(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: 

https://www.sohu.com/a/114063234_476550 
https://baike.baidu.com/item/心意拳/225390 
https://baike.baidu.com/item/达摩拳/7508791 
https://baike.baidu.com/item/五祖拳/1833113 

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

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

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

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

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

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

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

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

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

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

“刚柔相济定心神” 

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

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

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

​“鹤法全靠摇宗手” ​

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

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

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

Chinese Language Article: 

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

空手道刚柔流源于鹤巢寺 

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

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

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

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

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

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

Translator’s Note: This Chinese language article was originally published by the Fuzhou Wushu Association in 2009 (on a Chinese language website based in Zhejiang dedicated to the history, theory and practice of Okinawan Goju Ryu). The content covers events from twenty-years earlier (c. 1989) and seeks to discover who was the Chinese Master who taught Fujian martial arts to the Okinawan traveller - Higaonna Kanryō. Researchers outside of Asia tend to approach this subject from the Anglicised rendering of a Chinese name preserved in Japan - ‘Ryu Ryu Ko’ - which often causes confusion amongst Westerners as it seems very similar to the title of the unconnected ‘Ryu Kyu’ (琉球) Islands – the name of the chain of islands Okinawa happens to be part of. Within Japan and China today, the title ‘Ryu Ryu Ko’ is shortened to ‘Ro Ro Ku’ - as it is a ‘nickname’ the phonetical expression in the English language is only approximate. A number of Chinese researchers are of the opinion that ‘Ryu Ryu Ko’ (如如哥) is a title more likely to have been used in Beijing and is unlikely to have been used in Fuzhou. What is mentioned but not elaborated upon in this article – is the historical reality that ‘Officials’ (that is those individuals who have studied for, sat and passed the Imperial Examinations) were often posted to faraway places where it was their duty to communicate in the ‘Beijing’ dialect (the language of governance throughout China regardless of local dialects).  
​
An example of this involves the famous Ch’an Buddhist Master Xu Yun (1840-1959) who was born in the Quanzhou area of Fujian province. His is father was a government ‘Official’ working in Fujian province who was originally from Hunan. Despite living in Fujian province, at home Master Xu Yun’s family spoke the Hunan dialect whilst at work his father spoke the Beijing dialect. Despite being posted together with his family faraway – the connection with the ancestral land was never forgotten or given-up. Marriage partners were chosen from Hunan for Hunanese men and women born in Fujian – and when deaths occurred, the bodies were ceremoniously taken back to Hunan for burial. Therefore, it is not beyond the realms of possibility that Ru Ru Ko was from a family of ‘Officials’ that had originated in Beijing but had been posted to Fujian. This is a realistic example of how ‘Ru Ru Ko’ could have been from a cultural milieu originating in Beijing.  

As multiple languages are being used (Japanese, Chinese and English), as well as transliteration and phonetical interpretations, it is important that the logical basis of this article is clearly established. Needless to say, research in the Chinese cultural milieu is very different to research carried-out in the English language. For the Chinese language researcher, the investigation begins with the ideograms ‘如如哥’ (pronounced ‘Ru Ru Ge’). This has no obvious linguistic or cultural connection with the Fujian dialect. In Japan these three ideograms are transliterated as ‘儿 - 儿 - コ’ (Ru Ru Ko) - but ‘why’ these ideograms were chosen is something of a mystery as the ideogram ‘儿’ is a simplification of ‘兒’ (er2) which means ‘child’ or ‘son’ (which is used twice). Bear in mind that many Japanese ideograms are either direct borrowings from the Chinese language or modifications. The third ‘Japanese’ ideogram ‘コ ‘ is from the ‘Katakana’ categorisation of symbols – and again refers to a ‘child’ (as in a boy or a girl). This suggests that the Japanese term 儿 - 儿 - コ’ (Ru Ru Ko) quite literally means ‘Child (boy), Child (boy), Child (boy or girl). Therefore, the Japanese term (in Romanji) - of Ru Ru Ko contains no inherent or hidden meaning – and gives no clues as to the identity of the Chinese holder of the name. It appears to be purely phonetical in nature – as if the name were only passed-on by word of mouth and was never written down at the time of being transmitted. Indeed, Higaonna Kanryō admitted that it was difficult to linguistically communicate when he arrived in China. 

Ru Ru Ko is thought to have been born around 1820 whilst his death date is unknown. Furthermore, whoever he was - his true identity is not known. During the Battle of Okinawa (fought between April 1, 1945 – June 22, 1945) and which cost 110,000 Japanese and Okinawan causalities – as well as around 12,500 US casualties. Okinawa was totally devastated due to the ferocious nature of the fighting. This led to the near total destruction of all paper records (as libraries and private homes were totally destroyed). Many of the best and well-educated martial artists in Okinawa fought in the frontline against the invading American Forces – and were killed – whilst others later died from wounds or committed suicide. The elderly people – if not already evacuated – were killed in the vicious crossfire! It is equally true that large areas of Southern and Eastern China were also devastated during the 1930s and 1940s due to the presence of the Imperial Japanese Army, etc. This physical death and destruction eradicated a vast material and intellectual historical database and is one of the reasons why there are large gaps in details available.  

The name of the Master in question is often presented using the three Chinese language ideograms of ‘刘良兴’. This can cause further confusion as these three ideograms can be read in the Chinese language as ‘Liu Liangxing’ - giving the impression that this is a legitimate name. This is not the case as the Japanese use of these ideograms is an alternative way of expressing the far more simplistic ‘儿 - 儿 - コ’ (Ru Ru Ko). This is because ‘刘’ (Liu) can be expressed with the hiragana syllable ‘る’ (ru) and the katakana syllable of ‘ル’ (ru). The second ideogram ‘良’ (Liang) can be expressed as ろう (rō) - whilst the third ideogram ‘兴 ‘ (Xing) is represented by ‘こう’ (kō). Technically speaking, this can be read in the Japanese language as ‘Ru Ro Ko’, etc. Therefore, ‘刘良兴’ = ‘儿 - 儿 - コ’ (Ru Ru Ko) is not a specific name in and of itself. Whereas Chinese language users will read the ideograms of ‘刘良兴’ as ‘Liu Liangxing’ - Japanese language readers see only ‘Ru Ru Ko’! Another way of writing the name of this Fujian White Crane Fist Master is ‘Liu Xiangjing’ (刘祥京) - which is considered a genuine name. I cannot find any independent data about this Master on the Chinese language internet – but information possessed by the Fuzhou Wushu Association records this man as being a famous martial arts teacher in the Fuzhou area. Indeed, the entire point of this Fuzhou Wushu Association article is that although considered as a candidate – there is no reliable evidence linking ‘Liu Xiangjing’ (刘祥京) to Okinawan Goju Ryu.  

Xie Chongxiang (謝崇祥) [1852-1930) was a very famous martial artist from Changle County situated within the Fuzhou area of China. He trained under Master Pan Yu Ba (潘嶼八) who transmitted the ‘Shaolin Arahant Fist’ (少林罗汉拳 - Shao Lin Luo Han Quan) to him (some sources suggest that he also learned the ‘Southern Shaolin White Crane Fist’ [少林白鶴拳 - Shao Lin Bai He Quan] system). Xie Chongxiang was also renowned for developing the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) style. There appears to be a connection between Higaonna Kanryō and Xie Chongxiang due to the names that were used by his disciples which are very similar to those found in the Goju Ryu tradition. ACW (31.7.2022) ​

According to the historical records of Fuzhou Wushu Association: 
​
A number of representatives of different Okinawan Goju Ryu karate schools (since 1983) - have visited Fuzhou at different times – all seeking historical information. It is the official policy of the Fuzhou Wushu Association to assist these enquiries and help these researchers discover reliable information about the original Chinese ancestor who taught the Okinawan martial artist named ‘Higaonna Kanryō’ [東恩納 寛量 - Dong En Na Kuan Liang] (1853–1915) who trained in China over a fourteen year-period between 1867-1881. It is believed by tradition that Higaonna Kanryō trained in Fuzhou under the Chinese Master named ‘Liu Liangxing’ (刘良兴) - although this is the Japanese transliteration. However, this Chinese Master is also known as ‘儿 - 儿 - コ’ or ‘RU-RU-KO' (Beijing interpretation). We believe that this matter is of great and special significance in the strengthening and consolidating of the traditional friendship between the two sister cities of Fuzhou and Naha - and to continue a good and friendly association between martial artists from Fuzhou and Okinawa. To this end, the Fuzhou Wushu Association takes this mission very seriously, and has actively organized investigative forces, conducted multiple enquiries and has repeatedly opened new lines of enquiry. Due to the length of time between now and the historical period concerned, this research has proven to be very difficult to ascertain and/or confirm. This research has now been ongoing for twenty-years and there is hope that major breakthroughs will eventually occur as new historical documentation becomes apparent. A similar undertaking has been pursued regarding the ‘Uechi Ryu Karate-Do' style of Okinawan martial arts – which identified the Chinese teacher known in Okinawa as ‘Zhou Zihe’ (周子和)! 
​
During early March 1988, the President of the Okinawan Goju Ryu Tomarite Association - Tokashiki Yukashiki, (渡嘉敷唯贤 - Du Jia Fu Wei Xian) - acting on inaccurate information provided by the Fujian International Travel Service, believed that the Fuzhou Wushu Association had discovered and confirmed the identity of the Chinese Master who had taught Higaonna Kanryō, and made a false accusation that the Fuzhou Wushu Association was deliberately ‘withholding’ important historical information and that this data should be immediately handed over! This confusion derived from the fact that the Fuzhou Wushu Association was investigating a historical figure named ‘Liu Liangxing’ (刘良兴) - a well-known martial artist who possessed a name very similar sounding to ‘Liu Xiangjing’ (刘祥京) - but it has not been possible to prove a definite or conclusive historical connection. When this reality was explained to Tokashiki Yukashiki – he was of the opinion that we were acting unfriendly – which is untrue. The point is that there is much more investigative work still needed to be carried out. If a definite and verifiable historical connection is discovered – then the Fuzhou Wushu Association will definitely make this information public knowledge. Despite explaining this issue thoroughly, Tokashiki Yukashiki refused to listen and returned to Okinawa where he published a series of articles in the Ryukyu Times (over a ten-day period) between March 9 -18, 1988 – falsely stating that ‘Liu Xiangjing’ (刘祥京) has been identified as the historical figure ‘Liu Liangxing’ (刘良兴) and the teacher of Higaonna Kanryō - by the Fuzhou Wushu Association! At that time, this assertion caused an uproar throughout the Okinawa martial arts community, and the Fuzhou Wushu Association was contacted by a number of concerned historians and martial artists!  
​
Okinawan experts agreed with the findings of the Fuzhou Wushu Association and confirmed that there is no obvious historical connection between these two figures – but that ALL avenues of investigation must be carefully pursued and considered. Following this public ridicule, Tokashiki Yukashiki attempted to explain his irresponsible actions by claiming his articles were intended as a ‘joke’! As a way of attempting to settle this matter, the Fujian International Travel Service commissioned ‘Lin Weigong’ (林伟功) - a Cadre of the Fuzhou Local Chronicles Editorial Committee – to investigate this matter whilst liaising with Tokashiki Yukashiki, so as to avoid all further misunderstanding. Lin Weigong – after considering ALL the available historical evidence – eventually produced the article entitled ‘Okinawan Goju Ryu: Examining the Biographical Details of of Higaonna Kanryō and His Chinese Teacher Ru Ru Ko!’ (日本冲绳刚柔流空手道宗师东恩纳宽量之中国师傅儿-儿-コ小考). Tokashiki Yukashiki reviewed this document and declared its content to be a ‘remarkable monument’ for Ru Ru Ko – or ‘Xie Chongxiang’ (谢崇祥) of Fuzhou! Lin Weigong’s  ‘Biographical Investigation’ made the following observations: ​

1) NAME: 
​
Recorded as ‘儿 - 儿 - コ’ (Japanese) - RU-RU-KO - and correlates to ‘如如哥’ (Chinese) RU RU GE.   

His family or clan name was ‘Xie’ (哥) - his first names were ‘Chongxiang’ (崇祥).  
Indeed. if the master and disciple were of similar ages (or perhaps only one year a part in age) – they could have considered themselves to be ‘brothers’. Therefore, the designation RU RU KO – RU RU GE would be considered correct (in the Beijing dialect) – as the teacher could be a slightly older brother. 

Xie Chongxiang, however, was from Fuzhou and in the Hokkien dialect he was referred to as ‘Ru Si’ (如司) which would imply a ‘Master’ (师 - Shi). ‘Ru Si’ (如司) translates as ‘Likable Teacher’ in Hokkien. Why is this teacher’s designation recorded in the Beijing dialect – but NOT in the Fuzhou (Hokkien) dialect? Why is the Hokkien variant not known in Okinawa? Fuzhou people tend to use two ideogram descriptions pronounced by a single syllable – but never use three ideogram expressions. Whereas ‘Ru Ko’ and ‘Ru Ge’ are possible in the Hokkien dialect - ‘Ru Ru Ko’ and ‘Ru Ru Ge’ are not used. Recently, a book remembering the old martial arts Master - ‘Yu Baoyan’ (余宝炎) - was published which supports the research of Lin Weigong. This book was written by Yu Baoyan’s son – named ‘Yu Mou’ (余某) - and is entitled ‘Remembering My Father Yu Baoyan’ (忆父亲余宝炎). Within this research, the author has discovered at least five places in the historical records where Xie Chongxiang is referred to by the Hokkien designation ‘Ru Shi’ (如师)! 

The Editor-in-Chief of the book is one ‘Xie Qiquan’ (谢其铨). In the chapter entitled ‘Whooping Crane Fist of Lineage Master Xie Ru Ru’ (鸣鹤拳宗师谢如如) - Xie Qiquan quotes two lines of poetry preserved within the Fuzhou (Hokkien) dialect which reads ‘If Ru Si raises just the tip of a single arrow – then even the Immortals and the Gods cannot compete with him!’ and ‘When Ru Si gently lifts, presses and separates – the Immortals and the Gods cannot stop him!’ 

 (“ 如司单基举箭，神仙也难战”，“如司柔搅劈，神仙挡不住”。) 

It can be clearly seen from this information that Xie Chongxiang (谢崇祥) is his original name, and ‘Ru Si’ (如司) is his nickname. This is why the native people of Fuzhou refer to this individual as ‘Ru Si (Shi)’ - 如司 (师）- or ‘Likable Teacher - (Master)’! The research carried out by Lin Weigong demonstrates that the terms ‘Ru Ru Si’ (如如司) and ‘Ru Ru Ge’ (如如哥) - transliterated into the Japanese language as ‘Ru Ru Ko’ - are in fact arbitrary naming errors (怪名 - Guai Ming) probably made during the copying process from one language into another. This led to a single ideogram being mistakenly copied ‘twice’ - and this error being made into a convention (preserved during the transmission of Goju Ryu to the West). Furthermore, the ideograms ‘如如’ (Ru Ru) are also pronounced in the Beijing dialect as ‘Ru Ru’! According to the Introduction provided by the two experts Director Xie Bizhen (谢必震) and Professor Xu Gongsheng (徐恭生) of the ‘Research Office of the History of Sino-Ryukyu Relations’ - located within Fujian Normal University – it is stated that at the time most people in Fuzhou could not speak the Beijing dialect (the so-called ‘Mandarin’), and only ‘scholars’ had to learn the Beijing dialect if they wanted to take part in the Beijing imperial examinations. This implies that it is unlikely that a martial arts Master – or his disciple – would communicate to each other in Fuzhou using the Beijing dialect.  ​

2) DESCRIPTION OF BODY-TYPE: 
​
The available data in Fuzhou suggests that Xie Chongxiang (谢崇祥) also known as ‘Ru Ru’ (如如) - was short (1.55 meters) and stout in stature. He was small and inconspicuous. He chose not to stand-out in a crowd. According to a number of Japanese language sources (preserved within the various Goju Ryu schools), however, ‘Liu Liangxing’ (刘良兴) is said to have been 6 foot in height (1.80 meters) and was generally considered tall and burly and to stand-out in a crowd – a physical description which is the exact opposite of that pertaining to ‘Xie Chongxiang’ (谢崇祥) - also known as ‘Ru Si’ (如司)! ​

3) OCCUPATION – PROFESSION: 
​
Xie Chongxiang (谢崇祥) also known as ‘Ru Ru’ (如如) - was taught the skill of ‘Shoe-Making’ by his father at the ‘Bao Mei Zhai’ (宝美斋) Shoe Shop in Fuzhou. At the age of 31 he was considered a shoemaker in his own right, and he established a School for Shoe-Making Apprentices at a local Temple (庙 - Miao) situated on Shanghang (上杭) Street. According to the information provided by the International Okinawa Goju Ryu Karate Federation: Higaonna Kanryō recalled that Master RU-RU-KO (Liu Liangxing - 刘良兴) was originally born as a nobleman. In the second half of the 19th century, Chinese society was in turmoil, and the ‘Liu Liangxing’ (刘良兴) and his family kept their origin and status secret. Indeed, he took a job making tiles and operating a kiln. He eventually rented a two-storey house by the river in the suburbs (living by himself), making a living as a blacksmith. Lin Weigong has seen this description confirmed in a biographical text entitled ‘Ox-Head’ (牛头 - Niu Tou) - but it differs from the description found in the biographical text entitled ‘Horses-Mouth’ (马嘴 - Ma Zui). ​

4) AGE: 
​
Xie Chongxiang [谢崇祥] (Ru Si - 如司) was born in 1852, while RU-RU-KO (Liu Liangxing - 刘良兴) was born in 1853. Given that Higaonna Kanryō was also born in 1853 – then the age difference between master and disciple would be either no years or only one year! This seems an unreasonable assumption as ‘Higaonna Morio’ (东恩纳盛男) - whilst passing-on details preserved by the third generation Goju Ryu Master Miyagi Anichi (宫城安一) - states that the age difference between master and disciple was at least twenty-five years! Indeed, due to the advanced years of his teacher - Higaonna Kanryō - was advised to return home.  ​

5) MARTIAL ART NAME: 

The available biographies state that the martial art in question is named ‘鸣鹤拳’ (Ming He Quan). This can be translated as: 
​
a) 鸣 - (ming2) = A cry issued forth by a bird, insect or other animal. 
b) 鹤 - (he4) = Specifically a ‘White’ bird defined as a ‘Crane’.  
c) 拳 - (quan2) = A hand which is ‘closed’ - specifically a ‘clenched’ fist. ​

6) MARTIAL ART THEORY: 
​
This Chinese martial arts style has the ‘Three Battles’ (三战 - San Zhan) technique as its foundational ancestor. This agrees with the records as preserved in Japan where this technique is referred to as ‘Sanchin’. In fact, within the Fuzhou area of China, the ‘Three Battles’ (三战 - San Zhan) technique is the foundation of many if not all ‘Southern Fist’ (南拳 - Nan Quan) martial styles – including ‘Dragon’ (龙 - Long), ‘Crane’ (鹤 - He), ‘Tiger’ (虎 - Hu), ‘Lion’ (狮 - Shi) ‘Arahant’ (罗汉 - Luo Han) and ‘Ground Technique’ (地术 - De Shu), etc. Therefore, the ‘Three Battles’ (三战 - San Zhan) technique is not unique to ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan). The available biographies record that the ‘Song of Bright Reason’ (明理歌 - Ming Li Ge) states that ‘Whooping Crane Fist’ is defined by a rapid interchange of ‘hard’ and ‘soft’ (刚柔相济 - Gang Rou Xiang Ji) martial techniques – and that this is the defining characteristic of this style. As this style spread to Okinawa whilst retaining its reliance upon rigidity and giving-way – it became known in the Japanese language as the ‘Hard-Soft’ (Goju) Karate style. Higaonna Morio states that Miyagi Chojun (宫城长顺) - who was a disciple of Higaonna Kanryō - remembered that his teacher (Higaonna Kanryō) brought a martial manual back from China entitled the ‘Martial Preparation Record’ (武备志 - Wu Bei Zhi). One line reads ‘法刚柔吞吐’ (Fa Gang Rou Tun Tu)’ which translates as the ‘law of hard and soft operates throughout’. This was taken to mean that the main martial principle in operation is that of the continuous interchange of ‘hard-soft’ (刚柔 - Gang Rou). This is exactly how the style of Goju Ryu Karate-Do was named by Miyagi Chojun – after he read the specific line mentioned above as contained in the martial manual brought back from China by his teacher - Higaonna Kanryō! This is why the Goju Ryu style of Karate emphasises the rapid interchange of hard and soft martial techniques. Points that need clarifying. Combining rigidity with softness is the general rule for ALL styles of ‘Southern Fist’ (南拳 - Nan Quan) originating within the Fuzhou area. This is not a martial principle unique to ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan). Therefore, naming this style after this principle is far too general and conveys nothing of the original style when considering how many styles that have been developed throughout the Fuzhou area. Knowing the guiding (and underlying) operating principle tells historians nothing about the name (or origin) of the martial art style concerned. In theory it could be related to any of the Fuzhou martial arts styles listed above. This suggests that the compiler of the traditional biographies surrounding the history of the transmission of Goju Ryu from Fuzhou to Okinawa did not possess a good or sound general knowledge of the martial art styles operating in and around the Fuzhou area – and this is something of a mystery. This suggests that a crucial element of historical (cultural) data is missing from the biographies surrounding the transmission of a Chinese style of Fujian martial arts to Okinawa! ​

7) DISCIPLES: 

The biographies state that students of this martial arts style must show a good and virtuous character whilst also achieving an advanced martial ability! The student is tested both morally and physically when entering this martial arts style! Both mind and body are developed equally! If the biography of Higaonna Kanryō is correct - then his Master was named ‘Xie Chongxiang’ (谢崇祥) and he was called ‘Ru Ru Ko’ - or ‘Ru Ru’ (如如)! It must also be acknowledged that training in this way and following these martial principles are commonplace within the Fuzhou area. Therefore, Higaonna Kanryō could have trained with any number of teachers all behaving very similarly and demanding equally high standards of commitment and endeavour! Fuzhou has very high martial standards and what Higaonna Kanryō describes could relate to any number of martial arts masters living in the area. The area is renowned for its severe and highly demanding martial arts standards! Due to the missing historical and cultural data it is correct to say that the available biographies regarding the experiences of Higaonna Kanryō in China are incomplete. Why is this? Has data been taken out? Has data gone missing? Did the compilers lack a basic cultural understanding of the martial culture operating in and around Fuzhou? With this kind of crucial data missing, it is very difficult to get to the root of the matter.   
​
On April 20, 1989, the above research by Lin Weigong was made public in the ‘Fuzhou Evening News’. Some months later, on October 19th and November 1st, 2022, two readers separately raised the questions ‘Who was the Chinese Master of the Japanese Higaonna Kanryō?’ and ‘Is Japan’s Goju Ryu Karate and China’s Whooping Crane Fist Directly Related?’ This is because Lin Weigong’s article caused so many doubts (and triggered in-depth debate) that it was printed twice six months apart! This piece was entitled ‘Discussion with Comrade Lin Weigong’ (与林伟功同志商榷) - and because of all the doubts and missing historical and cultural detail it was decided that it is too early to build a monument to ‘Xie Chongxiang’ (谢崇祥) in Fuzhou. More evidence needs to be ascertained before such an undertaking can be formally considered. During August 1989, when Xu Cai (徐才) - the Chairman of the Chinese Wushu Association was informed about this matter – he stated that in accordance with the spirit of seeking truth from facts, a scientific attitude should be adopted, and this issue should not be forced. On the basis of sound historical research and expert appraisal, a scientific basis must be established. Either there is a ‘fact’ or there is ‘no fact’ - there cannot be any grey areas! For this reason, we believe that textual research on historical figures should be treated with a serious and exact attitude so that truth can be extracted from facts. The establishment of historical fact cannot be arbitrarily shaped. If it is correct that Higaonna Kanryō was taught by a Chinese Master named ‘Xie Chongxiang’ (谢崇祥) - who was called ‘Ru Ru Ko’ - then this must be proven beyond any reasonable doubt. Doubt must be removed through good quality research and the establishment of historical fact. In China we possess a responsibility to our own martial history in Fuzhou – and we also possess a responsibility for all the Karate-styles in Okinawa (and Japan) whose practitioners believe their martial systems originate in China! Remember, many Okinawan and Japanese martial styles have spread worldwide – as have many Chinese martial systems! Establishing a correct history is not a laughing matter and is a very serious affair. If false claims are made, then this issue becomes a laughing matter not only in Fuzhou – but also throughout the martial arts schools of Okinawa!  
December 23, 2009 ​

Chinese Language Article: 

https://web-archive-org.translate.goog/web/20131009224220/http://gojuryukarate.cn/showart.asp?art_id=33&_x_tr_sl=zh-TW&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc 

福州武术协会寻查RU-RU-KO过程与看法  

据福州武协历史资料记载：冲绳刚柔流空手道各派，自1983年开始，直到现在都先后陆续来到福州，希望福州武协能够协助他们寻查其原祖东恩纳宽量在1867年—1881年间，在福州学武时的师傅刘良兴（日语译音），冲绳武术界称他为“ 儿 - 儿 - コ（日文） RU-RU-KO （北京音）”。我们认为，此事对加强与巩固福州、那霸两个友好城市的传统友谊、对福州武术也有着重大而特殊的意义。为此，福州武协十分认真，并积极地组织力量，多方调查，反复论证。由于时间太久，缺乏历史资料，虽查有数人，均似是而非，难予最后确认。20多年来，不间断地在继续调查中。冲绳上地流空手道也有类似之事，对周子和的寻查圆满成功。   

1988年3月初，冲绳刚柔流泊手会会长渡嘉敷唯贤，根据福建省国际旅行社提供的不准确的信息，认为福州武协已找到冲绳刚柔流的师祖，要求我们把调查材料交给他们，当时我们虽然正在调查一个姓名、住处与“刘良兴”近似的已故老拳师“刘祥京”。但缺乏更多的事实可作论证。当我们把调查过程告诉渡嘉敷唯贤，并一再说明，这尚无有力、确凿的证据，还要做大量的考证工作。但他却认为我们对他不友好，不给他们真实材料。虽经我们再三说明、解析，而他回冲绳后，即于1988年3月9日—18日在《琉球时报》连载10天，说东恩纳宽量在福州的师父即“刘祥京”已调查证实。当时给冲绳武术界引起了轩然大波，纷纷向福州武协提出质疑。他们从多方面证明，均认为《琉球时报》报导不实。随后，渡嘉敷唯贤在冲绳也否认了他的报导事实，闹了一场笑话。接着渡嘉敷唯贤又经国际旅行社介绍，委托福州市地方志编委会的干部林伟功调查。随后林伟功写了一篇《日本冲绳刚柔流空手道宗师东恩纳宽量之中国师傅儿-儿-コ小考》一文，交给渡嘉敷唯贤，渡嘉敷唯贤据此为儿-儿-コ(谢崇祥)在福州立了“显彰碑”。 

林伟功所谓的《小考》，其论据如下： 

一、 姓名：《小考》说， 儿 - 儿 - コ（日文） RU-RU-KO （北京音）的真名应是 “ 如如 ” （北京音），他姓谢，族字崇祥，北京音 “RU-RU-KO 即如如哥 ” 。因师徒只相差一岁，所以用兄弟相称，叫 “RU-RU-KO 如如哥 ” 。从名字上 “ 考证 ” ， RU-RU-KO 即 “ 如如哥 ” 无误。 

可是谢崇祥，福州社会上普遍是福州话叫“如司（师）”，在福州武术界无人不知的事实，但却没有人知道有福州话的“如如司”者。而福州人的习惯，凡双字同音者只称单字，如：“如哥”、“如司”等，从没人称“如如哥”、“如如司”。最近老拳师《余宝炎》一书出版。该书是宣扬林伟功观点的。余宝炎儿子余某，在书中写一篇《忆父亲余宝炎》一文中，却有五处称谢崇祥为 “ 如师 ”。该书主编谢其铨在《鸣鹤拳宗师谢如如》一文中，引用了福州话顺口溜“ 如司单基举箭，神仙也难战”，“如司柔搅劈，神仙挡不住”。由此可见，谢崇祥是他的原名，“如司”是他的别称。所以福州人都称他为“ 如司（师）”，而“如如司”或“如如哥”只是林伟功偷梁换柱，任意塑造的“怪名”。况且“ 如如”二字是以 北京音才能与 RU-RU相近。据福建师范大学“中琉关系史研究室”谢必震主任和徐恭生教授介绍，二位专家说，当时福州一般人都不会说北京话（即所谓“官话”），只有“秀才”，要上京考试要学北京话。所以，学武的师徒之间，更不可能用北京话相称。 

二、 体型：《小考》说， 谢崇祥（如如）身材矮小（ 1.55 米左右）粗壮，外表看个小很不起眼。据日本各派提供资料：RU-RU-KO（刘良兴）身高6尺（1.80米左右），身材高大魁梧，这与谢崇祥（如司）的体型完全相反。 

三、 职业：《小考》说， 谢崇祥（如如）其父让他在宝美斋鞋铺学做鞋艺， 31 岁时在福州上杭街直冲庙设馆授徒。据国际冲绳刚柔流空手道连盟提供的资料：东恩纳宽量回忆师父RU-RU-KO（刘良兴），原是出生于贵族。19世纪后半叶，中国社会动荡不安，“刘良兴”一家都隐姓潜伏，蓄发藏身于瓦窑，为普通瓦工，平时烧瓦、叠瓦。后辞去瓦窑工作，独自租住郊外河边的两层高的房子，以篾匠维持生计。这与《小考》所提的职业，“牛头”对不了“马嘴”。 

四、 年龄：谢崇祥（如司）出生于 1852 年，而 RU-RU-KO （刘良兴）出生于 1853 年，师徒仅相差一岁。这与一般情理不合。据东恩纳盛男提供资料，其第三代传人，宫城安一说，师徒间大约相差25岁左右。因师父年老，所以令东恩纳宽量回琉球。 

五、拳论、拳名：《小考》说： 根据 “ 拳论 ” （鸣鹤拳）： “ 本法以三战为祖 ” ，这与日方视以 “ 三战 ” 为根本是相通的。实际上福州传统南拳，如：龙、鹤、虎、狮、罗汉、地术等拳术都是以“三战”为基础，不是鸣鹤拳独有的。《小考》又说： 《明理歌》鸣鹤拳中就有 “ 刚柔相济 ” 的提法，而此拳就是以刚柔为根本的，故拳名为 “ 刚柔流空手道 ” 。 
在东恩纳盛男提供的资料中说：刚柔流空手道是东恩纳宽量的学生宫城长顺，从福州带回的中国武术书刊《武备志》中所提的“法刚柔吞吐”一语中，取“刚柔”二字，作为该流派的名称，故名“刚柔流”空手道。“刚柔相济”是福州一般南拳拳术的普遍风格，也更不是鸣鹤拳所专有。所谓的“刚柔相济”与刚柔流拳名，毫不相干，风马牛不相及，由这二点所谓的《小考》，可知 《小考》笔者毫无福州传统南拳的一般常识， 任意推测、 “ 考证 ”，太过无知可笑。 

七、 授徒：《小考》说： 双方授课时，对徒弟要求极严，品德要求高，极重武德。这些双方都不谋而合，这与源流有关，如如均是这样要求，考验徒弟的。 

《小考》以此证明RU-RU-KO就是谢崇祥（如如）。那么，福州市的绝大部份的老拳师对学徒都极严格，极重武德，也就都可称为RU-RU-KO，岂不是也都可成为东恩纳宽量的师父了吗？综上所述，所谓的《小考》，并无一点可以站得住脚， 毫无 “ 考证 ” 价值，对历史人物的考证，不严肃认真、任意推测塑造，草率行事。 

当1989年4月20日，上述《小考》的内容在《福州晚报》公开宣扬后，10月19日与11月1日即有二名读者分别以《日本东恩纳宽量的师父到底是谁？》及《日本刚柔流空手道与福州鸣鹤拳同宗吗？》，两次出现《与林伟功同志商榷》的文章，认为疑点太多，太过草率，影响不好，反对在福州市为谢崇祥立“显彰碑”。 

1989年8月中国武协主席徐才知道后，认为按照实事求是的精神，理应采取科学的态度，不可迁强附会。在历史考证、专家鉴定基础上，提出科学的依据。有或无、是或非，有则有之，无则无之， 千万不要似是而非。为此，我们认为考证历史人物要以实事求是的精神，认真、严肃的态度对待。不能草率、任意塑造。所谓“谢崇祥就是RU-RU-KO，也就是东恩纳宽量在福州学武时的师父，就是刚柔流空手道的始祖”，并为他树立了所谓的“显彰碑”，这不仅在福州市武术界中，而且在冲绳各派空手道中，都成了天大的笑话。 
​
2009年12月23日 ​