Haruo Sato travelled to Taiwan in 1920. His Nu Jie Shan Qi Tan was published in the magazine Nu Xing in May, 1925, and then published in a single book the next year. In 1936, it was reprinted in the collection Wu She. With regard to its Chinese translations, the first of its kind is probably Xiao Lin's version in 1930, which was published separately in five consecutive volumes of The Students' Magazine. After the Second World War, in the latter part of the 1940s, another Chinese adaptation by Xu Zhuo-Dai appeared under the title Chi Kan Gui Yu, which served at the same time as the basis for adapting the original work to motion pictures. The themes of Nu Jie Shan Qi Tan have their origin in the stories heard by Haruo Sato during his stay in Taiwan, which deepens its eroticism and social critique. From his literary works we can also trace and understand his changes of attitudes towards Chinese and Taiwan literature at different stages of his life. The contrast between his pre-war and post-war knowledge and critique of China is especially stark; in particular, Chinese writers had generally regarded Haruo Sato as a zealous supporter of nationalist militarism, but it is really unexpected that, within two years or so after the War, his Nu Jie Shan Qi Tan had already been translated and adapted by Xu Zhuo-Dai as a novel entitled Chi Kan Gui Yu. As such, this article sets out to examine the historical background against which Chinese translations and adaptations by Xiao Lin and Xu Zhuo-Dai, respectively, were published. Then, their achievements are evaluated in terms of literary standards, taking into account the extent to which the original work was adapted, rewritten, and altered. Furthermore, after the Second World War, this novel exerted its continuing influence. Qiu Yong-Han's and Lai Chuan-Jian's comments on the inspiration this novel gave to them in the post-war period, is essential to this evaluation, as are the new translations completed in the hands of Lin Shui-Fu and Qiu Ruo-Shan, respectively. Finally, the symbol of ＂fan＂, closely related to the title and themes of the novel, yet until now still largely ignored by modern commentators, will also be addressed. This could help us appreciate the holistic approach of this novel which delicately interlocks various motifs into a coherent whole.