• The Journal of Art Theory & Practice
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• no.4
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• Journal of the Korean Society of Costume
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• v.4
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• pp.87-114
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• 1981

A costume reveals the social characteristics of the era in which it is worn, thus we can say that the history of change of the costume is the history of change of the living culture of the era. Since the Three States era, the costume structure of this country had been affected by the costume system of the China's historical dynasties in the form of the grant therefrom because of geographical conditions, which affection was conspicuous for the bureaucrat class, particularly including but not limited to the Kings' familities. Such a grant of the costume for the bureaucrat class (i.e., official uniform) was first given by the Dang-dynasty at the age of Queen Jinduck, the 28th of the Shilla-dynasty. Since then, the costume for the bureaucrats had consecutively been affected as the ages had gone from the unified Shilla, to the Koryo and to the Yi-dynasty. As the full costumes officially used by government officials (generally called "Baek Gwan") in the Yidynasty, there existed Jo-bok, Gong-bok and Sang-bok. Of such official costumes, Gong-bok was worn at the time of conducting official affairs of the dynasty, making a respectful visit for the expression of thanks or meeting diplomatic missions of foreign countries. It appears no study was made yet with regard to the Gong-bok while the studies on the Jo-bok and the Sangbok were made. Therefore, this article is, by rendering a study and research on the styles of costumes of civil servants' stone images erected at the Kings' tombs of the Yi-dynasty, to help the persons concerned understand the Gong-bok, one of the official costume for Baek Kwan of that age and further purports to specifically identify the styles and changes of the Gong-bok, worn by Baek Gwan during the Yi-dynasty, consisting of the Bok-doo (a hat, four angled and two storied with flat top), Po (gown), Dae (belt), and Hol (small and thin plate which was officially held by the government officials in hand, showing the courtesy to and writing brief memorandums before the King) and Hwa (shoes). For that purpose, I investigated by actually visiting the tombs of the Kings of the Yi-dynasty including the Geonwon-neung, the tomb of the first King Tae-jo and the You-neung, the tomb of the 27th King Soon-jong as well as the tombs of the lawful wives and concubines of various Kings, totalling 29 tombs and made reference to relevant books and records. Pursuant. to this study, of the 29 Kings' tombs the costume styles of civil servants' stone images erected at the 26 Kings' tombs are those of Gong-bok for Baek-gwan of the Yi-dynasty wearing Bok-doo as a hat and Ban-ryeong or Dan-ryenog Po as a gown with Dae, holding Hol in hand and wearing shoes. Other than those of the 26 tombs, the costume styles of the Ryu-neung, the tomb of the Moon-jo who was the first son of 23rd King Soon-jo and given the King's title after he died and of the You-neung, the tomb of the 27th King Soon-jong are those of Jobok with Yang-gwan (a sort of hat having stripes erected, which is different from the Bok-doo), and that of the Hong-neung, the tomb of the 26th King Go-jong shows an exceptional one wearing Yang-gwan and Ban-ryeong Po ; these costume styles other than Gongbok remain as the subject for further study. Gong-bok which is the costume style of civil servants' stone images of most of the Kings' tombs had not been changed in its basic structure for about 500 years of the Yi-dynasty and Koryo categorized by the class of officials pursuant to the color of Po and materials of Dae and Hol. Summary of this costume style follows: (1) Gwan-mo (hat). The Gwan-mo style of civil servants' stone images of the 26 Kings' tombs, other than Ryu-neung, Hong-neung and You-neung which have Yang-gwan, out of the 29 Kings' tombs of the Yi-dynasty reveals the Bok-doo with four angled top, having fore-part and back-part divided. Back part of the Bok-doo is double the fore-part in height. The expression of the Gak (wings of the Bokdoo) varies: the Gyo-gak Bok-doo in that the Gaks, roundly arisen to the direction of the top, are clossed each other (tombs of the Kings Tae-jong), the downward style Jeon-gak Bok-doo in that soft Gaks are hanged on the shoulders (tombs of the Kings Joong-jong and Seong-jong) and another types of Jeon-gak Bok-doo having Gaks which arearisen steeply or roundly to the direction of top and the end of which are treated in a rounded or straight line form. At the lower edge one protrusive line distinctly reveals. Exceptionally, there reveals 11 Yang-gwan (gwan having 11 stripes erected) at the Ryu-neung of the King Moon-jo, 9 Yang-gwan at the Hong-neung of the King Go-jong and 11 Yang-gwan at the You-neung of the King Soon-jong; noting that the Yang-gwan of Baek Kwan, granted by the Myeong-dynasty of the China during the Yi-dynasty, was in the shape of 5 Yang-gwan for the first Poom (class) based on the principle of "Yideung Chaegang" (gradual degrading for secondary level), the above-mentioned Yang-gwans are very contrary to the principle and I do not touch such issue in this study, leaving for further study. (2) Po (gown). (a) Git (collar). Collar style of Po was the Ban-ryeong (round collar) having small neck-line in the early stage and was changed to the Dan-ryeong (round collar having deep neck-line) in the middle of the: dynasty. In the Dan-ryeong style of the middle era (shown at the tomb of the King Young-jo); a, thin line such as bias is shown around the internal side edge and the width of collar became wide a little. It is particularly noted that the Ryu-neung established in the middle stage and the You-neung in the later stage show civil servants in Jo-bok with the the Jikryeong (straight collar) Po and in case of the Hong-neung, the Hong-neung, the tomb of the King Go-jong, civil servants, although they wear Yang-gwan, are in the Ban-ryeong Po with Hoo-soo (back embroidery) and Dae and wear shoes as used in the Jo-bok style. As I could not make clear the theoretical basis of why the civil servants' costume styles revealed, at these tombs of the Kings are different from those of other tombs, I left this issue for further study. It is also noted that all the civil servants' stone images show the shape of triangled collar which is revealed over the Godae-git of Po. This triangled collar, I believe, would be the collar of the Cheomri which was worn in the middle of the Po and the underwear, (b) Sleeve. The sleeve was in the Gwan-soo (wide sleeve) style. having the width of over 100 centimeter from the early stage to the later stage arid in the Doo-ri sleeve style having the edge slightly rounded and we can recognize that it was the long sleeve in view of block fold shaped protrusive line, expressed on the arms. At the age of the King Young-jo, the sleeve-end became slightly narrow and as a result, the lower line of the sleeve were shaped curved. We can see another shape of narrow sleeve inside the wide sleeve-end, which should be the sleeve of the Cheom-ri worn under the Gong-bok. (c) Moo. The Moo revealed on the Po of civil servants' stone images at the age of the King Sook-jong' coming to the middle era. Initially the top of the Moo was expressed flat but the Moo was gradually changed to the triangled shape with the acute top. In certain cases, top or lower part of the Moo are not reveald because of wear and tear. (d) Yeomim. Yeomim (folding) of the Po was first expressed on civil servants' stone images of the Won-neung, the tomb of the King Young-jo and we can seemore delicate expression of the Yeomim and Goreum (stripe folding and fixing the lapel of the Po) at the tomb of the Jeongseong-wanghoo, the wife of the King Young-jo, At the age of the King Soon-jo, we can see the shape of Goreum similar to a string rather than the Goreum and the upper part of the Goreum which fixes Yeomim was expressed on the right sleeve. (3) Dae. Dae fixed on the Po was placed half of the length of Po from the shoulders in the early stage. Thereafter, at the age of the King Hyeon-jong it was shown on the slightly upper part. placed around one third of the length of Po. With regard to the design of Dae, all the civil servants' stone images of the Kings' tombs other than those of the Geonwon-neung of the King Tae-jo show single or double protrusive line expressed at the edge of Dae and in the middle of such lines, cloud pattern, dangcho (a grass) pattern, chrysanthemum pattern or other various types of flowery patterns were designed. Remaining portion of the waist Dae was hanged up on the back, which was initially expressed as directed from the left to the right but thereafter expressed. without orderly fashion,. to the direction of the left from the right and vice versa, Dae was in the shape of Yaja Dae. In this regard, an issue of when or where such a disorderly fashion of the direction of the remaining portion of waist Dae was originated is also presented to be clarified. In case of the Ryuneung, Hong-neung and You-neung which have civil servants' stone images wearing exceptional costume (Jo-bok), waist Dae of the Ryu-neung and Hong-neung are designed in the mixture of dual cranes pattern, cosecutive beaded pattern and chrvsenthemum pattern and that of You-neung is designed in cloud pattern. (4) Hol. Although materials of the Hol held in hand of civil servants' stone images are not identifiable, those should be the ivory Hol as all the Baek Gwan's erected as stone images should be high class officials. In the styles, no significant changes were found, however the Hol's expressed on civil servants' stone images of the Yi-dynasty were shaped in round top and angled bottom or round top and bottom. Parcicularly, at the age of the King Young-jo the Hol was expressed in the peculiar type with four angles all cut off. (5) Hwa (shoes). As the shoes expressed on civil servants' stone images are covered with the lower edges of the Po, the styles thereof are not exactly identifiable. However, reading the statement "black leather shoes for the first class (1 Poom) to ninth class (9 Poom)," recorded in the Gyeongkook Daejon, we can believe that the shoes were worn. As the age went on, the front tips of the shoes were soared and particularly, at the Hong-neung of the King Go-jong the shoes were obviously expressed with modern sense as the country were civilized.

• (The)Study of the Eastern Classic
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• no.66
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• pp.35-73
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• 2017

The aim of this article is to analyze the feature of the $Hongch^{\prime}{\breve{o}}n$ poetry society(紅泉社). The leader of the $Hongch^{\prime}{\breve{o}}n$ poetry society was Yi Mansu(李晩秀), and the members of that were Yi Naksu(李洛秀), Sin Chin(申縉) Sin Chak(申綽) Sin $Hy{\breve{o}}n$(申絢) Pak Chongu(朴宗羽) $Ch{\breve{o}}ng$ Sukwi(鄭遂龜) $Kw{\breve{o}}n$ Sik(權?) Kim Kyeon(金啓溫). They organized the poetry society at Gi-dae(企臺) of Seoul. The poems of the $Hongch^{\prime}{\breve{o}}n$ poetry society were included in "$K{\breve{u}}gw{\breve{o}}n$ yugo(?園遺稿)", a collection of Yi Mansu's works. The $Hongch^{\prime}{\breve{o}}n$ poetry society was maintained for three years, from 1817 to 1820. The members of the $Hongch^{\prime}{\breve{o}}n$ poetry society gathered at Kidae(企臺) and wrote poems together, such as the linked verses(聯句), divisions of rime(分 韻), replying rhyming verses(次韻) and so on. This article especially analyzed the linked verses of the $Hongch^{\prime}{\breve{o}}n$ poetry society. The following is a summary of characteristics in the linked verses of the $Hongch^{\prime}{\breve{o}}n$ poetry society. First, the members of the $Hongch^{\prime}{\breve{o}}n$ poetry society showed their poetic genius by writing the linked verses. They competitively designed unique words and techniques to exhibit their poetic genius. Especially, their poetic genius were exposed in $y{\breve{o}}n^{\prime}gu$(放雲樓聯句)>, modeling <$S{\breve{o}}ngnam$ $y{\breve{o}}n^{\prime}gu$(城南聯句)>'s style. The members of the $Hongch^{\prime}{\breve{o}}n$ poetry society had remarkable literary attainments. Second, the members of the $Hongch^{\prime}{\breve{o}}n$ poetry society promoted friendship by writing the linked verses. They expressed the pleasure of having a poetry party in the linked verses. Their linked verses are elegance. In addition, their poems are full of the pride as officials. And they were glad that they lived in the happy era. So they extoled the king's virtue in their linked verses.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.227-234
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• 2022

Seok Jeon Hwang Wook (18913~1999), a descendant of a traditional literary writer in the western part of Honam, did not join the flow of modern and contemporary calligraphy and painting. And throughout his life, he enjoyed himself without losing the appearance of a scholar, immersed himself in traditional calligraphy, and gained spotlight at his late age for his original hand grabbing calligraphy. Immediately after the Korean War, all of his property was lost due to his two sons' left-wing activities, causing great pain at home. Even in the most painful and difficult time in human history, he relied on brushes, poetry, and gayageum to keep his upright scholarly spirit and national love. And beyond the pleasures of the worldly senses, he played with self-satisfaction in the 'true pleasure(大樂)' without greed. In the course of his studies, he focused on honing the fonts of Wang Hui-ji, Gu Yang-sun, An Jin-gyeong, Jo Maeng-bu, and Xin-wi and Lee Sam-man without a special teacher. In particular, he faced a crisis of having to give up his brush due to tremor that came after his 60th birthday, but he showed a strong will. He transformed it into a new style of art, such as developing hand grabbing calligraphy(握筆法) with a strong and strong energy that no one could match. From 1965 to 1983, 'right hand grabbing calligraphy' was used, and from 1984 to 1993, 'left hand grabbing calligraphy' was used. She made her name as a calligrapher widely known in 1973 (age 76) with her first solo exhibition, The Calligraphy Exhibition commemorating her 60th wedding anniversary. His writing method is naturally rough and sloppy by breaking away from the previous calligraphy methods and artificial technique, and is unfamiliar yet full of muscle. And the calm, strong and rough chuhoegsa(錐劃沙) and the heavy yet majestic ininni(印印泥) individual handwriting expressed a strange feeling and achieved original Seokjeon calligraphy that went beyond the existing calligraphy writing methods, and his indomitable calligraphy spirit was As a unique existence in the history of calligraphy, he still remains as a model.

• Journal of Korean Medical classics
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• v.26 no.3
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• pp.75-84
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• 2013

Objective : This study considered the annual cyclical rituals related to medicine in an effort to look into the general medical conditions in the late Joseon Dynasty. Method : This study selected Uibanghappyeon 'Wolhaeng' as its research material in that it reflects the medical conditions at that time as a writing in the late Joseon Dynasty, and it's a record about annual cyclical rituals included in a medical book. The annual cyclical rituals are possible to analyze from various angles, but this study perceives the fundamental elements forming the annual rituals as (1) the time when a ritual was held (2) purpose, (3) method, and analyzed the calendaric rituals by dividing them according to the three elements. Result : There appear 97 sorts of annual rituals period in all according to their contents in Uibanghappyeon 'Wolhaeng.' (1) the case of directly suggesting a specific day like May 5 was found to be the most with 46 cases on the basis of the character of the implemented time, followed by the part (16 cases) with the sexagenary cycle like the Day of the Ox. (2) From the aspect of the purpose, the case of aiming at preventing diseases was found to be the most with 24 cases, and the case of expressing 'having to do like that' without any clear reason, or 'that would be better' was found to be the third-most 19 cases. In a broad sense, should these two be perceived as disease prevention, these statistics accounted for a half of the whole with 43 cases. Meanwhile, the style of rituals whose purpose was disease treatment(22 times) was to make a medicine on a specific day. Among the 22 sorts related to disease treatment, 16 sorts were the custom of making medicine on a designated day. (3) When classified from the aspect of methods, they can be divided into pharmaceutical preparations(23 cases), specific behavior(20cases), taboo(19 cases), taking medicine(15 cases), fasting(11 cases) and external medical treatment(9 cases), etc. This shows a comparatively even distribution rather than the case of dividing the annual rituals into a period or purpose. Conclusion : Medicine is the knowledge for preventing and treating diseases. However, the medical science and medical treatment of a traditional society show not a little difference from what we feel. The research on the annual cyclical rituals related to medicine is expected to be helpful to our perception of such a difference.

• The Journal of Korean Medical History
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• v.26 no.1
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• pp.87-96
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• 2013

This study confirmed that a doctor named Lee, Seok-gan whose name has been widely known but whose real identity has remained unclear, was an active Confucian doctor in the 16th century. In addition, through the newly discovered "Daeyakbu" among his family line, writings, and relics that have been handed down in a family, this study looked into his medical philosophy and medicine culture. The author of "Ieseokgangyeongheombang"(Medical Book by Lee, Seok-gan(李石澗), Seok-gan is the same person as an active famous doctor Lee, Seok-gan(李碩幹, 1509-1574) in the 16th century. Such a fact can be confirmed through "Samuiilheombang", "Sauigyeongheombang" and the newly opened "Ieseokgangyeongheombang". Lee, Seok-gan was born in the 4th ruling year of king Jungjong (1509) and was active as a doctor until the 7th ruling year of king Seonjo(1547); his first name is Jungim with the pen name-Chodang, and he used a doctor name of 'Seokgan.' He was known as a divine doctor, and there have been left lots of anecdotes in relation with Lee, Seok-gan. Legend has it that Seokgan went to China to give treatment to the empress, and a heavenly peach pattern drinking cup and a house, which the emperor bestowed on Seokgan in return for his great services, still have remained up to the present. Usually, Seokgan interacted with Toegye Lee Hwang and his literary persons, and with his excellent medical skills, Seokgan once gave treatment to Toegye at the time of his death free of charge. His medical skills have been handed down in his family, and his descendant Lee, Ui-tae(around 1700) compiled a medical book titled "Gyeongheombangwhipyeon(經驗方彙編)". Out of Lee, Seok-gan's keepsakes which were donated to Sosu museums by his descendant family, 4 sorts of 'Gwabu'(writings of fruit trees) including "Daeyakbu" were discovered. It's rare to find a literary work left by a medical figure like this, so these discoveries have a deep meaning even from a medicine culture level. Particularly, "Daeyakbu" includes the typical "Uigukron". The "Uigukron", which develops its story by contrasting politics with medicine, has a unique writing style as one of the representative explanatory methods of scholars' position during the Joseon Dynasty; in addition, the distinctive feature of "Uigukron" is that it was created in the form of 'Gabu' other than a prose.

• (The)Study of the Eastern Classic
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• no.37
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• pp.411-439
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• 2009

Fu-Shan(傅山, 1607~1684) was a progressive actualist between the late Ming(明) dynasty and the early Qing(淸) dynasty. He regards the intellectuals at that time as scarecrows leaned on the empty and exaggerative moral philosophy which the neo-confucian of Song(宋) dynasty established. He thinks that the neo-confucian discussion cause harmful side effects, disregarding the utility side and the variety of the actual world. His thought becomes known all in political thought and literature. He asserts that the neo-confucian ideas provides the logical frame which regulates the actual world and creates a kind of absolute moral ideology. Therefore he insists that the Saint in the true sense of the word consequently is the social reformer and revolutionist who exposes the irrational elements of society. He insists that literature also must be able to express vividness of the actual world. He thinks that genuine literature must have creative contents and find one's own free wild way. He asserts that old literary style from the mimicry is the act which goes against human natural. He thinks that the writing must be able to express the actual world.

• (The)Study of the Eastern Classic
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• no.50
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• pp.29-54
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• 2013

Mun Il-pyeong(1888-1939) is famous for a nationalist historian led history into popular style to enlighten the public. This paper aims to overview the characteristic of Mun Il-pyeong's history based on prior studies on Mun Il-pyeong's works. The characteristic of Mun Il-pyeong's history shows us people centric trend based on a struggle of classes. For the people, he insisted that description of history should be easy and scientific for the people who are host of history. And Mun Il-pyeong insisted the harmony of nationalist history and positive history. This was a progressive attitude in writing history at that time. Another characteristic of Mun Il-pyeong's history is that he considered cultural history as important. Mun Il-pyoeng wanted to overcome the ashamed political history by cultural history. In this intention, Korean history was again born proudful by him. Mun Il-pyoeng pursued open nationalism, not ultra-nationalism by connecting with other world. This paper focused on the essential part of Mun Il-pyoeng's history. Many scholars think Mun Il-pyeong focused on Korean modern history or history of foreign relation. But I think Mun Il-pyeong attached importance to Practical Learning, Sirhak in late Joseon dynasty. Because Sirhak contained Mun Il-pyeong's academic intention, Modernism and Culturism dreamed from his youth age. Therefore he led so-called Joseonhak Undong meaning study of Sirhak. Studying Sirhak made Mun Il-pyeong open a new direction Korean modern history have to go.

• Journal of the Korean Institute of Telematics and Electronics B
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• v.33B no.11
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• pp.140-149
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• 1996

Cursive characters are written on an economical principle to reduce the motion of a pen in the limit of distinction between characters. That is, the pen is not lifted up to move for writing a next stroke, the pen is not moved at all, or connected two strokes chance their shapes to a similar and simple shape which is easy to be written. For these reasons, strokes and korean alphabets are not only easy to be changed, but also difficult to be splitted. In this paper, we propose a curvature stroke modeling method for splitting and matching by using a structural primitive. A curvature stroke is defined as a substroke which does not change its curvanture. Input strokes handwritten in a cursive style are splitted into a sequence of curvature strokes by segmenting the points which change the direction of rotation, which occur a sudden change of direction, and which occur an excessive rotation Each reference of korean alphabets is handwritten in a printed style and is saved as a sequence of curvature strikes which is generated by splitting process. And merging process is used to generate various sequences of curvature strikes for matching. Here, it is also considered that imaginary strokes can be written or omitted. By using a curvature stroke as a unit of recognition, redundant splitting points in input characters are effectively reduced and exact matching is possible by generating a reference curvature stroke, which consists of the parts of adjacent two korean alphasbets, even when the connecting points between korean alphabets are not splitted. The results showed 83.6% as recognition rate of the first candidate and 0.99sec./character (CPU clock:66MHz) as processing time.

• Cartoon and Animation Studies
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• s.30
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• pp.139-168
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• 2013

This article aims to explain the significance and value of cartoons in the 1910s which were largely passed unnoticed in the preceding cartoon studies by scrutinizing cartoons published in Maeilsinbo in the 1910s. Until now, Korean cartoons in the 1910s has been neglected just because it were published in Maeilsinbo. However, this writing analyzed cartoons in this period on the base of the fact that the cartoons in the 1910s printed in Maeilsinbo diversified the horizon of the Korean cartoon. Cartoons in Maeilsinbo functioned as a bridge connecting cartoons published in Daehanminbo in 1909 reputed as a root of Korean cartoon and 1920s, the time when satirical cartoons and comics started being printed in newspapers. The characteristics of Maeilsinbo as a bulletin of government general and periodical characteristics that the agent of popular culture begun to move reside as multi layers in the cartoons in the 1910s. In this article, the process and the development of how cartoons published in Maeilsinbo. As pleasure became important in everyday life in Korea, cartoons were able to earn a portion in the newspaper. In the beginning, modern cartoon style seemed vague, but as time goes by, its own style gradually settled. Cartoons in this period were not fixed in specific section but various kinds of cartoons were developed during the time since works of Korean as well as Japanese cartoonists and illustrators were published. Among them, representative cartoons in Maeilsinbo were analyzed in this article under three categories: first, cartoons represented 'Choseon-ness' through scenes of daily life and customs concurrently contained a view of anti-civilization/enlightenment; second, cartoons represented the accumulation of wealth as valid from the view point of public interest; last, cartoons divided Koreans who suffered from hardships of life in Kyungsung and Japanese in Jingogae in order to divide space. In conclusion, Maeilsinbo disciplined the colonized, Koreans, and exposed the discourse of the colonial power via cartoon.