(round) brackets = Japanese-Okinawan pronunciations
These ideograms are written in Old Chinese Script - but pronounced using Japanese and Okinawan language. [square] brackets = Chinese pronunciations (round) brackets = Japanese-Okinawan pronunciations a) 補 (Ho) = [bu3] - increase, aid, repair, supplement, mend, compensate and nourish b) 助 (Jo) = [zhu4] - help, support, augment and assist c) 運 (Un) = [yun4] - transport, carry, utilise, revolve, buoyancy and fate d) 動 (Do) = [dong4] - move, act, alter, momentum and touch It seems that the four ideograms are deployed using two couplets: 1) 補助 (Hojo) = supplement and auxiliary [Buzhu] 2) 運動 (Undo) = sporting and competitive vigorous movement [Yundong] The following is a contemporary webpage from Taiwan (auto-translated into 'English' entitled '法規內容-教育部運動發展基金補助各級學校運動團隊作業要點') continuously uses the term '補助運動' (Hojo Undo - Buzhu Yundong) - which is used exclusively to refer to 'supplementary sporting exercises': The inclusion of the terms 'buoyancy', 'touch', 'transport', 'momentum' and 'fate' - all suggest an 'internal' management of the 'external' (physical) body (through the attainment of an 'effortless momentum'). Therefore, although this term is common-place in China - the mastery it refers to is certainly not common-place. On the one-hand, a man or woman might train to win a Gold Medal or World Title - but these achievements (as important as they are for the 'Nation') only fall inside the 'external' component of this term. On the other-hand, Karate-Do Styles such as Goju Ryu exemplify the principle of the 'internal' superseding the 'external' - even though a lifetime must be spent subsumed in the 'external' whilst attempting to understand this relationship and transition into the infinitely powerful 'internal' position. Of course, ultimately, both the 'external' and the 'internal' integrate into a perfect, functioning 'whole' - as can be seen during a perfect execution of a Kata.
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Interesting - Thank for drawing my attention! The following is what I can Tell you. 搂 - lou3 = A mother spreading her arms (and hands) to embrace an object - pulling it close to her body (like a mother embracing a baby). This might be described as 'grappling' in English - just as grappling-hooks were once used in the Royal Navy to grip-hold of enemy ships (preventing their free movement) and 'pulling' these structures close so that 'Marines' could then jump onboard, neutralise the enemy crew and take control of their ship! 子 - zi3 = Son, off-spring (children) or 'Master' and 'Teacher' (I think this derives from the legends stating that Laozi - one of the founders of the Daoist religion - was born as an old man with white hair. Daoism advocates a rejuvenating wisdom that purports to create the state of 'Immortality'). Stepping inside the opponent's critical distance and thus 'taking away' their ability to respond effectively. Furthermore, the manner in how the opponent is tripped and thrown involves the deliberate 'hurting' of their body through impat with the ground. This exists within all traditional Chinese gongfu and involves the breaking of fingers and toes, joint dislocation, eye-gouging and groin-kicking. Punching the nose and throat is a basic requirement. A practitioner gets inside the opponent's guard (seen in this video) and takes control of the limbs and torso. A Master of this art 'prevents' the opponent initiating the smooth rolling seen within modern Judo, Aikido or Jiujitsu - as 'falling' in this context must inflict damage upon the opponent - a punishment considered 'just' within ancient China for starting a fight! This why training in this type of in-fighting requires the ability to roll on an unpadded floor. The inner art is to prevent the intended damage from the fall - by 'countering' its intent through 'correct' placement (usually at speed). This is a key factor within traditional Taijiquan practice.
Enter the Dragon - Bruce Lee's legacy Still Inspiring 50 Years After His Passing! (21.7.2023)7/21/2023 HONG KONG, July 20 (Xinhua) -- The man, the myth, the legend. Bruce Lee was all of these things and more. On July 20, 1973, the world lost one of its most iconic and influential figures when he passed away suddenly at the age of 32. Yet, 50 years later, his legacy lives on, larger than life and more resonant than ever. Tourists flock to the Avenue of Stars along the Victoria Harbour waterfront in Tsim Sha Tsui, Hong Kong, a place of pilgrimage for Bruce Lee fans from around the world. They pause at Lee's bronze statue to pay tribute to the martial arts master, often laying flowers at the base of the two-meter-high effigy that showcases Lee's classic Jeet Kune Do move, inspired by his final complete film, "Enter the Dragon." Source: Xinhua Editor: huaxia 2023-20-07 Shin Yong-woo from South Korea is one such fan who has travelled over 1,000 miles (1,600 km) to pay homage to his hero. He stood before the statue, dressed in black pants with his bare chest exposed, just like Lee frozen in frame by the monument. With a pair of nunchaku in his hands, Shin began his performance, twirling the weapons with fluid precision. A fan since he was nine years old, Shin credited Lee with inspiring him to learn Chinese martial arts. Some pay their respects with a simple bow or a moment of silence, while others perform their own martial arts routines in front of the statue, channelling their inner Bruce Lee. Unlike Shin, who reveres Lee's Kung Fu as a physical art form, Patrick Weber from Britain is more drawn to the deeper meaning and philosophy behind Lee's teachings. Weber held a 25-year-old "Enter the Dragon" poster as he took photos in front of the bronze statue. He also brought a thick album that documents his more than 50-year journey as a fan. Lee's legacy includes a collection of inspiring and insightful quotes that have resonated with people of all ages and backgrounds. "The key to immortality is first living a life worth remembering." "The successful warrior is the average man, with laser-like focus." "Do not pray for an easy life, pray for the strength to endure a difficult one." "I love his philosophy on life," Weber said. "And the multiculturalism he portrayed was exactly what the world needed at the time." Born in San Francisco in 1940, Lee spent much of his childhood and formative years in Hong Kong, where his father was a well-known Cantonese opera singer. It was in Hong Kong that Lee began to study martial arts. His passion for Kung Fu and his innovative approach to martial arts quickly earned him a following in Hong Kong, where he starred in several successful films and TV shows. His fame and influence soon spread to other parts of China and Asia, inspiring a new generation of martial artists and popularizing Chinese culture and philosophy around the world. As one of Hollywood's most influential Chinese American actors, Lee introduced Chinese martial arts and its underlying culture and philosophy to the world through his films, and even brought the term "Kung Fu" into the English language. His confident portrayal of Chinese culture in martial arts movies continues to inspire people decades later. "He's so cool!" said Sophie Uekawa from Japan as she looked at the statue, reminiscing about her teenage years several decades ago. "In 1973, Bruce Lee's movies became a sensation in Japan when they were first released. The queues for his films were so long that they stretched for several blocks, and 'Enter the Dragon' played for more than a year in one cinema before it was taken." In recent days, a series of commemorative events in Hong Kong have confirmed the enduring influence of the Chinese Kung Fu culture that Lee represented. The "Bruce Lee: A Timeless Classic" exhibition opened at the Hong Kong Heritage Museum, showcasing various books, stamps, and figurines related to the superstar from different eras. The museum also has a permanent exhibition introducing his life story. Inside the exhibition hall, a wall of famous quotes presents Lee's philosophy: "Using no way as a way, having no limitation as limitation," "Success is a journey, not a destination," and more. Wang Wei, who works in the education industry, included the exhibition as one of the stops for Chinese mainland students on their educational tour of Hong Kong. "Bruce Lee is an important part of Hong Kong's pop culture and represents the Chinese spirit and character embodied by the people of Hong Kong," Wang said. "With a profound understanding of Chinese culture, he showcased the confidence of Chinese culture through Kung Fu." The Bruce Lee Foundation is holding its first "Camp Bruce Lee" event in Asia at the Hong Kong Heritage Museum, where about 30 primary school students from Hong Kong are experiencing Jeet Kune Do and learning about the star through various art forms over a few days. "This movie is about the history of Japanese imperialism invading China in the last century ..." Inside the museum, the guide points to a still from the movie "Fist of Fury" and introduces the plot to the young campers while explaining the national history. The still captures the moment when Lee's character Chen Zhen kicks down the "Sick Man of East Asia" sign in the movie. English Language Xinhua Article: Feature: Enter the Dragon -- Bruce Lee's legacy still inspiring 50 years after his passing
At the end of the day, in a threatening position, an individual purporting to practice a traditional (Chinese) martial arts - must be able not to win trophies or gain coloured belts or sashes - but rather REMOVE the systemic threat existing in the immediate environment through the use of a 'decisive' act of disciplined violence. Unlike the modified martial arts used within modern sports, an 'effective' technique being deployed in a 'live' situation does NOT need to look good or conform to an unreasonable 'aesthetic'. The person being threatened, at the moment the decisive action is being deployed, is entirely on their own for the duration of the conflict. Whatever happens next becomes a matter entirely of their own affair - as other people (logically) tend to 'distance' themselves from the conflict as a matter of life-preservation and self-defence by association. Of course, the action might go wrong and the chosen technique fail to work. Above, a conflict begins between two young men (speaking Putonghua) arguing over who has the right to 'sell' in a certain area - with an Old Man attempting to de-escalate the situation. The young man launches a 'punching' attack which works precisely as intended. The armed young man is knocked down and is unconscious for a short time. He is kept in place by a foot on the chest - as NO further action is used against him once the knife is taken away from him. As you can see - violence is a horrible answer to any question - and a well disciplined and peaceful society is preferred over that of a violent situation. In this circumstance, the young man with the knife may well be suffering from mental health issues that now need to be treated. Although violence is NOT the answer - even though it may be required at certain times - when violence is needed it must be decisive enough to END the over-all level of existential violence and prevent any further damage to society and the people living in it!
Our Chinese grandfather - Chan Tin Sang (1924-1993) fought as part of the 'People's Militia' (with his Section also known as the 'Hakka Resistance') in the Hong Kong and New Territories region. When he recalled these events years later – he often described this time period (1941-1945) as ‘The years covered in blood.’ - as there was never a time that he was not covered in his own blood or the blood of his enemies. Hong Kong had been under the imperialist rule of the British from 1841-1941 - when the Imperial Japanese Army successfully overran the area - killing thousands of ethnic Chinese POWs and civilians in the process! Thousands of ethnic Indian and 'White' British soldiers were killed in combat, wounded and taken into captivity (where many were tortured). What follows is description of what the ethnic Chinese people experienced throughout Hong Kong and the New Territories – a reality either deliberately ignored or simply not known by Western historians and biographers. Part of the problem is not simply political bias or historical preference (although these two issues undoubtedly play their part) - but rather that not ALL ethnic Chinese people understood fully what was happening! The ‘White’ British Administration did not trust the ethnic Chinese population – as they were afraid of homegrown uprisings – but positively detested the Imperial Japanese! This is why the British Authorities ‘refused’ to arm the ethnic Chinese population at the beginning of the Japanese troubles! Rumours of a fifth column in Kowloon turned out not to be true (these groups were comprised of Japanese sleeper cells activated to meet and assist the incoming Japanese troops). As the British Authorities did not arm the local ethnic Chinese populations with modern firearms – these people (comprised of the Cantonese, Hakka, Hokkien and Teochew ethnic groups amongst others) had to rely upon their traditional martial arts skills to fight the Japanese invaders. This was NOT a problem as the ethnic Chinese attitudes were still very ‘feudalistic’ at the time and the martial arts incredibly effective on the battlefield and in self-defence encounters! How did (modern) British arms enter the area? This seems to have been through a behind-the-scenes agreement between the CPC and the British government. The People's Militia was organised by the Communist Party of China (CPC) - as the Nationalist government had no interest in Hong Kong being part of a united China again (for the British this must have been a tricky business as the CPC was not formally in power in China - nor was it ‘recognised’ by any ruling government outside the USSR). It is remarkable that given CPC troubles being experienced in Central and Northern China at the time (fighting the Nationalists and the Japanese) that it was able to 'project' its power into what was then a very distant and remote area – but the understanding that had been reached between the CPC and the British allowed a small trickle of UK arms into the region to be used by the local Chinese people! This 'Resistance' movement against the Imperial Japanese was permitted providing the CPC power structure (together with the British arms) be 'withdrawn' from the region following the eventual defeat of the Imperial Japanese! Our Hakka Chinese family clan in Sai Kung suffered terribly at the hands of the brutal Japanese - with women and girls routinely 'raped', 'tortured' and 'murdered'! Not only do we possess eye-witness accounts of this barbarism - but long before the internet the Japanese liked to 'photograph' (and sometimes 'film') their crimes for all to see! These are crimes that the Japanese committed all over China and Asia - and which the Japanese government has yet to properly acknowledge and apologise for! Chan Tin Sang was 17-years old in 1941 and 21-years old in 1945 - when the war ended. During that time, he lost most of his immediate relatives and was accustomed to fighting ‘hand-to-hand' with the fanatical Japanese soldiers - using his Hakka martial arts skills to survive (his father died fighting in this manner in 1944). Later, in search of a better life - Chan Tin Sang came to England in 1956 when he was 32-years old. He worked hard for 10-years in what became London's 'new' Chinatown and finally saved up enough money to bring his wife and daughters to the UK (as they already possessed 'British Citizenship') in 1966 (when he was 42-years old). He passed away in 1993 when he was 69-years old - which was quite old at the time - but many believe that the years of deprivation (and continuous violence) he experienced between 1941-1945 definitely shortened his lifespan. Sometimes - as individuals and groups - we possess no choice. By the time the Western allies were landing on Normandy 79-years ago – the Japanese Occupiers were still strong and effective throughout Hong Kong and the New Territories! It would be with the entry of the Soviet Red Army (during late 1945) into Manchuria that begin the demise of the Imperial Japanese Army and signal the return of the British to Hong Kong!
Blogger's Note: The Chinese martial arts manual mentioned in the below referenced article is termed the '易筋經' or the 'Yi Jin Jing' (or the 'Change Muscle-Tendon-Energy Channel Classic'). Within myth and legend, this manual is said to have been brought to China from India c. 520 CE by the Indian Buddhist monk known as 'Bodhidharma' (who is believed to have 'transmitted' the 'Dhyana' or 'Ch'an School of Mahayana Buddhism to China). My personal opinion is that the data contained in this manual may have been passed on orally - between Master and Disciple - for centuries BEFORE finally being written down and then evolving into the form known today. If this is not the case, then the Yi Jin Ying is a Qing Dynasty construction reflecting key elements of ancient Chinese martial arts practice - ascribed to mysterious and exotic origination! Perhaps the reality is a bit of both. Whatever the reality, the idea of the (Putonghua) '點穴' (Dian Xue) or 'Strike Point' concept and the '點脈' (Dian Mai) perhaps more readily known in the West by its 'Cantonese' expression of 'Dim Mak' (or 'Strike Channel') are well-known concepts within traditional Chinese martial arts. Within Traditional Chinese Medicine (TCM) - these two terms refer to the same gongfu process of striking the exterior (and 'interior') of the opponent's body in such a manner that the 'Qi' (氣) vital force energy flow is either temporarily or permanently disrupted. This is designed to cause injury along a sliding scale of inflicted damage ranging from a minor (and short-lived) disruption of bodily functions - to devastating damage caused to the internal organs and deep bodily structures - designed to cause 'death' (indeed, it is believed that a true Master can 'strike' a specific medical point even without the opponent knowing - causing death many hours later). It may well be that '精' (Jing) or 'essential nature' and '神' (Shen) or 'expanded empty consciousness' are also 'disrupted' by using this gongfu method - but in different ways. An opponent may be psychologically 'unbalanced' by the presence of his adversary (disrupting 'Shen' with no actual blows being struck) or have the 'Jing' flow disrupted (if opponent is 'male') through a blow delivered to the genitalia or anywhere along the 'Conception' and/or the 'Governing' Vessels, etc. Of course, a powerful blow may be intended to only hit the 'outside' of the physical body structure of the opponent - or be designed to 'penetrate' through these external structures and 'pierce' the inner organs and deep bodily structures. This type of 'hitting' is a routine requirement in the mastery of traditional Chinese martial arts. The concept of '導引' (Dao Yin) or to 'Direct Stretch' - is the traditional foundation for the modern practice known as '氣功' (Qi Gong) or 'Vital Force Energy Cultivation'. ACW (13.4.2023) 2023-04-12 Ecns.cn Editor: Zhao Li (ECNS) -- In Chinese costume dramas, people often see a miraculous martial arts skill called Dian Xue (acupoint), which uses pressure points to control or immobilize an opponent. Dian means to strike with a finger and Xue means an acupuncture point. During fights, martial arts experts use their two fingers to swiftly and forcefully press on a certain part of the opponent's body, immediately immobilizing them. Compared to Dian Xue, the Yi Jin Jing in martial arts novels is even more miraculous. Yi Jin Jing is known as a classic book about Muscle and Tendon Changing. “Yi” means to change, “Jin” means tendons and muscles, and “Jing”, methods. Legend has it that anyone who masters the skills in this book can become a master of martial arts and even save others' lives, so martial artists eagerly pursue it. According to legend, credit for Yi Jin Jing's development is given to Da Mo (Bodhidharma), an Indian monk who lived in the Song Mountains in central China. Legend said that Yi Jin Jing was left behind by Bodhidharma after he departed the Shaolin Temple. However, there is some debate about the true origin. But Zhou Weiliang, professor at Hangzhou Normal University, believes that in reality, Dian Xue and Yijin Jing are not as mysterious as they are portrayed in television dramas. Yi Jin Jing includes the Dao Yin exercises and martial arts exercises. It emphasizes that the core of martial arts lies in internal strength, which is manifested from the inside out. There are no specific martial arts movements in the book. It mainly introduces some exercises to cultivate inner strength. The Dao Yin exercises are related to health preservation via meditation and practicing breathing. In Qing Dynasty (1636 -1911), some stories mentioned the book Yij Jin Jing. Zhou said that many Qing Dynasty notes are similar to novels, and recorded events are more like stories, in which Yi Jin Jing was described as a "secret martial arts manual". Zhou believes that some of the descriptions of Yi Jin Jing in current Chinese martial arts novels may have adopted this setting from historical materials of the Qing Dynasty while adding more rich and complex plot lines. Yi Jin Jing also introduces finger strength training, which involves placing mung beans in a container and repeatedly inserting fingers among the beans to strengthen the hand. Over time, the fingers become as hard as stone and no one can resist them Some people believe that this may be one of the legendary Dian Xue techniques. However, Zhou believes that the ability to immobilize people with this technique may not actually exist. The miraculous effects are mostly exaggerated in novels and movies. English Language Article:
http://www.ecns.cn/m/news/cns-wire/2023-04-12/detail-ihcnkeae0516413.shtml Thanks Tony!
What you say about Miyagi Chojun's attitude toward 'Bunkai' is typical of traditional Chinese gongfu. Many Masters will know one or two 'favourite' applications of the various Form moves - but will always teach that each Form movement has hundreds (or more) applications that should not (and cannot) be limited to a single interpretation. This being the case, where does the concept of 'Bunkai' come from within Karate-Do? Certainly, there are old photographs of Goju Ryu 'Disciples' in Okinawa applying Kata movements as self-defence - quite often as Miyagi Chojun is looking on. As far as Southern Chinese gongfu concepts are concerned - I am not familiar with the term '分解' (Fen Jie) - which in Cantonese is pronounced 'Fan Gaai' and in Hakka 'Fun Ge'. However, there are some dialects of Hakka (not that spoken in my family - but in villages further North) - which pronounce '分解' as 'Bun Kiai'. Within the Fujian dialect - '分解' is pronounced 'Hun Kai' or 'Pun Ke', etc. This seems to morph quite naturally into the Okinawan-Japanese 'Bun Kai' - and would suggest the concept spread (linguistically) from South China to Okinawa. Of course, this might not be the case and could suggest the experience was developed in Okinawa (as part of the transmission process) and 'reflected' in the adoption of appropriate sounding 'Chinese' terms. I would agree fully with Miyagi Chojun - as I teach our family gongfu in just that way. Yes - if asked I can easily explain the purpose behind this or that movement - but it is only through 'practicing' each movement until the human awareness and perception penetrates its fully and its multitudinous (and 'empty') essence is found - that the 'movement' itself is totally comprehended. I was always taught that the ability to sit for long periods of time in cross-legged meditation is the highest expression of all gongfu Forms. On the other hand, a 'Master Chan' in Malaysia (a 'relative') focused all his life on perfecting just one Form movement - which involves the grabbing hold of a single (attacking) front-kicking leg - and 'breaking' that leg around the 'knee-joint'. He would apply a downward fore-arm (elbow) strike (whilst shifting into a back stance) across bamboo sticks thrust at him by students until one, two or three sticks could be easily broken! Whilst sparring, he would attempt to 'goad' an opponent into 'kicking' whilst skilfully avoiding all over incoming blows. Needless to say, the jungles of Malaysia had a number of permanently 'limping' former opponents! Thanks The below text regarding the White Crane Fist history of Goju Ryu Karate-Do - states that Miyagi Chojun was interested in Go Genki's 'Crane Hand': This White Crane Fist concept is written in Japanese script as '鶴の手' or 'Kaku no te' (literally 'Crane of Open-Hand') - probably better rendered as 'Open-Hand of the Crane'. It is interesting that 'Kaku' (Crane) sounds like ‘Kakie' - the name of the ‘Pushing-Hands’ practice found within Goju Ryu. I am considering whether the ‘name’ of this concept (i.e., Crane or ‘Kaku’) was eventually replaced by a description of the activity’ itself (Push-Hands) - with ‘Kaku’ (か) verbally morphing into ‘Kakie’ (カキエ) - when passed on from Master to Disciple before being recorded in writing with slightly different Japanese characters (although the ‘カ’ particle remains constant). An interesting observation can be gained from the title of the below linked video: The 'Chinese' and 'Japanese' ideograms for 'Crane' are included in the title of this video. a) 鶴 (he4) - Chinese - read in the Japanese language as either 'Kaku' (か), 'Tsuru' (つる), 'Zu' (ず), or 'Tazu' (たづ), etc - there is no way of telling 'how' it should be pronounced in Japan and depends upon a culturally relevant context. b) ツル (Tsu - ru) - This is Japanese Katakana for 'Crane' or 'long-legged and long-necked bird of the family Gruidae'. Although it would seem that the Chinese ideogram '鶴' (he4) is interpreted as 'Tsuru' (つる) - but not 'Kaku' (か) - at least in the video title above, or perhaps by modern convention. However, the '鶴' (he4) is still pronounced as 'Kaku' (か) within Japanese language dictionaries - and I am considering if 'Kaku' (か) was originally used 150 years ago - hence its similarity (and apparent) relationship to 'Kakie' (カキエ). If this association is just a coincidence - it is extraordinarily poignant.
Dear Tony
This is an important avenue of research. It may well be that there is an inner circle of 'those who know' currently living in Okinawa - sworn to secrecy. Why? Well, in the old days in China there was never any case of a Style becoming 'popular' in the modern sense (where distinct individuals voluntarily choose to train en masse in a martial art - spending part of their disposable income on this endeavour over a considerable period of time). In the old days - Masters chose a small number of Disciples (perhaps only one or two per generation) whilst 'Character' (and 'References') mattered more than money. The only equivalent of 'mass' involvement I can think of could involve religious movements or some type of militarised uprising (quite often these two entities overlapped - resulting in more or less the same thing) - such as the Taiping Rebellion, the Hakka-Punti Clan Wars and the Boxer Uprising - which saw tens of thousands publicly taught how to stand, manoeuvre in formation and fight (with and without weapons). As you know, China's history is strewn with examples of this type of militarised uprising - with each 'new' Dynasty being established through 'force of arms'. Secrecy trumped publicity - with martial arts being 'hidden' rather than made 'known'. Most martial arts were kept within families and passed down from father to son and mother to daughter (there were martial arts just for women) - but never to any (different) branch of the same family or any (different) Chinese name group. A 'foreigner' in the old days was not a 'Westerner' - but another Chinese person from a different geographical place - with a separate name signifying an entirely 'different' lineage of 'Qi' (氣). The clan name is traced back to a single and exceptional 'Founder' - (thousands of years ago) - and it is the power of his Qi which flows through our veins and gives us life today - such is its potency. Indeed, it is this 'Qi' which animates the martial movements concerned, and which 'empowers' the techniques so that they are effective in combat (saving and taking lives). It used to be thought that 'mixing' Qi (figuratively or literally) watered its power down - but this is viewed as out of date and unscientific today (although this attitude can still be found in the older Chinese diasporic communities). It seems that as Fujian province was designated a 'doorway' into and out of China - these attitudes were relaxed, transformed or completely abandoned. Remember, the issue is not clear with regards Okinawa, as it was considered a part of China at the time Higaonna Kanryo was taught by Ryu Ryu Ko. Today, it is considered part of Japan - and herein lies the first contradiction when it comes to 'clarifying' terms. Normally, the 'Master' represents the unmoving centre of wisdom. This means that whilst the Master sits 'still' - those seeking his wisdom must undergo a dangerous journey to see him (as explained in the 'Classic of Change' and many other ancient Chinese texts). This is the equivalent to Confucius holding-up one-corner of a four-corned cloth - whilst his (enquiring) Disciple lifts up (and brings) the other three-corners to him. Enquiring Disciples travelling to Fuzhou seeking martial arts instruction would be the norm - whilst a Master travelling from Fuzhou to Okinawa would be the exception (but this