History of the Shaolin Temples

There are few historical entities that engender as much debate, confusion, and acrimony as the nature and reality of Shaolin. We have heard distinguished university professors categorically deny the existence of either Shaolin or its problem-children Tongs; that only authenticated accounts by the Communist Chinese government are to be trusted; or that the temples are fictitious, based on stories in old novels.

The following accounts are taken from sources who 1) practiced the specific kung fu styles to Master level from the "supposed" temples, 2) learned their arts AT those temples before the temples were destroyed, or 3) were taught by practitioners from those temples. Also, our sources were corroborated by at least three individuals (standard rule of evidence accepted by most professional journalists). The masters, however, have declined to be named for the reasons that 1) they do not want to engage in controversy--the information is here to accept or reject as you like (as directed by the last lesson of the Buddha), 2) they have assumed new names after leaving China because, as refugees, did not want their families to suffer for their actions. Having said that, and agreeing in advance to protect the confidentiality of our sources, we have been told that...

The Shaolin order dates to about 540 A.D., when an

Indian Buddhist priest named Bodhidharma You get me!

Wing Chun

is arguably the most famous single style within the Shaolin system. It was made known to the west by Bruce Lee and James Lee in the late 1960s in what was the single most influential introduction of Chinese Kung Fu outside China (one might equate Bruce Lee's bringing of kung fu to American television in 1964 with the arrival of the Beatles in America two years earlier). Despite Lee's rapid evolution of a personal style away from traditional Wing Chun, his association with that style was a major factor in its continued success over the years. More recently, the style has received new publicity following the death of long time grandmaster Yip Man as at least three of his senior disciples have waged an acrimonious conflict over who would inherit the supreme mantle for the style.

Despite the ongoing politics of the "upper echelons" of the style, Wing Chun remains an efficient, popular form of martial art. Novices mistake the small amount of material of the style (three unarmed kuen, or forms) for ineffectiveness, but seasoned martial artists appreciate the streamlined and highly simplified combat material offered. There are three major origin stories connected to this style, the most famous of which will be added to this web site at a later time. All three agree that the style was developed by (or with the input of) Shaolin "nun" Ng Mui, a senior kung-fu practitioner who was interested in combining the best techniques from the broad array of traditional Shaolin kung fu into a simple, master style. Within Wing Chun techniques will be seen numerous elements from Snake, White Crane, Dragon, and Tiger (the former two mainly as offensive techniques, the latter two defensive). Eventually, the style was taught to a young woman named Wing Chun (translated as Beautiful Springtime), for whom Ng Mui named the art.

The three forms of Wing Chun begin with Sil Lum Tao (or Siu Nim Dao). The name means "little imagination", and refers to the need for the practitioner to use his or her imagination in the practice and application of techniques. Most moves are repeated three times, the primary attack is a sun fist (thumb facing upward on impact), and a variety of arm parries/blocks employed. There is no footwork. This form is well-illustrated in a variety of books (see the books section), though each technique has several applications, most of which remain unpublished.

The second form is Chum Kil (or Chum Kiu), meaning " bridge-seeking". Chum Kil adds a few new moves to a skeleton of techniques from Sil Lum Tao, but adds more sticky-hands and bridge techniques. Bridge techniques are extended arm moves that intercept and redirect incoming attacks without using the brute power required in blocking. These techniques take advantage of the physics of swinging objects, in that there is very little force generated by an object the closer one moves towards the point of origin (e.g., it is much easier to stop a kick by intercepting it above the knee than below) of the attack. Additionally, this form introduces the three basic kicks, all aimed at the knees or lower, of Wing Chun.

The last form is called Bil Jee (or Biu Gee), "thrusting fingers". This is a primarily offensive form, using finger thrusts/spear hands in a variety of ways. There is more footwork, including a sweep, low kicks, and stance shifts. There are several versions of this form being taught, with each instructor claiming that his is THE authentic version. In reality, Wing Chun has evolved under the many different practitioners since its inception in the 1770s, and each version is "authentic" in its own way.

History
About two hundred years ago, there lived in China a beautiful young woman whose name was Yim Wing Chun. Her name suited her admirably, since it meant "Beautiful Springtime." She was the daughter of a food merchant, who sold beancurd from a marketstand. She was betrothed to the man she loved, Leong Bok Chao. Her father, however, could not resist boasting of her beauty and gentle character. One day, news of this beautiful maiden came to the ears of an infamous warlord of the Yunan province. He journeyed to her town, and upon seeing her, was immediately struck with a consuming desire to possess her, and, as often the way with rogues, decided to get his way by force. He ordered Wing Chun's father to his camp and told him that unless the maiden was given to him in marriage, he would kill them both.

The father, his heart full of fear and confusion, and horrified at the warlord's cruel tactics, left the warlord's encampment to return home to tell his lovely daughter of her fate. There seemed to be no alternative, since the rogue was well known for his brutal atrocities and powerful gang of bandits.

Calling young Wing Chun to him, the father told her of the warlord's ultimatum.

"Your name will be honored in our family and you will be esteemed as a revered ancestor", he said, struggling for words to make the idea more palatable. "Who knows, you may be able to soften the warlord's heart and maintain yourself with pride as his wife, if not with the love I know you have for Leong Bok Chao.

The maiden was at first simply shocked speechless at the demand, but soon her mind tired of imagining impossible plans for escape. She settled into a dulled acquiescence. However, Date, or the Tao, or Kimset, or whatever Force rules the moments of chance encounters in our lives, intervened. While working at the foodstand, she met a Shaolin nun, Ng Mui. The nun asked the young woman what was troubling her and soon Wing Chun found herself unburdening herself to the nun.

Ng Mui was a Shaolin nun, who had lived for many years in the great southern temple of Fukien. Some years earlier, this refuge of the contemplative life had been destroyed during a rebellion against the Manchu dynasty. Ng Mui was one of the few that had escaped the holocaust. She was an adept of the Shaolin fighting arts of dragon and crane. These arts had been developed to allow the priests and nuns to protect themselves from wild animals and wilder men, who would seek to destroy the peaceful way of the Shaolin order.

When Ng Mui heard of the dilemma that Wing Chun found herself in, the nun sat quietly in meditation, thinking of a way which, in accord with Shaolin principles, would cause the least pain and hurt to all. How could bloodshed be avoided? How was the young woman to avoid becoming a sacrifice to the lustful appetites of the warlord?

"Where is your betrothed?" Ng Mui asked at last, opening her eyes.

"He is on a journey to the south, to Fukien, and has been delayed by the civil disturbances which caused the burning of your temple", Wing Chun answered, as she said with bowed head and overburdened heart. "There is no way to reach him in time, and even if I could, I would not save myself by his death at the warlord's hands. Yet I fear that he will attempt to rescue me when he hears and will die and perhaps cause my father to die, in an attempt to rescue me."

"There is perhaps a way to avoid this death and destruction", the nun said quietly. "It will demand great courage on your part. If we can delay the wedding to the warlord for a while, I can teach you how to defeat him in single unarmed combat. First, would you be willing to face him in battle?", she asked?

"Better that I should die than others for my sake. Besides, it would be worth it just to try something."

"It is well. Now we must devise a stratagem to delay the warlord's demands for a year and then pique his pride by announcing that you have sworn not to marry any man who cannot defeat you in combat. Being a boastful braggart, he will not want to appear to fear you and will agree to the duel. Your father must tell the warlord that that you have agreed to his demands but ask a delay while a letter is sent to Leong Bok Chao, formally breaking your existing betrothal. Since the country is in such turmoil, a year is not an unreasonable length of time," the nun explained. "He will also believe that preparations for such a grand ceremony will be lengthy."

All went exactly as the nun predicted. The warlord granted the delay of a year, certain of possessing Wing Chun at the end of that time.

Wing Chun and Ng Mui left town for the nun's training place at Pah Noh temple. Ng Mui drilled the young woman daily for a year on the Shaolin techniques of unarmed combat, concentrating on those which were most direct, effective, and useful to women. She taught her how to neutralize any incoming blows without extending herself off balance beyond her reach. She showed her how to redirect the opponent's force so that the harder someone tried to hit her, the more devastating would be the return blow.

The year passed and the two women returned to town. Now the second phase of the plan went into operation, as the father went to the warlord and told him that his daughter had studied kung fu since childhood and would feel humiliated to marry someone not her equal in hand to hand combat.

The warlord agreed to the duel with much laughter and lewd comment.

"A spirited woman is more interesting to tame", he snickered.

