Author's Note: When young, the mind is narrow but the body is broad. When old, the mind is expansive and the body is narrow. Both realities must be thoroughly acknowledged, understood, developed, and integrated. As the body ages, the enhanced awareness of the mind takes the place (and enthuses) the former youthful functioning of the (younger) body. When young, a mind without an enhanced awareness (which must be earned through experience) - is replaced by the blatant strength associated with youth - an important part of human survival and evolutionary development. Youthful strength is not an error - but a requirement in life. Traditional martial arts mastery is a different achievement which does not need to be accomplished by every human-being - but can be achieved by some dedicated individuals. Secular monasticism is a vehicle through which an individual can renounce attachment to private property and worldly cycles of self-hindering material accumulation.

Buddhist monasticism can serve as a vehicle for "emptying-out" the inner conditioning that arises from greed, hatred and delusion - as such - religion (and religious differences - including atheism and non-theism) does not have to enter into it. I suspect the ancient Greeks encountered Buddhist monasticism when visiting India (such as Pythagoras), learned the Buddhist method of "looking within", and then adjusted the technique as a means to "prove" the efficacy of their particular philosophical perspectives (the work of Plotinus may be taken as an example of this endeavour). Later, via the Greeks, a community of Jews (in Qumran) started sitting in meditation to personally attain a "glimpse of Yahweh" - a practice that eventually spread to the reformed Jewish sect of "Christianity" - whose adherents started to meditate whilst sat in the caves found in the Egyptian Desert (this type of Christianity spread to Britain - hundreds of years prior to Catholicism - becoming "Celtic Christianity").

​Buddhist monasticism does not require a belief in theism to be effective. Many Greek schools of thought, for instance, sought to establish or discover various views pertaining to the natural (material) world. The same observation can be applied to various Hindu school where consciousness and material environment is not directly associated with a theistic entity. Whatever the case, protecting the psychological and physical space within which a martial artist exists - is the entire purpose of any traditional Chinese martial arts school. Young or old - this is the beginning, middle, and end of legitimate Chinese martial practice! ACW (18.4.2025)

We can all become extraordinarily fit at different times throughout our lives. Part of the reality pertaining to physical and psychological fitness, evolves around the concept of developed understanding. In other words, the level of effective (physical) fitness evolves around the (psychological) maturity of the individual concerned. The greater the understanding of the processes involved – the more effective the fitness the greater is the efficiency of the required output – usually expressed through various sports (unless one happens to be a professional soldier). This is all well and good – but fighting for one’s life is not the same as fighting for a coloured belt, trophy, or medal, etc. One question I ask MMA practitioners – or any of the sporting martial arts practitioner  – is that if their art is so effective in reality, why is it that professional armed forces do not make use of these arts? The answer is that “sport” has gentlemanly rules which curb human aggression, and generate a climate of artificial “fairness” and “co-operation”. 

​For children, and young people, this is positive and nourishing (children should never be exposed to the horror or reality of warfare). When not in a war-like environment – civility should prevail - and sport is the preferred vehicle to encourage a “safe” competitiveness – although one unfortune by-product is that the selfish ego is boosted and inflated. Sport fighting is 90% imagination and only 10% reality – with full-contact martial arts, MMA, Thai Boxing, and Western Boxing, etc, representing the more realistic end of the spectrum. However, sport realism is not battlefield brutality. Dealing with the shock of battle might require stepping in (and through) human blood, entrails, or various types of human offal. People with smashed-bones will be screaming, shouting, laughing, and carrying-out all kinds of despicable acts - either permitted or forbidden by the established rules of war. Battlefield hand-to-hand combat is certainly not gentlemanly – and it is unrealistic to assume that it is. A Bayonet charge is all about high-energy and immense and continuous brutality until all the battle objectives are achieved – or the bayoneteer killed. This is just one example. 

​Drones are now causing all kinds of brutality on the Battlefield – and a coloured belt around the midriff is of no use whatsoever. Genuine traditional martial arts (usually types and variants “Longfist”) are employed by the People’s Liberation Army (PLA) of Mainland China. Physical and psychological robustness on the battlefield (not the training hall) is emphasised. These are soldiers who train in every relevant modern weaponry available – including the most destructive technological variants (weaponry is both tactical and strategic). A similar situation exists throughout Western armies where boxing and MMA are not used on the battlefield (although such pastimes might be encouraged as a form of military-related leisure). And yet despite this distinct “modernity” in weapon use – there is a belief that after all the firepower of the various weapon-systems have been exchanged - a battle might still be decided “man-to-man” in hand-to-hand during close-quarter combat. Eye-gouging, biting, head-butting, groin ripping, throat-crushing, finger-breaking, nose breaking, ear-ripping, knee-dislocation – and any number of similar nasty techniques are regularly used. 

​Real combat is about inequality. Real combat is about establishing (and maintaining) a terminal advantage over the enemy. Victory and survival are causally linked. Of course, the State does not care if its soldiers live or die (despite rhetoric to the opposite) – just as long as all the State’s military objectives are achieved for the least amount of money (not lives). Soldiers are expendable – because that is the function of being a soldier (someone who fights for pay). A mercenary is simply a soldier who fights for anyone who is willing to pay – regardless of cause and nation. The traditional Chinese martial artist trains his (or her) body to be able to perform this function (utter brutality) – whilst retaining a calm and expansive mind-state that is reflective and unruffled under duress. Traditional martial arts practice assumes the reality of the feudal battlefield – even if the practitioner is not serving in the armed forces of their respective countries (of course, an individual might or might not be a professional soldier – but a civilian practices martial arts with an enhanced sense of combat-reality whether living in a village, town, or a city). Assuming the traditional Chinese martial artist survives a) the ongoing and arduous training (which will be harsh with no material gains such as belts, medals, or trophies, etc) and b) any experiences of actual combat (either on the street or the battlefield). 

​If all these challenges are met, which will include regular (unpadded) sparring and “honour fights” – then the traditional Chinese martial artist must adjust to circumstances as the body “ages” and transforms through the experience of maturing (this includes illness, injury, and disability). The body changes and the mind-awareness deepens. The body is no longer young and will not manifest as a younger body normally does. Despite this, a lifetime of experience will shine through, and a natural dominance will emerge. An older practitioner will understand and control a situation involving younger people as opponents – because those younger people (although full of the vigour of youth) will not possess the ability to “perceive” what is happening – at least not to the extent of the elder and more experienced practitioner. For many years, a dedicated martial arts practitioner will always experience “confusion” whilst participating in the midst of unarmed combat. It is only as time progresses that a student’s mind will “calm” and a pristine awareness takes its place. Before this change can happen, however, many sporting martial arts practitioners cease training in their chosen martial art (early) usually in their late 20s or early 30s (not granting enough time for any substantial inner transformation to occur) – whereas traditional Chinese practitioners must carry-on practicing until the moment of their final breath – and the body is “given-up”. 

Dear Gillian

For me, it is cultivating the method of "seeing through" the veil which obscures the divine (or the "substantive"). Some people can see it just as they are from their default place of standing - but I have needed to create or cultivate this vision - so as to remove the obscuring block. I have got quite far in this quest over the decades - to the point where I can see how other paths work. Indeed, other paths are now useful to me - where once I pushed them away. Now, I can see the "divine" ("void") in the "ordinary" ("form"). The dross of life - that which we accrue in life and leave behind in death - often means it is never easy. But effort is divine, as you already know. 

Dear Master Charles Johnson

​I appreciate books like this - particularly biographies. I am also very grateful that you provided me with your Signed Copy. Chinese history in the West is still a work in progress. The issue has been one of developing a recording method that is universal - or at least accessible by non-Chinese people. This allows Chinese culture to be shared with others. Master Woo's biography is constructed just like books in Hong Kong. As a matter of respect, I do not intend to 'comment' in any great detail. Within traditional Chinese culture, lineage is very important (associated with family surname) and great violence can erupt between different Clans. I have found that a strategic 'silence' allows all parties to retain face. I would say that Chinese people do not change their family names easily and do not take such requirements lightly. 

Indeed, about 20 years ago, I was told about Master Woo by a Chinese person who said that US Immigration misspelt his name (Chin) upon entry and that is how he became known amongst Westerners - although he was still called 'Chin' within the Hakka Cantonese community. Chin, Chan, Tan and Chen (陳) are all the same name. I suspect there is a 'family only' (inner) lineage as well as numerous 'outer' lineages with respect to San Soo (perhaps emphasising different aspects of the art). The inner lineage is not necessarily better - but implies biological (genetic) relationship between members. Family members are automatically entitled to certain things (by birth) that non-family members are not - or have to earn (usually through arduous methods) - depending upon lineage. 

Of course, being 'Chinese' - none of this is set in concrete. Interestingly, I was introduced to Master Woo as 'Master Chin' in the Hakka language. Furthermore, as we share the same Clan name - we are gongfu Clan brothers. I placed Master Woo's picture on our family shrine. 

​The term 'Jin' (劲) is used here to denote a 'penetrating' and 'cutting' power. There is also the connotation of 'vigour' and to 'express'.

​Left-hand Particle = 巠 (jing1) - or 'streams running underground' (a 'hidden' or 'inner' power) - and 'to flow' (without interruption). A complex particle comprised of:

​一 = yi1 - number one, unified, complete

巛 = chuan1 - river, stream, tide, flow

工 = gong1 - effort, labour, work, technique

​Right-hand Particle = 力 (yi4) - or 'strength, power, force' comprised of:

​𠃌 = gun3 - a hook bent inward (able to effortlessly suspend weight)

​丿= yi4 - clearing all obstructions away to achieve a clear objective

Video: Five Animal Interplay! (五禽戲 - Wu Qin Yi)

​I was introduced to these movements in my youth - as a foundation to learning 'Old' (Yang) Taijiquan! In those days traditional training from a Chinese teacher was never questioned. The onus was on 'secrecy' - as if no one else possessed the knowledge just shared (today, the emphasis in China is upon an open sharing). I was told that the outer bodily positions-structures guided the qi energy with greater force into (and through) the five sets of corresponding inner organs thus strengthening and purifying them.

​These exercises are established upon the theory of the 'Five Phases' (五行 - Wu Xing) - first found in the 'Classic of History' (書經 - Shu Jing) - probably linked to the five planets visible to the naked-eye of the ancient civilisations:

​Animal         Organ

Tiger             Liver-Gall Bladder

Deer              Kidneys-Bladder

Bear              Spleen-Stomach

Monkey        Heart-Small Intestine

Crane            Lung-Large Intestine

​As the 'Bear' is the central animal influence of our gongfu family style - this practice was seen as establishing (and enhancing) the rooted and central stability (and strength) this animal represents (the 'spirit' of the bear involves the practitioner suddenly standing-up and appearing much bigger and over-powering). According to the English language Wiki-page - this 'Five Animal Interplay' exercise is linked to the development of Hung Gar and Fujian White Crane (Bak Hok)!

​The way I was taught this exercise involved 'morning' practice (yin moving to yang) and 'evening' practice (yang moving to yin) - with the movements staying the same. Unlike the 'connected' flow shown in the above video (a different style or method) - I was taught 'single' structure exercises that started with feet shoulder-width apart and hands by my sides. After assuming and holding the required position - the structure was completely dropped away back to the 'ready' (neutral) position - in preparation for assuming the next (different) position. I was taught that all these five movements exist implicitly in the Taijiquan Form - and so eventually I was no longer required to practice them separately. 

Blogger's Note: The Chinese martial arts manual mentioned in the below referenced article is termed the '易筋經' or the 'Yi Jin Jing' (or the 'Change Muscle-Tendon-Energy Channel Classic'). Within myth and legend, this manual is said to have been brought to China from India c. 520 CE by the Indian Buddhist monk known as 'Bodhidharma' (who is believed to have 'transmitted' the 'Dhyana' or 'Ch'an School of Mahayana Buddhism to China). My personal opinion is that the data contained in this manual may have been passed on orally - between Master and Disciple - for centuries BEFORE finally being written down and then evolving into the form known today. If this is not the case, then the Yi Jin Ying is a Qing Dynasty construction reflecting key elements of ancient Chinese martial arts practice - ascribed to mysterious and exotic origination! Perhaps the reality is a bit of both. Whatever the reality, the idea of the (Putonghua) '點穴' (Dian Xue) or 'Strike Point' concept and the '點脈' (Dian Mai) perhaps more readily known in the West by its 'Cantonese' expression of 'Dim Mak' (or 'Strike Channel') are well-known concepts within traditional Chinese martial arts. Within Traditional Chinese Medicine (TCM) - these two terms refer to the same gongfu process of striking the exterior (and 'interior') of the opponent's body in such a manner that the 'Qi' (氣) vital force energy flow is either temporarily or permanently disrupted. This is designed to cause injury along a sliding scale of inflicted damage ranging from a minor (and short-lived) disruption of bodily functions - to devastating damage caused to the internal organs and deep bodily structures - designed to cause 'death' (indeed, it is believed that a true Master can 'strike' a specific medical point even without the opponent knowing - causing death many hours later). It may well be that '精' (Jing) or 'essential nature' and '神' (Shen) or 'expanded empty consciousness' are also 'disrupted' by using this gongfu method - but in different ways. An opponent may be psychologically 'unbalanced' by the presence of his adversary (disrupting 'Shen' with no actual blows being struck) or have the 'Jing' flow disrupted (if opponent is 'male') through a blow delivered to the genitalia or anywhere along the 'Conception' and/or the 'Governing' Vessels, etc. Of course, a powerful blow may be intended to only hit the 'outside' of the physical body structure of the opponent - or be designed to 'penetrate' through these external structures and 'pierce' the inner organs and deep bodily structures. This type of 'hitting' is a routine requirement in the mastery of traditional Chinese martial arts. The concept of '導引' (Dao Yin) or to 'Direct Stretch' - is the traditional foundation for the modern practice known as '氣功' (Qi Gong) or 'Vital Force Energy Cultivation'. ACW (13.4.2023)

2023-04-12 Ecns.cn Editor: Zhao Li

​(ECNS) -- In Chinese costume dramas, people often see a miraculous martial arts skill called Dian Xue (acupoint), which uses pressure points to control or immobilize an opponent. Dian means to strike with a finger and Xue means an acupuncture point.
During fights, martial arts experts use their two fingers to swiftly and forcefully press on a certain part of the opponent's body, immediately immobilizing them.

Compared to Dian Xue, the Yi Jin Jing in martial arts novels is even more miraculous. Yi Jin Jing is known as a classic book about Muscle and Tendon Changing. “Yi” means to change, “Jin” means tendons and muscles, and “Jing”, methods.

Legend has it that anyone who masters the skills in this book can become a master of martial arts and even save others' lives, so martial artists eagerly pursue it.

According to legend, credit for Yi Jin Jing's development is given to Da Mo (Bodhidharma), an Indian monk who lived in the Song Mountains in central China.

Legend said that Yi Jin Jing was left behind by Bodhidharma after he departed the Shaolin Temple. However, there is some debate about the true origin.

But Zhou Weiliang, professor at Hangzhou Normal University, believes that in reality, Dian Xue and Yijin Jing are not as mysterious as they are portrayed in television dramas.

Yi Jin Jing includes the Dao Yin exercises and martial arts exercises. It emphasizes that the core of martial arts lies in internal strength, which is manifested from the inside out. There are no specific martial arts movements in the book. It mainly introduces some exercises to cultivate inner strength. The Dao Yin exercises are related to health preservation via meditation and practicing breathing.

In Qing Dynasty (1636 -1911), some stories mentioned the book Yij Jin Jing. Zhou said that many Qing Dynasty notes are similar to novels, and recorded events are more like stories, in which Yi Jin Jing was described as a "secret martial arts manual".

Zhou believes that some of the descriptions of Yi Jin Jing in current Chinese martial arts novels may have adopted this setting from historical materials of the Qing Dynasty while adding more rich and complex plot lines.

Yi Jin Jing also introduces finger strength training, which involves placing mung beans in a container and repeatedly inserting fingers among the beans to strengthen the hand. Over time, the fingers become as hard as stone and no one can resist them

Some people believe that this may be one of the legendary Dian Xue techniques. However, Zhou believes that the ability to immobilize people with this technique may not actually exist. The miraculous effects are mostly exaggerated in novels and movies.

English Language Article:
​http://www.ecns.cn/m/news/cns-wire/2023-04-12/detail-ihcnkeae0516413.shtml

The reality is that the head and centre mass inner organs need to be protected through a) movement of the entire body away from the potentially damaging blows, and b) the movement of the head, arms and legs so as to deflect, parry and/or block the incoming blows when the centre of mass cannot be adequately moved out the way. In the case of unarmed blows - the muscle, bone structure and inner connective tissue can be 'toughened' through physical fitness and martial arts training. The potential damage of these unarmed blows can be effectively absorbed by the outer physical and near surface structures of the body - this includes the bone structures and soft structures that comprise the entirety of skull including the mouth, teeth and tongue, etc. These areas can be 'damaged' but will heal given time. When dealing with bladed weapons - as these can penetrate the toughened outer layers and do fatal damage to the inner organs - movement of the centre mass is of a greater concern if no self-defensive weapon is held by the victim.  

In this case the legs must be well trained for either minute or substantial (instantaneous) distance adjustment. A damaged leg will still have to move by necessity (hence the importance of squat kicks in all their variants). The upper limbs comprising the arms and hands will have to 'deflect' and/or catch or absorb the thrusts of any incoming bladed weapons that cannot be completely avoided by systemic (evasive) movement. This may involve the substantial damage of these body parts which must be conditioned to perform this function whilst carrying-on moving for the duration of the self-defence encounter. These types of injuries can heal (regardless of severity and any potential or long-term damage). An individual will probably survive broken or cut arms and hands - but will not survive damaged or cut inner organs, arteries or veins, etc, as the medical chances are greatly reduced.   

The outer limbs can be sacrificed to protect the inner organs and blood supply vessels which lie across the centre line. There are cases of individuals surviving horrific injuries following attacks from blades weapons – even with severe mi-section laceration damaging and exposing the intestines, severe and deep cuts to the neck area and even limbs hacked-off – providing medical care can be found in time. Chances of survival are enhanced if the individual concerned has some medical knowledge and First Aid experience – as this can stem blood loss and prolong the chances of survival. Of course, traditional Chinese martial arts often involve extensive mental toughness regimen – and it is this attribute that can drive a severely injured individual to a) ‘survive’ a deadly encounter (despite being badly hurt), and b) seek-out assistance despite being isolated or far away from medical help. 

​The Tenshin Ryu - Art of War - is an ancient Japanese Style of martial arts created by Tokizawa Yahei during the Kanei period (1624-1645). According to its origination story - this Style emerged from the Style known as  'Shinkage Ryu' as taught by Yagyū Munenori - the Instructor of the Sword to the Tokugawa Shogunate. It is said that Tokizawa Yahei (who served Yagyū Munenori) - created his own School by carefully collecting and organising more than 200 defending and attacking sword-fighting techniques. He named this Style the 'Tenshin Ryu':

​This style is written in traditional Chinese ideograms (which I can read and share):

​天 (tian1) = Over-arching, limitless divine sky

心 (xin1) = mind (brain) and-or anatomical heart

流 (liu2) = flow, river, a 'preserving' and 'spreading' device which links the past to the present, and the present to the future

兵 (bing1) soldier, war, weapon, martial

法 (fa1) law, rule, order, guide, standard, method and 'certain' way

​I suspect this is influenced (during the latter Ming Dynasty) by of the Chinese Ch'an School of Buddhism and its definition of enlightenment (transmitted to Japan as 'Zen' in its various guises). The mind is 'stilled' during the act of seated meditation - or through the interaction between an enlightened Ch'an Master and the seeking Disciple. Any act, (including a wise word, Sutra reference, a slap, step or well-timed 'ignoring'), is useful for bringing the habitually moving surface mind to a halt. From this point, further training is needed to 'jump off' the hundred-foot pole, as it is called - so that the human perception 'expands' in all (eight) directions without limit. All is correctly perceived without whilst being perfectly reflected within. This young lady moves with her deadly sword within this 'all-embracing' and 'pristine awareness'. I hope that she uses such a beautiful (and deadly) weapon for only doing good for humanity. 

There is a belief found in ancient China that as soon as words are made on paper - a corresponding material reality is a) generated, and/or b) reinforced (in the case of pre-existing realities). This sense of 'importance', 'inevitability' and 'mystery' stems from writing (a rare art right up to the 20th century in China) being associated with the ancient divination process.

​Indeed, the Chinese writing system evolved from the shamans 'interpreting' and 'reading' the cracks made in collected turtle plastron and ox scapulae by the application of a hot poker. This followed a question being subnitted by the 'King' - which was carried-up to the divine-sky by the smoke generated by the hot poker 'touching' the shell or bone - with the (returning) answer being assumed to be contained in the subsequent 'cracks' that appeared! Needless to say, a body of knowledge (and associated 'interpretative' symbols) was eventually established.

​Up until 1949 only around 10% of the Chinese population was 'literate' (with 90% remaining permanently 'illiterate') - with the 'literacy' rate today being in the high 90% (with 'illiteracy' remaining mostly amongst the very old or the cognitively disabled, etc) - but the cultural attitude toward the importance of 'words' still persists. Therefore, the naming of a martial art within Chinese-influenced cultures is rarely a trivial matter, and I suspect Miyagi Chojun had been thinking about - (and discussing this issue) - far more extensively (and in depth) than the usual 'naming' stories would suggest and imply.

​When Miyagi Chojun chose the two traditional Chinese ideograms of '剛' (Go - Gang) and '柔' (Ju - Rou) he was achieving two objectives:

​1) He was generating order in the material environment by 'confirming' the existential presence of his martial art. The art exists because the name exists - and vice versa. Within ancient China it was believed that by compiling lists of 'things' and 'objects' (including 'names') - a corresponding order was being constructed and reinforced in the material environment. An 'order' that cannot be questioned. 

​2) Miyagi Chojun was stamping his authority upon the art he had been taught and entrusted with by his teacher Higaonna Kanryo - projecting this order 'backwards' into history - all the way back through time (and associated 'lineage') to the 'root' of the art in Southern China. In other words, Miyagi Chojun was confirming the transmission and his receiving of the transmission - whilst proving he is worthy of it! He is placing his family's clan banner firmly in the ground, making a statement of authority and authenticity, and daring anyone to challenge him - which, of course - no one was stupid enough to do! 

​In this case, the martial art defined as 'Go' and 'Ju' had previously existed (in one form or another) - but now had reached a level of technical sophistication (and stabilization) so that the profound physical-psychological principles of 'Go' and 'Ju' (containing the corresponding meanings you ascribe) could now be considered fully established and developed! 

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。 
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【来源：海峡都市报】 ​