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초록· 키워드
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It is the established theory that the literary journal Mun-jang’s principle ideology was classicism or traditionalism. The ideology seems motivated by the desire to contrive the aesthetic and imaginative political body of “the community of Korean nation” under the severely challenged political circumstances. If it is, it becomes impossible to answer the following questions: how can we define the concept of the tradition or the classical as the principle idea of Mun-jang? In what way the idea was pursued? Mun-jang’s classicism could not be established as an ideology unless one interrogates the reality of the journal’s project itself, not the intentions of the project or its results. What is the substantial of Mun-jang’s project?
To answer this question, I analyze the form of the journal. Not only the quality of its contents consists of Mun-jang’s goal, but also the aesthetic completeness of its form. I examine the aesthetic sense of Yi T’ae-jun and the artistic coterie called Mogil-hoe since Mun-jang was created and published under the co-guidance of the aesthetic sense shared by the two seemingly disparate groups: the literary group of Yi Py?ng-gi, Ch?ng Chi-yong, and Yi T’ae-jun and the artistic group of Kim Yong-jun and Kil Chin-s?p.
The analysis of their aesthetic sense leads us to conclude that the ideology of Mun-jang was the literary journal Mun-jang itself. The journal’s ideology was not expressed through the journal; it was embodied in the body of the journal itself. In this journal, there is no way to separate its form from its ideology. In this sense, Mun-jang can be called as artists’ journal while In-mun P’y?ng-non was critics’ journal.
To answer this question, I analyze the form of the journal. Not only the quality of its contents consists of Mun-jang’s goal, but also the aesthetic completeness of its form. I examine the aesthetic sense of Yi T’ae-jun and the artistic coterie called Mogil-hoe since Mun-jang was created and published under the co-guidance of the aesthetic sense shared by the two seemingly disparate groups: the literary group of Yi Py?ng-gi, Ch?ng Chi-yong, and Yi T’ae-jun and the artistic group of Kim Yong-jun and Kil Chin-s?p.
The analysis of their aesthetic sense leads us to conclude that the ideology of Mun-jang was the literary journal Mun-jang itself. The journal’s ideology was not expressed through the journal; it was embodied in the body of the journal itself. In this journal, there is no way to separate its form from its ideology. In this sense, Mun-jang can be called as artists’ journal while In-mun P’y?ng-non was critics’ journal.
목차
1. 『문장』의 화가들 : 김용준과 길진섭
2. 목일회(牧日會)의 동양주의 미술
3. 김용준의 예술론- 형식으로서의 미적 이념
4. 『文章』이라는 작품
【참고문헌】
【Abstract】
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