Thursday, August 19, 2010

Yang Beijing and Yang (Pai) Kuang P'ing


Commentary by D. D. Harrington (http://www2.gol.com/users/ddh/index.html)
YANG BEIJING AND YANG (PAI) KUANG P'ING
The movements of the Beijing style are known for a large transfer of weight from the back leg to the front leg creating - the bow stance- an elongated weight shift between Yin and Yang in the foot work ( a stance commonly found in Shaolin). It is also distinguished by large upper body circular movements which, in some instances, complete parts of movements present in the Kuang P'ing set. Another major difference between the Kuang P'ing and Beijing sets is that the Kuang P'ing set emphasizes a shift to the center between front and back legs as in single whip and push. Over time, this concentration on finding the center between the legs develops delicate sensitivity in the shifts between the legs. It, also, forces the back leg to maintain a roundness that allows the hips to be open. This is in keeping with the movements in the Chen style of old and is present in Chen today. Additionally, Kuang P'ing uses small spiral circles within and in tandem with large circles.

The classic by Wang, Tsun-yue referred to as the Lun (Kung Hsin Chieh) says not to leave the circle and not to leave the square. How to achieve the square in the circle is left to the student to discern. There is a very important distinction in the way the feet work with the upper body in the practice of the Kuang P'ing set. It is generally necessary that up and down motions of the arms coincide with the transfer of weight from one leg to another when stepping through (embrace tiger return to mountain/monkey) while horizontal movements are done with both feet touching the ground. This allows for the horizontal motion to have foundation and the front leg to revolve so that a continuous spiral motion can be brought into play. At any point of the circle the square can be used: in striking, to advance, to retreat or to bring an opposite spiral movement into action.

In an encounter with another person the up and down motion is often used to put the other person off balance, stop an opponent from striking or set one up for a strike. The horizontal motion cuts crosswise and is used to break up another's defenses so that a strike may be issued. It must be understood that both the up and down motion and horizontal motion will in the end development be one quality-inwardly distinguishable and outwardly indistinguishable. The key here is how the weak may overcome the strong and how four ounces may topple ten thousand pounds. One has to think of the derailment of a train and at what point the twisting motion in the compartment connections break the forward motion of the train and derails it. In this situation a weaker force is applied to overcome a stronger force through the use of square attention on an exact point while in spiral motion.

Kuo, Lien-ying's chronicle on Tai Chi makes clear that no matter what style one practices all forms of Tai Chi must conform to the classic qualities of the art as they have been recorded throughout history. This means there is only one Tai Chi Chuan. These qualities are referred to as the Ba-gua (8) gates and Wu-hsing (Five Elemental Phases of Change) steps. Together they constitute Tai Chi's 13 movements.

Thursday, June 17, 2010

Article on the story of Guang Ping Tai Chi

There's an interesting blog article on Guang Ping Tai Chi on open salon. Check it out and leave a comment.
http://open.salon.com/blog/risa_aratyr/2010/04/27/the_legend_of_guang_ping_yang

Wednesday, September 24, 2008

A site dedicated to Kuo Lien Ying

There's a new website dedicated to recording the experiences of students who studied with Kuo Lien Ying from 1965 - 1985. Excellent material if you're curious about how it was to study with Sifu.

http://kuo-lien-ying-taichi.org/

Monday, September 10, 2007


Walt -
Recognize anyone here?
Hint. I'm in here somewhere. Kinda like where's Waldo.










See Hank, Sifu, Bing and Paula in the lower left pic. Indian is behind Bing.



I really like this one of ChungMei. It was done by R Fung.

Sunday, September 09, 2007

Sifu's 80th Birthday Party

Walt.
Here's some pics of Kuo Sifu's B'day dinner at a restaurant across from Portsmouth Square. There's Bing messing around with Sifu. The guy in the blue silk is Kevin Gardner who studied with Bing and was an actor. He performed in a production of the Angels of Light 'Holy Cow'. And of course, there's Simu.
Bring back any memories?

Sunday, August 05, 2007

Biography of Kuo Lien Ying

Taken from Gordon Guttman's Guang Ping Tai Chi site.

"Master Kuo Lien Ying's techniques are first rate and genuine as are the intangibles of his philosophy such as loyalty and hard work". (David Chin)

The following information was translated from Chinese by Mr. Guttmann and Yu Ching Yuen.
It includes a detailed accounting of Kuo Lien Ying's professional training and background. As you will see, his background includes profound teachers who imparted to him the real essence of the boxing art.

Boxing without Boxing
Intent without Intention
In the Midst of No Intention, is the Real Intention
If the Key points of the Way are not Correctly Understood
then cultivation of the Tao is fruitlessly belaboring the body.

China's boxing art is ancient. There are many styles which continue to grow and thrive. It is one of the unique cultural features of this nation. The whole world admires and respects this aspect of Chinese culture. The skill was developed to a perfected art, what reasons would cause it to deteriorate in the modern world? There are three reasons for this.
1. The government focus has put literature and other cultural features above martial arts.
2. The style of teaching between teacher and student has been rigid and there were few books which give an account of the art left behind to explain and propagate it. Understanding the secrets of the art depended on a person's scholastic attainment, depth, and profundity. So much of the skill was lost by inaccurate verbal transmitting.
3. People incline towards the technological advances of the Western civilization such as modern weapons and as a result don't think that Chinese martial arts are powerful. People prefer the new fashion of sports to martial arts and view martial arts as only promoting health. Therefore it is difficult to promote and foster the development of "real martial arts".

Mr. Kuo, who was a member of Congress in Taiwan was an expert at Chinese martial arts, especially Hsing I, Pa Kua, and T'ai Chi. He was admired my many people. He felt a sorrow for the deteriorating state of martial arts and made his best effort to encourage the martial arts to flourish. When he arrived at Taiwan, he taught martial arts at the University of Taiwan in Tai Pei. He taught every morning at dawn and nothing would prevent him from attending his class. He had more than one hundred students and his teaching method was vigorous yet patient. He helped to make martial arts popular and many people were interested in learning from him.
Mr. Kuo born in Kwei Sui capitol city of Sui Yuan province in 1897. When he was young he showed special abilities for boxing. At the age of twelve he began to learn Shao Lin from master Li Ling nicknamed "Sixty Two" who was a famous master of the northern school of Shao Lin. After five years of study Mr. Kuo developed a high level of skill. At twenty three years old, he began to learn T'ai Chi. He exchanged knowledge with Yin Chien Cheng and Wang Mao Chai of Pei P'ing and with Ch'en Fa Ke nicknamed Tzu Fu Sheng who was from Hunan province. These men were his friends.
He then heard of the magnificent reputation of Wang Chiao Yu who was a senior student of Yang Pan Hou . Mr. Kuo asked to become a student of Mr. Wang. Yang Pan Hou had been in the service of the royal family of the Ch'ing dynasty and taught martial arts. Mr. Wang had been a servant of Pan Hou and took the opportunity to learn the art of T'ai Chi without Pan Hou's knowledge. When he discovered that Chiao Yu had secretly learned the T'ai Chi form, Pan Hou thought him very worthy and sincere and accepted Chiao Yu as a student. Pan Hou soon discovered the great depth and ability of Chiao Yu and passed on to him the "True Teaching of T'ai Chi Ch'uan. Chiao Yu went on to develop superb and extraordinary skills. Mr. Wang then lived at the ancestral temple which was located at the He P'ing gate in Pei P'ing. Mr. Wang accepted very few students and is reported to have been one hundred and four years old when he accepted Mr. Kuo Lien Ying as a student. Mr. Wang passed on the "True Teaching" to Mr. Kuo and kept no secrets. When Mr. Kuo was twenty-eight, he began to learn Hsing I from Tai Liu who was from Shan Hsi province and also learned from Huang Chin Yin who lived in He Pei province and was the student of the famous Hsing I master Kuo Yuen Sheng . Mr. Kuo traveled between Pei P'ing and He Pei for two years to receive instruction. In addition Mr. Kuo learned Pa Kua from the famous master Chang Hsin Chai of Pei P'ing. He also went by the name of Yung Te and his nickname was "Boots Chang" Mr. Chang was the student of the famous master of Pa Kua Ch'eng T'ing Hua of Pei P'ing whose nickname was "Spectacles Ch'eng". Mr. Kuo gathered together the achievements of Hsing I, T'ai Chi, and Pa Kua.
Mr. Kuo modest and humble traveled around the country visiting famous masters. He would learn their practice methods and discussed theory. He visited many masters and befriended them. He learned from Tu Hsin Wu who was from Hunan province and the famous master of Pa Kua Chang Fu Hsing who lived at the west gate of Pei P'ing and was called "Steamed Roll Chang". Chang Wu who lived at the east gate of Pei P'ing and was nicknamed "Drunkard Chang" and specialized in Shao Lin. Also T'ien Yung who lived at the south gate of Pei P'ing and nicknamed "Quick hands T'ien". Some of the others were Ch'en Yu Ch'ing who was the guardian of a palace outside of the front gates. His speciality was Three Stars P'ao Ch'ui. Wang Hsiang Chai who was from Shen county of He Pei province. and the student of the famous Hsing I master Kuo Yun Sheng . And, the famous master of Shao Lin Yang I Shan who was nicknamed "Pimples Yang".
Mr. Kuo assimilated all of the fine points from these masters and elevated his own skills because of these relationships.
Later Mr. Kuo's knowledge included the healing arts. He learned medicine and surgery in effort to save people from suffering and illness. His clinic was located at the outside of Ch'ien Men in Pei P'ing. He usually treated very serious cases and paralysis with his understanding of Nei Kung. He did not charge money for this contribution. Patients who could not be cured by other doctors were often cured by Mr. Kuo. Not only did he save many lives but contributed to society in many ways.
On the 13th of December 1951, Joe Lewis the heavy-weight boxing champion of the world came to Taiwan to publicize his skills. His performance was held at Sanchun court in Taipei. No one dared to compete with the world champion. Mr. Kuo asked to compete with Joe Lewis for this so called world championship because he thought China's art was superior to the Western style of boxing because it does not depend on physical strength. Mr. Kuo asked to compete several times but received no reply. He felt that the boxing champion denied the boxing art of China. Mr. Kuo said, he can win by strength but I can win by technique. The subtlety of the Chinese boxing art is that a large force can be overcome by the correct application of just a little bit of energy. Mr. Kuo did regret he did not have a chance to compete with Joe Lewis.
There are very few books that explain the details of T'ai Chi Ch'uan yet it is a national treasure of China. This is why Mr. Kuo compiled the book "The T'ai Chi Boxing Chronicle" in his spare time. To increase the level of education for his students and the world T'ai Chi community. Using his vast experience, he analyzed all aspects of the boxing art.
I will list the sets that Mr. Kuo taught in San Francisco although he also knew Monkey Boxing and a multitude of other sets.
T'an T'ui (springing legs)
Ch'a Ch'uan
Er Lang Ch'uan
Pa Kua
Hsing Yi
T'ai Chi Staff
T'ai Chi Sword
Shao Lin Five Tiger Sword

Tuesday, September 12, 2006

Song of the Real Meaning

Bing Gong once translated what Sifu had on the blackboard in the studio on the fly. This is a translation of the same poem from a tai chi book written by Dr. Yang Jwing-Ming.










Song of the Real Meaning

No shape, no shadow.
Entire body transparent and empty.
Forget your surroundings and be natural.
Like a stone chime suspended from West Mountain.
Tigers roaring, monkeys screeching.
Clear fountains, peaceful water.
Turbulent river, stormy ocean.
With your whole being, develop your life.

Memories of studying with Kuo Lien Ying.

Late 70's
We used to arrive around 5 in the morning to study with Kuo Sifu. Upon seeing Sifu, we would shout, "Sifu Zhou!" and Sifu would respond with a voice that echoed thru Portmouth Square Park in the early morning. Sifu would sometimes walk thru the park tweaking the rope dart off of his foot to snap out thru the air. I heard that he used to target the pigeons that lived in the square, but stopped when some students protested. He had a special concealed tie of the rope dart around his abdomen beneath his jacket which with a quick flick of his arm would shoot the rope dart out of his sleeve really fast. Once I was stretching out in the studio and Sifu coming thru the screen door shot the rope dart towards my head. I can still see it coming towards me in a kind of slow motion speed as I jumped backwards and it's snap back before it hit my nose and Sifu laughing.