Kung Fu Panda: Wuxia Media and Ancient Chinese Philosophy

by Rhys Jones.

Kung Fu Panda was released in 2008, produced by DreamWorks and distributed by Paramount Pictures. The film would follow Po (Jack Black) as he goes from noodle maker to dragon warrior. This would later result in him needing to protect the valley from Tai Lung (Ian McShane). The entire series would become a massive commercial success, becoming extremely popular in China due to a faithful interpretation of the Wuxia media genre. This article will aim to explain the representations and deeper messages scattered throughout the first film.

Wuxia Media

Firstly, we can explore the nature of Wuxia media and how it relates to the story and setting of Kung Fu Panda . The Valley of Peace is the setting of the first film which is heavily inspired by the Huangshan “Yellow Mountains” and the Li River Valley which all are seen often throughout old Wuxia media in a world called the Jianhu. Wuxia media, literally meaning “Martial Heroes” is a genre of stories and adventures following a single vagabond character in Ancient China which started as early as 300 BCE. This genre has been adapted into a multitude of mediums including video games and opera, all forming a major part of Chinese popular culture. These heroes do not follow a lord, wield significant power or belong to the aristocratic class. They also tend to belong to a lower social class and fight to right wrongs, remove oppressors and bring about retribution. These films and stories are often associated with Westerns as the character distances themselves from society and act by their own set of laws. The most typical narratives in Wuxia Media are Insurgency stories, Hunts for legendary weapons/skills, Overthrowing a tyrant, and vengeance. Kung Fu Panda possesses the story of hunting for a legendary skill this being the scroll of the dragon warrior. We can see how Kung Fu Panda faithfully represents this media form as he initially works with his dad in his noodle shop, displaying how the hero is often that which relates to him being lower in terms of class, and would be chosen by fate to become the dragon warrior. He would also chase the power within the scroll. This all displays how Wuxia media forms the basis of the films plot, yet would have deeper messages surrounding Chinese philosophy when looked closely.

(Left) Huangshan “Yellow Mountains”
(Right) Kung Fu Panda, 2008, DreamWorks.

Ancient Chinese Symbolism and references

The ‘Furious Five’ are major characters within the film for their philosophy and for what they directly represent, each animal within the film embodies a different fighting style from ancient Chinese martial arts: the tiger represents powerful direct blows, Mantis relies on quick redirecting attacks, Monkey uses surprise attacks and fooling opponents, Viper has fluidity and speed and Crane uses blocks while whirling and “pecking” attacks.

Another use of Chinese symbolism is the main temple in the film has used many elements from the Forbidden Temple in Beijing - with large red doors being a status symbol of power in Ancient China due to the high expenses of red, being used to show the high status and prestige that is associated with being a martial artist during this peroid. Furthermore, Po using fireworks to get over the wall is a reference to an American-made story of a man in Ancient China strapping fireworks to a chair to reach the moon.

The Prison which Tai Lung escapes is a combination of the Great Wall of China, this would be used to display Tai Lungs prison to be more like a fortress against him, further displayin his immense power. The Rhinos’ who guard it have armor similar to that of the Terracotta Warriors.

(Left) Terracota Warriors.
(Right) Rhino Guards in Kung Fu Panda, 2008, DreamWorks.

Daoism vs Confucianism

Oogway vs Shifu

The film uses the two characters of Master Chifu and Master Oogway to explore the different Chinese-derived philosophies on how someone should live their life. Daoism is one of these philosophies which Master Oogway represents as Daoism is built upon being carefree and not seeking to control or live by a certain order but to be as close to nature and the natural order as possible to achieve inner peace. Oogway represents this through his carefree attitude and patience with what is around him. On the other hand, Shifu opposes this by representing Confucianism which is built on the basis of strictly following order and strict control - seen through the relationship between him and the Furious Five.

The Candle Scene

We begin to understand this difference and philosophical differences through the candle scene in which Master Oogway carefully blows out the candles individually, being carefree and taking his time, whilst Shifu blows them all out at once as he wants efficiency and is unable to allow for a more natural approach demonstrating the conflicting ideals.

The Candle Scene in Kung Fu Panda, 2008, DreamWorks.

Po's selection as Dragon Warrior

Later on, when Po is selected to be the dragon warrior it is a display of Oogway's belief in going with the flow of the natural world, this alludes to his ideology when he states that there are no accidents and that Po’s selection was a part of the natural cycle and to go against it would oppose his Daoist ideals. Shifu disagrees with this, believing that only serving your masters and bettering yourself rather than being content will allow you to achieve becoming the dragon warrior.

Tai Lung's Escape

Master Oogway would tell Shifu that “One finds destiny on the path they take to avoid it”, this would play directly into the next scene where Shifu out of fear of Tai Lungs escape sents a messenger to ensure he is imprisoned, this fear would led to his escape. This is as Shifu’s messenger’s feather would fall into Tai Lungs prison and would be used to pick the lock. Therefore, it would allow for Tai Lung to escape displaying both how going against the natural order (AKA Confucianism) will prove to fail, Shifu trying to take control as opposed to letting nature take its course would be his undoing as it would allow Tai Lung to escape. This shows how the film's narrative favors Daoism greatly

Peach Tree and Oogways’ death

Master Oogway's peach tree scene would see a debate between Oogway and Shifu over Po and his training. has a lot of Daoist symbolism as the peach represents immortality. In Ancient China peach tree bark was utilised for arrows and weaponry due to the belief that it could ward off evil.'The main argument over the philosophy of Kung Fu Panda is best represented in the peach tree scene when Shifu and Oogway argue over Po’s selection and Oogway argues that attempting to control or possess power is futile as one can't go agast the natural cycles in the world. This is crucial to understand in the context of a film as when Oogway states that when talking about peaches “You may wish for an apple or an orange but you will get a peach” This demonstrates how despite one's control and discipline the natural order of the world will always be more powerful. Also, Daoism heavily emphasizes nurturing over containing and control in terms of training Po. Daoists believe that there is no greater purpose in life and that the value in oneself is within one's own existence with no care for past and future, and one must live carefree in the present. This would be a core theme throughout the next film as Po lives through his past and must find inner peace as he comes to understand that the past does not matter. This lack of worry and stress about the future or the past quickly transitions into the calm death of Oogway as he understands that death is a natural transformation into the next stage in Daoist beliefs.

Peach Tree in Kung Fu Panda, 2008, DreamWorks.

Noodle Scene/ Po’s Training

The Po noodle scene is important as Shifu’s confucianist beliefs means that he must follow what his master asked of him, this being to train Po. It would be discovered here that Po would posses great martial arts skills, but only when he was looking for food. This acts as both a Daoist link and a foreshadowing of his discovery that he is already great but must believe in himself. The food scene represents how in Daoist beliefs only once one detaches themselves from constructs like insecurity and self-doubt can they fully achieve their ability, seen in po’s ability to become the dragon warrior once carefree attitudes are adopted. This is why when Shifu train Po through fighting over food Po is able to posses great martial arts as he already possesses them but needed a Daoist approach to his training.

Ending

Once Po is given the dragon scroll he realizes that it is blank, we realize that it is a reflection so the scroll is saying that he already possesses everything to be the Dragon Warrior, furthermore, Po being a panda is in the symbol of Daoists beliefs as he is a panda that possesses the colors black and white displaying the relation of the yin yang and Daoist believe it is the ultimate sign of Daoism and demonstrates the cyclical nature of seasons, sunset and nature. The revelation that the secret ingredient is nothing displays the acceptance of one's self, not by ego but from within allowing Po to defeat Tai Lung. Tai Lung is Po’s opposite, holding strong Confucianist beliefs and wanting to prove his power to be the dragon warrior, this means he has no inner peace. This further displays how the film heavily leans toward a Daoist outlook on how one should live their life.

Concluding points


The Wuxi Finger Hold in Kung Fu Panda, 2008, DreamWorks.

Kung Fu Panda would go on to be critically acclaimed, earning itself an Academy nomination and an extremly positive reception in China. This, in turn, would result in two sequels both directed by Chinese director Jennifer Yuh Nelson, which would be the highest-grossing film by a female director until 2017. Chinese audiences would applaud it due to being faithful to old Wuxia media and deeply encoded messages about Chinese outlooks on how one should live their life. This goes beyond what is a very conventional message in the narrative of children's animation where the main story is to “be yourself”, and rather than trying to better yourself, it is important to be content with yourself is how you achieve inner piece. This also pairs well with heavy theme to not reflect too hard on the past or future as seen by characters like Shifu and Tai Lung. Kung Fu Panda uses these ideas as seen by the Peach Tree scene to fully develop these ideas cohesively whilst also remaining faithful to the source material from Ancient Chinese and its own media.

by Rhys Jones, May 2022.

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