『廢墟』 동인과 야나기 무네요시(柳宗悅) = P’yehŏ(『廢墟』) Coterie And Yanagi Muneyoshi(柳宗悅)

다국어 초록 (Multilingual Abstract)

This paper is aimed to consider the literature of P’yehŏ Coterie and Yanagi Muneyoshi with the thought which they had owned jointly. All the members of P’yehŏ Coterie had gone abroad to study in Japan and they were in the center of modern ages translated through their study abroad experience. They also had developed literature of relationship affected by various people and thoughts. The theory of sorrowful beauty of Yanagi Muneyoshi was not accepted directly by P’yehŏ Coterie and they got to observe Chosun and Japan in the mutually influential relationship. In this point of view, it can be found that P’yehŏ Coterie and Yanagi Muneyoshi had held anarchism in common but they gained different currency with each other within such a reciprocal thought.
Interchange between Yanagi Muneyoshi and P’yehŏ Coterie had been in various methods such as publication of magazine like a P’yehŏ, exposition of concerts and lectures, translation, correspondence of letter, inspection of art museum, etc. And these aspects of correspondence had been represented in the form of literature. It revealed that Japanese and the people of Chosun had felt sorrow of self-gazing while accepting the new trend of thought from the scene in which they looked at and called the roll toward their own races. All the members of P’yehŏ Coterie had commonly kept passion of developing new culture through the art and religion from Hwang Seok-Woo who left P’yehŏ Coterie early by reason of differences in ideology to Yeom Sang-Seop who had presented straightforwardly the influence from Yanagi Muneyoshi in his works.
Influential relationship with Yanagi Muneyoshi can be seen from essays of Hwang Seok-Woo, who had wanted to make changes of the people of Chosun by introducing world’s new trend of thought as a proposal of improvement, Oh Sang-Soon, who had thought reconstruction of art and literature of Chosun through the christian mysticism transformed from the theory of religious art of Yanagi Muneyoshi and Lee Ik-Sang, who had found ruinous beauty from religious love of mankind, etc. There were also some people who had projected the theory of aesthetics of Yanagi Muneyoshi into their works of literature. Yeom Sang-Seop had reflected activity of Chosun at death’s door by appropriating the theory of art of Yanagi Muneyoshi. Nam Goong-Byeok had presented aesthetics of self-discovery through the imagination and intuition about nature. And Min Tae-Weon had insisted literature of life and blood from reversal of Yanagi Muneyoshi’s view of nature. Byeon Young-Rho, Na Gyeong-Seok et al. represented reception and criticism of foreign ideologies in their essays by making Yanagi Muneyoshi as a node. Byeon Young-Rho had severely criticized vague praises about Korean white principle. Na Gyeong-Seok had insisted the literature of the common people as being free from proud in loneliness principle of art supremacy.
Tendency of being literature of intuition, new life and personality shown by P’yehŏ Coterie connected to the difference between Chosun and Japan, which had been experienced by them from the period of study abroad. In the same time, It had revealed difference of realization between Yanagi Muneyoshi and P’yehŏ Coterie. The former just only had looked at Chosun from outside but the latter had lived in Chosun.

다국어 초록 (Multilingual Abstract)

This paper is aimed to consider the literature of P’yehŏ Coterie and Yanagi Muneyoshi with the thought which they had owned jointly. All the members of P’yehŏ Coterie had gone abroad to study in Japan and they were in the center of modern ages translated through their study abroad experience. They also had developed literature of relationship affected by various people and thoughts. The theory of sorrowful beauty of Yanagi Muneyoshi was not accepted directly by P’yehŏ Coterie and they got to observe Chosun and Japan in the mutually influential relationship. In this point of view, it can be found that P’yehŏ Coterie and Yanagi Muneyoshi had held anarchism in common but they gained different currency with each other within such a reciprocal thought.
Interchange between Yanagi Muneyoshi and P’yehŏ Coterie had been in various methods such as publication of magazine like a P’yehŏ, exposition of concerts and lectures, translation, correspondence of letter, inspection of art museum, etc. And these aspects of correspondence had been represented in the form of literature. It revealed that Japanese and the people of Chosun had felt sorrow of self-gazing while accepting the new trend of thought from the scene in which they looked at and called the roll toward their own races. All the members of P’yehŏ Coterie had commonly kept passion of developing new culture through the art and religion from Hwang Seok-Woo who left P’yehŏ Coterie early by reason of differences in ideology to Yeom Sang-Seop who had presented straightforwardly the influence from Yanagi Muneyoshi in his works.
Influential relationship with Yanagi Muneyoshi can be seen from essays of Hwang Seok-Woo, who had wanted to make changes of the people of Chosun by introducing world’s new trend of thought as a proposal of improvement, Oh Sang-Soon, who had thought reconstruction of art and literature of Chosun through the christian mysticism transformed from the theory of religious art of Yanagi Muneyoshi and Lee Ik-Sang, who had found ruinous beauty from religious love of mankind, etc. There were also some people who had projected the theory of aesthetics of Yanagi Muneyoshi into their works of literature. Yeom Sang-Seop had reflected activity of Chosun at death’s door by appropriating the theory of art of Yanagi Muneyoshi. Nam Goong-Byeok had presented aesthetics of self-discovery through the imagination and intuition about nature. And Min Tae-Weon had insisted literature of life and blood from reversal of Yanagi Muneyoshi’s view of nature. Byeon Young-Rho, Na Gyeong-Seok et al. represented reception and criticism of foreign ideologies in their essays by making Yanagi Muneyoshi as a node. Byeon Young-Rho had severely criticized vague praises about Korean white principle. Na Gyeong-Seok had insisted the literature of the common people as being free from proud in loneliness principle of art supremacy.
Tendency of being literature of intuition, new life and personality shown by P’yehŏ Coterie connected to the difference between Chosun and Japan, which had been experienced by them from the period of study abroad. In the same time, It had revealed difference of realization between Yanagi Muneyoshi and P’yehŏ Coterie. The former just only had looked at Chosun from outside but the latter had lived in Chosun.

참고문헌 (Reference)

• 1 象牙塔, "｢詩話-詩의 初學者에게｣ 『每日申報』, 1919. 10. 13"
• 2 최하림, "柳宗悅의 韓國美術觀에 대하여 in: 한국과 그 예술" 지식산업사 245-261, 1974
• 3 柳宗悅, "柳宗悅全集 3" 春秋社 208-230, 1954
• 4 염상섭, "不得已하야" 1920
• 5 이인범, "조선예술과 야나기 무네요시" 시공사 39-85, 2000
• 6 김희정, "조선에서의 야나기 무네요시(柳宗悅)의 수용 양상" 한국일어일문학회 51 (51): 219-243, 2004
• 7 야나기 무네요시, "조선과 그 예술" 신구 1994
• 8 南宮璧, "잇기의 그림자" 新生活社 9 : 107-129, 1922
• 9 이종호, "일제시대 아나키즘 문학 형성 연구" 성균관대학교 2006
• 10 柳田國男, "일본 명치·대정시대의 생활문화사" 소명 450-, 2006
• 11 久野收, "일본 근대 사상사" 문학과지성사 14-, 1994
• 12 염상섭, "이중해방" 3 : 1920
• 13 김윤식, "염상섭 연구" 서울대학교출판부 67-113, 1986
• 14 이양숙, "야나기 무네요시(柳宗兌)의 '조선예술론'에 대한 고찰" 민족문학사학회 31 (31): 123-154, 2006
• 15 中見眞理, "야나기 무네요시 평전" 효형출판 2005
• 16 高崎宗司, "아사카와 다쿠미 평전" 효형출판 101-102, 2005
• 17 想涉, "셰 번이나 본 共進會" 11 (11): 1923
• 18 염상섭, "상아탑형□ - ‘丁已의 作’과 ‘理想的 結婚’을 보고……" (2) : 1919
• 19 柳宗悅, "불교미학 in: 공예가의 길" 1989
• 20 Luc Ferry, "미학적 인간" 고려원 81-, 1994
• 21 "동아일보"
• 22 이구열, "근대한국미술사의 연구" 미진사 410-413, 1992
• 23 柄谷行人, "근대 일본의 비평 1" 소명 195-196, 2002
• 24 이명원, "계몽과 창조의 혼성담론 in: 연옥에서 고고학자처럼" 새움 220-, 2005
• 25 민태원, "音樂會" 2 : 15-116, 1921
• 26 "近代思潮" 1916
• 27 "趣旨書 及 組織" (임시) : 68-69, 1922
• 28 牛步, "花壇에서" 新文館 (9) : 89-90, 1919
• 29 남궁벽, "自然" 1 : 72-, 1920
• 30 황석우, "自文 in: 자연송" 조선시단사 2-, 1929
• 31 大杉榮, "生の擴充 in: 大杉榮全集 제1권" 大杉榮全集刊行會 38-39, 1926
• 32 公民, "洋鞋와 詩歌" (1) : 31-36,
• 33 염상섭, "標本室의 靑개고리" 16 : 117-119, 1921
• 34 柳宗悅, "李朝 陶磁器의 特質(4)" 10 : 1922
• 35 柳宗悅, "李朝 陶磁器의 特質" 7 : 1922
• 36 象牙塔, "新我의 序曲" 8-9, 1919
• 37 柳宗悅, "序文 in: 朝鮮とその藝術" 叢文閣 1922
• 38 오상순, "宗敎와 藝術" (2) : 1-21, 1921
• 39 小口偉一, "宗敎學辭典" 東京大學出版會 1989
• 40 柳兼子, "夫 柳宗悅を語る" 40 : 92-93, 1984
• 41 "同人印象記" (2) : 100-110, 1921
• 42 南宮璧, "內外兩面의 印象" 新半島社 2 : 107-, 1921
• 43 想涉, "個性과 藝術" (22) : 1922
• 44 KS生, "低級의 生存慾-打作마당에서, C君의게" (4) : 34-, 1915
• 45 William Blake, "On Another’s Sorrow, Songs of Innocence in: 블레이크 예술론" 한남대학교출판부 86-, 2003
• 46 박계리, "20세기 한국회화에서의 전통론" 이화여대 2006
• 47 김명섭, "1920년대 초기 재일조선인의 사상단체" 1 : 19-, 2001
• 48 조영복, "1920년대 초기 시의 이념과 미학" 소명 249-312, 2005