1950?? ?? ???? ??? ???? ??? ?? (The structure of Japanese art circles in the 1950s and the cultural status of Yang-Gyu Cho)

? ??? 1950?? ???? ??? ?? ???? ?? ??? ?? ?? ????? ??? ??? ??? ?? ???? ??. ???? ?????? ?? ??? ¡®??¡¯??? ???? ???? ??? ??? ???. ??? ???? 1960?? ???? ?, ¡®??¡¯???? ??? ??? ??? ??? ??? ????? ?? ?? ????. ? ????? ?? ???? ??? ?? ??? ???? ??? ?? 1950?? ?? ???? ??? ????? ??. ?? ??? ??? ??? ???? ???, ?? ????? ???? ?? ??? ?????? ????, ??? 1950?? ?? ????? ????? ?? ??? ????? ?????. ?? ???? ?? ?? ???? ???? ?? ?? ?????, ??? ??? ??? ??? ??? ??? ??? ??????? ???? ????. ????? ???? ???? ??? ??????? ?? ¡º?????¡»(?????, 1960)? ???? ?????. ?? ?? 1950?? ?? ???? ?? ??? ???? ??? ??? ????? ??.

This thesis seeks to study the creative activities of the artist Yang-Gyu Cho who was active in Japan in the 1950s in the context of his relations with the Japanese art circles after the war.
Often, the artworks and the creative activities of Zainichi had been regarded as the outcomes of their ethnic minority status as opposed to the ones of as artists. Especially for Yang-Gyu Cho, there is little research about him because he defected to North Korea in 1960.
This paper inspects the Japanese art scenes in the 1950s through the art associations that Yang-Gyu Cho was involved in and the exhibitions that he held. To view how the artworks of Yang-Gyu Cho evolved in the Japanese art industry in the 1950s, I looked into the disposition of the organisations that he was part of as well as Japanese artists who had interacted and how his activities were viewed in the perspective of Japanese art circles.
Finally, this essay focuses on the cultural status of Yang-Gyu Cho and how he was considered in the context of the Japanese art scene in the 1950s by examining 'the art book of Yang-Gyu Cho' (1960)