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Post by Eric Ling on Oct 2, 2004 1:55:39 GMT -5
Hi Russ,
Sorry, been a bit busy lately – business picking up. Negotiating a couple of sizeable contracts at the moment.
I hope you see this before your trip.
Looked at the Gokenki’s kata again and these are my feelings, again highlighting that I am not a karate-ka but a Kung Fu player:-
• Opening salute – looks “Ming” to me. Palm covering fist extended to the center. This wrapped fist version is used by many different Fukien kung fu.
• The 2 fingers upper gate strike – look very “dragon” to me. The Chinese version is “Double Dragons fighting for the pearl”.
• There is a very interesting technique after the jump kick. The elbow to the smash down and lifting kick done in one timing. This is Lohan’s Kung Fu “General Mounting the Horse”.
• The elbow is something we do in Fuzhou Crane to break an incoming middle gate attack to be followed immediately with a downward backfist smash to opponent’s face and up lift kick to his groin.
• The demonstrator turns and goes into what is probably the most popular White Crane’s posture: - Single Leg Flying Crane. This posture can be found in numerous Fukien and Cantonese styles Kung Fu. Hung Gar Fu Hoc has the exact same technique and it is called Single Leg Flying Crane. I do this in both MingHe and ChongHe and it is known as “Crane standing by the brook”. The difference is that in kung fu, the lifted leg extends into a kick.
• The double punches – middle gate. Normally associated with Lohan.
• The kneeling or “riding dragon’ stance with the yang palm – another dragon style technique.
• The mawashi-uke into double palms – very Fukien White Crane.
• The 3 spear hands yang-ying-yang done very quickly – yes this is White Crane type hand techniques. In fact, if you look at Pan Nam Wing Chun’s Pil Jee, you’ll see these techniques repeated many times.
• Another interesting technique – the middle gate double arm finger jab or what we call the “crab pincers”. In the 2nd Tai Chor San Chiem or Earth Battle form, this is the primary technique. I’ve seen this same technique done in Tiger kung fu but more with half-formed fist or what is commonly known as “leopard paw” in Shaolin 5 animals form.
• There is a double palm upper block/attack that comes close to my fire hands except that we do them with the whipping out power. Against any upper gate attack, you just whip 2 palms right into the attacker’s face – blocking and counterattacking in one go.
• The pull-down and upper cut – look at Lohan. This is another oft repeated technique in Lohan Kung Fu. Wing Chun does it in the opening sequence of their Mok Yan Chung.
As a crane player, I really got to say that there are only a couple of techniques that strikes a chord.
My biggest issue is still the “linear” delivery – something that is at odd with most Chinese cranes which are really more circular in many ways.
And have you got the poem of this kata ? I am okay even if it is in Japanese.
Thank you very much and have a good trip.
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Post by Eric Ling on Oct 2, 2004 9:26:59 GMT -5
Hi Russ,
Okay reviewed the Nipapo Soken version. Still must say a very weak performance.
We say “hard but not rigid, soft but not weak”. The person doing it comes across as “weak”.
After watching it several times, I begin to see the “Nipapo” in the form. Almost no jin expression anywhere in the form and unless you tell me this is a purely internal form – I think it is a poor copy of the original “Neik Paik Po”.
The small wrist chin-na with a step back into a cross-stance is done very half-heartedly. In Neik Saik Paik, this technique is a high point of the form.
The “wrist hand” forward thrust, done 3 times in your form, is supposed to be an action/reaction technique in the original form. That is why in the original NSP, it is done in a much exaggerated manner – slapping the chest and bouncing off.
The idea is to deflect just enough and using the contact with your opponent’s hand to generate the reaction to attack him. My Sifu likes to say “bounce off your opponent’s bridge”.
This makes the technique very fast and difficult to read even for the Ting (listening) jin folks.
The “Single leg flying crane” needs a stronger lift of the knee.
In the Fuzhou crane’s version, the poem of this technique talks about “Using the knee to clear the path, so the leg can reach the target”.
I hope this is not supposed to be the highly sought after “Hakutsuru” kata.
If it is – it’s a big downer as far as I am concerned.
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Bubishi
Oct 2, 2004 21:17:36 GMT -5
Post by Eric Ling on Oct 2, 2004 21:17:36 GMT -5
Hi Russ,
Sorry for all the questions – must be overloading you!
I’ve read some place, just can’t recall where, that all karate katas are intended to lead you to the big pie in the sky – Hakutsuru.
What exactly are these folks looking for in Hakutsuru?
I know my goal posts in White Crane – I’ve experienced my Sifu throwing us around like nothing with his jin and I hope to emulate him in this area one of these days.
So the big question is this: What are Karate’s objectives in pursuing the crane? Looking at their crane displays – I cannot figure out.
Except for the outright adapted versions of Chinese White Crane, the other Karate cranes seem to me to be no different from normal Karate katas.
That or I am ignorant.
Look forward to your illumination in this area.
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Post by Eric Ling on Oct 3, 2004 8:21:56 GMT -5
A pix of Fuzhou Crane's "Double Crane Leaving Nest" Front view of same technique :- This is a good example of our "ground reaction" jin training in Fuzhou Crane. We 'push" our jin into the ground and "bounce" off using the reaction. The whole purpose of "Shong" is to tap reaction jin from everywhere - from the ground, from contact with opponent - any part of him.
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Bubishi
Oct 3, 2004 23:33:09 GMT -5
Post by Eric Ling on Oct 3, 2004 23:33:09 GMT -5
Fuzhou Crane's "He Li Ziang Bien" or "White Crane Standing by the Brook". I hope my pix don't vanish again like my previous ones. Still trying to get it right - sorry. Lohan's influence can be seen in this technique from our Paik Pu Lien.
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Bubishi
Oct 3, 2004 23:48:33 GMT -5
Post by Eric Ling on Oct 3, 2004 23:48:33 GMT -5
Hung Gar's "Single leg flying crane". Picture courtesy of Nataraya. I will try to post the same technique from various Kung Fu styles. Thanks.
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Post by Eric Ling on Oct 4, 2004 0:26:01 GMT -5
Some more of "Single Leg Flying Crane:- 1) Tibetian Whte Crane's version from "Needle Hidden in Cotton". Demonstrated by the late Sifu Chan Yuk Sang who taught Lama Crane and Tai Chi in Singapore. 2)Fukien White Crane. The late Tay Boon Leng, famous Fukien White Crane Sifu in Hong Kong. Pix from old Hong Kong magazine "New Heroes". 3)Hung Gar's version taken from Fu-Hoc I believe. Pix 1 Pix 2 Pix 3
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Post by Gojumaster on Oct 4, 2004 8:05:34 GMT -5
Eric, Again, thanks for everything. I leave on Wed, and I have many things to do before my 2 week trip to Okinawa. If I can I will try to respond further before I leave, if not...I promise that I will when I return on the 20th. Best Regards, Russ Hi Russ, Sorry, been a bit busy lately – business picking up. Negotiating a couple of sizeable contracts at the moment. I hope you see this before your trip. Looked at the Gokenki’s kata again and these are my feelings, again highlighting that I am not a karate-ka but a Kung Fu player:- • Opening salute – looks “Ming” to me. Palm covering fist extended to the center. This wrapped fist version is used by many different Fukien kung fu. • The 2 fingers upper gate strike – look very “dragon” to me. The Chinese version is “Double Dragons fighting for the pearl”. • There is a very interesting technique after the jump kick. The elbow to the smash down and lifting kick done in one timing. This is Lohan’s Kung Fu “General Mounting the Horse”. • The elbow is something we do in Fuzhou Crane to break an incoming middle gate attack to be followed immediately with a downward backfist smash to opponent’s face and up lift kick to his groin. • The demonstrator turns and goes into what is probably the most popular White Crane’s posture: - Single Leg Flying Crane. This posture can be found in numerous Fukien and Cantonese styles Kung Fu. Hung Gar Fu Hoc has the exact same technique and it is called Single Leg Flying Crane. I do this in both MingHe and ChongHe and it is known as “Crane standing by the brook”. The difference is that in kung fu, the lifted leg extends into a kick. • The double punches – middle gate. Normally associated with Lohan. • The kneeling or “riding dragon’ stance with the yang palm – another dragon style technique. • The mawashi-uke into double palms – very Fukien White Crane. • The 3 spear hands yang-ying-yang done very quickly – yes this is White Crane type hand techniques. In fact, if you look at Pan Nam Wing Chun’s Pil Jee, you’ll see these techniques repeated many times. • Another interesting technique – the middle gate double arm finger jab or what we call the “crab pincers”. In the 2nd Tai Chor San Chiem or Earth Battle form, this is the primary technique. I’ve seen this same technique done in Tiger kung fu but more with half-formed fist or what is commonly known as “leopard paw” in Shaolin 5 animals form. • There is a double palm upper block/attack that comes close to my fire hands except that we do them with the whipping out power. Against any upper gate attack, you just whip 2 palms right into the attacker’s face – blocking and counterattacking in one go. • The pull-down and upper cut – look at Lohan. This is another oft repeated technique in Lohan Kung Fu. Wing Chun does it in the opening sequence of their Mok Yan Chung. As a crane player, I really got to say that there are only a couple of techniques that strikes a chord. My biggest issue is still the “linear” delivery – something that is at odd with most Chinese cranes which are really more circular in many ways. And have you got the poem of this kata ? I am okay even if it is in Japanese. Thank you very much and have a good trip.
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Post by Eric Ling on Oct 5, 2004 2:32:17 GMT -5
More variations of the same "Single leg flying Crane". All pix are from Nataraya. We actually discussed this techniques before and I am now putting it out to into the open. Pix 1 : A similar posture found in an old Kung Fu manual. I think the manual is "Long Fist 32 postures" - someone want to confirm this for me ? Pix 2 : The late Kwan Tak Hing. Before Jet Li, he was the screen Wong Fei Hung. Love his performances!! Pix 3 : Hung Gar's Kong Buck San. Pix taken from his Fu Hoc book. Now here comes the fun part:- Applications of this technique anyone ?
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Bubishi
Nov 15, 2004 9:29:11 GMT -5
Post by Gojumaster on Nov 15, 2004 9:29:11 GMT -5
Eric, No problem. Unfortunately I can't answer all of your questions, though. There are certainly people in the karate circles that are kata collectors, and those that want to have something rare in their repertoire to flaunt over others. With the loss of a ton of documentation during the war in Okinawa, there is sad little recorded information about the lineage of many styles back beyond 3 or 4 generations. Many people studying karate have been taking up the mantle of trying to put pieces back together. Some people, of course, have found that revisionist history can be profitable, too. For the most part, these "White Crane" forms floating around Okinawa ARE very similar to the karatekas own forms, with just a few signature techniques that put them in a classification of their own. What you and others like you have hopefully shown these people is that these forms are (for the most part) purely an Okinawan creation or modification and are not "historic transpants" as you call them. Best Regards, Russ Hi Russ, Sorry for all the questions – must be overloading you! I’ve read some place, just can’t recall where, that all karate katas are intended to lead you to the big pie in the sky – Hakutsuru. What exactly are these folks looking for in Hakutsuru? I know my goal posts in White Crane – I’ve experienced my Sifu throwing us around like nothing with his jin and I hope to emulate him in this area one of these days. So the big question is this: What are Karate’s objectives in pursuing the crane? Looking at their crane displays – I cannot figure out. Except for the outright adapted versions of Chinese White Crane, the other Karate cranes seem to me to be no different from normal Karate katas. That or I am ignorant. Look forward to your illumination in this area.
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Bubishi
Nov 15, 2004 9:34:48 GMT -5
Post by Gojumaster on Nov 15, 2004 9:34:48 GMT -5
Eric, I'm sorry, but I don't have a poem of this form, in the sense usually associated with Chinese forms. In several versions of the Okinawan Bubishi, there are lists of the technique names, but these lists do nothing to describe the intent, feeling, delivery details, etc. Best Regards, Russ Hi Russ, Sorry, been a bit busy lately – business picking up. Negotiating a couple of sizeable contracts at the moment. I hope you see this before your trip. Looked at the Gokenki’s kata again and these are my feelings, again highlighting that I am not a karate-ka but a Kung Fu player:- [snip] And have you got the poem of this kata ? I am okay even if it is in Japanese. Thank you very much and have a good trip.
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Bubishi
Nov 17, 2004 20:49:12 GMT -5
Post by Eric Ling on Nov 17, 2004 20:49:12 GMT -5
Hi Russ,
A thousand apologies for not replying – believe it or not I actually did not check this thread. I know, I suck as the “administrator” of this forum.
Again, sorry, my friend.
Okay, no poem. Strange, strange and very strange.
Learning TCMA and not getting the poem is really not something I am used to. Every style that I do, tremendous amount of effort is spent in transmitting poems in one form or another. Not necessarily in written form but definitely in oral form. And one of the roles of the teacher is to pass on these poems. We were made to memorize poems liking singing a song.
The poem is the “key” that you must have to unlock the forms and movements in your system.
Example: - All the pictures posted in preceding posts: - “Single Leg Flying Crane”. On the surface this is about deflect/grabbing an upper/middle gate attack and then kicking the opponent. Nothing wrong with this interpretation and application. Could be the only one going round.
My Fuzhou crane does it differently. The technique is known as “He Li Ziang Bian” or “Crane Standing by the Brook”. The poem (7 characters/4 rows) starts with “going with the flow of the water”. And ends with “Ba He Than Sui Ti Tun Bei” or “White Crane Investigating water, breaking opponent’s arm”. Investigating water here is the very Chinese way of saying planting the foot down – sort of like testing the depth.
The idea is to deflect, say, a right handed upper gate attack. You use your right hand to do this deflecting and leading (going with the flow) it downwards. Then you raise the right knee to “break” his elbow joint. At this time you are turned at an angle with your knee aligned with his elbow.
To investigate water now is to flick and step down with your right leg. Flicking the leg is to kick him in the face and stepping down is the drive your knee deeper into his elbow using the downward motion.
This concept is captured in the poem of this technique. Picture this Sir, I show you the technique and not give you the “poem” explained – what have you got?
Personally, I am fully satisfied that Karate has got, at best, traces of White Crane.
No matter how I look at the situation, from the stylistic movements, principles, techniques and concepts, I cannot find the tie.
I might know little karate, but humbly Sir, I grew up with White Crane.
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Bubishi
Dec 18, 2004 4:51:41 GMT -5
Post by Nataraya on Dec 18, 2004 4:51:41 GMT -5
Food for thought:
Cheung Siu Shu developed Sanchin and the three theories of Hi, To, and Yu. He found that these three theories of technique must be combined. The Chi (spiritual energy) and the inner strength of mind and body must also be combined. Tai means Power of the body. The head and the neck are the strongest and can carry many heavy weights and huge stones easily. The relationship between the breathing and Chi is developed by holding the power in the shoulders back and forth, left and right, in and out, and the breath is evenly controlled. When punching, as the hand moves out the Chi flows out. Then when the hands are changing positions to return the Chi flows inward. This is a fifty-fifty use, fifty percent forward while punching and fifty percent pulling back on the opposite side. Your lower back and hip must coordinate together. The shoulder should then drop. Shift your weight into your arm as your knees lower the body for more stability. Most important of all is return the arm and fist immediately. The power while punching is concentrated from the elbow down to the palm. Chi and power combined are called Do. This means calming and settling down. The heart and body is called Sei, this means calmness and stillness. Do also means the full power that can be used to knock your opponent down. Sei also means changing of actions and techniques as well as coordination of bones for Chi. The spirit works hand in hand with the Sei. When using your hand all the power is concentrated in the palm area. Your thumb and fingers become hard and tight When hitting all the power distributes throughout the fingers, thumb, and hand. If you can absorb this theory then it is easy to develop a thousand pounds of power.
To learn proper walking theory have someone pull your hands while maintaining posture or stance. You don't want to move. Hold your weight down by using the lower back and hips. When stepping move naturally but remember that more strength is concentrated in the heels softly. When lifting the foot to step lower the foot from toe to heel so that very little if any noise can be heard. The stepping foot should move in and out in a slight crescent shape. Then the knees bend slightly to lower the weight of the body down. While in the process of stepping the foot lifts to move the leg from the knee down. It should be relaxed using a swinging motion with no power. It is very important that the feet glide along lightly brushing the surface of the ground. All your muscles should become relaxed and coordinate movements together, just like when riding along in a cart. The wheel, the hub, and the axle are all separate parts but during movement they become one. Without any one of these parts movement is impossible. Using your hand without the use of the feet is like a cart without a wheel. All parts are needed for proper coordination. It's like a person walking down the road listening to his breathing. He finds that it is a natural rhythm of movement and coordination that makes this possible. When encountering an opponent your eyes should become like the sun and the moon, bright and clear. Your movements become like the cart. Your body becomes straight from hand to hand and from head to toe. Your Chi changes and flows constantly. When you attack there is no gate to return through. You must follow through with all your movements. You control your attacker with your Chi. It's like a feather or very simple and light. When the Chi flows to your hand it has the power of one thousand pounds. Your whole body becomes as powerful as the force of ten thousand men. You follow your attacker's movements as if they were your own. You watch his punches and kicks as if they are yours. When the time is right you can gain control of him by seizing him from behind. Just like dogs do when they fight and grab each other's tails from behind to gain control. If you do not believe this theory and are against it then your body will become tight and rigid just like when you are riding a horse and begin to dismount and find that your leg muscles are tired and tight. Study this theory well and practice it until it becomes part of you. Keep it and treasure its knowledge. If you become lazy then practice more often. This will regulate your tiredness. This is the law of the universe and it can cause many joyous and happy rewards to come to you.
'Editor's Note: Cheung Siu Shu is traditionally believed to be a student of Fang Chi Liang, the founder of the White Crane style. Cheung was reputedly a very strong Kenpo master. He was impressed with Fang's ability and challenged her to a match. As legend has it, Fang Chi Liang's ability at White Crane Fist was so superior that Cheung could not even hit her once. He then became her student and learned the White Crane System
'Editor's note: Kenpo, a Japanese word, literally means way of the fist or fist method. In Chinese, Kenpo is pronounced Ch'uan Fa and has the same meaning. Hence, Kenpo is a generic term for Chinese boxing. It does not delineate a particular style other than allude to its Chinese roots but rather it simply refers to pugilism in an overall context.
Source:
"Bubsihi, Martial Art Spirit": George W. Alexander and Ken Penland. ISBN. 0 9631775 1 6 December 1993.
Chapter 1. page: 3+4.
Enjoy reading and discussions.
Evert.
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Bubishi
Dec 18, 2004 5:30:08 GMT -5
Post by Nataraya on Dec 18, 2004 5:30:08 GMT -5
A little bit more from the same book. Omnipage 11 did his work not bad at all...........
INTRODUCTION
The Bubishi or Wu Peh Chih as it is called in Chinese is a completely unique and esoteric work. It has been described as the source book of Okinawan Karate and is deeply cherished by Okinawan Masters. Shrouded in mystery, this is the first time a complete translation of the work has been offered in the English language. The translation of the Bubishi is a collaboration between myself and Ken Penland, 7th Dan and follow Shorin Ryu Karate practitioner. Penland Sensei's great effort is to be commended. His work on the Bubishi included consulting with experts in the Chinese community, including historians, martial artists and practitioners of Chinese herbal medicine. My contribution has been the addition of independent translation and research into the sometimes ambiguous nature of the subject matter. I have also functioned as an editor, organizing the presentation of the material. Additionally, the translation of the Bubishi has been the continuation of my research on Okinawan Karate, after the publication of my first book, Okinawa Island of Karate.
Modern Karate was derived from a mixture of Okinawan indigenous fighting arts called Te and Chinese Kenpo or fist boxing. Therefore, the Bubishi is historically significant in that it provides insight into the early forms of primordial Chinese martial traditions which influenced the development of Okinawan Karate.
Actually there are two distinct works entitled Bubishi. One is a massive Chinese text on the art of war containing 240 chapters in 91 volumes which in encyclopedic fashion classifies military subjects including strategy, tactics, logistics, troop deployment and training, individual combat methods and military occupation. This work was compiled in 1621 by Mao Yuen Yi in Fukien Province, China. Another separate text entitled Bubishi, also called the Okinawan Bubishi, contains thirty two chapters. This text is a technical martial arts training manual written in Fukien, China as well. It outlines the Fukien white crane style and the monk fist boxing style. The author of the Bubishi is unknown and there has been no record left to establish when it was actually written. Perhaps, it was written by one of China's white crane masters, no one knows for sure. However, it can be said the Bubishi has greatly influenced the development of Okinawan Karate. Practitioners of Goju Ryu consider the Bubishi the "Bible of Karate". The name Goju Ryu, meaning hard/soft style, epitomizing the concept of hardness and softness, was chosen by Goju Ryu's founder, Miyagi Chojun (1888-1953). Miyagi's source of inspiration for the name Goju Ryu was the Eight Poems of the Fist contained in the Bubishi. The third poem is translated as "everything in the universe is breathing hard (Go) and soft (Ju), in and out". Miyagi also borrowed techniques from the Bubishi for the Goju Ryu Kata. Sanchin (Samchien in Chinese) is explained in the first chapter of the Bubishi. This is a basic exercise to develop breathing, thrusting and footwork. Miyagi made this a totally hard kata. The chapter on the six wind hands (Rokkishu) was the basis for Miyagi's Tensho Kata. He devised this Kata as a compliment to Sanchin. This created one kata which was totally hard (Sanchin) and one kata which was totally soft (Tensho).
In the late 1800s Miyagi's teacher, an Okinawan by the name of Higashionna Kanryo (1851-1916), traveled to Fukien Province, China to study martial arts. His teacher there was a Kenpo master by the name of Liu Liukung (Ryu Ryuko in Japanese). It is not exactly certain how long Higashionna stayed in China. Some authorities claim he stayed for seven years and others claim he remained in China for fifteen years. In any case, upon his return from China he developed the Naha-Te style of Okinawan Karate. This would eventually serve as the basis for Miyagi's Goju Ryu. Higashionna's teaching combined soft yielding movements with hard forceful movements. He also emphasized the Sanchin kata and white crane movements in his teaching. Reportedly, Higashionna brought back a copy of the Bubishi from China and was deeply influenced by this book. Another Okinawan Karate Master who is known to have studied the Bubishi is Nakaima Kenri (1819-1879). He was the founder of a Naha-Te family style called Ryuei-Ryu. Nakaima travelled to China and studied with a White Crane Master, Liu Liukung, Higashionna's teacher. When Nakaima returned from China to Okinawa he brought back a copy of the Bubishi with him. Ryuei Ryu, in addition to Sanchin, Sanseiryu and other Naha-Te forms, incorporates six unique Chinese Kata into its repertoire. They are Ohan, Pachu, Anan, Paiku, Heiku and Paiho (White Crane).
In the early 1900s a certain Chinese man by the name of Gokenki came to Okinawa from Fukien. Gokenki was a tea merchant by profession and opened a small tea shop in Naha. In the back room of his shop he Gokenki's Okinawan Students taught a few Okinawans Hakutsuru Ken Ryu or White Crane Fist Style. He taught the Sanchin Kata and several White Crane Kata as part of his Style. These were Nipaipo (Twenty Eight Steps). Paipuren (Eight Steps at a Time) and Hakutsuru (White Crane). One of his Okinawan students was Mabuni Kenwa (1889-1953).Although the exact details of the story are vague, Gokenki's Grandfather somehow helped preserve the Bubishi. As the story goes, if it wasn't for him the book would have been lost. This tale was told by Gokenki to Mabuni.
Another Okinawan who although was not linked to the Bubishi directly was at least influenced by the White Crane style was Bushi (Warrior) Matsumura (1797-1889).He was the founder of Shorin Ryu Karate and the chief martial arts instructor and bodyguard to three Okinawan Kings. Reportedly, Bushi Matsumura learned the White Crane system in China at the Shaolin temple in the early 1830s. In the 1860s, Matsumura is known to have travelled to China again and brought back to Okinawa Iwah, a White Crane Master. Together they taught many Okinawans. Matsumura's White Crane legacy is passed on by the Matsumura version of the Hakutsuru or White Crane Kata. Some authorities claim that the Bubishi was written as late as the Ch'ing Dynasty (1644-1912) and that either Higashionna Kanryo (1851-1916) or Miyagi Chojun (1888-1953) introduced it to Okinawa. It is known that Miyagi brought back a copy of the Bubishi upon his return from China in the early 1900s.
It has also been reported that the Bubishi was a journal kept by Higashionna while he was in China. Although, Higashionna has been accused of being illiterate and incapable of writing such a work. Additionally the Bubishi appears to be a body of literature with an overall purpose and not a journal. Furthermore, the hypothesis of the Bubishi being Higashionna's journal seems unlikely in that Mabuni Kenwa (1889-1953) founder of nutso Ryu Karate, referenced the Bubishi extensively in his 1930's book entitled "Karate Do Kenpo" and Funakoshi Gichen (1868-1957), founder of Shotokan Karate, also referenced the Bubishi (The Eight Poems of the Fist and Maxims of Sun Tzu) in his "Karate Do Kyohan." However, it is the .................
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Bubishi
Dec 18, 2004 5:32:30 GMT -5
Post by Nataraya on Dec 18, 2004 5:32:30 GMT -5
continue................
contention of the authors that the Bubishi was introduced to Okinawa much earlier.
Most of Okinawa's early contact with China was through the port cities of Fukien Province. In 1393, a Chinese immigrant community known as Kumemura was established in Okinawa near Naha. The settlers of this village were known as Sanjuroku Seito, the thirty-six families. These families came from Fukien Province with the purpose of enhancing the development of Okinawa. Since cultural and trade relations with China had recently been established, Kumemura served as an arrival point for Chinese diplomats and envoys and a place of learning for the Okinawans. The Bubishi is said the have originally been brought to Okinawa when the thirty-six families migrated from Fukien Province to Kumemura. Therefore, the Bubishi would have been brought to Okinawa some six hundred years ago. These same families built a temple called Ten Sung Ro in which a small library was built. It was from this library that the Okinawans first obtained the Bubishi. Kept secret since then, it has been handed down from one generation to the next in Okinawa. Other oral traditions reveal that the Chinese immigrants who settled Kumemura were responsible for the spread of Kenpo in Okinawa and throughout the Ryukyu Islands. The Bubishi literally means martial art spirit and is considered the text book of the White Crane style. Another more precise interpretation of "Furoku Bubishi" is given record of martial art spirit or ambition.
Therefore, it figuratively means martial arts training manual. In any case, the Bubishi is said to have been the textbook of martial arts at the southern shaolin temple in the Pu T'ien District of Fukien Province. Supposedly, the site of the temple is located at Chiu Lung mountain near the city of Foochow. This temple has never actually been proven to exist. However, it exists mysteriously in legend and is known as the Shoreiji Temple or Nine Dragons Temple. Its teachings, codified in the Bubishi, are said to be the basis of Naha-Te or Goju Ryu Karate.
The material presented here is a complete translation of the work. Nothing has been left out. There is a great deal of information on Chinese herbal medicine contained in the Bubishi. This is because in the days of Shaolin the kenpo master functioned as a physician as well as a martial artist. Although it is lengthy and the various remedies somewhat repetitious, I have chosen to present all of the herbal medicine information as opposed to summarizing it. The significant portions of the text include: History of the White Crane (Hakutsuru) Fist Style; Chinese herbal medicine and remedies for martial arts injuries; Forty-eight self defense techniques; Hard fist method of vein attacks and the use of Dim Hsueh (Blood Gate [Artery] Attacks); The twelve hour danger points and the use of Dim Mak (Death Touch Technique); The use of Dim Ching (Nerve Plexus Attacks); The use of Cavity Pressure Knockout Techniques; Seven locations not to hit (Immediate Death May Occur) and finally the most controversial information of all, the Delayed Death Touch.
Congratulations Eric ! This was special for you my friend. Whats out your high blood pressure my friend, hahahahahahaha.
Warm regrads,
Evert
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