The feature of Fa Jin in South School Kung-fu

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  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.

 

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