IMPERIAL CHINA - THE DYNASTIES - There is little doubt that the era of Imperial China is a major part of the Chinese legacy. It is here that you will find the roots to many of the Chinese’s greatest cultural themes. Imperial China begins during the Qin Dynasty in 221 B.C. and during this time period, many rulers would come - and each would leave their mark on this great country.
The Qin Dynasty is said to be the beginning of Imperial China. In its first years, King Zheng would lead the country through a series of battles that would eventually defeat all of the rival states. The country was divided and ruled through governors. We also see the standardization of weights, writing, money, measures, and more. In fact, during this period, the Great Wall of China was first built. But, King Zheng was fearful of subversion and he tended to treat scholars brutally. During this period of early imperial China the terracotta warriors guarding the tomb were fashioned – some 6000 soldiers of pottery making the Terracotta Army.
The next significant dynasty we encounter is that of the Han Dynasty which followed on the short reign of the Qin Dynasty. This dynasty dates from the time that Lui Bang battled with the Qin army and won. This was a long, 400 year ruling in which many things of note happened. The Silk Route was established and trade flourished. The Imperial Academy was established. Education was beginning to shift to a more merit driven system rather than lineage. You will also find the first dictionary of over 9000 characters coming from this time frame. Iron was used more so and paper was refined. We also find that in tombs, more rural and daily life events were captured in paintings. The beliefs in yin and yang begin here as well. During this time period we also find the beginnings of the Buddhism religion, although it took time to find its place.
After the Han Dynasty there was much strife and fighting and many kingdoms were set up and overcome. In 580 AD the Sui dynasty began. There were two Emperors in this dynasty and the canals were extended and the Great Wall further fortified.
The T’ang Dynasty was to bring even more change in culture and customs to Imperial China. Poets and all sorts of artists were beginning to appear. Travel abroad brought more literature and a new way of looking at life. Trade continued to flourish and tourists came to one of the largest cities in the world, Chang’an. Things such as imported horses and jewelry as well as various spices were found and brought to this culture. One of the largest differences during this time period was that women were offered a higher status. They played polo, rode horses and enjoyed dance and music. The canals were further extended allowing increased trade and travel. Great strides were made in rice growing. When this dynasty came to an end around 900 AD a period of strife followed.
The Later Imperial China period starts with the Yuan Dynasty – 1279 during a time when China were ruled by the Mongols and the grandson of Ghengis Khan, Kubla Khan became the first Yuan emperor. This was a troubled time in Chinese history with the Chinese being oppressed by their Mongol rulers.
The Ming Dynasty began around 1360 and lasted for almost three hundred years. It was unique in that the founder of the Ming Dynasty was a peasant and he tended to improve the lot of the ordinary Chinese people. Writing and art flourished. Ming pottery, with its distinctive coloring became popular as did general learning with a new Chinese dictionary being devised and widely introduced. Earlier dynasties had built many great walls but it was during the Ming Dynasty that the Great Wall of China was strengthened, enlarged and the result was much as we see it today.
The Qing Dynasty followed and again China was ruled by outsiders – the Manchu. Dating from 1644, the Qing dynasty continued right up to 1911. Although the start of this dynasty was a peaceful time many Chinese customs and dress were changed. Men had to shave their heads and wear Manchurian style clothes. Trade was increased and in particular much trade was conducted with England. There were a number of internal rebellions and this weakened the country. Following the reign of Tzu His and a short reign of a very young emperor a Rebellion succeeded and in came the Republic of China.More detailed information on the dynasties can be found on this mnsu.edu website.
Friday, January 18, 2008
China Treasures
CHINESE TREASURES, CHINESE PORCELAIN, CHINESE SILKS - Some of the most amazing things that you will see in Chinese museums and the countryside are their cultural treasures. These pieces of history really do tell a story - each piece tells its part in the story of China, and there are many reasons to understand and admire them. The most important of these is the understanding of what makes the Chinese people who they are.
Some of the Chinese treasures will include such things as ancient tombs, ancient jewels, and silks of all sorts in various rarities as well as ceramics, and so much more.
Let us explore one type of treasure that can be found within China – historic tombs. For example, the 2500 year old tomb of Marquis Yi of Zeng. This tomb was discovered in 1977 in the city of Suizou. The ruler was in power during the period of 482-221 B.C. during the Warring States Period. Inside the tomb were a number of treasures. There were 21 human sacrifices made for this ruler - they were women, concubines or maybe his wives or musicians that were killed to escort him to his new life. But, there was much more to be found than bodies. Some of the most astonishing things found were the musical instruments that were there. Flutes, panpipes, drums and bells were only the start of the collection that was found. In a nearby tomb even more musical instruments of various types were found, and the remarkable thing about them was their exceptional quality. There were weapons as well as armor found.
Chinese porcelain and pottery are famous – everyone longs to own one of these wonderful pieces. Porcelain made for the imperial emperors and their entourage is referred to as Imperial Porcelain and is of very fine quality and all pieces are identified as such on the base. Imperial Chinese Porcelain was always made from the finest materials; also too it was usually decorated with marvelous paintings – most usually in a darkish blue colour. One of the highest prices ever paid for an antique vase was the $10m for the vase shaped like a pear which was a copper glazed vessel with deep copper red embellishments. f you are interested in learning more about porcelain you will find much to fascinate you here Porcelain. Chinese porcelain is still made to day – and used in China on a daily basis. This is usually of a high quality and very pretty – it is also indeed very similar to that which has been made for centuries for the general population, and alas lacks the great value attaching to Ming pieces.
Chinese silk is another great treasure of this country. Most museums have wonderful examples of silk artistry through the ages. In ancient time, the Chinese learned to use the silk thread spun by silkworms to weave into wonderful pieces. During the Han Dynasty, this art grew greatly and Chinese Silk was exported to many parts of the known world. The silks were carried by horses and mules and the route they covered became known as the Silk Road with some silks going by ship. The legendary Silk Road started at Xi’an (Chang’an) the largest producing area and went west across China to Teheran, Baghdad, Constantinople and on to Rome and Europe. The beautiful silks were woven into everything from light gossamer garments to heavy bejeweled brocades with each Dynasty having its own characteristics. The Chinese National Silk Museum is the largest of its kind in the world though most of the world’s museums have a section devoted to Chinese silks they are so beautiful and famous.
There are also many jeweled treasures from China. Rich Golden Pagodas with precious stones, models accurate in every detail, golden buddhas and stunning jewelry – all are glimpses of the wonderful ancient Chinese heritage.
These are of course only a glimpse at the wonderful and rich treasures that the Chinese people have to offer. People from around the world search out these treasures to see with their own eyes the remarkable images of Chinese history. Information on a few of Beijing’s museums where you can see just some of the wonderful treasures can be found in the Beijing CityTourist Guide.
Some of the Chinese treasures will include such things as ancient tombs, ancient jewels, and silks of all sorts in various rarities as well as ceramics, and so much more.
Let us explore one type of treasure that can be found within China – historic tombs. For example, the 2500 year old tomb of Marquis Yi of Zeng. This tomb was discovered in 1977 in the city of Suizou. The ruler was in power during the period of 482-221 B.C. during the Warring States Period. Inside the tomb were a number of treasures. There were 21 human sacrifices made for this ruler - they were women, concubines or maybe his wives or musicians that were killed to escort him to his new life. But, there was much more to be found than bodies. Some of the most astonishing things found were the musical instruments that were there. Flutes, panpipes, drums and bells were only the start of the collection that was found. In a nearby tomb even more musical instruments of various types were found, and the remarkable thing about them was their exceptional quality. There were weapons as well as armor found.
Chinese porcelain and pottery are famous – everyone longs to own one of these wonderful pieces. Porcelain made for the imperial emperors and their entourage is referred to as Imperial Porcelain and is of very fine quality and all pieces are identified as such on the base. Imperial Chinese Porcelain was always made from the finest materials; also too it was usually decorated with marvelous paintings – most usually in a darkish blue colour. One of the highest prices ever paid for an antique vase was the $10m for the vase shaped like a pear which was a copper glazed vessel with deep copper red embellishments. f you are interested in learning more about porcelain you will find much to fascinate you here Porcelain. Chinese porcelain is still made to day – and used in China on a daily basis. This is usually of a high quality and very pretty – it is also indeed very similar to that which has been made for centuries for the general population, and alas lacks the great value attaching to Ming pieces.
Chinese silk is another great treasure of this country. Most museums have wonderful examples of silk artistry through the ages. In ancient time, the Chinese learned to use the silk thread spun by silkworms to weave into wonderful pieces. During the Han Dynasty, this art grew greatly and Chinese Silk was exported to many parts of the known world. The silks were carried by horses and mules and the route they covered became known as the Silk Road with some silks going by ship. The legendary Silk Road started at Xi’an (Chang’an) the largest producing area and went west across China to Teheran, Baghdad, Constantinople and on to Rome and Europe. The beautiful silks were woven into everything from light gossamer garments to heavy bejeweled brocades with each Dynasty having its own characteristics. The Chinese National Silk Museum is the largest of its kind in the world though most of the world’s museums have a section devoted to Chinese silks they are so beautiful and famous.
There are also many jeweled treasures from China. Rich Golden Pagodas with precious stones, models accurate in every detail, golden buddhas and stunning jewelry – all are glimpses of the wonderful ancient Chinese heritage.
These are of course only a glimpse at the wonderful and rich treasures that the Chinese people have to offer. People from around the world search out these treasures to see with their own eyes the remarkable images of Chinese history. Information on a few of Beijing’s museums where you can see just some of the wonderful treasures can be found in the Beijing CityTourist Guide.
China Artifacts
ANCIENT CHINESE ARTIFACTS - Throughout China, you will find wondrous ancient Chinese artifacts of all types. Many of these represent the culture and the history of China through the ages. We start with the 13 Tombs of the Ming Dynasty.
The Ming Tombs would be the world’s largest collection of royal tombs. The Ming Dynasty was during the years of 1368 – 1644. In the tomb area, which is northwest of Beijing, and convenient to visit when returning from The Great Wall of China, the tombs are built at a cluster of hills. In front of them, is a small plain.
Each of the Ming tombs is at the foot of its own, separate hill. Each of the tombs is linked by the Sacred Way, a road that connected them all. At the south end of this road, you will find a stone archway, and this archway is one of the largest stone archways in the country. Along the avenue you will find 18 pairs of human figures and animals made from stone inside the gate of the Sacred Way. This Sacred Way is a wonderful experience as each of the figures are of a very immense size.
ForThere are many more ancient artifacts of China to look at as well. One of the largest discoveries of treasures and artifacts of ancient China was found in Dunhuang in the Cave of Manuscripts. In this area there are 492 caves, and the area covers 45,000 meters. It has 2415 statues that are painted and five more that are wood - but, that is not nearly all there is to see here. The Mogao Grottoes is filled with wonderful artifacts including paintings, Buddhist scriptures (50,000 of them!), as well as textiles, and many other historical documents. This evidence of the ancient Chinese culture is very impressive.
Another remarkable artifact that was found in China is the Chechen Man. For those that do not know about him, he along with 3 women and a small infant, were mummified and buried in a tomb along the Silken Road. What makes this story so unique though, is that through discovery and research it was found that this man and the others were not Asian or Eastern at all, but rather Caucasians. This is remarkable in that it was not known that people from Western culture had come to this area until almost a thousand years later. The Chechen Man is thought to be over 3,000 years old. Today, he rests, as if he has just fallen asleep. Eyes are closed and his hands lie in his lap. Buried in a heavily salted area, he was preserved remarkably well. Truly an amazing relic of Chinese history.
These are only a few of the ancient Chinese artifacts that are found throughout China. Learning of them is like unraveling a piece of time. On other pages you will find information on many other great Chinese treasures..
The Ming Tombs would be the world’s largest collection of royal tombs. The Ming Dynasty was during the years of 1368 – 1644. In the tomb area, which is northwest of Beijing, and convenient to visit when returning from The Great Wall of China, the tombs are built at a cluster of hills. In front of them, is a small plain.
Each of the Ming tombs is at the foot of its own, separate hill. Each of the tombs is linked by the Sacred Way, a road that connected them all. At the south end of this road, you will find a stone archway, and this archway is one of the largest stone archways in the country. Along the avenue you will find 18 pairs of human figures and animals made from stone inside the gate of the Sacred Way. This Sacred Way is a wonderful experience as each of the figures are of a very immense size.
ForThere are many more ancient artifacts of China to look at as well. One of the largest discoveries of treasures and artifacts of ancient China was found in Dunhuang in the Cave of Manuscripts. In this area there are 492 caves, and the area covers 45,000 meters. It has 2415 statues that are painted and five more that are wood - but, that is not nearly all there is to see here. The Mogao Grottoes is filled with wonderful artifacts including paintings, Buddhist scriptures (50,000 of them!), as well as textiles, and many other historical documents. This evidence of the ancient Chinese culture is very impressive.
Another remarkable artifact that was found in China is the Chechen Man. For those that do not know about him, he along with 3 women and a small infant, were mummified and buried in a tomb along the Silken Road. What makes this story so unique though, is that through discovery and research it was found that this man and the others were not Asian or Eastern at all, but rather Caucasians. This is remarkable in that it was not known that people from Western culture had come to this area until almost a thousand years later. The Chechen Man is thought to be over 3,000 years old. Today, he rests, as if he has just fallen asleep. Eyes are closed and his hands lie in his lap. Buried in a heavily salted area, he was preserved remarkably well. Truly an amazing relic of Chinese history.
These are only a few of the ancient Chinese artifacts that are found throughout China. Learning of them is like unraveling a piece of time. On other pages you will find information on many other great Chinese treasures..
Sunday, January 13, 2008
Categorizing Styles of Chinese Martial Arts
For simplicity, styles of Chinese martial arts may be broadly categorized by the terms Northern and Southern.
Northern and Southern refer to the geographical region of origin and/or development. The Yellow River, in China, is used as the arbitrary line of division. Northern styles are those which are derived from north of the Yellow River, and Southern styles are those which originate from south of the river.
The terms External and Internal are used, however these are commonly misconceived, inaccurate and poorly applied terms. It is the tendency for some to regard styles of martial arts as being exclusively hard {external) or soft (internal). In reality , any good style of martial art should have a healthy balance of both internal and external principles, and no martial art, regardless of its technique or training, is purely internal or external. These two principles are inseparable, from the readily observable to the imperceivable, in a dynamic, mutually dependent relationship.
Hard and soft, relaxed and taught, up and down, opening and closing, thought and action. . . Yin and Yang- principles manifest in the training theories and methods, techniques, and philosophy of all styles of martial art; however, one should not become too dogmatic about use of this terminology.
Another categorization method pertains to combat range and is determined by body mechanics in technique execution. These ranges are long, medium, short and close (touching) range. Styles which emphasize techniques which are applied at the extent of the body's reach are called long range. These styles use movements which are large, wide and open. Styles which have the majority of movements focused on short distance execution are called short range styles. Then there is no distance to the target , the range is called close or touching range. Examples include grappling, holding and throwing techniques.
According to Chinese thought, a martial art style or system must have the following elements in order to be considered complete; a diverse repertoire of Attack and Defense Techniques, Aesthetic and Artistic Refinement, Health Exercises including the practice of qigong, Healing Techniques, and a theoretical framework which embraces both Philosophy and Moral Code. With literally hundreds of styles, Chinese martial arts are easily the most diverse and complex; each possessing unique characteristics , all coming from a rich cultural legacy. The vast knowledge found in these arts is due to the contributions of many generations of leading exponents who dedicated their lives to the perfection of their art.
Chinese martial arts trace their origin and development to three primary sources: the military, family clans, and religious sects. Styles and forms were created from and/or named after various influences, including the creator's name (Hong Family Boxing, Chaquan), animals or nature (Tiger, Crane, Mantis), philosophical principles (Taijiquan, Baguazhang), or location (Wudang, Northern Skaolin, and etc. ). However, regardless of their origin, they all share similar traits unique to Chinese martial arts.
Northern and Southern refer to the geographical region of origin and/or development. The Yellow River, in China, is used as the arbitrary line of division. Northern styles are those which are derived from north of the Yellow River, and Southern styles are those which originate from south of the river.
The terms External and Internal are used, however these are commonly misconceived, inaccurate and poorly applied terms. It is the tendency for some to regard styles of martial arts as being exclusively hard {external) or soft (internal). In reality , any good style of martial art should have a healthy balance of both internal and external principles, and no martial art, regardless of its technique or training, is purely internal or external. These two principles are inseparable, from the readily observable to the imperceivable, in a dynamic, mutually dependent relationship.
Hard and soft, relaxed and taught, up and down, opening and closing, thought and action. . . Yin and Yang- principles manifest in the training theories and methods, techniques, and philosophy of all styles of martial art; however, one should not become too dogmatic about use of this terminology.
Another categorization method pertains to combat range and is determined by body mechanics in technique execution. These ranges are long, medium, short and close (touching) range. Styles which emphasize techniques which are applied at the extent of the body's reach are called long range. These styles use movements which are large, wide and open. Styles which have the majority of movements focused on short distance execution are called short range styles. Then there is no distance to the target , the range is called close or touching range. Examples include grappling, holding and throwing techniques.
According to Chinese thought, a martial art style or system must have the following elements in order to be considered complete; a diverse repertoire of Attack and Defense Techniques, Aesthetic and Artistic Refinement, Health Exercises including the practice of qigong, Healing Techniques, and a theoretical framework which embraces both Philosophy and Moral Code. With literally hundreds of styles, Chinese martial arts are easily the most diverse and complex; each possessing unique characteristics , all coming from a rich cultural legacy. The vast knowledge found in these arts is due to the contributions of many generations of leading exponents who dedicated their lives to the perfection of their art.
Chinese martial arts trace their origin and development to three primary sources: the military, family clans, and religious sects. Styles and forms were created from and/or named after various influences, including the creator's name (Hong Family Boxing, Chaquan), animals or nature (Tiger, Crane, Mantis), philosophical principles (Taijiquan, Baguazhang), or location (Wudang, Northern Skaolin, and etc. ). However, regardless of their origin, they all share similar traits unique to Chinese martial arts.
Martial Ethics
Chinese Wushu embodies a profound philosophy and a sense of human life and social values (some people therefore call it "philosophic Chuan"). It emphasizes traditions, experience and rational knowledge, all of which are clearly reflected in the martial ethics of Wushu. That's why it can display the oriental civilization via combat skills and become an inexhaustible treasury of the human body culture.
As a form of social ideology, morality differs in different historical periods. It is the summation of the code of conduct of a given society for the adjustment of the relationships between man and man and between man and the society.
