本文將針對油畫家陳澄波（1895–1947）生前收藏的大批印刷圖片——筆者稱其為「陳澄波圖片收藏」，具體分析、考察這批資料對於畫家畫風的影響。這批圖片資料雖然經常被用來闡述陳澄波的生平與作品，然而，到目前為止，這些引用都十分零碎而且只限於極少數的圖片，關於這批資料的整體介紹與來源調查之研究，付諸如闕。
陳澄波圖片收藏分為「雜誌剪貼」（411張）與「美術明信片」（1115張）兩大類。前者乃是剪自美術雜誌等之圖片，一部分被貼在有色襯紙上；後者主要是在展覽會場上出售的作品明信片。這些經過畫家親手整理過的印刷複製品，很明顯地是畫家作畫時的參考源泉，因此，本文將試圖闡明這些印刷品從何而來、如何透過畫家之手獲得整理，進而影響畫家畫風上的「自我成型」，也希望藉此探討印刷文化與美術作品之間的互動關係。

This paper will conduct a field survey on a large amount of illustrative plates—“Chin To-Ha's Illustrative Plate Collection” —collected by the oil painter Chin To-Ha while he was alive, in order to examine concretely the plates' influence on his style of painting. These plate materials are always used to introduce Chin To-Ha's history and his works, but until now such quotations have usually been sporadic and limited to only a few plates, and there have been no introductions of the materials in their entirety or any research regarding the investigation of their sources.
Chin To-Ha's Illustrative Plate Collection is classified into “magazine clippings” (411 items) and “picture postcards” (1,115 items). The former are illustrations clipped out of art magazines, with some plates pasted on color mounts. The latter are mainly hand-drawn postcards sold at exhibitions. These print copies were organized by Chin himself, and it is obvious that they served as reference models for his drawings. Therefore, this paper attempts to find where the printed matter came from, how it was arranged and organized by the painter, and furthermore, what kind of influence they had upon the “self-formation" of Chin's style of painting. Finally, this will be used to consider the interaction between printed culture and art works.