Peony culture, as an important component of Chinese traditional flower culture, is also an impor⁃tant carrier of traditional social ethics and religious spirit. In the Republic of China, the martial arts novelist Haizhulou of the North School made peony a kind of“fairy flowers” in survival space with a cluster and effect of celestial space. The fairy reproduction of peony image reflected the structure and function of hierarchical structure of historic realistic society, and beyond the biomorphic peony, “spirit⁃like” narrative strategy en⁃dowed the subjects with good emotional memory, employing secular peony image. Under the consciousness of“moral comparison”, Huanzhu Louzhu established peony as the flower reference for rational spatial structure of inner mind and presented the given subjects a transcendental world of fairy space, in the writing of “form⁃like” peony. The origin of the native fairy hidden culture of Peony Fairy narrative reminded a power of the peo⁃ny image existed in the clan for a long period. Peony image possessed the nature that could be shared by both refined and popular tastes, in secular space displacement and fairyland, representing a hyperspace justice ide⁃al with noble and elegant character, unorthodox and anti⁃hegemony spirit.%牡丹文化作为中国传统花卉文化重要构成，也是传统社会伦理与宗教精神的重要载体。民国北派武侠小说家还珠楼主笔下的牡丹，成为仙侠生存空间的“仙花”，具有丛集式的仙界空间营构效果。牡丹形象的仙界再现，是其历史性的现实社会空间等级结构功能的理性折射。而超越物态形式的牡丹“神似”叙事策略取向，则为借助世俗牡丹意象带给接受主体美好的情绪记忆。还珠楼主在“比德”潜意识下，以“形似”牡丹的仙葩书写，确立了牡丹作为内心花卉参照物的理性空间结构，昭示出仙界空间给予接受主体超验世界的性质。牡丹仙性叙事的本土仙隐文化渊源是牡丹意象长久存在的族群内动力。牡丹意象由世俗空间位移仙界的雅俗共赏特质，是其高贵典雅而又反正统、反强权平民意识的超空间正义理念显现。
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