1910년대 한 · 일 왕실 이미지의 형성과 유통: 『京城日報』와 『每日申報』의 한 · 일 왕실 기사 및 이미지

서지정보

ㆍ발행기관 : 한국미술연구소 ㆍ수록지정보 : 美術史論壇 / 36권
ㆍ저자명 : 황빛나, 이성례, 김지혜

영어 초록

The Government-General of Korea during the 1910s made it compulsory for its government agencies to circulate its two organs, Kyeongseong Ilbo and Maeil Sinbo. The two newspapers maintained distinctive similarities and differences in the format and character of the articles covering the royal families of Korea and Japan. As for Maeil Sinbo, a majority of whose subscribers were Koreans, tended to prefer words such as “royal(or imperial) tour”, “royal audience”, and “royal gift” to propagate the friendship and good rule of the Japanese imperial family and the Government-General of Korea. Meanwhile, Kyeongseong Ilbo, whose readers were mostly Japanese people settled in Korea, was more focused on delivering the latest news of the Japanese imperial family and others in the Inner Land(i.e. Japanese Archipelago) and hence carried comparatively fewer reports or photographs of the royal families except for the New Year’s Day issue.
An analysis of the reports and photographs of the Korean and Japanese royal families published in Kyeongseong Ilbo and Maeil Sinbo showed that for the Japanese imperial family almost all the important imperial family members were covered on a regular basis while for the Korean royal family only top male members attracted their attention. The newspapers payed, in fact, little attention to the members of the Korean royal family except for Yi Gang and his younger brother Yi Eun who was later granted the title King Yeongchin and regarded as a symbol for the “Integration of Korea and Japan”. What is remarkable is that both newspapers had not published even a single photograph of Emperor Sunjong, the last monarch of the Korean Empire, from August 1910 when Japan annexed Korea to his death in 1926. The photographs of the Japanese imperial family, depicting the pageantry of various family occasions such as wedding, anniversary and funeral, were used to promote and publish the image of a modern family based on the traditional belief of Japanese people in the “Unbroken Imperial Geneology of Ten Thousand Generations” whereas those of the Korean royals were exploited, not to consolidate or promote the Korean tradition and heritage they represent, but to stress that the Korean imperial family was a collateral line to the Japanese imperial family.
Similarly, the two daily newspapers shied from publishing any image of architectural works connected with the Japanese imperial family during the 1910s while reporting voraciously about the Korean royal palaces that were, just like their rightful owners, degenerated into a zoo or a botanic garden flung open to the general public. These textual and visual reports circulated through “official” media such as newspapers vividly show that the Government-General of Korea was able to effectively control and manipulate them to implement powerful colonial policies against Korea and Korean people. That explains why the materials contained in these and other newspapers of the period need to be carefully reviewed for the study of the art of the Korean royal court during the early 20th century. If all the reports and photographs produced by the two newspapers between the 1920s and 1945, the year when the newspapers were closed following the surrender of Imperial Japan to the Allied Powers in the same year, are properly documented, these would be profitably used for a comprehensive comparison with the materials produced by the two newspapers, Chosun Ilbo and Donga Ilbo, launched during the 1920s by Korean investors.

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