Zhang Yan-Yuan’s Fa Shu Yao Lu(法书要录) written in the Tang dynasty, is an important compilation of calligraphic theory from the Tang dynasty and before. With his own insight and vision in the art of calligraphy, as well as his rich family collection and other unique natural conditions, the editor, with a heart to pass on traditional culture and art, took the essence from the vast literature, extracted the essence of it, and worked tirelessly to compile it into a huge volume. The editor does not say a word in the book, but through the selection and abandonment of the content, the order in which the content is presented, the book is logically clear, right and wrong, regardless of its own position and viewpoint. From the overall viewpoint of the book, the content emphasises art over technique; highlights its heritage and historicity from a cultural perspective; establishes the authentic status of Two wangs by declaring the banner; collates, catalogues, examines, discerns forgeries, criticises, authenticates, legends, and narrates different perspectives and aspects of the art of calligraphy by adopting different styles of writing at large; while focusing on a comprehensive system of information from eight dimensions, with clear priorities, prominent views, and The book also focuses on a comprehensive and systematic approach to the material in eight dimensions, with a clear distinction between major and minor points of view, either narrating or discussing, or writing or editing, showing in three dimensions the profoundness of ancient Chinese calligraphic theory and the orthodox calligraphic thought of respecting Two wangs. Secondly, the book also has a positive historical value in terms of preserving valuable documents, deconstructing historical documents to preserve their authenticity, promoting the orthodox status of Two wangs calligraphy, and establishing a paradigm of compilation style for future generations. Of course, Zhang Yan-Yuan could not have done it all on his own, and there are regrets in the choice of titles and unsatisfactory classification of documents in Fa Shu Yao Lu(法书要录), but the flaws do not obscure the merits, and his theoretical contributions to calligraphy are indelible.

『平凡的世界』는 중국 當代작가 路遙의 생전 마지막 소설작품이자 유일한 장편소설이기도 하다. 『平凡的世界』는 한 때 인기를 얻었던 『人生』의 후속작품으로 작가는 陝北 농촌마을의 一草一木과 거기에서 살아가는 사람들의 생활상을 묘사하는 한편, 그 일상과 함께 어우러져 나타나는 陝北의 민속문화를 자연스럽게 묘사해내기도 하였다. 陝北은 수 천 년의 역사변천 을 거친, 특수한 지리적 환경을 가진 지역으로, 해방전쟁시기 革命區라는 신분까지 더해지면 서 민속문화가 형성되었고 변화를 거듭하였다. 이렇게 형성된 陝北의 민속문화는 陝北 사람 들의 생활 속 깊이 자리 잡게 되었고 영향을 주기까지 하였다. 路遙도 바로 이러한 陝北의 민속문화 속에서 성장하였고, 陝北에 대한 사랑이 지극한 나머지 고향의 경물을 담은 『平凡的世界』를 창작하게 되었다. 따라서 路遙는 『平凡的世界』에서 陝北의 음식·가무·주거·언어문 화를 묘사함으로써 陝北 농촌마을 사람들의 순박한 삶을 노래한 동시에 당시 시대 에 처한 陝北 농촌의 현실을 고발하기도 하였다.