This content was created by Magdalena Kolodziej. The last update was by Kandra Polatis.
Photograph of students at the Tokyo School of Fine Arts, c. 1924-1927.
1 media/Chen Chengbo photograph_thumb.jpg 2020-09-02T22:17:53-04:00 Magdalena Kolodziej edc0cba8697e2d8ae1adc4d7399e2c567c2e5e46 35 3 Photograph of students of the Tokyo School of Fine Arts, c. 1924-1927. Chen Chengbo (1895-1947), the sixth student from Taiwan attending the school, is sitting down on the ground, the first from the left. Image provided by the Chen Cheng-po Culture Foundation. plain 2020-09-05T18:24:50-04:00 MK-0007 Copyright (C) reserved Kandra Polatis 4decfc04157f6073c75cc53dcab9d25e87c02133This page is referenced by:
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Art Schools
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Tokyo School of Fine Arts; Tokyo bijutsu gakkō
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2021-03-11T09:38:13-05:00
Magdalena Kolodziej
Tokyo School of Fine Arts (Tōkyō bijutsu gakkō) constituted the pinnacle of professional training in Japan. It administered entry exams and required its applicants to have graduated from high schools. Many of its graduates went on to work as art teachers at middle and high-schools throughout Japan and in colonial Korea and Taiwan. See: Kaneko Kazuo, "Kyūshokuminchi no zuga kyōin," Issun, no. 62 (2015).
Tokyo School of Fine Arts and other specialized art schools, such as the Imperial Art School, Culture Academy, Tama Imperial Art School, and the Women's Art School, as well as art schools in Kyoto and Osaka accepted students from Korea and Taiwan as well as Japanese who were born or grew up in the colonies. Because no public art schools were established in Taiwan before 1945, some aspiring artists moved to Japan or Europe to enroll in such an institution.
Tokyo School of Fine Arts accepted in total 30 male Taiwanese students and 89 male Koreans in the pre-1945 period (Yoshida Chizuko, Kindai Higashi Ajia bijutsu ryūgakusei no kenkyū: Tōkyō Bijutsu Gakkō ryūgakusei shiryō (Tokyo: Yumani shobō, 2009), 10.). The majority of male students from the colonies came to Japan to pursue oil painting. The numbers of those interested in studying nihonga increased only gradually. In general, aspiring artists from Taiwan enrolled at these institutions came from wealthy backgrounds. See also: Kate McDonald's discussion of mobile students from the colonies and their experiences in Tokyo; see also: Wong Aida Yuen, "Art of Non-Resistance: Elitism, Fascist Aesthetics, and Taiwanese Painter Lin Chih-Chu," in Art and War in Japan and Its Empire, 1931-1960, eds. Ikeda Asato, Aya Louisa McDonald and Ming Tiampo (Leiden: Brill, 2013.).
