Li Bai loves swords, and after studying Buddhism, he integrated fencing into Taoism, which gave him a glimpse of another realm of heaven and earth. Those who "learn from Tao" are born with the same gas, which is the gas of Taihe, invisible and without image. The man of practice condenses this lofty and powerful spirit by law, so that he can penetrate the fish in the stone and he can resist. This is not only the "brave" level of martial arts, but also the "immortal" level of fairy science. The imperial sword skill in xianjian is the representative of Taoist swordsmanship. One of the most important magic skills in xianjian is the imperial sword that Yun Tianhe dreamed of. The art of imperial sword is mainly based on the principle of the unity of man and sword. At the same time, it assists the Taoist classic mentality, communicates with the three realms through the "fairy sword", and seeks to integrate its royal sword into the realm of heaven and earth. It can be seen that the art of imperial sword is a fairy art supported by Taoist classic psychology, and its ethereal image of flying out of dust and flying in Lingfeng is quite attractive in Taoism.
Legend has it that Lv Dongbin, the sword fairy, can "soar with a sword". Lv Dongbin is one of the famous Taoist immortals of the Eight Immortals. According to legend, he often carries a long sword, which is majestic and powerful, and his swordsmanship connects the gods. When he killed the demon, the sword flew out from behind, automatically looking for the target and taking the head thousands of miles away. Lv Dongbin has a poem: "If you want to sharpen your edge, dare to do it, and open a box of jade dragons in the morning. The spirit in his hand is three feet cold, and there is a snake on the stone. " It is the best portrayal of casting a sword for yourself.
Li Bai was accompanied by a sword box all his life. At the age of fifteen, he studied sword in Emei, claiming that "my sword is green and dry, and I know how to cut it". "The sword is not an enemy of ten thousand people, and literature is stolen all over the world." At the age of twenty, Du Fu began to travel around the world with his sword, expressing the spirit of "drawing the sword to Long Hudou".
After the deification of Taoism and the freehand brushwork of literati, the sword is no longer a simple weapon, but is endowed with the moral and ethical color of righteous words. In the Tang Dynasty, when everyone wore swords and everyone hung swords, the emergence of martial arts novels integrated sword culture and chivalrous culture, and the image of a chivalrous man with a negative sword was deeply rooted in the hearts of the people.
Because of the development of sword dance in the Tang Dynasty, swordsmanship focused on actual combat became a performance with acrobatic elements, so the description of swordsmanship in the novels at that time was also inconceivable: in legend, Nie Yinniang described the scene of three swordsmen fighting swords: they could float into the air, fight in the stomachs of the living, and even fly thousands of miles in an instant. This fantasy description continued in the subsequent martial arts novels, thus creating countless romantic martial arts.
And those peerless swords that either exist in reality or are rendered in literature have become more and more legendary and mysterious after historical precipitation.