THE POST JOSEON ERA.

The post-Joseon era in Korea began in 1897 and encompasses the period following the Joseon dynasty (1392–1897), including the Korean Empire, Japanese colonial rule, and the division into North and South Korea. It is marked by a period of rapid modernization, intense external pressures, and national upheaval.

Key periods following the Joseon dynasty

The Korean Empire (1897–1910)

Following China’s defeat in the First Sino-Japanese War, Korea proclaimed itself the Korean Empire to assert its independence and modernize. The last monarch of Joseon, King Gojong, officially declared the establishment of the Korean Empire in 1897. He took the title of emperor to assert Korea’s independence and promoted the Gwangmu Reform to modernize the military and economy. However, it was a period of increasing pressure from foreign powers.

The empire was short-lived. Japan defeated Russia in the Russo-Japanese War (1904–1905) and moved to formally annex Korea, beginning a period of colonial rule.

Japanese Colonial Rule (1910–1945)

After forcing the annexation of Korea in 1910, the Empire of Japan enacted a harsh 35-year rule that was met with Korean resistance.

Japan systematically destroyed or damaged traditional Korean architecture, including much of the Gyeongbokgung palace complex. It also repressed traditional art forms and promoted Japanese artistic styles.

Post-World War II and national division (1945–present)

Japanese rule ended in 1945 with the conclusion of World War II, but the era of freedom was short-lived as Korea was divided. 

Impacts on Korean furniture.

Before the 20th century, Korean furniture, especially from the Joseon Dynasty, was defined by its simple elegance, functionality, and focus on the natural grain of wood. This was closely tied to a floor-based, Neo-Confucian lifestyle, with different quarters of the house furnished according to gender and purpose.

As the Joseon Dynasty gave way to the Korean Empire and then Japanese rule, Korean society became more open to foreign influences, which in turn reshaped furniture design.

Western influence: Missionaries and Westerners who came to Korea in the late 19th and early 20th centuries were among the first foreign collectors of traditional Korean furniture, but they also brought Western tastes and a demand for different items. This led to modifications of traditional Korean designs to serve Western functions.

Main modifications were made to traditional Korean furniture, particularly chests, to cater to the tastes and functional needs of Westerners during the colonial era. These hybrid pieces often featured more decorative metalwork, were sometimes repurposed for different uses, and were built to larger sizes than traditional Korean furniture designed for floor-based living.

Metalwork advancements: New, elaborate techniques were employed for metalwork, including engraving, embossing, and incising. White and yellow brass became more common, particularly on chests, cabinets, and boxes.

Japanese colonial rule had a complex and multifaceted impact on Korean furniture, marked by both the disruption of traditional craftsmanship and the introduction of new influences from Japan and the West. This led to a period of transition where indigenous styles were suppressed, repurposed, or hybridized with foreign elements.

Japanese influence: Japanese styles, particularly the use of more prominent decorative metal fittings and lacquerware, were increasingly adopted. Sliding doors and drawer proportions began to follow Japanese tansu logic. This created hybrid pieces, sometimes known as “Richio-tansu” by the Japanese, which were distinct from both pure Korean and Japanese styles.

During their presence on the peninsula, the Japanese did indeed introduce their own furniture styles, and to some extent produced them locally in Korea. The Japanese administration pursued a policy of “cultural assimilation” (naisen ittai, 内鮮一体) — the idea that Koreans should live and behave like Japanese citizens. This extended into the home.

As Japanese companies set up factories and furniture workshops in Seoul, Incheon, and Busan, they began producing furniture modeled after Japanese designs, such as chests of drawers, vanities, tea cabinets, and writing desks. These were often built by Korean craftsmen working under Japanese management, sometimes blending local materials with imported construction techniques. Finally, producing furniture locally was cheaper than importing it from Japan.

Photo above: While the overall form and construction are unmistakably Japanese ( construction of the top with an elevated frame, base of the chest flat on the floor), this particular chest does show Korean stylistic influence, which likely places it in the colonial-period cross-cultural zone (1910–1940), when Japanese and Korean furniture traditions began to overlap. The decorative brass hinges and lock plates are closer to Korean motifs (especially the “gourd-shaped” and bat-like plates) than to Japanese iron fittings. Therefore we believe that this chest was likely produced in Korea under Japanese colonial influence, or by a workshop influenced by both traditions. Such hybrid pieces were not uncommon between 1910–1940, when Japanese workshops operated in Korea and local craftsmen adapted Japanese furniture models for domestic taste.

The photos below also illustrate the type of furniture introduced during the Japanese colonial period in Korea. The overall design differs significantly from that of the Joseon dynasty. Photos credit: Im_oldstory, Korea.

Traditional Korean late Joseon pieces often have elevated legs or noticeable clearance beneath them.

During the colonial era, many pieces show lower or minimal legs. Traditional Korean hardware often features local motifs (clouds, bats, stylised brass medallions). Colonial-era pieces may use more standardised, less regionally distinctive fittings.

Emergence of new styles: The early 20th century saw unique designs, such as the Uigori Jang, a wardrobe-like cabinet that often featured yellow or white brass hardware. (Photos below).

This is a five-tiered cabinet consisting of a bandaji type chest with a hinged front flap on the first tier, with additional cabinets stacked above it. The third and fourth tiers contain mirrors. The nickel and the fittings decorations are splendidly executed.

At the bottom of the first tier, the following inscription is carved:
京城寺洞衣欌元祖興号特製商文鳳鎬 (Gyeongseong sadong uijang wonjo wonyeoheo teukje sang Mun Bong-ho).

This indicates that the cabinet was made in Sa-dong (寺洞, today’s Insa-dong), Gyeongseong (present-day Seoul). The designer, Mun Bong-ho, was a highly regarded cabinetmaker, recognized as the originator of the modern wardrobe form. He originally served as a royal cabinetmaker during the Korean Empire period.

This five-tiered cabinet by Mun Bong-ho was considered one of the finest articles for marriage at that time.

IN CONCLUSION.

The post-Joseon era represents a profound turning point in Korean history — politically, culturally, and artistically. The collapse of the Joseon dynasty and the subsequent rise of the Korean Empire marked an effort toward modernization and independence that was quickly undermined by Japanese domination. During this turbulent period, traditional Korean craftsmanship faced both suppression and transformation. Furniture design, once rooted in Neo-Confucian restraint and harmony with nature, began to absorb new aesthetic and functional influences from the West and Japan. These changes resulted in hybrid creations that blended local materials and techniques with foreign forms and purposes. Although much of Korea’s traditional furniture heritage suffered under colonial rule, this era also gave rise to new, distinct styles that reflect the country’s resilience and capacity for adaptation amid profound social and cultural upheaval.