True path of mastery

When the training starts student learns the basics, stances, hand positions, kicks and punches, proper body structure and power generation. At the very beginning things cannot be more complicated. To adjust all these little details in order to perform even a seemingly simple movement, even very slowly, looks impossible. Kung fu in general and especially Southern styles are notorious for the amount of small anatomical details that should be kept in correct position and executed in particular sequence in order to perform “something” correctly. This can cause a lot of stress for newcomers. After a while, students get better control of their body and are able to perform basic movements correctly and in full speed. Along the way, practitioners learn why they perform all those in particular way, what are practical (fighting) and bio-mechanical reasons, what principles and tactics are behind them and often some other factors are included like Qi Gong.

Next phase in training brings drills with a partner which brings new level of skill and understanding of practitioners own body. These drills brings better understanding and reinforce concepts of the art already introduced to students.

As the training progresses new skills are introduced and students gain more knowledge and understanding of their chosen art. Footwork, combat drills, light sparring bring deeper understanding of the concepts and principles of the art and how to develop them in fighting.

At the end of the training or along the way, depends of the style practitioners learn how to use traditional weapons which give them wider understanding and deeper insight in their chosen style.

Different styles have different curriculums and different approach to training. Every student has its own goals and expectation from training and these goals draw students to different arts and different teachers. To learn complete curriculum of the style, to complete the art requires a lot of hard work. Of course every style has its own characteristics which make him distinctively different from all others. These characteristics are shown not only in physical form, the way how the movements are performed but also in combat tactics and basic concepts of body mechanics. Every style has its specific vocabulary, customs, background, history and culture. All these things are inseparable parts of every art and they influence practitioners in various ways, not only physical but also psychologically, culturally …

This influence is in its core neither good nor bad, it is simply necessary for completion of the style. Learn and practice all the content of the style, not only physically but follow the patterns of thinking and resolving the problems drawn from the fighting principles of the art will greatly influence the practitioner. Usually, this influence is quite positive, at least for the better part of the training. The problem may occur after the completion of

the style. Just knowing the curriculum, even have a great physical skill and even knowing and understanding the art’s concepts deeply is not enough for true mastery.

To pass the knowledge, teachers need methodology and teaching tools. Using these tools and methodology teachers explain how the systems works, why it is used in certain way and when to use a particular part of the system. Also they are used to develop necessary physical attributes for mastering the art.

Like it was said before all this is necessary to teach and train the practitioner to a certain level of skill and knowledge. When that level is finally reached the true journey of the martial artist has begun. We have to aware of the fact that traditional martial arts stopped to be purely fighting orientated and for the last 100 years or more they have grown into something more and surpassed their original purpose. Today, traditional martial arts are also a way of self-development, some concentrate of sports and competition, some are used as a system of healing and maintaining good health, some even have religious or spiritual elements, some are purely concentrated on movement’s esthetic and many other things. All this different paths are equally important and valid.

When the practitioner reach the “master” level he has to choose which way he wants to go. Many practitioners decide to preserve the art in the form they learned it from their teacher and do not want to change it even a bit. While this is a valid choice as any other it may not be the best one. Times changes as well as people, society and environment , martial arts either follow this changes and adapt or disappear like many traditional arts were lost when big shift in society and technology took over China after Taiping rebellion , or many old styles are on the brink of extinction on Taiwan because teachers cannot adjust to modern times. All these training methods and approaches established by previous generations at some point can become an obstruction, a limiting factor in personal growth and development. True mastery, at least according to some teachers, is when accomplished student uses the art in his distinctive way to express him self completely and differently from all other. Exploring and discovering , not just preserving and transmitting  that a true mastery. Finding new ways to use the art, expanding the boundaries and eliminating the limiting factors of the system, following the path of research, trials, experiments that is what true mastery means. Sometimes masters will come with completely new art, sometimes they will change the art so much that it will look totally different from the original art they have learned and sometimes they will make a full circle and return to the original system with completely different understanding and explanations. There are many different paths in traditional martial arts, each and every one of them is correct if chosen with full understanding of the system and clear goal in mind . 

