Dear Tony (Sensei)

​Following the Hakka-Punti Clan Wars and the Taiping Uprising (both happening during the mid-1800s) - the Hakka Armies were defeated by the Qing dynasty Forces (following the death of millions) and the Hakka people were consigned into very small areas to live. At this time, to hide their ethnic identity (as Northerners living in the South) many gongfu Masters deliberately "shortened" the movements of their Northern gongfu so that it better resembled the Southern gongfu practiced by the Cantonese people. As my Chan family lived in the remote area of South-East Guangdong (not yet under the control of the British - that area would become the "New Territories" in the 1890s) - we felt no need to shorten our gongfu technique and so we still practice the Longfist of the North.

​This is true of only a minority of Hakka Clans - as many now practice Southern Styles - the product of technical adjustment in the mid-1800s. As many Hakka people do not know their past - they think they have always practiced the shortened Southern Styles but this is not the case. I think a similar situation exists in Fujian province regarding the Hakka - but I have no way of knowing whether this is linked to Suparinpei Kata (and other Goju Ryu kata). From my limited view - Suparinpei (and other Goju Ryu kata) looks like how Longfist is used for close-in fighting. As you know, Longfist is taught at long, middle and short range - with the long-range being on display in the standard Forms. 

I suppose many Hakka Clans that practiced Longfist simply ceased openly practicing the middle and long-range Forms - limiting practice to the close-in range - although this would also include middle-range where applicable. Long-range "reaching" with extended limbs (open arms and legs) was replaced with short and concise shuffle-stepping (moving the torso nearer and away from the opponent whilst keeping the bodyweight firmly "rooted" to the ground). Unfolding (whipping) power was replaced with small-circle force (both drawing force up from the ground - regulated by the breath). This is not a moving away from Hakka Longfist - but rather a focusing on one particular and well-known aspect of it. I think I see all this in the various versions of Suparinpei Kata. 

Japanese Karate-Do (General) - 'Mawashi-Uke' (廻し受け):

​Mawa (廻)  = rotation, turning, rounded and circular, 

shi (し) = four-corners, all-areas and comprensive-cover 

U (受) = receive, meet, accept and stoically bear (suffer)

Ke (け) = stratagem, plan, calculation and measure

Okinawan Goju Ryu Karate-Do - 'Toro Gushi-Uke' (虎口受け):

​Toro Gushi (虎口) = literally 'Tiger-Mouth' envelopes the enemy - and closes inward from all-sides at once

U (受) = receive, meet, accept and stoically bear (suffer)

Ke (け) = stratagem, plan, calculation and measure

Southern China Gongfu Equivalent:

Double Butterfly Open-Palm = 双蝶掌 (Shuang Die Zhang)

Okinawan Goju-Ryu 'condenses' many of these Southern Gongfu Movements for efficiency. Long stances are shortened whilst reaching arm-movements are brought closer to the body (perhaps adapted for practitioners spending long periods on boats). Many Hakka Gongfu Styles originating in the North progressed through this adaptation process in South China. Our Family Style did not - but virtually all the Clan Styles around our village did. 

Tora - Tiger - can also be pronounced 'Koko'. In Fujian this can be 'Ho Kho'. Sometimes, despite the literal interpretation of 'Tiger Mouth' - it is used in Chinese and Japanese texts to mean 'Jaws of Death!

​The Chinese text states that Goju Ryu is a genuine transmission of 'Nan Quan' (Southern Fist). 

攻防一体虎口廻受

​Attack and defence are integrated - the open tiger's mouth simultaneously envelopes and traps.

Higaonna Kanryo (1853-1915) travelled from his home in Naha City (Ryukyu) to Fuzhou (Fujian province) between 1867-1881 CE. There is no existing (corroborating) evidence that supports the idea that this journey took place either in what is today called ‘Okinawa’, or what is still known as ‘Fuzhou’ in China. Numerous Revolutions, invasions and wars are blamed for the lack of material evidence in China – whilst the 1945 Battle of Okinawa is blamed for all the historical evidence being destroyed in that place. Of course, this observation assumes that such ‘evidence’ existed in the first place. What are the details that can be stated with reasonable assuredness? 

1) A man named ‘Higaonna Kanryo’ existed. 
2) He was born during the year 1853 CE.  
3) He died during the year 1915 CE. 
4) His primary disciple was Miyagi Chojun (1888-1953). 
5) What we ‘know’ about Higaonna Kanryo derives from Miyagi Chojun. 
6) The ‘nine’ martial ‘sets’ or ‘patterns’ attributed to Higaonna Kanryo possess a certain similarity to the various styles that comprise the ‘Southern Fist’ (南拳 - Nan Quan). 
7) The name of his ethnic Chinese martial arts teacher in Fuzhou (Southern China) is said to be ‘Ryu Ryu Ko’. 
8) Despite most of the martial ‘sets’ looking like various forms of ‘Southern Fist’ styles that nevertheless maintain ‘Northern’ looking ‘Horse Stances’ - the gongfu art that ‘Ryu Ryu Ko’ specialised in is said to have been Fujian ‘White Crane Fist’ (白鶴拳 - Bai He Quan) - with the ‘Sanchin’ (三戦 - San Zhan) or ‘Three Battles’ Form – which Higaonna Kanryo altered by changing finger-strikes to closed-Fists, etc. 
9) This ‘Southern Fist’ collection of Chinese martial arts was integrated with Ryukyu ‘Ti’, ‘Di’ or ‘Te’ (手) i.e., ‘Hand’ - and formed ‘Naha Te’ (那覇手). Higaonna Kanryo’s strand of ‘Naha Te’ formed the foundation of Miyagi Chojun’s ‘Goju Ryu Karate-Do' (or ‘Hard-Soft’ Empty-Hand Way) - registered as a ‘Japanese’ martial art during 1936. 

Although most of the above can be disputed, the reality of most of it lies in the existence of a) the graves of Higaonna Kanryo and Miyagi Chojun – and b) the techniques preserved within the movements of Goju Ryu Karate-Do. A central point of contention is ‘who’ was ‘Ryu Ryu Ko’? Although this issue has been solved within Mainland Chinese academia in 1989 (as Ryu Ryu Ko being the Chinese martial arts Master of ‘Xie Chongxiang’ [谢崇祥] 1852-1930) - this is not the case in the West or within a number of Japanese and Okinawan martial lineages (that refuse to accept the authority of ethnic Chinese historians). Why this is does not concern me here, but what I am concerned about is the lack of ‘logic’ (and ‘inverted’ thinking) surrounding the issue of ‘who’ Ryu Ryu Ko was. 

a) Ryu Ryu Ko = the Okinawan ‘phonetical’ pronunciation of an ethnic Chinese martial arts teacher living in Fujian province.  
b) As Higaonna Kanryo could not read, write or speak the Chinese language (despite being a descendent of ethnic Chinese migrants to Ryukyu in 1392 CE), he did not possess the ability to correctly hear, pronounce or write the ‘Chinese’ name of ‘Ryu Ryu Ko’ - but could only ‘approximate’ its sound.  
c) Higaonna Kanryo did NOT bring back any written evidence of the name of ‘Ryu Ryu Ko’ using Chinese language ideograms. The fact that the Fujian dialect was used to pronounce this name is immaterial as ALL Chinese ethnic groups use exactly the same ideograms to record their names in written form.  
d) Higaonna Kanryo’s ethnic Chinese surname is ‘Shen’ (慎) as pronounced in the Beijing dialect - but elsewhere exactly the same ideogram is pronounced (and ‘phonetically’ spelt in other languages) quite differently: 

i) Guangdong (慎) = ‘San’ 
ii) Hakka Dialect (慎) = ‘Sum’ (Sixian) and ‘Sem’ (Meixian, Guangdong) 
iii) Eastern Min – Fujian (慎) = ‘Seng’ 
iv) Southern Min – Fujian (慎) = ‘Sin’ or ‘Sim’ (Hokkien), ‘Sim’ (Teochew) and ‘Sim’ (Peng'im) ‘Sim’ 
​
e) The people in the Fuzhou area used to speak only the ‘Southern Min’ dialect. Given that Higaonna Kanryo’s Chinese name was ‘慎善熙’ (Shen Shanxi) - he may well have been known as ‘Sim Sianhi’ in the local dialect. The pronunciation shifts and the phonetic representation alters as the names traverse the hinterlands of China – but the foundational Chinese ideograms stay exactly the same. Higaonna Kanyro’s Chinese name means: 

Surname: 慎 (shen4) = 340th Surname included in the book entitled ‘Hundreds of Chinese Clan Names’ (百家姓 - Bai Jia Xing) - and means ‘Those Who Become Prominent Through Being Cautious’. This surname may have originated with the ‘Mohist’ scholar known as ‘Qin Huaxi’ (禽滑釐) who lived during the latter part of the ‘State of Song’ (宋國 - Song Guo) [1046 – 286 BCE]. As the scholar – Mozi (墨子) lived between 468 - 376 BCE – Qin Huaxi must have existed at some point between 376 – 286 BCE. Later, the title of ‘慎子’ (Shen Zi) was conferred upon Qin Huaxi (or ‘Cautious Scholar’) and this is thought to be the origin of this surname. 

First-Name = ‘善’ (shan4) - ‘Virtuous’ 
First-Name = ‘熙’ (xi1) - ‘Glorious’ 

What of ‘Ryu Ryu Ko’? There are no Chinese ideograms available from the time of Higaonna Kanryo’s visit to China. As ‘Ryu Ryu Ko’ is a phonetic representation in Okinawa (now a Prefecture of Japan) - the Okinawans have used modified (or ‘distorted’) Chinese ideograms to represent these phonetic symbols. The three modified ‘Kanji’ Japanese ideograms used are ‘劉龍公’ or ‘Liu Longgong’. To an experienced reader of the Chinese written script, it is obvious that these three ideograms are not correct Chinese ideograms – and therefore cannot be representative of a genuine Chinese name.  This situation has derived from the Japanese people ‘altering’ the structure and meaning of the Chinese ideograms that once formed the historical foundation of the Japanese system of reading and writing. In the West it is common for scholars and general readers alike to incorrectly assume that the above three Japanese ideograms represent the Chinese spelling of ‘Ryu Ryu Ko’ - and that Higaonna Kanryo brought these ideograms back with him from China – when in fact none of this is true and is a product of a general ignorance in the West of the Chinese and Japanese languages. (Technically speaking, it is the altered structure of the second ideogram - ‘龍’ [long2] - which modifies the interpretation of the other two ideograms and confirms the ‘Japanese’ character of the entire expression). These three characters were ‘assigned’ by Japanese speakers to ‘represent’ the sound of the name of ‘Ryu Ryu Ko’ to fellow Japanese speakers: 

1) ‘劉’ (Liu3) = ‘Ryu’, ‘Riu’ or ‘Ru’ in Japanese phonetic representation. Although this ideogram is found in China, in Fuzhou (when used as a ‘surname’) it is more likely to be pronounced as ‘Lau’ and not ‘Liu’ as continuously asserted by various other non-Chinese sources. 

Correct Historical Sequence: a) ‘Ryu’, ‘Riu’ or ‘Ru’ - b) ‘劉’ (Liu3) 
Incorrect Historical Sequence: a) ‘劉’ (Liu3) - b) ‘Ryu’, ‘Riu’ or ‘Ru’ 

2) ‘龍’ (long2) = ‘Ryu’, ‘Ryo’ or ‘Ro’ in Japanese phonetic representation. Added to these definitions can also be the historical designations of ‘Ryou’ and ‘Rou’. When used as an ideogram in China, this structure refers to a ‘dragon’ or ‘serpent’, etc. In the Hokkien dialect of Fuzhou, this ideogram can be pronounced as ‘geng’, ‘liang’, ‘ngui’ and ‘liong’ depending upon context and exact location. The idea that this ideogram is pronounced ‘long’ in Fuzhou is incorrect.  

Correct Historical Sequence: a) ‘Ryu’, ‘Ryo’, ‘Ro’, ‘Ryou’ and ‘Rou’ - b) ‘龍’ (long2) 
Incorrect Historical Sequence: a) ‘龍’ (long2) - b) ‘Ryu’, ‘Ryo’, ‘Ro’, ‘Ryou’ and ‘Rou’ 

3) ‘公’ (gong3) = ‘Ku’, ‘Ko’ or ‘Kou’ in Japanese phonetic representation. When used as a Chinese ideogram refers to something being ‘public’, ‘equitable’ or ‘fair’. In the Hokkien dialect, this ideogram is likely to be pronounced ‘kang’ and ‘kong’ - and not ‘gong’ as usually asserted.  

Correct Historical Sequence: a) ‘Ku’, ‘Ko’ or ‘Kou’ - b) ‘公’ (gong3) 
Incorrect Historical Sequence: a) ‘公’ (gong3) - b) ‘Ku’, ‘Ko’ or ‘Kou’  

It is impossible for Higaonna Kanryo to have brought back the name of his ethnic Chinese martial arts teacher expressed in a ‘Kanji’ (Japanese) modified script! To assume that he did this is illogical and counter intuitive and yet such an assumption underlies many Western, Okinawan and Japanese attempts at constructing historical narratives that diverge from those advocated by the Mainland Chinese scholars. Interestingly, only in ‘Putonghua’ are the Chinese ideograms ‘劉龍公’ pronounced as ‘Liu Longgong’! In the Hokkien dialect it is more likely that ‘劉龍公’ would be pronounced as ‘Lau Gengkang’ or perhaps ‘Lau Nguihong’, etc, nothing like the ‘Liu Longgong’ contrivance found throughout non-Chinese literature! Therefore, through this application of basic logic it can be proven that ‘Ryu Ryu Ko’ historically preceded ‘劉龍公’ - whilst many (if not all) extant Western narratives continuously assert that ‘劉龍公’ historically precedes ‘Ryu Ryu Ko’! Finally, having discussed this matter with a number of ethnic Chinese speakers, it is generally believed that it is unlikely that a person would be named ‘Dragon Public’ (龍公 - Long Gong) as ‘Ryu Ryu Ko’ would have been if his Chinese name was written as ‘劉龍公’ or ‘Liu Longgong’. The word order is transposed and the concept highly unlikely as dragons in China are ‘elusive’ i

