Abstract
본 연구의 목적은 활자본 <춘향전> 속 삽화의 의미를 고찰하는 것이다. 활자본 <춘향전> 이본 7종을 대상으로 삽화의 구성과 양상을 분석하였다. 삽화가 있는 활자본 <춘향전>은 20세기 초에 발행된 <옥중화> 계열의 작품들이다. 삽화를 살펴본 결과 구성과 양상 면에서 일부 유사한 점도 있지만 유의미한 차이점을 드러내고 있다. 그 중 <도상옥중화>는 가장 큰 특이점을 지니고 있었다. 비록 <옥중화>의 인기에 힘입어 유사 본으로 출간되었지만 삽화의 경우는 독자성을 갖추기 위한 노력의 흔적이 보인다고 할 수 있다. 이를 통해 기존 산문 위주의 춘향전 연구에서 벗어나 새로운 문화현상으로 존재한 <춘향전>의 변모와 실제를 확인할 수 있었다. 당시 단행본으로 제작․유통되었던 활자본 고소설 가운데 유독 <춘향전>만 삽화가 많이 등장한다. 이는 <춘향전> 서사가 지닌 회화적 특성이 첫 번째 이유일 것이다. 다른 고소설보다 다양한 시각 이미지를 환기하는 어휘가 사용되었고, 진술 방식에서도 묘사가 큰 비중을 차지하기 때문이다. 다음은 시각 매체의 등장이라는 출판문화의 환경 변화의 측면에서 살펴볼 수 있다. 당시 <춘향전>의 인기는 여전했지만 출판문화의 변화에 직면하였고, 이에 출판업자들의 민감한 대처 능력이 만들어낸 콘텐츠 개발의 새로운 결과라고 할 수 있다. 이는 기존의 것을 무조건 고수하기 보다는 새로운 것에 도전하고 변화를 시도했다는 점에서 문학을 비롯해 예술적 차원에서 충분히 의의가 있다. 특히 <춘향전>의 경우 소리, 극, 소설을 비롯하여 현대에도 다양한 매체를 통해 재탄생․향유되고 있는 주요한 우리 고전 콘텐츠가 된 데에는 이러한 변화의 경험도 중요한 한 요인이 되었으리라 생각한다.The present paper is to examine the meaning of illustration in the print-edited <Chunhyang-jeon>. The structure and appearances of illustration were analyzed with the subjects of the seven different versions. Print-edited <Chunhyang-jeon> with illustration are closely- related works to <Okjunghwa> published in the early twentieth century. As a result of examining the illustrations of <Chunhyang-jeon>, it was revealed that some of them had similarities and that there were also definitely significant differences in the light of structure and appearance. <Dosangokjunghwa> had the most difference among them. Although <Okjunghwa> led the publications of many other similar books thanks to its popularity, in the case of illustration, it was shown that it had attempted to make special efforts to have its own original styles. It can be said that through this, the changes and entity of <Chunhyang-jeon> which existed as a new cultural phenomenon was confirmed, as the study was not the conventional, prose-focused study of <Chunhyang-jeon>. Among the print-edited classical novels which were published and distributed as a separate volume at that time, only <Chunhyang-jeon> had many illustrations in it. The first reason seems to be the fact that its story has pictorial characteristics. It was because it used the vocabularies to evoke various visual images more than other classical novels did and because it gave much weight on describing in the light of story-telling. Next, it could be examined from the aspect of the environmental change in the publishing culture with the appearance of the visual media. Although the popularity of <Chunhyang-jeon> remained unchanged, it faced with the change of the publishing culture. And it can be said that it was a new result of content development that the coping capabilities of the sensitive publishers had accomplished. It can be said that it has great significance in the aspects of art and literature in that it had challenged for the new things and tried to make a change, rather than sticking to the conventional styles. It is thought that especially in the case of <Chunhyang-jeon>, one of the reasons that it became major classical contents as it is still recreated as Pansori, drama, novel, etc. and enjoyed via various media even in the modern times, is that it experienced those changes and it became a major factor.
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