本論文的研究主題在於：透過分析日治時期的「台灣寫真帖」中的視覺圖像，釐析「台灣」如何被觀看？編者如何編排一套「應該觀看台灣的方式」？在此視覺論述中，什麼被選擇？什麼被捨棄？相較先行研究者以後世眼光所分類之「類型」，可能切斷寫真既有的編輯思維及脈絡，本文乃將寫真帖重新置回原初的時代脈絡來觀察。 　　經由本文的分析，有以下幾點發現。首先，攝影傳入台灣及其發展情況，由辭彙轉譯的過程及拍攝、出版者來看，本文論析之「台灣寫真帖」可視為殖民者眼光所看見的「台灣」。而寫真帖的台灣視覺論述，可歸納以下幾項特性：（一）地理空間架構下的台灣，將台灣編制為北而南、由西向東的觀看順序；而東、西台灣的差異，呼應統制者經營台灣的態度及政策。（二）時間遞延下的台灣，歷經明治、大正、昭和不同時期各有不同的時代特性。（三）蕃族、自然資源、台灣風俗等視覺元素，並不特定被擺置於某一地理空間或某段時代，但依舊隱含殖民的凝視。綜論之，台灣寫真帖可以巨視和微觀的角度切入：巨視者與1908年縱貫鐵路通車密切相關，微觀則以1934年《台灣教材寫真教科書》分類框架最具代表性。 　　將寫真帖與其他文類對比參照後發現，其間多有互相複製、挪用的情形，可見殖民者建制台灣視覺論述的用心，並不僅見於寫真帖，亦以各種綜論性的台灣相關論著、教育讀本、美術作品的視覺圖像，相互作用以「召喚」個體（被觀看的「台灣」）進入主體（殖民者的知識體系）。「台灣」在殖民論述下如何被操作及轉化，本文以北白川宮、新高山、香蕉為例討論，援引羅蘭巴特的神話學概念，分析各樣文類構築的「台灣神話」。最後，從「觀看」到「觀光」的實踐，將觀光指南中的「台灣」與寫真對照，以「日月潭杵歌」與「台灣神社」為例，試論神話形構後，傳遞過程中可能的變異性。 / This research aims to interpret how Taiwan was observed by analyzing the visual icons in the “Taiwan shashin cho (Taiwan photo albums/台湾写真帖)” during the Japanese Colonial period. In addition, we will discuss about the way to see Taiwan arranged by the editor, and which factors was chosen or abandoned in the editorial process. Regarding prior researches, the classifications of former researchers possibly break both the thinking and the context of photo-album editors in later versions. We purpose to place the “Taiwan shashin cho” in the original context of the old times. 　　With our analysis, our research findings are: First of all, based on the development of photography in Taiwan, the Taiwanese translation of photography as well as the photographers and publishers, the “Taiwan shashin cho” in this research can represent the “Taiwan” image in the colonial perspective. We generalize three characteristics in the basis of the “Taiwan shashin cho”: A. Geographically, the order to view Taiwan by region was arranged from the north to the south and then the west to the east. The differences between western and eastern Taiwan corresponded to the colonial attitude and policy in this era. B. Chronologically, the “Taiwan shashin cho” implicated individual temporal characteristics in each section of the Japanese Colonial period, respectively. C. Generally, the visual factors such as aborigines, natural resources, and the customs and traditions cannot be categorized into specific regions and period, though they still implied the gaze of the rulers. In summary, there are two kinds of perspectives to analyze “Taiwan shashin cho”: macro and micro. The macro perspective is closely related to the operation of the North-South Railway. On the other hand, the category framework of the “Taiwan kyozai shashin kyokashu (Sources of Photography for Taiwan Textbook/台湾教材写真教科書)” in 1934 is the most typical micro perspective. 　　Secondly, to compare with other archives, numerous visual icons are reproduced and appropriated from the “Taiwan shashin cho”. Thus, we can conclude that the rulers spare no efforts to build up the visual discourse of Taiwan images with the “Taiwan shashin cho”, those treatises, educational textbooks and fine art works. By these archives, the individual (the Taiwan observed) is interpellated to the subject (the knowledge of the rulers). Based on the Mythologies by Roland Barthes, this thesis take the “Kitashirakawa-no-miya Yoshihisa-shinno (Imperial Prince Kitashirakawa Yoshihisa/北白川宮能久親王)”, the “niitakayama(former name of Yushan/新高山)”, and the “bananas” as examples to understand how “Taiwan” was operated and transformed. Furthermore, how the forecited archives constructed the “Taiwan Myths”. 　　Finally, this research compares the “Taiwan shashin cho” with the “Taiwan ryoco annai(Guidebooks of Taiwan Railway Tour/台湾鉄道旅行案内)” in the practice of transforming “seeing” to “sightseeing” for discussing about the divergences in the process of propagating myth with two illustrations, “ Zizugezu tan kineuta(Pestle Dancing in Sun Moon Lake/日月潭杵唄)” as well as “Taiwan Zinzha(Taiwan shrine/台湾神社)”.