대만의 미술교육에 있어서 1920년대는 가장 큰 변화와 발전을 이루었으며, 현재 미 술교육의 기틀을 마련한 시기라고 평가된다. 그 근거로 대만 학자 중에는 대만 아동 을 위한 도화교과서의 발행과 야마모토 카나에(山本鼎)에 의한 자유화(自由畵) 교육 사상의 유입을 들고 있다. 린만리(林曼麗, 2000)는 당시 대만 미술교육에서 자유화교육은 직접적인 영향을 미 치지 못하였으며, 중요한 것은 1921년 대만 미술교육 역사상 처음으로 발행된 도화교과서, 즉 공학교도화첩(公學校圖畵帖)이라고 하였다. 그녀는 대만총독부가 일본의 다양한 도화교육 풍조와 주장들이 있었음에도 불구하고, 국정교재인 신정화첩(新定畵帖)을 범본(範本)으로 삼아 공학교도화첩을 편찬 보급함으로써 대만 미술교육 발전에 지대한 영향을 미쳤다고 하였다.
The purpose of this study is to clarify the introduction of free drawing educational thought at public school which was primary institution of Taiwan in 1920’s. Free drawing education has been begun since 1918 in Japan. It criticized Japanese state textbook, ‘Shin Jung Hwa Chup’, which focused on perfunctory description and insisted on the free artistic expressive methods. In the Japanese colonial period, Taiwan published first public school drawing textbook in 1921 which was made by the model of 'Shin Jung Hwa Chup'. The public school drawing textbook had scientific structures to concern physical developments of children. However, the contents were composed to basic knowledge to enhance descriptive abilities and had possibilities to adopt methods which concentrate on explanation. It was designated as a state textbook by Japanese governor-general of Taiwan that might have a decisive effect on art education until publishing elementary drawing textbook in 1934. On the contrary, Il-Shin public school located Taipei in 1929 enforced the art education which considered inner needing and interests of children. The drawing education of Il-Shin public school aimed that expressive thought through free drawing in the lower grades, developing objective cognition and descriptive abilities in the middle grades and improving appreciative criticism and creativity judged from their own view in the upper grades. This proved partial art education field had been accepted the free drawing educational thoughts despite educational policy regulations of government under Japanese imperialism.