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Does Mysterious Acupoint (Dim Mak) Gongfu Really Exist? (12.4.2023)

4/12/2023

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Screenshot of Chinese costume Drama My Own Swordsman
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)
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Typical 'Stretching' Exercises Contained in the Yijing Jing!
2023-04-12 Ecns.cn Editor: Zhao Li

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(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.
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An annotated edition of Yi Jin Jing
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
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Fuzhou: 77-Year-old Jiang Xuezhen (蒋雪珍) Has Practiced Taijiquan for Over 30-Years - and Still Amazes an Audience! (6.7.2021)

10/20/2022

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Jiang Xuezhen Assumes the 'One Side Horse' Stretch!
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! 
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Jiang Xuezhen Assumes 'Snake Creeps Down' - Also Called 'Crooked-Whip'!
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!  
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Jiang Xuezhen Stretches Her Leg Above Her Head!
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! 
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A Bridge Within the 'West Lake Public Park' in Fuzhou!
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!”  
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During the Five Dynasties (907 to 979 CE), Fuzhou West Lake Became the Imperial Garden of Wang Yanjun (王延钧) - the Second Son of Wang Shenzhi (王审知) - the King of Fujian!
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! 
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People Train in Isolation or in Groups Within the Vast West Lake Public Park of Fuzhou!
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!  
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A Beautiful 'Outer' Scenery Allows for a Corresponding (Beautiful) 'Inner' Scenery to Develop!
[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】 ​
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Quanzhou: The Birthplace of Yongchun White Crane Fist – A World Famous Chinese Martial Art!

8/15/2022

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Pay Attention to Gathering the 'Inner' Spirit (魂 - Hun) of the Crane - This is the Strength the Crane 'Manifests' (道 - Dao) in the Outer World! Therefore, the Crane is Self-Confident Because It Naturally Buildes the 'Inner' (内 - Nei) and the 'Outer' (外 - Wai) in a Perfect Harmony!
Translated By Shifu Adrian Chan-Wyles PhD ( © )
Yongchun (永春) White Crane Fist (白鹤拳 - Bai He Quan) is one of the seven major martial arts styles developed in Fujian Province. It was created during the late Ming and early Qing Dynasties and has spread throughout China, Southeast Asia, Europe and the United States. It is a national heritage of immeasurable cultural importance! ​
The Southern Shaolin Fighting Method (南少林拳法 - Nan Shao Lin Quan Fa) - which developed during the Tang and Song Dynasties – was popular in Fujian by the middle of the Ming Dynasty. In the Fujian area of Yongchun - no matter whether in the city or the countryside - there were countless practitioners of martial arts! The Southern Shaolin System was prevalent but with such styles as ‘Taizu’ (太祖) or ‘Grand Ancestor’ and ‘Houquan’ (猴拳) or ‘Monkey Fist’ being very prevalent! The area was economically and culturally prosperous! The ‘History of the Ming Dynasty’ (明史 - Ming Shi), Volume 91, Martial Aspiration Three (兵志三 - Bing Zhi San) - Recollections (记载 - Ji Zai) states: ‘The people of Yongchun possess tremendous fighting-spirit and are highly skilled in martial arts practice!’ Therefore, it can be historically proved that the Yongchun people's practice of martial arts has been highly developed as early as the middle of the Ming Dynasty! ​
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Yongchun White Crane Fist Focuses Upon Dextrous Upper Body Movements! Attacks Are Deadly and Direct!
Yongchun White Crane Fist is one of the seven major fighting styles developed in Fujian Province. It was founded during the late Ming and early Qing dynasties. It takes the ‘White Crane’ bird as its spiritual, psychological and physical inspiration (形 - Xing) or ‘Form’ (‘Kata’ in Japanese martial arts) and manifests this inspiration in its general fighting method! The White Crane practitioner understands how to ‘move’ and remain ‘still’ - and how to transition between these two states with a smooth and non-confused accuracy controlled by an underlying higher knowledge that embraces the practitioner, the opponent and the environment! Furthermore, a White Crane practitioner fully comprehends the ‘empty’ (虚 - Xu) and the ‘full’ (实 - Shi) and how and when each is to be used so that the opponent is continuously ‘uprooted’ - whilst the White Crane practitioner is continuously strengthened! All the energy channels in the body (the eight extraordinary and the twelve ordinary) are opened, unified and fully functioning (transporting and strengthening Qi 精, Jing 氣 and Shen 神)! As this is the case, the mind, body and spirit are unified, just as the bones and joints are aligned (allowing the bodyweight to drop into the ground – and effortlessly rebound back up and out of the body – through the relevant striking areas). All movement is perfectly timed, and the speed is so fast that an opponent has difficulty discerning the blows as they are naturally ‘released’ from the limbs of the White Crane practitioner! The hands and feet alternate with a perfect timing and balance that is bewildering to encounter! The White Crane practitioner can ‘vary’ the 'speed’ of each blow so as to bypass the habitual (and expected) movements of an opponent’s defensive reactions! The White Crane practitioner can be as solid as a mountain or as light a feather – depending upon the ‘intention’ of the practitioner and the necessity of the moment! Those who master these ‘internal’ Shaolin martial arts can appear to ‘manifest’ and ‘disappear’ at will – as they manipulate the perception of the opponent! This is why there is said to be a blend of ‘hard’ and ‘soft’ martial techniques! This style has been circulating in China and Southeast Asia for more than 300 years, and it is popular in Europe and the United States. As a consequence, this type of Chinese martial art is considered a quintessential manifestation of Chinese martial culture!  ​
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Foreign Friends Learn White Crane Fist in Yongchun (Photo by Yao Dechun [姚德纯])
According to research - Ip Man (叶问 - Ye Wen) who is well-known at home and abroad as the teacher of the great Bruce Lee – taught his style of ‘Wing Chun Fist’ (咏春拳 - Yong Chun Quan) which was heavily influenced by the fighting techniques of Yongchun White Crane Fist. Bruce Lee used all this martial arts knowledge to later develop his system of fighting termed ‘Jeet Kune Do’ (截拳道 - Jie Quan Dao)! Furthermore, Chinese, Okinawan and Japanese scholars all agree that the style of fighting known as ‘Goju Ryu Karate-Do' (刚柔流空手道 - Gang Rou Liu Kong Shou Dao) has its theoretical and technical roots firmly embedded in the fertile martial ground that is Yongchun White Crane Fist!  ​
Chen Hong (陈弘) - the President of the China Yongchun White Crane Fist Research Association - pointed out that there are many technical similarities between Fujian Yongchun White Crane Fist and the Guangdong martial style known as ‘Wing Chun Kune’ (咏春拳 - Yong Chun Quan)! For instance, before issuing a blow, the Yongchun White Crane Fist practitioner must first centre his or her own mind, body and spirit – gather up the accumulated energy and direct this ball of power toward the ‘centre-line’ of the opponent’s body! This gather and emitting ‘internal’ and ‘external’ power through the Conception Vessel 任脉 - Ren Mai) - whilst targeting the Conception Vessel of the opponent! This is the real meaning behind the ‘Centre-Line Theory’ which many only pay lip-service to. This is identical to the ‘Centre-Line’ theory as found in Wing Chun (and many other martial systems)! Furthermore, Wing Chun is also famous for the power its practitioners produce during their ‘one-inch punch’ demonstrations! This is termed ‘寸劲’ (Cum Jin) or ‘inch strength’ or the ability to generate ‘explosive short-range power’! Within Yongchun White Crane Fist, this same ability is known as ‘寸劲节力’ (Cum Jin Jie Li) or ‘inch power direct energy’! In both systems the feet are generally rooted with the knees remaining flexible to accommodate a dextrous upper body which delivers fast and massively powerful blows of all descriptions, landing at all levels! These include open and closed hands, fore-arms, elbow-strikes, upper-arms, shoulder and blows with the head! The torso ‘twists’ left and right through the pelvis and around the spine – whilst swaying and leaning left and right (forward and back at oblique angles) – all through, around, away from and back to the ‘centre-line’! The famous ‘chi-sow’ (黐手 - Chi Shou) or ‘stick hand’ technique of Wing Chun is very similar to the ‘pan shou’ (盘手) ‘enveloping hand’ technique found in Yongchun White Crane Fist! Although Wing Chun has been developed for more than 100 years, and is a renowned style of fighting, nevertheless, the shadow of Yongchun White Crane Fist still clearly looms in the background!  ​
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During 2019, the Students and Lecturers of Kyoto University of Culture and Education visited Yongchun for a Cultural Exchange and to Study Martial Arts!
Chen Hong (陈弘) has been researching the theory and practice of Yongchun White Crane Fist for many years, particularly with regards to practitioners living or taking refuge within Guangdong! During the Qing Dynasty reign of emperors Xianfeng (咸丰) [reigned 1850-1861] - and the Tongzhi (同治) emperor (reigned 1861-1875) - there lived a couple of Yongchun White Crane Masters named ‘Lin Jun’ (林俊) and Chen Hu (陈湖) who took an active part in the Peasant Uprisings! Indeed, many such martial arts Masters participated in these uprising! Hong Xiuquan (洪秀全) led the ‘Taiping Heavenly Kingdom’ uprising which engulfed large parts of China – including Fujian province! ‘Lin Jun’ (林俊) was personally appointed by Hong Xiuquan (洪秀全) as one of the ‘Strong Kings of Three Thousand Years’ - stationed in the Fujian area! This gave him command of thousands of Taiping troops! Despite many early victories and tremendous battles – the Taiping were defeated, and the surviving rebels had to flee! Many of these fugitives fled all over China whilst being pursued by a Qing Army led by ‘Zou Zongtang’ (左宗棠) - which drove them out of Fujian and into the Guangdong and Zhejiang areas – where the Yongchun White Crane Fist practitioners had to adopt disguises and live secret lives (whilst teaching disciples behind the scenes – often at night)! These survivors were inspired by ‘Lin Jun’ (林俊) - where his reputation is still bright and shining in China today! ​
During the mid-Qing Dynasty, with the increasingly frequent unofficial cultural exchanges between Okinawa (Ryukyu), Japan and Taiwan, some White Crane Fist disciples went to Dongying (东瀛) to teach martial arts; many Japanese merchants who travelled to the Mainland for business and employment, also began to learn White Crane Fist and transmitted it back to Japan. During 1877, Higaonna Kanryo travelled from Okinawa to Fuzhou and studied Yongchun White Crane Fist. After three years of intense training, Higaonna Kanryo returned to his home in Okinawa – transmitting White Crane Fist as he went! After integrating White Crane Fist with Okinawan fighting techniques – the art of ‘Goju Ryu’ Karate-Do was eventually developed (by Miyagi Chojun – the key disciple of Higaonna Kanryo in Okinawa). It is clear from this example that White Crane Fist rejuvenated the Okinawan fighting arts! Another example lies with ‘Wang Xiangui’ (吴贤贵) who used to work for the Fuzhou Tower River Water Ministry (福州台江水部的 - Fu Zhou Tai Jiang Shui Bu) - but in 1912 he travelled to Okinawa where he met Higaonna Kanryo – who had established the ‘Eternal Light’ (永光 - Yongguang) Tea Shop (茶行 - Cha Xing). As he saw that Higaonna Kanryo and his disciples already knew ‘Yongchun White Crane Fist’ - he decided to teach the Okinawans the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) variant! It was the disciples of Higaonna Kanryo who had trained with Wu Xiangui that formed the ‘Okinawa Strong Foundation Association’ (冲绳刚泊会 - Chong Sheng Gang Po Hui)! Tokashiki, the President of Japan's Okinawa Goju Ryu Karate-Do Association, has been searching for many years to find the identity of the Chinese Masters who taught Higaonna Kanryo! Finally, the source of Yongchun White Crane Fist in Okinawa was discovered in Fujian - and a "remarkable monument" was raised in the Fujian Provincial Sports Centre (in 1990)! ​
During October 1928, the first national martial arts examination was held in Nanjing since its abolition in 1911 – following the overthrow and abolition of the Qing Dynasty and its feudalist and imperialistic system! Yongchun County in Fujian sent a martial arts expert known as ‘Jin jing’ (晋京) - who placed first in every category and won every available award! Indeed, Yongchun as a place was awarded with the title ‘Central Hall of Martial Arts Execellence’  (中央国术馆 - Zhong Yang Guo Shu Guan)! This meant that a government-sponsored centre of martial arts practice was established, legally protected and funded in the Fujian area! The advent of Yongchun White Crane Fist in the 20th century served to strengthen China not only in the eyes of its own people – but also in the eyes of those across the world – a view held and expressed by Mr. Tan Kah Kee (陈嘉庚) - who further stated, ‘China as a country has been strengthened by the vigour of our own martial arts!’ He also said, ‘Promote the strengthening essence and eradicate the weak!’ During August 1929, in his honour, he requested that the Yongchun White Crane Fist School contribute to the formation of a ‘Central Martial Arts Hall Southern Fujian Martial Arts Touring and Exhibition Group’ be formed to travel around China and to do so abroad! Its first performance was at ‘Xingma’ (星马) - but became the first martial arts delegation to go abroad in the history of Chinese Martial arts - creating a precedent for overseas cultural exchanges focusing upon martial culture! 
Mr. Tan Kah Kee met with all the members of the martial arts troupe many times to promote the concept of ‘strengthening the country by promoting martial arts’, and on the spot, he gave the correct title to the Southern Fujian Martial Arts Troupe: ‘Who is the sick man of East Asia – Certainly not the Chinese people! This shame is eradicated by the mastery of Wu Weiyang (武维扬)! Do not forget that the grandsons and granddaughters of the Yellow Emperor can be reborn anywhere – even as fishes! Perhaps the Heros of the Central Plane Create Cities that are dry!’
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Contrary to Western Propaganda - Students from The Taiwanese Region of China Visit Fuzhou Throughout the Years to Study Martial Arts!
In 2008, Yongchun White Crane Fist was included in the national heritage list as being of immeasurable cultural value! Today, there are an estimated 100,000 practitioners of Yongchun White Crane Fist, with thousands of experts and hundreds of top-class Masters! Fuzhou has also successfully held the first World Conference for Yongchun White Crane Fist – which attracted thousands of diverse people from all over the world – including many hundreds of Karate-Do practitioners! Yongchun White Crane Fist has also been a vehicle for good-natured and friendly exchanges across the straits! Throughout the martial arts competitions of the world - Yongchun White Crane Fist practitioners won more than 1,000 awards in various competitions at all levels! This style of martial culture is deeply rooted in Okinawa and across the world! As the theoretical and technical foundation for Okinawan Karate-Do – particularly GoJu Ryu – Yong Chun White Crane Fist has inspired a rich academic research genre, that has spread from educational facilities and on to the internet, as well as in books and in films! There have even been theatre performances, plays and other ‘live’ action and educational activities! At the same time, Yongchun White Crane Fist is entering the fields of health, culture and tourism, etc., and its comprehensive and all-round positive effect is becoming increasingly apparent. The United Kingdom, France, Germany, Russia, Moldova, Poland, the United States, Sweden, Switzerland, Iran, Malaysia and other countries, as well as Hong Kong, Macao and Taiwan, have all established professional organizations for the inheritance and practice of Yongchun White Crane Fist - in order to establish the ‘World Yongchun White Crane Fist Association' - which now has now laid a solid foundation.  ​
Reporter: Ceng Guangtai (曾广太) 
Correspondents: Chen Hong (陈弘) & Zhou Lili (周莉莉) - Text & Photographs (Except Signatured) ​
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A Brief Biography of O'Sensei Higaonna Kanryo (1853-1915)

8/4/2022

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O'Sensei Higaonna Kanryo
Translator’s Note: I encounter this (historical) Goju Ryu article on the Chinese language internet (Baidu). It appears to be a Chinese translation of the biography of Higaonna Kanryo (1853-1915) as preserved by Higaonna Morio (b. 1938) in his book entitled ‘The History of Goju Ryu Karate-Do' - which I believe has been published in English – but is difficult to find nowadays. I have carefully worked my way through this Chinese language text and generated a reliable English language translation. Sometimes, when articles of this nature appear in different languages (and are intended for different cultural milieus), the way the information is presented can sometimes be moulded and shaped to match the very different reading communities the data is intended to penetrate, etc. Originally, Miyagi Anichi (宫城安一) transmitted this information to one ‘Lin Shifan’ (林师范). Although I have no way of knowing who this is, from the other translation work I have completed on this subject, I know that the real name of Pan Yu Ba (潘嶼八) was ‘Lin Dachong’ (林达崇) and that the ‘Lin’ (林) family of the Fuzhou area of Fujian province are very interested in this matter. A number of this ‘Lin’ (林) family-clan are practitioners of various types of ‘White Crane Fist’ (白鶴拳 - Bai He Quan) with many assuming a historical ‘link’ with Higaonna Kanryo – either directly or indirectly! One point that needs clarification is the following. I appreciate that the island of Okinawa was devastated during the Battle of Okinawa during the Pacific War (1941-1945) and that a great deal of irreplaceable history and culture was destroyed. This means that the historical evidence gathered from Fuzhou by Higaonna Kanryo, Miyagi Chojun (and others) and brought back to Okinawa was lost. However, the Battle of Okinawa did not happen in Fuzhou – although South China did experience the equally devastating Taiping Uprising and the Hakka Punti Clan Wars both in the mid-19th century with millions being killed. However, despite this violence and upheaval Miyagai Chojun found evidence of the existence ‘Liu Long (Gong)’ in 1915 when he visited Fuzhou (in the form of an engraved tombstone) - despite the cultural shock of the 1911 ‘Nationalist’ Revolution! The Anti-Japanese War of Resistance was also equally disastrous (1931-1945) as was elements of the Chinese Civil War (which ended in ‘Liberation’ in 1949). Although some elements of the ‘Cultural Revolution’ (1966-1976) targeted well-known structures and historical buildings, etc, it is doubtful that the tombstone of a relatively obscure martial arts Master would be touched – as China is full of such people who routinely attain extraordinary levels of inner and outer martial skill (even where destructive acts were caried out – it is generally the case that every object or structure targeted was ‘recorded’ and in later times repaired or replaced)! As this is the case, and given that the physical evidence has been lost in Okinawa – why is there no obvious physical evidence in Fuzhou itself? This is quandary all of its own - which is part of a much bigger picture - involving many hundreds if not many thousands of people in China, Okinawa and around the world all of whom possess a genuine respect and admiration for the style of Goju Ryu. These people are seeking to uncover its historical roots for all to see! No stone should be left unturned regardless of its weight or shape! There should be no areas of taboo when researching this matter. ACW (4.8.2022) 
In fact, there are not many records about the deeds of Higaonna Kanryo (东恩纳宽量 Dong En Na Kuan Liang) – a situation compounded by the fact that Mr Miyagi Anichi (宫城安一 - Gong Cheng An Chi) asked for confidentiality. Therefore, people outside know very little, but this is a situation we intend to change when the ‘Higaonna Kanryo Memorial Hall’ (纪念馆 - Ji Nian Guan) is finally completed and opened, by making available further biographical details that were previously ‘secret’. Part of this historical project is to highlight and confirm China’s vital (cultural) contribution to the origination of the ‘Goju Ryu Karate-Do' (刚柔流空手道 - Gang Rou Liu Kong Shou Dao) style of Okinawan martial arts - or the ‘Hard-Soft School Empty Open-Hand Way’. Indeed, we should be proud about this association between Okinawa and China and make this fact better known amongst the people. Furthermore, many of us in Okinawa are of ethnic Chinese descent and we should be proud of this fact. Needless to say, without the effort and sacrifice carried-out and experienced by Higaonna Kanryo – there would be no Goju Ryu Karate-Do in this world! 
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The ethnically Chinese ‘Shen’ (慎) family of Okinawa changed their family to ‘Higaonna’ (东恩纳 - Dong En Na). This is correct as the family of Higaonna Kanryo were of ethnic Chinese descent and were one of the many Chinese families that migrated from China to settle in Okinawa (Ryukyu). Higaonna Kanryo was the 10th generation descendent of the Chinese people who originally migrated to Okinawa (Ryukyu) from China – and the name of his father was ‘Higaonna Onna’ (东恩纳宽用 - Dong En Na Kuan Yong).  

