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This is an ancient romance novel that tells the story of a mute female painter Liu Huaping who entered the palace and used her wisdom and painting talent to uncover the secrets of the palace and develop a sentimental love story with the emperor.

Rumor in the upper class circles: Mr. Fu once loved a woman deeply. She died in the year when he loved her most, and she became a cinnabar mole in his heart. Shi Yin can catch Fu Yuchuan's eyes only because she has the same back as his late Bai Yueguang. Everyone said that Shiyin was a substitute. Fu Yuchuan thought so too, so after raising Shi Yin, he told her clearly: "Don't have any emotional illusions about me except money." Later, a video spread, showing Fu Yuchuan holding Shi Yin's hand tightly, kneeling on one knee and begging her to marry him. In Fu Yuchuan's eyes, Shiyin is a timid sick cat. She always grabbed the corner of his clothes and hid behind him. She is afraid of thunder, and she is also afraid of others talking too loudly. No princess is destined to suffer from princess disease. Later, Fu Yuchuan really treated her like a princess. In order to cure her illness, he, who had never believed in gods and Buddhas, knelt down and prayed to the temple step by step, praying to the gods to save his lover. [Shuangjie, high IQ] [A cold-hearted and sinister real big bad wolf vs. A sweet-faced and obedient fake little white rabbit] [Miss Shirakiri vs. The big boss of the chaebol]

World literature has now become a cutting-edge theoretical topic, and famous scholars from both East and West, such as Franco Moretti, David Damrosch, Theo D'haen, Wang Ning, and Zhang Longxi, have published a large number of works on this topic. Ling Shuhua is an important writer who has not been paid much attention in the history of modern Chinese literature. Ling Shuhua has lived in China for a long time and has a profound foundation in Chinese culture. During her diasporic experience from China to Europe, Ling Shuhua introduced modern Chinese literature to Western readers and used her own way to make Western readers pay attention to and read Chinese literary works, especially those interested in Chinese history, literature, women's studies, and autobiography. In a sense, the development process of world literature can be regarded as the diasporic writing of diasporic writers and intellectuals. Based on this, this book attempts to use the example of modern Chinese diasporic writers represented by Ling Shuhua to explore the two-way journey of world literature and provide a new interpretation of the concept of "world literature".