Showing posts with label WUDANG. Show all posts
Showing posts with label WUDANG. 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...

Thursday, August 6, 2020

Wudang Martial Arts Daoist Master Guo Gaoyi

Wudang Martial Arts Daoist Master Guo Gaoyi

"A very rare video of taoist master Guo Gaoyi demonstrating part of Wudang Taiyi Xuanmen (Taoist) Sword. Guo Gaoyi (1924-1996) was the first head coach of martial arts in Zixiao Palace, one of the main taoist temples in Wudang mountains, between 1983 and 1989. 

Born in Shangqiu in Henan province, Guo studied Shaolin styles since childhood. During the anti-Japanese war in 1930 he traveled to north-eastern China where he learnt sword and Taijiquan from Yang Kuishan, a disciple of general Li Jinglin. After his batalion was defeated Guo retreated to the temples in Lüshan in Liaoning province, where he was initiated as a taoist monk. This is where he learnt Wudang Sanfeng martial arts from master Yang Mingzhen. Not much is known about Guo's whereabouts until early 1980s - only that during the Cultural Revolution is was forced to become a layman and return to his hometown - and could "return to Tao" only in 1981. He became a monk again, living in the temples on the White Could Mountain in Biyang County in Henan, where he studied martial arts from Tang Chongliang. Tang studied martial arts Wudang Mountains from Wang Xintang, a taoist master of the Eight Immortals Temple, but also received guidance from famous Wudang abbot Xu Benshan.

When his master passed away in 1983 Guo left White Cloud Mountain and moved to Wudang. In 1984 he became the head coach of the taoist martial arts academy at Zixiao Palace. In 1989 Guo left Wudang and in 1990 retreated to Shennongjia to practice meditation. In 1993 he moved to Nine Palaces Mountain, where he passed away in 1996. Guo was one of my taoist inspirations - the photos of him demonstrating swordplay featured in "Pictorial China" in mid-1980s were one of the reasons that set me on the path and travel to China. Unfortunately when I entered the gate of Zixiao temple in July 1991, Guo was already Shennongjia, in the area the foreigners were not allowed to enter. This part of my China dream has never become a reality and I never managed to meet him." - Jarek Szymanski 

For more information about traditional martial arts of China please visit: www.ChinaFromInside.com

Sunday, February 18, 2018

Wudang Swordsmanship 13 Techniques 武當劍法十三勢

Wudang Swordsmanship 13 Techniques 武當劍法十三勢


Wudang Swordsmanship 13 techniques (武當劍法十三勢)are introduced by “Magic Sword” General Li JingLin (李景林) in 1920s. General Li met and learnt Wudang Swordsmanship from a Wudang Sword Master Song WeiYi (宋唯一)from 1922. Ji(Strike), Ci(Stab), Ge(Block), Xi(Wash) are four main techniques in the original Wudang sword techniques which is taught by master Song WeiYi.
General Li JingLin introduced these swords techniques to his soldiers, after he created his swordsmanship company(劍術連) in the army. General Li also invited other swordsmanship teachers such as Xing Yi Master Sun LuTang, Bagua Zhang Master Jia QiShen to his swordsmanship company as an adviser. From numerous sword sparring and experiments inside the swordsmanship company in the army, general Li and his crews extracted and analysed the practice movements. They developed 13 main techniques and called “Wudang swordsmanship 13 techniques (Wudang Jian Fa Shi San Shi)”
This clip shows how the movement look like and application base on wudang sword techniques in "The Major Methods of Wudang Sword" by Huang Yuan Xiou (武當劍法大要- 黃元秀)

Free english translation is available in this site: https://brennantranslation.wordpress.... 武當劍法十三勢 武當劍法十三勢 武當劍法十三勢 由"神劍"李景林 將軍於1920年代推廣開來,。李景林 將軍於1922年向 武當劍傳人 宋唯一 習得 "武當劍法"。之後 李景林在軍中成立"劍術連 "把武當劍術授與部下,當中更邀請了劍術名家如孫祿堂, 賈岐山等作顧問。李景林在"劍術連" 中與其部下在不斷以劍對打及實驗中, 抽取實用技法, 並共同研究出劍術實用方法。 在原來武當劍法 中"撃,格,洗 ,刺 " 四母劍之基礎上, 整理出劍法十三勢。稱之為武當劍法十三勢。 以下影片是我們試演 。參考自"武當劍法大要" 黃元秀 著一書

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

Friday, June 9, 2017

The Major Methods of Wudang Sword by Huang Yuan Xiou - Book Review

“Shaolin shadow boxing and the Wu Tang sword style, do you think your Wu Tang sword can defeat me?” Wu Tang Clan – Bring Da Ruckus - Enter the 36 Chambers - movie sample from Shaolin & Wu Tang 1981 (dubbed).

The Wu Tang/ Wudang sword method is famous in America because of the Hip-Hop group The Wu Tang Clan’s use of samples from, and love of, Chinese kung Fu movies. The book The Major Methods of Wudang Sword by Huang Yuan Xiou is a classic and a must have for anyone interested in Chinese straight sword (Jian) methods, philosophy or anyone interested in historical swordsmanship. This book translates the original text with pictures. It outlines the basics of the Wudang sword method but do not expect to learn something a complex as the Jian from a book. The book is a wonderful reference tool, but it is not meant to learn the real method from.  

The Jian is called the “king of weapons” because of its complexity and subtlety. It was traditionally thought it would take 10 years of consistent training to begin mastery. Because of its difficulty it was also referred to as a “scholar’s weapon” and traditionally depicted as the preferred weapon of the aristocracy of ancient China.

The Major Methods of Wudang Sword is an important work and even more important because it was one of the few English translations (until recently) of a Chinese Jian manual (check https://brennantranslation.wordpress.com for others). I believe the thing that sets this translation apart from other translations is the author and translator are both long time practitioners of the Wudang Jian method. They lend their insights to the translations and they help clarify some of the underlying principles of traditional Chinese swordsmanship.


There are several chapters devoted to the basic theory of the Jian. I think these chapters are some of the most insightful because they outline different practice methodologies. With names like “yin – yang sword circle method” and “triangular paired-practice method” there will need to be some explanation, and for the advanced practitioner I found some of these chapters to be most illuminating.

This is an excellent book and a must have for anyone interested in Chinese straight sword (Jian) methods, philosophy or anyone interested in historical swordsmanship. The biographies, history and discussion of the methods are rare in Chinese and even rarer in English.


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