Baahk Hok Paai King Gong

Does anyone have info on the origin of the White Crane "King Gong"/ Ching Kang series? Was it influenced by longfist styles such as "Ching Kang pounding mortar?"

The buddhist symbolism seems appropriate for lama styles but I cannot confirm that it existed in early 20th century versions.

White Crane sets have a particular "flavor." Same for Lo Hon sets and Ting Gong.
What is the flavor of King Gong? King Gong exits cave. Drunken King Gong. Greater and lesser King Gong. Do they share any commonalities?

My lineage has gam gong techniques but no set named for the guardian gods. I suspect that this was a development by Ng Siu Jung.

Enlighten me, please.

Sorry John I can't be of much help but I feel I can pretty much say that it was not a Ng Siu Chung's elaboration

That's probably true. More likely it's one of the northern systems incorporated to the style from previous generations. The name doesn't seem to be thrown around in southern circles much.

Thanks, Gru.

It's all possible but I have my reasons to believe that Sing Long did teach that part as it was passed down from Chi Chi Yu to Ng Siu Chang (the brother of Ng Siu Chun) and from there down in a way or another

are they taught in all three styles descended from Sing Lung? Hap-Ga, Lama, Bak Hok?
That might shed some light on it.

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Originally Posted by TenTigers

are they taught in all three styles descended from Sing Lung? Hap-Ga, Lama, Bak Hok?
That might shed some light on it.

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That's the train of thought that got me to start the thread.

I don't recal whether Chan Tai San's list included a version, but it would be meaningless anyway since his lama style was a blend from many sources.

I don't think Lo Wai Keungs lama pai has it.

Quentin Fong has at least one from Tang Jak Ming.

Ng Yim Ming's Hap Ga doesn't have one, but that doesn't mean it wasn't taught by Wong Hen Wing or Wong Yan Lum.

Tse Cheuk Tong didn't teach one but he does teach a Ting Gong Kyun "heaven set" which emphasizes a lot of joint locks--one of the "Do Lo Sau." Cheuk learned from both Ng Siu Jung and Au Wing Nin but doesn't have a King Gong in his curriculum. Just wondering why. I should be able to ask him in a few months.

Thanks for your responses.

David Rogers, are you out there?...

I can tell you that Ao Wing Nam had the Kam Gong sets.
In our line we do have the Kamg Gong like Kamg Gong, Si Dai Kamg Gong so on so forth.
We do have the Ting Gong as well (which I've studied)
I reckon therefore it's part of what taught by Sing Long in a way or another.

Quote:

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Originally Posted by Gru Bianca

I can tell you that Ao Wing Nam had the Kam Gong sets.
In our line we do have the Kamg Gong like Kamg Gong, Si Dai Kamg Gong so on so forth.
We do have the Ting Gong as well (which I've studied)
I reckon therefore it's part of what taught by Sing Long in a way or another.

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Thanks, Luca. I know that Master Au had the sets because he learned from Ng Siu Jung and Ng Siu Chan after learning another branch of Lama Kyuhn from others. That puts it back to at least Chu Chi Yu's and Wong Lum Hoi's generation. For this to have become a common "style" within the system means that it probably existed in Sing Lung's time, at least conceptually if not as training sets.

I'm trying to clarify my thinking on how the gam gong methods fit within the system as a whole. Master Fong told me that there were no specific training forms much more than a century ago but the system was taught as four distinct styles, each with its own area of specialization: fei hok, lo hon, nei lahk and do lou (spell them however you wish). The gam gong sets would seem to fit within the lo hon subsect.

Any thoughts?

John,

based on the fact that the Kam Gong is part of the Buddhist iconography I would hazard to guess that it is part of the Lohan section.

Just pure speculation.

Sorry I can't be of authoritative help.

Regards