KOREAN HERITAGE

Korea’s traditional small tables, known as soban, embody the essence of Korean lifestyle and culture like no other item of furniture. Their designs reflect regional characteristics, with more than 60 distinct types identified. The origin of soban dates back to at least the Three Kingdoms Period, as evidenced by depictions in murals from Goguryeo tombs. They proliferated during the Joseon Dynasty, when the use of individual tables increased due to the acceptance of Confucian customs regulating interactions between men and women, as well as between different social classes.

In a traditional Korean house, a single room could serve several purposes: when bedding was laid out, it became a sleeping area; with a desk in place, it functioned as a study. Similarly, placing soban in the room transformed it into a space for eating. Soban were typically about 50 cm wide—just the right size for a woman to carry one from the kitchen, through the courtyard, and into a room. At around 30 cm high, they were designed to suit Korea’s custom of sitting on the floor. In consideration of the ondol underfloor heating system, some soban were crafted with openings in their side panels to allow heat to pass through. Those used in palaces had openings that enabled someone carrying it to see the path in front better.

Naju, Jeollanam-do, was a center of production for wood furniture, supplying goods to the royal court, and soban from Naju, called Najuban, was one of its best-known products. Although the city was prosperous, everyday items were crafted simply rather than in an ornate fashion. Najuban is minimalistic but exceptionally refined and sturdy. While some are octagonal or dodecagonal, most are rectangular with diagonally beveled corners. While the lacquer finish enhances functionality, it also allows the wood grain to emerge gracefully over time and reveal its charm.

Master Artisan Kim Chun-sik has been making soban for over 60 years. Although he began the craft as a means of earning a living, he now researches the history and forms of Najuban as part of his role in preserving this nationally designated intangible cultural heritage. He believes the true value of Najuban lies in the harmony of beauty and practicality that comes from simplicity. “Najuban is simpler than soban from other regions. Above all, it’s easy to clean, with no crevices where dirt can accumulate. That, too, is part of its simple beauty.”

He harbors a deep affection for Najuban and hopes to pass it on to future generations. “When I started this craft in the 1960s, sitting on the floor was still very much a part of the culture, and soban were widely used. But as lifestyles gradually became more Westernized, floor-sitting declined, and with it, the use of soban as well. That’s why I make every effort to promote soban whenever I get the chance.” The Ban Clear series by Ha Ji-hoon, known for its polycarbonate soban, also traces its origins to a 2005 collaboration with Master Artisan Kim Chun-sik.

Recently, the rise of single-person households has given way to new trends, such as eating and drinking alone, and more people are living with less. Among Korean household items, soban—particularly Najuban—embodies the essence of minimalism. With its simple yet functional design, the use of soban is steadily increasing in cafés, tea houses, and restaurants. Master Kim Chun-sik emphasizes the importance of the public’s interest: “Traditional culture endures only when people cherish and engage with it. The same goes for soban. Wooden items, if left untouched, quickly deteriorate from moisture. Yet, soban, if regularly handled and cared for, can easily last over a hundred years.” The beauty of traditional culture lies in its ability to endure through time and, one day, reveal its true value to us once again. Though modest in size, soban holds a lasting vitality and restrained elegance. Interwoven into our way of life over the centuries, soban can once again reveal its subtle beauty—if only we reconnect with it and welcome it back into our daily lives.