Wushu Festival

Wushu Festival

Shao Lin Luo Han Quan

Shao Lin Luo Han Quan
    Starting:
    1. The trunk should be straight up, legs closed, level the head an relax the shoulders, with Qi concentrated around the abdomen. Binding the fingers, sticking the palms along the thighs, having your eyes gazing at the front horizontally.
    2. Moving your left foot half a pace sideways to the left and stretching the legs, making your two feet paralleled as wide as the distance between your own shoulders. At the same time making your hands being fists and placing them round the waists with the palms upwards. Shifting the head leftwards, having your eyes look at the same direction levelly.
   I. Dun Zhuang(Making Yourself Squatting as a Peg) Wo Xin(Being Confined in Your Hear) Quan(Fisting)
    1. Your left foot steps half a pace towards the left and you shift the body to the same side to 900, lift and bend the right foot. Turn your right fist into a palm, make curves to the left, to the front and the right, and then put it back around your waist, while again change your palm into a fist. All at once, turn the left fist to a palm and strike in a curve from the left to the front, with the palm facing upward, the fingers leaning forward at a position a bit higher than your shoulder, let your eyes look at the left palm .
     2. Land your fight foot and practice "Zhen Jiao" (stamping one of your feet) at the interior side of the other foot. Tying your legs together, bending the knees to make a half squat, punching the fight fist forward, make your palm facing upward and the right arm bent, rest the left palm on your forearm, make your left palm upward, eyes gazing at the front
     Points: The curves-making of the fight palm, the striking of the left palm and the lifting of the right foot must be made at the same time. The practitioner must also complete "Zhen Jiao" and the punching of the fight fist instantaneously. Pay attention if the movements are coherent and the force is intact. Keep your trunk uptight without bending your body or extruding your buttock.
     Points: "Zhen Jiao" can also be called "Qian Jin Zhui" (dumping a thousand jin, i.e. five kilo). Practicing this, your step should be with all your force and stamping on the ground with the whole sole. Never set the foot down only with the front sole or the heel so as to avoid any injury.
   II Gun Shou (Rolling Your Hands) Qie Zhang (Making Your Palms Cutting)
     1. Jump up and switch your body 90o towards the fight in the air, with your legs bending .
     2. Make your left foot moving out fast and kicking to the left, turning the outer side of the foot leftward and forcing it with your right knee bending, then raising your left foot as high as you could, you turn your left palm downward, and strike it along the right forearm, make your fingers leaning forward with force reaching the outer edge of the palm. At the same time, pull your fight fist back to the waist, the palm upward with the thumb facing the front and eyes gazing at the other palm.
     3. When your right foot touches the ground, you practice "Zhen Jiao" and bend your right leg afterward to a squat; land your left foot, stretch your left leg being a Zuo Pu Bu (Left Snapping Step). Lower your left palm a little as the fight fist staying round the waist. Let your eyes look at the left.
 Points: Strike your left palm as the foot makes a kick up in the air. After the fight foot practices "Zhen Jiao", lower your center of gravity, fully crouch down the fight leg and stretch the left one to a Zuo Pu Bu (Left Snapping Step). This movement must be clean and neat.
   III Hou Liao Zhang (Cutting Back the Palm)
     Uplifting the trunk a little, bend the fight leg to half a squat and spread out the left leg to form a fight "Gong Bu" (Arrow Stance). Changing the fight fist to a palm, draw it various curves from the waist to the below, the left, the above and the left. Strike the palm facing the front, extend your fingers upward as high as the nose with the force reaching the outer edge of the palm. Meanwhile, hold your left palm into a fist around the waist. Let your eyes go along with the fight palm, looking at the front horizontally
     Points: Ease your shoulder in order to make it nimble. Take up the arm and with the shoulder joint as the centre, strike the palm rightward.
IV You Jin Zhou (Right Forwarding Elbow)
     1. Shift your body weight to the left leg and make a halfway squat, stretch the fight leg to a left "arrow stance". Turn the left fist into a palm, to draw curves from the waist to the below, the right, the above and the left, and stop at the left side of the trunk. Place your palm facing downward and your fingers facing the left. At the same time, move your fight palm drawing curves from the fight toward the below and the left, setting the palm facing upward, fingers leftward. Put the palm in front of the left shoulder. Let your eyes gaze at the left.
     2. Quickly move your body weight to the fight and the make your fight leg squat halfway and forcefully, extend the left one to construct a right "arrow stance". Meanwhile, let your right elbow hit toward the right effectively, on the same plane with the shoulder. Right at the moment, transform your fight palm to a fist and then lay it on the chest facing below and press the thumb against the body. Retrieve the left palm from the left to the below, opposite to the stomach, let your palm face above, make your fingers toward the fight, let your eyes gaze at the fight elbow.
     Points: Shift your gravity center to the left while drawing curves. Rapidly move the weight to the fight, and forcefully stretch your left leg to thrust the fight elbow.
   V Tiao Bu Pi Xin Quan (Jumping Steps and Ripping Heart Fisting
    1. Swing your right foot leftward with the left one pressing the ground to bounce up. Change your fight fist into a palm to draw various curves from the fight to the below, the left, the above and the fight, keeping the arm straight. Let your left arm stay unbent and draws curves with the palm from the below to the left, the above and the fight, and hold your elbow ahead to the front of your right shoulder. Let your eyes follow the movement of the fight palm looking to the fight horizontally.
    2. While keep going with the previous movements, make your right foot step left with your knee bent to a full squat. The left foot walks to the left, straightened and laid down to a Zuo Pu Bu. Turn your fight palm into a fist and draw it to the waist. With the palm heart facing the fight, fingers stretching upward, put the left palm on the right shoulder, let your eyes look at the left
    3. Following the previous movements, make your left palm cut up from the right shoulder to the front and the left, and toward the straight arm across the upper of the left foot. Shift your body weight to the left, bend the left leg to squat halfway, flatten the fight one with force and turn 90o to the left to make an arrow stance. Push the fight fist forward from the waist, with your palm facing downward, the fist eye facing leftward as high as the shoulder. Make' your left palm soon turn into a fist and retrieve to the waist, the palm facing upward, and the fist eye facing the left. Let your eyes look at the right fist
    Points: Remember to make a long jump in flight. After the left palm cuts down, unbend the fight leg and twist your waist to make a turn. Thrust the right fist, with the force reaches the surface of the fist. The whole movement must be coordinated and complete.
VI. Bei Hou Da (Backing Hitting)
    1. Make your body lower and turn 90o to the right, bending the left leg to a full squat, meanwhile straightening the right leg to a You Pu Bu. Transform your right fist to a palm facing leftward, the fingers upward, and then lean the palm close to the left shoulder, with the left fist round the waist, and let your eyes watch the right.
     2. Move your right palm from the left shoulder across above the right foot, and make a cut with a straightened arm to the right and the back. Meanwhile, make a 180o turn to the right, make the legs crossing with the right leg at the front, put your left leg at the back to make a full squat to form a You Xie Bu (Right Resting Step). Thrust your left fist forward from the waist, with the palm facing downward, the fist eye rightward as high as your shoulder. Make our fight palm turn into a fist and retrieve in front of the stomach with the palm facing upward, the fist eye forward, let your eyes look at the front.                              

Shao Lin Kung-Fu Exponents Twenty years Ago

Shao Lin Kung-Fu Exponents Twenty years Ago
    The Origin of Shao Lin Quan
    In these two years, a few overseas Kung-fu masters and scholars working in the field of Chinese traditional culture, have confronted me with questions about Chinese Kung-fu, "What on earth is Shao Lin Kung-fu all about?" "Is Shao Lin Kung-fu Chinese, or was it imported by foreigners?" "There is a saying, 'all Kung-fu schools are rooted in Shao Lin', but does that mean Chinese Kung-fu was rather poor before the founding of Shao Lin Monastery?" "Were all Chinese Kung-fu including Quans and Weapons very weak before Tang Dynasty?" People have got some doubts about, such as, the definition of Shao Lin, how come all famous Kung-fu styles originated from a place for religious worship, and whether Chinese Kung-fu was brought in from India...
    These are serious questions related to academic realm and historical perspectives, frequently asked by Chinese living aboard and foreign friends. In the past two decades, Wushu had been reviving in China, and especially in these recent ten years, but a lot of people have been turning it into a business. Many murky phenomena emerge afterwards causing the questions and doubts to multiply.
     What does Shao Lin Quan Kung-fu include? Who were the creators? Which Kung-fu styles we see today belong to the school and which are derived from it? These are all big topics worthy of in-depth exploration. But there are two things we can be sure of.
     Number one, "Shao Lin Quan Kung-fu" is a general term for the various traditional Kung-fu that arose and grew in the central part of China through thousands of years, Number two, it had been Chinese people creating Chinese traditional Kung-fu. From fighting experience in thousands of years of ancient warfare, they developed armed and unarmed combat arts, and came up with countless methods boosting some huge strength during they practiced Kung-fu for their lives. Shao Lin Quan Kung-fu is a Chinese creation
    Shao Lin Kung-fu Exponents Twenty Year Ago
     The Shao Lin Kung-fu exponents in Mainland China before 1980s were those who loved Chinese traditional culture and traditional martial arts and got being Chinese Kung-fu practitioners. Like lovers of other forms of Chinese traditional culture and arts, these people are natural successors of the Chinese traditional culture. In fact, there are millions of people in different historical periods inheriting and enhancing various forms of traditional culture, arts and skills in the continuous course of struggle and living. Without them, the traditional culture embodying the characteristics of Chinese nation could never last long fill now. At that time, most of the lovers of Chinese Kung-fu encouraged themselves to take some military spirits. They practiced Kung-fu for mastery of the techniques or took it as an exercise for bodily fitness, but few of them regarded it as a means of living. There were many people who practiced Chinese Kung-fu diligently inheriting the techniques passed down from their predecessors. In the martial art circle in the past, there went a saying, "In summer keep exercising during the hottest days, in winter do the same thing during the coldest weather". I did see some Kung-fu exponents who practice Kung-fu to that extent.
     In different places of Henan Province, there were quite a few people who assiduously looked for masters to learn Chinese Kung-fu in modem times. Shi Degen was one of the Shao Lin bonzes learning boxing in Shao Lin Temple during the time period under the Republic of China (1912-1949). His master Wu Shanlin was from outside Shao Lin Temple. According to Yang Guiwu, Shi Degen' s eldest disciple, Shi Degen was the only disciple of Wu Shan Lin. He was also the only Shao Lin Kung-fu bonze in Dengfeng County of Henan Province in modem times according to the record there.
     Recently, I went to such places as Zhengzhou and Dengfeng in Henan Province again and had a visit to Shi Degen' s three formal disciples, Yang Guiwu, Chen Qiuju and Zhu Tianxi, knowing much about the lovers and exponents of Chinese traditional martial arts who were lucky enough to learn Shao Lin Quan from Shi Degen during the period from 1950s to 1970s.
    A Visit to Shi Degen’s Eldest Disciple, Yang Guiwu
     I met Yang Guiwu on the spiraling path behind the Shao Lin Temple to Luoyang in the mountain. Already in seventies that year, Mr. Yang looked benign, simple and honest. He pulsed some patients and cures diseases for the fellow villagers spending most of his time. Sometimes he might extend his arms and legs and teaching had been younger generations some routines to pass down Shao Lin Kung-fu.
     I asked Mr. Yang how he learned Kung-fu from Shi Degen in those past years, he told me, Shi Degen lived in Guan Di Temple in the mountain behind Shao Lin Temple at that time. When he returned home from the Shao Lin Temple, he surely passed by Yang Guiwu's house. Yang Guiwu's forefathers ever ran a drug store being a rich family in that locality. His grandfather was a teacher and shored up the drug store. He had a good relationship with Shi Degen so Shi Degen often took a rest in the drug store when he passed by. Yang Guiwu was young and weak then. His grandfather knew Shi Degen had practiced Kung-fu for some years though not so old and was good at it. He asked Yang Guiwu to learn Kung-fu from Shi Degen to improve his health. So he became Shi Degen's earliest formal disciple when he was fourteen. From then on, Shi Degen often imparted Shao Lin Kung-fu to him on his way home until 1970. Yang Guiwu learned many boxing routines and weapons in Shao Lin Kung-fu such as Luo Han Quan, etc.
     Later, Yang Guiwu worked in a working unit until he retired in 1983. He was once seriously ill in 1989. Fortunately, his strong physique created to his long time practice of Kung-fu had enabled him to recover from the disease.
     In the early years of 1980s, the film Shao Lin Temple and China's opening-up as well as its reform policy had contributed to the release of the military spirit from the bottom of the hearts of general public. The military spirit, which had been buried for many years, quickly spread up all over the country. Martial arts schools were set up one after one in Dengfeng County. The founders who only knew little about Shaolin Kung-fu were urgently looking for some masters and mentors everywhere. They also renched to Yang Guiwu and then Mr. Yang had given them some suggestions politely.
    When Zhu Tianxi and I visited Yang Guiwu, he became very delighted. The two fellow disciples recollected the routines Master Shi Degen taught them and practiced Kung-fu together once more. That is why readers can see the photos taken when they talked about boxing.

 



    Chen Qiuju--Shi Degen's Adopted Daughter
    Chen Qiuju is Shi Degen's adopted daughter and his female disciple still alive nowadays. In my first meeting Ms Chen, when I explained my purple of the visit and asked her to talk about how she learned Shao Lin Kung-fu from Shi Degen in those past years, she was very delighted and talked much about her practicing Kung-fu at her young age in that not much talking time.
     Chen Qiuju was bom in a family of Kung-fu. She liked to follow adults performing various weapons in her childhood. So her parent asked her to learn Kung-fu from Shi Degen when she was 12 years old. Chen Qiuju was intelligent by natural endowments and also in good shape, so it looked graceful when she performed some Quan routines. People were all fond of her and willing to teach her something. Especially, Shi Degen showed and did her much favor and made her as his adopted daughter. Over ten years from then on, Chen Qiuju learned more than ten types of boxing such as Xiao Hong Quan, Da Hong Quan, Mei Hua Quan, Luo Han Quan, Xin Yi Ba, Tong Bei Quan, Zui Quan and many weapons such as Mei Hua spear, Shao Lin blade, Mei Hua sword, broadfalchion, Hu Tou hook, twelve-section whip, single reel, double reel etc.
    After 1949, Shi Degen left Shao Lin Temple and worked in several units successively in the locality and he transferred to the Sports Commission of Dengfeng County later. During that time, as the leaders attached great importance to promoting traditional Kung-fu, Shi Degen made a circuit of counties such as Dengfeng, Gongyi and Huashi training physical education teachers and some students in different schools. Since Chen Qiuju had learned a number of Kung-fu routines somewhat up to the standards, Shi Degen often took her together with him as training his disciples as well as the teachers and students in the grassroots schools Shao Lin Kung-fu and had her demonstrating some movements for them. Chen Qiuju had been also developing her Kung-fu as performing the assistant to Shi Degen.
     Chen Qiuju was assigned working in Inner Mongolia after her graduation from university in 1970. After leaving Dengfeng County and coming to a new environment, she stopped practicing Kung-fu for ages due to various factors.
     Recently, Chen Qiuju returned to her hometown Dengfeng County after her retirement. She touched with deep emotion when she saw that her hometown had changed a lot, especially that Kung-fu had been more popular than in those years and many Shao Lin Kung-fu schools had been setting up and standing firmly as well. She had been often invited giving speeches on how she learned Shao Lin Kung- fu from Shi Degen, teaching some people Kung-fu and helping promoting Kung-fu in her hometown.
     Being asked to show some Shao Lin boxing, Chen Qiuju accepted my request with pleasure and performed Shao Lin Kung-fu routines in the yard. She also demonstrated some weapons as twelve-section whip, broad falchion and sword graciously. Viewing her movements, we could acknowledge that Chen Qiuju did practice Kung-fu hard in those past years and studied them and earned a lot. Though she had stopped practicing Kung-fu for several years, she could still perform well according with her solid base of Shao Lin Kung-fu.
     Chen Qiuju also practiced Shao Lin Luo Han Quan with Mr. Zhu Tianxi when they joined and traveled together. Master Shi Degen would have felt gratified if he were alive seeing them practicing Shao Lin Kung-fu and exchanging their views together some tens years later.
    Zhu Tianxi
    Shi Degen's Kung-fu Successor
      Compared with his fellow-students under the same tutor, Zhu Tianxi had taken a much longer way learning Kung-fu from Shi Degen as his fellow-students were all in Dengfeng and he had been growing up and residing in Zhengzhou rather far from Master Shi's living County, Dengfeng and lacking the needed introduction to the Master at the very beginning, though his endowments in Kung-fu were partly inherited from his forefathers, one of them was ever a great general in Ming Dynasty. We should always keep in mind that traditional Kung-fu inheritance is not an antique or article but that of traditional culture indeed. Cultural inheritance bears its own characteristics. As I said in many articles and various occasions, Kung-fu is not only handed down completely by inheritance but learned, studied and developed up by practice and comprehension. Even though ones' forefathers could transmit some inherent factors, they could never pass down all Kung-fu and traditional culture from generation to generation just like an antique accepted completely by ones later on.
     Zhu Tianxi ardently loves Kung-fu from his childhood on for his whole life. In fact, before formally being Shi Degen's disciple, he had been already the favorite student of Mr. He Ru, the master of Shao Lin Tai Zu Men in Henan Provice. He Futong being the senior master of Tai Zu Men, also favored Zhu Tianxi because of Zhu's determination, diligence and good personalities in traditional Kung-fu practice. Even when Mr. He Futong laid in bed at his illness, he still summoned Zhu Tianxi to his bedside and explained Qin Na handing capture Kung-fu to him. Zhu Tianxi learned a lot this way.
     When he was fifteen, Zhu Tianxi desired to be one of the disciples of Shi Degen. He visited Defeng County and asked Master Shi to teach him Shao Lin Kung-fu for several times. At first, Shi Degen denied his application, as he did not know enough about Zhu. One day in 1965, in order to show his sincerity, Zhu Tianxi again came to Dengfeng County on foot and kneeled on the ground in front of Shi Degen's house until  Shi was moved by his sincere de-sire and decided to accept the young boy from far away as his disciple. Before not so long, there started the Cultural Revolution and unfortunately Shi Degen encountered difficulty. Zhu Tianxi took him to his own house. During those three years from then on, Shi Degen imparted the essential parts of ShaoLin Kung-fu such as 24-routine Tan Tui Yin Yang Gun and Luo Han Quan to Zhu Tianxi one by one so that he became the last (close-door) disciple directly learning Kung-fu from Shi Degen ass well as the last Shao Lin Bonze in modem history.
     Zhu Tianxi studied Kungfu so hard that our general practitioners today could never reach that extend. At that time, the common situation was sfilf quite tough as there was only a little to eat due to the bad living conditions but having lots exercises for Zhu to do. When he practiced snapping kicks, he often performed it for several hours until he finished all of the 24 routines at one time. Each time, he even could squeeze some water from his clothes after he finished the practice. Zhu Tianxi often said to me, now young practitioners are required to snap kicks for ten times successively, but most of them could not do it.
      Shi Degen acknowledged Zhu practicing so hard and actually having a talent for Kung-fu. He felt that Zhu Tianxi had great potential so he taught him wholeheartedly. He imparted to Zhu Tianxi all the essentials of Kung-fu. Zhu has been studying Shao Lin Kung-fu in his whole life including boxing, weapons, internal energy acquired by Zen practice as well as the medical secrets and techniques in Shao Lin Temple. All of these makes Zhu Tianxi a veritable successor of Shao Lin Zen, Kung-fu and medicine now.
     That Zhu Tianxi has remarkable skills in Kung-fu thanks to his long time practice and obtaining the true mastery of Kung-fu. When I filmed Zhu Tianxi demonstrating Shao Lin Luo Han Quan, Pao Quan, broad falchion and spear in 1980s, Zhu Tianxi ever showed me a lot on how to use Shao Lin Kung-fu. I felt that he had remarkable skills with fierce, nimble movements and strong force. Though he was almost 40 years old then, he was just like a teenager when he performed the movements of squatting and jumping in Luo Han Quan. Today, not withstanding Zhu Tianxi cannot perform some movements as some years ago, his skills are still improved greatly, reflecting the fact that Chinese traditional Kung-fu need practicing for one's whole life.
     Today, I cannot find original Shao Lin culture and Kungfu in other places any longer after the word "Shao Lin" has been materialized and becomes the byword of economic interests. I think one could hardly find pure culture and Kungfu if there is no great human spirit.

Ouyang Jianwen talking about Liu Dian Ban Pole(Six-and-a-Half Pole)

Ouyang Jianwen talking about Liu Dian Ban Pole(Six-and-a-Half Pole)
   The Wing Chun Pole Form, known also as the Six and a Half Points Pole Form, stands out from the legendary Ng Long Bai Qua Gwun, the Large and the Small Red Poles, and the like, in that it consists of rather few pre-determined moves. Naturally, this gives most martial arts enthusiasts, and even some Wing Chun Kuen practitioners, a false impression of crudeness and inadequacy. However, in the writer's opinion, the eliberate simplicity reflects precisely the driving principles of Wing Chun. Such is a view that was established on the Wing Chun Combat Theory promulgated by the writer's teacher the late Wong Shun Leung, an Ip Man disciple.
     One observes that techniques of all kinds tend to go through various phases in its development from nascence to maturity. The course is often influenced by contemporaries according to their own experiences and interpretations, until the time when one or more major figures consolidate it for posterity. The final masterpiece is never the fruit of one individual in a single place at any one time. The early Wing Chun Pole Form must have been different from that of today's, perhaps the most noticeable being the form's general simplification over time to the present day's Six and a Half Points Pole Form.
     The driving principles of Wing Chun, in the writer's mind, are succinctness, directness and effectiveness. These three principles are in fact three aspects of a single requirement of any combat rapidity. In a fierce combat between two antagonists or rival groups, one or two moves in split second often mean life or death. Accomplished Kung-fu practitioners therefore generally favour the use of techniques which are swift, deadly and flexible, and which take the shortest and most direct route while coveting the maximum area. This is true with Wing Chun Kuen, since Wing Chun Kuen is always about actual combat. In other words, when we ask whether or not a particular move is good, we are indeed trying to determine its practicality. The same argument applies to the Wing Chun Pole Form, which retains only seven generic moves over generations of refinement along this line.
    In addition to the theories of attack and defence, objective influences such as the weapon's formation process and materials employed often also affect the characteristics of the moves. The Wing Chun Pole is made to be asymmetrical at the two ends, with a narrower tip (or head) and a thicker butt (or tail), hence a form characterised as single-headed. With only seven moves, Ip Man Wing Chun's Pole Form is an example of practical succinctness. This is the form the writer practises.
    However, there are three moves which are frequently used in one-to-one exercises (commonly known as Sticking Poles or Tse Gwun) but are excluded from the Form. This separation remains unexplained as yet. Even within the same Ip Man Wing Chun discipline, the names of the seven moves and the moves themselves, though largely unified, do vary somewhat from individual to individual. This is probably the result of diverse interpretations. Nevertheless, the following is a brief description of the pole moves according to the writer' s mentor Wong Shun Leung:
     1. Pole Thrust (Tsurn Gwun): Similar to Spear Thrust (Tsat Tsurn) and Pole Stab (Dung Gwun). It is further divided into:
    a) Dragon Thrust (Fong Lung Tsum), and
    b) Level Thrust (Ping Tsurn), which itself can be an Upper Level Thrust when used with an uptight stance, or a Lower Level Thrust with a lowered stance.
    2. Double Pole Spread (Leung Yee): Also known as Pole Spread (Tan Gwun). Applied in defence as well as attack in three different ways.
    Similar to Spear Parry (Lan Tsum Sai).
    3. Pole Choke (Kum Gwun): Analogous to the Choke Hand in Wing Chun Kuen in terms of effect and requirement. Applied in two ways. Similar to Spear Grab (La Tsurn Sai).
    4. Flowing Water (Lau Sui): Similar to Dragon-tail Strike (Chong Lung Bei Mei Sai). Applied in two ways.
    5. Pole Block (Lan Gwun): The pole being pushed forward horizontally by both arms, the gait moving forward simultaneously Applied in two ways.
    6. Pole Circle (Huen Gwun): The pole drawing a circular motion with both arms moving anti-clockwise towards the body, the gait moving forward simultaneously. Applied in two ways.
     7. Pole Diagonal (Tse Tsurn): With the exception of this move, the above six are generally known as the Six Points. Each of the six is a complete move in itself, whereas this seventh is used in between any of the others in order to effect a sudden change in action. Hence the half point in "Six and a Half Points Pole Form".
     Ip Man Wing Chun stresses that prior to beginning to practise the Pole Form one must first practise for the strength (Kung) required in the properly handling of the pole, being a topic meriting further discussion. The writer now looks forward to sharing more with our readers on another occasion soon.

Nan Quan

Nan Quan
    I. Movements
    Section I
    l. Yu Bei Zi Shi  2. Bing Bu Bao Quan   3. Bao Quan Zhen Jiao  4. Zuo Gong Bu Chong Quan 5. Zuo Gong Bu Chong Quan 6. Gao Xu Bu Bian Quan 7. Qi Long Bu Chong Qaun 8. Zuo Gong Bu Chong Quan   9. Zuo Gong Bu Jie Qiao  10.Zuo Gong Bu Quan Qiao Biao Zhang 11 .Ma Bu Shuang Qie Zhang  12 .Ma Bu Zuo You Tiao Zhang  13 .Ma Bu Shuang Tui Dan Zhi 14 .Ma Bu Shuang Zhi 15 .Ma Bu Shuang Biao Zhang Chen Qiao 16 .You Gong Bu Jia Qiao 17. Qi Long Bu Ya Zhou  18 .Kai Bu Shuang Hu Zhua 19 .Qi Long Bu Tui Zhang 20. Teng Kong Zhuan Ti Li He Tui 21 .Die Pu Jian Shao Che Duang Jiao  22 .Li Yu Da Ting 23 .Xu Bu He Zui Shou    24 .Du Li Bu Shuang Hu Zhua   25 .Zuo Gong Bu Shuang Hu Zhua 26 .Zhuan Shen Bian Quan Cha Zhang   27 .Qian Deng Tui Chong Quan  28 .Gui Bu Gai Quan
29 .Qi Long Bu Zhuang Quan   30 .Ma Bu Pi Qiao
    Section II
    31. Zhuang Shen Gua Gai Quan 32. Heng Ding Tui You Gong Bu Chong Quan 33.Le Shou Heng Cai Tui Shuang Tui Zhang 34. Dan Die Bu Pai Di 35. You Gong Bu Die Zhang 36.Qi Lin Bu Zuo Gong Bu Die Zhang 37 .You Gong Bu Jia Chong Quan 38 .Zuo Gong Bu You Pao Quan 39 .You Gong Bu Zuo Pao Quan  40 .Shang Bu Gua Gai Zhang  41 .Cha Bu Bian Quan  42 .Zhuan Shen Gua Gai Quan  43 .Tuo Bu Pao Zhuang Quan  44 .Ma Bu Cheng Zhang  45 .Gua Gai Shao You Gong Bu Zhuang Quan 46 .Xie Bu Xia Chong Quan 47 .Ma Bu Shuang Gua Quan 48 .Gui Bu Shuang Hu Zhua
    Section III
    49 .Dan Pai Jiao Ban Ma Bu Chong Quan 50 .Dan Die Bu Ya Zhou 51 .Cha Bu Chong Quan 52 .Shang Bu Chong Quan Zhuan Shen Gua Gai Quan 53 .Ma Bu Ce Chong Quan 54 .Zhuan Shen Gua Gai You Gong Bu Gun Qiao  55 .You Gong Bu Shuang Tui Dan Zhi 56 .Shang Bu Gua Gai Quan  57 .Tuo Bu Pao Zhuang Quan 58 .Tuo Bu Chong Quan  59 .Cha Bu Bian Quan Zhuan Shen Gua Gai Quan  60. You Gong Bu Jia Zhang  61 .Zhuan Shen Gua Gai Tui Bu Chong Quan  62 .Zuo Gong Bu Shuang Tui Zhang  63 .Xu Bu Tui Zhang Chong Quan  64 .Bing Bu Bao Quan  65 .Shou Shi
    Section 1.
    1. Preparative Pose -One should stand facing the right side of the front with feet closed to each other. Hands are lowered naturally by the thighs. Eyes should be kept watching forward.
     Key---- Keep concentration and breath; Tighten the muscles of the abdomen, stem and thighs.
   2. Fists Pose
   1. Keep the arms straight, raise the hands frontward from the thighs to the height of the chest. (The distance of the hands equals to that of the shoulders. And the palms are facing the ground.), Watch forward.
   2. Hold the hands into fists; bend the elbows of the arms, place the fists in front of the chest, facing each other; watch forward.
   3. Move the fists upwthe The orifice made by the fists will face upward); watch leftward to the front.
     Key----- Hold the fists slowly, tighten up the chest's muscles and expand the shoulders, tighten the arms with strength in order to present the powerful characteristic. When the fists are going down, muscles of arms could be loosened. Eyes should watch the left side of the front at the same time when the fists are formed.
   3. Stamp
   Bend the legs slightly, jump up; stamp feet at the process of landing; Watch leftward to the front.
   Key----Tie the legs together; Land yourself with the whole feet on the ground, tighen up the abdomen and buttocks.
  4. Punch Fists and Bow Steps
   1. Move arms naturally, step out the left leg to the right side of the front in order to form a bow-like pose (Knees may be bent a little.); unfold the left fist and place it in front of the abdomen with the right fist; cross the fight fist and the left palm which is closer to the body (Eyes should focus on the fight fist).
   2. Step out the right foot to the left side of the front; attach feet to the ground, bend the knees slightly. At the same time, the fight fist is raised to the fight side horizontally (The orifice made by the fist should face upward.). And the left palm rises to the left side horizontally (The palm should face downward.). Eyes should fix on the fight fist.
   Step out the left foot leftward to the front (The tiptoe should face the left. Legs should be bent down to form the stance of Half-horse-tiding.). Meanwhile the fight elbow should be bent and the right fist should brandish to the front of the chest (The orifice made by the fist should face upward.). And the left palm is raised upward to the right front side of the chest (fingers should face upward. Palm is opposite to the fight fist.). One should watch leftward at the time.
3. Bend the left leg slightly, keep the fight leg straight in order to form the stance of left-bow. Meanwhile one should punch forward with the right fist (the orifice should face upward.). Players should protect the inner part of the arm by placing the left palm in front of the fight side of the chest (the palm should face rightward with the fingers facing upward). He should watch frontward and yell "hi" loudly to strengthen the manner.
     Key-----When players step out the feet, knees should be bent slightly. The stance must be stable and the movement must be in a large scale while the movement of the arms should be relatively small. Eyes should move following the right fist and then turn to the left side after the Half-horse-tiding stance is formed. In case that one is playing the "Punch Fists and Bow Steps", power should be started from the fight heel, through the waist and to the fight fist.
    5. Punch Fists and Bow Steps
     1. Draw back the center of the gravity; bend the right leg to form the stance of Half-horse-tiding; brandish the left palm frontward from the top of the right arm (Fingers face the inside while the palm should face downward to the front.); withdraw the fight fist beside the waist (The orifice made by the fist should face downward.), watch the left palm.
     2. Move forward the center of the gravity, stand on the right tiptoe in a sudden, tighten the knees, turn the legs around and straighten the right one to form the stance of bow. Meanwhile, punch forward with the right fist (The orifice made by the fist should face upward.); bend the left bow to cover the inner side of the fight arm with the left palm (The palm should face rightward.), watch forwards.
     Key-----At the transitional point when the Bow Stance is formed again after the movement that changing the Bow Stance into the Half-horse-riding Stance, waist should be bent a little leftward which is helpful for players to start force with the punching fist.

Mei Hua Zhuang(Plum Blossom Stumps) Boxing Routine----One of Ten styles

Mei Hua Zhuang(Plum Blossom Stumps) Boxing Routine----One of Ten styles
    Cheng Quan Boxing containing totally ten styles is a training style to Mei Hua Zhuang Boxing exercise. These ten styles contain up, middle, down that three parts of Wu Shi (Five Stances in theory of Mei Hua Zhuang), including Zhua (Grabing), Na (Seizing), Shuai (Throwing), Da (Hitting), Die (Plunging), Pu (Snapping), Gun (Trundling), Fan (Turning over). It's far more advanced than pure routine exercise and closer to real fight. However, it still has certain styles and training methods.
    Cheng Quan Boxing of Mei Hua Zhuang seems to just have ten styles, but in fact it's variable. When it is used for fight, each style could be changed into various styles. If you combine your body with these styles, you can make subconscious and instant reaction when you are fighting against your opponent. By the way, you can conquer your opponent in every battle.
     Here we introduce Mei Hua Zhuang Fighting routines, which is one part of ten styles of Mei Hua Zhuang Cheng Quan Boxing shown by Mr. Li Mingqing.
     Mr. Li Mingqing shows Mei Hua Zhuang Fighting routine by fighting against his apprentice.
    When you are fighting against your opponent, Diao (which means holding) his front hand with your fight hand.
    Stir with your right arm outward and stumble his front leg with your own left leg, then clutch at his throat with your fight hand from back to front.
    When his throat is clutched, he puts up his elbow immediately in order to catch you.
    Stir his left arm with your left hand outward and stumble his supporting leg with your left leg, then hit his left shoulder with your right hand and beat him down.
    When he attacks, catch and hold his right wrist with your right hand, then revolve and wrest inward with great strength in order to catch him.
    He uses your force revolving and wresting inward and turns about swiftly to clutch at your throat with his left hand so that he could beat you down.
    When you see that he wants to clutch at your throat, you put up your two hands and catch and hold his left wrist, then revolve and wrest outwards and downwards with great strength in order to catch him.
    When his left arm is caught, he uses You Li He Tui (fight side and inside leg and foot) to hit your face.
    You squat down swiftly to avoid his leg, then stumble his supporting leg with your own left leg and trip him down.
    When he attacks, stir his left arm with your right hand outward rapidly.
    Put out your left leg ahead to stumble his supporting leg.
    Stir with your right arm outward and backward in concert with your left supporting leg shoving in order to trip him down.
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