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Legend about rise Wing Chun Kung Fu, modern history and spread in
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Legend about rise of Wing Chun Kung Fu

Each style of kung fu has very interesting story about its rise, how it got name and enumeration of legendary, mostly undefeatable masters Wing Chun kung fu too. I have read so many different legends about rise, that it could be enough for a book full of c**k-and-bull stories. Mostly full of variances in comparison with real chinese history. Never exist persons, rally bad time data..., are going hand in hand with oral cavity pass on and embellished or advantegeous changed legends all chinese martial art schools. Here will be described legend, which is right for schools, which appeal on reference Master Yuen Kay Shan and his followers. I wouldn´t give it bigger meaning, in China most of masters don´t know it, so it has for "kung fu" no effect... In modern history we will pursue roots of school "Mai Gei Wong Wing Chun" master Wong Nim Yi from Guangzhou in China.
Ng Mui and Miu Shun

Legend says, that rise of Wing Chun Kung Fu is dated 300 years ago. It is qualified with budhistic nun Lui Sei Lung, budhistic name Ng Mui. She escaped from destroyed Fujian Shaolin cloister (sometimes called "South Shaolin"). She was hidden in cloister of "White hawk" in Emeian mountains in Sichuan. She could watch fight between two animals - different it is said between snake and hawk or fox or monkey. She was inspired with this fight and she changed her kung fu techniques... After departure from Sichuan to province Guangxi she taught her art monk Miu Shun, who as master kung combined Ng Mui technique "White hawk" with his kung fu to no named style. Miu Shun recieved to his doctrine late pupil from Fujian Shaolin cloister Yim Yee. He was a member of rebelious sect and on his escape before Mandjurs left to province Guangxi with his daughter. He had business with toufu.
Yim Yee and Yim Wing Chun

Yim Yee had the daughter Yim Sum Leung (known like Yim Wing Chun). He trained her kung fu. Another late rebel and follower Fujian Shaolin cloister Leung Bok Lao, the native from Jiangxi, could watch Yim Wing Chun during her training and he fell in love with her. They had the wedding after some time. When Yim Yee died, they moved to Zhaoqing in provinceGuandong, where they continued in their family life and training kung fu Þ to this time without name. After Yim Wing Chun death her husband Leung Bok Lao was very sad, he called the excercises after his wife on her eternaù memory. (I would like more this version: "After Yim Wing Chun death, when Leung Bok Lao´s pupils asked, which kung fu does he teach, he answered my wife´s kung fu - Wing Chun. This way got the style its name." I think this is more believable. I write that version too, because it is romantic and used.)
Leung Bok Lao

Leung Bok Lao had friend among people from "Theater company from "Red boats", who were among towns Fatsan - Zhaoqing - Guangzhou. He admired their moving ability and kung fu. At watching one of their training he found out, that one of styles is named almost the same as his. "Weng Chun kung fu" was Master Chi Shim´s style. Master Chi Shim came from Fujian Shaolin cloister. Style was named after training place in cloister. Leung Bok Lao admired their "6 1 techniques with long pole", which were Master Chim Shim´s specialities and that is why he exchanged them with his "Wing Chun" kung fu and taught them. Actors from boats could Master Chi Shim´s techniques and Ng Mui´s (the nun) kung fu. Among them we can name - Law Man Kung, Wong Wah Bo, Leung Yee Tai and Dai Fa Min Kam.
Law Man Kung, Wong Wah Bo, Leung Yee Tai and Dai Fa Min Kam

Wong Wah Bo was powerful and stout atlet. He had a good commaind of a "6 1 techniques with long pole". Later when he left the theater company, he helped Leung Yee Tai in Fatsan to teach famous Leung Jan. Wong Wah Bo took up a pupil Fok Bo Chuen, who later improved himself and got new knowledges from Law Man Kung and Dai Fa Min Kam. He farther taught his kung fu Fun Siu Ching in Guangzhou. That were late years 1800...
Fok Bo Chuen, Fung Siu Ching and Leung Jan

Fok Bo Chuen was well-known with the nickname "Sheung Dao Fok" - "Fok the double knife" for his unusual facility with two Wing Chun knives. In the end of Qing dynasty he worked like imperial policeman in Fatsan. In early years 1900 hired him rich businessman Yuen Chong Ming to teach kung fu his two sons Yuen Chai Wan and Yuen Kay Shan. His style is to these days in China called "She Ying Wing Chun" - "The snake style Wing Chun". Yuen Chai Wan later went to Vietnam, where he under his vietnamese name Nguyen Te Cong set up the vietnamese school Wing Chun Kung Fu. Fung Siu Ching was imperial police officer and once as well personal protection of Sichuan governor. At the end of his life he moved to family Yuen´s house and after some time he started to teach his kung fu owner´s son, brothers Yuen Kay Shan and Yuen Chai Wan. From other pupils we can name Ngao Si. He was their teacher and guest and stayed there until he died. His pupils made him dignified funeral. Leung Jan taught in his chemist´s. During his career he became very famous and reputable master in his branch, that is why he got the nickname "Wing Chun Kuen Wong" (King in fight Wing Chun Kung fu). Master Leung Jan after he went on rest in his 70 years returned back to his native village Gu Lo, where he taught some fans neat from his kung fu, today called "Pin San Wing Chun". (translate - "Wing Chun used from the side".) This simplified style as the most of his propagators has only "36 techniques" - Chi Sao, San Dim Bun Kwan (3 and 1 techniques with long pole) and Yee Jee Yam Yueng Dit Ming Dao (two knives). From Master Leung Jan´s pupils we can name Chan Wah Shun, called "Money exchanger", after the way how he fed himself, and Lai Ying.
Modern history
Lineage Yuen Kay Shan ---------> Wong Jing
Yuen KayShan

