Both these young men appear to have effective (full-contact) martial arts experience - possibly MMA, Western Boxing, or similar. One low round-kick is thrown at the beginning - but the Asian man (possibly of Korean or Chinese origin) who is fight out of the South-Paw stance - unleashes a ferocious and sustained double-handed assault on his opponent! The Western (European) opponent actually takes this onslaught well - and seems to think he can win the encounter when he runs onto a blisteringly fast lead right-hook that catches him clean on the chin - shacking him to his feet! His legs become leaden - but he shows his combat experience by trying to bluff his way out of the problem by walking around (trying to re-animate his legs) and resetting his guard. As he has committed in a macho way - he also walks straight toward his opponent - and on to another ferocious lead right-hook that misses his chin due to his advancing - seems to catch him on the side of the back of his left head-neck area. The power of this shot right into the Medulla Oblongata - knocks this young man immediately out! He falls onto his right-side completely bereft of all conscious awareness! The power entering the back of head interferes with all visual stimulus and prompts the brain to switch the body off - thus relaxing the legs!

On Fri, 8 Mar 2024, at 11:57, Charles Johnson wrote:

March 8, 1971: My father took me along with him to the Shrine auditorium to see the first fight between Muhammad ali and Joe Frazier. No fight since has captured the magic of that fight. Two men, both undefeated, and each with a claim of the heavyweight title. And the fight was great. 

 One of my fondest memories with my father.

My Reply:

​When I was young, my Dad got me boxing videos (VHS) which went back to bare knuckle days in the UK - and forward to the US Black domination of the art. Jack Johnson landed a single right upper cut on the body of Tommy Burns that lifted him clean off his feet! More remarkably, Burns landed back on his feet and carried on fighting! I encountered 'The Fight' through those videos and remember Fraser's left hook that floored Ali (my Dad called him both Clay and Ali). That single punch changed history - and Ali would continue after this setback and prove he was one of the greatest! My Dad taught me bare knuckle boxing and said 'They can hurt you and they can kill you - don't worry about the second one - don't show the effects of the first one and win in that way!' My Dad understood that Western Boxing specialised in punching and that I needed this to supplement the (Longfist) gongfu kicking I was learning.

​Interestingly, part of my background has involved the management of violence and thuggery. The UK has a weird mixture of uplifting Socialism (currently under attack) and crushing capitalist oppression. Yin and yang. I have witnessed lots of violence but never been to a professional boxing match - like that which you describe so touchingly. What you have written touched my heart - and is a clear example of your writing ability. Respect to your father - I feel that I met him in those few, well-chosen lines. My problem when young was that I had learned Chinese martial arts movements - but did not yet possess the understanding (or experience) to make them work in combat (I literally 'bounced-off' opponents who remained more bemused rather than hurt or put-off). I learned quickly that Westerners did not like kicking - so that gave me an edge (and to be weary of Gypsy people - as they are tough). In the old days, Chinese gongfu involved kicking practice for a long time (low, middle and high) before punching was introduced. The opposite to how martial arts are taught today - at least in the West.

​My Dad, instead, took me to two professional football games both involving Leicester City (he used to play for them in his youth) - and a Cricket game (Cricket is an old Celtic game that my Dad got good at in his youth despite it being dominated by the middle class snobs who could afford proper clothing) featuring Leicestershire County Cricket Club that was playing in Glastonbury (possibly against Glamorgan). I was once struck on the head by a Cricket bat and can attest to its efficacy! The boy ran away because I stood looking at him. The lump on my forehead was significant to say the least. The Boxers of old taught me to be strong - whilst Black people taught me 'not to show it'. 

​Still, Ali and Frazer inspired me for different reasons and in different ways. I was surprised to find that Fraser's right shoulder was permanently damaged and he had to throw an Orthodox straight right like a jab - but with no real power behind it (as a range-finder). This is why he put so much effort into his smashing lead-left hook! Fraser was also very humble and a true gentleman (important in the UK). It was the politics of Ali I liked. He just happened to wed this with the beat - all round - boxing skills the world has ever seen. I know that Bruce Lee used to watch videos of Ali dancing around the ring - and copied this movement - integrating it into his Jeet Kune Do. I also know that Ali sparred with a high-ranking US Karate-Do practitioner (after his retirement) and was still too-quick for the younger Karate man!

​When I got older, I got bigger and stronger. I became 'nasty' in my own way - particularly as a teenager. I looked mean and hungry - mostly because I was hungry - literally. My family did the best they could in trying circumstance - and yet when I came to live in London amongst affluent people - I could not believe how much food they had to eat! I used to live on about one-third of what they ate - and still pushed myself physically and mentally to prevail. This is why Tommy Hearns inspired me. I copied his 'punching' ability to augment my kicking ability. In the old Longfist Style - kicking is considered more important than punching due to historical reasons in ancient China. I think many old Masters carried swords or spears in their hands - and so kicking supplemented the use of weapons.

