Abstract: “Anti-order” is an important theoretical category in Chinese traditional culture, often compared with the category of “fro-order.” As the categories of “anti-order” and “fro-order” develop, two value orientations are formed in the process, that is, the orientation that favors “fro-order” over “anti-order” and that puts more merit on “anti-order” than “fro-order.” The preference to “anti-order” has exerted greater influence and given rise to the concept of “anti-order writing” in theoretical criticism of classical Chinese literature. It is a common aesthetic aspiration in literary criticism of the Qing Dynasty that values the “anti-order.” The Tongcheng school, for instance, makes detailed comments on the use of the “anti-order writing” through anthologies and commentaries to emphasize its important meaning. Their creative interpretation by means of metaphor enriches the criticism of the anti-order writing. Tongcheng scholars’ criticism of anti-order writing is a concrete reflection of their literary thought. Moreover, their works not only reflect the profound understanding of Tongcheng school’s creative view on anti-order writing, but also embody the mindset of favoring the aesthetics of twists over smoothness.

Key words: Tongcheng school, anti-order writing, classical prose anthologies, annotative criticism