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Li family fighting skills
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2021-11-17 at 8:11 PM UTChttps://en.m.wikipedia.org/wiki/Li_(Lee)_Family
The Li family is originally from Lanzhou in the Gansu province of China. Legend has it that prior to Li Sou's development of Wu Xing Chuan (5 shape fist), he had learned various palm techniques that had been passed on to him by another member of the Li family. These techniques were called the Divine Immortal Palms, and consisted of Iron Bone Shattering Palm, Vibrating Palm, Cotton Palm, Burning Palm, Spiralling Palm, and Internal Iron Palm, which were taught to the Li family by a Taoist immortal and other traveling hermits from the Wudang and O Mei Mountains.
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2021-11-17 at 8:25 PM UTC
Chen Style Taijiquan has its origins in Chenjiagou village in Wen County, Henan Province. It was created by Chen Wangting, ninth generation descendant of Chen clan at the end of Ming dynasty and beginning of Qing dynasty, on the basis of the old martial art that had been passed within the family. Chen Wangting perfected the art and created five sets of Taijiquan, five sets of fist boxing (Wu Tao Chui), Thirteen Postures (Shi San Shi) as well as Canon Boxing (Pao Chui) [1], weapons sets (spear, broadsword, straight sword, stick, maces, whip, etc) and especially unique methods of Pushing Hands (Tui Shou) and Sticky Spears (Zhan Qiang).
The practice of Chen style Taijiquan emphasizes reducing the circles from large into small, and then from small into "no circles" - the peak of perfection in the art. Historically Chen style Taijiquan was not divided into "Large Frame" and "Small Frame"; however, as far as the practice method is concerned, the teacher, in order to help the student learn the rudiments of the art faster, would enlarge the movements of the routine, so that the student would start learning from large, external circles. After a period of period of practice, when the student already learnt to move in the circular, round way, large circles were gradually reduced to small ones, external circles to internal ones, forming spiral silk reeling strength (Chan Si Jin) transferred along the strength paths (Jin Lu) on the torso, arms and legs; in this way the high level of skill would be achieved
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2021-11-17 at 8:33 PM UTCthis guy is a legend:
https://en.m.wikipedia.org/wiki/Chen_FakeChen Fake or Ch'en Fa-k'e (陳發科; 1887–1957) was a Chinese martial artist who taught Chen-style t'ai chi ch'uan.[1] He was born and raised in Chen Family Village (Chenjiagou, 陳家溝) in Henan province. In 1928, Chen Fake moved to Beijing to teach his family's inheritance; Chen-style t'ai chi ch'uan. After defeating all challengers, Chen attracted a group of students that included many already well known martial artists. Chen Fake was a martial artist and not a scholar and so he did not leave a written record of his achievements. His life story was recorded and told by his sons or students, notably Hong Junsheng. By the time of his death in 1957, Chen had established a martial arts tradition of Chen-style t'ai chi ch'uan that is practiced worldwide.
Before the arrival of Chen Fake, the public perception of t'ai chi ch'uan was based on the views of the Yang style and Wu style. This meant that the t'ai chi ch'uan forms were practiced as slow and relaxed movements. Chen Fake showed a different type of training that at times can include fast vigorous actions and explosive moves. So in the beginning, many within the Beijing martial arts community doubt the authenticity of Chen Fake's quan. According to Chinese tradition, when Chen first arrived in the Chinese capital, he was openly challenged by other martial artists in order to establish his credibility. In those impromptu competitions, there were no rules and no preparations so they could be quite dangerous. For the next thirty years, Chen remained undefeated. Chen not only established an unparalleled martial arts reputation but earned the public's respect for his morality and integrity.
According to his student, Hong Junsheng, Chen Fake never criticizes other martial artists either publicly or privately. Chen would also admonish his students for criticizing others. Master Chen was quoted as saying: “The pillar of socialization is loyalty and the method of dealing with people should be based on modesty and cooperation. Loyalty fosters trust; modesty encourages progress; and cooperation befriends people. Modesty and cooperation should be based on loyalty not on hypocrisy.” -
2021-11-17 at 9:44 PM UTC
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2021-11-17 at 10:28 PM UTC
Fan Family Baguazhang was created by Fan Zhiyong (1840-1922) of Zheng Bai Banner in Manchu nationality. Fan, also called “Fan the Madman”, started martial arts practice in hus childhood and for eight years learnt mainly Shaolin boxing and Tan Tui. Later, being already a skilful martial artist, Fan became Dong Haichuan’s disciple and studied Baguazhang with Dong. After years of hard practice, Fan received true transmission from his teacher and achieved a high level of skill. He was not only very powerful, but also proficient in free fighting and Qinna.
http://www.chinafrominside.com/ma/bagua/fanbagua.html
In 1898 Fan Zhiyong, invited by Liu Baozhen, moved with whole family to Gu’an County in Hebei Province, and stayed there for three years. At that time in Xi Hong Buddhist Temple he killed at a famous local gang leader, a bandit called “Hei Luozi” (Black Mule). This incident was witnessed by Fan’s daughter, Fan Fenglan, at that time fourteen years old.
In the first years of the Republic of China (1911-1949), Lu Jinggui in his “Complete Manual of Cao’s Baguazhang” in the part on Dong Haichuan, wrote: (…) the most famous of his disciples were six man: Yin Fu, Cheng Tinghua, Ma Weiqi, Song Changrong, Liu Fengchun and Fan the Madman. Fan Zhiyong once spent 49 days in Prince Su Palace alone with Dong Haichuan where he learnt Buddhist and Taoist combined method called “Wu Ji Baguazhang”, also called “Nei Quan Baguazhang” (Inner Circle Baguazhang).
Inner Circle Baguazhang does not have fixed routines, but, everytime it is practiced it becomes a natural routine. However, since Fan Zhiyong practiced external boxing prior to Bagua studies, there are fixed weapons and empty hands routines in his style.
Inner Circle Baguazhang is practiced in a following way:
Beginners should first practice basic exercises like “Zhuang Gong” (Standing Pole Method) and “Dan Cao Zhang” (Single Technique Palm). Then, after a year of two, the teacher takes them to a room where they first pay respect to the pictures of Da Mo (Boddhidarma) and Dong Haichuan, and then the teacher leads them through exercise (this method is similar to that used in Qigong practice with the exception that in Qigong there are only few movements, while Fan family method has palm and fist techniques, body movements, footwork). The essentials for this method are: sincerity during practice, Intention guides all the movements, being natural. Length of practice depends on the basic skill of practitioner and his Wuxing (power of understanding).
Since Fan Family Baguazhang has exceptional teaching methods, therefore the teacher is very careful about choosing students and teaches them very strictly. For this reason there were only few practitioners of this style. Fan Zhiyong taught Wang Zhi, Ning Hongliang, Li Ziyan, Za Lifen, Ao Qinghua, Tao Yongfu, Fan Fenglan, Shi Qingsheng and others. However, most of them did not inherit the art, only Fan Fenglan and Shi Qingsheng passed it to few disciples. -
2021-11-17 at 10:32 PM UTC
Wen Dasheng started his Fan Family Baguazhang practice at the age of fifteen. Since Fan Fenglan, when already old, realized that the art would vanish if taught according to traditional methods, she was teaching him using many examples, with all the details and explanations. In this way Wen was able to master Fan Family Old Palms and weapons routines. In the seventies Wen decided to systematize the style, and his first article on “The Eight Forms of Fan Family Bagua Rotating Palm for Beginners” was published in 1984. Later Wen Dasheng also published articles on Collapsing Palm of Fan Family Bagua, Eight Methods Linked Palms, Jin Gang (Vajra) Great Strength Method, Linked Broadsword Form, etc. Besides, Wen summarized Twenty Four Essentials (twenty four characters) of Fan’s Baguazhang.
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2021-11-17 at 10:40 PM UTC
Xing refers to form or shape and Yi commonly refers to the mind or intent. Quan [fist] denotes a method of unarmed combat. Xing Yi Quan is commonly referred to as Form and Mind or Form and Will boxing. The name illustrates the strong emphasis placed on the motion of the body being subordinate to conscious control. The form the body takes is an external manifestation of the internal state of mind and is the underlying premise behind Xing Yi Quan as a method of combat.
The exact details of the origins of Xing Yi Quan are unknown. The creation of the Art isgao.gif (16807 bytes) traditionally attributed to the famous general and patriot Yue Fei (1103-1141) of the Sung Dynasty. Being a beloved historical figure and warrior, Yue Fei is credited with the creation of several systems of martial arts. There is, however, no historical evidence to support the claim that he had anything to do with the creation of the art Xing Yi Quan. The style was originally called Xin Yi Liu He Quan [Heart Mind Six Harmonies Boxing]. The Six harmonies refer to the Three Internal Harmonies (the heart or desire harmonizes with the intent; the intent harmonizes with the Qi or vital energy; the Qi harmonizes with the physical strength), and the Three External Harmonies (the shoulders harmonize [coordinate] with the hips; the elbows harmonize with the knees; the hands harmonize with the feet). The practitioner's internal processes harmonize and coordinate the external movement, unifying the person as a whole into the most powerful state possible.
The earliest reliable historical information we have makes reference to Ji Long Feng (also known as Ji Ji Ke) of Shan Xi Province as being the first to teach the art of Xin Yi Liu He Quan. Ji Long Feng was active near the end of the Ming Dynasty (early 1600's) and was a master of spear fighting [he had the reputation of possessing "divine" skill with the spear]. He is recorded as stating, "I have protected myself in violent times with my spear. Now that we are in a time of peace and our weapons have all been destroyed, if I am unarmed and meet the unexpected how shall I defend myself? " In answer to his own question, Ji Long Feng reportedly created a style of weaponless combat based on his expertise with the spear. He referred to his art as Liu He, The Six Harmonies.
Ji Long Feng had two very famous students. One was from He Bei Province and was named Cao Ji Wu. The other was from He Nan province and was named Ma Xue Li. It was at this point in history that the Xin Yi Liu He Quan [now also referred to as Xin (heart) or Xing (form) Yi Quan] divided into three separate yet related styles: the Shan Xi, He Nan and He Bei schools. After spending twelve years studying Xin Yi with Ji Long Feng, Cao Ji Wu entered the Imperial Martial Examinations and placed first [this was the most prestigious honor one could possibly win as a martial artist in Dynastic China, and as the reward for victory was an assured high level military appointment, the competitive exam attracted the cream of the martial crop from the entire country]. Cao's high profile martial status brought fame to the Art. Cao Ji Wu, in turn, passed on the Xin Yi Quan to two famous brothers, Dai Long Bang and Dai Lin Bang. Dai Long Bang further developed the Art and the written classics of the style are attributed to him. Dai Long Bang in turn transmitted the Art to its most famous exponent, the renowned Li Luo Neng (also known as Li Neng Ran; he was nicknamed "Divine Fist Li").
Li Luo Neng holds the distinction of being the greatest Xing Yi boxer in the styles' history and one of the top Chinese boxers of all time. Li Luo Neng taught his art in his native Shan Xi Province and also taught a great number of students in He Bei Province [his duties as a bodyguard involved escorting various members of wealthy families to and from He Bei].
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Two of Li's most famous Shan Xi students were Sung Shi pong and Che Ti Zhai. Li's most famous He Bei student was the formidable Guo Yun Shen, who reportedly defeated all comers with his famous Beng Quan, a straight punch to the body [as a youth in training, Guo would walk several miles to and from his teacher's house every day, practicing his Beng Quan every step of the way]. After spending several years incarcerated for killing a man in a platform challenge match [Under the law of the times, fighters were not held liable if they killed their opponent during organized challenge matches, but after the unfortunate fight in which Guo's opponent died, he was arrested. When Guo protested and quoted the law of exoneration for platform fighters, he was told that "a man of your level of skill should have more control and was sentenced to several years in prison], Guo Yun Shen passed on his art to Wang Fu Yuan, Liu Chi Lan and Sun Lu Tang, among others.
Liu Chi Lan passed on the Art to the most famous practitioners of this century, including Li Cun Yi and Zhang Zhao Dong. There are many practitioners of all three substyles of Xing Yi Quan active today, and the Art is still a popular and well respected style of martial art in China and abroad.
The art of Xing Yi Quan is divided into two main systems: the Ten Animal and the Five Elements. The Five-Element system is further divided into two main branches, the He Bei and Shan Xi styles.
The Ten Animal style is closest to the original Xin Yi Liu He Quan in form and practice. The movements in the forms are patterned after the spirit of various animals in combat, including the Dragon, Tiger, Monkey, Horse, Chicken, Hawk, Snake, Bear, Eagle and Swallow.
The Five Element based systems have five basic forms: Splitting, Drilling, Crushing Pounding and Crossing; these Five Elements form the foundation of the Art. The basic energies of the Five Elements are then expanded into Twelve Animal forms which include variations of the animal forms found in the Ten Animal styles as well as two additional animals, the Tai (a mythical bird) and the Tuo (a type of water skimming insect). Training in all systems centers on repetitive practice of single movements that are later combined into more complicated linked forms.
The direction of movement in Xing Yi forms is predominately linear. Practitioners walk through the forms coordinating the motions of their entire bodies into one focused now. The hands, feet and torso all arrive together and the nose, lead hand and lead foot are aligned along the same vertical axis (San Jian Xiang Jiao). The arms are held in front of the body and the practitioner lines up his or her centerline with the opponent's centerline. A familiar adage of Xing Yi Quan is that "the hands do not leave the [area of] the heart and the elbows do not leave the ribs." There are few kicks in the style and the techniques are predominately percussive in nature. Great emphasis is 'placed upon the ability to generate power with the whole body and focus it into one pulse which is released in a sudden burst.
The techniques of Xing Yi Quan are characteristically aggressive in nature and the Xin Yi Quan fighter prefers to move into the opponent with a decisive strike at the earliest opportunity. The style prizes economy of motion and the concept of simultaneous attack and defense. As the name implies, the form or shape of the movements is only a physical manifestation of one's internal state [intent]. A fundamental principle underlying all styles of Xing Yi Quan is that the mind controls and leads the movements of the body.
Training in He Nan (Ten Animal) Xin Yi Liu He Quan includes basic movements designed to condition and develop the striking ability of the Seven Stars [the head, shoulders, elbows, hands, hips, knees and feet]. From here, the student will progress to learning the basic animal forms. Basic form practice consists of repeating single movements while walking forward in various straight-line patterns. Later, the single movements are combined into linked forms. The techniques are relatively simple and straightforward and rely on the ability to generate force with almost any part of the body (the Seven Stars). Also included at more advanced levels are weapons forms (including the straight sword, staff and spear).
The Five Element based styles of Xing Yi Quan (Shan Xi and He Bei styles) traditionally begin training with stance keeping, the holding of static postures for prolonged periods of time (Zhan Zhuang). The most fundamental posture is called San Ti(Three bodies)or San Cai (Three Powers referring to heaven, earth and man). It is from this posture that all of the subsequent movements in the style are created, and most teachers place great emphasis upon its practice. After stance training, the student begins to learn the Five Element Fists (Wu Xing Quan). These are the basic movements of the Art and express all the possible combinations of motion which produce martial power (including energy which moves downward upward, forward, outward and inward). After a certain level of proficiency is acquired in the practice of the Five Element Fists, the student goes on to learn the twelve Animal and linked forms. The twelve Animal forms are variations of the energies of the Five Elements expressed through the format of the spirit of animals in combat. There are several two-person combat forms that teach the student the correct methods of attack and defense and the applications of the techniques practiced in the solo forms. Five Element based styles also include weapons training.
He Nan Xin Yi Liu He Quan(Ten Animal Xing Yi Quan) is characterized by powerful swinging movements and the ability to strike effectively with every part of the body. Walking forward while coordinating the movements of the arms generates the power of the body. There is also emphasis placed upon conditioning the body to receive strikes. This system is very powerful and aggressive in nature and the movements are simple and straightforward.
He Bei Xing Yi Quan is based on the practice of the Five Element Fists and emphasizes Large and extended postures, strict and precise movements and powerful palm and fist strikes. The techniques of He Bei Xing Yi Quan are akin to those of the Ten Animal styles in that they are aggressive and straightforward. The forms of Shan Xi Xing Yi Quan are very similar to those of He Bei Xing Yi Quan but the movements are smaller, with the arms held closer to the body. The footwork is light and agile and the style emphasizes a relatively "softer" approach to applying technique. A greater emphasis is placed upon evasiveness than in the other styles and techniques are to be applied without clashing with the opponent’s force.
The Martial Applications of XING YI QUAN
Xing Yi Quan is the oldest of the 'internal' martial arts, and the only internal art proven effective on the battlefield. Based on the movements of the spear, the strategies and techniques of Xing Yi Quan are designed to subdue an opponent in the shortest possible amount of time (as prolonged exchanges were not conducive to survival in mass battle situations). The basic fighting strategy of Xing Yi Quan dictates an aggressive "take no prisoners" attitude, with the goal of incapacitating an opponent as quickly as possible. There are no flashy or overly complicated techniques; the art is a study in practical efficiency. The fact that Xing Yi Quan fighters have been among the small percentage of the most elite for the past four hundred years in China lends credibility to the Art's efficacy in training, strategy and application.
STRATEGY AND TECHNIQUE
The underlying strategy of Xing Yi Quan is based around ending a martial confrontation in thexuhonju.gif (15880 bytes) most expedient manner possible (usually, while inflicting the maximum amount of damage to the opponent). It is not so much a system of self-defense as aggressive offense. The founder of the Art, Ji Ji Ke (Ji Long Feng), was a famous warrior, and his warrior's mentality carried over into the boxing style he created. The "self-defense mentality" is one of escaping from a violent encounter unharmed. The 'warrior' mentality is one of taking out the opponent as quickly and efficiently as possible. Although, to a certain extent either of the above strategies can be applied to similar techniques, Xing Yi Quan's techniques were developed with the latter strategy in mind.
Since the principles of this Art were gleaned from battlefield experience, and because the Art was designed to be applied against a potentially armed and armored opponent, it favored direct, incapacitating techniques which would quickly end the encounter. Striking precise vital points (often protected by armor), complicated leverage techniques, prolonged grappling encounters and the use of force against force were all impractical under the above mentioned battlefield conditions. Continuous, vicious attacks with shocking strikes and quick debilitating takedowns were the techniques of choice.
The powerful 'shocking' strikes of Xing Yi Quan will damage and disorient the opponent no matter where they connect. These blows are generally not aimed at specific 'vital points,' but rather through the enemy's center of mass; this insures maximum shock and transfer of energy into the opponent. Xing Yi Quan grappling techniques involve rapid, bone jarring takedowns. The lifts and hip techniques of the wrestling arts are not commonly found in the Xing Yi Quan arsenal. From the point of view of the warrior on the battlefield, the longer he is engaged in a grappling encounter, the longer he is exposed and vulnerable to attack from a third party.
Xing Yi Quan techniques are based on continuous attack, or simultaneous attack and defense if the opponent manages to launch an attack first. Techniques which block first and then counterattack with a 'one-two' timing are not emphasized. The Art also contains a set of techniques that allow the Xing Yi fighter to attack the opponent even as he retreats. These techniques are introduced in the "Jin Tui Lian Huan" (Advanced Retreat Linked Form). -
2021-11-17 at 10:49 PM UTC
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2021-11-17 at 11:06 PM UTC
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2021-11-17 at 11:11 PM UTC
