Seeking Jin Yong's martial arts description?
Jin Yong became an undisputed master of martial arts novels with his fifteen martial arts novels.
There are many contemporary martial arts novelists of Jin Yong, such as Liang Yusheng, Gu Long, Huang Yi and Wen Ruian. Why do you stand out bravely and become the Taishan Beidou in the field of martial arts novels?
Because Jin Yong's novels are full of charm. His novels are vigorous, ambitious, open and closed, full of rivers and lakes love and hate, secret history of the court, literature and art in battle, and philosophical connotation of talking and laughing. There are many reasons why his novels are popular, but as far as the novel itself is concerned, it is first and foremost a martial arts novel, and "martial arts" is the most basic element of martial arts novels. People love to read martial arts novels precisely because the characters in the books attract them to show their martial arts. The intense and tense atmosphere of the characters' fighting makes the readers excited, and the horrible scenes and details in the fighting are vivid, which makes the readers immersive.
Martial arts are described in most martial arts novels, and there are three ways to deal with martial arts in general. One is "scripted", that is, written according to various schools of China Wushu, such as boxing and swordsmanship at Pingjiang. Although this method is quite satisfactory and practical, it is too rigid and has no room for imagination. The second is "bizarre exaggeration", that is, the author boldly imagines that the characters' martial arts fly into the ground and can do anything, such as The Legend of the Swordsman of Shushan written by Zhu Huan. Although this bizarre and exaggerated description of martial arts is gorgeous and lively, there is nothing substantial to remember. The third type is "avoiding reality and being empty", that is, shorthand moves, which focus on depicting atmosphere and scenes, such as Gu Long's works. Although this kind of writing is clever, it lacks the wonderful description of "Wu" in martial arts novels. These three methods of describing martial arts have their own merits. However, none of them has the inherent meaning of "martial arts" and there are not many places worth discussing.
Jin Yong's martial arts novels have broken through these limitations. His creativity is imaginative, just like a stroke of genius. Many scenes and details of martial arts, martial arts and fighting are amazing. At the same time, the novel's profound cultural connotation, artistic connotation and philosophical atmosphere from martial arts are memorable and breathtaking.
First, the beauty of martial arts philosophy in Jin Yong's novels
China's philosophy, from the early philosophical titles of Yin and Yang, Five Elements, Tao and Qi, to metaphysics in Wei and Jin Dynasties, Neo-Confucianism in Song and Ming Dynasties, Lu Wang psychology, Taoist theory of keeping in good health and Zen consciousness in Buddhism, all reflect the profundity and mystery of oriental civilization. Influenced by China's philosophical spirit, China's martial arts culture has its mystery, which is particularly prominent in the description of martial arts in Jin Yong's martial arts novels.
Martial arts in Jin Yong's novels are not only the embodiment of cultural and artistic beauty, but also the embodiment of philosophical beauty. Philosophy is the most beautiful flower in the field of human thought, which is manifested in the beauty of thinking, thinking and wisdom. This kind of beauty is a kind of beauty of human nature, realm and freedom, which has the peculiar effect of cultivating wisdom embryos, cultivating happy hearts and opening up a better life.
If the cultural and artistic beauty of Wushu is the embodiment of technical advancement, then the philosophical beauty of Wushu is the embodiment of artistic advancement. There is a saying in Taoism: "The Tao gives birth to one, two, three and everything." That is, everything is born in Tao. Since all roads lead to all roads, martial arts and literature are also interlinked.
Jin Yong's description of martial arts is unique. Everyone has his own different realm of martial arts, which is also their realm of life. Looking at life from martial arts, the most wonderful description is the realm of solitary sword seeking defeat.
Sword-in front of the weak crown
"Brave and invincible, used to compete with Heshuo before the weak crown."
When he was young, Dugu used an invincible sword and blew his hair off. "Brave and strong, invincible" is not only a description of Jian, but also a portrayal of his character in this period. At this time, Dugu is a fledgling, hot-blooded, newborn calves are not afraid of tigers, and they are very brave in fighting.
Soft sword (soft sword, Wei Zi)-Before the age of 30.
At this time, Dugu experienced a youthful impulse to defeat, learned from a bitter experience and stopped charging blindly. He has understood the opposite of the rigidity of the sword-softness, and how to be gentle, respectful and frugal, become fierce and sharp, and become both rigid and soft.
Epee (Black Iron Sword)-Before the age of forty
"The epee has no front, and the clever thinking is not working."
At this time, he has abandoned the flashy and handsome swordsmanship, and the swordsmanship tends to be practical, with one stroke and one type, which is natural and easy, and has reached the realm of returning to nature. After experiencing success and failure, joys and sorrows, ups and downs, his life began to return.
Wood blade has no sword since he was forty.
