Hsing_I.pdf

Xingyiquan - Wikipedia, the free encyclopedia

Page 1 of 11

Xingyiquan

From Wikipedia, the free encyclopedia

(Redirected from Hsing I)

Xingyiquan

(

Xingyiquan (Chinese:

; pinyin: Xíng yì

quán; Wade-Giles: Hsing I Ch'üan) is one of the

major "internal" ( nèiji ) Chinese martial arts.

Xingyiquan translates approximately to

"Form/Intention Boxing", or "Shape/Will

Boxing", and is characterised by aggressive,

seemingly linear movements and explosive

power.

形意拳

)

形意拳

Its origins are traceable to the 18th century. There

is no single organisational body governing the

teaching of the art, and several variant styles

exist.

Sun Lu-t'ang standing in San Ti Shi

Also known as Xíng yì quán; Hsing I Ch'üan

Focus

A Xingyiquan fighter uses efficient coordinated

movements to generate bursts of power intended

to overwhelm the opponent, simultaneously

attacking and defending. Forms vary from school

to school, but include barehanded sequences and

versions of the same sequences with a variety of

weapons. These sequences are based upon the

movements and fighting behaviour of a variety of

animals. The training methods allow the student

to progress through increasing difficulty in form

sequences, timing and fighting strategy.

Internal ( nèiji )

Hardness

Non-competitive, or forms competition

only

Country of

origin

China

Creator Yue Fei (attributed)

Parenthood disputed, possibly military spear

techniques or Shaolin kung fu

Olympic Sport No

Contents

€ 1 History

€ 2 Characteristics and Principles

€ 3 Overview

€ 3.1 Five Element Forms

€ 3.2 Animal Forms

€ 3.3 Branches

€ 3.4 Weapons

€ 4 Famous Figures

€ 5 Important Texts

€ 6 Recent History

€ 7 Disputed history

€ 8 See also

€ 9 References

€ 10 Bibliography/Further reading

€ 10.1 Published works

http://en.wikipedia.org/wiki/Hsing_I

2/5/2008

Xingyiquan - Wikipedia, the free encyclopedia

Page 2 of 11

€ 10.1.1 Translated Works

€ 10.1.2 English Works

€ 11 External links

€ 11.1 Articles

€ 11.2 Discussion Sites

€ 11.3 Videos

History

Although the exact origin of Xingyiquan is

uncertain, the earliest written records of Xingyiquan

can be traced to the 18th century to Ma Xueli of

Henan Province and Dai Longbang of Shanxi

Province. Legend, however, credits the invention of

Xingyiquan to the renowned Song Dynasty (960-

1279 AD) general Yue Fei. According to the book

Henan Orthodox Xingyi Quan written by Pei Xirong

(Chinese:

The "Four Generals of Zhongxing" painted by Liu

Songnian during the Southern Song Dynasty. Yue

Fei is the second person from the left. This portrait

is believed to be the "truest portrait of Yue in all

extant materials." [1]

裴锡荣

) and Li Ying’ang (Chinese:

李英

昂

), Xingyi Master Dai Longbang "

于乾隆十五年

为

岳飞当童子时受业于周

侗师精通枪法以枪为拳立法以教将佐名曰意拳神妙莫测盖从古未有之技也。

六合拳

作序云

“

”

“

" [2][3]

" ...wrote the Preface to Six Harmonies Boxing in the 15th reign year of the Qianlong Emperor [1750].

Inside it says, '...when [Yue Fei] was a child, he received special instructions from Zhou Tong.

Extremely skilled in spearfighting, he used the spear to create fist techniques and established a skill

called Yi Quan [

]. Meticulous and unfathomable, this technique far outstripped ancient ones."

意拳

Throughout the Jin, Yuan and Ming Dynasties few had his art, one of them being Ji Gong [Ji Longfeng].

After Yue Fei's death, the art was lost for half a millennium. Then, during the Ming and Qing Dynasties

in Shaanxi Province's Zhongnan Mountains, Yue Fei's boxing manual was discovered by Ji Longfeng

(also known as Ji Jike) of neighbouring Shanxi Province.

Dr. Yang Jwing-Ming argues that aspects of Xingyiquan (particularly the animal styles) are identifiable

as far back as the Liang Dynasty at the Shaolin Temple. [4] Yue Fei, therefore, did not strictly invent

Xingyiquan, but synthesised and perfected existing Shaolin principles into his own style of gongfu

which he popularised during his military service. Nonetheless, according to Yang, Yue Fei is usually

identified as the creator because of his considerable understanding of the art (as shown in the work The

Ten Theses of Xingyiquan , credited to Yue) and his cultural status as a Chinese war hero.

Other martial artists and historians of Chinese martial arts, such as Miller, Cartmell, and Kennedy, hold

that this story is largely legendary; while xingyiquan may well have evolved from military spear

techniques, there is no period evidence to support that Yue Fei was involved or that the art dates to the

Song dynasty. These authors point out that the works describing Yue Fei's role or attributed to him long

postdate his life (some being as recent as the Republican era), and that it was common practice in China

to attribute new works to a famous or legendary personage, rather than take credit for one's self. One

source claims that the author of the "preface" is unknown, since no name is written on the manuscript.

Most practitioners just assume it was written by Dai Longbang. Some martial researchers believe that it

was actually written in Shanxi during the final years of the 19th century. [5] In addition, historical

http://en.wikipedia.org/wiki/Hsing_I

2/5/2008

Xingyiquan - Wikipedia, the free encyclopedia

Page 3 of 11

memoirs and scholarly research papers only mention Zhou Tong teaching Yue archery and not spear

play. [6][7] Yue historically learned spear play from Chen Guang (

), who was hired by the boy’s

陈广

). [8][9]

paternal grandfather, Yao Daweng (

姚大翁

With the late Ming-era and Ji Longfeng, evidence for the art's history grows firmer. Ji Longfeng's

contributions to the art are described in the Ji Clan Chronicles (

; pinyin: Ji Shi Jiapu). Like the

Preface , the Chronicles describes Xingyiquan as a martial art based on the combat principles of the

spear. The Chronicles , however, attributes this stylistic influence to Ji himself, who was known as the

"Divine Spear" (

姬氏族谱

神槍

; pinyin: Shén Qing) for his extraordinary skill with the weapon.

The master who taught Xingyiquan to Ma Xueli is conventionally identified as Ji Longfeng himself.

However, the traditions of the Ma family itself say only that Xueli learned from a wandering master

whose name is unknown. Ji Longfeng referred to his art as Liu He, The Six Harmonies.

The Preface identifies Cao Ji Wu as a student of Ji Longfeng and the master who taught Xingyiquan to

Dai Longbang. However, other sources identify Dai's teacher variously as Li Zheng or Niu Xixian.

Xingyiquan remained fairly obscure until Li Luoneng (also known as Li Nengran) learned the art from

the Dai family in the 19th century. It was Li Luoneng and his successors—which include Guo Yunshen,

Li Cunyi, Zhang Zhaodong, Sun Lutang, and Shang Yunxiang—who would popularise Xingyiquan

across Northern China. Sun Lutang exchanged knowledge with Fu Chen Sung, who subsequently took

this branch of h'sing yi ch'uan to southern China.

Characteristics and Principles

Xingyiquan features aggressive shocking attacks and direct footwork. The linear nature of Xingyiquan

hints at both the military origins and the influence of spear technique alluded to in its mythology.

Despite its hard, angular appearance, cultivating "soft" internal strength or qi is essential to achieving

power in Xingyiquan.

The goal of the Xingyiquan fighter is to reach the opponent quickly and drive powerfully through them

in a single burst — the analogy with spear fighting is useful here. This is achieved by coordinating one's

body as a single unit and the intense focusing of one's qi.

Efficiency and economy of movement are the qualities of a Xingyiquan fighter and its direct fighting

philosophy advocates simultaneous attack and defence. There are few kicks except for extremely low

foot kicks (which avoids the hazards of balance involved with higher kicks) and some mid-level kicks,

and techniques are prized for their deadliness rather than aesthetic value. Xingyiquan favours a high

stance called Sntshì (

), literally "three bodies power," referring to how the stance holds the

head, torso and feet along the same vertical plane. A common saying of Xingyiquan is that "the hands

do not leave the heart and the elbows do not leave the ribs." Another characteristic common to many

styles of XingYi is a stance called "Dragon Body". This is a forward stance similar to a bow stance with

a straight line from the head to the heel of the back foot and the front foot perpendicular to the ground.

This is not so much a separate stance or technique in itself as a principle of movement to provide power

to techniques.

三體式

The use of the Santishi as the main stance and training method originated from Li Luoneng's branch of

Xingyi. Early branches such as Dai family style do not use Santi as the primary stance nor as a training

http://en.wikipedia.org/wiki/Hsing_I

2/5/2008

Xingyiquan - Wikipedia, the free encyclopedia

Page 4 of 11

method.

