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!
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Lu Zijian comes from a famous martial arts family situated in the Yichang area of Hubei province - a family which contains many long living members: Grandfather - Lu Zhengde [吕政德] (1840-1913) - 73-years-old Grandmother - Wu Meihua [吴梅花] (1842-1945) - 103-years-old Sister - Lu Zimei [吕紫梅] (1888-Still Alive) - currently 125-years-old! Brother-in-Law - Li Fengfang [李丰方] (1878-2001) - 123-years-old During his long life, Lu Zijian mastered all aspects of the 'Wudang' (武当) tradition (training for three generations - or sixty-years - under various Masters) - specialising in 'Longfist' (長拳 - Chang Quan) - and eventually inheriting the Wudang Bagua Zhang (八卦掌) lineage. In 1945, a US Military General took exception to Lu Zijian's good reputation (as he had killed both Japanese and Nationalist thugs over the years - many of the latter working for the US)! The General sent his personal Bodyguard - 'Tom Newham' - to teach Lu Zijian a lesson - but things did not go according to plan. The Americans had been making anti-Chinese statements and this fight took place in front of Chiang Kai-shek's mansion (situated at the foot of Huangshan Mountain) on the South Bank of Chongqing. Lu Zijian beat Tom Newham to death with a single palm strike as taught in the Baguazhang System. Chiang Kai-shek was furious about this (for political reasons) and announced that Lu Zijian was dismissed as his Bodyguard! Previously, Lu Zijian had been in trouble in 1929 when he openly opposed Chiang Kai-Shek's plan to 'ban' TCM and introduce a US-controlled medical insurance system in China!
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:
Dear Tony
This is a very small snapshot of the gongfu videos available in China. The family styles are rugged, unpolished, and historically practiced and passed on in secret. Only recently has Chinese culture changed to accommodate routine public display. These arts were never wiped-out and the genuine Masters do not live in Taiwan. Although different, these arts look similar in their rawness to the genuine Hakka arts designed for communal health and defence - and not sport or leisure, etc. In other words, how your teaching of Gpju Ryu came across to me in Hereford. It is difficult to say whether an art is 'external' or 'internal' - as a genuine art includes both aspects 'integrated' (zagong) at essence - with practitioners choosing to emphasis which aspect suits the situation. Many Taiwanese practitioners take-on an 'aggressive' tendency to match the tone of their government - and therefore appear 'external'. It is the expected thing. Master Zhao Ming Wang often holds seminars in Beijing for Daoist self-cultivation - and hundreds of Taiwanese attend all pledging their loyalty to the Mainland - so I suppose it is a case of swings and roundabouts! The 'Double-Daggers' remind me of 'Sai'! Many Fujian Gongfu Vidoes (YouKu) Traditional Martial Arts Yongchun White Crane Fist 007 Basic Routine - Guan Gong Removes Boots (Fujian) Traditional Martial Arts Yongchun White Crane Fist 006 Basic Routines - Great One-Thousand [Da Qian] (Fujian) Traditional Martial Arts Yongchun White Crane Fist 012 Basic Routines - Double-Daggers (Fujian) Traditional Martial Arts Yongchun White Crane Fist 014 Basic Routines Equipment Hooked Sickle Spear (Fujian) Traditional Martial Arts - Dragon Respect Fist (Long Zun Quan) 002 - 108 Forms (Fujian) Traditional Martial Arts Yujiaquan 001 Yu Family Fist (Fujian) Traditional Martial Arts Yongchun White Crane Fist 016 Basic Rake (Tiger Form) - (Fujian) Many Thanks Adrian PS: Three extra videos from different Styles: Bench Vs Staff Single Jian (Gim) Traditional Wushu Xingyiquan 013 Paired Practice - Close-Quarter Cannon-Striking Body-Shot Law - Featuring Zhang Jisheng (张吉生) - jìn Gairuì (靳改瑞) This is a ‘Summary’ of my research regarding the ‘internal’ (within the ‘Miyagi’ family) and ‘external’ (outside the ‘Miyagi’ family) transmission of Goju Ryu (which is NOT complete by any means) - but which provides a basic (historical) framework (post-1945) which is often obscured by the insular nature of the existing lineages. As someone of part Chinese descent, and whose family suffered at the hands of Japanese Nationalism during WWII in China – I do not in any way support or condone Japanese Nationalism or