On the day of the duel, the hopeful bridegroom, magnificently dressed in silks, stepped into the village square, ready to inflict public humiliation on his bride-to-be. Wing Chun stepped forward, clad in sober black tunic and trousers. The warlord, shouting to his entourage, aggressively charged Wing Chun, intending to knock her unconscious with his fists. She evaded his attack and returned his force against him, knocking him down. Getting up, he charged her again. The harder he attacked, the harder he fell when she hit him. Finally, bruised and bloodied, the warlord dragged himself away from the young woman who had barely moved from her initial stance. Humiliated and defeated, he was borne away by his gang.

The victorious young woman left the town with Ng Mui for Kwon How Temple in Kwantung Province, where she awaited the arrival of her beloved Leong Bok Chao. There they celebrated their long-delayed marriage, with Ng Mui's blessings. In later years, Wing Chun taught her husband what she had learned, and he in turn taught others this gentle art of life, now named Wing Chun in honor of the courageous young woman who first used it in her desperate gamble for happiness.


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NOTE: The above story is a recreation of the story of the initial development of the Wing Chun style. Now famous as one of the most effective, practical styles of the Shaolin, it was originally developed with no time or energy to waste on flourishes. The dialogue obviously was recreated with the help of a little imagination, but all times, places, and names are as accurate as Shaolin oral history can be.

Southern Snake kung Fu

There is precious little written material available about the snake kung fu styles, although they are foundation sets in traditional Shaolin, family styles, and are incorporated in a host of peripheral schools such as Pa Kua and T'ai Ch'i Chuan. It is possibly because of the near-universal inclusion of snake techniques in Chinese and other styles that little specific attention has been paid to the style. In the Shaolin kung fu system, the snake's position between other styles (above Crane and Tiger and just below Mantis and Dragon) illustrates its intermediary nature. It is distinguished from the styles below it by the introduction of circular movement in its parries and attacks. This introduction of circles characterizes the transition to a higher style. The circles themselves can be compared to the dynamic of yang and yin in Taoism. Circular attacks (viewed as yin) are countered by direct attacks (yang). Similarly, straight techniques are countered by circular ones.

Snakes are conspicuous predators that have intrigued human beings for a long time. The snake’s biological diversity is also reflected in the style itself. Large snakes may constrict prey, preventing the rib cage from expanding to allow inhaling, causing death by asphyxiation (true, constrictors such as pythons may "crush" their prey, but only if the prey animal is strong enough to break its own bones while trying to inhale). Many small and colorful snakes have lethal venom, and to early human beings the mysterious death caused after a small bite was probably seen as nothing short of magic. Vipers inject venom into the bloodstream in order to kill prey. Cobras, on the other hand, use poison that affects the nervous system. Such creatures, then, combined elements worth including in a martial arts style.

Snake kung fu styles probably developed among the first codified martial arts creations. The emphasis on hitting weak points along the ch'i meridians suggests that such meridians and primal acupuncture had already been worked out. (It has been suggested by some practitioners of acupuncture that the meridian routes were mapped based on preferred sites for mosquito bites; many bites induce discomfort in distant parts of the body. Interesting idea...) The modern snake kung fu style is actually an amalgamation of older styles which have now died out. Its range of technique, however, reflects the influence of each of these three styles. Viper consisted of intimidating strikes that could inflict heavy psychological damage by drawing lots of blood without causing life-threatening damage. Its trademark was the tongue strike--two fingers aiming often at arteries and veins. Cobra, in contrast, did not emphasize highly recognizable or showy techniques but rather very serious strikes to nerves and pressure points. Its characteristic hand technique was an open hand with the thumb curled underneath in order to maintain dynamic tension. Python, in addition, relied on the leopard fist for its pinpoint strikes and included grappling. The two universal aspects of snake techniques are pin-point open-hand strikes and twisting arm postures to disguise one’s line of attack. Such movements are often seen in Wing Chun kung fu forms, as in the third, or Bil Jee, set, in which most of the hand techniques are snake-derived.

Most snake kung fu practitioners use an upright, mobile stance and rely less on horse-stance than most other styles. The mobile stance allows for rapid advances and sidestepping footwork. Additionally, snake stylists don't trade blows, or "tough-out" attacks. Using fast, alternating hand jabs, the practitioner drills at an opponent, sidesteps counterattacks, and drives home his attack. There are some stylistic variations, such as one Fukien-based style that employs low sweeps (and is thus an exception to the general rule of sweeps being confined to Northern styles).

It is this adherence to unassuming stances and rapid attack that make snake such a deceptively simple-looking kung fu style. Snake stylists are taught to spring from rest posture to full attack; there are no preparatory stances or "threatening" gestures. If attacked, the snake stylist bobs and weaves, looking much like anyone else, until an opening presents itself. The strikes then fly quickly, in succession, hitting the same opening over and over. Should the attacker block one of these snake-strikes, the snake changes targets and continues its barrage. Kicks are low, snappy, and aimed at the shins, knee, or top of foot.

Riding the Wind:
Dragon Style Kung Fu

INTRODUCTION
Long before Saint George encountered his legendary beast, the Dragon played an influential and beneficial role in Chinese culture. An amalgam of several creatures, including monitor lizards, pythons and the Chinese alligator, the polymorphic dragon was a water spirit, responsible for bringing the rains and thus insuring the survival of crops. The dragon was symbolic guardian to the gods, and was the source of true wisdom. This latter feature most likely resulted from the observation of the living reptilian counterparts which, usually at rest, seem to be in a near constant state of contemplation.

The dragon represented two of the ancient elements, Earth and Water, endowing the creature with powers of elusion and power. A Yang symbol, the Taoists saw the dragon as a personification of the Tao itself--"the Dragon reveals himself only to vanish." Shaolin Buddhists saw him as a vision of enlightened truth, to be felt, but never to be held. Certain very old men were called dragons, these being well versed in the life-supporting skills of herbal medicine, agriculture, and kung fu. In early China, these skills were surely a matter of life or death, and those so educated were held in high esteem.

ORIGIN OF THE DRAGON KUNG FU STYLE
The original stretching and twisting movements associated with Dragon (Lung Ch'uan) were part of Bodhidharma's exercises which he taught after founding Shaolin temple in Honan around 570 A.D. The true emergence of a martial discipline can be traced to about 1565 A.D., but the originators are uncertain. Two legends seem noteworthy. One states that the Shaolin nun Wu Mui created the style by using moves of deception and melding with an opponent. The other credits a monk, Mui Fa San Yang with contemplating his kung fu training and daydreaming about countermoves, when he became inspired by the twisting movements of the dragon. The style was called Yow Kueng Moon, and was advanced by Yang's abbot, Tit Yang Sum Si. Both these stories place the origin at Honan Shaolin Temple. Since then, Dragon Kung Fu has evolved into two distinct styles, Southern (1565) and Northern (1680). Each consists of non-temple variations, in essence units of instruction taken, incompletely, from Shaolin, and molded into family styles. A new synthesis to organize the Shaolin styles and systematize a combined approach was begun in 1972. Of historical note, the style considered southern was the original form brought south from Honan, while northern evolved in the north after the burning of the temple in 1570 A.D.

METHODS AND PHILOSOPHY
Dragon kung fu is essentially an internal, ch'i cultivating method, but initial training is far more similar to a hard, external style than a delicate, reptilian approach. In learning the moves, the student will strike hard, block hard and stomp into each position, with the idea of learning the proper place to be once each movement is complete. Eventually, the method of transmitting power is retained, and the physically strengthened body is able to make transitions in the proper, fluid manner. In turn, this reptilian smoothness helps disguise the attack, making it extremely difficult for an adversary to effectively counter.

Once a purely physical semblance to flow has been mastered, the disciple incorporates the deep hissing sounds to train ch'i flow. Inhaling is silent, but exhalation is deliberate, tense and controlled. Inhaling lightens the body for aerial maneuvers, while exhaling drives power into each technique. Blocking is dispensed with, and parries or simple strikes substituted. At this point, novice and advanced student show very little in common.

On the highest level, an opponent is allowed to tire himself out, evasion becoming the Dragon's key defense. Ch'i control is highly developed, and the degree to which the body must be moved to redirect or avoid impact is under greater control.

The forms that comprise this system are divided by complexity into three categories, and are enumerated below:


Basic

16 Hole
Passing Bridge Three Times
Fierce Tiger Leaping Over Wall
Rescue Master From Single Side
Single Sword and Mount
Press and Hit from Four Sides
Eagle Claw
Bridge Smashing

Intermediate

Touch Bridge (introduces sticking hands)
Venomous Snake Moves Tongue
Hua King's Fist
Standing Five-Form
Cross Standing Five-Form
Turn to Hook and Hit
Five Horses Returning to Stable Palm

Advanced

Plum Flower Punch
Seven Ways of Plum Flower Punch
In each form, one is taught to "ride the wind", a phrase which in large part means follow rather than lead. Provide no opening without first letting your opponent open. Unlike Crane, which also relies heavily upon evasion as a tactic, the Dragon evades primarily by rotation of upper or lower torso with little or no stance movements, while the Crane stylist hops frequently to reposition the entire body. Both styles employ pinpoint strikes to vulnerable meridian targets, but dragon also heavily uses tiger-like punches and clawing techniques, snake-like stance shifts, and leopard-like hit and run strikes to weaken a physically superior adversary. Dragon kung fu also regularly employs low sweeping techniques, but these are not unique; most senior stylists of any kung fu system use these on a weakened adversary.

Leopard kung fu

Leopard kung fu began as a southern style that has seen some northern influence in the form of Panther. Leopard is construed as a soft subsystem and is used to develop speed and strength, for it is the fastest of the tiger family. It was developed by Mot, a great choy lay fut practitioner, and was included in tiger because of its different structure and style of attack.

Although the chain and whip are occasionally used in leopard kung fu, the main weapon is the leopard fist. The fist is formed in such a way that it can jab, rake or crush on any surface without alteration, striking soft points in the anatomy and structural weak points. Ribs are a frequent target. The back of the hand is often used in breaking while a variation with the first two fingers extended like chelicerae is used for attacks to the eyes.

Snow leopard, leopard at dawn, leopard bares its claws and Panther are forms seen in tiger. The first is from the Tibetan snow leopard kung fu system and is arbitrarily included. The second utilizes tiger footwork in conjunction with leopard hand techniques. Panther, the highest form in the style, has all of leopard's kicking maneuvers and uses the 3rd leopard form as its foundation.

Black Crane kung fu

"From the crane, we learn grace and self control". This, the second of the styles of the Shaolin kung fu, traces its ancestry back to the time of Dr. Hua T'o during the Han dynasty. This physician developed a series of exercises for improving health by imitating animal motions, among which was a bird.

Shaolin black crane kung fu, as it has evolved today, constitutes the hand sets of the Shaolin crane. As such, it provides a short range style of boxing useful to tall boxers. Its complement was to include throws and locks but delete intricate forms so that it could be studied by the general populace or military personnel.

Legend has it that an old man was watching a battle between an ape and a crane one day and marveled at the bird's ability to evade the ape and still connect with telling blows of its own. He meditated daily on this conflict and one day, when attacked by bandits, defeated them by using the moves of the crane. Thus was a new system born.

History tells us that the movements were a collation of the ancient bird style, some tiger and the motion of snake. Because the exercises were intended to teach character and spirit, the style inherited the stork stance long before white crane kung fu itself was introduced into China.

Refined movements called ch'in na (capture holds) were taught to civil police during the 1600s. Near the end of the Ming dynasty (A.D. 1368-1644), Ch'en Yuan-ping traveled to Japan to teach ch'in na, thus creating a basis for jiujitsu. These movements are still practiced today even though they have no organized forms.

In kung fu, Ch'in Na techniques are more or less learned and researched by every style. Among the Southern Shaolin styles of kung fu, which specialize in hand techniques and in short and middle range fighting, white crane has one of the more complete systems of Ch'in Na. Another Southern style which puts heavy emphasis on Ch'in Na is tiger. Among the Northern Shaolin kung fu styles, which specialize in kicking and long and middle range fighting, eagle places heavy emphasis on Ch'in Na.

The Shaolin modified the new ch'in na by adding techniques from white crane (60%) and organizing their creation into 20 forms. In 1968, these forms had been reduced to 8 and have now been condensed to a mere 4. These are an introductory drill (the first form), a balance exercise (crane leaving the marsh, #2) and the combined techniques of black crane (the synthetic fist set and defending the 4 angles, forms #3 and #4).

The names of the black crane forms are as follows:

Unnamed
crane leaving the marsh
synthetic fist form
defending the 4 angles