1931年6月，臺人王白淵(1902-1965)在日本出版個人首冊詩文集《蕀の道》。他在其中所形塑而成與現實對立的藝術世界―一個虛擬的烏托邦―與其早年所經歷的一段「從美術到文學」的變化歷程，實有著密不可分的關係。1923年前進東京的王氏，原本要圓的是一個「臺灣密列」的藝術美夢，卻在日本畫壇的陳腐與殖民體制對臺人的壓迫下，轉而以詩的形式思索、傳遞民眾感情與藝術真理。透過對泰戈爾、米勒、梵谷、盧梭、高更等人影響的接受，王氏以詩代畫構築出一個充斥著原始祥和氛圍，天地物我交融，生命奧義追求的藝術世界。顯現了個人不妥協於現實的藝術家生命的思考，以及1920、30年代臺灣知識份子所面對殘缺、挫折與無以發展的時代困境。

In June, 1931, the Taiwanese Bei-Yuan Wang (1902-1965) published his first personal poetry anthology in Japan, called The Road of Thorns, where he built an art world, a fictitious Utopia, contrasting to the reality. The creation has much to do with his prior experience, the transference 'from art to literature.' Wang came to Tokyo in 1923, originally intending to fulfill an artist dream to become 'the Millet of Taiwan,' but due to the staleness of Japanese Art and the suppression of Taiwanese people under the colonized system at the time, Wang began to think and deliver human emotions and the truth of art through poems. By integrating the influence from Tagore, Millet, Van Gogh, Rousseau, and Gauguin, Wang used poems in replace of paintings and established an art world filled with peace, happiness, fusion, and meanings of life. His poetry revealed the thinking of an artist who did not want to compromise with the reality and the difficulty with the lost, frustration, and hopeless which the intellectuals in 1920s and 1930s were facing.