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Chinese martial arts, commonly referred to with kung fu (; ), kuoshu () or wushu (), are multiple fighting styles that have developed over the centuries in Greater China. These fighting styles are often classified according to common traits, identified as "families" of martial arts. Examples of such traits include Shaolinquan () physical exercises involving Five Animals () mimicry or training methods inspired by Old Chinese philosophies, religions and legends. Styles that focus on qi manipulation are called internal (内家拳; ), while others that concentrate on improving muscle and cardiovascular fitness are called external (外家拳; ). Geographical associations, as in northern (北拳; ) and southern (南拳; ), is another popular classification method.
In Chinese, the term kung fu refers to any skill that is acquired through learning or practice. It is a compound word composed of the words 功 (gōng) meaning "work", "achievement", or "merit", and 夫 (fū) originally meaning "man" or "person," but functions here as a suffix indicating someone who has attained skill or discipline through effort.
Wushu literally means "martial art". It is formed from the two Chinese characters 武術]]: 武]] (wǔ), meaning "" or "military" and 術]] or 术 (shù), which translates into "art", "discipline", "skill" or "". The term wushu has also become the name for the modern sport of wushu, an exhibition and full-contact sport of bare-handed and weapon forms (), adapted and judged to a set of aesthetic criteria for points developed since 1949 in the People's Republic of China.
Quánfǎ (拳法) is another Chinese term for Chinese martial arts. It means "fist method" or "the law of the fist" ( quán means "boxing" or "fist", and fǎ means "law", "way" or "method"), although as a compound term it usually translates as "boxing" or "fighting technique." The name of the Japanese martial art kempō is represented by the same hanzi characters.
Detailed knowledge about the state and development of Chinese martial arts became available from the Nanjing decade (1928–1937), as the Central Guoshu Institute established by the Kuomintang regime made an effort to compile an encyclopedic survey of martial arts schools. Since the 1950s, the People's Republic of China has organized Chinese martial arts as an exhibition and full-contact sport under the heading of "wushu".
In the Tang dynasty, descriptions of sword dances were immortalized in poems by Li Bai. In the Song dynasty and Yuan dynasty, xiangpu(相扑) contests were sponsored by the imperial courts. The modern concepts of wushu were fully developed by the Ming dynasty and Qing dynasty dynasties. (1986). 9780835115346, China Books & Periodicals Inc.. ISBN 9780835115346
Taoist practitioners have been practicing daoyin (physical exercises similar to qigong that was one of the progenitors to tai chi) from as early as 500 BC. In 39–92 AD, "Six Chapters of Hand Fighting", were included in the Han Shu (history of the Former Han dynasty) written by Ban Gu. Also, the noted physician, Hua Tuo, composed the "Five Animals Play"—tiger, deer, monkey, bear, and bird, around 208 AD. Taoist philosophy and their approach to health and exercise have influenced the Chinese martial arts to a certain extent. Direct reference to Taoist concepts can be found in such styles as the "Eight Immortals," which uses fighting techniques attributed to the characteristics of each immortal.
Between the 16th and 17th centuries, at least forty sources exist to provide evidence both that monks of Shaolin practiced martial arts, and that martial practice became an integral element of Shaolin monastic life. The earliest appearance of the frequently cited legend concerning Bodhidharma's supposed foundation of Shaolin kung fu dates to this period. The origin of this legend has been traced to the Ming dynasty's Yijin Jing or "Muscle Change Classic", a text written in 1624 pseudepigraphy Bodhidharma.
References of martial arts practice in Shaolin appear in various literary genres of the late Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction, and poetry. However, these sources do not point out any specific style that originated in Shaolin. These sources, in contrast to those from the Tang period, refer to Shaolin methods of armed combat. These include a skill for which Shaolin monks became famous: the staff ( gùn, Cantonese gwan). The Ming general Qi Jiguang included a description of Shaolin kung fu and staff techniques in his book, Jixiao Xinshu, which can translate as New Book Recording Effective Techniques. When this book spread across East Asia, it had a great influence on the development of martial arts in regions such as Okinawa and Korea.
In 1900–01, the Righteous and Harmonious Fists rose against foreign occupiers and Christian missionaries in China. This uprising is known in the West as the Boxer Rebellion due to the martial arts and calisthenics practiced by the rebels. Empress Dowager Cixi gained control of the rebellion and tried to use it against the foreign powers. The failure of the rebellion led ten years later to the fall of the Qing dynasty and the creation of the Chinese Republic.
