(Translated by Adrian Chan-Wyles PhD)

Translator's Note: There are thousands of martial arts Styles existing throughout China and the Chinese diaspora! Only a small number of these Styles are known outside the Chinese community. Although these Styles were only passed down (secretly) within families - or through the cultivation of one or two carefully chosen 'Disciples' - today, the onus is on 'openness' and the 'sharing' of ALL Chinese cultural arts and crafts. The United Nations (UN) refers to these arts and crafts as 'Intangible Culture' - and pursues a general policy of recording, supporting, maintaining and spreading these distinct bodies of cultural knowledge. This policy is part of a broader initiative to generate 'peace' throughout the world by the 'familiarising' humanity with the distinct culture generated by each ethnic (human) group. Understanding prevents 'fear' and encourages 'friendship'. This Chinese language article records the fact that the UN has officially recognised the 'Mufu Mountain Wushu' Style as being a prime example of Chinese 'Intangible Culture'! ACW (6.11.2022)

Mufu (幕阜) Mountain Martial Arts (武术 - Wu Shu) is an ancient and rare fighting system. As such, it neither belongs to the Wudang (武当), the Shaolin (少林) nor Emei (峨眉) faction. It has a unique temperament - a system of its own - and is destined to be original. Mufu Wushu is a representative example of provincial ‘intangible cultural heritage’ (i.e., an example of an art or craft passed down through the generations) originating amongst the population of those cultural groups inhabiting Yueyang City area – which is situated within Northeast Hunan province (Mainland China). It is a martial art which developed at the foot of Mufu Mountains (幕阜山 - Mu Fu Shan) - with the purpose of creating healthy individuals who are calm, kind and a benefit to society!  

Legend has it that Ge Hong (葛洪) - who served as Prime Minister during the Jin Dynasty (266-420 CE) - was once sat in deep meditation facing a tranquil stream after resigning from his post. He eventually became aware of a tiger which was stood staring into the entrance of a dark cave situated at the foot of a nearby cliff (Mufu Mountain). Suddenly, a giant python burst out of the darkness with tremendous energy and fighting spirit! The head of this snake was as big as bucket – and its body was as strong as a tree-trunk! This snake was completely unafraid of the tiger and immediately went on the attack! The two animals then engaged in a fierce and frightening battle!  

As the battle progressed – the tiger continuously jumped and changed position – whilst the snake coiled and sprang forward only to recoil, change direction and spring forward yet again! As Ge Hong watched this encounter – he suddenly experienced a profound insight into the nature of reality! Although Ge Hong had practiced martial arts during his life – he had never seen such a display in his life as the two animals fought one another to a draw – both leaving the area in different directions. Eventually, both animals returned and occupied the same area without conflict – seemingly reconciling their differences. From this experience, Ge Hong integrated what he had learned from this experience into his existing martial knowledge – and generated a new combat system he named the ‘Dragon-Tiger Fighting Nest Fist’ (龙虎争巢拳 - Long Hu Zheng Chao Quan)! Later, a deer stumbled into the area and was killed by the tiger and swallowed by the python! After seeing this unfortunate event, Ge Hong pondered the problem of repelling the tiger. He then developed the art of the ‘Mufu Energy Centre Self-Cultivation Cliff Stick’ (幕阜丹崖棍 - Mu Fu Dan Ya Gun).  

The complete Mufu Mountain Wushu System is comprised of unarmed (punching and kicking) routines - weapons and implements routines - and qigong (气功).  ​

The Mufu Mountain Wushu System has five unarmed routines (or ‘Forms’): 

a) Dragon and Tiger Fight for the Nest (龙虎争巢 - Long Hu Zheng Chao) 

b) Dragon and Tiger Interact (龙虎戏 - Long Hu Xi) 

c) Dragon and Tiger Developing Energy Centre Self-Cultivation Cliff (龙虎斗丹崖 - Long Hu Dou Dan Ya) 

d) Dragon and Tiger Climb Mountain (龙虎登山 - Long Hu Deng Shan) 

e) Dragon and Tiger Reunite (龙虎团圆 - Long Hu Tuan Yuan) 

The Mufu Mountain Wushu practitioner can strike with effortless power – advancing and retreating with a requisite ease. The guard can be opened and closed at will with a continuous adaptation being the key. This Style can be practiced alone, in pairs, or with three or five people – and can easily be adapted to accommodate multiple people at the same time. A single practitioner can fight one or many assailants at one time with no problem whatsoever. The advanced Mufu Wushu practitioner can choose to be ‘still’ with the strength of ‘Mount Tai’ (泰山 - Tai Shan) - and move like ‘flowing’ water - never resting for an instant! Such a fighter can express ‘softness’ (柔 - Rou) and ‘hardness’ (刚 - Gang) at will!  

1) Mufu Energy Centre Self-Cultivation Cliff Stick (幕阜丹崖棍 - Mu Fu Dan Ya Gun) 

2) Eight Trigrams Descending Dragon Broad Sword (八卦降龙刀 - Ba Gua Xiang Long Dao) 

3) Penetrate Throat Four Gates Spear (点喉四门枪 - Dian Hou Si Men Qiang) 

4) Chasing Ascending Spirit Volting Tiger Straight Sword (追魂伏虎剑 - Zhui Hun Fu Hu Jian) 

There are a total of twenty-four exercises which comprise the Qigong component. These exercises evolved according to the twenty-four solar positions. All these exercises strengthen the mind and body in readiness to participate in the act of combat. The mind and body become both ‘strong’ and ‘elusive’ - so that a Mufu Wushu practitioner can naturally dominate the opponent and the immediate environment. The strikes generated to combat an opponent are highly technical in nature and devastating to encounter. One speciality is the ‘claw’ (爪 - Zhao) which is used by both the dragon and the tiger! For this technique to work – the bones, muscles, ligaments and tendons of the hands (fingers, thumb, palm, wrist and fore-arm) must be extensively conditioned and strengthened! The fingers must become enthused with ‘qi’ energy so that a ‘soft’ finger (through an act of ‘intent’) can transform and become as ‘hard’ as iron! This type of conditioning is applied throughout the body so that the Mufu Wushu practitioner is not afraid to be struck – and is able to hit with tremendous power! If iron and stone training aids are struck in training – the striking limbs become as hard as the objects they are hitting! Mufu Wushu is generally passed down through the method of mentoring and apprenticeship. Under the active promotion of Li Liangxing (李良兴), more than 1,000 apprentices have been successfully taught. In 1987, in order to encourage the popularization of Mufu Wushu - Li Liangxing was awarded the title of ‘Fist Master’ (拳师 - Quan Shi) by the Hunan Provincial Sports Commission – due to the special fighting skills he possesses and his deep knowledge of Qigong. This is why Li Liangxing was granted this honour!  

Chinese Language Source: 

https://www.sohu.com/a/404242007_739186 

非遗展示月 | 源自幕阜山的传说——幕阜武术  

2020-06-26 16:26 

幕阜武术古老而稀有，既不属于武当、少林，又并非峨眉派系，独一无二的气质，自成一派的体系，注定独具特色。幕阜武术为岳阳市 省级非物质文化遗产代表性项目。 

传说晋代丞相葛洪辞官后有一次面对深涧静坐养神，猛见崖脚下一只猛虎正注视着一个洞穴，穴中突然窜出一条巨蟒，头大如斗，身躯似树，同猛虎展开了一场恶斗。猛虎的跳跃翻扑，巨蟒的蜿蜒升腾，使葛洪悟出了其中的奥秘。他经过很长时间的揣摩，将平生所练的武功与所见的龙虎相斗，融为一体，创造了“龙虎争巢拳”。后来又见獐鹿落入虎口和蟒腹的惨象，进而沉思，如何才能制虎于死地的招式，既而创造了棍术“幕阜丹崖棍”。 

幕阜武术主要包括 拳术套路、器械套路、气功。 

拳术套路有五套路，即龙虎争巢、龙虎戏、龙虎斗丹崖、龙虎登山、龙虎团圆。拳术的特点为借力打击，毫不费力。可大开大合，开合自如。可单练，可对练，可三人五人练，可多人同时对练。动作行如流水，坐如泰山，能柔能刚。 

器械套路有幕阜丹崖棍、八卦降龙刀、点喉四门枪、追魂伏虎剑。 

气功功法动作共二十四式，按二十四节气演变而成。可强身健体,可防身自卫，浑身霸劲，可用以技击。运气至指,为龙虎爪功，力能分筋错骨，捏碎硬物；运气至掌，可断铁碎石；运气至身，任其击打。 

幕阜武术一般通过师徒教授方式传承，在李良兴的积极推动之下，授徒已达一千多人。1987年为鼓励幕阜武术的普及，由于李良兴具有气功等特技功法，被湖南省体委授予荣誉拳师称号。 

