Wushu Festival

Wushu Festival

Xin Yi Liu He Quan¡ˉs Nei Gong Practicing Method

Xin Yi Liu He Quan’s Nei Gong Practicing Method
     Xin Yi (minding and intending) Liu He (six harmonies) Quan (boxing), also referred to as Xin Yi Quan in the Kung-fu circle, was in vogue in Shanxi province more than one thousand years ago, and had been passed down with definite references for about 300 years. Its nature could be characterized as being both ancient and of primitive simplicity. Being ancient refers to the long history of its development while primitive simplicity lies in the simple and pragmatic method the Chinese ancient people applied. What they had done showed an original understanding in martial arts. According to the analysis on the techniques of the Quan, the practicing methods passed down could vividly reflect the way how people thought in the past and to what extent they knew about nature. Judging from a modern eye on the various living environments several hundreds years ago, use know more the method in practicing the Quan and the way in preserving human health were rather primitive, natural and simple. Apart from these, the influence of Chinese Taoism also permeated through other practicing methods, such as the separate and step-by-step practicing method, which stresses reposing the mind, calming the body and nourishing vigor, in order to get over exhaustion and maintain physical strength after the intense exercise, and Nei Gong Practicing Method (internal skills of energy cultivation) that aims at building a strong body. We will introduce later what the writer of this article has been practicing for ages as well.
      One of the Nei Gong Practicing Methods originated from Shanxi Province is Mo-Mo-Jin (rubbing-and-stroking movement). Its practicing method is based on the theory of Chinese traditional medicine talking about the circulation of vital energy. When appropriate body movements coordinate with inner breathing and conscious breathing coordinates with vibrating movements in the abdomen deliberately, metabolism would be enhanced, inner vigor would be nourished and breath would grow stronger.
     The practicing of Xin Yi Liu He Quan is usually be started with the posture like a standing monkey (or squating monkey). It requires serious and timely Nei Gong practicing. The beginning of the Squating Monkey Posture as a most important step is to hold the breath down to your Dan Tian (an acupoint in your navel) while keep mind on guard around it. To begin with, you must inhale through the abdomen to your Dan Tian and exhale through the lung at will. Meanwhile in your imagination, you must carry your breathing to the second supervisory artery named Ren and Du. When the new mixed breathing comes out from the second supervisory artery, you Should circulate it to your Dan Tia again. Then your body and limbs can move in spiral circle. When it comes to an end of section or a phase of fierce attack, the circulation of his breathing would be led by your will coming to arouse strength, forming a series of coordinated fighting movements at a stretch. Hence, the Nei Gong Practicing Method plays an important role in cumulating strength in practicing Xin Yi Liu He Quan. When it is supposed to be used for regime, you can skip the intense steps in cumulating strength, and turn to exercise breathing and will at a much slower pace. This is the traditional regime descended from our forefathers more than a thousand years ago. It is quite beneficial to one's health indeed due to the slow movements coordinated with Jing Luo (or channels and collaterals) Movements.
    In this section, the Nei Gong practicing method of Xin Yi Liu He Quan is referred to as Mo-Mo-Jin. This is because the abdomen movements, vibrating movements and the movements in holding one's breathing down to his Dan Tian sharing some resemblance between "rub" and "stroke", hence it gets the name.

 

Wang Zhi, a Pursuer in Practicing Tai Ji Quan Kung-fu

Wang Zhi, a Pursuer in Practicing Tai Ji Quan Kung-fu
    Wang Zhi could be addressed as an influential person in Tai Ji Quan community, in Ma'anshan, Anhui province. He has been pursuing Tai Ji Quan (shadow boxing) Kung-fu and trying his best to popularize the Quan over there. In December, 2004, he successfully held a competition targeting mostly for the spreading of Chen's Tai Ji Quan following the poetry festival on the state level in Maanshan. I got to know him during the Chen Style Tai Ji competition.
     He had great enthusiasm in explaining Tai Ji when we were talking about the topic concerning the Quan. His understanding is profound. He addressed that Tai Ji Quan is an art which possesses the most traditional characteristics of the Chinese nation. Its profoundness and prevalence of the world's civilization is incomparable. No other traditional culture can match its impact. Tai Ji Quan contains not only the practical attacking techniques, body building methods, but also the traditional philosophical thoughts, ranging from Lao Zi to Zhu Xi, from Zhou Yi to Li Xue (the study of reason). Literal words are quoted in the explaining of its Kung-fu practice, bringing out the best of each other. Tai Ji Quan fully reflects the intelligence of our ancestors. At present, even if language barriers might be a problem, Tai Ji Quan practitioners are visible anywhere over the whole world.
     Wang Zhi is one of the students of Jiang Jiajun, an apprentice and successor of Master Hong Junsheng. About 30 years ago, Wang adjusted himself in learning Chen Style Tai Ji Quan transferred from Yang Style. Initially, he learned Tai Ji Quan, Dao (falchion), Jian (sword) and Tui Shou (pushing hands) from Xu Guicheng, then Tai Ji Quan techniques, from Feng Zhiqiang, and finally, he has learned systematized traditional Chen Style Tai Ji Dao, Jian, Tui Shou and Tai Ji Da Qiang (thirteen Qiang) from Master Jiang Jiajun till now.
     Wang Zhi has been getting advanced greatly both in theory and in practice due to his hard practicing and work for many years. He has been able to identify the coordination of "Li (strength)" and "Qiao (skills)", Song (relaxed) and Yuan (circumvolving in various circles) in playing the Quan. He once said, it is a long process from practicing to obtaining skills, and then to Chang (long distance), Duan (short distance), Leng (poise), Jie (defense), Jin (vigor). It is a change from Zuo Sbu (being familiar with all the Tai Ji movements) to Dong Jin (understanding the strength) then to Shen Ming (mastering Tai Ji Kung-fu supernaturally). In passing through the three stages, no one can skip any of them. Teaching his apprentices the Quan, he often said that playing Peng should be soft and empty reaching every tip of your fingers while Song should be held onto your toe. He considers that practicing Tai Ji Quan is somewhat like filling water to a water cask. The more the water, the more sufficient Qi accumulates. When Qi is sufficient enough, you would get Wai Li (the outer strength) to burst out in a flash. Sending your Li is like a wheel rolling either to approach or to withdraw as well. If you could Fa Jin (sending your force out) so, the effect will be like a wheel hitting an object, if you do Rou Hua (having your strength soft), there will be no trace to find where it has been done. It will be miraculously natural.
     When we were talking about Tai Ji Shi San Shi (thirteen movements), he said that "Ding (holding on)." is the fundamentality while "Peng" is the base. Nothing is existing in Ba Fa but Chan Si Jin (the vigor and forces screwing to be close and around). The motion of Chan Si is prior to any other actions. Be swift while you are withholding your strength. The second you are touching your opponent, the second you leave. All motions should be finished as soon as possible, with neither disruption nor hesitation, neither blocking nor stopping. Full but light concentration is required. When you are practicing the Quan, your Yi (minding and intending) should be neither overloaded, nor unattained. The Quan gestures can't be up and down frequently. Being up too high, your Qi would be uplifted much, too low, your knees might be hurt. One should be poised when he is practicing Tui Shou. His Qi should be hold well balanced. His strength will be in circulation as long as his body is perceived in one as a whole.
     In the modem years, science is highly-advanced, nation's traditional art still prevails its enthralling charm. There are lots people devoting themselves all their lives in pursuing the art plus its wonderful charm. They would beat their chest if a stele is damaged or a piece of porcelain is broken, they would commit suicide if a school of traditional technique is lost. Wang Zhi is one of those people. All friends of Wang Zhi know well his mania for calligraphy, collection, and especially Tai Ji Quan. Whenever he goes out, he would visit any or all the curio markets. Whenever he has been in such market, he would buy some porcelain, jade, calligraphy and painting, or other miscellaneous antiques. At present, he's a member of Anhui Calligraphy Association. He has been practicing the Quan every morning, and studying calligraphy every evening. He knows a lot about Zhen, Cao, Li, Zuan (various styles of calligraphy). What is more admired is his persistent pursuing Tai Ji Quan. As he has been often traveling due to his work requirements, he has often gotten some opportunities to interview Tai Ji masters all over the country leaving his traces in Beijing, Shanghai, He'nan and other places. From Yang Style to Wu Style and then to Chen Style, he has experienced hardships to reach such far. Emerged from Kung-fu players, he possesses the elegance of a scholar even he had been an soldiery in the army before.
      His practice of Tai Ji Quan has entered the stage of theoretic research. Grasping the essence of Tai Ji Quan Master Hong Junsheng's theory, Wang Zhi has been getting inspired a lot through his real practices. He often encourages himself by Master Hong Junsheng's character in practicing the Quan. He evaluates the art of Quan to let more people understand the Kung-fu theory of "the level of ung-fu is measured by one's character".
     Whenever he talks about Tai Ji Quan with other trangers, he always addresses himself as an amateur. While someone said anything about Kung-fu in modern years, he would always response objectively what the Kung-fu people nowadays possess can't be compared with the ancient people's. From time to time, he has warned his students that there's no end in learning Kung-fu. The different schools all have their unique characteristics respectively. There are many masters in every school. If one can learn the merits of all the schools, he is able to improve his Kung-fu a lot.
     Wang Zhi perceives that Tai Ji Quan is a blue-chip kind of Chinese traditional masterpieces. He has been studying its theory as long as he has practiced the Quan for many years. He has gotten the elite of Tai Ji theory inherited from Master Hong in more understanding. He has usually encouraged himself with Master Hong's character in his embedded understanding, measuring the Quan and in his life. In his opinion, Tai Ji Quan should be popularized to serve all human beings. The saying that "one's character decides his Kung-fu level" should be understood and encouraged in more crowds for the continuance of this pearl of nation's traditional arts.

 

The true Tai Ji Quan Kung-fu could be applied both in a very slow way as well as in a flash

The true Tai Ji Quan Kung-fu could be applied both in a very slow way as well as in a flash
    Due to his advocacy of Chinese traditional Kung-fu from childhood, Master Jiang Jiajun hoped to practice the martial arts, but the reason why his studied it is surely different from those at the age, idleness, and desire to keep fit for longevity. He regards Tai Ji Quan as a means to exercise Chinese traditional Kung-fu in order to master it thoroughly. For the need to master skills of both attacks and defenses, and ways of Fa Jin, certainly he should often practice how to focus on and send out all his strength.
     The speed of Jiang Jiajun's fist fighting is swirl in a flash. Besides, he focuses his own strength on expelling it with an overall match through wrapping movements, namely Chan Si Jin. It is indeed erudite for Chan Si Jin training, and how to get the skill deserves a careful study, that is, one should wrap his opponent with strength being sent out to the right person. Generally, the ones who have seen Jiang's fist would distinguish it from other "great masters" owing to different learning methods and motives. Master Jiang is poles apart from many other people running Tai Ji Quan business nowadays.
Jiang Jiajun has his own understanding of how to send out the fist, the palm and strength in practicing Tai Ji Quan (shadow boxing):
Fa Jin (expelling the strength) in playing Tai Ji Quan is practiced by stance keeping. Through long-term training, one gradually produces the soft but not looses his strength which is generally known as Nei Jin (interior strength). In Chen Style Tai Ji Quan, it is called Chan Si Jin (silk-reeling strength), whereas it is Chou Si Jin (silk-drawing strength) by name in Yang Style. No matter which name it has, the way to practice it is exercises of Song Yuan (flexible joints and circular wraps) step by step.
     Fa Jing of the Quan is more rapid than exceptionally powerful, without trace at all. Master Chen Xin said, "a hand is stretched out, turning into a immediately adhering to others." Master Hong Junsheng said, "Fa Jin flashes like lightning, as sudden as a thunderbolt."
     Tai Ji Quan, practiced by martial arts masters, has the same process of sending out fists and palms with Fa Jin same, as other Chinese boxing. Moreover, it's not just the exercises of so-called serial shadow boxing stunts, since they don't practice martial arts skills, Many people performing Tai Ji Quan cannot understand that the Quan, as one style of Chinese traditional Kung-fu, is basically of no difference from other schools. Their only comprehension of the Quan is to emphasize movements of Ban (stepping forward), Lan (blocking), Chui (fist), etc., and to misunderstand that one with less strength is able to hit the other who is more energetic. Actually such kind of people are treating it a game rather than martial arts. In fighting, you lacked the strength while your opponent is strong and skilful, how could you win ? I have met with such many ones that simply performed the Quan instead of using it. The performance reflects a kind of vigorous art of human body as calisthenics, differentiating from that as martial arts in essence. Therefore, it also demonstrates that the sport of Quan for fitness is no the real Tai Ji Quan.
    As a matter of fact, the senior Tai Ji masters have mentioned in compendiums of Quan that “Xu Jin (storing the strength) is like drawing a bow, Fa Jin like shooting an arrow.” In recent times, the elder masters have experienced the point. Master Hong Junsheng’s words that “Fa Jin flashes like lightning, as sudden as a thunderbolt” will surely illustrate that the real Tai Ji Quan contains all the contents Chinese traditional Kung-fu should have.