does not mean it did not happen). If such a visit was required - say to settle a dispute - a Master would often send a suitably qualified Representative empowered to settle the matter at hand (Go Genki?). Following the 1911 'Nationalist' Revolution (which was quite left-wing at its beginning under Sun Yatsen) - the traditional (Dynastic) restrictions regarding collective and individual movement were relaxed and Chinese people started travelling all over the interior of China and also out to foreign lands. People did travel abroad before this date - but such endeavours were dangerous and required various 'official' documentation not always easy to acquire. Of course, Ryu Ryu Ko could easily have travelled to Okinawa using the established (and much safer) business routes used by the Miyagi family to furnish the Okinawan royal family with their tea and other Chinese goods. Thanks Adrian The Chinese language texts says that Paleolithic cultural remains have been found dating between 800,000-500,000 years ago in the area that is now known as 'Fujian'. The area was known about and mentioned during the Xia, Shang and Zhou Dynasties, the Warring States Period and the Qin Dynasty, etc, all a longtime prior to the collapse of the Han Dynasty - even if it remained 'outside' of direct Chinese control. From what I can see, various non-Chinese 'Kings' loyal to the Chinese Court were recognised as controlling this region from the Zhou Dynasty onwards.
Before the settlement of the 'Han' people - the indigenous population of Fujian were categorised as being a branch of the '百越' (Bai Yue). These were the numerous non-Chinese tribes that lived South of the Yangtze River and North of what is today Vietnam. The term 'Bai Yue' (百越) means 'One Hundred - Snake'. The designation of 'One Hundred' (百 - Bai) refers to the apparent high number of these tribes - whilst 'Snake' (越 - Yue) indicates that these tribes were united around the habit of worshipping 'Snakes'. A branch of these 'Bai Yue' tribes was also referred to as the '粵' (also pronounced 'Yue') - meaning 'Generous' - these people migrated into the geographical area now known as 'Vietnam' with their current name being derived from the term 'Yuet' (Viet) migrating 'South' (Nam). Obviously, not all One Hundred of these tribes lived in Fujian and early on in history the number living in Fujian was set at 'seven' - meaning these people were called '七闽' (Qi Min) - although today the full name is '八闽' (Ba Min) or 'Eight Min' usually shortened to just 'Min' (闽). The ideogram '闽' (Min) seems to be a simplified version of '閩' (Min). This is the same ideogram used to describe the 'Min' River which flows through Fujian province. The general assumption is that these Eight non-Chinese tribes are named after this River. What does the Upper and Lower Particles of this ideogram tell us? a) Upper Particle = 門 (men2) - Gate, Doorway and Entrance b) Lower Particle = 虫 (hui3) - Snake, bug and animal Perhaps the Min River was viewed as a 'Gateway to Snakes' - as Fujian province used to be filled with Malarial swamps! Meanwhile, the name 'Fujian' first appeared in the year 733 CE during the 21st year of the reign of the Tang Dynasty Emperor - Kai Yuan (开元). This emperor bestowed this name when he created a special economic zone through which people could interact. As you can see by comparing the work of Mark Edward Lewis with Chinese language historical texts - he is correct in his assessments - but there is much that he misses out. He conveys the false assumption that Fujian was not part of China - it was part of the Chinese world view (as can be seen from the above historical data) but it formed a 'different' part. Someone Chinese has told me that there are different dialects of Min and that the one I have heard is probably related to incomers from the North - which is 'different' to other older Min dialects. After looking at this history - I would agree - although the Northern variant remains the dominant version! One last point is that Fujian is also known to be very mountainous and full of hilly terrain. The valleys were probably river beds until drained - causing sloping territory. There is the riding of narrow boats (the 'high' horse stance) and then there is the need to carry heavy weights up and down the hills. All this, together with farming, all probably influenced the development of local martial arts. |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |