Why Wck 1850?

[Hendrik]

The following is a summary of Wck 1850 for those who is interested to see how things fit together .




the legend, the art, and history of Wing Chun kuen


1. Legends

There are many legends about the creation of Wing Chun kuen.

One is Miu soon created an art named as Siu Nin Tau(SNT) , by fusing his snake art and Ng mui's. white crane art. Then , he passed it to Yim yee. Yim passed to his daughter , Yim Wing Chun, and later passed to the Red Boat opera in Canton china. In the Red Boat opera, the Siu Nin Tau martial art system was then named as Wing Chun kuen.

Another one is Wing Chun kuen is created after a burning Shaolin temple for the anti Qing to fight the Qing army. This martial art is later passed to the Red Boat opera of Canton.

From the Red Boat opera, Wing Chun kuen further spread out and evolve to the present state.

There is also another legend, Wing Chun kuen within the Red Boat opera practice one long set called Siu Nin Tau, and later by some unknown reasons the one long set is re-organized into today's three sets system with Siu Lim Tau , Chum Kiu, and Biu Jee set.

With these legends goes into different directions, it is often confusing and contradicting.


2. The Siu Nin Tau code & Lim Tau Song ---- the 1850 Red Boat era classical writing

Due to the surface of the writings or ko kuit from different ( isolated since 1850 Red Boat era ) Wing Chun lineages ; today, it is possible for us to investigate , based on these writings , what is the most likely happened with Wing Chun kuen in the past ; and to verify the likeliness of the above legends.

There are two pieces of Red Boat era writing existed today.

One piece of writing is from the Yik Kam Wing Chun(YKWC) lineage. This lineage is passed down from Yik Kam , a Red Boat opera actor in 1850. This lineage practices one long Siu Nin Tau set with four parts, which the first part almost identical to today's Siu Lim Tau set and the other three parts are identical to today’s Chum Kiu and Biu Jee sets.

Other piece of writing is from the Snake Crane Wing Chun(SCWC) lineage. This lineage is passed down from 1850 Red Boat era. This lineage practices three sets , Siu Lim Tau, Chum Kiu, and Biu Jee, similar to today's Wing Chun kuen lineages.

The Yik Kam lineage has preserved a complete set of Siu Nin Tau writing since 1850 era. While the Snake Crane Wing Chun lineage has preserved a note book which describes Wing Chun kuen since 1890.

The following are the writings from these two isolated lineages, on the Siu Lim Tau set and the first part of Siu Nin Tau long set which is identical to the Siu Lim Tau set.


Snake Crane Wing Chun lineage Siu Lim Tau set writing: the Lim Tau song.

S1白鶴戲水蛇歸洞
White crane plays around with water, and the snake returns the hole.
S2飛麟九轉表掌通
Flying snake rotates the head in nine ways to represent the palm techniques
S3蛇鶴爭揮堵勁融
Snake and crane show off their best techniques and strength.
S4鶴足三提翼四功
Crane feet step three times and the crane's wing flips in four ways.
S5白鶴摺翼登天際
White crane folds the wings and flies to the sky.
S6蛇鶴能制逆宗童
Snake Crane Wing Chun is able to overcome the traitor (MaNinYee馬寧兒) of the Southern Shaolin


