Louis Cha also known as Zha Liangyong (Cha Leung Yung), was born on 6th June' 1924. He is mainly known by his penname Kam-yung (Cantonese) or Jin Yong, and is a standout amongst the most persuasive present day Chinese-dialect wuxia authors ever.
He is generally viewed as the finest Chinese wuxia novelists, a notoriety in light of 15 wuxia books and short stories he composed from 1955 to 1972.
Cha was born in Haining City, Zhejiang Province in Republican China as the second of six youngsters from the academic Zha group of Haining. His hereditary home, in any case, was in Wuyuan County, Shangrao City, Jiangxi Province. He is purportedly a relative of Zha Jizuo (1601–1676), a researcher who lived in the late Ming line and early Qing dynasty.
Started from the Qing Dynasty, Wuxia is an extraordinary kind in Chinese prominent writing. For the most part concentrating on the undertakings of low-conceived military specialists and taking after an ethical code comparative with Japanese Bushido or medieval valor, these stories were once viewed as mash fictions. Be that as it may, sixty years prior, when a Hong Kong based writer Cha Liangyong discharged his introduction wuxia novel, he raised the status of this type of writing.
Prevalently known by his nom de plume, Jin Yong, the author is a standout amongst the best Chinese essayist alive. His 15 works have been adjusted into various TV arrangement, movies, funnies and computer games. Today, how about we take after Liu Xiangwei to find out about the powerful appeal of Jin Yong's written work.
He has an across the board, unchallenged, verging on religious following in all Chinese-talking regions, including Hong Kong, Mainland China, Southeast Asia and Taiwan. His books have sold more than 300 million duplicates around the world (more than 1 billion on the off chance that one incorporates contraband duplicates) making him by a wide margin the smash hit Chinese writer still alive.
His works have been interpreted into English, Bahasa Indonesian, Japanese, Korean, Vietnamese, French, Thai and he has numerous fans abroad also, on account of the various adjustments of his works made into movies and TV arrangement.
He initially learned at Zhejiang Province Jiaxing High School, and was admitted to the Faculty of Foreign Languages in Chunking Central University. He later exchanged to the Faculty of Law at Dongwu University to major in International Law.
Cha was an ardent peruser of writing from an early age, particularly wuxia and established fiction. He was once removed from his secondary school for transparently scrutinizing the Nationalist government as absolutist. He learned at Hangzhou High School in 1937 yet was released in 1941. He concentrated on in Jiaxing No. 1 High School and later was admitted to the Faculty of Foreign Languages of the Central School of Political Affairs in Chongqing Municipality. Cha later dropped out of the school. He took the selection test and picked up admission to the Faculty of Law at Soochow University, where he majored in worldwide law with the expectation of seeking after a vocation in the remote administration.
In 1947, Cha joined Shanghai's daily paper organization Ta Kung Pao as a journalist. One year later, he was presented on the Hong Kong division as a copyeditor. He has lived in Hong Kong from that point forward. At the point when Cha was exchanged to Hsin Wan Pao as Deputy Editor, he met Chen Wentong, who composed his first wuxia novel under the nom de plume "Yusheng" in 1953. Chen and Cha turned out to be great companions and it was under the previous' impact that Cha started chip away at his initially serialized combative technique novel, The Book and the Sword, in 1955. In 1957, when he was still working on the wuxia serializations, he left his earlier job and started working as scriptwriter and executive scenarist at the Great Wall Movie Enterprises Ltd and Phoenix Film Company.
In 1959, Cha helped to establish the Hong Kong daily paper Ming Pao with his secondary school colleague Shen Baoxin. Cha served as its supervisor in-boss for quite a long time, composition both serialized books and publications, adding up to nearly 10,000 Chinese characters for every day. His books likewise earned him a vast readership. Cha finished his last wuxia novel in 1972, after which he authoritatively resigned from composing books, and spent the remaining years of that decade altering and modifying his scholarly works. The principal complete conclusive version of his works showed up in 1979. In 1980, Cha composed a postscript to Wu Gongzao's taiji great Wu Jia Taijiquan, in which he portrayed, impacts from as far back as Laozi and Zhuangzi on contemporary Chinese military arts.
By then, Cha's wuxia books had earned extraordinary ubiquity in Chinese-talking territories. The greater part of his books have following been adjusted into movies, TV arrangement and radio arrangement in Hong Kong, Taiwan and China. The vital characters in his books are so understood to people in general that they can be suggested effortlessly between every one of the three districts.
In later years in the 1970s, Cha was included in Hong Kong governmental issues. He was an individual from the Hong Kong Basic Law drafting panel, albeit, after the Tiananmen Square occurrence in 1989, he surrendered in challenge. He was likewise part of the Preparatory Committee set up in 1996 to administer Hong Kong's move by the Chinese government.
In 1993, Cha arranged for retirement from publication work and sold all his shares in Ming Pao.
