Dear Tony

​Xiangdian Fist:

​I say 'Form' - but the ideogram used is '套' (Tao) which usually refers to a 'Set' or a 'Pattern' of prescribed movements (that is a 'routine') - as opposed to '形' (Xing) meaning 'Form' or 'Shape' (pronounced 'Kata' in the Japanese language). Whereas '套' (Tao) refers to a set movements (like beads strung on a cord) - the term '形' (Xing) refers to the heart or foundation of a Style which 'manifests' through every movement that is performed.

​As within Goju Ryu - the 'San Zhan' (Sanchin) Form is learned first - and then seems to be followed by the first and second 'Sets' included above (although 'San Zhan' is also referred to as a 'Set'). The translation is a little laboured as a 'Fortress' is mentioned which has its immediate environment (around the foot of the external walls) continuously 'cleared' of enemy attackers! The Xiangdian Fist practitioner 'prepares' to achieve this function through correctly practicing these 'Sets' - the sum total ability accrued is then used against an attacker(s). Or, a robust defence 'removes' the threat of any attacker - as the Xiangdian Fist practitioner is always 'prepared'. I am wondering whether any of this might relate to the development (in theory at least) to the 'Gekisai' (撃砕) [Attack-Shatter] Kata developed by Miyagi Chojun? Below are two videos showing how effective Xiangdian Fist can be:

​The second video features a Seventy-year-old old Master who wants to carry forward local martial arts in Fuzhou - and teaches young people Xiangdian Fist for free:

Thanks

Dear Tony

​The Chinese language description states that Seisan Kata derives from a 'Form' found within the 'Incense Shop Fist' (香店拳 - Xiang Dian Quan) Style. Xiangdian is a district in Fuzhou City, Fujian province. This is one of the thousands of lineages completely uneffected by the political changes in China - and which has been falsely recorded in the West as 'being wiped out', etc. This is the Chinese language encyclopaedia page:

​'香店拳源于清乾隆年间。南少林武僧智远为报香店人救命之恩，在此密传罗汉拳，隐名为“香店拳”。后经香店历代拳师吸取各派精华，形成了独特的香店拳，并流传于海内外。 [4]  香店拳是内外合一、硬气功兼练的技法拳种，分上、中、下三盘，善于短打近攻。武术套路有硬三战、三战等十多种套路，甚为独特。'

​'Incense Shop Fist (香店拳 - Xiang Dian Quan) originated during the Qianlong period of the Qing Dynasty (1735-1796). The Southern Shaolin Temple Warrior-Monk named 'Zhiyuan' (智远) - in order to save the lives of the people living in the 'Xiangdian' area of Fuzhou City - secretly conveyed to them the techniques retained within the Shaolin gongfu Style known as Luohan Fist (罗汉拳 - Luo Han Quan). As he wanted to keep this interaction 'secret' - Zhiyuan referred to this Style as being called 'Xiangdian Fist' - giving the impression it was a local form of fighting already known by the people. As time progressed, however, Zhiyuan integrated (and absorbed) the essence of many other (different) gongfu arts and slowly the 'Xiangdian Fist' started to evolve - becoming very different from Luohan Fist. The effectiveness of this Style became famous and it was spread throughout China and abroad. Xiangdian Fist incorporates the unity of the 'internal' and 'external' (内外合一 - Nei Wai He Ye) and 'firm' qigong (硬气功 - Ying Qi Gong), etc. All this ability is manifested simultaneously in the mind and body of an advanced practitioner. The opponent is peppered with close-in and short-range (very powerful) techniques delivered to the continuously varying heights of high, middle and low. There are at least ten different and unique 'Forms' - including a 'firm' (hard) version of 'San Zhan' (三战) or 'Three Battles'.'

​A well-known Xiangdian Fist Master today is 'Yan Mengyong' (严孟永) [b. 1950] who started training with his uncle - Fang Ligui (房利贵) - in 1968. In November 1978, he was invited to participate in the First Wushu Observation and Performance Conference in Fujian Province with his master - Fang Ligui - and won an award. Since then, Master Yan Mengyong has taught Disciples from all over China - with his gongfu spreading to Hong Kong, Singapore, the United States - as well as many other places!

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: 

https://new.qq.com/rain/a/20210706A01BBQ00 ​

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】 ​

During 1933-1934 Miyagi Chojun (宫城长顺) worked within the ‘Dai Nippon Butoku Kai’ (大日本武徳会) - a ‘Nationalist’ martial arts association closely linked with the Imperial Japanese Government. This organisation was abolished in 1946 by the Occupying Allied Forces following the defeat of Japan at the end of 1945. Between 1895-1945, however, this organisation was the over-arching Japanese Governmental Department responsible for ensuring that all martial arts training throughout the Japanese Empire conformed to a certain technical standard of ‘effectiveness’ and ‘aggression’. People living in Okinawa had no choice but to conform to its dictates. Around 1934-1935 – Miyagi Chojun was appointed the ‘President’ of the Okinawan Branch of this organisation for Life (although this post was abolished in 1946) and awarded the title of ‘錬士’ (Ren Shi) or ‘Refined Warrior’. He used his status to popularise his style of Goju Ryu and managed to get this style registered with the Japanese Government – a move that helped other Karate-Do styles to also become registered and accepted in Japan.  ​

During 1934, Miyagi Chojun wrote a text entitled ‘Ryukyu Fist Law Tang Hand Way Historical Developmental Overview’ (琉球拳法唐手道沿革概要 - Liu Qiu Quan Fa Tang Shou Dao Yan Ge Gai Yao). This might translate into the Japanese language as a book referring to ‘Ryukyu Kempo Kara-Te Do – Historical Overview’. Miyagi Chojun uses the ‘Chinese-Hand’ ideograms of ‘唐手’ (Tang Shou) to express the term ‘Karate-Do’ - instead of the post-1901 ‘Empty-Hand’ (空手 - Kong Shou) ideograms. During 1935 - Miyagi Chojun was granted the ‘Sports Person of Merit’ Award issued by the Japanese Ministry of Education, Culture and Sports. He presented for the first-time in public – the information recorded in his 1934 ‘Tang Shou’ text - during a lecture he gave in Osaka during 1936. The ‘Dai Nippon Butoku Kai’ awarded Miyai Chojun the title of ‘教士’ (Jiao Shi) or ‘Doctrinal Warrior’ during 1937 – Miyagi Chojun was one of the first person to be granted this title – alongside other Karate-Do practitioners such as ‘Konishi Yasuhiro’ (小西康裕) and ‘Ueshima Sannosuke’ (上鳩三之助), all of whom were empowered by the Japanese Government to arrange and hold Karate-Do competitions. This development ‘normalised’ the practice of Karate-Do in Japan and elevated Karate-Do onto the world stage of sport. This was the due to many years of hard-work carried-out by Chojun Miyagi, Mabuni Kenwa (摩文仁賢和), Otsuka Hironori (大塚博紀) and Funakoshi Gichin (船越義珍), etc, amongst many others.  ​

As well as propagating Goju Ryu Karate-Do in Mainland Japan – Miyagi Chojun also taught Karate-Do in Hawaii (USA) between 1934-1935! This came about through an invitation via the ‘Ocean State Times’ (洋國時報社) issued by ‘金城珍荣’ (Jin Cheng Zhen Rong)! Whilst visiting Hawaii – Miyagi Chojun encountered for the first time the numerous pieces of bodybuilding (and body-conditioning) equipment used by the local Hawaiian people during their indigenous martial arts training! So impressed was he that he decided to incorporate one of these devices into his teaching of Goju Ryu Karate-Do in Okinawa! This was the ‘金剛圈’ (Jin Gang Quan) or ‘Metal Strength Elongated Ring’ ('Kongoken'). After returning from Hawaii in 1935, Miyagi Chojun then travelled to Japan to teach once again at Ritsumeikan University. At that time, those training in Goju Ryu Karate-Do at Ritsumeikan University under Miyagi Chojun included ‘Yamaguchi Gichen’ (山口刚玄) and ‘Cao Ningzhi’ (曹宁柱).  

During 1936, Miyagi Chojun travelled with Aniya Seisho (安仁屋正昌) to Shanghai in Mainland China. During this visit, Miyagi Chojun visited numerous (and varied) martial arts schools in China. This included a visit to the well-known ‘Jing Wu Athletic Association’ (精武体育会 - Jing Wu Ti Yu Hui) situated in Shanghai. Due to his status, Miyagi Chojun gained an audience with the Grand Master of the Jing Wu Athletic Association - ‘Zhao Lianhe’ (赵连和)! Here, both Masters participated in a positive exchange of views!  ​

During 1937 - ‘Yabu Kentsu’ (屋部宪通) passed away. In April 1938 – Miyagi Chojun accepted the post of ‘Karate-Do’ Instructor at the Okinawa Prefectural Normal School – replacing ‘Yabu Kentsu’.  ​

During 1940 – Miyagi Chojun developed the two ‘Katas’ named ‘Gekisai Dai Ichi’ (击碎第一 ) and ‘Gekisai Dai Ni’ (击碎第二).  ​

Chinese Language Source: ​

宫城长顺先生生平介绍（转载） 
2018-12-03 16:15 
大武德会是第二世界大战之前负责全日本武道教育管理的机构，而1933年~1934年间 宫城长顺先生等人争取到的不光是让日本社会正式认可空手道，同时也是开通了让各空手道流派能正式传入日本的途径。作为空手道的代表人物 同期间(1933年~1934年间) 宫城长顺先生被大日本武德会任命冲绳县支部的负责人，一直到二战结束大日本武德会终止为止。 
从此宫城长顺先生通过大武德会更积极的推 广刚柔流以及其他流派的空手道。1934年宫城长顺先生成为了武德会的终身成员同时被该会颁发“錬士”资格。就在这年，宫城长顺先生写了“琉球拳法唐手道沿革概要”。此文章他在1936年大阪的一次演讲中呈献於世。 
1935年，宫城长顺先生被文部省（教育部）颁发“体育功劳者”表彰。 
1937年宫城长顺先生接受了大日本武德会颁发的“教士”资格，成为第一批被日本武道界认可持有教士资格的空手道家（同批的有小西康裕先生，上鳩三之助先生）。 大日本武德会颁发给宫城长顺先生（和其他空手道家）的各种荣誉与头衔不但代表了宫城长顺先生（与其他空手道家）在空手道界的地位，同时也是空手道在日本武道界里逐渐被推广开并且被认可的迹象。这是宫城长顺先生，摩文仁賢和先生，大塚博 紀所先生，富名腰義珍先生等，多个空手道先驱者多年努力后的成果。 
宫城长顺先生除了在日本推广刚柔流空手道以外，在1934 年~1935年 宫城长顺先生受报社“洋國時報社”金城珍荣氏的邀请去了美国夏威夷推广空手道。在夏威夷他看到了当地人练武的器具，决定将它纳入剛柔流的系统内。这器具就是补助运动中的的金刚圈。1935年从夏威夷回来后，宮城長順先生又到了日本的立命館大学授课，而当时立命館大学的空手道社員包括了山口刚玄与曹宁柱。 
1936年 宫城长顺先生（与安仁屋正昌同行）去了中國上海，拜访了中国各门派的武术，并且拜访了“精武体育会”，与总教练赵连和氏交流。 
1937年 屋部宪通先生去世后，在1938年 4月 宮城長順先生接受了沖縄県師範学校空手師範一职接替了屋部宪通先生。1940年宫城长顺先生又先后创了击碎第一和击碎第二。 作者：猫爷习 https://www.bilibili.com/read/cv1652712/ 出处：bilibili ​

During May 1915, Miyagi Chojun and Nakamoto Hideyoshi (仲本英炤) - the latter also being a prominent Okinawan martial artist – travelled together to the Fuzhou area of China’s Fujian province! By this time – the Grand Master Ryo Ryo Ko – had long been deceased. As the ‘Chief Disciple’ of Higaonna Kanryo, however, Miyagi Chojun attempted to gain access to the surviving family and martial lineage descendants of ‘Master Liu’ (刘氏 - Liu Shi). This is described as Miyagi Chojun attempting to successfully ‘gain entry’ to the ‘Liu Gate’ (师门 - Liu Men) - despite Master Liu having been deceased for quite some time.  ​

Miyagi Chojun, however, discovered that most of the members of the ‘Liu’ family (and his martial ‘lineage’ disciples) had moved out of the Fuzhou area – due to warfare. Those still living in the area were elderly people of the same generation as Higaonna Kanryo. The Senior (elderly) ‘Liu’ disciple still remaining (and who could remember Higaonna Kanryo) led Miyagi Chojun (and his group) to the Tomb (墓 - Mu) of ‘Master Liu’ (ルールーコウ- Ryū Ryū Ko) so that the ritual of Confucian ‘respect’ (拜祭 - Bai Ji) could be correctly performed. After this duty was completed – Miyagi Chojun was then taken to the place where Higaonna Kanryo used to practice martial arts.  ​

During October 1915, Higaonna Kanryo gathered his students and disciples together in Okinawa and formally announced that ‘Miyagi Chojun’ was chosen as his official ‘lineage’ descendent and successor! Miyagi Chojun spent thirteen-years training under Master Higaonna Kanryo’s guidance (1902-1915). As the teaching of Higaonna Kanryo was so strict – Miyagi Chojun was the only student to train for such a long and sustained period of time! This made Miyagi Chojun the ‘Chief’ disciple amongst the many that trained – and the ‘Leading’ disciple of the Higaonna Naha-Te tradition! Miyagi Chojun remained entirely loyal to Higaonna Kanryo until his passing – and then preserved his memory without hesitation.  ​

During 1916, as the ‘lineage’ inheritor of Higaonna Kanryo – Miyagi Chojun experienced his first occasion of ‘hosting’ visitors from Fuzhou! These people were Chinese martial artists visiting Okinawa to pay their respect to the ‘lineage’ of Higaonna Kanryo (which had been transmitted from Fuzhou to Ryukyu). As ‘lineage’ inheritor – the respect expressed for Higaonna Kanryo (when not directed to his Tomb or living Higaonna family members) was directed toward Miyagi Chojun himself – who was responsible for all the arrangements of these visits.  ​

On July 2nd, 1917, Miyagi Chojun (accompanied by ‘Wu Xiangui’ [吳賢貴] as translator), left Okinawa to visit Fuzhou to carry-out further research into the local martial arts practiced there. This included the ‘六机手’ (Liu Ju Shou) or ‘Rokuki’ (‘Six Weaving Hands’) technique - which later evolved into the ‘Tensho’ (転掌) Kata – translating as ‘turning’, ‘evading’ or ‘entwining’ - ‘hands’. Miyagi Chojun also began to study the Chinese manual entitled ‘武备志’ (Wu Bei Zhi) or ‘Military Preparation Record’ at this time. He also started to develop various patterns of martial movements to assist students in their daily practice.  ​

Chinese Language Source: ​

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

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！ 
 
 
 ​

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.  ​

Chinese Language Source: ​

http://news.sina.com.cn/o/2007-05-09/152211784510s.shtml ​

English Languish Source: ​

http://www.ecns.cn/m/news/culture/2022-09-06/detail-ihccwpzf5238659.shtml ​

Taiwanese martial arts and Fujian martial arts have similar profound historical origins. Chen Hongzong (陈宏宗), a famous Taiwanese Crane Fist (鹤拳- He Quan)  Master, initiated and promoted the development of Taiwan's KaratDo movement. In order to let the students who participated in the first session of Fujian Tang shou Association learn about the development of Taiwanese Karate-Do, the origins of Taiwan Crane Fist and Fuzhou Crane Fist, and the development of Shenzhen Goju Ryu Karate-Do movement was discussed in detail. This is why the Special Guest on this occasion was the the Vice President of Shenzhen Goju Ryu Karate-Do Association and the Coach and Referee of the Chinese Karate Association - the esteemed teacher Master Gao Quanxi (高泉熙) 4th Dan - who made a special trip from Taiwan to Fuzhou to meet the students and instruct them in genuine Goju Ryu technique of the workshop.

After the workshop, President Lin Yun (林云), Mr. Li Yuanshen (李渊深), Mr. Gao Quanxi and Mr. Huang Xiaopeng (黄晓鹏) presented a number of "Fujian Tang Shou Karate Association's 1st Workshop Participation Certificate" to the trainees for encouragement.

Chinese Language Source:

​https://www.163.com/dy/article/G9KNMTV00518RTFE.html

拓福体育 | 福建空手道箐英荟聚福州！2021-05-10 10:57:29　来源: 拓福集团  
2021年5月1日、2日在福州市拓福体育杨桥店举办的“福建省唐手空手道协会第1期讲习会”取得圆满成功，共有近百人参加。
​
讲习会的开幕式上，着重介绍了“日本空手道源于福州，历经福州南拳-冲绳（琉球）唐手-日本空手道的发展历程”；福建省唐手空手道协会成立的目的及意义，已开展的各类活动。以及，福建拓福体育发展有限公司福建省唐手空手道协会会长单位致力推广唐手文化的使命。
拓福空手道队于2019年获得国内外专业空手道比赛14金12银8铜的优异成绩，拓福空手道队员代表福建省参加全国第二届青年运动会获得空手道项目福建省唯一一枚金牌，为福建争光！

通过介绍福建唐协所开展的各类活动及已取得的成绩，极大鼓舞了参会人员对推广唐手文化，参加空手道活动的信心。

在为期两天的训练中，本次受邀讲师，中国空手道高级教练、段位考官、五段、JB级裁判员李渊深老师为学员们讲解空手道基本技术、基础型到段位型、组手的进阶技术等不同技术板块。并且给与会者分享了作为空手道教练的教学心得，受训学员们纷纷表示，今后将把此次讲习会上学到的技能传递给更多的空手道爱好者。

台湾武术与福建武术具有深厚的历史渊源，台湾鹤拳名师陈宏宗开启并推动了台湾空手道运动发展。为让参加福建唐协第1期讲习会的学员了解台湾空手道发展历程、台湾鹤拳与福州鹤拳渊源、及深圳空手道运动发展情况。本次特邀嘉宾，深圳市空手道协会副会长、中国空手道协会教练员、裁判员、台湾空手道四段高泉熙老师专程到福州市向讲习会学员授课。

讲习会结束后，林云会长、李渊深老师、高泉熙老师、黄晓鹏老师给学员颁发《福建省唐手空手道协会第1期讲习会参训证明》，以资鼓励。

福建唐协第1期讲习会有福州、厦门、泉州、漳州、龙岩、莆田等地会员及6所高等院校空手道爱好者参加，范围广，层次高。
福建唐协第1期讲习会学员将成为福建唐手文化的传播者，空手道运动的推动者。

​China News Service, Xiamen, June 28th, 2016 (Wang Jing) - The Fujian 'Tang Shou' Karate-Do Association held its inaugural meeting in Xiamen on the 28th. Regarding the Association's use of the name 'Tang Shou' (唐手) or 'China Hand' - the China General Administration Centre for the Practice of Martial Arts and Sports has approved - stating it has 'no objection'.

Whereas modern Japan (from the early 20th century onward) renamed this Chinese derived martial arts as 'Empty Hand' (空手 - Kong Dao) - as a means to hide or obscure the genuine 'Chinese' origins' of 'Karate-Do' - the concerned martial arts practitioners of Fuzhou have decided to come together and reclaim China's cultural heritage! From now on this Chinese art will be called by its correct name of 'Tang Hand'!

"After 'Southern Boxing' (南拳 - Nan Quan) was introduced into Ryukyu (now Okinawa), it was called 'Tang Shou' ('China Hand') by the Ryukyu people to show that it originated from China (Fujian). The pronunciation of the characters '唐手' (Tang Shou) in Japanese remains the same when the characters '空手' (Kong Shou) are used - as the Japanese people pronounce these two phrases as 'Kara-Te'." Stated Weng Xinhui (翁信辉) - a Post-Doctoral Fellow in Sports Anthropology at Waseda University in Japan and Associate Professor at the School of Physical Education at Jimei University.

Weng Xinhui has studied the Five Ancestors (五祖 - Wu Zu) of Heyang Fist (鹤阳拳 - He Yang Quan) from Lineage Masters such as Weng Rongnan (翁荣南), Xu Jinmin (许金民), and Ceng Mouyao (曾谋尧) amongst many others from a young age! He studied and lived in Japan for 12 years - during which time he studied at the Graduate School of Education, in Tokyo's Gakugei University - and was engaged in the advanced study of Judo (and other Japanese martial arts) under Professor Kaise Terufu. During his research in Japan he was shown 'sensitive' historical documents proving that 'Karate-Do' originated in the Fuzhou area of Fujian province! In 2015, following his return to China, Weng Xinhui applied to the National Social Science Fund to sponsor his research project entitled "Research on the Cultural Transformation of Fujian Southern Fist in Ryukyu from 'China Hand' into 'Empty Hand'". The research results were clear and with a doubt -  Japanese 'Karate-Do' originated from Fujian 'Southern Fist' and is entirely Chinese!

Chinese Language Source:

​https://finance.ifeng.com/a/20160628/14536906_0.shtml

福建省唐手（空手道）协会成立2016年06月28日 20:39
来源：中国新闻网


中新网厦门6月28日电 (王婧)福建省唐手(空手道)协会28日在厦门举行成立大会。对于该协会使用“唐手”这一名称，中国国家体育总局拳跆中心已批复，并表示“无异议”。
要解释什么是“唐手”，就不能不提到空手道。
很多人都会认为空手道是日本武道，尤其是在空手道等五大项运动有望进入2020年东京奥运会的背景下，人们更容易将空手道贴上日本的标签。中国学者的长期研究表明，中国是空手道的发源地。该观点已得到相关体育部门认可。
“福建南拳传入琉球(今冲绳)后，被琉球人称为‘唐手’，以示源于中国(福建)之意。传入日本后，‘唐手’改为‘空手’，但在日语中的发音不变。”日本早稻田大学体育人类学的博士后、集美大学体育学院副教授翁信辉对记者说。


翁信辉从小师从翁荣南、许金民、曾谋尧等学习五祖鹤阳拳，曾在日本留学及旅居12年，其间在东京学艺大学教育学研究科学习，师从贝濑辉夫教授从事日本柔道及武道论研究。2015年，翁信辉立项申报了国家社科基金课题《从福建南拳到琉球唐手、空手道的文化变容研究》，目前的研究成果足以证明，空手道来源于福建南拳。
谈到“唐手”，翁信辉滔滔不绝。“20世纪二三十年代，一批有关‘唐手’的著作在日本相继出版，都证明了这个项目是从琉球传到日本，而且原名称是‘唐手’。日本著名的词典《广辞苑》和日本武道馆2007年主编的《日本的武道》中都写明，空手道是以中国传来的武术为原型。”
“我个人认为，将协会名称称为‘唐手(空手道)协会’，有利于弘扬中华传统文化，也有利于该项目在中国的普及推广。”翁信辉说。(完)