Why Did the Higaonna Family Change Their Family (Surname)? 

Why did they change their family (surname) from the Chinese-sounding ‘Shen’ (慎) to the Japanese-sounding ‘Higaonna’ (东恩纳 - Dong En Na)? Legend states that after Japan annexed and occupied the Ryukyu Islands – all the ethnically Chinese people were forced to change their family (surnames) to Japanese-sounding equivalents. The new Japanese government control made it illegal for ethnic Chinese families to continue to use their ancestral names. This is when the Chinese ‘Shen’ (慎) family changed their name to the Japanese-sounding ‘Higaonna’ (东恩纳 - Dong En Na) surname. However, despite this new Japanese policy – many ethnically Chinese families living in Okinawa (Ryukyu) publically presented their family (and ‘first’) names in the Japanese language (for official, commercial and legal reasons) - but carried on in secret giving their children ethnically Chinese family (and ‘first’) names so that they would not forget that they were of ‘Chinese’ ethnic and cultural origin! Therefore, the ‘Chinese’ name given to ‘Higaonna Kanryo’ was ‘慎善熙’ or ‘Shen Shanxi’!  

What Was the Real Reason Higaonna Kanryo Travelled to China to Learn Martial Arts?
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The Shen family was engaged in the maritime business and possessed a fleet of ships that collected, transported and delivered trading goods between the many Ryukyu Islands. When Higaonna Kanryo was aged around 13 years (and four months) old, his father – Higaonna Onna – was killed by a knife-blow whilst engaged in a dispute with an individual in a tavern. After this, the family business was taken over by relatives. Although still young, even at 13 years of age, Higaonna Kanryo was already a well-built youth! He had heard that Chinese martial arts possessed the ability to kill enemies with a single blow and so he naively thought that if he could travel to China – learn these deadly arts – and then return to Okinawa to take revenge on his father’s killer! Travelling to China in those days invariably meant travelling to ‘Fuzhou’ (the capital city of Fujian province), a process which was legally difficult and depended primarily upon the weather! As the boats depended upon sails – and given that there were no motorboats in those days – the weather had to be just right before any journey could begin. The wooden boats of those days were very ‘light’ and built for in-coast travelling at speed. There were not very robust and not suited for the wide-open seas. If a storm was encountered at any point on the journey – certain death was almost ensured! All these difficulties existed even if the legal documents to travel to China could be cleared by the Japanese and Chinese Authorities! All these difficulties formed barriers between Higaonna Kanryo and his wish to travel to (Fuzhou) in China! 

Higaonna Kanryo, however, did eventually manage to achieve all these objectives using determination and a logical approach to planning. He took-on one task at a time and achieved everything in the correct order. This is how he eventually achieved his objective of successfully sailing from Okinawa to Fuzhou! Upon arrival, Higaonna Kanryo secured a place of residence in the ‘Ryukyu Pavilion’ (琉球馆 - Liu Qui Guan) - a ‘Hotel’ and ‘Hostel’ situated in Fuzhou but paid for and administered by the Ryukyu government. This establishment catered for the everyday living requirements of visiting Okinawan travellers. After he settled down and became familiar with the local culture, Higaonna Kanryo started to enquire if anyone knew of a martial arts teacher who would be willing to take-on a new apprentice? Of course, this was not an easy task as most Chinese martial arts lineages were ‘closed’ at that time and highly ‘secretive’. Fathers usually taught sons and outsiders were not permitted to learn family martial arts! An ‘outsider’ was not only a foreigner from another country – but any Chinese person originating from a different name-clan! Higaonna Kanryo was 15 years (six months) old and an ‘out-of-towner'! As a result, he searched for nearly a year but could not find a teacher. The person in charge of the Ryukyu Pavilion knew of his painstaking efforts and eventually decided to introduce him to a local 40-year-old person known publically as ‘Liu Long’ (刘龙) - (also referred to as ‘Gong’ [公 ]) a well-known and well-respected martial arts teacher! (This is a ‘transliteration’ - see Note 1). 
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This Liu Long (Gong) was very famous in the marketplace. Although he was highly skilled in self-defence, he did not make a living by teaching martial arts. It seems that teaching martial arts was a matter of honour (not profit) for this Master, and this made his teaching method rather strict. He earned his living through the business of transporting building materials. After Higaonna Kanryo was introduced, he was given the task of carrying bricks and tiles during the day to make a living, and only practiced martial arts at night. The tiles and bricks were heavy and had to be moved by hand from the storage area to the dock, and from the dock onto waiting barges (large, wooden boats). A working day lasted between 8-10 hours of continuous muscular effort! Higaonna Kanryo could lift one or two hundred kilograms of bricks and tiles each time and walk with this load up and down steps and across narrow planks of wood without dropping the load or losing his footing! A strong adult male would find this type of work difficult – how much more so would a youth of 15 or 16 years old! This was tremendously hard work – as can be imagined - but this kind of physical training laid a sound foundation for a wide range of martial arts techniques! 

As the working environment was next to the river, Liu Long (Gong) possessed a house (and workshop) which were built by the river. This comprised of a two-storey construction made of bamboo with Liu Long (Gong) living on the upper floor with his family and Higaonna Kanryo living on the next level down. This lower level was about 2-3 meters up from the water surface, and possessed a floor made of bamboo branches which left many gaps! This meant that every night a cold wind blew through the structure arising from the water-surface just beneath the bamboo floor! This created a very cold floor that was often near to freezing – a situation which made lying down and properly sleeping a very difficult task! To survive the cold, Higaonna Kanryo would get up and practice the ‘Sanchin’ (三战 - San Zhan) or ‘Three Battles’ dynamic tension exercise until dawn – when the coldness would begin to pass! This may well explain why Higaonna Kanryo’s ‘Sanchin’ Kata was considered so good! (See Note 2).  ​
Note 1: 

It is believed that ‘Liu Long’ (刘龙) is his real name, with the designation ‘Gong’ (公) being honorific. From the Fuzhou language that spread to Okinawa – his name is used whilst describing his fast feet – which phonetically transliterates as ‘ka gin ka ryu ryu’ (‘Really fast feet of Liu Long’). This suggests that ‘Liu Long’ (Ryu Ryu) is his real name – and not ‘Liu Longgong’. However, this does not exactly corelate to ‘Ryu Ryu KO’ (如如哥 - Ru Ru Ge). 

Note 2: 
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Higaonna Kanryo’s ‘Sanchin’ Kata was declared to be ‘excellent’ after he returned to Okinawa! This came about after a local martial artist named ‘Hucheng’ (湖城) challenged Higaonna Kanryo – stating that his ‘Sanchin’ Kata was superior! The allegation was that Higaonna Kanryo’s ‘Sanchin’ Kata was inferior is some way and this created a great controversy throughout Okinawa! Many local martial artists were eager to see this matter settled once and for all. Therefore, a doctor (and his medical assistants) from the Okinawa Prefectural Hospital was invited to help with the investigation. He was given the task of deciding from a medical point of view, which version of the ‘Sanchin’ Kata generated the greater strength!  
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This led to Higaonna Kanryo and Hucheng demonstrating their respective versions of the ‘Sanchin’ Kata in-front of a panel of medical experts! The performances were examined by the medical doctor who paid close attention to the length of time each inward, outward and transitional breath took, the capacity to take-in and expel ‘air’ (气 - Qi), and the consistency and firmness of muscular ‘tension’ (力 - Li) achieved. The full breathing and muscular tension had to be maintained whist stepping forward and back, and whilst changing the positions of the arms and hands, etc. The medical results proved that the ‘Sanchin’ Kata as performed by Higaonna Kanryo was several times more impressive (and effective) than the version exhibited by ‘Hucheng’. The doctors were surprised to witness the length and depth of each inward, outward and transitional breath made by Higaonna Kanryo as well as the extent of ‘qi’ energy he was able to accumulate and circulate! Furthermore, the doctors checked and confirmed that Higaonna Kanryo was able to ‘retract’ his testicles into the lower abdomen during his performance of the ‘Sanchin’ Kata – and retain this ‘retraction’ with no difficulty whilst stepping in different directions! This is an ancient martial arts ability that is rare in the modern age and is termed ‘吊裆藏阳功夫’ (Diao Dang Cang Yang Gong Fu) or ‘Hanging Groin Concealment Positive Energy [Yang] Martial Self-Cultivation). This (internal) ancient martial arts method was developed to protect a male practitioner from being kicked (or otherwise ‘struck’) in the testicle area of the groin. When all these abilities were fully investigated and verified, the skill-level of Higaonna Kanryo was declared to be obviously of a far superior level! Indeed, the people of Okinawa were (and are) very proud of the ‘Naha Te’ (那霸手 - Na Ha Shou) style of martial arts Higaonna Kanryo practiced and taught. (‘Naha Te’ is considered the foundational forerunner to the ‘Goju Ryu’ [刚柔 - Hard-Soft] style of martial arts that was later developed by his disciples – specifically ‘Miyagi Chojun’ [宮城 長順]). Of course, ‘Naha’ is a famous city situated to the South of Okinawa.  ​
Fifteen years later, Higaonna Kanryo had developed from a robust boy to a very strong and mature male martial artist! Due to the increasing international tension of the time, foreign powers began to invade and occupy China, and Liu Long feared that there would be wars. He advised his disciple – Higaonna Kanryo – to return to the relative safety of his home in Okinawa to avoid the danger. Before he left, however, Liu Long transmitted the essence of the martial arts style to him and gave him full permission to transmit this style to others! As Higaonna Kanryo was very loyal to his teacher – Liu Long – he was very reluctant to leave his side and return to Okinawa! Higaonna Kanryo only obeyed Liu Long’s instruction with a sincere regret! When he returned to Okinawa, Higaonna Kanryo had to take-over his father’s business of operating water freight and could not yet teach the martial arts to others that he had learned in Fuzhou (China) - although he continued to practice in private. Eventually, however, his ship sank in a typhoon and this business came to an end.  

Although it was common knowledge that Higaonna Kanryo had travelled to Fuzhou to train in Chinese martial arts as a means to enact revenge upon his father’s murderer – time passed, and he took no action against the killer! Instead, the now older and more mature Higaonna Kanryo was a strong role model who upheld the law and was respected by the entire community! He seemed to show no interest in his father’s murderer and simply went about his day! Months went by and nothing happened. Meanwhile, the murderer of his father was aware of this situation and as time went by his mental state became ever more restless and apprehensive. He had no idea when Higaonna Kanryo would take action or make his move. From his perspective – the psychological and physical pressure became almost unbearable! This prompted the killer to visit the home of Higaonna Kanryo and knelt down outside his front door and bowed his head to the ground! He begged for forgiveness and explained that both he and his father were drunk, and both had got into an alcohol-fuelled brawl which ended in the latter's death. He further explained that it was his father who drew his own knife and attacked him - and that he was forced to defend himself! He took the knife off his father and accidently stabbed his father with it – who died from the wound! He was arrested tried by the Okinawan Authorities – who agreed upon the details of the case (confirming that it was an act of ‘murder’ carried-out in ‘self-defence’) and returned the knife to the Higaonna family (as it was their property)! The individual concerned was sent to prison and had served his time. After listening to this story, Higaonna Kanryo agreed with this explanation and stated that this individual should no longer worry about the expected consequences of his actions! Higaonna Kanryo stated ‘Okay, I believe you. Forget about it!’ Many people had gathered to watch what they thought would be a good but one-sided fight – thought this was an anti-climax whilst others thought it was a good moral lesson concerned with proper virtuous action! Children in Okinawa were taught this lesson in their schools with this episode becoming widely known! The reaction and demeanour of Higaonna Kanryo was considered historically significant and a superb demonstration of ‘good’ behaviour versus ‘bad’ behaviour.  
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There are many stories regarding Higaonna Kanryo but they differ in detail from those passed-on by Miyagi Chojun. There is a legend that Liu Long (Gong) made a living by weaving bamboo wares, but when Higaonna Kanyro was young, he did not understand this and only remembered the career that Liu Long (Gong) had taken-up later in his life. The ‘Yi Mou’ (一缪) biography suggests that the teacher of Higaonna Kanryo was the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) named ‘Xie Chongxiang’ (谢崇祥) who was also known as ‘Xie Ruru’ (谢如如). This is a story past down by the descendants of Master Xie Ruru – with some Goju Ryu practitioners believing this is the case. The problem is that according to a number of stories the age difference between Liu Long (Gong) and Higaonna Kanryo is at least 20 years. Whereas the difference between Xie Ruru and Higaonna Kanryo is only 1 year. Liu Long (Gong) died at least 15 years before Xie Chongxiang (who died in 1930). When Miyagi Chojun went to China to pay homage to Liu Long (Gong) in 1915 – Liu Long (Gong) was already dead (the exact date is unknown) – whereas Xie Chongxiang was still alive at this point. This has led to a number of disrespectful stories developing regarding Goju Ryu practitioners not knowing who their Chinese ancestral Master was and where the respect should be directed, etc! As there is a doubt about which name should be engraved upon the ancestral gravestone – there is a joke about Goju Ryu practitioners ‘waiting’ for a tomb stone to appear! These disrespectful attitudes often emerge from people who are jealous of the excellent standard of martial art technique found within the Katas of the Goju Ryu system! 
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Having said all this, it is also important to state that Higaonna Kanryo was born and brought up on a boat and did not receive any formal education. In addition, he went to Fuzhou, China to learn martial arts for 14 years (and 5 months) - and worked and practiced every day. As this was the case, it was impossible for him to receive any formal cultural education. As a consequence, Higaonna Kanryo had a very limited ability to read and write. This meant that he could not record his experience in writing whilst living and training in China! Miyagi Chojun was Higaonna Kanryo’s only ‘inner disciple’ (内弟子- Nei Di Zi) and when his name was transmitted to Miyagi Chojun – it was only in the local colloquial dialect – and even then, only phonetical! All the other ordinary students training under Higaonna Kanryo did not even receive that information! Originally, when Miyagi Changshun went to Fuzhou to pay homage to Liu Long (Gong), he had Liu's name. He discovered his date of birth - and the date of his death - which were all recorded on his tombstone. It is a pity that all the information was destroyed in the Battle of Okinawa. Mr Shang Anyi (上安一) states that if a lineage is not clear – then it should not be taught as fact. (This is a common attitude found within tradition Chinese martial arts). A problem has been caused by the very success of Higaonna Kanryo’s travelling to China and learning a system of traditional Chinese martial arts! Not only did he transmit this to Okinawa in a clear and concise manner, it has been successfully passed on in a technically pristine state! Goju Ryu has blind spots and vague details in its history - yes – but it has spread far and wide and has influenced the development of many other martial arts styles, schools and systems! There is a central truth to its transmission – just as there is a body of accrued material that is difficult to prove or disprove! It is an ongoing project as many people in China and Okinawa strive to clarify this matter! It is beyond question that through Higaonna Kanryo’s efforts – a hundred flowers of cultural influence have blossomed! Surely, Higaonna Kanryo would have found this truly unexpected!  ​

Source: 

Miyagi Chojun (宫城长顺 - Gong Cheng Zhang Shun) Transmitted to Miyagi Anichi (宫城安一 - Gong Cheng An Yi) 
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Miyagi Anichi (宫城安一 - Gong Cheng An Yi) Related to Lin Shifan (林师范) 
The History of Goru Ryu Karate-Do - By Higaonna Morio (东恩纳 盛男 - Dong En Na Sheng Nan) 
Original Chinese Language Article: 

https://tieba.baidu.com/p/1307549295 

东恩纳宽量的简史 
2011-12-03 12:10 
有关东恩纳宽量的事迹其实记载的不多,加上宫城安一先生要求保密,所以外面的人们所知甚少,我们希望在东恩纳宽量纪念馆落成之际把部分资料解密,让大家了解多些这位对刚柔流空手道的成立起了重大作用的中国华侨,作为中国人我们亦应感到自豪。没有他,这世上可能没有刚柔流空手道。 
 
慎氏家族改姓为东恩纳的原因 
东恩纳宽量是移居琉球的中国人慎氏家族的后裔,传到他已经是第 10 代了,其父名东恩纳宽用。 

为什么他们会由姓慎改为姓东恩纳呢?传说当年日本占领琉球后,迫使所有定居在冲绳的中国人归化琉球及不准使用中国姓氏,于是慎氏家族改姓为东恩纳,但其每一个后代子孙都必拥有中国名字,以示不忘中国之本。故此东恩纳宽量亦不例外,他的唐名(中国名)叫慎善熙。 
 
东恩纳宽量到中国学武的真正原因 

慎氏家族是从事海运事业的,拥有船队运输各种物资往来冲绳岛各个岛屿。当宽量13/4 岁时,一天,他父亲宽用在酒馆内与人争执被人用刀杀死。宽用死后,家族生意被其他亲属接管了,当时宽量还是一个大孩子,整天在想着为父报仇,听说中国武术可以轻易的把敌人杀死,便天真地想到去中国学武,希望学成回来便可为父报仇 … 但当年要去中国(福州)并不容易也不简单,除了手续繁复外,还要看天气、风向等各种因素稳定后船只才可以开航的,原因当年并没有机动船,那些去中国福州的都是木制的帆船,如果遇到大风浪可以说是九死一生十分危险的,宽量搞了一年多才能以到中国求学为理由,拿到去中国的渡牒批文等有关的官方文件,达成去中国(福州)的梦想。 

去到福州后,便在琉球馆(琉球政府办的旅馆)安顿下来然后便四处打听寻师学艺,然当时学武也有一点隐闭,对一个 15/6 岁的外地人来说实非易的,结果他找了近一年还找不到,琉球馆的负责人知道他的苦心,介绍他给当地一位 40 来岁,武功高强的老师刘龙(公)(译名)注 1。这位刘龙(公)在坊间是十分有名,虽然武艺高强,但并非以授武维生的,授武好像是他的业余爱好而且教学也相当严格。他是经营运输建筑材料生意的。宽量入门后,便安排他白天在做搬砖运瓦的工作以维持生计,晚上才练武。 
 
当年运输砖瓦的工具是用一些较大的木船,搬砖运瓦上船可不是一件轻松的工作,每天 8-10 个小时,每次挑一两百斤的砖瓦,整天不停的在吊板上搬上搬下就算成年人也会感到吃力,何况一个仅十五六岁的大孩子?其辛苦之处可想而知。但这样的肉体磨练却为宽量的练武奠下良好的基础。 

因为作业环境在河边,刘龙(公)的住家和工场都建在河边上,一栋两层高,用竹建成的房子,刘龙(公)跟家人住在上层,宽量就住在下一层;下层离开水面约 2-3 米高,用竹枝拼成的地板是会有很多缝隙的,每到深夜,冷风由竹地板下吹上来,宽量被冻到不能安睡,终于他找到一个驭寒的方法,便是起来练‘三战',一直练到天亮。 这可能是他的‘三战'注 2 那么出众的背后原因? 