The Book and the Sword
Sword Stained with Royal Blood
The Legend of the Condor Heroes
Fox Volant of the Snowy Mountain
The Return of the Condor Heroes
The Young Flying Fox
White Horse Neighs in the Western Wind
Blade-dance of the Two Lovers
The Heaven Sword and Dragon Saber
A Deadly Secret
Demi-Gods and Semi-Devils
Ode to Gallantry
The Smiling, Proud Wanderer
The Deer and the Cauldron
Sword of the Yue Maiden
His works demonstrate an incredible measure of admiration and endorsement for customary Chinese qualities, particularly Confucian goals, for example, the best possible relationship amongst ruler and subject, guardian and youngster, senior kin and more youthful kin, and (especially unequivocally, because of the wuxia way of his books), amongst expert and student, and among kindred disciples. In any case, he likewise addresses the legitimacy of these qualities despite an advanced society, for example, exclusion experienced by his two primary characters – Yang Guo's sentimental association with his instructor Xiaolongnü in The Return of the Condor Heroes. Cha likewise puts an incredible measure of accentuation on customary values, for example, face and respect.
Cha broke his customs of his typical composition style in The Deer and the Cauldron, where the fundamental hero Wei Xiaobao is a wannabe who is insatiable, apathetic, and absolutely scornful of customary standards of respectability. In his 14 different serials, the heroes or the saints were investigated carefully in different parts of their associations with their instructors, their prompt family and relatives, and with their suitors or life partners. Except for Wei Xiaobao, all the legends have gained and achieved the apex in hand to hand fighting, most would be exemplification or epitome of the conventional Chinese qualities in words or deeds, i.e., idealistic, noteworthy, respectable, noble, mindful, enthusiastic et cetera.
Chinese patriotism or patriotism is a solid topic in Cha's works. In the greater part of his works, Cha places accentuation on the possibility of self-determination and personality, and a hefty portion of his books are set in eras when China was involved or under the risk of occupation by non-Han Chinese people groups, for example, the Khitans, Jurchens, Mongols and Manchus. Be that as it may, Cha bit by bit developed Chinese patriotism into an inclusionist idea which envelops all present-day non-Han Chinese minorities. Cha communicates a wild reverence for constructive qualities of non-Han Chinese individuals by and by, for example, the Mongols and Manchus. In The Legend of the Condor Heroes, for instance, he throws Genghis Khan and his children as fit and smart military pioneers against the degenerate and ineffectual civil servants of the Han Chinese-drove Song line.
Cha's references range from customary Chinese solution, needle therapy, hand to hand fighting, music, calligraphy, weiqi, tea society, philosophical schools of thought, for example, Confucianism, Buddhism and Taoism and supreme Chinese history. Authentic figures frequently intermix with anecdotal ones, making it troublesome for the layman to recognize which will be which.
He admired and respected Chinese qualities and tradition from the beginning. He is one of those powerful men in the country who had the guts to openly speak what he intended to share. Apart from that, he had also shared his views and outlook through his novels and similar work.
Cha wedded three times in his life. His first spouse was Du Zhifen, whom he wedded in 1948 however separated later. In 1953, he wedded his second spouse, Zhu Mei, a daily paper columnist. They have two children and two girls: Zha Chuanxia, Zha Chuanti, Zha Chuanshi and Zha Chuanne. Cha separated Zhu in 1976 and wedded his third spouse, Lin Leyi, who is 29 years more youthful than him. In 1976, Zha Chuanxia, then 19 years of age, hanged himself after a squabble with his better half while learning at Columbia University.
He is a well-mannered man who can always be seen with a powerful smile on his face. He is calm person who has always let his words on paper speak.
Quotes from others about the person
“There have been several anonymous quotes on the man who gave life to Chinese Chivalrous Novels.
"A true inspiration to lot of youngsters in the nation and around"
" One of the finest novelist on whom the country takes pride"”
Writing, novels, politics
His granddad, Zha Wenqing, got the position of a tong jinshi chushen in the majestic examination amid the Qing tradition. His dad, Zha Shuqing, was blamed for being a counterrevolutionary, and was captured and executed by the Communist government amid the Campaign to Suppress Counterrevolutionaries in the mid 1950s.
Cha has three siblings and two sisters. He is the second most seasoned among them. His siblings are Zha Liangjian, Zha Lianghao and Zha Liangyu. His sisters are Zha Liangxiu and Zha Liangxuan.
Cha has numerous striking relatives from both the fatherly and maternal sides of his family.
On the fatherly side, Cha's cousins incorporate Cha Liang-chao (1897–1982), a renowned teacher and altruist, and Cha Liang-chien (1904–1994), the Minister of Justice of Taiwan from 1967 to 1970. Far off fatherly relatives of Cha incorporate the Hong Kong business person Cha Chi-ming (1914–2007), the artist Zha Liangzheng (1918–1977), and the xiangsheng performing artist Zha Liangxie (d. 2003). Zha Jiawen from the Taiwanese young lady band Cherry Boom is a fatherly stupendous niece of Cha. Cha is likewise remotely identified with the Taiwanese sentiment writer Chiung Yao (b. 1938); one of Cha's fatherly cousins was a maternal close relative of Chiung Yao.
On the maternal side, Cha's cousins incorporate the artist Xu Zhimo (1897–1931) and Jiang Fucong (1898–1990), the main executive of Taiwan's National Central Library. Cha is likewise indirectly identified with the military strategist Jiang Baili (1882–1938) through an inaccessible close relative, Zha Pinzhen, who was Jiang's first spouse. Jiang Baili's third girl, the performer Jiang Ying (1919–2012), was viewed as a maternal cousin by Cha.
Chen Mo has distributed 13 volumes of books of examination on Jin Yong's compositions