The Development of Yongchun White Crane Fist – the Basis of Okinawan Karate-Do! (4.11.2022)11/5/2022 (Translated by Adrian Chan-Wyles PhD) Translator's Note: I read through (and carefully translated) this meandering Chinese language text regarding the known history of Fujian White Crane Fist! To make sense of the context - I had to reference other Chinese language historical texts in an attempt to decipher what exactly is being said! Even so, as much of this genre of (folk) history is entirely 'local' in nature, even (contemporary) ethnic Chinese language speakers do not understand the what exactly is 'meant' by the words and phrases being used. We must use our experience and knowledge to establish the most likely meaning. There appears to be a subtle blend of fact and myth - perfectly entwined - so that it becomes difficult to tell one aspect from the other! During this interpretive process, we must remain anchored within historical 'fact' - but where is the 'fact' we must remain anchored within? What we do know is that somehow a) this martial art does physically 'exist' through a discernable history, and b) as a distinct body of knowledge it ended-up in the hands of Higaonna Kanryo! ACW (5.11.2022) White Crane Fist (白鹤拳 - Bai He Quan) is often referred to by the geographical indicator of ‘Yongchun’ (永春). This Style of martial arts is just one of the of many developed by the Han nationality throughout the Fujian area. It began to emerge as a distinct martial arts Style during the latter Ming Dynasty (1368-1644). From its root source, four distinct lineages have developed: 1) Flying (飞 - Fei) 2) Singing (鸣 - Ming) 3) Sleeping (宿 - Su) 4) Feeding (食 - Shi) These four variations of White Crane Fist all manifest in slightly different and specific ways, so that a unique and distinct Style is evident in each case. These differences stem from the practitioners emphasising particular traits observed in the defensive and aggressive behaviour of the White Crane species of bird. All of this speciality is known today as the White Crane Fist Style. According to legend, this Style originated within the Funing (福宁) Prefecture, Fujian Province – today known as Xiapu (霞浦) County. As a Style, it developed out of the ‘external’ (外 - Wai) Shaolin Fist (少林拳 - Shaolin Quan) method taught to Master Fang Zhonggong (方种公) at the ‘North Gate’ (北门 - Bei Men). He taught his only child (his daughter) ‘Fang Qiniang’ (方七娘) - and it is Fang Qiniang who is considered the ‘Founder’ of White Crane Fist. Soon after she was born – Fang Qiniang’s mother passed away from illness. Her father believed that his only daughter should be strong and stand tall – just like a man – and he taught her to practice martial arts every day. Fang Qiniang eventually married ‘Zeng Si’ (曾四) - who was a native of Yongchun County situated within the Quanzhou area of Fujian province (although some records suggest his family originally came from Zhejiang – before moving into Yongchun and resettling). As Fang Qiniang lived and taught her Style in ‘Yongchun’ it is referred to today as being ‘Yongchun White Crane Fist’. The White Crane Fist specialises in generating vibrating and shaking (弹抖 - Dan Dou) power (劲 - Jin) of both arms. The open-hand ‘Palm Law’ (掌法 - Zhang Fa) method emphasises a penetrating and piercing power which is similar to an arrow hitting an opponent after being fired from a bow – but devastating the opponent at very close-range. This method is supported by penetrating footwork that decisively advances and retreats – footwork that also ‘pretends’ to advance and retreat – causing confusion and mistimed reactions in an opponent. Explosive force (力 - LI) is generated by the White Crane Fist practitioner when taking advantage of an opponent’s errors. For this to happen, the joints and fingers of the White Crane Fist practitioner must be ‘strengthened’ and appropriately ‘conditioned’. Stepping must be both precise and diverse. Every blow must be thrown with explosive power. The arms must shake, vibrate and tremble with ‘hard’ and ‘soft’ energy continuously interchanging in a manner which cannot be predicted or understood by the opponent. This is held together by the bodyweight smoothly ‘dropping’ and ‘rising’ continuously and without interruption. Each Style of White Crane Fist presents these techniques in different and varied ways. Within the folk storytelling developed during the early Qing Dynasty, it was said that ‘Crane Immortal’ (鹤仙 - He Xian) taught Fang Qiniang – whilst others state that Fang Qiang was taught only by her father – a native of Funing! Whatever the case, all stories agree that Fang Qiniang was the Founding Patriarch of the White Crane Fist Style! Fang Qiniang was clever and pretty – and was committed to learning martial arts! As Fang Qiniang refused to get married – she was banished to a local Buddhist Temple known as ‘Bai Lian’ (written as ‘白练’ or ‘白莲’ - the second variant appearing to be a play on words) meaning both ‘White Lotus’ and ‘Pure Practice’. Her Buddhist teacher was said to be the ‘Crane Immortal’ (鹤仙 - He Xian) who came down to Earth to instruct her in the art of ‘White Crane’. Fang Qiniang had to combine hours of seated Ch’an meditation with the continuous observation of the ‘hard’ and ‘soft’ movements of the White Crane birds that inhabited the temple grounds. (Another version worthy of consideration is the following story: One day, Fang Qiniang was immersed in the shuttle weaving on a traditional loom. Suddenly, a White Crane bird flew gracefully into the area - hovering near her roof and looking down. The White Crane bird finally flew down to the floor of the hall - standing quietly next to the loom. Looking up at Fang Qiniang – the bird refused to fly away and stood quietly for a long time. Fang Qiniang was very surprised by the inner stillness and outer poise of this bird. Fang Qiniang picked up the shuttle box and threw it – but the White Crane remained unruffled and simply ‘spread its wings’ in a graceful manner – and intercepted the shuttle box perfectly – causing it to bounce back with an effortless force. Fang Qiniang raised the bamboo inkstone used for weaving and attempted to strike the White Crane. Unexpectedly, the White Crane ‘shook’ its body - and the bamboo inkstone was bounced back! When Fang Qiniang saw this behaviour she was impressed and puzzled! On this day, the White Crane bird with its plump, white feathers refused to fly away! When night fell, Mr. Fang Zhonggong asked Fang Qiniang to bring out some white rice and sweet potato to feed the White Crane in the hall! Despite all this movement – the White Crane refused to move but remain quiet and still – but always alert! These events were a preparation for a white-haired Immortal to visit the Fang family and convey the martial art of the White Crane Fist!) Once these movements (and reactions) were understood – Fang Qiniang had to integrate this new knowledge into her already existing Shaolin martial arts practice. This process took four years to achieve, and the White Crane Fist Style of martial arts was developed! As the ‘Bai Lian’ Temple became a well-known and respected centre of gongfu practice and given that Fang Qiniang was a renowned Buddhist monastic – she changed the name of the temple to ‘Jiao Lian’ (教练) or ‘Teach Practice’ Temple (寺 - Si). One day, a man named ‘Feng Si’ visited the temple and respectfully requested that Fang Qiniang teach him the White Crane Fist Style she had developed. He trained as her Disciple for over ten-years – and eventually the two people fell in love. This prompted Fang Qiniang to leave the temple and resume the lay life so that the two could get married. This is how the White Crane Style was taken back to Yongchun (the place of Fang Si’s birth) situated in Quanzhou - and took root in this part of Fujian province! The couple had numerous children and passed this family Style. The constituent originating lineages included are: White Crane Fist (白鹤拳 - Bai He Quan) Bai Lian Temple (白练寺 - Bai Lian Si) a) ‘Crane Immortal’ (鹤仙 - He Xian) b) ‘Fang Qiniang’ (方七娘) c) ‘Zeng Si’ (曾四) Southern Shaolin Fist (南 少林拳 - Nan Shao Lin Quan) a) ‘Fang Zhonggong’ (方种公) - Father b) ‘Fang Qiniang’ (方七娘) - Daughter c) ‘Zeng Si’ (曾四) - Husband of Fang Qiniang & Son-in-Law of Fang Zhonggong The foot work of the White Crane is light, exact and yet ‘heavy’ when ‘heaviness’ is required! The White Crane can move across the ground – barely touching the floor – like snowflakes falling from the sky! This is the foot work of heroes! Martial arts training is beneficial for the development of the mind and body! The White Crane Fist puts a great emphasis upon physical fitness! As a result, the White Crane Fist is masterful in attack and defence! The White Crane Fist is simultaneously both simple and enriched! These are the twenty defining attributes (and forms) of the White Crane Fist: 1) The White Crane generates the shape. 2) The shape manifests in the fist! 3) The form is taken from the name. 4) The name suggests elegance as its crowning glory 5) The White Crane protects the centreline throughout the upper, middle and lower parts of its body. 6) The Thirty-Six Divine Sky Gods 7) The Seventy-Two Broad Earth Demons 8) The One-Hundred and Eight Dharmas 9) The White Crane Flashes its Wings 10) Thirteen-Step Vibrations 11) Seven Steps – Three Battles 12) Thirteen Grand Protections 13) The White Crane is both ‘firm’ and ‘not’ firm. 14) The White Crane is both ‘soft’ and ‘not’ soft. 15) Shaking and vibrating with strength from the ground upwards. 