The first to be designated as New Woman (Sin Yosong) in Korea were those few elites who, between the late Choson period and 1910s, were able to receive a modern education in Japan or the West, or at home in an institute run by foreign missionaries. By the 1920s, the number of New Woman had increased to the point where the term New Woman was widely known, As New Woman advanced and was active in society, male-female relationships and the meaning of family of necessity had to become redefined, and the resulting confusion between the traditional and the modern was one of the biggest social changes of the early twentieth century in korea. For modern visual am, New Woman became fresh material in the 1920s and 30s in traditional brush painting as well as in oil painting which was introduced in the 1910s to Korea. Artists depicted the New Woman as presented to them with mystery and allure, transforming the image of the traditional woman t0 that of modern woman, A woman reading, appreciating music, or engaging in other new activities were popular themes. More than anything, though, what identified a New Woman from a traditional one was her style of hair, clothing, short or pleated skirt and a longer version of the short Korean jacket, or chogori. Compared to high art, the image of me New Woman in the mass media, such as newspaper cartoons, magazines illustrations or advertisements, was much more Incisive and straightforward. She provided continually rich debate in the media. Many articles and illustrations of mass media showed a mix of favor, curiosity and suspicion all at once, and it can be said mat this was where the debate over tradition versus modernity came to a head. In me gaze of those viewing me New Woman arose doubt about traditions, hope in things new, confusion over value systems, and a crisis mentality over change. This crossroad concerning me gaze on the New Woman reflects the broader gaze on modernity.