Tim Cartmell – XingYi NeiGong (Longevity Excercises)
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CARTMELL, TIM Tim Cartmell is a martial artist best recognized for his work as a martial arts author and translator.
Tim is a Brazilian Jiu Jitsu black belt.
He won the IBJJF Pan Championship as a brown belt (Senior 2) in 2003 and the IBJJF Pan Championship as a black belt in 2004. profitsville hosts discoverysville hosts discoverysville hosts discoverysville hosts discoverysville hosts discoverysville hosts discoverysville hosts discoverysville hostssville Juli Xingyiquan (Chinese: ; pinyin: Xng y quán; Wade-Giles: Hsing I Ch’üan) is one of the principal “internal” (Wudang) Chinese martial arts (nèiji is an even larger phrase that encompasses the internal arts).
The term roughly translates to “Form/Intention Boxing” or “Shape/Will Boxing,” and it is distinguished by aggressive, apparently linear motions and explosive strength.
There is no single organizational body that governs the art’s education, and various alternative styles exist.
A xingyiquan practitioner employs synchronized motions to produce bursts of strength meant to overwhelm the opponent, attacking and resisting at the same time.
Forms vary per school, but include barehanded routines as well as variants of the same sequences with a variety of weapons.
These sequences are inspired by the motions and combat styles of various animals.
The training techniques let the pupil to go through ever more difficult form sequences, timing, and combat tactics.
Legend Liu Songnian painted “Four Generals of Zhongxing” during the Southern Song Dynasty.
Yue Fei is seated second from the left.
This is thought to be the “truest portrayal of Yue in all existing documents.”
The precise origins of xingyiquan are unknown.
The oldest documented records of it may be dated to the 18th century to Ma Xueli of Henan Province and Dai Long Bang of Shanxi Province.
Legend has it that xingyiquan was invented by the great Song Dynasty (960-1279 AD) commander Yue Fei.
According to Pei Xirong (Chinese: ) and Li Ying’ang (Chinese: ), Xingyi Master Dai Long Bang published the book Henan Orthodox Xingyi Quan “In the 15th reign year of the Qianlong Emperor [1750], he penned the Preface to Six Harmonies Boxing.
‘… when [Yue Fei] was a youngster, he got unique instructions from Zhou Tong,’ it says within.
He was an expert in spearfighting, and he used the spear to build fist techniques, giving rise to the Yi Quan talent.
This meticulous and incomprehensible approach significantly outperformed older ones.”
During the Jin, Yuan, and Ming dynasties, only a few people learned this technique, one of which was Ji Gong (also known as Ji Longfeng and Ji Jike) of Shanxi Province.
For half a millennium after Yue Fei’s death, the art was lost.
Then, between the Ming and Qing dynasties, Ji Gong unearthed Yue Fei’s boxing handbook in Shaanxi Province’s Zhongnan Mountains.
Part of the Chinese martial arts series Chinese Martial Arts List Terms Kung-fu () Wushu (武術) profitsville hosts discoverysville hosts discoverysville hosts discoverysville hostssville Juli Shaolin Temple ()Wudang Mountains ()Mount Emei ()Kunlun Mountains () People from the past The Five Elders () Yan Yongchun / Yim Wing-chun () Hong Xiguan / Hung Hei-gun ()Dong Haichuan ()Yang Luchan ()Wu Quanyou () Chen Fake / Chen Heung / Chen Xiang Wong Fei-hung / Huang Feihong / Huo Yuanjia / Yip Man / Ye Wen / Bruce Lee / Li Xiaolong Legendary individuals Damo / Putidamo / Bodhidharma () Sanfeng Zhang () Hong Kong action film related Wushu (sport) (sport) Wuxia (武俠) History Yang Jwing-Ming claims that components of xingyiquan (especially the animal styles) may be found in the Shaolin Temple dating back to the Liang Dynasty.
Yue Fei did not originate xingyiquan, but rather synthesized and polished existing Shaolin concepts into his own school of gongfu, which he popularized throughout his military duty.
Some claim Bodhidharma to be the inventor of xingyiquan because this theory argues that Yue Fei built his style on existing Shaolin methods.
Nonetheless, Yue Fei is typically acknowledged as the originator, according to Yang, because of his extensive knowledge of the art (as seen in the book The Ten Theses of Xingyiquan, ascribed to Yue) and his cultural prominence as a Chinese military hero.
Other martial artists and Chinese martial art historians, such as Miller, Cartmell, and Kennedy, believe that while xingyiquan may have evolved from military spear methods, there is no proof that Yue Fei was involved or that the art goes back to the Song era.
These writers argue that the works assigned to Yue Fei’s part predate his life, with some dating back to the Republican era, and that it was customary practice in China to attribute new works to a renowned or legendary person rather than taking credit for oneself.
According to one version, the author of the “preface” is unknown because no name is put on the manuscript.
The majority of practitioners believe it was composed by Dai Long Bang.
Some martial arts experts believe it was written in Shanxi around the closing years of the nineteenth century.
Furthermore, historical memoirs and scientific study studies solely refer to Zhou Tong teaching Yue archery rather than spear play.
Yue studied spear throwing from Chen Guang (), who was employed by the boy’s paternal grandpa, Yao Daweng ().
The late Ming era and Ji Longfeng provide more evidence for the art’s history.
The Ji Clan Chronicles (; pinyin: Ji Shi Jiapu) recount Ji Longfeng’s contributions to the art.
The Chronicles, like the Preface, presents Xingyiquan as a martial system based on spear fighting principles.
The Chronicles, on the other hand, attributed this aesthetic influence to Ji, who was renowned as the “Divine Spear” (; pinyin: Shén Qing) for his exceptional proficiency with the weapon.
Ji Longfeng is widely regarded as the teacher who taught xingyiquan to Ma Xueli.
However, the Ma family’s legends merely state that Xueli learnt from an unnamed travelling instructor.
Ji Longfeng called his work Liu He, The Six Harmonies, a reference to the most advanced spear technique used in the late Ming military.
Cao Ji Wu is mentioned in the Preface as a pupil of Ji Longfeng and the master who taught xingyiquan to Dai Long boom.
Other accounts, however, name Dai’s tutor as Li Zheng or Niu Xixian.
Xingyiquan remained relatively unknown until the 19th century, when Li Luoneng (also known as Li Nengran) learnt the skill from the Dai family.
Li Luoneng and his successors, including Guo Yunshen, Li Cunyi, Zhang Zhaodong, Sun Lutang, and Shang Yunxiang, popularized xingyiquan throughout Northern China.
Sun Lutang shared his skills with Fu Chen Sung, who later brought this branch of the art to southern China.
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During the Second Sino-Japanese War, Chinese officers at the Nanjing Military Academy were taught a shortened form of xingyiquan for close quarters fighting.
This covered both armed and unarmed tactics such as bayonet and sabre drills.
Xingyiquan forms have been modified to meet the requirements of current Wushu competitors.
Because all wushu practitioners must participate in multiple necessary events, the style is very uncommon in competitions, making xingyi a secondary concern in wushu circles.
History has been contested.
The source of xingyiquan information, ancient Chinese books, sometimes contain characters whose meanings are ambiguous or have vanished entirely from the language.
Specialized phrases that represent historically particular notions (for example, names of ancient weapons) are often understood in terms of their closest current language counterpart.
The findings might be troublesome, resulting in linguistically correct but uneven translations within a combat or martial setting.
Cross-training appears to have introduced jargon from other martial arts into the xingyiquan language.
For example, some schools refer to a training method of “Xingyi Push Hands” – a term more commonly in use in training taijiquan – which may be called by other schools “Five Elements Fighting”The recognised founder of baguazhang, Dong Hai Chuan, was reputed to have fought Guo Yunshen with neither able to defeat the other – though it is possible that they were training together.
It would have been controversial at the time for Dong Hai Chuan to have studied under Guo Yunshen, since Dong was the older of the two.
The most neutral viewpoint would be to say that they trained together, which may explain the stylistic similarities between baguazhang and the xingyiquan monkey.
Frantzis[13] argues that this encounter never took place and that Guo and Dong had little contact with each other.
Frantzis argues that a xingyiquan-baguazhang exchange was more likely to have occurred in Tianjin c.
1900 where xingyi masters Li Cunyi and Zhang Zhaodong, Bagua master Cheng Tinghua, and four other xingyi and bagua teachers lived together (Frantzis, 1998, p.179).
Sun Lutang states in his autobiography that the legendary fight between Guo Yunshen and Dong Hai Chuan never happened.
The book states that the truth of the matter is that Guo Yunshen actually fought one of his older xingyi brothers and lost.
Sun Lutang was a student of both Guo Yunshen and Cheng Tinghua so this stance on the subject seems to be one of the most accurate.
Treating the story of Dong Hai Chuan and Guo Yunshen as allegory, however, reveals a common training protocol among xingyiquan and baguazhang practitioners.
Often, because baguazhang requires significantly more time for a practitioner’s skill to mature, it is acceptable to learn xingyiquan first or simultaneously.
Such a practitioner develops a tactical vocabulary that is more readily apparent than the core baguazhang movements.
The founder of Yiquan, Wang Xiangzhai studied under Guo Yunshen, and similarities in techniques between these arts can be seen.
The primary standing postures of Yiquan trains separately what xingyiquan santishi (三體式) trains simultaneously.
Characteristics and principlesXingyiquan features aggressive shocking attacks and direct footwork.
The linear nature of xingyiquan hints at both the military origins and the influence of spear technique alluded to in its mythology.
Despite its hard, angular appearance, cultivating “soft” internal strength or qi is essential to achieving power in Xingyiquan.
The goal of the xingyiquan exponent is to reach the opponent quickly and drive powerfully through them in a single burst — the analogy with spear fighting is useful here.
This is achieved by coordinating one’s body as a single unit and the intense focusing of one’s qi.
Efficiency and economy of movement are the qualities of a xingyiquan stylist and its direct fighting philosophy advocates simultaneous attack and defence.
There are few kicks except for extremely low foot kicks (which avoids the hazards of balance involved with higher kicks) and some mid-level kicks, and techniques are prized for their deadliness rather than aesthetic value.
Xingyiquan favours a high stance called Sāntǐshì (三體式 / 三体式), literally “three bodies power,” referring to how the stance holds the head, torso and feet along the same vertical plane.
A common saying of xingyiquan is that “the hands do not leave the heart and the elbows do not leave the ribs.
“The use of the Santishi as the main stance and training method originated from Li Luoneng’s branch of xingyi.
Early branches such as Dai family style do not use Santi as the primary stance nor as a training methodThis tape is about only the longevity exercises practiced by the masters.
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