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During the Northern Song Dynasty, there were rumors in the world that "dancing can lead to the gods." Su Qingying, a dance leader of the generation, was involved in martial arts disputes because of the "Qingluan Dance Book" inherited from his family. With her eyes of contemplation, she glimpsed the poetic imagery in the dance, moving from personal love to the righteousness of her family and country. The love with Gu Yunshen, the violinist, is like meeting the mountains and rivers, hearing the thunder in the silent place; the changes in the rivers and lakes, and seeing the evergreen greenery when dancing. The story is based on dance, integrating national music, ancient costumes, music, chess, calligraphy and painting, and finally reaches the broad-minded realm of "dance and Tao", demonstrating the endless self-confidence of traditional culture. The core of the theme: ? Confidence in traditional culture: Dance is not only a skill for entertaining people, but also carries the essence of Taoism's "unity of nature and man" and Confucianism's "ritual and music education". The dancer uses his body and brush to paint the majestic mountains and rivers.

Going home to celebrate the New Year, going home to celebrate the New Year, is a common question. Everyone's joys and sorrows will not be seen. Only you can truly understand the joys and sorrows. The novel "The Sadness and Joy of Returning Home for the New Year" is based on three completely different Spring Festivals. It tells the story of three middle-aged people who were crushed by the pressure of life. Torn between the shackles of traditional reunions and personal difficulties, how they turned the bitterness and struggle of returning home into a warm epic of rebuilding the community, reshaping family ties, and finally finding a new belonging in the ancient festival.

The core theme of this novel is to explore life and the true meaning of life through the pursuit of medical knowledge. In the blending and echo of Yunnan's diverse medical culture, we jointly explore the ultimate proposition of "how to survive, how to live, and how to face separation". In terms of narrative, we pursue a tone of "still water flows deep, poetic and freehand". Even major plots such as the fight for secret recipes and the test of life and death are handled with restrained and restrained brushstrokes, hiding deep emotions in the delicate line drawings of nature and daily life, striving to achieve the artistic appeal of "hearing thunder in a silent place". Regarding the "Medicine God", here is a new interpretation: it is not a specific god or person, but the wisdom of life and life observation deeply rooted in the land of Yunnan. It is the embodiment of "there is a life called Yunnan" itself. And that "secret message" is hidden in the withering and flourishing of vegetation, the flow of the four seasons, and the ordinary things of people of all ethnic groups. This book adopts a group portrait narrative technique. Every doctor, medicinal collector, and even key medicinal materials have a narrative perspective. Together they compose a symphonic poem that combines multiple aspects.

I have marked the "kill line" for thousands of people, and finally drew the "survival line" for myself: within the system, no one can escape; between people's hearts, there is a way out.