彭瑞麟（1904-1984）是台灣第一位到日本取得攝影學士的攝影家。他1930年作品「靜物」攝影所採用的三色碳墨轉染天然寫真印畫法標誌了彩色攝影勃興之前，結合工藝與科學的彩色影像技術的演進史。1938年彭瑞麟被日軍徵召到廣東戰場，因此留下一批戰爭期間的攝影與風景速寫，隨後於太平洋戰爭期間彭瑞麟又捲入越南復國同盟會的復國運動。彭瑞麟在戰爭期間留下的攝影，成了台灣藝術史上極為少數的戰爭中藝術的案例。有關彭瑞麟攝影的研究，近期逐漸獲得學者、機構與展覽的關注，但是這一段戰爭時期的攝影作品與風景速寫，總是被當作是彭瑞麟攝影意外的插曲而被一筆帶過。本研究奠基既有藝術史研究的成果，從新近出土的史料、日記、與文獻，重新檢視戰爭期間的彭瑞麟及其藝術，嘗試給這一批戰爭期間的藝術一個恰當的歷史定位。通過閱讀彭瑞麟留下在廣東時期的相本，及其相關影像材料的可見與不可見，本論文還原戰爭局勢下彭瑞麟的生命與藝術軌跡，指出其中特殊的日常感與匿名性，以及超乎創作主體可以控制的動員價值。

Photographer Peng Ruei-lin (1904-1984) is considered the first Taiwanese photographer to earn a bachelor’s degree in Japanese during Colonial Period. His 1930 work "Still Life," featuring a three-color carbon ink transfer printing technique, marks the evolution of color imaging technology, combining craft and science, before the rise of color photography. In 1938, Peng Ruei-lin was drafted by the Japanese army in Guangdong, leaving behind a collection of wartime photographs. Peng Ruei-lin compiled his Guangdong photos into a collection called "Guangdong Album," annotated in Japanese. Research on Peng Ruei-lin ‘s photography has recently garnered increasing attention from scholars, institutions, and exhibitions. However, his wartime photography has often been overlooked as a minor incident in Peng Ruei-lin ‘s career. This study builds upon existing achievements and gaps in art historical research. Drawing on recently unearthed historical materials, diaries, and documents, it reexamines the war themes in Peng Ruei-lin and his photography, attempting to posit an art historical position for his wartime photography. By reading the photo albums left by Peng Ruie-lin during his time in Guangdong, as well as the visible and invisible related image materials, this paper restores Peng Ruie-lin’s life and artistic trajectory under the war situation and points out that the unique sense of everyday and anonymity as well as the mobilization value ㄘwhich is beyond the control of the photographer/artist himself.