The Heavenly Sword and the Dragon Sabre (simplified: 倚天屠龙记, traditional: 倚天屠龙記, pinyin: Yǐtiān Túlóng Jì) by Jin Yong, commonly known in English as The Heaven Sword and Dragon Saber, is the third instalment in the acclaimed Condor Trilogy, following The Legend of the Condor Heroes and The Return of the Condor Heroes.
It was first serialised in Hong Kong newspaper Ming Pao from 6 July 1961 to 2 September 1963 with a different Chinese title Tiānjiān Lóngdào that is also translated as The Heavenly Sword and the Dragon Sabre. Jin Yong later renamed it to Yītiān Túlóng Jí.
The novel has undergone multiple revisions since its initial publication. Jin Yong revised it in 1979 with significant amendments and additions as the Second Edition. A second revision, published in early 2005 as the Third Edition, incorporated additional changes and a lengthier conclusion.
Like his other works, Jin Yong weaves Chinese history into the narrative, featuring historical figures including the Hongwu Emperor, Chen Youliang, Chang Yuchun, and Zhang Sanfeng. The political and ethnic tensions between Han Chinese rebels and the ruling Mongols form a prominent theme throughout the novel.
The novel consists of 40 chapters and contains approximately 1,171,000 characters in the revised edition, making it one of Jin Yong’s longest works. The story is set during the late Yuan dynasty in the 14th century, approximately a century after the events of The Return of the Condor Heroes.
Title translation
The title literally means Record of Drawing on Heaven’s Might to Slay the Dragon. The title references the two mythical weapons central to the story: the Heaven-relying Sword and the Dragon-Slaying Dao. The word “record” follows the Chinese literary tradition of historical records. This connects to Jin Yong’s broader practice of setting fictional narratives within carefully researched historical contexts.
The English title of The Heavenly Sword and the Dragon Sabre, or the more popular but less accurate The Heaven Sword and Dragon Saber, maintains these references while slightly simplifying the construction for readability. The intentional use of “the Heavnly Sword” and “the Dragon-Slaying Dao” indicates that the two items are distinct and separately important, instead of referring them collectively as “the Heavenly Sword and Dragon Sabre”.
However, the title’s meaning is deeper than just the names of the weapons. The ltieral meaning implies the act of slaying the dragon. In ancient Chinese culture, the dragon refers to the emperor. In this case, it implies the slaying of the Yuan emperor.
The novel is set in the late Yuan dynasty, when the Han Chinese’s resentment to the Mongol rule grew along with their desire to overthrow the Yuan dynasty.
The emperor in ancient China is bestowed the title Son of Heaven, with the belief that he held the Heaven’s mandate to rule. Thus, drawing upon Heaven’s might also means to gain Heaven’s legitimacy to overthrow a tyrant ruler.
Title changes
The novel was originally titled Tiānjiān Lóngdào, literally “The Heavenly Sword and the Dragon Sabre.”
In the Second Edition, it was renamed Yītiān Túlóng Jí, literally “Record of Drawing on Heaven’s Might to Slay the Dragon.”
The Sword and the Sabre
The weapons represent significant symbolism in Chinese culture. The Dragon is traditionally a symbol of the emperor or sovereign ruler. The name Dragon-Slaying Dao implies its purpose in slaying the emperor—specifically, the Yuan emperor. Symbolising the resentment the Han bore toward being ruled by Mongols and their desire to overthrow the Yuan dynasty.
The Heavenly Jian embodies Heaven itself, and in Chinese culture, the emperor is bears the title of Son of Heaven, implying Heaven’s ultimate authority in determining China’s ruler.
Origins
In the First and Second Editions, both the Heavenly Sword and the Dragon Sabre were forged from the Heavy Iron Sword wielded by Yang Guo in The Return of the Condor Heroes, who inherited it from the legendary swordsman Dugu Qiubai.
After Yang Guo and Xiaolongnü left Xiangyang, they entrusted the sword to Guo Jing and Huang Rong, who later had it melted down and reforged into the two weapons.
In the Third Edition, Jin Yong modified this origin story. The Heavenly Jian was instead forged from Yang Guo’s Junzi Jian and Xiaolongnü’s Lady Jian, while the Dragon-Slaying Dao’s origin remained unchanged.
The Secret
The weapons contain hidden treasures within their blades. In the First and Second Editions, the Dragon-Slaying Dao concealed Yue Fei’s Book of Wumu, while the Heavenly Jian contained the Nine Yin Manual and instructions for Guo Jing’s Eighteen Palms of Dragon Subduing.
In the Third Edition, Jin Yong changed this to two halves of an iron-plated map leading to Peach Blossom Island, where these manuals were hidden.
The weapons can only be damaged when used against each other, leading to the saying that whoever possesses the Dragon-Slaying Dao will rule the world, while only the wielder of the Heavenly Jian can challenge them.
These treasures are meant to impart the worthy wielder with the martial prowess through the Nine Yin Manual and Eighteen Palms of Dragon Subduing, as well as military brilliance through the Book of Wumu. It was how Guo Jing and Huang Rong ensured that their fellow Han Chinese would have the means to overthrow the Mongols, despite their failure to defend Xiangyang against the Mongol invasion.
Plot
Background
Set in China during the final years of the Mongol-led Yuan dynasty1 in the mid-14th century, the story takes place approximately a century after the events of The Return of the Condor Heroes.
The narrative unfolds against the backdrop of mounting tensions between the ruling Mongols and Han Chinese rebels, particularly the Ming Order, which plays a pivotal role in the eventual establishment of the Ming dynasty2.
The story begins around 1350 CE during the reign of Emperor Huizong of Yuan,3 a period marked by increasing civil unrest and the rise of various rebel groups seeking to overthrow Mongol rule. The jianghu is divided between the orthodox factions led by Shaolin and Wudang, and the heretical factions represented primarily by the Ming Order.
Summary
The story revolves around a pair of legendary weapons: the Heavenly Jian and the Dragon-Slaying Dao. According to a widely circulated mantra: “Supreme in the martial realm, the precious blades dragons slay; its command rules all under heaven, none dare disobey.”
These weapons are believed to grant their wielder supreme authority over the jianghu, that had become divided between the orthodox factions, including Wudang and Shaolin orders, and the evil Ming Order, also known as the Deviant Cult.
The novel opens with the story of Jueyuan, a Shaolin monk entrusted with guarding the Lankavatara Sutra. When the sutra is stolen by Yin Kexi and Xiaoxiangzi, the two thieves fall out and kill each other in mutual suspicion. Before dying, they ask He Zudao to inform Jueyuan of the sutra’s whereabouts. He Zudao accepts this mission and challenges Shaolin’s martial arts.
At this time, Guo Xiang—the youngest daughter of Guo Jing and Huang Rong—visits Shaolin in search of Yang Guo and learns of He Zudao’s challenge from the Luohan Hall’s chief monk, Wuse. She attends the duel alone. During the battle between Jueyuan’s disciple Zhang Junbao and He Zudao, Zhang Junbao’s unauthorized martial arts training is exposed, violating temple rules and resulting in an attack by Shaolin monks. Jueyuan escapes with Zhang Junbao and Guo Xiang, but dies during their flight. After parting with Guo Xiang, Zhang Junbao travels alone to Mount Wudang, studies the Nine Yang Divine Skill taught by Jueyuan, and eventually founds the Wudang Order under the name Zhang Sanfeng.
In the second year of Emperor Shun’s reign during the Yuan dynasty, Wudang’s third disciple Yu Daiyan passes through eastern Zhejiang. Rumors spread that Guo Jing and Huang Rong forged the Heavenly Sword and Dragon Sabre, and that whoever possesses these weapons can command the jianghu, leading to chaos. Yu Daiyan encounters martial artists fighting over the Dragon-Slaying Dao and accidentally obtains it, intending to report to Zhang Sanfeng. However, he is ambushed by the Tianying Order. The faction leader’s daughter, Yin Susu, commissions Du Dajin of the Dragon Gate Armed Escort to transport the injured Yu Daiyan to Mount Wudang, but Yu Daiyan is kidnapped en route and severely injured. To investigate, Zhang Sanfeng sends his disciples to various places, including Shaolin. His fifth disciple, Zhang Cuishan, goes to Hangzhou and discovers the Dragon Gate Armed Escort has been massacred. Shaolin monks protecting the armed escort believe Zhang Cuishan is responsible and frame him, deepening the rift between Wudang and Shaolin. Zhang Cuishan seeks the truth and discovers that Yin Susu orchestrated the events to provoke conflict between the two sects. Despite disapproving of her actions, Zhang Cuishan and Yin Susu develop feelings for each other.
To investigate, Zhang Sanfeng sends his disciples to various places, including Shaolin. His fifth disciple, Zhang Cuishan, goes to Hangzhou and discovers the Dragon Gate Armed Escort has been massacred. Shaolin monks protecting the armed escort believe Zhang Cuishan is responsible and frame him, deepening the rift between Wudang and Shaolin. Zhang Cuishan seeks the truth and discovers that Yin Susu orchestrated the events to provoke conflict between the two sects. Despite disapproving of her actions, Zhang Cuishan and Yin Susu develop feelings for each other.
The Tianying Order invites the Haisha School, Jujing Guild, and others to Wangpan Island to demonstrate their power, but the Golden-haired Lion King Xie Xun suddenly appears, seizes the Dragon-Slaying Dao, and massacres the island. Zhang Cuishan and Yin Susu are forced by Xie Xun to flee to the Ice and Fire Island, where they give birth to Zhang Wuji. Xie Xun becomes Zhang Wuji’s sworn father.
Zhang Wuji spends his early years in isolation, learning martial arts from Xie Xun. At age nine, he returns to the Central Plains with his parents. For ten years, martial artists have been seeking the Dragon-Slaying Dao and Xie Xun, leading to ongoing conflict with the Tianying Order. Zhang Wuji’s family faces relentless misfortune due to their connection with Xie Xun. During Zhang Sanfeng’s birthday celebration, martial arts factions gather at Mount Wudang to demand answers. Unable to resolve the grievances over Yu Daiyan’s injury and the Dragon Gate Armed Escort massacre, and unwilling to betray Xie Xun’s location, Zhang Cuishan and Yin Susu commit suicide. In the chaos, Zhang Wuji is injured by the Divine Xuanming Palm, and the cold poison penetrates his organs. For two years, all treatments fail. Zhang Sanfeng humbles himself to seek help from Shaolin, but is insulted and rejected. He and Zhang Wuji leave Shaolin and rescue Chang Yuchun and Zhou Zhiruo from Mongol soldiers. Chang Yuchun recommends the physician Hu Qingniu of Butterfly Valley, but Hu refuses to treat anyone who was not a Ming Order member and flees. The Emei Order’s Miejue Shitai appears at Butterfly Valley, and martial artists learn that the Heavenly Jian is in Emei’s possession. Miejue Shitai blames her disciple Ji Xiaofu for her relationship with the Ming Order’s Yang Xiao and kills her. Zhang Wuji escorts Yang Xiao and Ji Xiaofu’s daughter, Yang Buhui, to the Kunlun Mountains to find her father. Along the way, he witnesses the tragic deaths of Hu Qingniu and his wife, experiences the world’s cruelty, and meets future historical figures like Zhu Yuanzhang, Xu Da, and Tang He.
Zhang Wuji’s journey continues with many adventures, including discovering the Nine Yang Divine Skill in a hidden valley, mastering the Great Shift of Heaven and Earth, and eventually becoming the leader of the Ming Order. The story culminates in the Battle of Bright Peak, where Zhang Wuji demonstrates his martial prowess and leadership, ultimately helping to unite the jianghu and contributing to the overthrow of the Yuan Dynasty.
Throughout his journey, Zhang Wuji becomes entangled in complex romantic relationships with four women: his disfigured cousin Zhuer, the Chinese-Persian servant Xiaozhao, his childhood friend Zhou Zhiruo, and the Mongol princess Zhao Min.
In the Third Edition of the novel, Zhang Wuji becomes disillusioned after failing to save a general’s life and dealing with Han Liner’s death. He relinquishes leadership of the Ming Order to his deputies, Yang Xiao and Fan Yao, and leaves the Central Plain with Zhao Min.
His subordinate Zhu Yuanzhang eventually seizes control of the Ming Order, unites most of China’s rebel forces under his leadership, and after capturing Nanjing, becomes the founding emperor of the Ming Dynasty.
Themes
Prejudice and redemption
A central theme is the destructive nature of prejudice and the possibility of redemption. The novel explores how preconceptions about the orthodox and heretical factions of martial arts lead to unnecessary conflict.
Zhang Wuji’s journey shows how these prejudices can be overcome through understanding and compassion.
Identity and heritage
The story deeply explores questions of identity and heritage. Zhang Wuji must reconcile his orthodox Wudang heritage with his connections to the Ming Order.
This mirrors the larger cultural conflict between Han Chinese tradition and Mongol rule.
Power and responsibility
The novel examines the relationship between power and responsibility through Zhang Wuji’s leadership of the Ming Order.
His journey from an orphaned boy to a powerful leader illustrates the burdens and moral challenges of wielding authority.
Love and sacrifice
Complex romantic relationships serve as a vehicle for exploring themes of love, loyalty, and sacrifice. The four main romantic threads in Zhang Wuji’s life each represent different aspects of love and its costs.
Political revolution
The novel uses the jianghu as a metaphor for larger political upheaval, particularly the transition from Yuan to Ming dynasty. It explores the moral complexities of revolution and the price of social change.
Historical context and nationalism
The novel reflects Jin Yong’s views on both opposing foreign invasion and opposing domestic tyranny. The story’s setting during the Yuan dynasty’s decline and the rise of Han Chinese resistance movements provides a backdrop for exploring themes of national identity and political legitimacy.
The novel’s portrayal of the Ming Order as both a religious movement and a revolutionary force reflects the complex nature of historical resistance movements in Chinese history.
Cast
Main article: The Heavenly Sword and the Dragon Sabre characters
Protagonists
- Zhang Wuji (张无忌 — Zhāng Wújì) — The primary protagonist, known for his compassionate nature, healing abilities, and leadership of the Ming Order
- Zhao Min (赵敏 — Zhào Mǐn) — The Mongol princess who evolves from antagonist to love interest, daughter of the Yuan general Ruyang Wang
- Zhou Zhiruo (周芷若 — Zhōu Zhìruò) — Zhang Wuji’s childhood friend who becomes the leader of Emei Order and eventual enemy
- Xiaozhao (小昭 — Xiǎo Zhāo) — The Chinese-Persian servant destined to lead the Persian Ming Order
- Zhuer (朱儿 — Zhū’ěr) — Zhang Wuji’s disfigured maternal cousin who harbors unrequited love for him
Important characters
The Six Major Factions:
- Zhang Sanfeng (张三丰 — Zhāng Sānfēng) — Founder of Wudang Order, Zhang Wuji’s grandteacher
- Miejue Shitai (灭绝师太 — Mièjué Shītài) — Leader of Emei Order, Zhou Zhiruo’s teacher who despises the Ming Order
- Kongwen (空闻 — Kōng Wén) — Abbot of Shaolin Monastery
- Kongxing (空性 — Kōngxìng) — Head of Kunlun Order
- He Taichong (何铁手 — Hé Tiěshǒu) — Leader of Huashan School
- Mo Qing (莫清 — Mò Qīng) — Chief of Kongtong School
The Ming Order leaders:
- Yang Xiao (杨逍 — Yáng Xiāo) — Left Protector, skilled strategist and loyal supporter
- Wei Yixiao (韦一笑 — Wèi Yīxiāo) — Right Protector, known as the Green Bat
- Yin Tianzheng (殷天正 — Yīn Tiānzhèng) — White-Browed Eagle King, Zhang Wuji’s maternal grandfather
- Xie Xun (谢逊 — Xiè Xún) — Golden-Haired Lion King, Zhang Wuji’s sworn father who possesses the Dragon-Slaying Dao
Zhang Wuji’s parents:
- Zhang Cuishan (张翠山 — Zhāng Cuìshān) — Fifth disciple of Zhang Sanfeng
- Yin Susu (殷素素 — Yīn Sùsù) — Daughter of Yin Tianzheng
Antagonists:
- Cheng Kun (程昆 — Chéng Kūn) — The mastermind behind many conflicts
- Han Qianye (韩千叶 — Hán Qiānyè) — Treacherous Wudang disciple
- Ji Xiaofu (纪晓芙 — Jì Xiǎofú) — Emei disciple and mother of Yang Buhui
- Song Qingshu (宋青书 — Sòng Qīngshū) — Son of Song Yuanqiao, Zhou Zhiruo’s other suitor
Historical figures
- Zhu Yuanzhang (朱元璋 — Zhū Yuánzhāng) — Ming Order member who later founds the Ming dynasty
- Chen Youliang (陈友谅 — Chén Yǒuliàng) — Rival warlord during the late Yuan period
- Zhang Shicheng (张士诚 — Zhāng Shìchéng) — Leader of the Red Turban Army
- Han Liner (韩林儿 — Hán Lín’ér) — Self-proclaimed emperor of Song
Martial arts abilities
Main article: The Heavenly Sword and the Dragon Sabre martial arts
- Nine Yang Divine Skill (九阳神功 — Jiǔyáng Shéngōng)
- Great Shift of Heaven and Earth (干坤大挪移 — Qiánkūn Dà Nuóyí)
- Taiji Fist (太极拳 — Tàijí Quán)
- Taiji Swordplay (太极剑 — Tàijí Jiàn)
- Seven Injuries Fist (七伤拳 — Qīshāng Quán)
- Nine Yin White Bone Claw (九阴白骨爪 — Jiǔyīn Báigǔ Zhuǎ)
- Heavenly Swordplay (倚天剑法 — Yǐtiān Jiànfǎ)
- Dragon-Slaying Bladework (屠龙刀法 — Túlóng Dāofǎ)
Behind the scenes
Jin Yong began writing The Heavenly Sword and the Dragon Sabre in 1961, during a period of significant social change in Hong Kong. The novel’s themes of revolution and political change reflected contemporary concerns about identity and governance.
The story underwent significant revisions in subsequent editions. The 1979 revision added new content and refined existing plotlines, while the 2005 edition included a more detailed conclusion and clarified several plot points that had been ambiguous in previous versions.
Jin Yong’s careful research into Yuan dynasty history is evident throughout the novel. He incorporated real historical figures and events while weaving them seamlessly into his fictional narrative. The character of Hongwu Emperor, who eventually becomes the founder of the Ming dynasty, is based on the historical figure Zhu Yuanzhang.
Publication history
The novel was first serialized in Hong Kong’s Ming Pao newspaper from July 6, 1961, to September 2, 1963, under the original Chinese title Tiānjiān Lóngdào (天剑龙刀), which translates to “The Heavenly Sword and the Dragon Sabre.” Jin Yong later renamed it to Yǐtiān Túlóng Jì (倚天屠龙记), which means “Record of Drawing on Heaven’s Might to Slay the Dragon.”
The novel has undergone multiple revisions since its initial publication. The first major revision occurred in 1979, with significant amendments and additions that refined the plot and character development. A second revision was published in early 2005, incorporating additional changes and a more detailed conclusion that clarified several plot points that had been ambiguous in previous versions.
Editions
The novel exists in three main editions:
- First Edition (1961-1963): The original serialized version published in Ming Pao
- Second Edition (1979): A revised version with significant changes to plot and character development
- Third Edition (2005): The final version with additional revisions and a more detailed conclusion
Each edition reflects Jin Yong’s evolving artistic vision and his desire to perfect the narrative. The changes between editions include modifications to character motivations, plot developments, and historical details, demonstrating Jin Yong’s commitment to creating the most compelling version of his story.
Adaptations
Films
The novel has been adapted into numerous films, including:
- Story of the Sword and the Sabre (1963) by Emei Film Company
- Heaven Sword and Dragon-Slaying Dao (1978) by Shaw Brothers Studio
- The Hidden Power of the Dragon-Slaying Dao (1984) by Shaw Brothers Studio
- Kung Fu Order Leader (1993) by Win’s Entertainment, Ltd, directed by Wong Jing
- New Kung Fu Order Leader 1 and New Kung Fu Order Leader 2 (2022), jointly produced by Mega-Vision Pictures, TVB, and Shaw Brothers Pictures International, directed by Wong Jing
Television Series
The novel has been adapted into numerous television series:
- 1978 TVB (HK) series The Heaven Sword and Dragon Saber
- Starring Adam Cheng, Liza Wang, Angie Chiu
- 1984 TTV (Taiwan) series The Heaven Sword and Dragon Saber
- Starring Liu Dekai, Liu Yupu, Yu Ke-hsin
- 1986 TVB (HK) series New Heaven Sword and Dragon-Slaying Dao
- Starring Tony Leung Chiu-wai, Kitty Lai, Sheren Tang, Maggie Shiu
- 1994 TVB (HK) series The Legend of the Golden Lion
- 1994 TTV (Taiwan) series The Heaven Sword and Dragon Saber
- Starring Steve Ma, Cecilia Yip, Kathy Chow
- 2000 TVB (HK) series The Heaven Sword and Dragon Saber
- Starring Lawrence Ng, Gigi Lai, Charmaine Sheh
- 2003 Beijing Asia Central series The Heaven Sword and Dragon Saber
- Starring Alec Su, Alyssa Chia, Gao Yuanyuan
- 2009 Huayi Brothers and Beijing Cathay Media series The Heaven Sword and Dragon Saber
- Starring Deng Chao, [An Yixuan](https://en.wikipedia.org/wiki/Ady An), Liu Jing
- 2019 Beijing Cathay Media series Heavenly Jian and Dragon-Slaying Dao
- Starring Zeng Shunxi, Chen Yuqi, Zhu Xudan
Video games
Manhua
In 2002, Jonesky4 released Heaven Sword and Dragon-Slaying Dao, produced by Fung Wan creator Ma Wing-shing,5 illustrated by Leung Wai-ka.
Video games
Softworld released two video games based on The Heavenly Sword and the Dragon Sabre:
- 2000: Softworld RPG (story ends after Bright Peak battle)
- 2004: Softworld action RPG featuring real-time battle system
Legacy
The Heavenly Sword and the Dragon Sabre represents the culmination of Jin Yong’s Condor Trilogy, bringing together themes of political intrigue, romance, and martial arts philosophy. The novel’s exploration of the complex relationship between personal loyalty and national identity resonated strongly with readers, while its integration of historical events with fictional narrative helped establish new standards for the wuxia genre.
The work has had a lasting influence on Chinese popular culture, inspiring numerous adaptations across various media. Its complex characters and intricate plot have set benchmarks for subsequent wuxia stories, while its theme of resistance against foreign rule struck a chord with Chinese audiences.
The novel’s impact extends beyond entertainment, contributing to discussions about Chinese identity, political legitimacy, and the role of individual action in historical change. Its enduring popularity has helped introduce wuxia literature to international audiences.
Critical reception
The novel has received widespread critical acclaim for its complex narrative structure and character development. Critics have praised Jin Yong’s ability to weave historical events with fictional storytelling, creating a compelling narrative that explores themes of loyalty, betrayal, and political revolution.
The novel’s portrayal of Zhang Wuji as a reluctant hero who must navigate complex political and personal relationships has been particularly well-received, with many critics noting how his character development reflects the broader themes of the story.
Cultural impact
The Heavenly Sword and the Dragon Sabre has had a profound impact on Chinese popular culture, influencing not only literature but also film, television, and other media. The novel’s exploration of themes such as national identity, political legitimacy, and the relationship between personal and political loyalties continues to resonate with contemporary audiences.
The novel’s success helped establish Jin Yong as one of the most important figures in modern Chinese literature, and its adaptations have introduced wuxia to international audiences. The story’s themes of resistance against foreign rule and the struggle for national identity have made it particularly relevant in discussions about Chinese history and culture.
Translation
WuxiaSociety has adopted the fan translation of the Second Edition by the community on the now defunct SPCNet forum.
See also
External links
- The Heavenly Sword and the Dragon Sabre on Wikipedia
- The Heavenly Sword and the Dragon Sabre (Chinese) on Chinese Wikipedia
Follow the archive routes
- Read: Continue with the in-house translation archive.
- Explore: Follow Jin Yong and the Condor Trilogy.
- Understand: Start with wuxia for the genre’s literary and cultural frame.
- Watch: Follow the Wuxia adaptations route for source-work context and separate factual records and analysis.
- Write: Study story elements in wuxia fiction for recurring plots, relationships, and character patterns.
Footnotes
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元朝 — Yuán Cháo. Dynasty established by Kublai Khan and ruled by the Mongols from 1271 to 1368 CE. See Wikipedia. ↩
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明朝 — Míng Cháo. Dynasty that overthrew Mongol rule and re-established Han-Chinese rule from 1368 to 1644 CE. See Wikipedia. ↩
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宋徽宗 — Sòng Huīzōng. Emperor of the Song Dynasty from 1100 to 1126. See Wikipedia. ↩
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天下出版 — Tiānxià Chūbǎn. A Hong Kong publishing house founded by Ma Wing-shing. See Wikipedia. ↩
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马榮成 — Mǎ Róngchéng. A Hong Kong comic artist and creator of Fung Wan. See Wikipedia. ↩