Yik Kam Wing Chun , Siu Nin Tau set Writing Part 1

Y1聚意會神平肩檔。
Focus the intention, union with the awareness ,while standing the equal shoulder stance
Y2兩手前起分陰陽
Two Hands Front Raise Divide into Yin and Yang.
Y3左腿跘出有善惡。
The trip out of Left leg has positive and negative effects.
Y4右跟屈勁緊反藏
The bending power of the right heel tightly store in the reverse direction.
Y5會合丹田督脈降。
Union in the Dan tian , Du medirian sink.
Y6手臂鞭出橫力勁
The arm whip out the horizontal power
Y7神寄指爪䄂底旁。
Pay attention to the finger, craw , and the side under the sleeve .
Y8旋迥自然順脈氣
Spiral twisting naturally , follow the breathing and the direction of the qi.
Y9掌背向外神意足。
Back of palm faces outward , Intention is full.
Y10翻掌抽纏對心防
Rotating palm reeling guarding the heart.
Y11單橫相撐合氣運。
Single horizontal and double press handling accord to breathing.
Y12相抱沉身力橫分
Embracing and sinking, splits the force horizontally.
Y13前虛急用擒伏法。
Forward Empty Urgently use seize subdue methods.
Y14下叉飛雙插翼忙
Lower intersection, flying double , hurry piercing wings
Y15合實雙掌穿心貫。
Joining the two palms drive through the heart
Y16下沉關元背攻上
Sinking down to Guan Yuan area back of the palm Attacks Upwards.
Y17一任自然脈安祥。
Following natural, spontaneously , the qi flow will be in a peaceful and balance state.
Y18企掌屈肘單昭陽
Erect palm bent elbow single zhao yang
Y19上下飛花勁脈暢。
Upper and Lower flying flower force flow and qi flow are smooth.
Y20呑吐如虹發力罡
Swallowing and spitting are like a smooth rainbow issuing force .
Y21下結關元參佛手。
Lower knot at guan yuan area turn into searching Buddha hands.
Y22一任自然氣脈長
Following the natural , spontaneously , the breathing and Zhen qi will grow strong

With these writings above as evidence from the past from difference sources; accompanied with the traditional Chinese martial art resources, Chinese history, and the Chinese anti Qing group record, we present you the following out come.


3. The creation of Wing Chun kuen,

From the Siu Lim Tau set and the Siu Nin Tau set Part 1 of these
two lineages , We found :

a, The movements of these two sets are both organized in five major sections ,with similar sequence ; accord to the S1 to S5 descriptions of the Snake Crane Wing Chun lineage Siu Lim Tau set writing: the Lim Tau song above.

b, The two pieces of writing are supporting each each others. Namely, the Siu Nin Tau set part 1 writing further describe the Siu Lim Tau set writing.

For example , The (Y6,The arm whip out the horizontal power; Y7,Pay attention to the finger, craw , and the side under the sleeve ; Y8, Spiral twisting naturally , follow the breathing and the direction of the qi meridian .) from Yik Kam Siu Nin Tau part 1 writing is describing the details of (S2,Flying snake rotates the head in nine ways to represent the palm techniques) of Snake Crane Wing Chun Lim Tau song. And, S2 is the instruction of the snake reel or Sup Jee Sau or the section before the "Sam Pai Fut" section of the Siu Lim Tau, we can track and identify the sources of the Yik Kam writing to their roots. For example, Y7 and Y8 are just slightly modification of Emei 12 zhuang writing. Emei 12 Zhuang is an ancient internal art system based on zen buddism with both daoist and esoteric buddhism elements from the Emei mountain of the Sze Chuan province in China. In addition, (Y18, Erect palm bent elbow single zhao yang) direct link to White Crane kuen from Fujian, with the Zhao Yang is an exclusive ancient unique term of White Crane kuen from Fujian. Y18 is the instruction for the move in Siu Nin Tau common known as "High Tan Sau" or Tun kiu in Snake Crane Wing Chun.

With these evidence above, we know the legend of snake art fuses with crane art to create Siu Nin Tau and the reorganize / evolution of the single Siu Nin Tau set system to three sets system with Siu Lim Tau , Chum Kiu, and Biu Jee are very very likely to be true.

From these above , we also can identify the mother art of Siu Nin/Lim Tau is the snake technology of the Emei 12 Zhuang system fusing with the crane technology of the White Crane of Fujian system. To be specific, the snake technology is the unique way of handling the joints and internal art development of the Emei 12 Zhuang , and The center line theory is the uniqueness of the White Crane kuen of Fujian. This combination of snake and crane technology is also named as Snake Body Crane Limbs, with the snake technology as the engine of the art and White Crane technology as the application of the art. Thus, Snake Body Crane Limbs is the DNA of Siu Nin/Lim Tau or Wing Chun kuen. One example to illustrate the Snake Body Crane Limbs is the Bong Sau of Wing Chun, Bong is the crane wing capture the center line while the spiral rotating body to generate the power is the snake body.

