picture sifu ari mahmud

picture sifu ari.mahmud in book shaolin

EIGHTEEN ARMS

 

The weapons used by Kung Fu masters originate mainly from ancient military weapons. The Eighteen Arms, the term used to describe Kung Fu Weaponry includes the Sabre, spear, sword, halbert, axe, battle axe, hook, fork, whip, mace, hammer, talon, trident-halberd, cudgel, long-handled spear, short cudgel, stick and meteor hammer. Some weapons are used to fight at a distance, while others at close range. Some are overt where as others are covert. Some are hard while others are soft. Their functions are wide ranging-they beat, kill, hit, shoot and block with cutting blades, hooks, points or pricks. The assortment of Kung Fu weapons has added to the colourful programs of martial arts, and proficiency in Kung Fu involves being skilled in the techniques and usage of the Eighteen-Arms. A brief introduction to the weapons and their individual characteristics follows.

 

FOUR MAJOR WEAPONS

 

The four major weapons - sabre, spear, sword and cudgel - have been widely used by Kung Fu masters since ancient times in different styles of martial arts. They are also the main weapons in current Kung Fu competitions.    

(1) Sword

The sword is called the "gentleman of all weapons". It is the most widely used of all weapons and its influence goes beyond the field of Kung Fu. Every school of Kung Fu uses the sword as the basic weapon for rigorous training. Sword play in China was first seen in sacrificial offerings to gods or ancestors. In the Spring and Autumn Period and during the Warring States 2.000 years ago, sword play became a common practice in society. It is now one of the major competitive events in Kung Fu competition today. Sword play is brisk, agile, elegant, easy, graceful and natural in action. The movements are flexible, as well as variable. Attention is paid to both motion and stillness. Hardness and suppleness supplement each other. So sword play is likened to the "flying phoenix". There are many techniques in sword play. The main techniques include hitting, piercing, pointing, lifting, jumping and leaping, hanging, chopping, floating, poking, sweeping, wrestling, blocking, and wiping. These actions, combined with body movements and footsteps, form various routines of sword play. There are varied styles of sword play routines, handed down from ancient times. The popular ones include Taiji, Wudang, Bodhi-dharma, Longxing, Sancai, Qingping, Baxian (Eight-Immortals), Mantis, Lianhuan, Drunkard and Xingyi. The Chinese Physical Culture and Sports Commission has also worked out new routines for competition
and physical exercises. It is said that the Chinese sword play, although a simple form of play with hand weapons,
has deep ideological connotations. From emperors, high-ranking military officers and ministers to common people,
experts and scholars, the wearing of swords shows them to be a refined person signifying they are cultured and
familiar with the arts. The skill and theory of sword play was perfected and

eventually formed the distinctive "Sword Culture" in China.

(2) Sabre
Sabre is called the marshal of all weapons. It is one pf the most used weapons in Chinese Kung Fu. According to the shape and size, it is divides into short-hilted sabre, twin short-hilted sabre, sabre, nine-ring sabre ( named as nine rings on the handle ), broad sword, long-bladed short-hilted sabre and others.
Sabre play is vigorous and quick in defence and offence so it is likened to the "fierce tiger". The main techniques of sabre play include chopping, hacking, cutting, pricking, lifting, poking, winding, blocking, pushing and knocking. When you have sabre practice, the cooperation between the sabre and the hands is very important and both hands must closely coordinate with each other, so as to maintain balance. Sabre play calls for rigorous training and constant practice. The sabre and the body must also be consistent. "Make sure that sabre is always around your body, and your hands, feet, shoulders, and arms turn together with the sabre". The main routines of sabre play include Panlong (coil dragon), Bagua (eight-diagrams), Qinglong (green dragon), Miao Sabre, Nine-Ring sabre, Liuhe (6 combination), Shaolin Twin sabres, Taiji, Yexing (night travel), Meihua (plum blossom), Drunkard sabre and monkey sabre. In addition, the combination of sabre with other weapons forms many more routines. For example, the play with sabre in one hand and staff in another is

called "sabre play with staff", a favourite exercise for Kung Fu enthusiasts. Sabre play demonstrates hardness

and powerfulness, but not always. In defence and dodging actions, suppleness is needed.

(3) Spear
The spear is called the king of all weapons. It is one of the major long-shaft Kung Fu weapons. There are different types of spear, such as carefully designed and delicately made "flowery spear", thick and bold spear, zigzag spear with a sharp point and blade, double-head spear with blades on both sides. The spear was the major military weapon in ancient times and compact technique was developed. The main characteristics of spear play are flexibility in body movements, lightness and agility in footwork, quickness and steadiness in turns and somersaults. The movements are clear and the tricks are practical. Spear play is likened to the "flying dragon". Spear play is very difficult, but it has a great effect on strengthening the physique.
The basic techniques of spear play include pricking, thrusting, circling, blocking, pointing, poking, holding and wringing. When you practise, you are advised to hold the spear firmly and flexibly, advance and retreat freely and smoothly, pricking the opponent quickly and directly, with the force on the point of the spear. This is one of the important basic skills in spear play. When you hold the spear, it must be close to your waist for support so that you can exert your force easily. In all routines of spear play, the point of the spear moves in a circle, which is regarded as the fundamental of all styles of spear play and requires hard practice. The main routines

include Bagua (eight-diagram), Luihe (6 combination), Double-head, Yueya (crescent), Meihua (plum blossom),

Shewei (snake-tail), Yang family, Siping and Big spear play as well.

(4) Cudgel
The cudgel is called the "father of all weapons" meaning all other weapons were developed from it.
As the cudgel is easy to make and use, and is practical, it has become a very popular weapon.
Cudgel play lays stress on a sweeping action so the saying goes "with a cudgel you sweep all around". Some tricks employed for other weapons (such as spear and sabre) can also be used in cudgel play. there are many methods of playing the cudgel. Among the most commonly used are chopping, swinging, jabbing, hanging, jumping, leaping, smashing, pointing, blocking, sheltering, holding, piercing, floating, carrying, poking and lifting. The different schools of cudgel play have different emphasis. Cudgel is played as quickly as heavy rainfall and cudgel play combines offence with defence, always changing the ways of play. The main routines include Qimei, Shaolin, Panlong (coiled dragon), Jiuzhou (9 continent), Luihe (6 combination), Tianqi, Bhodi-dharma, Monkey and Drunkard. Cudgels are mostly made of wood but some are made of metal. In addition to long cudgels, there are two-section cudgel and three-section cudgel.

Taiji

 

The Chinese characters for Tai Chi Chuan (Taiji Quan) can be translated as the "Supreme Ultimate Force". The notion of "supreme ultimate" is often associated with the Chinese concept of yin yang, the notion that one can see a dynamic duality (male/female, active/passive, dark/light, forceful/yielding, etc.) in all things. "Force" (or, more literally, "fist") can be thought of here as the means or way of achieving this ying yang, or "supreme ultimate" discipline.

 

Because the Tai Chi movements have their origins in the martial arts, practicing them does have some martial applications. In a two person exercise called "push hands" Tai Chi principles are developed in terms of being sensitive to and responsive of another person's "chi" or vital energy. It is also an opportunity to employ some of the martial aspects of Tai Chi in a kind of slow tempo combat. Long-time practitioners of Tai Chi who are so inclined can become very adept at martial arts. The emphasis in Tai Chi is on being able to channel potentially destructive energy (in the form of a kick or a punch) away from one in a manner that will dissipate the energy or send it in a direction where it is no longer a danger.

 

The practical exercises  of Tai Chi are also situated in a wider philosophical context of Taoism. This is a reflective, mystical Chinese tradition first associated with the scholar and mystic Lao Tsu, an older contemporary of Confucius. He wrote and taught in the province of Hunan in the 6th century B.C. and authored the seminal work of Taoism, the Tao Et Change. As a philosophy, Taoism has many elements but fundamentally it espouses a calm, reflective and mystic view of the world steeped in the beauty and tranquillity of nature. Tai Chi also has, particularly amongst eastern practitioners, a long connection with the I Change a Chinese system of divination. There are associations between the 8 basic I Change trig rams plus the five elements of Chinese alchemy (metal, wood, fire, water and earth) with the thirteen basic postures of Tai Chi created by Change Sanding. There are also other associations with the full 64 trig rams of the I Change and other movements in the Tai Chi form.

 

Tai Chi traces its roots back to approximately the second millennium B.C. with the practice of yoga in ancient India. In China yoga came to be developed into what is called Shaolin Chuan ("chuan" briefly, means boxing). In the 13th century A.D. , a Taoist monk by the name of Chang Sang Feng developed what has come to be known as Tai Chi. Subsequently Tai Chi came to be associated with different families in China. These family names came to designate the different styles of Tai Chi. The Tai Chi family or style from which all other current styles or families of Tai Chi developed was the Chen family. A man by the name of Yang, subsequently studied with the Chen family and later modified the Chen style, thus developing the Yang style of Tai Chi Chuan. The Yang style is the most common traditional style of Tai Chi Chuan practiced today. The Yang style has three different forms that are practiced: the simplified form, the short form, and the long form.  

There are many stories about the true origins of Tai Chi, but the one that is generally given the most credibility is the one centered around Chang San-Feng, reputed to be the greatest teacher of the system. Chang San-Feng was described as a wise man, with the "arched back of a tortoise" and the "figure of a crane", signs of great intelligence and character. Chang San-Feng studied the Shaolin arts for about ten years, mastering all the exercises. At age 67, he met a Taoist, Ho-Lung, who taught him the method of being immortal. He practiced for 4 years, with little success, and it was not until he travelled to Wu-Dang Mountain that he finally became aware of the true nature of Taoism.

There are several stories to how he finally came up with Tai Chi. One in particular is while on Wu-Dang

mountain, Chang witnessed a fight between a crane and a snake. Every time the crane spread its wings and attacked, the snake would move slightly to escape the attack, but maintained its usual circular shape. This contest continued, up and down, across the mountain. Through this activity, Chang realized that soft wins over hard, and also recognized the value of circular movement.

 

Qigong

In Chinese philosophy and medicine there exists the concept of "chi" (Qi), a vital force that animates the body. One of the avowed aims of Qigong is to foster the circulation of this "chi" within the body, the belief being that by doing so the health and vitality of the person are enhanced. This "chi" circulates in patterns that are close related to the nervous and vascular system and thus the notion is closely connected with that of the practice of acupuncture and other oriental healing arts.

Another aim of Qigong is to foster a calm and tranquil mind, focused on the precise execution of these exercises. Learning to do them correctly provides a practical avenue for learning about such things as balance, alignment, fine scale motor control, rhythm of movement, the genesis of movement from the body's vital centre, and so on. Many practitioners notice benefits in terms of correcting poor postural, alignment or movement patterns which can contribute to tension or injury. Furthermore the meditative nature of the exercises is calming and relaxing in and of itself.

SIX SHAOLIN BOXING STYLES

 

Shaolin boxing styles are very divers and complex. There are hundreds of different boxing styles, too many for one person to master in his life. These days in modern Martial Arts we see that the student will practise general basics and then will devote himself to one boxing and weapon style. We have chosen the following boxing styles which many people find astonishing and will give detailed information about them.

 

 

Zui Quan ( Drunkard Boxing )

Luohan Quan ( Arhat Boxing )

Tanglang Quan ( Mantis Boxing )

Yingzhao Quan ( Eagle Claw Boxing )

Tantui ( Leg Flicking Boxing )

Xingyi Quan (Form and Meaning Boxing)

 

 

Zui Quan ( Drunkard Boxing ) [top]

In Zui Quan or the drunkard boxing, boxers falter, waddle, fall and sway just like drunkards.
Zui Quan can be used for both fighting and maintaining health. However, the drunkard boxers go out of their way to stress the combative side of their style. They blend a series of movements, actions and skills o f the martial arts and try to confuse their opponents with special skills which often lead them to surprise triumphs.

Execution of the drunkard boxing demands extreme flexibility of the joints as well as suppleness, dexterity, power and coordination all of which can be developed in the course of practice.The main feature of the drunkard boxing is to hide combative hits in drunkard-like, unsteady moveme nts and actions so s to confuse the opponent. The secret of this style of boxing is maintaining a clear mind while giving a drunken appearance.

Drunkard boxers are required to be responsive with good eyesight and fist plays. They move in unconnected steps but with a flexible body combining hardness and suppleness. They have to be fast to get the better of their opponents but their main tactic is to feign defence while trying to attack and aiming in one direction but attacking in another. Various degrees of drunkenness are demonstrated by different ranges of movements and expressions in the eye.

 

 

Luohan Quan ( Arhat Boxing ) [top]
Luohan Quan or the Arhat boxing originated from the Shaolin-style boxing. It has been called the 18-hand tricks of Arhat, which consisted of 18 combating skills and techniques. Along with its 24 movements in advancing and retreating, the Arhat boxing uses six routines of fist plays, two routines of palm plays, one routine of elbow play, four routines of holding and strangle holding, each of which has its own practical value and health-building effect.

The original Luohan Quan was called the 18-form Arhat boxing which was improved and developed through years of practice. It later became the 27-form small Arhat boxing, the 54-form big Arhat boxing and the 108-form Arhat boxing. While practising, Arhat boxers can be as soft as willow twigs, as agile as a smart monkey jumping over a mountain gully, as mighty as a lion, and as powerful as a dragon stirring the sea. According to the practice proverbs of the Arhat boxing, the head of the Arhat boxer is like a wave; hands are like meteorites; the body like a willow twig; footwork is like that of a drunkard; blows are triggered by the mind and power is generated throughout the body. It should be difficult to tell whether the hits are substantial or empty. Free application of the Arhat boxing skills can be achieved through years of practice and exercise.

Luohan Quan was created by monks in the Shaolin Temple from watching and imitating the different forms and expression of the different Arhat statues in the temple, and through meditation. They added to these movements the skills of combat. There are quite a few Arhat boxing masters among the generations of Shaolin monks. The best in the contemporary period was Maestro Miao Xing. Maestro Miao Xing had been called "Gold Arhat". He was a native of Dengfeng in Henan Province and knew the combat skills as well as being fond of literal arts, especially Buddhism. He used to work on his farmland, and chanted Buddhist scriptures and practised martial arts after work. Later he travelled throughout the country and met with many Wushu masters. In this way he mastered the martial arts of different styles of boxing. Several years later, Miao Xing shaved his head to become a monk of the Shaolin Temple but he continued to practise his martial art in his spare-time delving into the skills of combat.

Once he was seen practising his martial art by the abbot of the temple who praised him and taught him the Shaolin style of boxing and cudgel plays. The abbot also taught Miao Xing the Arhat boxing, acupressure touching, joint dislocating, holding and strangle holding, breathing exercises and other Shaolin-style martial arts.

Whenever challengers of the Shaolin martial arts came, the abbot would appoint Miao Xing to meet them and Miao was always the winner, thus earning the respect from among other monks. Eventually Miao was promoted to be the supervisor of the temple and was asked to teach the martial arts to other monks. After the death of the abbot, Miao Xing succeeded him and also served as the chief of the Shaolin martial arts masters. He had some 5.000 monk disciples and 200 laymen disciples. In 1939, Maestro Miao Xing passed away at he age of 58.

The characteristics of the Arhat boxing are plain and simple. It combines simplicity with the beauty of the expressions of the Arhats. It hides its combative skills and blows in the Arhat-like actions. Movements are smoothly comfortable and fully spread out with clear cut rhythms and the cooperation and coordination of attack and defence are rational. After practising for a long time, the Arhat boxing can strengthen the physique, tone up the body, give one self-defence skills and cure diseases.

 

 

Tanlang Quan ( Mantis Boxing ) [top]

Tanglang Quan or the mantis boxing is also an animal-imitating style of fist play. It copies the form and actions of a mantis adding the attack and defence skills of the martial arts. This unique style of boxing boasts an assortment of routines which generally fall into the northern and southern styles.

The northern-style mantis boxing is said to have been created by Wang Lang of Jimo County in Shandong Province at the turn of the Ming and Qing dynasties. Legend has it that Wang was fond of martial arts and went to study Wushu at the Shaolin Temple in Henan Province. After the temple was burnt down by the imperial army, Wang Lang returned to Jimo where, because of his shorter stature, he was beaten again and again by his senior fellow apprentice.

Wang resolved to practise hard for three years but, much to his dismay he lost the duel again. One day in the forest, he saw a mantis wielding its forelegs while fighting a big cicada in a tree. Before long, the mantis killed the cicada. Wang found that the mantis had a good rhythm in attack and defence and controlled its catch and release well. It fought both from distance and close-up with hard and soft blows characteristic of martial combats. He captured a number of mantis and took them home. Watching them closely while they fought, Wang Lang compiled a mantis boxing by adding the essentials of the Shaolin boxing to the actions of the mantis, even including the expression of the mantis. There are two other propositions about the origin of the mantis boxing. One holds that Wang Lang created it while fighting the long-style boxers of the school created by the first emperor of the Song dynasty; the other believes that between his fights with back-through boxer Han Tong, Wang saw a mantis capture a cicada and fight a snake and so created the mantis boxing.

The mantis boxing has many routines and branches. The major five schools are as follows:

(1) Seven-star mantis boxing, which is also called Arhat mantis, features seven-star steps, hard-hitting, and vigorous movements. It tends more towards hardness than suppleness and its stances are comfortably spread and extended. The basics of this school include waist technique, leg technique, shoulder technique as well as standing skills and hitting skills.

(2) Plum blossom mantis boxing, also called taiji plum blossom mantis boxing, uses small steps and its movements are continuous deft and smart, like blossoming plums. It is almost an exact copy of the mantis. This style of boxing demands clear-cut rhythms in unleashing the tricks and emphasizes a smooth, deft and supple generation of power. It uses more sideway than straightforward force.

(3) Six-combination mantis boxing, also known as monkey mantis boxing, stresses the inner and outer, three combinations which make six combinations. It uses mind to guide the movements of the body and pays equal attention to both the mental and physical. It uses hidden, rather than obvious hardness and resorts more to inner forces.

(4) Hand-wringing mantis boxing is also called plum blossom hand-wringing mantis boxing. It comes from the plum blossom mantis boxing but because it uses hand wringing tricks in its routines, it came to be called hand-wringing mantis boxing. When delivering blows, the hands are in the shape of palm; when retreating, they are in the form of hooks.

(5) Twin mantis boxing. This style of boxing also comes from the plum blossom mantis boxing. Its movements have a delicate symmetry and thus it is called twin mantis boxing.

The mantis boxing features force, power, dexterity, speed, a combination of hardness and suppleness, of substantial and insubstantial tricks end blows and of attack and defence. It necessitates a good command of catch and release and a variation of action. Mantis boxers will attack if provoked; they will not attack if untouched by opponents; they deliver fist blows in quick succession when offended. These characteristics of the mantis boxing are well known among Chinese martial artists.
A common featured of various styles of the mantis boxing is that their actions are accurate and performed in earnest. Mantis boxers move lightly, yet powerfully and their attacks are very strong with tricks that are delicately connected. The mantis boxing stresses eyesight, hand play, footwork and body movements as well as speed, agility, steadiness and careful choice of moves. Its power generation is strong but not stiff, supple but not soft, quick but not unconnected nor out of rhythm. The mantis boxing boasts of many skills and techniques and can beat its opponent with unpredictable changes of tricks and combinations of hardness and suppleness

 

 

Yingzhao Quan ( Eagle Claw Boxing ) [top]
Yingzhao Quan or the eagle claw boxing is a traditional animal-imitating style of fist play that incorporates the movements, tricks and methods of the eagle. It is a mixture of the Yue-style boxing and the school of tumbling boxing. It is also called Yingzhao Fanzi Quan ( eagle claw tumbling boxing ). Because boxers form their hands into the shape of an eagle's claw, their style came to be called Yingzhao Quan. The traditional routines of the eagle claw boxing are said to have been created by Song Dynasty General Yue Fei. Li Quan, a monk of the Ming Dynasty, mastered the essentials of the Yue-style boxing before combining the eagle claw and tumble boxing to form eagle claw tumbling boxing. Li taught the style to Monk Fa Cheng who later passed it on to Liu Shijun of Xiongxian County in Hebei Province.

Liu Shijun, born in a poor family, used to sell flue cured tobacco for a living but he was deeply fond of martial arts. One day, when out selling tobacco till late, he stayed at a small inn. As he practised his martial arts by himself, Monk Fa Cheng who happened to be staying at the same inn, was woken up by the sounds of Liu's movements and actions. After he completed his exercises, the monk told Liu that his routines were good for maintaining health but not for fighting enemies. Liu, annoyed by the monk's remarks, asked Fa Cheng to fight with him. The two fought a practice bout. Eager to win, Liu unleashed three attacks in a row but all were easily warded off by the monk. As he launched his fourth attack Monk Fa Cheng used the eagle claw trick to catch Liu's wrist. Although he tried all he could, Liu could not shake off the monk's hand. Fa Cheng then touched an acupressure point on Liu's back and Liu felt sourness and numbness spread throughout his body and fell to the ground. Realizing the monk was excellent at martial arts, Liu begged the monk to teach him. He followed Fa Cheng and learnt the eagle claw boxing and its secrets. Three years later Liu left his master to travel alone and spent the rest of his life studying the art of fist plays and teaching youngster. Liu Shijun served as martial arts instructor at the barracks of imperial guards in Bejing during the Qing Dynasty and taught the eagle claw boxing to Liu Dekuan, Ji San, Ji Si and nephew Liu Chengyou. Liu Chengyou passed it on to his sister's grandson Chen Zizheng who went to teach the art in northeast China, Shanghai and Guangzhou. The eagle claw boxing features simple but powerful moves. When moving, the boxer attacks relentless and looks formidable, but when standing still, he looks like an eagle awaiting the chance to pounce on rabbits. The northern-style eagle claw boxing features comfortably spared movements which are aesthetically pleasing while the southern-style features delicate but spectacular acrobatic tricks.

There are many branches of eagle claw fist play which imitates all the movements of an eagle, the eagle boxing which stresses both the claw, and the flapping and fanning of wings, and the rock eagle boxing which imitates the eagle flying up and down a rock cliff. The eagle claw boxing is spectacular with boxers jumping high one minute and walking in a low position like an eagle diving into the woods for prey the next. Sometimes they run as fast as a shooting arrow while at others they stand steadily like an age-old pine tree. They demonstrate to the full, the bravery and flexibility of an eagle.

 

 

Tantui ( Leg Flicking Boxing ) [top]

Tanntui or leg flicking boxing is also called pond legs. It has 10 routines and was therefore called 10-routine pond legs. When Shaolin monks added two more routines, it became the 12-routine pond legs. As many Moslems in China practise the boxing, it is also called religious leg flicking boxing. Tantui concentrates on feet plays with fist plays as support. Its movements are not complicated but complete and executed flawlessly. A symmetry is maintained by placing the feet one by one taking wide steps while keeping the body in a crouched position.

 

 

Xingyi Quan (Form and Meaning Boxing) [top]

Xingyi Quan or the form and meaning boxing is also called Xinyi Quan (free-mind boxing), Xinyi Liuhe Quan (free-mind six-combination boxing) or Liuhe quan (six-combination boxing). There are two propositions about the name of this school of boxing. One holds that the body actions and movements should be guided by mind and that this school of boxing is an identity of mind and body; the other proposition states that this school of exercises are mere imitations of animal actions and movements and adopted the form and meaning of animal movements.

According to historical records, the creator of Xingyi Quan was Ji Jike (1602-1683) from Village Zuncun in Yongji County in Shanxi Province. A resident of the late Ming Dynasty and early Qing Dynasty, Ji Jike was also known as Ji Longfeng. On his trip south to the Shaolin Temple and Luoyang in Henan Province and Qiupu in Anhui Province, Ji Jike passed his art on to Zeng Jiwu. During the reign of Emperor Qianlong of the Qing Dynasty, Xingyi Quan was spread in Henan, Hebei and Shanxi provinces. Ma Xueli, a Luoyang resident in Henan, Dai Longbang, a resident of Qixian in Shanxi, and Li Luoneng, Dai's disciple from Hebei, all contributed to the dissemination and development of the boxing.

Over centuries, this school of boxing is now practised in different styles. The Shanxi style is compact, delicate and yet forceful while the Henan style is powerful, vigorous and substantial. The Hebei style stresses steadiness, sturdiness and comfort. As regards routines of fist fight, a similarity is seen between the Shanxi style and the Hebei style, both using three postures of the body, five major movements of axing, bursting, penetrating, hurling and traversing and imitations of 12 animal forms (dragon, tiger, monkey, horse, turtle, chicken, hawk, swallow, snake, owl, eagle and bear). The Henan style mainly imitates 10 animal forms (dragon, tiger, chicken, eagle, snake, horse, cat, monkey, hawk and swallow).

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MARTIAL ARTS TOUR, TRAVEL IN CHINA

 

China has a long and rich history. Chinese Martial Arts has a worldwide reputation and vastness represented one of the most cherished facets of traditional Chinese culture. In China there is a folk saying that in the north Shaolin-style is respected while in the south Wudang-style is esteemed, Wudang and Shaolin are the two birthplaces of Chinese Martial Arts and both have had strict principles in succession since the ancient times. After the year 1970 Wudang and Shaolin are open to the outside world.

We are inviting peoples from all over the world to take part in the activity called "Martial Arts tour, travel in China".

The aims:

To propagate the Chinese Martial Arts and to make the body healthy

 

The contents:

(1) Practising Chinese Martial Arts according to your needs. Learning all kinds of Chinese Martial Arts.

(2) Learning Chinese culture and learning the simplified Chinese language.

(3) Cultivating the moral character. Having the synthetic education of Chinese Martial Arts culture and moral character.

(4) Visiting the historic sites and feeling the mysterious Chinese history.

(5) Appreciating the Chinese Martial Arts shows. To show the excellent performances by Shaolin International Federation Group.

(6) Making a pilgrimage. To visit the Shaolin Temple and Wudang Mountain and the famous monks.

 

 

SHAOLIN ACADEMY

 

Shaolin Culture Training School Zhengzhou is a regular large-scale training facility. The

school lies in the hinterland of Central Plains, under the foot of Song Mountain and on the bank of the Yellow River. It takes up an area of 30+ thousand m 2, the environment is quiet and tastefully laid out. Easily accessible and the facilities are complete. A good place to improve literature and physical condition. It is the world-renowned Shaolin Academy inviting Shaolin martial arts fans in the world to travel to Zhengzhou, Henan Province, to participate in a meaningful Shaolin trip and learn basic Shaolin Kung Fu and Boxing.

 

Shi Yan Bo (school master of Shaolin Culture Training School Zhengzhou) said, 'We hope to set off the stamina and bravery within the participants through learning Shaolin martial arts and Ch'an lore, appraising ancient Chinese culture and travelling in central China. We hope to

popularise Shaolin culture, as well as providing guidance to youngsters, help them set

their goals in life, and well-prepared for their future. We also hope the training centre can

offer people a chance to experience the Chinese culture and learn about the country's

ancient history.' He  also added, 'Training Shaolin martial arts not  only can help strengthen your body and soul, it can also enhance your wisdom and power. Shaolin morality is extremely useful in building up a high moral standard among youngsters.'

 

Examples of Study content Chinese Martial Arts lessons:

Basic skill of Shaolin Kung Fu. Five Step Quan. Lian Huan Quan. Xiao Hong Quan. Da Hong Quan. Tong Bi Quan. Zhao Yang Quan. Plum Blossom Quan. Luohan Quan. Seven Star Quan etc.. Shaolin 18 traditional weapons. Tai Chi Quan. Tai Chi Sword. Tai Chi Fan etc.. Long Quan (Wushu armed & unarmed including official competition forms). South Quan. Southern Style Weapons.

 

Examples of Study content Chinese culture lessons:

Chinese language. Traditional Culture & History. Chinese Martial Arts Theory. Buddhism. Taoism

 

 

WUDANG ACADEMY

 

For development of Wudang Kungfu ,the Wudang Taoism Association (WTA) made a decision after series of research in the year of 1989 to appoint master Zhong Yunlong and his master Guo Gao-yi (deceased) to found the Wudang Taoist Kungfu Academy (WTKFA). It was the first step for Wudang Kungfu to open to the outside. In the beginning the students lived and practiced kungfu inside of the Zixiao temple (WTA). When more and more students came to study, they moved to a bigger place near the Zixiao temple. WTKFA has taken part in wushu communication and contests in China and abroad many times, and has received a lot of national leaders and international friends such as Chairman Jiang Zeming, Commissioner Qiao shi, Li Lanqing, LiRuihuan, Li Tieyin among others.

 

During the past years, the Academy has brought up hundreds of talented practitioners for the country.

WTKFA also sponsors researching mission to look for old and secret Wudang Kung Fu Arts forms. Thus

WTKFA contributes a lot to the sound development and inheritance of Wudang Kung Fu arts. WTKFA is

located in Mount Wudang, close to Zixiao Temple (WTA), There are dormitory (double-room or

single-room with bathroom), dining room, large practicing hall and classroom. The Academy with

high-quality teachers and graceful environments, is the base and centre for culture exchange and Wudang Kungfu training. Now, more foreign practitioners are coming to learn Wudang Kung Fu at WTKFA. We will always do our best to serve their practical needs. Wudang Taoist Kung Fu Academy now has six competent Kung Fu coaches -- who received special training for years with Master Zhong Yun Long and other Wudang Kung Fu masters - teaching Wudang Kung Fu forms.

 

Examples of Study content Chinese Martial Arts lessons:

Wudang Shang Feng 108-Form Taiji quan. Wudang Taiji 13-Form. TaiYi Five Elements Boxing. Wudang

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KUNG-FU,

OR

TAUIST MEDICAL GYMNASTICS.

BY

JOHN DUDGEON, M.D., C.M.

Movements for the development of the body and for the prevention and cure of disease were known and practiced in the most ancient times in all countries. We find gymnastic exercises forming a part of the religion of the ancients. The great heroes of antiquity either instituted, restored, or took part in them. Poets made them the theme of their verses; and so, by immortalizing not only themselves but their victors whose fame they celebrated, they animated the Greek and Roman youth to tread in similar steps. Such exercises were then indispensable, the use of fire-arms being at that time unknown. The body required to be strengthened, and health to be confirmed and inured to fatigue. Contests were generally decided in close fight, by strength of body. Hence the origin of gymnasia, where the science of movement, as it were, was taught, and which were always dedicated to Apollo, the god of physicians. The Greeks owed much of their mental greatness to these exercises. They formed one of the three great parts into which all education was divided,

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and this branch was the more important in that it did not cease at a certain period but was continued through life. The Greek effort in education seems to have been directed to the attainment of a sound mind in a sound body, and it was on this account that their physicians and philosophers placed well-regulated exercises as of first importance. We know that the officers of these institutions were recognised as physicians. Exercises of all kinds, such as walking, dry-rubbing or friction, wrestling, etc., were a few of the common aids of physic, as they were termed by Asclepiades, who did so much to bring them into repute. The term athletae might most appropriately be applied to the Chinese Tauist priests, the Greek word athlos, from which it is derived, being similar in meaning to kung fu. In other respects, however, they resemble more closely the Agonistae, who followed gymnastics solely with the view of improving their health and strength; and who, although they sometimes contended in the public games, did not devote their whole lives, like the Athletae, to preparing for these contests.

Gymnastics became a part of medicine shortly before the time of the "Father of Medicine;" and, according to Plato, as a means of counteracting the bad effects of increasing luxury and indulgence. It soon passed into a complete system, as already indicated. The gymnasia were often connected with the temple services in Greece where chronic ailments, through bodily exercises, baths, and ointments, could be cured. Æsculapius came to be considered the inventor of bodily exercises. Plato styles two of these Greek gymnasts, who cured disease, the inventors of medical gymnastics, Iccus of Tarentum and Herodicus of Selymbra. The latter in particular made

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use of them for medical purposes, which is the reason he is considered to have been the first inventor of this art. Plato relates that the latter was himself ill, and sought what gymnastic exercises might conduce to his recovery. He gained his object, after which he recommended the same method to others. Before his time, dietetics was the chief part of medicine. It was he who advised his patients to undertake the journey from Athens to Megara, a distance of 180 stadia, equal to 6 German miles, and back. Hippocrates, who was one of his pupils and superintended the exercises in his palaestra, tells us that Herodicus cured fevers by walking and wrestling, and that. many found the dry fomentations did them harm. In consumption, he advised the patients to suck women's milk from the breasts, a practice found existing in China at the present day among the old and debilitated. Galen mentions Premigenes, who was great in the peripatetic theory and wrote on gymnastics.

Other ancient nations besides Greece and Rome seem to have been early convinced of the importance of a knowledge of the means of preserving health. Among the Hindu legislators, we find laws enacted with this object; and, with the view of enforcing them and making them obligatory, we see them joined on to religion, just as in China we find similar precepts extensively pervading their sacred books. The Chinese, like the Hindus, have quite a large number of works on the means of retaining health. These have reference to climate, seasons, time of the day, food, bathing, anointing, clothing, housing, sleep, etc. Exercise receives always a high place in all such works; for it increases strength, prolongs life, prevents and cures disease by

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equalising the humours, prevents fatness, and renews and increases the power of resistance. In the Book of Rites (1,000 B.C.), we find archery and horsemanship laid down in the curriculum of study to be pursued at the National University. At the present day in China, besides the exercises involved in Kung-fu, the various exercises that prevail in Europe are practised publicly and privately by all classes, especially by the Mantchus, and to a much larger extent than among ourselves. Our present mode of warfare has done much to put an end to gymnastics as a part of education and a means conducive to robust health. The ancients may have esteemed them too highly, just as the moderns neglect them too much. True philosophy points to the golden mean as the place where truth is to be found. There are evils front inactivity as well as evils from excessive exercise; but gymnastics, when practised under proper control, must be invaluable in ensuring good health, a clear intellect, and in curing many complaints. Preventive medicine is coming every year more and more to the front, and gaining more attention and importance. The present age seems to be more alive to the importance of gymnastics than any preceding age of modern times. We find them introduced by enlightened teachers into many of our schools and warmly advocated by many medical men. Treatises on this subject are published yearly. One author considers hygiene to be the most useful sphere of the physician, and he believes that the subordinate value of therapeutics may be proved by statistics. Another writer, also a German, speaks of gymnastics as the principal agent for the rejuvenescence of body and mind.

But it is necessary to trace the rise of this subject in China somewhat more particularly.

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The first mention in Chinese history of a system of movements, proper to maintain health and cure disease, dates back to pre-historic times, the time of the Great Yü, when the country was inundated, and the atmosphere was nearly always wet and unhealthy, and disease overflowed, so to speak, the earth. The Emperor ordered his subjects each day to take military exercise. The movements, which they were thus obliged to make, contributed not a little to the cure of those who were languishing, and to maintain the health of those who were well.

Premare refers to the same tradition, where he says in his researches of the time anterior to the Shu Ching:—In the time of Yü, the waters did not flow away, the rivers did not follow their ordinary channels, which developed a number of maladies. The Emperor instituted the dances named Ta Wu (#), the Great Dances. The native author, who reports this tradition, adds that the life of man depends upon the union of heaven and earth. The subtle material circulates in the body; and, if the body is not kept in movement, the humours do not flow, the matter collects, and from such obstruction disease originates. The great philosophers explained in a similar way the cause for the most part of maladies. But that which is specially remarkable in the Chinese tradition is that moisture and stagnant water are considered the source of the endemic and epidemic maladies, and that an efficient means to prevent them consists in the regular exercise of the body or in the circling dances. These movements tend in effect to produce a centrifugal result, from the centre to the circumference, very suitable to restore the functions of the skin, and to give tone and vigour to the whole economy. These dances form part of the institutions of the Empire.

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We read also in the Shu Ching that the Emperor Yü ordered the dances to be executed with shields and banners. These two sorts of dances were the first sanctioned in the Li Chi, or ritual of civil and religious ceremonies. Great importance was attached to the regular bodily exercises. Like as in Greece, to sing and dance well constituted a good education. Even to the present day, the people take to exercises, in order to give themselves bodily strength and as much suppleness as possible; as, for example, the exercises of the bow and arrow, throwing and catching a heavy stone with a hole cut in it with which to provide a handle, heavy bags of gravel, the bar with the two circular heavy stones at the ends of it, the various feats of jugglery, etc. This taste for bodily exercise is one of the fundamental maxims which have not ceased to be considered as the base of all progress and all moral development, the improvement of one's self. Pauthier, in his Chine Moderne, mentions a large number of famous dances of antiquity.

The founder of the Shang dynasty (1766 B.C.) had engravers in the bath-tubs—"Renew thyself each day completely; make it anew, still anew, and always anew (#).

From the earliest times there were public institutions where were taught the six liberal arts (music, arithmetic, writing, religious and civil ceremonies with their dances, fencing, and charioteering). We read in the life of Confucius that he applied himself to perfect himself in all these exercises. Regular and rhythmic movements were had recourse to, to develop the physical force, skill to maintain the health and to combat certain diseases.

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After the period of movement for the cure of disease comes the period of healing by the virtues of plants, .according to Chinese tradition. Although Fu-hsi had begun thus to cure maladies, the art is particularly ascribed to Shên Nung (about 3218 B.C.). He distinguished all the plants, and determined their different properties. The first Great Herbal is ascribed to him.

The term Kung-fu (#) means work-man, the man who works with art, to exercise one's self bodily, the art of the exercise of the body applied in the prevention or treatment of disease, the singular postures in which certain Tauists hold themselves. The expression Kung-fu (#) is also used, meaning work done. The term Kung-fu, labour or work, is identical in character and meaning with the word Congou, applied in the South to a certain kind of tea. In China it is applied medically to the same subjects as are expressed by the German Heil Gymnastik, or Curative Gymnastics, and the French Kinesiologie, or Science of Movement. Among the movements which are embraced within the domain of this method are massage, friction, pressure, percussion, vibration, and many other passive movements, of which the application made with intelligence produces essential hygienic and curative results. These different movements have been in use in China since the most ancient times They are employed to dissipate the rigidity of the muscles occasioned by fatigue, spasmodic contraction, rheumatic pains, the effects of dislocations and fractures, and in many cases of sanguiferous plethora in place of bleeding. These practices have to-day passed into the habits of the people, and those who are in charge of them are usually the barbers, as they were practised in Europe in the middle ages, who frequent the streets advertising the

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people of their presence by striking a kind of tuning-like-fork called hwantow. Those usually who practice these movements are the barbers who have shops, and the various exercises are generally gone through in the evenings. In the sequel of this Paper, we hope to describe the methods pursued by them. There is also a class of rubbers, who go to private houses. or who undertake to teach the art. Here we have certainly a procedure allied to medical gymnastics, to which the Chinese attribute therapeutic value. Kung-fu embraces, as already remarked, massage (a word not found by-the-bye in Webster's Dictionary, from the Greek massein, to rub, or Arabic mass, to press softly), and shampooing (a Hindu word meaning to knead), a practice still in vogue in China and highly esteemed. Massage consists in such operations as kneading, thumping, chafing

queue, treat their customers to kneading the scalp of the head, eye-brows, spine, calves of the legs, etrubbing, pressing, pinching, etc. The-barbers, as a part of their duty after shaving the pate and face or plaiting the c. Thrubbing, pressing, pinching, etc. The-barbers, as a part of their duty after shaving the pate and face or plaiting the ese operations are practised both by way of preventing and curing disease; but more generally, as in part in Western countries, for the comfort and sense of bracing which it confers. The practice is now largely had recourse to in the West, and with marked benefit in cases of deficiency of nerve force,—neurasthenia, paralysis, hysteria, etc. The various methods of manipulation comprised under the term massage include effleurage, pétrissage, friction, and tapotement. All these movements are centripetal, and done with the dry hand. The effect produced by such manipulations is the promotion of the flow of lymph, otherwise designated humours by the older writers, and blood, and the stimulation of the muscles of the skin and the skin reflexes.

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A medical man, who was lately asked if he used massage much in his practice, replied—"Oh yes, a great deal; my butler does it." After that, one should not have been surprised to hear that the electrical treatment was conducted by his footman, and that the kitchen maid undertook the obstetric cases. Mere rubbing or shampooing is no more massage than a daub of paint is a work of art. It is not only a vicarious way of giving exercise to patients who cannot take it themselves, but it is a valuable curative agent. Lady Manners, in the Nineteenth Century, says—"The Chinese are supposed to have learnt the use of gymnastic exercises from the Indians, and the subject mentioned in the most ancient of their books is called Cong-fou, or Science of Living." The late Dr. Macgowan gives the term for Kung-fu (#) as Kang (#), the Great Bear, and fu (#), a charm.

The Tauists, the priests of the religion or system of rationalism of Lau-tse (500 B.C.), have always been the chief practitioners of this form of Medical Gymnastics. These Bonzes, as they are called by the French, a term corrupted from the Japanese and first applied by the Portuguese to a Japanese priest, were the early alchemists of the world, and have for centuries been in search of the philosopher's stone. In cinnabar they supposed they had found the elixir vitæ. Alchemy was pursued in China by these priests of Tao long previous to its being known in Europe. For two centuries prior and for four or more subsequent to our era, the transmutation of the base metals into gold and the composition of an elixir .of immortality were questions ardently studied by the Tauists. The Arabs, in their early intercourse with China, thus borrowed it, and they were the means of its diffusion in the West. Kung-fu owes its origin to these same

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investigators, and was adopted at a very early period, by which to ward off and cure disease and for strengthening the body and prolonging life, in which it has been declared a far-reaching and efficacious system. My friend, the late Mr. Wylie, in his excellent Notes on Chinese Literature, remarks regarding Tauism that it has "changed its aspects with almost every age. Commencing with the profound speculations of contemplative recluses, on some of the most abstruse questions, of theology and philosophy, other subjects in the course of time were super-added which at first appear to have. little or no connexion with the doctrine of Tau. Among these the pursuit of immortality, the conquest of the passions, the search after the philosopher's stone, the use of amulets, the observance of fasts and sacrifices, together with rituals and charms, and the indefinite multiplication of objects of worship, have now become an integral part of modern Tauism."

[Note.—The reader, who may wish to consult this curious subject along with the Medical Divinities and Divinities worshipped in Medical Temples in China, will find a series of Papers by the present writer—On Chinese Arts of Healing, in the Chinese Recorder, Vols. 2 and 3].

Besides a system of gymnastics and charms in Chinese Medicine, there are other systems, one of which deserves a passing notice. Numerous works exist on all such subjects. There is one on the Art of procuring Health and Long Life, without the aid of physicians ands by means of regimen and general hygienic measures. Such things are inculcated as the regulation of the heart and its affections; and rules are laid down with regard to dietetics, business, and rest, containing many wise, useful, and quaint precepts, which, if attended to, would certainly

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conduce to health and longevity, but which, being persistently neglected, the constitution is ruined and loaded with infirmities, life is shortened, and the body is sorely burdened with disease. [Note.—The reader will find one such work translated in Du Halde].

It is the object of Kung-fu to make its votaries almost immortal; at least, if immortality be not gained, it is claimed for it that it tends greatly to lengthen the span of life, to increase the body's power of resistance to disease, to make life happier, and to make the muscles and bones insensible to fatigue and the severest injury, accidents, fire, etc. The benefit, too, the soul derives from such exercises and the merit accruing to the individual are not to be lightly esteemed. I have seen these priests subject themselves to great hardship and severe trials, without producing any impression upon them.

Having briefly sketched the practice of the art in ancient times both in the Orient and Occident, a few remarks on its practice in modern times are necessary to complete our historical retrospect.

In 1569, Mercurialis at Venice published his treatise De arte Gymnastica, in which he recorded the most important exercises used by the Greeks and Romans, and which has proved a perfect mine for subsequent writers of the 17th and 18th centuries, who derived their knowledge of this subject largely from this source. In 174, according to M. Dally, and 1728, according to Dr. Roth, appeared in English a work by Francis Fuller on Gymnastic Medicine, every man his own physician, treating of the power of exercise in its relations to the animal economy, and its great necessity for the cure of various maladies, such as consumption, dropsy,

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hypochondria, itch, and other skin eruptions. This book made a sensation at the time, and it passed through several editions, and was translated into several languages. In 1748, there were published at Helmstadt two works in Latin, entitled Dissertatio de arte gymnastica nova by Boerner, and De Gymnasticæ medicæ veteris inventoribus by Gerike. The medical world was too much pre-occupied with pharmaceutical and chemical speculations to pay attention to the Gymnastics of the Greeks, and still less to those of the Tauists, those Priests of Supreme Reason. Pére Amiot, one of the Roman Catholic missionaries at Peking, drew attention to the subject of Kung-fu, or, as he spells it, Cong-Fou, by the publication of his Notice du Cong-Fou in 1779, in Les Mémoires sur les Chinois, of which more anon. In 1781 appeared Tissot's work La Gymnastique Medicale. In 1821, another Frenchman, Londe, published a treatise on the same subject, or exercise applied to the organs of man according to physiological, hygienic, and therapeutic laws. These works merit study at the present day for the high estimation of the power of regular and methodical movement on the living mechanism which they indicate. The most important works for rational gymnastics have been undertaken on the mechanism of locomotion. In 1794 an English work appeared, by John Pugh, the anatomist, entitled A Treatise on the Science of Muscular Action, showing its utility in restoring the power of the limbs. A work by Dr. Barclay, called The Muscular Motions of the Human Body, published in Edinburgh in 1808, was one of the most remarkable, having for its object the anatomical study of each organ wall relation to movement; and another on The Power of Compression and Percussion in the cure of Rheumatism,

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[paragraph continues] Gout, Debility of the Extremities, and in promoting Health and Longevity, by Dr. Balfour, of Edinburgh, in 1819. Various works in French appeared for the cure of deformities of the spinal column and osseous system generally, and chorea by means of pressure, percussion, friction, massage, position, attitudes, movements (active and passive), which constitute the science and art of medical gymnastics, the therapeutics of antiquity, which has had such prodigious success, principally in the deviations and spasmodic and chronic maladies against which modern therapeutics has generally recognised its powerlessness. In 1830 Dr. Koch's Gymnastics in relation to Dietetics and Psychology was published. Numerous other works in French and other languages appeared, treating of friction, ligatures, compression, vibration, percussion, etc. Dr. Roth believes a great part of the results produced by the so-called water cure is owing to the importance of movements, in which the douche, compresses, friction, etc., have so great an influence as well by their dynamical as by their mechanical effects.

We have reserved, for the sequel of this retrospect, notice of the originator of what is now called the Swedish system of Gymnastics, Ling (born 1766, died 1839). His system is based on anatomical and physiological principles; and, in this respect, differs entirely from the Chinese, which can lay claim to no such foundation, and is therefore not calculated to produce all the curative results claimed for the Swedish system. His great principle was the oneness of the human organism and the harmony between mind and body, and between the various parts of the same body. The development and preservation of this harmony is the educational or prophylactic part of the system; the restoration of the disturbed harmony forms the subject

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of the medical part. His idea, in Dr. Roth's words, was that an harmonious organic development of the body and of its powers and capabilities by exercises, considered In relation to the organic and intellectual faculties, ought to constitute an essential part in the general education of a people. He looked upon anatomy and physiology as the basis of gymnastics essentially necessary. His intention was to make gymnastics not only a branch of education for healthy persons, but to demonstrate it to be a remedy for disease. The curative movements were first practised in Stockholm in 1813. His system is now largely extended through the various countries of Europe. He arranged the vital phenomena, which are subordinate as well to physiological as to physical laws, in three orders, known as the Dynamical, Chemical, and Mechanical agents. The union and harmony of these three, combined, constitute a perfect organism.

Under the Dynamical he places the manifestations of the moral and intellectual powers; under the Chemical, generation, nutrition, reproduction, sanguinification, secretion, etc; under the Mechanical, breathing, circulation, walking, etc. He carries out this analogy of these three fundamental agents of the vital powers in various directions, as, for example, telluric influences, such as light, heat, electricity, magnetism, etc., are embraced in the Dynamical; nutriment, medicine, poisons, etc., in the Chemical; and shock, pressure, etc., in the Mechanical. The organism itself is divided into the brain, heart, and lungs; arms and legs corresponding to the same three agents. The animal, vegetable, and mineral kingdoms permit of a similar analogy. Hitherto it has been principally by medicines, acting generally on the Chemical agent alone, that we have tried to preserve health and

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cure disease; the Dynamical and Mechanical agents have been either entirely neglected or unscientifically considered. In any discordant action of the organism, in other words, in indisposition and disease, which of the three agents must be principally acted upon, must be considered. As the chemical agent is as inseparable from the other two as these are from it, hence it must be impossible to effect a cure in all diseases solely by pure medicines which act principally on the chemical agent. Wherefore medical men frequently prescribe either exercise influencing the mechanical, or amusement, etc., acting by means of the dynamic agent. "It is as wrong," and we are now quoting from Dr. Roth, "to recommend a healthy person only to eat and drink, and not to move or amuse himself, as it is in diseases to act exclusively on one factor of the vital power." The great Sydenham, when dying, consoled those who complained of the loss of the great physician by saying—"I leave behind me three great and most important means, viz.,—air, water, and exercise, which will compensate for the loss of my person."

Ling's idea of the harmonious development of the organs of the body, being the essential base of the education of the young and of the people, is a Greek idea which is found in all the writings of the philosophers. Barclay of Edinburgh in 1808, as we have shown, professed the same idea in the treatise on the muscular motions of the body. St. Paul's words in his Epistles to the Corinthians (I, XII, 24) and to the Ephesians (IV, 16), considered solely from the physiological point of view, are still to-day the most perfect

synthesis of the science. M. Dally thinks it would be doing a real wrong to Ling's reputation to have him posed as the inventor of it.

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[paragraph continues] His system resembles exactly that of the Kung-fu of the Tauists, and to M. Dally it appears less complex than that of the Tauists. The Chinese system, continues our author, is sanctioned by 5000 years of continued experience. For it is from Central Asia, and from the seat of the origin of mankind, that the Tauists have imported this doctrine into the Orient, and since this epoch have not ceased to make application of it. But it is also from Central Asia, and from the same source as that whence the Tauists have drawn them, that the ancestors of the Greeks imported into the Occident the same doctrine. What then, asks M. Dally, is the merit of Ling? As his body of doctrine does not differ from that of the Tauists, it must be admitted also that at the same time Ling had in his hands the Notice of Amiot or some other original Chinese treatise, produced it may be by other missionaries or by some persons attached to Embassies from Europe in China. (Lawrence Lange, by-the-bye, was a Swede, and the first Russian Consul at Peking in the second decade of the 18th century). The doctrine of Ling in its entirety, theoretical and practical, is only a sort of counter-drawn daguerreotype of the Kung-fu of the Tauists. It is the royal vase of Dresden, the splendid Chinese vase with its Chinese figures overlaid with European paint. This is, according to our historical studies, says Dally, the real merit of Ling. After all, whether the work of Ling is only an importation of the doctrine conserved in China in all its primitive originality and in its essential therapeutic character, or a simple renovation of Greek art more especially applied to the education of man, or a harmonious development of form and force applied to aesthetics and the military art, in a word, whatever be the sources whence Ling may have drawn

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the elements and the combinations of his system and its applications, it is none the less true that he is one of the men who have much aided to bring back gymnastics among us as a science and an art to the purer traditions of high antiquity.

My attention was first called to the Notice of P. Amiot, now nearly thirty years ago, by the following communication from a friend in Edinburgh:—"The Chinese have a mode of treating many diseases by various ways of breathing while the patients are placed in previously determined positions, which vary according to the nature of the disease. The treatment is called Cong-fu, and was practised by the followers of the Bonzes, Tao-sse, who prepared the patients by religious ceremonies for the treatment. The French Missionaries of Peking have published in their Mémoires concernant les Chinois, Paris, 1779, a chapter on this treatment under the name of Notice du Cong fu des Bonzes Tao-sse. Will you kindly furnish answers to the following?

1.—Detailed information on the positions and breathing movements.

2.—Whether the followers of the Bonzes, Tao-sse, still exist and practise the treatment by breathing movements.

3.—The titles of Chinese works on this subject. Some works with wood engravings have been published on the subject.

4.—Any other information regarding this mode of treatment."

This letter was perhaps dictated by Dr. Roth, with whom I have since kept up a friendly and constant correspondence, and supplied him with the various Chinese works containing illustrations on the subject.

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[paragraph continues] The result of my attention having been called to this treatment is the following article on Kung-fu, which was submitted to Dr. Roth, and by him recommended for publication. I was unwilling at the time to present to the medical profession or to the general public a subject so meagerly handled, and during all these years have waited for the convenient time to devote to it more study and research, with the view of supplying at least sufficient details to render any one, ignorant of Chinese and medicine, able to grasp the subject and determine its usefulness or otherwise as a prophylactic and curative agent. Unfortunately the press of work, necessitated by the care of a large hospital and other duties, has prevented me from pursuing further this study. The subject was brought by me before the Peking Oriental Society a few years ago, and it is now published in their Journal.

Dr. Roth has been the most prominent exponent and successful practitioner of the system in Great Britain. As an Hungarian exile after the Russian invasion which crushed the Hungarian cause in 1849, he settled in London after studying Chinese in Paris for some time, and chose this speciality in which he rose to eminence. He published numerous works on the subject which are well known, the chief of which are—The Cure of Chronic Diseases by Movements, Handbook of the Movement Cure, On Paralysis in Infancy, The Prevention of Special Deformities, The Treatment of Writer's Cramp, etc., etc. He presented the present writer with copies of all his published works. His Hand-book is characteristically "dedicated to all Medical Practitioners who are disposed to examine before they condemn." His work on Infantile Paralysis is

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dedicated to my friend and namesake Dr. R. E. Dudgeon, who was the first to befriend the exile on landing on our shores, and who was the first to give proof of this confidence by placing some patients under his care. I visited Dr. Roth at his residence, 48 Wimpole St., London, on more than one occasion, where he showed me his institution for carrying out this treatment by movement. He had a similar institution at Brighton.

Amiot says Kung-fu consists in two things,—the posture of the body, and the manner of respiration. There are three principal postures,—standing, sitting, lying. The priests of Tao enter into the greatest detail of all the attitudes, in which they vary and blend the different postures. As these, however, have more connexion with their doctrines than the medical part of Kung-fu, it will be enough to indicate the general principles. The different modes, in the three principal positions, of stretching, folding, raising, lowering, bending, extending, abducting, adducting the arms and legs, form a variety of numerous attitudes. The head, the eyes, and the tongue, have each their movements and positions. The tongue is charged to make in the mouth such operations as balancing, pulsating, rubbing, shooting, etc., in order to excite salivation. The eyes close, open, turn, fix, and wink. The Tauists pretend, when they have gazed for a long time, first on one side then on the other, in regarding the root of the nose, that the torrent of thought is suspended, that a profound calm envelopes the soul, and a preparation for a doing-nothing inertia which is the beginning of the communication with spirits.

Regarding respiration, there are three ways,—one by the mouth, one by the nose, and inspiration by the one and expiration by the other. In the three modes of

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respiration, sometimes it is the inspiration that is, as Amiot puts it, precipitée, filée, pleine or éteinte; sometimes it is the expiration, sometimes also both. The other principal differences which lie at the base of Kung-fu in respiration, as noted by Amiot, are inspiration and expiration by sifflement, haleinée, sauts, repetition, attraction, and deglutition.

It has now been said in what Kung-fu consists. It lies with art to choose and combine them, to change and repeat them according to the malady which it is sought to cure. The morning is the best time for it. After the sleep of the night, the blood is in a state of greater repose, the humours are more tranquil, and the organs more supple, especially if one has been careful to sup lightly. Fat persons, or those charged with humours, gain it always by eating nothing at night; and this preparation is absolutely necessary for certain maladies.

In Amiot's Notice, twenty figures are given illustrative of the text. In each of the postures, the principal thing is to respire in a particular manner a certain number of times, and to proportion the length of the Kung-fu to the malady. The body is either half nude or dressed, and the position is either standing or sitting. There are series of each. In respiration, the mouth must be half full of water or saliva. Various potions, decoctions, and drugs, are ordered to be taken before or after Kung-fu; they seem to have been added in the course of time, to facilitate the effects.

Amiot dispensed with entering into greater details, as Kung-fu was only a bagatelle, or .at least may be so merely; yet, as he might fail to make his meaning clear, and as otherwise, as he says, it is always good to speak to the eyes, he had figures copied to give an idea of the

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subject. In a few words, he indicates the different maladies which they are said to cure, in order that the European physician may be in a position to pronounce on this singular practice. Of the twenty figures drawn, although seventeen are given for the sitting posture, it would be necessary, he says, to add many more to give all the attitudes and positions which are blended with the posture; "but in truth we have not had the courage to copy out a larger number," or, as Huc says in speaking of current facts in Chinese medicine, he prefers to abstain because, says he, "Le vrai peut quelquefois n’être pas vraisemblable." Amiot says—"The account which we have under our eyes is in a manner so obscure and in terms so bizarre that we have not ventured to risk a translation of it." If some alleviation to the ills of humanity is the result of it, he will believe himself well recompensed for the courage he has had in risking the Notice.

The physical and physiological principles of the art are the following, and I am indebted to M. Dally for this resumé.

1.—That the mechanism of the human body is altogether hydraulic, that is to say, that the free circulation of the blood, of the humours (i.e., the lymph), and of the spirits, and the respective equilibrium which modifies their movements and their reciprocal action, being all the time the weight and the wheels of the human body, the health subsists only by this circulation, and this equilibrium, wherein it is re-established, only by their re-establishment.

2.—That the air, which without cessation enters the blood and the lymph through the lungs, being as the balance which tempers and restores their fluidity, can neither be re-established nor subsist of itself.

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The consequences of these two principles are:—

1.—That the circulation of liquids in the human body having to conquer the two great obstacles of weight and friction, everything which tends to diminish the one or the other will aid in re-establishing it when it is altered.

2.—As the activity and elasticity of the air increases the fluidity of the liquids, and facilitating by that means their movement, all that tends to increase or diminish the force and volume of them in those of the human body, ought to accelerate or retard their circulation.

These principles and consequences being supposed, the defenders of Kung-fu enter into very great details, to approximate it to the sympathetic correspondence of the different parts of the body, the action and reaction of the great organs of the circulation, of the secretion of the lymph, of the digestion of the aliments, etc. So much for the principles. What of the theory?

There are the two essential principles of Kung-fu,—the posture of the body, and the mode in which respiration is quickened, retarded, and modified.

1.—If we look at the circulation of the blood, lymph, and spirits, on the side of the obstacles which the weight opposes to it, and of the friction which retards it, it is evident

that the mode in which the body is straight or bent, lying or raised, the feet and hands stretched or bent, raised, lowered or twisted, ought to work in the hydraulic mechanism a physical change which facilitates or impedes it. The horizontal situation, being that which diminishes the greatest obstacle of the weight, is that also which is most favourable

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to the circulation. That of being upright, on the contrary, leaving all its resistance to the action of the weight, ought necessarily to render the circulation more difficult. For the same reason, according as one holds the arms, the feet, and the head, raised, or inclined, or bent, it ought to become more or less easy for it. This is not all; that which retards it, in one place, gives it more force, where it does not find any obstacle; and, from that time, it assists the lymph and the blood to overcome the engorgements which obstruct their passage there. One can further add that, the more it has been impeded in one place, the more its impetuosity brings it back there with force when the obstacle is removed.

It follows from this that the different postures of Kung-fu, well directed, ought to operate in a salutary disengagement in all the maladies which spring from an embarrassed, retarded, or even interrupted circulation. Now, how many complaints are there that are not thus caused? One can even demand if, except fractures, wounds, etc., which derange the bodily organisation, there are any which do not so originate?

2.—It is certain that the heart is the prime mover of the circulation, and the force which it has to produce and conserve it is one of the grand marvels of the world. It is further certain that there is a sensible and continual correspondence between the beatings of the heart, which fills and empties itself of blood, and the movements of dilatation and contraction of the lungs, which empty and fill themselves with air by inspiration and expiration. This

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correspondence is so evident that the beating of the heart increases and diminishes immediately, in proportion to the acceleration or retardment of the respiration. Now, if we inspire more air than we expire of it, or vice versâ, its volume ought to diminish or augment the total mass of blood and lymph, and ought to invigorate more or less the blood which is in the lungs. If one hurries or retards the respiration, one ought to hurry or weaken the beatings of the heart. The bearing of this on Kung-fu is self-evident, and need not further be illustrated. It is evident that, in accelerating or retarding the respiration, we accelerate or retard the circulation, and by a necessary consequence that of the lymph; and that, in the case of inspiring more air than we expire, we diminish or augment the volume of the air which is therein contained. Now, all this mechanism being assisted by the posture of the body, by the combined and assorted position of the members, it is evident that it ought to produce a sensible and immediate effect upon the circulation of the blood and lymph, an effect physical, necessary, and intimate, linked to the mechanism of the body, an effect so much the more certain as the repose of the night has rendered the organs more supple, as the diet of the evening has diminished the plenitude of the arteries, of the veins, and of the canals of the absorbents and lacteals. The object of the Notice in the Mémoires, Amiot says, is not to teach Kung-fu, but to enable European physicians to examine its value without prejudice.

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The above is chiefly a translation from Amiot's article. M. Dally subjoins some observations. He supposes the Tauists to consider the body as a vertical line, and the members which are attached to it as articulated springs of the line, able to take in turn all the different positions. Upon this vertical line they have made four general divisions,—the head, the arms, the trunk, and the legs. Each of these divisions has general movements proper to it, and the articulated parts of each of these divisions have also their particular movements. He takes, for example, the head, of which they have considered not only the general movements, inclined in front and to the back, to the right and to the left, but also the particular movements of torsion of the neck to the right and left, those of the eyes, of the nose, of the mouth, of the tongue, and of the jaws. They have obtained new movements in combining the general movements among themselves, the particular movements among themselves, and the particular movements with the general movements. Is it wished to get an idea of the number of attitudes, orders, series, or formulae, of which this system is composed? It is sufficient to represent only what in mathematics one calls permutations, arrangements, and combinations; and the figures become infinite. This infinite multiple of formulae reproduce themselves again by the addition of the different modes of respiration, and by other conditions, such as the quickness, the resistance, the body being naked or dressed, burdened with a weight upon the head, on the shoulders, or in the hand, according to the malady; besides the body lying, sitting, standing, stretched or relaxed, immovable or movable, walking, running, dancing, leaping, in an active or passive state, or one part active and another passive;

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all the conditions which influence specifically the physiological effect of the same movement, or of a similar series of movements.

After mentioning the above six observations, M. Dally gives an example which he says one can verify upon one's self. Stretch forth the arms forcibly, while friction is made in a concentric curve over the abdominal region. What do you feel? An increase of heat in the intestines, at the same time also a diminution of the heat in the anterior side of the abdomen. Therefore, there is an augmentation of the circulation in the arteries of the intestines, and a diminution of the blood in the abdominal veins. Would you like that the friction cause an effect altogether the contrary? Lower the arms, and hold them hanging. In this position, the same friction produces a diminution of the blood in the intestinal veins, and an augmentation of the circulation in the arteries and in the anterior abdominal walls. Then, in the one case and in the other, there has been, at will, an exchange of arteriosity and absorptivity between the walls of the abdomen and the intestines. Then again, in the one case and in the other, the conditions of vitality which preside over the functions of all the organs of the abdominal region are powerfully active, and one conceives that it is possible to produce the same effects on the entire economy, in assisting by general friction the tension or distension of the whole muscular system, the tension or distension which the reserve of the breath or the simple ordinary respiration can again notably modify. Thus, of the different attitudes, they can produce physiological phenomena exactly alike or variously modified; and what is of great importance in the

p. 93

application to the treatment of disease is this, that we Can isolate a portion of the body, by acting on some other parts.

Such is the system of Kung-fu, and P. Amiot, says Dally, one of the most profound mathematicians of his time, has perfectly understood the grandeur of this system when he says that all the known postures and attitudes do not form a moiety of those which the Tauists have imagined.

These are M. Dally's observations on the system. He then adds these on the method. We know the elementary movements of Kung-fu and their various combinations to be infinite. By the examples which we have given of the physiological effects of friction, combined with tension or relaxation of the abdominal muscles, one can judge with what precision and exactitude these effects can be produced, in order to combat the diseases against which they are indicated, such as constipation, diarrhœa, or any other enteric trouble. In order to better appreciate the power of Kung-fu, it would be necessary to make a special study of the thousand different modes of respiration; for this is the essential point, and, according to the observation of Amiot, the most difficult of this method. Yet, says M. Dally, the difficulty can be overcome by special physiological and anatomical study, and by the Stern experience obtained by the effects. One can be assisted in this matter by the traditions of the employment of this exercise among the peoples of antiquity.

After citing instances, he sums up thus:—Upon this point, as upon all others, one comes back to the wisdom of high antiquity, where movement is still timid and partial, but which tends constantly to complete

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and generalize itself. Amiot's figures (4, 6, 12, and 20) recall to M. Dally the formulae similar to those which he has previously given, in affections of the abdominal region. He quotes figure 9 as a formula against vertigo and dazzling. It indicates a movement of double pressure of the head, combined without doubt with a movement of vibration and a certain respiration. He himself applied this remedy with success against vertigo and inveterate pains of the head. The physiological effect of this formula is innervation, molecular division, and increase of activity of the absorbent vessels. Applied to the head, it ought necessarily to bring back there the freedom of the functions. An analogous practice is found among the Greek physicians and in Ling's method. M. Dally has also verified attitude 15 against gravel, nephritic pains, and lumbago. He obtained instantaneous relief. As it is here only a question of a certain pressure upon the kidneys, with tension of the anterior muscles of the body, one is able to take the different attitudes which pre-dispose the muscles in the same manner, and to make them exercise this

pressure by another person. This gymnastic remedy, M. Dally says, is an hereditary usage in Hungary. Amiot was afraid to risk a translation, which M. Dally deeply regrets; and he hopes, in the interests of science, that some able and curious expert is to be met with who will undertake to reconstitute this method, with the elements of which he has annotated the system. M. Dally here, in a foot note, refers to his visit in 1854 to Dr. Roth in London, who was the learned and zealous director of an establishment there. He spoke of the discovery he had made of the Notice du Cong-fu, in the Mémoires sur les Chinois, praying him to examine this doctrine which had

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the greatest affinity with that of Ling. He hoped much from this step. M. Dally thought that efforts made in the libraries of Europe, and in the yearly papers sent by the missionaries in China, might probably find out the works which Amiot had consulted. The works with figures, consulted by Amiot, and many others, are now before the present writer.

In the meantime, continues our author, we remark in the Notice that the conditions of time and diet were accessory elements in the application of Kung-fu. We notice also in it that the simultaneous administration of movements, along with certain medicaments, was a practice foreign to the primitive and rational doctrine of this institution, as well as the superstitious practices with which it is to-day surrounded. Amiot does not say whether the system of Kung-fu is applicable to the treatment of deformities, luxations, and other surgical cases. In support of the treatment of surgical cases by this method, he (M. Dally) quotes from Lay's The Chinese as They Are and Dr. Williams’ Middle Kingdom, and says he could multiply facts of this kind, which clearly establishes that the science of physiological movement furnishes the Chinese with effectual means in the treatment of maladies of all sorts. According to. Du Halde, the residence of the Chief of the Tauists, called the Celestial Doctor (T‘ien Sze), is in the department of Kan-chou Fu, in the province of Kansuh, a mountainous country which furnishes an extraordinary abundance of medicinal plants. There is the central establishment for the teaching of the doctrine. They possess secondary establishments, one of the most considerable being that in Kiangsi, where a crowd of sick come together from all parts, in search of a remedy for their ills.

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M. Dally next gives us some observations on the principles and the theory. According to Amiot, the Tauists consider the human body as a purely hydraulic mechanism, and he explains their physical principles and their physiological theory according to this sole fundamental idea. In this case, there will be between the doctrine of the Tauists and those of the Iatro-mechanists such a similitude of affinity that one can believe that they pertain to the same school. Yet Amiot makes it understood that Kung-fu relies still upon other principles. The primitive priests considered the body not only as a physical and mechanical apparatus, but also as a chemical one. They recognized even that the physical and chemical laws of the body are subject to the influence of a superior principle, which rules and harmonizes them in the unity of the living being. This Chinese conception recalls exactly the theory of Ling—of mechanical, chemical, and dynamic agents, which balance themselves and hold themselves in equilibrium upon a central point which is the life and whence proceed the three principal agents. Dr. Bayes of Brighton, in his memoir entitled On the Triple Aspect of Chronic Disease, London, 1854, takes also for the base of his observations the theory of the Chinese balance of the three vital forces, which he borrowed probably from the doctrine of Ling. M. Dally has already spoken of them; it is necessary, be says, to revert to them again.

The animal forces, locomotive or muscular, Yang, and the vegetative forces, secretory or chemical, Yin, are harmonised and held in equilibrium by the physical forces, T‘ai-chi; and from this state of equilibrium results life and health. These three forces have contrary tendencies; the Yang tends to produce and perpetuate itself incessantly, the Yin tends to descend to the terrestrial region, and the

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[paragraph continues] T’ai-chi remounts to its origin, the Tao, the reason of all the visible manifestation. The Yang and the Yin are so united among themselves that they are in a state of reciprocal dependence, and they possess only a certain power of reaction proportioned the one to the other, a power dispensed by the T’ai-chi. It is in the maintenance of this proportionality, of this species of static, physical, chemical, and intellectual equilibrium, that the will, the moral power of man, and the acts by which this will manifests itself, ought to tend incessantly. Now, Kung-fu has been instituted for this object. It is charged with the maintenance or re-establishment of all parts of the body and its faculties in their condition of unity and primitive harmony among them and with the soul, in order that the soul may have at its disposition a powerful and faithful servant for the execution of its will. In other words, and from the Notice of Amiot, Kung-fu is "a real exercise of religion, which, in curing the body of its infirmities, frees the soul from the servitude of the senses," and gives to it the power to accomplish its duties upon the earth and of raising itself freely to the perfection and perpetuity of its spiritual nature in the Tao, the reason of the grand creative power. Thus Kung-fu, in its primitive institution, appears as a souvenir of the Tree of Life, under which man of the first days came, after his labours, to shelter his forces and his health and conserve his soul, still pure, a docile instrument of his will. Such are the principles upon which reposes the theory of Kung-fu of the Chinese, like that of their chemical and pharmaceutical medicine, and also that of their religious, social, and philosophic doctrines; for the Chinese, whatever be their studies of man or the institutions which concern him, carry always their considerations into all the

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elements of his nature and his constitution. However we may think that the progress of the civilization of the West has not yet arrived at this degree of practical reason; we are certainly astonished to see that, from the first ages of humanity, the priests of Tao were in possession of this grand thought of the unity of the human nature, and that they had made the application of it to all things, even to hygiene and to therapeutics, by movement organised in its relations with the physical, chemical, and psychical laws of the human being.

Indeed, this will be a curious history to write, says Dally, that of these old priests of Tao,—these remains still living of the first Brahmans of India, of the Magi of Chaldea, of the priests of Egypt, of the Druids of Gaul, their contemporaries, diverse sects,—sprung more than 3000 years before our era, from the alteration of the primitive tradition of mankind. Depositories of the tradition, these founders of nations carried the doctrine of Kung-fu from the common cradle into all the countries where they established themselves. Perpetuated whole and complete among the Chinese, we shall find it more or less mutilated and altered among other peoples.

Lao-tse was the founder of the religion of Tao, or rather the restorer of it, as he himself says. He appeared in the 6th century B.C.; and, like Confucius, his rival, the political reformer of China, at the same epoch as Buddha, Zoroaster, Socrates, and Plato, curious synchronisms which prove the providential solidarity of all the fractions of humanity. M. Dally, believing that he hears the distant echo of the religious principle of the Kung-fu in Plato whom he quotes, he concludes this chapter with the words of St. Paul, in his Epistle to the Thessalonians (v. 23), where M. Dally recognises the pure

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tradition of the religious and scientific principle which presides in the doctrine of the Kung-fu:—"And the God of peace himself sanctify you wholly; and may your spirit, and soul, and body, be preserved entire, without blame, at the coming of our Lord Jesus Christ."

I am indebted for much of what has now been presented, in illustration of this system, to Père Amiot, and particularly to M. Dally, who has published a large work on the subject, called Cinésiologie ou Science du Movement, Paris, 1857, in which he reviews Amiot's Notice. He sums up the subject in these terms.

This art is a very ancient practice of medicine, founded on principles originally pure and free of all the superstition with which it is to-day surrounded. It goes back to a period when the Tauist priests formed an official sacerdotal caste, in the time of Hwang-ti (2698 B.C.).

The art consists in three essential parts:—

1.—It comprises divers positions of the body, the art of varying the attitudes; and it explains how, during these positions and attitudes, the act of respiration ought to be carried on, following certain rules in various inspirations and expirations.

2.—The method has its own scientific language.

3.—It has really operated in the cure of disease, and in the alleviation of many infirmities.

The Chinese, to whatever order they belong, have recourse with eagerness to this mode of therapeutics, when all other means of cure have been tried in vain. Thus, Kung-fu has really all the characters of an ancient scientific method.

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So much for the principles and theory of Kung-fu u given by Amiot, and so ably enforced and explained by Dally. The latter entertains higher ideas of the value of Kung-fu than, in my opinion, is warranted. Amiot gives some of the salient points of position and breathing movements for the cure of certain maladies, but has not criticised or pointed out the unscientific ideas of the Chinese, not only regarding their cosmogony or philosophy of creation, but the physiology and anatomy of the human body which in their system are closely correlated, including the number, position, and functions of the viscera, the circulation of the blood, the true cause of the pulse, etc., and which are diametrically opposed to our modern Western medical science. A couple of illustrations, which will be found in the sequel, will explain the Chinese ideas of the human body. Although their theories, however, may be and are wrong, there may be and doubtless is advantage derived from Kung-fu in the prevention and cure of disease, and the strengthening of the body, just as in their therapeutics, although entirely empirical, they are often successful in the treatment of disease.

We reserve for the conclusion of this Paper our own remarks and investigations into these principles and theories, and now hasten to place before the reader some of the various methods, active and passive, prophylactic and curative of disease, and for strengthening the body. There are numerous works on the subject, copiously illustrated by more or less rude wood-cuts showing the various positions,—sitting, standing, and lying. To facilitate the full understanding of much that lies at the basis of all Chinese philosophy, and of course also of their medical practice and theories, and is taken for granted in Kung-fu, would require our entering into the general

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subject at some length. At present it must suffice, aided by brief notes where the references would otherwise be unintelligible, to give as briefly as possible the rationale of the art from the Chinese standpoint. This remarkable people have always highly esteemed the study of physic, because of its utility in the preservation of life and the cure of disease, but chiefly from the close connexion which they believe exists between the body and its various. members and the heavenly bodies. The reader will, therefore, not be astonished to find in Kung-fu, as in their medicine generally, much that is puerile and sublimely ridiculous, with here and there grains of wise observation and practical remark. Their reverence for antiquity, and their clinging to their elaborate and beautiful theories which their ignorance led them to make, and their conservatism leads them to keep, has been the chief cause of retarding progress in medicine and the cognate sciences. Had they shown as much talent and industry in studying man as he is, as they have exhibited in the industrial arts, etc., the Chinese would undoubtedly have been the first physicians in the world. With the highest heathen civilization, they stand lowest in point of practical medicine.

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Amazing Verbal Kung-Fu

If you've seen a lot of kung-fu movies, you know what this is about. Use it for a silly game of Feng Shui, Hong Kong Action Theater, Dragonfist, or Exalted. Or consider it review material for playing Jared Sorenson's Happy-Lucky Chinese Restaurant Game. Whatever! Enjoy.

Update: Splendid Shaolin Master, Skyfox (Carl Cramér), has organized a co-operative game to write these moves up as fu schticks for Feng Shui. I must bow to this superior effort. My part was relatively easy!

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Updated: Fri Mar 12 08:31:01 CST 2010

 

standing grasshopper fist

shining zodiac hand

yellow emperor's gecko kung-fu

amazing rabbit knee

flying foo-dog flip

iron panda hand

impressive chopstick style

mighty spider armor

flying rat leap

supernatural animal push

ten hummingbird advance

leaping ghost technique

golden river armor

ten taoist essence

glorious phoenix power

innocent hawk jab

devastating scarecrow pounce

innocent fox-woman armor

naughty wizard penetration

ancient hawk style

venerable wizard penetration

monkey king's jade kung-fu

fiendish rabbit style

terrible dragon elbow

transcendent dream dance

fragrant panda onslaught

naughty mist frenzy

super wind maneuver

burning snake kung-fu

illusory flash pose

mad acupuncture cut

invincible ancestor punch

dreaded chopstick defense

fierce paradise feint

evil butterfly justice

thundering mist strike

murderous taoist sword

no monkey defense

fortunate sun style

happy orchid technique

ruinous scorpion fist

iron lotus dance

fortunate mantis technique

leaping eunuch boxing

burning plum-blossom chop

stunning ram style

naughty chopstick protection

burning zodiac thrust

evil ram bow

sacred serpent vengeance

explosive scholar style

invisible secret arrow

lethal rabbit attack

resplendent qi kung-fu

blood of the plum-blossom lunge

monkey king's chopstick antagonism

drunken sky wrestling

mongolian buddha boxing

shining qi nerve pinch

whooping fox-woman fright

venerable foo-dog protection

midnight jade attack

heavenly scorpion protection

celestial spider seizure

ten cat fright

emasculating mustard-seed claw

whooping lotus twist

dreaded river hand

magnificent storm advance

enlightened plum-blossom neck-snap

venerable ancestor kung-fu

seven scarecrow tackle

flying spider contact

evil secret hand

vicious taoist block

savage taoist spirit

impossible spider vengeance

invisible ox technique

vicious wizard technique

two turtle seizure

mystic phoenix hammer

imperial jade sword

insane patriarch seizure

running fox-woman flip

illusory monkey wall

savage tiger crush

super sky rebuke

double ram spirit

mystic shaolin somersault

three scorpion maneuver

fiendish serpent maneuver

dipping star antagonism

happy chopstick antagonism

super immortal feet

mad wizard spear

kiss of the fox-woman fan

standing river maneuver

fiendish rabbit push

no cricket ambush

lucky patriarch blow

masculine phoenix fan

mighty terror crush

blood of the rat cut

amazing lotus slice

whirling butterfly nerve pinch

screaming moon breath

mongolian spider lunge

sign of the scorpion fan

invincible sun bow

resplendent scorpion rebuke

jumping patriarch scare

innocent acupuncture armor

kiss of the monk antagonism

transcendent gecko crush

10,000 hawk fan

dreaded scorpion block

judicious butterfly hands

savage mustard-seed feint

drunken eagle defiance

valorous rooster lunge

mad serpent lunge

mongolian virgin hands

evil wind jab

sacred sky power

jumping flash neck-snap

ancient fairy spin

whirling ghost fury

unfathomable monk scare

jumping eunuch stance

thundering flash cut

mystic orchid strike

vulgar crane knife

poetic flash feet

devastating mist hands

mongolian plum-blossom touch

mystic chopstick leap

three shadow boxing

golden vampire advance

emasculating plum-blossom slam

fragrant death ambush

enlightened panda wall

judicious shadow neck-snap

resplendent wizard bow

enlightened shaolin vengeance

honorable shadow maneuver

blood of the animal pose

screaming scorpion spin

deceptive sun antagonism

iron dream slash

whooping star assault

insane panda breath

accurate grasshopper fury

ancient hummingbird bite

burning eagle smash

mystic hawk fury

midnight sky tackle

devastating ancestor push

barbaric patriarch stance

evil hell attack

poetic mantis vengeance

excellent bamboo punch

10,000 dream rebuke

fortunate mist fan

yellow emperor's gecko cut

super mustard-seed bow

resplendent grasshopper scratch

iron wolf bow

standing scorpion seizure

deceptive foo-dog fright

celestial secret fan

impossible gecko seizure

shining mist touch

splendid butterfly charge

chuan chunling style

evil shaolin slap

savage lotus pose

lethal scholar palm

innocent buddha palm

fire of the gecko arrow

abominable secret knife

lethal hummingbird style

venerable rat wheel

flying spider slap

laughing orchid fan

lucky rooster push

devastating immortal wall

pious plum-blossom elbow

blind virgin armor

invincible spider neck-snap

amazing mantis blow

shining secret cut

mongolian ox elbow

unfathomable wind onslaught

sound of the foo-dog hammer

mighty plum-blossom pounce

iron hawk blow

mystic serpent kung-fu

double death arrow

monkey king's sun bow

sacred turtle rebuke

accurate ancestor shield

whirling rooster feet

devastating buddha neck-snap

accurate hell justice

ancient demon wheel

amazing animal stance

supernatural shaolin wrestling

naughty jade tackle

amazing animal breath

impossible ghost knife

blood of the foo-dog lunge

honorable immortal arrow

imperial sky slice

glorious mist punch

ruinous monster energy

sound of the hell power

uncomfortable shaolin hand

strange demon block

midnight immortal kung-fu

laughing grasshopper smash

abominable mist style

transcendent butterfly shield

mystic fairy thrust

two grasshopper stance

sound of the wizard shield

honorable shadow slap

excellent wizard style

strange hummingbird tackle

screaming sun leap

stunning lightning frenzy

ten moon elbow

ruinous vampire push

glorious orchid heel

midnight willow attack

running phoenix scare

ten buddha contact

midnight dream throw

two tiger defiance

three dream palm

whooping shaolin tackle

two moon frenzy

mongolian willow jab

explosive shadow twist

iron mantis onslaught

evil plum-blossom defiance

sign of the ghost antagonism

celestial hell style

two scarecrow attack

peaceful eagle nerve pinch

deceptive plum-blossom fist

insane monkey neck-snap

naughty animal breath

fierce ram breath

drunken grasshopper blow

burning foo-dog strike

invincible sage somersault

double monster style

jumping sky spirit

flying demon slice

honorable gecko hammer

thundering bamboo rebuke

fortunate hummingbird penetration

sacred ancestor kung-fu

fragrant scarecrow chop

three tiger technique

vulgar vampire wheel

happy snake pose

emasculating monster slash

jumping spider hammer

mad sage protection

kiss of the jade push

thundering ancestor spirit

heavenly dream hammer

fiendish ghost forehead

vicious paradise protection

lucky ancestor vengeance

sound of the scorpion scratch

inverted cat bite

excellent wizard protection

mad mist fright

venerable acupuncture knee

glorious moon style

whirling mantis kick

drunken terror lunge

amazing shadow crush

imperial goldfish pose

invisible shadow smash

invisible rat nerve pinch

laughing chopstick heel

fang of the dream justice

masculine chopstick spin

deceptive buddha feint

uncomfortable lotus lunge

illusory buddha wheel

uncomfortable phoenix block

vicious snake smash

whooping ram push

peaceful demon hands

destructive shadow energy

ancient ancestor technique

wicked wizard knife

glorious shaolin slice

naughty star technique

fiendish killer penetration

ancient acupuncture bite

stunning fox-woman elbow

magnificent monkey neck-snap

innocent lightning pose

standing ancestor arrow

stunning lightning cut

barbaric taoist feint

yellow emperor's mantis spin

vicious sky feint

yellow emperor's animal attack

strange sage rebuke

two lotus fright

wicked scorpion antagonism

two sage energy

resplendent immortal hand

evil shadow smash

sound of the panda fan

ancient goldfish style

evil turtle pounce

burning lotus knife

golden crane bow

golden mantis sword

jumping cat wall

burning animal crush

masculine ancestor leap

insane demon bite

terrible crane touch

flying zodiac attack

drunken monster breath

kiss of the ram style

savage scholar chop

dipping panda cut

stunning wind crush

lucky tiger shield

resplendent wizard slam

destructive ancestor fury

poetic killer protection

screaming sun maneuver

yellow emperor's foo-dog thrust

destructive foo-dog heel

shaolin ox kung-fu

resplendent acupuncture spirit

no wind defense

lethal paradise seizure

naughty monkey claw

sacred orchid block

honorable mantis vengeance

mad storm scare

dreaded flash attack

accurate hawk strike

mongolian terror spear

10,000 peony-blossom maneuver

resplendent scholar spin

invisible hummingbird chop

invincible rabbit knife

whirling monk throw

splendid dream wheel

shaolin butterfly twist

blind sun kick

golden rabbit breath

mystic foo-dog style

excellent wizard wrestling

kiss of the sky attack

peaceful lotus fright

whirling grasshopper hammer

fierce panda pose

savage hummingbird protection

sign of the willow feet

poetic crane hand

invincible storm neck-snap

inverted monster kung-fu

valorous dream maneuver

resplendent turtle technique

unfathomable rooster vengeance

jumping river neck-snap

ancient virgin jab

amazing ram dance

emasculating snake energy

drunken hawk pounce

amazing star palm

evil cat hands

poetic immortal leap

lethal serpent dance

devastating ghost strike

stunning acupuncture breath

double scorpion essence

no shaolin spear

kiss of the willow breath

accurate scholar justice

fragrant monk flip

no taoist scratch

ten death wall

explosive monster forehead

fire of the orchid bow

wicked qi attack

barbaric moon attack

magnificent ancestor push

dancing jade stance

murderous killer antagonism

abominable taoist push

mad lightning vengeance

barbaric hummingbird knife

whooping mustard-seed fright

iron gecko fright

leaping paradise hand

two sun arrow

ten immortal power

peaceful paradise armor

heavenly wind blow

honorable vampire crush

no serpent rebuke

roaring scholar advance

fire of the star leap

ancient qi ambush

venerable crane lunge

fierce taoist heel

naughty wind breath

thundering hummingbird defiance

shaolin wind slap

ruinous storm fist

10,000 orchid fan

super virgin charge

fiendish monk claw

magnificent qi block

leaping hell push

transcendent grasshopper touch

murderous hell assault

poetic monkey lunge

monkey king's plum-blossom hands

roaring animal kung-fu

magnificent shaolin style

heavenly immortal kick

roaring shadow antagonism

amazing ram crush

unfathomable rooster punch

evil eagle spear

kiss of the panda fright

impossible goldfish spirit

illusory butterfly slam

seven rat palm

iron ram assault

heavenly bamboo onslaught

wicked panda boxing

transcendent paradise vengeance

honorable monster claw

fragrant hawk penetration

whooping bamboo hands

naughty monkey armor

flying immortal slice

dreaded foo-dog hands

ten grasshopper stance

mongolian terror technique

deceptive killer defiance

yellow emperor's shaolin technique

screaming shadow pounce

dipping hawk slash

splendid lotus somersault

running plum-blossom strike

laughing dream pounce

fire of the patriarch elbow

vulgar star maneuver

fiendish eagle twist

enlightened cat leap

magnificent storm contact

terrible terror antagonism

10,000 monster neck-snap

devastating wind strike

double rooster advance

illusory demon feint

sacred spider wheel

peaceful ancestor attack

flying phoenix vengeance

fortunate qi onslaught

devastating lightning thrust

dancing spider pose

thundering killer charge

spinning foo-dog boxing

strange cricket feint

dancing crane tackle

seven goldfish neck-snap

splendid rabbit contact

dreaded monkey strike

invincible butterfly style

blind peony-blossom attack

midnight terror crush

invincible paradise fury

poetic sun defiance

resplendent sun forehead

valorous acupuncture knife

invincible patriarch kung-fu

sacred eagle bow

enlightened hummingbird tackle

sacred wolf wrestling

amazing scarecrow smash

whirling sun thrust

ruinous jade hammer

happy lightning neck-snap

به نام خدا

شائولین و تاریخچهٔ معبدشائولین

در تاریخ شائولین بارها تحولات خاصی صورت گرفته است وهمینطور اساتید معابد فرعی و معبد اصلی شائولین از این تحولات در جهت پنهان نمودن رموز شائولین استفاده کرده اند.یکی از این موارد استفاده پنهان کردن تاریخچه اصلی معبد شائولین است معبد شائولین 5200سال پیش بوجود آمد هنرجویان و ساکنین این معبد حدود 400 سال بر این عقیده بودند که روح از جسم ارجحتر بوده و می بایست برای ارتقاو تکامل فقط باید به تعلیم روح پرداخت از حدود 4800 سال پیش به این سمت ساکنین این معبد به این نتیجه رسیدند روح از جسم جدا نمی باشد و باید برای تکامل روح و جسم را با هم تعلیم داد از این رو و از این تاریخ قسمت رزمی شائولین بوجود آمد.... یکی از دلایلی که این قدمت را تائید میکند تولد هنر چی کنگ (یکی از ارکان شائولین )در حدود چیزی بیشتر از 5000 سال پیش است و دیگر موضوع تحقیق در تاریخ کشور چین و تاریخ ثبت شده در معبد شائولین است. قدیمی ترین ، کاملترین و پیچیده ترین هنر فلسفی رزمی جهان شائولین (کونگ فوی چینی) می باشد.

شائولین به معنای جنگل جوان یعنی تراکم ، پیچدگی ، نوآوری ، طراوت وتازگی است. شائولین نام معبد ذن در استان هونان کشور چین بوده که سالها قبل از پیدایش قسمت رزمی ساکنان آن به یادگیری روشهای مختلف استفاده از نیروهای درونی می پرداختند و با پیدایش قسمت رزمی نام شیوه ها وشگرد های خود را شائولین نامیدند. قدمت این هنر با عظمت بیش از 5200 سال است که از 4800 سال پیش دو بعد رزمی و معنوی آن با هم ادغام شد، که دارای بیش از 700 سبک اصلی است که به سبکهای شمالی و مرکزی و جنوبی تقسیم می شوند. که برخی از آنها عبارتند از: نن شائولین - چوی لی فوت – جیت کان دو- وینگ چانگ – تای چی – وودانگ – یینگ یی – فوت گا – پرایینگ مانتیس– واکونگ – ووشو - سبکهای میمون ، مار ، پنجه ببر ، پنجه عقاب ، درنای سفید و غیره.................................

(((پیدایش کلیه رشته های رزمی از شائولین میباشد)))

شائولین (کونگ فوی چینی) بر مبنای نظریه یین و یانگ بنیاد شده است حالت بدن قبل از ضربه زدن به حریف لخت بوده ودریک آن به سفتی سنگ میشود بیشترین قدرت گیری برای اجرای کلیه ضربات از ناحیه کمر و قسمت تان تین(4 انگشت پائین تر از ناف* یکی ازمنابع نیروی درونی*) میباشد در هنر رزمی شائولین سرعت ضربات 3 به 1 است یعنی اجرای حداقل 3 ضربه در1 ثانیه.

*هنرجویان شائولین برای کسب حداقل پیشرفت باید روزانه 8 ساعت تمرین کنند = درهفته56 ساعت زیر نظر استاد*

یکی از ارکان مبارزه در شائولین = (1. حمله 2. ضد حمله 3. جا خالی4 .........10. دفاع)

 در شائولین مبارزه کمتر1 به 1 انجام میشود وبیشتر بصورت حداقل 5 نفر به 1نفر انجام میگیرد.

شائولین دارای 100 نوع سلاح است که برخی از آنها عبارتند از : انواع شمشیر مانند:شمشیر جیان شو ، دائوشو و غیره...

- چوب – نیزه – زنجیر- تبر – چاقو – نا نچیکو - تونفا – سانچیکو – سای – گرز و غیره..............

تنوع ، پردازش بالا وعالی به همراه نوآوری در این هنر باعث شده هر کس با هر سطح توانائی و حتی با نتوانی جسمی و روحی بتواند به حد لازم از این گنج بی انتها بهرمند گردد.

طی مراحل آموزشی شائولین در چین عبارتنداز:

1 . مدرسه شائولین 2 . دانشگاه شائولین 3. معبد فرعی شائولین 4 . معبد اصلی شائولین

شائولین هنر زندگیست.......

هدف از اجرای برنامه های شائولین در زندگی در مرحله نخست کسب آرامش و در مرحله بعد تعادل – تعامل و گسترش نیروهای سازنده درونی بیرونی برای داشتن دنیایی پر از محبت – پیشرفت – امنیت است.

 نکته : مهمترین مطلب در شائولین بهره گیری از نیروهای درونی، بیرونی برای تکامل خود – دیگران وکشف رموز الهی است.

شائولین هنریست که دارای فرهنگ ژرف و معنوی والایی می باشد . برای یك راهب مبارز شائولین 

(( قدرت خرد)) از حفظ تناسب اندام و دفاع شخصی مهمتر است . شخص فرزانه و خردمند در نوك انگشتان خویش نیز قدرت درك دارد .

در طول تاریخ بارها معبد شائولین تخریب شده و به همین دلیل اساتید شائولین سالهای زیادی است که این معبد را به جای پنهانی انتقال داده اند تا این میراث ارزشمند نابود نشود. اگر مطالب زیر را بخوانید درک این موضوع برایتان ساده تر خواهد شد .

در طول تاریخ ، این معبد بارها و بارها تخریب و مجدداً بازسازی شده. یکی از این تخریب‌ها در سال ۱۶۴۷ توسط حکومت چینگ صورت گرفت که برای جلوگیری از فعالیت‌های ضد حکومتی ، معبد ویران شد. این ویرانی کمک بسیاری به اشاعهٔ هنرهای رزمی راهبان معبد کرد.

در سال ۱۹۲۸ ،فرمانده‌ای به نام شی یوسان معبد را به آتش کشید.بسیاری از دست نوشته‌ها را ازبین برد و سرسرای معبد و همچنین کتابخانهٔ آن را ویران کرد.انقلاب فرهنگی در چین

در نیمهٔ دوم قرن بیستم ، حزب کمونیست چین از شائولین برای دوره‌های آموزشی راهبان دروغین خود استفاده کرد.

 ( یعنی همان گارد سرخ و ارتش سرخ چین).

این حزب، معبد و تمام بخش‌های آن از گورستان افراد مذهبی یعنی تا لین گرفته تا استخر نُه اژدها – را هدف گلوله‌های آتشین خود قرار دادند. سرانجام و به دنبال نمایش فیلم معبد شائولین جت لی  در سال ۱۹۸۲ ، این معبد توسط دولت چین به عنوان یک مکان توریستی رسمی ، بازسازی گردید. از آن به بعد گروه‌های رزمی کار در سراسر دنیا شروع به فرستادن کمک‌های نقدی خود جهت حفظ و نگهداری از این معبد قدیمی کردند و خواستار پاسداری از حجاری‌های در ورودی معبد شدند.

حزب کمونیست چین در صدد این است که انحصار خود بر معبد شائولین را دوباره پس گیرد.

این حزب نمی‌خواهد که امتیازات انحصاری و سودمند یادگارهای شائولین را از دست بدهد.

نهایتاً در آگوست ۱۹۹۹ ، استاد شی یونگ ژین برای بدست گیری مقام مدیریت شائولین منصوب شد . او سیزدهمین راهب بودایی موفق در مدیریت شائولین ، پس از ژو تینگ فویو بوده‌است.

در مارس ۲۰۰۶ ، رئیس جمهور روسیه ، ولادمیر پوتین اولین رهبر خارجی ای شد که از معبد بازدید کرده‌است. درضمن ایشان مدرس هنر رزمی جودو هستند

川春玲少林

سبك نان جوان

نانچوان یا بوکس جنوبی یکی از سه سبک اصلی و استاندارد ووشو جهان بوده که به علت دارا بودن مشخصات منحصر به فرد خود اعم ازقدرت وسرعت و انعطاف پذیری جایگاه ویژه ای در بین هنرجویان ایرانی دارد . این سبک در قسمت تالو ( اجرای فرم) به سه صورت اجرای فرم استاندارد نانچوان(فرم بدون سلاح با مشخصات سبک) نن گوئن(فرم سلاح چوب) نن دائو(فرم سلاح شمشیرپهن) به مسابقات جهانی والمپیک قدم می گذارد.ودرقسمت سانشو(مبارزه آزاد) با قوانین کاملا"علمی همگام با دیگر سبکهای ووشودرمیادین جهانی حاضرمی گرددنانچوان بطورگسترده ای درجنوب چین تمرین می شود.درزمان سلسله مینگ(1368-1644م)پایه گذاری شده وسبکهای مختلفی دارد.بین مشهورترین آنها پنج سبک وجود دارد

 

خانواده ای هو و نگار و کای و لیو و لی  و مو و چندسبک دیگرکه کمترشناخته شده مانند بوکس(پنجه)و(بوکس ببرسیاه)

 

نانچوان روی حالت چمباته زدن همواره با نقطه ثقل پائین وکارپیوسته پاها تاکید دارد و دارای ضربه های مشت نیرومندی است

نانچوان بوسیله ترکیب حرکات با تعدادی پرش و قدرت پا و نفس کشیدن و صداهای مقطعی تولید می شود

 نانچوان در تمام مناطق جنوب رود CHANGJمشهوریت داردومحبوب میباشد

   مخصوصا درفی جین گوان دونگ و وهیان وجاین جین و زی جاجین و جیانگ شواز محبوبیت خاصی برخوردار است

 نانچوان یکی از منابع و سرچشمه های بوکس چینی می باشدبا یک سرگذشت وتاریخ دیرینه

در مورد منشا اصلی تای چی چوان، افسانه های زیادی وجود دارد . روایتی می گوید که تای

 چی چوان در قرن 12 بوجود آمده است  در زمان امپراطور هوئی زونگ از سلسله سونگ یک راهب تائویی در کوه وودانگ به نام ژانگ سان فنگ از طرف دربار به پایتخت آن زمان کای فنگ فرا خوانده شد  در راه گروهی متشکل از 100 دزد به او حمله کردند و او مجبور به پناه گرفتن شد.شب هنگام ، روح کوه وودانگ به خواب او آمد  و فنون یک سبک ووشو را به او آموخت روز بعد ژانگ با استفاده از این فنون جدید، دزد ها را دور کرد. این سبک که در طی قرن ها دست به دست شده، به یک مدرسه بین المللی بوکس که همان تای چی چوان امروزی است، مبدل شده است.

طبق روایتی دیگر تای چی چوان در قرن 14 بوجود آمده است  داستان می گوید که همان ژانگ سان فنگ در اواخر سلسله یووان و اوایل سلسله مینگ می زیسته او در کوه وودنگ تحصیل می کرده  تا راهب تائویی شود او در سراسر یین و یانگ تئوری بوکس هشت حالتی جستجو کرده و با مطالعه زندگی درنا و لاک پشت، 2 حیوان طویل العمر ، برای آموختن راز جاودانگی تلاش می کرده است. روزی مبارزه یک مار و درنا را دید و با الهام از آن، کم کم 13 استقرار تای چی که اساس تای چی چوان امروزی است را بنیان گذاشت.

این گونه داستانها بسیار جذابند، اما در اینکه تای چی چوان توسط چانگ سان فنگ ابداع شده یا نه سئوال باقی است. زیبائی مناظر کوه وودنگ، واقع در شمال غرب ایالت هیوبی معروف است. این کوه از قرن هفتم ، مرکز تائوئیسیم بوده است . طبق گفته اسناد تاریخی محفوظ در کوه دو نفر به نام چان سانگ فنگ وجود داشته اند، اولی در سلسله چانگ می زیسته و خاطر مهارت های مبارزه اش مشهور بوده، دیگری یک تائویست مشهور در اوایل سلسله مینگ که در بکار بردن شمشیر بسیار زبر دست بوده و مکرر به دربار امپراطور خوانده می شده اما، از رفتن امتناع کرده و انزوا را ترجیح می داده است . داستان های زیادی در باره این مرد نقل شده است. هر دو نفر آموزه های معنوی تائویسم را با مهارتهای ووشوی خود ترکیب کرده اند ، با این وجود بسیاری از محققین ووشو فکر می کنند برای نامیدن هر کدام از این دو نفر به عنوان موسس تای چی چوان مدارک کافی در دست نیست.

منشا اولیه تای چی چوان هر چه که باشد، می توان ریشه های امروزی آن را در ونگ چیان در ایالت هنان جست. مردم بومی هم درباره منشا آن دو نظر دارند یکی ، تای چی چوان مدرن توسط چان وانگ تینگ در دهکده چن جیاگو بوجود آمده، دیگری اینکه توسط جیان فا در ایالت شانگ زی آموخته شده و او آن را به دهکده محل زندگی خود زیائولیو که آن هم در ناحیه ونگ چیان بوده، باز گردانده است .

چن وجیانگ هر دو اساتید ورزیده ووشو در زمان سلسله مینگ بوده اند، چن در سال 1641 م مسئول بخش نظامی ناحیه خود شد، در سال های بعد او در انزوا به تحقق روش های دفاع شخصی ووشو پرداخت، و در نهایت برای خود سبک جدیدی پایه ریزی کرد. جیان فا، متولد سال 1571 در ووشو خیلی ماهر شد. بر طبق افسانه ها او با 100 گام می توانست به یک خرگوش صحرایی در حال دویدن، برسد. تای چی کم کم به دنیای خارج منتقل شد.

 

تای چی چوان 3 بخش اصلی دارد

الف) جذب اصول و تجربه فرم های سنتی ووشو: کتابهای اولیه تای چی چوان استقرار ها و عبارتهایی به عنوان راهنمای تمرین دارند، که نظیر آن را در راهنمای بوکس ژنرال جی گوانگ می توان یافت، بخشی از کتاب او اثری جدید درباره تاثیر هنرهای رزمی قبلا" ذکر شده است سبک ووشوی جی ترکیبی از 16 مدرسه مشهور آن زمان است.

ب) جذب روشهای سنتی برای بهبود سلامتی: به نظر می رسد تای چی چوان ساخته جریانی تدریجی است که در طی قرن ها، ووشو را با فرم های سنتی ورزشهای درونی، مدیتیشن و نرمش، برای ایجاد سلامتی و طول عمر، در آمیخته است. این تمرین های تمرکز اعصاب، تمرکز و تنفس تنوع وسیعی دارند و بسیاری از این عناصر در تای چی چوان دیده می شود.

ج) جذب تئوری های پزشکی و فلسفی کلاسیک: تای چی چوان مانند بسیاری از روشهای سلامتی ذکر شده در بالا، تئوری پزشکی سنتی، یعنی افزایش گردش چی یا انرژی حیاتی در بدن برای حصول اطمینان از حرکات روان اندام های داخلی، همین طور، تئوری های فلسفی تای چی، یین ویانگ، روزینگ با گوا و غیره را اتخاذ کرده است ،از آنجا که تای چی چوان متشکل از 8 مهارت اصلی و 5 نوع اصلی بود ، آن را در اصل 13 استقرار می نامیدند. این مهارتها و انواع اصلی مربوط به تغییر باگوا و وزینگ می باشند.

تئوری ها و کاربردشان را توضیح داده است. این اثر تجارب ووشو کاران قبلی را تحلیل می کند و د(( وانگ زونگ یو)) یک ووشوکار معروف قرن 18 در مقاله هایی درباره تای چی چوان، این ر توسعه ووشو و تنظیم اصول اساسی آن، ارزش زیادی داشته است از این زمان بود که عنوان تای چی چوان وضع شد تای چی به حالت اولیه عالم، یعنی آغاز تغییر اشاره دارد این واژه مبین این باور است که تای چی چوان عمیق و بی نهایت متنوع بوده است.

 

ب)     مدارس مختلف تای چی چوان

در فرم های اولیه تای چی چوان، جهش، پا کوبیدن و حرکات انفجاری ناگهانی وجود داشت در اوایل قرن 19، مردی از ناحیه یانگ نیان در ایالت هبی به نام یانگ لوچن به ناحیه ون زیان رفت تا در دهکده چن جیاگو کارگری کند، او آنجا تای چی چوان آموخت و بعد ها به شهر خود بازگشت به خاطر مهارتهای بوکس اش به یانگ شکست ناپذیر معروف شد، مدت زیادی نگذشت که، توسط دربار سلطنتی چیانگ به پایتخت گسترش یافته بود، در سالهای بعد با توسعه یافتن توسط یانگ و دیگران، حرکات شدیدتر خود را از دست داد و نرم تر، آرام تر و یکنواخت تر شد. از این رو برای تمرین سالمندان و جوان ترها مناسب ترشد و به عنوان تمرینی ایده آل برای سلامتی شناخته شد.

 همانطور که پیش تر ذکر شد، تای چی چوان امروز به چندین مدرسه منشعب شده، که اصلی ترین آنه عبارتند از:

1-     سبک چن:

این فرم اصلی که توسط خانواده چن در ایالت هنان بوجود آمده، تا سال 1928 به پکن نرسید. این سبک هنوز هم دارای پرش، کوبیدن پا و انفجار نیرو است و حرکات شدید و نرم را با هم در آمیخته است این سبک با پیچ و تاب ها و پرش های ناگهانی کاملا" نیرو گیر است.

2-     سبگ یانگ:

این سبک بوسیله یانگ لوچن از سبک چن اقتباس شده است. نوه او یانگ چنگ فو شکل امروز آن را بوجود آورده است و فعلا" محبوبترین سبک در چین است حرکات آن یکنواخت و نرم با حرکات کمانی بسیار زیاد است.

3-     سبک وو(WU ) :

     این سبک توسط مردی از نژاد منچو به نام ووچنگ یو و پسرش و چوان یو بر اساس تمرین سبک یانگ بوجود آمده است تنها سبک یانگ از نظر محبوبیت به آن مقدم است حرکات آن آرام، مختصر، بدون شتاب و با کمان های متوسط است.

4-     سبک هائو:

در اصل توسط وو یوزیانگ که سبک چن تای چوان را در هنان می اموخت، یوجود آمد.شاگرد وو، هائوویزن آن را به پکن آورد خصوصیات آن، سادگی، وضوح، اختصار، حرکات نرم و آهسته با دامنه کم و حرکات پای سخت و استقرارهای عمودی است.

5-     سبک سان:

سان لوتنگ در اواخر سلسله چینگ، ابتدا زینگ یی چوان و سپس به تمرین باگوا چوان و در نهایت سبک هائو، تای چی چوان پرداخت که بر اساس تای چی هائو سبک مخصوص به خودش را ابداع کرد. حرکات آن چابک، به همراه نوسان ها با متد های باز و بسته دست است. یک ویژگی مشخص سبک سان حرکات پای پر تحرک آن می باشد که با چابکی پیش می راند و عقب می نشیند.

با وجود متدهای متفاوت، 5 سبک تای چی چوان ذکر شده در بالا، همگی در اصول اساسی خود یکسان هستند. از هنگام تشکیل جمهوری خلق چین ، تلاشهای زیادی برای ارتقاء هر چه بیشتر تای چی چوان شده است. سازمان فرهنگ و ورزش ، بر اساس سبک سنتی، فرم های جدید زیر را تائید کرده است.

1-     تای چی چوان ساده سده:

بر اساس سبک یانگ، برای مبتدیان طراحی شده و حرکات اصلی آن را در 24 گام ترکیب کرده اند، یادگیری اصول آن ساده است.

2-     تای چی چوان 88 گام:

این نیز بر اساس سبک یانگ است و با حفظ حرکات تای چی جوان سنتی، خصوصیات سبک یانگ را در یک فرم متمرکز تر نشان می دهد.

3-     تای چی چوان 66 گام( ترکیبی):

منتخبی از نقاط قوت سبک های مختلف است و نسبتا" نیرو گیر و مناسب افراد تا حدودی ورزیده است.

4-     تای چی چوان 48 گام :

این هم برای هنرجویان ورزیده تر و بر اساس سبک یانگ است با این حال ویژگی هایی از سبک های دیگر را هم در بر دارد. سرزنده، متعادل، ظریف، و بیگانه با ترتیب سنتی حرکات است.

ج)     ورزشهای تمرینی:

روشهای تمرین تای چی چوان از نظر اصل، برای تمامی سبک ها یکسان است و شامل سه عنصر اساسی، تمرین فردی، تمرین مبارزه دو نفره و توئی شو( هل دادن دستها) می باشد.آنچه مهم تر است و بیشتر تمرین می شود، تمرین های فردی است ماهیت این تمرین ها از نظر مدت زمان، پیچیدگی، سختی و سرعت در سبک های مختلف متفاوت است.

تمرین فردی شامل، تمرین استقرارهای فردی مانند استقرارهای 37 تایی تای چی چوان است که از 70 سال پیش وجود داشته اند، تمرین های درونی تای چی که امروزه به عنوان تمارین درمانی استفاده می شوند، تمرین های مهارت های اصولی تای چی است.

مبارزه دو نفره مربوط به حملات منظم و دفاع و سایر مهارتهای اصولی تای چی است.مبارزه دو نفره مربوط به حملات منظم و دفاع و سایر مهارت های مبارزه بر اساس یک الگوی مشخص است و توسط 2 نفر یا بیشتر می توانند تمرین شوند.

توئی شو یا هل دادن دسته سبکی برای تمرین یا مسابقه است و توسط هر کدام از سبک های تای چی چوان برای ایجاد عکس العمل، مهارتهای مبارزه و کنترل، استفاده می شود.همین طور تمرین های زیادی با سلاح هایی نظیر شمشیر باریک ، شمشیر پهن، نیزه و گرز وجود دارد که توسط یک یا دو نفر اجرا می شوند.

د)     پیش نیازهای اصلی در تمرین:

با وجود تنوع سبک ها، همگی پیش نیازه ای اصلی و یکسانی در تمرین دارند.

1-     استقرار

سر- بطور طبیعی افراشته، بدون نوسان یا کج کردن، دید رو به جلو، دهان بسته، زبان در تماس با سقف دهان-گردن- افراشته، اما منقبض نباشد تا در هنگام تمرین انعطاف داشته باشد.

شانه ها- راحت، شیب دار، نباید خمیده، عقب کشیده، فرو افتاده یا رو به جلو باشند.

آرنج ها- همیشه به طور طبیعی خم و رو به پایین باشند، هرگز نباید خشک و بالاتر از کمر باشد.

مچ ها- راحت، هرگز شل نباشد، هرگز بیش از اندازه خم نکنید، تا نیرو بتواند به راحتی به دستها برسد.

سینه- راحت، کمی فرو رفته هرگز به داخل نکشید و یا بیرون ندهید.

پشت- افراشته و راحت، هرگز خم نکنید.

کمر- رو( مایل) به پایین و قابل انعطاف، از جلو یا پشت بیرون نزده باشد.

ستون فقرات- افراشته، بطوریکه بتوان نیم تنه را به طور طبیعی صاف نگاه داشت.

باسن- اندکی به داخل کشیده و بیرون نزده باشد.

کفل ها- صاف تا اینکه نیرو بتواند آزادانه از پاها عبور کند، پیچیده یا بیرون زده  نباشند.

پاها- ثابت، محکم، زانوها همیشه اندکی خمیده و قابل انعطاف ، آزاد برای چرخیدن و گردش – حرکاتشان نرم، سبک و موزون با توزیع یکسان وزن در آنها.

2) روش های حرکت

در تمام طول تمرین تای چی جچوان بدن باید آرام و طبیعی باشد. هرگز نباید کج و دارای انحناء باشد . ذهن هدایت حرکاتی که باید آهسته، نرم و سبک باشند را به عهده دارد. حرکات بصورت دورانی یا مارپیچ و بدون استفاده از نیروی شدید، سفتی یا نوسان در سرعت، انجام می شوند. با وجود پر تحرکی و سبکی حرکات، انسان یاید همواره کاملا" ثابت باشد و هرگز تمرکز خود را از دست ندهد . هماهنگی بدن ضروری است و در انفجارهای ناگهانی نیرو باید سریع و بدور از خشکی باشد، باید تمام بدن یکپارچه حرکت کند.

تنفس باید آرام و طبیعی باشد تا، نرم، عمیق و متعادل شود. حرکات و تنفس باید با هم هماهنگ باشند، هر چند برای این منظور نباید تنفس اجباری باشد.

در مبارزه ، تای چی چوان بر حفظ سکون و انتظار برای حرکت و واکنش در برابر حرکات حریف، تاکید دارد، شخص باید با پیروی از نیروی پیش رونده اش حریف را کنترل کند، و با یافتن نقاط ضعف او و استفاده از حداقل نیرو از راه مهارت و حساسیت زیاد نیروی بزرگتر را مغلوب کند این امر مستلزم، تمرین زیاد، ایجاد هوشیاری، قضاوت دقیق، عکس العمل هایی سریع و آرامش زیاد است. بعلاوه ، انسان باید نیرویش را افزایش دهد تا مکمل مهارت و آگاهی در مبارزه باشد.

ه)     تای چی چوان و سلامتی

یکی از دلایل محبوبیت تای چی چوان در چین و سایر کشورها ارزشهای درمانی آن می باشد. تمرین های تای چی چوان که همزمان باعث ورزیدگی ذهن و بدن می شوند، مغز را تحریک کرده و باعث انگیختگی در بعضی از قسمتهای آن و موانع حفاظتی در بعضی دیگر می شوند. این امر باعث استراحت ذهن شده، مغز را از برخی هیجانات آسیب زننده ناشی از بیماریها نجات داده و در نتیجه به درمان برخی از بیماریهای مزمن ناشی از اختلال سیستم عصبی کمک می کند.

در تای چی چوان تنفس طبیعی و گاهی شامل تنفس شکمی نیز می شود، بنابراین باعث افزایش تنفس، گردش خون و هضم شده، و به آرامی متابولیسم و عملکردهای خود تنظیم بدن را تحریک می کند، بعلاوه در درمان و پیش گیری از اختلالات عصبی، بیماری قلبی، فشار خون بالا، سل، ورم نای، زخم معده و سایر بیماریهای مزمن، موثر شناخته شده است. موارد بیشماری از بهبود بیماری در اثر تمرین تای چی چوان وجود دارد

 

 

SIFU.Shiyan

MASTER.SHING

 

SIFU.Shiyan

Master  Shi xing qing

MASTER:GUO ZHI FENG