Dear Nick The footage and graphics contained in the following (Chinese language) video are very interesting when it is understood that the bones are aligned, the bodyweight is dropping into the ground (rooting) and a rebounding force is rising. The mind is calm and expansive whilst the joints, limbs (and sections of the torso) are 'rounded' (concave and convex). When the joints are 'rounded' the ligaments and tendons are relaxed and extended (like a drawn bow-string). Although the muscle are relaxed and released from any unnecessary tension - there is a natural 'torque' (twisting tension) - again, similar to a bow-string that is drawn with just the right amount of tension - and no more. This is important as most people are far too 'tense' and 'rigid' as a habit. Once the awareness penetrates the centre of the bones and all this is achieved - this advanced understanding spreads all over the body and is held in place by an expanded awareness. It can then be reproduced in any and all Form movements and in any self-defence situations. The bodyweight drops down through the centre of the bones (stimulating the bone marrow) and 'rebounds' up from the ground - also through the centre of the bones - and can be emitted through any part of the body. This power production can then be augmented by the localised speed of a limb or position (angle) of the attacking body-part. A perfectly timed blow can be massively magnified in power by catching an opponent 'running in' onto a punch or kick, etc. Here, in this beautiful Shaolin (Europe) video we can see how the bow is correctly 'drawn': All this is achieved through holding the '站桩' (Zhan Zhuang) - or 'Standing like a Stake' - ('Holding the Ball') position. Although I focus upon the 'rounded' structure of this exercise - its name traditionally derives from a foundational 'stake' or 'pile' (shaped like a 'rounded' Western telegraph pole) that was driven deep into the ground (or sea-bed) which served as an anchoring (and firm) support for a building. There is 'rootedness' (dropped bodyweight) and there is expanding 'stabilisation' (rebounding and rising) power! This is an analogy worthy of further consideration - as it is this psychological and physical 'roundedness' that makes all this ability possible!
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The profound level materialises after years of training and ripens with age. It looks and feels very different to the manner in which other martial arts manifest and are manifested. It has more in common with Daoist martial expressions – but is reliant upon Buddhist mind expanding practices. There is a deep sense of peace emanating from within a profound and limitless void. Power manifests – and fades away in a cyclic motion. There is no rush and yet the power manifests according to the urgency of need – as if the required power is being extracted from the surrounding material conditions as the need arises. This lack of urgency coupled with the immediacy of the required power gives the false impression that a) nothing is happening and b) nothing will happen. These false impressions flash across the surface mind of the opponent and then there is the blinding flash as the power hits home. As there is the minimum of conflict – the highest levels of attainment seem very different to the more commonly available martial arts. Nothing is happening and yet everything is unfolding. Years of preparation generate the maximum conditions that dissolve as their function is performed. This process can repeat itself as many times as is required and in as many different ways as is needed. Winning is not the objective – but rather a cyclic survival. The feeling of a deep and permanent peace is similar to floating in space free of a gravitational pull and yet gravity is fully mastered and is under complete control. Seeing beyond that which needs to be created is the essence of being nowhere all at once. Freedom is a lack of artificially imposed barriers that have no place during the birthing or dying processes. Being at one with the empty mind ground is to be at one with empty space in all places and at all times. The mind expands because these (inner) false barriers are removed. As these (inner) false barriers are removed – there can be no (outer) false barriers. This reality is devastating for the opponent to encounter and ‘healing’ for the practitioner to attain.
Yamashiro Yoshitomo demonstrates 'aramed' and 'armed' aspects of this interesting Okinawan Styles (through a series of videos) - although in this short clip there is an emphasis upon 'Senaka No Kitae' or 'striking through the correct use of the back': As is similar within the Chinese concept of 'Tong Bei' (通背) - or 'correctly passing and mediating energy (force) through region of the back' - a master of this technique is not only fully 'rooted' when stood bolt-upright (and exceedingly difficult to upoot ot push-over) - but he or she can deliever highly destructive blows without first artificially dropping the bodyweight achieved by lowering, widening or elongating the stance (as younger people are prone to do). This radically reduces reaction time and allows a practitioner to effectively 'move within' and 'between' the defensive gaps offered by the oppoment and is a vitally important element of 'Iron Vest' achieved through aligning the bone structure. The relatively 'high stance' encourages and opponent to habitually 'strike' without thinking - only to hit hardened bone enlivened through correctly 'dropping' bodyweight and efficiently 'rising' rebounding force - two sides of the same force operating simultaneously from within the centre of the bone-marrow outward. As I am in no way an epert in Okinawan Karate-Do - I find these videos by accident and then 'decode' their meaning by relating it all back to my experience within Chinese martial arts.
