earticle

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This paper has analyzed Samganghaegsildo from the perspective of cartoon semiology, and reached to a conclusion that those unique depiction styles of drawings in Samganghaegsildo can be reinterpreted by cadres, strips, planches, albums, and nameplate balloon or word balloons. This uniqueness of drawings of Samgahaegsildo is in the same line with features of cartoon, which is referred to as “the ninth art” nowadays. Drawings of Oryunhaegsildo might be superior to those of Samganghaegsildo from the perspective of paintings. However, from the perspective of cartoons, features of cartoons in Samganghaegsildo which sprouted 400 years earlier than in western cartoons regressed in Oryunhaegsildo. This paper shows that among many Haengsildos, Donggksinsok-Samganghaengsildo had approached to techniques of cartoons most closely. Also simplified drawings in Samganghaegsildo tells that there were coded icons agreed between publishers and readers. The coded icons were a important mechanism to help illiterates and children understand the context of the book only through those drawings. Besides a simply typified discourse structure of Samganghaegsildo effectively worked to convey ideology to its readers. In other words, Samganghaegsildo is a book of stories about somebody who received rewards as a result of his or her filial piety. This typified structure of Samganghaesgsildo might have made possible it readers to have schema and enhance reading comprehension. The synergy of learning Samgang ideology through the typified discourse structure and the coded icons of the cartoon genre's description technique may compete with today's best seller study cartoons.