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A Comparison of the Storytelling in the Woodcut Drawing Plate of Samganghaengsildo and Oryunhaengsildo Jungran Oh (Kwangwoon University) This paper provides a comparative analysis on the storytelling between cartoons of Samganghaengsildo, Dongguksinsok-samganghaengsildo and paintings of Oryunhaengsildo in Woodcut Drawing Plates of these Confucianism textbooks. Pictures on Samganghaengsildo and Dongguksinsok-samganghaengsildo used a narrative-cartoon approach with strong storytelling to effectively deliver Samgang-Ideology. In Oryunhaengsildo, an aesthetic impression was sought via a painting technique. Such changes in the painting technique of these Haengsildo books were in demand at the time. When the distribution of Samganghaengsildo and the education of people were urgently required, a steady development on the cartoon techniques and animative ideas was made. Also, the role of cartoon in the Samganghaengsildo and Dongguksinsok-samganghaengsildo was as equally important as that of the text, consisting the body of the book. But as the distribution of Samganghaengsildo showed a decent success through a consistent national policy and certain internal-external factors of Samganghaengsildo, the burden of distributing Samgang-Ideology through narrative-cartoon must naturally had reduced. As a result, the pictures of Oryunhaengsildo had given up the function of ideology distribution. Instead, they were converted into beautiful paintings aimed at providing an aesthetic impression. This change in trend, which turned the painting into mere illustration with no narrative function, must have subordinated the role of the painting to the role of the text book.