注 1 
推测 刘龙 是他的正名,‘公'则可能是一个尊敬语。由一句流传到冲绳描述他的脚法快的福州语:“ka gin ka ryu ryu”(脚真快刘龙)中可以推测到他的名字是刘龙。并不是刘龙公,更不是什么‘如如哥'。 
 
注 2 
这事发生在宽量回去冲绳后的--- 一位姓湖城的武术家向人扬言自己的‘三战'比宽量的高明,结果引来争论,其他练武的人们亦感兴趣,故找来冲绳县立病院的医生来帮助考察,希望从医科学角度判断那一位的‘三战'比较强。 
 
于是湖城及宽量一齐在医生们面前演示他们的‘三战',在众医生的检验下,发觉宽量除了在运气时的肌力,技术及呼吸法都胜湖城几倍外,更令医生们吃惊的,宽量每在运气时,竟可把睾丸同步吸入小腹内(古代武术家因怕跟人交手时被踢中裆部,故会去练这种吊裆藏阳功夫),结果当然是判宽量的‘三战'技高一筹。见宽量的武功如此高深,冲绳人都引以为荣,把他所教的武功尊称为那霸手(= 现代的刚柔流),视之为代表那霸(城市名字)的武术。 
15 年后,宽量已由一个大孩子变成一个武功高强的成年人,因时局日催紧张,列强开始入侵中国,刘龙恐会有战乱,着宽量离开福州返去冲绳,并谓自己毕生所学的全部已授予宽量,亦希望宽量把他所教与的武功流传下去,宽量本不愿离开福州,但因为刘龙的坚持,唯有告别恩师返回冲绳。 

返回冲绳后宽量并不是第一时间去授武,而是做回父亲的老本行经营水上货运(后因船只遇到台风沉没,生意亦告结束)。 

知情人都知道宽量到中国学武是为了报杀父之仇,当他回冲绳后,大家都抱着将有好戏看的心态来看待,但一直等了多个月,还未见宽量有任何行动,当年杀死他父亲的人更寝食不安,不知何日宽量会找上门来,终于,他受不住这种压力,自动登门去到宽量家里,在门外跪下向宽量解释当年因大家喝了酒而争吵,是你父亲拔刀刺我,混乱中反被我刺死的,官府亦判我为自卫杀人,而且刀是你父亲带来的··,宽量很平静的看住此人并说:“好,我相信你,此事算了罢!”,在旁边堆满了准备看好戏的人群一方面觉得没趣,另一方面都赞赏宽量的明白事理,后来还把今次的事件用来教育子女,要学宽量般明事理,懂分黑白. 
 
坊间对宽量的事迹有多种传说,但与宫城长顺传下的有分别,举一个例,有传说刘龙(公)是从事编织竹器为生的,而不知道那是他因年纪已老才改行的后期事业。 

另一缪传是说宽量的师父就是鸣鹤拳的谢如如 谢崇祥)相信是他的后人自编自说的故事,有关的传说资料都显示出刘龙跟宽量的年龄相差最少有二十多年,而不是他们传说的宽量的师父就是谢崇祥,因两人的年岁只相差 1 岁,而且刘龙去世的年期比谢崇祥最少早 15 年,因宫城长顺去拜祭刘龙(公)时是 1915 年(刘是 1915 年之前已去世的,正确日子不详),而谢崇祥还未死,他是 1930 年才去世的。 
 
这个资料不但给那些想利用宽量事迹的灰色地带来吹捧自家武术的打了一记闷棍,还大大的讽刺了那急不及待的“立碑”笑话。真的是一起‘伪造师承,强迫入门兼立错碑'的武林大笑话。 
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话说回头,宽量因自小在船上生话,并没有受过什么文化教育,加上后来去了中国福州学武整整 14/5 年,每天干活练武,更没可能去接受文化教育,所以他的文化水平很低,正因如此,他无法把在福州的经历用笔写下, 以至后来连师父的名字都是用口语(拼音)来传述给宫城长顺(他唯一的内弟子),其它普通的弟子根本无从知悉。 
 
本来宫城长顺去福州拜祭刘龙(公)时是有把刘的姓名,出生日期及忌辰等从墓碑上记录下来的,可惜所有的资料都在冲绳战役中被毁灭了,加上安一先生说如非认可传人是不应把流派的历史传授(这是传统武术的一惯做法),但却做成今天刚柔流空手道的历史存有灰色地带及很多由其他人创作的穿凿附会小道传说,刚柔流发展到今天,因盛名所致,做成百花齐放,真伪莫辨、版本众多,实始料不及。 
 
资料来源: 
宫城长顺传述给宫城安一,宫城安一师范再传述林师范 。 
刚柔流空手道史 - 东恩纳 盛男著 ​
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Qi Magazine: Vol. 32, No. 2, Summer 2022: Published Article - 'Taijiquan Classic' (New Translation) By Adrian Chan-Wyles PhD! (7.6.2022)

6/7/2022

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Qi Magazine Has Developed a Very Good Online 'Journal'!
Translator's Note: I have been very fortunate to have understanding, tolerant and wise parents who allowed myself to thoroughly 'mix' with and 'integrate' into the ethnic Chinese side of our family! This has exposed me to the 'old' Chinese cultural set-up in New Territories (Hakka) villages at a time when the modern commerce of the British had not yet penetrated the area from Hong Kong island, and most of the post-1945 changes and transformations of the Chinese Mainland had very little influence until the hand-back of the British Colony to the Chinese People in 1997! I subsequently learned about a 'modern' and 'commercial' China, and this led to me engaging and thoroughly appreciating the culture of 'New' China - the people of which have treated both myself and my family with dignity and respect! All of this experience has culminated into a rich understanding that involves the mind being 'stilled' and the 'awareness' facility 'expanded' to encompass the Ten Directions! It is the wisdom that emanates from the Empty Mind Ground that influences and guides all of my gongfu practice and translation activities! May All Beings Be Happy and Free from Suffering! A clearer scan of the paper copy of this article will be added to the 'Published Articles' section soon - whilst what follows here - are 'screenshots' of the Online 'Journal' version! When the Online Qi Journal is accessed properly - the print can be easily enlarged, made sharper and clearer! These screenshots are merely an 'idea' of the article! ACW (7.6.2022)
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Taijiquan: To Accumulate Energy Like Drawing a Bow!

12/2/2021

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A Taijiquan Master Shares His Knowledge of Genuine Martial Arts Knowledge! 'Click' Picture for Original Article
Two aspects define this exercise. First, develop the technique of using the body like a ‘bow’, and second, in so doing ‘generate’ huge amounts of energy! To achieve this ability, the physical body must cultivate three-roots, a) the ‘lower’ or ‘foot’ root (脚根 - Jiao Gen), b) the ‘middle’ or ‘waist’ root (腰根 - Yao Gen) and c) the ‘top’ or ‘head’ root (顶根 - Ding Gen). The ‘middle’ or ‘waist’ root is inherently linked to the ‘dantian’ (丹田) - or ‘centre of energy self-cultivation field’ situated two-inches below the navel and also referred to as the ‘Life Gate’ (命门 - Ming Gen). The ‘head’ (top) and ‘foot’ (lower) roots should be visualised as being ‘set’ firmly in place. The ‘waist’ (middle) root – which inherently and continuously connects the ‘top’ root to the ‘lower’ root - is then completely ‘free’ to move in a forward and back direction which does not break the all-round ‘rootedness’ and does not disrupt the harmony of the all-round alignment of the three-roots. As the ‘top’ root is linked to rarefied consciousness and divine creativity, this sense of ‘righteousness’ should permeate the other two ‘roots’ and saturates the entire mind and body of the individual practitioner. This ‘divine’ consciousness flows from the ‘head’, through the body (‘middle’ root) and down into the ground (through the ‘foot’ or ‘lower’ root). This downward flow is inherently linked with the forces of gravity which is an amalgamation of Jing (精), qi (氣) and shen (神). This combined force hits the ground and ‘rebounds’ upwards re-tracing its direction of travel. Although this energy circulates around and through the 12-14 qi energy channels that run through the entire human body – this energy-process also travels through the centre of the bones (both upwards and downwards) developing the inner marrow and outer bone structure). 

What does this mean in practical purposes? A person who is so ‘rooted’ remains immovable when an outside force is placed against any part of heir still body. The more pressure that is exerted – the stronger their immovability becomes. Although the head and feet do not move – the waist act as a shock-absorber. Such a practitioner can absorb, re-direct and divert all incoming energy through an expert ‘waist’ positioning and subtle repositioning. Indeed, such an ongoing procedure will ‘tire’ a continuously ‘pushing’ opponent. All incoming force is redistributed through the hollow centre of the bones and safely into the ground. This simultaneously disarms an aggressor and ‘strengthens’ the immovability’ of such a practitioner. The expert positioning of the skeletal frame allows the movable waist to infinitely divert incoming force away from achieving its objective of ‘uprooting’. Once the ‘integrity’ of the opponent’s strength is broken, the movable ‘waist’ can be used to ‘repulse’ the opponent and ‘uproot’ his stance.  
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Righteousness and ‘stillness’ are identical. When movement is correct – then ‘righteousness’ and ‘movement’ are correct. The posture can rotate and turn 180 degrees and the bow can be drawn. In an instant the bow can be ‘released’ and a tremendous force emitted in a focused direction. In reality, if the ‘lower’ root can be maintained, the other two ‘roots’ can be used to remarkable effect in combat – moving and adjusting to an opponent's movements and positionings. However, just as opponents can be unpredictable, an advanced martial artist must decide which ‘root’ to keep in-place and which ‘roots’ to move! This is how victory is assured. Stay polite and move around naturally seeking-out the openings. When it is time to deploy your advanced skills then the concept of ‘Yi’ (意) or ‘intention’ comes into play. When ‘rootedness’ has been properly achieved, then everything is achieved without any undue effort. Energy can be built-up in any area of the body and ‘released’ as your ‘intention’ sees fit. In this regard, ‘intention’, ‘righteousness’ and ‘rootedness’ are all mirrored in one another with one not existing without the other two. This type of unified power can be developed and used in any circumstance and always prevails over those with less spiritual development and martial arts skills. Just as the Jing and qi energy flows through all the energy channels and generates ‘shen’ as an empty mind – martial power of this kind appears to manifest without any undue effort. The secret, of course, is that the practitioner has spent years training the mind and body to achieve this ability.  

The ‘intention’ is the product of ‘stilling’ and ‘expanding’ human consciousness so that it permeates out of the head area and traverses through the entire body and out into the environment in a 360-degree deployment. The developed ‘intention’ can draw jing and qi into a certain area for health purposes, healing and longevity. With the case of ‘shen’ developed from his congealment of ‘jing’ and ‘qi’ - all the advanced spiritual states are achieved. When combined with bodyweight and the principle of skeletal alignment – a deep and inherent combat power is formed as if from nothing! Bodyweight does not exist outside of qi and jing – but firmly within these facets of traditional Chinese thought. Bodyweight has always been an important facet of this ‘hidden’ power which makes more sense in a modern context. When its presence is clearly ‘perceived’ - then is falls firmly within the context of ‘shen’ - when shen is used to equate with an expanded conscious expansion! With ‘awareness’ tremendous vigour and force are generated. The mind and body can function to a greater extent of healthiness and be prepared for a successful martial encounter. Intention becomes the essence of Taijiquan (太极拳) and the foundational ability to both ‘adapt’ to circumstance and ‘generate’ tremendous force.  
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The main question Is ‘how?’ to use ‘intention’ to generate ‘effortlessly’ power? Within Taijiquan – the ‘Grand Ridge-pole Fist’ - the essence of this practice evolves around the principle of ‘frame’ (架 - Jia). Without understanding the use of ‘frame’ - there can be no ‘effortless’ power through the use of intention. For many people the question becomes ‘how to beat others without effort’? For most, this notion seems to contradict the reality of the material world and the use of ‘obvious’ force to defeat others. With regards to advanced Taijiquan practice there are ‘two’ forces which need to be mastered. 1) is the bodyweight which exists within the body of the practitioner, whilst 2) is the bodyweight which exists within the body of the opponent. The first drops down through the centr of the bones – hits the ground (thus ‘rooting’ a practitioner) - and then ‘rebounds’ upwards creating a reservoir of immense and effortless power which can be ‘emitted’ from any part of the body as the ‘intention’ sees fit! This process of modern physics ‘mirrors’ perfectly the thinking of Chinese traditional thinking and certainly does not contradict it! This amounts to 1) using our own strength and 2) using the strength of others. Most people remain complete unaware of these two methods of generating effortless power. Instead, they over-balanced, always ‘pressing down’ and stopping the natural rebounding force that gravity ensures is always being generated. To change this habit – the capacity to sense ‘intention’ from the ground to the top of the head must be cultivated. Instead of tensing the muscle to achieve this – the muscles are completely relaxed to allow the rebounding force to move up through the structure without hindrance. Sensing this upwards movement is the exercise of ‘intention’. This is combined with the ‘awareness’ of the bodyweight ‘sinking’ this energy into the ground and the entire cycle of ‘intention’ is attained... The qi (氣) sinks into the dantian whilst the head is ‘suspended’ and ‘buoyant’ - as if floating on an invisible cushion of air or held-up by an invisible silk cord. The top and bottom are united by a single ‘awareness’ and ‘permeating’ energy. 
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The most difficult aspect of generating ‘effortless energy’ is learning to distinguish between a deep ‘loosening’ (松 - Song) of the body-structures and a superficial ‘relaxation’ (弛 - Chi) of those same surface-structures. Although it is true that ‘relaxation’ is the first step of training whereby the muscles, ligaments and tendons are freed of habitual ‘tension’ - this is only the beginning as the ‘intention’ or ‘awareness’ permeates these structures and generates an entirely ‘new’ organisational structure that appears sub-cellular in origination. As the bodily-structures re-orientate (like the branches of a pine-tree ‘fanning-out’) energy travels through the area in a totally different way. This is why superficial ‘relaxation’ gives-way to a profound ‘loosening’. The bottom is ‘rooted’ and connected to the ‘head’ by the ‘middle’ or ‘waist’ area with no breaks in energy transmission. Superficial relaxation must transform into a state of profound ‘loosening’ or the body-structures will never be fully transformed. Indeed, the term ‘middle embracing’ (中正 - Zhong Zheng) refers to how the ‘middle’ communicates and relates to its surroundings. This can refer to its inner or outer surroundings and is not limited to any one dimension. It is both a psychological and physical reality. Another way of looking at this is the relationship between the ‘centre’ and the ‘periphery’. This can be summed-up as simultaneously embracing the states of ‘moving’ and ‘non-moving’. Whenever the centre moves it is always balanced and in harmony with the ‘still’ periphery – when the periphery moves it is always in harmony with the ‘still’ centre. The centre must be made profoundly ‘still’ in body and mind so that the nature and quality of its communication with what is forward, back. up, down, left and right is profound and all-embracing. Unnecessary movement is divisive, whereas ‘stillness’ generates harmony as the perfect balance between yin-yang (阴阳) relationship. When ‘stillness’ and ‘movement’ must interact, then it must be as a dynamic and symmetrical balancing of well-timed opening and closing – of allowing bodyweight ‘in’ and allowing ‘bodyweight ‘out’ - of allowing the opponent’s presence ‘in’ or keeping the opponent's presence ‘out’. Traditionally, this is explained through the mastery of the concepts of the ‘eight gates and five steps’ (八门五步 - Ba Men Wu Bu) which utilise the dropping and rising force (bodyweight and qi, etc) which opens into wide spirals or is ‘pulled’ back in to a ‘still’ centre.  
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The ‘eight gates and five steps’ represent the expert application of yin-yang interaction, and the application of advanced Taiji principles. However, without first realising and mastering the ‘still’ centre that is ‘all-embracing’ there can be no talk of perfecting the ‘eight gates and five steps’ - as the ‘eight gates and five steps’ arise solely from the mastery of the ‘all-embracing’ and ‘still’ centre. For most who learn taijiquan, however, these concepts mean nothing as they are not learned or even heard of. Simply practicing the movements of Taijiquan with no expert guidance is a fruitless task as you will remain just as ignorant ten years down the line as when you started. Study and seek instruction. Awareness is the key as a good instructor will teach a practitioner how sense their bodyweight and ‘feel’ its rebounding force. Without this – Taijiquan is just a set of meaningless exercises. This is achieved by a superficial relaxation being transformed into a profound ‘loosening’. Hard work must be a daily habit. Do not give-up and seek to achieve the maximum with the minimum. Calm the mind and expand awareness into the environment. Practice within this awareness so that mind and body unite and become one. Improve one aspect of training every day. If practice is of a good quality – then self-defence ability will manifest in an easy manner. Remember – even if the method is correct – Taijiquan might well take a long time to master. Seek good instruction. 
Some people say: ‘Taijiquan can't be taught, IT can only be learned by experience.’ This is because many people possess vague notions of attainting ‘enlightenment’ (悟 - Wu), but no real knowledge of how to go about achieve it. Instead, they repeat superficial movements in cycles of performance within which there exists no transforming mechanism to ‘shift’ the structure from one manifestation to another. Even at the birth-place of Taijiquan, thousands have gathered over the last one-hundred years to practice the movements of the Taijiquan style – and yet very few can a) fight with the style, b) live long lives or c) attain enlightenment through such practices. This is true even of people who learn from well-known teachers with established lineages. Over-all, this leads to a deterioration of Taijiquan ability. The secret of mastering Taijiquan in all its aspects lies with the mastering of the placement and functionality of the ‘waist’ or ‘middle gate’, for when this understanding is lacking, the entire edifice of Taijiquan ability cannot be established! 

Authentic Taijiquan technique, regardless of style or frame, depends entirely upon the perfection of the use of the ‘waist’. This explains why there are many references to the ‘waist’ and ‘waist management’ spread throughout the Classical literature of China. Such examples are ‘the waist is the master’, ‘the waist is the driver’, ‘the waist unites and controls the upper and lower body through the turning of the spine’, and ‘the mind’s awareness penetrates and controls the waist’ - are just a few examples of the extent of this importance. However, according to observations, many practitioners, especially beginners, are still not clear about this.  Many chose to stand bolt upright, crooked or overly slanted; some do not know how to loosen their hips; others only know how to swing their arms but don’t know how to turn their waists, and their movements appear awkward and stiff. The analysis of the reasons for these errors is mainly due to an unclear understanding of the position, function and basic essentials of waist movement found within genuine Taijiquan principle and technique. The point is this - If you practice Taijiquan without training your waist, it will be difficult to improve your skills throughout your life. The author of this article would like to assist martial artists in China (and abroad) through sharing my own experience and humble insights. To sum-up the important position and function of waist movement, there are two main points: 
  1. The ‘waist’ structure is a complex physical mechanism that acts as a specialised conduit of ‘bodyweight’, and is an arbiter of the force of ‘gravity’.  It closely combines the upper body and lower limbs into an organic whole, and it is also the key to more concentrated reflection of body skills. It plays a very important role in driving and adjusting the changes of the whole-body movement, the stability of the centre of gravity, and the pushing of tremendous (effortless) ‘force’ throughout all parts of the four-limbs. As long as the waist moves effectively, the four parts of the external body are (implicitly) incorporated into its sphere of influence, a process which ‘reduces’ and ‘removes’ any unnecessary peripheral movement of the body, forming a complete and coordinated movement of the upper limbs and lower limbs together with that of the trunk. The waist turns the spine which operates the upper and lower limbs effectively. Therefore, the waist (via the ‘spine’) turns the hands – and through the legs – turns the feet, with the waist uniting the head with the feet via the spine. Regardless of Taijiquan style practiced or frame preferred – the ‘turning of the waist’ allows for the qi-energy to flow freely into and out of the four-limbs and the head, etc. The free-flow of qi-energy is directly in relation to the free-flow of bodyweight.  ​
  2. The waist plays a crucial role in accumulating energy. The ‘Boxing Treatise’ (拳论 - Quan Lun) states: ‘Strength builds from the heel, dominates the waist, manifests throughout the back, reaches the arms, and forms in the fingers.’ The ‘Boxing Treatise’ further states: "Palm, wrist, elbow and shoulder, back, waist, hip, knee, foot – therefore up and down the body there are nine ‘centres’ of focused energy (劲 - jin) - with the waist being the foundation of each energy centre. The waist accumulates combat energy (jin) by appropriately twisting, turning, lifting and dropping. This is achieved by the waist becoming an empty conduit which can be continuously ‘inflated’ with energy and distributed throughout the four-limbs. This is the greatest strength of Taijiquan – which can even use the opponent’s bodyweight as an effective weapon! All this arises within and through a suitable trained ‘waist’. For instance, when the waist and the arms are suitably ‘aligned’ and natural ‘holding’, ‘embracing’ or ‘supporting’ force is generated in the arms and hands (拥劲 - Yong Jin). It is the capacity of ‘intention’ (yi) which ‘directs’ and ‘channels’ the qi-energy so that it can be ‘gathered’, ‘retained’ or ‘emitted’ as the case may be. ‘Jin’ energy is produced when qi-energy is ‘compressed’ by ‘intention’ and emitted through a focused and highly concentrated avenue of psycho-physical expression. The waist can deflect and absorb the incoming power of an opponent’s attack. This external ‘bodyweight’ is converted into ‘jin’ force through its physical compression as it is taken control of as it enters the practitioner’s body. Once harnessed in this manner, the strength of the opponent can be immediately turned around and re-directed (through the waist and spine) back into the opponent causing total confusion and an ‘uprootedness’ that cannot be countered. The compression of bodyweight and the amalgamating correctly of jing, qi and shen, etc, generates an explosive force that is not dependent upon muscular contraction, which can be gathered as if from nothing, and emitted in the most unusual or unexpected manner. This method allows for a certain ‘elasticity’ of defence, that stops, turns and ejects an attacking opponent. For instance, whilst practicing the ‘Parting the Wild Horses Mane’ (野马分鬃 - Ye Ma Fen Zong) - regardless of performed on the left or right side of the body – demands a perfected ‘rootedness’ mediated through the ‘waist’ so that the dropped bodyweight rebounds with a tremendous energy that is redistributed up through the waist, spine and through the shoulders, arms and hands, etc. Not only is the opponent ‘uprooted’ - but he can be ‘struck’ with a great and effortless force whenever the circumstance demans.  
     
Original Chinese Language reference: 
https://www.sohu.com/a/501559060_121124541 
蓄劲如开弓,发劲如放箭  
2021-11-17 00:00 
拳谱这两句说话其实颇为形象化,是以身体作为一张弓来发劲。要点是我们自己身体要有三个根:顶根、脚根及腰根(丹田或命门)。设想顶根与脚根定点不动,腰便可自由的荡,只要每动皆双向(即有来有回),便不会破坏全身的对称平衡,时刻保持中正。 
如果你用力推我,我顶根与脚根不动,腰根被你推开成开弓之势,到你力尽,我腰根的重量荡回来,便把你笔直放出去,而我自然中正,不出方向。如果我在开弓时不知不觉的围绕你转动一百八十度再发劲,便把你前推之势也加以利用,你跌得更惨! 
事实上三个根只要能保持一个根不动,其余两根可来回的荡以发劲并时刻保持中正,若在贯串两个根之荡时,加上螺旋扩大或螺旋缩小,威力更大。因为我有三个根,要定那一个根由我决定,而且随时转换,你难以捉摸,「人不知我,我独知人」,一碰便胜败已分,与你转圈推手只是客气而已。 
这里牵涉到用意不用力,例如顶根不动,是因为体内不断有S循环在进行而外示安逸的结果,不是用力去固定头顶。身体意气走S,是以意想推动的,以意气驱使身体而动,一点不用力,稍一用力去扭动身体四肢走S线,便是用力,不是以意气运身,没有威力可言了。太极拳的任何解说,包括拳谱,都有一个前提,就是「用意不同力」,稍一用力,那怕一点点,已经不是太极拳,这是太极拳的关键内涵,也是最难练习、最难做到的地方。 
怎样做到“用意不用力” 
太极拳是应用太极原理于技击的拳艺,太极拳架是为使身体熟练应用太极原理而编造的练习,所以练拳要明白练习的目的。太极拳最大的特点是「用意不用力」,不用力怎样打人呢?是借力打人,借力的来源有二,借他人之力及借自身的地心吸力,即利用体重在地面的反弹力,我们日常的习惯,唯恐站不稳,不自觉的往下压,没有利用体重反弹的习惯。 
要改变这习惯,头顶要有领起之「意」,不用力,身体放松,才能引导反弹的体重上升,再下沉,又反弹上升,又下沉,又上升……,连续不断,这才是「虚领顶劲、气沉丹田」,二者是一体的,是利用体重反弹的练习。 
“用意不用力”最难之处是「松」,“松”是张开,不是“弛”,是“中正安舒”。“中正”是中心与四周的关系,“动而不动”是为“中正”,所谓“动而不动”是每动则外围之动都对称平衡,使中心平稳有如不动,所以要求“有上必有下,有前必有后,有左必有右”,其实“动之则分,静之则合”是阴阳关系,是动态的对称平衡开合,由点到线、面、体的开合是为“八门”;开则螺旋开张,合则螺旋收缩,是为“五步”,能把握“八门五步”,就能利用升、沉的体重以开合收人发人。 
“八门五步”是阴阳之势的应用,就是太极原理的应用。如果把“中正”当成静态,而实际上静态之中不是中,静态之正不是正,不“中正”,则难“安舒”,不“中正安舒”,则不能“松空圆活”,不“松”则借不到体重反弹,就不能“用意不用力”,更不要谈“八门五步”了,所以学太极拳都由“中正”开始。 
但一般学习太极拳的,大都不明太极思维,把原则僵化了(以为“中正”是静态的中、静态的正便是僵化),一般学习“中正安舒”而未能过关,所以只能不断练习拳架,冀求有能「松」的一日,这是吃力不讨好的。多研究太极思维,练习时不断评核所练习的能否结合太极原则,不断改进,才会有进步,如果练习不能与太极原理会通,是为练习而练习,目标不清,功效有限。 
感觉不到重量反弹,是身体不听话,自已用了力而不自觉,就是不能「松」。用力是日常习惯,要在不放弃这日常习惯之外,再建立一种不用力的习惯,并要听意识指挥:日常生活用力;技击时不用力,这是很难很难的训练,就算方法正确,也要很长时间的练习,何况方法不一定正确,(何谓正确方法?练习无定法,凡合乎太极原理的方法都是正确的)。 
有说:“太极拳是教不会的,只能学会”,因为要点是“悟”,所教的方法是死的,要能通过方法而领悟太极原则的应用,才学得会,所以有承传也不一定出人才,过去百多年,在几个太极拳发源地,每日用功,长时间习拳的成千上万,但有功夫的代不数人。太极拳之所以慢慢变质,变成流行的健身太极操,不是没有原因的。 
“太极腰”的修炼 
太极拳特别注重腰部活动。经典著作中讲得很多,如“腰为主宰”“腰为驱使” “源动腰脊转股肱” “刻刻留心在腰问”等,都是说腰在太极拳运动中的重要性。但据观察,不少练拳者,特别是初学者对此还不够明确。有的立身不正,歪歪斜斜;有的不知松腰松胯;也有的只知旋臂而不知转腰,动作显得别扭、僵硬。分析原因,主要是对腰部活动在太极拳运动中的地位、作用和基本要领认识不清所致。正是:练拳不练腰,终生艺难高。笔者愿以自己的体会和浅识拙见,向拳友们讨教。腰部运动的重要地位和作用概括起来,主要有四点。 
1.腰部起着承上启下、维持身体姿势和传导重力的中枢作用。 
它把上体和下肢两部分紧密地结合为一个有机整体,也是比较集中地反映身法技巧的关键。它对带动和调整全身动作的变化、重心的稳定以及推动劲力到达肢体各部分都起着十分重要的作用。只要腰部一动,全身其他部位皆相适应,无有不动,形成上肢、下肢、躯干完整协调的运动。上肢运转要求转腰旋脊,以腰带臂,腰领手随;下肢运转要求以腰带胯,以胯带腿,以腿带足。因此,套路中各个拳式正确手法和步法的变换,都必须依靠腰部不停地灵活运转来完成。同时,腰部还能运丹田之气到达四肢百骸,从而形成周身完整一气。 
2.腰部起着蓄势发劲作用。 
拳论日:“劲起于脚跟,主宰于腰,发于脊背,达于两膀,形于手指。”又说:“掌、腕、肘和肩、背、腰、胯、膝、脚,上下九节劲,节节腰中发。”劲法中也强调,以缩腰、拧腰配合蓄劲,以舒腰、转腰配合发劲。这既是太极拳的发劲特点,也是太极拳发劲时应遵循的一条规律。因此,太极拳八种劲法虽然都形于手、臂、肩、肘,但劲力源头均发自腰部。 
例如拥劲,虽然“拥在两臂”,但主要靠腰与意气相配合发出的劲力棚架对方,并借机击之。搌劲,虽然“搌在掌中”,但主要靠转腰坐胯顺势将对方引至自己下盘一侧,化解和防御对方攻势。挤劲,虽然“挤在手背”,但主要靠腰椎后弓之劲,手脚并进,合力向前挤击。按劲,先师们明确指出了“按在腰攻”,靠腰劲带动全身整劲,用双手向前按击对方。其他采、捌、肘、靠,也主要以腰腿劲为基础,加上内气的鼓荡,以全身的弹性劲、爆发力,快速准确地将对方弹出。这都充分说明腰是劲力之源。只要腰力运用得当,就可使周身力量集中于一点,战胜对方。例如野马分鬃,不论左抱右分或右抱左分,腰部旋转、腰部发出的力量都起主要作用。同时,按腰送肩还可放长两臂,延长进攻距离,有利于击打对方。 
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Critically Examining the ‘Fist Frame’ (拳架-Quan Jia) as the Foundation of Taijiquan Practice

11/27/2021

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A Collaborative Article Written By Masters on China's 'Gongfu & Taiji' (功夫太极) WeChat Group - (2016-09-09 11:29) of Which I Am a Member!
Contribution & Translation Shifu Adrian Chan-Wyles
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Frame Adjustment is a Sign of Profound Taijiquan Mastery!
Beginners learn Taijiquan by replicating the "fist frame" (拳架-Quan Jia) - or the ‘physical structure’ of the Taijiquan style as taught by their teacher. The teacher uses the ancient method of teaching one step and one sequence at a time, so that each student can learn each step and each sequence before moving on to the next section. The teacher ‘expresses’ each movement one by one, whilst the practitioner imitates these movements ‘one by one’ until they become natural. This process is termed the "leading frame" (领架 - Ling Jia). Although the “fist frame” defines the physical appearance of the Taijiquan style, the essential and underlying reality of these movements contains an extremely rich content. It not only contains its extensive martial application, but this body of knowledge is closely connected to the internal strength-building (内功 - neigong) exercises. Authentic Taijiquan is passed on from one generation to the next through its readily recognisable ‘fist frame’ or stylised form. It is only through the correct preservation of the “fist frame” that all the other ‘hidden’ techniques are preserved and passed-on.  ​
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Moulding the Young Minds and Bodies of the Next Generation!
To effectively learn a style of Taijiquan, you must first seek out the correct “enduring image” (形象 - Xing Xiang), as taught by a reliable teacher. Logically follow the rules, be meticulous, and replicate each movement one by one and step by step. First learn the correct orientation of the body (that is, the correct alignment of the head, torso, arms, legs, hands and feet, etc), next perfect the hand positions and the techniques through which these positions are used, then perfect the footwork – learning ‘how’ and ‘when’ to step and stand-still, learn all the movement routes – that is how to step, when to stop stepping and how to piece each movement together into a smooth sequence of events, and through doing all this probably, mastery the ‘outer’ style of each style. The ‘outer’ methods are mastered first – then followed by a deepening of understanding and awareness whereby the ‘inner’ methods become apparent and are in-turn mastered. This creates a unified process which sees a relaxed mind, body and environment ‘merge’ into one complete reality of ‘awareness’ and all-embracing ‘presence’.  ​
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Frame Adjustment at the Beginning of a Taijiquan 'Form' is a Crucial First-Step!
According to whatever the style of Taijiquan being studied, ensure that the ‘chin is placed-forward (and slightly down) so that the vertebrae of the neck are gently but firmly ‘extended’ and the head correctly ‘lifted’ and placed with a ‘rooting’ strength upon the shoulders. The head and neck – in relation to the shoulders – becomes both ‘buoyant’ and yet ‘heavy’ whilst being perfectly aligned between all its constituent factors. This alignment of the vertebrae extends down from the neck into the chest and lower back area (simultaneously confirming the ‘concave’ and convex’ anatomical structures), with each placed exactly where it should be above and below all other contributing structures. The shoulders are ‘rounded’ as they surround the ‘rounded’ chest-cavity and there is no contradiction in the head-to-toe alignment of the bones, muscles, ligaments and tendons. The chested is rounded as it fills and empties with ‘air’ and ‘qi’ (氣). Therefore, the concave and ‘empty’ chest (together with the relaxed and strengthened abdominal muscles) joins the neck and head in being both ‘robust’, incredibly ‘strong’ through ‘alignment’ and yet ‘flexible’ like the wind. The pelvic-girdle is correctly aligned with the vertebrae that emerge from it. The pelvic-girdle form a ‘bowl-like’ structure into which the mass of the digestive organs sits, manoeuvre and function, etc. From the pelvic-girdle the upper body is structured and lower body touches the earth. The pelvic-girdle connects to the ground through the bone, joint and muscle structures of the legs, which always includes the connecting tendons and ligaments all over the human body! The pelvic-girdle must be rounded and concave so that it aligns with the knees, and the ankles, whilst the knees remain ‘rounded so that the bodyweight can ‘drop’ and ‘rise’ through the area unhindered. The descending bodyweight drops into the ground through the centre of the anatomical foot-structure (which varies in exact location depending upon the technique being used). When all this is ‘corrected’, then it becomes obvious that the shoulders and hips, elbows and knees, wrist and ankles and hands a feet become permanently ‘unified’ and ‘aligned’ in their physical activity and non-activity (I.e., ‘standing still’, etc). As ‘awareness’ increases, the shape of the hand and the ‘exact’ placement of one bone to another becomes possible and is a skill repeated all-over the body including throughout the structures of the feet. In other words, the ability to ‘align’ and correctly ‘arrange’ the entire body in general – becomes a highly efficient ‘localised’ skill applied to the smallest area of the body itself. This is how tremendous power can be generated throughout the ‘frame’ and correctly emitted through with a ‘fist’ or the open ‘palm’. Conversely, huge amounts of power can be ‘absorbed’ through an ‘open’ or ‘closed’ hand, distributed throughout the Taijiquan ‘frame’ and harmlessly neutralised into the environment. This is how the ‘mind’ first ‘expands’ its awareness’ throughout a ‘unified’ body-structure (or Taijiquan ‘physical ‘frame’) before ‘expanding’ beyond the physical ‘frame’ and becoming ‘all-embracing’ and ‘all-inclusive’ of ‘all’ and ‘nothing’ in the physical environment! This is the process of how a material ‘form’ (形象 - Xian Xiang) become an immaterial, ‘mind’ or spirit-driven ‘form’ (神象 - Shen Xiang). If ‘physical’ Taijiquan practice does not evolve into a ‘spiritual’ Taijiquan practice, then a life of practice, determination and sacrifice has been entirely wasted! The teacher provides the ‘fist form’ - but you must practice ‘beyond the ‘fist’ and firmly cultivate the ‘mind’. Without this transformation, nothing substantial can be fulfilled. The ‘spiritual essence’ is contained within the ‘form’ and the ‘frame’ - but is dependent upon neither and must emerge from both. However, due to the nature of the complexity of Taijiquan design and practice, it is inevitable that some will encounter problems with their practice. Beginners are often prone to rigidity of mind and body and are unable to properly ‘adapt. The most common errors involve ‘stiffness’ (僵 - Jiang), ‘scattered’ awareness (散 - San), ‘discontinuous’ awareness (断 - Duan), ‘non-alignment’ (歪 - Wai), ‘non-rootedness’ (浮 - Fu) and other problems.  ​
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Adjusting Past and Present...
A) ‘Stiffness’ (僵 - Jiang) - involves ‘tension’ being hidden throughout the mind and body of the practitioner. It is a product of ‘habit’ that must be undone and countered through the practice of psychological and physical relaxation. Habits of thought that generate psychological tension must be ‘dissolved’. Simultaneously, the tension that abides within the muscle-fibres must also be ‘released’ through deep breathing and the focus of the mind’s attention upon the area. Eventually All mind-body tension (which is merely ‘blocked’ qi energy flow), must be a) ‘released’ and b) ‘reabsorbed’ into the entire mind-body system.  

B) ‘Scattered’ awareness (散 - San) consists of a mind that is not yet ‘unified’ into a spiritual-whole so that the physical body is also affected by this ‘disunity’. A scattered mind inevitably manifests as a scattered body in the physical realm, whereas a unified mind which is all embracive of the physical body (and environment) inevitably provides the foundation for a fully united Taijiquan form. The ‘awareness’ must be ‘united’ by focusing the mind and disciplining its functionality. Once the psychological processes are ‘united’ - then the physical body (and its actions) will be permeated by this ‘unified’ 
awareness. 
 

C) ‘Discontinuous’ awareness (断 - Duan), between the upper and lower body, means that there is no connection between the mind, body and environment. In other words, no ‘rootedness’ as the practitioners ‘awareness’ capacity is both incomplete and discontinuous. The upper and 
lowe body cannot interact in a fluid and smooth fashion. Q energy flow is ‘broken’ at crucial points (effecting ‘jing’ [
精] and ‘shen’ [神] circulation, generation and transformation). As the top half of the body is ‘disconnected’ from the bottom half of the body – there is no transference of ‘awareness’, ‘energy’ or ‘ability’ through the pelvic-girdle. Beginners must observe and understand flowing water, reeling silk and clouds floating across the sky and how nature achieves these feats of action with no apparent effort at all. Human-awareness must extend fully in the ten-directions and not stop short at nine-directions! The practitioner must master the connection between ‘awareness’ and ‘movement’ - when such an awareness is ‘lacking’, then there is a ‘discontinuous’ awareness, or ‘break’ between areas of psychological and physical control. This problem can be resolved through practicing ‘deep’ relaxation of mind and body, as well as focusing the mind to ‘lead’ and ‘guide’ (引 - Yin) the awareness evenly through the physical structures of the body, so that ‘awareness’ always precedes and initiates all movement so that there is never a ‘break’ between ‘intention’ and ‘actuality’.  

D) ‘Learning to lead’ (引 - Yin), or direct a strengthened, concentrated and united mind so that its ‘intention’ continuously precedes all movement both ‘within’ and ‘without’ the physical body. In this regard, conscious awareness must automatically permeate the ten directions and everything within those ten directions – including the individual mind and body. This is a continuous pulsation that exists during sleep and awake times and which is fundamental and underlying in nature. Guiding the awareness, however, ss subtly different as it is a ‘refined’ awareness operating within this meta-awareness. Whereas the meta-awareness permeates the cellular structure of the mind and body – this ‘leading’ awareness penetrates the cellular wall and permeates into the subatomic structures. It has within it a compelling and attracting force which can also be ‘reversed’ into a repelling force (like releasing the built-up energy in a drawn-bow). At other times, it directs awareness and ‘pulls’ the physical body into the various directions of movement required. It is nothing short than the evolutionary mind-body nexus. ‘Thought’ within this context, although appearing ‘spiritual’ and ‘other-worldly’ is in fact a very subtle form of 
substrative material reality. 
 

E) ‘Non-alignment’ (歪 - Wai), refers to a disjointed and misplaced Taijiquan ‘frame’ (positioning) and ‘sequencing’ (form) so that the entire manifestation departs from the ‘law’ of the style, the philosophy of the tradition and the instruction of the teacher. Another description is that of a ‘crooked’ mind and body which mislead the practitioner and the world of taking the wrong direction. The body leans when it should be straight, or is straight when it should be leaning! The body remains ‘unrooted’ when it should be firmly affixed to the ground. The mind has no unified presence and is unable to penetrate and guide the 
the physical structures of the body. As there is no penetrative insight, the movements are ridiculous and disconnected. There is no awe-inspiring presence and no real Taijiquan practice taking place! 
 

​F) ‘Non-rootedness’ (浮 - Fu) can also be translated as ‘floating’ and refers to the non-dropping of the ‘qi’ (and ‘bodyweight’) down into the 
dantian (
丹田) situated two-inches below the naval and through the centre of the bones (stimulating the bone-marrow) in the case of the bodyweight proper. Pockets of psychological and physical tension can prevent the qi-energy flowing properly through the eight special channels (and the numerous other major and minor qi-energy flow channels), as well as the bodyweight ‘dropping’ effectively through the centre of the bones down into the floor through the soles of the feet, etc. Eventually, the dropping of the bodyweight results in a ‘rebounding’ force which bounces the qi-energy back up the body through the centre of the bone marrow – a gravity related processes which eventually integrates with the qi-energy flow through the qi-energy channels. If an underlying psychological awareness of the deep structures of the body is not present, then neither qi-energy flow nor bodyweight movement will be understood or even known to exist! Instead, the external body will be separated into essentially top-heavy and insular compartments of disjointed and non-rooted entities! All is disconnected from the ground and from the awareness of the mind. Drop the awareness into the ground to rescue the mind and body from this hellish existence!  ​
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Even Within a Set 'Style' There is Room for 'Frame' Variation!
This is why the ‘fist frame’ is the mother of the Taijiquan system of advanced Chinese martial arts (as it conveys the ‘secret’ of how to ‘punch’ with extreme power! Each individual part of the body must be thoroughly penetrated and minutely understood with a fully develop and directed conscious mind – before each part of te body is ‘integrated’ (through accumulated ‘insight) into a ‘unified’ whole. Although a ‘form’ of Taijiquan made well hold continuous physical characteristics that continuously broadcast a well-known' style – it is the mastery of the ever-change ‘frame’ of the Taijiquan form that is vital for martial arts dominance and success in the physical world. Of course, the ‘form’ and ‘frame’ obviously over-lap and coincide but they are not identical. Whereas a ‘style’ of Taijiquan may well utilise a continuous ‘form’ or philosophical-physical approach – whilst a continuously changing, altering and adjusting ‘frame’ may be manifested by an expert practitioner.  Whilst being firmly ‘rooted’ to the nourishing ground, an expert practitioner of Taijiquan is continuously manifesting the ‘root’ principles of the style, whilst also adjusting that particular ‘form’ (physical superstructure) to the conditions prevailing in the external world. A ‘fist frame’ facilitates ‘punching’ (or ‘open and closed hand techniques’ in general), whilst a ‘kicking frame’ opens the hip-area allowing for an array of ‘lifting’ or ‘floating’ leg techniques which uses the foot, knee or side of the leg-structure to ‘strike’ or ‘block’ whist standing still, or moving forward, back or side to side (although some of this activity might fall under the designation of a ‘stepping frame’ adjustment). An advanced ‘iron-vest’ frame allows for the bone structure to be utilised in a manner that deflects, absorbs or re-directs incoming energy, etc. There is even the case that suggests that the ‘frame’ of a Taijiquan style should be further adjusted as the age of the practitioner increases to counter the effects of ageing. With regards to self-defence, the body-shape, experience and motivation of an opponent will call upon the defending Taijiquan to adjust the type of ‘frame’ they manifest during hostilities.  A Taijiquan ‘form’ that does not adjust its ‘frame’ (or the distance between the feet and between the hands), is then ‘stuck’ in manifesting just one particular ‘frame’. This is a common mistake today developed from a lack of properly qualified teachers.  ​
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Radical Adjustment of 'Frame' is Crucial for Combat Effectiveness!
When Taijiquan was ‘liberated’ from the limitations of feudalism in 1949 – there was not readily available a suitable cadre of instructors to carry-out this advanced ‘liberating’ policy. To remedy this, it was decided that initially it was enough for the ‘copying’ of the superficial movements (I.e., ‘form’) to take place throughout China, and that over-time, as this new approach of ‘openness’ settled in (with a limited single ‘frame’), the number of qualified teachers would increase. Today, this transitional stage Is still in operation, with practitioners seeking an ever-greater depth of understanding, although association with legitimate lineage masters that are coming to light. This is a slow but inevitable process. Taijiquan – the most advanced martial art ever constructed by the human mind – has been ‘freed’ from the few exclusive lineages that once controlled its dissemination. Although lineages till exist and their practice is disciplined, the knowledge they possess in now viewed as belonging to humanity. ​
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A 'Form' is Both 'Set' in Structure and Yet 'Diverse' in 'Frame'!
Chinese Language Reference: 
https://www.sohu.com/a/114000920_467831 
拳架为学练太极拳之母!练拳易犯的几点坏毛病,快来看看自己有没有?  
2016-09-09 11:29 
点击上方↑"功夫太极"快速免费订阅太极养生资讯 
"拳架"为学练太极拳之母[摘编] 
 
初学太极拳应从学习“拳架”开始。即是学练老师的拳架。一招一式,逐一模仿。这一过程,称之为“领架”。拳架虽为外形,但却有极为丰富的内容。它不但含有很多技击招式,还与内功练习紧密相连。拳架是太极拳的基础,也是练习太极功夫的向导。没有拳架就无法练习太极拳。架子正确与否关系到太极拳的功夫能否练成。 
学练拳架,先求形象,须循规蹈矩,一丝不苟,逐一模仿。先学基本的身法、手法、步法,动作路线,各定式的样子及要领。架子应先求开展,后求紧凑。要求全身节节放松。如某一定式,先查是否“虚领顶劲,立身中正”,是否“含胸拔背,胸空腹实”,是否“松腰落胯,圆裆扣膝收臀”;再查步法是否正确;再检查肩肘腕是否放松,是否“沉肩坠肘、塌腕舒指”;最后再检查掌形、拳形,钩手等是否正确。在“形象”的基础上再求“神象”。不但要求形象,还要求神象。如不得太极拳之神形,则练一辈子也是茫然,不成大器。若想精其技,趋大成者,非得老师拳架之神形不可。然而,由于太极拳的特点,初学者往往难以适应,易出现一些毛病,最常见的主要有:僵、散、断、歪、浮等毛病。 
1 
僵 
就是僵硬、松不下来。练习太极拳,松为第一要义。而没有经过太极拳练习的人,身上都有僵劲。年龄越大,身体越是强壮,僵劲越大。而太极拳的动作是圆的运动,要求柔和缠绵,节节贯串,全身协调,主宰于腰。这就给练习太极拳带来很大的困难。因此,一开始,就要强调放松,练习者要有意识地使自己的身体放松。用意不用力,意松体松,内外皆松。 
 
2 
散 
即神散,形散。练习太极拳要求全神贯注,心无旁骛,如果练拳时心不在焉,杂念丛生,就无法做好动作。形散一般是指动作幅度过大,没有含蓄,或者动作不协调,散了架子。练习太极拳手臂和腿要自然弯曲,不可直手直脚,要注意处处保持太极球的形态。同时注意全身的协调性,所有的动作主宰于腰,以身领手,周身一家。 
3 
断 
指意断,劲断。动作不连续,上下动作之间断开,缺乏圆滑的过渡。太极拳要求柔和缠绵,练拳时,上动未停,下动又起,如行云流水,抽丝挂线,一气呵成,动作做到九分,意要贯到十分。而初学者往往不能很好掌握动作与动作之间的衔接问题,因此,就出现了“断”的问题。要克服这个毛病,一要注意放松,二要加强“引”的练习。即掌握“引”的规律,一般来说,引的规律是欲上先下,欲左先右,欲前先后。就是向相反的方向运动。 
4 
引 
“引”在太极拳中有非常重要的作用,它是太极拳的精华和绝妙之处。它不但起着承上启下的作用,还关系到太极拳阴阳转换,虚实开合的变化。没有引,太极拳的动作就无法圆滑过渡;没有引,就无法实现折叠转换;没有引,劲就无法绵绵不绝。 
然而,在现实生活中,许多太极拳练习者,往往忽视“引”的练习和应用。他们往往注意动作的外形是否到位,样子好不好看,而忽视了太极拳的精华。练好引的关键是用内动带动外动,心静体松,精神内固,丹田旋转,引领全身,以根节催动梢节,动作似停非停,将展未展之际,心意一动,“引”则油然而生。上动未停,下动又起,流连缱绻,无始无终。应该特别指出,引是自然而然的,是松沉的表现,不是故意做出来的。不可为了做引的动作,故意把拳打得一顿一顿的。引从外形上看,以不露痕迹为上品。 
引在推手中有着极其重要的作用。两人接手后,轻轻一引,即可化解来力。能引,则能做到劲由内换。由于引的圈子很小,则可做到在不动身形的情况下化发自如,即引即发,原地风光。 
因此,打太极拳需注意引的练习。只有把引练好了,才能打出太极味,才能使整套拳如抽丝挂线,绵绵不断;似长江大河,滔滔不绝。引是太极拳的细微之处,乃太极拳绣花之法,须默识揣摩,细心体悟,才能真正学到。 
5 
歪 
指身法不正。前俯后仰,左右歪斜。练习太极拳身法以端正为本。身法端正,无所偏倚,虚灵内含,浩然之气,运于全身。初学者往往由于动作僵硬,易使身体不正。身法中正是练好太极拳的基础,千万马虎不得。 
6 
浮 
即漂浮。太极拳要求含胸拔背,胸空腹实,气沉丹田,落地生根。而初学者往往架子忽高忽低,挺胸突臀,动作漂浮,气向上涌,头重脚轻。浮乃练习太极拳之大忌,须注意克服。 
要克服上述毛病,关键要抓住“松、静、沉”三个字。无论练习何种太极拳,都要在这三个字上下功夫。因此,“松、静、沉”为练习太极拳的三字经,要把它刻在脑海中,落实在行动上。在学习老师拳架的过程中,要细心模仿,悉心领悟动作要领,发现问题及时纠正。太极拳架中包含有极丰富的内容,要掌握这些内容,需要长期反复练习才能做到。 
因此说,拳架为母。练习太极拳一定要在拳架上下功夫。每天反复盘拳架,如有可能,尽量多练。同时,要不断领悟内在的东西,练悟结合,“拳打千遍,其理自现”。练习拳架有一个“从外引内,以内带外”的过程。开始时,只能外形划大圈,而后逐步产生内动,每个动作先有内动,再有外动,环环相扣,无始无终,动作沉稳,柔棉,一动无有不动,一静无有不静,内外合一,周身一家。只有这样,才能逐步提高自己的太极拳水平。 
孔子曰:“人而无信,不知其可也” 
意思就是说:一个练武之人要是连《功夫太极》微信都没关注,简直都不知道他是怎么练拳的.. ​
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Traversing Between the Different 'Frames' of Taijiquan!

11/23/2021

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'High' or 'Short' Frame Taijiquan - Sun Style!
For sake of simplicity, practitioners of Taijiquan access this method through a teacher who specialises in a particular ‘Form’ or ‘Type’ of Taijiquan – often inclusive of its own historical and ideological baggage – and which is wedded to a specific ‘Frame’ of reference, in this instance, quite literally! I was taught both the ‘Old’ Long Yang and the ultra-modern Yang 24 Step ‘Beijing’ Short-Form. To the mind of my teacher – Master Chan Tin Sang (1924-1993) - this combination represented the best philosophy from both ‘Old’ and ‘New’ China and re-emphasised the ‘flexibility’ of approach with the Yang Family conceived of and practiced Taijiquan (which built upon the ‘Chen’ Form Foundation and in many ways ‘Improved’ upon it – and I say this as a ‘Chan’)! Master Chan Tin Sang trained in Hong Kong with a visiting Yang Family member when young (prior to WWII) and I have inherited a ‘signed’ Taijiquan book given to our ‘Chan’ Family from the Yang Family.  ​
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'Middle' Frame Taijiquan - Modified Chen Style (陈金鳌 - Chen Jinao)
Old ‘Long’ Yang Taijiquan is a truly magnificent Form that was developed in a feudal cultural milieu that was certainly very ‘martial’ in its manifestation and long-term logic. Training was related to Clan-Name and Clan-Association. within this, there was a bewildering system of layers of access all designed to ‘keep people out’ of the inner core of the organisation. What is often either ‘forgotten’ or ‘not known’ is that a number of versions of the style would be taught be different branches of the family, with junior males teaching a watered-down or incomplete version, and senior members teaching full the genuine method. As each version was treated as ‘genuine’ and of the ‘utmost value’ - the junior teachers valued their incomplete version often NOT knowing where they fitted-in in the over-all scheme of things in the Clan Association structure, as everything was designed to ‘protect’ the Clan and everyone in it. Some of these teachers of incomplete styles still managed to find fame and fortune because they naturally developed those parts of technical skill which were missing. Quite often, I am told, after a lifetime spent engaging in and winning numerous ‘honour fights’. It seems that psychological and physical evolution tends to ‘fill-in’ any missing gaps in a style – often generating ‘new’ styles!  ​
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'Long' Frame Taijiquan. Wudang \style.
All the ‘Snake Creeps Down’ within the Old Yang Long ‘Form’ is bias toward bending the right knee and straightening the left-leg! It was assumed (in the 19th century) that the only way for an Old Yang Taijiquan ‘Form’ practitioner to learn ‘Snake Creeps Down’ with a bent left-knee and a straight right-leg forward – is to also learn and master the single and double-straight sword (Jian) ‘Forms’ - within which all ‘Sneek Creeps Down’ stances are bias toward the right-leg being straight! This study is assumed to take at least 20-years alongside the Old Yang Taijiquan ‘Form’. Although we respect tis tradition – the Yang 24 Step ‘Beijing’ Short-Form contains (in its 24 postures) Snake Creeps Down left and right – speeds-up this learning process immeasurably! We must not fight progress – but find our place within it. What is important – and a lesson acquired from the Yang Family – is that a practitioner of Taijiquan should alter and adjust their practice by exploring different ‘Frames’ - which are ‘high’, ‘middle’ and ‘low’. A Taijiquan ‘Frame’ is measured by how far the elbows and knees are ‘deployed’ away from the torso.  ​
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Ordinary People in China Drink 'Tea' and Exchange Taijiquan Knowledge!
With a ‘high’ Frame the elbows and knees are ‘close’ (but not too close) with the stance being ‘high’ (with the feet being perhaps three-foot apart). For a ‘middling’ Frame the elbows and knees are a little further away from the torso (with the feet being perhaps four-foot apart), whereas for the ‘Long’ Frame the elbows and knees are the furthest apart from the torso (with the feet being perhaps five-foot apart). Advanced Taijiquan practitioners often vary the ‘Frame’ they are using as they move through a single repetition of a Taijiqian ‘Form’ and experiencing no difficulty or contradiction. The ‘intention’ in the mind regulates the flow of Jing, qi and Shen as and when the situation requires – which requires the distance between the bones to be increased or decreased, etc. Of course, all this is approximate and a true measure of a ‘Frame’ is dependent upon a) the size of the body in question, and b) the development of inner and outer ‘awareness’ possessed by the practitioner. All types of Frame should be explored and eventually ‘mastered’! ​
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Gee Wyles - Ch'an Dao Instructor - Performs a 'Perfect' Snake Creeps Down!
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Shifu Adrian Chan-Wyles - Double Jian (Long Sword) - Right-Leg Straight Drop-Down Stance
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Hakka Gongfu – Withdrawing Blood Flow Away from the Surface of the Body

10/10/2021

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Combat Can Be 'Armed' Or 'Unarmed'!
The external method of withdrawing blood flow away from the surface of the body involves either bathing in very cold water – or rubbing ice all over the body. The cold closes the capillaries and diverts blood flow away from the surface skin area as if the outside environment were very cold and the body had to defend itself against the possibility of ‘freezing’. Blood flow (as ‘heat’) is diverted away from the surface area and into the inner organs to keep the much more important inner organs functionally healthily. For fighting that could risk the possibility of the surface body becoming bruised or cut – with drawing the blood supply away from the surface skin is an important attribute. Within the Ch’an Dao Style we do not make use of the this ‘external’ version of closing the surface capillaries using ‘ice’ or ‘cold water’, indeed, we do not any external substance. We practice a Hakka Gongfu (internal) meditational method which ‘withdraws’ blood supply from the capillaries as a matter of cultivated ‘will-power’. Just as the mind conceives the requirement for the outer blood flow to be diverted toward the inner organs – the body makes the adjustments. As sparring of this kind traditionally occurs between 10 am-12 pm – the Hakka Gongfu practitioner often finds the blood flow habitually ‘withdrawing’ in the morning so that, for instance, it would be difficult for a doctor or a nurse to take a sample of the blood from the arms or hands – as the capillaries are ‘closed’ at the surface where the needle penetrates. Blood flow returns to the surface of the skin as the body heads into the afternoon – unless a sparring match or honour match is set to happen. This prevents extensive bruising and cuts that might lose a lot of blood. Following the meditation usually means that the capillaries will close regularly every morning and open in the afternoon. Very advanced Masters of the Hakka Gongfu martial arts have been said to stop the extensive bleeding often associated with terrible wounds such as having hands or feet partly or fully chopped-off! Although unconscious this ability has saved their lives.  ​
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The Three Types of Martial Power Within Traditional Chinese Martial Arts

4/28/2021

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External Power Requires Inner and Outer Development and is Not Easy to Master...
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).  ​
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The 'Internal' Develops with Age - Where Movements Become Easier Due to inner Awareness...
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. ​
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The Hard Looks Easy - the Easy Looks Hard...
External Power = 外功 (Wai Gong) 

Internal Power = 內功 (Nei Gong) 
​

Integrated Power = 雜功 (Za Gong) ​
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The Greatest Power is 'Light' Like a Butterfly...
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. ​
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The 'Slightest' Power is 'Heavy' Like a Mountain...
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    Shifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System.

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    Aomori Prefecture
    Application
    Approach
    Appropriation
    Arab
    Arabs
    Aragaki Ryuko
    Aragaki Shuichi (新垣修一)
    Arahant
    Arahant Fist
    Arahant Fist (罗汉拳)
    ’Arahant Fist’ (罗汉拳 - Luo Han Quan)
    Arahant Seven Postures
    Archaeology
    Archealogy
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    Archibald Britton Wyles
    Archives
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    Arm
    Armed
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    Arrow
    Arrows
    Art
    Article
    Art Of War
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    Ashcroft Place
    Asia
    Asian
    Assassin
    Association
    At A Distance
    Athlete
    Athletic
    Atrocities
    Attack
    August
    Austronesians (南岛语 - Nan Dao Yu)
    Author
    Avoid
    Aware
    Awareness
    Baby
    Back
    Bad
    Badaling
    Badge
    Bad Luck
    Bagpipes
    Baguaquan
    Baguzhang
    Bag-work
    Bai
    Baidu
    Bai He Quan
    Baihequan
    'Bai Hui (百会)
    Bai-Yue
    'Bai Yue' (百越)
    Bajiquan
    Bak Hok
    Bak Hok Kune
    Balance
    Ball
    Ballet
    Bamboo
    Ba Min
    Ban
    Bandits
    Bank
    Banking
    Banner
    Barbarian
    Barefoot
    Bare Knuckle
    Bare-knuckle
    Barracks
    Barrel
    Barrier
    Barrierless
    Barry Wilkinson 4th Dan
    Basic
    Basics
    Battle
    Battlefeild
    Battlefield
    Battle Kite
    Battles
    Bayonet
    BBC
    Beak
    Bear
    Beard
    Beauty
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    Beheading
    Beheadings
    Beijing
    Beijing Institute Of Archaeology
    Bei Shi Quan
    Belly-Splitting
    Belt
    Belts
    Bench
    Bend Well
    Bhante
    Bhikkhu
    Bian Que (扁鹊)
    Bias
    Big
    Bile
    Bill
    Bing Fa
    Biography
    Biological
    Biology
    Bird
    Birmingham
    Birth
    Bizarre
    Bi (​笔)
    Black
    Black Belt
    Black Guard
    Blade
    Bladed
    Bleeding
    Blend
    Block
    Blood
    Blood Flow
    Blood-flow
    Blood Supply
    Blow
    Boat
    Boats
    Bob
    Bodhidharma
    Body
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    Body-conditioning
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    Bodyweight
    Bojutsu
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    Bones
    Book
    Book Of Change
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    Borrow
    Boulder
    Bounce
    Boundary
    Bow
    Bowls
    Box
    Boxe Française
    Boxer Rebellion
    Boxers
    Boxer Uprising
    'Boxer Uprising' (1898-1901)
    Boxing
    Bozhou (亳州)
    Bpdyweight
    Brahma
    Brain
    Brainwash
    Branch Temple
    Brave
    Bravery
    Brazil
    Brazilian
    Break
    Breath
    Breathe
    Breathing
    Breaths
    Brew
    Brian Victoria
    BriitisIh
    Brilliance
    ‘Brilliant Warrior Training Hall’ (明布馆 - Mei Bu Kan)
    Britain
    British
    British Citizen
    British Colony
    British Isles
    British Subject
    Brittany
    Broadcast
    Broad Earth
    Bronze Inscription
    Brother
    Bruce Lee
    Bruise
    Brutality
    Buddha
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    Buddhist Temple
    Budo
    Bu-Fa
    Buffalo
    Building
    Bujutsu
    Bujutusu
    Bullshido
    Bunkai
    Burial
    Bus
    Bushido
    Business
    Butterfly
    Cadre
    Cai Mingcan
    Cai (蔡)
    Cai (蔡)
    Calm
    Camel
    Canals
    Cannons
    Cantonese
    Capacity
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    Capitalism
    Capture
    Card
    Cardiff
    Careful
    Caring
    Carriage
    Casual
    Cat
    Catch
    Catholic
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    Causeway Bay World Fitness Club
    Cavalry
    Cave
    Celibate
    Cell
    Celsius
    Celt
    Celtic
    Ceng (曾)
    Central
    Centre
    Centred
    Centre-line
    Centre-mass
    Ceramic
    Cernunnos
    Certificate
    Chain
    Challenge
    Ch'an
    Chan
    Chance
    Ch'an Dao
    Ch'an Dao System
    Change
    Change Classic
    Chang Quan
    Chan Hung-Yu
    Channels
    Chan Si Jin
    Chan Tin Sang
    Chan Tin Sang (1924-1993)
    Chan-Wyles
    Chan (陳)
    Chao
    Chaquan
    Character
    Characters
    Charcoal
    Charge
    Chariot
    Chariots
    Charles Johnson
    Charles W Johnson
    Chatroom
    Cha (查)
    Cheam
    Chemical
    Chemistry
    Chen
    Chen Heng Yu
    Chen Hongzong (陈宏宗)
    Chen Jiageng
    Chen Qiwen
    Chen Shumin (陈淑敏)
    ‘Chen Yijiu’ (陈依九)
    Chen (陈)
    Chen (陳)
    Chest
    Cheung Yat-tai
    'chhui' Or 'sui'
    Chiang Kai-Shek
    Chibana Chōshin
    Chief
    Chikashi Terao
    Chin
    China
    China Hand
    Chinese
    Chinese Children
    Chinese Gongfu
    Chinese Hand
    Chinese Imperial Army
    Chinese Lions
    Chinese Mecrimes
    Chinese Script
    Chinese Women
    Chinese Wrestling
    Chin Na
    Chinna
    ‘chi-sow’ (黐手 - Chi Shou)
    Chojun
    Chongqing
    Chongsheng
    Chop
    Chōtoku Kiyan
    Choy Li Fut
    Christian
    Chu-Dan
    Church
    Circle
    Circles
    Circuit
    Circulation
    Citizenshiip
    Civil
    Civility
    Clan
    Clandestine
    Claret
    Clarity
    Classic
    Classic Of Change
    Classic Of History
    Clay
    Clean
    Cleaning
    Clear
    Cleave
    Clever
    Cliff
    Climate
    Climate Change
    Clog
    Closed
    Clothes
    Clothing
    Cloud
    Club
    Club Constellation
    Coach
    Coins
    Cold
    Cold War
    Collect
    Collection
    Collective
    College
    Colony
    Colour
    Coloured
    Combat
    Combination
    Comedy
    Commandant
    Comment
    Commercial
    Committed
    Committee
    Communicate
    Communism
    Community
    Compassion
    Competition
    Complete
    Completeness
    Concave
    Concentration
    Concept
    Conception
    Conception Vessel
    Concepts
    Conditioining
    Conditioning
    Confidence
    Conflict
    Confucian
    Confucianism
    Confucius
    Confusion
    Congealed
    Connective
    Conscious
    Consciousness
    Considered
    Constantine I
    Constriction
    Consultative
    Contact
    Contain
    Contemplation
    Context
    Continuous
    Contract
    Control
    Controlling
    Convex
    Convey
    Copper
    Copy
    Cord
    Corners
    Cornwall
    Correct
    Corrections
    Corruption
    Cotton
    Council Estate
    Count
    Course
    Covid-19
    Coward
    Cowhide
    Coxinga
    CPC
    Craft
    Crafts
    Crane
    Crane Fist
    Crane Hand
    Crane Immortal
    'Crane's Nest Temple' (鹤巢寺 - He Chao Si)
    Crane Technique – Fujian Whooping Crane Fist’ (鹤法——福建鸣鹤拳 He Crane – Fu Jian Ming He Quan
    Crane Technique – Fujian Whooping Crane Fist’ (鹤法——福建鸣鹤拳 - He Crane – Fu Jian Ming He Quan
    Crawl
    Crimes
    Criminal
    Criticism
    Crooked Whip
    Cross
    Cross-Buttocks
    Cross-country
    Crossing
    Cross-legged
    Cross-step
    Cross-training
    Crown Road
    Crying
    Ctesias
    Cultivation
    Cultural
    Culture
    Cups
    Curved
    Cut
    Cut Gate
    Cuts
    CW Nicol
    Cycles
    Da Dao
    Dagger
    Daggers
    DaiIchi
    DaiNi
    ‘Dai Nippon Butoku Kai’ (大日本武徳会)
    DaiSan
    Damage
    Dance
    Danger
    Dangerous
    Dan Tian
    Dantian
    Dao
    Daoism
    Daoist
    Dao Yin
    Daoyin
    Data
    Date
    David Lloyd - Cheam
    David Lloyd - Epsom
    Da Xiong Mao
    Da Zhuan
    D-Day
    Deadly
    Death
    Death-cut
    Death Touch
    Decades
    Deception
    Decipher
    Decisive
    Dedication
    Deep
    Deepening
    Deep-sea
    Deep Stances
    Deer
    Defeat
    Defence
    Defend
    Deflect
    Defuse
    Delusion
    Demonstration
    Depth
    Destroy
    Destroyed
    Destruction
    Develop
    Development
    Dhamma
    Dharma
    Dharmakaya
    Dhyana
    Dialect
    Dialectic
    Diamond Sutra
    Diane Wyles
    Dian Mai
    Dian Xue
    Dictionary
    Difficult
    Dignity
    Dim Mak
    Direct
    Direction
    Disability
    Disappeared
    Disarm
    Disarmed
    Disc
    Discerning
    Disciple
    Disciples
    Discipline
    Discontinuous
    Discover
    Disinformation
    Dislocate
    Disorder
    Disrespect
    Dissecting
    Dissolve
    Distance
    Distance Learning
    Distancing
    Distinguish
    Dit Da Jow
    Divert
    Divide
    Divination
    Divine
    Divine Sky
    Division
    DNA
    Do
    Document
    Dodge
    Dodging
    ‘Dogen’ [道元]
    Dog Fist
    Dogs
    Dojo
    Domestic
    Dominance
    Dominate
    Dongjiang Column
    Donn Draeger
    Door
    Doorway
    Dorset
    Double
    Double Edge
    Double-edge
    Double-handed
    Double-happiness
    Double Hip Twist
    Double Punch
    Douyin
    Dove
    Down
    Dragon
    Dragon And Tiger Interact (龙虎戏 - Long Hu Xi)
    Dragon Boat
    Dragon Dance
    Dragon Fist
    Draw
    Drawing Bow
    Drawing The Bow
    Drop
    Dropped
    Dropping
    Druid
    DT Suzuki
    Duality
    Duck
    Duddington
    Dummy
    Dust Whisk
    Dutch
    Duty
    Dynamic
    Dynasty
    Ear
    Ears
    Earth
    Earthenware
    East
    Easy
    Eat
    Ebergy Flow
    Eddie Daniels
    Edge
    Educate
    Education
    Effective
    Efficiency
    Efficient
    Effort
    Effortless
    Efort
    Ego
    Egypt
    Eight
    Eighteen
    Eighteen Arahant Fist
    Eight Gates
    Eight Trigrams
    Eikatsutatsu
    Elbow
    Elder
    Elderly
    Elephant & Castle
    Embrace
    Emei (峨眉)
    Emergency
    Emishi
    Emissary
    Emit
    Emperor
    Empire Of The Sun
    Empress Dowager Cixi
    Empty
    Empty Hand
    Empty Step
    Encircle
    End
    Endurance
    Endure
    Enemy
    Energy
    English
    Enlightenment’ (悟 - Wu)
    Enter The Dragon
    Entwine
    Envelop
    Envelope
    Environment
    Environmentalist
    Envoy
    Equality
    Ernie Molyneux
    Errata
    Errors
    Essay
    Essence
    Essential Life Mind-body
    Essential Nature
    Esteemed
    Eternal Light
    Ethnic
    Ethnicity
    Ethnic Thai
    Etymology
    Eurocentric
    Eurocentricism
    Europe
    European
    Evade
    Evasion
    Evening
    Events
    Evidence
    Evolution
    Evolve
    Exact
    Exchange
    Exclude
    Excluded
    Exclusive
    Excommunication
    Execution
    Executions
    Exercise
    Exit
    Exorcism
    Expand
    Expansion
    Expansive
    Expel
    Expelled
    Experience
    Expert
    Expert Self-defence
    Explain
    Explosives
    Expo
    Expression
    Expressive
    Expulsion
    Extension
    Externa
    External
    External Qigong
    Eye-strike
    Face
    Face-to-face
    Fact
    Fairfield Centre
    Fake
    Fall
    False
    Familiar
    Family
    Family Crest
    Fang Gang
    Fang Ligui (房利贵)
    Fang Qiniang’ (方七娘)
    ‘Fang Zhonggong’ (方种公)
    Fan Yinglian (范应莲)
    Farm
    Farming
    Farming Tools
    Fars
    Fast
    Father
    Father-to-son
    Fear
    Federation
    Feeding (食 - Shi)
    Feeling
    Fees
    Feet
    Feng Shui
    Fertility
    Fiction
    Field
    Field Grand Blad
    Fight
    Fight I
    Fighting
    Figure
    Fiilm
    Filipino
    Film
    Films
    Finchley
    Finger
    Fire
    Fire Power
    Firm
    First
    First Opium War (1839)
    Fist
    Fist Classic Victory Assured Record
    ‘Fist Frame’ (拳架-Quan Jia
    Fists
    Fitness
    Five
    Five Ancestors
    Five Elements
    Five Feet
    Five Phases
    Five Steps
    Flail
    Flat
    Fleet
    Flesh
    Flexible
    Flick
    Flicking
    Flight
    Float
    Floating
    Floor
    Florian Poupard
    Flow
    Flowers
    Fluid
    Fluidity
    Flying
    Flying (飞 - Fei)
    Fly Whisk
    Focus
    Folk
    Follow
    Following
    Food
    Foot
    Foot-law
    Foot Position
    Foot-print
    ‘foot’ Root (脚根 - Jiao Gen)
    Footwork
    Force
    Fore-head
    Foreign
    Foreigners
    Forest
    Forest Prayer
    Forests
    Forgive
    Form
    Forms
    Fortress
    Forward
    Forward Stance
    Foundation
    Foundations
    Four
    Fragrant
    Frame
    Frames
    France
    Frank Johnson 6th Dan
    Fraud
    Free
    Freed
    Freedom
    Free Fighting
    Free-flowing
    Free Hand
    Free Stance
    Free-standing
    Freeze
    Freezing
    French
    Frequency
    Frog
    Front
    Fujian
    Fujian Province
    Full
    Funakoshi Gichin
    Function
    Fung Ngan
    Fuqing
    Fu Ta Tsue
    Future
    Fuzhou
    Gael
    Gaelic
    Galatia
    Game
    Gam Mi
    Gang
    Gao (高)
    Gap
    Gate
    Gaul
    Ge-Dan
    Ge-Dan Bara-I
    Gedan Barai
    Ge-Dan Hara-I
    Gedan Harai
    Gee
    Gee Wyles
    Ge Hong (葛洪)
    Gekisai
    GekisaiDaichi
    Gekisaidaini
    Geksai
    Gene Ching
    General Qi Ji Guang
    Generation Qi
    Generations
    Genetic
    Genetic Diversity In Japan A Genetic Study
    Genetics
    Gentle
    Gentleness
    Genuine
    Genzi
    Geography
    George Andrews
    George Andrews 7th Dan
    George Kerr
    Gi
    Giant
    Giant Sword
    Gichin Funakoshi
    Gift
    Gifts
    Gillian
    Gillian Chang
    Gilt
    Gim
    Give Way
    Giving-up
    Giving-way
    Glastonbury
    Glastonbury Tor
    Glide
    Gloves
    Go
    Godan
    Go Genki
    Goju
    Goju Kai
    Goju Ryu
    Goju-Ryu
    Goju Ryu Karate Do
    Goju Ryu Karate-Do
    Goju-Ryu Karate-Do
    Goju Ryu (刚柔流)
    Go Ken Ki
    Gold
    Golden Belt
    Golden Rooster
    Gongfu
    Good
    Good Luck
    Goods
    Governing
    Governing Vessel
    Grabbing
    Grades
    Grading
    Gradings
    Grain
    Grandfather
    Grand Ridge-pole
    Grand Temple
    Grapple
    Grappling
    Grasp
    Grave
    Gravity
    Great Bear Cat
    Great Heat Wine
    Great Treatise
    Great Wall
    Great Way
    Greece
    Greed
    Greed#
    Greeks
    Grip
    Groin
    Ground
    Grove Road
    Gua
    Guan Dao
    Guangdong
    Guan Gong
    Guangzhou
    Guard
    Guest People
    Guide
    Guiding
    Guildford
    ​𠃌 (gun3)
    Guru
    Gwoon
    Gyaku Tsuki
    Gyaku Zuk
    Gypsy
    Hachinohe Citty
    Hads
    Hainan
    Hair
    Hairpins
    Hakka
    Hakka Chinese
    Hakka Gold
    Hakka Gongfu
    Hakkaku Hei-ho
    Hakka-Punti Clan Wars
    Hakka Warriors
    Halal
    Halberb
    Hall
    Halt
    Hammer
    Hamon
    Han
    Hand
    Hand-Blade (手刀
    Hands
    Hand-stand
    Han Dynasty
    Hang
    Hanyu
    Han (韩)
    Hara
    Harae
    Hara-Kiri
    Hard
    Hard Qigong
    Hardship
    Hard-Soft
    Harmonious
    Harmonious Way School
    Harmony
    Harsh
    Hatred
    Hawaii
    He
    Head
    Head Monk
    ‘head’ Root (顶根 - Ding Gen).
    Healing
    Health
    Heart
    Heart Meridian
    Heat
    Heaviness
    Heavy
    Heel
    Heian Period
    Height
    He Jinbao
    Help
    Henan
    Henrik Larson
    Herbs
    Hereford
    Hereford Leisure Centre
    Hereford Times
    Hermit
    Hexagram
    Hexagram 56
    Hidden
    Higaonna
    Higaonna Family
    Higaonna Kanryo
    Higaonna Kanryō
    Higaonna Morio
    Higaonna Onna
    Higaoona Kanryo
    High
    Hikers
    Hiking
    Hill Running
    Hills
    Hinge
    Hinton Community Centre
    Hinton Leisure Centre
    Hip
    Hip Twist
    Hiragana
    Hiroki Miyagi
    Hironori Otsuka (1892-1982)
    History
    Hitting
    Hojo
    Hokkian
    Hokkien
    Hold
    Holding
    Holding The Ball
    Holistic
    Hollow
    Home
    Honesty
    Hong Family Fist
    Hong Fist
    Hong Jia Quan
    Hong Kong
    Hong Quan
    Hongwu
    Hong Xiuquan (洪秀全)
    Honour Fight
    Hook
    Hope
    Horizontal
    Horns
    Horse
    Horses
    Horse Stance
    Horton Hospital
    Hot
    Hotel
    Hourglass
    Howard Johnson
    Hua Jin
    Hua-tou
    Hub
    Hubei
    Hucheng
    Hug
    Hui
    Humanity
    Humans
    Humour
    Hunan
    Hundred
    Hung Gar
    Hung Gar Kuen
    Hung Kuen
    Hunting
    Hunyuan
    Hunyuan Xingyi Taiji Gate (浑元形意太极门)
    Iaido
    I Ching
    Identical
    Identity
    Ideogram
    Ideograms
    Ideology
    Idiiom
    Ignorant
    Ill Health
    Illness
    Imagination
    Imdia
    Immigration Act 1948
    Immortal
    Impact
    Imperial
    Imperialism
    Imperial Japan
    Imperial Japanese
    Incense
    Inconsistent
    Increase
    India
    Indian
    Indian Yogi
    Indifference
    Indigenous
    Indo-China
    Indoor
    Inflated
    Influence
    Influencers
    Inheritance
    Inheritor
    Inhibit
    Injury
    Inner
    Inner Organs
    Inner Strength
    Inner Vision
    Inscription
    Insight
    Inspection
    Insult
    Insurance
    Intake
    Intangible
    Integrate
    Integrated
    Integration
    Integrity
    Intelligence
    Intensity
    Intent
    Intention
    Interaction
    Intercept
    Internal
    International
    Internet
    Interplay
    Intersperse
    Invasion
    Inverte
    Invisible
    IOGKF
    Ip Man (叶问 - Ye Wen)
    Iran
    Ireland
    Irish
    Iron
    Iron Fighting Wine
    Iron Ox
    Iron Vest
    Islam
    Islamic
    Island
    Jab
    Jade
    Japa
    Japan
    Japane
    Japanese
    Japanese Kanji
    Japanese Karate
    Jar
    Java
    Jaws Of Death
    Jeet Kune Do
    Jesuit
    Jet Li
    JG Ballard
    Jian
    Jiang Daochang
    Jiangxi
    Jiang Xuezhen
    ‘Jiao Lian’ (教练)
    Jia Wen
    Jimi Hendrix
    Jimmy H Woo
    Jimmy Woo
    ‘Jinan Shinzato’ (新里仁安).
    Jinan Shinzato (新里仁安)
    Jin Dynasty
    Jing
    Jing Nan
    Jing Wu
    'jing' [精
    ‘Jin Jing’ (晋京)
    Jin (劲4)
    Jin (金)
    Jitsu
    Jiu Jitsu
    Ji (吉)
    Jo-Dan
    Joe Fraser
    Jogging
    John Charles Oswald (1856-1900)
    Johnny Woo
    Joint
    Joints
    Joke
    Jomon
    Jorge Monteiro
    Journal
    Joy
    Ju
    Judging Official
    Judo
    Ju Jitsu
    Jujutsu
    Julius Ceasar
    Jump
    Jun
    June 9th
    Jun Tsuki
    Junzi
    Jun Zuki
    Justice
    Ka
    Kaiten
    Kai Yuan (开元)
    Kakazu Yoshimasa
    Kakeai
    Kake-Te'
    Kakete
    Kakie
    'Kakie' (カキエ)
    ‘Kakie’ (カキエ)
    Kaki-Ti'
    Kaku
    Kaku No Te
    ‘Kaku’ [か]
    Kame
    Kamiya Jinsei (神谷仁清)
    Ka Mon
    Kan
    Kanda
    Kang (康)
    Kanji
    Kanryo
    'Kao Ji' (靠基)
    Kara-Te
    Karate
    Karate Do
    Karate-Do
    Karate-Do Committee
    ‘Karate-Do – How To Enjoy Practice’
    Karate-Do (空手道)
    Karate-Dp
    Karate-Jitsu
    Kasturen Castle
    Kata
    Katakana
    Katana
    Katas
    Keijia
    Kelt
    Keltoi
    Kendo
    Kenjutsu
    Kenryo
    Kevin Chaplin
    Khan
    Khufu
    Ki
    Ki-ai
    Kibg
    Kick
    Kick-bag
    Kick-boxing
    Kicking
    Kicking Power
    Kill
    Killick House
    Killing
    Kilt
    Kime
    Kind
    King
    Kingai-Ryu
    King Arthur
    Kingston-Upon-Thames
    King Wah
    Kinjo Kanemori (金城兼盛)
    Kite
    KMT
    Knee
    Knee-pads
    Knees
    Knife
    Knives
    Knocked
    Knockout
    Know
    Knowing
    Knowledge
    Knowledgeable
    Knuckle
    KO
    'koa-kui' Or 'khoa-kui'
    Kobayashi Ryu
    Kobudo
    Kobujutsun
    Komeikan
    Kong
    Kong Fuzi
    Kongoken'
    Kong Shou
    Kong Xing
    Korea
    Korean
    Koshinage (腰投げ)
    Kouki
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    Lean
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    Learning
    Leather
    Leatherhead
    Leg
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    Leg Strength
    Leg Strengthening
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    Level
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    Lifetime
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    Lily Chiu
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    'Lin Dachong' (林达崇)
    'Lin Dachong' (林达崇)
    Lin Dachong’ (林达崇)
    Lin Dachong’ (林达崇)
    Line
    Lineage
    Lin Jingfeng
    Lin Jingfeng (林竞峰) [1947-2018]
    ‘Lin Jun’ (林俊)
    Link
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    ‘Liu Xiangjing’ (刘祥京)
    Livestream
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    Li Yinggang
    Lizard
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    Liz Yin
    Li (李)
    Lock
    Logic
    #london
    London
    London Prize Fighting Rules
    Long
    Longevity
    Longfist
    Long Stance
    Long Sword
    Loom
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    Lord
    Lord Guan
    Loss
    Louhan Quan
    Louhanquan
    Louzi
    Love
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    Low
    Lower
    Lower Block
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    Lowing
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    Lu
    Lumbar
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    Lunge
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    LunYu
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    Luohan Quan
    ‘Luo’ (罗)
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    Ma Baoguo (马保国)
    ‘Ma Bin’ - 马斌
    Ma Bu
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    Maria Manalastas
    Maritime Sea Road
    Mark Edward Lewis
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    Martial Arts
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    Masahiko Ando
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    Master
    Master Chan
    Master Chan Ting
    Master Chan Tin Sang
    Master Chan Tin Sang (1924 1993)
    Master Chan Tin Sang (1924-1993)
    Master Hai Deng
    Master Nakaima Genkai
    Master Qingding
    ‘Master Ti Guang’ [体光]
    Master Xu Yun
    Mastery
    Master Yuan Xiugang (袁修钢) -
    Master Yu Danqiu (余丹秋)
    Mat
    Matayoshi Shinpou (又吉真豊)
    Material
    Matter
    Mature
    Maturity
    Maturtity
    Mawashi Uke
    ‘Ma Xiaoyang’ (马晓阳)
    May
    May23rd
    ‘Ma Zhongyi’ (马忠义)
    MAZIAR KEBAT
    Ma (马)
    MDNA.Paternal
    Meaning
    Measure
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    Medieval Japan
    Meditation
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    Medulla Oblongata
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    Meiji Restoration
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    Meng Jiao [孟郊]
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    Merge
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    Merry Christmas Mr Lawrence
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    Method
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    Missionary
    Mitsugu Sakihara
    Miyagi
    Miyagi Anichi
    Miyagi Anichi’ (宫城安一)
    ‘Miyagi Anichi’ [宮城安一] (1931-2009)
    Miyagi Chojun
    ​Miyagi Chojun (宫城长顺)
    Miyagi Chojun (宫城长顺)
    Miyagi Chosho
    Miyagi Takashi
    Miyagi Takashi (1951)
    Miyagi Takashi [宮城敬]
    Miyagi Takashi [宮城敬]
    Miyagi Toru
    ‘Miyazato Eiichi’ [宮里栄] (1922-1999).
    Mma
    Modern
    Modernity
    Momentum
    Monastic
    Monasticism
    Monastics
    Money
    Monk
    Monkey
    Monks
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    Mooing
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    Motobu Chaoji [本部朝基]
    Motobu Choki
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    Mountains
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    Move
    Movement
    Movements
    Movemet
    Movies
    Moving Zen
    Moxibustion
    Mr George
    Mr Harada
    Mr. Huang Teng (黄腾)
    Mr Kenichi Ginkari (铭苅拳一 - Ming Yi Quan Yi)
    Mr Masaru Suzuki
    Mr Miyazato Eiichi (宫里荣一)
    ​Mr. Motobu [本部]
    Mr Wong
    Muay Thai
    Muchimi
    Mud
    Mufu
    Muhammed Ali
    Multiply
    Mural
    MURASAKIMURA Dojo
    Murder
    Muscle
    Muscles
    Muslim
    Muslims
    Mu (穆)
    Myagi Chojun
    Myiyagi Anichi
    Mystery
    Myth
    Nagamine Masamune (长岭将真)
    Naha
    Naha City
    Naha Te
    Naha-Te
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    Naive
    Nakaima Norisato
    Nakamoto Masabu (仲本政傅)
    Nakamura Tetsuji
    Nakamura Tetsuji Ernie Molyneux Henrik Larson Yamashiro Katsuya Jorge Monteiro
    Naked
    Name
    Names
    Naming
    Nanjing
    Nan Quan
    Nanquan
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    Nationalist
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    Natural
    Nature
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    Nexus
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    Nippon Budokan (日本武道館)
    No
    No. 2
    Nobility
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    Non-delusion
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    North China
    Northern
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    Northern Horse
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    Northwest
    Notion
    Nuance
    Nullify
    Number
    Numbers
    Nunchaku
    Oak
    Obedience
    Objective
    Obscure
    Observation
    Obstruction
    Ocean
    Oceania
    October
    Oda Nobunaga
    Offences
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    Oi
    Oi Tsuki
    Oi Zuki
    Okinawa
    Okinawa: An Island People
    Okinawan
    Okinawan Karate
    Old
    Old Age
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    Older
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    O-M119
    O-M122
    O-M268
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    Oneness
    One Sided Horse
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    Open Hand
    Open-hand
    Open-Space
    Opium
    Opium Pipe
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    Order
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    Oriental City
    Origin
    ‘Orthodox Karate-Do – An Introduction’
    O'Sensei Higaonna Morio
    O Sensei Kimura Shigeru (10th Dan) [1941-1995]
    Otachi
    Out
    Outer
    Outlet
    Outside
    Out-smart
    Overcome
    Ownership
    Ox
    Oxford
    Oxyden
    Oxygen
    Pace
    Pacific
    Pacific War
    Pacific War (1941-1945)
    Padded
    Pain
    Pain-killing
    Pair
    Palm
    Palms
    Panda Bear
    Pan Guan (判官)
    ‘pan Shou’ (盘手)
    Pan Yu
    Pan Yu Ba
    'Pan Yu Ba' (盘屿八
    ‘Pan Yu Ba’ (盘屿八)
    Paper
    Paris
    Park
    Parry
    Particle
    Parts
    Pass
    Past
    Patch
    Path
    Pattern
    Patterns
    Payment
    Peace
    Peasant
    Pelvipelvic-girdle
    Pen
    Penetrate
    Penis
    People's Daily
    People's Militia
    Perception
    Perch
    Perfect
    Perfection
    Permanent
    Permission
    Persia
    Persona Non-grata
    Peter Irving
    'Pheonix Eye Fist' (凤凰眼拳
    Pheonix Eye Strike
    Philippines
    Philosophy
    Photgraphs
    Photograph
    Photographs
    Physical
    Physical Fitness Instructor
    Picts
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    Pierce
    Piety Association
    Pik Wan
    Pinan
    Ping
    Pitch-fork
    Pivot
    PLA
    Place
    Placement
    Plaid
    Planning
    Plastic
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    Playing
    Plotinus
    Plunge
    Poer
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    Poole
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    Port
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    Positioning
    Positive
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    Pottery
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    Power
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    Precision
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    Prevailing
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    Profundities
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    Protection
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    Punch
    Punch-bag
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    Punishment
    Punti
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    Purification
    Purify
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    Push Hands
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    Qi Jiguang
    Qi Magazine
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    ‘qi’ (气)
    'qi' [氣]
    Quadriceps
    Quan
    Quanzhou
    Quarterly
    Queensbury Rules
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    Qu Shou
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    Radical
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    Raised
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    Ram Muay
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    Randori
    Range
    Ran-Tori
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    Rape Of Beijing
    Rare
    Rattan Ring
    React
    Realism
    Reality
    Reality Gongfu
    Reason
    Re-attach
    Rebound
    Rebounding
    Receive
    Recognition
    Record
    Records
    Red Hill
    Redhill
    Re-direct
    Redirect
    Reference
    Refine
    Reflection
    Reflex
    Regulation
    Reigate
    Rein
    Reject
    Rejected
    Relax
    Relaxation
    Relaxation’ (弛 - Chi)
    Relaxed
    Relocate
    Removal
    Renting
    Ren Zhe
    Repetition
    Replemish
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    Representative
    Republic
    Reputation
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    Resistance
    Resolution
    Resolve
    Respect
    Rest
    Restore
    Restuarant
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    Retainer
    Retirement Homes
    Retreat
    Retreive
    Retrieve
    Revenge
    Reverse
    Revised
    Revolutionary
    Revolve
    Rice
    Rice Fields
    Rich
    Richard Hunn
    Rickshaw
    Ride
    Ridicule
    Riding
    Right
    Righteous
    Right-hook
    Rightness
    Rigid
    ‘rigid’ (刚 - Gang)
    Rinan’ (日南)
    Ring
    Rip
    Rise
    Rising
    Ritsumeikan University
    Ritsumei University
    Ritual
    Ritual Dance
    River
    Road
    Robber
    Robust
    Rock
    Rock-climbing
    ROK
    Roll
    Rolled
    Roman
    Romans
    Romany
    Roof-tile
    Root
    Rooted
    Rootedness
    Rope
    Ross Road
    Rotate
    Rou
    Round
    Rounded
    Rounded Joints
    Round House
    Round-house
    Round-kick
    Rou Shu
    Royalty
    R Squadron
    Ruan (阮)
    Ruck Sack
    Rucksack
    Rule
    Run
    Running
    Ru Ru Ge
    Ru Ru Ko
    RU-RU-KO
    Russia
    Russian
    Ru Tu Ge
    Ryu
    Ryuei Ryu
    Ryu Kyu
    Ryukyu
    ‘Ryukyu Fist Law Tang Hand Way Historical Developmental Overview’ (琉球拳法唐手道沿革概要 - Liu Qiu Quan Fa Tang Shou Dao Yan Ge Gai Yao).
    Ryu Kyu Islands
    Ryu Ryu Ko
    Saba
    Sabot
    Sabotage
    Sacrifical Vessel
    Sacrifice
    Saddle
    Safe
    Sai
    Saifa
    Sai Kung
    Sai Kung Town
    Sailing
    Sailors
    Samadhi
    Samming City
    Samurai
    Sanch
    Sanchin
    Sanchin Kata
    Sanchin-stepping
    Sand
    Sanda
    Sangha
    Sanseiru
    San Soo
    San Zhan
    'San Zhan' (三战)
    SAR
    SAS
    Sashes
    Savate
    Scale
    Scapegoating
    Scattered
    Scholar
    Scholars
    School
    Science
    Science Advances
    Scott Hut
    Scout Hut
    Scraps
    Script
    Scroll
    Scts
    Sea
    Sea-bed
    Seal
    Seal Script
    Secrecy
    Section
    Secure
    Seeing
    Seipa
    Seipai
    Seisan
    Seize
    Self-cultivation
    Self-defence
    Self-development
    Self-serving
    Sell
    Seminar
    Senaka No Kitae
    Sensei
    Sensei Alan Bound
    Sensei Kimura Shigera
    Senshi
    Sensie Kimura Shigeru
    Sensitivity
    Sentence
    Sepai
    Sequence
    Seres
    Servants
    Set
    Settle
    Settlement
    Seunchin
    Severe
    Shaft
    Shake
    Shaking
    ‘shaking’ (摇 Yao)
    ‘shaking’ (摇 - Yao)
    Shallow
    Shaman
    Shan
    Shandong
    Shang
    Shang Dynasty
    Shanghai
    Shanghai Karate Kobudo Bozheng
    Shanghai Wushu Association
    Shang Heng
    Shaolin
    ‘Shaolin Five Ancestor Fist’ (少林五祖拳 - Shao Lin Wu Zu Quan)
    Shaolin Temple
    Shaolin (少林)
    Shape
    Sharp
    Shatter
    Shen
    Shen Shanxi
    ‘Shen’ (慎)
    Shen (慎)
    Shen (沈)
    Shi Fa
    Shift
    Shifting
    Shifu
    Shifu (師父)
    Shi Gong
    Shi Jiaming (石佳明)
    Shiko
    Shi Mingyu’ (释明余)
    Shinto
    Shipping
    Ships
    Shipwrecks
    Shito Ryu
    Shito Ryu (系东流)
    Shi Xingzheng
    Shoichin
    Shop
    Shorinji Kempo
    Shorin Ryu
    Short
    Short-Form
    Short-sword
    Sho Shin
    Shotokan
    Shotokan Ryu (松涛馆流的)
    Shou
    Shoulder
    Shout
    Showa
    Shu
    Shuang Jie Gun
    ​Shuang (双)
    Shuffle
    Shuijing
    Shu Jing
    Shukokai
    Shukokai Karate
    Shuri
    Shuriken
    Shuri Ryu
    Shuri Te
    Shuri-Te
    Si
    Siam
    Sichuan
    Sickle
    Siddalls Gardens
    Side
    Signatute
    Signed
    Silence
    Silk
    Sil Long
    Silver
    Simplicuty
    Singing
    Singing (鸣 - Ming)
    Single
    Single-edge
    Single Whip
    Sink
    Sino Japanese War
    Sino-Japanese War
    Situation
    Six Feet
    Six Lines
    SKF
    Skiing
    Skill
    Skin
    Skinning
    Skull
    Sky
    Slam
    Slap
    Slaves
    Sleep
    Slender
    Slice
    Slide
    Slip
    Slips
    Slither
    Slow
    Small
    Small Holding
    Smash
    Smith
    Smoking Pipe
    Smooth
    Snake
    Snake Creeps Down
    Snakes
    SNCO
    Sniper
    Sniping
    Snow
    Social
    Socialism
    Society
    Sō Dōshin (宗道臣) [1911-1980]
    Soft
    Soft Art
    Solar
    Solar Plexus
    Soldiers
    Sole
    Solid
    Solidity
    Son
    Song (宋) And Zhou (周)
    Soul
    Sound
    Source
    South
    South Africa
    South China
    South China Sea
    South-East
    Southern
    Southern Boat
    Southern Fist
    Southern Gongfu
    Southern Karate-do Wado-Kai
    Southern Karate Do Wado Ryu
    Southern Karate-Do Wado Ryu
    Southern Shaolin
    South London
    South Paw
    Sovereign Leisure Centre
    Space
    Spain
    Sparring
    Speak
    Spear
    Special
    Spedd
    Speed
    Spindle
    Spine
    Spinning
    Spiral
    Spirit
    Spiritual
    Spirituality
    Spiritual Laziness
    Split
    Sport
    Sport Karate
    Sports
    Spped
    Spread
    Spring And Autumn
    Spring-loaded
    Spy
    Spying
    Square
    Squat Kicks
    Squat-kicks
    Squatting
    Stab
    Stabbing
    Stabce
    Stability
    Stable
    Staff
    Stake
    St Albans Road
    Stam
    Stamina
    Stamp
    Stance
    Stance Syability
    Standing
    Stand Up
    Star
    Start
    State
    Statue
    Steal
    Stealth
    Steel Wire
    Stele
    Step
    Step-Law
    Steppe
    Stick
    Sticks
    Sticky-hand
    Sticky-Hands
    Stiffness
    Stifle
    Still
    Still Mind
    Stillness
    Stirrups
    Stocism
    Stone
    Stoneleigh
    Stop
    Storms
    St Petersburg
    Straight
    Straight Long Sword
    Straits
    Straw
    Stream
    Street
    Strength
    Strengthen
    Strengthening
    Stretch
    Strict
    Strike
    Strikes
    Striking
    Striking Post
    Strong
    Structure
    Structures
    Student
    Study
    Stunned
    Stupidity
    Style
    Style Frame
    Stylised
    Subdue
    Submission
    Success
    Sue-Ling
    Su Feng
    Sui
    Suicide
    Sui Dynasty
    Sui Po
    Summer
    Sumo
    Sun
    Sunday
    Sunzi
    Suparinpei
    Suparinpei Kata
    Superficial
    Supplement
    Support
    Suppress
    Suprise
    Surangama Sutra
    Surface
    Surgery
    Suri-Ashi
    Sur-Ling
    Surname
    Surnames
    Surrey
    Survival
    Suspend
    Sutra
    Sutton
    Sutton District \School
    Su Yinghan
    Suzuki
    Swamps
    Sway
    Swaying
    Sweat
    Sweating Ox
    Swing
    Switch
    Swival
    Sword
    Sympathy
    Symposium
    Sype
    System
    Tagou
    Tai
    Tai Chi Magazine
    Taiji
    Taijiquan
    Taiji Tu
    Taipei
    Taipong
    Tai Sabaki
    Taiwan
    Taiyi
    Taizu
    Taji Sword
    Take-Away
    Talent
    Tamar
    Tameshigiri (試し切り)
    Tan
    Tang
    Tang Dou
    Tang Dynasty
    Tang Hand
    ‘Tang Hand’ (唐手 - Tang Shou).
    Tang Lixian
    Tang Quan’ (唐拳)
    Tang Rong
    Tang Shou
    Tang Ying
    Tao (陶)
    Tap
    Target
    Tartan
    Tatami
    TCM
    Te
    Tea
    Teacher
    Teachers
    Teaching
    Tea Shop
    Technique
    Telegram
    Telegraph
    Temple
    Temples
    Tendon
    Tendons
    Tense
    Tenshin Ryu
    Tenshin Ryu (天心流) War Of Art (兵法)
    Tensho
    Tensho' (转掌 - Zhan Zhuan)
    Tension
    Terms
    Terrain
    Test
    Testicles
    Testing
    Texts
    Thai Boxing
    Thai King
    Thailand
    The Fight
    The Fujian 'Tang Shou' Karate-Do Association
    Theory
    Theravada
    Thigh
    Thinking
    Third Ear
    Third-Eye
    Thought
    Thousand
    Thrash
    Threads
    Three
    Three Battles
    Thresh
    Through
    Through Back
    Throw
    Throwing
    Thrust
    Thug
    Tian
    Tian (田)
    Tibet
    Tied
    Tiger
    Tiger Mouth
    Tiger-Mouth
    TikTok
    Time
    Timing
    Tip
    Tissue
    Title
    Titles
    Tiverton
    Tokizawa Yahei
    Tokuda Yasuharu (徳田安文)
    Tokugawa Shogunate
    Tokyo
    Tomari-te
    Tomb
    Tom Beardsley
    Tomb Stones
    Tommy Hearns
    Tom Newham
    Tong
    Tongbai
    Tong Bei
    Tongbei
    Tongliang
    Tony Smith
    Tony Smith 5th Dan
    Top
    Topple
    Tori-Te
    Toro Gushi Uke
    Torque
    Torrent
    Torso
    Torture
    Toshio Tsukamoto
    Totem
    Touch
    Tough
    Toughen
    Trade
    Tradition
    Traditional
    Traditional Karate
    Train
    Training
    Training Hall
    Training Hall China
    Train Station
    Tranquil
    Tranquillity
    Transcend
    Transform
    Transformation
    Transition
    Translate
    Translation
    Transliteration
    Transmission
    Transmit
    Transmitting
    ‘Transmitting Brilliance Training Hall’ (講明館 - Ko Mei Kan).
    Transport
    Trap
    Travel
    Treasure
    Tree
    Trees
    Tremble
    ‘tremble’ (抖 - Dou)
    Tribes
    Tribute
    Trident
    Trigram
    Trip
    Triple Gem
    Tripping
    Truncheon
    Truth
    Tsim Sha Tsui
    Tsuki
    Tsuru
    Tumble
    Turkic
    Turn
    Turning
    Turning-about
    Turning Palm
    TV
    Twenty-Eight Perches’ (鸣鹤拳二十八宿 - Ming He Quan Er Shi Ba Su
    Twin
    Twist
    Two
    Two-finger Ch'an
    Tyranny
    Ueshiba Kisshōmaru
    Ueshiba Morihei
    UFC
    UK
    Uke
    Umbrella
    UN
    Unarmed
    Unarmed Combat
    Unconsciousness
    Under-cut
    Understan
    Understand
    Understanding
    Undo
    Unequal Treaties
    Unified
    Unity
    Universal Kata Number 1 & 2
    Universe
    Upanishads
    Upper
    Upper Block
    Upper Body
    Upper-cut
    Uprisings
    Urban
    Urn
    Urumqi
    US
    USA
    US Cold War
    US Imperialism
    US Racism
    Valued
    VCD
    Vegetarian
    ‘Venerable Xiao’
    Vertical
    Vessel
    Vessels
    Vibrant
    Vibrating
    Victoria Harbour
    Vid
    Video
    Vietnam
    Vigour
    Village
    Villages
    Vimalakirti
    Vinaya
    Vintage
    Violence
    Virgin Gym - Abbey Mills
    Virtue
    Vision
    Visit
    Vital Force
    Void
    Vol. 32
    Wado Kai
    Wado-Kai
    Wado Ryu
    Wado Ryu (和道流)
    Waidan
    Waigong
    Wai Kru
    Waist
    ‘waist’ Root (腰根 - Yao Gen)
    Wakizashi
    Wales
    Walking
    Wall
    Wanderers
    Wang Biandou
    Wang Changhai (王长海)
    Wang Maozhai
    Wang Meng
    ‘Wang Qingmin’ (王庆民)
    Wang Shi’an’ (王士庵)
    Wang Xiangui
    Wang Zhiying (王子英).
    Wang (王)
    War
    War Crimes
    Warfare
    Warm
    War Man Way
    Warm-up
    Warp
    Warring States
    Warrior
    Warrior-monks
    Warriors
    Wars
    Water
    Water Margin
    Wave
    Way
    Wayfarer Publication
    Way Of Harmony
    Way Of Peace
    Way Of The Warrior
    Weakness
    Weapon
    Weaponised
    Weaponry
    Weapons
    Weather
    Weave
    Weaving
    Website
    Weft
    Weight
    Weighted
    Weighted Ruck Sack
    Weightlifting
    Weight Training
    Wei Ke Da)
    Wei (魏)
    Weng Xinhui
    Weng (翁)
    West
    Western
    Westerners
    Western Han
    Western Technology
    West Lake Public Park
    Wheels
    White
    White Crane
    White Crane Fist
    White Horse Lake
    White Silk Seal
    Whole
    Whooping
    Whooping Crane Fist
    ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan)
    Wide Stance
    Width
    Wijiaoteng Village
    Wikipedia
    Wild
    Will
    Wind
    Wine
    Wing Chun
    Wings
    Wisdom
    Wise
    Withstand
    Wivers
    Wobble
    WOII
    Wolves
    Woman
    Women
    Wonder
    Wong Tai Sin
    Wood
    World
    Wounds
    Wrapping Silk
    Wrestling
    Wrist
    Writing Brush'
    Wsom
    Wu
    Wudang
    Wudang Internal Family Fist Law’ (武当内家拳法)
    Wudang Mountain Geological Museum (武当山地质博物馆)
    Wudang Mountain Special Zone Planning Hall (武当山特区规划馆)
    Wudang (武当)
    Wu Qin Yi
    Wu Shi Dao
    Wu Shu
    Wushu
    WuShu]Gongfu
    Wu Weiyang (武维扬)
    Wu Xiangui
    Wu Xiangui [伍賢貴] (1886 1940)
    Wu Xiangui [伍賢貴] (1886-1940)
    Wu Xiangui (呉賢貴)
    Wu (伍)
    Wu (吴)
    Wu (吴)
    Wu (武)
    Wu (邬)
    WWII
    Wyles
    Xia Dynasty
    Xiamen
    Xiang'an District
    Xiangding
    Xiang (向)
    Xiao Dingpei (肖定沛)
    Xiao Shuide (萧铄德)
    Xiao Yujun (小鱼君)
    Xiaozi
    Xie Chongxiang
    Xie Chongxiang (謝崇祥)
    Xie Chongxiang (谢崇祥)
    Xie Chongxiang’ (谢崇祥)
    Xie Chongxiang’ [谢崇祥]
    Xie Congxiang
    Xie Ru Ru
    Xie Ruru
    Xie Ru Ru’ (谢如如)
    Xie Ruru (谢如如)
    Xie Zongxiang
    Xie Zongxiang’ (谢宗祥)
    ‘Xie Zunshi’ (谢尊志)
    Xingyi
    Xingyiquan
    Xinhua
    Xining
    Xinjiang
    Xi Yang Zhang
    Xu Lanyu (徐兰雨)
    Xu Xiaodong (徐晓冬)
    Xu (许)
    Yagi Akitoku
    Yagi Akitoku (1952)
    Yagi Akitoku [八木明德] (1912 2003)
    Yagi Akitoku [八木明德] (1912-2003)
    Yamaguchi Gichin
    ‘Yamaguchi Gogen’
    Yamaguchi Gogen
    ‘Yamaguchi Minoru’ {山口實実)
    Yamamoto Atsuyuki
    Yamamoto Kagura
    Yamashiro Katsuya
    Yamashiro Yoshitomo
    Yang
    Yang Style
    'Yan Mengyong' (严孟永)
    Yanqing
    Yanzhou
    Yan (颜)
    Yasuke
    Yau
    ‘Ye Jianan’ (叶建安)
    Yellow Emperor
    Yi
    Yield
    Yijing
    Yijing Jing
    Yin
    Yin Bagua Zhang
    Yin Fu
    Ying (英)
    Yin-tang
    Yin-yang
    Yin (尹)
    Yisang
    ‘Yi’ (意
    Yongchun
    Yongquan
    Yongzheng Emperor
    Yoshihara
    Yoshitaka Inokuma (猪熊佳孝)
    YouKu
    Young
    Youth
    Youth Centre 21
    Youthful Folly
    Yuan Dynasty
    Yu Baoyan (余宝炎)
    Yu Danqiu (余丹秋)
    Yuika Tokashiki (渡嘉敷唯贤​)
    Yu (俞)
    Zagong
    Zen
    Zen At War
    Zeng Si
    Zhaihui
    Zhang Huqin (张虎勤)
    Zhang Sanfeng
    Zhang (张) And Li (李)
    Zhao Ming Wang
    Zheng Li’ (郑礼)
    Zheng (郑)
    Zhenru Temple
    'Zhiyuan' (智远)
    Zhou Dynasty
    Zhou (周)
    Zhuang-Dong (壮侗)
    Zhuanzhuang
    Zhuhai
    Zhu Yuanzhang’ (朱元璋)
    Zodiac
    Zong (宗)
    Zoom
    ‘Zou Zongtang’ (左宗棠)
    Zuki
    Клуб Годзю-рю каратэ Тори
    Сенсеем Богданом Курилко
    تای چی راه بی پایان
    مازیار کتابت
    おおたち
    ‘か’ (Kaku
    かい
    かきえ
    カキエ
    カキエ
    カキエー
    かきえ = Kakie
    カキテ = Kakite
    カキティ
    カキディ
    カケテ
    かけで
    かけて = Kakete
    き(ki)
    コウキ
    ‘ず’ (Zu)
    そほうか
    'チ' (Chi)
    ‘つる’ (Tsuru)
    はら
    ふたつえ
    ぶん
    ムチミ
    ルールーコウ
    ​一 (yi1)
    一拳必殺
    一百零八手 (Yi Bai Ling Ba Shou) = Suparinpei
    三十六手
    三十六手 (San Shi Liu Shou) = Sanseru
    三战
    (三战 San Zhan)
    (三战 - San Zhan)
    三战等 (San Zhan) = Sanchin
    三戦
    三议妙 - San Yi Miao
    下丹田 - Xia Dan Tian
    下段払い
    下段払い
    丘
    东恩纳宽用
    东恩纳盛男先生
    丹田
    (丹田 - Dan Tian)
    ​丿(yi4)
    久留顿破
    久留顿破 (Jiu Liu Dun Po) = Kururunfa
    久米
    乱捕り
    予備運動 - Yo Bi Un Do
    二十八宿
    五祖
    五行
    仲井真元楷)
    传统武术
    体捌き
    修交会
    儿 - 儿 - コ
    內 - Nei
    內經
    八极拳
    八门五步 - Ba Men Wu Bu)
    '八闽' (Ba Min)
    公
    六机手
    六机手
    六机手 (Liu Ju Shou) = Rokuki
    '关元' (Guan Yuan)
    兵法
    内 - Nei
    (内功 - Neigong)
    内外合一 - Nei Wai He Ye
    决定
    凡 (fan2)
    击碎
    击碎
    击碎第一
    击碎第一
    击碎第三
    击碎第二
    击碎第二
    刀
    分解
    刘氏
    刚柔流
    刚柔流空手道
    制引战 (Zhi Yin Zhan) = Seiyunchin
    制引戦
    剑 - Jian
    剛
    剛柔体操 - Go Ju Tai Misao)
    剛柔流空手道
    劉衛流
    劉龍公
    '劍‘ (jian4)
    力手元!
    功夫散手
    ‘勿’ (wu4)
    北蛇拳
    十三手
    十三手 (Shi San Shou) = Seisan
    十八手
    十八手
    十八手 (Shi Ba Shou) = Seipai
    南少林拳法
    南拳
    南拳
    (南拳 - Nan Quan)
    南拳 - Nan Quan
    南船北马
    卦
    印掌 (Yin Zhang)
    又 (you4)
    又吉真豊直伝白鶴兵法三段の形
    双截棍)
    双蝶掌
    双风贯耳
    取手
    受
    受 (shou4)
    古田教案
    '合' (He2)!
    合氣道
    吉原 - Ji Yuan
    吕紫剑]
    吳賢貴
    吴贤贵
    吴贤贵
    呉賢貴
    (和道流)
    咏春拳
    唐
    唐手
    唐手
    唐手 - Tang Shou
    唐朵
    唐榮)
    唐營
    唐禮賢
    唐营
    囍
    四向战
    四向战 (Si Xiang Zhan) = Shisochin
    回転
    (地术拳 - Di Shu Quan)
    ‘型’ (xing2)
    壹百零八手
    外 - Wai
    外 - Wai
    大太刀
    大暍酒
    大熊猫
    天回医学竹简
    太庙 - Tai Miao
    太极拳
    太極拳經
    太祖
    '套' (Tao)
    如如哥
    孔
    客家武术
    宫城安一
    宫城長祥
    宮城敬
    宮城敬
    [宮城敬]
    宮城 長順
    寛量
    導引
    少林拳 - Shaolin Quan
    少林罗汉拳 - Shao Lin Luo Han Quan
    巛 (chuan1)
    巠 (jing1)
    工 (gong1)
    师公
    幕阜山 - Mu Fu Shan
    ‘干’ (gan1)
    (庚子
    張三丰
    彌助
    '形' (Xing)
    形 - Xing
    形 - Xing
    ‘形’ (xing2)
    形意
    形象 - Xian Xiang
    忍者
    慎善熙
    慎善熙
    慎善熙 (Shen Shanxi)
    戚繼光
    截拳道
    '手' (shou3)
    手为先锋 (Shou Wei Xianfeng)
    拳
    '拳' (quan2)
    拳击爱好
    拳打六路 (Quan Da Liulu)
    拳经捷要篇
    掛 (gua4) 手 (shou3)
    掛け合い
    掛け手 (Ka Ke Te)
    掛手
    掛手
    (推手 - Tui Shou)
    握瓮 – Nigiri-Game
    搂子
    '摩' (mo2)
    撃砕
    擒拿
    攻防一体虎口廻受
    ‘教士’ (Jiao Shi)
    斋会
    新垣隆功
    方孔 - Fang Kong
    ‘日‘ (ri4)
    明手暗腿
    易筋經
    易經
    晰阳掌
    書經
    曾四
    東恩納 寛量'
    東恩納寬量
    林
    林伟功)
    林达崇
    林达崇
    架 - Jia
    柔
    柔 - Rou)
    柔術
    查拳
    梦斌
    植芝 吉祥丸
    植芝 盛平
    步法
    步法-Suri-Ashi
    武
    武备志’
    (武备志 - Wu Bei Zhi)
    武道
    段
    气 - Qi
    气功
    氣
    氣
    氣功
    永光
    永春
    決め
    沖縄
    泥丸宫 - Ni Wan Gong
    洪家拳
    洪拳
    浑元
    涌泉
    清定
    清定
    湖城
    潘嶼八
    炀
    爪 (zhao3)
    (狗拳 - Gou Quan)
    '狮'
    王扁豆
    王茂斋
    琉求’ (Liuqiu)
    琉球
    琉球 - Liu Qiu
    甕
    白鶴
    白鶴拳
    白鹤
    白鹤拳
    白鹤拳
    白鹤拳 - Bai He Quan
    白鹤拳 - Bai He Quan)
    百步神拳 (Bai Bu Shan Quan)
    盘屿
    (盘屿八)
    着
    知花朝信
    '石' (shi2).
    破門
    硬气功 - Ying Qi Gong
    硬氣功
    碎破
    碎破 (Sui Po) = Saifa
    祓
    神
    神
    '神' (Shen)
    神象 - Shen Xiang)
    禊
    福建白鶴拳
    秦
    空手
    空手 - Kong Shou
    突 (tu)
    '站桩' (Zhan Zhuang)
    竞楠
    '粵' Yue
    精
    精
    素封
    組手
    缠丝劲
    罗汉拳
    罗汉拳
    罗汉拳 - Luo Han Quan
    羅漢十八摩
    羅漢拳
    羅漢拳
    義和拳
    翁信辉)
    脚为帅 (Jiao Wei Shuai)
    脚踢八方 (Jiao Tī Bafang)
    茂木村
    萧和尚 - Xiao He Shang
    蒋雪珍
    虎口受け
    虚云大师
    ‘蜴’ (yi4)
    螳螂拳
    衛克達
    補助
    西湖公园
    西貢
    詠春
    講明館
    謝如如
    謝宗祥
    謝崇祥
    谢如如
    谢如如
    谢崇祥
    谢崇祥
    贤亮
    (足 - Ashi)
    跌打酒
    転掌
    轉掌
    转掌
    追 い 突 き
    逆 (ni4)
    逆突き
    ) 透劲 (Tou Jin)
    通背
    通背
    運動
    道
    那覇手
    那霸手
    '邱
    释行正
    野太刀
    ‘金剛圈’ (Jin Gang Quan)
    ‘金城 敬章’ - ‘Kinjo Hiroaki’
    釵
    錬士
    ‘錬士’ (Ren Shi)
    鎚石
    铁斗酒
    铁牛
    長拳
    闽
    '闽' (Min)
    陳
    陳
    陳天生
    陳家
    隋書 - Sui Shu
    隔山打牛 (Ge Shan Da Niu)
    隔空打人 (Ge Kong Jin Ren)
    雜功
    面子
    '順' (shun4)
    風け合い
    風水
    馬步
    高手’ (Gao Shou)
    鳴鶴拳
    '鶴' (he4)
    鶴 (he4)
    鶴の手
    鶴の手
    鸣鹤拳
    鸣鹤拳 - Ming He Quan
    鹤仙 - He Xian
    鹤巢寺
    鹤拳- He Quan)
    黃初平
    點穴
    點脈

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