Generally speaking, it evaluates man's behavior and adjusts each other's relations with such conceptions as the good and the evil, justice and injustice, fairness and partiality, and honesty and dishonesty.
Wushu is a system of skills and theories the Chinese people have developed through their struggle with nature and in the course of their social life, for combat and to promote health and improve one's temperament.
Combat in the usual sense means violence, bloodshed and death. For this very reason, few of the various combative techniques and skills in the world are combined with morals.
On the contrary, Wushu has been influenced ever since its birth by moral principles and has developed a complete code of moral behavior.
Martial ethics, formed in such a Chinese cultural environment, has become a distinct feature of Wushu and is an essential part of the study and understanding of Chinese martial arts.
The main points of the martial ethics are
Respect for Human Life
In ancient China, human beings were regarded as the most valuable treasure of nature. Man is called one of the "four greats," together with the heaven, earth and truth, or law of natural activities. Who respects human life loves life better and who knows human life better knowns Wushu better. It was for protecting and maintaining human life that Wushu took birth.
Emphasis on Moral Principles
Moral principles provide the basis for maintaining a stable relationship between man and man, and between man and society. Those who want to learn Wushu shall respect these principles and never do anything harmful to these Chinese cultural traditions.
Emphasis on Moral Conduct and Manners
While learning martial skills, one should also cultivate the fine qualities. A sense of justice, diligence, persistence, honesty and hard work are also encouraged.
Respect for the Teacher and Care for Each Other
In learning Wushu, one should try hard to master everything that is taught. Both teacher and student should take care of each other and treasure the friendship between them.
Modesty and Eagerness
Those who learn martial arts should keep improving their skills and refrain from being arrogant and imperious, and flaunting their martial skills while belittling others.
Everyone should learn from each other to improve and be united and cooperative with each other.
Freedom from Personal Grudges
In learning Wushu, one aims at self-defence, and improving one's physical conditions. One should not contend with anyone on account of a personal grudge or bully the weak. No martial skill should be overused or be resorted to for deliberate provocation.
No bullying of the innocent is allowed and it is enouraged to take up the cudgels to uphold justice and truth.
Persistance and Perseverance
The practice of martial arts is a hard task which takes time and requires arduous efforts. Steadiness and persistance are required. One should learn and try to fully understand the essentials and inner meaning of each routine. The very cream and true essense of Wushu can be learned only through thought and actual body movements.
Various Wushu schools in Chinese history had their own detailed code for martial ethics. The Shaolin school, for example, established the ten commandments for its followers. The Wudang school also regulated "five notes" in recruiting followers and teaching martial arts Martial arts are taught not to people with bad qualities, not to evil-minded people, not to bellicose people, not to drunkards, and not to those who flaunt their martial arts.
As a form of social ideology, morality differs in different historical periods. It is the summation of the code of conduct of a given society for the adjustment of the relationships between man and man and between man and the society.
Generally speaking, it evaluates man's behavior and adjusts each other's relations with such conceptions as the good and the evil, justice and injustice, fairness and partiality, and honesty and dishonesty.
Wushu is a system of skills and theories the Chinese people have developed through their struggle with nature and in the course of their social life, for combat and to promote health and improve one's temperament.
Combat in the usual sense means violence, bloodshed and death. For this very reason, few of the various combative techniques and skills in the world are combined with morals.
On the contrary, Wushu has been influenced ever since its birth by moral principles and has developed a complete code of moral behavior.
Martial ethics, formed in such a Chinese cultural environment, has become a distinct feature of Wushu and is an essential part of the study and understanding of Chinese martial arts.
The main points of the martial ethics are
Respect for Human Life
In ancient China, human beings were regarded as the most valuable treasure of nature. Man is called one of the "four greats," together with the heaven, earth and truth, or law of natural activities. Who respects human life loves life better and who knows human life better knowns Wushu better. It was for protecting and maintaining human life that Wushu took birth.
Emphasis on Moral Principles
Moral principles provide the basis for maintaining a stable relationship between man and man, and between man and society. Those who want to learn Wushu shall respect these principles and never do anything harmful to these Chinese cultural traditions.
Emphasis on Moral Conduct and Manners
While learning martial skills, one should also cultivate the fine qualities. A sense of justice, diligence, persistence, honesty and hard work are also encouraged.
Respect for the Teacher and Care for Each Other
In learning Wushu, one should try hard to master everything that is taught. Both teacher and student should take care of each other and treasure the friendship between them.
Modesty and Eagerness
Those who learn martial arts should keep improving their skills and refrain from being arrogant and imperious, and flaunting their martial skills while belittling others.
Everyone should learn from each other to improve and be united and cooperative with each other.
Freedom from Personal Grudges
In learning Wushu, one aims at self-defence, and improving one's physical conditions. One should not contend with anyone on account of a personal grudge or bully the weak. No martial skill should be overused or be resorted to for deliberate provocation.
No bullying of the innocent is allowed and it is enouraged to take up the cudgels to uphold justice and truth.
Persistance and Perseverance
The practice of martial arts is a hard task which takes time and requires arduous efforts. Steadiness and persistance are required. One should learn and try to fully understand the essentials and inner meaning of each routine. The very cream and true essense of Wushu can be learned only through thought and actual body movements.
Various Wushu schools in Chinese history had their own detailed code for martial ethics. The Shaolin school, for example, established the ten commandments for its followers. The Wudang school also regulated "five notes" in recruiting followers and teaching martial arts Martial arts are taught not to people with bad qualities, not to evil-minded people, not to bellicose people, not to drunkards, and not to those who flaunt their martial arts.
Weapons
The weapons used by Wushu masters originate mainly from ancient military weapons. The Eigh-teen-Arms, the term used to describe Wushu weaponary includes the sabre, spear, sword, halbert, axe, battle axe, hook, fork, whip, mace, hammer, talon, trident-halberd, cudgel, long-handled spear, short cudgel, stick and meteor hammer. Some weapons are used to fight at a distance, while others at close range. Some are overt whereas others are covert. Some are hard while others are soft. Their functions are wide ranging-they beat, kill, hit, shoot and block with cutting blades, hooks, points or pricks.
The assortment of Wushu weapons has added to the colorful programs of martial arts, and pro-ficiency in Wushu involves being skilled in the techniques and usage of the Eighteen-Arms. A brief introduction to the weapons and their individual characteristics follows.
Sword
The sword is called the "gentleman of all weapons."
It is the most widely used of all weapons and its influence goes beyond the field of Wushu. Every school of Wushu uses the sword as the basic weapon for rigorous training.
Sword play in China was first seen in sacrificial offerings to gods or ancestors. In the Spring and Autumn Period and during the Warring States 2,000 years ago, sword play became a common practice in society. After years of refinement, it is now one of the major competitive events in Wushu competition today.
Sword play is brisk, agile, elegant, easy, graceful and natural in action. The movements are flexible, as well as variable. Attention is paid to both motion and stillness. Hardness and suppleness supplement each other. So sword play is likened to the "flying phoenix.".
There are many techniques in sword play. The main techniques include hitting, piercing, pointing, lifting, jumping and leaping, hanging, chopping, floating, poking, sweeping, wrestling, blocking and wiping. These actions, combined with body movements and footsteps, form various routines of sword play.
There are varied styles of sword play routines, handed down from ancient times. The popular ones include Tai Chi, Wudang, Bodhi-dharma, Longxing, Sancai, Qing-ping, Baxian (Eight-Immortals), Mantis, Lianhuan, Drunkard and Xingyi. The Chinese Physical Culture and Sports Commission has also worked out new routines for competition and physical exercises.
It is said that the Chinese sword play, although a simple form of play with hand weapons, has deep ideological connotations. From emperors, high-ranking military officers and ministers to common people, experts and scholars, the wearing of swords shows them to be a refined person signifying they are cultured and familiar with the arts. The skill and theory of sword play was perfected and eventually formed the distinctive "Sword Culture" in China.
Sabre
Sabre is called the marshal of all weapons.
It is one of the most used weapons in Chinese Wushu. According to the shape and size, it is divided into short-hiked sabre, twin short-hilted sabre, sabre, nine-ring sabre (named as nine rings on the handle), broad sword, long-bladed short-hilted sabre and others.
Sabre play is vigorous and quick in defence and offence so it is likened to the "fierce tiger." The main techniques of sabre play include chopping, hacking, cutting, pricking, lifting, poking, winding, blocking, pushing, and knocking. When you have sabre practice, the cooperation between the sabre and the hands is very important and both hands must closely coordinate with each other, so as to maintain balance. Sabre play calls for rigorous training and constant practice. The sabre and the body must also be consistent. "Make sure that sabre is always around your body, and your hands, feet, shoulders, and arms turn together with the sabre."
The main routines of sabre play include Panlong (coil dragon), Bagua (eight-diagrams), Qinglong (green dragon), Miao Sabre, Nine-Ring Sabre, Liuhe (six-combination), Shaolin Twin sabres, Tai Chi, Yexing (night-travel), Meihua (plum blossom), Drunkard sabre and Monkey sabre. In addition, the combination of sabre with other weapons forms many more routines. For example, the play with sabre in one hand and staff in another is called "sabre play with staff," a favorite exercise for Wushu enthusiasts.
Sabre play demonstrates hardness and powerful-ness, but not always. In defence and dodging actions, suppleness is needed.
Spear
The spear is called the king of all weapons.
It is one of the major long-shaft Wushu weapons. There are different types of spear, such as carefully-designed and delicately-made "flowery spear," thick and bold spear, zigzag spear with a sharp point and blade, double-head spear with blades on both sides. The spear was the major military weapon in ancient times and compact technique was developed.
The main characteristics of spear play are flexibility in body movements, lightness and agility in footwork, quickness and steadiness in turns and somersaults. The movements are clear and the tricks are practical. Spear play is likened to the "flying dragon." Spear play is very difficult, but it has a great effect on strengthening the physique .
The basic techniques of spear play include pricking, thrusting, circling, blocking, pointing, poking, holding and wringing. When you practise, you are advised to hold the spear firmly and flexibly, advance and retreat freely and smoothly, pricking the opponent quickly and directly, with the force on the point of the spear. This is one of the important basic skills in spear play. When you hold the spear, it must be close to your waist for support so that you can exert yc ar force easily. In all routines of spear play, the point of the spear moves in a circle, which is regarded as the fundamental of all styles of spear play and requires hard practice.
The main routines include Bagua (eight-diagram), Liuhe (six-combination), Double-Head, Yueya (crescent), Meihua (plum blossom), Shewei (snake-tail), Yang-family, Siping and Big Spear play as well.
Cudgel
The cudgel is called the "father of all weapons" meaning all other weapons were developed from it.
As the cudgel is easy to make and use, and is practical, it has become a very popular weapon.
Cudgel play lays stress on a sweeping action so the saying goes "with a cudgel you sweep all around." Some tricks employed for other weapons (such as spear and sabre) can also be used in cudgel play. There are many methods of playing the cudgel. Among the most commonly used are chopping, swinging, jabbing, hanging, jumping, leaping, smashing, pointing, blocking, sheltering, holding, piercing, floating, carrying, poking, and lifting. The different schools of cudgel play have different emphasis.
Cudgel is played as quickly as heavy rainfall and cudgel play combines offence with defence, always changing the ways of play.
The main routines include Qimei, Shaolin, Panlong (coiled dragon), Jiuzhou (nine-continent), Liuhe (six-combination), Tianqi, Bodhi-dharma, Monkey and Drunkard.
Cudgels are mostly made of wood but some are made of metal. In addition to long cudgels, there are two-section cudgel and three-section cudgel.
The assortment of Wushu weapons has added to the colorful programs of martial arts, and pro-ficiency in Wushu involves being skilled in the techniques and usage of the Eighteen-Arms. A brief introduction to the weapons and their individual characteristics follows.
Sword
The sword is called the "gentleman of all weapons."
It is the most widely used of all weapons and its influence goes beyond the field of Wushu. Every school of Wushu uses the sword as the basic weapon for rigorous training.
Sword play in China was first seen in sacrificial offerings to gods or ancestors. In the Spring and Autumn Period and during the Warring States 2,000 years ago, sword play became a common practice in society. After years of refinement, it is now one of the major competitive events in Wushu competition today.
Sword play is brisk, agile, elegant, easy, graceful and natural in action. The movements are flexible, as well as variable. Attention is paid to both motion and stillness. Hardness and suppleness supplement each other. So sword play is likened to the "flying phoenix.".
There are many techniques in sword play. The main techniques include hitting, piercing, pointing, lifting, jumping and leaping, hanging, chopping, floating, poking, sweeping, wrestling, blocking and wiping. These actions, combined with body movements and footsteps, form various routines of sword play.
There are varied styles of sword play routines, handed down from ancient times. The popular ones include Tai Chi, Wudang, Bodhi-dharma, Longxing, Sancai, Qing-ping, Baxian (Eight-Immortals), Mantis, Lianhuan, Drunkard and Xingyi. The Chinese Physical Culture and Sports Commission has also worked out new routines for competition and physical exercises.
It is said that the Chinese sword play, although a simple form of play with hand weapons, has deep ideological connotations. From emperors, high-ranking military officers and ministers to common people, experts and scholars, the wearing of swords shows them to be a refined person signifying they are cultured and familiar with the arts. The skill and theory of sword play was perfected and eventually formed the distinctive "Sword Culture" in China.
Sabre
Sabre is called the marshal of all weapons.
It is one of the most used weapons in Chinese Wushu. According to the shape and size, it is divided into short-hiked sabre, twin short-hilted sabre, sabre, nine-ring sabre (named as nine rings on the handle), broad sword, long-bladed short-hilted sabre and others.
Sabre play is vigorous and quick in defence and offence so it is likened to the "fierce tiger." The main techniques of sabre play include chopping, hacking, cutting, pricking, lifting, poking, winding, blocking, pushing, and knocking. When you have sabre practice, the cooperation between the sabre and the hands is very important and both hands must closely coordinate with each other, so as to maintain balance. Sabre play calls for rigorous training and constant practice. The sabre and the body must also be consistent. "Make sure that sabre is always around your body, and your hands, feet, shoulders, and arms turn together with the sabre."
The main routines of sabre play include Panlong (coil dragon), Bagua (eight-diagrams), Qinglong (green dragon), Miao Sabre, Nine-Ring Sabre, Liuhe (six-combination), Shaolin Twin sabres, Tai Chi, Yexing (night-travel), Meihua (plum blossom), Drunkard sabre and Monkey sabre. In addition, the combination of sabre with other weapons forms many more routines. For example, the play with sabre in one hand and staff in another is called "sabre play with staff," a favorite exercise for Wushu enthusiasts.
Sabre play demonstrates hardness and powerful-ness, but not always. In defence and dodging actions, suppleness is needed.
Spear
The spear is called the king of all weapons.
It is one of the major long-shaft Wushu weapons. There are different types of spear, such as carefully-designed and delicately-made "flowery spear," thick and bold spear, zigzag spear with a sharp point and blade, double-head spear with blades on both sides. The spear was the major military weapon in ancient times and compact technique was developed.
The main characteristics of spear play are flexibility in body movements, lightness and agility in footwork, quickness and steadiness in turns and somersaults. The movements are clear and the tricks are practical. Spear play is likened to the "flying dragon." Spear play is very difficult, but it has a great effect on strengthening the physique .
The basic techniques of spear play include pricking, thrusting, circling, blocking, pointing, poking, holding and wringing. When you practise, you are advised to hold the spear firmly and flexibly, advance and retreat freely and smoothly, pricking the opponent quickly and directly, with the force on the point of the spear. This is one of the important basic skills in spear play. When you hold the spear, it must be close to your waist for support so that you can exert yc ar force easily. In all routines of spear play, the point of the spear moves in a circle, which is regarded as the fundamental of all styles of spear play and requires hard practice.
The main routines include Bagua (eight-diagram), Liuhe (six-combination), Double-Head, Yueya (crescent), Meihua (plum blossom), Shewei (snake-tail), Yang-family, Siping and Big Spear play as well.
Cudgel
The cudgel is called the "father of all weapons" meaning all other weapons were developed from it.
As the cudgel is easy to make and use, and is practical, it has become a very popular weapon.
Cudgel play lays stress on a sweeping action so the saying goes "with a cudgel you sweep all around." Some tricks employed for other weapons (such as spear and sabre) can also be used in cudgel play. There are many methods of playing the cudgel. Among the most commonly used are chopping, swinging, jabbing, hanging, jumping, leaping, smashing, pointing, blocking, sheltering, holding, piercing, floating, carrying, poking, and lifting. The different schools of cudgel play have different emphasis.
Cudgel is played as quickly as heavy rainfall and cudgel play combines offence with defence, always changing the ways of play.
The main routines include Qimei, Shaolin, Panlong (coiled dragon), Jiuzhou (nine-continent), Liuhe (six-combination), Tianqi, Bodhi-dharma, Monkey and Drunkard.
Cudgels are mostly made of wood but some are made of metal. In addition to long cudgels, there are two-section cudgel and three-section cudgel.
Shaolin Kung Fu
Shaolin Quan or Shaolin Chuan originated in the Shaolin Temple on Mount Songshan at Dengfeng in Henan Province. It was named after the temple. The founder of the Shaolin Quan was said to be an Indian monk, Bodhi-dharma. The proposition, though very influential, was proved to be false, for there was a monk named BodhHiharma but he knew nothing at all about Chinese Chuan. In fact, Shaolin Quan was the manifestation of the wisdom of the monks of the temple, secular Wushu masters and army generals and soldiers.
According to historical records, the Shaolin Temple was built during the Northern Wei Dynasty in the 19th calendar year of the reign of Emperor Taihe (495) and is one of China's most famous an-cient temples. The Shaolin Temple once had many monks on its premises. Those monks of the lower level mostly came from the secular society and some of them knew some martial arts before entering the temple. Those who knew martial arts taught and helped each other to improve their skills. They also absorbed the experience of their predecessors and gradually developed their mar-tial arts into the unique Shaolin school.
During the Northern Qi Dynasty (550-577), Shaolin monks could lift hundreds of kilograms in weight and were good at Chuan and horse riding. By the end of the Sui Dynasty (581-618), Li Shimin, king of the Qin state, fought with the self-appointed emperor of the Zheng state, Wang Shichong. Shaolin monks Zhi Cao, Hui Yang, and Tan Zong took the side of Li and helped him catch the latter's nephew Wang Renze to force the self-appointed emperor to surrender. After Li Shimin was enthroned as the first emperor of the Tang Dynasty, he awarded his followers ac-cording to their military merits and contributions. Monk Tan Zong had the title of chief general con-ferred on him, while the Shaolin Temple was given large grants of land and money to expand the temple complex. The Shaolin Temple was allowed to organize an army of monk soldiers, who acted as military people in warring times and as monks in peace time. The Shaolin school of Chuan im-proved and developed through the trials of battles and wars.
The Shaolin monks in the Ming Dynasty (1368-1644) were all taught to practise Wushu. In the 32nd calendar year of the Jiajing reign (1553), the Shaolin military monks took part in the battles against Japanese invaders in southern China and accomplished many military exploits. Wang Shixing of the Ming Dynasty wrote in his Tour of Mount Song. "All of the 400 Shaolin Temple monks have good Wushu skills." "Fists and cudgels were wielded as if they were flying during practice." Cheng Chongdou also of the Ming Dynasty wrote in his book The Dossier of Shaolin Cudgel Fight: "Shaolin monks are best known for their cudgel fights." Ming general Yu Dayou, who was reputed for his anti-Japanese military service, went to teach cudgel fighting skills in the Shaolin Temple. It was in the latter half of the Ming Dynasty that Shaolin monks switched from cudgel fighting to fist fighting, so that fist fights could be promoted to match cudgel fights.
In the Qing Dynasty (1644-1911), the people living around the Shaolin Temple were very active in practising Wushu, which boosted the development of the Shaolin school of martial arts. In the Shao-lin Temple, the rear hall was used for Wushu exercises, where various kinds of weapons were dis-played on the weapon stands ready for use at any time. Some monks practised fist fighting to safe-guard the temple. After years of exercises and practising, foot prints were stamped on the brick floor of the rear hall and these prints can be seen clearly even today. On the north and south walls of the White-Clothes Hall, there are Qing Dynasty murals vividly depicting the exercises practised by monks in the temple.
In the fifth calendar year of the Yongzheng reign of the Qing Dynasty (1727), people were not allowed to practise Wushu. However, they could not be stopped either in the secular society or in the Shaolin Temple, where Wushu was practised underground.
Apart from the Shaolin Temple on Mount Songshan, the Shaolin Temple was said to have set up more than a dozen Shaolin affiliates in other temples in the country. The Shaolin Temple on Mount Nine Lotus in Fujian Province during the Ming Dynasty was famous for developing the Shaolin Quan.
Around the 1911 Revolution against the Qing Dynasty, the Shaolin martial arts underwent further developments. Wushu clubs were established all over the country and most of them took the Shaolin Quan. Lots of patriots organized sabre and flying sword groups in order to overthrow the dynasty. They constantly practised their skills and contributed greatly to the cause.
The Shaolin school is very popular in secular society with a myriad of followers. Over the years it was enriched theoretically and its techniques perfected to form a colossal system of fist fight.
Compactness is a feature of the Shaolin school. The moves and tricks of this school are short, simple and succinct as well as versatile. While fighting, Shaolin boxers would advance and retreat straight forwardly. They need only a small space to execute their style of fist fight which is des-cribed as "fighting along a single straight line." Shaolin Quart is powerful and speedy with rhythmic rising and falling of body movements. It stresses hardness of actions and blows but it also advocates softness in support of the hardness. The motto of the Shaolin fist fight says "hardness first and softness second." When jabbing or palming, the arm is required to be neither bent nor straight, in an attempt to blend external and internal forces.
According to historical records, the Shaolin Temple was built during the Northern Wei Dynasty in the 19th calendar year of the reign of Emperor Taihe (495) and is one of China's most famous an-cient temples. The Shaolin Temple once had many monks on its premises. Those monks of the lower level mostly came from the secular society and some of them knew some martial arts before entering the temple. Those who knew martial arts taught and helped each other to improve their skills. They also absorbed the experience of their predecessors and gradually developed their mar-tial arts into the unique Shaolin school.
During the Northern Qi Dynasty (550-577), Shaolin monks could lift hundreds of kilograms in weight and were good at Chuan and horse riding. By the end of the Sui Dynasty (581-618), Li Shimin, king of the Qin state, fought with the self-appointed emperor of the Zheng state, Wang Shichong. Shaolin monks Zhi Cao, Hui Yang, and Tan Zong took the side of Li and helped him catch the latter's nephew Wang Renze to force the self-appointed emperor to surrender. After Li Shimin was enthroned as the first emperor of the Tang Dynasty, he awarded his followers ac-cording to their military merits and contributions. Monk Tan Zong had the title of chief general con-ferred on him, while the Shaolin Temple was given large grants of land and money to expand the temple complex. The Shaolin Temple was allowed to organize an army of monk soldiers, who acted as military people in warring times and as monks in peace time. The Shaolin school of Chuan im-proved and developed through the trials of battles and wars.
The Shaolin monks in the Ming Dynasty (1368-1644) were all taught to practise Wushu. In the 32nd calendar year of the Jiajing reign (1553), the Shaolin military monks took part in the battles against Japanese invaders in southern China and accomplished many military exploits. Wang Shixing of the Ming Dynasty wrote in his Tour of Mount Song. "All of the 400 Shaolin Temple monks have good Wushu skills." "Fists and cudgels were wielded as if they were flying during practice." Cheng Chongdou also of the Ming Dynasty wrote in his book The Dossier of Shaolin Cudgel Fight: "Shaolin monks are best known for their cudgel fights." Ming general Yu Dayou, who was reputed for his anti-Japanese military service, went to teach cudgel fighting skills in the Shaolin Temple. It was in the latter half of the Ming Dynasty that Shaolin monks switched from cudgel fighting to fist fighting, so that fist fights could be promoted to match cudgel fights.
In the Qing Dynasty (1644-1911), the people living around the Shaolin Temple were very active in practising Wushu, which boosted the development of the Shaolin school of martial arts. In the Shao-lin Temple, the rear hall was used for Wushu exercises, where various kinds of weapons were dis-played on the weapon stands ready for use at any time. Some monks practised fist fighting to safe-guard the temple. After years of exercises and practising, foot prints were stamped on the brick floor of the rear hall and these prints can be seen clearly even today. On the north and south walls of the White-Clothes Hall, there are Qing Dynasty murals vividly depicting the exercises practised by monks in the temple.
In the fifth calendar year of the Yongzheng reign of the Qing Dynasty (1727), people were not allowed to practise Wushu. However, they could not be stopped either in the secular society or in the Shaolin Temple, where Wushu was practised underground.
Apart from the Shaolin Temple on Mount Songshan, the Shaolin Temple was said to have set up more than a dozen Shaolin affiliates in other temples in the country. The Shaolin Temple on Mount Nine Lotus in Fujian Province during the Ming Dynasty was famous for developing the Shaolin Quan.
Around the 1911 Revolution against the Qing Dynasty, the Shaolin martial arts underwent further developments. Wushu clubs were established all over the country and most of them took the Shaolin Quan. Lots of patriots organized sabre and flying sword groups in order to overthrow the dynasty. They constantly practised their skills and contributed greatly to the cause.
The Shaolin school is very popular in secular society with a myriad of followers. Over the years it was enriched theoretically and its techniques perfected to form a colossal system of fist fight.
Compactness is a feature of the Shaolin school. The moves and tricks of this school are short, simple and succinct as well as versatile. While fighting, Shaolin boxers would advance and retreat straight forwardly. They need only a small space to execute their style of fist fight which is des-cribed as "fighting along a single straight line." Shaolin Quart is powerful and speedy with rhythmic rising and falling of body movements. It stresses hardness of actions and blows but it also advocates softness in support of the hardness. The motto of the Shaolin fist fight says "hardness first and softness second." When jabbing or palming, the arm is required to be neither bent nor straight, in an attempt to blend external and internal forces.
Tai Chi Chuan
Tai Chi Quan is also called "philosophical Chuan," meaning that its principles and techniques all contain the idea of Tai Chi in Chinese classical philosophy. To learn Tai Chi Quan calls, first of all, for under-standing this philosophical thought. This helps to know the techniques of Tai Chi Quan.
The idea of Tai Chi is, in fact, a systematic thought of balance.
Tai Chi refers to a primitive state in Chinese philosophy. It is a natural existence. The life of man was a state of Tai Chi in the earliest stage, just like the baby in the body of a mother. Lao Zi, the repre-sentative of Taoism, spoke very highly of this state when he wrote that people formed much tension in their daily lives which led to illnesses. Therefore, people should relax their bodies and minds through exercise to return to the infant state.
Chinese classical philosophy holds that all things are born of Tai Chi. The whole process is stated in detail in the Book of Changes written in the Zhou Dynasty (1100-221 B.C.): "Tai Chi causes the two opposites, the two opposites cause the four seasons, and the four seasons cause the eight natural phenomena (denoting heaven, earth, thunder, wind, water, fire, mountains and lakes)." The eight phenomena cause all things. The two opposites mentioned here are the yin (negative) and yang (positive), which exist in all system. The picture shows the famous "Tai Chi Chart," in which the black represents yin and the white yang. They are supplementary to each other, transform themselves into each other and depend on each other. The harmony and balance between yin and yang constitute the "Tai Chi state." The human body is also composed of yin and yang. When yin and yang are balanced, both the body and mind are in a good state; however, their imbalance leads to illness. Therefore, to improve the physical qualities and prevent illness begins with the adjustment of yin and yang. Offence and defence also form a contradiction of yin and yang; if the relationship between offence and defence is handled well, the key point of combat is grasped. Therefore, to grasp the rules of the changes between yin and yang of the human body is an important way to improve the ability of combat. The ideas described above form the basic train of thought for Tai Chi Quan.
