在20世纪以来中国小说中，延安这一地理空间的形象建构是在作家感官认识层层累加中形成，与历史紧密相连。通过感官史与文化地理学相结合的跨学科研究方法，把不同历史时刻、空间场域中的延安形象进行并置比较，能够发现文本间有各自时代烙印，也有一以贯之的精神内核。抗战时期，创作者从听觉描绘革命不夜城的精神富饶与国际化，织就愉悦与危险并存的延安印象：青年通过歌咏，把辽阔的世界文化地理版图压缩为延安窑洞生活；西方教堂这一隔音空间化身精神避难所吸纳了刺耳的炮火声，连接起更广泛的命运共同体。建国后，小说家站在古今交叉地带，以味觉凸显延安饥饿年代的物质匮乏。在历史情结的召唤下，借由黄土地上的延安味道，返还革命者的心灵故乡；同时关注延河桥这一城乡食物交换的新兴平台，将改革开放后城市时空巨变及人民微妙心理浓缩于味觉感官。进入新世纪，书写者从视觉切入延安的大西北异域情调。运用地方意象蓝花花将忧郁凄惋的人情与民间资源缠绕到一起；以煤矿井的兴衰解开延安充满市场经济气息的“包装丝带”，彰显道德荒漠后的欲望横流。值得注意的是，“小说延安”虽随历史不断嬗变，但其革命圣地身份是永恒的，甚至具有世界性意义。

In Chinese fiction since the 20th century, the construction of the image of Yan’an as a geographical space is formed through the accumulation of layers of writers’ sensory perceptions and is closely linked to history. Through the interdisciplinary research method of combining sensory history and cultural geography, the images of Yan’an in different historical moments and spatial fields can be compared side by side, and we can find that the texts have their own period imprint as well as a consistent spiritual core. During the war period, creators portrayed the spiritual richness and internationalization of the revolutionary city of the night from an aural perspective, weaving the impression of Yan’an, where pleasure and danger coexist: the youth compressed the vast geographical map of world culture into Yan’an kiln life through singing; the soundproof space of the Western church became a spiritual refuge absorbing the piercing sound of artillery fire and connecting a wider community of destiny. After the founding of the PRC, the novelist stands at the crossroads of the past and the present, highlighting the material deprivation of Yan’an’s hunger years with his sense of taste. Called by the historical complex, the novel uses the taste of Yan’an on the Yellow Earth to return to the revolutionaries’ spiritual homeland; at the same time, it focuses on the Yanhe Bridge, an emerging platform for urban-rural food exchange, and concentrates the huge changes in urban space and time and the subtle psychology of the people in the taste senses after the reform and opening up. Entering the new century, the writer cuts into the exotic mood of Yan’an’s great northwest from the visual perspective. The local imagery of blue flowers is used to entwine melancholy and sad human feelings with folk resources; the rise and fall of the coal mine unravels the “packing ribbon” of Yan’an, which is full of market economy, and highlights the cross-current of desire after the moral desert. It is worth noting that although the “fictional Yan’an” is constantly changing with history, its identity as a revolutionary shrine is eternal and even has worldwide significance.