A characteristics of colonization is fully shown in the ink painting in Taiwan without a question while looking back its development in the 20th Century, however, no matter a dispute between tradition and innovation in the 1950s, or, a discussion on local culture upon local consciousness in the 1970s, are roughly surrounded by a dispute on the direction of ink painting development and in the meantime, unfolded the prosperous vitality of ink painting creation in Taiwan and even disclosed the ”emergence” issue of local consciousness which gradually forms during the development of ink painting in Taiwan. The so-called emergence is a driving force which incessantly urges complicated system on to self-organize into various templates. As far as it is concerned, the development of ink painting in Taiwan reports a more complex structure than other regions due to a change in politics, social structure and history, making it not only an issue about ink painting creation, but also an emergence that drives Taiwanese art during this process, in which the paper tries to explore the development of ink painting in Taiwan upon ”emergence theory” and to come out interpretations from various perspectives in terms of a discussion on the opposing issues derived from Taiwanese arts development during this period of time.