According to a number of Hong Kong media reports on October 30, a generation of martial arts novel hero Cha Liangfu (pseudonym Jinyong) died of illness, aged 94.
Cha Liangyong was born in March 10, 1924 in Haining, Zhejiang. Cha Liangyong emigrated to Hong Kong in the late 1940s and later wrote a number of well-known martial arts novels under the pseudonym Jinyong, including Heroes of the Shooting Carving, Swordsmen of the Sculpture, Relying on Heaven to Slaughter the Dragon, Eight Dragons, Xiaoao Jianghu, Luding Ji and so on. He was praised as Where there are Chinese, there is gold. The reader of the mean. His works have been remade into films.
In Hong Kong, which has always been regarded as a cultural desert, Jin Yongs martial arts novels have bloomed a gorgeous flower, and he is therefore known as the chivalrous man of the Chinese world.
On July 1, 2017, I was reading in a hotel in Tsim Sha Tsui, Hong Kong, when I heard a thunder outside my window. The sky was brightened by a flash of lightning. Open the curtains, but just to see people holding up umbrellas, rushing under the eaves, standing, looking up at the Victoria Harbor air fireworks. Not far away, skyscrapers scrolled out greetings like celebrating the 20th anniversary of Hong Kongs return and I love Hong Kong with neon lights. I rushed downstairs, the shower was light, and joined the rain-drenched Street crowds watching fireworks in the rain.
When he came to Hong Kong, it was still a backward city, a bit like a fishing port in the countryside. In the past 70 years, he witnessed firsthand the development of Hong Kong as a prosperous international metropolis with the development of industry and commerce, and also witnessed the earth-shaking changes brought about by the reform and opening up to the outside world. For Hongkong, Jin Yong is an emigrant. But he said that his peace of mind here, as Su Dongpo left his hometown to Lingnan in the Song Dynasty, wrote in Ding Feng Bo, this peace of mind is my hometown, Hong Kong has gradually become his second hometown. His achievements in martial arts novels and newspapers have undoubtedly made him a cultural symbol in Hong Kong. One example is the Jin Yong Museum in the Hong Kong Cultural Museum this year.
Jin Yongs residence at 1 hilltop Road, 1985 to 1996 (Photo by You Zhi)
In the 1950s, Jin Yongs new-style martial arts novels were popular in Hong Kong. At that time, they were in the atmosphere of cultural climate change in Hong Kong. Around 1949, a large number of businessmen, intellectuals, politicians and their wealth poured into Hong Kong, changing the demographic structure, lifestyle and cultural interest of Hong Kong. Three languages prevailed in Hong Kong at that time, Putonghua, some of which were also written in classical Chinese, Cantonese and English, mainly Cantonese and English. Many people do not know much about Putonghua except South Hongkong. Jin Yongs writing is pure Chinese. In fact, it not only inherits the literary tradition of the late Ming and early Qing Dynasties, but also absorbs the vocabulary and grammar of modern Chinese literature. For Hong Kong at that time, I suddenly saw the standard text, very fresh and particularly attractive.
Jin Yongs novels have a vast space, from Mongolian grassland to the Gobi in Xinjiang, from the scenery in the south of the Yangtze River to the rivers and lakes in the Central Plains, from the emperors capital to the Dali, imagining galloping thousands of miles of rivers and mountains.
In the 1950s, in the swordsman novels of the British colony of Hong Kong, in which Jin Yongs fiction was a mixture of fiction and reality, the swordsman sought a balance between the court and the field, political involvement and retreat, centripetal and centrifugal, obedience and betrayal, righteousness and personal feelings. Jin Yongs reflection on the universal humanity and the laws of ancient Chinese history also appeared. He reconstructed Chinese culture into a complete entity, and Jianghu was a turbulent and violent territory in which various power struggles and political struggles were launched and were associated with the court.
In Hong Kong, which has always been regarded as a cultural desert, Jin Yongs martial arts novels have blossomed into a brilliant flower, which has become a hot topic in the streets and lanes of every Hong Kong people. Talking about the characters in the novels is like talking about Zizhi Tongjian as a serious pop culture phenomenon. With Hong Kong as the hub, his novels spread to Southeast Asian countries such as Singapore, Malaysia, Thailand and even the whole world, thus creating a vast and cultural imaginary community.
In 2001, the Japanese version of Jin Yongs novel was published. Jin Yong attended the signing meeting of new books at the invitation of Tokyo Bookstore.
This cultural community of imagination echoes Hong Kongs prevailing local literature with the search for identity as its main thread. Hong Kong peoples identity is a special identity existing between the two traditional cultures of Britain and China. At that time, the ideology of the Communist Party of China and the Kuomintang of Taiwan were equally powerful in this lease. Among these powerful multi-gravity forces, Hong Kong people have their own local standpoint, as well as the dilemma of identity anxiety and self-identity. In 1959, Jin Yong founded Ming Pao. Between the left-wing and right-wing media in Hong Kong, he chose the position of objective neutrality, which echoes the local position of Hong Kong, and he is also an unswerving patriot.
Hongkong North Point seaside. In 1966, Ming Pao moved to 651 Kings Road in North Point, where many left-wing newspapermen still live.
His swordsman novels never rigidly adhere to some stable structure. On the contrary, each of his works is innovative, or has a novel plot, or the birth of an unforgettable plump character, or a new attempt at narrative structure, or a new reflection on human nature and history: the misery and chivalry of the chaotic world in The Story of the Shooting and Carving Heroes, the love of the Sculptors, the laughter and arrogance of rivers and lakes. The Tragedy of Human Nature in the Three Thousand Years of Chinese Political History, The Tragedy of Heaven Dragons Eight Departments is the sad background of the fate of injustice and revenge, and Luding Ji reflects and satirizes the national character and culture...
In 1960, Jin Yong took a group photo with the protagonist of the movie the divine eagle. (left) Xie Xian, Jin Yong, Nan Hong and Liang Suqin (Jin Yong for map)
Along the way, Jin Yong not only enjoyed himself, but also thought deeply about ancient Chinese history. Like other swordsman novels, he once wrote patriotism from the standpoint of the Han nationality, with a clear opposition between right and evil. However, from the beginning of The Story of Relying on Heaven to Slaughter Dragons, as a rebel Wudang sect, Zhang Wuji also surpassed the orthodox sect and the evil sect. He not only reconciled Ming religion with the Six Gates sect and jointly dealt with Mongolian aggression, but also transcended Han Dynasty through his love with Zhao Min, the Mongolian prince. The estrangement between ethnic groups and Mongolians.
To Tianlong Babu, Xiao Feng and other people also appeared on the consanguinity and cultural identity of the conflict does not match. Jin Yong began to think over the fate of Xiaofeng beyond the concept of national and national boundaries. This is inseparable from his understanding that Hong Kong is deeply influenced by British culture and is also the locally recognized position of Chinese Hong Kong people. In the 20th anniversary year of Hongkongs return to 2017, rereading Jin Yong is still fresh and meaningful.
2003 version of dragon eight stills, Hu Jun plays Xiao Feng
Jin Yong started writing martial arts novels in Ta Kung Pao. Luo Fu, editor-in-chief of Ta Kung Pao, once said, If there were no Hong Kong, there would be no Jin Yong. If it were not for Hong Kong, Jin Yong probably had just started writing Enmity of Books, Swords and Graces, and the creative process was interrupted by the political situation. Compared with readers from Hong Kong, Macao, Taiwan and overseas, the history of Jin Yongs reading in mainland China happened later. From 1950s to 70s, the mainland people did not know that there was Jin Yong in Hongkong. It was not until the early 1980s that the circulation of Jin Yongs swordsman novels went out of the non-folk channels and set off a wave of heat in the mainland with the serial publication of The Heroes of Shooting and Carving by Guangzhou Wulin magazine. Source: news editor of Chongqing Morning Post: Ji Xue Ying _NN6784
Jin Yong started writing martial arts novels in Ta Kung Pao. Luo Fu, editor-in-chief of Ta Kung Pao, once said, If there were no Hong Kong, there would be no Jin Yong. If it were not for Hong Kong, Jin Yong probably had just started writing Enmity of Books, Swords and Graces, and the creative process was interrupted by the political situation. Compared with readers from Hong Kong, Macao, Taiwan and overseas, the history of Jin Yongs reading in mainland China happened later. From 1950s to 70s, the mainland people did not know that there was Jin Yong in Hongkong. It was not until the early 1980s that the circulation of Jin Yongs swordsman novels went out of the non-folk channels and set off a wave of heat in the mainland with the serial publication of The Heroes of Shooting and Carving by Guangzhou Wulin magazine.