Until very recently, this was a 'secret' martial art only passed-down between father and son - and only then if the son had passed the government examination AND acquired the post of a local official. Within the Chinese language, this art is known as '双判官笔' (Shuang Pan Guan Bi) or: Shuang (双) = Referring to a matching 'pair' Pan Guan (判官) = 'Judging Official' or 'Magistrate' Bi (笔) = 'Writing Brush' - that which records 'Legal Decisions' This martial art was only to be practiced by families that practiced law and dispensed 'justice'. As this could be a dangerous occupation due to the nature of the people being tried - and the severity of the 'Sentences' handed-down - it was not uncommon for Judges to be attacked by entire groups supporting the accused (usually families - but sometimes just criminal gangs)! 【武术运动】双判官笔,古老的武术,一直视为秘密绝学!
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I have written elsewhere about the Chinese (martial) cultural concept of ‘凌空劲’ (Ling Kong Jin) often erroneously translated in English as ‘Empty Force’ (and subsequently misinterpreted) - but what follows is a list of similar concepts. These all encapsulate the idea of striking an opponent ‘at a distance’ - without making physical contact (as is required in Western Boxing or Mixed Martial Arts, etc). 1) 隔山打牛 (Ge Shan Da Niu) = Smashing Mountains Striking Oxen 2) 隔空打人 (Ge Kong Jin Ren) = Smashing Empty Power (into) Opponents 3) 印掌 (Yin Zhang) = Imprinting Palm 4) 百步神拳 (Bai Bu Shan Quan) = Hundred Step Spirit Fist 5) 透劲 (Tou Jin) = Penetrating Power 6) 棉花掌 (Mian Hua Zhang) = Cotton Flower Palm As these concepts are misunderstood both in China and outside of China, it goes without saying that they are much maligned. (Number '6' actually involves striking and breaking bricks - experiencing the impact as something like 'hitting cotton' - although many also consider this to be a 'fake' skill similar to 'hitting at a distance'). Part of the problem involves the exploitation of these concepts for monetary profit by those who possess no real idea about what these concepts mean. When these frauds are exposed (usually during a sparring match) - the logic employed suggests that the concepts these people are peddling are as corrupt as the personality that is misrepresenting them! This is incorrect – but as there is no separation between the defrauding element and the legitimate martial concept itself – no debate can be developed when the baby is being thrown-out with the bath water! Obviously, ss someone who firmly rejects capitalism (and the liars it produces) I am certainly NOT supporting any variation of these frauds. I also make no secret of my opposition to the Eurocentric racism prevalent in the West that is routinely aimed at Chinese (and all ‘Asian’) people and their culture. When confronting this type of ignorance, there are a lot of components to unpack. I am not going to waste my time ‘arguing’ with racists – as I would rather confront these morons before they can do any real damage to my family and/or community. As for the genuine people – do not be deceived by charlatans (of any type) and always look beyond the horizon for better and more complete knowledge! Do not fooled by misrepresentations of Chinese (martial) culture. Chinese Language Source:
Translator’s Note: This version of history is different from the 1989 declaration in China that ‘Ryu Ryu Ko’ (the ‘teacher’ of Higaonna Kanryo) was in fact ‘Xie Chongxiang’ (謝崇祥) [1852-1930] - known locally as ‘Ru Ru Ge’, ‘Ru Ru Shi’ and ‘Ru Shi’, etc. In many texts, this well-known White Crane Fist teacher is known as ‘Xie Ru Ru’ (谢如如). The ‘International Okinawa Goju Ryu Karate-Do Federation’ (IOGKF) - formerly led by Higaonna Morio (who has recently rescinded control) – does not accept this research. This is because this organisation has a different version of historical events – which I present below in English translation. For those fully aware and accepting of the ‘Xie Chongxiang’ identification – the following will explain ’why’ the IOGKF does not adhere to this narrative. From a purely historical perspective, the discrepancies of interpretation are interesting. An important contextual point to bear in mind is that by 1915 - it would have been thirty-four years since Higaonna Kanryo left China in 1881 - with Ryo Ryo Ko presumably ‘dying’ not long after this date. The glaring contradiction is that in 1915 - Miyagi Chojun (whilst visiting Fuzhou) - was shown the 'Tomb' of 'Ryu Ryu Ko' whilst 'Xie Chongxiang' was still alive! ACW (30.9.2022) During May 1915, Miyagi Chojun and Nakamoto Hideyoshi (仲本英炤) - the latter also being a prominent Okinawan martial artist – travelled together to the Fuzhou area of China’s Fujian province! By this time – the Grand Master Ryo Ryo Ko – had long been deceased. As the ‘Chief Disciple’ of Higaonna Kanryo, however, Miyagi Chojun attempted to gain access to the surviving family and martial lineage descendants of ‘Master Liu’ (刘氏 - Liu Shi). This is described as Miyagi Chojun attempting to successfully ‘gain entry’ to the ‘Liu Gate’ (师门 - Liu Men) - despite Master Liu having been deceased for quite some time. Miyagi Chojun, however, discovered that most of the members of the ‘Liu’ family (and his martial ‘lineage’ disciples) had moved out of the Fuzhou area – due to warfare. Those still living in the area were elderly people of the same generation as Higaonna Kanryo. The Senior (elderly) ‘Liu’ disciple still remaining (and who could remember Higaonna Kanryo) led Miyagi Chojun (and his group) to the Tomb (墓 - Mu) of ‘Master Liu’ (ルールーコウ- Ryū Ryū Ko) so that the ritual of Confucian ‘respect’ (拜祭 - Bai Ji) could be correctly performed. After this duty was completed – Miyagi Chojun was then taken to the place where Higaonna Kanryo used to practice martial arts. During October 1915, Higaonna Kanryo gathered his students and disciples together in Okinawa and formally announced that ‘Miyagi Chojun’ was chosen as his official ‘lineage’ descendent and successor! Miyagi Chojun spent thirteen-years training under Master Higaonna Kanryo’s guidance (1902-1915). As the teaching of Higaonna Kanryo was so strict – Miyagi Chojun was the only student to train for such a long and sustained period of time! This made Miyagi Chojun the ‘Chief’ disciple amongst the many that trained – and the ‘Leading’ disciple of the Higaonna Naha-Te tradition! Miyagi Chojun remained entirely loyal to Higaonna Kanryo until his passing – and then preserved his memory without hesitation. During 1916, as the ‘lineage’ inheritor of Higaonna Kanryo – Miyagi Chojun experienced his first occasion of ‘hosting’ visitors from Fuzhou! These people were Chinese martial artists visiting Okinawa to pay their respect to the ‘lineage’ of Higaonna Kanryo (which had been transmitted from Fuzhou to Ryukyu). As ‘lineage’ inheritor – the respect expressed for Higaonna Kanryo (when not directed to his Tomb or living Higaonna family members) was directed toward Miyagi Chojun himself – who was responsible for all the arrangements of these visits. On July 2nd, 1917, Miyagi Chojun (accompanied by ‘Wu Xiangui’ [吳賢貴] as translator), left Okinawa to visit Fuzhou to carry-out further research into the local martial arts practiced there. This included the ‘六机手’ (Liu Ju Shou) or ‘Rokuki’ (‘Six Weaving Hands’) technique - which later evolved into the ‘Tensho’ (転掌) Kata – translating as ‘turning’, ‘evading’ or ‘entwining’ - ‘hands’. Miyagi Chojun also began to study the Chinese manual entitled ‘武备志’ (Wu Bei Zhi) or ‘Military Preparation Record’ at this time. He also started to develop various patterns of martial movements to assist students in their daily practice. Chinese Language Source: 作者:猫爷习 https://www.bilibili.com/read/cv1652712/ 出处:bilibili
宫城长顺先生生平介绍(转载) 1915年5月,宫城长顺先生与仲本英炤氏前往福州,以首席弟子的身份福州拜见刘氏师门后人。在福州宫城长顺先生发现刘氏门人因战乱大多已迁离福州,唯独留 下几位与东恩纳宽量先生同辈份的上年人。门人领着宫城长顺先生一行人去到刘氏( ルールーコウ,Ryū RyūKo)之墓拜祭以及去昔日东恩纳宽量先生习武之旧址。 1915年10月,東恩纳寛量先生临终前向门下学生正式宣布宫城长顺先生为他的继承者。宫城长顺先生在东恩纳宽量先生门下一共十三年,直到东恩纳宽量先生过世为止,是东恩纳宽量先生门下学武时间最久的弟子也是東恩纳寛量先生的首席弟子。 其师过世后,1916年里宫城长顺在冲绳正式以继承人的身份首次接待了来访的福州的武术家。1917年7月2日,宫城长顺先生带着吳賢貴氏作为翻译回福州去视察研究当地武术。包括对六机手,武备志等的研究在此事开始。大概此时他也开始设计练习时的预备运动(准备运动)。 GLOBALink | Sports Geography: Henan in the Transmission of Chinese Martial Arts! (30.9.2022)9/30/2022 Twenty-five-year-old Li Yinggang is a Coach at Shaolin Tagou Martial Arts School in Songshan, Central China's Henan province! He started martial arts practise at the age of 9 and shifted to free combat 3 years later. Students Practice During a Martial Arts Class Under the Instructions of Coach Li Yinggang at the Shaolin Tagou Martial Arts School in Songshan, Central China's Henan Province - July 6, 2022. (Xinhua/Wu Gang) Since he was 16 years old, Li has been taking part in the Professional Free Combat Competitions - always winning domestic and international title events several times - including two Golden Belts from the Chinese National Free Combat League! As Li Yinggang says - practicing traditional martial arts has helped tremendously in improving his free combat skills!
