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The first three Domestic Expositions were held in [[Ueno Park]] in Tokyo, in [[1877]], [[1881]], and [[1890]]. The fourth was held in Okazaki Park in Kyoto in [[1895]], and the fifth in the Tennôji neighborhood of Osaka in [[1903]]. In addition to displays of industrial and agricultural advances, the expositions also featured a gallery of contemporary artworks, which were then judged and granted awards by a team of judges, in a system based upon that employed in the West; many of those artworks selected at the domestic expositions then went on to represent Japan at international expositions (such as the [[World's Fairs]]).

The first three Domestic Expositions were held in [[Ueno Park]] in Tokyo, in [[1877]], [[1881]], and [[1890]]. The fourth was held in Okazaki Park in Kyoto in [[1895]], and the fifth in the Tennôji neighborhood of Osaka in [[1903]]. In addition to displays of industrial and agricultural advances, the expositions also featured a gallery of contemporary artworks, which were then judged and granted awards by a team of judges, in a system based upon that employed in the West; many of those artworks selected at the domestic expositions then went on to represent Japan at international expositions (such as the [[World's Fairs]]).

These expositions - and Japan's art world more broadly at this time - saw the adaptation of many art/craft products into forms that might be more unquestionably identified by Western observers as "fine art" (rather than as the lesser "decorative arts").  

These expositions - and Japan's art world more broadly at this time - saw the adaptation of many art/craft products into forms that might be more unquestionably identified by Western observers as "fine art" (rather than as the lesser "decorative arts"). At the Third Domestic Exposition, held in Tokyo in 1890, calligraphy - which had up until then occupied the highest status within traditional Japanese arts - was controversially removed from the "fine arts" displays, in order to better adapt to Western perspectives.

 

At the Third Domestic Exposition, held in Tokyo in 1890, the [[Ministry of Education]] took over control of the arts exhibition and competition, which then came to be known as the [[Bunten]].<ref>文展, an abbreviation of "Ministry of Education Arts Exhibition" (文部省美術展覧会, ''monbushô bijutsu tenrankai'').</ref> At this first Bunten, calligraphy - which had up until then occupied the highest status within traditional Japanese arts - was controversially removed from the "fine arts" displays, in order to better adapt to Western perspectives. Later Bunten were held separately from the Domestic Expositions.

The Fourth Domestic Exposition, held in Kyoto's Okazaki Park, saw some significant controversies as well. A [[yoga|Western-style oil painting]] by [[Kuroda Seiki]], entitled "Morning Toilette," already selected for display at France's Société Nationale des Beaux-Arts, featured a nude female figure. While nudes are a classical subject in Western art, ''[[shunga]]'' and other forms of sexually graphic art had already begun to become taboo in Japan, and the nude female figure, associated with [[prostitution]] (though the figure in this image was not intended to have such associations), was seen as unrefined or inappropriate; it was covered with a cloth.<ref>Matsushima, 20.</ref>

The Fourth Domestic Exposition, held in Kyoto's Okazaki Park, saw some significant controversies as well. A [[yoga|Western-style oil painting]] by [[Kuroda Seiki]], entitled "Morning Toilette," already selected for display at France's Société Nationale des Beaux-Arts, featured a nude female figure. While nudes are a classical subject in Western art, ''[[shunga]]'' and other forms of sexually graphic art had already begun to become taboo in Japan, and the nude female figure, associated with [[prostitution]] (though the figure in this image was not intended to have such associations), was seen as unrefined or inappropriate; it was covered with a cloth.<ref>Matsushima, 20.</ref>