| Summary: | 這篇論文，先注目在日治台灣（或是台北）之台、日「雙層結構」之現實。但是，關於日治時期政治、經濟上兩者「對立」，很多先輩們已經提到過了。所以，筆者注目文化上之台、日對立，而解釋近代台北文化之雙層結構。
首先，筆者作為研究對象，選擇「台灣新美術運動」。這個運動是從1920年代到1940年代之20年間，在台灣都市部（尤其是台北市）展開的摩登主義運動。筆者之意圖，並不是撰寫「美術史」論文，而是以「社會史」的觀點考察「美術地理」的論文。筆者先調查「台北都市史」之後，探究它表現出來之美術現象。
美術理念之「受肉（incarnation）」（或具體化）形態是「美術地理」。換言之，在台北台、日人之對立現象，透過美術結構，換位而且具體化（就是「受肉」）以後之形態，是筆者說之「美術地理」，就是「大稻埕（台北台人街道）畫壇」與「城內（台北日人街道）畫壇」兩個社會對象。
筆者意圖，探究都市空間美術運動之具體性足跡。所以，論文中，特別講究（拘泥）「展覽場所」與「繪畫對象」等都市「地標」，就是美術運動之具體形象。這種形象等於地標，可說是美術之身體。而這種形象、地標之再度表現是美術上之台、日雙層結構。而且把握「台北都市」之作為「人類（或台、日兩個族群）生活」上之意思，是筆者小考之最後目的。
筆者撰這篇論文以後，再探究殖民地朝鮮之官展「鮮展」等其他日本殖民地美術地理，而闡明「美術與土地」之關係。
=== This thesis takes the reality of “the Taiwanese-Japanese double-layer structure” in Taiwan (or Taipei) society during the Japanese colonial period as its research subject. Though there have been many research results on the political and economic “oppositions” between the Taiwanese and the Japanese in this period, this thesis aims to explore the Taiwanese-Japanese oppositions from the perspective of culture to give an explanation of the double-layer structure of Taipei urban cultures in modern times.
This thesis focuses on the “new fine arts movement in Taiwan”, a modernism movement developed in urban areas (especially in Taipei City) in the period of two decades from 1920s to 1940s. The topic this thesis attempts to inquire is not about “fine art history”, but “social history”: to investigate the social and spatial phenomena of fine arts developed in the urban history of Taipei City.
The “fine arts geography” is the incarnation (or embodiment) form of the aesthetic ideas in social practices contexts: the Taiwanese-Japanese oppositions in Taipei City society were transformed in the aesthetic structure and incarnated (embodied) in the fine arts geographical distribution of the two social entities: the painting circle in “Dadaocheng – Taiwanese blocks” and that in “Inner City – Japanese blocks”.
This thesis intends to probe into the concrete footprints of the fine arts movement in urban spaces. Therefore, the urban “landmarks” such as “exhibition places” and “the objects of painting”, in other words, the concrete forms of fine arts movement, are particularly emphasized (highlighted) in this thesis. These concrete forms or landmarks could be regarded as the “body” of fine arts which represents the “the Taiwanese-Japanese double-layer structure” in aesthetic fields. The final end of this thesis is to grasp what significance urban cultures (of Taipei City) have for the human lives (or for the lives of the two groups of the Taiwanese and the Japanese respectively).
Based on the research results of this thesis, in the future the author will further inquire into the fine arts geography in other Japan’s colonies like the official exhibition in Korea to expound the relations between fine arts and the land.
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