the racism and fascism that permeated Japanese culture between 1868-1945, etc. As a historian, however, I find it interesting to study and clarify how an aspect of exported Chinese martial culture developed in another country! Lineages, by their very nature, tend to only recognise their own transmission structures whilst inherently refusing to recognise a) the ‘existence’, and b) the ‘relevance’ of other (similar) lineages. This is because traditional martial art ‘lineages’ originating from within China, Okinawa and Japan – have either grown out of actual families (associated with specific ‘Clan’ surnames), or monastic, religious or spiritual associations and/or other special individuals, etc. This is a Confucian tradition that traces reliability and strength through its preserving structures - as those institutes that are replicated (continuously) from one generation to the next. Indeed, the present generation of teachers link the past (of the tradition) not only with the present – but also with those practitioners yet to materialise in the future! This is a grave duty and responsibility within the Confucian tradition that permeates many daily aspects of everyday culture through many Asian countries. Although ‘content’ and ‘interpretation’ can vary widely between teachers representing the same tradition – there is no reason why there should be a difference in ‘quality’ between ‘internal’ and ‘external’ transmissions as this designation is genealogical in nature and does not correspond in any way to ‘external’ (Yang) and ‘internal’ (Yin) mastery within the martial art being transmitted. A thumbnail transmission map of Fuzhou White Crane Fist, Higaonna Naha-Te and Goju Ryu Karate-Do may look something like the following – at least in blueprint: Xie Chongxiang [謝崇祥] (1852-1930) - Fuzhou White Crane Fist Master (this identity is disputed). Higaonna Kanryo [東恩納寛量] (1883-1915) - As a ‘foreigner’ from Okinawa (and being from ‘outside’ the ‘Xie’ family) he inherited an ‘external’ lineage of this White Crane Fist martial art during 1881. Higaonna Kanryo was in China between 1867-1881 (this dating is disputed). Miyagi ‘Internal’ Family Lineage (1915-1980) Miyagi Chojun [宮城長順] (1988-1953) - Miyagi Chojun inherited an ‘external’ (that is a lineage of Naha-Te ‘outside’ the Higaonna family) during 1915 – just prior to the death of Higaonna Kanryo. Between 1915-1953 – Miyagi Chojun invented and developed Goju Ryu Karate-Do. Miyagi Takashi [宮城敬] (1919-2008) - This is the eldest son of Miyagi Chojun who inherited the ‘internal’ (that is ‘inside’ the Miyagi family) lineage of Goju Ryu Karate-Do and started teaching during 1951 (in Tokyo). During 1955, on the 3rd Commemoration of the passing of Miyagi Chojun (October 8th) - Miyagi Takashi founded the ‘Transmitting Brilliance Training Hall’ (講明館 - Ko Mei Kan). He transmitted this ‘internal’ Miyagi lineage to his eldest son - Miyagi Toru [宮城徹] (b. 1947). In-turn, Miyagi Toru has already (formally) passed this ‘internal’ Miyagi family lineage to his second eldest son – Miyagi Manabu [宮城学] (b. 1980). Goju Ryu ‘External’ Transmissions (1935 Onwards) Japanese language sources state that at the age of 14-years old (in 1923) - a Japanese national (and former soldier) named Yamaguchi Minoru (b. 1909) – met a Capenter from Okinawa named ‘Marutani Takeo’ [丸谷武雄] who taught him ‘Karate’. In 1929, Yamaguchi Minoru founded the ‘Goju Ryu Karate-Do Kempo Dojo’ on the site occupied by the ‘Shinsengumi Garrison’. During the same year (1929), Yamaguchi Minoru entered the Ritsumeikan University (Kyoto) - to study law. Here, he founded the ‘Karate-Jitsu Study Group’ - with ‘Karate’ being written as ‘Tang Hand’ (唐手 - Tang Shou). The ideogram for ‘Jitsu’ (術) referring to a ‘war art’. In 1931, Yamaguchi Minoru invited Miyagi Chojun to Ritsumeikan University (Kyoto) - and began many years of receiving instruction. Between 1935-1936, Miyagi Chojun returned to Mainland Japan and transmitted his Goju Ryu Karate-Do system to a number of interested Japanese students living within Kyoto (and other places). Whilst teaching at Ritsumeikan University (Kyoto) - Miyagi Chojun continued to instruct ‘Yamaguchi Minoru’ {山口實実) to whom he would eventually grant the first name ‘Gogen’ [剛玄] (Strong Mystery) and transmit the ‘external’ lineage of Goju Ryu Karate-Do around 1937 – giving permission for ‘Yamaguchi Gogen’ to teach Goju Ryu Karate-Do throughout Mainland Japan! In 1950, Yamaguchi Gogen established the ‘All Japan Karate-Do Gojukai’ - with Miyagi Chojun agreeing to be honorary Chairman. During 1951, Miyagi Chojun awarded Yamaguchi Gogen a 10th Dan Black Belt grade – with the rank of ‘Hanshi’ (範士) - or ‘Master’. During 1952, Miyagi Chojun transmitted an ‘external’ lineage of Goju Ryu Karate-Do to Yagi Akitoku [八木明德] (1912-2003). It is said that Miyagi Chojun granted permission for Yagi Akitoku to open his own ‘Dojo’ to teach Goju Ryu Karate-Do – and that this is the only ‘external’ (or ‘outsider’) Dojo that Miyagi Chojun allowed to be founded during his lifetime. According to this history – a ‘belt’ and ‘training uniform’ was transmitted by Miyagi Chojun to Yagi Akitoku (which reads very similar to the ‘robe’ and ‘bowl’ being transmitted by Zen Masters to their disciples). During 1957, Yagi Akitoku founded the ‘Brilliant Warrior Training Hall’ (明布馆 - Mei Bu Kan) in Okinawa. (As an aside – it is interesting that the ‘Komeikan’ and the ‘Meibukan’ both make use of the Chinese ideogram ‘明’ [Chinese = Ming – Japanese = Mei) - which translates as ‘bright’, ‘clear’ and to ‘understand’, etc. This suggests that this Chinese ideogram possessed an important meaning and association to Miyagi Chojun. During 1955, a group of students who had trained with Miyagi Chojun during his lifetime, gathered together in Okinawa to ‘vote’ for a new representative of the ‘external’ (that is, ‘outside’ the Miyagi family) Goju Ryu Karate-Do tradition. This group chose ‘Miyazato Eiichi’ [宮里栄] (1922-1999). Through his student ‘Higaonna Morio’ [東恩納盛男] (b. 1938) - Goju Ryu Karate-Do spreads throughout the world! According to Chinese language historical records, Higaonna Morio was associated with ‘Miyagi Anichi’ [宮城安一] (1931-2009) who although possessing the same Clan surname of ‘Miyagi’ - was not directly related to Miyagi Chojun with whom he trained from 1948-1953 (exclusively so - between 1949-1951). It is said that both Miyagi Anichi and Yagi Akitoku were friends who were accepted together as disciples by Miyagi Chojun during 1948. Whilst being called ‘Miyagi’, however, Miyagi Anichi would have inherited an ‘external’ lineage of Goku Ryu Karate-Do – if indeed any such formal transmission took place. Conclusion Obviously, all the sons of Miyagi Chojun would have had an equal and consistent martial arts education, and all could clam an equal right to representing an ‘internal’ Goju Ryu Karate-Do lineage (with this right extending to the Miyagi male off-spring in the traditional model and their male and female off-spring in the modern system). Even within the traditional system this would be consider true – with the caveat that Miyagi Takashi (the eldest son) would possess the authority to decide important issues. Furthermore, the Miyagi family probably taught many people from outside their family – with some of these people possessing the right to claim an ‘external’ Goju Ryu Karate-Do lineage. By the time of the passing of Miyagi Chojun (in late 1953) at least two Goju Ryu Karate-Do lineages had been established: a) Miyagi Takashi (1951) - ‘Internal’ (Tokyo) b) Yagi Akitoku (1952) - ‘External’ (Okinawa) This being the case, an interesting question is why did a group of Miyagi Chojun students-disciples (who had trained with Miyagi Chojun during his lifetime), choose NOT to recognise the authority of Miyagi Takashi (his eldest son) and Yagi Akitoku – a very well-established ‘external’ disciple? By choosing ‘Miyazato Eiichi’ as a contemporary Goju Ryu Karate-Do ‘authority’ - a ‘new’ external martial lineage was generated – a lineage not created by Miyagi Chojun during his lifetime or the Miyagi family after his death. Having said all this, however, the intended ‘lineage’ of Goju Ryu Karate-Do may not be as straightforward as implied above, as it is well-known that Miyagi Chojun’s best ‘disciple’ was ‘Shinzato Jinan’ [新里仁安] (1900–1945) - who obviously was not from the ‘Miyagi’ family. As ‘Shinzato Jinan’ died during the final days of WWII – Miyagi Chojun had to make other plans with regards to preserving and transmitting Goju Ryu Karate-Do. Again, Chinese language historical sources state that it was Miyagi Chojun’s other (external) disciple ‘Seiko Kina‘ [嘉纳正兴] (1911-1994) - who was also permitted to teach students in his own right during Miyagi Chojun’s lifetime!
This Senior Citizen silenced the crowd when she raised her leg above her head! Silence turned into awe when she assumed a perfect ‘Golden Rooster Stands on Guard’ (金鸡独立 - Jin Ji Du Li)! Awe turned into spontaneous applause when she assumed a graceful ‘Single Side Horse’ (一字马 - Yi Zi Ma) Splits! This demonstration of Taijiquan was performed by the 77-year-old Jiang Xuezhen (蒋雪珍) in a park near the ‘White Horse River’ (白马河 - Bai Ma He) - the venue for the 2021 ‘Dragon Boat Race’ held in Fuzhou (Fujian province), Mainland China! This elderly lady was originally an ordinary worker in a garment factory – but is now enjoying her retirement. Not only has she practiced Taijiquan diligently to improve her health and strengthen her weak body - but she also made a name for herself in West Lake Public Park (西湖公园 - Xi Hu Gong Yuan) teaching Taijiquan to the common people! Since her graceful and powerful appearance at the Dragon Boat Festival - Jiang Xuezhen's dazzling martial arts skills have aroused the interest of many citizens! Some citizens cannot help but wonder – if this older lady was a professional gymnast before? Was Jiang Xuezhen involved in a lifetime of athletic training and development? The answer to all these questions is a resounding ‘NO’! In fact, Jiang Xuezhen was an ordinary worker employed in a garment factory before retiring - and she had NEVER received any such specialist education in this area before. The advanced pliability of her body (and its ‘ligaments’) stem from the time of her retiring from working in the garment industry. Jiang Xuezhen had to retire from working in the garment industry at the age of 45-year due to a physical issue (for which she successfully underwent recuperative surgery). Jiang Xuezhen admits that this was a very confusing time for her both emotionally and psychologically! That is until one day, when she was walking to the West Lake Park (taking exercise), this lady encountered a group of people practicing Taijiquan! At that exact moment - EVERY movement of the Yang Style (the Beijing 24-Step Short-Form) she saw resonated with her mind and body - instantly attracting her attention! When Jiang Xuezhen returned home, she immediately made arrangements to purchase a Taijiquan instructional VCD – which she used to learn Taijiquan through watching carefully and copying the exercises! The next step involved Jiang Xuezhen seeking-out Taijiquan instructors who then corrected and adjusted her ‘Form’ whilst discussing explaining the history and purpose of each sequence - making the revitalising movements much more powerful and effective! Although it took a long time of committed and regular practice, the regular performance of the Taijiquan movements and sequences finally start to transform the natural state and condition of her muscles, joint, bones, ligaments and tendons. At the same time her overall health improved as her inner organs began to strengthen. These changes were so profound that her partner also began to regularly practice Taijiquan! Together, they founded the ‘West Lake Park Taijiquan Practice Group’ - which at the time of writing has at least one-hundred members! When giving a recent interview to reporters, Jiang Xuezhen stated: “It is said that with every inch the ligaments stretch – the lifespan is extended by ten years! This is why I stretch my legs every day!” Jiang Xuezhen went on to explain that when she first tried to lift her legs all those years ago – her ligaments were tense there was very little movement with pain! Jiang Xuezhen trained diligently between the ages of 45-60-years old, and then she found that one day ALL the tension in her body completely disappeared and she was able to drop down into the side-splits position – and stand with one leg held-up directly into the air! This is why Jiang Xuezhen is now able to assume the ‘Golden Rooster Stands on Guard’ and ‘Single Side Horse’ Splits with ease! After demonstrating her extraordinary Taijiquan skills, Jiang Xuezhen advises: “Concentrate upon an activity and pursue its perfection with diligence!” This is sound advice, as apart from being able to demonstrate her mastery of Taijiquan – Jiang Xuezhen is also a painter! Jiang Xuezhen explained that she liked to draw since a child - and has always kept one or two drawings of the Four Treasures in the study room at home - after retirement. When she was about 65-years old, Jiang Xuezhen accompanied her partner in the study of flower and bird painting in a university designed to cater to the needs of the elderly. After two years of meticulous