這是一篇展覽活動的田野調查報告。在報告中對展覽主角─張啟華（1910-1987）早年習畫歷程的某些過往不正確之處，予以訂正。張啟華一九一○年十一月十日出身於打狗（高雄），是高雄第一位留日洋畫家，一生兼及實業家與藝術家雙重角色，且全力推動南台灣的美術發展，是一位台灣美術運動發展史上享有殊榮的前輩藝術家。今天，高雄市立美術館於其百歲之際，舉辦了《現代〃前瞻─打狗美術的開拓者〆張啟華百年展》。然而，此作旨在《台灣日日新報》一九三三年十月廿五日，一則唯一有關張啟華早年習藝的正式「公刊」紀聞，加以析述，以補過往專文未知之處。特別是，張啟華早年自一九二九至一九三二年，在東京日本美術學校期間習藝種種。例如，日本美術學校及其學制、校址、畢業時間及恩師大久保次郎、槐樹社、一九三○年協會、獨立展的參展出品等，有了更詳實的了解。特別是，張啟華在若冠之年，連續入選獨立展第一（1931），第二（1932）、第三（1933）回的成尌記錄，不僅是台灣前輩畫家中尚未見及的，且是台灣美術史上極度珍貴的一頁。

The following is a field report on an exhibition about the artist, Chang Chi-Hua. This report corrects inaccuracies found in previous accounts about his formative years.
Chang Chi-Hua was born on November 10, 1910 in the city of Kaoshiung. He became the first painter from Kaoshiung to live abroad in Japan. For his entire life, he played both the role of an industrialist and an artist. Taking great efforts to promote the development of art in southern Taiwan, he was a revered pioneer of the art movement in Taiwan. Currently, for its centennial celebration, Kaoshiung Museum of Fine Arts has organized “Modernity and Foresight: A Pioneer Artist of Kaoshiung Chang Chi-Hua Centennial Exhibition.”
However, the purpose of this study is to specifically analyze the October 25, 1933 edition of Taiwan Daily News, which contains the only official “publication” printed specifically about Chang Chi-Hhua. This article fills in many of the research gaps that exist in previously written papers regarding this subject. In particular, various accounts from Chang’s earlier years at Tokyo’s Nihonbijutsugago (1929-1932) are included. A better understanding can be gained about his experiences at various Japanese art schools and their educational systems, details about his school locations and his graduations, as well as about his mentor, Okubo Jiro, and the works Chang exhibited at Kaijukshiya, Doukuritsuden, and Year of 1930 Association. In particular, Chang’s formative years, when his works were nominated at the Doukuritsuden for three consecutive years from 1931 to 1933, are recorded. At that time, this was an unprecedented feat for a Taiwanese artist and became an important milestone in Taiwan’s art history.