影武 14 原庒正貨與A貨: 王薌齋意拳與太成拳 Shadow Warrior 14

影武者言 (14)  The Shadow Warrior 14
原庒正貨 與 A貨: 王薌齋意拳(大成拳)與澤井健一"太成拳"，唐人唐手與日本"空手"道，你要學那一門？ 請認明正貨！

學武初手 須知 ：
你，特別是80後的武學新進，要知到現代日本空手道  Japanese Karate  不是'正宗日本出品'，只是 'A貨'，原庒正貨直至第二次世界大戰前，一向是叫做 "唐手" ，直到現在英文也都是叫做 Karate ！ 

確切來說，"唐手" 應該是指少林拳法及南拳之中的 鶴拳 一個流派叫"食鶴拳"@@。在當時十九世紀初葉從福建省福州傳入琉球 (沖繩)群島。洪武五年 (1372) 明特使訪問琉球三王中最強之首，邀約建立蕃屬關係，又在1393年前後, 正式移植 36 個華人家庭於那霸(Naha)。於1507 年 琉球蕃王 King Sho Shin 首先禁止島民攜帶武器，其後日本薩摩家族 Satsuma Clan 於1608年成功佔有琉球，嚴禁本土人士，包括衙差保安等，攜帶利刀利劍武器， 以防作亂。而中國拳法對琉球本土地下武術發展，發揮極大影響力，這是有確鑿歷史根據，絶對是有跡可尋，歷史就是歷史，不容日本人不認賬。
(有興趣的話，請看 The sections on 'History of Karate-do from the Meiji Era', 'Japanization of Karate' etc. from the epic publication "The Bible of Karate: BUBISHI"  武備誌 translated and commentary by Patrick McCarthy, one of Japan's most senior-ranked foreign karate and kobudo 古武道 teachers (then in 1995).  (Chinese names have been inserted by this blogger after consulting relevant Chinese sources; may not be entirely accurate.) 

此 '武備誌' 由明朝 芧元儀 於十七世紀所作，共240篇， 其中也錄有 戚繼光 1561年所著 "紀效新書"中18篇有關"32勢長拳"。Mao Yuanyi's "Bushido" is "a document peculiar to Monk Fist 少林羅漢拳 and White Crane 白鶴拳 gongfu.") 

                     

@@ 白鶴派由福建永春 方七娘 所傳授， 鶴拳正宗是白鶴拳，分為：1. 宗鶴 (宿鶴) Suhe Quan, Sleeping Crane. 2. 鳴鶴 Minghe, Whooping Crane. 3. 飛鶴 Feihe, Flying Crane. 4. 食鶴 (朝鶴， 痹鶴) Shihe, Feeding Crane. 5. 蹤鶴 Zonghe, Jumping Crane. 6. 睡鶴 Sleeping Crane.


方七娘 何許人也？
"In his 1983 book 'Hakutsuru Mon: Shokutsuru Ken', (White Crane Gate: Feeding Crane Style) 白鶴門食鶴拳, Master Liu Yinshan 劉銀山 師傅 wrote that the Shaolin Temple was a sanctuary for resistance fighters during the early Qing dynasty. ... government soldiers burned the monastery down in 1674. Among the monks who fled the monastery in Henan Province was Fang Zhonggong 方種公 (Fang Huisi方慧石), a master of 18 Monk Fist Boxing 
--18 羅漢拳." 

種公碾轉逃亡至福建永春，後為方七娘 生父，傳授武功及'武備誌' 秘笈。... Fang Qiniang developed the White Crane style in the early 18th century. ... "many of these gongfu styles are believed to have been later introduced to and cultivated in Okinawa. Miyagi Chojun, a direct disciple of Higashionna Kanryo (1853-1917), told us in his 1934 Outline of Karate-do that 'a style' of gongfu was brought from Fuzhou to Okinawa in 1828 and served as the source of Goju-ryu karate kempo." 剛柔流拳法。  ...
此外，有歷史文獻記載：

'Chinese Influences on the Development of Karate-do':
1. In 1393, a Chinese mission, now known as the "36 Families", was established in Naha 那霸, leading city and capital of Okinawa. Young Okinawans learned to read and write Chinese in Kume village. Those who did well went on Chinese government scholarships to study at the Chinese capital. Chinese fighting arts were most likely also transmitted to Okinawa then. 

