphasized difference. Jongmyo is a prime example of the architecture of repetition, layered with countless pillars and chambers, yet it is simultaneously a space of difference, where distinct orders and scales coexist side-by-side.
- Written by Kim Bongryol
- Kim Bongryol is an architect and architectural historian, and Professor Emeritus at the Korea National University of Arts (K-Arts). He serves as a Senior Advisor of Onjium Traditional Culture Research Institute’s Housing Studio, dedicating his efforts to the expansive study and popularization of Korean architectural history and tradition.
