三戰 [Sam Chien (three battles), or San Zhan], 三顫 (three shakes), or 三正 [San Zheng (three straight/proper postures)]?
Helen Shen
"Hi just thought I would write a piece about the Sam Chien form. In
this piece some of the explanations will be simple, this is so that all
can understand. There are many versions of the Sam Chien my account
describes the version that I do.
As I have mentioned before the White Crane style is around 350 years
old. Over the years the style has developed and spread and now there
are several systems within the style, the major systems being Ancestral
Crane, Feeding Crane, Flying Crane and Shouting Crane. Although these
systems may look different and emphasise different aspects of the style
they are all based on the same principles and are the same style. As
most Chinese people were illiterate in ancient times, often only the
sounds and meanings of the terms used within the style were passed on
from one generation to the next. Later when these names were translated
and transcribed into Mandarin from Fukienese, there were many possible
translations of these terms for example Ancestral Crane is also known
as Shaking Crane , Jumping Crane and Sleeping Crane. At some point
during the development of White Crane the Sam Chien (San Zhan in
Mandarin) form was created. The Sam Chien is the mother form of the
system that I do and is the first form taught. This form can be found
in the Feeding and Shouting Crane systems. The form is also found in
the many arts that have been influenced by White Crane such as Ngo Cho
Kun, Kong chang, Uechi-ryu , Goju-ryu, Isshin-ryu, etc. The form is
composed of three parts the opening form, the Sam Chien proper and the
closing form. The Sam Chien itself appears simple with only three steps
forward and three steps back, each step accompanied with a set of hand
movements, however these steps contain the essence to Peho Kun.
Contained within the movements of the form are the four key principles
that govern all White Crane techniques. These principles are Float,
Sink, Spit and Swallow. Pu (float) is to push in an upwards motion
forcing the opponent off balance. Tim (sink) is to press in a downward
motion controlling the opponent’s movement making him feel as if he
was carrying a heavy weight. Tu (spit) is to strike out at your
opponent or is a powerful push used to send the opponent away. Tun
(swallow) to retract the hand, by using techniques such as Kim (grab)
or Kou (hook) and combining them with hip rotation it is possible to
neutralise an opponents attack. I remember when I touched hands with my
Sigung (my instructors instructor) the bridges were so soft that I
could hardly feel them yet I could not move them, I found myself gently
falling forwards and backwards unable to find my balance and at times I
was unable to move at all. It was like nothing I have ever experienced
before. Run out of time to be continued ..."
Thank you Jo for writing it.
It's interesting to hear the story, it has much similarity as Taiji
story we often hear. The techniques are called sticky-hands, shadowing
opponent, or absorbs/channels the opponent's force; it often happens in
Taiji, free-sparing, judo, aikido, or even in Kendo with the shinai
when directing the opponent's force with certain timing, position, and
proper force.
Sounds like 三戰 Sam Chien you practice is a form that is composed
of three parts the opening form, the Sam Chien proper and the closing
form; and the Sam Chien itself is three steps forward and three steps
back, each step accompanied with a set of hand movements and supposedly
along with the principle 吞吐浮沉.. As for our style of practice,
we don't have the form named as 三戰 but do the 吞吐浮沉 every
movement in our six forms, Qi practice, any weapon, or any step we
take.
'Float, Sink, Spit and Swallow' is the translation from 吞吐浮沉.
In English: Swallow is translated from 吞(Tun1), means inhale; Spit is
translated from 吐(Tu3), means exhale; Float is translated from
浮(Fu2), means feeling of the weight-uplift; and Sink is translated
from 沉(Chen2), means feeling of the weight-sink. Inhale needs to
work with Float; since when we inhale, our body and Dan-Tien(central
gravity) are lighter, we gain flexibility and mobility, and it will be
easier to move around. Exhale needs to work with Sink; since when we
exhale, our body and Dan-Tien are heavier, we gain stability and
strength (by pushing Dan-Tien and feet to gain counter reaction from
the gravity), and we deliver the purer power.
So, we use breathing to drive the movement, with practice, the
breathing and movements will be natural and coordinated. When we want
to move, we inhale quickly to help the body to move; when we want the
power, we exhale and deliver the force to the point of strike. As in
karate, we ki-ai(exhale) as we punch and stump (quick and heavy step)
the foot.
As the name of the forms, most are 4: 宿鶴拳(Sleeping Crane),
鳴鶴拳(Calling Crane), 飛鶴拳(Flying Crane), and
食鶴拳(Preying Crane); plus 2 more: 震鶴拳(Shaking Crane), and
遊鶴拳(Playing Crane). Feeding Crane is translated from 食鶴拳
(same as Preying Crane), and Shouting Crane is translated from
鳴鶴拳 (same as Calling Crane). Not sure about Jumping Crane, have
to see the Chinese. According to my sidi Taylor's research, he thinks
that originally there might be 4 forms, then two forms were added later
by others. And, then it might be split to different parts and enhanced
differently.
I think that white crane gongfu history will get muddier as time moves
on. But as one of the martial arts, it's interesting to see how one
delivers or absorbs/channels the power with the white crane style.
:) Helen
jo
Helen in your last post you wrote that according to your Sidi
Taylor’s research, he thinks that there were originally there were
four forms and that as the style developed these were split into
different parts and enhanced differently. However I believe that
originally White Crane style consisted of separate techniques and
concepts, which were based on Fang Chi-niang’s observations of the
white cranes. Fang Chi-niang blended the cranes movements with her
existing martial arts knowledge creating groups of movements Preying
Crane, Flying Crane, etc. These groups were not crystallised forms but
loosely grouped sets. Over the years the practitioners of the style
have developed the style, exploring, adding to, blending and refining
Fang Chi-niangs core movements into many forms and systems. The main
reason I think that the style developed this way as opposed to Sidi
Taylor’s theory is that (to my knowledge) there aren’t any forms
that are consistent to all the systems. Another reason is that a style
can’t be created over night is would take a lifetime if not many life
times. If you have ever tried to put together a form yourself you will
realise that it is hard to put together a good and practical form so
how hard must it be to create a whole system.
Bye for now Jo.