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This paper opens up a new understanding of Jiyong Jung’s later-period verses by investigating the encounters between writers and artists, and their artistic ideology in common, on the basis of Munjang (style; composition), a literary magazine in the latter half of 1930s.
Munjang can be considered to be a historical point of interaction between the worlds of artists and writers, in the history of modern art. The artists and writers aimed at a shared artistic ideology via Munjang, which helped them to culturally cope with the latter age of colony that was full of abjection and depression.
The search for the Orient and classics of the 1930s is a problematic issue which meets with imperial Japan’s culture logic, called the Greater East Asia Co-Prosperity Sphere. Munjang was extended far to a literary, cultural phenomenon, by taking the initiative in the traditional argument within the framework of fascism, Greater East Asia Co-Prosperity Sphere, its supporting theory on the cultural history of the Orient, and furthermore its literary phenomenon called Asianism. However, it is noteworthy that the manifestation of the traditional argument is characterized by nationalism, apart from Asianism that is based on imperialism.
Munjang took into account the matter of accepting the western modernization with the backdrop of the Orient, which they did not want to give up on, in order to confirm their identity. At the moment of recognizing the immense transition, free from the formal aesthetics, Munjang was exploiting as a shield the search for maintaining modernism in the spirit of the Orient and graceful classics, with temperance and dignity, so that they could tactfully stay aloof from being subjects of the empire.
Jiyong Jung attempted to create a new aesthetic format, as well as to aggrandize the spirit of poems which was atrophying, by virtue of the oriental cogitation that is the foundation for Munjang and paintings in the literary artist’s style. The exchange with artist Jinseop Gil, among others, provided an opportunity to share the artistic values and goals that Munjang was pursuing at the junction of art and literature, which eventually furnished concrete experience to Jung so that he could consummate his poetics of the Orient.
Munjang can be considered to be a historical point of interaction between the worlds of artists and writers, in the history of modern art. The artists and writers aimed at a shared artistic ideology via Munjang, which helped them to culturally cope with the latter age of colony that was full of abjection and depression.
The search for the Orient and classics of the 1930s is a problematic issue which meets with imperial Japan’s culture logic, called the Greater East Asia Co-Prosperity Sphere. Munjang was extended far to a literary, cultural phenomenon, by taking the initiative in the traditional argument within the framework of fascism, Greater East Asia Co-Prosperity Sphere, its supporting theory on the cultural history of the Orient, and furthermore its literary phenomenon called Asianism. However, it is noteworthy that the manifestation of the traditional argument is characterized by nationalism, apart from Asianism that is based on imperialism.
Munjang took into account the matter of accepting the western modernization with the backdrop of the Orient, which they did not want to give up on, in order to confirm their identity. At the moment of recognizing the immense transition, free from the formal aesthetics, Munjang was exploiting as a shield the search for maintaining modernism in the spirit of the Orient and graceful classics, with temperance and dignity, so that they could tactfully stay aloof from being subjects of the empire.
Jiyong Jung attempted to create a new aesthetic format, as well as to aggrandize the spirit of poems which was atrophying, by virtue of the oriental cogitation that is the foundation for Munjang and paintings in the literary artist’s style. The exchange with artist Jinseop Gil, among others, provided an opportunity to share the artistic values and goals that Munjang was pursuing at the junction of art and literature, which eventually furnished concrete experience to Jung so that he could consummate his poetics of the Orient.
목차
1. 동양 전통시학과 『문장』의 예술적 지향
2. 문인과 미술인 교류의 장(場), 『문장』
3. 신문인화(新文人畵)의 전통과 근대적 감각
4. 정지용의 후기시와 조선문화의 정체성
【참고문헌】
【Abstract】
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