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Wu-Shu means 'martial techniques' or 'martial arts’ and is the generic term for all Chinese fighting arts including weapons systems and weaponless systems. | |||
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As late as the 18th century Kung Fu was the general term used by the Taoists for their system of psycho-physical exercises - a system that is a department of ancient China's medical gymnastics. Such exercises include Tao Yin; a system often translated into English as 'Taoist Yoga'. Nowadays, Kung -Fu is used by speakers of the Cantonese language (a Southern Chinese dialect) in a sense identical to Wushu as used by Mandarin speakers - i.e. as the generic term for martial arts. Depending on the context. Kung Fu can be used in any of the above senses.
Ch'uanpo means 'fist(ing) and grasping' and is one of the oldest Chinese expressions for unarmed combat. At an early stage this term entered the Korean language as Kenbop.
Ch'uanshu, an equally ancient Chinese term means 'fist(ing) techniques' or 'fist(ing) arts'. It is the generic term under which all Chinese fighting styles partly or wholly based on striking is classified.
Ch'uanfa means 'fist(ing) models' or 'fist(ing) science' or ‘fist(ing) laws'. It appears to date from a period later than the 7th century - i.e. after the monks of Shaolin monastery began to practice and systematize martial art. It entered the Japanese language as Kenpo or Kempo.
Shaolin (Jap. Shorin, Kor. Sorim) is a place name and the name of a Buddhist temple in Honan province, Northern China. It was constructed during the Northern Wei period by order of the Emperor Kao Tsu (died 500). As early as the 6th century, the monks of Shaolin were practising martial arts.
Szu (Jap. Ji) means 'temple'. It often occurs in the expression Shaolin Szu meaning 'Shaolin Temple'.
Shaolin Ch'uanfa (Jap. Shorin Kempo) or Shaolin Szu Ch'uanfa (Jap. Shorin-ji Kempo) are two expressions for the style of Ch'uanfa practiced and systematised by the monks of Shaolin.
This style has directly or indirectly influenced every present-day Chinese unarmed fighting style. An element of Southern style Shaolin Ch'uanfa -- as practiced in Fukien province - was introduced to Okinawa as early as the 13th century where it gave rise to Karate. Elements of Northern style Shaolin Ch'uanfa were introduced to Korea early in the T'ang dynasty (7th century) where they gave rise to several unarmed fighting systems.
Tao Yin came to be used for the system of extension-contraction exercises coupled with breath control. They typified the yogic regimen of the Taoists hermits or 'immortals' who withdrew from society to dwell in quiet forests and mountains, seeking serenity and long life. Tao Yin is closely related Ch'uanfa exercises.
Ch'uanfa is a Chinese unarmed lighting system. It is the direct ancestor of every present-day Far Eastern unarmed combat art and was developed to a peak of efficiency by the monks of the Shaolin monastery early in the 16th century.
The name Shaolin became synonymous with fighting prowess in later centuries and to this day, practitioners of Shaolin Ch'uanfa are feared and respected by Chinese of all classes.
In its early history Ch'uanfa was closely related to the magical dances of the Shamans, the magician-mediums of the ancient proto-Chinese culture. By the early Chou period (B.C. 1030-722) a related military dance called Wu Hsiang was taught to all males when they reached maturity - about fifteen years of age.
The earliest clear reference to ancient boxing in China dates from the Ch'un Ch'iu period (B.C. 722-480), China's age of chivalry when the rival feudal lords were engaged in constant warfare against each other.
The Chin Shu records that in the year B.C. 631, the Marquis of Chin dreamt that he was boxing with the Viscount of Ch'u and that on being knocked down by the Viscount, the latter knelt beside him and sucked out his brains. Shaken by the dream, the Marquis, was looking up to Heaven, the Viscount was kneeling with head bowed, as if in admission of wrongdoing.
In the battles that ensued, the centre of the Chin army feinted a flight, dragging branches to make a dust cloud and increase the appearance of disorder. The Ch'u army followed, and was promptly surrounded and cut to pieces.
Throughout antiquity but especially during the Warring States period (B.C. 480-221) Ch'uanfa practices were closely related to Tao Yin, the indigenous Chinese Yoga. This system stressed breath-control and dynamic stretching and contracting movements leading to improved blood circulation, lessened nervous tension and almost miraculous muscular power. Tao Yin was itself related to the prementioned Shaman dances and owes its development to the Taoist 'immortals' -- solitary hermits who withdrew to isolated mountain peaks to practise control of mind and body in search of serenity and long life.
The earliest reference to a type of Tao Yin breath-control like practised in advanced Ch'uanfa dates from the middle of the 6th century B.C. This is the first written evidence of yogic breath control in Asia Major.
Throughout the Ch'in (B.C. 221-202) and Han (B.C. 202-221 A.D.) periods many unarmed fighting arts flourished. These forms included both striking and grappling techniques and they are the direct antecedents of all later Ch'uanfa developments. During the Han period, Buddhism entered China. This was to be of relative importance to the future development of Ch'uanfa.
The official History of Wei states that the Shaolin Temple was constructed during the Wei period (385-543) by order of the Emperor Kao Tsu (died 500) out of veneration for a Buddhist monk from Central Asia. At about this time or shortly thereafter, the monks of Shaolin took up Ch'uanfa practise as a measure of self-defence in troubled times.
The T'ang Shu records that in 621 A.D., fourteen monks of the Shaolin monastery helped Li Shih-min, the future T'ang emperor in the decisive battles against his arch-rival, Wang Shih-ch'ung. By this stage, the Shaolin monks were already renowned for their expertise in armed and unarmed fighting.
The Shaolin monks systematized Ch'uanfa training into the style renowned throughout the ages in China, Korea and Japan. Even the smaller offshore islands did not escape its influence and Okinawa's Karate system is itself derived from elements of Southern Chinese Shaolin introduced in the 13th century.
In Martial arts literature both Chinese and Western, the terms internal and external - as they are used in martial arts – have been widely misunderstood. Apparently, the internal-external distinction was first employed by the Taoists to characterize differences of approach to exercise.
Then, with the passing of time, this terminology entered Ch'uanfa where it was used quite in-consistently, each writer basing the distinction between internal and external on his own set of criteria.
It is safe to say that as originally employed by the Taoists. The internal approach starts from a better acquaintance with Taoist yogic exercises of the body-mind – internal training begins with Taoist yogic exercises aimed at increasing the exponent's awareness of the subtle psycho-physical changes going on within himself whilst he is practicing.
The external approach is more haphazard - the exponent just imitates his master's movements without being taught the key to correct self-analysis while engaged in such action.
An extension of this distinction between internal and external is to be sought in the study of acupuncture, the traditional Chinese healing art.
The internal approach to Ch'uanfa is based on a sound knowledge of the guiding principles of Chinese medicine – no basic rules of living are contravened.
The external approach is not so based – exponents often practice in total ignorance of the guiding principles of Chinese medicine and, if unfortunate, they can do themselves serious harm.
This may be seen especially in breath-control (or lack of it) and the accompanying influence on blood circulation. Without knowledge of basic rules of breath control – they derived from traditional Chinese medicine - internal injury may occur as a direct result of too much strain when practicing a movement or set of movements.
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