1935年，總督府舉行始政四十周年記念臺灣博覽會（以下簡稱臺灣博覽會）。這是規模極為盛大的博覽會，主要的展覽館集中於台北，少數分散於臺灣各地。陳柔縉出版一系列和日治時代社會生活相關的作品，當中《一個木匠和他的台灣博覽會》蒐羅了三百個臺灣博覽會紀念章。這些紀念章大多來自民間，官方出版的僅佔少數。本文藉由分析紀念章圖像，爬梳臺灣博覽會，理解埋入時光洪流的臺北商家的集體歷史記憶，梳理當中政商權力關係，及商家臺灣想像，澄清他們並非僵化，而是富含變化。筆者援引彼得．柏克圖像學觀點，以及米切爾「風景」觀點深入解析，重返臺灣博覽會的歷史現場，剖析臺北商家創作紀念章的深層心理，闡發新興臺灣博覽會的思考觀點。

1935, the grand sight of Formosa exhibition was held by the Government of Taiwan to commemorate the 40th anniversary of its founding under Japanese rule (aka. Taiwan Expo). This was a grand exposition. The main exhibition halls were gathered in Taipei, and a few were scattered all over Taiwan. A number of works were published by CHEN, ROU-JIN that focused on daily life during the Japanese colonial era. One of them, "A Carpenter and His Taiwan Expo", collected 300 commemorative stamps from Taiwan Expo. Most of these chops came from the private sector, and only a few were officially published. This article attempts to realize the collective historical memory of the forgotten Taipei merchants by analyzing the images of the stamps, interpreting the Taiwan Expo. Then it tries to define the relationship between politics and business, and the Taiwanese imagination of businessmen. I aim to clarify that they are not rigid, but rich in variety. I use Peter Burke's iconography theory, and Mitchell's "landscape" theory, rediscover the background of the Taiwan Expo, examine the motive of Taipei merchants in creating commemorative stamps. Finally, I hope to generate a new perspective on this theme.