THE INTERNAL ARTS

For centuries, the monks of Shaolin used meditation to develop their internal energy and raise their level of consciousness, but it was not until the advent of Chen San Feng in the 12th century that the internal and external were combined into a fighting art. Since that time, chi training as an enhancement of fighting skills has become the secret of Shaolin. The internal arts encompass the extremes of Shaolin Do, from the softness of Tai Chi to the hardness of Hsing-I.

Tai Chi Chuan

Tai Chi Chuan, the Grand Ultimate Fist, is meditation in motion. It was first developed as a fighting art by the Shaolin monk Chen San Feng. While on his travels from the temple at Hunan to the Taoist retreat at Wu Tan, he is said to have witnessed a battle between a snake and a crane. He became so fascinated by the ability of the snake to defend against the straight line attack of the crane that he incorporated the circular, coiling movements of the snake with his chi kung training to create a fighting art that has survived over 700 years.

Chen San Feng’s original Tai Chi was a 13-posture form based on the 5 elements and 8 pathways. Over the centuries, the temple style has grown into family arts such as the Yang Tai Chi and Chen Tai Chi that we now teach. The Tai Chi system also includes classical weapons training such as the Tai Chi straight sword, which uses elegance and finesse, precision cuts and extended thrusts. The Tai Chi broadsword is heroic and flowing, using a sweeping blade that is powerful but soft. The Tai Chi Iron Fan is graceful yet powerful. The beauty of the fan holds a bladed rib, soft and elegant but deadly when opened.

Though Tai Chi has evolved, the basic principles remain true to its founder: yield to the attacker, deflect the force, offer no resistance. In Tai Chi, we learn to become faster by training slowly, we learn to be hard by knowing how to be soft, we learn to clear our minds by learning to focus.

Pa Kua Chang

Pa Kua Chang, the octagonal palm, is a circular and flowing fighting art based on the eight trigrams of the I Ching (Book of Changes). It blends the Yin and the Yang into a never-ending circle. The origins of Pa Kua are shrouded in the mystery of the Shaolin temple at Wu Tan, but its roots can be traced to Tung Hai Chuan, a traveler from Hopeh Province in the North who taught Pa Kua to the imperial household in the early 1800s. In his travels, Tung Hai Chuan came to the aid of two Taoist priests and in return was given a divine training.

In practice, Pa Kua uses deceptive circular patterns and evasive movements, avoiding attack and moving behind one’s opponent. In essence, it teaches not being there when the attack is thrown: hence the invisibility of the Shaolin monk.

Hsing I

Hsing I, The Mind Form fist, is a product of the temple at Wu Tan. It contains elements of animal styles that can be traced back 1500 years, but the exact origin is lost in antiquity. The first recorded Hsing I master was the renowned General Yeuh Fei in the 12th century, who is said to have learned his fighting skills from a Taoist priest. Yeuh Fei had gained notoriety in the north because of his military exploits, which created jealousy in the imperial house. Yeuh Fei was summoned to the capitol and jailed until his death, and from this legend, comes the shackled stepping technique. Unlike Tai Chi and Pa Kua, Hsing I is direct, linear and powerful, creating a bridge between the internal and external styles. Stepping is short, stances are solid, movement is fast and power is key. While Tai Chi teaches yielding to an attack and Pa Kua uses evasive circular movement, Hsing I teaches us to meet force with greater force and to move through an opponent rather than to evade.