劉啟祥為台灣日治時期油畫家，早年留學日本，不同於其他留日學生，他就讀私立「文化 學院」，並投身於日本最大的在野藝術團體「ニ科會」；隨後赴歐遊歷、學習，並於此時期建立 個人風格。其作品受到「ニ科會」影響，在「外光派」的基礎上，結合歐洲19世紀後半葉各 畫派的風格。本文從其留歐時期的作品，回溯到他的靈感來源，包括馬内、塞尚等印象派畫家， 接著以歸國後的〈肉店〉、〈畫室〉、〈魚店〉為例，分析其於1935〜1945年間，定居東京目黑區 時期的藝術作品，針對空間構圖、色彩安排、筆觸、技法等進行分析比較，整理出劉啟祥這三 件作品參考了歐洲畫家的觀念，將空間作刻意的安排，使之有連貫性和對稱的構圖。除了利用 色光效果調和畫面外，也揉合了欧洲的色調，和他g小養成的生活品味，建構出富有趣味性的 畫中世界。

Chi-Hsiang Liu was the Taiwan painter during the period of Japanese occupation. Early of his hte, he studied abroad in Japan; unlike other Taiwanese students in Japan, he attended the private school, Bunka-Gakuin, and devoted himself in the Japan's largest unofficial group, "Nikakai". Then Liu traveled to Europe, studied，and established his personal painting style during this period of time. His works were strongly influenced by Nikakai and in the foundation of Pleinairisme Liu combined the different Europe’s painting styles from 1850 to 1900 with his own. This article discuses about Liu’s works during his staying in Europe and tries to trace back to his source of inspirations which includes Edouard Manet, Paul Cezanne and other Impressionist painters. After Liu’s returned to Asia and settled in Meguro Tokyo, this article takes Liu’s works, “Butcher”，“Studio” and ’’Fish Shop”，as examples to analyze Liu’s works during 1935 - 1945 with critical elements which are space composition, color arrangement, brush stroke、drawing characteristic，and expression techniques. By analysis and comparison, this article presents the discussion of Chi-Hsiang Liu’s three paintings and sorts out these Liu’s three paintings referred to the concepts of European artists. These Liu's three paintings were intentionally arranged the space composition and intentionally to be coherence and symmetrical composition. In addition to additive color and tints and shades on his three paintings, these paintings were also blended with the European’s tone and the personal special style from his childhood to create more interesting and fascinating elements to his works.