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This paper analyzes the cultural experience of the seaport city through the empirical narratives of foreigners, Japanese and Koreans who crossed the sea port city of Busan in the late 19th and early 20th century. The first thing I have seen through the travels of many Europeans, including H. N. Allen, is the variety of routes. There were several sections of the maritime city, which was a contact zone with the route formed at the end of the 19th century before the trench ferry became official route. Even after the Bukwan(釜關) ferry became official route, Japan used the policy of multi-waterway, and discussion on this did not progress. The European-centric, privileged gaze that perceives the landscape of the maritime city, the contact zone, is a common phenomenon that can be seen through most travelers. It is because the harrow has become the media that guarantees the empire's eyes. Busan is a contact area where the gaze of the batter and the subject intersect. The gaze overlooking Busan city, Busan, was differentiated from that of Japan. It reflects the characteristics of the narrative of racial hierarchy and discovery. The media, which connects the colonies and blood colonies, occupies a very large proportion. Ships are a living micro-cultural and micro-political system. Through the Chronotope of the ship, the traveler's identity can be explored and the discontinuous historical connection between the ports. However, Europeans tend not to describe the Chronotope of a ship in detail. In the case of Takahama Soji, which is a Japanese, it is similar to this, but there is a clear view that the Koreans in the contact area Busan are typified by Koreans. On the other hand, Yeom Sang-Sup gets a chance to check his identity through the Chronotope of the ship. The ships are different chronotopes to Europeans, Japanese, and Koreans who reach the port city of Busan. For Europeans and Japanese, the Chronotope of the ship is erased or less specific, while the Koeran, Yeom Sang-sup, focuses on highly perceived features.