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PostPosted: Sun Aug 27, 2006 10:35 pm


History of Praying Mantis Kung Fu
By Jon Funk

Note: the Chinese terms in this article are in expressed in Cantonese.

Three hundred and fifty years ago, Wong Long, the founder of the northern praying mantis style of kung fu , decided after learning the shaolin fighting system that he needed to make improvements. Wong, who was opposed to the Manchurian takeover of China, had joined the shaolin temple in Hanon province to learn kung fu in order to become a skilled fighter. He felt that mastering the renowned fighting ability of the shaolin monks would allow him to become an officer in the rebel army fighting the Manchurians. Unknowingly, he was to begin a process for generations of eclectic thought.

In the meantime, due to a traitorous rebel army general, those in opposition to the Manchurians lost their bid to overthrow the Ching, and restore the Ming dynasty. The shaolin temple became a sanctuary for the remaining rebels. It was the combination of the shaolin temple's autonomous nature, as well as its reputation as a refuge for rebels that began to cause concern for the new ruling Manchurians.

This concern built to a point where the emperor ordered the shaolin temple burned and the monks killed. Afterward, Wong Long and the other surviving monks of the temple rescued their teacher and fled to the mountains. There they became nomads travelling from province to province to escape detection. Once they felt that it was safe, Wong and his fellow monks resettled in the Shan Tung province mountains where they continued to pursue their religious studies as well as the development of their kung fu skills. When their teacher passed away, Wong and his senior brother monk Feng, became the leaders of their group.

Over time, Wong Long became adept at the shaolin fighting skills. However, he could not best his senior brother, monk Feng, in sparring practice. This bothered Wong. He felt that his skills were not good enough and he brooded over his perceived shortcoming. At about this time his senior brother monk decided, as was the custom of shaolin monks, to travel throughout China for a period of three years. Knowing that Wong felt badly over the fact that Feng was a better kung fu practitioner, he told Wong that when he returned they would spar again and see if Wong had improved.

It was Wong's custom to train and practice his shaolin kung fu skills in a meadow near the temple. One day after practicing with his sword, he sat down to study his books on Buddhism. He was interrupted by a noise nearby on the ground. Two insects were engaged in a duel, a praying mantis attacking a cicada. Within moments the praying mantis had killed the cicada and, holding it in its strong forearms, began eating. Wong was intrigued by the fierce attributes of the praying mantis insect. He was impressed by the way it had moved in and out and used it's forearms to trap and draw in its prey.

Since his losses in sparring to monk Feng, Wong had been driven by a desire to improve his shaolin kung fu skills. Wong took what today is viewed as an eclectic step. He saw in the fierce insect's predatory ability a way to improve his own combat adeptness. Wong used a small stick and played with the praying mantis, observing how it used its skills as a predator to escape harm.

Within a few days of examining the praying mantis insect's methods of combat, he began to synthesize them into human terms. He classified the arm movements into twelve character principles: kou (hook), lou (grasp), t'sai (strike), kwa (upward block), tiao (hook), chin (advance), peng (recede), ta (strike first), chan (contact), nien (cling), tieh (tag), and k'ao (lean).

To complete his new approach he needed to add strength to the foot work. He accomplished this by observing the monkeys of China. He adopted their extremely efficient movements into a method of footwork that complemented his praying mantis hand skills. This addition gave his new style a quickness and agility never before available to him. He now felt that he had improved on his shaolin kung fu skills.

At this point Wong felt that he had a superior system based on solid principles, so he decided to overlay them on a group of techniques from seventeen other styles. They are: 1) chen kuen technique by Tai Jo, 2) ton boi kuen technique by Hon Tong, 3) mein feng technique by Chen Yun, 4) dune kuen technique by Won Yuen, 5) dune da technique by Mah Jaik, 6) hau kuen technique by Shuin Hong, 7) kau sun dune da technique by Wong Chien 8 ) mien jueng technique by Mien Sai, 9) koi sow tong kuen technique by Gow Soing, 10) sut gung ngang bung technique by Wy Duk, 11) kou lou t'sai technique by Liu Hsing, 12) gwon lau gwoon yee technique by Tam Fong, 13) gim la dit fait technique by Yen Ching, 14) yin yang guet technique by Lum Chong, 15) chut sai lin guen technique by Man Gum, 16) wa lai fou choi technique by Tsai Lein, and 17) gwan choi yup jak technique by Ung Gwon.

This gave Wong seventeen techniques to utilize with his new approach. The amalgamation of skills from outside traditional kung fu systems set the stage for future generations to add their own contributions while staying within the original concepts developed by Wong Long. Other additions to the northern praying mantis style have included the shaolin law hon gong breathing exercises, iron palm, and northern style weapons. Since the new approach did not rely on brute strength it was considered to have a mutuality of both hard and soft tactics.

When monk Feng returned from his three year journey, he and Wong sparred again. This time Wong won easily. He explained to his surprised elder brother about his discovery. Together they decided to call his new fighting system praying mantis. They practiced together developing and refining the new style's theory and physical movements. When they felt that their new praying mantis style was ready, they taught it to the other shaolin monks as a higher level of kung fu.

After a few decades Wong Long passed away, and for a few generations the highly prized system of praying mantis kung fu was taught only to the monks of Shaolin. The arrival at the shaolin temple of a taoist master, called Sil Tao Yen, marked the beginning of the teaching of the praying mantis style outside the temple. When Sil first arrived at the shaolin temple he observed a fighting style he had never seen before. At first he felt it looked jerky and without power. What he failed to see was the efficient use of the waist for the generation of skill-based body power. With this effective but hard to fathom skill, the monks exhibited techniques that didn't require the long range and muscular power-oriented tactics of hard style shaolin kung fu.

He asked the monks practicing if he could have a friendly match with one of them to see how effective their kung fu was. At first they declined; however, after he began to ridicule their art as being ineffectual, they agreed to a friendly session. When he began to spar with one of the lower level monks, he soon found himself on the ground looking up with no idea of how he got there. He jumped up and declared that it must have been an accident. He asked if a more senior monk could spar with him. He met with the same result. At this point Sil was beginning to wonder what this new type of kung fu was that had defeated him so easily. When he inquired he found that it was the praying mantis style and was only taught to the monks of shaolin as a higher form of kung fu.

This piqued Sil's interest and he spoke to the chief abbot of the temple about this unusual art of praying mantis and the possibility of learning from the monks. After some discussion, the abbott agreed to let Sil learn.

After mastering the northern based praying mantis system and leaving the temple, Sil Tao Yen taught the complete system to only one student, Li San Chen. After completing his studies with Sil, Li established a security service. For a fee he would guard a caravan of valuable goods. Li's security service became well known throughout China for its reliability.

The local bandits dubbed Li the lightning fist as no one was able to defeat him. As Li grew older he became concerned that he had not taught the art of praying mantis to anyone. He felt that the art that had brought him so much prosperity would die out. At age sixty he decided to travel and find a worthy individual to inherit the art of praying mantis.

When Li arrived in Fusham he heard of a local champion called Wong Ywing Sun. Li met with Wong and asked him for a demonstration of the skills Wong had used to become a champion. After watching him perform, Li remarked that the techniques Wong exhibited should not have won him a championship. Wong grew angry at Li's assessment of his kung fu skills. In fact he attacked Li, however, all he met was thin air. Li seemed to just disappear. Wong attacked again and met the same fate. Li could evade Wong at will seemingly without effort. Realizing that he faced a person of considerable skill, Wong bowed down to humble himself and asked to be accepted as Li's student.

Wong spent the next several years learning all that his teacher had to teach him. Having been born to a wealthy family Wong had the opportunity to practice praying mantis as a recreation, developing his art to an advanced level. Wong later accepted a student called Fan Yuk Tung. Nicknamed the giant and the broadsword, Fan was a large man weighing over 300 pounds, and known in the area as Giant Fan.

Fan Yuk Tung became well known as the result of an incident with a farmer's two bulls. One day as Fan was crossing a field the two bulls charged him. In defence he kicked the first bull and used a palm attack to strike the other bull. Both bulls perished and the farmer became angry. Fan pointed out that he had only been defending himself. The farmer reluctantly eccepted this, however, word spread about Fan's accomplishment. He became even more famous after winning a challenge match in Russia. With his win he gained a great deal of notoriety.

Fan's student, Lo Kwon Yuk, made a name for himself after being sent by Fan to teach as one of the first instructors of the famous Ching Mo Athletic Association. Lo's reputation was further enhanced when one of his students won a prestigious fighting championship in China. Said to have practiced every form in the praying mantis system daily, Lo's skill level in praying mantis was developed to a high degree.

His favourite fist set was Tong Long Tow Toe (praying mantis steals the peach). This a hand set that is performed with quickness, and is excellent for developing fighting skills. Lo was also known for his ability with iron palm, and would only spar with his student using defensive actions. He feared his iron palm ability might accidentally injure someone.

Lo taught several students to a senior level in the praying mantis system; the most famous, Wong Hon Fun, was known in Hong Kong as the "Mantis King." Wong went on to teach several students to a high level of mastery of praying mantis kung fu. Throughout his long teaching career, Wong published over forty volumes on the northern praying mantis kung fu system. These would serve to be a guide for future generations of the northern praying mantis system

Passing away in 1973, the late Wong Hon Fun left his legacy to a number of senior students. One of them, Al Cheng, a Hong Kong full contact champion, emigrated to Canada and began teaching there in 1979. He taught for a number of years in Vancouver's Chinatown before passing his mantle to his disciple Jon Funk.

http://www.mantiskungfu.com/HistoryofPrayingMantisKungfu.htm
PostPosted: Mon Aug 28, 2006 2:55 pm


Videos

seven star mantis style
x

Zhang Jidong - Tang Lang Quan
x

Shaolin Shi Xing Hong
x

Six harmonies praying mantis boxing
x

Praying Mantis Kung Fu - Brendan Lai Students Ling Bung Bu
x

Wolf Nightshade
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Wolf Nightshade
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PostPosted: Mon Aug 28, 2006 3:01 pm


Praying Mantis Kungfu Links
http://www.prayingmantisboxing.com/links.html
PostPosted: Mon Aug 28, 2006 3:18 pm


History of Praying Mantis (Southern)

Praying Mantis Boxing was originally created by Wang Lang during the Ching dynasty by incorporating the strong points of 18 boxing arts in North China.
The system quickly divided into two separate and distinctly different major factions, Northern and Southern Praying Mantis. These in turn branched into several styles.
Southern Praying Mantis Boxing is characterized by upright stances, hand forms and close range techniques. The exact origin of Southern Praying Mantis is controversial. It is generally believed to have been derived from the Shaolin System of Northern Mantis but refined and developed by the Hakka tribe of Kwangs province Southern China.
The Southern Praying Mantis system divided into four main branches, Chu Gar, Chou (Chow) Gar, Iron Ox, and Bamboo Forest.
In general Southern Mantis incorporates a centerline theory for fighting. Defense and attack techniques originate from one main stance. There is an emphasis on manipulation of an opponents attack to force openings in the defense. Vital points of the body are targeted, Kicks are often used in conjunction with arm movements for simultaneous attack or attack-defence combinations.

http://www.fortunecity.com/olympia/moses/1049/id46.htm

The mantis boxing has many routines and branches.
The major five schools are as follows:

1. Seven-star mantis boxing, which is also called Arhat mantis, features seven-star steps, hard-hitting, and vigorous movements. It tends more towards hardness than suppleness and its stances are comfortably spread and extended. The basics of this school include waist technique, leg technique, shoulder technique as well as standing skills and hitting skills.

2. Plum blossom mantis boxing, also called taiji plum blossom mantis boxing, uses small steps and its movements are continuous deft and smart, like blossoming plums. It is almost an exact copy of the mantis. This style of boxing demands clear-cut rhythms in unleashing the tricks and emphasizes a smooth, deft and supple generation of power. It uses more sideway than straightforward force.

3. Six-combination mantis boxing, also known as monkey mantis boxing, stresses the inner and outer, three combinations which make six combinations. It uses mind to guide the movements of the body and pays equal attention to both the mental and physical. It uses hidden, rather than obvious hardness and resorts more to inner forces.

