1920년대 초반 '동인지(同人誌)'에 나타난 예술이론 연구

Abstract

Donginji(同A誌) is a peculiar phenomenon in Korean literary and art history. However the early 1920’s publication of Donginji specially means a birth of the literature as art in colonial Korea where people have been regarded the literature as a kind of toys for killing-time. It is Donginji’s members who wished to correct a prejudice for the literature and make it the most important thing in this life. They devoted themselves to establishing a new idea for the literature as art. However in Korea for a long time literature has been regarded as a kind of medium which transports the author’s ethical attitude to the reader’s mind. This authors have been known by the name of Munsa(文士). Donginji rejected this name for the literature man (poets, novelists and so on). They asserted the autonomous domain for the literature that freed from the other’s insight which was the key of the old ethics. They believed that ture ethics is the individual’s inner morality which is the foundation for the new idea of literature. Therefore they wanted to construct the theory of literature on the basis of the new morality. They made literature prevent from the intervention of reality principle. At last the literature became the moral expression of a man who would like to transcendent from this reality world. Owing to this change we could have been possessed of the modem literature idea. Dongiηji also tried to recover a honor of the old artists who have been named Jangin(匠人). But for this name Korean people remembered the humble occupation since Jangin had the technology with which they produced the decorative art. But for a long time technology had been regarded as the sign of a someone’s ignobleness. Throughout the enlightment peri ode social situation had been changed, and technology had been extoled to the sign of civilization which was the most important aim at that time. At last Donginji substituted Munsa for Jangin as the new model of artists. Donginji rehabilitated Jangin’s technology as such the sign of modern art. Especially it is important that literature and art together would like to root in Jangin’s tradition. From this change literature and art could subsume to the high concept of art. Therefore the literature could regard as art’s sub-genre from this time. However we must differentiate the artist from artisan(匠人). We can divide the nature of Jangin into two properties, of which one is a technology and the other is an artistic sense. But Jangin’s production is not a work of art, since there is nothing for the beauty world. For Donginji artist art ought to build out the beauty world in this real world. Donginji asserted that a interest to the beautiful world wasn’t artisan’s inherence but artist’s. Jangin’s technology was the out-of date ability. For artist technology had to be a victim to sacrafice so as to build the beautiful world. But it is the fate of art that beautiful world also had to possess the exchange value to consume in this capitalism. More the exchange value intervenes to the work of art, more the demand for creating beauty value increases. Donginji’s demands for a originality was the answer for the oppression of economic value.