Wushu (武術) and Kung Fu (工夫)



Wushu 武術 (S武术) is the proper term for martial arts in China.
Kung Fu (工夫 )translates literally as the achievement or ability of an art form or of a specific skill. The term also implies that time and hard work are involved. In China, the term refers to any skill. Julia Child, Mario Andretti, and W.A. Mozart could be said to have Kung Fu in their respective specialities. In some southern Chinese dialects, and in many Western languages, the term “Kung Fu” is often used to refer to Chinese martial arts.

Throughout the World, there are hundreds of styles of martial art. In China, where martial arts are called Wushu武術, there are believed to be more than 120 different styles, each of which has many branches. Each style has its own unique training methods, philosophy, as well as unique cultural background. While learning a martial art opens a door to a way of understanding and perfecting your own physical, mental and spiritual well being; it also offers a deeper understanding of your own history and culture, and the culture from which the art developed.

The innumerable benefits to mental, spiritual, emotional, spiritual, and physical well-being have inspired students of Chinese Wushu in over 100 different countries. It is applied for sport, health, self-defence, self-discipline, police and military training, and cultural festivals. Men and women of all ages practice wushu, as a temporary diversion, a regular hobby, a therapy, an art form, or a way of life.

If you choose to join the millions of people around the world who benefit from practising the many different styles of martial art that exist; getting the maximum benefit from your training does not depend on finding which style is best. It depends on finding which style and school is right for you. No school is right for every student, and not every student is right for every school. If you find a school and a style with which you have rapport, and which you will enjoy training in, then you will be more likely to put in the time and effort that will be necessary for reaching the level of achievement that is the very definition of Gong Fu (Kung Fu).

Click here to read about the difference between Modern Wushu and Traditional Wushu.

MARTIAL VIRTUE



The proper term for martial arts in China is Wushu (武術). The word “wu” (武) is made up of zhi止 (to stop) and ge戈 (an ancient Chinese weapon). Wushu is therefore often taken to mean “the art of stopping violence.” This is in keeping with the understanding that most masters come to - that the purpose of practising a martial art is to seek peace and harmony in a seemingly violent world.

This is the higher purpose of traditional martial arts. Great masters have gone so far as to say that “The true way of the martial artist is the way of Love.” This is not merely idealistic poetry. It is very practical. Love, enlightenment, and harmony with all things, is the most efficient way to victory. Great warriors throughout history have known that victory depends on knowing yourself and knowing your enemy. But you will never truly know anyone by hating them.

This practical idealism is also why being a martial artist has traditionally been very different from being a soldier. Soldiers in times of feudal warfare were seldom well trained martial artists. They simply didn’t have the time. They were usually poor uneducated peasants conscripted into the army and given a few weeks of combat training. A martial artist, by contrast, would spend a lifetime refining his or her skill.

Much of the soldier’s training would, out of necessity, consist of learning to follow orders, march, and embrace such emotions as fear, bravery, pride and discipline. To a martial artist, fear and pride are not virtues, and discipline can have a very different meaning to a martial artist than it does to a soldier.

A martial artist’s training includes profound and subtle refinement of combat skills, as well as a concurrent refinement of personality, calming the mind, and cultivating virtue. Traditional wushu incorporates the study arts, sciences, religion, medicine, psychology, and philosophy. No form of study is beyond the scope of martial arts. Everything that helps one to understand the Universe and one’s place in it, is a part of wushu.

Mastery includes the mastery of one’s life. A martial artist - using love and kindness as a guiding foundation - pursues chivalry, righteousness, modesty, faithfulness, honesty, integrity, and courtesy. These are not laws that one must follow. They are the natural result of seeking wisdom. Virtue is not the carrot or the stick. It is the horse.

Wude 武德 (martial virtue) is not an adjunct to combat training. It is an essential part of it. If one does not cultivate virtue, one will never achieve the high level skills of a martial art. It is possible to achieve a mediocre level of skill without virtue. But the highest level of combat skill has traditionally belonged to the people of highest virtue. That is why one is not surprising to look through history and find the greatest and most famous martial artists were not always soldiers. They were monks, nuns, healers, teachers, and sometimes performers, engineers, aristocrats, and peasant farmers.

There are exceptions to every rule. But when martial historians find a famous martial artist who did not appear to be of high moral character, it is usually the case that, if such masters were not beaten in combat, they did tend to destroy themselves.

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There are several ways to categorise the different types of martial arts in China. There a Northern Styles, Southern Styles, animal styles, Buddhist styles, Daoist styles, Muslim styles, Tibetan styles, Emei Mountain styles, Wudang Mountain styles, clan styles, and more.

One of the common distinctions that is often made is the one between “External Styles” (Waijia) and “Internal Styles.” (Neijia)

Neijiaquan literally means “internal family fist” and has two different meanings. It can refer to a specific style. But the term is usually used in a generic sense to refer to several different styles that gained fame in Beijing during the late Qing Dynasty.

In the Imperial palace during the 1800’s there were a number of elite martial artists who were hired to teach royalty, imperial guards, and the military. These great martial artists are known to have shared information and students and to have found a great deal of common ground. This is to be expected, just as mountain climbers who start at different points find more common ground with each other as they reach the top.

Such was the case with masters of styles like Xingyiquan, Baguazhang, Taijiquan, and Bajiquan, who each recognised familiar fundamental principles in the others. They also saw that what they taught was different from the average martial artist. They referred to the styles that they practised as being of the “Internal Family.” This was as much a recognition of elitism as much as a recognition of the subtle internal principles that these styles had in common. They did not know that there was another style on Wudang Mountain that was also called Neijiaquan, and this has led to a fair amount of confusion, with many people thinking that the internal styles of Beijing came from Wudang.

There are several styles from China and elsewhere which are now referred to as internal styles. These are generally defined as styles which emphasise the cultivation of “internal power.” This internal power can refer to a profound co-ordination of mind, body and spirit. But it can also mean a subtle alignment of connective tissue and stabiliser muscles, co-ordinated with deep awareness and a highly developed strategy of using softness and will to conquer brute force and aggression.

Neijiaquan was first mentioned as the name of a Daoist martial art that legend attributes to a mythical hermit named Zhang Sanfeng. A famous master of this style was Zhang Sonxi fo the Qing Dynasty, and the style is often called Songxi Neijiaquan to distinguish it from the more generic term Neijiaquan.


Traditional Wushu vs Modern Wushu.


or

Kung Fu (Gongfu) vs Wushu



There is a great deal of confusion about these terms. Both "Kung Fu" and "Wushu" are terms that are used to refer to Chinese Martial arts. Typically, those who call their art Kung Fu treat the word Wushu as a reference to modern performance routines that may be beautiful but without any practical martial application. Those who refer to their art as wushu may see it as a difference between modern performance wushu and the more comprehensive traditional wushu.
There are also those who practise both traditional wushu and modern wushu, and say that both require gongfu.
To be accurate, wushu means "martial art." While kung fu refers to a profound skill acquired over time. So wushu may be said to include may types of "gong" (skill). Yet those who use kung fu (gongfu) to refer to the art itself may claim that the pretty routines of modern wushu are watered-down versions of their martial art, and therefore are devoid of real gongfu.
Sheeeesh!
At a North American tournament, an official was heard telling the competitors "This is a traditional kung fu division! I don't want to see any wushu here!"
Another official, with a confused expression, turned to the first and asked, "You don't want to see any martial arts?"

Fortunately, martial artists are starting to work out the semantics. Nowadays, you will hear less about the difference between "kung fu" and "wushu." Practitioners are gradually coming to refer to them as "Traditional Wushu" and "Modern Wushu." Both are judged according to the types of skills they emphasise, and the level of gongfu the students demonstrate.

What is the real difference between wushu and kung fu? Is kung fu the same as wushu? Why do kung fu schools sometimes look down at wushu schools, if they are really the same thing?

How the confusion started.


Ancient Modern Martial Arts - Huatao Wuyi 花套武藝(s艺): (fireworks based on martial skills)


Back in the Ming Dynasty (1368 - 1644) there was an art form called Huatao Wuyi. This art form was derived from wushu and often employed martial artists who were happy to modify their routines in order to entertain the audience and make money. This is much like a graeco-roman wrestler taking up professional wrestling to make money. The traditional conditioning and acrobatic skills of the martial artists came in very handy when performing dramatic choreographed fight scenes. These performers developed training routines that were more expressive and dramatic.

Chinese opera and folk dance were heavily influenced by Huatao Wuyi, just as many folk dances around the world have been influenced by the local martial arts. But the popularity of fight scenes in Chinese folk performances and opera pushed the development of Huatao Wuyi to great heights.

From an artistic and entertainment point of view, this was a great development, and it could even be argued that the athletic demands of performance were a benefit to martial artists' conditioning. But to it was such a corruption of the essence and purpose of traditional wushu that military troops were forbidden from practising it, lest they begin to confuse dance with combat. To some it was called Huaquan Xiutui (花拳绣腿) or "Flower Fists and Embroidered Legs"

Huatao wuyi has persisted, in various forms, to this day.

Modern Wushu - Xiandai Wushu 現代武術 (s现代武术) - Modern/Contemporary Wushu


After the communists took power in China, there was a period tacit acceptance of wushu, both traditional martial arts and performance arts. But during the cultural revolution (1966-1976) , the public performance of any martial art, including sanshou, shuaijiao, boxing and even weight lifting, were discouraged. The only form that martial arts could take was the huajiazi 花架子. These were pretty but fake versions that were more dance than martial art, and containing dance, gymnastic, and acting moves.

These zixuan taolu 自選(s选)套路 (freestyle optional routines) were both physically demanding for the performer and aesthetically pleasing to the audience. And because there were no apparent combat element, parent felt it was a good option for their children.

Modern wushu has become very popular around the world, and has strongly influenced eastern and western popular culture. But when the cultural revolution ended, there were few public masters of traditional wushu who were able to take challenges from the traditional schools that had left china before communism. This led to the perception that "Kung fu", as traditional wushu was often referred to in the West, was a superior fighting art to the modern wushu of communist China.

Neo Modern Wushu

But the fact that modern wushu was more popular in China, didn't mean that traditional masters were not still there. Many, like Liang Shouyu, had continued their traditional training in secret, and after the cultural revolution they were able to start teaching again. When these masters started emigrating from China, they were able to restore the respect for the wushu of the mainland China. By the end of the 20th century, Chinese sanshou teams were starting to dominate international sanshou competition.

But there was an apparent trend emerging. Throughout the world there was a growing spit between the schools that taught modern wushu as a performance art and sport, and those who taught wushu for self defence, and those who practised the art as a sort of spiritual cultivation. Often students would be exposed to one aspect of wushu, and learn nothing of the others. Student would seek wushu for self defence and end up learning impractical performance skills, or they would learn the performance skills and have no idea that there was a martial art behind it. And those seeking a deeper meaning were often left wondering where all that ancient wisdom and philosophy had gone.

In response to this growing dichotomy, traditional and modern wushu coaches from around the world formed the International Wushu Sanshou Dao Association with the objective of fostering a versatile martial artist who could perform the routines, demonstrate the combat skills, and understand the deeper meaning of the art.

Post Neo Modern Wushu


Due in part to a movement to have wushu included as an official sport in the Olympics, several changes were made to the way in which modern wushu competitions were judged. In the past, only highly experienced masters were able to judge wushu routines, because they had the unique understanding of the art that enabled them to see aspects of a performance that younger experts could not even see. This posed a problem for the training of judges, and for the promotion of the sport to audiences who were even less well informed.

By the 21st century, there was a move away from standard routines to individually choreographed routines with standard elements and varying levels of difficulty. This system rewards athletic skills that can be more easily understood by judges and audiences. But it eliminates even more of the practical martial elements of the art, and in some cases changes the essence of the styles being performed.

Some of the older masters have refused to participate in this new system, while others have been more accepting of this new version of the sport, saying that it is simply a new aspect or branch of wushu to add to the others. But even with the more conciliatory masters, there has been a lot of eye rolling going on.

Modern Traditional Wushu


Of course, as with any extreme movement, there is always a backlash. Hence, the World Traditional Wushu Championships which operates much like the World Wushu Championships, except that the routines are judged according to more traditional criteria. In 2004 the 1st World Traditional Wushu Tournament was held in Zhengzhou China. The 2nd World Traditional Wushu Tournament was held in 2006 at the legendary birthplace of Chinese Wushu, the Shaolin Temple near Zhengzhou, in Henan. The four-day event attracted 2,008 athletes and coaches from 66 "countries and regions."

The problem that some might see with traditional competitions is that there is often no difference in choreography between the new traditional routines and what was considered a modern routine just a few years ago. The difference must be in the criteria for judging them. For instance, traditional taiji competitions see people doing "modern routines" that were created as International Standard Routines in the 1980's. But these routines are judged on traditional criteria. Some routines have a "modern flavour" but the choreography is traditional, unlike taiji routines with 720 aerial spin kicks landing the splits.

The performing of routines with a focus on artistic style, acrobatics, and aesthetic over combat applicability has been around for a long time. The Xiandai (contemporary wushu) 现代武术 has elements of Huatao wuyi花套 武藝(S艺) of the Ming Dynasty mixed with some modern gymnastics and dance 舞术(also pronounced wushu). (Another word, wushu鼯 means flying squirrel. I'm sure there is a joke in there somewhere.)


Styles of Wushu



The hundreds of different styles and schools of Chinese martial arts 中國武術 are collectively called Kung Fu 功夫, Wushu 武術, Kuoshu 國術, or Ch'uan Fa 拳法.

There are several ways to categorise the different types of martial arts in China. There are northern styles, southern styles, animal styles Buddhist styles, Daoist styles, Muslim styles, Tibetan styles, Emei Mountain Styles, Wudang styles, Shaolin styles, internal styles, and external styles....
Any martial art might fit into more than one of these categories. And all share some kind of common history. (Martial arts thrive on innovation. So, there is always a lot of research and development going on, with styles mutually influencing each other over thousands of years.

With the practical considerations of combat being so important to the ancient masters, all styles required the cultivation of power, speed, and technique. They also shared the need to protect vulnerable areas while maintaining offensive opportunities. Each of these requirements needed to be developed without compromising the others. One must not, for example develop speed at the expense of the proper alignment needed for power, and power must not interfere with the smooth changes needed to execute proper technique.

With all these common requirements, and the common weapon (the human body) it is not surprising that there are so many similarities between the different styles. Another unifying factor was the function of major learning centres such as Shaolin, Wudang, and Emei, where martial artists, warriors, healers, and clergy would often share knowledge and further develop their arts.


Damo 達摩(达摩)

Also known as Bodhidharma (?- 536CE), he was the 28th successor of Buddhism and the first patriarch of Chan (Zen). He taught exercises that strongly influenced what was to become Shaolin Kung fu.


History is written by those who can write. So it is not surprising that there is little known about martial arts of more than 2 millennia ago. There were indubitably many different martial arts that predated literacy, simply due to the need for clans and families to defend themselves. But all we really know about those arts comes carvings of wrestlers. But the grand systematic martial systems that we think of today were not seen until shortly after Damo.

Damo is said to have authored two exercise manuals, the Yijinjing易筋經(经) (Muscle/Tendon Changing Classic), and the Xiangsuijing洗髓經(经) (Marrow/Brain Washing Classic). The Shaolin monks later found these exercises to strengthen their bodies and spirits. They soon found that the training not only made them healthier, but it also made them stronger. Over the years, visiting martial artists and the monks combined this training with martial training and became formidable fighters. The temple subsequently spawned or influenced many styles of wushu and qigong.

The Shaolin temple was not the only influence in the development of wushu in China. There were many folk styles, Daoist styles, military styles, and sports which developed in relative degrees of isolation.


Following is are some of the many styles of wushu.



Bafaquan 八法拳 (eight methods fist): developed by Li De Mao (李德茂) during the Qing dynasty. He combined the techniques of Fanziquan (翻子), Paochui (炮捶), Tantui (弹腿), Tongbeiquan (劈挂) and Xingyiquan (形意) into a new style based on eight methods 八法 - outer trap, inner trap and stab, flick, support, shake, chop and reel. lan 攔 (block)、na拿(capture)、zha 扎 (pierce)、beng 崩 (burst)、tuo 托 (support)、dou 抖 (shake)、pi 劈 (split)、chan 纏 (reel).

Baguazhang 八卦掌 (Eight Trigrams Palm): An internal style of wushu that originated from Emei. This style was made famous by Dong Haichuan (1813-1882) the personal bodyguard to the Empress Dowager of the late Qing Dynasty. There are many styles of baguazhang, thanks in no small part to the fact that Dong taught mostly experienced masters whose own styles influenced their baguazhang. There are also other styles of baguazhang that originated from Emei.

Baihequan 百鶴拳 (White Crane Fist): A southern style characterised by light and agile movements, quick hand changes, waist movement, and a whip-like power.

Baimeiquan 白眉拳 (white eyebrow style): Popular in Hong Kong, Guangdong, and Southeast Asia. This style is said to have been created by Baimei, a legendary Daoist priest.

Bajiquan 八極拳 (World's end style or Eight extremities style): Considered an internal style and characterised by explosive power, stomping feet, and close range applications, this style is said to have been passed down to Wu Zhong (吳鐘) by a wandering Daoist.

Beipai 北派 (northern styles/factions): a general term referring to styles that developed north of the Yangtze River, as opposed to nanquan南拳 (southern styles)

Benglong Wushu 崩龍武術 also known as Zuoquan 左拳(left fist): a general term referring to styles developed by the Deang 德昂族 people of Yunnan Province.

Boziquan 跛子拳(lame person style): Created by Jingyun (凈雲禪師)this 80 movement routine imitates an injured or handicapped person.

Cailifoquan 蔡李佛拳: a southern style created by Chen Gen and based on fojiaquan佛家拳, liquan李拳, and caiquan蔡拳. This style is know for the great number of routines that it contains.

Caiquan 蔡拳: Created by two monks from Fujian Shaolin Temple this style is one of the most influential southern styles.

Canbimen 閉門, 門, 絲門 (silk reeling style):From Jiangxi Province, this style focuses on coiling and neutralising like a silkworm making a cocoon.

Canzhou Wushu 滄洲武術: A general term referring to the styles of the Cangzhou area in Hebei Province.

Changquan 長拳(s长拳) (Long Fist) A general term referring to the many Northern Style Wushu including: Chaquan, Huaquan, Paoquan, Hongquan, Liuhequan, Yanqingquan, etc. These styles are usually characterised by fast, agile movements that are long, open, and extended. They are also known for high jumps and aerial kicks.

Chaquan 查拳: A major Wushu style developed by the Hui people. One of the primary requirements at the Central Guoshu Institute.

Choy Lay Fut see Cailifoquan

Chuanquan 船拳 (Boat Fist): A style, including many forms, that evolved in the Wuxing, Zhejiang Province, where competitions are often held on a platform set between two boats.

Chuojiao 戳腳 s戳脚 (Piercing Feet): A changquan style primarily using feet, attributed to the legendary Song Dynasty hero, Wu Song.

Dabeiquan 大悲拳 An internal style based on the teachings of the Buddhist Mantra Dabeizhou大悲咒 of Avalokitesvara 观世音菩萨. this style is said to have been developed by the monks at the Henan Shaolin Temple and Wutaishan during the Ming Dynasty.

Dachengquan 大成拳 (Great achievement style) aka Yiquan 意拳 (Intent/meaning Style). Created by Wang Xiang-zhai (1885-1963) based on the essential principles of internal styles, especially Xingyiquan. The name dachengquan was given to the style by other martial artist who recognised the distilled principles demonstrated by the founder.

Daopai 道派 (style of the way) A Shaolin style taught by a monk named Ruilong 瑞龍.

Diaojiaquan 刁家拳 (Diao family style). A style said to have originated in Jiangxi Province before spreading to Meixian and Xingning in Guangdong Province.

Dishuquanfa地術拳法 (s地术拳法) (Ground tactic fist method) a.k.a. Digongquan 地功拳 and Gouquan狗拳. There are more than ten known routines in this style, which is known for kicking from the ground and intentional falls and flips.

Ditangquan 地趟拳 (plowing earth style) A style dating back at least to the Ming Dynasty, using offensive ground fighting techniques.

Dumen杜門 (Du family style) From Chengdu, Sichuan, this style uses the Zhijiqishen 知機其神 philosophy from Yijing易經(s易经).

Dunhuangquan敦煌拳 A style based on the Dunhuang Bihua 敦煌壁畫 (frescos of the Dunhuang Grottos). The movements are performed in a slow graceful manner similar to taijiquan and contain defensive and offensive applications. Like taijiquan, this style is often practised for physical exercise, toning the body, weight loss, and illness prevention.

Eagle Claw Style see Yingzhuaquan

Eight Trigram Palm see Baguazhang

Emei Piercer see Emeici

Emei Shaolin wushu 峨嵋少林武術 The Shaolin Wushu of the Emei Mountains) Inherited from the Shaolin Temple, yet no longer taught in the Henan Shaolin Temple, this style includes both hard methods and intricate neutralizing. The routines use exclusively practical Sanshou applications. The known routines include: Tiangan , Qixing , Heihu , Tianhe , Feilong , and Bafa .

Emei Shierzhuang 峨嵋十二樁 (Emei Twelve Stakes) Indigenous to Emei, this style combines Daoist, Medical, and Buddhist philosophy with Qigong, and dates back to the Southern Song Dynasty (1127-1279).

Emei Wudang Neijiaquan 峨嵋武當內家拳 (Internal Wudang and Emei Style). Supposedly a version of Wudang Neijiaquan which was further developed at Emei.

Emei Wushu 峨嵋武術 A general term referring the more than 300 styles from the Emei Mountains. Emei Wushu along with Shaolin and Wudang are the three major Wushu groups in China. Emei is also known for a great many Buddhist and Daoist temples.

Fangmen 方門 (Fang Family Style) An Emei Style created by Fang Shunyi combining Shaolin with Xingyiquan and Xiao 肖 style.

Fanziquan 翻子拳 (Turning Body Fist) A form of Changquan, that was called Bashanfan during the Ming Dynasty (1368-1644). Fanziquan routines are usually short and fast as a whip.

Fushi Wushu 傅氏武術 (Fu Zhensong Style Wushu) One of the "Five tigers that went south of the Yangtze River," Fu Zhensong was a native of Henan Province who learned under many famous masters. He absorbed the essence of the other styles and founded Fushi Wushu.

Great Accomplishment Fist see Dachengquan

Ground Style see Ditangquan

Hongmen 洪門 Attributed either to Emperor Zhao Taizu, whose face was always red, ,or to Zheng Chenggong, a defeated Ming General whose counterrevolutionary organisation was named Hongmen in honour of the Ming emperor, Hongwu . There are two distinct divisions - Northern and Southern.

Hongquan 紅拳 (Red Fist). A popular form of changquan that is popular in Shanxi and Sichuan. Said to date from the Yuan Dynasty.

Hongzhimen 鴻志門 Attributed to the Daoist, Hong Jun Laozu 鴻鈞老祖 and later combined with Zhi 志 style to become Hongzhimen. Known for its emphasis on Qigong training and for its open and extended movements.

Houquan 猴拳 (Monkey Style) also known as Dashengmen大聖門(Great Sage gate) Believed by some to be several thousand years old, this famous style was first recorded in the Ming Dynasty book, Jixiaoxinshu by Qi Jiguang. Mimicking the movements of a monkey.

Hsing Yi Chuan see Xingyiquan

Huakoumen 化口門 (disolving doorway style) An Emei style focusing on one handed applications and neutralization it follows the philosophy of Taiji, Wuxing, and Bagua.