The Maritime Silk Road linked Southern China to vast areas of the known world for over two-thousand years (since at least the Qin and Han Dynasty times (3rd century BCE)! During that time, the ancient leaders of China established seaborne links with other civilisations that sparked, trade, tribute and cultural exchanges. As the seas around South China are unpredictable, changeable and can be highly dangerous, perhaps one in every ten ships that set out from China ladened with artefacts and treasure sunk to the bottom of the sea – with a similar statistic covering ships heading to China from foreign lands! What this means is that a rich archaeological record exists on the sea floor spread all around the South China coast and surrounding coast! It is a record cultural triumph and natural disaster! Humanity’s creativity tempered by nature’s crushing hand! A great deal of the porcelain and pottery discovered on the seafloor originated in Fujian province – the area that many people visited from overseas to make contact with Chinese culture and learn intangible cultural crafts such as the martial arts! This was an exportation of another kind of Chinese creativity stored in the minds and bodies of those who learned the arts after daring to cross the dangerous seas! Fujian province became a hub for foreign visitors to China as the various Dynastic rulers limited foreign intrusion into China to initially just this area.  ​

Chinese Language Source: ​

http://news.sina.com.cn/o/2007-05-09/152211784510s.shtml ​

English Languish Source: ​

http://www.ecns.cn/m/news/culture/2022-09-06/detail-ihccwpzf5238659.shtml ​

Translator's Note: Chinese martial arts are diverse in origination and influence. Although a broad designation of 'North' and 'South' can be made on the grounds of the geographical origination of the Founding Masters, and certain defining characteristics - a fighting style above all was premised upon its effectiveness in combat and there was little room for sentiment or an attachment to dogma! As a consequence, and despite the truth in the 'North' and 'South' designation, there are Southern styles that look Northern and their are Northern styles that appear Southern - and this to be expected considering the human propensity for adaptation! Furthermore, cross-fertilisation led to many hybrid styles and an outpouring of diverse variations - a phenomenon that is very much the norm within modern China! ACW (5.8.2022)

The term ‘idiom’ is from the Greek (and Late Latin) word ‘idioma’ - and was prevalent from the 1580s onward – where it refers to a ‘form of speech peculiar to a people or place’. Originating from the Greek word ‘idioumai’ (to appropriate to oneself) from ‘idios’ (personal and private, properly particular to oneself). The use of an ‘idiom’ involves a highly condensed (or contracted) linguistic expression which conveys far more in suggestion (or implication) than literally contained the few words used. As a rule, the meaning of an ‘idiom’ is culturally derived (and passed on from one generation to the next) as an important (and ‘underlying’) element of culturally conditioned education. As an expression, the meaning contained within an idiom is not predictable from the grammar or language used and cannot be easily ‘guessed’ by an individual who has not been privy to the relevant education.  ​

Chinese Language Idiom: 南船北马 ​

南 = (nan2) - South ​

北 = (bei3) - North ​

马 = (ma3) - Horse ​

English Translation: ‘Southern Boat – Northern Horse’ ​

Chinese Language Origin:  ​

唐·孟郊《送从最校书简南归》 
长安别离道，宛在东城隅。 
寒草根未死，愁人心已枯。 
促促水上景，遥遥天际途。 
生随昏晓中，皆被日月驱。 
北骑达山岳，南帆指江湖。 
高踪一超越，千里在须臾。 ​

English Translation: Tang Dynasty Poet - Meng Jiao [孟郊] (751-814) - deriving from a phrase written in his book entitled ‘Journeying Together Expert Study Book Defining South Return’.  ​

Nowadays, with the modernisation of China, many martial arts styles have ‘mixed’ and ‘combined’ their respective strengths, thus creating an all-round and vigorous fighting style. Even Chinese martial arts exported to Ryukyu in the 19th century – such as Yongchun White Crane Fist – was mixed with Okinawan ‘Te’ by Higaonna Kanryo (1853-1915) and later developed by his key disciple Miyagi Chojun (1888-1953) into the world famous Goju Ryu Karate-Do! From the Katas movements contained within Goju Ryu, there appears a very strong ‘Southern Fist’ (南拳 - Nan Quan) influence – but some of these movements appear ‘Northern’ in origination! This could well have been the product of Northern stylists either bringing or transmitting their fighting styles southward. Despite geographical differences persisting in China, the development and spread of modern technology has negated these differences and made everyday life very similar for most people. Therefore, the differences within traditional Chinese martial arts styles are ‘historical’ and must be protected and preserved for future generations to benefit from. Even considering the development of sports science – traditional Chinese martial arts still have a tremendous amount to offer as regards the psychological, physical and spiritual development of an individual! This is because the Chinese ancestors were very clever when adapting to their physical conditions and recording those adaptations!  ​

Okinawan Goju Ryu Karate-Do Retains Characteristics of Both 'Northern' and 'Southern' Style of Chinese Martial Arts!

