Been reading the Leung Ting Book "Roots of Wing Tsun" and the section on what he refers to as "Weng Chun Bak Hok".
What are your thoughts on this style and any link it may have to Fuzhou White Crane and or Wing Chun?
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Been reading the Leung Ting Book "Roots of Wing Tsun" and the section on what he refers to as "Weng Chun Bak Hok".
What are your thoughts on this style and any link it may have to Fuzhou White Crane and or Wing Chun?
Why derail a thread that got nothing to do with cats and noodles?Quote:
Originally Posted by PalmStriker
:) Reference: http://www.wingchunpedia.org/pmwiki/...kienWhiteCrane
:) This specifically: YONGCHUN QUAN (Ode to Spring Boxing, Eternal Youth Boxing) It is said to have been created by Yan Yongchun of Liancheng County in Fujian Province during the reign of Emperor Jiaqing (1796–1820) of the Qing Dynasty. Yan Si, the father of Yan Yongchun left the city of Quanzhou to escape oppression to take refuge with his family and stayed in seclusion at Liancheng. Yan Si was a Shaolin boxe master and Yan Yongchun followed her father to practise martial arts since childhood and later became a Quan Fa master herself. It is said also that one day, when Yongchun was washing clothes at a riverside, she noticed a white crane fighting a green snake. She watched the fight carefully for a long time and came to understand their fighting rules. Thereafter she combined the tangling and hissing of the crane and snake with the movements of the White Crane boxing and Southern style Shaolin boxing, forming the original Yongchun boxing also known as Yongchun White Crane boxing. After she married Ling Botao of Jiangxi Province, she taught her boxing to her husband. They set up a Quan Fa club at Liancheng to teach the art. After death of her father, Yan Yongchun and her husband travelled in Jiangxi before settling down in Guangdong Province, where they target the Yongchun boxing at Zhaoqing. In 1815 martial arts actor Huang Baohua went to perform at Zhaofing and met Liang Botao. Liang taught Huang the Yongchun boxing while Huang taught Liang cudgel plays. They both mastered the arts. In this later years, Huang Baohua passed the martial arts of the Yongchun boxing and his cudgel plays to Liang Zan who, after mastering the arts, developed them into the present day Yongchun boxing. Meanwhile the Yongchun boxing become popularrized through the efforts of their boxers who combined to improve and develop the art. These are the Yongchun features: steady stances, generation of force through Sanchin and Rokkishu (“ready stances, generation of forces, three tricks with six forces…”), fists playing close to the one’s own body, usage of explosive power, stressing on real combat, focusing on completion of movements, combination of offense and defence by forcing up or crashing down the fists or feet from the opposing side. This style emphasizes speed of play, keeping fists and feet clse to one’s own body for better protection, as well as to prepare for attacks and fighting the opponent at close range. When fighting, Yongchun boxers contain their chest, arch the back, close their elbows and knees, draw in their ribs, keep their thighs closed to protect the groin. When they use their feet for attack, they must also use their hands in cooperation. When they kick they do not expose their groin and when they deliver fist blows, their hands do not leave the front of their body (Wu et al., 1992). Youngchun White Crane boxing was the basis on which the system described in the Okinawan Bubishi developed. It was a popular style of boxing in Fujien in the beginning of the 19th century, and it is very possible that Okinawans had been exposed to this boxing. On the other hand, the association between this boxing and actors of the Chinese Opera increase the possibility of some exposition inside Okinawa.
:) Combine that with Tang Family documentation of Master Leung Jan lineage from Yan Yongchun. http://www.tangyik-wengchun.info/history.html
:) Specifically: Tung Yu Ching was a wealthy businessman in Foshan and loved to make friends with people practising martial arts. He was an acquaintance of Leung Jan. Since Fung took up the teaching role at Lian Chong Hua Hong Shop, Tung had talked to Leung and told him about Fung’s background. Leung Jan knew that Fung’s skill and his own were of the same origin and was happy to make friends with him. Tung therefore introduced them and they had a good talk on fist-fighting skills. Leung told Fung that his skills was learnt from his uncle Leung Guoan. His aunt Yan Yongchun had also coached him. Leung Guoan taught him three sets of fist-fighting skill and each set was practised in a different way. The first set was called xiao nian tou (小念頭), and practised with the face looking to the front. One should pose the er zi qian yang stance and stand still. The feet only move twice in the course of practising the full set of xiao nian tou. For the hands, they got tan shou, fu shou and bang shou (榜手). It’s very good for defence and the body was well protected. The second set was xun qiao (尋橋) and practised with the body turned half sideways, i.e. about 45 degrees. To practise this set of skill, the stance would have to shift from the horse style to bow style. The bow style would centre on the foot behind which will be assisted by the foot in front, another saying being ‘arrow in front of the bow’ (前箭後弓) which was its main difference from bow style stance in other schools of martial arts which adopted ‘bow in front of the arrow’ (前弓後箭). For the hands, emphasis was on bang shou and lan shou. Bang shou was further classified as shang bang (上榜), zhong bang (中榜) and xia bang (下榜). Other hand movements were similar to that of xiao nian tou. The third set was biao Chi (標指) which was the foundation for practising with the wooden dummy. The stance would be turning from sideway to the front. As both the hands and feet would be used simultaneously, the full set of biao Chi would adopt la jiao and geng shou. The fist would be assisted by the heel, and the palm would be used when turning sideways. The flow of the movement was to prepare for practising with the wooden dummy. The wonder of these three sets of skills was that it was all embracing.