FURNITURE FROM THE NORTHERN PROVINCES

At present from a historical point of view, we should call this furniture as furniture of the Northern provinces of Korea because at the time of the “Joseon dynasty”, the country was unified. Korea was separated in two as a result of the war in the middle of the 20th century (1953).

Until the late 1980s, very few Korean pieces from the northern part of the peninsula were available on the market. After the opening of China, some began to slowly appear at its border with North Korea, in the northern Chinese provinces of Liaoning and, especially, Jilin. Throughout the 1990s, more pieces became available in China.

Furniture from the Northern Provinces
Hwanghae-do, Pyongan-do, and Hamgyong-do.

Compared to furniture from the southern provinces, pieces from the north tend to display a markedly different aesthetic.

They are generally more austere and architectural, characterized by strong, box-like volumes, minimal curvature, and proportions that prioritize function over elegance or display. Furniture pieces from the northern part of the peninsula were typically larger than their South Korean counterparts.

Metalwork plays a more prominent role. It is often bold and visually dominant, ranging from plain brass fittings (notably in the Pyongyang area) to large hand forged iron plates with geometric patterns associated with style such as “Sung sun-I”. Compared to the refined decorative fittings of the south, northern metalwork appears more rugged, frequently covering a substantial portion of the chest’s front.

Surface treatments are typically darker and heavier, with finishes ranging from deep brown to nearly black. Thick lacquer or oil coatings create surfaces that feel dense and weighty rather than luminous.

In the southern part of the peninsula, hardwoods with naturally decorative grain were readily available. As a result, carpenters in regions such as Jeolla and Gyeongsang favored relatively unadorned furniture, relying on the beauty of the wood rather than extensive metalwork. (A Naju bandaji from southern Jeolla-do is shown below.)

In the north, by contrast, more commonly available woods tended to have plainer grain, reflecting both local resources and the colder climate. Craftsmen relied primarily on accessible species such as pine and lime wood (pi namu), known in the West as basswood or linden, a straight-grained softwood widely used for bandaji construction. Chestnut was also used, while prized hardwoods like elm or zelkova appear less frequently.

Northern examples of bandaji (반닫이) typically feature a taller front opening panel, heavier lid proportions, and a more squared silhouette. The metalwork is often imposing, reinforcing their robust and utilitarian character.

Larger clothing chests, such as nong and jang, tend to place less emphasis on strict symmetry or refined joinery aesthetics, sometimes resulting in proportions that may appear slightly irregular or “awkward” when compared to southern standards. Scholar’s furniture from the northern regions is comparatively rare. When encountered, it is extremely restrained, almost rustic and severe in design, reflecting a particularly rigorous interpretation of Neo-Confucian austerity.

In this article, we present the bandaji from Pyongan Province. Two additional publications, devoted to the bandaji of Hwanghae and Hamgyong provinces, are also available, and we invite you to consult them: HWANGHAE DO BANDAJI – 황해도 반 / HAMGYONG DO BANDAJI – 함경도 반닫이

PYONGAN PROVINCE.

Pyongan province (평안도) was located in the northwest of Korea. The provincial capital was Pyongyang. It was formed in 1413. Its name derived from the names of two of its principal cities, Pyongyang (평양; 平壤) and Anju (안주; 安州). Pyongan was bounded on the east by Hamgyong Province, on the south by Hwanghae Province, on the west by the Yellow Sea, and on the north by Qing China.

The province of Pyongan is renowned for two major styles: that of Pyongyang, located at the extreme south of the province, and another known as “Sung Sun I,” found further to the north.

PYONGYANG BANDAJI.

The distinctive feature of the Pyongyang Bandaji is the significant use of metal parts that cover its front section.

These metal parts are typically employed to conceal wood with less attractive grain, such as linden. The metalwork is most commonly made of white brass and often includes numerous auspicious patterns. For additional details, please refer to our post: PYONGYANG BANDAJI-평양 반닫이

“SUNG SUN I” BANDAJI.

Pakchon’s Bandaji, also known as “Sung Sun I” Bandaji, is extensively adorned with metal. However, in this case, iron is used instead of brass.

The hinges are thinner compared to those of Gangwha Island and cover a larger portion of the furniture’s front.

Due to the distinctive designs of the steel plates with numerous holes, this type of bandaji is nicknamed “Sung Sun I Bandaji“. “Sung sun” is an onomatopoeic word in Korean that represents the sound the wind makes when blowing rapidly through a hole.

Five photos above illustrate a rare example of a “Sung Sun I” bandaji from Pyongan province in the northern part of the peninsula. It is characterized by its large size and its widely decorated front part. However, The front part, here, is covered with paper cut imitating metal plates. Only the central piece is made of cast iron. It seems to have been used by commoners who had to prioritize practicality due to their financial constraints.

The “Sung Sun I” Bandaji from the Pyongan Do region in the northern part of the peninsula are relatively easy to identify, thanks to the abundance of carefully cut metal parts on their front. However, there are a few variations in terms of metalworking. As the illustrations in this post show, some were covered with very thin, finely cut metal plates, while others had thicker hinges. Perhaps a more thorough study would explain the reasons for these variations.

Certain decorative patterns on the hinges are unique to northern pieces of furniture and allow for easier identification. The following patterns are common on Pyongyang Bandaji white brass fittings.

Very intricate metal work on a “Sung Sun I” Bandaji from Pakchon area in Pyongan Do province.