THE WORLD'S KUNGFU ORIGINATES FROM SHAOLIN Situated in the heart of China, in the province Henan, the Shaolin Monastery has survived for over fifteen hundred years. A place of spiritual development, reflecting the change in Chinese history comes to life at Shaolin.

Origin of Kung Fu [top]

The Chinese civilization with a history of 5.000 years has fostered a uniquely splendid cultural flower, Chinese wushu, in the world's arena of culture. And the famous saying, "the world's kungfu originates from Shaolin" has closely linked all the Chinese wushu sects with the name of "Shaolin". Consequently, in the minds of numerous admirers of the world, Shaolin Temple represents mystery and the occult to an incredible extent. With these pages we have started in disclosing, from the Shaolin Temple, the very origin of the Chinese kungfu, of the mystery and miraculous nature together with its abundance and paramount styles. It is expected that this site can meet the desires of kungfu fans all over the world.

Everlasting martial art - tradition of the zen [top]

Almost all the stories can be traced back to him, Bodhidharma, the 18th-generation heir of Mohakasyapa. It is Bodhidharma who founded the religious philosophy named the Zen. It is he who developed the world's unique Shaolin kungfu. And, most important of all, he integrated the status focused Zen with the Shaolin kungfu known for its bravery and fierce valour, thus rendering the martial art tradition of the Zen an ever lasting glory. The Zen Buddhism is as tranquil as still water, while the martial art is as fierce as fire. How could the water and fire be integrated in perfect harmony? This is an eternal riddle Bodhidharma left to us. The Mount Song, the central one of the "five mountains" of China, is situated at the hinterland of the country. The Mount Song is divided into two mountains, i.e. the Taishi and the Shaoshi. This miraculous mount is a remarkable creation of the joint force of the mysterious natural evolution and the ancient Chinese civilization with a history of several thousand years. On the Mount Song the scenery is so charming and the cultural relics are so numerous. The Shaolin Temple is located in the embrace of the Shaoshi Mountain.

The Shaolin Temple was so named after its location in the forest (pronounced as "lin" in Chinese) of the Shaoshi Mountain. It was built in the 19th year of the reign of Emperor Xiaowen during the dynasty of North Wei (495 AD) in order to host an

eminent Indian monk named Bada. The revered Bada abided by the sutra of Hinayana and not much accomplishment of his is known today. After 32 year came Bodhi-dharma. What with his intoxication at the charming and inspiring landscape or his attachment to the fertile cultural soil of the central China, Bodhi-dharma finally put a period to his roaming career. Alone, he entered the cave beneath the Wuru peak and sat before the cave-wall for nine years. When the feat of cultivation by facing the wall was completed, his

image was incredibly printed into the wall, hence the famous "wall-facing rock" which we can still see today. It is hard to ascertain whether the "shadow-printed rock" is genuine or not. But one thing is sure, that is when Bodhi-dharma came out of that cave, a new Buddhist sect, the Zen, was brought forth into the world. This is a historical fact supported with records. From then on, the Shaolin Temple became a world-famous birthplace of the Zen.  

Hence the renown, the No.1 famous Temple on Earth. From this land of numerous cultural relics, Bodhi-dharma imbibed in an extensive manner the

quintessence of the traditional Chinese philosophies, which he integrated with the Buddhist theory of allegorical comprehension of the truth. The result is that he created the unique doctrine of the Zen of China which is based on self-cultivation by sitting in meditation and which claimed that one can become a Buddhist the moment he comprehends his Buddhist ego. The chief approaches of the Zen cultivation are "viewing the wall" and "sitting in meditation". He got rid of the scholasticism characterizing the ways of self-cultivation advocated by the traditional Buddhist sutras. His theory involved no written scripture. He advocated that one can become a Buddha by an "instant complete understanding". Thus he conducted rather radical re form on Mahayana, the "bigger vehicle". When other Buddhist sects had seen their heyday and were then declining, the Zen was then enjoying an unprecedented prosperity. By the Tang dynasty, the reverend Hui Neng, the 6th-generation chief of the Zen Buddhism, made a comprehensive summary of the theory of the Zen, which brought about additional splendour to the Zen. In China then, 70 to 80 percent of the temples belonged to the Zen sect. The Zen was rapidly spread to other countries in the east and south of Asia, thus laying a solid foundation for its worldwide popularisation later on. Since the Zen, with silent meditation as the chief way of cultivation and Buddhist comprehension as the cardinal principle, needed to be far away from the mundane world and the Zenist cared nothing but self accomplishment, why should they practice swords and spears and fostered the Shaolin kungfu, which was no doubt a means for fighting and battling? Bodhi-dharma's statement of "no written document for the Zen Buddhism" has put the latecomers in an awkward position to guess this paradoxical phenomenon. Hence the many different theories there upon. Some understand kungfu as a way of stretching the limbs after long time of meditation while sitting silently. Some think that the monks, while living deep in the mountains, needed kungfu as a means to resist fierce animals. Others consider kungfu an approach by means of which the monks could make friends in the kungfu circle while studying the martial art. Still some others deem kungfu as something used to achieve longevity and good health. These explanations sound rather reasonable in their respective aspects, but they fail to touch upon the key point.  Historical records have verified the truth that the four red walls of the Shaolin Temple have never separated any generation of the monks from the outer world. The temple yard is, at most, a small boat drifting on the ocean of the times. The waves of social evolution has never stopped beating the sides of the boat. If the monks wanted to be able to sit silently in calm meditation so as to practice their world outlook with "tranquillity" as the cardinal principle, it was a must to have something dynamic as a supplement or support or protection. This vividly reflects the traditional Chinese philosophy that extreme tranquillity generates dynamics. In the final analysis, kungfu is a means of fight with martial art. In the social competition, if without the protection

by martial art, the tranquillity of the Zen would have been impossible, let alone the later development. Regardless of the times, whether you are monks, Taoists or laymen, the most essential for human beings is survival. To have a detailed examination of each posture of the kungfu of Shaolin, every punch or kick constitutes an effort for survival and a manoeuvre in the course of competition. To protect tranquillity with the dynamic, to generate dynamic with tranquillity, to aid the dynamic with tranquillity and the other way round...all this indicates that it was the profound understanding of the true meaning of these phenomena that the reverend Bodhi-dharma resolved to walk out of his cave. As a matter of fact, before Bodhi-dharma came to China, kungfu had been highly developed already. however, the kungfu before his times arose out the necessity of war among the then social-political groups. During the time when the reverend Moha founded the Shaolin Temple, his disciples, such as Weiguang and Weineng, were also famous monks excellent in martial arts. The point is that during their times, martial art was not yet some independent system. The legend goes that Weiguang could kick the shuttle-cock for 500 times in a stroke, and Monk Chou drove away two fighting tigers with his Buddhist staff. And the contribution devoted by Bhodi-dharma and the Zen was that the kungfu was combined with the individual personalities and got gradually methodised and systemized, which rendered it possible for the shaolin kungfu to develop and perfect itself in an eternal and stable way. It is this methodising and systemization that have brought about worldwide fame and everlasting glory. thought the kungfu of the Shaolin is not necessarily the origin of the Chinese wushu, the Shaolin temple deserves the honour of the stream-head of the world's kungfu. The age of Bodhi-dharma has long elapsed together with the legend of "a shoe going west". But the martial art tradition he founded has been carried forward by the Shaolin monks from generation to generation. The Shaolin kungfu at present day has a splendid system. It's mysterious and remarkable martial arts have won world's admiration. Shaolin has become the world's most outstanding and widespread sect in the wushu circle.  Meritorious Feats by Monk Soldiers [top] 

In the history of the Shaolin Temple generation after generation of monk generals and soldiers have demonstrated their paramount feats of arm, and waged glorious battles for the Chinese nation and for the historic just ice. Their meritorious feats constitute a glorious page in the Chinese history. The cudgel-monks who once helped the Prince Tang, are now historical figures in a legend. And a solemn and stirring story has been passed down about, the eminent monks, Biancheng and Yuekong, who went to the frontier

and fought against the Japanese pirates. It is such marvellous records that render Shaolin Temple a place summoning the admiration of the heroes all over the world. The monk soldiers were at first an armed group set up by the Shaolin Temple for protecting the temple from wars and riots of the society. By the end of the Sui Dynasty and beginning of the Tang Dynasty, Wang Shichong, a Sui general, made himself an emperor with armed forces as the foundation. He named his reign, the "Zheng". He appointed his nephew, Wang Renzhe, the senior general, who stationed massive forces and built fortresses at a place called Baigu Village with which to stand the eastward drive of Li Shinmin, the Prince of Qin.

In the 3rd year of the reign of Wude during the Tang Dynasty (620AD), Li Yuan, the emperor Gaozu, issued an order to his son, Li Shimin, That the latter was to

command armed forces on a punitive expedition against Wang Shichong. At the initial battles of the campaign Li sustained some drawbacks. At that time there were 13 Shaolin armed monks stationed at Baigu Village. They were angry with Wang Shichong as the latter invaded the appointed fief of the Shaolin Temple. The armed monks led the local people in an attack on the Sui army. Their battle turned out a victory and they captured Wang Renzhi and sent the POW to Li Shimin. This was no doubt a splendid meritorious service to prince Qin's cause in unifying China. Following Li Shimin's enthronement, he granted rewards and titles extravagantly. 40 Qin (about 266 hectares), of land was given to the Shaolin Temple together with a water-driven mill. The 13 cudgel monks were

