Novels such as Shi Gongan Qiwen () and Ern Yingxiong Zhuan () have been cited as the clearest nascent wuxia novels. 2: 2021 10: 19.

For the 2011 Chinese film titled Wu Xia, see Dragon (2011 film).

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Although wuxia is traditionally a form of fantasy literature, its popularity has caused it to spread to diverse art forms such as Chinese opera, mnhu, films, television series and video games.

It forms part of popular culture in many Chinese-speaking communities around the world.

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A martial artist who follows the code of xia is often referred to as a xik (, literally follower of xia ) or yuxi (, literally wandering xia ).

In some translations, the martial artist is referred to as a swordsman or swordswoman even though he or she may not necessarily wield a sword.

They often originate from the lower social classes of ancient Chinese society.

A code of chivalry usually requires wuxia heroes to right and redress wrongs, fight for righteousness, remove oppressors, and bring retribution for past misdeeds.

Chinese xia traditions can be compared to martial codes from other cultures such as the Japanese samurai bushid.

Wuxia stories have their roots in some early youxia tales from 300200 BCE.

The Legalist philosopher Han Fei spoke disparagingly of youxias in his book Han Feizi in the chapter On Five Maggot Classes about five social classes in the Spring and Autumn period.

Some well-known stories include Zhuan Zhu s assassination of King Liao of Wu, and most notably, Jing Ke s attempt on the life of the King of Qin (who later became Qin Shi Huang ).

In Volume 86 of the Records of the Grand Historian ( Shi Ji ), Sima Qian mentioned five notable assassins Cao Mo, Zhuan Zhu, Yu Rang, Nie Zheng and Jing Ke in the Warring States period who undertook tasks of conducting political assassinations of aristocrats and nobles.

These assassins were known as cike (; literally stabbing guests).

They usually rendered their loyalties and services to feudal lords and nobles in return for rewards such as riches and women.

In Volume 124 of the Shi Ji, Sima Qian detailed several embryonic features of xia culture from his period.

These popular phenomena were also documented in other historical records such as the Book of Han and the Book of the Later Han.

Stories from that era, such as Nie Yinniang (), 4 The Kunlun Slave, Thirteenth Madame Jing (), 5 Red String () 6 and The Bearded Warrior (), 7 served as prototypes for modern wuxia stories.

They featured fantasies and isolated protagonists usually loners who performed daring heroic deeds.

During the Song dynasty (9601279 CE), similar stories circulated in the huaben, short works that were once thought to have served as prompt-books for shuochang (traditional Chinese storytelling).

The former is a romanticised historical retelling of the events in the late Eastern Han dynasty and the Three Kingdoms period, while the latter criticises the deplorable socio-economic status of the late Northern Song dynasty.

Water Margin is often seen as the first full-length wuxia novel: the portrayal of the 108 heroes, and their code of honour and willingness to become outlaws rather than serve a corrupt government, played an influential role in the development of jianghu culture in later centuries.

Romance of the Three Kingdoms is also seen as a possible early antecedent and contains classic close-combat descriptions that were later emulated by wuxia writers in their works 2: 20 10: 17, 263.

The Justice Bao stories from Sanxia Wuyi (; later extended and renamed to Qixia Wuyi ) and Xiaowuyi (), incorporated much of social justice themes of later wuxia stories.

Xiayi stories of chivalrous romance, which frequently featured female heroes and supernatural fighting abilities, also surfaced during the Qing dynasty.

Novels such as Shi Gongan Qiwen () and Ern Yingxiong Zhuan () have been cited as the clearest nascent wuxia novels.