本文将阎连科的创作历程分为三个时期，从发掘与探寻到讽喻与批判再到反思与沉淀，即是从“现实主义”写作到“超现实主义”写作再到“神实主义”写作。这也是阎连科与现实语境的关系越来越紧张的过程，他从一个小说的初学者开始，用“现实主义”创造出丰富的“耙耧山脉”世界；到一个用头撞墙者，激愤地用“超现实主义”写出了沉痛而黑暗的现实；再经过反思与沉淀中，走向“神实主义”的写作，用“神”的方式表达“实”的内容，这也是阎连科在与现实的紧张斗争中找到的最好的方式。第一章中，“耙耧山脉”作为阎连科书写的主角，他用“日光”浓烈的感官化语言写下了他熟悉的村庄，用“鬼魂”、“乌鸦”等营造了乡间神秘氛围。“耙耧山脉”充满了温情与残酷，是想要走出和走不出的。第二章中，阎连科进行了超越现实主义的写作尝试，“耙耧山脉”不再是主角而是背景，他力求不断创造出新的小说形式，但最终由于批判现实的欲望过于急切而“发泄”——放弃了小说艺术，这时期的小说是讽喻与批判的。第三章中，阎连科在反思之后走向“神实主义”写作，《四书》是实践，没有了“耙耧山脉”，出现了“九十九区”，阎连科用新的形式寄寓现实并抵抗荒诞。本文特别关注阎连科所特有的“日光味”浓烈的语言，这种感官性强烈的语言从慢慢形成到非常丰盛再到减退其实也显示了阎连科整个创作的变化，即便最后不再浓烈，也是挥之不去的。本文试图梳理出阎连科走向神实主义创作历程中每个阶段写作的变化以及推动这种变化的内核，本文的特点是进行大量的文本分析，以此来追寻阎连科写作的特色及其演变的轨迹。

This article by Yan's creative process is divided into three periods, from excavation and explore to allegory and criticism, then to the reflection and precipitation. Is also from the “realism”writing to “super realism” writing, then to the “God realism”:writing. Yan lianke’ writing is more and more nervous, starting from a beginner with the realism to create a rich world of “rake columbine mountain”, to against a wall with the super realism to write a bitter, dark reality, then to the the God realism, "God" to express "real" content, and this is the best way Yan found out.The first chapter, the rake columbine Mountain is the protagonist. he used strong sensory language of “daylight” to descripe his village,and created ghosts and crows to build mysterious atmosphere. This village is full of tenderness and cruelty, people here wanted to go out but can not. In the second chapter, “rake columbine Mountains”is no longer the protagonist but the background, Yan attempted to write in new ways, but due to the critical desire is too urgent , in the end he vented—giving up the art of fiction. Chapter III, Yan began the writing of God realism, “Four Books” is the practice. the 99 zone replaceed the rake columbine Mountains, he used this new form to ignited the reality resist the absurd. This paper have special attention to Yan’s unique language, these sensory strong language from slowly to the very rich and then diminished in fact also shows the change of the whole creation of Yan.This paper attempts to tease out Yan’s writing toward the God realism creative process, each stage of writing change and the core reason for promoting this change.This paper is characterized by a large number of text analysis, in order to pursue the track of Yan’s writing characteristics and its evolution.