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One Origin of Choseon Manga (朝鮮漫畵): Centered on the Background That Torigoe Seiki (鳥越靜岐) Came to Korea and the Influencing Relationship in Japanese Illustration Community of the Time

  • Journal of Humanities, Seoul National University
  • 2024, 81(1), pp.335-362
  • DOI : 10.17326/jhsnu.81.1.202402.335
  • Publisher : Institute of Humanities, Seoul National University
  • Research Area : Humanities > Other Humanities
  • Received : January 23, 2024
  • Accepted : February 6, 2024
  • Published : February 28, 2024

Song Minho 1

1홍익대학교

Accredited

ABSTRACT

Choseon Manga (朝鮮漫畵), written by Usuda Zanwun (薄田斬雲) and illustrated by Torigoe Seiki (鳥越靜岐), published in 1908 in the Ilhanseobang (日韓書房), has been considered to be the most representative publication of the post-Russo-Japanese War period that contains a negative view of the Koreans. Nonetheless, it is the first book to be published in Korea under the name of ‘manga,’ which has drawn attention to its unique qualities. This paper aims to elucidate the circumstances that brought Torigoe Seiki to Gyeongseong (京城) and the relationship between his painting and his influences. Torigoe was born into a poor family in Okayama and struggled to learn Chinese writing and painting. In Korea under Tongam-bu(統監府), when Gyeongseong Newspaper (京城日報) was founded, he was interviewed by newspaper company president in Tokyo, and on the recommendation of Kosugi Misei (小杉未醒), who was there at the time, he got a job at the Gyeongseong Newspaper. When Torigoe came to Korea, he painted in the style of Kosugi, a former soldier in the Russo-Japanese War. He painted the most spectacular events in Gyeongseong in the style of war reportage painting, and depicted Korean customs in the style of cut paintings of Kosugi. However, he focused the spectacle value of the events and Korean customs, rather than showing the same deep understanding of Korean sentiment or history that Kosugi did. This was because he had close ties to imperialist Japanese journalists in Korea, including the Gyeongseong Newspaper and “Chosun” Magazine. He also met Kitazawa Rakuten (北沢楽天) of Tokyo Puck (東京パック), who came to Seoul to cover the story, and was deeply influenced by the ‘manga’ style. In fact, it can be said that the stereotypes of men depicted in Choseon Manga were almost entirely based on Kitazawa’s manga style. However, similarly, he did not reach the level of satire that Kitazawa did for various reasons. Torigoe was adopted by the Hosokibara family when he came to Korea in 1908 and renamed Hosokibara Seiki (細木原靑起). In the spring of 1909, he returned to Japan and continued to work as an illustrator in Japan, and in 1924, he wrote a History of Japanese manga (日本漫畵史). During his stay in Gyeongseong, he had neither the understanding nor the original pictorial style to overturn the distorted image of Korea that had recurred since the Russo-Japanese War. However, he can be understood as one of the first instances which was able to draw attention to the connection between imperialism and image in Korea.

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