Nowadays, Li aims to impart his understanding and experience of traditional martial arts to students during his classes - hoping they can master the essence of martial arts - and inherit and develop Chinese martial arts! Miyagi Chojun (1888-1953) – the founder of Goju Ryu Karate-Do - was born in Naha City on April 25th, 1888. The Miyagi family was of the ‘noble’ (ancient ‘Ryukyu’) class and was very wealthy due to supplying Traditional Chinese Medicine (TCM) to the Ryukyu Royal Family. This meant that the Miyagi family members were travelling continuously backwards and forwards to imperial China – and possessed continuous ‘official’ clearance from a) the Okinawan Authorities, b) the Japanese Authorities and c) the Chinese Authorities. For most ordinary people this bureaucracy was almost impossible to navigate – and even if navigated successfully – it usually applied to only a ‘single’ return journey! It was this established trade routes between the Ryukyu Island and Imperial China that Miyagi Chojun would use to facilitate his travelling to Mainland China (which might well give credence to his 1915, 1916 and 1936 visits – with ‘1916’ often being the most disputed visitation). The Miyagi family were known locally as a ‘White Silk Seal’ (素封 - Su Feng) - or very wealthy - family. This is written in the Japanese script as そほうか’ - and refers to a family with large land holdings and substantial wealth assets. Miyagi Chojun’s father was named ‘Miyagi Chosho’ (宫城長祥) - who was the third of three sons born in his generation of the Miyagi family. Unfortunately, Miyagi Chosho died early on – and when Miyagi Chojun was three years old (during 1891) he was adopted by relatives from the primary branch of the Miyagi family (which possessed no male heir). Therefore, from an early age, Miyagi Chojun became the official heir – legally designated to inherit the entire Miyagi family fortune! According to biographical details supplied by Aragaki Ryuko [新垣隆功] (1875–1961) - the mother of Miyagi Chojun took him to a neighbour to begin martial arts training when he was eleven years old (during 1899). When Mr Aragaki Ryuko recalled his earliest memories of a young Mr Miyagi Chojun - he described him as an active and competitive child who often caused trouble with other children! Aragaki Ryuko, however, also recognised that Miyagi Chojun was also very talented when it came to fighting! Furthermore, although young, he exhibited a very serious attitude when training in martial arts and retained a sense of utmost discipline! Even when tired – he would never give-up and would always continue to try and move correctly and without error! Aragaki Ryuko carefully observed the behaviour of Miyagi Chojun for three-years to ensure that what he was seeing was correct. Only after this period of character-testing did Aragaki Ryuko stake his own reputation on recommending Miyagi Chojun for training with Master Higaonna Kanryo (1853-1915)! When Higaonna Kanryo accepted this youth as his ‘disciple’ - Miyagi Chojun was aged fourteen-years-old (during 1902). This means that Miyagi Chojun trained with Higaonna Kanryo between 1902-1915. This equals to thirteen-years – with two-years (1910-1912) taken-out for Miyagi Chojun’s military service in the Imperial Japanese Army (in Kyushu). Higaonna Kanryo was very strict and demanded very high levels of self-discipline and commitment from his students! He trained his students so severely that the purpose was to make those with weak characters ‘choose’ to quit training because they found it ‘too difficult’. Higaonna Kanryo would say that everything they needed was provided for their training right outside their front doors – and that they did not have to travel, seek out or attempt to communicate or negotiate! If, after all this pampering they were still unable to commit themselves to serious training – what good were they? Higaonna Kanryo would continuously advise students to go home and take-up a less demanding pastime! He wanted to see if they possessed the courage to come back the next day and face his wraith for them daring to defy his instruction! Miyagi Chojun kept returning and setting himself the daily task of using all the provided body-conditioning equipment surrounding Higaonna Kanryo’s home – whilst showing ‘respect’ NEVER giving in to the provocation to give-up! The more intense Higaonna Kanryo’s pressure became – the ‘calmer’ Miyagi Chojun’s mind would become and the ‘better’ his martial technique would manifest! This impressed Master Higaonna Kanryo – who said his teachers in China were just as hard upon him as he was upon his own students in Okinawa. As a consequence, Miyagi Chojun developed a very powerful (and ‘rooted’ to the ground) martial technique so that he was able to strike with considerable force through a ‘hardened’ and ‘toughened’ body structure that could be ‘relaxed’ inbetween bouts of required ‘tension’! Furthermore, when required, his body could absorb, deflect and redirect all incoming power from the blows of others! Chinese Language Source: 宫城长顺先生生平介绍(转载) 剛柔流实际的创立人是宫城长顺先生(1888-1953)。宫城长顺先生生于1888年4月25日,於那霸市出生。宫城家是以进口中国药材供应琉球王府御用的经商家族,琉球时代上等位阶士族的后裔,在那霸闻名的素封家 (そほうか,指拥有大土地,大資産的家族),宫城长顺先生的父亲是宫城家三男宫城長祥,早亡,三岁时宫城长顺先生被属于无亲子的亲戚领养并且从小被指定为宫城家业的继承人,家道富裕。
宫城长顺先生11岁开始由母亲带他到其邻居泊手师父新垣隆功先生(1875-1961)门下习武。(新垣隆功先生便是国际冲绳刚柔流空手道连盟IOGKF范士新垣修一先生的祖父,而且新垣隆功先生是位曾经在公开比武中打赢了本部朝基的冲绳空手名人)。新垣隆功先生回顾起年幼的宫城长顺先生时,描述他是个好动并且好胜的孩子,时常与其他孩童闹事。但新垣隆功先生见宫城长顺先生天资过人,习武认真,3年后,即宫城长顺先生14岁那年推荐他到东恩纳宽量先生门下习武。在东恩纳宽量先生极度严格的训练下,宫城长顺先生的性格逐渐变得稳重谦恭。 学生时期的宫城长顺先生每日下课后便跑步十几公里到达其师父之住处训练。并且他将沿途各种大小的石头当成举重或者击打的训练器具。据老一代的前辈描述,宫城长顺先生在学校里体育方面表现出色,特别是体操单杠运动的好手,他也曾经是学校中的柔道好手,但因为出手过重而最后校方要求他退出柔道训练。宫城长顺先生年轻时在也经常参加冲绳的摔跤赛事,但出手重并且经常使用些摔跤之外的技艺最后导致其他摔跤手不欢迎他参与赛事。因他养父临终前劝他别为了摔跤与他人结仇,宫城长顺先生放弃了摔跤。 作者:猫爷习 https://www.bilibili.com/read/cv1652712/ 出处:bilibili During a two-week visit to Hong Kong and the New Territories during February 1999 - which included a visit to the 'Chan' (陳) ancestral village in the Sai Kung area of the New Territories (as well as a trip over into Shenzhen to visit other relatives), I engaged in the usual gongfu activity of 'Form Swapping' with any other interested parties. Chinese gongfu Forms are like a form of cultural currency that involves a 'sharing' process which develops the over-all understanding of China's martial heritage of each individual involved! It is not that these 'new' or 'unfamiliar' styles are necessarily integrated into existing styles, systems and schools (although sometimes they are), but rather that practitioners of a certain level of attainment possess the ability to 'look beyond' and 'see through' the usual stylistic barriers that usually 'separate' and 'define' martial traditions! Indeed, as Master Chan Tin Sang (1924-1993) has a good reputation in the area, I was approached by various individuals to 'share' a gongfu Form over a friendly cup of tea! One such individual belonged to the now very affluent and exclusive 'Beggars and Wanderers Society' who offered to exchange one of our Longfist Forms for a Tiger and an Arahant Form preserved in their tradition. The members of this Society used to walk the roads of ancient China 'stealing' or 'borrowing' the gongfu Forms of local gongfu schools and passing these systems around, through and into places the population of which would usually not have encountered these types or sets of movements. These 'Beggars' were also tough and developed these Forms through the practicality of having to fight for their survival! Today, however, this Society is now comprised of families that have done well for themselves in business, and which form a type of 'Guild' around the fact that a distant relative was once a wandering beggar - similar to an itinerant Buddhist monk - but without the support of the establishment! Travelling from place to place, and penetrating the clans and social systems of other places was a highly unusual pastime during feudal China - where China was controlled within the empire through a stringent conservativism where every household, community and area was expected to be an exact copy of the imperial house! Moving 'between' communities was viewed as being strictly unnecessary unless there was a good reason for it - but 'Beggars' often possessed the ability to move in and out of places 'unnoticed' and 'unhindered' providing they did not draw attention to themselves. This is how they 'acquired' their extensive martial knowledge - which is said to cover 'Northern' and 'Southern' fighting styles in equal measure! The style featured on this post is said to be a mixture of 'Northern' and 'Southern' styles and is termed '羅漢十八摩' (Luo Han Shi Ba Mo) or unusually' 'Arahant Eighteen Abilities of Touch'! The use of the ideogram '摩' (mo2) is interesting - particularly as it seems to be replacing the more familiar '拳' (quan2) which denotes a closed fist. The ideogram '摩' (mo2) is comprised of: Upper Particle - 厂 (han2) = 'Cliff' Middle Particle - 𣏟 (pai4) = 'Hemp' or 'Linen' Lower Particle - 手 (shou3) = 'Open-Hand' Therefore, the use of '摩' (mo2) might denote the 'careful' and 'gentle' plucking or picking of plants from the edge of a cliff - a dangerous activity that requires skill, timing and precise movement. Indeed, this leads to the other meaning of '摩' (mo2) which is to 'study' so that the 'touch' of the individual becomes highly skilled and yet free of all malice. As this style is said to have been developed by Chinese Buddhist monastics (possibly premised upon Indian Buddhist prototypes) - it is more than likely that the use of '摩' (mo2) signifies the non-presence of greed, hatred and delusion, the three taints all Buddhist practitioners are expected to 'uproot' through hours of seated meditation and the behaviour modification enforced through stringent (Vinaya) self-discipline! I suspect this indicates that this style of 'Arahant' self-defence preserves an older naming system. The arrangement of the ideograms seem to suggest that there are 'Eighteen' fighting techniques the 'Arahants' are expected to 'Study' if the sentence is read from left to right (which I am assuming). If the arrangement is meant to read right to left, then we have 'Study Eighteen Arahants'. Whatever the case, it is more usual today to place the number 'Eighteen' BEFORE the word 'Arahant' (十八羅漢). It seems that the use of the ideogram '摩' (mo2) suggests methods whereby the Buddhist monastics emulate the techniques of 'closing the distance' between themselves and their opponent - without involving any malice of fore-thought!
Author’s Note: I am of the opinion that the Chinese language term ‘Tang Shou’ (唐手) or ‘Tang Hand’ refers to the totality of the perfected cultural production that was the Tang Dynasty of ancient China! As such, the term ‘Tang Shou’ (唐手) does not – and was never intended – to refer to a school (or system) of Chinese martial arts! In other words, the product being received (Chinese martial arts) - became confused (and conflated) with the culturally defined transmission process (Chinese treasure fleets)! The fact that this confusion has entered into Western discourse as such, represents an error in historical interpretation that must be ironed-out if the genuine history of Karate-Do is to be ascertained. The Karate-Do of Okinawa (and Japan) possesses ‘many histories’ and this article intends to clarify and rectify a problem with historical interpretation relating to perhaps the ‘first transmission’ of Chinese martial arts to the Ryukyu Islands. This process was probably enhanced by the fact the Japanese government sent at least fifteen cultural missions of its own to Tang Dynasty China between 630-894 CE! Until evidence suggests otherwise, I am of the opinion that the earliest martial transmission occurred between the 7th and 10th centuries CE, and comprised of Chinese envoys travelling to Ryukyu and teaching the inhabitants, and various Japanese citizens visiting China, learning whatever martial arts were available and bringing this body of knowledge back to Japan! . Whether any of this initial transmission survives in the diverse modern-day Karate-Do (or Okinawan ‘Te’) techniques (or ‘Kata’) is a matter of interesting conjecture. My personal belief is that it does. As for the meaning of the Chinese ideogram ‘唐’ (tang2) - it is comprised of the following components: Upper Particle = 广 (guang3) - broad, wide, extensive and vast. Middle Particle = 肀 (yu4) - to write with a brush. Lower Particle = 口 (kou3) - to speak, announce and to order. This would suggest that the Tang (唐) Dynasty defined itself through its intention (and ability) to develop, maintain, preserve, spread and share what its exponents believed to be its vastly superior culture! The Tang Dynasty possessed the ability to grow vast forests, harvest the wood in a sustainable manner, build vast armadas of ships, staff those ships with hundreds of suitably trained and qualified people and then fill the holds of these ships with all kinds of cultural treasures intended to enrich and inspire the people living in all the discoverable areas outside of the geographical China! I think this interpretation supports my idea that ‘Tang Shou’ (唐手) does not represent the name of a particular style of Chinese martial arts, but rather is a collective term encompassing all the cultural crafts, artifacts and abilities that the skilled people of the Tang Dynasty could produce! ACW (28.8.2022) Chinese language historical encyclopaedias record a number of diplomatic missions between Tang Dynasty China and the Ryukyu Islands – with the Ryukyu Kingdom being a considered as a tributary State of China (alongside ‘Kyushu’ and other places). As part of these missions, Chinese Envoys conveyed various types of armed and unarmed martial arts to the people of the Ryukyu and Kyushu Islands as a ‘gift’ from the emperor of China (records also discuss similar missions to ‘Honshu’ or the Japanese Mainland as in those days the Japanese Authorities encouraged interaction between its own citizens and Chinese people – encouraging as much learning of Chinese culture as was possible). The Chinese martial arts conveyed were part of the general Chinese missions which were known as ‘Chinese Hand’ (唐手 - Tang Shou) - a term used to refer to the spread of a broad array of Chinese culture. Overtime, the term ‘Chinese Hand’ (唐手 - Tang Shou) lost the meaning pertaining to the act of spreading a general body of Chinese cultural information – and came instead to be associated only with the one element of that transmission – namely the ‘martial’. In other words, in and of itself, ‘Chinese Hand’ (唐手 - Tang Shou) should not (and does not) refer to the practice of Chinese martial arts – even though it has become synonymous with the historical analysis of the Okinawan and Japanese martial art now known today as ‘Karate-Do’. The cultures of Kyushu and Ryukyu already possessed their own indigenous martial arts traditions (distinct from those found in China or Mainland Japan) during the time of the Tang Dynasty. These local fighting traditions began the process of ‘integrating’ with (and slowly transforming) the transmitted Chinese martial arts – often developing and changing the original structure and purpose. As these Chinese martial arts arrived as part of a greater cultural gift transmitted by the Tang Dynasty – this explains why these diverse fighting systems became known by the general name of ‘Tang Shou’ (唐手) - with ‘Tang’ (唐) being used to denote ‘China’ in general, but also the ‘ruling’ Dynasty during which time the transmission is believed to have occurred! If the martial art referred to was transmitted during the Song (宋), Yuan (元), Ming (明) or even Qing (清) eras – then logic dictates that the fighting systems in question would have been named after those Dynasties! This thinking holds true, even if these Chinese martial arts were part of much broader Chinese cultural exchanges! Another point to consider is the use of the ideogram ‘手’ (shou3) - literally denoting an ‘open’ hand (with four fingers and thumb being present) - which in and of itself does not represent anything particularly ‘martial’ within Chinese fighting culture! Indeed, when combined with the ideogram ‘高’ (gao1) - as in ‘高手’ (Gao Shou) - the concept of ‘expert master’ is formed! This is someone who possesses a ‘greater perception’ because they have attained a ‘higher point of view’ and are able to ‘act’ in the physical world by using their ‘hands’ (and by logical implication - the rest of their body) to perform a superior type of transformative labour, which progressively alters the human world! Therefore, whereas ‘高手’ (Gao Shou) implies an exceptional (individual) being who possesses the ability to transform the world through the use of their superior action (in whatever form) – when the term ‘Tang Shou’ (唐手) is used, I believe it refers to the culture of the ‘Tang Dynasty’ in general, elements of which were exported out of the geographical boundaries of what we would now term ‘China’ - as part of various diplomatic missions to other parts of the world (effectively spreading Confucian spiritual and material culture). Chinese martial arts may well have comprised part of these so-called ‘civilising’ gifts – but the martial arts themselves would not have originally been termed ‘Tang Shou’ (唐手) - but held this title only in the sense of being transmitted as a ‘gift’. The Chinese diplomatic mission would have been termed ‘Tang Shou’ (唐手) - comprising of thousands of different aspects of Chinese culture – with martial arts representing just one aspect. In general, a physical art designed for martial purposes would be designated within Chinese cultural parlance by the term ‘拳’ (quan2). To understand why this ideogram denotes a ‘closed’ or ‘clenched’ fist, its structure must be examined in greater detail. At the start, it is important to understand that the ideogram ‘拳’ does contain the ideogram ‘手’ (shou3) - but only as a modified particle, the reasons for which I shall now explain. The ideogram ‘拳’ (quan2) is comprised of the following constituent parts: Top Particle (Phonetic) = ‘龹’ which is a contraction of ‘𢍏’ (juan4) - to roll rice into a ball. Lower Particle (Compound) = ‘手’ (shou3) - an open hand with four fingers and a thumb. The key to transforming ‘an open-hand to a closed-hand' lies in the inherent meaning of the upper particle ‘𢍏’ (juan4): Top Particle = 釆 (bian4) - sorting rice, distinguishing and discriminating. Lower Particle = 廾 (gong3) - two hands pushing outward, bowing in salute and to surround and encircle. We may then state that ‘拳’ (quan2) a hand is ‘closed’ or ‘clenched’ (although not necessarily with ‘force’), so that rice may be mixed, separated and rolled into balls. A hand maybe ‘closed’ but at the same time it possesses a tremendous skill which differentiates between every action that must be carried-out and performed! At the highest level of martial arts mastery, the ‘closed’ hand remains ‘relaxed’ even when ‘closed’ - as the bone structure is held perfectly aligned without undue effort – so that bodyweight can be effortless transmitted without hindrance through it and into the opponent. The bodyweight of the opponent can also be ‘borrowed’ temporarily by allowing it to enter the aligned bone structure before ‘ejecting’ it out of the fist with tremendous penetrative force! If the Tang Dynasty Authorities intended for the martial arts to be named after themselves (which I doubt), then they would have used a term such as ‘Tang Quan’ (唐拳) - or ‘Tang Fist’. More to the point, when emperors and officials did develop systems of martial arts – they usually gave it their own personal names! China News Service, Xiamen, June 28th, 2016 (Wang Jing) - The Fujian 'Tang Shou' Karate-Do Association held its inaugural meeting in Xiamen on the 28th. Regarding the Association's use of the name 'Tang Shou' (唐手) or 'China Hand' - the China General Administration Centre for the Practice of Martial Arts and Sports has approved - stating it has 'no objection'. Whereas modern Japan (from the early 20th century onward) renamed this Chinese derived martial arts as 'Empty Hand' (空手 - Kong Dao) - as a means to hide or obscure the genuine 'Chinese' origins' of 'Karate-Do' - the concerned martial arts practitioners of Fuzhou have decided to come together and reclaim China's cultural heritage! From now on this Chinese art will be called by its correct name of 'Tang Hand'! Many people think that Karate-Do is a 'Japanese' martial arts, especially in the context of five sports that are expected to enter the 2020 Tokyo Olympics - it will be much easier for people to label Karate-Do as 'Japanese' and exclude China entirely from its historical origin and development. Long-term research by Chinese scholars has shown that China is the birthplace of Karate-Do. This view has been recognized by the relevant Sports Agencies in China and abroad! "After 'Southern Boxing' (南拳 - Nan Quan) was introduced into Ryukyu (now Okinawa), it was called 'Tang Shou' ('China Hand') by the Ryukyu people to show that it originated from China (Fujian). The pronunciation of the characters '唐手' (Tang Shou) in Japanese remains the same when the characters '空手' (Kong Shou) are used - as the Japanese people pronounce these two phrases as 'Kara-Te'." Stated Weng Xinhui (翁信辉) - a Post-Doctoral Fellow in Sports Anthropology at Waseda University in Japan and Associate Professor at the School of Physical Education at Jimei University. Weng Xinhui has studied the Five Ancestors (五祖 - Wu Zu) of Heyang Fist (鹤阳拳 - He Yang Quan) from Lineage Masters such as Weng Rongnan (翁荣南), Xu Jinmin (许金民), and Ceng Mouyao (曾谋尧) amongst many others from a young age! He studied and lived in Japan for 12 years - during which time he studied at the Graduate School of Education, in Tokyo's Gakugei University - and was engaged in the advanced study of Judo (and other Japanese martial arts) under Professor Kaise Terufu. During his research in Japan he was shown 'sensitive' historical documents proving that 'Karate-Do' originated in the Fuzhou area of Fujian province! In 2015, following his return to China, Weng Xinhui applied to the National Social Science Fund to sponsor his research project entitled "Research on the Cultural Transformation of Fujian Southern Fist in Ryukyu from 'China Hand' into 'Empty Hand'". The research results were clear and with a doubt - Japanese 'Karate-Do' originated from Fujian 'Southern Fist' and is entirely Chinese! When it comes to 'Tang Shou', Weng Xinhui talks endlessly. "In the 1920s and 1930s, a number of works on 'Tang Shou' were published in Japan, which proves that this project was introduced to Japan from Ryukyu, and the original name was 'Tang Shou' ('China Hand'). The famous Japanese dictionary "Guang Ci Yuan" and "Japanese Martial Arts" edited by Nippon Budokan in 2007 - both stated that 'Karate-Do' is based on the martial arts that came from China." "I personally think that calling the Association's name 'Tang Shou' (China Hand) Association' is conducive to the promotion of traditional Chinese culture and the popularization of the art in China." Weng Xinhui said. Chinese Language Source: https://finance.ifeng.com/a/20160628/14536906_0.shtml 福建省唐手(空手道)协会成立2016年06月28日 20:39
来源:中国新闻网 中新网厦门6月28日电 (王婧)福建省唐手(空手道)协会28日在厦门举行成立大会。对于该协会使用“唐手”这一名称,中国国家体育总局拳跆中心已批复,并表示“无异议”。 要解释什么是“唐手”,就不能不提到空手道。 很多人都会认为空手道是日本武道,尤其是在空手道等五大项运动有望进入2020年东京奥运会的背景下,人们更容易将空手道贴上日本的标签。中国学者的长期研究表明,中国是空手道的发源地。该观点已得到相关体育部门认可。 “福建南拳传入琉球(今冲绳)后,被琉球人称为‘唐手’,以示源于中国(福建)之意。传入日本后,‘唐手’改为‘空手’,但在日语中的发音不变。”日本早稻田大学体育人类学的博士后、集美大学体育学院副教授翁信辉对记者说。 翁信辉从小师从翁荣南、许金民、曾谋尧等学习五祖鹤阳拳,曾在日本留学及旅居12年,其间在东京学艺大学教育学研究科学习,师从贝濑辉夫教授从事日本柔道及武道论研究。2015年,翁信辉立项申报了国家社科基金课题《从福建南拳到琉球唐手、空手道的文化变容研究》,目前的研究成果足以证明,空手道来源于福建南拳。 谈到“唐手”,翁信辉滔滔不绝。“20世纪二三十年代,一批有关‘唐手’的著作在日本相继出版,都证明了这个项目是从琉球传到日本,而且原名称是‘唐手’。日本著名的词典《广辞苑》和日本武道馆2007年主编的《日本的武道》中都写明,空手道是以中国传来的武术为原型。” “我个人认为,将协会名称称为‘唐手(空手道)协会’,有利于弘扬中华传统文化,也有利于该项目在中国的普及推广。”翁信辉说。(完) Dear Tony
The academic problem with this type of article - is that it is discussing a Chinese martial culture transported to Okinawa (which was a tributary State of China until 1879) - and yet possesses no Chinese language references. (Chinese martial arts do not originate in America or Japan). It is US and Japanese trends in their own respective academic traditions - reinforcing (without any Chinese input) their own ideas about China (regardless of whether any of the knowledge claims are 'true' or 'false'). The single 'Chinese' reference comes from a Chinese-American (JM Yang) - who could not prove any of his lineage claims in China, etc. A good example that breaks through this type of thinking in the West (and Japan) is Brian Victoria's 'Zen At War' (an uncomfortable read for many). Brian Victoria is an Australian who lives in Japan - and yet can read, write and speak the Japanese language. He explains how many post-WWII Japanese 'Zen' and 'martial' heroes in the West where well-known 'War Criminals' in Japan - with DT Suzuki serving as just one example. The translation work of Thomas and JC Cleary also often exposes the US-Japanese lie which falsely suggests Chinese Buddhism 'died-out' in China and is only now preserved within Japan! Master Xu Yun (1840-1959) had much to say on the Japanese behaviour abroad being motivated by their 'Nationalism' and a lack of basic Buddhist and Confucian morality - even thought 'Shinto' (Shen Dao) - in its Chinese original form - could possibly be a type of 'Daoist' nature worship! Dear Tony
It is interesting how the inner and outer body develops in relation to each fully rounded system, style and school, etc. Each lineage, although comprised of diverse elements from various and very different historical and/or cultural backgrounds, are welded together by a dominant founding-figure, so that a central (interpretating) ethos makes sense of it all! Therefore, if an individual practices a particular system for decades, the inner and outer 'frequency' of how their psychological and biological processes operate - takes on this exact ethos to the exclusion of all other alternatives. In other words, an individual becomes the epitome of the very martial tradition they have committed their life to following! Their thought and physical processes all start to manifest in a specific manner. Health is optimised - even when accidents happen or genetic illnesses appear. A transcending awareness starts to operate whereby the body (regardless of its state or function) is perfect just as it is regardless of conventional issues of health, well-being, ability or disability, etc. This is the mind transcending the body, with the body learning to operate through and around its own limitations, hindrances and obstacles. From a martial perspective, the job is done with efficiency and through the path of least resistance. This is particularly important for the experience of the ageing process - whereby a certain type of inexperienced strength and vigour gives way to a far more profound depth of understanding that is so powerful and exact that it lifts up the physical body (regardless of its state) like a cork floating on the ocean. The young people do not understand this and cannot predict its movement - hence their youth renders them susceptible to defeat through not paying attention and not applying the learning experience. Furthermore, although all aged Masters from different traditions no longer conflict and are well aware of the uniqueness of one another's path, they themselves also appreciate that their own style has bestowed upon each a specific frequency of functionality. Although they can progressively exchange technical information and advice - they also know the true meaning of 'lineage' and how it is like a flowing river from the past to the present, and from the present to future! I suppose we all get used to our own particular frequency of current! |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |