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Dear Tony Thank you for your interesting email regarding the relatively 'open' stance as found throughout the various lineages of Fujian White Crane Fist when practicing the 'San Zhan' (三戦) or 'Three Battles' Form - as compared with the 'closed' stance work (and obvious groin protection) found within the 'Sanchin' Kata of the Goju Ryu Karate-Do Style! Yes - I have noticed this. I was talking to a student about this. It reminded me of the stance used for skiing. As if 'gripping' or 'stabilising' on a slippery surface. Sometimes, the old Masters (such as Master Chan) would talk about stepping in, through or onto congealed blood - which is slippery. He fought, wounded and killed invading Japanese soldiers during WWII (1941-1945) as part of the Hakka Resistance operating throughout the New Territories (a People's Militia had developed - supplied from the Mainland). His father (Chan Yun-Fat) was killed fighting in 1944 leading an attack on an Imperial Japanese Army position - armed only with traditional gongfu weapons. This was a diversionary attack whilst those armed with the limited number of rifles and ammunition attacked the main target. His wife's mother was gang-raped by Japanese soldiers, skinned, hung-up by her hair and set fire to. Por Por (Mrs Chan) used to tell us stories for years about those terrible times - until her passing in 2011 (years later, a Detective contacted Mrs Chan and said one of her brothers had survived a Japanese village massacre and had been taken to Australia by foreigners - she got to meet him again one more time in his now native Australia a year before he passed away. I spoke to him on the telephone. He was around five years old at the time of him going 'missing' - with his small body being hidden under the bodies of the adults killed around him). We practice falling to the ground forward, backwards and to the sides in our Hakka Longfist Family lineage - and using Ground Fighting (with a groin guard and a head guard). I suspect that other aspects of the Fujian Style in question also teach a groin guard in an accumulative sense - as is usual in traditional gongfu. Goju Ryu is highly rationalised and modernised (a process of sheer genius) - which is a good thing - but traditional gongfu is often sprawling, illogical and difficult to fathom! Thanks PS: Wong Tai Sin is our 'Daoist' family God - as Master Chan Tin Sang (1924-1923) was a TCM Doctor (taught in the old way). It is virtually impossible to acquire statues of this 'healing' God as it is very carefully guarded by the Temple Authorities in the New Territories! We have a photograph on our family shrine - but my ex-wife currently looks after the family Wong Tai Sin statue (which was passed into my keeping by Mrs Chan upon her passing). Indeed, my ex-wife can be seen on the above-linked BBC programme - 'Escape to the Country' with our family statue of Wong Tai Sin (黃初平) shown at 5:39:
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Dear Tony Xiangdian Fist: I say 'Form' - but the ideogram used is '套' (Tao) which usually refers to a 'Set' or a 'Pattern' of prescribed movements (that is a 'routine') - as opposed to '形' (Xing) meaning 'Form' or 'Shape' (pronounced 'Kata' in the Japanese language). Whereas '套' (Tao) refers to a set movements (like beads strung on a cord) - the term '形' (Xing) refers to the heart or foundation of a Style which 'manifests' through every movement that is performed. As within Goju Ryu - the 'San Zhan' (Sanchin) Form is learned first - and then seems to be followed by the first and second 'Sets' included above (although 'San Zhan' is also referred to as a 'Set'). The translation is a little laboured as a 'Fortress' is mentioned which has its immediate environment (around the foot of the external walls) continuously 'cleared' of enemy attackers! The Xiangdian Fist practitioner 'prepares' to achieve this function through correctly practicing these 'Sets' - the sum total ability accrued is then used against an attacker(s). Or, a robust defence 'removes' the threat of any attacker - as the Xiangdian Fist practitioner is always 'prepared'. I am wondering whether any of this might relate to the development (in theory at least) to the 'Gekisai' (撃砕) [Attack-Shatter] Kata developed by Miyagi Chojun? Below are two videos showing how effective Xiangdian Fist can be: The second video features a Seventy-year-old old Master who wants to carry forward local martial arts in Fuzhou - and teaches young people Xiangdian Fist for free: Thanks
Dear Tony Without the capacity to breath - there is no conscious life. This reminds me of the pre-Christian use of the Greek term 'Psyche' which means 'breath of life' and which implies the 'autonomous movement' of mind and body. As Plotinus suggests - the breath (and the movement of mind and body) are inherently linked. This reality allows for a vast interpretation of the same basic idea(s) spread throughout the genre of Chinese martial arts. One layer superimposed over this foundational reality in the White Crane Fist System is that of the production of 'vibration' and 'shaking' - which appears to represent a scale (or polarity) between physical movements that are 'hard', 'soft' and 'neutral' - a layer of activity happening 'over' the breathing mechanism, so-to-speak. Or, so it would seem.
