한국의 그림책 인식과 형성과정

Abstract

This study discusses people’s perceptions of picture books and the development process through analysis of newspapers and periodicals such as magazines at that time based on understanding the lack of research done on picture books from the enlightenment period to the end of Japanese colonial period. The results of the analysis were compared to today’s picture books. The development of printing through old-print publications since the enlightenment period formed a community of children readers and brought a turning point to introduce diverse visual elements to children’s literature. Under these circumstances,it was Choi Nam-seon who made a great contribution to the birth of picture books for children. He often used pictures (illustrations) to complement narrative stories in children’s magazines titled ‘Red Jeogori’ and ‘Children &Boy.’ He illustrated the development of a story using pictures. In terms of the driving force for the publication of picture books, this study points out the promotion of publications through the introduction of typography, dramatic increase in publications for children and wishes for the publication of picture books from all fields. Entering the 1920s, illustrations started to be used in newspapers and magazines to enhance visual effects. Among them, ‘Half Brothers,’ published from May 8 to 20, 1927 is very similar to today’s picture books. It is a counterpointing picture book which narrates a story with writing and pictures in three pages and writing only at both the top and the bottom for 13 publications in total. In the 1930s, there were many voices lamenting the absence of picture books for children in Joseon from parents to literary circles. In these situations, it was Jeon Bong-je and Im Hong-eun who attempted to make picture books for Korean children. Both participated in Joseon Art Exhibition and focused on picture books for children, which were similar in verse to today’s children’s picture books. The two writers collected their publications in newspapers and magazine and published ‘Collection of Picture Books for Children (1931)’ and ‘Baby’s Hill (1938).’ In particular, they added sophisticated paintings, not just simple illustrations, to picture books. In the picture book ‘Kkotdongni’ added at the end of ‘Baby’s Hill (written by Im Hong-eun),’ writings were compiled with 14 paintings, and both writings and paintings were numbered. This kind of picture book can be equivalent to a complementary picture book from today’s perspective. As stated above, Korea’s modern picture books created a variety of narratives from children’s picture books to newspapers and magazines with a mixture of pictures and words. Professional painters’ participation was a turning point to enhance the artistic value of picture books and help them settle as children’s literature genre.