삽화의 번안, 풍경의 번안－「곤지키야샤(金色夜叉)」로부터 「장한몽(長恨夢)」으로－

Abstract

“Janghanmong(長恨夢)”, which began serialization in Mailshinbo(每日申報) on May 13, 1913, was the first version with illustrations adapted from the Meiji-period novel. Shinsoseol(新小說), serialized in the Mailshinbo(每日申報) by Yi, Haejo(李海朝), began to be published with illustrations from 1912. However, Shinsoseol(新小說) series concluded with “a passerby in the rain(雨中行人)”. Beginning with “Janghanmong(長恨夢),” all-new illustrations by Tsuruta, Goro(鶴田吾郞) were inserted. In the same way that “Janghanmong(長恨夢)” was an adaptation of Koyo Ozaki(尾崎紅葉)’s novel “Konjikiyasha(金色夜叉),” the illustrations for “Janghanmong(長恨夢)” were also adapted from Kiyokata Kaburagi’s book “Picture Scroll of Konjikiyasha(金色夜叉絵巻)”. In the process of translating the illustrations, Tsuruta Goro, the illustrator of ”Janghanmong(長恨夢),” understood the intention of the adaption writer, Cho, Joong-hwan(趙重桓), to create the most iconic space in the Atami in original novel to Pyongyang in adated novel describing landscapes through the specific images of the illustrations. However, the illustrator, Tsuruta, Goro(鶴田吾郞), did not simply copy the original illustrations of “Picture Scroll of Konjikiyasha(金色夜叉絵巻)” The fact that he referenced “Konjikiyasha(金色夜叉)” illustrations in the Yomiuri Newspaper(読売新聞) can be seen in the shape of the lamp that appears at the beginning of “Janghanmong(長恨夢)” illustration. He took the image shape of the lamp stand, which is one of the most iconic images in the newspaper serial of “Konjikiyasha(金色夜叉)”, and brought it into “Janghanmong(長恨夢)”. Furthermore, as the serialization of “Janghanmong(長恨夢)” in Mailshinbo(每日申報) progressed, Tsuruta, the illustrator, was communicating closely with a adaptator Cho, Joong-hwan(趙重桓) to reorganize the composition of the illustrations. Based on the progression of the novel and illustrations in “Konjikiyasha(金色夜叉)”, I examined the significance of the unique arrangements made by Cho and Tsuruta, Goro(鶴田吾郞). Finally, I discussed the technological limitations of printing that Tsuruta, Goro(鶴田吾郞) had to face in the process of reproducing an illustrated image of the Daedong River(大同江) in Pyongyang(平壤) as an emotional place in Tsuruta, Goro(鶴田吾郞) at a time when Woodblock Printing was the dominant medium for printing illustrations. In the scene of the Daedong River(大同江) of “Janghanmong(長恨夢),” Tsuruta acknowledged the fact that he was having difficulty with illustrative expression, which was the result of his desire for expression and the limitations of printing technology that he had to face in the process of practicing illustrative reproduction from the original manuscript.