Abstract
In this paper, I wrote about the groups and artworks of Korean artists living in Japan in the
1950s, focusing especially on the “Zainichi Chosen Bijutu Kai”, the first full-scale group founded
by such artists. I analyzed the characteristics of the group and the artworks with reference to their
backgrounds. In the beginning, I wrote two points of attention in understanding the group, because
this paper may be the first to refer to it. In the first chapter, I mentioned the basic information of
the artworks of 1950s - where they are currently stored, and original documents concerning them.
Moreover I referred to the oral research I conducted towards the first generation of Korean artists and
their families. In the second chapter, I made reference to the artists’ activities in the 1950s. Firstly, I
focused on activity from the late 1940s to 1953, during which the artists worked individually. Secondly,
I focused on artists who founded the group “Zainichi Chosen Bijutu Kai”, led by Kim Chang Deok.
Thirdly, I mentioned their styles of expression. Around 1956, Pek Ryon, a member of the group,
changed his style from Surrealism to Socialist realism, making an impact on those around on him.
Fourthly, I mentioned the discussions between the artists about what and how the works should be
made. In the original documents made around 1957, discussions on themes of the artworks can be
seen. The artists concluded with the decision of creating works based on three themes.
In the third chapter, I wrote about the exhibitions where the artists displayed their work, and
the reactions made toward them. Their works were displayed in the “Nihon Independent Exhibition”
organized by Japanese artists, the “Niccho Yukouten” or the Art Exhibition for the Friendship of Korea
and Japan, and “Renritsuten” or the coalition exhibition which was organized by Korean artists of both
pro-North and pro-South backgrounds. In the last chapter, I explained the reason why such a group
was necessary for the Korean artists living in Japan. They needed it because they had gone through the
experience of living under the Japanese colonial rule and they had the need to explain their thoughts
through their works as a people released from the colonial rule. In addition, they strongly wanted to
meet other artists who were working under the same consciousness.
