Chinese martial arts

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Chinese martial arts, known in Mandarin as wushu (traditional Chinese: 武術; simplified Chinese: 武术; pinyin: wǔshù) and popularly as kungfu (Chinese: 功夫 pinyin: gōngfū), consist of a number of fighting styles that were developed over the centuries. Those fighting styles can be classified according to common themes that are identified as "families" (家, jiā), "sects" (派, pai) or "schools" (門, men) of martial arts. Example of themes are physical exercises that mimic movements from animals or a history and training method that gather inspiration from various Chinese philosophies, myths and legends. Some styles focus on the the harnessing of qi and are labeled internal (内家拳), while others concentrate on improving muscle and cardiovascular fitness and are labeled external (外家拳). Geographical association, as in northern (北拳) and southern (南拳), is another popular method of categorization. Each fighting style offers a different approach to the common problems of self-defense, health, and self-cultivation from a Chinese perspective.

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[edit] Terminology

Kung fu and wushu are popular terms that have become synonymous with Chinese martial arts. However, the Chinese terms kung fu (Chinese: 功夫 pinyin: gōngfū) and wushu (simplified Chinese: 武术; traditional Chinese: 武術; pinyin: wǔshù Zh-wu3shu4.ogg listen (help·info); Cantonese: móuh-seuht) have very different meanings. The Chinese literal equivalent of "Chinese martial art" would be 中國武術 zhōngguó wǔshù.

In Chinese, kung fu can be used in contexts completely unrelated to martial arts, and refers colloquially to any individual accomplishment or skill cultivated through long and hard work [1]. In contrast, wushu is a more precise term for general martial activities.

Wǔshù literally means "martial art". It is written with two Chinese characters, 武術: 武 (wǔ), meaning, "martial" or "military", and 術 (shù), which translates into "discipline", "skill" or "method". The term first appeared in a Southern Song Dynasty poem by Yán Yánzhī (顏延之; 384-456 CE): "偃閉武術，闡揚文令。庶士傾風，萬流仰鏡。" The text means "Abolish wushu, promote literature. Be respected and admired by the masses." In this context, wushu may refer to "military affairs". The term later appeared in a poem by Lǐ Yú (李漁)in the Ming Dynasty (1610-1680): "自幼好武術。" This translates to "Liking wushu since childhood." and is used in the context of practicing the martial arts. .[2]

The term wushu has also become the name for a modern sport similar to gymnastics, involving the performance of adapted Chinese bare-handed and weapons forms (tàolù 套路) judged to a set of contemporary aesthetic criteria for points.[3]

Wushu
Chinese name
Traditional Chinese: 武術
Literal meaning: martial art
Japanese name
Kanji: 武術
Hiragana: ぶじゅつ

[edit] History

Ancient depiction of fighting monks practicing the art of self-defense.

Descriptions of Chinese martial arts can be traced to the Xia Dynasty (夏朝) which existed more than 4000 years ago. [4] Their origin is attributed to self-defense needs, hunting activities and military training in ancient China. Hand-to-hand combat and weapons practice were important components in the training of Chinese soldiers.[5][6] From this beginning, Chinese martial arts proceeded to incorporate different philosophies and ideas into its practice—expanding its purpose from self-defense to health maintenance and finally as method of self-cultivation. Conversely, the influence of martial ideals in civilian society can be found in poetry, fiction, and eventually film.

According to tradition, the Yellow Emperor (Huangdi, traditional date of ascension to the throne 2698 BCE) introduced the earliest fighting systems to China.[7] The Yellow Emperor is described as a famous general who, before becoming China’s leader, wrote lengthy treatises on medicine, astrology and the martial arts. He allegedly developed the practice of jiao di or horn-butting and utilized it in war.[8]

