Translated by Christopher J. Dias
I have taken the liberty of uploading the text of this book because the book that you see on Amazon.com is fraught with huge grammar mistakes which I did not make. The book on Amazon.com has been re-edited, probably by a non-native English speaker and it has big errors in it. I am the original translator and they never consulted me about the changes and so the author should be embarrassed at the indifference shown in the new edition. Until they republish the book in its proper form with my name on it, this version will stay up.
Kiss
Zsolt
Wihng Cheun Kyuhn
I. The Basics, Saam Baai Fat (Siu Nihm Tauh)
(With video access)
The author and publisher of this publication are not in any way liable
for possible incidents that result in injury or damage due to the
implementation, execution of, training, and technical knowledge derived from
the content in this book. This work outlines physical, and other natural
activities that may drive people to over exert themselves, or be dangerous to
themselves and others; hence, in case of uncertainty, it is advisable to ask a
doctor’s opinion.
Acknowledgements
I hereby would
like to thank all of those with whom this book would not have been made possible:
To my masters, Si
Fuh Walter Block, Si Fuh Wilhelm Blech and Si Gung Louh Mahn Gam, from whom I
was able to learn the different branches of Wihng Cheun; to Zoltán Czuczor, who
embarked on the Wihng Cheun method as my first student; to Zoltan Toth, who among
other things, has devoted his work to making it possible for the Lok Yiuh and
Louhi Mahn Gam Wihng Cheun styles to find their way to Hungary; to József
Bencze, from whom for the first time I was able to learn Qigong and its energy;
to my students, who with encouragement and ideas, are a few: Zsolt Bába, Gábor
Gáspár, Máté Györkei, Zoltán Katona, Attila Orbán, Daniel Sulyok, and all of
whom have provided technical demonstrations; to Gallasz Károly for his translations,
to Béla Kovács(†) for the photography, and to many others for their
assistance; and to the Buddhist College that insured a worthy location for the
photography.
Last, but not
least, to you, my dear reader, for purchasing this book. I wish you loads of
enjoyment from it!
Preface
To my dear reader, you hold in your hand the first piece of a five
volume series. The first of three volumes contains the Wihng Cheun hand-to-hand
movements according to the traditional Chinese approach. That is to say, part
one engages in the first form, Saam Baai Fat (Siu NiHM Tauh), and its
associations with movement and mobility; the second form is with the practices
of Chahm Kiuh; the third volume is with Biu Ji and its associated practices, as
well as a kind of summary that can be considered to be a Puppet form. I will
also be covering the history of the style, its philosophy, principles, and the
teachings of its energies. The fourth volume demonstrates how to use the style
in real combat. Besides covering in detail what is now the subject of experts
in the field and the science of human violence, also covered is the known
physiological strife and the psychological background. And it is through that,
that I introduce how it is all related to the teachings of Wihng Cheun, and why
the ancient masters constructed the style that we know today. Finally, in the
final fifth part I introduce the Wihng Cheun traditional weapons, a pair of
short swords and the long stick, from the very basic technical katas through to
their applications. There has already been plenty written about Wihng Cheun,
but to my knowledge there has never been such a comprehensive and detailed
description that has made a showing as in my work here, not only not in the
Hungarian language, but I know of no foreign examples either.
My desire is to spin a profit, and fill your world with pleasures in
this series!
About Myself
I was born in
1970. As a child I studied boxing and Taekwondo. Since the age of 14 I have
been engaged in more serious martial arts. At first, I studied Kyokushin Karate
for five years, and later ran across the art of Wihng Cheun.
The first time I studied Ji Sihn Wehng Cheun (Zoltán Czuczor was my
instructor, and two of Jehng Gwong's pupils, Lothar Hirneise and Klaus Pertl,
were our masters. From 1991 Walter Block has been training the Hungarian
group.).
After our master's death, I studied Lok Yiuh Wihng Cheun from Wilhelm
Blech. For a couple of years I was a member of the Louhi Mahn Gam Wihng Cheun School
in Hungary, and unto this day I attend seminars at Louhi Mahn Gam’s home.
Parallelly, I have
been trained in various hand-to-hand and weapons techniques, and I am currently
receiving private coaching from different masters, and learning by attending
seminars.
Since 1992 I have
been teaching Wihng Cheun, and from the mid-90s, Wu Taiji Wai Dan Qigong
and various Taoist Nei Dan Qigong
exercises (e.g. Bone Marrow Neigong,
Central Channel training, the Tao of Intimacy and Channeling Sexual Energy
exercises).
I was the editor
and chief editor for the “KUNG-FU és más harci művészetek” — Kung-Fu and Other Martial
Arts Magazine, and at present, I am the legal successor to the “Online KUNG-FU
Újság” — Online KUNG-FU Magazine. It has published my writings, and a number of
my articles regarding Eastern martial arts and military history are under
publication.
If you like this
book, and are deciding as to whether or not you should make a copy for a dear
friend, please don’t do it!
If you should do
such a thing, you would do great harm to me, the one who has spent a number of
years writing this series, and to publishers and distributors who have marketed
the book, and who live from it, so that these works shall be passed on to you!
They can only do this if the work pays off. Stolen and copied issues bring us no
revenues.
Instead, I would
rather recommend my website, where you will find free content, and where you
can buy my books:
http://kyuhnfaat.hu/index.php/kiadvanyok-termekek/konyvek
This book is
copyright protected, and authorized written permission to copy or to sell it
must come from me exclusively. Thank you for your integrity.
About the Videos
We have had a film
made of the exercises in this book, which we provide in a paper version as a
DVD attachment, and as for the eBook, it is available on a closed site to our
readers. If you would like to check them out, you can register on the following
link:
http://kyuhnfaat.hu/index.php/konyv-video-oldal/regisztracios-oldal
I hope you have
fun, and that your time is time well spent!
The Chinese Martial Arts
Fundamental Concepts
Eastern martial
arts can already be seen everywhere in Europe these days. They can be seen in
films, exhibitions and displays, shows, and run far and wide in schools across
the country. This is why it is often heard that Eastern martial arts “has become
available”, “shunning the Far East.” In fact, this is only a half truth. In the
majority of films, we can find spectacular acrobatics, as if they were real
martial arts. Most styles are still not open even today; Europe is just lucky
to get so near to the ones they can.
China
traditionally speaks about 356 basic styles (Wihng Cheun is counted as one of
these styles, the Praying Mantis another, etc!), which are divided into additional
schools. For comparison, in Japan the number of martial arts styles is around
8000!
In addition,
inside each style every master teaches the personal exercise material slightly
differently. We may not be far from the truth if we say that there are at least
as many styles in China as there are in Japan (China's population is five times
larger than that of Japan.). Compared to that, combining Europe and America
together, there are a total of 30-40 Kung-Fu styles that can be found, and from
them, not all of the movements, theoretical and historical backgrounds, are
made available to the broader audience. In addition, in the past (now also for
non-professional journalists who are a part of today's world) there have been
plenty of inaccuracies based on published material, from which too many things
have been transferred into the public’s perception as being correct. Therefore,
it is important for me to consider a few more questions in greater detail, and
to clarify them.
If someone has
been engaged in martial arts for a long time, and the background is not so compelling,
feel free to skip to the next section,
What is meant by art?
Art, the word in
martial arts is often a source of misunderstanding. Many people do not
understand how combat can be an art, or rather they assume some sort of control
that causes the fighting movements to be beautiful, or that there will be some
kind of modus operandi. For that same reason it has become a martial arts sports
style that is often mixed up in competitions. In fact, martial arts is not
beautiful because of the art, nor is it because of some kind of “sportsmanship
endeavor.” The ancient folks were not fools. Classical martial arts were made
to suit the battlefield, where fair play prizes are not shared, nor would the
effectiveness of combat sacrifice anyone so that the movements would merely be
beautiful. (Of course, among the several thousands of schools, some of those
varieties may have “slipped” in as well. These are termed the “Wooden Kyuhn,”
or “Flower Fist” Chinese martial artists, which are for flamboyant styles, but
not really suitable for fighting.)
We get much closer
to the solution if we look at what we mean by art. In fact, there is not much difference
between the Far East and European slant.
How does the
pictorial art differ from the plain painting? Or how does the wood carving
artist's creation differ from any other kind of carving? The painting itself is
only a technique. The art accrues that which we implement, that which we
consummate, or if we like it, the painting we perfect. And of course, last but
not least, added spiritual value will bring much more than just a clever
technique.
All of these
martial arts are perfectly sound. The fighting techniques that we use hundreds
of times, at times have evolved over thousands of years to those that are known
today. (I know of an almost three thousand year delineation display of such
fighting techniques, which is to this day still used unchanged in several
Kung-fu styles.) Meanwhile, it has been tried-and-true over innumerable
occasions in real struggles, among battle conditions, and married to
generations of experiences. All the while it has become much more than a
collection of smart fighting techniques. The means of perfection for the
different Kung-fu styles is the difference in strokes for different folks, the
efficaciousness of meditation, the longevity of life, and the methods of
preserving vitality.
Natural and Unnatural Movements
Much of the
Eastern martial arts movements performed are strange to European a eye, which
is why they often gun for a meme that purports that the movements go against
nature–are unnatural. For this very same reason, today's founded combat system,
as exemplified in European boxing elements, is gladly advertised as if it were
built upon natural movements. At the same time, I have still never seen any
kind of technical material that seriously addresses a clear definition that would
truly constitute a natural movement.
Desmond Morris,
the known British zoologist and ethologist, probed into those times when man's
ethnic behavior is evaded by ethnic elements of struggle.
Through our
surprising methods, large parts of the known forms don't demonstrate even a
slight inkling of natural combat. Man’s natural ethnic struggles principally resemble
the movements of a gorilla. That is, besides some grappling and wrestling
movements, the most typical traits are profound, akin to holding a wide horse
stance, and a palm and forearm strike initiated from high, for just two
examples.
We might often believe
that boxing or other forms of combat are natural because we see such fighting
in our childhood (e.g. on TV). And yet, if we should make an attempt to do such
moves, a layman, or a child to do some kind of "boxer" gestures, a
protective reaction would fall quite short. If someone isn't even hit, it would
be unimaginable to sense it as an attack. In contrast, if someone swings his
arms skyward, the one facing him will retract his neck, pull up his shoulders,
and raise his hands in order to protect his vulnerable areas. (Likewise, if
someone is furious and threatens another, he will swing his hand skyward, and
not imitate a fist.) On the flip side, to execute these movements, some kind of
suitable muscles must be employed from a person who has never in his life
exerted any kind of serious physical exercises.
Insofar as we know,
a suitable force and dexterous execution of combat movements need plenty of
practice and intensity. If the roots of mankind's ethnic struggles were
considered exclusive natural movements, then yes, we could call very few
martial movements to be natural styles, and those styles could not be found in
Europe, but many rather would be found with many various types of native
peoples, and some East Asian style.
For my part, I
consider unnatural movements to be only those movements that have an adverse
effect on the body (e.g. a strong arthrosis). What is not harmful to the body's
organs, and that which can more or less be learned with practice, I reckon such
movements to be among the natural motions, independently from how strange they may
seem at first sight.
North and South, External and Internal
Chinese martial
arts are often divided into north and south, or external and internal styles. The
differences between northern and southern styles are usually explained by geographical
origins. To the north there are open lands, where the wilderness of prairies
and steppes can be found, which is why it's better to go there on horseback and
foot. There are rivers to the south, canals and seas made into a prevalent
network of waterways. For these very reasons, northern styles are more often
circular movements, jumping and leg techniques, which focus on middle-distance
or large fighting-range combat. And they are traditionally well rehearsed in
the art of war on horseback. To the south a great emphasis was placed on the
rigid job (often necessary to fight on the deck of ships), where hand
techniques were more common, the kicks were most often executed at a low plane,
and there were frequent tenacious hand techniques; the combat distance is generally
a middle-range, or inside and close-fighting distance.
Traditional
Chinese martial arts has played a central role in the development of Qi (the Chinese word for “energy”), and
for military use. This is true for both the external and internal styles.
The external styles
mainly engage in the development of physical skills. In it, diverse martial Qigong exercises were used. Internal
styles place the emphasis on Qi
development, and was later developed to be applied in techniques. Over time,
the external styles have been used for Qi
developer drills, and internal styles would also be needing physical
development practices. In traditional martial arts, external-internal are
divisions that rather constitute methodological differences.
Among the
traditional (Qi-enabled), and
exclusively extrinsic underlying ingenius differences (the most modernly
established) of the systems are revealed mainly in one’s old age. Traditional
martial arts practitioners for the most part can retain their combat
effectiveness, skills, and mobility as they advance in years. In the East, 70
and 80 year old active masters are not uncommon, nor is it uncommon for them to
pass away some time after their centenarian birthday. If someone rejects Qi generative exercises in the
traditional Chinese interpretation, then the results of the training method
will be considerable.
Qi
What is Qi?
Qi means air, breath and energy. If I would want to give
Qi some kind of framing, it would be
the following: it is the pervading force that animates and moves the universe
simultaneously. Thus, all forms of energy–in addition to the ostensible
separateness–are one and the same. Based on the characteristics of the
manifestation of Qi, 3 fundamental
properties are divided:
•
Celestial Qi• Earthly Qi
• Human Qi
• Celestial Qi
The Earthly force, “coming from the outside” energy, is primarily the radiation of planets and celestial bodies. Positive, is the nature of Yang energy.
• Earthly Qi
Mankind's continous movements exert an effect on the Earth's energy. In
most of the Earth-nerve currents (which are similar to the acupuncturing of the
human body that generates the gyrating of energy throughout channels on various
pathways, “via conduit”) and their mappings, or rather what can be found in the
depths of the Earth: waterways, rocks and the radiation of caverns. Negative, is
the nature of Yin energy.
• Human Qi
Celestial Qi and Earth Qi are in the interplay of human energy. It is
usually opined that man is the intermediary between those energies, of Celestial
energies and of Earth’s.
Yin and Yang
Yin and Yang are the two ancestral principles which can describe the
world's phenomenon with its changes.
Yang is the “sunny side of a mountain,” in manifesting the
masculine, active, lucid and positive forces in things.
Yin is the “shady side,” the feminine, passive, dark and
negative forces. (Negative and positive here do not play roles in the meaning
of what is good and what is bad!)
The symbols are of
two water droplets that form a spherical set. In the black “water droplet”
there is a white dot, and in the white droplet there is a black one, indicating
that perfectly clean manifestations do not exist, that there is always “an
impurity” that is present. More than from within the nature of the Yang
celestial energy, there are also certain Yang planets, and the traits of
Yin. Thus, the Sun is said to be the most prominent representative Yang
character, and the Moon is said to be Yin’s. On the Earth certain nerve currents avert Yang, correspondingly with the nature of
Yin.
Astrology was
created to examine celestial type energy and the effects it has on man. The
Earth type energy and man’s effect on it as an earth prognostication, or as a
Chinese radiant acuteness is examined by a known Feng shui system. From redress to martial arts, there are many
areas that are engaged in the examination and use in man's energy.
As I have
previously written, Qi denotes breathing and energy. Gong denotes
work and exercise. So the significance of Qigong is breathing exercises,
energy exercises in the workings of energy.
The Three Treasures Jing, Qi and Shen
• Jing is the
natal energy that we inherited from our parents. The amount of that energy cannot
be improved. Jing is with practice designed for the preservation, and
refinement of individual aims (e.g. martial arts), and desires in earnest one's
liberation and transformation. It's stored in the kidney. (Jing, or Jing Qi is what is called the energy
that creates the begetting of descendents through the transformation of our
body. For males, this is stored in the scrotum–sperm energy–for women, it's in
the ovaries–the energy of the oocyte. About one-third of the human resources
are tied into the creation of this energy; in addition, unless there's a child
from being together, we will completely waste it away. That's why that in the
East a variety of Qigong exercises
have been created for the exploitation of this energy. Considering this, the
practice strictly regulated sex life–these restrictions, for example, the prohibition
of any sex life before a European sports competition is considered standard
procedure, even if it is not really advertised.)