Huanglinpai 黃林派 (Yellow Forest Style) An Emei Style attributed to a Daoist priest of the Wannian Temple during the reign of Yongzheng (1723-1735) The known barehanded routines include: Sipingquan , Dengzhuangquan , and three Hulongquan , a weapon routine known as Yanlindao , and a training method referred to as Meirenzhuang .

Huaquan 花拳 (Flower Fist) A short-range style Attributed to Gan Fengchi of the Qing Dynasty.

Huaquan 華拳 (Hua Mountain Fist) A form of changquan originating in Sandong during the Song Dynasty named either for the Hua mountains or the sanhua 三華 (three essences) - jing, qi, and shen.

Huatao Wuyi 花套武藝 (fireworks based on martial arts) A performance art derived from traditional Wushu. It is also referred to as Huaquan Xiutui 花拳繡腿 (flowery fist and embroidered feet.)

Huheshuanxingquan 虎鶴雙形拳 (Tiger and crane paired shape style) A southern style created during at the end of the Qing Dynasty, based Hongiaquan and Foquan , with the characteristics of the tiger and crane.

Huimen 慧門 (Wisdom gate) A style created by Song Luhua of Shandong and including meditation, visualization, and intention training. Characterised by small steps and lower stances. The known routines include: Yangjianquan , Nazhaquan , Hamaquan , Hudiequan , Shetouquan , and Rope Dart.

Hung Gar see Hongjiaquan

Huquan 虎拳 (Tiger Style). This routine mimics the characteristics of a tiger or leopard. There are many Huquan routines including: Huquan , Heihuquan , Huxingquan , Xingyi Hubaoquan, Menghu Xiashanquan , Ehuquan , Baihuquan , and Huzhuaquan .

Huxingquan (Tiger shape style) A Southern Styles style imitating the tiger’s characteristics. It focuses on short range applications emphasizing the strength of the fingers.

Internal Style see Neijiaquan

Jeet Kune Do see Jiequandao

Jianghequan 江河拳(River Style). It originated from Kaifeng in Henan Province. There are four known routines in this style.

Jiangxi Huimen 江西 會門 (Secret school of Jiangxi) An aggressive style created in the Jiangxi Province by Liu Jiangxi.

Jiequan 節拳(Sectional Fist) Based on Tantui, this style developed during the Qing Dynasty.

Jiequandao a.k.a. Jeet Kune Do 截拳道 (intercepting fist way) A new style created by Bruce Lee (1940-1973) who regarded Jiequandao less as a style than a philosophy and concept.

Jinbashou 緊八手(Tight Eight Hands) A popular style during the middle Qing Dynasty around the Hubei Province.

Jingpo Wushu 景 武術 The Wushu developed by the ancient Jingpo tribe, who developed effective blade techniques still practised by their descendants and often seen during ethnic holiday celebrations.

Jinjiagong 金家功 (Jin family art) a.k.a Jinjiao Shiershi 金家十二式 (Jin Family twelve shapes) A style created during the reign of the Qing Emperor, Daoguang , (1823 - 1850) by a failed revolutionary named Ji Yiwang.

Karate-do 空手道 (empty hand way) originally called tangshoudao 唐手道 (China hand way): A Japanese system combining Chinese wushu with indigenous Okinawan martial arts.

Kejiaquan 客家拳 (Hakka Fist) A general term referring to Southern Styles practiced by the Kejia people, especially those Southern Styles of Guangdong.

Kexingzhang 克星拳 (unbeatable rival style) A wushu, qigong, energy healing technique, and probability prediction style.

Kongmenquan 孔門拳 (Confucius Style) Popular in Wuhan in Hubei, this style was created during the beginning of the Qing Dynasty.

Kunlunpai 昆侖派 (Kunlun Mountain Style) Attributed to the legendary Daoist, Tongtian and now existing in two branches—Eastern and Western Kunlunpai.

Lamapai 喇嘛派 A esoteric system developed Tibetan Lamas 西藏密宗喇嘛 in the 14th century. Based on the movements of a white crane and an ape.

Langzi Yanqingquan 浪子燕青拳 (Prodigal Yangqing Style) A an aggressive style characterised by many agile turning movements and high, medium, and low stances, and many hand techniques. Power is often generated from the shoulders and back. "Prodigal Yanqing" is the name of a character in THE WATER MARGIN 水滸傳 (s水浒 ), one of the four great classic novels in Chinese Literature.

Lanshoumen 攔手門 (Intercepting Hand) A Shaolin Style with open and extended movements. The two distinct divisions are Hedongpai 河東派 (east of the Yellow River) and Hexipai 河西派 (west of the Yellow River).

Lianmenquan 聯門拳 (United Fist) A style from Sichuan Province.

Lianshouduanda 連手短打 (Continuous Hands and Short Strikes) A style from Cangzhou, Hebei. Also known as Gouguaizi 勾拐子 .

Liquan 李拳 (Li Family Fist) Created by a monk from Fujian Shaolin Temple, Li Ci, Liquan is now one of the popular Southern Styles in Guangdong.

Liuhebafa 六合八法 (Six harmonies Eight directions) a.k.a. shuiquan 水拳 (Water Boxing) a.k.a. Xinyi Liuhebafa 心意六合八法 (Heart intent / six harmonies Eight directions) An Internal Style attributed to Chen Bo 陳博 of Hua Shan during the Song Dynasty. Using power similar to Xingyiquan, stepping patterns of Baguazhang and neutralizing power like Taijiquan. Movements change from high to low and fast to slow resembling floating clouds and flowing water.

Liuhemen 六合門 (Six Harmony Style) Over 400 years old, this style contains more than eleven barehanded forms, nineteen weapons forms, three sparring forms, and several wushu qigong methods.

Liuhequan 六合拳 (Six Harmony Fist)

Liujiaquan 劉家拳 (Liu Family Fist) One of the popular Southern Styles in Guangdong.

Long Fist see Changquan

Longxingquan 龍形拳 (Dragon Style) This style, popular in Hong Kong and Fujian, employs the legendary characteristics of the dragon. It is popular in Hong Kong and Fujian Province.

Lulinpai 林派 (Forest Outlaw Style - literally "Green Forest Style"). Attributed to Liu Zhong, who failed in his attempt to assassinate the Qing Emperor Yongzheng (1723-1735)

Luohanquan 羅漢拳 (Arhat Fist) A well known Shaolin Style.

Luomen 羅門 (Luo Family Style) Attributed to General Luo Yi and his son General Luo Cheng at the beginning of the Tang Dynasty. Including two main branches - large frame old Luomen and small frame new Luomen - this style includes elements of both Northern and Southern Wushu.


Meihuaquan 梅花拳 (Plum Blossom Fist). A style of changquan created the beginning of the Qing Dynasty. Its training is often done on posts partially buried in the ground in the pattern of a plum blossom.

Meishiquan 梅氏拳 (Mei Style Style) Attributed to a nun who invented the style between at the end of the 19th century this style emphasises leg techniques.

Mianquan 綿拳 (Soft Fist) a.k.a Yanshou延手 (extended palm) A style that trains a high level of flexibility, referring to the characteristics of extending the arms during its applications.

Mianzhang 棉掌 (Cotton Palm) A style known for its use of palms. This style is also known for its spear techniques.

Miaoquan 苗拳 (Miao fist) The ethnic Miao people of Guanxi province trace this style to pre-dynastic China and a primordial combat style called Jiao Di (horn striking). Like many Southern styles of kungfu, this style is very powerful and has low, immovable stances. It also has powerful audible power generation.

Minghaiquan 明海拳 An Emei Style, named for the Shaolin monk who created this style when he combined Shaolin Wushu with Sichuan Wushu.

Mizongquan 迷蹤 (Lost Track Style) Made popular by Jet Li's movie "Fist of Legend"this is one of Shaolin's most popular and "advanced" styles. An aggressive style using deceptive footwork constant-changes.

Modern Wushu see Xiandai Wushu

Monkey Style see Houquan

Moquan 莫拳(Mo Family Fist) Created by a Zen Buddhist priest, of the Fujian Shaolin Temple, it is a popular Southern Style in Guangdong Province.

Mulanquan木蘭拳 (Lilly Mangolia style) A type of Huatao Wuyi created by Ying Meifeng of Shanghai. It is practised as an exercise combining Wushu with modern calisthenics.

Nanquan 南拳(Southern Style) A general term referring primarily to styles with their origin primarily south of the Yangtze River Including: Guangdong Nanquan : Hongjiaquan , Caiquan , Liquan , Moquan , Cailifoquan , Huheshuanxing , Xiaquan , Yongchunquan , Baimeiquan , Nanzhiquan , Ruquan , Fojiaquan , Diajiaquan , Zhujiajiao , Yuejiajiao , Zhongjiajiao , and Kunlunquan. Guangxi Nanquan : Zhoujiaquan , Tulongquan , Hongmen Fuhuquan , and Xiaocheda. Fujian Nanquan : Nanshaolin Wuxingquan including Dragon, Tiger, Leopard, Snake, and Crane; Wuzuquan , Luohanquan , Meihuazhuang , Lianchengquan , Diquanquan , Yongjiafa , Wumeiquan , Shiquan , Houquan , Yufa , Jifa , Rufa , and Fangwuji. Hunan Nanquan : Wujiaquan , Xuejiajiao, and Yuejiajiao. Hubei Nanquan : Hongmen , Kongmenquan , Yuemenquan , Yumenquan , Sunmenquan , Wujiayi , Naimen , Fomen , Yinxianmen , Shuihumen , Zhengmen , Yanmen , and Xiongmen .
Sichuan Nanquan : Cengmen , Yuemen , Zhaomen , Dumen , Hongmen , Huamen , Zimen , and Huimen .
Jiangxi Nanquan : Sanshiliulu Songjiangquan. Zhejiang Nanquan : Heihuquan , Jingangquan , Wenzhouquan , and Taizhaoquan. There are also Suzhou Nanquan , Wuxi Nanquan , Shanghai Difanquan , and Changzhouquan.
Together these Nanquan styles include more than one thousand barehanded and weapon routines.

Nanzhiquan 難枝拳 Named for the Fujian Shaolin monk who created it.

Neijiaquan 內家拳 (Internal Fist) Attributed to the legendary Daoist immortal, Zhang Sanfeng this style is known as Songxi Neijiaquan to distinguish it from the generic term Neijiaquan, referring to all Internal Style Wushu

Neijiaquan 內家拳 (Internal Fist) A generic term referring to all Internal Style Wushu such as Taijiquan, Xingyiquan, Baguazhang, and Liuhebafa. It is a term used in contrast with Waijiaquan , External Style.

Northern Style see Beipai

Pa Kua Chang see Baguazhang

Panpomen 盤 門 A style popular in the southern and eastern Sichuan, characterised by high stances, small hand movements, constant changes, quick low kicks, quick footwork.

Paochui 炮捶 (Cannon fist) (a.k.a. Sanhuang Paochui) The history of this changquan style has been traced back to the Song Mountain Shaolin Temple.

Piguaquan (Split and hitch style) (a.k.a. Tongbei Piquaquan) This style uses short and long range techniques and emphasises the turning of the waist and back, and the development of smooth and continuous attacks.

Praying Mantis Style see Tanglangquan

Qingchengbuqimen A style created during the 18th century and combining elements of Shaolin, Emei, and Wudang wushu. It is now popular in Sichuan, Shanxi, and Yunnan.

Qingchengpai (Qingchen Mountain Styles) A general term referring to the styles of the Qingcheng Mountains. They include: Qingcheng Hongquan , Liuhe Sanshou , Qingcheng Baguazhang , Gubajiquan , Xuanmen Jiushi , and Erlu Hongquan . The known weapon routines include: Qixingjian , Baxianjian , Qingchengjian , Zimugun , Daqinglongdao , and Qiankunquan . Training methods include: Jianshen Yanshougong and Liuhe Neigong .

Qinglongquan 青龍拳 (Green Dragon Fist) A style which emphasises palms and finger techniques and resembling the movements of a swimming dragon.

Renjiajiao (Ren Family Teaching) (aka Renmenquan). Developed by Ren Sizhen, a Qing officer from Sichuan, based on Sunzi’s Art of War, the Yijing, and several martial styles.

Sengmen (Monastery Style) One of the most famous Emei Styles, and focusing on Qinna and short range applications.

Shandongjiao (Shandong Teaching) Attributed to General Qin Shubao of the early Tang Dynasty (618-907).

Shaolin Huimen. Created by the Henan Shaolin priest, Huang Fazhuang .

Shaolin Wuquan Attributed to Yuan Dynasty (1260-1368) Shaolin master, Bai Yufeng, who based it on the movements of the dragon, tiger, leopard, snake, and crane.

Shaolin Wushu: A general term referring to all the styles of Wushu that can trace their origin back to the Song Mountain Shaolin Temple. It is one of the oldest and most influential martial arts systems in the world. While Damo (Bodhidharma) is generally credited with creating the first Shaolin martial arts, it is widely accepted that Shaolin wushu is the result of centuries of collaboration by martial artists who sought the spiritual sanctuary and erudition of the Shaolin Temple.

Shaolin Xingyi Liuhe (Shaolin Shape-Intent Six Harmony) A derivative of Shaolin Wushu that is practiced in Hunan, Jiangxi, and Sichuan Provinces. Based on the jumping, flying, nesting, and hunting characteristics of animals. It focuses on the unity of the internal jing , qi , and shen ; as well as, the unity of the external hands, eyes, and body movements. There are two known barehanded routines, one Lianhuanziwu Panlonggun weapon routine, and three training methods.

Shape and Intent Fist see Xingyiquan

Shenda (Spiritual Strike) A name that refers to a number of styles: Maoshan , Fo , Dao , and Qirijiao. Shenda is known for its involvement in the failed Boxer Rebellion. Shenda relies heavily on chanting to increase the ability and strength of its practitioners.

Shenmenquan An Emei Style also known as Jinjiaquan (Jin Family Fist).

Shequan (Snake Fist) Shequan routines are based on the movements of a snake. It is part of some Shaolin and Emei styles.

Sichuan Huimen A style which uses the Five Elements to name its routines. The keys to this style are: tun , tu , feng , hua , and tie.

Sichuan Lijiaquan (Li Family Style of Sichuan) A Sichuan style from Gaozui Mountain. Characterised by short routines with low stances.

Sichuan Ziranmen (Natural Style of Sichuan). Said to have been developed as a result of a family feud in the Sichuan Nanchong area.

Six Unities and Eight Principles see Liuhebafa

Songxi Neijiaquan see Neijiaquan


Southern Style see Nanquan

Sujiajiao (Su Family Teaching) A style was created by Su Caifeng during the Ming Dynasty.

Sunbinquan Attributed to Sun Bin, a decendant of Sunzi (author of the Art of War).

Sunmenquan (Sun Family Fist) An Emei style supposedly based on the Southern Shaolin of Fujian Province and created by Sun Chunan of Sichuan Province. This style mostly uses arm strikes and limited short range kicks.

Tae Kwon Do: A Korean martial art that combines Karate with native Korean martial arts. Tae Kwon Do became an Olympic Exhibition event in 1988 and officially became an Olympic medal event in the 2000 Olympics.

Tai Chi Chuan see Taijiquan

Taijiquan An Internal Style Wushu, also romanized as Tai Chi Chuan, and translated as the Grand Ultimate Fist. This is one of the most influential Wushu styles in the world today. There are participants of Taijiquan in over 100 nations throughout the world today. The five major traditional Taijiquan styles include: Chen Style , Yang Style , Wu Style , W’u Style also known as Hao Style , and Sun Style .

Taixuquan (Ultimate Void Fist) Created by Wu Rongyu during the Qing Dynasty and based on the Taixu, Taiji, Sancai, Sixiang, Wu-yun, Liuqi, Bagua, and Tuwen-luoshu philosophies.

Taizuquan (Grand Ancestor Fist) Said to have originated with Emperor Zhao Kuangyin of the Northern Song Dynasty.

Tanglangquan (Praying Mantis Style) A style based on the movements of the mantis.

Tangpingquan a.k.a. Tangpingqishi. A style of the ethnic Hui and popular in Shanxi and Henan Provinces. Archeological evidence shows that it at least as early as the Tang Dynasty (618-907).

Tantuimen (Spring Leg Style) A style of changquan popular with the ethnic Hui, and said to have originated in the Longtan Temple in Shandong or the Tan Family Village in Henan Province. This style is named for its emphasis on powerful, spring like kicks. Tan from Longtan and tui for its kicks.

Tongbei Piquanquan see Piquaquan

Tongbiquan (Connected Arm Fist). Based on the swinging arm movements of an ape, this style is attributed to the Taoist Baiyuan Daoren of Sichuan Emei Mountain during the Spring-Autumn and Warring Kingdom era (770-221 B.C.). Its movements resemble the swinging arms of the ape.

Tujiazu Wushu A general term referring to the Wushu developed by the enthic Tujiazu people between Hunan, Hubei, and Sichuan. These styles are known for close range combat abilities and the ability to engage in combat in narrow paths, and cliffs.

Wangshi Wushu the style of Wang Ziping and his daughter, Wang Jurong.

Wing Chun see Yongchunquan

Wudang Hongmenquan Known to have spread from Sichuan Province to Hubei Province and influenced by Wudang Wushu.

Wudang Wushu A general term referring to the primarily Daoist styles from the Wudang Mountains (Taiheshan).

Wudangmen (Wudang Gate) (a.k.a. Lipai Gongfu) Created during the Qing Dynasty by Li Ruidong, the director of training for the imperial guards, and a student of Chuojiao, Shaolin, Tantui, Xinyi, Bagua, and Wudang Jinchanpai Taijigong .

Wuji Xiaoyaopai (a.k.a. Shusan Wuji Xiaoyaopai). Xiaoyao implies the state of free expression that occers at highest level of an art. "Wuji" refers to the unrestricted nature of the style. Inspired by the Wuji and Xiaoyao styles of the Song Dynasty, this system was founded by Liang Shou-Yu and is based on his extensive Wushu background and experience in many Wushu styles.

Wujiaquan A type of nanquan from the Fujian Shaolin Temple.

Wumeipai Attributed to Wu Mei, the daughter of a Ming general, who sought refuge at the White Crane Shaolin Temple in Guangxi when the Qing took control.

Wushouquan (Five Handed Fist) A popular style of Qingdao City of Shandong Province, with power similar to xingyiquan, and with more emphasis on practical applications than forms.

Wushu The official term for Chinese martial arts. It is also a general term meaning martial arts.

Wuzuquan (Five Ancestor Fist) a.k.a. Wuzuheyangquan (Ngor Chor in Fujian) A type of nanquan popular in Southern China, Malaysia, Singapore, and the Philippines.

Xiandai Wushu (Contemporary Wushu) (Modern Wushu) (Sports Performance Wushu)

Today, the wushu competitions include divisions for solo routines, weapon routines, choreographed two-person routine, and Sanshou. There are separate divisions for men and women.

Xiangmen (Xiang Family Style). A style with continuous close-range movements, created by a Qing Dynasty security guard.

Xianhumen An Emei style.

Xiaquan 拳 (chivalrous fist). An Emei style said to have been created by a Zen Buddhist priest named Li Huzi of Sichuan, who named the style Xiaquan, in honour of his teacher, Da Xia.

Xibei Difangquan Northeast Region Style, a.k.a. Lanzhoudifang Laobashi and Bamen. A composite style containing elements of Paoquan, Siquan, Jiuhuanzi, Tongbeiquan, and Fengshoubakuai.

Xiliangquan Said to have been created by General Ma Chao during the Three Kingdom era, to train his troops. This style was made famous in the Qing dynasty by Tang Dianxiang, a well known fighter.

Xingyiquan (Shape and intent fist) An Internal Style known for explosive movements, and aggressive strategy. Based on the wuxing (five elements) and on the fighting movements of 12 different animals.

Xiyangzhang A style was from Anhui Province during the late Qing Dynasty. The movements are open, extended, and physically demanding.

Yaan Yujiaquan (Yu Family Fist of Yaan). Created by Yu Zhenggang of Yaan . This style focuses on the healing aspect of wushu as well as the fighting aspect.

Yangbalangquan A style practiced in the Chongqing City area.

Yaojia A style developed by the Yao ethnic people living in the mountain range between Hunan and Guangxi.

Yanqingquan a.k.a. (secret ancestry style): A type of changquan based on the movements of a macaque.

Yaxingquan (Duck Style) Based on the movements of a duck, this style was said to have been created by an Emei Mountain Daoist of Tang Dynasty.

Yingzhuaquan (Eagle Claw Fist) A style based on the movements of an eagle and emphasising rapid, flowing, and continous Qinna techniques.

Yiquan see Dachengquan

Yizu Wushu A general term referring to the Wushu of the ethnic Yizu.

Yongchunquan A close-range style from Fujian Province which requires hand movements to stay below the forehead and no lower than the crotch. Lateral movement of the arms is restricted to the width of the shoulders.

Yuejiajiao (Yue Family Teaching). A style from Hunan Province that spread to Meixian in Guangdong.

Yuemenquan (Yue Family Fist) Attributed to Marshal Yue Fei, this is one of the most famous Emei styles.

Yueshilianquan (Yue Family Connected Fist) a.k.a. Yushi Sanshou. A type of changquan attributed to Marshall Yue Fei.

Yujiaquan (Yu Family Fist) A Daoist / Confucian style of eastern Sichuan Province.

Yumen (Yu Family Style). A defensive style emphasising the use of empty stance and soft-neutralizing against hard attacks.

Yumenquan A style known to have many changing hand techniques but a few kicking techniques.

Yumenquan (Fish Style) a.k.a. Liujiayi. A style from Hubei Province, with elements similar to taijiquan, said to be inspired by observing swimming fish and fishermen.

Zangqiang Wushu: A general term referring to the wushu of the Xizhang and Qiang area.

Zhaomenquan (Zhao Family Fist). Attributed to the first Northern Song Dynasty Emperor, Zhao Kuanyin. This style emphasises kicking techniques, and tends to use offense as a defense.

Zhimen: Created in the mid 19th century by Deng Dingguo and known for open and extended movements.

Zhoujiaquan (Zhou Family Fist) Created by Zhou Yufeng of Chongqing City during the reign of the Qing Emperor, Qianlong , between 1736 and 1795.

Zhuangzu Wushu A general term referring to the Wushu of the ethnic Zhuangzu people.

Zhujiajiao (Zhu Family Teaching) A style popular in Xingning in Guangdong Province.

Zimen-1 A style from Henan that has no routines to speak of.

Zimen-2 A style from Henan with uncertain origins.

Zimu Nanquan (Mother and Son Nanquan) A style created by a Wudang Daoist named Peng Ying.

Ziranmen (Natural Style) An internal style from Sichuan attributed to Xu Xiake.

Ziwumen (Midnight and Noon Style) An Emei style combining internal and external elements of Wudang and Shaolin.

Zuiquan (Drunken Style) Based on a drunkard’s movements, this An ancient and difficult style is thought to have originated during the Tang Dynasty (618 -907) Each movement is said to express and attribute of the legendary Eight Drunken Immortals.


Sport Applications of Wushu


There are several types of competitions for martial arts. Some of them are specific to certain styles of martial art, such as Judo and Tae kwon do. Others are open to students of any martial arts, such as Sanshou or MMA.

Forms Competitions



Modern Wushu Forms
with Wu Di, Wei Jian, Ma Lingjuan and others at the 10th All China Games


Xu Huihui
The Winner of Woman Daoshu in the 8° World Wushu Championship - Hanoi 2005



Daria Tarasova of Russia performing traditional ditangquan 地躺拳.



Mixed Martial Arts


Ayron Howey, a San Shou teacher based in Vancouver, made his MMA debut Saturday, June 23rd, 2007 at the All Martial Arts Championship in North Vancouver, BC.



Ayron teaches at the Wuji Xiao Yao Kung Fu Academy in Vancouver. His students have done very well in competition, including a bronze in Sanshou at the World Championships by Shane Dobie.



Tai chi as a sport


(Taijiquan as a sport)


Types of Taijiquan Competition

The main elements of the taijiquan curriculum are Qigong (energy cultivation), Taolu (Routines), Tuishou (Pushing Hands), and Sanshou (Martial Applications). As of yet there exist only competitions for three of these components. There may someday be a qigong competition. But I do not know who would pay to watch it, and I would be concerned for any who might enter such a tournament.

There are those who will claim that competition is contrary to the spirit of taijiquan.
Yet, even if taijiquan is to be seen as a means to achieving peace in an inherently violent world, we may find it useful to test ourselves in the face of conflict.
Ironically, taijiquan competitions tend to be more free of antagonism than ordinary life. Competitors are often seen coaching and cheering their opponents, before, after, and during event. Opponents often become life-long friends.

“ Those who compete may enjoy the competition for the camaraderie that develops, even among opponents, at such events. They consider the competition to be a great opportunity to test their skill, learn new things, and experience different ways of training. “
TAOLU (FORMS) COMPETITION

Taijiquan has become an integral part of international wushu tournament competition, which are judged in a method similar to gymnastics or figure skating. Competitors perform a standard routine or one they have choreographed themselves. They are given points for the quality of movements, power, co-ordination, spirit,rhythm,content,style,structure and choreography. Deductions are made for errors and deviations.
Modern wushu competitions have a divisions in several categories, including at least one division for taijiquan. In the 11th Asian Games of 1990, wushu was included as an item for competition for the first time.
The International Wushu Federation (IWUF) applied for wushu to be part of the Olympic games, but were denied official status for the sport. Instead there will be a separate tournament in Beijing showcasing wushu at the same time as the 2008 Olympic Games.
The format and requirements for international competition have changed over the years. Some tournaments use the international standard routines while others allow competitors to choreograph their own routines. Performances are judged according to technique, degree of difficulty, spirit, pace, style content, and choreography.
Controversy in recent years has surrounded the change in the way modern wushu is judged. The recent changes have meant that competitors are required to demonstrate less real martial skill and more acrobatics.

These changes make the competitions easier to judge and easier for spectators to understand. But the changes have come under increasing criticism in recent years for their deviation from traditional requirements. Some of the older masters who used to teach modern wushu competition routines as a part of traditional martial arts programs, do not support these events anymore.

However, there are many competitions in North America, and around the world that still promote the traditional principle of taijiquan in standardised competition. These tournaments include divisions for solo routines, weapon routines, and two-person routines. The competitions are separated into categories for each style.

TUISHOU (PUSHING HANDS) COMPETITION

Tuishou is an essential training exercise for taijiquan. Although most schools focus primarily on forms and teach very little of it.

In practice, tuishou is a very friendly and gentle exercise that allows players to learn from each other regardless of their relative skill. In competition, however, tuishou can be extremely vigourous.

There are 4 types of the tuishou competition: fixed step, restricted step, moving step, and freestyle.

Fixed Step Tuishou

The simplest type is called “fixed step” pushing hands. In this type of contest one or two referees watch for violations while 3 judges watch the competitors’ feet. If one competitor moves his or her feet, the other competitor gets a point. If a referee sees a violation of the rules, such as double grabbing, joint locks, strikes, illegal contact, excessive force, etc. the offending competitor is given a warning.

Restricted Step Tuishou

This type of competition evolved as a refinement of fixed step pushing hands, and has become the dominant type of competition in North America. It also requires more skilled judges and referees. In it competitors may move each foot forward or backward as long as they do not step sideways or move one foot past the other. Point are not so much awarded for pushing so much as deducted from the score of the competitor who loses balance or endangers himself or herself. Deductions are made for “holding on”, grabbing with both hands at the same time,

Moving Step Tuishou

Moving step push-hands is similar to restricted step tuishou except that the competitors may step in any direction they want, and the match takes place within two concentric circles. The points are awarded in the same way as in restricted step tuishou, with the addition of points awarded for causing the opponents to step outside of the one or both circles.

Freestyle Tuishou

This type of push hands competition is rarely held in North America, although several schools do include this in their training. Freestyle tuishou allows throws and takedowns, and is usually held in a circular ring similar in size to a sumo ring or boxing ring. To watch it one might say it looks much like a Suaijiao (Chinese Wrestling) match or a Judo match except that competitors are forbidden to grab the opponents clothing.

Criticism of Tuishou (Push hands) Competition

It is common to hear people who practice tai chi criticise tuishou competition for a number of reasons. Some are not comfortable with tai chi being treated as a sport. Some say it is too much like fighting, while others say it is not enough like fighting. Still others will decry the apparent “low skill” and “excessive force” used by competitors.

This last point is often made when these people observe two evenly matched players compete. If one competitor is much better than the other, then the match will be poetry in motion, with one expert “using four ounces to defeat a thousand pounds.” On the other hand, two evenly matched competitors will often look like children fighting. This only changes when both competitors are so highly skilled that the changes in direction are imperceptible to the average spectator. Great masters rarely fight, and if they do, it doesn’t look like fighting.

Those who compete may enjoy the competition for the camaraderie that develops, even among opponents, at such events. They consider the competition to be a great opportunity to test their skill, learn new things, and experience different ways of training.

SANSHOU COMPETITION

Taijiquan players sometimes take the opportunities to enter mixed martial arts tournaments and compete against students of other martial arts. One such event that is a part of Chinese Wushu competitions is called Sanshou (free hands).

Sanshou matches take place on a raised platform surrounded by crash mats. This platform look somewhat like a boxing ring with the ropes and posts removed. Competitors may be required to wear protective gear on their head, chest, shins, and feet. Boxing gloves are mandatory.

Competitors may use punches, kick, and throws to score points against their opponents. Multiple consecutive hits to the head are not allowed, and there is no fighting on the ground. Two points are given for a throw or for ejecting the opponent from the platform. A competitor who pushes the opponent of the platform twice in one round automatically wins the round.

If you would like more information about Sanshou competition, some excellent resources and training opportunities can be found at www.shouyuliang.com and www.wujikungfu.com

Rules for Different Types of Competitions

RESTRICTED STEP Tuishou

Restricted step: Players may take a step or several steps forward or back within a restricted range but may not reverse stance. In Restricted Step, the referee stops the bout immediately for any uprooting or loss of balance, because once the player has placed himself or herself in an inferior position, he or she has lost the taiji principle, regardless of whether the opponent has created this situation or takes this opportunity to push. If such a fault is not called, the other player may feel that it is necessary to demonstrate a big win with a big push, and this use of force not only disregards the classics' admonitions against the use of force, it can lead to dangerous actions. We are concerned with safety and fairness as well as discerning classic and correct taijiquan skills.

MOVING STEP

Players may move within a designated circle. Any step outside the circle is a loss of one point. Moving Step Push-Hands has the same basic rules as Restricted Step. Skilled footwork by competitors creates a different style of match from Restricted Step, and also tests adherence to taiji principles.

Restricted Step Tuishou Scoring

Scoring:
One point is awarded to the competitor whose opponent has made an error or committed a Personal Violation; two points are awarded for a Serious Personal Violation on the part of the opponent. Points may be awarded for Technical Violations.

Errors:
  • Loss of balance
  • Endangering oneself

Personal Violations
(point and warning):

  • Using excessive strength
  • Grabbing opponent's clothes
  • Double grabbing (grabbing with both hands)
  • Holding on (gripping opponent with one or both hands or reaching around opponent's side or back to prevent loss of balance)
  • Attacking illegal target area
  • Reversing stance to gain advantage


Serious Personal Violations
( 2 points and serious warning):

  • Striking, hitting, punching
  • Using head to attack
  • Using legs, knees, or feet to attack
  • Twisting the joints, grappling, qinna
  • Attacking pressure points
  • Pulling hair or beard
  • Attacking groin area
  • Using any technique determined to cause injury to the opponent


Technical Violations
(may award point)

  • Not following instructions of Referee
  • Not completing the mandatory revolutions
  • Un-sportsman-like conduct
  • Receiving coaching during the round
  • A warning is issued for each Personal Violation and a serious warning is issued for each Serious Personal Violation. The Referee may issue a verbal "caution" at his/her discretion; no point is awarded and no warning is issued.


Disqualification:

  • 5 Warnings
  • A competitor may be disqualified for one Serious Violation and must be disqualified for two Serious Violations.
  • The Referee in consultation with the Judges may disqualify a competitor



Sanshou Rules
The following is taken from part of the Sanshou rules of the International Wushu Federation (IWUF)

Chapter 1

General Rules

Article 1 - Types of Competition

Team and Individual

Article 2 - Systems of Competition

2.1 Round-robin, Direct Elimination or Elimination with repechage shall be adopted.
2.2 Winning two out of three rounds in a bout of fight will be adopted. Each round lasts two minutes. There will be one-minute break between rounds.

Article 4 - Men weight-Categories

4.1 48kg Category (Under ≤48kg)
4.2 52kg Category (＞48kg－≤52kg)
4.3 56kg Category (＞52kg－≤56kg)
4.4 60kg Category (＞56kg－≤60kg)
4.5 65kg Category (＞60kg－≤65kg)
4.6 70kg Category (＞65kg－≤70kg)
4.7 75kg Category (＞70kg－≤75kg)
4.8 80kg Category (＞75kg－≤80kg)
4.9 85kg Category (＞80kg－≤85kg)
4.10 90kg Category (＞85kg－≤90kg)
4.11 Over 90kg (＞90kg)


Chapter 4 Competition Methods, Scoring Criteria and Penalties


Article 17 - Competition Methods
  • Attacking and defending techniques of any wushu sanshou schools can be applied.
Article 18 - Prohibited Targets
  • The back of head, the neck, and the groin.
Article 19 - Valid Parts
  • The head, the trunk, and the thighs.
Article 20 - Prohibited Methods
  • 20.1 Attacking using the head, the elbow, or the knee, or pushing back on the opponent's joints.
  • 20.2 Forcing the opponent to land with the head or intentionally smashing the opponent down.
  • 20.3 Attacking the head of the opponent when he or she is down with any technique.

Article 21 - Scoring Criteria
21.1 Winning two (2) points
A competitor will win two points when:

  • his or her opponent falls off the platform,
  • his or her opponent falls down while he or she remains standing,
  • he or she hits the opponent on the trunk, or kicks the head,
  • he or she is able makes the opponent to fall down by falling down himself or herself on purpose and then stands up immediately
  • his or her opponent is force to be counted,
  • his or her opponent received a warning.


21.2 Winning one point
A competitor will win one (1) point, when

  • he or she hits the opponent on a valid part by a hand technique,
  • he or she hits the opponent on the thigh with a kick each time,
  • both competitors fall down, while he or she remains on top of the opponent,
  • he or she is able to make the opponent to fall down by falling down himself or herself on purpose, while he or she does not remain standing,
  • his or her opponent shows passivity for eight (8) seconds after being ordered to attack,
  • his or her opponent falls down intentionally and remained for more than three (3) seconds,
  • his or her opponent is received an admonition,


21.3 No point awarded
No point will be awarded to either competitors, when the technique executed is not clear or obvious.
  • both competitors fall down or off the platform at the same time,
  • a competitor falls on the ground as a means of combat,
  • he or she hits the opponent in a clinching.

Article 22 - Fouls and Penalties
22.1 Fouls
22.1.1 Technical fouls:
1) Clinching the opponent passively,
2) Requesting time-out when he or she is in the disadvantageous position,
3) Delaying the fight deliberately,
4) Un-sportsmanlike behaviour towards the platform judge or disobey his decision,
5) Without gum-shield, spitting the gum-shield or loosening the protective gears intentionally,
6) The competitor's behaviour is violating the protocol.
22.1.2 Personal fouls
1) Attacking the opponent before "kaishi" (Start) or after the order "Ting"(Stop),
2) Hitting the opponent on prohibited parts,
3) Hitting the opponent by using any of the prohibited methods.
22.2 Penalties
22.2.1 An admonition will be given for a technical foul.
22.2.2 A warning will be given for a personal foul.
22.2.3 A competitor who received 3 personal fouls will be disqualified from the bout.
22.2.4 A competitor who intentionally hurts his opponent will be disqualified from the whole competition, and his or her result will be cancelled.
22.2.5 A competitor who tests positive in using prohibited substance or inhaling oxygen during interval will be disqualified from the whole competition and his or her result will be cancelled.

Article 23 - Suspension of Fights

The fight will be suspended when:

  1. a competitor has fallen down or off the platform (except falling down on purpose).
  2. a competitor is given a penalty.
  3. a competitor is injured.
  4. the competitors hold each other without any attack for more than two seconds.
  5. a competitor falls down intentionally and remained for more than three seconds.
  6. a competitor requests for a suspension by raising his or her hand due to objective hindrance.
  7. the head judge corrects a misjudgement or omission.
  8. problems or dangers arise on the platform.
  9. there are problems with lighting or problems with the competition area.
  10. again shows passivity after being ordered to attack for another eight (8)seconds.


Placing

Article 24 - Winner and Loser
24.1 Absolute Victory
24.1.1 When there is great disparity of techniques between the two competitors, the platform judge with the approval of the head judge, may proclaim the stronger competitor to be the winner of the bout.
24.1.2 A competitor will win the bout if his or her opponent is being knocked-out (no personal foul actions) and remained unconscious for ten (10) seconds, or the opponent can still stand up but with abnormal consciousness.
24.1.3 During a bout of fight, a competitor has been hit heavily (no personal foul actions) and being forcibly counted three times, his or her opponent will win the bout.
24.2 Winner or Loser of the round:
24.2.1 The result of each round will be decided according to the judgments of the sideline judges.
24.2.2 During a round of fight, if a competitor is being hit heavily (no personal foul actions) and being forcibly counted twice, his or her opponent will win the round.
24.2.3 The competitor who falls off the platform twice in a round, will lose the round and his or her opponent will be the winner.
24.2.4 If both competitors scored same points in a round, the winner will be decided in the following order:
1) he or she who received less warnings in the round will be the winner.
2) he or she who received less admonitions in the round will be the winner.
3) he or she who weighed lesser (during the weighing-in ceremony) will be the winner.
24.2.5 If every point in Article 24.2.4 remains the same, a Draw will be proclaimed.
24.3 The Winner or Loser of the bout
24.3.1 The competitor who wins the first two rounds in a bout will be the winner of the bout.
24.3.2 The competitor will win the bout if his or her opponent is injured or ill and unable to continue the competition as certified by the doctor.
24.3.3 During fighting if a competitor feigns to be injured by foul actions, his or her opponent will win the bout after being justified by the medical doctor.
24.3.4 During fighting if a competitor is been injured by foul actions and unable to continue the fight as justified by the medical doctor, the injured competitor will be the winner of the bout, but will not be allowed to continue.
24.3.5 In the case of round-robin, if both competitors have won the same number of rounds in a bout, a draw will be proclaimed.
24.3.6 In the case of knock-out (direct elimination), if both the competitors win the same number of rounds in a bout, the winner will be decided as follows:
  1. He or she who received less warnings will be the winner.
  2. He or she who received less admonitions will be the winner.
  3. If the tie still remains, an additional round will be added.


Neijia Wushu 內家武術(术) - Internal Martial Arts


There are several ways to categorise the different types of martial arts in China. There are northern styles, southern styles, animal styles Buddhist styles, Daoist styles, Muslim styles, Tibetan styles, Emei Mountain Styles, Wudang styles, Shaolin styles, internal styles, and external styles....
Any martial art might fit into more than one of these categories. And all share some kind of common history. (Martial arts thrive on innovation. So, there is always a lot of research and development