Thanks Dear Tony The Chinese language description states that Seisan Kata derives from a 'Form' found within the 'Incense Shop Fist' (香店拳 - Xiang Dian Quan) Style. Xiangdian is a district in Fuzhou City, Fujian province. This is one of the thousands of lineages completely uneffected by the political changes in China - and which has been falsely recorded in the West as 'being wiped out', etc. This is the Chinese language encyclopaedia page: '香店拳源于清乾隆年间。南少林武僧智远为报香店人救命之恩,在此密传罗汉拳,隐名为“香店拳”。后经香店历代拳师吸取各派精华,形成了独特的香店拳,并流传于海内外。 [4] 香店拳是内外合一、硬气功兼练的技法拳种,分上、中、下三盘,善于短打近攻。武术套路有硬三战、三战等十多种套路,甚为独特。' 'Incense Shop Fist (香店拳 - Xiang Dian Quan) originated during the Qianlong period of the Qing Dynasty (1735-1796). The Southern Shaolin Temple Warrior-Monk named 'Zhiyuan' (智远) - in order to save the lives of the people living in the 'Xiangdian' area of Fuzhou City - secretly conveyed to them the techniques retained within the Shaolin gongfu Style known as Luohan Fist (罗汉拳 - Luo Han Quan). As he wanted to keep this interaction 'secret' - Zhiyuan referred to this Style as being called 'Xiangdian Fist' - giving the impression it was a local form of fighting already known by the people. As time progressed, however, Zhiyuan integrated (and absorbed) the essence of many other (different) gongfu arts and slowly the 'Xiangdian Fist' started to evolve - becoming very different from Luohan Fist. The effectiveness of this Style became famous and it was spread throughout China and abroad. Xiangdian Fist incorporates the unity of the 'internal' and 'external' (内外合一 - Nei Wai He Ye) and 'firm' qigong (硬气功 - Ying Qi Gong), etc. All this ability is manifested simultaneously in the mind and body of an advanced practitioner. The opponent is peppered with close-in and short-range (very powerful) techniques delivered to the continuously varying heights of high, middle and low. There are at least ten different and unique 'Forms' - including a 'firm' (hard) version of 'San Zhan' (三战) or 'Three Battles'.' A well-known Xiangdian Fist Master today is 'Yan Mengyong' (严孟永) [b. 1950] who started training with his uncle - Fang Ligui (房利贵) - in 1968. In November 1978, he was invited to participate in the First Wushu Observation and Performance Conference in Fujian Province with his master - Fang Ligui - and won an award. Since then, Master Yan Mengyong has taught Disciples from all over China - with his gongfu spreading to Hong Kong, Singapore, the United States - as well as many other places!