He was born in 1889, was known as "Yuen the 5 th" after his order in born in family. When he was a young boy, he was realy interested in martial arts together with his brother. Rich father could hire the excelent teacher Fok Bo Chuen, by which then Yuen Kay Shan trained for many years and he got the knowledges in training groups - with the wooden dummy, with long pole, with two knives, with throwing darts and in using destructive power "iron sand palm". After many years he had an occasion to improve his kung fu with 70 years old Master Fung Siu Ching. For the first time he didn´t want to hear about any training. Later Yuen Kay Shan persuaded him and he could improve his knowledges with advanced using kung fu in fight on short distance and enrich his previous technique. Yuen Kay Shan had to prove his abilities during his life, but he did´t find any fights. In Fatsan is known story, when Yuen Kay Shan fought for his friend Yip Man. They spent a lot of time together in opium lairs and some fighter went for Yip Man to one of these lairs to call him in fight. He wasn´t there. He thought, that Yip Man is Yuen Kay Shan and called him in fight. The fighter was knocked down direct on place. Yuen Kay Shan is the legend today, about which are written books and told incredible stories about his ability in fight with Wing Chun knives, throwing darts, long pole... Still in his life should be written books of his memories, but he forbad their edition. He died in winter 1956. Yuen Kay Shan had many followers, but only a few really students. Among them we can number Master Wong Jing and Sum Nung.
Lineage Leung Jan -------------> Wong Jing
Lai Ying

This Leung Jan´s pupil is quite unknown person. It isn´t clear, if he was his pupil in his Fatsan period of later in Gu Lo. Up to now the only information is his grandson´s testimony, Mr Yuen Jo Tong from Guangzhou in China about it, that one of his pupils was Master Wong Jing. Maybe we will know more from "Wong Jing Wing Chun" family members something more on our next journeys in China.
lineage Chan WahShun -------------> Wong Jing
Chan Wah Shun

Leung Jan didn´t want to teach his later pupil, but when his students put in a word, he changed his opinion. It is well-known story, how young Chan Wah Shun watched lessons Master Leung Jan through a small hole in fence and secretly collected knowledges from his pupils. Chan Wah Shun allegedly participated many fights and according to later statement Sifu Yip Man was very handy fighter... According to information Master Yip Man from conversation with Mok Pui On in hongkong magazine "New Martial Heroes" had Chan Wah Shun during his life only 16 pupils. One of them was his own son Chan Yiu Min.
Chan Yiu Min

Master Chan Wah Shun´s son, Chan Yiu Min was quite problematic boy, today we would call him a "gambler". Once he even stole to his father valuable books to pay his debts from gaming. In Kung fu he was certainly very handy, we can say it because of his title "King of long bar seven provinces", which he got on tournament, where he won with all competitors. It is said, he had above the door to his school a huge bar with engraved sign of this title. His wife Lai Miu Hin learnt together with him traditional chinese "arranging bones" (way, how to treat ijuries) from Master Chan Wah Shun. About Chan Yiu Min´s wife - Mrs Lai Miu Hin it is said, that she was very handy in Kung fu and Master Chan Wah Shun taught her more than his son. She died in the age of 89. From pupils we can name Jiu Chao.
Jiu Chao

Same as his teacher prefered title of style "Weng Chun", what is quite different from "Wing Chun". Jiu Chao practised Hung Ga kung fu and among pupils Chan Yiu Min pertained among the best. From his Master he learnt as martial art as art "arranging bones" - treating the injuries. His job was secret policeman and one of his collegues later was very famous other teacher kung fu - Master Yip Man. We can´t cut out exchanging opinions and techniques. This teacher´s style includes about 12 forms. One of many pupils was Wong Jing.
Lineage Ngao Si -------------------> Sum Nung
NgaoSi

He learnt from Master Fung Siu Ching in time, when he lived in family Yuen´s house in Fatsan and among his pupils belonged Wai Yuk Sang.
Wai YukSang

According to some informations Wai Yuk Sang didn´t learn himself Wing Chun Kuen from Ngao Si, but he learnt from his older brother. Unfortunately we will never find out, how it really was. Wai Yuk Sang was a doctor in "National Army" and in his older years he resorted to seclusion. He became a taoistic priest and he taught "Hei Gung" (brass excercises). From Master Wai Yuk Sang has "Mai Gei Wong Wing Chun brass inside excercises "Sun Hei Gwai Yuen Gong", it´s roots reaches to Emei mountains to province Sichuan, just here in cloister of "White Crane" was in her time grandmother of Wing Chun Kuen - Ng Mui. Wai Yuk Sang taught martial art, cures and brass excercises. One of the pupils this Master was Cheung Bo.
Cheung Bo

Originaly Hung Ga´s style fighter got in one of his fights bitter defeat. He was knocked out with Master Wai Yuk Sang, who used Wing Chun style. Later he asked Master for adoption to study to learn the style, with which he was knocked out. Cheung Bo was very stout and powerful man, who was very afraid fighter. He wasn´t afraid of fight with a few competitors at the same time. His art he taught two of his sons, who grandpupils - Sifu Mak Yiu Ming, are well-known in Fatsan today. Part of his techniques from his style he taught Sum Nung.
Sum Nung

In Guangzhou teaching Master was born in South America, but at the age of 5 he returned with his chinese parents to China. In the year 1938 he started to devote to Wing Chun Kung Fu under leading Master Cheung Bo, from him learnt "San Sik" Wing Chun, so called basic self-defence through apllications chosen from all groups. Later Cheung Bo brought him to Master Wai Yuk Sang, who taught Sum Nung brass excercises and curing injuries. In the year 1941 he was from his Master introduced to Greatmaster Yuen Kay Shan and since he had learnt from him. In the year 1999 he officially changed mark of his style from "Yuen Kay Shan" on "Sum Nung Wing Chun". In Guangzhou and the surrounding is possible to find many his followers. Certain time in his school improved himself even Master Wong Wu Fong (Mai Gei Wong) and many of his techniques he included in his style. Master Sum Nung passed away 2002...
Wong Jing ------>"Mai Gei Wong Wing Chun"
Wong Jing

He originaly studied "Bak Hok Kung Fu" - "White Crane´s style" and it is said (from Leung Ting´s and Yuen Jo Tong´s informations), that is style was influenced from three big personalities Wing Chun Kung Fu: "Leung Jan Wing Chun" by Master Lai Ying, "Chan Wah Shun Wing Chun" by Master Jiu Chao and "Yuen Kay Shan Wing Chun" direct by Master Yuen Kay Shan, who was his good friend. Experiences with more Wing Chun styles helped him to understand the style to depth, no just personal interpretation of Masters. Wong Jing before his death in the year 1972 often send his pupils "on experiences" to another schools, his Wing Chun colleagues. One of his most important is Master Wong Wu Fong.
"Mai Gei Wong" - Wong WuFong

