Styles of Chinese martial arts

The Chinese martial arts Taijiquan being practiced on the Bund in Shanghai.

The concept of martial arts styles only appear around the Ming Dynasty (1368-1644). Before
the Ming period, martial skills were differentiated only by their lineage. [1] There are now
hundreds of different styles of Chinese martial arts, many distinctive styles with their own
sets of techniques and ideas. There are themes common which allows them to be group
家 派 門
according to generalized "families" ( , jiā), "sects" ( , pai), "class" ( , men), or "schools"
教
( , jiao) of martial art styles. There are styles that mimic movements from animals and
others that gather inspiration from various Chinese philosophies or mythologies. Some styles
put most of their focus into the belief of the harnessing of qi energy, while others concentrate
solely on competition or exhibition. This rich variety of styles has led to the creation of
numerous classification schemes.[2][3]

Geographical location such as regional affiliation is one well known example. A particular
北拳
Chinese martial arts style can be referred to as either a northern fist ( ) or a southern fist
南拳
( ) depending on its point of origin. Additional details such as province or city can further
identify the particular style. Other classification schemes include the concept of external (外
家拳 内家拳
) and internal ( ). This criterion concerns the training focus of a particular style.
Religious affiliation of the group that found the style can also be used as a classification. The
three great religions of Taoism, Buddhism and Islam have associated martial arts styles.
There are also many other criteria used to group Chinese martial arts; for example, imitative-
styles (像形拳 ) and legendary styles; historical styles and family styles. Another more recent
approach is to describe a style according to their combat focus.

Contents
• 1 Geographical classifications
o 1.1 Northern styles
o 1.2 Southern styles
o 1.3 Other geographical classifications
• 2 External and Internal
o 2.1 External styles
 o 2.2 Internal styles
• 3 Religious classifications
o 3.1 Buddhist styles

3.1.1 Shaolin Kung Fu
o 3.2 Taoist styles
o 3.3 Islamic styles
• 4 Other classifications
o 4.1 Imitative-styles
o 4.2 Legendary and historical styles
o 4.3 Family styles
o 4.4 Other styles
• 5 References

Geographical classifications
The traditional dividing line between the northern and southern Chinese martial arts is the
Yangtze River.[4] A well known adage concerning Chinese martial arts is the term "Southern
「南拳北腿」
fists and Northern kicks" ( ). This saying emphasizes the difference between
the two groups of Chinese martial arts. However, such differences are not absolute and there
are many Northern styles that excel in hand techniques and conversely, there are many
different type of kicks in some Southern styles. A style can also be more clearly classified
according to regional landmarks, province, city and even to a specific village.

Northern styles
Manchu banner soldier, a caste of professional martial artists active in Chinese society as
recently as a hundred years ago

Northern styles/Běi pài (北派 ) feature deeply extended postures—such as the horse, bow,
drop, and dragon stances—connected by quick fluid transitions, able to quickly change the
direction in which force is issued.[5][6][7]

The group of Northern martial arts includes many illustrious styles such as Baguazhang,
Bajiquan, Chāquán, Chuojiao, Eagle Claw, Northern Praying Mantis and Taijiquan.
Chángquán is often identified as the representative Northern style and forms a separate
division in modern Wushu curriculum.

Northern styles exhibit a distinctively different flavor from the martial arts practiced in the
South. In general, the training characteristics of northern styles put more focus on legwork,
kicking and acrobatics. The influence of Northern styles can be found in traditional Korean
martial arts and their emphasis on high-level kicks.[8]

It has been suggested that the presence of high kicks and flying kicks found in Southern
styles, in Okinawan martial arts, and hence in modern non-Chinese styles such as karate and
taekwondo (and by extension modern kickboxing) are due to influence from northern styles
during the first half of the 20th century.[9]

Southern styles

Main article: Nanquan

Southern Chinese martial arts ( 南派 ) feature low stable stances and short powerful
movements that combine both attack and defense. In practice, Nanquan focus more on the use
of the arm and full body techniques than high kicks or acrobatic moves. There are various
explanations for those characteristics.[10] The influence of Southern styles can be found in
Goju Ryu, a karate style from Okinawa.[11]

The term Southern styles typically applies to the five family styles of Southern China: Choy
Gar (蔡家 ), Hung Ga (洪家 ), Lau Gar (刘家 ), Li (Lee) Family (李家 ) and Mok Gar (莫
家 [12]
). Other styles include: Choy Li Fut, Fujian White Crane, Ng Ga Kuen (Five
Families/Five Animals style), Dog Style Kungfu, Five Ancestors, Wing Chun, Hakka,
Southern Praying Mantis, Hak Fu Mun, Bak Mei and Dragon. There are sub-divisions to
Southern styles due to their similar characteristics and common heritage. For example, the
Fujian and Hakka martial arts can be considered to be one such sub-division. This groups
share the following characteristics that "during fights, pugilists of these systems prefer short
steps and close fighting, with their arms placed close to the chest, their elbows lowered and
kept close to the flanks to offer them protection".[13] Nanquan (Southern Fist) became a
separate and distinct component of the current Wushu training. It was designed to incorporate
the key elements of each major Southern style.[14]
Other geographical classifications

