The nihility thought in Snow Country has penetrated deeply into the Japanese classical literature tradition, and it is an "oriental" nihility. Although Chuan Kangcheng was dissatisfied with the present situation of the literary world when he first entered the literary world, he once launched the "New Feeling Movement" with Yoko Hiroshi and others, trying to create a brand-new feeling world by means of western modernism such as Dadaism and Expressionism. He ignored the Japanese literary tradition and once "tried to deny and exclude it". However, after middle age, Kawabata Yasunari found himself "never experienced the sadness and distress of western style, and never saw the nothingness and decadence of western style in Japan". He began to move closer to tradition. When writing Snow Country, in order to write the beauty that does not exist in this world, he can only seek creative inspiration from Japanese traditional culture.

[Edit this paragraph] The historical origin of the work

In the long history, Japanese culture, based on "truth", independently generated the special character of "mourning", and then formed the traditional cultural spirit of romantic mourning, mysterious emptiness, elegance and loneliness. Murasaki shikibu has made great contributions to the development of mourning literature. In Tale of Genji, from a simple sigh to a complex emotion, she deepened the subject's feelings, dominated the literary materials with reason, enriched the content of the story, and included a wide range of meanings, such as admiration for love, singing, sympathy, pity, sadness, etc., and moved the object beyond people and things to the social world, moved by observation. In Haruki Murakami's view, there are three levels of mourning for things: the first level is touching people, and the mourning for men and women is the most prominent; The second layer is touching the world, which runs through the singing of human feelings, including world events; The third layer is meditation, which touches natural objects, especially the impermanence brought by seasons, that is, the heart of natural beauty. The nihility shown by Yasunari Kawabata in Snow Country is the same as the grief in Tale of Genji. The first layer of mourning is touching people. Especially the sadness of the relationship between men and women. This is reflected in the creative motivation of Snow Country. Kawabata Yasunari once said: "I wrote Dancer of Izu and Snow Country with gratitude for love. This performance was very simple in "The Dancer of Izu", but it went a little deeper and made a painful performance in Snow Country. " The tradition of Japanese classical literature is to express sad thoughts from the love between men and women. In the snow country, Komako really fell in love with Shimamura and couldn't help it. Shimamura clearly knows that Komako is infatuated with him, but thinks that Komako's pursuit of love and even her survival itself is futile. Sadly, Shimamura lived in Komako all her life, and the girl who loved for love drifted in the sad sea, and her heart was soaked with bitterness. He fell in love with the leaves, which were beyond his reach, and this sense of nothingness was connected with the sorrow of things. The second layer of mourning is touching the world. The whole work of Snow Country takes place in a remote village, which seems to have little connection with reality. However, in connection with the creative background of this work, it is found that when Yasunari Kawabata wrote Snow Country, Japanese militarism was waging a crazy war of aggression. Kawabata Yasunari did not reflect the war below, but skillfully expressed his views through the artistic image of combining reality with reality. As Japanese critic Hideki Shimazaki said, "Yasunari Kawabata is a passive resistance to militarism, and Snow Country is an example." Kawabata Yasunari abstracted reality, integrated the nihilistic world into the human world, suggesting that life is futile. The third layer of mourning for things is the touching of natural things. Since ancient times, Japanese writers have taken nature as their friend and time as their companion, and they know the heart of nature, that is, the spirituality of nature. They found beauty in nature and then created the beauty of literature. Snow country is white under the night sky, and there are white flowers and fir trees on the mountain. In the snow country, moonlight is also unique. "Moonlight is the only scenery at the end of the Lantern Festival. Although the moonlight disappears faintly, it has an endless aftertaste, which can't help but make people feel chilly in winter nights. " "Ying Ying Hao Yue, deeply photographed, illuminates even the concave and convex lines in the foal's ears." In the description of these scenes, the subjective feelings saturated with Shimamura reveal a touch of sadness, which is interlinked with the sorrow of things. The sadness of things is not intuitive, but depends on emotion and imagination to feel nature. When enjoying the natural scenery, there is a subtle poetic love sadness, including impermanent sadness and impermanent beauty.

Japanese traditional culture deduces emptiness and mystery through the secularization of Zen in Kamakura era, that is, it emphasizes the discovery of completeness and purity from the realm of nothingness, which can be described as "making something out of nothing". In peacetime, idleness and silence are separated from the more emotional emptiness that expresses distress with mystery as the theme, showing elegant characteristics and expressing loneliness in a more emotional tone. Different from mourning for things, people do not indulge in mourning and sympathy, but let people constantly appreciate their unhappy loneliness, a kind of spiritual "silence." Yasunari Kawabata also said: "Elegance means discovering the beauty of existence, feeling the beauty that has been discovered, and creating the beauty that has been felt." In Snow Country, Yasunari Kawabata tirelessly describes snowy nights, sunsets and even the death of leaves, and the authors all show the appreciative emptiness of "galaxy influx psychology". As Kawabata Yasunari lamented in Pillow Grass: "The past is as white as smoke". In his eyes, the ultimate emptiness is the real beauty, and we need to feel it. This feeling and personality is the inheritance and development of Kawabata Yasunari's pair of leisure and silence.

In a word, Kawabata Yasunari showed social life with his nihilistic true colors. In Snow Country, Yasunari Kawabata transcends secular moral norms, shows events in the dark, creates an illusory beauty, and transcends the absolute realm of realistic beauty. He is looking at the spiritual realm where particles are invisible.