unexpected granted prizes and titles. The monk Tanzong was appointed a senior general.  After that event, the Shaolin Temple has for many times gone through the baptisms of war; and the kungfu of Shaolin got gradually matured in the course. By the mid-Ming Dynasty, foreign pirates kept bringing troubles along the coastline of China. The Ming court deployed a massive force to suppress the pirates. The Shaolin armed monks were among the army and again contributed outstanding feats in the battles. During the reign of Emperor Zhengde of the Ming Dynasty, an armed monk, Blanched, from the Shaolin Temple fought against the foreign pirates in many brilliant battles. Once, in a fight against the pirates, he brandished the unique Shaolin kungfu and, in a stroke, beat down a dozen or so swords and spears of the enemy. He then displayed the "light-body" feat with which he jumped out of the surrounding circle of the enemy while at the same time succeeded in capturing two pow's. The pirates were so frightened that they began taking a defensive posture. During the reign of the Emperor Jiaojing of the Ming Dynasty, Yuekong, another armed monk from the Shaolin Temple, responding to an order issued by the local governor, led more than 30 monk soldiers to Songjiang to fight against the pirates. With their paramount martial arts, the monk soldiers led by Yuekong won victory. The pirates were panic-stricken. Later, when rescuing the local people, Yuekong and others fell into an ambush laid by the Japanese pirates. After a fierce battle, the 30-odd armed monks including Yuekong were outnumbered by the enemy and finally sacrificed their lives. It is believed that during the reign of Emperor Wanli of the Ming Dynasty the Reverend Xiaoshan led an army and for three times fought against the foreign pirates. And Sanqi and Changong, another two monks from the Shaolin, went to the borders for many times in guard against enemy. In the history of the Shaolin Temple generation after generation of monk generals and soldiers have demonstrated their paramount feats of arm, and waged glorious battles for the Chinese nation and for the historic just ice. Their meritorious feats constitute a glorious page in the Chinese history. The cudgel-monks who once helped the Prince Tang, are now historical figures in a legend. And a solemn and stirring story has been passed down about, the eminent monks, Biancheng and Yuekong, who went to the frontier and fought against the Japanese pirates. It is such marvellous records that render Shaolin Temple a place summoning the admiration of the heroes all over the world. The monk soldiers were at first an armed group set up by the Shaolin Temple for protecting the temple from wars and riots of the society. By the end of the Sui Dynasty and beginning of the Tang Dynasty, Wang Shichong, a Sui general, made himself an emperor with armed forces as the foundation. He named his reign, the "Zheng". He appointed his nephew, Wang Renzhe, the senior general, who stationed massive forces and built fortresses at a place called Baigu Village with which to stand the eastward drive of Li Shinmin, the Prince of Qin. In the 3rd year of the reign of Wude during the Tang Dynasty (620AD), Li Yuan, the emperor Gaozu, issued an order to his son, Li Shimin, That the latter was to command armed forces on a punitive expedition against Wang Shichong. At the initial battles of the

campaign Li sustained some drawbacks. At that time there were 13 Shaolin armed monks stationed at Baigu Village. They were angry with Wang Shichong as the latter invaded the appointed fief of the Shaolin Temple. The armed monks led the local people in an attack on the Sui army. Their battle turned out a victory and they captured Wang Renzhi and sent the POW to Li Shimin. This was no doubt a splendid meritorious service to prince Qin's cause in unifying China. Following Li Shimin's enthronement, he granted rewards and titles extravagantly. 40 Qin (about 266 hectares), of land was given to the Shaolin Temple together with a water-driven mill. The 13 cudgel monks were unexpected granted prizes and titles. The monk Tanzong was appointed a senior general.

In the history of the Shaolin Temple generation after generation of monk generals and soldiers have demonstrated their paramount feats of arm, and waged glorious battles for the Chinese nation and for the historic just ice. Their meritorious feats constitute a glorious page in the Chinese history. The cudgel-monks who once helped the Prince Tang, are now historical figures in a legend. And a solemn and stirring story has been passed down about, the eminent monks, Biancheng and Yuekong, who went to the frontier and fought against the Japanese pirates. It is such marvellous records that render Shaolin Temple a place summoning the admiration of the heroes all over the world. The monk soldiers were at first an armed group set up by the Shaolin Temple for protecting the temple from wars and riots of the society. By the end of the Sui Dynasty and beginning of the Tang Dynasty, Wang Shichong, a Sui general, made himself an emperor with armed forces as the foundation. He named his reign, the "Zheng". He appointed his nephew, Wang Renzhe, the senior general, who stationed massive forces and built fortresses at a place called Baigu Village with which to stand the eastward drive of Li Shinmin, the Prince of Qin. In the 3rd year of the reign of Wude during the Tang Dynasty (620AD), Li Yuan, the emperor Gaozu, issued an order to his son, Li Shimin, That the latter was to command armed forces on a punitive expedition against Wang Shichong. At the initial battles of the campaign Li sustained some drawbacks. At that time there were 13 Shaolin armed monks stationed at Baigu Village. They were angry with Wang Shichong as the latter invaded the appointed fief of the Shaolin Temple. The armed monks led the local people in an attack on the Sui army. Their battle turned out a victory and they captured Wang Renzhi and sent the POW to Li Shimin. This was no doubt a splendid meritorious service to prince Qin's cause in unifying China. Following Li Shimin's enthronement, he granted rewards and titles extravagantly. 40 Qin (about 266 hectares), of land was given to the Shaolin Temple together with a water-driven mill. The 13 cudgel monks were unexpected granted prizes and titles. The monk Tanzong was appointed a senior general.

In the history of the Shaolin Temple generation after generation of monk generals and soldiers have demonstrated their paramount feats of arm, and waged glorious battles for the Chinese nation and for the historic just ice. Their meritorious feats constitute a glorious page in the Chinese history. The cudgel-monks who once helped the Prince Tang, are now historical figures in a legend. And a solemn and stirring story has been passed down about, the eminent monks, Biancheng and Yuekong, who went to the frontier and fought against the Japanese pirates. It is such marvellous records that render Shaolin Temple a place summoning the admiration of the heroes all over the world. The monk soldiers were at first an armed group set up by the Shaolin Temple for protecting the temple from wars and riots of the society. By the end of the Sui Dynasty and beginning of the Tang Dynasty, Wang Shichong, a Sui general, made himself an emperor with armed forces as the foundation. He named his reign, the "Zheng". He appointed his nephew, Wang Renzhe, the senior general, who stationed massive forces and built fortresses at a place called Baigu Village with which to stand the eastward drive of Li Shinmin, the Prince of Qin. In the

3rd year of the reign of Wude during the Tang Dynasty (620AD), Li Yuan, the emperor Gaozu, issued an order to his son, Li Shimin, That the latter was to command armed forces on a punitive expedition against Wang Shichong. At the initial battles of the campaign Li sustained some drawbacks. At that time there were 13 Shaolin armed monks stationed at Baigu Village. They were angry with Wang Shichong as the latter invaded the appointed fief of the Shaolin Temple. The armed monks led the local people in an attack on the Sui army. Their battle turned out a victory and they captured Wang Renzhi and sent the POW to Li Shimin. This was no doubt a splendid meritorious service to prince Qin's cause in unifying China. Following Li Shimin's enthronement, he granted rewards and

titles extravagantly. 40 Qin (about 266 hectares), of land was given to the Shaolin Temple together with a water-driven mill. The 13 cudgel monks were unexpected granted prizes and titles. The monk Tanzong was appointed a senior general.  After that event, the Shaolin Temple has for many times gone through the baptisms of war; and the kungfu of Shaolin got gradually matured in the course. By the mid-Ming Dynasty, foreign pirates kept bringing troubles along the coastline of China. The Ming court deployed a massive force to suppress the pirates. The Shaolin armed monks were among the army and again contributed outstanding feats in the battles. During the reign of Emperor Zhengde of the Ming Dynasty, an armed monk, Blanched, from the Shaolin Temple fought against the foreign pirates in many brilliant battles. Once, in a fight against the pirates, he brandished the unique Shaolin kungfu and, in a stroke, beat down a dozen or so swords and spears of the enemy. He then displayed the "light-body" feat with which he jumped out of the surrounding circle of the enemy while at the same time succeeded in capturing two pow's. The pirates were so frightened that they began taking a defensive posture. During the reign of the Emperor Jiaojing of the Ming Dynasty, Yuekong, another armed monk from the Shaolin Temple, responding to an order issued by the local governor, led more than 30 monk soldiers to Songjiang to fight against the pirates. With their paramount martial arts, the monk soldiers led by Yuekong won victory. The pirates were panic-stricken. Later, when rescuing the local people, Yuekong and others fell into an ambush laid by the Japanese pirates. After a fierce battle, the 30-odd armed monks including Yuekong were outnumbered by the enemy and finally sacrificed their lives. It is believed that during the reign of Emperor Wanli of the Ming Dynasty the Reverend Xiaoshan led an army and for three times fought against the foreign pirates. And Sanqi and Changong, another two monks from the Shaolin, went to the borders for many times in guard against enemy.

Mimic boxing, a superb martial art [top]

Mimic boxing in the Chinese kungfu can be dated back to very ancient times. It is no exaggeration to say that mimic boxing is the very origin of the boxing art. Tradition has it that in prehistoric times there was a game in which three men danced each with an ox tail in hand. During the Han Dynasty and the Wei Dynasty of China there was "the game of five birds". Whether the mimic boxing of the Shaolin is an inheritance from the tradition or a creation of the Zen is now a problem beyond solution. But one thing is sure, i.e. mimic boxing is the oldest variety of Shaolin kungfu and is at present still playing an important role. Mimic boxing is, to some extent, a manifestation that the Zen has imbibed the spirit of the philosophy of Laozi and Zhuangzi which advocated that the Tao should abide by the nature. It also reflects the Buddhist view that all species share the same origin and all living creature share the same original nature. These, in turn, constitute the fundamental cause that the mimic boxing of the Shaolin Temple could reach such a

miraculous acme. As indicated by the name, mimic boxing is the boxing art created by mimicking the animals or insects. From the giant lions and tigers to the tiny mole crickets and ants and mantis, all living creatures in the nature are equipped with their respective and unique abilities for survival. It is no doubt that human being is the highest and cleverest species in the world, yet the animals have their strong points which human beings are in lack of. The Mount Song provided the Zen with a unique natural environment, the inspiration of all the living creatures. Thus the advantageous skills of the birds, animals, fishes and insects were used to enrich the human abilities and to improve the man's adaptability to the natural requirement for survival. The Shaolin mimic boxing is a superb creation in this very direction.

The Shaolin mimic boxing is distinct from other mimic boxing arts in that it has mastered the delicate mystery of the objects it mimic. It is capable of attacking as well as defending with countless varieties in manoeuvre. For example, the monkey boxing is subtle characterized by its many changes in the course and its defending as a means for attacking. The crane boxing is featured by the lithe and graceful manoeuvre; while the dragon boxing usually takes the initial by pre emptive attacks. The snake boxing attacks the opponents most vulnerable points with swift actions; the tiger boxing takes an aggressive offence; the leopard boxing is so fierce that its imposing manner can conquer the enemy's will to fight. Other mimic boxing arts include the eagle boxing, cock boxing, dog boxing, mantis boxing etc. All odd the have won universal admiration for their lifelike mimicking in both forms and spirit.

