Korea and China have maintained close ties since ancient times. In terms of cultural attributes, both Korea and China belong to the Asian Confucian cultural circle, in which Confucian ethics have long served as a moral code in both countries. This has produced many similarities in the historical and cultural development of the two countries. The concept of family and patriarchy is one of the core aspects of Confucian family culture. This forms the moral values of the society as a whole in the countries of the Confucian cultural circle, and is important for understanding the culture of the two societies.

This dissertation will examine father image as it appears in family novels through Yeom Sang-seop's Three Generations and Ba Jin's Home. Father figures reflect institutional values such as moral or action norms. This is what maintains and supports the patriarchal order in the context of blood relations. But the father figure does not simply exercise influence within the domestic sphere. This is due to the expansion into the social sphere, establishing an order such as ideology or culture, and influencing to support it. Thus, father image necessarily encompasses multiple levels of meaning. Although Korea and China have significant differences in their national institutions or cultural philosophies, the two countries can also share a similar historical-cultural context. In particular, Korea and China are influenced by Confucianism and the role of fathers in the family and society is very important. Therefore, a comparative study of father figures appearing in Korean and Chinese novels is of great significance in understanding the conditions of the modern transformation period and the trends of social development experienced by the two countries. At the same time, a deeper understanding of the changing times and cultural development of Korea and China will help to exchange the literature and culture of both nations in depth.

In Chapter II, this dissertation examines the lives of Yeom Sang-seop and Ba Jin and the context in which Three Generations and Home were written. This is followed by an examination of the literary ideas of the two authors, centering on Yeom Sang-seop's Three Generations and Ba Jin's Home.

Chapter III examines the father figures that appear in Yeom Sang-seop's Three Generations. The father figures that appear in "Three Generations" can be divided into the first generation father, "Zhao Yi Guan", the second generation father, "Zhao Sang Hoon", and the third generation father, "Zhao De ji". By analyzing the images, personalities, and thinking styles of the characters in the works, we can understand the image of fathers in each era. The characters are divided into those who have a strong sense of family, those who are corrupt and irresponsible, and those who have an attitude toward their fathers.

Chapter IV examines the father figures that appear in Ba Jin's Home. Home is an archetypal work of the extended family in feudal China. The main historical context is after the May 4 Movement period, when the new generation with new education and the old generation bound by feudal ritualistic ideology have different father figures. In this regard, they are analyzed by dividing them into the power-centered father figure, the selfish and hypocritical father figure, and the gentle and weak father figure.

Chapter V is a comparative analysis of the commonalities and differences between Yeom Sang-seop's Three Generations and Ba Jin's Home, as well as an analysis of the father figures that appear in Korean-Chinese family history novels. Three Generations and Home are family history novels created in the same period, and both works deal with similar content. However, the two writers experienced different times and historical backgrounds in their home countries, so the two writers have different ways of representing their perceptions of father figures. Yeom Sang-seop is focused on the pursuit of national awakening, while Ba Jin is focused on the direct exposure of feudalism.