 

The Traditional Ritual of Bai Shi

The Traditional Ritual of Bai Shi
   From the old times on, the succession of Chinese traditional Kung-fu has been including not only handing on Kung-fu and its skills but also the culture comprised in. The traditional culture contained in Chinese traditional Kung-fu embraces a broad and wide knowledge in different fields such as the ancient philosophical theories, ethical and moral fields, literature and art culture, the ancient natural science principle and so on. The traditional Bai Shi ritual is one of the points in the field of humanity and ethical culture.
      As China has a broad territory, a certain form of Bai Shi ritual varies with different regional cultures and various characteristics of the humanity culture.
      We would like to introduce to you a certain Bai Shi ritual conducted by a contemporary representative of Shao Lin Quan as well as a famous Kung-fu master, Zhu Tianxi.
      A traditional Bai Shi ritual is usually hosted by one of the compeers or the hail-fellows of the master in taking some one as his pupil. The host will first introduce the guests and the personages active in different fields of Wushu present at the ritual and then give a brief introduction of the master who is to take some one as his pupil while the guests and his friends will always express their congratulations through some brief addresses or presenting gifts. After that the prentice first will do a kowtow (touching the ground with his forehead in expressing his respect and in fixing the relationship between the master and himself) ritual and then, submit a written note for the instruction issued by the master with a Kow-tow posture again or deliver some Li Jin (a girl of money). As for the old tradition there would be a ritual of San Bai Jiu Kou (three times of knee on and nine times of kowtow). The master will then lead all his prentices to salute bowing to their ancestors of the founder of the Quan. The new prentice will again salute bowing to his master's compeers and his senior fellow apprentices. After that the master will present a keepsake to his new prentice and then both of them take a picture together and then with some honoraria done by them in ending.
       Most Bai Shi rituals are generally conducted the same with a few differences in their procedures and the forms a little bit different in various regions.
       Traditionally the master will keep a strict distinction between his taking up a new prentice and instructing his students in Kung-fu learning. Some masters has many students yet a few prentices, they regard the formally  taking up of a new prentice each means that they are also  responsible to instruct and guide the thoughts and  ideological consciousness as well as the theories and  skills learning of their prentices, for their future succession of their schools of Kung-fu. Of course there are masters who take up one hundred or two hundred per year but instruct a few of them merely.

The feature of Fa Jin in South School Kung-fu

The feature of Fa Jin in South School Kung-fu
    South School Kung-fu is the general description of South Shao Lin Kung-fu and other types of local boxing with obvious regional features. South Shao Lin Kung-fu is a system derived from the ancient kung-fu of the centre China and passed down to the South from generation to generation.
     After the South Song Dynasty, more and more people once lived in the centre China started to move to the South. Their descended cultures, combined with the elements of environmental changes and social variances, had shaped the unique humanities and regional cultures of the south China. South Shao Lin Kung-fu was also formed in this process and was continuously taught to non-Shao-Lin-apprentices. Modernists ordinarily consider Noah men are strong while the South ones are weak. But actually it's a misunderstanding. South Shao Lin and South School Kung-fu are as doughty as the North boxing. Since one century before, South School Kung-fu being famous in the regions of Guangdong, Fujian, Guangxi, Hong Kong and Macao, had spread over all the region of Southeast Asia, North America and even to the whole world step by step. At present Kung-fu widely spread in various places around the world with longer histories usually are South Shao Lin Kung-fu and its derivatives.
    In the latest 50 years, there were lots obstacles to the development of Chinese traditional Kung-fu in mainland China. Not only people changed their ideas in practicing Kung-fu but also the techniques lost with the previous masters passing away. However, on other beaches of ocean, including Hong Kong, Macao, Taiwan, Southeast Asia and North America, we can still find the practical value and essence of Chinese traditional Kung-fu, and the heroical spirits from most of the players. It's not strange that many Kung-fu fans abroad usually feel that few players in the Mainland are actually practicing Wushu as it has been showed just a kind of sport. It's a great pity that a large number of the players can never show up the inwardness of Chinese traditional Kung-fu as well.
     Master Zhang Liquan, addressed as one of the Three Tigers of Dongjiang River during the Republic of China period (1912-1949), was a propagator of contemporary Pak Mei Quan. At that time, special geography and society circumstance had created some atmosphere in practicing and using traditional Kung-fu. in eastern Guangdong, so the practitioners had tried their best to reach a level in both ideology and Quan skills in a conscious way or even unconscious. It was high esteem not only held by his successors but also by practitioners of any school of Quan that Mster Zhang had a profound understanding in Kung-fu and great Quan skills. People attributed his achievement to his taking the tradition of Kung-fu being a master.
Mr. Choi Wingsum, a successor of Mr. Zhang Liquan, has practiced Pak Mei Quan for forty years. Because Hong Kong always attaches importance to inheritance of traditional culture even in peacetime, Mr. Choi experienced strict demands by propagators and masters of older generation in the years of 1960s and 1970s. Almost everyone knows that no practice, no Kung-fu, but a lot of people will not practice it hard like Mr. Choi in reality. He often mentioned that to master Pak Mei Quan in the past, he must practice the basic training of Kung-fu for thousands of times according to what Master Zhang Bingfa, his teacher, had demanded. Choi has got some important ideas about Fa Jin (exerting strength). He said:
    "my teacher told me some points about how to Fa Jin, his father Master Zhang Liquan had handed down many methods, much the same with only minor differences due to similar body structure to everyone, that is, one should focus on all his strength in one and send out as a whole. Therefore, it's not easy to achieve the level of Liu Jin (six forces) Qi Fa (sending out together), emphasized by successors of Pak Mei Quan.
    When I was young, I had been scolded by my teacher for many times for my hard-to-master Liu Jin Qi Fa. However, what I knows today about it is different from the past since I have got to understand that Liu Jin Qi Fa should be with San Men Qi. I was diligent in exercises in focusing on my own strength and learning skills combined with boxing stunts. It had taken a long time for me in practicing the Liu Jin, during which I could not exert strength easily. As a result, my face was twisted with tension. In my opinion, movement of internal organs is the fundamentals of focusing and exerting strength. Though the movement is almost the same for everyone, the way to exert strength in an instant is different, such as attacking with a fist, a palm, an elbow, a forward sliding, getting an occupation of the opponent's position and, sending my own forces at my original place without any moving.(Editor: Masters of many schools in north China take the very similar understanding with Choi, which indirectly demonstrates all Chinese Kung-fu are from one family.)
   It's important for you to Fa Jin especially Fa Zheng Jin (sending your forces in one) that your waist and hips should be in the right position while the forces are sent from those parts in a flash. I didn’t understand how to exert forces from the abdomen before, namely practice not on the right point, so I exerted weak and insufficient whole forces. But now, I can do it as easy as I like."
   Sending out forces right from the abdomen discussed by Choi Wingsum shares a same fact with the one mentioned by many boxing manuals and proverbs that "Li You Ji Fa (the spine produces power)." Actually, predecessors have left various boxing manuals and proverbs showing their experiences of kung-fu practice, but not exact methods of practice, so successors have to study and practice Kung-fu all on their own.
   We often notice some expressions mentioned in the books or scriptures of Xing Yi Quan about Ning Jin (force in screwing) and Zuan Jin (force in drilling), however, there might be only few people in Kung-fu circle having obviously seen such two Jin expressions with the South School. As a matter of fact, there is no difference between people who practice Kung-fu of the South School and those the North, each of them has two arms with their ranges of motions almost the same. Everyone could do a good job if he has sent his forces correctly and has played Quan movements quite right. While you are watching people of different schools practicing Kung-fu, you will have seen them all alike.
   It has been quite a long time since Thomas Weiyu Cheng was apprenticed to Zhang Bingfa, the son of a master of Pak Mei Quan (white eyebrows boxing), named Zhang Liquan. He says:
   "There are numerous ways to practice Fa Jin (send forces) in playing the Quan. One of them is to Fa Jin in the process you are practicing Tao Lu (a set or sets of the Quan movements or a series of skills and tricks). Chuan Mo (a kind of tne Quan movements) is an important one in practicing Tao Lu skill combining attacking with defending changed timely in the process of playing the Quan. It requires the coordination of both hands to bring and explode all Ning Jin and Luo Xuan Jin (force in screwing) together with breathing and, to puff processes to attack opponent, it also requires the assorting with your Yao Ma (a movement with both your waist and the gait of horse).
   "Your force goes along with your Qi (interior strength and breathing), while Qi is sent by your thought." Fa Jin (sending force) in playing Pak Mei Quan fundamentally concerns with the adjustment, balance and function of your Qi and blood handled by your breathing so as to keep you holding of the right degree of Fa Jin. However, in order to come to a satisfactory effect, it is essential for you to have a well-functioned mind.
  Both Qi and force to be handled by your breathing. In case your Qi is sent smoothly, you can concentrate your Shen (spirit) to send your gigantic forces accordingly. As Qi is restrained in your body, your strength is hidden in your Qi. When you have concentrated your Shen with your breathing you are able to attack your opponent as a tiger having an unstoppable drive showing your strength in hardness. On the contrary, while you are defending yourself, you need to be softer to send your forces in a good order as floating clouds covering the moon without leaving their tracks in softness while your hardness and your softness should be associated together in one."



  When Thomas Weiyu Cheng is performing and deducing Fa Jin of Chuan Mo, his movement manipulations in twisting and drilling are all coordinated with a stride forward and a rotatory movement of the middle of his waist to adjust his sending forces. In a word, all his Liu Jin (six forces) must be sent out together in a flash at one time.
    In the past, the Kung-fu practicers in Guangdong Province usually practiced some various schools of different Quan. Elder boxers used to say, in their youth time, as soon as they heard that someone is quite skilled in playing Kung-fu, they would come to visit the master being determined to fully learn his Kung-fu by heart. Master Xiao Tingxun in Guangzhou was one among them. When he was young, Xiao Tingxun had learned many schools of Kung-fu including Hong Quan, Pak Mci (white eyebrows) school, Lama school, Yong Chun school, etc. in the amount of eight or ten schools in all. The point in his Kung-fu learning is to stidy how to attack and defend, how to burst out his Jin (inner strength). In the past, the prevailing Kung-fu, namely, South Shao Lin Kung-fu, spread over Guangdong Province, was mainly passed along from Fujan province. During the process of that passing along, Cantonese's South Shao Lin Kung-fu was evolved to taken on Cantonese' characteristics due to the personal factor of the disseminator.
   Master Xiao Tingxun has a through understanding of how to Fa Jin. He has quite a number of apprentices. They have considered Xiao's way of Fa Jin is fairly arbitrary with his full strength and surprisingly overwhelming once Xiaois Fa Jin with his fist hitting. However, those apprentices have recently felt that the way master Xiao Fa Jin has been quite dissimilar with the way he used to. It has been much more unascertainable, forcing you away but without his former arbitrariness.
   Several years ago, when I was interviewing Master Xiao Tingxun, he told me something about his understanding of Fa Jin. He started practicing it decades ago with the simplest movements of the Quan with his fist rare moving as well as his Zhang (palm) doing Ying Qiao Ying Ma (forming the shape of bridge, and horse, the fundamental practices). Later, enlightened by some elder masters, he got to learn that Ying Qiao Ying Ma, Ying Da Ying Pin (fighting reckonlessly with no strategy, but hard hitting only) are just the Kung-fu merely in skin, one should use his brain to think rather than do some plainly simple body movements. Ttransformation from one's outer movements into Inner Kung-fu is a necessity. As for the Inner Kung-fu, master Xiao understands it as Nei Lian (have your inner strength in daily practicing). Nei Lian focuses on the practice of Jin Gu (physique and bones). Based on the past experiences of the forefathers, Master Xiao originated several ways in practicing Jin Gu indeed quite effective.
  Originally, Liu Jin (six forces) is a form of emphasis on initiating Quan by the school of Pak Mei Quan in Hong Kong. It is a process that requires the practicer of Pak Mei Quan to release his entire strength. Xiao Tingxun has practiced Pak Mci Quan for several years. In the years of 1990s, enlightened by an elder boxer from hometown Meizhou, he perceived the exertion of Liu Jin as impetus from six different directions after the release of his entire strength. Namely, front, back, up, down, left, right, will be supposed to be Liu Jin. When he was taking the movements and Fa Jin, Xiao Tingxun emphasized the overall outburst of Nei Jin (inner strength), which is similar with the requirements of the main schools of Bei Fang Quan (North Quan). However, he now considers that when he is attacking his opponent, he can surely control the process of Fa Jin and tactfully handle his opponent's attacking by the movements of Jin Gu with Nei Gong (interior Kung-fu).
When he is controlling the exertion of Jin and Fa Jin, Xiao Tingyun’s inner unitary movements are overwhelmingly tactful and up to a high standard
Mr. Jiang Faming made great effort seeking for Kung-fu masters everywhere when he was young, then later, he began to learn Pak Mei Quan and now, he has his own understanding of it:
  “There's an essential difference between ‘jin (strength)' and Li (force).How will one obtain Jin'? How can he exert Jin in fighting against another? This is a pursuit for all the Kung-fu players. Among them, how many can really 'Fa Jin (exert strength) ', and exactly exert his 'Jin' nowadays?
The biggest difference is that in learning the traditional Kung-fu, most players have to pay attention to Yao Ma (the height of the waist, the gesture of the legs), the contents of Kung Fu and how they can exert their Jin. Jin is different from Li, it is not formed only based on your body and speed but most often produced. under the effect of two forms of Li. It can be formed by the force of the exertion of Jin, Gu, and Qi, and also the Li sent by your opponent. It can be in direction with the Li sent by both sides or in some whorls. It is able to go either from your top downward or from down upward or, from your left to right or right to left. It can be passed from your leg, through the waist, to your hand, and also directly formed in your hands. Your Jin could dispel the coming Li sent from your opponent, and also be used to hit your opponent directly. Both Gang (hardness) and Rou (softness) are mixed within. In Chinese traditional Kung-fu, all the schools, no matter in south or north, all concentrate on the practice and exertion of Jin and Gong Fa (the method).
 'Jin', formed in hitting, is usually associated and interactive with Shou Fa (the motion of the hands) and Shen Fa (the motion of the body). The so-called Shen Fa I'm discussing about here is not the common and simple movement of Duo Shan (avoiding), Tiao Yue (jumping) or Yi Dong (moving), instead, it is the inner motion and traveling Shen Fa of Jin, Gu, Qi in the body, the joints of hands and legs, the upper, middle and lower Pan (sets or parts of the body). As it is Wai Gang Nei Rou (forceful at appearance, flexible within), Gang Rou Xiang Ji (mixing Gang and Rou together), good at hitting in long and short distance, and close combat, Pak Mei Quan (white eyebrows boxing), in particular, greatly pays attention to the practice and exertion of Jin, concentrates and reinforce Jin's practice and exertion of 'Tun (intake), Tu (outburst), Chen (maintenance), Fu (drifting), Chou (draw) ', those are literally vivid in words, and fairly content-substantial from the aspect of Kung-fu. "
 There are plenty of various distinctive contents with many profuse kinds of Shou Fa (Kung-fu skills) in the system of Nan (South Shao Lin Quan System). The basic Tao Lu (series of skills and tricks in playing Chinese Kung-fu) of Tai Zu Quan commonly used comprise many skills in Kung-fu training and in defend-attacking with quite complete principled techniques. Herein we are introducing to you one of the methods in Fa Jin (sending out one's force) in playing Tai Zu Quan attacking his opponent while he is moving forward in a horse step. The attacking process consists of Fa Jin as well. That is one of the methods to attack and Fa Jin in playing Kung-fu.
   Tai Zu Men Kung-fu, in Quanzhou, Fujian, is one of the important parts in South Shao Lin Kung-fu. From Ms. Fu Sairong's demonstration on Die Jin Ma, we could see dearly it is reflected how a female Kung-fu player is practicing it.
   Die Jin Ma (double stepping in a horse one) Shuang Li Shou (double attacking with one's hands): When your opponent are hitting your chest with his fists, you promptly move your left foot or the right a fit step to either side and move the other foot forward in following. Meanwhile, raise your hands from the below to the left side or to the right forward to mantle and press the fists of your opponent down. In the course of these series of movements, you should have your body, waist and shoulder a little bit out-inclined being formed a triangle posture to prevent the coming attacking and cover out your hands then press and control your opponent with your hands. You should do those movements with your stepping, body moving and handing swiftly in a flash. All your forces in doing your Fa Jin have to be uttered at the same time. It is one of the hitting methods in Wu Zu Quan considered as a way in getting win by your    striking Fa Jin only after your opponent's attacking made ahead.
Shuai Du (beat your belly in throwing) is one of the Kung-fu training skills of Wu Zu Quan. Hold your breath to sink your interior breath down into your Dan Tian (an acupoint right in your navel) and strongly beat your lower abdomen with the edges of your palms then breathe out. Repeat exercise it on purpose to get better ability in resistance. That is called Nei Ding Jin Fa (inner prop up method) in Wu Zu Quan.
Zuo Za (keep firm in a sitting style likely) is about the motions in attacking and defending might be changed from time to time based on the circumstance and your situation in real fighting. It is diverse and being applied either in attacking or in defending. When your acting, have the centers of your palms forth with your thumbs inner bowed and the other four fingers gathered pointing upward, have your elbow. joints sunk down plumbed but naturally without with tight forearm. That is called Yao Jing Fa (gnaw strength method) in Wu Zu Quan.

 

Advertisement 970x90

Ready to Work Together?

Get Started

shaolingongfu.com was founded in China in 1996. The company has four divisions: Shaolin Services, Publication Services, Translation Services and Design Services.

Tel:0086-371-63520088
Email:webmaster@shaolingongfu.com
Skype:webmaster@shaolingongfu.com
QQ:76257322
备案号:豫ICP备05004936号-3

Newsletter Subscribe

Get in your inbox the latest News