Surrealism, which emerged as eurocentric in the early twentieth century, allows the artist to discover form and function through randomness and formal deformations in art, and to blend the human with the non-human in a grotesque way by using thought-provoking methods. French surrealism began to develop at the beginning of the twentieth century, and in this process, Japanese artists who were educated in Europe returned to their countries after being influenced by the movement. Surrealistic human images depicted in surrealism seem to resemble images that have existed in Japanese visual culture for a very long time. Distortion of the human body for artistic purposes is not uncommon in Japanese visual culture. Japanese woodblock prints were created using this theme to create fun and clever distortion. Yet, European Surrealism provided a way out for Japanese artists to make their ideas a recognizable movement. When considered historically, the starting and ending points of Surrealism in terms of Japanese art cover a very long period compared to Europe. In the research, it is aimed to provide a better understanding of the concept of Dystopic Surrealism, which emerged with the intersection of two different concepts, Dystopia and Surrealism, and also to reveal the traces of Dystopic Surrealism in the works of Japanese artist Tetsuya Ishida (1973-2005). Another aim of the research is to determine the emergence and development of Surrealism in Japanese Art with examples. In the research, nine images of different artists that can serve as an example of 19th and 20th-century Japanese Surrealist art were selected. In addition, nine images created by Tetsuya Ishida between 1995 and 2004 were included in the study. As a result, Surrealism in Japanese Art was defined with examples, the concept of Dystopic Surrealism was discussed, and in this context, the traces of Dystopic Surrealism in Tetsuya Ishida's works were revealed.