CHINESE CHINESE
A SHORT INTRODUCTION TO CHINESE
MARTIAL ARTS (KUNG FU)
by Master Desheng Li, 2011
MARTIAL ARTS (KUNG FU)
by Master Desheng Li, 2011
There is a strong tradition of hand combat and use of weaponry
throughout the 3000 years of Chinese history, with its frequent
internal and external conflicts. Many Chinese techniques in
combat are inspired by animals’ movements when they attack and
defend themselves in their natural habitats.
The tradition of martial arts at the Shaolin monastery started
around the 5th century, when the Buddhist monk Bodhidarma from
India trained the Shaolin monks on a discipline to develop inner
strength and improve their concentration. This discipline was the
foundation on which the monks developed techniques in self
defense over the centuries that followed.
In the 18th century, the Shaolin monks were suspected of plotting
to overthrow the Ching government. Officials burnt the monastery
and slaughtered the monks. Some monks escaped to southern
China, the furthest away from the seat of the government in the
north. Most of them settled in the Guangdong province with
Guangzhou (Canton) being the capital. Shaolin techniques
eventually spread throughout southern China.
Techniques in combat and self defense was not unique to the
Shaolin monks, as these were necessary skills throughout the
history of China. Shaolin martial arts were made famous by the
film industry. From the mid-1960’s to the late 1970’s, a large
number of feature films were produced in Hong Kong, by Shaw
Studios, based on legends of the Shaolin monastery. In 1982, the
film Shaolin Temple catapulted the actor Jet Li to fame.
The English term “kung fu” was popularized in the early 1970’s by
Bruce Lee, an actor of Cantonese origin. Kung fu is Cantonese
dialect which means time and effort, as well as martial arts.
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
| |
 |
All Rights Reserved
Many of the principles of Chinese Martial Arts are based on the teachings of
Chinese classical philosophy.
Many Chinese techniques in combat are inspired by animals’ movements when
they attack and defend themselves in their natural habitats. In addition, many
techniques reflect Chinese classical philosophy.
儒家Confucianism 孔子Confucious taught:
仁 Compassion; 仁者必有勇 To be compassionate requires courage.
義 Correctness; 見義不為. 無勇也Not doing what one knows to be correct means
one has no courage.
以直報怨 Retaliation should be in proportion to the wrong done.
In martial arts, this philosophy is best exemplified by豹型拳jaguar style.
道家Taoism 老子Lao Tze taught:
善戰者不怒 Skilled warriers do not lose their cool.
天下之至柔, 馳騁天下之至堅: The softest approach will always conquer the
toughest.
因勢利導 Understand the path of force and direct it to one’s advantage.
不敢為天下先 Do not make the first move.
將欲奪之, 必固與之 To gain control over someone, yield to him first.
In martial arts, this philosophy is best exemplified by太極 tai chi, 內家螳螂 internal
energy praying mantis style and 龍型拳 dragon style.
Kung Fu and Chinese Art
Kung fu shares some common themes with other traditional Chinese arts such as
calligraphy and opera singing. The enjoyment of these arts is proportionate to the
effort made to learn how to approach and appreciate them.
項穆 (Xiang Mu) (1552-1599), a calligrapher and art connoisseur in the Ming
Dynasty, divided calligraphers into five grades. Here is an interpretation of his
framework which can equally be applied to other traditional Chinese arts:
Creators invent their own distinctive styles which are widely acknowledged to be
groundbreaking. Bruce Lee in kung fu, 顏真卿 (Yan Zhenqing) (709-785) in
calligraphy, 小明星 (Xiao Mingxing) in Cantonese opera, Elvis Presley, The
Beatles, and Michael Jackson are all creators.
Stars are highly accomplished artists whose repertoires span a wide range of
different styles and who consistently impress, delight and inspire. They maintain
their appeal over time – such as 黄庭堅 (Huang Tingjian) (1045-1105) in
calligraphy and 薛覺先 (Xue Jiaoxian) in Cantonese opera.
Kings are artists extraordinarily accomplished in a specific style. Calligraphers
include 于右任 (Yu Youren) (1878-1965) in 草書 (cursive script), 沈尹默 (Shen
Yinmo) (1883-1971) in 楷書 (regular script). Some Cantonese opera singers are
revered as “king of ‘southern melody’” (南音王) 白駒榮 (Bai Jurong), or “king of
‘warrior role’”( 武生王) 靚次伯 (Liang Cibo).
Technicians are artists whose technique is perfect and who can serve as a model
for students, but who lack the sparkle that animates art and emotionally engages
an audience.
Entertainers are artists who have aptitude and potential to be great, and who
choose to exhibit their talent before they achieve technical mastery. If they are
commercially successful, they might never have the motivation to invest further in
the time and effort to become masters of their art.
In traditional Chinese art instruction, a course that aims to enable students to
become accomplished in the field would typically start by requiring them to learn
the techniques of the great masters. At this stage, there is little freedom for the
students to do what they like. These techniques serve as a solid foundation that
enables students to become excellent and maybe even create their own styles
over time. Although the rules and principles are inflexible, the techniques, once
mastered, can be applied freely by the students. Although art involves creativity
and it is also a means of self expression, unless a student is a born master, he/she
needs to have learnt the rules and principles first.
Learning the techniques of the great masters requires time, effort, and discipline,
with long periods of practicing in solitude and tireless repetition. Through
practicing movement, brush strokes, or melodies as the case may be, students
who demonstrate an aptitude for a certain style would typically choose to
specialize in that style. Their challenge is to both acquire the essence of a style -
which requires immersion in it, and be able to use it artistically - which requires
breaking its constraints. As 齊白石 (Qi Baishi), a contemporary Chinese painter
said, “Those who learn will succeed; those who copy will fail.”「學我者生，似我者
死」
Not everyone needs to treat art with life-or-death seriousness. Traditional Chinese
art can be enjoyed at different levels as defined by the individual, who is at liberty
to choose his or her most comfortable spot along the continuum from amateur to
master.
Chinese classical philosophy.
Many Chinese techniques in combat are inspired by animals’ movements when
they attack and defend themselves in their natural habitats. In addition, many
techniques reflect Chinese classical philosophy.
儒家Confucianism 孔子Confucious taught:
仁 Compassion; 仁者必有勇 To be compassionate requires courage.
義 Correctness; 見義不為. 無勇也Not doing what one knows to be correct means
one has no courage.
以直報怨 Retaliation should be in proportion to the wrong done.
In martial arts, this philosophy is best exemplified by豹型拳jaguar style.
道家Taoism 老子Lao Tze taught:
善戰者不怒 Skilled warriers do not lose their cool.
天下之至柔, 馳騁天下之至堅: The softest approach will always conquer the
toughest.
因勢利導 Understand the path of force and direct it to one’s advantage.
不敢為天下先 Do not make the first move.
將欲奪之, 必固與之 To gain control over someone, yield to him first.
In martial arts, this philosophy is best exemplified by太極 tai chi, 內家螳螂 internal
energy praying mantis style and 龍型拳 dragon style.
Kung Fu and Chinese Art
Kung fu shares some common themes with other traditional Chinese arts such as
calligraphy and opera singing. The enjoyment of these arts is proportionate to the
effort made to learn how to approach and appreciate them.
項穆 (Xiang Mu) (1552-1599), a calligrapher and art connoisseur in the Ming
Dynasty, divided calligraphers into five grades. Here is an interpretation of his
framework which can equally be applied to other traditional Chinese arts:
Creators invent their own distinctive styles which are widely acknowledged to be
groundbreaking. Bruce Lee in kung fu, 顏真卿 (Yan Zhenqing) (709-785) in
calligraphy, 小明星 (Xiao Mingxing) in Cantonese opera, Elvis Presley, The
Beatles, and Michael Jackson are all creators.
Stars are highly accomplished artists whose repertoires span a wide range of
different styles and who consistently impress, delight and inspire. They maintain
their appeal over time – such as 黄庭堅 (Huang Tingjian) (1045-1105) in
calligraphy and 薛覺先 (Xue Jiaoxian) in Cantonese opera.
Kings are artists extraordinarily accomplished in a specific style. Calligraphers
include 于右任 (Yu Youren) (1878-1965) in 草書 (cursive script), 沈尹默 (Shen
Yinmo) (1883-1971) in 楷書 (regular script). Some Cantonese opera singers are
revered as “king of ‘southern melody’” (南音王) 白駒榮 (Bai Jurong), or “king of
‘warrior role’”( 武生王) 靚次伯 (Liang Cibo).
Technicians are artists whose technique is perfect and who can serve as a model
for students, but who lack the sparkle that animates art and emotionally engages
an audience.
Entertainers are artists who have aptitude and potential to be great, and who
choose to exhibit their talent before they achieve technical mastery. If they are
commercially successful, they might never have the motivation to invest further in
the time and effort to become masters of their art.
In traditional Chinese art instruction, a course that aims to enable students to
become accomplished in the field would typically start by requiring them to learn
the techniques of the great masters. At this stage, there is little freedom for the
students to do what they like. These techniques serve as a solid foundation that
enables students to become excellent and maybe even create their own styles
over time. Although the rules and principles are inflexible, the techniques, once
mastered, can be applied freely by the students. Although art involves creativity
and it is also a means of self expression, unless a student is a born master, he/she
needs to have learnt the rules and principles first.
Learning the techniques of the great masters requires time, effort, and discipline,
with long periods of practicing in solitude and tireless repetition. Through
practicing movement, brush strokes, or melodies as the case may be, students
who demonstrate an aptitude for a certain style would typically choose to
specialize in that style. Their challenge is to both acquire the essence of a style -
which requires immersion in it, and be able to use it artistically - which requires
breaking its constraints. As 齊白石 (Qi Baishi), a contemporary Chinese painter
said, “Those who learn will succeed; those who copy will fail.”「學我者生，似我者
死」
Not everyone needs to treat art with life-or-death seriousness. Traditional Chinese
art can be enjoyed at different levels as defined by the individual, who is at liberty
to choose his or her most comfortable spot along the continuum from amateur to
master.
