Dear Tony

​Interesting. A very intriguing and fascinating clip - and interpretation. much appreciated.

The accompanying (original) Russian-language text (in English-translation) says this - might be useful:

​The Russian word "кайтеном" (kaytenom) appears to be rendered as "Kaiten" within phonetic English. I found this Russian-Language Aikido text (fed through a translator below) which discusses the Japanese martial arts technique of "Kaiten nage" (Rotate-Throw):

​Therefore: Japanese "Kaiten" (кайтеном - kaytenom) = 回転

回 (Kai) = turn, go back, retrace steps
転 (Ten) = circuitous, winding, revolve

​In this instance, a  spiralling 180° - about-face (half a circle) - transition. Chinese people refer to the "回転" (Kaiten) ideograms as "Hui Zhuan" - an evading-turn that radically re-directs the opponent's energy.

This Japanese technique is written using two Chinese and one Japanese ideogram - with all three ideograms being routinely used in the Japanese written language - and two ideograms ('1' and '2') being used in the Chinese written language:

​腰 - Japanese - Koshi (Chinese: yao1) = waist, hips and midsection

​投 - Japanese - Na (Chinese: tou2) = throw, blend, redirect and reject

​げ - Japanese - Ge = down, low, depth and ground

​Interestingly, with regards the ideogram '腰' (Koshi) - both the Japanese and Chinese language dictionaries give an identical (and exact) physical location. Therefore, 'Koshi' represents the 'waist' (or the anatomical 'space' between the hips) situated toward the front of the body - whilst the back of the body corresponds 'Koshi' to the 'small of the back' or the 'lumbar' region. Although neither dictionary mentions the centre of gravity of the body - or the 'lower dantian' (both situated three-inches below the naval) it seems clear that such a 'special' area is implied. I think this assumption receives support as 'Koshi' is also used to refer to the 'kidney' area - perhaps slightly higher than the lumbar a 'cold' area significant within traditional Japanese and Chinese medicine. 

Although 腰 (yao1) is prevalent within Chinese martial arts (used to counter an opponent through penetrating their technique, blending with it and redirecting it) - 'Koshinage (腰投げ)' is a 'distinct' Japanese physical interpretation not found in China. When the Chinese government took Sō Dōshin (宗道臣) [1911-1980] to a Japanese Court in the early 1970s (an event covered in one of Donn F. Draeger's books on 'Modern Budo') - part of the evidence accepted by this Court that his style of 'Shorinji Kempo' ('Shaolin Gongfu') was NOT of Chinese origin - is that nearly all of its techniques include 'Koshinage' (the BBC chose to omit this Court verdict in its 1980 'Way of Warrior' series). Cooperation of this type is a Japanese cultural development - and is not found in China's traditional arts - even though the concept is present (and used in a different manner). However, I would note that the use of squat-kicks is found in Chinese arts and are used in exactly the same manner as this documentary suggests - although our Hakka style places a great deal on toughening the legs to take continuous impact (similar to Muay Thai fighters in Thailand) and keep effectively moving. The only Karate-Do style I have encountered that has squat-kicks is Goju Ryu. 

Wikipedia is a wealth of sagely advice – much of it misleading, incomplete and out of context. For instance, the author dealing with the ‘Tai Sabaki’ page - states that the usual interpretation of Tai Sabali in the West which involving ‘evasion’ is ‘wrong’. However, if an individual can ‘read’ Chinese and/or Japanese ideograms – it is obvious that whatever this concept is - ‘evasion’ forms a central aspect of it. The author in question does not fully comprehend the entire concept of Tai Sabaki and is attempting to join the two ends of an idea together whilst omitting a (vast) theoretical centre-ground!  

1) 体 (Tai) - Japanese Equivalent of Chinese ideogram ‘體’ (ti3) = ‘body’  

This is related to a body (comprised of - and structured by - its internal bone structure) which is augmented in the physical world through musical rituals (involving drumming) and the adornment of jade of jewellery. The body is enhanced by the placement and alignment of its inner structure and the means (rituals) through which this body traverses the outer world. That which is ‘detrimental’ is avoided and that which is ‘nourishing’ is embraced. There is an implication in the Japanese language that ‘体’ (Tai) refers primarily to the trunk and the abdomen – and only secondarily to the limbs. It is the ‘centre’ of the body which has priority over the ‘periphery’ of the body.  