Qi Gong in Wing Chun step

Qi is in everything …in a breath, voice, movement…Qi is life its self. But what is Qi actually? This term is very difficult to explain, especially to the people from the western cultural background. Qi is the central underlying principle in traditional Chinese medicine and more, one of the most important tools which helped ancient Chinese to understand and explain how the world function. Qi is energy in the very broadest sense possible. Qi is universal .Qi embraces all manifestations of energy, from the most material aspects of energy (such as the earth beneath your feet, your computer, and flesh and blood) to the most immaterial aspects (light, movement, heat, nerve impulses, thought, and emotion).Life, it is said in the Chinese medical classics, is a gathering of Qi. A healthy (and happy) human being is a dynamic but harmonious mixture of all the aspects of Qi that make up who we are. Qi is in a state of continuous flux, transforming endlessly from one aspect of Qi into another. It is neither created nor is it ever destroyed; it simply changes in its manifestation.

 In some sense Qi was integral part of martial arts since the beginning , because movement does not exist without  Qi. On the other hand, Qi Gong became integral part of Chinese martial arts in second half of 19^th century. The social role of Kung Fu changed at that time and its development took very different path from any martial training before that time. Qi Gong became part of martial systems and some styles transformed in more or less completely Qi Gong based arts while losing martial component almost entirely.

Wing Chun was no exception. Created among “Red Boats” as a perfect system of fighting for closed quarters environment, Wing Chun left the Opera troupe and came into possession of highly educated people who were also a masters of traditional Chinese medicine like Dr. Leung Jan , Law Tiu Wen and others … While there were attempts to put Qi Gong back in history of the style much further, there are no evidence that Qi Gong was a part of the system before 1860’s or even later.

Not all Wing Chun styles and lineages have Qi Gong as a part of the system. Some styles have separate Qi Gong sets which are not part of any Wing Chun form, some styles refer to the first section of the first form as a Qi Gong set and some have no Qi Gong at all.  

While first section of the first form certainly can be done as a Qi Gong exercise that is definitely not all that Wing Chun has to offer to the serious practitioner. All forms are in essence Qi Gong exercises if done properly. Of course, there are slight differences in doing forms for purely martial purposes and doing it as Qi Gong exercises. These differences are undetectable for untrained eye but there are slight adjustments in tempo, breathing, body structure ect. These small details are crucial for developing a proper flow of Qi through the body. What is the most interesting part , these small adjustments have also martial purposes and can make punches and blocks stronger, improve balance especially during stepping and many others.

For example, second section of Chum Kiu form is also a part of Qi Gong system introduced through entire second form. Step in second form is not simply a step it is a precisely defined sequence of constant fine adjustment of the body structure and breathing. These fine muscle movements done in particular sequence which follows breathing and doing fine tuning of the skeleton making particular type of the bones alignment in specific moment activate QI flow . The part of the body known as Qwa in Chinese, during this exercise has not only a purpose to keep structure in order, but with fine adjustment of the Qwa practitioner can change the direction of Qi while stepping. Advanced practitioners can control the amount of the Qi and which part of the body it will be accumulated in particular moment.

Like I said before, all forms taught and done properly are Qi Gong exercises. Of course, proper and very precise adjustments in body structure and the sequence of activating and deactivating specific muscle groups must be made. In Wing Chun , at least in one that I am practicing , Qi Gong and Nei Gong exercises are very close and in few occasions identical and although they have completely different goals and developmental path can support each other in some unusual ways which I am not in liberty to publically explain because if done without direct supervision of qualified instructor can endanger health of the practitioner. Every section of every form can be done as a separate Qi Gong exercise or each form can be done as a complete Qi Gong exercise.

At the beginning practitioner can feel some sudden and I rare cases slightly uncomfortable sensations but in time they stop. While practicing Wing Chun forms as Qi Gong can be very beneficial , doing them without proper and direct guidance of someone who already mastered the forms can give totally opposite results. 

