[QUOTE=Hendrik;1067746]however, Ng Mui is just a nick name of the person who brought White crane from Fujian into the WCK creation. Ng Mui is just a symbol of White Crane from Fujian. What important is to know the White Crane fujian source.
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So in your “proof”, there is a mythical person who is a legend, but don’t pay attention to that part of the proof?
2, One long form in the red boat era at the WWB, Yik Kam generation. if one’s WCK branch out from the post LJ-WWB time, then One long form is a teaching method.
A bunch of speculation on one vs. three and timelines. We know one teacher did this, but not what happened in all other famillies.
3, Snake and crane fusion is not my theory but ancestors’ passed down in WCK lineages.
Evidences speak for themselves.
The evidence that speaks for itself is apparantly you are somewhat mixed up betwen the words “theory”, “evidence”, and “fact”.
Even VTM today has already confirm the White Crane of fujian connection, not to mention in ASIA White Crane of fujian with WCK connection is a known fact.
the snake signature is all over the sets of WCK be it in the long form which was taught in the Red boat era pre Leung Jan, and Leung Jan -WWB creation of the three sets including the Koo Lo no sets.
Sorry - I don’t really follow VTM conclusions. They’ve proven to have a great deal of bias involved with research. But then again that seems to be the norm for WCK in general.
My part of description including the one set in post WWB era has one by one confirmed since last decades, with more and more WCK lineage open up and reveal their inheritance.
Yes. And some you like, and others you don’t like so much. Your bias.
Now the question is for you and your team who believe in Shao Lin WCK as the original WCK, who keep posting the anti- one long set of WCK in Red boat era in this forum.
how is that Shao lin fit into the pictures? Which Shao Lin (presume there is a shao lin which shao lin? what type of art?).?
No idea. We have some more clear oral tradition from Hung Gun Biu. Prior to that oral tradition connection to Cheung Ng. Other than that, I’ll ask more of the historians like my sifu next time I see him.
why it is you are practicing post WWB ( after 1850) 3 sets and missing the pre WWB (1840) one long set? isnt it the burning of Shao lin and down fall of Ming as you claim is in 1650’s?
Who says it’s missing? Even the stories you have says it gets split for teaching purposes even if all was combined first.
why is it White Crane of Fujian is in WCK instead of Shao Lin (presume there is a shao lin which shao lin? what type of art?)…?
I’m not much of a historian, but in most of what I have heard, I thought that during the Ming dynasty, which is somewhat correlated to the Rennaisance period in Europe, that in a similar fashion to how Rennaisance artists all knew each other and collaborated, so did the martial artists of southern China. Through the flow in and out of the temples as religious centers also are community centers, people trained together and exchanged ideas. Today they just all argue on the Internet and never spar together.
if you can explain what you claim, that will be created contribute to the Truth of WCK.
if you cant explain with evidence on your part, isnt that a good contribution to the truth of WCK too?
I don’t claim anything. I see a huge disparity in what I call evidence and what you call evidence. I just share a few stories from my limited knowledge of my family WCK and oral traditions and the application of it.