日本殖民時代和戰後的臺灣新美術運動中，張啟華是一位偉大的畫家和成功的美術教育家。由於張啟華獨特的畫作和創立臺灣南部美術學會的貢獻，受到台灣人永久的敬重。本論文探討張啟華畫作如何承載他的精神和感情，使他獲得永續的社會生命。因此，他的畫作成為可穿梭於此世到來世的介面。本論文採取配對比較法和作品類型分析，來研究張啟華158幅畫作。討論其他研究者對張啟華畫作的分類後，重新檢驗並選出張啟華畫作的兩個特殊「類型」(genres)：靈山(soul mountain)（高雄壽山的生命化）16幅，以及無生(azoicanimals)（動物無生命化）11幅。將這兩個類型，進行社會詩學(social poetics)的地方文化親密性(local cultural intimacy)和結構鄉愁(structural nostalgia)的分析。研究結果發現：張啟華畫作，已經超越地方感情和鄉愁。事實上，靈山和無生的畫作，雖描繪張啟華鍾愛的高雄壽山和習見的瀕死動物，但是張啟華的靈山與無生，已經向著死生辯證和生命永續的社會詩學議題，邁出一步。由此觀之，畫作是畫家將此世聯繫到來世的介面。如果畫家能夠擺脫商業利益、政治操縱、流行風格和權威宰制，他們就能夠成為靈視畫家(visionary painters)，能夠改變世界，穿梭死生的介面。

Zhang Qi-Hua was not only a great painter but also a successful art educator in the new fine arts movement during the Japanese colonial and the postwar Taiwan. He has been highly admired by Taiwanese for his unique painting and his contribution to founding the Southern Taiwan's Fine Arts Association. This article explored how Zhang's paintings bearing the painter's spirit and feeling, which led him to obtain a sustainable social life. Therefore, the paintings became an interface linking this world to other world. The study employed a pair comparison and a genres analysis to examine Zhang Qi-Hua's 158 paintings. Learning some different classifications from related studies, this article reexamined the ways of classification and divided Zhang's painting into two "genres"--soul mountain (16 paintings) and azoic animals (11 paintings), followed by a social poetic analysis of local cultural intimacy and structural nostalgia in his painting. According to the social poetic analysis, Zhang's painting had transcended the local feeling and nostalgia, and thus stepping toward the dialectic of death and life as well as the social poetic issues. Therefore, the paintings are painters' interface connecting this world with other world. If painters free themselves from the commercial interests, the political manipulation, the prevailing style and the dominant authority, they can become visionary painters, changing the world by crossing the interface of death and life.