The Shaolin mimic boxing is most particular about "spiritual transcending end picturesque mimicking". By "spiritual transcending" is meant that, while sitting in the Zenist meditation, one should reach an ego less ideal state. In other words, when mimicking the dragon, you think yourself as nothing but a real dragon; and when you are practicing crane boxing you just imagine yourself as a real crane. In the course of each manoeuvre, offensive or defensive, you should gain a profound understanding of the strong desire of survival of the mimicked animals. Only in this way, you can beat the enemy in the course of attack and can stand the enemy's attack when you adopt a defensive posture. And by "picturesque mimicking" is meant a stress must be also laid on the similarity in appearance, by means of which the spiritual identity can be achieved with what you are mimicking, e.g. a snake, dog. In each move or stroke, the boxer learns the strong points of the animals so as to reinforce his own capability to get adapted to the nature. It is this special requirement of "picturesque mimicking" that has won the admiration from the wushu circle "this superb state can only be achieved by the Zen".

The eighteen Shaolin martial arts [top]

The Shaolin kungfu is famous for its wide range and profound attainment. Take boxing alone for example, it has hundreds of varieties. When people say "the 18 Shaolin martial arts" the numeral 18 is a generalizing notion for all the Shaolin martial arts.

Of all the martial arts of the Shaolin Temple, boxing is the oldest art. Tradition has it that at the very beginning, the Shaolin boxing had only 18 actions, which were named "the 18 moves of arhat". Later, based on boxing, the martial art for using cudgel was developed. After many centuries, with the growth of the Shaolin kungfu, the boxing manoeuvres were greatly expanded. By the time of the Five Dynasties and Ten Kingdoms, a senior monk of the Shaolin Temple, named Fujiu, invited the kungfu masters all over China, belonging to 18 schools, to the Shaolin Temple, where they studied martial arts for three years. The result was that the strong points of all the kungfu schools were collected, and a boxing book, Shaolin boxing, was compiled.

During the Jin-Yuan dynasties, two armed monks, Bai Yufeng and Li Shou, came to the Shaolin Temple, where they studied boxing art together with the monks of the Temple. The 18 moves of arhat where then developed into 72 moves. Moreover, "Five Boxing Arts" were created based on the moves of five animals, i.e. dragon, tiger, leopard, snake and cock.

The Shaolin boxing lays emphasis on skill. Its practicing is not limited by space. The saying goes, a boxer can practice where only one ox can lie down". That is to say, a Shaolin boxer can beat his opponent with a space of several steps. Another saying "boxing goes along a line", indicates that when practising boxing including raising, falling, turning sidling, huddling and jumping, all these moves should be conducted along a straight line. As to the specific moves, they should be neither "absolutely

bent nor absolutely straight". To o much bending would miss the target; while too much straightness would lack manoeuvre. When attacking with boxing, both forward and backward actions are done in a "turning manner". In other words, a rotation is necessary when attacking, and elasticity is reached. As to the eyes, they should look up when raising and further at t he sky when falling. Your eyes should gaze at the opponent's eyes so as to know what position the opponent is in. As to the body

manoeuvre, the stress is laid on swiftness and an absolute mastery of the gravity centre so that a perfect and kinetic balance is kept. As to the manoeuvre of stepping, low steps are used when forging ahead and high steps used when backing. They should be light, graceful, and steady. As to the kicking manoeuvre, the requirement is that, when lifting a leg, it should be as light as a feather, and when kicking, the leg should be as heavy as the Mount Tai.

Internally tranquil and outwardly fierce, Shaolin boxer should be "as calm as a virgin when defending" and "as fierce as a tiger when attacking". Meanwhile perfect skill should be employed to take advantage of the opponent's force and momentum. Each move, each punch and kick, embodies an organic combination of attack and defence. The attack is contained in defence. The force attack and real manoeuvre are integrated with the sole purpose of surprising the opponent. The Shaolin boxing art, as a whole, stresses the integration of the internal with the external and the figure similarity with spiritual identification. When practising, a close coordination of the eyes, hands, steps is required. The boxing formula emphasizes six coordinations, i.e. "the coordination of shoulders with loins, elbows with knees, hands with feet, mind with intention, intention with breath, and breath with force". By the Ming Dynasty, the traditional kungfu got a great lap forward. Kungfu adopted weapons. There were even books concerning the weapons. Reverend hongzhuan, a senior monk of the Shaolin Temple in the Ming Dynasty, wrote a book, "Spearmanship in Menlu Hall". During the reign of the Emperor Wanli, Cheng Zongqiu, a mundane disciple learned cudgelship for more than ten years in the Shaolin Temple. As a result he wrote the famous book, "Summary of Shaolin Cudgelship". Secondly, in the Ming Dynasty, the martial arts used in actual battles were gradually combined with the Shaolin kungfu. During the reign of the Emperor Jiajing, Yu Dayu, a famous general in resisting against the pirates, used the martial art of cudgel which he had learned in the Shaolin in actual battles. The cudgelship was thus carried forward. He later returned to the Shaolin Temple.  

Wen Xianggang, another Ming personality, wrote in his "Travel in the Mount Song": In the old temple there are sixty monks who are practicing boxing, swords, iron staff, and jie". This record indicated that in the Shaolin Temple at that time were not only boxing, but also sword, iron staff, jie and other weapons. Of all the weapons of the Shaolin, sword is eulogized as "the marshal of all weapons". The saying goes, "the sword is like a fierce tiger". Most Shaolin swords are brandished closely around the user's head. When slashing with the sword, the qi is concentrated in the two arms and goes along with the sword. Among the different swords of the Shaolin, the variety of the shapes lead to the variety of characteristics. Tradition has it "manoeuvre of a single sword

stresses the hands", "manoeuvre of double swords stresses the steps", and "manoeuvre of broadsword stresses the stability of hands". The spear in the Shaolin repertory is praised as the "king of weapons". It is characterized by "forging ahead like a dragon in a straight line". That is to say, the spear should be wielded up and down swiftly and with no definite patterns. And the performance of the spear should be along a straight line. The Shaolin sabre has long earned its reputation as the "monarch of the weapons". The Shaolin sabre is graceful and unconstrained in performance, Henan the saying "sabre goes like a meandering dragon". The sabre formula has the following secret teaching: "This is a blue-dragon sabre and should be performed steadily on a plane line. Your qi should go along with your sabre with both eyes gazing at its point. When wielding the sabre it should be as swift as a flying swallow. When you stop the performance, it fall as gently as the wind ebbs. When taking back the sabre it is as light as a petal. When stabbing forward, the sabre head is a steel nail". The Shaolin cudgel is the most reputed among all the weapons used in the Temple. It is also the oldest arm of the Temple. Hence the reputation of "the ancestor of all weapons". And the legend goes that the 13 Shaolin monks using cudgels once helped the Prince Tang and established their brilliant martial feats. The Shaolin cudgel is characterized by attacking a broad range with the cudgel". When performing the cudgel, all over the body is the source of momentum. The wielding of cudgel is accompanied by the whistling of the air. The rhythm should be fast and the moves should following one another closely.

The Shaolin kungfu is a kungfu treasury of very profound and wide-rant nature. In the terms of boxing arts, there integrates power with flexibility. Included in the bold and powerful traditional boxing arts are the Shaolin arhat boxing, chain boxing, plum-blossom boxing, and warrior boxing. Belonging to the catagory of mimic boxing are monkey boxing, leopard boxing, snake boxing, etc.. And the internal-kungfu boxing arts include intention boxing, Changhu intention boxing and Seven-star boxing, etc.. As to pair-practice boxing, the number of variety is still larger, including kick-punch six-in-one boxing, ear-handle six-in-one boxing, and hand-biting six-in-one boxing.

There is a great variety in Shaolin kungfu's weaponry. Hence the saying of "eighteen weapons". In terms of classification, they can be divided into long weapons, short weapons, soft weapons, rare weapons, and hidden weapons. Long weapons include broad-sword, long spear, cudgel etc.. Short weapons cover sabre, club and dagger. Chained iron balls and 9-sect iron staff are soft weapons. Sickle, Qian-Kun ring and dharma staff are rare weapons. And flying dart and flying prick are hidden weapons. Pair-practice of weapons covers a wide range too. Such as pair-practice of spears, pair practice of a sword versus spear, cudgel versus spear, and the group practice of shepherd cudgels.

In the Shaolin kungfu, apart from boxing arts and weaponry, there are hand battle, attack-defence and capturing used in fighting; qigong, hard qigong, child-gong, yin-yang-gong, pile standing kungfu, etc. used for internal kungfu. The marvellous feats of the Shaolin kungfu can be summarized as: powerful, simple, battle-oriented, highly changeable. When lying down, the body resembles a bent bow. When sitting, the body is as firm as an brass bell. When standing, the body is as if nailed to the ground. When moving, like a dragon. The kungfu performer should be as graceful as a cat, as fierce as a tiger, as swift as a thunderbolt.

Incredible kung fu rarely known to the world [top]

Among the Shaolin kungfu, there are many unique feats unknown to the world. And it is these unique feats that constitute the mystery of the Shaolin kungfu. If it had not been for the evidence provides by the photos, who could believe such unthinkable kungfu.

The earliest internal kungfu of the Shaolin martial arts is the sitting-meditation kungfu. It is a part of the cultivation the Shaolin monks must undergo, and it is also the foundation on which other unique and consummate feats can be cultivated. Sitting-meditation requires the practitioner to slightly close both eyes with the tongue touching the upper palate. In this way the breathing is even end the air in the body can reach the inner organs. Along with the development of the sitting-meditation kungfu, there appeared the twelve stances of "Tendon-Alternation Sutra", a kungfu integrating power with flexibility. Beginning from the Ming Dynasty, Shaolin school has put forth more and more unique feats, including internal kungfu, external kungfu, hard kungfu, light kungfu, child kungfu, plumply kungfu, arhat kungfu, acupoint kungfu, bone replacing kungfu, fire kungfu, intention-pile kungfu.

The Shaolin unique feats attach special importance to the exploration of the potential instincts of human body. With the un comparable wisdom and fortitude of the Zen Buddhists, the Shaolin monks cultivated the incredible unique skills incredible to the common people. Do not assume that you can kill him by straggling his throat. The Shaolin monk has, by practicing with a yellow Zen ribbon, gained the unique feat to escape from the otherwise certain death. Do not think that you can end his clock of life by hitting the "pendulum" between the two legs; as the Shaolin monk has, by practicing hard with a rock, acquired an invulnerable body. When a spear is directed fiercely to the throat, the monk is not at all harmed. When his finger can pierce into the trunk of a tree fro three inches, when you see a stone slab is broken when the monk's head dashes against it, when you see a cudgel snapped into two when hit on the monk's chest stomach or head, when a monk stands upside down on his two fingers and the kicks broken a stone pillar, how could you help feeling startled, and how could you help thinking, how much potential human capacity is awaiting exploration?

