Pages

Tuesday, September 18, 2018

Cheng Style Bagua Zhang Master Xu FanCeng 程式八卦掌 許繁曾

Cheng Style Bagua Zhang Master Xu FanCeng 程式八卦掌 許繁曾



Xu Fan Ceng is student of Cheng TingHua's son Cheng Youxin. This video is demonstrating "Covering Hand Palm"
董海川(Dong HaiChuan) --- 程廷華(Cheng TingHua)---程有信(Cheng Youxin
)---許繁曾

Friday, September 14, 2018

Xingyi Quan - Sun Lu Tang - Bradford Tyrey

鬆鶴三體式 Song He San-t’i Shi 
"The attached drawing comes from Sun Lu-T’ang’s earliest version (1912) of his published book 形意拳學 Xingyiquan Xue (The Study of Form-Intent Boxing) which was later revised and republished in (1915) using photos of Sun Lu-T’ang. 

Pine & Crane Three Embodiments Posture

The Chinese character 體 (t’i), according to period dictionaries during the time of masters Guo Yun-Shen
and Sun Lu-T’ang, means: the whole body; a frame consisting of many parts; substance; essentials; to
embody; a solid; a partition; completeness. The character (體) is composed of two radicals: bone [the human skeleton] and sacrificial vessel. These meanings will help you to understand Madam Sun’s response. As she of fine painting methods, she explained this written character according to its two
radical parts, and to the teachings of her father and Master Guo. Therefore, 三體式 San-t’i Shi can, in part, be translated as: Three Embodiments Posture; Three Substances Posture; or Three Essentials Posture. It is safe to say that collectively, these three translations of 三體式 will bring you closer to understanding its inclusive meaning. I have chosen to use ‘embodiment’ as the fore fronting translation based upon clarifications presented by both Madam Sun and Wang Xi-Kui (Sun Lu-T’ang’s disciple). The meaning of Pine and Crane as part of this posture is explained below as passed down and taught within the Sun family by Sun Lu-T’ang’s teacher, Guo Yun-Shen.

‘三體式 San-t’i Shi (Three Embodiments Posture) embraces more than the tip of the nose, tip of a finger, and tip of a toe, the 三 san (three) which form a ‘single alignment.’ These are not the only three tips that are aligned, there exist both the upper and lower and front and back, each containing three tips that are to be aligned during xingyi boxing postures and sets. Beyond such tips exist further teachings essential to San-t’i Shi as well as all postures. To begin, one must understand 伸展 shenzhan (to stretch). 伸展 Shenzhan is the unity of both 伸 shen (to extend) and 展 zhan (to spread outwardly) in a manner that evokes forward extension with sideward spreading like the wings of a 鶴 he’r (crane). Both physical actions are slight, yet their intent is great. When these two actions unify 伸展 shenzhan becomes the ability to ‘stretch’ in a manner strictly adhering to ‘extending’ and ‘spreading.’ However, 不用力 buyongli (no physical exertion) must be followed. The practice of xingyi boxing must be done so in a relaxed manner physically. Internal softness with only the appearance of external strength is essential. Once attained then the skill of 撞擊 zhuangji (ramming strikes) fuse within all hand and foot attacks. This is one’s ability to have each hit contain the force of a battering-ram, each possessing 擊力 jili (striking power) able to collapse a wall built of stone. Such must be coupled with 突擊 tuji (to suddenly attack) without warning and with great ferocity that must not be seen upon one’s face.

三體式 San-t’i Shi (Three Embodiments Posture) must also 收縮 shousuo (receive-withdraw). This is beyond the simplicity of contracting the body at times, it is the ability to 收 shou (receive/collect) one’s Spirit, gathering it inward so that purity of thought can attend only to 體 t’i (the embodiments) being practiced. Among such embodiment skills to attend to is the internal manifestation of 盤繞 panrao (to coil around [to coil around a thing]). 盤繞 Panrao, though externally applied like a dragon or snake coiling and wrapping upon its prey, it is the original essences of 盤 pan (coiling [to coil around/entwine a thing]) and 繞 rao (winding [to wind through or around a thing]) that must be separately understood, practiced, enhanced, then unified within one’s being. When they are unified their harmonious force resembles the churning of the Cosmos, having no equal. To practice in this manner one’s essential 氣力 qili (vigor) shall be enhanced and 長壽 changshou (longevity) shall be without hindrance. Hence it is said such practice of 三體式 San-t’i Shi (Three Embodiments Posture) shall produce 鬆鶴遐齡 Song He Xialing (Pine & Crane Long-lasting Age). These are but part of 三體式 San-t’i Shi practices.’

