Five Greats | 五绝 | 五絕

Five Greats (simplified: 天下五绝, traditional: 天下五絕, pinyin: Wǔ Jué, jyutping: Ng5 Zyut6)

The Five Greats (simplified: 天下五绝, traditional: 天下五絕, pinyin: Wǔ Jué, jyutping: Ng5 Zyut6) were the most formidable martial artists during the Southern Song dynasty. They were also known as the Five Supreme Masters of the jianghu or the Five Supreme Masters Under Heaven.

Each possessed exceptional martial arts abilities and commanded significant influence in the jianghu. They were considered the top five martial artists of their time.

Huashan Sword Summit

The Five Greats emerged during a period when the Nine Yin Manual had become the most coveted martial arts text in the jianghu.¹ The manual’s comprehensive martial arts knowledge and mysterious origins created unprecedented conflicts as various martial artists sought to claim it.

The chaos surrounding the manual’s scattered fragments threatened to destabilise the entire jianghu, making the need for a decisive resolution urgent. Wang Chongyang’s proposal for a contest as a civilised alternative to endless warfare over the manual’s possession.

Held on Mount Hua’s² peak in what became known as the Huashan Sword Summit,³ the contest tested the participants’ prowess against each other and determine the strongest martial artist among them. The selection of Mount Hua as venue carried deep symbolic meaning—as one of China’s Five Great Mountains,⁴ it represented the connection between earthly martial arts and heavenly principles.

The Five Greats’ establishment reflected the jianghu’s need for recognised leadership and clear hierarchies to maintain order during tumultuous times amid the invasion of the Song Dynasty by the Jurchen-led Jin Empire and later on Mongol Empire.

First Summit

The First Mount Hua Summit lasted seven days and seven nights, with the five masters engaging in both theoretical discussions and practical demonstrations of martial arts. The competition was designed to determine not just the strongest fighter, but the most comprehensive martial artist.

This civilised approach to resolving the conflicts represented a significant departure from the bloody warfare that had plagued the jianghu over the manual’s fragments.

At the conclusion, Wang Chongyang emerged victorious and was acknowledged as the supreme martial artist of his generation. The competition established the following ranking, with each participant earning their directional epithet:

1. Wang Chongyang the Central Divine (中神通)
2. Huang Yaoshi the Eastern Heretic (东邪 – Dōng Xié)
3. Ouyang Feng the Western Venom (西毒 – Xī Dú)
4. Hong Qigong the Northern Beggar (北丐 – Běi Gài)
5. Duan Zhixing the Southern Emperor (南帝 – Nán Dì)

Wang Chongyang was named the Champion Under Heaven also became the legitimate keeper of the Nine Yin Manual after the Summit.

Second Summit

The Second Huashan Sword Summit occurred approximately twenty years after the first, during a period of significant change in the jianghu. With Wang Chongyang deceased and the next generation of martial artists rising to prominence, the dynamics among the remaining Four Greats had shifted considerably.

The summit took a different format from the first, focusing on testing Guo Jing’s martial arts abilities rather than direct competition between the established masters. This reflected the masters’ recognition that the young generation would soon inherit leadership of the jianghu.

The gathering was marked by several significant confrontations:

• Huang Yaoshi attempted to defeat Guo Jing within 300 moves but failed to do so
• Ouyang Feng, who had been practicing reversed Nine Yin Manual techniques, appeared in a deranged state
• The competition’s dynamics shifted dramatically when Ouyang Feng demonstrated his newfound and peculiar strength
• The summit concluded at Black Dragon Pool⁵ where Huang Rong used clever tactics against the deranged Ouyang Feng

Ultimately, Ouyang Feng claimed the title of supreme martial artist while in his mentally unstable condition, though the legitimacy of this claim remained controversial due to his state of mind.

Third Summit

The Third Huashan Sword Summit served as both a memorial ceremony and a formal recognition of generational change in the jianghu. Held years after the deaths of Hong Qigong and Ouyang Feng, who had died together after their final confrontation, the gathering marked the end of an era.

Rather than a competitive contest, this summit was primarily ceremonial, acknowledging the emergence of a new generation of supreme martial artists who had proven themselves through their actions and contributions to the jianghu. The participants paid their respects to the fallen masters while formally establishing the New Five Greats.

This gathering established the New Five Greats, representing a changing of the guard:

• Huang Yaoshi retained his position as the Eastern Heretic (东邪 – Dōng Xié)
• Duan Zhixing, now known by his Buddhist name, Yideng, became the Southern Monk (南僧 – Nán Sēng)
• Yang Guo became the Western Maverick (西狂 – Xī Kuáng)
• Guo Jing was recognized as the Northern Xia (北侠 – Běi Xiá)
• Zhou Botong was dubbed the Central Wild Child (中顽童 – Zhōng Wántóng)

This new generation reflected not only changes in individual martial artists but also shifts in the jianghu’s values and character. Unlike the First Summit, where a clear hierarchy was established through competition, the relative ranking of these masters is not explicitly stated.

Five Greats

Central Divine

Wang Chongyang (simplified: 王重阳, traditional: 王重阳, pinyin: Wáng Chóngyáng) the Central Divine founded the Quanzhen Order and was widely acknowledged as the supreme martial artist of his generation. His comprehensive mastery of Daoist martial arts and profound qi cultivation set him apart from his contemporaries.

His victory at the First Mount Hua Summit established him as the Central Divine, reflecting both his geographical position at Zhongnan Mountains and his role as the balanced centre among the Five Greats. His Quanzhen Swordplay demonstrated the perfect integration of spiritual philosophy with practical combat technique.

Wang Chongyang’s wisdom extended beyond martial arts to strategic thinking and character judgment. His ability to anticipate Ouyang Feng’s attempt to steal the Nine Yin Manual after his death showed his deep understanding of human nature and long-term planning.

Eastern Heretic

Huang Yaoshi (simplified: 黄药师, traditional: 黄药师, pinyin: Huáng Yàoshī) the Eastern Heretic earned his epithet through his deliberate rejection of orthodox martial arts traditions and social conventions. Master of Peach Blossom Island, he developed an eclectic martial arts system that incorporated music, mathematics, and medicine.

His mastery of the Jade Flute Swordplay and Divine Finger Flick demonstrated his innovative approach to martial arts. Rather than following established schools, he created his own methods based on his understanding of the Five Elements and natural principles.

Huang Yaoshi’s complex personality combined brilliant intelligence with emotional depth. His devotion to his deceased wife Feng Heng and his complicated relationship with his daughter Huang Rong revealed the human side beneath his eccentric exterior.

His training in Nine Yin Manual techniques and mastery of diverse martial arts styles and profound understanding of neili placed him among the top practitioners after Wang Chongyang’s death.

Western Venom

Ouyang Feng (simplified: 欧阳锋, traditional: 欧阳鋒, pinyin: Ōuyáng Fēng) the Western Venom was the master of the White Camel Manor⁶ on White Camel Mountain⁷ in the Western Regions,⁸ where he developed his formidable Toad Stance and poison-based martial arts. His epithet reflected both his use of actual poisons and his ruthless, toxic personality.

His martial arts emphasised overwhelming power and psychological dominance. The Toad Stance made his body nearly invulnerable while allowing him to generate tremendous internal force. His willingness to use any means necessary to achieve victory made him one of the most feared fighters in the jianghu.

Ouyang Feng’s eventual descent into madness through his corrupted practice of the Nine Yin Manual served as a cautionary tale about the dangers of pursuing power without wisdom or moral foundation. His final reconciliation with Hong Qigong before their deaths showed that even the most fallen individual could find redemption.

Northern Beggar

Hong Qigong (simplified: 洪七公, traditional: 洪七公, pinyin: Hóng Qīgōng) the Northern Beggar led the Beggars’ Guild and embodied the ideal of the righteous martial artist who used his skills to protect the innocent. His epithet reflected his chosen lifestyle among the common people despite his aristocratic background.

His mastery of the Eighteen Palms of Dragon Subduing and Dog-Beating Staff Technique made him one of the most formidable fighters of his era. These techniques emphasised straightforward power and practical application, reflecting his honest and direct personality.

Hong Qigong’s greatest achievement was his role as a teacher and mentor. His ability to recognise and develop potential in students like Guo Jing demonstrated his understanding that true martial arts mastery required both technical skill and moral character.

While his raw power might have been slightly less than Ouyang Feng’s, his resourcefulness and adaptability made him equally dangerous in combat. The Beggars’ Guild was more active in the northern regions, hence his epithet uses the northern direction.

Southern Emperor

Duan Zhixing (simplified: 段智兴, traditional: 段智興, pinyin: Duàn Zhìxīng) the Southern Emperor ruled the Dali Kingdom before following his family’s Buddhist tradition of abdicating to become a monk and passing on the throne to his succesor. His epithet acknowledged both his political authority and his martial arts supremacy in the southern regions.

The Duan Clan’s signature One Yang Finger technique demonstrated the integration of Buddhist philosophy with martial arts practice. The technique’s precision and control reflected his balanced approach to both governance and combat, emphasising restraint and compassion over destruction.

His cultivation of neili through Buddhist practices placed him on par with his peers, though he was often considered the most merciful among the Five Greats.

New Five Greats

Central Wild Child

Zhou Botong (simplified: 周伯通, traditional: 周伯通, pinyin: Zhōu Bótōng) the Central Wild Child earned his position through his mastery of the Technique of Reversing the Meridians and his profound understanding of the Nine Yin Manual. Despite his playful, childlike demeanor, he possessed one of the most comprehensive martial arts knowledge bases of his generation. His epithet was a nod as his nickname Old Wild Child.

His ability to practice different martial arts simultaneously with each hand demonstrated an extraordinary level of mental and physical coordination. The “Wild Child” epithet reflected both his mischievous personality and his unconventional approach to martial arts, which often involved turning serious techniques into playful exercises.

Zhou Botong’s role as Wang Chongyang’s shidi⁹ provided continuity between the old and new generations of the Five Greats. His retention of the Central position maintained the Quanzhen Order’s influence while bringing a completely different energy to the role.

Eastern Heretic

Huang Yaoshi (simplified: 黄药师, traditional: 黄药师, pinyin: Huáng Yàoshī) the Eastern Heretic was the only member to retain both his position and epithet from the original Five Greats to the New Five Greats. His continued presence on Peach Blossom Island provided crucial continuity between the two generations.

By the time of the Third Summit, Huang Yaoshi had mellowed considerably from his earlier years, largely due to the influence of his daughter Huang Rong and son-in-law Guo Jing. While he maintained his unconventional methods and eccentric nature, his relationships with family had softened his more extreme tendencies.

His role in the New Five Greats represented not just martial excellence but also the wisdom that comes with age and experience. Having witnessed the rise and fall of the original generation, he served as both participant and elder statesman, bridging the gap between the old jianghu and the new challenges facing the jianghu.

His retention of the Eastern position demonstrated that true mastery transcended generational changes, and that innovation and heterodox thinking remained valuable regardless of the era.

Western Maverick

Yang Guo (simplified: 杨过, traditional: 楊過, pinyin: Yáng Guò) the Western Maverick inherited the position from his sworn father Ouyang Feng the Western Venom. His epithet reflected his approach to martial arts and life. His mastery of the Melancholic Palms and partnership with the Divine Eagle created a unique fighting style.

Despite losing his right arm, Yang Guo developed techniques that compensated for this handicap, ultimately making him more formidable than many two-armed fighters. His unorthodox relationship with his master Xiaolongnü and his willingness to challenge social conventions earned him the Maverick designation.

Yang Guo’s journey from troubled youth to supreme martial artist demonstrated that greatness could emerge from adversity. His eventual heroic actions, including his crucial role in defending Xiangyang and killing Möngke Khan, proved that the Western position could be held by someone who used power for righteous purposes.

Northern Xia

Guo Jing (simplified: 郭靖, traditional: 郭靖, pinyin: Guō Jìng) the Northern Xia succeeded his shifu Hong Qigong as the Northern representative. His epithet reflected his elevation beyond mere martial prowess to embodying the highest ideals of chivalry and righteousness, and is a nod to how the wulin respectfully addressed him as Guo daxia.¹⁰

His mastery of the Eighteen Palms of Dragon Subduing and comprehensive knowledge of the Nine Yin Manual made him one of the most technically accomplished fighters of his generation. However, his true strength lay in his unwavering moral character and his dedication to protecting the innocent.

Guo Jing’s transformation from a slow-learning youth to a supreme martial artist and military leader demonstrated that persistence and moral character could overcome natural limitations. His defense of Xiangyang became legendary, establishing him as the epitome of the righteous warrior who placed duty above personal considerations.

Southern Monk

Great Master Yideng (simplified: 一灯大师; traditional: 一燈大师; pinyin: Yīdēng Dàshī), formerly Duan Zhixing, retained his Southern position while transforming from Emperor to Monk. His epithet change reflected his complete embrace of Buddhist principles and his evolution from worldly ruler to spiritual teacher.

His One Yang Finger technique reached new heights of sophistication through his Buddhist practice, combining martial effectiveness with spiritual development. The technique’s precision and control embodied his philosophy of using minimum force for maximum effect while avoiding unnecessary harm.

Yideng’s presence among the New Five Greats provided wisdom and continuity, bridging the gap between the original masters and the younger generation. His successful integration of political experience, martial arts mastery, and spiritual cultivation made him a unique figure in the jianghu.

Duan Zhixing’s eventual transformation into Great Master Yideng represented the successful synthesis of worldly responsibility with spiritual development. His later role as the Southern Monk in the New Five Greats showed how personal growth could enhance rather than diminish martial arts achievement.

Legacy

The influence of the Five Greats extends beyond their own era. Their techniques and philosophical approaches to martial arts continue to influence later generations of martial artists in the series.

Their status as the Five Greats set a precedent in the jianghu, establishing a tradition of recognising and ranking supreme masters that continues throughout the ages.

Direct Successors

The Five Greats’ most immediate legacy came through their direct students and successors:

From Hong Qigong: Guo Jing inherited the Eighteen Palms of Dragon Subduing and leadership ideals, later becoming the Northern Xia. Huang Rong learnt the Dog-Beating Staff Technique and eventually led the Beggars’ Guild.

From Huang Yaoshi: His daughter Huang Rong carried forward his intellectual approach to martial arts, while his student Cheng Ying preserved his techniques in the next generation.

From Wang Chongyang: The Seven Zis of Quanzhen spread his teachings throughout northern China, with Qiu Chuji playing a crucial role in the early development of Guo Jing and Yang Kang.

From Ouyang Feng: Despite his fall, his godson Yang Guo learnt his Toad Stance and eventually redeemed the Western position through heroic actions.

From Duan Zhixing: His transformation into Great Master Yideng influenced the development of Buddhist martial arts, while his family’s One Yang Finger technique continued through the Duan lineage.

Behind the scenes

Significance in the stories

The Five Greats serve multiple narrative functions throughout The Legend of the Condor Heroes and The Return of the Condor Heroes. They act as mentors, adversaries, and catalysts for major plot developments while establishing a benchmark for martial arts excellence against which other characters are measured. Their interactions and conflicts shape much of the jianghu’s power dynamics during the Southern Song period.

The protagonist Guo Jing’s journey demonstrates how greatness can be achieved through synthesis of different approaches, as he learns from several masters, particularly Hong Qigong and Huang Yaoshi. Their collective presence illustrates the diversity of martial arts styles and philosophical approaches in the jianghu, showing that excellence can be achieved through various means—from orthodox to unorthodox, religious to secular.

Literary and thematic structure

Jin Yong’s Five Greats concept provided several storytelling benefits:

• Character archetypes: Each Great represented different personality types and moral approaches
• Plot organisation: Their geographical distribution created natural story arcs across different regions
• Thematic depth: Their diverse philosophies allowed exploration of various approaches to power and responsibility
• Generational continuity: The transition to New Five Greats provided narrative bridges between novels

Symbolic framework

The cardinal directions reflect traditional Chinese cosmology and balance concepts. The five directions correspond to the Five Elements¹¹ system:

• East (Wood/Spring):Innovation and growth—Huang Yaoshi’s creative nature
• West (Metal/Autumn): Cutting power and harvest—both Ouyang Feng’s ruthlessness and Yang Guo’s mature heroism
• North (Water/Winter): Persistence and endurance—Hong Qigong’s righteousness and Guo Jing’s steadfast defence
• South (Fire/Summer): Authority and illumination—–Duan Zhixing’s royal power and spiritual enlightenment
• Centre (Earth): Balance and stability—–Wang Chongyang’s supreme mastery and Zhou Botong’s synthesis of opposites

This geographical symbolism reinforces the Five Greats’ roles as representing different but complementary approaches to martial arts mastery.

Translation considerations

WuxiaSociety’s translation approach prioritises cultural accuracy and character consistency over literal translation. Given that these are epithets meant to reflect the characters’ martial arts achievements and personalities, they should carry positive or neutral connotations rather than negative ones.

Key translation decisions

Western Maverick: Rather than the common “Western Madman” or “Western Eccentric”, “Maverick” captures Yang Guo’s independent, nonconformist nature without suggesting mental instability, distinguishing him from Ouyang Feng’s genuine madness while better reflecting his heroic character development.

Northern Xia: Preserving xia untranslated maintains the specific cultural concept of chivalrous martial artistry that “hero” or “knight” cannot fully encompass, similar to leaving “samurai” untranslated.

Central Divine: “Divine” better captures both Wang Chongyang’s supernatural abilities and his spiritual Daoist mastery than alternatives like “supernatural”, while the single syllable carries more impact than “Divinity”.

Central Wild Child: Translating “中顽童” as “Wild Child” rather than “Urchin” or “Imp” emphasises Zhou Botong’s free-spirited nature and childlike wonder over potentially negative mischievousness, reflecting his profound wisdom beneath playful exterior.

Cultural impact and influence

Popular culture penetration

The Huashan Sword Summit concept transcended literature to become synonymous with ultimate competition in Chinese culture. “华山论剑” (Mount Hua lunjian) now describes high-level contests in business, academics, and other fields.

Commercial adoption

The concept’s cultural resonance has led to its adoption in commercial contexts. Xifengjiu,¹² one of China’s oldest distilleries, produces a premium baijiu¹³ called “华山论剑西凤酒” (Mount Hua Lunjian Xifengjiu) that explicitly references the Huashan Sword Summit. The brand leverages the concept’s associations with excellence, competition, and Chinese cultural heritage to position their product as a premium offering worthy of martial arts masters.

This demonstrates how deeply the Five Greats concept penetrated Chinese consciousness, extending from literature into everyday cultural references and marketing strategies.

Historical and literary context

The Five Greats draw inspiration from various traditions while serving Jin Yong’s themes of cultural preservation during foreign occupation. Each character type—Taoist master, eccentric scholar, regional strongman, folk hero, and enlightened ruler—reflects recognisable figures from Chinese history and legend, grounding the fantastic elements in familiar cultural patterns.

See also

• Legend of the Condor Heroes characters
• Return of the Condor Heroes characters
• Legend of the Condor Heroes factions
• Return of the Condor Heroes factions
• Legend of the Condor Heroes martial arts
• Return of the Condor Heroes martial arts

Follow the archive routes

• Read: Continue with The Legend of the Condor Heroes or browse the translation archive.
• Explore: Follow the Condor Trilogy character pages and Return of the Condor Heroes character pages.
• Understand: Start with wuxia and jianghu for the genre and martial-world context.
• Watch: Follow wuxia adaptations for the screen route.
• Write: Study story elements in wuxia fiction for characters, rivalry, and martial arts in the novels.

Footnotes

1. 江湖 – jiānghú. Literally rivers and lakes. The itinerant world beyond settled society and official reach, holding not only martial artists but the trades that travel with them, including pedlars, physicians, fortune-tellers, entertainers, boatmen, beggars, outlaws and the like. See Wuxia Wiki. ↩

2. 华山 – Huáshān. Literally splendid mountain. One of China’s Five Sacred Mountains. Western Great Mountain located in Huayin, Shaanxi Province. See Wikipedia. ↩

3. 华山论剑 – Huàshān Lùnjiàn. Literally Sword Discussion at Mount Hua. The use of discussion is key as the participants were engaged in a martial arts exchange and a philosophical debate on mastery, rather than just a physical contest. ↩

4. 五岳 – Wǔyuè. China’s cardinal direction peaks representing cosmic balance and imperial authority. See Wikipedia. ↩

5. 黑龙潭 – Hēilóng Tán. Literally black dragon deep pool. Remote mountain spring pond with dark waters in modern day Lijiang, Yunnan Province. See Wikipedia. ↩

6. 白驼山庄 – Báituó Shānzhuāng. Literally White Camel Mountain manor. Ouyang Feng’s cliff-carved stronghold in Kunlun foothills. ↩

7. 白驼山 – Báituó Shān. Mountain within the Kunlun ranges in the Western Regions. ↩

8. 西域 – Xīyù. Frontier territories west of Yumen Pass. See Wikipedia. ↩

9. 师弟 – shīdì. Male junior. Both apprenticed to the same shifu. Shī means teacher. Dì means younger brother. See Wuxia Wiki. ↩

10. 大侠 – dàxiá. Literally great xia. A title of the highest honour for a chivalrous martial hero. See Wuxia Wiki. ↩

11. 五行 – Wǔxíng. The five elements (wood, fire, earth, metal, water) fundamental to Chinese philosophy and martial arts theory. See Wikipedia. ↩

12. 西凤酒 – Xīfèngjiǔ. A Chinese liquor brand dating back to the Tang dynasty, known for its distinctive phoenix-shaped bottles and association with Shaanxi Province. See Wikipedia. ↩

13. 白酒 – báijiǔ. A colourless Chinese liquor distilled from fermented sorghum or other grains. See Wikipedia. ↩