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Homepage » Articles » Kung Fu
History of Shaolin Long Fist Kung Fu
by Dr. Yang, Jwing-Ming, December 30, 2009
Grandmaster Li, Mao-Ching (李茂清) and Dr. Yang, Jwing-Ming
Grandmaster Li, Mao-Ching (李茂清) and Dr. Yang, Jwing-Ming
The first Shaolin Buddhist Temple was built in 377 AD on Shaoshi Mountain (少室山) in Deng Feng (登封) county of Henan (河南) province, by order of Emperor Wei (魏). Bodhidharma (菩提達摩), or Da Mo, came to Shaolin from India to teach Buddhism around 527 AD. Additionally, he passed on techniques of strengthening the body and mind, and developing internal energy. The improved body power and health encouraged the monks to develop ways of applying the teachings in self-defense situations against thieves and robbers. Consequently, martial techniques became a required addendum to the monk' studies.
From 600 to 1600 A.D., the martial arts of the Shaolin Temple grew into the most complete system of Wushu (武術), martial techniques, in China and eventually, the rest of the world. During this period, the Shaolin monks researched and developed internal power, external power, meditation, various barehand and weapons techniques, massage, herbal remedies, and more. The Shaolin system soon came to be recognized as the authoritative way of Wushu. In this period, more than ten Shaolin Temples were built. Moreover, especially during the Ming Dynasty (明朝, 1368-1644), the monks and their Wushu system were also viewed as agents of virtue and justice. Shaolin monks were known to use their martial abilities to help and to protect people.
The Shaolin way became so influential that it even spread to Japan, Korea, and other parts of Indo-China. The oldest recorded martial art in Japan is described as the "seizing technique of the Ming [Dynasty] people" (明人捕盗術) or the "soft technique" (柔術). This “soft technique” was taught by a Chinese monk named Chen, Yuan-Yen (陳元), who spent much of his life in Japan during the Ming Dynasty. Chen's soft technique later developed into the "soft way," or Judo.
In 1644, disaster struck the Chinese people and the Shaolin Temple. Manchurians invaded and conquered China, thus starting the Qing Dynasty (清朝). In order to consolidate their control, the Manchurians began to destroy the largest martial arts organization in China: the Shaolin Temple. Two hundred years of murder and destruction followed the invasion of the Manchus. Around 1760, a massive attack was launched against the Shaolin monks which resulted in the death of countless people and the burning of many temples. Many monks went into hiding amongst the laymen people. Others fled to Japan, Korea, and elsewhere. Never again was the Shaolin Temple to regain its original strength and greatness.
With the dispersion of the Shaolin monks and the destruction of their temples, it became impossible to train new monks in the complete Shaolin system. However, the monks who were in hiding began to teach people the Shaolin system all over the country, leading to the derivation and creation of many modern styles. Although all of the Shaolin monks followed and trained a common martial arts system, many different styles were developed by their students. The reason this happened may be traced back to the original training regimen of the Shaolin monks. Every monk was required to pass ten separate stages of training, each of which emphasized a different aspect of Wushu. After the monks completed the stages, they were required to specialize in one or two stages. Consequently, when the monks taught ordinary people, they naturally put more emphasis on their specialty. As time progressed and generations passed, the styles practiced by the different groups of students became more and more distinct. Furthermore, because the different groups of students oftentimes had no contact with one another, primarily due to the monks being in hiding and the oppressive Manchu rule, the students of monks who shared common specialties still ended up developing unique, although similar, styles.
Dr. Yang performing Sun/Moon greeting
Dr. Yang performing Sun/Moon greeting
Many of the monks did more than teach Wushu to ordinary people. The monks and their disciples organized resistance movements against the Qing emperor. During this time, the reestablishment of the previous Ming Dynasty became the goal of many Chinese people. To symbolize the wish to return to the glory of the Ming, Shaolin disciples used a special hand signal to recognize sympathizers of the resistance. In Chinese, the word Ming (明) means "bright" and comprises of the characters for the sun (日) and the moon (月), the two great sources of light and brightness. The signal consisted of the right hand as a fist, symbolizing the sun, and the left hand as an open palm, symbolizing the moon. Together the fist and open hand carried the meaning of “bright,” or Ming (明). When a person displayed the hand signal to another, he indicated two things; first, the Ming dynasty must return, and second, the person showing the hand signal was himself "bright" and an agent for justice.
Even though the Shaolin Temple was never to regain its former greatness, it did begin to resume some activity around the 1800s. At the turn of the 18th century, corruption was widespread in the Qing Dynasty. As a result, the regime was weak in enforcing its rule. In addition, the military and economic invasion of China by the Western powers of England, France, and Russia kept the Qing emperor occupied. The Qing emperor was forced to spend many of his resources in the fight against the Westerners such that the Shaolin Temple was able to operate once again with some freedom.
The Shaolin Temple was also able to regain some momentum because around 1860, the Qing army first began to use firearms on a widespread scale. With guns at their disposal, the Qing rulers had a tremendous advantage over the monks, and the Qing authorities felt confident in their ability to overcome the monks at any time if they felt it was necessary. Also, because of the previous years of persecution, the Shaolin Temple had already lost many outstanding and knowledgeable martial artists. The loss was irreparable, and the Shaolin Temple was significantly weaker because of it. While Shaolin was still considered the best martial arts system in China, it had been nevertheless diminished. The Qing rulers felt that the Shaolin system posed no major threat to their safety or rule. Unfortunately, dude to the circumstances, fewer and fewer people took an interest in martial arts. With the advent of the gun and the aggressive import of Western culture, the Chinese people began to ignore the study and practice of martial arts. Fewer people were willing to devote themselves to the ancient study.
Chiang, Kai-Shek (蔣中正)
Chiang, Kai-Shek (蔣中正)
Finally, in 1911, the Chinese people ended the tyranny of the Qing dynasty in a revolution led by Dr. Sun Yat-Sen (孫逸仙). After the revolution, seventeen years of civil war occurred before the country was reunited. During the reunification of the country, the Shaolin Temple was to receive its final tragedy in 1927. In that year Chiang, Kai-Shek (蔣中正) began the reunification of China by launching the now famous Northern Expedition (北伐, 1926-1928) to rid the country of the numerous warlords who stood in the way of a unified China. In Henan province, home of the main Shaolin Temple, Chiang, Kai-Shek appointed General Feng, Yu-Xiang (馮玉祥) to fight the warlord Fan, Zhong-Xiu (樊鐘秀). The attack on Fan, Zhong-Xiu was, in the end, catastrophic and terminal for the Shaolin Temple. At the time of Feng's offensive, which was commanded in the field by lieutenant Shi, You-San (石友三), the warlord Fan was intimate friends with Miao-Xing (妙興), the headmaster of the Shaolin Temple. Miao-Xing was an extraordinary monk who was proficient not only in martial arts, but many other disciplines as well, such as classical literature. But Miao-Xing was also vain in his passion for wanting to associate with important people. His vanity led him to befriend the warlord Fan, Zhong-Xiu. When Shi's troops routed Fan's army, Fan was forced to flee to the Shaolin Temple where he received protection from Miao-Xing. Miao-Xing ordered the Shaolin monks to protect Fan and fight against Shi's troops. While the monks were good fighters, the superior arms of Shi's troops overcame them. When victory came, the soldiers were so enraged by the action of Miao-Xing that they burned the Shaolin Temple, killing many monks and destroying countless ancient manuscripts. Miao-Xing died in this battle. This terrible tragedy was the final burning of the Shaolin Temple.
When the Shaolin Temple was still active in this century, a famous martial arts organization arose in Shanghai. In March of 1909, Huo, Yuan-Jia (霍元甲), who was taught the martial arts style Mi Zong Yi Quan (迷蹤藝拳) by his father, Huo, En-Di (霍恩第), arrived in Shanghai from Tianjin (天津) and founded the Jing Wu Association (精武體育會) to preserve traditional martial arts. However, in August of the same year, Huo, Yuan-Jia was poisoned to death. This has been the subject of several films including "Fist of Fury" and "Fearless." Undaunted by Huo's death, followers of Huo, Yuan-Jia continued to operate the Jing Wu Association, inviting several famous masters to teach at their school, including Chen Zi-Zheng (陳子正) of the Eagle Division (鷹爪門), Luo, Guang-Yu (羅光玉) of the Northern Praying Mantis Division (北螳螂拳門), Geng Xia-Guang (耿霞光) of the Xingyi Division (形意門), and Wu, Jian-Quan (吳鑑泉), founder of Wu-Style Taijiquan (吳式太極拳). Although the Jing Wu Association was forced to close during World War II, it was eventually reestablished and did reopen after the war. Today there are over 150 branches around the world, including the one founded in Hong Kong in 1918.
When the country was finally united, the government began an active program to revive and reorganize Wushu. In 1928, the Nanjing Central Guoshu Institute (南京中央國術館) was founded for the purpose of consolidating Wushu by bringing great masters together under one formal organization. Zhang, Zhi-Jiang (張之江) was the institutes's first director. Since that time, Wushu has often been referred to as Guoshu (國術), which means "country technique." This name displayed the people's pride in Chinese martial arts, and pride in China itself. The masters who were invited included Gu, Ru-Zhang (顧汝章), Wan, Lai-Sheng (萬籟聲), Fu, Zhen-Song (傅振嵩), Wang, Shao-Zhou (王少周), and Li, Xian-Wu (李先五). They specialized in Northern Shaolin (北少林), Nature Division (自然門), Bagua Division (八卦掌門), Li Hua Spear (梨花槍), and Tan Tui Division (潭腿門), respectively. These masters came to be known as as the Five Northern Tigers (五北虎). Also influencing the Central Guoshu Institute were Geng, De-Hai (耿德海) of the Ta Sheng Division (大聖門), Dong, Ying-Jie (董英傑) of Yang-Style Taijiquan (楊家太極拳), and Sun, Yu-Feng (孫玉峯) of the Luo Han Division (羅漢門). The Jing Wu masters that were previously mentioned also greatly influenced the Central Guoshu Institute's course of instruction. These masters rose to the occasion and overcame age-old prejudices to collaborate and share, side-by-side, the best techniques of each division. For this reason, the primary style developed at the Central Guoshu Institute consisted of many elements from separate divisions. This diverse style, which also contains elements of what survived from the fall of the Shaolin Temple, is commonly what we see in today's Long Fist Kung Fu (長拳功夫). In just a few years, the Central Guoshu Institute became the most reputable martial arts organization of its time.
Great-Grandmaster Han, Qing-Tang
Great-Grandmaster Han, Qing-Tang 韓慶堂
Later, the Five Northern Tigers were sent to Canton to help General Li, Ren-Chao (李任潮) organize another Guoshu Institute. This time, famous Southern masters were invited to attend. This group of master included Lin, Yin-Tang (林蔭棠) of the Mo Jia Quan Division (莫家拳門), Tan San (譚三) of the Cai Li Fo Division (蔡李佛派), Lin, Yao-Gui (林耀桂) of the Dragon Style Division (龍形派), Zhang, Li-Quan (張禮泉) of the White Brow Division (白眉派), Lin Shi-Rong (林世榮) of the Hung Gar Division (洪家拳 ), and Wu, Zhao-Zhong (吳肇鐘) of the White Crane Division (白鶴拳). At this new institute, Northern and Southern styles were mixed together, resulting in the creation of newer, effective, more versatile techniques.
In 1937 disaster struck again when Japan invaded China, thus starting World War II. The institutes were closed and many of its members joined the resistance against the Japanese. During the eight long years of war, many masters and students were killed. Those that survived taught and studied whenever they could. It was during this time that YMAA Long Fist Grandmaster Li, Mao-Ching (李茂清) began his training.
Grandmaster Li, Mao-Ching
Grandmaster Li (Photo: Y. Parmar)
After the Communist takeover of mainland China in 1949, many Wushu masters left for Hong Kong or Taiwan, where they could practice their art with greater freedom. During the exodus from mainland China, a new generation of Wushu instructors stepped up to take the responsibility for teaching traditional Wushu. Grandmaster Li, Mao-Ching is a part of this generation of instructors. Master Li's main instructor, Han, Qing-Tang (韓慶堂 , 1903-1976) was a second generation martial artist who graduated from the Nanjing Central Guoshu Institute. Master Li also studied under the Northern Praying Mantis and Chinese wrestling expert Fu, Jia-Bin (傅家賓). Additionally, he studied Sun Bin Quan (孫臏拳) under Gao, Fang-Xian (高芳先).
There is much more to tell of the history of Chinese Kung Fu, but this short history should help to provide some insight into the development of Wushu and Long Fist throughout its known, recorded history. Today, many styles exist with a plethora and diversity of theories and techniques. Even though the styles are different, each carries on the great tradition of the original Shaolin system in its own way.
For more history of Shaolin Kung Fu, read the article A Brief History of Chinese Martial Arts
Long Fist Kung Fu is discussed in greater detail in the DVDs Shaolin Long Fist Kung Fu Basic Sequences and Shaolin Long Fist Kung Fu Intermediate Sequences.
Yang, Jwing-Ming Ph.D., is a world-renowned author and teacher of Chinese martial arts and Qigong. Born in Taiwan, he has trained and taught Taijiquan, Qigong, and Chinese martial arts for over 45 years. He is the author of 35 books and 80 instructional videos, and was elected by Inside Kung Fu magazine as one of the 10 people who has "made the greatest impact on martial arts in the past 100 years." Dr. Yang lives at the YMAA CA Retreat Center, in California.
duminică, 21 februarie 2010
White crane
http://forum.kungfumagazine.com/forum/archive/index.php/t-850.html
Kung Fu Magazine Forums > Wai Jia: The Kung Fu Forum > Southern Chinese Kung Fu > Fujian White Crane (Yong Chun Bai He Quan)
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View Full Version : Fujian White Crane (Yong Chun Bai He Quan)
Shaolin Master
10-12-2000, 04:03 AM
For FUBOKEN
Fujian White Crane
[Any further questions please ask]
Sorry I shall use Mandarin as it is easier for me (art least I didn’t use Hokkienese ïŠ)
Fujian 1644-1662 – Yong Chun Bai He Quan (Wing Chun White Crane Fist)
Story states it being from the Bai Lien Si
Many people studied the art in the fujian area consisting of an accountable well versed 21 Masters.
Also practitioners became known as the ‘Chien Wu Hu’ – Primary 5 Tigers
1683 was carried on to Taiwan by practitioners who became known as ‘Hou Wu Hu’ - Later 5 Tigers
Initially known to contain the following fundamental Sets of techniques:
Dan Jr Dan Ma Fa
Shuang Jr Dan Ma Fa
Shuang Jr Shuang Ma Fa
Dan Jr Shuang Ma Fa
Gan Zi Da Fa
In Addition of Staff, Broadsword & Trident weapon Methods
The popularity of the style at the time made it influence and spread out. It had some influence almost all southern systems as it was spread out everywhere.
In Fact it was a major influence on the most popular and famous Fujian art of Wu Zhu Quan (5 Ancestors Fist). 5 Ancestors Fist was composed on the basis of the following systems at the time :
1. Bai He Quan
2. Da Mo Quan
3. Tai Zu Quan
4. Xing Jr Quan (Hou Quan)
5. Lohan Quan
Wu Zhu Quan in itself is a very large system. I may outline it later some time.
The white crane system itself was further complicated by being distinguished into 5 separate systems all of which had developed different routines/forms. However the basic strategies usually remained similar :
Zong He (Jumping/Free Crane)
Fei He (Flying Crane)
Ming He (Chirping/Shouting Crane)
Bai He (Ancestral Crane)
Fan He (Feeding Crane)
In Taiwan the Ancestral Crane was most popular.
Ancestral Crane consists of the following routines/forms :
Qi Xing , Shan He, Wu Mei Hua, Wu Bu, Gong He.
Xiao Yao, Da Yao,Yao Gu, Bai Mei, Ti Gua.
Zong He, Zhan Ji, Zhan He, Chuan Zhen, Fo Shou, Hu Die Zhang, Shi Ba Lohan Shou
Japanese Okinawan Goju Ryu Karate also traces much of its roots in the Bai He Quan in Fact one of their forms (Though incorrectly performed and practised) contains almost exact movements as one of the routines.
In 1929 a research organisation was established to Find the essence of the original Yong Chun Bai He Quan, They discovered that the art was popular in Singapore, Malaysia & Taiwan. Some of the routines considered here include the following.
Chi Bu San Zhan
Shi San Tai Bao
Shi San Bu Yao
Mei Nu Shu Zhuang
Ba Fen Cun Fa
Gan Zi Da Fa
Bai He Zhan Ji
Tang Lang Zhao Er
Meng Hu Na Mao
Bai He Xian Zhao
Li Shi Tuo Xie
Shuang Long Chu Lin
Shuang Yan Zhuan etc
Common features include things like Gang Jing (Hard Jing) which is common to many southern Martial arts. Liu He Combination of Internal/External, Shorter Stances, close fighting tactics, Sticky Hands, quick and triangular stepping, many hand formations (ie, crane claw, tiger claw, eagle claw, fist, vertical fist, phoenix eye fist, dragon eye fist, snake tongue, etc……
The routines/forms are very short in the beginning stages but they become longer as they progress.
Routines commence with the Hung Mun gesture (like hung gar) except that instead of coming from the right side it approaches from the left side. In the Fujian original formation it is commonly found to follow fujian method of the outside of the fist touching the palm centre rather than the inverse/inside part (which is the way Hung gar does it).
Another feature is the use of Bu Ding Bu Ba Ma stance which is central the fighting position in the system. In terms of power and strikes the palms are used very often in conjunction with the crane wing etc… fists in typical southern style.
Stances
Ping Ma
Sz Ping Ma
Ding Zi Bu
Bu Ding Bu Ba Ma
Ji Xiu Bu
Gui Bu
Basics
Dan Jr Yin Yang Jie
Sheung Jr Yin Yang Jie
Fubokuen
10-13-2000, 11:26 PM
Thankyou for your trouble. The Wing Chun White Crane name is interesting. I was mainly asking if you had any experiencial comparison to offer in regard to White Crane and White Tiger from the Fujian temple. The paragraph beginning with "common features" could describe the White Tiger that I know and maybe some "hakka" styles as well.
Shaolin Master
10-16-2000, 06:02 AM
Hello
In Fujian Style the white tiger and White Crane Styles differ significantly.
To begin with the stance is higher in White Crane.
The Breathing in White crane is very very different and wierd. Short quick exhalations with a heh empty air sound (part of special qi gong)!]
The Stance in Fujian Bai Hu is higher than hung gar (Hei Hu) etc, but lower than Crane. It uses a typical fujian stance where there is a front stance with the rear leg slightly bent, 45 degrees feet angles, parallel, line between foot of front and heel of rear...etc.
Power is completely different regarding the sink and the float logic that prevails in the Hakka related arts ...
more later busy now
any direct questions please ask and I will do my best to answer. If prefer in private for in depth discussions please use email
Regards
Shi Chan Long
Shaolin Master
10-16-2000, 10:27 AM
A little more...
The Styles of Hakka (Chu Gar, Chou Gar, JookLum Sth PMantis) and Bak Mei, Long Ying as well as Yau Kung Mun share similar Features due to one of the following 'probable' reasons.(This is pretty dangerous so please note the use of probable without any claim before critiscm).
Firstly The founder of Chu Gar was learning at shaolin temple (being royalty from superseded dynasty) at the same time as Bak Mei and the other elders. Basically Bak mei was an elder at the time and probably was more of an authority at that time. As it is known from Fujian records the most popular styles at the time were Duan Quan, Lohan Quan, Mei Hua Quan and the like. In those days Forms did not number as many as today and in fact it was the principle techniques and tactics that made up the system as well as special skills relevant to the system (ie iron body, palm or fist, light skills, cavity striking, and the like). [It is for this reason that Shaolin-Do's claims are questionable especially funny things like Chen's Tai Qi or worst still a combined form(modern PRC Creation), that is truley silly and 900 forms no way, but let's not go there, not to mention there are 12 forms of Hua Quan but Cai LongYun only wrote books on the first 4 of which shaolin DO proclaims to teach and many other yeah right!].
From these events Chu Fook To (Chu Gar Ming Emperor Family) after the Ching's soldier's raid of shaolin and all associated people, changed his name fled and kept the Chu Gar style within the Family (Hakka = Ke-ren, Ming flee to sth) for generations. Latter Yi Sui created(renamed) the style to Chou Gar and Student of Lau Sui created Kwang Sai Jook Lum..
The Hakka style's characterised by
-Sink, Float, Spit & Swallow
-Rounding of Back
-Leg Jing (Impulse stepping)
-No T no V Step [Bu Ding Bu Ba]
-Centre line punching, Open hands standbye
-2 man sticky hands (Feeling Hands)
-Bridges training
-Phoenix Fist
Fighting is using tactics such as close gap, cross bridge, feel balance of power and retaliate accordingly, explosive power, small area striking aggressive and infinite til battle is won.
Bak mei & Fung Dao De as all know fled to Ermei (Ngor mei..whatever), Both exchanged ideals yet Taoist principle were invoked, Bak Mei remained in the Ermei areas, Fung Dao De wandered and resided in places such as Wudang are and the like absorbing the Way (Dao). Bak Mei introduced principles such as the Bakua area striking and furthered his shaolin art. Fung Dao De emphasised internal aspects. Again without disrespect only a small amount of forms(1-4)if any would have been trained or practised.
to be continued
Regards
Shi Chan Long
Fubokuen
10-16-2000, 07:13 PM
Hi thankyou very much for your perspective. Are you saying that your Fujian Bai mei and Bai Hu do not utilize the sink float swallow spit posture?
Are there any records of a White Lotus fist in the Fujian temple?
We may at some point want off this forum. You can start emailing as soon as you like...
fubokuen@hotmail.com
Shaolin Master
11-02-2000, 06:43 AM
Hello,
Just as a query are there any Yang Jwing Ming students that would like to outline there own experiences of Taiwanese White Crane (Mine are from China and singapore).
Please share concepts and regumin as you like.
Regards
Shi Chan Long
Ky-Fi
11-12-2000, 07:57 PM
Hey ShaolinMaster,
I've studied mostly Taiji from Dr. Yang, but I did take one 3-day seminar on his White Crane. I believe the seminar I took covered a lot of the material that a beginner would learn in the first few months of regular classes. He really focused a lot on spine and chest movement--lots of slow exercises for bow-ing and arcing the chest, loosening up the vertebrae and waist--all coordinated with reverse breathing. Lots of focus on sinking the qi, and really mainting your root. We sort of did some Sumo type wrestling with a partner to get a sense of rooting. Dr. Yang tended to divide the White Crane qigong into hard and soft. The soft stuff was VERY similar in theory and practice to Taiji--mind leading the qi through very relaxed muscles in coordination with slow physical movement. The hard qigong stuff started out the same, but then the muscles (forearm, for instance) would be slowly tensed to trap the qi there, held tensed for a few seconds, and then released--these being excercises designed to use the qi to build up muscular strength.
He also emphasized the nature of White Crane as a soft-hard style--a lot of the same whipping power through relaxed muscles as Taiji does, but with a bit more focus on muscular tension at the impact of the techniques.
We also did some 2-person forearm conditioning drills (maybe it was called 3-star blocking?)--which left my arms slightly black and blue for a few days /infopop/emoticons/icon_smile.gif.
I've worked a number of those exercises into my current training, but I decided to focus on Taiji, so that's been pretty much the extent of my White Crane instruction
"Without tradition, art is a flock of sheep without a shepherd; without innovation it is a corpse." --Sir Winston Churchil
Shaolin Master
11-20-2000, 11:16 AM
Thank you for your post it has been pleasant. Although a seminar is not exactly it ..I was wondering about actual practitioners.
Regards
Shi Chan Long
Ky-Fi
11-20-2000, 05:15 PM
Hey, no problem. If you have specific or higher level questions, I'm sure somebody at the school would be happy to talk to you--you can get contact info at:
http://www.ymaa.com
vBulletin® v3.8.4, Copyright ©2000-2010, Jelsoft Enterprises Ltd.
Kung Fu Magazine Forums > Wai Jia: The Kung Fu Forum > Southern Chinese Kung Fu > Fujian White Crane (Yong Chun Bai He Quan)
PDA
View Full Version : Fujian White Crane (Yong Chun Bai He Quan)
Shaolin Master
10-12-2000, 04:03 AM
For FUBOKEN
Fujian White Crane
[Any further questions please ask]
Sorry I shall use Mandarin as it is easier for me (art least I didn’t use Hokkienese ïŠ)
Fujian 1644-1662 – Yong Chun Bai He Quan (Wing Chun White Crane Fist)
Story states it being from the Bai Lien Si
Many people studied the art in the fujian area consisting of an accountable well versed 21 Masters.
Also practitioners became known as the ‘Chien Wu Hu’ – Primary 5 Tigers
1683 was carried on to Taiwan by practitioners who became known as ‘Hou Wu Hu’ - Later 5 Tigers
Initially known to contain the following fundamental Sets of techniques:
Dan Jr Dan Ma Fa
Shuang Jr Dan Ma Fa
Shuang Jr Shuang Ma Fa
Dan Jr Shuang Ma Fa
Gan Zi Da Fa
In Addition of Staff, Broadsword & Trident weapon Methods
The popularity of the style at the time made it influence and spread out. It had some influence almost all southern systems as it was spread out everywhere.
In Fact it was a major influence on the most popular and famous Fujian art of Wu Zhu Quan (5 Ancestors Fist). 5 Ancestors Fist was composed on the basis of the following systems at the time :
1. Bai He Quan
2. Da Mo Quan
3. Tai Zu Quan
4. Xing Jr Quan (Hou Quan)
5. Lohan Quan
Wu Zhu Quan in itself is a very large system. I may outline it later some time.
The white crane system itself was further complicated by being distinguished into 5 separate systems all of which had developed different routines/forms. However the basic strategies usually remained similar :
Zong He (Jumping/Free Crane)
Fei He (Flying Crane)
Ming He (Chirping/Shouting Crane)
Bai He (Ancestral Crane)
Fan He (Feeding Crane)
In Taiwan the Ancestral Crane was most popular.
Ancestral Crane consists of the following routines/forms :
Qi Xing , Shan He, Wu Mei Hua, Wu Bu, Gong He.
Xiao Yao, Da Yao,Yao Gu, Bai Mei, Ti Gua.
Zong He, Zhan Ji, Zhan He, Chuan Zhen, Fo Shou, Hu Die Zhang, Shi Ba Lohan Shou
Japanese Okinawan Goju Ryu Karate also traces much of its roots in the Bai He Quan in Fact one of their forms (Though incorrectly performed and practised) contains almost exact movements as one of the routines.
In 1929 a research organisation was established to Find the essence of the original Yong Chun Bai He Quan, They discovered that the art was popular in Singapore, Malaysia & Taiwan. Some of the routines considered here include the following.
Chi Bu San Zhan
Shi San Tai Bao
Shi San Bu Yao
Mei Nu Shu Zhuang
Ba Fen Cun Fa
Gan Zi Da Fa
Bai He Zhan Ji
Tang Lang Zhao Er
Meng Hu Na Mao
Bai He Xian Zhao
Li Shi Tuo Xie
Shuang Long Chu Lin
Shuang Yan Zhuan etc
Common features include things like Gang Jing (Hard Jing) which is common to many southern Martial arts. Liu He Combination of Internal/External, Shorter Stances, close fighting tactics, Sticky Hands, quick and triangular stepping, many hand formations (ie, crane claw, tiger claw, eagle claw, fist, vertical fist, phoenix eye fist, dragon eye fist, snake tongue, etc……
The routines/forms are very short in the beginning stages but they become longer as they progress.
Routines commence with the Hung Mun gesture (like hung gar) except that instead of coming from the right side it approaches from the left side. In the Fujian original formation it is commonly found to follow fujian method of the outside of the fist touching the palm centre rather than the inverse/inside part (which is the way Hung gar does it).
Another feature is the use of Bu Ding Bu Ba Ma stance which is central the fighting position in the system. In terms of power and strikes the palms are used very often in conjunction with the crane wing etc… fists in typical southern style.
Stances
Ping Ma
Sz Ping Ma
Ding Zi Bu
Bu Ding Bu Ba Ma
Ji Xiu Bu
Gui Bu
Basics
Dan Jr Yin Yang Jie
Sheung Jr Yin Yang Jie
Fubokuen
10-13-2000, 11:26 PM
Thankyou for your trouble. The Wing Chun White Crane name is interesting. I was mainly asking if you had any experiencial comparison to offer in regard to White Crane and White Tiger from the Fujian temple. The paragraph beginning with "common features" could describe the White Tiger that I know and maybe some "hakka" styles as well.
Shaolin Master
10-16-2000, 06:02 AM
Hello
In Fujian Style the white tiger and White Crane Styles differ significantly.
To begin with the stance is higher in White Crane.
The Breathing in White crane is very very different and wierd. Short quick exhalations with a heh empty air sound (part of special qi gong)!]
The Stance in Fujian Bai Hu is higher than hung gar (Hei Hu) etc, but lower than Crane. It uses a typical fujian stance where there is a front stance with the rear leg slightly bent, 45 degrees feet angles, parallel, line between foot of front and heel of rear...etc.
Power is completely different regarding the sink and the float logic that prevails in the Hakka related arts ...
more later busy now
any direct questions please ask and I will do my best to answer. If prefer in private for in depth discussions please use email
Regards
Shi Chan Long
Shaolin Master
10-16-2000, 10:27 AM
A little more...
The Styles of Hakka (Chu Gar, Chou Gar, JookLum Sth PMantis) and Bak Mei, Long Ying as well as Yau Kung Mun share similar Features due to one of the following 'probable' reasons.(This is pretty dangerous so please note the use of probable without any claim before critiscm).
Firstly The founder of Chu Gar was learning at shaolin temple (being royalty from superseded dynasty) at the same time as Bak Mei and the other elders. Basically Bak mei was an elder at the time and probably was more of an authority at that time. As it is known from Fujian records the most popular styles at the time were Duan Quan, Lohan Quan, Mei Hua Quan and the like. In those days Forms did not number as many as today and in fact it was the principle techniques and tactics that made up the system as well as special skills relevant to the system (ie iron body, palm or fist, light skills, cavity striking, and the like). [It is for this reason that Shaolin-Do's claims are questionable especially funny things like Chen's Tai Qi or worst still a combined form(modern PRC Creation), that is truley silly and 900 forms no way, but let's not go there, not to mention there are 12 forms of Hua Quan but Cai LongYun only wrote books on the first 4 of which shaolin DO proclaims to teach and many other yeah right!].
From these events Chu Fook To (Chu Gar Ming Emperor Family) after the Ching's soldier's raid of shaolin and all associated people, changed his name fled and kept the Chu Gar style within the Family (Hakka = Ke-ren, Ming flee to sth) for generations. Latter Yi Sui created(renamed) the style to Chou Gar and Student of Lau Sui created Kwang Sai Jook Lum..
The Hakka style's characterised by
-Sink, Float, Spit & Swallow
-Rounding of Back
-Leg Jing (Impulse stepping)
-No T no V Step [Bu Ding Bu Ba]
-Centre line punching, Open hands standbye
-2 man sticky hands (Feeling Hands)
-Bridges training
-Phoenix Fist
Fighting is using tactics such as close gap, cross bridge, feel balance of power and retaliate accordingly, explosive power, small area striking aggressive and infinite til battle is won.
Bak mei & Fung Dao De as all know fled to Ermei (Ngor mei..whatever), Both exchanged ideals yet Taoist principle were invoked, Bak Mei remained in the Ermei areas, Fung Dao De wandered and resided in places such as Wudang are and the like absorbing the Way (Dao). Bak Mei introduced principles such as the Bakua area striking and furthered his shaolin art. Fung Dao De emphasised internal aspects. Again without disrespect only a small amount of forms(1-4)if any would have been trained or practised.
to be continued
Regards
Shi Chan Long
Fubokuen
10-16-2000, 07:13 PM
Hi thankyou very much for your perspective. Are you saying that your Fujian Bai mei and Bai Hu do not utilize the sink float swallow spit posture?
Are there any records of a White Lotus fist in the Fujian temple?
We may at some point want off this forum. You can start emailing as soon as you like...
fubokuen@hotmail.com
Shaolin Master
11-02-2000, 06:43 AM
Hello,
Just as a query are there any Yang Jwing Ming students that would like to outline there own experiences of Taiwanese White Crane (Mine are from China and singapore).
Please share concepts and regumin as you like.
Regards
Shi Chan Long
Ky-Fi
11-12-2000, 07:57 PM
Hey ShaolinMaster,
I've studied mostly Taiji from Dr. Yang, but I did take one 3-day seminar on his White Crane. I believe the seminar I took covered a lot of the material that a beginner would learn in the first few months of regular classes. He really focused a lot on spine and chest movement--lots of slow exercises for bow-ing and arcing the chest, loosening up the vertebrae and waist--all coordinated with reverse breathing. Lots of focus on sinking the qi, and really mainting your root. We sort of did some Sumo type wrestling with a partner to get a sense of rooting. Dr. Yang tended to divide the White Crane qigong into hard and soft. The soft stuff was VERY similar in theory and practice to Taiji--mind leading the qi through very relaxed muscles in coordination with slow physical movement. The hard qigong stuff started out the same, but then the muscles (forearm, for instance) would be slowly tensed to trap the qi there, held tensed for a few seconds, and then released--these being excercises designed to use the qi to build up muscular strength.
He also emphasized the nature of White Crane as a soft-hard style--a lot of the same whipping power through relaxed muscles as Taiji does, but with a bit more focus on muscular tension at the impact of the techniques.
We also did some 2-person forearm conditioning drills (maybe it was called 3-star blocking?)--which left my arms slightly black and blue for a few days /infopop/emoticons/icon_smile.gif.
I've worked a number of those exercises into my current training, but I decided to focus on Taiji, so that's been pretty much the extent of my White Crane instruction
"Without tradition, art is a flock of sheep without a shepherd; without innovation it is a corpse." --Sir Winston Churchil
Shaolin Master
11-20-2000, 11:16 AM
Thank you for your post it has been pleasant. Although a seminar is not exactly it ..I was wondering about actual practitioners.
Regards
Shi Chan Long
Ky-Fi
11-20-2000, 05:15 PM
Hey, no problem. If you have specific or higher level questions, I'm sure somebody at the school would be happy to talk to you--you can get contact info at:
http://www.ymaa.com
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miercuri, 17 februarie 2010
Lau Gar
“A strong man controls others. A man who controls himself is truly powerful.”
Lau Gar is a traditional Southern Chinese Kung Fu based on the defensive movements of the five original animal styles of Shaolin. Lau Sam Ngan, also known as Three-Eyed Lau, is credited as the founder of Lau Gar. Like many Southern Kung Fu styles, Lau Gar Kuen is considered an external style that emphasize on short-range fighting techniques.
Lau Gar Kuen There are very few forms in Lau Gar, due to the fact that the founder Lau Sam Ngan believes that sparring practice is more effective than forms training. The complete set of Lau Gar contains fist forms, palm forms and weapon forms. Today Lau Gar forms are incorporated into the Hung Gar system.
There are many kicks and forceful blows in Lau Gar forms that were included in Hung Gar. Stances are very low and very fierce. Hand techniques come in the form of punches, phoenix eye fist, and palm strikes while leg techniques includes swinging kicks and thrusting front kicks.
Today it is very difficult to find someone who teaches Lau Gar as a separate system. There were two famous masters that help to keep Lau Gar alive today. Gordon Liu, a famous Hong Kong actor, and Lau Kar Leung, a famous director in Hong Kong, help keep the art alive by making movies about Lau Gar.
http://www.chinesekungfu.4t.com/lau.html
Lau Gar is a traditional Southern Chinese Kung Fu based on the defensive movements of the five original animal styles of Shaolin. Lau Sam Ngan, also known as Three-Eyed Lau, is credited as the founder of Lau Gar. Like many Southern Kung Fu styles, Lau Gar Kuen is considered an external style that emphasize on short-range fighting techniques.
Lau Gar Kuen There are very few forms in Lau Gar, due to the fact that the founder Lau Sam Ngan believes that sparring practice is more effective than forms training. The complete set of Lau Gar contains fist forms, palm forms and weapon forms. Today Lau Gar forms are incorporated into the Hung Gar system.
There are many kicks and forceful blows in Lau Gar forms that were included in Hung Gar. Stances are very low and very fierce. Hand techniques come in the form of punches, phoenix eye fist, and palm strikes while leg techniques includes swinging kicks and thrusting front kicks.
Today it is very difficult to find someone who teaches Lau Gar as a separate system. There were two famous masters that help to keep Lau Gar alive today. Gordon Liu, a famous Hong Kong actor, and Lau Kar Leung, a famous director in Hong Kong, help keep the art alive by making movies about Lau Gar.
http://www.chinesekungfu.4t.com/lau.html
Snake performance
GRANDMASTERS
LINEAGE
Grandmaster Sin Kwang Thé
The son of Chinese parents, Sin Thé was born in Bandung, Indonesia. He began his martial arts training under a sand burn master at the age of 6. When he was 7 years old he began studying under one of Grandmaster Ie's top students. After proving himself worthy, he then studied under Grandmaster Ie Chang Ming as a private student until Ie Chang Ming retired and passed the title of Grandmaster to Sin Kwang Thé (at the age of 25).
Having learned the entire body of Shaolin weapon, empty hand, animal, and internal styles, Sin Kwang Thé became the youngest Grandmaster in Shaolin history. Any martial arts school is limited by the accumulated body of information available to the student. In Shaolin Do, this body of knowledge is almost limitless, as Grandmaster Thé constantly reveals new forms from the 900-plus Shaolin forms he received. In truth, the students of Shaolin Do are limited only by their level of dedication and perseverance.
Story of the Grandmasters
The Shaolin schools under the Shaolin Grandmaster Sin Kwang Thé trace their lineage back to the Fukien temple through a succession of three remarkable Shaolin Grandmasters.
The first of the three Grandmasters was born in Fukien in 1849. He came to the world covered with hair from head to toe. His horrified parents, convinced that they had given birth to a demon, abandoned the infant in a forest near the Fukien Temple. A passing monk rescued the newborn and presented him to the Shaolin Masters. The Masters realized that it would be nearly impossible to find a family willing to adopt such a child, so they decided to raise him themselves. They named him Su Kong T'ai Djin.
From childhood on, Su Kong T'ai Djin studied the Shaolin art with exceptional dedication. The Fukien Masters responded to his enthusiasm with a rare variance from Shaolin tradition. Instead of assigning Su Kong's training to a single Master, as was the practice, each of the Fukien Masters contributed to Su Kong's martial education. Su Kong was therefore able to complete every branch of Shaolin training, learning and mastering hundreds of forms and disciplines. It was an unparalleled achievement. [Usually the 10 Grandmasters of the temple each learned 1/10th of the Shaolin art].
Su Kong's knowledge and strong character led to his appointment as the Grandmaster of Fukien. More than once, his exceptional martial skills were needed to fulfill the responsibilities of his position. For example, he once arranged a meeting with 12 Shaolin Masters, representatives of the Shaolin Temples of China. When Grandmaster Su entered the room for the meeting, all the Masters bowed. Instead of returning the bow, Grandmaster Su picked up a knife and threw it up the rafters. An assassin tumbled down from his hiding place, the knife embedded in his heart. Grandmaster Su had heard 13 men breathing where there were only supposed to be 12! (back to top)
The Fukien Shaolin monks took it upon themselves to protect the Fukienese coast from the raids of Japanese pirates. They were tremendously effective, earning the love and respect of the common people. When word reached the Ch'ing Kwang Hsu Emperor in Peking, at the beginning of the 20th century, trouble brewed. Kwang Hsu saw the Fukien monks as potential rebels with widespread popular support. He secretly dispatched imperial troops, armed with cannons on a mission to destroy the Fukien Temple. He even sent a renegade Shaolin Master, Chi Tao Su, the White Eyebrow Monk, to strengthen the attacking force.
A sympathetic official warned the monks of the impending attack. The Fukien Masters chose a surprising, ingenious solution. They evacuated the Temple, removed all of its valuable artwork and books, and set fire to the temple themselves. They hoped to rebuild the Temple in more favorable times. More favorable times never came.
Grandmaster Su and his disciples retreated into the Fukienese mountains to continue their training. One of the disciples was Ie Chang Ming, the man who would become the second of the three Grandmasters of our lineage. Su Kong died in 1928 at the age of 79.
Ie Chang Ming was born in 1880. He was admitted to the Fukien Temple as a small boy. Like Su Kong, Ie Chang Ming poured all of his time and energy into the martial arts training, especially the Golden Snake style. Tied hand and foot, he could evade spear thrusts by twisting and turning like a snake. He could also wrap his body around a pole climb it, like a snake on a vine.(back to top)
Grandmaster Ie's extensive knowledge, sensitivity, and martial skill was complemented by great personal strength and concentration. For example, he trained wearing a weight vest (equal to his body weight!), and used an iron staff and Kwan Tao. He also did the Iron Bar posture (stretched out between two wooden benches, with his head on one bench and heels on the other) for 2 hours every night.
One evening, while traveling through the countryside, Grandmaster Ie took a shortcut through what appeared to be an abandoned military encampment. Although the camp was almost deserted, it was not abandoned. A sentry stopped Ie. Soon other sentries appeared, bringing the number of soldiers to 11. They taunted Ie, and became increasingly aggressive. When they ordered him to lick their boots, Ie knew he had to take action. All 11 soldiers were killed in the resulting fight.
A price was put on Ie Chang Ming's head. He escaped to Indonesia, settling in Bandung, where he eventually established a Shaolin school. It was not easy to become his student; there was a long waiting list and each prospective student had to prove his/her worthiness.
In 1943 a boy named Sin Kwang Thé was born in Bandung who would one day become the third Grandmaster of our lineage. His family had several Shaolin ancestors and young Sin was drawn to the martial arts. His father, however, had been injured during martial arts training when he was a young man and opposed his sons wishes. Nonetheless, Sin Kwang's mother secretly let him out a 4 am each morning, so that he could study the martial arts. He began with sand burn training. Sand burn training is a crude form of toughening the hands by thrusting them into buckets of hot sand. (back to top)
After 6 months, the sand burn man stopped teaching. Sin Kwang heard about Grandmaster Ie's school and went to watch. Grandmaster Ie had 80 students practicing empty hand forms, weapons forms and sparring. The 7 year old Sin Kwang asked to join the school, but he was put off with polite excuses. One evening, Grandmaster Ie spilled a bowl of uncooked rice on the training hall floor. He asked Sin Kwang to pick up the rice, grain by grain, and to blow the dust of each grain. He was to find all of the 855 grains that had been in the bowl. It was late at night, and the Shaolin students had all gone home, by the time Sin Kwang was through dusting and counting the rice.
The rice counting was only the first of many tests of determination and character Sin Kwang passed. For the final test, Ie spilled hot tea on the boy and took hold of him, looking deep into his eyes. He saw no anger, only surprise. Sin Kwan Thé was finally accepted as a Shaolin student.
In the beginning, Grandmaster Ie had Sin Kwang do hundred of squats to build up his legs. They were done standing on the edge of a chair, with only the balls of his feet touching the seat. He also had Sin Kwang stand in horse stances for what seemed like an eternity. Next came mastering all 49 postures of the I Ching Ching. Only after these preliminaries were completed did training in martial techniques begin.
Five years later at the age of 13, Sin Kwang Thé tested to Black Belt. For his test, he had to spar 7 other students while blindfolded. He also had to do forms blindfolded. At different times during the forms, boards were held in his path. Since he didn't know when there would be a board, every strike in every form had to be true. (back to top)
In 1964, Master Sin was preparing to go to Germany to study engineering and physics. He had added German to the multitude of languages that he could speak. Yet the Berlin crisis altered his plans. By chance, however, he met a couple from Lexington, Kentucky who were able to arrange a scholarship in the US for him. Master Sin Kwang Thé came to the United States.
Master Sin studied academic subjects with the same dedication that he gave to the Shaolin art. As often as he could, he returned to Indonesia, for the time had finally come for him to learn the Golden Snake Style.
First of all, Master Sin had to learn to move like a snake. Grandmaster Ie tied Master Sin's wrists to his feet in an arched position similar to the I Chin Ching #35 posture. In this position, he learned to crawl by moving the muscles of his chest alone. Grandmaster Ie also threw Master Sin into the ocean with his hands and feet tied. Master Sin learned to swim by wriggling his body. Only now was he ready to learn the Golden Snake forms.
In 1968 Master Sin's training was complete. Grandmaster Ie awarded him the 10th Degree and the Grandmaster's Red Belt. Sin Kwang Thé had become the youngest Grandmaster in the history of the Shaolin art.
Grandmaster Thé continued his education and was on the verge of completing his Master's Degree when Ie Chang Ming died at the age of 96. Grandmaster Thé realized that while there were many engineers and scientists, he was the only Shaolin Grandmaster. He dropped his studies in order to devote all his time to teaching the Shaolin art.
Shaolin Grandmaster Sin Kwang Thé could have returned to Indonesia to resume teaching the art. Instead he chose to stay in the US. This was a bold break in tradition, for in the past only full blooded Chinese had been permitted to learn the Art. Yet when American men and women from all walks of life were able to learn what was once taught to a handful of Chinese monks, it was clear that martial arts excellence dependence on time and effort and not race. There are now several American Masters. (back to top)
http://www.nolashaolin.com/grand.html
LINEAGE
Grandmaster Sin Kwang Thé
The son of Chinese parents, Sin Thé was born in Bandung, Indonesia. He began his martial arts training under a sand burn master at the age of 6. When he was 7 years old he began studying under one of Grandmaster Ie's top students. After proving himself worthy, he then studied under Grandmaster Ie Chang Ming as a private student until Ie Chang Ming retired and passed the title of Grandmaster to Sin Kwang Thé (at the age of 25).
Having learned the entire body of Shaolin weapon, empty hand, animal, and internal styles, Sin Kwang Thé became the youngest Grandmaster in Shaolin history. Any martial arts school is limited by the accumulated body of information available to the student. In Shaolin Do, this body of knowledge is almost limitless, as Grandmaster Thé constantly reveals new forms from the 900-plus Shaolin forms he received. In truth, the students of Shaolin Do are limited only by their level of dedication and perseverance.
Story of the Grandmasters
The Shaolin schools under the Shaolin Grandmaster Sin Kwang Thé trace their lineage back to the Fukien temple through a succession of three remarkable Shaolin Grandmasters.
The first of the three Grandmasters was born in Fukien in 1849. He came to the world covered with hair from head to toe. His horrified parents, convinced that they had given birth to a demon, abandoned the infant in a forest near the Fukien Temple. A passing monk rescued the newborn and presented him to the Shaolin Masters. The Masters realized that it would be nearly impossible to find a family willing to adopt such a child, so they decided to raise him themselves. They named him Su Kong T'ai Djin.
From childhood on, Su Kong T'ai Djin studied the Shaolin art with exceptional dedication. The Fukien Masters responded to his enthusiasm with a rare variance from Shaolin tradition. Instead of assigning Su Kong's training to a single Master, as was the practice, each of the Fukien Masters contributed to Su Kong's martial education. Su Kong was therefore able to complete every branch of Shaolin training, learning and mastering hundreds of forms and disciplines. It was an unparalleled achievement. [Usually the 10 Grandmasters of the temple each learned 1/10th of the Shaolin art].
Su Kong's knowledge and strong character led to his appointment as the Grandmaster of Fukien. More than once, his exceptional martial skills were needed to fulfill the responsibilities of his position. For example, he once arranged a meeting with 12 Shaolin Masters, representatives of the Shaolin Temples of China. When Grandmaster Su entered the room for the meeting, all the Masters bowed. Instead of returning the bow, Grandmaster Su picked up a knife and threw it up the rafters. An assassin tumbled down from his hiding place, the knife embedded in his heart. Grandmaster Su had heard 13 men breathing where there were only supposed to be 12! (back to top)
The Fukien Shaolin monks took it upon themselves to protect the Fukienese coast from the raids of Japanese pirates. They were tremendously effective, earning the love and respect of the common people. When word reached the Ch'ing Kwang Hsu Emperor in Peking, at the beginning of the 20th century, trouble brewed. Kwang Hsu saw the Fukien monks as potential rebels with widespread popular support. He secretly dispatched imperial troops, armed with cannons on a mission to destroy the Fukien Temple. He even sent a renegade Shaolin Master, Chi Tao Su, the White Eyebrow Monk, to strengthen the attacking force.
A sympathetic official warned the monks of the impending attack. The Fukien Masters chose a surprising, ingenious solution. They evacuated the Temple, removed all of its valuable artwork and books, and set fire to the temple themselves. They hoped to rebuild the Temple in more favorable times. More favorable times never came.
Grandmaster Su and his disciples retreated into the Fukienese mountains to continue their training. One of the disciples was Ie Chang Ming, the man who would become the second of the three Grandmasters of our lineage. Su Kong died in 1928 at the age of 79.
Ie Chang Ming was born in 1880. He was admitted to the Fukien Temple as a small boy. Like Su Kong, Ie Chang Ming poured all of his time and energy into the martial arts training, especially the Golden Snake style. Tied hand and foot, he could evade spear thrusts by twisting and turning like a snake. He could also wrap his body around a pole climb it, like a snake on a vine.(back to top)
Grandmaster Ie's extensive knowledge, sensitivity, and martial skill was complemented by great personal strength and concentration. For example, he trained wearing a weight vest (equal to his body weight!), and used an iron staff and Kwan Tao. He also did the Iron Bar posture (stretched out between two wooden benches, with his head on one bench and heels on the other) for 2 hours every night.
One evening, while traveling through the countryside, Grandmaster Ie took a shortcut through what appeared to be an abandoned military encampment. Although the camp was almost deserted, it was not abandoned. A sentry stopped Ie. Soon other sentries appeared, bringing the number of soldiers to 11. They taunted Ie, and became increasingly aggressive. When they ordered him to lick their boots, Ie knew he had to take action. All 11 soldiers were killed in the resulting fight.
A price was put on Ie Chang Ming's head. He escaped to Indonesia, settling in Bandung, where he eventually established a Shaolin school. It was not easy to become his student; there was a long waiting list and each prospective student had to prove his/her worthiness.
In 1943 a boy named Sin Kwang Thé was born in Bandung who would one day become the third Grandmaster of our lineage. His family had several Shaolin ancestors and young Sin was drawn to the martial arts. His father, however, had been injured during martial arts training when he was a young man and opposed his sons wishes. Nonetheless, Sin Kwang's mother secretly let him out a 4 am each morning, so that he could study the martial arts. He began with sand burn training. Sand burn training is a crude form of toughening the hands by thrusting them into buckets of hot sand. (back to top)
After 6 months, the sand burn man stopped teaching. Sin Kwang heard about Grandmaster Ie's school and went to watch. Grandmaster Ie had 80 students practicing empty hand forms, weapons forms and sparring. The 7 year old Sin Kwang asked to join the school, but he was put off with polite excuses. One evening, Grandmaster Ie spilled a bowl of uncooked rice on the training hall floor. He asked Sin Kwang to pick up the rice, grain by grain, and to blow the dust of each grain. He was to find all of the 855 grains that had been in the bowl. It was late at night, and the Shaolin students had all gone home, by the time Sin Kwang was through dusting and counting the rice.
The rice counting was only the first of many tests of determination and character Sin Kwang passed. For the final test, Ie spilled hot tea on the boy and took hold of him, looking deep into his eyes. He saw no anger, only surprise. Sin Kwan Thé was finally accepted as a Shaolin student.
In the beginning, Grandmaster Ie had Sin Kwang do hundred of squats to build up his legs. They were done standing on the edge of a chair, with only the balls of his feet touching the seat. He also had Sin Kwang stand in horse stances for what seemed like an eternity. Next came mastering all 49 postures of the I Ching Ching. Only after these preliminaries were completed did training in martial techniques begin.
Five years later at the age of 13, Sin Kwang Thé tested to Black Belt. For his test, he had to spar 7 other students while blindfolded. He also had to do forms blindfolded. At different times during the forms, boards were held in his path. Since he didn't know when there would be a board, every strike in every form had to be true. (back to top)
In 1964, Master Sin was preparing to go to Germany to study engineering and physics. He had added German to the multitude of languages that he could speak. Yet the Berlin crisis altered his plans. By chance, however, he met a couple from Lexington, Kentucky who were able to arrange a scholarship in the US for him. Master Sin Kwang Thé came to the United States.
Master Sin studied academic subjects with the same dedication that he gave to the Shaolin art. As often as he could, he returned to Indonesia, for the time had finally come for him to learn the Golden Snake Style.
First of all, Master Sin had to learn to move like a snake. Grandmaster Ie tied Master Sin's wrists to his feet in an arched position similar to the I Chin Ching #35 posture. In this position, he learned to crawl by moving the muscles of his chest alone. Grandmaster Ie also threw Master Sin into the ocean with his hands and feet tied. Master Sin learned to swim by wriggling his body. Only now was he ready to learn the Golden Snake forms.
In 1968 Master Sin's training was complete. Grandmaster Ie awarded him the 10th Degree and the Grandmaster's Red Belt. Sin Kwang Thé had become the youngest Grandmaster in the history of the Shaolin art.
Grandmaster Thé continued his education and was on the verge of completing his Master's Degree when Ie Chang Ming died at the age of 96. Grandmaster Thé realized that while there were many engineers and scientists, he was the only Shaolin Grandmaster. He dropped his studies in order to devote all his time to teaching the Shaolin art.
Shaolin Grandmaster Sin Kwang Thé could have returned to Indonesia to resume teaching the art. Instead he chose to stay in the US. This was a bold break in tradition, for in the past only full blooded Chinese had been permitted to learn the Art. Yet when American men and women from all walks of life were able to learn what was once taught to a handful of Chinese monks, it was clear that martial arts excellence dependence on time and effort and not race. There are now several American Masters. (back to top)
http://www.nolashaolin.com/grand.html
Snake based styles
Hung Fut (Southern White Snake) 1600's. Fukien, China Shaolin Monk Wun Lei Hybrid art made of Hung Gar & Fut Gar
Man Seer Kung Pai (Big Snake School) 1988. Italy Gilberto Pauciullo (1952-) Mr. Pauciullo also founded Kathory Yama Ryu Ju Jutsu, and he is one of the highest ranked Masters in Europe, and he has high ranks in several Kung Fu styles/Contact Karate/Judo/Ju Jutsu/Chinese Kempo/Kendo/Okinawan Goju + others
Pi Gua (Pikua) Quan (Axe-hitch Chuan) Ming Dyn.? China General Qi Jiguang? This art is inspired by the Snake and Eagle
Sae Ying Diu Sao (Snake Form Mongoose Hands) Early 1900's. China Leung Tien Chiu
She Ying Kuen (Snake Style) China
Sir Gee Dorr (The Way of the Snake) China Lai Ching How Current Granmaster is Sifu Robert McInnes, Thailand
Xiangxing Quan (Animal Imitating Fist) Ancient? China - Eagle Claw/Preying Mantis/Monkey Style/Snake Style/Drunken Style
http://www.maotw.com/list/ma01.html
Man Seer Kung Pai (Big Snake School) 1988. Italy Gilberto Pauciullo (1952-) Mr. Pauciullo also founded Kathory Yama Ryu Ju Jutsu, and he is one of the highest ranked Masters in Europe, and he has high ranks in several Kung Fu styles/Contact Karate/Judo/Ju Jutsu/Chinese Kempo/Kendo/Okinawan Goju + others
Pi Gua (Pikua) Quan (Axe-hitch Chuan) Ming Dyn.? China General Qi Jiguang? This art is inspired by the Snake and Eagle
Sae Ying Diu Sao (Snake Form Mongoose Hands) Early 1900's. China Leung Tien Chiu
She Ying Kuen (Snake Style) China
Sir Gee Dorr (The Way of the Snake) China Lai Ching How Current Granmaster is Sifu Robert McInnes, Thailand
Xiangxing Quan (Animal Imitating Fist) Ancient? China - Eagle Claw/Preying Mantis/Monkey Style/Snake Style/Drunken Style
http://www.maotw.com/list/ma01.html
Snake style history
http://www.scottleslie.net/kinmon/html/snakefrm.html
Shaolin Form Artful Hand
A Pleasant Conversation About the Esoteric Fist with Leung Gar Wun, Fourth Generation Master of the Snake Form Artful Hand
By High Dragon
Translated by Alvin Wong
Adhere (Niem), Bind (Chien), Soft (Mien), Connect (Lien), and Follow (Chiur) are the five concepts of the Snake Form Artful Hand. If one understands these concepts, one can attain the art’s secret.
There are not many students of Snake Form in Heung Guong [Hong Kong] and very few have openly established schools to hand down the art to disciples. At present, Leung Gar Fong is the only one to teach this art.
Master Leung, presently at Wong Gok, Dai Bu Dao, is a specialist in bone injuries sustained in falls and fighting. He is director of the Tien Chi Health Clinic [Tian Zhu Health Institution]. Master Leung is presently concentrating on his medicine; he has “sealed his fists” and no longer teaches his martial art. Teaching has been turned over to his nephew Fong Chok Ming, and others, to manage.
Snake Form is a Sieu Lum [Sil Lum] art. There are 136 forms in the entire system. The “bearing” [?] of each form is not the same, and it has hidden hand movements. According to tradition, Snake Form began in the Ching Dynasty with Leung Sieu Jong (Leung Sil Jong). Master Leung Sieu Jong learned it from a famous Sieu Lum monk. [According to Wong Tim Yuen, Leung Sieu Jong was a Sieu Lum monk—of course, he would have learned his art from other monks]. Leung was from Fu Jian, Pu Teen. Leung Tien Chi [Leung Sieu Jong’s nephew] is the third to perpetuate the art [Hue Lung Gong, Leung Sieu Jong’s first student, was the second]; Leung Gar Fong is the fourth.
Master Leung Gar Fong says that his uncle Leung Tien Chi told him that the discovery of Leung Sieu Jong’s skill was accidental. Leung Tien Chi is from Sae Gong, Law Ding. The community of Law Ding had engaged the famous master Yao Loong Kuang (Yao Lung Gong) to live in the Leung clan’s village and teach the boys his martial art. Yao Loong Kuang taught Hung and Choi styles. At the time, Leung Sieu Jong was only a caretaker at Law Ding’s ancestral hall. He was seventy years old and his only apparent interest in life was indulging his fondness for wine. He showed no interest in Yao Loong Kuang’s teachings, and so, during the ten years he looked after the ancestral hall, no one knew he had extraordinary skill as a martial artist.
One year, during one of Law Ding’s seasonal celebrations, fate stepped in. The Dance of the Waking Lion must have been heard in the heavens as the joyful villagers filled the square in front of the hall to watch demonstrations of fist and staff forms. Leung Sieu Jong had joined in the celebration and, full of happiness, had drunk three cups of wine, and the septuagenarian had returned to the hall to rest from his exertions. But the group of youths performing the Lion Dance in front of the hall “shook the heavens” with the noise they made, and an angry—and drunk—Leung rushed out to shout at them to stop.
Leung’s status in the village was very low, and no one expected such behavior from him. At first, the youths pointedly ignored him, and even began playing louder, to the point of acting disorderly and rude. This infuriated Leung, who pushed his way to the drummer and snatched away his drumsticks. He then grabbed the various weapons on their rack and scattered them about. At that point the crowd of youths moved as one to try to seize him. The next sounds were dull thuds as the five strongest men hit the ground, groaning from their injuries.
The villagers’ anger was now matched by their vexation: instead of the humble caretaker, a complete stranger stood there, looking immovable. They had between them many years’ experience in martial arts learned from Yao Loong Kuang, but they couldn’t take down Leung Sieu Jong. So they called upon Yao to teach Leung a lesson.
Yao Loong Kuang knew that Leung Sieu Jong was not entirely at fault, but he also realized that if he did not take action he would lose much of his standing in the community. He approached Leung and saw that he was sleepy, intoxicated, dizzy, and could not distinguish black from white, but was nonetheless trying to provoke Yao into fighting. Yao saw that it was not possible to avoid exchanging blows with Leung, and he stopped to consider his opponent.
Yao Loong Kuang was a martial artist with many years’ experience, and he reflected that he had never seen Leung Sieu Jong accost another man in public. He surmised that Leung must be one of two types: either he had an extraordinary skill that he never disclosed, or he simply acted thoughtlessly (and was lucky). He gave Leung a nudge to provoke him and see what he’d do.
Leung became even more angry and said, “Master Yao, you want to exchange move with me. But first we have to agree on a certain number of moves in a fixed time.”
Yao’s eyes opened wide. “In what way?” he replied.
Leung said, “You will direct ten successive moves at me. If you knock me down or your fist connects with my chest I will acknowledge defeat. If you don’t, or if I knock you down, you must acknowledge defeat.”
Naturally, Yao Loong Kuang accepted these terms, and attempted to strike Leung Sieu Jong. But Leung’s hands and body were quick as lightning; indeed, he move like a dragon. After seven moves he had not only dodged Yao’s fists, but on the eighth began to counterattack. Leung’s moves were unfamiliar to Yao, and while he was able to block Leung’s strikes, he was not able to resist his overall force. On the ninth move he was thrown to the ground.
The people of Law Ding felt they had been watching a tiger fight a dragon. The now regarded Leung Sieu Jong with great respect, while Yao Loong Kuang had lost his standing and was expected to leave the community, Leung taking his place as instructor to the youth. But Leung Sieu Jong had a very upright character, and he did not feel that this was right. He persuaded Yao Loong Kuang to stay and continue teaching. United like brothers with different dispositions, they taught the community together. Yao Loong Kuang taught Hung and Choi forms, and Leung Sieu Jong taught the Snake Form.
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Shaolin Form Artful Hand
A Pleasant Conversation About the Esoteric Fist with Leung Gar Wun, Fourth Generation Master of the Snake Form Artful Hand
By High Dragon
Translated by Alvin Wong
Adhere (Niem), Bind (Chien), Soft (Mien), Connect (Lien), and Follow (Chiur) are the five concepts of the Snake Form Artful Hand. If one understands these concepts, one can attain the art’s secret.
There are not many students of Snake Form in Heung Guong [Hong Kong] and very few have openly established schools to hand down the art to disciples. At present, Leung Gar Fong is the only one to teach this art.
Master Leung, presently at Wong Gok, Dai Bu Dao, is a specialist in bone injuries sustained in falls and fighting. He is director of the Tien Chi Health Clinic [Tian Zhu Health Institution]. Master Leung is presently concentrating on his medicine; he has “sealed his fists” and no longer teaches his martial art. Teaching has been turned over to his nephew Fong Chok Ming, and others, to manage.
Snake Form is a Sieu Lum [Sil Lum] art. There are 136 forms in the entire system. The “bearing” [?] of each form is not the same, and it has hidden hand movements. According to tradition, Snake Form began in the Ching Dynasty with Leung Sieu Jong (Leung Sil Jong). Master Leung Sieu Jong learned it from a famous Sieu Lum monk. [According to Wong Tim Yuen, Leung Sieu Jong was a Sieu Lum monk—of course, he would have learned his art from other monks]. Leung was from Fu Jian, Pu Teen. Leung Tien Chi [Leung Sieu Jong’s nephew] is the third to perpetuate the art [Hue Lung Gong, Leung Sieu Jong’s first student, was the second]; Leung Gar Fong is the fourth.
Master Leung Gar Fong says that his uncle Leung Tien Chi told him that the discovery of Leung Sieu Jong’s skill was accidental. Leung Tien Chi is from Sae Gong, Law Ding. The community of Law Ding had engaged the famous master Yao Loong Kuang (Yao Lung Gong) to live in the Leung clan’s village and teach the boys his martial art. Yao Loong Kuang taught Hung and Choi styles. At the time, Leung Sieu Jong was only a caretaker at Law Ding’s ancestral hall. He was seventy years old and his only apparent interest in life was indulging his fondness for wine. He showed no interest in Yao Loong Kuang’s teachings, and so, during the ten years he looked after the ancestral hall, no one knew he had extraordinary skill as a martial artist.
One year, during one of Law Ding’s seasonal celebrations, fate stepped in. The Dance of the Waking Lion must have been heard in the heavens as the joyful villagers filled the square in front of the hall to watch demonstrations of fist and staff forms. Leung Sieu Jong had joined in the celebration and, full of happiness, had drunk three cups of wine, and the septuagenarian had returned to the hall to rest from his exertions. But the group of youths performing the Lion Dance in front of the hall “shook the heavens” with the noise they made, and an angry—and drunk—Leung rushed out to shout at them to stop.
Leung’s status in the village was very low, and no one expected such behavior from him. At first, the youths pointedly ignored him, and even began playing louder, to the point of acting disorderly and rude. This infuriated Leung, who pushed his way to the drummer and snatched away his drumsticks. He then grabbed the various weapons on their rack and scattered them about. At that point the crowd of youths moved as one to try to seize him. The next sounds were dull thuds as the five strongest men hit the ground, groaning from their injuries.
The villagers’ anger was now matched by their vexation: instead of the humble caretaker, a complete stranger stood there, looking immovable. They had between them many years’ experience in martial arts learned from Yao Loong Kuang, but they couldn’t take down Leung Sieu Jong. So they called upon Yao to teach Leung a lesson.
Yao Loong Kuang knew that Leung Sieu Jong was not entirely at fault, but he also realized that if he did not take action he would lose much of his standing in the community. He approached Leung and saw that he was sleepy, intoxicated, dizzy, and could not distinguish black from white, but was nonetheless trying to provoke Yao into fighting. Yao saw that it was not possible to avoid exchanging blows with Leung, and he stopped to consider his opponent.
Yao Loong Kuang was a martial artist with many years’ experience, and he reflected that he had never seen Leung Sieu Jong accost another man in public. He surmised that Leung must be one of two types: either he had an extraordinary skill that he never disclosed, or he simply acted thoughtlessly (and was lucky). He gave Leung a nudge to provoke him and see what he’d do.
Leung became even more angry and said, “Master Yao, you want to exchange move with me. But first we have to agree on a certain number of moves in a fixed time.”
Yao’s eyes opened wide. “In what way?” he replied.
Leung said, “You will direct ten successive moves at me. If you knock me down or your fist connects with my chest I will acknowledge defeat. If you don’t, or if I knock you down, you must acknowledge defeat.”
Naturally, Yao Loong Kuang accepted these terms, and attempted to strike Leung Sieu Jong. But Leung’s hands and body were quick as lightning; indeed, he move like a dragon. After seven moves he had not only dodged Yao’s fists, but on the eighth began to counterattack. Leung’s moves were unfamiliar to Yao, and while he was able to block Leung’s strikes, he was not able to resist his overall force. On the ninth move he was thrown to the ground.
The people of Law Ding felt they had been watching a tiger fight a dragon. The now regarded Leung Sieu Jong with great respect, while Yao Loong Kuang had lost his standing and was expected to leave the community, Leung taking his place as instructor to the youth. But Leung Sieu Jong had a very upright character, and he did not feel that this was right. He persuaded Yao Loong Kuang to stay and continue teaching. United like brothers with different dispositions, they taught the community together. Yao Loong Kuang taught Hung and Choi forms, and Leung Sieu Jong taught the Snake Form.
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Shaolin caracteristics
The Shaolin Tiger
Simplicity, Directness and Honesty; the only way for a Tiger Stylist.
The Tiger style is one of Power, Directness and Simplicity. It's primary target is the opponents throat. All of it's efforts are aimed at this one vulnerable target to the exclusion of anything else. its primary Weapons are the Fist and the Claw. Footwork is only used to interfere as the tigers needs good ground contact to develop and deliver it's power. Learning the Shaolin Tiger you will discover the power of Simplicity and Directness. You will learn to identify the main point of contention and then develop the skill and power to reach this point.
In the martial art sense you will develop your strong and direct techniques. You will train and harden your body (and mind) to be able to deflect attacks, pain and irritations. Your techniques of choice will be powerful direct straight and round techniques using solid punches, Dragon Front Kick and Breaking Roundhouse Kick. These are augmented by 13 Specialist Claws used in a wide variety of ways.
Mentally, you will learn how to recognize the main weakness of an opponents defence/guard (be it physical, mental and spiritual) and then be able to overcome this to attack the core. At the same time you will need to harden yourself and be invulnerable to mental and spiritual attacks (taunts, distractions, strategies). This needs to be supplemented with Iron Body Training, Claw Strength Training and overall Upper and Lower Body strength and toughness.
The Tigers Defence
. . . there is none. The tiger does not defend it only attacks. The Tiger does not use blocking techniques but they do use swatting techniques against arms and legs. Grabbing the attacking limb of your the opponent and holding onto this whilst entering the center is the key method of gaining access to the Attacker and prevents the attacker using hit and run tactics. Yet, aside from swatting limbs and grabbing the Tiger does not use any defensive techniques. If the attacker is swift and quick, the Tiger may use;
1. Inter fear with the attackers flow and speed by upsetting the attackers legs
2. Prevent the attack fully using a leg with Tree Breaking Roundhouse
3. Stop the Attacker all together with the Dragon Front Kick.
All of these would be followed up with the Tigers Attack.
The Tigers Attack
The Tiger Stylist is the perfect avatar of destruction. Once started the Tiger Stylist follows all they way through to one of three possible ends;
1. Teaching Tiger - is where the Tiger applies one of the 12 Claws to cause pain and discomfort and thus 'show the attacker the error of their ways'.
2. Savage Tiger - is where the Tiger stops the opponent with a key blow or Chock; and thus debilitates the opponent (used against multiple, armed or drugged attackers.
3. Protecting Tiger - is where it is a life or death situation for the Tiger or their Pride (family, ones cared for). This is where the Dragon Claw or Dragon Claw or Snake Coil (choke) is used.
Although the Tiger Stylist needs to know all three levels of reaction, most Tiger Stylist practice only the first two levels so as to not accidental cause a result that in today's world is not really acceptable.
Tigers Strategy
. . . again, there is really only one; Get in and get it done (this is a cliché but applicable for this style), No Retreat and No Surrender. As such this makes it almost impossible for two Tigers to have a fight as the result will be disastrous even for the Winning Tiger. As an old Chinese proverb goes; "when two Tigers fight, one is lost and one will be severely hurt". Also, another Chinese proverb is also applicable; "Two Tigers can not live on one Mountain".
Tigers Training
It is zen like. The Tiger trains to be able to deliver that perfect technique; one for each Tiger level. The Tiger Stylist trains for Power, Strength, Toughness and Efficiency. Strong and Tough Legs, Strong and Tough Arms, Strong and Tough Body, Strong and Tough Techniques and a Strong and Tough Mind. Simplicity, Clarity and Raw Power.
Tiger Stylist
The ideal Tiger Stylist is an Alpha. They have a strong body, clarity of mind and purpose. They prefer direct solutions achieved by direct actions. They value and cultivate loyalty, friendship, honour, honesty and might. Their principle defects can be crudeness, over-simplification, lack of patience (with others), lack of appreciation of problems and situations and a will to dominate. They are best for getting things done, and are ideal for it if the task outcome has been well explained and they have a reasonable free choice of action.
Shaolin Kung Fu Panther/Leopard Style
The Shaolin Panther
If you think you understand a Panther Stylist, then that is what they want you to think!
The Shaolin Panther Style promotes thinking, strategy and cunning. It is a style for those who believe that most conflict, most attackers can be out-thought, out-maneuvered and out-classes. The Panther stylist would prefer not to stand in the way of a any attack, seeking to run and hide although in a dignified and not cowardly way (for he who live to fight another day, chooses the time and place and a winning way). He is the one who will choose the time and place and method of any conflict, preferring to spend time planning and maneuvering in such a way that the conflict was won before the opponent relies that round 2 had begun (The Conflict is won, before the battle begins - The Book of 5 Rings).
If directly confronted, the Panther Stylist would seek to confuse, confound, bluff, cajole, bribe even reason with the attacker. In essence they would seek to join the situation to one where they feel they have the greater control; even to the point of changing the rules of engagement to suit them.
In a way, the Shaolin Panther Stylist may be best compared to Japanese Ninja, not the Assassin aspect, but the method of operations. They would always prefer to avoid a direct confrontation seeking to work out of the background, from the shadows, indirectly through others seeking to surprise, confuse and eliminate (the problem preferably).
In a Martial Art sense you will develop unusual technique, focus on strategies such as hit-and-run coupled with techniques that confound the mind and sense of the attacker. You do not need to be particularly strong as Panther Stylist, nor do you need to be very quick; agility needs not be your strength and not precision. You are a bit of a jack-of-all-trades as far as your skills and abilities and well versed in the usage of techniques, not specializing in any but comfortable in knowing and being able to using most.
Mentally, you need to be a Thinker, Gatherer of (pertinent) Knowledge, lover of Strategies, Unusualities, Oddities et al. You will learn to lay plans and learn from the success and failures; you will learn about the nature of Yin and Yang and the interdependence of opponents. You will also learn that rigid application of anything will make you predictable and thus vulnerable and thus become a master of Chaos, a Chaos based in order. You will be encouraged to learn from the three Great books of Strategy;
1. The 36 Strategies of the Ancients of China
2. Sun Tzu's Book of War
3. The Books of 5 Rings
The Panther Stylist is a very knowledgeable personage that prefers to prepare, plan and perform with a minimum of effort and greatest chance for success, with minimal self involvement or risk.
The Panthers Defence
The greatest defence of all time is "Not Being There", where the attack is to happen or is finding place. The Panther Stylist learns the secrets of the Active and Formative Defence; the Defence that is an Attack and the Defence that is Water. The Panther Stylists learn the skill of the small overcoming the large, the weak overcoming the strong, the slow overcoming the swift and the stupid destroying itself; by confounding, confuses and
The Panthers Attack
As complex as attack go with only one thing in common; for the object of attack it will seem utter chaos. The Panther seeks to wear down the opponent, inflicting small damages, breaks and debilitations. A chipping away at unexpected times, in unexpected ways with dire consequences. The Panther will decide when the attack is over; sometimes allowing it to stop before the utter exhaustion of the opponent, sometimes sooner, sometimes never. Seeming complexity, chaos and utter control over the situation. From the Panthers point of view, well planned, deliver with perfect timing and highest degree of safety and success to the Panther Stylist; for they are the Lords and Ladies of the Animal Styles.
The Panthers Strategy
The Panther is a style of Planning and Strategy. There is a legend of The Ghost Spear Fishers that may best exemplify a Panther strategy and style. In short though, the Panther Stylist is the master of manipulation, star of strategy and application, and a jack of many, many trades. The Panther Stylist may be called lazy, although they would call it intelligence to get others to do the work for them. Some might call them minimalistic, even austere; they would prefer to say that they do not weigh themselves down with the unnecessary. Some might call them schemers and manipulators, the Panther Stylist .. might agree with this.
The Panthers Training
From all the Animal Stylists, it is the Panther that is the most broad based. it is not that they learn everything at once, no, they learn something very well, use it, improve it and move on. Where by the other animals, once they have specialized, mastered and proven their techniques, the Panther Stylist will always look for more, the unusual and the bizarre. A true Panther Stylist though will ensure that what they have learned is well practiced and trailed; well enough that in their own mind they a sure it will be available when they need it.
The Panther Stylist
The ideal Panther is a Thinker. Preferably high IQ, possibly good broad based higher education, a person who is deeply interested in the martial arts. Some Panther Stylist lack the patience to become a Panther and go through life as a bitsa-master (bits of this and bits of that) without really having anything. A Shaolin Panther Stylist will spend some time on each focus, enough to make them as much as a Master before they move on to the next. The principle problems of a Panther are sometimes a lack of reliability, inability to get things done and an expectations that some things will just happen 'magically' for them. Sometimes they are to uninvolved and fence sitters. On the upside, they have the ability of Sharp Insight, Recognition of the Situation, High IQ and EQ coupled with a good ability to research and plan. They are happiest when they are the center of everything with out having to do anything.
The Shaolin Crane
The Art of allowing the unbeatable to defeat themselves!
Whereby the Tiger is Power of the Physical and the Panther is the Power of the Mind, Crane Stylist have the power of Elegance, Patience and Evasion. Whereby the Tiger and Panther are offensive based styles, the Shaolin Crane (and Snake) are defence and counter specialists. The Shaolin Carne does not overcome it's opponents; it allows the opponent to overcome themselves. If you are unfamiliar with the concept, there is a good story of the origins of the Shaolin Crane Style that might interest you.
The concept is well suited, as in the story of the Shaolin student, at person who are not aggressive and prefer not to, or can not, deliver strong and direct strikes on an opponent, even if they are being attacked. The 5 Crane Levels all work on the precept that you can not win with what you have and thus create a situation whereby the attackers strength becomes their weakness. This i believe is one of the cleverest ways of defending but also one of the most difficult, requiring the greatest amount of nerve, skill and agility.
The Cranes Defence
The Crane prefers evasion, redirection and distraction. Strong techniques will be evaded, weak techniques redirected and sudden techniques will be distracted whilst being redirected or evaded. There is no force in the Cranes defence techniques (for the most). It is a style for gentle people who do not wish or can not use force. Thus all attacks against the Crane are used to help the Crane evade and avoid. The Stronger the technique, the better for the Crane Stylist to use the force. A good example of this is the one-legged Crane Stance, whereby the Crane Stylist stand with one leg on the ground and the other with the knee in front of the solar plexus, hands extended. When the attacker rushes in, the Crane 'steps' onto the oncoming attacker with the lifted leg and kicks it self away. if the opportunity is given, it will deliver some type of technique to a vital area, if safe, if possible and if it dose not distract from the evasion.
The Cranes Attack
The Crane Never attacks. The Tiger and Panther are attack specialists the Crane is the Defence, Evade, Avoid, Distract and run away specialist. It may 'sneak in' a technique whilst doing this but it would not attack.
The Cranes Strategy
Don't get hit! Simple and easy. The Shaolin Crane teaches us to specialize in Evasive avoidance having your safety as a number one priority. The Tiger is a 'win-at-any-cost' style; Panther is a 'win-at-the-least-cost', the Crane is a 'don't-loose-or-get-hurt' style. Outmaneuver, outdistance, outlast, are the overriding maxims and almost as an afterthought, striking, if safe, if . . . .etc.
The Cranes Training
The best Shaolin Crane stylists are also good dancers! They move like professional ballerinas not like gymnasts, they evade like water away from a splash, not like a startled mouse, they move like a gliding skater, not a charging bull. The Cranes training is much like learning to dance. Beautiful, economic movements, tight body control, hands out in rest, hands close to the body in movement. For a true Crane stylist, 50% of the training should be in Ballet dancing (not point), 25% in other dance styles and the remaining 25% in sparring and incidental striking.
The Crane Stylist
The ideal Shaolin Crane stylist is a gentle person who for the most could not hurt a fly. They have a strong sense of beauty and elegance, my tend to be a bit peacockish (flamboyant) and very people centered. They can fit into most any group of people seamlessly without effecting the group dynamic, they are peace loving, like people and usually are very kind. The Cranes principle defects are lack of own opinion, tendency to agree (even if they don't) and passive aggressive in nature and style. They are best for group work, teaching, protection of the very vulnerable and weak.
More info on the Shaolin Crane Style . . . .
The Shaolin Snake
What is tried and true, practiced and proven, know and experienced; all else is dispersing mist.
The Shaolin Snake Style is one of Wisdom, Knowledge, Precision, Experience and Clarity. The Snake stylists likes to know that what they are doing is well proven, ordered, with purpose and wise. It is not a style of defence but more a style of bring order, calm and wisdom. The Snake Stylist is predominantly a grappler, capture, hold and control, capture, hold and throw, capture and takedown, capture and go-down, capture and incapacitate. It is a style of order and control not of random strikes; it is a style of power without violence, speed without hast and knowledge without dominance. The Snake Stylist is one of creating order, peace and safety.
The Snake Style is well suited to strong but gentle persons; ones that prefer not to use sudden violence as a means of defence. it is a style that prefers to entangle an attacker, make them overextend themselves, then capture, arrest and force submission. This style is best suited for controlled one-on-one situations as it requires skill, precision and full attention. If there are multiple attackers and the Snake Stylist finds them selves harassed, they will use their striking skills to create and opportunity for their main skill of capturing.
The Snakes Defence
Not being there, where the attacker thought them to be a second ago. Not like the Crane in great leaps and bounds but like a Snake just twisting, ducking, bobbing, turning out of the way. The Snake Stylist moves like a Snake, as if lacking bones, slippery and sinuous. The Snake Stylists main defence is the flexibility, weave-ability, subtle avoidance and very occasional, distracting strikes. As the Snake Stylist you would know of hundreds of maneuvers, combinations and methods of avoiding, controlling and submitting your attacker. You would be like a Chess Master and have studied all that there is to know for your type of personality, body type and strength and then you would work on perfecting it with an energy bordering on obsessions. For if anything, Snake Stylist may seem or even be Obsessive-Compulsive inclined, incessant and even inflexible in many aspects of thinking ( seeming balance with the Snakes Stylists incredible physical flexibility).
The Snakes Attack
The Snake does not attack. It reacts when attacked, it may even get the opponent to attack, but a Snake Stylist does not attack. A Snake always has their enemy come to them, on their terms when the Snake is ready for them. It may again, occasionally strike without warning but as such, it is not an attacking style. Sometimes it may look like the Snake is attacking but it is not (according to it), it just feels that the attacker has encroached on it's space or safety.
The Snakes Strategy
The Snake Stylist has no own strategy but every strategy can become a Snake Strategy. Again, a good comparison is a Chess Master. Every move possible in Chess has been discovered, documented and used; a Snake Stylist would rather spend the time learning every possible Snake maneuver rather than some fruitless trial-and-error game. It would search out person who have been successful in the art and it would seek to understand, emulate and possibly even improve (although, without admitting to this).
The Snakes Training
Physically the Snake would seek to be fit, flexible, enduring and flexible again. Strength would also be important as would looks. Of all the Animal Stylists, the Snakes tend towards physical vanity without ever admitting to it and dressing down to avoid being called a peacock. Yet, the Physical prowess and ability as their presence and looks are of some importance to them. In addition, Snake Stylist would need to be quick of body, hand and foot, well coordinated and able to twist around an attacker. Precision is also very important to find those important pressure points. Mentally, the Snake Stylist would need to specialize (at least initially). As a proper Snake Stylist you would choose either the Healing and Pressure Points (Dim Mak), Physical Strength, Grappling & Joint Locking Knowledge or Speed, Precision and Vital Point (Poison Hand) skills.
The Snake Stylist
The ideal Snake Stylist is one who is truly awed by great achievements in it's field of choice. They would have a great believe in the tried-and-proven rather than 'fancy new stuff'. They may even have, to some degree, a touch of Obsessive-Compulsive disorder or similar that they would use to their advantage to become and expert in what they chose. A Hall mark of Snake Stylists is their apparent unhappiness with their own performance even when other salute them for their mastery. Snake Stylists, in many way may never be truly happy with their achievements, always believing that they can do better.
Completing the Journey
It is not enough to know, one must also do and not do.
Once you have completed the 4 levels you need to discover what you have learned. This is a time where you define what you learn and how you prepare for the completion of the 2nd Shaolin Cycle. What does this mean; it means that you now need to put the 4 animals together and make the sum greater than the individual parts. Telling how this happens would be taking a major part of the journey away from you.
It is enough to say that once you get there you will have help and guidance and if your are really into-it, you will experience more than can easily be imagined.
Simplicity, Directness and Honesty; the only way for a Tiger Stylist.
The Tiger style is one of Power, Directness and Simplicity. It's primary target is the opponents throat. All of it's efforts are aimed at this one vulnerable target to the exclusion of anything else. its primary Weapons are the Fist and the Claw. Footwork is only used to interfere as the tigers needs good ground contact to develop and deliver it's power. Learning the Shaolin Tiger you will discover the power of Simplicity and Directness. You will learn to identify the main point of contention and then develop the skill and power to reach this point.
In the martial art sense you will develop your strong and direct techniques. You will train and harden your body (and mind) to be able to deflect attacks, pain and irritations. Your techniques of choice will be powerful direct straight and round techniques using solid punches, Dragon Front Kick and Breaking Roundhouse Kick. These are augmented by 13 Specialist Claws used in a wide variety of ways.
Mentally, you will learn how to recognize the main weakness of an opponents defence/guard (be it physical, mental and spiritual) and then be able to overcome this to attack the core. At the same time you will need to harden yourself and be invulnerable to mental and spiritual attacks (taunts, distractions, strategies). This needs to be supplemented with Iron Body Training, Claw Strength Training and overall Upper and Lower Body strength and toughness.
The Tigers Defence
. . . there is none. The tiger does not defend it only attacks. The Tiger does not use blocking techniques but they do use swatting techniques against arms and legs. Grabbing the attacking limb of your the opponent and holding onto this whilst entering the center is the key method of gaining access to the Attacker and prevents the attacker using hit and run tactics. Yet, aside from swatting limbs and grabbing the Tiger does not use any defensive techniques. If the attacker is swift and quick, the Tiger may use;
1. Inter fear with the attackers flow and speed by upsetting the attackers legs
2. Prevent the attack fully using a leg with Tree Breaking Roundhouse
3. Stop the Attacker all together with the Dragon Front Kick.
All of these would be followed up with the Tigers Attack.
The Tigers Attack
The Tiger Stylist is the perfect avatar of destruction. Once started the Tiger Stylist follows all they way through to one of three possible ends;
1. Teaching Tiger - is where the Tiger applies one of the 12 Claws to cause pain and discomfort and thus 'show the attacker the error of their ways'.
2. Savage Tiger - is where the Tiger stops the opponent with a key blow or Chock; and thus debilitates the opponent (used against multiple, armed or drugged attackers.
3. Protecting Tiger - is where it is a life or death situation for the Tiger or their Pride (family, ones cared for). This is where the Dragon Claw or Dragon Claw or Snake Coil (choke) is used.
Although the Tiger Stylist needs to know all three levels of reaction, most Tiger Stylist practice only the first two levels so as to not accidental cause a result that in today's world is not really acceptable.
Tigers Strategy
. . . again, there is really only one; Get in and get it done (this is a cliché but applicable for this style), No Retreat and No Surrender. As such this makes it almost impossible for two Tigers to have a fight as the result will be disastrous even for the Winning Tiger. As an old Chinese proverb goes; "when two Tigers fight, one is lost and one will be severely hurt". Also, another Chinese proverb is also applicable; "Two Tigers can not live on one Mountain".
Tigers Training
It is zen like. The Tiger trains to be able to deliver that perfect technique; one for each Tiger level. The Tiger Stylist trains for Power, Strength, Toughness and Efficiency. Strong and Tough Legs, Strong and Tough Arms, Strong and Tough Body, Strong and Tough Techniques and a Strong and Tough Mind. Simplicity, Clarity and Raw Power.
Tiger Stylist
The ideal Tiger Stylist is an Alpha. They have a strong body, clarity of mind and purpose. They prefer direct solutions achieved by direct actions. They value and cultivate loyalty, friendship, honour, honesty and might. Their principle defects can be crudeness, over-simplification, lack of patience (with others), lack of appreciation of problems and situations and a will to dominate. They are best for getting things done, and are ideal for it if the task outcome has been well explained and they have a reasonable free choice of action.
Shaolin Kung Fu Panther/Leopard Style
The Shaolin Panther
If you think you understand a Panther Stylist, then that is what they want you to think!
The Shaolin Panther Style promotes thinking, strategy and cunning. It is a style for those who believe that most conflict, most attackers can be out-thought, out-maneuvered and out-classes. The Panther stylist would prefer not to stand in the way of a any attack, seeking to run and hide although in a dignified and not cowardly way (for he who live to fight another day, chooses the time and place and a winning way). He is the one who will choose the time and place and method of any conflict, preferring to spend time planning and maneuvering in such a way that the conflict was won before the opponent relies that round 2 had begun (The Conflict is won, before the battle begins - The Book of 5 Rings).
If directly confronted, the Panther Stylist would seek to confuse, confound, bluff, cajole, bribe even reason with the attacker. In essence they would seek to join the situation to one where they feel they have the greater control; even to the point of changing the rules of engagement to suit them.
In a way, the Shaolin Panther Stylist may be best compared to Japanese Ninja, not the Assassin aspect, but the method of operations. They would always prefer to avoid a direct confrontation seeking to work out of the background, from the shadows, indirectly through others seeking to surprise, confuse and eliminate (the problem preferably).
In a Martial Art sense you will develop unusual technique, focus on strategies such as hit-and-run coupled with techniques that confound the mind and sense of the attacker. You do not need to be particularly strong as Panther Stylist, nor do you need to be very quick; agility needs not be your strength and not precision. You are a bit of a jack-of-all-trades as far as your skills and abilities and well versed in the usage of techniques, not specializing in any but comfortable in knowing and being able to using most.
Mentally, you need to be a Thinker, Gatherer of (pertinent) Knowledge, lover of Strategies, Unusualities, Oddities et al. You will learn to lay plans and learn from the success and failures; you will learn about the nature of Yin and Yang and the interdependence of opponents. You will also learn that rigid application of anything will make you predictable and thus vulnerable and thus become a master of Chaos, a Chaos based in order. You will be encouraged to learn from the three Great books of Strategy;
1. The 36 Strategies of the Ancients of China
2. Sun Tzu's Book of War
3. The Books of 5 Rings
The Panther Stylist is a very knowledgeable personage that prefers to prepare, plan and perform with a minimum of effort and greatest chance for success, with minimal self involvement or risk.
The Panthers Defence
The greatest defence of all time is "Not Being There", where the attack is to happen or is finding place. The Panther Stylist learns the secrets of the Active and Formative Defence; the Defence that is an Attack and the Defence that is Water. The Panther Stylists learn the skill of the small overcoming the large, the weak overcoming the strong, the slow overcoming the swift and the stupid destroying itself; by confounding, confuses and
The Panthers Attack
As complex as attack go with only one thing in common; for the object of attack it will seem utter chaos. The Panther seeks to wear down the opponent, inflicting small damages, breaks and debilitations. A chipping away at unexpected times, in unexpected ways with dire consequences. The Panther will decide when the attack is over; sometimes allowing it to stop before the utter exhaustion of the opponent, sometimes sooner, sometimes never. Seeming complexity, chaos and utter control over the situation. From the Panthers point of view, well planned, deliver with perfect timing and highest degree of safety and success to the Panther Stylist; for they are the Lords and Ladies of the Animal Styles.
The Panthers Strategy
The Panther is a style of Planning and Strategy. There is a legend of The Ghost Spear Fishers that may best exemplify a Panther strategy and style. In short though, the Panther Stylist is the master of manipulation, star of strategy and application, and a jack of many, many trades. The Panther Stylist may be called lazy, although they would call it intelligence to get others to do the work for them. Some might call them minimalistic, even austere; they would prefer to say that they do not weigh themselves down with the unnecessary. Some might call them schemers and manipulators, the Panther Stylist .. might agree with this.
The Panthers Training
From all the Animal Stylists, it is the Panther that is the most broad based. it is not that they learn everything at once, no, they learn something very well, use it, improve it and move on. Where by the other animals, once they have specialized, mastered and proven their techniques, the Panther Stylist will always look for more, the unusual and the bizarre. A true Panther Stylist though will ensure that what they have learned is well practiced and trailed; well enough that in their own mind they a sure it will be available when they need it.
The Panther Stylist
The ideal Panther is a Thinker. Preferably high IQ, possibly good broad based higher education, a person who is deeply interested in the martial arts. Some Panther Stylist lack the patience to become a Panther and go through life as a bitsa-master (bits of this and bits of that) without really having anything. A Shaolin Panther Stylist will spend some time on each focus, enough to make them as much as a Master before they move on to the next. The principle problems of a Panther are sometimes a lack of reliability, inability to get things done and an expectations that some things will just happen 'magically' for them. Sometimes they are to uninvolved and fence sitters. On the upside, they have the ability of Sharp Insight, Recognition of the Situation, High IQ and EQ coupled with a good ability to research and plan. They are happiest when they are the center of everything with out having to do anything.
The Shaolin Crane
The Art of allowing the unbeatable to defeat themselves!
Whereby the Tiger is Power of the Physical and the Panther is the Power of the Mind, Crane Stylist have the power of Elegance, Patience and Evasion. Whereby the Tiger and Panther are offensive based styles, the Shaolin Crane (and Snake) are defence and counter specialists. The Shaolin Carne does not overcome it's opponents; it allows the opponent to overcome themselves. If you are unfamiliar with the concept, there is a good story of the origins of the Shaolin Crane Style that might interest you.
The concept is well suited, as in the story of the Shaolin student, at person who are not aggressive and prefer not to, or can not, deliver strong and direct strikes on an opponent, even if they are being attacked. The 5 Crane Levels all work on the precept that you can not win with what you have and thus create a situation whereby the attackers strength becomes their weakness. This i believe is one of the cleverest ways of defending but also one of the most difficult, requiring the greatest amount of nerve, skill and agility.
The Cranes Defence
The Crane prefers evasion, redirection and distraction. Strong techniques will be evaded, weak techniques redirected and sudden techniques will be distracted whilst being redirected or evaded. There is no force in the Cranes defence techniques (for the most). It is a style for gentle people who do not wish or can not use force. Thus all attacks against the Crane are used to help the Crane evade and avoid. The Stronger the technique, the better for the Crane Stylist to use the force. A good example of this is the one-legged Crane Stance, whereby the Crane Stylist stand with one leg on the ground and the other with the knee in front of the solar plexus, hands extended. When the attacker rushes in, the Crane 'steps' onto the oncoming attacker with the lifted leg and kicks it self away. if the opportunity is given, it will deliver some type of technique to a vital area, if safe, if possible and if it dose not distract from the evasion.
The Cranes Attack
The Crane Never attacks. The Tiger and Panther are attack specialists the Crane is the Defence, Evade, Avoid, Distract and run away specialist. It may 'sneak in' a technique whilst doing this but it would not attack.
The Cranes Strategy
Don't get hit! Simple and easy. The Shaolin Crane teaches us to specialize in Evasive avoidance having your safety as a number one priority. The Tiger is a 'win-at-any-cost' style; Panther is a 'win-at-the-least-cost', the Crane is a 'don't-loose-or-get-hurt' style. Outmaneuver, outdistance, outlast, are the overriding maxims and almost as an afterthought, striking, if safe, if . . . .etc.
The Cranes Training
The best Shaolin Crane stylists are also good dancers! They move like professional ballerinas not like gymnasts, they evade like water away from a splash, not like a startled mouse, they move like a gliding skater, not a charging bull. The Cranes training is much like learning to dance. Beautiful, economic movements, tight body control, hands out in rest, hands close to the body in movement. For a true Crane stylist, 50% of the training should be in Ballet dancing (not point), 25% in other dance styles and the remaining 25% in sparring and incidental striking.
The Crane Stylist
The ideal Shaolin Crane stylist is a gentle person who for the most could not hurt a fly. They have a strong sense of beauty and elegance, my tend to be a bit peacockish (flamboyant) and very people centered. They can fit into most any group of people seamlessly without effecting the group dynamic, they are peace loving, like people and usually are very kind. The Cranes principle defects are lack of own opinion, tendency to agree (even if they don't) and passive aggressive in nature and style. They are best for group work, teaching, protection of the very vulnerable and weak.
More info on the Shaolin Crane Style . . . .
The Shaolin Snake
What is tried and true, practiced and proven, know and experienced; all else is dispersing mist.
The Shaolin Snake Style is one of Wisdom, Knowledge, Precision, Experience and Clarity. The Snake stylists likes to know that what they are doing is well proven, ordered, with purpose and wise. It is not a style of defence but more a style of bring order, calm and wisdom. The Snake Stylist is predominantly a grappler, capture, hold and control, capture, hold and throw, capture and takedown, capture and go-down, capture and incapacitate. It is a style of order and control not of random strikes; it is a style of power without violence, speed without hast and knowledge without dominance. The Snake Stylist is one of creating order, peace and safety.
The Snake Style is well suited to strong but gentle persons; ones that prefer not to use sudden violence as a means of defence. it is a style that prefers to entangle an attacker, make them overextend themselves, then capture, arrest and force submission. This style is best suited for controlled one-on-one situations as it requires skill, precision and full attention. If there are multiple attackers and the Snake Stylist finds them selves harassed, they will use their striking skills to create and opportunity for their main skill of capturing.
The Snakes Defence
Not being there, where the attacker thought them to be a second ago. Not like the Crane in great leaps and bounds but like a Snake just twisting, ducking, bobbing, turning out of the way. The Snake Stylist moves like a Snake, as if lacking bones, slippery and sinuous. The Snake Stylists main defence is the flexibility, weave-ability, subtle avoidance and very occasional, distracting strikes. As the Snake Stylist you would know of hundreds of maneuvers, combinations and methods of avoiding, controlling and submitting your attacker. You would be like a Chess Master and have studied all that there is to know for your type of personality, body type and strength and then you would work on perfecting it with an energy bordering on obsessions. For if anything, Snake Stylist may seem or even be Obsessive-Compulsive inclined, incessant and even inflexible in many aspects of thinking ( seeming balance with the Snakes Stylists incredible physical flexibility).
The Snakes Attack
The Snake does not attack. It reacts when attacked, it may even get the opponent to attack, but a Snake Stylist does not attack. A Snake always has their enemy come to them, on their terms when the Snake is ready for them. It may again, occasionally strike without warning but as such, it is not an attacking style. Sometimes it may look like the Snake is attacking but it is not (according to it), it just feels that the attacker has encroached on it's space or safety.
The Snakes Strategy
The Snake Stylist has no own strategy but every strategy can become a Snake Strategy. Again, a good comparison is a Chess Master. Every move possible in Chess has been discovered, documented and used; a Snake Stylist would rather spend the time learning every possible Snake maneuver rather than some fruitless trial-and-error game. It would search out person who have been successful in the art and it would seek to understand, emulate and possibly even improve (although, without admitting to this).
The Snakes Training
Physically the Snake would seek to be fit, flexible, enduring and flexible again. Strength would also be important as would looks. Of all the Animal Stylists, the Snakes tend towards physical vanity without ever admitting to it and dressing down to avoid being called a peacock. Yet, the Physical prowess and ability as their presence and looks are of some importance to them. In addition, Snake Stylist would need to be quick of body, hand and foot, well coordinated and able to twist around an attacker. Precision is also very important to find those important pressure points. Mentally, the Snake Stylist would need to specialize (at least initially). As a proper Snake Stylist you would choose either the Healing and Pressure Points (Dim Mak), Physical Strength, Grappling & Joint Locking Knowledge or Speed, Precision and Vital Point (Poison Hand) skills.
The Snake Stylist
The ideal Snake Stylist is one who is truly awed by great achievements in it's field of choice. They would have a great believe in the tried-and-proven rather than 'fancy new stuff'. They may even have, to some degree, a touch of Obsessive-Compulsive disorder or similar that they would use to their advantage to become and expert in what they chose. A Hall mark of Snake Stylists is their apparent unhappiness with their own performance even when other salute them for their mastery. Snake Stylists, in many way may never be truly happy with their achievements, always believing that they can do better.
Completing the Journey
It is not enough to know, one must also do and not do.
Once you have completed the 4 levels you need to discover what you have learned. This is a time where you define what you learn and how you prepare for the completion of the 2nd Shaolin Cycle. What does this mean; it means that you now need to put the 4 animals together and make the sum greater than the individual parts. Telling how this happens would be taking a major part of the journey away from you.
It is enough to say that once you get there you will have help and guidance and if your are really into-it, you will experience more than can easily be imagined.
Sap dukhum ek
Shaolin Snake Kung Fu
The Shaolin Snake teaches us the advantages of knowing Vital Points,
There are though many other vital points which attack the body in many non-lethal ways. Points that do not require the Panthers Strength just the Snakes Precision. These are applied by using the Snakes Head Hand (not striking - that is Panther) by grabbing and holding much like a Tui Na, Acupressure or Shiatsu Practitioner would learn. To be able to apply these points, the Snake need to be a master at Hold and Control techniques, as taught in Shaolin 170 Move Grappling.
The Snakes Coils
Where the Tiger practitioner seeks the key point as quickly and effectively as possible, the Panther practitioner like to play, where the Crane practitioner likes to allow the attacker to beat themselves, the Snake likes to have total physical and mental control over their opponent. Whereas the Tiger Kung Fu practitioner needs to be Strong and Powerful, the Snake practitioner needs to be Strong and Flexible. It needs to be able to avoid (unlike the Tiger) with fluid grace and be able to grab what is offered and use it to control the attacker.
The Snakes Stylist
To be a Snake Stylist you need to be strong and flexible, not the strength of a solid gym workout, but the strength of an enduring grappler. But you also need to have the skill of a medical practitioner in regards to Nerve Nexus, Dragon Centers, Poison Hand access and Pressure Points. You need to want to become a Scientific Grappler and be familiar with the 4 Grappling Ways, Throw (Chinese Fast Wrestling - Throwing Based), Redirect (similar to Aikido - Joint Based), Upright and Ground Grappling.
