Convergence

Chinese Martial Art styles  (CMA) can be looked at in many ways.

Strategies  or principles are  “the way trained skills are used”

Tactics or skill sets,  developed to enable strategies to be used.   They define  “what is trained to gain a skill”

Movement  embodies the over all method mind/body method that employ  “the type of movements that characterize the tactics and strategies used”

Many styles use the crane as a model for having specific qualities of tactics, strategies and movements considered to be useful to develop and use.

Taiji is said to be based on the movements of the crane and snake as witnessed by a daoist monk “Zhang Sanfeng” “三丰子 “

“On one occasion, he observed a bird attacking a snake and was greatly inspired by the snake’s defensive tactics. It remained still and alert in the face of the bird’s onslaught until it made a lunge and fatally bit its attacker.

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This incident inspired him to create a set of 72 movements later known as taijiquan . He is also associated with the Taoist monasteries in the Wudang Mountains.”

白鶴派

“For several years the lama monk Ah Dat-Ta “阿達陀“ retreated to the mountains to live in seclusion, studying Buddhist texts and practicing meditation. He also hoped to improve his martial art skill. One day Ah Dat-Ta’s meditation was disturbed by a loud sound.

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He left the cave he had been meditating in to investigate and found an ape trying to capture a crane.

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He was astonished. Despite the ape’s great size and strength, the crane eluded the great swings and pecked at soft, vital points. Ah Dat-Ta was inspired to create a new martial art.”

“Tibetan White Crane / Lama hop gar”

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“Ah Dat-Ta created a system that mimicked the deft evasion and vital point striking of the white crane and the ape’s powerful swings and grabbing techniques. It was based upon the number eight, an important number in Chinese cosmology and numerology.

The fundamental fighting theory was known as the “eight character true essence”. The “eight character true essence” can be roughly translated as “strike the place that has a pulse, never a place that has no pulse, and stretch the arms out while keeping the body away.”

The system consisted of 8 fist strikes, 8 palm strikes, 8 elbow strikes, 8 finger strikes, 8 kicking techniques, 8 seizing (clawing) techniques, 8 stances and 8 stepping patterns.”

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The crane often noted by monks seeking similar attributes.

Ape, and snake, very different in the way by which they use their strength and skill,  exemplifying  tactics and strategies developed by both styles, a counterbalance to the crane influence.

Tsang Lu taiji

蒼 鷺太极

open close, empty full, swallow spit move with awareness 

基於開合、虛實與吞吐 的知覺運動

Traditional Taiji combined with the unique foot work and long arm of Tibetan White Crane.

Developed by David Davis, based on over 40 years of experience in CMA, the primary styles of Tibetan White Crane  and Yang Style Taijiquan. 

Tsang Lu Taiji 

Uses taiji’s  inner strength as the engine with the white crane’s hand and footwork making it very functional and distinctive in use. “Moving with awareness” method, practice for the modern age.

Developed in Hsinchu, TW 


The heron taiji style uses three different body postures with five basic stances, emphasizing that the body is in the middle.

Based on taiji use of the circle and square, the square is round, the manipulation is based on the principle of sinking and opening, and the four main hands ,  penetrating, bridge, reach and glide. The four secondary hands: diving hand, wiper hand , gate hand and wing flap.

Footwork key to the strategy borrows from White Crane: Triangle step, side step, seven start step, stealing step combine with taiji’s 5 step front, backe, center , left and right.

 The single exercises six-roads, with the comprehensive practice “round one” combines to teach strategies, methods , and transitions developed in solo practice for usage combative two person practices.

Two person practice key to burning in awareness through movement done in live training.

The three ways of contact with the enemy are friction, rolling and sprialing, paying attention to the mastery of distance, position and time, and gaining momentum in actual combat.

蒼鷺是由Dalton (David) Davis根據多年研習西藏白鶴拳、楊氏太極拳的經驗所發展出來的內家 武術。蒼鷺以太極內勁為體、白鶴的身手步法為用。蒼鷺身形採四五馬,強調立身中正、虛實分明、圓中有方、方中有圓,手法動作以沉開起合為原則、分四主手與四副手,四主手為穿手、橋手,達手、滑手,四副手為潛手、抹手、門手、翼手,步法則有三角步、側步、七星步、貓步、叉步、偷步,結合身手步法的單操練習為六力,綜合練習有一路拳架。與敵三種接觸方式為摩、滾與搓,注重對距離、位置與時間的掌握,以實戰中能得機得勢,先聲奪人。

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