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A new visual art, ‘novel illustration’ in newspaper serial novels in modern period, was published in more various newspaper novel illustrations in liberation period. In liberation period, total 18 newspaper novel illustrations by Jeong Hyeon-ung were published in the five newspapers including 『Seoul Sinmun』, 『GyeonhyangSinmun』, 『MinjuIlbo』, 『HanseongIlbo』, 『TaeyangSinmun』 from 1946 to 1950 prior to his defection to North Korea. The themes of the newspaper novel illustrations by Jeong Hyeon-ung were categorized according to their types of illustrations and novels as follows: the popular novels, such as 「Cold Current, Warm Current (寒流暖流, 1948.11.2-12.11(verified)」 by Seol Jung-sik in 『MinjuIlbo』, 「The wave (波濤, 1949.4.24-12.31)」 by Kim Young-su in 『GyeonghyangSinmun』. the historical novels, such as 「The Japanese Invasion of Korea (1949.9.15-1949.12.13) by Park Tae-won」 in 『Seoul Sinmun』, the translated novels, such as 「The Plague (1950.5.25-6.15 (verified))」 by Camus in 『HanseongIlbo』, the children’s novels, such as 「The Cat (1947.11.29)」 by Park Young-jun in 『Seoul Sinmun』. In each type, the features of illustrative expressions varied according to the newspaper novel illustration themes and the novel contents in the works of Jeong Hyeon-ung in liberation period. The popular materials occupied the major proportion of his works in liberation period. The illustrative expressions of popular materials had drawing-style in general, with strong contrast and western-appearance figures. They were characterized as film/theater style with camera-work as if they had imitated a scene of movies or stages. The illustrative expressions from the historical materials used the traditional ink painting techniques with ink lines with Orientalpainting style. The illustrative expressions from the children’s materials used the wittily simplified lines. In the translated materials, the drawingconstructions like western magazines or movie stills were notable. In other words, the newspaper novel illustrations by Jeong Hyeon-ung had different features according to the novels. Jeong Hyeon-ung was regarded as an experimental illustrator in the modern art circles in liberation period.
In the point of the conversion after the establishment of an independent government, Jeong Hyeon-ung concentrated to the newspaper novel illustrations more than before. Although he resigned the editor position of 『Sincheonji』 and conducted the works with higher payments, such as producing cover arts or binding books. It was assumed to be associated with the difficulties of livelihood due to the conversion among the culture circles. Moreover, it was also assumed that he focused on drawing newspaper novel illustrations in a variety of features along with the social atmosphere of rapid increase of newspaper serial novels in liberation period. The intense transitional nature as drawing-study to explore his own drawing style with diverse experiments characterized the illustrations by Jeong Hyeon-ung in liberation period.
Although Jeong Hyeon-ung mentioned that an accidental opportunity led him to draw illustrations, he clearly had a distinct identity as an illustrator. In his article in “An essay on Illustrations”, Jeong Hyeon-ung stated that illustrations “belong to an artistically unique field rather than explanatory sketches subjected to literature texts”. He also stated that “regarding the only difference between a fine art painting and an illustration, a fine art painting aims to be placed in a wall, while an illustration is published in a newspaper in the morning and thrown out and kicked by walkers in evening.” His mention, “having the world of readers in illustrations may equate with having the world of readers in fine arts. Only geniuses can achieve it”, revealed his passion for illustrations. His passion for illustrations made more specific outcomes by regularly conducting publish arts for people in the art circles in North Korea after his defection to North Korea.
Jeong Hyeon-ung took charge of a chief secretary of the Joseon Art Establishment headquarters, a major position after liberation period of 1945. He was a kind of a self-portrait of liberation period with the rapidly changing circumstances, from the establishment of an independent government, the conversion, and the sharp ideological conflict during the Korean War to the defection to North Korea. His newspaper novel illustrations underwent a variety of experiments and trials within the historical vicissitudes. Within the separated art circles at that time, his bold moves as a newspaper novel illustrators reflected the spirit of liberation period.
In the point of the conversion after the establishment of an independent government, Jeong Hyeon-ung concentrated to the newspaper novel illustrations more than before. Although he resigned the editor position of 『Sincheonji』 and conducted the works with higher payments, such as producing cover arts or binding books. It was assumed to be associated with the difficulties of livelihood due to the conversion among the culture circles. Moreover, it was also assumed that he focused on drawing newspaper novel illustrations in a variety of features along with the social atmosphere of rapid increase of newspaper serial novels in liberation period. The intense transitional nature as drawing-study to explore his own drawing style with diverse experiments characterized the illustrations by Jeong Hyeon-ung in liberation period.
Although Jeong Hyeon-ung mentioned that an accidental opportunity led him to draw illustrations, he clearly had a distinct identity as an illustrator. In his article in “An essay on Illustrations”, Jeong Hyeon-ung stated that illustrations “belong to an artistically unique field rather than explanatory sketches subjected to literature texts”. He also stated that “regarding the only difference between a fine art painting and an illustration, a fine art painting aims to be placed in a wall, while an illustration is published in a newspaper in the morning and thrown out and kicked by walkers in evening.” His mention, “having the world of readers in illustrations may equate with having the world of readers in fine arts. Only geniuses can achieve it”, revealed his passion for illustrations. His passion for illustrations made more specific outcomes by regularly conducting publish arts for people in the art circles in North Korea after his defection to North Korea.
Jeong Hyeon-ung took charge of a chief secretary of the Joseon Art Establishment headquarters, a major position after liberation period of 1945. He was a kind of a self-portrait of liberation period with the rapidly changing circumstances, from the establishment of an independent government, the conversion, and the sharp ideological conflict during the Korean War to the defection to North Korea. His newspaper novel illustrations underwent a variety of experiments and trials within the historical vicissitudes. Within the separated art circles at that time, his bold moves as a newspaper novel illustrators reflected the spirit of liberation period.
목차
I. 머리말
Ⅱ. 신문소설 삽화의 형성
Ⅲ. 정현웅의 신문소설 삽화와 표현양식
Ⅳ. 광풍 속으로 - 정현웅 신문소설 삽화의 의의
Ⅴ. 맺음말
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-600-002370884