The qigong of Shaolin is divided into internal qigong and external qigong, The internal qigong relies mainly on regulating the inhaling and exhaling, thus facilitating the blood circulation and driving away the evil elements in the body. The result is that the internal organs are healthy and the limbs become agile. Internal qigong covers such varieties as 8-secti on brocade, tendon-alternation sutra yinyang qi, and sitting-meditation. External qigong is also called hard kungfu. The qi is concentrated

to a certain point of the body, a nd the said body can exert extraordinary power, or kungfu. The varieties of the Shaolin hard kungfu, iron-head kungfu, hard-stomach kungfu, fire kungfu, iron-

sand palm kungfu etc.. The pile kungu of the Shaolin school is divided into two: the plum-blossom pile kungfu and intention pile kungfu. The plum blossom piles are 8 feet high on which the Shaolin monks practice fighting, capturing, etc. as if they were on the ground. This performance commands great admiration from the spectators. intention pile kungfu is the oldest Shaolin form by which to cultivate qi. This kungfu belong to the category internal kungfu. The power is exploded by integrating the inner qi with the force. After cultivation the intention pile kungfu, the performer can make a pit on the ground by simply stamping on it, and can break a stone pillar by a simple kick. The traveller can think of the power of intentional pile kungfu by looking at the 48 standing-pile pits in the Thousand Buddha Hall of the Shaolin Temple.

The Shaolin child kungfu is one of the most remarkable kungfu's. The name "child kungfu" indicates that, after cultivating this kungfu, the monk can be rejuvenated and will look as young as a child, though his hair is as white as the feathers of a crane. His body would become as soft as a brocade, as light as a swallow, or as hard as steel. Usually the monks exercise the child kungfu from their childhood. The cultivation requires special persistence. Among the feats of this kungfu, the most marvellous are: arhat sleep, two-finger Zen, upside down Zen, clinging Buddha feet, and upward kicking.

Sharpness of sword from diligence in whetting [top]

Among the martial monks of the Shaolin Temple there is a popular saying: "Time makes kungfu". The awe inspiring Shaolin kungfu has undergone long and hard whetting which renders the kungfu a paramount art in the world.

The incredible feats of the Shaolin kungfu is the result of the incredible tempering. Just as the sharpness of a treasured sword comes from diligent whetting, the fragrance of the plum blossom is the result of undergoing the bitter  winter. The kungfu monks of the Shaolin Temple are very particular about their exercise in the inclement cold of winter and the hottest day of the summer. Whatever the weather, they are seen practicing hard when the rooster crows in the morning, and they return to their bedroom when the moon is already up in the evening. They devoted all their energy to the hard training of the basic kungfu. During the snowy depth of winter, they would wear nothing on the upper part of the body while climbing the mountain. Along the 1000m long mountains path, they jump and crawl down. Under the scorching sun of mid-summer, they would be fully dressed and jump onto the pile tops, and they would lift the 50kg stone locks for countless times, until sweating all over. With a pole horizontally stretched, the monks can lie down comfortably thereon. With a log planted in the ground, the monks would dash their heads against it to train the iron-head kungfu. Even the rim of iron cauldron or bamboo crate could become the site for training their light kungfu and a small water pool or even a pot of water are where they exercise the palm kungfu. They exercise kungfu when eating, when sleeping and when walking. Even in the course of pouring water and making tea, they are training kungfu. They practise the kungfu of breaking a bowl with one finger. They use chopsticks to train the kungfu of stabbing the throat with bamboo stick. They get up at dawn and, when they are sweeping the courtyard, they waving the fans to alleviate the heat, they train their iron-fan kungfu. The cook chops the food on his own stomach. If they have some walnuts, they would crack them with their heads...... How tough and tenacious the Shaolin monks are! It is

extremely auduous exercise in the most difficult environment that has rendered it possible for the monks to attain a state which the common people cannot attain.

In the deep forests on the Shaoshi Mountain of the Mount Song, there are some secret kungfu-training grounds equipped with kungfu piles, sand sacs and pits. If you can have the opportunity to access to these secret grounds, it would serve you as a significant eye-opener. The unique feats of each martial monk are often cultivated in these secret places. These secret kungfu grounds are located along the stream in the forest where the scenery is paramount. Maybe such locations reflect the monks' desire to imbibe in quintessence of the nature and the inspiration from the heaven.

The World-Famous Shaolin Temple [top]

The Shaolin kungfu, following its originating in the Shaolin Temple, had been circulated for quite a long time among the monks of the Temple. It is after the event of 13 martial monks helping Prince Tang that the world began to know about the kungfu of Shaolin, and gradually a huge system of the Shaolin kungfu has taken shape in the society. 

In the Tang and Song Dynasties and afterwards, a lot of non-monks entered the Shaolin Temple to learn kungfu and conduct kungfu exchange. By the mid-Ming dynasty, the Shaolin kungfu was already popular in the society. By the beginning of the Qing dynasty there were ten branch Temples of the Shaolin in China. And these branch Temples became the centers of the Shaolin kungfu. In the course of popularization the Shaolin kungfu itself has got enriched and developed. The result is that there are now many

Shaolin kungfu schools, such as the Emei Shaolin, the Guandong Shaolin, the Fujian Shaolin, the Shandong Shaolin, etc.. As the spread is so fast and the scale is so large that in the present China "people cannot talk about martial arts without mentioning the Shaolin". Hence the saying: "All the kungfu in the world originate from the Shaolin Temple".

When China entered into the modern age, the recent century of wars and civil commotion has accelerated the spreading of the Shaolin kungfu. The Shaolin disciples live all over China. Since China adopted the policy of economic reform and opening up to the outside world, the central and local governments have been giving support to the Shaolin Temple kungfu, regarding it as an important aspect for prospering the national culture of China. There are now countless organizations specializing in learning and studying the Shaolin kungfu. In a sense the Shaolin kungfu has become popular wushu for the common people.

As a physical exercise for human beings, the Shaolin kungfu is also being extensively popularised in the world. Its overseas spreading can be dated back to the Yuan Dynasty. During the reign of the Emperor Taiding of the Yuan Dynasty, a Japanese monk named Dazhi came to China to study the Zen. When he returned to Japan, he was the earliest one who introduced the Shaolin kungfu in Japan. During the reign of the Emperor Wanli of the Ming Dynasty, Chen Yuanding, a non-monk desciple in the Shaolin Temple, sailed eastward and reached Japan, where he spent many years embarking the boxing of the Shaolin Temple. In the 1930's a Japanese monk, Zong Daocheng, came to the Shaolin Temple to learn kungfu. When he returned to his motherland, he founded the world's first non-Chinese organization specializing in

exercising the Shaolin Temple kungfu, "Japanese Shaolin Temple Boxing Kungfu Association", which has at present a membership of over a million. In the past years, along with the opening of China to the outside world, the Shaolin kungfu has been introduced to foreign countries at an e ven higher speed. At present special organizations for imparting the Shaolin kungfu have been set up in more than 30 countries including U.S., Holland, France, Belgium, Italy, Singapore, Switzerland etc.. In the recent years people from more than 30 countries and regions have come to the Shaolin Temple to get kungfu training. The Shaolin monks delegations consisting of monks and non-monks have visited many countries. With a view to accelerating the spreading of the Shaolin kungfu schools have been set up all over the world. In 1991, in order to promote the development and interf low of the Shaolin kungfu, in Zhengzhou, capital city of Henan province, the China Zhengzhou Shaolin Wushu Festival was established and was to be observed annually. This international Shaolin kungfu festival indicates that the Shaolin kungfu of China is sure to become a precious cultural heritage of the whole mankind. THE CONTENT OF KUNG FU IS COLORFUL AND PROFOUND Different fist and weapon fighting skills display different characteristics. According to the form of routines, Kung Fu can be classified into several major catagories including solo practice, group practice, sparring and duet with weapons, exercises for building inner strengths and forces, etc. Kung Fu Boasts Versatile Functions [top]

(1) Moral Cultivation As a human practice which stresses cultivation of moral characters and demonstration of spirit and temperament, Kung Fu is cinducive to developing good manners and conduct. It also helps adjust one's psychology. The moral characters and etiquette are held in esteem by all schools of Kung Fu masters.

(2) Offence and Defence Kung Fu practitioners can master various offence and defence techniques of armed and unarmed combat for self defence through a great number of training exercises. Many of the Kung Fu techniques can also be utilized in military and police training programs.

(3) Curative Effect Taiji Quan, one of the traditional schools of Chinese shadow boxing, and the various still standing exercises emphasize the adjustment of one's breathing, thinking and psychology. These exercises have been proven to have good curative and rehabilitative effects on sufferers of chronic diseases of many kinds. As these exercises help strengthen the coordination of the human body and its immunity, they are ideal for preventing and curing diseases.

(4) Health Improvement The practice of the basic exercises and routines of Kung Fu are effective methods for improving the pliability of the joints and the suppleness of the back and legs. The generation of energy, the jumping and leaping and the changes from one

stance to another, all help enhance human strength and speed of movement. kung Fu, therefore, can be taken as the basic exercise for other sporting activities.

(5) Artistic Effect The graceful movement of the body, especially the typical oriental charm revealed during exercises and practice of Kung Fu, has an impressive artistic effect and provides visual delight. People can benefit mentally as well as physically from the display of the Kung Fu offence and defence skills and the exertion of forces through the display.

(6) Intelligence While stressing the development of physical prowess, Kung Fu also emphasizes the exercise of thinking. By adjusting various human functions, Kung Fu also helps improve the nervous system and is therefore good for intellectual development.

Solo Practice [top]

Solo practice is the basis of Kung Fu. This includes exercises for basic movements and skills and various still standing exercises. Some are aimed at developing the physique of Wushu practitioners, while others are aimed at strengthening the circulation of air flow inside the body so as to keep the practitioners in good health. Still others stress improving their standard of fighting skills.

(1) Basic exercises and movements Kung Fu basics include the movements of shoulder, arm, waist, leg and hand as well as footwork, jumps, leaps and

balancing. Both Kung Fu amateurs and professionals have sorted out many good methods of doing exercises and gradually formed a complete and systematic set of basic skills and techniques. Through the exercises of Kung Fu basics, Kung Fu practitioners can have their entire bodies trained and improved to meet the demands of the special martial arts. The basic exercises help lay the foundation for learning and mastering the fighting skills and for improving their Kung Fu arts standard. Doing the basic exercises in a regular way will enchance the pliability and suppleness of joints and ligaments of the body, and the control and increment of the necessary elasticity of the muscles, so as to enable Kung Fu practitioners to execute their acts with quality and to speed up their mastery of Kung Fu skills. These exercises can prevent and reduce injuries likely to occur during exercises.

(2) Still standing exercises The standing exercises are the unique method of practising Kung Fu. It is an arts of using stillness to control motions and movements. The muscles and nerve system are more coordinated and the power is more fully developed through the standing exercises. While practising standstills, the practitioner is advised to dispel unrelated thoughts from his mind in order to concentrate, and keep his body in a fixed posture for a comparatively long time. By so doing the practitioner can better mobilize the inner circulation of air flow and guide it to reach out to all extremities in order to synthesize the external and internal forces. Standing exercises focus on exercising the mind, and call for natural breathing, high concentration, and proper posture of the body. Unadvisable or stiff movements

should be avoided. The standing exercises have health enchancing as well as fighting functions. Different standstills are done for different purposes. 

Routines

The bare-handed fighting routines take such fighting skills as kicking, hitting, wrestling and holding as basic offence and defence techniques. They are then organized in line with the needs of the physical exercises for different parts of the human body into different routines for offence and defence, incorporating actions and stills, substantial and insubstantial blows, charge and retreat, fast and slow movements. The shadow boxing routines have a long history and are seen in urban and rural China in various forms, such as Shaolin Chuan, Taiji Quan, Xingyi Quan, Bagua Zhang, Nan Quan, Chuojiao, Xiangxing Quan, etc.. Some routines have long programs while others have short ones. Some are particular about forcefulness and valiantness whereas others stress gentleness and smoothness. Some emphasize agility and speed while others pay attention to variation and changes of actions, alteration of tempo, clear-cut acts and speed and agility. The Taiji Quan emphasizes slow and soft movements. Routines are one of the major forms of Chinese Kung Fu. When doing the exercises, practitioners are required to execute all acts with offence and defence implications; a close cooperation of eye and hand is demanded and eyes should follow the movements of hands, which should also cooperate with the feet to complete the coordination of the upper and lower body. Practitioners should let the mind lead the body, let inner circulation of air flows generate forces so as to achieve unity of mentality, breathing and action and the combination of mentality and physique. When moving, it should be fast and forceful; when standing still, it should be steadfast like a rock, defenite rhythm is asked for in both exercises.

Group Practice 

Group practice is a collective event in which a group of people practise together bare handed or with weapons. Group practice was listed as one of the Kung Fu competitions after the founding of New China. In group practice, all practitioners are required to do exercises according to a prescribed pattern and follow every movement as closely as possible to the accompaniment of music. The

exercises include demonstrations of footwork, leg techniques, movements of the body, hand techniques, jumps and leaps as demanded in the Kung Fu / Taiji arts. Group practices are highly disciplined exercises, which cakll for high concentration, skillfulness and close cooperation on the part of every praticipant. The group performances are often grandiose, impressive and captivating. Delight and pleasantness are added to by merry and rhythmic melodies of characteristic Chinese classical and folk music as well as by appropriate costumes. Fashionable group practices include bare hand exercise, sword play, sabre play, nine-section cudgel play, two-prong spear play, etc..

Neigong 

Neigong is classified as inner exercises and falls into two categories. One is to improve health for the prevention and cure of diseases. Exercises in this category include breathing exercises, mental exercises and standing exercises. Chinese kung Fu advocates reinforcement of the physique before beginning to learn fighting skills. Therefore maintaining good health has become one of the major concerns of inner exercises. The other catagory is concerned with improving one's ability to defend and attack. Such exercises include self-beating and self-hitting (this exercise prepares one to take and receive attack from his opponents), palming (this exercise increases the hitting force of the palm), and roving around and through wooden piles (this enchances agility of the body by meandering through piles). Neigong is unique to the Chinese Kung Fu training system. Some of the inner exercises have become independent of their original schools and styles and have mixed with similar exercises from other schools, making them more comprehensive.

Duel [top] Duel is the essence of Chines Kung Fu. The categories of duel now in practise are: Sanshou ( free sparring ), and weapon fighting.

(1) Sanshou ( free sparring ) Sanshou is a new modern Kung Fu variety which is based on the tradition of martial arts. Attack is the essence of kung Fu. In ancient times, there were combative contests. In view of the development of kung Fu both at home and abroad, the Chinese Kung Fu Association made extensive investigations and practices before making Sanshou an official competition event. The first international Sanshou invitational tournament was staged at the 1988 International Wushu Festival. In Sanshou the contestants compete with such techniques as kicking, hitting and wrestling under certain regulations. They are permitted to use both hands and feet, which facilitates flexible moves and tricks. to keep themselves safe, they have to wear safety gear ( head gear, boxing gloves, groin cover and shin guards ).

(2) Hand Pushing Hand pushing is one type of grappling which depends upon pushing, shoving, elbowing, leaning against, pressing, shouldering, thrusting and jamming, to get the better of one's opponent. Hand pushing can enhance the combative ability of hand pushers and increase their combative insight and flexibility. Hand oushing usually means the hand pushing of Taiji Quan. Some other fist fighting styles also have hand pushing exercises.

(3) Weapon Fighting In weapon fighting, combatants use various long and short weapons to fight in accordance with certain regulations. At present, weapon fighting is not as popular as Sanshou or hand pushing. Major programs of weapon fighting include duels between

short weapons sucg as sabre and sword, and between long weapons like spears and cudgels  Sparring [top] 

Sparring is one participates in by two or more Kung Fu practitioners either unarmed or armed. The routines for sparring include such offence and defence techniques as kicking, wrestling, holding, beating, thrusting, chopping, lifting, axing, finger-hitting at certain parts of the body, jumoing and leaping. Sparring can help participants to further understand the implication of the acts they have

learned through solo practice and promote their standards of martial arts. Because they demand real combative atmosphere and skillfulness as well as close cooperation, sparring helps practitioners to cultivate bravery, intelligence, agility and cooperation. Sparring falls into three categories: unarmed, armed and unarmed versus armed. (1) Sparring Without Weapons Sparring without weapons is a sparring routine of fist, hand, leg and body movements and actions of the same style as in the solo practice. The combative arrangements include offence, defence and counterattack. The Chang Quan (long-style boxing) sparring includes in its program, jumps, leaps, hops and rolls, and the program requires practitioners to be quick and agile. The holding practice is an exerise which uses catching, seizing, holding, locking, moving and pointing at certain parts of the body to arrest, control, or extricate oneself, by forcing the opponent to maneuver their joints in reverse directions.  (2) Armed Sparring Armed sparring is one in which two participants exercise together, using similar or different weapons. Different weapons result in different styles. Sabre sparring displays the characteristics of valour, resolve and speed. Sword play stresses the combination of hardness and softness as well as gracefulness. The sparring between spear and long-handed sabre demonstrates braveness and intrepidity. The sparring between three-section articulated cudgels requires compactness and speed, which make the practice intense and exciting. Weapon sparrings also include such sparrings as broad sword versus spear, dagger versus spear and cudgel versus spear. These sparrings are between long and short, single and twin weapons.  (3) Sparring Between the Unarmed and Armed The sparring between the armed and unarmed are ones which are often programmed for the unarmed to try to deprive the armed opponent of his weapon. Such sparring programs include unarmed versus sabre, unarmed versus spear, unarmed versus twin spears, unarmed versus sword etc.. The practices require that the armed side should be good at using his weapon. These practices also require that the unnarmed side should be quick at dodging the attacks by the armed side, and look for chances to counterattack. The technical programming of weapon practices generally takes into consideration the following points: Rational offence and defence. Army side of the duet must wait for the attack launched by the other side to decide what defence to use and how to counterattack, otherwise he has to act aimlessly and may even

disrupt the duet program. Correct moves and tricks. Kung Fu sparring are simulated combats, not real ones. All attacks, defences and counterattacks are symbolic. This point is very important in weapon practices. The spear man is required to use his weapon as in real combat but has to be sure that he will not injure his partner. to do so, the spear man has to be sure as to where to direct his weapon so as to make the duet look exciting but safe. Identical rhythm. The two sides must cooperate by tacit understanding. If one side is faster than the other, the rhythm of the duet may be broken while the partners may sustain injuries or even get killed by mistake. The participants, therefore, are required to act in perect time either in attack or defence. Appropiated distance. The participants must adjust the width of their steps, for if they stand too far away from each other, the attack and defence will not look real and the actions and movements will be sloppy, but if they are too close to one another, neither can move freely and their acts will be affected.   Chin Na [top] Capture skills ( Chin Na ) are a kind of close combat skills used to subdue the enemy with skillful movements and ingenious exertion of strength. The basic principle in capturing the enemy is to seize, with either or both hands, a certain joint in the enemy,s limbs in order to have total control not only of a part of his body but also of his entire body, before you finally tie him up. Sucessful capture depends on daily and prolonged practice on the part of the combatant because, as the Kung Fu manual has it, "methods may be acquired from without, but ingenuity is achieved from within.". Only through repeated practice can the combatant make a correct judgement of the situation, seize the best opportunity and reach the acme of perfection in an actual combat. The following is a brief introduction to the eight essential points for the employment of capture skills.

(1) Being as Sharp-Eyeed as an Eagle It is common knowledge that one should be sharp-eyed and quick-moving in boxing. This is all the more true for the employment of capture skills. A pugilist should keep his eyes and ears wide open, use the sharp and stern eyesight to pierce into the enemy's intentions and be well prepared to quickly react to the possible movements of the enemy. The sharpness of the eye has a special significance if you wish to catch a fast-moving enemy in a fierce combat. This is because only when your eyes are sharp enough to detect the instantaneous opening in the enemy's body will it be possible for you to effect a successful break-in and capture.

(2) With Handwork as Quick as a Flying Arrow This analogy tells of the speed of the handwork involved in effecting a capture. The combatant mainly uses his hands in capturing the enemy, with coordinated movements of his wrists, elbows, shoulders, as well as some other parts of the body. The importance of handwork can be seen from the fact that all the 36 techniques used in the capture skills, namely, Chan, Bie, Ban, Pi, Rao, An, Diao, Kou, Nie, Cuo, Tie, Kao, Fen, Duan, Dun, Ya, Cuo, He, Dian, Tao, Jia, Wa, Quan, Wo, Jiao, Shi, Shun, Ni, Feng, Yin, Gu, Qian, Suo, Gua, Ti, Hua are techniques of the hand. The speed of the handwork should, therefore, be so quick that it looks like an arrow taking off from

a bow. The "arrow" can hit the target as soon as the "string" rings, and the enemy does not have time to parry or stop your capture movements.  