Shǒubó (手搏), practiced during the Shang dynasty (1766–1066 BCE), and Xiang Bo (similar to Sanda) from the 600s BCE,[9] are just two examples of ancient Chinese martial arts. In 509 BCE, Confucius suggested to Duke Ding of Lu that people practice the literary arts as well as the martial arts[9]; thus, wushu began to be practised by ordinary citizens external to the military and religious sects. A combat wrestling system called juélì or jiǎolì (角力) is mentioned in the Classic of Rites (1st c. BCE).[10] This combat system included techniques such as strikes, throws, joint manipulation, and pressure point attacks. Jiao Di became a sport during the Qin Dynasty (221–207 BCE). The Han History Bibliographies record that, by the Former Han (206 BCE – 8 CE), there was a distinction between no-holds-barred weaponless fighting, which it calls shǒubó (手搏), for which "how-to" manuals had already been written, and sportive wrestling, then known as juélì or jiǎolì (角力). Wrestling is also documented in the Shǐ Jì, Records of the Grand Historian, written by Sima Qian (ca. 100 BCE).[11]

A hand to hand combat theory, including the integration of notions of "hard" and "soft" techniques, is expounded in the story of the Maiden of Yue in the Spring and Autumn Annals of Wu and Yue (5th c. BCE).[12]

In the Tang Dynasty, descriptions of sword dances were immortalized in poems by Li Bai. In the Song and Yuan dynasties, xiangpu (a predecessor of sumo) contests were sponsored by the imperial courts. The modern concepts of wushu were fully developed by the Ming and Qing dynasties.[13]

Martial arts are also mentioned in Chinese philosophy. Passages in the Zhuangzi (庄子), a Daoist text, pertain to the psychology and practice of martial arts. Zhuangzi, its eponymous author, is believed to have lived in the 4th century BCE. The Tao Te Ching, often credited to Lao Zi, is another Daoist text that contains principles applicable to martial arts. According to one of the classic texts of Confucianism, Zhou Li (周禮/周礼), Archery and charioteering were part of the "six arts" (traditional Chinese: 六藝; simplified Chinese: 六艺; pinyin: liu yi, including rites, music, calligraphy and mathematics) of the Zhou Dynasty (1122–256 BCE). The Art of War ( 孫子兵法), written during the 6th century BCE by Sun Tzu ( 孫子), deals directly with military warfare but contains ideas that are used in the Chinese martial arts. Those examples shows the ideas associated with Chinese martial arts changed with the evolving Chinese society and over time acquired a philosophical basis.

Daoist practitioners have been practicing Tao Yin, physical exercises similar to Qigong that was one of the progenitors to Tai Chi Chuan, at least since as early as 500 BCE.[14] In 39–92 CE, "Six Chapters of Hand Fighting", were included in the Han Shu (history of the Former Han Dynasty) written by Pan Ku. Also, the noted physician, Hua Tuo, composed the "Five Animals Play"—tiger, deer, monkey, bear, and bird, around 220 BCE.[15] Daoist philosophy and their approach to health and exercise might have influenced, to a certain extent, the Chinese martial arts.

With regards to the Shaolin style of wushu, it is regarded as the first institutionalised Chinese martial art[16]. However, the oldest evidence of Shaolin participation in combat is a stele from 728 CE that attests to two occasions: a defense of the Shaolin Monastery from bandits around 610 CE, and their subsequent role in the defeat of Wang Shichong at the Battle of Hulao in 621 CE From the 8th to the 15th centuries, there are no extant documents that provide evidence of Shaolin participation in combat. However, between the 16th and 17th centuries there are at least forty extant sources which provided evidence that, not only did monks of Shaolin practice martial arts, but martial practice had become such an integral element of Shaolin monastic life that the monks felt the need to justify it by creating new Buddhist lore.[17] References of martial arts practice in Shaolin appear in various literary genres of the late Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction and poetry. However these sources do not point out to any specific style originated in Shaolin.[18] These sources, in contrast to those from the Tang period, refer to Shaolin methods of armed combat. This include the forte of Shaolin monks and for which they had become famous — the staff (gun, pronounced as "goon").The Ming General Qi Jiguang included description of Shaolin Quan fa (Pinyin quánfǎ or Wade-Giles ch'üan2 fa3, 拳法 "fist principles") and staff techniques in his book, Ji Xiao Xin Shu (紀效新書) that title can be translated as "New Book Recording Effective Techniques". When this book spread to East Asia, it had a great influence on the development of martial arts in regions such as Okinawa [19] and Korea. [20]

The fighting styles that are practiced today were developed over the centuries, after having incorporated forms that came into existence later. Some of these include Bagua, Drunken Boxing, Eagle Claw, Five Animals, Hsing I, Hung Gar, Lau Gar, Monkey, Bak Mei Pai, Praying Mantis, Fujian White Crane, Wing Chun and Tai Chi Chuan.