2. Kusankun, popularly known among karate historians as Kusanku or Koshankun 公相君, an expert in kempo (or quanfa) 拳法, travelled with a few personal disciples to the Ryukyu Kingdom with the Qing Sapposhi (Chinese envoy) Quan Kui 清朝 冊封使 全魁 in 1756. Koshankun's  awesome demonstration of his martial prowess was duly recorded in an official Okinawan chronicle entitled the Oshima Incident (Oshima Hikki). "Oral tradition maintains that Kusankun was one of the teachers of the great Okinawan master Sakugawa Chikudun Pechin."  The latter's nickname was "Toudi" Sakugawa, "Tou-di" is Okinawan for the original Chinese characters "kara-te" (in Japanese): 唐手！

3. "During Okinawa's tributary alliance with the Middle Kingdom, contingents of Uchinanchu ryugakusei (exchange students) 琉球留華學生 made extended pilgrimage to various parts of China to receive an education. ... Like the (Japanese) kentoshi, it is likely that these ryugakusei  learned the Chinese fighting arts and brought them back to their homeland as well." 

4. Some Okinawan pechins (somewhat comparable to samurais) studied martial arts in both Fujian, especially at Ryuru Ko's Kojo dojo 如如哥, the nickname of White Crane Master Xie Zhongxiang (1852-1930) 謝崇祥 at Fuzhou, and Satsuma. "Bushi" Matsumura was one such master. He came to be known as the 'Miyamoto Musashi of the Ryukyu Kingdom'. Funakoshi Gichin (1869-1957), the "father of modern karate", was one of his disciples. And "a significant portion of Karate-do Kyohan by F. Gichin is taken directly from the Bubishi"!

A class of black-belt Shotokan karatekas advancing from one end of the dojo to the other. (Photo from "Shoto-kan Karate" by Peter Ventresca, pages 26 & 27.)

"去中國化": 由"唐手" 變臉為"空手"道
In the 1920's and 30's when Ryukyu kempo karate-jutsu was being introduced to the Japanese mainland, Japanese nationalism, militarism and anti-Chinese sentiments were rapidly on the rise... 在二十至三十年代 ，日本民族主義，軍國主義及反華情緒高漲， "唐手" 代表"中國徒手搏擊武術"，這名詞當然不可能被公認！"Hanashiro Chomo, a direct disciple of 'Bushi' Matsumura, made the first recorded use of an ideogram to replace the 'China' (唐) ideogram in his 1905 publication Karate Kumite." "The new character (空) for kara meant 'empty' and can also be pronounced 'ku' (empty) or 'sora' (sky). As such, kara not only represented the physical but also embraced the metaphysical..." (vide page 56 of P. McCarthy's "Bubishi".) Hence, the modern term "karate" now literally means "the way of the Empty Hand" "空手道".

琉球本土民間地下武術的承傳，對日本傳統武術發展 feudal bujutsu，也有深遠影響，例如農夫用的生產工具，如長棍 staff， 棒 jo : 3- or 4-foot staff，鐮刀 kama: sickle or pick，tonfa  拐， 雙節棍 nunchaku: rice flail，

 和漁民用的木槳 eiku: boat oar 等 ，都是忍者 ninja 的隨手致命武器，部份也成為現代某些空手道流派所習練之"武器"。The following pictures are culled from "Secrets of the Samurai" by Oscar Ratti and Adele Westbrook, pages 306-7, page 321. 

 2 Nunchakus (-- the miniature one is my 9-yr old grand daughter's handicraft.)

 A jo against two swords.
 
 

即學即用 ，孤軍作戰式的 ：［絕境求生自衛術!］--

"Life-o-Death Self-Defense 4 Dummies !"

莫嫌舊日雲中守 猶堪一戰取功勳! Wang Wei's "Song of the Old General"

《老將行》 唐·王維

"Song of the Old General"
-- by Wang Wei (701-761)
-- Translated by Frank C Yue
This rendition is dedicated to my classmate Mr Lawrence Fung Kit-man who recently gave me a copy of the "Translated Poems in English by Du Fu". 

少年十五二十時，
步行奪得胡馬騎。
射殺山中白額虎，
肯數鄴下黃鬚兒。
When at the tender age of fifteen or twenty still --
On foot, I unhorsed Tartar captor, took his horse to ride!
I shot the fierce white-forehead tiger in yonder hills;
Which other brown-whiskered young man could do these, but I?

一身轉戰三千里，
一劍曾當百萬師。
漢兵奮迅如霹靂，
虜騎崩騰畏蒺藜。
For a thousand long long miles, I fought from place to place;
M'trusted sword once held up myriad troops in time and space!
Vigorous and fast, the Han armies just like thunder --
Stomping on small spikes, most Hun horsemen fell asunder!

衛青不敗由天幸，
李廣無功緣數奇。
自從棄置便衰朽，
世事蹉跎成白首。
With luck, General Wei Qing won such battles glorious;
'Twas his fate General Li Guang was not victorious --
Once declared unfit, he became weak and dejected;
The world goes by: his hair grew white and he procrastinated.