flower and bird painting - Jiang Xuezhen turned to landscape painting. The landscape paintings provided by Jiang Xuezhen are truly inspiring – with the background and fore-ground scenery featuring lakes and mountains contrasting perfectly! The art of Jiang Xuezhen generates a unique beauty which is enhanced by an atmosphere which is experienced by the observer as being vast and hazy! Jiang Xuezhen describes herself as a very serious person. When she learns one thing, she spends all her energy on that single activity. In order to learn landscape painting well, she would only go out daily to practice Taijiquan, but rarely for any other reason. She would often spend a week focusing upon a single picture! Then, in order to match the landscape paintings with the beautiful ideograms that comprised the inscriptions, she also spent a year studying different Chinese calligraphy styles such as seal script, official script, and regular script. "If the font is not good-looking, and the inscription is not well-written, it cannot be regarded as a complete and perfect painting." Jiang Xuezhen explained. This is her true character. It has been nearly 30 years since Jiang Xuezhen retired – yet she has retained the eagerness to learn and perfect everything she turns her hand to! Today, in addition to Taijiquan and landscape painting, Jiang Xuezhen can also perform ballroom dancing! As if all these activities are not enough – Jiang Xuezhen also practices Shaolin martial arts! With her extensive knowledge base and engaging personality, Jiang Xuezhen has become something of an inspiration to the surrounding population – a cultural icon for modern China! [Source: Strait Metropolis Daily] Chinese Language Source: 花30年练太极,福州七旬老太一字马惊艳全场
高抬腿过头顶,一个爽快的金鸡独立瞬间赢得现场朋友的喝彩,随即她又在地上来了一个漂亮又利索的一字马,把节目推向了高潮……不久前,在福州白马河公园举行的端午节活动现场,一位老太的表演让不少市民自愧不如。这位老太就是福州77岁的蒋雪珍,原是服装厂工人的她,在退休后寻找到自我,不仅苦练太极拳改善了虚弱的身体,还在西湖公园“打”出了名堂,将太极拳教授给了更多的人。 60余岁练就金鸡独立、一字马动作 自从在端午节活动中的精彩亮相后,蒋雪珍的花式炫技引起了不少市民的兴趣,有的市民不禁疑惑问,这位老太太以前是不是体操运动员?其实,蒋雪珍退休前是一名服装厂的工人,之前也没有从事过这方面的练习,有着柔软的韧带的起因还要从她退休时说起。 45岁时的蒋雪珍因为身体原因动了手术后,便从原来就职的服装厂退休了。而突然的退休让将蒋雪珍手足无措,每日不知道该做些什么,陷入了迷茫。直到有一日,她散步到西湖公园时,看到了不少人在练太极拳,一招一式瞬间吸引了她的注意。抱着锻炼身体的想法,她购买了太极拳教学碟片,通过不断地的模仿练习学会了太极拳,在与太极拳老师的交流切磋中更精进了太极拳的动作。而在长期的锻炼后,蒋雪珍感到身体逐渐舒爽了不少,更是动员她的爱人一起到在西湖公园中练习太极拳。在30年间,不少市民自发向她学习太极拳,为此,她和爱人还成立了一个西湖如春太极辅助站,学员最多的时候达到了近百人。 “都说筋长一寸,寿延十年,每次运动后,我都拉拉腿。”蒋雪珍告诉记者,原先的她腿抬高一点腿都觉得筋绷得崩的紧,但在多年的锻炼中,她不断尝试拉伸韧带,到了60岁左右,才能可以做出金鸡独立、一字马的动作。 “专心做一件事,并要把它这件事做精” 除了一字马、金鸡独立、太极拳外,蒋雪珍还是一个画家。蒋雪珍说,她从小就喜欢画画,退休后在家里也时常备上文房四宝画上一两副。于是在她65岁左右,她的爱人便带她来到了老年大学里学习花鸟画,在两年的工笔花鸟设色学习入门后,蒋雪珍又转入山水画的学习中。在蒋雪珍提供的山水画作品中,湖和山相映衬的秀丽景色,在苍茫朦胧的氛围中有着独特的美感。 蒋雪珍自喻是个较真的人,学习一件事时,便将所以精力花在一件事上,为了学好山水画,她除了每日的太极拳练功外,便少有外出,常常花上一周的时间认真绘一幅画。而后为了给山水画配以好看的题款,她还用了一年的时间去学习了篆书、隶书、楷书等书体。“如果字体不好看,题款写不好就不能算是一幅完整、好看的画。”蒋雪珍说。 正是较真的性格,蒋奶奶在退休后的近30年间,不断地的保持好学的心,并将每件事做到精,如今的她除了太极拳、山水画外,她还会交际舞、少林武术,成了周围人口中“技能点满满”的潮人。 【来源:海峡都市报】 Miyagi Takashi [宮城敬] (1919-2008) – Goju Ryu ‘Komeikan’ Makiwawa Training Advice! (19.10.2022)10/19/2022 Always strive to be familiar with the Makiwawa! When you stand in front of the Makiwawa – stand with strength and vigour! Stand at the correct distance and in the right empowering posture when confronting the Makiwawa! When the practitioner strikes with a kick and a punch – always drop the bodyweight and strike through the pelvic-girdle and the lower-abdomen. The bodyweight is ‘dropped’ through an aligned posture so that the bones and joints are correctly positioned. This ‘roots’ the practitioner firmly to the ground whilst allowing swift and yet powerful movements to and from the Makiwawa! The entire mind and body must be used – and must not be limited to just the use of the hands and feet! This is how the ‘Hard’ and the ‘Soft’ energies are continuously ‘balanced’! Added to this is control of the breath – so that the practitioner ‘breaths-in’ during the preparation and ‘breaths-out’ during the execution and delivery of each strike! This coordination between ‘breathing’ and ‘physical’ movement must be well-practiced and refined. This is important as the breathing mechanism inherent within Makiwawa training connects Kata practice to Basics and Kumite. Remember – the Makiwawa is a manifestation of a real ‘threatening’ opponent! This is why a Goju Ryu practitioner must generate and retain a strong sense of purpose and reality! Every punch and kick must be delivered with full intensity – with the mind and the body being fully alert, relaxed and yet ‘ready’ for instantaneous and dramatic action! A controlled aggression must be ever present – but the mind and body must free of