Jade

History of Jade in China

"Jade" is a term used for a very durable ornamental green rock that has been fashioned into tools, sculptures, jewelry, gemstones, and other objects for over 8,000 years. It was first used to manufacture ax heads, weapons, and tools for scraping and hammering because of its toughness. At later time, because some specimens had a beautiful color and could be polished to a brilliant luster, people started to use jade for gemstones, talismans, and ornamental objects.

The name is derived from the Spanish” piedra de la ijada”, which means "stone of the colic." There was a belief that when jade was placed on the stomach, it could cure colic in babies.

Originally, all jade objects were thought to be made from the same material. However, in 1863 , Augustin Alexis Damour (19 July 1808, in Paris – 22 September 1902, in Paris) a French mineralogist who was also interested in prehistory, discovered that the material known as "jade" could be divided into two different minerals: jadeite and nephrite. Because these two materials can be difficult to distinguish, and because the word "jade" is so entrenched in common language, the name "jade" is still widely used across many societies, industries, and academic disciplines.

Nephrite deposits have been found in China, New Zealand, Russia, Guatemala and the Swiss Alps. Dark green jade, so-called Canada jade, is also found in Western Canada. Jadeite is found in China, Russia and Guatemala, but the best stones come from Burma, now known as Myanmar.

Nephrite consists of a microcrystalline interlocking fibrous matrix of the calcium, magnesium-iron rich amphibole mineral series tremolite (calcium-magnesium)-ferroactinolite (calcium-magnesium-iron). The middle member of this series with an intermediate composition is called . The higher the iron content, the greener the colour. Usually ranges in color between white, cream, and dark green.

Jadeite is a sodium- and aluminium-rich pyroxene. The precious form of jadeite jade is a microcrystalline interlocking growth of jadeite crystals. Usually it can be found in various shades of white to dark green, sometimes gray, pink, lilac, red, blue, yellow, orange, black, colored by impurities.

People have used jade for at least 100,000 years. The earliest objects made from jade were tools. Jade is a very hard material and is used as a tool because it is extremely tough and breaks to form sharp edges. "Toughness" is the ability of a material to resist fracturing when subjected to stress. "Hardness" is the ability of a material to resist abrasion. Early toolmakers took advantage of these properties of jade and formed it into cutting tools and weapons. It was used to make axes, projectile points, knives, scrapers, and other sharp objects for cutting. Most jade does not have a color and translucence that is expected in a gemstone. However, when early people found these special pieces of jade, they were often inspired to craft them into a special objects.

Neolitic China

The Neolithic period began in China around 10,000 B.C. and concluded with the introduction of metallurgy about 2,000 B.C. In China, as in other areas of the world, Neolithic settlements grew up along the main river systems. Those that dominate the geography of China are the Yellow river (central and northern China) and the Yangzi river (southern and eastern China).

In Neolithic Age people no longer lived only on collecting foods directly from nature. Instead they began to take up agriculture production and raise livestock: Seeds were used to plant new vegetables; Wild animals were domesticated and their meat cooked for food. The appearance of agriculture and stockbreeding is one of the three features of the Neolithic Age. The other two are that grinding stone implements were started to be made as necessity in the daily life and pottery was invented then.

Ceremonial cong of jade (calcined nephrite), 3rd millennium BCE, Neolithic Liangzhu culture; in the Seattle Art Museum,

 Social development at that time is reflected by the development of pottery craft. In the very beginning, the pottery was simple in craft and patterns without any decoration. Most wares then featured in round and flat bases. Later the pottery was mainly made into red and brown wares with relatively delicate craft. After that, the painted pottery gradually, popular around the area of Yellow River, became the mainstream, among which red pottery and black-grey pottery took a large percent. Another aspect that delineates this age is the appearance of handcraft such as wares made from jade and weaving skills.

At the beginning , the Neolithic cultures developed pretty much independently , in the middle period cultures which were geographically close started to connect and exchange which gradually led to the formation of the first states .

Ceremonial ax 3000 BC

Of all aspects of the Neolithic cultures in China, the use of jade made the most lasting contribution to Chinese civilization. Polished stone implements were common to all Neolithic settlements. Stones to be fashioned into tools, weapons  and ornaments were chosen for their harness and strength to withstand impact and for their appearance. Nephrite, or true jade, is a tough and attractive stone. In the eastern provinces of Jiangsu and Zhejiang, particularly in the areas near Lake Tai, where the stone occurs naturally, jade was worked extensively, especially during the last Neolithic phase, the Liangzhu, which flourished in the second half of the third millennium B.C. Liangzhu jade artifacts are made with astonishing precision and care, especially as jade is too hard to “carve” with a knife but must be abraded with coarse sands in a laborious process. The extraordinarily fine lines of the incised decoration and the high gloss of the polished surfaces were technical feats requiring the highest level of skill and patience. Few of the jades in archaeological excavations show signs of wear. They are generally found in burials of privileged persons carefully arranged around the body. Jade axes and other tools transcended their original function and became objects of great social and aesthetic significance.

The Shang dynasty (c. 1600–1046 BCE)

In the Shang dynasty and particularly at Anyang, the craft of jade carving made a notable advance. Ceremonial weapons and fittings for bronze weapons were carved from jade; ritual jades included the bi, cong, and symbols of rank. Plaques and dress ornaments were carved from thin slabs of jade, but there are also small figurines, masks, and birds and animals carved in the round, some of these perhaps representing the earliest examples of spirit vessels”, artistic figures substituted for live victims buried in order to serve the deceased.

Zhou Dynasty. (ca. 1050–256 B.C.)

In the Zhou, production of jade Shang ritual forms was continued and their use systematized. Differently shaped sceptres were used for the ranks of the nobility and as authority for mobilizing troops, settling disputes, declaring peace, and so on. At burial, the seven orifices of the body were sealed with jade plugs and plaques.  The introduction of iron tools and harder abrasives in the Dong (Eastern) Zhou led to a new freedom in carving in the round. Ornamental jades, chiefly in the form of sword and scabbard fittings, pendants, and adornment for clothing, were fashioned into a great variety of animals and birds, chiefly from flat plaques no more than a few millimetres thick.

Qin Dynasty. (221–206 B.C.)

Although short lived, the Qin Dynasty will always be celebrated in Chinese art for at least one achievement - its role in creating the multi-figure terracotta sculpture known as The Terracotta Army, an extraordinary set of military warriors designed to protect the Qin emperor in the afterlife. In general, therefore, Qin cultural activities followed traditions initiated during the time of Shang Dynasty art (1600-1050 BCE) and or the Zhou era (1050-256 BCE). Jade objects were becoming increasingly embellished with animal and other decorative designs. Continuing the work of Zhou carvers who became highly skilled in the creation of detailed relief work  Qin artists push that skill one step further and put that precise work on items like belt-hooks, clasps and plaques that were part of the typical aristocrat's wardrobe.

Han Dynasty. (206 B.C.–220 A.D.)

The most extraordinary jade artworks of the Han Dynasty were the "jade suits" made for deceased nobles to ward off evil spirits in the afterlife. These amazing ensembles, include those for Prince Liu Shen and his wife Princess Dou Wan, made from over 2,000 jade plaques sewn together with as much as almost threequarters of a kilo of gold thread. Another jade suit, fashioned from more than 4,000 plaques, was discovered in the royal tomb of Zhao Mo.

Han dynasty (2nd century BCE - 2 century CE). Made from hundreds of small rectangles of jade stitched together using gold and silver wire, they were used to completely encase the body of deceased royalty.

Six Dynasties. (220–589)

Following the era of Han Dynasty art, China experienced nearly four centuries of upheaval and dislocation between north and south, known as the Six Dynasties Period. During this time, Chinese art was permeated by a number of outside ideas, and the characteristics of traditional Chinese art were influenced by new cultural practices

Sui Dynasty. (581–618)

There are a few important characteristics associated with jade carvings from this period. The most prevalent change of the time is lifelike realism, as exhibited in the increasing adoption of natural elements such as flora, fauna, and human figures for aesthetic expressions.

Tang Dynasty. (618–906)

An important contributor to Chinese art, and a high point in Chinese civilization, the Tang Dynasty provided the first real stability since the collapse of the Han Dynasty in 220 CE. Building on the political and administrative structures put in place by its predecessor the Sui dynasty (589–618), and making full use of its growing population to dominate central Asia and the kingdoms along the Silk Road, the Tangs presided over a period of growth and prosperity, marked by successful military and diplomatic campaigns, intensified commerce along overland trade routes (to Syria and Rome) as well as increased maritime trade with countries from around the world. This prosperity - combined with increased cultural contacts with its Asian neighbours (notably Korea, Japan, and Vietnam), as well as Middle-Eastern and European peoples - helped to revitalize the former practices of Sui Dynasty art, and instigated a renaissance in many different types of art, including music and poetry as well as Chinese painting and ceramic art. Ruled from its capital Changan (present-day Xian) - then the most populous and culturally diverse city in the world - Tang China rapidly became one of the greatest empires of the medieval epoch. Foreign influences arrived and impacted the Chinese jade art significantly. Stones similar to jade but not jade itself were used in ceremonies. The only jade artifacts from this period that have survived are items like combs, belt plaques, hairpins and pendants.

Five Dynasties and Ten Kingdoms. (907–960)

Five Dynasties was a period of time between the fall of the Tang dynasty  and the founding of the Song dynasty , when five would-be dynasties followed one another in quick succession in North China. The era is also known as the period of the Ten Kingdoms  because 10 regimes dominated separate regions of South China during the same period. The confused state of northern China under the Five Dynasties was not conducive to development of the jade carving.

Song Dynasty. (960–1279)

Given the archaizing fashion of the Song, jades of this period are often difficult to detect. As the technique of jade carving had changed little over time , these are hard to distinguish from genuine archaic jades except by a somewhat playful elegance and a tendency to combine shapes and decoration not found together on ancient pieces

Yuan Dynasty

The era of Song Dynasty art was brought to an end by nomads from Mongolia, whose agenda did not include the promotion of Chinese art in any form. Jade carving techniques did not advanced during this period although objects made from jade were very popular.

Ming Dynasty

Ming dynasty may be considered as one of the most intriguing and complicated times in Chinese history. Under a totalitarian rule which was extremely conservative, a merchandise economy emerged to loosen up the traditional, rigid social hierarchy. In art and culture, the duality expressed itself through highly changeable, even contradictory styles. Jade of the period was no exception and developed into brand new looks combining humanistic and secular tastes.

Flower Brooche , Ming dynasy period

Ching Dynasty

The finest Qing dynasty jade carving is often assigned to the reign of Qianlong. Typical of what is considered of Qianlong date are vases with lids and chains carved from a single block, vessels in antique bronze shapes with pseudo-archaic decoration, fairy mountains, and brush pots for the scholar’s desk.

Ching dynasty urn

Jade in Chinese culture

Chinese people love jade not only because of its aesthetic beauty, but also because of what it represents in terms of social value. Confucius said that there are 11 De, or virtues, represented in jade. The following is the translation:

"The wise have likened jade to virtue. For them, its polish and brilliancy represent the whole of purity; its perfect compactness and extreme hardness represent the sureness of intelligence; its angles, which do not cut, although they seem sharp, represent justice; the pure and prolonged sound, which it gives forth when one strikes it, represents music.

Its color represents loyalty; its interior flaws, always showing themselves through the transparency, call to mind sincerity; its iridescent brightness represents heaven; its admirable substance, born of mountain and of water, represents the earth. Used alone without ornamentation it represents chastity. The price that the entire world attaches to it represents the truth.

To support these comparisons, the Book of Verse says: "When I think of a wise man, his merits appear to be like jade."'

