Wuxia

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Wuxia ( Chinese  武俠  /  武侠 , Pinyin wǔxiá ) or “ knightly heroes skilled in Wushu ” is a characteristic genre of Chinese literature and Chinese film . Wǔxiá is very popular in Chinese folk culture .

definition

The Wǔxiá - Roman and Wǔxiá film describe Chinese swordsman battles, soldiers and horsemen fighting, playing mostly on historical or pseudo-historical sites. The genre has a lot of fantastic elements.

The martial arts film, which focuses on the representation of the Chinese fistfight kung-fu or wushu, is to be distinguished from wǔxiá . Such films usually do not have any fantastic elements. Examples of this genre are Bruce Lee's films .

The term "Wǔxiá" is made up of two Chinese characters. Wǔ ( 武 ) can be translated as " martial art ", "war art" or "military". Xiá ( 俠  /  侠 ) describes certain people who, depending on the context, can fall into the categories of “hero”, “adventurer”, “mercenary”, “warrior” or “(errant) knight”. The most common is the translation of Xiá as "(traveling) knight". In Chinese history, those people were called " Dàxiá " ( 大俠  /  大侠 ) or " Xiáshì " ( 俠士  /  侠士 ) who protected the "common people" ( 老百姓 , lǎobǎixìng ) from injustice or tyranny by local villains and corrupt officials put an end to their craft. In contrast to the Japanese samurai , who belongs to the aristocracy , the Chinese Xiá is by definition not part of a certain group of people or social class, but can belong to any social group that reflects the “chivalrous spirit” in action and in the way of life.

The Xiá had a particular ethic that relied heavily on Confucian ideas. Many Xiá saw themselves as fighters for justice. This must occasionally also against the authorities z. B. be enforced in the form of corrupt officials. In this partially subversive aspect, the ethics of the Xiá differs from that of the warrior castes of other East Asian cultures such as the Bushidō of the samurai .

subjects

Fantasy is an important theme in Wǔxiá, both in film and in books. The heroes of these films or novels master the martial arts to such an extent that they have de facto supernatural powers and a. have the following skills:

  • They can fight at lightning speed by going through a set sequence of movements ( 招 , zhāo ).
  • You can use the most unlikely objects as lethal weapons, such as: B. brushes, umbrellas or musical instruments.
  • You can use weapons with unlikely precision.
  • You can run up or fly up walls using Qinggong ( 輕功  /  轻功 , qīnggōng ).
  • By using Neili ( 内力 , nèilì ) , you acquire the ability to control the mystical inner energy ( Qì ) in order to suck opponents inwards or to excrete poison from your own body.
  • Using dianxue ( 點穴  /  点穴 , diǎnxué ) you are able to paralyze or kill an opponent by pressing on his acupressure points ( 穴 , xué ) with a finger or a weapon.

These extraordinary abilities are not explained through the use of magic , but require years of study and meditation . The philosophy behind it consists of elements from Daoism , Buddhism or traditional Chinese medicine . Details of these techniques can be found in difficult-to-understand or encrypted scrolls known as miji ( 秘笈 , mìjí ). Often times they contain all the secrets of a sect and are often stolen.

Jianghu , the Chinese underworld at the time of the Empire, is another important topic. It is made up of outlaws, secret societies, sects and noble bandits who steal from the rich and give the loot to the poor. Many Wǔxiá stories describe the fight against corrupt officials or power-hungry eunuchs who usurped the imperial government. As a result, the genre was often viewed as subversive, and wǔxiá films weretemporarily bannedduring the period of the First Republic of China .

In Jianghu , favor ( 恩 , ēn ) and vengeance ( 仇 , chóu ) are taken very seriously. A story may only be concerned with the protagonist's quest for revenge, which can last for decades. The characters are very concerned about their face (reputation), their trustworthiness and their honor. In order to defend these values, they are willing to sacrifice lives (including their own). The Jianghu moral code ( 江湖 , jiānghú ) is usually idealized in Wǔxiá in a way that would be considered unrealistic in real life.

