野見山曉治 (Nomiyama Gyoji 1920~) 是當今日本畫壇上的長青樹，歷經明治時期以來美術歐化的草創期尾聲，並跨越了戰後旺盛的歐美藝術思潮乃至近幾十年來現代繪畫活躍的日本當代美術發展史，在日本當代藝術家中，是難以被歸類的一位。
由於在二戰後台灣美術思潮逐漸以歐美為主流，日本畫壇的影響力被明顯取代，在一面倒的壓縮學習西洋當代藝術的台灣美術環境中，筆者試圖從同為具有東方人向西洋學習經驗的野見山曉治之畫業成果中尋找類似的創作經驗。
本文目的在於藉由野見山曉治面對自然、觀察自然，並再生屬於自己的自然的繪畫，試圖喚起疏離而冰冷的當代藝術裡喪失已久的繪畫溫度。

Nomiyama Gyoji (1920- ) is a veteran in Japan’s contemporary art scene. Having witnessed the end of the first stage of European influence on Japanese fine arts that began in the Meiji era, Nomiyama saw the ethos of European and American artists thriving in the wake of World Ward II, and left his mark on the exciting history of Japanese contemporary arts over the past few decades.
Western art styles have gradually replaced Japanese ones as the force that dominates fine arts in post-war Taiwan, where almost every artist is crammed with the theories of European or American contemporary arts. That prompted the author to find something in common with Nomiyama, who draws lessons from the West to complement his oriental heritage.
The purpose of this paper is to examined how Nomiyama faces Nature as an observer and has it “reborn” in his signature painting style, in an attempt to revisit the long-lost warmth in a modern world where graphic works are coldly indifferent.