張啟華繪畫作品中自然風景常取材海景及岸石、在地市鎮樓房，並取魚、果等為靜物畫的素材，這些繪畫語彙主要來自畫家本人的生活真實，而其成立於畫品中的繪畫性則有畫家本人的語典性，這一語典性有多重根源，如師承，繪風燻染，生活感觸等，為畫家個人風格的體現，細加分析則可以抽繹其間與現代繪畫（歐洲、日本、臺灣）的現代性相通的地方，如此，可以見出個人的特殊性與藝術淵源的普遍性互相容涵，而非裂為兩橛的互不相容。本文選擇海景、福聚樓、教堂靜物等繪品為例對張啟華的繪畫的語典性進行分析，論文主體分三個部分：一是臺灣美術運動中的語典性典範的根源舉隅；二是張啟華與劉啟祥繪品的語典性分析；三是批評家在臺灣繪畫語典性的把握與論斷。我們試著從造形、色彩、筆觸等具體現象來作分疏的箋解，希望能提出臺灣繪畫語彙的定性見解，熟庶幾能如實地見出其語典性的特點與價值。

In this paper, I shall discuss the idiolect traits of Zhang Qi-Hua's paintings according to what exhibit in Kaohsiung Museum's exhibition "When East meets West--Impressionism in Taiwan", and further analyse the implications of his idiolects along with the movement of fine Arts in Taiwan since then. There are three parts in this paper: the first, some peeps on the roots of idiolect paradigm in the movement of Fine Arts in Taiwan; the second, some analysing comments on the idiolect traits of Zhang Qi-Hua's paintings and that of Lie Chi-Shiang as a parallel contrast; the third, some reconsiderations on the comprehension and judgement of Critics on the idiolects of Taiwan Paintings. I try to interpret my topic according to the concrete phenomena of graphic form, color and the painting texture; and so by this way I might propose some qualified opinions on the language of Taiwan paintings and thus to find out the traits and value of his idiosyncrasy.