any hindering factors such as anger or hatred! The mind must be ‘calm’ and ‘expansively’ aware – whilst the body must be perfectly ‘balanced’ and fully primed between ‘Hard’ and ‘Soft’! When the moment is correct all the combined power of the mind and body must be focused and projected toward the Makiwawa! The strike must be ‘penetrative’ and pass ‘through’ the Makiwawa striking surface! The principle is to ‘penetrate’ the surface muscle and bone of the opponent and strike deep into the neural network – to incapacitate the ability of the opponent to move their body appropriately during combat – where precise movement is required for survival! This is exactly what a Goju Ryu Karate-Do practitioner trains to take away from an opponent through landing perfectly timed and devastatingly ‘penetrating’ power-strikes! How should the Makiwawa be used during training? Makiwawa training is a perfect manifestation of ‘external’ and ‘internal’ methodology. Therefore, the following principles must be developed and applied: 1) The execution of each technique must be developed from ‘slow’ to ‘fast’. 2) The execution of each technique must be developed from ‘weak’ to ‘strong’. 3) The transition(s) between these attributes must be thoroughly practiced and mastered. 4) Striking force must be applied in a ‘penetrating’ manner – that is beyond the collision of objects. 5) As the repetitions increase – the intensity of penetrative force is developed to devastating levels. 6) Makiwawa-training is a vital part of Goju Ryu Karate-Do methodology! Japanese Source Article: 常に巻き藁に親しむ 巻き藁(わら)の練習は、巻き藁に正しく向かって、常に腹と腰で突き・蹴りを行います。手と足だけで行うのではなく、体全体のバランスをとりながら、正しい姿勢で練習をすることが大切です。そのとき意識的に呼吸法(気息の呑吐法)を取り入れながら突き・蹴りを行います。この巻き藁における呼吸法が、形の演武にも同様の効果を表します。 巻き藁に向かったときは、常に生きた相手に向かって突き・当て・蹴りをしているのだ、という気迫を忘れないように練習すべきです。緩から急へ、弱から強へと変化をつけ、徐々に力を入れながら、回数を増やすごとに強烈なまでに行えるようになります。空手道修練のためには、常に巻き藁に親しむことが大切です。
The traditional purpose of Karate-Do is said to be the development of the ‘Single Punch Precise Kill’ (一拳必殺) technique! This is because the historical origins of Karate-Do developed out of battlefield martial arts - specifically designed to kill and wound an opponent without mercy! The question for modern practitioners is whether this objective is suitable as a contemporary teaching device – and how should the technical inadequacies of the old ways be improved upon? It may well be the case that the potentially lethal elements of Karate-Do are retained (because they are inherent in the ancient martial techniques) - but that the ‘killing’ aspect should not be made the key point when teaching the public – and should be replaced by encouraging young students to develop their own minds and bodies whilst perfecting a virtuous character! Therefore, saving lives and helping others signifies a necessary shift in traditional attitudes when teaching Karate-Do to modern students. In fact, this is not a ‘new’’ attitude that I invented – but an idea taught to me by my father Miyagi Chojun. In-turn, this was an attitude inherited from Higaonna Kanryo (and his Chinese teachers). Although exactly the same ‘killing’ techniques are retained (and certainly not ‘removed’ from the art) - what is emphasised is character development so that clever ways of resolving conflict in the environment is utilised as a type of ethereal Karate-Do – that precedes any need to deploy potentially devastating physical techniques! The lethal reality of Karate-Do techniques, therefore, is ‘hidden’ within a deep and stratified approach to Goju Ryu Karate-Do, which is now embedded in the grading system involving coloured belts. If the practitioner does not suitably develop their mind (psychology) and body (physicality) - then they do not gain access to the ‘lethal’ nature of the genuine Goju Ryu Karate-Do techniques! Each practitioner must develop ‘trustworthiness’ before they are permitted to gain access to the deepest aspects of this ancient martial art! My father – Miyagi Chojun – maintained the emphasis of the ‘Hard’ (Go) aspect of Goju Ryu through the ‘Sanchin’ Kata which had been passed on to him by Higaonna Kanryo – but he felt the opposite element of ‘giving way’ was missing in the Style, or at least not very well represented. To remedy this, Miyagi Chojun developed the ‘Tensho’ Kata from a set of movements he had been taught in China from a White Crane Fist teacher in Fuzhou related in lineage to the Chinese teacher of Higaonna Kanryo. Bear in mind that ‘Tensho’ is NOT exactly the same as the Form (六機手 - Ro Ku ki Te) he learned in China and that Miyagi Chojun chose to modify