(3) With Step as Steadfast as a Crouching Tiger Capture skills require that the combatant has as solid a Zhuang gong (the skill to be steadfast under push or kick) as that of a crouching tiger. The stableness of stepwork reflects the basic skills of a combatant. Ann effective capture can hardly be realized for lack of steadfastness or Zhuanggong in the lower part of the body. If you display an unsteady Zhuanggong in the combat, the enemy might take advantage of the situation and make a sudden counterattack to turn the tables. The employment of capture skills requires, therefore, that the combatant have correct stepwork and solid Zhuanggong, just like a crouching tiger awaiting its prey. Also required are the coordinated movements of the upper and lower parts of the body, the timely advance and retreat and the other appropriate movements of the body to assist in the capture.

(4) With Waist as Supple as a Looper This refers to the bodywork as required for the employment of capture skills. In addition to the sharpness of the eye, swiftness of the hand and steadfastness of the step, the application of many capture skills demands a direct coordination of the waist movements. This is especially true for tumbling capture skills and capture skills involving drastic movements of the body and requiring a high flexibility of the waist. In a combat which involves all the seven methods of kick, hit, throw, pounce, push, bump and capture, the combatant has to rely on a highly coordinated bodywork to realize such tactical movements as advancing and retreating, crouching and leaning, turning and twisting, sidestepping and dodging, before he can succesfully capture the opponent. Proper and flexible waist performance is a key factor in the completion of the above movements.

(5) Using Breathing Exercises to Concentrate Strength The practice of capture skills should be coordinated with the practice of Qigong, or breathing exercises, which forms the basis for the attainment of inner strength and skills. Without the inner cultivation of Qigong, there can be no inner skills or inner strength. Each of the seven combat methods is closely related to the practice of Qigong. The boxing manual has it that "In a combat, victory goes to the deep breathing combatant, not the shallow breathing one," and that "only when the breath circulates in the entire body can one concentrate and direct his skills and strength on an intended part of his body." These explain the importance of the inner skills and inner strength. The art of directing one's breath is the art of the concentration of one's strength, and therefore a well-trained combatant with deep breathing skills is at his ease in actual combat, devoid of any signs of breathlessness or unsteadiness that might lead to failure. When inner strength is exerted onto a charging arm, siad arm is immovable under push or pull from the opponent. Such strength may easily come and go, concentrate and disperse, combine and separate at your heart's content. The combatant who lacks the training of Qigong cannot master the quintessence of capture skills, neither can he perfect his techniques.

(6) With Force as Abrupt as Lightning Before the exertion of one's strength in effecting a capture, the combatant has to carefully find out the enemy's weakpoints or loopholes. Once such weakpoints or loopholes are accurately located, the combatant immediately makes an abrupt and

unexpected explosive attack as quickly as lightning or as a bullet. The combatant should consolidate and develop, with further fierce and resolute tactics, his superiority over the target part by tightening up his grip to such an extent that the enemy is unable to retreat from or thaw, escape, and avoid the grip, thus bringing his entire body under control.

(7) Knowledge and Experience Perfects One's Skills "Knowledge and experience" here refers to the level of one's combat consciousness when the capture skills are used and one's skillfulness in the employment of the seven basis methods of the combat art. In actual combat, the enemy is bound to resist and make a desperate counterattack. Lack of knowledge and experience about the various changes in the combat art will render the combatant to a vulnerable position. One must have a clear understanding of the situation in a combat before he makes up his mind to capture or to fight. He should also coordinate his movements and be ready to change strategems by using any of the seven methods in order to make the enemy lose his ability to counterattack and prevent him from breaking away. No capture skills, no matter how superb they may be, can be effectively applied without the coordination of the other six combat methods. An inexperienced and short-sighted combatant does not know how to make a skillful and coordinated capture and often becomes himself a hitting target and captive.

(8) Presence of Mind is the Key to a Powerful Attack Presence of mind in a combat is of great importance for the correct judgement of the situation and a quick decision to choose the appropriate tactics. A boxing manual has it that, "He who is highly skilled has the presence of mind; he who is not skilled loses his mind". Calmness and presence of mind are of special significance under the combat situation of one against two, of a bare-handed combatant using short weapons against an enemy with long weapons. The combatant who fails to break into the enemy's loophole or retreats when it is time for him to advance is often unskilles and lacks the presence of mind. Presence of mind shows one's combat spirit and is an embodiment of not only skill but also power. With overwhelming spirit, the combatant can exert enough strength to his muscles and bones to tackle with even iron and stone. Will and spirit have the power to kill. SIX SHAOLIN BOXING STYLES  Shaolin boxing styles are very divers and complex. There are hundreds of different boxing styles, too many for one person to master in his life. These days in modern Martial Arts we see that the student will practise general basics and then will devote himself to one boxing and weapon style. We have chosen the following boxing styles which many people find astonishing and will give detailed information about them. Zui Quan ( Drunkard Boxing ) [top]In Zui Quan or the drunkard boxing, boxers falter, waddle, fall and sway just like drunkards.Zui Quan can be used for both fighting and maintaining health.

However, the drunkard boxers go out of their way to stress the combative side of their style. They blend a series of movements, actions and skills o f the martial arts and try to confuse their opponents with special skills which often lead them to surprise triumphs.

Execution of the drunkard boxing demands extreme flexibility of the joints as well as suppleness, dexterity, power and coordination all of which can be developed in the

course of practice.The main feature of the drunkard boxing is to hide combative hits in drunkard-like, unsteady moveme nts and actions so s to confuse the opponent. The secret of this style of boxing is maintaining a clear mind while giving a drunken appearance.

Drunkard boxers are required to be responsive with good eyesight and

fist plays. They move in unconnected steps but with a flexible body combining hardness and suppleness. They have to be fast to get the better of their opponents but their main tactic is to feign defence while trying to attack and aiming in one direction but attacking in another. Various degrees of drunkenness are demonstrated by different ranges of movements and expressions in the eye.   Luohan Quan ( Arhat Boxing ) [top]Luohan Quan or the Arhat boxing originated from the Shaolin-style boxing. It has been called the 18-hand tricks of Arhat, which consisted of 18 combating

skills and techniques. Along with its 24 movements in advancing and retreating, the Arhat boxing uses six routines of fist plays, two routines of palm plays, one routine of elbow play, four routines of holding and strangle holding, each of which has its own practical value and health-building effect.

The original Luohan Quan was called the 18-form Arhat boxing which was improved and developed through years of practice. It later became the 27-form small Arhat boxing, the 54-form big Arhat boxing and the 108-form Arhat boxing. While practising, Arhat boxers can be as soft as willow twigs, as agile as a smart monkey jumping over a mountain gully, as mighty as a lion, and as powerful as a dragon stirring the sea. According to the practice proverbs of the Arhat boxing, the head of the Arhat boxer is like a wave; hands are like meteorites; the body like a willow twig; footwork is like that of a drunkard; blows are triggered by the mind and power is generated throughout the body. It should be difficult to tell whether the hits are substantial or empty. Free application of the Arhat boxing skills can be achieved through years of practice and exercise.

Luohan Quan was created by monks in the Shaolin Temple from watching and imitating the different forms and expression of the different Arhat statues in the temple, and through meditation. They added to these movements the skills of combat. There are quite a few Arhat boxing masters among the generations of Shaolin monks. The best in the contemporary period was Maestro Miao Xing. Maestro Miao Xing had been called "Gold Arhat". He was a native of Dengfeng in Henan Province and knew the combat skills as well as being fond of literal arts, especially Buddhism. He used to work on his farmland, and chanted Buddhist scriptures and practised martial arts after work. Later he travelled throughout the country and met

with many Wushu masters. In this way he mastered the martial arts of different styles of boxing. Several years later, Miao Xing shaved his head to become a monk of the Shaolin Temple but he continued to practise his martial art in his spare-time delving into the skills of combat.

Once he was seen practising his martial art by the abbot of the temple who praised him and taught him the Shaolin style of boxing and cudgel plays. The abbot also taught Miao Xing the Arhat boxing, acupressure touching, joint dislocating, holding and strangle holding, breathing exercises and other Shaolin-style martial arts.

Whenever challengers of the Shaolin martial arts came, the abbot would appoint Miao Xing to meet them and Miao was always the winner, thus earning the respect from among other monks. Eventually Miao was promoted to be the supervisor of the temple and was asked to teach the martial arts to other monks. After the death of the abbot, Miao Xing succeeded him and also served as the chief of the Shaolin martial arts masters. He had some 5.000 monk disciples and 200 laymen disciples. In 1939, Maestro Miao Xing passed away at he age of 58.

The characteristics of the Arhat boxing are plain and simple. It combines simplicity with the beauty of the expressions of the Arhats. It hides its combative skills and blows in the Arhat-like actions. Movements are smoothly comfortable and fully spread out with clear cut rhythms and the cooperation and coordination of attack and defence are rational. After practising for a long time, the Arhat boxing can strengthen the physique, tone up the body, give one self-defence skills and cure diseases.   Tanlang Quan ( Mantis Boxing ) [top]Tanglang Quan or the mantis boxing is also an animal-imitating style of fist play. It copies the form and actions of a mantis adding the attack and defence skills of the martial arts. This unique style of boxing boasts an assortment of routines which generally fall into the northern and southern styles.

The northern-style mantis boxing is said to have been created by Wang Lang of Jimo County in Shandong Province at the turn of the Ming and Qing dynasties. Legend has it that Wang was fond of martial arts and went to study Wushu at the Shaolin Temple in Henan Province. After the temple was burnt down by the imperial army, Wang Lang returned to Jimo where, because of his shorter stature, he was beaten again and again by his senior fellow apprentice.

Wang resolved to practise hard for three years but, much to his dismay he lost the duel again. One day in the forest, he saw a mantis wielding its forelegs while fighting a big cicada in a tree. Before long, the mantis killed the cicada. Wang found that the mantis had a good rhythm in attack and defence and controlled its catch and release well. It fought both from distance and close-up with hard and soft blows characteristic of martial combats. He captured a number of mantis and took them home. Watching them closely while they fought, Wang Lang compiled a mantis boxing by adding the essentials of the Shaolin boxing to the actions of the mantis, even including the expression of the mantis. There are two other propositions about the origin of the mantis boxing. One holds that Wang Lang created it while fighting the long-style boxers of the school created by the first emperor of the Song dynasty; the other believes that between his fights with back-through boxer Han Tong, Wang saw a mantis capture a cicada and fight a snake and so created the mantis boxing.

The mantis boxing has many routines and branches. The major five schools are as follows:

(1) Seven-star mantis boxing, which is also called Arhat mantis, features seven-star steps, hard-hitting, and vigorous movements. It tends more towards hardness than suppleness and its stances are comfortably spread and extended. The basics of this school include waist technique, leg technique, shoulder technique as well as standing skills and hitting skills.

(2) Plum blossom mantis boxing, also called taiji plum blossom mantis boxing, uses small steps and its movements are continuous deft and smart, like blossoming plums. It is almost an exact copy of the mantis. This style of boxing demands clear-cut rhythms in unleashing the tricks and emphasizes a smooth, deft and supple generation of power. It uses more sideway than straightforward force.

(3) Six-combination mantis boxing, also known as monkey mantis boxing, stresses the inner and outer, three combinations which make six combinations. It uses mind to guide the movements of the body and pays equal attention to both the mental and physical. It uses hidden, rather than obvious hardness and resorts more to inner forces.

(4) Hand-wringing mantis boxing is also called plum blossom hand-wringing mantis boxing. It comes from the plum blossom mantis boxing but because it uses hand wringing tricks in its routines, it came to be called hand-wringing mantis boxing. When delivering blows, the hands are in the shape of palm; when retreating, they are in the form of hooks.

(5) Twin mantis boxing. This style of boxing also comes from the plum blossom mantis boxing. Its movements have a delicate symmetry and thus it is called twin mantis boxing.

The mantis boxing features force, power, dexterity, speed, a combination of hardness and suppleness, of substantial and insubstantial tricks end blows and of attack and defence. It necessitates a good command of catch and release and a variation of action. Mantis boxers will attack if provoked; they will not attack if untouched by opponents; they deliver fist blows in quick succession when offended. These characteristics of the mantis boxing are well known among Chinese martial artists.A common featured of various styles of the mantis boxing is that their actions are accurate and performed in earnest. Mantis boxers move lightly, yet powerfully and their attacks are very strong with tricks that are delicately connected. The mantis boxing stresses eyesight, hand play, footwork and body movements as well as speed, agility, steadiness and careful choice of moves. Its power generation is strong but not stiff, supple but not soft, quick but not unconnected nor out of rhythm. The mantis boxing boasts of many skills and techniques and can beat its opponent with unpredictable changes of tricks and combinations of hardness and suppleness   Yingzhao Quan ( Eagle Claw Boxing ) [top]Yingzhao Quan or the eagle claw boxing is a traditional animal-imitating style of fist play that incorporates the movements, tricks and methods of the eagle. It is a

mixture of the Yue-style boxing and the school of tumbling boxing. It is also called Yingzhao Fanzi Quan ( eagle claw tumbling boxing ). Because boxers form their hands into the shape of an eagle's claw, their style came to be called Yingzhao Quan. The traditional routines of the eagle claw boxing are said to have been created by Song Dynasty General Yue Fei. Li Quan, a monk of the Ming Dynasty, mastered the essentials of the Yue-style boxing before combining the eagle claw and tumble boxing to form eagle claw tumbling boxing. Li taught the style to Monk Fa Cheng who later passed it on to Liu Shijun of Xiongxian County in Hebei Province.

Liu Shijun, born in a poor family, used to sell flue cured tobacco for a living but he was deeply fond of martial arts. One day, when out selling tobacco till late, he stayed at a small inn. As he practised his martial arts by himself, Monk Fa Cheng who happened to be staying at the same inn, was woken up by the sounds of Liu's movements and actions. After he completed his exercises, the monk told Liu that his routines were good for maintaining health but not for fighting enemies. Liu, annoyed by the monk's remarks, asked Fa Cheng to fight with him. The two fought a practice bout. Eager to win, Liu unleashed three attacks in a row but all were easily warded off by the monk. As he launched his fourth attack Monk Fa Cheng used the eagle claw trick to catch Liu's wrist. Although he tried all he could, Liu could not shake off the monk's hand. Fa Cheng then touched an acupressure point on Liu's back and Liu felt sourness and numbness spread throughout his body and fell to the ground. Realizing the monk was excellent at martial arts, Liu begged the monk to teach him. He followed Fa Cheng and learnt the eagle claw boxing and its secrets. Three years later Liu left his master to travel alone and spent the rest of his life studying the art of fist plays and teaching youngster. Liu Shijun served as martial arts instructor at the barracks of imperial guards in Bejing during the Qing Dynasty and taught the eagle claw boxing to Liu Dekuan, Ji San, Ji Si and nephew Liu Chengyou. Liu Chengyou passed it on to his sister's grandson Chen Zizheng who went to teach the art in northeast China, Shanghai and Guangzhou. The eagle claw boxing features simple but powerful moves. When moving, the boxer attacks relentless and looks formidable, but when standing still, he looks like an eagle awaiting the chance to pounce on rabbits. The northern-style eagle claw boxing features comfortably spared movements which are aesthetically pleasing while the southern-style features delicate but spectacular acrobatic tricks.

There are many branches of eagle claw fist play which imitates all the movements of an eagle, the eagle boxing which stresses both the claw, and the flapping and fanning of wings, and the rock eagle boxing which imitates the eagle flying up and down a rock cliff. The eagle claw boxing is spectacular with boxers jumping high one minute and walking in a low position like an eagle diving into the woods for prey the next. Sometimes they run as fast as a shooting arrow while at others they stand steadily like an age-old pine tree. They demonstrate to the full, the bravery and flexibility of an eagle.   Tantui ( Leg Flicking Boxing ) [top]Tanntui or leg flicking boxing is also called pond legs. It has 10 routines and was therefore called 10-routine pond legs. When Shaolin monks added two more routines, it became the 12-routine pond legs. As many Moslems in China practise the boxing, it is also called religious leg flicking boxing. Tantui concentrates on feet plays with fist plays as support. Its movements are not complicated but complete and executed flawlessly. A symmetry is maintained by placing the feet one by one taking wide steps while keeping the body in a crouched position.   

Xingyi Quan (Form and Meaning Boxing) [top]Xingyi Quan or the form and meaning boxing is also called Xinyi Quan (free-mind boxing), Xinyi Liuhe Quan (free-mind six-combination boxing) or Liuhe quan (six-combination boxing). There are two propositions about the name of this school of boxing. One holds that the body actions and movements should be guided by mind and that this school of boxing is an identity of mind and body; the other proposition states that this school of exercises are mere imitations of animal actions and movements and adopted the form and meaning of animal movements.

According to historical records, the creator of Xingyi Quan was Ji Jike (1602-1683) from Village Zuncun in Yongji County in Shanxi Province. A resident of the late Ming Dynasty and early Qing Dynasty, Ji Jike was also known as Ji Longfeng. On his trip south to the Shaolin Temple and Luoyang in Henan Province and Qiupu in Anhui Province, Ji Jike passed his art on to Zeng Jiwu. During the reign of Emperor Qianlong of the Qing Dynasty, Xingyi Quan was spread in Henan, Hebei and Shanxi provinces. Ma Xueli, a Luoyang resident in Henan, Dai Longbang, a resident of Qixian in Shanxi, and Li Luoneng, Dai's disciple from Hebei, all contributed to the dissemination and development of the boxing.

Over centuries, this school of boxing is now practised in different styles. The Shanxi style is compact, delicate and yet forceful while the Henan style is powerful, vigorous and substantial. The Hebei style stresses steadiness, sturdiness and comfort. As regards routines of fist fight, a similarity is seen between the Shanxi style and the Hebei style, both using three postures of the body, five major movements of axing, bursting, penetrating, hurling and traversing and imitations of 12 animal forms (dragon, tiger, monkey, horse, turtle, chicken, hawk, swallow, snake, owl, eagle and bear). The Henan style mainly imitates 10 animal forms (dragon, tiger, chicken, eagle, snake, horse, cat, monkey, hawk and swallow). EIGHTEEN ARMS  

The weapons used by Kung Fu masters originate mainly from ancient military weapons. The Eighteen Arms, the term used to describe Kung Fu Weaponry includes the Sabre, spear, sword, halbert, axe, battle axe, hook, fork, whip, mace, hammer, talon, trident-halberd, cudgel, long-handled spear, short cudgel, stick and meteor hammer. Some weapons are used to fight at a distance, while others at close range. Some are overt where as others are covert. Some are hard while

others are soft. Their functions are wide ranging-they beat, kill, hit, shoot and block with cutting blades, hooks, points or pricks. The assortment of Kung Fu weapons has added to the colourful programs of martial arts, and proficiency in Kung Fu involves being skilled in the techniques and usage of the Eighteen-Arms. A brief introduction to the weapons and their individual characteristics follows. 

FOUR MAJOR WEAPONS 

The four major weapons - sabre, spear, sword and cudgel - have been widely used by Kung Fu masters since ancient times in different styles of martial arts. They are also the main weapons in current Kung Fu competitions.    

(1) Sword The sword is called the "gentleman of all weapons". It is the most widely used of all weapons and its influence goes beyond the field of Kung Fu. Every school of Kung Fu uses the sword as the basic weapon for rigorous training. Sword play in China was first seen in sacrificial offerings to gods or ancestors. In the Spring and Autumn Period and during the Warring States 2.000 years ago, sword play became a common practice in society. It is now one of the major competitive events in Kung Fu competition today. Sword play is brisk, agile, elegant, easy, graceful and natural in action. The movements are flexible, as well as variable. Attention is paid to both motion and stillness. Hardness and suppleness supplement each other. So sword play is likened to the "flying phoenix". There are many techniques in sword play. The main techniques include hitting, piercing, pointing, lifting, jumping and leaping, hanging, chopping, floating, poking, sweeping, wrestling, blocking, and wiping. These actions, combined with body movements and footsteps, form various routines of sword play. There are varied styles of sword play routines, handed down from ancient times. The popular ones include Taiji, Wudang, Bodhi-dharma, Longxing, Sancai, Qingping, Baxian (Eight-Immortals), Mantis, Lianhuan, Drunkard and Xingyi. The Chinese Physical Culture and Sports Commission has also worked out new routines for competition and physical exercises. It is said that the Chinese sword play, although a simple form of play with hand weapons, has deep ideological connotations. From emperors, high-ranking military officers and ministers to common people, experts and scholars, the wearing of swords shows them to be a refined person signifying they are cultured and familiar with the arts. The skill and theory of sword play was perfected and eventually formed the distinctive "Sword Culture" in China.

(2) Sabre Sabre is called the marshal of all weapons. It is one pf the most used weapons in Chinese Kung Fu. According to the shape and size, it is divides into short-hilted sabre, twin short-hilted sabre, sabre, nine-ring sabre ( named as nine rings on the handle ), broad sword, long-bladed short-hilted sabre and others.Sabre play is vigorous and quick in defence and offence so it is likened to the "fierce tiger". The main techniques of sabre play include chopping, hacking, cutting, pricking, lifting, poking, winding, blocking, pushing and knocking. When you have sabre practice, the cooperation between the sabre and the hands is very important and both hands must closely coordinate with each other, so as to maintain balance. Sabre play calls for rigorous training and constant practice. The sabre and the body must also be consistent. "Make sure that sabre is always around your body, and your hands, feet, shoulders, and arms turn together with the sabre". The main routines of sabre play include Panlong (coil dragon), Bagua (eight-diagrams), Qinglong (green dragon), Miao Sabre, Nine-Ring sabre, Liuhe (6 combination), Shaolin Twin sabres, Taiji, Yexing (night travel), Meihua (plum blossom), Drunkard sabre and monkey sabre. In addition, the combination of sabre with other weapons forms many more routines. For example, the play with sabre in one hand and staff in another is called "sabre play with staff", a favourite exercise for Kung Fu enthusiasts. Sabre play demonstrates hardness and powerfulness, but not always. In defence and dodging actions, suppleness is needed.

(3) Spear The spear is called the king of all weapons. It is one of the major long-shaft Kung Fu weapons. There are different types of spear, such as carefully designed and delicately made "flowery spear",

thick and bold spear, zigzag spear with a sharp point and blade, double-head spear with blades on both sides. The spear was the major military weapon in ancient times and compact technique was developed. The main characteristics of spear play are flexibility in body movements, lightness and agility in footwork, quickness and steadiness in turns and somersaults. The movements are clear and the tricks are practical. Spear play is likened to the "flying dragon". Spear play is very difficult, but it has a great effect on strengthening the physique.The basic techniques of spear play include pricking, thrusting, circling, blocking, pointing, poking, holding and wringing. When you practise, you are advised to hold the spear firmly and flexibly, advance and retreat freely and smoothly, pricking the opponent quickly and directly, with the force on the point of the spear. This is one of the important basic skills in spear play. When you hold the spear, it must be close to your waist for support so that you can exert your force easily. In all routines of spear play, the point of the spear moves in a circle, which is regarded as the fundamental of all styles of spear play and requires hard practice. The main routines include Bagua (eight-diagram), Luihe (6 combination), Double-head, Yueya (crescent), Meihua (plum blossom), Shewei (snake-tail), Yang family, Siping and Big spear play as well.

(4) Cudgel The cudgel is called the "father of all weapons" meaning all other weapons were developed from it.As the cudgel is easy to make and use, and is practical, it has become a very popular weapon.Cudgel play lays stress on a sweeping action so the saying goes "with a cudgel you sweep all around". Some tricks employed for other weapons (such as spear and sabre) can also be used in cudgel play. there are many methods of playing the cudgel. Among the most commonly used are chopping, swinging, jabbing, hanging, jumping, leaping, smashing, pointing, blocking, sheltering, holding, piercing, floating, carrying, poking and lifting. The different schools of cudgel play have different emphasis. Cudgel is played as quickly as heavy rainfall and cudgel play combines offence with defence, always changing the ways of play. The main routines include Qimei, Shaolin, Panlong (coiled dragon), Jiuzhou (9 continent), Luihe (6 combination), Tianqi, Bhodi-dharma, Monkey and Drunkard. Cudgels are mostly made of wood but some are made of metal. In addition to long cudgels, there are two-section cudgel and three-section cudgel. SHAOLIN STYLE  What's Shaolin style? Shaolin style builds moral character, promotes excellent circulation, strengthens the body, creates the limbs coordination, increases agility of the mind and the body, and trains Wushu skills to such a degree that victories can be gained in all forms of conflicts.

What's the practice? Advance is like lightning. Retreat is like the wind. The head moves like the waves. The feet are as solid as stones. The body flows like a flying dragon. The hands move like shooting stars. All movements spring forth from the human mind and human being nature. Attacks are hard and strong but not excessive, they can bend like the reed in the wind, changing from one type of attack to another. The attacks contain fakes and surprising strikes that combine to react to your enemies defence. In Shaolin style, defence is like a gentle girl, soft but not weak. Attacks are tiger like, violent and appropriate. If one wishes to defeat his enemies in a fighting, he must overcome his weaknesses in practice. Practice leads to skill. Skill leads to perfection, and perfection leads to the supernatural.

If you fight the enemy, the mind is the emperor, the gall bladder is the general, limbs are the soldiers, the eyes and ears are banners. In combat patience leads to victory. Prepare properly in order to observe the enemy closely. Before attacking you must know what you will sacrifice and what you will achieve. In the movements where the conflict pauses, you must decide whether to attack or retreat. Reveal your intentions in order to set a trap for your enemies. You must know your enemies and your own strengths and weaknesses, attack his weak points with your strengths, "always" hit your enemy before he can strike you. If you are stronger than your enemy, crush him with direct and forceful attacks. If you are weaker than your opponent, use gentle defence to drain and redirect his strength against him. The mind and the body must be perfectly coordinated.

What are the movements and positions of Shaolin style? Shaolin style is composed of movements up and down, left and right at angles, as well as advance or retreat, attacks or defences. Upward movements should be like raising a heavy stone. Downward movements should be like breaking a brick. When enemy strikes forcefully, break his attack at an angle. When opponent locks you into a trap, slip from his grasp. Advance and Retreat must be complete science. Strikes must twist as they attack and withdraw. Strikes should snap like a whip.

All elements of the human body and soul are united in Shaolin style. The eyes unify the mind, the mind unifies the spirit, the spirit unifies the breath, the breath unifies the force, the force unifies the hands, the hand unifies the feet, the elbow unifies the knee, the shoulder unifies the hip, the unification of all these parts creates power which will vanquish all enemies.

When facing an enemy, eyes observe all parts of his body. The enemies eyes will telegraph his intention by the direction of his gaze. Before your enemy's hand can connect with you, his shoulder will move first. All kicks will be telegraphed by movements of his hips. Gnashing of teeth means a head attack. Shrinking of the body reveals an elbow enpi. When close up, strike with the knee. If the fist does not quite reach enemy, use the fingers to jab. In close quarters, the shoulders and hips are excellent defences.

Shaolin style is as vast and complex as the universe. This site will barely scratch the surface of its depths. For our readers we can end with a saying from an ancient Shaolin Master: "Study Shaolin style in great depth, then absorb the special qualities of other styles. Set for your high ideals. Study for wisdom and train the body. Never fear evil. Always fight for Justice."   COMBAT SKILL 

What is Shaolin combat-skill? It's basically the strategy that you use to expose your opponent's weakness in order to make the weak win against the strong.

In most combats, the situation is generally that the enemy is strong and you are the weak; the combat can't be finished with one stroke, therefore strategies must be devised for overcoming your opponent. Every one has primitive instincts but cannot always rely on these. The combat-skill is used precisely when there is no alternative but to react.

The movements come from ancient martial experience. The strategy is used according to the different situation from each time or fight. It is what comes from the movements but doesn't adhere to them. And it's the ingenuity which depends on the character and nature of both protagonists. The movements are useful to the amateur enemy but invalid to the skill full opponent. The person who has the necessary skill can see the weakness in dangerous situations and find the opportunity to crush the enemy.

How to find the weakness? The enemy will come forward if he thinks he will win; if not, he will go away. So, set tricks which will bring him forward and that he can not see through.

How to create the opportunity? Cunningly lead the enemy's action astray according to the circumstances and dodge his movements to attack his weak points. Gradually drain his strength and let him become tired. A man, who is tired, will have his defences weakened and down, his mind will be alarmed, his determination will be shaken, and the weakness in his action will be revealed for your tricks to be carried out.

A skill full master knows when, where and how to use the softness, firmness, weakness and power. Fast in order and slowly in flow. The enemy will not be able to determine between what is false and what is true. When the force is extended, it shoots like lightning so quickly that it can never be detected, when withdrawn, it bends like a wind so fast that it can never be caught. Go to the essential point no matter what the strategy is. The twelve words (see new update) below are not always used accordingly to the rules but accordingly to the circumstances. The victory should be won before the fight. Your intention should not be revealed until the enemy is defeated. It is not easy for the one who wants to master the strategy unless he study intensively, practice hard, learn extensively to take in the good, and understand what he has had to such a degree that he can use it well.

The victory is won, not because the opponent is weak, but relies on the strategies you have used. Therefore; with strong moral principles always fight for Justice; doubt the payments and cut the incomes so that saved strength can be accessed to deal with various changes; in your mind you have all kinds of considering well-thought-out plans and in body you can achieve the most consummate of skills; as well as never losing the golden opportunity; all these things are the absolute truth for people to win all combats that are placed before them.   SOME WISE WORDS 

As recorded by the practitioners of the Shaolin Monastery when Master-Monk Kan-Fa discussed with his teacher Master-Monk Hsing-yin over hundreds of years ago.  The Master-Monk Kan-Fa said to the Master-Monk Hsing-yin: "My master's superb arts are incomparable, and I have been most fortunate to meet you in Shaolin. Many are the outstanding martial-art-lovers who achieve nothing simply because of the lack of a whole-hearted teacher". The Master-Monk Hsing-yin replied: "If the person who comes to me is not a righteous one, I will teach him nothing even if he were to give me lots of gold. You can change rock into gold, once you get the true ways of martial arts from Shaolin."  The Master-Monk Kan-fa said again: "There may be heroes in the world, but one seldom meets them. There may be masters in the world, but a great one finds no peers even if he meets them. The true art of martial exercise must be learnt from Shaolin, where great heroes and great masters are found."  Kan-fa, the Master-Monk, gave this advice: "Shaolin's Art of Fighting consists in the manipulation of, not only the limbs and the body, but the eyes and the mind as well."

Master-Monk Hsing-yin elaborated to his disciples: "If you succeed in learning all these 108 movements, you can break through the toughest wall of stone. Manipulate your body to generate the strength required, and make sure you are fearless in order to have the courage. When you turn, be fast and forceful as a gale that can move the starts out of place, and yet you yourself should be in the right position. Stretch your arms as if clouds are enveloping the moon, and stand firmly on your own legs like a mountain. Your waist should solidify your stance with pressure, so that you shall not be overthrown. Practise and practise again and again, never stay idle if you are serious. When you succeed, do not disclose your art to anyone. Never teach any man morally unworthy of the way of martial arts, for such people are the cause of innumerable trouble. You will find it too late to regret if you make a faulty decision. Although short cuts are short, they may be risky to take; to be on the safe side, never loathe to go by the farther way. In these days when people talk better than they behave, when one hardly can tell another's mind from his face, be careful to judge a person not by his words but his deeds. Avoid having anything to do with small-minded people even if you know how to deal with them, for you never can tell what tricks they can be up to. Your master's words are as good as gold, and I wish you take them to heart forever!"