The Island known as ‘Okinawa’ lies off of the South-West coast of Japan - forming part of the Ryukyu Island Chain - and is expressed in Japanese (Kanji) ideograms as ‘沖縄’. This name may be deconstructed as follows: a) oki (沖) = expanse of open water b) nawa (縄)= rope or thread The name appears to be a direct description of the numerous islands that comprise ‘Okinawa’ – which are themselves a substantial (Southern) part of the larger Ryukyu Island Chain. Perhaps the geographical placement and general shape of the islands was seen from high mountain-tops, surveyed in passing ships and/or observed from upon high by those who flew in the ‘Battle Kites’ known to exist within medieval Japan. Whatever the case, the Okinawa Island Chain is said to resemble a meandering rope lying across the surface of the water. I have read that this area first became known to China under the Sui Dynasty (581-618 CE) – but was not formally recognised by the Imperial Court until the Tang Dynasty (618-907 CE). This is when diplomatic and cultural contact with the King (of what was then termed the 'Liu Qiu' [琉球] Islands) was established - known today by the Japanese transliteration of 'Ryukyu'. 琉 (liu2) = sparkling-stone, jade, mining-stone (from previously uncultivated land), precious-stone, arriving, and breaking through (to a place far away - and situated on the fringes of the known world) 球 (qui2) = beautiful-jade, polished-jade, refined-jade, jade percussion instrument, earth, ball, and pearl. The Chinese Mariners must have been taken with the beauty of the Ryukyu Islands - as the term '玉' (yu4) – or ‘jade’ - appears as the dominant left-hand particle of both ideograms forming the name ‘Liu Qiu’. From the Tang Dynasty onwards, the Liu Qiu Islands were considered a distant (but important) part of the Tributary System of Imperial China. In return for a continuous show of annual respect (usually in the form of expensive gifts and/or elements of trade, etc) China shared her extensive culture. It was not until 1872 CE, however, that Imperial Japan took decisive action to annex all of the ‘Ryukyu’ Islands – and it was around this time that the term ‘Okinawa’ was developed to describe the Southern two-thirds of the Ryukyu Island Chain – now a ‘Prefecture’ of Japan. This history explains why the ideograms for ‘Okinawa’ are written in (Japanese) ‘Kanji’ - and are not obviously ‘Chinese’ in structure (as is the far older name of ‘Liu Qiu’). Is it possible to ‘reverse-engineer’ the Kanji ideograms associated with the name ‘Okinawa’ (沖縄) and work backwards as it were – to the original Chinese ideograms? The answer is ‘yes’ – as such an exercise might well shed some more light on the meaning of the name itself. Japanese - 縄 (nawa) = Chinese – ‘繩’ (sheng2) When adjusted in this manner - the Japanese name of ‘Okinawa’ (沖縄) is rendered into the Chinese language as ‘Chongsheng’ (沖繩). Whereas the first ‘Kanji’ ideogram of ‘沖’ (oki) remains identical with its Chinese counterpart of ‘沖’ (chong) - the second ‘Kanji’ ideogram (縄 - nawa) undergoes a substantial modification (繩 - sheng). From this improved data a more precise definition of the name ‘Okinawa’ can be ascertained through the assessment of the Chinese ideograms that serve as the foundation of the Kanji ideograms – working from the assumption that this meaning is still culturally implied through the use of ‘Kanji’ in Japan – even if such a meaning is not readily observable within the structure of the ‘Kanji’ ideograms themselves. 沖 (chong1) is comprised of a left and a right particle: Left-Particle = ‘氵’ which is a contraction of ‘水’ (shui3) – meaning water, river, flood, expanse of water, and liquid, etc. Right-Particle = ‘中’ (zhong1) refers to the concept of something being ‘central’, in the ‘middle’, or being perfectly ‘balanced’. It can also refer to an ‘arrow’ hitting the ‘centre’ with a perfect ease. Therefore, the use of 沖 (chong1) in this context - probably refers to an object that centrally exists within a body of water. 繩 (sheng2) is comprised of a left and right particle. Left-Particle = ‘糹’ which is a contraction of ‘糸’ (mi4) – meaning something that resembles a ‘silken thread’, a ‘thin’ and ‘flexible’ cord, a ‘rope’ or ‘string’, etc. This may also refer to the act of ‘weaving’ or to an object (like a rope, string, or strand) which is ‘woven’ into existence – perhaps implying a ‘cohesion’ attained through an ‘inter-locking’ agency, etc. Right-Particle = ‘黽’ (meng3) – this was originally written as a depiction of a type of frog – but evolved to be used generally to describe the act of ‘striving’, ‘endeavouring’, or ‘working hard’ (nin3). However, I am of the opinion that more practical attributes are at work in this instance. An old (but simplified) version of this ideogram is ‘黾’ – which demonstrates a clarification of what used to be a ‘frog’: This explains why there is said to be an ‘upper’ and ‘lower’ element to this particle: Upper-Element = ‘口’ (kou3) – signifies an ‘open mouth’, ‘entrance’, ‘mouth of a river’, and ‘port’. This can also denote a ‘boundary’ and a ‘hole’ or ‘indent’. This used to represent the head of a frog. Lower-Element = ‘电’ (dian4) – denotes ‘forked-lightning’, ‘energy’ and ‘electricity’, etc. Although evolving from the body of a frog – this element conveys not only the overt power of lightning – but perhaps retains something of the ‘shape’ of forked lightning in its usage as a noun. Perhaps 繩 (sheng2) is a descriptive term used to describe a port that allows entry to a string of islands which seem to take the shape of a rope that geographically unfurls - like forked lightning traversing the sky. Conclusion The term ‘Chongsheng’ (沖繩) – or ‘Okinawa’ - probably refers to a string of islands (and ports) which exist within a broad expanse of open sea - like a rope floating upon the surface of the water (the shape of which resembles that of forked-lightning). This place may be difficult to reach – and the people encountered may be very hard working. It is highly likely that these islands seem to float like a frog on the surface of the water – hence the selection of these ideograms. Of course, the post-1872 Japanese Authorities chose to use the Kanji ideograms of ‘沖縄’ to convey the concept and meaning of the name ‘Oki-Nawa’. In Chinese language texts, I do not see Okinawa referred to as an isolated unit of geographical description. This is because Chinese literature refers to the entire Chain of Islands by the far older and more traditional name of 'Liu Qiu' (琉球) – which was politically acknowledged through ancient diplomatic exchange. Furthermore, it is interesting to note that the post-1872 Japanese Authorities did not abolish this Chinese name – but borrowed it – simply transliterating it into the now well-known ‘Ryukyu’ Islands. Okinawa is only around two-thirds of the Southern-Central area of the Ryukyu Islands – but as far as the ancient Chinese were concerned, the ‘King of Ryukyu’ was the ‘King’ of the entire geographical area defined by this term. Whereas the Chinese term is prosaic (poetically speaking of ‘jade’ and ‘unexplored’ land – the Japanese term might well be practical as it seems to be describing the ‘rope’ that is extensively used in sailing ships, boats, and other floating entities – including the requirement to ‘moor’ such objects in purpose-built ports. The difference in the two-names probably reflects the developing socio-economic conditions prevalent throughout the Island Chain at the time of conception – with around 1500 years separating the development of the two names. Chinese Language Text:
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Dear Tony
I read the following short extract in a book entitled 'When China Ruled the Seas - The Treasure Fleet of the Dragon Throne (1405-1433)' By Louise Levathes (OUP), 1994, Pages 173-174 - which explains the difference in policy between two emperors with one applying expansion and sharing with no thought to the cost - with the other emperor closing China off from the outside world! In all of this, and following the settlement of the 36 Fujian families to 'Liuqiu' - the 'King' of 'Ryukyu' is mentioned: 'At first the changes were hardly perceptible. Emissaries continued their missions to China's shores. But in 1436, when Nanjing officials repeatedly appealed to the court for more craftsman, their request was summarily denied. Concerned about the burden on the people, Zhu Zhanji's successor halted construction in shipyards and urged frugal economic practices. In 1437, after paying tribute, the King of Ryukyu Island (south of Japan) asked the emperor for new court costumes, which had been given to his envoys since the beginning of the dynasty. The ones he had, he said, had "become old." And who knew when he would be able to