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Kung Fu

Chinese martial arts
Traditional Chinese 武術
Simplified Chinese 武术
Literal meaning "martial technique"

A monk practicing kung fu in the bamboo forest inside the Shaolin Temple

Chinese martial arts, often called by the umbrella terms kung fu and Thong Fu (; Chinese: 功夫; pinyin: gōngfu ; Cantonese Yale: gūng fū ), kuoshu (國術; guóshù ) or wushu (武術; wǔshù ), are multiple fighting styles that take developed over the centuries in Greater China. These fighting styles are often classified according to common traits, identified every bit "families" of martial arts. Examples of such traits include Shaolinquan (少林拳) physical exercises involving All Other Animals (五形) mimicry or grooming methods inspired by Onetime Chinese philosophies, religions and legends. Styles that focus on qi manipulation are chosen internal ( 内家拳 ; nèijiāquán ), while others that concentrate on improving muscle and cardiovascular fitness are called external ( 外家拳 ; wàijiāquán ). Geographical association, as in northern ( 北拳 ; běiquán ) and southern ( 南拳 ; nánquán ), is another popular classification method.

Terminology [edit]

Kung fu and wushu are loanwords from Cantonese and Mandarin respectively that, in English, are used to refer to Chinese martial arts. Nevertheless, the Chinese terms kung fu and wushu ( audio speaker icon heed (Mandarin)(aid·info) ; Cantonese Yale: móuh seuht ) have distinct meanings.[one] The Chinese equivalent of the term "Chinese martial arts" would be Zhongguo wushu (Chinese: 中國武術; pinyin: zhōngguó wǔshù ) (Standard mandarin).

In Chinese, the term kung fu refers to any skill that is caused through learning or practice. It is a chemical compound word equanimous of the words 功 (gōng) meaning "work", "achievement", or "merit", and 夫 (fū) which is a particle or nominal suffix with diverse meanings.

Wushu literally means "martial art". It is formed from the ii Chinese characters 武術 : 武 ( wǔ ), meaning "martial" or "armed services" and 術 or 术 ( shù ), which translates into "art", "discipline", "skill" or "method". The term wushu has too become the name for the modern sport of wushu, an exhibition and full-contact sport of bare-handed and weapon forms (套路), adapted and judged to a set of artful criteria for points developed since 1949 in the People's Republic of China.[two] [3]

Quánfǎ ( 拳法 ) is another Chinese term for Chinese martial arts. It means "fist method" or "the law of the fist" (quán means "boxing" or "fist", and fǎ means "law", "manner" or "method"), although equally a chemical compound term it unremarkably translates as "boxing" or "fighting technique." The name of the Japanese martial art kempō is represented past the same hanzi characters.

History [edit]

The genesis of Chinese martial arts has been attributed to the need for self-defence, hunting techniques and military training in ancient China. Hand-to-hand gainsay and weapons practice were of import in grooming ancient Chinese soldiers.[iv] [5]

Detailed knowledge about the state and evolution of Chinese martial arts became bachelor from the Nanjing decade (1928–1937), as the Central Guoshu Institute established by the Kuomintang authorities fabricated an effort to compile an encyclopedic survey of martial arts schools. Since the 1950s, the People's Republic of Red china has organized Chinese martial arts as an exhibition and full-contact sport nether the heading of "wushu".

Legendary origins [edit]

Co-ordinate to legend, Chinese martial arts originated during the semi-mythical Xia Dynasty (夏朝) more than iv,000 years ago.[six] It is said the Yellow Emperor (Huangdi) (legendary date of rising 2698 BCE) introduced the earliest fighting systems to People's republic of china.[7] The Xanthous Emperor is described as a famous general who, earlier becoming China's leader, wrote lengthy treatises on medicine, astrology and the martial arts. One of his primary opponents was Chi Yous (蚩尤) who was credited as the creator of jiao di, a precursor to the modernistic fine art of Chinese wrestling.[viii]

Early history [edit]

The primeval references to Chinese martial arts are found in the Bound and Fall Register (5th century BCE),[9] where a paw-to-mitt gainsay theory, one that integrates notions of "hard" and "soft" techniques, is mentioned.[10] A gainsay wrestling system called juélì or jiǎolì ( 角力 ) is mentioned in the Classic of Rites.[11] This gainsay organization included techniques such as strikes, throws, joint manipulation, and pressure indicate attacks. Jiao Di became a sport during the Qin Dynasty (221–207 BCE). The Han History Bibliographies record that, by the Sometime Han (206 BCE – 8 CE), there was a distinction between no-holds-barred weaponless fighting, which it calls shǒubó ( 手搏 ), for which preparation manuals had already been written, and sportive wrestling, and then known equally juélì ( 角力 ). Wrestling is as well documented in the Shǐ Jì, Records of the Grand Historian, written by Sima Qian (ca. 100 BCE).[12]

In the Tang Dynasty, descriptions of sword dances were immortalized in poems by Li Bai. In the Song and Yuan dynasties, xiangpu contests were sponsored by the regal courts. The mod concepts of wushu were fully adult past the Ming and Qing dynasties.[thirteen]

Philosophical influences [edit]

The ideas associated with Chinese martial arts changed with the development of Chinese society and over time caused some philosophical bases: Passages in the Zhuangzi ( 莊子 ), a Taoist text, pertain to the psychology and exercise of martial arts. Zhuang Zi, its eponymous writer, is believed to have lived in the 4th century BCE. The Tao Te Ching, often credited to Lao Zi, is another Taoist text that contains principles applicable to martial arts. According to i of the classic texts of Confucianism, Zhou Li ( 周禮 ), Archery and charioteering were role of the "half dozen arts" (Chinese: 六藝; pinyin: liu yi , including rites, music, calligraphy and mathematics) of the Zhou Dynasty (1122–256 BCE). The Art of War ( 孫子兵法 ), written during the 6th century BCE by Sun Tzu ( 孫子 ), deals straight with military warfare only contains ideas that are used in the Chinese martial arts.

