Han Wei Wushu! Newsletter #17
Wushu Man
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Han Wei's Wushu! Issue #17, September 1995
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A Chinese Martial Arts Community Newsletter
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Contents:
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The Power Palms of Bagua
Uncommon Chinese Weapons
Taijiquan Origin (part II)
Wushu 32 Form Cudgel Play
Shaolin Monastery (part II)
Wushu 32 Form Broadsword Play
Han Wei Event Calendar
Newsbits...
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the instructions in this newsletter. Please consult a physician
before engaging in the exercises described herein.
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The Power Palms of Bagua Zhang
By Ted Wong, Sydney, Australia
Recent years have seen the arrival on Australian shores of many top
martial artists from overseas, some to conduct seminars and
workshops, others to visit friends and relatives, and still others
to stay. Among those who stay, many have chosen to teach and share
their skills and knowledge. Their standard varies in excellence and
quality. Some of the more notable newcomers include highly
reputable tai-chi (taiji) masters, chikung (qigong) masters and
pakua (bagua) experts from China. Their presence here is already
making an impact in the development and growth of many internal art
stylists.
Afficionados no longer need to travel afar for sound and
experienced tutelage on advanced aspects and matters in the martial
arts. Australia, through its close proximity to the Pacific Rim
region, is becoming the envy of other Western nations as custodians
of unique internal traditions trek their paths to this promised
land downunder. Among this elite, a few outstanding individuals
distinguish themselves in skills and knowledge. Count among them
Senior Master Xie Shoude (Xie is the surname).
Born in the province of Guuizhou, educated in Beijing and
trained all over China, Senior Master Xie is a most accomplished
martial artist in his genre. Having looked through his
qualifications and personally witnessed his skills and power, it is
small wonder he is so highly regarded on the mainland. As a roving
reporter for Chinažs National Wushu magazine, Senior Master Xie got
to travel all over China to meet up with and report on all the
grandmasters and outstanding personalities in the martial arts
field.
Not surprisingly, as a result of his literary talents and
obvious culture, many Grandmasters willingly imparted to him their
most prized secrets. His preceding training, inborn aptitude and
humble attitude prepared him well for these transmissions. (N.B.
For the remainder of this article, I shall confine all Chinese
terms to their pinyin spellings.)
One of his most remarkable encounters in his martial arts
career was the meeting and subsequent learning from the extremely
respected but little-known bagua zhang custodian, Grandmaster Tian
Hui. Grandmaster Tianžs bagua is known as Yin-Yang Bagua Zhang and
is different from the popular Bagua Zhang. When Senior Master Xie
met Grandmaster Tian, the latter was on the verge of retiring from
teaching, having concentrated on transmitting to only a very few
choice students. Through sheer luck, personal affinity and loads of
sincerity, Grandmaster Tian finally consented to transmitting
personally the innermost and complete elements of Yin-Yang Bagua
Zhang to Senior Master Xie. So the story goes...
The origin of Yin-Yang Bagua Zhang is a bit shrouded. The Tian
family Wushu historical records asserted that the founding place is
Mt Er-Mei in Sichuan Province at the Yu Shan Cave. It is common
knowledge that Mt Ter-Mei was and till is regarded as a leading
Daoist holy errain in China. The nature, substance md philosophy of
Yin-Yang Bagua ~hang strongly indicate that it is a very )aoist
art.
Towards the demise of the Ming Dynasty and the emergence of
the Ching Dynasty, two warrior brothers, Pi Yun and Jing Yun, were
wanted by the authorties for killing some local officials. It
transpired that these two brothers were following the orders of
their master to rid certain areas of bandits and along the way some
corrupt officials interfered. Pursued by unsympathetic government
officials, the two brothers decided to take on the guise of Daoist
priests and roamed the comers of the land to escape capture and a
probable unjust conviction. It was in the vicinity of Mount Er-Mei
that a chance meeting between the two rothers and Tian Hou-Jie took
place. While chivalrously defending some helpless lady in distress
and dangerously outnumbered, Tian HouJie himself was rescued from
a certain bloody disaster when the two Daoist priests suddenly
appeared and within a very short time turned near defeat to victory
for the righteous. Extremely grateful and impressed by the
supremacy of the priestsž skills, Tian very quickly begged the
priests to accept him as a disciple. The priests, themselves
believing in the hidden hands of fate and affinity, decided to take
on Tien as their disciple. The art they transmitted was none other
than this Yin-Yang Bagua Zhang, and Tian Houlie was none other than
the ninth-generation ancestor of the current custodian Grandmaster
Tian Hui, the teacher of Senior Master Xie Shoude.
Throughout the generations the Tian family kept the art of
Yin-Yang Bagua Zhang within the confines of the immediate family
and it has now become the family heirloom. Since it is considered
a family heirloom, the transmission has always been extremely
serious, the training severe and the practice kept very, very
secret until the Sixties. As Grandmaster says in his book Yin-Yag
Bagua Zhang (to date the only published text on this art), since
the passing of his father in 1958, he came to realise that Yin-Yang
Bagua Zhang came from the people and ought to be returned to the
people. Old Tian then set out personally recruiting disciples. At
the time of writing that runaway successful book, he mentioned that
Yin-Yang Bagua Zhang has already reached the 12th generation. Tian
himself very nobly claimed he has no right to keep the art to only
the Tian family. This testifies to the greatness of his spirit and
substance of his character. So a selected choice of students and
disciples from outside the Tian family came to know of and learn
this art. These practitioners came to value and treasure this Bagua
Zhang. The secrecy through the generations served to preserve the
spirit and essence of the system, as dilution from external
influence did not exist. The art simply matured as refinements
built on refinements from generation to generation. Since nothing
was held back, only the best would do.
Grandmaster Tian epitomises the absolute power of Yin-Yang
Bagua Zhang. As no secret remains secret forever, some people in
the know soon got wind of the fact that a formidable warrior
existed in their midst. There were those who always made it a point
to try out the oldster. They always ended up bested by the sheer
power of bagua. A few years back, Senior Master Xie escorted an
American Xing-yi veteran with 15 yearsž training experience to see
the warrior. Having somehow heard of Grandmaster Tian in the
States, this Xing-yt boyo looked up Senior Master Xie who was still
working actively for the National Wushu magazine, and insisted on
seeing Old Tian. Finally, upon seeing the grandmaster, our friend
could not resist the urge to try out his elder. So saying, Tian
agreed and extended his two-finger palm, against which our friend
was pushing with a chair held against his own chest. Tian, who was
already on the wrong side of the 60s, was waiting for the
now-agitated foreigner in his mid-30s to at the very least move a
bit. Alas, against unsurpassed excellence, mere brutal reliance
just wonžt do. After a few moments of further frustration and acute
embarrassment at not budging the elder, the visitor made a
last-ditch attempt to save some face and really went for it. As
Senior Master Xie described it, Tian simply said, žGet out,ž and
shuddered slightly, but the result was conclusively convincing. Our
youngster trespasser jetted backwards three metres, hit and wrecked
the door, fell and for a while sat dazed and thoroughly lost.
Luckily he ž saved facež, he didnžt faint straight away. Gathering
his senses he got up and meekly inquired about learning from the
grandmaster. The grandmaster uttered: žFor the student to seek the
master is easy, it is difficult for the master to find the
disciple; see what Xie can do for you.ž Life is like that.
This veritable display of undeniable potency made Senior
Master Xie more determined than ever to master the art. Luckily for
Xie, the grandmaster has a very high regard for the formeržs
otentials in bagua. Effectively, Xie became the 1ast indoor
disciple and as such benefited both intensively and extensively
from the grandmasteržs personal attention and his accumulated
wisdom and experiences. So keen was the grandmasteržs interest in
his last discipležs progress that, upon hearing Xiežs tight work
schedule, Old Tian went to Xiežs residence to teach him at the
latteržs convenience. It was a case of the master anxiously wanting
to give and to give completely instead of the usual case of the
neophyte biding his time anxiously waiting to receive. For his
part, Old Tian realised the pivotal role Xie will play in spreading
Yin-Yang Bagua Zhang. Tian was aware that the time has come to lift
the veil of secrecy and present a comprehensive system of martial
arts either to unknown to the outside world. Even in China itself,
very few people in the martial arts circles really know of this
YinYang Bagua Zhangžs existence.
The familyžs historical tradition from Tian Hou-Jie laid out
a martial arts genealogical naming rules for all genuine disciples
of Yin-Yang Bagua Zhang. All representative disciples would adopt
a name drawn from a 20-names list to indicate his hierarchical
generation. These names are Peng (rock), Li (benefit), Fu (wealth),
Hai (sea), Shan (mountain), Hui (cycle-back), Ke (subjugate), Zi
(son), Jin (gold), Chuan (mountain range), Wan (ten thousand), Li
(mileage), Chao (exceed), Jiang (river), Yue (peak), Yun (cloud),
Hou (descendants), Wu (martial), Qian (heavenly) and Kun (earthly).
Grandmaster Tian Hui very obviously is of the Hui generation. His
actual family name is Tian Shu Tang. Senior Master Xie belongs to
the Ke generation and his bagua martial arts name is Xie Ke Chao.
As a recognised accomplished practitioner in Yin-Yang Bagua Zhang,
Xie is officially endorsed by Grandmaster Tian. That makes Xie a
recognised authority on this an and therefore qualified to transmit
it in its entirety. Yin-Yang Bagua Zhang differs markedly from the
common Bagua Zhang now known throughout the world. For start, the
walking is entirely different. All those who saw Senior Master
Xiežs brilliant demonstration at the Sydney Town Hall in 1990 for
the then NSW Chinese Martial Arts and Cultural Association would
agree that Yin-Yang Bagua Zhangžs walking is not the common sliding
steps but more like the cranežs footwork. Initially I could not
grasp why this is such a good idea until Xie decided to let me
žtaste its flavourž. Not being an expert in the other bagua I
therefore wonžt compare with the sliding steps, but the cranežs
footwork is certainly crisp and facilitates a coiling tenacious
energy. This tenacious energy reminds me of a powerfully coiled
spring being suddenly released, and its angular torque is really
quite devastating. Alas, knowing is quite easy, it is the
consistent capability to do which is truly trying. Thus, we walk
on.
Yin-Yang Bagua Zhang has eight main routines or palm form
sequences each training the practitioner in the body's efficient
use of particular tenacious energies. These eight routines are of
course preceded by a series of basic foundation walking and
palm-changing exercises, without which it would be useless to learn
the main forms. The basics include the Step Ground Walking Palms,
Single Change and Double Change Palms. The routines also emphasize
certain characteristics inherent in centain animals and hence the
names of the forms are also suitably derived. These are:
the Python, to train the waist to simulate the pythonžs writhing
the Lion, to achieve the majesty of the lionžs head movements
the Tiger, for powe rising the hip/groin region
the Bear, for the waist and back training
the Snake, to use the arms in a spiral snaky manner
the Horse, for the legs and kicking training
the Monkey, for the shouldersž gongfu, and
the Rock, to train the grasping of the feet.
(Continued on next issue)
* Ted Wong originally came from Hong Kong and works in the
accounting field in Sydney. Having practiced for a number of years
in Wing Chung kungfu with the Sydney Ving-Zjun Research Group and
Chen Taiji with the Central Taiji Academy, he has since 1990
studied and researched bagua and taiji with Senior Master Xie
Shoude. *
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The Weapons Rack: Uncommon Chinese Weapons
By Paul MacGyver Carman, Melbourne, FL
"A most simple target,ž thought the bandit as he crouched in
the brush by the roadside. Coming up the path, no weapon in sight,
an old man, lost in thought, walked and contemplated the dayžs
events.
When the old man came close, the bandit leaped out of the
brush, aggressively brandishing his broadsword. Seemingly stunned
by this change in events, the elderly gentleman slowly retreated
and politely asked to be let alone.
The bandit, convinced his prey was helpless, swung his sword
wide to attack.
Moments later, the bandit fell back stunned, his face covered
with small cuts caused by a shower of razor-edged coins. In a blind
rage, the bandit charged again, and was felled when an arrow flew
from the old manžs sleeve.
Coins and sleeve arrows? While you may be used to hearing
about swords, spears, staffs, and daggers, there are hundreds of
weapons you may not have known existed. These weapons were
developed in China over the course of 5,000 years, much of which
was spent warring between states.
New weapons were created to match the terrain of the warfare,
the style of the fighter, or even to protect onežs self when
weapons were outlawed (as in the Chžin dynasty, when all weapons,
other than those needed by the emperoržs soldiers, were destroyed).
In this article, Ižll cover three of the less common weapons
developed by the Chinese: coins, sleeve arrows, and cymbals.
Note: Much of the information in this article came from a book
titled Introduction to Ancient Chinese Weapons by Dr. Yang
Jwing-Ming. Many thanks to Sifu Harry Lo for lending me the book.
Lo Han coins (Chinese: Lo Han Chain) serve two purposes: To
distract and to attack. The simplest use of coins is to throw them
at an attacker. This serves to distract the opponent while either
a defensive or offensive move is prepared. When the coins are
sharpened, however, they become a dangerous offensive weapon. (In
general, the coins are never poisoned as the possibility for
self-inflicted wounds is too great.) According to Dr. Yang
Jwing-Ming, it takes three years of practice to master the
techniques of the Lo Han coins. The final test of ability is to be
able to penetrate a watermelon with one coin.
One of many arrow-type weapons, the sleeve arrow (Chinese:
Shouu Gen) is primarily used for close-range surprise attacks. The
sleeve arrow looks similar to the arrows used with a bow, and is
spring-loaded into a tube strapped to the arm and released by a
string attached to the fingers. In addition to holding one arrow,
the tube could be modified to fire five arrows. This variation on
the sleeve arrow is called a plum flower sleeve arrow (Chinese: Mei
Far Shouu Gen) because it resembles the five petals of the plum
flower. The sleeve arrow, although surprising, was not very
powerful. As a result, the tips of the arrows were often poisoned
and the face of the opponent was the primary target. The sleeve
arrow was developed in the Sung Dynasty (around 998 A.D.) by Shai
Huo.
The cymbals (Chinese: Bar), while used as musical instruments
most of the time, can be used as close-range weapons when the edges
are sharpened. Attack moves include chopping, slashing, and
cutting. As is the case with many Chinese weapons, cymbals
constantly emit loud noises, thereby confusing and distracting the
intended target. In addition to hand-to-hand combat, cymbals can be
used as throwing weapons, much like an oversized throwing star. The
weapons in China were developed for a variety of reasons over the
course of 5,000 years. Since their masters have long-since passed
away, the techniques for using some of the weapons discovered today
will never be known. With the proper training and dedication,
however, you may have the opportunity to learn how to use the
spear, the broadsword, the three-sectional staff, the kwan do, an
many other traditional weapons.
Keep training, and maybe one day youžll be able to pass this
knowledge to students of your own.
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The Origins and Historical Development of Taijiquan
Part II
By Peter Lim Tiann Tek, Singapore, Rep. of Singapore
(Continued from last month)
Chen Xin also authored the žThree Three Boxing Manualž (San
San Quan Pu) which uses Taiji Boxing theories to complement Hsing-I
theories. It contains 3 of the 10 thesis of Hsing-I.
From the above evidence, it is quite clear that the Chen
family did learn and practice arts from outside the Chen village.
Based on this, the theory of Chen Wang Ting creating Taijiquan
cannot be supported.
The Four Old Schools Of Taijiquan In the Sung Manual
----------------------------------------------------
The manual was first given to Wu Tu Nan by a friend of his,
later when Sung Si Ming came to Beijing to teach Taijiquan, Wu had
the opportunity to compare the manual he had with Sung Si Mingžs
manual and they agreed in content. In the manual it lists four old
schools of Taijiquan, namely Hsu, Yu, Cheng and Yin. The postures
delinated in the manual have names similar to Yang Taiji and the
form and sword form postures are almost identical to the Yang
style, it is obvious that the Sung style of Taiji came from the
Yang style so the historical data in the manual is suspect and
cannot be regarded as factual.
Theory That Jiang Fa Transmitted It To The Chen Village
-------------------------------------------------------
The early sources all record the existance of this personage
and that he was skilled in the art of Taijiquan. Zhao Bao style
traces their lineage to him and even Chen Xinžs book has a song
formula of his which Jiang apparently got from his teacher from
Shanxi (which in the context of Taijiquan would be Wang Tsung
Yueh). So even in Chen Xinžs book, there is a reference to Jiang as
being a teacher of the art.
This song formula comes down from Shi Yu Wan, whom Wu Tu Nan
had met during his investigative visit to the Chen Villiage. Shi
himself wrote a book which was published only once in 1935. The
original handwritten manual is traced to now being in the Zhao Bao
village though it has not been made public. It states that Jiang
was the teacher of Shižs art was taught by Wang. The title of the
book indicates that Shi considered his Taijquan as coming from the
Wu Dang boxing transmission.
The Yang family tradition also records that it was Jiang who
taught Chen Chang Xin the art. Wu Tu Nanžs book records his
encounter with Chen Xin on the matter. Chen Xin admitted that Chen
Chang Xin had learned the art from Jiang Fa after Jiang had
defeated Chen Chang Xin and that because of that, Chen Chang Xin
was not allowed to teach Pao Chui. (Authoržs note: this may very
well be the reason why Chen Chang Xin conducted his classes in
secret in the backyard and at night. This is where Yang Lu Chan
found him teaching his art and subsequently learned a great deal
from spying on these secret nocturnal classes)
The Chen Taijiquan proponents have also said that Jiang was a
student of Chen Wang Ting. But the writings of Chen Xin indicate
that Chen Wang Ting was a Ming Dynasty personage and Jiang Fa was
a Ching Dynasty, Chien Loong Era personage. So their assertion is
baseless.
Given the evidence above of the nature of the early Chen
family arts, Jiang Fa could indeed have been the person who
žsoftenedž the existing art to the present day Taijiquan and input
the 13 postures into the art. The 13 postures consist of the 8
different Jings and the Five directions of movement. It is
interesting to note that the early Chen documents record different
names for the 8 jings than the conventionally accepted ones which
are in the Taijiquan Classics. (Another article will deal with
this)
Jiang Fažs Teacher: Wang Tsung Yueh
-----------------------------------
The song formula at the very back of Chen Xinžs book indicates
that Jiang Fažs teacher was from Shanxi, in the context of
Taijiquan that would indicate Wang Tsung Yueh and the contents of
the song formula is almost identical in every way to the Taijiquan
Treatise (Taijiquan Lun) which is attributed to Wu Yu Xiang (this
attribution originates from Tang Hao who assumed because WuYu Xiang
compiled the sayings on žHitting Handsž of which this was one
section, that it was Wu Yu Xiang who wrote it. This is to
differentiate it with Wang Tsung Yuehžs Taijiquan Classic of the
same name). This would mean that Wu Yu Xiang did have access to
Wangžs teachings and that the Chen family does acknowledge his
existance and that he taught Jiang Fa.
Zhao Bao also records him in their lineage and he is an
important figure in the Yang lineage as well. The Taijiquan Classic
of his is probably the most profound work on the nature and
function of the art of Taijiquan. Some have cast doubts on it,
saying that it was the work of Wu Yu Xiang and attributed to Wang
Tsung Yueh. We have no evidence of this and Wu Yu Xiang did not
hesitate to record his own name as the author of other works, what
makes this one so special then.
Tang Hao and Gu Liu Xin have written that Wang had learned his
art from the Chen family but one must note that this is pure
conjecture as there is no evidence to suggest that this is so. In
documents pertaining to Wangžs life, there is no mention that he
learned his art from the Chen family.
There has been some speculation about his existance but all
the early lineages record him and accept him as having existed.
This speculation is based on the fact that there are no original
documents available for his works. But one needs also to note that
there are no original documents pertaining to Chen Wang Tingžs
works either. But the consensus of the early evidence does suggest
that they all believe he existed and they do record his teachings.
Bibliography :
ž žChen Shi Tai Chži Chuan Tu Shuož by Chen Xin, published in 1933
ž žChen Shi Chuan Xie Hui Pianž by Chen Tze Ming, published in
1935
ž žChen Shi Tai Chži Chuan Hui Chongž by Chen Ji Pu, published in
1935
ž žTai Chži Chuan Shuž by Gu Liu Xin, published in 1982 by the
Shanghai Educational Press
ž žZhong Guo Wushu Shiž by Xi Yun Tai, published in 1985 by the
Peopležs Physical Education Press
ž žZhao Bao Tai Chži Chuan Tu Puž by Song Yun Hua, published in
1991 by the Shanxi Scientific Technology Press, ISBN 7-5369-
0914-4
ž žWu Dang Zhao Bao Chuan Tong San He Yi Tai Chži Chuanž by Liu Hui
Shi, published in 1991 by the Shanxi Scientific Technology Press,
ISBN 7-5369-0796-6
ž žJi Xiao Xin Shuž by General Qi Ji Kwang, published in 1561
ž žChuan Jingž by various authors, published in 1918 by Da Sheng
Book Shop.
ž žWu Dang Jue Již edited by Li Tian Ji, published in 1988 by the
Gu Lin Scientific Technology Press, ISBN 7-5384-1059-8
ž žWu Dang Wu Gongž edited by Pei Xi Song and Li Chun Shen,
published in 1984 by the Hunan Scientific Technology Press
ž žTai Chži Chan Zhong Si Wang Tsung Yueh Kaož by Tang Hao,
published in 1969 by Unicorn Press
ž žTai Chži Chuan Yan Jiuž by Tang Hao and Gu Liu Xin, published in
1992 by the Peopležs Physical Education Press, ISBN 7-5009-0774-5
ž žTai Chži Ming Jia Tan Zhen Diž various authors, published in
1992 by the China Television Press, ISBN 7-5043-2032-3
ž žYang Shi Tai Chži Chuan Zhen Zhongž by Zhao Bin, Zhao Aou Bin
and Lu You Ming, published in 1992 by San Tai Publications, ISBN
7-80546-379-4
ž žTai Chži Chuan Zhi Yan Jiuž edited by Mah You Ching, published
in 1984 by Trading Publication House, ISBN 962-07-5024-1
ž žChen Style Taijiquanž compiled by the Zhao Hua Publishing
House, published in 1984 by Hai Feng Publishing Company, ISBN
962-238-016-6
ž žComplete Tai-Chiž by Alfred Huang, published in 1993 by Charles
E. Tuttle Publishing Co., Inc., ISBN 0-8048-1897-5
ž žFundamentals Of Tai Chi Chuanž by Wen-Shan Huang, published in
1973 by South Sky Book Company
ž žOn Tai Chi Chuanž by T Y Pang, published in 1987 by Azalea
Press, ISBN 0-9612070-1-9
ž žChinese Boxing - Masters And Methodsž by Robert W. Smith,
published in 1974, 1990 by North Atlantic Books, ISBN 1-55643-085-x
ž žComprehensive Asian Fihting Artsž by Donn F. Draeger and
Robert W. Smith, published in 1980 by Kodansha, ISBN 0-87011- 436-0
-----------------------------------------------------------------
Wushu 32 Form Cudgel Play
-=========================-
Section Two
1. Single-hand Swing and Downward Strike
1) Right foot moves to the left to place toes on ground. Body
turns right to form a high right empty stance. At the same time,
left hand loosens grip, and moves upward to form a palm gesture.
Right hand raises cudgel up, twists out and stretches out to the
right, making cudgel tip move upward from left, then to right in an
arc. Look forward to the right. (Diagram 17)
2) Without halting, right hand continues to swing cudgel
downward, backward, and then to uppper-front, making cudgel tip
pass by right leg and go around to upper-back. (Diagram 18)
3) Without halting, right wrist twists rightward and right arm
bends to rest at the right side of stomach, making cudgel tip
continue to go around upward and forward. Then, left hand grasps
cudgel. Strike down powerfully until the cudgel is parallel to the
ground. As the strike is being done, left foot takes a step
forward, body turns 180 degrees clockwise, and legs squats half way
down to form half horse stance. Look at cudgel tip. (Diagram 19)
Note: The swinging should be powerful. Cudgel should be kept
close to body when is goes in a vertical circle. Left hand should
move quickly with good timing to ensure an accurate catch on
cudgel.
2. Raise Knee and Stike Downward with Cudgel End
1) Weight shiffts back to right leg and left foot slightly
turns in with only toes resting on ground. At the same time, right
hand holds cudgel end and raises it to upper-right, while left hand
slightly slides toward cudgel tip. Look at cudgel tip. (Diagram 20)
2) Immediately following the above, bend left knee and raise
it up so as to sand on right foot. At the same, right hand presses
down powerfully to front until the arm is straight. Left hand moves
to under right armpit. Body turns left. Strike forward with cudgel
end until cudgel body is horizontal. Look horizontall forward.
(Diagram 21)
Note: The Strike and Knee raise should be done at the same
time. Body should slightly lean forward.
3. Bow Stance Qindmill and Downward Strike
1) Left foot lands in front of body, with toes turning out.
Body turns left to form a cross step. At the same time, right hand
moves cudgel end to down-left of body. Look at cudgel end. (Diagram
22)
2) Right foot takes a step rightward, with toes touching
ground and body slightly turning right, to form a right empty
stance. At the same time, cudgel end strikes uupward and forward,
until it is as high as head. Left hand pulls back to left side of
waist. Look at cudgel end. (Diagram 23)
3) Right foot again takes half a step forward, knee bends,
while left leg straightens to form a right bow stance. At the same
time, left hand slides to the middle of cudgel and moves it
backward, upward, and then forward. Right hand naturally withdraws
to left armpit, so as to make cudgel tip strike down. Cudgel tip is
at eye-level. Look at cudgel tip. (Diagram 24)
Note: The swing and downward strike should be continuous.
Cudgel must move in a vertical circle at a steady speed.
4. Bow Stance Shouldering Cudgel
1) Turn body rightward, rotating on the ball of right foot and
the heel of left foot. At the same time, left hand moves cudgel tip
downward, to right side of body by passing front of stomach, so as
to execute a circular sweep outside right leg. Look at cudgel tip.
(Diagram 25).
2) Without halting, left foot steps forward to form a left bow
stance. At the same time, left hand continues to go upward and then
forward, while right hand withdraws to front of stomach, making
cudgel swing with its tip moving upward and forward. Look at cudgel
tip. (Diagram 26)
3) Immediately following the above, left hand continues to
circle in front of stomach, and right hand goes up to the rear,
making cugel swing with its end going up. Look forward. (Diagram
27)
4) Right hand continues to move forward, and then downward to
the rear. Left hand places cudgel under right armpit, and then
loosens grip to rest on right side of chest, making cudgel swing
with its end going forward and downward to the rear. Cudgel rests
obliquely on right shoulder, cudgel end in right hand, and cudgel
tip pointing to upper-front. (Diagram 28)
5) Left hand stretches forward from right side off chest, to
form a standing palm, with the outer-edge facing forward. Look to
the left. (Diagram 29).
Note: All the movements should be continuous and well-knit.
The cudgel should move in a vertical circle. When shouldering the
cudgel, right hand should grip the cudgel loosely. The arms should
be stretched out and the body slightly learning forward.
(Continued on next issue)
(Continue on next issue...)
----------------------------------------------------------------
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CANTON WING CHUNG KUNG FU
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******************* END OF PAID ADVERTISEMENT ******************
----------------------------------------------------------------
The Shaolin Monastery Stone Monument of 728 AD
part II
By Salvatore Canzonieri, Boonton, New Jersey
Fifty li (Chinese miles) to the northwest of the monastery in
Baigu Retreat. There the myriad peaks crowd one upon another,
threaded about with deep ravines. From ledge upon ledge rimmed with
cloud, looking down, one might espy the realm of the Dragon. The
high summits brush against the clouds and give a view across the
highway of the birds. Under Jin, the estate became a bailiwick town
(wu) and under Qi, it was made a commandery (jun). When Wang
Shichong made his bid to usurp the throne, it bore the name
Yuangzhou. Taking advantage of its strategic location, he
established a mountain-top garrison post there and recruited troops
in Luoyang city with the intention of attacking the monastery.
The August Tang responded at a turning point in the cycle of
the five elements lightning flash revealing a wandering dragon.
Sacred herbs grew in tangled profusion on the peppered plaster and
the spray from a spring flew across the surface of brocaded stone.
To the carved roof beams was added even greater splendour, as if
they were garlanded with spring flowers and the golden floor mats
sparkled as though sprinkled with autumn dew.
On the decease of Tianhuang (the Heavenly August One), Zetian
Da Sheng Huanghou (Great Saint and August Empress who Took Heaven
as a Model), on behalf of her late saintly husband, established
merit and virtue. In the Chuigong period (685-689), a bamboo plant
put out shoots in winter and at the back of the pagoda and
cloisters, creepers grew once more. In the Zhengsheng period
(694-695), an imperial commissioner sent money for repair of the
step sin the place where the creeper was growing. Above the
monastery, the Universal Light Hall (Puguangtang), was planned and
as a result of good works, over the course of time, it was
constructed. From then onwards, flying birds no longer dared to
soar and flock together there.
At this monastery, Buddhabhadra halted his wanderings,
creating a karma sacred and occult. The August House regarded the
monastery with reverence and events illuminated its mysteries.
Curious parents often appeared among animals and plants and
numinious responses frequently came forth in the monastery gardens.
Successive saintly monarchs showed concern for the monastery, each
bestowing on it generous favors. Princes uttered pronouncements and
wrote their signatures which barhed in splendor this Rooster Peak.
Precious Buddha images and bedded banners were likewise brought
post-haste to this Dragon Ravine.
The present emperoržs sagely strategy reaches wide compass
and his divine action shows manifold abilities. He bases himself on
the transforming purity of the Luminous Terrace. He understands the
mysterious subtleties of the Heavenly Lake. Understanding how
closely interwined with the fate of his saintly predecessor this
monastery had been, His Majesty wrote a stele title in seven
characters and in the winter of the eleventh year of the Kaiyuan
period, sent down his Edict of Grace, through Master Yixing,
presenting the calligraphy to the Shaolin Monastery for engraving.
In the Heavenly Halls hung the splendour of sun and moon and in the
Buddha groves wafted clouds of fragrant incense. Compared to this
Emperor Yuang of Han and Emperor Wu of Wei won admiration for their
silk scrolls inscribed with seal characters in vain and Zhong Yao
and Cai Yong drew empty praise for their inscription on bamboo
tablets. Recently, an enlightened decree ordered: žThe landed
estates of the Buddhist monasteries and Taoist temples of the
empire are all to be confiscatedž The present emperor, in
consideration of the facts that the lands and mill of this
monastery, the generous donation of his saintly predecessor, for
many a long year in the monasteryžs possession, cloaked in the
bosom of the mountain and trailing a train of numinous traces. The
dewlling of a host of immortals, surpassing the golden peaks of
Rajagrha, the abode of those of highest virtue, throwing into the
shade of King Asoka žtupas, as a social favor, returned the
lands and mill to the monastic community and did not include them
in the official appropriation, for they had been alienated, in a
pious gesture, from the domain of the stare and graciously
conferred upon the clergy. Decidedly it was a case of "this
monasteryžs fame exceeding all others in the land, it is to be
treated with special courtesy, setting it apart from all ordinary
monasteries."
(Continued on next issue)
Salvatore Canzonieri is a free-lance artist & writer for various
publications (Wushu Kungfu, Han Wei's Wushu, Seconds, EXIT, and
others), with experience in Wu Style Taiji, Southern Shaolin,
Northern Shaolin, Qigong and various other Traditional Chinese
Kungfu styles. He is currently researching material for a future
Encyclopedia of Traditional Chinese Kungfu History and Forms.
----------------------------------------------------------------
Wushu 32 Form Broadsword Play
=============================
Movement 5. Left Chop
A. Body rises. Left palm retrieves to right side and rests on
right wrist. Broadsword circles to the left with back of broadsword
passing left arm, and tip pointing down. (Diagram 16-1)
B. Standing on front parts of both feet, body turns lefft and
to the back. Left palm extends to the left with thumb facing down.
Broadsword continues to pass left arm and then moves to the back.
Right leg bends slightly. (Diagram 16-2)
C. Body continues to turn left to form left bow stance.
(Diagram 16-3)
D. Right foot steps forward and to the left. Right leg bends
slightly. Broadsword moves up, and chop down in front and to the
left, with tip slantedly pointing down. Left palm rests on right
elbow with fingers pointing up. (Diagram 16-4)
E. Then right arm twists so that tip of broadsword flips to
the back, blade faces down. Left palm rests on right wrist. Eyes
look horizontally to the front. (Diagram 16-5)
Note: All movements must be swift and continuos
Movement 6. Right Chop
A. Body rises a little and turns right. Right hand moves up.
Tip of broadsword points down. Broadsword circles to the back past
left shoulder. Left palm moves up. (Diagram 17-1)
B. Left foot steps forward and to the right. Right leg bends
slightly. Broadsword moves up, then chops down in the front and to
the right, with tip slantedly pointing down. Left palm rests on
right wrist. (Diagram 17-2)
C. Continuing from above movement, right arm twists and right
wrist turns so that tip of broadsword turns to the back. blade
faces down. Left palm moves to the left. Eyes look at tip. (Diagram
17-3)
Note: Chopping action mustt be quick and powerful.
Movement 7. Cross-legged Stance and Press
A. Right arm twists so that tip of broadsword points down.
Back of broadsword circles from right shoulder to the back. Eyes
look at right hand. (Diagram 18-1)
B. Using front part of left foot to pivot left heel turns out.
Right leg crosses left leg in the back. Broadsword continues to
circle from the back to left shoulder. At the same time, left palm
moves up and rests on right wrist. (Diagram 18-2)
C. Both knees bend completely to form cross-legged stance.
Broadsword presses down on left side. Left palm remains placed on
right wrist. Blade faces down, and tip points to the back. Eyes
look at broadsword. (Diagram 18-3)
Note: Movements must be swift and continuous.
Movement 8. Horse Stance and Horizontal CChopo
A. Body rises slightly and turns to the right. As body turns,
both hands move up. Tip of broadsword points down. Eyes look at
tip. (Diagram 19-1)
B. Both legs bend to form horse stance. Broadsword moves up,
and then chops down on right side. Tip slants upward. Left palm
blocks above head on left side. Eyes look at tip. (Diagram 19-2)
Note: When doing horse stance, toes of both feet must hook in.
Thighs must be level.
(Continued on next issue)
----------------------------------------------------------------
Han Wei Wushu! Summer Calendar of Events
Cleveland, Ohio
* Saturday, August 26, 1995 ž 2999 Asia Plaza 2nd Floor ž Sifu
Ted W. Knecht ž Workshop on Chinese Xiang Gong Qigong ž
2,000 year old Buddhist Qigong style (easy to learn and
takes little time to practice) ž 2pm to 4pm ž $35 per
person ž Preregistration recommended.
* Friday, September 15, 1995 ž 2999 Asia Plaza 3rd Floorž
Workshops with ($30 per person per workshop, tickets available
at Imperial Travel located at Asia Plaza):
1pm - 3pm
Grandmaster Gin Foon Mark
Topic: Southern Praying Mantis Fighting Applications
3:30pm - 5:30pm
Master Nick Gracenin
Topic: push hands
6pm - 8pm
Master James Cook
Topic: Tournament Fighting Techniques
* Saturday, September 16 ž 1995 Han Wei National Martial Arts
Championship Cleveland State University Woodling Gym
Cleveland ž Ohio ž OPEN TO ALL STYLES FROM U.S.A. & CANADA,
more than 3,000 schools of diversified styles (Karate, Tae
Kwon Do, Kungfu, Wushu and others) are being invited -
Divisions include: Taijiquan Divisions, Other Internal Arts
Divisions, Open Hand Divisions, Weapons Divisions, 2 Man
Open Hand & Weapons Divisions, Light Contact Divisions, Push
Hands Divisions, San Da Full Contact Division Prizes:
Medals, Certificate, Trophies, and Vacation Trip for Two
for Grand Champion of San Da Full Contact ž Sponsorships and
Vendo8ržs Booth information are available upon request (all
sponsorship is tax deductible) Request rules and other
information from us or through Internet at
xx...@cleveland.freenet.edu Committee members: John Rajic,
Xiaoming Oon, Nick Gracenin, Tony Brown, Ted Knecht, Gary
Yano, Andy Sokol, Robert Nekic, Wolfgan Hofmann, Jose
Johnson, Mark Pringle, Salvatore Canzonieri, Ray McCloud,
Liang Guang, Hu Wei Yue, Mike Veninshek, David Schenk, Mike
Biggie, Tshaka Brown, Bob Bennett, Lorenzo Rashid, Aamil
Bilal, John Ervin, Bruce Ledger, Greg Mayo, and Joe Colvin
Special guests include: Grandmaster Gin Foon Mark, Master
James Cook, Master Kwok W. Chu, Master oseph Catlet Jr., and
many others.
* Saturday, September 16, 8pm * Meet-the-Masters Banquet at Li Wah
Restaurant located at Asia Plaza, 2999 Payne Avenue. A chance
to get to know differrent masters and to celebrate Master Gin
Foon Mark's 68th Birthday with delicious 10 Course Dinner.
Tickets are $30 per person (Instructor rate is $25 each),
available at Imperial Travel (1-800-633-ASIA), Han Wei or
Welcoming Team (216/791-3260)
* Sunday, September 17, 1995 ž 2999 Asia Paza 3rd Floor
Workshops with: ($30 per person per workshop, tickets
available at Imperial Travel located at Asia Plaza)
11am - 1pm
Master Nick Gracenin
Topic: Shaolin Gong Li Quan
1:30pm - 3:30pm
Sifu Tony Brown
Topic: Hung Gar Tiger Crane 2 Man Set
FOR MORE INFORMATION ON ANY OF THE AFOREMENTIONED EVENTS, PLEASE
CONTACT HAN WEI * 321 PAYNE AVENUE * CLEVELAND * OHIO * 44114
TEL/FAX: 216/579-9707 * eMAIL: han...@hanwei.clever.net
Website at http://hanwei.clever.net
---------------------------------------------------------------
*************** THIS IS A PROMOTIONAL MATERIAL **************
THIS IS NO THROW AWAY OFFER
by
Continental Airline
Meeting: Han Wei National Martial Arts Championship
City: Cleveland, Ohio
Date: September 15-17, 1995
Pricing/Fare Discount:
45% off First Class
45% off full Coach Class
10% off Y8/H8
5% off lowest applicable fare
Call Imperial Travel
the official Travel Agency for Han Wei
1-800-633-2742
******************* END OF PROMOTIONAL MATERIAL ******************
-----------------------------------------------------------------
Han Wei Wushu!
presents
1995 Han Wei National Martial Arts Championship
Saturday, September 16, 1995
Cleveland State University Woodling Gym
Cleveland, Ohio
OPEN TO ALL STYLES FROM U.S.A. & CANADA
Divisions include:
Taijiquan Divisions * Other Internal Arts Divisions
Open Hand Divisions * Weapons Divisions
2 Man Open Hand & Weapons Divisions
Light Contact Divisions * Push Hands Divisions
San Da Full Contact Divisions
Workshops available on
Friday, September 15, 1995
Sunday, September 17, 1995
Prizes:
Medals for Forms, Push Hands and Light Contact Divisions
Trophies for San Da Full Contact Divisions
Airplane Ticket for Two to ANYWHERE in the USA
for Grand Champion of San Da Full Contact
Special Events During Championsip
Chinese Lion Dances - Award Ceremony
Grandmaster Gin Foon Mark's Birthday Celebration
Masters Demonstration - Meet-The-Master Banquet
Special Guests Attending:
Wai Hong Eng, Ralph Michell, Kwok Chu
Joseph Catlet Jr, Frank Sanchez, Chu-Man Szeto
Seng Au, Norman Chin, Buddy Wu, and many others
Hosted by America's Leading Corporate Magician
Eric Brouman
More than 2000 spectators are anticipated
More than 3,000 schools of diversified styles
(Karate, Tae Kwon Do, Kungfu, Wushu and others)
being invited to take part in this event.
Sponsorships and Vendor's Booth information
are available upon request.
For more information or requesting an electronic
registration form with rules, please email:
han...@hanwei.clever.net
or check out the WWW at
http://www.hanwei.com
For information on airfare, hotel, car reservation,
call our Official Travel Agent:
ITS 1-800-633-ASIA
*****************************************************************
Han Wei is a nonprofit organization dedicated in promoting
Chinese culture and martial arts. Han Wei has been organizing
several activities throughout Ohio and Pennsylvania and is
currently accepting membership. Members of Han Wei's organization
will receive a membership certificate, membership card, Han Wei
T-Shirt. In addition, Han Wei will help you promote your school
and events, organize/translate/design the master copy of your
flyer, referring prospect to your school, receive discount, help
communicate with your local Chinese Community in requesting their
support for your events, and many more.
--------------------------------------------------------------
NewsBits:
========
* Han Wei's Wushu! Newsletter is currently available through e-mail
FREE to subscribers, and hard copies for $12/year, as well as being
distributed through Internet Usenet, CompuServe, America Online,
Prodigy and many other online services. More than 100,000 people
through Internet reads the newsletter. Check out the Han Wei
Webpage at HTTP://WWW.HANWEI.COM with cultural information,
events, martial art articles. Check it out!
* There are currently several Chinese martial arts electronic
mailing lists availabe through Internet. If you have access to
Internet, feel free to join these groups: Han Wei Wushu! (a monthly
electronic newsletter covering all Traditional and Contemporary
Chinese martial arts, email han...@hanwei.com), The Kungfu
Electronic Discussion (daily discussions of/or exchanges of
knowledges concerning the Traditional Chinese martial arts, email:
list...@leper.tamu.edu), The Tai-Chi group (daily grouped
discussions of topics related to Taiji, email:
list...@netcom.com), and the Internal martial arts group - Neijia
(daily exchange and discussion of topics related to internal
styles, email: nei...@lists.stanford.edu). Simply mail to these
addresses and they will gladly provide you the necessary
information to join.
* Sifu Ted Knecht is hosting a Qigong Workshop on Saturday, August
26 from 2pm to 4pm at Asia Plaza located at 2999 Payne Avenue in
Cleveland, Ohio. This workshop will cover the elementary level of
Chinese Fragrance Xiang Gong Qigong, a 2,000 year old Buddhist
Qigong style. This style of qigong helps to create health and
longevity, and prevent diseases, improve mental functions and
develop internal energy. Open to all. Cost for the workshop is
$35.00. A minimum of ten participants are required to conduct the
workshop. Early registration is highly recommended. For
reservation, please call Han Wei at 216/579-9707.
* Han Wei will be celebrating Master Gin Foon Mark's 68th Birthday
on Saturday, September 16 at the 1995 Han Wei National Martial Arts
Championship held at Cleveland State University's Woodling Gym.
Please come and join us for a great day of event and celebration.
A Meet-The-Master Banquet will be held at Li Wah Restaurant at 2999
Payne Avenue on Saturday night after the San Da Full Contact
(Approx. after 8pm), the banquet will include 12 Delicious Course.
Banquet ticket is $30 each. Instructor only pay $25. Please
purchase with Han Wei at 216/579-9707.
* 3 times National Kuoshu Kungfu Lei Tai (Full Contact on a
platform) No-Limit Weigh Division Champion D'wayne Harrell will be
participating at the 1995 Han Wei National Martial Arts
Championship. He hopes to witness good martial artist
participating at the San Da Full Contact event. Is there anyone out
there that can defeat Mr. Harrell?
* Chicago Masters Hao Kung Leung and Peter Kniep will be giving 2
workshops on Shaolin Iron Fan Form, workshop for the 72 movements,
on September 22-24 and October 13-15. It will be held at First
English Lutheran Church located at 2419 Euclid Heights Blvd. Cost
for Two Weekend workshp is only $175. For more information, call
216/991-9791 or 216/932-5839.
* The First International Wu Style Tai Chi Chuan Federation
Convention on October 14-15, 1995 at Metropoliton Toronto
Convention Center, four Generations of Living Masters of the Wu
Family 3rd Generation - Wu Ying-Hua and Ma Yue-Liang, 4th
Generation - Wu Yan-Hsia, Kwok Hsiao-Jong and Wu Tah-Sin, 5th
Generation - Wu Kwong-Yu and Wu Hslao-Fung, 6th Generation - Wu
Chung-Him, Wu Chung-Wai. Become part of this historic event. Topics
will include: Wu Style Form, including the Fast Form, Pushing
Hands, Eight Elements of Power Generation, Martial Applications of
the Form, Weapons Forms, including Spear, Sword, Saber, and Double
Sword, Principles of Chi Kung. For more information, please contact
Wu's Tai Chi Chuan Academy, 416/597-8426.
* Master George Ling Hu will be at Kalamazoo, Michigan for a
weekend of Neijia Workshop. Workshop will be held on October 22 and
23. Workshop include: Qigong, Secret Yang Style Taijiquan, Bagua,
and Chin Na. Cost is $120. For registration information, please
call Brian Hoff at 616/382-1209.
* The annual Martial Arts Gallery of Fame will be held here in
Cleveland from October 27 to 28th. Several masters will be
providing workshops: Eric Lee, Michael DePasquale Jr., Jurg
Ziegler, Graham Lewis, and many others. For more information,
please call Actin Portrait Studio at 216/338-3409.
* Taiji and Qigong Resources by Ted W. Knecht is now available.
Books: Authentic Yang Style Taijiquan: Vol. 1 - Basic Foundations
for $15.00, Chinese Xiang Gong Qigong - Internal Energy Exercises
for $10.00. Instructional Video Tapes: Authentic Yang Style
Taijiquan - 85 Posture Routine (60 minutes, covers history, basics,
and front & rear vew of form) for $39.95 and Chinese Xiang Gong
Qigong - Elementary & Intermediate Levels (60 minutes, covers
history, guidelines, demonstrations and instruction of both levels)
for $39.95. For more information, please call 216/475-9277.
* Action Portrait Studio will be providing special certificate for
Adult Advanced Gold Medalist at the 1995 Han Wei National Martial
Arts Championship. This is an opportunity to received discounted
portrait of themselves by the Studio. Discounts ranges from 15% up
to 50%.
* Continental Airline will be providing two pairs of Airplane
Ticket (to anywhere within the U.S.A.) Award will be given to the
Grand Champions (one for men, one for women) for the San Da Full
Contact Division at the 1995 Han Wei National Martial Arts
Championship. We thank Continental Airline in providing discounted
group rate airfare and their sponsorship.
* Mike Sigman will be giving a Boston Internal Martial Art
Workshops on October 7 and 8, 1995 at the Church of Our Saviour,
cost: $125, for more information, call Rich Shandross at work:
617/253-2944 or home: 617/787-1126. Another workshop is being held
in Santa Rosa on December 2-3. For more information, write to Rob
Chavez at 1012 Rubicon Way, Santa Rosa, CA 95401.
* Han Wei's Official Martial Arts Supplier Mr. Dan Strickland will
be providing martial art equipments and accessories during the Han
Wei Championship. Members of the Han Wei MidWest Martial Arts
Association will receive special discounts. For more information on
how to become member of our organization, please contact Han Wei.
* Every 3rd Saturday of each month, a Karate Championship is hosted
at 10318 Lorain Avenue in Cleveland, Ohio by the Cleveland Trophies
Company. Many local martial artists of all styles come together in
participating at the tournament to demonstrate their discipline
under one roof. For more information about the Karate Championship,
please contact Dan Soward at 216/252-2301.
-------------------------------------------------------------------
*************** THIS IS A PAID ADVERTISEMENT **************
Samson's Powerhouse
2908 Pearl Avenue * Lorain * Ohio 44055
Tel: 216/240-1115
formally Guinina's Gym
We are currently offering Pro-wrestling and Boxing and Mart Arts
(Jeet Kune Do) Training.
******************* END OF PAID ADVERTISEMENT ******************
----------------------------------------------------------------
*************** THIS IS A PAID ADVERTISEMENT **************
New Book Release !!!
AUTHENTIC YANG STYLE TAIJIQUAN
Volume One - Basic Foundation
BY TED KNECHT
AUTHENTIC YANG STYLE TAIJIQUAN covers in detail the history,
healing aspects, primary essentials, basic trainin, and internal
energy exercises for Yang Style Taijiquan. Much of the material
found within this manual has nver been translated into English
from the classical Taijiquan texts written hundreds of years ago.
Read for the first time what the founding fathers of Taijiquan
wanted the whole world to read and learn from. As an added
feature to this manual, an internal energy development section is
included. The internal energy exercises are illustrated in great
detail and consists of Wuji Qigong, Sitting and Standing Eight
Pieces of Brocade, Tapping Qigong, and the famous Taiji Thirteen
Methods Qigong Style.
AUTHENTIC YANG STYLE TAIJIQUAN is suited for both the novice and
the expert. This manual is a must for those who wish to increase
their knowledge in the art of Taijiquan. There are over 120
figures included for self-study of the various exercise found
within the manual.
paperback. 100pp. 120 figures 8 1/2 x 11
Price for subscription members to Wushu! is $15.00
Price for non-members: $19.95
Shipping & Handling add $3.00 (within USA); $7.00 (outside USA)
money orders only
For sale through Han Wei's Wushu! by calling 216/579-9707
******************* END OF PAID ADVERTISEMENT ******************
===========================================================
End of Wushu! Issue #17
===========================================================