우스다 잔운(薄田斬雲)이 글을 쓰고, 도리고에 세이키(鳥越靜岐)가 그림을 그려 일한서방에서 1908년에 낸 『조선만화』(朝鮮漫畵)는 러일전쟁 이후 한국의 풍속에 대한 배타적 시선을 담고 있는 가장 대표적인 출판물로 간주되어 왔지만, 그럼에도 불구하고, 이 책은 한국에서 최초로 ‘만화’라는 이름을 달고 출판되었다는 점에서 지금까지 그것이 갖고 있는 성격에 대한 주목이 이루어져 왔다. 본 논문은 이러한 주목에 비해 그리 충분히 밝혀지지 않았던 도리고에 세이키가 경성에 건너오게 된 계기와 그의 회화적 영향 관계를 해명하기 위한 것이다. 도리고에는 오카야마 출신으로 가난한 가정 환경에서 자라나 고학을 하면서 한학과 그림 등을 배웠다. 통감부 치하의 한국에서 『경성일보』가 창간될 무렵, 그는 도쿄에서 사장의 면접을 보았는데, 이때 그 집에 와 있던 고스기 미세이(小杉未醒)의 추천으로 경성일보사에 취직하여 교정계로서 한국에 건너올 수 있었다. 한국에 건너온 도리고에는 러일전쟁의 잔영이 채 가시지 않은 한국에서 『경성일보』라는 제국주의 일본 저널리즘에 종사하면서, 다양한 영향 관계를 통해 자신의 화식적 정체성을 형성해 나갔다. 한편으로는 러일전쟁에 종군했던 고스기 미세이(小杉未醒)의 영향을 받아 전쟁보도화의 양식과 컷화의 양식을 주로 추구하였을 뿐만 아니라, 1907년 취재차 한국을 방문한 기타자와 라쿠텐(北沢楽天)을 만나 ‘만화’라는 양식에 대해서도 깊은 영향을 받았다. 그가 마지막에 간간히 시도했던 시사 풍자 만화 등은 바로 그 영향을 보여 주는 것이며, 이어 출간한 『조선만화』 역시 그 자장 안에 존재하고 있었다.
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.