Showing posts with label Scott Rodell. Show all posts
Showing posts with label Scott Rodell. Show all posts

Thursday, February 25, 2021

Wudang Sword Grip by Scott Rodell

 

Wudang Sword Grip

"The Classic Manual “Fundamentals of the Wudang Sword Method (武當劍法大要),” records the correct sword grip as: “The grip technique is for the thumb to reach between the third and fourth finger to make the grip. The forefinger and little finger usually are loose, the center of the palm shaped like it can hold something. When striking or thrusting (with this grip) the sword has lively, profound skill far beyond that with the dead grip, but training this (grip) requires a long time.”* 

Those who follow the way of the sword today have two choices. The first, to follow the teaching recorded by accomplished masters of the past, teacher such as Li Jinglin (李景林). Or, if one feels his or her skill equal to or exceeds these past masters, evolve something new. For myself, I prefer to follow the path of past masters to the very best of my abilities. Given that these teachers lived in a time when they and others actually engaged in lethal, bladed combat where their lives were at stake, it seems wise to follow their tuition. To think ourselves wiser seems sheer folly and arrogance. 

*https://www.amazon.com/Fundam.../dp/B0155MS13A/ref=sr_1_4...

Tuesday, December 29, 2020

Three Methods of Free Swordplay in Jianfa - Scott Rodell


散劍法

練散劍。分三種方法。第一原地對擊法。活用手腕。與人擊刺。使心眼手三者合為一氣是也。第二行動對擊法。以手法步法與人對擊。第三活用身法。手法。步法。忽前忽後。聲東擊西。或上或下。奔騰飄忽。劍行如電。身行如龍是也。

Sàn jiàn fǎ

Liàn sàn jiàn. Fēn sānzhǒng fāngfǎ. Dì yī yuán dì duì jī fǎ. Huóyòng shǒuwàn. Yǔ rén jī cì. Shǐ xīnyǎn shǒu sān zhě hé wéi yīqì shì yě. Dì èr háng dòng duì jī fǎ. Yǐ shǒufǎ bù fǎ yǔ rén duì jī. Dì sān huóyòng shēn fǎ. Shǒufǎ. Bù fǎ. Hū qián hū hòu. Shēngdōngjīxī. Huò shàng huò xià. Bēnténg piāohū. Jiàn háng rú diàn. Shēn háng rú lóng shì yě.

Free Swordplay

The practice of free swordplay is divided into three methods.
The first method is standing in place striking at each other, adapting with a lively wrist. The intention is for the eyes, mind, and hand, these three to become one qì.
The second method is moving and striking. Use hand technique and footwork for swordplay.
The third method is a lively, adaptive body.
Hand techniques, footwork, back and forth, make a noise in the east and attack in the west, sometimes high, sometimes low, moving fast and unpredictable, the sword moves like lightening. The body moves like a dragon.

Commentary and Notes: In this chapter on swordplay, the author follows a common plan of development seen in Chinese martial arts, namely moving from fixed-step two-person exercises to moving step set routines. Naturally, students commence training in these exercises after techniques have been learned and thoroughly practised through solo forms and drills. Once the student has integrated the hand techniques with their footwork through the moving-step two-person forms, they can then move on to actual free play.

A common error, particularly amongst newer sword students is to always give distance, retreating to neutralize attacks. The problem with this is that once out of distance, one cannot counter-cut. This allows the opponent to control the flow of the action. By making sure the beginning swordsman has a sound foundation in his or her hand techniques, meaning he or she can properly deflect and counter-cut before adding footwork to the response to an attack, the student prevents this error of excessive or unnecessary footwork.

The author describes developing a lively wrist as part of the first step in learning free sword. The word for lively used here is huó (活). Huó means loose or lively, but in this context it does not simply mean the ligaments are loose and adequately stretched out. It means that one is able to adapt quickly and easily to any given situation. The quick changes that provide jiànfǎ with its versatility rely on this lively wrist.

“Make a sound in the east, hit in the west” is a classic Chinese strategy idiom for creating a diversion.

-Scott M. Rodell

https://www.amazon.com/Scott-M.-Rodell/e/B001K8ZF56?fbclid=IwAR05p4yeTsHGBNFHpzg9FwNHFfh5ctyLF5sD1dwSlcFuIuwfwBEQD67_vm0 

Found HERE 


Tuesday, June 30, 2020

Chinese Swords and Swordsmanship: The Dragonfly Cut by Scott Rodell

Chinese Swords and Swordsmanship: The Dragonfly Cut by Scott Rodell

"The known as the Dragonfly Cut for sideways figure 8 shape the blade carves, it recognized as a demanding test of a swordsman’s speed and accuracy. Not only must the second cut be fast enough to sever the target before it drops out of range, it must be delivered at precisely the right angle or it will be flung aside instead being of cut. Drawing his jian Scott M. Rodell delivers two quick Pi cuts to a bamboo stalk."

Saturday, May 30, 2020

China - 1913 Sword Competition - Scott Rodell

China - 1913 Sword Competition - Scott Rodell



當時,傳統的鑄劍用的是毛鐵夾鋼
沈庭璋為了參加縣里的大賽,特地用全鋼鑄造了一把寶劍
寶劍既鋒利又漂亮,能輕鬆斬斷三枚銅板,並將對手所鑄之劍斬為二截
奪得了第一名,被舉為劍魁
知縣贈予沈庭璋沈廣隆劍鋪的墨寶
墨寶做成了牌匾,至今仍掛在劍鋪門前

At that time, the traditional swords were made of iron and steel
In order to participate in the county competition, (swordsmith) Shen Tingzhang forged a special. This sword was sharp and beautiful, easily cutting through three copper plates, swords made by other contestants cut through two pieces.
Shen won first place, being was named "Jian Kui.”

Translation by Scott Rodell

Found HERE 

Wednesday, January 1, 2020

Chinese Swords & Swordsmanship: Jian - Historical Reality - Scott Rodell


Chinese Swords & Swordsmanship: Jian - Historical Reality 
Scott M. Rodell, noted authority on Chinese Swords and Swordsmanship, cuts through the common misconceptions and dojo-lore surrounding Chinese swords, presenting Qing Jian (double edged straight swords) in their historical context using period examples. #chineseswords

Friday, March 2, 2018

Yue Fei's Xingyi, 1934 By Li Cun Yi Translation by Scott Rodell


In order to study martial arts, one must be diligent in two areas. 

First, one must be willing to travel great distances in order to 
study with those of higher skill and sincerely request instruction. 
Second, one must also be diligent in speech, 

humbling one's self and ask for guidance.

Quoted from Yue Fei's Intent Boxing - Xingyi - , 1934
By Li Cun Yi Translation by Scott Rodell 

Friday, December 22, 2017


When you practice the spirit should remain inside, not going out.
Even during combat keep the spirit inside and calm. 
Internally I watch you like a cat. I watch you closely to see what is your next move.
Otherwise, if your spirit is exposed your whole body will be tense.
T.T. Liang
quoted from, “Quoted from Lessons with Master Liang: T’ai-Chi, Philosophy, and Life.” Quoted by Scott Rodell
Found HERE

Sunday, November 26, 2017

Fundamentals of the Wudang Sword Method - trans by Scott Rodell

心空歌
歌曰。手心空。使劍活。足心空。行步捷。頂心空。身眼一。
Xīn kōng Gē
Gē yuē. Shǒuxīn kōng. Shǐ jiàn huó. Zú xīn kōng. Xíng bù jié. Dǐng xīn kōng. Shēn yǎn yī.
Song of Empty Mind
The song says
With palm empty, the sword is lively.
With the center of the foot empty, the footwork is nimble.
With the topknot empty, the entire body is one.
Commentary and Notes: This short “song” describes the body once one is free from premeditated action. Simply put, when one is not predisposed to use a certain cut, one is free to cut in any manner. Likewise, when one is not planning on stepping here or there, one will freely move anywhere. When one is not thinking ahead without attachment to a certain action of set of rules, but “empty” in the moment, one is free from dogmatic actions, and can clearly see without the filters of habit and prejudice moving with true freedom.
The topknot refers to a daoist hairstyle where long hair is wound up into a knot that sits atop the apex of the head, held in place by a peg. “Keeping the topknot empty” means not hanging the head, inclining the body forward, nor titling the head back, so that it is pulling the body backward off balance.
Quoted from-
Fundamentals of the Wudang Sword Method - Selected Translations with Commentary from a Manual of Chinese Swordsmanship
This and Rodell Laoshi's other books can be found at-
https://www.amazon.com/Scott-M.-Rodell/e/B001K8ZF56

Tuesday, November 21, 2017

Fundamentals of the Wudang Sword Method Trans by Scott Rodell



練劍歌 
頭腦⼼心眼如司令。
⼿手⾜足腰胯如部曲。
內勁倉庫丹⽥田是。
精氣神膽須充⾜足。
內外⼯工夫勤修練。
⾝身劍合⼀一⽅方成道。

Liàn jiàn gē
Tóunǎo xīnyǎn rú sīlìng.Shǒu zúyāo kuà rú bù qǔ.Nèi jìn cāngkù dāntián shì. Jīng qì shén dǎn xū chōngzú. Nèiwài gōngfū qín xiūliàn. Shēn jiàn hé yīfāng chéngdào.

Song of Sword Practice
The mind is like a commanding officer.The hands, feet, waist, hips, are like the troops.Internal power is stored in the dantian.Jing, qi, shen and courage must be abundant.Internal and external skills must be practiced diligently. Then the body and sword become one achieving the dao.
Commentary and Notes:
In the last line of this verse, the term chéngdào (成道) can have a wide breadth of meaning. For those genuinely engaged in this sort of work, the concept of chéngdào should be clear. One possible alternative translation of this line is, “With body and sword becoming uniting, one achieves illumination.” Within Buddhism, chéngdào can express enlightenment or illumination.
Not that one is correct or better, rather perhaps not all are familiar with the meaning behind chéngdào. Reaching a state where the body and sword have united as one carries with it more than the idea of achieving great martial skill. Arriving at this state also bring with it a clarity and understanding of the world and the manner in which forces interact. In other words, there is a special understanding that comes from achieving great skill
If one wished to translate this line in a more common vernacular, it could be rendered, “with body and sword becoming one you get it.”

Quoted from -
http://www.amazon.com/Fundamentals-Wudang-Sword-Method-Swordsmanship-ebook/dp/B0155MS13A

Sunday, October 22, 2017

A Sword’s Sharpness – trans by Scott Rodell

寶劍鋒從磨礪出.
Bǎojiàn fēng cóng mólì chū.

A sword’s sharpness comes from polishing.
– Chinese idiom. trans by Scott Rodell

Wednesday, February 8, 2017

Wednesday, January 4, 2017

Sword Master Scott Rodell - interview


A excellent interview with Sword Master Scott Rodell found HERE

Angelika Fritz features this blog in her blog. So she recently asked me to answer a few interview questions. Here are my responses -
• Could you please tell a bit more about yourself? (e.g. since when are you doing Taijiquan? martial background?)
I began studying martial arts at the age of nine and jus kept going. I started studying taijiquan with Robert Smith while I was at University and through him met many accomplished teachers who helped me get where I am today, including my principle teacher, Wang Yen-nien. I also studying with TT Liang and William C.C. Chen.
• Which style are you into and why? (you could also talk about what you emphasize most: health, fight, meditation, philosophy…)
I practice Yangjia Michuan Taijiquan (楊家秘傳太極拳) which I studied under Wang Yen-nien. Though today taijiquan is often presented as either a heath art or a martial arts, suggesting that it is one or the other shows a basic misunderstanding of the art. This is the result of contemporary repackaging of the taijiquan. One only needs to read any of the period literature left behind by the Yang Family for it to be blindingly obviously that taijiquan is a martial art. It is also clear from the writings that the mediative and heath aspects are and integral part of and the result of a solid martial approach. As Cheng Man-Ch’ing wrote in Master Cheng’s New Method of T'ai Chi Self-Cultivation, “Taiji form practice that ignores functional application bestows health benefits that are artificial at best.”
• You focus a lot on Chinese swordsmanship. What fascinates you about the sword?
Something that can not be put into words. I suppose it is the same feeling a surfer has when he or she rides a really powerful wave or a musician jams with other great artists. I hope that in our time we will see more students rediscover this wonderful art and leave behind the practice of simply waving their weapons around as if it is Harry Potter’s wand and treat it with the respect it deserves.
If I may add one more thing… Through my company we offer real Chinese swords that are the size, weight and as sharp of Qing and Ming period swords. Occasionally we have had calls from practitioners who self described themselves as “teachers” who then asked if our swords are sharp? I reply, certainly, swords are sharp. (You don’t call a gun store and ask if their guns shoot bullets do you?) The next question is do we have any that aren’t sharp, because this “teacher" is afraid of cutting him or herself. No. I then in return ask, no offense, but if you are afraid of cutting yourself with your own sword, what is that saying about your skill level? Remember, these are people who have announced themselves as a “teacher.” Next is either, you are right and an order, or more commonly, “yeah but… ”
• What is the biggest benefit you get from your practice? (does it help you in any specific way? Which impact does it have on you? What changed since you started?)

A good, well practiced martial art It benefits every aspect of life.  When practiced in the fashion the founders laid out for us, Taijiquan is no different. It is only the limiting of the art by ignoring these instructions that the art is less, as in when it is presented as a only health or spiritual art. It is ironic that practitioners take up such a holistic art only to ignore it’s core aspects and disregard the teachings of Yang Luchan.
• Which piece of advice would you give a beginner in Taijiquan? (e.g. what is most important? How to get better?)

Don’t pick your teacher based on who is closest and most convenient to get to. Find one who really teachers the entire art rather than watering it down because he or she hasn’t the skill or courage to practice sanshou.
• Who are or were your most important teachers? (please refer to max. 3 teachers, you could explain why they are so important to you)
Wang Yen-nien.
• Is there any teacher or master you would like to learn from in the near future? (you could name 1-2 and write shortly what you would like to learn from him/her)
No. There must come a point where a student must stand on his or her own feet and stop relying on teachers. The false humility that is popular in martial arts is as much a delusion and egoistical as is false bravado, both equally hamper students. Better to be clear and honest about where you are. This is not to say that I am not always looking to learn. I find that teaching pushes me to constant learn and look more deeply into my practice. As does training with other skilled practitioners of any martial art.
• Is there a book you recommend? One you often like to pick up and refer to? (1-2 books about Taijiquan could be one of yours or from another author, maybe even another blog you like to follow)
Most books on taijiquan are pop culture fluff. For the most part, it is best to stick with the classic works. I recommend Douglas Wile’s translation of the Yang Family Manuals, “Tai Chi Touchstones: Yang Family Secret Transmissions.”
And Loius Swaim’s translation of Yang Chengfu’s book, “The Essence and Applications of Taijiquan.”
I hope that my forth coming work, “The Taijiquan Classics - A Martial Artist’s Translation,“ will also be of use to students of the art. The eBook version should be out later this month or early January.
I hope that you will answer my questions. Because I really like to connect with other Tai Chi people and bloggers. Let’s spread the word of how great Tai Chi is!
Thanks for asking me…
Be well, Scott M. Rodell

Monday, December 7, 2015

One Perfect Jian Cut: Bringing Together Speed, Power & Precision


One Perfect Jian Cut: Bringing Together Speed, Power & Precision
"Test cutting was a forgotten tradition in Chinese swordsmanship that has been revived at Great River Taoist Center. The jianke (swordsman, 劍客 ) cuts different types of targets to test different skills. A small, unsupported piece of bamboo is widely considered one of the most challenging cutting targets. The cut must be absolutely straight, fast and powerful. If any of these are off, the cut will fail."

Tuesday, May 15, 2012

Test Cutting!

Excellent pics of Scott Rodell test cutting a traditional Chinese Jian (straight sword)






Monday, October 31, 2011

“Chinese Cutting Sword” designed by Scott M. Rodell

An real Chinese Jian (Straight Sword) at a Great price!
Designed by teacher and author*, Scott M. Rodell, this simple and elegant jian is a revival of the classic Chinese straight sword. This purpose built sword is designed for both cutting and forms practice. It utilizes a special steel formulation and heat treatment regiment developed by Hanwei that optimizes edge hardness and body toughness while staying true to the feel and handling of period jian. The overall design of this sword is based on Rodell’s years of study of 1,000s of antique Chinese jian. In particular, this historically accurate jian features a blade with a curved surface edge geometry as was the standard for Chinese swords. In order to find the best, historically accurate edge for use by modern practitioners, teacher Rodell tested a number of different edge geometries during the course of the development of this cutting jian. The edge on this sword performs well whether cutting soft plastic targets or hard bamboo or wood.

Blade Steel: Specially Heat Treated High Carbon Steel with historically accurate curved edge geometry.
Blade Length: 31″ (79 cm.)
Sword Length: 39 1/2″ (100.5 cm.)
Overall Length: 42 1/2″ (108 cm.)
Sword Weight: 1 lb. 15 oz (900 g.)
Decoration/Materials: Steel fittings with Rosewood scabbard and cord wrapped grip.
Each blade is individually hand forged so lengths & weights may vary slightly.
CAS/Hanwei List Price: $399
Our List Price: $195.99

Here is a review of this sword:


http://sevenstarstrading.com/site/hanwei/cuttingjian/

Boulder Internal Arts - Classes Ongoing in 2026

Although I don't post much here anymore. We are still training and teaching in Boulder, Colorado USA after 20 years!  Boulder Internal A...