Abstract
In 1927, the 1st islandwide official fine art exhibition was held in Taipei. In 1929, the 1st national official fine art exhibition was held in Shanghai. These 2 exhibitions respectively represented an important milestone in the history of modern art in Taiwan and in China in the beginning of the 20th century, and were also indices of modern cultural development. In October 1907, the 1st Japanese Ministry of Education Fine Art Exhibition (Monbushō-bijutsu-tenran-kai, abbreviation ‘Bun-ten’) was held in Tokyo, Japan -- a precedent in Asia. The Taiwan Fine Art Exhibition of 1927 had modeled after Bun-ten. In the meanwhile, the National Fine Art Exhibition of 2 years later held by the Chinese Ministry of Education could be said as the product resulting from the impact of the salon in France and the Bun-ten. Official fine art exhibitions have long been the symbol of the real strength of modern nations and have converged with nationalistic thoughts. However, since there was also the element of commercial fair in the fine art exhibition of Shanghai, its expressive form was larger and more complex than the expressive form of the Taiwan fine art exhibition. The expression of the Taiwan exhibition was deliberately fostered by the colonists who replaced Chinese culture with Japanese viewpoints. Students of fine art could only follow the Tokyo pattern. And the young painters of the Taiwan exhibition seemed to have accepted the form of Taiwan exhibition too innocently and ardently. On the other hand, the dominant participants in the national exhibition were collectors and traditional painters. The new western style painters in Shanghai were still in endless dispute at this time. The urgent problem of national survival often was too tangled up with the direction of artistic development to unravel.
Keywords
Taiwan Fine Art Exhibition, National Fine Art Exhibition, Shanghai, modern, intercultural comparative studies
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