Wushu
| of these articles acts of the comprehensive term Wushu for all Chinese combat arts. For, the modern kind of combat haven Wushu developed which is based on the Chinese combat arts in China, see Wushu (sport), for the game of roles see Wushu (game of roles). |
Wǔshù (chin. 武术/武術 „combat art “) is a comprehensive term for the Chinese combat arts. Other names for it are Gúoshù (chin. 國術 „national art “) or Quánfǎ (chin. 拳法 „method of the fist (combat equipment) “). In the west the term becomes frequently falsely Kung Fu (chin. 功夫, Gōngfu „something by patient/hard work achievement “) uses.
Table of contents |
thing in common of the styles
in China gives it a some hundred years old tradition of the combat arts. Nowadays are several hundred traditional and modern combat art styles and - admits systems (see list of the kinds of combat haven from China).
As origin of most styles frequently the combat art of the buddhistischen monks of the Shaolin - monastery or the combat arts of the daoistischen monks from the Wudang - mountains are regarded.
Or served many styles generally serve not only self-defense or the applicability in the fight, but also the Meditation, the Fitness or the health care. Above all nowadays increasingly the aspect of the Schaustellerei is added.
Many combat art styles contain both unarmed and armed techniques, whereby the most different weapons are common.
the learning process
requires it usually some decades to reach the championship in a combat art. The learning process follows with most styles approximately after the following sample, whereby the individual stages from style can follow to style very differently fast one another.
a pupil learns bases of beginning above all the bases of the combat art style. These serve on the one hand learning basic techniques such as positions and movement principles and the development the combat art own of the body feeling, on the other hand the increase of the total mobility and perseverance, strengthening and stretch of muscles, volumes and chords.
form
then learns a pupil a so-called form (chin. 套路, Taolu), an exactly rehearsed sequence from several movements (comparable a Kata into Japanese combat arts). This serves for it, the basic techniques of the style as exactly as possible for internal, without thereby from application in the fight to be diverted. Therefore forms are frequently also slowly practiced. In contrast to forms in other kinds of combat haven, with which alone the correct execution of techniques is usually the center of attention such as impacts and footsteps, the Wushu forms captivates besides by its aesthetic component. Thus some movements serve no practical purpose, but serve only the artful expression. A not directly obvious, practical application is nevertheless thereby with a unarmed
form is usually begun and with a advanced pupil with weapon forms continued behind some apparently only artful movement. Beside the solo forms, which are alone practiced by a pupil, there is also partner forms, rehearsed Kampfchoreographien of two practicing.
application
is placed only later the application of the techniques into the foreground. These are typically first partner forms or before fixed attacks and reactions to it. The free fight is the last stage of learning.
inside and outside styles
frequent become between the so-called outside or hard styles (chin. 外家拳, wàijiāquán) and the internal or soft styles (chin. 內家拳, nèijiāquán) differentiated. While in the outside styles much importance is attached on skill, strength and speed, no direct resistance is to be defeated becomes opposite, and by employment of the inside Kraft Qi in the internal styles of the opponents by softness, thus in that the opponent. The outside styles are mostly brought to mountains with the combat arts of the buddhistischen Shaolin temples and their successors in connection, the internal combat arts however with the daoistischen monasteries in the Wudang -. The most popular examples of outside styles are probably the Shaolin Wushu or Bruce Lees Jeet Kune DO, for internal styles the Taijiquan.
In the sinologischen research the organization is classified meanwhile as useless, since most styles contain both internal and outside techniques.
While the outside styles can be also purely physically practiced, the internal styles require a good body perception and a high degree of the relaxation and therefore are frequently slowly practiced. In addition Meditation plays a substantial role in the learning process. Therefore the organization into internal and outside styles in the west is used gladly by trailers of internal styles such as Taijiquan, in order to distinguish itself from the trailers of schools, which neglect the meditativen aspect of their combat art much. It should be stressed however that these aspects played a substantial role traditionally also in many outside styles and in particular the Shaolin Wushu. Other outside styles, like e.g. the Wing Chun, even in the southChinese original little value on it put.
A list of the internal and outside styles is under list of the Kampfkünste#China.
northern and southern styles
in China are divided the styles frequently also into northern and southern styles. Substantial characteristics after this partitioning are:
- north: widens movements, quick runs, also jumps and high footsteps.
- south: short, explosive movements, few run and jump movements.
The development of these differences is to be attributed to it that the Chinese are statistically larger in the north than the south Chinese, in addition usually larger free surfaces for the order has.
weapons
in the Chinese combat arts are common numerous weapons. Particularly frequently are used:
- the straight, zweischneidige sword (Jian)
- the sword (Dao)
- the three-stick (san jie gun)
- the long stick (gun)
- the short stick
- the fan
- the Hellebarde
- the Speer (qiang)
- the chain (ju jie bien)
to the rarer weapons belong among other things:
- the head of the arrow at the rope (chen biao)
- the hook swords (shuang gao)
- the whip
- the bank
Wushu in China
history
the early period
toward end of the Zhou dynasty at present the “arguing realms “(475-221 v.u.Z.), was stylized the war to the art. A today still well-known “artist” of those days was a general Sunzi, which sat down with its book “the art of the war” a monument. Sunzis work set a milestone with the view of the war art. Its writing witnesses from intelligent observation, with which it could recognize and for itself use human weaknesses. Naturally the respect of the war art was limited the time the arguing realms and not to “philosophical” background later; importantly the development of a powerful combat art, which served as equipment - frequent as only, was natural - of the soldiers. That today well-known Wushu in its current form was created in the Qin dynasty (221-207 v.u.Z.) by daoistischen priests. Originally the exercises served for the receipt of the “equilibrium with the sky”; as “fight against Dämonen”.
influence of the Buddhismus
in the future became ever more noticeable in the development of the Wushu a change of the mental background: first if daoistische philosophy was strongest Kraft, then now the buddhistische influence continued to increase. While the seaweed dynasty was the point reached, to which both currents adhered with one another in the equilibrium. An important milestone in the development of the Wushu formed the arrival Bodhidharmas in China. This Indian monk had come in the year 527 into the today still famous monastery Shaolin. The monastery had been created in the year 495 under the rule of the emperor Toba Hongyan of the northern Wei dynasty and is 13 km northwest the district town Dengfeng. Here now Bodhidharma (Chinese Damo) created its school of the Chan Buddhismus, here better admits under the Japanese designation Zen. Bodhidharma did not limit its training activity however to the mental teachings, but he invented also those techniques for physical training, which one developed further later to the Shaolin Wushu. The Shaolin monks made themselves a name, as an elite unit the second seaweed emperor Li ski min (598-649 ), formed of them, as a body guard served for the first time. Learning the combat arts was based in Shaolin in the long run on 5 principles, which formed the foundation of all schools of Chinese combat art:
- Gradual increases of load, no sudden changes and injuries permit.
- The whole life long intensively, persistent and without interruption practice.
- And eat no meat, consumption of alcohol and dissipations keep moderation in the meal omitted.
- Keep calm and leaving under all circumstances, by remembering the unit of death and life.
- The strict ritual keep and always the fixed traditions follow.
The exercise systems were refined ever more and their effectiveness was increased. This development found its high point in the seaweed dynasty (618-907). In this cultural bloom time also many schools for combat art and medicine were created. The line of these schools, which were accessible for everyone, lay not only in private hands, but was also nationally promoted and in the form of soldier schools organized. At the end heavy times for the Buddhismus followed the seaweed dynasty. In the year 851 a rebellion of the farmers and soldier, 852 rose followed a further in Hunan. This were harbingers of a large farmer war of 874-901. With the suppression of these collections the government led also an impact against the buddhistische religiousness, which regarded it as one of the sources of the riot. In the course of the years following on it 4500 large buddhistische monasteries and about 40,000 temples were destroyed. Also Shaolin with all its branches did not escape this fate. The monks were driven out from their monasteries and absent-minded itself generally speaking country. Released from the monastery walls the combat art of the Shaolin could be opened so for the people.
| This article or section is still incomplete and exhibits the following gaps : Boxing up conditions, discovery of the Wushu as people treasure, development of the modern Wushu |
legends
| This article or section is still incomplete and exhibits the following gaps : The role of the combat arts and the abilities of the combat artists in the Chinese legends |
A Chinese national hero was z. B. the famous physician Wong protect Hung, which lived at present the boxing up conditions and by its mediating attitude, its sense of justice and its employment for the poor population beyond its death became famous.
literature
Wushu plays a basic role in the Chinese Wuxia - novels. As forerunners three classical Chinese novels can be considered to the Wuxia literature:
- Wu CH' êng Ên: „The rebellious ape or the journey to the west. “
- Ski Nai on: „The robbers of the Liang beautiful moorland. “
- Guanzhong Luo: „The three realms. “([1])
film
| This article or section is still incomplete and exhibits the following gaps : Hong Kong films, Eastern, thus admits become in the west |
Wushu in the west
in the west are the Chinese combat arts only in run the second half 20. Century popular become. In addition contributed above all so-called Eastern , films, whose central element the combat arts are. The most well-known leading actor of the category might be still Bruce Lee, but also various other actors such as Jackie Chan, jet left, Mark of Dacascos and Michelle Yeoh justify their admittingness on films of the category. Most this actor can look back on training for many decades in the combat arts.
In this connection naturally also the TV serial Kung Fu must be mentioned, to the first Kung Fu films in the not-asiatic area probably belonged, even if the achievement of David Carradine were not particularly representative as a combat artist in the film for the combat art.
In consequence of the popularity of the Eastern also the Chinese combat arts themselves became popular. Meanwhile there are hundreds of federations, schools, associations and teachers, which are concerned with the switching of most diverse Chinese combat art styles in the west. The combat arts developed to a profit yielding market.
Particularly the Chinese combat arts have the call in the west to decrease/go back to old traditions. Therefore the offerers recruit frequently thereby, a particularly old, “authentic” to offer traditional or “original” combat art style. With more exact Hinsehen is the fantastische history of the style i.d.R. however not provably to attribute but to linguistic problems or legends.
It is to be noted that the majority of the combat art styles in the form obtained today only few hundred years are old.
Particularly admits in Germany is above all the Shaolin Kampfkünste, the Wing Chun (Wing Tsun, Ving Tsun) and the Taijiquan.