The Tai Chi philosophical thought is embodied in the play of every exercise of the Tai Chi Quan.
Yin and yang are divided in every movement: the relationship of yin and yang is involved in every motion of the Tai Chi Quan, whether in a fixed form or in a process.
There is a clear distinction between the empty and the solid, and between the above and the below in every movement. In the Single Whip exercise, the left hand in front is the open palm and belongs to yang, and the right hand in the rear is the hook and belongs to yin. When the head is up slightly, it is yang, and when the crotch is relaxed and down, it is yin. When the weight is on the left leg, it is solid and belongs to yang; then the right leg is empty and belongs to yin. At the same time, every yin and yang element implies the tendency to transform itself into the opposite. This is why the play of the Tai Chi Quart changes constantly and continuously like the moving clouds and flowing water.
There are curves everywhere: The Tai Chi Chart is round in shape. Between yin and yang are harm-onious coexistence and soft transformation. The curved movements conform best to the natural state of the structure of the human body, making it easy to transform and adjust the yin and yang relationship smoothly.
Motion and stillness exist together. The movements of the Tai Chi Quan are relaxed and slow. They call for stillness in motion to achieve the relaxation of the mind and body. At the same time, while in the fixed form, there must be motion in stillness so that the movements do not discontinue and the mind and energy flow do not stop. Motion and stillness are the two opposites of a contradiction-the yin and yang. The coexistence of motion and stillness is the embodiment of the Tai Chi Quan idea: "There is yin in yang, and yang in yin."
Hardness and softness are combined: if too hard, it is easy to break; if too soft, it is easy to damage. The Tai Chi Quan stresses softness to achieve hardness. In the light and soft movements is an im-posing manner, assisted by the mind at the same time. Where there is the body form, there is the mind. What is tempered is the changeable and flexible "hardness." While executing the movements, softness is implied while hardness is shown in form. So exists the integral whole, whether in ad-vance or retreat, in rise or fall, or in closing or opening. When one part moves, all parts of the body move. This effectively helps to temper the integrity and harmony of the human body and in-crease the harmony between yin and yang.
The Tai Chi thought is a strict system and it is embodied in the Tai Chi Quan in many ways. I have given only a few examples to illustrate the points. The readers have to carefully understand the more pro-found intentions of the Tai Chi Quan through their own practice.
The idea of Tai Chi is, in fact, a systematic thought of balance.
Tai Chi refers to a primitive state in Chinese philosophy. It is a natural existence. The life of man was a state of Tai Chi in the earliest stage, just like the baby in the body of a mother. Lao Zi, the repre-sentative of Taoism, spoke very highly of this state when he wrote that people formed much tension in their daily lives which led to illnesses. Therefore, people should relax their bodies and minds through exercise to return to the infant state.
Chinese classical philosophy holds that all things are born of Tai Chi. The whole process is stated in detail in the Book of Changes written in the Zhou Dynasty (1100-221 B.C.): "Tai Chi causes the two opposites, the two opposites cause the four seasons, and the four seasons cause the eight natural phenomena (denoting heaven, earth, thunder, wind, water, fire, mountains and lakes)." The eight phenomena cause all things. The two opposites mentioned here are the yin (negative) and yang (positive), which exist in all system. The picture shows the famous "Tai Chi Chart," in which the black represents yin and the white yang. They are supplementary to each other, transform themselves into each other and depend on each other. The harmony and balance between yin and yang constitute the "Tai Chi state." The human body is also composed of yin and yang. When yin and yang are balanced, both the body and mind are in a good state; however, their imbalance leads to illness. Therefore, to improve the physical qualities and prevent illness begins with the adjustment of yin and yang. Offence and defence also form a contradiction of yin and yang; if the relationship between offence and defence is handled well, the key point of combat is grasped. Therefore, to grasp the rules of the changes between yin and yang of the human body is an important way to improve the ability of combat. The ideas described above form the basic train of thought for Tai Chi Quan.
The Tai Chi philosophical thought is embodied in the play of every exercise of the Tai Chi Quan.
Yin and yang are divided in every movement: the relationship of yin and yang is involved in every motion of the Tai Chi Quan, whether in a fixed form or in a process.
There is a clear distinction between the empty and the solid, and between the above and the below in every movement. In the Single Whip exercise, the left hand in front is the open palm and belongs to yang, and the right hand in the rear is the hook and belongs to yin. When the head is up slightly, it is yang, and when the crotch is relaxed and down, it is yin. When the weight is on the left leg, it is solid and belongs to yang; then the right leg is empty and belongs to yin. At the same time, every yin and yang element implies the tendency to transform itself into the opposite. This is why the play of the Tai Chi Quart changes constantly and continuously like the moving clouds and flowing water.
There are curves everywhere: The Tai Chi Chart is round in shape. Between yin and yang are harm-onious coexistence and soft transformation. The curved movements conform best to the natural state of the structure of the human body, making it easy to transform and adjust the yin and yang relationship smoothly.
Motion and stillness exist together. The movements of the Tai Chi Quan are relaxed and slow. They call for stillness in motion to achieve the relaxation of the mind and body. At the same time, while in the fixed form, there must be motion in stillness so that the movements do not discontinue and the mind and energy flow do not stop. Motion and stillness are the two opposites of a contradiction-the yin and yang. The coexistence of motion and stillness is the embodiment of the Tai Chi Quan idea: "There is yin in yang, and yang in yin."
Hardness and softness are combined: if too hard, it is easy to break; if too soft, it is easy to damage. The Tai Chi Quan stresses softness to achieve hardness. In the light and soft movements is an im-posing manner, assisted by the mind at the same time. Where there is the body form, there is the mind. What is tempered is the changeable and flexible "hardness." While executing the movements, softness is implied while hardness is shown in form. So exists the integral whole, whether in ad-vance or retreat, in rise or fall, or in closing or opening. When one part moves, all parts of the body move. This effectively helps to temper the integrity and harmony of the human body and in-crease the harmony between yin and yang.
The Tai Chi thought is a strict system and it is embodied in the Tai Chi Quan in many ways. I have given only a few examples to illustrate the points. The readers have to carefully understand the more pro-found intentions of the Tai Chi Quan through their own practice.
Martial Arts
Concept
Wushu (also known as kung-fu or martial arts) is one of the typical demonstrations of traditional Ch-inese culture. It is a sport which utilizes both brawn and brain.
The theory of Wushu is based upon classical Chinese philosophy, while the skills of Wushu consist of various forms of fighting: fist fights, weapon fights, and other fighting routines (including such offence and defence acts as kicking, hitting, throwing, holding, chopping and thrusting) and unarmed combats.
Wushu is not only a sporting exercise but also an artistic form. It is used to cure illness as well as for self-defence and is a comprehensive form of culture of the human body.
Wushu enjoys a long history and great popularity in China. Thanks to its uniqueness and charisma or-iginating from traditional oriental culture, Wushu is captivating the attention of more and more people in other nations.
Characteristics
As one of the earliest and long-lasting sports, Wushu has developed its own characteristics over time. Major characteristics are listed below:
1.Because of its long history incorporating differences in culture, ideology, region and usages, Wushu has developed into a great variety of schools and styles. While some schools emphasize the use of fists and hand technique, others emphasize leg technique and footwork ( Fig . left ) Some take interest in the variation of acts whereas others prefer simplicity. Some focus on keeping opponents at arm's and leg's length while others like to fight in close contact. The assortment of schools and styles displays the colorful features of Wushu and gratifies the various needs of people.
2.Wushu includes the use of many weapons.Chinese ancients named the Wushu arsenal the "Eighteen Arms," but there are many more in use. Almost all fights are accompanied by weapon usage of one kind or another. The combination of fist fights and weapon usage allows for a fuller and more efficient application of Wushu skills while sh-arpening the insight of combat and control and enriching the program of Wushu exercise.
3.The combination of offence and defence is the essence of Wushu. Implications of offence and de-fence permeate the complete gamut of Wushu exercise. They are fully demonstrated in both practice and real combat. Even a solo practice implies the atmosphere of offence and defence against an imaginary opponent in time and space. Wushu masters have systematically summed up the con-tradictions of offence and defence and established a set of theories and techniques on combat.
4.The movement of the human body is only the external display of Wushu. Wushu is by no means limited to the external movement, but also emphasizes the full display of the internal temperament, mental attitude and potential of the human being. The practice of Wushu not only strengthens the bones and muscles but also the internal organs and intelligence. Coordination and cooperation are called for with each and every movement of the hand, eye, body, foot and form of movement. Wushu stresses that the mind directs the circulation of air flow within the body and that the inner circulation of air generates the external strength, so demonstrating the combination of external and internal forces. Cultivating air flows inside the body in order to improve the basic structures inside the body is an important purpose of Wushu exercises .
5.Ingenious applications of substantial and insubstantial blows are incorporated in the movements and forces of Wushu. Motion and stillness alternate with each other, while hardness and softness su-pplement one another, greatly enhancing the artistic expression and the practicality of Wushu, and de-monstrating its inclusive and equilibristic nature. Once in action, the movements can be as fast and forceful as a gust of wind, while being still, the body looks as steady as a mountain. Hard blows are like lightning and thunderclaps, whereas soft punches are like breezes delicately caressing willow twigs. Human feelings and abilities are clearly demonstrated through the rhythmic movements of opening and closing, and the emotions excited in doing exercises.
Functions
Wushu boasts versatile functions, of which the most outstanding are:
(1)Moral Cultivation
As a human practice which stresses cultivation of moral characters and demon-stration of spirit and temperament, Wushu is conducive to developing good manners and con-duct. It also helps adjust one's psychology. The moral characters and etiquette are held in esteem by all schools of Wushu masters.
(2)Offence and Defence
Wushu practitioners can master various offence and defence techniques of armed and unarmed combat for self defence through a great number of training exercises. Many of the Wushu techniques can also be utilized in military and police training programs.
(3)Curative Effect
Tai Chi Quan, one of the traditional schools of Chinese shadow Chuan, and the various still standing exercises emphasize the adjustment of one's breathing, thinking and psychology. These exercises have been proven to have good curative and re-habilitative effects on sufferers of chronic diseases of many kinds. As these exercises help strengthen the coordination of the human body and its immunity, they are ideal for preventing and curing diseases.
(4)Health Improvement
The practice of the basic exercises and routines of Wushu are effective methods for improving the pliability of the joints and the suppleness of the back and legs. The generation of energy, the jumping and leaping and the changes from one stance to another, all help enhance human strength and speed of movement. Wushu, therefore, can be taken as the basic exercise for other sporting activities.
(5)Artistic Effect
The graceful movement of the body, especially the typical oriental charm revealed during exercises and practice of Wushu, has an impressive artistic effect and provides visual delight. People can benefit mentally as well as physically from the display of the Wushu offence and defence skills and the exertion of forces through the display (Figs. below).
(6)Intelligence
While stressing the development of physical prowess, Wushu also emphasizes the ex-ercise of thinking. By adjusting various human functions, Wushu also helps im-prove the nervous system and is therefore good for intellectual development.
Wushu (also known as kung-fu or martial arts) is one of the typical demonstrations of traditional Ch-inese culture. It is a sport which utilizes both brawn and brain.
The theory of Wushu is based upon classical Chinese philosophy, while the skills of Wushu consist of various forms of fighting: fist fights, weapon fights, and other fighting routines (including such offence and defence acts as kicking, hitting, throwing, holding, chopping and thrusting) and unarmed combats.
Wushu is not only a sporting exercise but also an artistic form. It is used to cure illness as well as for self-defence and is a comprehensive form of culture of the human body.
Wushu enjoys a long history and great popularity in China. Thanks to its uniqueness and charisma or-iginating from traditional oriental culture, Wushu is captivating the attention of more and more people in other nations.
Characteristics
As one of the earliest and long-lasting sports, Wushu has developed its own characteristics over time. Major characteristics are listed below:
1.Because of its long history incorporating differences in culture, ideology, region and usages, Wushu has developed into a great variety of schools and styles. While some schools emphasize the use of fists and hand technique, others emphasize leg technique and footwork ( Fig . left ) Some take interest in the variation of acts whereas others prefer simplicity. Some focus on keeping opponents at arm's and leg's length while others like to fight in close contact. The assortment of schools and styles displays the colorful features of Wushu and gratifies the various needs of people.
2.Wushu includes the use of many weapons.Chinese ancients named the Wushu arsenal the "Eighteen Arms," but there are many more in use. Almost all fights are accompanied by weapon usage of one kind or another. The combination of fist fights and weapon usage allows for a fuller and more efficient application of Wushu skills while sh-arpening the insight of combat and control and enriching the program of Wushu exercise.
3.The combination of offence and defence is the essence of Wushu. Implications of offence and de-fence permeate the complete gamut of Wushu exercise. They are fully demonstrated in both practice and real combat. Even a solo practice implies the atmosphere of offence and defence against an imaginary opponent in time and space. Wushu masters have systematically summed up the con-tradictions of offence and defence and established a set of theories and techniques on combat.
4.The movement of the human body is only the external display of Wushu. Wushu is by no means limited to the external movement, but also emphasizes the full display of the internal temperament, mental attitude and potential of the human being. The practice of Wushu not only strengthens the bones and muscles but also the internal organs and intelligence. Coordination and cooperation are called for with each and every movement of the hand, eye, body, foot and form of movement. Wushu stresses that the mind directs the circulation of air flow within the body and that the inner circulation of air generates the external strength, so demonstrating the combination of external and internal forces. Cultivating air flows inside the body in order to improve the basic structures inside the body is an important purpose of Wushu exercises .
5.Ingenious applications of substantial and insubstantial blows are incorporated in the movements and forces of Wushu. Motion and stillness alternate with each other, while hardness and softness su-pplement one another, greatly enhancing the artistic expression and the practicality of Wushu, and de-monstrating its inclusive and equilibristic nature. Once in action, the movements can be as fast and forceful as a gust of wind, while being still, the body looks as steady as a mountain. Hard blows are like lightning and thunderclaps, whereas soft punches are like breezes delicately caressing willow twigs. Human feelings and abilities are clearly demonstrated through the rhythmic movements of opening and closing, and the emotions excited in doing exercises.
Functions
Wushu boasts versatile functions, of which the most outstanding are:
(1)Moral Cultivation
As a human practice which stresses cultivation of moral characters and demon-stration of spirit and temperament, Wushu is conducive to developing good manners and con-duct. It also helps adjust one's psychology. The moral characters and etiquette are held in esteem by all schools of Wushu masters.
(2)Offence and Defence
Wushu practitioners can master various offence and defence techniques of armed and unarmed combat for self defence through a great number of training exercises. Many of the Wushu techniques can also be utilized in military and police training programs.
(3)Curative Effect
Tai Chi Quan, one of the traditional schools of Chinese shadow Chuan, and the various still standing exercises emphasize the adjustment of one's breathing, thinking and psychology. These exercises have been proven to have good curative and re-habilitative effects on sufferers of chronic diseases of many kinds. As these exercises help strengthen the coordination of the human body and its immunity, they are ideal for preventing and curing diseases.
(4)Health Improvement
The practice of the basic exercises and routines of Wushu are effective methods for improving the pliability of the joints and the suppleness of the back and legs. The generation of energy, the jumping and leaping and the changes from one stance to another, all help enhance human strength and speed of movement. Wushu, therefore, can be taken as the basic exercise for other sporting activities.
(5)Artistic Effect
The graceful movement of the body, especially the typical oriental charm revealed during exercises and practice of Wushu, has an impressive artistic effect and provides visual delight. People can benefit mentally as well as physically from the display of the Wushu offence and defence skills and the exertion of forces through the display (Figs. below).
(6)Intelligence
While stressing the development of physical prowess, Wushu also emphasizes the ex-ercise of thinking. By adjusting various human functions, Wushu also helps im-prove the nervous system and is therefore good for intellectual development.
Dragon & Phoenix
The dragon and the phoenix are the principal motifs for decorative designs on the buildings, clothing and articles of daily use in the imperial palace. The throne hall is supported by columns entwined by gilded dragons, the central ramps on marble steps were paved with huge slabs carved in relief with the dragon and phoenix, and the screen walls display dragons in brilliant colours . The names in the Chinese language for nearly all the things connected with the emperor or the empress were preceded by the epithet "dragon" or "phoenix"; thus, "dragon seat" for the throne, "dragon robe" for the emperor's ceremonial dress, "dragon bed" for him to sleep on, and "phoenix carriage", "phoenix canopies" and so on for the imperial processions. The national flag of China under the Qing Dynasty was emblazoned with a big dragon. The earliest postage stamps put out by China were called "dragon-heads" because they showed a dragon in their designs. Even today the dragon is sometimes adopted as the symbol of Chinese exhibitions held abroad or the cover designs of books on China printed by foreign publishers. "The Giant Dragon of the East" is becoming a sobriquet for the
country.
Belief in the dragon, and drawings of the imaginary animal, can be traced back to primitive society when certain prehistoric tribes in China adopted the dragon among other totems as their symbol and guardian god. Some of the recently unearthed bronze vessels of the Yin Dynasty, which existed more than 3,000 years ago, are decorated with sketches of dragons of a crude form. Earliest legends in China described the dragon as a miraculous animal with fish scales and long beards. As time went on, it became more and more embellished in the minds of the people, acquiring the antlers of the deer, the mane of the horse and the claws of the eagle -- in short, appropriating the distinctive features of other creatures until it became what we see today everywhere in the palace.
Belief in the dragon, and drawings of the imaginary animal, can be traced back to primitive society when certain prehistoric tribes in China adopted the dragon among other totems as their symbol and guardian god. Some of the recently unearthed bronze vessels of the Yin Dynasty, which existed more than 3,000 years ago, are decorated with sketches of dragons of a crude form. Earliest legends in China described the dragon as a miraculous animal with fish scales and long beards. As time went on, it became more and more embellished in the minds of the people, acquiring the antlers of the deer, the mane of the horse and the claws of the eagle -- in short, appropriating the distinctive features of other creatures until it became what we see today everywhere in the palace.
country.
Belief in the dragon, and drawings of the imaginary animal, can be traced back to primitive society when certain prehistoric tribes in China adopted the dragon among other totems as their symbol and guardian god. Some of the recently unearthed bronze vessels of the Yin Dynasty, which existed more than 3,000 years ago, are decorated with sketches of dragons of a crude form. Earliest legends in China described the dragon as a miraculous animal with fish scales and long beards. As time went on, it became more and more embellished in the minds of the people, acquiring the antlers of the deer, the mane of the horse and the claws of the eagle -- in short, appropriating the distinctive features of other creatures until it became what we see today everywhere in the palace.
Belief in the dragon, and drawings of the imaginary animal, can be traced back to primitive society when certain prehistoric tribes in China adopted the dragon among other totems as their symbol and guardian god. Some of the recently unearthed bronze vessels of the Yin Dynasty, which existed more than 3,000 years ago, are decorated with sketches of dragons of a crude form. Earliest legends in China described the dragon as a miraculous animal with fish scales and long beards. As time went on, it became more and more embellished in the minds of the people, acquiring the antlers of the deer, the mane of the horse and the claws of the eagle -- in short, appropriating the distinctive features of other creatures until it became what we see today everywhere in the palace.
Interior Painting in Snuff Bottles
Snuff bottles are not native to China but were reportedly introduced from the West by Fr.Matteo Ricci, an Italian Jesuit father who worked in Beijing in the early 17th century. Yet the art of interior painting in snuff bottles was born and developed in China and unique to the country.
A popular story tells how the art originated. In the Qing Dynasty, an official addicted to snuff stopped on his way at a small temple for a rest. When he took out his crystal snuff bottle to take a sniff, he found it was already empty. He then scraped off a little of the powder that had stuck on the interior wall of the bottle by means of a slender bamboo stick, thus leaving lines on the inside, visible through the transparent wall. A young monk saw him at this and hit upon the idea of making pictures inside the bottle. Thus a new art was born.
The "painting brush" of the snuff bottle artist today is not very different from what the official in the story used at the beginning. It is a slender bamboo stick, not much thicker but much longer than a match, with the tip shaped like a fine-pointed hook. Dipped in coloured ink and thrust inside the bottle, the hooked tip is employed to paint on the interior surfaces of the walls, following the will of the painter.
The art became perfected and flourished towards the end of the Qing Dynasty at the turn of the century. Curio dealers began to offer good prices to collect them for a profit.
Snuff bottles are small in size, no more than 6-7 cm high and 4-5 cm wide, yet the accomplished artist can produce, on the limited space of the internal surfaces, any subject on the whole gamut of traditional Chinese painting- human portraits, landscapes, flowers and birds- and calligraphy. Liu Shouben, a celebrated contemporary master in this field, succeeded in painting all the 108 heroes and heroines of the classical novel Water Margin, each with his or her characteristic expression, all inside one single bottle!
A popular story tells how the art originated. In the Qing Dynasty, an official addicted to snuff stopped on his way at a small temple for a rest. When he took out his crystal snuff bottle to take a sniff, he found it was already empty. He then scraped off a little of the powder that had stuck on the interior wall of the bottle by means of a slender bamboo stick, thus leaving lines on the inside, visible through the transparent wall. A young monk saw him at this and hit upon the idea of making pictures inside the bottle. Thus a new art was born.
The "painting brush" of the snuff bottle artist today is not very different from what the official in the story used at the beginning. It is a slender bamboo stick, not much thicker but much longer than a match, with the tip shaped like a fine-pointed hook. Dipped in coloured ink and thrust inside the bottle, the hooked tip is employed to paint on the interior surfaces of the walls, following the will of the painter.
The art became perfected and flourished towards the end of the Qing Dynasty at the turn of the century. Curio dealers began to offer good prices to collect them for a profit.
Snuff bottles are small in size, no more than 6-7 cm high and 4-5 cm wide, yet the accomplished artist can produce, on the limited space of the internal surfaces, any subject on the whole gamut of traditional Chinese painting- human portraits, landscapes, flowers and birds- and calligraphy. Liu Shouben, a celebrated contemporary master in this field, succeeded in painting all the 108 heroes and heroines of the classical novel Water Margin, each with his or her characteristic expression, all inside one single bottle!
China Culture
Calligraphy has traditionally been regarded as China's highest form of visual art - to the point that a person's character was judged by the elegance of their handwriting! Decorative calligraphy is found all over China, in temples and adorning the walls of caves and the sides of mountains and monuments. The basic tools of calligraphy - brush and ink - are also the tools of Chinese painting, with linework and tone the all-important components.
Despite the ravages of time, war and ideology, there's still a lot to see architecturally. Traces of the past include the imperial structures of Beijing, the colonial buildings of Shanghai, the occasional rural village and Buddhist, Confucian and Taoist temples. Funerary art was already a feature of Chinese culture in Neolithic times (9000-6000 BC), ranging from ritual vessels and weapons to pottery figures, jade and sacrificial vessels made of bronze. Earthenware production is almost as ancient, with the world's first proto-porcelain being produced in China in the 6th century AD, reaching its artistic peak under the Song rulers.
China's language is officially Mandarin, as spoken in Beijing. The Chinese call it Putonghua. About 70% of the population speak Mandarin, but that's just the tip of the lingusitic iceberg. The country is awash with dialects, and dialects within dialects - and few of them are mutually intelligible. Of the seven major strains, Cantonese is the one most likely to be spoken in your local Chinese takeaway. It's the lingua franca of Guangdong, southern Guangxi, Hong Kong and (to an extent) Macau.
China's literary heritage is huge, but unfortunately its untranslatability makes much of it inaccessible to Western readers. Traditionally there are two forms, the classical (largely Confucian) and the vernacular (such as the prose epics of the Ming dynasty). Chinese theatre is also known as opera because of the important role played by music, and has spawned such diverse arts as acrobatics, martial arts and stylised dance. Many Western film-lovers are fans of Chinese cinema, with releases enjoying success at film festivals and art-house cinemas. Recently there has been an emergence of talented 'fifth-generation' post-Cultural Revolution directors, including Zhang Yimou (Red Sorghum, Chen Kaige (Farewell, My Concubine), Wu Ziniu and Tian Zhuangzhuang. Add to them Hong Kong's East-meets-West action directors John Woo (Hard Boiled) and Ringo Lam (Full Contact) and you have a full-fledged, extremely successful film industry.
Chinese cuisine is justifiably famous, memorably diverse - and generally not for the squeamish. The Chinese themselves like to say they'll eat anything with four legs except a table. For the most part, however, it's a case of doing ingenious things with a limited number of basic ingredients. The cuisine can be divided into four regional categories: Beijing/Mandarin and Shandong (with steamed bread and noodles as staples), Cantonese and Chaozhou (lightly cooked meats and vegetables), Shanghainese (the home of 'red cooking' and wuxi spare ribs) and Sichuan (spicy, with lots of chilli). Tea is the most common nonalcoholic beverage on sale, although Coca-Cola (both original and bogus) is making inroads, while beer is by far the most popular alcoholic drink. 'Wine' is a loose term which can cover oxidised and herb-soaked concoctions, rice wine and wine containing lizards, bees or pickled snakes. Another favourite is maotai, a spirit made from sorghum which smells like rubbing alcohol and makes a good substitute for petrol or paint thinner.
Despite the ravages of time, war and ideology, there's still a lot to see architecturally. Traces of the past include the imperial structures of Beijing, the colonial buildings of Shanghai, the occasional rural village and Buddhist, Confucian and Taoist temples. Funerary art was already a feature of Chinese culture in Neolithic times (9000-6000 BC), ranging from ritual vessels and weapons to pottery figures, jade and sacrificial vessels made of bronze. Earthenware production is almost as ancient, with the world's first proto-porcelain being produced in China in the 6th century AD, reaching its artistic peak under the Song rulers.
China's language is officially Mandarin, as spoken in Beijing. The Chinese call it Putonghua. About 70% of the population speak Mandarin, but that's just the tip of the lingusitic iceberg. The country is awash with dialects, and dialects within dialects - and few of them are mutually intelligible. Of the seven major strains, Cantonese is the one most likely to be spoken in your local Chinese takeaway. It's the lingua franca of Guangdong, southern Guangxi, Hong Kong and (to an extent) Macau.
China's literary heritage is huge, but unfortunately its untranslatability makes much of it inaccessible to Western readers. Traditionally there are two forms, the classical (largely Confucian) and the vernacular (such as the prose epics of the Ming dynasty). Chinese theatre is also known as opera because of the important role played by music, and has spawned such diverse arts as acrobatics, martial arts and stylised dance. Many Western film-lovers are fans of Chinese cinema, with releases enjoying success at film festivals and art-house cinemas. Recently there has been an emergence of talented 'fifth-generation' post-Cultural Revolution directors, including Zhang Yimou (Red Sorghum, Chen Kaige (Farewell, My Concubine), Wu Ziniu and Tian Zhuangzhuang. Add to them Hong Kong's East-meets-West action directors John Woo (Hard Boiled) and Ringo Lam (Full Contact) and you have a full-fledged, extremely successful film industry.
Chinese cuisine is justifiably famous, memorably diverse - and generally not for the squeamish. The Chinese themselves like to say they'll eat anything with four legs except a table. For the most part, however, it's a case of doing ingenious things with a limited number of basic ingredients. The cuisine can be divided into four regional categories: Beijing/Mandarin and Shandong (with steamed bread and noodles as staples), Cantonese and Chaozhou (lightly cooked meats and vegetables), Shanghainese (the home of 'red cooking' and wuxi spare ribs) and Sichuan (spicy, with lots of chilli). Tea is the most common nonalcoholic beverage on sale, although Coca-Cola (both original and bogus) is making inroads, while beer is by far the most popular alcoholic drink. 'Wine' is a loose term which can cover oxidised and herb-soaked concoctions, rice wine and wine containing lizards, bees or pickled snakes. Another favourite is maotai, a spirit made from sorghum which smells like rubbing alcohol and makes a good substitute for petrol or paint thinner.
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