16) There is a continuous change of skilled applications. 17) The structure is precise and always clearly maintained. 18) The awareness is always clear regarding offence and defence. 19) Always demonstrate mercy before raising your hand. 20) When the time comes to raise your hand – show no mercy! Higaonna Kanryo [1853-1915] (东恩纳宽量) was the first Okinawan to learn the White Crane Fist. From the Chinese gongfu he took back to Okinawa – the ‘Empty Hand Way’ (空手道) or ‘Karate-Do’ would be eventually developed. It is the White Crane Fist which serves as the technical foundation to the development of Okinawan and Japanese Karate-Do. In other words, the ‘Empty Hand Fist’ (空手拳) or ‘Karate-Ken’ is really what is called ‘Yongchun Fist’ (永春拳 - Yong Chun Quan) in China! It is believed that the White Crane Fist is part of the ‘Shaolin Five Ancestor Fist’ (少林五祖拳 - Shao Lin Wu Zu Quan) tradition. This tradition developed in the Quanzhou area of Fujian province and is linked to the Southern Shaolin Temple situated in this area. The five Styles which form this System are as follows: a) White Crane Fist (白鹤拳 - Bai He Quan) b) Monkey Quan (猴拳 - Hou Quan) c) Arahant Fist (罗汉拳 - Luo Han Quan) d) Bodhidharma Fist (达尊拳 - Da Zun Quan) - also referred as ‘Mind Intention’ Boxing (心意拳 - Xin Yi Quan) e) Grand Ancestor Fist (太祖拳 - Tai Zu Quan) Although it is agreed that Fang Qiniang invented the White Crane Fist Style – it was her husband (Zeng Si) who is often cited as teaching the art prolifically within the Yongchun area. Historical records suggest that the couple lived in the area during four different time periods and were prone to travelling. It seems that the couple did not permanently stay in the Yongchun area, but they did favour the place as a base of operations – and it is from here that a renowned centre of White Crane Fist practice developed. The implication is that they settled there toward the end of their lives together. Although the historical text I am referencing is ‘old’ (and difficult to contextualise), there is an indication the couple taught White Crane Fist near to the ‘West Gate’ (西门 - Xi Men) of Yongchun, to the rear (and ‘outside’) of the ‘Name Temple’ (庙 - Miao) pertaining to the ‘Gu’ (辜) family. Technically speaking, this would be a Confucian Temple maintained by the local Gu family (designed only for the use of that family) comprised of a hall for social gatherings (which could include gongfu practice), and an area for the cremated remains of the Gu ancestors stored in large, sealed earthenware pots (together with pictures and biographical texts). Later, out of respect for Zeng Si, this training area became known as the ‘Zeng Martial Temple’ (曾武馆 - Zeng Wu Guan). This might suggest that the Gu Temple was eventually taken over as a centre for White Crane Fist practice – and was locally known by the above variant. This how the White Crane Fist Style took root within the Yongchun area. During the more than one-hundred years between emperors Kangxi (r. 1661-1722) and Qianlong (r. 1735-1796) - the White Crane Fist was widely disseminated and exchanged both inside and outside Fujian province. As an effective martial art favoured by the local population, it was continuously absorbed, summarized and improved upon – a process which greatly enriched and developed its technical and theoretical content. This important historical (developmental) period may be considered the ‘heyday’ of the White Crane Fist Style. The different names associated with this Style of martial arts are: i) White Crane Fist (白鹤拳 - Bai He Quan) ii) Fujian White Crane Fist (福建白鹤拳 - Fu Jian Bai He Quan) iii) Fujian Shaolin White Crane Fist (福建少林白鹤拳 - Fu Jian Shao Lin Bai He Quan) iv) Yongchun White Crane Fist (永春白鹤拳 - Yong Chun Bai He Quan) v) Southern Shaolin White Crane Fist (南少林白鹤拳 - Nan Shao Lin Bai He Quan) Between the reigns of the Qing Dynasty emperors Kangxi, Qianlong and Jiaqing (嘉慶), that is to say from around 1664-1821 – the record books suggest that the White Crane Fist Style has been passed on by five or six generations of descendants in the Yongchun area – depending upon how lineages are interpreted and understood. It was one of these lineages which was eventually taken back to Okinawa and served as the foundation for the development of modern Karate-Do in all that art’s distinct and diverse variations. Chinese Language Sources:
0 Comments
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 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】 Dear Tony
I thought I should report this observation (and discrepancy) to aid overall research purposes involving the 'Ryuei Ryu' School of Okinawan Karate-Do - which I first encountered a few days ago (within Chinese language sources) - suggesting that this style might share the same foundational Chinese master as Goju Ryu - namely 'Ryu Ryu Ko'! a) Ryu (劉) - 'Liu' (Surname as in 'Liu Longgong') b) Ei (衛) - 'Wei' (Guard) c) Ryu (流) - 'Liu' (Lineage) The first ideogram '劉' (Liu) is identical to the Japanese use of modified Chinese characters to express the name of Higaonna Kanryo's teacher 'Ryu Ryu Ko' as expressed in modified Kanji (劉龍公). Ryuei Ryu (劉衛流) Wikipedia (English) States: https://en.wikipedia.org/wiki/Ryūei-ryū 'In China, a former guard to the Chinese embassies in the Ryukyu Islands introduced Nakaima to a Chinese boxing teacher known as Ryū Ryū Ko, who also taught to Sakiyama Kitoku and, according to some sources,[citation needed] Kanryo Higashionna many years later. Nakaima was accepted, trained for 7 years and received a certificate of graduation from the master. He was trained in a variety of arts and skills ranging from combative techniques to Chinese medicine and herbal healing remedies. Before leaving China, Nakaima traveled to the Fujian, Canton, and Beijing areas, where he collected a number of weapons and scrolls in order to further his experience in the martial arts.' This statement is contradicted by the following Japanese language version of events: Ryuei Ryu (劉衛流) Wikipedia (Japanese) - Fed Through Translator - States: https://ja-m-wikipedia-org.translate.goog/wiki/劉衛流?_x_tr_sl=ja&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc 'In China, a former security guard at the Chinese Embassy in the Ryukyu Islands introduced Liu , a Chinese martial arts teacher , to Nakaima. [ citation needed ] Nakaima was accepted, trained for 7 years, and several years later received a diploma from Kanryo Higaonna and others and masters. He is trained in a variety of arts and skills, from combat techniques to herbal medicine and herbal remedies. Before leaving China, Nakaima traveled to Fujian , Guangdong and Beijing to collect weapons and scrolls to further his martial arts experience.' Just to be on the safe side, the Japanese text in question is this: '仲井間は受け入れられ、7年間訓練を受け、数年後、東恩納寛量らとマスターから卒業証書を授与。' I asked a Japanese-speaking colleague to check EXACTLY what is being said and she confirmed that the sentence states that 'Higaonna Kanryo (and several other masters) "signed" a certificate of merit which was then presented to "Nakaima Norisato"'! This just goes to show how Wikipedia misrepresents knowledge around the world and between languages. The (wrong) English version suggests 'Ryu Ryu Ko' personally 'signed' a certificate and handed it to 'Nakaima Norisato'! If this were true (and assuming Higaonna Kanryo and Nakaima Norisato shared the same Chinese teacher called 'Ryu Ryu Ko') - then all we have to do to confirm the Chinese identity of 'Ryu Ryu Ko's' is 'read' the signature! The Japanese language history, however, states that the certificate in question was not from 'Ryu Ryu Ko' - but rather was issued by other Okinawan masters - including Higaonna Kanryo (this might be where 'Ryu Ryu Ko' is first written as '劉龍公' - as this 'Japanese' representation could not have arisen in China). An interesting side issue is 'why' such a collective certificate would be issued by other (often 'competing') martial arts masters? On the face of it, it would be much more likely be a master issuing a transmission certificate to student - than other 'masters' issuing 'confirmation' or 'legitimising' certificates to one another! Whatever the case, I apologise for the muddled history - but can only report what I find! Thanks Adrian PS: The Japanese language description of how the name of this style 'Ryuei Ryu' came about (which is lacking in the 'English' version) is as follows (I have checked and double-checked the data): 'It is said that 'Ryuei Ryu' was created by taking the surname 'Ryu' (劉 - Liu) from the founder 'Ryu Ryu Ko' - and the first ideogram 'Ei' (衛 - Wei) from 'Eikatsutatsu' - the Japanese pronunciation of the Chinese name '衛克達' (Wei Ke Da) 'Nakaima Norisato' was known-by whilst studying in China (which translates as something like 'Guard Able-Accomplisher'.' (始祖・劉龍公の「劉」と仲井間憲里の唐手名である衛克達の「衛」を取り、「劉衛流」としたとされる。) Higaonna Kanryo (1853-1915) travelled from his home in Naha City (Ryukyu) to Fuzhou (Fujian province) between 1867-1881 CE. There is no existing (corroborating) evidence that supports the idea that this journey took place either in what is today called ‘Okinawa’, or what is still known as ‘Fuzhou’ in China. Numerous Revolutions, invasions and wars are blamed for the lack of material evidence in China – whilst the 1945 Battle of Okinawa is blamed for all the historical evidence being destroyed in that place. Of course, this observation assumes that such ‘evidence’ existed in the first place. What are the details that can be stated with reasonable assuredness?
1) A man named ‘Higaonna Kanryo’ existed. 2) He was born during the year 1853 CE. 3) He died during the year 1915 CE. 4) His primary disciple was Miyagi Chojun (1888-1953). 5) What we ‘know’ about Higaonna Kanryo derives from Miyagi Chojun. 6) The ‘nine’ martial ‘sets’ or ‘patterns’ attributed to Higaonna Kanryo possess a certain similarity to the various styles that comprise the ‘Southern Fist’ (南拳 - Nan Quan). 7) The name of his ethnic Chinese martial arts teacher in Fuzhou (Southern China) is said to be ‘Ryu Ryu Ko’. 8) Despite most of the martial ‘sets’ looking like various forms of ‘Southern Fist’ styles that nevertheless maintain ‘Northern’ looking ‘Horse Stances’ - the gongfu art that ‘Ryu Ryu Ko’ specialised in is said to have been Fujian ‘White Crane Fist’ (白鶴拳 - Bai He Quan) - with the ‘Sanchin’ (三戦 - San Zhan) or ‘Three Battles’ Form – which Higaonna Kanryo altered by changing finger-strikes to closed-Fists, etc. 9) This ‘Southern Fist’ collection of Chinese martial arts was integrated with Ryukyu ‘Ti’, ‘Di’ or ‘Te’ (手) i.e., ‘Hand’ - and formed ‘Naha Te’ (那覇手). Higaonna Kanryo’s strand of ‘Naha Te’ formed the foundation of Miyagi Chojun’s ‘Goju Ryu Karate-Do' (or ‘Hard-Soft’ Empty-Hand Way) - registered as a ‘Japanese’ martial art during 1936. Although most of the above can be disputed, the reality of most of it lies in the existence of a) the graves of Higaonna Kanryo and Miyagi Chojun – and b) the techniques preserved within the movements of Goju Ryu Karate-Do. A central point of contention is ‘who’ was ‘Ryu Ryu Ko’? Although this issue has been solved within Mainland Chinese academia in 1989 (as Ryu Ryu Ko being the Chinese martial arts Master of ‘Xie Chongxiang’ [谢崇祥] 1852-1930) - this is not the case in the West or within a number of Japanese and Okinawan martial lineages (that refuse to accept the authority of ethnic Chinese historians). Why this is does not concern me here, but what I am concerned about is the lack of ‘logic’ (and ‘inverted’ thinking) surrounding the issue of ‘who’ Ryu Ryu Ko was. a) Ryu Ryu Ko = the Okinawan ‘phonetical’ pronunciation of an ethnic Chinese martial arts teacher living in Fujian province. b) As Higaonna Kanryo could not read, write or speak the Chinese language (despite being a descendent of ethnic Chinese migrants to Ryukyu in 1392 CE), he did not possess the ability to correctly hear, pronounce or write the ‘Chinese’ name of ‘Ryu Ryu Ko’ - but could only ‘approximate’ its sound. c) Higaonna Kanryo did NOT bring back any written evidence of the name of ‘Ryu Ryu Ko’ using Chinese language ideograms. The fact that the Fujian dialect was used to pronounce this name is immaterial as ALL Chinese ethnic groups use exactly the same ideograms to record their names in written form. d) Higaonna Kanryo’s ethnic Chinese surname is ‘Shen’ (慎) as pronounced in the Beijing dialect - but elsewhere exactly the same ideogram is pronounced (and ‘phonetically’ spelt in other languages) quite differently: i) Guangdong (慎) = ‘San’ ii) Hakka Dialect (慎) = ‘Sum’ (Sixian) and ‘Sem’ (Meixian, Guangdong) iii) Eastern Min – Fujian (慎) = ‘Seng’ iv) Southern Min – Fujian (慎) = ‘Sin’ or ‘Sim’ (Hokkien), ‘Sim’ (Teochew) and ‘Sim’ (Peng'im) ‘Sim’ e) The people in the Fuzhou area used to speak only the ‘Southern Min’ dialect. Given that Higaonna Kanryo’s Chinese name was ‘慎善熙’ (Shen Shanxi) - he may well have been known as ‘Sim Sianhi’ in the local dialect. The pronunciation shifts and the phonetic representation alters as the names traverse the hinterlands of China – but the foundational Chinese ideograms stay exactly the same. Higaonna Kanyro’s Chinese name means: Surname: 慎 (shen4) = 340th Surname included in the book entitled ‘Hundreds of Chinese Clan Names’ (百家姓 - Bai Jia Xing) - and means ‘Those Who Become Prominent Through Being Cautious’. This surname may have originated with the ‘Mohist’ scholar known as ‘Qin Huaxi’ (禽滑釐) who lived during the latter part of the ‘State of Song’ (宋國 - Song Guo) [1046 – 286 BCE]. As the scholar – Mozi (墨子) lived between 468 - 376 BCE – Qin Huaxi must have existed at some point between 376 – 286 BCE. Later, the title of ‘慎子’ (Shen Zi) was conferred upon Qin Huaxi (or ‘Cautious Scholar’) and this is thought to be the origin of this surname. First-Name = ‘善’ (shan4) - ‘Virtuous’ First-Name = ‘熙’ (xi1) - ‘Glorious’ What of ‘Ryu Ryu Ko’? There are no Chinese ideograms available from the time of Higaonna Kanryo’s visit to China. As ‘Ryu Ryu Ko’ is a phonetic representation in Okinawa (now a Prefecture of Japan) - the Okinawans have used modified (or ‘distorted’) Chinese ideograms to represent these phonetic symbols. The three modified ‘Kanji’ Japanese ideograms used are ‘劉龍公’ or ‘Liu Longgong’. To an experienced reader of the Chinese written script, it is obvious that these three ideograms are not correct Chinese ideograms – and therefore cannot be representative of a genuine Chinese name. This situation has derived from the Japanese people ‘altering’ the structure and meaning of the Chinese ideograms that once formed the historical foundation of the Japanese system of reading and writing. In the West it is common for scholars and general readers alike to incorrectly assume that the above three Japanese ideograms represent the Chinese spelling of ‘Ryu Ryu Ko’ - and that Higaonna Kanryo brought these ideograms back with him from China – when in fact none of this is true and is a product of a general ignorance in the West of the Chinese and Japanese languages. (Technically speaking, it is the altered structure of the second ideogram - ‘龍’ [long2] - which modifies the interpretation of the other two ideograms and confirms the ‘Japanese’ character of the entire expression). These three characters were ‘assigned’ by Japanese speakers to ‘represent’ the sound of the name of ‘Ryu Ryu Ko’ to fellow Japanese speakers: 1) ‘劉’ (Liu3) = ‘Ryu’, ‘Riu’ or ‘Ru’ in Japanese phonetic representation. Although this ideogram is found in China, in Fuzhou (when used as a ‘surname’) it is more likely to be pronounced as ‘Lau’ and not ‘Liu’ as continuously asserted by various other non-Chinese sources. Correct Historical Sequence: a) ‘Ryu’, ‘Riu’ or ‘Ru’ - b) ‘劉’ (Liu3) Incorrect Historical Sequence: a) ‘劉’ (Liu3) - b) ‘Ryu’, ‘Riu’ or ‘Ru’ 2) ‘龍’ (long2) = ‘Ryu’, ‘Ryo’ or ‘Ro’ in Japanese phonetic representation. Added to these definitions can also be the historical designations of ‘Ryou’ and ‘Rou’. When used as an ideogram in China, this structure refers to a ‘dragon’ or ‘serpent’, etc. In the Hokkien dialect of Fuzhou, this ideogram can be pronounced as ‘geng’, ‘liang’, ‘ngui’ and ‘liong’ depending upon context and exact location. The idea that this ideogram is pronounced ‘long’ in Fuzhou is incorrect. Correct Historical Sequence: a) ‘Ryu’, ‘Ryo’, ‘Ro’, ‘Ryou’ and ‘Rou’ - b) ‘龍’ (long2) Incorrect Historical Sequence: a) ‘龍’ (long2) - b) ‘Ryu’, ‘Ryo’, ‘Ro’, ‘Ryou’ and ‘Rou’ 3) ‘公’ (gong3) = ‘Ku’, ‘Ko’ or ‘Kou’ in Japanese phonetic representation. When used as a Chinese ideogram refers to something being ‘public’, ‘equitable’ or ‘fair’. In the Hokkien dialect, this ideogram is likely to be pronounced ‘kang’ and ‘kong’ - and not ‘gong’ as usually asserted. Correct Historical Sequence: a) ‘Ku’, ‘Ko’ or ‘Kou’ - b) ‘公’ (gong3) Incorrect Historical Sequence: a) ‘公’ (gong3) - b) ‘Ku’, ‘Ko’ or ‘Kou’ It is impossible for Higaonna Kanryo to have brought back the name of his ethnic Chinese martial arts teacher expressed in a ‘Kanji’ (Japanese) modified script! To assume that he did this is illogical and counter intuitive and yet such an assumption underlies many Western, Okinawan and Japanese attempts at constructing historical narratives that diverge from those advocated by the Mainland Chinese scholars. Interestingly, only in ‘Putonghua’ are the Chinese ideograms ‘劉龍公’ pronounced as ‘Liu Longgong’! In the Hokkien dialect it is more likely that ‘劉龍公’ would be pronounced as ‘Lau Gengkang’ or perhaps ‘Lau Nguihong’, etc, nothing like the ‘Liu Longgong’ contrivance found throughout non-Chinese literature! Therefore, through this application of basic logic it can be proven that ‘Ryu Ryu Ko’ historically preceded ‘劉龍公’ - whilst many (if not all) extant Western narratives continuously assert that ‘劉龍公’ historically precedes ‘Ryu Ryu Ko’! Finally, having discussed this matter with a number of ethnic Chinese speakers, it is generally believed that it is unlikely that a person would be named ‘Dragon Public’ (龍公 - Long Gong) as ‘Ryu Ryu Ko’ would have been if his Chinese name was written as ‘劉龍公’ or ‘Liu Longgong’. The word order is transposed and the concept highly unlikely as dragons in China are ‘elusive’ i How an Ancient Chinese Martial Art Became a Japanese National and Modern Olympic Sport! (28.12.2018)9/12/2022 If you are someone who likes to keep an eye on all things to do with fighting sports, wrestling, martial arts and the Boxing ring, etc, then you will know the disaster that unfolded when the great Taijiquan ‘Master’ - Leigong (雷公) - was easily defeated by a modern, mixed martial artist in what was billed as a ‘challenge-match’! As this was not a proper or realistic representation of traditional Chinese martial arts, many bona fide gongfu ‘Masters’ were willing to put their reputations on the line to set the record straight! Interestingly, throughout China, Japan and the world, a new wave of Sinophobic discrimination has unfolded – stating that the martial arts produced in China are ‘deficient’, at best ‘second rate’ and possess no real ‘self-defence’ capability! Interestingly, this attitude has been expressed by a number of contemporary Karate-Do Masters living and teaching in Japan who have a very low opinion of Chinese martial arts!
Perhaps a historical fact many of these Japanese Karate-Do Masters do not know is that the fighting system they now call ‘Karate-Do’ was originally a traditional Chinese martial art! The story begins in the Ming Dynasty – which was founded by the emperor ‘Hongwu’ (洪武) whose real name was ‘Zhu Yuanzhang’ (朱元璋). He ruled between 1368-1398 CE – and was a highly skilled martial artist who fought his way from village peasant to the Dragon Throne (overthrowing the ‘foreign’ Yuan Dynasty in the process)! In order to assist the people of ‘Liuqiu’ (琉球) [Ryukyu] with their social construction - Hongwu instructed that the people of Fujian province be chosen as trusted representatives of a) the Ming Dynasty and b) Chinese culture. This was a plan to extract (in its entirety) an already prosperous, highly skilled and economically developed population in China from around the Fuzhou area of Fujian province (comprising of hundreds of men, women and children representing thirty-six distinct name-clans) and reconstructing this entire community in a designated (and previously ‘empty’) geographical area of the ‘Liuqiu’ island (situated near the seaport of Naha City)! The ‘Liuqiu’ people would first refer to this settlement of Chinese people as ‘Tang Ying’ (唐營) or the ‘Tang Encampment’ - but in 1650 CE the name was changed to ‘Tang Rong’ (唐榮) or ‘Tang Glory’! Following the Japanese invasion and annexation of the island, a process which began in 1609 CE with the Satsuma Invasion, and 1879 CE with the Imperial Japanese Army – this place was renamed ‘Kume’ (久米) Village – or the place of the ‘Long Rice’. The thirty-six Fujian families brought shipbuilding and ship-navigating skills, as well as a general and specific knowledge of carpentry, engineering, roadbuilding, housebuilding, farming, animal husbandry, Chinese medicine and Fujian martial arts! The purpose of their relocation was to teach the local ‘Liuqiu’ people every skill and art that they knew to facilitate their development as a distant part of the Chinese cultural milieu. The immediate issue was one of defence regarding the attack of the island by Japanese pirates – or seaborne criminal marauders believed to be based on the Mainland of Japan! At this time, the official attitude of the Japanese government toward China was one of respect and there is no evidence in the 1300s of a covetous attitude toward the ‘Liuqiu’ islands. Indeed, Japanese pirates were considered as a much as a problem to the Japanese themselves, as they were to the Chinese at this time! The Ming Dynasty emperor wanted to establish regular sea lanes operating between the East coast of China and ‘Liuqiu’ - with the ‘Liuqiu’ ships being able to defend themselves from attack and the crew able to fight off any attempts at being boarded! This ‘self-defence’ ability had repercussions regarding the development of militarising the island’s borders and effectively resisting and repelling any attempts at invasion! This was achieved by the Fujian martial arts practitioners studying the indigenous fighting arts of the ‘Liuqiu’ people and combining these techniques with the fighting systems they had brought from the areas surrounding Fuzhou. This fusion of fighting styles generated a new combat system known as ‘Chinese Hand’ (唐手 - Tang Shou) As ‘Tang Hand’ (technically ‘open-hand’) was considered to be very potent and particularly deadly, dangerous and powerful, the learning of this martial art was limited only to dignitaries and certain ‘select’ individuals! To facilitate the learning of ‘Tang Shou’ a special martial arts school was established which only recruited from the island’s ‘warrior’ caste families! Just as China’s political power waned in the subsequent centuries, the power of neighbouring Japan increased. This culminated in the 1879 annexation of the ‘Liuqiu’ island and the changing of its name to ‘Okinawa’. This led to the ruthless suppression of the pro-Chinese ‘Liuqiu’ aristocrats and the outlawing of all Chinese cultural activities! Many ‘Liuqiu’ people who practiced Chinese martial arts fled to China at this time to escape from this Japanese attack upon their culture. It is said that a substantial number of ‘Liuqiu’ martial artists arrived in Fuzhou around this time and settled down studying local Fujian martial arts from established Masters. This meant that the ‘Tang Hand’ that they already knew was augmented by Fujian martial arts styles they now studied closer to the source of authentic Chinese culture. This process of refinement established an even deadlier type of ‘Tang Shou’! One outstanding member of the ‘Liuqiu’ warrior caste who came to Fuzhou around 1879 was one ‘Higaonna Kanryo’ (东恩纳宽量) - a well-known practitioner of ‘Tang Shou’! Higaonna Kanryo was once a ‘Liuqui’ nobleman! After studying ‘Tang Shou’ for three years, he later came to China seeking further advice. Higaonna Kanryo was taken as a disciple by ‘Xie Chongxiang’ (谢崇祥) - a renowned Master of Fujian White Crane Fist (白鹤拳 - Bai He Quan). Higaonna Kanryo studied very diligently under Xie Chongxiang and learned all the technical nuances of the White Crane Fist – integrating this new knowledge into the ‘Tang Hand’ he already knew and eradicating a number of its shortcomings. This process made Higaonna Kanryo a formidable fighter in his own right! Indeed, after Higaonna Kanryo returned to what was now the ‘Okinawan’ area of Japan – he promoted ‘Tang Shou’ wherever he went to great admiration and respect! Due this popularity, Higaonna Kanryo opened a large number of Tang Shou training halls throughout Okinawa! He was assisted in his efforts by his foremost disciples – Miyagi Chojun (宫城长顺) and Mabuni Kenwa (摩文仁贤和) as well as many others. Later, modern Karate-Do (空手道 - Kong Shou Dao) was developed when the disciples of Higaonna Kanryo stratified outward and away from the Chinese influence and integrated their Chinese martial arts with the existing traditional fighting systems of Japan. For instance, the founders of the four major modern Karate-Do styles were all disciples of Higaonna Kanryo! The names of these styles are written in traditional Chinese script – but are pronounced in the Japanese language. These styles are: 1) Goju Ryu (刚柔流 - Gang Rou Liu) - Hard-Soft Lineage 2) Shito Ryu (系东流 - Xi Dong Liu) - literally ‘Itosu-Higaonna Lineage’ - taking the first ideogram from each surname of: a) ‘Itosu Yasutsune’ (系 - Shi) and b) ‘Higaonna Kanryo’ (东 - To) 3) Wado Ryu (和道流 - He Dao Liu) - Harmony-Way Lineage 4) Shotokan Ryu (松涛馆流的 - Song Tao Guan Liu) - Shoto’s House Lineage All the four major styles of modern Karate-Do were all disciples of Higaonna Kanryo – therefore Higaonna Kanryo is the father of modern Japanese Karate-Do – which is premised upon various Chinese martial arts and Okinawan indigenous fighting arts! As this is the case, it is strange that genuine history links modern Japanese Karate-Do to ancient Chinese martial traditions, and yet contemporary Japanese Karate-Do teachers and students are taught to have such a blinkered grasp of the past and a complete disrespect for the present! Of course, it is the same old story that the false belief is put around that only flowery hand and embroidered legs are left in China – but it is interesting that every time a challenge match is offered, accepted and victory attained – it is never reported in these foreign lands! Perhaps it is because reality has no place in the propaganda that has its origins elsewhere and is designed to separate Asian people from one another! Yes – Japanese Karate-Do has become an Olympic Sport – but this is the success of Chinese martial arts in another country! What must not be allowed is for Chinese martial arts to be ridiculed and demeaned by forces unseen – this is a sadness we cannot afford as a nation! https://baijiahao.baidu.com/s?id=1621108271570540161&wfr=spider&for=pc 本是中国地方武术,传入日本之后成为日本国拳,如今已成奥运项目 听风听雨听历史 2018-12-28 23:02 如果你是一个喜欢关注拳台,关注搏击的人,那么你一定会知道今年搏击圈的大事情就是中华传统武术太极拳大师雷公被现代格斗选手擂台秒杀,这让当时很多的传统武术大师都有点坐不住了,而这件事情更是再次掀起了传统武术只是花架子的言论浪潮。而不光光是国内,日本也有很多空手道大师十分的看不起中国传统武术。 不过,或许许多日本空手道高手不知道,其实空手道原本是中国的一种传统武术。在明朝朱元璋的洪武年间,朱元璋为了帮助琉球进行社会建设,于是,朱元璋让杜建对口支援,而当时的福建为了建设琉球,不光带去了经济发展,更是还把福建的武术给带了过去,福建的武者,在去到了琉球之后,结合了琉球的一种格斗术,发明了一种新的拳法,这种拳法就是唐手。 因为,这种拳法是琉球新创,于是,在琉球只规定了琉球的达官显赫以及一些武术大家才能够学习,因此,也形成了一种特殊的武术流派琉球武家。因为,中国的逐渐衰弱,1897年的时候,日本吞并了琉球群岛,并且极度打压琉球的达官贵族,也使得琉球武家不复存在,因此,当时绝大一帮学习唐手的琉球武家去到了中国,学习中国的拳法,努力的改良唐手的实战和格斗。 而来到中国求学的那一批唐手武家之中,不得不提东恩纳宽量。东恩纳宽量本是琉球贵族,学习了三年的唐手,后来,随着来到了中国求教,东恩纳宽量拜了一位叫做谢崇祥的福建武术大师学习,而谢崇祥是一位白鹤拳高手,东恩纳宽量跟着谢崇祥学习的日子,极力地学习了白鹤拳中的长处,将它和唐手结合起来,弥补了唐手中的一些不足,也使得东恩纳宽量的武学造诣也有了一个质的飞跃。 在东恩纳宽量的回到了日本之后,他在日本极力地推广唐手。他在冲绳开设了许多的唐手武馆,并且还带出了宫城长顺、摩文仁贤等弟子,后来,在东恩纳宽量的弟子与日本传统武术结合之后,才有了如今的空手道,而空手道中的刚柔流、系东流、和道流和松涛馆流的四大派系的创始人都是东恩纳宽量的弟子,由此可见,东恩纳宽量对于日本空手道的重要意义。 如今,日本空手道已经成为了日本的武道,更成为了日本的国拳,但是,越来越多的日本空手道高手却看不起中国传统武术,觉得中国传统武术早已经失去了实战,只剩下了花拳绣腿。 而如今,空手道还成为了奥运会项目,中国传统武术却越来越衰弱,简直就是一种悲哀! South China Sea Shipwrecks and the Brave 19th Century Journey of Higaonna Kanryo! (6.8.2022)9/6/2022 The Maritime Silk Road linked Southern China to vast areas of the known world for over two-thousand years (since at least the Qin and Han Dynasty times (3rd century BCE)! During that time, the ancient leaders of China established seaborne links with other civilisations that sparked, trade, tribute and cultural exchanges. As the seas around South China are unpredictable, changeable and can be highly dangerous, perhaps one in every ten ships that set out from China ladened with artefacts and treasure sunk to the bottom of the sea – with a similar statistic covering ships heading to China from foreign lands! What this means is that a rich archaeological record exists on the sea floor spread all around the South China coast and surrounding coast! It is a record cultural triumph and natural disaster! Humanity’s creativity tempered by nature’s crushing hand! A great deal of the porcelain and pottery discovered on the seafloor originated in Fujian province – the area that many people visited from overseas to make contact with Chinese culture and learn intangible cultural crafts such as the martial arts! This was an exportation of another kind of Chinese creativity stored in the minds and bodies of those who learned the arts after daring to cross the dangerous seas! Fujian province became a hub for foreign visitors to China as the various Dynastic rulers limited foreign intrusion into China to initially just this area. On occasion, should a visitor require access to the hinterland of China, permission might eventually be given, but such incidences were rare until Western cannons literally smashed their way out of this cultural enclave – and others such as the docks and warehouses that had been established around the Southern coastal areas during the 19th century! Even so, for other Asian visitors such as Higaonna Kanryo (1853-1915) who made the journey from Ryukyu (Okinawa) around 1867, the old convention still applied, and his journeying was limited to Fujian province! He studied various types of ‘Southern Fist’ (南拳 - Nan Quan) which included Fujian ‘White Crane Fist’ (白鹤拳 - Bai He Quan) and probably ‘Arahant Fist’ (十八羅漢拳 - Shi Ba Luo Han Quan). This stems from the 1989 announcement by Lin Weigong (林伟功) – an expert in Mainland China regarding the culture of Fujian province - that Higaonna Kanryo’s main martial arts teacher was thought to have been ‘Xie Chongxiang’ [谢崇祥] [1852-1930). Higaonna Kanryo travelled around 500 miles by boat from the Ryukyu Islands in 1867 – and then repeated this journey back away from China in 1881! He covered around 1000 miles of seafaring and managed to survive this journey both, despite the difficulties regarding the unpredictable weather and rough seas! Under the seas that he traversed were thousands of years of cultural artefacts – including the bones of countless people from virtually every country on earth! Chinese Language Source: English Languish Source:
From July 27th to August 1st, 2016, at the invitation of the Naha City Cultural Association of Japan and the Okinawa (International) Goju Ryu Karate-Do Federation, a group of Buddhist monks from the Putian (莆田) Chan Wu (禅武) - or ‘Meditative Martial Arts’ - Southern Shaolin Temple visited Japan to give a demonstration of their ancient martial arts skills! This was part of a mutual exchange programme which promotes music, dance and the arts - to build friendship and closer ties between the two countries. During the visit, the Putian Southern Shaolin Temple group first went to the "Okinawa Traditional Ancient Martial Arts Preservation Association" to visit the President Nakamoto Masabu (仲本政傅). Nakamoto Masabu visited Fujian in 1988 to study under ‘Chen Yijiu’ (陈依九) - the Fourth Generation Master of the ‘Ground Method Fist’ (地术拳 - Di Shu Quan) - also termed ‘Dog Fist’ (狗拳 - Gou Quan)! In 1995, he led a Japanese team that participated in the China (Putian) Southern Shaolin International Martial Arts Competition. Afterwards, the Putian Southern Shaolin group next visited the Okinawa Prefectural Budokan to participate in the "Okinawa (International) Goju Ryu Karate-Do Federation World Budo Festival" which is held every four years. The Putian Southern Shaolin Temple group showed their skills at the opening ceremony of the Martial Arts Conference. On display was the Shaolin ‘Stick’ (棍 - Gun), Closed-Fist Arts (拳术 - Quan Shu), Broad Sword (刀 - Dao), Long Swords (剑 - Jian) and all kinds of ancient military weapons! There was also various other performances of endurance, strength and power, etc, that impressed the crowd and attracted warm-hearted applause! The monks of the Putian Southern Shaolin Temple were praised for their calm state of mind, technical expertise and fierceness during combat! The Head Monk of the Putian Southern Shaolin Temple - ‘Kong Xing’ (空性) said that ‘Okinawan Goju Ryu is a Southern style of Chinese martial arts defined as being a combination of the “Southern Boat and Northern Horse”, and which developed through the White Crane Gate of the Southern Shaolin Temple!’ The name of the style derives from a once secret book associated with the White Crane Gate entitled the ‘Martial Preparation Records’ (武备志 - Wu Bei Zhi) - where this text states ‘The methodology involves the continuous interchange of hard and soft whilst the body absorbs (like swallowing) and emits (like spitting)!’ The Putian Southern Shaolin Temple has a special relationship with the Okinawan martial arts community and is very happy to facilitate cultural exchanges between China and Japan! The Head Monk went on to explain that a Special Research Department is active at his temple which assists groups and individuals to visit and stay at the temple to study Ch’an meditation and ‘Southern Fist’ (南拳 - Nan Quan) - whilst an Administrative Section carries-out historical and cultural research involving martial arts and associative subjects. Together, the Putian Southern Shaolin Temple and Naha City Cultural Association share a common (non-political), martial arts history that can only benefit the people of China and Japan! This friendship is facilitated by the Okinawa (International) Goju Ryu Karate-Do Federation, which continuously offers its support, guidance and encouragement! The Putian Southern Shaolin Temple adheres to the spiritual and physical teachings as taught by the ancient Indian Buddhist monk – the Great Master Bodhidharma (达摩 - Da Mo)! Through hours of sitting in Ch’an meditation he calmed, stilled and expanded his mind (eradicating greed, hatred and delusion and cultivated loving kindness, compassion and wisdom), whilst through martial arts practice of various kinds, he eradicated illnesses, healed wounds and extended his longevity! By emulating this practice, we can live healthy and wise lives and benefit the entire world! This is why the Head Monk - Kong Xing - further stated the Southern Shaolin Temple invites friends from all over the world and welcome everyone who comes to the Putian Southern Shaolin Temple to experience the charm of its meditative and martial Buddhist culture! At the same time, Kong Xing invited friends from all over the world to jointly promote the spirit of peace, compassion and altruism, and contribute toward the happiness and stability of human society by cultivating harmony between human beings and nature! It is understood that also attending this conference - in addition to the staff of the Karate-Do Headquarters in Japan – was more than 1,500 participants from 52 national Karate-Do organisations, including the United States, Russia, the United Kingdom, Spain, and Australia! The Head Monk of the Putian Southern Shaolin Temple – Kong Xing – then presented special calligraphy to his Japanese hosts! The monks from the Putian Southern Shaolin Temple performed various ‘Southern Fist’ (南拳 - Nan Quan) routines during their exchange visit in Japan. Source: Meizhou Daily Chinese Language Source: 冲绳刚柔流空手道源自南少林拳白鹤门
来源:湄洲日报 作者: 时间:2016-08-05 08:22:36 本报讯7月27日至8月1日,应日本那霸市文化协会和冲绳(国际)刚柔流空手道联盟的邀请,莆田南少林寺禅武团前往日本进行武术、音乐、艺术等方面的交流,共同推动两地的文化交流与友好往来。 访问期间,莆田南少林寺禅武团首先前往“冲绳传统古武道保存会”,拜访会长仲本政傅。仲本政傅曾于1988年来福建向地术拳第四代传人陈依九学艺,1995年带队前来参加中国(莆田)南少林国际武术大赛。之后,禅武团一行前往冲绳县立武道馆,参加四年一届的“冲绳(国际)刚柔流空手道联盟世界武道祭”演武大会。 南少林寺禅武团在演武大会开幕式上大展身手,少林棍、拳术、刀剑兵器类等表演,引得现场一阵阵热烈的掌声,大家直夸南少林寺武僧们武术功底扎实,打得虎虎生威。 莆田南少林寺方丈空性说,冲绳刚柔流空手道系中国“南舟北马”中的南派功夫,源自南少林拳白鹤门,其流派的名称来源于白鹤门流传秘书《武备志》中“法刚柔吞吐,身随时应变”。此 次民间武术交流活动,对加强莆田南少林寺与那霸市文化协会、冲绳国际刚柔流空手道联盟的友好关系,增进文化交流与武术互鉴、深化合作具有积极意义。 南少林寺一贯秉承达摩大师的宗风,以武术强健体魄,以禅法静心明智,以慈悲利益世间,进而成就自他圆满的智慧人生。 空性说,南少林寺向世界各国的朋友发出邀请,欢迎大家来莆田南少林寺,体验南少林禅武文化的魅力,感受佛教的人文艺术。同时,还邀请世界各国的朋友共同弘扬和平、慈悲、利他的精神,为人类社会的幸福安定、人类与自然的和谐奉献一份力量。 据了解,此次大会,除了日本刚柔流空手道本部人员外,有来自美国、俄罗斯、英国、西班牙、澳大利亚等52个国家的空手道组织共1500余人参加。 南少林寺方丈空性赠送书法给日本友人。 莆田南少林寺武僧在日本交流期间表演各种南拳。原标题:冲绳刚柔流空手道源自南少林拳白鹤门 Dear Tony
Chinese Language: Saifa = Lion Law '碎破的SAIFA发音,其实是福建话当中的『狮法』, 除了隐喻这个套型有著狮子般的战斗动作外,其实仔细看本套型的动作,也会发觉它的动作构成与『狮阵』、『弄狮』的招式颇为类似,我曾经学习过台湾狮阵拳术当中的『狮战拳』也与这个『狮法』颇为类似!' As Fuzhou exists in Southeast Fujian province, I am assuming that the dialect spoken when Higaonna Kanryo was taught gongfu - was a version of South Hokkien (Min Nan). Kata Preserved in Okinawa = 'Saifa' Chinese Ideograms: 碎 (sui4) 破 (po4) Translation = Shatter - Break (Tear) Fujian - Hokkien = Sui Pho Alternative Name 'Shi Fa': Chinese Ideograms = 狮 (shi1) 法 (fa3) Fujian - Hokkien = Sai Hoat Ten Logical Arguments Against this Theory: 1) Miyagi Chojun possessed 'inside' knowledge regarding Higaonna Kanryo's gongfu transmission from China and said nothing about this. 2) Contained in both ideograms of the 'Saifa' (碎破) Kata title is the left-hand particle of '石' (shi2). This is a 'rock' perched on the edge of a cliff - before it suddenly drops - generating tremendous power! Many movements in the Saifa Kata generate power by 'dropping' the bodyweight (together with the depth and width of stance). I believe the secret to Goju Ryu power production lies in these ideograms and that they are 'correct'. 3) This situation is exemplified by the fact that Miyagi Chojun used the first ideogram of 'Saifa' (碎 - sui4) as the 'second' ideogram of his 'Geksai' (击碎) Katas. a) Saifa = 碎破 b) Geksai = 击碎 4) If 'Saifa' really derived from the 'Lion Law' - why did Miyagi Chojun not use the '狮' (shi1) - or 'Lion' - ideogram in 'Geksai' and project a greater sense of tradition into his new creation? This would have read '击狮' (Gekshi) and translate as 'Strike Lion'! 5) The ideogram '破' (po4) - even if replaced with the ideogram '法' (fa3) - has no correlation with the Hokkien 'Hoat' pronunciation of the latter ideogram. 6) The second ideogram of 'Saifa' is '破' (po4) - whereas the title of the Goju Ryu Kata 'Kururunfa' (久留顿破) - also uses '破' (po4) as its final ideogram. a) 久 (jiu3) - Hokkien (Ku) = Long (Duration) b) 留 (liu2) - Hokkien (Liu) = Hold (Detain) c) 顿 (dun4) - Hokkien (Tun) = Sudden (Abrupt) d) 破 (po4) - Hokkiem (Pho) = Break (Tear) 7) If the logic of the 'Saifa = Lion Law' argument is retained for a moment, then the final ideogram of 'Kururunfa' which is '破' (po4) - should be replaced with the alternative ideogram of '法' (fa3). 8) The Kata name 'Kururunfa' would then be spelt '久留顿法' and mean 'Long Hold Sudden Law'. 9) The argument seems to be that the ideogram '碎' (sui4) [shatter] should be replaced with the ideogram '狮' (shi1) [lion] simply upon the grounds that the latter is pronounced 'sai' in Hokkien! Furthermore, the ideogram '破' (po4) [break] should be done away with altogether and replaced with the ideogram '法' (fa3 [law] - whilst retaining its (Putonghua-Mandarin) pronunciation of 'fa' and quietly laying to one side its Hokkien rendering of 'hoat'! This all seems very selective and designed to take advantage of a Western lack of experience with the Chinese language. 10) There seems to be a trade in dubious styles all referring to themselves as being various incarnations of the 'Lion' in Taiwan - all competing for Western money and diverting the onus for Goju Ryu enthusiasts away from Mainland China and onto Taiwan (The Chinese language author above states that he has attended a number of different classes of various 'Lion' styles whilst visiting Taiwan). Higaonna Morio is very popular in Mainland China and the 'Saifa = Lion Law' phenomenon appears to be as political as it is unconvincing. All Chinese gongfu was banned in Taiwan between 1895-1945 - whilst the KMT destroyed the Shaolin Temple in 1928 due to Chiang Kai-Shek preferring Christianity, etc. Shanghai Karate Kobudo Bozheng (博正 ) ‘Abundant Justice’ School Author of the original text: Mr. Motobu [本部] (the grandson of Motobu Chaoji [本部朝基]) Authorization for Reprinting and Recreation Has Been Obtained (English Translation – Shifu Adrian Chan-Wyles PhD – 31.8.2022) A few days ago, I attended the Japanese Kobudo Martial Arts Conference hosted by the Nippon Budokan - and whilst watching various types of different (and diverse) martial arts being demonstrated on the big screen in the main hall - I saw Higaonna Morio (of the Okinawan Goju Ryu Karate-Do style) demonstrate the exercise known as 'Kakie' (カキエ’)! I checked the martial arts pamphlet which explained that this Okinawan Karate-Do practice is preserved only in the Goju Ryu tradition and is known in the Japanese language as ‘カキエ’ (Kakie) and described in the Chinese language as ‘靠基’ (Kao Ji) or literally ‘Support Foundation’ - but which can have many interpretations such as ‘Touch Root’ or ‘Feel Base’, etc. This term seemed to suggest a practice where two people attempt to ‘uproot’ one another moving backwards and forwards whilst touching at the wrist - simultaneously ‘negating’ one another’s attempts and maintaining their 'foundation' of balance and timing. However, I had never seen the Chinese ideogram ‘靠’ (kao4) before and so could not read it. I had to look it up an online Chinese language dictionary. I discovered that the Chinese ideogram ‘靠’ is pronounced ‘KAO’, so when this adjustment is made to the original ‘カキエ’ (Kakie) Kanji - we arrive at the new Japanese term of ‘コウキ’ or ‘Kouki’. Now, as far as I am aware, the equivalent of Okinawan ‘カキエ’ (Kakie) practice throughout China is that of ‘Push Hands’ (推手 - Tui Shou) - but China is a vast place with thousands of different martial arts styles – some of which vary in outer expression even between Master and Disciple (for legitimate reasons that cause no trouble whatsoever)! It is the ‘inner essence’ that is the entire point of the ‘transmission’ and which must be penetrated by the disciple (rather than simply mimicking the surface structure). Therefore, there may well be a part of China where a version of ‘Push Hands’ (推手 - Tui Shou) was known as ‘Touch Base’ (靠基 - Kao Ji), or something similar. Speaking of which, what should the original Chinese ideograms be for ‘カキエ‘ (Kakie)? We must ask this question as this martial arts technique is believed to have originated in China. Although the author is not a person of ethnic Chinese origin, I do believe that every aspect of the history of the Okinawan Goju Ryu should be fully explored and discovered, and I consider it my duty to investigate this matter further to assist the common good! This is how I discovered the following interesting information. In an article written by Mr Miyazato Eiichi (宫里荣一) it is clearly stated that the Okinawan Goju Ryu Karate-Do practice known as ‘カキエ’ (Kakie) derives from the two following Chinese ideograms: 掛 (gua4) = Hang, Suspend and Arrive 手 (shou3) = Open-Hand, An Action in Progress and Master The so-called ‘Hang Hand’ is performed by two people facing each and ‘touching’ or ‘connecting’ a single wrist each assuming the ‘Hand-Blade’ (手刀 - Te-Gatana) or ‘Sword-Hand’ shape. The other hand assumes the same shape and is held close to the body covering the diaphragm and sternum (where it moves forward and back from that general area). this represents the hand-positions when the bodyweight is being projected ‘forward’. The mind must be ‘calm’ and ‘expansive’. There must be no distractions as you must ‘sense’ every ‘intention’ and every ‘movement’ of your opponent – and he or she must sense ‘none’ of yours. Meanwhile, as the purpose of the exercise involves each participant maintaining the wrist contact whilst moving ‘forward’ and ‘back’ as well as ‘around’ (usually in a ‘circular’ orientation), the two participants must remain ‘rooted’ to the ground – whilst simultaneously traversing smoothly across the terrain – regardless of what is happening with the upper-body. The ‘root’ of each participant must not be allowed to be ‘broken’ by the opponent's activity. In general, ‘Cat Stance’ (猫足立 - Neko Adaichi) is used on the retraction of the legs and bodyweight (whilst 'absorbing' or 'negating' the opponent), although sometimes a practitioner may adopt a more flexible ‘Sanchin’ (三戦) Stance which allows the dropped bodyweight (and forward and back motion) to flow easily from one leg to the other. The mind must be ‘receptive’ when ‘retracting’ and ‘absorbing’ your opponent’s ‘intention’ and physical force (bodyweight, momentum and will-power). When you ‘project’ your physical force (bodyweight, momentum and will-power) into and ‘through’ the opponent, quite often a momentary (and ‘high’) ‘Forward Stance’ (前屈立 - Zenkutsu Adachi) is adopted. You push me and I push you. You pull me and I pull you – as this practice is performed with muscular tension retained in the two connecting and opposing arms (all the way through the movement). The secret is to retain the tension in the touching arm whilst using the rest of the body in a very different, agile and relaxed manner. When the arms are forward the hands are held in a vertical orientation (fingers upwards) - but when the arms retract into the sternum area - the hands (and wrists) momentarily 'flatten' and 'cross' assuming a horizontal orientation. All this forward and back motion usually follows various circular trajectories! As the skill level develops, Kata applications are often applied, but in some Dojos it gets very rough with slapping, palm-strikes, punching and kicking naturally developing – just as long as the central exercise is retained. When both practitioners are suitably tired or exhausted – then you change sides (at certain levels this only happens when the teacher orders). The opponent must be ‘uprooted’ (or ‘imbalanced’) and you must not! Within Chinese ‘Push Hands’ the exercise may be performed with one or two hands – but the emphasis is on ‘sensitivity’, ‘timing’ and the ‘sudden’ and ‘precise’ application of ‘force’ at just the right moment – so that the ‘root’ of the opponent is instantly broken and devastated beyond repair! Body conditioning is not normally included within Chinese ‘Push Hands’ (as that is dealt with through different exercises), but with Kakie, 'body conditioning' and 'sensitivity' training are combined into a single exercise. Within the practice of ‘Kakie’ a practitioner must become ‘sensitive’ to the opponent in near combat conditions! This is a difference of style preference rather than a deviation of any kind. To master ‘Hang Hand’ takes a tremendous amount of fighting spirit and inner strength! The opponent will try to bully you off balance and you must negate all this and transform the entire process into a sublime martial activity! In other words, ‘Hang Hand’ uses the ‘hard’ to emphasis the ‘soft’ - but in the end the ‘soft’ completely absorbs the ‘hard’ and permanently transforms it! (Miyazato Eiichi "Okinawaken Goju Ryu Karate", 実業の世界社, 1978, pp. 52, 53) This information was provided to me by Mr. Andreas, a German karate enthusiast. It is the earliest article about カキエ(Kakie) I can find. The Chinese ideograms used by Mr Miyazato in this article are ‘掛手’ (Gua Shou), but there is a problem regarding linguistic association. Kakie can be written a number of different ways in the Japanese language, but we can use the two following examples that are both pronounced 'KAKETE' 1) カケデ 2) カケテ Within the Okinawan language, we can choose the following two examples to represent ‘Kakie’ which are both pronounced KAKITI: 1) カキディ 2) カキティ An obvious observation is that the Chinese ideograms ‘掛手’ (Gua Shou) on their own cannot be reconciled in any way with the Japanese-Okinawan concept of ‘Kakie’ (カキエ) in any of its contemporary Okinawan or Japanese renderings, as it looks like something is missing from this explanation. In other words, the two expressions sound nothing alike and cannot be logically (or ‘historically’) linked in this format. These two terms look and sound unconnected. Much linguistic confusion happens due to the differences between the Japanese and Okinawan languages, and the fact that there are a number of different Okinawan dialects. This complication is only increased when including the Chinese language. My view is that Mr Miyazato mistakenly thought that the Japanese term of ‘カキエ’ (Kakie) is represented in the Chinese language by only using the two ideograms ‘掛手’ (Gua Shou). I believe this error originates from Mr Miyazato mistakenly assuming that the two Chinese ideograms of ‘掛手’ (Gua Shou) 'negate' the Japanese (Hiragana) ‘け’ (Kake) character. This mistaken association was then applied to the general Japanese expression of ‘カキエ’ (Kakie) - and has since become the standard explanation (as Mr Miyazato was the first person to make this association in his 1978 article and it exists nowhere else in the older Japanese or Okinawan literature). Therefore, assuming that only these two Chinese ideograms of ‘掛手’ (Gua Shou) - or ‘Hang Hand’ - explain the entire martial arts concept expressed by the Japanese term ‘カキエ’ (Kakie) is an error of interpretation. (For the next part of my explanation please remember that the Chinese ideogram of '掛' (Gua) is pronounced 'Ka' in the Japanese language). I have applied a scientific analysis by comparing the standard Japanese expression of ‘カキエ’ (Kakie), with the reconstructed ‘掛け手’ (Ka Ke Te) - which combines the Chinese and Japanese ideograms that I believe Mr Miyazato mistook to mean ‘Kakie’ and which he thinks refers to the Goju Ryu practice. Indeed, today it is common to see the terms ‘‘掛け手’ (Ka Ke Te) and ‘カキエ’ (Kakie) presented side by side as if they are synonymous. The problem is that much of what passes today as ‘Kakie’ within the various lineages of Goju Ryu is in fact ‘Free Hand’ (散手 - San Shou) fighting where the participants are free to do any thing they wish with their wrists only ‘crossing’ for a moment at the beginning of the encounter! In my opinion, despite the surface differences, the practice of genuine ‘カキエ’ (Kakie) has much more in common with the Chinese martial arts practice of ‘Push Hands’ (推手 - Tui Shou), and not ‘Free Hand’ fighting. The two are completely different training methods that have no technical association. What should be the original kanji expression of 'カキエ' (Kakie)? The author thinks it is【掛け合い】which = 'Kakeai' (noun) = 'カキエー‘ (Kakiee) Definition: 掛け合い = Negotiate 掛け合い - is written as 'カキエー' (Kakiee) in Okinawa. The above text has the meaning of to ‘negotiate’ and 'resolve' differences and contradictions through cooperative interaction. 掛 (Chinese = gua4) (Japanese = ‘Ka’) - Hang, Suspend and to Arrive け Japanese (Hiragana) = ‘Ke’ - Approach, Close Distance and Remove Separation 合 (Chinese = he2) (Japanese = ‘ai’) - Meeting, Together and Mutual い Japanese (Hiragana) = ‘i’ - Give-Way, Compromise and Evade In Japanese【掛け合い】is interpreted as profoundly ‘communicating’ with one other. Therefore, the author believes that ‘カキエ’ (Kakie) is a martial arts exercise through which people profoundly ‘communicate’ with one another to end all conflicts, contradictions and misunderstandings! The above is also includes the Okinawan dialect expression of【風け合い】! In this way, both the 'pronunciation' and the 'meaning' can be matched with 'カキエ' (Kakie). Chinese Language Source: https://www.bilibili.com/read/cv7221475/
沖縄空手中カキエの漢字是什么?竟不是靠基? 运动 2020-08-18 13:20100阅读 · 8喜欢 · 0评论 原文作者:本部先生(本部朝基的孙子) 转载创作授权已获得 日前,我出席了日本武道馆主办的日本古武道演武大会,在控制室内通过大屏幕看着各个流派的演武,其中就有剛柔流东恩纳盛男先生演示的カキエ(KAKIE 差不多念卡ki耶) 我拿起手中的演武小册子看了一眼,册子上写的是「カキエ(靠基)」本人第一次看见【靠】这个汉字,所以当时没有办法读出来。 之后我上网查阅了一下,这个字念KAO,那么カキエ的发音就变成了コウキ(kouki)据我所知,在中国,カキエ这种练习法被称为推手,但是中国地大物博,所以我猜想可能也有地方把推手称为靠基的吧。 话说回来,カキエ原本的汉字写法应该是怎样的呢?笔者虽是剛柔流历史的门外汉,却也尝试调查了一番,结果就查到了宫里荣一先生的文章。 掛手 作为沖縄空手重要的補助運動,从古至今一直练习掛手的只有剛柔流。 所谓掛手,是指对练双方的两脚前后站立,以猫足立或者三戦立为练习站姿,相互之间以一只手(手刀)的手腕进行接触,另一只手开掌放在水月前。双方你压来也我压去,你拉我来我拉你,在此过程中,有时拗折对手的手腕,有时双手握拳把对手推开,为了不被推开,双方时刻保持警惕,腰胯和脚下必须“扎”得很稳,上半身则是放松轻柔地左右旋转,用身法避开使得进攻过来的对手失去平衡,通过拉扯把对手引向有利位置后摔倒。 一只手练累了,就换另外一只手,掛手的练习会持续到一方彻底没有体力了为止。一边是对体力的磨练,一边通过推拉来用自己手掌熟悉对方手臂的触感,这个练习并不是比谁的力气大。 在中国拳法里,被称为推手的练习,通常分成单手推和双手推。 掛手在锻炼全身肌肉的同时也在培养身心之迅敏,要进行长时间的掛手练习,没有斗志是根本做不到的。掛手就是这样的一种補助運動。 (宮里栄一『沖縄伝剛柔流空手道』実業の世界社、1978、52、53頁) 这个资料是德国的空手道爱好者Andreas先生提供给我的,是我看到过的最早的关于カキエ的文章。 宫里先生在这篇文章里使用的汉字是掛手,但是掛手在日本语里念カケデ或者カケテ(KAKETE 把KARATE的啦换成类似K的发音) 若是沖縄话则念カキディ或者カキティ(KAKITI)掛手这个词汇是念不出来カキエ这个音的。 虽然沖縄各地的方言不同,但是我想恐怕是宫里先生认为カキエ和掛け手这两种训练方法很类似所以采用了掛手作为カキエ的汉字吧。 我先前做了科普,カキエ和掛け手有什么不同呢?不同在于,カキエ类似推手,而掛け手类似散手,两者是不同的训练方法。掛け手不是那种两个手手腕互相接触进行推拉的训练方法,而是纯粹的自由組手。 那么,カキエ原本的汉字表述是怎么样的呢?笔者认为是【掛け合い】 カキエー /kakiee/ (名詞) 意味: 掛け合い。談判。 掛け合い在沖縄语里的发音是カキエー,虽然上述文字中有谈判的意思在里面,日语里则是把【掛け合い】解释为互相之间交流。 因此笔者认为,カキエ就是指双方通过手臂接触交流武艺的一种练习方法。是【掛け合い】的方言表达。这样一来,不管是发音还是含义都能和カキエ对上了。 |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |