本文探討日本水彩畫家石川欽一郎自1907年首次來台至1932年退休離開為止，在台灣發表大量的文字和圖像介紹、分析台灣風景，企圖在台灣推廣水彩創作，建立浪漫懷舊的畫風。石川第一次來台的活動一方面也配合總督府之理蕃政策，同時也是日本人類學家，博物學家在台灣活動頻繁的時期，第二次來台則與觀光、登山活動以及台灣美術展覽會開辦（1927）重疊。石川欽一郎所代表的風景美學觀與日本明治以來的近代國家觀有密切關係。石川對台灣風景的概念影響他的學生以及由日本來台的畫家。隨著台展開辦，受過專業西洋美術訓練的油畫家逐漸成為主流，1932年台展只有一幅水彩畫入選，石川的影響逐漸褪色。新生代畫家的表現更為多元化。

This article focuses on watercolor painter Ishikawa Kinichirô's (1871-1945) vision of Taiwanese landscape during his two stages of career in Taiwan, 1907-1919 and 1924-1932. In his first stay in Taiwan, Ishikawa was chiefly an officer working for the colonial government and a part-time art teacher. During Ishikawa's second stay, he became a full-time art teacher and helped with the opening of annual Taiwan art Exhibition (1927-1936; 1938-1943). In Taiwan, Ishikawa published a great deal of essays and painting, introducing his readers how to look at Taiwanese landscape and to paint watercolor. His vision of Taiwanese landscape, being pastoral and nostalgic, is a reflection of Japanese nationalism in the Meiji era. This had a strong impact on his young followers in Taiwan and other Japanese painters visiting Taiwan. However, by the beginning of 1930's, with the fast growing of oil painting and painters in Taiwan, watercolor soon faded away in the main stream.

台灣; 石川欽一郎; 近代; 風景畫

Taiwan; Ishikawa Kinichirô; modern; landscape painting