幕阜武术是创始人和历代传承人潜心演练，不断研究出来的武术派系，产生于幕阜山，它古老、独特、稀有，既不属少林、武当，又不是峨嵋派系。因独特的套路体系，极具武术门类的学术价值。在社会价值方面，幕阜武术始创于晋代，其演变历程也侧面体现了历史 文化的发展以及社会习俗的变迁。 在日常生活中习练幕阜武术，既能起到强身健体的作用，还能陶养情操。 

Source: China Taiwan Network ​

China Taiwan Net - August 30th, 2016 - Shiyan News (Reporter Zhao Miaoqing [赵苗青]): ​

On the afternoon of August 29th, 2016 - organized by the Taiwan Affairs Office of Hubei Province – we participated in the ‘Use Your Wisdom-Eye to Understand the Foundation’ intuitive, which formed part of the ‘10th Cross-Strait Media Jingchu Travel Collective Activities’! This time the focus was on ‘Wudang Mountain’ (武当山 - Wu Dang Shan). The members of the team visited the following places of interest amongst many others:  ​

a) Wudang Mountain Geological Museum (武当山地质博物馆) ​

b) Wudang Mountain Special Zone Planning Hall (武当山特区规划馆) ​

c) Wudang Mountain Museum (武当山博物馆) ​

d) Wudang Mountain Museum (武当山博物馆) ​

The Wudang Mountain is a Daoist area of immense beauty designed to relax all inner and outer tension whilst generating unity, harmony, balance, peace and perfection! By being present in this place, the mind, body and spirit experience a ‘purification’ process (premised upon breathing deeply and fully the pure air), whilst the Daoist practitioners and Masters see right ‘through’ each and every person who happens to walk (or manifest) within their vision (or sensory sphere)! Of course, many people who visit have disabilities – just as some of the Daoist priests and Masters do! Everyone (and every living creature) is welcome and all that is felt is an uplifting ‘compassion’ and a ‘healing’ love for life and existence! Many visitors report a ‘new’ agility and ‘renewal’ of mind and body with the spirit (consciousness) being expansive and all-embracing! The area (and experience) is grand and majestic! The ‘qi’ (气) energy is truly ‘great’ and ‘uplifting’! An interesting point the Daoist Masters and Daoist priests wanted to emphasise is that ‘everyone’ is welcome to participate in the ‘humanistic’ quality of Wudang Mountain – the Daoism of which does not discriminate in anyway and which accepts ALL beings without question or condition! Inside the Wudang Mountains Special Administrative Region the sand-drawing table attracted media attention from both sides of the Straits! Everyone was amazed at the grandeur of its scale! ​

On the last stop of the day, the team visited Jade Emptiness Temple - known as the ‘Forbidden City’ of the South! The Jade Emptiness Temple is located at the Northern foot of Wudang Mountain, within a basin area of 5 square kilometres. There are four imperial stele pavilions situated inside and outside the Temple – perfectly positioned so that each faces the other in a majestic manner (despite their differences in size)! In an area directly in front of the Jade Emptiness Temple, Master Yuan Xiugang (袁修钢) - the 15th Generations Lineage Descendent of the Wudang San Feng (三丰) School of ‘Internal’ (內 - Nei) Martial Arts – led a group of disciples through an impressive display of bodily movements of the arms, legs and torso! As a Daoist Priest, he responsible for the preservation and transmission of these ancient Daoist martial arts which can be spectacular to encounter!  ​

"The martial arts practiced on both sides of the strait share the same common cultural origin. There are many Taiwanese compatriots who come to Wudang Mountain to learn martial arts every year - but there are not many Taiwanese students who commit themselves fulltime to learning Wudang martial arts over the longterm and place themselves in a position to inherit the Wudang martial arts lineages - as this would be something we would definitely encourage."  ​

Explained Master Yuan Xiugang in a joint interview with media from both sides of the strait. When asked about the exchange of martial arts between the two sides of the Taiwan Strait, Daoist Master Yuan Xiugang said: ​

He hopes to strengthen and deepen the cultural exchanges between young people on both sides of the straits using the Wudang ‘Internal’ martial arts tradition as the vehicle and hopes that more and more young people will systematically learn Wudang martial arts and pass on the complete (Internal) lineages in their hometowns and living locations. According to reports, Wudang martial arts conform to the operating state of the inner body and the reality of the ‘natural’ outer world. Therefore, when practicing these ‘internal’ martial arts, the disciples learn to ‘drop’ or ‘sink’ (沉 - Chen) their bodyweight into (and through) the ground they are standing upon – always being physically (and psychologically) firm and stable (like a ‘Pine Tree’) - when in a state of movement or stillness! The outside of the body becomes noticeably pliable and ‘soft’ (柔 - Rou) whilst the inside of the body becomes ‘toughened’ or ‘hardened’ (刚 - Gang) in the sense that if impressed or impacted in any way from the outside – the incoming force is absorbed and dissipated harmlessly away from the inner organs and lacks the piercing power to damage the joints or bones, etc.  ​

Wudang martial arts, however, are about the developmental health of the mind, body and spirit, protecting the natural environment and the REMOVAL of all conflict in the mind, body and environment, and between individuals, species and different systems of life choices, creativity and artistic expressions! With practice, Wudang martial arts practitioners learn to move about as if they are floating like clouds or flowing upon water! These abilities are considered unique within Chinese martial arts! This is why in 2006, Wudang martial arts were selected as part of the first batch of intangible cultural heritage arts considered truly representative of China’s historical genius and creativity! This process led the collection and categorisation of all such Daoist activities that comprise the ‘Wudang Internal Family Fist Law’ (武当内家拳法 - Wu Dang Nei Jia Quan Fa)! There are around 30 different styles being taught and practiced on Wudang Mountain which include ‘Taijiquan’ (太極拳) and ‘Taiyi Five Phases Fist’ (太乙五行拳 - Tai Yi Wu Xing Quan)! There are also 9 types of ‘Qigong’ (气功) which have attracted a substantial amount of attention from home and abroad!  ​

Chinese Language Source: ​

http://www.taiwan.cn/local/dfkx/201608/t20160830_11552881.html ​

问道武当 两岸媒体玉虚宫寻武术精髓（图） 
2016年08月30日 09:30:00  来源：中国台湾网 
　中国台湾网8月30日十堰讯（记者 赵苗青） 8月29日下午，由湖北省台湾事务办公室举办的“借你慧眼看基地—--第十届海峡两岸媒体荆楚行”采风活动，聚焦武当山海峡两岸交流基地。 
　　采风团成员先后参观了武当山地质博物馆、武当山特区规划馆、武当山博物馆、玉虚宫等景点，亲身感受武当山的秀美灵动、宏大气势雄伟，领略武当山的自然之美、人文之美。武当山特区规划馆内的规划沙盘图吸引两岸媒体人驻足观赏，大家纷纷惊叹于其规模的宏伟壮观。 
　　当日最后一站，采风团一行参观了素有南方“故宫”之称的玉虚宫。玉虚宫位于武当山北麓，坐落在5平方公里的盆地之上，宫内外有四座御碑亭，巍然对峙，亭内置石雕赑屃驮御碑，大小不一。在玉虚宫前，武当山三丰派第十五代武术传人袁修钢道长带领着其弟子整齐划一地挥舞着拳脚，场面颇为壮观。“两岸武术同宗同源，每年来武当山学习武当武术的台湾同胞有很多，但是专业学习武当武术能够系统的传承武当武术的台湾学员不多。”袁修钢道长接受两岸媒体的联合采访时如此表示。 
　　被问及两岸的武术交流情况时，袁修钢道长表示：从94年起两岸的武术交流开始比较频繁，以前的时候台湾民众多是以进香团的形式进行道教文化交流。两岸武术经过20多年的交流互相之间有了更加深刻的了解。他希望加强两岸青少年在武术方面的交流，希望能有越来越多的年轻人系统的学习武当武术然后将它完整的传承下去。 
　　据悉，武当武术以其松沉自然、外柔内刚，行功走架如浮云流水的独特风格，在中华武林中独树一帜。2006年武当武术入选中国首批非物质文化遗产，挖掘整理出的武当内家拳法、武当太乙五行拳等有30多种，气功9种，引起海内外武术爱好者广泛关注。（完） ​

​Dear Tony

Interesting that no one has been chosen to replace Lin Jingfeng as a IOGKF Representative for China! This looks to me like a situation has developed over a) the IOGKF refusal to recognise Lin Weigong's 1989 (Xie Chongxiang) research and b) the bizarre comment Lin Jingfeng made stating that there is no evidence of Goju Ryu originating in Fuzhou! I believe this is why no new official IOGKF Representative is being currently allowed in China. The IOGKF are boxing clever by 'doing nothing' - which prevents them being 'banned'. I also noticed a Chinese netizen stating that Lin Jingfeng is not the first or only Chinese person to attempt to popularise Karate-Do in China. I will look into this!

For your records.

This is the educational site of Lin Jingfeng (d. 2018) which although published in the Chinese language - also presents in English. 

沖繩剛柔流空手道 沖繩古武道
Traditional Okinawan Goju-Ryu Karate and Kobudo

It contains many of the old Okinawa Goju Ryu photographs we were discussing (and more) together with dates and quite often the names of those featured. It follows the law of China but ignores the 1989 research carried-out by Lin Weigong which was endorsed by the Fuzhou Wushu Association and the Japanese Goju Ryu Association (Goju Kai?) - which resulted in the raising of a memorial stone in 1990!

Lin Jingfeng states in a 2012 interview (carried-out in China - which I have translated into English) that during 1980 he was sent to Fuzhou by his Master (Miyagi Anichi) to seek-out the Chinese martial origins of Goju Ryu - but found 'nothing' - suggesting the following conclusions:

a) No person(s) living in the Fuzhou area practices any form of physical martial arts.

b) No person(s) living in the Fuzhou area possesses any knowledge relating to the practice of physical martial arts.

c) No person(s) living in the Fuzhou area possesses any memories of the practice of physical martial arts.

In the official biography of Lin Jingfeng included on the above website (and repeated on websites throughout China) - this episode is entirely omitted. Instead, the preferred line pursued by the IOGKF is this:

'1979年 国际冲绳刚柔流连盟 （IOGKF） 在英国正式成立。1980年 联盟委任林竞峰先生作为它香港与中国地区的代表和支部长。1980年 林竞峰先生去冲绳参加了连盟成立后的第一次合宿训练。1981年林竞峰先生取得连盟五段资格认定 （由东恩纳盛男先生主持考核，由东恩纳盛男先生与宫城安一先生联名签发）。'

'During 1979 the International Okinawa Goju Ryu Federation (IOGKF) was formally established in the UK. In 1980, the Alliance appointed Mr Lin Jingfeng as its Representative and Branch Supervisor for Hong Kong and China. In 1980, Mr. Lin Jingfeng went to Okinawa to participate in the first resident training programme held after the establishment of the Alliance. In 1981, Mr Lin Jingfeng was awarded his 5th Dan by the Alliance (The Grading was presided over by Higaonna Morio and the Certificate signed by Higaonna Morio and Miyagi Anichi).'

What a busy year 1980 was have been for Lin Jingfeng! With all the developments and accolades he was receiving at this time, how long did he spend in Fuzhou and who did he speak to? Whatever the reality of the matter, (as I might discover more data at a later date), this situation does not look good and feels very odd. On the one hand the IOGKF is superficially appearing to tow the legal line by being careful how it and its members behave in China - and yet deliberately challenges the government of China by 'defying' and 'questioning' the conclusions of one of its best academic experts (Lin Weigong) regarding Fuzhou language, history and culture! This is a very interesting situation which I will continue to investigate.

Thanks


Adrian


PS: In 1973, Lin Jingfeng resigned from the International Karate Organisation (IKO) and the Goju Kai Dojo in Hong Kong - and travelled to Okinawa. In 1974, Lin Jingfeng was introduced to Miyagi Anichi who accepted him as a student. The first few weeks of training evolved around Miyagi Anichi 'correcting' all the technical errors Lin Lingfeng had been taught in Hong Kong. This suggests that the earliest Dojo (1964) in Hong Kong was from the Goju Kai lineage of Japan - but at some point in its history - the control of the Hong Kong Dojo switched to IOGKF. Unless, of course, there is more than one such Dojo - but as Hong Kong is small, I doubt this. Perhaps it is a simple case of Lin Jingfeng returning to Hong Kong (c. 1979) and teaching the IOGKF version he had learned in Okinawa and abandoning the Goju Kai lineage - but again, this would seem odd. What this observation might do is explain why certain individuals state that Goju Ryu Katas taught in the Hong Kong Dojo are 'different' to those encountered outside of China! In other words, Goju Kai Kata are different from Goju Ryu (Okinawan) Kata! 

Translator's Note: The earliest editions of this story appear on the Chinese language internet on December 30th, 2019. This story is then circulated around and through the Chinese language media for at least another six months to a year. There appears to be two dates that are distinct - but which are 'merged' - during the reporting of this story. The two dates are as follows:

a) 'September 16th, 1989' - when Lin Weigong made the official announcement that he had discovered the name of the Chinese Master of the 'Whooping Crane Fist' - that is 'Xie Chongxiang' (謝崇祥) [1852-1930]- also known as Xie Ru Ru (謝如如) and  'Ru Ru Ge' (如如哥) - who was the teacher of the Higaonna Kanryo [1853-1915] (from Okinawa) during the 19th century.

​b) 'June 9th, 1990' - a black marble "Monument of Achievement" was raised in the southwest corner of the Fuzhou New Sports Centre by the Japanese and Okinawa Karate Association in memory of the Chinese Master Xie Ru Ru (謝如如) also known as  'Ru Ru Ge' (如如哥) - the Chinese teacher of the Okinawan Master Higaonna Kanryo!

Therefore, the year '2019' marks the 30th Anniversary of the announcement of the discovery of 'Xie Chongxiang' (謝崇祥) - whilst the year '2020' marks the 30th Anniversary of the raising of the black marble stele - and I believe the confusion (and conflation) of these two dates is the reason 'why' the news story continues to be associated with two different years (2019 and 2020). As not all of the historical data is present in any one single text (as the authors assume their readership already possesses a working knowledge of the story at hand), I have borrowed from at least three versions and have weaved a coherent historical narrative together. There was around eight months between Lin Weigong's historical announcement - and the Japanese - Okinawan Karate Association (representing 'Goju Ryu') organising the fund raising, commissioning, construction and transportation of the black marble stele - which is inscribed using Japanese language ideograms. The primary pictures in this article feature the stele and are dated from 1990 and 2000. The main stone tablet (and supporting base stele) both commemorate - with great respect - the eternal friendship that exists between China and Japan.  This very close and fraternal relationship is embodied (and epitomised) through the creative (historical) interaction that took place between Xie Chongxiang and Higaonna Kanryo! May this interaction between the cultures of these two countries be forever fruitful! ACW (15.8.2022)

​In the summer of 1988, the relevant Departments of Okinawa Prefecture Government hosted a banquet in Fuzhou to thank the Deputy Secretary-General of the Fujian Provincial Government and Director of the Provincial Tourism Bureau - Nan Jiang (南江) - and other leaders including the well-known and respected senior academic - Lin Weigong - (Editor-in-Chief of People's History of the Fuzhou Local Chronicle Committee) who sought out the roots of the "Thirty-Six Surnames of Fujian People" in the Ryukyu country. He has made unremitting efforts and contributions to the search for roots and ancestors in Okinawa for many years. On September 16th, 1989, after months of arduous research, Lin Weigong made the breakthrough that everybody had been waiting for - that he had discovered the Chinese teacher of Higaonna Kanryo! This led to a great outpouring of enthusiasm and excitement in both Okinawa and Japan - culminating in the idea of constructing an engraved monument to honour the Chinese ancestor whose martial arts style eventually evolved into style of Goju Ryu Karate-Do in Okinawa! Therefore, on June 9th, 1990, in the southwest corner of the Fuzhou New Sports Centre, a solemn black marble "Monument of Achievement" was raised. It is a monument erected by the Japanese and Okinawa Karate Association in memory of the Chinese Master Xie Ru Ru (謝如如) also known as  'Ru Ru Ge' (如如哥) - the Chinese teacher of the Okinawan Master Higaonna Kanryo - who developed a style of Karate-Do - that evolved into 'Goju' (Hard-Soft) Ryu. His full name was 'Xie Chongxiang' (謝崇祥). 

The Chairman of Fujian Wushu Association Liu Zhonglu (刘中路) and Lin Weigong (林伟功) Cooperated to Publish a Report in "Chinese Wushu".

Wen Fushan (温附山) Vice Governor of Fujian Province - and VIP Leaders from All Walks of Life in China, Japan and Okinawa - Attended the Ceremony Took a Group Photograph in Front of the Monument.

The Name on the Tablet - Decided by the Historical Investigation team - is that of 'Ru Ru Ge' (如如哥) as the Martial Arts Master in Fujian Who Taught Higaonna Kanryo!

From the left in the front row of the photograph: Lin Weigong (林伟功), Lin Xuanzhi [林萱治] (former Deputy Director of the General Office of the Fuzhou Municipal Government and former Director of the Municipal Local Records Office), Fang Baoyan (方宝炎) (the Great Master of Whooping Crane Fist - 鸣鹤拳 [Ming He Quan]), Huang Qiquan [黄启权] (former director of the General Office of the Municipal Party Committee, Director of the Municipal Office of Local Affairs), Wen Fu Shan [温附山] (Vice Governor of Fujian Province), Head of the Japanese and Okinawan Delegation - Yuika Tokashiki (渡嘉敷唯贤​) - (President of the Japanese and Okinawan Karate Association). In the back row are the Directors and Deputy Directors of the Provincial Sports Commission, as well as leaders of relevant Departments and other members of the Japanese and Okinawan delegation.

Lin Weigong (林伟功) was hired as a Special Consultant by the Japanese and Okinawan Karate Association to investigate the origins of Goju Ryu Karate-Do in China. The picture shows the esteemed Presidemt - Yuika Tokashiki (渡嘉敷唯贤) and Lin Weigong - taking a photograph together in front of the monument.

The above pages  are written in Japanese script and list a number of 'names' of honourable Japanese people who have contributed finance, time and/or expertise to the arrangement, construction and raising of the stone monument(s). These names include Moriyoshi Niizaki, Tomoyoshi Nakayoshi, Chuichi Uehara, Takakatsu Nakamura, Yasuhide Gibo, Antetsu Takehara, Yuki Dochu, Nobuichi Ishii, Koji Sugimoto, Noriko Sugimoto, Maki Sugimoto, Masashi Deni, Hiromi Miyagi,,Koji Miyagi, Hyakuna Ason, Hanashiro Seimei, Onaha Tsutomu, Nakazato Masayuki, Gakiya Hiroshi,
Kamiesu Choho, Hirota Nakaima and Kosuke Kamiya, etc. 

Chinese Language Articles:

https://www.it610.com/article/1225060581883613184.htm

https://88db.com.hk/QnA/Lesson-Instruction/空手道與褔建南拳的歷史淵源-剛柔流空手道的創造人在福建/1867

https://www.xuehua.us/a/5ebf28f07b5409df8eabbe2f?lang=zh-cn

Selection of Important Extracts:

老故事|30多年前林伟功受福建省政府之命为日本刚柔流空手道寻根

老故事|30多年前林伟功受福建省政府之命为日本刚柔流空手道寻根1988年夏，日本冲绳县有关部门在福州设宴感谢福建省政府副秘书长兼省旅游局局长南江等领导及为琉球国“闽人三十六姓”寻根的总查证人林伟功（福州市方志委人物志主编）等多年为冲绳寻根觅祖作出不懈努力及所做的贡献。

1989年9月16日，有關專家再次對謝如如是否做了進一步的論證，最後一致認為：謝如如(宗祥)確系日本沖繩剛柔流祖師東恩納寬量當年在福州所拜的中國武術師傅，並於1990年6月9日在福州市新體育中心西南角，矗立著一座莊嚴肅穆的黑色大理石“顯彰碑”，是日本沖繩空手道總會為紀念日本空手道剛柔流祖師東恩納寬量的中國師傅謝如如而立的紀念碑。這是中日武術界傳統中有源流方面影響的明證。

席上日方高野代表在再次致谢之余，提出希望请南江秘书长再安排林伟功主编将寻找日本刚柔流空手道中国鼻祖担当起来，南江秘书长给予接受，并让林伟功主编正式接受任务。宴后，在市方志办主任林萱治、黄启权的支持下，林伟功开展了艰辛的调查论证，发表了报告，并在副省长温附山的主持下通过论证会，确认福建省鸣鹤拳一代宗师谢如如是日本刚柔流鼻祖东恩纳•宽量的师傅，1989年取得圆满成功，并在省体育中心建立了显彰碑。

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​

According to the research carried out by Mr. Lin Weigong (林伟功) - an expert in historical records pertaining to the Fuzhou area (and confirmed by other knowledgeable authorities) - Higaonna Kanryo (东恩纳宽量), [the teacher of Miyagi Chojun - who later described the Chinese martial arts style he learned from Higaonna Kanryo as being 'Goju' [Hard-Soft]), travelled to Fuzhou (situated in Fujian province in Southeast China) to train under the guidance of Master Xie Ruru (谢如如) during the Guangxu (光绪) period of the Qing Dynasty (reigned 1875-1908) – and studied the martial art of ‘Whooping Crane Fist’ (谢如如 - Ming He Quan). He trained in this martial art for three years before returning Okinawa – and then returned to Fuzhou for further instruction. Higaonna Kanryo further developed and innovated this ‘Whooping Crane Fist’ - and thereby created a very popular and robust style of Karate-Do known as ‘Goju Ryu’ (Hard-Soft School). In recent years, various Japanese martial arts circles have organized group visits to Fuzhou many times – an interaction which has effectively promoted positive economic and cultural exchanges between China and Japan. ​

According to relevant data and folk surveys, this relationship can be traced back to even earlier times. Master Xie Ruru is said to be the founder of ‘Whooping Crane Fist’. However, he trained under Master Pan Yu Ba (盘屿八) whose real name was ‘Lin Dachong’ (林达崇). The historical records state that Master Xie Ruru trained in the ‘Arahant Fist’ (罗汉拳 - Luo Han Quan) whilst training with Pan Yu Ba – and the implication is that the ‘Whooping Crane Fist’ evolved out of this style. After Master Xie Ruru observed the behaviour of a White Crane (defending itself) - he developed the theory and practice of the ‘Whooping Crane Fist’! Indeed, the ‘Crane Fist’ (鹤拳 - He Quan) genre of ‘Southern Fist’ (鹤拳 - Nan Quan) is just one of the hundred flowers of martial brilliance that has blossomed from within the Fuzhou area! The principle of White Crane Fist has spread far and wide and has been developed and evolved into many and interesting ‘Lineages of Crane’ (宗鹤 - Zong He). There are four main types such as ‘Perching Crane’ (宿鹤 - Su He), ‘Whooping Crane’ (鸣鹤 - Ming He), ‘Flying Crane’ (飞鹤 - Fei He) and ‘Eating Crane’ (食鹤 - Shi He). This style can also be known as ‘Morning Crane’ (朝鹤 - Chao He) and ‘Paralysing Crane’ (痹鹤 - Bi He).  ​

The birth name of Pan Yu Ba (盘屿八) was ‘Lin Dachong’ (林达崇) and he was originally from Pan Yu Township situated in the Cangshan District of the Fuzhou City region. (This area is now known as the ‘Red Star Farm’ - 红星农场). As he ranks eighth among his uncles and brothers of the same generation – he became known as ‘Pan Yu Ba’ - or ‘Pan Yu Eight’ - when his abilities became known far and wide! When he was young, Pan Yu Ba trained at the ‘Crane Nest Temple’ (鹤巢寺 - He Chao Si), situated in the Cangshan (仓山) area of Mount ‘Gaogai’ (高盖) under the ‘Head Monk’ (住持 - Zhu Chi) of that temple known as Venerable Qingding (清定). Master Qingding was an expert in ‘Shaolin Arahant Fist’ (少林罗汉拳 - Shao Lin Luo Han Quan) and taught this to Pan Yu Ba. Master Qingding was originally from Quanzhou and his fighting capabilities were considered extraordinary. As well as administrating a Ch’an temple which trained Buddhist monastics – he was also renowned as being an expert in medicine, specialising in the treatment of trauma wounds. Master Qingding established a free medical clinic on the main road to the coast between Fuzhou and Bailu (白鹭) Ridge. Local people would come to receive a diagnosis and treatment from Master Qingding. Master Qingding and Pan Yu Ba lived a thirty-minute walk apart from one another and were always in close contact with one another.  ​

Master Pan Yu Ba possessed legendary physical and mental strength! He also became a great teacher in his own right! Oneday, when his brother was building a house there was a very large foundation stone which weighed around 900 pounds and took numerous people to lift (with difficulty). Pan Yu Ba lifted this stone on his own – and was able to strike the stone and break it in half! He was addicted to alcohol and could drink a jar of rice wine without getting drunk. When it snowed and was freezing cold – he wore only a thin jacket and was not afraid of the cold. There are not many known cases of Lin Dachong competing with others, but there is only one anecdote widely known amongst the people. One day he went to Fenggangli (凤岗里) situated on Shandong Ridge (山东岭 - Shandong Ling) as a guest. He interceded between a dispute that happened between his relatives and the local people of ‘Toupu’ (透浦) Village! Master Pan Yu Ba was hunted down and surrounded by about a hundred villagers all attempting to give him a good beating! He knocked down many attacking people with his bare hands and then grabbed hold of two the attackers and used them as shields and attacking objects! This action prevented himself from being killed and the only injury he suffered was a stick blow across his back! The two people he was holding were beaten to death by the ferocity of the attack against him! So many villagers were wounded that they were sent to the clinic at Bailu Ridge to be treated by Master Qingding! As soon as Master Qingding saw the nature of the wounds – he knew exactly that it was his disciple – Pan Yu Ba – who had caused them! When Master Qingding returned to the Temple – he went to the home of Lin Dachong (Pan Yu Ba) to tell his family what had happened! He then sent out an order that Pan Yu Ba return to the mountain to explain what had happened!  ​

After Lin Dachong's death, his descendants continued to live on for another five or six generations - until the War of Resistance Against Japanese Aggression when his direct relatives died out - and today only a number of his nephews remain. Unfortunately, his boxing manual (拳谱 - Quan Pu) was lost during the Cultural Revolution. His tomb was originally located in Longfu (龙阜) at the Southern foot of Gaogai Mountain. Due to the construction of an airport, the tomb was later moved to the top of the hill near the Crane Nest Temple – where the cemetery and tombstones still exist. The Crane Nest Temple of Gaogai Mountain was located in the valley on the Southern slope of the western section of Gaogai Mountain. It was destroyed during the Cultural Revolution. In 1985, the local villagers raised funds to rebuild the temple, and now the project has begun to see fruit. The 76-year-old Lin Miaoxiu (林妙修) has presided over this temple reconstruction. In the countryside surrounding the temple there has been a natural habitat for White Crane breeding for hundreds of years and the area is full of breeding pairs! This is where the name of the temple originates, and this explains why the main symbol of the temple is a crane-shaped stone.  ​

There are a number of questions which need to be considered: Before he founded ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) - did Xie Ruru (谢如如) visit ‘Crane Nest Temple’ (鹤巢寺 - He Chao Si) and meet the Ancestral Master (Qingding)? Did he receive instruction and gain inspiration from such an interaction? Did Master Qingding definitely originate from the Quanzhou area? Did Master Qingding have any direct contact with the Southern Shaolin Temple that once existed in Quanzhou – but which was destroyed by Qing Dynasty troops? These are all important questions worthy of serious consideration. If these issues can be clarified, then our all-round understanding of the martial history of Fuzhou will be enhanced. This would be an excellent development for Fuzhou culture and assist Sino-foreign relations immeasurably. For instance, in the past representatives of Okinawan Goju Ryu Karate-Do have organised groups visits to the area of the Crane Nest Temple to pay their respects to their martial ancestors!  ​

According to historical investigation, the Southern Shaolin Temple in Quanzhou was destroyed by government troops during the early Qing Dynasty, and the monks were displaced. This meant that the Southern Shaolin monks known as ‘Iron Staff’ (铁杖 - Tie Zhang), ‘Iron Shoes’ (铁鞋 - Tie Xie), Iron Handle (铁柄 - Tie Bing) and ‘Iron Beads’ (铁珠 - Tie Zhu) all had to flee in different directions for their own safety! The monk known as ‘Iron Beads’ (铁珠 - Tie Zhu) fled North to Fuzhou (still in Fujian province) and took with him the ‘Dragon Staff’ (龙桩 - Long Zhang) which comprised part of the skill of the ‘Dragon Fist’ (龙拳 - Long Quan) martial system. This monk, however, is known to have specialised in the practice of ‘Arahant Fist’ (罗汉拳 - Luo Han Quan) and this is how this secretive style of martial arts spread from the confines of the Southern Shaolin Temple in Quanzhou, to being readily available to people living in Fuzhou! (Translator: Fuzhou is located around 133 miles northeast of Quanzhou – travelling up the East Coast of Fujian province – an area immediately adjacent to the Northern tip of the Chinese island of Taiwan. This is a journey that could have been easily completed by boat). This is how the ‘Dragon Fist’ and ‘Arahant Fist’ style of Southern Shaolin martial arts spread to the Fuzhou area. Meanwhile, the Venerable Monk ‘Iron Beads’ (铁珠 - Tie Zhu) took refuge in the ‘Crane Nest Temple’ (鹤巢寺 - He Chao Si) which is situated in the Gaogai Mountains area of the Cangshan District of Fuzhou City! Later, Master ‘Iron Beads’ (铁珠 - Tie Zhu) became responsible for teaching the resident monks the ’Arahant Fist’ (罗汉拳 - Luo Han Quan) style of martial arts. One of these monks was the ‘Venerable Qingding’ (清定) who learned the ’Arahant Fist’ (罗汉拳 - Luo Han Quan) thoroughly before becoming an official lineage descendent of Master ‘Iron Beads’ (铁珠 - Tie Zhu)! Following these events, Master Qingding met the talented lay person ‘Lin Dachong’ (林达崇), accepted him as a disciple and transmitted to him the entire style of the ’Arahant Fist’ (罗汉拳 - Luo Han Quan)!  ​

My brother-in-law is ‘Lin Gentu’ (林根土) - who is from the Pan Yu Township. He is a direct descendent of ‘Lin Dachong’ (林达崇) and has passed on the ‘Fist Law’ (拳法 - Quan Fa) to me. The ‘Lin’ (林) family of Pan Yu Township state that ‘Xie Ruru’ (谢如如) learned ’Arahant Fist’ (罗汉拳 - Luo Han Quan) directly from ‘Lin Dachong’ (林达崇). Later, ‘Xie Ruru’ (谢如如) watched a ‘White Crane’ (白鹤 - Bai He) land near him. The awe-inspiring deportment of this bird influenced his creation of the martial arts style known as ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan). The manner in which the bird stood, moved about, arranged its feathers and positioned its beak, wings and feet – all influenced ‘Xie Ruru’ (谢如如) in his planning and structuring. Of particular interest was the general ‘Form’ (形 - Xing) or ‘Shape’ of the bird which involved a particular psychological attitude combined with a precise physical presence! Although seemingly vulnerable – the bird was actually very strong! The ‘White Crane’ manifested a perfect blend of ‘strength’ and ‘weakness’ - of ‘assertion’ and ‘giving-way’! The ‘White Crane’ uses its wings to good effect as they ‘tremble’ (抖 - Dou) before exploding with tremendous speed and power! To warn other birds of a potential danger in the immediate environment – the ‘White Crane’ issues forth a piercing ‘cry’ as the wings ‘tremble’ in preparation to deliver debilitating strikes (which include the use of the beak and the feet). The ‘White Crane’ appears ‘weak’ but is ‘strong’! Appears to be stuck in one place – but can easily move into all available spaces! The ‘White Crane’ easily ‘evades’ and yet steadfastly ‘holds’ its ground! Appears to ‘stumble’ but never loses its ‘balance’! The ‘White Crane’ is at its most dangerous when it seems to be at its most weakest – this is precisely when the ‘piercing cry’ is issued, and the opponent is in the most danger! This is why this style is called ‘Whooping Crane’ (鸣鹤 - Ming He)!  ​

Inspired by the ‘rigidity’ (刚 - Gang) and ‘flexibility’ (柔 - Rou) of the ‘White Crane’ as preserved within the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) - Higaonna Kanryo founded the ‘Goju Ryu’ (刚柔流 - Gang Rou Liu) system of Okinawan Karate-Do. This style of Karate-Do spread throughout Okinawa and across the world! The ‘Fighting Manual’ (拳论 - Quan Lun) associated with the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) style states: ​

‘The constant interplay of ‘hardness’ and ‘softness’ concentrates and stills the mind whilst strengthening the spirit.’ 

“刚柔相济定心神” 

A genuine martial artist cannot be only ‘strong’ or only ‘flexible - but must develop a fighting technique which envelopes both these expressions of reality. Being limited to one or other extreme will not develop martial invincibility. Indeed, a well-rounded warrior must be both firm and flexible simultaneously and consecutively! Must develop a mind-set that resides at the ‘still’ (and ‘empty’) centre of ‘hard’ and ‘soft’ - whilst being able to traverse the physical structures of the body through martial techniques that are at one moment ‘hard’ whilst at another ‘soft’.  

The ‘Fighting Manual’ (拳论 - Quan Lun) associated with the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) style states: 

‘This Crane System depends entirely upon the mastery of ‘shaking’ (摇 - Yao) the hands!’ 

​“鹤法全靠摇宗手” ​

This is an important and central concept within ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) as ‘shaking’ the hands is the technique (that when applied throughout the body) serves as the method through which ‘hard’ and ‘soft’ techniques are manifest and transitioned from one type to the opposite (i.e., from ‘hard’ to ‘soft’ and vice versa). The mind must be ‘still’ and ‘all-embracing’ for this method to manifest throughout the entire physical body as it traverses the environment. The ‘shaking’ (摇 - Yao) technique itself is essentially ‘soft’ (柔 - Rou) but as it permeates the mind and body - a very powerful and yet flexible (explosive) force is generated! This is the foundational teaching (宗 - Zong) that is passed on within this style! If mastered correctly, then ‘hardness’ and ‘softness’ are perfectly entwined in a continuous interplay that reacts exactly to all external circumstances and situations! The manual explains that a practitioner whose mind is chaotic and whose body is continuously overly ‘tense’ exhibit what is termed the ‘stiff hand’ (硬手 - Ying Shou) - whilst a mind that is chaotic and a body that is overly ‘weak’ is termed the ‘weak hand’ (软手 - Ruan Shou). In terms of offense and defence, being too rigid is easy to be overcome by softness, and too soft is easy to be dominated by rigidity. Between rigidity and softness, it is required to be rigid but not stiff, soft but not weak – this is how ‘vigour’ (劲 - Jin) and ‘power’ (力 - Li) are thoroughly developed.  ​

The momentary ‘softness’ is not ‘loose’, not ‘weak’, not ‘stagnant’ but rather ‘vigorous’ and ‘buoyant’ (as ‘hardness’ momentary manifests)! Change is the essence as the ten thousand situations come and go! This is how the central ‘shaking’ (摇 - Yao) technique that defines the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) should be interpreted and manifested! If this technique can be mastered, then with the slightest of touches a practitioner can respond like an arrow firing from a bow! When being attacked there is a dangerous assertion in the immediate environment! The opponent ‘congeals’ all their power in one area and the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) practitioner perceives this situation precisely. The danger of the attack is expertly avoided through evasion (the use of ‘softness’) whilst sharp and coordinated attacks (the use of ‘hardness’) are rained down upon the attacker in the direction of their undefended flanks. The counterstrikes hit home exactly with no hesitation. If the opponent changes position or attacking method – the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) moulds their reactions perfectly so the pressure is relentless and never relaxed until the threat has been neutralised. The enemy is peppered with strikes wherever their defensive gaps happen to be! The opponent is overpowered with precision! By observing the interplay of nature (the interaction of ‘hard’ and ‘soft’) the mind becomes ‘still’, ‘reflective’ and ‘expansive’. An aggressive opponent is merely an extension of the natural environment. Observing the natural processes of the environment is the same as observing the natural processes manifesting within an aggressive opponent. Correctly observe the former and the latter will be properly understood. The environment presses forward – the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) practitioner gives way – the environment gives way – and the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) practitioner presses forward! There is a continuous and flowing unity with no disconnect or over exaggeration. ​

Within Okinawa and Japan, the ‘Goju Ryu’ (刚柔流 - Gang Rou Liu) or ‘Hard-Soft’ style of Karate-Do is well-known as being theoretically and practically premised upon the ‘Whooping Crane Fist’ (鸣鹤拳 - Ming He Quan) style! Specifically, the principle that links Goju Ryu Karate-Do to this ‘Whooping Crane Fist - (鸣鹤拳 - Ming He Quan)’ is the theory of ‘刚柔相济’ (Gang Rou Xiang Ji) or the ‘continuous interchange of ‘hard’ and ‘soft’). Indeed, it is obvious that the Goju Ryu style contains Chinese martial arts techniques that are premised upon ‘hard’ and ‘soft’ techniques that unfold in a continuous an orderly manner! Furthermore, it is clear that the ‘Katas’ and ‘Basic’ techniques contained within Goju Ryu are clearly derived from the ‘Whooping Crane Fist - (鸣鹤拳 - Ming He Quan)’ martial system. Given that the Whooping Crane Fist - (鸣鹤拳 - Ming He Quan)’ originates within the ‘Crane Nest Temple’ (鹤巢寺 - He Chao Si) which is situated in the Gaogai Mountain area of the Cangshan District, located to the South of Fuzhou City, Fujian Province. ​

Chinese Language Article: 

https://web-archive-org.translate.goog/web/20131009234332/http://gojuryukarate.cn/showart.asp?art_id=27&_x_tr_sl=zh-TW&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc 

空手道刚柔流源于鹤巢寺 

据福州史志专家林伟功先生考证并经权威部门确认，“刚柔流”的创立者东恩纳宽量在清朝光绪年间，曾到福州拜鸣鹤拳宗师谢如如为师，学艺三年，返日后将鸣鹤拳的拳法加以创新发展，创立了空手道最大流派“刚柔流”。日本武术界近年来曾多次组团来榕寻根认祖，有力地促进了中日之间经济和文化的交流。 

据有关资料和民间调查表明，这种渊源关系还可追溯到更早。福州鸣鹤拳的创立者谢如如曾师从罗汉拳名师“盘屿八”——林达崇，后来他又观察鹤的活动姿势，从中得到启发而创立鸣鹤拳。鹤拳是南拳百花中的一枝。它经过历代武术前辈的实践和总结，又有所创新和发展，流传至今已演变为“宗鹤”(即宿鹤)、“鸣鹤”、“飞鹤”、“食鹤”(即朝鹤、又名痹鹤)四大鹤拳。据调查，“盘屿八”原名林达崇，福州市郊仓山区盘屿乡人(今红星农场)，因在同辈叔伯兄弟里排行第八，声名远播后被外乡人称为“盘屿八”。他年轻时拜仓山区高盖山鹤巢寺住持清定和尚为师，学少林罗汉拳。清定和尚据说是泉州人氏，拳术高超，兼擅骨伤医术，在山寺住持之余，常在福州至湾边要道上的白鹭岭挂单行医。师徒住处相距步行不到30分钟的路程，相互交往十分亲密。林达崇深得乃师真传，武艺高强，膂力惊人。相传其兄建房时，一块要多人才抬得动的六七百斤重的长廊石，他夹在腋下奔走如飞。迄今仍留存着当年因他太高放下而断为两半的一块长廊石。他嗜酒海量，能喝一坛米酒而不醉。冬日里下着雪，他只穿一件薄衣，也不畏冷。 

关于林达崇与 别人较量的事例尚不多见，民间只盛传他的一件轶事：某日他到凤岗里山东岭作客，因亲戚与透浦村民的小纠纷而直言，遭透浦大批人马的持械围殴。他赤手空拳打倒多人，最后见寡不敌众就从对方阵中抓过两人却挡在身前，结果他只背部受棍伤，而那两人却被己方的棍棒打得奄奄一息。透浦人把伤员送赴白鹭岭清定和尚诊 所，清定和尚一看便知是他的高徒所为。返寺时先到林达崇家通知其家人，要达崇连夜上山找他疗伤。达崇天黑到家闻讯，知道瞒不过师父，只好遵命连夜上山听从师父安排，由此可见其师徒关系密切和相知的程度。 

林达崇逝 世后，子裔尚绵延五六代人，到抗日战争时绝嗣，今仅余侄辈继嗣。其拳谱惜在文革中散佚。其墓原在高盖山南麓的龙阜，因建机场，后迁至鹤巢寺附近的山头，墓地和墓碑尚存。高盖山鹤巢寺位于高盖山西段南坡的山谷里，文革中被毁。1985年，乡人多方集资重建，现初见规模，由76岁林妙修老尼主持该寺。�ジ吒巧� 鹤巢寺先前寺周围白鹤甚多，故以“鹤巢”为名，寺里亦以鹤形石为主要象征。谢如如在创立鸣鹤拳之前，是否到过师祖的鹤巢寺，从中得到启发和教益?清定和尚 是否确为泉州人氏?与相传毁于清初的泉州南少林寺是否有什么渊源关系?这些问题值得我们深入研究。倘能探寻清楚，将对弘扬福州乡土文化起到促进作用，并对 中外经济文化交流产生积极的作用。  

空手道“刚柔流”曾组团来福州鹤巢寺认祖归宗。据查，泉州南少林寺在清初毁于官府围剿，寺内僧侣流离失所，少林四武僧铁杖、铁鞋、铁柄、铁珠亦在其中。四僧之一的铁珠身怀龙桩(龙拳)和罗汉拳逃到福建福州，故龙拳和罗汉拳也随之传到福州。铁珠和尚避难至福州市仓山区高盖山的鹤巢寺里，后将罗汉拳传给寺里的僧人，也传给了清定和尚，清定又传授给爱徒林达崇。我的姐夫林根土(盘屿乡人)是林达崇的后裔，他将该拳法传给了我。而谢如如曾向林达崇学罗汉拳，后受到白鹤衔理羽毛形态的启发而创鸣鹤拳。因白鹤善用翅抖弹，常发声，以声助力，故有“鸣鹤”之称。 

东恩纳宽量受了鸣鹤拳刚柔相济的启发，创立了日本空手道的最大流派“刚柔流”。鸣鹤拳拳论中云“刚柔相济定心神”。一种拳法只有刚劲是不行 的，只有柔劲也不行，必须刚柔俱备，刚柔相济。鸣鹤拳拳诀云：“鹤法全靠摇宗手”。鸣鹤拳中手法和身法的变化方式称为摇，摇为柔；内身发出一种极其刚强有 力弹劲谓之宗，宗为刚。刚柔相济是为正宗　在技击上过刚的手法称为硬手或坏手，过柔的手法称为软手。从攻防上来说，过刚易被柔克，过柔易被刚制。在刚柔之间要求做到刚而不僵，柔而不软，劲力透达。 
​
柔应不松、不软、活泼不滞、变化万千，即鸣鹤拳所要求的“摇”。能做到这一点，那么在技击时就能“触即变、发如箭”，当你一接触到攻击时，就 应善于观察其攻势，即时变化自己的手法击败对方，“吞吐浮沉君须记，刚柔相济定心神”，日本空手道的最大流派“刚柔流”即取鸣鹤拳的“刚柔相济”之拳诀而 享誉日本武术界。而“刚柔流”的不少招式、手法，还明显带有鸣鹤拳的痕迹，所以说日本空手道的“刚柔流”源出于福建省福州市南郊仓山区高盖山的鹤巢寺。 
 ​

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: 
​
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: 
​
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.   
​
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。 
​
2009年12月23日 ​

Dear Tony

Fuzhou Wushu Association - Ryu Ryu Ko
https://web-archive-org.translate.goog/web/20131009234332/http://gojuryukarate.cn/showart.asp?art_id=27&_x_tr_sl=zh-TW&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

The above 2009 article is published by the Fuzhou Wushu Association - and explores the lineage history associated with Ryu Ryu Ko. This research states that Ryu Ryu Ko trained with a famous teacher popularly known as 'Pan Yu Ba' (盘屿八) - but who was originally called 'Lin Dachong' (林达崇). Lin Dachong was from 'Pan Yu' Township situated in the Cangshan District of Fuzhou - and as he was ranked eighth amongst his uncles and brothers sharing the same generation - the above nickname developed! Pan Yu Ba was a renowned Master of the 'Luohan Fist' (罗汉拳 - Luo Han Quan) - also known as 'Arahant Boxing'. Pan Yu Ba was a disciple of  the Buddhist monk named 'Qingding' (清定). Master Qingding was originally from the Quanzhou area of Fujian and is assumed to have trained in the Southern Shaolin Temple located near the famous maritime port. After completing his training, Master Qingding moved to the 'Crane's Nest Temple' (鹤巢寺 - He Chao Si), situated in the Cangshan District of the Gaogai Mountains in Fuzhou - where he became the 'Head Monk'. Master Qingding was famous for his skill in practicing 'Shaolin Arahant Fist' (少林罗汉拳 - Shao Lin Luo Han Quan). Master Qingding taught this Shaolin style to his disciple 'Pan Yu Ba', who in-turn taught it to his disciple 'Ryu Ryu Ko'. This process is thought to have unfolded prior to Ryu Ryu Ko developing White Crane Boxing - and in many ways served as a foundation to this important, later development. Therefore, according to the available information - there is a link between the Southern Shaolin Temple in Quanzhou and Ryu Ryu Ko - via Master Qingding and his disciple Pan Yu Ba!


Best Wishes


Adrian

Master Hai Deng was originally just an unknown poor monk. Because of a coincidence, it seems that he became famous overnight and a household name. He became a heroic figure that people talked about. This all started with a news documentary called "Sichuan Unusual Events Record" (四川奇趣录 - Si Chuan Qi Qu Lu). It reported that in 1979, the Great Wall Film Company of Hong Kong and Emei Film Studio were preparing to jointly shoot a large-scale news documentary about unusual people from Sichuan. When the film crew was shooting at Baoguang (宝光 ) Ch’an Temple, a famous temple in western Sichuan, they heard that a martial arts-practicing monk - named ‘Hai Deng’ - lived in seclusion in the mountains of Jiangyou, spending his days and nights deep within seated meditation. After searching the remote areas, they eventually found Master Hai Deng on the mountainside near Chonghua Town, Jiangyou County.  ​

Master Hai Deng lived in a simple hut built on the mountainside. Although the thatched hermitage is simple - it has a very Ch’an-like name -"Benyuan Jingshe" (本愿精舍) - or ‘Source of the Will Abode’. This name was devised by Master Hai Deng himself. The interior space of the hut is very low, narrow and small. The only items inside are a meditation stool with a mosquito net, a small stove for cooking, a dining table, and a few bowls and chopsticks. Why is there no bed? It turned out that in order to pursue the true meaning of Buddhism and martial arts, Master Hai Deng did not sleep in a bed for decades, and sat upright in meditation at night. From this point of view, Master Hai Deng can be regarded as a generation of Buddhist monastics truly living outside the world.  ​

Master Hai Deng was invited to the Baoguang Temple to take part in the filming of the TV show. When he finished performing martial arts, this esteemed, elderly monk granted interviews with the monks and the local martial arts-loving young people associated with Baoguang Temple – who asked his advice about meditation and self-defence practice. He was devoted to teaching, and he was not fatigued in anyway despite his age - and was able to write poems on the spot.  If Master Hai Deng's posthumous work "Shaolin Cloud Water Poem Collection" (少林云水诗集  - Shao Lin Yun Shui Shi Ji) is examined, his improvised "Ten Poems of Baoguang Temple" are included, the construction style of which is considered quite high. The term ‘云水’ (Yun Shui) or ‘Coud Water’) is a term used to refer to a Buddhist monastic who wanders from place to place – like a leaf blowing in the wind – or a drop of water falling like rain. (Translator: See Hexagram 56 ‘旅’ (Lu) of the ‘Classic of Change’ (Yijing) - the ‘Wanderer’ to explain this situation). ​

After the release of “Sichuan Unusual Events Record", Master Hai Deng's reputation gradually became apparent. In 1982, the head monk of Shaolin Temple - Shi Xingzheng (释行正) - sent a monk to Sichuan to study at the Buddhist Academy. Since Master Hai Deng had visited the Shaolin Temple several times before, Shi Xingzheng decided to personally visit the ‘Source of the Will Abode’ to pay a return visit to Master Hai Deng. Whilst discussing Ch’an, Master Hai Deng expressed the intention of going to Shaolin and formally becoming a humble ‘Disciple’ of the famous temple. What can Shi Xingzheng say? He could only welcome such a visit. Master Hai Deng took six disciples and went to Shaolin to live and study with them for a time. Many of the Shaolin monks thought it a happy occasion to meet with Master Hai Deng – a Ch’an monk who seemed to have come from another (earlier) time! In 1983, the movie "Shaolin Temple" starring Jet Li was very popular. "Shaolin martial arts" immediately became a cultural heritage sought after and admired by the people. ​

In November 1982, Xiao Dingpei (肖定沛) - a disciple of Master Hai Deng - wrote an article about Master Hai Deng practicing Ch’an in the Shaolin Temple, and had it published. Outsiders did not know that Master Hai Deng was only a visiting ‘Disciple’ of the Shaolin Temple. This misunderstanding was compounded by the fact that many had seen Master Hai Deng perform three extraordinary qigong exercised in the “Sichuan Unusual Events Record" documentary – and mistakenly believed he had learned these abilities at the Shaolin Temple! This led to the further confusion that Master Hai Deng was a Ch’an monk ordained at the Shaolin Temple (he was not) and that his martial arts skills were learned at the Shaolin (they were not). It has to be made clear that Master Hai Deng never personally claimed any of this and was usually the last to hear about each rumour! ​

Furthermore, a well-known author concocted a biography of Master Hai Deng – which described him as a Shaolin monk – and even that he was the ‘Head Monk’ (Abbot) of the Shaolin Temple! Then, in 1983, the Beijing Evening News added to the flames, serializing this so-called ‘biography’ of Master Hai Deng Master! Master Hai Deng was said to have only ‘reluctantly’ taken the post of Shaolin Abbot whilst he became the focus of media attention. Master Hai Deng was also invited to attend the 2nd Spring Festival Gala held by CCTV in 1984, where he performed qigong stunts. In 1984, the Central News Film Studio found Master Hai Deng and produced the documentary "Dharma Master Hai Deng of Shaolin" (少林海灯法师 - Shao Lin Hai Deng Fa Shi). . ​

Needless to say, this film was a big success. The photography team was very excited and decided to continue to encourage others to organize the staff to write a script about the legendary life of Master Hai Deng! Unwilling to be left behind, CCTV quickly joined forces with the Chengdu Foreign Affairs Office and invited Master Hai Deng and his disciples - Fan Yinglian (范应莲), Li Xingyou (李兴友) and others to shoot the TV series "Buddhist Careers" (佛门生涯 - Fo Men Sheng Ya). With all this publicity, Master Hai Deng became a defacto Shalin monk, Shaolin Dharma-Master and Shaolin martial arts expert! As he was quiet and humble, he did not take any notice of what was happening in the outside world – but merely ‘responded’ to circumstances as matters arose, He neither confirmed nor denied all the rumours but remain detached from it all. Although sometimes criticised for this ‘silence’ in the face of this disinformation, Master Hai Deng’s behaviour was ‘correct’ from a monastic point of view, as he remained ‘non-attached’ from the ignorance of others and never made any false claims about his own history or abilities.  ​

In 1985, he accompanied a Chinese film delegation when visiting the United States, setting off a wave of "Shaolin martial arts euphoria" in throughout America; he was also invited to teach the Dharma in the City of Ten Thousand Buddhas in the USA... In the meantime, the Shaolin Temple monk - Shi Xingzheng - expressed his dissatisfaction at these developments. This view was supported in many areas around Dengfeng County, where the Shaolin Temple is located in Henan. The Shaolin Temple emphasises the Cao Dong lineage and is very strict. Only a few hundred men are chosen as fully ordained Shaolin monks at any one time, and they must go through a vigorous selection process far more difficult than anything hinted at in the movies! The Shaolin colleges surrounding the Shaolin Temple are places for sharing a certain strata of Shaolin Ch’an and martial arts knowledge – and are not considered the Shaolin Temple proper. There is a clear distinction. Master Hai Deng was not an ordained Shaolin monk of the Shaolin Temple – although he had been allowed to worship in the temple grounds – and he had not learned the ‘inner’ martial arts of the Shaolin Temple. The rumours suggested that he had – and herein lies all the subsequent trouble! ​

Due to all the confusion and trouble caused by these misunderstandings, the Education Department of the Dengfeng County Party Committee issued a statement that according to their records - Master Hai Deng is not the ‘Head Monk’ (Abbot) of Shaolin Temple. This was handed to the Head of the Chinese Buddhist Association - Zhao Puchu (赵朴初) – for clarification (just in case the government records were out of date or otherwise incorrect). Chairman Zhao Puchu wrote a reply on December 16th, 1985. His evaluation of Master Hai Deng in the letter is very objective. There are three main points: first, Master Hai Deng is a highly respected and fully ordained Ch’an Buddhist monk from Sichuan and is the Director of the Chinese Buddhist Association; second, Master Hai Deng is a genuine Master of martial arts; third, the news media's publicity is disrespectful and misleading. The solution proposed by Zhao Puchu is to understand the misleading propaganda, and correct it over-time through education. In this way the mistaken views will come to an end. 　　​

Although a statement was issued stating that Master Hai Deng was not the ‘Head Monk’ (Abbot) of the of Shaolin Temple – this fact did not affect his continued “popularity”. In 1986, he was invited to the Shanghai Armed Police Command School to instruct students in the practice of martial arts; He was hired as the general instructor of the PLA Scouts martial arts training team; in 1987, he participated in 20 episodes of the TV series "Dharma Master Hai Deng" filmed by Sichuan TV; In 1988 he settled in the ‘Martial Arts Dharma-Hall Dedicated to Master Hai Deng’ built for him in Jiangyou... But in January 1989, he fell ill and passed away. The ashes of Master Hai Deng were not yet cold when a reporter from Sichuan Daily – named ‘Jing Mou’ (敬某) , published a long report in Beijing’s "Reportage" magazine and Hainan’s "Gold Island" magazine. This article was highly disrespectful and wrongly claimed that Master Hai Deng was a ‘Liar’ and a ‘trickster’ who lived a life of only ‘making money’ out of those he fooled! ​

Fan Yinglian - a disciple of Master Hai Deng- took Jing Mou to Court in August 1989 for “infringement of reputation”. After investigation, it was found that Master Hai Deng followed the Vinaya Discipline carefully lived a very hard life – this pure and virtuous lifestyle was fully maintained even after he became famous throughout the country. All the offerings sent to him by sincere believers were immediately donated to the local temples and hospitals, and there was nothing left for him personally. However, one of the filmmakers of the "Sichuan Unusual Events Record" documentary came forward and revealed that Master Hai Deng was suspected of cheating when performing the one-finger Ch’an hand-stand where is legs were suspended from the rafters by cloth straps. As a result, the people were in an uproar, and Master Hai Deng’s personal reputation collapsed and he became the object of criticism. Master Hai Deng became both a comedy and a tragedy. ​

He was originally a poor monk who had left the world of dust, and was without power and money. The reason why he became a "god" was because of the wishful thinking superstitious attitudes of the people who held him up as something he was not; the reason why he was made a "demon" was also because of the same people who had become angry when they discovered their own stupidity in this matter. However, in all fairness, abandoning the dramatic changes in the last ten years of Master Hai Deng’s life, let’s just look at the majority of his life previous to his fame. He did indeed live a legendary life. He was an eminent monk who integrated Buddhism, martial arts, medicine, and literature. All these great achievements are ‘true’ and represent far more than most people achieve in a single life-time. The most commendable thing is that in the last ten years of his life, although he was praised as a god by the people, he could still maintain a hard life of pure and virtuous self-cultivation. He never once broke the monastic rules or abandoned the Vinaya Discipline.  ​

These observations alone deserve the respect of future generations. Of course, the most controversial aspects of Master Hai Deng are of two aspects: 1. Is his Dharma Correct? 2. Is his martial arts authentic? First, is the Dharma of Master Hai Deng correct? Old Tan (老覃 - Lao Tan)  thinks it was very high. Furthermore, Master Hai Deng was a disciple of Great Master Master Xu Yun (虚云大师 - Xu Yun Da Shi) [1840-1959] - the ‘True Dharma-Eye of this Generation’! Old Tan added here, that Master Xu Yun was one of the first people who advocated the establishment of the Chinese Buddhist Association. He later became the first honorary president. Master Hai Deng visited Master Xuyun at Zhenru Temple in Yunju Mountain, Jiangxi, and was appreciated by Master Xu Yun. He soon became the ‘Head Monk’ (Abbot) of the Zhenru Temple, with Master Hai Deng being considered an expert lecturer on the the Shurangama Sutra, the Lotus Sutra and so on, by Master Xu Yun. Master Hai Deng was certainly of a generation of very highly accomplished and virtuous Buddhist monks! 　  ​

Was Master Hai Deng's martial arts of a high quality? Lao Tan again believes that Master Hai Deng was a very great martial arts master! This being the case, then how should we view his legs being suspended from the roof when performing his famous hand-stand? Well, it is to be expected as the Master was 80-years-old at the time! The fact that he could do any of these stunts is truly remarkable! How many 80-year-olds could be turned upside down and suspend their bodyweight on one or two-fingers? Hardly any! Furthermore, Master Hai Deng explained to the film crew that at his advanced age he could not perform the stunts of his youth – but that he had taught his disciples how to do these qigong movements. However, the film crew continued with their disrespectful attitudes and behaviour and literally ‘forced’ Master Hai Deng into performing the stunt himself – and as they wanted him to ‘hold’ the posture for far-longer than was normal – it was their idea that his legs be suspended to the rafters by strips of cloth! Ironically, the head of the film-crew who abused Master Hai Deng in this manner even came forward years later in an attempt to make money by falsely accusing Master Hai Deng of suspending his own legs! According to people who were there – Master Hai Deng was still able to assume the hand-stand on his own prior to his feet being secured to increase the length of time of the demonstration. This is despite the fact that as people naturally age their energy levels change and increase in their profundity and depth. Master ‘turn inward’ and abandon the world of dust! ​

Chinese Language Article: 
https://www.163.com/dy/article/GE4SU6PD0536UESH.html ​

Dear Nick

A very interesting (internal) Longfist Form! Master Zhao Ming Wang forwarded this video of a Qianfeng Disciple. This is a traditional mode of practice just like our own in the Ch’an Dao School. Of course, what follows is not a discussion on the movements perse, but rather the manner in which these movements are performed. Developed insight and seasoned will-power is a matter of a good and fully-rounded ‘intent’. This is the exact opposite to what is expected in the training and technique designed found in the ‘audience-pleasing’ practicing for sport. For sporting purposes - the movements are speeded-up for dramatic effect.  ​

This changes the leg use, balance and coordination. Sporting forms are practiced 'top down' which is good for audience entertainment but sacrifices a good and effective 'root'. Proper (traditional) form training for fighting is practiced 'ground up' (like the building of a hexagram in the Book of Changes) and unfolds like an arrow fired from a bow (or a bamboo stick stuck firmly in the ground - which is pulled back and suddenly 'released'). Sporting forms push the generated power downwards whilst simultaneously denying any strong or stable leg structure for 'rooting' - so that its is wasted and dissipates into the air without effect. Traditional forms - such as seen here - generate the power from a firm and stable base and then radiate that power upwards and outwards in all directions.  ​

The 'shape' or 'technique' chosen or assumed (such as a lead straight punch front and back - or a front-kick and a palm-block, etc) - harness and directs this generated power, into a focused emission suitable for a particular self-defence requirement (expressing 'stopping-power'). Although practicing forms at lightning speed is good every now and again (whilst retaining the 'root'), it is better to practice like the practitioner in this video so as to continuously perfect the 'foundation' - as each repetition removes a layer of doubt in one's ability (from the mind and body). As the body ages, this type of 'internal' exercise ensures a constant standard of practice as the physical processes and psychological perception both mature.  ​

Notice how the drop-down stances are not as deep as those found in Taijiquan to facilitate a smooth interaction of the movements. These Longfist forms possess drop-down stances that can be performed ‘deep’, ‘moderate’ (as seen here), or ‘high’ for various adaptions of training. Each type of low-stance must be perfected by the Longfist practitioner as a preparation for the different requirements of all-round self-defence. It is best to master the low-stances when young so that this ability can be retained and applied to the body as it ages.  ​