There existed diversified, confused and incompatible viewpoints on revealing the history of Taiwan while different studies and researches were conducted. The consequence was diverse explanations upon this important period of Taiwan, from year 1949 to year 2000. A novel concept was developed to interpret and identify the discourses of Taiwanese nationalism through fine arts. This is a brand new approach in studying Taiwan¡¦s history and in correlating aesthetics to politics as well. This dissertation tried to demonstrate the relationship between political text and fine art text in order to identify history of Taiwan based on the discourse of nationalism. According to different periods of leadership and their discourses of nationalism, four stages were identified between 1949 and 2000. They were: Stage I (CKS ruling period, 1949-1975):¡¦ Overlap¡¦ and¡¦ backlash¡¦ between Anti-communism esthetics with Modernism Aesthetics ; Stage II (CJG ruling period, 1975-1988):¡¦Transition¡¦ and ¡¥conversion¡¦ between Modernism Aesthetics with Provincialism Aesthetics; Stage III (Early LTH ruling period, 1988-1996): ¡¥Delitescence¡¦ and ¡¥variation¡¦ between Provincialism Aesthetics with Localism Aesthetics; Stage IV (Late LTH ruling period, 1996-2000):¡¦Reconstruction¡¦ and ¡¥deepness¡¦ between Localism Aesthetics with Subjectivity Aesthetics. This research tried to bring back the hidden and/or forgotten memory by re-discovering and tracking down alternative pathways of text. History was re-described and rebuilt in order to establish the new identity of Taiwan. The contemporary core of Taiwan¡¦s politics lies in the discourse of nationalism, and the challenge of relating aesthetics to it through self-examination of history is huge. This research also provides a new approach to verify the difference between the political reality and what¡¦s in people¡¦s mindset. Employing aesthetics as an emotional or symbolic entity to express political issue is a strong statement of cultural hegemonies. The development of Taiwanese aesthetics started from a passive acceptation of post-colonialism to an active transformation of subjective new culture.