本論文以日治時期第三期《公學校用國語讀本》的插畫為研究對象，透過整理歸納，探索如何經由形式產生作品的意義，而在教育的場域裡發揮作用。論文的架構則依循對插畫內容的分析、插畫繪製者的畫業經歷和風格探討、以及圖像的意涵解釋，說明插畫裡的建制作用，以及藉由教育上的學習系統被記憶的可能。 而在插畫製作與使用的過程裡，想像層層堆疊，記憶重重建構。畫家以自身的認知和各種材料的輔助，為臺灣學童提供安置生活記憶的圖像，並且打造他們對於未來想像的模型。 不論是畫家在製作插畫的時候也好，還是公學校的學生在觀看國語讀本插畫的同時，都在進行著三種不同層次的編纂活動：對於文字的編纂、對於現實的編纂、和對於想像的編纂。這三者交相運作之下，形成了對於記憶的編纂，並且因著時間、場所、地域、身分的更易，而流動變化。 This thesis deals with the illustrations of《公學校用國語讀本》of the third phase of Japanese Occupation. Examining the myriad of illustrations, I attempt to find out how forms give significance to meaning, hence play a role in the domain of school education. As its framework, the thesis analyzes the content of illustrations and the professional backgrounds of illustrators, discusses their styles and interpretations, and explains the composition of illustrations and how they serve as a mnemonic aid to learning. As the illustrations are made and used, imagination is given free rein and shades of memory superimposed. Through their self-identification and the aid of multiple materials, the illustrators provide images for the Taiwanese schoolchildren to place their life memory and imagine about their future. When the illustrators are illustrating and when the colonial elementary school pupils are looking at the illustrations of Kokugo Tokuhon, three levels of composition are in process: the composition of words, the composition of reality and the composition of imagination. In the interaction of these three compositions, the composition of memory is born, which through the change of time, place and identity flows and changes itself.