Stylized crane. Basics of Shaolin Style - White Crane - Martial Strength and Qigong - Yang Junming

Waltender 05-06-2006 04:58

Shaolin siquan. There is a lot of stuff on the Internet, but this one gets in the way
the wise gradation into substyles and in general, somehow lifeless. To the forums
Kungfu is reluctant to climb - to find out one single question.

So. The motor skills of the style are interesting. I wonder if this matches
style psychotype, repeatedly described in literature as a timid character and
reserved, introverted, lanky, asthenic build,
features of military equipment - many circular kicks, etc.

Easy to read informative posts would be greatly appreciated.

False 05-06-2006 12:56

you see, Shaolin styles are such a fusion of techniques, teaching methods, and the monastery itself was such a melting pot that the wise gradation is the only attempt to somehow unify and classify all the wealth of Shaolin-quan.
according to the crane style - the question is a little unclear, please explain what you mean? Is the style more suitable for reserved introverts? unlikely, since, in the Wushu tradition, the student learns not the style as such, but from the master. and if a master takes on a student, he will either adapt you to his style or kill you in the process (joke). further, regarding lankyness - well, think for yourself how lanky asthenics people were in medieval China. I think that there were very few of them to sharpen the style for them. circular kicks. This is in many ways today’s vision of the “5 beasts” style, which includes the crane style. Today's Shaolin beasts are a more athletic style, rather than an applied one, with beautiful balancing, circular kicks, and wide amplitude punches. Judge for yourself how combative such a technique can be. medieval Shaolin styles were more applied, aimed at obsolete the enemy in one or two movements. and numerous animal styles adopted not so much the biomechanics of movement of this or that animal, but general principles attack and defense, without limiting your technique, but on the contrary, complementing it with other techniques as much as possible.
In general, the question about animal styles is extremely complex, please specify your question so that you can answer more clearly.
I re-read your post.
motor skills of the style today - balancing + wide circular punches and kicks. medieval must be looked at, each master brought something of his own and complemented the style, that is, you need to look at the work of a specific master.

Waltender 05-06-2006 16:03

Thank you for your response - I’ll explain what interests you. Actually interested
basic Crane, before distribution into substyles, that is, that everything
These substyles - flying, feeding, etc. are basically united.
If you like - a style matrix.

And it was not by chance that I wrote about the psychotype and “master/student”.


5 animal directions.

I’m curious about the criteria by which they were selected for the Crane.

False 05-06-2006 17:02

2Waltender
I’ll look at the style matrix at home, otherwise I’m afraid to lie.

“And it was not by chance that I wrote about the psychotype and “master/student”.
There was a lot on the topic that when the little one came to the monastery
for obedience they were assigned - well, relatively speaking - to those same
5 animal directions.

I’m curious about the criteria by which they were selected for the Crane."

Your original premise is somewhat incorrect. don’t forget, they brought you to the MONASTERY - center spiritual development, a religious stronghold (even if only of such a religion as Chan). and most of the novices there still did not study BI. there was no crowd of kids. there were 3-5 people who were selected very often through generous patronage. and not everyone started learning wushu. The basic developments were approximately the same for everyone. then, depending on what the senior mentor practiced, what developments were available at that time, what worldly masters were present in the monastery at that time and practiced. that is, you don’t have to think that “yeah, this tall boy we’ll give him to work with a crane, this stocky and strong one is like a dragon, this agile and jumping one is like a monkey.” roughly speaking, it was more like this - today the senior mentor believes that the best applied style is the praying mantis. and everyone teaches the praying mantis. After 5 years, the mentor saw the clan school of crane against snake and made attacking movements with his legs from it. a year later, the master of the drunken fist came to the monastery and taught everyone to fall. and poor students, regardless of their primary physical characteristics, were forced to develop strength, jumping ability, high kicks or low stances. that is, the axiom is that a person with any initial physical characteristics can be made into a fighter of any style. It’s another thing when a master in the same monastery saw that a student was approaching him and took him to study. but the fact is that the criteria by which this particular master selected his student were not so much his physical data, or the features of his constitution, but namely psychology, internal energy, etc. and any physical condition in the conditions of the monastery was quite easily achievable, and the teaching methodology was similar.
Also, I forgot, don’t forget that the “5 animals games” were initially a health-improving technique, not an applied one.
z.y. Sorry, so much and off topic.

Waltender 05-06-2006 19:31

in style?? Where exactly did the masters come from?
Crane (Tiger, Monkey)? And who was doing

his own, purely teaching.

Shaolin Crane.

The Crane style is designed to develop endurance, stretching, and balance. It is based on footwork. This style was an improved version of the ancient "bird" style of combat. The initial stance is an imitation of the expectant stance of a crane - on one straightened leg, the other leg tucked to the knee. One arm is raised at an angle above the head, the other is lowered below the waist. The fight is conducted in a “swinging” manner, moving from one leg to the other. Leaving the line of attack by stepping to the side while simultaneously striking with the other leg is often used. In the Crane style, the ability to constantly balance on one leg is important. More widely than in other styles, when imitating a crane, repeated kicks with the same leg are used without changing the supporting leg. Among the punches, the so-called “eagle beak” is popular - a strike with all fingers folded into a pinch.

Bai Yufeng and his colleagues approached the development of the new five “animal” styles from an advanced scientific position at that time. In their constructions, much was based on the study of the psychosomatic characteristics of the human body, types of temperament - if we use modern terminology. During the selection process, each student was recommended to choose the “animal” style that was most suitable for his individual psychophysiological characteristics. Thus, in the dynamic style of the Leopard, it is more convenient to act in a tall and strong sanguine person, who has natural courage, athletic acumen and assertiveness, than a relatively sedentary phlegmatic person...

Kalmar 06-06-2006 02:17

As far as I know, dividing kungfu into schools based on technique is purely commercial options. And due to the fact that a part can never be larger than the whole, we had to go deeper, come up with katas, inappropriate but effective movements. Like karate stances that imitate the poses of Buddhist gods.

Shaolinsu was studied in the monastery, and Shaolin Ju Quan originated from the surrounding peasants who observed the training, but did not know the essence.

From the techniques of animals - the methods of their hunting and internecine fighting - many took and transferred them to the features of human anatomy effective techniques: monkey, dragon, cat, bear, praying mantis, spider, bird, bull, boar, snake...
From the crane, or rather the bird fighting technique, they first took the unusual funny “crane gait” with the head and arms twitching in time with the steps. The enemy, seeing such a strange sight, will be confused or laugh, but not for long, because... , will receive a blow with a “wing” on an open (from laughter or surprise) jaw, and with a broken jaw it hurts to laugh. Closing the enemy’s eyes is also a bird technique - they beat their wings on the enemy’s eyes, block his view and at the same time strike with their feet. You cover the enemy’s eyes with your hands, the hem of your clothes, and the enemy’s clothes. Under the cover of this technique, you deliver low kicks. There are also kicks from below from a sitting position and resting your hands on the floor from behind (birds of prey fighting technique). Double punches, for example, to the ears, to the sides, whips to the eyes, jumping strikes with the hand resting on an auxiliary object are also their bird techniques. In a finishing move, jump with your knees onto the spine of an opponent standing on the ground. The technique with a battle fan is also made from birds. That's what I remembered.

False 06-06-2006 11:43

That is, how, there was no specialization of the student
in style??

on initial stage Everyone had practically the same base. and in general, the students studied a fairly unified BI. the student did not say, I am studying Xingyiquan. he said I am studying with Master Chen. and most of the craftsmen (at least in the monastery) were engaged in selecting the most application technician, regardless of their origin.
Where exactly did the masters come from?
Crane (Tiger, Monkey)?
Here we must make a difference between the Shaolin school and clan schools. Most often it was the clan schools that cultivated the “pure style.” In Shaolin, one can talk about pure style either from the moment of its inception and for an extremely short time. then fusion and synthesis take place. purity of style for the monk was not a dogma - they were interested primarily in the applied question. this is in general. Of course, any master had 2-3 students, to whom he completely passed on the tradition of his style. but in the conditions of a monastery it was difficult to do this, by the way, this is often why masters left the monastery to live in villages and mountains, so that they could cultivate their style away from the world. and it is far from a fact that this style had a very large applied aspect; it was rather aesthetics that prevailed, namely the cultivation of the style as such.

And who was doing
the genesis of style over the decades?
And how was the Apocrypha BI transmitted then? After all,
albeit at the level of legends, but the Teacher took
Student like Blank sheet and recorded on it
his own, purely teaching.
again, there is some kind of substitution going on here. the teacher took a student and effectively cultivated from him a flower of his style. This is typical for clan schools above all. and how long it would take 10-20-30-50 years for the Chinese with their mentality was somewhat all the same. in the monastery there was a slightly different task - to raise an applied fighter. and one must speak very cautiously and conditionally about the purity of monastic styles.

Maybe I'm being clumsy, I'm trying
learn about the Tradition and Tradition of style
Shaolin Crane.

Here's what I'd like to know in more detail:

The Crane style is designed to develop endurance, stretching, balance...

Sorry, but can you link to the source? the point is that it is clearly described here sport style, which appeared relatively recently. read the fears yourself, and imagine a person’s fight in a similar manner. this time. then, don’t forget, Bai Yufeng did not create the leopard, crane, etc. styles. he created the “5 steps” style, “5 blows” and 5 something else will also be encountered. subsequently this became identified specifically with animal styles. he and his comrades created tao, which not only imitated movements, but general principles. the same Bereznyuk, for example, writes that animal styles were practically not cultivated in the monastery precisely because of their impracticality. I won’t say it verbatim, but that’s the point. that is, not 5 styles were developed, but one style, providing different variants working against different opponents in the yin-yang tradition. Oppose the dexterous with strength, the strong with agility, etc. but all this was allowed to be developed by various taos. It is possible that everything you described took place, but it is doubtful that within the framework of the monastic tradition.
in terms of the style matrix, Kalmar was ahead of me, but again this is a description of sports “animals” that were nurtured already in the 20th century and have a very conditional relationship to the monastery. how "animals" were cultivated in the monastery in pure form, at the moment of its inception and for some time after - I did not absorb such information. I was curious if anyone has such information.

Waltender 06-06-2006 13:50

From the crane, or rather the bird fighting technique, they first took the unusual funny “crane gait” with the head and arms twitching in time with the steps. The enemy, seeing such a strange sight, will be confused or laugh, but not for long, because... , will receive a blow with a “wing” on an open (from laughter or surprise) jaw, and with a broken jaw it hurts to laugh. Closing the enemy’s eyes is also a bird technique - they beat their wings on the enemy’s eyes, block his view and at the same time strike with their feet. You cover the enemy’s eyes with your hands, the hem of your clothes, and the enemy’s clothes. Under the cover of this technique, you deliver low kicks. There are also kicks from below from a sitting position and resting your hands on the floor from behind (birds of prey fighting technique). Double punches, for example, to the ears, to the sides, whips to the eyes, jumping strikes with the hand resting on an auxiliary object are also their bird techniques. In a finishing move, jump with your knees onto the spine of an opponent standing on the ground. The technique with a battle fan is also made from birds. That's what I remembered.

You need to know all the techniques in order to understand what to expect from an opponent who knows a certain school.

Squid, thank you - what I was waiting for!
It remains to determine the degree of relevance of the adept’s psychotype - and his
morphology - when choosing a style for in-depth specialization.

False, this is a paragraph taken from Dolin-Popov’s “Kempo” and serves as one
for illustration purposes only. Still tall, thin, shy
Is it more suitable for a Crane than short, stocky, aggressive?

Kalmar 07-06-2006 02:46

People went to monasteries to freely do what they liked. Including BI, philosophy, medicine, sciences. The monks did not need to think about their daily bread. They could devote all their time to self-improvement. They went out into the world to practice, hunt two-legged game and recruit new adherents.

What can you learn from stupid, jaded and illiterate peasants? And even more so, the peasants are not asking for training to become supermen. They are supposed to work.

Everyone chooses the techniques they like (after they have studied everything). If you limit yourself to just one technique, you will end up with an inferior fighter. For example, in the ground game the bird technique will not help much. For this, it is better to use the oblique, cat, sambo or jiu jitsu techniques.

Waltender 07-06-2006 12:59

Squid, about the link to the source - this is mine
answer False
In addition, it is obvious that the monks had nothing special to gain from the peasants, for
with the exception of nuggets. I read that dominant
The Lokhan style in use in the monastery was
surpassed precisely by the alien master, from
secular. It's interesting how they developed
young novices - especially those who
who was subsequently able to pass the legendary Corridor of Death, equipped with a variety of
deadly devices...

Modest 07-06-2006 14:21

quote: Originally posted by Waltender:
... the legendary Corridor of Death, equipped with a variety of deadly devices...

Waltender 07-06-2006 14:28

quote: Originally posted by Modest:
Can you talk more about this???

Oh, so this is an old button accordion!

In the 1985 film "Kung Fu" with the participation of David Carradine there is such
scene - Dave sits tiredly on a bench, his hands rest on his knees like whips
. On the hands of a Tiger and a Dragon. Looking out from a window on the second floor
an elderly Chinese man and notices the SIGNS. They make eye contact.
The Chinese slowly and respectfully bows...

Kalmar 08-06-2006 12:47

There are doubts about the reliability of someone surpassing someone else in BI. There seemed to be no competitions held there. Surpassed in battle means crippled or killed. And if someone had killed a monk, they would have torn him to pieces.

Waltender 08-06-2006 12:54

quote: Originally posted by Kalmar:

That's what I'm saying - from all history I only remember that the dominance of Luohan
some socialite stopped...

False 08-06-2006 10:30

quote: Originally posted by Kalmar:
There are doubts about the reliability of someone surpassing someone else in BI. There seemed to be no competitions held there. Surpassed in battle means crippled or killed. And if someone had killed a monk, they would have torn him to pieces.

I note that monks were killed quite often. The surroundings of Mount Songshan were desolate and robber places. and the monks often became victims of local robbers, for whom it was easy, fatty prey
in particular, this explains the phenomenon of the emergence of wushu in Shaolin as an applied discipline.

Waltender 08-06-2006 12:30

quote: Originally posted by False:

z.y. but about the corridor it’s all bullshit. legend.

It may be a legend, but not bullshit. A beautiful legend...

Name: Basics of Shaolin style - White Crane - Combat strength and qigong.

Basics of Shaolin style White Crane- one of the last books by Master Yan. In it, the author sums up his thirty-five years of practice of this martial art and his own research in the field of qigong theory. This is the first book translated into Russian in which the most “esoteric” side of Chinese martial arts is explained in such detail - the theory and practice of the fighting force of jin, which is born as a result of a combination of muscle strength - li and vital energy qi. `White Crane`, as presented by Yang Junming, is a holistic system of bioenergetic training. The system is based on a multi-level classification of techniques according to the Yin-Yang principle. Unique sets of exercises of qigong and jingong of the baihe style are intended both for martial arts specialists and for fans of oriental health systems.

"White Crane" is considered one of the most effective southern styles of gong fu. This is a beautiful, vibrant flower grown in the Chinese martial arts garden. The White Crane martial art emphasizes internal training of Yi (or “wisdom mind”) and Qi. And the qi must lead. This style includes a great variety of hand techniques. The general principle of training is this: “the hands move softly, but they reach the goal hard.” "White Crane" specializes in emitting "jing spring shaking"; The step is light, nimble and strong.

Dr. Yang has been practicing White Crane Gongfu since his youth. He deeply studied the Ancestral Crane (Jumping Crane) style. When he performs his complexes, his jin manifests itself very powerfully. It is impossible to reach such a level unless you have practiced the refined art for many years.
This book, Basics of Shaolin White Crane Style, explains the very foundation of White Crane Gongfu. It contains the most important and fundamental principles of this style. But it’s not without reason that they say: “If you train your fist without work-gun, you will be left with nothing in old age.”

Warning. 7
Acknowledgments 10
About the author. eleven
Preface. Master Liang Shouyu. 14
Introduction. 15
Part 1. General concepts. 17
Chapter 1.0 Chinese martial arts. 18
1-1. Introduction
1-2. A Brief History of Chinese Martial Arts: East and West
1-3. General information about Chinese martial arts
1-4. Military morale
Chapter 2. About Chinese qigong. 59
2-1. Introduction
2-2. Qi, qigong and man
2-3. Qigong categories
2-4. Qigong training theory
Chapter 3. About the martial arts of the White Crane. 113
3-1. Introduction
3-2. Chinese martial arts associated with the “White Crane” style
3-3. Training theories of the “Southern White Crane” styles
3-4. Contents of the style “White Crane of Ancestors”
3-5. About this book
Part 2. White Crane Qigong (Baihe Qigong). 135
Chapter 4. Theory. 136
4-1. Introduction
4-2. General Theory of Martial Arts Qigong
4-3. White Crane Qigong Theory
4-4. Summary
Chapter 5. Hard qigong of the “Crane” style (he-zhuangong). 165
5-1. Introduction
5-2. Fixed hard qigong (dingong)
5-3. Moving hard qigong (donggong)
Chapter 6. Soft Qigong of the Crane Style, or Flying Crane Gong
(feihegong). 211
6-1. Introduction
6-2. Still soft qigong (dingong)
6-3. Moving soft qigong (donggong)
Part 3. White Crane Jin (baihe jin). 269
Chapter 7. Jin theory. 270
7-1. Introduction
7-2. Theory
7-3. External and internal jin Chapter 8. White Crane Jin (baihe jin). 293
8-1. Introduction
8-2. White Crane Jin Structures
Chapter 9. Conclusion. 347
Publishing house "Sofia" recommends. 349

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A little about the history of style ​

The famous Fujian White Crane was born during the Qing era (1644-1911). The effectiveness of this style determined its wide distribution, first in the south of mainland China, and later in Taiwan and the countries of Southeast Asia.
The creation of the White Crane Fist is attributed to a girl named Fang Qingyang, the daughter of the master of “fist art” Fang Zhong. Fang Zhong was noble man, was fond of Shaolin “fist art” and studied with various masters. They say that he had excellent mastery of the Shaolin Arhat Fist.
Fang Qingyang, following her father, to his joy, became interested in quanfa and trained all day long. Satisfied Fang Zhong dreamed of passing on to her all the secrets of Shaolin martial art, but his daughter could not fully master the complex technique designed for physically strong man. Then Fang Zhong decided to pass on the knowledge to his son-in-law - Qingyang's husband named Chen Duixi (However, this Chen, having adopted the skills of his father-in-law, unexpectedly fled in an unknown direction, and has not been seen since then. And Fang Qingyang, who remained faithful to her husband, experiencing her grief, went into seclusion in the Bailian-si Temple. There, in the process of observing cranes, she had the idea to develop a new style of tsuanfa, implementing the principle of crane “effort” (jin) and increasing the power of blows and blocks due to correct use flows of vital energy qi. She combined the methods of “effort” observed in the crane with the technique of Shaolin “fist art” and ultimately created a new style, which she called “White Crane Fist.”
Today, many researchers doubt that the starting point for Fang Qingyang's quest was actually the observation of a crane, let alone the appearance of a spirit. They see this story as a pure mystification, designed to emphasize the miraculous power of Bely’s “fist art” with cranes, in contrast, they put forward a version according to which the true founder of the style should be considered the father of Qingyang Fang Zhong, who in his youth studied some kind of “crane” style in Fujian Southern Shaolin . Be that as it may, as a result, through the efforts of Fan Qingyan, a new style was born, combining the Arhat Fist technique and new “crane” techniques.
The closest student, and later husband, was Yunchun Zeng Si. He really asked to be a student of Qingyang, and she, convinced that he was a simple and sincere man, of refined taste, very capable, and also handsome, agreed to teach him her White Crane.
Days and months passed. Fan Qingyang and Zeng Si hardly separated, and gradually love arose between them. After some time, they got married, and subsequently had three sons.
Zeng Si trained for more than ten years under the guidance of his wife until he mastered all the secrets of Baihequan and achieved true mastery. However, clouds were already gathering over the family of White Crane Fist masters. The Jiaoliangsi Temple, which was supposedly one of the secret centers of the anti-Qing struggle, was attacked by a detachment of Manchus. The temple was set on fire, Fang Zhong died in the flames, and Qingyang herself, saving the children, fled from inevitable death.
For some time, Fan wandered, looking for her husband, earning a living by selling medicine. Eventually, she managed to find Zeng Si, and they traveled together to neighboring Fujian, where they settled in the city of Funing in the northeast of the province (now Xiapu County). There, at the Western Gate, they opened a “Wushu court” and began teaching Baihequan together. However, the whereabouts of the couple became known to the Manchus, who continued to hunt for them, and the couple again had to flee, this time to the south of Fujian, to Zeng Si’s homeland, to Yongchun.
Situated deep in the mountains, Yongchun, where at that time the only road led, was ideal place to hide from persecution by the authorities.
The couple settled in the small village of Houmiao, located near the western gate of the city, in the suburbs of Guanzhen, at the foot of the Tianma Mountain. Soon after moving, they opened a “fighting platform” (leitai) in the square of the Guangyin-si Temple in Houmian for 100 days and challenged representatives of other schools of tsuanfa. Having successfully defeated all rivals, they established Baihequan in Yongchun.
Since then, Yunchun has become the main center for the practice of White Crane Fist.
One of the famous students was Zheng Li, who earned the respectful nickname “great mentor - elder brother.” Zheng Li first studied Tai Tzu Chuan, which his family had practiced since ancient times, and after passing full course Fang Qingyang's White Crane Fist and Shaolin Arhats Fist didn't stop there. Zheng Li still learned a lot from his sworn brothers - Ya Hu and Lin Chui. Ya Hu, as they say, was excellent in the styles of Hu-quan - Tiger Fist and Tanlan-quan - Mantis Fist and was a great master in the art of stick fighting. Lin Chui was brilliant with the Tao saber. Having mastered the tsunjin technique under the guidance of Bai Jie, Zheng Li continued to wander in search of teachers. In his travels, as Kinjo Akio suggests, he became acquainted with the Dragon Fist - Longquan and the Golden Lion Fist - Jinshiquan, honed his technique and widely glorified the White Crane Fist. Zheng Li significantly revised the technique, tactics and teaching methods of Baihequan, including the most effective techniques and training methods from Tai Zu Chuan, Dujiao He Quan and a number of other styles. In fact, apparently, he created the very style that is now known as the Yunchun white crane fist - Yunchun baihequan.
As Kinjo Akio suggests, by that time the founder of the White Crane Fist, Fan Qingyang, had already left Yongchun and moved to the neighboring province of Guangdong. And there really could be good reasons for that. In the old days, Yongchun was a very small town, lost in the mountains. This means that there were not so many potential students of professional wushu teachers here. When everyone became a little more proficient in the technique of “fist fighting”, and the influx of new students stopped, Fang Qingyang and Zeng Si, who did not even have a piece of land here, probably had to experience difficulties with earning money. The logical way out of the situation would be to move to a new place of residence, preferably to a place where students could be found in sufficient numbers. A better option than the densely populated Guangdong province could hardly be imagined. Indeed, in Guangdong there are styles that bear traces of the influence of Baihequan. First of all, this is the world-famous Yunchunquan (Wingchun), the founder of which, according to one version, just like the legend about the creation of the White Crane Fist, is considered to be a girl named Fan Yunchun. According to Kinjo Akio, there can only be one explanation: fleeing persecution, Fang Qingyang, having moved to Guangdong, changed her name and began to be called Yongchun in memory of the hospitable town in her husband’s homeland. By this time, her style could have already undergone significant changes. This updated style appears to have emerged, which nevertheless retains much in common with the various branches of the Fujian White Crane.
Zheng Li's students, Lin Dong and Zheng Chui, also made a significant contribution to the development of the Yongchun White Crane Fist. They systematized the techniques and methods of teaching Yongchun baihequan.
During the reigns under the mottos of Tongzhi (1861-1874) and Guangxu (1875-1908) famous master style of Yongchun Baihequan, Pan Zhentuan, nicknamed "Jianyuan" ("Insight and Perfection"), and his students, including the Xiucai of military affairs Pan Shifeng (1859-1931), significantly reformed the Yongchun White Crane Fist. They improved the old taolu and developed a number of new ones. Thanks to this, the structure of teaching style has become much more systematic, and its content itself has been significantly enriched.
Finally, in 1928, a delegation from Yongchun, which included White Crane Fist masters Pan Shifeng, Pan Xiaode and ten others, took part in the First State Trials in Nanjing, with Pan Shifeng in the 1920s, when the south was Civil War everyone with everyone, who taught martial arts in the village of Jimeixue-tsun, took 1st place in the “elderly participants” category. Upon returning home, (“ national art") in Yongchun City, Fujian Province." This educational institution played an important role in the spread of Yongchun baihequan in Fujian. And now this style is widespread throughout almost the entire province.
Mentor Pan Shifeng, first vice-rector and then rector of the Yunchun branch of the Central Guoshu Institute, made a great personal contribution to the spread of the Yunchun White Crane Fist. In 1929, he took part in the creation of the Minnan
Guoshu Union, traveled to Singapore and Malaysia to teach Yunchun Baihe Quan, created guoshu institutes there and trained students.
In 1930, Pan Shifeng became a Wushu teacher in the Jimeixue area and at the University of Xiamen. A close associate of Pan Shifeng was Pan Xiao-te (1881-1969), who began studying Yongchun Baihequan under the guidance of Pan Zhentuan at the age of eight. In addition to the fact that he, together with Pan Shifeng, took part in the First State Guoshu Tests and in the creation of the Minnan Guoshu Union, in 1933-35 Pan Xiaode was the rector of the Yongchun branch of the Central Institute of Guoshu, and in 1935 he took part in the Seventh Provincial Sports Games. After 1952, he took part in various wushu competitions at the provincial and local level, both as an athlete and as a judge. (“Hiden martial arts and hand-to-hand combat” No. 3 Gorbylev A.M.)
Today Yunchun Baihe Quan is Pan Chen Miao and his son Pan Qiong Qi.
The mentor and organizer of the spread of the style in Russia and Ukraine is Andrey Yurievich Ognev. Instructor in Volgograd

"Baihe Quan"

(white crane fist)

Autograph of I.V. Gorbunov from Pan Chenmiao - Master of Yongchun Baihe Quan on the page of the collection "Hiden" by A. Gorbylev

The famous Fujian White Crane - 白鹤拳 baihequan (white crane fist) was born in the Qing era (1644-1911).

The effectiveness of this style determined its wide distribution, first in the south of mainland China, and later in Taiwan and the countries of Southeast Asia.

Gradually, Baihequan emerged from the fold whole line daughter styles: Zonghe-quan, Minghe-quan, Feihe-qiu-an, Shihe-quan, Suhe-quan and others.

Due to their common origin, these styles are quite close to each other. Thus, all Fujian crane styles are similar in their use as base complex Sanzhan - “Three fights”, other name options: “Sanzheng” - “Three correctness”, “Sanjian” - “Three arrows”, etc.

True, variants of this complex in different styles may differ significantly from each other.

In all crane styles, they work on lowering the “internal qi” into the lower energy center of the Dan Tien, teach how to use the Dan Tien when performing technical techniques, coordinating the “internal” (Nei) and the “external” (Wai), and use two types of effort - “light” (Yang) and “dark” (yin).

The stands should be strong, as if the legs had taken root in the ground. The feet in the stance are either parallel or turned inward, the knees are brought together to protect the genitals. To effectively protect the midline, on which numerous vulnerable points are located, the hands are held in front of oneself, with the elbows lowered and brought together, in a combat position.

The now world-famous Yunchunquan (Vinchun) may also go back to him.

HISTORICAL SKETCH

The creation of the White Crane Fist (白鹤拳 - baihequan) is attributed to a girl named Fang Qingyang (方七娘), the daughter of the master of “fist art” Fang Zhong (方掌光).

Fang Zhong (in another version - Fang Zhangguang), presumably, was born during the Qing dynasty, during the reign under the motto Kangxi (1662-1723), and lived in Lishui County, Chuzhou County, Zhejiang Province. His family was very rich, and he himself, as legend says, was a noble man, was fond of the Shaolin “fist art” and studied with various masters. They say that he had excellent mastery of the Shaolin Arhat Fist.

When Zhong was sixty, his wife died, and all the burdens of running the household and caring for an elderly parent fell on the shoulders of his sixteen-year-old daughter Qingyang.

She was a wonderful beauty, but her interests were rather masculine: following her father, to his joy, she became interested in quanfa and trained all day long. Satisfied Fang Zhong dreamed of passing on to her all the secrets of Shaolin martial art, but his daughter could not fully master the complex technique, designed for a physically strong man. Then Fang Zhong decided to pass on the knowledge to his son-in-law - Qingyang's husband named Chen Duixi.

However, this Chen, having adopted the skills of his father-in-law, suddenly fled in an unknown direction, and has not been seen since then. And Fan Qingyang, who remained faithful to her husband, experiencing her grief, shut herself up in the Bailian-si temple. There, in the process of observing cranes, she had the idea to develop a new style of tsuanfa, implementing the principle of crane “effort” (jin) and increasing the power of blows and blocks through the correct use of the flow of vital energy qi.

The legend about Fang Qingyang’s “enlightenment”, when she discovered the secrets of crane energy and the “effort” that could be applied to the “fist art” to make it more effective, is retold in different variations in different regions of Fujian, sometimes mystifying.

According to one of the legends, one day Qingyang was weaving while sitting in the courtyard of the Bailian-si Temple, later renamed “Jiaolian-si” - “Temple of Improvement in Teaching.” Suddenly she saw a large white crane fly in and land on the roof of the temple. The girl watched for some time as the crane flapped its wings, danced, rearranging its legs, plucked feathers with its beak, picked up food, stretching its neck.

Then she decided to scare the bird and threw a weaving shuttle at it, but the crane deftly jumped to the side and the shuttle flew past. Then Qingyang threw a reed at the bird, but the crane repelled her with a powerful blow of its wing, so that the reed flew far to the side. All this interested the girl very much; for a long time she carefully studied the habits of the crane, the nature of its movements, and methods of generating force. She combined the methods of “effort” observed in the crane with the technique of Shaolin “fist art” and ultimately created a new style, which she called “White Crane Fist.”

According to the Okinawan “Book of Combat Training” (“Bubishi”), containing brief descriptions techniques and methods of the White Crane Fist and the Arhats Fist, as well as a number of legends, Qingyang “took three years to learn” the new style, and the Yunchun “Genealogies of White Crane Fist Art” (“Baihe Quanpu”) simply states that mastering this The girl spent many years making art. Be that as it may, as a result, through the efforts of Fan Qingyan, a new style was born, combining the Arhat Fist technique and new “crane” techniques.

One day, Zeng Si, a student of Yan Qidan, who studied the White Crane Fist technique from Ye Puxi from Tongan County, Fujian Province, who in turn studied briefly with Fan Qingyang, asked to become a student of Qingyang herself, and she, making sure that he was a simple and sincere person , of refined taste, very capable, and also handsome, agreed to teach him her White Crane.

Days and months passed. Fan Qingyang and Zeng Si hardly separated, and gradually love arose between them. After some time, they got married, and subsequently had three sons.

Zeng Si trained for more than ten years under the guidance of his wife until he mastered all the secrets of Baihequan and achieved true mastery. They say that when he stood in the sanzhan stance, he looked like a mighty tree, clinging to the ground with powerful roots. When he performed the exercises of the nei gong (“inner work”) section, his qi “reached every joint.” Moving forward and backward, “emptiness” and “fullness” in technical methods, alternating inhalations and exhalations, raising and lowering the center of gravity - Zeng Si performed all this majestically and gracefully. Having achieved such skill, he began to travel far to spread Baihequan throughout the Celestial Empire.

However, clouds were already gathering over the family of White Crane Fist masters. The Jiaoliangsi Temple, which was supposedly one of the secret centers of the anti-Qing struggle, was attacked by a detachment of Manchus. The temple was set on fire. Fang Zhong died in the flames, and Qingyang herself, saving the children, fled from inevitable death.

For some time, Fan wandered, looking for her husband, earning a living by selling medicine. Eventually, she managed to find Zeng Si, and they traveled together to neighboring Fujian, where they settled in the city of Funing in the northeast of the province (now Xiapu County). There, at the Western Gate, they opened a “Wushu court” and began teaching Baihequan together. However, the whereabouts of the couple became known to the Manchus, who continued to hunt for them, and the couple again had to flee, this time to the south of Fujian, to Zeng Si’s homeland, to Yongchun.

Located in the depths of the mountains, Yongchun, where at that time there was only one road, was an ideal place to hide from persecution by the authorities. The couple settled in the small village of Houmiao, located near the western gate of the city, in the suburbs of Guanzhen, at the foot of the Tianma Mountain. Soon after moving, they opened a “fighting platform” (leitai) in the square of the Guangyin-si Temple in Houmian for 100 days and challenged representatives of other schools of tsuanfa. Having successfully defeated all rivals, they established Baihequan in Yongchun. Since then, Yunchun has become the main center for the practice of White Crane Fist.

The stated facts are mainly confirmed in various sources.

This is the “Chronicle of Yongchun County” (“Yongchun Xian Zhi”), and the genealogical book (pu) of the White Crane Fist, and the family chronicle (jiapu) of the Zheng clan.

Thus, in the “Chronicle of Yongchun County”, in the section “Legend about the Fan technique”, it is reported:

“Zheng Li from Fengli has mastered quanfa. During the Qianlong reign (1736-1796), Fang Qingyang and her husband Zeng Si fled to Yongchun after committing a crime. Zheng Li's father, Zheng Ming, tried to fight them, but was unable to control himself and was wounded from which he died. As my last will he ordered Zheng Li to study with Fan Qingyang, and Li became her student along with other people, 24 in total, including Lin Chui, Ya Hu".

In the old days, Yongchun was a very small town, lost in the mountains. This means that there were not so many potential students of professional wushu teachers here.

When everyone became a little more proficient in the technique of “fist fighting”, and the influx of new students stopped, Fang Qingyang and Zeng Si, who did not even have a piece of land here, probably had to experience difficulties with earning money. The logical way out of the situation would be to move to a new place of residence, preferably to a place where students could be found in sufficient numbers. A better option than the densely populated Guangdong province could hardly be imagined. Indeed, in Guangdong there are styles that bear traces of the influence of Baihequan.

First of all, this is the world-famous Yunchunquan (Wingchun), the founder of which, according to one version, just like the legend about the creation of the White Crane Fist, is considered to be a girl named Fan Yunchun. According to Kinjo Akio, a Japanese martial arts researcher, there can only be one explanation: fleeing persecution, Fan Qingyang, having moved to Guangdong, changed her name and began to be called Yongchun in memory of the hospitable town in her husband’s homeland.

By this time, her style could have already undergone significant changes. This updated style apparently formed the foundation of Yongchunquan, which, however, retains much in common with the various branches of Fujian White Crane. In particular, the basic taolu Yunchun-quan Xiaonyantou (“Small rotations of the heads”, by “heads” we mean the hands) has much in common with the taolu Bafencun (“Eight-tenths of cun”) and Baihe jiefa (“White Crane Joint Technique” ) Yunchun White Crane Fist.

Higaonna Morio (Goju-ryu Karate-do) visiting Pan Chenmiyao (Yunchun Baihe Quan)

During the reigns under the mottos of Tongzhi (1861-1874) and Guangxu (1875-1908), the famous master of the Yongchun style Baihequan Pan Zhentuan, who bore the nickname “Jianyuan” (“Insight and Perfection”), and his students, including the military Xiucai the affairs of Pan Shifeng (1859-1931), significantly reformed the Yongchun White Crane Fist. They improved the old taolu and developed a number of new ones.

Thanks to this, the structure of teaching style has become much more systematic, and its content itself has been significantly enriched.

Finally, in 1928, a delegation from Yongchun, which included White Crane Fist masters Pan Shifeng, Pan Xiaode and ten others, took part in the First State Trials in Nanjing, with Pan Shifeng in the 1920s, when the south was civil war of everyone with everyone, who taught martial arts in the village of Jimeixue-tsun, took 1st place in the “elderly participants” category.

Upon returning home, in the winter of 1928, they opened the “Branch of the Central Institute of Guoshu (“national art”) in the city of Yongchun, Fujian Province.” This educational institution played an important role in the spread of Yongchun Baihequan in Fujian. And now this style is widespread throughout almost the entire province.

Mentor Pan Shifeng, first vice-rector and then rector of the Yunchun branch of the Central Guoshu Institute, made a great personal contribution to the spread of the Yunchun White Crane Fist. In 1929, he took part in the creation of the Minnan Guoshu Union, traveled to Singapore and Malaysia to teach Yunchun Baihe Quan, created guoshu institutes there and trained students. In 1930, Pan Shifeng became a Wushu teacher in the Jimeixue area and at the University of Xiamen.

A close associate of Pan Shifeng was Pan Xiao-te (1881-1969), who began studying Yongchun Baihequan under the guidance of Pan Zhentuan at the age of eight. In addition to the fact that he, together with Pan Shifeng, took part in the First State Guoshu Tests and in the creation of the Minnan Guoshu Union, in 1933-35 Pan Xiaode was the rector of the Yongchun branch of the Central Institute of Guoshu, and in 1935 he took part in the Seventh Provincial Sports Games. After 1952, he took part in various wushu competitions at the provincial and local level, both as an athlete and as a judge.

TECHNICAL FEATURES

Pan Chenmiao - Baihe Quan and Igor Gorbunov - Uechi-ryu

In the Yongchun style, the baihequan “shape” (xing) imitates the “shape” of a crane, and the imitation is given so much great attention that the masters say: “The crane “shape” is the art of fisting.”

The technique is in harmony with the rhythm of breathing. Therefore, when performing techniques, a Yunchun Baihe Quan fighter either rises, then falls, straightens and sag. “Spirit” (shen) and vital energy qi flow freely.

The movements feel firm (gan) but are not solid; seems soft (zhou), but not soft. The “force” is elastic and powerful. Physical action and the direction of the flow of qi are coordinated, so the techniques are powerful. To demonstrate maximum strength, battle cries are actively used. “Releasing qi” when exhaling creates power.

When striking, the hand in motion is soft (zhou), and at the moment of contact with the whole it becomes hard (gan).

Hand techniques are dominated by “short bridges” (duan-qiao) - short blows and blocks. In attacking with blows there are constant “changes”. Movements are fast and dexterous.

In Yongchun Baihequan, extremely great attention is paid to the correct position. Detailed rules exist for each part of the body. Below we list the most important requirements for the position.

Head position requirements:

• The top of the head should be positioned horizontally, the head should be held vertically. The face should be set vertically.
• The teeth are closed and pushed forward, like the beak of a crowing rooster.
• The roar is like a tiger's roar.
• The mouth opens like the mouth of the Bucket.
• The eyes are round, like those of a carp. The tongue licks the roof of the mouth.
• Nose like a lion.
• The eyes watch in all four directions, the ears listen in eight directions.
• The “spirit” (shen) walks back and forth, sees far to the left and to the right.

Hand requirements:

• “The inside of all parts (jie) of the hands are hard, like iron, and the outside is soft, like cotton wool.
• The shoulders are lowered, the elbows hang vertically down, the hands are soft like cotton wool.”

Leg requirements:

• Raise your leg just three fen, and there is already emptiness under it, so don’t lift your leg higher than your stomach in the kick.
• If you need to raise your leg, lift it decisively; if you need to lower your leg, lower it without delay.
• First, learn to lower your leg using the power of yin, and lower your leg so that its roots immediately grow into the ground.
• Then learn to lift your leg using yang power, and the leg you lift should be like a copper wall, and the supporting leg should be like an iron base.

Requirements for the torso and lower back:

• Keep your torso straight, keep it round and loose.
• Lift the pelvis up (i.e., pull the pelvis up - A.G.) and keep the qi in check, focus your attention on the dantian point.
• Power rises up from the feet, thunder is born in the ground, accumulates in the lower back, and is emitted by the hands.
• Raise the dantian, manifest the eight trigrams, include the strength of the lower back in the movement, tighten the tailbone.
• The stomach should be hard on the inside, like iron, and soft on the outside, like cotton wool.

Pan Chenmiao - Baihe Quan and Igor Gorbunov - Uechi-ryu Karate-do

Recommendations on battle tactics were developed in detail in Yongchun baihequan:

• In battle, meet the enemy's strength with your hands.
• Start the movement later and finish earlier (literally, “release power later, but reach the goal earlier”).
• In the work of the arms and legs there is harmony and order, the efforts of the body are united and harmonized.
• Movement also includes peace, this is called “wind power” (fenli). Peace carries with it movement, this is called “the power of rain” (yuli). Take the “force of the wind” and the “force of the rain” very seriously. The power in movement is as if you were breaking bamboo. Movement and rest are clearly distinguished. Change in advance and retreat, accumulate strength in a static position.
• First, inspect the enemy's position (shi). Then study its “shape” (sin). Evaluate “fullness” (shi) and “emptiness” (xu). Understand him psychological condition(blue).
• By observing your opponent's head, you recognize his movement and rest. By watching his shoulders, you learn what his arms and legs are doing. If you want to make a movement, change. The release of force is like a shot from a bow. If you see movement, use one qi to direct the force. When the movement of qi is correct, it does not stagnate, and then the fire ignites by itself. “Emptiness” (xu) should be empty, and “fullness” (shi) should be full. At the same time, “emptiness” is not empty, and “fullness” is not complete.
• If you want to hit down, hit up first. If you want to strike in the east, strike in the west first.
• If you encounter “hardness” (gan), use “softness” (zhou). If you encounter “softness” (zhou), use “hardness” (gan). Found an empty space (kun), penetrate into it. Found a “gate” (men) - enter. If there is a “bridge” (qiao), cross it. If there is no “bridge”, build it yourself. If you pull the enemy so that he crosses the “bridge,” cross the “bridge” yourself. If the enemy crosses the “bridge,” immediately destroy the “bridge” and do not allow him to use the “bridge.” When you take a stand, don't let your plans come to light.
• The legs step on, and the arms immediately begin to move. The arms begin to move, and the legs immediately step on. If the legs step and the arms do not move, then there is no strength. If the arms move but the legs do not step, then there is no position. If you don't have a position, you won't be able to cause damage to your opponent. If there is no position, then you yourself will receive damage from the enemy’s actions.
• See strength, create strength. If you see power, give up power. See strength, borrow strength. See the power - transform the power.
• First, tun - “absorption”, “swallowing” (i.e. inhalation - A.G.) and “floating up” (fu), then “immersion” (chen) and tu - “emission”, “spitting out” (i.e. e. exhalation - A.G.). “Absorbing” and “floating” are “softness” (zhou). “Immersion and “emission” are “hardness” (gan).
• If you are hard, then I am soft. If you are soft, then I am hard. This is called “hardness” and “softness” helping each other. “Hardness” goes ahead of the enemy’s strength, “softness” goes after the enemy’s strength.
• "Absorbing" tun is a method of feeding oneself, and "emitting" tun is a method for striking an opponent. The “floating” of fu is the ordering of force, the charging of a spring, and the “plunging” of chen is the release of force, the emission of qi. This is the mechanism (ji) through which “hardness” and “softness” help each other.
• You go out when the enemy is not waiting, you attack when he is not ready, and this is how you defeat the enemy and achieve victory.

Pan Chenmiao - Baihe Quan and Igor Gorbunov - Uechi-ryu Karate

In a number of baihequan directions, hand techniques (and most blows are delivered with them) are correlated with the “five elements” - wood, earth, fire, water and metal.

On the basis of the “mutual transition” and “mutual negation” of these “elements”, attack and attack are built.

For example, the movement corresponding to fire is an upward blow in an arc from the bottom up, like a whipping tongue of fire, the movement corresponding to water is a blow from top to bottom, like the falling streams of a waterfall, etc.

Stages of mastering the style.

1. At the first stage, a follower of the school learns to gather strength at the sight of an opponent and oppose him with his own technical skill And physical training(“see strength, create strength”).
2. Then the student is explained how to gently avoid blows, “removing” blows from the body by slightly rotating the body. The opponent must be exhausted, in vain attempts to reach the target with a blow (“see the strength - change the strength”).
3. Finally, the student comprehends the art of using the enemy’s strength, as if borrowing strength from him, turning it against himself: defeating the enemy with a minimum of effort, “giving up strength.”

Thus, the fighting, purely “external” style (it is even considered genetically related to Shaolinquan) gradually turns into an “internal” form, where “hard” physical effort recedes into the background.

Pan Chenmiao - Baihe Quan and Igor Gorbunov - Uechi-ryu Karate-do

The basic principles of the Yunchun White Crane Fist strategy are as follows:

1. "First of all, take advantageous position on the ground, study “fullness” (shi) and “emptiness” (xu).
2. Show zeal in your studies and surpass others in courage.
3. Wisdom (zhi) and military cunning (mou) complement each other; to deal with the enemy, use the mechanism of “change” (bian).
4. “Absorbing” Tong and “emitting” Tu, “floating” Fu and “immersing” Chen, “hardness” and “softness” help each other.
5. Raise your hand and take the initiative, the front and back feed each other.

These are the five conditions for achieving victory.

1. Allow for omissions in training.
2. Put above all else the proof that you are stronger than others. Look for opportunities to compete in abilities.
3. If you don’t appreciate the benefits of the position, don’t study “fullness” (shi) and “emptiness” (xu).
4. Have courage, but do not know military tricks (mou), rely on your will (i) and neglect exercise (gun).
5. Boast more, and when you meet an enemy, show yourself to be a coward.

These are the five grounds for failure.

Burn with the desire to train and achieve success in the exercise, and your aspirations will be fully realized, you will be able to master all the methods.

• First, have courage (tribute).
• Secondly, have wisdom (zhi).
• Third, know military cunning (mou).
• Fourth, have courage (yun).
• Fifth, have strength.
• Sixth, have refinement (jing).
• Seventh, attain maturity (shu).
• Eighth, master the position (shi).
• Ninth, know how to use your eyes (yang).
• Tenth, know how to change (bian).

He who possesses all this in full has truly beautiful art.”

Pan Chenmiao - Baihe Quan and Igor Gorbunov - Uechi-ryu Karate

White Crane Fist uses a wide range of special training methods (gunfa).

• “standing in a pillar” (zhanzhuang), as well as training in slow movements in various stances: dingzyma, bazyma, budin buba ma, sypinma, etc.
• “exercises with stone castles” (lianshiso) and “raising the stones of justice and courage” (jui-yunshi) are specific equipment of Yongchun baihe-quan..
• “holding a jug in the claws” (Zhuawengzi) and “holding stones with the claw grip of the five fingers” (Zhuauzhishi).
• The “claw” technique is trained by “squeezing a bunch of bamboo sticks with the claws” (zhuazhuba).
• To strengthen and harden the fingers and train the “claw” technique, as well as to develop “claw force” (zhuajing), “piercing rice with sand” (chomishao) is practiced.
• To develop punching power and strengthen ligaments and muscles in the White Crane Fist, the exercise “hitting a sandbag” (dashaobao) is used.

Yunchun White Crane Fist includes such complexes as:

- taolu without weapons:

• Qibu Sanzhan - “Three Battles of Seven Steps”
• Shisan tai-bao - "Thirteen Great Guardians"
• Shisanbuyao - "Thirteen Step Shakes"
• Bafencun fa - “Method of eight tenths of cun”,
• Meingyu Shuzhuang - “The Beauty Is Combing Her Hair”
• Yazi Tun Shui - "Duck swims in the water"
• Shiqi baijia - "Seventeen Broken Armors"
• Sanshilu tiangan - “36 celestial deities of the Great Bear”,
• Qishi'er disha - "72 evil earthly spirits"
• Chuan xin zhongquan - “Middle fist piercing the heart”
• Baihe zhan yi - “The white crane spreads its wings”
• Tanglang Zhao Zhi - “Mantis in the rays of the sun»,
• Chunfeng sao di - “The autumn wind sweeps away fallen leaves from the ground”
• Lishi this and that - “The strong man takes off his shoes”
• Menghu ling zhu - "Fierce tiger drags a boar"
• Ximen dou di - “Battle for the base in four gates”,
• Xiao Qianzi Da - “Small complex of blows on the hieroglyph “Qian” (“Thousand”)”,
• Da Qianzi Da - “Large complex of blows on the hieroglyph “Qian” (“Thousand”)”,
• Shuang Qianzi Da - “Double set of blows on the hieroglyph “Qian” (“Thousand”)”,
• “Qianzi de zhong” - “The middle line in the character “Qian” (“Thousand”)”,
• Xiao Bafen Fa - “Small Eight Fen Method”
• Shibafen fa - “Eighteen Fen Method”,
• Baihe xian zhao - “White crane shows its claws”;

- taolu with weapons:

• Feitian pojia - “Fly to the sky and break the armor” (complex with dandao saber),
• Sanzhan Tzu-Wu Gun - “Three Battles with the Stick of Opposites”
• Sanbu ban - “Three and a half steps” (complex with a gun stick),
• Sanjiao chan-chu - “Three-legged moon toad” (complex with a gong stick),
• Ximen gunfa - “Four Gate Stick Fighting Technique”
• Shancai xian ban - “A skilled musician shows a baton”,
• Zhang'er chan-gun - "Long stick of one zhang and two chi"
• Qiaopo lianhuan ma - “Skillfully breaking continuous horses” (a complex with a spear with a sickle-shaped blade of the Goulian-Qiang,
• Dandao fuh * y - “Coming out to meet with the dandao sword” (complex with the qinglundadao sword - “great black dragon sword”,
• Tepa - “Pike with claws”,
• Shuandao - “Paired knives” (Hechi shuang-dao - “Crane wings - paired knives”),
• Shuanglong Shan Shui - “Two dragons on the mountain and in the water”
• Chuanxin pojia - “Pierce the heart - break the armor” (complex with the pudao halberd);

- paired taolu:

• Wuzhigong - "The Bickering of the Five Limbs"
• Kunshou do gun - “Take away a stick with your bare hands”
• Gun dui shuandao - “Stick against twin knives shuandao”,
• Gun dui tepa - “Stick against pike with claws tepa” (Niujiaocha - “Fork made of ox horns”),
• Gun Duilian - “Training in fencing with sticks in pairs.”

A. Gorbylev: “HIDEN”, issue 3.

Why do birds return to the North every spring?

The warmth has gone from the fields and the flock of cranes
The Leader leads to the green overseas land...
Even though that land is warmer, the Motherland is nicer...

Chapter 1. Grandmother's tales.

Grandmother sits in a chair and knits,
singing a song about a stupid little crane who is happy that the flock is flying away to new, still unknown to him, warm lands. Dasha draws while sitting at her desk. Dashenka is very kind and impressionable, the song puts her in a sad mood, but she herself won’t understand the reason: “Grandma, why is the whole flock sad, but the little crane is happy? Why do they fly away if they don’t want to?” Dasha loves to ask questions, she is very inquisitive. Grandma loves to talk, she has a whole heap of all kinds of information in her head and she is always happy to share it with her granddaughters. And granddaughters are ready to listen to grandmother’s fairy tales for hours.

- “Little crane, silly, behave decently, as I taught you.” How you disgrace me! Get in line, follow me. Oh, what will the Leader say..." - The Crane was very excited. The flock left the House and flew to warmer regions for the winter. It was always a sad and solemn event. And Little Crane was born later than everyone else, when all the other chicks had already
They grew up a little and began to teach them life concepts. It so happened, what can you do about it. But how sweet, beloved, spontaneous he is, and everyone forgives him for his little pranks, everyone takes care of him and teaches him the wisdom of life.

And now, the old wise Leader smiled quietly into his gray mustache under his beak and shouted:
- “Baby, quickly get in line! - then he added affectionately, - Over there, see the top of the mountain peeking out of the clouds? There is an island, we always make our first stop on this island. Let's find our favorite clearing, there is always a lot of food there, and we'll relax. And, as usual, I’ll tell you a story. Today I will tell you why it is so sad to leave the Motherland and how joyful it is to return Home...” and the flock flew further, to where an island, still unfamiliar to the Crane, was already visible.

Having landed on the island, which served as the first stop for the Flock for many years, and maybe even centuries, the Cranes, Cranes and Little Cranes washed their feathers, splashed in the sea, dried them with the breeze, and then from the Soul they were filled with large sweet berries. This was their island, which always served as their temporary home, there was always lush grass here and their favorite berries were always waiting for them. By the way, it was already a little warmer on the island than at the same time in their homeland, which they left at dawn.

Then the flock crouched down and lay down around their wise old Leader. The little cranes hid under their mother’s wings, everyone was warm, well-fed, and comfortable. Ahead of them lay rest and, as always, interesting story Old Crane.
“A long time ago,” the wise old Crane began to tell, “...

Chapter 2. Inhabitants of the Earth Gaia.

In those distant times, the Land of Gaia was beautiful: the sun shone softly, did not burn, but warmed and caressed, the sky was clean and transparent. From time to time, clouds floated across the endless sky, shedding short, warm rain on the ground. Gentle large rains washed the Earth and, again, the emerald grass turned bright green, and on the tall slender trees, among the same emerald leaves, yellow, orange or scarlet large fruits peeped out.
All this abundance was where the Arctic Ocean now lies, at the North Pole, where there was a beautiful land - Hyperborea. There was an eternal summer on this land, animals and birds lived nearby, ate grass and fruits, drank clean water from lakes and springs. Adult herds and flocks lived nearby in a friendly manner. They had nothing to share: the air was clean and transparent, fruits and plants, grains and nuts were in abundance around, and it was impossible to even imagine that anyone wanted animal food. If suddenly two males aimed at the same fruit they liked, then bad case they could push each other, and the leader’s shout would immediately restore order. And the cubs did not distinguish at all what genus or species they were, and they all played happily, tumbled in the clearing, affectionately pulled each other’s ears, or ran races across the fields and swam in reservoirs, raising sheaves of water, while emitting the peculiar sounds inherent in each species. sounds. There were no people on this earth then. It has been like this for many millions of years.

But one day the sky was covered with heavy gray clouds. There was a rumble from the clouds, from there sparkled the sharp rays of some bright light. The inhabitants of their beautiful kingdom of Nature have never seen or heard either thunder or lightning, or experienced a piercing cold downpour. They huddled in the clearing into one huge pile, despite the fact that they were of different kinds. Fear of previously unknown phenomena brought them even closer together. The animals didn’t even know that it was fear, because no one had known it before, but for some reason their hearts sank, their heads became dizzy, and it became very difficult to breathe.
At that moment, from above, from behind the clouds, a small gray bird fell into the clearing. She lay on her side, her wing tucked awkwardly, and she was breathing heavily. The kind Hippopotamus was the first to come to her senses, she gave a sign to the elephants and they brought water in their trunks, splashed the water into the hole dug by the monkeys and splashed a little on the unexpected guest. And the guest, after drinking some water,
perked up and “spoke” without opening her beak and without uttering a sound. However, all animals, birds, insects, fish and even trees, grass and flowers “heard” her. And this is what the bird told them:
- “I am a bird - a Prophet. I live on the planet Zeya, near the North Star. My planet is wonderful and it is very similar to your beautiful Earth, but in addition to the same inhabitants as you, People also live there.

Close your eyes, I will show you their image,” everyone obediently closed their eyes and, indeed, some extraordinary creatures appeared before their mind’s eye.
These creatures were somewhat reminiscent of animals, but they were also very different from them. The people were tall, slender, they also had four legs, two of which stood on the ground, and two hung freely along the body extended upward.

Instead of wool, they had SOMETHING on them and only on their heads were fluttering strands of silk, short or long, the same as those that the silkworm butterfly wove. “These are clothes and hair,” the inhabitants heard an inner voice. But most of all, the eyes of the People attracted attention - they looked clear, kind, so that the inhabitants understood that they were friends, leaders, and smarter than their most important Leader - Leo. There was confidence and strength in those eyes.

“Yes, they are very intelligent, they know and are able to do a lot. It was they who sent a thousand birds - the Prophet - to warn you of the danger, but only I managed to fly,” and the bird told them the following...

“...People are very intelligent, they teach us a lot too. They are kind, take care of us, take care of their planet, and help the inhabitants of other planets. Do you want to know how they do it? But simply, they have amazing abilities, their brain is so developed that they can move around their planet with the help of thought, this is called teleportation, they mentally communicate with each other. Their main goal is love and mutual understanding, their task is to know the Truth. People are very educated, however, they try to constantly develop. These people are from the Aryan and Slavic families. The Aryan family is very ancient, but the Slavs appeared much later, they are a young tribe. Aryans are stern warriors, everywhere in our Universe they make sure that everything is fair, teach young tribes everything they know, and protect them if the need arises. The Slavs are romantics, they are very kind, they do everything with love and joy. Some of the Slavs moved to the neighboring planet Deya, which is like a twin, similar to your beautiful planet Gaia. They settled there and wanted to pay a friendly visit to your planet.
But then something terrible happened... You've probably heard that there are Light forces and Dark forces in our universe. The Aryans and Slavs belong to the Light Ones, and the Dark Ones are represented by all sorts of evil spirits: some of them look like people with unpleasant gray faces and fixed gazes, others are skeletons hidden under clothes, and there are also either snakes or worms - they are called hydras. The dark ones are also called Koshchei. The structure of the universe is such that a certain axis goes down from the North Star, on which layers of planets seem to be strung, like disks on a children’s toy spinning top. Although you probably don't know what it is, I'll show you later, for now we have to hurry. “I must give a sign”... - suddenly the bird Veshun fell on its back, spreading its wings, its head tilted to the side, its eyes closed.
- “She’s dead... she’s not breathing... oh, how can this be...” - the playful Monkey looked sadly at everyone, stretching out her paws to everyone and with tears in her eyes. And everyone understood her every word, just as they had recently heard and understood the bird. It was so unusual, the animals and birds fell silent at once, and only their intermittent and excited breathing could be heard, and then everyone began to shout at once, each babbling in their own language, while perfectly hearing and understanding each other: “Oh... Oh... How can this be?” ...What is this... Oh, I hear, I hear and I understand everything...”
- “Well, well, I’m glad. So, everything worked out,” the bird, forgotten by everyone, was no longer lying, but sitting on a branch, its whole appearance radiated satisfaction and joy, “and now,” she continued, “we need to hurry, Vaitmara and people will land here soon.” It's such spaceship, on it people move long distances from planet to planet. People are tired, hungry, there are wounded and sick. We must help them, they are friends and our older brothers who are flying to save us from trouble. When everything is ready, I will continue the story.”
Soon, part of the largest clearing near the reservoir was covered with soft grass, in the center there was a mountain of various fruits and roots, with nuts and seeds sprinkled on large leaves. After which the bird - the Prophet continued his story: “There was a battle between the Light and the Dark Ones, you saw how the sky rumbled and lightning flashed. The Light Ones, as always, won, but their ships were seriously damaged, it was impossible to fly them home to the North Star, it was too far. The ships need repairs, and people need rest, and besides, there are wounded.”

Chapter 3. New inhabitants of the Earth Gaia. Country of Hyperborea.

“Now, we need to sleep, tomorrow there will be a difficult flight over the mountains, there are strong air currents, we must rest well,” the old Crane looked at the flock affectionately, but sternly.
“What are you, what are you... how can it be... in the most interesting place...,” Little Crane got excited, “well, just a little more...” he muttered, falling asleep. The next day was a really difficult flight; we flew in silence, concentrating all our attention and strength. The little crane was silent as never before. And not even because he was tired, he just couldn’t forget yesterday’s story, different pictures and events flashed through his small but very smart head. He was looking forward to the continuation of this wonderful story and in the evening he was rewarded... “... A roar was heard, the lead clouds parted, and a huge “something” emerged from them. It looked like a rock with a cave that silently sank to the ground, and some energy waves emanated from it,” the wise Leader continued the story. He told it in such a way that it seemed to the Little Crane that he himself was in that clearing. Out of fear of something alarming and unknown, he climbed under the wing of his mother, the Crane, so that only a small trembling beak peeked out from under her feathers.
“Don’t be afraid,” the voice of the bird Prophet sounded in the heads of the inhabitants of the island, “this is Vaitmana - the flying house of people, from which they will now come out. Vaitmana is a flying Celestial Chariot, that is, a spaceship on which people travel between Earths (planets).” And, indeed, a huge hole appeared in the cave and bipedal creatures began to jump out of it onto the ground, whose image the Prophet bird had recently “showed” to them. People extended their hands to the flock and birds and animals, it became very calm and joyful, as it happened on a beautiful sunny day.
“This is how people first appeared on our planet Gaia,” the wise old Crane continued his story. “They really liked our Earth and when the ship was repaired and the wounded were treated, not everyone flew to their native and distant planet, many remained to live on Gaia.” . People not only did not disrupt life on our Earth, but also improved it. They cleared windfalls in forests and cleaned water bodies. After the Dark Ones blew up the neighboring planet Deia, the weather changed somewhat: at times there was a cooling in the air and water, which the inhabitants of Gaia had never felt before.
But people solved this issue too, they built not only beautiful towers for themselves, but also light houses for animals, and built canopies for birds from the cold rain. And soon all the inhabitants of Hyperborea adapted to climate change, especially fish and birds. People planted fruit trees that had never been seen here before and sowed grains. There was enough food for everyone, there was absolutely no reason for strife, life on the planet Gaia blossomed with renewed vigor.
The animals completely ceased to be separated from each other; they basked in the sun together, splashed in the water and frolicked in the clearings. One could often see how a little hare or fox, getting wet in the cool rain, would climb into the lush mane of the Lion or cuddle up to the belly of the big Bear if their parents were not nearby. And they carefully hugged the babies and hid them from the cold, warming them with their warmth.

Chapter 4. Troubling news, sad preparations.

A happy life on Gaia's Earth lasted a long time, but one day the bird Prophet appeared again in the central clearing, she brought alarming news to people from their fellow tribesmen with Higher planets…
— “The dark ones, having gained strength and manufactured new terrible weapons, again decided to attack your flourishing planet. On their planets, the Dark Ones destroyed all living things, due to poor ecology, the sun became completely invisible behind the clouds, the seas and oceans, the waters of which they split into molecules for the production of synthetic food, dried up, the reserves of oil, from which they also chemically produced everything you need for your miserable existence. People, living a happy life, relaxed and did not notice how the Dark Ones got very close to the Earth of Gaia. The reconnaissance of the Light Warriors, flying around the zone of Space subject to the Light, discovered a huge cluster military equipment Dark ones, on the Moon Lele, which remained from the planet Deya. Then the Light Warriors decided to settle not far from Lelya on your Moon, which you call Month. The Light Rays of the Light Warriors are much stronger than the weapons of the Dark Warriors, but there are very few of them, because this is just a small reconnaissance detachment. Help will not arrive in time, the commander of the Light Warriors made the only possible decision in this situation. With the help of the rays, the appearance of a huge Light Force was created, this temporarily stopped the Dark Ones,” the bird Prophet sighed heavily and continued: “You have only 15 years, during which you must from dawn until noon, when the Earth of Gaia is not visible from the Moon Leli, along the Ripaean (Ural) mountains, leave Hyperborea to the south. At other times, you need to hide in mountain caves so that your movement is not noticeable. The Eastern and Western Seas stretch on both sides of the Riphean Mountains, so you will have to go to the land that the Light Ones called India, in the likeness of their home planet, located in the Higher Layers, which they call Ingard - Earth. There, in India, you will live while the Battle is going on, it has become dangerous here. I hope you return Home soon."
Having refreshed and rested, the bird went back; it had its own responsibilities. And all the inhabitants of Hyperborea began to prepare for the journey to new unknown Lands, with the fervent hope of a quick return Home. People were preparing carts that would carry all the large animals: Lions, Horses, Elephants, Buffaloes, Bears. The carts will contain everything necessary for life, and most importantly, all the little ones will fit there - cubs and those animals and people who weaken on the way. Fish and all aquatic inhabitants were advised to swim to the most deep places rivers where there are caves at the bottom, and at the slightest danger, hide there.
Finally, the preparations were completed, everyone gathered in the clearing in last time. How they loved to spend evenings here, feasting on delicious grains and fruits. Everyone’s eyes were sad, and some slowly brushed away a tear with their hand, paw or wing.

And yet, most importantly, they were all together. Animals and birds thanked that day and hour when People appeared on their beloved Earth - their beloved friends, older brothers, who taught them a lot, namely: to communicate intelligently, to love each other and to value each of them. Their slogan from now on is: “We are together!!! Together - we are force!!!". Before going to bed they sang their favorite main song, which was composed by People. Everyone sang as best they could, but everyone understood the meaning and every word:

"Let's all smile at each other,
And we'll stomp on the spot with our paws and feet
And then we’ll all touch each other
And let’s say in unison, cheerfully: “WE ARE TOGETHER”!!!

Chapter 5. Why birds return to the North every spring.

A flock of cranes flew further and further south in the same way as the inhabitants of Hyperborea moved several thousand years ago. The path was long and difficult, but they persistently walked, helping each other.
“As soon as, after several years, the Hyperboreans approached the Black Sea,” the Old Wise Crane continued his story at the next stop, “the Light Warriors blew up the Moon Lelya along with all the Koshchei and their terrible weapons. The Moon Lelya was close to our planet, it was smaller in size than our Moon - the Month and had not a round, but an elongated shape, similar to a huge egg. She revolved around her planet very quickly, managing to complete a revolution in just 9 days, while she glowed with a special soft silver light. The inhabitants of Hyperborea, sitting long evenings in their favorite meadow, always admired it. The Light Ones were sorry to lose this beauty, but there was no other way to defeat the Koshcheev.”
“I know, I know this fairy tale about Koshchei and his death, which was in an egg. My mother told it to me and my grandmother. “The Old Crane also told it to me,” the Little Crane spoke quickly and excitedly, “Ur-r-a-a-a!” So ours won.”
“Yes, Baby,” the Leader said with a sigh, “but this victory was sad. The fact is that Lelya's Moon was so filled with terrible deadly weapons dark forces, that the explosion was of extraordinary force and, the fragments of Lelya reaching our Earth, fell straight onto Hyperborea, and all the underground waters of this Moon poured out there. As a result, our beautiful Hyperborea went underground and was flooded by the waters of the Moon Leli. Since then and to this day, the huge Arctic Ocean has splashed in this place, forever covered with snow and ice, under which our beautiful Hyperborea, our Motherland, sleeps,” the Old and Wise Crane ended the story with these words.
- “But why is it not visible through the waters? Why is there ice and snow there? After all, you yourself said that it was eternal summer there,” the Little Crane almost cried with grief.

— “Our Earth, like any other planet, has two poles: north and south. The earth's axis, invisible to the eye, passes through them. The Earth, continuously rotating around its axis, also rotates around the Sun. The poles got their name from the word “pola”, that is, “peace”, which means that for the most favorable conditions on Earth, as they were in those happy times, the poles should always have been in an unchanged position, at rest. When heavy fragments of the Moon Lelya fell on the North Pole, the Earth's axis shifted by several degrees. Fortunately, the Earth of Gaia continued to exist, but its climate changed greatly for the worse. After the flood, cooling and glaciation of most of the Earth began. It was like this for many years, but then the glaciers began to melt and retreat to the North,” Leader finished his story, “Yes, our story turned out to be something sad. Let’s get some sleep, we’ll be there by tomorrow evening.”
“But will I never see Hyperborea?” the Little Crane could not calm down, although the whole flock except the two of them was already asleep.
“I really hope that you will see her,” the eyes of the Old Crane lit up with some kind of inner light, he became all poised and seemed to become younger, “I’ll tell you a secret, my dear Crane, do you remember, in the middle of summer we, old Cranes, were away for a whole week? So, we flew to the center of the sunken Hyperborea, to the place where on the island of Buyan there was a favorite clearing of the inhabitants of this Earth. And we saw that in that place the ice floes split and moved a little to the sides so that under the waters the outlines of something unusual became visible. This was it - Hyperborea, we still have maps drawn by People.
We pass them along with Knowledge from generation to generation. Haven’t you noticed that we seem to “talk” to each other and understand each other? – Old Crane looked carefully at the Crane.
- “What, is it really different?”
- "Oh yes! You, Little One, were recently born and have only seen our Flock, all this seems familiar to you,” the Leader laughed good-naturedly, “Where we will fly tomorrow and where we will live for nine long months, there is no such mutual understanding.” Because only our ancestors lived in Hyperborea.”

- “What’s it like where we’re flying?”
- “It’s warm there, a gentle sea, a lot of sunny days, food, beautiful flowers“, - the Little Crane did not hear much joy in the voice of the Old Crane.
“Oh, but you still haven’t said why we come from this wonderful region and fly to the North every year in the spring?” the Little Crane was surprised, and then quickly answered himself, “Yes, yes, I understand, I understand.” ! - and he added quietly and soulfully, “Our Motherland is there...”