1920年代初期金瓚永의 藝術論과 그 意味

Abstract

The early 1920's in Chosun during the Japanese Ruling Era is the significant time in the birth of the modern art theory. Until now academics, however, have not taken a interest in Kim whan, Kim chan-young who tried to develop a modern ary theory in the fine art(esp. paintings), but Kim Dong-In, Yum Sang-sub, the representative of literary coterie magazines, Changjo, Phyehur(the ruins). This is thought upon the consequence that their artistic criticisms were underestimated as the mere introduction of the West trend of art. But it is that important point that their artistic criticism were the result of trying understanding the West trend of art in their own system art and thought. This study focuses on the artistic criticism of Kim chan-young, the modern painter graduated Tokyo art college in 1917 and developing artistic criticism enthusiastically as a member of Changjo, Phyehur(the ruins) and Youndae in the 1920's, and tries to explain how his critical works lead to contribute to the formation of the early modern art esthetics in Korea. Kim chan-young was concerned about the collision with the premodern and the modern, the understading and the lack of understanding of art. He made a decision which it is more urgent to get over the lack of understanding of art than to create art works. It is why he did his best in artistic criticism. However, he was very careful of translating art into language, because the essence of art is hard to express in language. For this reason, he set the naturalism to zero of artistic criticism. The naturalism is thought on pursuing the objectivity through the direct imitation of life and nature. The activity of translating art to language is also supposed upon eliminating the subjective roosuinbuilt in art. This is very important point inhihe naturalism is thousystem. Since then, he could explain the impressiontho(post-impressiontho) as the art trend overcoming naturalism with liberation of subjectivity and the cubism as the art trend overcoming the superficialness of naturalism with understanding of the deeper aspect of the reality. With the basis of this understanding, he tried to intervention to literary world actively, which is why he couldn't fully achieve his ideals(such as the idea of cubism) in the then circumstances of art. Working with Changjo, he saw his colleague(particularly Cheon young taek) responding to his artistic criticism, through writing novels with the influence of impressionism and futurism. It is applied to the most unique attempt of interchanging the fine art and the literature in 1920's.