After the collapse of the Habsburg Empire and the sanctioning of new national borders in 1920, the successor states faced the controversial task of reconceptualizing the idea of national territory. Images of historically significant landscapes played a crucial role in this process. Employing the concept of mental maps, this article explores how such images shaped the connections between place, memory, and landscape in Hungary and Czechoslovakia. Hungarian revisionist publications demonstrate how Hungarian nationalists visualized the organic integrity of “Greater Hungary,” while also implicitly adapting historical memory to the new geopolitical situation. As a counterpoint, images of the Váh region produced in interwar Czechoslovakia reveal how an opposing political agenda gave rise to a different imagery, while drawing on shared cultural traditions from the imperial past. Finally, the case study of Dévény/Devín/Theben shows how the idea of being positioned “between East and West” lived on in overlapping but politically opposed mental maps in the interwar period. By examining the cracks and continuities in the picturesque landscape tradition after 1918, the article offers new insight into the similarities and differences of nation-building processes from the perspective of visual culture.

在哈布斯堡帝国崩溃和1920年批准新的国界之后，继任国面临着重新构想国家领土概念的有争议的任务。具有历史意义的景观图像在此过程中起着至关重要的作用。本文采用心理图的概念，探讨了此类图像如何塑造匈牙利和捷克斯洛伐克的地点，记忆和景观之间的联系。匈牙利修正主义者的出版物展示了匈牙利民族主义者如何形象地看待“大匈牙利”的有机完整性，同时还隐含地使历史记忆适应新的地缘政治形势。与此相对的是，两次世界大战期间的捷克斯洛伐克制作的瓦赫地区的图片揭示了对立的政治议程如何产生了不同的意象，同时借鉴了帝国时代的共同文化传统。最后，以德文（Dévény）/德文（Devín）/泰本（Theben）为例，表明了在两次世界大战期间，定位在“东西方之间”的思想如何在相互重叠但在政治上相互对立的精神地图中得以延续。通过考察1918年之后风景如画的景观传统的裂缝和连续性，本文从视觉文化的角度提供了对建国过程的异同的新见解。