本文主要的討論對象，乃是以張啟華靜物畫中關於廚房、餐桌及食物的描繪為主。這類作品如1954年的〈鹹魚〉、1955年的〈廚房〉、〈鴨子〉及〈吳郭魚〉、1960年左右的〈貝與魚〉、1960年的〈屠體羊〉、1970年的〈鴨與酒〉等作。英國藝術理論及藝術史家諾曼‧布列遜(William Norman Bryson, 1949-)，曾在其《Looking at the Overlooked: Four Essays on Still Life Painting》一作中，從歷史及文化的層面，分析了靜物畫所可能蘊藏之物質文化的內涵。以此觀之，當我們欲從張啟華的畫作中，思索二十世紀台灣美術的發展時，除了考量其與日本畫家大久保作次郎的師承關係外，也應同時考慮這類以廚房及餐桌為題的畫作，探討其在靜物畫發展的脈絡中，值得我們注意的圖像意義。

This article analyzes the symbolic meaning behind Zhang Qi-Hua's (張啟華) still life paintings of kitchens, dining tables, and food. The works by Zhang Qi-Hua discussed in this article include "Salted Fish" (鹹魚, 1954), "Kitchen" (廚房, 1955), "Mouth Breeder" (吳郭魚), "Sea-shells and Fishes" (貝與魚), "Slaughtered Sheep" (屠體羊, 1960), "Still Life" (鴨與酒,1970) and other works. In Looking at the Overlooked: Four Essays on Still Life Painting, art historian and art theorist William Norman Bryson (1949-) uses a historical and cultural approach to analyze the meaning of the material culture depicted in various still life paintings. This article uses a similar approach to analyze the still life paintings of Zhang Qi-Hua, in order to understand the role of this artist in the progression of fine arts in 20th century Taiwan. In addition tracing the artistic influence by Zhang's mentor, the Japanese painter Okubo Sakujiro this article places Zhang Qi-Hua's paintings of kitchens and dining tables in the developmental trajectory of still life painting in 20th century Taiwan.