모더니티의 첨단과 암실 사이의 공간(들) 에로셴코(Eroshenko)ㆍ나까무라 쯔네[中村彜]ㆍ이상(李箱)

Abstract

This paper tried to investigate into the background which Yi-sang, the writer of coonial Chosun, decided to go over to Tokyo, approaching his death. In his inner world, then, there was not only the linear direction to the tip of modernity. He also has some sympathy to the artistic universalism and collaboration of the artist who had been expelled from the regime of modernity in Japan. Speaking in advance, his sympathy was just an illusion. For this, centering around two artists, Nakamura tsune and Eroshenko who Yi-sang has mentioned in his writing, I attempted to clarify the special collaboration in Nakamuraya(中村屋)’s artistic salon. As a result of the study, it was confirmed that Yi-sang had a lot of interest in Nakamura Tsune from his childhood and that he had sympathized him with a same disease, overcoming the fear of death through pursuing his own art world. In particular, Yi-sang’s Friend,Moon Jonghyuk, remembered that he changed his style of portrait painting, influenced by a detailed description of “Statue of Mr. Eroshenko”(1920) Tsune had painted. Yi-sang also had a lot of interest in Eroshenko, the object of “Statue of Mr. Eroshenko” as well. “Blind Room of Map” published in 1932, he mentioned Eroshenko and affirmed the existence of the blind room at the rear of modernity represented by ‘clock’, ‘calendar’ and ‘map’ through contrast of the dark and brightness. Thus, Yi-sang cited Nakamura Tsune and Eroshenko keeping it in mind that there is the Nakamuraya salon as a representative Japan’s artistic salon in the 1920-30s. Yi-sang went far across the sea with a expectation for the artistic solidarity imagining himself in rubasyuka(the Russian traditional costume Eroshenko put on). However, such a fantasy couldn’t eventually go beyond national boundaries, in which there was just a tragedy Yi-sang was stuck in. It was destiny for the artist in colonial Chosun who wanted the space(s) between modernity and blind room to run into in Tokyo.