Taigu Sanxi

7/30/2019 Taigu Sanxi

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Site : http://wulinmingshi.wordpress.com/category/song-style-

xingyiquan/

3 stop, Taigu: Cano Guanghua28 de dezembro de 2009A pequena cidade de Taigu na provncia de Shanxi ocupa um lugar especial nos crculos xingyiquancomo o lar dos fundadores do Canto e Che estilos de xingyi. Mesmo hoje em dia, ainda h muitosxingyi ensino mestrado em Taigu e da rea circundante. Para xingyi entusiastas planejando umavisita, Taigu pode ser alcanado a partir de Taiyuan ou de autocarro ou de comboio. A viagem de 65quilmetros geralmente leva cerca de uma hora. Si Taigu um pequeno, empoeirado cidade docondado.

Encontrar xingyi em Taigu no uma questo de caminhar at a escola xingyi, tanto quanto sei noh escolas de ensino comercial xingyi em Taigu. A grande maioria dos professores xingyi ainda

ensinar e praticar de forma tradicional, na qual, de um lado, a arte ensinada de forma gratuita, maspor outro lado o professor pode escolher quem ele ensinou, por isso foi realmente muito difcil seraceito como aluno. Alm disso, em Shanxi xingyi era tradicionalmente praticado atrs de portasfechadas, nos compostos de paredes espessas comuns naquela provncia.

Cano Guanghua, que aprendeu a arte de seu pai, Song Tielin (filho da Cano Shide e sobrinhoCano de Shirong), no excepo. Ele ensina o estilo de sua famlia de xingyi, que conhecida

por sua curta, o poder tremendo distintivo (DOU jue jin), a partir de sua casa, perto do centro deTaigu.

O interior do complexo de M Cano

Observe a lana longa (da Qiang), mais de 3m de comprimento, inclinando-se contra a parede.Mesmo este lana foi ofuscado pela longa pessoal do outro lado do ptio, usado em 'Dou da gan'(plo balanando) a prtica, que estava perto de 4m de comprimento!
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Discpulo Sun Qian plo demonstrando de M Cano agitando

M cano era uma espcie de o suficiente para levar algum tempo do seu dia para sentar e conversarcomigo sobre a arte de sua famlia. Fiquei intrigado ao descobrir que o sistema xingyi Cano inclui'jing gong' (literalmente 'continuam a trabalhar "), que normalmente se refere a formas sentado oudeitado de qigong. No decorrer da conversa, M Cano tambm mencionou a importncia deencontrar "Zheng heng '(equilbrio de foras) em que se deve ter ou sentir as foras que vo nos

principais direes (para cima / baixo, frente / trs e esquerda / direita), em todas as posturas xingyi.Isso me fez lembrar do conceito de pares opostos de fora de Yiquan (Zheng Li). Claro, uma

comparao detalhada exigiria um muito maior conhecimento de ambas as artes do que possuiatualmente, ento eu vou deixar isso para os especialistas.

Outra observao interessante que M cano feito que os punhos elemento 5 pode ser praticada deformas diferentes, dependendo do contexto. Especificamente, indicou que, para cada elemento,existe uma verso de desempenho, uma verso de formao e uma verso combativa. Assim,quando se compara o desempenho dos cinco elementos em todo estilos, preciso saber qual averso que voc est vendo, caso contrrio, a comparao no tem sentido.

Eu gostaria de agradecer a M Song for a sua vez, e incentivar qualquer pessoa com interesse nesteramo distinto de xingyi para fazer uma viagem para Taigu para ver o que o alarido sobre.
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Me com M Cano Guanghua

Estilo cano xingyi em Shanghai - Li Guoliang

15 de dezembro de 2008

Abaixo est a traduo de um trecho de este artigo:"O estilo de msica xingyi mestre Li Guoliang um lutador notvel que recebeu a transmisso completa deHao Zhanru, que era um estudante de Jia Yun-gao (um dos poucos discpulos de Song Shirong de fora dafamlia Cano).
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Cano Shirong grandstudent Hao Zhanru

Suas habilidades so taxa de topo, mas porque ele vive uma existncia discreta em Xangai, a maioria daspessoas (mesmo nos crculos de artes marciais) nunca ouviu falar dele, a no ser mencionado a eles porseus professores.

Mestre Li sete anos mais velha do que a Repblica Popular da China, ele vem praticando estilo Canoxingyi h 48 anos, quase meio sculo.Por causa de sua personalidade, Li gostava de artes marciais desdea sua juventude, quando ele iria praticar kungfu em sua aldeia.No entanto, naquela poca, ele no tinhaprofessores de alto nvel para orientar a sua prtica, de modo que o kungfu que ele aprendeu foi muito

simplista.LGL um homem muito determinado, se ele foi ensinado um exerccio, ele vai perfurar-loimplacavelmente.Ele passou trs anos praticando 'pi kong jing "(cortar o poo vazio), que ajudou adesenvolver uma base slida.

Em sua juventude, ele estudou Meihua Tanglangquan (Ameixa louva-deus) e Bajiquan (oito extremidadesboxe).Os espectadores que viam regularmente ele pratica em Hengshan parque de Xangai ficoumaravilhado com a sua velocidade, ferocidade e dedicao.

No mesmo parque havia um velho mestre que tinha praticado Shaolin h mais de 20 anos e tinha alcanadouma pequena medida de fama entre os habitantes locais.Em um desafio entre Li e este mestre, Li, serjovem e impetuoso, ferir este mestre mal.Porque Li tinha apenas 14 ou 15 anos de idade na poca, omestre Shaolin sentiu deprimido e parou de vir para o parque.Li lamentou sua aspereza.

Sempre Li costumava praticar, quase todos os dias ele iria ver um velho observ-lo, sem fazer qualquercomentrio.Algum tempo considervel depois, este homem velho ofereceu-se para ensinar Li.Li, nosabendo que esta magro, velho despretensioso, e confiante no poder de sua louva-deus e baji, nem sequerouvidos oferta do velho.Refutao de Li, no obstante, o velho homem continuou a observ-lo prtica, comLi ignorando-o.Um dia, o velho falou: "Rapaz novo, vamos ver se voc pode ficar em uma determinadapostura por 5 minutos, o que acontece com ele" Li pensou consigo mesmo: "Eu facilmente pode ficar naposio do cavalo por 40-50 minutos , a 5 minutos no nada! "e prontamente concordou, apenas paradescobrir, ao copiar a postura do velho, que, depois de apenas 3 minutos ele estava coberto de suor e aspernas tremiam.Mesmo assim, a competitividade da Li levou-o a cerrar os dentes e lutar diante, sdesistindo depois de 10 minutos, quando ele poderia segurar no, poca em que o cho debaixo deleestava encharcado de suor.O velho, por sua vez, tinha desaparecido.

Aps o evento, Li pediu a seus amigos sobre este velho homem, que disse em surpresa: "Como voc podeno ter ouvido falar dele?Ele Zhanru Hao, um dos melhores lutadores de toda a Shanghai!

Li pensou consigo mesmo: "Essa posio foi muito difcil, eu aposto que ele realmente desenvolve gongfu",e assim ele comeou a praticar essa postura a cada dia.O estranho era que ele no viu o velho por doismeses depois disso.Finalmente, no ltimo dia do terceiro ms, assim como o parque portes estavamprestes a fechar durante o dia, enquanto praticando seu jogo em p Li viu um dardo silhueta atrs de umagrande rvore, mas quando ele se aproximou para investigar, no havia -ona a. Na manh seguinte, HaoZhanru apareceu no parque, e Li pediu imediatamente para tornar-se seu discpulo. Hao prontamenteaceitou-o, ao mesmo tempo, dizendo-lhe que a posio que ele vinha praticando foi chamado San Ti, bemcomo corrigir alguns erros que se infiltraram em, tais como o brao para a frente dentro de toro, etcDepois de mais de 3 meses de constante prtica, Li foi capaz de ficar em San Ti por 45 minutos a uma hora

de cada vez.Foi s ento que Hao comeou a ensin-lo Pi Quan (punho corte), que Li praticado por um anoantes de 'consegui-lo ".Depois que a fundao, Li aprendido o resto do sistema muito rapidamente.

Hao foi um personagem excntrico que gostava de ver a sua prtica aos alunos, mas raramente fazer


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quaisquer comentrios.Os alunos tiveram de praticar exatamente como ele lhes tinha dito que, uma vezque um estudante pediu para estudar um dos 12 animais, nos quais Hao no s parou de ensino que oaluno, mas cortou todo o contato com ele.Mesmo que Li Hao e teve a melhor relao de todos os alunos,quando perguntei Li Hao sobre um dos punhos (que ele no tinha aprendido at o momento), o rosto deHao era como um trovo.Como resultado, Li parou de fazer perguntas e voltou para a sua prtica.Olhandopara trs em sua formao, Li explicou-me que o motivo para o rigor do Mestre Hao foi a de que existe umaseqncia sistemtica ao aprendizado xingyi, se voc no domina o bsico, no h benefcio em tentar

aprender o material avanado.Como Hao gostava de uma bebida ou dois, Li Hao, muitas vezes convidar para uma bebida.Enquanto Haoderrubou sua bebida, Li praticaria formulrio.s vezes, quando o clima levou, Hao Li iria corrigir e dar-lheindicaes sobre a sua forma.Toda vez que Li aprendeu um movimento, ele iria pratic-lo por 2-3 horas, atque o movimento foi impresso em sua mente.

Naquela poca, a maior parte do salrio de Li aps sadas dirias foi gasto em Hao.Ele frequentementeconvidado Hao para beber, normalmente uma vez por semana e s vezes at duas ou trs vezes porsemana.

