歷經戰後半世紀的中國史歷史小說發展，高陽與張大春師徒，從1960年代寫到當代此際，他們以跑野馬的說書、筆記等形式，重構一個具有高度象徵意義的中國文化史（以小說造史），而文化想像下的「中國性」之追求成為他們回歸與再回歸的終極目標。基於敘史情結，高陽與張大春的歷史書寫，因為帶有濃厚「中國性」意味的中國史題材與說書敘事形式，小說作品與現實世界的關連性，並未因其屬於歷史書寫而稍減。高陽的歷史書寫體現的是他儒家文人經世致用的歷史意識，流亡中的歷史再現，無疑是與其對中國文化的永恆信仰息息相關。而張大春以流亡江湖的視角，顛覆武俠、顛覆黨國中心史觀，更不是一種對中國性的否定，而毋寧是「以否定為肯定」的再生產，再生產出一種繼承自親生父親與文學父親的中華文化，真正是一種創造性的顛覆與繼承。

After the Second World War, going through the development of Chinese history and historical fictions for half century, Kao Yang and Chang Da-Chun, the master and the apprentice, have been writing in an unorthodox story-telling and note-taking way to make and re-construct a highly symbolic picture of Chinese culture (making history through fictions). Hereafter the pursuit of ”Chineseness” is their ultimate goal for returning to the cultural homeland. Under the sway of the complex of narrating history, Kao's and Chang's historical writings are not at all restricted by the genre of history for their style of story-telling and strong implication of ”Chineseness.” Kao's historical writings reveal his historical consciousness as a Confucianist scholar who contributes his knowledge to the world. In Kao's exile, the representation on history is intimately related to his eternal faith on Chinese culture. Chang's subversive perspective from outsiders is not a negative gesture for ”Chineseness” but a reproduction of ”negative applause.” It is a heritage of Chinese culture from his biological father and literary father. It is a creative subversion and inheritance.