Ziran Men(Nature Chuan )
Ziran Men (nature Chuan) was created by Dwarf Xu of Sichuan Province in the late years of the Qing Dynasty. Xu's style of Chuan was standardized by Du Xinwu of Cili County of Hunan Province. Du followed Xu for eight years to learn the nature Chuan and came to understand the essence and secrets of the martial arts.Nature boxers do not pursue tricks nor do they emphasize mastery of unique skills. Instead, they pay attention to tempering the mind, spirit and air flows inside the body and to the good application of eyesight, fist plays, footwork and movements of the body. They can fight their opponents with whichever part of their body they see fit and they can even launch attacks in situations which others would think impossible.
Chin Na Paired Practive - Zi Ran Men Kung FuThey believe that to practise combative basics is to practise breathing and vice versa. The mind guides the flow of air inside their bodies and when the mind reaches a certain point so does the air flow, and when the mind stops so do the movements. All movements follow the natural feeling and thinking. When nature boxers play lightly they are also steady and when they play heavily they are not clumsy. The hands are played along a straight line and fist plays are so fast that others cannot see them during a bout. There is hardness in the suppleness and vice versa.Nature Chuan is now practised in Fujian and Hunan provinces of China.
2008年10月28日星期二
Yi Quan ( Mentality Chuan )
Yi Quan ( Mentality Chuan )
Yi Quan or the mentality Chuan, also called Da cheng Quan, was created by Wang Xiangzhai during the reign of Emperor Guangxu (1875-1908) of the Qing Dynasty. Wang (1885-1963) was born in Shenxian County in Hebei Province. From a young age, he followed Xingyi Quan master, Guo Yunshen to learn the art. After years of hard practice, Wang mastered the art of Xingyi Quan, got its gist, and ventured off the track to create Yi Quan by absorbing the suppleness of Tai Chi Quan, and the agility of Bagua Zhang.
The Single Hand Exercise and Pushing HandsYi Quan centers on standing stances and uses the mind to guide the movements and actions in order to achieve the coordination and cooperation between the mind, the body and the external world. It stresses the development of energy and potential of the human body. The mentality boxers believe that looseness and tightness form the basic contradiction of the movements of the human body. The physical qualities-power, speed, agility, coordination and endurance-are all conditioned by the looseness and tightness of the muscles. Yi Quan, therefore, is intended to solve the question of how to correctly control and use looseness and tightness through practice. When we talk of looseness or tightness, we talk not only of loose or tight muscles but also of a loose or tight mind. The latter is in fact more significant. Therefore, this style of Chuan came to be called the mentality Chuan (Yi Quan).The major features of mentality Chuan lie in the fact that it does not have fixed routines and that it stresses mental function. It requires relaxation, concentration and calmness-its movements are like running water, while its standstills are like floating air. It passes explosive forces throughout the body. Mentality boxers do not expose their bodies to the attacks of the opponent during a fight, nor do they display their thoughts. They seldom generate power but when they do they do it completely and thoroughly and often benefit from the force of the opponent .
Yi quan , also known as dacheng quan, is a martial art system which was founded by the Chinese xingyiquan master, Wang Xiangzhai (王薌齋).
Yi Quan or the mentality Chuan, also called Da cheng Quan, was created by Wang Xiangzhai during the reign of Emperor Guangxu (1875-1908) of the Qing Dynasty. Wang (1885-1963) was born in Shenxian County in Hebei Province. From a young age, he followed Xingyi Quan master, Guo Yunshen to learn the art. After years of hard practice, Wang mastered the art of Xingyi Quan, got its gist, and ventured off the track to create Yi Quan by absorbing the suppleness of Tai Chi Quan, and the agility of Bagua Zhang.
The Single Hand Exercise and Pushing HandsYi Quan centers on standing stances and uses the mind to guide the movements and actions in order to achieve the coordination and cooperation between the mind, the body and the external world. It stresses the development of energy and potential of the human body. The mentality boxers believe that looseness and tightness form the basic contradiction of the movements of the human body. The physical qualities-power, speed, agility, coordination and endurance-are all conditioned by the looseness and tightness of the muscles. Yi Quan, therefore, is intended to solve the question of how to correctly control and use looseness and tightness through practice. When we talk of looseness or tightness, we talk not only of loose or tight muscles but also of a loose or tight mind. The latter is in fact more significant. Therefore, this style of Chuan came to be called the mentality Chuan (Yi Quan).The major features of mentality Chuan lie in the fact that it does not have fixed routines and that it stresses mental function. It requires relaxation, concentration and calmness-its movements are like running water, while its standstills are like floating air. It passes explosive forces throughout the body. Mentality boxers do not expose their bodies to the attacks of the opponent during a fight, nor do they display their thoughts. They seldom generate power but when they do they do it completely and thoroughly and often benefit from the force of the opponent .
Yi quan , also known as dacheng quan, is a martial art system which was founded by the Chinese xingyiquan master, Wang Xiangzhai (王薌齋).
Wing chun Chuan(Ode to Spring Chuan )
Wing chun Chuan(Ode to Spring Chuan )
Yongchun Quan or the Yongchun Chuan is said to have been created by Yan Yongchun of Liancheng County in Fujian Province. It is said that during the reign of Emperor Jiaqing (1796-1820) of the Qing Dynasty, there was a Shaolin Chuan master Yan Si in Quanzhou of Fujian. To escape oppression, he left the city to take refuge with his family, and stayed in seclusion at Liancheng. Yan Si had a daughter called Yan Yongchun. She followed her father to practise martial arts since childhood and later became a Wushu master herself.One day, when Yongchun was washing clothes at a riverside, she noticed a white crane fighting a green snake. She watched the fight carefully for a long time and came to understand their fighting rules. Thereafter, she combined the tangling and hissing of the crane and snake with the movements of the white crane Chuan and the southern-style Shaolin Chuan, forming the original Yongchun Chuan.After Yan Yongchun married Liang Botao of Jiangxi Province, she taught her Chuan to her husband. They set up a Wushu club at Liancheng to teach the art. After the death of their father, Yan Yongchun and her husband traveled in Jiangxi before settling down in Guangdong Province, where they taught the Yongchun Chuan at Zhaoqing.In the 20th year (1815) of the reign of Emperor Jiaqing during the Qing Dynasty, martial arts actor Huang Baohua went to perform at Zhaoqing and met Liang Botao. Liang taught Huang the Yongchun Chuan while Huang taught Liang cudgel plays. They both mastered the arts. In his later years, Huang Baohua passed the martial arts of the Yongchun Chuan and his cudgel plays to Liang Zan who, after mastering the arts, developed them into the present-day Yongchun Chuan. Meanwhile, the Yongchun Chuan became popularized through the efforts of other boxers who combined to improve and develop the art.The Yongchun Chuan features: steady stances, generation of forces, three tricks with six forces, fists playing close to one's own body, usage of explosive power, stressing on real combat, focusing on completion of movements, combination of offence and defence by forcing up or crushing down the fists or feet from the opposing side. This style of Chuan emphasizes speed of play, keeping fists and feet close to one's body for better protection, as well as to prepare for attacks and fighting the opponent at close range. When fighting, Yongchun boxers contain their chest, arch the back, close their elbows and knees, draw in their ribs, keep their thighs closed to protect the groin. When they use their feet for attack, they must also use their hands in cooperation. When they kick they do not expose their groin and when they deliver fist blows, their hands do not leave the front of their body.
Yongchun Quan or the Yongchun Chuan is said to have been created by Yan Yongchun of Liancheng County in Fujian Province. It is said that during the reign of Emperor Jiaqing (1796-1820) of the Qing Dynasty, there was a Shaolin Chuan master Yan Si in Quanzhou of Fujian. To escape oppression, he left the city to take refuge with his family, and stayed in seclusion at Liancheng. Yan Si had a daughter called Yan Yongchun. She followed her father to practise martial arts since childhood and later became a Wushu master herself.One day, when Yongchun was washing clothes at a riverside, she noticed a white crane fighting a green snake. She watched the fight carefully for a long time and came to understand their fighting rules. Thereafter, she combined the tangling and hissing of the crane and snake with the movements of the white crane Chuan and the southern-style Shaolin Chuan, forming the original Yongchun Chuan.After Yan Yongchun married Liang Botao of Jiangxi Province, she taught her Chuan to her husband. They set up a Wushu club at Liancheng to teach the art. After the death of their father, Yan Yongchun and her husband traveled in Jiangxi before settling down in Guangdong Province, where they taught the Yongchun Chuan at Zhaoqing.In the 20th year (1815) of the reign of Emperor Jiaqing during the Qing Dynasty, martial arts actor Huang Baohua went to perform at Zhaoqing and met Liang Botao. Liang taught Huang the Yongchun Chuan while Huang taught Liang cudgel plays. They both mastered the arts. In his later years, Huang Baohua passed the martial arts of the Yongchun Chuan and his cudgel plays to Liang Zan who, after mastering the arts, developed them into the present-day Yongchun Chuan. Meanwhile, the Yongchun Chuan became popularized through the efforts of other boxers who combined to improve and develop the art.The Yongchun Chuan features: steady stances, generation of forces, three tricks with six forces, fists playing close to one's own body, usage of explosive power, stressing on real combat, focusing on completion of movements, combination of offence and defence by forcing up or crushing down the fists or feet from the opposing side. This style of Chuan emphasizes speed of play, keeping fists and feet close to one's body for better protection, as well as to prepare for attacks and fighting the opponent at close range. When fighting, Yongchun boxers contain their chest, arch the back, close their elbows and knees, draw in their ribs, keep their thighs closed to protect the groin. When they use their feet for attack, they must also use their hands in cooperation. When they kick they do not expose their groin and when they deliver fist blows, their hands do not leave the front of their body.
Bagua Zhang / Baguazhang (Eight-diagram Palm)
Bagua Zhang / Baguazhang (Eight-diagram Palm)
Bagua Zhang or the eight-diagram palm is one of the most popular schools in China. It is also called Youshen Bagua (roving eight-diagram), Longxing Bagua (dragon-shaped eight-diagram), Xingyi Bagua (Xingyi eight-diagram Chuan), Yinyang Bapan Zhang (positive-negative eight-plate palm), etc.
There are different stories about the origin of this school of Chuan. Some say it originated among the anti-Qing Dynasty cliques while others believe that it was created by the two Taoist priests of Bi Yun and Jing Yun on Mount Emei in Sichuan Province during the late Ming Dynasty and early Qing Dynasty and it has been passed down to its ninth generation of practitioners.
Most of Bagua Zhang boxers are found in Hebei Province. Some of them learned Bagua Zhang from scratch from their tutors, while others asked the masters for advice to improve their own skills. Over the years various routines of exercises were cultivated in different styles. The most popular ones are:
The Dong Haichuan-style Bagua Zhang. A native of Zhujiawu, south of Wenan County in Hebei Province, Dong played an important part in the dissemination of the eight-diagram plam, teaching many people in Bei-jing. Most reputed disciples of Dong included Yin Fu, Cheng Tinghua, Liu Fengchun and Li Cunyi who all contributed to the dissemination and development of the Chuan style. Some of the eight-diagram palm styles are named after these disciples, for example the Yin-style, Cheng-style, Liang-style and Sun-style eight-pictography palms.
The Li Zhenqing style of Bagua Zhang or the positive-negative eight-diagram plam Li (a. 1830-1900), a native from Weijiaying in Hebei Province, went to Henan Province to learn the positive-negative eight-diagram palm in order to improve the Chuan techniques which he had already mastered. After returning home in about 1870, Li taught his skills to his villagers. A follower of Li Zhenqing, Ren Zhicheng wrote a book on the Yinyang Bapan Zhang (positive-negative eight-plate palm) in 1937 and the book has been passed down.
The Tian Ruhong style of Bagua Zhang. Tian, whose style of Chuan is called the Yinyang Bagua Zhang (positive-negative eight-diagram palm), was a native of Shandong Province, but later moved to Dengshangu Village at Tanggu in Hebei Province in the late Ming Dynasty. On a tour of Emei and Qingcheng in Sichuan Province, Tian saw wrongdoings and volunteered to do justice. When he was in danger, two Taoist priests rescued him. After the incident, Tian Ruhong acknowledged the priests as his Wushu tutors and followed them for 12 years mastering their style of martial arts. When the Ming Dynasty gave place to the Qing Dynasty, Tian said good-bye to his tutors and returned home. Due to his resentment of the autocracy of the local authorities in the Qing Dynasty, Tian left his home village once again and took with him a youngster called Tian Xuan. Years after, Tian Xuan came back to teach the eight-diagram palm to Tian family members. In the beginning, this style of Chuan was known only among Tian family members. It is only in recent times that it has been taught to others outside of Tian family.
The eight-diagram palm is based on the old Chinese philosophy of eight combinations of three whole and broken lines used in divination. While practising, the practitioner moves according to the eight diagrams. There are eight basic palm plays. A total of 64 palm tricks and moves have come from the original eight basic palm plays. Apart from solo practices, there are also sparrings, Sanshou (free sparring) and fighting with weapons, such as Bagua sword play, Bagua sabre play and Bagua cudgel play, and Bagua play of shaft decorated with seven stars, etc. While practising these routines, practitioners rove around like a dragon moving amidst clouds (see picture).
Bagua Zhang features dexterity and agility. When moving around it is like walking in a muddy place, with foot steps changing all the time like running water. Palm tricks and body movements follow one after another. The roving around looks like endless circles which overlap one another. The body turns around from the waist during walking, roving, turning, rising and falling. Palm tricks change with the movements of the body. When the upper body protrudes, the lower part of the body squats back to keep balance. When the arms are sent out, the feet are drawn back. When moving it is like a roaming dragon; when squatting it is like a sitting tiger; when looking around it is like a monkey on the lookout; when roving it is like a circling eagle.
Bagua Zhang or the eight-diagram palm is one of the most popular schools in China. It is also called Youshen Bagua (roving eight-diagram), Longxing Bagua (dragon-shaped eight-diagram), Xingyi Bagua (Xingyi eight-diagram Chuan), Yinyang Bapan Zhang (positive-negative eight-plate palm), etc.
There are different stories about the origin of this school of Chuan. Some say it originated among the anti-Qing Dynasty cliques while others believe that it was created by the two Taoist priests of Bi Yun and Jing Yun on Mount Emei in Sichuan Province during the late Ming Dynasty and early Qing Dynasty and it has been passed down to its ninth generation of practitioners.
Most of Bagua Zhang boxers are found in Hebei Province. Some of them learned Bagua Zhang from scratch from their tutors, while others asked the masters for advice to improve their own skills. Over the years various routines of exercises were cultivated in different styles. The most popular ones are:
The Dong Haichuan-style Bagua Zhang. A native of Zhujiawu, south of Wenan County in Hebei Province, Dong played an important part in the dissemination of the eight-diagram plam, teaching many people in Bei-jing. Most reputed disciples of Dong included Yin Fu, Cheng Tinghua, Liu Fengchun and Li Cunyi who all contributed to the dissemination and development of the Chuan style. Some of the eight-diagram palm styles are named after these disciples, for example the Yin-style, Cheng-style, Liang-style and Sun-style eight-pictography palms.
The Li Zhenqing style of Bagua Zhang or the positive-negative eight-diagram plam Li (a. 1830-1900), a native from Weijiaying in Hebei Province, went to Henan Province to learn the positive-negative eight-diagram palm in order to improve the Chuan techniques which he had already mastered. After returning home in about 1870, Li taught his skills to his villagers. A follower of Li Zhenqing, Ren Zhicheng wrote a book on the Yinyang Bapan Zhang (positive-negative eight-plate palm) in 1937 and the book has been passed down.
The Tian Ruhong style of Bagua Zhang. Tian, whose style of Chuan is called the Yinyang Bagua Zhang (positive-negative eight-diagram palm), was a native of Shandong Province, but later moved to Dengshangu Village at Tanggu in Hebei Province in the late Ming Dynasty. On a tour of Emei and Qingcheng in Sichuan Province, Tian saw wrongdoings and volunteered to do justice. When he was in danger, two Taoist priests rescued him. After the incident, Tian Ruhong acknowledged the priests as his Wushu tutors and followed them for 12 years mastering their style of martial arts. When the Ming Dynasty gave place to the Qing Dynasty, Tian said good-bye to his tutors and returned home. Due to his resentment of the autocracy of the local authorities in the Qing Dynasty, Tian left his home village once again and took with him a youngster called Tian Xuan. Years after, Tian Xuan came back to teach the eight-diagram palm to Tian family members. In the beginning, this style of Chuan was known only among Tian family members. It is only in recent times that it has been taught to others outside of Tian family.
The eight-diagram palm is based on the old Chinese philosophy of eight combinations of three whole and broken lines used in divination. While practising, the practitioner moves according to the eight diagrams. There are eight basic palm plays. A total of 64 palm tricks and moves have come from the original eight basic palm plays. Apart from solo practices, there are also sparrings, Sanshou (free sparring) and fighting with weapons, such as Bagua sword play, Bagua sabre play and Bagua cudgel play, and Bagua play of shaft decorated with seven stars, etc. While practising these routines, practitioners rove around like a dragon moving amidst clouds (see picture).
Bagua Zhang features dexterity and agility. When moving around it is like walking in a muddy place, with foot steps changing all the time like running water. Palm tricks and body movements follow one after another. The roving around looks like endless circles which overlap one another. The body turns around from the waist during walking, roving, turning, rising and falling. Palm tricks change with the movements of the body. When the upper body protrudes, the lower part of the body squats back to keep balance. When the arms are sent out, the feet are drawn back. When moving it is like a roaming dragon; when squatting it is like a sitting tiger; when looking around it is like a monkey on the lookout; when roving it is like a circling eagle.
Bājíquán
Bājíquán
(Traditional Chinese: 八極拳; Pinyin: Bājíquán; literally "eight extremes fist"; Japanese: 八極拳, Hakkyokuken) is a Chinese martial art that features explosive, short range power and is famous for its elbow strikes. It originated in Hebei Province of Northern China, but is also well-known in other places as well today, especially Taiwan.
OriginsBajiquan was originally called Baziquan (巴子拳 or 鈀子拳; literally "rake fist"), due to the fact that when not striking, the fist is held loosely and slightly open, resembling a rake. However, the name was considered to be rather crude sounding in its native tongue, and so it was changed to the more pleasing Bajiquan. The term baji, which comes from the oldest book in China, the I Ching, signifies "an extension of all directions." In this case, it means "including everything" or "the universe."
Made famous in recent times by Li Shuwen (1864-1934), a fighter from Shandong province whose skill with a spear earned him the nickname "God of Spear Li." His most famous quote about fighting was, "I do not know what it's like to hit a man twice."[1] Certainly a bit of hyperbole, but it still speaks for the shocking power Baji training develops. Li Shuwen's most famous students include Huo Diange (bodyguard to Pu Yi, the last Emperor of China), Li Chenwu (bodyguard to Mao Zedong), and Liu Yunqiao (secret agent for the nationalist Kuomintang and instructor of the bodyguards of Chiang Kai Shek). Because of this, Bajiquan has come to be known as "The Bodyguard Style".
Bajiquan shares roots with another Hebei martial art, Piguazhang. It is said that Wu Zhong, the oldest traceable lineage holder in the Bajiquan lineage, taught both arts together as an integrated fighting system.[2] They then slowly split apart, only to be remarried by Li Shuwen in the late 18th to early 19th century. As a testament to the complementary nature of these two styles, there is a Chinese martial arts proverb that goes: "When pigua is added to baji, gods and demons will all be terrified. When baji is added to pigua, heroes will sigh knowing they are no match against it." (八極參劈掛，神鬼都害怕。劈掛參八極，英雄嘆莫及)[3]
Today, the lineage holder of Bajiquan in China is Wu Lianzhi. He is also the prototype of Akira Yuki of Virtua Fighter fame. Through more than 50 years of training, he collected much material and records which were passed down from generation to generation.
OriginsBajiquan was originally called Baziquan (巴子拳 or 鈀子拳; literally "rake fist"), due to the fact that when not striking, the fist is held loosely and slightly open, resembling a rake. However, the name was considered to be rather crude sounding in its native tongue, and so it was changed to the more pleasing Bajiquan. The term baji, which comes from the oldest book in China, the I Ching, signifies "an extension of all directions." In this case, it means "including everything" or "the universe."
Made famous in recent times by Li Shuwen (1864-1934), a fighter from Shandong province whose skill with a spear earned him the nickname "God of Spear Li." His most famous quote about fighting was, "I do not know what it's like to hit a man twice."[1] Certainly a bit of hyperbole, but it still speaks for the shocking power Baji training develops. Li Shuwen's most famous students include Huo Diange (bodyguard to Pu Yi, the last Emperor of China), Li Chenwu (bodyguard to Mao Zedong), and Liu Yunqiao (secret agent for the nationalist Kuomintang and instructor of the bodyguards of Chiang Kai Shek). Because of this, Bajiquan has come to be known as "The Bodyguard Style".
Bajiquan shares roots with another Hebei martial art, Piguazhang. It is said that Wu Zhong, the oldest traceable lineage holder in the Bajiquan lineage, taught both arts together as an integrated fighting system.[2] They then slowly split apart, only to be remarried by Li Shuwen in the late 18th to early 19th century. As a testament to the complementary nature of these two styles, there is a Chinese martial arts proverb that goes: "When pigua is added to baji, gods and demons will all be terrified. When baji is added to pigua, heroes will sigh knowing they are no match against it." (八極參劈掛，神鬼都害怕。劈掛參八極，英雄嘆莫及)[3]
Today, the lineage holder of Bajiquan in China is Wu Lianzhi. He is also the prototype of Akira Yuki of Virtua Fighter fame. Through more than 50 years of training, he collected much material and records which were passed down from generation to generation.
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