Chapter 2 Chinese martial arts

Chinese martial arts, colloquially referred to as kung fu or gung fu (Chinese: 功夫 ; pinyin:

gōngfu), and wushu (simplified Chinese: 武术 武術
; traditional Chinese: ; pinyin: wǔshù), are
a number of fighting styles that have developed over the centuries in China. These fighting
家
styles are often classified according to common traits, identified as "families" ( , jiā),
派 門
"sects" ( , pài) or "schools" ( , mén) of martial arts. Examples of such traits include
physical exercises involving animal mimicry, or training methods inspired by Chinese
philosophies, religions and legends. Styles that focus on qi manipulation are called internal
内家拳
( , nèijiāquán), while others that concentrate on improving muscle and cardiovascular
外家拳
fitness are called external ( 北
, wàijiāquán). Geographical association, as in northern (
拳 南拳
, běiquán) and southern ( , nánquán), is another popular classification method.

Contents
• 1 Semantic meaning and phonetics
o 1.1 Phonetics
o 1.2 Semantic meaning

1.2.1 The term "kung fu"
• 2 History
o 2.1 Legendary origins
o 2.2 Early history

2.2.1 Philosophical influences
o 2.3 Shaolin and temple-based martial arts
o 2.4 Modern history

2.4.1 Republican period

2.4.2 People's Republic
• 3 Styles
• 4 Training
o 4.1 Basics
o 4.2 Stances
o 4.3 Meditation
o 4.4 Use of qi
o 4.5 Weapons training
o 4.6 Application
o 4.7 Forms

4.7.1 Forms in Traditional Chinese Martial Arts

4.7.2 Controversy
• 5 Wushu
• 6 "Martial Morality"
• 7 Notable practitioners
• 8 Popular culture
• 9 See also
• 10 Notes
• 11 References

1
Semantic meaning and phonetics
Phonetics

In most of the largely spoken Chinese language varieties, the word kung fu ( 功夫
) is
pronounced phonetically as approximately gungfu or gōngfu with a hard "g"—not with a "k".
However, in many other parts of the world, including most of the English-speaking world, the
pronunciation, kungfu, has remained predominant.

Semantic meaning

In terms of semantic meaning, kung fu and wushu are terms that have been borrowed into
English to refer to Chinese martial arts. However, the Chinese terms kung fu and wushu
listen (Mandarin) (help·info); Cantonese: móuh-seuht) have distinct meanings;[1] the Chinese
literal equivalent of "Chinese martial art" would be Zhongguo wushu (Chinese: 中國武術 ;
pinyin: zhōngguó wǔshù).

Wǔshù literally means "martial art". It is formed from the two words 武術 武: (wǔ), meaning
"martial" or "military" and 術(shù), which translates into "discipline", "skill" or "method."

The term wushu has also become the name for the modern sport of wushu, an exhibition and
full-contact sport of bare-handed and weapons forms (Chinese: 套路 , pinyin: tàolù), adapted
and judged to a set of aesthetic criteria for points developed since 1949 in the People's
Republic of China.[2][3]

Quan fa (拳法 ) is another Chinese term for Chinese martial arts. It means "fist principles" or
"the law of the fist" (Quan means "fist" and fa means "law", "way" or "study"). The name of
the Japanese martial art Kenpō is represented by the same characters.

The term "kung fu"

Main article: Kung fu (term)

In Chinese, kung fu (功夫 , gōng meaning "work" or "achievement" and either fū, "man", or fu,
a particle or suffix that can mean "intensity") can also be used in contexts completely
unrelated to martial arts, and refers to any individual accomplishment or skill cultivated
through long effort and hard work.[1] It is only in the late twentieth century, that this term was
used in relation to martial arts by the Chinese community.[4][5] Wushu is a more precise term
for general martial activities.

History
Styles
Main article: Styles of Chinese martial arts
See also: List of Chinese martial arts

2
The Yang style of taijiquan being practiced on the Bund in Shanghai

China has a long history of martial traditions that includes hundreds of different styles. Over
the past two thousand years many distinctive styles have been developed, each with its own
set of techniques and ideas.[35] There are also common themes to the different styles, which
家 派 門
are often classified by "families" ( , jiā), "sects" ( , pai) or "schools" ( , men). There are
styles that mimic movements from animals and others that gather inspiration from various
Chinese philosophies, myths and legends. Some styles put most of their focus into the
harnessing of qi, while others concentrate on competition.

Chinese martial arts can be split into various categories to differentiate them: For example,
external (外家拳 内家拳
) and internal ( ).[36] Chinese martial arts can also be categorized by
location, as in northern (北拳 ) and southern (南拳 ) as well, referring to what part of China
the styles originated from, separated by the Yangtze River (Chang Jiang); Chinese martial
arts may even be classified according to their province or city.[24] The main perceived
difference between northern and southern styles is that the northern styles tend to emphasize
fast and powerful kicks, high jumps and generally fluid and rapid movement, while the
southern styles focus more on strong arm and hand techniques, and stable, immovable stances
and fast footwork. Examples of the northern styles include changquan and xingyiquan.
Examples of the southern styles include Bak Mei, Wuzuquan, Choy Li Fut and Wing Chun.
Chinese martial arts can also be divided according to religion, imitative-styles ( 象形拳 ), and
family styles such as Hung Gar ( 洪家 ). There are distinctive differences in the training
between different groups of the Chinese martial arts regardless of the type of classification.
However, few experienced martial artists make a clear distinction between internal and
external styles, or subscribe to the idea of northern systems being predominantly kick-based
and southern systems relying more heavily on upper-body techniques. Most styles contain
both hard and soft elements, regardless of their internal nomenclature. Analyzing the
difference in accordance with yin and yang principles, philosophers would assert that the
absence of either one would render the practitioner's skills unbalanced or deficient, as yin and
yang alone are each only half of a whole. If such differences did once exist, they have since
been blurred.

Training
Chinese martial arts training consists of the following components: basics, forms,
applications and weapons; different styles place varying emphasis on each component.[37] In

3
addition, philosophy, ethics and even medical practice[38] are highly regarded by most
Chinese martial arts. A complete training system should also provide insight into Chinese
attitudes and culture.[39]

Basics

The Basics ( 基本功 ) are a vital part of any martial training, as a student cannot progress to
the more advanced stages without them; Basics are usually made up of rudimentary
techniques, conditioning exercises, including stances. Basic training may involve simple
movements that are performed repeatedly; other examples of basic training are stretching,
meditation, striking, throwing, or jumping. Without strong and flexible muscles, management
of Qi or breath, and proper body mechanics, it is impossible for a student to progress in the
Chinese martial arts.[40][41] A common saying concerning basic training in Chinese martial
arts is as follows:[42]

内外相合，外重手眼身法步，内修心神意氣力。
, which translates as:

Train both Internal and External.

External training includes the hands, the eyes, the body and stances.

Internal training includes the heart, the spirit, the mind, breathing and strength.

Stances

Stances (steps or 步法 ) are structural postures employed in Chinese martial arts training.[43][44]
They represent the foundation and the form of a fighter's base. Each style has different names
and variations for each stance. Stances may be differentiated by foot position, weight
distribution, body alignment, etc. Stance training can be practiced statically, the goal of
which is to maintain the structure of the stance through a set time period, or dynamically, in
which case a series of movements is performed repeatedly. The Horse stance ( 骑马步 马步 /
qí mǎ bù/mǎ bù) and the bow stance are examples of stances found in many styles of Chinese
martial arts.

Meditation

In many Chinese martial arts, meditation is considered to be an important component of basic

training. Meditation can be used to develop focus, mental clarity and can act as a basis for
qigong training.[45][46]

Use of qi

Main article: Qigong

氣气
The concept of qi or ch'i ( / ) is encountered in a number of Chinese martial arts. Qi is
variously defined as an inner energy or "life force" that is said to animate living beings; as a
term for proper skeletal alignment and efficient use of musculature (sometimes also known as

4
fa jin or jin); or as a shorthand for concepts that the martial arts student might not yet be
ready to understand in full. These meanings are not necessarily mutually exclusive.[note 1] The
existence of qi as a measurable form of energy as discussed in traditional Chinese medicine
has no basis in the scientific understanding of physics, medicine, biology or human
physiology.[47]

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

Weapons training

Further information: Chinese swordsmanship

Most Chinese styles also make use of training in the broad arsenal of Chinese weapons for
conditioning the body as well as coordination and strategy drills.[50] Weapons training (qìxiè
器械 ) are generally carried out after the student is proficient in the basics, forms and
applications training. The basic theory for weapons training is to consider the weapon as an
extension of the body. It has the same requirements for footwork and body coordination as
the basics.[51] The process of weapon training proceeds with forms, forms with partners and
then applications. Most systems have training methods for each of the Eighteen Arms of
Wushu(shíbābānbīngqì 十八般兵器 ) in addition to specialized instruments specific to the
system.

Application

Main article: Lei tai

See also: Sanshou and Shuai jiao

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

When and how applications are taught varies from style to style. Today, many styles begin to
teach new students by focusing on exercises in which each student knows a prescribed range
of combat and technique to drill on. These drills are often semi-compliant, meaning one
student does not offer active resistance to a technique, in order to allow its demonstrative,
clean execution. In more resisting drills, fewer rules apply, and students practice how to react
and respond. 'Sparring' refers to the most important aspect of application training, which
simulates a combat situation while including rules that reduce the chance of serious injury.

Competitive sparring disciplines include Chinese kickboxing Sǎnshǒu( 散手 ) and Chinese

folk wrestling Shuāijiāo(摔跤 ), which were traditionally contested on a raised platform arena
擂台
Lèitái( ).[54] Lèitái represents public challenge matches that first appeared in the Song
Dynasty. The objective for those contests was to knock the opponent from a raised platform
by any means necessary. San Shou represents the modern development of Lei Tai contests,
but with rules in place to reduce the chance of serious injury. Many Chinese martial art

5
schools teach or work within the rule sets of Sanshou, working to incorporate the movements,
characteristics, and theory of their style.[55] Chinese martial artists also compete in non-
Chinese or mixed Combat sport, including boxing, kickboxing and Mixed martial arts.

Forms

Further information: form (martial arts)

Forms or taolu (Chinese: 套路 ; pinyin: tào lù) in Chinese are series of predetermined
movements combined so they can be practiced as one linear set of movements. Forms were
originally intended to preserve the lineage of a particular style branch, and were often taught
to advanced students selected for that purpose. Forms contained both literal, representative
and exercise-oriented forms of applicable techniques that students could extract, test, and
train on through sparring sessions.[56]

Today, many consider forms to be one of the most important practices in Chinese martial arts.
Traditionally, they played a smaller role in training combat application, and were eclipsed by
sparring, drilling and conditioning. Forms gradually build up a practitioner's flexibility,
internal and external strength, speed and stamina, and teach balance and coordination. Many
styles contain forms that use weapons of various lengths and types, using one or two hands.
Some styles focus on a certain type of weapon. Forms are meant to be both practical, usable,
and applicable as well as promoting flow, meditation, flexibility, balance, and coordination.
Teachers are often heard to say "train your form as if you were sparring and spar as if it were
a form."

There are two general types of forms in Chinese martial arts. Most common are solo forms
performed by a single student. There are also sparring forms—choreographed fighting sets
performed by two or more people. Sparring forms were designed both to acquaint beginning
fighters with basic measures and concepts of combat, and to serve as performance pieces for
the school. Weapons-based sparring forms are especially useful for teaching students the
extension, range, and technique required to manage a weapon.

Forms in Traditional Chinese Martial Arts

The term taolu (套路 ) is a shorten version of Tao Lu Yun Dong ( 套路运动 ), an expression
introduced only recently with the popularity modern wushu. This expression refers to
“exercise sets” and is used in the context of athletics or sport.

練
In contrast, in traditional Chinese martial arts alternative terminologies for the training ( ) of
'sets or forms are:

lian quan tao (練拳套 ) – practicing sequence of fist;

練拳腳
•
lian quan jiao ( ) – practicing fists and feet;
練兵器
•
lian bing qi ( ) – practicing weapons;
對打 對練
•
• dui da ( ) and dui lian ( ) – fighting sets.

Traditional "sparring" sets, called dui da,對打 or, dui lian, 對練 , were an important part of
對練
Chinese martial arts for centuries. Dui lian ( ), literally means, to train by a pair of
練
combatants opposing each other (the character l , means to practice; to train; to perfect

6
one's skill; to drill). As well, often one of these terms are also included in the name of
fighting sets:雙演 掙勝
, shuang yan, 'paired practice'; , zheng sheng, 'to struggle with
敵 破
strength for victory'; , di, ' match – the character suggests to strike an enemy; and , po,
'to break'.

Generally there are 21, 18, 12, 9 or 5 drills or 'exchanges/groupings' of attacks and
counterattacks, in each dui lian,對練 set. These drills were considered only generic patterns
and never meant to be considered inflexible 'tricks'. Students practiced smaller
parts/exchanges, individually with opponents switching sides in a continuous flow. Basically,
dui lian were not only a sophisticated and effective methods of passing on the fighting
knowledge of the older generation, they were important and effective training methods. The
relationship between single sets and contact sets is complicated, in that some skills cannot be
developed with single sets, and, conversely, with dui lian. Unfortunately, it appears that most
traditional combat oriented dui lian and their training methodology have disappeared,
especially those concerning weapons. There are a number of reasons for this. In modern
Chinese martial arts most of the dui lian are recent inventions designed for light props
resembling weapons, with safety and drama in mind. The role of this kind of training has
degenerated to the point of being useless in a practical sense, and, at best, is just performance.

By the early Song period, sets were not so much "individual isolated technique strung
together" but rather were composed of techniques and counter technique groupings. It is quite
clear that "sets" and "fighting (2 person) sets" have been instrumental in TCM for many
hundreds of years —even before the Song Dynasty. There are images of two person weapon
training in Chinese stone painting going back at least to the Eastern Han Dynasty.

According to what has been passed on by the older generations, the approximate ratio of
contact sets to single sets was approximately 1:3. In other words, about 30% of the sets
practiced at Shaolin were contact sets, dui lian, 對練 , and two person drill training. This is,
in part, evidenced by the Qing Dynasty mural at Shaolin.

Ancient literature from the Tang and Northern Song Dynasties suggests that some sets,
including those that required two or more participants, became very elaborate and mainly
concerned with aesthetics. During this time, some martial arts systems devolved to the point
that they became popular forms of martial art storytelling entertainment shows. This created
an entire new category of martial arts known as Hua Fa Wuyi, 花法武藝 , or "fancy patterns
for developing military skill". During the Northern Song period it was noted by historians
that this phenomenon had a negative influence on training in the military.

For most of its history, Shaolin martial arts was largely weapon-focused: staves were used to
defend the monastery, not bare hands. Even the more recent military exploits of Shaolin
during the Ming and Qing Dynasties involved weapons. According to some traditions, monks
first studied basics for one year and were then taught staff fighting so that they could protect
the monastery. Although wrestling has been as sport in China for centuries, weapons have
been the most important part of Chinese wushu since ancient times. If one wants to talk about
recent or 'modern' developments in Chinese martial arts (including Shaolin for that matter), it
is the over-emphasis on bare hand fighting. During the Northern Song Dynasty (976- 997
A.D) when platform fighting known as Da Laitai (Title Fights Challenge on Platform) first
appeared, these fights were with only swords and staves. Although later, when bare hand
fights appeared as well, it was the weapons events that became the most famous. These open-

7
ring competitions had regulations and were organized by government organizations; some
were also organized by the public. The government competitions resulted in appointments to
military posts for winners and were held in the capital as well as in the prefectures.