(Translated by Adrian Chan-Wyles PhD) Translator's Note: There are thousands of martial arts Styles existing throughout China and the Chinese diaspora! Only a small number of these Styles are known outside the Chinese community. Although these Styles were only passed down (secretly) within families - or through the cultivation of one or two carefully chosen 'Disciples' - today, the onus is on 'openness' and the 'sharing' of ALL Chinese cultural arts and crafts. The United Nations (UN) refers to these arts and crafts as 'Intangible Culture' - and pursues a general policy of recording, supporting, maintaining and spreading these distinct bodies of cultural knowledge. This policy is part of a broader initiative to generate 'peace' throughout the world by the 'familiarising' humanity with the distinct culture generated by each ethnic (human) group. Understanding prevents 'fear' and encourages 'friendship'. This Chinese language article records the fact that the UN has officially recognised the 'Mufu Mountain Wushu' Style as being a prime example of Chinese 'Intangible Culture'! ACW (6.11.2022) Mufu (幕阜) Mountain Martial Arts (武术 - Wu Shu) is an ancient and rare fighting system. As such, it neither belongs to the Wudang (武当), the Shaolin (少林) nor Emei (峨眉) faction. It has a unique temperament - a system of its own - and is destined to be original. Mufu Wushu is a representative example of provincial ‘intangible cultural heritage’ (i.e., an example of an art or craft passed down through the generations) originating amongst the population of those cultural groups inhabiting Yueyang City area – which is situated within Northeast Hunan province (Mainland China). It is a martial art which developed at the foot of Mufu Mountains (幕阜山 - Mu Fu Shan) - with the purpose of creating healthy individuals who are calm, kind and a benefit to society! Legend has it that Ge Hong (葛洪) - who served as Prime Minister during the Jin Dynasty (266-420 CE) - was once sat in deep meditation facing a tranquil stream after resigning from his post. He eventually became aware of a tiger which was stood staring into the entrance of a dark cave situated at the foot of a nearby cliff (Mufu Mountain). Suddenly, a giant python burst out of the darkness with tremendous energy and fighting spirit! The head of this snake was as big as bucket – and its body was as strong as a tree-trunk! This snake was completely unafraid of the tiger and immediately went on the attack! The two animals then engaged in a fierce and frightening battle! As the battle progressed – the tiger continuously jumped and changed position – whilst the snake coiled and sprang forward only to recoil, change direction and spring forward yet again! As Ge Hong watched this encounter – he suddenly experienced a profound insight into the nature of reality! Although Ge Hong had practiced martial arts during his life – he had never seen such a display in his life as the two animals fought one another to a draw – both leaving the area in different directions. Eventually, both animals returned and occupied the same area without conflict – seemingly reconciling their differences. From this experience, Ge Hong integrated what he had learned from this experience into his existing martial knowledge – and generated a new combat system he named the ‘Dragon-Tiger Fighting Nest Fist’ (龙虎争巢拳 - Long Hu Zheng Chao Quan)! Later, a deer stumbled into the area and was killed by the tiger and swallowed by the python! After seeing this unfortunate event, Ge Hong pondered the problem of repelling the tiger. He then developed the art of the ‘Mufu Energy Centre Self-Cultivation Cliff Stick’ (幕阜丹崖棍 - Mu Fu Dan Ya Gun). The complete Mufu Mountain Wushu System is comprised of unarmed (punching and kicking) routines - weapons and implements routines - and qigong (气功). The Mufu Mountain Wushu System has five unarmed routines (or ‘Forms’): a) Dragon and Tiger Fight for the Nest (龙虎争巢 - Long Hu Zheng Chao) b) Dragon and Tiger Interact (龙虎戏 - Long Hu Xi) c) Dragon and Tiger Developing Energy Centre Self-Cultivation Cliff (龙虎斗丹崖 - Long Hu Dou Dan Ya) d) Dragon and Tiger Climb Mountain (龙虎登山 - Long Hu Deng Shan) e) Dragon and Tiger Reunite (龙虎团圆 - Long Hu Tuan Yuan) The Mufu Mountain Wushu practitioner can strike with effortless power – advancing and retreating with a requisite ease. The guard can be opened and closed at will with a continuous adaptation being the key. This Style can be practiced alone, in pairs, or with three or five people – and can easily be adapted to accommodate multiple people at the same time. A single practitioner can fight one or many assailants at one time with no problem whatsoever. The advanced Mufu Wushu practitioner can choose to be ‘still’ with the strength of ‘Mount Tai’ (泰山 - Tai Shan) - and move like ‘flowing’ water - never resting for an instant! Such a fighter can express ‘softness’ (柔 - Rou) and ‘hardness’ (刚 - Gang) at will! 1) Mufu Energy Centre Self-Cultivation Cliff Stick (幕阜丹崖棍 - Mu Fu Dan Ya Gun) 2) Eight Trigrams Descending Dragon Broad Sword (八卦降龙刀 - Ba Gua Xiang Long Dao) 3) Penetrate Throat Four Gates Spear (点喉四门枪 - Dian Hou Si Men Qiang) 4) Chasing Ascending Spirit Volting Tiger Straight Sword (追魂伏虎剑 - Zhui Hun Fu Hu Jian) There are a total of twenty-four exercises which comprise the Qigong component. These exercises evolved according to the twenty-four solar positions. All these exercises strengthen the mind and body in readiness to participate in the act of combat. The mind and body become both ‘strong’ and ‘elusive’ - so that a Mufu Wushu practitioner can naturally dominate the opponent and the immediate environment. The strikes generated to combat an opponent are highly technical in nature and devastating to encounter. One speciality is the ‘claw’ (爪 - Zhao) which is used by both the dragon and the tiger! For this technique to work – the bones, muscles, ligaments and tendons of the hands (fingers, thumb, palm, wrist and fore-arm) must be extensively conditioned and strengthened! The fingers must become enthused with ‘qi’ energy so that a ‘soft’ finger (through an act of ‘intent’) can transform and become as ‘hard’ as iron! This type of conditioning is applied throughout the body so that the Mufu Wushu practitioner is not afraid to be struck – and is able to hit with tremendous power! If iron and stone training aids are struck in training – the striking limbs become as hard as the objects they are hitting! Mufu Wushu is generally passed down through the method of mentoring and apprenticeship. Under the active promotion of Li Liangxing (李良兴), more than 1,000 apprentices have been successfully taught. In 1987, in order to encourage the popularization of Mufu Wushu - Li Liangxing was awarded the title of ‘Fist Master’ (拳师 - Quan Shi) by the Hunan Provincial Sports Commission – due to the special fighting skills he possesses and his deep knowledge of Qigong. This is why Li Liangxing was granted this honour! Chinese Language Source: 非遗展示月 | 源自幕阜山的传说——幕阜武术 2020-06-26 16:26 幕阜武术古老而稀有,既不属于武当、少林,又并非峨眉派系,独一无二的气质,自成一派的体系,注定独具特色。幕阜武术为岳阳市 省级非物质文化遗产代表性项目。 传说晋代丞相葛洪辞官后有一次面对深涧静坐养神,猛见崖脚下一只猛虎正注视着一个洞穴,穴中突然窜出一条巨蟒,头大如斗,身躯似树,同猛虎展开了一场恶斗。猛虎的跳跃翻扑,巨蟒的蜿蜒升腾,使葛洪悟出了其中的奥秘。他经过很长时间的揣摩,将平生所练的武功与所见的龙虎相斗,融为一体,创造了“龙虎争巢拳”。后来又见獐鹿落入虎口和蟒腹的惨象,进而沉思,如何才能制虎于死地的招式,既而创造了棍术“幕阜丹崖棍”。 幕阜武术主要包括 拳术套路、器械套路、气功。 拳术套路有五套路,即龙虎争巢、龙虎戏、龙虎斗丹崖、龙虎登山、龙虎团圆。拳术的特点为借力打击,毫不费力。可大开大合,开合自如。可单练,可对练,可三人五人练,可多人同时对练。动作行如流水,坐如泰山,能柔能刚。 器械套路有幕阜丹崖棍、八卦降龙刀、点喉四门枪、追魂伏虎剑。 气功功法动作共二十四式,按二十四节气演变而成。可强身健体,可防身自卫,浑身霸劲,可用以技击。运气至指,为龙虎爪功,力能分筋错骨,捏碎硬物;运气至掌,可断铁碎石;运气至身,任其击打。 幕阜武术一般通过师徒教授方式传承,在李良兴的积极推动之下,授徒已达一千多人。1987年为鼓励幕阜武术的普及,由于李良兴具有气功等特技功法,被湖南省体委授予荣誉拳师称号。 幕阜武术是创始人和历代传承人潜心演练,不断研究出来的武术派系,产生于幕阜山,它古老、独特、稀有,既不属少林、武当,又不是峨嵋派系。因独特的套路体系,极具武术门类的学术价值。在社会价值方面,幕阜武术始创于晋代,其演变历程也侧面体现了历史 文化的发展以及社会习俗的变迁。 在日常生活中习练幕阜武术,既能起到强身健体的作用,还能陶养情操。
The Development of Yongchun White Crane Fist – the Basis of Okinawan Karate-Do! (4.11.2022)11/5/2022 (Translated by Adrian Chan-Wyles PhD) Translator's Note: I read through (and carefully translated) this meandering Chinese language text regarding the known history of Fujian White Crane Fist! To make sense of the context - I had to reference other Chinese language historical texts in an attempt to decipher what exactly is being said! Even so, as much of this genre of (folk) history is entirely 'local' in nature, even (contemporary) ethnic Chinese language speakers do not understand the what exactly is 'meant' by the words and phrases being used. We must use our experience and knowledge to establish the most likely meaning. There appears to be a subtle blend of fact and myth - perfectly entwined - so that it becomes difficult to tell one aspect from the other! During this interpretive process, we must remain anchored within historical 'fact' - but where is the 'fact' we must remain anchored within? What we do know is that somehow a) this martial art does physically 'exist' through a discernable history, and b) as a distinct body of knowledge it ended-up in the hands of Higaonna Kanryo! ACW (5.11.2022) White Crane Fist (白鹤拳 - Bai He Quan) is often referred to by the geographical indicator of ‘Yongchun’ (永春). This Style of martial arts is just one of the of many developed by the Han nationality throughout the Fujian area. It began to emerge as a distinct martial arts Style during the latter Ming Dynasty (1368-1644). From its root source, four distinct lineages have developed: 1) Flying (飞 - Fei) 2) Singing (鸣 - Ming) 3) Sleeping (宿 - Su) 4) Feeding (食 - Shi) These four variations of White Crane Fist all manifest in slightly different and specific ways, so that a unique and distinct Style is evident in each case. These differences stem from the practitioners emphasising particular traits observed in the defensive and aggressive behaviour of the White Crane species of bird. All of this speciality is known today as the White Crane Fist Style. According to legend, this Style originated within the Funing (福宁) Prefecture, Fujian Province – today known as Xiapu (霞浦) County. As a Style, it developed out of the ‘external’ (外 - Wai) Shaolin Fist (少林拳 - Shaolin Quan) method taught to Master Fang Zhonggong (方种公) at the ‘North Gate’ (北门 - Bei Men). He taught his only child (his daughter) ‘Fang Qiniang’ (方七娘) - and it is Fang Qiniang who is considered the ‘Founder’ of White Crane Fist. Soon after she was born – Fang Qiniang’s mother passed away from illness. Her father believed that his only daughter should be strong and stand tall – just like a man – and he taught her to practice martial arts every day. Fang Qiniang eventually married ‘Zeng Si’ (曾四) - who was a native of Yongchun County situated within the Quanzhou area of Fujian province (although some records suggest his family originally came from Zhejiang – before moving into Yongchun and resettling). As Fang Qiniang lived and taught her Style in ‘Yongchun’ it is referred to today as being ‘Yongchun White Crane Fist’. The White Crane Fist specialises in generating vibrating and shaking (弹抖 - Dan Dou) power (劲 - Jin) of both arms. The open-hand ‘Palm Law’ (掌法 - Zhang Fa) method emphasises a penetrating and piercing power which is similar to an arrow hitting an opponent after being fired from a bow – but devastating the opponent at very close-range. This method is supported by penetrating footwork that decisively advances and retreats – footwork that also ‘pretends’ to advance and retreat – causing confusion and mistimed reactions in an opponent. Explosive force (力 - LI) is generated by the White Crane Fist practitioner when taking advantage of an opponent’s errors. For this to happen, the joints and fingers of the White Crane Fist practitioner must be ‘strengthened’ and appropriately ‘conditioned’. Stepping must be both precise and diverse. Every blow must be thrown with explosive power. The arms must shake, vibrate and tremble with ‘hard’ and ‘soft’ energy continuously interchanging in a manner which cannot be predicted or understood by the opponent. This is held together by the bodyweight smoothly ‘dropping’ and ‘rising’ continuously and without interruption. Each Style of White Crane Fist presents these techniques in different and varied ways. Within the folk storytelling developed during the early Qing Dynasty, it was said that ‘Crane Immortal’ (鹤仙 - He Xian) taught Fang Qiniang – whilst others state that Fang Qiang was taught only by her father – a native of Funing! Whatever the case, all stories agree that Fang Qiniang was the Founding Patriarch of the White Crane Fist Style! Fang Qiniang was clever and pretty – and was committed to learning martial arts! As Fang Qiniang refused to get married – she was banished to a local Buddhist Temple known as ‘Bai Lian’ (written as ‘白练’ or ‘白莲’ - the second variant appearing to be a play on words) meaning both ‘White Lotus’ and ‘Pure Practice’. Her Buddhist teacher was said to be the ‘Crane Immortal’ (鹤仙 - He Xian) who came down to Earth to instruct her in the art of ‘White Crane’. Fang Qiniang had to combine hours of seated Ch’an meditation with the continuous observation of the ‘hard’ and ‘soft’ movements of the White Crane birds that inhabited the temple grounds. (Another version worthy of consideration is the following story: One day, Fang Qiniang was immersed in the shuttle weaving on a traditional loom. Suddenly, a White Crane bird flew gracefully into the area - hovering near her roof and looking down. The White Crane bird finally flew down to the floor of the hall - standing quietly next to the loom. Looking up at Fang Qiniang – the bird refused to fly away and stood quietly for a long time. Fang Qiniang was very surprised by the inner stillness and outer poise of this bird. Fang Qiniang picked up the shuttle box and threw it – but the White Crane remained unruffled and simply ‘spread its wings’ in a graceful manner – and intercepted the shuttle box perfectly – causing it to bounce back with an effortless force. Fang Qiniang raised the bamboo inkstone used for weaving and attempted to strike the White Crane. Unexpectedly, the White Crane ‘shook’ its body - and the bamboo inkstone was bounced back! When Fang Qiniang saw this behaviour she was impressed and puzzled! On this day, the White Crane bird with its plump, white feathers refused to fly away! When night fell, Mr. Fang Zhonggong asked Fang Qiniang to bring out some white rice and sweet potato to feed the White Crane in the hall! Despite all this movement – the White Crane refused to move but remain quiet and still – but always alert! These events were a preparation for a white-haired Immortal to visit the Fang family and convey the martial art of the White Crane Fist!) Once these movements (and reactions) were understood – Fang Qiniang had to integrate this new knowledge into her already existing Shaolin martial arts practice. This process took four years to achieve, and the White Crane Fist Style of martial arts was developed! As the ‘Bai Lian’ Temple became a well-known and respected centre of gongfu practice and given that Fang Qiniang was a renowned Buddhist monastic – she changed the name of the temple to ‘Jiao Lian’ (教练) or ‘Teach Practice’ Temple (寺 - Si). One day, a man named ‘Feng Si’ visited the temple and respectfully requested that Fang Qiniang teach him the White Crane Fist Style she had developed. He trained as her Disciple for over ten-years – and eventually the two people fell in love. This prompted Fang Qiniang to leave the temple and resume the lay life so that the two could get married. This is how the White Crane Style was taken back to Yongchun (the place of Fang Si’s birth) situated in Quanzhou - and took root in this part of Fujian province! The couple had numerous children and passed this family Style. The constituent originating lineages included are: White Crane Fist (白鹤拳 - Bai He Quan) Bai Lian Temple (白练寺 - Bai Lian Si) a) ‘Crane Immortal’ (鹤仙 - He Xian) b) ‘Fang Qiniang’ (方七娘) c) ‘Zeng Si’ (曾四) Southern Shaolin Fist (南 少林拳 - Nan Shao Lin Quan) a) ‘Fang Zhonggong’ (方种公) - Father b) ‘Fang Qiniang’ (方七娘) - Daughter c) ‘Zeng Si’ (曾四) - Husband of Fang Qiniang & Son-in-Law of Fang Zhonggong The foot work of the White Crane is light, exact and yet ‘heavy’ when ‘heaviness’ is required! The White Crane can move across the ground – barely touching the floor – like snowflakes falling from the sky! This is the foot work of heroes! Martial arts training is beneficial for the development of the mind and body! The White Crane Fist puts a great emphasis upon physical fitness! As a result, the White Crane Fist is masterful in attack and defence! The White Crane Fist is simultaneously both simple and enriched! These are the twenty defining attributes (and forms) of the White Crane Fist: 1) The White Crane generates the shape. 2) The shape manifests in the fist! 3) The form is taken from the name. 4) The name suggests elegance as its crowning glory 5) The White Crane protects the centreline throughout the upper, middle and lower parts of its body. 6) The Thirty-Six Divine Sky Gods 7) The Seventy-Two Broad Earth Demons 8) The One-Hundred and Eight Dharmas 9) The White Crane Flashes its Wings 10) Thirteen-Step Vibrations 11) Seven Steps – Three Battles 12) Thirteen Grand Protections 13) The White Crane is both ‘firm’ and ‘not’ firm. 14) The White Crane is both ‘soft’ and ‘not’ soft. 15) Shaking and vibrating with strength from the ground upwards. 16) There is a continuous change of skilled applications. 17) The structure is precise and always clearly maintained. 18) The awareness is always clear regarding offence and defence. 19) Always demonstrate mercy before raising your hand. 20) When the time comes to raise your hand – show no mercy! Higaonna Kanryo [1853-1915] (东恩纳宽量) was the first Okinawan to learn the White Crane Fist. From the Chinese gongfu he took back to Okinawa – the ‘Empty Hand Way’ (空手道) or ‘Karate-Do’ would be eventually developed. It is the White Crane Fist which serves as the technical foundation to the development of Okinawan and Japanese Karate-Do. In other words, the ‘Empty Hand Fist’ (空手拳) or ‘Karate-Ken’ is really what is called ‘Yongchun Fist’ (永春拳 - Yong Chun Quan) in China! It is believed that the White Crane Fist is part of the ‘Shaolin Five Ancestor Fist’ (少林五祖拳 - Shao Lin Wu Zu Quan) tradition. This tradition developed in the Quanzhou area of Fujian province and is linked to the Southern Shaolin Temple situated in this area. The five Styles which form this System are as follows: a) White Crane Fist (白鹤拳 - Bai He Quan) b) Monkey Quan (猴拳 - Hou Quan) c) Arahant Fist (罗汉拳 - Luo Han Quan) d) Bodhidharma Fist (达尊拳 - Da Zun Quan) - also referred as ‘Mind Intention’ Boxing (心意拳 - Xin Yi Quan) e) Grand Ancestor Fist (太祖拳 - Tai Zu Quan) Although it is agreed that Fang Qiniang invented the White Crane Fist Style – it was her husband (Zeng Si) who is often cited as teaching the art prolifically within the Yongchun area. Historical records suggest that the couple lived in the area during four different time periods and were prone to travelling. It seems that the couple did not permanently stay in the Yongchun area, but they did favour the place as a base of operations – and it is from here that a renowned centre of White Crane Fist practice developed. The implication is that they settled there toward the end of their lives together. Although the historical text I am referencing is ‘old’ (and difficult to contextualise), there is an indication the couple taught White Crane Fist near to the ‘West Gate’ (西门 - Xi Men) of Yongchun, to the rear (and ‘outside’) of the ‘Name Temple’ (庙 - Miao) pertaining to the ‘Gu’ (辜) family. Technically speaking, this would be a Confucian Temple maintained by the local Gu family (designed only for the use of that family) comprised of a hall for social gatherings (which could include gongfu practice), and an area for the cremated remains of the Gu ancestors stored in large, sealed earthenware pots (together with pictures and biographical texts). Later, out of respect for Zeng Si, this training area became known as the ‘Zeng Martial Temple’ (曾武馆 - Zeng Wu Guan). This might suggest that the Gu Temple was eventually taken over as a centre for White Crane Fist practice – and was locally known by the above variant. This how the White Crane Fist Style took root within the Yongchun area. During the more than one-hundred years between emperors Kangxi (r. 1661-1722) and Qianlong (r. 1735-1796) - the White Crane Fist was widely disseminated and exchanged both inside and outside Fujian province. As an effective martial art favoured by the local population, it was continuously absorbed, summarized and improved upon – a process which greatly enriched and developed its technical and theoretical content. This important historical (developmental) period may be considered the ‘heyday’ of the White Crane Fist Style. The different names associated with this Style of martial arts are: i) White Crane Fist (白鹤拳 - Bai He Quan) ii) Fujian White Crane Fist (福建白鹤拳 - Fu Jian Bai He Quan) iii) Fujian Shaolin White Crane Fist (福建少林白鹤拳 - Fu Jian Shao Lin Bai He Quan) iv) Yongchun White Crane Fist (永春白鹤拳 - Yong Chun Bai He Quan) v) Southern Shaolin White Crane Fist (南少林白鹤拳 - Nan Shao Lin Bai He Quan) Between the reigns of the Qing Dynasty emperors Kangxi, Qianlong and Jiaqing (嘉慶), that is to say from around 1664-1821 – the record books suggest that the White Crane Fist Style has been passed on by five or six generations of descendants in the Yongchun area – depending upon how lineages are interpreted and understood. It was one of these lineages which was eventually taken back to Okinawa and served as the foundation for the development of modern Karate-Do in all that art’s distinct and diverse variations. Chinese Language Sources:
In the Chinese language, the weapon of South China and Okinawa known as the ‘Nunchaku’ is referred to as the ‘Shuang Jie Gun’:
雙 (shuang1) = Two (Pair) 截 (jie2) = Joint Between Two Sections (Connecting Two Ends Together) 棍 (gun4) = Stick (Short Cudgel) How ‘Shuang Jie Gun’ relates to ‘Nun Cha Ku’ is not entirely clear. It could be that the term ‘Nunchaku’ is an indigenous Okinawan set of words that do not possess any associative Chinese or Japanese ideograms that directly represent their meaning. A comparison of Chinese and Japanese ideograms might be interesting: 1) Chinese ‘雙’ (shuang1) = Japanese ‘ふたつ’ (futatsu) - sounds like ‘Nunchaku’ 2) Chinese ‘截’ (jie2) = Japanese ‘たつ’ (tatsu) - sounds like ‘Chaku’ 3) Chinese ‘棍’ (gun4) = Japanese ‘つえ’ (tsue) - sounds like ‘Ku’ Perhaps, when these terms are integrated together, the Japanese ideogram ‘つ’ (tsu) is rationalised and reduced in appearance so that the following approximation is arrived at: a) Chinese ‘雙’ (shuang1) = Japanese ‘ふ’ (fu) b) Chinese ‘截’ (jie2) = Japanese ‘た’ ta c) Chinese ‘棍’ (gun4) = Japanese ‘つえ’ (tsue) This would suggest that the Chinese (双截棍) ‘Shuang Jie Gun’ equates with the Japanese (ふたつえ) ‘Fu Ta Tsue’. When pronounced in the Okinawan dialect - ‘Fu Ta Tsue’ becomes ‘Nun Cha Ku’. I was told by Master Chan Tin Sang (1924-1993) that a similar device was used on the Hakka farms throughout Southern China to harvest rice and clear land of unwanted vegetation. Later, these devices (which sometimes possessed a ‘hinge’ instead of a chain or cord) evolved into the modern versions now common all over the world! We possess very simple figure of eight sets or patterns in our Hakka family style of gongfu - when making use of this device. |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |