Académique Documents
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OVERVIEW
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There are many stories about the origin of Shaolin Wushu , but the credible
evidence should
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( 620 )
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In 620 , Li Yuan and Li Shimin fought against the general of the Sui dynastyWang Shichong in Luoyang , in the crucial moment of the battle , Tan Zong headed
Shaolin monks to arrest Wang
Shichor 's
the Tang camp. After Li Shimin became the emperor, he rewarded the monks for
their help , and Tan Zong was awarded the title of the General. This battle made
Shaolin monks famous for their boxing. From then on, Shaolin martial arts had a
glorious start. Afterwards Shaolin Temple has developed rapidly, its reputation has
grown. After the Zhen Guan period, Shaolin monk "read the Buddhist books in the
day, practiced martial arts in the night , while studying the Buddhist books , they
didn' t forget military preparations" (from Xilai Tang Zhishan Tana-Monument).
Studying the Buddhist books and practicing martial arts have become the unique
Shaolin style passed on from generation to generation.
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and lead all the monasteries in Song Mountain area. At that time , the Shaolin
Temple had 2 ,000 monks , among which Zhi An , Zhi Ju , Zi An and Dang Xun were
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In the Ming Dynasty, the Shaolin martial arts fiourished and became famous
in the world. The Shaolin stick held an important status in the Shaolin martial arts ,
which was also known as the most famous enginery for the Shaolin monks. Mao
Yuanyi , author of the book Records 01 the Weapons highly praised the Shaolin stick.
In his opinion, "Stick is the ancestor of all martial arts , and Shaolin is the cradle
of the stick." Especially in the Anti-Japanese Pirate War, stick was recorded in the
weapon in July, 23 of perpetual calendar of Shaolin Temple stele as "Our temple' s
monks were maneuvered for several t mes and fought against the enemy bravely'\
Another record in the Shanghai anecdotes series- Wusong says "All of them held
the stick which was 7 feet long , 15 kg in weight, and swift like the bamboo rod. The
warriors were so brave that if any soldier be ahead of the war field , he would act as
a vanguard..." The Shaolin monks wrote many moving and praisable glorious epics
which record their great behaviors for the nation and people.
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In the Qing Dynasty, the fashion of learning Shaolin martial arts was
prevailing. Today's Shaolin pilu pavilion (also named Qianfo palace) sti11 keeps the
48 hollow foot-making holes of the monk on the grey brick field , which is a strong
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1928
40
were
once
one of the mainly studied and researched contents of "The Museum of National
Martial Arts". However, the dog fi. ghts of the warlords at that time destroyed
Shaolin Temple. In 1928, Shi Yousan, who belonged
to e
department of F eng
Yuxiang of Kuoming Tang fought with Fan Zhongxiu , who belonged to the
Jianguo m Shi
after attacking and occupying it. The fire lasted for more than 40 days , which
destroyed al1e constructions and precious cultural relics in the temple.
1982
After the foundation of the People' s Republic of China, both Shaolin Temple
and Shaolin martial arts get their new lives. The Party and govemment not only
allocate exclusively to rebuild Shaolin Temple but also pay much attention to the
development of Shaolin martial arts. 1982 should be mentioned , as the film Shao /i n
Temple produced by HongKong Zhongyuan Film Company was released to the
public , which made the Shaolin martial arts reach its climax.
'ushu.
lt is rich
and colorful in contents. At present , the polular typical boxing routine includes
Dahong Boxing , Xiaohong Boxing , Pao Boxing , Luohan Boxing , Zhaoyang
Boxing , Meihua Boxing , Tongbei Boxing , Chang Boxing , Guandong Boxing ,
medicine , and Chikung, etc. They a l1 belong to the very precious national cultures
of tradition.
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Shaolin Boxing is unvamished , basing itself upon actual combat, and also has
the distinctive characteristic of technical attack.
To punch out straight like a line , and to practice punching even in someplace
only available for the cattle.
Shaolin Boxing has various sets and compact conformation, which is short
but strong enough. When exercising, the movements up and down are almost in
a line. Lots of masters of Shaolin Boxing believe that from the practice point of
view, two people in a fighting encounter are only apart from each other for several
paces , which means that the linear movement that division victory and defeat in a
second is the most effective one. All above show fully that Shaolin Boxing is not
restricted by the size of field , and its skills and power can be displayed anytime and
lywhere.
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power
is "To start boxing with bombards , and to get it done without any
rapl less
lep"
"The
drilling , tens and several movements are required to be finished in a coherent and
rapid way. Although Shaolin Boxing focuses on the firmness , it should be supported
by flexibility. "Firmness
comes rst
and to stand like the peg. Be heavy as mountain , light as feather. Wh en defending,
be as a virgin , when assaulting , like a tiger. Motionless is to wait at its ease for an
exhausted encounter, and moving boxing makes the encounter be out of rest, etc.
Curl and straight both don' t always take their co and the hand movements
are full of flexibility.
""
As for the hand skills , Shaolin Boxing requires the two arms to keep a certain
degree of curvature. When striking a fist and push a palm , the legs should be
driven , the waist be turned , and the shoulder be shaken powerfully. "The body
moves according to the hand's rolling movements , which abides by the rolling
EognEdhz
movements of itself". Ankylosis and clumsiness are not allowed at all. At the very
moment of finishing , the arms should form some kind of posture that is not so curl
or so straight to create further condition for another convenient attack and defense.
The rolling movements are even the scientific re f1 ects on the technology of attack
and defense , for the rolling can accumulate the power of attack , and is good for the
defense to dissolve the attack.
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The requirements of Shaolin Boxing for eyes rely on the head movements
according to the posture , the eyes' trace for the hand , and eyes on eyes to scan the
enemy. When practicing Shaolin Boxing , one's eyes should be as sharp as possible
to make the movements rapid. "Be hostile in gaze, calm in mind, bright in eyes,
and divine in temperament" , which then can result in aggressive vigour.
When fighting against each other, one pays his attention to the other's
expression in his eyes , not his hands and body, to plan the next step.
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When attacking , Shaolin Boxing requests the firm barycenter and straight
body to exert force , which can also increase the attacking power. When defense ,
To pay attention to the harrnony co-operation of the Three Jnside and Three
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Internal and external integration , and unity of forrn and spirit is the
characteristics for the whole Shaolin Boxing rnovernents. Each posture rnust rnove
hands , eyes , body, and feet to make the whole closely cooperate and coordinate
with each other. As Shaolin Boxing rnoves the entire body cornpactly and is
difficult to open a large , the body has a corresponding specific requirements: "The
hip and shoulder, elbow and knee , hand and foot should combine with each other."
Nhich
is the so-called inside three cornbines. Shaolin Boxing takes the thoughts
as the heart , "Courage will forrn if heart beats". "If hcart beats , the four extrernity
get its beat and the intemal power comes out'\"Body movements trace back the
heart beats". "Heart and wi l1 cornbine , the same with will and breath , and breath
and strength". Which is the so-called outside three cornbines. The Shaolin Boxing
chart says , "Fist is the law, and breath is the strength. When exercising breathing in
motions , intake and outtake of breath should abide by the movements. The intake
of breath relies on the slowness , and the outlake hurry. Breath is always before the
strength". In fact it tells that the highly unification of consciousness and acts in the
tc:chnical fighting and routine practicing.
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Hands Form
1. Fist
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( 2)
( 2 ):
( 3)
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Hook
( 1 )
( 5)
( 2 )
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( 6)
4. Claws
( 7
(p icture 7)
5. f Finger
( 8)
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Stance
1. Bow Stance
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2. Horse-riding Step
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( 10 )
Stand opening , toe within microclasp, squat knees , thighs close to the level.
(Picture 10)
3. Crouch Step
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( 11)
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( 12 )
12
( 13 )
Cross legs all squat knees , the forefoot whole foot touchdown , toe outreaches;
back foot heel is part from ground , the
buttocks besides close to the gaskin.
(Picture 13)
6.
13
Cross-Iegged Sitting
Position
( 14 )
14
7. T-stance
( 15 )
15
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( 20 )
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121
Hand Tecbniques
1. Fist Techniques
( 1 ):
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Hold fist: Arm raised , at the same time change fist with both hands at the
waist , fist-palm upward.
( 2 )( ) :
Punches om
the waist, at
the same time naturaUy recoil and slightly bent arm , strength to face. Thrust side,
thrust up as the same requirements ofthis, but in different directions.
( 3 ):
forward om
down to up beating,
fist with chest high , fist back forward , power punches to face.
( 4 ):
Pillared fist: Fist and elbow are together, bent arm and punch side
apart om
the chest, curved arms , fist heart down, fist-eyes face to face , power punches to
face.
( 5 ):
Plunge fist downward: Arm is from flexion to extension , since the upward to
downward
or om
( 6 ):
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Block fist upper: One fist raise the forehead , elbow slightly curly, arm and
H.
Chop fist: Fist cuts rapidly downward , arm unbends and power punches to
face when moving into a round to punch.
( 8 ):
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Parcels fist: Fists from the waist flex into arc , side punch, fist face eight-word
face to face , power punches to the second comer joints offist.
(9 ) Parry fist
:
Punches om
out, fist-heart inward , fist-face up , power punches to forearm , lever with eyes.
:
Parry fist down: Arm lattices inside to the outside to blow up power forearm .
( 10 ):
Crowded hand and hold fist: A hand to palm, a hand to fist , dual hands attack
that fist surface and fist-heart hold down.
( 11 ): 90 0
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the left arm flexed on the front right hand , palm upward , at the same time the hands
change to fist , right fist downward and left fist upward punch , right ahead and left
posteriorityst-heart
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( 12 ):
Lock crotch fist: Arm straight punches that
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( 13 ):
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( 1 ):
Push palm: Push forward , palm-up from the waist forward , arm slightly bent,
power punches to palm root or palm edge.
( 2 ):()
( 3 ):F
Cut palm: Arm is om bent to straight, palm-up leward punch, palm-down
rightward punch , power punches to palm edge.
( 4 ): D
Press palm: Press palm up to down and palm-heart downward , power punches
to palm-heart.
( 5 ):
Spreading palm: Bend ann to the ground , grasp flexor five fingers and change
( 6 ): 15
Raise palm: Palm upward , bent arm raises above the amount of about 15
cen tI meters.
( 7 ):
Plate palm: Bend ann inside , palm by chest and elbow punches forward . Five
fingers to separate natural , palm inward , power punches to palm-bac k.
(8
):
forward om
to fingertip.
( 9 ) :
Brush hand: Side standing with both hands , the hands are outside , right hand
high le hand
low, curved anns are in arc , brush hand to the same direction.
( 10 ):
Wave hands: Both hands on the front chest , left hand up , both hands are
encircling over the head after the change fist in the lumbar.
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fist bend to front-chest , rapidly make a long ann , fist changed palm forward punch.
( 11 ):
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( 12 ):
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Thrust finger: Fist of both hands change finger, bent arm to extension, hands
fast
thrust om
to ngertip.
( 13 ):
Press claw: The claw presses downward by the strike force to palm.
( 14 ):
Cross hands: Both palms cross-wrist chest, fingers point up and push forward.
( 15 ):
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Circle-up hand: Bend arm forward by circle out , little finger, ring finger,
middle finger, index finger with the bent wrist directing straight at the palm furled.
3. Elbow Techniques
( 1 ):
El bow strike: Bend elbow and hold a fist , palm-heart downward , elbow-tip
Bend elbow: Arm raising level , fist-heart downwrd, forearm is from outer to
inner, bending elbow.
( 3 ): 90 0
Raise elbow: Bend arm swing outside, fist-heart punches above or just below,
then bend arm 90 at forehead , but then it is high with the head.
( 4 )() :
Pay
elbow (
pay
inside ,
pay
inside , the strength in the forearm , parrying inside is parrying inside; parrying
outside is parrying outside.
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Crosscut elbow: 8end elbow, curved forward and punched, power punches to
Leg Techniques
( 1 ):
Flip kicking leg: The supporting leg is straight or slightly bends , and the other
leg extends to the straighted and forward flip kicking , waist high , foot-face smooth
and slightly buckle in , power punches to foot-tip. Leg flips to kick in place and then
leg naturally rebounds.
(2
):
--
Hook flip leg: Supporting leg is straight or slightly bends , the other one hooks
to kick frorn bend to outside and then flipping leg , supporting sole use force , power
punches to foot-tip. When it is swinging that keeping balance.
( 3 )()
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Kick heel (kick forward , kick back ) : The supporting leg is straight or slightly
bends by the other leg frorn bent to straight , with the heel driving out violently,
but not as high as chest , not as low as waist. The body is straight when driving
integrity; the body pitches forward when driving back.
( 4 )() :
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Sole side kick (high kick , low kick , side kick) : The supporting Ieg is straight
or sIightly curly, and the other Ieg is frorn bend to stretch, hooking foot , Iegs
pointed back within , put into use outside violently, kick out the soles of the feet.
High kick and Iurnbar level; low-kick and knee level; side kick at the upper body
rarnp , feet and waist-high.
(5
):
side but
the soles of
the feet are down, tiptoe tums inward, foot-besides use force.
2. Straight Leg Techniques
( 1 ) :
Kick up forward: Supporting leg is straight, the whole foot touches ground.
Another knee of the leg straighten, hooking foot kicks forward , close to the
forehead , trippingly and powerfully, upper body to rnaintain integrity.
( 2 ):
Inside kic k: Supporting leg is straight naturally, full foot touches ground , with
the other leg kicking from the body side like a fan to the swing. The other is the
same as "kick up forward".
Outside kick: It is the same as "Inside kck" , but swng in opposite directions.
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( 3 ) :
( 1 ):
Single slap foot: Supporting leg s straight and the othe rs' face tautly kcks
up; the hand of the same side punches from the waist, fist changing palm forward ,
bating foot face , to accurately hit down on loud.
( 2 )()
Cross slap foot: As "Single slap foot" , but use the other hand to slap foot-face.
( 3 ): ;
Kick-circle inward and slap foot: A leg kicks circle inward , sole insde; the
other hand taps sole , to accurately loud.
(4 ):
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Lotus kick: A leg kicks-swing outward , both hands hit foot in turn , to
accurately loud.
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Balances
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Supporting leg vertical stands, body upright. An other leg before body bends
knee , lifting high to chest, crus oblique inward , foot face clasps inward.
2. Cross-Iegged Balance
Supporting leg bends knee and half-squats , another bends knee , foot hooks
and toe is back closely linked to the knee back.
3. Bending Backward Balance
The supporting leg is straight or slightly bends , the upper body backwards
close to level; another leg slightly holds in balance before the body, high with level ,
foot face stretches tightly.
Jump
1. Straight Jump
( 1 ):
:
Flying kick: Swing legs and rise high , jumping leg lifts knee and kicks , foot
face stretches tightly, foot higher than the shoulder; the ipsilateral hand om the
waist beats on hands and foot to fast , accurate loud.
( 2 ):
from bent to straight, foot hooks , power punches to heel , but not as high as chest,
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Ki ck-flight with leading heel: Jumping , the leg kick-flight with leading heel
2. :
Tum body lead: The swing leg vacates back , two legs jump from the same
time , swinging leg straight, foot face stretches tightly, swinging backward as fanfon;
another leg is straight or flexes , strength to the soles , while the feet lands.
3. JfJt~:
180
Head Tecbniques
Chest in and head down, chin is c10se to the chest, then suddenly
sike
to the
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EAGLE CLAW QUAN
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The Eagle Claw Quan is a kind of quan that develops from the fonn , spirit and
attack method of the eagle , it is a kind of imitation boxing in Chinese Wushu. It
mainly imitates the way the eagle grabs and clasps , the way the eagle swings with
its wings in the sky. It 's a particular kind of quan that was created from the eagle's
behaviour and the peculiarities it hunts , while combined with the skills in Wushu. Its
main peculiarities are its abundant way of clawing; grab , clasp, pinch and grapple;
turning over; movements quickly; movement imitating the eagle; possessing both
the spirit and the appear. It commands your hands to punch out and claw back, hurt
the tendon and the bone , dot the point and hold the breath, tum
yo body
over agile ,
spirit like the eagle. The whole routine is of strength and power, it is dense and
quick. It commands stable and resource while staying calm just as the eagle gets
ready to catch the rabbit. It will show your intelligence , determination , valor and
beauty while combined with imitation acts such as "Eagle Swings with Its Wings" ,
"Eagle Prays on the Food". This routine is original with its quick and valor. lt mainly
attacks .o ther people's gorge , joint and other key parts of the body. It is a classical
imitation routine in Chinese Wushu.
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Starting Form
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Eagle Flying out Nest
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Keep moving , tum fight body slightly. 8end right elbow and place it
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le hand
Eagle
Spreads fings
1.
( 7)
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2.
( 8)
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leward.
(Fig 9)
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( 10 )
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4.
( 13 )
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1.
( 16 )
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( 17 )
le foot
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(Fig 17)
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Eagle Soars aod Preys
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23
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( 24 )
3.
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Eagle Shakes Wings
1.
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( 26 )
( 27
Ieward.
(Fig27)
26
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( 28 )
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( 29 )
5.
( 30 )
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6.
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(Fig 31)
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le claw
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5.
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Eagle Falls to Ground
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( 37 )
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Eagle Claw R_eac!t es o!l!
1.
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saighten
left
38
( 39 )
Fall right foot down with toe outward. Bend right knee and point le foot
backward. Swing both arms outside and
fall in &ont of chest quickly. Look forward.
(Fig39)
39
3.
( 40
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4.
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( 42 )
41
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Eagle Wheels in Air
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( 44 )
( 45 )
ont
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Turn body left. Right foot steps forward with toe inward. Swing waist and
anns
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( 47 )
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( 48 )
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7.
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(Fig49)
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( 50 )
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( 51 )
51
10.
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( 53 )
Tum body right, bend knees in horseriding stance. Stretch left claw forward
with c1 aw upward. Stretch right claw
backward with c1 aw downward. Look
forward. (Fig53)
2 .
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( 54 )
54
3.
( 55 )
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( 62 )
Turn body right. Right foot steps forward , bend right knee. Point with left foot
backward. Raise both arms sideward as eagle
swings wings. Look r;ghtward. (Fig 62)
62
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Eagle Vheeling and Cross-legg~
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Eagle Licks Cla_w
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( 71 )
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Golden Claw Reaches out
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3.
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Eagle Wbeels in Ai r
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( 80 )
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(Fig81)
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82
Eagle Preys
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( 84 )
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Eagle Spreads Wiogs
1.
( 85 )
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( 89 )
Closing Form
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( 90 )
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