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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 wood inside the Shaolin Temple

Chinese martial arts, often called by the umbrella terms kung 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 adult over the centuries in Greater Mainland china. These fighting styles are often classified according to common traits, identified equally "families" of martial arts. Examples of such traits include Shaolinquan (少林拳) concrete exercises involving All Other Animals (五形) mimicry or training methods inspired by Former Chinese philosophies, religions and legends. Styles that focus on qi manipulation are called internal ( 内家拳 ; nèijiāquán ), while others that concentrate on improving muscle and cardiovascular fitness are chosen external ( 外家拳 ; wàijiāquán ). Geographical association, every bit in northern ( 北拳 ; běiquán ) and southern ( 南拳 ; nánquán ), is some other pop nomenclature method.

Terminology [edit]

Kung fu, wushu and "Cultivation" are loanwords from Cantonese and Standard mandarin respectively that, in English, are used to refer to Chinese martial arts. However, the Chinese terms kung fu and wushu ( listen (Mandarin)(help·info) ; Cantonese Yale: móuh seuht ) have singled-out meanings.[1] The Chinese equivalent of the term "Chinese martial arts" would exist Zhongguo wushu (Chinese: 中國武術; pinyin: zhōngguó wǔshù ) (Mandarin).

In Chinese, the term kung fu refers to whatsoever skill that is caused through learning or practice. Information technology is a compound word composed of the words 功 (gōng) significant "piece of work", "achievement", or "merit", and 夫 (fū) which is a particle or nominal suffix with diverse meanings.

Wushu literally ways "martial fine art". Information technology is formed from the two Chinese characters 武術 : 武 ( wǔ ), meaning "martial" or "armed forces" and 術 or 术 ( shù ), which translates into "art", "subject field", "skill" or "method". The term wushu has besides get the name for the modern sport of wushu, an exhibition and full-contact sport of blank-handed and weapon forms (套路), adjusted and judged to a ready of aesthetic criteria for points developed since 1949 in the Cathay.[2] [3]

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

History [edit]

The genesis of Chinese martial arts has been attributed to the demand for cocky-defense, hunting techniques and war machine training in ancient China. Hand-to-hand combat and weapons practice were important in preparation ancient Chinese soldiers.[iv] [five]

Detailed knowledge virtually the land and evolution of Chinese martial arts became bachelor from the Nanjing decade (1928–1937), as the Central Guoshu Establish established by the Kuomintang regime made an endeavour to compile an encyclopedic survey of martial arts schools. Since the 1950s, the China has organized Chinese martial arts as an exhibition and full-contact sport under the heading of "wushu".

Legendary origins [edit]

According to fable, Chinese martial arts originated during the semi-mythical Xia Dynasty (夏朝) more than than 4,000 years ago.[6] It is said the Yellow Emperor (Huangdi) (legendary date of rising 2698 BCE) introduced the earliest fighting systems to China.[seven] The Yellow Emperor is described every bit a famous general who, before becoming China'southward leader, wrote lengthy treatises on medicine, astrology and the martial arts. Ane of his main opponents was Chi You lot (蚩尤) who was credited as the creator of jiao di, a forerunner to the modern fine art of Chinese wrestling.[viii]

Early history [edit]

The earliest references to Chinese martial arts are institute in the Leap and Autumn Annals (5th century BCE),[9] where a hand-to-mitt gainsay theory, ane that integrates notions of "hard" and "soft" techniques, is mentioned.[10] A combat wrestling organisation called juélì or jiǎolì ( 角力 ) is mentioned in the Archetype of Rites.[11] This combat system included techniques such as strikes, throws, articulation manipulation, and pressure point attacks. Jiao Di became a sport during the Qin Dynasty (221–207 BCE). The Han History Bibliographies record that, by the Onetime Han (206 BCE – 8 CE), there was a distinction betwixt no-holds-barred weaponless fighting, which it calls shǒubó ( 手搏 ), for which training manuals had already been written, and sportive wrestling, then known as juélì ( 角力 ). Wrestling is likewise documented in the Shǐ Jì, Records of the Yard Historian, written past 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 royal courts. The modern concepts of wushu were fully adult past the Ming and Qing dynasties.[13]

Philosophical influences [edit]

The ideas associated with Chinese martial arts changed with the evolution of Chinese order and over time caused some philosophical bases: Passages in the Zhuangzi ( 莊子 ), a Taoist text, pertain to the psychology and practice of martial arts. Zhuang Zi, its eponymous author, is believed to have lived in the 4th century BCE. The Tao Te Ching, oftentimes credited to Lao Zi, is another Taoist text that contains principles applicative to martial arts. According to one of the archetype texts of Confucianism, Zhou Li ( 周禮 ), Archery and charioteering were part of the "six 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 sixth century BCE past Lord's day Tzu ( 孫子 ), deals direct with military warfare but contains ideas that are used in the Chinese martial arts.

Taoist practitioners have been practicing Tao Yin (concrete exercises like to Qigong that was one of the progenitors to T'ai chi ch'uan) from as early equally 500 BCE.[14] In 39–92 CE, "Six Capacity of Hand Fighting", were included in the Han Shu (history of the Quondam Han Dynasty) written by Pan Ku. Also, the noted physician, Hua Tuo, composed the "V Animals Play"—tiger, deer, monkey, bear, and bird, around 208 CE.[xv] Taoist philosophy and their arroyo to wellness and do have influenced the Chinese martial arts to a certain extent. Straight reference to Taoist concepts tin be institute in such styles as the "Eight Immortals," which uses fighting techniques attributed to the characteristics of each immortal.[xvi]

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

Shaolin temple established [edit]

In 495 CE, a Shaolin temple was congenital in the Vocal mount, Henan province. The offset monk who preached Buddhism in that location was the Indian monk named Buddhabhadra (佛陀跋陀羅; Fótuóbátuóluó ), simply called Batuo (跋陀) by the Chinese. In that location are historical records that Batuo's start Chinese disciples, Huiguang (慧光) and Sengchou (僧稠), both had exceptional martial skills.[ citation needed ] For example, Sengchou'south skill with the tin staff is even documented in the Chinese Buddhist canon.[ citation needed ] After Buddhabadra, another Indian[17] monk, named Bodhidharma (菩提達摩; Pútídámó ), also known equally 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 expert.[ citation needed ] There are implications that these get-go iii Chinese Shaolin monks, Huiguang, Sengchou, and Huike, may have been military machine men before entering the monastic life.[18]

Shaolin and temple-based martial arts [edit]

The Shaolin style of kung fu is regarded as ane of the first institutionalized Chinese martial arts.[xix] The oldest evidence of Shaolin participation in combat is a stele from 728 CE that attests to two occasions: a defense force of the Shaolin Monastery from bandits around 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 evidence of Shaolin participation in gainsay.

Between the 16th and 17th centuries, at least xl sources be to provide testify both that monks of Shaolin expert martial arts, and that martial practice became an integral element of Shaolin monastic life. The earliest advent of the frequently cited legend apropos Bodhidharma'southward supposed foundation of Shaolin Kung Fu dates to this menstruation.[20] The origin of this legend has been traced to the Ming menstruation's Yijin Jing or "Musculus Change 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 practise in Shaolin appear in diverse literary genres of the late Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction, and poetry. Still, these sources practise not betoken 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 description 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 volume, Ji Xiao Xin Shu ( 紀效新書 ), which can translate as New Book Recording Effective Techniques. When this book spread beyond East asia, it had a great influence on the development of martial arts in regions such as Okinawa[22] and Korea.[23]

Modernistic history [edit]

Republican period [edit]

Most fighting styles that are being practiced equally traditional Chinese martial arts today reached their popularity within the 20th century. Some of these include Baguazhang, Drunken Battle, Eagle Claw, V 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 result 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 every bit the Boxer Rebellion due to the martial arts and calisthenics practiced past the rebels. Empress Dowager Cixi gained control of the rebellion and tried to use it confronting the foreign powers. The failure of the rebellion led ten years subsequently to the fall of the Qing Dynasty and the creation of the Chinese Democracy.

The nowadays view of Chinese martial arts is strongly influenced by the events of the Republican Menstruum (1912–1949). In the transition period betwixt the autumn of the Qing Dynasty as well every bit the turmoil of the Japanese invasion and the Chinese Ceremonious State of war, Chinese martial arts became more than attainable to the full general public as many martial artists were encouraged to openly teach their art. At that fourth dimension, some considered martial arts as a means to promote national pride and build a strong nation. As a result, many grooming manuals (拳譜) were published, a training 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 Central Guoshu University (Zhongyang Guoshuguan, 中央國術館) established past the National Government in 1928[25] and the Jing Wu Athletic Association (精武體育會) founded past 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 government 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 commencement time.

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

People's Republic [edit]

Chinese martial arts experienced rapid international broadcasting with the end of the Chinese Ceremonious War and the founding of the People's Republic of China on October 1, 1949. Many well known martial artists chose to escape from the PRC'south rule and migrate to Taiwan, Hong Kong,[29] and other parts of the world. Those masters started to teach within the overseas Chinese communities merely eventually they expanded their teachings to include people from other indigenous groups.

Within China, the practice of traditional martial arts was discouraged during the turbulent years of the Chinese Cultural Revolution (1969–1976).[3] Like many other aspects of traditional Chinese life, martial arts were subjected to a radical transformation by the People'due south Republic of China to align them with Maoist revolutionary doctrine.[3] The PRC 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 organization to regulate martial arts grooming. The Chinese Land Commission for Physical Civilization and Sports took the lead in creating standardized forms for most of the major arts. During this period, a national Wushu organization that included standard forms, pedagogy curriculum, and teacher grading was established. Wushu was introduced at both the high school and academy level. The suppression of traditional education was relaxed during the Era of Reconstruction (1976–1989), as Communist credo became more accommodating to culling viewpoints.[xxx] In 1979, the State Commission for Concrete Culture and Sports created a special job forcefulness to reevaluate the teaching and practice of Wushu. In 1986, the Chinese National Research Institute of Wushu was established equally the cardinal say-so for the research and administration of Wushu activities in the People'south Republic of Prc.[31]

Changing government policies and attitudes towards sports, in general, led to the closing of the State Sports Commission (the central sports authority) in 1998. This closure is viewed every bit an attempt to partially de-politicize organized sports and move Chinese sport policies towards a more market place-driven approach.[32] Equally a result of these changing sociological factors inside China, both traditional styles and modern Wushu approaches are being promoted by the Chinese government.[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 20th century and peaked in popularity during the 1960s to 1980s. Wuxia films were produced from the 1920s. The Kuomintang suppressed wuxia, accusing it of promoting superstition and violent chaos. Because of this, wuxia came to flourish in British Hong Kong, and the genre of kung fu moving picture in Hong Kong action movie house became wildly popular, coming to international attention from the 1970s. The genre underwent a drastic pass up in the late 1990s as the Hong Kong motion-picture show industry was crushed by economic depression.

In the wake of Ang Lee'due south Crouching Tiger, Subconscious 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), House of Flying Daggers (2004) and Expletive of the Aureate Blossom (2006), equally well as Su Chao-pin and John Woo's Reign of Assassins (2010).

Styles [edit]

Red 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] In that location are also common themes to the unlike styles, which are often classified by "families" ( 家 ; jiā ), "sects" ( 派 ; pai ) or "schools" ( 門 ; men ). There are styles that mimic movements from animals and others that gather inspiration from various Chinese philosophies, myths and legends. Some styles put well-nigh of their focus into the harnessing of qi, while others concentrate on contest.

Chinese martial arts tin be split into various categories to differentiate them: For example, external ( 外家拳 ) and internal ( 內家拳 ).[36] Chinese martial arts tin also be categorized by location, as in northern ( 北拳 ) and southern ( 南拳 ) every bit well, referring to what part of Cathay the styles originated from, separated past the Yangtze River (長江); Chinese martial arts may fifty-fifty exist classified according to their province or city.[24] The principal perceived difference between northern and southern styles is that the northern styles tend to emphasize fast and powerful kicks, high jumps and by and large fluid and rapid move, while the southern styles focus more on strong 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 besides exist divided co-ordinate to religion, imitative-styles ( 象形拳 ), and family styles such as Hung Gar ( 洪家 ). There are distinctive differences in the preparation between different groups of the Chinese martial arts regardless of the type of classification. All the same, few experienced martial artists make a clear distinction between internal and external styles, or subscribe to the idea of northern systems being predominantly kick-based and southern systems relying more than heavily on upper-body techniques. Most styles contain both difficult and soft elements, regardless of their internal classification. Analyzing the departure in accord with yin and yang principles, philosophers would affirm that the absence of either one would render the practitioner'south skills unbalanced or deficient, as yin and yang alone are each only one-half of a whole. If such differences did once exist, they have since been blurred.

Training [edit]

Chinese martial arts training consists of the post-obit components: nuts, forms, applications and weapons; dissimilar styles place varying emphasis on each component.[37] In addition, philosophy, ethics and even medical practice[38] are highly regarded by most Chinese martial arts. A complete grooming system should also provide insight into Chinese attitudes and culture.[39]

Basics [edit]

The Basics ( 基本功 ) are a vital function of any martial training, as a educatee cannot progress to the more advanced stages without them. Nuts are ordinarily made up of rudimentary techniques, workout exercises, including stances. Basic training may involve uncomplicated movements that are performed repeatedly; other examples of basic training are stretching, meditation, hit, throwing, or jumping. Without stiff and flexible muscles, management of Qi or jiff, and proper torso mechanics, it is impossible for a student to progress in the Chinese martial arts.[forty] [41] A common maxim concerning basic training in Chinese martial arts is equally follows:[42]

内外相合，外重手眼身法步，内修心神意氣力。

Which translates every bit:

Train both Internal and External. External training includes the hands, the optics, 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] [ self-published source? ] They represent the foundation and the form of a fighter'south base of operations. Each style has different names and variations for each stance. Stances may be differentiated by foot position, weight distribution, torso alignment, etc. Stance training can be practiced statically, the goal of which is to maintain the structure of the stance through a set fourth dimension menses, or dynamically, in which example a serial of movements is performed repeatedly. The Horse stance ( 騎馬步/馬步 ; qí mǎ bù/mǎ bù ) and the bow stance 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 training. Meditation can be used to develop focus, mental clarity and tin can human activity equally a footing 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 divers equally an inner energy or "life force" that is said to animate living beings; as a term for proper skeletal alignment and efficient utilise of musculature (sometimes also known as fa jin or jin); or as a shorthand for concepts that the martial arts educatee might not yet be ready to sympathise in full. These meanings are not necessarily mutually exclusive.[note 1] The existence of qi as a measurable form of energy equally discussed in traditional Chinese medicine has no basis in the scientific understanding of physics, medicine, biology or human physiology.[47]

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

Weapons training [edit]

Most Chinese styles also make utilise of training in the wide arsenal of Chinese weapons for conditioning the body as well equally coordination and strategy drills.[50] Weapons preparation ( 器械 ; qìxiè ) is generally carried out after the student becomes proficient with the bones forms and applications training. The basic theory for weapons grooming is to consider the weapon every bit an extension of the body. Information technology has the same requirements for footwork and torso coordination as the basics.[51] The procedure of weapon grooming gain with forms, forms with partners and and so applications. Most systems have training methods for each of the Eighteen Arms of Wushu( 十八般兵器 ; shíbābānbīngqì ) in improver to specialized instruments specific to the system.

Application [edit]

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

When and how applications are taught varies from way to style. Today, many styles begin to teach new students by focusing on exercises in which each educatee knows a prescribed range of gainsay and technique to drill on. These drills are ofttimes semi-compliant, meaning one student does not offering active resistance to a technique, in order to let its demonstrative, clean execution. In more resisting drills, fewer rules apply, and students practice how to react and answer. 'Sparring' refers to a more avant-garde format, which simulates a gainsay situation while including rules that reduce the take a 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 arena, 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 means necessary. San Shou represents the modern evolution of Lei Tai contests, but with rules in place to reduce the gamble of serious injury. Many Chinese martial fine art schools teach or piece of work inside the rule sets of Sanshou, working to comprise the movements, characteristics, and theory of their style.[55] Chinese martial artists likewise compete in non-Chinese or mixed Combat sport, including battle, 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 can be practiced equally a continuous set of movements. Forms were originally intended to preserve the lineage of a particular style branch, and were oft taught to advanced students selected for that purpose. Forms contained both literal, representative and do-oriented forms of applicable techniques that students could extract, test, and train in through sparring sessions.[56]

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

In that location are two general types of taolu in Chinese martial arts. Most mutual are solo forms performed past a unmarried student. At that place are also sparring forms — choreographed fighting sets performed past ii or more people. Sparring forms were designed both to accustom commencement fighters with basic measures and concepts of gainsay and to serve as performance pieces for the school. 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 simply recently with the popularity of modern wushu. This expression refers to "practise sets" and used in the context of athletics or sport.

In contrast, in traditional Chinese martial arts alternative terminologies for the preparation (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 part of Chinese martial arts for centuries. Dui lian means, to railroad train by a pair of combatants opposing each other—the graphic symbol lian (練), refers to do; to railroad train; to perfect 1's skill; to drill. Too, often one of these terms are also included in the name of fighting sets (雙演; shuang yan), "paired practise" (掙勝; zheng sheng), "to struggle with strength for victory" (敵; di), lucifer – the grapheme suggests to strike an enemy; and "to suspension" (破; po).

Generally, there are 21, 18, 12, 9 or 5 drills or 'exchanges/groupings' of attacks and counterattacks, in each dui lian set. These drills were considered only generic patterns and never meant to exist considered inflexible 'tricks'. Students practiced smaller parts/exchanges, individually with opponents switching sides in a continuous menstruation. Dui lian were non but sophisticated and effective methods of passing on the fighting cognition of the older generation, but they were also essential and effective training methods. The relationship between unmarried sets and contact sets is complicated, in that some skills cannot exist adult with solo 'sets', and, conversely, with dui lian. Unfortunately, it appears that nigh traditional combat oriented dui lian and their grooming methodology have disappeared, particularly those concerning weapons. There are several reasons for this. In modern Chinese martial arts, near of the dui lian are contempo inventions designed for light props resembling weapons, with safe and drama in heed. The role of this kind of training has degenerated to the signal of beingness useless in a applied sense, and, at best, is just performance.

Past the early Song period, sets were non so much "individual isolated technique strung together" only rather were equanimous of techniques and counter technique groupings. It is quite articulate that "sets" and "fighting (2-person) sets" have been instrumental in traditional Chinese martial arts for many hundreds of years—even earlier the Song Dynasty. In that location 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 guess ratio of contact sets to single sets was approximately one:3. In other words, about 30% of the 'sets' practiced at Shaolin were contact sets, dui lian, and two-person drill training. This ratio is, in part, evidenced by the Qing Dynasty mural at Shaolin.

For most of its history, Shaolin martial arts was more often than not weapon-focused: staves were used to defend the monastery, not bare hands. Even the more recent military exploits of Shaolin during the Ming and Qing Dynasties involved weapons. According 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 accept been an essential part of Chinese wushu since aboriginal times. If one wants to talk about contempo or 'modern' developments in Chinese martial arts (including Shaolin for that affair), it is the over-accent on blank manus fighting. During the Northern Song Dynasty (976- 997 A.D) when platform fighting is known as Da Laitai (Title Fights Challenge on Platform) first appeared, these fights were with only swords and staves. Although after, when bare paw fights appeared every bit well, information technology was the weapons events that became the most famous. These open up-ring competitions had regulations and were organized past regime organizations; the public also organized some. The authorities competitions, held in the capital and prefectures, resulted in appointments for winners, to military posts.

Practice forms vs. kung fu in combat [edit]

Even though forms in Chinese martial arts are intended to depict realistic martial techniques, the movements are non e'er identical to how techniques would exist applied in combat. Many forms take been elaborated upon, on the one hand, to provide ameliorate combat preparedness, and on the other manus to look more than aesthetically pleasing. 1 manifestation of this tendency toward elaboration beyond combat application is the apply of lower stances and college, stretching kicks. These two maneuvers are unrealistic in combat and are used in forms for exercise purposes.[57] Many modern schools accept replaced practical defense or crime movements with acrobatic feats that are more spectacular to lookout man, thereby gaining favor during exhibitions and competitions.[note ii] This has led to criticisms by traditionalists of the endorsement of the more acrobatic, show-oriented Wushu contest.[58] Historically forms were often performed for amusement purposes long before the advent of modern Wushu every bit practitioners accept looked for supplementary income by performing on the streets or in theaters. Documentation in aboriginal literature during the Tang Dynasty (618–907) and the Northern Song Dynasty (960–1279) suggests some sets, (including two + person sets: dui da too called dui lian) became very elaborate and 'flowery', many mainly concerned with aesthetics. During this fourth dimension, some martial arts systems devolved to the indicate that they became popular forms of martial fine art storytelling entertainment shows. This created an unabridged category of martial arts known equally Hua Fa Wuyi. During the Northern Song period, information technology was noted past historians this type of preparation had a negative influence on training in the military machine.

Many traditional Chinese martial artists, likewise as practitioners of modern sport combat, have become critical of the perception that forms work is more relevant to the art than sparring and drill application, while almost go on to run into traditional forms practise inside the traditional context—as vital to both proper combat execution, the Shaolin aesthetic equally an fine art form, too equally upholding the meditative part of the physical fine art form.[59]

Another reason why techniques often appear dissimilar in forms when contrasted with sparring awarding is thought past some to come from the concealment of the bodily functions of the techniques from outsiders.[threescore] [ self-published source? ]

Forms practice is mostly 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 body.[61]

Wushu [edit]

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

The word wu ( 武 ; wǔ ) means "martial". Its Chinese graphic symbol is made of two parts; the start meaning "walk" or "terminate" ( 止 ; zhǐ ) and the second meaning "lance" ( 戈 ; gē ). This implies that "wu 武" is a defensive employ of gainsay.[ dubious – talk over ] The term "wushu 武術" meaning "martial arts" goes back as far equally the Liang Dynasty (502–557) in an anthology 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 poetry of a poem by Yan Yanzhi titled: 皇太子釋奠會作詩 "Huang Taizi Shidian Hui Zuoshi".

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

Breaking away from the military arts,

He promotes fully the cultural mandates."

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

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

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

Every bit forms have grown in complication and quantity over the years, and many forms alone could be practiced for a lifetime, modern styles of Chinese martial arts take developed that concentrate solely on forms, and exercise non practice application at all. These styles are primarily aimed at exhibition and contest, and frequently include more acrobatic jumps and movements added for enhanced visual upshot[62] compared to the traditional styles. Those who more often than not prefer to practice traditional styles, focused less on exhibition, are oft referred to as traditionalists. Some traditionalists consider the competition forms of today'south Chinese martial arts every bit 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 report of martial arts not merely as a ways of self-defense or mental training, only as a system of ethics.[39] [65] Wude ( 武 德 ) tin be translated equally "martial morality" and is constructed 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 mind". Virtue of human action concerns social relations; morality of mind is meant to cultivate the inner harmony betwixt the emotional listen ( 心 ; Xin ) and the wisdom heed ( 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:

Human action
Concept 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 noun 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 Song Dynasty. Styles such every bit Eagle Hook and Xingyiquan attribute their cosmos to Yue. However, there is no historical prove to support the merits he created these styles.
  • Ng Mui (late 17th century) was the legendary female founder of many Southern martial arts such as Wing Chun, and Fujian White Crane. She is often considered 1 of the legendary Five Elders who survived the devastation 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 2d half of the 19th century. Yang is known equally the founder of Yang-fashion t'ai chi ch'uan, too as transmitting the fine art to the Wu/Hao, Wu and Sun t'ai chi families.
  • Ten Tigers of Canton (belatedly 19th century) was a group of 10 of the top Chinese martial arts masters in Guangdong (Canton) towards the end 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 period. More than one hundred Hong Kong movies were made nearly his life. Sammo Hung, Jackie Chan, and Jet Li have all portrayed his grapheme in blockbuster pictures.
  • Huo Yuanjia (1867–1910) was the founder of Mentum Woo Athletic Association who was known for his highly publicized matches with foreigners. His biography was recently portrayed in the film Fearless (2006).
  • Ip Human being (1893–1972) was a chief of the Wing Chun and the first to teach this manner openly. Yip Human being was the instructor of Bruce Lee. About major branches of Wing Chun taught in the Westward today were adult and promoted by students of Yip Human.
  • Gu Ruzhang (1894–1952) was a Chinese martial creative person who disseminated the Bak Siu Lum (Northern Shaolin) martial arts system across southern Prc in the early on 20th century. Gu was known for his expertise in Fe Palm hand workout amid other Chinese martial fine art preparation exercises.
  • Bruce Lee (1940–1973) was a Chinese-American martial artist and histrion who was considered an important icon in the 20th century.[66] He skilful Wing Chun and made it famous. Using Wing Chun every bit his base and learning from the influences of other martial arts his experience exposed him to, he later developed his own martial arts philosophy that evolved into what is now called Jeet Kune Do.
  • Jackie Chan (b. 1954) is the famous Hong Kong martial artist, film role player, stuntman, action choreographer, managing director and producer, and a global pop culture icon, widely known for injecting concrete comedy into his martial arts performances, and for performing circuitous stunts in many of his films.
  • Jet Li (b. 1963) is the 5-fourth dimension sport wushu champion of Communist china, after demonstrating his skills in cinema.
  • Donnie Yen (b. 1963) is a Hong Kong thespian, martial artist, flick director and producer, activeness choreographer, and world wushu tournament medalist.
  • Wu Jing (b. 1974) is a Chinese actor, director, and martial artist. He was a member of the Beijing wushu team. He started his career as activity choreographer and later on as an actor.

In popular culture [edit]

References to the concepts and apply of Chinese martial arts can be found in popular civilization. Historically, the influence of Chinese martial arts can be found in books and in the functioning arts specific to Asia.[67] Recently, those influences take extended to the movies and television that targets a much wider audience. As a effect, Chinese martial arts accept spread beyond its indigenous roots and take a global appeal.[68] [69]

Martial arts play a prominent role in the literature genre known as wuxia ( 武俠小說 ). This blazon of fiction is based on Chinese concepts of knightly, a separate martial arts society ( 武林 ; Wulin ) and a key theme involving martial arts.[70] Wuxia stories can be traced as far back equally 2d and 3rd century BCE, becoming pop past the Tang Dynasty and evolving into novel form past the Ming Dynasty. This genre is still extremely popular in much of Asia[71] and provides a major influence for the public perception of the martial arts.

Martial arts influences can as well be establish in dance, theater [72] and especially 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 be an example of Chinese civilisation. Some martial arts movements can be found in Chinese opera and some martial artists can be plant as performers in Chinese operas.[73]

In modernistic times, Chinese martial arts have spawned the genre of cinema known as the Kung fu film. 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 West with his own variation of Chinese martial arts called Jeet Kune Practise. It is a hybrid style of martial art that Bruce Lee practiced and mastered. Jeet Kune Exercise is his very own unique fashion of martial art that uses niggling to minimum movement but maximizes the consequence 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 as Jet Li and Jackie Chan have continued the appeal of movies of this genre. Jackie Chan successfully brought in a sense of humour in his fighting style in his movies. Martial arts films from China are often referred to as "kung fu movies" ( 功夫片 ), or "wire-fu" if extensive wire work is performed for special effects, and are still best known as part of the tradition of kung fu theater. (meet likewise: wuxia, Hong Kong action picture palace). The talent of these individuals have broadened Hong Kong'south cinematography product and rose to popularity overseas, influencing Western cinemas.

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

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

Influence on hip hop [edit]

In the 1970s, Bruce Lee was first to gain popularity in Hollywood for his martial arts movies. The fact that he was a non-white male who portrayed cocky-reliance and righteous self-discipline resonated with black audiences and made him an important figure in this community.[77] Around 1973, Kung Fu movies became a hit in America across all backgrounds; even so, black audiences maintained the films' popularity well after the full general public lost interest. Urban youth in New York City were still going from every civic to Time Square every night to lookout man the latest movies.[78] Amongst these individuals were those coming from the Bronx where, during this time, hip-hop was kickoff to take form. One of the pioneers responsible for the development of the foundational aspects of hip-hop was DJ Kool Herc, who began creating this new form of music past taking rhythmic breakdowns of songs and looping them. From the new music came a new course of dance known as b-boying or breakdancing, a style of street dance consisting of improvised acrobatic moves. The pioneers of this trip the light fantastic credit kung fu as ane of its influences. Moves such every bit the crouching low leg sweep and "up rocking" (continuing 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 between two dancers or crews judged on their creativity, skills, and musicality. In a documentary, Crazy Legs, a member of breakdancing grouping Rock Steady Crew, described the breakdancing battle existence like an erstwhile kung fu pic, "where the i kung fu master says something forth the lines of 'hun your kung fu is good, simply mine is ameliorate,' then a fight erupts." [79]

Hip hop group Wu Tang Clan were prominently influenced by kung fu cinema. The name "Wu Tang" itself is a reference to the 1983 film Shaolin and Wu Tang. Subsequent albums past the group (especially their debut anthology Enter the Wu-Tang (36 Chambers)) are rich with references to kung fu films of the 1970s and 1980s, which group members grew up watching. Several group members (Ghostface Killah, Ol' Dirty Bastard, Method Human being, and Masta Killa) had also taken their stage names from kung fu movie house. Several music videos, promotional photos, etc. feature group members posing or engaging with kung fu regalia and activity sequences.

Meet also [edit]

  • Xviii Arms of Wushu
  • Hard and soft (martial arts)
  • Kung fu (disambiguation)
  • Listing 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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Source: https://en.wikipedia.org/wiki/Chinese_martial_arts