As a Snake stylist you need to learn all 4 before you can choose to specialize in any one direction. Some stylist believe a broad base knowledge of all 4 is the way to go, others believe that to master one is better than to know all 4. In reality, you need both and this is how Shaolin Academy teaches it.
Shaolin Snake Forms
In practicality, the Snake Forms (Patterns, Routines, Kata . . .) are very complex and thus there are only a few:
1. White Snake Form
2. The Coiling Snake (34 points, walking the circle)
3. Ghost Spear
http://www.shaolin.com.au/snake.html
The Shaolin Snake teaches us the advantages of knowing Vital Points,
There are though many other vital points which attack the body in many non-lethal ways. Points that do not require the Panthers Strength just the Snakes Precision. These are applied by using the Snakes Head Hand (not striking - that is Panther) by grabbing and holding much like a Tui Na, Acupressure or Shiatsu Practitioner would learn. To be able to apply these points, the Snake need to be a master at Hold and Control techniques, as taught in Shaolin 170 Move Grappling.
The Snakes Coils
Where the Tiger practitioner seeks the key point as quickly and effectively as possible, the Panther practitioner like to play, where the Crane practitioner likes to allow the attacker to beat themselves, the Snake likes to have total physical and mental control over their opponent. Whereas the Tiger Kung Fu practitioner needs to be Strong and Powerful, the Snake practitioner needs to be Strong and Flexible. It needs to be able to avoid (unlike the Tiger) with fluid grace and be able to grab what is offered and use it to control the attacker.
The Snakes Stylist
To be a Snake Stylist you need to be strong and flexible, not the strength of a solid gym workout, but the strength of an enduring grappler. But you also need to have the skill of a medical practitioner in regards to Nerve Nexus, Dragon Centers, Poison Hand access and Pressure Points. You need to want to become a Scientific Grappler and be familiar with the 4 Grappling Ways, Throw (Chinese Fast Wrestling - Throwing Based), Redirect (similar to Aikido - Joint Based), Upright and Ground Grappling.
As a Snake stylist you need to learn all 4 before you can choose to specialize in any one direction. Some stylist believe a broad base knowledge of all 4 is the way to go, others believe that to master one is better than to know all 4. In reality, you need both and this is how Shaolin Academy teaches it.
Shaolin Snake Forms
In practicality, the Snake Forms (Patterns, Routines, Kata . . .) are very complex and thus there are only a few:
1. White Snake Form
2. The Coiling Snake (34 points, walking the circle)
3. Ghost Spear
http://www.shaolin.com.au/snake.html
Python style
http://www.dragonslist.com/threads/11260-Question-on-Shaolin-Snake-kung-fu
Python is the Snake style that uses leopard fist, for pinpoint strikes and for grappling purposes. As for which Snake style has the most complex forms, they all are complex, each one starts off with simple forms that progress in difficulty as your skill advances, just depends on what type of complexity as each has different characteristics. The most complex of any Snake style are the forms that combine all three Snakes into one, which requires you to be loose, flexible, and be able to make rapid changes in body and mind, as you might use a Snake technique of one type and then switch to another Snake technique and so have to change your focus, positioning, intent, purpose, and technique style with the speed of lightning. As for which I would rank in order of complexity; 1) Viper, 2) Cobra, 3) Python, but those are just my opinions, another practitioner might give you a different order depending on their body/movement type and personal preferences.
I'll respond to Infrazael first; Viper uses techniques that are a little more "showy" and the theory behind Viper is to inflict serious strikes to veins and arteries, thus effecting the blood flow to the brain, and other areas, and also cause psychological damage from those strikes as well. It tends to use Snake Tongue strikes ( Two-finger strikes). Cobra uses less "showy" techniques, and the theory behind Cobra is to inflict heavy damage to the nervous system by pressure point strikes, a.k.a. Dim-Mak, it tends to use the Snake Head strike, hand bent 90 degrees to the wrist, thumb curled in, and gets straight to the "point" when attacking.
Now, Hum Sop Lao; As for complexity of Snake schools, I would say it is a tie between Emei and Shaolin, both take a long time to learn properly, and get into highly advanced techniques and forms. As for which school dominates in Snake, the three I know/practice are Emei, Shaolin, and Wudan, I would have to say Emei is the best and most effective concerning Snake, though Shaolin is a very close second.
You can get videos for Emei/Wudan Snake from Kungfu Qigong magazine, or their online store, the Emei form is done by Helen Liang and is almost identical to one of our Mei Hua Snake forms, White Headed Serpent, and for video on Shaolin Snake, you can try ESPY TV, I think their site is espy.com, their tapes are done by Rondie Chen, a member of the Beijing Wushu Team, and are pretty good examples of the difficulty of the Shaolin Snake system.
Python is first and foremost a Snake system, but does use grappling techniques in its curriculum. It uses its grappling techniques to lock on to an opponent and either break bones or suffocate by asphyxiation, just as a python does to its prey. Most Snake systems have some type of takedown, but their usage is different than the Jitsu systems use, so to compare between the two styles I would say Jitsu has more broad ranged grappling skills while Python focuses its skills upon the movement of the Snake and how the snake would use them; such as wrapping around and crushing, breaking, suffocating. Hope that clarifies.
Python is the Snake style that uses leopard fist, for pinpoint strikes and for grappling purposes. As for which Snake style has the most complex forms, they all are complex, each one starts off with simple forms that progress in difficulty as your skill advances, just depends on what type of complexity as each has different characteristics. The most complex of any Snake style are the forms that combine all three Snakes into one, which requires you to be loose, flexible, and be able to make rapid changes in body and mind, as you might use a Snake technique of one type and then switch to another Snake technique and so have to change your focus, positioning, intent, purpose, and technique style with the speed of lightning. As for which I would rank in order of complexity; 1) Viper, 2) Cobra, 3) Python, but those are just my opinions, another practitioner might give you a different order depending on their body/movement type and personal preferences.
I'll respond to Infrazael first; Viper uses techniques that are a little more "showy" and the theory behind Viper is to inflict serious strikes to veins and arteries, thus effecting the blood flow to the brain, and other areas, and also cause psychological damage from those strikes as well. It tends to use Snake Tongue strikes ( Two-finger strikes). Cobra uses less "showy" techniques, and the theory behind Cobra is to inflict heavy damage to the nervous system by pressure point strikes, a.k.a. Dim-Mak, it tends to use the Snake Head strike, hand bent 90 degrees to the wrist, thumb curled in, and gets straight to the "point" when attacking.
Now, Hum Sop Lao; As for complexity of Snake schools, I would say it is a tie between Emei and Shaolin, both take a long time to learn properly, and get into highly advanced techniques and forms. As for which school dominates in Snake, the three I know/practice are Emei, Shaolin, and Wudan, I would have to say Emei is the best and most effective concerning Snake, though Shaolin is a very close second.
You can get videos for Emei/Wudan Snake from Kungfu Qigong magazine, or their online store, the Emei form is done by Helen Liang and is almost identical to one of our Mei Hua Snake forms, White Headed Serpent, and for video on Shaolin Snake, you can try ESPY TV, I think their site is espy.com, their tapes are done by Rondie Chen, a member of the Beijing Wushu Team, and are pretty good examples of the difficulty of the Shaolin Snake system.
Python is first and foremost a Snake system, but does use grappling techniques in its curriculum. It uses its grappling techniques to lock on to an opponent and either break bones or suffocate by asphyxiation, just as a python does to its prey. Most Snake systems have some type of takedown, but their usage is different than the Jitsu systems use, so to compare between the two styles I would say Jitsu has more broad ranged grappling skills while Python focuses its skills upon the movement of the Snake and how the snake would use them; such as wrapping around and crushing, breaking, suffocating. Hope that clarifies.
Green Bamboo Viper
Green Bamboo Viper originated on the river banks of Cambodia and made its way up to Southern China and eventually to the Southern Shaolin Temple near Fukien Provence. As it moved up towards Southern China it got more and more refined/sophisticated until it was intigrated into Shoalin. This style of snake uses mostly open hand strikes and few closed hand strikes. It uses low kick such as low hook kicks to the groin area and oblique kicks to the knees. This is the snake style that my grandmaster teaches. His name is GM Wing Loc Johnson Ng. Ng family style kung fu is similiar to Sil Lum Kung Fu with a heavy influence of Six Harmony Kung Fu. You don't learn how to incorporate the Six Harmonies until advanced stages (5th level black sash and above) of training.
http://www.defend.net/deluxeforums/chinese-martial-arts/30079-shaolin-do-debate.html
The snake style that Grandmaster John Ng teaches comes from Bamboo Temple and is the Green Bamboo Viper. It originated on farms in Cambodia near the river banks and made its way up to Southern China. This particular snake style is pretty cool looking and is performed using med/high stances compared to other snake styles that use really low stances. It has more open hand techniques than it does closed hand techniques. But it does have some closed hand/fists in it. Grandmaster John Ng and John Dufresne both teach a snake breathing exercise where you you make your whole body tense/hard while executing different snake strikes and breathing a certain way. This exercise is supposedly to cultivate your chi. This breathing exercise if done right will ware you out.
http://kungfuqigong.com/forum/showthread.php?t=50883
http://www.defend.net/deluxeforums/chinese-martial-arts/30079-shaolin-do-debate.html
The snake style that Grandmaster John Ng teaches comes from Bamboo Temple and is the Green Bamboo Viper. It originated on farms in Cambodia near the river banks and made its way up to Southern China. This particular snake style is pretty cool looking and is performed using med/high stances compared to other snake styles that use really low stances. It has more open hand techniques than it does closed hand techniques. But it does have some closed hand/fists in it. Grandmaster John Ng and John Dufresne both teach a snake breathing exercise where you you make your whole body tense/hard while executing different snake strikes and breathing a certain way. This exercise is supposedly to cultivate your chi. This breathing exercise if done right will ware you out.
http://kungfuqigong.com/forum/showthread.php?t=50883
Snake style is not a shaolin style
http://www.shaolin-society.co.uk/Animal_Styles/The_Snake/the_snake.php
The Snake seems like an animal that does not belong in a Shaolin form, since it lacks legs for rapid movement and by nature is sly and soft, rather than aggressive and powerful. However, those are the reasons why the snake was included in the Shaolin system.
The purpose of the snake form is to develop and cultivate the internal energy (chi). This energy is the essence that gives the martial artist focus and penetrating power far superior to ordinary external strikes.
Since the snake has no arms or legs, the reptile must move with a turning circular action to the body. To be an effective fighter, the snake compensates for its lack of limbs the snake can coil its body and raise straight up, (as does a cobra) into a striking position. From that coiled position, with devastating speed and accuracy, he straightens his body in a strike toward his prey. The snake gains a great power and force from just the momentum and twisting action of his coiled strike.
The other advantage, and perhaps even more important than the snakes unique striking technique, is in developing and releasing internal energy (chi) with every strike. Since he is calm, relaxed animal, the snake possesses much more chi than other animals. Therefore, when he combines his internal energy with his external striking technique. The snake becomes a formidable and powerful adversary.
The snake form differs from the other animals in that through its relaxed floating movements. It delivers a power that is both hard and soft. Most other animal styles utilise a tense, aggressive force to strike down the adversaries. There are no fists to be seen in the snake form the strikes are all penetrating palm and fingertip attacks
The tiger is the opposite of the snake; its strength is strictly external. The tiger movements are noisy and active .The snakes energy is quiet and internal. All snake techniques are of the advanced martial level where blocks and strikes are made simultaneously. There is no difference between offence and defence, since defence instantly becomes offence and vice versa.
The training techniques of the Shaolin snake form incorporate similar techniques to the wing chun sticky hands and the Tai chi chuan pushing hands The snake has a spirit, the practitioner should be able to look inside themselves and feel peaceful and quiet, nothing will bother him/her externally.
THE DRAGON
The Chinese dragon is no relation to the western worlds fire-breathing dragon or to any prehistoric dinosaur like beast. It is strictly a product of spiritual beliefs and is listed in Buddhist text as a supernatural animal that can appear or disappear at will, and make itself any size.
According to Buddhist writings, dragons live in oceans. Since dragons live in large bodies of water, their association with the rest of the world is through water. If a dragon wishes to become visible, anyone can see him. If not, then only those who have reached a high level of enlightenment can view this special animal. The Chinese also believe that dragons produce rain, and when they do decide to make themselves visible they are seen on clouds.
Chinese dragons have snake like bodies covered with scales. They also have lizard like arms and legs that end in sharp claws. The head resembles a snakehead. Since Shaolin martial arts are derived of Buddhist origins, the dragon was a perfect candidate to represent a gungfu form.
As with its mythical namesake, Shaolin dragon form fighting transcends the easily understood real world of external martial martial arts and enters the spiritual world of internal strength and power.
The dragon represents internal strength, although it does have some external training benefits. Since dragons are not actual living beasts, many dragon techniques are variations of the characteristics of other gungfu animals. For instance, dragon movements are soft and circular, similar to, but not exactly like, those of the snake.
However, dragon techniques should not be confused with those of the Shaolin snake. Although both are lizard like, the snake has no legs, while the dragon's claws form an important element of its fighting style.
While Shaolin snake techniques contain softer coiling actions and finger tip strikes, dragon techniques are represented through soft circular movements ending with hard sudden power. Therefore, the snake exhibits only soft power, while the dragon uses a force that represents both hard and soft training.
In the days of the Shaolin temple, dragon training involved specialised exercises called Long Zhua Gong, which were similar to the tiger style exercises of holding heavy jars. The actual dragon movements also encourage the student to use his/her waist to generate power rather than relying on the strength of the shoulders and arms. This useful training habit comes from an imitation of the whip like action of a dragon's long tail.
The dragon forms primary contribution to Shaolin animal styles is its internal conditioning and training, balancing the other animals.
The Snake seems like an animal that does not belong in a Shaolin form, since it lacks legs for rapid movement and by nature is sly and soft, rather than aggressive and powerful. However, those are the reasons why the snake was included in the Shaolin system.
The purpose of the snake form is to develop and cultivate the internal energy (chi). This energy is the essence that gives the martial artist focus and penetrating power far superior to ordinary external strikes.
Since the snake has no arms or legs, the reptile must move with a turning circular action to the body. To be an effective fighter, the snake compensates for its lack of limbs the snake can coil its body and raise straight up, (as does a cobra) into a striking position. From that coiled position, with devastating speed and accuracy, he straightens his body in a strike toward his prey. The snake gains a great power and force from just the momentum and twisting action of his coiled strike.
The other advantage, and perhaps even more important than the snakes unique striking technique, is in developing and releasing internal energy (chi) with every strike. Since he is calm, relaxed animal, the snake possesses much more chi than other animals. Therefore, when he combines his internal energy with his external striking technique. The snake becomes a formidable and powerful adversary.
The snake form differs from the other animals in that through its relaxed floating movements. It delivers a power that is both hard and soft. Most other animal styles utilise a tense, aggressive force to strike down the adversaries. There are no fists to be seen in the snake form the strikes are all penetrating palm and fingertip attacks
The tiger is the opposite of the snake; its strength is strictly external. The tiger movements are noisy and active .The snakes energy is quiet and internal. All snake techniques are of the advanced martial level where blocks and strikes are made simultaneously. There is no difference between offence and defence, since defence instantly becomes offence and vice versa.
The training techniques of the Shaolin snake form incorporate similar techniques to the wing chun sticky hands and the Tai chi chuan pushing hands The snake has a spirit, the practitioner should be able to look inside themselves and feel peaceful and quiet, nothing will bother him/her externally.
THE DRAGON
The Chinese dragon is no relation to the western worlds fire-breathing dragon or to any prehistoric dinosaur like beast. It is strictly a product of spiritual beliefs and is listed in Buddhist text as a supernatural animal that can appear or disappear at will, and make itself any size.
According to Buddhist writings, dragons live in oceans. Since dragons live in large bodies of water, their association with the rest of the world is through water. If a dragon wishes to become visible, anyone can see him. If not, then only those who have reached a high level of enlightenment can view this special animal. The Chinese also believe that dragons produce rain, and when they do decide to make themselves visible they are seen on clouds.
Chinese dragons have snake like bodies covered with scales. They also have lizard like arms and legs that end in sharp claws. The head resembles a snakehead. Since Shaolin martial arts are derived of Buddhist origins, the dragon was a perfect candidate to represent a gungfu form.
As with its mythical namesake, Shaolin dragon form fighting transcends the easily understood real world of external martial martial arts and enters the spiritual world of internal strength and power.
The dragon represents internal strength, although it does have some external training benefits. Since dragons are not actual living beasts, many dragon techniques are variations of the characteristics of other gungfu animals. For instance, dragon movements are soft and circular, similar to, but not exactly like, those of the snake.
However, dragon techniques should not be confused with those of the Shaolin snake. Although both are lizard like, the snake has no legs, while the dragon's claws form an important element of its fighting style.
While Shaolin snake techniques contain softer coiling actions and finger tip strikes, dragon techniques are represented through soft circular movements ending with hard sudden power. Therefore, the snake exhibits only soft power, while the dragon uses a force that represents both hard and soft training.
In the days of the Shaolin temple, dragon training involved specialised exercises called Long Zhua Gong, which were similar to the tiger style exercises of holding heavy jars. The actual dragon movements also encourage the student to use his/her waist to generate power rather than relying on the strength of the shoulders and arms. This useful training habit comes from an imitation of the whip like action of a dragon's long tail.
The dragon forms primary contribution to Shaolin animal styles is its internal conditioning and training, balancing the other animals.
joi, 11 februarie 2010
Fu zhou tiger
Huzun Quan (Tiger Respecting Boxing), also known as Huxing Quan (Tiger Boxing) and Yongfu Huzun (Yongfu County Tiger Boxing) is the traditional Tiger boxing method of Fujian province. It is one of the oldest known styles for which the clawing and powerful methods of Tiger have been influenced from. It is said to be the forerunner of the Southern Guangdong styles such as Hung Gar and of the Karate system known as Uechi Ryu. There are many Southern Tiger Systems that have since developed, Yongfu Tiger Boxing is the parent/ancestral style of many of them and it is the most Tiger centric martial art in China.
Huzun Quan is rare outside of China. The style originated in Yongfu (Now known as Yongtai Country, Fuzhou, Fujian Province China) and is thus why it is also called Yongfu Tiger Boxing. It is a powerful and aggressive martial art which focuses on unrelentlessly attacking often maiming opponents with smashing, ripping blows.
EARLY FUJIAN SOUTHERN BOXING
The southern boxing styles of Fujian have their earlier records to the Southern Song Dynasty. One of the earliest exponents Zhang Ciguan, was said to have practiced the ancient skills of Niu Fa (Cow method) and Hou Fa (Monkey method) in a Daoist sanctuary in YongTai Mingshanshi. In 1176, three daoist disciples Zhang Ciguan, Xiao Faming and Lian Zhongqiang travelled to Longhushan (Dragon Tiger Mountain, in neighbouring Jiangxi Province - The origin of 'religious' Daoism) to study Daoism.
They also wandered around the provinces of Jiangxi, Zhejiang and Fujian. Then they returned to reside and teach in the Mingshanshi. Later Southern styles were also developed and thus the foundation for Fujian martial arts were formed.
ORIGINS OF YONG FU HU ZUN QUAN
Tiger Style was founded in Fujian by Li Yuan Zhu who had studied ancient martial arts such as Niu Fa (Cow Method) and Shi Fa (Lion Methods) amongst many others. After years of practice during his mid years he developed a powerful system of martial arts based on the spirit, strategy and concept of the Tiger. “Zun” (Respect) was addded to the name of the style for two reason. Firstly since in China the Tiger is king of all beast it should be respected. Secondly, because the training in the style is so difficult and demanding then the method should be respected.
Li Yuan Zhu taught two main disciples, Zheng Deng Guang and Li Zhao Bei. It is said that Zheng inherited the essence of the tiger’s kicks “Hu Tui” and Li that of the Tiger’s Claws “Hu Zhua”. Unfortunately it is said that Zheng did not pass his skills completely resulting in a diminishment of that branch, although legend foretells of the powerful kicks that had opponents down in not time. Especially famous was Zheng’s San Hu Wei Tui “3 Tiger Tail Kicks” which were deadly.
Li Zhao Bei however travelled to Fuzhou and opened a school there where he accepted disciples such as Yang San Shan and others. Generations later, Zheng Bu Su (also known asZheng Xianji (1854-1929)) was one of the most famous masters who opened a school in Fuzhou and had taught many disciples, the most well known was Zhou Zi He (One of the most famous fighters in all of Fuzhou’s history). Zhou Zi He mastered many systems of Fujianese martial arts but his most favoured was that of Tiger Style. In fact, Zhou accepted a japanese student who studied some basics and went on to be the founder of Uechi Ryu style Karate.
Zheng Dengguang had taught only a few and nowadays most of Yongtai practices the Li Zhaobei method. Descendants of Zheng had also taught the Gan Family (descendants of Imperial Gan Baoguo) who then propagated the style in the Pingnan county area of Fujian, for generations the style was taught to Gan Family members and led to Pingnan becoming also famous for the Huzunquan Style. Currently up to the 8th generation, masters such as Gan Boen, Gan Daisong, Gan Jiutong and Gan Fuxiong carry on the tradition.
Huzunquan was influential on many styles within Fujian but also in neighbouring provinces such as Zhejiang, Jiangxi and Guangdong.
As a result of the fame of the Huzunquan, many masters developed their own interpretations that then provide a different set of curriculum requirements. The classical Huzunquan, contains many forms but the area all very short. Zhou Zi He added a few sets including his famous 108 set, which is one of the longer sets or the Sun & Moon set that is one of the last known remaining sets from the Zheng Dengguang branch of the style.
Huzunquan (Tiger Boxing) is based on the fierceness and ruthlessness of the tiger, motions are powerful heavy and destructive. In addition to direct powerful striking, the style also emphasises clawing, locking and trapping methods including Chin-na and associated Dian Xue(Vital Point attacking).
A basic notion in the style is that of the 6 harmonies:
*
Shen [Body] (inlcuding tendons, bones, skin) that covers all manifestations of the body including all the joints, and sinews.
*
Ben Shou [ Basic Hands] these are manifestation of power through the limbs by the associated joints and components.
*
Ma [Horse] represents all stance and footwork methods. In stillness like a rock in motion light and nimble.
*
Jing [Essence] : The vitality of life that shoud be conserved and promoted through nourishment.
*
Qi [Energy] : The internal energy supporting all movements, the development and nourishment of that energy Shen[Spirit] :The vitality and manifestation of the spirit through the doors such as the eyes.
Another feature of Huzunquan and of fujian martial arts in general are the comprehension of the 5 elemental hands and the supporting requirements of the 4 methods.
Hu Jing (Tiger Power) is a description of the type of power manifested by a Huzunquan practitioner. The most fundamental jing manifestation is that of understanding jing (Dong Jing) and listening jijng (Ting Jing) which are prerequisites to developing Hu Jing. With Hu Jing it is the transmission of all power concentrated into a particular component or surface of attack. Hu Jing in its true manifestion is like a tidal wave which is seen, felt even understood by it cannot be stopped by a single individual its power would surpass anything withstanding it and destroy it with a single strike. Huzunquan truly believes in a single strike kill philosophy.
GONG FA (SKILLS TRAINING)
The most important aspect of training in Huzunquan is known as Gong Fa (Power/Skill Methods) as it provides the strengthening (both internal and external) and skills that form the foundation for the effective use of the techniques in the style. Without the skill training Huzunquan would be empty for the power is the most fundamental of all the learnings of the style.
Some of the methods include:
*
Zhanzhuang (Post standing exercise)
*
Yuanqi (the qigong training)
*
Zhishou (branch hands, including single and double practices)
*
Da Shabao (Striking sandbags)
*
Wuwushi (Practice with rocks and stones)
*
Wushisuo (practice with the stone locks)
*
WuTiedadao (exercises with heavy iron rods or long handled knife)
*
Chayong (piercing practices for the fingers)
*
Zhua Jiutan (grabbing liquor jugs/pots for the exercises of grips
*
Da Muzhuan (Striking the wooden dummy) and more.
Originally, Gong fa was practiced for a few years prior to learning techniques and in the past the strengthening combined with San Zhan/San Jian would be all that a student would learn for three years daily. The development of the Gongfa then proceeds alongside the technical and training of the very many drills of the style.
TECHNIQUES PRACTICE
There are many basic methods in addition to the Gong Fa (Skill Training) which we practice individually that help to mould body structure, power and of course technique. Some of these include:
*
Er Hu Pu Shi (Hungry Tiger Pounces on Prey)
*
Meng Hu Qin Yang (Fierce Tiger Holds Goat)
*
Ba Xian Zhang (8 Immortals Palms)
*
Lian Zhu Chui (Continuous Pearls Strikes)
*
Hei Hu tao Xin (Black Tiger Rips out the Heart)
*
Ri Yue Jiao (Sun Moon Kick)
*
Li Pi Hua Shan (Splitting Mt Hua)
*
Ye Hu Chu Lin (Night Tiger Exits Forest)
*
Huang Niu Tiao Jiao (Yellow Ox Incite Clash)
*
Lao Hu Xi Lian (Old Tiger Washes Face)
*
Meng Hu Xi Zhua (Fierce Tiger Cleans Paws)
*
Guan Gong La Xu (Kwan Kung Strokes Beard)
SYSTEM
The study of forms are basically to introduce progressively more techniques into the student's arsenal. In Huzunquan, the number of forms are historically many but since they are not as important as the other features of the style which are power and combat orientated, many of the sets have been lost as many masters practice only a few key ones. Each set introduces the practice of new techniques and as a result are often named after the key techniques which it emphasizes. Forms in Huzunquan are not long (about 30 techniques on average) and they are movement wise simple, however to train and practice properly with the right skill and Hu Jing is very difficult. Some of the most common sets are:
*
San Jian (3 Arrows)/San Zhan (3 Battles)
*
Si Men (4 Doors)
*
Jiao Duan (Short Angles)
*
San Shi Liu Shou (36 Hands)
*
Jian Shou (Arrow Hands)
*
Ba Gua (8 Trigrams)
*
Qian Zi Da (Character '千' Striking)
*
Meng Hu Xia Shan (Fierce Tigers Descends the Mountain)
*
Meng Hu Shen Zhua (Fierce Tigers Stretches Claws/Paws)
*
Meng Hu Guo Gang (Fierce Tigers passes the guarded post)
*
Meng Hu Chu Lin (Fierce Tiger exits the forest)
*
Meng Hu Chu Dong (Fierce Tiger Exits the Cave)
*
Tai Zi You Cheng (Young Prince roams the city)
*
Ri Yue Lian Huan Jiao (Sun and Moon continuous kicks)
*
Pu Di Hu (Pouncing on the ground Tiger)
*
Guan Gong La Xu (Kwan Kung Strokes Beard)
*
Guan Gong Bao Dao (Kwan Kung Holds Knife)
*
Guan Gong Tuo Li (Kwan Kung Drags Force)
Combat Sets
*
Shuang Hu Die (Double Pouncing Tigers)
*
Liang Hu Xiang Dou (Two Tigers Battlle)
*
Dui Chan (2 Man Trident Set)
Weapons
*
Ba Gua Gun (Bagua Staff)
*
Liu Zhuang Gun (6 Posts Staff)
*
Qi Mei Chan (Eyebrow height trident)
*
Mao Jia Cha (Brush Structured Trident)
*
Mei Hua Gun (Plum Blossom Staff)
*
Lang Ba (Wolf Club)
*
San Cha Chui (3 Point Tiger Fork)
*
Lu Xing Bang (Deer Staff)
*
Ban Deng (Bench)
http://www.satirio.com/ma/huzun/methodology.html
Huzun Quan is rare outside of China. The style originated in Yongfu (Now known as Yongtai Country, Fuzhou, Fujian Province China) and is thus why it is also called Yongfu Tiger Boxing. It is a powerful and aggressive martial art which focuses on unrelentlessly attacking often maiming opponents with smashing, ripping blows.
EARLY FUJIAN SOUTHERN BOXING
The southern boxing styles of Fujian have their earlier records to the Southern Song Dynasty. One of the earliest exponents Zhang Ciguan, was said to have practiced the ancient skills of Niu Fa (Cow method) and Hou Fa (Monkey method) in a Daoist sanctuary in YongTai Mingshanshi. In 1176, three daoist disciples Zhang Ciguan, Xiao Faming and Lian Zhongqiang travelled to Longhushan (Dragon Tiger Mountain, in neighbouring Jiangxi Province - The origin of 'religious' Daoism) to study Daoism.
They also wandered around the provinces of Jiangxi, Zhejiang and Fujian. Then they returned to reside and teach in the Mingshanshi. Later Southern styles were also developed and thus the foundation for Fujian martial arts were formed.
ORIGINS OF YONG FU HU ZUN QUAN
Tiger Style was founded in Fujian by Li Yuan Zhu who had studied ancient martial arts such as Niu Fa (Cow Method) and Shi Fa (Lion Methods) amongst many others. After years of practice during his mid years he developed a powerful system of martial arts based on the spirit, strategy and concept of the Tiger. “Zun” (Respect) was addded to the name of the style for two reason. Firstly since in China the Tiger is king of all beast it should be respected. Secondly, because the training in the style is so difficult and demanding then the method should be respected.
Li Yuan Zhu taught two main disciples, Zheng Deng Guang and Li Zhao Bei. It is said that Zheng inherited the essence of the tiger’s kicks “Hu Tui” and Li that of the Tiger’s Claws “Hu Zhua”. Unfortunately it is said that Zheng did not pass his skills completely resulting in a diminishment of that branch, although legend foretells of the powerful kicks that had opponents down in not time. Especially famous was Zheng’s San Hu Wei Tui “3 Tiger Tail Kicks” which were deadly.
Li Zhao Bei however travelled to Fuzhou and opened a school there where he accepted disciples such as Yang San Shan and others. Generations later, Zheng Bu Su (also known asZheng Xianji (1854-1929)) was one of the most famous masters who opened a school in Fuzhou and had taught many disciples, the most well known was Zhou Zi He (One of the most famous fighters in all of Fuzhou’s history). Zhou Zi He mastered many systems of Fujianese martial arts but his most favoured was that of Tiger Style. In fact, Zhou accepted a japanese student who studied some basics and went on to be the founder of Uechi Ryu style Karate.
Zheng Dengguang had taught only a few and nowadays most of Yongtai practices the Li Zhaobei method. Descendants of Zheng had also taught the Gan Family (descendants of Imperial Gan Baoguo) who then propagated the style in the Pingnan county area of Fujian, for generations the style was taught to Gan Family members and led to Pingnan becoming also famous for the Huzunquan Style. Currently up to the 8th generation, masters such as Gan Boen, Gan Daisong, Gan Jiutong and Gan Fuxiong carry on the tradition.
Huzunquan was influential on many styles within Fujian but also in neighbouring provinces such as Zhejiang, Jiangxi and Guangdong.
As a result of the fame of the Huzunquan, many masters developed their own interpretations that then provide a different set of curriculum requirements. The classical Huzunquan, contains many forms but the area all very short. Zhou Zi He added a few sets including his famous 108 set, which is one of the longer sets or the Sun & Moon set that is one of the last known remaining sets from the Zheng Dengguang branch of the style.
Huzunquan (Tiger Boxing) is based on the fierceness and ruthlessness of the tiger, motions are powerful heavy and destructive. In addition to direct powerful striking, the style also emphasises clawing, locking and trapping methods including Chin-na and associated Dian Xue(Vital Point attacking).
A basic notion in the style is that of the 6 harmonies:
*
Shen [Body] (inlcuding tendons, bones, skin) that covers all manifestations of the body including all the joints, and sinews.
*
Ben Shou [ Basic Hands] these are manifestation of power through the limbs by the associated joints and components.
*
Ma [Horse] represents all stance and footwork methods. In stillness like a rock in motion light and nimble.
*
Jing [Essence] : The vitality of life that shoud be conserved and promoted through nourishment.
*
Qi [Energy] : The internal energy supporting all movements, the development and nourishment of that energy Shen[Spirit] :The vitality and manifestation of the spirit through the doors such as the eyes.
Another feature of Huzunquan and of fujian martial arts in general are the comprehension of the 5 elemental hands and the supporting requirements of the 4 methods.
Hu Jing (Tiger Power) is a description of the type of power manifested by a Huzunquan practitioner. The most fundamental jing manifestation is that of understanding jing (Dong Jing) and listening jijng (Ting Jing) which are prerequisites to developing Hu Jing. With Hu Jing it is the transmission of all power concentrated into a particular component or surface of attack. Hu Jing in its true manifestion is like a tidal wave which is seen, felt even understood by it cannot be stopped by a single individual its power would surpass anything withstanding it and destroy it with a single strike. Huzunquan truly believes in a single strike kill philosophy.
GONG FA (SKILLS TRAINING)
The most important aspect of training in Huzunquan is known as Gong Fa (Power/Skill Methods) as it provides the strengthening (both internal and external) and skills that form the foundation for the effective use of the techniques in the style. Without the skill training Huzunquan would be empty for the power is the most fundamental of all the learnings of the style.
Some of the methods include:
*
Zhanzhuang (Post standing exercise)
*
Yuanqi (the qigong training)
*
Zhishou (branch hands, including single and double practices)
*
Da Shabao (Striking sandbags)
*
Wuwushi (Practice with rocks and stones)
*
Wushisuo (practice with the stone locks)
*
WuTiedadao (exercises with heavy iron rods or long handled knife)
*
Chayong (piercing practices for the fingers)
*
Zhua Jiutan (grabbing liquor jugs/pots for the exercises of grips
*
Da Muzhuan (Striking the wooden dummy) and more.
Originally, Gong fa was practiced for a few years prior to learning techniques and in the past the strengthening combined with San Zhan/San Jian would be all that a student would learn for three years daily. The development of the Gongfa then proceeds alongside the technical and training of the very many drills of the style.
TECHNIQUES PRACTICE
There are many basic methods in addition to the Gong Fa (Skill Training) which we practice individually that help to mould body structure, power and of course technique. Some of these include:
*
Er Hu Pu Shi (Hungry Tiger Pounces on Prey)
*
Meng Hu Qin Yang (Fierce Tiger Holds Goat)
*
Ba Xian Zhang (8 Immortals Palms)
*
Lian Zhu Chui (Continuous Pearls Strikes)
*
Hei Hu tao Xin (Black Tiger Rips out the Heart)
*
Ri Yue Jiao (Sun Moon Kick)
*
Li Pi Hua Shan (Splitting Mt Hua)
*
Ye Hu Chu Lin (Night Tiger Exits Forest)
*
Huang Niu Tiao Jiao (Yellow Ox Incite Clash)
*
Lao Hu Xi Lian (Old Tiger Washes Face)
*
Meng Hu Xi Zhua (Fierce Tiger Cleans Paws)
*
Guan Gong La Xu (Kwan Kung Strokes Beard)
SYSTEM
The study of forms are basically to introduce progressively more techniques into the student's arsenal. In Huzunquan, the number of forms are historically many but since they are not as important as the other features of the style which are power and combat orientated, many of the sets have been lost as many masters practice only a few key ones. Each set introduces the practice of new techniques and as a result are often named after the key techniques which it emphasizes. Forms in Huzunquan are not long (about 30 techniques on average) and they are movement wise simple, however to train and practice properly with the right skill and Hu Jing is very difficult. Some of the most common sets are:
*
San Jian (3 Arrows)/San Zhan (3 Battles)
*
Si Men (4 Doors)
*
Jiao Duan (Short Angles)
*
San Shi Liu Shou (36 Hands)
*
Jian Shou (Arrow Hands)
*
Ba Gua (8 Trigrams)
*
Qian Zi Da (Character '千' Striking)
*
Meng Hu Xia Shan (Fierce Tigers Descends the Mountain)
*
Meng Hu Shen Zhua (Fierce Tigers Stretches Claws/Paws)
*
Meng Hu Guo Gang (Fierce Tigers passes the guarded post)
*
Meng Hu Chu Lin (Fierce Tiger exits the forest)
*
Meng Hu Chu Dong (Fierce Tiger Exits the Cave)
*
Tai Zi You Cheng (Young Prince roams the city)
*
Ri Yue Lian Huan Jiao (Sun and Moon continuous kicks)
*
Pu Di Hu (Pouncing on the ground Tiger)
*
Guan Gong La Xu (Kwan Kung Strokes Beard)
*
Guan Gong Bao Dao (Kwan Kung Holds Knife)
*
Guan Gong Tuo Li (Kwan Kung Drags Force)
Combat Sets
*
Shuang Hu Die (Double Pouncing Tigers)
*
Liang Hu Xiang Dou (Two Tigers Battlle)
*
Dui Chan (2 Man Trident Set)
Weapons
*
Ba Gua Gun (Bagua Staff)
*
Liu Zhuang Gun (6 Posts Staff)
*
Qi Mei Chan (Eyebrow height trident)
*
Mao Jia Cha (Brush Structured Trident)
*
Mei Hua Gun (Plum Blossom Staff)
*
Lang Ba (Wolf Club)
*
San Cha Chui (3 Point Tiger Fork)
*
Lu Xing Bang (Deer Staff)
*
Ban Deng (Bench)
http://www.satirio.com/ma/huzun/methodology.html
Fu zhou tiger
http://forum.kungfumagazine.com/forum/archive/index.php/t-16453.html
View Full Version : Anybody know anything about Fuzhou Tiger Boxing and its Forms
FIRE HAWK
09-26-2002, 09:46 PM
This Fuzhou Tigerboxing has 6 forms does anybody know anything about it or its forms or know of any teachers who teach it ?
Shaolin Master
09-26-2002, 10:43 PM
The name of the Style is "Hu Zun Quan" [Tiger Conquering Fist] it is the traditional Tiger style of Fujian. Quantity of forms is not important but lets just say we have 4 real forms and others developed in the last few hundred years, some emphasis powers or 5 elements and others are technique based.
Eg.
SanZhan, WuBen, LiaoZhuen, BakuaChui, 16LienBu, 36, 72, 108, MengHu, HeiHu, BaiHu etc....
This is taught in FuZhou but also in other areas nearby, there are minor differences but most descend their art from Ancestor Zhou a great famous teacher of Fujian.
The art is also found in Singapore/Malaysia and Australia.
It is also said to have influenced Uechi Ryu Karate in the past well only at the basic level.
The most important set is SanZhan (3 Battles) it is the most basic and most advanced form and is also the Qigong training form as a prerequisite to learning "iron body" for those that wish to.
I will be in FuZhou very soon to study Ji quan (Chicken Fist) from my uncle who is a grandstudent of Master Zhou, and thus specialises in the 7 arts of Fuzhou (Chicken, Dog, Tiger.....etc)
My students in Australia are also practitioners of 'HuZunQuan'. The art is practical and efficient nothing for show, it is a hard powerful style emphasising maiming attacks with pure unstoppable strength.
Rgds,
Wu Chan Long
NanChang, JiangXi Prov, PRC
diego
09-26-2002, 11:57 PM
Would i be correct to assume thier is no weblinks for this system?.
FIRE HAWK
09-27-2002, 12:08 AM
I was asking about this Fujian Tigerboxing style for a friend who mentioned it to me i could not find any websites on the style but shaolin Master new about the style thanks for the information Shaolin Master .
Shaolin Master
09-27-2002, 01:30 AM
Unfortunately I don't have the time or resources to complete the work on our website ..... but in a few months all our archives will be placed back into the site.....at the moment the site is empty.
It is www.authenticshaolin.com :
It will include information on many rare styles (well rare in the west but popular in China) of the following :
Fujian (Tiger, Dragon, Chicken, Dog, Confucius, Fish, etc..)
Wudang (ZhaoBaoTJQ, Wudang TJQ, TaiYiWuXing)
Chuo Jiao, Fan Zi, Zui Ba Xian, Mi Zong, etc .............
These are the systems that are practised & taught by members of Team ASI in Sydney, Australia and soon in NanChang, China.
Currently I am in China for around 1-3 years, so I will posting as required.
For information or to be informed of when the site will be uploaded, please send an email (introduce yourself) to : sifu@authenticshaolin.com and I will add you to the mailing list
Regards,
Wu Chan Long
Crimson Phoenix
09-27-2002, 02:05 AM
Shaolin Master,
Do you happen to know this website: www.wushuscholar.com
They carry videos (gotta subscribe though) of southern styles from Fuzhou, ZhangZhou, YongChun, and I remember having seen some (I juts saw the comments, since I didn't subscribe) about dog, chicken and many more.
Do you know the masters? What do you think in case you have seen the vids? Just wondering...
Thanks in advance for your reply
Shaolin Master
09-27-2002, 07:00 PM
First time to see the site, thanks for the link.
Well, I am poor so as you know $15US is about 125Y and on that much I can eat for almost a month :D [China doesn't pay too well]
But I went through some names and I have heard of the following :
Zhang Jing Wu (Luohan)
Ruan Dong (Ming He)
Yu Wen Zhong (Shi He)
They are well known, as I have not seen the vid clips I can't say ....if only we had a free browse that would be good :).
However, it seems like a very interesting site and an excellent step forward for the Fujian martial arts community.
Cheers,
Wu Chan Long
NARVAL
09-28-2002, 11:31 AM
Hi Shaolin Master,
What is the connection between Fujian dragon and Dongjiang dragon?
Thank you in advance.
Shaolin Master
10-03-2002, 07:24 PM
Narval,
DongJiang LongXingQuan is highly influenced by KeJia concepts that were manifested in the are initially by the teachings of Hai Feng. Although Hai Feng's were originated from the fujian regions it was a different specialty to that of the Fujian dragon style which flourished in other areas. Da Yu He Xiang was said to be related to the same school of thought as Hai Feng, it is for this reason that the skills of MoQiao, BuBuTui, etc remained consistent fundamentals as both Lin Yu Guai's family and his later skills had invariant similarities. Therefore it could be said that the KeJia DongJiang LongXingMoQiaoQuan is a different manifestation and that both styles share similarities only in name not in skill nor specialisation. Of course this is not absolute as in particular plateaus of martial attainment most styles can be found to contain a similar root. In addition there are two styles of Dragon in Fujian, to discuss those we would need another thread.
Regards
Wu Chan Long
NARVAL
10-04-2002, 12:12 AM
Shaolin Master
Thank you very much for the clarification.
Regards
EAZ
10-07-2002, 01:34 AM
Une vraie boite de Pandore pour toi ma foi, c'est histoires de Dragon! Super intéressant!
Peut-etre vont-il aider a consolider ou a détruire ta theorie générale sur la construction theorique de l'ensemble des arts martiaux à la fin du 19eme siècle !
;-)
(On mange ensemble un de ces 4?)
EAZ
NARVAL
10-07-2002, 05:16 AM
Disons plutôt que qu’avant cette époque (“avant” je signifiant pas nécessairement "jusqu’à”... who knows...), je ne suis pas certain que la sociologie des arts martiaux et leur mode de transmission principalement oral aient facilité la formalisation et la diffusion d’un corpus théorique comme celui auquel tu te réfères.
Je crois en revanche volontiers que les arts martiaux ayant été exposés à tous les courants de pensée et toutes les techniques (médicales etc.) ayant traversé la société chinoise au cours de sa longue histoire, ils en sont pénetrés de longue date de plein de manières différentes.
Pour ce qui est de manger, volontiers. Je te passe un coup de tél.
View Full Version : Anybody know anything about Fuzhou Tiger Boxing and its Forms
FIRE HAWK
09-26-2002, 09:46 PM
This Fuzhou Tigerboxing has 6 forms does anybody know anything about it or its forms or know of any teachers who teach it ?
Shaolin Master
09-26-2002, 10:43 PM
The name of the Style is "Hu Zun Quan" [Tiger Conquering Fist] it is the traditional Tiger style of Fujian. Quantity of forms is not important but lets just say we have 4 real forms and others developed in the last few hundred years, some emphasis powers or 5 elements and others are technique based.
Eg.
SanZhan, WuBen, LiaoZhuen, BakuaChui, 16LienBu, 36, 72, 108, MengHu, HeiHu, BaiHu etc....
This is taught in FuZhou but also in other areas nearby, there are minor differences but most descend their art from Ancestor Zhou a great famous teacher of Fujian.
The art is also found in Singapore/Malaysia and Australia.
It is also said to have influenced Uechi Ryu Karate in the past well only at the basic level.
The most important set is SanZhan (3 Battles) it is the most basic and most advanced form and is also the Qigong training form as a prerequisite to learning "iron body" for those that wish to.
I will be in FuZhou very soon to study Ji quan (Chicken Fist) from my uncle who is a grandstudent of Master Zhou, and thus specialises in the 7 arts of Fuzhou (Chicken, Dog, Tiger.....etc)
My students in Australia are also practitioners of 'HuZunQuan'. The art is practical and efficient nothing for show, it is a hard powerful style emphasising maiming attacks with pure unstoppable strength.
Rgds,
Wu Chan Long
NanChang, JiangXi Prov, PRC
diego
09-26-2002, 11:57 PM
Would i be correct to assume thier is no weblinks for this system?.
FIRE HAWK
09-27-2002, 12:08 AM
I was asking about this Fujian Tigerboxing style for a friend who mentioned it to me i could not find any websites on the style but shaolin Master new about the style thanks for the information Shaolin Master .
Shaolin Master
09-27-2002, 01:30 AM
Unfortunately I don't have the time or resources to complete the work on our website ..... but in a few months all our archives will be placed back into the site.....at the moment the site is empty.
It is www.authenticshaolin.com :
It will include information on many rare styles (well rare in the west but popular in China) of the following :
Fujian (Tiger, Dragon, Chicken, Dog, Confucius, Fish, etc..)
Wudang (ZhaoBaoTJQ, Wudang TJQ, TaiYiWuXing)
Chuo Jiao, Fan Zi, Zui Ba Xian, Mi Zong, etc .............
These are the systems that are practised & taught by members of Team ASI in Sydney, Australia and soon in NanChang, China.
Currently I am in China for around 1-3 years, so I will posting as required.
For information or to be informed of when the site will be uploaded, please send an email (introduce yourself) to : sifu@authenticshaolin.com and I will add you to the mailing list
Regards,
Wu Chan Long
Crimson Phoenix
09-27-2002, 02:05 AM
Shaolin Master,
Do you happen to know this website: www.wushuscholar.com
They carry videos (gotta subscribe though) of southern styles from Fuzhou, ZhangZhou, YongChun, and I remember having seen some (I juts saw the comments, since I didn't subscribe) about dog, chicken and many more.
Do you know the masters? What do you think in case you have seen the vids? Just wondering...
Thanks in advance for your reply
Shaolin Master
09-27-2002, 07:00 PM
First time to see the site, thanks for the link.
Well, I am poor so as you know $15US is about 125Y and on that much I can eat for almost a month :D [China doesn't pay too well]
But I went through some names and I have heard of the following :
Zhang Jing Wu (Luohan)
Ruan Dong (Ming He)
Yu Wen Zhong (Shi He)
They are well known, as I have not seen the vid clips I can't say ....if only we had a free browse that would be good :).
However, it seems like a very interesting site and an excellent step forward for the Fujian martial arts community.
Cheers,
Wu Chan Long
NARVAL
09-28-2002, 11:31 AM
Hi Shaolin Master,
What is the connection between Fujian dragon and Dongjiang dragon?
Thank you in advance.
Shaolin Master
10-03-2002, 07:24 PM
Narval,
DongJiang LongXingQuan is highly influenced by KeJia concepts that were manifested in the are initially by the teachings of Hai Feng. Although Hai Feng's were originated from the fujian regions it was a different specialty to that of the Fujian dragon style which flourished in other areas. Da Yu He Xiang was said to be related to the same school of thought as Hai Feng, it is for this reason that the skills of MoQiao, BuBuTui, etc remained consistent fundamentals as both Lin Yu Guai's family and his later skills had invariant similarities. Therefore it could be said that the KeJia DongJiang LongXingMoQiaoQuan is a different manifestation and that both styles share similarities only in name not in skill nor specialisation. Of course this is not absolute as in particular plateaus of martial attainment most styles can be found to contain a similar root. In addition there are two styles of Dragon in Fujian, to discuss those we would need another thread.
Regards
Wu Chan Long
NARVAL
10-04-2002, 12:12 AM
Shaolin Master
Thank you very much for the clarification.
Regards
EAZ
10-07-2002, 01:34 AM
Une vraie boite de Pandore pour toi ma foi, c'est histoires de Dragon! Super intéressant!
Peut-etre vont-il aider a consolider ou a détruire ta theorie générale sur la construction theorique de l'ensemble des arts martiaux à la fin du 19eme siècle !
;-)
(On mange ensemble un de ces 4?)
EAZ
NARVAL
10-07-2002, 05:16 AM
Disons plutôt que qu’avant cette époque (“avant” je signifiant pas nécessairement "jusqu’à”... who knows...), je ne suis pas certain que la sociologie des arts martiaux et leur mode de transmission principalement oral aient facilité la formalisation et la diffusion d’un corpus théorique comme celui auquel tu te réfères.
Je crois en revanche volontiers que les arts martiaux ayant été exposés à tous les courants de pensée et toutes les techniques (médicales etc.) ayant traversé la société chinoise au cours de sa longue histoire, ils en sont pénetrés de longue date de plein de manières différentes.
Pour ce qui est de manger, volontiers. Je te passe un coup de tél.
miercuri, 10 februarie 2010
Pigua zhang
The counterpart of Baji Quan is the Piqua Zhang, or Splitting and Deflecting Palm. While the movements of Baji Quan are short and linear, the movements of Piqua Zhang are circular and far reaching. Thus, the Piqua system is most effective for reaching out to opponents. Derived from the movements of the snake and eagle, Piqua Zhang is a relatively soft system compared to the hardness found in Baji Quan. Even though Baji and Piqua are two independent styles, it is best to practice both because they can complement each other by enhancing the yin and yang within each style.
Sap dukhum
There are several Chinese martial arts known as Snake Boxing or Fanged Snake Style (Chinese: 蛇拳; pinyin: shéquán; literally "snake fist") which imitate the movements of snakes. It is a style of Sholin Boxing. Proponents claim that adopting the fluidity of snakes allows them to entwine with their opponents in defense and strike them from angles they wouldn't expect in offense. Snake style is said to especially lend itself to applications with the Chinese straight sword. The snake is also one of the animals imitated in Yang familyTai Ji Quan Baguazhang and Xingyiquan. The sinuous, fluid motion of the snake lends itself to the practical theory that underlies the "soft" martial arts.[1]
Different snake styles imitate different movements of snakes. Some, for example, imitate the Cylindrophiidae, while others imitate the python, while some schools imitate other types of snakes, like the Cobra. There are two unrelated, Northern and Southern snake styles.
Northern Style
Snake is one of the archetypal Five Animals of Chinese martial arts; the other four being Crane, Tiger, Leopard, and Dragon.[2]
These five animals originally represented the five classical Chinese elements before developing into their own styles. Dragon is usually Earth, Tiger is Fire, Crane is Metal, Snake is Water, and Leopard is Wood. Since they were derived from the Five Elements, they are kept in this pattern. At this point many styles delve into more advanced animal training or actual element training. The Taoist temples of the Wudang Mountains were known to have produced many snake stylists.
Snake style is based on whipping or rattling power which travels up the spine to the fingers, or in the case of the rattler, the body shake which travels down the spine to the tip of the tailbone. The ability to sinuously move, essentially by compressing one's stomach/abdominal muscles, is very important. Footing is quite grounded. The stancework is fluid in order to maximize the whipping potential of any movement. This necessitates building a strong spine to contain the power and strong fingers to convey the strike. Since breath is important to any movement of the spine and ribs, snake style is considered one of the main styles which eventually led to internal training. Snake style is also known as an approach to weapons training, the Chinese straight sword and spear in particular. There are even specialty varieties of sword blades and spear points that curve back and forth down the length of the blade in imitation of the snake's body known as snake sword and snake spear.
Snake Style generally aims for weak points of the human body, such as eyes, groin and joints.
[edit] Southern Style
There is also an obscure Southern Snake Style (Chinese: 蛇形刁手, pronounced as "she ying dil sao") whose grand master was Leung Tin Chu who was born in the late 1800s and became well known as he ranked 4th in one of Nanking's Martial Art examinations in late 1929. His style, inherited from Yau Lung Kong, was an amalgamation of Southern Shaolin style and Choy Gar style learned from a Choy grandmaster. He had two main disciples, his nephew Master Leung Gar Fong of Hong Kong and the late Master Wong Tin Yuen who taught this style at his Kin Man Martial Arts studio on Sacramento Street in San Francisco for forty years since late 1930. The pugilistic style is best described as a mid-distance fighting style, using, by coincidence, some Wing Chun-like techniques in Hung Gar-like forms. That attests to the Southern Shaolin origin of this style and its close relationship to other styles originating from Southern Shaolin. In fact Yau Lung Kong first learned from the Choy's family, but he did not have the privilege to all the secrets. Being less than satisfied he enrolled himself at the Southern Shaolin temple years and later combined all that he learned into this snake style("She Ying Dil Sao"). It would best be described it as a "Choy-Fut" style("fut" means buddha, a respectful address for deceased monks). Of course different "fut's" from the Southern Shaolin temple would pass on similar but different techniques or idiosyncratic execution of the same basic techniques. In this style of snake kung fu the force and techniques are softer than traditional southern styles. Besides straight punches and bong shou as widely used in Wing Chun, this style also employs butterfly-buddha palms, the hook, upper cut, and gui quen (back fist) as central techniques. Biu tze (thrusting fingers) techniques resembling snake attacks are the secrets, and hence, the name of this style. There are multiple kicking techniques, as varied as typical northern styles with high kicks, but also typical are below-the-knee kicks seen in southern styles. There are six fist sets, two stick sets, single sword, short double swords, and other traditional weapons.
Uses in fiction
* The style gained prominence in Jackie Chan's film Snake in the Eagle's Shadow
* The fictional character Kwai Chang Caine used elements of Snake Kung Fu in the television series Kung Fu
* It is the fighting style used by the video game character Christie from the Dead or Alive fighting game series.
* In Mortal Kombat: Deadly Alliance and Mortal Kombat: Armageddon, Snake is the primary fighting style of Shang Tsung. In Mortal Kombat: Deception, however, Havik uses Snake as his primary fighting style.
* Tekken's Lei Wulong uses Snake as well as four other animal styles as his fighting style.
* There was also a snake master who is actually a snake herself in the movie Kung Fu Panda played by Lucy Liu[3]
* In Avatar: The Last Airbender Azula's friend and bodyguard Ty Lee utilizes snake style.
The Southern Shaolin Temple in Fukien Province was sometimes known as the snake temple. Snake style kung fu was practiced at this temple as well as dragon kung fu and praying mantis kung fu. Fukien temple was a refuge for the Henon Temple monks when that temple was destroyed. With them they brought all their martial knowledge they had.
The snake style of green bamboo viper is one of the five subsets that was taught at the Southern Shaolin Temple. This particular form of snake fist originated in Cambodia and worked its way up to China. As it was integrated into Shaolin it got more refined and sophisticated. The green bamboo viper is the snake style taught in the United States by Grandmaster Wing Loc Johnson Ng. There were four other snake styles that were taught at this particular Shaolin temple. They other 4 were water snake, shadow snake, king cobra, and Golden snake. These five type snakes make up the southern snake style system. Snake style kung fu is considered to be a highly advanced form of fighting due to the use of internal energy (chi) and the specialized breathing techniques.
Different snake styles imitate different movements of snakes. Some, for example, imitate the Cylindrophiidae, while others imitate the python, while some schools imitate other types of snakes, like the Cobra. There are two unrelated, Northern and Southern snake styles.
Northern Style
Snake is one of the archetypal Five Animals of Chinese martial arts; the other four being Crane, Tiger, Leopard, and Dragon.[2]
These five animals originally represented the five classical Chinese elements before developing into their own styles. Dragon is usually Earth, Tiger is Fire, Crane is Metal, Snake is Water, and Leopard is Wood. Since they were derived from the Five Elements, they are kept in this pattern. At this point many styles delve into more advanced animal training or actual element training. The Taoist temples of the Wudang Mountains were known to have produced many snake stylists.
Snake style is based on whipping or rattling power which travels up the spine to the fingers, or in the case of the rattler, the body shake which travels down the spine to the tip of the tailbone. The ability to sinuously move, essentially by compressing one's stomach/abdominal muscles, is very important. Footing is quite grounded. The stancework is fluid in order to maximize the whipping potential of any movement. This necessitates building a strong spine to contain the power and strong fingers to convey the strike. Since breath is important to any movement of the spine and ribs, snake style is considered one of the main styles which eventually led to internal training. Snake style is also known as an approach to weapons training, the Chinese straight sword and spear in particular. There are even specialty varieties of sword blades and spear points that curve back and forth down the length of the blade in imitation of the snake's body known as snake sword and snake spear.
Snake Style generally aims for weak points of the human body, such as eyes, groin and joints.
[edit] Southern Style
There is also an obscure Southern Snake Style (Chinese: 蛇形刁手, pronounced as "she ying dil sao") whose grand master was Leung Tin Chu who was born in the late 1800s and became well known as he ranked 4th in one of Nanking's Martial Art examinations in late 1929. His style, inherited from Yau Lung Kong, was an amalgamation of Southern Shaolin style and Choy Gar style learned from a Choy grandmaster. He had two main disciples, his nephew Master Leung Gar Fong of Hong Kong and the late Master Wong Tin Yuen who taught this style at his Kin Man Martial Arts studio on Sacramento Street in San Francisco for forty years since late 1930. The pugilistic style is best described as a mid-distance fighting style, using, by coincidence, some Wing Chun-like techniques in Hung Gar-like forms. That attests to the Southern Shaolin origin of this style and its close relationship to other styles originating from Southern Shaolin. In fact Yau Lung Kong first learned from the Choy's family, but he did not have the privilege to all the secrets. Being less than satisfied he enrolled himself at the Southern Shaolin temple years and later combined all that he learned into this snake style("She Ying Dil Sao"). It would best be described it as a "Choy-Fut" style("fut" means buddha, a respectful address for deceased monks). Of course different "fut's" from the Southern Shaolin temple would pass on similar but different techniques or idiosyncratic execution of the same basic techniques. In this style of snake kung fu the force and techniques are softer than traditional southern styles. Besides straight punches and bong shou as widely used in Wing Chun, this style also employs butterfly-buddha palms, the hook, upper cut, and gui quen (back fist) as central techniques. Biu tze (thrusting fingers) techniques resembling snake attacks are the secrets, and hence, the name of this style. There are multiple kicking techniques, as varied as typical northern styles with high kicks, but also typical are below-the-knee kicks seen in southern styles. There are six fist sets, two stick sets, single sword, short double swords, and other traditional weapons.
Uses in fiction
* The style gained prominence in Jackie Chan's film Snake in the Eagle's Shadow
* The fictional character Kwai Chang Caine used elements of Snake Kung Fu in the television series Kung Fu
* It is the fighting style used by the video game character Christie from the Dead or Alive fighting game series.
* In Mortal Kombat: Deadly Alliance and Mortal Kombat: Armageddon, Snake is the primary fighting style of Shang Tsung. In Mortal Kombat: Deception, however, Havik uses Snake as his primary fighting style.
* Tekken's Lei Wulong uses Snake as well as four other animal styles as his fighting style.
* There was also a snake master who is actually a snake herself in the movie Kung Fu Panda played by Lucy Liu[3]
* In Avatar: The Last Airbender Azula's friend and bodyguard Ty Lee utilizes snake style.
The Southern Shaolin Temple in Fukien Province was sometimes known as the snake temple. Snake style kung fu was practiced at this temple as well as dragon kung fu and praying mantis kung fu. Fukien temple was a refuge for the Henon Temple monks when that temple was destroyed. With them they brought all their martial knowledge they had.
The snake style of green bamboo viper is one of the five subsets that was taught at the Southern Shaolin Temple. This particular form of snake fist originated in Cambodia and worked its way up to China. As it was integrated into Shaolin it got more refined and sophisticated. The green bamboo viper is the snake style taught in the United States by Grandmaster Wing Loc Johnson Ng. There were four other snake styles that were taught at this particular Shaolin temple. They other 4 were water snake, shadow snake, king cobra, and Golden snake. These five type snakes make up the southern snake style system. Snake style kung fu is considered to be a highly advanced form of fighting due to the use of internal energy (chi) and the specialized breathing techniques.
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