Greatmaster Wong Wu Fong, later for his fighting ability called "Mai Gei Wong" - "rice machine Wong". He was intersted in martial art from his childhood, he was experienced in many styles and big physical culture fans. He trained "Nothern Shaolin", "Taj Ji", "Pakua", "Xing Yi", "Tai Hoi", "Mok Ga", western box, fight and weight-lifting. By Master Wong Jing he started to learn, when like the only Master, who he met, managed him in friend fight to knock him down. He sent him to train to another Yuen Kay Shan pupil´s school - Master Sum Nung to have another view on Wing Chun from other direction. From there come some excercises "San Sik" and next techniques, which Master Wong Wu Fong included to his style "Mai Gei Wong Wing Chun". In 1960´s and 1970´s was the line "Mai Gei Wong" Wing Chun the strongest school of this style in surrounding cities Fatsan and Guangzhou. Greatmaster Wong Wu Fong was admired master of fight and very respected person of local sommunity martial arts. There are incredible stories about his fighting abilities, speed and power, many times certified from up to now living eye-wintesses. After retire he forbad to use the name "Mai Gei Wong", so his style isn´t known except China. Greatmaster Wong Wu Fong died in the year 1998. On his funeral were over 300 mourning guests, mainly pupils and Masters of many kung fu styles, who were his friends.
Wong NimYi

Greatmaster Wong Wu Fong taught Wing Chun Kung Fu all his children. One of them is Master Wong Nim Yi, who lives and teaches in southchinese city Guangzhou. He trains Kung fu from early childhood under his father´s charge, but another important Masters too. He can a few kung fu styles, but for example "Lion dance", kaligraphy... His own kung fu school festively opened and officially registered in the year 1998. Before he taught in his father´s school, which he took over after hi death. He taught only "Mai Gei Wong Wing Chun" and a few interested people Tai Ji Quan every day early morning and in the evening in "Tian He Sport Center" park. During the day is his flat full of pupils and variant visiters - Wing Chun teachers from far surrounding and Masters of other styles, who like discussing with him by "Kung Fu" tea about all possible martial art aspects, how chinese as any other. Master Wong is very pleasant and humorous man, who also can during a second explode with incredible power and speed. His Wing Chun Kung Fu knowledges and fighting abilities are very deep. His pupils are from all social sections and all age groups. In last years he teaches his art unchinese pupils too. His czech pupil from the year 1999 is Ivan Rzounek with his czech students from "Czech Association Wing Chun Kung Fu" in Czech and Slovak Republik.

http://www.wing-chun.cz/en/wch_description.html

Hung Fa Yi Wing Chun

Garrett Gee Mini Biography:

Grandmaster Garrett Gee comes from a distinguished line of philosophers and martial and military teachers. He is the direct descendant in a family that has consistently studied and taught martial art disciplines for centuries to professional military officers and royal family members of China’s greatest dynasties.

Gee began his martial arts training at age five under his father, Grandmaster Peter Kim Ho Chu (a Wu Tang Instructor), and later received full training in Hung Fa Yi Wing Chun Kuen in China.

Traditionally, Hung Fa Yi Wing Chun Kuen (or Red Flower Righteousness Praise Spring Fist) was taught primarily to family members and/or indoor disciples. Until instruction of Garrett Gee by Dr. Ming Wang, Hung Fa Yi was never taught outside the family. In order to preserve his art and to honor his Kung Fu lineage, Sifu Gee has decided to pass on his knowledge to students who have demonstrated sincere interest in this Wing Chun style. His decision to open the system represents the first time in its 330 year history that Hung Fa Yi Wing Chun Kuen has been taught outside China or to the public.

Full Lineage: Cheung Ng -> Chan Jing Lin -> Chan Sai Yuan -> Chan Boh Jung -> Huhng Gun Biu -> Cheung Gung -> Wang Ting -> Garrett Gee (8th Generation Grandmaster)
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By Benny Meng and Richard Loewenhagen

Hung Fa Yi Wing Chun Kuen (Red Flower Righteous Praise Spring Fist), is one of the few Wing Chun Kuen (Praise Spring Fist) lineages known today that traces its historical roots to the 17th Century Southern Shaolin Temple (Southern Young Forest Temple) and its Wing Chun Tohng (Everlasting Spring Hall). It is also one of the few lineages to trace its roots to the formation of the Kihng Fa Wuih Gun (Beautiful Flower Association), known today as the Chinese Artist Association, in the beginning of the 18th Century. Hung Fa Yi was the only name used during revolutionary times from the late 17th to the mid 19th Century. Until recently, that name was known and used only among insiders. In the mid 19th Century a public version of the art began to be publicly demonstrated on the Red Opera Boats. The public name given it was Huhng Syuhn Wing Chun Kuen (Red Boat Praise Spring Fist). Ten generations of Hung Fa Yi tradition trace back over 300 years of Chinese history while most Wing Chun lineages trace their roots to either the descendents of the Huhng Syuhn Hei Baan (Red Boat Opera Troupe) or family roots, both with origins in the mid-18th Century.

Previous treatises by these authors and others of the Ving Tsun Museum staff have highlighted the Southern Shaolin Temple's formation and development of Wing Chun Kuen (Everlasting Spring Fist) as a military combat training system in the latter half of the 17th Century. Shaolin warrior monks joined high-level military strategists and fighters in molding their science and experience into Wing Chun Kung Fu. This article gives long-overdue credit to one of Wing Chun's developers and the founder of it's fielded namesake, Hung Fa Yi Wing Chun Kuen. Further research may well reveal him to be the greatest, most significant person in the history and realm of Wing Chun Kuen. His given name was Jeung Ngh (commonly Romanized as Cheung Ng).