Chinese martial arts can also be identified by the regional landmarks, province, city or even
village. Generally, this identification indicates the region of origin but could also describe the
place where the style has established a reputation. Well-known landmarks used to
characterize Chinese martial arts include the famous mountains of China. The Eight Great
八大門派
Schools of Martial Arts ( ), a grouping of martial arts schools used in many wuxia
novels, is based on this type of geographical classifications. This group of schools includes:
Hua Shan (華山 峨嵋山
), Éméi Shān ( 武当山
), Wudang Shan ( 崆峒山
), Mt. Kongtong ( ),
崑崙山
Kunlun Mountains ( 蒼山 ), Cangshan ( 青城山
), Mount Qingcheng ( ) and Mount Song
Shaolin (嵩山少林 省
). Historically, there are 18 provinces ( ) in China. Each province has its
own styles of martial arts. For example, in Xingyi, there are currently three main branches:
Shanxi, Hebei and Henan. Each branch has unique characteristics but they can all be traced to
the original art developed by Li Luoneng and the Dai family. A particular style can also be
identified by the city where the art was practised. For example, in the North, the cities of
Beijing or Tianjin have created different martial arts branches for many styles. Similarly, in
the South, the cities of Shanghai, Quandong and Foshan all represented centers of martial arts
development. Older martial art styles can be described by their village affiliation. For
example, Zhaobao t'ai chi ch'uan ( 趙堡忽靈架太極拳 ) is a branch of Chen-style t'ai chi
ch'uan originating from Zhaobao village.

External and Internal

The distinction between external and internal ( 外内 ) martial arts comes from Huang Zongxi's
1669 Epitaph for Wang Zhengnan.[15] Stanley Henning proposes that the Epitaph's
identification of the internal martial arts with the Taoism indigenous to China and its
identification of the external martial arts with the foreign Buddhism of Shaolin—and the
Manchu Qing Dynasty to which Huang Zongxi was opposed—may have been an act of
political defiance rather than one of technical classification.[16] Kennedy and Guo suggests
that external and internal classifications only became popular during the Republican period. It
was used to differentiate between two competing groups within The Central Guoshu
Academy.[2] Regardless of the origin of this classification scheme, the distinction becomes
less meaningful since all complete Chinese martial art styles have external and internal
components. This classification scheme is only a reminder of the initial emphasis of a
particular style and should not be considered an absolute division.

External styles

External style (Chinese: 外家 ; pinyin: wàijiā; literally "external family") are often associated
with Chinese martial arts. They are characterized by fast and explosive movements and a
focus on physical strength and agility. External styles includes both the traditional styles
focusing on application and fighting, as well as the modern styles adapted for competition
and exercise. Examples of external styles are Shaolinquan, with its direct explosive attacks
and many Wushu forms that have spectacular aerial techniques. External styles begin with a
training focus on muscular power, speed and application, and generally integrate their qigong
aspects in advanced training, after their desired "hard" physical level has been reached. Most
Chinese martial art styles are classified as external styles.
Internal styles

Taijiquan, the best-known

known internal style of Chinese martial arts, being practiced at the
Fragrant Hills Park, Beijing
Main article: Neijia

Internal styles (Chinese: 內家 ; pinyin:

pinyin nèijiā;; literally "internal family") focus on the practice
of such elementss as awareness of the spirit, mind, qi (breath, or energy flow) and the use of
relaxed leverage rather than unrefined muscular tension, tension that soft stylists call "brute
force".[17] While the principles that distinguish internal styles from the external were
[18]
described at least as early as the 18th century by Chang Nai-chou,
Nai the modern terms
distinguishing external and internal styles were first recorded by Sun Lutang;; who wrote that
Taijiquan, Baguazhang, and Xingyiquan were internal arts.[19] Later on, others began to
include their style under this definition; for example, Liuhebafa, Zi Ran Men,, and Yiquan.

Components of internal training includes stance training (zhan

( ), stretching and
zhuang),
strengthening of muscles, as well as on empty hand and weapon forms which can contain
quite demanding coordination from posture to posture.[20] Many internal styles have basic
two-person training, such as pushing hands.
hands. A prominent characteristic of internal styles is
that the forms are
re generally performed at a slow pace. This is thought to improve
coordination and balance by increasing the work load, and to require the student to pay
minute attention to their whole body and its weight as they perform a technique. In some
styles, for example in Chen style of taijiquan,
taijiquan, there are forms that include sudden outbursts of
explosive movements. At an advanced level, and in actual fighting, internal styles are
performed quickly, but the goal is to learn to involve the entire body in every motion, to stay
relaxed, with deep, controlled breathing, and to coordinate the motions of the body and the
breathing accurately according to the dictates of the forms while maintaining perfect balance.
Internal styles have been associated in legend and in much popular fiction with the Taoist
monasteries of Wudangshan in central China.

Religious classifications
Chinese martial arts being an important component of Chinese culture are also influence by
the various religions in China.. Many styles were founded by groups that were influenced
infl by
one of the three great religions: Buddhism, Taoism and Islam.
Buddhist styles

Buddhist ( 佛教 , Fojiao) styles include Chinese martial arts that originated or practised within
Buddhist temples and later spread to lay community. These styles often include Buddhist
philosophy, imagery and principles. The most famous of these are the Shaolin (and related)
styles, e.g. Shaolinquan, Choy Li Fut, Luohanquan, Hung Gar, Wing Chun, Dragon style and
White Crane.

Shaolin Kung Fu

Main article: Shaolin Kung Fu

The term "Shaolin" is used to refer to those styles that trace their origins to Shaolin, be it the
Shaolin Monastery in Henan Province, another temple associated with Shaolin such as the
Southern Shaolin Temple in Fujian Province, or even wandering Shaolin monks. More
restrictive definitions include only those styles that were conceived on temple grounds or
even just the original Henan temple proper. The broadest definition includes just about all
external Chinese martial arts, though this has much to do with the attractiveness of the
Shaolin "brand name". One common theme for this group is the association with the
philosophy of Chán (Zen) Buddhism.

Taoist styles

Taoist (道教 ; Dàojiào) styles are popularly associated with Taoism. They include Chinese
martial arts that were created or trained mostly within Taoist Temples or by Taoist ascetics,
which often later spread out to laymen. These styles include those trained in the Wudang
temple, and often include Taoist principles, philosophy, and imagery. Some of these arts
include Taijiquan, Wudangquan, Baguazhang and Liuhebafa.

Islamic styles

Main article: Muslim Chinese martial arts

Islamic (回教 ; Huíjiào) styles are those that were practiced traditionally solely or mainly by
the Muslim Hui minority in China. These styles often include Islamic principles or imagery.
Example of these styles include: Chāquán, Tan Tui, some branches of Xingyiquan, and
Qishiquan (( 七士拳 )).

Other classifications
Imitative-styles

Imitative-styles are styles that were developed based on the characteristics of a particular
creature such as a bird or an insect. An entire system of fighting were developed based on the
observations of their movement, fighting abilities and spirit. Examples of the most well
known styles are white crane, tiger, monkey (Houquan), dog and mantis. In some systems, a
variety of animals are used to represent the style of the system. For example, the Five
Animals of Shaolin Boxing includes the imagery of the Tiger, Crane, Leopard, Snake and
Dragon. Similarly, there are twelve animals in most Xing yi practise. Another type of
imitative styles concerns the state of the practitioner.

Legendary and historical styles

Many Chinese martial arts styles are based or named after legends or historical figures.
Examples of such styles based on legends and myths are the Eight Immortals and Dragon
styles. Example of styles attributed to historical figures include Xing yi and its relationship to
Yue Fei and T'ai chi which trace its origins to a Taoist Zhang Sanfeng.

Family styles

Family affiliations are also an important means of identifying a Chinese martial arts system.
Heavily influenced by the Confucian tradition, many styles are named in honor of the founder
of the system. The five family (Choi, Hung, Lau, Lei, Mok) of Southern Chinese martial arts
are representative of family styles. A style can also be named in reference to its composite
roots. For example, Ng Ga Kuen incorporates the techniques of Five Family styles: Hung Gar,
Fut Gar, Mok Gar, Li Gar and Choy Gar. Family styles can also denote branches of a system.
For example, the families of Chen, Yang, Wu and Sun represents different training
approaches to the art of Tai Chi Chuan.

Other styles

The variety of classification schemes, like the subject of Chinese martial arts, are endless.
Some styles are named after well known Chinese philosophies. For example, Baguazhang is
based on the Taoist philosophy of the eight trigrams (Bagua). Some styles are named after the
key insight suggested by the training. For example, Liuhebafa is a system based on the ideas
of six combinations and eight methods.

Another popular method to describe a particular style of Chinese martial arts is to describe
the style's emphasis in terms of the four major applications. The four major applications are:
踢 打 摔 拿
kicking ( ), hitting ( ), wrestling ( ) and grabbing ( ). A complete system will necessary
include all four types of applications but each style will differ in their training focus. For
example, most Northern styles are said to emphasize kicking, Southern styles have a
reputation for their intricate hand techniques, Shuai jiao practitioners train predominately in
full-body close-range techniques, and Eagle claw fighters are noted for their Chin na
expertise.

References
1. Jump up ^ Lorge, Peter (2012). Chinese Martial Arts From Antiquity to the Twenty-First
Century. Cambridge: Cambridge University Press. ISBN 9780521878814.
2. ^ Jump up to: a b Brian Kennedy and Elizabeth Guo (2005), Chinese Martial Arts Training
Manuals: A Historical Survey, CA: North Atlantic Books, ISBN 1-55643-557-6
郭希汾
3. Jump up ^ Fuo Hsi Fen ( ) (1920), Chinese China Sports History 《中國體育史》
Shanghai: 上海商務印書館 ISBN - 7-80569-179-7
4. Jump up ^ Donn F. Draeger, Robert W. Smith (1981), Comprehensive Asian Fighting Arts,
Oxford University Press (USA), ISBN - 978-0870114366
5. Jump up ^ Jwing Ming Yang and Jeffery A. Bolt (1981), Shaolin Long Fist Kung Fu,
Unique Publications, ISBN 0-86568-020-5
6. Jump up ^ Brian Klingborg (1999), The Secrets of Northern Shaolin Kung-Fu, Tuttle Pub,
ISBN 0-8048-3164-5
7. Jump up ^ Jeffery A. Bolt and Jwing-Ming Yang (2000), Northern Shaolin Sword: Form,
Techniques & Applications, YMAA Publication Center, ISBN 1-886969-85-X
8. Jump up ^ Stanly E. Henning (2000), "Chinese Influences on Korean Martial Arts" in
Martial arts of the world: an encyclopedia, edited by Thomas A. Green, Published by ABC-
CLIO, 2001, page 299, ISBN 1-886969-85-X
9. Jump up ^ William Durbin Mastering Kempo, 2001 ISBN 978-0-7360-0350-6 p. 11.
10. Jump up ^ Jane Hallander (1985), The Complete Guide to Kung Fu Fighting Styles, Unique
Publications, CA, USA, ISBN 0-86568-065-5
11. Jump up ^ Patrick McCarthy (1999), Ancient Okinawan Martial Arts, Tuttle Publishing,
ISBN 0-8048-3147-5
12. Jump up ^ Bucksam Kong and Eugene H. Ho (1973),Hung Gar Kung Fu, Black Belt
Communications, ISBN 0-89750-038-5
13. Jump up ^ Leung Ting (1978). Wing Tsun Kuen. Hong Kong: Leung's Publications. ISBN
962-7284-01-7, 1978, p. 30
14. Jump up ^ Zhaosheng Zeng; Jinghuang Zeng and Jianheng Huang (1985), Elementary
Southern boxing, Xianggang: Xianggang Shanghai shu zhu chu ban, ISBN 962-239-102-8
15. Jump up ^ Shahar, Meir (December 2001). "Ming-Period Evidence of Shaolin Martial
Practice". Harvard Journal of Asiatic Studies (Harvard-Yenching Institute) 61 (2): 359–413.
doi:10.2307/3558572. JSTOR 3558572.
16. Jump up ^ Henning, Stanley (Autumn–Winter 1994). "Ignorance, Legend and Taijiquan"
(PDF). Journal of the Chenstyle Taijiquan Research Association of Hawaii 2 (3): 1–7.
17. Jump up ^ B. K. Frantzis (1998), The Power of Internal Martial Arts: Combat Secrets of Ba
Gua, Tai Chi, and Hsing-I, North Atlantic Books, CA, ISBN 978-1-55643-253-8
18. Jump up ^ Marnix Wells, Chang Naizhou, Xu Zhen (2005), Scholar Boxer: Cháng Nâizhou's
Theory of Internal Martial Arts and the Evolution of Taijiquan, North Atlantic Books (CA),
ISBN - 1556434820
19. Jump up ^ Sun Lu Tang (192?), Master Sun Lu Tang's Martial Arts Concepts, in Chinese
republished in 2004, Hong Kong, ISBN 978-7-5009-1997-1
20. Jump up ^ Lu Shengli, Zhang Yun (2006), Combat Techniques of Taiji, Xingyi, and Bagua:
Principles and Practices of Internal Martial Arts, Blue Snake Books/Frog, Ltd., ISBN 1-
58394-145-2