Channeling qi...
Liang Yusheng 梁羽生
Wuxia Wiki

Liang Yusheng 梁羽生

Liang Yusheng (simplified: 梁羽生, traditional: 梁羽生, pinyin: Liáng Yǔshēng, jyutping: Loeng4 Jyu5-sang1) is the pen name of Chen Wentong (simplified: 陈文统, traditional: 陈文統, pinyin: Chen Wentong, jyutping: Chen Wengtung), a pioneering Chinese wuxia novelist who helped establish the new school of wuxia fiction in the 20th century.

Along with Jin Yong and Gu Long, he was considered one of the Three Swordsmen of Wuxia and later one of the Four Grandmasters of Wuxia with the addition of Wei Ruian.

Liang Yusheng brought a scholarly approach to the wuxia genre, enriching it with elements of classical Chinese literature, poetry, and history. He is widely regarded as the founding figure who established new standards for the genre through his literary sophistication and historical authenticity.

As his name Wentong means literary tradition, he chose Liang as the surname of his pen name to remind himself this, because the Chen Dynasty1 succeeded the Liang Dynasty2 during the Northern and Southern Dynasties3 and carried on its literary tradition. Yusheng refers to yuke,4 an immortal or Daoist priest.

Early life

Early education

Born into a scholarly family on 5 April 1924 in Tunzhi Village,5 Wenwei Town,6 Mengshan County,7 Guangxi Province, Liang showed remarkable literary talent from an early age. His father, Chen Xinyu,8 was a respected local gentry and landowner who practiced traditional Chinese medicine and often provided medical care to local residents.

By age eight, Liang had memorized the Three Hundred Tang Poems.9 He was well-versed in the ancient classics and composing couplets.10 He attended Guilin First Middle School,11 where he developed a passion for writing poetry.

In 1938, Liang contracted malaria and had to take a leave of absence from school for the later half the year, during which he read extensively, learnt to play chess, and was tutored in mathematics.

He transferred to Guilin First Middle School in the summer of 1941, where he was exposed to new literature and took on an interest in cinema.

In 1942, he began submitting articles to Guilin newspaper Li Bai Daily,12 When he graduated in the winter of 1943, he moved to Liangfeng13 to prepare for the entrance exam of Guangxi University.

Japanese occupation

When Japanese forces invaded southern China in 1944, Liang left Guilin and returned to Mengshan County in July. Refugeees from Guangdong Province arrived in Mengshan in September, among them were two prominent scholars. Jian Youwen14 was an expert on Taiping Rebellion history, and Rao Zongyi15 was a renowned scholar of classical literature, art, and Dunhuang studies. Soon, Liang formally became Jian Youwen’s student, marking a significant influence on his intellectual development.

Japanese forces captured Guilin in October 1944, and occupied Mengshan County in January 1945. Liang and his family, together with Jian and others, fled to Liujie Mountain to avoid the conflict. They arrived at their destination the next morning, and stayed for about a month before returning to Mengshan County.

When Japanese invaders massacred the residents of Wenwei Town, the group headed to Penghan Village16 to avoid the conflict. They arrived at their destination the next evening. A few days later, the Japanese forces and Chinese collaborators withdrew from Mengshan County. On 1 June 1945, the county regained normal order, and the group returned to Liang’s home.

Higher education

On 26 September 1945, Liang returned to Guangdong after Japan’s surrender a month earlier. Shortly after, he gained admission to Lingnan University17 in Guangzhou to major in chemistry.

A year later, he changed his major to international economics and met fellow student Xu Yingxi.18 He joined the Chinese Literature Department’s literary society and became the editor of the school newspaper.

In the autumn of 1947, he became the editor of the school newspaper Lingnan Weekly and won the university’s chess championship. At the start of 1948, he became the editor-in-chief of the school newspaper Lingnan Weekly and started writing articles under the pen names Huan Ping19 and Feng Yuning.20

Career

Early journalism

In June 1949, Chen moved to Hong Kong upon the recommendation of his university president, Chen Xujing,21 and joined Ta Kung Pao22 as an English translator. Shortly after, he returned to Mengshan County to attend a literary conference and donated to the local school.

Liang passed his probation period at work in August. When the Communist Party took over in October, he lost contact with his hometown. The whole of Guangxi Province was under Communist control by the November 1949. At the end of the year, he was promoted to the position of assistant editor for the supplement section.

He was made editor of the supplement section in February 1950, in charge of the Learning and Culture weekly publications. In August, he became the youngest member of the Ta Kung Pao’s editorial committee. Shortly after, the committee was dissolved and he was made a writer. He mailed some copies of the Ta Kung Pao to his friends in Mainland China.

On 5 October 1950, Hong Kong’s New Evening Post23 was launched and Liang was transferred to the newspaper.

In the following year, Liang was appointed lecturer at Southern College,24 teaching economics. He also wrote under the pen names Chen Lu25 and Liang Huiru26 for chess columns and historical essays respectively.

Liang became the editor of the New Evening Post’s Tales from the Arabian Nights27 supplement from March to May 1951. Jin Yong was transferred to the newspaper to edit the Afternoon Tea supplement28 and they became colleagues.

On 14 March 1953, Liang started writing under the pen name Feng Yuning20 for New Evening Post’s cultural commentary column, Literary Tea Talk.29 On 24 March, he started the advice column, Madam Li’s Mailbox,30 under the pen name Madam Li.31 And at the end of the year, he started the Daily Couplet column.32

Entry into wuxia

The turning point in Chen’s career came on 18 January 1954. A highly publicized martial arts challenge match between Chan Hak-fu33 of the White Crane School and Wu Kung-i34 of the Taiji School was scheduled to take place in Macau. The match, organised as a fundraiser for victims of the Shek Kip Mei fire35, ended inconclusively but generated significant public interest.

Luo Fu36, the editor-in-chief of New Evening Post, asked Liang to write a serialized wuxia story based on the event. The next day, New Evening Post ran a teaser stating that the newspaper would publish a martial arts novel. And on the day after, New Evening Post published Dragon and Tiger Duel in the Capital37 under the pen name Liang Yusheng. The novel ran until 1 August 1954.

New Evening Post published The Grassland Dragon and Snake38 on 11 August 1954. The Hong Kong Wenzong Publication39 released Dragon and Tiger Duel in the Capital as a novel in September, making it Liang’s first published novel.

In September 1955, Liang took charge of the Ta Kung Pao’s chess column under his pen name Chen Lu. Under the pen name Feng Yuning, he started writing for the Ta Kung Pao’s “On Past and Present”40 column.

In June 1957, Wenzong Publications released Three Swordsmen of the Rivers and Lakes.41

In 1960, Singapore’s Minbao42 started serialising Liang’s novels, becoming the first newspaper in Singapore authorised to do so.

Liang visited Beijing in May 1962 and met with Nie Gannu.43 He also visited Xuanwu Lake44 in Nanjing. Later that year, he joined the Hong Kong journalists’ delegation to attend the National Day celebrations in Beijing, and attended the National Day banquet at the Great Hall of the People45 as a representative of Ta Kung Pao.

From 1 January 1964 to 31 May 1966, Liang was the editor of the Ta Kung Pao’s history and culture weekly, Ancient and Modern.46 In November 1965, he gave a speech at the Hong Kong City Hall47 on “The development of Chinese chess over the past fifteen years”.

Liang stepped down from all his editorial duties in June 1966 and retaiend only the title of writer, focusing only on writing wuxia novels and periodicals.

In November 1976, he attended the 6th Asian Chess Championship in Manila, Philippines.

Personal life

At the end of 1950, his father was falsely accused during the Land Reform Movement48 and was arrested. Liang attempted to return home to help his father, but when he reached Lipu County,49 Peng Rongkang50 warned him of the dangers and he returned to Hong Kong. Liang’s father was later executed at the age of 56.

Liang married Lin Cuiru51 on 1 May 1957 and then went on a honeymoon trip to mainland China. They later had several children

In 1985, Chen Huiguang,52 the Party Secretary of Guangxi Zhuang Autonomous Region, met with Liang during a visit to Hong Kong and invited him to return home. Liang requested the rehabilitation of his father’s case as a condition for his return. After the Mengshan County United Front Work Department issued a document declaring his father’s execution had been wrongful, Liang wrote a letter of gratitude and returned to Mengshan County in 1987 to pay respects at his ancestors’ graves.

Later years

In 1987, Liang migrated to Australia with his family. He maintained connections with literary circles in both Hong Kong and mainland China, becoming a member of the Chinese Writers Association and serving as an honorary president of the Yinglian Society of China in Shenzhen. He converted to Christianity in September 1994 at age 70.

He received numerous honors in his later years, including an honorary Doctor of Arts from his alma mater, Lingnan University, in 2004. During a visit to Hong Kong in December 2006 to attend Cosmos Books’ 30th anniversary celebration, he suffered a stroke and was hospitalized at Queen Elizabeth Hospital53.

He spent his final years at the Bernard Chan Nursing Home54 in Burwood, New South Wales, where he continued to receive visitors and maintain connections with the literary world. In 2008, he accepted the Australian Chinese Cultural Achievement Award and gave his approval for the compilation of his biographical materials.

His final notable public appearance came in August 2008, when he gave an interview to Xinhua News Agency before the Beijing Olympics, sharing his thoughts on Chinese culture and literature.

Death

On 22 January 2009, he passed away in Sydney at the age of 84. His funeral was held on 31 January 2009, at Macquarie Park Cemetery55, attended by family and close friends in accordance with Christian traditions.

Tributes

After his death, many prominent figures in Chinese literature wrote memorial couplets to honor his legacy:

Rao Zongyi’s tribute

“Once studied at your door, unforgettable in days of warfare and strife;
Your writings long amazed the world, crafting exquisite literary phrases.”56

Jin Yong’s tribute

“A colleague, a companion, a contemporary, and a great predecessor;
Both wild and chivalrous, both cultured and a good friend.”57

Luo Fu’s tribute

“Fellow provincial, classmate, and colleague, in martial arts truly a comrade;
Master of poetry, prose, and couplets, in literature truly a talent.”58

Liang developed a distinctive philosophy regarding wuxia fiction, emphasizing the primacy of chivalry over martial arts prowess. His famous dictum “better to lack martial arts than to lack chivalry”59 encapsulated his belief that moral character should supersede physical ability in heroic tales.

Memorials

Following his death, numerous memorials were established to honor his legacy:

  • The Liang Yusheng Literature Prize60, established in 2018 by the Nandu Press System and Mengshan County government
  • Liang Yusheng Park61 in his hometown of Mengshan County
  • A permanent collection of his works and personal effects at the China Modern Literature Museum62

Writing style

Literary elements

Liang’s writing was distinguished by its strong grounding in traditional Chinese literature and culture. He frequently opened his novels with classical poems and incorporated extensive references to Chinese history, poetry, and philosophy. His background in classical literature allowed him to weave sophisticated literary elements into his narratives.

He identified three key elements necessary for writing quality wuxia fiction:

  1. Comprehensive knowledge of history, geography, folk customs, and religion
  2. Strong foundation in classical Chinese literature and artistic technique
  3. Basic understanding of Chinese martial arts principles

Historical integration

A hallmark of Liang’s work was his careful attention to historical accuracy. He conducted extensive research for each novel, incorporating authentic historical events and figures while maintaining the imaginative elements essential to wuxia fiction. This approach helped establish new standards for historical authenticity in the genre.

In 1977, speaking at the Singapore Writers’ Association, he outlined his three main creative principles:

  1. Accurately reflecting historical periods
  2. Developing complex character personalities
  3. Enhancing artistic appeal through literary technique

Character development

Liang’s protagonists typically demonstrated both literary and martial abilities, reflecting his belief that true heroes should be well-rounded individuals. His characters often showed proficiency in classical arts such as poetry, calligraphy, and music alongside their martial skills.

Comparison with contemporaries

In 1966, writing under the pen name Tong Shuozhi63, Liang analyzed the differences between his work and Jin Yong’s:

  • His own style reflected traditional Chinese scholarly sensibilities
  • Jin Yong’s approach incorporated more modern and Western literary elements
  • His works emphasized historical and cultural traditions
  • Jin Yong’s narratives showed stronger influence from Western literature and film

Themes

Historical authenticity

Liang emphasized historical accuracy in his works, carefully researching the periods in which his stories were set. He integrated real historical events and figures while maintaining the fantastical elements that characterize wuxia fiction.

Traditional values

His works strongly emphasized traditional Chinese virtues, particularly the concept of “xia”64 (chivalry) over pure martial prowess. He advocated for “yi”65 (righteousness) as the foundation of heroism, believing that martial arts should serve justice rather than personal gain.

Cultural preservation

Liang’s novels served as vehicles for preserving and transmitting traditional Chinese culture. He incorporated elements of classical literature, philosophy, martial arts, and historical knowledge, making his works educational as well as entertaining.

Literary sophistication

As a scholar well-versed in classical literature, Liang elevated the literary quality of wuxia fiction through his sophisticated use of classical Chinese literary devices and references. His work helped establish wuxia as a respected form of literature.

Honors and recognition

Throughout his career, Liang received numerous honors and accolades for his contributions to literature:

  • Honorary Doctor of Arts from Lingnan University (2004)
  • Member of the Chinese Writers Association
  • Honorary President of the Yinglian Society of China
  • Australian Chinese Cultural Achievement Award (2009)
  • Honorary Professor at various institutions
  • The establishment of the Liang Yusheng Literature Prize (2018)

Legacy

Liang Yusheng’s contributions to wuxia literature were profound and long-lasting. He is credited with establishing the “new school” of wuxia fiction, helping to elevate the genre’s literary status and cultural significance.

Literary influence

His contemporaries and successors acknowledged his pioneering role in transforming the genre. Jin Yong particularly praised him as opening the way for modern wuxia fiction, and Liang himself summarized their respective roles: “Opening the way was Liang Yusheng; developing it to greatness was Jin Yong.”66

Liang Yusheng’s impact on Chinese literature extended far beyond the wuxia genre. His innovations helped transform martial arts fiction from popular entertainment into a respected literary form. Notable director Zhang Jizhong observed that “Liang’s literary works are distinguished by their strong historical sense. His characters live in authentic historical and social contexts, unlike those in some other wuxia works who exist in more isolated martial arts worlds.”67

Cultural preservation

His works served as vehicles for preserving and transmitting traditional Chinese culture, incorporating elements of:

  • Classical literature and poetry
  • Historical knowledge and research
  • Traditional philosophy and ethics
  • Martial arts principles and traditions

Genre development

Liang’s contributions to the development of wuxia fiction included:

  • Elevation of literary quality through sophisticated writing techniques
  • Integration of historical research and cultural authenticity
  • Development of complex character psychology
  • Balance of entertainment with cultural education

As he himself noted about his role in the genre’s development: “Opening the way was Liang Yusheng; developing it to greatness was Jin Yong.”68

Selected works

See also: List of works by Liang Yusheng

Major wuxia series

  1. The Tianshan series
  2. The Tang dynasty trilogy
  3. The Pingzong series
  4. The Tianjiao series

Other works

  1. Three Swords Studio Essays (with Jin Yong)
  2. Famous Couplets Through History
  3. Brush and Flower Six Illuminations
  4. Casual Notes on The Golden Lotus

Footnotes

  1. 陈 – Chén. A dynasty from 220 to 589. See Wikipedia. ↩

  2. 梁 – Liáng Cháo. A dynasty from 502 to 557. See Wikipedia. ↩

  3. 南北朝 – Nánběi Cháo. A period of Chinese history from 420 to 589. See Wikipedia. ↩

  4. 羽客 – Yùkè ↩

  5. 屯治村 – Túnzhì Cūn. A village in Guangxi Province. ↩

  6. 文圩鎮 – Wén Xū Zhèn. A town in Mengshan County. ↩

  7. 蒙山縣 – Méngshān Xiàn. A county in Guangxi Province. ↩

  8. 陳信玉 – Chén Xìnyù. Born in 1896, he was a well-known local gentry and landowner who graduated from Aurora University. ↩

  9. 唐詩三百首 – Táng Shī Sānbǎi Shǒu. An anthology of Tang dynasty poems compiled in the 18th century. See Wikipedia. ↩

  10. 對聯 – Duìlián. A form of Chinese poetry that consists of two lines of equal length, with corresponding characters in the same lexical category, and follow a strict tone pattern scheme. See Wikipedia. ↩

  11. 桂林中學 – Guìlín Zhōngxué. Now known as Guilin First Middle School, a prestigious school in Guangxi. ↩

  12. 力報 – Lìbào. A newspaper in Guilin. ↩

  13. 良豐 – Liángfēng. A village in Yanshan, Guilin. See Wikipedia. ↩

  14. 簡又文 – Jiǎn Yòuwén. See Wikipedia. ↩

  15. 饒宗頤 – Ráo Zōngyí. See Wikipedia. ↩

  16. 鹏汉村 – Pénghàn Cūn. A village in Mengshan County. See Wikipedia. ↩

  17. 嶺南大學 – Lǐngnán Dàxué. A prestigious university in Guangzhou from 1888 to 1952. See Wikipedia. ↩

  18. 徐應熙 – Xú Yìngxī. A scholar and former vice president of the Guandong Academy of Social Sciences. See Baidu Baike. ↩

  19. 幻萍 – Huànpíng ↩

  20. 馮顯華 – Féng Xiǎnhuá ↩ ↩2

  21. 陳序經 – Chén Xùjīng. A leading Chinese sociologist and educator. See Wikipedia. ↩

  22. 大公報 – Dàgōng Bào. One of the oldest Chinese-language newspapers, founded in Tianjin in 1902. See Wikipedia. ↩

  23. 新晚報 – Xīn Wǎnbào. A Hong Kong evening newspaper affiliated with Ta Kung Pao. See Wikipedia. ↩

  24. 南方學院 – Nánfāng Xuéyuàn. A college in Hong Kong where Liang taught economics. See Wikipedia. ↩

  25. 陳魯 – Chén Lǔ ↩

  26. 梁慧如 – Liáng Huìrú ↩

  27. 天方夜譚 – Tiānfāng Yètán. ↩

  28. 下午茶座 – Xiàwǔ Cházuò. ↩

  29. 文學茶座 – Wénxué Cházuò. ↩

  30. 李夫人信箱 – Lǐ Fūrén Lái xìn xiāng tán. ↩

  31. 李夫人 – Lǐ Fūrén ↩

  32. 一日一聯 – Yīrì Yīlián. ↩

  33. 陈克夫 – Chén Kèfū ↩

  34. 吳公儀 – Wú Gōngyí. See Wikipedia (Chinese). ↩

  35. 石硤尾大火 – Shek Kip Mei fire. A devastating fire in Hong Kong on Christmas Day 1953 that left thousands homeless. See Wikipedia. ↩

  36. 罗孚 – Luó Fú. The editor-in-chief of New Evening Post. See Baidu Baike. ↩

  37. 龍虎鬥京華 – Lóng Hǔ Dòu Jīnghuá ↩

  38. 草莽龍蛇傳 – Cǎomǎng Lóngshé Zhuàn ↩

  39. 文宗出版社 – Wénzōng Chūbǎnshè. A publishing house in Hong Kong. ↩

  40. 上下古今談 – Shàngxià Gǔjīn Tán. ↩

  41. 三劍樓隨筆 – Sānjiàn Lóu suíbǐ. ↩

  42. 民報 – Mínbào. ↩

  43. 聂绀弩 – Niè Gànnǔ. A Chinese writer and editor. See Wikipedia. ↩

  44. 玄武湖 – Xuānwǔ Hú. A lake in Nanjing. See Wikipedia. ↩

  45. 人民大会堂 – Rénmín Dàhuìtáng. State building west of Tiananmen Square in Beijing. See Wikipedia. ↩

  46. 古与今 – Gǔyǔjīn ↩

  47. 香港大會堂 – Xiānggǎng Dàhuìtáng. A building in Edinburgh Place, Central, Hong Kong. See Wikipedia. ↩

  48. 土地改革運動 – Tǔdì Gǎigé Yùndòng. A campaign by the Chinese Communist Party to redistribute land to peasants. ↩

  49. 荔浦縣 – Lìpǔ Xiàn. A county in Guangxi Province. See Wikipedia. ↩

  50. 彭榮康 – Péng Róngkāng. A classmate of Liang’s who warned him of the dangers of returning to Mengshan. ↩

  51. 林萃如 – Lín Cuìrú. ↩

  52. 陳輝光 – Chén Huīguāng. The Party Secretary of Guangxi who facilitated the rehabilitation of Liang’s father. ↩

  53. 伊利沙伯醫院 – Yīlìshābó Yīyuàn. A major hospital in Hong Kong. ↩

  54. 陳秉達療養院 – Chén Bǐngdá Liáoyǎng Yuàn. A nursing home in Sydney where Liang spent his final years. ↩

  55. 麥考里公園墓地 – Màikǎolí Gōngyuán Mùdì. A cemetery in Sydney’s North District. ↩

  56. 昔歲曾及門 難忘兵馬艱虞日，遺編久驚世 能鑄雕龍窈窕辭 ↩

  57. 同行同事同年大先輩,亦狂亦俠亦文好朋友 ↩

  58. 同鄉同學同事 敬武術堪稱同志，能詩能詞能聯 論文藝最是能人 ↩

  59. 寧可無武，不可無俠 – Nìngkě Wú Wǔ, Bùkě Wú Xiá. Liang’s famous saying about the importance of chivalry over martial arts. ↩

  60. 梁羽生文學獎 – Liáng Yǔshēng Wénxué Jiǎng. A literary prize honoring works in popular fiction. ↩

  61. 梁羽生公園 – Liáng Yǔshēng Gōngyuán. A park established in his hometown in 2005. ↩

  62. 中國現代文學館 – Zhōngguó Xiàndài Wénxué Guǎn. The first wuxia author to have a dedicated collection in the museum. ↩

  63. 佟朔之 – Tóng Shuòzhī. A pen name used for literary criticism. ↩

  64. 俠 – Xiá. The concept of chivalry or heroic spirit in Chinese culture. ↩

  65. 義 – Yì. The Confucian concept of righteousness or moral uprightness. ↩

  66. 開風氣也，梁羽生，發揚光大者，金庸 – Liang’s famous assessment of their respective roles in modern wuxia literature. ↩

  67. Quote from Zhang Jizhong (張紀中): “梁羽生文学最大的特点就是历史感很厚重，应该说他笔下武侠世界中的人都生活在真实的历史背景和社会中。“ ↩

  68. 開風氣也，梁羽生，發揚光大者，金庸 – Liang’s famous assessment of his role in modern wuxia literature. ↩