The Island known as ‘Okinawa’ lies off of the South-West coast of Japan - forming part of the Ryukyu Island Chain - and is expressed in Japanese (Kanji) ideograms as ‘沖縄’. This name may be deconstructed as follows: a) oki (沖) = expanse of open water b) nawa (縄)= rope or thread The name appears to be a direct description of the numerous islands that comprise ‘Okinawa’ – which are themselves a substantial (Southern) part of the larger Ryukyu Island Chain. Perhaps the geographical placement and general shape of the islands was seen from high mountain-tops, surveyed in passing ships and/or observed from upon high by those who flew in the ‘Battle Kites’ known to exist within medieval Japan. Whatever the case, the Okinawa Island Chain is said to resemble a meandering rope lying across the surface of the water. I have read that this area first became known to China under the Sui Dynasty (581-618 CE) – but was not formally recognised by the Imperial Court until the Tang Dynasty (618-907 CE). This is when diplomatic and cultural contact with the King (of what was then termed the 'Liu Qiu' [琉球] Islands) was established - known today by the Japanese transliteration of 'Ryukyu'. 琉 (liu2) = sparkling-stone, jade, mining-stone (from previously uncultivated land), precious-stone, arriving, and breaking through (to a place far away - and situated on the fringes of the known world) 球 (qui2) = beautiful-jade, polished-jade, refined-jade, jade percussion instrument, earth, ball, and pearl. The Chinese Mariners must have been taken with the beauty of the Ryukyu Islands - as the term '玉' (yu4) – or ‘jade’ - appears as the dominant left-hand particle of both ideograms forming the name ‘Liu Qiu’. From the Tang Dynasty onwards, the Liu Qiu Islands were considered a distant (but important) part of the Tributary System of Imperial China. In return for a continuous show of annual respect (usually in the form of expensive gifts and/or elements of trade, etc) China shared her extensive culture. It was not until 1872 CE, however, that Imperial Japan took decisive action to annex all of the ‘Ryukyu’ Islands – and it was around this time that the term ‘Okinawa’ was developed to describe the Southern two-thirds of the Ryukyu Island Chain – now a ‘Prefecture’ of Japan. This history explains why the ideograms for ‘Okinawa’ are written in (Japanese) ‘Kanji’ - and are not obviously ‘Chinese’ in structure (as is the far older name of ‘Liu Qiu’). Is it possible to ‘reverse-engineer’ the Kanji ideograms associated with the name ‘Okinawa’ (沖縄) and work backwards as it were – to the original Chinese ideograms? The answer is ‘yes’ – as such an exercise might well shed some more light on the meaning of the name itself. Japanese - 縄 (nawa) = Chinese – ‘繩’ (sheng2) When adjusted in this manner - the Japanese name of ‘Okinawa’ (沖縄) is rendered into the Chinese language as ‘Chongsheng’ (沖繩). Whereas the first ‘Kanji’ ideogram of ‘沖’ (oki) remains identical with its Chinese counterpart of ‘沖’ (chong) - the second ‘Kanji’ ideogram (縄 - nawa) undergoes a substantial modification (繩 - sheng). From this improved data a more precise definition of the name ‘Okinawa’ can be ascertained through the assessment of the Chinese ideograms that serve as the foundation of the Kanji ideograms – working from the assumption that this meaning is still culturally implied through the use of ‘Kanji’ in Japan – even if such a meaning is not readily observable within the structure of the ‘Kanji’ ideograms themselves. 沖 (chong1) is comprised of a left and a right particle: Left-Particle = ‘氵’ which is a contraction of ‘水’ (shui3) – meaning water, river, flood, expanse of water, and liquid, etc. Right-Particle = ‘中’ (zhong1) refers to the concept of something being ‘central’, in the ‘middle’, or being perfectly ‘balanced’. It can also refer to an ‘arrow’ hitting the ‘centre’ with a perfect ease. Therefore, the use of 沖 (chong1) in this context - probably refers to an object that centrally exists within a body of water. 繩 (sheng2) is comprised of a left and right particle. Left-Particle = ‘糹’ which is a contraction of ‘糸’ (mi4) – meaning something that resembles a ‘silken thread’, a ‘thin’ and ‘flexible’ cord, a ‘rope’ or ‘string’, etc. This may also refer to the act of ‘weaving’ or to an object (like a rope, string, or strand) which is ‘woven’ into existence – perhaps implying a ‘cohesion’ attained through an ‘inter-locking’ agency, etc. Right-Particle = ‘黽’ (meng3) – this was originally written as a depiction of a type of frog – but evolved to be used generally to describe the act of ‘striving’, ‘endeavouring’, or ‘working hard’ (nin3). However, I am of the opinion that more practical attributes are at work in this instance. An old (but simplified) version of this ideogram is ‘黾’ – which demonstrates a clarification of what used to be a ‘frog’: This explains why there is said to be an ‘upper’ and ‘lower’ element to this particle: Upper-Element = ‘口’ (kou3) – signifies an ‘open mouth’, ‘entrance’, ‘mouth of a river’, and ‘port’. This can also denote a ‘boundary’ and a ‘hole’ or ‘indent’. This used to represent the head of a frog. Lower-Element = ‘电’ (dian4) – denotes ‘forked-lightning’, ‘energy’ and ‘electricity’, etc. Although evolving from the body of a frog – this element conveys not only the overt power of lightning – but perhaps retains something of the ‘shape’ of forked lightning in its usage as a noun. Perhaps 繩 (sheng2) is a descriptive term used to describe a port that allows entry to a string of islands which seem to take the shape of a rope that geographically unfurls - like forked lightning traversing the sky. Conclusion The term ‘Chongsheng’ (沖繩) – or ‘Okinawa’ - probably refers to a string of islands (and ports) which exist within a broad expanse of open sea - like a rope floating upon the surface of the water (the shape of which resembles that of forked-lightning). This place may be difficult to reach – and the people encountered may be very hard working. It is highly likely that these islands seem to float like a frog on the surface of the water – hence the selection of these ideograms. Of course, the post-1872 Japanese Authorities chose to use the Kanji ideograms of ‘沖縄’ to convey the concept and meaning of the name ‘Oki-Nawa’. In Chinese language texts, I do not see Okinawa referred to as an isolated unit of geographical description. This is because Chinese literature refers to the entire Chain of Islands by the far older and more traditional name of 'Liu Qiu' (琉球) – which was politically acknowledged through ancient diplomatic exchange. Furthermore, it is interesting to note that the post-1872 Japanese Authorities did not abolish this Chinese name – but borrowed it – simply transliterating it into the now well-known ‘Ryukyu’ Islands. Okinawa is only around two-thirds of the Southern-Central area of the Ryukyu Islands – but as far as the ancient Chinese were concerned, the ‘King of Ryukyu’ was the ‘King’ of the entire geographical area defined by this term. Whereas the Chinese term is prosaic (poetically speaking of ‘jade’ and ‘unexplored’ land – the Japanese term might well be practical as it seems to be describing the ‘rope’ that is extensively used in sailing ships, boats, and other floating entities – including the requirement to ‘moor’ such objects in purpose-built ports. The difference in the two-names probably reflects the developing socio-economic conditions prevalent throughout the Island Chain at the time of conception – with around 1500 years separating the development of the two names. Chinese Language Text:
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Dear Tony Interesting. Thank you for your knowledgeable explanation of sparring - an adult 'tiger playing with a cub'. This inspired me to research 'Ran-Dori' in Japanese-language sources - which is written as '乱取り' - '乱捕り' and 'らん‐どり'. Both of the following Japanese-language Wiki-entries (I have checked the data is correct) should be read side by side to gain an all-round clarity - as the 'Randori' entry does not specifically mention Karate-Do - whilst the 'Kumite' page explains that in some Styles of Karate-Do - 'Kumite' is referred to as 'Randori'. Randori - Japanese-Wiki (Fed Through Auto translate) Kumite - Japanese-Wiki (Fed Through Auto translate) I suspect the inference is that in Okinawan Karate-Do the term 'Randori' is used - whilst in Mainland Japan - the term 'Kumite' is the preferred. Difficult to say, but as you know, 'nuance' and 'implication' is an important part of Japanese communication. What is NOT said is as important (sometimes more so) than what IS said. Perhaps this Yin-Yang observation is just as important for sparring - whatever its origination and purpose. As for the traditional Japanese and Chinese ideograms - this is what we have: 乱取りand 乱捕り 乱 (ran) = chaos, disorder 取 - 捕 (to) = take hold of, gather, control, arrest り(ri) = logic, reason, understanding Therefore, 'Ran-Tori' and 'Ran-Dori' are synonymous - with the concept expressed in its written form as '乱-取り' - ot 'Chaos (Random Movement) - Seize Control of'. What is 'chaotic' in the environment is wilfully taken control of - by imposing an outside order upon it. This suggests that the 'non-controlled' is 'controlled' by the structure of Kata-technique - which is brought to bear by an expert. There also seems to be the suggestion that that which 'moves' - is wilfully brought to 'stillness'. As for a Chinese-language counter-part, perhaps we have: 乱 - 亂 (luan4) = disorderly, unstable, unrest, confused and wild (Japanese = 'turbulent') 取 (qu3) = take hold, fetch, receive, obtain and select り- 理 (li4) = put into order, tidy up, manage, reason, logic and rule It would seem that the Japanese term of 'Ran-Dori' equates to the Chinese term of 'Luan-Quli' - or 'Disorder - (into) Order Rule'. Your reply inspired me to think about what the Japanese '乱' (Ran) - or Chinese equivalent '亂' (luan4) - actually means. What is the definition of the 'disorder' being referenced to when 'Ran-Dori' is being discussed? Therefore, '亂' (luan4) is comprised of a 'left' and 'right' particle: Left Particle = 𤔔 (luan4) means to 'govern' and 'control' - and is structured as follows: a) Upper Element = 𠬪 (biao4) represents two-hands working together. The upper '爫' (zhao3) is a contraction of '爪,' (symbolising the vertical 'warp' threads used in weaving) - representing a 'claw' or 'hand' grasping downwards (from above) - and the lower '又' (you4) which is a right-hand 'grasping to the left' (meaning 'to repeat' and 'to possess') - signifying the horizontal 'weft' thread used in weaving. b) Lower (Inner) Element = 幺 (yao1) - a contraction of '糸' (mi4) which refers to 'thin silk threads'. c) Lower (Outer) Element = 冂 (jiong1) this is a 'comb', 'beater' or 'heddle' - a device to 'order' the silken threads that require weaving. In normal usage, this ideogram denotes the structured boundary that clearly demarks the city limits. Right Particle =乚 (yi3) is a contraction of '隱' (yin3) - meaning to 'hide', 'conceal' or 'cover-up', etc, as in 'something is missing'. It can also refer to a required process that is 'profound', 'subtle' and 'delicate' - but which is currently 'lacking'. It may also mean 'secret' and 'inward' or 'inner', etc. I would say that 'obscuration' is what this ideogram refers to in its meaning. Conclusion The literal meaning of '亂' (luan4) [or 'Ran' in 'Ran-dori] - is that it refers to a lack of skilful organising ability (disorder and confusion). The thin silk threads are not placed correctly on the wooden frame (loom) - and therefore cannot be 'weaved' together in an orderly fashion. This entire process lacks the required profound knowledge and experience to achieve the objective - thus the hands (and body) cannot be used in the appropriate manner. Ran-Dori (乱捕り), as a complete process, suggests that it is the opposite of the above 'lack of skill' that is require in sparring. Not only is this skill required, but 'ri' (li) element (理 - li3) - suggests a 'regulation' and an 'administration' (premised upon logic and reason) - such as the profound skill required to 'cut' and 'polish' jade. I was discussing Randori with another language expert and they gave me more data which I have added to this paragraph: 'Upper Element = 𠬪 (biao4) represents two-hands working together. The upper '爫' (zhao3) is a contraction of '爪,' (symbolising the vertical 'warp' threads used in weaving) - representing a 'claw' or 'hand' grasping downwards (from above) - and the lower '又' (you4) which is a right-hand 'grasping to the left' (meaning 'to repeat' and 'to possess') - signifying the horizontal 'weft' thread used in weaving. ' I was curious as to why the two hands were so specific in their orientation and my colleague said that they are clearly carrying out the process required for ancient 'weaving'. One hand is laying the 'warp' - or 'vertical' thread down through the loom - whilst the other right hand is performing the function of 'weaving' multiple 'weft' threads into place horizontally across the loom! As a matter of comparison - the 'Kumi' (組) in Kumi-te (組手) - Chinese 'Zu Shou' - means to 'weave continuously'. This translates as 'to be skilful' (the silken threads are skilfully woven [糹-si1] together forever - like the longevity of a sacrificial vessel [且 - qie3] - which are traditionally made out of stone). Therefore, Kumi-te literally refers to a 'continuous skill that unfolds through the hand'. This may be compared to the term 'Ran-Dori' which refers to a 'missing skill' that has yet to be 'acquired' and is in the midst of 'being acquired' (through developmental training) - whilst Kumi-te implies that the required skill is already present and should manifest automatically.
All genuine Chinese gongfu (family) lineages possess a TCM (folk) prescription for 'Iron Fighting Wine'! These pages written in Medical Chinese ideograms are highly valued and treasured - even though they possess a number of different (but related) names - all variants of theme! As we value Traditional Okinawan Goju Ryu - this bottle is heading to a very good and esteemed Instructor of that martial art living in the UK! Brewing and bottling Dit Da Jow is a family affair that involves an element of profound spirituality.
Dear Sensei
Thank you for these explanations - they are all 'ingested' and 'processed'! Here is a short Japanese language blog article about 'Muchimi' (ムチミ): What Is Muchimi? I fed this through a Universal Translator but it looks good! Probably the content is a bit basic for you - but a good Japanese language reference. I always try to seek-out a Chinese transliteration (or original ideogram) for unfamiliar concepts as this helps me understand the meaning to a greater degree. This is the fruits of my research: a) ム (Katakana) = 牟 (mou2) - An 'Ox' Mooing! To use great strength - to exceed and to expand! As strong (and as 'heavy') as an Ox! b) チ (Katakana) = 千 (qian2) - Thousand, many - to greatly multiply! c) ミ (Katakana) = 三 (san1) - Three, third or repeat three times, etc. Therefore, the Japanese concept of 'Muchimi' (ムチミ) seems to suggest that the strength (and 'weight') of the Ox is increased in all directions (including 'downward' as in 'rooting') not only a 'thousand' times, but 'three' times a thousand! As the Ox is 'Mooing' - this might suggest an emphasis upon the outward breath - or perhaps the making of a special sound (or 'Ki-ai') whilst breathing-out! The reason this is important is that when the Japanese scholars shortened the Chinese ideogram of '牟' (mou2) and replaced it with 'ム' - they chose to retain the emphasis upon the Ox emitting the 'mooing' sound! Originally an 'Ox' was written using '牛' (niu2) with the particle '厶' added to the top - to represent its 'mooing' (or 'lowing'). There is a 'rootedness' (heaviness) and strength expanding in all directions that is effortless, natural and somehow linked to 'sound'! Best Wishes Adrian There is a belief found in ancient China that as soon as words are made on paper - a corresponding material reality is a) generated, and/or b) reinforced (in the case of pre-existing realities). This sense of 'importance', 'inevitability' and 'mystery' stems from writing (a rare art right up to the 20th century in China) being associated with the ancient divination process. Indeed, the Chinese writing system evolved from the shamans 'interpreting' and 'reading' the cracks made in collected turtle plastron and ox scapulae by the application of a hot poker. This followed a question being subnitted by the 'King' - which was carried-up to the divine-sky by the smoke generated by the hot poker 'touching' the shell or bone - with the (returning) answer being assumed to be contained in the subsequent 'cracks' that appeared! Needless to say, a body of knowledge (and associated 'interpretative' symbols) was eventually established. Up until 1949 only around 10% of the Chinese population was 'literate' (with 90% remaining permanently 'illiterate') - with the 'literacy' rate today being in the high 90% (with 'illiteracy' remaining mostly amongst the very old or the cognitively disabled, etc) - but the cultural attitude toward the importance of 'words' still persists. Therefore, the naming of a martial art within Chinese-influenced cultures is rarely a trivial matter, and I suspect Miyagi Chojun had been thinking about - (and discussing this issue) - far more extensively (and in depth) than the usual 'naming' stories would suggest and imply. When Miyagi Chojun chose the two traditional Chinese ideograms of '剛' (Go - Gang) and '柔' (Ju - Rou) he was achieving two objectives: 1) He was generating order in the material environment by 'confirming' the existential presence of his martial art. The art exists because the name exists - and vice versa. Within ancient China it was believed that by compiling lists of 'things' and 'objects' (including 'names') - a corresponding order was being constructed and reinforced in the material environment. An 'order' that cannot be questioned. 2) Miyagi Chojun was stamping his authority upon the art he had been taught and entrusted with by his teacher Higaonna Kanryo - projecting this order 'backwards' into history - all the way back through time (and associated 'lineage') to the 'root' of the art in Southern China. In other words, Miyagi Chojun was confirming the transmission and his receiving of the transmission - whilst proving he is worthy of it! He is placing his family's clan banner firmly in the ground, making a statement of authority and authenticity, and daring anyone to challenge him - which, of course - no one was stupid enough to do! In this case, the martial art defined as 'Go' and 'Ju' had previously existed (in one form or another) - but now had reached a level of technical sophistication (and stabilization) so that the profound physical-psychological principles of 'Go' and 'Ju' (containing the corresponding meanings you ascribe) could now be considered fully established and developed!
The ‘Tensho’ kata is written in Japanese script as ‘転掌’. At first glance, these Japanese language ideograms look similar to Chinese language ideograms but are slightly out of context. This is because these are written as ‘Shinjitai’ (新字体) or ‘New Character Form’ ideograms developed in Japan during the post-1946 period. They are ‘simplified’ versions of traditional Chinese ideograms altered in Japan for the exclusive use within Japanese culture. These alterations of traditional Chinese ideograms are not recognized within Mainland China (which has pursued its own ‘simplified’ ideogram development). This suggests that prior to the 1930s (and Japan’s aggressive war against China) the term ‘Tensho’ may well have been written using recognizable traditional Chinese ideograms. As matters stand, the Japanese term ‘転掌’ (Ten Sho) can be translated as:
転 (Ten) = Rotating, Turning, Moving, Shifting and Transition. 掌 (Sho) - Palm (or ‘Flat’ of the Hand), Control, Rule and Manipulate. When read together, these two Japanese ideograms suggest a ‘continuous and expert manipulation of the (transitioning) open hand with fingers extended and palm exposed’. How would these two Japanese ideograms read in traditional Chinese ideograms? Probably something like this: ‘轉掌’ (zhuan3 zhang3) 轉 (Zhuan) = Turn, Revolve, Wind, Entwine, Envelope, Encircle, Shift, Alter, Change, Seize Victory (from Defeat), Return, Contemplate (Turn-Over in the Mind), Mediate, Reconcile, Wave, Flutter, Divert, Transfer, Evade, Avoid, Support, Abandon, Leave, Arrive and Utter a Spell, etc. 掌 (Zhang) = Palm (of the Hand), Finger, Extended Fingers, Sole of the Foot, Slap, Hold, Grip (Close Fingers), Control, Support and Hold. It is clear that the Japanese transliteration process has simplified by removing essential and very important (Chinese) cultural data and information contained within the original Chinese language ideograms. This means that part of the intended ‘Chinese’ meaning conveyed in the original Chinese martial arts sequences is now ‘missing’ in the titles – where once it was included and obvious. Although the second ideogram ‘掌’ is identical in both examples – the Japanese interpretation is obviously deficient and lacking important meaning – such as the requirement for an equal emphasis being implied for the use of the hands and feet. Whatever advanced and mysterious implications are intended with the hand movements of ‘Tensho’ - exactly the same meaning is intended for the use of the feet! Perhaps the greatest deficiency of meaning lies in the difference between the Chinese ‘轉’ (Zhuan) and the Japanese ‘転’ (Ten)! The Chinese ideogram ‘轉’ (Zhuan) is comprised of the left-hand particle ‘車’ (che1) - which is an ancient carriage (or 'chariot') pulled by a set of horses (introduced into China around 1200 BCE or earlier). This was a relatively stable platform for travel, transportation of goods and as a mobile fighting platform during war. The Wheels operate by moving around and around so that the carriage and contents are transferred from one place to another according to the intent of the driver and wishes of the passengers. The horses are attached to the carriage by various ropes, straps and reins so that the driver can control them whether they move, stop or turn, etc. Sometimes, the horses are controlled by a driver who sits upon one of the leading horses and controls the movement by the ‘grip’ of his legs around the horse’s sides, etc. Usually, the platform not only has four walls and a roof – but the entire structure is covered by a large umbrella which protects the occupants, drivers and guards, etc, from the sun, wind and rain. Expert control and the ability to suddenly change direction, stop or retreat quickly is implied by this particle, which is obviously ‘martial’ in essence. The right-hand particle is ‘專’ (zhuan3) which represents the actions of an ‘expert’ who uses his or her hands to good effect. This is because the top element of this particle is ‘叀’ (zhuan1) - which represents a ‘spindle’ that is expertly controlled and directed by a human hand – this hand is represented by the bottom element of this particle as ‘寸’ (cun4). This is a drop-spindle which must be expertly controlled by the human-hand as it turns and spins – creating thread, yarn or wool, etc. Therefore, ‘轉’ (Zhuan) suggests an expert martial ability that transforms the mind, body and spirt, whilst the practitioner carefully masters the art of timing, positioning, moving and prediction, etc. All of this ability involves the mind, body and spirit, but is achieved through the expert coordination of the hands (which are emphasized) and the feet (which are foundational). Although the Japanese ideogram of ‘転’ (Ten) retains the left-hand particle of the ‘carriage’ (or 'chariot') with ‘車’ (che1) suggesting a continuous turning motion - the right-hand particle is completely altered and now stands as ‘云‘ (yun2)! Within ancient Chinese language usage this usually refers to a human mouth expressing various vocalizations which generate ‘clouds’ of water vapor around (and next to) the head that speaks! Indeed, within modern Chinese language usage, ‘云‘ (yun2 is a simplified way of referring to a ‘cloud’. Therefore, this suggests that ‘転’ (Ten) as used in the Japanese language interpretation - ‘changes’ - the intended (and original) Chinese language ideogram of ‘轉’ (Zhuan). Original Chinese Language Meaning: ‘轉’ (Zhuan) = A continuously spinning, dropping and rotating spindle device is expertly ‘controlled’ by exact movements of the human hand. Altered Japanese Language Meaning: ‘転’ (Ten) = A moving (turning) object generates ‘speech’ and ‘clouds’ of water vapor! Although the second ideogram ‘掌 is identical within both Japanese and Chinese usage, the meaning does vary between cultures. Original Chinese Language Meaning: 掌 (Zhang) = Palm (of the Hand), Finger, Extended Fingers, Sole of the Foot, Slap, Hold, Grip (Close Fingers), Control, Support and Hold. Altered Japanese Language Meaning: 掌 (Sho) - Palm (or ‘Flat’ of the Hand), Control, Rule and Manipulate. When all this analysis is combined together, the academic and intellectual implications should be clear and assist the modern martial artist understand the intended meaning behind the ancient Chinese martial arts systems and their diverse training methods, techniques training regimes, etc. Furthermore, it must be understood that the ancient Chinese scholar believed that the sheer act of ‘writing’ was a mystical undertaking whereby ‘exact’ words with ‘precise’ meanings were carefully chosen when the highly important compiling of ‘lists’ was undertaken within the Imperial Court and elsewhere. A ‘list’ once written was believed to possess the legal and moral power to bring physical (and spiritual) order throughout the world! The same methodology was used for the compiling of written lists pertaining to martial arts practice and preservation. This is why it is important to know and understand the original ‘Chinese’ language meaning and interpretation of all the martial arts terms that are practiced. This process ensures a precise and pristine transmission and assists the current generation to correctly understand the wealth of doctrinal information that is being communicated which has been gathered over the centuries in wartime and in peace! Original Chinese Language Meaning: ‘轉掌’ (Zhuan Zhang) = Within the Chinese cultural milieu, this ‘Form’ would be known as ‘Zhuan Zhuang’ - and probably understood to mean something like ‘Continuous Transitioning and Transcending Open Hands – Coordinating the Palm, Fingers and Soles of the Feet whilst Controlling the Opponent’. This may seem overly long – but from the sheer weight of intended meaning contained in the two relevant Chinese language ideograms – this is as compact as I can make it. Indeed, I find this compromise to be embarrassingly ‘short’. Altered Japanese Language Meaning: ‘転掌’ (Tensho) - although often translated as ‘Rotating Hands’ - the Japanese language ideograms certainly do not say (or suggest) just this idea. A rotating device vocalizes as it breathes in and out – so that the open hands can turn in any direction. What might be happening here, is that the Japanese Masters took-out the particle pertaining to a ‘hand-spinning’ device (which signifies mastery of a handicraft) and replaced it with a particle suggesting ‘breathing’. As the second ideogram already suggests that an ‘open hand’ or ‘palm’ is to be used – the Japanese Masters may have thought that the particle denoting the ‘drop-spin’ device could be removed without any great loss and a particle added that suggests that this kata involves a very special form of breathing. Even so – the original Chinese language meaning does not pay any attention to the required breathing but focuses instead only upon physical aspects and the innate level of mind-body skill that is required to master this kata. Breathing is an issue passed in person from Master to Disciple - and is often dealt with in any number of Daoist Qigong or Daoyin manuals. After-all, circulating the prenatal breath in both its micro and macro-orbits is not a great secret anymore – not even in the West! |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |