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Wuxia (武俠[ù.ɕjǎ], literally "martial arts andchivalry") is a genre ofChinese fiction concerning the adventures ofmartial artists in ancient China. Althoughwuxia is traditionally a form ofhistorical fantasy literature, its popularity has caused it to be adapted for such diverse art forms asChinese opera,manhua,television dramas,films,donghua andvideo games. It forms part of popular culture in many Chinese-speaking communities around the world. According to Hong Kong film director, producer, and movie writerRonny Yu, wuxia movies are not to be confused withmartial arts movies.[1]
The word "wǔxiá" is a compound composed of the elementswǔ (武, literally "martial", "military", or "armed") andxiá (俠, literally "chivalrous", "vigilante" or "hero"). A martial artist who follows the code ofxia is often referred to as axiákè (俠客, literally "follower ofxia") oryóuxiá (遊俠, literally "wanderingxia"). In some translations, the martial artist is referred to as ajiànxiá (劍俠) orjiànkè (劍客), either of which can be interpreted as a "swordsman" or "swordswoman", even though they may not necessarily wield a sword.
Heroes in wuxia fiction typically do not serve a lord, hold military rank, or belong to the aristocracy. They often originate from the lower social classes of ancient Chinese society. A code ofchivalry usually requires wuxia heroes to right and redress wrongs, fight for righteousness, remove oppressors, and bring retribution for past misdeeds. Chinesexia traditions may be compared to martial codes from other cultures, such as the Japanesesamuraibushidō.
Even though the term "wuxia" as the name of a genre is a recent coinage, stories about xia date back more than 2,000 years. Wuxia stories have their roots in some earlyyouxia tales from 300–200 BC. TheLegalist philosopherHan Fei spoke disparagingly of youxias in his bookHan Feizi in the chapterOn Five 'Maggot' Classes about five social classes in theSpring and Autumn period.[2] Some well-known stories includeZhuan Zhu's assassination ofKing Liao of Wu, and most notably,Jing Ke's attempt on the life of the King of Qin (who later becameQin Shi Huang). In Volume 86 of theRecords of the Grand Historian (Shi Ji),Sima Qian mentioned five notable assassins – Cao Mo,Zhuan Zhu,Yu Rang, Nie Zheng and Jing Ke – in theWarring States period who undertook tasks of conducting political assassinations of aristocrats and nobles.[3]: 17–19 [4] These assassins were known ascike (刺客; literally "stabbing guests"). They usually rendered their loyalties and services to feudal lords and nobles in return for rewards such as riches and women. In Volume 124 of theShi Ji, Sima Qian detailed several embryonic features of xia culture from his period. These popular phenomena were also documented in other historical records such as theBook of Han and theBook of the Later Han.
Xiake stories made a turning point in theTang dynasty (618–907) and returned in the form ofchuanqi (傳奇; literally "legendary tales"). Stories from that era, such asNie Yinniang (聶隱娘),[5]The Kunlun Slave,Thirteenth Madame Jing (荊十三娘),[6]Red String (紅線)[7] andThe Bearded Warrior (虬髯客),[8] served as prototypes for modern wuxia stories.[9] They featured fantasies and isolated protagonists – usually loners – who performed daring heroic deeds. During theSong dynasty (960–1279), similar stories circulated in thehuaben, short works that were once thought to have served as prompt-books forshuochang (traditional Chinese storytelling).[3]: 19–20 [10]: 47–48
The genre of the martial or military romance also developed during the Tang dynasty. In theMing dynasty (1368–1644),Luo Guanzhong andShi Nai'an wroteRomance of the Three Kingdoms andWater Margin respectively, which are among theGreat Classical Novels of Chinese literature. The former is a romanticised historical retelling of the events in the lateEastern Han dynasty and theThree Kingdoms period, while the latter criticises the deplorable socio-economic status of the late Northern Song dynasty.Water Margin is often seen as the first full-length wuxia novel: the portrayal of the 108 heroes, and their code of honour and willingness to become outlaws rather than serve a corrupt government, played an influential role in the development ofjianghu (Jianghu is the setting that wuxia stories inhabit. Literally meaning "rivers and lakes", Jianghu settings are fictionalized versions of China which focus on social underworlds and the marginalized figures which inhabit them."[11]) culture in later centuries.Romance of the Three Kingdoms is also seen as a possible early antecedent and contains classic close-combat descriptions that were later emulated by wuxia writers in their works[3]: 20 [12]: 17, 263
In theQing dynasty (1644–1911), further developments were thegong'an (公案; literally "public case") and related detective novels, where xia and other heroes, in collaboration with a judge or magistrate, solved crimes and battled injustice. TheJustice Bao stories fromSanxia Wuyi (三俠五義; later extended and renamed toQixia Wuyi) andXiaowuyi (小五義), incorporated much of social justice themes of later wuxia stories. Xiayi stories of chivalrous romance, which frequently featured female heroes and supernatural fighting abilities, also surfaced during the Qing dynasty. Novels such asShi Gong'an Qiwen (施公案奇聞) andErnü Yingxiong Zhuan (兒女英雄傳) have been cited as the clearest nascent wuxia novels.[3]: 20–21 [12]: 19
The term "wuxia" as a genre label itself first appeared at the end of the Qing dynasty, acalque of the Japanese "bukyō", a genre of oft-militaristic andbushido-influenced adventure fiction. The term was brought to China by writers such asLiang Qichao and students who hoped that China would modernise its military and place emphasis on martial virtues, and it quickly became entrenched as the term used to refer to xiayi and other predecessors of wuxia proper. In Japan, however, the term "bukyō" faded into obscurity.[3]: 2–3 [12]: 11, 262
Many wuxia works produced during the Ming and Qing dynasties were lost due to the governments' crackdown on and banning of such works.[13] Wuxia works likeWater Margin were deemed responsible for brewing anti-government sentiments, which led to rebellions in those eras.[14] The departure from mainstream literature also meant that patronage of this genre was limited to the masses and not to the literati, which led to the stifling of the development of the wuxia genre. Nonetheless, the wuxia genre remained enormously popular with the common people.[10]: 49–50
The modern wuxia genre rose to prominence in the early 20th century after theMay Fourth Movement of 1919. A new literature evolved, calling for a break with Confucian values, and the xia emerged as a symbol of personal freedom, defiance to Confucian tradition, and rejection of the Chinese family system.[13]
Xiang Kairan (pen name Pingjiang Buxiaosheng) became the first notable wuxia writer, with his debut novel beingThe Peculiar Knights-Errant of the Jianghu (江湖奇俠傳).[15][16] It was serialised from 1921 to 1928 and was adapted into the first wuxia film,The Burning of the Red Lotus Temple (1928).[17] Zhao Huanting (趙煥亭), who wroteChronicles of the Loyal Knights-Errant (奇俠精忠傳, serialised 1923–27), was another well-known wuxia writer based in Shanghai.[18] Starting from the 1930s, wuxia works proliferated and its centre shifted to Beijing andTianjin in northern China. The most prolific writers there were collectively referred to as theFive Great Masters of the Northern School (北派五大家):Huanzhulouzhu, who wroteThe Swordspeople from Shu Mountains (蜀山劍俠傳);Gong Baiyu (宮白羽), who wroteTwelve Coin Darts (十二金錢鏢);Wang Dulu, who wroteThe Crane-Iron Pentalogy (鹤鉄五部作); Zheng Zhengyin (郑証因), who wroteThe King of Eagle Claws (鹰爪王); Zhu Zhenmu (朱貞木), who wroteThe Seven 'Kill' Stele (七殺碑).[19]
Wuxia fiction was banned at various times during theRepublican era and these restrictions stifled the growth of the genre.[13] In 1949, China also banned martial arts novels as vulgar reading. In Taiwan, the government banned several wuxia works in 1959.[20] Despite this, wuxia prevailed in other Chinese-speaking regions. In Hong Kong, between the 1960s and 1980s, the genre entered agolden age.[21] Writers such asLiang Yusheng and Louis Cha (Jin Yong) spearheaded the founding of a "new school" of the wuxia genre that differed largely from its predecessors. They wrote serials for newspapers and magazines. They also incorporated several fictional themes such as mystery and romance from other cultures. In Taiwan,Wolong Sheng,Sima Ling, Zhuge Qingyun (諸葛青雲),Shiao Yi (萧逸) andGu Long became the region's best known wuxia writers. After them, writers such asWoon Swee Oan andHuang Yi rose to prominence in a later period.Chen Yu-hui is a contemporary female wuxia novelist who made her debut with the novelThe Tian-Guan Duo Heroes (天觀雙俠).[22]
There have also been works created after the 1980s which attempt to create a post-wuxia genre.Yu Hua, one of the more notable writers from this period, published a counter-genre short story titledBlood and Plum Blossoms, in which the protagonist goes on a quest to avenge his murdered father.
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As works from Hong Kong, Taiwan, and mainland China gained popularity in Asia in the 20th and 21st centuries, creators in Korea, Japan, and Southeast Asia began to draw influence from them, including from Wuxia and other martial arts genres.[citation needed]
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Modern wuxia stories are largely set inancient orpre-modern China. The historical setting can range from being quite specific and important to the story, to being vaguely defined, anachronistic, or mainly for use as a backdrop. Elements of fantasy, such as the use of magic powers and appearance of supernatural beings, are common in some wuxia stories but are not a prerequisite of the wuxia genre. However, the martial arts element is a definite part of a wuxia tale, as the characters must know some form of martial arts. Themes of romance are also strongly featured in some wuxia tales.
A typical wuxia story features a young male protagonist who experiences a tragedy – such as the loss of his loved ones – and goes on to undertake several trials and tribulations to learn several forms of martial arts from various fighters. At the end of the story, he emerges as a powerful fighter whom few can equal. He uses his abilities to follow the code of xia and mends the ills of thejianghu. For instance, the opening chapters of some of Jin Yong's works follow a certain pattern: a tragic event occurs, usually one that costs the lives of the newly introduced characters, and then it sets events into motion that will culminate in the primary action of the story.[23]
Other stories use different structures. For instance, the protagonist is denied admission into a martial arts school. He experiences hardships and trains secretly and waits until there is an opportunity for him to show off his skills and surprise those who initially looked down on him. Some stories feature a mature hero with powerful martial arts abilities confronting an equally powerful antagonist as his nemesis. The plot will gradually meander to a final dramatic showdown between the protagonist and his nemesis. These types of stories were prevalent during the era of anti-Qing revolutionaries.[24]
Certain stories have unique plots, such as those byGu Long andHuang Yi. Gu Long's works have an element of mystery and are written like detective stories. The protagonist, usually a formidable martial artist and intelligent problem-solver, embarks on a quest to solve a mystery such as a murder case. Huang Yi's stories are blended with science fiction.
Despite these genre-blending elements, wuxia is primarily a historical genre of fiction. Notwithstanding this, wuxia writers openly admit that they are unable to capture the entire history of a course of events and instead choose to structure their stories along the pattern of the protagonist's progression from childhood to adulthood instead.[25] The progression may be symbolic rather than literal, as observed in Jin Yong'sThe Smiling, Proud Wanderer, whereLinghu Chong progresses from childish concerns and dalliances into much more adult ones as his unwavering loyalty repeatedly thrusts him into the rocks of betrayal at the hands of his inhumane master.[23]
The eight common attributes of the xia are listed as benevolence, justice, individualism, loyalty, courage, truthfulness, disregard for wealth, and desire for glory. Apart from individualism, these characteristics are similar to Confucian values such asren (仁; "benevolence", "kindness"),zhong (忠; "loyalty"),yong (勇; "courage", "bravery") andyi (義; "righteousness").[13] The code of xia also emphasises the importance of repaying benefactors after having received deeds ofen (恩; "grace", "favour") from others, as well as seekingchou (仇; "vengeance", "revenge") to bring villains to justice. However, the importance of vengeance is controversial, as a number of wuxia works stress Buddhist ideals, which include forgiveness, compassion and a prohibition on killing. While borrowing ideas from the better known Confucian values, the root of xia originated from the lesser knownMohism, which in theWarring States period saw a few Mohists stood up to defend kingdoms being attacked by other kingdoms.
