Does Anybody Know Chinese kung Fu that went to Japan in the last 1500 years

[diego]

The Big Picture

Legends simply cannot be trusted for any kind of accuracy, but it is expected that some gleam of truth will shine through. What are the facts then? In the article “Shaolin White Crane Gongfu: A Brief Overview” by Dr. Yang, Jwing-Ming, we read:

“According to the book Yongchun County Recording: Number 24, the Local Skills, Crane style was passed down to Zheng, Li in Yongchun county by Fang, Qi-Niang, and since then continued to spread out and be popularly practiced in Southeast China, especially in Fuzhou, Yongchun, Fuqing, Changle, and Putian of Fujian province. It also spread to Taiwan and to Southeast Asia.” (http://www.ymaa.com/articles/articleyang002.html)

He also mentions this fact hin his book “The Essence of Shaolin White Crane”. Also we have the Wu-be-zhi, a written record about the Yong Chun White Crane that was brought from China to Okinawa. These are TWO written records confirming the existence of Fang Qi-Niang, and proving her to be the originator of the Fujian White Crane. These are what are authoritative in the sense that they are written proof. Therefore, these facts take precedence over the legends.

“Of particular interest is the Weng Chun Dein Bok Hok (Weng Chun White Crane) kung fu system passed down through the Fong clan. This system of kung fu shares many similar techniques to the Yim Wing Chun system taught by Yip Man. Both include wooden dummy training. Similarly, both systems make heavy use of the Tan Sau (palm up high block), Pak Sau (slap block), Gaung Sau (palm down low block), Kiu Sau (bridging hand), the vertical fist punch, and the straight thrust kick. Both systems emphasize techniques that block and punch at the same time (Lin Sil Dai Dar). Today, the Weng Chun White Crane kung fu system is still practiced in Taiwan.” (http://www.wing-chun.com/elders1.html)

“Another style of Wing Chun sounded the same as Wing Chun phonetically but was different in Chinese character. This style is also known as Fong’s Wing Chun & White Crane Wing Chun, and it developed from the Fujian province of the Wing Chun village. This style is also amazingly similar to other Wing Chun system, but perhaps closer to the Northern style Wing Chun except the Northern style incorporated more high kicking techniques. The techniques of this style are similar to the earlier version of Canton Wing Chun. It is also developed from the White Crane stylist named Fong Chat Leung. A Nun named Fong Chat Leung who learned Kung Fu from her father founded Fong’s Wing Chun. She later divorced her first husband and became a Nun soon afterwards and then invented the “White Crane” style. Fung Chat Leung taught 28 students (including her second husband) who later became known as the “28 Legends.” Her second husband then taught 10 other students who became known as the “10 Tigers.” The style was then named after the village Wing Chun. It consists of more than 10 forms and loose techniques which have a similar theory (center-line, sticky-hand drill).” (http://www.wingchunkuen.com/yuenkaysan/article_eller01.shtml)

About this Fong Chat Leung, Rene Ritchie, a leading authority in the history of the Wing Chun style wrote this to me by email:

“Fang Qiniang, pronounced in Cantonese would be Fong Chut-Leung, or Fong’s Seventh Daughter in English. Different spelling. There’s no set way of romanizing Cantonese. Fong Chut-Leung, if a historical figure, was a young lady in Fujian province who learned the extant martial arts from her father and took the next step. Most Southern Fist origins are crouched in legend and their true histories lost to time. That being said, Fang Qiniang reportedly learned “Southern Shaolin” from her father and created the White Crane (Baihe) system, which her husband spread to Yongchun (Weng Chun) county where it became known as Yongchun Baihe (Perpetual Spring White Crane). This art spread to surrounding areas and many versions developed. One of the places it spread to was Guangdong province, aboard the Red Junk (Hong Chuan) Opera Company (Xiban). That is where I believe Wing Chun Kuen developed, mixing White Crane with Sichuan and Hakka influences.”

“Yong Chun White Crane Kung Fu is the only White Crane style to have its origins in the Southern Shaolin temple.” (http://www.kungfu-taichi.com/styles/hard.html)

“Fan Qiang Liang joined a temple as a nun, and practiced her Kung Fu vigorously each day. During the many days of hard training, she would hone and refine her Kung Fu skills . . . Yongchun-style is the main root, the pure form of White Crane, named after the county of Yongchun, Fan Qiang Liang’s home deep in the countryside of Fujian, there are a small number of White Crane master’s throughout this region, still teaching. Shaolin White Crane, is basically the same as Yongchun-style, in that it is pure White Crane, but it was honed and refined in the Southern Shaolin temple . . .” (http://www.kungfu-taichi.com/resources/article012.html)

[diego]

So, here is a summary of big picture painted by these sound evidences:

(1) The true history of the Fukien Shaolin White Crane has been preserved in written records, confirming that some of the legends surrounding the White Crane style are correct. A girl named Fang Qi-Niang (The Seventh Daughter of Fang) created the Shaolin White Crane.

