張愛玲的繪畫向來討論者少，實際上其畫筆令人驚艷，藝術造詣並不亞於文字。細觀其繪圖，多以女性人物畫為主，筆觸鎔鑄中國傳統仕女畫、西方漫畫，以新式畫筆重塑古典題材，構成特殊風格。
在傳媒發達的上海，時尚畫報、時事漫畫等刊物琳瑯滿目，其中仕女畫像幾乎為報刊的重要題材。而張愛玲置身於此，自然嫻熟諸般刊物及其文化。職是之故，本文試圖以張愛玲畫筆為討論對象，從其畫筆風格和相關討論畫作的文章〈忘不了的畫〉、〈談畫〉等，試圖梳理其繪圖脈絡，展示上海仕女畫的演變，從而指出張愛玲畫筆的獨特性。

There have been numerous discussions on Chang’s writing, few of which focus on her drawings. Actually, Chang’s artistic talent in drawing is no less than her literary works. Examining her paintings, one may find that her works features drawings of Chinese ladies with a mixed style of traditional Chinese lady portray and western comics. This style not only remodels the classic topic but also constitutes her unique form.
With the prospering media industry, various kinds of fashion magazines and cartoons prevailed in Shanghai. Portrays on Chinese ladies are virtually the most important subject for those journals. Immersing in such environment, Chang was familiar with the journals and the culture. Therefore, this thesis discusses Chang’s drawings with regard to her drawing skills and her articles on drawings with an attempt to show the development of Chinese lady portray in Shanghai and to present the uniqueness of Chang’s drawings.