My main site about kung fu
This is a sample of the book
SOUTHERN SHAOLIN HUNG GAR KUNG FU CLASSICS SERIES
The translation is based on the edition by Juy Yu Jaai (Hong Kong, 1957)
Lam Sai Wing
"This method is the best for those who practice the Martial Arts. I myself could achieve my Tutor Wong Fei Hung’s results with the use of this method and Master Fei Hung could achieve the results of honorable tutor Lam Fook Sing who in his time was the best disciple of Tid Kiu Sam, the unsurpassed Master…"
Lam Sai Wing
"From my own experience I know that the most impressing thing in Tid Sin is that the physical strength of those who practice this method can be increased by nine times. It is hard to believe for those who did not practice this method. Of course, the benefit of Tid Sin lies not only in bigger physical strength. The most important thing is robust health and longer life…"
Lei Sai Fai
17 DUI MA (in Cantonese), DIAO MA or MA DIAO JIAO (in Mandarin) – literally, "A Hanging Stance" or "A Stance with a Hanging Foot", the stance in which the main weight of the body rests on one (rear) leg, another (front) leg only slightly touches the ground with its toe; it is also known as "Cat’s Stance".
GING LAI HOI KYUN
1. A Greeting Before the Beginning
Raise your hands and join them in a greeting. The right hand is clenched into fist, the left hand is an opened palm, like shown in the picture . The right leg is slightly bent in the knee and the left foot advances, you assume the stance DUI MA17. Left foot touches the ground only with its toe. You stare to the south. Breathe in deeply through slightly opened lips ("to take Qi") and hold your breath with some effort ("to close Qi"). Then clench your fists and turn your hands with the centers of the palms up, return the left foot to the right one and draw your hands to the waist. Stand upright, straighten both legs. You assume the position YI FU CHIM JUNG - "Two Tigers Hide Their Traces"
18 1000 JINs are approximately equal to 500 kg, or 1100 lb (a figure of speech).
YI FU CHIM JUNG
2. Two Tigers Cover Up Their Traces
From the first position GING LAI – "A Greeting Before the Beginning" continue the execution. Clench your hands into fists, turn the fists before your breast with the centers of palms back, draw both fists to the waist and turn them with the centers of palms upward. Do not stick out your chest, do not raise your shoulders, look straight forward, both legs are straight, stand firmly. Pay attention to concentration of force LI in both thighs, the head is as if a cap weighing 1000 JINs18 lies on it. The mouth is closed, breathe in and breathe out through the nose three times, maintain stable and strong posture. Then arms will do the next movement.
Comments: After a greeting gesture clench your left hand into fist with force, turn the fists with the centers of palms toward you and pull them to your waist. Simultaneously with hand movements the left leg is moved back to the right one. It is position YI FU CHIM JUNG – "Two Tigers cover up their traces": the fists are on the sides of the waist, their back sides faces the ground, the feet are in parallel with each other, the distance between them is about one fist .
Requirements to the coordination of different body parts are as follows: the shoulders are lowered and slightly moved forward, the breast is slightly bent inward, the diaphragm is in its lower position (that corresponds to "stomach" breathing),
the stomach is strained and "filled", the hands are tightly clenched into fists. The tongue should touch upper palate, the mouth is closed, the teeth are clenched without effort, the chin is slightly drawn in, the look is strictly forward. If you imagine vividly enough that you carry some weight on your head, the position of your head, neck and upper part of spine would adjust themselves correspondingly. The lower part of the body: the thighs are strained, the buttocks are "pulled in", the pelvis is put slightly forward and upward, due to it the lower part of the spine is straightened and is on one vertical line with the upper part of spine and the neck. The knees are straightened, but not completely. Try to "cling" to the ground with your toes (however, do not bend them), it helps "to take root". At the start it demands some conscious efforts, but after some practice you will take the right posture automatically.
In this position breathe in and breathe out three times, at this time your fists are moved back and down at the level of the coccyx. The fists are moved through three stages when you breathe out, they are immovable when you breathe in. The movement is executed slowly and with some effort: just imagine that you try to bend a thick iron wire. At the end of the third exhalation you take position 2: your fists are clenched with effort, your wrists are bent towards the inner side of the forearm, the elbows are directed backward . All the above requirements to the stance are maintained. Priceless Heritage of Southern Shaolin Inherited from the Past and Handed Down by Venerable Grandmaster Lam Sai Wing
19 The term "Bridge" (KIU) in the Hung Gar terms means a forearm. There are 12 basic techniques for "forearm-bridges". Those techniques were inherited from the Southern Shaolin. They are also called "12 Hung’s bridges".
SEUNG GIM CHAI KIU
3. Bridges Hacking Like Pair of Swords19
A straight stance as shown in the previous picture. Both fists are "pulled up" from behind, moved forward along the sides of the ribs and reach the position under armpits; then the fists (with palm centers) turn to face each other, unclench and form the position CHAI JEUNG – "The cutting palms". At this moment you should open your mouth and breathe out, after it the "cutting palms" move forward very slowly and arms stretch. You should breathe out and utter "HO-O".
