Kim Ki-chang

[2] During the colonial period, Kim Ki-chang produced a number of paintings that praised and supported Japanese imperialism, militarism, and the forced mobilisation of the Korean people for the Asia-Pacific War, and was later named in the Collaborator Dictionary (친일인명사전, 親日人名辭典) in 2009.

[4] After liberation and his marriage to artist Park Rehyun (박래현, 朴崍賢,1920–1976) in 1946, Kim Ki-chang began to produce lighter, semi-abstract coloured ink paintings (sumuk damchaehwa, 수묵담채화, 水墨淡彩畫).

[7][8] In the 1970s, he also produced several standard portraits (pyojun yeongjeong, 표준영정, 標準影幀) of historical figures such as King Sejong the Great, Kim Jeong-ho, and Eulji Mundeok.

Kim Ki-chang first entered the Chōsen Art Exhibition in 1931 and won a prize in the category of Eastern Painting with Pansang domu (판상도무, 板上跳舞, Jumping on a Seesaw, 1931).

[18] Kim Ki-chang's 'Babo sansu' series was an attempt to modernise traditional Korean minhwa (민화, 民畵, genre painting).

[20] The dynamic movement that gives life to these landscape paintings is commonly interpreted as Kim Ki-chang's way of expressing sound through brushstrokes in his "world of silence" caused by his hearing disability.

[21][22] In his late years, Kim Ki-chang produced works of 'Cheongrok sansu' series and munjado (문자도, 文字圖, letter paintings) and continued to use traditional minhwa references such as sipjangsaeng (십장생, 十長生, Ten Symbols of Longevity) and jangseung (장승, Korean totem poles).