In addition, by analyzing the Emei Snake and Fujian Crane contents within the Siu Nin Tau set, we can now have a much better understanding on the details of the Siu Nin / Lim Tau set. As In the ancient Chinese martial art system, in general, an art will consist of two parts. They are the body of the art and the application of the art . Siu Nin Tau is not excluded. Siu Nin Tau is a moving Kung or Dong kung such as Zhuang kung of the Chinese internal martial art system, it consist of six elements which satisfied the body and application of an art. And, the six elements are physical body/ structure, mind handling, breathing development, qi development, force change handling, and momentum handling.

Also, via compare the Yik Kam Siu Nin Tau and Snake Crane Lim Tau song, we have found that : when the single set evolve into the three sets system, Wing Chun kuen changes into an application focused system and de focus or cut down the breathing and qi flow internal development.

[Hendrik]

4. The Red Boat era evolution of Wing Chun kuen

By evidence from the Siu Nin / Lim Tau above , we have verified the legend of the one set system reorganize into three sets system and the fusion of snake and crane to create Siu Nin/Lim Tau is extreme likely to a facts. We also have identified clearly within the traditional Chinese martial art style and history on these two mother arts of Wing Chun Kuen. In another words, we now know the DNA of Wing Chun kuen.

However, we still need to answer when and why Wing Chun evolved from a single set system to a three sets system? In addition, what about the legend of Wing Chun kuen is created after a burning Shaolin temple for the anti Qing to fight the Qing army.

To answer these questions, we can use the history of the Qing dynasty, the history of Anti Qing Hung Mun secret society, and the (S6, Snake Crane Wing Chun is able to overcome the traitor (MaNinYee馬寧兒) of the Southern Shaolin) from the Lim Tau song above, to decode what is extreme likely to happen.

So, let us look at the Chinese history and the Anti Qing Hung Mun in 1850 era.

The uprising of Tai Ping Heavenly Kingdom 1853 started anti Qing hot wave in china. At that time, three secret society groups in Canton were meeting in Shanghai with the Shanghai Small Knive association to plan an anti Qing uprisings in Southern China. The plan is to seize GuangZhou city for the Tai Ping Heavenly Kingdom.

In 1854, Lee Man Mau, a Red Boat opera actor leads a few thousands of Red Boat opera members , union with the leader of Tian Tee Hui/ Hung Mun, Chen Hoi, to support the Tai Ping Heavenly Kingdom attacks on GuangZhou city. These three secrete societies lead hundreds of thousands supporters from more than forty districts, and they tried to capture the GuangZhou city once. Since these army are the supporters of the Tai Ping Heavenly Kingdom's leader Hung Sau Chuen, they were called Hung army. A part of this army is the members of Tien Tee Hui or Hung Mun. The leaders of this Hung army are the FutShan Hung Mun/Tien Tee Hui leader , Chen Hoi, the Red Boat opera leaders Lee Man Mau and Leung Pei Yau.

After the anti Qing uprising to capture Guang Zhou was defeated by the Qing, the battle migrate to GuangXi, the DaChen kingdom was established there. Chen Hoi, Lee Man Mau, Leung Pei Yau , and Leung Dai Cheong become kings in this kingdom. At that time, Yik Kam and a group of Red Boat opera members were the supporters of Lee Man Mau.

In Guangxi battle zone, the army of Lee Man Mau were fighting with full heated, but unfortunately they were defeated by the Qing army. The army led by Lee Man Mau were a Red Boat Wing Chun and Choy Lee Fut coalition. Via todays Cho Gar Wing Chun lineage , a Wing Chun kuen lineage which had involved in the above Lee Man Mau uprising, one can find the co practice of both Wing Chun kuen and Choy Lee Fut. And also, a further Wing Chun and Choy Lee Fut fusion which evolved into the unique Ban Chung Wing Chun style. Lee Man Mau was continuous fighting the battle until he passed away in 1858. In 1861 Qing army captured Chen Hoi and executed him. The battle was continued until 1864, DaChen kingdom was totally destroyed.

In Canton battle zone, there are other groups of Red Boat opera members remain in Canton. In this era. Grandmaster Cheng Heng and his students from Choy Lee Fut were the trainers of the Tai Ping Heavenly Kingdom army. As the TaiPing Heavenly Kingdom grow bigger, Qing recruited many officials of the Tai Ping Heavenly Kingdom to work for Qing. Many has flipped from anti Qing to become Qing officials, for example the famous Cheung Kwok Leung.

In 1855, the governor of Canton Yip Ming Shun lead the Qing army to destroy the Red Boat opera union, killing the troupers, and burned down the Fine Jade hall. Some Red boat opera members had escaped and scattered around Futshan area. In the same time, the Choy Lee Fut train traitors who had become the Qing army also resided in the same area.

This destroyed of the Fine Jade Hall of the Red Boat opera is later pseudonym as the burning of the Shaolin temple by the Anti Qing or Hung Mun secret society. After this Fine Jade hall incident, Cantonese opera was ban for next fifteen years. Fifteen years later the Eight Harmony hall of Cantonese opera started and continuous on until today.

Due to the purpose of revenging the Red Boat opera members, Wing Chun leader evolved the single set system into three sets system for the purpose of quick training to fight against these traitors who was ex Choy Lee Fut practitioners.

With the focus in the application, the three sets wing chun kuen system can train good fighters against the traitors within a short period of time. Since they both reside in the FutShan area, FutShan become the confrontation zone.

Thus, we know today , it is extreme likely that evolution of the three sets system happen after 1855 , after the destruction of the Fine Jade Hall, to counter the ex Choy Lee Fut train traitors. And, That is what it means by- (S6, Snake Crane Wing Chun is able to overcome the traitor (MaNinYee馬寧兒) of the Southern Shaolin) the last line of the Lim Tau Song.

The combat strategy of against Choy Lee Fut traitors is : Wing Chun is using its "capture the center line close in concept " to penetrate the traitors. And, this is the beginning of the friction between Choy Lee Fut and Wing Chun kuen which continues on for some until today.

As for who was responsible for the design of the three sets system? Leung Lan Kwai is very likely to be the person. Leung Lan Kwai, a Wing Chun kuen master who was living in the era around 1796 to 1861. Investigating him from different angles, such as time frame, seniority in Wing Chun kuen, legend of having the nick name Ng Mui, and technical signature, it is extreme likely that he was the Wing Chun elderly who created the three sets system after the destruction of the Fine Jade hall for the purpose of vengeance against the traitors. He then passed the three sets system to Wong Wah Boh, Law Man Kung and others, while Yik Kam was engaged in other battle field with Lee Man Mau. Later, since he was wanted, Leung Lan Kwai escaped to the Southern Canton to hide from the Qing.

After the DaCheng kingdom were destroyed, Yik Kam escaped and taught at PanYu Cho family. He taught Cho Shun of the Cho family the 108 long set Siu Nin Tau . That was the beginning of the Cho gar Wing Chun transmission. On the other hand, in Futshan area, due to they focused to fight the traitors, the single long set system were replaced by the three sets system. Wing Chun kuen at that point become closed door art.

After the TaiPing Kingdom destroyed, the three set system carry on. Leung Jan open Wing Chun kuen to the public, and evolved into today's unique FutShan Wing Chun, and spread all over the world.

Since Wong Wah Boh were not seem to deeply involved in the uprising and the Tai Ping events, their successor Leung Jan has openly teach Wing Chun kuen at his era. Leung Jan lineage grows and evolves Wing Chun kuen successfully till the present. On the other hand, Yik Kam and Law Man Kung were known to involve deeply in uprising, thus, they and their descendent stay in low key style to avoid the Qing government track down. Snake Crane Wing Chun lineage which was from Law Man Kung went as far as using the story of burning shaolin temple to replace the incident of the burning of the Fine Jade Hall, and also using a Shaolin traitor, Ma Ning Yee, as a pseudonym for the traitors, but seldom brought up the true history.

From the tradition practice of the Snake Crane Wing Chun lineage as above, it is believed that this is one of the Wing Chun lineage which is involved deeply in fighting the traitors. In addition, Law Man Kung lineage is also seems to be the lineage which integrated the double knives to Wing Chun kuen, as we know Law 's student is named "double knives Fok Boh Chuen " . As for the source of this knives technics, it seems very likely to relate to the small knife association of Shanghai, a Hung Mun group which supporting the Lee Man Mau or Canton Hung Mun uprising of 1854.

[Hendrik]

5. Wing Chun kuen transmission

Miu soon fuses the Emei 12 Zhuang with Fujian White Crane to created Siu Nin Tau

Single long set Siu Nin Tau system Pre 1855.

(Miu Soon) --- > (Yim Yee) --- > (Yim Wing Chun, Leung Bok Lau) --- >(Leung Lan Kwai) --- >(Yik Kam, Wong Wah Boh, and others)

Lineages from Yik Kam currently practice single set Siu Nin Tau. Leung Jan lineages, or the descendent of Wong Wah Boh lineage, also have recorded of the single set Siu Nin Tau practice within Leung Jan lineages.

After single set system split to three sets system post 1855, three sets system:

(Leung Lan Kwai)(first generation) --- > (Wong Wah Boh, Law Man Kung and others)

The three sets system from Wong Wah Boh to Leung Jan has a relative harder characteristic. The sets from Law Man Kung, Fok Boh Chuen, Yuen Kay Shan has a relative softer characteristic. From the above family tree, pre 1850 , Wing Chun is transmitted within family relatives, Hung Mun, and Red Boat opera members privately. After 1855, Yik Kam Wing Chun is transmitted within the Cho family and Snake Crane Wing Chun is transmitted within the Law family were private. Wing Chun is open for the public after Leung Jan and Fok Boh Chuen . There after the Futshan three sets Wing Chun kuen system further grow and evolve into today's Wing Chun kuen.


6. Conclusion

From the above, we now have a clear view on the legend, art, and history of Wing Chun kuen. We know indeed Wing Chun kuen is a fusion of snake and crane technology, we know the mother arts, we know the Snake body Crane limbs DNA of Wing Chun kuen, we know why , when, and who was very likely to reorganize of the single set to the three sets system, we know there is indeed a burning of Fine Jade hall instead of Shaolin temple, and we also know indeed the three sets Wing Chun system is set up for fighting the Qing army or traitors.

Also, from the history of Wing Chun kuen and the writing records of Siu Lim Tau from the RedBoat era, by evidence, Wing Chun kuen's core concept is "guarding center using center " , and this core concept needs to be supported by the "Snake body Crane limbs" development via the Siu Nin Tau set. Thus, Wing Chun kuen or Praise spring boxing is not the Shaolin Weng Chun kuen or Everlasting spring kuen. These are different art.

With all the above information is actually widen the horizon of Wing Chun kuen, we know, Wing Chun kuen is not only limit for fighting. But, it has direct link to spiritual and healing dimension via its mother - the Emei 12 Zhuang. Wing Chun kuen does have a rich and strong roots via its mother - the White Crane of Fujian for its combat applications effectiveness and the snake from Emei for its internal art development .

[Hendrik]

A systematic presentation of wing chun 1850 content in the three sets and dummy set development.

[Hendrik]

Continuos for above

[Hendrik]

Continuous from above

[Hendrik]

Continuous from above final.

[Hendrik]

There is no magic, no holy grail , but realistic. Systematic and details of what, how, why, who. When . For those who likes to know. It is not a sale, marketing , but an information needed to be share to wcners of what is happening. It is how we all comes from it is not about who is the most authentic or original.

We do know what is the core basic for Wck in red boat era.

[mooyingmantis]

Fascinating!

[KPM]

Very interesting Hendrik! Thanks for finally posting a summary of your research. :) How do you think that Ku Lo Pin Sun fits into all of this? Was this format of Wing Chun simply Leung Jan's creation for ease of teaching? At one point it was suggested that this could have been the original format for Wing Chun with the San Sik later combined into forms.

And what is the Snake Crane WCK lineage? I didn't realize this was still around. Is there more info on it?

Thanks!

[Hendrik]

Thanks for finally posting a summary of your research. :)

This is just a brief summary.

We don't know what is the truth.
But we do know the data converges from Chinese official history, hung mun uprising code, and tcma DNA. Thus, it cannot be an accident.




How do you think that Ku Lo Pin Sun fits into all of this? Was this format of Wing Chun simply Leung Jan's creation for ease of teaching? At one point it was suggested that this could have been the original format for Wing Chun with the San Sik later combined into forms.


By evidence, Pin San is an evolution of Leung Jan at old age.

Wing chun original content has to have the Siu nim tau set as the siu nim tau in the three sets. That is the core of Wck since the creation. Wck always has the body of the art and the application of the art as shown in the above diagrams.


if you look at the history above carefully, wing chun 1850 actually is the wing chun of Leung LAN Kwai, the god son of madam wing chun and the sifu of WWB.

As we know today, the husband of madam wing chun, Leung bok lau, Leung LAN Kwai , WWB all are related to kulo village. Leung LAN Kwai brought Wck to red boat and that is the beginning of wing chun kuen 1850.



And what is the Snake Crane WCK lineage? I didn't realize this was still around. Is there more info on it?


http://www.slideshare.net/mobile/ccwayne/scwc-tai-pingheavenlykingdomrevolutionerawingchuntransmissi onscwcykwaa-22229730


Snake crane Wck is another name of post 1855 Wck after the splitting of one set system to three sets system.

Snake crane Wck lineage today is a sister lineage of yks since they both is from Law Man Kung.

As we know, after Leung LAN Kwai era there are three lineages exist, the WWB , the Yik Kam, the Law man Kung.


There are many things can be traced to know the 1850 wing chun which is the Wck of Leung LAN Kwai or the sigung of the Leung Jan. we are looking at that generation which give us more visibility on how things is at that era then the post Leung jan era where lots of things has evolved.


Via this way we can see what is very likely , then rely on any of the lineages stories . DNA fitting is a better tool then stories.

Ie.

the Leung jan futshan and Leung jan kulo has different stories. So , it is better to look at what happen in the 1850 Leung LAN Kwai era wck. And see what is more likely.

The chogar Wck has all kinds of stories and theory, but looking at those in reference with Leung LAN Kwai era Wck, one can identify what is more likely.




Looking at Wck with Wck 1850 view, none of today wck is complete. But every Wck lineage has a piece of value able DNA.




A breif of What we know about wck 1850 upto this day is recorded in this ebook.
http://www.slideshare.net/ccwayne/red-boatwcke-book

This book is the most comprehensive book in our era to answer, the history, art, theory , practice of Wck 1850.

It is in Chinese and expected to be translated.

[JPinAZ]

We don't know what is the truth.

Fair enough ;)

[Happy Tiger]

Thanks,Hendrik.

[Hendrik]

Thanks,Hendrik.

You are welcome !



I am proposing here, we know the DNA of Wck technology, including the mother white crane and emei. Saying nothing about the ancient is best.

There are Wck common denominators or DNA in every red boat off spring.

Got nothing to do with who is the most original, most authentic....etc. but we know the DNA and we know how things evolve. Wck is not a myth. Wck 1850 is only as old as M.I.T in Boston. So, it is not that far from us.