本文以劉克襄《四分之三的香港》與《虎地貓》等，在香港行山、踏查與觀察記錄的作品為主要探討對象。劉克襄筆下的香港印象，時常以台灣做為參照點，此種「雙城」的觀看模式，不只讓原本陌生的文化語境得以產生連結與熟悉感，進而從對照中創造對話空間，更是一個再思考與再發現的過程。當代香港面臨著一個土地開發與都市更新等環境變化「劇烈加速度」的年代，對於（即將）消失地景的記錄與記憶，遂成為香港近幾年的重要課題。劉克襄身為一個「旁觀的介入者」，他的香港觀察與台灣經驗，在態度或行動上具有什麼樣的意義與影響的可能？本文將嘗試以「移動性」（mobility）的角度為進路對上述問題進行討論，思考移動如何可能作為一種跨越、反抗與創造的方式。另一方面，港台環境書寫中越來越頻繁的雙城對比，固然可作為彼此互通有無、截長補短的「他山之石」，但此種「想像共同體」的認同，不免時常夾雜著過度理想化的觀察或推論，而脫離了雙方各自獨特文化底蘊的脈絡。因此，本文將透過劉克襄的香港書寫，分析此種浪漫化參照模式可能的盲點所在，期能讓跨域的經驗不只成為對話的起點，也能夠找出更貼近在地脈絡的觀看角度。

This paper investigates Ka-shiang Liu's works such as Three-Quarters Hong Kong and Earth-Hold Cats, works which feature Liu's mountain hiking and field working in Hong Kong as well as his observing and recording of Hong Kong. In his impressionistic strokes of the city, Liu often takes Taiwan as a point of reference. Not only does such a ＂city-to-city＂ mode of looking connect otherwise unfamiliar cultural contexts and create a space for dialogue by contrasting one city with the other, but it also commences a process of rethinking and rediscovering. Nowadays, Hong Kong has entered an era of ＂great acceleration＂ and is faced with environmental changes such as land development and urban renewal. Given thus, records and reminiscences of (about to be) disappearing landscape have recently become an important topic in Hong Kong. How does Liu, as ＂an intervening bystander＂ who observes Hong Kong and experiences Taiwan, convey meaning and exert influence with his attitudes and actions? This paper takes its tack from the perspective of ＂mobility,＂ pursuing how movement can serve as a means of transgressing, resisting as well as innovating. Moreover, despite the fact that contrasting two cities has become a more and more common practice of environmental writing in both Hong Kong and Taiwan and that this practice serves the purpose of making up the difference between cities and complementing each other, the identity of ＂an imagined community＂ assumed under such a practice is often colored by an overly romanticized observation or inference-an assumption which diverges from the cultural uniqueness and nuance cultivated in both cities respectively. To dissect this assumption, this paper follows Liu's Hong Kong writing and analyzes the potential blind spots in such a romanticized mode of reference. In doing so, it aims to take the terrain-crossing experience as a starting point for engaging in dialogue on the one hand, and on the other hand it seeks to find a point of view which looks more closely into the texture of local context.