1920년대 오상순의 예술론과 이상적 공동체상(像)

Abstract

The purpose of this study is analyzing Oh Sang-sun’s works in the early 1920s and explaining his image of artistic humans and their communities. In Oh Sang-sun’s works in the early 1920s, the poetic narrator considers his own body as mysterious, since it has grown involuntarily. So he hopes to master the law of nature, or the arcane power of God. Oh Sang-sun figures one who bids to achieve this goal as an artist, and one who can achieve it naturally without effort as a ‘child,’ and one who vests the ‘child’ with such creative power as ‘Mother.’Meanwhile, Oh Sang-sun suggests not only the ‘child’ but also ‘the kingdom of children.’ In this space, the individuality and the originality of a person are regarded perfectly common and natural that they do not require any exertion of respect or understanding at all. This idea is also found from the name of the magazine, ‘Jangmichon(villiage of roses),’ in which Oh Sang-sun was engaged. From these similar concepts, it can be inferred that Oh Sang-sun had a prospect of the ideal community. In fact, Oh Sang-sun maintained a close relationship with Musyanokouji Saneatsu from Japan, Zhou Zuoren from China, and Lee Jeong-gyu from Korea. And these three figures were active in the ideal village construction movement and under the influence of Anarchism. Judging from this fact, Oh Sang-sun’s image of ideal community was not just a romantic space only built in one’s mind, but an actual potential space as a blueprint. In spite of theoretical affinity among Oh Sang-sun, Saneatsu, and Zhou Zuoren, singularities of Oh Sang-sun’s idea exists too. Oh Sang-sun supplemented logicality and concreteness to his idea comparing it to the relationship of mother and son. And he kept agonizing about the horrors of the war, unlike the other figures, who eventually used his rhetoric of humanitarianism for glorifying imperialism, or who changed his direction into individualism after the disappointment about the social conditions.