Chess Bible - Solving Jianghu Endgames

Author: Hong Zhe
Publisher:
Publish Date: 2006-01-01
Features: Chinese culture emphasizes the "whole" over the "individual," the "team layout" over the "individual hero." This is regarded by the renowned sinologist Qian Mu as the "spirit of the Chinese people." From Alexander to Caesar, from Napoleon to Peter the Great, Western historians view Western history as a "history of individual heroes." In contrast, Chinese historians do not celebrate "individual heroes" but highlight the "team layout." Xiang Yu had more than enough "individual heroism" but lacked "team layout," hence his failure; Liu Bang had insufficient "individual heroism" but ample "team layout," hence his success in conquering the world. Emperor Guangwu of Han, Liu Xiu, and others like Emperor Taizong of Tang and Emperor Taizu of Song were all devoid of "individual heroism," yet they deeply understood the "team layout," enabling them to seize power and achieve great deeds. Chess perfectly embodies this "spirit of the Chinese people": the chariot, horse, cannon, elephant, advisor, and soldier each have their designated positions and roles, working together to achieve a high goal—protecting that seemingly useless high commander. During the Ming and Qing dynasties, chess entered a glorious period, characterized by the emergence of chess theory books—tsumego—based on practical play. These tsumego can be broadly categorized into full-game tsumego and endgame tsumego. The most famous full-game tsumego include Ji Zhong Mi by Zhu Jinzhen of the late Ming dynasty and Mei Hua Pu by Wang Zaoyue during the Kangxi era of the Qing dynasty. The former is regarded as a "pivotal work that bridges the past and the future in chess" and a "true tsumego classic," while the latter is considered a "major milestone in the history of chess development" and a "must-read for chess masters." The most famous endgame tsumego include Shi Qing Ya Qu by Xu Zhi and Chen Xueli during the Longqing era of the Ming dynasty, Zhu Xiang Zhai Xiang Qi Pu by Zhang Qiaodong during the Jiaqing era of the Qing dynasty, and Can Ke Shen Ji by Yu Guzhu during the Daoguang era of the Qing dynasty, respectively hailed as the "oldest extant tsumego with the most games," the "most celebrated representative of Qing-era tsumego," and a "creation following Zhu Pu."
The term "chess" appears in the Chu Ci's Zhao Hun, dating back over two thousand years. The story of Han Xin teaching soldiers with chess during the Chu-Han contention is uncertain, so the name "Chu River and Han Border" on the chessboard may have been added later. Before the Tang dynasty, chess did not have "cannons," which were added by Niu Shenru of the Tang dynasty. From the Tang to the Northern Song, chess pieces did not have standardized sizes. The uniform specifications identical to modern chess were likely established in the late Northern Song to the Southern Song period.
In terms of literature, the Northern Zhou Emperor Wu created the Xiang Jing, and the poet Yu Xin composed the Xiang Qi Jing Fu and Jin Xiang Qi Jing Fu. Theoretical works include Qi Guo Xiang Qi Tu by Sima Guang of the Northern Song, Guang Xiang Xi Xu by Chao Wujiao of the Northern Song, and Qi Jing Lun by Hong Mai of the Southern Song. Practical cases include Shi Lin Guang Ji popular during the Song and Yuan dynasties, Shi Qing Ya Qu by Xu Zhi of the Ming dynasty, Ji Zhong Mi by Zhu Jinzhen of the Ming dynasty, Mei Hua Pu by Wang Zaoyue of the Qing dynasty, and Zhu Xiang Zhai Xiang Qi Pu by Zhang Baidong of the Qing dynasty.
"Functionalism" or "duty-based ideology" is the core spirit of chess. A game of chess is like a "cosmic function": there are no redundant pieces in chess. Each piece either attacks or defends, with clear responsibilities, each playing its part without any being superfluous. Every piece must consider the bigger picture. A victory is the result of both the pieces remaining on the board and those that have been "heroically sacrificed" and taken off.
We recommend this book for the following groups: chess masters or amateurs, politicians, military strategists, or artists; defenders or critics of Chinese culture; the leisure class or the "overworked class"; the unintelligent or those who wish to become smarter.