• Qi is one's own energy (that is to say that through
healers, bioenergy makes advances toward public awareness). In the human body,
different energy pathways circulate in unison with the Earth's circulatory
cycles, feed it, and sustain it. Along the energy pathways in the body there
are certain allotted numbers of nerve confluences that form separate energy
centers. The most significant of these are along the body's central axis, the
Dians. (It was commonly referred to as Sanskrit, but has become known as Chakra.)
The energy will build a continuous and steady circulation for healthy, active
and strong individuals. There are various Qigong
styles that strive for the circulation of energy and the accumulation of this
energy. Many types of Qi are also
differentiated. Qi is innate in us
all, bestowed upon us by our parents; Primordial Qi, that is what Qi
exfoliates from Jing, from which Qi secures its nourishment; Qi is finally plucked from this
environment, from which is what, according to traditional understanding, we
derive with every breath, but from which is also comprised of the energy we
retrieve from our energy centers within the environment itself. With
directional meditation pointed toward various planets and constellations,
various Qigong methods of energy can
be extracted from, for example, the Earth and the Heavens. Just as the
circulation of our energy operates independently from our will, so too do the
energies within our environment affect us; Qigong
“only” makes it more pronounced and robust.
• Shen is pneumatic energy. Through the concentration of the
practitioner, an energy of very refined quality is created. Where consciousness
is directed, Shen accumulates; where Shen is collected, Qi is materialize. This enables body processes to become steered.
The center of Shen is at the confluence
of the eyebrows, a Shang Dan Dian (“the
third eye”). Thus, it is understandable why the Chinese masters emphasize so
much concentration, the importance of attention during practice. If someone,
for example, while performing a kata with wandering thoughts, the energies will
be “scattered”, and the exercises will not be as effective, nor will they
develop as efficiently.
The Circulation of Qi
In the human body,
Qi circulates on various ducts (in
acupuncture channels). Among these, for Kung-Fu practitioners themselves, there
are two really important conduits. They are what are known as the governing and
receptive conduits. The two conduits are located in the axis of the body’s symmetry.
The governing conduit starts from the perineum, rides along the line of the
spinal column, goes up into the vertex, and then moves into the median line of
the forehead, across the bridge of the nose and into the upper gums. It is
important that the acupuncture point can be found on the duct on the palate.
The governing conduit is the “confluence” of the total Yang conduit; thus, as follows, exercise strengthens the body's Yang energy.
Likewise, the
receptive conduit also starts from the perineum, then traverses the anterior of
the body along the median of the abdomen and thorax to the jaw, then sweeps the
lips (from here, on the face two branches break off and reach the area under
the eyes, which is of little significance in terms of Qigong exercises). The directorate of the governing conduit
responds to the receptive conduit, similarly as does the management of the Yin conduit. In this way, the receptive
conduit stimulates the workings of Yin's
energy body.
In the course of
an exercise we touch our palate with our tongue, binding the governing and
receptive ducts to it. Thus the created circle of energy is called Small
Heavenly Circle (or Circuit).
When we extend the
circulation to the extremities, as well (from the heart toward the arms, or
from the perineum, leading toward the leg, and thus create a larger energy), we
appropriately say it’s the Great Heavenly Circle (or Circuit).
A variety of
martial arts Qigong exercises are
likewise basically used in the general circulatory pathways. Invoking the Saam
Baai Fat (Siu Nihm Tauh) kata, it is often mentioned that the Wihng Cheun style
is also a set of Qigong. Here it is
not just about whether we execute a kata, but the impact that it has on our
energies. In traditional styles of Qi
exercises there is kinship with some special elements of Nei gong. What
it is they do is regulate breathing, thoughts, and the movement of body; and
with these gates, or as the more modern label is known, the “Qi pump”, the
known areas are governed, and times for training determined. And in some of the
Wihng Cheun styles, Jing Qi regulations are also interwoven. (Naturally, I do
not know–I cannot know, all of the Wihng Cheun schools. It is the masters Lok
Yiuh, Cheuih Seuhng Tihn, and Pahng Naahm, and their teachings based on Ji Sihn
Wehng Cheun that I am writing about.)
The Dan Dians
The meaning of Dan is vermilion red, medicine,
decoction (Elixir), the Dian Field, (fertile)
land; so Dan is usually translated to the Dan
Dian Cinnabar Field, or the Elixir Field. The Dan Dian is such a power
point for the circle of energy, which can store vast amounts of energy for
extended periods of time. Generally speaking, 3 Dan Dians are being talked
about here.
The lower Dan Dian can be found about three inches
below the navel, one or two inches inside the body. From the birth of energy
the residence of Original Qi is
produced. This is the Dian that is
able to store the most energy, and therefore plays a central role in martial arts,
and a great deal in the Qigong sytem
(when simply mentioning only Dan Dian,
these points are generally understood).
The Second Dan Dian is seated at the solar plexus.
This is the Middle Dan Dian, and is
the center for the neonatal Qi's
production and agglomeration. From neonatal Qi,
which gets its energy from the environment (breathing and nourishment), Qi is transformed. The quantity and
quality of our peremptory mannerisms influence our lifestyle. In other words,
how much we sleep, what we eat, what kind of thoughts we have, and our
sentiments. (It has already been discerned by medicine and psychology that
practiced sentiments and thoughts have an effect on health.) The neonatal Qi has become to be known as “Triple
Heater.” These are the lungs, or the Upper Heater, the stomach, or the Middle
Heater, and the abdoment (bowels), or the Lower Heater.
The Upper Dan Dian can be found on the forehead
between the eyes, about two inches above the brow line (the so-called third
eye). This is Shen, where the
spiritual energy resides. Through the governing conduit it supplies the brain
with energy. It is responsible for the state of mind.
The Types of Qigong
There are
generally three main distinct schools of Qigong,
according to its orientation. These are the following: the Combat Qigong, the Religious Qigong and the Medical Qigong.
Combat Qigong
The practices of this variant of Kung-Fu
styles were created with a specific purpose in mind. Here the aim can be to strengthen the body, or
to increase the impact of the force, or conversely in defense and readiness
against various attacks, strikes, and kicks, particularly a batch of effective
attack forms (for example, the ones targeting specific points of circulation). In
such exercises, “Armoring”, “Ironing”, and “Golden Bell” are mentioned
practices which pointedly train to defend against such attacks. Practitioners
are on occasion outright prodigiously able to endure every blow without injury. On TV and in
premiers we must have already seen such a thing. Bricks, and at times chunks of
rock are shattered on the top of a practitioner's cranium – the fontanela, or
the temple above the eardrum (which are expressly vulnerable points); moreover,
the abdomen and ribs are hit with logs and beams of wood.
From this end, the
most well known are the “Iron Palm”, the “Iron Sand Palm”, or the “One Finger Gung”,
which are all very serious destructive forces. At the same time, some of these
practices also harm the practitioner, both physically and energetically.
Religious Qigong
These various Buddhist and Taoist Qigong
methods seek enlightenment. Their primary practices are for the development of
spiritual energy. Several significant Qigong
exercises have been developed that possess many assets for everyday practitioners
(i.e., a long life, and robust health); thus, these methods also spread outside
the monasteries. Best known variants of Bodhidharma are a type of Yi Jin Jing (a book on the
transformation of muscles and tendons), and Xi
Sui Jing (a book on the elutriation of marrow).
Health Qigong
There are innumerable variations in
existence, ranging from the transcendent, long Tai Ji Quan exercises, to the very simple, which simply concentrate
on a particular area of workouts (e.g., one aiming to improve respiration, or digestion).
Wai Dan, Nei Dan
Wai Dan exercises, also known as the “external elixir”
exercises, animates the channels of energy (through acupuncture, or the body's
meridian pathways) found in the body's limbs, actuating the entire body; whilst
it is Nei Dan exercises, also known
as “internal elixir” exercises, from where we begin to recharge the body's
energy. Animation, breathing, and thought all direct Qi in the course of the
exercises.
Large, or a Pool of
Styles, and Little, or "a Kata" Styles
The styles of the
two extremities is either the pool of styles, or of what is known as “the kata”
styles, according to their sizes of technical assortment and specializations.
The most well-known is the great style of Shaolin. These various movements are
collected, and expressed over and over again in large quantities (50-60
disarming exercise systems, additional weapons techniques, but from these, a
significantly larger number of useful kata styles have been brought into play);
accordingly, the greatest variety of suitable techniques are reserved for the
favored fighter. That is why it is often only the entire clan that knows the
entire system; only a fighter here and there can clinch a suitable system of
movements for him or herself.
In contrast to being
based on the ability of a “one kata” system, or a technical suit of hearts, it
has been developed to exellence. The prerequisite for these styles would be for
the student to be able to execute certain types of movements, or would be able
to pick them up. Among the better known of such styles are the Jeui Kyuhn (Zui Quan; the Drunken Fist), the Wihng
Cheun, and the Cheuhng Kyuhn (Chang Quan;
the Long Fist), which was originally of such a kind, as well as the Hauh Kyuhn (Hou
Quan; the Monkey Fist).
These are suitable
for examples.
The Drunken style literally
emerged from a hand-to-hand kata, a special form of exercise, and the
engagement of a high level of hand techniques. The mastering of the Monkey
style demands a very earnest flexibility, and a bit of acrobatic skills.
The Wihng Cheun
demands a high degree of laxity, and requires the use of free hands.
For these styles
to be truly effective, the practitioner must prescribe to their gifts. That's
why such an intrinsically capable student is sought after (particularly for the
Monkey style), or assisted in mastering the special exercises.
The large styles’
disadvantages have mainly to do with the large quantity of movements and
mobility material that must be mastered by the student, thus substantially
prolonging the training. The small styles, by contrast, are much faster in
being able to groom disciples; however, somewhere the transfer is compromised, and
the displayed blemishes of the style are very difficult to correct (the
techniques are really just often a form in exercise, and pass with a small
amount of repetitions, so there is little proper control.).
Our History in Pictures
Si Gung Yihp Mahn with Lok Yiuh
Si Gung Yihp Mahn’s early disciples are
Lok Yiuh, Seung Leuhng and Cheuih Seuhng Tihn
Si Gung Yihp Mahn with Lok Yiuh and and his
sons
An early group photo. In the first row:
Lok Yiuh, Leuhng Seung, Chi Gung Yihp Mahn and a son, Yihp Jing.
With Si Gung Lok Yiuh’s sons and Wilhelm
Blech
Lok Yiuh
Seminars in Hungary
1998-2002
Louh Mahn Gam Seminars
in Hungary
2003-2011
The History of Wihng Cheun
Wihng Cheun and Wehng Cheun
The Wihng Cheun's distinct styles are written in two distinct Wihng symbols. In
both of the Cantonese dialects Yong is pronounced the same. In both of the Cantonese
dialects there are only two Wihng pronunciations that differ in accentuation.
The first symbol (picture 1), the Wihng pronunciation, denotes a rhymer, caroler,
and hummer. The second symbol (picture 2), the Wihng accent (Wehng), sounds the same as if it were in the
vacinity of the city of Fatsaan (which is why I will be sharing this important
distinction throughout the rest of this book), along with what the terms ‘eternal’
and ‘permanent’ mean in this context. An additional difference is that the
Wihng symbol appears in female names only; in turn, the Wihng / (Wehng) form is
only in male names.
This written difference may seem an irrelevant trifle, but in truth reflects
the disparate strata of tradition, and makes important contributions to our
understanding of the early history of the style.
Legend and Reality
It does often befall on Western skilled labor that the early history is
brought into question, and that the founders are purely considered legendary
figures. What lies behind that background? In point of fact, bringing up that
argument is merely such that the first known records that arose 200-250 years
after its founding are derived from Yihn Mahn, and at that time had at the history
of its style been spread via word of mouth, which went on far too long. As we
shall soon see, though, this citation does not hold water; but let's first look
at just how much time the word of mouth tradition can be taken seriously.
These days, it's no longer usual for the cohabitation of
multi-generational families, and the role of literacy had become quite hefty;
unknown and a little inexplicable is the pedagogic system of old, and the
preservation of its heritage. In old Eastern societies (here we may add the old
Hungary) it was considered to be a very important thing that people know the
lineage and history of their ancestory. For the steppes peoples, we haven’t
known their ancestory for at least seven generations, and what happened to them
(and of course, accordingly the entire peoples’ histories); they were only
considered to be vagabonds. It has been this way for at least 140 years, but
like I said, this is the minimum. A couple of years ago a young Uighur boy told
an ethnographer a 1300 year old story of his ancient history, and since enough
of the Uighur history had been documented, the narrative could be confirmed!
Moreover, this outcome was not even unique.
In traditional societies, it is the stay-at-home elderly who handled the
youngsters. In my own childhood I could hear about World War I from those who
took part in it. I was already almost an adult when my last great-grandparent
died. But let's take about smaller numbers, say 60 years, for that time period to
convey the events. (There were 64 years between my grandmother and I, when such
particular things were not expected, and the elderly lived only 70-80 years on
average way back when). This means that a message 60 years old could be
conveyed by an eye witness, but two generations would be needed to convey one
that was 120 years old. For us to have known of an event two hundred years
earlier, three generations would have been needed. This isn’t so much. But of
course, due to the generational deliverance, information may be distorted; nevertheless,
with such important things, such as family history, such distortions are difficult
to imagine. (And before anyone raises the question, today when the lie is a
completely natural thing to like, and is only a form of self-management, that
kind of straightforwardness is almost unimaginable, as how people used to
relate to themselves, or the history of their environment.)
But let's look at the factual story. The first records that prove the
existence of two masters, Wohng Wah Bou, and Leuhng Yih Taih, arose in Fatsaan.
The first writings of Wihng Cheun were made in the form of a “school book” by
Leung Jan. So only on the Ji Sihn line is it possible to question the existence
of the first generation. On the Hng Muih line there are three generations: Hng
Muih, Yihm Wihng Cheun-Leuhng Bok Chauh, and Leuhng Laahn Gwai. We factually
base both lines on a very little questioning of the delivery of information.
But let's look at the other statement that mounts a reference to the
deliberate falsification of famous ancestry. As for Ji Sihn and HNG Muih (i.e.,
the Fujian Shaolin abbot and senior nuns) this might be conceivable also. But
what we should start with is with a salt trader (Leuhng Bok Chauh), or with a
doctor (Leuhng Laahn Gwai) whose mere names have been preserved in the family
line, but nothing else. And Yihm Wihng Cheun is known only in connection with
the fight bearing its name, but we know nothing more about it (This is just the
style’s legend, with no additional existing traces.). In addition, if Wohng Wah
Bou and Leuhng Yih Taih would have been falsified, it would have been done very
awkwardly. Considering that Ji Sihn was learned directly, Hng Muih is separated
into three generations; while according to our cognition, both belonged to the
same time period tied to Shaolin. This would make their statements rather
incredulous. Furthermore, Wihng Cheun contains elements that are of more
contemporary styles of movement that would have been able to have been compiled
based on such “a more distinguished family tree.” But that wasn’t done. Maybe
it's perhaps that there was little else, but as long as there is no other tenor
of evidence regarding it, I consider the story of the founders to be credible.
That is to say that I don’t want to say that what has been written
regarding the early masters is of their true nature. But what I am saying is
that the nature of such criticism actually bears little weight, and isn't
founded in many facts, like the most wildly held Chinese legends.
The Wihng Cheun Three Historical Strata
Styles nearly identical in form are considered to be belonging to the
identical ancestral line of the style's history. Yet schools that have long
been divorced may have serious differences. These traditions generally tell the
story of what happened in three rudimentary forms:
1. The Hng Muih style emerged from the Shaolin nun, and its disciple
from Yihm Wihng Cheun. Wihng Cheun is so named from the Yihm Wihng Cheun style.
(According to another story Yihm Wihng Cheun adopted the style's name.)
2. The style was compiled in the Shaolin monastery, and after the
monastery's destruction it spread. The masters who compiled it, compiled it for
the Wehng Cheun Tohng Monastery (Yong Chun Tang, The Eternal Spring Hall), while
always sitting together in the aforesaid locality. This is where the style got
its name.
3. The “Red Boat” style was a hidden Shaolin priest’s syle, and was
compiled by Shaolin priests and members of various secret societies, expressly
aimed at fighting against the Manchu. The name of the style originates from the
keywords of a motto here.
Important yet, is how we know so little of an existing style, Wihng
Cheun Baah Hohk (the Yong Chun Bai He,
and the Eternal Spring White Crane), that founded the Crane style; the founder is
deemed to be the Shaolin mester Fang Zhong's daughter Fang Qi Niang, and there
is nothing known about the history of the masters of Wihng Cheun either.
Another point of interest is that these styles of movement are recognizably a
cousin of several Wihng Cheun styles, but there is a greater difference between
them and additional Wihng Cheun styles, just as between the HNG Muih Paai and Fatsaan
styles (they are rather classified to be among the Crane styles). In the same
way, a pair of short swords is used as basic weapons, but this use of weaponry
is not even similar to other Wihng Cheun styles weapons use.
It seems that from the transformation of Wihng Cheun the styles’ masters
protected contradictory stories, but in fact those stories are only apparent
opposites. Through the centuries the Wihng Cheun masters and practitioners
tightly bound a secret society against the Manchu, and be it that conspicuous,
public meetings were never held, where debates would tell what exactly happened.
Thus, every master has given the traditions only through disciples, what was
heard, or what was known about them. However, if we take the differences in
styles, and the styles’ names being maintained, a story is outlined from the “slices
of history” that seems to explain all of the other stories, and turns into
something that can be understood, and how the different variants arose. I'll
recount these discoveries in the following pages.
The Martial Arts of the Shaolin Monastery
The Shaolin Monastery was
founded in the year 495 AD in the Henan
Province in Mount Song by a few Indian monks. In the name of the Chinese, with
two disciples, Ba Tuo began one of the stories of the Shaolin martial arts. Two
monks, Hui Guang and Seng Chou, were
equally trained in martial arts, and according to each traditional strata, from
this time on, monks began practicing martial arts. The next stop was the
legendary Da Mo (Bodhidharma), who
came to China in 527; and after a short detour to the monastery, settled down
there. Da Mo is considered to be the
founder of Chanbuddhizmus (called Zen
in Japanese), and according to tradition, through it came the Shaolin Kung-fu internal
exercises (Yi Jin Jing and Xi Sui Jing), rather known as Lohan exercises (Shi Ba
Luohan Shou), that have become the defining elements of Shaolin martial arts. During the Song Dynasty's reign (960-1279), the
abbot Fu Ju 18 masters were called
upon, and with assistance put together the “Shaolin hand-to-hand techniques”
over the course of 3 years. At the turn of the XIII.-XIV century, a Shaolin
monk named Jueyuan, with masters Bai Yu-feng and Li Sou, commonly created the
Five Animal style. The style was based on the Lohan exercises, and the “Five
Animals Qigong”, which was developed by Hua Tuo (a III century physician). After
its birth, the new exercises became the substance for Shaolin training.
The
Five Animals mean to form to completion the essentials of a person's makeup.
These are:
the Dragon - the spirit
the Tiger - bone
the Leopard - the force
the Snake - Qi
the Crane - the tendons
the Dragon - the spirit
the Tiger - bone
the Leopard - the force
the Snake - Qi
the Crane - the tendons
From these, it is the Tiger and Crane that were the basis for the
training. (It is no accident that Huhng Ga was created precisely based on the
combination of the Tiger and Crane techniques.)
In addition, Shaolin was like
a “pool of styles” that took over a number of techniques for a variety of
reasons from adherent masters, created a special form of exercises, and
miscellaneous ranges of exercises, each based on specific skills, and envisaged
in its construct. Originally, such a techical drill was Shaolin Chang Quan
(Long Fist), and probably the Wihng Cheun, as well.
There are little-known facts about how the Song Shan Shaolin
template was instituted in several churches all over China — the most famous
was the Quan Zhou Shaolin monastery
in south China's Fujian Province; in
addition, there was also a known monastery in the Hebei Province, He Lin Wai in
the Meng Province, Changan in the Shaanxi Province, and Luoyang
in the Henan Province — and fighting
techniques are taught in all of them; over
and above that, there were nuns in the monasteries, and these women also
studied Shaolin martial arts. (To
this day, next to the Song Shan
church stands a nunnery).
Various peoples of the northern steppes were conquered repeatedly over
the course of China's history, and they often had to live through civil wars. Shaolin warrior priests actively
participated in various anti-outlander battles, with most of the combat
trainings in secret societies. During the Ming
Dynasty (1368-1644), however, we find them having already been in a variet of
military campaigns, mainly from the 1500's. Of these, the best known is the
campaign against the Mongols, and their struggles against Japanese pirates. For
this very reason, early in the background there were marching priests who
became known for both their fighting merit, and their protagonistic role working
alongside the Ming government. However,
a civil war erupted during the last years of the Ming Dynasty, and so the monastery
and clans associated with it became primary targets. The first few clans were
already destroyed by this time, but due to the monasteries isolated positions
and confined areas, at that time they were still able to defend themselves.
After the Manchu conquest of 1644, fate did finally catch up with them. The
plan for the destruction of the central church was then executed by an official
named Chan Wai Man in 1723. Some of the church's people returned, who then set
the monastery ablaze at a specified time, while the imperial troops launched an
offensive. Two years later, the Fujian came next.
(Around the dates and events, there are sticking points that have caused
a bit of a ruckus. It seems that the date of the destruction of the Song Shan church is certain, but as for
the other monasteries, not so much. Tradition is bestowed upon Song Shan, the
monastery that lies in front of the Fujjan province. In addition, after the
destruction of the central monastery, five surviving masters came to be well known;
thereupon, in every subsequent traditional stratum, those five surviving
masters are spoken of irrespective of which monastery was in question. And so
it goes that there may be illogical elements to the historical dogma, such as,
according to each teaching, only the five masters survived; nevertheless, the subsequent
event is still yet a word about one of the masters and his surviving students.)
According to tradition, five masters survived the massacre: Ji Sihn (Zhi Shan), the Fujian Monastery's abbot, HNG Muih (Wu Mei), an elderly nun, Fuhng Douh Dak (Feng Daoda), Miuh Hin (Miao
Xian), and Baahk Meih (Bai Mei),
a Taoist master.
In time, the Manchu government had managed to have the Baahk Meih family
apprehended, thereby enlisting Baahk Meih himself. Not only did Baahk Meih take
part in the destruction of the monastery, but he also took chase to the escaped
monks, and among others, slaughtered Ji Sihn and Fong Sai Yuhk. Ji Sihn’s
student, Huhng Hei Gun (Hong Xiguan), then in turn executed Baahk. Huhng Hei
Gun is the father of the Huhng Ga style, and the husband of Fong Sai Yuhk's
niece, Fong Chat Neuhng (Fang Qi Niang, the founder of the Wihng Cheun Baahk
Hohk style, is also known as Fong Wihng Cheun. The significance of Fang Qi
Niang is that she is the seventh lady within the Fang family.).
Wehng Cheun Tohng
After the Manchu conquest, the priests and the clans that supported them
were methodically hunted down. The priests' fighting styles were already known,
but additional techniques had been acquired in secret, descriptive books. In
the Fujjan monastery, a few masters
buckled down to devise a new style. This style is expressly intended for the
training of secret societies. That's why a little-known system of practice was
selected. The Crane and Snake styles were employed as the basis for those
exercises (both were exclusively modified for hand techniques). However, of
course other elements of the style were employed as well; thus surprisingly, exercises
can be found in the Tiger and Dragon styles, as well as a distinct exercise in
the Lahp Sau series. The basics have remained the same, but the method of
aggregation has become new. After the government made the possession of weapons
a criminal offense punishable by death, the new system incorporated only the
use of two short swords (namely, Cantonese short swords, or two short lengthed
swords that were almost completely identical to meat cleavers; the only
differences were that a hand guard of a sword can be found on them. Thus, if
necessary, meat cleavers could be used as weapons, or easily retrofitted for
military purposes.).
According to tradition, the operative masters of the style always sat
together on the premises of the monastery named after Wing Cheun Tong (Yong Chun Tang; the Eternal Spring Hall).
This is where the style gets its name. There are 3 known masters among the
earliest representatives of the new style: Ji Sihn, the monastery's abbot, and
two nuns, Hng Muih és Yat Chahn (Yi Chen).
The Founders
Hng Muih
At the time of the destruction of the Fujjan Temple, Sister Hng Muih (Wu
Mei), who was a serious master of Shaolin
martical arts, fled. Several styles respect Hng Muih as a founder (i.e., Wihng
Cheun, Hng Muih Paai, and one of the southern Dragon Schools). During these times,
there were several who were involved in duels to the death. According to one of
the stories, it goes that a 14-year-old boy Fong Sai Yuhk (Fang Shiyuan) got mixed up in a struggle to the death and was obliged
to kill his opponent. However, his opponent's father, Li Ba Saan (Li Pashan), swore revenge and challenged
the lad. HNG Muih tried to dissuade Li from fighting, but he remained adamant. The
fight was upon so-called “Plum Blossom Piles.” (These pegs are about the height
of a man; 5 pegs beat down in the form of a “Plum Blossom”, or a set of beaten
down pegs of 5.) HNG Muih was already so very old (75 years old), but she
decided that she would fight in the boy’s place. The struggle began with the
nun trying to neutralize Li without him getting more seriously hurt, but the
man was too good of a combatant. With one of her counter-attacks, a kick sent Li
sprawling to the floor, and to his death. The rescued boy, Fong Sai Yuhk, later
went on to become a famous warrior.
HNG Muih is forced to flee, and after a long trek finds a small Taoist
temple called the White Crane where she can safely elude her pursuers. (The
existing Sichuan and Yunnanhatárán Temple
can be found in the Daaih Leuhng (Daliang)
Mountain. Yunnanaz is one of the
longest enduring provinces, and was later the nest of resistance.) She further
worked in the monastery crafting a new style, and the intellectual and prime
spiritual agents of Buddhism appear side by side with the Taoist principles,
mainly those which are related to softness, and those applying the power of Yin-Yang.
After developing the system, HNG Muih left the White Crane Temple. She
traveled the country, and taught religious communities in several places in the
new style. (In our century, it has been ousted from the monasteries, and is now
known as HNG Muih Paai, and is being taught in the West.)
Yihm Wihng Cheun
On one of her journeys, Hng Muih became acquainted with a Fatsaan (Foshan) merchant, Yihm Yih (Yan Er). At some point Yihm Yih
complained that although his daughter Yihm Wihng Cheun (Yan Yongchun) got
engaged to a young man, a local gang's leader didn’t intend on taking notice of
it, and he wanted the girl for himself. Despite Yihm being engaged in the martial
arts, and having taught his daughter what he knew, he knew that it wasn't
enough to defy the band.
After a short reflection, Hng Muih offered to help. So, a message was
sent to the the gang leader to say that consent had been granted to marry him, but
they asked for time for the dissolution of the current engagement, and wedding
preparations. Soon thereafter Hng Muih took Wihng Cheun with her, and started
teaching her her style. After a year she could see that she would be able to
cope with the thief. Yihm Yih then approached the gang and told them to arrange
for the wedding, but also insisted that Yihm Wihng Cheun only intends to marry
someone she knows can defeat her in battle.
When the event took place, the thief tried to blitz the girl, but to his
greatest astonishment the hit was deflected, and he was subsequently laid out
with ease. After having tried several times in vain to beat her, other
compadres also engaged, but in short notice they too found themselves on the
ground. In the end, they were forced to concede defeat, allowing Wihng Cheun to
be able to wed Leuhng Bok Chauh (Liang
Botao). For three more years she still kept up her studies with Hng Muih. It
was at this time that Yihm Wihng Cheun then took on the Wihng Cheun name, but
for the first time ever the hànzì needed to be changed because the Wehng (Yong,
Eternal) form had only ever been a male name. This is the story of how Wihng
Cheun (Yong Chun, Rhymer, and Singing Spring) got her name.
The Wehng Cheun formula might have been some kind of prearranged
identification hànzì because Yihm Wihng Cheun’s name was unopposed, where it
occurred. Several masters had also inserted the Wehng hànzì into their names,
while the Wehng Cheun expression had also been inserted into various rhymes,
and slogans.
According to tradition, the three
hand-to-hand forms of combat are as follows:
• Saam Baai Fat (a.k.a. the “Triple Greetings Buddha”), and later called Siu Nihm Tauh (a.k.a. the “Small Idea Form”) has become commonplace.
• Chahm Kiuh (a.k.a. the “Bridge, or Search for Arms”)
• Biu Ji (a.k.a. the “Marking Finger”)
• Saam Baai Fat (a.k.a. the “Triple Greetings Buddha”), and later called Siu Nihm Tauh (a.k.a. the “Small Idea Form”) has become commonplace.
• Chahm Kiuh (a.k.a. the “Bridge, or Search for Arms”)
• Biu Ji (a.k.a. the “Marking Finger”)
The usage of the Muhk Yahn Jong Faat (the practiced “Wooden Training
Dummy” kata), and the Baat Jaam Dou (the “Sword: Eight Cut” kata), constituted
part of the style conveyed by Hng Muih.
After Yihm Yih's death, Wihng Cheun and her husband moved to Guangzhou.
And Leuhng Bok Chauh learned the style from his wife. They passed their
knowledge on to just one other person, a Guangxi merchant, Leuhng Laahn Gwai
(Liang Langui).
Shaolin masters might have been prepared not to be able to hold down the
monastery, because after its destruction, they did not escape haphazardly
because there were multiple paths that led to the southern opera societies. In
China, actors are traditionally given priority in the training of martial arts
so that they can perform pieces of battle scenes more credibly. In addition,
during a performance a strong paint is worn on their faces. Thus, some of the
presence of martial arts does not become so conspicuous. At that time
theatrical companies didn't have permanent theater stages, they usually just
roamed around the country, and where it was demanded, performed their pieces.
(This is similar to our XIX century actors, tarpaulin Conestoga wagons and
prairie schooner wagons; in China they were characteristic of red-painted
junk.) This has also allowed the masters to organize the company's work against
the Manchu. The Red Navy, and later the neighborhood of Fatsaan, served as the
center for two secret societies. One of them was the Tin Deih Wui (Tian Di Hui; The Society of the Heaven
and Earth), and the other was the Huhng Fa Wui Gun (Hong Hua Hui Guan; the Red Flower Society).
Ji Sihn
After the destruction of the temple, Abbot Ji Sihn was placed on the
opera society's ship as a cook. Assumed to be a simple-minded chef, no one
guessed who he really was.
In one of the settlements, where a performance was being held, a well known
criminal under the name of “Tiger” Wohng sought them out, demanded them to pay protection
money, and only gave them until midnight to collect it. Their society was in a
hopeless situation. Not only didn’t they have any money, they didn’t have any
money to continue their journey. At the same time, they couldn't defend
themselves because although they were trained in Kung fu, their training was
only suitable for a flamboyant show performance, and not a real fight. That
evening “Tiger” Wohng returned with exceptional anger, asking why they couldn't
pay, and then he proceeded to attack the society's leader Wohng Wah Bou-ra (Huang Baohua). The “simple-minded cook”
unexpectedly intervened and tried to stop “Tiger” Wohng, without anyone getting
more seriously injured. But Wohng could not tolerate that he could possibly suffer
defeat at the hands of an ordinary cook, so his attacks got harder and harder
with more and more vigor and rigorous techniques, one after another as his
attacks continued to be deflected. At first Ji Sihn only deflected attacks, but
as the attacks got stronger and stronger, his defense grew stronger and
stronger until he finally broke some of his attacker's fingers with a blow.
Since Wohng still wouldn’t stop, with the next set of attacks Ji Sihn stepped
in, and with one grip he took him to the ground. It was at this point that “Tiger”
Wohng finally admitted that he couldn't contend with the “cook.”
Humiliated in defeat, “Tiger” Wohng left the ship. After the incident, several
members of the society began to learn from Ji Sihn. (Ji Sihn's origins can be
traced back to the Southern Shaolin and Huhng Ga abbot. These styles can be
found in the ancestral line of the legendary Wohng Fei Hung.)
Yat Chahn
Nun Yat Chahn (Yi Chen) fled
with her apprentice Jeung Hng (Zhang Wu).
The two priests' apprentices hosted an associate actor who was a member among
those belonging to actors of two secret societies against the Manchu, the “Taan
Sau” Hng (Tanshou–The Outstretched
Hand–Wu), and the “Huhng Gan” (“Hongjin”–the Red Scarf–Biao); he was later joined by his
counterparts on the Red Ship.
Leung Yee-tai, Wong Wah Bo and Syun Gam (Sun Jin; nicknamed “Daaih Fa Mihn” Gam; in a word, “Painted Face”
Gam) all attributed to the completion of the style.
The Proliferation of the Style
Leung Lan Kwai, who was Yihm Wihng Cheun's and Leuhng Bok Chauh's
student, was taught Wohng Wah Bou, a version of the Wihng Cheun Hng Muih. In
turn, Ji Sihn taught Leuhng Yih Taih (Liang Erdi) the Shaolin “Single Head” for
technical stick fighting (Later it'll be combined with the lance; in this way,
the sticky-stick techniques came to be.).
It was during those times from among the Red boat actors that today's
known form of the Wihng Cheun was established. It was during this period that
the great masters were known: Wohng Wah Bou (Mo-sang, who played the role of a
male warrior), Leuhng Yih Taih (Mo-deng, who played a female role), Syun Gam
(Daaih Fa Mihn, that is to say, who played the role of the “Painted Face”),
Laih Fuk Syun (Li Fushun; who played
the role of a man in love).
– In the 1860s General Yihp Mihng Sam had destroyed the participants of
the opera societies in a movement against the Manchu, and every kind of
theatrical performance was outlawed thereafter for sometime. (The injunction
was revoked about twenty years later during the successor government.) This
effectively drove down the revolutionary movements, but it could not completely
eliminate them. Soon thereafter San Wah (Xin
Hua) and Gwong Dihn Hing (Qing Guang
Dian) founded the Baat Hahp Wui Gun (Ba He Hui Guan, The Hall for
the Society of Eight Union), and they continued the work therein. –
A couple of years later, Leuhng Yih Taih passed on the system to a Foshan
physician, Leuhng Jaan (Liang Zan).
Leuhng Jaan often and gladly tried out his skills, which earned him the “Kung
Fu King” title, and made the style popular in Foshan. (In China, the winners of
such titles were given diverse bouts with predilection. For example: “The King
of the Seven Provinces Long Stick”, and “The Challenges of a King,”
etc.). This, of course, had at first attracted several practicioners, but the
challengers were beaten so quickly that the challenges had gone astern over
time.
Leuhng Jaan also passed on his knowledge to his sons, Leuhng Bik (Liang Bi), Leuhng Cheun (Liang Chun), and Leuhng Go (Liang Ge), as well as a few locals.
Leuhng Jaan practiced with his disciples in his yard at his home. There
he caught the attention of a man of great stature, a strong man who watched the
exercises from the gate. Leuhng knew the man, and knew that his name was Chahn
Wah Seun (Chen Huashun), and that he worked at the market as a currency
exchanger. After Leuhng Jaan saw just how much Chahn wanted to study, he
welcomed him as his apprentice.
Chahn Wah Seun had to repeatedly prove his skills due to his work. Soon
thereafter he was in the news, a news that suppported and accompanied him, yet
he truly believed in Wihng Cheun's earlier exercises, and in four decades only taught
a total of sixteen disciples. The Manchu imperial court also invited the
instructor, but Chahal refused the request; he maintained that he never got the
entire system so he couldn't effectively pass it on. However, the real reason
was that the Wihng Cheun was “the other side”; that is to say that it was bestowed
upon the members of the secret societies only. Of it, there are several traces preserved. At the same time, many
places today describe Chahal Wah Seun as not having enough knowledge of the
entire system.
Chahn Yuh Mihn's own son (Chen
Rumian) was also taught the system, but the boy didn't show too much
interest, which is why he passed his knowledge onto his daughter-in-law. So
after his father's death, with reluctance, he was obliged to learn the Wihng
Cheun from his own wife. The one who became the most famous, however, was Chahn
Wah Seun's last student. His name was Yihp Mahn.
The legendary Yihp Mahn
Yihp Mahn (Ye Wen) is perhaps
the most well-known Chinese martial artist. He was born in Fatsaan in 1893. His
family was well-off, and their houses and shops were in the city. Chahn Wah
Seun rented a backyard of one of those houses for teaching and training. Thus,
Yihp Mahn had the chance to observe the styles. It was here that Yihp Mahn took
the opportunity to observe the style. Yihp Mahn wanted to learn the martial
arts, and be given the opportunity; He had asked his mother to be an
intermediary to persuade Master Chahn to accept him — and accept him he did.
Chahn Wah Seun died three years later, whereupon with his lead student,
Hng Juhng Sou (Wu Zhongsu), and with
more elderly students — Hng Siu Louh (Wu
Xiaolu), Leuih Yuh Jai (Lei Ruji),
and Chahn Yuh Mihn (Chen Rumian) — he
continued on with the practice.
Among Chahal Wah Seun's apprentices, Yihp Mahn was the youngest; hence, Chahal
Wah Seun didn’t teach Yihp Mahn Kung Fu for the longest time for fear that it would
offend his brothers, and the study of martial arts wasn't even discussed among
his family circle.
One spring
holiday the Lion and Dragon dances were held in the Temple of the Monkey King. On behalf of his aunt’s request Yihp Mahn escorted two of his nieces to watch
the performance. Out of the crowd on the scene, a flock of 6-7 young
men caught an eye full of two chic ladies, and started to harass them. Yihp
Mahn soon had enough of the stuff, and demanded an apology. However, they
didn't take this thin, well-dressed man very seriously, and only saw him as a
spoiled rich dandy. One of the guys came forward to push him aside, but after
several attempts, still only found air. So out of
frustration he furiously lunged himself forward toward Yihp, but in short
notice found himself on the ground. In seconds the gang members awoke, and
attacked Yihp Mahn, but it was easy for Yihp to ward them off. Yihp moved very
little to do so. When any of them tried to hit him, he would pivot just enough to
avoid being hit, but then with lightning speed he counterattacked at the
opponent's center of gravity to dislodge his balance. In every instance when it
looked as though an attack was going to connect, Yihp moved like a flash of
light, or parried the blow. Sometimes it seemed as though his enemy was only
slightly touched, but as a result of Yihp’s sleight of hand, the assailant
collapsed in pain. But nonetheless, none of them were seriously injuried. The
combat ended abruptly at the crack of a whip, so to speak, with the gang
hightailing it out of Dodge. That incident made Yihp Mahn’s name famous in
Fatsaan.
One evening his friends invited him to a tavern to have some drinks. In
the restaurant, a ravishing young lady was entertaining one of the tables. His friends
told him that the girl’s name was Yihm Hung, and that she resides in the “House
of Flowers and Willows.” (It was in an area where there used to be entertainment
brothels in China that were called the ‘Red-light District’.) He was told that
she did martial arts too, and that she offers her free services to those who
are able to beat her with three punches to the belly, but demands ten liangs of
gold paid to her personally for those who cannot do so (In China metal coins,
paper money, and gold and silver measured by weight were all legal tender. 1
liang is about 5 dkg.). Yihp Mahn just laughed about it, but his friends would definitely
love to see him face the test. One of them called forth Yihm Hung, and said:
“This man is a very well-seasoned martial artist, and even your steely
belly cannot withstand his power.”
Yihm responded: “Mr. Yihp, I have a rule, if you can hit my stomach so
that I can't stand, I'll go with you for free. But if you fail, you'll be
paying me ten liang of gold. I see that you’re a good young man from a good
family, and I don't know what your concepts of martial arts might be, but I'm
afraid you’re going to hurt your hands if you take the challenge!”
Yihp Mahn said with a smile: “I've never hit a woman, but if you don’t
mind, I'm going to try to do it. Here's the gold. If I lose, it's yours.”
Yihm Hung went through a short breathing exercise, and flexed her belly,
which was very tough. Yihp Mahn cooly touched his fingers on the lady's
stomach, and gave off a short fast punch to it. Yihm Hung gasped and collapsed
to the floor. Yihp quickly helped her up and asked for her forgiveness: “The
money is yours, and I expect nothing from you.” He later wrote down a doctor's
prescription that could restore her Qi circulation. He then said goodbye, and
left with his friends.
On another occasion, Yihp Mahn was taking an evening stroll to admire
the full moon. There was quite an amount of people in the streets, and Yihp
accidentally stepped on a man's foot. When he stopped to apologize, he saw that
it was an officer. At that time in China (since the fall of the Qing Dynasty) a
variety of short-lived governments replaced one another, and separate forces took
their orders from different military commanders that dominated various
provinces, or military units. Because the civil government wasn't able to
account for a soldier’s misdeeds, there were many. And so it was also to be
that on this occasion, this officer immediately drew his pistol to shoot the meddlesome
civilian. But before he could fire his weapon, Yihp Mahn acted, grabbed the gun
and wrenched it out of his hand so that the magazine dropped to the ground. The
officer stood stunned, and before he could do anything, Yihp Mahn had
disappeared into the crowd.
The First Disciples
One day a local trader, Jau Chen Chung, invited Yihp Mahn to his house,
and asked him to teach his sons. It got Yihp Mahn to thinking about his
personal financial concerns, so that after only a brief reflection he said “Yes.”
This news caused a major surprise, given that such a request usually fell on deaf
ears. One of Yihp Mahn's friends knew a Choi Leih Fat master, Wan Dai Han, who
was introduced to Yihp. Wan invited Yihp Mahp to a friendly match, who thought
that this would be a good time to promote and demonstrate the popularization
and proof of the abilities of Wihng Cheun, and therefore accepted the
challenge. They agreed on the details, and a doctor was called to referee.
The fight began. Wan began a series of attacks. With short steps Yihp
Mahn pivoted and avoided his punches, then broke his opponent's rhythm by
stepping into his midline to attack his torso and head. Wan couldn't evade any
of it, and after each strike he fell backwards. The referee finally stepped in
and stopped the fight. Not to hurt anybody, he announced a draw. But from this
point on, no one brought up the fact that Yihp Mahn teaches Wihng Cheun.
Meanwhile, China's attacks against the Japanese had become more intense,
so he decided to move his family to Hong Kong. Upon accepting the President of
the Restaurant Workers' Labor Union Yi Hu's invitation, he could live in Hong
Kong where he began teaching the members of the union. It was here where many of
his famous apprentices began their studies: Leuhng Seung (Liang Xiang), Lok Yiuh (Luo
Yao), Cheuih Seuhng Tihn (Xu
Shangtian), Louh Mahn Gam (Lu Wenjin),
Wohng Seuhn Leuhng (Huang Chunliang).
And later, Muih Yaht (Mei Yi), Jeung
Cheuk Hing (Zhang Zhuoqing , William
Cheung), Hoh Gam Ming (He Jinge) és Leih
Siu Luhng (Li Xiaolong; Bruce Lee),
as well.
In order to make his style well-known in Hong Kong, he mainly initially
trained his disciples for various competitions to which they were thoroughly
prepared, which in turn is how the development of his school accelerated; the
first pair of disciples were taught in a couple of advantageous areas, of which
they became experts. So Cheuih Seuhng Tihn became an expert in Siu Nihm Tauh
(and its associated exercises), Leuhng Seung in Biu Ji (and its associated exercises),
and Lok Yiuh became an expert in the long-pole (and its associated exercises).
Later of course, they learnt the whole style, but this gave special
characteristics to their own styles (with somewhat of a different underpinning).
In the 50s, two of his adult sons successfully passed through Hong Kong.
At that time, the Wihng Cheun School being led by Yihp Mahn already had a
serious reputation; to this end, the Wihng Cheun teachings ensured their
livelihood. Two of his apprentices, Lok Yiuh and Wohng Seuhn Leuhng were asked
to start teaching his sons. (In China, it is a general practice that the
Kung-fu masters seek an instructor from within the clan to teach their children
because masters only deal with it if they reach a more serious level in their
studies. This is primarily due to the differences between the two types of
education. As parents, the Chinese are extraordinarily lenient; as instructors,
however, they are genuinely tenacious. And as one of the masters said, “It
doesn't work to fondle his head in the morning, to say that I love him, and
then to beat him with a whangee cane in the evening.”) The differences in the
primer one uses can be seen unto this very day. Wohng Seuhn Leuhng's Yihp
Jing's style is more closely compared to Lok Yiuh's Yihp Jeun's.
Yihp Mahn's school quickly “outgrew” the premises provided by the club, so
he opened his own private dojo.
He was the first Grandmaster to publicly teach Wihng Cheun. During his teaching
practices, various changes to the style were changed. Although he abandoned
some of the techniques, other techniques were expanded in other areas (He
increased the Wooden Puppet form, for example; the 108 series at that time was
changed to 116 to this day.). Thanks to his work, Wihng Cheun has become one of
the most popular trends, and has hit the west through his students.
Lok Yiuh
Grandmaster Lok Yiuh was born in Hong Kong in 1922. He belonged to the
first generation of Yihp Mahn's Hong Kong students. In 1950, in the Restaurant
Workers Workers' Association, he began to study Wihng Cheun from Yihp Mahn. Owing
to the tough training, after a few weeks, among the students, Leuhng Seung and
Lok Yiuh were among the ones who remained. Yihp Mahn moved in with Lok Yiuh for
the next eight years, and the training resumed at the Workers' Association.
During that time Yihp Mahn literally spent day and night training his
student. Shortly afterwards, Lok Yiuh became the assistant tutor in trainings. In
the 1950s, Lok Yiuh, Leuhng Seung and then Wohng Seuhn Leuhng established Wihng
Cheun's reputation. They participated in competitions and in traditional
challenging battles. With a number of well-defined representatives, he managed
to achieve victory, and what was the largest feat of weaponry were Lok Yiuh and
Leuhng Seung themselves, through the fighters exhibited defeat of the Choi Leih
Fat style. Until then, the Choi Leih Fat School was considered unbeatable.
On completion of his studies, he opened his own school where he taught
his style for more than fifty years. His two sons, Lok Geng Sang and Lok Geng
Gwong, and his grandson, Lok Mahn Wu, all learned his system. (Lok Yiuh's
grandson was 15 and had been teaching at the Hong Kong Police Station!)
In 1992, he received his only non-Chinese student, Wilhelm Blech, who
was named after him after two years (with his two sons). With his passing in
2006, he left behind one of the greatest forms of Wihng Cheun.
Louh Mahn Gam
From 1950, Grandmaster Lou Louh Mahn Gam studied Wihng Cheun in Hong
Kong for ten years as his uncle's, Grand Master Yihp Mahn, third student (Leung
Sheung, Lok Yiuh, Louh Mahn Gam). Because the school was accumulating more and
more students, Yihp Mahn had accumulating more and more groups, so he
occasionally instructed one of them to teach; under his supervision and
guidance they not only learned to teach, but they also passed on Wihng Cheun. Since
Yihp Mahn was a former senior police officer and training officer instructor in
the government of the exiled Chinese Republic in Taiwan, in 1960 he asked Master
Louh Mahn Gam to go to Taiwan and serve in military intelligence. Master Louh
naturally complied with his uncle's and Si's request, and moved from Hong Kong
to Taiwan where he lived and taught since then.
Louh Mahn Gam is a world renowned, acknowledged master, and is
considered to be the biggest Wihng Cheun expert in Taiwan. His public school
opened in 1975 in Taipei, Taiwan's capital, to fulfill his master's request and
to spread his Wihng Cheun far and wide around the world. Thanks to his knowledge
and his love of the teachings of Wihng Cheun, numerous foreigners are
constantly coming to Taiwan's school to join the Chinese students there, among
whom there is rarely a student who is not already a master of another style. Over
the past thirty years, he has taught more than two thousand disciples from a
total of 35 countries on all six continents.
At present, he is also currently teaching martial arts to the Taiwan
Police and Special Forces, as well as being an invited instructor training
members of the Hong Kong, Virginia, French, English and Swiss police.
Si fuh Louh Ma hn Gam regularly holds public seminars where he not only demonstrates
and trains Wihng Cheun's techniques, but also speaks about its theoretical and
tactical background. He encourages his disciples to learn not only how to
learn, but also why they should learn. People should not just blindly rehearse
and execute the exercises, but should also be mindful and analytic martial
artists. Since March 2003 he has been visiting Hungary regularly, and has held
seminars where several Wihng Cheun and other martial arts practitioners have
been involved.
Ji Sihn Wehng Cheun
The most popular variants of Wihng Cheun that came from the “Yihp Mahn
branch” were side-stepped, but several variants were maintained, mainly in the
Fatsaan area. One such version is Ji Sihn Wehng Cheun.
The style was named after the legendary Fujjan Shaolin Monk Ji Sihn,
from the Shaolin Monastery. The style was derived from Ji Sihn's disciple, Syun
Gam (nicknamed “Daaih Fa Mihn” Gam, or “Painted Face” Gam). When Syun acquired
new costumes in Fatsaan, he got to know a tailor's apprentice, Fuhng Siu Ching.
Within a short time, he became Fuhng Syun's student, and followed the
brotherhood, where he assisting in the making of make-up, and studied Wehng
Cheun in his free time. Fuhng consolidated the style, and handed it over to
several disciples. The most well-known are Fuhng Ting (the son), Dung Syun, Mah
Juhng Yuh, Dung Jit, Loh Ying Nam, and Loh Kai Tong. Through Fuhng, Ji Sihn
Wehng Cheun has spread to several South China provinces, Thailand, Vietnam,
Singapore and Indonesia. Fuhng Siu Ching received his last student, Yuhn Keih
Saan, at the age of 71.
Dung Jit handed over his art to Jyu Juhng Mahn, who moved to Macao,
where he became known as a fighter, and was referred to as “Invincible” Jyu; he
did not teach, but he only dealt with his medical profession. Dung Syun's son
extended the system to Dung Yik and Pak Cheung.
In the early 1900's, Fuhng Siu Ching's disciples guarded Fatsaan from bandits.
In the 1930s, two of those studied students later became known as brothers, Loh
Chiu Wan and Loh Hong Tai. Loh Chiu Wan lived in the vicinity of Hongkong, and
taught it to a wealthy friend, Waih Yan (Wai
En). Because Waih wanted to preserve Ji Sihn Wehng Cheun's methods, he went
to his master for help, who in turn brought Masters Loh Hong Tai, Dung On, Dung
Yik and Jyu Juhng Mahn into the fold, all who thereafter often got each of
their students together on the Daaih Duk Lan loading dock. (Daaih Duk Lan is
best known to have made the first suspended Kung-Fu wooden dummy, instead of what
was up until then an open space dugout form built into the ground.) Waih Yan's students
include Lauh Chi Lung and Jeung Gwong. Jeung Gwong has already received
European students, mainly from Germany, so this style has become known to us,
as well.
Other Schools of the Wihng Cheun
The Wihng Cheun of today has broken up into several dozen schools. The
best known among these are styles created by Yihp Mahn and his disciples, considering
they were first taught to a wider audience, and are now mostly available in
Europe, America or Australia. Little is known about the schools still in existence
in Fatsaan, which have their student base largely in China today. This is not
to mention a word of the school practised by the Buddhist priests, or of the
Wihng Cheun Baahk Hohk, or the teaching masters adhering to traditions of teach
only a few disciples, all of whom are practically the only ones aware of such
existing styles.
Pahng Naahm Wehng Cheun (Peng Nan Yong Chun)
The Fatsaan Wehng Cheun is in keeping with being the most representative
style. One of Chahn Wah Seun's pupils
was Laih Hihp Chih (Li Xiechi; One of Yihp Mahn’s eldest Kung-fu brothers). Pahng
Naahm studied Huhng Ga in his youth. Through a friend he went to Laih Hihp
Chih, from whom he could learn the whole system. Its style is the classic Wehng
Cheun style, which has today left China through its disciples.
Yuhn Keih Saan Wihng Cheun (Ruan Qishan Yong Chun)
As I have previously written, Yuhn Keih Saan Fuhng Siu Ching was a
personal student of the early 1900's. As a master of the style, he taught in
Fatsaan until his death. His disciple Sahm Nahng (Cen Neng) named his system
Yuhn Keih Saan Wihng Cheun. Many of Sahm Nahng's disciples left China. Thus, through
them Ngouh Leuih Keih (Ao Leiqi) became the most well-known master, and the
Fatsaan style the most well-known of the styles.
Naahm Yeuhng Wihng Cheun (Nanyang Yong Chun Quan)
One of the “Painted Faces” Gam's students was Chouh Dak Saang (Cao
Desheng). Chouh came from a martial arts family, so Huhng Ga was also known as
an expert. To the start of the 20th century this version of Wihng Cheun was
handed over by the Chouh family from father to son, while (while retaining
traditional forms) a number of other style-specific techniques were added to
the system (such as the Tiger Claw from Huhng Ga, elements of Baahk Meih,
etc.). Today, it has spread to many parts of Southeast Asia (e.g., Malaysia,
and Singapore), as well as taught in Australia.
Gu Louh Wihng Cheun (Gulao Yong Chun), vagy
Gu Louh Sei Sahp Dim Wihng Cheun (Gulao sishi dian Yong Chun)
One of Wihng Cheun's most renowned masters, Leuhng Jaan, in his old age
retired to his native village Gu Louh. They continued to come together to
practice with their immediate disciples, and in the meantime styled new methods.
Instead of focusing on formal exercises, the so-called “40 short trainings”
were put in focus. This was a selection of 40 elements, and an exercise with
which ascribed to the particular importance in the acquisition of Wihng Cheun. This
was the Gu Louh Sei Sahp Dim, that is, the Gu Louh's 40 points. Leuhng Jaan did not alter this style, but only created a new form for the
transmission and learning process of the art. Among his disciples, Taahm Yeuhng
(Tan Yang) carried this type of system
forward.
Paauh Fa Lihn Wehng Cheun (Paohua Lian Yong Chun)
Its first known master was a 19th-century monk Daaih Dung Fung (Da Dong Fong – Great East Wind), who was
a member of an anti-Manchu secret society. He taught the system to the Jeh
brothers (Jeh Gwok Jeung and Jeh Gwok Leuhng) when he was in the Gwongdung
(Guangdong) province. The Jeh brothers took in an orphan boy, Lauh Daaht Saang
(Liu Dasheng). The boy was taught in combat arts from the age of 9. In Lauh's
younger years, he worked for a hair care master. The hair salon was cooked from
wood chips from the tree that Lauh planed down. One of his nicknames derived
from here was Paauh Fa (the Wood Planer). The “Daaht” punctuation is similar to
that of the “Lihn”, which means the Lotus (the Water Lily). Thus, if others
wanted to tease Siu Lihn, he was often called the Little Lotus (which is typically
a female’s name). Over time the two names were mushed together, and he was then
referred to as Paauh Fa Lihn (the Wood Planer Lotus). Over 10 years, Lauh Daaht
Saang studied Wehng Cheun. For a long time he worked CIT Security, along side
with being a local institution's cashier.
In his old age, he returned to Fatsaan and taught his system to some
selected disciples. After his death, Jyu Jung (Zhu Zhong) and his disciples carried the style forward.
Fukgin Wehng Cheun (Fujian Yong Chun)
This style's name was
spawned from Abbot Ji Sihn of the Shaolin Temple in Fujian. It should be remembered
that the style's name was given to the church. Fong Sai Yuhk (Fang Shiyu) and Hu Hui Gan took this direction
of education to the Gwongdung Province. (Fong Sai Yuhk is the person whose life
was rescued by Hng Muih during a duel.)
Pin San Wihng Cheun (Pianshen Yong Chun)
Leuhng Jaan's senior disciple was Wohng Wah Saam (Huang Huashan). He had already learned the known Gu Louh system. Wohng
passed the style onto Fuhng Lihm (Feng Lian). The Fuhng's family had several
experts in the Shaolin style of Fujian. The Fuhng family blended Southern
Shaolin and the Gu Louh Wihng Cheun to create their own style.
Yiuh Keih Wihng Cheun (Yao Qi Yong Chun)
The son of Hng Juhng Sou's pupil (Yihp Mahn Kung-fu’s older brother),
Yiuh Keih, established it. Yiuh Keih learned from his father, Yiuh Choih, and
later as a master had learned for himself from the elder Hng Juhng Sou. Yiuh
Keih's activities are also tied to Fatsaan.
Huhng Syuhn Wehng Cheun (Hong Chuan Yong Chun, Vörös
Dzsunka Wehng Cheun)
This style was spawned by Abbot Yat Chahn, who was one of the ones on
the “Red Ship” (Huhng Syuhn) who hid priests. To start with, two members among
those belonging to the actors of secret societies against the Manchu, “Taan
Sau” Hng and “Huhng Gan”, hosted his disciple, and others who later followed: Wohng
Wah Bou, Leuhng Yih Taih, and “Daaih Fa Mihn” Gam. The original teachings were
carried on by “Taan Sau” Hng and “Huhng Gan” Biu.
Vinh Xuan, vagy Yuht Naahm Wihng Cheun Kyuhn (Yuenan
Yong Chun Quan, the Vietnamese Wihng Cheun)
This self-contained style can be regarded as a version of the Wihng
Cheun. Several Vietnamese masters have learned fighting arts in South China. The
first person to learn Wihng Cheun from the XIX Century Masters was Nguyen Te Cong.
Later on, Luong Vu-Te studied at several famous masters', from Chahn Wah Seun
to Yihp Mahn. Returning to Vietnam, he taught the style. Today, a uniform Vinh
Xuan system was transformed from various epochs derived from Wihng Cheun
teachings. Today, this version of Wihng Cheun already also exists in the West.
The Wihng Cheun Family Tree
The genealogical lineage and the stages of the birth of the style
A Wihng Cheun Family Tree 1.
(Schematics)
(Schematics)
A Wihng Cheun Family Tree 2.
(Schematics)
A
Wihng Cheun Family Tree 3.
(Schematics)
The Wihng Cheun Philosophy
The spirit of martial arts is pervaded by the philosophy of the “Three
Great Roads.” These are Buddhism, Taoism and Confucianism. Aside from the
physical exercises in China, there is at least, if not of more importance, the
ascription of the coefficient of consciousness and energy of which explain
through design a philosophical trend in these functions. Of course, in a word, it
is here that we speak not one word regarding religious interpretations (which
is why I don't go into such things deeply); the philosophy only appears to the
extent that it is necessary to explain the principles of the style. And they do
not often use the original religious terminology. (For them, this is an appendage
of daily life, and similarly as natural as our own general knowledge of, for
example, the religious sources of holidays — Easter and Christmas — the
knowledge of its original content.)
Buddhizmus
The origin of Wihng Cheun can be found in the Shaolin styles. Shaolin follows
the Buddha branch of Chan, which was founded by Bodhidharma, which is a form of
contemplation that emphasizes spiritual practices. Since its first masters were
Buddhist priests and nuns, built into it is a completely natural and integrated
style of the Chan-Buddhist construct.
One of the often accentuated goals of meditation exercises is to create
the emptiness of consciousness. Its aim is to reach such a state of consciousness
that it becomes immune to all distracting thoughts, and therefore becomes
capable of direct observation of the world's phenomena.
According to the Chan standpoint, with the incessant currents of the
everyday knowledge of conscious thought, one is always only able to see
oneself, which may not secure real cognition (In other words, through the
subject of our reflective schemes — our prejudices — we form filtered thoughts,
and as such, our personal thoughts are always eventually perceived as the
ultimate thought, never the objective one.). Exercises aimed at the emptying of
consciousness runs with serious benefits, since the ability to respond to an
adversary's actions is far faster and much more concentrated when not burdened
with other thoughts. Thus, almost every Chinese fighting art places emphasis on
various kinds of calming and movement meditation exercises.
Many Wihng Cheun masters also teach meditation techniques, but most of those
techniques are built into the practices, or the practices give rise to the
meditation techniques. Instead of the form being tied to the style, it is more
of a free-flowing activity, which is why the compilation of the forms of
movement gives more elbow room to improvisations that are necessary for the
body and mind alike to be able to acquire it.
The cornerstone of Wihng Cheun is the creation of balance. Balance can
never be a purely physical ability. As they say in China, we need to harmonize both
the outside and the inside with each other. That is to say, that a real balance
can be achieved if, along side the body's forms (correct footing, the lowering
the center of gravity, a loose upper body, correct hand positioning, etc.), the
consciousness of mind can also be loosened, balanced, and simultaneously grow a
focused mind for the practitioner.
Taoism
According to tradition, the White Crane Monastery was a Taoist
monastery, where Hng Muih learned of the Taoist teachings. The style’s
techniques of the Taoist characteristics were most favored, not only for those that
were being built upon physical strengths, but also for those that grew the role
of consciousness.
One of the most well-known symbols of Taoism is the Yin-Yang symbol. This symbol represents a state of equilibrium
where Yin is the negative, feminine,
dark, cold, and passive side; Yang is
of the positive, masculine, warm, active, and luminous traits.
The two opposing forces — the straining might of the continued chop and
change of each other, create motion. At the same time, the two forces can not
be without each other, since the two qualities in themselves have no meaning in
each other. Besides, there is neither a pure Yang nor a pure Yin
element; each contains one part from the other. The pure Yin or the pure Yang is
an exorbitant; it is an unsustainable state that is forced to contradict
itself.
“He who stands on tiptoe is not
steady.
He who strides cannot maintain
the pace.
He who makes a show is not
enlightened.
He who is self-righteous is
not respected.
He who boasts achieves
nothing.
He who brags will not endure.”
With the struggles and
the movements of the two forces, Taoists have been able to describe and explain
any phenomenon in the world. In Kung Fu, the various physical states, holds, and
techniques have been listed in the two poles, and thus their reciprocity is
explained. And so it goes that Yang
is the hardness in the body's state (i.e. the tension and the tightening of
physical and mental muscles), Yin is
softness (i.e. the fluxing and laxness of the physical and mental body), which
uninterruptedly alternates with movement, and techniques, and a fundamental
defect in the course of movement is its exclusivity. With a concrete example, if
a handsome thrust is made with a forehand stroke, the muscles of the hand
tighten at that moment, but at the same time, the body must be loose, otherwise
the force will “whip back” and move away from our position. Likewise, if with a
soft, sagging counter defense we take the opponent's energy, the hold must still
be firm enough to furnish the basis for the technique.
An important question is the aspiration of softness, “water”.
“Under heaven nothing is more soft and yielding than
water.
Yet for attacking the solid
and strong, nothing is better;
It has no equal.
The weak can overcome the
strong;
The supple can overcome the
stiff.
Under heaven everyone knows
this,
Yet no one puts it into
practice.”
Therefore the sage says:
“He who takes upon himself the
humiliation of the people is fit to rule them.
He who takes upon himself the
country's disasters deserves to be king of the universe. The truth often sounds
paradoxical.”
“Underneath the heavens the
weakest are pierced, which is the toughest:
in everything there’s a nest
of nothingness, its power is that of non-action.”
Wihng Cheun does not
resist force with force, nor is its use of force the use of the usual strength
of muscle. The Wihn Cheun executor doesn't jam an opponent's attack with a
rigid block (this position used in this style isn’t suitable), but instead
tries to lead it away, to neutralize it, and not once turn against it (As the
Chinese say: they "borrow" the opponent's power.). The same principle
is true for the attack, the defense of the opponent is not necessarily a “break
through”, it’s often enough to bypass it, and with some kind of position change
to attack the weaker area, toward a side. And what's important is to look for
the point of least resistance (by using special exercises that assist in the
development in this level of ability).
“Good weapons are instruments
of fear; all creatures hate them.
Therefore, followers of Tao
never use them.
The wise man prefers the left.
The man of war prefers the
right.
Weapons are instruments of
fear; they are not a wise man's tools.
He uses them only when he has
no choice.
Peace and quiet are dear to
his heart,
And victory is no cause for
rejoicing.
If you rejoice in victory,
then you delight in killing;
If you delight in killing, you
cannot fulfill yourself.
On happy occasions precedence
is given to the left,
On sad occasions to the right.
In the army the general stands
on the left,
The commander-in-chief on the
right.
This means that war is
conducted like a funeral.
When many people are being
killed,
They should be mourned in
heartfelt sorrow.
That is why a victory must be
observed like a funeral.”
As several masters have
conceived, Kung-fu is a means of self-defense, and is not to be continually shown
off all the time. One should not initiate a fight to merely prove one's
abilities. Peaceful behavior has a practical reasoning; a defensive attitude
trains unity, and through the attacker's own movements he "opens"
himself up, giving way to counterattacks, and thus causing his own demise.
(Quotations selected by
Laozi: Az Út és Erény Könyve [The Book of Road and Virtue] by Sándor Weöres.)
Confucianism
Master Yu said:
“There
are few who have developed themselves filially and fraternally who enjoy
offending their superiors. Those who do not enjoy offending superiors are never
troublemakers. The noble man concerns himself with the fundamentals. Once the
fundamentals are established, the proper way appears. Are not filial piety and
obedience to elders fundamental to the actualization of fundamental human
goodness?”
Chinese martial arts are
characterized by a strict sub-hierarchy. The style family system, with the
family-specific constraints is where Si Fuh the “father” stays the “father”,
even if his pupil's knowledge over time becomes greater than his own; this is
the typical respect that is always due. Traditionally, these family ties are
indissoluble, and the disciple selects for himself a master for life.
Of course, this
relationship is reciprocal if the master accepts the disciple; the disciple is
duty-bound to take care of his master (It's not infrequent that he/she often
lives with his master, and it is often a common practice that he/she even cares
for his/her master throughout the master’s old age.), and to pass on that
knowledge, of what readies the inclusion of the physical and spiritual. Of
course, even in the East, such close ties are rare, but the nature of the connections
has preserved a lot of the traditional forms.
(Many of the quotations
are of Kung Fu-Confucius, and translated by A. Charles Muller, at the
University of Tokyo.)
The sacred Numbers
The interesting thing about the building of the style is that the
elements of Wihng Cheun regularly contain the sacred numbers of Buddhism and
Taoism. For example: 4, 8, 9, 12, 18, 36, 72, 108. (They're mostly products of
4, 8, and 9.). From it 4 gates were created, and 108 kata movements (Yihp
Mahn's 108 “Puppet Form” movements were created, which is also said to have added
8 additional moves, thus becoming a 116 movement form.), based on 8 principles.
To the practice in the East to today the numbering system has been
maintained.
The 8 Principles of Wihng Cheun
1. The Principle of the “Center Line”
The Center Line is the pivotal theory of Wihng Cheun. It plays an
important role in understanding both the basic movements, both the defense and the
attack. The center line is an imaginary axis running through the human body.
The movements and rotations are executed around it, and during the exercise
it is of paramount importance that the center line be in the right position. At
the same time, along the line there are the body's vulnerable internal organs,
thus in the course of attacking, this area is attacked, and these are the areas
to be protected the most.
This is the most impotent part of the body, so in the case of an attack,
if our side is attacked, we can neutralize that attack with one turn, while the
attacks on the center line are countered primarily by hand. The opponent's
center line may vary depending on the direction in which we are attacking, and
what kind of angle we stand on. It’s also important that the body and back are
straight. Wihng Cheun is not characterized by such movements as stepping
straight forward into or straight backward from the attack. The representative
of the style doesn't duck from the attack, but moves away from it.
2. The Principle
of “Movement of Economics”
Wihng Cheun strives for the least amount of movements during a fight. When
attacking, we always move in the most direct direction. There are no misleading
movements or gimmicks. Only the most necessary moves should be carried out at
time of defense, a defense that diverts the attacker's hand, so that he can’t
reach us. An executioner only responds to an actual contact threat, so unnecessary
maneuvers won’t be found.
The combat distance is less than the usual in other styles, and likewise
makes the movement more thrifty — smaller steps, and smaller turns; the attack
of the opponent only needs to be responded to when it comes within fighting
distance. The smaller the distance also reduces the amount of applied force needed
to be used (less leverage force); thus, it is with a weaker body weight, and a
strategy that women can exercise.
It's important that we always use the
right amount of energy. The use of too little
or the use of too much alike is a mistake. It's essential that the fighter
learns to relax. If any part of the body is tense, it will make the whole of it
rigid, and the opponent will be able to use it against us.
3.
The Principle of “Facing-off and Versatility”
In Wihng Cheun, a stance is designed so
that the hip always looks ahead toward the opponent. (“The Dan Dian looks at
the opponent's center line.”) This requires the same — and equal —
use of the two hands. At the same time, these holdings are never rigid. When
attacking, we always try to attack the opponent's more vulnerable, weaker side;
on the flip side, when protecting oneself from the opponent's energy we
neutralize it by pivoting, using turning defenses, and small steps.
The
two basic positions: Yih mah and Choh mah
The hip looks in the direction of the
adversary in a side poise, and rolling out is not just precautionary, either.
4. The Principle of “Fixing the Elbow”
The poises are designed to form an entire seal. Normally, the arms
protect the body, and don't rise from it; the elbows remain within the body
line. If the hand position is incorrect, the technique won't work. Implementation
must always be accurate and smooth. (Grand Master Yihp Mahn's two sons were named
Yihp Jeun and Yihp Jing. Jeun means “smooth” and Jing means “accurate.”)
(See the two basic poises in the previous section.)
5. The Principle of “Simultaneity”
As an enhancement of efficacy, Wihng Cheun masters rejected the “give-and-get”
fight. The counter-attack, or the defense that occurs simultaneously (with one
hand we counter, and with the other we strike), or an attack immediately after
the defensive action, or with the deflection of the attacker's hand movement the
attack is transformed into a counter-attack.
6.
The Principle of the “Four Gates”
From the viewpoint of defense, the body has been divided into three
heights, or levels, and four gates. The upper level is from the rib cage and above,
which is only defended by hand. The midrange extends from the ribs to the
sexual organs, and is usually defended by the hands, but may also be defended
by the feet and legs. And the lower section is below the genital area, the
place where we only defend with the legs and feet. Gate 4 is formed with the
intersection of the so-called heart line through the midline and the rib cage. Gate
4 symbolizes incoming attacks from four different directions, and with the arm
is truly the most economical counter method of attack (slides below). (There
are a number of different kinds of techniques in the martial arts branches that
execute countless varieties of attack modes; however, one thing always remains
constant: an opponent needs to be approached in some way, and its directions
are closely linked to anatomy. Thus, it is not primarily the technique that is
to be tackled, but the “orientation of self” that must be learned to be
defended.
7. The Principle of the “Threatening
Hand”
For defensive purposes, we strive to shut down the opponent's arms in
order to disarm him and render him defenseless.
8. The Principle of “Adhesion”
This is one of the most peculiar Wihng Cheun techniques. During the
fight we strive to control the limbs of the opponent. To achieve this, we often
reach for the opponent's arm so that it'll be easier to feel movement and
respond faster. In that attack, we strive for the “jam”, which is designed to “open
up” the protected area to expose it to a counterattack. (According to one
slogan: “If it comes, stop it, if it retreats, follow it, depose of the hand,
and break it, steady as she goes!”) To learn how to do this, there are special
“sticky hand” and “sticky foot” exercises. (See also later chapters)
One series of moves is Chi sau (the “sticky hand”), and Chi geuk (the “sticky
foot”) exercises — implemented attacks based on basic movements.
The “Murkiness”
of Wihng Cheun
In the China of old, most of the teachings were not written down, but
were instead spoken orally. Owing to to this, there are several known martial
art forms in the style, one being Kyuhn kyut. Kyuhn kyut (Quan jue, denotes a martial arts song, and a proverbial expression)
is a short, collected form facilitating memorability, and a principle
associated with style. The sayings played the role of being an “identifier”
among those belonging to the school (In the secret societies battling the
Manchurian, much of Wihng Cheun can be found.). Therefore, over time, several rumors
have, due to obsolescence, or lack of applicability, disappeared (e.g. working
as a password, Faan Ching fuk Mihng — Fan
Qing fu Ming, meaning “Le a Qing — with a dynasty, going back to the Ming
Dynasty”). What's left is that this indeed points out the essential elements of
the system. Yihp Mahn had collected the rumors he knew, and jotted them down. To
ensure the longevity of the documents, and to give an artistic form to the
work, it was decided to carve the sayings into a stamp rock in a form that
documents the history of Wihng Cheun from the founder himself. (Traditionally,
in China, the personal stamp served as a "signature", and a practice that
is used today, although nowadays only between painters, calligraphers and among
martial artists.) The work was executed
by Muih Yaht, one of the students, and a nephew, Gwong Jeh Nam. They had
already spent four years choosing the stones. 51 stones were finally formed to
make the full collection. Each piece was carved with great care, with the
calligraphic type of the era it represented. The whole range spans the whole
history of Wihng Cheun. Some of the stones contain the information that at that
time contained the most important points in the development of the lives of the
masters, while still other stones included the names and most important points
of the forms. The work of the carvings lasted for six years, and was completed
under Grand Master Yihp Mahn's control before his death. The stones are now
exhibited in an Ohio school, part of which serves as a museum The locution of the Wihng Cheun Kyuhn
kyut-sign can be divided into 4 types:
• The Result
• The Forms
• The Warning
• The Quality
• The Forms
• The Warning
• The Quality
• The Result
These locutionary operations, or movements of outcome tell the story. For example: “Da sau jik siu sau” (Da shou ji xiao shou) “The simultaneous strike is also a defense.” (Literally, this tells you to depose of the hand with your striking hand, or that you can depose the hand wih your striking hand.)
The
Various Counter Blow Forms
• Forms
These are the equations for the conformations: “Loih lauh heui sung. Lat
sau jihk chung” (Lai lou gu song, tuo
shou zhi chong). “If it comes, stop it! If it retreats, follow it! Depose
of the hand, then break it straight away!”
• Warning
These sayings warn the disciple to avoid particular mistakes while
practicing or fighting: "Paak sau gei noih muhn" (Pai shou ji nei men). “Protect yourself
by avoiding the inner door!” (Paak sau may become self-defeating if it is a poor
implementation.)
The
opponent's inner gate is defended with a hit by the palm of the hand.
With
the protecting hand we can attack by affixing Lahp-da.
• Quality
These sayings determine the quality of certain techniques, or principles,
within the system: “Yahn hahng gong, ngoh hahng yihn” (Ren hang gong wo hang xian). “Others are on the bow, I'm on the
string.” This is Wihng Cheun's economy; the endeavor of the shortest line of
attack prevails.
An
opponent kicks with a circular arc, while simultaneously we attack the supporting
leg with a straight kick.
We
protect ourselves from the opponent's round-shot by using Taan da.
Master Rankings in Classical Chinese Martial Arts
Even up to today a significant bit of the traditional Chinese martial
arts mirrors the old Chinese family system. The father hands over his knowledge
to his son — naturally, we have here just a word about the direct handover — and
the boy passes it to his grandson. The disciple-chain is unbroken as long as
the family still exists.
But this peculiarity endured when the art was no longer just a family
system. The most common “style” translated Ga (Jia) is to mean one word,
family. My “instructor”, or my “master” is my Si Fuh, that is, my dad, or maybe
Si Jou, that is, the “Ancient Founder.” Likewise, my disciple Touh Yih, that is,
my son, and so on. This, of course, also means that in classical styles the
names are always compared to someone else.
Accordingly, my direct instructor — independent of the degree — is
always my Si Fuh, my instructor instructs my Si Gung, and so forth. (This is
the family system that has already capsized to a large degree. As with in
Karate, in general, Sempai, Sensei, and etc., it's just a graduator counter,
with no other underlying content.)
The “family” is hierarchically structured, and only rarely changes. Someone
can only get into one (This is practically relevant for today, too!) if “the
family admits you into it.” And the handover here can only be direct. From
studying books or videos, even today, the person can not “become a member of
the family” either.
The structure of the family is shown in the following figure.
Positions
Most of the Wihng
Cheun styles include a total of seven positions. At the basic level, only three
of them are used. These are the following: the Yih jih mah, or Yih mah, the Choh
mah, and the Bik mah.
Yih jih mah
The style's basic
stance is based on the Yih jih mah, or Yih mah (Er zi ma; Er ma, that is to say, the Two Scripts
Stance, or the Two Stances). Basic movement patterns are always performed from
this position. In Yih mah, weight is distributed equally on both legs. The
stance is approximately the width of the hips, a width that is sufficient to be
sufficiently stable, and one which the executor can easily move in any
direction, and enables great usage of the legs. It allows the equal use of both
our hands when we face the adversary (Of course, what this means is that it's
necessary to be able to use both hands in Wihng Cheun in order to use a level
of response equal to both a suitable defense and a suitable offense.). The
practitioner here finds the practical use of the Yin-Yang principle for the first time, namely Yin, which is soft, resilient, and nimble, to use our hands freely
and swiftly, and to use Yang from our
waist down, which is solid, firm, and stable, that we should create the
techniques for a strong foundation. If the principle is violated (where the
hold isn't strong enough, or the upper body is overly rigid, whether it's the
arm, or the back) the attacker’s power sweeps away the practitioner.
A Snapshot of the
Stance:
We should stand
upright with closed legs in a loose poise (Figure 1). We then take our closed
fists and rest them beside our hips (Figure 2); thereafter, we lift them straight
up to our chest.
With our knees
bent, we turn on the ball of the foot, pointing our heels outward (Figure 3), then
on our heels we open our feet (Figure 4); we once again turn our heels outward,
so that the feet are slightly pointed inward (Figure 5).
The Yih jih mah side view.
Choh mah
The Choh mah (the Zuo ma; the Seated
Horse Stance) uses the Yih jih approach when we pivot away and parry, or when
we move away. It also lends itself to a modified stance: Simply, after the
initiation of Yih mah, we can turn up to 45 degrees in any direction. The bulk
of the body weight is in the pivoting leg.
Bik mah
The third basic poise is the Bik mah (Bi ma, a.k.a. the Chasing Horse or Pressing Horse). Basically,
there are two ways to apply it. Using Yih mah (Choh mah), we turn in a
direction, or move forward along our midline, in a way that the hip simulates
the Yih mah, and the bulk of the body weight is on the back leg.
In truth, the following fourth position is related to higher-level forms
of Wihng Cheun; up to the present, many of the Wihng Cheun branches have only
been teaching progressive levels. The Diu mah (the Hanging Stance) is the
first in Biu Ji, the Paah mah is in the Muhk Yahn Jong Faat form, and the Mah
bouh and Gung mah have emerged as weapons forms.
Gung mah
The Gung mah (Gong ma; the Bow
Stance) is the southern version of the offensive stance, which is a shorter,
rough version of the northern hip-width stance. The Yih mah is essentially used
as a forward or a back step. During a fight, it is the most commonly used basic
stance.
Mah bouh
The Mah bouh (Ma bu; the Horse
Stance) is rather only in use for armed exercises. The bare-hand application is
thrusted at the shoulder, and some liberation at the hand occurs. Likewise,
it's assumed to be like the Yih mah, but the feet are opened up parellel to
each other, then the center of gravity is lowered.
Diu mah
The Diu mah (Diao ma; the
Hanging-Horse Stance) is used in the same manner as with Bik mah (Bik ma; the Jamming Stance). The
difference here is that with Diu mah, the weight is slightly on the back leg,
and the front foot only touches the ground with the toes.
Paan mah
The Paan mah (Ban ma; the
Turning Stance) is the least used stance in the style. A frontal attack can
quickly be evaded by using it, but its usage should not be long-lasting because
it can be vulnerable to attack too easily. Any kind of stance can be assumed
with a cross step. Most of the body weight is transferred to the crossing leg.
Defenses
Mahn sau-Wuh sau
The basics of Wihng Cheun is the hand position. They consist of two defenses in all. One is
the Mahn sau (Wen shou; the Asking Hand,
or the Greeting Hand), which is consequently the name of the first
encounter with the opponent's technique; and the second one is Wuh sau (Hu shou; the Protecting or Guarding
Hand), which is most likely to play a role if the opponent's hand fails to be stopped
at the first instance. The Mahn sau is located in front of the body in front of
the Jung sin (the midline), and jung sam sin (the mid-heart line) juncture,
that is, at the center of the Four Gates. Thus, we can move it easily in every
direction. Likewise, the Wuh sau is located on the midline of the body, but
above the Mahn sau, in front of the chin and throat.
Paak sau
With the Paak Sau (Pai Shou; the Palm Defense) the opponent's arm is led
away, either sideways, or backwards (especially for the inner gate defenses,
which can be seen in the picture), or the energy is averted back toward the
opponent (mainly when defending the outer gate).
The defense moves across the front of the body to the shoulder line.
Its
Applications:
Taan sau
The Taan sau (Tan shou; Tan sau; the Splitting Hand; the
"Spreading-hand" Deflection; “Dispersing”-Throwing off mass and force
from Center) is one of the most common Wihng Cheun parries. It best serves to
parry straight line, or perhaps even slightly arched attacks. We push the
defense through the center line and drive it forward. Here, too, we strike out
the hand to the shoulder line.
Bong sau
The Bong Sau (Bang Shou; the Wing Hand) is perhaps the most well-known
Wihng Cheun style technique. Its usage is forward and to displace the
opponent's attack laterally.
Fak sau
We mostly use Fak sau (Fu shou; the Subduing Hand) when attacked
laterally, or if we want to gain space against the opponent, and we want to
distance ourselves from it, to prepare for a kick, for example.
Jaam sau
Using the Jaam Sau (the Zhanshou; the Cut or Cutting Hand), as the name
indicates, we drop our hands with a cutting motion on the center line. This
defense serves mostly against straight-line attacks.
Gaan sau
The Gaan sau (the Xian shou; the Splitting Hand) is started just like
the Jaam sau, but we don't stop on our midline, we divert the opponent's attack
away from us. We mostly use it against foot techniques and the more powerful
hand techniques.
Gam sau
The Gam sau (the Jin shou; the
Pressing Hand) is always relatively narrow, leading down next to the body. In
this defense, it is especially important to use the elbow and the body
properly. Exclusively using an elbow alone, this defense will can be useless.
Hyun sau
With the Hyun sau (the Quan shou;
the Circling Hand), we divert the opponent's strength, and then lead the hand
away. In the first half of the movement, we protect ourselves by using the
forearm and wrist, and by diverting the opponent's energy in toward us, then
changing the energy's direction, and leading the hand out to open up the
opponent's body before attacking it.
Jaht sau
In the execution of the Jaht sau (the Zhi shou [Jut Sau]; the Jerking Hand), we reach out toward the
opponent's attack, and then we attack into it with an arm, then divert it
downward. Proper use of elbows is important for its proper application.
Lahp sau
After the Lahp sau (Lap sau; La shou; the Clamp Hand), we simply stick
to our opponent's hand, and then lead it
away by pulling it downwards while we attack the free part.
Two-handed Defenses
We
mostly use them for stronger attacks or double attacks.
Gwan sau
The Gwan sau (Kwan Sau; Gun shou;
the Rotating Hand) is actually a Taan sau and a Bong sau jointly performed. We
mostly use it against strong circular attacks, so we always turn away (mostly
in Choh mah), thus facing the attack of the opponent.
Seung gaan sau
The Seung gaan sau (Shuang xian
shou; the Double Splitting/Dividing-hand) is a lower and upper Gaan sau combined.
We use it against double attacks, or to close the attack line (providing cover).
Strikes
Yaht jih kyuhn
The Yaht jih kyuhn (Yat Ji Kuen;
Ri zi quan; the Sun-character (Basic Vertical) Fist/Punch) is the
best-known strike type of Wihng Cheun. Its name comes from the fact that the
front the fist is held vertically, and resembles the form of the Sun-character.
It was the first to be taught as the most basic type of strike, and is the
basis for all other types of hand techniques.
Faan
cheuih
When using the Faan cheuih (Fan
chui; Flipping cover punch; the Uppercut), we hit the median line upwards
while we screw our elbow inward toward the hit and get the punch to be
supported from underneath. We usually aim for the head, mostly the chin, but
the ribs and chest can also be targeted.
Ngoh
jeung
The Ngoh jeung (Waang Jeung; Wo zhang; the Laying Palm Strike) is one
of our most used palm strikes. When using it, the palm of your hand (from the
full arm) is turned sideways, so it is better to “lay into” the attacked
surface. With this strike we target both the head and torso.
Yan jeung
The Yan jeung (the Yin zhang;
the Straight Vertical Palm Strike) is executed with a simple straight hit with
an open hand. With it, we primarily attack the head.
Fak sau
The Fak sau (the Fu shou; the
Whisking/Whipping Hand" Attack) is a hand technique used as both a defense
and an attack. With it we can attack the vulnerable points of the body and
head, and the arms equally.
Biu ji
The Biu ji (the Biu Jee; Bue Tze;
Bil Gee; Biao zhi; the Shooting or Darting Finger, or the Marking Finger)
is executed by the thrust of a fingertip, which is primarily used to attack
vulnerable parts of the body.
Kicks
The Wihng Cheun typically uses a southern solution that is mostly used
as low-altitude kicks, and from them this is just one type of the stomping
variants. Here, we primarily attack vulnerable parts of the body (e.g., the
knees).
Jihk tek
The Jihk tek (Jik tek; Zhi
ti; the Straight Kick) is the most
commonly used kick technique style. We first lift our knee, and then stretch out
both the leg and the foot straight forward with a stepping motion. The hip does
not lean forward during the kick.
Jak tek
The Jak Tek (Ce ti; the Side
Kick) starts off by flinging the knee out like a straight kick, but then
simultaneously turns sideways and expends the hip toward the direction of the
kick, but it doesn’t turn completely over.
Yauh tek
The execution of the Yauh tek (Rou
ti; Jeet Juk Tek; the Treadle
Kick; the Kick Counter; is the same as the Jihk Tek, but the target is the leg,
usually the knee).
Kick Defenses
We characteristically protect the stronger energy of an executed kick
attack with two hands. These are the two-handed versions of the well-known
basic defenses.
Taan-Paak
This is a rear hand Taan sau, and front hand Paak sau combination defense,
that we generally use against a high round-house kick. With the Paak sau, we defend
at the knee and we try to stay close to the opponent so that he can not lay out
the full force of the kick.
Gwan sau
The Gwan Sau is a Taan sau and a Bong sau combined. We mostly use it
against strong circular attacks, which are why we always turn away (mostly to
Choh mah); with it we turn away with the opposition's attack.
Seung gaan
sau
The Seung gaan sau is executed in concert with a lower and an upper Gaan
sau. It is used against wheel kicks, and double attacks.
Sat Saan
Cheuih
Sat Saan Cheuih (Sa san chui;
the Separator; the Splitting Hand) is an exercise and move with simply two hands
and movement (we first rotate, then step forward and backwards), which assists
in mastering the correct use of your own body. There are several variations of
it, two of which I introduce.
In its basic form, the hit is executed with a simple rotation, where the
two hands move together, and help in the rotation.
In the later variant we initiate a high outside blow from our one hand,
while our other hand initiates a strike from below (as if we would want to
execute the Jaam sau), lunging the strike into a circular motion, and then turning
it back to the outside. (The two hands move simultaneously; only for training
purposes do we separate the movement for the sake of the pictures.) You can use
the move to break the opponent's defense, and to fight hands and feet attacks.
Saam Baai Fat
The Wihng
Cheun Katas
In Kung Fu, the purpose of katas is designed to provide distortion-free
techniques with various stylistic concepts, and the needed acquisition of the necessary
body skills. In the Wihng Cheun system, the three bare-handed forms “thread”
the guidelines for the material movements.
The first form of Saam Baai Fat (Siu Nihm Tauh) — and its associated
exercises — includes the basic techniques of the style, helping to master the
needed basic principles in practice (laxity, the midline principle, etc.)
The second kata form is the Chahm Kiuh (the Cham Kiu), which means “Bridge Quest.” In Chinese martial arts a bridge
is another name for the relationship between the arms, which is why we should
also translate the expression to the “Arm Quest”, or “Finding the Arms.” This
form teaches highly important movements in Wihng Cheun, and the adaption of
hand and foot techniques during movement. In addition, it also serves for us a
method to perfectly learn how to track the movements of the opponent, with the
enrollment of the connection and management of the hands. The Saam Baai Fat and
Chahm Kiuh collectively cover most of Wihng Cheun's material of movement. The
Chahm Kiuh represents a more difficult degree compared to Saam Baai Fat. Here,
the precise techniques were mastered in Saam Baai Fat, and the balance of movement
must be maintained. Finding and maintaining our balance (both physical and
psychological) is one of the cornerstones of Wihng Cheun.
The third form is the Biu Ji. The Biu Ji is actually a “collection of
ideas” in the event that we are in a difficult situation during a fight. We can
only use the Biu Ji properly if we have already mastered the Saam Baai Fat and
Chahm Kiuh, and we have understood them in depth. And actually, it is only then
that we will often understand the considered basic forms of Saam Baai Fat and Chahm
Kiuh, even if we already have other forms under our belt. The Muhk Yahn Jong
Faat (the Wooden Dummy kata) is a kind of summary of various forms of motion. The
use of the puppet helps to improve the technical accuracy and the ability to
sense distance (since we need to constantly move “in relation to something
else”).
The weaponized forms, in addition to intrinsic weapons handling
craftsmanship, help to enhance the style of movement and the skills needed
(balance, laxity, and strength).
As a matter of fact, all of the forms are master forms in the style;
that is to say that there are no special practicioner and master kata exercises
assigned to one or the other, but only movements that are understood and
realized at a higher level. In this sense, in all of its forms there is the
unfolding of a fundamental idea. Saam Baai Fat is the principles, Chahm Kiuh is
the movement, and Biu Ji (Biu Jee) is the close-range form of the use of its
energy. If someone neglects the practice of the Saam Baai Fat and Chahm Kiuh on
a more advanced level, then their own Wihng Cheun will be weakened.
Saam Baai Fat
The Saam Baai Fat and its exercises are the first that we encounter in
the course of the mastering of Wihng Cheun. Therefore, this form contains the
basic techniques of the style, and it helps to master the style's basic
principles (laxity, and the midline principle, etc.). Perhaps the most
important step in this is the accurate implementation of the form. Obviously,
if the groundwork is bad, it'll be much harder to fix somebody's mistakes. The
Saam Baai Fat is a kata of the Qigong series of the Wihng Cheun. In the course
of the exercise, we circulate the energy of our breathing, thoughts, and
physical movements with the regulating of the Small and Big Circle. The purpose
of this exercise is to learn how to drive energy into the limbs, and to control
both every correct movement with the mind, and the circulation of Qi.
The timing for doing a workout is important; that is to say that the
katas in the mornings and evenings diverge. While exercising the form, our body
must be kept loose, and only those muscle groups that are exerting energy
should be strained. There are slow and vigorous parts of the form that
alternate with each other. Quick and powerful movements are always followed by
a mellowing. The pace of the kata and the alternation of the use of force and
the alleviation of that force are extremely essential for the adaption of the style
to prevail.
The Saam Baai Fat name references the start of the Taan-Hyun-Jaam-Wuh
series executed with both hands, where the Wuh sau hold, and in part, movements,
are in accordance with those used by the applied salutations of the old
Buddhist priests.
Let us bring our fists to our hips...
...next, raise them vertically to the sides of our chest. Then we bend our knees, turn on the balls of our feet, and spread our heels.
...next, raise them vertically to the sides of our chest. Then we bend our knees, turn on the balls of our feet, and spread our heels.
Next, on our heels we open and spread our feet, and then we expand our heels once again.
We take both hands straight down into a double Chaap sau (Sahp jih sau;
the Thrusting Hand), then we loosen our hands, and bring them up into a double
Taan sau (the "Spreading-hand" Deflection).
We close our hands and make a fist, and pull them back
to our chest. Then we punch with the left fist at chest level.
From the picture on the previous page. Our fist is opened into the Taan sau position. The elbow should be stretched, and the dorsal side of the hand kept at shoulder height.
From the picture on the previous page. We finally twist the dorsal side of our hand inwards into Hyun sau...
...then the whole arm is dropped loosely with Muh sau.
We end the movement by pulling our hand back to the chest. And subsequently, we now strike in the same manner with the right hand.
We open our fist so that the palm faces upward into Taan sau. Twisting
our dorsal inwardly we implement Hyun sau (the Circling Hand).
By loosely dropping our hands with Muh sau we protect our arm.
Our arms fall loose with Muh sau (the Wiping hand)…
...then we bring our hand back to the basic position. Open our left fist into a Taan sau...
...and bring it forward on our centerline, then open it to the body
line.
Turn our hand into a Hyun Sau, and we are protected by a downward Jaam
sau.
From the picture
on the previous page. We pull our hand back to the center line in front of
our body, about a fist away, and then...
…we pick up Fuhk sau with our loosely dropped dorsal side of our hands,
and push them forward on the center line.
We then turn our hand into Taan sau, and follow it up with Hyun sau and
Jaam sau. Thereafter, we pull our hands back to the center line in front of our
body, and then loosely drop the hand and bring it back up to the Fuhk sau
position again.
Holding the Fuhk sau position, push our hand forward on our center line
and stretch it out into Taan sau.
Once again, it is followed up by Hyun Sau and Jaam Sau, and then we bring our hand back to in front of the chest.
We protect ourselves with Paak sau, then bring our hand back to the center line...
...and let's punch foreward with Yan Jung. Then turn our hand to the
Taan sau position...
...then we execute Hyun sau, followed by a drop of our hand into Muh sau...
...and we pull it back to our chest, returning to the basic position. Now open
our right fist to make a Taan sau.
Bring it forward on the center line, and we open it up to the body line.
Turn our hand into Hyun Sau, and we provide cover with a downward Jaam sau
(Centering Elbow; "Sinking Elbow").
We pull our hands back to the center line in front of our body, roughly a fist
away, and we pick up our loosely dropped dorsal side of our hand into a Fuhk
sau position.
Push our hand forward on the center line. Turn over to Taan sau ...
... then again follow it with Hyun Sau and Jaam Sau. We pull our hands
back to the center line to in front of our body.
With our loosely lowered dorsal side of our hand, we pick up the Fuhk sau
position, and push it forward on the center line.
Let's open to Taan sau, followed again by Hyun sau and Jaam sau.
Thirdly, we put our hand back in front of the chest, and we protect our side
with Paak sau.
Let's put our hand back onto the centerline and push forward with a palm
in Yan jeung.
Turn our hand over to Taan sau, then execute Hyun sau. Let's put our hands down
into Muh sau, and pull it back to our chest.
We turn our left hand palm downward and protect our body with Gam sau.
Now let's turn our right hand palm down and protect our body with Gam sau.
We put both hands on our hips and knock them back with dual Gam sau.
We again bring both hands back to our hips, and now we execute a double strike
forward with a Yan jeung.
We send both hands into a Laahn sau, so that our left hand is on top and then
we blow both hands to the side.
Let's bring our hands back to Laahn sau so that we have our right hand is on
top, and then we raise our hands...
...and we defend downward with Jaam Sau. We raise our hands into a double Taan
sau...
... then we pull back our elbows and protect ourselves with a double Jaht sau
(Juht sau), and push forward at roughly face height (eye and throat may be the
target).
Next we loosely drop our arms, and defend a double Muh sau, then with a
decisive move we rip open our arms...
...and bring our hands back to the basic position. Now we open our left fist
and defend it with Paak sau about 45 degrees forward.
then put your hand back onto the center line, and punch forward with Ngoh
jeung. After a strike, we turn our hands to Taan sau, and make Hyun sau...
then we close the movement with Muh sau.
Now open up our right fist, and defend with a Paak sau. Let's get our hands
back on the center line...
...then we'll strike forward with Ngoh jeung. Let's turn our hands back to Taan
sau...
...let's now do a Hyun sau, then we block the motion with Muh sau.
With your left hand we defend in forward with Taan sau.
Release our hands and drop iinto Jaam sau. Let us lift Taan sau again...
... then drop it to Gaan sau. Third, defend with Taan sau ...
... then drop our hands and protect ourselves with Hyun Sau ...
... and we should attack forward at hip height with jeung. Then, as usual, turn
our hand into Taan sau...
...and we close with the Hyun Sau and Muh sau.
Now, with the right hand, we defend ahead with Taan sau.
Release our hand and drop it into Jaam sau, then lift it back up to a Taan sau
again.
Let's drop our hand into Gaan sau, and then defend for the third time with Taan
sau.
Let's drop our hand again and defend Hyun sau
We attack forward with Ngoh jeung at hip height, and open our hand into a Taan
sau.
As usual, Hyun sau and Muh sau close the movement.
Let's put our hands down, with the dorsal side of our hand hanging down next to
the hip...
... then with a slow move to the other side, then pull our our hand back,
Let us punch forward with the palm, and as usual we turn our hand into
Taan sau.
Hyun sau and Muh sau close the movement.
Now we lower our right hand.
Let us slowly move to the other side, and pull our hand back.
Üssünk előre tenyérrel. A szokott módon fordítsuk Taan sau-ba kezünket.
Hyun sau és Muh sau zárja a mozgást.
Throw out our left hand and defend forward Bong sau at chest level.
Then drop it down to Jaam sau, so that the palm faces up this time. Then we
strike forward at hip height with Din jeung.
Turn our hand over into Taan sau, and as usual with Hyun sau...
... and, we close the movement with Muh sau.
Now, lift our right hand out, and defend forward at chest height with Bong sau.
Let's drop our hand, pointing our palm upward into Jaam sau...
...then we'll strike forward at hip height with Din jeung. Turn our hand over
to Taan sau.
Then we close the movement as usual.
With the left hand we stab straight ahead downward with Chaap sau, and we place
our right hand over our left forearm.
Then with our right hand we pierce downward, and bring your left hand back to
our right arm. We again jab straight downward with our left hand Chaap sau...
...then with the right hand, but this time our left hand is in a fist pointed
forward. With our left hand we strike straight forward at the right chest,
while our right hand comes back to the center line...
...then we hit with our right hand, and then again with our left, but this time
we pull our right hand back to base position.
And as usual, Taan sau, and Hyun sau...
...and with a Muh sau series we close the movements.
Then we close the form.
The Kata Form of Applied Potential
There are many variation possibilities and levels of interpretation in
the elements of form exercises that exist; so the exercises presented herein is
only an introduction to a few of those applications.
• Counter Strikes
In Wihng Cheun, the strike doesn't just serve as an attack, we can also
stop the opponent's attacking hand with it (Or we can strike with a defense.).
Counter strike the opponent's strike (figure 2), then while pulling back our
striking hand, we lay it on our opponent’s striking hand and pull it down, and
simultaneously attack the head (figure 3).
If our opponent dips his free hand into our attack (picture 3), we pull
it down in the same way, and then attack the head at the same time (figure 4).
• Hyun sau
The opponent hangs on to our wrist (picture 1). In a Fuhk sau hold, with
a twisting movement, we lead our forearm into the opponent's direction (Figure
2), and when the hand is on top of the opponent's hand, we push down the hand
with our wrist to break the hold, and attack at the same time (picture 3).
• Gam sau
Your opponent wants to jam our elbows with a grab (Figure 1). We step
out a bit to gain space, and with Gam sau we release our wrist from the grab
(Figure 2). Then we retaliate with a shoulder shot (Figure 3).
• Gam sau
Your opponent wants to jam our elbows with a grab. We step out a bit,
and at the same time we free our wrist from the hold with Gam sau laterally
(Figure 2). Then we step our leg behind the oponent's leg, and we take him to
the ground (Figures 3 and 4). We end the exercise with a punch (Figure 5).
• Gam sau
Our opponent puts his arms around us from behind (picture 1). Drawing
our arms forward, we make a little space for the attack (Figure 2), then we fix
our adversary's arm with our right hand, and we strike some sensitive areas
using the Gam sau (genitals, loins, the inner thighs) (Figure 3). Then we reach
up, lie on his arm and throw it off by flipping our hips (figure 4). We use our
knee to lock his arm (picture 5), and finish the exercise with a punch (Figure
6).
• Paak sau-Ngoh jeung
The opponent's punch is defended by an external Paak sau (Figure 2). The
next strike is parried by retracting the the hand to the center line (figure
3), and then we are ready to attack (Figure 4).
• Taan sau-Gaan sau
We parry the opponent's strike with an outside Taan sau (Figure 2), and
then the next strike to our torso is defended with Gaan da (Figure 3).
• Taan sau-Hyun sau
The opponent's strike is defended by an external Taan sau (Figure 2).
The next sting to the body is parried by Fuhk sau (Fig. 3), and then we'll
immediately continue the movement, and while we remove his hand to the side
with Hyun sau, we counter attack (Figure 4).
• Bong sau-Jaam sau-Din jeung
The opponent's strike is parried with an external Bong sau (Figure 2), and
next, a strike to the body is defended with Jaam sau (Figure 3), and we
counterstrike with a palm hit under his hand (4. picture).
• Chaap sau
Our opponent grabs our hand (picture 1). We defend ourself with our free
hand using Chaap sau (2. picture), while our other hand pops out of the clasp
by moving backwards (Figure 3). We then counterstrike with a hit (Figures 4 and
5).
Chi Sau-Lahp Sau
Chi Sau
What is Chi Sau? Chi Sau (a.k.a. the Sticky Hand) is a special form of
teaching and practice form. The instructor can use this practice to work out
his student's techniques. This makes for a good opportunity to teach the pupil
applicable contingencies, and some common mistakes, and provides ideas to the
individual applications; and most importantly, to demonstrate how Wihng Cheun's
principles work in practice.
In China it is said that Wihng Cheun is
composed of two parts: the Way and the Sensation. The Way is a technique that
is elaborated precisely, and the Sensation is what we provide to the disciple
with different exercises. If I explain to you how to “borrow the power of your
opponent,” you still won't be able to make the techniques work unless you practice
them and learn how to make them work in the real world. As another saying says,
“teaching always goes from one hand to another”; that is to say that it can
only be learned from a more experienced party. Two inexperienced practitioners,
if no one controls them, only deepen their own mistakes.
During the first exercise, with two hands we
first press your partner’s hand, and then "clamp" onto it; by being
able to observe his other movements more directly with this clamp, we can now
try to break through his defense more effectively, and divert his attacks to
overcome his strength. The grip doesn’t only mean a grip on the arms, but if your
partner tries to “break free”, we can also follow the opponent with various
vigorous exercises. The essence of Chi Sau is to “give strength” to the partner
in order to practice diverting and suppressing the strength of the attacks; it’s
a “strength rendering” in order to learn to circumvent it, and to redirect it
back to its source.
So here’s a word about the exercise. This
isn’t a fight! The attack is instructive, and doesn't serve to overcome
opponents, but to assist them in learning. The instructor doesn't have to show
how much better he is than his disciple, but to teach what works from his ideas
in a melee combat and what doesn't. The ultimate aim of Chi Sau is to
completely free a hand, and the use of the body, to make the most of our
potential. There is nowhere where there are two identical people, so there can
never be two combatants using Wihng Cheun identically. Only basic techniques
that are bound sets of forms will necessarily be the same. Students must find
the best body use appropriate for his or her aptitude, and this is the
difference for each individual.
In the course of teaching, first the
practitioner come across the one-handed sticky exercises (as a base on Chi Daan
Sau, then its various forms and exercises, and then its unrestricted use). Then
there are various "leads", or preparatory elements for the two-handed
exercises, during which each technique joins additional simple exercises,
whereby the use of the given technique is learned. This is followed by Puhn Sau
and Puhn Sau Wohng Sau, which teach the precise execution of two-handed
movements, and keeping the proper distance and balance (both the body and hand
positions alike). Then the Puhn sau is combined with the other practices (Lahp
Sau, Paak Sau), and we try to apply different elements with less and less
confinement. Finally, Chi Sau becomes completely free and no longer focuses on
the practice of the techniques but on the development of our own movements and
balance.
Chi Daan Sau
In practice, using the Saam Baai Fat
elements, we execute a simple, one-handed set of movements. This will help you
to understand how to control your opponent's movements, to break through his
defense, to drive away, absorb, to overcome and to reverse his attacks. It also
teaches how to implement the most economical use of force. Practicing is not
supposed to be a fight; the goal isn't to really hit your partner. And it's rather
important to move continuously, but it's not necessary to strive for
overzealously fast movements.
The exercise starts from the Taan sau-Fuhk sau hold position (Figure 1).
The first practitioner throws up his hand forward from the Taan sau stance (Figure
2; practitioner on the left starts) into a palm strike (Figure 2) that is then
defended with Jaam sau (Figures 3-4). Thereafter, the second practitioner
attacks the chest that his partner defends with Bong sau (Figure 5), and then we
return to the starting position (Figure 6).
**Lahp Sau
Lahp Sau is a preparatory exercise and
starting point. We often use it as part of Chi Sau. The practitioner learns to
divert and use the power of the attack and to coordinate the movements of the
hands and feet. Here it is very important that we know how to use both hands
equally and effectively. During the first exercise we will be executing the
basic movements, and the various variations. Then the same thing is combined
with various movements (e.g., rotations, and pivoting steps), and we don't
learn the power of the opponent merely by hand, but by the use of the body.
The exercise starts with Bong-Wuh (Figure
1). The Wuh Sau is transformed into Jaam Sau, and we deflect his attacking
hand; we fix it with Lahp sau, and we launch our attack (Figure 2-3). Our
opponent protects it with Bong-Wuh (Figure 4), and now he continues with Jaam
sau-Lahp sau, a blow combination (Figure 5).
The Exercises of Lahp Sau
After imbibing the basic exercises, the
next step is to learn the various variations, or combinations. At first these
are simpler exercises done in place that we later link to with movements, so
that we do not merely drive away the opponent's attacks with arm movements. In
the following, you'll be introduced to some of them.
1. Breaking up the kata, we do not do the usual Jaam-Lahp movements, but we
are attacked by a blow that our practicing partner defends with Bong sau, and
then continues the Lahp Sau base movements.
2. On one hand, with the following exercise, we can check to see if our
partner is carrying out the attack properly, and on the other, we can learn to divert
a much larger, smashing attack. When a partner strikes, don’t stand firm
against the attack, but let the force of the blow lower our hand, and then you’ll
need to stop it with a low Bong sau. Once that has been tackled, simply pull
your hand through and continue the sequence.
3. Our partner attacks with Paak-jeung, which we defend by averting it with
Gwan sau, and then we cross over from the bottom by pulling our attacking hand
back, and returning to a strike with basic Lahp Sau.
4. The previous exercise was a version accompanied by a movement. Our
partner advances to our center line with Paak-jeung. Keeping the distance, we
step back and protect ourselves with Gwan Sau.
5. This is a continuation of the previous exercise. Our partner steps
forward to our center line and attacks with Paak-jeung. To keeping the
distance, we step back and defend with Gwan Sau, then step forward again with
our Yan jeung attack to the chest. Our partner simultaneously steps back from
the attack, and leads the forehand strike away by using Muh sau.
6. Here is a variation to the previous
exercise. After the Gwan sau technique, we step back, and during the Bong Sau
we attack the head Faan cheuih. Our partner simultaneously steps back from the
attack, shoves off the attacking hand, and then crosses over and gives a counter
whooping to the head with the other hand.
The Paak Sau Exercise
Paak sau is a simple, all-in-one kata
exercise of interchanging strikes. Our partner starts with a straight punch,
which is protected by the Inner Gate Paak sau (picture 1), and we retaliate
with a straight strike under his hand (Figure 2), which he then protects with
Paak sau (Figure 3), and again continues the exercise with a strike (Figure 4).
Shift: We can easily change the direction of the exercise. The only thing is
that after we have defended ourselves from our partner's attack, we strike with
our hand using Paak sau, and he likewise defends using Paak da (Figures 4-5-6).
Shifting to Lahp Sau, and from Lahp
Sau to Paak Sau: During
the Paak Sau series, we simply protect ourselves from the outside with Wuh sau
(Figure 2), and then proceed movements with the known styles Jaam sau and Lahp
sau (Figure 3), and then we strike. From Lahp Sau, we can simply step into Paak
Sau. After our partner strikes, we simply follow it up with Paak da, instead of
Jaam Sau (Figure 5).
Puhn Sau
The Puhn Sau exercise contains a total of
3 changing parries in a sequence of simple movements. With one of our hands, we
execute Taan sau and Bong sau, dropping into one, and then the other. We continuously
follow and keep in check our partner's movements using Fuhk sau. During Puhn
sau, our hands must be kept loose so that we can execute the movements, and
respond flexibly to the movement of the partner, simultaneously keeping the
holds correctly, and sufficiently firm to allow the arms to be able to protect
the body. This can be checked at times by a loose attack.
Additional Pieces of the Series
Kiss
Zsolt
Wihng
Cheun Kyuhn II. Chahm Kiuh
Our
second volume contains the full Chahm Kiuh ("The Bridge Quest" is the
second form for practicing the style) and its scope of potentials, as well as
the Wihng Cheun foot defenses, and Chi Geuk (the Sticky Foot) exercises, and
Seung Chi Sau (the Two-handed Sticky Hand), and practices.
Ebook
Version**
Book
+ video access on the closed page of the site
Planned
release date: August 2016
Kiss
Zsolt
Wihng
Cheun Kyuhn III. Biu Ji és Muhk Yahn Jong Faat
The
third volume deals with the higher-level forms of the style. It introduces the
full form of Biu Ji and Muhk Yahn Jong Faat (the "Marking Finger";
and the "Wooden Form" in the last two bare hand form exercises, and
their applicable potentials.
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Kiss Zsolt
Wihng Cheun Kyuhn IV. In
self-defense - Street applications
The
fourth volume of the series deals with the use of Wihng Cheun in real combat.
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release date: February 2017
Kiss
Zsolt
Wihng
Cheun Kyuhn V. The weapons of Wihng Cheun
The
last volume of the series features two traditional weapons of Wihng Cheun, a
long stick and a pair of short swords. It talks about its history, principles,
basic defenses, attacks, and full forms of practice, and and their applicable
potentials.
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Planned
release date: May 2017
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