探討台灣殖民時期的文化發展，從自然到文化面向的轉變是重要的議題。對殖民者日本而言，重構物質環境及展現其意涵是統治台灣非常關鍵的一步，就此，自然物理條件包含了一種精神與情緒的特定語言以反應此一特殊關係。本論文探討在殖民脈絡下視覺藝術家如何發展風景畫與形塑風景觀；相較於此，超現實主義詩人楊熾昌又如何創作出不同境況的現代詩。經由不同的表現取徑，兩者皆關注台灣風景與熱帶景象，但表現的手法與創作思路大相逕庭。這個現象反映不同媒介表達（文字與繪畫）與觀點的差異下「自然的台灣」如何被賦予文化涵義並詮釋成為「文化的台灣」。因此，他們構想台灣的方式透露出他們如何發現與再現殖民脈絡下的台灣。這樣的看法也反映了他們在殖民關係上的特定價值判斷與詮釋。在客觀與主觀之間，在真實與反轉之間，以及在現實與詩意之間，台灣風景在他們的眼前表現了不同的劇碼與涵義。從視覺藝術與文學的比較反映出，藝術與媒材的表現和社會文化的個人詮釋有密切關係。

The transition from natural Taiwan to cultural Taiwan plays an important role in positioning Taiwan’s visual art during the colonial period. The reconstruction of the physical environment was a crucial step for the Japanese empire to implement in her colony of Taiwan. Physical nature therefore becomes a certain language containing psychological and emotional reactions towards such relationships.The paper intends to identify how some Taiwanese visual artists developed their landscape paintings, in comparison, how Yang Chih-Chang ( 楊熾昌，1908-1994), a surrealist poet, conceived a different view of Taiwanese landscape
poetry during roughly the same colonial period of the 1920s-1940s. Both sides paid attention to Taiwanese landscape and tropical scenery, but their terms of descriptive and reflective approaches differed. This interesting discrepancy shows that natural Taiwan has been endowed with cultural connotations and interpretations through the different media of visual and verbal representations and languages.Such perceptions also reflect certain value judgments and colonial relationships towards the Taiwan they inhabit. Between the objective and subjective, the literal
and subverted, and the realistic and poetic, the Taiwanese landscape performed a different drama and meaning to their eyes. The way in which they conceived Taiwan therefore reveals how they discovered andrepresented colonial Taiwan.