However, Master Chan Tin Sang (1924-1993) - who had fought and killed Imperial Japanese soldiers in Hong Kong during WWII - understood that 'punching' was important in the modern world and helped me devise an internal method for replicating what Tommy Hearns quite naturally did. I think Master Chan had seen how effective Karate-punching was as displayed by the Japanese - and it made him think about improvements. When i left home at 16 to go into further education - I encountered many more Black people and found that being able to fight was a respected ability. After some brutal encounters with my brothers - we became very good friends! They respected the ability 'not to show it' - and diplomatic relations developed from their.

My ongoing research in this area suggests that the following transmission (and integration) of the Fujian White Crane Fist concept of 'Crane Hand' - which was spread to Okinawa during the 20th century by one 'Go Genki' - is very likely to correct. 

Kaku no Te = 鶴の手 (Crane Type Open-Hand) 
Kaku Te = 鶴手 (Crane Hand) 
Transition = か手 (Kaku Te) - 'Crane Hand'  
Kakie = カキエ (Sticky-Hands) 
Kaku = 鶴 (he4) - 'Crane' (Chinese Ideogram) 
Kaku = か (Japanese Katakana & Hiragana) - 'Crane' 
No = の (Japanese) Disposed of - 'Pertainng to' 
Chinese Kaku (鶴) Transformed into Japanese 'Ka-Ki' (カキ) 
Chinese 手 (shou3) - 'Open-Hand' - Transitioned into Japanese as 'E' (or sometimes 'Ye') 'エ'  

Japanese language dictionaries often describe these Katakana and Hiragana characters 'Kakie' (カキエ) as 'Old Japanese' ideograms derived during the Heian Period and used to transliterate 'foreign' terms. The term 'foreign' here refers not only to 'Chinese' language concepts and terms in general - but specifically includes the transliteration into the Japanese language of 'Southern Min' or Fujian Dialect concepts and terms. This being the case, the following line of linguistic evolution should be correct: 

Original Chinese: Crane Open-Hand = 鶴手 (He Shou) - Referred to in the Fujian Dialect as 'Hok Siu') 
Chinese-Japanese = 鶴の手 (Kaku no Te) - Arrival in Ryukyu 
Shortened Chinese-Japanese = 鶴手 (Kaku Te) - Transliteration into Spoken Japanese 
Transition into Japanese Characters = カキエ (Kakie) 

Therefore, given this logical progression of adaptation and linguistic progression the following must be correct: 

Kaku no Te (鶴の手) - 'Crane Type Open-Hand' =  
Kakie (カキエ) - 'Sticky-Hands'.

​The contemporary term 'Kakie' is a Japanese modification of the Chinese (Putonghua) term 'He Shou' (or 'Hok Siu' in the Fujian dialect) literally meaning 'Crane Open-Hand'. Although this Japanese rendering has evolved away from the original  Chinese title, it has only done so in a lateral fashion (from 'noun' to 'verb' so-to-speak) as the term 'Kakie' now describes the 'transmitted' interactive practice of the Goju Ryu Karate-Do technique known as 'Sticky-Hands' - rather than by its literal (or theoretical) origination (i. e. a 'Crane'). It is interesting that despite this shift in conceptual emphasis, the term 'Kakie' does still retain a connection to the original Chinese title - with 'Kaki' having an obvious connection to 'Kaku' - the latter being a well-known Japanese term for 'Crane'. 

It is said that around 1926, the ethnic Chinese man named ‘Go Genki’ (呉賢貴) or ‘Wu Xiangui (1886-1940) – migrated to Okinawa and became a Japanese citizen. My view is that the name ‘呉賢貴’ (Wu Xian Gui) is a transliteration of this person’s chosen Japanese name – and is not his given ethnic ‘Chinese’ birth name. I believe this is true despite many Western scholars treating this transliteration as if it were his ‘true’ and ‘genuine’ ethnic Chinese name. Furthermore, Japanese language historical texts state that this Master of Fujian ‘White Crane Fist’ (白鶴拳 - Bai He Quan) married an Okinawan woman surnamed ‘Yoshihara’ (吉原 - Ji Yuan) - and that he took this surname as his own. This surname is common in Japan and the Ryukyu Islands and has more than one origination. This name literally translates as ‘Lucky Origination’ - and although one branch is linked to the Japanese imperial house – many others are simply linked to ‘good’ and ‘pleasant’ places. If Go Genki took this name, then he would have been known as ‘Yoshihara Genki’ or ‘吉原 賢貴’ - if these names (and facts) are correct.  

Go Genki is believed to have taught Miyagi Chojun the ‘Open Hand of the Crane’ exercise. This is recorded within Japanese language texts as '鶴の手'. The first and third ideograms - '鶴’ (he4) meaning ‘Crane’ and ‘手’ (shou3) meaning ‘Open-Hand’ - are of Chinese language origination, whilst the second character (‘の’ - ‘no’)  is entirely ‘Japanese’ in nature. This phrase can be read in the Japanese language as: 

a) 鶴 (he4) - Crane = ‘か’ (Kaku), ‘つる’ (Tsuru) and ‘ず’ (Zu), etc. 

b) の (no) - Hiragana Character – ‘Belonging to’, 'Possessing’ and ‘Pertaining to’, etc. 

c) 手 (shou3) - Open-Hand = ‘ず’ (Zu), ‘て’ (Te) and ‘手’ (Te), etc. 

As this training method has been transmitted into the practice of modern Goju Ryu Karate-Do - the above concept can be compared to its contemporary counter-part – namely that of ‘Sticky-Hands’ generally referred to as ‘Kakie’ (カキエ). This analysis reveals a startling correlation in that ‘Kaku’ (か) - Japanese for ‘Crane’ - shares the first particle of ‘Kakie’, namely the Katakana particle of ‘カ’!  

This is said to be linked to the Chinese language ideogram ‘加’ (jia1). This ideogram is composed of two particles: 

Left Particle = ‘力’ (li4) - meaning a ‘plough’ used to cultivate the land. The foot presses down so that the plough may ‘cut’ into the soil whilst being firmly rooted. 

Right Particle = ‘口’ (kou3) - referring to an ‘open mouth’ which is calling-out encouragement to the oxen pulling the plough! 

During the Heian Period of Japan (794-1185 CE), however, the Chinese ideogram ‘加’ (jia1) was modified and reduced to only the left-hand particle – forming the Japanese Katakana letter of ‘カ’ (and the Hiragana letter of ‘か’). Interestingly, the Japanese term ‘Kaku’ (meaning ‘Crane’) is written as ‘か’ (mirroring the ‘Hiragana’ letter) - but in this instance it is a direct conjunction of the Chinese ideogram - 鶴 (he4), taking on a more specific and direct meaning. The Chinese ideogram - 鶴 (he4) or ‘Crane’ - is comprised of the following constituting particles: 

1) Left-Hand Particle: 寉 (he4) - Archaic – Meaning ‘Crane’ and ‘Bird’. The Japanese equivalents for reading this Chinese particle include ‘か’ (Kaku) and ‘つる’ (Tsuru) - all referring to a ‘Crane’. 

2) Right-Hand Particle: 鳥 (niao3) - ‘Bird’ and ‘To Breed’ Birds. The Japanese equivalents for reading this Chinese particle include ‘か’ (Ka) and ‘とり’ (Tori) - all referring to a ‘Bird’ and/or ‘Chicken’. 

The Japanese term ‘か’ (Kaku) - although a recognised conjunction of the Chinese ideogram 鶴 (he4) (meaning ‘Crane’) - is used today to refer to a ‘Mosquito’ (although an archaic interpretation also refers to a ‘deer’). Perhaps the association between a ‘Crane’ and a ‘Mosquito’ refers to both being flying creatures that are known to be ‘dangerous’ due to their ‘biting-stinging’ capabilities.  

What links the Japanese term ‘か’ (Kaku) - or ‘Crane’ - to the Goju Ryu Karate-Do practice of ‘カキエ’ (Kakie) - or ‘Sticky-Hands’ - is the Japanese (Katakana) language particle of ‘カ’. This corresponds to the ‘Hiragana’ particle of ‘か’ (also pronounced ‘Ka’ when discussed as the sixth syllable of the gojuon order). In and of itself, ‘カ’ (Ka) indicates a ‘question’ or a ‘sense of doubt’ when used with general Japanese language discourse – although it is also used as part of hundreds of other concepts, from Buddhist enlightenment to a glowing fire and many others! Whatever the case, when ‘か’ (Kaku) is used within the context of Goju Ryu Karate-Do - the particle ‘カ’ (Ka) forms an important constituting element of the Japanese word for ‘Crane’. In this instance, the fighting abilities of the Crane are emphasised. The Crane is defined as a large, long-legged bird of the Gruidae family – which can be dangerous because of its fierce squawking and deceptive movements – coupled with the use of its long and sharp beak, its strong kicking and its dangerous ability to powerfully deflect blows through the use of its wings. The alternative Japanese term for ‘Crane’ - ‘つる’ (Tsuru) - does not refer to the Crane’s fighting ability – but rather the length of its slender legs, body and beak. This is because ‘つる’ (Tsuru) is linked to a description of a ‘vine’, ‘string’ or ‘twine’, etc, - referring instead to the slim dimensions of the ‘Crane’ rather than any combative or fighting abilities it may possess. (Indeed, ‘つる’ (Tsuru), due to its association with ‘fishing’ and ‘hooks’, etc., also carries the meaning of ‘to hang’ - as if ‘hanging’ from a hook – perhaps referring to a ‘Crane’ as it soars through the sky – or perhaps as it stands upon one-leg – giving the impression that its solid stance has some other supporting device).  

As the practice of ‘カキエ’ (Kakie) is said be ‘Crane-like’ - then it is logical to assume that the practice of '鶴の手' (Kaku No Te) - or ‘Open-Hand of the Crane’ - must be directly related to the practice of ‘カキエ’ (Kakie). I suspect that as the Master to Disciple transmission was traditionally premised upon physical action and spoken instruction, the Chinese practice of ‘鶴の手’ (which could be pronounced in China as ‘He De Shou’ or more succinctly as ‘He Shou’) was passed on in Okinawa as ‘Kaku No Te’ - which was then transformed into ‘Kakie’ (カキエ) overtime – being finally written down through the manner in which the description of the practice had evolved. The original emphasis upon the ‘Crane’ as a noun – was transformed into an emphasis of the dynamics of the practice itself (as a ‘verb’). I believe the clue to this association is the inclusion of the Japanese particle ‘カ’ (Ka) in both ‘か’ (Kaku) - or ‘Crane’ - and in ‘カキエ’ (Kakie) - ‘Sticky-Hands'.  

The below text regarding the White Crane Fist history of Goju Ryu Karate-Do - states that Miyagi Chojun was interested in Go Genki's 'Crane Hand': 

Wu Xiangui ​

This White Crane Fist concept is written in Japanese script as '鶴の手' or 'Kaku no te' (literally 'Crane of Open-Hand') - probably better rendered as 'Open-Hand of the Crane'. It is interesting that 'Kaku' (Crane) sounds like ‘Kakie' - the name of the ‘Pushing-Hands’ practice found within Goju Ryu. I am considering whether the ‘name’ of this concept (i.e., Crane or ‘Kaku’) was eventually replaced by a description of the activity’ itself (Push-Hands) - with ‘Kaku’ (か) verbally morphing into ‘Kakie’ (カキエ) - when passed on from Master to Disciple before being recorded in writing with slightly different Japanese characters (although the ‘カ’ particle remains constant). 

An interesting observation can be gained from the title of the below linked video: 

Ichikawa School Nihon Goju-ryu Karatedo Kata - Crane ​

The 'Chinese' and 'Japanese' ideograms for 'Crane' are included in the title of this video.  

a) 鶴 (he4) - Chinese - read in the Japanese language as either 'Kaku' (か), 'Tsuru' (つる), 'Zu' (ず), or 'Tazu' (たづ), etc - there is no way of telling 'how' it should be pronounced in Japan and depends upon a culturally relevant context. 

b) ツル (Tsu - ru) - This is Japanese Katakana for 'Crane' or 'long-legged and long-necked bird of the family Gruidae'. 

Although it would seem that the Chinese ideogram '鶴' (he4) is interpreted as 'Tsuru' (つる) - but not 'Kaku' (か) - at least in the video title above, or perhaps by modern convention. However, the '鶴' (he4) is still pronounced as 'Kaku' (か) within Japanese language dictionaries - and I am considering if 'Kaku' (か) was originally used 150 years ago - hence its similarity (and apparent) relationship to 'Kakie' (カキエ). If this association is just a coincidence - it is extraordinarily poignant.

Dear Tony

Without the capacity to breath - there is no conscious life. This reminds me of the pre-Christian use of the Greek term 'Psyche' which means 'breath of life' and which implies the 'autonomous movement' of mind and body. As Plotinus suggests - the breath (and the movement of mind and body) are inherently linked. This reality allows for a vast interpretation of the same basic idea(s) spread throughout the genre of Chinese martial arts. One layer superimposed over this foundational reality in the White Crane Fist System is that of the production of 'vibration' and 'shaking' - which appears to represent a scale (or polarity) between physical movements that are 'hard', 'soft' and 'neutral' - a layer of activity happening 'over' the breathing mechanism, so-to-speak. Or, so it would seem. 

Thanks 

Dear Tony

This is a very small snapshot of the gongfu videos available in China. The family styles are rugged, unpolished, and historically practiced and passed on in secret. Only recently has Chinese culture changed to accommodate routine public display. These arts were never wiped-out and the genuine Masters do not live in Taiwan. Although different, these arts look similar in their rawness to the genuine Hakka arts designed for communal health and defence - and not sport or leisure, etc. In other words, how your teaching of Gpju Ryu came across to me in Hereford. 

It is difficult to say whether an art is 'external' or 'internal' - as a genuine art includes both aspects 'integrated' (zagong) at essence - with practitioners choosing to emphasis which aspect suits the situation. Many Taiwanese practitioners take-on an 'aggressive' tendency to match the tone of their government - and therefore appear 'external'. It is the expected thing. Master Zhao Ming Wang often holds seminars in Beijing for Daoist self-cultivation - and hundreds of Taiwanese attend all pledging their loyalty to the Mainland - so I suppose it is a case of swings and roundabouts! The 'Double-Daggers' remind me of 'Sai'!

Many Fujian Gongfu Vidoes (YouKu)

Traditional Martial Arts Yongchun White Crane Fist 007 Basic Routine - Guan Gong Removes Boots (Fujian)

Traditional Martial Arts Yongchun White Crane Fist 006 Basic Routines - Great One-Thousand [Da Qian] (Fujian)

Traditional Martial Arts Yongchun White Crane Fist 012 Basic Routines - Double-Daggers (Fujian)

Traditional Martial Arts Yongchun White Crane Fist 014 Basic Routines Equipment Hooked Sickle Spear (Fujian)

Traditional Martial Arts - Dragon Respect Fist (Long Zun Quan) 002 - 108 Forms (Fujian)

Traditional Martial Arts Yujiaquan 001 Yu Family Fist (Fujian)

Traditional Martial Arts Yongchun White Crane Fist 016 Basic Rake (Tiger Form) - (Fujian)

Many Thanks


Adrian

PS: Three extra videos from different Styles:

Bench Vs Staff

Single Jian (Gim)

​Traditional Wushu Xingyiquan 013 Paired Practice - Close-Quarter Cannon-Striking Body-Shot Law - Featuring Zhang Jisheng (张吉生) - jìn Gairuì (靳改瑞)

If you are someone who likes to keep an eye on all things to do with fighting sports, wrestling, martial arts and the Boxing ring, etc, then you will know the disaster that unfolded when the great Taijiquan ‘Master’ - Leigong (雷公) - was easily defeated by a modern, mixed martial artist in what was billed as a ‘challenge-match’! As this was not a proper or realistic representation of traditional Chinese martial arts, many bona fide gongfu ‘Masters’ were willing to put their reputations on the line to set the record straight! Interestingly, throughout China, Japan and the world, a new wave of Sinophobic discrimination has unfolded – stating that the martial arts produced in China are ‘deficient’, at best ‘second rate’ and possess no real ‘self-defence’ capability! Interestingly, this attitude has been expressed by a number of contemporary Karate-Do Masters living and teaching in Japan who have a very low opinion of Chinese martial arts! 

Perhaps a historical fact many of these Japanese Karate-Do Masters do not know is that the fighting system they now call ‘Karate-Do’ was originally a traditional Chinese martial art! The story begins in the Ming Dynasty – which was founded by the emperor ‘Hongwu’ (洪武) whose real name was ‘Zhu Yuanzhang’ (朱元璋). He ruled between 1368-1398 CE – and was a highly skilled martial artist who fought his way from village peasant to the Dragon Throne (overthrowing the ‘foreign’ Yuan Dynasty in the process)! In order to assist the people of ‘Liuqiu’ (琉球) [Ryukyu] with their social construction - Hongwu instructed that the people of Fujian province be chosen as trusted representatives of a) the Ming Dynasty and b) Chinese culture. This was a plan to extract (in its entirety) an already prosperous, highly skilled and economically developed population in China from around the Fuzhou area of Fujian province (comprising of hundreds of men, women and children representing thirty-six distinct name-clans) and reconstructing this entire community in a designated (and previously ‘empty’) geographical area of the ‘Liuqiu’ island (situated near the seaport of Naha City)! The ‘Liuqiu’ people would first refer to this settlement of Chinese people as ‘Tang Ying’ (唐營) or the ‘Tang Encampment’ - but in 1650 CE the name was changed to ‘Tang Rong’ (唐榮) or ‘Tang Glory’! Following the Japanese invasion and annexation of the island, a process which began in 1609 CE with the Satsuma Invasion, and 1879 CE with the Imperial Japanese Army – this place was renamed ‘Kume’ (久米) Village – or the place of the ‘Long Rice’.  

The thirty-six Fujian families brought shipbuilding and ship-navigating skills, as well as a general and specific knowledge of carpentry, engineering, roadbuilding, housebuilding, farming, animal husbandry, Chinese medicine and Fujian martial arts! The purpose of their relocation was to teach the local ‘Liuqiu’ people every skill and art that they knew to facilitate their development as a distant part of the Chinese cultural milieu. The immediate issue was one of defence regarding the attack of the island by Japanese pirates – or seaborne criminal marauders believed to be based on the Mainland of Japan! At this time, the official attitude of the Japanese government toward China was one of respect and there is no evidence in the 1300s of a covetous attitude toward the ‘Liuqiu’ islands. Indeed, Japanese pirates were considered as a much as a problem to the Japanese themselves, as they were to the Chinese at this time! The Ming Dynasty emperor wanted to establish regular sea lanes operating between the East coast of China and ‘Liuqiu’ - with the ‘Liuqiu’ ships being able to defend themselves from attack and the crew able to fight off any attempts at being boarded! This ‘self-defence’ ability had repercussions regarding the development of militarising the island’s borders and effectively resisting and repelling any attempts at invasion! This was achieved by the Fujian martial arts practitioners studying the indigenous fighting arts of the ‘Liuqiu’ people and combining these techniques with the fighting systems they had brought from the areas surrounding Fuzhou. This fusion of fighting styles generated a new combat system known as ‘Chinese Hand’ (唐手 - Tang Shou) 

As ‘Tang Hand’ (technically ‘open-hand’) was considered to be very potent and particularly deadly, dangerous and powerful, the learning of this martial art was limited only to dignitaries and certain ‘select’ individuals! To facilitate the learning of ‘Tang Shou’ a special martial arts school was established which only recruited from the island’s ‘warrior’ caste families! Just as China’s political power waned in the subsequent centuries, the power of neighbouring Japan increased. This culminated in the 1879 annexation of the ‘Liuqiu’ island and the changing of its name to ‘Okinawa’. This led to the ruthless suppression of the pro-Chinese ‘Liuqiu’ aristocrats and the outlawing of all Chinese cultural activities! Many ‘Liuqiu’ people who practiced Chinese martial arts fled to China at this time to escape from this Japanese attack upon their culture. It is said that a substantial number of ‘Liuqiu’ martial artists arrived in Fuzhou around this time and settled down studying local Fujian martial arts from established Masters. This meant that the ‘Tang Hand’ that they already knew was augmented by Fujian martial arts styles they now studied closer to the source of authentic Chinese culture. This process of refinement established an even deadlier type of ‘Tang Shou’! 

One outstanding member of the ‘Liuqiu’ warrior caste who came to Fuzhou around 1879 was one ‘Higaonna Kanryo’ (东恩纳宽量) - a well-known practitioner of ‘Tang Shou’! Higaonna Kanryo was once a ‘Liuqui’ nobleman! After studying ‘Tang Shou’ for three years, he later came to China seeking further advice. Higaonna Kanryo was taken as a disciple by ‘Xie Chongxiang’ (谢崇祥) - a renowned Master of Fujian White Crane Fist (白鹤拳 - Bai He Quan). Higaonna Kanryo studied very diligently under Xie Chongxiang and learned all the technical nuances of the White Crane Fist – integrating this new knowledge into the ‘Tang Hand’ he already knew and eradicating a number of its shortcomings. This process made Higaonna Kanryo a formidable fighter in his own right! Indeed, after Higaonna Kanryo returned to what was now the ‘Okinawan’ area of Japan – he promoted ‘Tang Shou’ wherever he went to great admiration and respect! Due this popularity, Higaonna Kanryo opened a large number of Tang Shou training halls throughout Okinawa! He was assisted in his efforts by his foremost disciples – Miyagi Chojun (宫城长顺) and Mabuni Kenwa (摩文仁贤和) as well as many others. Later, modern Karate-Do (空手道 - Kong Shou Dao) was developed when the disciples of Higaonna Kanryo stratified outward and away from the Chinese influence and integrated their Chinese martial arts with the existing traditional fighting systems of Japan. For instance, the founders of the four major modern Karate-Do styles were all disciples of Higaonna Kanryo! The names of these styles are written in traditional Chinese script – but are pronounced in the Japanese language. These styles are: 

1) Goju Ryu (刚柔流 - Gang Rou Liu) - Hard-Soft Lineage 
2) Shito Ryu (系东流 - Xi Dong Liu) - literally ‘Itosu-Higaonna Lineage’ - taking the first ideogram from each surname of: a) ‘Itosu Yasutsune’ (系 - Shi) and b) ‘Higaonna Kanryo’ (东 - To) 
3) Wado Ryu (和道流 - He Dao Liu) - Harmony-Way Lineage 
4) Shotokan Ryu (松涛馆流的 - Song Tao Guan Liu) - Shoto’s House Lineage 

All the four major styles of modern Karate-Do were all disciples of Higaonna Kanryo – therefore Higaonna Kanryo is the father of modern Japanese Karate-Do – which is premised upon various Chinese martial arts and Okinawan indigenous fighting arts! As this is the case, it is strange that genuine history links modern Japanese Karate-Do to ancient Chinese martial traditions, and yet contemporary Japanese Karate-Do teachers and students are taught to have such a blinkered grasp of the past and a complete disrespect for the present! Of course, it is the same old story that the false belief is put around that only flowery hand and embroidered legs are left in China – but it is interesting that every time a challenge match is offered, accepted and victory attained – it is never reported in these foreign lands! Perhaps it is because reality has no place in the propaganda that has its origins elsewhere and is designed to separate Asian people from one another! Yes – Japanese Karate-Do has become an Olympic Sport – but this is the success of Chinese martial arts in another country! What must not be allowed is for Chinese martial arts to be ridiculed and demeaned by forces unseen – this is a sadness we cannot afford as a nation!  

https://baijiahao.baidu.com/s?id=1621108271570540161&wfr=spider&for=pc 

本是中国地方武术，传入日本之后成为日本国拳，如今已成奥运项目 

听风听雨听历史 
2018-12-28 23:02 
如果你是一个喜欢关注拳台，关注搏击的人，那么你一定会知道今年搏击圈的大事情就是中华传统武术太极拳大师雷公被现代格斗选手擂台秒杀，这让当时很多的传统武术大师都有点坐不住了，而这件事情更是再次掀起了传统武术只是花架子的言论浪潮。而不光光是国内，日本也有很多空手道大师十分的看不起中国传统武术。 

不过，或许许多日本空手道高手不知道，其实空手道原本是中国的一种传统武术。在明朝朱元璋的洪武年间，朱元璋为了帮助琉球进行社会建设，于是，朱元璋让杜建对口支援，而当时的福建为了建设琉球，不光带去了经济发展，更是还把福建的武术给带了过去，福建的武者，在去到了琉球之后，结合了琉球的一种格斗术，发明了一种新的拳法，这种拳法就是唐手。 

因为，这种拳法是琉球新创，于是，在琉球只规定了琉球的达官显赫以及一些武术大家才能够学习，因此，也形成了一种特殊的武术流派琉球武家。因为，中国的逐渐衰弱，1897年的时候，日本吞并了琉球群岛，并且极度打压琉球的达官贵族，也使得琉球武家不复存在，因此，当时绝大一帮学习唐手的琉球武家去到了中国，学习中国的拳法，努力的改良唐手的实战和格斗。 

而来到中国求学的那一批唐手武家之中，不得不提东恩纳宽量。东恩纳宽量本是琉球贵族，学习了三年的唐手，后来，随着来到了中国求教，东恩纳宽量拜了一位叫做谢崇祥的福建武术大师学习，而谢崇祥是一位白鹤拳高手，东恩纳宽量跟着谢崇祥学习的日子，极力地学习了白鹤拳中的长处，将它和唐手结合起来，弥补了唐手中的一些不足，也使得东恩纳宽量的武学造诣也有了一个质的飞跃。 

在东恩纳宽量的回到了日本之后，他在日本极力地推广唐手。他在冲绳开设了许多的唐手武馆，并且还带出了宫城长顺、摩文仁贤等弟子，后来，在东恩纳宽量的弟子与日本传统武术结合之后，才有了如今的空手道，而空手道中的刚柔流、系东流、和道流和松涛馆流的四大派系的创始人都是东恩纳宽量的弟子，由此可见，东恩纳宽量对于日本空手道的重要意义。 

如今，日本空手道已经成为了日本的武道，更成为了日本的国拳，但是，越来越多的日本空手道高手却看不起中国传统武术，觉得中国传统武术早已经失去了实战，只剩下了花拳绣腿。 
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而如今，空手道还成为了奥运会项目，中国传统武术却越来越衰弱，简直就是一种悲哀！ 
 
 
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Within the Chinese language encyclopaedias, the clothing worn by ‘Karate-Do’ practitioners is described as being the attire required when cultivating the ‘Dao’ (道) or ‘Way’. During the era of the Ryukyu Kingdom, there are no historical records which support the idea that the white ‘gi’ clothing was worn by Karate-Do practitioners, or any strata of Ryukyu society for other types of activity. Within photographs taken before the Pacific War (1941-1945), most martial artists practice karate with the upper body being bear.  ​

In the book entitled ‘Fist Law – Brief Introduction’ (拳法概说 - Quan Fa Gai Shou) published in 1929, Chōtoku Kiyan (喜屋武朝德) states that the reason for training with the upper-body uncovered is to toughen the skin and the general externality of the body. When the Japanese Crown Prince Hirohito visited Okinawa in 1921, however, a demonstration of martial arts was arranged for him in the main hall of Shuri Castle. This was overssen by Funakoshi Gichin (aka ‘Rong Yiren’ [容宜仁]) who insisted that all those participating should wear a white shirt whilst in the presence of royalty (out of respect)!  ​

The white ‘gi’ which is commonly worn today when practicing Karate-Do originates from the clothing worn in the Kodokan during 1922 by Funakoshi Gichin when demonstrating Karate-Do on the Japanese Mainland. He ordered special White cotton cloth from the ‘Kanda’ (神田) area (famous for its ancient Shinto Shrines) - and hand-sewed a Karate-Do ‘gi’ using the general design of the training outfit worn by practitioners of Judo!  ​

This is the earliest recorded Karate-Do uniform in the historical literature. During 1934, in the magazine entitled ‘Empty Hand Research and Study’ (空手研究 - Kong Shou Yan Jiu) an advertisement appeared offering a pre-made Karate-Do uniform for sale! These products started selling in the early Showa period. As Karate-Do and Judo are very different martial arts that place different stresses and strains upon the material – the two types of ‘gi’ used for these activities has generally diversified into very different directions.  ​

The Japanese Kanji ideogram ‘着’ (Gi) refers to ‘wearing clothes’ and the act of physically ‘touching’ and/or otherwise ‘making contact’ (both actions of which appear to reflect the art of Judo precisely). The equivalent Chinese ideogram (which I can read) is ‘著’ (zhuo2): ​

Top Particle = ‘艹’ (cao3) - literally refers ‘grass that is growing’ upward toward the daylight! ​

Middle Particle = ‘耂’ (lao3) - an old man with long white hair and beard - bent over with age and wisdom! ​

Bottom Particle = ‘白’ (bai2) - the colour ‘white’ or ‘brightness’ of the Moon! ​

As the Kanji of ‘着’ (Gi) and the Chinese ideogram ‘著’ (zhuo2) convey an identical meaning, we appear to have a type of grass that grows and is weaved into a white cloth. This white cloth is then ‘holy’ and ‘sacred’ as it encompasses an activity that cultivates the respect owed to an old man – and the acquisition of the wisdom the old man already (and quite naturally possesses)!  ​

NOTE: Our gongfu teacher – Master Chan Tin Sang (1924-1993) - when I asked about the Karate-Do ‘gi’ - explained to me that the Karate-Do people are always training for death – death of the ego, death of their own body and the death of the opponent! He meant that the hard physical training always prepares the mind for non-attachment to the physical world (this achieves the death of attachment), whilst the Karate-Ka strives to face their own death (whether natural or unnatural) with equanimity. They train to purify their own minds and bodies so that they can produce the perfect punch or kick! Master Chan said the ‘gi’ is ‘white’ in colour because in Asia ‘White’ is the colour of ‘death’ and of ‘respect’. Indeed, when a Chinese person dies, those who follow the Confucian tradition of mourning and respect where a white, hooded outfit that is very similar in structure and design to the Karate-Do ‘gi’, or it can be (as designs differ). Furthermore, in China, I have seen senior Buddhist monks who wear black outer robes – often also wearing an inner white two-piece cotton suit very similar to a Karate-Do ‘gi’! I mention all this as I wonder if the people of Ryukyu followed the tradition of wearing white (Confucian) mourning clothes – which is a cultural habit thousands of years old in the Chinese-influenced parts of Asia! I was also once told that the Karate-Do ‘gi’ was once the normal dress for Tang Dynasty China – but apparently there is no evidence for its presence on Ryukyu prior to the 1920s! ​

Chinese Language Source: ​

Chinese Language Source: 
https://www.baike.com/wikiid/4490447760925757721?prd=attribute&view_id=mzu72g70xog00 
道服历史 
在琉球王国时代，史料中没有关于空手道道服的记载。在太平洋战争之前的相片中，习武者大多是赤裸上身练习空手道。 
在1929年发表的《拳法概说》中，喜屋武朝德提到赤裸上半身的目的是为了练习皮肤的强韧性。然而，在1921年日本裕仁皇太子访问冲绳之际，由容宜仁指挥的首里城正殿演武中，人们穿着白色上衣练习武术。 
今日的空手道道服是1922年船越义珍在讲道馆演武之际，从神田的生地问屋买入白木棉地，参照柔道道服的风格亲手缝制出来的。这是文献上记载最早的空手道道服。1934年在《空手研究》中刊登了空手道道服的广告，并于昭和初期开始贩卖。由于空手道与柔道的差异，人们对空手道道服逐渐改良，成为今天的样子。 
在今日的空手道道服中，传统派空手道的道服与全接触式空手道的道服有些许不同。 
 ​

​Dear Tony

​I am slowly reading my way through the Chinese language encyclopaedias regarding Karate-Do! There are many histories of (and for) Karate-Do - and I was taken by surprise! One entry states that Higaonna Kanryo is the true father of modern Karate-Do! This is because the Fujian White Crane Fist he learned from Master Ryu Ryu Ko (Xie Chongxiang) in China during the 1870s was brought back to Okinawa and mixed with 'te' - before eventually diversifying into all the different Karate-Do styles we know today! I like the symmetry of this idea. These Okinawan Karate-Do styles then travelled to Japan and were physically altered to reflect the Japanese sword-fighting traditions! All this seems to be one complete history!

​I think there are three Karate-Do lineages in Ryukyu:

​1) Tang Dynasty = Chinese 'Treasure Fleet' transmission and 15 Japanese Missions to China (7th-10th Century CE)
2) Ming Dynasty = The 36 Fujian families resettled on Ryukyu - 1392 CE
3) Qing Dynasty = Higaonna Kanryo trained in Fuzhou 1867-1881 CE

​Despite these three clear lineages, the Chinese language encyclopaedias all state that Karate-Do originated during the 15th century CE. This is because of the reign of Ryukyu King Sho Shin (476-1526 CE) who confiscated the weapons from all over the Kingdom and locked them in Shuri Castle! Therefore, Ryukyu became a country with almost no military equipment amongst the ordinary people! This act negated the 'armed' component contained in the first two martial arts transmissions between China and Ryukyu - but led to the 'unarmed' components being emphasised to a greater degree! Historically speaking, this episode marks the beginning of the 'Spirit' of Karate-Do! The idea that one punch must equal one kill - so that the opponent is swiftly dealt with! This means that Karate-Do has various lineages of transmission - but only ONE historical event that forced the Ryukyu people to specialise in unarmed combat to a very high degree of effectiveness and proficiency! 

​What I was investigating is why Karate-Do is (or was) referred to as 'Tang Shou' (唐手)! Although I showed you the Karate-Do movement in Fuzhou that refers to 'Karate-Do' as '唐手道' or 'Tang Shou Dao' (Tang Hand Way) - what I did not mention is although founded in 2016, during 2018 the organisation was placed on a list for 'abnormal organisations'. I know this because these notices are public in China and uploaded onto the internet. In this instance, the issue was over some deficient paper-work which was eventually rectified. The local government then took the Tang Shou Dao organisation off of the 'abnormal organisation' list and posted a public message to this effect! It was a year or so after this, that this group held its first successful Seminar in Fuzhou.

​I am not convinced by the argument this group puts forward, and I suspect the use of the imperial title of 'Tang' is not going down too well! What this group has done is returned the name of Karate-Do to its pre-1901 Okinawan designation. My research today, however, suggests that 'Tang Shou' is a misnomer, but I was surprised to find that Chinese martial arts were being enthusiastically transmitted to Japan and Ryukyu during the time of the Tang Dynasty (7th-10th centuries CE)! 

​This fact offers yet another 'history' or 'lineage' for the transmission of Chinese martial arts to Ryukyu! This would be a different and earlier transmission than that secured by Higaonna Kanryo - so where did it all go? Another lineage is the 1392 CE relocation of the 36 Fujian families on Ryukyu - with many bringing their family martial arts with them! The Chinese sources state that all these lineages of 'different' Tang Shou were operating on Ryukyu when Higaonna Kanryo was alive - but a number of Okinawan Masters were not happy with their structure and were inspired to travel to China to find contemporary gongfu Masters and learn afresh!

Thanks

Adrian