Chang Changfeng (simplified: 常长风, traditional: 常長風, pinyin: Cháng Chángfēng, jyutping: soeng4 soeng4 fung1) was the second brother of the Four Xias of Taiyue, a faction of martial artists operating in the Taiyue Mountains during the early Qing Dynasty. Nicknamed “Twin Palms of Slab-splitting” (双掌开碑 – Shuāngzhǎng Kāibēi), he wielded a large tombstone as his weapon—an unconventional choice that symbolised his aspirations to martial distinction whilst highlighting the gap between his grandiose self-image and his mediocre actual abilities. Despite limited martial skills, Chang Changfeng played a crucial role in the climactic events surrounding the Mandarin Duck Blades, demonstrating that even mediocre martial artists could contribute meaningfully when circumstances aligned in their favour.
Biography
Early life and joining the Four Xias
Little is known about Chang Changfeng’s early life before he joined the Four Xias of Taiyue. His massive physical build suggested he might have possessed natural strength that initially led him to believe he could succeed as a martial artist, though proper training evidently eluded him. He joined forces with Xiaoyaozi, Hua Jianying, and Gai Yiming to form their faction, establishing himself as the second-ranking member within their hierarchy.
The Four Xias operated from the Taiyue Mountains region, engaging in banditry whilst claiming to uphold justice—a self-perception that often conflicted with both their actions and their actual capabilities. Chang Changfeng’s adoption of the elaborate epithet “Twin Palms of Slab-splitting” reflected the faction’s collective tendency towards grandiose self-presentation despite their mediocre martial abilities.
The ambush of Weixin Armed Escort
The Four Xias’ most ambitious undertaking involved attempting to intercept Weixin Armed Escort (威信镖局 – Wēixìn Biāojú), the prestigious Xi’an-based agency commissioned to transport the legendary Mandarin Duck Blades to the capital. The faction planned to present these famous weapons as a birthday gift to Xiao Banhe, the respected daxia of Jinyang, hoping this gesture would elevate their standing in the jianghu.
When the Four Xias positioned themselves to block the escort convoy’s path, their dramatic appearance initially created genuine intimidation. Four men in tight-fitting martial attire standing shoulder-to-shoulder across the road presented an imposing sight. The convoy leader Zhou Weixin, nicknamed “Iron Whip that Pacifies Eight Directions” (铁鞭镇八方 – Tiěbiān Zhèn Bāfāng), found himself confronted by men proclaiming elaborate titles: their eldest brother “Smoke and Rosy Clouds Dragon” Xiaoyaozi, second brother “Twin Palms of Slab-splitting” Chang Changfeng, third brother “Meteor Pursuing Moon” Hua Jianying, and youngest “Eight Steps Pursuing Toad, Matching Specialist Zhu, Treading Snow Without Trace, Single Leg Water Skimmer, Twin Awls Covering Seven Provinces” Gai Yiming.
The elaborate proclamation of these titles, combined with the faction’s confident bearing, proved sufficient to intimidate Zhou Weixin despite his own considerable reputation. The escort chief, unable to gauge their actual martial abilities and unwilling to risk his valuable cargo, chose discretion over confrontation and withdrew. This apparent success, however, masked the Four Xias’ actual incompetence—they had succeeded through bluff rather than genuine martial prowess.
Their attempt to claim the blades from the abandoned escort ultimately failed when they proved incapable of actually defeating the escort guards in combat. The Four Xias’ initial intimidation success quickly dissolved when their mediocre martial skills became apparent through direct engagement.
Encounters with other martial artists
Following the failed escort interception, Chang Changfeng and his brothers continued their pursuit of the Mandarin Duck Blades, leading to various encounters that consistently exposed their martial limitations. Each confrontation reinforced the comedic contrast between their self-proclaimed abilities and their actual performance.
One particularly humiliating incident occurred when Chang Changfeng attempted to intervene in a domestic dispute between Lin Yulong and Ren Feiyan. Ren Feiyan, skilled with her slingshot, struck Chang Changfeng first in the nose, then the chest and arm with pellets, demonstrating both her superior skill and his poor defensive capabilities. His tendency to insert himself into situations beyond his abilities resulted in painful consequences.
Another memorable encounter involved a young maiden on horseback who questioned Chang Changfeng about his unusual weapon. When he proudly proclaimed the tombstone as his “unique martial weapon, not among the eighteen traditional weapons” (十八般兵器 – Shíbābān Bīngqì), she quickly disarmed him with a simple strike to his wrist. The tombstone fell and landed on his already injured foot—an outcome that exemplified the recurring pattern of his grandiose claims being undermined by unfortunate reality.
Perhaps most revealing was the Four Xias’ attempt to rob a travelling scholar. Discovering their intended victim carried only old books rather than valuables, the brothers found themselves outmanoeuvred when the scholar cleverly requested financial assistance instead. Chang Changfeng boldly declared his willingness to help, only to discover his own pockets were empty—a moment that demonstrated both his good intentions and his chronic lack of practical resources.
The climactic capture of Zhuo Tianxiong
Despite their consistent failures throughout the pursuit of the Mandarin Duck Blades, Chang Changfeng and the Four Xias ultimately played a decisive role in the tale’s resolution. During Xiao Banhe’s fiftieth birthday celebration in Jinyang, where the blades had finally arrived through various circuitous paths, the imperial guard Zhuo Tianxiong attempted to arrest Xiao Banhe and seize the weapons.
In a surprising turn of fortune, the Four Xias managed to capture Zhuo Tianxiong using a fishing net—a simple tool that succeeded where their martial techniques had consistently failed. This capture forced the accompanying soldiers to withdraw, allowing the assembled guests to examine the blades and discover their true secret: the inscription “The benevolent are invincible” (仁者无敌 – Rénzhě Wúdí) rather than any martial arts manual.
This unexpected success validated the Four Xias’ persistence despite their limitations. Though they lacked exceptional martial skills, their loyalty to Xiao Banhe, their determination to contribute meaningfully, and their willingness to employ unconventional methods ultimately enabled them to play a crucial role in protecting both their benefactor and the revelation of the blades’ philosophical message.
Personality and traits
Physical presence and intimidating appearance
Chang Changfeng possessed a massive physical build that initially suggested formidable martial prowess. His imposing size contributed significantly to the Four Xias’ strategy of intimidation through appearance, as observers naturally assumed that such a large man wielding a tombstone must possess exceptional strength and skill. This physical presence proved his most effective martial asset, as it often succeeded in creating hesitation or fear in opponents before actual combat commenced.
His choice of a large tombstone as his weapon complemented his massive frame, creating a visually striking and unconventional image. The sheer impracticality of wielding such an unwieldy object suggested either remarkable strength or remarkable foolishness—observers typically couldn’t determine which until actual combat revealed the truth.
Loyalty and brotherhood
Despite his martial limitations, Chang Changfeng demonstrated unwavering loyalty to his faction brothers and their collective goals. His commitment to the Four Xias transcended personal capability, as he consistently supported group decisions and participated in their various schemes regardless of personal risk or likelihood of success.
His relationship with Xiaoyaozi, Hua Jianying, and Gai Yiming reflected genuine bonds of brotherhood rather than mere expedient alliance. The Four Xias maintained their faction cohesion through mutual support and shared identity, with Chang Changfeng’s position as second brother carrying responsibilities he took seriously despite lacking the martial prowess typically associated with such rank.
Good intentions undermined by circumstances
Chang Changfeng’s character exhibited genuinely good intentions that circumstances and limited abilities consistently undermined. His willingness to assist the travelling scholar, his participation in presenting a gift to honour Xiao Banhe, and his attempts to intervene in various situations all demonstrated a sincere desire to act honourably and helpfully.
However, these good intentions regularly resulted in comedic outcomes. His empty pockets when offering financial assistance, his injury when attempting to help resolve disputes, and his repeated defeats in combat created a pattern where his aspirations to chivalry consistently exceeded his practical capacity to fulfil them. This gap between intention and execution made him a sympathetic figure despite his frequent failures.
Comedic misfortune and resilience
Chang Changfeng’s experiences throughout the tale formed a consistent pattern of comedic misfortune. From being struck by slingshot pellets to having his own weapon fall on his injured foot, from being disarmed by a young maiden to discovering his poverty when attempting generosity, his adventures accumulated humiliations that would have discouraged less resilient individuals.
Yet Chang Changfeng persisted, continuing to participate in the Four Xias’ schemes and maintaining his grandiose self-image despite repeated evidence of his limitations. This resilience in the face of consistent failure demonstrated a certain admirable determination, even if that determination bordered on obliviousness regarding his actual capabilities.
Martial arts abilities
The tombstone technique
Chang Changfeng’s distinctive martial approach centred on his use of a large tombstone as both weapon and defensive tool. This unconventional choice reflected either remarkable creativity or remarkable impracticality—most observers concluded the latter once they witnessed his actual technique. He would lift the heavy stone and attempt to intimidate opponents by threatening to crush them, relying primarily on the weapon’s visual impact rather than any refined fighting method.
The tombstone provided certain advantages: its mass could deliver devastating impact if a strike actually connected, and its size offered potential defensive coverage. However, these theoretical benefits remained largely unrealised due to Chang Changfeng’s limited training and the weapon’s inherent unwieldiness. Skilled opponents easily evaded his slow, predictable strikes, whilst his defensive use of the stone left him vulnerable to attacks from unexpected angles.
His proclamation that the tombstone represented a “unique martial weapon, not among the eighteen traditional weapons” attempted to frame his unconventional choice as innovative mastery rather than desperate improvisation. This rationalisation typified his tendency to present martial limitations as deliberate stylistic choices.
Physical strength versus technical skill
Chang Changfeng’s approach to combat relied heavily on raw physical strength rather than refined martial technique. His massive build provided genuine physical power that he attempted to leverage through overwhelming force, compensating for his lack of proper training through sheer muscular capability.
This strategy proved effective only against opponents even less skilled than himself or those who could be intimidated into submission before actual combat commenced. Against trained martial artists, his lack of technique became immediately apparent. His movements lacked the speed, precision, and tactical sophistication that characterised genuine martial mastery, leaving him vulnerable despite his physical advantages.
The gap between strength and skill manifested clearly in his encounters throughout the tale. Whilst he could lift and swing the heavy tombstone, demonstrating considerable physical capability, he couldn’t effectively deploy this strength in combat due to poor technique, slow reactions, and inadequate training in fundamental martial principles.
Defensive limitations and vulnerabilities
Chang Changfeng’s defensive capabilities proved as limited as his offensive skills. Whilst the tombstone theoretically provided defensive coverage, his slow movements and poor positioning regularly left him exposed to attacks. Opponents with superior speed and technique easily struck him from angles his tombstone couldn’t protect, as demonstrated by Ren Feiyan’s slingshot strikes that repeatedly found their mark despite his attempts at defence.
His lack of proper neili cultivation meant he possessed minimal internal energy to resist impacts or recover quickly from strikes. Each successful attack against him caused genuine injury rather than being deflected or absorbed through internal energy techniques that more accomplished martial artists employed. This vulnerability resulted in accumulated injuries throughout his various encounters, with each defeat adding new wounds to his already damaged condition.
Relationships
The Four Xias brotherhood
Chang Changfeng’s position as second brother within the Four Xias of Taiyue defined his primary relationships and social identity. His bonds with Xiaoyaozi, Hua Jianying, and Gai Yiming transcended their collective martial inadequacy, creating a genuine brotherhood united by shared aspirations if not shared capabilities.
As second brother, Chang Changfeng occupied a position of theoretical authority beneath only Xiaoyaozi. However, the faction’s collective mediocrity meant that hierarchical distinctions mattered less than mutual support and coordinated action. The Four Xias functioned more as equals bound by friendship than as a formal hierarchy based on martial superiority.
Relationship with Xiao Banhe
Though the nature of the Four Xias’ connection to Xiao Banhe remained somewhat unclear, their determination to present the Mandarin Duck Blades as a birthday gift suggested genuine respect and desire for his approval. This relationship motivated much of their pursuit of the legendary weapons, with Chang Changfeng and his brothers hoping that successfully acquiring and presenting such famous artefacts would elevate their standing in Xiao Banhe’s estimation.
Their ultimate success in capturing Zhuo Tianxiong at Xiao Banhe’s birthday celebration validated their loyalty and persistence. Despite their martial limitations, they proved valuable allies when circumstances required unconventional solutions rather than superior fighting skills.
Encounters with skilled martial artists
Chang Changfeng’s various encounters with more skilled martial artists consistently reinforced his position in the jianghu hierarchy—decidedly near the bottom. His confrontations with Lin Yulong, Ren Feiyan, and various other characters demonstrated the vast gulf between his self-perception and his actual capabilities.
These encounters, whilst humiliating, served important narrative functions by establishing the relative skill levels within the martial world. The ease with which more accomplished fighters defeated or disarmed Chang Changfeng provided readers with clear markers of martial ability, making the Four Xias’ ultimate success in capturing Zhuo Tianxiong through unconventional means all the more surprising and significant.
Behind the scenes
Comedic character archetype
Chang Changfeng exemplifies a classic comedic archetype in wuxia literature: the martial artist whose grandiose self-image vastly exceeds actual abilities. His character provides comic relief through the consistent pattern of elaborate proclamations followed by humiliating outcomes, creating humour through the reliable discrepancy between aspiration and achievement.
This archetype serves multiple narrative functions. It provides levity in what might otherwise be a serious tale of martial arts pursuit, it establishes baseline skill levels against which other characters’ abilities can be measured, and it democratises the jianghu by acknowledging that not all martial artists achieve legendary status—most remain thoroughly ordinary despite their best efforts.
Narrative role and thematic significance
Within The Mandarin Duck Blades, Chang Changfeng serves functions beyond mere comic relief. His character contributes to the tale’s exploration of what constitutes true martial heroism and invincibility. The Four Xias’ ultimate success in capturing Zhuo Tianxiong demonstrated that persistence, loyalty, and creative problem-solving could achieve results that superior martial technique alone might not accomplish.
This thematic relevance connects to the blades’ ultimate message: “The benevolent are invincible.” Chang Changfeng and his brothers, despite their martial inadequacy, acted from genuine loyalty to Xiao Banhe rather than selfish pursuit of the blades’ rumoured secrets. Their success at the crucial moment validated this benevolent motivation, suggesting that moral character ultimately mattered more than martial superiority.
Character consistency and development
Throughout the narrative, Chang Changfeng maintains remarkable consistency in characterisation. His grandiose self-image, his loyalty to his brothers, his good intentions, and his consistent failure to achieve martial success remain constant from his first appearance through his final triumph. This consistency makes him a reliable source of both humour and thematic depth.
Unlike many wuxia protagonists who undergo dramatic character development through training and enlightenment, Chang Changfeng experiences no improvement in martial ability. His contribution to the tale’s resolution comes not through personal growth in fighting skill but through the fortunate alignment of circumstances that favoured his particular strengths—persistence, loyalty, and willingness to employ unconventional methods.
Literary function in Jin Yong’s corpus
Chang Changfeng represents Jin Yong’s willingness to populate his martial world with ordinary, even mediocre practitioners rather than exclusively focusing on legendary masters. This inclusion of “small characters” (小人物 – xiǎo rénwù) adds texture and realism to the jianghu, acknowledging that martial arts society encompassed wide ranges of ability rather than consisting solely of exceptional individuals.
His character also demonstrates Jin Yong’s skill in using comedy to convey serious themes. The humour surrounding Chang Changfeng’s failures makes The Mandarin Duck Blades entertaining and accessible, whilst his ultimate contribution to the story’s resolution reinforces the tale’s philosophical message about benevolence and true invincibility.
The tombstone as symbolic weapon
Chang Changfeng’s choice of a tombstone as his weapon carries potential symbolic significance beyond its immediate comedic effect. Tombstones mark death and commemorate the deceased, suggesting perhaps that Chang Changfeng’s martial aspirations were already dead despite his refusal to acknowledge this reality. The weapon’s association with endings and permanence contrasts ironically with his continued belief in his potential for martial greatness.
Alternatively, the tombstone’s function as a grave marker might symbolise the Four Xias’ role in marking the “grave” of conventional martial arts assumptions. Their success despite incompetence challenged typical wuxia expectations that martial superiority determined outcomes, effectively “burying” this assumption through their unconventional triumph.
See also
- Mandarin Duck Blades characters
- Four Xias of Taiyue
- Xiaoyaozi – first of the Four Xias
- Hua Jianying – third of the Four Xias
- Gai Yiming – fourth of the Four Xias
External links
- Chang Changfeng (Chinese) on Baidu Baike