The present view of Chinese martial arts is strongly influenced by the events of the Republican period (1912–1949). In the transition period between the fall of the Qing dynasty as well as the turmoil of the Japanese invasion and the Chinese Civil War, Chinese martial arts became more accessible to the general public as many martial artists were encouraged to openly teach their art. At that time, some considered martial arts as a means to promote national pride and build a strong nation. As a result, many training manuals (拳譜) were published, a training academy was created, two national examinations were organized and demonstration teams traveled overseas. Numerous martial arts associations were formed throughout China and in various overseas Chinese communities. The Central Guoshu Academy (Zhongyang Guoshuguan, 中央國術館) established by the National Government in 1928 and the Jing Wu Athletic Association (精武體育會) founded by Huo Yuanjia in 1910 are examples of organizations that promoted a systematic approach for training in Chinese martial arts.J. A. Mangan (2002). 071465342X, UK: Routledge. 071465342X A series of provincial and national competitions were organized by the Republican government starting in 1932 to promote Chinese martial arts. In 1936, at the 11th Olympic Games in Berlin, a group of Chinese martial artists demonstrated their art to an international audience for the first time.
The term kuoshu (or guoshu, 國術 meaning "national art"), rather than the colloquial term gongfu was introduced by the Kuomintang in an effort to more closely associate Chinese martial arts with national pride rather than individual accomplishment.
In 1958, the government established the All-China Wushu Association as an umbrella organization to regulate martial arts training. The Chinese State Commission for Physical Culture and Sports took the lead in creating standardized forms for most of the major arts. During this period, a national Wushu system that included standard forms, teaching curriculum, and instructor grading was established. Wushu was introduced at both the high school and university level. The suppression of traditional teaching was relaxed during the Era of Reconstruction (1976–1989), as Communist ideology became more accommodating to alternative viewpoints. In 1979, the State Commission for Physical Culture and Sports created a special task force to reevaluate the teaching and practice of Wushu. In 1986, the Chinese National Research Institute of Wushu was established as the central authority for the research and administration of Wushu activities in the People's Republic of China.
Changing government policies and attitudes towards sports, in general, led to the closing of the State Sports Commission (the central sports authority) in 1998. This closure is viewed as an attempt to partially de-politicize organized sports and move Chinese sport policies towards a more market-driven approach. p.15 As a result of these changing sociological factors within China, both traditional styles and modern Wushu approaches are being promoted by the Chinese government. Minutes of the 8th IWUF Congress , International Wushu Federation, December 9, 2005 (accessed 01/2007)
Chinese martial arts are an integral element of 20th-century Chinese popular culture. Wuxia or "martial arts fiction" is a popular genre that emerged in the early 20th century and peaked in popularity during the 1960s to 1980s. Wuxia films were produced from the 1920s. The Kuomintang suppressed wuxia, accusing it of promoting superstition and violent anarchy. Because of this, wuxia came to flourish in British Hong Kong, and the genre of kung fu movie in Hong Kong action cinema became wildly popular, coming to international attention from the 1970s. The genre underwent a drastic decline in the late 1990s as the Hong Kong film industry was crushed by economic depression.
In the wake of Ang Lee's Crouching Tiger, Hidden Dragon (2000), there has been somewhat of a revival of Chinese-produced wuxia films aimed at an international audience, including Zhang Yimou's Hero (2002), House of Flying Daggers (2004) and Curse of the Golden Flower (2006), as well as Su Chao-pin and John Woo's Reign of Assassins (2010).
Some styles draw inspiration from animal movements, replicating the agility and power of creatures such as tigers, snakes, or monkeys. Others derive their inspiration from Chinese philosophies, myths, and legends, incorporating their principles and symbolism into their techniques. Certain styles place significant emphasis on harnessing and manipulating qi, while others prioritize competitive aspects, focusing on sparring and tournaments.
