What kind of cultural connotation is contained in Jin Yong's martial arts novels?

The scope of this question is too wide, and I will only make a rough comb here:

From the microscopic point of view, many details of Jin Yong's novels are integrated into a large number of traditional cultures, from Chyi Chin's paintings and calligraphy to a subset of classics and history. Different from ordinary martial arts novels, Jin Yong's novels also incorporate a lot of cultural elements into martial arts, some into Chyi Chin's paintings and calligraphy, some into different personalities, and some into Confucianism, Buddhism and Taoism.

Macroscopically, I often divide Jin Yong's novels into four stages according to the order of creation. The first stage is 1955-1959, which is the stage when Jin Yong's Confucian culture focuses on joining the WTO. The characters in the book, especially the main characters, are generally active in joining the WTO, often taking the world as their own responsibility and knowing that they can't do it. The representative figures at this stage are The Legend of the Condor Heroes and Guo Jing, a Confucian scholar. 1959-1963 is the second stage, in which the characters and thoughts are all transformed from Confucianism, represented by Yang Guo and Zhang Wuji-of course, it is worth noting that the legendary swordsman, whose Taoist culture is equally well written, is a special case (because it not only involves Taoist culture but also alludes to politics); From 1963-1967 as the third stage, the author entered Buddhism from Taoism, which is probably related to Mr. Jin Yong's reading of Buddhist scriptures in middle age, with Tianlong Babu as the typical representative; /kloc-after the legendary swordsman in 0/967, Jin Yong denied the dross of many traditional cultures through reflection or subversion, and entered the stage of "no chivalry", which opened the peak of martial arts novels and even popular novels represented by Duke Lushan and Wei Xiaobao.

Of course, it is worth noting that each stage is only artificially divided. In fact, at any stage, Confucianism, Buddhism and Taoism are mutually infiltrated. In addition, as a representative of the new martial arts, compared with traditional martial arts novels, Jin Yong's novels are more integrated into western culture, especially chivalrous culture (such as Don Quixote).

Attached is the timetable of Jin Yong's novels:

Novel works

The Book of Sword and Revenge +0955 65438

Sword stained with royal blood 1956

Legend of the Condor Heroes1957 ——1959

Flying Fox in Snow Mountain 1959

Condor Heroes 1959—196 1 year

Legend of Flying Fox1960 ——1961year

The white horse whistling in the west wind is 196 1 year, a novella possessed by flying foxes on snowy mountains.

Dragon slayer is subjected to eternal adversity +096 1 year.

Yuanyang Dao is a novella attached to Flying Fox of Snowy Mountain in 196 1 year.

Liancheng Tactics 1963, also known as Su Xinjian.

Longbazhi1963 ——1966

Xiake 1965

The legendary swordsman 1967

Duke of Lushan1969 ——1972

The Sword of Yueguniang (1970) is a short story attached to the chivalrous man.

I think the author's writing order is a very important window for understanding novels and studying Jin Yong's novels.