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https://www.sohu.com/a/437154323_120870111
Shaolin ‘Luohan’ Neigong – Deep Squatting – An Introduction to the 'Arahant Seven Postures'!7/7/2021 Every genuine martial arts style from North China is quite often linked to the Shaolin Temple of Henan – or contains techniques that are associated with temple’s gongfu training. The Chinese term ‘罗汉’ (Luo Han) refers to the Indian Pali term ‘Arahant’ - and in this instance includes the so-called ‘Arahant Fist’ (罗汉拳 - Luo Han Quan) - an ‘enlightened’ martial art which Bodhidharma brought from South India to China around 520 CE. An ‘Arahant’ is a man or woman who has achieved enlightened within the Early School of Buddhism – represented by the Theravada School today (and its Pali Cannon). This article presents exercises that are often linked to ‘squat-kicking’ in various styles – or exercises used to a) build the external (physical) structures and strength of the entire leg area, and b) develop the ‘internal’ awareness of how energy and bodyweight manoeuvre through the centre of the bone marrow. Quite often the exercises remain the same or are only slightly altered to build the foundation for the next stage of training. Below is the ‘Arahant’ exercises for building ‘internal’ strength, power and endurance through the entire bone-structure of each leg. As the ‘circular’ structure of the joints and bones are incorporated – the ‘iron vest’ armouring of the legs is also developed. This develops the advanced internal ability to harmlessly absorb, reject or deflect any incoming power from a hostile blow. Lifting pose: Standing up naturally, with feet shoulder-width apart, arms relaxed and hanging, all ten fingers slightly bent, eyes level, and the whole body relaxed. Get rid of distracting thoughts, concentrate on the pubic area. Breathing should be natural, slow, deep, and even, with 7 breaths as appropriate, with blood flowing through the whole body. (figure 1) 1) Stand upright: hold both hands on the top of the head from the side of the body, cross your fingers with the back of your palms facing up, and inhale at the same time, then turn your palms toward the sky, do not touch the top of your head, slowly bend your knees and squat, and exhale at the same time; When squatting, the head and body are upright, do not lean forward, bend the knees as far as possible not to exceed the toes, intend to guard the Yongquan (涌泉) point, then slowly stand up, and inhale at the same time, squat 7 times, so the blood flows through the whole body. (Picture 2~3) 2) Sunrise Over Eastern Mountain: Make a fist with both hands, flexing the elbows and raising them on both sides of your shoulders. Still in the squat rises slowly, with breathing, 7 times is appropriate, the rest of the requirements are the same as above. (Picture 4~5) 3) Worshipping Buddha in Ten Directions: Put your hands together in front of your chest, palms together, and do the same squat slowly and rise 7 times. Breathing is the same as other requirements. (Picture 6~7) 4. Embrace the moon with your arms: hold your arms in a round shape, with your fingers facing each other, palms facing inward, and do squatting and rising slowly for 7 times. (Picture 8-9) 5) Two Dragons 'Spit-Out' Pearls: Make a fist with both hands, elbows with both arms flat in front of the chest, in balance, with fists facing down, still slowly squatting and raising 7 times, and the rest are the same as above. (Picture 10-11) 6) Swallow Yin - Build Yang: Fold your hands behind your waist with your palms facing outwards. Do the same slow squat and rise 7 times. The rest of the requirements are the same as above. (Picture 12~13) 7) Ten Thousand Dharmas Return to a Single Source: Fold your palms on top of each other, palms facing inward, place your the hands on the lower abdomen and down into the expand the attention into the pubic area. Squat up 7 times with slow breathing to keep your pubic field. It also requires that the head be straight and the knees bend but toes. (Pictures 14-15) Closing style: The method and essentials are the same as the starting style. Key points of Arahant Seven-Postures: When squatting up, do not bend your knees forward over your toes, let alone bend your head down, keep your eyes straight, keep your body centered, and keep your spine as straight as possible.
Chinese Language Article: https://www.sohu.com/a/437154323_120870111
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Holding the horse stance (馬步 - Ma Bu) requires a stable, physical structure which is permanently held regardless of the emotional or physical feeling’ that is present. This includes – but is not limited to – the pain experienced in the muscles when deep stances of this nature are assumed and maintained over a set period of time. The structure must prevail over every other consideration. The structure must prevail over a determined time scale no matter how tired the mind and body appear to manifest. The point of this mode of psychological and physical discipline is that although the physical structure is deemed ‘permanent’ for the duration of the exercise – the ‘feeling’ capacity of the mind and body is understood to be fleeting, changeable and impermanent. This being the case, feeling tired, distressed or overwhelmed is not a good enough ground to ‘stop’ holding the physical structure of the horse stance! The advanced holding of the horse stance must ‘root’ the practitioner to the ground, whilst the inner energy is circulated through micro and macro-cosmic orbits (simultaneously or alternatively as required), with a deep and full breath that empties and fills the (mind) and body without fail and in a continuous and powerful manner. The mind should be calm, expansive and all-embracing so that the physical body and immediate environment seem to manifest within the fabric of the mind all at once! Energy flow is optimised in an existential and historical manner, with the individual mind ‘detached’ from both whilst permanently interfacing with reality in an indifferent attitude of all-encompassing awareness. All types of feeling is understood to be ‘fleeting’ - whilst the powerful nature of the horse stance is considered the essence of all martial ability. The structure of the Book of Change (Yijing) hexagram is the model which all effective horse stance training should follow. The legs are the bottom two lines, the torso (and arms) is the second to lines) and head is the top two lines. Although not representing any particular hexagram (six-lined structure), the body of the martial artist holding the horse stance represent ANY and ALL of the sixty-four hexagrams that transition from into another. In my training, I often visualise the second hexagram of ‘earth’ as the six ‘yin’ lines symbolise the ‘dropping-down’ activity of ‘water’ sinking into the ground! Of course, as the energy rises up the spine, I visualise hexagram one – or ‘divine sky’ to assist in the ‘lifting’ of force! Any part of the body can represent any hexagram, whilst the entire situation can also be represented a an over-all and defining hexagram! This is an area of study that must be built-up over-time and which requires and in-depth and drawn-out study of the Book of Change (Yijing).
The ‘external’ component represented by the numerous ‘gongfu’ styles extant in China – perfects the ‘leverage’ of the joints on the horizontal plane. As this is generated by contracting muscles (which operate through the ‘awareness’ of the positioning of the bones and joints in relation to one another), very high levels of physical fitness and psychological conditioning must be pursued and mastered. This also involves the understanding of ‘torque’ or ‘deliberately’ employed muscular tensions to generate and increase impact. Bodyweight is also used across the horizontal plane – joint, bone, muscle bodyweight and psychological focus build ‘external’ power and erupt this force into a relatively small area of contact through the contacting limb and/or body-part. This type of power is quite often ‘shocking’ to encounter and difficult to recover from once a clean blow has been landed to a vulnerable part of the body. This skill can take five, ten or more years to perfect through traditional Chinese martial arts training (which builds a practitioner’s mind and body from the ground upwards – like the construction of a Book of Change hexagram). The most efficient martial arts style that I have seen that can convey this ability to a new student (with little prior experience) in the modern world – is that of the Shukokai Karate-Do style as formulated by O-Sensei Shigeru Kimura (1941-1995). Integrated or ‘mixed’ power is a rarefied and highly refined skill of the highest martial order! A Master of ‘integrated’ power possesses the ability to continuously switch between power-generating systems (as in ‘external’ or ‘internal’), or apply only an ‘integrated’ approach. Furthermore, within the few seconds of a complicated fight – a fighter might have to switch rapidly from one power-expression to another because this is exactly what the situation calls for. The opponent could be highly skilled and a diverse approach necessary to ‘unlock’ their defensive patterns. Being ‘trapped’ in a restricted space might prevent certain techniques (and types of power generation) from being deployed – so the most appropriate mode should be selected. Where horizontal space is missing in the environment – then ‘vertical’ power can and should be used (with the orientation of power-generation adjusted to meet circumstances). Of course, the ‘iron vest’ ability to use the ‘aligned’ bones to absorb, reject or deflect any incoming attack is always in operation with the intention of ‘damaging’ the opponent’s attacking limb through using its own power and ‘deflecting’ it back into the structures of the attacking limb. This coincides with the maintaining of the perfect ‘rooted’ footwork. External Power = 外功 (Wai Gong) Internal Power = 內功 (Nei Gong) Integrated Power = 雜功 (Za Gong) The ‘neigong’ (or ‘neidan’) component is a vast subject that is very complex and directly linked to Daoist practice. This requires a qualified Master to lead the way. However, I have relayed above the basic requirements for ‘power production’ in our Hakka Family Style of Traditional Chinese Martial Arts.
Advanced martial arts practice is ethereal even though it involves the movement of the body. In fact, moving the body is basic gongfu training, a mastery of which should be gained in one’s youth if possible. When the body ‘ages’ - a practitioner does not want the problem of mastering martial technique whilst coming to terms with how ‘ageing’ changes the mind and body. Knowing how to stand, fall, get-up, moving, kick, punch, block and evade, etc, are foundational issues that must be thoroughly absorbed into the deepest levels of the mind and body well before middle-age is reached. Of course, this is not always the case, as some people take-up the practice of traditional Chinese martial arts late in life – but with regards the more robust and rugged ‘external’ techniques – youthful practice is preferred. This is why many older people (with no previous experience) start their martial arts training through one of the ‘internal’ arts – which are a product of an ‘advanced’ and ‘mature’ mind-set. On the other hand, if an individual is able to build 20-30 years of training prior to hitting 40-50 years of age – then the bones, joints, muscles, ligaments, tendons and inner organs have all had time to experience a ‘hardening’ process over-time - and are far more ‘robust’ whilst the individual traverses into older age. Probably the greater reason for early martial arts practice is that the ability to produce massive (internal and external) impact power (with minimum) effort must be mastered before the body transitions into older age. This observation does not mean that older people cannot achieve this ability later in their life – but to already possess this devastating power is one less burden – particularly as we may also have far more responsibilities as mature people than the average young person. However, with the right type of instruction from a genuine Master, anyone of any age can ‘master’ gongfu regardless of circumstances. Motivation is the key to it all. The mind must be ‘still’ and ‘expansive’. Its psychic fabric must be simultaneously ‘empty’ and yet ‘envelop’ all things without exception! Although there is much experimentation in the West with the physical techniques of the many (and varied) gongfu styles – very few practitioners are interested in the spiritual or higher psychological aspects of traditional Chinese martial arts. This is because gongfu has been taught the wrong way around in the West to suit the cultural bias of the fee-paying audience. Whereas in China kicking is learned before punching – in the West punching is taught before kicking (because of the influence of Western Boxing). Whereas in China a gongfu practitioner learns to stand still and to stand ‘solid’ whilst defending the ten directions – in the West students are taught to move around before being taught how to ‘stand still’ (this is because Western students do not understand the important of achieving inner and outer ‘stillness’). Whereas in China gongfu student learn to ‘relax’ before assuming postures – in the West students are taught to ‘stretch’ using yoga-like techniques (mostly unknown in China). Whereas students in China learn to ‘strike’ various wooden objects to condition the bones of the hands and feet – in the West, students are encouraged to hit ‘soft’ pads that give a false impression of what it is like to hit a ‘real’ body! In the West, the mind is ‘entertained’ as a means to secure continued fee-paying through class attendance – whilst in China the Master continuously looks for new ways of ‘testing’ the virtue of the student and for any reason to ‘expel’ them from the training hall! All this ‘inversion’ must be remedied if the highest levels of spiritual and physical mastery are to be achieved. This has nothing to do with rolling around on a padded floor wearing padded-gloves – and everything to do with ‘looking within’ to refine the flow of internal energy. The awareness of the mind must permeate every cell of the physical body whilst the practitioner sits correctly in the meditation posture. What else is there? When advanced practitioners ascend to a certain age of maturity, reality has nothing to do with the ego pursuit of ‘winning’ or ‘losing’ in petty disputes that ultimately mean nothing. Most of the combat sports of the moment are fleeting and exist merely to make money – and they are ineffective on the modern battlefield and not practiced by the military! The final lesson is to ‘leave the body’ with the minimum of fuss when the time presents itself. In a very real sense, a genuine Master of martial arts has ‘already’ transcended the boundaries of material limitation whilst still living. This sense of ‘completion’ and ‘transcendence’ is what draws the already perceptive into his or her presence to receive instruction...
I was recently asked (by a prominent [British] Muay Thai practitioner) to write a short text about the cultural differences between ‘Western’ Thai Boxers when compared with ethnic ‘Thai’ Muay Thai counter-parts. He was particularly interested in the different cultural patterns of ‘effort’ that are in effect in the Thai Boxing ring in Thailand. He explained to me that he knows full well that many dedicated and very respectful Westerners travel to Thailand to compete in ethnic Thai Boxing competitions (not ‘adjusted’ to the sensitivities of the international community) - and as soon as they step-off the aeroplane suffer the beginnings of a psychological collapse and the development of tremendous feelings of doubt! Furthermore, despite bravery and stoicism – as soon as the ‘smiling’ Muay Thai Warriors the ring and being the traditional ‘Ram Muay Wai Kru’ - an ancient ritual of respect that praise the Hindu God – Rama – as well as the Buddha, Dharma and Sangha – a very strong sense of ‘alienation’ manifests. This sense of ‘cultural’ distinction is made even more pronounced as the Thai practitioner also ‘praises’ his or her family ancestors, parents, teachers and fellow students, etc. Perhaps this is one of its main purposes. This ‘dance’ is in fact a ‘secret’ martial art that only true Muay Thai Masters know how to interpret and use in combat. Muay Thai Masters have told me that it is a Thai manifestation of ‘internal’ martial art similar to the Taijiquan of China – which is often performed nowadays to ‘music’ as is the ‘Ram Muay’ (this is the shortened title my ethnic Thai friends us who live in the Warwick area of the UK). I have had the privilege to train in the UK with students of Master Sken and Master Toddy over the years – despite never meeting these two experts in person. When some of these practitioners have passed through Sutton (South London) - they have come into our gongfu training hall on Sunday mornings and we have worked together. They have always been respectful, tough and very dedicated. Other than this contact with Muay Thai, my family frequent the Buddhapadipa Temple in Wimbledon, and on occasion, the Forest Hermitage (Wat Santidhamma) in Warwickshire – both of which serve the British ethnic Thai population and the Theravada Buddhism they practice. Years ago, when I lived in Hereford, I sparred full-on with ethnic Thai visitors and I was impressed with their ‘relaxed’ attitude and ‘fierce’ manifestation when fighting! I was inspired by how they live and breathe Buddhism first and foremost – and throw punches and kicks only after they have learned the Buddha’s Teaching fully! This is why I often seek-out special Theravada Bhikkhus living in the Buddhist temples in the UK. Unlike in the Thai villages and forests – this is not a common occurrence in the UK – but occasionally I get lucky! I have also discovered that the Head Monks are often reticent to discuss this issue in the temple due to many Westerners developing the wrong attitude about Buddhism and Muay Thai. The way this works is that if the Head Monk wanted Westerners to learn Muay Thai – he would make its presence known and organise access. When I have discovered Muay Thai practice in the Buddhist temples – it has always been by mistake. This has also included incidents of special ‘tattooing’ sessions – whereby ‘sacred’ images and spiritually empowered mantras are ‘tapped’ into the skin – using a pointed-bone and coloured ink... These marks are considered ‘sacred’ and ‘divine’ as they grant the carrier with special spiritual powers. Interestingly, when I asked the Head Monk about how a person should begin their practice of Muay Thai? He answered that I should read the Pali Suttas about ‘correct breathing’, and about ‘stilling the mind’ - whilst living in an isolated meditation hut for at least three-years. Without this foundation of ‘Dhamma’ - I was told – I cannot practice ‘genuine’ Muay Thai.
Dear Nick A very interesting (internal) Longfist Form! Master Zhao Ming Wang forwarded this video of a Qianfeng Disciple. This is a traditional mode of practice just like our own in the Ch’an Dao School. Of course, what follows is not a discussion on the movements perse, but rather the manner in which these movements are performed. Developed insight and seasoned will-power is a matter of a good and fully-rounded ‘intent’. This is the exact opposite to what is expected in the training and technique designed found in the ‘audience-pleasing’ practicing for sport. For sporting purposes - the movements are speeded-up for dramatic effect. This changes the leg use, balance and coordination. Sporting forms are practiced 'top down' which is good for audience entertainment but sacrifices a good and effective 'root'. Proper (traditional) form training for fighting is practiced 'ground up' (like the building of a hexagram in the Book of Changes) and unfolds like an arrow fired from a bow (or a bamboo stick stuck firmly in the ground - which is pulled back and suddenly 'released'). Sporting forms push the generated power downwards whilst simultaneously denying any strong or stable leg structure for 'rooting' - so that its is wasted and dissipates into the air without effect. Traditional forms - such as seen here - generate the power from a firm and stable base and then radiate that power upwards and outwards in all directions. The 'shape' or 'technique' chosen or assumed (such as a lead straight punch front and back - or a front-kick and a palm-block, etc) - harness and directs this generated power, into a focused emission suitable for a particular self-defence requirement (expressing 'stopping-power'). Although practicing forms at lightning speed is good every now and again (whilst retaining the 'root'), it is better to practice like the practitioner in this video so as to continuously perfect the 'foundation' - as each repetition removes a layer of doubt in one's ability (from the mind and body). As the body ages, this type of 'internal' exercise ensures a constant standard of practice as the physical processes and psychological perception both mature. Notice how the drop-down stances are not as deep as those found in Taijiquan to facilitate a smooth interaction of the movements. These Longfist forms possess drop-down stances that can be performed ‘deep’, ‘moderate’ (as seen here), or ‘high’ for various adaptions of training. Each type of low-stance must be perfected by the Longfist practitioner as a preparation for the different requirements of all-round self-defence. It is best to master the low-stances when young so that this ability can be retained and applied to the body as it ages.
Moving Beyond the ‘Superficial’ and Revealing the ‘True’ Essence of Ancient Chinese Martial Arts12/6/2020 Original Chinese Language Article By: Qu Lishi (趣历史) (Translated by Adrian Chan-Wyles PhD) Now, when many of my friends are watching classic heroic novels made into films - such as the "Water Margin" and "Sui and Tang Dynasty" - or classic works of modern martial arts masters (such as Jin Yong [金庸} and Gu Long [古龙]), they are being subjected to a number of powerful martial arts hero-images. This includes invincible (and fierce) generals, as well as knights effortlessly galloping over the land (and across rivers and lakes without getting wet), whilst climbing (or flying) over high walls and defeating the enemy on the other side - despite being out-numbered by as much as ten to one! The question is this – are traditional Chinese martial arts effective in battle – or are they an outdated mode of ‘attempted’ self-defence? External Gongfu With this question in mind, this author accessed a great deal of information upon this subject and finally worked-out the difference between ‘ancient’ Chinese martial arts and the modern ‘dance’ that passes as martial arts practice in many gymnastic halls throughout China today. Ancient Chinese martial arts are divided into two distinct (but related in essence) branches (or ‘Families’) – namely the ‘external’ (外 - Wai) and the ‘internal’ (内 - Nei). Those who have achieved great success in ‘external’ gongfu, can prevail against any opponent (in any situation) using only ‘empty-hands’ and expertly applying a refined brute force through deceptive movements of great and dynamic speed - with such an outstanding Master of this method being ‘Bruce Lee’. Internal Gongfu The mastery of internal gongfu is much more complicated, complex (and subtle) - and its perfection is not easy – even for those who gain access to genuine teachers. Internal gongfu has three sections that must be fully understood and mastered: 1) Bright (Pure) ‘Shooting-Force’ (Emitting-Power) = Ming Jin (明劲) - ‘Ming Jin’ looks very strong and even ‘tough’. This ‘external’ power stem from a permanently aligned posture and bodyweight dropping into the floor – and ‘rebounding’ back up through the centre of the bones – to be ‘emitted’ through whatever technique is being applied. However, at the highest level of mastery (and in a split second) - It can be transitioned into ‘An Jin’. 2) Dark (Secret) ‘Shooting-Force’ (Emitting-Power) = An Jin (暗劲) - ‘An Jin’ only manifests when proficiency is already advanced. An Jin is comprised of the mastery (and swift interaction) of both ‘hard’ (刚 - Gang) and ‘soft’ (柔 - Rou) power. The enhanced mind (and ‘awareness’) replaces all physical effort. This skill remains ‘hidden’ and is difficult to comprehend in combat and learn in practice. When the mind (and body) of the practitioner is suitably ‘matured’, then the ability to transition to ‘Hua Jin’ will naturally manifest. 3) Transformative (Changing) ‘Shooting-Force' (Emitting-Power) = Hua Jin (化劲) - ‘Hua Jin’ is the perfect ‘synthesis’ of ‘Ming Jin’ and ‘An Jin’ so that no difference can be discerned by the opponent – who cannot perceive what is happening – and cannot suitably ‘adapt’ to what is happening in his or her immediate environment. There is no discernible difference between the mind and body – with the body and environment appearing to manifest within an expanded consciousness that free of all greed, hatred and delusion. This level of traditional martial arts mastery requires a long process of accumulated insight and gathered internal energy. When young, a martial artist must be brave and ruthless at the beginning – but radically ‘stills the mind’ and ‘relaxes the body’ as a means to gain access to the ‘invisible’ and ‘intangible’. One of the most famous martial artists in ancient times is known as ‘Hua Tuo’ (华佗), who was originally a famous doctor living during the Eastern Han Dynasty, but the ‘Wu Qin Xi’ (五禽戏) or ‘Five Birds Playing’ System he created is considered to be the earliest known martial arts routine in China. This is why some people call Hua Tuo the founder of Chinese martial arts. Cases can also be made for Zhang Sanfeng (张三丰), the founder of the Wudang (武当) Sect – which is a superb school of internal martial arts. Then there is Chen Yuting (陈玉廷), from Chenjiagou - Wen County, Henan Province – who is the founder of Chen Style Taijiquan. Dong Haichuan (董海川) is the founder of Baguazhang (八卦掌) or ‘Eight Trigram Palm’ - who was considered an amazing man. He was a martial arts teacher for Emperor Guangxu (光绪) and also served as a guard for Empress Dowager Cixi (慈禧). After him, there are more famous martial artists such as Huo Yuanjia (霍元甲), Du Xinwu (杜心武) and Huang Feihong (黄飞鸿), etc., all excellent martial arts masters. Tradition Chinese Martial Arts are ‘Too Dangerous’
Generally speaking, ancient Chinese martial arts are both internal and external, and there are routines, such as unarmed punching and kicking forms, as well as weaponry forms involving sword, spear and weighted-chain, etc. Most of these styles focus on developing the ‘awareness’ capacity of the mind, which is essential for all physical martial arts mastery. Only those people born in the modern-age who possess a certain type of character are qualified to be accepted for this type of genuine Chinese martial arts training. However, the current martial arts cater for everyone and their stricture and scope of development is too rigid and limited. Such martial arts only require a basic external performance, but the internal spirit being completely non-existent. Therefore, practicing for several decades can only lead to the acquisition of a very a basic skill that diminishes with age. The main difference is that the ancient martial arts technique evolved for ‘killing’ enemies and prevailing during ‘self-defence’, whilst modern martial arts belong only to the category of sports – and therefore only reflect the limited requirements of success needed in that environment. Humanity’s martial arts practice began in warfare and represent a summary of the experience of being exposed to brutal and bloody fighting on the battlefield. This old body of knowledge has into the modern world and has been integrated as a martial art practiced within the category of sports. Under the constraints of rules and referees, it strives to be fair and avoid injury, defeats opponents with strength and wisdom - declaring a winner and a loser. As for why this is done, it is because when modern martial arts were practiced in New China – fights often ended with opponents being ‘killed’ in competition. The government took control of the situation and stopped this type of gongfu-fighting in public. Instead, martial arts training was limited to the exercises concerned with the performing and perfection of artistic-looking routines. It was not until the reform and opening up that the ‘traditional’ Chinese martial arts practice returned for public scrutiny yet again. The more aggressive sport of Sanda (散打) or ‘Free Fighting’ was developed as a sport, and finally determined that blows to the groin, neck, and back of the head were forbidden. This led to a system of punching, kicking and throwing that although ‘aggressive’ lacked much of the martial sophistication that defines traditional Chinese martial arts practice and fighting. Comment: Ancient Chinese martial arts are historically designed for real fighting, and I can only say that the so-called ‘Martial Arts Masters who are constantly promoting their own style – who are always ‘challenging’ others - are nothing but a group of ‘loud mouthed-kings'. Their actual combat capability is almost zero. Why do I say this? This is because these so-called martial artists have not developed their inner or outer strength and do not possess the unique speed (or skills) associated with traditional Chinese martial arts practice. They value theory and pretty routines, but lack actual combat experience. In the old days, the Master earned their abilities the hard way – through prevailing in actual martial arts conflicts. Of course, this author always believes that there are peerless gongfu Masters in the world. However, those who have achieved this kind of martial arts mastery often live very low-key lives. They quietly practice and perfect the genuine traditional Chinese martial arts, and pursue a simple life of self-sufficiency and isolation. Such authentic Master keep away from publicity and are difficult to track-down! Indeed, they hide in plain sight amongst the people! Chinese Language Reference: https://history.sohu.com/a/156558022_612628 中国武术真的是花架子吗?看看古代的武术家境界有多高 2017-07-12 16:55 现在很多朋友在看《水浒传》、《隋唐演义》等古典英雄演义小说,或者金庸、古龙等现代武侠大师的经典作品时,里面塑造了一批家喻户晓、武功高强的英雄形象,有纵横沙场、马上无敌的猛将,也有驰骋江湖、闪展腾挪的侠客,一个个飞檐走壁以一敌十,可是,每每看到兴奋之处的时候,很多人不禁在想,古代武功真有那么神奇么?古代的武术家真有那么厉害?为什么现代的所谓武术家们为何就做不到呢? 带着这个疑问,小编查找了好多资料,终于弄清了古代武术与现代舞术的区别所在。古武术,分为外家功夫和内家功夫。外家功夫练到大成者,能空手入白刃,代表人物李小龙。 而内家功夫则要复杂的多,分为明劲、暗劲、化劲。明劲时候是看起来十分刚猛,练到一定境界会自然过渡到暗劲,暗劲是刚柔并济。暗劲练到一定成都会自然过渡到化劲。而习武之人的境界,从一开始好勇斗狠到心态变平和再到无形无相无招胜有招,是需要一个漫长的积累过程的。 古代比较有名的武术家有:华佗,本是东汉名医,但他创编的五禽戏被称作是中国最早的武术套路,因此也有人把华佗称为中国武术的创始人。张三丰,武当派的开山祖师,一身内家功夫出神入化,十分了得。陈玉廷,河南温县陈家沟人,陈式太极拳创始人。董海川,八卦掌创始人,这个人很了不得,他曾为光绪皇帝武术教师,并且还担任过慈禧太后的护卫。而在他之后比较有名还有霍元甲、杜心武、黄飞鸿等等,无不是一代宗师级的武术家。 总体来说,古武在于内外兼修,套路是有的,例如拳谱,剑谱等,不过大都只重其中的心法,就是要领,掌握要领后一通百通,只有先修内,有了一定心性,才能明白要领。而现在的武术太过僵硬化了,只求外在表现,内在的精神却没了,所以,练个几十年也只能是基本功而不能有所成。 还有就是古武术是杀敌自卫的技术,而现代武术属于体育范畴。 人类的武术始于战争,是战场上血腥厮杀的总结,进入现代文明,将武术列入体育范畴,在规则和裁判的制约下,力求公平和避免伤害,以力量和知慧战胜对手,决以输赢。至于为什么这么做,那是因为现代武术在新中国成立时,因为武者比试时失手打死过人,所以国家一度停止武术发展,只保留艺术性的套路的演练,直到改革开放后,中国武术界才按体育的规则开始散打比赛试验,最终确定,裆、颈、后脑禁打。两人按照一定的规则,运用武术中的踢、打、摔等攻防技法制胜对方。但是,不得不说,中华武术也是由此而没落了。 点评:古代武术才是真正格斗,而看到现在动不动在哪个频道里推广的武术大师 我只能说都是一堆嘴强王者。实战能力几乎为零。为什么这么说呢?这是因为这些所谓的武术家的力量 速度都没练出来 他们重视理论和套路,缺乏实战与灵活, 纵观中国历史武术名家 那个不是大量实战的基础上在结合拳理 内外兼修而成为一代武术宗师的?哪像现代这帮武术家 ,太过功利化了,一个个都是绣花枕头,中看不中用也。 当然,小编始终相信,现在的世间也是有绝世高手的,但是,但凡这种武道有所成就者,往往都很低调,一心钻研武道,把功名利禄看的非常淡,大隐隐与世,所以就像那句老话说的,其实真正的高手其实在民间啊。 Probably from around 35-years onward, a serious practitioner of traditional Chinese martial arts should be beginning the slow transition from purely ‘external’ to predominately ‘internal’ training methods, exercises and understandings. The point of this is purely age-related – as we get older, we see more in different ways to a younger person – who naturally possesses a different type strength (which changes as age progresses). If a practitioner does not possess access to correct instruction, then he or she will not ‘understand’ how to accommodate these age-related changes, and almost always will ‘give-up’ their practice. Another factor that needs to be considered is the age that training start for an individual, as this will affect what objectives should realistically be sought-after. However, prior to 35-years old, a practitioner of gongfu should have experienced much of the ‘hard’, ‘external’ training, understand psychological and physical suffering (through direct experience), and ‘know’ how to defend themselves during a violent encounter. External ‘sensitivity’ training is very different from ‘internal’ sensitivity training. The latter example involves the turning of the mind’s awareness ‘inward’ so that a) the blood flow can be sensed, and b) after a deep-breath, the oxygen can be felt as it distributes throughout and around the entirety of the body! The point of ‘external’ and ‘internal’ training is a perfect ‘integration’ (zagong) of the two aspects so that qi-power can be manifested at anywhere on a scale from imperceptible to ‘massive’ and ‘highly destructive’. If none of this makes any sense, then train harder!
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AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |