「地方色彩」理念是殖民政府透過「臺灣美術展覽會」（簡稱「臺展」）、「臺灣總督府美術展覽會」（簡稱「府展」）及州級學校美展（簡稱「州展」），所推行的一個重要的美術政策。論者一般都認為臺灣總督府藉著中央官展及地域性「州展」推動的「地方色彩」政策，在當時特殊的環境下產生了一種相悖矛盾的現象，即「地方化」及「在地化」的兩極發展方向。「地方色彩」在近代臺灣美術史上，堪稱是一個較具雛形的美術理論，其影響的層面極廣闊又複雜。因而探討「地方色彩」理念的形成，兩位核心畫家鹽月桃甫（1886—1954）及石川欽一郎（1871—1945）對此理念的詮釋、實踐與影響，及臺灣畫家對此主流藝術風潮的回應等議題，將使我們對殖民美術及文化政策對被殖民藝術家的衝擊與影響有更深入的理解。

　　　　　The idea of "local color" is an important art policy of the Government-general of Taiwan which use "the Taiwan Fine Arts Exhibition", "the Fine Arts Exhibition of the Government-general of Taiwan" and the fine arts exhibitions organized by schools of regional states to propagate the policy. Scholars generally agree that the Government-general of Taiwan promoted the policy of "local color" through nationwide official exhibitions and regional state exhibitions and that an antinomic phenomenon (localization vs. native art) was thus created under the specific cultural environment. Localism, in comparison, a more well-development art theory in the history of Taiwan modern art, has wide and complicated influences. By discussing the forming of “local color" idea, exploring how two influential artists, Shiogetsu Monoura and Ishikawa Kinchiro interpreted and carried out this art idea and depicting how Taiwanese artists responded to that "local color" art trend, we can have a thorough understanding of the impact of the colonial art and cultural policy on the colonized artists.