Abstract Exile is an important generic subject of literary creation. For composition, any subject matter is the product of exile, since a self-wandering space is constructed through intertwining real and surreal forms. This article explores the “exile ideology” in Taiwan Fu, discussing the issue of “writing” as a starting point, combining the concept of exile with metaphysical points of view, and producing multiple conversations. Also included is the analysis of space and time in the context of exile ideology. The ‘epic” aspect, as a result of the molding, is the acme of expression of the exile ideology and the core expression of the existential meaning. The intellectuals who came across the Strait (or who were native) to Taiwan used Fu to express their personal idea and, at the same time, engendered a double-faced psychological ideology. On the one hand, by depicting the native products, custom, and history, we are able to peak into the cultural nostalgia felt by the intellectuals toward China (the Ching Empire). On the other hand, having inspected over time, the exile ideology in Taiwan Fu expresses nostalgia in culture homage and the intention of desirous home-coming. Those Taiwanese intellectuals who felt exiled by the imperial court of China sought to accommodate themselves in the quarters of literary creation, constructing numerous eerie and magical spectacles, and implying the room of imagination for paradise like Tao Hua Yuan. Whether it is the depiction of scenery or display of native products, or the wandering in the reversal of linear time and fixed-point space, the exile ideology of Taiwan Fu is itself an inside-out extending movement of space and an expression of inward exploration of the meaning of life from the without.