its structure to assist the ‘balance’ of Goju Ryu Karate-Do methodology. This is where Miyagi Chojun developed the ‘Soft’ element of Goju Ryu which saw the Tensho Kata counter-balance the Sanchin Kata. When practiced together – the Yin (Soft) and Yang (Hard) energy within the mind and body is perfectly ‘balanced’! ‘Weaving Hand’ (機手 - Ki Te) is a principle found within the ‘Southern Fist’ martial system of China, and which relates to all the upper body movement of the extremities and the combat techniques which are expressed therein. Within the book entitled ‘Bubishi’ (武備志) (transmitted China to Okinawa) - there is an explanation of where the vital pressure points (経穴 - Kei Ketsu) are on the opponent’s body – and how the hand – used in the ‘open palm’ (開掌 - Hiraki Tenohira) position – can be used to ‘pierce’ these points and cause catastrophic damage to the opponent’s health! Higaonna Kanryo taught Miyagi Chojun how to ‘stand’ and ‘move’ through the ‘Sanchin’ Kata – and then Miyagi Chojun then developed ‘Tensho’ Kata to emphasis ‘Softness’ - but a ‘Softness’ with a lethal ‘hidden’ central element (involving pressure-point hitting)! The ‘Sanchin’ and ‘Tensho’ Katas are unique to Goju Ryu Karate-Do and are not found within ‘Shuri-Te’ (首里手) derived-traditions! These are foundational Katas that are taught to express the beginning and the end of the Goju Ryu Karate-Do training method! As this is the case, there are definite ‘breathing’ methods used when performing these Katas. The ‘Sanchin’ Kata employs what is referred to as a formalised ‘Yang Breath’ (陽の息吹 - Yō No Ibu Ki) - which sees the practitioner maintaining the ‘tightening’ of all the muscles around the bones throughout the entirety of the body – with the instructor continuously ‘testing’ to ensure this process is being adhered to correctly! Through these training methods, the practitioner learns how to shift and lower the centre of gravity, how to smoothly transition between various and different fighting techniques - all performed whilst breathing deeply and fully! Both myself and my father, however, teach preparation exercises which loosen and strengthen the body and focus the mind BEFORE any of these profound exercises are taught. This is important as students require a means of ‘entering’ the Style so that the Goju Ryu techniques are not experienced as a shock to the system. Correct preparation prevents unnecessary injury and conditions the mind and body so that the structures and processes become suitable for further and advanced training. This is the systematic application of the scientific process. Science does not stand still but provides opportunities for continuous and further development. Logic and reason must be brought to bear upon the established traditions using the old techniques and is immeasurable when providing a firm and dynamic foundation for further development! When I was young, Kano Jagoro (嘉納冶五郎) visited Okinawa (in 1927) and was very impressed in the rational approach that my father had incorporated into the structure of Higaonna Naha-Te (as it transitioned into Goju Ryu)! He even took elements of my father's training regimes and incorporated them into his ‘Judo’ training patterns! He agreed that logic and reason must be used within traditional martial arts as a means to ensure that these old ways are preserved and made relevant for survival within modern society! My father explained to Kano Jagoro that the structure of Karate-Do is similar to the physical structures of material objects – such as a house, a tower or a bridge, etc. If the design principles are not sound – the building and/or structure will not stand – and will not be able to fulfil the purpose for which it was made! The house will collapse, the tower will fall, and the bridge will give way! Kano Jagoro was impressed with this thinking and congratulated my father on his progressive attitude! Indeed, Kano Jagoro incorporated this type of thinking into his development of Judo technique! As for my father – Miyagi Chojun – he would later develop the ‘Gekisai’ (撃砕) Kata (Number One and Number Two), as a means to express the entire Goju Ryu Karate-Do path in just two short sets of movements which can be elaborated extensively when an instructor so chooses to do so! This was a substantial achievement which many other lineages of Goju Ryu misinterpret as being ‘simplistic’ or ‘beginning’ only Kata – but in reality, my father intended these Katas to be something much more important than this. If the ‘Gekisai’ Kata are closely examined, a whole new world