return to China? The seas were now "dangerous and difficult." The emperor, however, declined to grant the King's request. The following year, the Siamese mission to the court was robbed of its cargo of pearls, gold, and jade by two dishonest officials in Guangdong. Through no fault of his own, the Siamese ambassador arrived in court without tribute. Such behaviour from local officials would have been impossible to imagine in the Yongle reign. That same year, the emperor sent a message to the King of Java saying that the "envoy" he had sent was wild and drunk and had caused the deaths of several people, including himself. "You should be more careful," the emperor commanded, "in choosing envoys in the future."' I have copy-typed this for your records. Indeed, the author worked at the time for National Geographic (c. 1990) and had carried-out a great deal of her research in China - using Chinese language sources. (I believe the John Hopkins Center for Chinese and American Studies at Nanjing University in Jiangsu province, is very popular and respected amongst Chinese people). Interestingly, and rather disappointedly, this is the only 'Ryukyu' reference in her entire book! Thanks Adrian South China Sea Shipwrecks and the Brave 19th Century Journey of Higaonna Kanryo! (6.8.2022)9/6/2022 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. On occasion, should a visitor require access to the hinterland of China, permission might eventually be given, but such incidences were rare until Western cannons literally smashed their way out of this cultural enclave – and others such as the docks and warehouses that had been established around the Southern coastal areas during the 19th century! Even so, for other Asian visitors such as Higaonna Kanryo (1853-1915) who made the journey from Ryukyu (Okinawa) around 1867, the old convention still applied, and his journeying was limited to Fujian province! He studied various types of ‘Southern Fist’ (南拳 - Nan Quan) which included Fujian ‘White Crane Fist’ (白鹤拳 - Bai He Quan) and probably ‘Arahant Fist’ (十八羅漢拳 - Shi Ba Luo Han Quan). This stems from the 1989 announcement by Lin Weigong (林伟功) – an expert in Mainland China regarding the culture of Fujian province - that Higaonna Kanryo’s main martial arts teacher was thought to have been ‘Xie Chongxiang’ [谢崇祥] [1852-1930). Higaonna Kanryo travelled around 500 miles by boat from the Ryukyu Islands in 1867 – and then repeated this journey back away from China in 1881! He covered around 1000 miles of seafaring and managed to survive this journey both, despite the difficulties regarding the unpredictable weather and rough seas! Under the seas that he traversed were thousands of years of cultural artefacts – including the bones of countless people from virtually every country on earth! Chinese Language Source: English Languish Source:
Author’s Note: I am of the opinion that the Chinese language term ‘Tang Shou’ (唐手) or ‘Tang Hand’ refers to the totality of the perfected cultural production that was the Tang Dynasty of ancient China! As such, the term ‘Tang Shou’ (唐手) does not – and was never intended – to refer to a school (or system) of Chinese martial arts! In other words, the product being received (Chinese martial arts) - became confused (and conflated) with the culturally defined transmission process (Chinese treasure fleets)! The fact that this confusion has entered into Western discourse as such, represents an error in historical interpretation that must be ironed-out if the genuine history of Karate-Do is to be ascertained. The Karate-Do of Okinawa (and Japan) possesses ‘many histories’ and this article intends to clarify and rectify a problem with historical interpretation relating to perhaps the ‘first transmission’ of Chinese martial arts to the Ryukyu Islands. This process was probably enhanced by the fact the Japanese government sent at least fifteen cultural missions of its own to Tang Dynasty China between 630-894 CE! Until evidence suggests otherwise, I am of the opinion that the earliest martial transmission occurred between the 7th and 10th centuries CE, and comprised of Chinese envoys travelling to Ryukyu and teaching the inhabitants, and various Japanese citizens visiting China, learning whatever martial arts were available and bringing this body of knowledge back to Japan! . Whether any of this initial transmission survives