Chinese martial arts can be split into various categories to differentiate them: For example, "external" (外家拳) and "internal" (內家拳). Chinese martial arts can also be categorized by location, as in "northern" and "southern" as well, referring to what part of China the styles originated from, separated by the Yangtze River; Chinese martial arts may even be classified according to their province or city. The main perceived difference between northern and southern styles is that the northern styles tend to emphasize fast and powerful kicks, high jumps and generally fluid and rapid movement, while the southern styles focus more on strong arm and hand techniques, and stable, immovable stances and fast footwork. Examples of the northern styles include changquan and xingyiquan. Examples of the southern styles include Bak Mei, Wuzuquan, Choy Li Fut, and Wing Chun. Chinese martial arts can also be divided according to religion, imitative-styles (象形拳), and family styles such as Hung Gar (洪家). There are distinctive differences in the training between different groups of the Chinese martial arts regardless of the type of classification. However, few experienced martial artists make a clear distinction between internal and external styles, or subscribe to the idea of northern systems being predominantly kick-based and southern systems relying more heavily on upper-body techniques. Most styles contain both hard and soft elements, regardless of their internal nomenclature. Analyzing the difference in accordance with yin and yang principles, philosophers would assert that the absence of either one would render the practitioner's skills unbalanced or deficient, as yin and yang alone are each only half of a whole. If such differences did once exist, they have since been blurred.
Moreover, many Chinese martial arts styles integrate traditional medical practices into their training. This includes the understanding of meridians, pressure points, and Herbal medicine, as well as exercises that promote health, vitality, and longevity. The holistic approach to training seeks to cultivate both internal and external strength, promoting overall well-being and balance.
Furthermore, Eight Banners arts serve as a vessel for preserving and transmitting cultural values and attitudes. Respect for teachers, dedication, discipline, and perseverance are instilled in practitioners, fostering a sense of community and loyalty within martial arts schools and lineages. Chinese martial arts also often incorporate cultural elements such as music, costumes, and rituals, further deepening the connection to Chinese heritage and traditions.
Overall, Chinese martial arts encompass not just physical techniques but a comprehensive system that encompasses philosophy, ethics, medical knowledge, and cultural appreciation. It is this holistic approach that distinguishes Chinese martial arts as not just a means of self-defense but as a way of life, promoting personal growth, cultural understanding, and the pursuit of harmony and excellence.
Which translates as:
There are many ideas regarding the control of one's qi energy to such an extent that it can be used for healing oneself or others. Some styles believe in focusing qi into a single point when attacking and aim at specific areas of the human body. Such techniques are known as dim mak and have principles that are similar to acupressure.
When and how applications are taught varies from style to style. Today, many styles begin to teach new students by focusing on exercises in which each student knows a prescribed range of combat and technique to drill on. These drills are often semi-compliant, meaning one student does not offer active resistance to a technique, in order to allow its demonstrative, clean execution. In more resisting drills, fewer rules apply, and students practice how to react and respond. 'Sparring' refers to a more advanced format, which simulates a combat situation while including rules that reduce the chance of serious injury.
Competitive sparring disciplines include Chinese kickboxing Sanshou (散手) and Chinese folk wrestling Shuai jiao (摔跤), which were traditionally contested on a raised platform arena, or Lei tai (擂台). Lèitái were used in public challenge matches first appeared in the Song dynasty. The objective for those contests was to knock the opponent from a raised platform by any means necessary. San Shou represents the modern development of Lei Tai contests, but with rules in place to reduce the chance of serious injury. Many Chinese martial art schools teach or work within the rule sets of Sanshou, working to incorporate the movements, characteristics, and theory of their style. Chinese martial artists also compete in non-Chinese or mixed Combat sport, including boxing, kickboxing and Mixed martial arts.
Today, many consider taolu to be one of the most important practices in Chinese martial arts. Traditionally, they played a smaller role in training for combat application and took a back seat to sparring, drilling, and conditioning. Forms gradually build up a practitioner's flexibility, internal and external strength, speed and stamina, and they teach balance and coordination. Many styles contain forms that use weapons of various lengths and types, using one or two hands. Some styles focus on a certain type of weapon. Forms are meant to be both practical, usable, and applicable as well as to promote fluid motion, meditation, flexibility, balance, and coordination. Students are encouraged to visualize an attacker while training the form.
There are two general types of taolu in Chinese martial arts. Most common are solo forms performed by a single student. There are also sparring forms — choreographed fighting sets performed by two or more people. Sparring forms were designed both to acquaint beginning fighters with basic measures and concepts of combat and to serve as performance pieces for the school. Weapons-based sparring forms are especially useful for teaching students the extension, range, and technique required to manage a weapon.
In contrast, in traditional Chinese martial arts alternative terminologies for the training (練) of 'sets or forms are:
Traditional "sparring" sets, called dui da (對打) or dui lian (對練), were an essential part of Chinese martial arts for centuries. Dui lian means to train by a pair of combatants opposing each other—the character lian (練), refers to practice; to train; to perfect one's skill; to drill. As well, often one of these terms are also included in the name of fighting sets (雙演; shuang yan), "paired practice" (掙勝; zheng sheng), "to struggle with strength for victory" (敵; di), match – the character suggests to strike an enemy; and "to break" (破; po).
Generally, there are 21, 18, 12, 9 or 5 drills or 'exchanges/groupings' of attacks and counterattacks, in each dui lian set. These drills were considered only generic patterns and never meant to be considered inflexible 'tricks'. Students practiced smaller parts/exchanges, individually with opponents switching sides in a continuous flow. Dui lian were not only sophisticated and effective methods of passing on the fighting knowledge of the older generation, but they were also essential and effective training methods. The relationship between single sets and contact sets is complicated, in that some skills cannot be developed with solo 'sets', and, conversely, with dui lian. Unfortunately, it appears that most traditional combat oriented dui lian and their training methodology have disappeared, especially those concerning weapons. There are several reasons for this. In modern Chinese martial arts, most of the dui lian are recent inventions designed for light props resembling weapons, with safety and drama in mind. The role of this kind of training has degenerated to the point of being useless in a practical sense, and, at best, is just performance.
By the early Song period, sets were not so much "individual isolated technique strung together" but rather were composed of techniques and counter technique groupings. It is quite clear that "sets" and "fighting (two-person) sets" have been instrumental in traditional Chinese martial arts for many hundreds of years—even before the Song dynasty. There are images of two-person weapon training in Chinese stone painting going back at least to the Eastern Han dynasty.
According to what has been passed on by the older generations, the approximate ratio of contact sets to single sets was approximately 1:3. In other words, about 30% of the 'sets' practiced at Shaolin were contact sets, dui lian, and two-person drill training. This ratio is, in part, evidenced by the Qing dynasty mural at Shaolin.
For most of its history, Shaolin martial arts was mostly weapon-focused: staves were used to defend the monastery, not bare hands. Even the more recent military exploits of Shaolin during the Ming and Qing dynasties involved weapons. According to some traditions, monks first studied basics for one year and were then taught staff fighting so that they could protect the monastery. Although wrestling has been a sport in China for centuries, weapons have been an essential part of Chinese wushu since ancient times. If one wants to talk about recent or 'modern' developments in Chinese martial arts (including Shaolin for that matter), it is the over-emphasis on bare hand fighting. During the Northern Song dynasty (976–997 A.D.) when platform fighting is known as Da Laitai (Title Fights Challenge on Platform) first appeared, these fights were with only swords and staves. Although later, when bare hand fights appeared as well, it was the weapons events that became the most famous. These open-ring competitions had regulations and were organized by government organizations; the public also organized some. The government competitions, held in the capital and prefectures, resulted in appointments for winners, to military posts.
Many traditional Chinese martial artists, as well as practitioners of modern sport combat, have become critical of the perception that forms work is more relevant to the art than sparring and drill application, while most continue to see traditional forms practice within the traditional context—as vital to both proper combat execution, the Shaolin aesthetic as an art form, as well as upholding the meditative function of the physical art form.
Another reason why techniques often appear different in forms when contrasted with sparring application is thought by some to come from the concealment of the actual functions of the techniques from outsiders.
Forms practice is mostly known for teaching combat techniques yet when practicing forms, the practitioner focuses on posture, breathing, and performing the techniques of both right and left sides of the body.
The great man grows the many myriad things ... Breaking away from the military arts, He promotes fully the cultural mandates. — Translated from Echoes of the Past by Yan Yanzhi (384–456)
The term wushu is also found in a poem by Cheng Shao (1626–1644) from the Ming dynasty.
The earliest term for 'martial arts' can be found in the Han History (206 BC – 23 AD) was "military fighting techniques" (兵技巧; ). During the Song period (c.960) the name changed to "martial arts" (武藝; ). In 1928 the name was changed to "national arts" (國術; ) when the National Martial Arts Academy was established in Nanjing. The term reverted to wǔshù under the People's Republic of China during the early 1950s.
As forms have grown in complexity and quantity over the years, and many forms alone could be practiced for a lifetime, modern styles of Chinese martial arts have developed that concentrate solely on forms, and do not practice application at all. These styles are primarily aimed at exhibition and competition, and often include more acrobatic jumps and movements added for enhanced visual effect compared to the traditional styles. Those who generally prefer to practice traditional styles, focused less on exhibition, are often referred to as traditionalists. Some traditionalists consider the competition forms of today's Chinese martial arts as too commercialized and losing much of their original values.
Virtues:
| +Deed !Concept !Name !Traditional Chinese !Simplified Chinese !Pinyin romanization !Yale Cantonese Romanization | |||||
| Humility | Qian | 謙 | 谦 | ||
| Virtue | Cheng | 誠 | 诚 | ||
| Respect | Li | 禮 | 礼 | ||
| Morality | Yi | 義 | 义 | ||
| Trust | Xin | 信 | |||
| +Mind !Concept !Name !Chinese !Pinyin romanization !Yale Cantonese Romanization | ||||
| Courage | Yong | 勇 | ||
| Patience | Ren | 忍 | ||
| Endurance | Heng | 恆 | ||
| Yi | 毅 | |||
| Will | Zhi | 志 |
Martial arts play a prominent role in the literature genre known as wuxia (武俠小說). This type of fiction is based on Chinese concepts of chivalry, a separate martial arts society (武林; ) and a central theme involving martial arts. Wuxia stories can be traced as far back as 2nd and 3rd century BCE, becoming popular by the Tang dynasty and evolving into novel form by the Ming dynasty. This genre is still extremely popular in much of Asia and provides a major influence for the public perception of the martial arts.
Martial arts influences can also be found in dance, theater and especially Chinese opera, of which Beijing opera is one of the best-known examples. This popular form of drama dates back to the Tang dynasty and continues to be an example of Chinese culture. Some martial arts movements can be found in Chinese opera and some martial artists can be found as performers in Chinese operas.
In modern times, Chinese martial arts have spawned the genre of cinema known as the Kung fu film. The films of Bruce Lee were instrumental in the initial burst of Chinese martial arts' popularity in the West in the 1970s. Bruce Lee was the iconic international superstar that popularized Chinese martial arts in the West with his own variation of Chinese martial arts called Jeet Kune Do. It is a hybrid style of martial art that Bruce Lee practiced and mastered. Jeet Kune Do is his very own unique style of martial art that uses little to minimum movement but maximizes the effect to his opponents. The influence of Chinese martial art has been widely recognized and has had a global appeal in Western cinema starting with Bruce Lee.
Martial artists and actors such as Jet Li and Jackie Chan have continued the appeal of movies of this genre. Jackie Chan successfully brought in a sense of humour in his fighting style in his movies. Martial arts films from China are often referred to as "kung fu movies" (功夫片), or "wire-fu" if extensive wire work is performed for special effects, and are still best known as part of the tradition of kung fu theater. (see also: wuxia, Hong Kong action cinema). The talent of these individuals have broadened Hong Kong's cinematography production and rose to popularity overseas, influencing Western cinemas.
In the west, kung fu has become a regular action staple, and makes appearances in many films that would not generally be considered "Martial Arts" films. These films include but are not limited to The Matrix franchise, Kill Bill, and The Transporter.
Martial arts themes can also be found on television networks. A United States network TV western series of the early 1970s called Kung Fu also served to popularize the Chinese martial arts on television. With 60 episodes over a three-year span, it was one of the first North American TV shows that tried to convey the philosophy and practice in Chinese martial arts. The use of Chinese martial arts techniques can now be found in most TV action series, although the philosophy of Chinese martial arts is seldom portrayed in depth. In the 2006 music video of Knights of Cydonia by Muse, the protagonist can be seen training Chinese martial arts in the opening. In 2022, martial arts and action sequences inspired by Hong Kong cinema can be found in Everything Everywhere All at Once.
The Kung Fu Diaries: The Life and Times of a Dragon Master (1920–2001) is a work of fiction, combining aspects of biography, historical fiction, and guide to instruction purportedly from a collection of diaries or papers left by a Kung-Fu Dragon Master.
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