earticle

영어

This study is about the right-wing theory of art viewed from the perspective of the policy of literature and culture that stood on the basis of the Three Principles of the People, pursued by the National Government of the Republic of China from the 1930s to 1950s, and the theory underlying this policy. During the period of ruling by rightists, the National Government laid the groundwork for interpreting Sun Yat Sen’s Three Principles of the People from the perspective of right-wing ideas. In that regard, the government developed such ideologies as vitalism, “Deathbed Teachings of the Premier,” and the philosophy of Li-xing (practice with earnestness). The government then pursued a policy of literature and art that started its course in the era of the Three Principle of the People, followed by nationalism, national standards, the “War of Resistance and Nation-Building,” “Principle of the People's Livelihood” and ultimately democracy. Such an ideological and political pursuit culminated in the theory of literature and art on the basis of the Three Principles of the People since the 1940s. The idea was represented in two articles: The Policy of Literature and Art That We Need (1942) and The Theory of Literature and Art Based on the Three Principles of the People (1953). In the latter of the works cited above, Zhang Daofan introduced a theory of creation called “A Synthesis of Realism,” which has its basis in the concept “Realism of the Three Principles of the People.” With the aforesaid theory of creation, Zhang attempted to put a halt to the realist movement in the Taiwanese literature and art circle and foster them into a group more acquiescent to the ideology and system of the state.

한국어

본고는 1930년대부터 50년대 말까지 중화민국 국민정부에 의해 추진돼온 삼민주의 문예정책과 그 이론을 토대로 중국의 우익미술이론에 대해 살펴본 것이다. 국민정부는 우파집권 시기, 쑨원(孫文)의 삼민주의에 대해 유생론(唯生論), 역행철학(力行哲學) 등 우파식 해석체계를 마련하고, 그에 따라 삼민주의, 민족주의, 민족본위, 항전건국, 민생주의와 민주로 이어지는 문예정책 노선을 추진해 갔다. 또한 이러한 사상 및 정책적 모색은 1940년대 이후 「우리에게 필요한 문예정책」(1942)과 「삼민주의문예론」(1953)이라는 두 편의 글을 통해 삼민주의 문예론으로 종합 수립되었다. 특히 후자에서 장다오판(張道藩)은 ‘삼민주의사실주의’라는 개념을 통해 ‘사실주의의 종합’이라는 창작론을 제기함으로써, 사실상 타이완 미술계에서 사실주의(Realism) 미술의 전개를 저지하고, 이를 통해 국가 이념 및 체제에 순응적인 문예계 양성과 운영을 시도했다.