有關臺灣美術的研究，在前人所累積的基礎及臺灣特殊的歷史情境之下，發展出幾種深具意義的研究風貌。本文即以林保堯教授對於臺灣美術的研究為討論對象，試圖藉由其已發表的相關論著，如《臺灣美術全集7：楊三郎》（1992）、《臺灣美術全集22：張啟華》（1998）、《百年臺灣美術圖象》（2001）、《臺灣美術全集23：蔡蔭棠》（2002）、《鄉土情懷雕塑》（2004）、《民藝與生活》（2006）、《潘春源〈婦女〉》（2012）等，分析林教授對於臺灣美術發展的闡釋，及其理想中的臺灣美術圖譜。為了方便討論的進行，本文將不以論著出版時間的前後為主，而將以主題區分為美術、工藝及系譜三部分。其中的美術，尤指曾入選日治時期官方美術展覽會的油畫作品為主；而雕塑、民間工藝等作品，則納入工藝部分；最後有關系譜的討論，主要參考《百年臺灣美術圖象》一作的寫作宗旨，及林教授對臺灣美術兼具人文意識的思考與定義。

Based on foundations laid by predecessors and the unique historical context of Taiwan, this paper proposes several meaningful research directions in the field of Taiwanese art history. Research conducted by professor Pao-Yao Lin will be the focus of the discussion. Referencing publications authored by professor Lin, including Taiwan Fine Arts Series Vol. 7 - San-Lang Yang (1992), Taiwan Fine Arts Series Vol. 22 - Chi-Hua Chang (1998), The Taiwan art of the 100 years (2001), Taiwan Fine Arts Series Vol. 23 - In-Tang Tsai (2002), Taiwan Modern Art Series – Xiangtu Qinghuai Diaosu (2004), Min Yi Yu Sheng Huo (2006), and Pan Chunyuan : “Fu Nu” (2012),this paper will conduct an analysis on professor Lin’s interpretation of the development of Taiwanese art and his ideal map for the history of Taiwanese art. For reasons of convenience, the paper will not take the publication’s chronology into consideration, and will instead categorize them into areas of interest, such as art, craft, and lineage. The section on art will focus on oil paintings that entered art exhibitions organized by the governor general during the Japanese colonial era. Content related to the topics of sculpture and folk craft are presented in the section on crafts. The final section is a discussion on lineage, and will mainly make references to the publication, The Taiwan Art Icons of the 100 years, as well as Professor Lin’s perspectives and definitions for Taiwanese art and a humanistic consciousness.