In thejianghu, martial artists are expected to be loyal to their master (shifu). This gives rise to the formation of several complex trees of master-apprentice relations as well as the various schools such asShaolin andWudang. If there are any disputes between fighters, they will choose the honourable way of settling their issues through fighting in duels.[26]
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The martial arts in wuxia stories are based onwushu techniques and other real lifeChinese martial arts. In wuxia tales, however, the mastery of such skills are highly exaggerated to superhuman levels of achievement and prowess.
The following is a list of skills and abilities a typical fighter in a wuxia story possesses:
In wuxia stories, characters attain the above skills and abilities by devoting themselves to years of diligent study and exercise, but can also have such power conferred upon them by a master who transfers his energy to them. The instructions to mastering these skills through training are found in secret manuals known asmiji (秘笈). In some stories, specific skills can be learned by spending several years in seclusion with a master or training with a group of fighters.
Menpai (门派) is often translated as sect, school, society, church, house, or cult. Members of the samemenpai follow the guidance and train under the same leader. If the members of themenpai are related, then it can be translated as clan. Since some of themenpai are religiously affiliated, "sect" has come to be a common translation for the non-family basedmenpai. However, it would be inaccurate to use sect to denotemenpais that are not associated with religion.[28]
Notable modern wuxia writers include:
| Name | Pen name | Active years | Some works | Brief description |
|---|---|---|---|---|
| Louis Cha Leung-yung Zha Liangyong 查良鏞 | Jin Yong 金庸 | 1955–72 | The Book and the Sword,Condor Trilogy,Demi-Gods and Semi-Devils,The Smiling, Proud Wanderer,The Deer and the Cauldron | The most popular, and regarded by some as the most accomplished, writer to date. His works have been adapted into films and television series numerous times. |
| Chen Wentong 陳文統 | Liang Yusheng 梁羽生 | 1954–83 | Qijian Xia Tianshan,Datang Youxia Zhuan,Baifa Monü Zhuan,Saiwai Qixia Zhuan,Yunhai Yugong Yuan,Xiagu Danxin | The pioneer of the "new school" wuxia genre. Some of his works were adapted into films and television series. |
| Xiong Yaohua 熊耀華 | Gu Long 古龍 | 1960–85 | Chu Liuxiang Series,Juedai Shuangjiao,Xiao Shiyi Lang,Xiaoli Feidao Series,Lu Xiaofeng Series | A writer who blends elements of mystery in his works. He writes in short paragraphs and is influenced stylistically by Western and Japanese writers. Some of his works were adapted into films and television series. |
| Shiao Ching-Jen 萧敬人 | Shiao Yi 萧逸 | 1960–2017 | Iron Geese, Wings of Frost, Princess Wuyou, Sister Gan Nineteen, Beautiful Swordswoman, Chronicles of the Immortal Swordsmen | Pioneered a Taoist-infused, emotionally rich style that emphasized the moral code of xia (chivalry) over martial prowess. Shiao Yi's narratives often featured transcendent heroes, including strong female protagonists, and integrated romantic and philosophical depth. |
| Woon Liang Geok Wen Liangyu 溫涼玉 | Woon Swee Oan Wen Rui'an 溫瑞安 | 1973–present | Si Da Ming Bu,Buyi Shenxiang,Jingyan Yi Qiang | His works were adapted into the television seriesThe Four andFace to Fate, and the filmThe Four. |