In 1900-01, the Righteous and Harmonious Fists rose against foreign occupiers and Christian missionaries in China. This uprising is known in the West as the Boxer Rebellion due to the martial arts and calisthenics practiced by the rebels. Though it originally opposed the Manchu Qing Dynasty, the Empress Dowager Cixi gained control of the rebellion and tried to use it against the foreign powers. The failure of the rebellion lead ten years later to the fall of the Qing Dynasty and the creation of the Chinese Republic.

The present view of Chinese martial arts are strongly influenced by the events of the Republican Period (1912–1949). In the transition period between the fall of the Qing Dynasty as well as the turmoils of the Japanese invasion and the Chinese Civil War, Chinese martial arts became more accessible to the general public as many martial artists were encouraged to openly teach their art. At that time, some considered martial arts as a means to promote national pride and build a strong nation. As a result, many training manuals (拳谱) were published, a training academy was created, 2 National examinations were organized as well as demonstration teams travelled overseas [21] and numerous martial arts associations were formed throughout China and in various overseas Chinese communities. The Central Guoshu Academy (Zhongyang Guoshuguan, 中央國術館/中央国术馆) established by the National Government in 1928[22] and the Jing Wu Athletic Association (精武體育會/精武体育会) founded by Huo Yuanjia in 1910 are examples of organizations that promoted a systematic approach for training in Chinese martial arts.[23][24][25] A series of provincial and national competitions were organized by the Republican government starting in 1932 to promote Chinese martial arts. In 1936, at the 11th Olympic Games in Berlin, a group of Chinese martial artists demonstrated their art to an international audience for the first time. Eventually, those events lead to the popular view of martial arts as a sport.

Chinese martial arts started to spread internationally with the end of the Chinese Civil War and the founding of the People's Republic of China on October 1, 1949. Many well known martial artists chose to escape from the PRC's rule and migrate to Taiwan, Hong Kong,[26] and other parts of the world. Those masters started to teach within the overseas Chinese communities but eventually they expanded their teachings to include people from other ethnic groups.

Within China, the practice of traditional martial arts was discouraged during the turbulent years of the Chinese Cultural Revolution (1969–1976).[27] Like many other aspects of traditional Chinese life, martial arts were subjected to a radical transformation by the People's Republic of China in order to align them with Maoist revolutionary doctrine.[27] The PRC promoted the committee-regulated sport of Wushu as a replacement to independent schools of martial arts. This new competition sport was disassociated from what was seen as the potentially subversive self-defense aspects and family lineages of Chinese martial arts.[27] Rhetorically, they also encouraged the use of the term Kuoshu (or Guoshu meaning "the arts of the nation"), rather than the colloquial term gongfu, in an effort to more closely associate Chinese martial arts with national pride rather than individual accomplishment.[27] In 1958, the government established the All-China Wushu Association as an umbrella organization to regulate martial arts training. The Chinese State Commission for Physical Culture and Sports took the lead in creating standardized forms for most of the major arts. During this period, a national Wushu system that included standard forms, teaching curriculum, and instructor grading was established. Wushu was introduced at both the high school and university level. The suppression of traditional teaching was relaxed during the Era of Reconstruction (1976–1989), as Communist ideology became more accommodating to alternative viewpoints.[28] In 1979, the State Commission for Physical Culture and Sports created a special task force to reevaluate the teaching and practice of Wushu. In 1986, the Chinese National Research Institute of Wushu was established as the central authority for the research and administration of Wushu activities in the People's Republic of China.[29] Changing government policies and attitudes towards sports in general lead to the closing of the State Sports Commission (the central sports authority) in 1998. This closure is viewed as an attempt to partially de-politicize organized sports and move Chinese sport policies towards a more market-driven approach.[30] As a result of these changing sociological factors within China, both traditional styles and modern Wushu approaches are being promoted by the Chinese government.[31] Chinese martial arts are now an integral element of Chinese culture.[32]

[edit] Styles

Main article: Styles of Chinese martial arts
See also: List of Chinese martial arts
The Yang style of Taijiquan being practiced on the Bund in Shanghai

China has one of the longest histories of continuously recorded martial arts tradition of any society in the world,[dubious – discuss] and with hundreds of styles probably the most varied. Over the past two thousand years many distinctive styles have been developed, each with its own set of techniques and ideas.[33] There are also common themes to the different styles, which are often classified by "families" (家, jiā), "sects" (派, pai) or "schools" (門, men). There are styles that mimic movements from animals and others that gather inspiration from various Chinese philosophies, myths and legends. Some styles put most of their focus into the harnessing of qi, while others concentrate solely on competition and exhibition. Each style offers a different approach to the common problems of self-defense, health and self-cultivation.

Chinese martial arts can be split into various categories to differentiate them: For example, external (外家拳) and internal (内家拳).[34] 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.[35] 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 and Wing Chun. Chinese martial arts can also be divided according to religion, imitative-styles (象形拳), and more. 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.

[edit] Training

Chinese martial arts training consists of the following components: basics, forms, applications and weapons. Each style has its own unique training system with varying emphasis on each of those components.[36] In addition, philosophy, ethics and even medical practice[37] are highly regarded by most Chinese martial arts. A complete training system should also provide insight into Chinese attitudes and culture.[38]

[edit] Basics

Basics (基本功) are a vital part of the training, as a student cannot progress to the more advanced stages without them; without strong and flexible muscles including the management of the concept of "chi" (breath, or energy) and proper body mechanics, many movements of Chinese martial arts are simply impossible to perform correctly.[39][40] Basics training may involve a series of simple movements that are performed repeatedly over a short interval; examples of these basics training include stretching, stance work, rudimentary conditioning, meditation and basic kicking and punching techniques.

A common saying concerning basic training in Chinese martial arts is as follows:[41]

内外相合，外重手眼身法步，内修心神意气力。

Which can be translated 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.

[edit] Stances

Stances (steps or 步法) are structural postures employed in Chinese martial arts training.[42][43] They represent the foundation and exaggerated 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 riding 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.

[edit] 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.[44][45]

[edit] Forms

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 who were selected to preserve the art's lineage. Forms were designed to contain both literal, representative and exercise-oriented forms of applicable techniques which would be extracted, tested and trained by students through sparring sessions.[46]

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 using a wide range of weapons of various length and type, utilizing one or two hands. There are also styles which 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" which are performed by a single student. There are also "sparring" forms, which are 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. Sparring forms which utilize weapons are especially useful for teaching students the extension, range and technique required to manage a weapon.

[edit] Modern forms

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

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[47] compared to the traditional styles. Those who generally prefer to practice traditional styles, focused less on exhibition, are often referred to as traditionalists. Many traditionalists consider the evolution of today's Chinese martial arts as undesirable, saying that much of its original value is lost , and refer to the newer styles as "flowery fists and embroidered kicks". [48][49]

[edit] Controversy of modern form work

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 which goes beyond combat application is the use of lower stances and higher, stretching kicks. These two maneuvers are unrealistic in combat and are utilized in forms for exercise purposes. [50] 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.[51] This has led to criticisms by traditionalists for endorsing the more acrobatic, show-oriented Wushu competition.[52] 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. Forms designed solely for demonstration first appeared during the Yuan dynasty.

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 artform.[53]

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. [54]

[edit] Application

Application training refers to the training of putting techniques to use. Chinese martial arts usually contain a large arsenal of techniques and make use of the whole body; efficiency and effectiveness is what the techniques are based on.[55][56][57] When and how applications are taught varies from style to style; in the early stages of a student's training, most styles focus on drills in which each student knows what range of combat is being practiced and what attack to expect. Gradually, fewer and fewer rules are applied, and the students learn how to react and utilize technique. 'Sparring' refers to the major aspect of application training, which simulates a combat situation but usually includes rules and regulations to reduce the chance of serious injury to the students.

The subject of application training is a controversial one, and is the subject of a raging debate between the Neo-Traditional Martial Artists and Sports and traditional martial artists. In the neo-traditionalist view, martial arts training should eventually lead to and be proven by actual combat as well as being governed by a moral philosophy; neo-traditionalists often believe sparring to test techniques is either irrelevant because of their disbelief in the validity of a regulated test setting, or because the system's techniques are supposedly too dangerous to use outside of a real combat situation. In contrast, the sport-competition and traditionalist view suggests that all of the techniques in Chinese martial arts should be repeatedly time-tested through sparring to insure their effectiveness.[58]

An example of this approach in the Chinese Martial Arts is the tradition of Lei tai (擂臺/擂台, raised platform fighting) and Sanda (散打) or sǎnshǒu (散手).[59] 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 and Sanda represents the modern development of Lei Tai contests, but with rules in place to reduce the chance of serious injury. Many Chinese martial art schools teach or work within the rulesets of San Shou and Sanda, working to incorporate the movements, characteristics, and theory of their style.[60]

[edit] Weapons training

Most Chinese styles also make use of training the broad arsenal of Chinese weapons for conditioning the body as well as coordination and strategy drills.[61] 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 your body. The same requirements for footwork and body coordination is required[62] The process of weapon training proceed 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.

[edit] Martial arts and 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 system of ethics.[63][64] Wude (武 德) can be translated as "martial morality" and is constructed from two Chinese characters, "wu" (武) which means martial and "de" (德) 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 harmony between the emotional mind (Xin, 心) and the wisdom mind (Hui, 慧). 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.

[edit] Morality

Deed
Concept Yale romanization Traditional Hanzi Simplified Hanzi Putonghua Cantonese
Humility Qian 謙 谦 qiān him
Loyalty Cheng 誠 诚 chéng sing
Politeness Li 禮 礼 lǐ lai
Righteousness Yi 義 义 yì ji
Trust Xin 信 xìn sun
Mind
Concept Yale romanization Hanzi Putonghua Cantonese
Courage Yong 勇 yǒng yung
Endurance Ren 忍 rěn jan
Patience Heng 恒 héng hang
Perseverance Yi 毅 yì ngai
Will Zhi 志 zhì ji

[edit] Use of qi

Main article: Qigong

The concept of qì or ch'i (氣/气), the inner energy or "life force" that is said to animate living beings, is encountered in almost all Chinese martial arts.[65] Internal styles are reputed to cultivate its use differently than external styles.

One's qi can be improved and strengthened through the regular practice of various physical and mental exercises known as qigong. Though qigong is not a martial art itself, it is often incorporated in Chinese martial arts and, thus, practiced as an integral part to strengthen one's internal abilities.

There are many ideas regarding controlling one's qi energy to such an extent that it can be used for healing oneself or others: the goal of medical qigong. 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.[66]

[edit] Notable practitioners

See also: Category: Chinese martial artists and Category: Wushu practitioners

Examples of well-known practitioners (武术名师) throughout history:

An alleged photo of Wong Fei Hung. Some dispute this, however, pointing to the striking similarity to a photo of a man known to have been a son of Wong Fei Hung.
  • Yue Fei (1103–1142 CE) was a famous Chinese general and patriot of the Song Dynasty. Styles such as Eagle Claw and Xingyi attribute their creation to Yue. However, there is no historical evidence to support the claim he created these styles.
  • Ng Mui (late 1600s) was the legendary female founder of many Southern martial arts such as Wing Chun Kuen, Dragon style and Fujian White Crane. She is often considered one of the legendary Five Elders who survived the destruction of the Shaolin Temple during the Qing Dynasty.
  • Yang Luchan (1799–1872) was an important teacher of the soft style martial art known as tai chi chuan in Beijing during the second half of the 19th century. Yang is known as the founder of Yang style tai chi chuan, as well as transmitting the art to the Wu/Hao, Wu and Sun tai chi families.
  • Ten Tigers of Canton (late 1800s) was a group of ten of the top Chinese martial arts masters in Guangdong (Canton) towards the end of the Qing Dynasty (1644 – 1912). Wong Kei-Ying, Wong Fei Hung's father, was a member of this group.
  • Wong Fei Hung (1847–1924) was considered a Chinese folk hero during the Republican period. More than one hundred Hong Kong movies were made about his life. Sammo Hung, Jackie Chan, and Jet Li have all portrayed his character in blockbuster pictures.
  • Huo Yuanjia (1867–1910) was the founder of Chin Woo Athletic Association who was known for his highly publicized matches with foreigners. His biography was recently portrayed in the movie Fearless (2006).
  • Yip Man (1893–1972) was a master of the Wing Chun and the first to teach this style openly. Yip Man was the teacher of Bruce Lee. Most major branches of Wing Chun that exist today were developed and promoted by students of Yip Man.
  • Bruce Lee (1940–1973) was a Chinese American martial artist and actor who was considered an important icon in the 20th century.[67] He practiced Wing Chun and made it famous. Using Wing Chun as his base and learning from the influences of other martial arts his experience has exposed him to, he later developed his own martial arts philosophy which evolved into what is now known as Jeet Kune Do.
  • Jackie Chan (B. 1954) is a Hong Kong martial artist and actor widely known for injecting physical comedy into his martial arts performances, and for performing complex stunts in many of his films.
  • Jet Li (B. 1963) is the five-time sport wushu champion of China, later demonstrating his skills in cinema.

[edit] Popular culture

References to the concepts and use of Chinese martial arts can be found in popular culture. Historically, the influence of Chinese martial arts can be found in books and in the performance arts specific to Asia. Recently, those influences have extended to the movies and television that targets a much wider audience. As a result, Chinese martial arts have spread beyond its ethnic roots and have a global appeal.[68][69]

Martial arts play a prominent role in the literature genre known as wuxia (武侠小说). This type of fiction is based on Chinese concepts of chivalry, a separate martial arts society (Wulin, 武林) and a central theme involving martial arts.[70] Wuxia stories can be traced as far back as 2nd and 3rd century BC, becoming popular by the Tang Dynasty and evolving into novel form by the Ming Dynasty. This genre is still extremely popular in much of Asia and provides a major influence for the public perception of the martial arts.

Martial arts influences can also be found in Chinese opera of which Beijing opera is one of the best-known examples. This popular form of drama dates back to the Tang Dynasty and continues to be an example of Chinese culture. Some martial arts movements can be found in Chinese opera and some martial artists can be found as performers in Chinese operas.

In modern times, Chinese martial arts have spawned the genre of cinema known as the martial arts film. The films of Bruce Lee were instrumental in the initial burst of Chinese martial arts' popularity in the West in the 1970s. Martial artists and actors such as Jet Li and Jackie Chan have continued the appeal of movies of this genre. Martial arts films from China are often referred to as "kungfu movies" (功夫片), or "wire-fu" if extensive wire work is performed for special effects, and are still best known as part of the tradition of kungfu theater. (see also: wuxia, Hong Kong action cinema).

In the west, Kung fu has become a regular action staple, and makes appearances in many films that would not generally be considered "Martial Arts" films. These films include but are not limited to The Matrix Trilogy, Kill Bill, and The Transporter.

Martial arts themes can also be found on television networks. A U.S. network TV western series of the early 1970s called Kung Fu also served to popularize the Chinese martial arts on television. With 60 episodes over a three-year span, it was one of the first North American TV shows that tried to convey the philosophy and practice in Chinese martial arts.[71][72] The use of Chinese martial arts techniques can now be found in most TV action series, although the philosophy of Chinese martial arts is seldom portrayed in depth.

[edit] See also

[edit] References

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  3. ^ Price, Monroe (2008). Owning the Olympics: Narratives of the New China. Chinese University of Michigan Press. pp. 309. ISBN 9780472070329. 
  4. ^ Green, Thomas A. (2001). Martial arts of the world: an encyclopedia. ABC-CLIO. pp. 26-39. ISBN 9781576071502. 
  5. ^ Van de Ven, Hans J. (October 2000). Warfare in Chinese History. Brill Academic Publishers. ISBN 90-04-11774-1. 
  6. ^ Graff, David Andrew; Robin Higham (March 2002). A Military History of China. Westview Press. ISBN 0-8133-3990-1. Peers, C.J. (2006-06-27). Soldiers of the Dragon: Chinese Armies 1500 BC–1840 AD. Osprey Publishing. ISBN 1-84603-098-6. 
  7. ^ Bonnefoy, Yves (1993-05-15). Asian Mythologies. trans. Wendy Doniger. University Of Chicago Press. pp. 246. ISBN 0-226-06456-5. 
  8. ^ Chinese Kuoshu Institute. History of Shuai Jiao. Accessed January 30, 2006.
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  10. ^ Classic of Rites. Chapter 6, Yuèlìng. Line 108.
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  12. ^ trans. and ed. Zhang Jue (1994), pp. 367–370, cited after Hennin (1999) p. 321 and note 8.
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  16. ^ Wong, Kiew Kit (2002). The Complete Book Of Shaolin. Cosmos Internet Sdn Bhd. ISBN 983-40879-1-8. 
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  22. ^ Morris, Andrew (2000). "National Skills: Guoshu Martial arts and the Nanjing State, 1928–1937" in 2000 AAS Annual Meeting, March 9–12, 2000.. Retrieved on 2008-06-04. 
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  24. ^ Mangan, J. A.; Fan Hong (2002-09-29). Sport in Asian Society: Past and Present. UK: Routledge. pp. 244. ISBN 0-7146-5342-X. 
  25. ^ Morris, Andrew (2004-09-13). Marrow of the Nation: A History of Sport and Physical Culture in Republican China. University of California Press. ISBN 0-520-24084-7. 
  26. ^ Amos, Daniel Miles (1983) "Marginality and the Hero's Art: Martial artists in Hong Kong and Guangzhou (Canton)", University of California at Los Angeles (US), July 1984, UM 8408765
  27. ^ a b c d Fu, Zhongwen (2006-05-09). Mastering Yang Style Taijiquan. Berkeley, California: Blue Snake Books. ISBN 1-58394-152-5 (trade paper). 
  28. ^ Kraus, Richard Curt (2004-04-28). The Party and the Arty in China: The New Politics of Culture (State and Society in East Asia). Rowman & Littlefield Publishers, Inc.. pp. 29. ISBN 0-742-52720-4. 
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  30. ^ Riordan, Jim (1999-09-14). Sport and Physical Education in China. Spon Press (UK). ISBN 0-419-24750-5.  p.15
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  35. ^ Kennedy, Brian; Elizabeth Guo (2005-11-11). Chinese Martial Arts Training Manuals: A Historical Survey. CA: North Atlantic Books. ISBN 1-55643-557-6. 
  36. ^ Liang, Shou-Yu; Wen-Ching Wu (2006-04-01). Kung Fu Elements. The Way of the Dragon Publishing. ISBN 1-889-65932-0. 
  37. ^ Schmieg, Anthony L. (December 2004). Watching Your Back: Chinese Martial Arts and Traditional Medicine. University of Hawaii Press. ISBN 0-824-82823-2. 
  38. ^ Hsu, Adam (1998). The Sword Polisher's Record: The Way of Kung-Fu. Tuttle Publishing. ISBN 9780804831383. 
  39. ^ Wong, Kiew Kit (2002-11-15). The Art of Shaolin Kung Fu: The Secrets of Kung Fu for Self-Defense, Health, and Enlightenment. Tuttle Publishing. ISBN 0-804-83439-3. 
  40. ^ Kit, Wong Kiew (2002-05-01). The Complete Book of Shaolin: Comprehensive Program for Physical, Emotional, Mental and Spiritual Development. Cosmos Publishing. ISBN 9-834-08791-8. 
  41. ^ Zhongguo da bai ke quan shu zong bian ji wei yuan hui "Zong suo yin" bian ji wei yuan hui, Zhongguo da bai ke quan shu chu ban she bian ji bu bian (1994) (in Mandarin). Zhongguo da bai ke quan shu (中国大百科全书总编辑委員会) [Baike zhishi (中国大百科 , Chinese Encyclopedia)]. Shanghai:Xin hua shu dian jing xiao. p. 30. ISBN 7-500-00441-9. 
  42. ^ Mark, Bow-Sim (1981). Wushu basic training (The Chinese Wushu Research Institute book series). Chinese Wushu Research Institute. ASIN B00070I1FE. 
  43. ^ Wu, Raymond (2007-03-20). Fundamentals of High Performance Wushu: Taolu Jumps and Spins. Lulu.com. ISBN 1-430-31820-1. 
  44. ^ Jwing-Ming, Yang (1998-06-25). Qigong for Health & Martial Arts, Second Edition: Exercises and Meditation (Qigong, Health and Healing) (2 ed.). YMAA Publication Center. ISBN 1-886-96957-4. 
  45. ^ Raposa, Michael L. (November 2003). Meditation & the Martial Arts (Studies in Rel & Culture). University of Virginia Press. ISBN 0-813-92238-0. 
  46. ^ Bolelli, Daniele (2003-02-20). On the Warrior's Path: Philosophy, Fighting, and Martial Arts Mythology. Frog Books. ISBN 1-583-94066-9. 
  47. ^ Shoude, Xie (1999). International Wushu Competition Routines. Hai Feng Publishing Co., Ltd.. ISBN 9-622-38153-7. 
  48. ^ Parry, Richard Lloyd (August 16, 2008). "Kung fu warriors fight for martial art's future". Times Online. http://www.timesonline.co.uk/tol/sport/olympics/article4543383.ece. Retrieved on 2008-08-22. 
  49. ^ Polly, Matthew (2007). American Shaolin: Flying Kicks, Buddhist Monks, and the Legend of Iron Crotch : an Odyssey in the New China. Gotham. ISBN 9-781-59240262-5. 
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  54. ^ Seabrook, Jamie A. (2003). Martial Arts Revealed. iUniverse. pp. 20. ISBN 0595282474. 
  55. ^ Lo, Man Kam (2001-11-01). Police Kung Fu: The Personal Combat Handbook of the Taiwan National Police. Tuttle Publishing. ISBN 0-804-83271-4. 
  56. ^ Shengli, Lu (2006-02-09). Combat Techniques of Taiji, Xingyi, and Bagua: Principles and Practices of Internal Martial Arts. trans. Zhang Yun. Blue Snake Books. ISBN 1-583-94145-2. 
  57. ^ Zhongyi, Tong (2005-10-21). The Method of Chinese Wrestling. trans. Tim Cartmell. Blue Snake Books. ISBN 1-556-43609-2. 
  58. ^ Miing, Shi; Siao Weijia (1994-04-19). Mind Over Matter: Higher Martial Arts. trans. Thomas Cleary. Frog Books. ISBN 1-883-31915-3. 
  59. ^ Hui, Mizhou (July 1996). San Shou Kung Fu Of The Chinese Red Army: Practical Skills And Theory Of Unarmed Combat. Paladin Press. ISBN 0-873-64884-6. 
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  61. ^ Yang, Jwing-Ming (1999-06-25). Ancient Chinese Weapons, Second Edition: The Martial Arts Guide. YMAA Publication Center. ISBN 1-886-96967-1. 
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  64. ^ Hsu, Adam (1998-04-15). The Sword Polisher's Record: The Way of Kung-Fu (1st ed.). Tuttle Publishing. ISBN 0-804-83138-6. 
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  68. ^ Prashad, Vijay (2002-11-18). Everybody Was Kung Fu Fighting: Afro-Asian Connections and the Myth of Cultural Purity. Beacon Press. ISBN 0-807-05011-3. 
  69. ^ Kato, M. T. (2007-02-08). From Kung Fu to Hip Hop: Globalization, Revolution, and Popular Culture (Suny Series, Explorations in Postcolonial Studies). State University of New York Press. ISBN 0-791-46992-1. 
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  72. ^ Carradine, David (1993-01-15). Spirit of Shaolin. Tuttle Publishing. ISBN 0-804-81828-2. 
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