Love is also a very important topic in Wǔxiá . The relationship between two young lovers (who are also wǔxiá masters) can advance a whole story.

Another important theme in Wǔxiá is the statement that the powerful skills must be trained and practiced with a pure heart. Impatience or insufficient control of the mind and qì during training can lead to physical and / or mental damage ( 走火入魔 , zǒuhuǒ rùmó “loss of control and transition to the dark side”).

action

In terms of their plot, Wǔxiá stories or novels have similarities with fantasy literature from other parts of the world. They mostly revolve around a young, often male protagonist, who often experienced misery or other tragic circumstances as a child, such as B. loss of family, humiliation or separation from home. The characters then have a series of extraordinary experiences, have to pass difficult tests, and unbelievable coincidences occur. Often they meet a great master of martial arts, under whom they then study and who passes on to them almost supernatural fighting skills. The main character also gains a "knightly" worldview. Often she herself becomes a superior master of martial arts, unmatched or barely matched in all of China. So his or her name becomes legend.

On the other hand, the novel “ The Deer and the Cauldron ” ( 鹿鼎記  /  鹿鼎记 , Lùdǐngjì ) by Jin Yong is called an anti-Wǔxiá novel, which violates all of the above clichés and presents an antihero, the lazy, stingy, lustful and drooling brothel boy Wéi Xiǎobǎo ( 韋小寶  /  韦小宝 ). He has become a cultural symbol himself, loved by some and hated by others.

Location

The storyline mostly takes place in the past, mainly because it is more believable that the characters actually possessed superhuman powers in the past, but that knowledge about them has been lost today. There are also wǔxiá films that are set in the present or the future, but most of them are considered unrealistic.

Novels

Wǔxiá novels ( 武俠小說  /  武侠小说 , Wǔxiá Xiǎoshuō ) have their roots in early Yóuxiá - ( 遊俠  /  游侠 , yóuxiá  - " errant knight") or Cǐkè - ( 刺客 , cǐkè  - "assassin, assassin") stories from the 3rd and 2nd centuries BC Chr .; so z. For example, the assassinations of Jing Ke and Zhuan Zu are described in the book Shiji by the famous historian Sima Qian (145–90 BC). In the chapter “Assassin”, “Assassin” ( 刺客 列傳  /  刺客 列传 ) Sima Qian mentions a large number of famous assassins from the “Warring States” who were charged with the task of killing opponents from other countries, which is considered noble. These assassins were called Shike ( 食客 , shíkè  - "dining guest"), and they lived in the residences of kings and rulers, where they served them and showed them loyalty, like the Japanese samurai later . In the chapter "Wandering Xiá" ( 遊俠 列傳  /  游侠 列传 ) he describes numerous features of the Xiá culture of his time.

The stories of wandering Xiá made a comeback in the Tang Dynasty (618–907 AD). They were the prototypes of today's Wǔxiá stories, and they already contained some of their features, such as: B. Protagonists with incredible fighting skills, who often wander alone doing heroic deeds.

The earliest actual Wǔxiá stories are three novels from the Ming dynasty (1368–1644):

The novel Die Räuber vom Liang-Schan-Moor 水滸傳 (Shuǐhǔzhuàn) criticizes the poor socio-economic situation of many people towards the end of the Ming Dynasty and describes the code of honor of the outlaws. The latter would prove to be very influential for further Wǔxiá stories. In the novel The Three Realms , numerous battles are described. Later Wǔxiá authors were strongly influenced by this presentation.

During the Ming (1368–1644) and Qing (1644–1911) dynasties , the Wǔxiá novels were considered subversive and were forbidden. Many works have therefore been lost. In contrast to other literary genres , Wǔxiá authors were therefore not supported by the government, which significantly restricted the distribution of their works. Nevertheless, the genre was very popular with the common people, such as the novels " The Strange Fall of Shi Gong " ( 施公案 奇聞  /  施公案 奇闻 ) and " The Story of Heroic Daughters and Sons " ( 兒女 英雄 傳  /  儿女 英雄 传 ). Because - like later Wǔxiá stories - they addressed questions of social justice.

Wǔxiá novels are now a very popular literary genre in the People's Republic of China , Taiwan , Hong Kong and Singapore . Many Wǔxiá novels, especially if they come from authors like Jin Yong or Gu Long, have a fanatical following in Chinese-speaking areas, quite comparable to some fantasy or science fiction novels in the West.

The most important Wǔxiá writers are:

Many popular works, including most by Jin Yong, were filmed in the People's Republic of China , Taiwan, or Hong Kong, or they formed the basis of television series. The most popular works have seen numerous adaptations, so that viewing and comparing the different versions has become an independent hobby. In addition, studying the works of Jin Yong has produced an independent branch of Sinology .

Movies

Wǔxiá film or Wǔxiá Piàn ( 武俠 片  /  武侠 片 ) is a film genre in Taiwan and Hong Kong, and recently also in the People's Republic of China. It differs from other martial arts films in certain features.

The earliest Wǔxiá films can be traced back to the 1920s. Wǔxiá Piàn originated as a genre in Hong Kong in the 1950s and 1960s. From 1960 the Shaw Brothers studio produced the first forerunners of the current form of the genre, in which a lot of wirework is used. An important director of Wǔxiá films was King Hu . In the 1980s and 1990s, many films by director Tsui Hark can be assigned to the Wǔxiá genre. In 2000, the Wǔxiá film Tiger and Dragon first caught the attention of western mainstream cinema . This film is based on a novel by Wang Dulu. The international success of Tiger and Dragon was continued in 2002 with the film Hero by Zhang Yimou . Wǔxiá films are now also being shot in the People's Republic of China, for example the film House of Flying Daggers ( 十面埋伏 ).

Important Wǔxiá films

Early days

  • Torching the Red Lotus Temple ( 火燒 紅蓮寺  /  火烧 红莲寺 , 1928). One of the first Wǔxiá film series by Zhang Shichuan with 18 episodes. The genre was banned by the Chinese government in 1931, and copies of the film were confiscated and burned. In March 1935, filmmakers shot a 19th episode and then a 20th episode in Hong Kong (then a British colony). In China itself, Wǔxiá films were banned until the 1950s.
  • Rúlai Shén Zhǎng ( 如 來 神掌  /  如 来 神掌 , HK 1964). A very popular black and white Wǔxiá film series with Cho Dat-Wah ( 曹達華  /  曹达华 , Cáo Dáhuá ) and Yu So-Chau ( 于 素秋 , Yú Sùqiū ).

First golden age of Hong Kong film (late 60s and 70s)

  • The hostel to the Dragon Gate (龍門 客棧  / 龙门 客栈 , HK 1966) by King Hu , better known under the English title Dragon Gate Inn . Wirework was usedfor the first time.
  • The One-armed Swordsman ( 獨臂 刀  /  独臂 刀 , HK 1967), German published as The Golden Sword of the King Tiger . An extremely bloody film for the time.
  • A touch of Zen (俠女  / 侠女 , HK 1971), also by King Hu . The film contains very dynamic battle sequences and aesthetic images for the time. He is considered a masterpiece of the genre and influenced numerous Wǔxiá directors, including Tsui Hark , Ang Lee and Zhang Yimou .
  • Li Feng - The one-armed swordsman (HK 1971) also served as a template for Hero and Tiger and Dragon .

New Wave (1980-1996)

  • The sword ( 名劍  /  名剑 , HK 1980) by Patrick Tam
  • To : Warriors From the Magic Mountains (新 蜀山劍俠  / 新 蜀山剑侠 , HK 1983) by Tsui Hark
  • Duel to the Death ( 生死 決  /  生死 决 , HK 1983)
  • A Chinese Ghost Story (倩女幽魂 , HK, three films from 1987). This film series has strong fantasy elements that go back to Buddhist or Taoist ideas.
  • Swordsman ( 笑傲江湖 ), Swordsman II ( 東方不敗  /  东方不败 ), The East is Red ( 東方不敗 之 風雲 再起  /  东方不败 之 风云 再起 , HK, from 1990). The films are set in the Ming Dynasty, and the characters have the most incredible fighting skills.
  • New Dragon Gate Inn ( 新 龍門 客棧  /  新 龙门 客栈 , HK 1992). Remake of the film of the same name from 1966. The leading actresses are Brigitte Lin and Maggie Cheung .
  • The Heroic Trio (東 方三俠  / 东 方三侠 , HK 1993). A Wǔxiá film set in Hong Kong today. The main characters are exclusively women, played by Anita Mui , Maggie Cheung and Michelle Yeoh .
  • Butterfly and Sword ( 新 流星蝴蝶劍  /  新 流星蝴蝶剑 , HK 1993) by Michael Mak
  • Kung Fu Cult Master ( 倚天 屠龍 記之 魔教 教主  /  倚天 屠龙 记 之 魔教 教主 , HK 1993)
  • The Tai-Chi Master (太極張三豐  / 太极 张三丰 , HK 1993) with Jet Li and Michelle Yeoh
  • Green Snake ( 青蛇 , HK 1993) by Tsui Hark
  • Savior of the Soul ( 九 一神鵰俠侶  /  九 一 神鵰侠侣 , HK 1992), published in Germany as Silverfox , by Corey Yuen , David Lai and Jeff Lau
  • The Bride with white Hair I and II ( 白髮魔女  /  白发魔女 , HK 1993) with Leslie Chung and Brigitte Lin
  • Iron Monkey ( 少年黃飛鴻之 鐵馬 騮  /  少年 黄飞鸿 之 铁马 骝 , 1993)
  • Wing Chun (詠 春  / 咏 春 , HK 1994). The main role was played by Michelle Yeoh .
  • Ashes of Time (東邪西毒  / 东邪西毒 , HK 1994). An art house Wǔxiá film by Wong Kar-Wai .

Post-classical period

Influence of the Wǔxiá genre on western films

This article or the following section is not adequately provided with supporting documents ( e.g. individual evidence ). Information without sufficient evidence could be removed soon. Please help Wikipedia by researching the information and including good evidence.

When Star Wars was released in the late 1970s, many Chinese thought it was a Western Wǔxiá film set in a futuristic and alien world. In any case, the Chinese audience willingly readily accepts the concept of power in the Star Wars series, or the superhuman powers of the mutants in X-Men or Superman . On the other hand, western audiences may have more difficulty accepting the Wǔxiá fantasy because the heroes are portrayed as normal people who nevertheless have extraordinary powers.

The film Matrix , too, has apparently been influenced by the Wǔxiá genre in its battle sequences. Here, however, the heroes and the bad guys gain their supernatural powers by recognizing and bending the rules of virtual reality. You can run up walls, jump and fly over extraordinary distances, float, turn into ghosts and dodge or stop bullets.

literature

  • Gongpu Song: The Wǔxiá Film and Current Chinese Society . JB Metzler (Springer), 2017, ISBN 9783658178000
  • Kai Portmann: The Flying Fox from Schneeberg. The genre of the Chinese knight novel (wuxia xiaoshuo) and the successful author Jin Yong. Bochum 1994.
  • Petra Rehling: Beautiful Pain: The Hong Kong Cinema Between Tradition and 1997 Syndrome. Mainz 2002.
  • Ralph Umard: Film without borders. Lappersdorf 1996.
  • Stefan Hammond, Mike Wilkins: Sex and Zen and a bullet in the head. Munich 1999 (only film descriptions).

Web links