〈重訪邊城〉為晚近發現張愛玲（1920-1995）的未發表遺稿，該文寫作遠因來自張據其 1960 年代訪臺之行寫的 “A Return to the Frontier” 一文。1980 年代，張將此英文稿譯寫、並重新添寫為中文版〈重訪邊城〉—此一題雙寫既有著張愛玲在跨語際寫作上的對照，中文版並增加了臺灣記行的描寫細節。本文因此著眼〈重訪邊城〉的臺灣書寫部份，旨在追蹤張愛玲在該文陳述的臺灣經驗，探賾其以圖、文互喻的寫作方式所輻輳與戰後臺灣鄉土藝術的交會。本文指出，張愛玲在文中對臺灣民間神像的賞鑑，展現其引入跨界知識對民族文化身世的南方想像；並耙梳張納入攝影與繪畫等媒材所導入對臺灣景象的美學化詮釋，論析張的臺灣書寫與席德進（1923-1981）為代表之臺灣鄉土繪畫藝術的交集線索。聚焦於探勘張愛玲筆下再現的臺灣風景，本文旨在發掘臺灣在〈重訪邊城〉裡具有的審美意義與文化隱喻，並拓展出〈重訪邊城〉的跨文、藝啟示向度。

“Zhongfang Biancheng” features a recently discovered manuscript written by Eileen Chang (1920-1995) in 1980’s, based on her published English article titled “A Return to the Frontier” which recorded her visit to Taiwan and Hong Kong in the early 1960’s. Focusing on the more detailed descriptions of Taiwan in this Chinese manuscript compared to the original English one, this essay explores Chang’s fi rstperson narrative and her artistic depiction of Taiwan in “Zhongfang Biancheng”. By relating the deity statues worshipped in Taiwanese society with Austronesian culture, Chang’s interdisciplinary interpretation of Taiwan local religion demonstrates her imaginative belief of “south” as the core signifier held on the consanguineous racial origin. In addition, by employing photography of press media and painting skills as resources, “Zhongfang Biancheng” not only shows Chang’s rewriting of Taiwan trip as an aesthetic experience, but this rewritten version also exhibits the intriguing communion between Chang and the post-War Taiwan painter Xi Dejin (1923-1981). In short, “Zhongfang Biancheng” provides clues to the literary and artistic accomplishment between Chang’s writing and the post-War Taiwan folk art practices, reminding readers of the role that Taiwan plays in Chang’s imagination of the cultural identity and “homeland”.