At this time, although he is old and his energy is declining, his practice of sword is more profound, reaching the realm of harmony between man and nature, that is, taking everything as his own sword, with no sword in his hand and a sword in his heart. At this time, he didn't need weapons, and his empty hands actually implied Zhuangzi's philosophy of "not serving things", that is, he was not enslaved by foreign things, and everything was under control. This stage represents the wisdom, rich experience and profound knowledge of the elderly, and is the realization of returning to nature after hard work.
The gradual progress of Wushu accomplishment is the gradual progress of personality accomplishment. Naturally, the longer you practice martial arts, the deeper your understanding, and so does your personality cultivation. Even a master like Zhang Wuji couldn't have learned martial arts if he hadn't been forced by Xie Xun since he was a child. Despite his profound martial arts, his martial arts cultivation and personality cultivation can't be compared with that of Zhang Sanfeng. As Zhang Cuishan said, he can never catch up with his master, so he can only follow the trend. His understanding is naturally not as good as Zhang Sanfeng's, and he learns more from martial arts. Therefore, knowledgeable Zhang Sanfeng was able to create Tai Ji Chuan. Even if a teenager is extremely clever, he can only be the best among teenagers, not the best in the rivers and lakes. This kind of writing is the track of technology entering art and art entering Tao. Therefore, even Confucius, a saint, is "ten and five for learning, thirty for standing, forty for not being confused, fifty for knowing the destiny, sixty for listening, and seventy for following one's heart without exceeding the moment", not young.
There are many places in Jin Yong's novels that reflect the philosophical beauty of martial arts. For example, in the legendary swordsman, Feng Qingyang said to Ling Huchong, "Learning to use a sword is only the first step. Don't do anything ... Duguxia is an extremely smart person. Learning his swordsmanship is based on the word "enlightenment" and never recites it. When you are familiar with the meaning of these nine swords, you can't do anything, just forget all the changes, and it doesn't matter. In the face of the enemy, the cleaner you forget, the less you will be bound by the original swordsmanship ... "Feng Qingyang's brave words are a blow to those who are old-fashioned and rigid. All human skills and knowledge can't be memorized, and they stick to ready-made tricks and styles. On the contrary, they should combine theory with practice and use it flexibly. It was only when they understood the truth that the master became a master.
Jin Yong's swordsmen tried to find the infinite abstract "Tao" in China's philosophical spirit through limited concrete "traces" to reveal the philosophical life, which is far better than the description of swordsmen in general swordsmen novels. This description reflects the gradual progress of life from martial arts, and reflects people's extensive knowledge and profound cultivation in the years. Readers not only saw the wonderful and mysterious martial arts, but also realized the true meaning of life.
Second, the beauty of martial arts in Jin Yong's novels
People are the focus of realism. Describing personality can reveal the inner mental state and essence of this person. Jin Yong's unique banner exaggerates the characters' martial arts, and closely combines the characters' characters in the book with the martial arts they have learned, forming a unique landscape in the world of martial arts novels.
Martial arts itself has no personality, but the characters consciously or unconsciously choose some kind of martial arts according to their own personality. This martial arts style is consistent with the character's own personality, and it is handy to use, which reveals the character's personality from the choice and application of martial arts. The uniqueness of Jin Yong's novels lies in understanding the character from the choice of martial arts and grasping the inner activities of the characters from the display of martial arts.
Jin Yong used martial arts to express the characters' personality characteristics, which can be found in his book "Love between Swordsman and Chivalrous Man".
Chen Jialuo, the hero, made Baihua wrong fist. "... This fist is not only all-encompassing, but also its beauty is a" wrong "word. Every move is specious with authentic ancestral technology of various factions. When the other party thought it was a move, when they raised their hands to meet it, they realized that the orientation technique from the address was completely different, and its subtle purpose was the "specious and unexpected" character. Others only say that their fists are wrong. I'm afraid it's because I dialed all the wrong numbers, which makes the other party available ... "
This passage is about the subtlety of Baihua's fist rubbing. Although it is not the most powerful martial art in the text (Chen Jialuo's "Knowing Cow's Palm" has a far-reaching influence), it is closely related to the character and life experience of Chen Jialuo and his master Yuan Shixiao.
"Hundred Flowers Wrong Boxing" and "Hundred Flowers Wrong Boxing" are easy to be enemies, and the word "wrong" is hard to stop. The essence of Wushu is a "mistake". And the master of martial arts has been doing wrong all his life. Martial arts and life complement each other and deduce a wrong cause and effect. Guan Mingmei, her mother, is Chen's wife. Although she gave birth to Chen Jialuo, she didn't love her husband. On the contrary, she misses Chen Jialuo's adoptive father Yuan Shixiao, and Chen Jialuo grew up in a love triangle between his parents and his master, so his birth was wrong. Although he is the chief helmsman of the Red Cross, it is not his own will, but the situation forces him, so his identity as big brother is also a mistake. He fell in love with Huo Qingtong at first sight and found that Huo Qingtong was very close to Li Yuanzhi, a woman disguised as a man. He misunderstood her without investigating clearly. Namtsolen wanted to leave his daughter to help him, but Chen Jialuo changed his mind and refused to join Huo Qingtong for personal reasons. After failing Huo Qingtong, she failed her sister Princess Xiangxiang. Recognizing Qianlong as his brother, he naively thought that Qianlong would change the dynasty; Blindly trusted Emperor Qianlong and pushed his partner to the fire pit for political purposes. After all, Chen Jialuo is a naive scholar. His weakness and naivety made him take the wrong step from the beginning and step by step into the wrong abyss. His life is a wrong life.
"Hundred Flowers Wrong Boxing" is actually a hint of his character and life.
The close combination of "martial arts" and "character" in the novel can be seen everywhere in the book. Guo Jing is a loyal honest and frank, so Hong Qigong taught him the simple and practical "eighteen palms of the dragon". The eighteen palms of the dragon are very simple, with few changes, and they are straight, which accords with Guo Jing's character. Therefore, Guo Jing is handy to use, and with the eighteen dragons, he has become the leader of the Wulin and is known as the "Northern Xia"; Ling Huchong is a prodigal son who doesn't like being bound. The legendary swordsman is free and unfettered by Jianghu rules. Nine Swords of Dugu is arbitrary and similar to his character. Dust-free Taoist priests are straightforward and impatient, so they use "cloak sword"; Two generations are witty and humorous, so they use iron pots as weapons; Ouyang Feng is insidious and cunning, making good use of poison; Yang Guo went into exile for love 16 years. He has tasted the pain of parting and had an unforgettable experience. Therefore, he can create a powerful "dark palm". The "dim palm" comes from Jiang Yan's Biefu, Dim palm and Dim palm, and the core of this palm method lies in "dim palm". Even Yang Guo, the founder of Zhangfa, was overjoyed when he met the little dragon girl in 16, respectively. He lost the pain of missing and could not exert the power of martial arts. It can be seen that only lovers who are sad for missing can exert their power.
Jin Yong combined the character's character with martial arts, and writing martial arts is also a portrayal of the character. Wushu is not only used to defeat the enemy, but also becomes the shadow of the characters, the mirror of the characters, following the characters, and always reflecting their personalities, joys and sorrows. Martial arts has become a portrayal of the fate of the characters. This unique profile description technique shows the personality characteristics of the characters, makes the characters more vivid and realistic, activates the imagination of readers, and receives strong artistic effects, which plays an irreplaceable or irreplaceable role in the positive description.
Thirdly, the cultural and artistic beauty of martial arts in Jin Yong's novels.
The beauty of culture and art is the perceptual manifestation of people's essential strength in works of art through artistic images. Only by appreciating the artistic image can people feel the charm of artistic works. Jin Yong is original, integrating rich China culture and art into Wushu, and making all kinds of culture and art serve Wushu. The novel not only shows the wonderful movements of martial arts, but also reveals a strong martial arts culture.
Wushu and Dance in Jin Yong's Novels
Jin Yong's martial arts, on many occasions, look not martial arts, but beautiful dance.
Wushu is closely related to dance. Wushu is to defeat the enemy and harm others, and dance is to show beauty. Once the murderous look in martial arts is hidden, martial arts will be similar to street dance and ballet today and become an external artistic expression.
Sima Qian's "Historical Records" contains "Xiang Zhuang's sword dance, which means Pei Gong". From here, we can see the relationship between Wushu and dance. "Zhuang is living. On his deathbed, he said,' Wang and Pei Gong are drinking, and the army is not happy. Please dance with a sword. Wang Xiang said, "Promise me." Xiang Zhuang sword dance, Xiang Bo sword dance, often close the wing, Zhuang is not allowed to hit. Du Fu's poem "Looking at the Parallel Order of Disciples' Sword Dancing" vividly describes the combination of martial arts and dance: "Many years ago, there was a beautiful Gongsun who danced her dagger and attracted all directions. The audience is like a mountain lost between them, and the world moves back and forth with her movements. As bright as an archer shooting down the nine suns in the sky, as fast as an angel in front of a dragon's wings. She began to be like a thunderbolt, venting its anger and ending the shining calm like rivers and seas. But those red lips and pearl sleeves disappeared, and no one except this student smelled of her fame. This beautiful woman from Linying, White God Town, still dances and sings happily. When we answer each other's questions, we sigh together and feel sad for the changes that have taken place. There are 8,000 ladies-in-waiting in the harem, but none of them can dance short sword like Mrs. Sun ... "It can be seen that martial arts and dance are one family, and all martial arts with ornamental value are dances. The martial arts written by Jin Yong are of ornamental value, not pure bloodshed and violence.
Chen Mo, a master of epigraphy, said: "Violence has its own independent aesthetic significance. This aesthetic significance is mainly manifested in the description of violent forms, while martial arts is mainly the artistic creation of martial arts. In this respect, Jin Yong is the most outstanding one. " Jin Yong himself doesn't know martial arts, but he created many wonderful martial arts with his pen. Among many martial arts, the most romantic is the Jade Maiden Heart Sutra of the Ancient Tomb School. The power of Jade Maiden Heart Sutra is far less than that of Eighteen Palm Dragons, Six Pulse Excalibur and Yijin Sutra, but it is the most romantic. It seems to be the dance itself, not martial arts. This is a duet designed by Lin Chaoying for himself and lonely Wang Zhongyang. Lin Chaoying combined Quanzhen fencing with tomb fencing, dreaming that one day he could dance with his beloved. She wrote The Heart Sutra of the Jade Girl not to defeat the enemy, but to understand and comfort her lovesickness, so its movements are like dancing, and even its name is beautiful. Several years later, Yang Guo and the girl, a couple of life and death, learned the Jade Girl Heart Sutra, which brought the charm of this martial art to the extreme.
"Wandering around the world", Yang Guo oblique sword stab; Little dragon girl wields a sword and hits directly.
"Before Flowers and Under the Moon" Yang Guo fights up and down, simulating the scene of ice wheels flying across the sky and cleaning the floor; Little dragon girl's single sword fluttered, like flowers in the wind, swinging back and forth.
The trick of "drinking and drinking", Yang Guo raised the hilt and pointed down, just like pouring wine into a kettle; The tip of the little dragon girl's sword turned upside down, but it turned out to be pointing at her lips, like a drink.
Yang Guo and the girl made themselves less serious and nervous in their struggle with Jin Lunzong. On the contrary, I am affectionate and shy, so I am worried about it. Huang Rong saw little dragon girl's cheek dizzy and shy, and Yang Guo always stole a look at each other and attached it to her back. Although it is a life-and-death battle, it shows male huan's love for female huan. This is no longer a violent and bloody fighting scene, but a duet performance between Yang Guo and Little Dragon Girl. They danced a lot, and Huang Rong, the audience, was moved by their dancing and recalled the good times when she fell in love with Guo Jing. In Jin Yong's works, the description of fighting full of murderous look and tense atmosphere has become a pair of lovers with beautiful posture, tacit cooperation and infinite tenderness.
Jin Yong combined martial arts with dance to make the text three-dimensional, and with charming dynamic artistic images, people can experience the elegance of physical movements from the performance of martial arts movements, rather than violence and blood.
Wushu and Calligraphy in Jin Yong's Novels
Calligraphy and Wushu are profound and have a long history, and they are two wonderful flowers that can best embody the essence of China traditional culture. Calligraphy and Wushu are rooted in the fertile soil of China traditional culture, thus forming two rich theoretical systems of calligraphy and Wushu. Although calligraphy and martial arts have their own connotations and laws, they are also closely related. Calligraphy and martial arts should be cultivated both inside and outside, with equal emphasis on technique and Taoism. The similarity in action, strength and beauty provides the possibility for the creation of calligraphy and martial arts. Calligraphy and martial arts are secondary in Jin Yong's novels, which are only mentioned in a few chapters of a few novels, but they are typical and even more exciting.
Throughout the ages, calligraphy has been a means to an end. People tend to pay attention to the result of writing-works, pay attention to the beauty of the formed words, and ignore the fun of writing. Professor Chen Zhenlian believes that in addition to the beauty of the image of calligraphy works, the behavior itself can also show this beauty, and the "beauty of writing"-behavior in the process of communication is no longer just a means. "The formation of the beauty of writing makes calligraphy closer to the literati's writing from the craftsman's production, and opens up a sequence from words to art, from space to time, from visual formation (result) to behavior to infinite possibilities." Jin Yong combined martial arts with calligraphy, which made the characters show the beauty of sports while writing and playing.
Calligraphy is based on basic stippling, such as horizontal and vertical dots, strokes and hooks, which are combined into words according to the font structure, and then combined into articles according to the rules; Wushu consists of basic movements such as kicking, throwing and stabbing. , are composed of tricks according to the requirements of martial arts, and then combined into a complete set of roads according to the law of movement. Jin Yong used martial arts moves to show the basic stippling in calligraphy, and used different writing moves of cursive script, official script and seal script to show different martial arts moves and styles. The most typical description is the passage of Zhu Ziliu to Mongolian prince Huo Dou in The Condor Heroes.