2) 捌 (Saba) - Japanese Equivalent of Chinese ideogram ‘捌’ (ba1) = Disentangle 

This ideogram - (in its Chinese interpretation) can mean ‘eight’ - an alternative form of ‘八’ (ba1). A ‘hand’ which expertly uses a ‘knife’ - cuts through the flesh and bones of a fish so that it is separated into ‘eight’ clean parts (probably a generic term meaning ‘many’). There is also the central idea of ‘disentanglement’ - so that no unnecessary error (or resistance) is met. This is because ‘entanglement’ means ‘hindrance’ - and the skill referred to here involves the ‘avoidance’ of such self-imposed difficulty. Evading ‘resistance’ is the correct path that leads to such a skill. The blade of the knife skilfully feels its way around (and along) the natural contours of the bones – and does NOT cut directly (at right-angles) into the bone-structure at any time. There is a ‘going with’ rather than a ‘going against’. This ideogram is the central element of this Karate-Do principle - and probably means slightly different things within the various styles which make use of it.  

3) き(Ki) - Japanese Equivalent of Chinese ideogram ‘幾’ (ji3) = Skill 

There is an indication of ‘quantity’, ‘measurement’ and ‘refinement’ within Japanese language dictionaries. The suggestion is that the correct manipulation of exact amounts is a great skill which has to be mastered in any successful avenue of life. This idea spans both the material and the spiritual world! An individual can carefully follow the established criterion laid down by those who have gone before – or if such an individual possesses the correct (and right) amounts of psychological insight and physical strength – then they might set out on their own path and become an inspiration for those who are to come!  ​

Conclusion: Meaning 

When taken as an integrated whole – the martial principle of Tai Sabaki (体捌き) suggests that the physical body (its central core and not just its periphery) is skilfully used (manipulated) in a combat situation so that there is no direct conflict between the defender deploying this technique - and an attacker ignoring this technique. Tai Sabaki (体捌き) is NOT just the skilful movement of the arms and legs in ‘protection’ of the central core (the torso). Tai Sabaki (体捌き) is a ‘centre-out’ technique that requires the core and periphery to work in concord. Strength does not clash with strength. The ability to assertively ‘give-way' is the key to this technique. Indeed, when the timing is perfect - ‘giving-way’ becomes far stronger than the momentary strength associated with a dramatic (but short-lived) show of strength! Giving-way, at its highest manifestation, not only ‘absorbs’ and ‘nullifies’ ALL incoming power – but when performed correctly, generates the basis for ‘greater’ power to be produced that is not reliant upon linear (muscular) strength – but rather the ‘circular’ movement associated with the structures of the bones and joints! The bodyweight ‘drops’ into the ground through the shaft of the (aligned) bones and rebounds upwards through the centre of the bone-marrow – producing a seemingly endless supply of ‘muscle-free’ power! As this power is greater than that associated with the muscular ‘tension’ of thuggery – the defender occupies a unique time-space frequency within which the attacker cannot access (or penetrate) regardless of the willpower exhibited. The linear attacks cannot land on an object continuously moving in perfectly timed circles. Once such a level of mastery is achieved – the defender can decide the level damage perpetuated upon the attacker depending upon circumstance. Should the body of the attacker be temporarily or permanently disabled? Should the body of an attacker be only (gently) nullified as if in play? Someone who has mastered Tai Sabaki (体捌き) possesses all these choices. This is why the Wado Ryu Style of Karate-Do posits the highest ideal of a defender possessing the ability to prevent damage to both their own body AND the body of the opponent! An ideal of the highest nobility! 

Dear Tony

It is interesting what you say about the idea the of Seiunchin and Seipai Katas once forming a single unit of practice (that is a 'single' Kata). This is exactly the same situation with the three Longfist Forms in our family Hakka style - which contain 32 movements each - but once was practiced as a single Form containing 96 movements! To assist the investigation we can have a look at the etymology of the names of these two Goju Ryu Kata and see if any evidence presents itself:

Kata - Seiunchin = 制引戦

制 (Chinese) = Zhi - 制 (Japanese) = Sei - Control, Plan, Regulate, Law, Limit

引 (Chinese) = Yin - 引 (Japanese) = In - Draw (a bow), Pull, Lead, Stretch, Admit, Evade (Leave)

戦 (Chinese) = Zhan - 戦 (Japanese) = Sen - Battle, Fight, War and Conflict

Seiunchin Kata = Careful Bow-Drawing in Battle

Chinese Name = Zhi Yin Zhan (制引戦)

Japanese Name = Sei In Sen (制引戦)

Okinawa Name = Sei Un Chin (制引戦) 

Kata - Seipai = 十八手

十 (Chinese) = Shi - 十 (Japanese) = Ju - Ten, 10, X, Perfection and Utmost

八 (Chinese) = Ba - 八 (Japanese) = Hachi - 8, eight, VIII, Divide and Differentiate

手 (Chinese) = Shou - 手 (Japanese) = te - hand, open (hand), grip and handle

Seipai Kata = Eighteen Open Hand

Chinese Name: Shi Ba Shou (十八手)

Japanese Name: Ju Hachi Te (十八手)

Okinawa Name: Seipai (十八手)

It looks to me that the last word of the written name '十八手' (Shi Ba Shou) is missing in the way the Kata is named in the West. It seems that the Okinawan 'Seipai' equates to the Chinese 'Shi Ba' (Eighteen - as in '10' + '8') - but that the ideogram '手' (Shou) is missing from the name. The Okinawan name should probably read 'Seipaisou' or something similar. We are probably seeing the Fujian dialect preserved through the Okinawan language - with a descriptive word missing when the Kata is vocally discussed! I do not know why this is. What might be of significance is Pan Yu Ba's 'Arahant Fist' (羅漢拳 - Luo Han Quan) - which is also known as 'Arahant Eighteen Hands' (罗汉十八手 - Luo Han Shi Ba Shou). 

Does the Seipai Kata represent the 'Arahant Fist'? Even so, there is the closed 'fist' (拳 - Quan) and then there is the 'Open Hand' (手 - Shou). As you know, Sensei, both types of hand are always used - together with the 'palm' (掌 - Zhang). When I was in various Buddhist temples in China, most had statues of the Eighteen Arahants (all enlightened visitors from India thousands of years ago) spread around the periphery of the grounds facing outward with each statue holding different positions with their hands and feet (this sometimes reminds me of Tensho Kata). 

I spoke and practiced with Warrior-Monks and Nuns who all talked about rebirth, karma and 'meeting' one another again in different lifetimes. There was no violence at all with the flowing hand and foot movements 'evading' every violent movement. However, these people 'sensed' exactly when greed, hatred and delusion was present in the mind of the opponent - and they immediately took action to dissolve it with loving kindness, compassion and understanding! Most of these 'Arahant' Forms involve 'evasion' and simply 'not being there' rather than any forceful application. When power was needed, however, it was generated a) from the ground, and b) from the body-mass of the opponent - as their bodyweight was momentarily 'borrowed' before being 'given back'!

What we might be looking at is a combined Goju Ryu Kata entitled 'Arahant Eighteen Hands Regulate and Drawing the Battle Bow'! It could be named like this '羅漢十八手制引戦' (Luo Han Ba Shou Zhi Yin Zhan). 

Thanks

Adrian

According to the research carried out by Mr. Lin Weigong (林伟功) - an expert in historical records pertaining to the Fuzhou area (and confirmed by other knowledgeable authorities) - Higaonna Kanryo (东恩纳宽量), [the teacher of Miyagi Chojun - who later described the Chinese martial arts style he learned from Higaonna Kanryo as being 'Goju' [Hard-Soft]), travelled to Fuzhou (situated in Fujian province in Southeast China) to train under the guidance of Master Xie Ruru (谢如如) during the Guangxu (光绪) period of the Qing Dynasty (reigned 1875-1908) – and studied the martial art of ‘Whooping Crane Fist’ (谢如如 - Ming He Quan). He trained in this martial art for three years before returning Okinawa – and then returned to Fuzhou for further instruction. Higaonna Kanryo further developed and innovated this ‘Whooping Crane Fist’ - and thereby created a very popular and robust style of Karate-Do known as ‘Goju Ryu’ (Hard-Soft School). In recent years, various Japanese martial arts circles have organized group visits to Fuzhou many times – an interaction which has effectively promoted positive economic and cultural exchanges between China and Japan. ​

According to relevant data and folk surveys, this relationship can be traced back to even earlier times. Master Xie Ruru is said to be the founder of ‘Whooping Crane Fist’. However, he trained under Master Pan Yu Ba (盘屿八) whose real name was ‘Lin Dachong’ (林达崇). The historical records state that Master Xie Ruru trained in the ‘Arahant Fist’ (罗汉拳 - Luo Han Quan) whilst training with Pan Yu Ba – and the implication is that the ‘Whooping Crane Fist’ evolved out of this style. After Master Xie Ruru observed the behaviour of a White Crane (defending itself) - he developed the theory and practice of the ‘Whooping Crane Fist’! Indeed, the ‘Crane Fist’ (鹤拳 - He Quan) genre of ‘Southern Fist’ (鹤拳 - Nan Quan) is just one of the hundred flowers of martial brilliance that has blossomed from within the Fuzhou area! The principle of White Crane Fist has spread far and wide and has been developed and evolved into many and interesting ‘Lineages of Crane’ (宗鹤 - Zong He). There are four main types such as ‘Perching Crane’ (宿鹤 - Su He), ‘Whooping Crane’ (鸣鹤 - Ming He), ‘Flying Crane’ (飞鹤 - Fei He) and ‘Eating Crane’ (食鹤 - Shi He). This style can also be known as ‘Morning Crane’ (朝鹤 - Chao He) and ‘Paralysing Crane’ (痹鹤 - Bi He).  ​

The birth name of Pan Yu Ba (盘屿八) was ‘Lin Dachong’ (林达崇) and he was originally from Pan Yu Township situated in the Cangshan District of the Fuzhou City region. (This area is now known as the ‘Red Star Farm’ - 红星农场). As he ranks eighth among his uncles and brothers of the same generation – he became known as ‘Pan Yu Ba’ - or ‘Pan Yu Eight’ - when his abilities became known far and wide! When he was young, Pan Yu Ba trained at the ‘Crane Nest Temple’ (鹤巢寺 - He Chao Si), situated in the Cangshan (仓山) area of Mount ‘Gaogai’ (高盖) under the ‘Head Monk’ (住持 - Zhu Chi) of that temple known as Venerable Qingding (清定). Master Qingding was an expert in ‘Shaolin Arahant Fist’ (少林罗汉拳 - Shao Lin Luo Han Quan) and taught this to Pan Yu Ba. Master Qingding was originally from Quanzhou and his fighting capabilities were considered extraordinary. As well as administrating a Ch’an temple which trained Buddhist monastics – he was also renowned as being an expert in medicine, specialising in the treatment of trauma wounds. Master Qingding established a free medical clinic on the main road to the coast between Fuzhou and Bailu (白鹭) Ridge. Local people would come to receive a diagnosis and treatment from Master Qingding. Master Qingding and Pan Yu Ba lived a thirty-minute walk apart from one another and were always in close contact with one another.  ​

Master Pan Yu Ba possessed legendary physical and mental strength! He also became a great teacher in his own right! Oneday, when his brother was building a house there was a very large foundation stone which weighed around 900 pounds and took numerous people to lift (with difficulty). Pan Yu Ba lifted this stone on his own – and was able to strike the stone and break it in half! He was addicted to alcohol and could drink a jar of rice wine without getting drunk. When it snowed and was freezing cold – he wore only a thin jacket and was not afraid of the cold. There are not many known cases of Lin Dachong competing with others, but there is only one anecdote widely known amongst the people. One day he went to Fenggangli (凤岗里) situated on Shandong Ridge (山东岭 - Shandong Ling) as a guest. He interceded between a dispute that happened between his relatives and the local people of ‘Toupu’ (透浦) Village! Master Pan Yu Ba was hunted down and surrounded by about a hundred villagers all attempting to give him a good beating! He knocked down many attacking people with his bare hands and then grabbed hold of two the attackers and used them as shields and attacking objects! This action prevented himself from being killed and the only injury he suffered was a stick blow across his back! The two people he was holding were beaten to death by the ferocity of the attack against him! So many villagers were wounded that they were sent to the clinic at Bailu Ridge to be treated by Master Qingding! As soon as Master Qingding saw the nature of the wounds – he knew exactly that it was his disciple – Pan Yu Ba – who had caused them! When Master Qingding returned to the Temple – he went to the home of Lin Dachong (Pan Yu Ba) to tell his family what had happened! He then sent out an order that Pan Yu Ba return to the mountain to explain what had happened!  ​

After Lin Dachong's death, his descendants continued to live on for another five or six generations - until the War of Resistance Against Japanese Aggression when his direct relatives died out - and today only a number of his nephews remain. Unfortunately, his boxing manual (拳谱 - Quan Pu) was lost during the Cultural Revolution. His tomb was originally located in Longfu (龙阜) at the Southern foot of Gaogai Mountain. Due to the construction of an airport, the tomb was later moved to the top of the hill near the Crane Nest Temple – where the cemetery and tombstones still exist. The Crane Nest Temple of Gaogai Mountain was located in the valley on the Southern slope of the western section of Gaogai Mountain. It was destroyed during the Cultural Revolution. In 1985, the local villagers raised funds to rebuild the temple, and now the project has begun to see fruit. The 76-year-old Lin Miaoxiu (林妙修) has presided over this temple reconstruction. In the countryside surrounding the temple there has been a natural habitat for White Crane breeding for hundreds of years and the area is full of breeding pairs! This is where the name of the temple originates, and this explains why the main symbol of the temple is a crane-shaped stone.  ​

There are a number of questions which need to be considered: Before he founded ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) - did Xie Ruru (谢如如) visit ‘Crane Nest Temple’ (鹤巢寺 - He Chao Si) and meet the Ancestral Master (Qingding)? Did he receive instruction and gain inspiration from such an interaction? Did Master Qingding definitely originate from the Quanzhou area? Did Master Qingding have any direct contact with the Southern Shaolin Temple that once existed in Quanzhou – but which was destroyed by Qing Dynasty troops? These are all important questions worthy of serious consideration. If these issues can be clarified, then our all-round understanding of the martial history of Fuzhou will be enhanced. This would be an excellent development for Fuzhou culture and assist Sino-foreign relations immeasurably. For instance, in the past representatives of Okinawan Goju Ryu Karate-Do have organised groups visits to the area of the Crane Nest Temple to pay their respects to their martial ancestors!  ​

According to historical investigation, the Southern Shaolin Temple in Quanzhou was destroyed by government troops during the early Qing Dynasty, and the monks were displaced. This meant that the Southern Shaolin monks known as ‘Iron Staff’ (铁杖 - Tie Zhang), ‘Iron Shoes’ (铁鞋 - Tie Xie), Iron Handle (铁柄 - Tie Bing) and ‘Iron Beads’ (铁珠 - Tie Zhu) all had to flee in different directions for their own safety! The monk known as ‘Iron Beads’ (铁珠 - Tie Zhu) fled North to Fuzhou (still in Fujian province) and took with him the ‘Dragon Staff’ (龙桩 - Long Zhang) which comprised part of the skill of the ‘Dragon Fist’ (龙拳 - Long Quan) martial system. This monk, however, is known to have specialised in the practice of ‘Arahant Fist’ (罗汉拳 - Luo Han Quan) and this is how this secretive style of martial arts spread from the confines of the Southern Shaolin Temple in Quanzhou, to being readily available to people living in Fuzhou! (Translator: Fuzhou is located around 133 miles northeast of Quanzhou – travelling up the East Coast of Fujian province – an area immediately adjacent to the Northern tip of the Chinese island of Taiwan. This is a journey that could have been easily completed by boat). This is how the ‘Dragon Fist’ and ‘Arahant Fist’ style of Southern Shaolin martial arts spread to the Fuzhou area. Meanwhile, the Venerable Monk ‘Iron Beads’ (铁珠 - Tie Zhu) took refuge in the ‘Crane Nest Temple’ (鹤巢寺 - He Chao Si) which is situated in the Gaogai Mountains area of the Cangshan District of Fuzhou City! Later, Master ‘Iron Beads’ (铁珠 - Tie Zhu) became responsible for teaching the resident monks the ’Arahant Fist’ (罗汉拳 - Luo Han Quan) style of martial arts. One of these monks was the ‘Venerable Qingding’ (清定) who learned the ’Arahant Fist’ (罗汉拳 - Luo Han Quan) thoroughly before becoming an official lineage descendent of Master ‘Iron Beads’ (铁珠 - Tie Zhu)! Following these events, Master Qingding met the talented lay person ‘Lin Dachong’ (林达崇), accepted him as a disciple and transmitted to him the entire style of the ’Arahant Fist’ (罗汉拳 - Luo Han Quan)!  ​

My brother-in-law is ‘Lin Gentu’ (林根土) - who is from the Pan Yu Township. He is a direct descendent of ‘Lin Dachong’ (林达崇) and has passed on the ‘Fist Law’ (拳法 - Quan Fa) to me. The ‘Lin’ (林) family of Pan Yu Township state that ‘Xie Ruru’ (谢如如) learned ’Arahant Fist’ (罗汉拳 - Luo Han Quan) directly from ‘Lin Dachong’ (林达崇). Later, ‘Xie Ruru’ (谢如如) watched a ‘White Crane’ (白鹤 - Bai He) land near him. The awe-inspiring deportment of this bird influenced his creation of the martial arts style known as ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan). The manner in which the bird stood, moved about, arranged its feathers and positioned its beak, wings and feet – all influenced ‘Xie Ruru’ (谢如如) in his planning and structuring. Of particular interest was the general ‘Form’ (形 - Xing) or ‘Shape’ of the bird which involved a particular psychological attitude combined with a precise physical presence! Although seemingly vulnerable – the bird was actually very strong! The ‘White Crane’ manifested a perfect blend of ‘strength’ and ‘weakness’ - of ‘assertion’ and ‘giving-way’! The ‘White Crane’ uses its wings to good effect as they ‘tremble’ (抖 - Dou) before exploding with tremendous speed and power! To warn other birds of a potential danger in the immediate environment – the ‘White Crane’ issues forth a piercing ‘cry’ as the wings ‘tremble’ in preparation to deliver debilitating strikes (which include the use of the beak and the feet). The ‘White Crane’ appears ‘weak’ but is ‘strong’! Appears to be stuck in one place – but can easily move into all available spaces! The ‘White Crane’ easily ‘evades’ and yet steadfastly ‘holds’ its ground! Appears to ‘stumble’ but never loses its ‘balance’! The ‘White Crane’ is at its most dangerous when it seems to be at its most weakest – this is precisely when the ‘piercing cry’ is issued, and the opponent is in the most danger! This is why this style is called ‘Whooping Crane’ (鸣鹤 - Ming He)!  ​

Inspired by the ‘rigidity’ (刚 - Gang) and ‘flexibility’ (柔 - Rou) of the ‘White Crane’ as preserved within the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) - Higaonna Kanryo founded the ‘Goju Ryu’ (刚柔流 - Gang Rou Liu) system of Okinawan Karate-Do. This style of Karate-Do spread throughout Okinawa and across the world! The ‘Fighting Manual’ (拳论 - Quan Lun) associated with the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) style states: ​

‘The constant interplay of ‘hardness’ and ‘softness’ concentrates and stills the mind whilst strengthening the spirit.’ 

“刚柔相济定心神” 

A genuine martial artist cannot be only ‘strong’ or only ‘flexible - but must develop a fighting technique which envelopes both these expressions of reality. Being limited to one or other extreme will not develop martial invincibility. Indeed, a well-rounded warrior must be both firm and flexible simultaneously and consecutively! Must develop a mind-set that resides at the ‘still’ (and ‘empty’) centre of ‘hard’ and ‘soft’ - whilst being able to traverse the physical structures of the body through martial techniques that are at one moment ‘hard’ whilst at another ‘soft’.  

The ‘Fighting Manual’ (拳论 - Quan Lun) associated with the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) style states: 

‘This Crane System depends entirely upon the mastery of ‘shaking’ (摇 - Yao) the hands!’ 

​“鹤法全靠摇宗手” ​

This is an important and central concept within ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) as ‘shaking’ the hands is the technique (that when applied throughout the body) serves as the method through which ‘hard’ and ‘soft’ techniques are manifest and transitioned from one type to the opposite (i.e., from ‘hard’ to ‘soft’ and vice versa). The mind must be ‘still’ and ‘all-embracing’ for this method to manifest throughout the entire physical body as it traverses the environment. The ‘shaking’ (摇 - Yao) technique itself is essentially ‘soft’ (柔 - Rou) but as it permeates the mind and body - a very powerful and yet flexible (explosive) force is generated! This is the foundational teaching (宗 - Zong) that is passed on within this style! If mastered correctly, then ‘hardness’ and ‘softness’ are perfectly entwined in a continuous interplay that reacts exactly to all external circumstances and situations! The manual explains that a practitioner whose mind is chaotic and whose body is continuously overly ‘tense’ exhibit what is termed the ‘stiff hand’ (硬手 - Ying Shou) - whilst a mind that is chaotic and a body that is overly ‘weak’ is termed the ‘weak hand’ (软手 - Ruan Shou). In terms of offense and defence, being too rigid is easy to be overcome by softness, and too soft is easy to be dominated by rigidity. Between rigidity and softness, it is required to be rigid but not stiff, soft but not weak – this is how ‘vigour’ (劲 - Jin) and ‘power’ (力 - Li) are thoroughly developed.  ​

The momentary ‘softness’ is not ‘loose’, not ‘weak’, not ‘stagnant’ but rather ‘vigorous’ and ‘buoyant’ (as ‘hardness’ momentary manifests)! Change is the essence as the ten thousand situations come and go! This is how the central ‘shaking’ (摇 - Yao) technique that defines the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) should be interpreted and manifested! If this technique can be mastered, then with the slightest of touches a practitioner can respond like an arrow firing from a bow! When being attacked there is a dangerous assertion in the immediate environment! The opponent ‘congeals’ all their power in one area and the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) practitioner perceives this situation precisely. The danger of the attack is expertly avoided through evasion (the use of ‘softness’) whilst sharp and coordinated attacks (the use of ‘hardness’) are rained down upon the attacker in the direction of their undefended flanks. The counterstrikes hit home exactly with no hesitation. If the opponent changes position or attacking method – the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) moulds their reactions perfectly so the pressure is relentless and never relaxed until the threat has been neutralised. The enemy is peppered with strikes wherever their defensive gaps happen to be! The opponent is overpowered with precision! By observing the interplay of nature (the interaction of ‘hard’ and ‘soft’) the mind becomes ‘still’, ‘reflective’ and ‘expansive’. An aggressive opponent is merely an extension of the natural environment. Observing the natural processes of the environment is the same as observing the natural processes manifesting within an aggressive opponent. Correctly observe the former and the latter will be properly understood. The environment presses forward – the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) practitioner gives way – the environment gives way – and the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) practitioner presses forward! There is a continuous and flowing unity with no disconnect or over exaggeration. ​

Within Okinawa and Japan, the ‘Goju Ryu’ (刚柔流 - Gang Rou Liu) or ‘Hard-Soft’ style of Karate-Do is well-known as being theoretically and practically premised upon the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) style! Specifically, the principle that links Goju Ryu Karate-Do to this ‘Whooping Crane Fist - (鸣鹤拳 - Ming He Quan)’ is the theory of ‘刚柔相济’ (Gang Rou Xiang Ji) or the ‘continuous interchange of ‘hard’ and ‘soft’). Indeed, it is obvious that the Goju Ryu style contains Chinese martial arts techniques that are premised upon ‘hard’ and ‘soft’ techniques that unfold in a continuous an orderly manner! Furthermore, it is clear that the ‘Katas’ and ‘Basic’ techniques contained within Goju Ryu are clearly derived from the ‘Whooping Crane Fist - (鸣鹤拳 - Ming He Quan)’ martial system. Given that the Whooping Crane Fist - (鸣鹤拳 - Ming He Quan)’ originates within the ‘Crane Nest Temple’ (鹤巢寺 - He Chao Si) which is situated in the Gaogai Mountain area of the Cangshan District, located to the South of Fuzhou City, Fujian Province. ​

Chinese Language Article: 

https://web-archive-org.translate.goog/web/20131009234332/http://gojuryukarate.cn/showart.asp?art_id=27&_x_tr_sl=zh-TW&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc 

空手道刚柔流源于鹤巢寺 

据福州史志专家林伟功先生考证并经权威部门确认，“刚柔流”的创立者东恩纳宽量在清朝光绪年间，曾到福州拜鸣鹤拳宗师谢如如为师，学艺三年，返日后将鸣鹤拳的拳法加以创新发展，创立了空手道最大流派“刚柔流”。日本武术界近年来曾多次组团来榕寻根认祖，有力地促进了中日之间经济和文化的交流。 

据有关资料和民间调查表明，这种渊源关系还可追溯到更早。福州鸣鹤拳的创立者谢如如曾师从罗汉拳名师“盘屿八”——林达崇，后来他又观察鹤的活动姿势，从中得到启发而创立鸣鹤拳。鹤拳是南拳百花中的一枝。它经过历代武术前辈的实践和总结，又有所创新和发展，流传至今已演变为“宗鹤”(即宿鹤)、“鸣鹤”、“飞鹤”、“食鹤”(即朝鹤、又名痹鹤)四大鹤拳。据调查，“盘屿八”原名林达崇，福州市郊仓山区盘屿乡人(今红星农场)，因在同辈叔伯兄弟里排行第八，声名远播后被外乡人称为“盘屿八”。他年轻时拜仓山区高盖山鹤巢寺住持清定和尚为师，学少林罗汉拳。清定和尚据说是泉州人氏，拳术高超，兼擅骨伤医术，在山寺住持之余，常在福州至湾边要道上的白鹭岭挂单行医。师徒住处相距步行不到30分钟的路程，相互交往十分亲密。林达崇深得乃师真传，武艺高强，膂力惊人。相传其兄建房时，一块要多人才抬得动的六七百斤重的长廊石，他夹在腋下奔走如飞。迄今仍留存着当年因他太高放下而断为两半的一块长廊石。他嗜酒海量，能喝一坛米酒而不醉。冬日里下着雪，他只穿一件薄衣，也不畏冷。 

关于林达崇与 别人较量的事例尚不多见，民间只盛传他的一件轶事：某日他到凤岗里山东岭作客，因亲戚与透浦村民的小纠纷而直言，遭透浦大批人马的持械围殴。他赤手空拳打倒多人，最后见寡不敌众就从对方阵中抓过两人却挡在身前，结果他只背部受棍伤，而那两人却被己方的棍棒打得奄奄一息。透浦人把伤员送赴白鹭岭清定和尚诊 所，清定和尚一看便知是他的高徒所为。返寺时先到林达崇家通知其家人，要达崇连夜上山找他疗伤。达崇天黑到家闻讯，知道瞒不过师父，只好遵命连夜上山听从师父安排，由此可见其师徒关系密切和相知的程度。 

林达崇逝 世后，子裔尚绵延五六代人，到抗日战争时绝嗣，今仅余侄辈继嗣。其拳谱惜在文革中散佚。其墓原在高盖山南麓的龙阜，因建机场，后迁至鹤巢寺附近的山头，墓地和墓碑尚存。高盖山鹤巢寺位于高盖山西段南坡的山谷里，文革中被毁。1985年，乡人多方集资重建，现初见规模，由76岁林妙修老尼主持该寺。�ジ吒巧� 鹤巢寺先前寺周围白鹤甚多，故以“鹤巢”为名，寺里亦以鹤形石为主要象征。谢如如在创立鸣鹤拳之前，是否到过师祖的鹤巢寺，从中得到启发和教益?清定和尚 是否确为泉州人氏?与相传毁于清初的泉州南少林寺是否有什么渊源关系?这些问题值得我们深入研究。倘能探寻清楚，将对弘扬福州乡土文化起到促进作用，并对 中外经济文化交流产生积极的作用。  

空手道“刚柔流”曾组团来福州鹤巢寺认祖归宗。据查，泉州南少林寺在清初毁于官府围剿，寺内僧侣流离失所，少林四武僧铁杖、铁鞋、铁柄、铁珠亦在其中。四僧之一的铁珠身怀龙桩(龙拳)和罗汉拳逃到福建福州，故龙拳和罗汉拳也随之传到福州。铁珠和尚避难至福州市仓山区高盖山的鹤巢寺里，后将罗汉拳传给寺里的僧人，也传给了清定和尚，清定又传授给爱徒林达崇。我的姐夫林根土(盘屿乡人)是林达崇的后裔，他将该拳法传给了我。而谢如如曾向林达崇学罗汉拳，后受到白鹤衔理羽毛形态的启发而创鸣鹤拳。因白鹤善用翅抖弹，常发声，以声助力，故有“鸣鹤”之称。 

东恩纳宽量受了鸣鹤拳刚柔相济的启发，创立了日本空手道的最大流派“刚柔流”。鸣鹤拳拳论中云“刚柔相济定心神”。一种拳法只有刚劲是不行 的，只有柔劲也不行，必须刚柔俱备，刚柔相济。鸣鹤拳拳诀云：“鹤法全靠摇宗手”。鸣鹤拳中手法和身法的变化方式称为摇，摇为柔；内身发出一种极其刚强有 力弹劲谓之宗，宗为刚。刚柔相济是为正宗　在技击上过刚的手法称为硬手或坏手，过柔的手法称为软手。从攻防上来说，过刚易被柔克，过柔易被刚制。在刚柔之间要求做到刚而不僵，柔而不软，劲力透达。 
​
柔应不松、不软、活泼不滞、变化万千，即鸣鹤拳所要求的“摇”。能做到这一点，那么在技击时就能“触即变、发如箭”，当你一接触到攻击时，就 应善于观察其攻势，即时变化自己的手法击败对方，“吞吐浮沉君须记，刚柔相济定心神”，日本空手道的最大流派“刚柔流”即取鸣鹤拳的“刚柔相济”之拳诀而 享誉日本武术界。而“刚柔流”的不少招式、手法，还明显带有鸣鹤拳的痕迹，所以说日本空手道的“刚柔流”源出于福建省福州市南郊仓山区高盖山的鹤巢寺。 
 ​

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!  ​