Characteristics of Space and Decoration in the Main Halls of Changdeokgung Palace in Modern Period of Korea

Abstract

When King Sunjong acceded to the throne in 1907, Injeongjeon Hall and Seonjeongjeon Hall of Changdeokgung Palace were refurbished and renovated. The two halls were transformed into audience area for the king and Daejojeon Hall was rebuilt to become the largest area in the palace that could perform various functions including the king’s state affairs, education, and leisure.</br>In the 1910s, the Painting of Phoenixes was installed in Injeongjeon Hall, and Japanese industrial crafts and European Japonisme furnitures were placed here and in Seonjeongjeon Hall by political intentions of the Japanese government, bringing a forced modernity to the palace. European and Chinese crafts were also brought to the palace. In 1920, Daejojeon Hall was renovated and European furniture, imported in the late 19th century at the beginning of Joseon’s modern diplomatic relations, was arranged to complete a European style audience hall for the king. Qing-style furniture and enamelware were also chosen for the palace as they were suitable for the spacious rooms and new lifestyle of using chairs and tables. The Qing-style was mostly Peranakan style, favored by Chinese immigrants to the Southeast Asia who were important customers for the late 19<sup>th</sup> century Qing artisans. On the other hand, traditional court paintings were continued by painters such as Yang Kihoon and Kim Gyujin who tried to maintain the tradition while accepting modernity even though Joseon was occupied by Japan at the time. Moreover, painters provided designs for craftsmen who made products that lay foundations for modern craftworks. The early 20<sup>th</sup> century interior designs at Changdeokgung Palace accommodated the political and social circumstances and the distinct characteristics of the space, and consequently created new values of modernity and cultural diversity particular to Korea.