Dear Tony Watching this (and all the excellrnt videos you have forwarded) - Ju jitsu looks like Qinna - or an element of Qinna. Qinna - or 'Joint Relocation' as Master Chan referred to it in Hakka - emphasises breaking bones, dislocating and/or snapping joints, but only in its highest or most deadliest aspect. The Chinese language instructional texts talk of the 'grip' being developed so that 'skin' is torn-off and 'bones' shattered like glass! a) Ju Jitsu (柔術) = 'Rou Shu' - or 'Soft Expertise/Art'. An ethnic Chinese speaker once explained the underlying concept behind the 'Rou' (柔) ideogram to me as 'to ride in another person's rickshaw' - which I thought was superb! Not just 'borrowing' - but if need be - 'stealing' another person's vehicle of transportation (or mode of 'movement') certainly with their knowledge (after-all, they are 'present'), but equally 'without their consent' (as the resulting outcome is often contrary to that desired by the opponent)! b) Qin Na (擒拿) = 'Catch Relocate' (Probably 'Kin Na' in the Japanese language). Working down from that level of destruction, there is the well-known 'controlling' of the opponent through 'light' joint relocation designed to 'move' the body around (from an 'inconvenient' place to a 'convenient' place), or to 'disarm' or 'subdue' whilst leaving the opponent or assailent relatively 'unharmed'. Indeed, what makes genuine Taijiquan so effective is its inner core of guiding Qinna. Coupled, of course, with the mastering of the dropped bodyweight through an aligned bone structure - and the efficient directing of the resulting 'rebounding' force from the ground to the extremities - a process which allows for the generation of tremendous 'breaking' force with apparently 'little' effort! Thanks Adrian
Goju Ryu Karate-Do: Master Yagi Akitoku [八木明德] ((1912-2003) Demonstrates 'Sepai' Kata! (24.11.2022)11/24/2022 Above (and in the link below) is a rare historical Video featuring Okinawa Goju-ryu Meibukan Founder Yagi Akitoku Shihan:
Yagi Akitoku - Sepai Kata This is the Disciple of Miyagi Chojun who states he founded his own Dojo in 1952 - the only person outside the Miyagi family to be given permission to do so during Miyagi Chojun's lifetime. He founded the 'Meibukan' - which seems to be the Goju Ryu lineage currently active in Hunan! There is a Goju Ryu Karate-Do 'Dojo' situated in Hunan (China) that is part of the 'Meibukan' tradition! The Development of Yongchun White Crane Fist – the Basis of Okinawan Karate-Do! (4.11.2022)11/5/2022 (Translated by Adrian Chan-Wyles PhD) Translator's Note: I read through (and carefully translated) this meandering Chinese language text regarding the known history of Fujian White Crane Fist! To make sense of the context - I had to reference other Chinese language historical texts in an attempt to decipher what exactly is being said! Even so, as much of this genre of (folk) history is entirely 'local' in nature, even (contemporary) ethnic Chinese language speakers do not understand the what exactly is 'meant' by the words and phrases being used. We must use our experience and knowledge to establish the most likely meaning. There appears to be a subtle blend of fact and myth - perfectly entwined - so that it becomes difficult to tell one aspect from the other! During this interpretive process, we must remain anchored within historical 'fact' - but where is the 'fact' we must remain anchored within? What we do know is that somehow a) this martial art does physically 'exist' through a discernable history, and b) as a distinct body of knowledge it ended-up in the hands of Higaonna Kanryo! ACW (5.11.2022) White Crane Fist (白鹤拳 - Bai He Quan) is often referred to by the geographical indicator of ‘Yongchun’ (永春). This Style of martial arts is just one of the of many developed by the Han nationality throughout the Fujian area. It began to emerge as a distinct martial arts Style during the latter Ming Dynasty (1368-1644). From its root source, four distinct lineages have developed: 1) Flying (飞 - Fei) 2) Singing (鸣 - Ming) 3) Sleeping (宿 - Su) 4) Feeding (食 - Shi) These four variations of White Crane Fist all manifest in slightly different and specific ways, so that a unique and distinct Style is evident in each case. These differences stem from the practitioners emphasising particular traits observed in the defensive and aggressive behaviour of the White Crane species of bird. All of this speciality is known today as the White Crane Fist Style. According to legend, this Style originated within the Funing (福宁) Prefecture, Fujian Province – today known as Xiapu (霞浦) County. As a Style, it developed out of the ‘external’ (外 - Wai) Shaolin Fist (少林拳 - Shaolin Quan) method taught to Master Fang Zhonggong (方种公) at the ‘North Gate’ (北门 - Bei Men). He taught his only child (his daughter) ‘Fang Qiniang’ (方七娘) - and it is Fang Qiniang who is considered the ‘Founder’ of White Crane Fist. Soon after she was born – Fang Qiniang’s mother passed away from illness. Her father believed that his only daughter should be strong and stand tall – just like a man – and he taught her to practice martial arts every day. Fang Qiniang eventually married ‘Zeng Si’ (曾四) - who was a native of Yongchun County situated within the Quanzhou area of Fujian province (although some records suggest his family originally came from Zhejiang – before moving into Yongchun and resettling). As Fang Qiniang lived and taught her Style in ‘Yongchun’ it is referred to today as being ‘Yongchun White Crane Fist’. The White Crane Fist specialises in generating vibrating and shaking (弹抖 - Dan Dou) power (劲 - Jin) of both arms. The open-hand ‘Palm Law’ (掌法 - Zhang Fa) method emphasises a penetrating and piercing power which is similar to an arrow hitting an opponent after being fired from a bow – but devastating the opponent at very close-range. This method is supported by penetrating footwork that decisively advances and retreats – footwork that also ‘pretends’ to advance and retreat – causing confusion and mistimed reactions in an opponent. Explosive force (力 - LI) is generated by the White Crane Fist practitioner when taking advantage of an opponent’s errors. For this to happen, the joints and fingers of the White Crane Fist practitioner must be ‘strengthened’ and appropriately ‘conditioned’. Stepping must be both precise and diverse. Every blow must be thrown with explosive power. The arms must shake, vibrate and tremble with ‘hard’ and ‘soft’ energy continuously interchanging in a manner which cannot be predicted or understood by the opponent. This is held together by the bodyweight smoothly ‘dropping’ and ‘rising’ continuously and without interruption. Each Style of White Crane Fist presents these techniques in different and varied ways. Within the folk storytelling developed during the early Qing Dynasty, it was said that ‘Crane Immortal’ (鹤仙 - He Xian) taught Fang Qiniang – whilst others state that Fang Qiang was taught only by her father – a native of Funing! Whatever the case, all stories agree that Fang Qiniang was the Founding Patriarch of the White Crane Fist Style! Fang Qiniang was clever and pretty – and was committed to learning martial arts! As Fang Qiniang refused to get married – she was banished to a local Buddhist Temple known as ‘Bai Lian’ (written as ‘白练’ or ‘白莲’ - the second variant appearing to be a play on words) meaning both ‘White Lotus’ and ‘Pure Practice’. Her Buddhist teacher was said to be the ‘Crane Immortal’ (鹤仙 - He Xian) who came down to Earth to instruct her in the art of ‘White Crane’. Fang Qiniang had to combine hours of seated Ch’an meditation with the continuous observation of the ‘hard’ and ‘soft’ movements of the White Crane birds that inhabited the temple grounds. (Another version worthy of consideration is the following story: One day, Fang Qiniang was immersed in the shuttle weaving on a traditional loom. Suddenly, a White Crane bird flew gracefully into the area - hovering near her roof and looking down. The White Crane bird finally flew down to the floor of the hall - standing quietly next to the loom. Looking up at Fang Qiniang – the bird refused to fly away and stood quietly for a long time. Fang Qiniang was very surprised by the inner stillness and outer poise of this bird. Fang Qiniang picked up the shuttle box and threw it – but the White Crane remained unruffled and simply ‘spread its wings’ in a graceful manner – and intercepted the shuttle box perfectly – causing it to bounce back with an effortless force. Fang Qiniang raised the bamboo inkstone used for weaving and attempted to strike the White Crane. Unexpectedly, the White Crane ‘shook’ its body - and the bamboo inkstone was bounced back! When Fang Qiniang saw this behaviour she was impressed and puzzled! On this day, the White Crane bird with its plump, white feathers refused to fly away! When night fell, Mr. Fang Zhonggong asked Fang Qiniang to bring out some white rice and sweet potato to feed the White Crane in the hall! Despite all this movement – the White Crane refused to move but remain quiet and still – but always alert! These events were a preparation for a white-haired Immortal to visit the Fang family and convey the martial art of the White Crane Fist!) Once these movements (and reactions) were understood – Fang Qiniang had to integrate this new knowledge into her already existing Shaolin martial arts practice. This process took four years to achieve, and the White Crane Fist Style of martial arts was developed! As the ‘Bai Lian’ Temple became a well-known and respected centre of gongfu practice and given that Fang Qiniang was a renowned Buddhist monastic – she changed the name of the temple to ‘Jiao Lian’ (教练) or ‘Teach Practice’ Temple (寺 - Si). One day, a man named ‘Feng Si’ visited the temple and respectfully requested that Fang Qiniang teach him the White Crane Fist Style she had developed. He trained as her Disciple for over ten-years – and eventually the two people fell in love. This prompted Fang Qiniang to leave the temple and resume the lay life so that the two could get married. This is how the White Crane Style was taken back to Yongchun (the place of Fang Si’s birth) situated in Quanzhou - and took root in this part of Fujian province! The couple had numerous children and passed this family Style. The constituent originating lineages included are: White Crane Fist (白鹤拳 - Bai He Quan) Bai Lian Temple (白练寺 - Bai Lian Si) a) ‘Crane Immortal’ (鹤仙 - He Xian) b) ‘Fang Qiniang’ (方七娘) c) ‘Zeng Si’ (曾四) Southern Shaolin Fist (南 少林拳 - Nan Shao Lin Quan) a) ‘Fang Zhonggong’ (方种公) - Father b) ‘Fang Qiniang’ (方七娘) - Daughter c) ‘Zeng Si’ (曾四) - Husband of Fang Qiniang & Son-in-Law of Fang Zhonggong The foot work of the White Crane is light, exact and yet ‘heavy’ when ‘heaviness’ is required! The White Crane can move across the ground – barely touching the floor – like snowflakes falling from the sky! This is the foot work of heroes! Martial arts training is beneficial for the development of the mind and body! The White Crane Fist puts a great emphasis upon physical fitness! As a result, the White Crane Fist is masterful in attack and defence! The White Crane Fist is simultaneously both simple and enriched! These are the twenty defining attributes (and forms) of the White Crane Fist: 1) The White Crane generates the shape. 2) The shape manifests in the fist! 3) The form is taken from the name. 4) The name suggests elegance as its crowning glory 5) The White Crane protects the centreline throughout the upper, middle and lower parts of its body. 6) The Thirty-Six Divine Sky Gods 7) The Seventy-Two Broad Earth Demons 8) The One-Hundred and Eight Dharmas 9) The White Crane Flashes its Wings 10) Thirteen-Step Vibrations 11) Seven Steps – Three Battles 12) Thirteen Grand Protections 13) The White Crane is both ‘firm’ and ‘not’ firm. 14) The White Crane is both ‘soft’ and ‘not’ soft. 15) Shaking and vibrating with strength from the ground upwards. 16) There is a continuous change of skilled applications. 17) The structure is precise and always clearly maintained. 18) The awareness is always clear regarding offence and defence. 19) Always demonstrate mercy before raising your hand. 20) When the time comes to raise your hand – show no mercy! Higaonna Kanryo [1853-1915] (东恩纳宽量) was the first Okinawan to learn the White Crane Fist. From the Chinese gongfu he took back to Okinawa – the ‘Empty Hand Way’ (空手道) or ‘Karate-Do’ would be eventually developed. It is the White Crane Fist which serves as the technical foundation to the development of Okinawan and Japanese Karate-Do. In other words, the ‘Empty Hand Fist’ (空手拳) or ‘Karate-Ken’ is really what is called ‘Yongchun Fist’ (永春拳 - Yong Chun Quan) in China! It is believed that the White Crane Fist is part of the ‘Shaolin Five Ancestor Fist’ (少林五祖拳 - Shao Lin Wu Zu Quan) tradition. This tradition developed in the Quanzhou area of Fujian province and is linked to the Southern Shaolin Temple situated in this area. The five Styles which form this System are as follows: a) White Crane Fist (白鹤拳 - Bai He Quan) b) Monkey Quan (猴拳 - Hou Quan) c) Arahant Fist (罗汉拳 - Luo Han Quan) d) Bodhidharma Fist (达尊拳 - Da Zun Quan) - also referred as ‘Mind Intention’ Boxing (心意拳 - Xin Yi Quan) e) Grand Ancestor Fist (太祖拳 - Tai Zu Quan) Although it is agreed that Fang Qiniang invented the White Crane Fist Style – it was her husband (Zeng Si) who is often cited as teaching the art prolifically within the Yongchun area. Historical records suggest that the couple lived in the area during four different time periods and were prone to travelling. It seems that the couple did not permanently stay in the Yongchun area, but they did favour the place as a base of operations – and it is from here that a renowned centre of White Crane Fist practice developed. The implication is that they settled there toward the end of their lives together. Although the historical text I am referencing is ‘old’ (and difficult to contextualise), there is an indication the couple taught White Crane Fist near to the ‘West Gate’ (西门 - Xi Men) of Yongchun, to the rear (and ‘outside’) of the ‘Name Temple’ (庙 - Miao) pertaining to the ‘Gu’ (辜) family. Technically speaking, this would be a Confucian Temple maintained by the local Gu family (designed only for the use of that family) comprised of a hall for social gatherings (which could include gongfu practice), and an area for the cremated remains of the Gu ancestors stored in large, sealed earthenware pots (together with pictures and biographical texts). Later, out of respect for Zeng Si, this training area became known as the ‘Zeng Martial Temple’ (曾武馆 - Zeng Wu Guan). This might suggest that the Gu Temple was eventually taken over as a centre for White Crane Fist practice – and was locally known by the above variant. This how the White Crane Fist Style took root within the Yongchun area. During the more than one-hundred years between emperors Kangxi (r. 1661-1722) and Qianlong (r. 1735-1796) - the White Crane Fist was widely disseminated and exchanged both inside and outside Fujian province. As an effective martial art favoured by the local population, it was continuously absorbed, summarized and improved upon – a process which greatly enriched and developed its technical and theoretical content. This important historical (developmental) period may be considered the ‘heyday’ of the White Crane Fist Style. The different names associated with this Style of martial arts are: i) White Crane Fist (白鹤拳 - Bai He Quan) ii) Fujian White Crane Fist (福建白鹤拳 - Fu Jian Bai He Quan) iii) Fujian Shaolin White Crane Fist (福建少林白鹤拳 - Fu Jian Shao Lin Bai He Quan) iv) Yongchun White Crane Fist (永春白鹤拳 - Yong Chun Bai He Quan) v) Southern Shaolin White Crane Fist (南少林白鹤拳 - Nan Shao Lin Bai He Quan) Between the reigns of the Qing Dynasty emperors Kangxi, Qianlong and Jiaqing (嘉慶), that is to say from around 1664-1821 – the record books suggest that the White Crane Fist Style has been passed on by five or six generations of descendants in the Yongchun area – depending upon how lineages are interpreted and understood. It was one of these lineages which was eventually taken back to Okinawa and served as the foundation for the development of modern Karate-Do in all that art’s distinct and diverse variations. Chinese Language Sources:
Miyagi Takashi [宮城敬] (1919-2008) – Goju Ryu ‘Komeikan’ Makiwawa Training Advice! (19.10.2022)10/19/2022 Always strive to be familiar with the Makiwawa! When you stand in front of the Makiwawa – stand with strength and vigour! Stand at the correct distance and in the right empowering posture when confronting the Makiwawa! When the practitioner strikes with a kick and a punch – always drop the bodyweight and strike through the pelvic-girdle and the lower-abdomen. The bodyweight is ‘dropped’ through an aligned posture so that the bones and joints are correctly positioned. This ‘roots’ the practitioner firmly to the ground whilst allowing swift and yet powerful movements to and from the Makiwawa! The entire mind and body must be used – and must not be limited to just the use of the hands and feet! This is how the ‘Hard’ and the ‘Soft’ energies are continuously ‘balanced’! Added to this is control of the breath – so that the practitioner ‘breaths-in’ during the preparation and ‘breaths-out’ during the execution and delivery of each strike! This coordination between ‘breathing’ and ‘physical’ movement must be well-practiced and refined. This is important as the breathing mechanism inherent within Makiwawa training connects Kata practice to Basics and Kumite. Remember – the Makiwawa is a manifestation of a real ‘threatening’ opponent! This is why a Goju Ryu practitioner must generate and retain a strong sense of purpose and reality! Every punch and kick must be delivered with full intensity – with the mind and the body being fully alert, relaxed and yet ‘ready’ for instantaneous and dramatic action! A controlled aggression must be ever present – but the mind and body must free of any hindering factors such as anger or hatred! The mind must be ‘calm’ and ‘expansively’ aware – whilst the body must be perfectly ‘balanced’ and fully primed between ‘Hard’ and ‘Soft’! When the moment is correct all the combined power of the mind and body must be focused and projected toward the Makiwawa! The strike must be ‘penetrative’ and pass ‘through’ the Makiwawa striking surface! The principle is to ‘penetrate’ the surface muscle and bone of the opponent and strike deep into the neural network – to incapacitate the ability of the opponent to move their body appropriately during combat – where precise movement is required for survival! This is exactly what a Goju Ryu Karate-Do practitioner trains to take away from an opponent through landing perfectly timed and devastatingly ‘penetrating’ power-strikes! How should the Makiwawa be used during training? Makiwawa training is a perfect manifestation of ‘external’ and ‘internal’ methodology. Therefore, the following principles must be developed and applied: 1) The execution of each technique must be developed from ‘slow’ to ‘fast’. 2) The execution of each technique must be developed from ‘weak’ to ‘strong’. 3) The transition(s) between these attributes must be thoroughly practiced and mastered. 4) Striking force must be applied in a ‘penetrating’ manner – that is beyond the collision of objects. 5) As the repetitions increase – the intensity of penetrative force is developed to devastating levels. 6) Makiwawa-training is a vital part of Goju Ryu Karate-Do methodology! Japanese Source Article: 常に巻き藁に親しむ 巻き藁(わら)の練習は、巻き藁に正しく向かって、常に腹と腰で突き・蹴りを行います。手と足だけで行うのではなく、体全体のバランスをとりながら、正しい姿勢で練習をすることが大切です。そのとき意識的に呼吸法(気息の呑吐法)を取り入れながら突き・蹴りを行います。この巻き藁における呼吸法が、形の演武にも同様の効果を表します。 巻き藁に向かったときは、常に生きた相手に向かって突き・当て・蹴りをしているのだ、という気迫を忘れないように練習すべきです。緩から急へ、弱から強へと変化をつけ、徐々に力を入れながら、回数を増やすごとに強烈なまでに行えるようになります。空手道修練のためには、常に巻き藁に親しむことが大切です。
Dear Tony
I was discussing the idea of 'double-punching' with a student a few days ago - and how often double-punching appears in our Longfist Forms (nearly every other movement) and how many different gongfu Forms retain double-punching! Yang Style Taijiquan retains the double-punch to each temple - although I believe it is termed 'Two Winds Pierce Ears' (双风贯耳 - Shuang Feng Guan Er) to hide the true meaning and intention (there was a lot of this type of colourful or deliberately misleading terminology to befuddle anyone attempting to steal the art). When I was young, this move was taught to me as 'Fist Ear' (拳耳 - Quan Er) or 'Box the Ears' - even though it has absolutely NOTHING to do with striking the ears! In the local Hakka culture (where water buffaloes abound) - this movement was termed striking with the 'Water Buffalo Horns' (水牛角 - Shui Niu Jiao) or 'Sui Nyiu Gok' in the Hakka language. The two large knuckles of each closed hand 'insert' into the anatomical gaps either side of the forehead which denote the 'temples' (the place where the hair greys on a man and the passing of time is recorded). Hence 'temporal' (or the Latin 'tempus') referring to the 'passing of time', etc. Interestingly, the Chinese language term for 'temple' (as an anatomical designation) is '颞' (nie4) which can be analysed as follows: a) Left-hand particle = 聶 (nie4) - comprised of '耳' (er3) or 'ear' repeated three times - with one ear stacked upon two ears! The simplified form is '聂' and appears to mean 'whisper into the ear'. b) Right-hand particle = 頁 (ye4) or the anatomical human 'head' - and is comprised of: Top element: '丆' (han3) a variant of '厂' - meaning 'cliff-top'. Middle element: '自' (zi4) pertaining to the 'self' or 'individual' - a picture of the 'nose'. Bottom element: ' 儿' (er2) a contraction of '兒' - an infant with an as yet still unformed fontanelle. This may refer to a 'part' or 'area' of the human head that is 'weak' (like an infant) but refers to an anatomical weakness that is retained even within an adult's mature head! I suspect the ancient doctors (or court scholars) described the 'temple' area either side of the forehead as being like a 'third-ear', but an area which was inherently 'weak' to the touch - and which retained this 'weakness' into adulthood. The Taijiquan teachers then talk of the disembodied power (rebounding bodyweight directed by intention - fed through an aligned posture) leaving the fist and 'passing through' the thin temple area (like a strong 'breeze') into the location of the 'third ear'! Perhaps the 'awareness' generated in these parts of the brain-mind nexus (just inside the temple areas) was considered a 'type of hearing' by the ancient anatomists in China. Certainly, the capacity to 'hear' within Chinese martial arts practice involves more than just 'hearing' with the ears! Thanks Adrian China News Service, Fuzhou, March 26, 2020 (Reporter: Weng Yumin - 翁宇民) In the days of home epidemic prevention! Pictured to the right is Xu Lanyu (徐兰雨) - the lineage inheritor of ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) - a native of Fuzhou and perpetuator of the often (historically) ‘hidden’ cultural treasure that is represented by the wealth of martial knowledge developed throughout the area. He is pictured here with a ‘student’ who travelled a long way to train in this unique martial art! (Photograph by Chen Nuan - 陈暖). During lockdown throughout China, millions communicated with one another using the internet! A young woman (Ling Yun - 凌云) from Sichuan, for instance, entertained untold numbers with her ability to use a traditional long sword which she used to ‘pierce’ bits of paper thrown up into the air! Around the same time, a ‘masked man’ (pictured above) took to the internet and decided to demonstrate the ‘Forms’ and self-defence applications of his family martial arts style! His daily programmes attracted hundreds of thousands of viewers! This activity led to untold thousands starting to practice ‘Whooping Crane Fist’ via their TV or computer screen! How did this notoriety begin? Well, the ‘masked man’ decided that he would record a video of himself practicing the ‘Forms’ contained within the martial art of ‘Whooping Crane Fist’ - carefully edited to the well-known theme tune from the hit movie entitled ‘Kung Fu Panda’! This interesting mixture of ‘old’ traditional Chinese culture and ‘new’ paradigms in general entertainment, led to a massive interest in the martial art that was being demonstrated! No one could have predicted how popular this blend of serious study with light-hearted entertainment would prove – particularly at the dangerous and unpredictable times that Covid-19 represented to the world! Master Xu Lanyu (徐兰雨) Practicing ‘Whooping Crane Fist – Twenty-Eight Perches’ (鸣鹤拳二十八宿 - Ming He Quan Er Shi Ba Su). The reporter learned that this ‘masked man’ is one Xu Lanyu - the lineage inheritor of Whooping Crane Fist – who is a native of Fuzhou and preserver of the ‘hidden’ martial cultural heritage of the area, as well as being a National (First-Class) Martial Arts Referee, and Deputy Secretary-General of the Fuzhou Wushu Association. In the video that became famous, the Form that Xu Lanyu demonstrated is known as ‘Whooping Crane Fist – Twenty-Eight Perches’ (鸣鹤拳二十八宿 - Ming He Quan Er Shi Ba Su). Xu Lanyu said: "The ‘Twenty-Eight Perches’ Form derives from the ‘Shaolin Arahant Fist’ (少林罗汉拳 - Shao Lin Luo Han Quan) style. This ‘Twenty-Eight Perches’ Form was developed only within the ‘Whooping Crane Fist’ style – and is not part of any other Crane fighting art. It has a unique spirit which is fast, brave, alert and flexible. This represents a sudden and dramatic transformation often observed in the behaviour of the White Crane bird species. The White Crane is usually quiet, calm and deliberately sedate – but is always poised on the psychological and physical ‘edge’ (between ‘tension’ and ‘relaxation’) so that it can burst into action at any time! The flexibility can suddenly become (momentarily) ‘rigid’ (刚 - Gang) and highly destructive – whilst a ‘rigid’ White Crane can disrupt the mind and body balance of an opponent by suddenly losing ALL the ‘tension’ and become fully ‘evasive’ through a sudden and instantaneous ‘relaxation’ (柔 - Rou). Bodyweight is fully applied to a body part (like water rushing into a hollow pot) – or completely withdrawn from a body area (like water being ‘emptied’ from a storage area). This awareness (and ability) generates an instant and terrible (trembling) power which the White Crane uses when applying the cruel techniques of ‘trapping’ and ‘breaking’ the opponent’s fingers, toes, wrists, ankles, elbows, knees and neck, etc!’ Xu Lanyu explained to our reporters that the developmental history of ‘Whooping Crane Fist’ - including the oral history as well as the legends and myths - is all described in detail in the book entitled ‘Crane Technique – Fujian Whooping Crane Fist’ (鹤法—--福建鸣鹤拳 - He Crane – Fu Jian Ming He Quan) - written by Master Yu Danqiu (余丹秋) - the teacher of Xu Lanyu! This book is full of very interesting and important historical data and is currently in preparation for publication! The Founding Ancestor of Crane Fist is believed to be the semi-legendary woman martial arts expert known as ‘Fang Qiniang’ (方七娘) during the late Ming and early Qing Dynasties. This original Fujian White Crane Fist style developed within the Fuzhou area – and eventually diversified into the ‘Whooping Crane’ (鸣鹤 - Ming He), the ‘Perching’ (or ‘Sleeping’) Crane (宿鹤 - Su He), the 'Ancestral Crane’ (宗鹤 - Zong He), the ‘Trembling Crane’ (纵鹤 - Zong He), the ‘Flying Crane’ (飞鹤 - Fei He) and the ‘Feeding Crane’ 食鹤 - She He), as well as many other branches! Indeed, there are several White Crane Fist lineages all preserving and transmitting their interesting histories! For example, during the Daoguang (道光) era of the Qing Dynasty (reigned 1820-1860) - there lived a White Crane Fist teacher known as Master ‘Lin Shixian’ (林世咸) who was well-known in the Yixu area of Fuzhou! He would take on and defeat anyone who challenged him and one day his White Crane skills were observed by a Shaolin Buddhist monk who was travelling through the area! His name was ‘Shi Mingyu’ (释明余) - that is ‘Venerable Bright Intensity’ – and he was a respected expert in the martial art of ‘Shaolin Arahant Fist’ (少林罗汉拳 - Shao Lin Luo Han Quan). After both men were properly introduced, a large crowd gathered - and following demands for a sparring competition - each man demonstrated his respective art for all to see! It soon became apparent, however, that both men were equally matched despite the technical differences in their martial systems, and that neither could prevail. Furthermore, each man recognised the equal mastery of the other and both became firm friends! Watching in the crowd that day was one ‘Lin Dachong’ (林达崇) who came from the Pan Yu area of Fuzhou! He was a disciple of the eminent Shaolin monk and was astonished and impressed when he saw the beauty and technical skill of the White Crane Fist! He requested that Lin Shixian accept him as a disciple and stay to teach him in the Pan Yu area – a request Lin Shixian accepted! Whooping Crane Fist was subsequently developed by Lin Dachong after he combined the movements of Fujian White Crane Fist with those found in the style of ‘Shaolin Arahant Fist’! These two well-known styles form the technical foundation of ‘Whooping Crane’! This is why the Pan Yu area of Fuzhou has become recognised as the birthplace of ‘Whooping Crane Fist’ both in China and abroad! There was also a very great ‘Generational Grand Master’ (一代宗师 - Yi Dai Zong Shi) who was named ‘Xie Zongxiang’ (谢宗祥)* and also known as ‘Xie Ru Ru’ (谢如如)! He was a very great martial arts teacher, practitioner, fighter and healer who was known far and wide in Fuzhou and a long way beyond! Indeed, he had trained as the leading disciple of ‘Lin Dachong’ - who later became known as ‘Pan Yu Ba’ (潘屿八)! Local people in Fuzhou used to call him ‘Ru Shi’ (如师), and in his hands, ‘the ‘Whooping Crane Fist’ style was repeatedly improved and developed, so that its good reputation spread across China and out into the wide world – becoming known far and wide for its combat effectiveness! Xie Zongxiang was very famous and had countless students and disciples! He met many people from around the world – and the record books state one of them was from Okinawa! This is significant as Fuzhou now receives a continuous stream of visitors that are researching the Chinese origins of the Okinawan Goju Ryu style of Karate-Do. They all arrive with their stories concerning Higaonna Kanryo (东恩纳宽量 - Dong En Na Kuan Liang) - a very strong and brave young man who visited Fuzhou in 1877 – where he studied Fujian White Crane Fist under ‘Xie Zongxiang’! Furthermore, travellers from Japan and Okinawa all state that ‘Whooping Crane Fist’ has had an important influence on the development of Goju Ryu Karate-Do! Quite often, there are also many doubts as the origination stories tend to differ at various points in their telling – whilst all agreeing on certain significant facts! Whooping Crane Fist is a superb cultural treasure that is like a beautiful flower growing out of the brickwork of a wall – but the fragrance of which reaches far and wide! Xu Lanyu's teacher - Yu Danqiu - has often been invited to teach martial arts overseas. Nowadays, there are foreign disciples learning genuine ‘Whooping Crane Fist’ in Europe and Oceania. Xu Lanyu's generation of ‘Whooping Crane Fist’ practitioners now have transnational brothers and sisters – as the Masters of this art want to spread its secrets far and wide! Affected by the recent epidemic, many planned Chinese and foreign martial arts exchanges have been understandably postponed. With the development of the Internet, however, this has made it possible to ‘spread martial arts through the air’, and the White Crane martial arts Masters in Fuzhou intend to continue the communication, learning and teaching of martial arts through ‘live’ internet broadcasts, and video recordings! Due to the epidemic, staying at home has made many people interested in practicing martial arts again. Therefore, Xu Lanyu's ‘Whooping Crane Fist’ video has been retweeted by many fans as soon as it was released. Xu Lanyu said: ‘Epidemic prevention also requires regular exercise at home. A strong body is the strongest line of defence against any illness!’ *Also referred to as 'Xie Chongxiang' (謝崇祥) [1852-1930]. Chinese Language Article:
https://baijiahao.baidu.com/s?id=1662227579974127318&wfr=spider&for=pc 疫情期间福州有位“蒙面侠”走红网络 中国新闻网 2020-03-26 19:52 福州本土的非遗拳种鸣鹤拳的传承人徐兰雨(右)和慕名而来的“粉丝”一同练功。 陈暖 摄 中新网福州3月26日电 (翁宇民)在居家防疫的日子里,四川火了一个“提剑扔垃圾女侠”—--凌云。福州本土的非遗拳种鸣鹤拳,最近也火了一位“蒙面侠”。 近日,一段视频在福州网友当中火热传播,在《功夫熊猫》主题歌背景下,一位戴着口罩的“蒙面”侠客表演了一套虎虎生风的鹤拳,让网友们纷纷点赞! 记者了解到,这位“蒙面侠”是福州本土的非遗拳种鸣鹤拳的传承人、国家一级武术裁判员、福州市武术协会副秘书长徐兰雨。在上述视频中,他展示的这一段套路名叫“鸣鹤拳二十八宿”。 徐兰雨说:“二十八宿套路是少林罗汉拳的招式,鹤拳中只有鸣鹤拳有二十八宿套路。它风格与众不同,迅速勇猛、机警灵活,改变了白鹤拳原来的恬静神态,可以施展短打、劈破等狠招,是鸣鹤拳先祖师父传授的武学中,刚与柔的精巧组合。” 徐兰雨告诉记者,有关鸣鹤拳及其传奇的故事,在他师父余丹秋所著的《鹤法—--福建鸣鹤拳》一书中有详尽的记述。这本书目前正在准备出版。 鹤拳始祖师父是明末清初的一位传奇女性—--方七娘,这门武学在福州地区还分为鸣鹤、宿鹤(宗鹤、纵鹤)、飞鹤、食鹤几个分支。 几经传承,在清道光年间,鹤拳的一位高手林世咸在福州义序游玩时,以白鹤神技折服少林罗汉拳高僧释明余,二人在切磋中成为挚友。高僧之徒、盘屿人林达崇目睹二人较技之后,对鹤拳神技崇拜不已,恳请林世咸留在盘屿教授功夫,由此盘屿成为福州鸣鹤拳的发源地而闻名海内外。也正是林达崇结合了少林罗汉拳与鹤拳的招式,成就了鸣鹤拳独特的风格。 鸣鹤拳还出过“一代宗师”谢宗祥(谢如如),人称如师。在如师手中,鸣鹤拳再度得到提高与发展。他威名显赫,收徒甚众,其中有一位是日本人,名叫东恩纳宽量。 这位来自冲绳的日本徒弟,1877年到福州拜如师学习鸣鹤拳,回日本后以勇猛、刚柔相济的拳术而扬名,后来更成为日本刚柔流泊手空手道的中兴之祖。 也正因为东恩纳宽量,日本刚柔流至今仍常有弟子来福州参访鸣鹤拳,探究武学渊源。 作为福州本土的非遗拳种,鸣鹤拳近年也是“墙内开花墙外香”。徐兰雨的师父余丹秋经常受邀赴海外授武,如今在欧洲和大洋洲都有学习鸣鹤拳的洋弟子,徐兰雨这一代鸣鹤拳修习者有了更多跨国的师兄弟。 近来受疫情的影响,原计划中的不少中外武学交流都被迫延后。但如今网络的发达,令“隔空传武”成为了可能,福州的武林高手们也计划通过视频,让武术学习与交流得以继续。 也因为疫情,全民宅家让不少人萌生了习武锻炼的兴趣,因此徐兰雨的鸣鹤拳视频一发布,就被不少爱好者火热转发。徐兰雨说:“防疫居家也要勤运动,身体强健才是抵御病毒的最强防线。”(完) Sensei Yoshitaka Inokuma (猪熊佳孝) was born on the 25.2.1920 - and as of 2022 - he is currently 102-years-old! Although he currently holds an 8th Dan Black Belt Grade - he gave-up wearing the White 'gi' uniform and coloured belts years ago as he focuses to an ever greater degree on the 'Chinese' spiritual and physical roots of the martial art he tells everyone should be known as 'Chinese Hand' and not 'Empty Hand'! His Dojo is open twice a week for two 24 hour stints - where students can walk in and out as they please. (During its 'closed' days, individuals and groups can attend through arrangement)! Sensei Yoshitaka Inokuma (猪熊佳孝) does not teach all the classes (which are often directed by Sensei Masahiko Ando 8th Dan) - but can often be seen wandering in and out in a natural manner - very different to the average Japanese Dojo. At the conclusion of training, for instance, the teacher often sits with his students sharing a meal and a cup of tea with them - food that he has prepared himself! He describes his Karate-Do as being premised upon perfecting the following attributes: ・Concentrating unified power whilst performing and landing each technique. ・Unified power in generated within and expressed through the outer body. ・Karate is about gathering unified breathing power - and not brute strength. ・It is a martial art that includes throwing and joint-locking techniques. ・Okinawa Kobudo includes the weapons of Sai, Nunchaku and Bojutsu, etc. Shuri Ryu karate-Do is a traditional fighting system formed in Kyushu before the Sino-Japanese War (1937-1945) - which combines Okinawan Shuri-te (Shuri-Hand) and various elements of old Japanese martial arts. As is typical with many Okinawan martial arts - Shuri-Te has both Chinese and Okinawan influences. By combining these influence with Japanese fighting arts - a more all-round system was produced. This is the martial system that Yoshitaka Inokuma (猪熊佳孝) has taught at the Hasshokan Dojo for more than half a century - where he has established a temple for storing important historical objects and documents relating to the theory and practice of the martial art of Shuri Ryu. This Dojo is located Japan's Kagawa Prefecture, situated within Takamatsu City. Shuri Ryu involves the alignment of the bones and joints, as well as the alignment of the mind, body and environment! The must become calm, expansive and all embracing - whilst the bodyweight drops through the aligned bones and joints before hitting the ground and rebounding upwards - creating a massive counter-force which is transitioned around the body through 'will-power' and 'intention' - so that it can be emitted through the relevant (attacking) anatomical weapons. The Shuri Ryu practitioner is 'still' and perfectly 'centred' - and yet can move with a surprising speed and agility whilst applying an explosive power which is enhanced by a profound relaxation of body and mind! By breathing deeply and fully all these attributes fall into place and the centre of gravity is 'dropped' - ready to stabilise, move and evade, or 'explode' with a surprising force! Chinese Language References:
https://www.sohu.com/a/319652408_120134390 https://www.cup.com.hk/2019/04/15/99-years-old-karate-master/ Japanese Language References: https://seisiyoukan.jimdofree.com http://don110510.blog.jp/archives/17067832.html https://www.chunichi.co.jp/article/15123 |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |