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Martial Arts From the 1900s Could Kill With One Punch

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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 past 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 have adult over the centuries in Greater Prc. These fighting styles are often classified according to mutual traits, identified as "families" of martial arts. Examples of such traits include Shaolinquan (少林拳) physical exercises involving All Other Animals (五形) mimicry or training methods inspired past Old Chinese philosophies, religions and legends. Styles that focus on qi manipulation are chosen internal ( 内家拳 ; nèijiāquán ), while others that concentrate on improving musculus and cardiovascular fettle are called external ( 外家拳 ; wàijiāquán ). Geographical association, as in northern ( 北拳 ; běiquán ) and southern ( 南拳 ; nánquán ), is another pop classification 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 ) take distinct meanings.[1] The Chinese equivalent of the term "Chinese martial arts" would be Zhongguo wushu (Chinese: 中國武術; pinyin: zhōngguó wǔshù ) (Mandarin).

In Chinese, the term kung fu refers to any skill that is acquired through learning or exercise. It is a chemical compound discussion composed of the words 功 (gōng) meaning "work", "accomplishment", 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 two Chinese characters 武術 : 武 ( wǔ ), meaning "martial" or "military" and 術 or 术 ( shù ), which translates into "art", "subject field", "skill" or "method". The term wushu has also become the name for the modernistic sport of wushu, an exhibition and full-contact sport of bare-handed and weapon forms (套路), adapted and judged to a set of aesthetic criteria for points developed since 1949 in the People's Republic of China.[2] [3]

Quánfǎ ( 拳法 ) is another Chinese term for Chinese martial arts. Information technology means "fist method" or "the law of the fist" (quán ways "boxing" or "fist", and fǎ ways "police", "way" or "method"), although as a compound term it usually translates equally "boxing" or "fighting technique." The proper noun of the Japanese martial art kempō is represented by the same hanzi characters.

History [edit]

The genesis of Chinese martial arts has been attributed to the demand for self-defense force, hunting techniques and military grooming in aboriginal People's republic of china. Hand-to-mitt combat and weapons practice were important in training ancient Chinese soldiers.[4] [5]

Detailed noesis about the country and development of Chinese martial arts became available from the Nanjing decade (1928–1937), as the Primal Guoshu Constitute established by the Kuomintang regime made an effort to compile an encyclopedic survey of martial arts schools. Since the 1950s, the People's Republic of China has organized Chinese martial arts as an exhibition and total-contact sport nether the heading of "wushu".

Legendary origins [edit]

According to legend, Chinese martial arts originated during the semi-mythical Xia Dynasty (夏朝) more than than 4,000 years ago.[six] It is said the Yellow Emperor (Huangdi) (legendary appointment of ascension 2698 BCE) introduced the earliest fighting systems to China.[7] The Yellowish Emperor is described equally a famous full general who, before condign China's leader, wrote lengthy treatises on medicine, astrology and the martial arts. One of his main opponents was Chi You (蚩尤) who was credited every bit the creator of jiao di, a forerunner to the modern fine art of Chinese wrestling.[eight]

Early history [edit]

The earliest references to Chinese martial arts are found in the Spring and Autumn Annals (5th century BCE),[9] where a hand-to-manus combat theory, one that integrates notions of "hard" and "soft" techniques, is mentioned.[10] A combat wrestling system called juélì or jiǎolì ( 角力 ) is mentioned in the Classic of Rites.[11] This combat system included techniques such as strikes, throws, joint manipulation, and pressure bespeak attacks. Jiao Di became a sport during the Qin Dynasty (221–207 BCE). The Han History Bibliographies record that, by the Former Han (206 BCE – 8 CE), there was a distinction between no-holds-barred weaponless fighting, which it calls shǒubó ( 手搏 ), for which training manuals had already been written, and sportive wrestling, then known every bit juélì ( 角力 ). Wrestling is too documented in the Shǐ Jì, Records of the Thou 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 imperial courts. The mod concepts of wushu were fully adult by the Ming and Qing dynasties.[xiii]

Philosophical influences [edit]

The ideas associated with Chinese martial arts changed with the evolution of Chinese society 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 writer, is believed to accept lived in the 4th century BCE. The Tao Te Ching, ofttimes credited to Lao Zi, is another Taoist text that contains principles applicable to martial arts. According to one of the classic 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 6th century BCE by Sun Tzu ( 孫子 ), deals directly with military machine warfare but 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 as early on as 500 BCE.[xiv] In 39–92 CE, "Six Chapters of Hand Fighting", were included in the Han Shu (history of the Former Han Dynasty) written by Pan Ku. Besides, the noted physician, Hua Tuo, composed the "Five Animals Play"—tiger, deer, monkey, behave, and bird, around 208 CE.[fifteen] Taoist philosophy and their approach to wellness and exercise have influenced the Chinese martial arts to a certain extent. Direct reference to Taoist concepts 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 get-go monk who preached Buddhism there was the Indian monk named Buddhabhadra (佛陀跋陀羅; Fótuóbátuóluó ), but called Batuo (跋陀) by the Chinese. There are historical records that Batuo's outset 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 ] Afterward Buddhabadra, another Indian[17] monk, named Bodhidharma (菩提達摩; Pútídámó ), also known as Damo (達摩) by the Chinese, came to Shaolin in 527 CE. His Chinese disciple, Huike (慧可), was likewise a highly trained martial arts expert.[ citation needed ] At that place are implications that these first three Chinese Shaolin monks, Huiguang, Sengchou, and Huike, may accept been armed services men before entering the monastic life.[18]

Shaolin and temple-based martial arts [edit]

The Shaolin style of kung fu is regarded equally one of the offset institutionalized Chinese martial arts.[xix] The oldest bear witness 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 Boxing of Hulao in 621 CE. From the eighth to the 15th centuries, there are no extant documents that provide show of Shaolin participation in gainsay.

Betwixt the 16th and 17th centuries, at to the lowest degree 40 sources exist to provide evidence both that monks of Shaolin practiced martial arts, and that martial practice became an integral element of Shaolin monastic life. The earliest advent of the frequently cited legend concerning Bodhidharma's supposed foundation of Shaolin Kung Fu dates to this menses.[20] The origin of this fable has been traced to the Ming catamenia's Yijin Jing or "Muscle Change Classic", a text written in 1624 attributed to Bodhidharma.

Delineation 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 late Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction, and poetry. Yet, these sources do not betoken out any specific style that originated in Shaolin.[21] These sources, in contrast to those from the Tang menstruation, refer to Shaolin methods of armed combat. These include a skill for which Shaolin monks became famous: the staff (gùn, Cantonese gwan). The Ming Full 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 interpret every bit New Book Recording Effective Techniques. When this volume spread across East Asia, it had a neat influence on the evolution of martial arts in regions such as Okinawa[22] and Korea.[23]

Modern history [edit]

Republican period [edit]

Almost fighting styles that are being practiced as traditional Chinese martial arts today reached their popularity within the 20th century. Some of these include Baguazhang, Drunken Battle, Hawkeye Hook, 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 increase in the popularity of those styles is a effect of the dramatic changes occurring within the Chinese society.

In 1900–01, the Righteous and Harmonious Fists rose against strange occupiers and Christian missionaries in Prc. This uprising is known in the West equally 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 utilise it against the strange powers. The failure of the rebellion led ten years later to the fall of the Qing Dynasty and the creation of the Chinese Republic.

The present view of Chinese martial arts is strongly influenced past the events of the Republican Period (1912–1949). In the transition period between the fall of the Qing Dynasty as well 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 art. At that time, some considered martial arts as a means to promote national pride and build a strong nation. Equally a result, many training manuals (拳譜) were published, a preparation university was created, ii national examinations were organized and demonstration teams traveled overseas.[24] Numerous martial arts associations were formed throughout Cathay and in various overseas Chinese communities. The Central 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 approach for grooming 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 group 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 by the Kuomintang in an endeavour to more 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 finish of the Chinese Ceremonious War and the founding of the People's Republic of China on October one, 1949. Many well known martial artists chose to escape from the Cathay'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 eventually they expanded their teachings to include people from other indigenous groups.

Inside China, the practice of traditional martial arts was discouraged during the turbulent years of the Chinese Cultural Revolution (1969–1976).[three] Similar many other aspects of traditional Chinese life, martial arts were subjected to a radical transformation by the People's Democracy of Mainland 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.[iii]

In 1958, the authorities established the All-China Wushu Association as an umbrella organisation to regulate martial arts training. The Chinese Land Committee for Physical Culture and Sports took the lead in creating standardized forms for most of the major arts. During this menstruum, a national Wushu arrangement that included standard forms, education curriculum, and instructor grading was established. Wushu was introduced at both the loftier school and university level. The suppression of traditional teaching was relaxed during the Era of Reconstruction (1976–1989), equally Communist ideology became more than all-around to culling viewpoints.[xxx] In 1979, the State Committee for Physical Culture and Sports created a special task strength to reevaluate the teaching and practise of Wushu. In 1986, the Chinese National Research Institute of Wushu was established as the central authority for the inquiry and administration of Wushu activities in the People'southward Republic of Prc.[31]

Changing government policies and attitudes towards sports, in general, led to the closing of the Country Sports Commission (the cardinal sports potency) in 1998. This closure is viewed as an try to partially de-politicize organized sports and motion Chinese sport policies towards a more market-driven approach.[32] Every bit a result of these changing sociological factors within Communist china, both traditional styles and modern Wushu approaches are being promoted by the Chinese authorities.[33]

Chinese martial arts are an integral element of 20th-century Chinese popular civilization.[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 it of promoting superstition and tearing anarchy. Because of this, wuxia came to flourish in British Hong Kong, and the genre of kung fu movie in Hong Kong action movie theater became wildly popular, coming to international attention from the 1970s. The genre underwent a drastic decline in the belatedly 1990s as the Hong Kong film industry was crushed by economical 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), House of Flying Daggers (2004) and Curse of the Gold Blossom (2006), as well equally Su Chao-pin 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 chiliad years, many distinctive styles have been developed, each with its own set of techniques and ideas.[35] At that place are too common themes to the different 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 assemble inspiration from diverse Chinese philosophies, myths and legends. Some styles put most of their focus into the harnessing of qi, while others concentrate on competition.

Chinese martial arts can be split into diverse categories to differentiate them: For example, external ( 外家拳 ) and internal ( 內家拳 ).[36] Chinese martial arts can too be categorized past location, as in northern ( 北拳 ) and southern ( 南拳 ) every bit well, 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 according to their province or metropolis.[24] The main perceived difference between northern and southern styles is that the northern styles tend to emphasize fast and powerful kicks, high jumps and more often than not fluid and rapid movement, while the southern styles focus more on potent arm and manus 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 also exist divided co-ordinate to religion, imitative-styles ( 象形拳 ), and family styles such as Hung Gar ( 洪家 ). At that place are distinctive differences in the grooming betwixt different groups of the Chinese martial arts regardless of the type of classification. Notwithstanding, few experienced martial artists make a articulate distinction between internal and external styles, or subscribe to the thought of northern systems beingness predominantly boot-based and southern systems relying more heavily on upper-body techniques. Virtually styles contain both difficult and soft elements, regardless of their internal classification. Analyzing the difference in accordance with yin and yang principles, philosophers would assert that the absence of either 1 would render the practitioner'south skills unbalanced or deficient, as yin and yang alone are each only half of a whole. If such differences did one time exist, they have since been blurred.

Preparation [edit]

Chinese martial arts training consists of the following components: nuts, forms, applications and weapons; different styles place varying emphasis on each component.[37] In addition, philosophy, ethics and fifty-fifty medical practice[38] are highly regarded by nigh Chinese martial arts. A consummate grooming system should also provide insight into Chinese attitudes and civilisation.[39]

Basics [edit]

The Basics ( 基本功 ) are a vital part of whatsoever martial training, as a student cannot progress to the more than advanced stages without them. Basics are normally fabricated upward of rudimentary techniques, conditioning exercises, including stances. Basic training may involve simple movements that are performed repeatedly; other examples of bones preparation are stretching, meditation, striking, throwing, or jumping. Without strong and flexible muscles, management of Qi or jiff, and proper trunk mechanics, it is impossible for a pupil to progress in the Chinese martial arts.[40] [41] A common saying concerning 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 grooming 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 course of a fighter's base of operations. Each manner has unlike names and variations for each stance. Stances may be differentiated by pes position, weight distribution, body alignment, etc. Opinion preparation can be skilful statically, the goal of which is to maintain the structure of the stance through a set time menses, or dynamically, in which case a series 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 of import component of basic training. Meditation can exist used to develop focus, mental clarity and tin can act equally a basis for qigong training.[45] [46]

Utilise 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 energy or "life force" that is said to breathing living beings; equally a term for proper skeletal alignment and efficient use of musculature (sometimes likewise known as fa jin or jin); or as a shorthand for concepts that the martial arts student might non yet be ready to sympathise in total. These meanings are not necessarily mutually exclusive.[note 1] The existence of qi equally a measurable course of energy as 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 control of one'southward qi energy to such an extent that it 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 homo body. Such techniques are known every bit dim mak and have principles that are similar to acupressure.[49]

Weapons grooming [edit]

Most Chinese styles likewise make use of training in the broad arsenal of Chinese weapons for conditioning the body every bit well as coordination and strategy drills.[50] Weapons grooming ( 器械 ; qìxiè ) is generally carried out after the educatee becomes practiced with the basic forms and applications preparation. The bones theory for weapons training is to consider the weapon as an extension of the body. Information technology 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 then applications. About systems take 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 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 Hands 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 style to manner. Today, many styles begin to teach new students by focusing on exercises in which each student knows a prescribed range of combat and technique to drill on. These drills are oftentimes semi-compliant, significant 1 pupil does not offer active resistance to a technique, in order to let its demonstrative, clean execution. In more resisting drills, fewer rules employ, and students practice how to react and answer. 'Sparring' refers to a more than advanced format, which simulates a combat situation 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 start appeared in the Song Dynasty. The objective for those contests was to knock the opponent from a raised platform by whatever means necessary. San Shou represents the modernistic development of Lei Tai contests, merely with rules in place to reduce the gamble of serious injury. Many Chinese martial art schools teach or work inside the dominion sets of Sanshou, working to incorporate the movements, characteristics, and theory of their style.[55] Chinese martial artists also compete in non-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 and then they can exist practiced equally a continuous set of movements. Forms were originally intended to preserve the lineage of a particular style branch, and were frequently taught to advanced students selected for that purpose. Forms independent both literal, representative and exercise-oriented forms of applicative techniques that students could extract, test, and railroad train in through sparring sessions.[56]

Today, many consider taolu to be i of the most important practices in Chinese martial arts. Traditionally, they played a smaller function in training for combat awarding 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 incorporate forms that use weapons of various lengths and types, using one or two easily. Some styles focus on a certain type of weapon. Forms are meant to exist both practical, usable, and applicative as well every bit to promote fluid movement, meditation, flexibility, balance, and coordination. Students are encouraged to visualize an attacker while training the form.

There are two general types of taolu in Chinese martial arts. Nearly common are solo forms performed past a single student. There are also sparring forms — choreographed fighting sets performed by two or more than people. Sparring forms were designed both to accustom starting time fighters with basic measures and concepts of combat 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 merely recently with the popularity of modern wushu. This expression refers to "exercise 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 role of Chinese martial arts for centuries. Dui lian means, to train by a pair of combatants opposing each other—the character lian (練), refers to do; to train; to perfect one'due south skill; to drill. Every bit well, oftentimes one 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), lucifer – the character suggests to strike an enemy; and "to break" (破; po).

Generally, at that place are 21, 18, 12, nine 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 good smaller parts/exchanges, individually with opponents switching sides in a continuous flow. Dui lian were non only sophisticated and effective methods of passing on the fighting noesis of the older generation, but they were also essential and effective training methods. The relationship between single 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 about traditional combat oriented dui lian and their grooming methodology have disappeared, specially those concerning weapons. In that location are several reasons for this. In modern Chinese martial arts, most of the dui lian are recent inventions designed for low-cal props resembling weapons, with safety and drama in mind. The role of this kind of preparation has degenerated to the signal of being useless in a practical sense, and, at all-time, is just performance.

By the early on Song period, sets were not so much "individual isolated technique strung together" just rather were composed of techniques and counter technique groupings. It is quite articulate that "sets" and "fighting (ii-person) sets" accept been instrumental in traditional Chinese martial arts for many hundreds of years—fifty-fifty before the Vocal Dynasty. There are images of two-person weapon training in Chinese rock painting going back at least to the Eastern Han Dynasty.

According to what has been passed on by the older generations, the judge ratio of contact sets to single sets was approximately i:3. In other words, most thirty% of the 'sets' practiced at Shaolin were contact sets, dui lian, and two-person drill preparation. This ratio is, in part, evidenced by the Qing Dynasty mural at Shaolin.

For about of its history, Shaolin martial arts was by and large weapon-focused: staves were used to defend the monastery, not blank easily. Fifty-fifty 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 and then taught staff fighting and then that they could protect the monastery. Although wrestling has been every bit sport in China for centuries, weapons have been an essential part of Chinese wushu since ancient times. If one wants to talk nearly recent or 'modern' developments in Chinese martial arts (including Shaolin for that matter), it is the over-emphasis on bare hand fighting. During the Northern Song Dynasty (976- 997 A.D) when platform fighting is known as Da Laitai (Title Fights Claiming on Platform) first appeared, these fights were with only swords and staves. Although after, when bare hand 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 government competitions, held in the capital and prefectures, resulted in appointments for winners, to war machine posts.

Practise forms vs. kung fu in combat [edit]

Even though forms in Chinese martial arts are intended to depict realistic martial techniques, the movements are not always identical to how techniques would be practical in gainsay. Many forms have been elaborated upon, on the one manus, to provide meliorate combat preparedness, and on the other manus to wait more aesthetically pleasing. One manifestation of this trend toward elaboration across combat application is the apply of lower stances and higher, stretching kicks. These ii maneuvers are unrealistic in combat and are used in forms for exercise purposes.[57] Many modern schools take replaced practical defense or offense movements with acrobatic feats that are more spectacular to watch, thereby gaining favor during exhibitions and competitions.[note ii] This has led to criticisms past traditionalists of the endorsement of the more than acrobatic, show-oriented Wushu competition.[58] Historically forms were frequently performed for entertainment purposes long earlier the appearance of modernistic 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 Song Dynasty (960–1279) suggests some sets, (including two + person sets: dui da also chosen 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 art storytelling entertainment shows. This created an entire category of martial arts known equally Hua Fa Wuyi. During the Northern Song period, it was noted past 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 critical of the perception that forms work is more relevant to the fine art than sparring and drill application, while most continue to see traditional forms do within the traditional context—as vital to both proper combat execution, the Shaolin artful as an art form, besides as upholding the meditative function of the physical art form.[59]

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

Forms exercise is mostly known for educational activity combat techniques withal when practicing forms, the practitioner focuses on posture, animate, and performing the techniques of both right and left sides of the body.[61]

Wushu [edit]

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

The word wu ( 武 ; wǔ ) ways "martial". Its Chinese character is made of two parts; the showtime meaning "walk" or "cease" ( 止 ; zhǐ ) and the 2nd pregnant "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 dorsum equally far as 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 plant in the second verse of a verse form past 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 abroad from the military machine arts,

He promotes fully the cultural mandates."

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

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

The primeval term for 'martial arts' can exist plant in the Han History (206BC-23AD) was "military fighting techniques" ( 兵技巧 ; bīng jìqiǎo ). During the Song period (c.960) the proper 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 nether the Red china during the early 1950s.

Equally forms have grown in complexity and quantity over the years, and many forms alone could exist practiced for a lifetime, modernistic styles of Chinese martial arts have developed that concentrate solely on forms, and do non practice application at all. These styles are primarily aimed at exhibition and competition, and often include more acrobatic jumps and movements added for enhanced visual effect[62] compared to the traditional styles. Those who generally prefer to practice traditional styles, focused less on exhibition, are ofttimes referred to as traditionalists. Some traditionalists consider the contest forms of today's Chinese martial arts every bit likewise 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 just as a means of self-defence force or mental training, just every bit a organisation of ethics.[39] [65] Wude ( 武 德 ) can be translated as "martial morality" and is constructed from the words wu ( 武 ), which ways martial, and de ( 德 ), which means morality. Wude deals with two aspects; "Virtue of deed" and "Virtue of heed". Virtue of human activity concerns social relations; morality of mind is meant to cultivate the inner harmony between the emotional mind ( 心 ; Xin ) and the wisdom listen ( 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 activity
Concept Proper noun 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
Heed
Concept Proper noun Chinese Pinyin romanization Yale Cantonese Romanization
Backbone Yong 勇 yǒng yúhng
Patience Ren 忍 rěn yán
Endurance Heng 恆 héng hàhng
Perseverance Yi 毅 yì ngaih
Volition 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 as 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 as Wing Chun, and Fujian White Crane. She is often considered 1 of the legendary Five Elders who survived the destruction of the Shaolin Temple during the Qing Dynasty.
  • Yang Luchan (1799–1872) was an important instructor of the internal martial art known as t'ai chi ch'uan in Beijing during the 2d one-half of the 19th century. Yang is known as the founder of Yang-manner t'ai chi ch'uan, as well every bit transmitting the art to the Wu/Hao, Wu and Sunday t'ai chi families.
  • Ten Tigers of Canton (late 19th century) was a group of ten of the top Chinese martial arts masters in Guangdong (County) towards the cease of the Qing Dynasty (1644–1912). Wong Kei-Ying, Wong Fei Hung'due south begetter, was a member of this grouping.
  • Wong Fei Hung (1847–1924) was considered a Chinese folk hero during the Republican catamenia. More than one hundred Hong Kong movies were made 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 Athletic Association who was known for his highly publicized matches with foreigners. His biography was recently portrayed in the motion picture Fearless (2006).
  • Ip Man (1893–1972) was a master of the Wing Chun and the starting time to teach this style openly. Yip Man was the instructor of Bruce Lee. Most major branches of Wing Chun taught in the W today were adult 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 beyond southern Communist china in the early 20th century. Gu was known for his expertise in Fe Palm hand conditioning amidst other Chinese martial art grooming exercises.
  • Bruce Lee (1940–1973) was a Chinese-American martial creative person and role player who was considered an important icon in the 20th century.[66] He practiced Wing Chun and made it famous. Using Fly Chun equally 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 at present chosen Jeet Kune Practise.
  • Jackie Chan (b. 1954) is the famous Hong Kong martial artist, film actor, stuntman, action choreographer, director and producer, and a global popular culture icon, widely known for injecting concrete comedy into his martial arts performances, and for performing complex stunts in many of his films.
  • Jet Li (b. 1963) is the 5-time sport wushu champion of China, later demonstrating his skills in movie theater.
  • Donnie Yen (b. 1963) is a Hong Kong role player, martial artist, flick managing director and producer, activity choreographer, and earth wushu tournament medalist.
  • Wu Jing (b. 1974) is a Chinese actor, manager, and martial artist. He was a member of the Beijing wushu team. He started his career as activeness choreographer and later as an actor.

In pop civilization [edit]

References to the concepts and utilise of Chinese martial arts tin exist found in pop civilization. Historically, the influence of Chinese martial arts tin be found in books and in the functioning arts specific to Asia.[67] Recently, those influences have extended to the movies and boob tube that targets a much wider audience. As a issue, Chinese martial arts have spread across its indigenous roots and have a global appeal.[68] [69]

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

Martial arts influences can also be found in dance, theater [72] and especially Chinese opera, of which Beijing opera is one of the best-known examples. This pop form of drama dates back to the Tang Dynasty and continues to be an example of Chinese culture. Some martial arts movements tin can be found in Chinese opera and some martial artists can be plant as performers in Chinese operas.[73]

In modern times, Chinese martial arts accept 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 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 Practice. It is a hybrid style of martial art that Bruce Lee practiced and mastered. Jeet Kune Do is his very own unique mode of martial art that uses picayune to minimum movement but maximizes the effect to his opponents. The influence of Chinese martial art have been widely recognized and have a global entreatment in Western cinemas starting off with Bruce Lee.

Martial artists and actors such equally Jet Li and Jackie Chan have connected the entreatment of movies of this genre. Jackie Chan successfully brought in a sense of humor in his fighting way in his movies. Martial arts films from Prc 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 function of the tradition of kung fu theater. (come across also: wuxia, Hong Kong activity movie theater). 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 non generally exist considered "Martial Arts" films. These films include merely are not express to The Matrix franchise, Kill Bill, and The Transporter.

Martial arts themes can also be institute on television networks. A U.Southward. network TV western series of the early on 1970s called Kung Fu also served to popularize the Chinese martial arts on tv set. With sixty episodes over a three-year bridge, it was one of the first North American TV shows that tried to convey the philosophy and practise in Chinese martial arts.[75] [76] The use of Chinese martial arts techniques can now be found 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 beginning to proceeds 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-subject field resonated with black audiences and made him an important figure in this community.[77] Around 1973, Kung Fu movies became a hit in America beyond all backgrounds; however, black audiences maintained the films' popularity well afterwards the general public lost involvement. Urban youth in New York City were still going from every borough to Time Foursquare every night to picket the latest movies.[78] Among these individuals were those coming from the Bronx where, during this time, hip-hop was beginning to take form. Ane of the pioneers responsible for the evolution of the foundational aspects of hip-hop was DJ Kool Herc, who began creating this new course of music by taking rhythmic breakdowns of songs and looping them. From the new music came a new form of dance known as b-boying or breakdancing, a fashion of street trip the light fantastic consisting of improvised acrobatic moves. The pioneers of this dance credit kung fu as one of its influences. Moves such as the crouching low leg sweep and "up rocking" (standing gainsay moves) are influenced by choreographed kung-fu fights.[79] The dancers' ability to improvise these moves led way to battles, which were trip the light fantastic 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 beingness similar an erstwhile kung fu movie, "where the one kung fu master says something along the lines of 'hun your kung fu is proficient, but mine is better,' then a fight erupts." [79]

Hip hop grouping Wu Tang Clan were prominently influenced past kung fu cinema. The name "Wu Tang" itself is a reference to the 1983 film Shaolin and Wu Tang. Subsequent albums by the group (especially 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 group members (Ghostface Killah, Ol' Dirty Bastard, Method Man, and Masta Killa) had also taken their phase names from kung fu picture palace. Several music videos, promotional photos, etc. feature group members posing or engaging with kung fu regalia and action sequences.

See as well [edit]

  • Eighteen 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

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