이태준과 김용준에 나타난 문학과 회화의 상호작용
Lee Tae-jun and Kim Yong-jun : relationship between literature and art
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The purpose of this study is to reveal the interactive relationship between literature and art during 1930's, especially focusing on the relation between two important artists of 1930's, Lee Tae-jun(李泰俊) and Kim Yong-jun(金瑢俊). In order to analyse the novels of Lee Tae-jun, his view of paintings and theory of literature, this study proposes to establish the comparison between Lee Tae-jun and Kim Yong-jun. Best friend and artistic partner, they shared artistic belief that the main factor of art is how to express the writer's emotions or subjective feelings. They made one team, Moon Jang Pa(文章派), in 1939. After that, they had pursued modernism and traditional values. Lee Tae-jun made an important role as critic of art as well as novelists. He tried to enter into a new relationship between literature and art theory. On the other hand, Kim Yong-jun, who played a crucial role in the emergence of Orientalist art, changed direction in the late 1930's to ink painting via orientalized oil painting. He recieved the oriental painting tradition by bringing 'literary' back to 'painting', reversing the existing trend of separating 'literary' from 'painting', and thus sought to achieve modern succession of literary painting by restoring the unification of poetry, calligraphy and painting. In order to reveal the relationship between literature and art during 1930's, this study propose to examine three things : activities of Kim Yonh-jun as book cover designer, intertextual relation between the famous essay of Lee Tae-jun, Museorok (無序錄) and the essay of Kim Yong-jun, Essay of Keun Won (近園隨筆). Finally this study examines how the short stories of Lee Tae-jun show specific characters of painting. His short novels are influenced by his theory of paintings and literature. He give a specific meaning to the 'description' in the short novels like Dal Bam.
Abstract
The purpose of this study is to reveal the interactive relationship between literature and art during 1930's, especially focusing on the relation between two important artists of 1930's, Lee Tae-jun(李泰俊) and Kim Yong-jun(金瑢俊). In order to analyse the novels of Lee Tae-jun, his view of paintings and theory of literature, this study proposes to establish the comparison between Lee Tae-jun and Kim Yong-jun. Best friend and artistic partner, they shared artistic belief that the main factor of art is how to express the writer's emotions or subjective feelings. They made one team, Moon Jang Pa(文章派), in 1939. After that, they had pursued modernism and traditional values. Lee Tae-jun made an important role as critic of art as well as novelists. He tried to enter into a new relationship between literature and art theory. On the other hand, Kim Yong-jun, who played a crucial role in the emergence of Orientalist art, changed direction in the late 1930's to ink painting via orientalized oil painting. He recieved the oriental painting tradition by bringing 'literary' back to 'painting', reversing the existing trend of separating 'literary' from 'painting', and thus sought to achieve modern succession of literary painting by restoring the unification of poetry, calligraphy and painting. In order to reveal the relationship between literature and art during 1930's, this study propose to examine three things : activities of Kim Yonh-jun as book cover designer, intertextual relation between the famous essay of Lee Tae-jun, Museorok (無序錄) and the essay of Kim Yong-jun, Essay of Keun Won (近園隨筆). Finally this study examines how the short stories of Lee Tae-jun show specific characters of painting. His short novels are influenced by his theory of paintings and literature. He give a specific meaning to the 'description' in the short novels like Dal Bam.
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