本文解讀印刻版《蒙馬特遺書》，對照小說與邱妙津日記的差異，論述邱妙津「藝術家」的形象如何透過書寫呈現出來？「死亡」作為藝術實踐的終點，如何以一種風格化的形式，與邱妙津的愛欲、書寫與生命聯結一起，從而形塑出邱妙津生存美學？邱妙津小說的「死亡美學」所展現的又是何種獨特的「生存美學」風貌？《蒙馬特遺書》中，Zoe 建構自我成為藝術家的方式，是透過「客觀」的書寫／死亡獻祭於絮，以「體驗性的愛」回到愛欲的核心位置，形塑自我成為一個愛／美的「純粹」藝術家主體。當邱妙津以肉身的死亡來實踐那「體驗性的愛」時，藝術的永恆性於焉誕生，「死亡」至此成為一種風格化的形式，與邱妙津的生存聯結一起。愛，是一種體驗，唯有「體驗性的愛」才能貫穿一生，也唯有「體驗性的死亡」才能實踐那愛，邱妙津終以「體驗性的愛／死亡」完成藝術的美與純潔性。死亡，對藝術家邱妙津來說，不僅是她熱愛生命的表現，也是真實生命美學藝術品的製作完成。邱妙津小說的「死亡美學」，因此展現出一種獨特的「生存美學」風貌，從而確立了其人、其作在台灣同志文學史獨特的意義與價值。

This paper interprets Le Testament de Montmartre published by the Ink Publisher. By comparing the difference between this fiction and the journal of Miao-Chin Chiu, this paper explains how her image as an ＂artist＂ is presented by her own writings. The main concerns of this study are how ＂death＂, as the end of her artistic practice, is connected with her desire, her writing and her life through her stylish form to create her own ＂aesthetics of existence＂ and what unique ＂aesthetics of life＂ is presented by the ＂death aesthetics＂ of her fictions. In Le Testament de Montmartre, by an ＂objective＂ writing/death, the main character Zoe constructs her self-image as a ＂pure＂ artist, by which she is able to return to the position of the core of love and desire through ＂experiential love＂ and hence to construct herself into a pure subject body of an artist which embodied by love and beauty. While Chiu adapted the death of the body to practice her ＂experiential love＂, the eternity of art hence came to birth. The death is formulated into a style and is entwined with Chiu's existence. For Chiu, love is a kind of experience. Only ＂experiential love＂ can pass through her whole life and only the ＂experiential death＂ can carry out love. Chiu finally accomplished the purpose of becoming a great artist by performing her ＂experiential love/death＂. Death, for Miao-Chin Chiu as an artist, is not only the expression of the passion in life, but also the accomplishment of an aesthetic work of real life. Miao-Chin Chiu's ＂aesthetics of death＂ in fiction shows a unique ＂aesthetic of survival＂ and it does establish the significance and value of her works and her permanent position in the history of homosexual literature in Taiwan.