少林禅城 Shaolin Chan City

Shaolin Chain Boxing (Chin.: Shàolín Liánhuánquán 少林连环拳)

2012-01-03T14:14:00.018-06:00

Shaolin Chain Boxing, herein referred to as Lianhuanquan, is a basic traditional boxing set of Shaolin Wugong. As with Xiaohongquan, it is often one of the very first sets to be studied by the novice Shaolin practitioner. On a fundamental level, as the name suggests, it is a set to teach students how to link postures and segments together into a routine. However, within its simplicity is hidden a very sophisticated method of attack and defense.

History

During the Qing Dynasty (Chin.: Qíngdài 清代 1644-1911) there lived the famous monk Shi Zhanju (Chin.: Shì Zhànjǔ 释湛举). Venerable Zhanju entered the Shaolin Monastery in the year 1790 and became a 26^th generation master under Ven. Shi Haican (Chin.: Shì Hǎicān 释海参). In the monastery he became both a notable medical monk (Chin.: yīsēng 医僧) as well as a Wugong master. Having studied Wugong under the 24^th generation monks Shi Rujing and Shi Ruliang (Chin.: Shì Rújìng 释如净 | Shì Rúliàng 释如亮), Ven. Zhanju quickly became proficient in Shaolin boxing methods, Qinna, and Qigong, specializing in Shaolin Six-Round Boxing (Chin.: Liùhéquán 六合拳). The depth of his knowledge, experience and skill level allowed him to later become the drill master of the monastery's regiment of monk soldiers (Chin.: sēngbīng 僧兵). Today he can be seen depicted in the Shaolin murals along with Ven. Shi Zhanluo (Chin.: Shì Zhànluò 释湛洛 1777-1864) instructing the monks in weapon and empty-hand combat skills.

Ven. Zhanju went on to make great contributions to the development of Shaolin Wugong during his generation. His remaining works include: Shaolin Six-Round Boxing Manual (Chin.: Shàolín Liùhé Quánpǔ 少林六合拳谱), Shaolin Seventy-two Arts (Chin.: Shàolín Qīshíèr Yì 少林七十二艺), and Shaolin Flood Boxing Sparring Methods (Chin.: Shàolín Hóngquán Duìzhāofǎ 少林洪拳对招法).

He modified and expanded upon a number of preexisting Shaolin boxing sets (Chin.: tàolù 套路) including Shaolin Cannon Boxing (Chin.: Pàoquán 炮拳) and the ancient internal form of Soft Boxing (Chin.: Róuquán 柔拳).

He was also the creator of several new boxing sets including Shaolin Wind-Chasing Palm (Chin.: Zhuīfēngzhǎng 追风掌) and the more well-known sets of Facing the Sun Boxing (Chin.: Cháoyángquán 朝阳拳) and its later expansion Bright Sun Boxing (Chin.: Zhāoyángquán 昭阳拳).

In addition, Ven. Zhanju was also the creator of the boxing set very well-known and widespread today which is the focus of this article, Shaolin Lianhuanquan. He created the set based on the Shaolin subsystems of Arhat Boxing (Chin.: Luóhànquán 罗汉拳), Full-arm Boxing (Chin.: Tōngbìquán 通臂拳), and Small Plum-blossom Boxing (Chin.: Xiǎoméihuāquán 小梅花拳). Taking the essence of these three subsystems and combining it with his own combat experience, the eighteen posture set of Shaolin Lianhuanquan was developed.

Strategy

In Chinese, Lian-huan literally means 'link-rings', and is combined to form the noun 'chain' or adjective or adverb 'continuous/continually'. Quan is the noun for 'fist', but in style names refers to a type of 'boxing'. Hence, Lianhuanquan means Chain Boxing which also refers to a relentless pursuit of the opponent with a continuous chain of attacks. There is this saying associated with the set:

神招绝把连环打，一气呵成神鬼怕

Shénzhāo jué bǎ liánhuán dǎ, yīqìhēchéng shénguǐ pà.

“The miraculous movements stun with a flurry of strikes,

All in one breath it scares the devils away.”

Although brief, the 18 postures of Lianhuanquan contain a variety of striking, kicking, joint-locking, and grappling/throwing applications (Chin.: dǎ, tī, ná, shuāi 打踢拿摔). The entire body from head-to-toe is incorporated in attack and defense with many flexible transformations. Hand shapes (Chin.: shǒuxíng 手形) alone include two fist forms, five palm forms, rooster claw, and crane techniques.

18 Postures

Shaolin Lianhuanquan is often practiced in only 17 postures, leaving out the final posture Five Flowers Sitting on the Mountain (Chin.: wǔ huā zuò shān 五花坐山). This posture may have been added to the set to bring it to 18 movements, a number of significance in Shaolin Chan with reference to the 18^th vow of Amituofo. This posture also has great significance in Shaolin Culture (Chin.: Shàolín Wénhuà 少林文化) and is often tacked onto the end of boxing sets as a signature pose. Ven. Zhanju even uniquely used it as an opening to his set Zhaoyangquan (Bright Sun Boxing) previously mentioned.

The numerous applications of the single posture 'wu hua zuo shan' and the posture's significance in Shaolin Wugong culture is an entire topic of its own deserving of a separate article.

Mnemonic (Chin.: gējué 歌诀):

手足并用连环打，穷追暴客如箭发，

一气呵成十八势，手足头肘全身把。

Shǒu zú bìngyòng liánhuán dǎ, Qióngzhuī bàokè rú jiàn fā,

Yīqìhēchéng shíbā shì, Shǒu zú tóu zhǒu quán shēn bǎ.

"Hands and feet combine to erupt with continuous strikes,

Relentlessly pursuing the brutal invaders like an arrow shot.

The eighteen postures are completed all in one breath,

Masterfully incorporating the hands, feet, head, elbow, and entire body."

少林连环拳

Shàolín Liánhuánquán

Shaolin Chain Boxing

(4 Sections - 18 postures - 24 movements)

第一段 dìyī duàn - first section

1. Fist charging the heart (Chin.: chōngxīnquán 沖心拳)

2. Fist aiming at the heart (Chin.: dīngxīnquán 盯心拳)

3. Path-opening Cannon (Chin.: kāilùpào 开路炮)

4. Cannon on horseback (Chin.: mǎshàngpào 马上炮)

5. Hidden cannon (Chin.: wòdǐpào 卧底炮)

6. Beat the tiger and lean on the mountain (Chin.: dǎ hǔ kào shān 打虎靠山)

第二段 dìèr duàn - second section

7. Direct palm (Chin.: yíngmiànzhǎng 迎面掌)

8. Wild Goose lands on the river bank (Chin.: yàn luò hétān 雁落河滩)

9. Attack the monsters at front and back (Chin.: qiánhòu dǎo yāo 前後搗妖)

10. Diagonal flying kick (Chin.: xiéfēijiǎo 斜飞脚)

11. Mt. Song cannon (Chin.: Sōngshānpào 嵩山炮)

第三段 dìsān duàn - third section

12. (3 movements) - Gate-flashing cannon fist (Chin.: shǎn mén pào quán 闪门炮拳)

13. (3 movements) - Double cannons blast the mountain over (Chin.: shuāng pào hōng shān dǎo 双炮轰山倒)

第四段 dìsì duàn - fourth section

14. Sound the gong and open the path (Chin.: míng luó kāi lù 鸣锣开路)

15. Elbow charging the heart (Chin.: chōngxīnzhǒu 沖心肘)

16. Insert the incense and split Mt. Hua (Chin.: chén xiāng pī Huàshān 沉香劈华山)

17. Iron fist supporting Mt. Tai (Chin.: tiěquán jià Tàishān 铁拳架泰山)

18. Five flowers sitting on the mountain (Chin.: wǔ huā zuò shān 五花坐山)

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

Shaolin "Chan Seven" (Chin.: Chán Qī 禅七)

2011-01-17T00:51:00.013-06:00

In the West, Shaolin Monastery (Chin.: Shàolínsì 少林寺) is known as the “birthplace of kung fu” and home to the famous warrior monks. While martial arts are an integral part of Shaolin Culture, and are the tradition most often the focal point of the media’s spotlight, the warrior monks actually only account for one third of the Shaolin monastic community. Meanwhile, another rich tradition is continuing behind closed doors— Shaolin “Chan Seven” (Chin.: chán qī 禅七).

Chan Qi is a 49 day intensive meditation retreat which takes place annually behind closed doors within Shaolin Monastery’s Chan Hall (Chin.: chán táng 禅堂). This centuries-old tradition was once a large part of the monks’ life of Chan practice (Chin.: chánxiū shēnghuó 禅修生活), until 1928 when warlord Shi Yousan (Chin.: Shí Yǒusān 石友三) burned the monastery, destroying the Chan Hall. Since 2005, following the completed restoration of the Chan Hall, the tradition of Chan Qi has become active once again.

Da Qi

The name Chan Qi, meaning Chan “Seven”, has a couple interpretations.

The seven days of intensive closed-door practice undergone by Chan Master Tianhui of the Qing Dynasty. In Shaolin Monastery, the meditation retreat is done in 7 sevens- that is seven weeks, or 49 days, the number of days the Buddha sat under the Bodhi Tree.
The practice of Chan Qi is often called Da Qi (Chin.: dǎ qī 打七). The character Da (打) means “to do” or “practice”, but literally means “to hit” or “to break”. So what “seven” is being struck? Seven can refer to the seventh consciousness (Skt.: manas-vijñāna)— the thinking consciousness responsible for conceptualization, the view of self, and production of karma. To Da Qi (strike seven) is to eliminate this consciousness, effectively transforming it into the Wisdom of Equality (Chin.: píngděngxìngzhì 平等性智).

The Origin of Chan Qi

Today the practice of Chan Qi imitates the spirit of determination in the Buddha Shakyamuni’s (Chin.: Shìjiāmóunífó 释迦牟尼佛 ) quest for enlightenment. Seated beneath the Bodhi Tree (Chin.: pútíshù 菩提树) he made the strong vow to not rise from his seat until he had achieved enlightenment (Chin.: zhèngdào 证道). This same great effort and vigor in practice is mirrored in the Chan Qi tradition today.

As an intensive meditation retreat, Chan Qi has its origins in the early 1700’s of the Qing Dynasty (Chin.: qíngcháo 清朝, 1644-1912) with the Emperor Yongzheng (Chin.: Yōngzhēng Huángdì 雍正皇帝 ).

Yongzheng was a very powerful emperor and devotee of Buddhism. One day, in order to select a Dharma-heir for Chan Master Yulin Tongxiu (Chin.: Yùlín Tōngxiù Chánshī 玉琳通秀禅师), he commanded the abbot of every monastery in the entire country to compose and submit a verse showing their understanding of the Dharma.

The emperor was very impressed when he received the verse of Chan Master Tianhui Shiche of Gaomin Monastery (Chin.: Gāomínsì Tiānhuì Shíchè Chánshī 高旻寺天慧实彻禅师). He still felt, however, that there was another layer the Chan Master had not yet penetrated, like a thin veil over the bright moon. In order to enable Chan Master Tianhui to thoroughly breakthrough and see the original truth, the emperor sent out for Tianhui, urging him to come to the palace for a meeting at once.

Upon arrival Tianhui did not have an opportunity to open his mouth to speak but a greeting before the emperor asked; “Since you are to be the heir to the Imperial Preceptor, do you understand the Imperial Preceptor’s objective?”

Tianhui, who had a scalp disease, blurted out in response; “I have a favus-infected head here!”

When the emperor heard this he grabbed his sword and said sternly; “How about I cut your diseased head off”, and startled Tianhui speechless. “I mean what I say”, said the emperor. “My palace has a Chan Hall. I’ll give you seven days to answer my question. If you cannot answer, I’ll cut that diseased head of yours off!”

Emperor Yongzheng then had Tianhui locked up in the Chan Hall, forcing him to achieve enlightenment. Fearing he would try to escape, Yongzheng stationed guards in front of the door at all times and hung his sword where Tianhui could see as a reminder of the fate that would befall him should he fail to find an answer. Each day Tianhui was slipped a steamed bun through the window to sustain him through his practice.

For the first few days Tianhui could not sleep. Instead he vigorously meditated to pursue enlightenment for he knew the emperor meant what he said. As the days slipped by like water through his fingers, Tianhui became increasingly worried that he would not be able to manage the challenge. He wanted to sleep but was running out of time and risked losing his head. In order to drive away his sleepiness, he stood up and began walking circles around the Chan Hall. Nearing the seventh day without finding an answer his pace quickened as he practiced even more strenuously. Around and around he walked until he was almost running. The more anxious he grew, the faster he ran.

Finally, the morning of the seventh day came and Tianhui had yet to find an answer to the emperor’s question. In frustration he gave up his quest thinking it was just not worth it. As he went to lie down, just before his head hit the pillow the bell suddenly struck three o’clock. Tianhui jumped startled by the sound and banged his head on a pillar. At that precise moment he had a flash of understanding.

Tianhui jumped up, pushed his way through the door and ran to see the emperor who had not yet awaken. Bursting into the room, Tianhui stood before the emperor who laughed and said; “Haha! Congratulations for having understood the Imperial Preceptor’s objective!”

Chan Master Tianhui immediately spoke a verse; “A fist is not to be called a fist. It is in the eye of the seer. All the great sages are like a flash of lightening, like froth in the sea of the great universe!”

Hearing this verse thus spoken, Emperor Yongzheng conferred the purple robe upon him and commanded him to be abbot of four great monasteries- Gaomin Monastery (Chin.: Gāomínsì 高旻寺), Shengyue Monastery (Chin.: Shèngyuèsì 圣月寺), Zifu Monastery (Chin.: Zīfúsì 资福寺), and Chongfu Monastery (Chin.: Chóngfúsì 崇福寺).

Program

Not everyone is eligible to enter the Chan Hall and take part in the Chan Qi meditation retreat. There are many strict rules and regulations to follow. Participants must first meet several requirements before being granted access, such as having a healthy body and strong legs, so as not to disturb fellow practitioners during meditation. The meditator must also have reached a certain level in practice in order to maintain such a strict schedule, eating habit and silence throughout the entire 49 days. There is no natural light to distinguish night and day, and the only sounds heard are the clapping or ringing of Dharma instruments (Chin.: fǎqì 法器) that signal the start and finish of sessions.

However, there are two kinds of Chan Qi. One is called “Convenient Seven” (Chin.: fāngbiànqī 方便七) and the other is called “Effortful Seven” (Chin.: jīngjìnqī 精进七). In the former, monks still attend the daily services in the main hall with the rest of the assembly, and the rules are much less strict. It is the latter in which a very ardent mind is adopted and placed wholly on the practice.

Emulating the effort put forth by Chan Master Tianhui, monks participating in the Jingjinqi sleep only four hours each night, going to sleep by 11pm and waking the next morning at 3am, just like Tianhui when he had his realization after hitting his head with the strike of the three o'clock bell.

In fact, the entire practice system of the Chan Qi retreat draws from Chan Master Tianhui’s experience. Participants must alternate between seated and walking meditation, called “sitting incense” (Chin.: zuòxiāng 坐香) and “walking incense” (Chin.: xíngxiāng 行香), so called because the duration is determined by the burning of an incense stick. Daily, participants must sit for 12 sticks of incense, and walk for 12 sticks, altogether 24 sticks of incense per day.

Xingxiang (walking incense) is done in a clockwise circle around the Chan Hall, starting very slowly and gradually increasing pace into a trot, sometimes called "running incense" (Chin.: pǎoxiāng 跑香). This practice draws energy from the effort of Chan Master Tianhui. Monks in Shaolin Monastery have walked this path so much the finish is worn off the wood floor of the Chan Hall in the shape of a circle around the center altar. However, it is not merely running or sitting. What you cannot see is the actual method of practice- the practice of “Investigating the Word-Head” (Chin.: cān huàtóu 参话头), questions designed to draw one back to before the arising of thought.

During the retreat and at the end, participants are challenged by the head master to test their progress. The master holds an Incense Board (Chin.: xiāngbǎn 香扳) shaped like Emperor Yongzheng's sword, prepared to deliver a blow to the cultivator.

"Who is chanting the Buddha's name!" the head monk shouts. "Answer!"

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Shaolin Warrior Ethics (Chin.: Shàolín Wǔdé 少林武德)

2010-04-20T22:28:00.013-05:00

Legend has long attributed the creation of Shaolin Wugong (Warrior Skills) to the founding patriarch of the Chan meditation tradition in China- the Indian monk Bodhidharma. While this is well known to be mere legend, he may have in fact had a greater influence on the development of Shaolin Wugong than one at first glance might think. Perhaps the influence he provided came not through technical but ethical guidance.

Bodhidharma's Guide to Practice

In his "Treatise on the Two Entrances and Four Practices" (Chin.: Èrrùsìxínglùn 二入四行论) Bodhidharma teaches a comprehensive approach to Chan practice. First, to enter the path by means of proper instruction — to enter by reason, the guiding principle. Second, by means of correct practice. Correct practice is of four types:

1. The Practice of Repaying Debts - Enduring Hardship
(Chin.: bàoyuàn xíng 报怨行)

2. The Practice of Adapting to Conditions - Following Karma
(Chin.: suíyuán xíng 随缘行)

3. The Practice of Seeking Nothing - Cutting Greed
(Chin.: wúsuǒqiú xíng 无所求行)

4. The Practice of Harmonizing with Reality - Practicing Wisdom
(Chin.: chènfǎ xíng 称法行)

Great importance and value has been placed upon these teachings of "tolerance" by practitioners and teachers of Shaolin Wugong. The ability of a skilled practitioner bears tremendous responsibility. For this reason, traditional Shaolin masters ensured the highest standards of Warrior Ethics (Chin.: Wǔdé 武德) be developed in their students prior to imparting any martial knowledge. A Shaolin practitioner must be capable of enduring hardship without letting ego interfere with any sort of encounter where their skills may be misused.

Regarding the study of Shaolin Wugong and the importance of Wude, Shaolin Monastery Elder Ven. Shi Suxi (1924-2006) stated matter-of-factly toward students and teachers;

"The practice of warrior ethics comes first."
(Chin.: xí wǔdé wéi xiān 习武德为先)

"A good master introduces warrior ethics."
(Chin.: liáng shī jiè wǔdé 良师介武德)

Ten Wholesome Deeds

All traditional martial arts cultures have within them basic student pledges of virtuous conduct and character building. The practice of Shaolin Wude within the Shaolin monastic tradition has always been rooted in basic Buddhist principles of morality. These are not merely precepts that individuals take if they choose to ordain or follow a spiritual path. They are the very foundation of honorable living.

Foundationally, there are the Ten Virtues (Chin.: shí shàn 十善) coupled with the Eight Correct actions (Chin.: bā zhèng 八正), also known as the aspects of the Noble Eightfold Path (Chin.: bāzhèngdào 八正道). Together they represent one of the symbolizations of the 108 (10 + 8) bead malas (Chin.: shùzhūr 数珠儿) used in daily practice.

Opposing the Ten Virtues and the Eight Correct actions are the Ten Vices (Chin.: shí è 十恶) and Eight Errors (Chin.: bā dǎo 八倒).

The Ten Virtues are as follow:

Virtue of Body

1. No Killing (Chin.: bù shāshēng 不杀生)

2. No Stealing (Chin.: bù tōudào 不偷盗)

3. No Sexual Misconduct (Chin.: bù xiéyín 不邪淫)

Virtue of Speech

4. No Lying (Chin.: bù wàngyǔ 不妄语)

5. No Gossiping (Chin.: bù liǎng shé 不两舌)

6. No Foul Mouthing (Chin.: bù èkǒu 不恶口)

7. No Flirtatious Speech (Chin.: bù qǐyǔ 不绮语)

Virtue of Mind

8. No Greed (Chin.: bù tān 不贪)

9. No Hatred (Chin.: bù chēn 不嗔)

10. No Delusion (Chin.: bù chī 不痴)

The Ten Vices are the opposite of the above. Note that offenses committed by the mouth account for almost half the ten.

The Eight Errors represent the opposite of the Noble Eightfold Path - e.g. wrong view, wrong intention, wrong speech, etc..

Not only do these principles of virtuous conduct have prohibitory standards, they also carry expectations of initiative on the part of the practitioner. In the case of Virtue of Body one acts to protect others, offer support, and encourage healthy relationships. In Virtue of Speech one speaks to benefit others, only when speaking improves upon silence. With Virtue of Mind a practitioner strives to develop wisdom, peace, and clarity of mind.

Ten Shaolin Warrior Ethics

Shaolin Wude, Warrior Ethics, are aspects of a righteous character- aspects that any true martial art should produce in a follower. They are of two kinds- technical and spiritual training.

Spiritual training, the development of mind forms the foundation for the true student. They are:

Virtue of Character

1. Respect (Chin.: sǒng 竦)
- respect toward oneself, one's master, and all beings. Respect is the foundation of Shaolin Wude.

2. Humility (Chin.: qiānbēi 谦卑)
- literally "modest" and "inferior".

3. Righteousness (Chin.: yì 义)
- of virtuous character in harmony with moral principles.

4. Trust (Chin.: fú 孚)
- to have full confidence in one's master and one's own capacity.

5. Loyalty (Chin.: zhōng 忠)
- devotion to one's master and self-dedication.

Solid technical or physical training is founded upon the virtues of character. The highest levels of Shaolin Wugong can only be reached through development of this warrior spirit.

Virtue of Spirit

1. Willpower (Chin.: yìzhì 意志)
- the intention and ambition to take action.

2. Endurance (Chin.: nàilì 耐力)
- the power to bear hardship.

3. Perseverance (Chin.: héngxìng 恒性)
- steady persistence in a course of action.

4. Patience (Chin.: nàixīn 耐心)
- self-control, the ability and willingness to calmly withstand.

5. Courage (Chin.: yǒng 勇)
- bravery, the confidence of a resolute mind able to face fear or danger.

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With the fulfillment of Shaolin Warrior Ethics one's journey through the Shaolin Culture as a true follower, a leader, an authentic Shaolin Warrior, begins. Shaolin Wude means knowing the correct path and following it with all your might.

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Amituofo in Shaolin Chan

2010-01-18T13:32:00.022-06:00

"Buddha means awareness, the awareness of body and mind that prevents evil from arising in either. And to invoke means to call to mind, to call constantly to mind the rules of discipline and to follow them with all your might." - Bodhidharma

Amituofo is a common phrase used in Shaolin and throughout Chinese Buddhist traditions, especially the Pure Land school (Chin.: jìngtǔzōng 净土宗) and the Chan school (Chin.: chánzōng 禅宗). The following article is an explanation of the meaning and unique usage of this phrase in the Shaolin Chan tradition.

Salutation

Amituofo (Chin.: āmítuófó 阿弥陀佛) is most often heard as a salutation (Chin.: zhìjìng 致敬) among Shaolin practitioners- monastic and laity alike. In greeting and taking leave, individuals join their palms in front of the chest and, with a slight bow toward one another, recite Amituofo. This greeting is often alternatively accompanied with a single hand bow, in which the individual uses only the right palm in front of the chest as a remembrance of the dedicated spirit of the second Chan ancestor Huike (Chin.: èrzǔ huìkě 二组慧可), a story which is told in the article on the origin of Shaolin Chan.

Amituofo is also used as a catch-all phrase replacing many common daily expressions, such as "hello", "goodbye", "thank you", "fantastic", "sorry", etc.. In this way we are reminded of our practice.

So what is our practice and what does Amituofo actually mean?

Nianfo Practice

Nianfo (Chin.: niànfó 念佛) means Buddha Remembrance and is the practice of reciting a Buddha's name. Either reciting aloud or in silence, the mind is wholly concentrated on the name and gives no room to discursive thought. The mind then becomes one with the qualities of the Buddha— i.e., wisdom, compassion, etc..

This is a method of "protecting the mind" (Chin.: hànxīn 扞心). It is said with a single recitation countless eons of negative karma (Chin.: nièyuán 孽缘) are destroyed. By not acting on impulse but from a clear and compassionate mind, unfortunate situations are accepted and allowed to pass without creating further causes for their reproduction. This is the familiar practice in Western religious traditions, what is known in Jesus' teachings as "turning the other cheek". By acting in this way, no power is given to injustice and no further fuel is added to the fire, but neither is it left to arise again later. It is rather fighting fire with fire, passively, allowing it to exhaust it's own sustenance. It is instantaneously cutting karma.

Namo Amituofo

Namo Amituofo (Chin.: namo āmítuófó 南无阿弥陀佛) is the longer phrase used in Nianfo practice. Namo is a Sanskrit root meaning "homage to" (with utmost respect, honor, and admiration). Amituofo is a Chinese transliteration of the Sanskrit word Amitābha Buddha. The Fo (佛) character denotes a Buddha in Chinese. Amitābha then means "infinite/boundless light". So together, Amitabha Buddha or Amituofo is the Buddha of Infinite Light.

In the Pure Land school, Amitabha is the principal Buddha of the Pure Land. Prior to his awakening he made 48 great vows and an aspiration to create a heavenly country for all beings to be reborn in to practice straightly to awakening. This country is described in the Sutras with great detail of splendor and joy. Jewel encrusted birds, heavenly music, fragrant breezes, raining lotus flowers, and golden rivers adorn the land. In this land there is always the opportunity to learn directly from Amitabha.

Of course, to the Western mind this all sounds familiar, with pure faith resulting in heavenly life after death. Naturally it can be made into an alternative belief and yet another religion. However, in the Chan school this is all allegory for the Pure Mind, as it is in this moment. It is a Pure Land right where we are.

"When the mind is pure, the land is pure."
- Vimalakirti Nirdesa Sutra

As it is said; "all things are created by mind" (Chin.: yīqiè wéixīn zào 一切唯心造). Even modern Quantum Physics now recognizes this very old "Buddhist" principle. Therefore as Bodhidharma says; "Outside this mind there is no Buddha".

The 18th Vow

Amitabha's 18th vow is one of the most important in Chan. It says that whoever should hear Amitabha's name and awaken their highest faith and aspiration to take rebirth in the Pure Land, holding the recollection only ten times will destine them to be reborn there.

In Chan practice this means rebirth of — reawakening to — the Pure Mind, in this very moment. As the Chan saying goes;

"The mind alone is the Pure Land, the original nature is Amitabha"
(Chin.: wéixīn jìngtǔ, běnxìng mítuó 唯心净土，本性弥陀).

For this reason many wrist malas are made with 18 beads, or an extra strand of 18 is added to the 108 bead necklace, to represent this 18th vow.

Nianfo in Chan

The fourth Chan patriarch Daoxin (Chin.: dàoxìn 道信, 580-651) taught what he called the "Samadhi of Oneness," utilizing the recitation of the Buddha's name to pacify the mind. It should be noted however, that since this practice involved reciting the name of any Buddha — a practice dating back to the origins of Buddhism — it was not specifically designed to produce rebirth in the Realm of Bliss, as in the Pure Land school; but it did act as a bridge linking Chan and Nianfo practices. Daoxin taught that the Pure Mind is the Pure Land.

Later, the fifth Chan ancestor Hongren (Chin.: hóngrěn 弘忍, 601-674) also advocated recitation practice for beginners to quiet the mind. Much later the 16th century eminent monk Zhuhong (Chin.: zhuhóng 祩宏, 1535-1615), a practitioner of the unification of Chan and Pure Land schools is quoted with the following;

"This (Pure Land) is the most primal and the most subtle and wondrous. It is also the simplest. Because it is simple, those of high intelligence overlook it. Birth and death are not apart from a single moment of mindfulness. Consequently, all the myriad worldly and world-transcending teachings and methods are not apart from a single moment of mindfulness. Right now, take this moment of mindfulness and be mindful of Buddha, remember Buddha, recite the Buddha's name. How close and cutting! What pure essential energy, so solid and real! If you see through where this mindfulness arises, this is the Amitabha of our inherent nature. This is the meaning of the patriarch coming from the West (the meaning of Chan)."

Looking back further to the founding patriarch of Chan, Bodhidharma (Chin.: dámó 达摩), we can see his teaching on proper Nianfo practice. He is quite clear with it;

Excerpt from the Breakthrough Sermon:

"Student: The sutras say that someone who wholeheartedly invokes the Buddha is sure to be reborn in the Western Paradise. Since this door leads to Buddhahood, why seek liberation in beholding the mind?

Bodhidharma: If you're going to invoke the Buddha, you have to do it right. Unless you understand what invoking means, you'll do it wrong. And if you do it wrong, you'll never go anywhere.

Buddha means awareness, the awareness of body and mind that prevents evil from arising in either. And to invoke means to call to mind, to call constantly to mind the rules of discipline and to follow them with all your might. This is what's meant by invoking. Invoking has to do with thought and not with language. If you use a trap to catch fish, once you succeed you can forget the trap. And if you use language to find meaning, once you find it you can forget language. To invoke the Buddha's name you have to understand the Dharma of invoking. If it's not present in your mind, your mouth chants an empty name. As long as you're troubled by the three poisons or by thoughts of yourself, your deluded mind will keep you from seeing the Buddha and you'll only waste your effort. Chanting and invoking are worlds apart, Chanting is done with the mouth. Invoking is done with the mind. And because invoking comes from the mind, it's called the door to awareness. Chanting is centered in the mouth and appears as sound. If you cling to appearances while searching for meaning, you won't find a thing. Thus, sages of the past cultivated introspection and not speech. This mind is the source of all virtues. And this mind is the chief of all powers, The eternal bliss of nirvana comes from the mind at rest. Rebirth in the three realms also comes from the mind. The mind is the door to every world and the mind is the ford to the other shore. Those who know where the door is don't worry about reaching it. Those who know where the ford is don't worry about crossing it."

Therefore, if we are reciting Amitabha Buddha (Amituofo), we should know that Amitabha means "infinite/boundless light" and Buddha means "clear awareness". Namo Amitabha Buddha (Namo Amituofo) is a call to mind, to take refuge — as in to return and rely upon — the boundless light of awareness, the wisdom that is the original nature.

The characters for Nianfo may also be understood in this way. Nian (念) is made up of two characters. The top is Jin (今) meaning now/at present, and the bottom is Xin (心) meaning the mind. Together they form the word Nian (念) which means to remember, to behold the mind (Buddha/Fo 佛) in this moment.

Nianfo practice in the Chan school is further extended to the traditional Chan practice of questioning. Huatou or "word/speech head" (Chin.: huàtóu 话头) is the practice of using irrational or unanswerable questions to lead the questioner back to the origin of the question itself- the point before thinking arises.

So in Chan practice, Nianfo is used for Samadhi (Chin.: dìng 定, Eng.: deep concentration) and then the Huatou "who is reciting Amituofo" is used as a method of introspective insight.

Amituofo in Shaolin

Reciting Amituofo is an important part of Shaolin practice. We use it to greet and take leave of our masters, brothers, and sisters. We use it to say please, thank you, sorry, and great job. We also use it before and after training sessions, as well as to open and close each boxing set (Chin.: tàolù 套路) we practice.

Amituofo is a reminder to one another that there is something beyond the daily samsaric view of life. Amituofo is a wake up call- not to live this life in vein, not to engage in empty practice.

Amituofo is recitation with the mind.
Shaolin Wugong is recitation with the body.

Namo Amituofo means "return to the boundless light of awareness".

For the benefit of all sentient beings.

Namo Amituofo

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Shaolin in Saint Louis, Missouri, USA.

2009-12-08T18:15:00.022-06:00

Traditional Shaolin Culture Takes Root in the Midwest.

This article is a brief introduction to Shaolin Chan City,
A Comprehensive Traditional Shaolin Cultural Arts Center
located in Saint Louis, Missouri, USA.

www.ShaolinChanCity.com

Shaolin Chan City is a Comprehensive Traditional Shaolin Cultural Arts Center located in St. Louis, Missouri, USA. Its mission is to spread authentic Shaolin culture to empower the lives of the people of St. Louis, surrounding areas, and the United States through providing a center for study and conducting regular seminars, demonstrations, and charity events in its vision.

Shaolin - Continuing Legend

Everyone has heard the name Shaolin. Whether from the old Kung Fu TV series, action movies, or experience in the world of Martial Arts training, everyone has heard the legends of the Shaolin Monks- their fighting prowess, their mysterious invincibility, their heroism. But it is as if they are characters from the distant past, from an ancient Chinese monastery.

In fact, Shaolin Monastery (Chin.: Shàolínsì 少林寺) is still a fully functioning monastery today with hundreds of monks and even more secular disciples and lay followers. They may not be mystical creatures, but they have names, personalities, and extraordinary abilities. The Shaolin Monastery today is a place where Chan (Zen) practice meets Martial Arts training, and it has been that way for centuries.

Now more than ever Shaolin is reaching a global audience and touching the lives of millions in countries around the world, on six continents. The Shaolin Monastery tradition has already long taken root across the United States and is now coming to Saint Louis, Missouri....

SCC Founder & Director

The Founder & Director of Shaolin Chan City, Le Fujun, having first studied as a member of the Shaolin Monastery Warrior Monk Reserve Team (Chin.: Shàolínsì Wǔsēng Hòubèiduì 少林寺武僧后备队) in China, was then accepted as a direct student of Master Shi Deyang (Chin.: Shì Déyáng Fǎshi 释德扬法师), a Shaolin Monk of the 31st Generation globally considered one of the greatest present exponents of Traditional Shaolin Culture, studying both Traditional Shaolin Wugong and Chan Philosophy (Chin.: Chuántǒng Shàolín Wǔgōng hé Chánlǐ 传统少林武功和禅理).

Le Fujun is a Shaolin practitioner, instructor, historian, and author fluent in Mandarin, who has conducted years of extensive research in conjunction with his personal study and practice of Traditional Shaolin Culture. He has given demonstrations, public talks and seminars on Shaolin Culture at numerous institutions in the United States and universities such as:

University of Illinois-- Urbana-Champaign
Iowa State University- Ames
Minnesota State University- Moorhead
University of Missouri- St. Louis
Washing University School of Medicine- St. Louis

Several of his published articles on such topics as traditional Shaolin culture, history, philosophy, and arts, can be read online by visiting the SCC blogsite.

Le Fujun began his first school in Illinois, in 2002. In June of 2009 he received Master Deyang's approval and support to open another Shaolin school in the U.S.- Shaolin Chan City, located in St. Louis, Missouri.

Master Deyang is now the technical and spiritual guide of SCC, the only school under his direction in the U.S., and second internationally. Le Fujun continues the development of the school with frequent study trips to Shaolin Monastery and Master Deyang's school in China, as well as the periodic hosting of Master Deyang and collaborating Shaolin disciples at SCC. The school also hosts frequent group study trips to China to experience the Shaolin culture at the place of origin.

SCC Study Program

As a Comprehensive Traditional Shaolin Cultural Arts Center, Shaolin Chan City offers lessons in the different study areas of Traditional Shaolin Culture. The Program components are divided into Wugong (lit.: warrior skills/ kung fu wushu), Qigong (lit.: internal energy skills/ chi kung), Meditation, and Chan (zen) Philosophy.

The Meditation and Chan Philosophy portion is always open to the public. Seminars on Traditional Shaolin Wugong, Qigong, and other cultural topics for public access are held throughout the year.

Non-members coming from outside the St. Louis area or out of state are welcome to the center and may join a series of free trial lessons. The center's master and instructors are also available to conduct seminars in other schools in the area and within the United States.

For more information on the Shaolin Chan City Study Program, or to request a seminar, please direct inquiries to the SCC Director of Shaolin Studies, or simply come in for a free trial lesson.

Phone No.: (314) 383-3918
Email: contact@shaolinchancity.com
Homepage: www.ShaolinChanCity.com

-少林禅城 Shaolin Chan City

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Shaolin Qinna (Chin.: Shàolín Qínná 少林擒拿)

2009-07-01T16:09:00.020-05:00

Qinna is the name for various defensive joint-locking and manipulation techniques found in almost every style of Chinese martial arts, and is a very important component of Traditional Shaolin Wugong.

The name itself means to capture (擒 qín) and hold (拿 ná). It is a technique by which an attacker can be neutralized without suffering permanent physical damage or experiencing excessive pain. The intensity and duration of the discomfort felt by an attacker is completely controlled by the Qinna expert, making it a perfect defense technique for a Buddhist monk. For this reason, Qinna is a highly developed art form of Shaolin Wugong.

Almost every movement of a boxing set (Chin.: tàolù 套路) in Shaolin Wugong contains three variant forms of application (Chin.: yòngfǎ 用法).

Striking (Chin.: dǎ 打)
Throwing (Chin.: shuāi 摔 )
Seizing & Controlling (Chin.: qínná 擒拿)

This means that any given movement may be interpreted as a possible strike, take-down, or joint-locking maneuver, not to mention as a defensive posture or action, or a combination of both attack and defense.

Qinna techniques are not only joint-locking, but include five essential aspects, known as the "Five Qinna Principles" (Chin.: wǔ qínná yuánzé 五擒拿原则) described below.

Five Qinna Principles

1. Muscle & Tendon Separation (Chin.: fēn jīn 分筋)

There are two aspects to Fen Jin. The first is "grasping" (Chin.: zhuājǐn 抓紧). Zhuajin is applied by the fingers "pinching" and separating the muscles and tendons of the opponent's body causing intense pain. Shaolin imitative styles such as Tiger Boxing (Chin.: Hǔquán 虎拳) or Eagle Claw Boxing (Chin.: Yīngzhǎoquán 鹰爪拳) make frequent use of Zhuajin skills. To be effective the fingers must be very strong. Strengthening of the fingers and grip is done through various exercises from fingertip push-ups, to lifting weights such as heavy jars filled with sand using the fingertips to grasp the rim. The second aspect of Fen Jin is "pressing the cavities" (Chin.: nà xué 捺穴), that is attacking the pressure points.

2. Bone Misplacement (Chin.: niǔ gǔ 扭骨)

Niu Gu are techniques which when applied at full force can either dislocate or snap a bone, or damage the joint, muscles and tendons surrounding the bone. However, applied with a minimal force an opponent can be moved to the ground and subdued without further damage.

3. Breath Obstruction (Chin.: bì qì 闭气)

Bi Qi literally means to close or seal the air, or vital breath. The obvious means is by striking, squeezing, or locking the throat. The breath rate can also be interrupted by striking the solar plexus, armpit, or rib cage causing the muscles to spasm and constrict the lungs. The effect will be the temporary loss of breath, usually halting any further attack from an opponent, and opening the opportunity for escape.

4. Vein & Artery Pressing (Chin.: diǎn mài 点脉)

Dian Mai is a very dangerous component of Qinna. Used to block the circulation of blood, Dian Mai techniques can disrupt motor function, cause unconsciousness, or potentially be fatal. For this reason, these techniques are often not taught openly. A student who learns Dian Mai must be of high morals. However, when used in correct combinations, Dian Mai can be used to treat or heal ailments and relieve pain.

5. Cavity Pressing (Chin.: diǎn xué 点穴)

Cavities here are otherwise known as pressure points, or Qi (气) channels throughout the body. Attacks to these points can be fatal, as they govern complete body and mind function, blood circulation, maintenance of organs and excitable bio-systems such as cardiac and neural biophysics. They are the passages through which vital energy travels. If obstructed, an energy imbalance may occur in the body resulting in illness, brain damage, or fatality. Dian Xue is the highest level of Qinna. It requires much less physical strength, but a deep knowledge of Qi meridians and Energy Transference.

Masters of Qinna

Shaolin Elder Ven. Shi Suxi (Chin.: Shì Sùxǐ 释素喜, 1924-2006) was highly trained in Qinna, and mastered all Five Qinna Principles. Ven. Suxi practiced daily on strengthening his fingers by filling three bags- one with grain, one with sand, and one with metal pellets- placing them on a bench and beating them with his index and middle fingers, or forcefully inserting his fingers into the fillings. He often trained like this until he fingers were red and swollen.

In 1943, under the guidance of his master, 28th Generation Shaolin Monk Ven. Shi Zhenxu (Chin.: Shì Zhēnxù 释贞绪, 1893-1955), Ven. Suxi studied and mastered the art of Dian Xue. Ven. Zhenxu created a wooden dummy, upon which he drew very detailed maps of Qi meridians and pressure points. 36 fatal points, 18 crippling points, and 64 health care points, for a total of 118. Within one year Ven. Suxi trained assiduously and thoroughly grasped all 118 points.

Conclusion

Qinna is a very specialized skill of Shaolin Wugong. It should only be used as a defense technique, and the pressure applied should only be as much as is necessary to interrupt an attacker's fighting ability. Real skill lies in the ability to neutralize an attacker without causing permanent physical damage or excessive pain.

Qinna techniques should be used with care. In the best case scenario, Qinna can be used as a healing method to alleviate muscular, tendon and joint pain of a patient. If however one is faced with an unfortunate confrontation with an attacker, Qinna is the preferable way to incapacitate them without long-term physically damaging effects. This way, they may have a chance to heal and grow spiritually. To reach this level however, takes many years of training under a qualified and experienced teacher.

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Yongtai Monastery || The Shaolin Nunnery

2009-05-14T16:20:00.021-05:00

Three major events took place upon the transmission of Chan Buddhism in China. The first was Bodhidharma's wall meditation, the second, Shenguang severing his arm, and the third was Princess Yongtai leaving home to become a Buddhist Nun.

Yongtai Monastery was the first imperial Buddhist Nunnery in China following the arrival of Chan Buddhism. Located Northwest of Dengfeng City (登封) on the Western foothills of Taishi Mountain (Chin.: Tàishìshān 太室山) facing the Shaolin Monastery, it was first built during the Northern Wei Dynasty (Chin.: běiwèi 北魏, 386-534), with the original name Minglian Monastery (Chin.: Míngliànsì 明练寺).

Three Princesses

The history of the Yongtai Monastery follows the stories of three princesses. The first is Princess Zhuanyun (Chin.: Zhuǎnyùn Gōngzhǔ 转运公主), the daughter of Northern Wei Dynasty Emporer Wencheng (Chin.: Wénchéng Dì 文成帝, 440-465). Princess Zhuanyun became the first Chinese Buddhist Nun and built a small hut where she could practice the Dharma. This small hut, later named Zhuanyun Convent (Chin.: Zhuǎnyùn Ān 转运庵), was the forerunning site of the present day Yongtai Monastery.

During the period of Southern Dynasties (Chin.: Náncháo shíqī 南朝时期, 317-589), Emperor Wu of Liang (Chin.: Liáng Wǔdì 梁武帝, 464–549) made great contributions toward the prosperity of Buddhist Culture in China, establishing monasteries throughout the land. Influenced by her father, Emperor Wu's daughter, Princess Minglian (Chin.: Míngliàn Gōngzhǔ 明练公主) developed an interest in the Dharma and subsequently followed the First Chan Patriarch, Bodhidharma, to Shaolin Monastery were she became one of his four closed-door disciples. She received the Dharma-name Zongchi (Chin.: fǎmíng Zǒngchí 法名总持). However, because she was a woman, practicing together as renunciates in the same monastery with men would be very inconvenient. Emperor Wu then constructed for her a nunnery beside Zhuanyun's hut where she could practice as a Buddhist nun (Chin.: nísēng 尼僧). It was hence named Minglian Monastery (Chin.: Míngliànsì 明练寺).

The third princess was Northern Wei Dynasty Emperor Xiaoming's (Chin.: Xiàomíng Dì 孝明帝, 510-528) younger sister, Princess Yongtai (Chin.: Yǒngtài Gōngzhǔ 永泰公主), who became extremely discontented with the irresponsible control of power and mistreatment from her mother, Empress Dowager Hu (Chin.: Hú Tàihòu 胡太后), and thus decided to abandon her high position and great wealth as princess. She made her way to Minglian Monastery where she took tonsure as a Buddhist nun and concentrated on cultivation of the Buddhist path (Chin.: xiūfó 修佛).

Princess Yongtai used her imperial position to supply relief aid of money and food to the suffering commoners, and was therefore held in very high esteem for her kindness and generosity to those around her. More than 1,000 nuns were living and practicing Buddhism in the monastery at that time. For this she is loved and respected for spreading Dharma in the female monastic community of China.

To commemorate the merits and virtue of Princess Yongtai, during the Tang Dynasty (Chin.: Tángdài 唐代, 618-907) the monastics of Songyue Monastery (Chin.: Sōngyuèsì 嵩岳寺) on Song Mountain invited the emperor to present a memorial and reconstruct the site at Minglian Monastery. In dedication to Princess Yongtai, the monastery's name was changed to Yongtai Monastery (Chin.: Yǒngtàisì 永泰寺).

Sexism

After the Northern Song Dynasty (Chin.: Běisòng 北宋, 960-1127) people began to become influenced by the Cheng-Zhu School of neo-Confucian idealist philosophy (Chin.: ChéngZhū Lǐxué 程朱理学). The general public attitude of men being more honorable than women gradually began to take shape. There was even such sexist views held among Buddhist monastics that called nuns "second monks" (Chin.: èrsēng 二僧), meaning they were a rung below male monastics. To combat this sort of prejudice, the nuns of Yongtai Monastery changed its name in the Jin Dynasty (Chin.: Jīndài 金代, 1115-1234) to Yongchan Monastery (Chin.: Yǒngchánsì 永禅寺) to indicate that they were part of the Chan School (Chin.: chánzōng 禅宗) which is a collection of teachings intended to point one directly to the Buddha-nature (Chin.: fóxìng 佛性) that is beyond all duality, such as male and female.

Shaolin Sister

After the Yuan and Ming dynasties, Yongtai Monastery was once again renamed Yongtai. During this time the nuns of Yongtai Monastery began to adopt the generation naming system begun by Yuan Dynasty Shaolin Abbot, Ven. Fuyu (福裕, 1203-1275), based on his 70 character poem. Yongtai Monastery was subsequently referred to as a branch of Shaolin, i.e. the "Shaolin Nunnery", and the nuns of Yongtai Monastery would also be buried in the Shaolin Pagoda Forest (Chin.: Shàolínsì Tǎlín 少林寺塔琳).

Present Day

The Yongtai Monastery has had a considerably long and deep relationship with the Shaolin Monastery, from the time of Princess Minglian becoming a disciple of Bodhidharma until present day. The tradition of Shaolin Wugong has also been developed and passed on through the generations of Shaolin nuns at Yongtai Monastery. Princess Yongtai herself was known to have mastered the martial arts of the Shaolin monks, making her legacy all the more profound.

The Yongtai Monastery was also destroyed as the Shaolin Monastery had been. However, it too rose from the ashes. In the 1980's it was rebuilt and today is a fully functional nunnery. The abbess- Ven. Shi Yanjun (Chin.: Shì Yánjūn Fǎshī 释延君法师).

Yongtai Monastery Female Wushu School

Today Yongtai Monastery is also the home of the only all-female Shaolin wushu school nationwide- the Yongtai Monastery Female Wushu School (Chin.: Yǒngtàisì Nǚzi Wǔshù Xuéxiào 永泰寺女子武术学校). It is formally approved and established by the Physical Culture and Sports Commission and the Educational Commission of China. The school is entirely comprised of female students who are instructed by female coaches. Nuns, coaches and students have traveled abroad to spread the culture and awareness and to strengthen the female involvement in Shaolin Wugong and Chan Buddhism.

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Shaolin Large Full-Arm Boxing (Chin.: Shàolín Dàtōngbìquán 少林大通臂拳)

2009-04-13T13:54:00.014-05:00

Shaolin Large Full-Arm Boxing, herein referred to as Shaolin Datongbiquan, is a commonly practiced traditional boxing set (Chin.: tàolù 套路) of Shaolin. The following is a simple introduction to this set and the subsystem of Shaolin Full-Arm Boxing (Chin.: Shàolín Tōngbìquán 少林通臂拳).

Tongbiquan

Today there are many Chinese styles sharing the name of Tongbiquan. Many of them have origins in Shaolin Monastery (Chin.: Shàolínsì 少林寺), but have developed externally, changing with the style of the local people from region to region. While those styles are not what is taught or practiced in Shaolin Monastery today, they can still be called Shaolin styles. However, they are visually easily distinguishable from Shaolin Monastery Tongbiquan.

The Shaolin Tongbi subsystem includes several boxing sets. For example, Small Full-Arm Boxing (Chin.: Xiǎotōngbìquán 小通臂拳) and Large Full-Arm Boxing (Chin.: Dàtōngbìquán 大通臂拳). Further, there are distinct flavors of Tongbiquan practiced by the monks of the different courtyards of Shaolin Monastery. Ven. Master Shi Suxi (Chin.: Shì Sùxǐ 释素喜) was family-head of the Southern Courtyard (Chin.: Nányuàn 南院), which has its unique flavor of Tongbi boxing sets, referred to as Southern Courtyard Full-Arm Boxing (Chin.: Nányuàn Tōngbìquán 南院通臂拳).

Full-Arm Boxing

The name Tongbi (通臂) is sometimes easily confused with other Chinese styles called Tōngbèi (通背). In these styles, Tong (通) means "to pass through". Bei (背) means "the back" (of the body). The name describes how the energy is sent through the body passing "through-the-back", spiraling out from the spine.

Shaolin Tongbi not only has a different concept, but also different characters. In this case, the character Bì (臂), meaning "arm", is used. It can sometimes be pronounced bèi, which easily leads to confusion of the styles if the characters are not known. Furthermore, in Shaolin Tongbiquan, Tong (通) carries the meaning of the Chinese word tōngtong (通通). It is simply the character meaning "to pass through" doubled. The meaning of this word is "all", "entire", "complete", or "full".

Shaolin Tongbiquan is a type of Pictographic Boxing (Chin.: Xiàngxíngquán 象形拳). Pictographic Boxing usually refers to boxing styles that imitate the actions and mannerisms of animals. Shaolin Tongbiquan is the only type of pictographic boxing that belongs to the non-pictographic boxing styles of Shaolin. That is, it was created according to the long arms of monkeys. However, it only takes over the spirit rather than the form of monkeys. It is therefore not an imitative style in form, only in use. The monkeys' use of the entire length of their arms is what is meant by "full-arm".

Shaolin Tongbiquan sets were created based on three foundations, i.e. Shaolin Small Flood Boxing (Chin.: Xiǎohóngquán 小洪拳), Large Flood Boxing (Chin.: Dàhóngquán 大洪拳) and Monkey Boxing (Chin.: Hóuquán 猴拳). Elements of each can be found in the Tongbiquan sets.

Datongbiquan Mnemonic

Shaolin Datongbiquan is the most widely practiced set from the Shaolin Tongbi subsystem. The names of several movements in the set come from common Chinese idioms, or have Buddhist significance. For example, "Erlang holds mountain" (Chin.: èrláng dānshān 二郎担山). Erlang is a very powerful Chinese god who is said to be able to defeat any opponent while carrying a mountain on each arm. This is the posture which in other sets is commonly called "bow step single whip" (Chin.: gōngbù dānbiān 弓步单鞭), standing in Gongbu with one arm to the front, and one to the back in a straight line. When performing this posture one takes on the power of Erlang. Extended into daily life and practice, one develops the energy to tackle any obstacle while carrying two mountains. In a word, determination! Very important.

"Dancing Flower Kicks" (Chin.: wǔhuā qǐjiǎo 舞花起脚) is another of Buddhist significance. "Dancing Flowers" is an analogy used by Shakyamuni Buddha (Chin.: Shìjiāmóunífó 释迦牟尼佛) in the Shurangama Sutra (Chin.: Léngyánjīng 楞严经) for the aggregate of "form" (Chin.: sèyùn 色蕴). The Buddha says when you press on your eyes you see flowers dancing about in space. Basically they are an illusion. The aggregate of form is the same way. It is a fault in the seeing of unawakened beings.

Many people ask why Shaolin Warrior Monks (Chin.: wǔsēng 武僧) practice such violent techniques. There are more peaceful exercises that can be done. Why punching and kicking?

Basically Shaolin Wugong is only as dangerous as one's state of mind. As John Milton said in Paradise Lost in 1666; "The mind is its own place, and in itself, can make a Heaven of Hell, a Hell of Heaven." Harmfulness comes from the confused mind. "Violent" and "pacifist" are dancing flowers. When one understands this, punches and kicks are too just dancing flowers. When the seeing is faulty they can be solidified and harmful. It is a huge mistake. That is why traditionally a student of Shaolin is instructed in Warrior Ethics (Chin.: Wǔdé 武德) before ever being trained physically, and must study the Buddhadharma (Chin.: Fófǎ 佛法).

Shaolin Datongbiquan Mnemonic (Chin.: gējué 歌诀).:

少林大通臂拳
Shàolín Dàtōngbìquán
Shaolin Large Full-Arm Boxing
(3 sections. 25 postures)

第一段 dìyī duàn - first section
1. golden sand flies from palm (Chin.: 金沙飞掌 jīnshā fēizhǎng)
2. beat tiger lean on mountain (Chin.: dǎhǔ kàoshān 打虎靠山)
3. nail heart with fist (Chin.: dīngxīn biǎoquán 钉心表拳)
4. erlang (Chinese god) holds mountain (Chin.: èrláng dānshān 二郎担山 )
5. double close iron gate (Chin.: shuāngguān tiěmén 双关铁门 )
6. flash gate with cannon fist (Chin.: shǎnmén pàoquán 闪门炮拳)
7. golden child offers diagram (Chin.: jīntóng xiàntú 金童献图)
8. thousand pound smashing fist (Chin.: qiānjīn záquán 千斤砸拳)

第二段 dìèr duàn - second section
9. draw bow release arrow (Chin.: lāgōng shèjiàn 拉弓射箭)
10. sparrow hawk overturns mountain (Chin.: yàozi fānshān 鹞子翻山)
11. hide flowers under arm (1) (Chin.: yèxià cánghuā (yī) 腋下藏花 (一))
12. hide flowers under arm (2) (Chin.: yèxià cánghuā (èr) 腋下藏花 (二))
13. single wind pierces through ear (Chin.: dānfēng guàn ěr 单风贯耳)
14. chase wind join together (Chin.: zhuīfēng xiānglián 追风相连)
15. steal sheep in passing (Chin.: shùnshǒu qiānyáng 顺手牵羊)
16. fierce tiger jumps mountain stream (Chin.: měnghǔ tiàojiàn 猛虎跳涧)

第三段 dìsān duàn - third section
17. use seal to overturn heaven (Chin.: zhíyìn fāntiān 执印翻天)
18. heavenly king supports pagoda (Chin.: tiānwáng tuōtǎ 天王托塔)
19. observe scenery move mountain (Chin.: guānjǐng yíshān 观景移山)
20. pearl roll curtain (Chin.: zhēnzhū juǎnlián 珍珠卷簾)
21. thunder god (leigong) flies across sky (Chin.: léigōng fēitiān 雷公飞天)
22. double wind pierces through ears (Chin.: shuāngfēng guàn ěr 双凤贯耳)
23. calm fist reins in horse (Chin.: lèmǎ ānquán 勒马安拳)
24. dancing flower kick (Chin.: 舞花起脚 wǔhuā qǐjiǎo)
25. five flowers sit on mountain (Chin.: wǔhuā zuòshān 五花坐山)

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Master Shi Deyang (Chin.: Shì Déyáng Fǎshī 释德扬法师) demonstrates Shaolin Datongbiquan inside the Thousand Buddha Hall (Chin.: Qiānfódiàn 千佛殿) of Shaolin Monastery.:

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Copyright © 2009 Shaolin Chan City, LLC. All rights reserved.

Shaolin Yin Hand Stick (Chin.: Shàolín Yīnshǒugùn 少林阴手棍)

2009-03-19T18:21:00.023-05:00

Shaolin Yin Hand Stick (herein referred to as Yinshougun) is perhaps the most well-known and representative basic traditional stick set of Shaolin. This article will provide a simple introduction to traditional Shaolin stick methods (Chin.: gùnfǎ 棍法), and more precisely Yinshougun.

Authentic Shaolin Stick Methods

The earliest extant literary work on Shaolin Wugong (Chin.: Shàolín Wǔgōng 少林武功) covers the topic of stick methods, for which Shaolin is most famous. It is said the oldest wugong material is Shaolin Soft Boxing (Chin.: Róuquán 柔拳), followed by the stick methods which are most fully developed of all weapon arts in Shaolin. All the empty hand boxing sets are of later development.

The manual describing authentic Shaolin stick methods was titled "Exposition of the Original Shaolin Stick Methods" (Chin.: Shàolín Gùnfǎ Chǎnzōng 少林棍法阐宗), later shortened to "Shaolin Stick Methods" (Chin.: Shàolín Gùnfǎ少林棍法).

Authored by southern Anhui Province (Chin.: Ānhuīshěng 安徽省) native martial artist Cheng, Zongyou (Chin.: Chéng Zōngyóu 程宗猷) in around the year 1610 C.E., the work covers his experience studying for years in Shaolin Monastery (Chin.: Shàolínsì 少林寺). From his writings it can be seen that Shaolin was a place where both monastics and laity studied stick methods together. The work includes extremely detailed explanations on how to create a stick used for Shaolin Wugong training, including the materials to use, wood type, and the ideal length and weight of the stick- for either wooden or iron sticks.

"Shaolin Stick Methods" explains 53 stick method postures. Each posture was placed into a sequence for practice, forming a "set" (Chin.: tàolù 套路) which imitated movements from atual combat (Chin.: shízhàn zhōng de dòngzuò 实战中的动作). These sets became the basis of the authentic Shaolin "stick methods" explained in the work.

In short, Cheng Zongyou listed 5 different stick methods or sets. They are: Small Yaksha (Chin.: Xiǎoyèchà 小夜叉), Large Yaksha (Chin.: Dàyèchà 大夜叉), Yin Hand (Chin.: Yīnshǒu 阴手), Elimination (Chin.: Pái 排), and Transport (Chin.: Chuānsuō 穿梭). Elimination Stick (Chin.: Páigùn 排棍) is the only one that differs from the other 4 sets in that it is a partner set, rather than a single person set.

Cheng's aim in his writing was to show clearly what were authentic Shaolin stick methods, in order to differentiate them from non-Shaolin methods. These five sets were referenced to demonstrate just that.

Yinshougun Development

Today Yinshougun is the most well-known and widely practiced of these sets. It is relatively short and basic. It is said that in the Ming Dynasty (Chin.: Míngcháo 明朝, 1368-1644) the famous general in the Japanese Resistance, Yu Dayou (Chin.: Yú Dàyóu 俞大猷, 1503-1580), visited the Shaolin Monastery and passed on the stick fighting methods drilled by his troops to the Shaolin Monks. Through successive generations of elder monks researching, studying, and practicing what they already had, mixed with these newly introduced methods, they created a unique blend of stick skills into a set they named "Shaolin Yinshougun".

Sections from it are found within older Shaolin stick sets such as Tending Fire Stick (Chin.: Shāohuǒgùn 烧火棍) from the Yuan Dynasty (Chin.: Yuáncháo 元朝, 1279-1368) credited to monk Jinnaluo (Chin.: Jǐnnàluó 紧那罗), and Crazy Devil Stick (Chin.: Fēngmógùn 疯魔棍) from the Ming Dynasty created by monk Zhishan (Chin.: Zhìshàn 智善), which are two stick sets identical to one another until the halfway point.

It is recorded that monk Zhishan expanded the original 19 postures of Shaohuogun to 25 postures, and created his Fengmogun set using it as a template. However, it is not clear whether the specific section found in Yinshougun and appearing in the earlier Fengmogun and Shaohuogun were monk Zhishan's additions, or original to the 19 posture Shaohuogun set.

Yinshougun is at least a late Ming Dynasty creation as it is listed in the book "Shaolin Stick Methods" from 1610. It is also clear that it is closely related to the Fengmogun set and shares its crazy (feng) and inverted (yin) methodology, explained below.

Monk Zhishan lived in the mid-1500's, about the time General Yu Dayou visited Shaolin. It is possible monk Zhishan also created Yinshougun as a more introductory set to his Shaolin stick system.

Methodology

Yinshougun's methodology is hinted toward in its name. The name is translated as "Yin Hand Stick". The Chinese monk of the Tang Dynasty (Chin.: Tángcháo 唐朝, 618-907) famous for his contribution to the development of Buddhism in China through his translations of Buddhist Sutras (Chin.: Fójīng 佛经), Master Xuanzang (Chin.: Xuánzàng Fǎshī 玄奘法师), made a list of rules for translation. This applied to translation of Buddhist Sutras from Sanskrit into Chinese. One of the rules was to leave untranslated any word that fell into any of the following categories:

terms that are secret;

terms that have many meanings;

terms that refer to something not existing in the translator's country;

terms that have traditionally not been translated; and

terms that are honorifics.

Following the same principles in translation to English , the character Yin (Chin.: yīn 阴) will be left untranslated because it falls into the category of terms that have many meanings. The character is from the familiar Yin-yang (Chin.: yīnyáng 阴阳) concept, of which yin represents the dark, negative, and feminine side. The references are unlimited.

Here in this stick set, Shaolin Yinshougun, this yin refers to the opposite of normal or rational thinking, similar to the name and methodology of Fengmogun- Crazy Devil Stick, which includes Drunken Arhat footwork (Chin.: Zuì Luóhàn bùfǎ 醉罗汉步法).

Yinshougun is a set belonging to the Lost Tracks Boxing (Chin.: Mízōngquán 迷踪拳) system of Shaolin. The logic of this system is inverted. Throughout any Mizongquan boxing set, and likewise in Yinshougun, the sequence of postures is not in a pattern common to most Chinese martial arts. Rather it is just the opposite. When one expects the next movement to continue forward, the set suddenly changes directions. When one expects a high attack, it hits low. When thinking left, it goes right. In this way when others are watching one practice they will be unable to determine the rationale of the style. The "tracks" are lost and cannot be followed. Furthermore, in combat the opponent will be confused by the deceptive logic. Incorrectly anticipating the next move and upset by the rhythm he will be more easily defeated.

The mnemonic (Chin.: gējué 歌诀) for Shaolin Yinshougun is now provided below.:

少林阴手棍
Shàolín Yīnshǒugùn
Shaolin Yin Hand Stick
(4 sections. 28 postures)

第一段 dìyī duàn - first section
1. horse step carrying stick (Chin.: 马步挑棍 mǎbù tiāogùn)
2. raise knee drawing stick (Chin.: 二。提膝拉棍 tíxī lāgùn)
3. bow step carrying stick on back (Chin.: 弓左步背棍 gōngbù bēigùn)
4. horse step carrying stick- right (Chin.: 马步右挑棍 mǎbù yòu tiāogùn)
5. horse step carrying stick- left (Chin.: 马步左挑棍 mǎbù zuǒ tiāogùn)
6. bow step pressing stick (Chin.: 弓步压棍 gōngbù yāgùn)
7. jump drop step falling stick (Chin.: 跳仆步摔棍 tiào pūbù shuāigùn)

第二段 dìèr duàn - second section
8. turning head toward full moon (Chin.: 回头望月 huítóu wàngyuè)
9. left false step ward off pushing stick (Chin.: 左虚步架推棍 zuǒ xūbù jiàtuīgùn)
10. right false step ward off pushing stick (Chin.: 右虚步架推棍 yòu xūbù jiàtuīgùn)
11. snap kick carrying stick (Chin.: 弹腿挑棍 tántuǐ tiāogùn)
12. advance step reverse dancing flowers/ right horizontal sweep of one thousand pounds (Chin.: 上步倒舞花/ 右横扫千钧 shàngbù dào wǔhuā/ yòu héngsǎo qiānjūn)
13. clouds over peak/ left horizontal sweep of one thousand pounds
(Chin.: 云顶/左横扫千钧 yúndǐng/ zuǒ héngsǎo qiānjūn)
14. turn around/ squat step dancing flowers (Chin.: 转身/蹲步舞花 zhuǎnshēn/ dūnbù wǔhuā)
15. back thrust kick/ bow step warding off with stick (Chin.: 后踹腿/弓步架棍 hòu chuàituǐ/ gōngbù jiàgùn)

第三段 dìsān duàn - third section
16. wrapping flowers/ turning head toward full moon (Chin.: 缠花/回头望月 chánhuā/ huítóu wàngyuè) 十七。
17. jump kneel step pressing stick (Chin.: 跳跪步压棍 tiào guìbù yāgùn)
18. right-left blocking stick around waist (Chin.: 右左拦腰棍 yòu zuǒ lányāogùn)
19. Tai mountain pressing on peak (Chin.: 泰山压顶 Tàishān yādǐng)
20. immortal points the way (Chin.: 仙人指路 xiānrén zhǐlù)
21. jump step piercing stick (Chin.: 跳步刺棍 tiàobù cìgùn)

第四段 dìsì duàn - fourth section
22. T step reverse stick (Chin.: 丁步倒棍 dīngbù dàogùn)
23. horse step pressing stick (Chin.: 马步压棍 mǎbù yāgùn)
24. right drop step sweeping stick (Chin.: 右仆步扫棍 yòu pūbù sǎogùn)
25. left drop step sweeping stick (Chin.: 左仆步扫棍 zuǒ pūbù sǎogùn)
26. closed hands erect body (Chin.: 闭手挺身 bìshǒu tǐngshēn)
27. born out of nowhere (Chin.: 横空出世 héngkōng chūshì)
28. left-right lifting stick/ horse step sitting on mountain (Chin.: 左右撩棍/马步坐山 zuǒyòu liāogùn/ mǎbù zuò shān)

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A video demonstration inside Shaolin Monastery by 32nd Generation Shaolin Disciple, Shi Xingfei (Chin.: Shì Xíngfēi 释行飞), a current coach (Chin.: jiàoliàn 教练) at the school of Master Shi Deyang (Chin.: Shì Déyáng Fǎshī 释德扬法师).:

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Copyright © 2009 Shaolin Chan City, LLC. All rights reserved.

"Traditional Shaolin Stance Training", by Shi Xingmi.

2009-02-27T19:09:00.024-06:00

The following is a look at the method and role of traditional stance training in Shaolin practice, written by Walter Gjergja.

Walter is a 32nd Generation Shaolin Disciple under Master Shi Deyang (Chin.: Shì Déyáng Fǎshī 释德扬法师) and co-founder of Shaolin Wuseng Houbeidui - Italy, with the Dharma-name Shi Xingmi (Chin.: Shì Xíngmí 释行米).

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Traditional Shaolin Stance Training

Walter Gjergja (Shi Xing Mi, Shaolin Disciple of the 32nd generation)
www.culturashaolin.it

Today traditional Shaolin stance training is often misunderstood, neglected, or interpreted in a much more limited way than its intended purpose.

Stance training has for centuries represented an important part of Shaolin training, often considered a fundamental element without which most other aspects of the discipline would be impossible to understand, perform correctly, and have any martial efficiency.

Often it is argued that as a means of physical preparation stance training has today been surpassed by other more modern and scientific methods; this however is a conclusion that simply displays limited first-hand stance training experience, and limited understanding of the “science” of stance training and its multiple objectives.

Stance training has a number of fundamental objectives, which can be divided in three main groups; technical, physical and mental.

Technical training objectives

Stance training is first and foremost a way of learning an extremely complete, evolved and accurately defined method of movement, which, when applied correctly, will enable the expert practitioner to rapidly transition to any attack and defense position in a stable, fast, unpredictable and coordinated manner.

Furthermore it teaches a set of postures which, when applied correctly, will enable the expert practitioner to control the opponent’s position and movements, simultaneously allowing the execution of a great variety of defensive and offensive hand and leg techniques with maximum power and whilst maintaining optimum stability.

Physical training objectives

Stance training develops muscular endurance via isometric holds; by staying in a specific stance, for example mabu [1], for a prolonged period of time, substantial isometric tension is generated on the abdominal muscles, lower back, hips and all the leg muscle groups.

Stance training also develops muscular strength via dynamic movements; by moving in and out of a stance, for example lowering and rising xubu [2], the practitioner executes various types of one-legged and two-legged squats and lunges with substantial load on all leg muscle groups as well as the trunk stabilizers.

Furthermore it develops power via an alternation of the isometric holds and dynamic movements described above. Modern sport science has discovered that a sequential application of isometric holds and dynamic movements generates more power gains than dynamic strength training alone; stance training has always applied this principle, alternating the static hold of a stance to dynamic movement between stances.

Finally it enhances joint mobility and muscular flexibility; several stances, if executed in their more extreme “stretched” variations, require substantial joint mobility and muscular flexibility,
and consequently can contribute to develop both, via static (holding the stance) and dynamic (moving in and out of the stance) stretching postures.

Mental training objectives

Stance training engages the practitioners in a challenging learning process which will stimulate coordination, balance, mobility, body-awareness, and other mental characteristics indispensable to a complete fighter.

Furthermore by pushing the endurance of the practitioner this type of training can stimulate relaxation, concentration, resilience to fatigue and to physical pain.

Most importantly, and quite uniquely, traditional stance training combines all the above technical, physical and mental training objectives, providing a single fundamental training foundation.

How stances are trained

Normally traditional Shaolin stance training begins with simple exercises alternating single stances in both static holds and dynamic movements, ensuring maximum movement range to achieve all the strength and stretching benefits outlined above. The stances are then connected in static and moving sequences, initially without performing defensive or offensive techniques such as punches or kicks, but often with the inclusion of some hand posture to ensure correct body alignment and whole-body ‘tension’.

Finally multiple techniques are added, both in short jibengong (basic skills) sequences and in a variety of taolu (boxing sets); the stances however remain the primary constant, and they should continue to be practiced also separately, as a stand-alone training routine.
A traditional basic stance training routine can have almost infinite combinations; the following example is a short but challenging beginner sequence of exercises (mabu, pubu [3], xubu). It is important that each stance is executed correctly, with an appropriate hand posture, and that maximum motion range is achieved (within the physical capabilities of the individual).

mabu – 4x2min static holds with tights parallel to the ground, alternated with 4x25 reps standing in and out of the stance (mabu squats)

pubu – 4x30sec (each leg) holds as low as possible whilst maintaining correct posture, alternated with 4x10 reps (each leg) standing in and out of the stance (pubu side squats)

xubu – 4x30sec (each leg) holds as low as possible whilst maintaining correct posture, alternated with 4x5 reps (each leg) standing in and out of the stance (one legged xubu squats)

To increase or decrease the difficulty of the routine simply increase or decrease the height of the stance, the duration of the holds, and the quantity of the reps. Always perform a warm-up and light stretching routine prior to attempting stance training, and ensure correct posture and alignment is maintained, initially with the supervision of a competent teacher.

More advanced Shaolin stance training will then aim at exponentially raising the difficulty via the stimulation of greater and greater control; whilst the initial training as described above will provide the raw endurance, strength, mobility and posture foundations, the advanced exercises will add body-and-mind control difficulties.

These can be for example the execution of the exercises whilst balancing on ever-higher and narrower poles, or on uneven and perilous surfaces such as rocky outcrops, or with control-enhancing elements such as small water-filled bowls balancing on the head, hands, legs.

All these methods will stimulate ever greater muscular control, postural alignment, balance, concentration, focus and body awareness.

Alternatively there are methods focusing more on enhancing the strength benefits of stance training, such as increasing loads by holding weights (traditionally stone locks and stone balls) in various hand postures whilst executing the stances, or performing more complex single-leg dynamic movements, or transitioning between stances with plyometric-like movements.

Traditional Shaolin stance training is therefore not just a unique method of movement, possessing great versatility as a means to train the technique as well as the body and the mind. As such it must be the foundation of any Shaolin training and in itself reflects perfectly the Shaolin training philosophy, one which always aims at combining physical, technical and mental training as one.

Far from being dismissed as obsolete, sport science only confirms that traditional stance training can be an invaluable method which in many ways reflects the very latest scientific findings in its union of static and dynamic movements, maximum range of motion, and mental stimuli.

Mastery of stances however requires dedicated training; this article might inspire more practitioners to “eat bitter” and go back to basics, to stance training, for as Master Shi De Yang says:

“Shaolin martial arts begins with basics and ends with basics. At the start you will only do basics, because they are the foundations on which you will build all else, and at the end you will only do basics, because you will realize that all else is within them.
However your basics will no longer be basic, they will show skill of the highest level.”

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[1] Mabu (Chin.: mǎbù 马步) (Eng.: horse stance)

[2] Xubu (Chin.: xūbù 虚步) (Eng.: empty stance)

[3] Pubu (Chin.: pūbù 仆步) (Eng.: drop stance)

For more information on Shaolin Disciple Xingmi, or Shaolin Wuseng Houbeidui - Italy, please visit the website: http://culturashaolin.it/

The Origin of Wuseng

2009-01-24T21:28:00.035-06:00

Throughout the world today Shaolin Culture (Chin.: Shàolín Wénhuà 少林文化) is most commonly propagated by Warrior Monks (Chin.: Wǔsēng 武僧). These monks utilize the vehicle of Warrior Skills (Chin.: Wǔgōng 武功) to spread the Shaolin Tradition (Chin.: Shàolín Xiāngchuán 少林相传). They are the class of monks seen most often by visitors to the temple and by people around the world who take part as students in their classes.

The Shaolin Warrior Monk tradition has not always been a part of the temple. However, it has only been revived recently. The origins of Shaolin Wuseng are in fact much older.

Tang Dynasty

The predecessors to the Wuseng were the Monk Soldiers (Chin.: sēngbīng 僧兵). The origin of the Sengbing is usually said to be found in the Tang Dynasty (Chin.: Tángcháo 唐朝, 618-907) with second emperor Li Shimin (Chin.: Lǐ Shìmín 李世民).

The story, in brief, tells of a struggle for power which took place between Wang Shichong (Chin.: Wáng Shìchōng 王世充) who was a rebel of the fallen Sui Dynasty (Chin.: Suícháo 隋朝, 581-617) and opponent of the early Tang, and the founders of the newborn Tang Dynasty.

Wang Shichong, stationed near Luoyang (Chin.: Luòyáng 洛阳), had overthrown the first Tang emperor and established his own state which had taken control of the Henan region (Chin.: Hénán 河南), including the area around Shaolin Monastery (Chin.: Shàolínsì 少林寺).

In 621 he led a battle against Tang prince Li Yuanji (Chin.: Lǐ Yuánjí 李元吉) and had just defeated him. However, at this critical moment head monk Zhi Cao (Chin.: Zhì Cāo 志操), one of 13 Shaolin monks armed with sticks, appeared from a mountain pass behind Wang Shichong's troops. Zhi Cao led a surprise attack which threw the rebel troops into confusion and General Wang's nephew, Wang Renze (Chin.: Wáng Rénzé 王仁则) was captured and sent to the Tang camp. Wang Shichong, eventually surrendered himself.

Inside the Shaolin Monastery there is a stone tablet (Chin.: shíbēi 石碑) personally inscribed by second Tang emperor, Li Shimin, which honors the Shaolin monks for their aid in subduing the rebels and subsequently allowing for the most glorious dynasty in China's history to effectively begin.

In gratitude to the monks' service, Li Shimin gave a gift of land to the temple and officially granted them permission to train a unit of armed soldiers who could protect the temple and serve the dynasty when called upon. The monks of this new unit were called "Sengbing" (monk soldiers). They were allowed by the emperor to take fewer precepts which did not bind them to the monastic rules of the fully ordained monks. This was the beginning of a tradition and new class of monks unique to Shaolin Monastery.

Following Dynasties

Shaolin Wugong began to develop more through them during the Song Dynasty (Chin.: Sōngcháo 宋朝， 960-1279), with much help from Emperor Zhao Kuangyin (Chin.: Zhào Kuāngyìn 赵匡胤) and his generals who added their best knowledge and material to the Shaolin system.

Then during the Yuan Dynasty (Chin.: Yuáncháo 元朝, 1279-1368) Shaolin Abbot Xueting Fuyu (Chin.: Xuětíng Fúyù 雪庭福裕, 1203-1275) added great contributions to the Wugong system when he invited many masters throughout the land to share their knowledge with the Sengbing at Shaolin Monastery three times for a period of three years each.

The Ming Dynasty (Chin.: Míngcháo 明朝, 1368-1644) was the greatest flourishing period in which the Sengbing were highest in number. 500 were responding to imperial decree to protect against the Japanese pirates (Chin.: wōkòu 倭寇), and over 1,000 more were reserve forces in Shaolin Monastery. A new TV series in China entitled "Shaolin Sengbing" came out in 2008 telling the stories of this period, with such famous monks as Yuekong (Chin.: Yuèkōng 月空) who led the Sengbing to defend against the Japanese.

In the Qing Dynasty (Chin.: Qīngcháo 清朝, 1644-1911) Shaolin Monastery was accused of being anti-Qing with the common slogan "overthrow the Qing, restore the Ming" (Chin.: Fǎn Qīng fù Míng 反清复明), and thus the imperial court repeatedly issued edicts prohibiting Wugong training. The Sengbing unit then began to gradually decline, and the remaining had to practice in secrecy.

Modern Times

At the start of the Republic of China (Chin.: Mínguó 民国, 1912-1949) the value of Shaolin Wugong began to recover. Abbot Shi Henglin (Chin.: Shì Hénglín 释恒林, 1865-1923) at that time began to lead a small regiment of Sengbing once again. They held off gangs of bandits in the local vicinity, but it was not enough to defend against the 1928 attack and burning of the temple by warlord Shi Yousan (Chin.: Shí Yǒusān 石友三).

After the establishment of the People's Republic of China (Chin.: Zhōnghuá Rénmín Gònghéguó 中华人民共和国, 1949) the government's religious policy changed and traditional sports were reinstated and further developed.

In 1979 to continue the tradition of the Shaolin Monk Soldiers, the Shaolin Monastery set up the Shaolin Wugong Team (Chin.: Shàolín Wǔgōngduì 少林武功队), to be the "dissemination team" (Chin.: xuānchuánduì 宣传队) for the temple- performing Wugong to create interest in the Shaolin Culture and spread the Dharma (Chin.: Fófǎ 佛法).

In 1989 they then formally changed the name to "Shaolin Monastery Warrior Monk Regiment" (Chin.: Shàolínsì Wǔsēngtuán 少林寺武僧团).

Shaolin Wugong - A Small Piece of Shaolin Culture

Today there are still Wuseng in Shaolin Monastery. However, although they are the main propagators of the Dharma outside of the temple and around the world, they are still far outnumbered by the fully ordained monks (Chin.: Héshang 和尚) in Shaolin. The current estimation is some 300 monks in total, over 200 of which are Heshang, while only 100 or so are Wuseng.

The Wuseng being doubled in number by the Heshang should tell us the heart of Shaolin practice- the Dharma. Shaolin Wugong is only a very small piece of true Shaolin Culture and has the Dharma as its center. Wugong attracts many people and some come to understand Dharma through it, yet there are many who never see the broader picture.

The Obscured Tradition

To further muddy the water there have been "fake monks", not only recently but even hundreds of years ago. In the Song Dynasty Emperor Zhao Kuangyin, who had previously studied at the temple, sent several of his generals to Shaolin in order to teach the Sengbing their most effective combat methods, creating a boxing set (Chin.: tàolù 套路) called "Great Ancestral Long Boxing" (Chin.: Tàizǔ Chángquán 太祖长拳) to be used as a "testing set". This way they could determine who was actually from Shaolin by testing them with this set. If they didn't know it they were fakes.

In recent years the Shaolin Monastery placed trademarks on the Shaolin name in order to protect it from misuse. There were a number of fake performance monks (Chin.: biǎoyǎnsēng 表演僧) who had nothing to do with the temple, using Shaolin Wugong to make money. There were even companies selling "Shaolin Sausages". Shaolin Monastery's fame has been taken advantage of by many and in a variety of ways, and obviously those actors do not follow the Vinaya (monastic codes of conduct) (Chin.: jièlǜ 戒律).

All of this has sullied the image of Shaolin in recent years. Perhaps even more so is the basic misunderstanding and lack of knowledge concerning the Wuseng, their level of precept and place in the temple. (Read up on it here: Shaolin Monasticism & Discipleship) One's preconceived notions concerning the Wuseng, falsely seen as fully ordained monks and what that entails, creates all sorts of unwarranted negativity toward them (especially if even the fake monks are assumed to be fully ordained Sangha members). Hopefully these articles can serve as references to the true tradition and allow more people the opportunity to understand. Shaolin's name can then be vindicated. All one has to do is look at the true monastics of Shaolin in the proper way according to their precept level and position.

The Heart of Shaolin

Master Shi Deyang (Chin.: Shì Déyáng 释德扬) emphasizes the importance of not forgetting the heart of Shaolin. He says fortunately the days of "guarding the family and protecting the home" (Chin.: kānjiā hùyuàn 看家护院) are gone. We no longer need to practice Wugong out of necessity for survival. Nowadays we use it as a method of Buddhist practice (Chin.: xiūxíng fāngfǎ 修行方法) and to exercise the body (Chin.: duànliàn shēntǐ 锻炼身体).

One must remember when seeing the Wuseng perform, when learning from them, or when practicing Shaolin Wugong that the heart of it all is Chan (Chin.: Chán 禅). The group of Wuseng performers nowadays demonstrate Wugong in an alluring mesh of historical legends intertwined with Buddhist philosophy to show the deeper meaning. Try not to see only the skin.

There may be people who exploit the temple. There may be people with shaved heads, Buddhist robes, and beads around their necks and wrists who do not follow the Dharma or Vinaya. This does not however hurt the case for those who know the truth.

If we honestly want to practice, just practice honestly.

This is what the tradition of the Shaolin Wuseng is about. "Guarding the family and protecting the home" may not be such an urgency in our times. However, we must all become warriors fighting to guard the mind and protect the heart. The most difficult enemy to overcome has always been one's self.

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Terms: Wushu, Gongfu, & Wugong

2009-01-22T00:22:00.031-06:00

The martial arts are perhaps the most common path through which people come in contact with the Shaolin Culture (Chin.: Shàolín Wénhuà 少林文化). This is a good thing, because when people come to know about Shaolin Culture it provides the opportunity for them to understand it more fully and reap the personal benefits it may provide. People who normally would not look for a spiritual practice may be introduced to it through the authentic Shaolin martial arts, and thus have their lives changed for the better. This way a wider range of people can experience and benefit from the Shaolin Culture.

Unfortunately, many schools that appear to teach some form of Shaolin martial arts only ever go so far. This is, however, reducing Shaolin from a Buddhist monastery (Chin.: sìyuàn 寺院) to a mere martial arts school (Chin.: wǔxiào 武校). Still other schools that claim to teach a spiritual system through martial arts may not be qualified to do so. These things make the true Shaolin Culture hard to find and difficult to learn.

People come to martial arts for many different reasons, and the training offers something different to each type of person who seeks it. Shaolin martial arts, as part of authentic Shaolin Culture, offer much more than one might at first notice. Shaolin is a Buddhist monastery, and the martial arts as practiced by its monastic community (Chin.: sēngtuán 僧团) are a part of the monastery's spiritual system of Chan Buddhism (Chin.: Chánfó 禅佛).

How then do we refer to Shaolin martial arts, in particular, when speaking of them as a part of Chan?

First of all, there are many Chinese terms used to reference martial arts in general, including those of Shaolin. Among them are such terms as Wushu (Chin.: wǔshù 武术), Gongfu (Chin.: gōngfu 功夫), and Wugong (Chin.: wǔgōng 武功). We will take a look at them each in turn.

Wushu

Wushu is a very common term for the martial arts today and the characters literally translate to "martial arts". It used to reference more than a self-defense system. It included all military activities (Chin.: jūnshì huódòng 军事活动) (e.g. horsemanship, swordsmanship, archery).

However, the Chinese words and the English words carry slightly different tones. The word "martial" refers to the military and warlike activities, as does the character "wǔ" (武), but upon dissection of the character we may understand it more deeply.

The top-left of the character is another Chinese character: "yī" (一), meaning the number "one". Located at the bottom-left is another: "zhǐ" (止), which means "to stop". And lastly, at the right of the character we find: "gē" (戈) meaning "spear".

In ancient times the character "zhǐ" (止) referred to the feet. So "zhǐ" (止) with "gē" (戈) (which referred to a long handled, nondescript instrument) together meant "walking with a weapon". This is the ancient etymology of the character "wǔ" (武), meaning "martial".

However, in modern Chinese "zhǐ" (止) means "to stop", and therefore looking at the character "wǔ" (武) in this way, we get a sense of "protection" or "defense" by stopping the incoming spear. Adding the second character of Wushu, "shù" (术), which literally means "art", we get a combined meaning of roughly "the art by which one stops the spear"- a protective art as opposed to a "martial" art.

一 + 止 + 戈 = 武

One + Stop + Spear = "Defense"

Gongfu

Gongfu, or kung-fu under the Wade-Giles romanization system, is by far the most commonly used term in the West to reference the Chinese martial arts. It is often translated simply as "hard work" and, in Chinese, can refer to any sort of skill acquired through discipline. A violinist, for example, may have very good "gongfu". Once again let's dissect the characters to understand the fuller meaning of the term.

The first character "gōng" (功) is comprised of two separate characters. On the left is the character (工), also pronounced "gōng". It's meaning is "work". On the right is "lì" (力), which means "power", "force", or "strength".

Placed together they create the character "gōng" (功) with the full meaning of "accomplishment", "achievement", "merit", "skill", or "result".

The second character is "fū" (夫) which means "man", "master", or those eligible for military service (male adults). This character gives us the idea of "time", because one only becomes a man after going through the stages of infancy and adolescence into adulthood. Likewise, one can only become a master through hard work over time. As the Chinese saying goes:

"Three feet of ice does not form in a single day."
(Chin.: bīng dòng sān chǐ, fēi yī rì zhī hán 冰冻三尺非一日之寒)

Wugong

Today both terms, Wushu and Gongfu, are often used to reference any martial art that comes from China. They are so easily used to denote a mere fighting art or method of self-defense. Wushu, in the West, has also become a term to identify the modern performance art which has been pulled away from traditional martial arts by the PRC and used in sporting competition for its beauty. Gongfu has thus been used, in English (kung-fu), to point to the more traditional martial arts training methods of China.

In Chinese, Wushu and Gongfu can refer to martial arts, both modern and traditional, and are easily interchangeable. However, in any language or culture, both of these terms all too often fail to include the rich Buddhist culture that Shaolin martial arts come from. Therefore a new term has been used to do just that.

In fact, Wugong (武功) is not a new term. It is quite old as well. It's old meaning used to be "military accomplishments", as seen in the previous dissection of the characters. These military accomplishments were, for example, the number of heads cut off in battle. Of course, the meaning of Wugong in Shaolin context is worlds apart.

"Wǔ" (武) in this case carries the meaning of "warrior" (Chin.: wǔshì 武士), which in Shaolin has to do with the spirit (Chin.: jīngshén 精神) rather than physical combat (Chin.: zhàndòu 战斗). So together wǔgōng (武功) means "warrior skills". The spirit of a warrior (i.e. determination, perseverance, overcoming hardship, etc..) is developed through the practice of these warrior skills in Shaolin.

Originally, the term Gongfu was Buddhist jargon meaning "meritorious deeds", referring to a monk's daily stint (Chin.: sēng gōngfu 僧功夫). In Chan Buddhist temples each monk is given a daily chore or activity to complete. This is called his daily "gongfu". In the past, when outsiders saw Buddhist monks in Shaolin Monastery practicing martial arts as part of their gongfu, they mistakenly called it such. As a result, today the term has been diluted, especially in the English language (kung-fu), to mean only martial arts. Originally it was not so. In fact, Shaolin Gongfu is made up of two parts:

1. Investigation of Chan (e.g. study & meditation) (Chin.: Chánjiū 禅究)
2. Warrior Skills (Chin.: Wǔgōng 武功)

When we speak of Shaolin Wugong we are thus referring to all the martial arts of Shaolin and their balance, Chan Buddhism. Likewise, when speaking of Shaolin Gongfu we refer to the study and practice of the Chan sect as well as Wugong. The single term Shaolin Gongfu points to the fact that they are one and the same.

Master Shi Deyang (Chin.: Shì Déyáng 释德扬) succinctly describes the relationship between Chan and Wu by illustrating the similarity to the production of vinegar through the fermentation process of alcohol. Whereas Chan is the alcohol, Wugong is then the produced vinegar.

As the Chan Mind (Chin.: Chánxīn 禅心) is aroused one's practice of Wugong becomes a manifestation of that balanced state of equanimity and emptiness, wherein the practitioner dissolves into the practice and all returns to the original state from whence it never left.

There are 84,000 Dharma Doors (Chin.: bāwànsìqiān fǎmén 八万四千法门). This is, in a nutshell, one path of Dharma in the Shaolin Chan tradition.

In order to protect and properly identify the authentic practice of martial arts within the spiritual system of Shaolin Monastery as a method of cultivating Chan (Chin.: xiū chán 修禅), we use the term Wugong, or Wugong Chan (武功禅)- the Chan of Wugong. This means it is more than a mere martial art, it is action meditation (Chin.: dòngchán 动禅). Therefore we also make this obvious by calling the style we practice "Chan Boxing" (Chin.: Chánquán 禅拳).

"Wugong is a medium of Chan."
(Chin.: Wǔgōng shì Chán de yīzhǒng zàitǐ 武功是禅的一种载体)

"The purpose in studying Quan is to cultivate Chan."
(Chin.: Xué Quán de mùdì shì wèile xiū Chán 学拳的目的是为了修禅)

Ven. Shi Suxi (Chin.: Shì Sùxǐ 释素喜)

2009-01-16T05:20:00.040-06:00

With the passing of the last great monk of the elder generations in 2006, Shaolin Monastery bade farewell to an era. The everlasting spirit of his heart and teachings, however, lights the path for his disciples and followers of the Dharma in his lineage today as they strive forward into this new age for Shaolin.

Shaolin Elder Shi Suxi (Chin.: Shì Sùxǐ Zhǎnglǎo 释素喜长老) lived a long and storied life. As the last monk to enter the temple before the Liberation (Chin.: Jiěfàng 解放 - referring to the Communists' victory over the Nationalists in 1949), he is a link to the teachings of the Qing Dynasty Shaolin masters.

He experienced many tragedies and injustices, having lived through the tumultuous changes in Shaolin over the past half century. However, his devotion to the temple always kept him in close proximity, arduously protecting and defending its traditions- at times in secrecy.

The following is the story of Ven. Shi Suxi's life, his devotion and great contributions to the Shaolin Monastery, for which we are greatly indebted to him. May this article do justice to his legend and inspire those now following the Dharma in his lineage to dedicate themselves to his wish for Shaolin culture to be genuinely maintained and spread- most importantly the philosophy and experience of what is termed "The Unification of Chan and Quan" (Chin.: Chán Quán Héyī 禅拳合一).

Namo Amituofo. 南无阿弥陀佛

Early Childhood

Ven. Shi Suxi was born Geng Jinzhu (Chin.: Gěng Jīnzhù 耿金柱) on September 27th, 1924 of the Chinese Lunar Calendar to a very poor peasant family in a small village outside of Dengfeng (Chin.: Dēngfēng 登封) in China's central Henan Province (Chin.: Hénánshěng 河南省), not far from Shaolin Monastery.

Half a year after his birth, his mother passed away. He was brought up by his father, a book seller who had a very good relationship with the monks of Shaolin and often received assistance from them when in need. However, one terrible winter when Geng Jinzhu was 11 years old his father froze to death in a grass hut. Afterward Jinzhu joined his cousins as they went begging for food. Often bullied and humiliated, they had no other choice.

At that time there was a monk master from Shaolin with the Dharma-name Shi Zhenxu (Chin.: Shì Zhēnxù 释贞绪) who traveled through the village to teach the Buddha-Dharma (Chin.: fófǎ 佛法). Several villagers who were familiar with Geng Jinzhu's situation told his story to the master, whereupon he requested paper and a brush. He then left the following note for the young boy;

"Despite your poor family,
You aim as high as the sky
(jiā hán zhì língyún 家寒志凌云)

In a moment of sudden enlightenment,
You will recover from your illness.
(dùnwù jí fù chūn 顿悟疾复春)

With myriads of beings in your heart,
You will become a Buddha at Shaolin.
(xiōng zhuāng shíwàn shēng 胸装十万生
chéng fó zài shàolín 成佛在少林)"

When he finished writing, Master Zhenxu took his leave in high spirits. Young Jinzhu burst out of his home to catch up with the master, but to his surprise the master was moving so fast, as if flying. In the blink of an eye he was already several hundred steps away. Facing the fading image of Master Zhenxu, Jinzhu sighed; "Shaolin Gongfu, really is amazing!" (Chin.: Shàolín Gōngfu, guǒrán lìhai 少林功夫，果然厉害)

Jinzhu then hurried along to the Shaolin Monastery in search of the master. Upon arrival he found Master Zhenxu waiting in the guest hall. He then discovered hanging on the wall to the left was a poem that read;

"Rainstorms attacked on the 17th year,
(Chin.: bàofēngyǔ xí shíqī nián 暴风雨袭十七年)

Demons and ghosts wreaked havoc on the world,
(Chin.: èmó guǐguài huò rénjiān 恶魔鬼怪祸人间)

The splendid halls were destroyed by the warlord's fire,
(Chin.: bìdiàn huǐ yú jūnfá huǒ碧殿毁于军阀火)

All the monks were exasperated:
The place for Dharma practice was lost.
(Chin.: zhòng sēng hènnù fǎ wúyuán 众僧恨怒法无缘)"

The poem was about the 1928 (17th year of the Republic of China) burning of the Shaolin Monastery by the warlord Shi Yousan (Chin.: Shí Yǒusān 石友三). Master Zhenxu saw Jinzhu notice it and tested him, allowing him to create a four line poem in response. Jinzhu immediately blurted out;

"The Pure Land was trampled and polluted by the demons,
(Chin.: Jìngtǔ wūrǎn mó zuòguài 净土污染魔作怪)

The retributions for kindness or evils will come sooner or later,
(Chin.: shàn è bàoyìng chízǎo lái 善恶报应迟早来)

Wildfire cannot destroy true Chan,
(Chin.: yěhuǒ bù huǐ zhēn Chánzōng 野火不毁真禅宗)

The temple halls will be even more brilliant next year.
(Chin.: míngnián qún diàn gèng guāngcǎi 明年群殿更光彩)"

Master Zhenxu was astonished at the words of the young boy and accepted him into the temple.

Ordination

By the time Geng Jinzhu was 11 years old he had already lost both parents and become a beggar. Yet because of his parents' Buddhist devotion and close relationship with the monks of Shaolin who kindly assisted their family, he had an early faith in the Buddha. Naturally, Shaolin Monastery is where he ended up.

He first entered the temple in 1936 at the age of twelve. Master Zhenxu later ordained him as a young novice monk (Chin.: xiǎoshāmí 小沙弥) in the temple and gave him the 30th generation Shaolin Dharma-name Shi Suxi (Chin.: Shì Sùxǐ 释素喜), a name which means simply "Plain Happiness".

In 1942 at the age of 18 he was sent to the city of Xi'an in Shanxi Province (Chin.: Shǎnxīshěng Xī'ānshì 陕西省西安市) to receive the full Bhikshu precepts (Chin.: jùzújiè 具足戒) at the Daxingshan Monastery (Chin.: Dàxīngshànsì 大兴善寺). After undergoing full ordination he then returned to the Shaolin Monastery to continue his Buddhist study and practice.

Shaolin Wugong

At that time it was his duty to chop wood, fetch water, and perform various tasks around the temple. Master Zhenxu watched as the young Suxi worked everyday. He noticed the natural patience he took in performing each task, as well as his good-natured conduct, and kind regard for others. Thereupon, he decided to begin teaching him the Warrior Skills of Shaolin (Chin.: Shàolín Wǔgōng 少林武功). In fact, many of the monks in Shaolin liked him so much that they often struggled with each other for the chance to pass on their knowledge to him.

Ven. Suxi became a living encyclopedia inheriting the Shaolin Wugong of the Qing Dynasty masters. His knowledge included numerous empty-hand and weapon sets, as well as more rare Shaolin arts, such as finger-pressing vital points (Chin.: diǎnxué 点穴). He was also the last monk of elder generations to master the art of Arhat Buddhist-Rosary Skills (Chin.: Luóhàn Fózhūgōng 罗汉佛珠功). His great determination in study and practice over the decades earned him the nickname "Shaolin Boxing King" (Chin.: Shàolín Quánwáng 少林拳王).

Between 1960 and 1962, Ven. Suxi was the number one Buddhist student in China and was selected to be sent to Beijing for formal education at the Beijing Buddhist College (Chin.: Běijīng Fóxuéyuàn 北京佛学院). After graduation he returned to Shaolin Monastery where he became the wugong drill master (Chin.: wǔgōng jiàotóu 武功教头). All the while he thirsted for knowledge to develop Shaolin Wugong further. He invited many Chinese Boxing masters (Chin.: quánshī 拳师) of various styles to share and compare their skills in order to develop and spread Shaolin Culture (Chin.: Shàolín Wénhuà 少林文化).

No obstacle ever got in the way of his practice. In regards to the traditional training he said;

"Practice without pause,
(Chin.: quán bù lí shǒu 拳不离手)
(Literally.: boxing does not leave the hand)

With the stick always at your side,
(Chin.: gùn bù lí shēn 棍不离身)
(Lit.: stick does not leave the body)

The practice of warrior ethics comes first,
(Chin.: xí wǔdé wéi xiān 习武德为先)

Do not fear being attacked,
(Chin.: bù pà xiān áidǎ 不怕先挨打)

Welcome an attacker with a smiling face,
(Chin.: xiàoliǎn yíng rén qī 笑脸迎人欺)

A good master introduces warrior ethics,
(Chin.: liáng shī jiè wǔdé 良师介武德)

Hardship always produces an expert.
(Chin.: kǔ héng chū gāoshǒu 苦恒出高手)"

Resisting the Japanese

In December, 1944, Japanese armies stationed themselves in Dengfeng and blocked off all entrance roads to the city. The Shaolin Monastery was also caught up in the terror. The Japanese Captain lead 30 soldiers into the temple numerous times to harass the monks, steal cultural relics, and destroy the Buddhist statues.

At that time the anti-Japanese soldiers of General Pi Dingjun (Chin.: Pí Dìngjūn Jiāngjūn 皮定钧将军) were nearby. General Pi Dingjun sent the party member Wei Nianming (Chin.: Wéi Niànmíng 韦念銘), disguised as a teacher opening a school, to be stationed in Shaolin.

In February of the following year, on an early morning while the monks of Shaolin were in the Thousand Buddha Hall (Chin. Qiánfódiàn 千佛殿) attending their morning rituals, the Japanese army of 60 or more men set off from the city to encircle and destroy the temple.

Communist party member Wei Nianming was in the temple recovering from an illness. Ven. Suxi carried him on his back to escape with the other monks to a mountain peak to hide him, only to realize the enemy soldiers had already completely surrounded them.

Wei Nianming gave his handgun to Ven. Suxi and ordered him to resist. Suxi took the pistol, standing on top of the peak and fired three shots down into the ravine. Immediately the other monks began throwing stones down the mountain, causing the Japanese to retreat.

Preserving Shaolin Culture

Between the years 1959 and 1961, Dengfeng experienced a three-year drought. Without anything to eat, many monks returned to secular life. Only Ven. Suxi and 16 other monks remained to watch over the temple. As the situation of the drought worsened the monks began to leave one by one. If Ven. Suxi and a few others had left as well, Shaolin quite possibly would have ended then.

During the period of the Cultural Revolution (Chin.: Wénhuà Dàgémìng 文化大革命 - 1966-1976) many Red Guards (Chin.: Hóngwèibīng 红卫兵) came to destroy the temple's Buddhist statues and burn the Sutras. Ven. Suxi was seen as a large landowner (Chin.: dàdìzhǔ 大地主), and was thus pulled out almost each day to suffer public criticism and humiliation (Chin.: pīdòu 批斗) at the hands of the Red Guards for his "crimes".

There are many well-known stories of those times told around Shaolin these days. People speak of how the area was in chaos and anyone could tamper inside the temple.

Once there were even some young schoolgirls who pulled Ven. Suxi out for public denunciation, proving his "crimes". They beat him until he had cuts and bruises, but the "Shaolin Boxing King" never used his skills to defend against their attacks and fight them off. Rather, he calmly endured his treatment until he could hide in the restroom long enough for them to give up and leave as the Red Guards moved on.

During this time there were many young children who would come into the temple and play around, damaging the murals and statues with rocks and sticks. Ven. Suxi covered the walls and statues with his body to shelter them from the attacks. Of course, he was hit with the flying stones and struck with the sticks, but he protected the Buddha's image, as was his only duty.

Afterward some people asked him why he didn't use his wugong ability to resist or threaten the Red Guards and children. He said; "One- they are children and are not sensible. Two- our wugong is used to strengthen the body and keep healthy, to develop virtue and discipline evil. Three- a Buddhist should treat people with tolerance."

In order to protect the cultural relics from future damage and loss, Ven. Suxi assisted the then honorary abbot of Shaolin Monastery, Ven. Shi Dechan (Chin.: Shì Déchán 释德禅), in distributing a portion of the Sutras and inscribed tablets to each of the monks, ordering them to memorize them completely- even so far as the calligraphic style used to write them and their dates. It all had to be memorized accurately. That way after all had passed they could be recovered. After reciting and memorizing, the monks then buried the texts and statues underground.

All the injustices Ven. Suxi lived through taught him something very sweet- a line he often repeated; "Toleration is like jackfruit" (Chin.: rěn rǔ bōluómì 忍辱菠萝蜜). If you exercise forbearance, after the event you will discover it is like eating the sweetest fruit in the world- jackfruit.

Serving as Abbot

During his life in the Shaolin Monastery, before the Liberation and after, Ven. Suxi came out to act as abbot of the temple for a total of five times. Acting as abbot in such periods of turmoil was difficult, especially as he aged and became increasingly weak. He couldn't bare such heavy responsibilities. As the leader of the temple he had to suffer many public humiliations during the Cultural Revolution. However, he never complained. He always stood straight and did only as he knew to be his duty.

In the time of the great drought he was duty-bound not to turn back as many others returned to secular life. With nothing to eat he lead the remaining monks to farm the land between the temple and the Pagoda Forest (Chin.: Tǎlín 塔林), so as to remain in Shaolin, to protect the temple and rely on themselves. He taught them where to find edible herbs and tree bark. At times he nearly starved to death, because he gave his food (tree bark) to others. However, his Chan meditative skills sustained his life through the hardships as he led the other monks.

The fourth time Ven. Suxi came out to act as abbot was when Shaolin had just begun to recover. The government had begun to help restoration in 1974, but the process was moving slowly. Ven. Shi Xingzheng (Chin.: Shì Xíngzhèng 释行正), the 29th official abbot of Shaolin Monastery had gone to Beijing. The first day leading the temple this time, Ven. Suxi lead the monks straight to work, laboring to rebuild the temple.

In 1990, he took lead as acting abbot for a fifth time. By then the temple life and study had begun to return to normal, but the reconstruction of the temple was in a mess. He first got to work on the Dharma Hall (Chin.: Fǎtáng 法堂), Bell and Drum Towers (Chin.: Zhōng Gǔlóu 钟鼓楼), hardening of the pavement in the temple, and restoring the rest of the buildings of the temple compound.

Illness

What makes Ven. Suxi's story so much more inspiring is that through all the chaos he experienced, there was also physical illness to deal with. At the very young age of 30 he suffered a stroke. It was later diagnosed as Parkinson's Disease. In 1983 nearing the age of 60 he began to fall ill, losing some movement and coordination in his legs and feet, but he still persisted in his practice of Shaolin Boxing, and even got together with Ven. Dechan and others to form the "Group for the Excavation & Systematization of Shaolin Martial-Arts" (Chin.: Shàolín Wǔshù Wājué Zhěnglǐ Xiǎozǔ 少林武术挖掘整理小组). As head of the group he dug up, collected, and arranged previously lost Traditional Shaolin Wugong skills including boxing methods (Chin.: quánfǎ 拳法) and sets (Chin.: tàolù 套路). He then compiled them into published texts such as the "Secret Transmissions of Shaolin Boxing" (Chin.: Shàolín Quánshù Mìchuán 少林拳术秘传).

In 1987, Shaolin Abbot Shi Xingzheng passed away. Six years later, in 1993, the honorary abbot Shi Dechan passed away. At that time Shaolin Monastery had established a Regulatory Commission (Chin.: Guǎnlǐ Wěiyuán Huì 管理委员会) which Ven. Suxi was to lead. However, in the 90's his medical condition began to worsen and he had to step down.

His Parkinson's Disease was advancing. He lost most control of his right arm and had trouble with speech. However, as if no external factors could affect his spirit, he continued to live on in "plain happiness", like his Dharma-name, welcoming this attacking disease with a smiling face and treating the world with tolerance, kindness, and compassion.

Legacy

Over the years Ven. Suxi accepted many people as secular disciples of Shaolin tradition. It is said his disciples may be over 30,000 in total, coming from every province in China, and everywhere around the world. His closest monk disciples include Master Shi Deyang (Chin.: Shì Déyáng 释德扬) who was first among them. The great and accomplished masters Shi Deqian (Chin.: Shì Déqián 释德虔), Shi Dejian (Chin.: Shì Déjiàn 释德建), and Shi Deru (Chin.: Shì Dérú 释德如) are also elders in the family.

In the early years of the 21st Century, Ven. Suxi along with his top disciple, Master Deyang and some 20 warrior monks (Chin.: wǔsēng 武僧) traveled to Fujian Province (Chin.: Fújiànshěng 福建省) to reinstate the Southern Shaolin Monastery in Putian (Chin.: Pútián Nánshàolínsì 莆田南少林寺). This temple became a second home to Ven. Suxi and nowadays, owing to his great contributions, the Putian Southern Shaolin Monastery is fully functioning with monks carrying on the Shaolin cultural traditions.

In 2002, the Shaolin Monastery, lead by his disciples constructed a pagoda for him in the Shaolin Pagoda Forest. It is an immense honor for a monk to have a pagoda built for them while they are still living. This was also the first time it had been done in over 200 years. The pagoda depicts the many eras in world history that he lived through, including pictures of the train, plane, boat, car, camcorder, and computer. There is also a stone tablet with the names of his closest disciples and some of their disciples' names as well, showing the spread of the Dharma through his lineage today. The Pagoda Forest is today a Cultural Heritage site which is being preserved. Ven. Suxi's pagoda will be the last one to enter.

In 2004, there was a huge celebration at the Shaolin Monastery for Ven. Suxi's 80th Birthday. The area was teeming with monks, disciples, and laymen and women from all over the world there to celebrate this one man's life. Although to him, he is only an ordinary Buddhist monk and all he ever did was his duty as such. At the celebration people were given rare monk bags dedicated to his 80th birthday, a dvd of his life and legacy, as well as a miniature replica of his pagoda.

He spent over 70 years dedicated to the protection and propagation of the Traditional Shaolin Culture, during which time he reestablished Shaolin Monastery with its cultural traditions which include Shaolin's "Three Treasures" (Chin.: Shàolín Sānbǎo 少林三宝) (i.e.: Chan Buddhism, Wugong, and Traditional Medicine (Chin.: Chán, Wǔ, Yī 禅武医)). His disciples are spread far and wide and he has entrusted the Shaolin Tradition to be inherited and passed on down to the next generations through close disciples such as Master Deyang.

In the last closing chapter of his life and legacy, Shaolin began enjoying a wonderful flourishing period once again. If he had given up like many others when it counted most, when it was most difficult, Shaolin would surely not be here today.

On February 9th, 2006 of the Chinese Lunar Calendar, Ven. Suxi passed away (Chin.: yuánjì 圆寂) after 82 years- 70 in service to Shaolin. Words cannot express the magnitude of his contributions to Shaolin and to the world, but his legacy lives on in those who earnestly practice upholding his teachings "without pause".

Before his passing he was visited by the current abbot of Shaolin, Ven. Shi Yongxin (Chin.: Shì Yǒngxìn 释永信). As he held Yongxin's hand, he repeated the words which are also his final admonition to us all;

"Shaolin is Chan, not Quan"
(Chin.: Shàolín shì Chán, bùshì Quán 少林是禅不是拳)

南无阿弥陀佛 - Namo Amituofo
南无阿弥陀佛 - Namo Amituofo
南无阿弥陀佛 - Namo Amituofo

"The Teachings of Shi Deyang", by Shi Xingmi.

2009-01-07T16:56:00.026-06:00

The following is an insightful experiential account of the teachings of Master Shi Deyang (Chin.: Shì Déyáng 释德扬) written by his personal disciple- 32nd Generation Shaolin Disciple and co-founder of Shaolin Wuseng Houbeidui - Italy, Walter Gjergja, Dharma-name Shi Xingmi (Chin.: Shì Xíngmí 释行米).

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The Teachings of Shi De Yang

Walter Gjergja (Shi Xing Mi, Shaolin Disciple 32nd generation)

Grand Master Shi De Yang, 31st generation Shaolin monk, is unanimously considered among the greatest traditional Shaolin Masters of recent generations, a real present-day exponent of Shaolin martial arts and Chan Buddhism.

Direct disciple of the late Shi Suxi, to whom he was like a son, Shi De Yang is one of very few Shaolin Masters of recent generations to have studied in a profound manner all 'three treasures of Shaolin' (Chan, WuShu, traditional medicine). This traditional knowledge, aptitude to studying and teaching, exceptional martial abilities and philosophical vision, have allowed him over the years to be chosen for some of the more prominent roles in the Temple, from head of the warrior monks to transcriber of the ancient texts, from philosophy teacher to director of traditional WuShu studies.

Books and documentaries have been made about him, however despite the international fame Shi De Yang continues to reside for most of the year in DengFeng, near Shaolin temple, absorbed in his studies and teaching.

To the activities at the Temple Shi De Yang has for some years added the management of his external school, which welcomes several hundred young students, often very poor, to whom he offers a study program that includes Chan, Kung Fu WuShu, as well as basic general culture subjects.

Most of all he has remained true to the Shaolin tradition, often shying away from the more glamorous or commercial opportunities to devote his time humbly to studying, and teaching, Shaolin Chan and traditional WuShu to local students. His international travels are usually motivated by carefully screened invitations from trusted students, disciples, or Shaolin brothers, always maintaining a humble and modest approach in an era when Shaolin is too often presented in outlandish and “bombastic” way.

During one of my many stays in Shaolin I had the opportunity to meet Master Shi De Yang.

The Master initially accepted me as his school student, then as direct student, and finally, after years of study and friendship, as his formal Disciple, descendant of the 32nd Shaolin generation with the name Shi Xing Mi. The rare traditional ceremony, performed in the Shaolin temple with the presence of elder monks and relatives of the Master, has formalized the entry in the Shaolin genealogy and the creation of an inscindible bond, considered as that of family.

As his student and then disciple, during the past few years I have had the great honor of welcoming Grand Master Shi De Yang at our school, Shaolin WuShu Guan Italy.

Our invitations have been motivated by the desire for him to meet our students, to have his assistance in developing our traditional school program and teaching system, and to conduct fund-rising events aimed at supporting the improvement of his DengFeng (Shaolin) school.

Master De Yang has stayed with us in Italy several times, offering to everybody a rare and profound insight in traditional Shaolin martial arts and Chan philosophy.

In the daily lessons he often interrupted the intense physical training to discuss not just the technique or the application, but the origin and motives of what the students were doing, and every time Master De Yang was able to define a much broader meaning than a punch or a kick or a stance might suggest.

In this article I will outline some of the many thoughts and teachings that Master De Yang shared, avoiding descriptions of martial techniques to focus on the far more important broader concepts he repeatedly touched.

The following is a summary of insights in Shaolin philosophy: I hope they can be a source of inspiration for your daily martial arts practice, but more importantly for your daily life.

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Shaolin martial arts begins with basics and ends with basics. At the start you will only do basics, because they are the foundations on which you will build all else, and at the end you will only do basics, because you will realize that all else is within them.

However your basics will no longer be basic, they will show skill of the highest level.

Endless practice is the path towards excellence, nothing more, nothing less. Nobody should fear thousands of techniques practiced a few days; everybody should fear the one technique practiced thousands of days. So don’t try to know everything superficially, try to know a few things completely.

Of primary importance are the stances: they must be practiced tirelessly, to strengthen the core of the body, to understand balance and movement, do develop rooting and speed, to make joints and muscles supple and resistant.

Then we will add kicks, punches, blocks, and many types of defensive and offensive movements, combined firstly in sequences, the forms, and then also practiced and applied freely with a training partner.

This progression should be gradual, not rushed; to practice combat without technique will become a useless brawl. To practice technique without a strong body will become a useless flailing of limbs. First prepare the body, then the technique, then the application. And always prepare the mind.

To enable yourself to improve, together with the technique practice we must also train our bodies, using the techniques themselves but also through a rigorous program of exercises that will work our flexibility, endurance, strength, power. Neglecting this aspect of Shaolin training is neglecting to forge the weapon: we might learn how to use it, but it will be blunt and break easily.

Only through serious training you can achieve a high level, in martial arts and in everything else: there are no shortcuts, and if there seem to be they will inevitably lead to mediocrity or worse, to disaster.

So, even before you start training martial arts, teach yourself to be determined and hard working, in all you choose to do: this will already be an important lesson for your whole life, one that you should apply in everything you do, every day.

Traditional Shaolin WuShu must be practiced frequently, with patience and perseverance, training our body and mind to protect itself and those around us, from the outside dangers as well as those from within, such as disease. It was initially created primarily for health and total control of body and mind, then from this came the ability to defend ourself in fighting.

Times have changed, we fortunately might never have to face bandits, invading armies, dangerous living conditions, but perhaps modern society needs traditional Shaolin Kung Fu WuShu more then ever, because it can offer something for everybody, from children to the elderly, to improve the health of body and mind.

Modern society fills our bodies and minds with many useless and sometimes negative things, and traditional Shaolin WuShu can help eliminate them. People might become interested in Shaolin WuShu as a form of physical exercise, intensive and varied, or as a form of self defense, as even today we might need to protect ourself or those around us from aggression.

Today Shaolin WuShu is also shows, sporting competitions, entertainment ... all this is good, a natural part of the evolution that has always been and always will be, dictated by the times and needs, however we must always remember where it all comes from. To make Shaolin WuShu suitable for our modern times is positive, but this should be done by adding new elements, not by replacing the old ones, which would mean the loss of Shaolin’s traditions and its culture.

Traditional Shaolin Kung Fu WuShu today is something for all to enjoy and for all to benefit from, in China and in the whole world, in many different ways, from martial art to fitness to shows, however everybody must know that the real value of traditional Shaolin is not martial arts but what they are a part of: Chan.

Traditional Shaolin WuShu is just a branch of the tree that is Chan.

Chan is the first treasure of Shaolin, and traditional WuShu is a beautiful jewel in this treasure, but alone it represents only a small part of the total value.

Chan is a philosophy, a path, towards learning about one’s body and more importantly one’s mind and spirit, because only by knowing we can master, and only by mastering we can let go and be at peace, with ourself, with those around us, with life. A peace that today is perhaps more difficult to find than before, because we have so many distractions around us, so many superficial things which absorb too much of our focus and energy.

Attachment brings suffering and today we attach ourself to so many unimportant things, making them very important in our mind, making our serenity dependent upon them.

We are often like a glass full of water that is being agitated: the sediments will float everywhere, and thus the water will be murky. We must find a way to be still inside, to let the water that is our mind be calm, and only then all the sediments will slowly drop to the bottom, leaving the water clean.

This peace and harmony within ourself is what enables us to live a serene life, despite the inevitable problems, the ‘ups’ and ‘downs’, that life will present us with every day, because those problems will be understood simply as a natural part of life itself, to be confronted with calm resolve and not with erratic fear.

Harmony within ourself comes from nothing more than harmony of our mind and our body.

If our mind is not maintained at its best, if it is often tired, or disrupted, or easily affected by moods, depression, fears, we will not be in harmony.

If our body is not maintained at its best, if it is often tired, or weak, or unable to perform activities or to protect us from dangers, we will not be in harmony.

Shaolin Chan teaches us, on its most basic level, that to practice Chan is to work towards this harmony of mind and body. Traditional WuShu, breathing, meditation, philosophy ... all this is the path of Shaolin Chan.

The martial arts of Shaolin strengthen our body, enabling it to protect us and to perform whatever we ask of it, but they cannot be viewed alone: they are moving meditation, they are breathing, they are mental exercise, they are a stimulation of Qi, they are an integral part of Chan and without understanding this they can become a limited and limiting pursuit.

Shaolin WuShu is an integral part of Chan, and becomes of particular value to all of us in our present lives if we seek to follow the whole path, not just a small part of it. A little is undoubtedly better than nothing, but try always to search for more, for a deeper understanding, of what you do and ultimately of who you are.

We should seek Chan in everything we do, in every day, every action, every breath, for Chan is breathing and thinking and living, and nothing is simpler yet more complex.

Using the Shaolin disciplines you can strengthen your body inside and out, strengthen your mind and spirit, then through this strength you will banish fears and simply feel calm and peace and harmony, within yourself and thus with everyone around you.

We should seek in ourself maximum strength with deepest peace, great effort with unbound serenity, constant energy with total balance. We should seek to be the best possible person we can be, for us and for all others.

All these capacities are in us, in our mind and in our bodies, and we must utilize as best we can these beautiful temporary gifts we are given, always: in our Shaolin training, in school studies, at work, with our family and friends ... in our whole life.

Train hard and you will be better than you ever thought you could be, in martial arts and in everything else in life. Better as a person, better for yourself and for others.

Be righteous to yourself and to all those you meet, don’t develop attachment for the unnecessary, don’t harbor negativity but only positivity, stay strong and healthy in mind and body, enjoy life serenely whatever path it will present to you.

Amituofo.

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For more information on Master Deyang, please visit his official international website: http://shideyang.com/
For more information on Shaolin Disciple Xingmi, or Shaolin Wushu Guan Italy, please visit the website: http://culturashaolin.it/

"Shaolin Eight-Section Brocade" (Chin.: Shàolín Bāduànjǐn 少林八段锦)

2008-12-20T23:21:00.027-06:00

Today there are three main sets of internal energy skills (Chin.: qìgōng 气功) that have been spread throughout the world. They are:

1. Muscle & Tendon Changing Sutra (Chin.: Yìjīnjīng 易筋经)
2. Eight-Section Brocade (Chin.: Bāduànjǐn 八段锦)
3. Five-Animal Plays (Chin.: Wǔqínxì 五禽戏)

Of these three, two originated in Shaolin Monastery. Five-Animal Plays was created by Hua Tuo (Chin.: Huà Tuó 华佗), the legendary physician, toward the end of the Eastern Han Dynasty (25-220) (Chin.: Dōng Hàn 东汉). It mimics the movements of five animals: the tiger, bear, deer, ape and crane. It would become the concept on which Shaolin master Bai Yufeng (Chin.: Bái Yùfēng 白玉峰), Dharma-name (Chin.: fǎhào 法号) Chan Master Harvest Moon (Chin.: Qiūyuè Chánshī 秋月禅师), would base the development of his famous Shaolin Five-Animal Boxing (Chin.: Shàolín Wǔxíngquán 少林五形拳) during the Yuan Dynasty (1279-1368), mimicking the dragon, tiger, leopard, snake and crane.

Here we introduce Shaolin Eight-Section Brocade (herein referred to as Baduanjin). It is one of the earliest physical exercise techniques practiced by the Shaolin monks (Chin.: Shàolínsì sēngrén 少林寺僧人). Consisting of eight movements, each is repeated eight times for a total of sixty-four. Each movement can also be picked out and practiced individually to reap the same health benefit.

History:

According to legend, in the Tang Dynasty (618-907), the Shaolin senior monk Ling Qiushan (Chin.: Shàolínsì gāosēng Líng Qiūshàn 少林寺高僧灵丘善) practiced the Baduanjin qigong set daily and lived to the age of 109.

By the Song dynasty (960-1279) Baduanjin had already spread far and wide throughout China. Nowadays there are many different versions of the set. There are also standing, sitting, and lying practices of Baduanjin. This article covers the standing form of the traditional Shaolin Baduanjin qigong set.

Benefits:

Baduanjin has the function of relaxing the muscles (Chin.: shūjīn 舒筋), facilitating blood flow (Chin.: huóxuè 活血), regulating the qi and blood (Chin.: tiáolǐ qìxuè 调理气血), as well as promoting metabolism (Chin.: cùjìn xīnchéndàixiè 促进新陈代谢). Practice over a long period of time can create a strong and healthy physique, help resist and dispel illnesses, and prolong life.

For young children Baduanjin can develop wisdom and train willpower and perseverance. For the middle aged it can release stress from work and relax the nerves. For the elderly, the benefits are too copious to list.

Baduanjin Mnemonic (Chin.: gējué 歌诀):

少林八段锦

Shàolín Bāduànjǐn
Shaolin Eight-Section Brocade

一。双手托天理三焦 shuāngshǒu tuō tiān lǐ sānjiāo
1. both hands supporting heavens regulates triple burners

二。左右拉弓如射雕 zuǒyòu lāgōng rú shè diāo
2. left-right drawing bow as if shooting golden eagle

三。调理脾胃须单举 tiáolǐ píwèi xū dān jǔ
3. regulating spleen and stomach with single-arm raise

四。五劳七伤向后瞧 wǔláo qīshāng xiàng hòu qiáo
4. adjusting the brain and inner organs looking backward

五。摇头摆尾去心火 yáotóu bǎiwěi qù xīnhuǒ
5. shaking the head and swinging the tail expels inner heat

六。双手盘膝固肾腰 shuāngshǒu pánxī gù shèn yāo
6. both hands level on knees to strengthen the kidneys, waist and lower back

七。攥拳怒目增气力 zuàn quán nùmù zēng qìlì
7. grasping fists with glaring eyes increases energy and power

八。背后起点诸病消 bèihòu qǐdiǎn zhū bìng xiāo
8. lifting heels in back to vanish various ailments

Detailed Functions:

1. Both hands supporting heavens:
Regulates the Triple Burners (Chin.: lǐ sānjiāo 理三焦) between the chest and abdomen. The Triple Burners control clearing away obstructions to spread original qi (Chin.: yuánqì 原气) and bodily fluids (Chin.: shuǐyè 水液) through the body.

Upper Burner: (Chin.: shàngjiāo 上焦) diaphragm and above.
Middle Burner: (Chin.: zhōngjiāo 中焦) between diaphragm and navel.
Lower Burner: (Chin.: xiàjiāo 下焦) below navel.

This exercise pulls and stretches the waist, back, chest and abdomen to induce full circulation of qi and spread natural bodily fluids so that the entire body receives their nourishment.

2. Drawing bow as if shooting golden eagle:
This exercise spreads the shoulders and expands the chest. The warrior-like posture gives vent to emotions in the heart. It sorts out qi in the liver and removes chest pain, side pain, and aches in the shoulder blades and across the upper back.

For business people or students who spend hours hunched over at their desks, this exercise can increase lung capacity and oxygen absorption, as well as strengthen the willpower and vigor.

3. Single-arm raise:
Regulates the spleen and stomach (Chin.: tiáolǐ pí wèi 调理脾胃). The spleen produces pure qi. The stomach eliminates impure qi.

In this exercise, the upper arm is tense while the lower arm is relaxed and the body is twisted. This massages the spleen, stomach, liver and gall bladder, assisting them in harmonizing qi. It promotes digestion and increases nourishment.

4. Looking backward:
Extended periods of toil without timely treatment of related ailments slowly produce accumulative harm to the five viscera (Chin.: wǔzàng 五脏) (i.e., heart, liver, spleen, lung, kidney) and the seven emotional states (Chin.: qīqíng 七情) (i.e., joy, anger, anxiety, thought, grief, fear, fright). These are called the five toils and seven injuries (Chin.: wǔláo qīshāng 五劳七伤).

Turning the body and twisting the arms adjusts connection between the brain and inner organs. The cervical vertebra is called in TCM the "heavenly pillar" (Chin.: tiānzhù 天柱). This exercise keeps it straight to stimulate the thymus, thereby improving the brain's ability to regulate the inner organs- strengthening immunity and the physique.

5. Shaking the head and swinging the tail:
Excessive thought increases inner heat. This exercise removes heartburn (Chin.: qù xīnhuǒ 去心火). The downward movement of the upper body makes heat in the heart decline and kidney fluid rise. This can reduce stress and worry, mouth ulcers, halitosis, insomnia, excessive dreaming, constipation, discomfort in urination (e.g. heat, redness), and other illnesses.

6. Both hands level on knees:
This exercise stretches the du channel (Chin.: dūmài 督脉) and urinary bladder meridian of foot taiyang (Chin.: zú tàiyáng pángguāngjīng 足太阳膀胱经), which has a nursing effect on the reproductive system and urinary system. It also strengthens the kidneys and muscles of the waist and lower back (Chin.: gù shèn yāo 固肾腰).

7. Grasping fists with glaring eyes:
The liver is the main contributor of energy and strength to the muscles. Ailments of the liver can be seen in the eyes. In this exercise, the eyes stare intensely at the fists to stimulate the liver system, increase blood in the liver and disperse unobstructed qi from the liver, thus strengthening the body.

The qi and blood of people who sit or lie down too long will be dense and sluggish. This exercise is particularly useful to such people, as it increases energy and power (Chin.: zēng qìlì 增气力).

8. Lifting heels in back:
This exercise massages the five viscera and six bowels to prevent and expel all illnesses. As the closing exercise, it collects qi and returns it to normal at the end of the set.

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Master Deyang (Chin.: Déyáng Shīfu 德扬师父) gives a brief demonstration of the exercises in Shaolin Baduanjin.:

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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Shaolin Monasticism & Discipleship

2008-12-16T08:39:00.016-06:00

Shaolin monastic tradition is often misunderstood around the world by people who are not exposed to sufficient knowledge of the inner-workings of the temple, including those of other Buddhist circles, even in China. The following is an attempt to make Shaolin monasticism and discipleship a little more clear, responding to some common accusations.

To begin, there are two main divisions in Shaolin monasticism that should be understood- that of scholarly monks (Chin.: wénsēng 文僧) and that of warrior monks (Chin.: wǔsēng 武僧). The warrior monks are often mistaken as fully ordained Buddhist monks (Chin.: héshang 和尚) from where stems the confusion.

The confusion is often the source for accusations of Shaolin monks being false for not upholding the Buddhist monastic codes. However, as we are trying to make clear here, the term "Shaolin monk" cannot be taken as reference to only the fully ordained. It is rather an umbrella term for all monastics within Shaolin tradition.

"Scholarly monks" is another name for the fully ordained Buddhist monks. In China, to become a fully ordained bhikshu, a monk (Chin.: bǐqiū 比丘/ héshang 和尚) or bhikshuni, a nun (Chin.: bǐqiūní 比丘尼/ nígū 尼姑) one must take the full Pratimoksha Precepts (Chin.: biéjiětuōjiè 别解脱戒), consisting of at least 250 precepts for the monk and 348 for the nun. In addition, one must take the Bodhisattva Precepts (Chin.: púsàjiè 菩萨戒), consisting of 10 major and 48 minor. One cannot become fully ordained in Chinese Buddhism without taking both sets of precepts. However, it is the Pratimoksha that officially ordains someone in all Buddhist traditions. The Bodhisattva Precepts are just a requirement for Chinese monasticism.

This is where Shaolin tradition differs. There is a type of monastic who is not fully ordained. The warrior monks are unique to Shaolin and only take five lay precepts (no killing, no stealing, no sexual misconduct, no wrong speech, no intoxicants). However, there are exceptions. While on temple grounds they observe ten precepts, with the precept of no sexual misconduct upgraded to full celibacy.

The warrior monks in Shaolin tradition are considered monastics because they often live and practice in the temple. They differ from the secular disciples (Chin.: sújiādìzǐ 俗家弟子) who live at home. Warrior monks are like secular disciples who have "left home" (Chin.: chūjiādìzǐ 出家弟子). The level of their precepts makes them secular, but their position in the temple makes them monastic. This is unique to Shaolin, hence the common confusion. In other traditions they are seen as secular Buddhist gongfu masters who are trained under the guidance of fully ordained monks.

This is often times unknown to many which creates controversy. The most common accusations are of the warrior monks breaking precepts such as of not eating meat. However, this precept is found in the Bodhisattva Precepts which is a choice for laity. Warrior monks do not necessarily take them. Furthermore, the Pratimoksha Precepts are those which make one fully ordained, and when broken have more strict punishments depending on the degree. Meat eating, however, is not found within this set of precepts, and therefore would not result in expulsion. Regardless, for one who has not taken such a precept of vegetarianism, there can be no punishment.

The other main accusation is of breaking celibacy precepts. For the fully ordained, breaking this precept is called "defeat". One is immediately excommunicated from the Sangha and cannot reordain in this lifetime. This requires no decision to be made by the elder monks. It is automatic.

Again though, this is in the Pratimoksha Precepts, which the warrior monks do not receive. Although they are considered monastics in Shaolin tradition, the level of their precepts is still secular. Many have had families. Ven. Shi Suyun (Chin.: Shì Sùyún 释素云 1913-1999), during a period of chaos in China, like many monastics had to return to regular home life. He had several children during this time. His son later ordained in Shaolin Monastery as well.

All other confusions can be cleared up by taking a look at the precepts taken at each level. Now that the distinction between scholarly monks and warrior monks in Shaolin is clear, hopefully this will recover some of Shaolin's lost reputation due to the lack of available knowledge concerning the issue of precept levels.

There are both scholarly and warrior monks in Shaolin. The warrior monks train in traditional Shaolin Warrior Skills (martial-arts) or "Wugong" (Chin.: Shàolín Wǔgōng 少林武功), while the scholarly monks focus more on monastic study and practices. However, the scholarly monks can, and some do, study wugong to various degrees, and the warrior monks do not only study wugong. All in Shaolin must first study Buddhism. A warrior monk can study Buddhism at the same time as training wugong , but Buddhist study and participation in monastic rituals is an absolute must for any. After all, Shaolin is not a martial arts school, but a Buddhist monastery.

Shaolin monasticism and discipleship is a little more complicated than just this. There are several levels with differing precepts. The following is a basic overview of Shaolin monasticism.

Levels:
1. Fully Ordained Buddhist Monk (Sanskrit: bhikshu) (Chin.: héshang 和尚/ wénsēng 文僧)
2. Warrior Monk (Chin.: wǔsēng 武僧)
3. Novice Monk (San.: sramanera) (Chin.: shāmí 沙弥)
4. Young Novice Monk (Chin.: xiǎoshāmí 小沙弥)
5. Monk Student (Chin.: xuésēng 学僧)
6. Secular Disciple (San.: upasaka- male, upasika- female) (Chin.: sújiādìzǐ 俗家弟子)

Precepts:
1. Fully Ordained Monks take the full Pratimoksha Precepts and Bodhisattva Precepts.
2. Warrior Monks take the Five Lay Precepts and observe Ten while on temple grounds.
3. Young Novice Monks and Novice Monks take the Ten Precepts.
4. Monk Students take the 48 Vows.
5. Secular Disciples take the Five Lay Precepts.

Discipleship:
1. A Scholarly Monk being fully ordained can take all lower levels.
2. A Warrior Monk can take Secular Disciples, Apprentices (Chin.: túdì 徒弟), and Ordinary Students. Due to their level of precept being secular, they cannot ordain any higher levels.

-少林禅城 Shaolin Chan City
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Copyright © 2009 Shaolin Chan City, LLC. All rights reserved.

少林禅宗佛教 Shaolin Chan Buddhism

2008-12-12T01:52:00.024-06:00

The practice of Shaolin Gongfu includes the deeper understanding of Chan Buddhism. The studying of Chan Buddhism is simply the deeper understanding of one's true self.

The following is a story about the travels of a monk known in India as Bodhidharma and in China as Damo (Chin.: Dámó 达摩). After years of meditation at the Shaolin Monastery, Damo founded the philosophy of Chan Buddhism.

The Beginning of Chan Buddhism

Buddhism was founded over 2,500 years ago in the country of Nepal by a man named Siddhartha Gautama or Shakyamuni Buddha after his enlightenment. This new philosophy developed and 400 years later reached neighboring India. From India, Buddhism spread quickly to China and most of Asia. The first Buddhist temple in China was the White Horse Monastery (Chin.: Báimǎsì 白马寺).

By the year 495 AD, Buddhism was well established in China. At this time a Buddhist monk named Buddhabhadra (Chin.: Fótuóbátuóluó 佛陀跋陀罗), known as Batuo (Chin.: Bátuó 跋陀) in Chinese, entered China teaching a form of Buddhism known as Nikaya Buddhism. Batuo was given land in the Henan province (Chin.: Hénánshěng 河南省) of China to found a temple. This temple was named Shaolin (Chin.: Shàolín 少林), a name taken from its position at the foot of Shaoshi Mountain (Chin.: Shàoshìshān 少室山) and the Chinese term for the surrounding woods, 林 lín.

Early Life of Bodhidharma

Around the time that Batuo was founding the Shaolin Monastery there lived an Indian prince named Bodhidharma (Chin.: Pútídámó 菩提达摩). Bodhidharma was the son of King Sugundha (Chin.: Sūgāndá 苏甘达), ruler of India. Bodhidharma had two older brothers who were jealous of his great intelligence. They feared that their father would pass them over and give the kingship to his favored son, Bodhidharma. The two older brothers would often speak poorly of Bodhidharma when conversing with their father and others, hoping always to poison other minds against him. One of his brothers even attempted to assassinate him. All of these actions failed. The actions of his brothers, however, changed Bodhidharma. Realizing that he did not wish to live a life of politics, he chose to devote himself to Buddha. He studied with a famous master, Prajnatara (Chin.: Bānruòduōluó 般若多罗). After studying with his master for many years, Bodhidharma asked his master what he should do when he passed away. His Master replied that he should go to the East. (China)

Bodhidharma Prepares For the East

When his master passed away, Bodhidharma prepared to leave for China. During his years as a Buddhist, one of Bodhidharma's older brothers had become king and that older brother's son, Bodhidharma's nephew, was now king. Bodhidharma's nephew was very fond of his uncle and wanted to make amends for the actions of his father. He asked Bodhidharma to stay with him in India, where he could protect his uncle. Bodhidharma replied that the life he would have to lead if he stayed would not be the life he was meant to live. Rather, Bodhidharma was meant to spread peace and harmony by the doing of good deeds.

Understanding that his uncle could not stay, the king of India ordered that carrier pigeons be sent to China. These birds carried messages asking the people of China to take care of the Buddhist monk Bodhidharma when he came to China. These messages spread over China and many people heard of Bodhidharma. They wondered what was so important about this Buddhist monk that the king of India should speak on his behalf.

Arrival In China

In 527, 32 years after the founding of Shaolin Monastery, Bodhidharma arrived in Guangdong province (Chin.: Guǎngdōngshěng 广东省), China. In China he was referred to as "Damo" (Chin.: Dámó 达摩).

Upon his arrival, Damo encountered a large crowd of people who had heard of his approach and wanted to hear what this famous monk had traveled so far to say. Instead of speaking, Damo sat down and began meditating. He meditated for many hours. During these hours, members of the crowd asked Damo questions to which he did not reply. After hours of meditation, Damo rose and walked away, saying nothing.

His actions had a profound effect on the crowd. Some people laughed, some cried, some nodded their heads as if in understanding, and some were angry at Damo's silence. Regardless of degree, every member of the crowd had a reaction.

Damo Meets the Emperor

This encounter with the crowd made Damo even more famous. So famous that the Emperor Wu of Liang (Chin.: Liáng Wǔdì 梁武帝), who ruled the Southern kingdom of China, invited him to his palace. They met and the emperor gave an audience to Damo. The emperor spoke of all the money he had donated to Buddhist temples and of all the statues he had erected in the name of Buddha. He asked Damo what good merit he, the emperor, had earned through his generosity. Damo replied "no merit". This surprised the emperor but they continued talking. Eventually, the emperor asked if there was Buddha in this world. Damo replied "no". Startled, the Emperor asked Damo the supreme truth of the Dharma. "Vast emptiness; nothing holy," he replied. Finally, the Emperor asked; "Who are you?" "I know not," said Damo.

Damo's replies were a reflection of the emperor. In boasting of his good deeds, the emperor was not simply acting in the best interests of his people, as was the duty of an emperor. Rather he was seeking the approval of a famous Buddhist monk, and in acting solely in order to earn merit, he had received nothing. Similarly, in asking if there was Buddha in this world, he was demonstrating his lack of faith. To question the existence of Buddha is to fail to truly believe in Buddha.

Of course, these replies infuriated the emperor. Convinced Damo was a lunatic, he ordered him to leave his palace. Damo simply turned and walked out.

Damo Listens to Shenguang’s Lecture

Damo continued his journey North and reached Nanjing city (Chin.: Nánjīng 南京). In Nanjing city there is a famous place called the Rain Flower Terrace (Chin.: yǔhuātái 雨花台). In this place there was gathered a large crowd, seated around a Buddhist monk who was lecturing. This Buddhist monk was named Ji Shenguang, "divine light" (Chin.: Jī Shénguāng 姬神光). Shenguang had at one time been a great general. He had killed many people in battle. One day he realized that all of the people he had killed had friends and family and that one day someone might come and kill him. This thought changed him and he decided to become a Buddhist monk. He became a famous speaker and at this time the crowd was gathered to listen to him.

As Shenguang spoke, Damo approached the crowd and also listened. Sometimes Shenguang would say something and Damo would nod his head in agreement. Sometimes Shenguang would say something and Damo would shake his head in disagreement. As this continued, Shenguang became very irritated. Who was this foreign monk to come and disagree with him in front of this crowd?

Eventually Shenguang became angry and took the Buddhist beads (Chin.: Fózhù 佛珠) from around his neck and flicked them at Damo. The beads struck Damo and knocked out two of his front teeth. Damo began bleeding and Shenguang expected some sort of confrontation. Instead, Damo smiled, turned around and walked away. This reaction amazed Shenguang, who immediately began following after Damo.

Continuing to Shaolin Monastery

Damo continued North and he reached the Yangzi River (Chin.: Chángjiāng 长江), which divided the Northern and Southern kingdoms of China. Seated on the bank of the Yangzi River was an old woman. Next to the old woman was a large bundle of reeds. Damo asked the old woman if he might have one of the reeds. She replied that of course he may. Damo took a single reed and placed it upon the surface of the river. Stepping onto this reed, he was carried across the river by the force of his Qi (Chin.: qì 气).

Shenguang reached the Yangzi in time to see Damo's crossing. Feeling that he could do the same thing, Shenguang ran up to the old woman and, without asking, grabbed a handful of reeds. Throwing these reeds onto the river, Shenguang stepped onto them. The reeds sank beneath his weight and he began drowning. The old woman took pity on his plight and she pulled him from the river. As Shenguang lay on the ground coughing up river water, the old woman spoke to him. She told him that by not asking for her reeds before taking them, he had shown her disrespect. In showing her disrespect, he had failed to respect himself. She also told him that he was searching for a master, someone to teach him. Damo, the man he was following, was that master. As she said this, the reeds which had previously sunk beneath Shenguang resurfaced and he found himself standing on the reeds. He was carried across the river and immediately began following after Damo.

There are many people who believe that the old woman was a Bodhisattva (Chin.: púsà 菩萨) who had been there to help Shenguang.

Arrival at Shaolin Monastery

At this point, Damo was nearing Shaolin Monastery. The Shaolin monks had heard of his approach and had gathered to invite him to the temple.

Behind the Shaolin Monastery there is a mountain peak named Five Breast Peak (Chin.: Wǔrǔfēng 五乳峰). When the Shaolin monks invited Damo to come stay at the temple, he did not reply. Instead, he immediately went to a cave which was located at the top of the mountain. Inside the cave Damo sat down facing a wall and immediately began meditating.

He meditated for nine years. During the years of meditation, Shenguang stayed outside Damo's cave and protected him from any wild animals or other threats. Periodically Shenguang would ask Damo to teach him but Damo would never reply. The Shaolin monks would also periodically visit Damo's cave and invite him to stay in the temple, where he would be much more comfortable. Damo would never reply. After time, Damo's concentration became so intense that his image was engraved into a rock on the cave wall before him. Today, this stone is kept in the Shaolin Monastery as a reminder of Damo's meditation.

Towards the end of Damo's nine year meditation, the Shaolin monks decided to do something more for him. They prepared a special room for him which they called, fittingly, the Damo Pavilion (Chin.: Dámótíng 达摩亭). They then went back to the cave of Damo and invited him to stay in this room, where he would be much more comfortable. He did not reply but he responded by rising and walking down to the room.

Upon entering the room, Damo immediately sat down and began meditating. Shenguang followed Damo to the temple and stood guard outside his room while he meditated for another four years. Periodically, Shenguang would still ask Damo to teach him. Towards the end of the four years, Shenguang had followed Damo for thirteen years but Damo had never spoken a word to him.

After thirteen years of silence from Damo, Shenguang was standing outside of Damo's room in the wintertime. It was extremely cold, snow and ice covered the ground. Becoming enraged at Damo's silence, Shenguang picked up a large block of snow and ice and hurled it into Damo's room. The snow and ice struck the floor and Damo was awakened from his meditation. He looked at Shenguang and in anger and frustration, Shenguang demanded to know when Damo would teach him. Damo finally replied, saying that he would teach him when red snow fell from the sky.

When he heard this, something inside Shenguang changed and he took the sword from around his belt and cut off his left arm. Raising the severed arm above his head, Shenguang whirled the arm around. The blood from the arm froze as it fell in the cold air, like red snow.

Seeing this, Damo agreed to teach Shenguang. He asked him what it was he wanted from him. Shenguang asked Damo to pacify his mind. But when Damo asked Shenguang to hand him his mind so that he might pacify it, Shenguang was unable to find his mind. Damo then told him; "then I've already pacified it."

In homage to Shenguang's perseverance, the name of the Damo Pavilion was changed to "Standing-in-Snow Pavilion" (Chin.: Lìxuětíng 立雪亭)

Heart to Heart, Mind to Mind Transmission

In front of the Shaolin Monastery, at the foot of Shaoshi Mountain, there are five little mountains. The mountains are named the Bell, Drum, Stamp, Sword, and Flag mountains, named thusly because they are shaped like their namesakes. Damo took a monk's spade and went with Shenguang to the Drum Mountain. The Drum Mountain was so named because it was flat on top, like the surface of a drum. In taking Shenguang to the Drum Mountain, Damo was sending an unspoken message that he should flatten his heart in the same way that a drum was flat.

Upon the surface of the Drum Mountain, Damo dug a well for Shenguang. The water of this well was bitter. He left Shenguang on the Drum Mountain for a year and for that year Shenguang used the bitter water of Damo's well to cook, to clean, to bathe and to drink. After using the bitter water for a year, he returned to Damo and asked him again to teach him. Damo took him back to the Drum Mountain and dug a second well for him. The water of this well was spicy. For an entire year, Shenguang used the spicy water for all of his needs. At the end of the second year, he returned to Damo and asked again to be taught. Damo returned with him to the Drum Mountain and dug a third well. The water of this well was sour. For the third year, Shenguang used the sour water for all of his needs. At the end of that year, he returned to Damo and asked again to be taught. Damo again took him to the Drum Mountain and dug a fourth and final well. The water of this well was sweet.

Shenguang realized that the four wells which Damo had dug represented his life. Sometimes his life would be bitter and sometimes spicy, sometimes sour and sometimes sweet. Without speaking to him, Damo had taught Shenguang the most important of lessons through his actions.

Upon realizing this, Shenguang was given the Dharma name Huike (Chin.: Huìkě 慧可) and he became abbot of Shaolin after Damo.

To pay respect to Huike’s sacrifice, Shaolin disciples often greet each other bowing with only their right hand.

Return to the West

When Damo passed away he was burried in a tomb. On the day of his burial a monk who had been out traveling met him heading West, holding up one of his sandals. When the monk returned he recounted the story to his fellow monastics, whereupon they opened the tomb, and found only a single sandal inside.

The Three Lineages of Shaolin

2008-12-11T23:00:00.017-06:00

The Shaolin Monastery has had three distinct lineages (successions of abbots) in its history. The following is a general overview of each.

Batuo’s Lineage

In 495 A.D. the Shaolin Monastery was built in Henan province for an Indian monk named Buddhabhadra (Chin.: Fótuóbátuóluó 佛陀跋陀罗), and called "Batuo" (Chin.: Bátuó 跋陀) by the Chinese. He was given land at the foot of the Shaoshi Mountain (Chin.: Shàoshìshān 少室山) to build a monastery to teach the tradition of Nikaya Buddhism. The Shaolin name comes from the first character in the name Shaoshi Mountain, 少 shào, and the Chinese term for the surrounding woods, 林 lín.

The first lineage was very short. It consisted solely of Batuo, the founder of Shaolin Monastery, and he had few disciples. However, two former generals, Huiguang (Chin.: Huìguāng 慧光) and Sengchou (Chin.: Sēngchóu 僧稠), became his students and were the first to bring martial arts to the temple despite many who claim it was Bodhidharma who first introduced martial arts practice to unhealthy monks. So in fact martial arts practice has been a part of Shaolin Monastery from almost its beginning.

Batuo’s lineage ended 32 years later when Bodhidharma became abbot of the temple with the start of his newly founded Chan Buddhism (Chin.: chánzōng fójiào 禅宗佛教).

Damo’s Lineage

In 527 A.D. another Indian monk by the name of Bodhidharma (Chin.: Pútídámó 菩提达摩) known in China as “Damo” (Chin.: Dámó 达摩) arrived at the Shaolin Monastery and founded a new tradition known as Chan Buddhism, which was more suited to the Chinese and thus overtook Nikaya Buddhism as the tradition of the temple.

Chan is known in the West through its Japanese form of Zen. Chan and Zen have the same roots but have developed into culturally different practice traditions over the centuries. Upon becoming abbot of the Shaolin Monastery, Damo made a sort of prophecy. He tied six knots in the belt of his robe and stated that his lineage would end upon the fifth abbot following him. Damo’s disciple Huike (Chin.: Huìkě 慧可) became the second generation, Sengcan (Chin.: Sēngcàn 僧璨) the third, Daoxin (Chin.: Dàoxìn 道信) fourth, Hongren (Chin.: Hóngrěn 弘忍) fifth and Huineng (Chin.: Huìnéng 惠能) sixth. Not much is known about the early abbots following Huike as China was in the midst of a very warlike time. However, there are very important and famous Chan teachings left over from each of them.

Throughout the six generations of Damo’s lineage, the teaching of Chan Buddhism was passed through a mind to mind, heart to heart transmission, avoiding unnecessary verbal instruction. Huineng, the “wood chopper” who became enlightened upon hearing a certain line spoken by a man reciting the Diamond Sutra (Chin.: jīngāngjīng 金刚经) while chopping wood, was the first to have the teachings written down. Although he was known for being illiterate he may have had others write it down for him or others simply decided to do so. Either way it allowed the philosophy of Chan Buddhism to be spread but also marked the end of Damo’s lineage.

The Five Flavors of Chan

After the end of Damo’s lineage Chan Buddhism developed into five schools, or as we like to say; “flavors”, called the Caodong School (Chin.: Cáodòngzōng 曹洞宗), Linji School (Chin.: Línjìzōng 临济宗), Yunmen School (Chin.: Yúnménzōng 云门宗), Fayan School (Chin.: Fǎyǎnzōng 法眼宗) and Guiyang School (Chin.: Guīyǎngzōng 沩仰宗). Each differed in mixtures and methods of practice but still kept to the same philosophies of Damo and further of the original Buddha of our time, Shakyamuni Buddha (Chin.: Shìjiāmóunífó 释迦牟尼佛). Hence it is fitting that they be named “flavors” of Chan- different icings on the same cake.

Many of these secular Chan branches were obliterated during the Tang dynasty persecution of Buddhism (842-845). Nowadays, only Linji and Caodong survive. Centuries later at the Shaolin Monastery, being root of these five branches had its price. Turmoil had caused riots that resulted in the burning of the temple. This would not be the last time the temple would be burned.

Fuyu’s Lineage

After the death of Huineng a new generation of monks was started at the Shaolin Monastery. The first abbot of this new lineage was Xueting Fuyu (Chin.: Xuětíng Fúyù 雪庭福裕, 1203-1275). He renounced the world for monastic life, took the Dharma-name Fuyu and started studying under monk Wansong Xingxiu (Chin.: Wànsōng Xíngxiù 万松行秀).

When he came of age, the first emperor of the Yuan (Mongol) Dynasty Kublai Khan (Chin.: Yuán shìzǔ Hūbìliè 元世祖忽必烈, 1215-1294), sent him to Shaolin to restore order. Shaolin Monastery led the Caodong branch at Fuyu's abbacy.

Fuyu became abbot at a very warlike period of China’s history. He invited the best martial artists to come share their techniques while staying at the temple. Three times, for a period of three years each time, martial artists from many places came to the Shaolin Monastery to share their knowledge. The monks recorded the forms and techniques into a library kept at the temple. It is for this reason that Shaolin is often called the birthplace of martial arts, however this is not completely accurate. It can be seen more as a modern day university that simply studied martial arts and combined the useful techniques into a system. This system is known today by the temple's name, Songshan Shaolin (Chin.: Sōngshān Shàolín 嵩山少林) and has influenced the evolution of many following martial arts.

Abbot Fuyu’s lineage has remained unbroken to this day. He composed a Chan poem which became the source for Shaolin "character generation" (Chin.: zìbèi 字辈) naming which each master uses to give Dharma names to their disciples- each character in order representing their generation.

The Shaolin Governing Committee

In 1987, the 29th abbot of Shaolin, Venerable Shi Xingzheng (Chin.: Shì Xíngzhèng 释行正), passed away leaving a period of time where no new abbot was appointed. Instead, Abbot Xingzheng decided the best for Shaolin was to have a governing commitee lead the temple, rather than having a single abbot in charge. This committee was to include several high monks, including venerable masters Shi Suxi (Chin.: Shì Sùxǐ 释素喜) and Shi Suyun (Chin.: Shì Sùyún 释素云), two old and highly respected monks who were among the 14 or so to return from the Cultural Revolution period of chaos and restore the Shaolin tradition. They entered the Shaolin Monastery in the early half of the 20th century and studied with monks who's masters predated the 1900's, namely their Master Shi Zhenxu (Chin.: Shì Zhēnxù 释贞绪).

Of course by the time of the founding of this new governing committee, these high monks were already in their 60's and 70's. Master Suxi was to head the committee but was also beginning to deal with the early ravages of Parkinson's Disease. Aside from his condition, it was never his wish to be more than a "common monk". Position and power was not for him. Following the advancement of Ven. Suxi's Parkinson's disease, Master Suyun took over as the head monk in 1998. However, he was older than Master Suxi and was also falling ill. His tenure did not last long; he died a year later.

The Current Abbot

Another member of the committee was much younger, about half their age. He was a close disciple of Abbot Shi Xingzheng. His Dharma-name; Shi Yongxin (Chin.: Shì Yǒngxìn 释永信). He had the position, the youth, and the knowledge. Soon there came a decree from the National Buddhist Organization in Beijing that decided he would become the new abbot of Shaolin. He was later officially inaugurated in 1999.

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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"Shaolin Small Flood Boxing" (Chin.: Xiǎohóngquán 小洪拳)

2008-12-09T21:30:00.027-06:00

Shaolin Small Flood Boxing (herein referred to as Xiaohongquan) is a very basic, yet immensely important traditional boxing set of Shaolin. It incorporates all the fundamentals of the Songshan system, and is one of the first sets to be studied. A top monk of Shaolin Monastery who has served as general head coach of the Shaolin warrior monks, Master Shi Deyang (Chin.: Shì Déyáng 释德扬), says that from watching a student practice this set the level of their gongfu can be seen.

The late Venerable Master Shi Suyun (Chin.: Shì Sùyún 释素云, 1913-1999, pictured) specialized in the Xiaohongquan set and Shaolin Child Skill (Chin.: Tóngzǐgōng 童子功), of which his ability was beyond exceptional well into his old age. Once a group of 16 Japanese martial artists came to Shaolin to issue a challenge. It is said that Master Suyun stepped up and defeated each of them single-handedly using only his Xiaohongquan skills and defended Shaolin's reputation.

Master Suyun told the legend of the matching sets of Small and Large Flood Boxing (Chin.: Xiǎohóngquán - Dàhóngquán 小洪拳 - 大洪拳). As it went, two refugees surnamed Hong, a father and his son, came seeking shelter at the Shaolin Monastery. The monks opened the temple gates, welcoming and providing for them compassionately. In gratitude of the monks' hospitality, the father and son taught the monks their style of gongfu. The father's set was named "Large Hong Boxing", while the son's set was named "Small Hong Boxing".

Here it should be noted, the names of these sets are sometimes misunderstood. The Hong character is often translated as "Red". However, the character of these sets is 洪 hóng, meaning "flood", rather than 红 hóng, meaning "red". The identical pronunciation of the characters causes this confusion. The character meaning "flood" is also a common Chinese surname, "Hong", as seen in the story of the father and son. In this case, the character does not carry the meaning it has when used in everyday speech. As a family name it should be left untranslated as "Hong".

However, it should also be known that this is a legend. It is not the end of the story. The written history in Shaolin records a completely different account of the origin of these sets. It is more straightforward than folk-stories, though they too have their place.

Historical records state Li Sou (Chin.: Lǐ Sǒu 李叟) as the creator of the sets. During the Yuan Dynasty (1279-1368) Li Sou entered the Shaolin Monastery along with monk Jueyuan (Chin.: Juéyuán Héshang 觉元和尚) and creator of the Shaolin Animal Boxing, Master Bai Yufeng (Chin.: Bái Yùfēng 白玉峰).

At Shaolin Monastery, these three top martial artists sorted out and systematized the then current lot of martial arts being practiced there. Each man also included his best knowledge. Li Sou imparted his matching sets, named for the flowing characteristic of Shaolin, Small and Large Flood Boxing (Xiaohongquan & Dahongquan), as well as stick fighting (Chin.: gùnshù 棍术) and the art of joint-locking (Chin.: qínná 擒拿).

Having now appreciated the legend, the history, and the importance of the Xiaohongquan set in Shaolin, the "lyrics" (mnemonic (Chin.: gējué 歌诀)) for the set are provided below:

少林小洪拳
Shàolín Xiǎohóngquán
Shaolin Small Flood Boxing
(6 sections. 45 postures)

第一段 dìyī duàn - first section
1. hold moon in arms (Chin.: huáizhōng bàoyuè 怀中抱月)
2. white cloud covers peak (Chin.: báiyún gàidǐng 白云盖顶)
3. bow step push palm (Chin.: gōngbù tuīzhǎng 弓步推掌)
4. hold hand shrink body (Chin.: bàoshǒu suōshēn 抱手缩身)
5. advance step push palm (Chin.: shàngbù tuīzhǎng 上步推掌)
6. turn around draw hand (Chin.: zhuǎnshēn bānshǒu 转身扳手)
7. advance step push palm (Chin.: shàngbù tuīzhǎng 上步推掌)
8. turn around cover leg (Chin.: zhuǎnshēn péngtuǐ 转身棚腿)
9. outward swinging lotus/ right slanting (Chin.: wàibǎilián/ yòuxiéxíng 外摆莲/右斜形)

第二段 dìèr duàn - second section
10. press hand shrink body (Chin.: yāshǒu suōshēn 压手缩身)
11. upward kick, downward smash (Chin.: shàngtī xiàzá 上踢下砸)
12. left slanting (Chin.: zuǒxiéxíng 左斜形)
13. crouch step seize hand (Chin.: pūbù lǔshǒu 仆步掳手)
14. lion's wide open mouth (Chin.: shīzi dàzhāngkǒu 狮子大张口)
15. double clouds over peak/ seven star (Chin.: shuāng yúndǐng/ qīxīng 双云顶/七星)
16. horse step single whip (Chin.: mǎbù dānbiān 马步单鞭)
17. hold hand shrink body (Chin.: bàoshǒu suōshēn 抱手缩身)
18. advance step double snatching hands (Chin.: shàngbù shuāngqiǎngshǒu 上步双抢手)

第三段 dìsān duàn - third section
19. inward crescent/ cannon toward sky (Chin.: lǐhé/ chòngtiānpào 里合/冲天炮)
20. scorpion swings tail/ lion's wide open mouth (Chin.: xiēzi bǎiwěi/ shīzi dàzhāngkǒu 蝎子摆尾/狮子大张口)
21. advance step push palm (Chin.: shàngbù tuīzhǎng 上步推掌)
22. retreat two step turn around draw hand (Chin.: tuì èrbù zhuǎnshēn bānshǒu 退二步转身扳手)
23. advance step push palm (Chin.: shàngbù tuīzhǎng 上步推掌)
24. turn around cover leg (Chin.: zhuǎnshēn péngtuǐ 转身棚腿)

第四段 dìsì duàn - fourth section
25. right slap kick/ left turning elbow (Chin.: yòu cǎijiǎo/ zuǒpánzhǒu 右彩脚/左盘肘)
26. press hand shrink body (Chin.: yāshǒu suōshēn 压手缩身)
27. upward kick downward smash/ right turning elbow (Chin.: shàngtī xiàzá/ yòupánzhǒu 上踢下砸/右盘肘)
28. crouch step seize hand (Chin.: pūbù lǔshǒu 仆步掳手)
29. lion's wide open mouth (Chin.: shīzi dàzhāngkǒu 狮子大张口)
30. double clouds over peak/ seven star (Chin.: shuāng yúndǐng/ qīxīng 双云顶七星)
31. horse step single whip (Chin.: mǎbù dānbiān 马步单鞭)

第五段 dìwǔ duàn - fifth section
32. hold hand shrink body (Chin.: bàoshǒu suōshēn 抱手缩身)
33. advance step double snatching hands (Chin.: shàngbù shuāng qiǎngshǒu 上步双抢手)
34. right slap kick/ bow step front to back three pushing palms (Chin.: yòu cǎijiǎo/ gōngbù qiánhòu sān tuīzhǎng 右彩脚/弓步前后三推掌)
35. left slap kick/ bow step front to back three pushing palms (Chin.: zuǒ cǎijiǎo/ gōngbù qiánhòu sān tuīzhǎng 左彩脚/弓步前后三推掌)
36. raise knee bright palm (Chin.: tíxī liàngzhǎng 提膝亮掌)
37. pull moon from sea bottom (Chin.: hǎidǐ lāoyuè 海底捞月
38. hidden cannon (Chin.: wòdǐ pào 卧底炮)

第六段 dìliù duàn - sixth section

39. black tiger steals heart (Chin.: hēihǔ tāoxīn 黑虎掏心)

40. listening to cannon (Chin.: cè ěr pào 侧耳炮)
41. full stomach ache (Chin.: mǎn dùtòng 满肚痛)
42. hold hand shrink body (Chin.: bàoshǒu suōshēn 抱手缩身)
43. advance step double snatching hands (Chin.: shàngbù shuāng qiǎngshǒu 上步双抢手)
44. double clouds over peak/ leveling heart cannon (Chin.: shuāng yúndǐng 双云顶/ píngxīnpào 转身/平心炮)
45. five flowers sit on mountain (Chin.: wǔhuā zuòshān 五花坐山)

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A video demonstration of Shaolin Xiaohongquan from a student of Master Deyang's school located in Dengfeng, Henan Province, China.:

Ven. Suyun instructs Master Deyang on Shaolin Xiaohongquan.:

-少林禅城 Shaolin Chan City
www.ShaolinChanCity.com

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