Overview

Five Element Forms

Xingyiquan uses the five classical Chinese elements to metaphorically represent five different states of

combat. Also called the "Five Fists" or "Five Phases," the Five Elements are related to Taoist cosmology

although the names do not literally correspond to the cosmological terms.

Xingyiquan practitioners use the Five Elements as an interpretative framework for reacting and

responding to attacks. This follows the Five Element theory, a general combat formula which assumes at

least three outcomes of a fight; the constructive, the neutral, and the destructive. Xingyiquan students

train to react to and execute specific techniques in such a way that a desirable cycle will form based on

the constructive, neutral and destructive interactions of Five Element theory. Where to aim, where to hit

and with what technique—and how those motions should work defensively—is determined by what

point of which cycle they see themselves in.

Each of the elements has variant applications that allow it to be used to defend against all of the

elements (including itself), so any set sequences are entirely arbitrary, though the destructive cycle is

often taught to beginners as it is easier to visualise and consists of easier applications. Some schools will

teach the Five Elements before the Ten Animals because they are easier and shorter to learn.

The Five Elements of Xingyiquan

Chinese

Pinyin

劈

Metal

Like an axe chopping up and over.

Splitting

Exploding outward like a cannon while

blocking.

炮

Pounding

Pào

Fire

鑽

Drilling

Zun

Water

Drilling forward horizontally like a geyser.

Crossing across the line of attack while turning

over.

橫

Héng

Earth

Crossing

崩

Crushing

Bng

Wood

Arrows constantly exploding forward.

It is perhaps unfortunate that the names used for the elements are used as fundamental names for

applications of energy or jìn (

), since it can be confusing to describe the "heng jin contained within pi

quan". The jìn referred to by the five element names are not the only ones, there are many others.

勁

Animal Forms

Xingyiquan is based on twelve distinct animal forms (

; pinyin: xíng). Present in all regional and

family styles, these emulate the techniques and tactics of the corresponding animal rather than just their

physical movements. Many schools of Xingyiquan have only small number of movements for each

animal, though some teach extended sequences of movements. Once the individual animal forms are

taught, a student is often taught an animal linking form ( shi'er xing lianhuan ) which connects all the

形

http://en.wikipedia.org/wiki/Hsing_I

2/5/2008

Xingyiquan - Wikipedia, the free encyclopedia

Page 5 of 11

taught animals together in a sequence. Some styles have longer, or multiple forms for individual

animals, such Eight Tiger Forms Huxing bashi .

The ten common animals

Chinese

Pinyin

In Xingyi, "the Bear and Eagle combine," meaning that the

Bear and Eagle techniques are often used in conjunction

with each other. There is a bird called the "Bear Eagle,"

which covers the characteristics of both forms.

Bear

熊

Xióng

鷹

Eagle

Yng

蛇

Snake

Shé

Includes both Constrictor and Viper styles.

H features lunging open handed attacks mimicking the pounce

虎

Tiger

of a tiger

The only "mythical" animal taught. in some styles it is

practised separately from tiger because they are said to

clash.

龍

Dragon

Lóng

Chicken

鷄

J mimmicks the pecking movement of a chicken

M uses left to right movements similar to the tiger form but

Horse

馬

with closed fists. mimicks the action of a rearing and

stricking horse

Swallow

燕

Yàn

This can mean 'Sparrowhawk,' though the more common

word for "Sparrowhawk" used to be Zhn (

), which has

fallen from use over the years. The Chinese word for

"Goshawk" covers both the Goshawk and the Sparrowhawk.

鸇

Goshawk

鷂

Yào

猴

Monkey

Hóu

Other animals that may be present in a particular lineage

Chinese

Pinyin

鶴

Crane

Hè

The animal it is meant to represent is the Yangtze River

alligator. Sometimes referred to as a water-skimming insect,

or water lizard. the movements of a yangtze river alligator

have been compared to those of a pig crossed with a dragon

Crocodile

鼍

Tuó

This is a flycatcher native to Asia. Due to the rarity of this

character it may be translated as Ostrich, Dove, Hawk or

even Phoenix. The Chinese for this animal is a single

character ( ), not two (as written); this character is not in

the earlier versions of the Unicode standard so not all

computers are capable of displaying it.. For further

information on this character, check the Unihan database for

complete data on this character

(http://www.unicode.org/cgi-bin/GetUnihanData.pl?

鳥台

( )

see note

Tai

http://en.wikipedia.org/wiki/Hsing_I

2/5/2008

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika: