FIRE HAWK
06-24-2001, 03:08 PM
The Shaolin Connection
By: J. Roselando
Over the years many claims have been made as to how systems are directly related to some high Shaolin monk or temple. Some even claim to be secret inside systems only taught to the high ranking officials of the temples and handed down so that it is preserved in its original devastating format. The truth of the matter is when looking into the so-called Shaolin arts all one need to do is look at a few very specific aspects of the art.
First and for most is the numerology of the forms. All forms of Shaolin related arts begin with the Three Steps formula. Often called Som Bo Gin (Three Step Arrow/Forward), this form has much symbolism for the Shaolin practitioner. First it introduces moving forward in life with ones Kung Fu. Second can be related to cosmology. Another principle relates to an old principle known as Gu Yee Kuen (Old Noble Boxing). Many have made claims as to being a Gu Yee Kuen art but not much is explained as to why the name Gu Yee Kuen. Gu Yee quite simply relates to the martial skill being developed, and refined, so that a martial expert should present himself is a scholarly fashion. Their boxing is honed to a point where as if a violent exchange was to happen the incident could be finished within three sharp actions. This can be contact, control and strike. It can also be to finish the exchange within the distance of three steps. With some of those ideas in mind you can see that the goal of the martial artist is not to have to strike your opponent fifty times and then go to the ground and mount them and continue the carnage to win a fight.
Now, when observing a system one clear indicator of Shaolin relation is the body structure. Shaolin arts will form a heal to toe horse, square facing posture that has a slight forward lean and hollow chest from the pressing of the ribs down, hands extending outward, elbows pressing towards the center and pointing to the earth. When looking at this structure one can easily see the similarities between arts.
Most Shaolin systems have religious and seceret society connections. Since that tradition can still be found today the Shaolin arts usually have some form of Shun Toi (Spiritual Alter) and Shun Dar/Kung (Spiritual Hitting/Work). Alters not only share as a place to light candles, place fruit, etc. for religious meanings but they connect people from lineage. Difference masters may have different disciples of the years and some might never have the chance to meet but with one look at the alter it can easily show they are from the same Pai (family). The sprit work is often introduced to inner disciples and along with that stage one begins the learning of medicine.
The fists of Shaolin boxing come in a few comon shapes. Foo Ngon Choi (Phoenix Eye Fist) is one major fist which acts like a needle when striking the opponent. Because of the pin pointing of this weapon, part of the Shaolin training involes Dim Mak (Point Touching). Target practice is introduced from day one and the learning of the internal workings of the human body, such as five elements etc., comes with this knowledge. Gyeung Gee Choi (Ginger Fist) is the reverse formation of the Foo Ngon. It is used in a slicing/hacking type of blow. Lung Ying Choi (Dragon Shape Fist) forms the middle knuckle rather than the index knuckle of the Foo Ngon but applied in a similar manor.
A few systems that are Shaolin related include Jook Lum Gee Tong Long (Bamboo Temple Mantis), Bak Hok (White Crane), Lung Ying (Dragon Shape), Bak Mei (White Eyebrow) etc.. Of these systems it is hard to say which is the oldest or purest but following along with the numerology one can easily see Jook Lum Gee retained the Som Bo (Three Steps), Sup Bot Dim (Eighteen Points) and Yut Bot Ling Bot (One Hundred Eight = Thirty Six/Seventy Two). Even arts that left the mainland and made its way to other places retained the connection such as the Okinawan/Japanese forms of San Chin (Three Steps), Seipa Kata (Eighteen), Sanseiru (Thirty-six) and Pechurin (One Hundred Eight). These forms typically follow a Sae Mun/Ba Gwa (Four Corners/Eight Directional) movement.
Many other elements can be discussed when looking at Shaolin arts but with these few factors one can easily notice if an art is related to Shaolin or just claiming to be Shaolin. Even though all arts may have stemmed from Shaolin knowledge one must look at its evolution and see when did it become what it is today. This is when an art stands on its own as a newer system of family art etc.. One example of this would be Wing Chun Kuen. Many fables claim Wing Chun to have come from the fabled Five Elders but with the above information one can see Wing Chun does not follow the Shaolin body structure, forms numerology/patterns and spiritual development etc.. Always be aware that there will always be people claiming this or that for their own personal gain in life (Covering Their Past/Money/Etc.!) but with the vast amounts of information available, exotic stories can easily be looked at through an informed eye!
By: J. Roselando
Over the years many claims have been made as to how systems are directly related to some high Shaolin monk or temple. Some even claim to be secret inside systems only taught to the high ranking officials of the temples and handed down so that it is preserved in its original devastating format. The truth of the matter is when looking into the so-called Shaolin arts all one need to do is look at a few very specific aspects of the art.
First and for most is the numerology of the forms. All forms of Shaolin related arts begin with the Three Steps formula. Often called Som Bo Gin (Three Step Arrow/Forward), this form has much symbolism for the Shaolin practitioner. First it introduces moving forward in life with ones Kung Fu. Second can be related to cosmology. Another principle relates to an old principle known as Gu Yee Kuen (Old Noble Boxing). Many have made claims as to being a Gu Yee Kuen art but not much is explained as to why the name Gu Yee Kuen. Gu Yee quite simply relates to the martial skill being developed, and refined, so that a martial expert should present himself is a scholarly fashion. Their boxing is honed to a point where as if a violent exchange was to happen the incident could be finished within three sharp actions. This can be contact, control and strike. It can also be to finish the exchange within the distance of three steps. With some of those ideas in mind you can see that the goal of the martial artist is not to have to strike your opponent fifty times and then go to the ground and mount them and continue the carnage to win a fight.
Now, when observing a system one clear indicator of Shaolin relation is the body structure. Shaolin arts will form a heal to toe horse, square facing posture that has a slight forward lean and hollow chest from the pressing of the ribs down, hands extending outward, elbows pressing towards the center and pointing to the earth. When looking at this structure one can easily see the similarities between arts.
Most Shaolin systems have religious and seceret society connections. Since that tradition can still be found today the Shaolin arts usually have some form of Shun Toi (Spiritual Alter) and Shun Dar/Kung (Spiritual Hitting/Work). Alters not only share as a place to light candles, place fruit, etc. for religious meanings but they connect people from lineage. Difference masters may have different disciples of the years and some might never have the chance to meet but with one look at the alter it can easily show they are from the same Pai (family). The sprit work is often introduced to inner disciples and along with that stage one begins the learning of medicine.
The fists of Shaolin boxing come in a few comon shapes. Foo Ngon Choi (Phoenix Eye Fist) is one major fist which acts like a needle when striking the opponent. Because of the pin pointing of this weapon, part of the Shaolin training involes Dim Mak (Point Touching). Target practice is introduced from day one and the learning of the internal workings of the human body, such as five elements etc., comes with this knowledge. Gyeung Gee Choi (Ginger Fist) is the reverse formation of the Foo Ngon. It is used in a slicing/hacking type of blow. Lung Ying Choi (Dragon Shape Fist) forms the middle knuckle rather than the index knuckle of the Foo Ngon but applied in a similar manor.
A few systems that are Shaolin related include Jook Lum Gee Tong Long (Bamboo Temple Mantis), Bak Hok (White Crane), Lung Ying (Dragon Shape), Bak Mei (White Eyebrow) etc.. Of these systems it is hard to say which is the oldest or purest but following along with the numerology one can easily see Jook Lum Gee retained the Som Bo (Three Steps), Sup Bot Dim (Eighteen Points) and Yut Bot Ling Bot (One Hundred Eight = Thirty Six/Seventy Two). Even arts that left the mainland and made its way to other places retained the connection such as the Okinawan/Japanese forms of San Chin (Three Steps), Seipa Kata (Eighteen), Sanseiru (Thirty-six) and Pechurin (One Hundred Eight). These forms typically follow a Sae Mun/Ba Gwa (Four Corners/Eight Directional) movement.
Many other elements can be discussed when looking at Shaolin arts but with these few factors one can easily notice if an art is related to Shaolin or just claiming to be Shaolin. Even though all arts may have stemmed from Shaolin knowledge one must look at its evolution and see when did it become what it is today. This is when an art stands on its own as a newer system of family art etc.. One example of this would be Wing Chun Kuen. Many fables claim Wing Chun to have come from the fabled Five Elders but with the above information one can see Wing Chun does not follow the Shaolin body structure, forms numerology/patterns and spiritual development etc.. Always be aware that there will always be people claiming this or that for their own personal gain in life (Covering Their Past/Money/Etc.!) but with the vast amounts of information available, exotic stories can easily be looked at through an informed eye!