| Huang Zuqiang 黃祖強 | Huang Yi 黃易 | 1987–2017 | Xunqin Ji,Fuyu Fanyun,Datang Shuanglong Zhuan | Combines wuxia with science fiction in his works. His works were adapted into the television seriesA Step into the Past,Lethal Weapons of Love and Passion andTwin of Brothers. |
| Lau Wai Ming 劉偉明 | Jozev Kiu 喬靖夫 | 1996–present | Blood and Steel | Redefined Wuxia fiction from the traditional emphasis on the code of chivalry and Chinese culture. |
New and original wuxia writings have dwindled significantly in modern times,[29] particularly so as patronage and readerships of the genre decimated due to readily available alternatives in entertainment such as DVDs, gaming consoles, and other newer forms of entertainment.[30] However, the genre has persisted in the form ofmanhua (Chinese comics) in places like Hong Kong and Taiwan, with the core essentials of the wuxia genre living on in weekly editions equivalent to the Japanesemanga.[31]Some notable comic artists are listed as follows:
| Name | Pseudonym | Active years | Some works | Brief description |
|---|---|---|---|---|
| Wong Jan-lung Huang Zhenlong 黃振隆 | Wong Yuk-long Huang Yulang 黃玉郎 | 1970–present | Oriental Heroes,Weapons of the Gods,Legend of Emperors,Buddha's Palm | Some of his works were adapted into films and television series likeDragon Tiger Gate,Kung Fu VS Acrobatic, andThe Buddhism Palm Strikes Back. |
| Ma Wing-shing Ma Rongcheng 馬榮城 | Ma Wing-shing Ma Rongcheng 馬榮成 | 1975–present | Fung Wan,Chinese Hero,Black Leopard | Some of his works were adapted into films and television series such asThe Storm Riders,Wind and Cloud,The Blood Sword, andA Man Called Hero. |
| Khoo Fuk-lung Qiu Fulong 邱福龍 | 1980–present | Saint,Solar Lord |
The earliest wuxia films date back to the 1920s. Extant early wuxia films produced in China includeRed Heroine (1929),[32]Woman Warrior White Rose (1929),[33] andWoman Warrior of the Wild River 6: Rumble at Deerhorn Gully (1930),[34] the sixth film in a series.Hua Mu Lan (1939), another surviving film,[35] is considered a representative of the second wave of wuxia films, during the Anti-Japanese War.[36] Films directed byKing Hu and produced by theShaw Brothers Studio featured sophisticated action choreography using wire and trampoline assisted acrobatics combined with sped-up camera techniques.[37] The storylines in the early films were loosely adapted from existing literature.[38][39][40]
Cheng Pei-pei,Jimmy Wang andConnie Chan are among the better known wuxia movie stars in the 1960s–70s, when films made by King Hu and the Shaw Brothers Studio were most prominent. More recent wuxia movie actors and actresses includeJet Li,Brigitte Lin,Michelle Yeoh,Donnie Yen,Tony Leung andZhang Ziyi.Yuen Woo-ping is a choreographer who achieved fame by crafting action-sequences in wuxia films.
Wuxia was introduced to Hollywood studios in 2000 byAng Lee'sCrouching Tiger, Hidden Dragon, though influence of the genre was previously seen in the United States in the 1970s television seriesKung Fu. Following in Lee's footsteps,Zhang Yimou madeHero, targeted for the international market in 2002,House of Flying Daggers in 2004,Curse of the Golden Flower in 2006 andShadow in 2018. Western audiences were also introduced to wuxia through Asian television stations in larger cities, which featured miniseries such asWarriors of the Yang Clan andParadise, often with English subtitles.
