=============================================== Han Wei's Wushu! Issue #4 =============================================== A Community Chinese Martial Arts Newsletter Send inquiries to: 3216 Payne Avenue Cleveland, Ohio 44114 Tel.: 216-696-3126 Fax : 216-696-3126 E-mail: aa727@cleveland.freenet.edu Note: Due to the increase of readership, we will continue this newsletter free of charge through Electronic Mailing, but will have to charge $12/year for 12 issues (a $1/copy) for a printed newsletter. If you would like to receive further information on each articles, please feel free to contact the authors directly for details. All figures or diagrams are only available through the hard copy newsletter. There is no way we can provide it through electronic mail system for now. If you are interested in receiving the figures, please subscribe. --------------------------------------------------------- Contents: -------- W O W ! Brief History of Chinese Swords Shaolin - Wudang Wushu NewsBits 32 Form Sword Play (Part I) 32 Form Long Fist (Part II) Thanks to everyone who made this possible. This is published by the support of its reader, and no profit gain was intended. Donations are welcome to make this publication better! All articles herein are of their author's opinion and the publisher of this newsletter should not be liable for any errors or misleading information. Please let us know any future event that is going on in your area, we can include it in our newsletter and so others can know, let's all work together, feel free to drop me emails. We do appreciate your concern and desire. Disclaimer: We are not responsible in any manner whatsoever for any injury which may occur through reading or following the instructions in this newsletter. Please consult a physician before engaging in the exercises described herein. 5th Issue: ---------- Punching Bag: Hanging Methods Wushu 32 Sword Play (Section I, Part II) Movie Review: Butterfly and Sword The Nature of Chi Wushu 32 Posture Long Fist (Section II) Learning Wushu In China Newsbit ... --------------------------------------------------------- W O W ! Han Wei's Wushu! Newsletter has more than two thousand readers so far, it is growing immensely and our material has increased. We can continue to provide this newsletter as a free subscription only through electronic network (Internet systems). We need your support, if you are interested in helping us, please subscribe to the newsletter and it will be delivered directly to your home. The yearly subscription is only $12.00; this will cover mailing and printing expenses. If the demand increases, expect to see this newsletter increase to a larger format! What other articles are you looking for? From this issue and on, you will see more martial art forms and internal exercises. Of course, we will also cover various events! Your help is needed in supplying us with national and international information to complete this newsletter! So, don't just sit there, DO something! The Editors ------------------------------------------------------------ A Brief History Survey... CHINESE STRAIGHT SWORD ===================== By Xiaoming Oon, Cleveland, Ohio The sword was invented by 5000 years ago. It was used widely to cut and kill predators, and was also used for hunting. Although during prehistoric time, many stone weapons were found but no stone swords has been discovered. Most used knives or spears as their weapons until the invention of metal to create weapons. Swords then began to become available. There were many names used for the sword during different periods of time in China. The first known was the Xuan-Yuan Jian by Emperor Huang Di (2690-2590 B.C.). Huang Di was also known as "Yellow Emperor" for his ruling near the Yellow River. It was made by the emperor at a mountain using copper and carved with calligraphy. Emperor Huang Di had swords made of jade, copper, and gold. Later, there were swords named Hua-Ying Jian and Peng-Kong Jian. It has been told that these swords can attack through the air when surrounded and where ever it goes it will easily slice the enemy. During the Xia Dynasty (2183-1752 B.C.), another sword called the Xia-Ou Jian was created with the carving of astrological signs. In Shang Dynasty (1751-1111 B.C.), they used the Jia Jian, about 4'1" long. It was made of copper alloys taken from Mount Niu Shou. The Deing-Guan Jian was 2' long. The Zhao-Dan Jian was made about 3' long with Chinese calligraphy carved on the body. In the Zhou Dynasty (1111-221 B.C.), there was Dao-Shi Jian (due to the fact they said Dao-Shi can protect them from evil spirits. The Zhen-Yu-San-Fan Jian was a combination of 5 swords given to 5 prisons for protection against jail breakers. They were about 5' long each. The Kun-Wu Jian can cut jade like paper. It used the metal taken from the Mount Kun-Wu. As the power of the Zhou Dynasty diminished over time, many warlords raised above and civil war occurred (this time was known as the Spring and Autumm Period - 770-403 B.C. and the Warring States Period - 403-221 B.C.). During these periods, many warriors were looking for a stronger and sharper swords... In the kingdom of Wu during the Warring States (about 3000 years ago), the Wu Gan-Jiang asked his wife to cut her hair and some nails and combine it with the metal to create the sword Muo-Xie. They created a pair of swords, one is call the Gan-Jiang (Muo-Xiežs husband) and one was named Muo-Xie. These swords were the one used by Wu Ji-Zhe, a well known martial art practitioner during that period of time. During the Kingdom of Yue, of the same period of time, they forged the Shen-Lu, Cuan-Gou (hook), Shen-Xie, Yu-Chan and Ju-Men. And later the King of Yue ask his guard to create the 8 Swords: One to cover the sun, one to break water, one to bring spirit, one to scare the fish, one to destroy the spirit, one to protect from evil, one to catch the birds, and one to cut through jade. In the Kingdom of Zhu of the same period, they created the Dragon Well (also known as the Lung Quan Jian), Tai-Ah and Gung-Bu swords. In the Kingdom of Zhao (the same period), they created the Tian-Zi Jian (Heaven Son Sword), Zhu-Hou Jien (General Sword) and the Zhe-Ren Jien (Peasant Sword). During the Qin Dynasty (221-206 B.C.), there was the Ding-Qin Jian (Calm the Qin), this was about 3ž6" long, it means that Qin will rule the universe (it was named by the Emperor who created the Great Wall -> Qin Shi), with this sword, one can see the dream of Qin Shi. During his ruling, he heard that the last King of Wu had buried with him thousands of swords that he had collected. Emperor Qin sent his men to dig the swords out, but it was an unsuccessful mission. Later, the pit filled with water and came to be known as the Sword Pond in Suchou. In he First Han Dynasty (206 B.C. to 8 A.D.), there were Zhi-Xiao Jian or Zhang-Se Jian, Sui Jien, Xiou-Ba Jian (made in the South, Mount E), and Mon-De Jian (about 3ž6" and was used by Cao Cao). The famous Cao Cao of the Three Kingdom Period (220-280 A.D.), is reputed to have had a sword that could cut iron as if it were mud. In the Kingdom of Pu (one of the Three Kingdom), we had Shen Jian (God Sword); and in the Liang dynasty (265-419 A.D.), they also had another sword named Shen Jian with 13 daggers. In the Kingdom of Wu (229-280 A.D.), we had the Bao Jian (Treasure Sword), they were White, Red, Violet, Dispel Evil, Meteor, and Green, total of 6 swords. Other than these well known swords, there were Damo Sword. Taiji sword, Seven Star sword, Eight Diagram (Ba Gua) sword, Six Harmony sword, Dragon Walking sword, Three Harmony sword, Three Wisdom sword, Qi Men sword, Xing Yi sword, Lian Huan sword, Kun Wu sword, Ti Pao sword, and Qing Ping sword, etc. Each style not only has itžs own sword, but also includes a form to match the sword. Swords had changed form and styles throughout time, but the basic movements are still the same. Most currently known styles have approximately 20 to 25 basic movements, they are all similar to each other, one may just have more detail than the other. With some simple movements such as chop, slice, thrust, and cut, you can easily perform with any knife by moving the arm. Sword movements also include the maneuver with onežs wrist. We will provide some basic swordplay and simple sword forms in this and upcoming issues. Enjoy! ---------------------------------------------------------- Shaolin and Wudang Wushu ======================== By Ted W. Knecht, Cleveland, Ohio Chinese martial arts, or WuShu as it is known in the Chinese language, is more than just a fighting art, it is a way of life. Chinese WuShu encompasses a philosophy in the art of living. Much of this philosophy is based upon Buddhism and Daoism. The two major schools of WuShu which have emerged from these religions are Shaolin and Wudang. Shaolin WuShu originated at the Song Shan Shaolin Temple located in Dengfeng County of Henan Province, China during the Northern Wei Dynasty (495 AD). The temple was erected during the 19th year of Emperor Xiao Wenžs reign by a monk named Ba Tuo. The temple is approximately 13 kilometers northwest of the city of Dengfeng. The Shaolin Temple is a center for Chan (Zen) Buddhism, a popular religion in China and Japan. The Shaolin Temple was the birthplace for the Chan sect of Buddhism. The temple is foremost a center for the study of Buddhism and secondarily for the study and development of WuShu. The creation of Shaolin WuShu is credited to Pu Ti Da Mo, the 28th generation disciple of Buddha Shi Jia Mo Ni. While Da Mo lived at the temple approximately 527 AD, he devised a number of exercises to strengthen the bodies of the monks living at the temple. Da Mo saw that many of the monks were in poor physical health; thus, for "nine" years Da Mo isolated himself to develop exercises to strengthen their bodies. The creation of the famous "Muscle Changing Classics" is credited to Da Mo. This internal exercise was designed to promote strength and the generation of internal energy or Qi. He has also been credited for the creation of various other qigong and daoyin exercises for developing internal energy. Since the time of Da Mo, many fighting styles have been developed and synthesized within the temple. Some say that Da Mo was the creator of Shaolin WuShu while others say it may have been Song Tai Zu or Jin Na Luo. During the Song and Ming Dynasties the Shaolin Temple reached its height of fame with over 2,000 monks living at the temple. During the Qing Dynasty, the temple began its decline. In 1928 during the Nationalist years the temple was burnt due to fighting within the country. The temple burned for over 40 days causing much destruction to the temple and its relics. Shaolin WuShu is one of the oldest fighting systems in China. Shaolin WuShu was created during the Northern Wei Dynasty with a history approximately 1400 years old. One of the most famous Shaolin fighting styles is the five animal style. The five animal style consists of the dragon, tiger, snake, crane and panther. Each animal has itžs own characteristic. The dragon develops the spirit; the tiger develops the bones and tendons; the snake develops the internal energy; the crane develops the essence; and the panther develops the strength. The essential points to the practice of the five animals are as follows: When practicing the dragon, the shoulders must sink and relax, the internal energy must reside in the dan tian, and one must use intent not strength; when practicing the tiger, the internal energy should be circulated throughout the entire body, the kidneys should be substantial, and the eyes should show intent; when practicing the snake, lead the internal energy to the fingers and the body should be rooted, relaxed, and soft in movement; when practicing the crane, congeal the essence and spirit, and lead the internal energy to the arms; and when practicing the panther, strength should be in the entire body, and the fists are held tight. There are also many other sets found in Shaolin WuShu. Some of the most famous include the Small/Big Hong Fists, the Luo Han Fists, the Plum Blossom Fist, the Cannon Fist, the Seven Star Fist, the Soft Fist, and numerous others. There are also numerous two person fighting routines and weapons sets. Wudang WuShu originated in the Wudang Mountains located in Hubei Province. Wudang is a major center for the study of Daoism. According to legend, Zhang San Feng is credited for the development of Wudang WuShu during the beginning of the Ming Dynasty. Wudang is primarily known for its internal styles of WuShu. The three main styles include Baguazhang, Xingyiquan, and Taijiquan. These styles are considered internal because of the emphasis on the development of internal energy and the unification of the body with this energy. These three styles all strive for the development of internal energy, but are practiced in different ways. Baguazhang develops internal energy by circular movements based on the eight diagrams. Xingyiquan develops internal energy by linear movements based on the five elements; and Taijiquan develops internal energy by incorporating the eight diagrams, five elements, and the theory of yin/yang to form a highly specialized style. Baguazhang, originally called žTurning Palmž is based on the relationship of the eight diagrams. Baguazhang was developed by Dong Hai Chuan (1813-1882) during the Qing Dynasty in Beijing. The basics of Baguazhang is walking in a circular fashion utilizing the žwalking in the mudž step. The two main palms are the dragon and ox tongue palms. The main fighting characteristics of the style is to push, to hold, to carry, to cling, to move, to grab, to encircle, to intercept, to hook, to hit, to block, to close, to weave, and to poke. The basic palm methods include: the Eight Mother Palms and the 64 Palm style. Baguazhang routines include Dragon style Baguazhang, Baguazhang Continuous Palm, the Swimming Body Continuous Bagua Palm, and various others. Xingyiquan is a style based on the five elements. The creation of the style is credited to General Yue Fei, a legendary hero in ancient China. The main standing posture for Xingyiquan is the Three Body Posture. The Three Body Posture is the foundation of the style and develops much internal strength when practiced on a continuous basis. It is said that every technique within the Xingyi style originates from the Three Body Posture. The basic fist methods include the five element fists and the twelve animal shape fists. The five element fist consist of Splitting, Drilling, Pounding, Crushing, and Crossing. The twelve animals include the dragon, tiger, monkey, horse, alligator, snake, Tai bird, sparrow, chicken, hawk, bear, and eagle. Some Xingyiquan routines include the Five Element Linking Fist, Eight Technique Fist, the Twelve Hong Chui Fist, Entering and Exiting the Cave Fists, the Five Element Creation and Destruction Fists, the Eight Character Gong Fist and many others. Xingyiquan also has an array of two person fighting routines and weapon sets. Taijiquan is an internal style which incorporates the eight diagrams, five elements, and the theory of Yin/Yang. Taijiquan first appeared during the end of the Ming and beginning of the Qing Dynasty in the Chen Village of Henan Province in Northern China. There are many different stories of the origin of Taijiquan. Some say the founder of the Wudang style, Zhang San Feng, developed the style; while others suggest that Chen Fu of the Chen Village created Tai Chi. No matter which story is correct, the main person who brought Taijiquan into the publics eye was Yang Lu Chan. Yang Lu Chan, the founder of Yang style Taijiquan, spread the art of Taijiquan throughout Beijing during the Qing Dynasty. After Yang Lu Chan many styles have developed and spread throughout the world. Some of these styles include the Wu, Fu, Sun, Li, Hao, Woo, Zheng, and others. Taijiquan stresses a relaxed body in which the mind leads the internal energy and the internal energy leads the body. All styles of Taijiquan contain at least one open-hand routine, several weapon routines, and various push hand sequences. Even though Taijiquan is considered mainly as a health-based exercise, it is also a very effected self-defense system. Many of the greatest martial artists in the past were masters of Taijiquan. ----------------------------------------------------------- Newsbits... ======== * 1994 Kuoshu (Kung Fu) Championship Tournament will be held from July 29 to 31. It will be at the Marriott's Hunt Valley Inn, 245 Shawan Road, Hunt Valley, Maryland, and it is sponsored by The United States Chinese Kuosho Federation (USCKF) Inc. For more information, please contact them at 410/823-8818 or fax 410/823-8819. * Ted W. Knecht has published a book on Xiang Gong Qi Gong, if you are interested, please contact him at 216/475-9277 or Han Wei Magazine. * Exploring Qigong in China, a fourteen day trip to study with masters in China. Leaving in October 6, returning on October 20. For more information please contact Bob Bennett at 216/226-7914. * A book has been published by Mr. Hu Wei-Yue about the Chinese Internal Martial Arts: Taiji, Xing-yi, Ba Gua & Qi-Gong, with 338 Drawings & 200 Photos, the book is for only $19.99. For more information please contact Mr. Hu at 216/391-5328. * Look for upcoming Chinese Straight Sword Combat Workshops in the month of August. Open to public, for more information, please contact: 216/991-8344. * Do you know of any upcoming martial arts events? Let us know and we will include it in Wushu! Newsletter. You can call us at 216/696-3126 or 216/579-9707, fax us at 216/579-9707 or use your computer internet e-mail address: aa727@cleveland.freenet.edu ----------------------------------------------------------- Wushu Thirty-Two Set Sword Play =============================== By Ted W. Knecht, Cleveland, Ohio Ready Position Body straight with feet together. Sword in left hand. Grab the swordguard with the thumb on one side of the sword, the middle finger, ring finger and little finger on the other side, the palm touching the guard near the handle, the back of the hand facing forward the index finger pressing against the handle, and the sword-body against the forearm in the back. The right hand forms the sword-finger: the index and middle fingers straight and together, the right and little fingers fully bent, the thumb pressing against the nail of the ring finger, the wrist bent with the back of the hand facing up, the index and middle fingers pointing to the left. The arms are on the sides of the body with the elbows slightly raised. Look horizontally to the left. (Diagram 1) Note: The body of the sword must press against the left fore-arm, and must be perpendicular of the floor. Shoulders are relaxed, chest slightly out, stomach in, and legs straight. Movement 1 A. Body slightly turns right, and right foot steps right. Left foot lightly touches floor, heel turns out, and left knee straightens to form right bow stance. As right foot steps to the right, right hand in the shapes of sword finger move up from the right side passing the chest, the left shoulder and then to the right. Right sword finger points to the right with the thumb side of the hand facing up. Eyes look at the sword finger. (Diagram 2-1) B. Body turns right. Left hand holding sword moves up with arm straight, passes above the head and circles to the right. When left arm comes to body level, thumbs side of hand faces down. At the same time, right sword finger withdraws to the waist, palm facing up. (Diagram 2-2) C. Left foot steps toward right foot. Left hand holding sword drops to left side of body. At the same time, right sword finger moves to point horizontally to the right, thumbs side of hand facing up. Eyes look at the sword finger. (Diagram 2-3) Note: The above 3 movements must be continuous. Both arms must be relaxed. During movement 1-B both feet must be kept still. During 1-C, when right sword finger moves to the right, it should pass above the back of the withdrawing left hand. Movement 2 A. Left foot steps to the left, and knee bends; right heel moves out with right knee straight to form left bow stance. Body turns left. As left foot steps, left hand holding sword move up with elbow bent and passes chest in a circle to left side of body (palm faces down). (Diagram 3-1) B. Left leg straighten, and right foot steps toward left foot. Left hand with sword drops to the side of body. At the same time, right sword finger passes by ear then points forward, with thumb side of the hand facing up. Eyes look at the finger. (Diagram 3-2) Note: Right arm must be straight and the sword finger a little higher than the shoulder. Movement 3 A. Left hand with sword moves forward passing above the right hand sword finger, thumb side of the left hand pointing down; right elbow bends and right hand withdraws to left shoulder. Body turns right. Right foot steps towards the right with the right knee bent. Toes of left foot hook in, and left knee straightens to form right bow stance. Eyes look to the left. (Diagram 4-1) B. Body turns right. Right hand sword finger passes the body and points to the right (thumb side of right hand face up). Eyes look at the fingers. (Diagram 4-2) Note: For the right bow stance, left leg must be straight, and both feet flat on the floor. Body slightly leans forward with chest out and body straight. Left arm must be straight, and left shoulder relaxed. Movement 4 Right foot hooks in, and body turns left with weight shifting onto right leg; left foot retreats half a step with knee bent, and the fore-sole of left foot lightly touches floor to form left empty stance. When left foot moves, left arm bends toward chest with left palm facing out; right arm also bends toward chest, right palm faces in and gets ready to grab sword. Eyes look at the sword tip. (Diagram 5) Note: In empty stance, weight must be on right leg, and right heel must remain on floor, body straight, chest out, and body leaning slightly forward. The two elbows must be level and the sword tip a little higher than left elbow. SECTION ONE Movement 1. Bow Stance Straight Thrust Right hand grabs sword, while left hand changes to the sword finger. Left foot steps half a step forward with knee bent, right heel moves out, and right knee straightens to form left bow stance. At the same time, body turns left, and right hand thrusts sword to the front (thumb side of hand facing up); left hand sword finger points to the back, thumb side of left hand facing up. Eyes look at the sword tip. (Diagram 6) Movement 2. Turn and Back Hack Keep left foot still and straightens the knee. Right foot steps forward, knee bends slightly, and body turns right. At the same time, sword passes over head and chops to the back, until it is level with shoulders (thumb side of hand up). Left hand sword finger moves upward in an arc to end above head with elbow bent. Eyes look at sword tip (Diagram 7) Note: All movements must be simultaneous and continuous. After body turns right, waist must also follow, and left foot must be kept unmoved. Sword must be level with the right arm. Movement 3. Bow Stance Horizontal Slice Left foot steps to left-front with knee bent. Right leg straightens to form left bow stance. At the same time, left hand sword finger drops, passes chest, and circles to the left and then up above head. Left elbow bends and with thumbs side of left hand down. Right arms twists until the palm faces up. Then horizontally cut to the front. Sword tip slightly tilts to the right. Eyes look forward (Diagram 8) Note: The cutting action should be smooth. Continued next issue... ----------------------------------------------------------- Wushu 32 Posture Long Fist ========================== Last issue we have the ready position and first four movements of Section I. This issue, we will continue with the last four movements of Section I. We will include each sections for the following issues. Movement 5. Snap Kick and Thrust Punch Body weight moves onto right leg, left knee rises, left foot is pointed and forcefully snap out to the front. Left foot as high as waist. Left fist returns to waist, right fist thrusts forward. Eyes look to the front. (Diagram 8) Movement 6. Giant Leap A. Left knee bends. Right fist becomes palm, and right arm twists so that palm faces down. Right palm scoops down of left knee. Body leans forward. Eyes look at right hand. (Diagram 9-1) B. Left foot steps down in the front, both knees bend slightly. Right palm continues to scoop to the back. Left fist becomes palm, then extends to scoop to the back. Left fist becomes palm, then extends down and to the back. Eyes look at right palm. (Diagram 9-2) C. Right knee rises in the front. Left foot jumps forward. Both palms circle to the front and then up. Eyes look at left palm. (Diagram 9-3) D. Right foot lands and knee bends completely. Left foot then lands in the front and pushes out to form crouch stance. Right palm becomes first and returns to waist. Left palm circles down on the right side, and rests at right shoulder with palm upright. Eyes look at left foot. (Diagram 9-4) Note: Leap as far as possible, and land lightly. After landing, form crouch stance immediately. Movement 7. Bow Stance and Push Palm Right leg straightens to form left bow stance. Left hand circles pass left foot, then to the back and forms hook hand with the hook pointing up. Left arm must be straight. Right fist becomes palm at the waist, then pushes forward with edge of palm facing to the front. Eyes look at right palm. (Diagram 10) Movement 8. Horse Stance and Block Palm A. Body weight moves to center. Left toes hook in to form horse stance. Body turns right. Right arm moves to the left, right elbow bends slightly. At the same time, left hand becomes palm and moves to the front passing first the waist and then on top of right arm. Both palms face up. Eyes look at left hand. (Diagram 11-1) B. Right Palm rest at left side of chest in upright position. Left palm moves above head, left wrist snaps so that palm becomes horizontal and faces up. Eyes look to the right. (Diagram 11-2) Continued next issue... =========================================================== End of Wushu! Issue #4 ===========================================================