4. Hand-wringing mantis boxing is also called plum blossom hand-wringing matis boxing. It comes from the plum blossom mantis boxing but because it uses hand wringing tricks in its routines, it came to be called hand-wringing mantis boxing. When delivering blows, the hands are in the shape of palm; when retreating, they are in the form of hooks.

5. Twin mantis boxing. This style of boxing also comes from the plum blossom mantis boxing. Its movements have a delicate symmetry and thus it is called twin mantis boxing.


The mantis boxing features force, power, dexterity, speed, a combination of hardness and suppleness, of substantial and insubstantial tricks end blows and of attack and defence. It necessitates a good command of catch and release and a variation of action. Mantis boxers will attack if provoked; they will not attack if untouched by opponents; they deliver fist blows in quick succession when offended. These characteristics of the mantis boxing are well known among Chinese martial artists.
A common featured of various styles of the mantis boxing is that their actions are accurate and performed in earnest. Mantis boxers move lightly, yet powerfully and their attacks are very strong with tricks that are delicately connected. The mantis boxing stresses ayesight, hand play, footwork and body movements as well as speed, agility, steadiness and careful choice of moves. Its power generation is strong but not stiff, supple but not soft, quick but not unconnected nor out of rhythm. The mantis boxing boasts of many skills and techniques and can beat its opponent with unpredictable changes of tricks and combinations of hardness and suppleness.

http://www.shaolin.nl/TanglangQuan.html

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mindsage25

 
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PostPosted: Wed Aug 30, 2006 6:35 pm


eek ...i want to see it more in action
PostPosted: Thu Aug 31, 2006 8:13 am


I added a video to the others it's a nice fight demo.

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ghostpalm

 
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PostPosted: Thu Sep 07, 2006 10:57 pm


Wolf3001
Videos

seven star mantis style
x

Zhang Jidong - Tang Lang Quan
x

Shaolin Shi Xing Hong
x

Six harmonies praying mantis boxing
x

Praying Mantis Kung Fu - Brendan Lai Students Ling Bung Bu
x


OMG! the last vid! my dad has footage of that demonstration and more! he was part of a northern shaolin school (Jing Mo) during the 60's. i cant believe thats on youtube.
PostPosted: Thu Sep 07, 2006 10:58 pm


contemporary wushu mantis is very kool too biggrin . They really capture of flavor of the insect, i just think its so awesome!

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Wolf Nightshade
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PostPosted: Fri Sep 08, 2006 9:58 am


I captured the flavor of a chocolate covered cricket once not bad. I have seen a lot of Mantis demos I have a movie called Shaolin Wheel of Life kicks a** I also have a video of some shaolin kung fu students If you have not seen Shaolin Wheel of Life you got to go look for it. It's a play but with Shaolin warrior monks.

Synopsis
The story of the Buddhist Monks from China's Shaolin Temple and how their loyalty to their Emperor was betrayed. Features some great feats of Kung-fu. Also features new material and and footage filmed at the Shaolin Temple in China.

Awsome stuff.
PostPosted: Fri Sep 08, 2006 6:08 pm


hmmm, sounds interesting biggrin

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choylifutsoccer

 
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PostPosted: Fri Sep 08, 2006 6:58 pm


I wanna know more about the Plum Blossom Mantis. Is it related to Choy Li Fut in anyway? sweatdrop
PostPosted: Fri Sep 08, 2006 7:46 pm


Taiji plum blossom mantis mei hua tang lang quan not finding much but I found this.

Praying Mantis:



CREATION OF THE MANTIS

The style known as Praying Mantis was created by Wang Lang. Born in Shan Dong Province, Wang was is said to have gone to the Shaolin Temple. While there he met defeat by a Shaolin monk which inspired him to leave the Temple and travel around adding many arts to his martial experience. (Other versions claim his defeat at the hands of Han Tong on the LeiTai or fighting platform). He gained much knowledge but it was the sight of a Mantis battling a cicada which inspired the revelation that was to become TangLang Quan (Praying Mantis boxing). Most accounts place Wang towards the end of the Ming Dynasty (around 1644) while others position him in the Song (969-1126). In the Song Dynasty version Wang, already a master was invited to Shaolin by Abbot Fu Ju to instruct the monks along with 17 other great teachers. Because there were 17 other friend it is said that the many styles contributing to Mantis came from this association. Whatever the reasons Mantis is said to be inspired by:

