[Order Book] Kung Fu Elements
Introduction: Essential Elements
There are many martial arts systems being trained by millions of people all over the world. To master any martial art system requires similar dedication and training. Proficiency does not depend on which system you choose to study, because it is not the system that makes you proficient in martial arts. Your proficiency and attainment will depend on the effort you put into your training. This attainment is the definition of Kung Fu.
Kung Fu literally means an attainment of, or the level of one’s ability in something. In the Southern Chinese dialect and in the English language, it is often taken to mean Chinese martial arts. In actuality, any accomplishment one has attained is called Kung Fu (gongfu). For example, Van Gogh had good Kung Fu in painting, and Beethoven had good Kung Fu in music.
In order for anyone to attain proficiency in Chinese martial arts, they have to invest time and effort into their training. Because the dedication and discipline in perfecting the mental, physical, and spiritual requirements of being a true martial artist are very demanding, the term Kung Fu has become synonymous for Chinese martial arts.
The proper term for Chinese martial arts is Wushu . The Chinese character for wu is made up of two parts. The first part means to stop and the second part means a lance , a spear-like weapon used in war and fighting. Shu means art. Therefore, a definition of Chinese martial arts is the art of stopping war and fighting or the art of stopping violence. It is said, combine the character to stop with the character lance to make the character martial. This Chinese martial arts idiom implies that true bravery is the ability to cease fighting before it starts.
Chinese civilization and its perspective of life are heavily integrated with nature. Their philosophy stresses the importance and the belief in the "Unification of the heavens and humans ", a harmonious relationship between the environment and human existence. Wushu is the essence of Chinese civilization and is a major component of the Chinese social, historical, cultural, scientific, military, medical, psychological, and educational developments. From this perspective of harmonious integration, Wushu is more than just a combat readiness training. It is also a life nourishing, mental, spiritual, and educational training.
Harmonious integration, on an individual level, is about the integration of the whole person. The importance of the physical postures and movements are highly integrated with the vitality of spirit. Wushu emphasizes "training the muscles/tendons, bones, and skin externally; training qi internally ( )". Qi, in this case, refers to breathing; and the internal energy controlled, regulated, and developed by focused intention. With the proper integration of the mental and the physical, the whole body can fully express powerful martial movements. When one aspect reaches the target, all other aspects also reach the target. All styles of Wushu emphasize this harmonious integration. Each style, of course, has their own integrated expression.
In Wushu, we train the physical to aid the shapeless; cultivate the shapeless to care for the physical. The training of Wushu gives one the necessary conditioning to master one's own physical body, and gain a greater understanding of the inner workings of the mind and spirit. Both the health of the mind and the physical body are important aspects in martial arts training. A well trained martial artist, without a calm mind, is like a time bomb ready to explode. Without a good character and physical health, one would not be able to achieve a high level in Chinese martial arts. When one trains martial arts and ends up with ill health; or becomes violent, aggressive, and undisciplined, one has deviated from the traditional training and value of martial arts.
On the interpersonal level, Wushu training is also about working on social harmony. Students respect their teachers and their teachings. The relationship between a student and a teacher is unlike that in other physical pursuits. Their training stresses righteousness, humility, loyalty, honesty, trustworthiness, integrity, modesty, kindness, and courteousness. Students are expected to be ethical before learning the martial components of Wushu. With proper martial ethics and with the spirit of benevolence as a guide, Wushu practitioners are working toward attaining harmonious social relationships.
Not deviating from the philosophy of harmony, martial artists uphold martial ethics , the moral values and stepping stones for high goals in martial attainment. They are a guide for martial artists, not rules that restrict the development of individuality. With martial ethics, a martial artist has the proper mind set to achieve high standards mentally and physically. Martial ethics are to be followed willingly, not imposed as rules. Today, many of the once understood and followed virtues have been written down, as a wonderful reminder of the practices and virtues of Wushu. The unfortunate part, as Laozi stated in the Daodejing , is that when the rules of conduct have to be written down and imposed, and tagged with punishments for offenders, society has already degenerated.
The training of Wushu combat skills are also based on traditional Chinese philosophy. There is an understanding that in many situations, the seemingly soft and weak are more resilient than the hard and strong. An example of this is a piece of grass which can withstand a powerful wind storm, where as, a tree can be broken by the wind storm. Another example of this is how flowing water can crush and move strong obstacles in its path. In the training of applications, the emphasis is placed on how to utilize a seemingly disadvantageous position against an obviously stronger adversary; how to use the opponent’s strength against him, how to redirect his strength against him; and how to minimize force to move a powerful attack. This type of development has given the shorter less muscular men and women the boost they need to continue their training, knowing that they can be victorious over an adversary despite being smaller and physically not as strong. In fact, there have been many female practitioners who have attained greater advancements than many male practitioners.
The study of martial arts prepares a person for war and fighting. However, war and fighting have never permanently solved any conflict. They only temporarily restrain and mask the conflict, and perpetuate future disasters. Our ancestors have learned the value of peace from the cruelty of war. They realized that the best defense was prevention. The truly courageous martial artist is the one who knows how to prevent a fight before it starts. All the training you have done has been to prepare you for possible conflicts, and to develop your confidence and a clear mind to know when to and when not to use your ability. This is the mastery of your heart and intellect , the combination of which is true wisdom.
One of the obvious reasons for martial arts training is for self-defense. However, many people often misunderstand self-defense as kicks or punches. Good self-defense does not necessarily need to use kicks and punches. Avoidance is more effective than frontal confrontation. A smart mind is often better than an invincible technique. It is far better to avoid a confrontation with proper mental and physical training. Martial artists learn to discipline their minds and condition their bodies to prevent and avoid violent situations before they occur. However, if a situation does demand combative measures, they are ready to react properly from their training.
There are many ways to stop violence. Fighting is not a permanent solution for settling a dispute. A martial artist who is comfortable with his or herself, does not have to prove to anyone that they know how to fight. Their fighting ability is their own to keep, not to prove to others. They don’t need the praise of others to be comfortable with themselves and their abilities. A true martial artist is the first to walk away from a fight because they do not have to prove to others what they can do. They don’t give in to peer pressure because they are the masters of their own mind and emotions, not dependent on what others say about them.
The knowledge and ability to defend oneself from natural and man-made disasters strengthens and develops the will to stand up to the sometimes cruel and devastating environment in which we live; it develops the strength to not be afraid of the wickedness of stronger and evil people; and it develops bravery to continue with one's own conviction to become successful in whatever one puts their mind to. The expression, "the will to exert and strive hard without stopping at any obstacle ", is one of the greatest attainments one can achieve in martial arts training.
The many possible and valuable mental, spiritual, and physical advantages of Wushu training have attracted Wushu practitioners from over 100 nations. Among the 100 nations, there are over 70 nations that regularly hold Wushu competitions with their own Wushu teams. Nations around the world are applying Wushu in the pursuit of greater health, for discipline, for self-defense, for training military and police officers, for cultural and holiday demonstrations, and for routine and fighting competitions. The extensiveness of Wushu has attracted practitioners from all walks of life and all age groups of men and women. Once a practitioner is attracted to Wushu, their commitment to Wushu often becomes a lifelong study.
In Wushu combat, one must have a strong foundation, proficient technical skills, as well as, a set of practical combat strategies. Sunzi’s Art of War is a valuable reference and utilized by many Wushu practitioners. It is a military strategy book written during the Spring-Autumn and the Warring Kingdoms era and is regarded as the "First book of military strategy ." This book has been highly regarded by military strategists around the globe for the past two millenniums.
Since the beginning of human civilization, there have been wars and conflicts between people. Wars have been an integral part of human history. Nations and dynasties were founded or ended by war. Because of the cruelty and the threat of war that prevails in our lives, it is no wonder that many books about the strategies of war have been written from many different perspectives.
Sunzi was the most outstanding military strategist in Chinese history. He lived during the most war infested time in Chinese history, the Spring-Autumn era. His thirteen chapters about the strategies of war are the most complete and systematic works about the proper attitude and strategies of war. On a grand scale, Sunzi's Art of War is about the strategy of war. On a personal level, it is also about conflict resolution and how to effectively deal with conflicts, if the situation should arise.
There are always some losses when countries engage in war. Therefore, the best strategy is to win, without actually having to engage in war. Sunzi believed that to engage in battles and to win one hundred times is not a good strategy. Having your opponent surrender to you, without having to actually engage in a bloody combat, is the best approach.
Sunzi advocated cautiousness with respect to combat. Being cautious does not mean to be afraid of war, nor does it undermine the outcome of war. Sunzi stated, "Leaders should not go into war when angered; generals should not go to war when irritated; act when there is an advantage, stop when there is a disadvantage. Anger can be restored back to joy, and irritation can be restored back to pleasantry; the death of a nation can’t be recovered, and the loss of life can’t be revived. Therefore, wise leaders are cautious, and competent generals are careful..." War is like gambling with one’s national interest and people’s lives. Personal conflict is also a gamble, because there are so many possible reactions and consequences to our actions.
Sunzi also advocated both self-understanding and awareness, as well as, the understanding and awareness of one’s opponents. He stated, "When you know your own ability and know your opponent’s ability, you can engage in one hundred battles without danger . When you lack the knowledge of your opponent’s ability and only know your own ability, the chance of winning and losing is half and half . When you lack the understanding of your own ability and your opponent’s ability, it is a losing battle ."
Knowing yourself is about understanding your martial ability, your power, your endurance, and continuing to improve yourself. Knowing the capabilities of your enemy will allow you to take advantage of your enemy’s weaknesses and avoid his strengths. In order to be victorious in combat, one needs be able to utilize one’s abilities and continue to eliminate one’s weaknesses. If one only knows of the enemy’s weaknesses but does not have the ability to take advantage of them, this knowledge is useless. When you are aware of your abilities and your opponent’s abilities, you have already won, because you are mentally and physically prepared for the conflict. That is, you have already won before engaging in combat. Never fight a fight that you are not prepared to fight.
Sometimes, it is not possible to know the abilities of your opponent until you are actually engaged in combat. To fully understand what you are able to apply, it is necessary that you also understand what your opponent can do. In this case, you may need to use different methods to figure out his agility, reaction, strengths, and weaknesses. Do not overestimate your ability. That is arrogance; and arrogance is a recipe for loss. Do not underestimate your ability either. Underestimating your ability is a weakness and a sign of fear. When you are afraid during combat, you have already placed yourself at a psychological disadvantage.
Sunzi also advocated controlling the situation, being the active one instead of the reactive one. When you do engage your opponent, the only reason to engage should be to strike back. Being in the passive, reactive position you are likely to be hit eventually. If you control the situation, you will have the upper hand, the winning hand. We will discuss more about combat strategies in Chapter 3.
There are many areas that a practitioner can focus on to become a well-rounded martial artist. The barehanded applications of Wushu generally include four elements. They are: ti, the use of the legs for kicking; da, the use of the arms for striking; shuai, the use of take down techniques; and na, the use of controlling techniques to immobilize the opponent. In actual combat, there are both defensive and offensive strategies, which include variations of advancing and retreating, movement and stillness, fast and slow movements, hard and soft movements, and consequential and inconsequential movements. Based on these variations, the practical applications of ti, da, shuai, and na were created.
Ti or kicking is used both as an offensive, as well as, a defensive technique. An offensive kick is any movement of the leg with the intent to distress your opponent. A defensive technique is mostly used for deflecting or blocking the opponent’s kicks. Kicks are either accomplished with one leg off the ground or both legs off the ground to kick. This makes the body less stable than when both feet are on the ground. Besides the kicking drills, dynamic balancing and jumping drills are important to accomplish effective kicks.
Da refers to the many shapes of the hand, as well as, the many defensive and offensive maneuvers of the hands and the arms. It also refers to the use of intentional collision techniques to knock down the opponent. Even though, the hands are usually not as powerful as the legs, they are by far much more versatile than the legs. The hands and legs are both an important part of a good application. There is a saying in Chinese martial arts that states, "The hands are like a double swing door that opens up for the legs to kick the opponent". This implies the importance of hand and arm maneuvers to set up strategies to allow the stronger legs to deliver a powerful application.
Shuai is short for shuaijiao or take down. In Wushu fighting applications, a more specific shuaijiao approach is used. It is called kuaijiao , meaning fast take down. In actual combat, kicks and punches become less effective at very close range. It is then necessary to use take down techniques to subdue your opponent.
Na is short for qinna, which literally means to seize and to capture. The objective of qinna is to control one section of the opponent’s body to immobilize the opponent's entire body; or to escape and counter control your opponent. The proper application of qinna allows you to subdue your opponent without having to injure your opponent. It also gives you the option to seriously injure your opponent when the situation requires such a measure.
Within the training of ti, da, shuai, and na, are many other components to enhance their effectiveness. Such as, the ability to apply Cavity Press or Dianxue (Dim Mak), the ability to neutralize an opponent's force, and of course, one must have power.
The term used in describing power emission in the practice or application of martial arts is fajin . The character fa literally means to emit, and the character jin is an expression of power. Fajin is accomplished by consciously focusing the mind along with the proper coordination of breathing, alignment, the relaxing and contracting of muscles, and internal energy.
When speaking of power in Wushu, li and jin are specific terms used to describe and distinguish differences in power. Li refers to muscular strength. It is like the strength of an oxen pulling a heavy object or the force of a pneumatic car lift in a garage, lifting a car. Jin refers to integrated power that can be focused to a section of the body and released like an explosion. It is like the release of power of a crouching tiger suddenly leaping up to catch its prey or a jack hammer pulverizing concrete. Jin can be expressed in multiple directions, can be flexibly applied, and can vary in the way it is released.
Compressed air is like unrefined li, when released steadily, it can lift or push heavy cars, or crush steel. When compressed air is channeled and released in pulses, it is like jin that has been refined and focused. Li is the foundation of jin. With proper training, an individual with a lot of li has the potential to release a tremendous amount of jin. To convert li into jin, the whole body must be coordinated and move in unison. The different sections of the body must be able to superimpose the power of each section, focus it, and release it like an explosion.
In general, the body movements must be smooth and coordinated to be able to express jin. Additionally, the muscles must be able to contract and release fast with the right timing. Before jin is released, the muscles are relaxed. At the instant of jin release, the muscles suddenly tighten on impact, then relax again. Wushu practitioners are expected to be able to utilize their li and release a focused jin activated from all over the body. We will discuss and introduce the many strength building and power training methods in Chapter 6.
The philosophy of harmony incorporates an elegant artistic expression, as well as, proper body mechanics. The rhythm of Wushu movements requires that to extend, one must first condense. To go left, first go right. To open, first close. To rise, first sink. To tighten, first loosen. This method of attaining the objective by first beginning with the opposite can be traced back to the philosophy of Laozi. Wushu movements also require that hard and soft compliment each other; offensive implies defense; and defense implies offense. This understanding of the opposing, yet interdependent, aspects are adapted from the philosophy and harmonious integration of yin-yang .
Proper body mechanics are necessary to utilize the body's potential. In Wushu, natural scenery and animals are often used to describe movements and proper body mechanics. The Twelve Models describe the postures and movements as, "Move like a tidal wave, still as a great mountain, jump like an ape, land like a magpie, balance like a rooster, stand like a pine tree, spin like a wheel, bend like a bow, light as a leaf, heavy as iron, suspend like an eagle, and fast like the wind."
"Move like a tidal wave " describes the powerful, rhythmic, and controlled force of your movement.
"Still as a great mountain " describes the strength of a still posture with an immovable foundation like that of a great mountain; and expresses a majestic presence.
"Jump like an ape " describes the alertness and agility of your movements, like that of an ape in a movement involving jumping.
"Land like a magpie " describes the lightness and stability of a magpie when landing on a tree branch.
"Balance like a rooster " describes a one legged standing posture that moves, then stops; similar to the stillness and alertness of a rooster in motion, then coming to an abrupt stop.
"Stand like a pine tree " describes a standing posture with both feet on the floor. Even though you are standing still, your posture emanates the strength of a pine tree.
"Spin like a wheel " describes a rotational movement, like that of a spinning car wheel with the rotation axle well defined and controlled.
"Bend like a bow " describes the storage of potential power in a bending or twisting posture, resembling a strung bow ready to release an arrow.
"Light as a leaf " describes the lightness of the body gliding effortlessly from one location to the next.
"Heavy as iron " describes an expression of seriousness, but not vicious and out of control.
"Suspend like an eagle " describes an animated state like that of an eagle flying and searching for food on the ground. It is alert and concentrated, not simply moving aimlessly.
"Fast like the wind " describes fast, sharp, and swiftly accomplished movements.
Wushu training also includes sets of principles that the martial arts masters of old discovered and have passed on to their students. One such set of principles is the Eight Principles of Integration which refers to the four physical movements of your arms , your eyes , your upper body , and your stepping ; and the four manifestations of your vitality , your breathing & qi , your expression of power , and your overall expression . The requirements of these eight areas are summarized in the phrase, "punch like a shooting comet, eyes flash an like electric current, waist turns like a moving snake, steps should be rooted; vitality of spirit should be full and focused, breathing should be sunken, power should be smooth, delivery should be thorough". This phrase is a principle regarding the integration of the whole body.
"Punch like a shooting comet " is a requirement of the upper limbs. It requires that the movements of the arms be as fast as a shooting comet. Every movement, including the subtle and intricate movements of the palms and wrists, no matter how small, must be clearly and swiftly executed.
"Eyes flash like an electric current " is a requirement for the head. The movement of your head provides the range of view for your eyes. To be able to react to your opponent's intentions or movements, an alert and swift movement of your head can enhance your reaction speed.
"Waist turns like a moving snake " is a requirement for the torso. The upper body movements and the transmission of power from the legs are generally controlled and directed by the waist. The coordination of the vertebrae, and various muscles in the torso play an important role in the many variations of bending, twisting, and jerking movements. The fluid movement of your waist makes it possible to transmit power.
"Steps should be rooted " is a requirement for the stepping movements of the legs. Stepping in martial arts is harder to master than punching. Stepping must not only be fast; it must also provide a firm foundation for the upper body. It is said that, "If stepping is not stable, then the punch will be scattered; and if the stepping is not fast, then the punch will be slow ( )." Another saying in Wushu states, "Apply the hands 30% of the time, and apply stepping 70% of the time; to become victorious, one must rely on the unity of the hands and stepping ( )." This saying stresses the relative importance of the hands and legs, as well as, the importance of the legs to set up the proper distance for the arms to be effective. It is important that the hands and legs are integrated and coordinated to accomplish proper defensive and offensive techniques.
"Vitality of spirit should be full and focused " is a requirement for mental and spiritual expression. If your mind is not focused and lacks vitality, then your movements will lack energy and appear lifeless.
"Breathing should be sunken " is a requirement for your breathing pattern. The term sunken implies that breathing should include the abdomen. With abdominal breathing, martial artists tap into the energy (qi) center for stronger power emission. Breathing is also closely related to the endurance of an individual, since our body converts oxygen into energy that is used for metabolic functions. The proper coordination of inhalations and exhalations with each defensive and offensive application, not only provides for higher endurance, but it also makes it possible to deliver applications more effectively and more powerfully.
"Power should be smooth " is a requirement for power emission. Martial artists must be able to emit jin. Without jin, the movements are useless in combat. Also, if jin is not executed properly, the movements will be stiff and power will stay within the body. For jin to be expressed properly, each section of the body must react and relate to the other sections.
"Delivery should be thorough " refers to the integrated expression of all other parts of the Eight Principles of Integration; including power, endurance, speed, agility, and technique. Every move in your training must be delivered with proper focus to reach its maximum potential. Your practice should be purposeful, alert, and filled with vitality.
China is located in the southeastern part of the Asian continent, with an area of ten million, four hundred, and sixty thousand square kilometers (10,460,000 KM2) and a population of 1.2 billion people. This is about 20% of the world’s population. It is a diverse nation with over fifty ethnic groups including the Han, Manchu, Mongol, Hui, and Tibetan. The vast land mass and diverse ethnic groups have made it difficult to keep clear records over the thousands of years of Chinese civilization. Chart I-1 lists a brief chronology of Chinese dynasties tracing back about five thousand years.
Due to the uncertain origins and as a tribute to the ancestors of China, many social organizations, including Chinese martial arts systems, credited the founder of their systems to well-known and respected historical figures in Chinese history. Taijiquan is one such example which gives credit to a Daoist priest as the originator. Shaolin Wushu is another example which gives credit to Bodhidharma as the originator. Similarly in Traditional Chinese Medicine, the Yellow Emperor’s Internal Classics is ascribed to the Yellow Emperor.
The lack of written records in the past has created many discrepancies in the history of Wushu. Since many highly accomplished martial artists in ancient China were unable to read or write, the only way they passed down their art was by word of mouth and from teacher to student. In the written records that were found, valuable information was missing, or it contained mistakes, or it was unclear due to the diversity of dialects and customs in China. Also, martial artists of different styles were very conservative and secretive about their system, which created even more mystery in the history of Chinese martial arts. Many martial artists in ancient China were persecuted by the government and sought after by their enemies. To escape government persecution and enemies seeking revenge, many changed their names, or became hermits, creating additional confusion to the history of Wushu. The Chinese government, archeologists, historians, and martial artists have all made attempts to clarify the many discrepancies of Wushu during recent years. From their research and our understanding of the past, the origin of Wushu can be traced back to prehistoric times.
Our ancestors’ need to hunt for food, to protect themselves from wild animals, and to guard against tribal attacks gradually developed into combative skills. As time went on, they developed their survival instincts into skilled abilities. This was the beginning of Wushu. Defensive and offensive techniques were constantly being developed through combat, and passed on from one generation to the next. These valuable survival experiences eventually became known as Wushu.
As ancient civilization continued to develop, specialized labor prompted the need for education for doing special tasks. Wushu, as well as other skilled jobs, became a well organized social and military organization for self-defense or for attaining specific objectives.
Besides using Wushu to tame nature (farming, hunting, etc.) and for combat, Wushu was also used to strengthen the physical body, increase endurance, and prevent diseases. Chinese historical records indicate that prehistoric leaders encouraged their troops to engage in fighting drills with imaginary opponents. Gradually, these drills were put together and became what is known today as Wushu routines or sports activities.
When China reached the feudal Spring-Autumn (722-480 B.C.) and Warring Kingdom (403-221 B.C.) period, the entire Chinese civilization encountered many new changes in the political, economical, cultural, and Wushu development. The new changes in that era significantly influenced the development of Chinese civilization. The perpetual struggle for power and wars between the different kingdoms brought out many incredible strategic martial artists that left lasting imprints on the history of Chinese civilization. Sunzi’s Art of War by Sunzi was one book of strategy that created a significant influence on the development of Wushu.
The Chinese empire was unified in 221 B.C. when the First Emperor of the Qin Dynasty (221-207 B.C.) took control of the six surrounding kingdoms and established the first multiethnic central government in the history of China. From the Qin to the Early Han Dynasty (206 B.C.- 7 A.D.), and to the Later Han Dynasty (25-220 A.D.), the development under the unified empires flourished and provided an intermittent, but extended time of peace. This also gave Wushu a chance to develop outside of the military. The developments both in the military and in the civilian population continued to influence and enhance each other throughout history.
The first Shaolin Temple was built after China split into the Northern and Southern Dynasties. In 495 A.D., Emperor Xiaowen of the Northern Wei Dynasty (386-535 A.D.) commissioned the building of the Henan Shaolin Temple for the Indian priest, Batuo, who had come to China to spread the teachings of Buddhism. In 527 A.D., another Buddhist priest, Bodhidharma (470-543 A.D.), came to China and settled in the Shaolin Temple. Historical records indicate that Bodhidharma meditated in the cave next to the temple for nine years and came up with many realizations that he passed on to his followers. From then on, the teachings of the Shaolin Temple flourished and Bodhidharma became known as the first generation of Chinese Chan .
It is unknown whether or not Bodhidharma knew any martial arts at all, nor did people know exactly from whom or where the Shaolin martial arts originated. Since Bodhidharma is the father of Chinese Chan Buddhism, to honor him and for a lack of a better choice, later generations credited him as the originator of Shaolin Kung Fu. Today, historians believe that Shaolin martial arts were brought to the Shaolin Temple by the many martial artists that sought spiritual sanctuary there; and in return they taught the monks how to defend themselves and strengthen their bodies through the practice of martial arts.
Shaolin martial arts became well known to Chinese society at the beginning of the Tang Dynasty (618-906 A.D.). At that time, thirteen martial monks from the Shaolin Temple assisted Li Shi-Ming in his struggle to gain control and reestablish order in the empire. Li later succeeded his father and became the emperor of the unified Tang Dynasty. During the Tang Dynasty (618-906 A.D.), specific requirements and testing procedures were established to award government positions and titles to qualified martial artists. This type of testing and selecting process for government positions was a catalyst in Wushu development.
In the Ming Dynasty (1368-1644 A.D.), Wushu reached a peak. Many different systems of marital arts were well developed. Specific training philosophies and theories, along with the requirements for the body, spirit, and power were recorded. This well organized system encouraged even more people to study Wushu. In-depth books about Wushu were being published now more than in any era before. These materials significantly increased the development of the martial techniques and health aspects of Wushu.
In his book, New Book of Effective Disciplines , Qi Ji-Guang, a well-known Wushu expert and writer of the time, was the first to distinguish between the Short Range Types and the Long Fist Types of Wushu styles. It was in his book that the Wushu Sanshou elements; ti, da, shuai, na, were coined.
Before the Ming Dynasty, Wushu development was done primarily in the military and was designed for large scale military combat. Their main focus at that time was on practical weapon techniques. In the era before guns, Wushu was crucial to the winning or losing of battles. As military Wushu spread to the civilian population and was influenced further by other cultural factors, Wushu development began taking on its modern form during the Ming Dynasty.
When the Qing Dynasty (1644-1912 A.D.) took control of the Chinese empire, many patriots of the defeated Ming Dynasty went into hiding and organized counterrevolutions against the Qing Dynasty. According to legend, some of these Ming Dynasty patriots hid and planned their counterattack in the Shaolin Temple. Fearing that the Ming loyalists would set up a counterrevolution against the new Qing Dynasty, the Qing Emperors forbad civilians from learning Wushu. Accusing the Shaolin Temple of harboring the defeated Ming Dynasty loyalists, the Shaolin Temple was burned down by the Qing army twice. This forced many martial monks out of the Shaolin Temple, initiating the wide spread of Shaolin martial arts all over the empire.
During the later part of the Qing Dynasty, training with guns gradually replaced the training of Wushu in the military. However, Wushu continued to develop with the general public. During that period of time, the late great Wushu fighter, Huo Yuan-Jia (1857-1909), defeated numerous foreign challengers, and became a living legend and a hero to the people of the weakened and downtrodden Qing empire. In 1909, Huo Yuan-Jia founded the Jinwu Physical Education School in Shanghai. Unfortunately, his untimely death in the same year prevented him from personally carrying on his work. In 1910, with the support of the many contemporary masters of the time, the school was renamed the Jinwu Athletic Association. Branches of the Jinwu Athletic Association were formed in many provinces, as well as, in Hong Kong and nations in Southeastern Asia.
In 1912, the Qing Empire was overthrown and replaced by a democratic government named the Republic of China. The restriction on Wushu training for civilians was removed, and the practice of Wushu reached another height. In 1926, the term Wushu was officially changed to Guoshu , meaning national martial art. In the following year, the Guoshu Research Group was formed in Nanjing, and in 1928, it was renamed the Central Guoshu Institute. The first group of students were referred to as the "Professor Training Class", with the goal of nurturing martial arts teachers. The institute was also instrumental for creating martial arts magazines and books, for organizing competitions, and for organizing a Wushu team. In 1936, the Wushu team performed in the 11th Olympics held in Germany, where their Wushu performance amazed the world.
Efforts were also made to systematically organize and teach the diverse Wushu styles for younger generations to learn, as well as, and to continue its development. The Central Guoshu Institute included the notable great Wushu teachers, Wang Ziping (1881-1973) and Yang Chengfu (1883-1936). The Central Guoshu Institute was relocated to Chongqing City, Sichuan Province in 1943 during the Chinese civil war, and was finally closed in 1949.
The New China or the People’s Republic of China, took control of the government in 1949 and ended the Chinese civil war. The term Guoshu was abolished and the term Wushu was brought back. However, outside of mainland China, places like Taiwan and Hong Kong still use the term Guoshu.
In the 1950’s, the National Athletic Committee of the People’s Republic of China developed many new routines which led to the standardization of Wushu. These new routines were used for popularizing Wushu and as a foundation for Wushu training. In 1959, the Wushu Competition Rules were formulated and began to divide Wushu into categories. The types of Wushu styles were being distinguished and each type was placed in its own division for competition. This allowed each type to be judged more objectively.
From 1952 to 1956, Wushu was actively publicized. Research and teacher training was being done to promote Wushu. Old masters were officially invited to teach the younger generations. Physical education colleges began to include Wushu training as part of the curriculum. In 1956, the first official rules for Wushu competition were compiled. Specific requirements on the content, time, space, etc. were written for Nanquan (, Southern Style), Changquan (, Long Fist), and Taijiquan .
These new rules encouraged individuals to create their own routines, giving the athletes the liberty to create without hindrance. The degree of difficulty in Wushu increased and gradually developed many new stylistic characteristics that were more suited for young athletes.
The most significant developments in the Wushu divisions were in the Long Fist type and weapon categories. To attain higher scores, many competitors gradually replaced the traditional routines with newly created routines that included many acrobatic maneuvers. These new routines still met the competition requirements while increasing the artistic expression of each movement. The freedom to create also developed an individual’s unique physical potential. These routines are now known as Contemporary Wushu routines which were distinguished from Traditional Wushu or Kung Fu routines.
The newly created Contemporary Wushu routines were more artistically expressive in performance than Traditional Wushu routines. Unfortunately, many of these new routines lacked the offensive and defensive characteristics of Traditional Wushu routines. Therefore, in the years that followed, competition rules were modified to limit movements that did not have martial applications and to limit the frequency of repeated movements.
In 1957, Wushu was officially listed as a competition category in China’s national athletic competitions. From this point on, every year there have been national Wushu competitions and performances. Beginning in the 1960's, provinces, counties, and cities all over China began to organize their own Wushu teams. High schools and grade schools began to include Wushu as a part of their physical education programs.
In 1960, the first National Wushu team of the New China performed in Burma. The Head coach was the late great Wushu grandmaster, Wang Ziping ; and the first women Wushu professor and coach ever to lead a Wushu team to perform outside of China, Professor Wang Jurong . Since then, more and more teams have been sent out to international sports communities all over the world.
Starting in 1966, a set back to Wushu occurred during the 10 years of the Cultural Revolution. Along with many other arts and culture, Wushu received a severe blow and destruction. The older generation masters were persecuted, martial arts books were destroyed, weapons were confiscated, and fighting arts were forbidden to be discussed.
After the Cultural Revolution, in order to recover and restore some of the loss of Wushu styles, the National Athletic Committee began a national research and gathering of Wushu remnants. Teams of Wushu Research groups were formed both in the provinces and in the cities across China. A dedicated team of Wushu Investigators and Researchers was formed to investigate in all of the provinces in China and to organize the scattered and once lost Wushu styles.
Beginning in 1979, besides continuing the annual national competitions, an annual National Wushu Exhibition was organized. Individuals that competed at the national level, had already competed in many local, city, provincial, and regional competitions. During the National Wushu Exhibitions, many of the once believed to be lost styles began to resurface. Since the 1980's, significant efforts were being placed on organizing and finding traditional Wushu. Valuable Wushu information and styles that were on the verge of perishing were finally being preserved.
Today, all provinces in China have their own professional Wushu team. Every city and region have professional coaches. Among the over one thousand cities and counties in China with amateur Physical Education Schools, all of them have Wushu training classes for children and adults, and all of the expenses are paid by the government.
China has been sending Wushu coaches to nations all over the world to teach Wushu. Tens of thousands of people now go to China to further their Wushu studies. Aside from China, Wushu competitions are being organized throughout the world. The standards of the competitors are improving every year. Many countries are now sending teams to compete in China, winning medals, and amazing the Chinese audience with their ability and captivating performances. Nations worldwide are now working on introducing Wushu at the Olympics.
Wushu has become an international sport that all people can learn and use to attain its inherent benefits. Since the development of firearms, the actual use of Wushu for combat has greatly decreased, but the application of Wushu continues. Aside from a means of self-defense, Wushu has also been developed into a sport capable of improving a participant's health and fitness, while improving their reaction time, jumping ability, balance, flexibility, coordination, power, and speed. Even athletes from other sports are taking up Wushu training to complement their physical pursuits and to improve the quality of their performance. Today, Wushu is also a performing art. The performance of a superb Wushu participant can captivate and mesmerize an audience.
Throughout history there have been many ways to classify Wushu into different categories. However, it wasn’t until the Qing Dynasty that more and more Wushu styles were becoming distinctive and apparent. Some classified Buddhist (Shaolin, ) Wushu into Chujia (, Ordained monk practicing Wushu) or Zaijia (, Buddhist lay person practicing Wushu). Some classified the styles with compact movements from Southern China as Nanquan (, Southern Style), and the styles with extended movements from Northern China as Beipai (, Northern Style).
Other terms such as Shaolin , Wudang , or Emei Styles are commonly used to refer to styles originating from the Shaolin Temple, Wudang Mountain area, and the Emei Mountain area, respectively. In 1928, the Central Guoshu Institute used Wudang and Shaolin as a way to classify the different styles of Wushu. The Wudang division included: Taijiquan , Xingyiquan , and Baguazhang . The Shaolin division included: Shaolinquan , Chaquan , Tantui , Bajiquan , and Piguaquan .
Today, one of the most common ways to classify Wushu styles, is based on their training approaches, as Internal or External Styles. The terms Internal Style or External Style are figures of speech in the martial arts community, used to distinguish their stylistic emphasis. As a martial art, the general philosophy and purpose of the Internal and External Styles are the same, with differences only in their stylistic approaches.
The well-known Internal Styles today include: Taijiquan , Xingyiquan , Baguazhang , Liuhebafa , along with many others. Taijiquan is perhaps the most well-known due to it’s health and healing benefits. Most people that practice Taijiquan today are not very concerned with the martial aspects of this art, they practice Taijiquan for its healing potential. The well-known External Styles today include: Shaolinquan , Chaquan , Huaquan , Hongquan , Paoquan , Chuojiaoquan , Fanziquan , and many others.
Further classifications can be made under the Internal and External Styles. For example, Taijiquan is classified as an Internal Style, and can be further distinguished into Chen , Yang , Wu , W’u , Sun , and other styles. The External Styles can be further distinguished into Northern or Southern Styles. The Northern Styles refer to the External Styles that have their origin above the Yangtze River (, Changjiang) in China. The Southern Styles refer to the External Styles that have their origin located south of the Yangtze River. Drawing I-1 shows a map of China with the location of the two largest rivers in China.
Wushu styles have been further classified by the characteristics of their movements. They are categorized under one of the five types:
1. Circular Movement and Soft Appearance Type refers to almost all styles classified as an Internal Style. An exception is Xingyiquan which is classified as a Short Range Type. Most of the movements in this type are circular in nature and have a soft, but energetic appearance.
2. Long Fist Type refers to Wushu styles that emphasize their kicking abilities and are capable of striking the opponent from a distance. It is characterized by rapid advancing and retreating movements. One of the common phrases used in Long Fist training states, "The hands are like double swing doors that open up for the legs to kick the opponent ." The term Long Fist is used in contrast to the close range applications used in the Short Range Type.
3. Long Range Type refers to styles that use their long reach to engage their opponent. Tongbeiquan and Piquaquan are typical examples of this type. Even though it's emphasis is on long range applications similar to Long Fist Type, its movement characteristics differ from the Long Fist Type styles.
4. Short Range Type refers to styles that emphasize close range fighting applications. It is used in contrast to the Long Fist Type which emphasizes striking from a longer distance. Xingyiquan, Bajiquan, and most Southern Styles are of the Short Range Type. This type of Wushu style is characterized by rapid, compact, and closed range strikes.
5. Imitation Type refers to styles that imitate the characteristics of an animal or a person in a specific state. Praying Mantis, Monkey, and Drunken Styles are typical examples of this type.
A more detailed modern classification divides Wushu into different training and competition categories.
1. The Barehanded Routine Component. This component is further categorized into different types of styles:
a. Changquan (Long Fist) Type includes well-known styles of Northern Chinese origin such as Chaquan, Huaquan, Hongquan, Paoquan, Chuojiaoquan, Fanziquan, Shaolinquan, etc.
b. Taijiquan Type includes the well-known Chen, Yang, Wu, W’u, and Sun Style Taijiquan; and 24 Posture Taijiquan, 48 Posture Taijiquan, and 88 Posture Taijiquan, etc.
c. Nanquan (Southern) Type refers to Southern Styles originating in the southern regions of China. It includes countless number of styles. In the Guangzhou (Canton) Province alone, there are over 400 Nanquan Type styles.
d. Xingyiquan Type refers to the style that uses Santishi (Three Body Posture); Pi, Zuan, Beng, Pao, Heng; and the 12 animal characteristics and intentions in its movements.
e. Baguazhang Type refers to the style that uses various palm changes; and focuses on circular stepping, continuous movements, and agile stepping and body movements.
f. Imitation Type refers to the styles that literally imitate the movements of animals or different states of a person, and name the style with the animal name itself. These styles include: Tanglangquan (Preying Mantis Style), Yingzhuaquan (Eagle Claw Style), Huquan (Tiger Style), Zuiquan (Drunken Style), Shequan (Snake Style), and many others.
g. Other Type includes the styles that do not fit within the other types, and have their own unique characteristics. They include: Liuhebafa, Bajiquan, Gongliquan, Tongbeiquan, Wujiquan, Liangyiquan, Sixiangquan, and many others.
2. The Weapon Routine Component includes over 400 plus types of weapons. The common weapons used in competition include: saber, sword, spear, staff, long handled saber, double saber, double swords, double hooked swords, double spears, nine sectional chain, rope dart, and many others.
3. Sparring Set Component refers to two or more people following a set routine to train their defensive and offensive skills. These routines include combinations of various barehanded against barehanded or weapon routines.
4. Group Routine Component refers to many people performing the same barehanded or weapon routines with or without music.
5. Application Component is further categorized into different types of applications including:
a. Sparring with specific guidelines (with or without protective gear)
b. Taiji Push Hands
c. Qinna
d. Shuaijiao
e. Free sparring (including ti, da, shuai, na, and Push Hands skills)
f. Short weapon sparring
g. Long weapon sparring.
6. Wushu Qigong Component. Most styles of Wushu include their own method of Wushu Qigong training to increase their defensive, as well as, their offensive application abilities. Wushu Qigong is excellent for maintaining health; strengthening the internal organs, bones, and tendons; and to lessen training related injuries (for more information about Wushu Qigong, please refer to the book Qigong Empowerment by the authors).
The modern classifications placed on the different styles of Chinese martial arts are for the purpose of clarifying Chinese martial arts systems, identifying their unique stylistic emphasis, and for competition categorizing. It is intended to assist in the preservation of these arts, not as a dividing or limiting factor. To become proficient in Wushu, one will have to train hard in his or her chosen style and learn to absorb the essence of the other styles in order to enhance one’s main style. The essence of other styles can greatly improve one’s learning and training in a particular style, because the root is the same for all Chinese martial arts styles.
This book has been written as a guide for anyone interested in martial arts. It is designed to help build a solid and well-rounded foundation and is intended to be used as a reference for the beginning to advanced martial artist. The information presented is useful for all Chinese martial arts systems. Mastering the training in this book will help build a solid foundation in your martial arts training and facilitate your advancement to higher levels.
Chapter 1 focuses on methods to build a strong foundation. This chapter includes methods to increase your flexibility; develop stable stances, agile steps, and proper arm movements; develop the integration of your body movements; and improve your balance.
Chapter 2 focuses on developing powerful kicks. This chapter includes jumping drills, basic and advance kicks, and other drills to improve your physical ability.
Chapter 3 focuses on free fighting applications, including a discussion on the proper strategies, the many uses of the arms and legs in fighting applications, and many effective fighting combinations.
Chapter 4 focuses on takedown techniques, including a discussion on the use of levers to apply an effective takedown and many techniques that utilize the lever principle.
Chapter 5 focuses on qinna applications. The techniques are explained in detail from neutralizing, controlling, to trouble-shooting for possible problems in applications.
Chapter 6 focuses on training the arms and the legs to be strong like iron for effective applications, including Iron Arm, Iron Sand Palm, Red Sand Palm, and Cavity Press Finger Training. This chapter includes vocal, visual, and auditory training; jin training; and Light Body training.
Chapter 7 focuses on Cavity Press, including a theoretical discussion about Dianxue, numbing points, knockout points, points to deter an opponent used in fighting, and examples of vital points used in different Wushu styles.
We have included two appendixes at the end of the book. Appendix A contains an extensive glossary about many Wushu styles, Wushu practitioners, Wushu weapons, and Wushu terms that practitioners of Chinese martial arts can use as a reference. Next to the description of the styles and weapons we have included many valuable photos we have obtained from practitioners of these styles and weapons. Appendix B contains a list of some traditional herbal formulas used for Wushu training.