志賀重昂《日本風景論》的卷頭語「江山洵美是吾鄉」，可作為說明近代日本人透過登山旅行追尋鄉土愛，並形成國粹思想的風景觀。與志賀同一世代的水彩畫家丸山晚霞(1867-1942)，熱愛登山，又被稱為「鄉愁畫家」，正是其中的代表人物。然而，隨著日本於殖民地進行統治與設立國家公園的過程，畫家以山岳圖像凝聚鄉土以及國家意識的概念，是否仍可延伸、適用於殖民地？值得進一步商榷。例如韓國自古著名的金剛山，與臺灣的新高山，此時成為山岳畫家新的創作對象，丸山晚霞更曾先後前往描繪這兩座山岳。對丸山來說，從事東亞山岳旅行與創作，究竟是異國的探險與朝聖，還是一趟懷鄉之旅？檢視丸山的創作歷程，可說明其反覆思索如何才能使鄉土愛得以紮根的關懷。本研究藉此探討國家山岳圖像、懷鄉意識，與美術史中的多重議題，呈現東亞美術史上一度並立的兩座山岳圖像。

＂The beautiful mountain scenery is my hometown,＂ as mentioned in the opening sentence in Shiga Shigetaka's ＂Nihon fūkeiron＂ (A Discourse on Japanese Landscape), is regarded as a slogan to understand the affection for hometown, the view of Japanese landscape, and the emerging nationalism that form through Japanese people's love for mountain trekking. Maruyama Banka, a watercolorist devoted to mountain climbing in the same generation and named as a ＂nostalgic artist,＂ is exactly the representative figure in this case. However, this paper argues that mountain paintings symbolize the affection for hometown and nationalism under the colonial administration of Japan. Mountains such as Mt. Kumgang in the Korean Peninsula and Mt. Niitaka in Taiwan are where Japan planned to establish national parks. Maruyama's travel to the two mountains and his artworks can be viewed as his struggle between the affection for hometown and that for nationalism. This paper provides arguments for multiple notions such as the iconographical implications of mountain paintings, the emerging nationalism, and the affection for hometown by comparing the two mountains in East Asian art history.