Ash Is Purest White (Chinese: 江湖儿女; 'Sons and Daughters of Jianghu'), a 2018 Chinese drama directed by Jia Zhangke, is a modern film that refers to the underworld interpretation of jianghu. It was selected to compete for the Palme d'Or at the 2018 Cannes Film Festival. The story is loosely based on the leader of a gang from Jia Zhangke's childhood, whom he had admired as a role model. Like the rest of Jia's films, it opened to widespread acclaim.
There have been Western attempts at the genre, such as the 2008 filmThe Forbidden Kingdom, which starredJackie Chan,Jet Li andMichael Angarano; other movies including wuxia elements are the first three inThe Matrixfilm series (1999–2003, the fourth film from 2021 was choreographed by Joshua Grothe[41]) and theKill Billfilms from 2003 to 2004, all of which were choreographed byYuen Woo-ping. Perhaps the most successful example wasDreamWorks Animation's media franchiseKung Fu Panda. Created as an earnest, if humorous, emulation by producers who were knowledgeable admirers of the genre, the series has been particularly hailed in China as an excellent contribution to the form.[42][43] From the 1990s–2000s, Hong Kong starsDaniel Wu andStephen Fung have worked withAMC Networks to bring wuxia to a US television audience withInto the Badlands, which premiered in 2015 and ran for three seasons.[44][45]
In 2013,Keanu Reeves directed and starred as the main antagonist inMan of Tai Chi, withTiger Chen as a martial artist attending underground fights. TheMulan remake in 2020 wasDisney's attempt in making a wuxia movie.[46] In 2021,Marvel'sShang-Chi opens with a wuxia sequence and has action sequences inspired by Jackie Chan.[47][48]
Some notable wuxia video games of theaction RPG genre includeThe Legend of Sword and Fairy,Xuan-Yuan Sword,Jade Empire, andKingdom of Paradise, all of which blend wuxia with elements ofChinese mythology and fantasy.The Legend of Sword and Fairy, in particular, expanded into a franchise of eight video games, two of which were adapted into the television seriesChinese Paladin (2005) andChinese Paladin 3 (2009). There are alsoMMORPGs, such asJX Online 3,[citation needed]Heroes of Kung Fu[49] andAge of Wulin,[50] andhack and slash games, such asBujingai[51] andHeavenly Sword.[52]
Games adapted from the works of wuxia writers includeHeroes of Jin Yong, an RPG based on characters inJin Yong's novels;Dragon Oath, an MMORPG inspired by Jin Yong'sDemi-Gods and Semi-Devils; andMartial Kingdoms, astrategy game featuring several martial arts schools which commonly appear in wuxia fiction.
The wuxia genre continues to be drawn as a pool of inspiration or source material for Chinese video game studios. In June 2022,Tencent's Lightspeed Studio released a demo trailer onCode: To Jin Yong.[53] In the following month, Everstone Studio unveiledWhere Winds Meet, a game compared toGhost of Tsushima andAssassin's Creed.[54] 2023 saw the release ofHero's Adventure: Road to Passion in November, a wuxia-inspired open world RPG,[citation needed] as well asWandering Sword in September, a RPG featuring an art style reminiscent ofHD-2D.[55][56]
... 俠以武犯禁，而人主兼禮之，此所以亂也。夫離法者罪，而諸先生以文學取；犯禁者誅，而羣俠以私劍養。
進士趙中行家於溫州，以豪俠為事。至蘇州，旅止支山禪院。僧戶有一女商荊十三娘， ... 至期，荊氏以囊盛妓兼致妓之父母首歸於李。後與趙進士同入浙中，不知所止。
紅線，潞州節度使薛嵩家青衣，善彈阮鹹，又通經史，嵩遣掌箋，表號曰「內記室」。 ... 歌畢，嵩不勝悲，紅線拜且泣，因偽醉離席，遂亡其所在。
唐代著名的武俠小說有《紅線傳》、《虯髯客傳》、《劉無雙傳》、《崑崙奴傳》、《聶隱娘傳》，等等（空空兒、精精兒則是附在《聶隱娘傳》中）。
ContentsChapter 9
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