Note from Bradford: The character 鬆 song means to loosen and relax. However, it also refers to a Pine tree which is symbolic of long-life and often the wisdom that comes with a long lifespan. 鶴 He is the character for Crane, also symbolic, in this case, for longevity. Paired, 鬆鶴 Song He refers to a person who will live as long as the Pine and Crane nestled among the Tao.

Further information on 三體式 San-t’i Shi and related teachings by masters Guo and Sun are found in my books www.amazon.com under Bradford Tyrey."

Found: HERE

Wednesday, September 12, 2018

Kunwu Sword Manual by Li Lingxiao (昆吾劍譜, 李凌霄) Translated by Scott M. Rodell




Advice from the Kunwu Sword Manual by Li Lingxiao (昆吾劍譜, 李凌霄)

一可傳之人不傳,失人。不可傳之人而傳,失劍。如認人不眞,寧失人勿失劍。自古皆然,非吾輩之吝也。

Yī kě chuán zhī rén bù chuán, shī rén. Bùkě chuán zhī rén ér chuán, shī jiàn. Rú rèn rén bù zhēn, níng shī rén wù shī jiàn. Zìgǔ jiē rán, fēi wúbèi zhī lìn yě.

If there is someone that the art can be transmitted to, but it is not, that person is lost. If someone who can not receive the transmission is taught, the sword art is lost. So recognize the people who are right. Rather lose a person than lose the sword art. Since ancient times it was always this way, it is not our generations stinginess.

from the Ten admonishments for the Sword Art Translated by Scott M. Rodell


Found HERE

Saturday, September 8, 2018

Martial Wisdom from Tim Cartmell


"Looking to ancient Chinese shamanistic fortune telling for martial wisdom is the equivalent of reading the prophecies of Nostradamus to try to figure out how to get out of a headlock." - Tim Cartmell 

Quote from: Grounddragonma.com 

Tuesday, September 4, 2018

TAO TE CHING - VERSE 56



VERSE 56 - TAO TE CHING


Those who know do not talk. 
Those who talk do not know.

Keep your mouth closed. 
Guard your senses. 
Temper your sharpness. 
Simplify your problems. 
Mask your brightness. 
Be at one with the dust of the Earth. 
This is primal union.

He who has achieved this state 
Is unconcerned with friends and enemies, 
With good and harm, with honor and disgrace. 
This therefore is the highest state of man.

56th Verse - Tao Te Ching
Gia Fu-feng and Jane English
Translators

Found: HERE

Sunday, September 2, 2018

Swordsman vs. Arrow- Sword Cuts Speeding Arrow


Swordsman vs. Arrow- Sword Cuts Speeding Arrow


"Speed is one of the five essential elements of Chinese Swordsmanship (Jiànfǎ, 劍法). Cutting an arrow in flight is the ultimate test of a Swordsman’s skills. The Japanese refer to this skill as Yadome no jutsu (the military study of arrow cutting or blocking), considering it an indicator of superior martial prowess. Scott M. Rodell, director of the Great River Taoist Center, draws his jian (sword) slicing an arrow shot at him from just over 15 meters away. Traveling at 70.2 mph (113 kph) the arrow flies 51’ (15.5 m) in .48 of a second. Drawing his jian (sword) from the scabbard, his Liāo cut (撩) sliced it neatly in two."




Monday, August 27, 2018

Chinese Jian/ Sword - Chen Wei-Ming - Sun Lu Tang



"This is a wonderfully clear photo taken from an original glass negative of Chen Wei-Ming, first official disciple under Master Sun Lu-T'ang and later a disciple under Master Yang Cheng-Fu. This photo shows Chen Wei-Ming posing in the posture Immortal Points to the Path [the Way] from Yang Family Style Taiji Sword. I describe this posture and the complete sword form, complete with his old photos, taught by Chen Wei-Ming in his book that I translated which is available at Amazon Books. I thought that some of you would love this beautiful and historic photo to hang on your wall for inspiration."
Bradford Tyrey  Found: HERE 

Friday, August 17, 2018

Dao de Jing Chapter 68 - Trans. Scott M. Rodell



Dao de Jing Chapter 68, Great warriors are not... 

善為士者不武.
善戰者不怒.
善勝敵者不與.
善用人者為之下.
是謂不爭之德.
是謂用人之力.
是謂配天古之極.

Shàn wéi shì zhě bù wǔ.
Shànzhàn zhě bù nù.
Shànshèng dí zhě bù yǔ.
Shàn yòngrén zhě wéi zhī xià.
Shì wèi bùzhēng zhī dé.
Shì wèi yòngrén zhī lì.
Shì wèi pèi tiān gǔ zhī jí.

Great warriors are not militaristic.
Great soldiers do not get angry.
Great conquers do not gloat.
Those good at managing men are humble.
This is called the virtue of non-contention. 
This is called the strength of using men.
This is called the highest manifestation of accord with heaven.

Trans. Scott M. Rodell  - "The above painting is of the Daoist Sword Immortal, Lu Dongbin. For more information, please see: http://www.artic.edu/taoism/renaissance/j121.php"


Found: HERE

Monday, August 13, 2018

Chinese Bronze Sword of King Fuchai

"King Fuchai (reigned 495–473 BC) of the Warring State of Wu was the son of King Helu who had employed the great Sun Tzu as commander. His excavated bronze sword is shown here"

found HERE 

Tuesday, July 24, 2018

TAIJI SWORD 吳圖南 by Wu Tunan published 1936 Trans. Scott M. Rodell




是故一舉一動,務須活潑靈利。
一開一合,須知動靜虛實。
其動也,若龍飛鳳舞。其靜也,似虎步熊行。
劍劍有神,無動若風搖之弊。
步步實踏,免飄忽懶散之虞。

Shì gù yījǔ yīdòng, wùxū huópō línglì.
Yī kāi yī hé, xūzhī dòngjìng xūshí.
Qí dòng yě, ruò lóngfēifèngwǔ. Qí jìng yě, sì hǔbù xióng xíng.
Jiàn jiàn yǒu shén, wú dòng ruò fēng yáo zhī bì.
Bù bù shí tà, miǎn piāohū lǎnsǎn zhī yú.

Each and every movement must be lively and agile.
When opening and closing, one must comprehend, movement and stillness, empty and full.
The movements are like a dragon flying, a phoenix dancing.
One is calm, like a tiger or bear walking.
The sword’s every movement has spirit, don’t have the problem of moving like shaking in the wind.
Every step true and solid, avoiding the error of swaying and sloppy steps.

From
太極劍
TAIJI SWORD
吳圖南

by Wu Tunan
published 1936

Trans. Scott M. Rodell

Friday, July 20, 2018

Xingyi Quan/ Hsing Yi Chuan - Abi Moriya - San Shou Pao



Xingyi Quan/ Hsing Yi Chuan - Abi Moriya - San Shou Pao



San Shou Pao, or three hands pounding, is a Xingyi two man drill. Some look at it as a way of making the body stronger (or "conditioning"), like forging a blade. I see it as a method of "bridging hand", and planting seeds for future ideas

Tuesday, July 10, 2018

Outlaws of the Marsh/ Water Margin - Chinese Classics


Outlaws of the Marsh/ Water Margin - Chinese Classics. Li Kui - Wu Yong - Song Jiang - Chai Jin - Yan Qing, at Li Shishi's home, find a way to meet the Emperor.

Wednesday, July 4, 2018

China Song Dynasty Translation


"Check out this important and influential Song era manual on playing Weiqi, dated around 1050 AD and translated into English... www.figg.org/areafile/qjssp.pdf" Scott Rodell 

Saturday, June 30, 2018

Jianke - the Swordsman - Trans. S.M. Rodell


劍客
十年磨一劍,
霜刃未曾試。
今日把示君,
誰有不平事?
- 賈島 (779–843)

Shí nián mó yī jiàn,
shuāng rèn wèicéng shì.
Jīnrì bǎ shì jūn,
shuí yǒu bùpíng shì?

Jianke - the Swordsman
Ten years I polished this sword,
the frosty edge has never been tested.
Today I take it in hand, showing you sir,
who suffers an injustice?
Jia Dao (779–843)

Trans. S.M. Rodell

Sunday, June 24, 2018

Internal Martial Arts Book *FREE* by Ed Hines

"The "Gateways to Internal" book is out and you can get it now!
Subscribe to my wonderfully GDPR'd mailing list and you'll get it."

Thursday, June 7, 2018

Gao Style Baguazhang w/ Zhang Junfeng - founder of the Yi Zong School


Gao Style Baguazhang w/ Zhang Junfeng - founder of the Yi Zong School and student of Gao Yi Sheng
"Yi Zong Bagua was founded by Master Zhang, Jun Feng in 1948 after closing his fruit wholesale business, "Han Gong Qiu", in Tianjin and moved to Taiwan due to the turbulence in China. He had changed his business to selling grains and flours instead and taught martial art at the old children's park by Jilong river in Yuanshan. 

Zhang's Xingyi was a branch of the Hebei Li, Cun Yi system, his Bagua was from the Guanghua and Gao, Yi Sheng branch, and his Tai Chi was from the Hao style. Yi Zong is an amalgam of three styles and contains all three major internal styles. At the time there were no others in Taiwan teaching such a system, thus it was named Tai Shi Yi Zong (meaning First Yi Zong in Taiwan). The Yi Zong Martial Academy was founded in 1950 where Bagua, Xingyi and Tai Chi were taught." 
This is the system i teach at Boulder Internal Arts - Classes HERE

Sunday, June 3, 2018

Gao style BaGua Zhang Cane




Gao style BaGua Zhang Cane

Early in his life Gao Yi Sheng (founder of Gao Style Bagua Zhang) broke his leg in an accident involving a cart. The leg was not properly set and he walked with a cane for the rest of his life, because of this he developed this "Bagua Cane" form. "Gao style BaGuaZhang Cane (literally "Civilized Crutch") The cane was known to be the everyday weapon of choice of Gao style BaGuaZhang founder Gao Yisheng."

Friday, June 1, 2018

Gao Bagua Zhang - "Ti"..to Kick, Straight-Line Kicking - Marcus Brinkman



Gao Bagua Zhang - "Ti"..to Kick, Straight-Line Kicking 

"fixed step practice of Bagua straight-line kicking /sweeping methods called "Ti". This kick uses the top dorsal, bottom sole, and toe of the foot in progression. The so called kicking line is generally the basis of "dan zhong", single weighted or single leg standing practice." Marcus Brinkman

                                Learn Gao Bagua Zhang in Boulder, CO HERE

Saturday, May 19, 2018

Thursday, May 17, 2018

Bagua Zhang Master Ma Gui (马贵) (1857-1941)


Read all of this article HERE

Ma Gui (马贵), also known as Ma Shiqing (马世卿) (1857-1941), was the earliest disciple of Yin Fu (尹福).  Born in Beijing, he practiced several hard styles like Tiangangquan (天罡拳) and Shaolin Shiba Luohanquan (少林十八罗汉) before starting his Baguazhang training as a teenager.

Although small and short in statue, Ma had a genuine love for fighting and practiced diligently.  Consequently, Yin often brought him to meet other masters to try out his fighting skills. For many years, Ma also followed Yin in working security for King Su (肃王). It is said that when he was first introduced to the other palace guards, everyone thought this small boy could not possibly be good enough to do the job, and that the only reason he was there was because of his relationship with Yin.  Very soon however, no one would belittle him anymore, as he beat many of them severely in challenges. Ma always practiced hard. While working for King Su, Ma was required to patrol the area around the palace at night under the high palace wall which had big stones around its base. It is said that on his patrol, he would kick the foundation stones of the wall with every step he took. After years of this practice it was found that the foundation stones were badly damaged.

Dong Haichuan (董海川), founder of Baguazhang, took a liking to this grand disciple.  It is said that for many years while working at King Su’s palace, Dong would supervise intensive daily training for Yin and Ma. Since Dong had no family, when he retired from service at the King Su’s palace, he initially lived at Ma Gui’s home for several years, before finally moving in with Shi Jidong (继栋).  So even though Ma belonged to the third generation of Baguazhang family, most likely he received more direct training from Dong than most second generation masters. It is a common confusion that many people think Ma was in the second generation of Baguazhang family.


Read the rest HERE

Sunday, April 22, 2018

Gao style Bagua Zhang - Hong Kong Branch

Gao style Bagua Zhang - Hong Kong Branch

Mr Samuel Cheng performing Gao Bagua Zhang at KungFu Corner, Hong Kong, 2012.10.07
鄭風成師傅表演 - 高式八卦掌先天八大掌

Saturday, April 7, 2018

Sword/ Jian - Spring and Autumn of Wu and Yue 吴越春秋 - Translation and Commentary by — Scott M. Rodell



凡手戰之道,內實精神,外示安儀。見之似好婦,奪之似懼虎。

Fán shǒu zhàn zhī dào, nèi shí jīngshén, wài shì ān yí. Jiàn zhī shì hǎo fù, duó zhī shì jù hǔ

In all ways of hand combat (using sword/ jian), internally the spirit is full, the outside manifests a calm appearance. Appear as a friendly woman, (then) seize the moment like a threatened tiger.

From Spring and Autumn of Wu and Yue 吴越春秋

Image is of Lady Sun (孫夫人) for more about her see- https://en.wikipedia.org/wiki/Lady_Sun?oldformat=true


Translation and Commentary by — Scott M. Rodell

Thursday, April 5, 2018