Nikolai Shin (1928 in Dalnegorsk, Primorsky Krai, Soviet Union – August 18, 2006 in Tashkent, Uzbekistan) was an Uzbekistani painter of Korean descent, sometimes referred to by Korean newspapers as the "Picasso of Asia". Biography Early life Shin's childhood was filled with hardships. His father died at the age of 21, when Shin was only 4; his mother remarried the following year, sending him and his sister to live with their grandmother. In 1937, he and his family were deported to Central Asia along with all other ethnic Koreans in the Russian Far East. After the deportations, his family stayed in the Kazakh SSR for a few years before eventually settling in Tashkent, Uzbek SSR (now Uzbekistan) in 1940. His sister became infected with malaria and died at the age of 16, leaving Shin as sole breadwinner for his mother and grandmother; Shin spoke of his memories of tilling the rocky soil with his bare hands, trying to eke out a living. Eventually, unable to care for his grandmother, he sent her to live with relatives in the Kazakh SSR, where she too died. Artistic career In 1949, Shin graduated from Tashkent's Benkov Art School, and began his career in painting, first receiving acclaim for his work in 1957, when he won the grand prize at the International Youth Festival in Moscow and the second prize in the Republican Festival of Young Artists of Uzbekistan. In 1960, he graduated from Atropsky Art College, also in Tashkent; after his graduation, he began work on his painting Requiem, which would take him until 1982 to complete. Requiem, painted on a canvas three metres tall and forty-four metres wide in primary colors, depicts people without eyes, noses, or mouths; Shin has stated that this was meant to represent the sense of enslavement and namelessness felt by the Koryo-saram as a result of the deportations. Following his completion of Requiem, Shin would go on to paint other works on the theme of the deportations and of Korean culture in Central Asia; he began to become well known in the West with his solo exhibition in Moscow in 1990, and another in Tashkent in 1991. Eventually, his art attracted the attention of the Central Asian-American Enterprise Fund, who offered him financial support, enabling him to hold further exhibitions. His work was recognised by the Korean government in 1997, when they awarded him with the Order