러일전쟁기 고스기 미세이(小杉未醒)의 畵報와 詩에 나타난 경운궁, 창덕궁

Gyeongungung Palace and Changdeokgung Palace in Kosugi Misei’s Illustration and Poem during the Russo-Japanese War Period

This paper examines Kosugi Misei’s activities as a pictorial correspondent and creative self activities as a poet, mainly focusing on his experiences at Gyeongungung Palace and Changdeokgung Palace, which had a significant impact on his perception of Korea during the Russo-Japanese War. Through this, this study aims to explore the process and meaning of how Kosugi Misei developed a deep understanding of Korea during the Russo-Japanese War through his activities that spanned drawing and poetry writing, and how he turned his understanding into poetry creation. The main findings of the study are as follows. Through his coverage of the Gyeongungung fire, Kosugi Misei deeply reflected on Emperor Gojong’s state of mind and the circumstances Korea was facing at the time, particularly focusing on the issue of the emperor’s relocation. Through his coverage of the Japanese military victory banquet at Changdeokgung Palace, he came to view critically at the Japanese acting as if they were the rulers of Korea based on their victory. The series of events experienced at Gyeongungung Palace to Changdeokgung Palace ultimately led to the creation of his poem, Kan -no rōshin-ni kawatte kyūōjō-no kaiko-no jō-o husu. In the process of creating the poem, setting the speaker as an old Korean retainer signifies Kosugi Misei’s intention to view Korea’s situation during the Russo-Japanese War from the perspective of the Korean people. The attitude of the poem's speaker reflects the literary spirit of Kosugi Misei who criticized Japan’s underlying intention for dominating Korea through the Russo-Japanese War.

本論文は、小杉未醒の日露戦争期の韓国に対しての認識に重要な影響を与えた慶運宮と昌德宮での体験を中心に、彼の画報通信員としての活動と詩人としての創造的自我の活動を考察したものである。これを通して、作画活動と作詩活動を並行していた彼の活動の中で小杉未醒が日露戦争期の韓国を深く理解することになり、その結果を詩の創作へと繋げていく過程と意味を察してみようとした。研究の主な結果は次のようである。小杉未醒は慶運宮火災の取材を契機に、高宗皇帝の移御問題をめぐって当時の高宗皇帝の心境と韓国の状況を深く省察するようになった。昌德宮での日本軍の祝捷の取材を通しては、日本人が戦勝を基に韓国の主人のように振る舞っていることを批判的な視角で見詰めることになる。慶運宮での体験から昌德宮体験へと続いていく一連の過程は詩「韓の老臣に代って旧王城の懐古の情を賦す」の創作へと繋がる。詩の創作の過程で詩の語り手を韓国の老臣に設定したのは、小杉未醒が日露戦争期の韓国の状況を韓国人の立場で見詰めようとしたことを意味する。この詩に表れた詩の語り手の態度は、日露戦争を通しての日本の韓国への支配の底意を批判する小杉未醒の作家精神を込めているので注目される。