Numerous Korean images have been created in modern Chinese literary works, such as A Korean Female Warrior, A Girl Named Anjin, Korean Men and Women, Peipei, Village in August, Jin Ying, On the Yalu River. Most of these works were created in the 1930s and 1940s by different writers, and the women in these works were all depicted as revolutionaries with the sense of Anti-Japanese and national salvation. However, the image of these female revolutionaries is not uniform. They range from the educated women who have received good education, who are willing to sacrifice their personal lives for the sake of national righteousness, to the lower-class women who have gradually awoken after class oppression and family destruction, to the “female objects” who pretend to be dancers or courtesans and attract enemies with female bodies to obtain information. Their choice to resist Japan and become a revolutionary is the choice of value made in the crisis of the collapse of the motherland. We can see ethnic, class, gender and other contradictions on them. It is not an accident to have created these Korean women revolutionary images in modern Chinese literature. In the Anti-Japanese War, both China and Korea as weak nations in the process of joint resistance against Japan, have produced a batch of Korean women revolutionaries. Chinese writers based on direct or indirect communication with Koreans have created these images, trying to arouse the awakening of female consciousness. It can be said that the appearance of these female images echoes the demands of the Times. Through the study of these female images, we can not only examine the relationship between women's liberation and the nation state, but also reflect the life condition of Korean revolutionaries who have endured many hardships for national independence, and effectively supplement the study of Korean image in Chinese modern literature.