in the diverse modern-day Karate-Do (or Okinawan ‘Te’) techniques (or ‘Kata’) is a matter of interesting conjecture. My personal belief is that it does. As for the meaning of the Chinese ideogram ‘唐’ (tang2) - it is comprised of the following components: Upper Particle = 广 (guang3) - broad, wide, extensive and vast. Middle Particle = 肀 (yu4) - to write with a brush. Lower Particle = 口 (kou3) - to speak, announce and to order. This would suggest that the Tang (唐) Dynasty defined itself through its intention (and ability) to develop, maintain, preserve, spread and share what its exponents believed to be its vastly superior culture! The Tang Dynasty possessed the ability to grow vast forests, harvest the wood in a sustainable manner, build vast armadas of ships, staff those ships with hundreds of suitably trained and qualified people and then fill the holds of these ships with all kinds of cultural treasures intended to enrich and inspire the people living in all the discoverable areas outside of the geographical China! I think this interpretation supports my idea that ‘Tang Shou’ (唐手) does not represent the name of a particular style of Chinese martial arts, but rather is a collective term encompassing all the cultural crafts, artifacts and abilities that the skilled people of the Tang Dynasty could produce! ACW (28.8.2022) Chinese language historical encyclopaedias record a number of diplomatic missions between Tang Dynasty China and the Ryukyu Islands – with the Ryukyu Kingdom being a considered as a tributary State of China (alongside ‘Kyushu’ and other places). As part of these missions, Chinese Envoys conveyed various types of armed and unarmed martial arts to the people of the Ryukyu and Kyushu Islands as a ‘gift’ from the emperor of China (records also discuss similar missions to ‘Honshu’ or the Japanese Mainland as in those days the Japanese Authorities encouraged interaction between its own citizens and Chinese people – encouraging as much learning of Chinese culture as was possible). The Chinese martial arts conveyed were part of the general Chinese missions which were known as ‘Chinese Hand’ (唐手 - Tang Shou) - a term used to refer to the spread of a broad array of Chinese culture. Overtime, the term ‘Chinese Hand’ (唐手 - Tang Shou) lost the meaning pertaining to the act of spreading a general body of Chinese cultural information – and came instead to be associated only with the one element of that transmission – namely the ‘martial’. In other words, in and of itself, ‘Chinese Hand’ (唐手 - Tang Shou) should not (and does not) refer to the practice of Chinese martial arts – even though it has become synonymous with the historical analysis of the Okinawan and Japanese martial art now known today as ‘Karate-Do’. The cultures of Kyushu and Ryukyu already possessed their own indigenous martial arts traditions (distinct from those found in China or Mainland Japan) during the time of the Tang Dynasty. These local fighting traditions began the process of ‘integrating’ with (and slowly transforming) the transmitted Chinese martial arts – often developing and changing the original structure and purpose. As these Chinese martial arts arrived as part of a greater cultural gift transmitted by the Tang Dynasty – this explains why these diverse fighting systems became known by the general name of ‘Tang Shou’ (唐手) - with ‘Tang’ (唐) being used to denote ‘China’ in general, but also the ‘ruling’ Dynasty during which time the transmission is believed to have occurred! If the martial art referred to was transmitted during the Song (宋), Yuan (元), Ming (明) or even Qing (清) eras – then logic dictates that the fighting systems in question would have been named after those Dynasties! This thinking holds true, even if these Chinese martial arts were part of much broader Chinese cultural exchanges! Another point to consider is the use of the ideogram ‘手’ (shou3) - literally denoting an ‘open’ hand (with four fingers and thumb being present) - which in and of itself does not represent anything particularly ‘martial’ within Chinese fighting culture! Indeed, when combined with the ideogram ‘高’ (gao1) - as in ‘高手’ (Gao Shou) - the concept of ‘expert master’ is formed! This is someone who possesses a ‘greater perception’ because they have attained a ‘higher point of view’ and are able to ‘act’ in the physical world by using their ‘hands’ (and by logical implication - the rest of their body) to perform a superior type of transformative labour, which progressively alters the human world! Therefore, whereas ‘高手’ (Gao Shou) implies an exceptional (individual) being who possesses the ability to transform the world through the use of their superior action (in whatever form) – when the term ‘Tang Shou’ (唐手) is used, I believe it refers to the culture of the ‘Tang Dynasty’ in general, elements of which were exported out of the geographical boundaries of what we would now term ‘China’ - as part of various diplomatic missions to other parts of the world (effectively spreading Confucian spiritual and material culture). Chinese martial arts may well have comprised part of these so-called ‘civilising’ gifts – but the martial arts themselves would not have originally been termed ‘Tang Shou’ (唐手) - but held this title only in the sense of being transmitted as a ‘gift’. The Chinese diplomatic mission would have been termed ‘Tang Shou’ (唐手) - comprising of thousands of different aspects of Chinese culture – with martial arts representing just one aspect. In general, a physical art designed for martial purposes would be designated within Chinese cultural parlance by the term ‘拳’ (quan2). To understand why this ideogram denotes a ‘closed’ or ‘clenched’ fist, its structure must be examined in greater detail. At the start, it is important to understand that the ideogram ‘拳’ does contain the ideogram ‘手’ (shou3) - but only as a modified particle, the reasons for which I shall now explain. The ideogram ‘拳’ (quan2) is comprised of the following constituent parts: Top Particle (Phonetic) = ‘龹’ which is a contraction of ‘𢍏’ (juan4) - to roll rice into a ball. Lower Particle (Compound) = ‘手’ (shou3) - an open hand with four fingers and a thumb. The key to transforming ‘an open-hand to a closed-hand' lies in the inherent meaning of the upper particle ‘𢍏’ (juan4): Top Particle = 釆 (bian4) - sorting rice, distinguishing and discriminating. Lower Particle = 廾 (gong3) - two hands pushing outward, bowing in salute and to surround and encircle. We may then state that ‘拳’ (quan2) a hand is ‘closed’ or ‘clenched’ (although not necessarily with ‘force’), so that rice may be mixed, separated and rolled into balls. A hand maybe ‘closed’ but at the same time it possesses a tremendous skill which differentiates between every action that must be carried-out and performed! At the highest level of martial arts mastery, the ‘closed’ hand remains ‘relaxed’ even when ‘closed’ - as the bone structure is held perfectly aligned without undue effort – so that bodyweight can be effortless transmitted without hindrance through it and into the opponent. The bodyweight of the opponent can also be ‘borrowed’ temporarily by allowing it to enter the aligned bone structure before ‘ejecting’ it out of the fist with tremendous penetrative force! If the Tang Dynasty Authorities intended for the martial arts to be named after themselves (which I doubt), then they would have used a term such as ‘Tang Quan’ (唐拳) - or ‘Tang Fist’. More to the point, when emperors and officials did develop systems of martial arts – they usually gave it their own personal names! Before Japan annexed the Ryukyu Islands in 1879, this region was considered a Tributary State of China at least since the early Ming Dynasty – with extensive cultural connections for hundreds of years prior to this. Exactly when China made contact with Ryukyu is a matter of academic debate and interpretation, as there is written evidence that suggests the earliest interaction occurred during the Latter (Eastern) Han Dynasty (25-220 CE) - where it is recorded as a place named ' Yi Zhou' (后于) in a text entitled the 'Later (Eastern) Han Dynasty Book - Biography of Dongyi' (后汉书‧东夷列传)' as later penned by 'Chen Shou' (陈寿). During the 'Eastern Wu' (229-280 CE) period of the 'Three Kingdoms' era (220-280 CE) - the same name of 'Yi Zhou' ('Barbarian Continent') is used again and recorded in the text entitled 'Three Kingdoms Annals: Book of Wu - Biography of Sun Quan' (三国志·吴书·孙权传). In fact, during the middle to late Sui Dynasty (6th century CE), emperor ‘Yang’ (炀) sent out envoys in search of new lands – and this is when China rediscovered and established regular diplomatic and economic contact with the island nation now termed ‘Ryukyu’ (琉球 - Liu Qiu) which seems to mean something like 'Flowing Jade' or 'Flowing Sphere', etc. Quite often, the Ryukyu Authorities could not regularly send tribute to the government of China – and China could not enforce the tribute due to the treacherous seas! Although there was a general cultural exchange between the two countries for hundreds of years – this exchange was intermittent and difficult to maintain. The General historical background information is as follows: ‘1392年,明太祖有见于琉球对于来华使节海上航行的困难,特赐闽人善于造船航海的技术者三十六姓人家移居琉球。这一点是后来促进琉球对海外贸易的关键。闽人三十六姓中包括“知书者,授大夫长史,以为朝贡之司;习航海者,授通事,总为指南之备”。可知他们不仅是善于操舟者,且担任通译和其他与朝贡有关的事务。他们在琉球定居以后,便成为代表明王朝长期协助琉球,增进中原王朝和琉球关系的一群优秀人员。他们子孙繁衍,为琉球人尽过许多劳积。’ The above extract is a modern Chinese language encyclopaedia entry regarding the history of Okinawa which translates as follows: ‘In 1392, the Ming Dynasty emperor named ‘Taizu’ (太祖) understood the difficulties faced by the envoys of the Ryukyu region of China, particularly involving the safe navigating of the often-treacherous sea route between Ryukyu and China! To remedy this the emperor Taizi granted a ‘special status’ to thirty-six carefully chosen ethnic Chinese families from Fujian province (with different surnames) who were skilled in the arts of shipbuilding, navigation and deplomacy. The objective of this was to open and maintain permanent and efficient sea routes between the Ryukyu Islands and the seaports along the coast of Fujian province. This improvement would establish trade and help the people in both geographical locations to flourish whilst exchanging cultural information. The 36 families were chosen from those clans who were well-educated and who could read and write. The people had to have a history of good health and possess a general knowledge of medicine. The families had to also know how to build a strong sailing boat and navigate the seas in all kinds of weather. Furthermore, these families had to possess a pioneering spirit, and be willing to help others when in need! They were not only good boatmen but could also act as interpreters and preside over other tributary-related affairs. After these people settle in Ryukyu they became exemplary citizens! Indeed, these 36 families performed their intended task of developing a ‘bridge’ with regards to sea trade between the two countries – with the settlers representing the Ming Dynasty of China in Ryukyu for many generations! These families became responsible for the collecting and transportation of tribute sent by the Ryukyu Authorities to the Imperial Court of China. Not only this, but the families grew considerably until today and their numbers comprise a substantial percentage of the Ryukyu population. These Chinese settlers have assisted the native Okinawan population and have transmitted the Chinese language, religion, philosophy, history and martial arts, etc. They have retained their Chinese identity whilst integrating with the indigenous Okinawan population.’ The 36 surnames of the Fujian family clans that were chosen by Ming Dynasty Imperial Degree (in 1392) to resettle in Ryukyu (Okinawa) are as follows: Shen (慎), Liang (梁), Zheng (郑), Jin (金), Cai (蔡), Mao (毛), Chen (陈), Lin (林), Ceng (曾), Gao (高), Wu (吴), Li (李), Ruan (阮), Shen (沈), Wei (魏), Tian (田), Wang (王), Ma (马), Qian (钱), Weng (翁), Mu (穆), Han (韩), Zong (宗), Kun (昆), Yin (尹), Cha (查), Wu (伍), Xiang (向), Wu (武), Ji (吉), Ying (英), Tao (陶), Wu (邬), Yu (俞), Song (宋) and Zhou (周) - although the ancient lists also include the further surnames of ‘Ceng’ (曾) and ‘Sun’ (孙) - making 38 in total. As a community they lived in a settlement known as ‘Tang Dou’ (唐朵) or ‘Chinese Surname’. This place was also known as ‘Tang Ying’ (唐营) or ‘Chinese Encampment’ - in later times – and under Japanese influence, this place became known as ‘Kume’ (久米 - Jiu Mi) Village. (This seems to be a complete name change with the new name meaning ‘Long-Term Rice-Growing'). Added to this text is this note: ‘其中慎姓有 空手道祖师爷慎善熙。’ The first name on the above list is ‘慎’ (Shen). Later, a famous descendent of this Fujian clan in Ryukyu (Okinawa) was one ‘Shen Shanxi’ (慎善熙) - known in the Japanese language as ‘Higaonna Kanryo’ - a famous practitioner of Karate-Do! Chinese Language References:
https://baike.baidu.com/item/冲绳县/4977210 https://baike.baidu.com/item/闽人三十六姓/5864591 https://baijiahao.baidu.com/s?id=1725729779272242847&wfr=spider&for=pc |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |