在近現代中國美術史中「文化認同」、「轉型」和「現代化」等議題，一直是學 術界所關注和探討的焦點，而這些議題也都發生在臺灣畫家蔡草如（1919-2007）的藝 術生涯。蔡草如，臺南人，出生在一個政治與文化都面臨轉型的時代。蔡氏一方面因為 受到日本新式教育開始在公學校跟日本人學習實用美術，如素描，另一方面他畢業後又 受到臺南傳統寺廟彩繪畫師暨舅父陳玉峰的訓練，這樣不同的訓練背景孕育出他與其 他同時代畫家不同的藝術道路。 本研究的目的是要探究「為何」和「如何」蔡草如可以在1946 年和1960 年間國 民政府所辦的全省美展拿到四次的第一名、二次第二名，和一次「無鑑查」等。此研究 將有助於我們了解藝術家如何突破原本繪畫的窠臼和轉型，以符合社會的需求與安身 立命，也給予我們不同觀點的現代臺灣美術史。

Cultural identity, transformation, and modernization—crucial themes in the history of modern Chinese art—can be seen in studies of the career of Cai Cao-ru (1919-2007), a Taiwanese painter. Cai was born in an era of political and cultural transformation. In his early life, while receiving modern Japanese education, Cai started to learn the techniques of Western painting in public school. After his graduation, he took up traditional temple painting with his uncle, Chen Yu-feng, a folk-painting master in Tainan. His background of varied artistic training distinguished Cai from his Taiwanese contemporaries. This study attempts to explore ‘why’ and ‘how’ Cai Cao-ru won first place four times, second place twice, and ‘above evaluation’ once in the Taiwan Provincial Fine Art Exhibition organized by the Nationalist (KMT) government between 1946 and 1960. This study will also elucidate how Cai adjusted himself to a new environment by transcending conventionality and transforming his art into a new style in order to meet the needs of society and to secure a safer life. In addition, this essay will provide a different perspective on the history of modern art in Taiwan.