Since the 1990s, the relaxed politic and literary environment has left space for mysterious writing, and a series of mystery novels gain Chinese domestic awards for literature, such as the White Deer Plain, Red Poppies and Right bank of the Argun that won the Mao Dun prize which is the highest honor of novel writings in China. Furthermore, Mo Yan’s winning of the Nobel Prize for Literature indicates that mysterious writing is in the ascendant in contemporary Chinese literature. The contents of this paper are as follows: firstly, the definitions of mystery and mysterious writing are defined, and traces of mysterious writing in ancient Chinese literature and its development in the context of contemporary literature are surveyed; secondly, the manifestations of mysterious writing and its multiple aesthetic dimensions are investigated; thirdly, the aesthetic significance and value connotations of mysterious writing are displayed; Finally, the reflection and planning for the limitations and way out of mysterious writing are illustrated. The results of this paper are: Mysterious writing is consistently existent in the history of Chinese literature with various manifestations; Mysterious writing broadens the scope of literary aesthetics, constructs a special aesthetic and aesthetic effect, and enriches the value forms and the quality state of contemporary literature. But there are also some disadvantages of Mysterious writing and we should look at it from a dialectical perspective.
Cite this paper
Xiao, T. (2014) One of the Revelations for Mo Yan’s Winning of Nobel Prize: The Significance and Limitation of Mysterious Writing in Contemporary Chinese Literature. Advances in Literary Study, 2, 87-92. doi: 10.4236/als.2014.23014.
 Alai (1998). Red Poppies. Beijing: People’s Literature Publishing House.
 Chen, Z. S. (1993). White Deer Plain. Beijing: People’s Literature Publishing House.
 Chi, Z. J. (2005). Right Bank of the Argun. Beijing: Beijing October Art Publishing House.
 Ge, F. (2004). Moment of Truth. Shenyang: Chunfeng Literature and Art Publishing House.
 Hai, Z. (1990). Poetry Anthology of Hai Zi: Land (Sun ? Land Articles). Shenyang: Chunfeng Literature and Art Publishing House.
 Han, S.-G. (1996 ). Maqiao Dictionary. Beijing: Writers Publishing House.
 Jia, P. W. (1989). The Stories of the Taibai Mountain. Shanghai Literature, 8, 10-15.
 Jia, P. W. (1993). The Wasted. Beijing: Beijing Publishing House.
 Kuang, H. W. (1980). A Pair of Embroidered Shoes. Shanghai: Shanghai People’s Fine Arts Publishing House.
 Liu, X. F. (1999). Heavy Body. Shanghai: Shanghai People’s Publishing House.
 Mo, Y. (2006). Life and Death Are Wearing Me Out. Beijing: Writers Publishing House.
 Mo, Y. (1987). Red Sorghum. Beijing: PLA Literature and Art Publishing House.
 Mo, Y. (2005). Sandalwood Penalty. Beijing: Writers Publishing House.
 Mo, Y. (1993). The Republic of Wine. Changsha: Hunan Literature and Art Publishing House.
 Mo, Y. (1996). Big Breasts and Wide Hips. Beijing: Writers Publishing House.
 Nan, Y. Q. (1996). God Sandalwood Tree. Shenyang: Liaoning Nationalities Publishing House.
 Qu, B. 1964). Snowy Forest. Beijing: People’s Literature Publishing House.
 Shi, T. S. (1994). Life as String. Nanjing: Jiangsu Literature and Art Publishing House.
 Su, T. (2006) A Myth of Meng Jiangnv. Chongqing: Chongqing Publishing House
 Yu, H. (1988). Inexorable Doom. The Harvest, 6, 20-28.
 Wang, A. Y. (1995). Everlasting Regret. Beijing: Writers Publishing House.
 Wang, A. Y. (1988). Little Bao Zhuang. Shanghai: Shanghai Literature and Art Publishing House.
 Zhang, W. (1993). September Fables. Shanghai: Shanghai Literature and Art Publishing House.