Hangul Beneath Chinese Characters: Translation or Coexistence? [Signboard Debate]

The Paradox of Dual Signboards Through the Lens of the Multiple Signboard Tradition
AR and Media Facades as Alternatives
A Bold Proposal: "From the Era of Ink to the Era of Light"

Gwanghwamun Signboard

At the "Gwanghwamun Signboard Debate" held at the National Museum of Korean Contemporary History on March 31, participants expressed support for the addition of a Hangul signboard. However, some argued that the current approach under discussion could actually diminish the value of Hangul.

Kangmin Lee, Professor of Architecture at the Korea National University of Arts, pointed out, "Adding a Hangul signboard beneath the existing Chinese character signboard is no more than an annotation of pronunciation, and could ultimately lead to the devaluation of Hangul’s intrinsic worth."

He began by explaining the role of signboards in premodern architecture. In the Chinese character cultural sphere, hanging a signboard inscribed with the building’s name under the eaves of the main facade was a core architectural convention. While wooden architecture is inherently short-lived due to the properties of its materials, the names displayed on signboards endure through centuries of reconstruction and replacement. This is why the act of the king bestowing the writing for a signboard, known as "Saeak," functioned as a crucial cultural ritual.

There was no requirement for there to be only one signboard. Korean architectural tradition is deeply rooted in the concept of "multiple signboards" adorning a single building. For example, at Tongmyeongjeon Hall in Changgyeonggung Palace or Seogeodang Hall in Deoksugung Palace, signboards bearing the same name are hung both on the building’s facade and inside the main hall. In other cases, such as Pungyeongnu Pavilion at Namgye Seowon, the front displays "Pungyeongnu," while the back displays "Jundomun," thereby expanding the meaning of the space. The "Honam Jeilseong" signboard on the rear of Pungnammun Gate in Jeonju follows the same tradition.

On the 31st, at the National Museum of Korean Contemporary History in Jongno-gu, Seoul, an attendee at the "Gwanghwamun Plaque Discussion" holds up a phrase written in Hangul for Gwanghwamun. Photo by Yonhap News

The tradition of multiple signboards extended vertically as well. For example, at Juhapru (second floor) and Gyujanggak (first floor) in Changdeokgung Palace, each floor had its own independent signboard to distinguish the function of the space. Similarly, the two-story gatehouse above Pojeongmun, the main gate of a provincial office, might bear separate names, such as "Gwanpungnu" (in Gyeongsang Gamyeong) and "Mangwollu" (in Hwanghae Gamyeong).

The building Professor Lee emphasized most was Anyangnu at Buseoksa Temple. Three signboards—Anyangmun (first floor, front), Buseoksa (second floor, front), and Anyangnu (second floor, rear)—reveal the changing character of the space as one moves through the building. The National Treasure Yeongnamnu Pavilion in Miryang also displays separate signboards, "Yeongnam Myeongnu" and "Gangjwa Ungbu," on its left and right, highlighting the architectural grandeur in a multidimensional way.

The essence of multiple signboards is not the repetition of information, but rather the accumulation and expansion of meaning. In this tradition, it is difficult to find precedents for hanging the same name in both Chinese characters and Hangul side-by-side. Addressing the argument that the Forbidden City’s use of both Chinese and Manchu scripts provides a model, Professor Lee explained, "Manchu was the official language of the Qing ruling class, so that was a matter of translation. It’s akin to writing 'water' next to 'mul'." Since Chinese characters remain an integral part of Korean culture, placing Hangul as a mere annotation beneath them relegates Hangul to a subordinate position.

On the 31st, at the National Museum of Korean Contemporary History in Jongno-gu, Seoul, a participant at the 'Gwanghwamun Signboard Debate' is holding a phrase written in Hangul for Gwanghwamun. Photo by Yonhap News Agency

However, this does not mean there is no place for Hangul. Professor Lee questioned the appropriateness of the signboard format itself, stating, "The signboard is a premodern medium optimized for the use of logographic Chinese characters." He argued there is no need for Hangul, with its forward-looking vision, to be confined by these limits.

This is why he suggested alternatives such as augmented reality (AR)-based virtual layering, media facades using the external walls of buildings, and kinetic structures that deliver variable information. He repeatedly emphasized that the space Hangul should occupy is not a wooden plaque, but a horizon where technology and humanistic values intersect. "Hangul should represent not the ‘era of ink,’ but the ‘era of light.’"

This content was produced with the assistance of AI translation services.