This thesis on Zhang Chengzhi's novels consists of two parts: the first part an overview of the commentaries over a period of twenty years on the characters, style, and life philosophies put forward by this author; the second part is an appendix of a chronological and general textual study of his novels put down in the form of reading notes from my subjective point of view. Commentaries on his novels flooded the eighties, somewhat subsided in the early nineties, and reemerged again in the late nineties when they reached a stage of maturity, which is also a period when such commentaries have already made considerable achievements in terms of quantity and quality. They generally reflect a close study of his work with a "from the easy to the difficult" process in revealing Zhang's world of novels. Appreciations might begin upon loyal tracking and analysis of the details, or are simply impressionistic studies. There are also overviews coupled with in-depth explorations of all his works, not to mention the academic studies representative of most rigorous and comprehensive approaches. The characters of Zhang's novels are with stark images: be they the romantic chivalries, the lonely travelers, or the heavy-hearted heroes; all are made insightful by the author, manifesting the deep side of life: its spirituality. Further permeating from the characters are strong feelings such as those derived from the sense of motherhood so overflowing or the miseries borne by lower-class people; the characters, therefore, are moult all the more sentimental and mentally turbulent, resulting in their perseverance and unbearable courage all the more evident against the magnificent settings of the natural sceneries. The romantic poetic approach, the detailed depiction, the creation of multiple images, and the outflow of individual meanings—truly grand and transcendental—form the gist of Zhang's style, which in turn reflects his very idiosyncratic character. Coming along with his poetic and pictorial descriptions are his retrospections of life, and he uses monologues to explore where the soul should rest with finally. With the multiple imageries, meanings about life go transcendent, pounding and revolving time and again throughout the journey of the characters. His novels are tinged with a sustained liveliness and courageous "fear no death" mindset, reflecting the core of his insights about life and death. The theme of his nature-inspired consciousness of life repeated various times and gradually becomes a kind of life philosophy so appealing, which eventually is uplifted to a reach of religiosity. From his perceptions, the whole picture of the disappointments and weaknesses of being a human is exposed; the hopes and strength of which are also signified—these revelations eventually get together to signal the transcendence of life and reborn. This study on Zhang's work over two decades presents his novels as laying out a pluralistic world in front of his audience; yet this world is unified, in the sense that a revolving theme is brought about by all its characters. As for the content, there are passionate romances and melancholic sorrows alike, where both toughness and tenderness mingle. The poetic and pictorial (full-of-imagery) approach hails the good old days; the detailed descriptions filled with impulses and romances explore the dreams of the future; the colorful and bright imageries make the novels more appealing artistically, and the characters carry themselves in such a way that they can powerfully remove all obstacles in their life journey. Though courageous enough these character seem to be, the novels themselves are still overall speaking, told with a melancholic tone. It is through such a tone that the theme "life is supreme" is exposed before us

本論文有兩部份，第一部份從緒論-綿延廿載的評論，人物論，風格論及生死論等四章來梳理二十年來有關張承志小説的評論；第二部份為附錄-小説文本的縱向描述，以個人主觀的小説閲讀筆記的形式來概略展現張承志的小説世界。 有關張承志小説的評論鼎盛於整個八十年代，沉寂於九十年代前期，成熟於九十年代後期。評論界之於他的小説，從跟蹤式及印象式的評論賞析，到綜論作品式的深度開掘，直至學院派那種嚴謹綜合的全面研究，貼近他的評論由淺入深，在質與量上已有可觀的成就。 張承志小説世界的人物形象鮮明，無論是浪漫的騎士，孤獨的旅者，沉重的英雄，均彌漫著一份無言的悟性，藉以賦予内在的靈魂，揭示靈性的深邃。這些人物在母親的濃烈母性及低層人民的苦難滲透下，益顯其心底的感性和躁動，特別在遼闊大自然的背景裡，傾發出無比的毅力與不屈的勇氣。 浪漫詩意的傾訴，濃重畫筆的渲染，多元意象的營造，超越意蘊的流露，可説是張承志小説藝術風格的内核，在這個内核的深處是他極强烈的個性。他喜歡在詩情畫意中反省生命的體驗，在傾訴獨白裡探尋精神的歸宿，在意象流轉閒激蕩超越的意蘊。 張承志小説世界中的生命與死亡的目光，既反映出生生不息的生命活力，亦折射出視死如歸的凜冽情懷。他的小説從一種自然的生命意識，逐漸凝聚成一種凜然的生命哲學，最後更激發出一顆超然的宗教心靈。生與死的目光所到之處，掃蕩了人生的失望與孱弱，標示出活著的希望與剛强，歸結於生命的超越與再生。 從綿延廿載的評論去走進張承志，可以看到一個多元統一的小説世界，當中有激情的浪漫，有沉鬱的悲涼，既强悍亦柔情。他以詩情畫意的筆鋒，為青春嵗月喝采；以浪漫激越的情懷，為未來憧憬探索；以繽紛的意象，强化藝術的内涵；以强悍的姿態，橫掃旅程的險阻；以蒼涼的情調，揭示生命的崇高。