Martial Arts Of The World - Webs
Martial Arts Of The World - Webs Martial Arts Of The World - Webs
38 Boxing, Chinese Shaolin Styles however, to assume that the development of martial arts was a primary function of the Shaolin Temple, and that all fighting arts of China may be traced back to the Shaolin arts. In fact, at this time, the People’s Republic of China recognizes only two forms as being authentic Shaolin fist methods: the Xiao Hing Quan (little red fist) and the Da Hong Quan (big red fist). In contemporary usage, the appellation “Shaolin” functions primarily to establish credibility for the lineage and therefore the efficacy of a given style. Other arts that did not claim to originate in the temple were no less effective or devastating. In fact, other arts, especially the “internal arts,” such as xingyiquan, baguazhang, liu ho ba fa, and taijiquan, are regarded as being diametrically opposed to the Shaolin arts. These arts make up the “internal” martial arts, while the arts of Shaolin are thought of as “external” martial disciplines. The internal methods primarily seek to cultivate the esoteric inner strength known as qi. The external methods have traditionally been seen as relying mostly on building up muscle and bone strength. On the other hand, the famous five animals of Shaolin—the Dragon, Tiger, Crane, Snake, and Leopard—were said to develop not only physical but mental attributes. The Dragon forms were practiced to develop an indomitable spirit, the Tiger to develop bone strength, the Crane to develop the tendons, or sinews, the Snake to develop the qi, and the Leopard to develop speed. The origins of both the internal and external styles are similarly the subject of traditional narrative, which is subject to distortion. In fact, Stanley Henning claims that both the origin legends (of the external styles in Shaolin and the internal arts at a site on Wudang Mountain) are derived from a single political allegory. In time, and based upon the geographic location of the various temples, tradition maintains the styles were modified to suit their respective environments. As noted earlier, the stylists of the north became extremely skilled in kicking techniques, and those in the south devoted themselves to striking techniques. The major feature of northern styles of Chinese boxing is that the techniques avail themselves of greater acrobatic methods and a wider variety of kicking techniques. These types of movements can be found in styles such as Mi Zhong Lo Han (Lost Track Lohan [Buddhist disciple]), Tanglangquan (Praying Mantis Boxing), and Bei Ying Jow Pai (Northern Eagle Claw; pinyin Bei Yingzhaoquan). The major features of the southern methods are the lower stances and a greater emphasis on punching techniques and close-range methods, including qinna (grasp and seize) and dianxue (spot hitting), in Cantonese called dim mak (death touch). This emphasis can be seen in such arts as Nan Shaolin Hu Hao Quan (Southern Shaolin Tiger Crane Fist); yongchun, better known by the Cantonese term wing chun (Eternal Spring); various Hequan (Crane Boxing) styles; and Choy Lay Fut Boxing (pinyin Cailifoquan). The Southern
Shaolin arts have quite a diversity of short-range weapons, but also train in long-pole weapons, though not to a greater extent. The Northern Shaolin Temple is now a tourist attraction in Henan province, China. The Southern Shaolin Temple was located in what is now Putian County in the Fujian province, and went by the name Lingquanyuan Temple. The other temples that called themselves Shaolin were in Wudang, Guangdong, and Er Mei (also spelled Emei), each with its own unique brand and flavor of martial art culture and discipline. Yang Jwing-Ming and Jeffery Bolt in their traditionally based brief history of the Shaolin systems set the number at ten. At certain times in the history of China, various emperors called upon the monks to defend the state against foreign incursion. One spectacular event is a well-chronicled one, in which a group of monks went to the aid of the Tang emperor Li Shimin (A.D. 600–649), also known as Emperor Taizong. Although the narratives of Li Shimin have been submitted to the distortions of oral tradition and popular vernacular literature (telling of intervention by celestial dragons, for example), the traditions surrounding his reign chronicle events in which thirteen monks helped to save his life. He tried to reward them with official court posts, probably in an effort to keep them under his surveillance and control. They decided to refuse the honor, but the emperor authorized them to build a force of warrior monks in case their services were needed again. According to the legends of the Hong League (better known as the Triad Society) summarized by Fei-ling Davis in Primitive Revolutionaries of China, in the late seventeenth century (around 1674) the Shaolin monks of Fujian Monastery were called upon by the Qing emperor Kangxi (1664–1722) to defend against invading tribes of Eleuths. According to some sources, a former Ming patriot named Cheng Wan Tat led the monks. They were successful in their mission, and again they were offered high court postings, which they politely refused. This was a major mistake, for the emperor’s ears were filled with the idea that such a group, so small yet so powerful, must pose a threat to national security. As a result, the emperor ordered the Shaolin Temples razed and all in them slaughtered. Luckily efforts to exterminate the monks were unsuccessful. According to legend, five survived, which hardly seems a large enough number to have perpetuated the Shaolin arts, but this aspect of the story is far more credible than the magical yellow clouds, grass sandals turning into boats, and wooden swords sprouting from the ground that permitted the successful flight (Davis 1977, 62–64). The vested interest of the anti-Qing/pro-Ming secret societies in Shaolin traditions becomes apparent in the narrative of the subsequent exploits of the Five Ancestors (as the fugitives came to be called). Many of the Boxing, Chinese Shaolin Styles 39
- Page 9 and 10: Editorial Board D’Arcy Jonathan D
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38 Boxing, Chinese Shaolin Styles<br />
however, to assume that the development of martial arts was a primary<br />
function of the Shaolin Temple, and that all fighting arts of China may be<br />
traced back to the Shaolin arts. In fact, at this time, the People’s Republic of<br />
China recognizes only two forms as being authentic Shaolin fist methods:<br />
the Xiao Hing Quan (little red fist) and the Da Hong Quan (big red fist). In<br />
contemporary usage, the appellation “Shaolin” functions primarily to establish<br />
credibility for the lineage and therefore the efficacy of a given style.<br />
Other arts that did not claim to originate in the temple were no less<br />
effective or devastating. In fact, other arts, especially the “internal arts,”<br />
such as xingyiquan, baguazhang, liu ho ba fa, and taijiquan, are regarded<br />
as being diametrically opposed to the Shaolin arts. <strong>The</strong>se arts make up the<br />
“internal” martial arts, while the arts of Shaolin are thought of as “external”<br />
martial disciplines. <strong>The</strong> internal methods primarily seek to cultivate<br />
the esoteric inner strength known as qi. <strong>The</strong> external methods have traditionally<br />
been seen as relying mostly on building up muscle and bone<br />
strength. On the other hand, the famous five animals of Shaolin—the<br />
Dragon, Tiger, Crane, Snake, and Leopard—were said to develop not only<br />
physical but mental attributes. <strong>The</strong> Dragon forms were practiced to develop<br />
an indomitable spirit, the Tiger to develop bone strength, the Crane<br />
to develop the tendons, or sinews, the Snake to develop the qi, and the<br />
Leopard to develop speed. <strong>The</strong> origins of both the internal and external<br />
styles are similarly the subject of traditional narrative, which is subject to<br />
distortion. In fact, Stanley Henning claims that both the origin legends (of<br />
the external styles in Shaolin and the internal arts at a site on Wudang<br />
Mountain) are derived from a single political allegory.<br />
In time, and based upon the geographic location of the various temples,<br />
tradition maintains the styles were modified to suit their respective environments.<br />
As noted earlier, the stylists of the north became extremely<br />
skilled in kicking techniques, and those in the south devoted themselves to<br />
striking techniques. <strong>The</strong> major feature of northern styles of Chinese boxing<br />
is that the techniques avail themselves of greater acrobatic methods and a<br />
wider variety of kicking techniques. <strong>The</strong>se types of movements can be<br />
found in styles such as Mi Zhong Lo Han (Lost Track Lohan [Buddhist disciple]),<br />
Tanglangquan (Praying Mantis Boxing), and Bei Ying Jow Pai<br />
(Northern Eagle Claw; pinyin Bei Yingzhaoquan). <strong>The</strong> major features of<br />
the southern methods are the lower stances and a greater emphasis on<br />
punching techniques and close-range methods, including qinna (grasp and<br />
seize) and dianxue (spot hitting), in Cantonese called dim mak (death<br />
touch). This emphasis can be seen in such arts as Nan Shaolin Hu Hao<br />
Quan (Southern Shaolin Tiger Crane Fist); yongchun, better known by the<br />
Cantonese term wing chun (Eternal Spring); various Hequan (Crane Boxing)<br />
styles; and Choy Lay Fut Boxing (pinyin Cailifoquan). <strong>The</strong> Southern