The style known as Hung Gar Kung-Fu was established
by Master Hung Hei-kwan, in Fa City, Kwantung Province circa
1815. Master Hung was considered one of the best of several
lay-followers of his generation at the Fukien Shaolin Temple.
It is said that he studied Shaolin Martial Art directly with
Monk Sam Tak and temple Abbot Chi Zin. These three were among
the survivors of the Ching government attack on that same
Shaolin Temple for allegedly aiding and abetting rebels. Consequently,
when Master Hung wished to continue his teaching and practice
of Shaolin Kung-Fu , he could not have called it so without
risking severe consequences at the hands of the government.
So, he named the style of Shaolin Martial Technique that he
taught Hung Gar Kung-Fu , memorializing not himself but the
Ming Dynasty Emperor Hung-mo Chu. Master Hung’s institute
was considered among the foremost of the five major martial
art schools then in Kwantung province: Hung Gar, Lau Gar,
Choi Gar, Lee Gar, and Mon Gar.
As has occurred throughout the history of the style, Master
Hung modified his methods of instruction to suit the lifestyle
and environment where he was teaching. Nevertheless, the basic
techniques and theories that made up his instruction were
those of the original Shaolin Martial Art. That is to say,
his art was an outgrowth of a tradition that went back to
Da Mo and beyond, through many many years of evolution and
development of a System of Martial arts that was capable of
being a means of spiritual cultivation as well. Therefore,
his followers had to be of high moral character and willing
to maintain such standards in their lives and their subsequent
teaching. This high ethical standard and the true Shaolin
Way were passed on from teacher to student and created a lineage
of masters which includes Luk Ah-choy, Wang Tai, his son Wang
Kay-ying, his son Wang Fei-hung, and his disciple, Lam Sai-wing.
Master Lam Sai-wing’s contribution to the development and
spreading of Hung Gar Kung-Fu is inestimable. He wrote three treatises
on three important forms of the style: Goong Gi Fut Fu Kuen (Taming
the Tiger Fist), Fu Hok Sen Yen Kuen (The Tiger-Crane Mirror Image
Fist) and Tiet Tsin Kuen (Iron Thread Fist). He also trained several
disciples who then were responsible for the promulgation of Hung
Gar Kung-Fu in the West: among these, Master Wong Lee, Master
Lam Jo, his nephew, Master Chu Kau and Master Chan Hon Chung.
There are many instructors teaching the same basic principles
of Shaolin Martial Art, as preserved by Master Hung Hei-kwan,
today thanks to the work and dedication to Hung Gar Kung-Fu of
Master Lam Sai-wing.
Hung Gar Kung-Fu is fundamentally a southern style. Its powerful
hand techniques are often launched from low solid stances. Kicks
are aimed, for the most part, at the lower extremities and below
the waist. Emphasis is placed on the reliance on a strong foundation
and the maintenance of a short distance between oneself and one’s
opponent. Nevertheless, there are also many long-range movements
that allow greater distances between the combatants to be bridged.
Some high and long kicks and wide sweeps are also included in
the style. Both circular and linear techniques of the hands and
the feet are found within the pre-arranged sets of movements,
often called forms, as well as in the individual movement practice
routines. Traps, grabs and sticking hands as well as an extensive
set of joint locks and weapons practice are liberally interspersed
within the forms so as to provide the serious practitioner with
an ample range of techniques suitable to nearly any combat situation.
Hung Gar Kung-Fu martial technique has between 50 and 60 major
movements. Many of these movements are based on reflecting the
postures and attitudes of two animals: the Tiger and the Crane.
The Dragon, the Snake and the Leopard make up the rest of the
five animals that are explicitly imitated in this style derived
from the ancient Shaolin tradition. The monkey, the bear, the
elephant, the butterfly and the deer, among others are also recalled
within the style, though not always explicitly. The Five elements
of the traditional Chinese Cosmology are represented within the
forms as well: Metal (Gold), Water, Wood, Fire, and Earth. Each
of the main 5 animals and each element has an external representation
and function as well as an internal effect. For example, the tiger
movements are low and fierce and help develop the skeleton, the
muscle tone, strength and power. While the Crane and snake movements
are higher and subtle in their external action and require speed
and balance. These latter develop the tendons and the flow of
internal energy or Chi. Fire movements have an influence on the
heart and may be neutralized by water movements, which have an
influence on the kidneys. While the metal element movements have
a direct effect on the lungs and tend to neutralize wood element
actions, which in their turn stimulate liver functions.
The training provided by practicing Hung Gar Kung-Fu forms is
rigorous and intense. Students develop their muscle tone, their
skeletal structure and reinforce their joints, ligaments and tendons
through the exertion of opposing and following forces. There is
also the application of sounds throughout the practice. These
further develop the students’ breathing and therefore their
stamina and their Chi. Because the practice sessions are founded
upon repetitive work, the students must learn to attend to their
movements and coordinate these with their breathing and their
fellow students’ movements. Many of the practice activities
involve repeating individual movements alone. Others involve pair
work and group-coordinated movements. Working in groups, whether
large or small, is an excellent way for students to develop eye-hand
movement coordination with others. This type of coordination leads
to the ability to follow an eventual adversary in his or her every
action, thus developing the capacity to respond effectively to
any defense situation even within a crowded environment. Pair
work, in pre-ordered single and multiple move practice or forms,
and free fighting or “playing” also give the students
many opportunities to actually attempt using the techniques so
as to experience their application and understand their relative
effectiveness under a variety of circumstances.
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last update: feb 12 - 2004 |
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