Chinese Language Sources: ​

http://www.leleketang.com/chengyu/9369.shtml 
https://www.baike.com/wiki/南船北马?view_id=1279i8zsp0hc00 
https://baike.baidu.com/item/孟郊/335336 ​

From July 27th to August 1st, 2016, at the invitation of the Naha City Cultural Association of Japan and the Okinawa (International) Goju Ryu Karate-Do Federation, a group of Buddhist monks from the Putian (莆田) Chan Wu (禅武) - or ‘Meditative Martial Arts’ - Southern Shaolin Temple visited Japan to give a demonstration of their ancient martial arts skills! This was part of a mutual exchange programme which promotes music, dance and the arts - to build friendship and closer ties between the two countries.  ​

During the visit, the Putian Southern Shaolin Temple group first went to the "Okinawa Traditional Ancient Martial Arts Preservation Association" to visit the President Nakamoto Masabu (仲本政傅). Nakamoto Masabu visited Fujian in 1988 to study under ‘Chen Yijiu’ (陈依九) - the Fourth Generation Master of the ‘Ground Method Fist’ (地术拳 - Di Shu Quan) - also termed ‘Dog Fist’ (狗拳 - Gou Quan)! In 1995, he led a Japanese team that participated in the China (Putian) Southern Shaolin International Martial Arts Competition. ​

Afterwards, the Putian Southern Shaolin group next visited the Okinawa Prefectural Budokan to participate in the "Okinawa (International) Goju Ryu Karate-Do Federation World Budo Festival" which is held every four years. The Putian Southern Shaolin Temple group showed their skills at the opening ceremony of the Martial Arts Conference. On display was the Shaolin ‘Stick’ (棍 - Gun), Closed-Fist Arts (拳术 - Quan Shu), Broad Sword (刀 - Dao), Long Swords (剑 - Jian) and all kinds of ancient military weapons! There was also various other performances of endurance, strength and power, etc, that impressed the crowd and attracted warm-hearted applause! The monks of the Putian Southern Shaolin Temple were praised for their calm state of mind, technical expertise and fierceness during combat! ​

The Head Monk of the Putian Southern Shaolin Temple - ‘Kong Xing’ (空性) said that ‘Okinawan Goju Ryu is a Southern style of Chinese martial arts defined as being a combination of the “Southern Boat and Northern Horse”, and which developed through the White Crane Gate of the Southern Shaolin Temple!’ The name of the style derives from a once secret book associated with the White Crane Gate entitled the ‘Martial Preparation Records’  (武备志 - Wu Bei Zhi) - where this text states ‘The methodology involves the continuous interchange of hard and soft whilst the body absorbs (like swallowing) and emits (like spitting)!’  ​

The Putian Southern Shaolin Temple has a special relationship with the Okinawan martial arts community and is very happy to facilitate cultural exchanges between China and Japan! The Head Monk went on to explain that a Special Research Department is active at his temple which assists groups and individuals to visit and stay at the temple to study Ch’an meditation and ‘Southern Fist’ (南拳 - Nan Quan) - whilst an Administrative Section carries-out historical and cultural research involving martial arts and associative subjects. Together, the Putian Southern Shaolin Temple and Naha City Cultural Association share a common (non-political), martial arts history that can only benefit the people of China and Japan! This friendship is facilitated by the Okinawa (International) Goju Ryu Karate-Do Federation, which continuously offers its support, guidance and encouragement!  ​

The Putian Southern Shaolin Temple adheres to the spiritual and physical teachings as taught by the ancient Indian Buddhist monk – the Great Master Bodhidharma (达摩 - Da Mo)! Through hours of sitting in Ch’an meditation he calmed, stilled and expanded his mind (eradicating greed, hatred and delusion and cultivated loving kindness, compassion and wisdom), whilst through martial arts practice of various kinds, he eradicated illnesses, healed wounds and extended his longevity! By emulating this practice, we can live healthy and wise lives and benefit the entire world! This is why the Head Monk - Kong Xing - further stated the Southern Shaolin Temple invites friends from all over the world and welcome everyone who comes to the Putian Southern Shaolin Temple to experience the charm of its meditative and martial Buddhist culture! At the same time, Kong Xing invited friends from all over the world to jointly promote the spirit of peace, compassion and altruism, and contribute toward the happiness and stability of human society by cultivating harmony between human beings and nature! ​

It is understood that also attending this conference - in addition to the staff of the Karate-Do Headquarters in Japan – was more than 1,500 participants from 52 national Karate-Do organisations, including the United States, Russia, the United Kingdom, Spain, and Australia! The Head Monk of the Putian Southern Shaolin Temple – Kong Xing – then presented special calligraphy to his Japanese hosts! The monks from the Putian Southern Shaolin Temple performed various ‘Southern Fist’ (南拳 - Nan Quan) routines during their exchange visit in Japan. ​

Source: Meizhou Daily ​

Chinese Language Source:

http://www.hinews.cn/news/system/2016/08/05/030593828.shtml?wscckey=70d51dc7d4f29072_1470363283 ​

冲绳刚柔流空手道源自南少林拳白鹤门 
来源：湄洲日报 作者： 时间：2016-08-05 08:22:36 
本报讯7月27日至8月1日，应日本那霸市文化协会和冲绳（国际）刚柔流空手道联盟的邀请，莆田南少林寺禅武团前往日本进行武术、音乐、艺术等方面的交流，共同推动两地的文化交流与友好往来。　 
访问期间，莆田南少林寺禅武团首先前往“冲绳传统古武道保存会”，拜访会长仲本政傅。仲本政傅曾于1988年来福建向地术拳第四代传人陈依九学艺，1995年带队前来参加中国（莆田）南少林国际武术大赛。之后，禅武团一行前往冲绳县立武道馆，参加四年一届的“冲绳（国际）刚柔流空手道联盟世界武道祭”演武大会。 
南少林寺禅武团在演武大会开幕式上大展身手，少林棍、拳术、刀剑兵器类等表演，引得现场一阵阵热烈的掌声，大家直夸南少林寺武僧们武术功底扎实，打得虎虎生威。　　莆田南少林寺方丈空性说，冲绳刚柔流空手道系中国“南舟北马”中的南派功夫，源自南少林拳白鹤门，其流派的名称来源于白鹤门流传秘书《武备志》中“法刚柔吞吐，身随时应变”。此 
次民间武术交流活动，对加强莆田南少林寺与那霸市文化协会、冲绳国际刚柔流空手道联盟的友好关系，增进文化交流与武术互鉴、深化合作具有积极意义。　　南少林寺一贯秉承达摩大师的宗风，以武术强健体魄，以禅法静心明智，以慈悲利益世间，进而成就自他圆满的智慧人生。 
空性说，南少林寺向世界各国的朋友发出邀请，欢迎大家来莆田南少林寺，体验南少林禅武文化的魅力，感受佛教的人文艺术。同时，还邀请世界各国的朋友共同弘扬和平、慈悲、利他的精神，为人类社会的幸福安定、人类与自然的和谐奉献一份力量。 
据了解，此次大会，除了日本刚柔流空手道本部人员外，有来自美国、俄罗斯、英国、西班牙、澳大利亚等52个国家的空手道组织共1500余人参加。　　南少林寺方丈空性赠送书法给日本友人。　　莆田南少林寺武僧在日本交流期间表演各种南拳。原标题:冲绳刚柔流空手道源自南少林拳白鹤门 ​

​China News Service, Xiamen, June 28th, 2016 (Wang Jing) - The Fujian 'Tang Shou' Karate-Do Association held its inaugural meeting in Xiamen on the 28th. Regarding the Association's use of the name 'Tang Shou' (唐手) or 'China Hand' - the China General Administration Centre for the Practice of Martial Arts and Sports has approved - stating it has 'no objection'.

Whereas modern Japan (from the early 20th century onward) renamed this Chinese derived martial arts as 'Empty Hand' (空手 - Kong Dao) - as a means to hide or obscure the genuine 'Chinese' origins' of 'Karate-Do' - the concerned martial arts practitioners of Fuzhou have decided to come together and reclaim China's cultural heritage! From now on this Chinese art will be called by its correct name of 'Tang Hand'!

"After 'Southern Boxing' (南拳 - Nan Quan) was introduced into Ryukyu (now Okinawa), it was called 'Tang Shou' ('China Hand') by the Ryukyu people to show that it originated from China (Fujian). The pronunciation of the characters '唐手' (Tang Shou) in Japanese remains the same when the characters '空手' (Kong Shou) are used - as the Japanese people pronounce these two phrases as 'Kara-Te'." Stated Weng Xinhui (翁信辉) - a Post-Doctoral Fellow in Sports Anthropology at Waseda University in Japan and Associate Professor at the School of Physical Education at Jimei University.

Weng Xinhui has studied the Five Ancestors (五祖 - Wu Zu) of Heyang Fist (鹤阳拳 - He Yang Quan) from Lineage Masters such as Weng Rongnan (翁荣南), Xu Jinmin (许金民), and Ceng Mouyao (曾谋尧) amongst many others from a young age! He studied and lived in Japan for 12 years - during which time he studied at the Graduate School of Education, in Tokyo's Gakugei University - and was engaged in the advanced study of Judo (and other Japanese martial arts) under Professor Kaise Terufu. During his research in Japan he was shown 'sensitive' historical documents proving that 'Karate-Do' originated in the Fuzhou area of Fujian province! In 2015, following his return to China, Weng Xinhui applied to the National Social Science Fund to sponsor his research project entitled "Research on the Cultural Transformation of Fujian Southern Fist in Ryukyu from 'China Hand' into 'Empty Hand'". The research results were clear and with a doubt -  Japanese 'Karate-Do' originated from Fujian 'Southern Fist' and is entirely Chinese!

Chinese Language Source:

​https://finance.ifeng.com/a/20160628/14536906_0.shtml

福建省唐手（空手道）协会成立2016年06月28日 20:39
来源：中国新闻网


中新网厦门6月28日电 (王婧)福建省唐手(空手道)协会28日在厦门举行成立大会。对于该协会使用“唐手”这一名称，中国国家体育总局拳跆中心已批复，并表示“无异议”。
要解释什么是“唐手”，就不能不提到空手道。
很多人都会认为空手道是日本武道，尤其是在空手道等五大项运动有望进入2020年东京奥运会的背景下，人们更容易将空手道贴上日本的标签。中国学者的长期研究表明，中国是空手道的发源地。该观点已得到相关体育部门认可。
“福建南拳传入琉球(今冲绳)后，被琉球人称为‘唐手’，以示源于中国(福建)之意。传入日本后，‘唐手’改为‘空手’，但在日语中的发音不变。”日本早稻田大学体育人类学的博士后、集美大学体育学院副教授翁信辉对记者说。


翁信辉从小师从翁荣南、许金民、曾谋尧等学习五祖鹤阳拳，曾在日本留学及旅居12年，其间在东京学艺大学教育学研究科学习，师从贝濑辉夫教授从事日本柔道及武道论研究。2015年，翁信辉立项申报了国家社科基金课题《从福建南拳到琉球唐手、空手道的文化变容研究》，目前的研究成果足以证明，空手道来源于福建南拳。
谈到“唐手”，翁信辉滔滔不绝。“20世纪二三十年代，一批有关‘唐手’的著作在日本相继出版，都证明了这个项目是从琉球传到日本，而且原名称是‘唐手’。日本著名的词典《广辞苑》和日本武道馆2007年主编的《日本的武道》中都写明，空手道是以中国传来的武术为原型。”
“我个人认为，将协会名称称为‘唐手(空手道)协会’，有利于弘扬中华传统文化，也有利于该项目在中国的普及推广。”翁信辉说。(完)

Master Lin Jingfeng (林竞峰) [1947-2018]

Dear Tony

The Chinese language encyclopaedia pages regarding Miyagi Chojun suggest that he went to China in 1915 to meet 'Shi Gong' (Xei Chongxiang) and other gongfu masters because Higaonna Kanyro was still in regular communication with them! Assuming this communication was by the written word (although it could have been by word of mouth), then there should be a written record somewhere in China even if all the replies were destroyed in 1945 in Okinawa! Furthermore, and more to the point, Miyagi Chojun was probably the first visitor to Xie Chongxiang from Okinawa since Higaonna Kanryo left in 1881 - so here is our answer to some extent! Miyagi Chojun probably conveyed all the history he knew of Higaonna Kanryo's earlier visit and education in China - to any and all the Chinese Masters he met - thus spreading the knowledge! Modern Okinawan Goju Ryu Karate-Do is comprised of the following Chinese martial arts styles and systems:

a) Fujian White Crane Fist (福建白鶴拳 - Fu Jian Bai He Quan) - which originated in Yongchun County.

b) Southern Shaolin Fist (南少林拳 - Nan Shao Lin Quan) - probably Quanzhou, but also the sister temples of Putian and Fuqing. based upon Pan Yu Ba's 'Eighteen Arahant Fist' (羅漢拳 - Luo Han Quan).

c) Whooping Crane Fist (鳴鶴拳 - Ming He Quan). From (and between) 1912-1915 with the arrival of Wu Xiangui (Go Ken Ki) on the scene! I suspect Wu Xiangui introduced Miyagi Chojun to 'Whooping Crane' in Okinawa - but then took him to see his Master (Xie Chongxiang) in 1915 as a representative of Higaonna Kanryo (as Higaonna Kanryo was too ill to travel). 

I think the outer frame of Goju Ryu is obviously Southern Fist - which looks very 'Northern' in part and perhaps this is the origination of the wide and broad Horse Stance (which looks just like our Longfist Forms)! The 'inner' frame of Goju Ryo is Fujian White Crane - which has a crossover with such arts as Taijiquan, Xingyi, Xinyi and Baguazhang, etc! The maintaining of 'tension' was taught to me as 'steel wire' in English but I later found out the proper Chinese term is '缠丝劲' (Chan Si Jin) - or 'winding silk unyielding force'. This is taught within Taijiquan and all authentic forms of White Crane. The power is relentless, endless, self-propelling and self-replicating. It is not dependent upon physical fitness (although it is acquired only after a life time of relentless mind-body training without mercy) and is not negated or diverted by physical conditions. It is a universal force that operates regardless of life or death. My Master used to say that it is like a heavy iron ball rolling in all and any directions! Nothing can stop it. The secret lies in the Kata construction of Goju Ryu which is as follows:

Higaoona Kanryo 

Fujian White Crane Fist and Southern Fist Forms (Katas) brought back from Fuzhou - China (c. 1881):

碎破 (Sui Po) = Saifa 
制引战 (Zhi Yin Zhan) = Seiyunchin
四向战 (Si Xiang Zhan) = Shisochin
三十六手 (San Shi Liu Shou) = Sanseru
十八手 (Shi Ba Shou) = Seipai
久留顿破 (Jiu Liu Dun Po) = Kururunfa
十三手 (Shi San Shou) = Seisan 
一百零八手 (Yi Bai Ling Ba Shou) = Suparinpei
三战等 (San Zhan) = Sanchin

Miyagi Chojun

Whooping Crane Form (Kata) brought back from Fuzhou - China (1915)

六机手 (Liu Ju Shou) = Rokuki - later developed into 'Tensho' (转掌 - Zhan Zhuan). Wang Xiangui came to Okinawa in 1912 (where he lived until his death in 1940) - he was sent to assist Higaonna Kanryo by Xie Chongxiang (Higaonna Kanryo died in 1915). Became Miyagi Chojun's teacher and accompanied him to and from China in 1915.

Miyagi Chojun - Constructed Kata (1937)

In 1937, when Japan declared war on China, Miyagi Chojun is employed as a High School Sport Instructor and tasked with teaching Goju Ryu Karate-Do to High School Students destined to be recruited into the Imperial Japanese Army. Goju Ryu training proved too difficult in its traditional form for short-term students passing through limited-time classes - so Miyagi Chojun carefully constructed two Basic Katas that convey a sound appreciation of self-defence:

击碎第一 (Ji Sui Di Yi) = Gekisai Dai-Ichi* 
击碎第二 (Ji Sui Di Er) = Gekisai Dai-Ni*

Within these two Katas - Miyagi Chojun introduced the concept of the '上段扬受' (Shang Duan Yang Shou) - or 'Jo Dan Age Uke' in Okinawan. This is a highly technical term that translates as 'Upper Level Raising Interception' - and which today is universally known by its English translation of 'Upper Block'. (This upper 'blocking' technique involves the coordinated crossing, rubbing and inter-changing of the toughened fore-arms (with closed fists) in front of the chest area as each is alternatively raised above the forehead (whilst defending the middle and upper levels) - with the intention of deflecting a downward descending blow directed to the top of the head - or diverting a straight punch or similar strike to the face, etc. Today, the exact angle of the raised block with the closed hand varies according to the preference of the Karate-Do style). According to Chinese language sources, this 'Upper Block' did not exist in the Karate-Do styles extant upon the island of Okinawa prior to 1937 - and that Miyagi Chojun is recognised as the sole originator of this technique as practiced within the art of Karate-Do. Prior to this, the Naha-Te - Goju Ryu style utilised a typical White Crane defence that saw an elevated mid-level defence raised up to neck and head height - where the palm and fingers of the open hands would deflect (or slap) blows away to the side. Miyagi Chojun may have seen similar upper blocking movements whilst observing other Chinese styles of martial arts (where these movements are often a combination of a closed handed punch and a fore-arm deflection) - different Chinese martial styles that had not yet penetrated Okinawa or the Karate-Do community! 

Thanks Adrian

*​These Katas were a product of rampant Japanese 'Nationalism' and were designed, at the time, to prepare the minds and bodies of young Japanese men (for their stint in the military) from 1937 onwards to attack and kill Chinese men, women and children. From 1941 onwards, this Japanese 'Nationalist' aggression would be aimed at civilian populations throughout Asia, and include the militaries of the West, etc. In late 1945, this Japanese 'Nationalist' aggression would be aimed at the Soviet Red Army as it strove to 'Liberate' (Manchuria - Northeast China) from Imperialist Japanese Occupation! I am reminded of Funakoshi Gichin's biography where he proudly mentioned himself preparing thousands of young Japanese men for 'unarmed' Karate 'Banzai' charges aimed primarily at attacking US soldiers! It is ironic that all those non-Japanese people who practice Japanese Karate-Do throughout the world today, have absolutely no idea of the 'racist' historical reality 'embedded' in many of the more recent 'Katas' still taught to beginners as primers for the style! 

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

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

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

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

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

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

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

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

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

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

 (“ 如司单基举箭，神仙也难战”，“如司柔搅劈，神仙挡不住”。) 

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

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

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

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

5) MARTIAL ART NAME: 

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

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

7) DISCIPLES: 

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

Chinese Language Article: 

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

福州武术协会寻查RU-RU-KO过程与看法  

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

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

林伟功所谓的《小考》，其论据如下： 

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

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

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

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

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

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

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

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

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

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