(Redirected from Kung Fu)
'Chinese martial arts' describes the enormous variety of
martial arts styles originating in
China.
'Kung fu' and 'wushu' are popular terms that have become synonymous with Chinese martial arts. However, the
Chinese terms
kung fu (
pinyin: gōngfū) and
wushu () have very distinct connotations. Each term can describe different martial arts traditions and can also be used in a context without referencing martial arts. Colloquially, kung fu (or gong fu) alludes to any individual accomplishment or cultivated skill. In contrast, wushu is a more precise term that refers to general martial activities. The term wushu has also become the name for a
modern sport similar to gymnastics involving the performance of adapted Chinese bare-handed and weapons forms (tàolù 套路) judged to a set of contemporary aesthetic criteria for points.
History of Chinese Martial arts
Ancient depiction of martial monks practicing the art of
self defense.
The origins of Chinese martial arts are traced to
self-defense needs, hunting activities and military training in
ancient China.
Hand to hand combat and
weapons practice were important components in the training of Chinese
soldiers.
[1][2][3] Eventually, Chinese martial arts became an important element of
Chinese culture.
According to legend, the reign of the
Yellow Emperor (Huangdi, traditional date of ascension to the throne, 2698 B.C.) introduced the earliest forms of martial arts to China.
[4] The Yellow Emperor is described as a famous general who, before becoming China’s leader, wrote lengthy treatises on medicine, astrology and the martial arts. He allegedly developed the practice of
jiao di or horn-butting and utilized it in war.
[Chinese Kuoshu Institute. ''History of Shuai Jiao''. Accessed January 30, 2006.] Regardless of these legends, jiao di evolved during the Zhou Dynasty (2nd millennium B.C.) into a combat
wrestling system called jiao li, the practice of which in the
Zhou Dynasty was recorded in the
Classic of Rites.
[Classic of Rites. Chapter 6, Yuèlìng. Line 108.] This combat system included techniques such as
strikes,
throws,
joint manipulation, and
pressure point attacks.
[ Jiao li became a sport during the Qin Dynasty (221 - 207 B.C.). Jiao li eventually became known as shuai jiao, its modern form.]
Sophisticated theories of martial arts based on the opposing ideas of yin and yang, and the integration of "hard" and "soft" techniques are recorded in the annals of the Spring and Autumn Period (722 BCE–481 BCE).[Henning, Stanley E. (Fall 1999). "Academia Encounters the Chinese Martial arts". ''China Review International'' '6' (2): 319–332. ISSN 1069-5834]
The ''Han History Bibliographies'' record that, by the Former Han (206 BCE–8 CE), there was a distinction between no-holds-barred weaponless fighting, which it calls ''shǒubó'' (手搏), for which "how-to" manuals had already been written, and sportive wrestling, then known as ''juélì'' or ''jiǎolì'' (角力).
Wrestling is also documented in the ''Shǐ Jì'', The Records of the Grand Historian, written by Sima Qian dating from 109 BC to 91 BC.
In the Tang Dynasty, descriptions of sword dances were immortalized in poems by Li Bai. In the Song and Yuan dynasties, xiangpu (the earliest form of sumo) contests were sponsored by the imperial courts. The modern concepts of wushu were fully developed by the Ming and Qing dynasties.[5]
Martial arts are also mentioned in Chinese philosophy. Passages in the ''Zhuangzi'' (庄子), a Daoist text, pertain to the psychology and practice of martial arts. Zhuangzi, its eponymous author, is believed to have lived in the 4th century BC. The Tao Te Ching, often credited to Lao Zi, is another Daoist text that contains principles applicable to martial arts. According to one of the classic texts of Confucianism, ''Zhou Li'' (周禮/周礼),
Archery and charioteering were part of the "six arts" (, including rites, music, calligraphy and mathematics) of the Zhou Dynasty (1122 - 256 B.C.E.). ''The Art of War'' ( 孫子兵法), written during the 6th century B.C. by Sun Tzu ( 孫子), deals directly with military warfare but contains ideas that are used in the Chinese martial arts. Those examples shows that over time, the ideas associated with Chinese martial arts changed with the evolving Chinese society and over time acquired philosophical basis.
Taoist practitioners have been practicing Tao Yin, physical exercises similar to Qigong that was one of the progenitors to Tai Chi Chuan, at least as early as the 500 B.C. era. In 39-92 A.D., "Six Chapters of Hand Fighting", were included in the ''Han Shu'' (history of the Former Han Dynasty) written by Pan Ku. Also, the noted physician, Hua Tuo, composed the "Five Animals Play" - tiger, deer, monkey, bear, and bird, around 220 B.C.[6] Taoist philosophy and their approach to health and exercise can still be seen in the Internal styles of Chinese martial arts.
With regards to the Shaolin style of martial arts, the oldest evidence of Shaolin participation in combat is a stele from 728 A.D. that attests to two occasions: a defense of the Shaolin Monastery from bandits around 610 A.D., and their subsequent role in the defeat of Wang Shichong at the Battle of Hulao in 621 A.D. From the 8th to the 15th centuries, there are no extant documents that provide evidence of Shaolin participation in combat. However, between the 16th and 17th centuries there are at least forty extant sources which provided evidence that, not only did monks of Shaolin practice martial arts, but martial practice had become such an integral element of Shaolin monastic life that the monks felt the need to justify it by creating new Buddhist lore.[7]
References to Shaolin martial arts appear in various literary genres of the late Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction, and even poetry.[8]
These sources, in contrast to those from the Tang period, refer to Shaolin methods of unarmed combat, as well as combat utilising various weapons. These include the spear (Qiang), and with the weapon that was the forte of Shaolin monks and for which they had become famous—the staff (Gun, pronounced as ''juen'').[9] By the mid-16th century, military experts from all over China were traveling to Shaolin to study its fighting techniques.
The fighting styles that are practiced today were developed over the centuries, after having incorporated forms that came into existence later. Some of these include Bagua, Drunken Boxing, Eagle Claw, Five Animals, Hsing I, Hung Gar, Lau Gar, Monkey, Praying Mantis, Fujian White Crane, Wing Chun and Tai Chi Chuan.
The present view of Chinese martial arts are strongly influenced by the events of the Republican Period (1912-1949). In the transition period between the fall of the Qing Dynasty as well as the turmoils of the Japanese invasion and the Chinese Civil War, Chinese martial arts became more accessible to the general public as many martial artists were encouraged to openly teach their art. At that time, some considered martial arts as a means to promote national pride and improve the health of the Nation. As a result, many martial arts training manuals (拳普) were published.[10]
and numerous martial arts associations were formed throughout China and in various oversea Chinese communities. The Central Guoshu Academy (Zhongyang Guoshuguan, 中央國術館/中央国术馆) established by the National Government in 1928[11] and the Jing Wu Athletic Association (精武體育會/精武体育会) founded by Huo Yuanjia in 1910 are examples of organizations that promoted a systematic approach for training in Chinese martial arts.[12][13][14] A series of provincial and national competitions were organized by the Republican government starting in 1932 to promote Chinese martial arts. In 1936, at the 11th Olympic Games in Berlin, a group of Chinese martial artists demonstrated their art to an international audience for the first time.
Eventually, those events lead to the popular view of martial arts as a sport.
Chinese martial arts started to spread internationally with the end of the Chinese Civil War and the founding of the People's Republic of China on October 1, 1949. Many well known martial art practitioners chose to escape from the PRC's rule and migrate to Taiwan, Hong Kong,[15] and other parts of the world. Those masters started to teach within the overseas Chinese communities but eventually they expanded their teachings to include people from other cultures.
Within China, the practice of traditional martial arts was discouraged during the turbulent years of the Chinese Cultural Revolution (1969-1976).[16] Like many other aspects of traditional Chinese life, martial arts was subjected to a radical transformation by the People's Republic of China in order to align it with Maoist revolutionary doctrine.
Styles
Main articles: Styles of Chinese martial arts
China has one of the longest histories of continuously recorded martial arts tradition of any society in the world, and with hundreds of styles probably the most varied. Over the past two to four thousand years, many distinctive styles have been developed, each with its own set of techniques and ideas [21]. There are also common themes to the different styles, which are often classified by "families" (家, jiā), "sects" (派, pai) or "schools" (門, men) of martial art styles. There are styles that mimic movements from animals and others that gather inspiration from various Chinese philosophies, myths and legends. Some styles put most of their focus into the harnessing of qi energy, while others concentrate solely on competition and exhibition. Each style offers a different approach to the common problems of self-defense, health and self-cultivation.
Chinese martial arts can be split into various categories to differentiate them: For example, ''external'' (外家拳) and ''internal'' (内家拳)[22]. Chinese martial arts can also be categorized by location, as in ''northern'' (北拳) and ''southern'' (南拳) as well, referring to what part of China the styles originated from, separated by the Yangtze River (Chang Jiang); Chinese martial arts may even be classified according to their province or city. [10] The main perceived difference about northern and southern styles is that the northern styles tend to emphasize fast and powerful kicks, high jumps and generally fluid and rapid movement, while the southern styles focus more on strong arm and hand techniques, and stable, immovable stances and fast footwork. Examples of the northern styles include Changquan and Xingyiquan. Examples of the southern styles include Nanquan and Wing Chun. Chinese martial arts can also be divided according to religion, imitative-styles (象形拳), and more. There are distinctive differences in the training between different groups of Chinese martial arts regardless of the type of classification.
Training
Chinese martial arts training consists of the following components: basics, forms, applications and weapons. Each style has its own unique training system with varying emphasis on each of those components [24]. In addition, philosophy, ethics and even medical practise [25] are highly regarded by most Chinese martial arts. A complete training system should also provide insight into Chinese attitudes and culture.
Basics
''Basics'' (基本功) are a vital part of the training, as a student cannot progress to the more advanced stages without them; without strong and flexible muscles including the management of the "Chi" (breath, or energy), many movements of Chinese martial arts are simply impossible to perform correctly [26] [27]. Basics training involves a simple series of simple movements that are performed repeatedly over a short interval . Examples of basics training includes stretching, stances, meditation and special techniques.
A common saying concerning basic training in Chinese martial arts is as follows:
Which can be translated as
Stretching
Chinese martial arts pay considerable attention to stretching [28]. Speed, power, and the reduction of injuries may be achieved by increasing the range of motion. Common stretching exercises include general joint rotations, static stretching, and dynamic stretching. These exercises are performed individually, but may also be practiced in pairs. Different styles have different approaches to increase the student's flexibility, but those approaches should be consistent with the fundamentals of sports medicine.
Stances
Stances (steps or 步法) are special postures employed in Chinese martial arts training[29] [30]. They represent the individual elements of a form. Each style has different names and variations for each stance. Stances may be differentiated by feet position, body weighting, body alignment, and other such factors. Stance training can be practiced statically, the goal of which is to maintain the structure of the stance through a set time period. Stance training can also be practiced dynamically, in which case, a series of movements is performed repeatedly. The horse riding stance (骑马步，马步 qí mǎ bù,mǎ bù) or a bow stance is a representative example of a stance found in many styles of Chinese martial arts.
Meditation
In many styles, meditation is considered to be an important component of basic martial arts training. Meditation can be used to develop focus, clarity of thought and as a basis for qigong training. [31] [32] Meditation when practiced in this context does not require a religious component. As an example, one of the three major components of Shaolin kung fu practice is Zen Meditation, the other two being medicine and martial arts.
Special techniques
Special techniques are basic exercises that are unique to a particular martial arts style. Special techniques are developed based on the experience and understanding of a particular style. For example, many styles have training to increase the ability to withstand a direct hit through methods such as the "Golden Bell Cover" (金钟罩) or "Iron Shirt" (铁布衫) [33]. In Wing Chun, basic training includes the use of a wooden dummy ("Mook Jung" in Cantonese and "Moo Juang" in Mandarin) to develop striking power and some hand trapping techniques. [34] [35] There are also types of training that can be characterized as being fictional rather then real. For example, the ability to move lightly without leaving footprints or the ability to climb walls. [36]
Forms
''Forms'' or ''taolu'' () in Chinese are series of techniques defined by their stances combined so they can be practiced as one whole set of movements. Some say that forms resemble a choreographed dance, though martial artists often argue that a general difference is the speed and explosiveness seen in most external styles, and that the movements are actual fighting techniques. This confusion often results from modern practitioners not understanding the combat applications of such forms, however this is a key aspect to training and should never be ignored. [37]
These forms sought to incorporate both the internal and external aspects of Chinese martial arts. A kung fu form needs to be both practical, usable, and applicable as well as promoting flow, meditation, flexibility, balance and coordination. Often kung fu teachers are heard to say "train your form as if you were sparring and spar as if it were a form."
Types of forms
There are two types of forms in Chinese martial arts. Most common are the solo forms, performed alone by one person, but there are also "sparring" forms, which is a combined fighting sets performed by two or more people. There is another meditative component on kung-fu that is very useful to put the student on an imaginative real fight situation and also to literally "defeat" the fear factor.
Many styles consider forms as one of the most important practices, as they gradually build up the practitioner's strength and flexibility, internal power, speed and stamina, and teach balance and coordination. They also function as a tool for both the students and the teacher to remember the many techniques taught by the style, and sort them into various groups.
A style can have many compartments, both empty-handed and with weapons. In most styles, empty-handed techniques are the most common, but many styles also contain forms using a wide range of weapons of various length and type, utilizing one or two hands. There are also styles that only practice a certain weapon, containing only forms with the specific weapon.
Forms are meant to work the body. Once a basic structure is able to be maintained in the body, forms are then used to work that structure. Forms develop a sensibility of moving from position to position. This teaches the body to react.
Some forms focus specifically on punching and kicking, while others focus on joint manipulation, grappling, jump kicking, or weapons. Still other forms focus on different styles of movement, or on using specific configurations. Often, forms will combine several of these attributes.
Appearance of forms
Even though forms in Chinese martial arts are based on martial techniques, the movements might not always be identical to how the techniques they symbolize would work when applied in actual combat. This is due to the way many forms have been elaborated: on the one hand to provide better combat preparedness, and on the other hand, to look more aesthetic. One easily understood manifestation of this tendency toward elaborations that go beyond what most often might be used in combat is the inclusion of lower stances and higher kicks. The regular practice of techniques while using lower stances both adds strength to the same techniques when used with higher stances, and also facilitates using the same techniques in the lower stances when the realities of combat make doing so the most appropriate choice.
In recent years, as the perceived need for self-defense has decreased, many modern schools have replaced practical defense or offense movements with acrobatic feats that are more spectacular to watch, thereby gaining favor during exhibitions and competitions. The mainland Chinese government has especially been criticized by traditionalists for "watering down" the wushu competition training it promotes. Appearances have been important in many traditional forms as well, seen as a sign of balance, but may not be the most important requirements of successful training, from the martial perspective. Some martial artists have looked for supplementary income by performing on the streets or in theaters, although in the most traditional schools, such performance is forbidden.
Another reason why the martial techniques might look different in forms is thought by some to come from a need to "disguise" the actual functions of the techniques from outsiders, namely rival schools or the authorities, since China has been ruled by foreign powers in the past. The intention was to leave the forms in such a state that they could be performed in front of others without revealing their actual martial functions, while retaining their original functionality in a less obvious form. However some forms were created for reasons other than combat and martial application: some were created to help martial artists develop certain qualities. For example, in addition to aesthetic reasons, acrobatics blended into martial arts help martial practitioners develop strength, balance and flexibility.
Modern forms
Modern forms are used in sport wushu, as seen in this staff routine
As forms have grown in complexity and quantity over the years, and many forms alone could be practiced for a lifetime, styles of modern Chinese martial arts have developed that concentrate solely on forms, and do not practice application at all. These styles are primarily aimed at exhibition and competition, and often include more acrobatic jumps and movements added for enhanced visual effect [38] compared to the traditional styles. Those who generally prefer to practice traditional styles, focused less on exhibition, are often referred to as 'traditionalists'. Many traditionalists consider the evolution of today's Chinese martial arts as undesirable, saying that much of its original value is lost.
Application
''Application training'' refers to the training of putting the martial techniques to use. Chinese martial arts usually contain a large arsenal of techniques and make use of the whole body; efficiency and effectiveness is what the techniques are based on
[39] [40] [41]. However, many Chinese martial arts appear to be flowery and 'fancier' than other arts but the movements are very meaningful in terms of application. When and how applications are taught varies from style to style, but in the beginning, most styles focus on certain drills where each person knows what technique is being practiced and what attack to expect. Gradually, fewer and fewer rules are applied, and the students learn how to react and feel what technique to use, depending on the situation and the type of opponent. 'Sparring' refers to one aspect of application training that simulates fighting situations but still with rules and regulations to reduce the chance of serious injury to the student.
The subject of application training is controversial and is part of a raging debate between the practice of martial arts and sports based on the martial arts. In the traditionalist view, martial arts training should eventually lead to and be proven by actual combat as well as being govern by a moral philosophy. In comparison, the sports view suggests that the training does not require such extreme methods or such deep contemplation. [42] The traditionalist view is shaped by the history of Chinese martial arts where the techniques were developed as a means of self-preservation. Because of its importance, application training was kept secret and was given only to those that were considered 'worthy.' From the vantage point of martial arts as a sport, the issues of life and death is no longer decided by martial arts. As a result, the goal of the training should re-focus towards health and friendly competition.
Competitive sparring is one approach to satisfy the difference between the two viewpoints. In this approach, opponents can use their combat techniques but subject to a set of pre-defined rules and regulations which are designed to limit serious injuries. An example of this approach in the Chinese martial arts is the tradition of Lei tai (擂臺/擂台, raised platform fighting) and Sanda (散打) or sǎnshǒu (散手)[43]. Lèitái represents public challenged matches that first appeared in the Song Dynasty. The objective for those contests was to knock the opponent from a raised platform by any means necessary. San Shou represents the modern development of Lei Tai contests but without the raised platform and having rules in place to reduce the chance of serious injuries. Many Chinese martial arts schools teach sanshou and work to incorporate their movements, characteristics, and theory into sanshou's modern context. Sanshou is popular as a competition event and allows martial practitioners to both practice and put their skill to use in a friendly, non-hostile environment. It is similar to Muay Thai and is a type of sparring competition where the competitors wear protection and gloves and get points when scoring a hit on the opponent or performing a successful throw. Sanshou involves both stand-up striking and grappling, and as a modern competition is limited for safety reasons, in turn limiting technique and other components of the martial arts. However, many of these skills and techniques are still practiced among many sanshou practitioners, such as chin na and ground fighting. [44]
Weapons training
Most Chinese styles also make use of training the broad arsenal of Chinese weapons for conditioning the body as well as coordination and strategy drills
[45]. Weapons training (qìxiè 器械) are generally carried out after the student is proficient in the basics, forms and applications training. The basic theory for weapons training is to consider the weapon as an extension of your body. The same requirements for footwork and body coordination is required [46]. The process of weapon training proceed with forms, forms with partners and then applications. Most systems have training methods for each of the Eighteen Arms of Wushu (shíbābānbīngqì 十八般兵器) in addition to specialized instruments specific to the system.
Martial arts and morality
Traditional Chinese schools of martial arts, such as the famed Shaolin monks, often dealt with the study of martial arts not just as a means of self-defense or mental training, but as a system of ethics [47] [48]. Wude () can be translated as "martial morality" and is constructed from two Chinese characters, "wu" () which means martial and "de" () which means morality. Wude (武德) deals with two aspects; "morality of deed" and "morality of mind". Morality of deed concerns social relations; morality of mind is meant to cultivate the inner harmony between the emotional mind (Xin, ) and the wisdom mind (Yi, ). The ultimate goal is reaching 'no extremity' (Wuji, ) (closely related to the Taoist concept of wu wei), where both wisdom & emotions are in harmony with each other.
★ 'Morality of deed'
★
★ Humility (Qian Xu; 謙虛/谦虚 qiānxū)
★
★ Loyalty (Zhong Cheng; 忠誠/忠诚 zhōngchéng)
★
★ Respect (Zun Jing; 尊敬 zūnjìng)
★
★ Righteousness (Zheng Yi; 正義/正义 zhèngyì)
★
★ Trust (Xin Yong; 信賴/信赖 xìnlài)
★ 'Morality of mind'
★
★ Courage (Yong Gan; 勇氣/勇气 yǒngqì)
★
★ Endurance (Ren Nai; 忍耐 rěnnài)
★
★ Patience (Heng Xin; 性心 xìngxīn)
★
★ Perseverance (Yi Li; 毅力 yìlì)
★
★ Will (Yi Zhi; 意志 yìzhì)
Use of qi
Main articles: Qigong
The concept of ''qì'' or ''ch'i'' (氣/气), the inner energy or "life force" that is said to animate living beings, is encountered in almost all styles of Chinese martial art. [49] Internal styles are reputed to cultivate its use differently than external styles.
One's qi can be improved and strengthened through the regular practice of various physical and mental exercises known as qigong. Though qigong is not a martial art itself, it is often incorporated in Chinese martial arts and, thus, practiced as an integral part to strengthen one's internal abilities.
There are many ideas regarding controlling one's qi energy to such an extent that it can be used for healing oneself or others: the goal of medical qigong. Some styles believe in focusing qi into a single point when attacking and aim at specific areas of the human body. Such techniques are known as Dim mak and have principles that are similar to acupressure. [50] [51]
Some suggests that by practicising qigong to an advanced level it is possible to cause a physical reaction to an opponent without even touching the opponent. [52] This is a popular concept in Chinese martial arts movies but are rarely seen in the everyday world.
Notable practitioners
:''Main article:'' Chinese martial artists
:''See also:'' Wushu_practitioners
Examples of well-known practitioners (武术名师) throughout history:
★ Yue Fei (March 17 1103-January 27 1142) - famous Chinese general who learned archery as a child from Zhou Tong. (See Yue Fei Biography) Many martial arts styles attribute their creation to Yue.
★ Ng Mui (late 1600s, Chinese: 五梅大師) - legendary female founder of many Southern martial arts such as Wing Chun Kuen, Dragon style and White Crane. She is often considered one of the legendary Five Elders who survived the destruction of the Shaolin Temple during the Qing Dynasty.
★ Yang Luchan (1799-1872, Chinese: 楊露禪) - was an important teacher of the soft style martial art known as tai chi chuan in Beijing during the second half of the 19th century. Yang is known as the founder of Yang style tai chi chuan, as well as transmitting the art to the Wu/Hao, Wu and Sun tai chi families.
★ Ten Tigers of Canton (late 1800s, Chinese: 廣東十虎) - a group of ten of the top Chinese martial arts masters in Guangdong (Canton) towards the end of the Qing Dynasty (1644–1912). Wong Kei-Ying, Wong Fei Hung's father, was a member of this group.
★ Wong Fei Hung (1847-1924, Chinese: 黃飛鴻) - a martial artist who became a Chinese folk hero during the Republican period. More than one hundred Hong Kong movies were made about his life. Sammo Hung, Jackie Chan, and Jet Li have all portrayed his character in blockbuster pictures.
★ Huo Yuanjia (1867-1910, Chinese: 霍元甲) - the founder of Chin Woo Athletic Association who was known for his highly publicized matches with foreigners. His biography was recently portrayed in the movie Fearless (2006).
★ Bruce Lee (1940 - 1973, Chinese: 李小龍) - Chinese American martial artist and actor considered as an important icon in the 20th century. [53] He practiced Wing Chun, a traditional southern style of kung fu, and made it famous. He later developed his own methodology regarding martial arts which he founded under the name Jun Fan Gung Fu.
★ Jackie Chan (B. 1954, Chinese: 成龍) - Hong Kong martial artist and actor widely known for injecting physical comedy into his martial arts performances, and for performing complex stunts in many of his films.
★ Jet Li (B. 1963, Chinese: 李連杰) - Five-time sport wushu champion of China, later demonstrating his skills in cinema.
Popular culture
References to the concepts and use of Chinese martial arts can be found in popular culture. Historically, the influence of chinese martial arts can be found in books and in the performance arts specific to Asia. Recently, those influences have extended to the movies and television that targets a much wider audience. As a result, Chinese martial arts have spread beyond its ethnic roots and have a global appeal. [54] [55]
Martial arts plays a prominent role in the literature genre known as wuxia(武侠小说). This type of fiction is based on a Chinese concepts of chivalry, a separate martial arts society (Wulin, 武林) and a central theme involving martial arts.[56] Wuxia stories can be traced as far back as 2nd and 3rd century BC, becoming popular by the Tang Dynasty and evolving into novel form by the Ming Dynasty. This genre is still extremely popular throughout East Asia and provides a major influence for the public perception of the martial arts.
Martial arts influences can also be found in Chinese opera of which Beijing opera is one of the best-known examples. This popular form of drama dates back to the Tang Dynasty and continues to be an example of Chinese culture. Some martial arts movements can be found in Chinese opera and some martial artists can be found as performers in Chinese operas.
In modern times, Chinese martial arts have spawned the genre of cinema known as the martial arts film. The films of Bruce Lee were instrumental in the initial burst of Chinese martial arts' popularity in the West in the 1970s. Martial artists and actors such as Jet Li and Jackie Chan have continued the appeal of movies of this genre. Martial arts films from China are often referred to as "''Kung Fu movies''" (功夫片), or "Wire Fu" if extensive wire work is performed for special effects, and are still best known as part of the tradition of Kung Fu Theater. (see also: wuxia, Hong Kong action cinema).
A U.S. network TV western series of the early 1970s called ''Kung Fu'' also served to popularize the Chinese martial arts on television. With 60 episodes over a three-year span, it was one of the first North American TV shows that tried to convey the philosophy and practice of Chinese martial arts. [57]
[58] The use of Chinese martial arts techniques can now be found in most TV action series, although the philosophy of Chinese martial arts are seldom portrayed in depth.
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18. Wu Bin, Li xingdong and Yu Gongbao(1992), "Essentials of Chinese Wushu", Foreign Language Press, Beijin, ISBN 7-119-01477-3
19. Sport and Physical Education in China, , Jim, Riordan, Spon Press (UK), 1999, ISBN 0-419-24750-5 p.15
20. Minutes of the 8th IWUF Congress, International Wushu Federaton, December 9,2005 http://www.iwuf.org/Meetings/8thCongress/minutes.htm (accessed 01/2007)
21. Liu Yamin and Xing Yan (1995), Treasure of the Chinese Nation - The Best of Chinese Wushu Shaolin Kungfu (Paperback), China Books & Periodicals; Chinese edition, ISBN-13: 978-7800241963
22. Li Tianji and Du Xilian, A Guide to Chinese Martial Arts (1995), Foreign Languages Press, ISBN - 978-7119013930
23. Brian Kennedy and Elizabeth Guo (2005), Chinese Martial arts Training Manuals: A Historical Survey, CA: North Atlantic Books, ISBN 1-55643-557-6
24. Shou-Yu Liang and Wen-Ching Wu (2006), Kung Fu Elements, The Way of the Dragon Publishing, ISBN - 978-1889659329
25. Anthony Schmieg (2004) Watching Your Back: Chinese Martial Arts and Traditional Medicine , University of Hawaii Press, ISBN 978-0824828233
26. Wong Kiew Kit (2002), Art of Shaolin Kung Fu: The Secrets of Kung Fu for Self-Defense Health and Enlightenment Tuttle Publishing, ISBN 978-0804834391
27. Kiew Kit Wong (2002), The Complete Book of Shaolin: Comprehensive Program for Physical, Emotional, Mental and Spiritual Development, Cosmos Publishing, Inc., ISBN - 978-9834087913
28. Shi Yan Ming (2006), The Shaolin Workout: 28 Days to Transforming Your Body and Soul the Warrior's Way, Rodale Books ISBN - 1594864004
29. Bow-Sim Mark (1981), Wushu basic training (The Chinese Wushu Research Institute book series) Chinese Wushu Research Institute, ASIN: B00070I1FE
30. Raymond Wu (2007), Fundamentals of High Performance Wushu: Taolu Jumps and Spins, Lulu.com, ISBN - 978-1430318200
31. Jwing-Ming Yang (1998), Qigong for Health and Martial Arts: Exercises and Meditation, YMAA Publication Center, ISBN 1886969574
32. Michael L. Raposa (2003), Meditation & the Martial Arts, University of Virginia Press, ISBN 0813922380
33. Mantak Chia (1986),Iron Shirt Chi Kung I, Healing Tao Books, ISBN 0935621024
34. Joseph Wayne Smith (1992), Wing Chun Kung-Fu: Weapons and Advanced Techniques, Tuttle Publishing,ISBN 0804817200
35. Garrett Gee, Benny Meng, Richard Loewenhagen (1993), Mastering Kung Fu, Human Kinetics,ISBN 0736045686
36. Leung Ting (1992), Skills of the Vagabonds, BAFA, ISBN - 9789627284178
37. Daniele Bolelli (2003), On the Warrior's Path: Fighting, Philosophy, and Martial Arts Mythology, Frog, ISBN - 1583940669
38. Xie Shoude (1999), International Wushu Competition Routines (Paperback),Hai Feng Publishing Co., Ltd., ISBN - 9622381537
39. Man Kam Lo, Bradley Temple, Nicholas Veitch and John Kang (2001), Police Kung Fu: The Personal Combat Handbook of the Taiwan National Police, Tuttle Publishing, ISBN-13: 978-0804832717
40. Lu Shengli and Zhang Yun (2006), Combat Techniques of Taiji, Xingyi, and Bagua: Principles and Practices of Internal Martial Arts, Blue Snake Books, ISBN - 978-1583941454
41. Tong Zhongyi and Tim Cartmell (2005), Method of Chinese Wrestling,North Atlantic Books, ISBN - 978-1556436093
42. Ming Shi, Shi Ming
, Weijia Siao and Siao Weija translated by T.F. Cleary (1994),Mind Over Matter: Higher Martial Arts, Frog, ISBN 1883319153
43. Mizhou Hui(1996), San Shou Kung Fu of the Chinese Red Army: Practical Skills and Theory of Unarmed Combat,Paladin Press, ISBN - 0873648846
44. Tai D. Ngo and Shou-Yu Liang (1997), YMAA Publication Center, ISBN 1886969493
45. Yang Jwing-Ming (1999) Ancient Chinese Weapons, Second Edition: The Martial Arts Guide , YMAA Publication, CenterISBN 978-1886969674
46. Ju-Rong Wang & Wen-Ching Wu (2006),Sword Imperatives--Mastering the Kung Fu and Tai Chi Sword, The Way of the Dragon Publishing, ISBN-13: 978-1889659251
47. Ming-dao Deng (1990), Scholar Warrior: An Introduction to the Tao in Everyday Life , HarperOne,
ISBN - 978-0062502322
48. Adam Hsu (1998), The Sword Polisher's Record: The Way of Kung-Fu, Periplus Editions, ISBN - 978-0804831383
49. Lam Kam Chuen (2003), Chi Kung - Way of Power, IL: Human Kinetics, ISBN 9780736044806
50. Erle Montaigue and Wally Simpson (1997),The Encyclopedia of Dim-Mak: The Main Meridians, Paladin Press, ISBN 978-1581605372
51. Erle Montaigue and Wally Simpson (1997),The Encyclopedia of Dim-Mak: The Extra Meridians, Points, and More, Paladin Press, ISBN 978-0873649285
52. Paul Dong (2006), Empty Force: The Power of Chi for Self-Defense and Energy Healing, Blue Snake Books, ISBN 1583941347
53. Joel Stein, TIME Magazine's 100 Most Important People of the Century, 1999, http://www.time.com/time/time100/heroes/profile/lee01.html
54. Vijay Prashad (2002), Everybody Was Kung Fu Fighting: Afro-Asian Connections and the Myth of Cultural Purity Beacon Press; ISBN - 978-0807050118
55. M. T. Kato (2007) From Kung Fu to Hip Hop: Globalization, Revolution, and Popular Culture (Suny Series, Explorations in Postcolonial Studies), State University of New York Press, ISBN - 978-0791469927
56. Joshua S. Mostow, Hirk A. Denton, Bruce Fulton, Sharalyn Orbaugh (2003) "Chapter 87 - Martial-Arts Fiction and Jin Yong" in "The Columbia Companion to Modern East Asian Literature". Columbia University Press p.509 ISBN 0-231-11314-5.
57. Herbie J. Pilato (1993) , The Kung Fu Book of Caine: The Complete Guide to Tv's First Mystical Eastern Western, ISBN - 978-0804818261
58. David Carradine (1993), Spirit of Shaolin, ISBN - 978-0804818285
See also
★ List of Chinese martial arts
★ Shaolin kung fu
★ Wushu (term), Wushu (sport)
★ Taijitu
★ Taiji
★ Kung fu (disambiguation)
★ Eighteen Arms of Wushu
★ Hard and soft (martial arts)
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