Newsgroup: it.sport.arti-marziali
Titolo: [REQ]Y quan

Chi mi sa dire qualcosa su questo stile? Fran C una sera di maggio me ne
parlò e ne rimasi affascinato, qualcuno ne sa qualcosa o ha qualche
link?

Particularly in this fist art which places such importance on internal
work, rather than passing down techniques of external appearance, the manner
of increasing and utilizing one's internal energy becomes the main point of
instruction. even in passing on the zhan zhuang,due to this martial art
advocating both form and the formless, if the level of the person teaching
or the soul of the person learning is lacking, transmission is impossible.
harigaya sekiun called this high-level mutual relationship"ainuke", and if
the level of the person teaching is low it cannot be called Zhan Zhuang, and
even if the student practices such, it is merely self-intoxication a far cry
from the true attained state of mind. thus by looking at the movements of a
given person, it is clear whether that person understands Zhan Zhuang, and
if they cannot display instantaneous explosive power in a real fight, they
have not understood. Zhan Zhuang is the training method which serves as the
root of Yiquan and Taikiken. Master Yao zongxun and Sawai kenichi were on a
plane of hand fighting so high that others could not begin to imitate their
attainments, and the results of their practicing Zhan Zhuang over long years
was that each of them created a form suited to themselves, and it is only
natural that their methods are different even though they both had the same
teacher. The goal of Zhan Zhuang to the very end is the cultivation of one's
latent energy, and a type of balance where this energy can be instantly
released must be maintained, just the same way as water flows without ever
stopping. Yiquan especially emphasizes the use of Yi Nian (mental
activities). Master Yao zongxun expressed this as," at first, use the will
to attend to Zhan Zhuang, and when you reach a higher state, the will
reaches a condition of nonexistence," and he devised various new methods
from the Zhan Zhuang he inherited from master Wang xianzhai. The merits of
his scientifically clarifying the rational methods of searching for one's
power using Liu-mian Li (six direction of Li) with Yi Nian as the main focus
are deserving of praise. On the other side, Sawai sensei's method of
teaching Taikiken used no consciousness of grades, only emphasizing practice
and application and expecting students to grasp something from these. he
carried through his whole life with a teaching method which was just like
the Zen teaching of "just sitting in earnest" or "dropping away mind and
body," pointing straight at the final state from the beginning and telling
students the circumstances through which he himself had passed in order to
instruct them. Sawai sensei once said ,"there is nothing faster than
emptiness," and in recalling the authority behind his striking attacks and
the variation in his techniques, I remember his movement as lively yet with
nothing wasted,and close to nature. as for master Yao zongxun,unless a
student's level reached a certain fixed point, he would never teach them the
next stage,and he especially loved students who put their spirits into
training. it is a fact that none but a few of his finest students,starting
with his son Mr. Yao chengguang, endured his harsh instruction all the way
to its conclusion. Next is the Tui shou method of practice, and just as with
mental activity Yi quan places special importance on this system of practice
with a partner, as in the expression," Tui shou accompanies Tui shou." Of
course Tui shou is also one important method used in taikiken also, but its
technical usage is quite different in the two schools. The important thing
in both Yi quan and Taikiken is how to change latent energy into explosive
power instantly. Sawai sensei's specialty in real fights were striking
attacks,and his main tool was his punching attacks to the opponent's
face,controlling an opponent with only one strike became his own individual
style of hand fighting, and his fame was trumpeted all over japan. sawai
sensei once said," I have let go of Yi quan", and it is a fact that his
method of doing tui shou was different from master Yao zongxun's. however,
master Yao zongxun also had a single-punch attack as his specialty and Sawai
sensei, after watching a film of master Yao zongxun, said," that is not a
strike that anybody else can imitate." This comment is within the boundries
of the marvelous state which exists where a master can recognize another. In
a real fight the ultimate goal is to control an opponent naturally. By what
means does not matter, as long as you stand and face the opponent straight
on, both physically and mentally,and gain victory; so in Yi quan and
taikiken there is not much need to emphasize technique based on external
appearance. One friend of Sawai sensei's was master Wang shujin, a Taiwanese
who had come to Japan. He was a student of Zhang zhankui, the famous martial
artist from Tian Jin city, and Zhang zhankui's interchanges with master Wang
xianzhai through the Tian Jin warriors' society were famous. sawai sensei
often talked about master wang shujin,and he rated his technique very
highly. I also remember him saying , though, that master Wang could use
those techniques because of his physical build, but they would be difficult
to teach to students. wang the martial artist became famous in Japan as a
hero of real fights; his willingness to fight anybody reflected Sawai
sensei's,and we often saw him at practice at meiji shrine. According to
Mr.Sato yoshimichi, who had the experience of practicing with master Wang
shujin, " his whole body bent like a rubber ball, he was a specialist at
counterattacking with hand techniques, and his defense of his face was
ironclad." His strategy, which took advantage of his build, was remarkable,
and the power of his fa jin was potent; one could feel an extraordinary
strength in his enthusiasm to practice the same things again and again for
hours. What Sawai kenichi sensei had in common with master Wang shujin was
creating his own form through actual fighting experience; to achieve success
as a practitioner of hand fighting, no improvement was possible by only
repeating the form again and again; the form comes alive through the kind of
tension that arises in real 
fighting.it
 is a clear fact that the various
kinds of Chinese martial arts popular in Japan today have been branded as
without effectiveness,and sometimes there is even doubt about what is being
sought after in Chinese martial arts. even if sawai sensei and master wang
shuijin's technique was superios , if the next generation keeps at a
distance from real hand-to-hand fighting, the transmission will certainly
collapse. technique is alive, and marvelous technique like defeating an
opponent with one blow cannot ever be born without much experience of actual
fighting. finally, the concept of "ki" used in taikiken is by no means
anything mysterious, and it is not, for example, throwing an opponent
without touching, or sending a number of people flying at a moment's
contact, or manipulating an opponent like a puppet. in the martial arts of
real combat, there is no way such superstitious things could work,and there
is no room to involve them. Master Yao zongxun also totally denied this type
of "ki",and it it something totally unrelated to martial arts. the
techniques of kendo expert naito takaharu sensei, famed as "ki no naito"in
kyoto's butokukai,were the result of naito sensei's own effort in overcoming
very hard training, including real matches with other schools' fighters. the
concept of "ki" used in taikiken, allowing for the difference between fists
and swords,also has in common that it is a kind of energy of innumerable
changes which comes from inside the body. also,without piling up much real
fighting experience it is impossible to nurture one's ki,and if one wants to
master the movement of ki there is no shortcut but to continue primarily
training one's internal strength and to accumulate lots of real combat
training. sawai kenichi's peng quan was a technique full of potency,"
overflowing with ki", which concealed tremendous destructive power ,but it
was only because it could be used in real fighting that it was beautiful and
his feelings could naturally be embodied in his martial art.
Yi Quan and Taikiken are characterized by their use of moving meditation as
the central principle of training, to cultivate the energy (Hun yuan Li)
which is immanent in each of us, in order to unify the spirit, physical body
and breath,and by using the principles of nature, to crush the opponent
instantly. The appearance of training itself is not flashy; indeed, since
standing in an unmoving state occupies the better part of training, the fact
that this is a very different sort of training is quite conspicuous.
However, the very system of training which holds stillness as its center is
what Wang xianzhao put together by taking the superior points of each of
china's hand-to-hand arts, and in China's martial arts world, where great
importance is placed on the traditions of one's school, the founding of "Yi
quan"was a revolutionary occurrence in its time. wang xianzhai's instructor
was xing yi quan master kuo yunshen,who was renowned all over China for his
"Defeats everyone with Peng-fist in half step". At the time when he was
learning this excellent martial arts from the famous master Kuo, whose
training had San ti shi at its center to condition one's inner power, Wang
xianzhai was still only a youth, and it is undeniable that there was a gap
between him and his fellow students from the point of view of deference to
the master.Yi quan's Xi tiefu and other masters that he established his
theorieson hand fighting and began to build his extremely practical training
system around such exercises as Zhan zguang, Shi li, Mo ca bu, Fa li , Tui
shou and San shou. Of the points which Yi quan and Taikiken have in common,
one which can be especially emphasized is their unusual power in real
fighting.Tthe method attacking, in which every part of the body is used to
crush the opponent in an instant, cannot be followed by any other martial
arts. this is something which master Wang xianzhai himself inherited from
the famed Xing yi quan master Kuo yunshen,and instructor Yao zongxun in the
second generation established through matches with other styles that there
exists a level of hand fighting which is a "state of invincibility",and he
built the legend of Da cheng quan as being invincible in the Chinese martial
arts world. Many things can be seen in common with Sawai Kenichi Sensei's
series of real matches,but the essential thing is concentrated in saying,
"let's have a match to see who is superior,you or I",and as martial artists
they risked their entire lives on matches whichcould be called fate. Both
master, Yao and Sawai,conquered this fate. in the world of martial arts,to
constantly accept matches with other martial artists is the most difficult
thing of all,and it would not be possible for a person of ordinary skill. In
the China of Yao's time, many martial artists set their sights on Beijing
and came as challengers aiming to overthrow Da cheng quan. Between the years
1940 to 1948, even the number of Yao zongxun's official matches exceeded 80,
including meetings with such well-known experts as Wu peixiang and Sun xiao,
and incredibly, he was victorious in every one. from this fact it is
possible to imagine just how much Yi quan stood out,and how great was the
fame of young master Yao zongxun. at the time Sawai Sensei was living in
Beijing, he had a number of excellent fellow students beside Yao zongxun.
One who he talked about was Li yongzong,who was tall and thin and was called
"Du shou(poison hand)" because his preferred technique was striking the neck
arteries with his fingertips. Sawai said the arteries of his partners who
were struck with the force of his Ki would swell up. He was in fact a man
who employed a fearsome technique, and his training methods were also
unusual; he would hold his hands in position to thrust with his fingers even
when walking,to condition his Gong Fu Li. Sawai had many other fellow
students,but the abilities of these two were especially superior,so he never
mention any of the others. Li yongzong met an unexpected death during the
cultural revolution, but there are other special techniques which depend
upon internal power, that is to say which cannot be imitated by others,which
exist in Yi quan. a student who was senior to master Yao was master Zhao
daoxin,who was in possession of such skill and talent that master Wang
xianzhai pulled him away from his original teacher zhang zhankui, and master
Yao too held his skills in high esteem. Master Zhao named his own style Xin
hui Zhang, and his book "Daoxin Quan Theory" is famed for its excellence. In
improving one's technique, it is extremely important to have fellow students
with whom one feels close spiritual contact. About master Yao zongxun, Sawai
kenichi sensei recollected that "among Wang's students,Mr. Yao received
special individual treatment from master Wang". One could not always learn
techniques directly from the teacher, and in the conservative martial arts
world of china at the time, even a student asking questions of his teacher
went against the logic of the student-teacher relationship. At the time
master Yao zongxun began training, he had such excellent seniors as bu
enfu,Zhang entong and Han xingyuan, and they sweated together and polished
their technique. Later, while on the one hand guiding his juniors Li
yongzong,Dou shiming,Zhang zhong and others in his role as Wang's successor
and assistant instructor, he also met Sawai kenichi sensei and they studied
and polished theire technique together while building an indomitable martial
friendship. Mr. Yao chengguang practiced very hard with Mr. Chi ruibin; as
he told it," I practiced with that big Mr.chi ruibin more than anyone else."
Of his severe practice with Mr. Chi ruibin, which was according to the
wishes of his strict father, he later said, "it became a big influence on me
as a martial artist." It is very fresh in my memory how Mr. Chi ruibin
vouched for Mr. Yao chengguang's technique by pointing his thumb at the sky
and saying,"it's like this!" so saying, i must also say that i too was
blessed with marvelous fellow students, and when i began training with Sawai
kenichi sensei at the young age of 19,I had many seniors. At the time, the
one who gave me the most severe training was a native of kokura in
kyushu,and among the students at meiji shrine at that time the sharpness of
his techniques stood out from the rest. his kumite was graceful,and i felt
something bloodcurdling about the way he became spiritually absorbed in
training. His specialty was attacking an opponent's face,and his sturdy
techniques truly had a sharpness,so that all the other students acknowledged
his superiority. he placed importance on the internal, and his unique way of
striking which could freeze an opponent's will was not something anyboy else
could imitate. To this day I have not even encountered anyone who had such
sturdy technique. The benefit I gained from that senior, who with his body
taught me what the essence of ken is, stays in my soul, together with the
smell of the dirt which stained my back at Meiji shrine. returning to japan
after the war,sawai kenichi sensei honored the teachings of his master and
worked hard primarily at practicing ritsuzen(standing meditaion) and Hai in
the midst of the adversity of postwar japan. bringing in the judo, kendo,and
iaido he had formerly studied he began to establish his own martial method
through matches with other martial artists, but for 20 years after he
returned he had no formal students; his manner of spending day after day on
only his own personal training is deserving of wonder. after the ware these
two martial artists, one in china and one in japan, walked theire paths as
if they had been fixed by fate,and their marital spirits found sincere
lifestyles that one cannot help but admire. Master Yao zongxun once hold his
son Mr. Yao chengguang, "Mr. Sawai kenichi was a martial artist of
surpassing spiritual strength," and in his later years master yao apparently
often reminisced about his friendship with sawai sensei. That was because
they had formerly trained together, and had a friendship as martial artists
where their ambitions were one, So even if forty years might pass and news
of one another might stop coming, and unchanging spirit of friendship still
remained. Sawai sensei once said,"in a real contest, the one who wins in the
end is the one whose strength of spirit is superios," but that little word
"spirit" is very profound, including the variouss and overlapping concepts
of something noble,daring, grand, and eternal. "spirit" in martial arts is
the ambition, nurtured by day after day of training, of overcoming oneself,
and the proud and lonely figure of one who lives by leaving the path he will
tread up to nature.
---- Kubo Isato, " Secret techniques of YiQuan"

 ha scritto nel messaggio
news:3B6B1CAF...@tiscalinet.it...


 di dove sei?
Di Roma, dove impera il wushu moderno di Li Rong Mei

Di Roma, dove impera il wushu moderno di Li Rong Mei
Aaahhh si, i giocolieri......   ;-)
ciao  lob

 Aaahhh si, i giocolieri......   ;-)
Il circo cinese è famoso nel mondo... ^_________^

Di Roma, dove impera il wushu moderno di Li Rong Mei
Ahh si....i giocolieri....;-)
ciao  lob
-- 
Posted from [212.210.65.78] 
via Mailgate.ORG Server - 
http://www.Mailgate.ORG