1. "Long-range Boxing" (Chang Quan) style from Emperor Tai Zu.
2. Through the Back" (Tongbei) boxing from Han Tong
3. "Wrap Around and Seal" (Chan Feng) from Zhang En
4. " Close-range Strikes" (Duanda) boxing from Ma Ji
5. "Blocking Hands and Following Through Fist" (Keshou Tongquan) from Jin Xiang.
6. "Hooking, Scooping and Grabbing Hands" (Gou Lou Cai Shou) from Liu Xing.
7. "Methods of Sticking, Grabbing, and Falling" (Zhanna Diefa) from Yan Qing.
8. "Short Boxing" (Duan Quan) from Wen Yuan
9. "Monkey Boxing" (Hou Quan) from Sun Heng.
10. "Cotton Fist" (Mien Quan) from Mien Shen is lightning fast.
11. "Throwing-Grabbing and Hard Crashing" (Shuailue Yingbeng) from Huai De.
12. "Ducking, Leaking and Passing through the Ears" (Gunlou Guaner) from Tan Fang.
13. "Mandarin ducks" kicking technique (Yuanyang Jiao) from Lin Chong.
14. "Seven Postures of Continuous Fist Strikes" (Qishi Lianquan) from Meng Su.
15. "Hand Binding and Grabbing" (Kunlu Zhenru) from Yang Gun
16. "Explosive Strikes into the Hollow Body Parts (Woli Paochui) from Master Cui Lian.
17. Huang You's "Close Range Hand Techniques" (Kao Shou).
18. "Praying Mantis" (Tanglang) from Wang Lang absorbed all these skills.

In this version all the information, then known as MiShou (Secrets Hands) was gathered by Abbot FuJu and passed to Taoist prieat ShenXiao DaoRen only to disappear until the Chien Lung period of the Ching Dynasty (1736-1796).

After practicing for years and fully formulating his new style Wang Lang returned to the Temple and soundly defeated all comers. He then returned to ShanDong and taught his new style to Taoist followers from Lao Shan (Lao Mountain). Among his student there were Li SanJian and ShengXiao who transmitted his art to future generations.

SIX HARMONY MANTIS

Previous to the 1800's the Praying Mantis was a single linneage. At that time LiuHe Mantis � a combination of Six Harmony Boxing and Praying Mantis was formed. LiuHeTangLang is popular in ZhaoYuan and HuanXian provinces of ShanDong. It is considered "soft style mantis", with primarily soft movements and density within. This is sometimes described as a needle in cotton. The founder of the branch, Lin ShiChun, studied from his grandfather (6 Harmony) and Mantis from Wei Xian - a direct descendent of Wang Lang. Lin then taught Ding ZiCheng who had many students.

One lineage is from Zhang XiangSan who was a direct student of Ding ZiCheng. Zhang XiangSan had many students. In the United States Shih BoRon (Boris Shih) is the present lineage holder of the line. Lin ShiChun developed LiuHe TangLang as it is taught today. The style is a hybrid of Six Harmonies Fist (LiuHe Chuan) and Seven Star (ChiHsing) Praying Mantis.

There are six mantis routines and one routine of Six Harmonies Short punch (LiuHe Duan Chui), in addition to a number of compulsory lines which are similar to Tan Tui (Spring Leg). In addition to these forms students are also taught a certain amount of Seven Star Praying Mantis performed in the Six Harmony manner.

The style is named after a principle, which is separate from the style itself. It can be argued that without the "Six Harmonies" there can be no conscious movement and therefore no true Kung Fu. Liu He or Six Harmonies means the uniting of 6 principles. There are three internal (nei jia) and three external( wai jia) principles, which cannot be separated from each other. The three internal are: Mind in harmony with intent, intent in harmony with chi and chi in harmony with force. The three external are: the shoulder in harmony with the hip, the elbow in harmony with the knee and the hand in harmony with the foot. The Six Harmonies are the foundation of all good martial arts practice and also good health. From the very beginning body mechanics and structure must be established. When the body is in alignment the chi will flow. The chi does not flow well when the alignment is off.

While traditionally Mantis, any Mantis except Southern, introduces the students to Long Fist at least for a while; Six Harmony may also use other Mantis fists and Linking forms to round out its training. The core fists can be shown simultaneously or separately and, really, can go in just about any order. One of these orders is the following:

1. Jie Shou Chuan
2. Tie Ci
3. Xian Shou Ben
4. Shuang Feng
5. Tuan Chui
6. Zhao Mien Deng
7. Tsang (Cang) Hua

SEVEN STAR MANTIS

The Mantis then split into two other branches, both quite popular and large. The first of these is QiXing TangLang (7 Star Praying Mantis). ShengXiao transmitted Mantis to Li SanJian (also known as ZhiZan) who instructed Wang YongChun. Master Wang combined his style with Chang Chuan and created the Seven Star Mantis which still teaches beginners Long Fist as an introduction to this day.
Here is a partial list of Seven Star forms...

PLUM BLOSSOM MANTIS

The other style, MeiHua TangLang, derives from Li BingXiao who instructed Zhao QiLu (also, Zhao Zhu). Li himself was the son of an official who had moved to ShanDong in the LaiYang � HaiYang (Xiao ChiShan village) area. Li became the founder of Mantis in that region particularly inspired when, as legend states, his official career did not pan out. Again, legend confounds claiming that Li actually learned his Mantis from a local bandit whose life he had saved. Whatever the source Li had one disciple, Zhao ZhuIt is said that Li "ErhGou) "Two Hooks" so influenced the LaiYang area that for eight generations it has been handed down there with few outsiders learning anything. Zhao Zhu was from Da ChiShan village near Li's Xiao ChiShan. Very little is known about this generation disciple other than he ran a slaughter house and did actually live. Continuing the tradition Zhao Zhu had only few disciples, Liang XueXiang (1810-?) and it was he who was the formal originator of Plum Blossom (MeiHua) Mantis. Zhao also taught his son, according to some research, and the style was retained in the family to the fifth generation and Zhao QingZhi. Liang XueXiang, an inhabitant of YuShan village � an important Mantis location � was also known as Liang ShuPu. Liang was a professional bodyguard who, upon retirement, devoted the rest of his life to promulgating the art. Liang authored at least three boxing books:

"Boxing, Staff and Spear Fencing Book" (Quan Gun Qiang Pu) This contained the names of three Mantis Forms: Beng Bu, LuanJie and FanShen BaZhou.

2. Quan Pu (1853)

3. Chang Qiang Pu (Long Spear Manual) only recovered publically in 1999.

The Tai Chi Mantis is said to contain the following sets and methods:

BaZhou Eight Elbows an old form supposedly from Wang Lang himself but insufficient without MiShou or Secret Hands and
BengBu Crashing Step
Also LuanJie Chaotically Connected hands
Finally ZhaiYao or "Essentials" in a number of versions

Later additions include the 7th essential version
MeiHua Lu Plum Blossom Road
And DiGong Quan or Ground Fists

FLICKING HAND MANTIS

Shuai Shou (Flicking Hand) Praying Mantis is a member of the Praying Mantis Boxing group. It is said to be dervied from Mei Hua Mantis and then further developed, and is therefore also known as "Mei Hua (Plum Blossom) Shuai Shou Mantis." the essence of this boxing is the employment of the Flicking Hand for self defense. The hand if flicked laterally to explore, with a shivering hand flick at the wrist, back of the hand foremost as a main distance strike. Then it issues energy like a chicken pecking rice or a hummingbird lightly touching water. The flicking action is loose and soft, then firm and crisp. It goes out as a palm and returns as a hook.

translated by Debbie Shayne Information from professor Kang Ge Wu.

BACK CONNECTED (Tong Bei) MANTIS

Tong Bei Tang Lang is a much lesser know style of the Mantis school. To some the union of the two might not be very propitious. However, through careful selection of techniques of Tong Bei (as contributed to the Ba Bu Mantis) those Long Art features which did not clash with the Mantis theory were selected. We should never forget that Long Arm training is often madatory in different Mantis styles and, indeed, the style itself came from Long Fist. The generations of Tong Bei Mantis are considered as follows:
WANG LANG (founder)

FENG SENG
FENG SENG

EN SHOU
EN SHOU

YANG JUN PU
YANG JUN PU

MA DA HAN
ZHOU CHANG CHUN
SUN SHAO WEN
GUO DA XING
YANG YONG BIAO
WANG BO REN
YANG JIN YUAN
WANG BO REN

LI FENG SHAN
YANG JIN YUAN


YANG CHUN LIN
SUN ZHI PU
YANG DE FU
YANG DE QING
YANG DE YU
YANG CHUN LIN

YANG LE SHAN
SUN ZHI PU

SUN WEN BO
YANG DE FU

YANG JI SHAN
YANG DE YU

LI YU SAN
YANG JI SHAN

YANG JI E
LI YU SAN

ZHAO JIN CAI



Special Characteristics of Tong Bei Tang Lang include the Rake Fist (like Baji's), Fish Scale stance, the Claw hand, the Luo Han stance, the Sixty Forty stance and many changes of height (levels).

Our VCDs on this style...


EIGHT STEP MANTIS

A student of Liang's named Jiang HuaLong also studied Monkey (HouQuan), TongBei (from Wang Zhong Qing) and both BaGua and Xing Yin from Chen DeShan. From this he developed BaBu TangLang or Eight Step Praying Mantis. The core of this style is six forms but other sets were also brought into the system. The next generation rested on Feng HuangXi who added Chin Nah from Eagle Claw and wrestling moves from Shuai Jiao to the system. Feng passed the art onto Wei XiaoTang (1901-1982) who taught the Chinese army self defense. After staying in Korea in 1948 he moved to Taiwan and became the undisputed master of BaBu Mantis there.

LONG FIST MANTIS

Another style is known as ChangQuan TangLang or Long Fist Mantis. HuangYongKai's student, Ji ZhongDe taught Wang SuTing (1884-1964). The creator of MeiHua Mantis - Liang Xue Xian- had a son: Liang Zhong Quan. He taught Huang Yong Kai the Mantis. Huang's grandstudent, Wu Su Ting, taught in Qing Dao at Guo Shu Institute and was a friend of Seven Star master, Luo Guang Yu and his disciple Huang Han Xun. Wang combined his MeiHua back with Seven Star and added different Long Fist methods to create ChangQuan (Long Fist) Mantis which, on Taiwan, is still known as Seven Star. Wang himself named his style Shuai Shou Tang Lang or Thrown Hand Mantis.



SECRET DOOR MANTIS

Another style is known as MiMen TangLang or Secret Door Mantis. This was created by a student of Wang YuShan who himself was a student of Jiang HuaLong and Song JiDe. This student, Liu DoSan created the Secret Door then taught Zhang DeKui (1907-1991) who moved to Taiwan where the formal name of the style officially became Mi Men of BiMen (Closed Door) Mantis. But basically this is still a version of Mei Hua Mantis.

A NOTE ON TAI CHI MANTIS

Such ambiguities of name occur commonly in the style and its branches. For instance Hao LiangRu was a student of MeiHua Mantis from both Liang XueXiang and Jiang HuaLong. He taught his six sons. The official inheritor, Hao HengLu formally declared this branch to be Tai Chi Praying Mantis (no relation to the style Tai Chi other than the shared principles of Yin and Yang). However the name Tai Chi TangLang is rarely used outside LaiYang County, ShanDong, where the Mantis first took root. More commonly this branch can still be refered to as MeiHua. Often only the practitioners themselves call this branch by the "Tai Chi" nomenclature.

http://www.plumpub.com/info/knotebook/boxmantis.htm

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PostPosted: Sat Sep 09, 2006 12:23 pm


I was screwing off on youtube and found this.

South Mantis Techniques on the Dummy
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PostPosted: Sat Sep 09, 2006 8:14 pm


That's pretty cool. I would never think of using mantis techniques on a wooden dummy.

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