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The Blood Treasure Saga

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Summary

The Blood Treasure Saga is a long mystery novel by Yuan Taiji, serialized and completed on Qidian and the original web version of the later published novel The Curse of Lu Ban. The story begins in the early years of the Republic of China: warlords carve up the land, foreign powers encroach, disasters multiply, and many people fall back on the esoteric crafts and arcane techniques handed down by their ancestors in order to survive, so that the world is full of danger and every step is fraught with peril. The novel is built on a legend: in ancient times, the strife of immortals destroyed the arts of cultivation, leaving eight baleful pits upon the earth and shattering the unity of the realm of Shenzhou; the task of sealing the baleful pits and securing the mortal realm falls to the two great master craftsmen Gongshu Ban and Mo Di and their descendants. The heirs of the two families seek auspicious sites and build sturdy structures to house eight treasures, agreeing that when the cycle of the eight extremes comes full circle, the treasures shall be cast into the baleful pits, preserving the unity of Shenzhou and the eternal security of the mortal realm. Twenty-four hundred years later, the cycle of the eight extremes is complete, and the various factions begin searching for and fighting over the eight treasures, opening a contest between justice and evil, charity and selfish desire. The book describes in abundance such mechanisms and arcane arrangements as the Upside-Down Dao, the Swallow-Return Corridor, the Mad-Dog Formation, the Ghost-Grinding Mill, the Northern Dipper Bridge, the Iron Hawk Cloud and the Hundred-Infant Wall, as well as such martial techniques as the Phoenix Nirvana, the Xingtian Slash, the Pit-Uprooting, the Cook Ding Blade and the Crystal Blade; its core theme is that "ghosts are dreadful, curses bizarre, insects and beasts vicious and venomous, but the truly terrifying thing is not spirits, ghosts, insects or beasts, but human beings." In his preface, the author dedicates the book to the skilled craftsmen of every trade who work for the good of the people.

Editor's review

《血宝狂歌》不是盗墓、捉鬼一类的故事,它的主角是木石砖瓦、机括弦扣,是那些在古墓之外照样能困人杀人的亭台楼阁、桥殿廊园。作者圆太极抓住的是中国工匠传统中最有想象力的部分:公输般与墨翟的机关术、奇门遁甲的布局法,以及“坎面儿”“扣子”“弦儿”“空儿”“缺”这些江湖术语背后一整套自成体系的技艺语言,读来既新鲜又有几分考据的乐趣。全书格局开得很大——八处凶穴、八件宝物、两千四百年的约定,把历史的纵深感与民国乱世的江湖气放在同一张棋盘上;各方势力的算计层层叠叠,人心之险远比鬼怪之恶来得更让人后背发凉。篇幅长、铺设细,前期铺陈人物与线索较多,需要读者稍耐心跟随;一旦进入局中,机关破法与人物智斗的节奏便十分过瘾。喜欢《鲁班的诅咒》的读者不妨从这部原名之作看起,能更完整地看到作者构建这一世界的原始构想和野心。

Who it's for

A good fit for

  • 喜欢机关消息、奇门遁甲与匠艺题材的悬疑小说读者
  • 读过圆太极《鲁班的诅咒》,想追溯其原始网络版本的读者
  • 偏爱民国乱世背景、多方势力角力式群像故事的人
  • 对传统工匠技艺、建筑风水有兴趣,愿意边读边琢磨的人

Not a good fit for

  • 期待短平快节奏、希望开篇即高潮的读者
  • 只想看盗墓或灵异惊悚,不关心机关布局与人心的读者
  • 对超长篇幅和大量术语、铺陈缺乏耐心的读者

Reading tips

  1. 开读前先看前言与书中附带的术语解释,弄清“坎面儿”“扣子”“弦儿”等词,后文理解会顺畅许多。
  2. 前期铺垫较长,可按“章”为单位推进,把各路人马和八宝线索简单记下来,越往后越能体会到布局。
  3. 读到机关破法时,不妨停下来在脑中还原一下结构图,这类桥段自己推一遍比直接看答案更有滋味。
  4. 可与出版本《鲁班的诅咒》对照阅读,看看网络连载版与成书版在结构和重点上的差异。

FAQ

《血宝狂歌》和《鲁班的诅咒》是什么关系?
《血宝狂歌》是圆太极在起点中文网连载的原名版本,《鲁班的诅咒》是同一部作品出版成书后的书名。想了解作者最初的世界设定与完整构想,可以先读《血宝狂歌》。
这本书是写盗墓的吗?
不是。书中虽有寻宝、凶穴、机关等元素,但重心在公输般、墨翟两家传人的匠艺与奇门布局,写的是亭台楼阁、塔桥殿园中的机关消息,而非以古墓探险为主线。
没有读过作者其他作品,能直接看这本吗?
可以。本书设定独立,与前作没有剧情顺序上的依赖。只是篇幅长、人物多、术语密,建议做好慢慢读的准备,或者顺着章节把各路人马的关系记清楚。
故事的时代背景是什么?
主体故事发生在民国初年,军阀割据、民生凋敝的乱世,作者借此写出各方势力为八宝争夺而各显神通、人心难测的江湖局面;传说部分则上溯两千四百年前的大匠往事。

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About the author

圆太极 Author

Yuan Taiji is an author about whom limited public information is available. One work by this author is included in the collection: the wuxia novel Ci Ju 1: Ji Xing Ju (roughly, The Assassination Scheme 1: The Improvised Setup). Based on the available information, the author's writing focuses on wuxia fiction and unfolds through the “Ci Ju” series. The word “ju” in the title suggests that the story may revolve around setting traps, breaking schemes, and the maneuvering between characters, with a flavor of jianghu strategy and suspense. Because the author's nationality, dates of birth and death, English name, and other biographical details are not clearly recorded, a full assessment of the author's body of work and influence among readers is difficult. The existing materials confirm only that the common category is wuxia fiction and that one series work has entered this collection. For readers wishing to learn about Yuan Taiji, the most direct approach remains reading Ci Ju 1: Ji Xing Ju and experiencing its narrative pacing, character portrayal, and construction of a jianghu world.

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