1902년 발간된 『韓國案內』에 나타난 ‘妓生’ 연구

초록

This article studied the item ‘Gisaeng’ that appeared in the general contents of <Korea Guide> published in 1902. As mentioned earlier, <Korea Guide> was published at an earlier time than the Joseon tourism guide. The first page of the text is filled with the three-page “Korea Map.” Next, photos of major people, landscapes, and buildings from the Korean Empire were listed in every two cuts. Among them, as many as five are photos of Gisaeng. Although the example in the main text states that the role of a guide was to introduce to the world the development of Korea’s open ports and markets that would be helpful to travelers, it seems to signal the beginning of the usurpation of national sovereignty. Based on the ‘Japan-Korea Treaty of 1876’ concluded, Joseon at that time opened three ports, Busan, Wonsan, and Jemulpo, and allowed Japanese people to reside in certain areas of the open ports. The table of contents of the <Korea Guide> presents maps measuring open ports centered on Busan, Wonsan, and Incheon, and uses various statistical data as its basis, which is also emphasized in the legend. Afterwards, in the process of going through the Japan–Korea Treaty of 1905 and the Japan–Korea Treaty of 1910 Japan–Korea Annexation Treaty, I think it can be said that <Korea Guide> became an important guide to the ‘invasion of Joseon’. The ‘Gisaeng’ item in the general overview of <Korea Guide> was explained from the official level and was seen as a kind of dignified public person. In particular, when comparing them with Japanese geishas, they point out that they have something in common: they learn education and skills under a teacher at the level of a gisaeng gyobang and a teacher at the level of a Japanese geisha. In addition, while explaining Pyeongyang’s Gyobang, or ‘Norae Seojae’, also called ‘Gwangi School’, it can be seen that in 1902, Pyongyang’s Gyobang was managed by the government of the Korean Empire in the form of ‘Norae Seojae’, but gradually transformed into a private institution. I guess there is. The section on ‘Gisaeng’ focuses on Gyobang’s ‘Gwangi’, but it actually refers to Pyongyang’s ‘Song Library’ and confuses Gisaeng with prostitutes. In particular, the author of <Korean Guide> may be seen as disparaging the gisaeng because of his lack of understanding of traditional rites and music without deep knowledge of the arts.

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