Fora de todos os discpulos de Hao, Li seguia a mais longa, na verdade, durante muitos anos, Li foi o nicodiscpulo que Hao viu regularmente.Li de 12 anos de estudo dedicado significava que ele recebeu atransmisso completa de Hao, e foi bem versado nas diferentes modalidades de formao do xingyi de Hao.

Hao faleceu na Revoluo Cultural, suas faanhas foram gravadas por um dos outros discpulos de Hao,Shao Shan-kang.

Habilidades nicas

O famoso xinyi professora Lu Song'gao tinha um parente chamado Chen que, porque ele aprendeu xinyi deLu, estava familiarizado com Hao e Li.Durante algum treino amigvel aps Hao havia falecido, Chenexclamou: "Voc herdou as habilidades de Hao!", Para a qual Li, rindo, respondeu: "Eu acho que meusmovimentos parecem Mestre Hao porque eu sou to alto e magro como ele!"

Eu (o autor) originalmente estudado com o mestre Yan, um homem digno, cuja greves foram como algo deuma lenda.Mesmo que a minha aptido para artes marciais limitado, por causa da minha prtica, eu soubastante bem construdo, e tem ataques muito rpidos.Vrios outros praticantes mais velhos, que achavamque poderiam me ensinar uma coisa ou duas tiveram que ficar quieto depois de terem senti minhas greves. Mesmo assim, brigar com Yan como um wolfcub lutando contra um tigre feroz, eu no pude resistir atmesmo um dos seus golpes!Minha velocidade e fora tornou-se to para nada, era como ser atingido porum raio.Se eu no tivesse experimentado pessoalmente, eu acharia difcil acreditar que um tal nvel dehabilidade existia.Mais tarde, Yan contraiu uma doena ocular que significava que ele era incapaz de fajintotalmente.Mesmo assim, o seu poder interno ainda era muito maior que o meu.De acordo com Yan,quando ele e Li foram estudar juntos sob Hao, Li era a mais forte das duas.

Li era alto e magro, ningum olhando para ele andando na rua iria imaginar que ele era um mestre de artesmarciais, e ainda sempre que eu ia treinar com ele, assim que ele avanou Eu senti como se houvesseperigo por todos os lados e seria forado a tomar imediatamente uma ao evasiva.Depois, quando eudisse Li como se sentia ao estar no fim de recepo, ele comentou que vrios outros adeptos tinha dito amesma coisa depois de brigar com ele.

Quando brigar com Li, eu nunca sei como eu tinha sido atingido.Li repetidamente enfatizado: se vocdeseja atingir o ponto misterioso, onde podemos fazer o que quisermos (sui suo xin yu) com o nossoadversrio, voc no deve telegrafar seus movimentos, no momento em que telegrafar seus movimentos deseu oponente est preparado.Com algum que realmente domina xingyi, voc no pode sequer v-losbater em voc (wu xing Wu Xiang).


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Seus ataques parecia muito casual, e ainda, na verdade, havia um universo de profundidade no interior,apenas outros adeptos poderia ter dito a voc como ele fez o que fez.No momento em que comeamos abrigar, eu seria atingido.

Depois, Li me perguntou como eu definido 'neijiaquan' (artes marciais internas).Eu respondi que era a

diferena entre Shaolin e Wudang.Em resposta, Li imitou uma greve no peito, dizendo: "Se voc bater nopeito de algum assim, no haver qualquer ferimento externo, mas haver trauma interno, e seu oponentevai cuspir sangue.Leses internas, como que pode ser curada com ateno mdica oportuna, mas sempreapenas superficialmente cura: por um longo tempo depois, muitas vezes ele vai tossir e sentir uma leve dorno peito, como se tivesse tuberculose.Somente quando voc domina a arte voc at o ponto onde cadagreve capaz de produzir leso interna, voc pode realmente ser dito para estar praticando 'neijiaquan. Lidisse que um de seus irmos kungfu tinha usado uma vez esta greve para derrotar um mestre japons. Quando outras artes golpear com a palma da mo que eles usam zhen jin (poder de choque).Se voc baterem algum com este zhen jin, o local que foi atingido ir avermelhar e, eventualmente, contuso, e pode atmesmo causar alguma leso interna.O nico ponto sobre as nossas greves que eles podem deixar osadversrios com ferimentos internos de longa durao, sem deixar uma marca na pele.

A habilidade final, Hao foi transmitida dian xue (lit. ponto de tocar).O dian xue que as pessoas mostram hojeem dia principalmente apontar impressionante, o que muito diferente do verdadeiro dian xue. Para dianxue para ser eficaz, preciso levar em conta no apenas a localizao do ponto, mas tambm a hora dodia, yinyang, a direo do fluxo de qi, etc A fim de desfazer a dian xue, voc tem que saber como o dian xuefoi aplicado, caso contrrio, ela no pode ser desfeita. por isso que, nos velhos romances wuxia, aspessoas desfazer o dian xue so sempre kungfu irmos da pessoa que aplicou a dian xue, porque eles soos nicos que sabem exatamente como ele foi aplicado.Um dos pr-requisitos de praticar dian xue quevoc tem para se banhar-lhe as mos em uma frmula especial, razo pela qual as mos de Li so suaves, um produto dessa frmula.O problema que hoje em dia alguns dos ingredientes dessa frmula somuito difceis de encontrar, por isso muito difcil para a nova gerao de profissionais para faz-lo.

Mesmo que algum tenha praticado camisa de ferro, ele ainda estar vulnervel a dian xue, h um ditadoem artes marciais que diz: "dez punhos no so dignos de um cotovelo, dez cotovelos no valem um toque"- o 'toque' em que o provrbio est se referindo a dian xue.Porque tocar em alguns pontos pode ser fatal,voc precisa ser extremamente cuidadoso quando se pratica estas tcnicas.

Li considera que o Nei Jing Gong Si(quatro cnones da energia interna), um dos "clssicos" importantes doestilo Cano xingyi, foi realmente criado por Song Shirong si mesmo.Muitas das habilidades de estiloCano xingyi nela esto contidos, ou, para olh-lo de outra forma, o neigong si jingso as formas, se vocpraticar as formas corretamente, voc vai ganhar as habilidades.

Xingyiquan deriva em ltima anlise, da lana, o poder xingyi realmente poder lana.Porque Praticar comuma lana "ao vivo" bastante perigosa, todos removeu as dicas para tornar plos de comprimento (daganzi).Waxwood plos (bai la gan) so densos, resiliente e reto, e por isso so bem adaptados para aprtica neijin (poder interno).Li realizado com a vara longa.Muita gente acha que o xingyi 13 [move] plo(xingyi shi san gan) apenas o 13 plos taiji, mas na verdade h uma grande diferena entre os dois.

A lin dao jiao (chifre de unicrnio faco) tem muitas superfcies marcantes, uma arma que perigoso tantopara o usurio quanto o oponente.Tudo o que precisamos perder a concentrao por um momento e voc

pode se cortar.Por esta razo, ele s deve ser praticado depois que o usurio tem uma experincia deoutras armas brancas.


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Straightsword de Li inigualvel, ele empunha a espada de uma forma da dinastia Qing.Seus ataques sopraticados e sondagem.

Disciples III de Ensino

Li comeou a ensinar estilo Cano xingyi, por instigao de Hao, de 19 anos de idade.No incio, eleensinou em Shanyin Lu em Hongkou parque.Mais tarde, tornou-se comum para os discpulos de Hao, quercomear com Hao e terminar seus estudos com Li, ou comear com Li e ser apresentado a estudar comHao.Li costumava ser muito famoso nas reas Zhabei e Hongkou, at o ponto onde Li uma vez quando fuiassistir a um filme.Os outros frequentadores de cinema, ao descobrir que Li Guoliang estava na platia,levantou-se e deu-lhe uma salva de palmas.

No passado, a aprendizagem kungfu era muito mais difcil do que hoje, os professores eramextremamente rigorosa e muitos estudantes foram feridos por seus mestres.Li Guoliang decidiu abandonartal abordagem e, ao invs, com pacincia e ateno instrui seus alunos. por isso que muitos de seusalunos alcanaram altos nveis de habilidade.

Meu irmo kungfu, Wang, um dos discpulos de Li que entraram pela porta nos anos 70 que bom emcombate real.No incio dos anos 80, uma delegao de artes marciais japons chegou a Xangai.QuandoWang descobriu que eles estavam hospedados no hotel Hengshan e que geralmente praticado em umpequeno jardim perto do hotel, disse Mestre Li.De acordo com as instrues do Li, Wang foi para o referidojardim e pediu para cruzar as mos com um membro da delegao.O membro escolhido tinha praticadokungfu antes e era bem conhecido por suas mos do impulso no Japo.No entanto, o momento em que odelegado cruzou as mos de Wang, ele foi derrubado. Sua gritos atraram a ateno dos transeuntes, quese aglomeravam ao longo de borracha no pescoo.O lder da delegao japonesa exclamou: "gongfu real

ainda est entre as pessoas comuns (em vez de nos colgios wushu)!"

Li colocado grande nfase no carter de seus alunos, e iria ensinar tica e xingyi juntos.Ele era da opiniode que a perseverana, a inteligncia no foi o fator crucial que decidir se o aluno domina xingyi ou no. Elecostumava dizer que "Gongfu no vem falando xingyi, ele vem com a prtica.Um artista marcial deve sercorajoso e decisivo no combate, este um pr-requisito bsico para qualquer artista marcial.Se voc ficarcom medo depois de tomar algumas batidas ou sangrando um pouco, ento no h nenhum ponto depraticar artes marciais.Um artista marcial deve ser sincero e manter a sua palavra.Ao cruzar as mos comos adversrios, ele deve manter uma mente tranqila, espere o adversrio para fazer o primeiro movimentoe, em seguida, hou fa zhi ren (derrota oponente movendo-se mais tarde).Um artista marcial nunca deve

atacar os mais fracos ou os que perderam a capacidade de lutar de volta, ele deve respeitar o professor edefender a justia. "

Anedotas IV

Zhanru Hao, Xu Wenzhong (outro Xingyi mestre de Shanghai) e Lu Song'gao eram amigos ntimos etambm irmos de sangue (jie yi Xiongdi).Xu Xu Wenzhong filho Jian'guo sabia shaolin, xinyi e xingyi.Devido a isso, outros professores de artes marciais, muitas vezes visitar a casa de Xu Wenzhong.HaoZhanru costumava tomar Li Guoliang para a casa de Xu para o almoo, normalmente uma vez por semana. Foi atravs dessas visitas que Li bcame amigos com artistas marciais da gerao anterior, como Ji Jinshane Wang Ziping.


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Li no gostava de se mostrar, por isso mesmo que muitos outros artistas marciais queria obter um vislumbredo autntico xingyi estilo Song, ele nunca demonstrou por forasteiros.Quase ningum fora de um pequenocrculo de mestres sabia que o nvel de habilidade do Li.Qualquer pessoa que pretenda obter a confirmaopode pedir os restantes "ancios" da cena de artes marciais Xangai, como o Shanxi xingyi mestre WeiChunyuan, xinyi mestre Yu Hualong ou shaolin mestre Bai Yunfei.

Em sua juventude, Li era impetuoso, e challengers freqentemente feridos, depois que ele comeou aestudar com Hao Zhanru, tornou-se mais contido, apenas ocasionalmente assumir desafios, e quando o fezaceitar desafios, foi apenas leve contato, puramente por uma questo de comparando habilidades.

Bagua de Wang Zhuangfei era muito orientada para o combate, mas porque ele ganhava a vida ensinandoartes marciais ele raramente exibiu em pblico.Porque os alunos do bagua de Wang Zhuangfei e aquelesde xinyi ambos considerados as suas artes o melhor para o combate, houve muitas vezes desafiam as lutasentre os alunos das duas faces.Estes desafios, levou a conflitos entre os chefes das prprias faces.Em uma ocasio Zhanru Hao Li e foi casa de Wang Zhuangfei a pagar-lhe uma visita amigvel, apenaspara Wang para chamar a polcia neles!Wang sabia que Lu Hao Song'gao e Zhanru eram amigos ntimos, e

ento pensei que Hao Li e tinha chegado a sua casa a spero-lo. "

TEXTO ORIGINAL SE$M TRADUO

3rd stop, Taigu: Song GuanghuaDecember 28, 2009

The small town of Taigu in Shanxi province holds a special place in xingyiquan circles as the homeof the founders of both Song and Che styles of xingyi. Even today, there are still many xingyimasters teaching in Taigu and the surrounding area. For xingyi enthusiasts planning a visit, Taigucan be reached from Taiyuan either by coach or by train. The 65km journey usually takes about anhour. Taigu itself is a small, dusty county town.

Finding xingyi in Taigu is not a matter of walking up to a xingyi school, as far as I know there areno commercial schools teaching xingyi in Taigu. The vast majority of xingyi teachers there stillteach and practice in the traditional way, wherein on the one hand, the art is taught for free, but onthe other the teacher could pick and choose who he taught, so it was actually quite difficult to beaccepted as a student. Additionally, in Shanxi xingyi was traditionally practiced behind closed

doors, in the thick-walled compounds common in that province.Song Guanghua, who learnt his art from his father, Song Tielin (Song Shides son and SongShirongs nephew), is no exception. He teaches his familys style of xingyi, which is known for itsdistinctive short, shaking power (dou jue jin), from his home near the centre of Taigu.
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The interior of M Song's compound

Notice the long spear (da qiang), over 3m long, leaning up against the wall. Even this spear wasdwarfed by the long staff on the other side of the courtyard, used in dou da gan (pole shaking)

practice, which was close to 4m long!

M Song's disciple Sun Qian demonstrating pole shaking

M Song was kind of enough to take some time out of his day to sit down and talk with me about hisfamilys art. I was intrigued to find out that the Song xingyi system includes jing gong (lit. stillwork), which normally refers to seated or lying forms of qigong. During the course of theconversation, M Song also mentioned the importance of finding zheng heng (balance of forces)wherein one should have or feel forces going in the major directions (up/down, front/back and

left/right), in all xingyi postures. This reminded me of Yiquans concept of opposing force pairs(zheng li). Of course, a detailed comparison would require a far greater knowledge of both arts thanI currently possess, so Ill leave that to the experts.
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Another interesting comment that M Song made is that the 5 element fists can be practiced indifferent ways depending on the context. Specifically, he stated that, for each element, there is a

performance version, a training version and a combative version. Thus, when comparing theperformance of the 5 elements across styles, one must know which version you are seeing,otherwise the comparison is meaningless.

I would like to thank M Song for his time, and encourage anyone with an interest in this distinctivebranch of xingyi to make a trip to Taigu to see what the fuss is all about.

Me with M Song Guanghua

3 Comments| Song style xingyiquan, Travel | Tagged: Shanxi Xingyi,

Song Guanghua, Song Shide, Song Tielin,taigu | Permalink

Posted by yosaku

Song style xingyi in Shanghai Li GuoliangDecember 15, 2008

Below is a translation of an excerpt from this article:The Song-style xingyi master Li Guoliang is a noted fighter who received the full transmission from HaoZhanru, who was a student of Jia Yun-gao (one of Song Shirongs few disciples from outside the Songfamily).

Song Shirongs grandstudent Hao Zhanru

His skills are top-rate, but because he lives a low-key existence in Shanghai, most people (even in martialarts circles) have never heard of him, unless mentioned to them by their teachers.

Master Li is 7 years older than the Peoples Republic of China, he has been practicing Song style xingyi for48 years, almost half a century. Because of his personality, Li liked martial arts from his youth, when hewould practice kungfu in his village. However, at that time, he had no high-level teachers to guide hispractice, so the kungfu that he learnt was very simplistic. LGL is a very determined man, if he was taught oneexercise, he would drill it relentlessly. He spent three years practicing pi kong jing (chop the empty well),

which helped him develop a firm foundation.

In his youth, he studied Meihua Tanglangquan (Plum blossom praying mantis) and Bajiquan (8 extremities
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boxing). Onlookers who regularly saw him practicing in Shanghais Hengshan park marvelled at his speed,ferocity and dedication.

In the same park there was an old master who had practiced Shaolin for over 20 years and had achieved asmall measure of fame amongst the locals. In a challenge between Li and this master, Li, being young andimpetuous, hurt this master badly. Because Li was only 14 or 15 years old at the time, the Shaolin master felt

depressed and stopped coming to the park. Li regretted his harshness.

Whenever Li used to practice, almost everyday he would see an old man observing him without making anycomment. Some considerable time later, this old man offered to teach Li. Li, not knowing this thin,unassuming old man, and confident in the power of his praying mantis and baji, didnt even heed the oldmans offer. Lis rebuttal notwithstanding, the old man continued to watch him practice, with Li ignoring him.One day, the old man spoke up: Young lad, lets see if you can stay in a certain posture for 5 minutes, whatabout it? Li thought to himself, I can easily stand in horse stance for 40-50 minutes, 5 minutes is nothing!and readily agreed, only to discover, upon copying the old mans posture, that after only 3 minutes he wascovered in sweat and his legs were shaking. Even so, Lis competitiveness prompted him to grit his teeth andstruggle on, only giving up after 10 minutes when he could hold on no longer, by which time the groundbeneath him was drenched in sweat. The old man, for his part, had disappeared.

After the event, Li asked his friends about this old man, they said in surprise: How can you have not heardof him? Hes Hao Zhanru, one of the best fighters in the whole of Shanghai!

Li thought to himself: That stance was really hard, I bet it really develops gongfu, and so he startedpracticing that stance every day. The strange thing was, he didnt see the old man for two months after that.Finally, on the last day of the third month, just as the park gates were about to close for the day, whilstpracticing his stake standing Li saw a silhouette dart behind a large tree, but when he walked over toinvestigate, there was no-one there. The next morning, Hao Zhanru appeared in the park, and Li immediatelyrequested to become his disciple. Hao readily accepted him, at the same time telling him that the stance he

had been practicing was called San Ti, as well as correcting some errors that had crept in, such as theforward arm twisting inwards, etc. After 3 more months of sustained practice, Li was able to stand in San Tifor 45 minutes to an hour at a time. It was only then that Hao started to teach him Pi Quan (chopping fist),which Li practiced for a year before getting it. After that foundation, Li learned the rest of the system veryquickly.

Hao was an eccentric character who liked to watch his students practice, but would rarely make anycomments. Students had to practice exactly as he had told them to; once a student asked to study one of the12 animals, upon which Hao not only stopped teaching that student, but cut off all contact with him. Eventhough Li and Hao had the best relationship out of all the students, when Li asked Hao about one of the fists(that he hadnt learnt yet), Haos face was like thunder. As a result, Li stopped asking questions and wentback to his practice. Looking back on his training, Li explained to me that the reason for Master Haos

strictness was that there is a systematic sequence to learning xingyi, if you havent mastered the basics,theres no benefit in trying to learn the advanced material.

As Hao was fond of a drink or two, Li would often invite Hao out for a drink. While Hao downed his drink, Liwould practice form. Sometimes, when the mood took him, Hao would correct Li and give him pointers on hisform. Every time Li learnt a move, he would practice it for 2-3 hours, until that move was imprinted in hismind.

At that time, most of Lis salary after daily outgoings was spent on Hao. He often invited Hao to drink,normally once a week and sometimes even 2 or 3 times a week.

Out of all of Haos disciples, Li followed him the longest; in fact, for many years Li was the only disciple thatHao saw regularly. Lis 12 years of dedicated study meant that he received the full transmission from Hao,


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and was well-versed in the various training methods of Haos xingyi.

Hao passed away in the Cultural Revolution, his exploits have been recorded by one of Haos otherdisciples, Shao Shan-kang.

Unique Skills

The famed xinyi teacher Lu Songgao had a relative named Chen who, because he learnt xinyi from Lu, wasfamiliar with Hao and Li. During some friendly sparring after Hao had passed away, Chen exclaimed Youveinherited Haos skills!, to which Li laughingly replied I guess my moves look like Master Haos because Imjust as tall and skinny as him!

I (the author) originally studied with Master Yan, a dignified man whose strikes were like something out of alegend. Even though my aptitude for martial arts is limited, because of my practice I am fairly well-built, andhave pretty fast strikes. Several other older practitioners who thought that they could teach me a thing or twohave had to keep quiet after they have felt my strikes. Even so, sparring with Yan is like a wolfcub fighting afierce tiger, I could not withstand even one of his blows! My speed and strength became as for naught, it was

like being struck by lightning. If I hadnt personally experienced it, I would find it hard to believe that such alevel of skill existed. Later on, Yan contracted an eye disease which meant that he was unable to fully fajin.Even so, his internal power was still much greater than mine. According to Yan, when he and Li werestudying together under Hao, Li was the stronger of the two.

Li was tall and thin, no-one looking at him walking down the street would imagine he was a master of martialarts, and yet whenever I would spar with him, as soon as he advanced I felt as if there was danger on allsides and would be forced to immediately take evasive action. Afterwards, when I told Li how it felt to be onthe receiving end, he commented that several other adepts had said the same thing after sparring with him.

When sparring with Li, I would never even know how I had been hit. Li repeatedly emphasised: if you wish toreach the mysterious point where we can do as we wish (sui xin suo yu) with our opponent, you must nottelegraph your moves; the moment you telegraph your moves your opponent is prepared. With someonewho has truly mastered xingyi, you cannot even see them hit you (wu xing wu xiang).

His strikes looked very casual, and yet actually there was a universe of profundity inside; only other adeptscould have told you how he did what he did. The moment we started sparring, I would be hit.

Once, Li asked me how I defined neijiaquan (internal martial arts). I replied that it was the differencebetween Shaolin and Wudang. In response, Li mimed a strike to the chest, saying If you hit someoneschest like this, there wont be any external bruising, but there will be internal trauma, and your opponent will

spit blood. Internal injuries like that can be cured with timely medical attention, but it only ever superficiallyheals: for a long time afterwards, he will often cough and feel a faint pain in his chest, as if he hadtuberculosis. Only when you have mastered you art to the point where every strike is capable of producinginternal injury, can you truly be said to be practicing neijiaquan. Li said that one of his kungfu brothers hadonce used this strike to defeat a Japanese master. When other arts strike with the palm they use zhen jin(shock power). If you hit someone with this zhen jin, the spot that has been hit will redden and eventuallybruise, and may even cause some internal injury. The unique point about our strikes is that they can leavethe opponents with long-lasting internal injuries, without leaving a mark on the skin.

The final skill Hao transmitted was dian xue (lit. point touching). The dian xue that people show nowadays ismostly point striking, which is very different to real dian xue. For dian xue to be effective, you need to takeinto account not just the location of the point, but also the time of day, yinyang, direction of qi flow, etc. Inorder to undo the dian xue, you have to know how the dian xue was applied, otherwise it cant be undone.This is why, in old wuxia novels, the people undoing the dian xue are always kungfu brothers of the personwho applied the dian xue, because theyre the only ones who know precisely how it was applied. One of the


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prerequisites of practicing dian xue is you have to bathe you hands in a special formula, which is why Lishands are soft, its a product of that formula. The problem is that nowadays some of the ingredients of thatformula are very hard to find, so its very difficult for the younger generation of practitioners to make it.

Even if someone has practiced iron shirt, he will still be vulnerable to dian xue; theres a saying in martial artsthat goes: ten fists arent worth one elbow, ten elbows arent worth one touch the touch in that saying is

referring to dian xue. Because touching some points can be fatal, you need to be incredibly careful whenpracticing these techniques.

Li considers that the Nei Gong Si Jing(4 canons of internal power), one of the important classics of Songstyle xingyi, was actually created by Song Shirong himself. Many of the skills of Song style xingyi arecontained therein; or, to look at it another way, the neigong si jingare in the forms, if you practice the formscorrectly, you will gain the skills.

Xingyiquan derives ultimately from the spear, xingyi power is actually spear power. Because Practicing with alive spear is quite dangerous, everyone removed the tips to make long poles (da ganzi). Waxwood poles(bai la gan) are dense, resilient and straight, and so are well-suited to practicing neijin (internal power). Li isaccomplished with the long pole. A lot of people think that the xingyi 13 [move] pole (xingyi shi san gan) isjust the taiji 13 pole, but actually theres a big difference between the two.

The lin jiao dao (unicorn horn broadsword) has many striking surfaces, its a weapon that is dangerous bothto the user and the opponent. All it takes is to lose concentration for a moment and you can cut yourself. Forthis reason, it should only be practiced after the user has experience of other bladed weapons.

Lis straightsword is peerless, he wields the sword in a Qing-dynasty manner. His strikes are practiced andprobing.

III Teaching Disciples

Li started teaching Song style xingyi, on Haos instigation, from the age of 19. In the beginning, he taught onShanyin Lu in Hongkou park. Later, it became common for Haos disciples to either start with Hao and finishtheir studies with Li, or start with Li and be introduced to study with Hao. Li used to be pretty famous in theZhabei and Hongkou areas, to the point where once when Li went to watch a film. The other cinema-goers,upon finding out that Li Guoliang was in the audience, stood up and gave him a round of applause.

In the past, learning kungfu was much tougher than it is today, teachers were extremely strict and a lot of

students were injured by their masters. Li Guoliang decided to abandon such an approach and insteadpatiently and attentively instructs his students. It is because of this that many of his students have achievedhigh levels of skill.

My kungfu brother, Wang, is one of Lis disciples who entered the door in the 70s who is good at real combat.In the early 80s, a Japanese martial arts delegation came to Shanghai. When Wang found out that they werestaying at the Hengshan hotel and that they usually practiced in a small garden near the hotel, he told MasterLi. Under Lis instructions, Wang went to the aforementioned garden and asked to cross hands with amember of the delegation. The member chosen had practiced kungfu before and was well-known for hispush hands in Japan. However, the moment the delegate crossed hands with Wang, he was knocked down.His yells attracted the attention of passers-by, who crowded over to rubber-neck. The leader of the Japanesedelegation exclaimed Real gongfu is still amongst the ordinary people (rather than in the wushu colleges)!

Li placed great emphasis on his students character, and would teach ethics and xingyi together. He was of


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the opinion that perseverance, not intelligence was the crucial factor that decided whether a studentmastered xingyi or not. He often used to say that Gongfu doesnt come from talking about xingyi, it comesfrom practice. A martial artist must be courageous and decisive in combat, this is a basic prerequisite for anymartial artist. If you get scared after taking a few hits or bleeding a little, then theres no point practicingmartial arts. A martial artist should be sincere and keep his word. When crossing hands with opponents, heshould maintain a tranquil mind, wait for the opponent to make the first move, and then hou fa zhi ren (defeatopponent by moving later). A martial artist should never attack the weak or those who have lost the ability to

fight back, he should respect his teacher and uphold righteousness.

IV Anecdotes

Hao Zhanru, Xu Wenzhong (another Xingyi master from Shanghai) and Lu Songgao were close friends andalso blood brothers (jie yi xiongdi). Xu Wenzhongs son Xu Jianguo knew shaolin, xinyi and xingyi. Becauseof this, other martial arts teachers would often visit Xu Wenzhongs house. Hao Zhanru would often take LiGuoliang to Xus house for lunch, normally once a week. It was through these visits that Li bcame friendswith martial artists from the previous generation such as Ji Jinshan and Wang Ziping.

Li did not like showing off, so even though many fellow martial artists wanted to get a glimpse of authenticSong style xingyi, he never demonstrated for outsiders. Almost no-one outside a small circle of masters knewthe level of Lis skill. Anyone wishing to gain confirmation can ask the remaining elders of the Shanghaimartial arts scene, like the Shanxi xingyi master Wei Chunyuan, xinyi master Yu Hualong or shaolin masterBai Yunfei.

In his youth, Li was impetuous, and frequently injured challengers; after he started studying with Hao Zhanru,he became more restrained, only occasionally taking on challenges, and when he did accept challenges, itwas only light contact, purely for the sake of comparing skills.

Wang Zhuangfeis bagua was very combat-oriented, but because he made his living teaching martial arts herarely showed off in public. Because the students of Wang Zhuangfeis bagua and those of xinyi bothconsidered their arts the best for combat, there were often challenge fights between students from the twofactions. These challenges eventually led to conflicts between the heads of the factions themselves. On oneoccasion Hao Zhanru and Li went to Wang Zhuangfeis house to pay him a friendly visit, only for Wang to callthe police on them! Wang knew that Lu Songgao and Hao Zhanru were close friends, and so thought thatHao and Li had come to his house to rough him up.

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Taigu Sanxi