Taoist practitioners have been practicing Tao Yin (physical exercises similar to Qigong that was one of the progenitors to T'ai chi ch'uan) from every bit early on as 500 BCE.[xiv] In 39–92 CE, "Six Chapters of Paw Fighting", were included in the Han Shu (history of the Erstwhile Han Dynasty) written by Pan Ku. Also, the noted dr., Hua Tuo, composed the "5 Animals Play"—tiger, deer, monkey, bear, and bird, around 208 CE.[15] Taoist philosophy and their arroyo to health and exercise accept influenced the Chinese martial arts to a sure extent. Direct reference to Taoist concepts tin can be found in such styles as the "Eight Immortals," which uses fighting techniques attributed to the characteristics of each immortal.[16]

Southern and Northern dynasties (420–589 Advertising) [edit]

Shaolin temple established [edit]

In 495 CE, a Shaolin temple was built in the Song mountain, Henan province. The first monk who preached Buddhism at that place was the Indian monk named Buddhabhadra (佛陀跋陀羅; Fótuóbátuóluó ), but chosen Batuo (跋陀) past the Chinese. In that location are historical records that Batuo's first Chinese disciples, Huiguang (慧光) and Sengchou (僧稠), both had exceptional martial skills.[ citation needed ] For example, Sengchou'south skill with the tin can staff is even documented in the Chinese Buddhist canon.[ commendation needed ] After Buddhabadra, some other Indian[17] monk, named Bodhidharma (菩提達摩; Pútídámó ), also known every bit Damo (達摩) by the Chinese, came to Shaolin in 527 CE. His Chinese disciple, Huike (慧可), was also a highly trained martial arts skillful.[ commendation needed ] In that location are implications that these offset three Chinese Shaolin monks, Huiguang, Sengchou, and Huike, may have been armed forces men earlier inbound the monastic life.[18]

Shaolin and temple-based martial arts [edit]

The Shaolin style of kung fu is regarded as 1 of the first institutionalized Chinese martial arts.[19] The oldest evidence of Shaolin participation in gainsay is a stele from 728 CE that attests to two occasions: a defense force of the Shaolin Monastery from bandits effectually 610 CE, and their subsequent role in the defeat of Wang Shichong at the Battle of Hulao in 621 CE. From the 8th to the 15th centuries, there are no extant documents that provide prove of Shaolin participation in gainsay.

Between the 16th and 17th centuries, at least xl sources exist to provide show both that monks of Shaolin practiced martial arts, and that martial practice became an integral element of Shaolin monastic life. The earliest appearance of the frequently cited legend concerning Bodhidharma's supposed foundation of Shaolin Kung Fu dates to this flow.[20] The origin of this legend has been traced to the Ming period's Yijin Jing or "Musculus Modify Classic", a text written in 1624 attributed to Bodhidharma.

Depiction of fighting monks demonstrating their skills to visiting dignitaries (early 19th-century mural in the Shaolin Monastery).

References of martial arts practice in Shaolin appear in various literary genres of the belatedly Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction, and verse. Nevertheless, these sources do not point out any specific fashion that originated in Shaolin.[21] These sources, in contrast to those from the Tang period, refer to Shaolin methods of armed combat. These include a skill for which Shaolin monks became famous: the staff (gùn, Cantonese gwan). The Ming General Qi Jiguang included a clarification of Shaolin Quan Fa (Chinese: 少林拳法; Wade–Giles: Shao Lin Ch'üan Fa ; lit. 'Shaolin fist technique'; Japanese: Shorin Kempo) and staff techniques in his book, Ji Xiao Xin Shu ( 紀效新書 ), which tin translate equally New Book Recording Effective Techniques. When this book spread across Eastern asia, information technology had a great influence on the development of martial arts in regions such as Okinawa[22] and Korea.[23]

Mod history [edit]

Republican menstruum [edit]

About fighting styles that are beingness practiced as traditional Chinese martial arts today reached their popularity within the 20th century. Some of these include Baguazhang, Drunken Boxing, Hawkeye Claw, Five Animals, Xingyi, Hung Gar, Monkey, Bak Mei Pai, Northern Praying Mantis, Southern Praying Mantis, Fujian White Crane, Jow Ga, Wing Chun and Taijiquan. The increment in the popularity of those styles is a effect of the dramatic changes occurring within the Chinese order.

In 1900–01, the Righteous and Harmonious Fists rose confronting foreign occupiers and Christian missionaries in People's republic of china. This insurgence is known in the West as the Boxer Rebellion due to the martial arts and calisthenics good by the rebels. Empress Dowager Cixi gained control of the rebellion and tried to use it against the foreign powers. The failure of the rebellion led x years later to the fall of the Qing Dynasty and the creation of the Chinese Republic.

The nowadays view of Chinese martial arts is strongly influenced by the events of the Republican Catamenia (1912–1949). In the transition period between the fall of the Qing Dynasty besides as the turmoil of the Japanese invasion and the Chinese Ceremonious War, Chinese martial arts became more than accessible to the general public as many martial artists were encouraged to openly teach their fine art. At that time, some considered martial arts equally a ways to promote national pride and build a strong nation. Every bit a upshot, many training manuals (拳譜) were published, a grooming academy was created, two national examinations were organized and demonstration teams traveled overseas.[24] Numerous martial arts associations were formed throughout China and in various overseas Chinese communities. The Fundamental Guoshu Academy (Zhongyang Guoshuguan, 中央國術館) established by the National Government in 1928[25] and the Jing Wu Athletic Association (精武體育會) founded by Huo Yuanjia in 1910 are examples of organizations that promoted a systematic arroyo for training in Chinese martial arts.[26] [27] [28] A series of provincial and national competitions were organized by the Republican regime starting in 1932 to promote Chinese martial arts. In 1936, at the 11th Olympic Games in Berlin, a grouping of Chinese martial artists demonstrated their art to an international audience for the first time.

The term kuoshu (or guoshu, 國術 meaning "national art"), rather than the colloquial term gongfu was introduced past the Kuomintang in an effort to more than closely associate Chinese martial arts with national pride rather than individual achievement.

People'due south Republic [edit]

Chinese martial arts experienced rapid international dissemination with the end of the Chinese Civil State of war and the founding of the People's Republic of Cathay on October 1, 1949. Many well known martial artists chose to escape from the PRC's rule and migrate to Taiwan, Hong Kong,[29] and other parts of the world. Those masters started to teach within the overseas Chinese communities but somewhen they expanded their teachings to include people from other ethnic groups.

Inside China, the practice of traditional martial arts was discouraged during the turbulent years of the Chinese Cultural Revolution (1969–1976).[three] Like many other aspects of traditional Chinese life, martial arts were subjected to a radical transformation past the People's Commonwealth of People's republic of china to align them with Maoist revolutionary doctrine.[three] The Red china promoted the committee-regulated sport of Wushu as a replacement for independent schools of martial arts. This new competition sport was disassociated from what was seen as the potentially subversive self-defense aspects and family lineages of Chinese martial arts.[three]

In 1958, the government established the All-China Wushu Association every bit an umbrella organisation to regulate martial arts training. The Chinese State Commission for Physical Culture and Sports took the lead in creating standardized forms for most of the major arts. During this period, a national Wushu system that included standard forms, didactics curriculum, and instructor grading was established. Wushu was introduced at both the high schoolhouse and university level. The suppression of traditional teaching was relaxed during the Era of Reconstruction (1976–1989), as Communist ideology became more accommodating to culling viewpoints.[30] In 1979, the State Commission for Physical Culture and Sports created a special task strength to reevaluate the instruction and do of Wushu. In 1986, the Chinese National Research Institute of Wushu was established equally the central authority for the research and assistants of Wushu activities in the People's Republic of China.[31]

Changing authorities policies and attitudes towards sports, in general, led to the closing of the State Sports Committee (the central sports authority) in 1998. This closure is viewed as an attempt to partially de-politicize organized sports and movement Chinese sport policies towards a more market-driven arroyo.[32] Every bit a result of these changing sociological factors within China, both traditional styles and modern Wushu approaches are existence promoted by the Chinese authorities.[33]

Chinese martial arts are an integral element of 20th-century Chinese popular civilisation.[34] Wuxia or "martial arts fiction" is a popular genre that emerged in the early on 20th century and peaked in popularity during the 1960s to 1980s. Wuxia films were produced from the 1920s. The Kuomintang suppressed wuxia, accusing information technology of promoting superstition and violent anarchy. Because of this, wuxia came to flourish in British Hong Kong, and the genre of kung fu picture in Hong Kong action cinema became wildly pop, coming to international attention from the 1970s. The genre underwent a drastic reject in the late 1990s as the Hong Kong film industry was crushed past economic depression.

In the wake of Ang Lee's Crouching Tiger, Hidden Dragon (2000), at that place has been somewhat of a revival of Chinese-produced wuxia films aimed at an international audience, including Zhang Yimou's Hero (2002), Firm of Flying Daggers (2004) and Expletive of the Gilded Flower (2006), also equally Su Chao-pivot and John Woo'south Reign of Assassins (2010).

Styles [edit]

China has a long history of martial arts traditions that includes hundreds of different styles. Over the past two thousand years, many distinctive styles have been developed, each with its own set of techniques and ideas.[35] There are likewise mutual themes to the different styles, which are often classified by "families" ( 家 ; jiā ), "sects" ( 派 ; pai ) or "schools" ( 門 ; men ). In that location are styles that mimic movements from animals and others that gather inspiration from diverse Chinese philosophies, myths and legends. Some styles put nigh of their focus into the harnessing of qi, while others concentrate on competition.

Chinese martial arts can be divide into various categories to differentiate them: For case, external ( 外家拳 ) and internal ( 內家拳 ).[36] Chinese martial arts can also exist categorized by location, equally in northern ( 北拳 ) and southern ( 南拳 ) likewise, referring to what part of Mainland china the styles originated from, separated by the Yangtze River (長江); Chinese martial arts may even be classified co-ordinate to their province or urban center.[24] The primary perceived difference between northern and southern styles is that the northern styles tend to emphasize fast and powerful kicks, high jumps and generally fluid and rapid motility, while the southern styles focus more on potent arm and hand techniques, and stable, immovable stances and fast footwork. Examples of the northern styles include changquan and xingyiquan. Examples of the southern styles include Bak Mei, Wuzuquan, Choy Li Fut, and Wing Chun. Chinese martial arts can too be divided according to faith, imitative-styles ( 象形拳 ), and family styles such equally Hung Gar ( 洪家 ). There are distinctive differences in the training betwixt different groups of the Chinese martial arts regardless of the type of classification. Still, few experienced martial artists brand a clear distinction between internal and external styles, or subscribe to the idea of northern systems being predominantly kicking-based and southern systems relying more than heavily on upper-body techniques. Virtually styles contain both difficult and soft elements, regardless of their internal nomenclature. Analyzing the difference in accordance with yin and yang principles, philosophers would affirm that the absence of either one would render the practitioner'due south skills unbalanced or scarce, equally yin and yang lonely are each merely half of a whole. If such differences did once exist, they take since been blurred.

Training [edit]

Chinese martial arts training consists of the following components: basics, forms, applications and weapons; different styles identify varying emphasis on each component.[37] In addition, philosophy, ideals and fifty-fifty medical practice[38] are highly regarded by most Chinese martial arts. A complete preparation arrangement should besides provide insight into Chinese attitudes and culture.[39]

Nuts [edit]

The Basics ( 基本功 ) are a vital part of any martial grooming, as a student cannot progress to the more advanced stages without them. Basics are usually made upwardly of rudimentary techniques, conditioning exercises, including stances. Basic training may involve simple movements that are performed repeatedly; other examples of basic preparation are stretching, meditation, striking, throwing, or jumping. Without strong and flexible muscles, direction of Qi or breath, and proper trunk mechanics, it is incommunicable for a student to progress in the Chinese martial arts.[twoscore] [41] A common maxim apropos basic grooming in Chinese martial arts is as follows:[42]

内外相合，外重手眼身法步，内修心神意氣力。

Which translates as:

Train both Internal and External. External training includes the hands, the eyes, the body and stances. Internal training includes the heart, the spirit, the mind, breathing and strength.

Stances [edit]

Stances (steps or 步法) are structural postures employed in Chinese martial arts training.[43] [44] [ cocky-published source? ] They represent the foundation and the course of a fighter'south base. Each fashion has different names and variations for each stance. Stances may be differentiated by foot position, weight distribution, trunk alignment, etc. Stance training tin can exist skilful statically, the goal of which is to maintain the structure of the stance through a set fourth dimension flow, or dynamically, in which case a series of movements is performed repeatedly. The Horse opinion ( 騎馬步/馬步 ; qí mǎ bù/mǎ bù ) and the bow opinion are examples of stances found in many styles of Chinese martial arts.

Meditation [edit]

In many Chinese martial arts, meditation is considered to exist an important component of basic grooming. Meditation tin can be used to develop focus, mental clarity and can act every bit a basis for qigong grooming.[45] [46]

Utilize of qi [edit]

The concept of qi or ch'i ( 氣 ) is encountered in a number of Chinese martial arts. Qi is variously defined as an inner free energy or "life force" that is said to animate living beings; every bit a term for proper skeletal alignment and efficient use of musculature (sometimes also known as fa jin or jin); or as a shorthand for concepts that the martial arts pupil might not still be ready to understand in full. These meanings are non necessarily mutually exclusive.[note 1] The existence of qi equally a measurable class of energy equally discussed in traditional Chinese medicine has no footing in the scientific understanding of physics, medicine, biological science or human being physiology.[47]

There are many ideas regarding the control of one's qi energy to such an extent that information technology can be used for healing oneself or others.[48] Some styles believe in focusing qi into a single point when attacking and aim at specific areas of the man body. Such techniques are known as dim mak and have principles that are similar to acupressure.[49]

Weapons training [edit]

About Chinese styles too make utilise of training in the broad arsenal of Chinese weapons for workout the trunk as well every bit coordination and strategy drills.[50] Weapons grooming ( 器械 ; qìxiè ) is generally carried out after the student becomes proficient with the bones forms and applications training. The basic theory for weapons preparation is to consider the weapon as an extension of the body. It has the same requirements for footwork and body coordination as the basics.[51] The process of weapon training proceeds with forms, forms with partners and and then applications. Most systems have training methods for each of the Eighteen Arms of Wushu( 十八般兵器 ; shíbābānbīngqì ) in add-on to specialized instruments specific to the organisation.

Application [edit]

Awarding refers to the practical utilise of combative techniques. Chinese martial arts techniques are ideally based on efficiency and effectiveness.[52] [53] Application includes non-compliant drills, such as Pushing Easily in many internal martial arts, and sparring, which occurs within a variety of contact levels and rule sets.

When and how applications are taught varies from fashion to style. Today, many styles begin to teach new students past focusing on exercises in which each pupil knows a prescribed range of combat and technique to drill on. These drills are often semi-compliant, meaning one pupil does not offer agile resistance to a technique, in social club to allow its demonstrative, make clean execution. In more resisting drills, fewer rules apply, and students practise how to react and respond. 'Sparring' refers to a more advanced format, which simulates a gainsay state of affairs while including rules that reduce the chance of serious injury.

Competitive sparring disciplines include Chinese kickboxing Sǎnshǒu ( 散手 ) and Chinese folk wrestling Shuāijiāo ( 摔跤 ), which were traditionally contested on a raised platform loonshit, or Lèitái ( 擂台 ).[54] Lèitái were used in public challenge matches first appeared in the Vocal Dynasty. The objective for those contests was to knock the opponent from a raised platform past any ways necessary. San Shou represents the modern evolution of Lei Tai contests, simply with rules in place to reduce the chance of serious injury. Many Chinese martial art schools teach or piece of work within the rule sets of Sanshou, working to comprise the movements, characteristics, and theory of their style.[55] Chinese martial artists too compete in not-Chinese or mixed Combat sport, including boxing, kickboxing and Mixed martial arts.

Forms [edit]

Forms or taolu (Chinese: 套路; pinyin: tàolù ) in Chinese are series of predetermined movements combined so they tin can be practiced equally a continuous set of movements. Forms were originally intended to preserve the lineage of a item manner branch, and were often taught to avant-garde students selected for that purpose. Forms contained both literal, representative and exercise-oriented forms of applicable techniques that students could extract, examination, and railroad train in through sparring sessions.[56]

Today, many consider taolu to be one of the near important practices in Chinese martial arts. Traditionally, they played a smaller role in training for combat application and took a back seat to sparring, drilling, and conditioning. Forms gradually build up a practitioner's flexibility, internal and external force, speed and stamina, and they teach balance and coordination. Many styles contain forms that employ weapons of various lengths and types, using one or two hands. Some styles focus on a certain blazon of weapon. Forms are meant to be both practical, usable, and applicable as well equally to promote fluid motion, meditation, flexibility, remainder, and coordination. Students are encouraged to visualize an attacker while grooming the form.

In that location are ii general types of taolu in Chinese martial arts. Most mutual are solo forms performed past a single student. There are likewise sparring forms — choreographed fighting sets performed by two or more people. Sparring forms were designed both to acquaint start fighters with bones measures and concepts of gainsay and to serve as performance pieces for the schoolhouse. Weapons-based sparring forms are especially useful for teaching students the extension, range, and technique required to manage a weapon.

Forms in Traditional Chinese Martial Arts [edit]

The term taolu (套路) is a shortened version of Tao Lu Yun Dong (套路運動), an expression introduced only recently with the popularity of mod wushu. This expression refers to "practise sets" and used in the context of athletics or sport.

In dissimilarity, in traditional Chinese martial arts alternative terminologies for the training (練) of 'sets or forms are:

  • lian quan tao (練拳套) – practicing a sequence of fists.
  • lian quan jiao (練拳腳) – practicing fists and feet.
  • lian bing qi (練兵器) – practicing weapons.
  • dui da (對打) and dui lian (對練) – fighting sets.

Traditional "sparring" sets, called dui da (對打) or dui lian (對練), were an essential office of Chinese martial arts for centuries. Dui lian ways, to train past a pair of combatants opposing each other—the character lian (練), refers to practice; to train; to perfect 1's skill; to drill. Equally well, often i of these terms are also included in the name of fighting sets (雙演; shuang yan), "paired practice" (掙勝; zheng sheng), "to struggle with force for victory" (敵; di), match – the character suggests to strike an enemy; and "to interruption" (破; po).

Mostly, in that location are 21, 18, 12, 9 or 5 drills or 'exchanges/groupings' of attacks and counterattacks, in each dui lian set. These drills were considered simply generic patterns and never meant to be considered inflexible 'tricks'. Students expert smaller parts/exchanges, individually with opponents switching sides in a continuous flow. Dui lian were not simply sophisticated and effective methods of passing on the fighting knowledge of the older generation, but they were also essential and effective grooming methods. The relationship between unmarried sets and contact sets is complicated, in that some skills cannot exist developed with solo 'sets', and, conversely, with dui lian. Unfortunately, it appears that most traditional combat oriented dui lian and their training methodology have disappeared, especially those concerning weapons. There are several reasons for this. In modern Chinese martial arts, well-nigh of the dui lian are recent inventions designed for low-cal props resembling weapons, with safety and drama in listen. The role of this kind of training has degenerated to the point of being useless in a applied sense, and, at best, is just performance.

Past the early Song period, sets were not then much "individual isolated technique strung together" simply rather were composed of techniques and counter technique groupings. It is quite clear that "sets" and "fighting (2-person) sets" accept been instrumental in traditional Chinese martial arts for many hundreds of years—fifty-fifty before the Song Dynasty. There are images of two-person weapon training in Chinese stone painting going back at to the lowest degree to the Eastern Han Dynasty.

According to what has been passed on by the older generations, the approximate ratio of contact sets to single sets was approximately 1:3. In other words, most xxx% of the 'sets' skillful at Shaolin were contact sets, dui lian, and two-person drill training. This ratio is, in office, evidenced past the Qing Dynasty mural at Shaolin.

For virtually of its history, Shaolin martial arts was mostly weapon-focused: staves were used to defend the monastery, not bare easily. Even the more than recent military machine exploits of Shaolin during the Ming and Qing Dynasties involved weapons. Co-ordinate to some traditions, monks first studied basics for one year and were then taught staff fighting so that they could protect the monastery. Although wrestling has been as sport in China for centuries, weapons have been an essential part of Chinese wushu since ancient times. If one wants to talk well-nigh recent or 'modern' developments in Chinese martial arts (including Shaolin for that matter), it is the over-emphasis on blank hand fighting. During the Northern Song Dynasty (976- 997 A.D) when platform fighting is known as Da Laitai (Championship Fights Challenge on Platform) first appeared, these fights were with only swords and staves. Although afterward, when bare hand fights appeared every bit well, it was the weapons events that became the most famous. These open-ring competitions had regulations and were organized by government organizations; the public also organized some. The government competitions, held in the capital and prefectures, resulted in appointments for winners, to military posts.

Practice forms vs. kung fu in combat [edit]

Fifty-fifty though forms in Chinese martial arts are intended to depict realistic martial techniques, the movements are non always identical to how techniques would exist practical in combat. Many forms take been elaborated upon, on the one hand, to provide better combat preparedness, and on the other hand to look more aesthetically pleasing. One manifestation of this tendency toward elaboration beyond combat application is the use of lower stances and higher, stretching kicks. These two maneuvers are unrealistic in gainsay and are used in forms for exercise purposes.[57] Many modern schools take replaced practical defence force or offense movements with acrobatic feats that are more spectacular to watch, thereby gaining favor during exhibitions and competitions.[note 2] This has led to criticisms by traditionalists of the endorsement of the more acrobatic, evidence-oriented Wushu competition.[58] Historically forms were oftentimes performed for entertainment purposes long before the appearance of modern Wushu as practitioners have looked for supplementary income by performing on the streets or in theaters. Documentation in ancient literature during the Tang Dynasty (618–907) and the Northern Vocal Dynasty (960–1279) suggests some sets, (including two + person sets: dui da also called dui lian) became very elaborate and 'flowery', many mainly concerned with aesthetics. During this fourth dimension, some martial arts systems devolved to the point that they became popular forms of martial fine art storytelling amusement shows. This created an entire category of martial arts known as Hua Fa Wuyi. During the Northern Song period, information technology was noted by historians this type of training had a negative influence on training in the military.

Many traditional Chinese martial artists, as well equally practitioners of modern sport combat, have become disquisitional of the perception that forms work is more relevant to the fine art than sparring and drill application, while most proceed to see traditional forms practise within the traditional context—as vital to both proper combat execution, the Shaolin artful as an fine art form, too as upholding the meditative function of the physical art grade.[59]

Another reason why techniques often appear different in forms when contrasted with sparring application is thought by some to come up from the darkening of the bodily functions of the techniques from outsiders.[60] [ self-published source? ]

Forms exercise is generally known for teaching combat techniques yet when practicing forms, the practitioner focuses on posture, breathing, and performing the techniques of both right and left sides of the torso.[61]

Wushu [edit]

Modern forms are used in the sport of wushu, as seen in this staff routine

The word wu ( 武 ; wǔ ) means "martial". Its Chinese grapheme is fabricated of two parts; the first significant "walk" or "cease" ( 止 ; zhǐ ) and the second meaning "lance" ( 戈 ; gē ). This implies that "wu 武" is a defensive use of combat.[ dubious – discuss ] The term "wushu 武術" meaning "martial arts" goes back as far as the Liang Dynasty (502–557) in an album compiled by Xiao Tong ( 蕭通 ), (Prince Zhaoming; 昭明太子 d. 531), called Selected Literature ( 文選 ; Wénxuǎn ). The term is found in the second verse of a verse form by Yan Yanzhi titled: 皇太子釋奠會作詩 "Huang Taizi Shidian Hui Zuoshi".

"The great human being grows the many myriad things . . .

Breaking away from the military arts,

He promotes fully the cultural mandates."

(Translation from: Echoes of the By by Yan Yanzhi (384–456))

The term wushu is also found in a poem by Cheng Shao (1626–1644) from the Ming Dynasty.

The earliest term for 'martial arts' can be plant in the Han History (206BC-23AD) was "armed services fighting techniques" ( 兵技巧 ; bīng jìqiǎo ). During the Song catamenia (c.960) the name inverse to "martial arts" ( 武藝 ; wǔyì ). In 1928 the name was changed to "national arts" ( 國術 ; guóshù ) when the National Martial Arts Academy was established in Nanjing. The term reverted to wǔshù under the People's Democracy of Cathay during the early 1950s.

Equally forms have grown in complexity and quantity over the years, and many forms alone could be practiced for a lifetime, modern styles of Chinese martial arts accept developed that concentrate solely on forms, and practise not practice application at all. These styles are primarily aimed at exhibition and competition, and often include more than acrobatic jumps and movements added for enhanced visual effect[62] compared to the traditional styles. Those who more often than not prefer to do traditional styles, focused less on exhibition, are oftentimes referred to as traditionalists. Some traditionalists consider the contest forms of today's Chinese martial arts as too commercialized and losing much of their original values.[63] [64]

"Martial morality" [edit]

Traditional Chinese schools of martial arts, such as the famed Shaolin monks, often dealt with the study of martial arts not just as a means of self-defense or mental training, just every bit a system of ethics.[39] [65] Wude ( 武 德 ) tin can be translated as "martial morality" and is synthetic from the words wu ( 武 ), which means martial, and de ( 德 ), which ways morality. Wude deals with two aspects; "Virtue of deed" and "Virtue of heed". Virtue of act concerns social relations; morality of mind is meant to cultivate the inner harmony betwixt the emotional mind ( 心 ; Xin ) and the wisdom mind ( 慧 ; Hui ). The ultimate goal is reaching "no extremity" ( 無 極 ; Wuji ) – closely related to the Taoist concept of wu wei – where both wisdom and emotions are in harmony with each other.

Virtues:

Deed
Concept Proper name Traditional Chinese Simplified Chinese Pinyin romanization Yale Cantonese Romanization
Humility Qian 謙 谦 qiān hīm
Virtue Cheng 誠 诚 chéng sìhng
Respect Li 禮 礼 lǐ láih
Morality Yi 義 义 yì yih
Trust Xin 信 xìn seun
Mind
Concept Proper name Chinese Pinyin romanization Yale Cantonese Romanization
Courage Yong 勇 yǒng yúhng
Patience Ren 忍 rěn yán
Endurance Heng 恆 héng hàhng
Perseverance Yi 毅 yì ngaih
Will Zhi 志 zhì ji

Notable practitioners [edit]

Examples of well-known practitioners ( 武術名師 ) throughout history:

  • Yue Fei (1103–1142 CE) was a famous Chinese general and patriot of the Vocal Dynasty. Styles such every bit Eagle Claw and Xingyiquan attribute their creation to Yue. However, there is no historical evidence to support the claim he created these styles.
  • Ng Mui (late 17th century) was the legendary female founder of many Southern martial arts such equally Wing Chun, and Fujian White Crane. She is often considered ane of the legendary Five Elders who survived the destruction of the Shaolin Temple during the Qing Dynasty.
  • Yang Luchan (1799–1872) was an important teacher of the internal martial art known as t'ai chi ch'uan in Beijing during the second half of the 19th century. Yang is known as the founder of Yang-style t'ai chi ch'uan, as well as transmitting the fine art to the Wu/Hao, Wu and Sun t'ai chi families.
  • Ten Tigers of Canton (late 19th century) was a group of x of the top Chinese martial arts masters in Guangdong (Canton) towards the terminate of the Qing Dynasty (1644–1912). Wong Kei-Ying, Wong Fei Hung's father, was a member of this group.
  • Wong Fei Hung (1847–1924) was considered a Chinese folk hero during the Republican catamenia. More than than one hundred Hong Kong movies were fabricated about his life. Sammo Hung, Jackie Chan, and Jet Li have all portrayed his character in blockbuster pictures.
  • Huo Yuanjia (1867–1910) was the founder of Chin Woo Able-bodied Association who was known for his highly publicized matches with foreigners. His biography was recently portrayed in the movie Fearless (2006).
  • Ip Human (1893–1972) was a master of the Fly Chun and the kickoff to teach this style openly. Yip Human being was the instructor of Bruce Lee. Most major branches of Wing Chun taught in the West today were developed and promoted by students of Yip Homo.
  • Gu Ruzhang (1894–1952) was a Chinese martial artist who disseminated the Bak Siu Lum (Northern Shaolin) martial arts system across southern Cathay in the early 20th century. Gu was known for his expertise in Fe Palm hand conditioning among other Chinese martial fine art preparation exercises.
  • Bruce Lee (1940–1973) was a Chinese-American martial artist and actor who was considered an important icon in the 20th century.[66] He practiced Wing Chun and fabricated it famous. Using Wing Chun as his base and learning from the influences of other martial arts his feel exposed him to, he subsequently developed his ain martial arts philosophy that evolved into what is now called Jeet Kune Do.
  • Jackie Chan (b. 1954) is the famous Hong Kong martial artist, flick actor, stuntman, action choreographer, director and producer, and a global pop culture icon, widely known for injecting physical one-act into his martial arts performances, and for performing circuitous stunts in many of his films.
  • Jet Li (b. 1963) is the five-time sport wushu champion of Prc, afterwards demonstrating his skills in movie house.
  • Donnie Yen (b. 1963) is a Hong Kong actor, martial artist, film director and producer, action choreographer, and world wushu tournament medalist.
  • Wu Jing (b. 1974) is a Chinese actor, director, and martial artist. He was a fellow member of the Beijing wushu team. He started his career as action choreographer and afterwards as an player.

In popular culture [edit]

References to the concepts and utilize of Chinese martial arts tin exist found in pop culture. Historically, the influence of Chinese martial arts can be found in books and in the performance arts specific to Asia.[67] Recently, those influences have extended to the movies and television that targets a much wider audience. As a result, Chinese martial arts take spread beyond its indigenous roots and have a global appeal.[68] [69]

Martial arts play a prominent part in the literature genre known as wuxia ( 武俠小說 ). This blazon of fiction is based on Chinese concepts of chivalry, a separate martial arts society ( 武林 ; Wulin ) and a central theme involving martial arts.[lxx] Wuxia stories can be traced every bit far back as 2nd and 3rd century BCE, condign popular by the Tang Dynasty and evolving into novel form by the Ming Dynasty. This genre is nevertheless extremely popular in much of Asia[71] and provides a major influence for the public perception of the martial arts.

Martial arts influences can likewise be found in trip the light fantastic toe, theater [72] and specially Chinese opera, of which Beijing opera is one of the best-known examples. This popular form of drama dates back to the Tang Dynasty and continues to exist an example of Chinese culture. Some martial arts movements can be institute in Chinese opera and some martial artists tin can be institute as performers in Chinese operas.[73]

In modern times, Chinese martial arts have spawned the genre of movie theater known as the Kung fu movie. The films of Bruce Lee were instrumental in the initial burst of Chinese martial arts' popularity in the Due west in the 1970s.[74] Bruce Lee was the iconic international superstar that popularized Chinese martial arts in the Due west with his own variation of Chinese martial arts chosen Jeet Kune Do. It is a hybrid style of martial art that Bruce Lee practiced and mastered. Jeet Kune Do is his very own unique style of martial fine art that uses little to minimum movement but maximizes the effect to his opponents. The influence of Chinese martial art have been widely recognized and have a global appeal in Western cinemas starting off with Bruce Lee.

Martial artists and actors such every bit Jet Li and Jackie Chan have continued the appeal of movies of this genre. Jackie Chan successfully brought in a humor in his fighting manner in his movies. Martial arts films from Prc are frequently referred to as "kung fu movies" ( 功夫片 ), or "wire-fu" if extensive wire work is performed for special effects, and are withal best known as part of the tradition of kung fu theater. (run across as well: wuxia, Hong Kong action cinema). The talent of these individuals accept broadened Hong Kong'southward cinematography production and rose to popularity overseas, influencing Western cinemas.

In the w, kung fu has become a regular action staple, and makes appearances in many films that would not generally be considered "Martial Arts" films. These films include but are not limited to The Matrix franchise, Kill Bill, and The Transporter.

Martial arts themes can also be found on television networks. A U.S. network TV western serial of the early 1970s called Kung Fu also served to popularize the Chinese martial arts on television. With 60 episodes over a three-year span, it was one of the first North American Telly shows that tried to convey the philosophy and practice in Chinese martial arts.[75] [76] The use of Chinese martial arts techniques can now be establish in most TV action series, although the philosophy of Chinese martial arts is seldom portrayed in depth.

Influence on hip hop [edit]

In the 1970s, Bruce Lee was offset to gain popularity in Hollywood for his martial arts movies. The fact that he was a non-white male person who portrayed self-reliance and righteous self-field of study resonated with blackness audiences and fabricated him an important figure in this community.[77] Around 1973, Kung Fu movies became a striking in America across all backgrounds; however, black audiences maintained the films' popularity well afterwards the general public lost interest. Urban youth in New York City were still going from every borough to Time Square every dark to lookout man the latest movies.[78] Amongst these individuals were those coming from the Bronx where, during this time, hip-hop was beginning to have form. 1 of the pioneers responsible for the development of the foundational aspects of hip-hop was DJ Kool Herc, who began creating this new class of music by taking rhythmic breakdowns of songs and looping them. From the new music came a new form of trip the light fantastic known as b-boying or breakdancing, a style of street trip the light fantastic toe consisting of improvised acrobatic moves. The pioneers of this dance credit kung fu every bit one of its influences. Moves such as the crouching low leg sweep and "up rocking" (standing combat moves) are influenced by choreographed kung-fu fights.[79] The dancers' power to improvise these moves led way to battles, which were dance competitions betwixt two dancers or crews judged on their creativity, skills, and musicality. In a documentary, Crazy Legs, a fellow member of breakdancing group Rock Steady Crew, described the breakdancing battle being like an onetime kung fu film, "where the one kung fu master says something along the lines of 'hun your kung fu is practiced, only mine is improve,' then a fight erupts." [79]

Hip hop group Wu Tang Association were prominently influenced by kung fu cinema. The proper noun "Wu Tang" itself is a reference to the 1983 film Shaolin and Wu Tang. Subsequent albums past the group (particularly their debut album Enter the Wu-Tang (36 Chambers)) are rich with references to kung fu films of the 1970s and 1980s, which group members grew upward watching. Several grouping members (Ghostface Killah, Ol' Dingy Bastard, Method Human, and Masta Killa) had too taken their stage names from kung fu picture palace. Several music videos, promotional photos, etc. feature group members posing or engaging with kung fu regalia and activeness sequences.

See also [edit]

  • Eighteen Artillery of Wushu
  • Hard and soft (martial arts)
  • Kung fu (disambiguation)
  • List of Chinese martial arts
  • Wushu (sport)
  • Kwoon
  • Weapons and armor in Chinese mythology

Notes [edit]

  1. ^ Pages 26–33[24]
  2. ^ Pages 118–119[56]

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