從柴春芽一系列自傳性色彩濃厚的短篇作品來看，或者可以說，近百年來中國歷史劇變過程中的漢藏矛盾問題在柴春芽個人身上矛盾統一起來，具體而微地則展現在信仰的危機與處理上。本文主要想討論他的小說集《西藏紅羊皮書》便是這樣信仰危機的產物，集子裡收錄有十五篇中短篇小說，較為多樣地展現作者創作思想與寫作技巧，其中有一系列城市知識男性到藏地旅行追尋的故事，這些旅行者都是厭惡城市生活的厭世者，最具作者自傳性色彩，也是小說集當中較為出色的作品。這些久經城市文明洗禮、深受資本主義文化浸染的厭世者、憂鬱的旅行者，決心離開人心墮落的城市，進入藏地追尋信仰、幸福或真愛。透過這些旅行者在藏地追尋的故事，可以看出柴春芽透過尋找自我、尋找藏族這樣雙重且同時進行的過程，逐漸形塑以佛教為核心的價值和藏族文化的意識，且大量運用神祕化的魔幻現實描寫手法來突顯藏族文化的特殊性和原始性，而將漢人文化及城市文化乃至科學理性推向另一種對立的極端來描寫。

In the short stories collection The Book of Tibetan Red Palimpsest, Chai Chunya's stories are based on the historical background of Han-Tibetan cultural and political conflicts, and he severely criticizes Chinese Communist Party's persecution of the Tibetan and suppressions of the Tibetan Buddhism. Chai transforms these historical and realistic national and cultural conflicts by magical realistic skills. In the collection, there are a series of stories about misanthropic pursuers who hate their life in capitalism cities and encounter crisis of faith, therefore, they take a trip or a pilgrimage to Tibetan region for the legendary Shangri-La. These transboundary pursuers, from modern cities to wild Tibetan region, from materialism to religion, are always on the way for something spiritual, however, their long and desperate pursues are usually in vain at the end. I would like to discuss these autobiographical stories to show how Chai overcomes the crisis of faith in post-revolutionary China.