김환(金煥)의 「미술론」과 식민지 조선의 ‘미학’ 수용

Abstract

In the modern history of art in Korea, there are some cases with 'Literature' and 'the Fine Art' corresponding with each other, sharing the same artistic philosophy and seeking mutual artistic practice. Among them, maybe the literary magazine, "Chang-Jo", which start with the modern literature, comes first to everyone's mind. Of course, this period seems particularly true in the meaning that it was a time that modern literature and modern fine art defined its own artistic area. But in the magazine, "Chang-jo", each areas of literature and fine art have formed the sharing point under the same aesthetic base influencing each other. On the other hand, Kim Whan is significant with being a hands-on staff of "Chang-jo" and writing "Artistic Criticism" etc. So far, though, Kim Whan has been underrated than Kim, Kwanho and Kim, Chanyoung, there is obviously a point of re-evaluation in the way that he plays an important role in constituting a total art idea in the early days of "Chang-jo". In this paper, I have purpose with review on the artistic criticism of Kim Whan's as the first specific challange to unravel the total art idea that "chang-jo" constituted as a professional modern literary magazine. Above all, in this paper, I found that Kim Whan has studied in Japan Art School that founded by Kino Toshio who majored and taught mainly Aesthetics and History of Art as a professor of Waseda University. Through this fact, I also found that his artistic criticism has been made under the influence of the books about Aesthetics written by Shimamura Hoketsu and Matsumoto Kojiro, etc. Kim Whan emphasized the beauty of the 'nature' and the 'nature' from 'Mysterious Screen' first published in "Chang-jo" to the writing on artistic criticism. So to speak, he misunderstood the concept of beauty intentionally from the natural beauty and artificial beauty of Western aesthetics established under the influence of I. Kant. Such a conceptual entangling of his was important and problematic enough to provoke a debate between Kim Dongin and Yum Sangseop then. His own artistic criticism was forced to lose its installation position as more sophisticated theory appeared by Kim Chanyoung. Nevertheless, his criticism had plenty of meaning just being the only first one submitted in the form of the early 'theory' on modern art.