Throughout the 19th and 20th centuries, many legends and stories of Wing Chun Kuen's roots were created based on the burning of the Southern Shaolin Temple and the escape of the legendary Ngh Jou (Five Elders). According to Hung Fa Yi traditions, of those who survived the Manchu massacres, two known Southern Shaolin Temple disciples did indeed escape and were able to keep the Wing Chun system alive. The senior, a monk, was the twenty-second generation Shaolin Temple Grandmaster, Yat Chahn Daaih Si (Senior Master "First Dust"). The other, his disciple, Jeung Ngh, is credited with forming the Kihng Fa Wuih Gun as a front for activity conducted by revolutionary societies throughout Southern China. For the next century and a half, the combat art was referred to as Hung Fa Yi Wing Chun Kuen.

Many legends reflect that Jeung Ngh came from a family of generations of military men serving the Ming Dynasty until the Manchu killed his family. Seeking refuge and fleeing persecution, Jeung Ngh fled to the Northern Shaolin Temple (Northern Young Forest Temple) in the latter half of the 17th Century. After spending some time in the Northern Shaolin Temple, he heard of the gatherings at a place called the Huhng Fa Ting (Red Flower Pavilion) with the specific purpose of restoring the Ming Dynasty to the rule of China. Presumably to join in such efforts, he left the Northern Shaolin Temple and traveled to the Southern Shaolin Temple where he met the rebels and the Shaolin Monk Yat Chahn Daaih Si. It was there that he began his studies of the art that was to become Wing Chun Kuen.

Following the burning of the Southern Shaolin Temple, Jeung Ngh of Wuh Bak (a province in China, meaning "North Lake") also known as Taan Sau Ngh ("Dispersing Hand" Ngh), brought his skills to Faht Saan (a city in Southern China, meaning "Buddha Mountain"), in Gwong Dung (a province in China, also known as Canton) province. In order to keep his identity and the Shaolin Temple background from the Manchu government, Jeung Ngh organized the Kihng Fa Wuih Gun as a front to cover his revolutionary activities. He also passed on his knowledge of traditional opera and martial arts to the Red Opera followers.

Some forums have suggested in recent years that Jeung Ngh's nickname, Taan Sau Ngh, is homorphic with the Chinese word for cripple, and that perhaps he was given the nickname because he always had a beggar's hand out for food and money. Such conjecture may be quickly dismissed as it runs counter to the preponderance of evidence present even in this century. Both historical pointers and scientific principles lend credence to Jeung Ngh's existence and his contributions to Wing Chun. Historical pointers begin with numerous opera records referring to Jeung Ngh as highly respected for both his military and operatic skills. No beggar could garner such respect from the highly sophisticated opera societies. Today's Cantonese opera groups still revere him as a Si Jou (term for founding ancestors in martial art cultures) and numerous opera history books refer to him as Jéung Si (Teacher or Master Jeung). The Faht Saan Museum in China also possesses historical evidence of Jeung Ngh's life as both an opera performer and a martial artist. Their historical analyses make no reference to Jeung Ngh as either a cripple or a beggar. Corroborating research into Wing Chun family lore done by the Ving Tsun Museum supports the evidence referring to Jeung Ngh as both a martial arts and opera master. Indeed, Hung Fa Yi Wing Chun practitioners have a 300-year history and have always recognized Jeung Ngh as the first generation Grand Master of Wing Chun Kuen. Museum records, opera records, and Hung Fa Yi traditions universally attest that Jeung Ngh's one Taan Sau (Dispersing Hand) was peerless throughout the martial arts world. With it alone, he could describe the science of Hung Fa Yi Wing Chun and its complete control of time and space during combat. The scientific proof of Jeung's Ngh existence lies in the fact that his Hung Fa Yi descendents can duplicate that same feat today.

This control of time and space is what makes Jeung Ngh's Hung Fa Yi Wing Chun different from all other martial arts. It guarantees simultaneous defense and attack with pinpoint accuracy. It is the hand-to-hand equivalent of range detection and radar/sonar equipment in today's high tech weaponry. Absolute precision in the positioning of body lines, coupled with equally precise control of distance between one's own body parts, allow the practitioner to use his hands and feet as range detectors. Similar precision focused on strategies and tactics designed to capitalize on structural flaws and motion occurring within six gates or zones of defense/attack become the practitioner's radar. Jeung Ngh (and today's Hung Fa Yi practitioners) could fully express the complexities of simultaneous defense and attack through time and space control from the use of a single technique - the Taan Sau dispersing hand.

In Hung Fa Yi Wing Chun Kuen, Taan Sau is trained consistently at one single point in space and time in all skill development methodologies, including Saan Sau (Separate Hand) exercises, Chi Sau (Sticking Hand) drills, and applications training. If a practitioner were to use Taan Sau at the wrong space, he would not be in a position for simultaneous attack and defense. If he used the Taan Sau at the wrong time, his opponent would not be denied the opportunity for challenge. Only one Taan Sau, applied at one specific point in space at one specific time will allow the practitioner to defend and attack while the opponent is denied the same. How, then, is this precision maintained in the chaos of combat? The answer lies in a disciplined structure that most efficiently enables employment of strategies and tactics developed from Hung Fa Yi Wing Chun's emphasis on the physics of three dimensional space and the fourth dimension, time itself.

Hung Fa Yi discussions of space begin with in-depth awareness of self. The word 'begin' must be emphasized strongly here, because Hung Fa Yi Wing Chun is a complete system for combat. Consequently, every aspect of the science of Wing Chun relates to every other aspect. Complete understanding of each individual part is impossible without in-depth comprehension of the symbiotic relationship of all parts acting in concert. Purpose techniques, structures, energetics, attributes, tactics, and strategies must all cooperate for any meaningful employment of space and time to occur. They affect even the description of time and space. For example, perfect alignment of one's body for the express purpose of horseback riding requires reference points in space that are distinctly different from those required for hand-to-hand combat alignment.

With that said, Hung Fa Yi examinations of space begin with analysis of one' s own body unity for the express purpose of engaging in hand-to-hand combat. Practitioners employ the precise structure of Wing Chun to develop innate awareness of the distances between each of their own body parts. Before any attempt can be made to precisely control an opponent's mass in motion while denying the time and space required to react, one must first possess absolute control over his own structure throughout its movement in space and time. This is known as development of martial self-awareness. It is what enables the Hung Fa Yi practitioner to maintain his own space while entering the space of another. In essence, his body becomes a calibrated instrument capable of instantly measuring distance. His structure becomes as effective as any modern day range detection instrument enabling pinpoint accuracy in weapons employment.

Development of martial self-awareness occurs in three stages. The first stage involves attainment of maximum efficiency in structural unity by aligning one's own body parts to provide an optimum mix of balance, strength and ease of use in relation to three-dimensional space. The second stage involves developing an awareness of an opponent's structures and flaws in relation to his own space. The third stage introduces the fourth dimension of time and involves movement of one's parts within defined space.

In the first stage, the practitioner examines the depth, height, and width of his own space in terms of 4 elements of the Hung Fa Yi Wing Chun formula: 1 centerline (focal point), 2 lines of defense (depth), 3 reference points (height), and the 3-line concept (width). In order to define one's own precise space and the most efficient placement of his own parts within it, he must be able to describe that space in all dimensions. These four elements of the Wing Chun formula allow him to do just that.

The first element, centerline, provides a vertical reference line allowing for centering the depth, height, and width components of the practitioner's space.

The second element, 2 lines of defense, tells the practitioner how far both of his hands need to be away from his body. This is the 'depth' component of his own space. The height element, referred to as the 3 reference points, gives him the proper vertical positioning for aligning each of his limbs. Lastly, the 3-line concept provides a precise description of the width of his space on a horizontal plane. Properly understood, these four elements allow him to quickly align his body parts for optimum simplicity, efficiency, and directness in relation to his opponent when motion is introduced.

In the second stage, the opponent's structure is examined to determine one's own weapons alignment. The same four elements of the Wing Chun formula are used to analyze the opponent's structure. Are his hands and feet at the proper distances from his torso? Are his elbows, hands, knees, and feet aligned according to the 3-line concept? Are they at the correct height, or are they too low? All of these factors are taken into account, because they will directly affect control of space and time.

In the third stage, time comes to play. This stage begins when the practitioner aligns his structure with his opponent's. Time can only be referenced when there is a second object to be interacted with in space. Optimum alignment allows the simultaneous use of offense and defense. It also requires the opponent to make adjustments in his own structure before employment of his own weapons. This gives the practitioner a time advantage over his opponent. He trains to align his structure so that his opponent is only able to use a fraction of his body and weapons against the practitioner 's full arsenal. While the opponent is adjusting to bring all of his weapons into proper alignment, the Hung Fa Yi practitioner is in control of time and is already using it to advantage.

Hung Fa Yi practitioners train to recognize three different time frames in relation to combat. The first is called Fauh Kiu (Floating Bridge). It represents a temporal window in space during which one has no control of either time or space. In short, no part of the Wing Chun formula is expressed in alignment or structure. The second time frame examined is called Saan Kiuh (Separate Bridge). This timeframe addresses conditions and results of having time, but not space, or having space, but not time. Any strikes landed during this timeframe are considered nothing more than "lucky strikes" because the practitioner could not guarantee the outcome. The third time frame is called the Wihng Kiuh (Everlasting Bridge) time frame. It represents complete control of time and space, allowing simultaneous offense and defense.

These concepts of space and time relative to combat are foundational to the total comprehension and employment of Hung Fa Yi Wing Chun. By knowing what structures enable the quickest determination of 'when to act' and 'where to act' most efficiently, the Hung Fa Yi practitioner is prepared to control space and time. He uses the Wing Chun formula to recognize distortions in time and space, both his own and his opponent's. He trains to remove his own distortions while amplifying those of his opponent. Coupled with strategies and tactics designed to capitalize on space-time distortions, he simultaneously disables an opponent's weapons while employing his own.

The ability to explain these complex concepts in motion with a single technique, the Taan Sau, gave Hung Fa Yi Wing Chun's founder, Jeung Ngh, his nickname. Today, that ability remains alive as recently demonstrated by Master Garrett Gee , the 8th generation inheritor of Hung Fa Yi, at a Ving Tsun Museum seminar. Master Gee was asked if it matters whether the Taan Sau is used to engage the opponent with one's front hand or back hand (depth dimension). He used the Taan Sau to clearly demonstrate that front hand employment denied the use of simultaneous offense and defense because the back hand was out of range for striking. The time required to bring the back hand within range following front hand engagement was time the opponent could use for reaction. Clearly a time-space consideration was needed.

Master Gee was then asked if it mattered whether the Taan Sau was high (upper reference point level - height dimension) or low (shoulder level - height dimension). He replied that dealing with an upper gate attack requires covering that gate. Upon contact, adjustment can be made. Making contact low and trying to adjust is dangerous. There is insufficient leverage. Making contact high provides sufficient leverage for adjustment with fast motion in time and space.

The last dimension is width. In order to allow for simultaneous attack and defense, proper setup in accordance with the Wing Chun formula should result in applications of the Taan Sau occurring inside the opponent's offenses.

Like his Si Jou before him, Master Gee emphasized that there is only one most efficient way to use Taan Sau when time and space are taken into consideration. There is only one way to enable simultaneous attack and defense. Like his predecessor, he can express the entire system through this single hand. He and his own descendants represent today's scientific proof of the unprecedented effectiveness of Jeung Ngh's Hung Fa Yi Wing Chun system of combat training and application.

A Note About the Authors: Sifu Benny Meng is the principle founder and Curator of the Ving Tsun Museum. He has traveled extensively throughout the world researching the roots of the art, and studying the training methods and applications employed in virtually every lineage of Wing Chun Kung Fu. He was one of the first disciples in the 9th generation of Hung Fa Yi Wing Chun. Sifu Richard Loewenhagen is one of the founding committee members of the Ving Tsun Museum and currently serves as its Director of West Coast Affairs. He is in the first group of disciples of the Ving Tsun Museum to complete discipleship training in the Yip Man system of Wing Chun. He is in the first group of 10th generation disciples of Hung Fa Yi Wing Chun. Both authors are full time teachers of Wing Chun Kung Fu and are available for professional seminars on historical, as well as technical, aspects of the art and its training methods. Benny Meng can be reached at the Ving Tsun Museum, 5715 Brandt Pike, Dayton, Oh, 45424, phone (937) 236-6485 and emailed at bennymeng@vtmuseum.org. Richard Loewenhagen can be reached at Meng's Martial Arts of Arizona, 3029 N. Alma School Rd, Suite 218, Chandler, AZ, 85224, phone (480) 820-242 cool and emailed at sifu@mengsofaz.com.

http://home.vtmuseum.org/articles/meng/jeung_ngh.php

Foshan Yongchunquan (Wing chun Kuen)

by Yun-choi Yeung

Foshan Yongchunquan is not another kind of Yongchun or Wingchun Kung Fu. It
is about Yongchunquan from Foshan, and an attempt to investigate the various
technical development of Yongchunquan in Foshan. It is not uncommon for some
teachers to follow the Hong Men practice of making their students to take deadly
vows not to disclose their secrets to any outsider. Foshan Yongchunquan follows
the tradition of Chin Woo Athletic Association, which believes in open teaching,
to promote and develop this unique art of fighting once flourished in Foshan.

The origin of Yongchunquan is some what perplexing due to historical reasons
(Yeung, 1999), however from a technical point of view its development from Shaolin
Martial Arts makes very good sense. The followings are identifiable features
in Yongchunquan:



1.




Yongchunquan is a unique development from Southern Shaolin Martial Arts
and is complementary to conventional Shaolin Martial Arts


2.



Yongchunquan bears certain similarity to other Southern Shaolin Martial
Arts such as Hequan (Crane Boxing), Hongquan (Hong [Family] Boxing) and
Nan Tanglangquan (Southern Mantis Boxing)


3.



The training method of Yongchunquan resembles the internal training of
Shaolin Martial Arts.


4.



The routines of Yongchunquan are exercises to supplement traditional Shaolin
Martial Arts rather than a unique development of styles


5.



The wooden dummy techniques are clearly incorporating all kinds of Shaolin
techniques rather than just those in its own routines


6.



The development of loose hand techniques is encouraged within the system


7.



The weaponry of Yongchunquan is accommodating the popular weapons of the
region rather than designing its own weaponry


8.



The development of sticking hand exercise is unique in Shaolin Martial
Arts



No one would question the Shaolin origin of Yongchunquan for very simple reason
because it looks Shaolin. The hand techniques are very standard Shaolin fists,
palms and elbows, etc. The use of Qiao (bridge) hand, which is the fore part
of the forearm, which is typically Southern Shaolin (Zhongguo Wushu Baikequanshu,
1998, pp. 229-231).

The Erzi Qianyang Ma, in Cantonese it is the "Yeejee Kimyeng Ma",
which means two characters clamping the groin stance, which seems a little different
but it is identified as a kind of Southern Shaolin stance to protect the groin
(Zhongguo Wushu Baikequanshu, 1998, p.186). The turning of the stance to the
side also seems to be different but it is a kind of Shaolin footwork called
Nian Jiao (Zhongguo Wushu Baikequanshu, 1998, p. 220), which mean roller foot,
a Shaolin footwork for ground fighting, which standing like a Chinese character
8, using the heel or the sole as axial to turn inward or outward, or use the
front part of the sole as axial to move the heel inward or outward.

The body posture of Yongchunquan is consistent with other Southern Shaolin
standards of head and neck straight, sinking of elbows, unload the shoulders
so to speak, restrain the belly or abdomen, and hold back or restrain the buttocks
(Zhongguo Wushu Baikequanshu, 1998, p. 232).

Yijinjing (Zhongguo Wushu Baikequanshu, 1998, p. 367), means the text of reverse
tendon, which is the classical Shaolin method of internal training. May be the
name has says it all, as it was to stretch the tendons to the extreme by twisting
the body into the reverse position. The initial training in the routine Xiaoniantau
(little idea or small thought) can be traced back to the methods in the Yijinjing.
Some teachers insisted that only at least four years of training in the Xiaoniantau
can produce perfect hands. Of course this does not imply that they will only
teach Xiaoniantau for the whole four years but it is the basic training one
should practice daily and under constant correction and guidance of the teacher.

The teaching methods in Yongchunquan is really focus on the practice of Xiaoniantou,
and then the other routines, sticking hand exercises and loose hand techniques.
Some teachers do not even bother with dummy techniques and weaponry in fear
of the lose of flexibility with students' hands. This is contrary to some teachers
in the West, who make their students punching sand bags and dummies very early
in their training program. As this will generate very stiff forearm movements
which will be a stumping block for achieving good results in coordinating the
total bodily movements. There are many repetitive movements in the routines,
and most of the movements are very basic. The purpose is aiming at training
rather than a combination of various techniques. The assumption is that some
of the movements within these routines are difficult and different routines
emphasized different features of Yongchunquan. These routines can be consider
as very simple but contain certain difficult features like centerline, springiness
in the limbs, springiness of the torso, etc., which just require practice for
a certain period. May be these routines can be learn in four days, but four
years to master them, and a life time to polish them.

There is a saying in Yongchunquan that "one should seek and improve the
skills from the mirror and dummy after the completion of learning from the teacher".
In a way the dummy is for the development of skill rather than just a training
tool to harden the forearm for example. Most students practiced on the dummy
too early in their understudies will have a tendency to move the arms away from
the centerline which created an opportunity for the opponent to slip through.
Furthermore, they also have the inclination to tend toward their center of balance,
which is easily overbalanced during practice or fighting. The dummy techniques
are under constant improvements, and it is not surprise to see different variations.
There is also the Northern Mantis Boxing variation, which was developed form
the Shaolin Yongchunquan. The Yongchun dummy techniques are basic Shaolin Techniques,
which may or may not included in the routines. For example , there are more
kicking techniques used in the dummy that there are in the routines combine
together.

The development of loose hand techniques can be considered to be a favor pastime
of the practitioners. Different teachers of Yongchunquan have different developments
in loose hand techniques, just like dummy hands. Some schools have gone to the
extreme in concentrating on loose hand and dummy techniques rather than routines
which might not be a bad idea at all.

The weaponry of Yongchunquan is very basic, it is for practical application
rather than for performance compare to various routines available in other systems
of Southern Shaolin Martial Arts. It is not surprise to find that the Six and
Half Point Rat Tail Pole has six and a half basic techniques, which is quite
sufficient in fighting between boats. There was some improvement by combining
these basic techniques and practice in different directions. Some claim to have
Tiger Tail Pole and many more, but mostly are favor routines taught in Foshan
and nearby regions. The double knives of Yongchunquan consist of only simple
practical applications, these techniques have nothing like the fancy butterfly
double knives routines in Hongquan for example. The features of the Yongchun
knife are the thick bladed, finger protector and a hook. It is not very difficult
to workout these features are very useful in close up fighting within confined
area like onboard a boat. In fact the pole and knives are unique and popular
weaponry amongst the boat people in the Foshan and Zhaoqing regions of Guangdong
Province. It was said that teacher should not tell the secret of the knives
until he or she is absolutely sure that the student is virtuous because the
application is too deadly. May be this is not important any more because more
deadly weapons are already in existence.

The development of sticking hand techniques is unique in Shaolin, as there
is no other Shaolin art has such specific sticking techniques. There were some
suggestions that it may be influenced by Taijiquan's pushing hand exercises,
and since Taijiquan is a much older art than Yongchunquan. It is possible but
the techniques and fighting strategies are certainly very different. May be
sticking-hand also embraced the idea of stick and follow in initial contact,
but the method of neutralization is very different. It is a different set of
techniques, such as turning to the side, lifting of the elbow, guarding the
centerline with the elbow, etc. These techniques are more mechanical like releasing
a spring rather than redirecting a force by different bodily mechanics in generating
a circular paths. It is not uncommon in China and other places that practitioners
learned both arts, and generate further improvements in sticking hands or Taiji
pushing hands.

In any case it is rather a foolish attitude to confine a certain art to limited
set of techniques, as the ultimate aim of any martial art is fighting to win.
This will require the deployment of everything and development of new ideas
to achieve that end. Therefore, Foshan Yongchunquan is not only advocating that
it is Yongchunquan from Foshan but encouraging the improvement of Yongchunquan
by all means. The different schools or branches of Yongchunquan from Foshan
are just different developments, the intermix with other arts could be accidental
or intentional.

Reference:

Yeung, Yun-choi, "Yong Chun Quan in Foshan", Chin Woo Family (Newsletter
of the Chin Woo Athletic Association of New Zealand Incorporated), Volume 1,
Issue 4, 1999, pp. 6-12

Zhongguo Wushu Baikequanshu Editorial Committee, Zhongguo Wushu Baikequanshu
(Encyclopedia of Chinese Martial Arts), Beijing Foreign Language Press, Beijing,
1998

http://www.cyberkwoon.com/forum/kb.php?mode=article&k=33

Modified or altered?

As I ponder and research Wing Chun Kung Fu through my 27 years of experience, it became clear to me that most of the confusion comes from the word "modify". To modify means to innovate, make better or change. Thus, what must have happened! Someone put this "modified" name on the altered Wing Chun.

Now, let's examine why Wing Chun was altered. The 5th generation grandmaster Mr. Leung Jan caught his neighbor Mr. Chan Wah Shun spying on him teaching his two sons Leung Cheun and Leung Bik traditional Wing Chun, in the original state, in which it was passed down from the Shaolin Temple. Intelligent as Leung Jan was as grandmaster, he knew Chan Wah Shun would dispute grandmastership with his sons, after his death to become the leader of the system. Therefore, he wouldn't have been the heir to the system because he wasn't a family member. Leung Jan did not know how long Chan had been watching or how much he had learned. Therefore, Leung Jan had Chan fight his younger son Leung Cheun.!

To his amazement Chan defeated Leung Cheun. This means Chan Wah Shun learned quite a bit of the traditional Wing Chun. In order to keep Chan Wah Shun under control, Leung Jan accepted Chan as the first outside student. Now, being that Chan Wah Shun was a moneychanger (one who changes gold to currency), his ability to interpret what he sees was excellent. Chan taught himself how to use Wing Chun. Leung saw Chan's Wing Chun was good. Leung cleverly altered Chan's Wing Chun by withholding key elements and principles from Chan. At that point, martial arts combined: balance, footwork, reflexes, punches, kicks, concentration, sensitivity and most of all, having the heart to be a martial artist. Leung Jan and his youngest son Leung Chuan died, leaving Leung Bik as the heir to the traditional Wing Chun system. Leung Bik moved to Hong Kong. Chan Wah Shun proclaimed himself Grandmaster of Wing Chun King Fu and went to work for the Yip family estate as chief security guard.

Let's expound on the effectiveness of the altered Wing Chun. Like all fighting arts it uses linear attack circular defense or vise-versa, shuffle footwork on one side, blocking kicks with kicks and various weapons of strikes. So what made Chan Wah Shun Wing Chun superior? Chi Sao! This is the core of the system. Chi Sao gives optimum prowess. Sensitivity, contact reflexes, striking at close distance and trapping are some of Wing Chun's key factors. With my experience of meeting masters, students, and practitioners, everyone's emphasis is Chi Sao. Through the years Chi Sao became a fighting art. Its purpose is an exercise to develop contact reflexes. Si-Gung Bruce Lee was hindered by not knowing all of the altered Wing Chun. He became frustrated on using Wing Chun at a distance. This made him to become eclectic. The late Grandmaster Yip man fought Grandmaster Leung Bik at a distance and lost. Most Wing Chun practitioners that I've seen in my lifetime have never fought from a distance.

With all the techniques and applications in the system I never saw them applied by anyone other than GM. William Cheung, Sifu Anthony Arnett and myself. I must add that, pre-arranged fighting and grappling do not count, nor do self- defense techniques. Thanks for listening to reasons.


Sifu John Clayton
Wing Chun Academy of Maryland

http://www.wingchun.com/ModifiedorAltered.html

The Origin of WING CHUN
by Grandmaster Yip Man

The founder of the Wing Chun Kung Fu System, Miss Yim Wing Chun was a native of Canton [Kwangtung Province] in China. She was an intelligent and athletic young girl, upstanding and forthright. Her mother died soon after her betrothal to Leung Bok Chau, a salt merchant of Fukien. Her father, Yim Yee, was wrongfully accused of a crime and, rather than risk jail, they slipped away and finally settled down at the foot of Tai Leung Mountain near the border between Yunan and Szechuan provinces. There they earned a living by running a shop that sold bean curd.

During the reign of Emperor K'anghsi of the Ching Dynasty (1662-1722) Kung Fu became very strong in the Siu Lam [Shaolin] Monastery of Mt. Sung, in Honan Province. This aroused the fear of the Manchu government [a non-Chinese people from Manchuria in the North, who ruled China at that time], which sent troops to attack the Monastery. Although they were unsuccessful, a man named Chan Man Wai, a recently appointed civil servant seeking favor with the government, suggested a plan.

He plotted with Siu Lam monk Ma Ning Yee and others who were persuaded to betray their companions by setting fire to the monastery while soldiers attacked it from the outside. Siu Lam was burned down, and the monks and disciples scattered. Buddhist Abbess Ng Mui, Abbot Chi Shin, Abbot Pak Mei, Master Fung To Tak and Master Miu Hin escaped and went their separate ways.

Ng Mui took refuge in the White Crane Temple on Mt. Tai Leung [also known as Mt. Chai Har]. It was there she met Yim Yee and his daughter Wing Chun from whom she often bought bean curd on her way home from the market. At fifteen, with her hair bound up in the custom of those days to show she was of an age to marry, Wing Chun's beauty attracted the attention of a local bully. He tried to force Wing Chun to marry him, and his continuous threats became a source of worry to her and her father. Ng Mui learned of this and took pity on Wing Chun. She agreed to teach Wing Chun fighting techniques so she could protect herself. Wing Chun followed Ng Mui into the mountains, and began to learn Kung Fu. She trained night and day, until she mastered the techniques. Then she challenged the bully to a fight and beat him.

Ng Mui later traveled around the country, but before she left she told Wing Chun to strictly honor the Kung Fu traditions, to develop her Kung Fu after her marriage, and to help the people working to overthrow the Manchu government and restore the Ming Dynasty.

After her marriage Wing Chun taught Kung Fu to her husband Leung Bok Chau. He in turn passed these techniques on to Leung Lan Kwai. Leung Lan Kwai then passed them on to Wong Wah Bo. Wong Wah Bo was a member of an opera troupe on board a junk, known to Chinese as the Red Junk. Wong worked on the Red Junk with Leung Yee Tei. It so happened that Abbot Chi Shin, who fled from Siu Lam, had disguised himself as a cook and was then working on the Red Junk. Chi Shin taught the Six-and-a-half-point Long Pole techniques to Leung Yee Tei. Wong Wah Bo was close to Leung Yee Tei, and they shared what they knew about Kung Fu. Together they shared and improved their techniques, and thus the Six-and-a-half-point Long Pole was incorporated into Wing Chun Kung Fu. Leung Yee Tei passed his Kung Fu on to Leung Jan, a well known herbal Doctor in Fat Shan. Leung Jan grasped the innermost secrets of Wing Chun, attaining the highest level of proficiency. Many Kung Fu masters came to challenge him, but all were defeated. Leung Jan became very famous. Later he passed his Kung Fu on to Chan Wah Shan, who took me and my elder Kung Fu brothers, such as Ng Siu Lo, Ng Chung So, Chan Yu Min and Lui Yu Jai, as his students many decades ago.

It can thus be said that the Wing Chun System was passed on to us in a direct line of succession from its origin. I write this history of the Wing Chun System in respectful memory of my forerunners. I am eternally grateful to them for passing to me the skills I now possess. A man should always think of the source of the water as he drinks it; it is this shared feeling that keeps our Kung Fu brothers together.

Is this not the way to promote Kung Fu, and to project the image of our country?

Yip Man

Excerpts from...
Story of My Father - Yip Man the Great Grandmaster of the Wing Chun Style

by Master Yip Chun

The Last Student

From then on, my father became Grandmaster Chan Wah Shun's youngest disciple. He learnt techniques from Grandmaster Chan and practiced with his fellow-students such as Ng Chung So and Lui Yu Chai. He was in fact the last disciple admitted by Chan Wah Shun. That is why when Yip Man grew up and had his own students, he said to them smilingly that his students had only "Elder Kung-fu Uncles", but not "Younger Kung-fu Uncles". From the above description, it became clear that Chan Wah Shun did not make a mistake in accepting my father, for the boy's success in afterwards was really due to his master's un-reserved teaching, and the boy's dedication and effort he put to his studies. His success in his career was not mere luck. Grandmaster Chan died when Yip man was thirteen years old. At his last minutes, Chan said to his disciple Ng Chung So,"Yip Man is a clever boy, and is more gifted than others. If any of my students is to promote and spread our Wing Chun techniques with success, Yip Man is the one. Is is a regret that I could not stay longer. From now on the duty of teaching him rests with you. Please take good care of him". Ng Chung So promised to take up the responsibility seconds before Grandmaster Chan died. So Yip Man studied under the guidance of Ng Chung So, with the company of fellow-students such as Yuen Kay Shan and Yiu Choi.

Blending the Techniques of Several Masters

For two years Yip Man followed Ng Chung So. After that he went to Hong Kong to pursue academic studies at the St. Stephen's College at Stanley in Hong Kong. On one occasion he was introduced to Mister Lueng Bik, the first son of Grandmaster Leung Jan - the instructor of Grandmaster Chan Wah Shun. Leung Bik was then staying as a guest in a famous silk company in the western district of Hong Kong. He was delighted with Yip Man's cleverness and his effort in learning, so he tried his best to teach him all he knew. That is why my father later said to others that he got a good foundation from Grandmaster Chan Wah Shun, but sophisticated techniques from Mister Leung Bik. He further said that when he was small, he paid attention to the external-form of movements, not knowing why certain movements should be applied in such ways, while other movements in other ways. When he grew older, he knew that the importance of mastering Wing Chun techniques rested on the merging of theory and practical application.

http://www.wingchun.com/history.html