Thus, beyond monetary worth and materiality, jade is greatly prized as it stands for beauty, grace, and purity. As the Chinese saying goes: "gold has a value; jade is invaluable."

Jade in Chinese language

Because jade represents desirable virtues, the word for jade is incorporated into many Chinese idioms and proverbs to denote beautiful things or people.

For example, 冰清玉洁 (bingqing yujie) , which directly translates to "clear as ice and clean as jade" is a Chinese saying that means to be pure and noble. 亭亭玉立 (tingting yuli) is a phrase used to describe something or someone that is fair, slim, and graceful. Additionally, 玉女 (yùnǚ), which literally means jade woman, is a term for a lady or beautiful girl.

A popular thing to do in China is to use the Chinese character for jade in Chinese names. It is interesting to note that the Supreme Deity of Taoism has the name, Yuhuang Dadi (the Jade Emperor).

Chinese stories about jade

Jade is so engrained in Chinese culture that there are famous stories about jade. The two most famous tales are "He Shi Zhi Bi" (Mr. He and His Jade) and "Wan Bi Gui Zhao" (Jade Returned Intact to Zhao). As a side note, "bi" also means jade.

"He Shi Zhi Bi" is a story about the suffering of Mr. He and how he presented his raw jade to the kings again and again. The raw jade was eventually recognized as an invaluable kind of jade and was named after Mr. He by Wenwang, the king of the Chu State around 689 BCE.

"Wan Bi Gui Zhao" is the follow-up story of this famous jade. The king of the Qin State, the most powerful state during the Warring States Period (475-221 BC), attempted to exchange the jade from the Zhao State using his 15 cities. However, he failed. The jade was returned to the Zhao State safely. Thus jade was also a symbol of power in ancient times.

Jade in religious use

Because of this and the belief in its indestructibility, jade from early times was lavishly used ritual objects, both Confucian and Daoist, and for the protection of the dead in the tomb.

Jade in people’s believes.

Beside the thing that jade is used in crafting many sacramental objects in all  main religions in Asia there are a lot believes in magical and healing properties of Jade. A legend claiming Buddha’s tears are pure jade may be behind the theory that jade can treat eye disorders. Healers say the gemstone also benefits the hips, heart, spleen and thymus gland as well as aid poor digestion, relieve constipation and promote healthy hair. Jade should be worn so it rests on the skin over the troubled part of the body.

The much-vaunted substance appeared everywhere, from the mouths of opium pipes (to prolong the longevity of the smoker) to dining implements (to transfer energy to the food) and the palms of politicians (jade talismans were said to help the holder through tricky negotiations). While jade liquor is no longer in fashion and few people cram jade pieces into the mouths of corpses any more, a healthy respect for the stone remains. Jade bracelets, which are believed to be effective in combatting rheumatism, are worn by many people to this day.

Jade is considered a gemstone of good fortune, bringing its wearer or owner wealth, stability and love. Lovers exchange jade gifts to confirm their love and devotion to each other. Jade helps open the heart chakra while attracting love, enhancing sexuality and fertility. It is also a protective stone, guarding against misfortunes and accidents.

Jade is associated with the planets Jupiter and Pluto, and is the zodiac stone for Aries, Taurus, Gemini, Libra and Pisces. It is the birthstone for May and the gemstone commemorating the 12th wedding anniversary

The Colors of Jade

According to gemstone therapy jade "stimulates creativity and mental agility on the one hand, while also having a balancing and harmonizing effect”. Green jade is calming when held. Lavender jade helps ease emotional and mental problems because it radiates love, beauty and security. Blue jade encourages the mind’s thought processes and imagination, and mauve jade’s gentle vibration helps the wearer’s spiritual needs.

Orange jade gives its wearer energy. Red jade vibrates at a higher energy level, helping bring anger to the surface so the wearer can deal with it and move on to more positive occupations.

As we can see , Jade is one of the verz important elements of Chinese culture and has great significance in many aspects of life , as well in the past as it has it now.