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This is a historical and philosophical novel, with the grand background of the Qin Dynasty's unification of the six kingdoms to the first hundred years of the Han Dynasty. Through the life trajectory of the philosopher Xunzi spanning three dynasties and lasting nearly 120 years, it connects real historical figures such as Qin Shihuang Ying Zheng, Han Fei, Li Si, Liu Bang, etc., And deeply explores the nature of power, ideological games, and the eternal dilemma of human nature.

This book mainly tells the story about the love-hate entanglement and pursuit of immortality between the young emperor, the piano player Song Yu, the princess of Chu and the musician Fengling.

Chang'an is not only a city, but also a seal. The Shou Jie officer has been a chosen person in all dynasties. He carries the stars as beams with his body and builds snow as walls with his memory. This official is a woman. She thought she was abiding by the laws of the ages, until the passer-by, covered in frost and snow from the Han Dynasty, knocked on the boundary door and left behind a blood-stained river map. When the rain that had been holding for three thousand years finally fell in front of Kuaiji Mountain, and when the broken ancient sword began to read the unburned letters, the warden must face the buried truth: she was not alone.

This is a novel about forgetting. The story begins with a snowfall in the late Sui Dynasty and early Tang Dynasty. Late at night in Jinyang Palace, the young King of Qin Li Shimin got a piece of luminous glass. He thought it was destiny, but when he stared at the light, he saw the blood splashing from the Xuanwu Gate, and the fear on his face that couldn't be washed away. So, he sealed this beam of light in rosin and buried it under a silent ginkgo tree in Zhongnan Mountain. What he wanted to bury was the young man who didn't want to be the emperor, the one who still shed tears. But he didn't know that if some seeds are planted, they will take root. Sixty years pass by like a white horse. The girl Wu Zhao dug out the jar of rosin under the tree. She has no awe, only compassion and ambition. She made a deal with the ancient tree that spanned three generations of emperors: you swallow Li Shimin's "regret" and I take away your "right." From the spring rain of Zhenguan to the thunder of heaven; From the green lanterns of Ganye Temple to the emperor's crown in Luoyang Mingtang. That ginkgo tree slowly boiled Li Shimin's soul into nutrients, making Wu Zhou's palace bloom on the white bones. The completion of the wordless monument is not the end, but a temporary hibernation for this long process of digestion. "The Legend of Liuli" does not describe palace battles or political intrigues. It writes about the dampness in the folds of history: When a generation of empresses used rosin to seal the light of the previous dynasty, when the historical pen of the Qianqiu Dynasty quietly broke in a deserted place, all we heard in the secret room of the Spring and Autumn Pavilion was just a sigh...

This is a double life buried by history. On one side is the noble Princess Yuzhen, Li Longji's favorite sister, who has all the power; on the other side is the unruly "Meng Haoran", who hides in the market and meets friends with poetry and wine. When Wang Wei was convicted for "Ode to Xi Shi", when Li Bai wrote for her "We should meet at the Yaotai under the moon", when Zhang Jiuling was demoted for recommending "inhumans"... All the answers point to the woman playing the harp under the moon on Zhongnan Mountain.