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"Spring and Autumn Brushwork" is the theoretical category that is most rich in the local Chinese spirit, including what to write (pen), what not to write (cut), how to write ("small and obvious, aspirant and obscure, tactful into chapters, exhaustive without pollution"), and what is the purpose of writing ("punishing evil and exhorting good"). For the first time, this book sorts out the "Spring and Autumn Brushwork" based on the study of scripture, becomes in historiography, highlights the development trajectory of literature, and expounds its literary and cultural phenomena in the transformation from scripture and history, from history and literature. It is believed that the "five cases" of "Spring and Autumn" are the basic connotation of "Spring and Autumn brushwork", and its social utilitarian value is manifested as the ideological principles and laws of punishing evil and promoting good, and its aesthetic value is manifested as subtle and obscure rhetorical principles and methods. Jingfa, historical law and grammar are extensions of the "Spring and Autumn Brushwork": the scripture seeks goodness, the historical law seeks truth, and the grammar seeks beauty. Shang Jian's use of obscurity is the essential feature of the "Spring and Autumn Brushwork", which is intended to pursue the beauty effect of "one character to praise and disparage". The relationship between "Spring and Autumn Brushwork" and poetic history, on the one hand, is the historical writing of poetry, that is, "the death of "Poem" and then the composition of "Spring and Autumn", and the early "Poem" played the role of "history" and was "comprehensive social life"; On the other hand, there is the epic poetic heart, that is, "Spring and Autumn" was composed and "Poem" is not dead", and Shang Jian's obscure "Spring and Autumn Brushwork" is derived from the "Three Hundred Poems" Bixing sustenance technique and the expansion and extension of the beautiful praise and disparagement spirit in the writing of history books, which has an obvious correspondence with Fu Bixing. Based on the premise that "Spring and Autumn has no words", Jinwen Jia interprets the "small words" and praise and disparagement of calligraphy between brushstrokes, which is essentially the "horizon fusion" between the text of Spring and Autumn and Jinwenjia, indicating the interpretability of the Spring and Autumn classics and the infinity of interpretation. The "Shiqian Brushwork" inherits Confucius's "Spring and Autumn Brushwork", and expands from the rhetorical level of one-character definite praise and disparagement to the "five-body" structure, character biography, detailed narrative and other aspects of the "Shiji", which is manifested in allegorical judgment in preface, Tibetan and American prick in mutual meeting, and definite praise and disparagement in praise, etc., which has become the model for the writing of future generations of history books. As a literary narrative method, the "Spring and Autumn Brushwork" has had an important impact on the creation of poetry and novels for future generations. In terms of poetry, Du Fu's poetry is good at current affairs, deducing the hidden and depressed, praising and disparaging the characteristics of "poetic history", Bai Juyi's satirical poetry is to make judgments, and the techniques of pawn Zhang Xianzhi and character narrative are all the use of the "Spring and Autumn brushwork". Han Liuguwen mostly adopts the brushwork of "exhaustion and not obscenity" in "praise and disparagement", and the brushwork of "euphemism and obscurity" in "guiding and satirizing", which also benefits from the "Spring and Autumn brushwork". The influence of "Spring and Autumn Brushwork" on the creation of novels is manifested in three levels: author and perspective, structure and meaning, rhetoric and technique. The author's "small words" and beautiful praise and disapproval are achieved through the intervention of the narrator and the entry of the narrative perspective, and the author cannot be left to talk about the narrative of the novel, which is the difference between Chinese narratology and Western narratology. The narrative structure of the six classical Chinese novels can be roughly divided into two types: "embellishment" and "net", but they are all based on "chronicle style". This structural feature allows writers to more consciously use the "Spring and Autumn Brushwork" to convey the meaning of praise and disapproval. The most basic narrative technique of ancient novels is the "Spring and Autumn Brushwork", which is manifested as dew drops reflecting the sun, a leaf knowing autumn, grass snake gray thread, cotton needle mud thorns, curved brush protection, praise and disparagement, mirrors shining objects, and Yan wife Bilu. The overall characteristic is that it is rich in text and euphemism. If the narrative of the novel is compared to a big tree, then the author and perspective are the roots, the structure and meaning are the stems, the rhetoric and technique are the branches and leaves of the tree and the colorful flowers, and the "Spring and Autumn Brushwork" runs through it. Confucian culture is expressed in poetic terms. The image of "Yi", the rise of "poetry" and the pen of "history" constitute the three modes of expression of the poetic discourse of Confucian culture. Among them, Yixiang is used for allegory, poetry is used for lyricism, and historical writing is used for narrative. The truth contained in Yi Xiang is religious and philosophical, but the expression is symbolic of literature, and "Zhou Yi" conveys a poetic interpretation of the world in the way of "standing with full intention", and Yi Xiang becomes a poetic carrier that implies the Yi Li of "Zhou Yi"; The rise of poetry has evolved from the prosperity of sacrifice to the prosperity of politics and religion and then to the rise of poetics. The joy of sacrifice is a metaphor and a symbol, the joy of politics and religion is a beautiful thorn and sustenance, and the joy of poetry is endless words and endless meanings; The pen of "history" refers specifically to the "spring and autumn brushwork". The method of recording the meaning of the covenant pioneered by "Spring and Autumn" was inherited and developed by "Zuo Chuan", "Chinese" and "Shiji", and gradually became the basic technique and criticism category of Chinese narrative style, forming the "Spring and Autumn brushwork" tradition of Chinese narrative literature. Therefore, the "Spring and Autumn Brushwork" is the discursive expression of Chinese narrative literature, the basic feature of Chinese narratology, and embodies the narrative wisdom of Chinese. Keywords: Spring and Autumn Brushwork Words Compare Things Shang Jian with obscure beauty praise and disparage Narrative discourse（AI翻译）