Comments: When you are in previous position YI FU CHIM JUNG make a deep breaththrough the nose. With that the breast is slightly raised up without sticking out, the shoulders remain lowered. During inhalation the fists move up and at the end of inhalation they are on the sides of ribs under the armpits, the back of the hand down. Then fists are transformed to CHAI JEUNG – "Cutting palms" and do a short push forward at the breast level. That phase of the movement is shown in the picture for this position: the arms are bent, the elbows are lowered, the distance between the palms and the breast is from 20 to 25 cm (Fig.3). Simultaneously with the palms push, do a short breath-out from the upper partof the lungs through the mouth with uttering the sound "HO-O"; at the same time the abdomenremains strained and "filled". Without stopping in this position the arms start slowly
20 In this TAOLU several types of breathing are used, each type relates to a certain action at the "external" level and reinforces it according to the principle "The Force-Li Comes With the Breath-Qi". A sound uttered during exhalation is a manifestation of the "internal" effort and comes as if from the stomach (from the region DANTIAN), therefore one should not simulate it artificially. At first it is better to concentrate on the coordination of motion and breathing.
straightening forward, the movement is executed with some effort and with gradual exhalation through the nose. At the end of the movement another short push is executed with breath-out through the mouth with the sound "HO-O"20. In the final phase the arms are slightly bent in the elbows, the elbows are turned downward.
Explanation: During this exercise just imagine that you are standing close to a very big and heavy iron ball that you must push as far as possible. At the first moment you should gather yourself up and move the ball from its place, then you gradually, with constant effort, straighten your arms and accelerate the ball, at the end you give it a certain momentum with a push. At the external level this piece of imagination allows you to attain the right coordination of breathing with the work of muscles and sinews and at the internal level to unite the force-Li with breath-Qi. At the initial stage of training mental concentration has uttermost importance, it is called "The Thought Leads Qi" in the tradition of the Shaolin QiGONG. After some practice any of your movements will be filled with the internal energy Qi without any effort of your consciousness. That is the final aim of Shaolin QiGONG practice. Shaolin treatises on pugilism say: "When each movement of your body is fused with the breath-Qi, your arms and legs become quick and strong like those ones of a monkey. So the man moves like a lightning in the sky and joyfully he passes along as a victor in all battles." /De Chang. Shaolin Qi Gong. Zhangzhou, 1983/
LOU JANG TIU DAAN
4. Venerable Monk Carries a Yoke
You are standing in a straight position as shown in the previous picture (Fig.3). Your palms shoulder-width apart with fingers pointed upward. Turn your hands (with fingers) down and the centers (of the palms) upward. Then "divide three joints" (bend an arms in shoulder, elbow and wrist joints), clench your fists and pull them up. Both elbows move away from the side ribs, facing down as before; both forearms keep vertical-diagonal position. Both fists are "pulled up", reach the level of cheeks and stop. During that movement you straighten your chest and breathe out with uttering the sound "H-E".
Comments: From the previous position (arms are stretched forward at the shoulder level, palm centers face each other) rotate the palms in the wrist joints – left hand counter-clockwise, the right hand clockwise to turn palm centers upward (with this the fingers are directed forward and downward). At the time of rotation the wrist joints must be strained and bent in the extreme in the direction of the outer side of a forearm. Then slowly and with some effort clench the hands into fists with simultaneous bending the wrists toward the inner side of the forearm and pull the fists to the shoulders. This movement is slow and strained as if you pull toward you a heavy thing. Those actions are done with a slow and deep breath-in through the nose. After a small pause raise up your fists at the cheek level and pull them apart to take the position "Venerable monk carries a yoke". The movement is carried out at a middle speed. Just imagine that you are in a narrow corridor and try to move aside the walls with your forearms; in the final stage the effort reaches maximum and it is accompanied by a short breath out with uttering the sound "H-E" through the mouth (the lips are lightly parted, the teeth are clenched, as if you "spit out" some air from the upper part of your lungs).
GING NGAAN LIN YIK
5. A Frightened Goose Flaps Its Wings
You are standing in a straight position as shown in the previous picture (Fig.4), both fists are raised at the level between your shoulders and cheeks. Unclench both fists simultaneously, then the palms move to opposite sides from the shoulders to the right, to the left and downward with a "cutting" movement. When they reach the level of the waist they stop. The fingertips face outside, the wrists butt the pelvic bone, the elbows are moved back into a "prop-up" position. You make breath out with the sound "H-E" through the mouth.
Comments: The movement is carried out at the maximum speed, the palms descend along an arc from the position above the shoulders to the left and to the right to the waist with a "cutting" movement. In the final phase the upper part of the body slightly bends to follow the arms movement. During that movement you breathe out through the mouth with uttering the sound "H-E".
21 The term KIU ("bridge") in the Hung Gar terms means a forearm. There are 12 basic techniques for "forearm-bridges". Those techniques were inherited from the Southern Shaolin. They are also called "12 Hung’s bridges". CHYUN KIU is one of 12 "bridge techniques". In fact, it is a quick strike with finger tips of an open palm.
JO YAU CHYUN KIU
6. Piercing Bridges21 to the Left and to the Right
The position of the torso is straight. Both palms from the position on the waist are pulled apart at the same time, the arms are stretched to the right and to the left. After reaching the shoulder level and locating on one line they stop; at the same time the thorax expands. The movement is made with an exhalation through the mouth and with uttering "CHI".
Comments: From the previous position deliver piercing blows to the right and to the left with finger tips as shown in the picture . The movement is made as quick as possible, the fingers are straight and strained. Imagine that there are paper screens on your left and on your right and you need to pierce small holes. During that movement you breathe out through the clenched teeth with uttering the sound "CHI".
SAAM DUK JYU KIU
7. Build the Pearl Bridge Thrice
The position of the torso is straight, your shoulders and your arms form a straight line. Then your left and right arms slightly descend, both palms turn to the position JYU KIU – "Pearl Bridge". You strain the thorax and at once both "Pearl Bridges" very slowly pull to the shoulders and take place between your shoulders and ears. Utter "S-I", at the same time "Pearl Bridges" are slowly stretched to the left and to the right. The movement is made three times.
Comments: After delivering blows to sides bend your wrists toward the outer side of the forearms, at the same time change the position of your hands according to the picture . The arms are slightly bent in elbows, the elbows and the wrists slightly descend ("sink" in the original text). The movement is fast as if you jerk your hands slightly down and toward you (however, the amplitude of the movement is small, you only slightly bend your arms in elbows). Requirements to hand position: your forefingers are completely straightened and directed upward, other fingers are bent and pressed to the edge of the palm, palm centers are directed to sides; the wrists are bent in the extreme and with effort, you should feel some tension in fingers, palms and wrists. Slightly spread your fingers in this position: the tension in the sinews will grow. Then slowly pull your hands to the shoulders, at the same time you breathe in through the nose. That phase of the movement is shown in the picture . After it draw your palms to both sides at the shoulder level slowly, with some effort. The movement is made together with breath out through slightly parted lips and a low hissing sound "S-I". Imagine that you try to move apart cliffs in a narrow cleft. Then while breathing in, slowly pull "The Pearl bridges" to your shoulders. Execute it three times. Be careful with this exercise: do not strain yourself extremely, if you have higher blood pressure.
DAAI SIN GUNG SAU
8. Great Immortal Raises His Hands in Greeting Gesture
The position of the body is straight and upright. The "Pearl Bridge" of the right arm transforms: the hand clenches into fist. The "Pearl Bridge" of the left arm also transforms: the hand is in the position "palm". After it the right fist and the left palm simultaneously and very slowly move forward and draw together but the left palm is a little ahead of the right fist. Then the left palm clenches into fist and both fists descend along the torso and move back, as if you are pulling something toward you. The movement is made without sound exhalation.
Comments: After the execution of the previous exercise three times, clench your right hand into fist and transform the left hand into the position "palm": all fingers except the thumb are straight. Then both arms stretch forward and you take position DAAI SIN GUNG SAU - "Great Immortal Raises His Hands in Greeting Gesture" . The movement is made slowly and with some effort, exhalation is soundless, through the nose. Then, clench the left palm into fist and slowly draw both fists to your waist. In that way you take position YI FU CHIM JUNG - "Two Tigers Cover Up Their Traces" . This movement is accompanied by a deep and a long-drawn inhalation through the nose. Do not forget about mental concentration on the movement: imagine that your hands are bending a thick iron wire with its ends wound on your fists.
22 The distance between the feet is about 45 cm, or 1,5 ft
YI JI KIM YEUNG MA
9. Straddle the Beam with Pincers-Shaped Legs in the Stance of Hieroglyph "YI" ()
The position of the body is straight and upright. From the position in front of your chest both fists are already pulled to you and drawn back. Stand on tiptoe, at the same time raise your heels up and bring them apart with a twisting movement. After your heels touch the ground, the tiptoes are raised and turned. Thus, the feet are being parted to the left and to the right. When the distance between the feet becomes 1 CHEK and 2 CHYUNs22 they stop. After it the body "settles down" (descends a little), both knees are slightly bent, the thighs are open outside, the force LIK concentrates in the shins, thus a "Pincers-Shaped" stance is formed. The movement is made without sound exhalation.
Comments: Position 9 differs from position 2 only in feet position. It is necessary to pay special attention to the position of your shins: they must be strictly vertical, the knees are not drawn inside. Imagine that you tightly grapple a beam of square cross-section with your knees and shins, the side of the beam is about the length of your shin (about 45-50 cm or a little longer, depending on your height). Your knees are bent a little, your feet are parallel, the toes should "cling" to the ground (however, don’t bend your toes, the soles should be tightly pressed to the ground). The inner side of your thighs and shins should feel some strain, moreover you should feel twisting tension in your shins. At the same time the requirements contained in the comments on position 2 are applied to the upper part of the body, don’t forget about it. Moving feet apart is done during an exhalation
|ORDER ON KUNGHFULIBRARY.COM|
This Web Page Created with PageBreeze Free HTML Editor / Web Hosting