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The first Bunten was held in [[1907]] in [[Ueno Park]] (in Tokyo), on the former site of the third [[Domestic Industrial Exposition]] (held in [[1890]]). The idea for such an event came, perhaps, as an effort by the Ministry of Education to serve as a mediator between the multiple factions dividing the art world at that time; however, it only served to strengthen the factionalism, by creating a political divide between those the Ministry favored and those they did not - whether personally, or in terms of style or approach.

The first Bunten was held in [[1907]] in [[Ueno Park]] (in Tokyo), on the former site of the third [[Domestic Industrial Exposition]] (held in [[1890]]). The idea for such an event came, perhaps, as an effort by the Ministry of Education to serve as a mediator between the multiple factions dividing the art world at that time; however, it only served to strengthen the factionalism, by creating a political divide between those the Ministry favored and those they did not - whether personally, or in terms of style or approach.

Works were displayed and judged in three categories: [[yoga|Western painting]], [[Nihonga|Japanese painting]], and sculpture, with awards being given out in each category. Some artists critiqued this organization, arguing that it discouraged collaboration or fusion works across the categories.

Works were displayed and judged in three categories: [[yoga|Western painting]], [[Nihonga|Japanese painting]], and sculpture, with awards being given out in each category. Some artists critiqued this organization, arguing that it discouraged collaboration or fusion works across the categories. Creators working in ceramics, textiles, lacquer, metal, wood, bamboo, and certain other materials and forms were consigned to a "craft" exhibition organized by the [[Ministry of Agriculture, Commerce, and Industry]] and known as the Nôten.<ref>Nicole Coolidge Rousmaniere, ''Crafting Beauty in Modern Japan'', University of Washington Press (2007), 15.</ref>

While ''Nihonga'' painter [[Takeuchi Seiho|Takeuchi Seihô]] served regularly on the Bunten jury from the beginning, [[Suzuki Shonen|Suzuki Shônen]] was among those who declined an invitation to do so, claiming he feared that bureaucrats from the Ministry would interfere with the judges' decisions.<ref>Paul Berry and Michiyo Morioka (eds.) ''Literati Modern: Bunjinga from Late Edo to Twentieth-Century Japan''. Honolulu: Honolulu Academy of Arts, 2008. p299.; Ellen Conant, "Cut from Kyoto Cloth: Takeuchi Seihô and his Artistic Milieu." Impressions 33 (2012). pp71-93. </ref> Meanwhile, on the side of the artists being judged, there were many like [[Ikeda Yoson|Ikeda Yôson]], who were rejected by the Bunten time and time again, based on the particular tastes and interests of the judges (and of the Ministry), though their works are highly regarded today.<ref>Ellen Conant (ed.), ''Nihonga: Transcending the Past''. St. Louis Art Museum, 1995. pp297-8.</ref>

While ''Nihonga'' painter [[Takeuchi Seiho|Takeuchi Seihô]] served regularly on the Bunten jury from the beginning, [[Suzuki Shonen|Suzuki Shônen]] was among those who declined an invitation to do so, claiming he feared that bureaucrats from the Ministry would interfere with the judges' decisions.<ref>Paul Berry and Michiyo Morioka (eds.) ''Literati Modern: Bunjinga from Late Edo to Twentieth-Century Japan''. Honolulu: Honolulu Academy of Arts, 2008. p299.; Ellen Conant, "Cut from Kyoto Cloth: Takeuchi Seihô and his Artistic Milieu." Impressions 33 (2012). pp71-93. </ref> Meanwhile, on the side of the artists being judged, there were many like [[Ikeda Yoson|Ikeda Yôson]], who were rejected by the Bunten time and time again, based on the particular tastes and interests of the judges (and of the Ministry), though their works are highly regarded today.<ref>Ellen Conant (ed.), ''Nihonga: Transcending the Past''. St. Louis Art Museum, 1995. pp297-8.</ref>