臺灣日治時期第一代西畫家，在「台展」、「府展」的政策鼓勵下，意圖以具地方特色的風格，區隔出與中央畫壇（東京）不同的文化面貌，因此而有「地方色彩」與「炎方色彩」的說法。此一最早被認定為具有地方主體意識的創作思維與作品風貌，近來被新一代的藝術研究者以「後殖民主義」的觀點，反向認為：這樣的主張，完全落入日本殖民主義對後進地區文化認知模式的陷阱，以「多彩／熱帶／野蠻」來框架台灣。同屬第一代留日畫家的張啟華(1910-1987)，雖身處陽光炙熱的南臺灣，在其長期耕耘的畫作中，恰恰不以亮眼的原色為主，而走著一條雅緻與濃郁並存的「白色意象」之路，以至和同屬留日畫家的劉啟祥(1910-1998)，被美術史家合稱為高雄的「白派」。本文意圖以張啟華的畫作為對象，對此一與時代潮流明顯逆向的「白色意象」作一可能的探索；釐清其形成的緣由及可能的文化意義，以豐富臺灣美術史透析的面向與內涵。

The first generation western painter in the Japanese colonized Taiwan, was encouraged by the policies of Taiwan exhibition and Government exhibition and attempted to distinguish from the central painting course (Tokyo) with their local characteristics; hence there is a saying of localization and regionalization. These creative thoughts and styles that was originally recognized as local significant characteristics, have been considered by the new generation of art theorists as postcolonialism and they think such a claim has been fall into the trap of colonialism's cultural pattern for less advanced regions, and utilize "multicolor/tropical/barbarism" framework to limit Taiwan. Zhang Qi-Hua (1910-1987) was one of the first generation painters who studied in Japanese, although he lived in the sunny southern Taiwan, he painting works were not based on bright colors, but with a white significance style of elegant, away from obstruction; he and the other painter that also studied in Japanese are being called Kaohsiung's white faction. This article attempts to use the paintings of Zhang Qi-Hua as the objects and explores this "white significance" that in the reverse flow of trend; to distinguish the cause and possible cultural meanings and to enrich the aspect and connotation of Taiwanese art history.