Kim Ki-chang

2.1. Early life and education

Kim Ki-chang was born on February 18, 1913, in Keijō (present-day Seoul), specifically in Unni-dong. He was the eldest of eight children born to Kim Seung-hwan, an employee of the Governor-General's Land Management Bureau, and Han Yun-myeong. He spent a brief part of his early childhood in Gongju, Chungcheongnam-do, before the age of elementary school. At seven years old, while in the second grade of Seungdong Elementary School, he contracted typhoid fever, which resulted in severe hearing loss and a subsequent speech impediment. Despite his father's desire for him to become a carpenter, his mother recognized and strongly supported his artistic talent. With her encouragement, Kim Ki-chang became an apprentice to Kim Eun-ho (김은호_{Kim Eun-ho}^Korean, 1892-1979), a celebrated artist who had previously painted royal portraits of Emperor Gojong and Emperor Sunjong. Under Kim Eun-ho's tutelage, Kim Ki-chang learned traditional ink and color painting. His early style, much like his teacher's, was influenced by contemporary Japanese ink and color painting, with a particular focus on figure painting (인물화_inmunhwa^Korean) that often depicted women and children with delicate, realistic renderings and soft hues. He completed his education at Gyeongseong Seungdong Elementary School and received non-degree training at Idang Kim Eun-ho's art studio. Later in his life, he was awarded an honorary doctorate in education from Sejong University.

2.2. Art education and colonial period activities

Kim Ki-chang began his formal artistic career by participating in the prestigious annual Chōsen Art Exhibition (often abbreviated as "Seonjeon"), hosted by the Governor-General of Chōsen. In 1931, he first entered the exhibition and won a prize in the Eastern Painting category with his work Pansang domu (판상도무_{Pansang domu}^Korean, Jumping on a Seesaw). He continued to win consecutive prizes until 1937, when he received his first Special Prize (특선_teukseon^Korean) for Godam (고담_Godam^Korean, Old Tale). After earning four consecutive Special Awards, he was designated as one of the Recommended Artists (추천작가_chuchonjakga^Korean), a status that affirmed his significant influence in the contemporary art scene. Like many artists of the 1930s, Kim Ki-chang incorporated "Local Colour" (향토색_hyangtosaek^Korean) into his works, depicting idyllic scenes that generally appealed to the colonial Japanese authorities who controlled the art establishment. He held his first solo exhibition in 1942, after achieving the status of a Recommended Artist. Unfortunately, many of his early works are believed to have been lost or are yet to be located, possibly due to the Korean War.

2.3. Pro-Japanese Collaboration Controversy during the Colonial Period

During the Japanese colonial period, Kim Ki-chang engaged in activities and created artworks that are widely considered to have supported Japanese militarism and Japanese imperialism. This aspect of his career has been a significant source of controversy and criticism. As a disciple of Idang Kim Eun-ho, who himself was a council member of the Japanese painting division of the pro-Japanese art organization Chosun Artists Association, Kim Ki-chang actively cooperated with Japan's war efforts through his art, disregarding the harsh realities of his colonized homeland.

From 1942 to 1944, he was selected as a Recommended Artist for the Japanese painting section of the Ban-do Chonghu Misuljeon (半島銃後美術展, Peninsula Rear-Guard Art Exhibition), a key pro-Japanese art exhibition during the late colonial period. He collaborated with fellow artist Jang Woo-seong in these endeavors. Kim Ki-chang also actively participated in propaganda efforts aimed at glorifying Japanese militarism. This is evident in illustrations published in newspapers and magazines, such as Nimeui bureusimeul batgoseo (님의 부르심을 받고서_{Nimeui bureusimeul batgoseo}^Korean, Upon Your Call), published in the Maeil Sinbo on August 6, 1943. He also contributed illustrations, including Chonghu byeongsa (총후병사_{Chonghu byeongsa}^Korean, Soldier in the Rear), to Hoesim (會心), the company magazine of the Chosun Siksan Bank. This pen-and-wash illustration depicted a fully equipped soldier resting, with his face and clenched fist conveying a "firm will for holy war and self-sacrifice," as noted by Professor Lee Tae-ho in 99 Pro-Japanese Collaborators.

Kim Ki-chang initially denied that Chonghu byeongsa was a formal pro-Japanese work, claiming it was merely an illustration. However, the later public release of Jeokjin Yukbak (적진육박_{Jeokjin Yukbak}^Korean, Approaching the Enemy), painted in 1944, contradicted his defense. This painting depicted Japanese soldiers in fierce close combat in the South Pacific, brandishing bayonets. Jeokjin Yukbak was exhibited at the 'Gyeoljeon' (Decisive Battle) art exhibition, which was held in Seoul for seven months starting in March 1944, sponsored by the Japanese Government-General and the Keijō Ilbo (Seoul Newspaper). The Research Institute for Pro-Japanese Activities stated that Jeokjin Yukbak was created to praise Japanese militarism and instill the glory of being a "loyal subject of the Emperor."

Furthermore, Kim Ki-chang actively cooperated with Japan's fundraising efforts through exhibitions such as the Chosun Namhwa Yeonmaengjeon (朝鮮南畫聯盟展, Chosun Southern Painting League Exhibition) in October 1940 and the Aeguk Baekin Ilsu Jeonramhoe (愛國百人一首展覽會, Patriotic One Hundred Poets Exhibition) in January 1943. For his collaboration, he was listed in the "Pro-Japanese Collaborator Dictionary" (친일인명사전_{Chinil inmyeong sajeon}^Korean) by the Research Institute for Pro-Japanese Activities in 2008 and was included in the "List of 705 Pro-Japanese Collaborators" published by the Presidential Committee for the Investigation of Pro-Japanese Collaborations in 2009. Despite these controversies, he continued to produce works actively as a renowned artist until his death.

2.4. Marriage and artistic collaboration

Kim Ki-chang's marriage to fellow artist Park Rehyun (박래현_{Park Rehyun}^Korean, 1920-1976) in 1946 marked a significant turning point in his artistic career. They first met in 1943 and engaged in a three-year courtship primarily through written correspondence. After their marriage, the couple frequently held joint exhibitions, totaling 17 exhibitions. This period saw a notable shift in Kim Ki-chang's style. He moved away from his earlier realistic colored figure paintings, embracing ink and color painting that featured more water and lighter, transparent shades. His brushstrokes became quicker, and the forms in his paintings were simplified to the point of becoming semi-abstract. The couple worked closely together until 1970, when Park Rehyun departed for the United States to study printmaking. Kim Ki-chang experienced a brief hiatus from his artistic endeavors after Park's death in 1976, shortly after her return to Korea.

2.5. Post-liberation artistic activities

Following Korea's liberation from Japanese colonial rule, Kim Ki-chang's artistic evolution continued, marked by a shift towards lighter, semi-abstract colored ink paintings (수묵담채화_{sumuk damchaehwa}^Korean). He began teaching at Hongik University in 1955 and became a professor at Sudo Women Teachers' College (now Sejong University) in 1962, contributing to art education. He was invited to exhibit at the 1957 New York World House Gallery's Korean Contemporary Artists Exhibition. In 1960, he became an invited artist for the National Art Exhibition (Gukjeon) and served as a judge. He participated in Korean art exhibitions held in Taipei, Hong Kong, Tokyo, and Manila. In 1963, he received the May Literary Arts Award for fine arts and represented Korea at the 7th São Paulo Art Biennial. The US Department of State invited him to the United States in 1964, and he held a solo exhibition in New York during his second visit in 1969.

2.6. Major Works and Themes

Kim Ki-chang's artistic output encompassed a wide range of styles and themes, reflecting his continuous exploration and modernization of Korean painting.

His series of Babo sansu (바보산수_{Babo sansu}^Korean, Silly Landscape) and Cheongrok sansu (청록산수_{Cheongrok sansu}^Korean, Blue and Green Landscape), produced from the 1970s to the 1990s, are considered his most distinctive and popular works. The Babo sansu series was an innovative attempt to modernize traditional Korean minhwa (민화_minhwa^Korean, folk painting). As implied by the Korean word "babo" meaning "fool," these landscapes were intuitive and humorous, appearing as if painted by a child or a fool. They utilized simple, cartoon-like forms, emphasizing pure and sincere expressions of aesthetics and emotions. By this period, his works incorporated highly abstract forms that transcended time and space. The dynamic movement evident in these landscape paintings is often interpreted as Kim Ki-chang's unique way of expressing sound through brushstrokes within his "world of silence," a result of his hearing disability.

In the 1970s, he also created several "standard portraits" (표준영정_{pyojun yeongjeong}^Korean) of significant historical figures, including King Sejong the Great, Gim Jeong-ho, and Eulji Mundeok. Notably, his portrait of King Sejong the Great is featured on the South Korean 10,000 won banknote.

Kim Ki-chang also explored religious themes, notably depicting Jesus from the Gospels in a Korean context. These paintings portrayed Jesus as a Korean figure dressed in hanbok. While this was seen as a theological attempt to indigenize Christianity, it has also drawn criticism for depicting Jesus, who historically belonged to a poor and marginalized peasant community in Galilee, as a yangban (Korean aristocracy), creating a perceived contradiction.

Other representative works include Gunmado (군마도_Gunmado^Korean, Horse Painting), Cheongsando (청산도_Cheongsando^Korean, Blue Mountain), Sowa yeoin (소와 여인_{Sowa yeoin}^Korean, Cow and Woman), Gaeul (가을_Gaeul^Korean, Autumn), and Boritajak (보리타작_Boritajak^Korean, Threshing Barley). In his later years, he continued to produce works in the Cheongrok sansu series and created munjado (문자도_munjado^Korean, letter paintings), frequently incorporating references from traditional minhwa such as sipjangsaeng (십장생_sipjangsaeng^Korean, Ten Symbols of Longevity) and jangseung (장승_jangseung^Korean, Korean totem poles).

3.1. Educational Activities

Kim Ki-chang held various teaching positions at prominent universities, including Hongik University and Sejong University (formerly Sudo Women Teachers' College). His contributions to art education extended to serving as a judge for the National Art Exhibition (Gukjeon), influencing generations of aspiring artists.

3.2. Social Contribution Activities

Kim Ki-chang was a passionate advocate for raising awareness and improving the welfare of the deaf community in South Korea. In 1979, he founded the Korea Association for the Deaf (한국농아복지회_{Hanguk Nong-a Bokjihoe}^Korean) and served as its inaugural chairman. In 1984, he established the Cheum Center (청음회관_{Cheong-eum Hoegwan}^Korean) in Yeoksam-dong, Seoul, a welfare center specifically designed to support the hearing impaired. These initiatives underscore his commitment to social contribution, driven by his own experience with hearing loss.

4.1. Artistic Evaluation

Kim Ki-chang is widely regarded as a pioneer in the modernization of traditional Korean ink and color painting. The extensive span of his artistic activities offers valuable insight into the history of Korean modern and contemporary art. He is credited for his bold reinterpretation of traditional folk painting and landscape painting, and for contributing to the rediscovery of an autonomous Korean artistic identity in the post-liberation era. The significant stylistic changes observed throughout his career reflect this continuous process of exploration and definition of a unique Korean artistic vision. His work is characterized by a free and dynamic brushwork, constructing a powerful and vibrant artistic world that spans from traditional genre paintings to extreme abstraction, demonstrating a broad artistic capacity across figurative and abstract domains.

4.2. Criticism and Debate

Despite his significant artistic achievements, Kim Ki-chang's legacy is overshadowed by ongoing criticism and debate regarding his pro-Japanese activities during the colonial period. Critics argue that his exceptional artistic skill was used to support and glorify Japanese militarism, as evidenced by his remaining artworks. The fact that he became a "Recommended Artist" for the Chosun Art Exhibition at the young age of 27 and subsequently used this honor to align with Japanese imperial ideology remains a contentious point. His participation in pro-Japanese art exhibitions and his contributions to propaganda art are frequently cited as undeniable evidence of his collaboration. While he attempted to dismiss some works as mere illustrations, the revelation of paintings like Jeokjin Yukbak demonstrated his active involvement in promoting the Japanese war effort. The official inclusion of his name in lists of pro-Japanese collaborators by civilian and governmental organizations confirms the historical condemnation of these actions. The debate continues regarding how to reconcile his artistic genius with his controversial past, prompting discussions on the interpretation of his entire oeuvre in light of his historical conduct.

6.1. Family Relations

• Maternal Grandparents**: His maternal grandfather (of the Cheongju Han clan) passed away in 1903. His maternal grandmother was Lee Jeong-jin (이정진_{Lee Jeong-jin}^Korean, 1873-1950).
• Parents**: His mother was Han Yun-myeong (한윤명_{Han Yun-myeong}^Korean, 1895-1932), and his father was Kim Seung-hwan (김승환_{Kim Seung-hwan}^Korean, 1889-?).
• Spouse**: Park Rehyun (박래현_{Park Rehyun}^Korean, 13 April 1920 - 2 January 1976).
• Children**:
  • Eldest daughter: Kim Hyun (김현_{Kim Hyun}^Korean, born 1947)
  • Eldest son: Kim Wan (김완_{Kim Wan}^Korean, born 1949)
  • Second daughter: Kim Sun (김선_{Kim Sun}^Korean, born 1952)
  • Third daughter: Kim Young (김영_{Kim Young}^Korean, born 1956)
• Siblings**:
  • Younger brother: Kim Gi-hak (김기학_{Kim Gi-hak}^Korean, born 1915)
  • Younger sister: Kim Gi-ok (김기옥_{Kim Gi-ok}^Korean, 1926 - 2 March 1994)
  • Younger brother: Kim Gi-man (김기만_{Kim Gi-man}^Korean, 9 May 1929 - 26 December 2004)
• In-laws**: Son Myeong-won (손명원_{Son Myeong-won}^Korean, born 5 May 1941), former CEO of Hyundai Mipo Dockyard and SsangYong Motor.