毛姆的作品在世界各地广泛流传，且充满异域元素。在他的许多作品中，丰富的中国形象和东西方文化冲突与交融都有所体现。本文基于后殖民主义理论，以爱德华·赛义德的东方主义理论为重点，重点分析毛姆的三部作品《人性的枷锁》（1915）、《在中国屏风上》（1922）和《面纱》（1925）。这三部作品分别创作于他来中国之前、在中国旅行期间和回到英国之后。系统追溯这三部作品的变化和发展，即对毛姆作品中的中国形象进行历时性的研究时，我们可以了解到毛姆对中国和中国文化态度的变化，以及东西方文化交流中冲突与交融的共存。值得注意的是，随着毛姆对中国的了解越来越深入，尽管他更加注重描写两种文化之间的交融，但东西方文化之间直接或潜在的冲突在他的作品中从未消失。此外，受时代局限，毛姆虽十分欣赏中国古代的生存智慧和神话般的东方神秘性，却忽视了中国的现代化发展，有意将中国文明与西方先进的工业文明对立起来。本文对于进一步深化毛姆及其作品的研究，促进东西方文明交流对话具有重要意义。

Maugham’s works are widely spread around the world and full of foreign elements. Abundant Chinese images and the cultural conflicts and interaction between the East and the West appear in many of his works. Based on post-colonial theory, especially Edward Said’s theory of Orientalism, this thesis studies Maugham’s three works, Of Human Bondage (1915), On a Chinese Screen (1922), and The Painted Veil (1925), which were written respectively before coming to China, during his travels in China, and after returning to Britain. When systematically tracing the changes and development in the three works, that is, conducting a diachronic study of the Chinese image in Maugham’s works, we can detect the changes of Maugham’s attitudes towards China and Chinese culture, as well as the coexistence of conflicts and interaction in the cultural exchanges between the East and the West. It is notable that although Maugham pays much more attention to depict the cultural interactions as he knows more about China, the conflicts between the Western and Eastern cultures, direct or latent, never disappear in his works. Moreover, limited by the time, Maugham appreciates the Chinese ancient existential wisdom and the fabulous Oriental mystery, but ignores the modern development of China and puts Chinese civilisation in opposition to Western advanced industrial civilisation deliberately. The analyses and the related understanding are of great significance for further deepening the study of Maugham and his works, and for promoting the exchange and dialogue between eastern and western civilizations.