of ‘meaning’ can be clearly discerned! This does not detract from the fact that the entirety of Goju Ryu Karate-Do is defined by the ‘Sanchin’ and the ‘Tensho’ Kata! When added together – there are ‘twelve’ (12) Kata preserved within Goju Ryu Karate-Do. The two ‘Gekisai’ are known as the ‘public’ Kata which are used to prepare a student for a more profound learning experience later on! Miyagi Chojun had a deep knowledge of geography and history as well as the Chinese Classics and was well versed in the different aspects of Eastern culture. I will never forget the image of my teacher - who used a dictionary as a pillow and would constantly look-up the meaning of words and think deeply about what he found! He was particularly knowledgeable about medicines and the physiology of the human body, and always studied Karate-Do from a medical point of view. This is why many of his acquaintances were also doctors. He studied Karate-Do from a modern and scientific point of view and designed its structure as a practical system! Indeed, modern Goju Ryu Karate-Do is designed around a scientific agenda which brings logic and reason to the practice of an ancient martial art! Although the techniques can be lethal if deployed a certain way – Miyagi Chojun ensured that the health-giving component of each technique was emphasised over its destructive element. An emphasis upon building a sound mind and a strong body replaced the destructive act of confusing the mind and harming the body of an opponent! Goju Ryu Karate-Do was maintained as a traditional fighting method with modern (medical) implications! 科学的空手道へ指導体系を確立 在来の空手道は、一拳必殺といわれるように、もっぱら実戦の場での殺傷の武術として発達してきたもので、術技のうえでも、現在の教育的見地からみれば、不適当な点もあった。 このため宮城長順は基本形―剛の形(サンチン=三戦)のほかに、「六機手」というものを研究して柔の形(テンショウ=転掌)をつくった。「機手」とは中国南拳の上肢の動作および技法のことを言い、沖縄に伝わった『武備志』のなかで相手の急所(経穴)を突く際の手(開掌)の使い方が述べられている。宮城長順はこの手法を研究し、鍛錬形としてテンショウを創始した。また、東恩納寛量から鍛えられたサンチンの立ち方と運歩法をはっきりと定義づけたのである。 サンチン、テンショウは首里手派にはなく、剛柔流空手道独自のものである。この基本形の鍛錬法においては、気息の呑吐法(陽の息吹)という形式化された独特な呼吸法があり、指導者による筋骨の締め方を伴う鍛錬法がある。こうした鍛錬法を通じて、「術技の変化」「気息の呑吐」「重心の移動」を体得するのである。 さらに宮城長順の創始したものとして、基本形・開手形に入る前に行う徒手体操式の空手道術技に関連した「予備運動法」と、柔軟で強力な体力を養成しながら空手道術技の上達を側面的。 に援助する補助運動法がある。この予備運動は修練上、非常に合理的な運動法であり、その重要性は計り知れないものがある。講道館柔道の創始者嘉納冶五郎が沖縄に来られ、そのとき師父が空手道の解説をしたのだが、嘉納師範は予備運動に非常に感心され、後の柔道体操に取り入れられたのではないかということを、私は師父から聞かされた。 また、教育的観点から、剛柔流空手道の普及形として、ゲキサイ(撃砕)第一、ゲキサイ第二の形を創始した。剛柔流空手道の形は、サンチン・テンショウの基本形と、二つの普及形を含めた十の開手形とを合わせ合計十二の形がある。 宮城長順は漢籍の素養はもとより、地理・歴史の造詣も深く、東洋文化にも通じていた。辞書を枕に絶えず辞書を繙き思索していた師父の姿が忘れられない。とりわけ薬種の知識、人体の生理に詳しく、常に医学的観点から空手道を研究していた。知人にも医者が多かった。そして空手道を近代的、科学的視点から考究し、練習体系として組み立てたのである。従来の空手道指導法を理論と実際に照らして修練の順序、方法を定め、武道として体育として、また精神修養の方法、健康法として、科学的に組織体系づけたのが剛柔流空手道である。
Karate is mentioned just once, and even then, more or less in haste, and certainty not in any historical depth! This is disappointing from a book comprising of over 550 pages! Professor Mitsugu Sakihara provides a fascinating 'Afterword' and about ten-pages of corrections, deletions and other necessary 'errata' clarifications. Again, with a ground-breaking book of such historical scope and ambition - this type of 'correction' by an Asian academic fully armed with the latest research is nothing to be ashamed of - as a vast majority of the historical wealth presented within this books stands up to Japanese and Okinawan academic scrutiny! Of course, we must all be careful to correctly discern 'fact' from 'fiction', 'truth' from 'myth' and 'lies' from 'truth'! I present this data to add the over-all research into the fascinating history of Okinawan Karate-Do - much of which originates in Southern China, indigenous Okinawan martial culture and it would seem - the fighting arts of South-East Asia (Thailand, Myanmar and Cambodia, etc) or even Indo-China (Vietnam)! George Kerr's research into the origin of Karate-Do is not referenced (so we do not know where he acquired his information) - but he is of the opinion that 'Karate' was brought back to the Ryukyu Islands by Ryukyu sailors visiting (and training in the martial arts of) South-East Asia and/or Vietnam - and not China! I have heard a similar idea expressed in some Japanese and Chinese language articles - but only in as much as suggesting 'some' Karate-Do techniques (such as the 'round-house' kick) originated within the martial culture of South-East Asia - but not the complete system! Whatever the case, to consider all the available data - the data must be made available to all - and freedom of thought will do the rest!
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! |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |