本文討論明治維新後日本的亞洲觀及再編亞洲文明所形成的臺灣像。此議題係由日本政府的文教政策所主導，特別針對日本的教科書，博覽會的設置以及受此亞洲趨勢與潮流影響下之日本洋畫壇的巨擘藤島武二所崇尚亞洲的地域世界，與東洋趣味。在亞洲華夷秩序中，具有主導地位的日本、中國、以及處於邊陲的臺灣，皆是藤島取材入畫的題材；畫家特別重視女性的藝術，企圖藉由描寫女性的形像，寓意亞洲地域互動的機制，詮釋亞洲種族與風俗的特徵。藤島武二於1933-35年期間，日本帝國殖民主義強盛時，轉入臺灣，以備受忽略的臺灣女性為題材，製作系列作品探索臺灣像，在日本近代美術史上，具有重要的歷史意涵。本文簡要回顧日本的歷史文化過程，包含前近代時期與近代時期，探討該主題的重要性。此外，亞洲的趨勢與潮流，不僅影響帶動日本文帝展所風尚的異國情趣題材，而且對於臺展提倡臺灣地方特色，也有其歷史的淵源與重要性，形成臺展女性意像的部份美學特徵。

This paper studies Asian region in Post-Meiji Japan and the image of Taiwan following Japanese efforts to redefine Asian Civilization. These issues were greatly influenced by Japanese cultural and education policies at the time. Discussion included relevant changes in Japanese prescribed textbooks, Japanese participation in international expositions, and developments in the Japanese painting circles during this time of great change. Focus centered on Jujishima Takaji, who was attracted by Asianism and influenced by the pre-Modern concept f Asian Chinese-barbarian order both of which he incorporated in his art. Discussion includes his works featuring the mainstream countries of Japan and China, as well as the less-mainstream Taiwan. His emphasis on portraying women in his art, by interpreting Asian ethnicities and customs, was aimed at showcasing the interaction in Asia ground that time. Between 1933 and 1935, when Japanese imperialism was at its highest point, Fujishima Takeji had shifted his attention to Taiwan, where he worked on the theme of women, then a much-neglected topic. His series of works that showcased the Taiwan image have their place in Japanese modern art history. This paper also discusses Japanese history and culture, especially the pre-modern and modern periods, as a backdrop in probing through the various issues. Asianism has also greatly influenced Japan’s Imperial Exhibitions through the inclusion of ethnic themes. The attention to the local color of Taiwan has its significance in historical studies and in defining female-form aesthetics in Taiwanese art exhibitions.