Traditional Chinese Internal Martial Arts Have Mastered 'Rotating Hands' for Thousands of Years!
The ‘Tensho’ kata is written in Japanese script as ‘転掌’. At first glance, these Japanese language ideograms look similar to Chinese language ideograms but are slightly out of context. This is because these are written as ‘Shinjitai’ (新字体) or ‘New Character Form’ ideograms developed in Japan during the post-1946 period. They are ‘simplified’ versions of traditional Chinese ideograms altered in Japan for the exclusive use within Japanese culture. These alterations of traditional Chinese ideograms are not recognized within Mainland China (which has pursued its own ‘simplified’ ideogram development). This suggests that prior to the 1930s (and Japan’s aggressive war against China) the term ‘Tensho’ may well have been written using recognizable traditional Chinese ideograms. As matters stand, the Japanese term ‘転掌’ (Ten Sho) can be translated as:
転 (Ten) = Rotating, Turning, Moving, Shifting and Transition.
掌 (Sho) - Palm (or ‘Flat’ of the Hand), Control, Rule and Manipulate.
When read together, these two Japanese ideograms suggest a ‘continuous and expert manipulation of the (transitioning) open hand with fingers extended and palm exposed’. How would these two Japanese ideograms read in traditional Chinese ideograms? Probably something like this:
‘轉掌’ (zhuan3 zhang3)
轉 (Zhuan) = Turn, Revolve, Wind, Entwine, Envelope, Encircle, Shift, Alter, Change, Seize Victory (from Defeat), Return, Contemplate (Turn-Over in the Mind), Mediate, Reconcile, Wave, Flutter, Divert, Transfer, Evade, Avoid, Support, Abandon, Leave, Arrive and Utter a Spell, etc.
掌 (Zhang) = Palm (of the Hand), Finger, Extended Fingers, Sole of the Foot, Slap, Hold, Grip (Close Fingers), Control, Support and Hold.
It is clear that the Japanese transliteration process has simplified by removing essential and very important (Chinese) cultural data and information contained within the original Chinese language ideograms. This means that part of the intended ‘Chinese’ meaning conveyed in the original Chinese martial arts sequences is now ‘missing’ in the titles – where once it was included and obvious. Although the second ideogram ‘掌’ is identical in both examples – the Japanese interpretation is obviously deficient and lacking important meaning – such as the requirement for an equal emphasis being implied for the use of the hands and feet. Whatever advanced and mysterious implications are intended with the hand movements of ‘Tensho’ - exactly the same meaning is intended for the use of the feet! Perhaps the greatest deficiency of meaning lies in the difference between the Chinese ‘轉’ (Zhuan) and the Japanese ‘転’ (Ten)!
The Chinese ideogram ‘轉’ (Zhuan) is comprised of the left-hand particle ‘車’ (che1) - which is an ancient carriage (or 'chariot') pulled by a set of horses (introduced into China around 1200 BCE or earlier). This was a relatively stable platform for travel, transportation of goods and as a mobile fighting platform during war. The Wheels operate by moving around and around so that the carriage and contents are transferred from one place to another according to the intent of the driver and wishes of the passengers. The horses are attached to the carriage by various ropes, straps and reins so that the driver can control them whether they move, stop or turn, etc. Sometimes, the horses are controlled by a driver who sits upon one of the leading horses and controls the movement by the ‘grip’ of his legs around the horse’s sides, etc. Usually, the platform not only has four walls and a roof – but the entire structure is covered by a large umbrella which protects the occupants, drivers and guards, etc, from the sun, wind and rain. Expert control and the ability to suddenly change direction, stop or retreat quickly is implied by this particle, which is obviously ‘martial’ in essence. The right-hand particle is ‘專’ (zhuan3) which represents the actions of an ‘expert’ who uses his or her hands to good effect. This is because the top element of this particle is ‘叀’ (zhuan1) - which represents a ‘spindle’ that is expertly controlled and directed by a human hand – this hand is represented by the bottom element of this particle as ‘寸’ (cun4). This is a drop-spindle which must be expertly controlled by the human-hand as it turns and spins – creating thread, yarn or wool, etc. Therefore, ‘轉’ (Zhuan) suggests an expert martial ability that transforms the mind, body and spirt, whilst the practitioner carefully masters the art of timing, positioning, moving and prediction, etc. All of this ability involves the mind, body and spirit, but is achieved through the expert coordination of the hands (which are emphasized) and the feet (which are foundational).
Although the Japanese ideogram of ‘転’ (Ten) retains the left-hand particle of the ‘carriage’ (or 'chariot') with ‘車’ (che1) suggesting a continuous turning motion - the right-hand particle is completely altered and now stands as ‘云‘ (yun2)! Within ancient Chinese language usage this usually refers to a human mouth expressing various vocalizations which generate ‘clouds’ of water vapor around (and next to) the head that speaks! Indeed, within modern Chinese language usage, ‘云‘ (yun2 is a simplified way of referring to a ‘cloud’. Therefore, this suggests that ‘転’ (Ten) as used in the Japanese language interpretation - ‘changes’ - the intended (and original) Chinese language ideogram of ‘轉’ (Zhuan).
Original Chinese Language Meaning:
‘轉’ (Zhuan) = A continuously spinning, dropping and rotating spindle device is expertly ‘controlled’ by exact movements of the human hand.
Altered Japanese Language Meaning:
‘転’ (Ten) = A moving (turning) object generates ‘speech’ and ‘clouds’ of water vapor!
Although the second ideogram ‘掌 is identical within both Japanese and Chinese usage, the meaning does vary between cultures.
Original Chinese Language Meaning:
掌 (Zhang) = Palm (of the Hand), Finger, Extended Fingers, Sole of the Foot, Slap, Hold, Grip (Close Fingers), Control, Support and Hold.
Altered Japanese Language Meaning:
掌 (Sho) - Palm (or ‘Flat’ of the Hand), Control, Rule and Manipulate.
When all this analysis is combined together, the academic and intellectual implications should be clear and assist the modern martial artist understand the intended meaning behind the ancient Chinese martial arts systems and their diverse training methods, techniques training regimes, etc. Furthermore, it must be understood that the ancient Chinese scholar believed that the sheer act of ‘writing’ was a mystical undertaking whereby ‘exact’ words with ‘precise’ meanings were carefully chosen when the highly important compiling of ‘lists’ was undertaken within the Imperial Court and elsewhere. A ‘list’ once written was believed to possess the legal and moral power to bring physical (and spiritual) order throughout the world! The same methodology was used for the compiling of written lists pertaining to martial arts practice and preservation. This is why it is important to know and understand the original ‘Chinese’ language meaning and interpretation of all the martial arts terms that are practiced. This process ensures a precise and pristine transmission and assists the current generation to correctly understand the wealth of doctrinal information that is being communicated which has been gathered over the centuries in wartime and in peace!
Original Chinese Language Meaning:
‘轉掌’ (Zhuan Zhang) = Within the Chinese cultural milieu, this ‘Form’ would be known as ‘Zhuan Zhuang’ - and probably understood to mean something like ‘Continuous Transitioning and Transcending Open Hands – Coordinating the Palm, Fingers and Soles of the Feet whilst Controlling the Opponent’. This may seem overly long – but from the sheer weight of intended meaning contained in the two relevant Chinese language ideograms – this is as compact as I can make it. Indeed, I find this compromise to be embarrassingly ‘short’.
Altered Japanese Language Meaning:
‘転掌’ (Tensho) - although often translated as ‘Rotating Hands’ - the Japanese language ideograms certainly do not say (or suggest) just this idea. A rotating device vocalizes as it breathes in and out – so that the open hands can turn in any direction. What might be happening here, is that the Japanese Masters took-out the particle pertaining to a ‘hand-spinning’ device (which signifies mastery of a handicraft) and replaced it with a particle suggesting ‘breathing’. As the second ideogram already suggests that an ‘open hand’ or ‘palm’ is to be used – the Japanese Masters may have thought that the particle denoting the ‘drop-spin’ device could be removed without any great loss and a particle added that suggests that this kata involves a very special form of breathing. Even so – the original Chinese language meaning does not pay any attention to the required breathing but focuses instead only upon physical aspects and the innate level of mind-body skill that is required to master this kata. Breathing is an issue passed in person from Master to Disciple - and is often dealt with in any number of Daoist Qigong or Daoyin manuals. After-all, circulating the prenatal breath in both its micro and macro-orbits is not a great secret anymore – not even in the West!
転 (Ten) = Rotating, Turning, Moving, Shifting and Transition.
掌 (Sho) - Palm (or ‘Flat’ of the Hand), Control, Rule and Manipulate.
When read together, these two Japanese ideograms suggest a ‘continuous and expert manipulation of the (transitioning) open hand with fingers extended and palm exposed’. How would these two Japanese ideograms read in traditional Chinese ideograms? Probably something like this:
‘轉掌’ (zhuan3 zhang3)
轉 (Zhuan) = Turn, Revolve, Wind, Entwine, Envelope, Encircle, Shift, Alter, Change, Seize Victory (from Defeat), Return, Contemplate (Turn-Over in the Mind), Mediate, Reconcile, Wave, Flutter, Divert, Transfer, Evade, Avoid, Support, Abandon, Leave, Arrive and Utter a Spell, etc.
掌 (Zhang) = Palm (of the Hand), Finger, Extended Fingers, Sole of the Foot, Slap, Hold, Grip (Close Fingers), Control, Support and Hold.
It is clear that the Japanese transliteration process has simplified by removing essential and very important (Chinese) cultural data and information contained within the original Chinese language ideograms. This means that part of the intended ‘Chinese’ meaning conveyed in the original Chinese martial arts sequences is now ‘missing’ in the titles – where once it was included and obvious. Although the second ideogram ‘掌’ is identical in both examples – the Japanese interpretation is obviously deficient and lacking important meaning – such as the requirement for an equal emphasis being implied for the use of the hands and feet. Whatever advanced and mysterious implications are intended with the hand movements of ‘Tensho’ - exactly the same meaning is intended for the use of the feet! Perhaps the greatest deficiency of meaning lies in the difference between the Chinese ‘轉’ (Zhuan) and the Japanese ‘転’ (Ten)!
The Chinese ideogram ‘轉’ (Zhuan) is comprised of the left-hand particle ‘車’ (che1) - which is an ancient carriage (or 'chariot') pulled by a set of horses (introduced into China around 1200 BCE or earlier). This was a relatively stable platform for travel, transportation of goods and as a mobile fighting platform during war. The Wheels operate by moving around and around so that the carriage and contents are transferred from one place to another according to the intent of the driver and wishes of the passengers. The horses are attached to the carriage by various ropes, straps and reins so that the driver can control them whether they move, stop or turn, etc. Sometimes, the horses are controlled by a driver who sits upon one of the leading horses and controls the movement by the ‘grip’ of his legs around the horse’s sides, etc. Usually, the platform not only has four walls and a roof – but the entire structure is covered by a large umbrella which protects the occupants, drivers and guards, etc, from the sun, wind and rain. Expert control and the ability to suddenly change direction, stop or retreat quickly is implied by this particle, which is obviously ‘martial’ in essence. The right-hand particle is ‘專’ (zhuan3) which represents the actions of an ‘expert’ who uses his or her hands to good effect. This is because the top element of this particle is ‘叀’ (zhuan1) - which represents a ‘spindle’ that is expertly controlled and directed by a human hand – this hand is represented by the bottom element of this particle as ‘寸’ (cun4). This is a drop-spindle which must be expertly controlled by the human-hand as it turns and spins – creating thread, yarn or wool, etc. Therefore, ‘轉’ (Zhuan) suggests an expert martial ability that transforms the mind, body and spirt, whilst the practitioner carefully masters the art of timing, positioning, moving and prediction, etc. All of this ability involves the mind, body and spirit, but is achieved through the expert coordination of the hands (which are emphasized) and the feet (which are foundational).
Although the Japanese ideogram of ‘転’ (Ten) retains the left-hand particle of the ‘carriage’ (or 'chariot') with ‘車’ (che1) suggesting a continuous turning motion - the right-hand particle is completely altered and now stands as ‘云‘ (yun2)! Within ancient Chinese language usage this usually refers to a human mouth expressing various vocalizations which generate ‘clouds’ of water vapor around (and next to) the head that speaks! Indeed, within modern Chinese language usage, ‘云‘ (yun2 is a simplified way of referring to a ‘cloud’. Therefore, this suggests that ‘転’ (Ten) as used in the Japanese language interpretation - ‘changes’ - the intended (and original) Chinese language ideogram of ‘轉’ (Zhuan).
Original Chinese Language Meaning:
‘轉’ (Zhuan) = A continuously spinning, dropping and rotating spindle device is expertly ‘controlled’ by exact movements of the human hand.
Altered Japanese Language Meaning:
‘転’ (Ten) = A moving (turning) object generates ‘speech’ and ‘clouds’ of water vapor!
Although the second ideogram ‘掌 is identical within both Japanese and Chinese usage, the meaning does vary between cultures.
Original Chinese Language Meaning:
掌 (Zhang) = Palm (of the Hand), Finger, Extended Fingers, Sole of the Foot, Slap, Hold, Grip (Close Fingers), Control, Support and Hold.
Altered Japanese Language Meaning:
掌 (Sho) - Palm (or ‘Flat’ of the Hand), Control, Rule and Manipulate.
When all this analysis is combined together, the academic and intellectual implications should be clear and assist the modern martial artist understand the intended meaning behind the ancient Chinese martial arts systems and their diverse training methods, techniques training regimes, etc. Furthermore, it must be understood that the ancient Chinese scholar believed that the sheer act of ‘writing’ was a mystical undertaking whereby ‘exact’ words with ‘precise’ meanings were carefully chosen when the highly important compiling of ‘lists’ was undertaken within the Imperial Court and elsewhere. A ‘list’ once written was believed to possess the legal and moral power to bring physical (and spiritual) order throughout the world! The same methodology was used for the compiling of written lists pertaining to martial arts practice and preservation. This is why it is important to know and understand the original ‘Chinese’ language meaning and interpretation of all the martial arts terms that are practiced. This process ensures a precise and pristine transmission and assists the current generation to correctly understand the wealth of doctrinal information that is being communicated which has been gathered over the centuries in wartime and in peace!
Original Chinese Language Meaning:
‘轉掌’ (Zhuan Zhang) = Within the Chinese cultural milieu, this ‘Form’ would be known as ‘Zhuan Zhuang’ - and probably understood to mean something like ‘Continuous Transitioning and Transcending Open Hands – Coordinating the Palm, Fingers and Soles of the Feet whilst Controlling the Opponent’. This may seem overly long – but from the sheer weight of intended meaning contained in the two relevant Chinese language ideograms – this is as compact as I can make it. Indeed, I find this compromise to be embarrassingly ‘short’.
Altered Japanese Language Meaning:
‘転掌’ (Tensho) - although often translated as ‘Rotating Hands’ - the Japanese language ideograms certainly do not say (or suggest) just this idea. A rotating device vocalizes as it breathes in and out – so that the open hands can turn in any direction. What might be happening here, is that the Japanese Masters took-out the particle pertaining to a ‘hand-spinning’ device (which signifies mastery of a handicraft) and replaced it with a particle suggesting ‘breathing’. As the second ideogram already suggests that an ‘open hand’ or ‘palm’ is to be used – the Japanese Masters may have thought that the particle denoting the ‘drop-spin’ device could be removed without any great loss and a particle added that suggests that this kata involves a very special form of breathing. Even so – the original Chinese language meaning does not pay any attention to the required breathing but focuses instead only upon physical aspects and the innate level of mind-body skill that is required to master this kata. Breathing is an issue passed in person from Master to Disciple - and is often dealt with in any number of Daoist Qigong or Daoyin manuals. After-all, circulating the prenatal breath in both its micro and macro-orbits is not a great secret anymore – not even in the West!
RSS Feed