In this paper, I uncovered the history of Zainichi Koren Art both in Kanto and Kansai district from 1945 to 1950s with interviews which amount to over 50 times. In the analysis, I discussed what an impetus for creating their art works was, when they met each other, what kind of curriculum of art education they chose and how they made the cultural exchange with Japanese artists. I emphasized that the study of Zainichi Korean Art History is late behind in comparison to the literary studies and others, and that we should reconsider their art works in our history.

  The environment surrounding calligraphy and painting changed drastically along with the political environment from the late Joseon dynasty to the Korean Empire period. The painting bureau and SaJaChong were abolished in 1894 in the Gabo Reform and as a result, the Court Painters, SaJaGuans and other employees searched for other ways to continue practicing painting and calligraphy. Moreover, while descendants of the Yohang literati were engaged in politics as public employees and actively negotiated with other countries, they interacted with foreigners through calligraphy as well, the impact of which is confirmed in their surviving works. Given this background, I believe that at that time there were “professional calligraphers” in a broad sense, who made a living with calligraphy such as writers, connoisseurs and scholars, even if they were not what we think of as professional calligraphers today.

  In the present study, based on the above premise, I mainly explore the activities of three bureaucrats-turned-calligraphers who practiced calligraphy in the late Joseon dynasty and the Korean Empire period, namely Kim Okgyun, Oh Sechang and Kim Gyujin, to reveal both the processes by which Korean calligraphers at that time became full-time professionals as well as the characteristics of their calligraphy-related activities during the colonial period.

  As a result, I conclude that the origins of full-time calligraphers in the colonial period can be traced to the practices of calligraphers before colonization; the latter were mainly former bureaucrats who were also active in politics, and had both the knowledge and skills to become full-time calligraphers. Even when their country was colonized and they could no longer retain their political roles as bureaucrats, they sought ways to make a living with calligraphy in various areas. This led to the diversification of full-time calligraphers, with their works manifesting the characteristics of modern Korea.

  Hidai Tenrai (Kou, 1872-1939) is one of great calligraphers who marked a significant achievement in the world of calligraphy in modern times and highly appreciated for his contribution in nurturing many disciples who play major roles in the calligraphic society today. Hidai issued “Shogakuin kensetsu shuisyo” in 1919 with the aim to found an institution for comprehensive research of calligraphy. He toured through Japan in order to raise funds for the project and, as a part of the effort, visited Korea in September, 1926, which led to his encounter with excellent works of Korean calligraphy. In 1931, he published Chosen shodo seika (five volumes) with help from some experts and introduced works of Korean calligraphy to a wide Japanese audience, who had known very little about them until then.

  This article examines the reality and positioning of the research by Hidai Tenrai of Korean calligraphy by focusing on Chosen shodo seika, whose value and position have been rarely mentioned beforehand, and by illuminating the background, circumstance, and process of its publication.

  The findings indicate that Hidai actively tried to appreciate works of unknown calligraphers based on his own critical eyes and unique view of calligraphic history. It is highly possible that his effort may have introduced multifaceted viewpoints to the study of Korean calligraphy and on this point, Chosen shodo seika has its significance.

  It should be also appreciated that the fact that Hidai met Kim Donhee and had teaching from him in editing Chosen shodo seika to complete the collection as a kind of joint work had an effect of relativizing the study of Korean calligraphic history, which had been traditionally led by people of the suzerain state.

　In 1916, after coming back from his first visit to Korea, Yanagi Muneyoshi announced his project of shedding new light on literary works in the East. This project centered on Korean literary works begun in 1919, when he contributed an article titled “Speculations on Koreans” to Yomiuri Shimbun. It was soon after the March First Independent Movement took place in Korea. For this reason, Yanagi’s project was carried out in the situation where Japan shifted its imperial policy from her military control of Korea to her cultural one.

　Former studies insist that Yanagi’s and his wife’s project concerning Korean culture corresponded with Japan’s shift of her policy. But there has been one problem on which they differ: which side̶Japan or Korea̶proposed to support the musical concert held by Yanagi’s wife Kaneko? And those studies have totally ignored the influence of Yanagi.

　This paper addresses the problem of how much Yanagi contributed to the musical concert by analyzing the remarks of Yanagi, and examining how Korean media responded to his remarks.