日治時期臺灣之殖民現代性與認同議題，近年來廣受學界探討，而本文則由「故鄉」的角度切入，透過陳澄波不同時期的三件描繪故鄉嘉義的作品，來探討殖民地體制下臺灣人主體性之形成與認同等問題。本文主要分為兩大部分，第一部分探討畫家留學東京期間所創作的兩件嘉義風景（1926、1927），根據分析，可知其與故鄉意識的萌芽有關，並與臺灣民族主義的形成過程有著密切關係。而在畫面上都呈現出「南國」與「現代性」的雙重結構，然而彼此的關係從對抗轉為融合的這一點，可以看到畫家雖無可避免地受到日本人所形塑之「南國」臺灣意象的影響，然而卻藉由去除威脅自身存在感的要素，來重新構築自我認同的過程。第二部分探討結束旅居生活返鄉後所創作的《嘉義公園》（1937），陳澄波在此引用了各種來源的東亞繪畫傳統語彙，其與畫家在這段時期頻繁強調的「東洋」認同思想有關。而這樣的思想雖源自於日本，畫家卻將「東洋」的中心，從日本轉換成以臺灣為主體的認同立場。而在此意識下所創作的《嘉義公園》，乃是以揉合各種文化元素的理想故鄉形象呈現，而畫家所追求的主體性，則藉由巨大鳳凰木的形象表現出來。根據上述可知，陳澄波畫作中的故鄉面貌，隨著不同的階段而轉換，然而從畫面中不斷出現的母子像，可知作為其認同意識之根源與核心的乃是「家庭觀」所代表的倫理價值。

The problem of the formation of colonial modernity and identity politics in the Japanese colonial Taiwan has recently received many scholarly discussions. This study takes up the issue homeland by exploring three works of Chen Cheng-po concerning his hometown Chiayi in order to investigate the problems about Taiwanese subjectivity and identity under the colonial condition. This paper divides the discussion into two sections. The first section deals with Chen Cheng-po's two early works about Chiayi's landscape and street scenes, ”Outside of a Chiayi Street” (1926) and ”Street Scene on a Summer Day” (1927), when he studied arts and painting in Tokyo. I argue that Chen's works at the time presented the emergence of his homeland consciousness and its relation with the rise of Taiwanese nationalism. The double structures on the paintings that revealed images of the Nangoku (Southland) and modernity, which were both inevitably influenced by the received official idea of the Taiwan as a Southland the Japanese colonizer invested, transform their relation from conflict to fusion. By such an operation, Chen tried to remove elements that might threaten his sense of existence for reconstituting his own identity. The second part analyzes Chen's another work ”Chiayi Park” (1937). He produced this painting when he returned home. He mobilized East Asian traditional painting languages from multiple sources. During this period Chen frequently emphasized the ideal of the Toyo, literally Orientalism. Although the Toyo ideal had its Japanese origins, Chen relocated in the painting the center of Toyo to Taiwan. With this move, Chen painted the ”Chiayi Park” in a style of embracing multiple cultural elements for drawing an ideal image of the homeland. In it, concentrating on the colorful giant flame tree as we should see, Chen made a way of pursuing his subjectivity. The drawings of homeland scenes in Chen's paintings transformed at different stages. However, the repeated theme of the relationship between mother and son may suggest that the resource of identity came from his sense of morality based upon his deep love in family.