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Since Yanagi’s criticism of Chosun arts was written on the background of the 1919 Samil Independent Movement of Korea, the weaknesses of the theory have been criticized against the emotional prejudices of the art criticism. Especially the concept of “the beauty of tragic sorrow” has been blamed variously for the weak point. One of the newly critical theories suggests a viewpoint of China, Korea, and Japan was discriminated in order to realize the unique beauty of Japanese readers. However, the critical theory has not any persuasion, considering the three following reasons. First, the term of ‘beauty of tragic sorrow’ has been developed as a precise theoretical bases on the diverse writings. Therefore the theory wasn’t constructed abruptly to accomplish an emergent project to discriminate the beauty of Japan from those of Korea and China. Second, in the writing of Chosun and its Arts, Yanagi focused on ‘the beauty of Japan’ during a track of Popular Art Campaign, but he didn’t attend to the discrimination. Third, according to a logical sequence a nationalism of establishing Japanese Identity was first discussed, from which anyone can feel emotion, interest, and affection, not applying aesthetic emotion to find out any feeling. However Yanagi tried to find out Korean aesthetic features on Korean arts or Chinese ones. Considering his theory’s accordance with that in The Way of Craftwork since his own popular art campaign, it has no persuasion that the theory emphasized on the established role of power of ideology. Considering these facts, Yanagi’s ‘the theory of tragic sorrow’ was not written for building any kind of ideology but tried to combine the beauty of Chosun with the unfortunate history of Korea, taking interest in Korean politics and history. Since his viewpoints on Korean arts were not fixed but was dealing with history of change, it does not make sense that the theory of tragic sorrow can represent his viewpoint on Korea and Korean Arts.
Yanagi focused on thoughts rather than academism, thinking than explaining, an art fan’s insight than objective or historical report, thinking that the mere academic study cannot illuminate the nature of beauty. At last Yanagi did think the genuine mutual understanding other nations can result from the arts, not from politics and commerce. It is because Yanagi’s first clue to reveal a nation’s characteristics is from art, so he thought to the end of life that a Chosun’ independence should not be interrupted with these factors. He thought of art as the first clue to understand a nation, which turn to his own country’s arts as “a discovery of craftwork”, so his theory of Chosun art would be an archtype of the theory of popular arts.
Yanagi focused on thoughts rather than academism, thinking than explaining, an art fan’s insight than objective or historical report, thinking that the mere academic study cannot illuminate the nature of beauty. At last Yanagi did think the genuine mutual understanding other nations can result from the arts, not from politics and commerce. It is because Yanagi’s first clue to reveal a nation’s characteristics is from art, so he thought to the end of life that a Chosun’ independence should not be interrupted with these factors. He thought of art as the first clue to understand a nation, which turn to his own country’s arts as “a discovery of craftwork”, so his theory of Chosun art would be an archtype of the theory of popular arts.
목차
Ⅰ. 서론
Ⅱ. 조선과의 관계와 조선예술비평의 관점
Ⅲ. ‘비애의 미’론과 야나기 무네요시 조선관의 문제
Ⅳ. 조선예술에 있어서 ‘민족’과 ‘역사’
Ⅴ.「민예」의 원형으로서의 조선예술
Ⅵ. 결론
〈참고문헌〉
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2013-601-001435125