(2) The Fong Clan has preserved a pure style of Wing Chun stemming directly from the original style of Fang Qi-Niang, and also preserving the identity of Wing Chun as being a White Crane Style. Other branch styles of Wing Chun from other provinces, such as Yip Man’s Wing Chun, preserve the legend that their style came from a woman who had become a Shaolin Nun, and that she saw two animals fighting. But those legends have lost her identity through the mists of time, and have only preserved the name of Wing Chun, showing that Yong Chun district was where the style originated. On page 98, Dr. Yang Jwing-Ming’s book, he writes: “According to Chinese traditional custom, a person normally could have two or even three names.” Therefore, it is obvious to us at this point that the names of Wu Mei and Yan Yong Chun are names that actually refer to Fang Qi-Niang, the Seventh Daughter of Fang.

(3) The Yong Chun Crane was imported to the Shaolin Temple, apparently because Fang Qi-Niang was herself a Shaolin Nun.

Further Lineage

Out in the ocean east of Fukien China is a nearby island group known in Chinese as Liu-Kiu. Originally, this island group was actually part of China, but was later on taken over by the Japanese. The Japanese pronunciation of Liu-Kiu is Ryu-kyu. The principal island of this chain has come to be known in our day as Okinawa. We will speak more of this island as we go on. There was a secret document that made its way from Fukien China to Liu Kiu which is called the Wubezhi. It is the secret text of the Fukien Shaolin White Crane style. According to a master by the name of Patrick McCarthy, in 1922 a man named Lin Deshun came from Fuzhou and introduced a branch of the Shaolin White Crane style called the “Eating Crane” to Taiwan. He had a book in his possession named the “Shaolin Bronze Man book.” This name refers to the picture of the Bronze Man statue in the Wubezhi that has striking points on it. The Liu family of Taiwan today owns this book. Although it is formatted differently, its content is IDENTICAL to that of the Okinawan version of the Wubezhi, so it is just another version of the same book. It is known that when Higaonna, an Okinawan master returned from his trip to China, he had in his possession a copy of the Wubezhi from Fuzhou. Miyagi, a student of Higaonna also had a copy, and must have copied it from Higaonna. Mabuni Kenwa, another Okinawan White Crane master wrote in his book, Kibo Jizai Karate Kempo Seipai no Kenkyu, “Making a copy of a Chinese book on Chuan Fa that my venerated master, Itosu Anko, had HIMSELF duplicated, I have used the Wubezhi in my research and secretly treasured it.” That same year was when he made that book public. So he had gotten a copy of the Wubezhi from Itosu Ankoh. His principal teacher was none other than the great Bushi Matsumura, a great master that we will speak of further on. Matsumura himself was said to have brought a copy of the Wubezhi back from China. According to Patrick McCarthy, Dr. Hayashi Shigo, senior student of Koju Kafu (grandson of the Okinawan master Kojo Kaho), said Kojo Taitei brought a “secret text” with him from Fuzhou upon which the Okinawan Crane style of Kojo-Ryu was based. This text can be nothing other than the Wubezhi, and they must have gotten it from a Chinese master named Hi Houa (Iwah). We will speak of these masters as we go on. We only make mention of them at this point to illustrate just how many Okinawans came to have the Wubezhi in their possession. Now that the Okinawans mostly speak Japanese, they call this book by the Japanese reading of its name, which is Bubishi. The Wubezhi gives the history of the Fukien Shaolin White Crane style, as well as the story of Fang Qi-Niang and some of her successors.

According to the Wubezhi, Zeng Cishu (Zheng Li or Cheung Sui Shu) was Fang Qi-Niang’s most prized student. Originally, he was a practitioner of Tiger Kung fu. Fang Qi-Niang combined some of his style into hers, and she passed on her art to him. He came to be the second grandmaster of the Fukien Shaolin White Crane style. Fang Qi-Niang, being a Shaolin Nun, also passed on the art to the Fukien Shaolin Temple. Zeng Cishu passed on the art to the families of Yongchun village. Then he had a student by the name of “Teng Shan” Wang Foudeng who became the third grandmaster of this line. After Master Foudeng, the line gets a little hazy. All of these masters apparently had dealings and affiliations with the Fukien Shaolin Temple.

The Fukien Shaolin White Crane over time broke up into many branch styles. The major ones are: Wing Chun; the Five Ancestral Fist; the Ancestral Crane (Zonghe, Suhe, or Zanhe Q’uan, also known as Sleeping or Trembling Crane); the Shouting Crane (Minghe Q’uan, also known as Whooping, Singing or Crying Crane); the Eating Crane (Shehe Q’uan, also known as Morning Crane); and the Flying Crane (Feihe Q’uan). The Fukien Jumping Crane is not related to these. It comes through different roots. (Of course, these are not the only styles that branch from it. The Liu-Kian (Okinawan) Styles are also descended from it, as we shall see.)

During the first half of the 19th century, a man from Yongchun village by the name of Li Shixian, a master of the White Crane, moved to Fuzhou. He apparently opened up a training hall there. He taught Pan Yuba, who taught Xie Zhongxiang (1852-1930), the founder of the Shouting Crane. Liu Liu-ko or Liu Liu Kung was Xie’s nickname. The Okinawans know him as Ryu Ryu-ko. One reference that I found stated that Xie’s teacher was a master that had studied at the Shaolin Temple. This may be referring to Pan Yuba, or perhaps even to a master by the name of Wai Xinxian (Wai Shin Zan or Waishingzan). Xie created the Shouting Crane style as a hybrid style, based on the White Crane and other Shaolin styles.

Higashionna (Higaonna) Kanryo, an Okinawan master, trained from the time he was a boy until age 20 with Arakaki in Kumemura, a Chinese colony on Okinawa. Then later Higaonna learned the Shouting Crane in Fuzhou, Fukien China from Xie, and he also studied under Wai Shin Zan. It took him 10 years to master the style. He trained with Xie a total of 13 years (1874-1887). Higaonna later opened a training hall on Okinawa in 1889.

There was a training hall in Fuzhou where visiting Okianwans would come to be trained. Two Fukien Shaolin Crane masters taught there: Hi Houa and Wai Xinxian. Many prominent Okinawan masters trained there when they visited Fuzhou on diplomatic missions to China, for example, the Kojos and Makabes and Sakugawa. Members of the Kojo family, all of whom were Okinawans, were said to have established a branch school teaching Hi Houa’s style in Fuzhou.

[diego]

Okinawa and the Development of Te

As we mentioned before, just off the coast of Fukien is an island called Okinawa, which means “a rope tossed into the water.” Repeatedly it was taken over by invaders. But the inhabitants had the doctrine of no resistance. They just submitted themselves and did not usually fight them, although they would defend themselves. They would do things secretly under the noses of their taskmasters. The inhabitants themselves are a mixture of many different bloodlines. It is the melting pot of the Orient, but it was essentially part of China until the Japanese took over. Ties to China had historically always been very strong, but the modern generation of Okinawans consider themselves Japanese, although they are not Japanese by blood. At first the island had a tributary relationship with China, but that ended shortly after the Japanese conquest by the Satsuma clan in 1609. Since then, the island has been under Japanese rule.

Over the centuries, two indigenous martial arts had developed there. At first the development of these arts were independent of China. One was an empty-hand art called te (ti). The other was an art of weapons called kobudo. Later on, there was much foreign influence on these systems to the point that they became totally transformed.

But then, according to some sources, starting in the 8th century, the Chinese occupied Okinawa and introduced early Shaolin Boxing. The king of Okinawa, Sho Neopashi, was so impressed by the Chinese art, that he ordered the masters to combine it with Te. This is the first known foreign influence on it. As time went on, te essentially became a style of Shaolin ch’uan-fa (“boxing”). There was really nothing left to distinguish te from it, as we shall see. Kobudo inherited many of the core principles of Shaolin Boxing as well, as weapons are just extensions of the hand.

In 1372, China and Okinawa began to engage in an expansive trade and cultural exchange when Emperor Satto opened the Ryukyu waterways to the Ming Emperor of China. A mission of Chinese officials was sent to Okinawa that year, exposing Okinawans to more Shaolin ch’uan-fa. As Okinawa gained more contact with China over the years, te was influenced even more by Chinese kung fu. Then in 1392, 36 Chinese families from Fukien were sent to Okinawa to establish a Chinese colony. This came to be known as Kume Village (Kumemura or Kuninda). There was a cultural exchange, and as part of that exchange, they taught the Okinawans their ch’uan-fa. In 1470, Okinawa was reunited under a king by the name of Sho Shin, under whom the possession of weapons, especially swords, was banned. As a result, the people were forced to look to different methods of defending themselves. The weapons used in the kobudo of Okinawa were derived from common farm tools. In 1609, the Satsuma Clan of Kyushu, Japan occupied Okinawa and again banned the possession of weapons. However the Japanese found that the Okinawan interaction with China was very profitable to them, so they never cut ties with China. The Okinawans for some time kept the Japanese occupation a secret from the Chinese. The Japanese occupation spawned an even more rapid development of te and kobudo.

After the invention of the Fukien Shaolin White Crane in Fukien China in the eighteenth century, the new style spread to Okinawa like wildfire. Especially in the late eighteenth century and throughout the nineteenth centuries, there was an especially large influx of Fukien Shaolin White Crane influence on te in the late eighteenth and nineteenth centuries as more Okinawan masters visited China and studied under Chinese experts. This led to the creation of three hybrid styles of what became known in Okinawa as “karate,” or “China Hand.” Don’t confuse this with modern-day Japanese martial arts known as karate, because these styles were Chinese styles on Okinawan soil. They were branch styles of the Fukien Shaolin Crane. They were known as Naha-te (Nafa-di), Tomari-te (Tomai-di), and Shuri-te (Sui-di), named after the “cities” of Okinawa in which they were developed. But these “cities” were so close that you could live in one “city” and walk next door and be in the next “city.” In reality, these “styles” were just different interpretations of the same basic style. The masters of each all had basically the same principles and methods. But each “style” sometimes had different forms. Some forms were Okinawan in origin, while others had been imported directly from China. Some forms, after they were brought to Okinawa were modified. Others were retained in their purity. But for a long time, the core of the White Crane remained intact, especially in Shuri-te. Later, Miyagi Chojun said, “They say that karate has two separate sects: Shorinryu and Shoreiryu. However, there is no clear evidence to support or deny this. If forced to distinguish the differences between these sects, then I would have to say that it is only teaching methods that divides them.” (Issue #4, Spring-Summer 1995 of Furyu: The Budo Journal. When Masters Meet, by Patrick McCarthy). Another author wrote, “It is important to note, however, that the towns of Shuri, Tomari, Naha are only a few miles apart, and that the differences between their arts were essentially ones of emphasis, not of kind. Beneath these surface differences, both the methods and aims of all Okinawan karate are one in the same” (Reid, Howard & Croucher, Michael (1991), The Way of the Warrior, The Overlook Press, New York, as quoted in the History section of the Karate BC website-http://www.karatebc.org/history/).

Contrary to some claims, the reason Shuri-te was called Shorin-Ryu (in Chinese, Shao Lin-Liu) and Naha-te are called Shorei-Ryu (in Chinese, Zhao Ling-Liu) is actually a distinction between Shuri and Naha, although there is not much of a distinction. It does not mean that the styles were different. The words Shorei and Shorin actually both refer to the Fukien Shaolin Temple, showing where the styles came from. These styles were all Fukien Shaolin White Crane styles. The Okinawans call the White Crane “Haku-Tsuru,” which is the Japanese translation.

Shuri-te (Sui-Di)

Wang Ji (Wan Su) was one of the earliest Chinese masters to influence the te of Okinawa. Someone made a form named Wan-Su (flying bird) in honor of him. Some say that his lineage later became known as Tomari-Te. Translated, his name means “flying bird.”

Around 1760, Ku Sanku, a Chinese envoy, was sent to Okinawa. Some say that he was a Shaolin monk, and others say he learned from a Shaolin monk. Another form of his name is Guan Kui or Guan Gui, which, translated, means “look at sky (heaven).” Once he was on a boat going to Satsuma, and that it was blown off course during a fierce typhoon, and drifted to shore on Oshima Beach of Shikoku Island. At that time, he gave a martial art demonstration. The book Ohshima-Hikki that contains the account says “with his lapel being seized, Kusankun applied his martial art and overcame the attacker by scissoring his legs.” He lived for a time at Kume village on Okinawa.

Sakugawa Satunushi was born in Shuri Toribori on March 3, 1733 and died on August 17, 1815 at the age of 82. Some say that his name was Shungo. His dying father suggested that he learn the fighting arts. In Akata village, Shuri, Sakugawa found Peichin Takahara (1683-1760). Takahara was a monk, mapmaker and astronomer. Takahara Peichin was born in the village of Akata Cho in Southern Shuri. Takahara who 67 at the time and was a famous warrior of the Okinawan fighting arts. Sakugawa respectfully asked Takahara to become his student, and was accepted. He studied under him diligently.

One evening in Kumemura, Ku Sanku, stood on a bridge and was looking out over the water. Sakugawa, at the time was quite a bully, and was in need of an attitude change. He made an attempt to push Kusanku off the bridge as a prank. As he went towards him to push him in, Kusanku change-bodied out of the way and grabbed him. He then scolded him, and lectured him, telling him that what he was doing was quite unwise, and that he should have more respect for his elders and not misuse his martial art. Later on after his attitude had changed, he decided that he would like to study under Ku Sanku. He asked Takahara for his blessing to study with Ku Sanku, and Takahara approved. Sakugawa improved day by day as he studied with Ku Sanku. Legend has it that two days before Takahara’s death, he summoned Sakugawa to his bedside. He told him, ‘After I die, you are to be known as Karate Sakugawa.’" Thus, he was called “Karate” or “Tode” which means “China (T’ang) Hand.”

When Master Kusanku returned to China, Sakugawa followed him and remained in China for six years still studying with him. Sakugawa became a famous samurai, and was given the title of Satunuky or Satonushi by the Okinawan king. It was most likely, Sakugawa that created the form Ku Sanku (“To look at the Sky”).

[diego]

Bushi Matsumura (Wu Cheng Cheng-Da)

Bushi Matsumura was born in 1797, and died in 1889. According to some sources, Bushi’s family name was Kayo. Matsumura grew up in Yamagawa village of the city of Shuri, Okinawa. He was partly Chinese. Sakugawa began training Bushi at Akata when he was 14 years old, in 1810.

Sakugawa trained him up until his death, and then Sokon was probably on his own for a while. According to oral history, he studied under Sakugawa for 4 years.

Bushi was recruited into the service of the Sho family. Later he rose to become a Chikutoshi, having the title of Chikatosinumjo (or Chikudon), a special Okinawan Samurai degree. The Okinawan samurai were essentially knights of the Okinawan kings.

Bushi Matsumura trained in China. Hohan Soken, another master we will talk about later, said that Bushi trained at the Fukien Shaolin Temple for 26 years and some months. Bushi was known in China as Wu Cheng Cheng-Da. He became a Shaolin monk at the temple. Later on Bushi Matsumura studied with Hi Houa and Wai Xinxian in Fuzhou, Fukien China as well. Bushi Matsumura’s style, although customized, is pure Fukien Shaolin White Crane.

Nabi Matsumura

Keeping with Okinawan Samurai tradition, a close family member was selected as Master Bushi Matsumura’s successor in his personal system. His grandson Nabi Matsumura was chosen. The pure and unchanged Fukien Shaolin White Crane was passed down to Master Nabi.

Some say Nabi Matsumura was very strict and secretive. Others received the glory, but he remained in obscurity. It is said he was born in the 1850’s and died apparently in the 1930’s.

Hohan Soken

Nabi chose Hohan Soken, his nephew, to be his successor. Master Soken was born May 25, 1889 and died November 30, 1982. He was born into the old Okinawan Samurai class. Because of the hardships placed upon the Samurai when their class system was abolished by the Japanese, Soken, had to work a more lowly type of job in the rice fields with the commoners. Master Nabi, however, noticed Soken’s potential. So he proposed to him that he would train him in Hakutsuru if he would simply show enough dedication, patience and control. Soken eagerly accepted. This was when he was 14 years old in about 1902 or 3. Nabi began training him in the basics. This training lasted 10 years (till about 1913). Finally, after that he knew that Soken was ready for the full White Crane style.

Hohan Soken left Okinawa around 1924 and went to Argentina, where many Okinawans had moved to work. Master Soken learned some Spanish during his long stay in Argentina and by the accounts told by his Okinawan students, he lived a very exciting life there. Among other things, he worked as a photographer and had a clothes cleaning business. He did many demonstrations. Soken returned in the early 50’s a relatively wealthy man by the Okinawan standards of the time. Soken named his White Crane style Shaolin-Liu Sung Tsun Cheng-Tung, which, translated into Japanese is Shorin-Ryu Matsumura Seito. Master Soken, learned the art of Okinawan Kobudo (Weapons) from Ushi Komesu of Ihonohara village and apparently also from Mantaka Chiken.

An American by the name of Ricky Rose, went to Okinawa and studied under Master Soken. Edwin Goble trained under Mr. Rose for 15 years. Ed Goble’s personal martial art is called Shaolin Hsing Chuan, which integrates the core of Master Soken’s White Crane style.

[HopGar]

Diego

Nice going hijacking the thread. But in anycase, PRAY that Ego does not see that article…you know why.

Peace