Controversy

Even though forms in Chinese martial arts are intended to depict realistic martial techniques,
the movements are not always identical to how techniques would be applied in combat. Many
forms have been elaborated upon, on the one hand to provide better combat preparedness, and
on the other hand to look more aesthetically pleasing. One manifestation of this tendency
toward elaboration beyond combat application is the use of lower stances and higher,
stretching kicks. These two maneuvers are unrealistic in combat and are used in forms for
exercise purposes.[57] Many modern schools have replaced practical defense or offense
movements with acrobatic feats that are more spectacular to watch, thereby gaining favor
during exhibitions and competitions.[note 2] This has led to criticisms by traditionalists of the
endorsement of the more acrobatic, show-oriented Wushu competition.[58] Even though
appearance has always been important in many traditional forms as well, all patterns exist for
their combat functionality. Historically forms were often performed for entertainment
purposes long before the advent of modern Wushu as practitioners have looked for
supplementary income by performing on the streets or in theaters. As documented in ancient
literature during the Tang Dynasty (618–907) and the Northern Song Dynasty (960–1279)
suggest some sets, (including two + person sets: dui da, 對打 對練
also called dui lian, )
became very elaborate and 'flowery', many mainly concerned with aesthetics. During this
time, some martial arts systems devolved to the point that they became popular forms of
martial art storytelling entertainment shows. This created an entire category of martial arts
known as Hua Fa Wuyi, 花法武藝 – fancy patterns for developing military skill. During the
Northern Song period, it was noted by historians this type of training had a negative influence
on training in the military.

Many traditional Chinese martial artists, as well as practitioners of modern sport combat,
have become critical of the perception that forms work is more relevant to the art than
sparring and drill application, while most continue to see traditional forms practice within the
traditional context—as vital to both proper combat execution, the Shaolin aesthetic as art
form, as well as upholding the meditative function of the physical art form.[59]

Another reason why techniques often appear different in forms when contrasted with sparring
application is thought by some to come from the concealment of the actual functions of the
techniques from outsiders.[60]

8
Wushu

Modern forms are used in the sport of wushu, as seen in this staff routine
See also: Wushu (sport)

武
“‘Wu’ ” is translated as ‘martial’ in English, however in terms of etymology, this word has
武
a slightly different meaning. In Chinese, “wu ” is made up of two parts, the first meaning
止 戈
“stop”(zhi ) and the second meaning “invaders lance” (je ). This implies that “wu’ ,” 武
is a defensive use of combat. The term “wushu 武術 ” meaning 'martial arts' goes back as far
as the梁朝 Liang Dynasty (502-557) in an anthology compiled by Xiao Tong 蕭通 , (Prince
Zhaoming昭明太子 梁朝
d. 531), written during the Liang Dynasty (502-557) called
Wenxuan 文選 "Selected Literature". The term is found in the second verse of a poem by
皇太子釋奠會作詩
Yan Yanzhi titled: "Huang Taizi Shidian Hui Zuoshi". "The great man
grows the many myriad things . . . Breaking away from the military arts, He promotes fully
the cultural mandates." (Translation from: Echoes of the Past: Yan Yanzhi's (384–456) Lyric
Shi By Tina Marie Harding) The term “wushu 武術 ” is also found in a poem by Cheng Shao
(1626-1644) from the Ming Dynasty.

The earliest term for 'martial arts' can be found in the Han History (206BC-23AD) was "bing
jiqiao"兵技巧， military fighting techniques. During the Song period (c960) the name
changed to "wuyi" 武艺， literally "martial arts". In 1928 the name was changed to "guoshu"
国术 or "national arts" when the National Martial Arts Academy was established in Nanjing.
The term reverted to "wushu" 武術 under the People's Republic of China during the early
1950s.

As forms have grown in complexity and quantity over the years, and many forms alone could
be practiced for a lifetime, modern styles of Chinese martial arts have developed that
concentrate solely on forms, and do not practice application at all. These styles are primarily
aimed at exhibition and competition, and often include more acrobatic jumps and movements
added for enhanced visual effect[61] compared to the traditional styles. Those who generally
prefer to practice traditional styles, focused less on exhibition, are often referred to as
traditionalists. Some traditionalists consider the competition forms of today's Chinese martial
arts as too commercialized and losing much of its original values.[62][63]

9
"Martial Morality"
Traditional Chinese schools of martial arts, such as the famed Shaolin monks, often dealt
with the study of martial arts not just as a means of self-defense or mental training, but as a
武德
system of ethics.[39][64] Wude ( ) can be translated as "martial morality" and is
武 德
constructed from the words "wu" ( ), which means martial, and "de" ( ), which means
morality. Wude ( 武德 ) deals with two aspects; "morality of deed" and "morality of mind".
Morality of deed concerns social relations; morality of mind is meant to cultivate the inner
心 慧
harmony between the emotional mind (Xin, ) and the wisdom mind (Hui, ). The ultimate
goal is reaching "no extremity" (Wuji, 無極 ) (closely related to the Taoist concept of wu
wei), where both wisdom and emotions are in harmony with each other.

Virtues:

Deed
Pinyin Traditional Simplified
Concept Putonghua Cantonese
romanization Hanzi Hanzi
Humility Qian 謙 谦 qiān him1
Sincerity Cheng 誠 诚 chéng sing4
Courtesy Li 禮 礼 lǐ lai5
Morality Yi 義 义 yì yi6
Trust Xin 信 xìn seun3
Mind
Concept Pinyin romanization Hanzi Putonghua Cantonese
Courage Yong 勇 yǒng yung5
Patience Ren 忍 rěn yan2
Endurance Heng 恒 héng hang4
Perseverance Yi 毅 yì ngai6
Will Zhi 志 zhì ji3

10
Chapter 3 A Summary of Tao4 Lu4
3.1 Chang Quan 长拳
Chángquán (simplified Chinese: 长拳 ; traditional Chinese: 長拳 ; pinyin: Chángquán;
literally "Long Fist") refers to a family of external (as opposed to internal) martial arts (kung
fu) styles from northern China.

The forms of the Long Fist style emphasize fully extended kicks and striking techniques, and
by appearance would be considered a long-range fighting system. In some Long Fist styles
the motto is that "the best defense is a strong offense," in which case the practitioner launches
a preemptive attack so aggressive that the opponent doesn't have the opportunity to attack.
Others emphasize defense over offense, noting that nearly all techniques in Long Fist forms
are counters to attacks. Long Fist uses large, extended, circular movements to improve
overall body mobility in the muscles, tendons, and joints. Advanced Long Fist techniques
include qin na joint-locking techniques and shuai jiao throws and takedowns.[citation needed]

The Long Fist style is considered to contain a good balance of hand and foot techniques, but
in particular it is renowned for its impressive acrobatic kicks.[citation needed] In demonstration
events, Long Fist techniques are most popular and memorable for their whirling, running,
leaping, and acrobatics. Contemporary changquan moves are difficult to perform, requiring
great flexibility and athleticism comparable to that of gymnastics.

Long Fist's arsenal of kicks covers everything from a basic front toe-kick to a jumping back-
kick, from a low sweep to a tornado-kick. Specifically, typical moves in modern Changquan
include: xuanfengjiao ( 旋风脚 ; "whirlwind kick"), xuanzi ( 旋子; "butterfly jump"),
cekongfan ( 侧空翻 ; "side somersault"), and tengkongfeijiao ( 腾空飞脚 ; "flying jump kick").

Traditional Long Fist

The traditional Long Fist had a very small amount of techniques that were learned quickly
once one had mastered the three common Long Fist stances of Horse, Dragon and Snake.
With the Winding Roundhouse Punch, Meteor Fist Punch, Long Uppercutting Punch,
Reverse Fist Punch and the Twin Gorilla Punch all the hand techniques were covered.
Adding the Winding or Whirling Roundhouse Kick the original style was complete. The only
variation on this allowed Long Fist practitioners to also strike with their fore-arm and shins,
not just feet and fists, though still using the same techniques and movements. There are no
blocks in Long Fist, although the execution of Long Fist techniques allowed the 'brushing'
aside of attacks whilst delivery the powerful techniques.[citation needed]

Practitioners of the Long Fist trained their style on live trees, hardening their limbs,
improving their foundation and stances; and practicing to break bones.

Subtypes of Long Fist

• Pào Chuí (Chinese: 炮捶; literally "cannon punch") pre-Tang Dynasty;
11
 Chāquán (Chinese: 查拳 ; Cha Yuanyi style) Tang Dynasty (618–907);
太祖長拳
•
• Tàizǔ Chángquán (Chinese: ; "Emperor Taizu (Great Ancestor) long fist")
Song Dynasty (960–1279);
Fānziquán (Chinese: 翻子拳 ; "tumbling fist") Song Dynasty (960–1279);
紅拳
•
Hóngquán (Chinese: ; "flooding fist") Song Dynasty (960–1279); and
華拳
•
• Huáquán (Chinese: ; "China fist") Tang Dynasty (618–907).

A sample Long Fist curriculum

Northern Shaolin Long Fist Kung Fu Includes:

1. Barehand Forms
2. Weapons
3. Qin Na Dui Da (Joint Locking skills & sets)
4. Two Man Fighting Routines
5. Self Defense Applications
6. Iron Palm Training (Internal)

Hand forms

1. Lian Bu Quan (連步拳 ) - Consecutive Linking Step Fist

2. Gong Li Quan (功力拳 ) or Power Fist Form
3. Tan Tui ( 潭腿 ) or Springing Legs
4. Yi Lu Mai Fu (一路埋伏） or First Road of Ambush
5. Er Lu Mai Fu （二路埋伏） or Second Road of Ambush
6. 20 Methods Fighting Form or Er Shi Fa Quan （二十法拳）
7. Duan Da Quan - Fighting In Close Quarters Boxing/Short Hit Boxing
8. Hua Quan - First Set Of China Fist Yi Lu Xi Yue
9. Hua Quan 2 - Second Set Of China Fist Er Lu Xi Yue
10. Hua Quan 3 - Third Set Of China Fist San Lu Xi Yue
11. Hua Quan 4 - Fourth Set Of China Fist Si Lu Xi Yue
12. Hua Quan 2 2 Man - Second Set Of China Fist Two Man Fighting Set Er Lu Xi Yue
13. Hua Quan 4 2 Man - Fourth Set Of China Fist Two Man Fighting Set Si Lu Xi Yue

Hand forms explained

• Lian Bu Quan （連步拳） - Consecutive Linking Step Fist: the most basic Shaolin
Long Fist form containing over 70 applications.
• Gong Li Quan （功力拳） or Power Fist Form: the second basic form using dynamic
tension at the end of each technique which develops muscles and tendons. Contains
over 70 applications.
Tan Tui （潭腿） or Springing Legs: contains spring-like kicks.
（一路埋伏）
•
• Yi Lu Mai Fu or First Road of Ambush: an intermediate form that is
considered the "foundation" of Long Fist. Contains subtle techniques designed to trick
opponents.

Stances used in the Long Fist system

12
 1. Ma Bu （馬步） (Horse Stance)
2. Deng Shan Bu（登山步） /Gong Jian Bu (Mountain Climbing Stance/Bow and
Arrow Stance)
（金雞獨立）
3. Jin Ji Du Li (Golden Rooster Standing on One Leg Stance)
4. Xuan Ji Bu（玄機步） (False/Cat Stance)
5. Zuo Pan Bu（坐盤步） (Crossed-Leg Stance)
6. Fu Hu Bu (扶虎步） (Flat Stance)
7. Si-Liu Bu（四六步） (Four-Six Stance)
8. Tun Bu （吞步） - similar to False Stance, but with toes up and heel on the ground
9. Half Horse Stance (Lead foot turned forward)

Weapons training

1. Long Staff (Gun)

2. Broadsword (Dao)
3. Double Edge Sword
4. Spear (Qiang)
5. Chain/Nine Section Whip (Bian)
6. Dragon Phoenix Sword
7. Umbrella
8. Straight Sword (Jian)
9. Double Sword (Shuang Jian)
10. Double Broadsword (Shuang Dao)
11. Pudao
12. Meteor Hammer
13. Hook Sword

3.2 Nan Quan 南拳

Nanquan (Chinese: 南拳 南派
; pinyin: Nán quán; literally "southern fist", or Chinese: ;
pinyin: Nán pài; literally "southern school") refers to those Chinese martial arts that
originated south of the Yangtze River of China, including Hung Kuen, Choi Lei Fut, Hak Fu
Mun, Wuzuquan, Wing Chun, etc.

Contemporary Wushu Nanquan

The contemporary Wushu event Nanquan is a modern style created in 1960 derived from
martial arts derived in the Chinese provinces south of the Yangtze River and predominantly
those styles popular in Guangdong, Guangxi, Fujian and Zhejiang. The basis of contemporary
Nánquán hail primarily from traditional Cantonese family styles of Hong (Hung), Li (Lei),
Liu (Lau), Mo (Mok) and Cai (Choi) along with their more contemporary Kung Fu variants
of Choi Lei Fut, Hung Ga and Wing Chun.

Contemporary Nanquan features vigorous, athletic movements with very stable, low stances,
extensive hand techniques and a vocal articulation called fasheng ("release shout") which is

13
the predecessor of the Japanese and Korean martial arts kiai. Power is driven from sharp
waist movement with special emphasis on fast stance transition to generate power and speed
in the arms. Signature hand techniques of Nanquan are the consecutive downward strikes of
挂盖拳
the left and right fist called Gua Gai Quan (Gwa Kup Kuen; ), and consecutive upper
cut while driving forward called Paoquan (Pow Kuen;抛拳 ). There are relatively few kicks
in Nanquan although the Tengkong Pantui Cepu ( 腾空盘腿度侧扑 ; "flying cross legs kick
and land on the side") and Li Yu Da Ting ( 鲤鱼打挺直立 ; carp skip-up) are very common in
advanced Nanquan routines. Nanquan also has its own contemporary weapons - the Southern
Broadsword (Nandao; 南刀 南棍
) and Southern Staff (Nangun; ), which were included in the
International Wushu competition in 1999.

In 2003, the International Wushu Federation (IWUF) changed the rules of contemporary
Nanquan to make jumping techniques ( 难度
) mandatory in Nanquan routines. Jump kicks
spinning in mid-air between 360 and 720 degrees before touching the ground are now used in
all Nanquan forms along with Stationary Back Flip ( 原地后空翻 ) and Single Step Back Tuck
单跳后空翻
( ) for advanced competitors.

3.3 Dao (sword) 刀

Dao (sword)

Chinese Dao sword,

wushu-acrobatics variety not used for combat

Traditional Chinese 刀

14
 Literal meaning knife

[show]Transcriptions

Dao is a category of single-edge Chinese sword primarily used for slashing and chopping
(sabers), often called a broadsword in English translation because some varieties have wide
blades. In China, the dao is known as one of the four major weapons, along with the gun
(stick or staff), qiang (spear), and the jian (sword), and referred to as "The General of All
Weapons". Dao is actually a generic word used to denote any member of a family of single-
edged, broad-bladed cutting or slicing tools, but in common, everyday usage means knife.
The weapon, also known as dan dao ( 單刀 , "single knife") when just one is used, is thereby
thought to be an adaptation of the kitchen knives common to Chinese cuisine. Dao also
appears in the names of such polearms as the pudao and guan dao, due to the knife-like shape
of their blades.

General characteristics
While dao have varied greatly over the centuries, most single-handed dao of the Ming period
and later, and the modern swords that are based (sometimes loosely) on them share a number
of characteristics. Dao blades are moderately curved and single-edged, though often with few
inches of the back edge sharpened as well; the moderate curve allows them to be reasonably
effective in the thrust. Hilts are sometimes canted, curving in the opposite direction as the
blade which improves handling in some forms of cuts and thrusts. Cord is usually wrapped
over the wood of the handle. Hilts may also be pierced like those of jian (straight-bladed
Chinese sword) for the addition of lanyards, though modern swords for performances will
often have tassels or scarves instead. Guards are typically disc-shaped often with a cupped
shape to prevent rainwater from getting into the sheath, and to prevent blood from dripping
down to the handle, making it more difficult to grip. Sometimes guards are thinner pieces of
metal with an s-curve, the lower limb of the curve protecting the user's knuckles; very rarely
they may have guards like those of the jian.

Other variations to the basic pattern include the large bagua dao and the long handled pudao.

15
3.4 Jian 剑

Jian

Chinese name

Traditional Chinese 劍

Simplified Chinese 剑

The jian is a double-edged straight sword used during the last 2,500 years in China. The first
Chinese sources that mention the jian date to the 7th century BCE during the Spring and
Autumn Period;[1] one of the earliest specimens being the Sword of Goujian. Historical one-
handed versions have blades varying from 45 to 80 centimeters (17.7 to 31.5 inches) in length.
The weight of an average sword of 70-centimeter (28-inch) blade-length would be in a range
of approximately 700 to 900 grams (1.5 to 2 pounds).[2] There are also larger two-handed
versions used for training by many styles of Chinese martial arts.

In Chinese folklore, it is known as "The Gentleman of Weapons" and is considered one of

the four major weapons, along with the Gun (staff), Qiang (spear), and the Dao (sabre).
These swords are also sometimes referred to as taijijian or "t'ai chi swords", though there
were no historical jian types created specifically for taijiquan.[3]

Parts of the jian

A guard or hilt protects the hand from an opposing blade. The shape of the guard can be
described as short wings pointing either forward or backward. A minority of jian featured the
disc-shaped guards associated with dao. A handle behind the guard can accommodate the
grip of both hands or one hand plus two or three fingers of the other hand. Two-handed jiàn
of up to 1.6 meters (65") in length, known as shuangshou jian, existed but were not as
common as the one-handed version. The longer two-handed handle could be used as a lever
to lock the opponent's arm if necessary. Grips are usually of fluted wood or covered in
rayskin, with a minority being wrapped with cord.

The end of the handle was finished with a pommel for balance, to prevent the handle from
sliding through the hand if the hand's grip should be loosened, and for striking or trapping the

16
opponent as opportunity required — such as in "withdrawing" techniques. The pommel was
historically peened onto the tang of the blade; thereby holding together as one solid unit the
blade, guard, handle, and pommel. Most jian of the last century or so are assembled with a
threaded tang onto which the pommel or pommel-nut is screwed.

A pair of Jian with their scabbards.

Sometimes a tassel is attached to the hilt. During the Ming Dynasty these were usually passed
through an openwork pommel, and in the Qing through a hole in the grip itself; modern
swords usually attach the tassel to the end of the pommel. Historically these were likely used
as lanyards, allowing the wielder to retain the sword in combat. There are some sword forms
which utilize the tassel as an integral part of their swordsmanship style (sometimes
offensively), while other schools dispense with sword tassels entirely. The movement of the
tassel may have served to distract opponents, and some schools further claim that metal wires
or thin silk cords were once worked into the tassels for impairing vision and causing bleeding
when swept across the face. The tassel's use now is primarily decorative.[4][5]

The blade itself is customarily divided into three sections for leverage in different offensive
and defensive techniques. The tip of the blade is the jiànfeng, meant for stabbing, slashing,
and quick percussive cuts. The jiànfeng typically curves smoothly to a point, though in the
Ming period sharply angled points were common. Some antiques have rounded points,
though these are likely the result of wear. The middle section is the zhongren or middle edge,
and is used for a variety of offensive and defensive actions: cleaving cuts, draw cuts, and
deflections. The section of blade closest to the guard is called the jiàngen or root, and is
mainly used for defensive actions; on some late period jian, the base of the blade was made
into an unsharpened ricasso. These sections are not necessarily of the same length, with the
jiànfeng being only three or four inches long.[6][7]

Jian blades generally feature subtle profile taper (decreasing width), but often have
considerable distal taper (decreasing thickness), with blade thickness near the tip being only
half the thickness of the root's base. Jiàn may also feature differential sharpening, where the
blade is made progressively sharper towards the tip, usually corresponding to the three
sections of the blade. The cross-section of the blade is typically that of a flattened diamond
with a visible central ridge, though some are lenticular (eye-shaped) instead; ancient bronze
jian sometimes have a hexagonal cross-section.

17
Materials

An iron sword and two bronze swords from the Chinese Warring States period

Jian were originally made from bronze, then steel as metal technology advanced. There are
some, perhaps ceremonial, jian which are carved from a single solid piece of jade.

Traditional jian blades are usually of sanmei (three plate) construction, which involved
sandwiching a core of hard steel between two plates of softer steel. The central plate
protrudes slightly from its surrounding pieces, allowing for a sharp edge, while the softer
spine protects the brittle core. Some blades had wumei or five plate construction, with two
more soft plates being used at the central ridge.[8] Bronze jian were often made in a somewhat
similar manner: in this case an alloy with a high copper content would be used to make a
resilient core and spine, while the edge would be made from a high tin-content alloy for
sharpness and welded on to the rest of the blade.

The sword smiths of China are often credited with the forging technologies that traveled to
Korea and Japan to allow sword smiths there to create such weapons as the katana. These
technologies include folding, inserted alloys, and differential hardening of the edge.[9][10]
While the Japanese would be more influenced by the Chinese dāo (single-edged swords of
various forms), the early Japanese swords known as ken are often based on jian. The Korean
version of the jian is known as the geom or gum, and these swords often preserve features
found in Ming-era jian, such as openwork pommels and sharply angled tips.

In martial art schools wooden swords are used for training, so most martial arts students' first
experience with a jian in modern times is with one of those weapons. In some religious Taoist
sects, those wooden practice swords have come to have an esoteric ritual purpose, claimed by
some to metaphorically represent the discipline of an accomplished student.

Contemporary jian versions are often forged (shaped with heat and hammer) and assembled
by mostly traditional methods for training of practitioners of Chinese martial arts around the
world. These jian vary greatly in quality and historical accuracy.

Contemporary jian are also sometimes forgeries (artificially aged and misrepresented as
original antiques), for sale to tourists and collectors who cannot distinguish them from true
antiques.

18
Historical use
Originally similar to bronze double-edged daggers in varying lengths, jian reached modern
lengths by roughly 500 BCE. Though there is significant variation in length, balance, and
weight of the jian from different periods, within any given period the general purpose of the
jian is to be a multipurpose cut and thrust weapon capable of stabbing, as well as making both
precise cuts and slashes, as opposed to specializing in one form of use. Although the many
forms and schools of swordsmanship with the jian vary as well, the general purpose and use
is still not lost.

Wushu jian pair event at the 10th All China games

Historical jian wielders would engage in test cutting called shizhan, practicing their skills on
targets known as caoren, or "grass men". Such targets were made from bamboo, rice straw,
or saplings. This practice was similar to the Japanese art of tameshigiri, but was never
formalized to the extent that the latter art was.[11]

Today many Chinese martial arts such as taijiquan and their martial artists still train
extensively with jian and expertise in its techniques is said by many of them to be the highest
physical expression of their kung fu. Famous jian forms include Sancai Jian ( 三才劍 ) and
Kunwu Jian ( 崑吾劍 ). Most jian today are flexible tai-chi or wushu jian used mainly for
ceremonial or performance purposes and not for actual combat. These swords have extremely
thin blades or a high degree of flexibility compared to historical battlefield quality jian,
properties intended to add auditory and visual appeal to a wushu performance. These same
properties render them unsuitable for historically accurate combat.

19
3.5 Qiang (spear)枪
枪

Qiang (spear)

Chinese name

Traditional Chinese 槍

Simplified Chinese 枪

枪 槍
Qiang (simplified Chinese: ; traditional Chinese: ; pinyin: qīang) is the Chinese term for
spear. Due to its relative ease of manufacture, the spear in many variations was ubiquitous on
the pre-modern Chinese battlefield. It is known as one of the four major weapons, along with
the Gun (staff), Dao (sabre), and the Jian (sword), called in this group "The King of
Weapons".

Common features of the Chinese spear are the leaf shaped blade and red horse-hair tassel
lashed just below. The tassel serves a tactical purpose, and is not simply for decoration.

20
Qiang event at the 10th All China Games

When the spear is moving quickly, the addition of the tassel aids in blurring the vision of the
opponent so that it is more difficult for them to grab the shaft of spear behind the head or tip.
The tassel also served another purpose, to stop the flow of blood from the blade getting to the
wooden shaft (the blood would make it slippery, or sticky when dried). The length varied
from around 7 feet (2 m) long, commonly used by infantry, increasing up to the length of 13
feet (4 m) favoured by cavalry (longer varieties would've been lances used by heavy lancer
cavalry). Spears used in war are typically made of hard wood.

Martial arts (wushu) spears are typically made of wax wood, a strong but flexible wood. It
bends to absorb impact preventing breakage. The bending motion combined with the horse
hair tassel makes the spear tip very hard to follow. Below the leaf shaped blade in the tubular
section that attaches the head of the spear to the wax wood staff there is a hole drilled, when
the spear is spun at speed it generates a whistle, this whistle would serve to distract an
opponent. Inside the tubular section a ball bearing moves around freely giving a rattle, this
also helped to stop blood from congealing inside the tubular section and help to force blood
out of the whistle hole keeping it clear.

Many Chinese martial arts feature spear training in their curriculum. The conditioning
provided by spear technique is seen as invaluable and in many styles it is the first weapons
training introduced to students. Moreover, some schools of empty handed fighting in China
credit spear technique as their foundation, notably Xingyiquan and Bajiquan.

3.6 Gun (staff) 棍

Gun event at the 10th All China Games

棍
The Chinese word gun (Chinese: ; pinyin: gùn, literally, "rod", "stick") refers to a long
Chinese staff weapon used in Chinese martial arts. It is known as one of the four major
weapons, along with the qiang (spear), dao (sabre), and the jian (sword), called in this group
"The Grandfather of all Weapons".

21
Variants and styles

Schematic representation of the three main chinese martial arts staffs

The gun is fashioned with one thick end as the base and a thinner end near the tip, and is cut
to be about the same height as the user. Besides the standard gun, there are also flail-like two
section and three section varieties of the staff. Numerous Chinese martial arts teach the staff
as part of their curriculum, including:

Staff of five tigers and goat herds (Chinese: 五虎群羊棍 ; pinyin: wǔ hǔ qún yáng gùn)
白栏杆 白欄杆
•
• Bailangan, Northern staff(simplified Chinese: ; traditional Chinese: ;
pinyin: bái lángān)
Nangun, Southern staff (Chinese: 南棍 ; pinyin: nángùn)
太极棍 太極棍
•
Taiji staff (simplified Chinese: ; traditional Chinese: ; pinyin: tàijí gùn
太极十三秆 太極十三杆
•
• Taiji thirteen staff (simplified Chinese: ; traditional Chinese: ;
pinyin: tàijí shísān gǎn)
• Bagua seven star rod (Chinese: 八卦七星竿 ; pinyin: bāguà qīxīng gān)

Bailangan and nangun are frequently found in modern exercise and competitions.

Modern staffs are often made from wax wood or rattan, both of which are strong woods, but
flexible and light. Some versions may also feature be made from metal or rubber parts.

22