昔時飛箭無全目，
今日垂楊生左肘。
路旁時賣故侯瓜，
門前學種先生柳。
In the past, his flying arrow pierced both the goose-eyes;
Today, out of practice, his left elbow almost dies.
By the roadside, he hawks gourds for people to buy;
Like Tao Yuan-ming, he'd planted five willows by his door.

蒼茫古木連窮巷，
寥落寒山對虛牖。
誓令疏勒出飛泉，
不似潁川空使酒。
Linking the quiet cul-de-sac's, shapeless old trees green --
Through the open door, some desolate hills can be seen.
While besieged, for water to drink he did still find a spring!
Unlike the Yingchuan guy, though drunk abuses he won't sing.

賀蘭山下陣如雲，
羽檄交馳日夕聞。
節使三河募年少，
詔書五道出將軍。
Below Helanshan, like clouds gather formations army,
Riders passing orders dash about daily and nightly.
Ministers at three provinces had great recruiting plans;
To the General from the Emperor come five commands.

試拂鐵衣如雪色，
聊持寶劍動星文。
願得燕弓射大將，
恥令越甲鳴吾君。
莫嫌舊日雲中守，
猶堪一戰取功勳！
Dusting off my old armour, it gleams just like snow;
Bored, in the starlight my glistering sword I up hold.
Grant me a special bow to fell generals of the foe!
Leading the brave Yue troops, our lost Honour let's all restore.
Forget my wasted waiting in vain, it was like dreaming --
For our Country, I'm game for the Great Battle redeeming!

From the Net : Wikipedia --

< 王維（692年－761年），一說 699 —759，字摩詰，號摩詰居士，祖籍山西祁縣，其父遷居於蒲州（今山西永濟市），遂為河東人。盛唐山水田園派詩人、畫家，外號「詩佛」，今存詩400餘首。重要詩作有「相思」、「山居秋暝」等。
王維受母親影響，精通佛學，其字「摩詰」，是取自佛教的《維摩詰經》。王維參禪悟理，學庄信道，精通詩、書、畫、音樂等，與孟浩然合稱「王孟」>

影武答問 牛肉刀本意只想切肉 無奈有人拿來斬人！S Warrior 13

影武者言  (13)  Shadow Warrior 13

 網上授武，恐怕得益最大的反而是壞人?
影武答問 牛肉刀本意只想切肉 無奈有人拿來斬人！

這可以說是觀點與角度的問題，也要看壞人壞到什麽樣程度。如果已經 ”好打得”，不折不扣毒龍一條，根本不用浪費時間。如果只是小壞人，小混混誤入歧途，跟”大佬”去開片(打架，群毆) ，還有浪子回頭之機會，但是各有前因，因緣際會，不論毒龍，小混混，都可以受點化開竅，大徹大悟：放下屠刀，立地成佛。(哈哈，善哉！善哉！)

上回 影武 12 欣見諸位有心壇友留言， 在下謹此致謝，簡覆如下。

七月星 :  <羨魚兄好！懂武功行正道是好。否則為害更深！>

説得絕對正確！因此，武以德為重！前人個別授徒，頭一年半載只先教馬步站樁枯燥難耐的基本功，不加解釋，一站就是一個時辰(兩個鐘頭)，徒弟又要無償服侍師傅，劈柴挑水，靜觀其德行為人，是否吃得苦。 現在武舘，道場大多數都是極度商業化，交足學費，升級考試費等就可以了。說到最後，每人都要對自己言行負責：正是 "人在做，天在看！" 如此簡單而已。

一老年人 :  <羨魚兄好！多謝講解。>

多謝繼續捧場，管見而已，請多賜教！

萬古刀 :  <魚兄好，有心人也! 但小生有點擔心的是，太凡一般社會，買武術書籍和示範多媒體最熱心的大多都是惡棍（包括有牌無牌爛仔，佢地有的是錢和時間，也不須花腦筋去思考社會問題），我兄免費網上教授，恐怕得益最大的反而是壞人，因為起碼自衛者招術未出，壞人早就了然，預備了應對之法，所謂招無不破，若少了一個出人意料的優勢（factor of surprise），受難的往往是好人。…>

請看前文，在下只想絶大多數善良又愛好和平的市民，特別是媒體介工作者，不曉武功氣功，對實用防身自衛術有更深刻了解認知，在緊要關頭，可救燃眉之急。 若少了一個出人意料的優勢，相比不懂出手擋瀉還擊，反抗無效，任人魚肉，不是更勝多籌嗎？(在下絕不會與人相鬥，若然，狂徒只會看到一個狀若怕事懦怯長者，不會擺出戰斗姿式，只有雙手在胸前亂搖：高擡貴手，錢夾奉上，不要打我！)

更多謝萬古刀 在影武 11回 上貼之視頻二則，其中一則: https://www.youtube.com/watch?v=yIWjWhsNJkg
(A Japanese documentary on Kenichi Sawai 澤井健一 (1903-88). Kenichi Sawai was a student of Wang Xiangzhai 王薌齋, creator of Yi Chuan 意拳. Kenichi Sawai eventually created his own version of Yi Quan called Tai Ki Ken 太氣拳.)


演示(83歲的) 澤井健一 正是當年(四十年代初) 王薌齋 手下敗將之一。請看：" ... 此後又日本當時柔道五段，劍道三段的澤井健一，與(王薌齋)先生做較量，比試失敗後，轉向先生學習意拳 (七十年代澤井健一在他所著的 [太氣拳 -- 中國實戰拳法] 一書中，敘述了他向先生求學的過程片段和澤井氏對意拳的評價等)。"  詳見 姚宗勛 著 "意拳 -- 中國現代實戰拳學" 第 9頁。

 **請看薌齋先生如何擊倒中外頂級武術高手。

無求劍客 : <武功如財帛，水能載舟，亦能覆舟。>

說得正是，如有錯漏，請多指正！

k.f.suen : <… 誰能夠在這地球上找到只有單邊的物體  :  有上無下 / 有前無後 / 有左無右....武術書籍/示範多媒體等只是媒界, 讀者習之自衛或強健身體, 或路見不平時揮武於公義, 或助紂為弱, 或持食過夜粥杖權霸勢........
得財帛而拿來賣官鬻爵, 於窮人前耀武揚威, 甚至以富劫貧直示無品窮酸相
好人 / 壞人存乎一心, 善長夭桃穠李, 惡長獐頭鼠目, 相由心生啊!... >

說得正是，請多賜教！

 <古刀，劍客>：顧名思義，都是曉得武功氣功之高手，應比在下(小魚)水平高得多，請多多不吝賜教指正，以示後進！

現在，請看某雜誌轉載 金庸大俠 如何回答一個差不多與 '影武篇' 有關聯的問題：   

< 有人曾倡議道：“電視和武俠小說中有很多打鬥場面，會給兒童和分辨能力低的成人帶來不良的影響，應該限制。” 對此，金庸的看法如下：”以 前有人攻擊武俠小說，認為小孩看了會模仿，也上山學道去了。我想這個責任不應該由武俠小說來負，一把菜刀可以用來切菜，也可以用來殺人。我寫小說時，只想 到小說的讀者，在小說描述的事在電視中不一定可以演，因為看小說的人至少有閱讀的能力，受過一定的教育。如果電視對觀眾有壞影響，應該由電視負責。因為… 觀眾中有一部位是沒有分辨能力的，打鬥該適可而止。” >

**請看薌齋先生 如何擊倒中外頂級武術高手 :

... "薌齋先生的(意拳)學說，在我國武術界，也曾引起過巨大的震動。在此期間，中外人士特別是我國的武術家們，專門拜訪先生以探討拳術宗旨的人絡繹不絕。先生在上海逗留時期，就曾與當時在西青(西洋人的青年會)擔任拳擊教練的匈牙利人英格相會。英格曾經獲得過職業拳擊比賽的最輕量級世界冠軍。在交流技擊中，英格出直拳發動進攻，先生左手一抖，即將英格彈倒在地。英格失敗後，在英國<泰晤士報>上發表題為 <我所見到的中國拳術> 一文，對薌齋先生的造詣，中國拳術所達到的高水平感到十分佩服。"

"一九三七年秋，北京名拳師洪緒如(洪連順)先生造訪王薌齋先生，三試三北，緒如先生第一次用形意拳的劈拳向王先生進擊，方覺觸及王先生之臂被彈出倒地；第二次用虎形的 "虎撲"進攻，亦被彈出倒地；，第三次用崩拳，仍被彈倒。洪先生 ... 立即向薌齋先生求教。... 緒如先生大悟，遂親自率領自己的學生從學於薌齋先生。"

"四十年代初，日本的柔道六段 八田一朗  " (一九六三年代表日本參加第十一屆奧運會國際摔跤比賽的選手)要求與先生比試，八田欲擄先生手腕用招，哪知兩手才一接觸，立即被抖得騰身離地，身貼牆壁後倒在地上。"

哈哈，這應是前人說的："打人如掛畫！"

(見 姚宗勛 著 "意拳 -- 中國現代實戰拳學" 第 4頁霍(震寰)序 ，第 8，9頁。)

杜甫 觀公孫大娘弟子舞劍器行 JIAN QI XING: Sword Dance!

《觀公孫大娘弟子舞劍器行》并序  唐 • 杜甫
大歷二年十月十九日夔府別駕元持宅見臨潁李十二娘舞劍器，壯其蔚跂。問其所師，曰︰余公孫大娘弟子也。開元三載，余尚童稚，記於郾城觀公孫氏舞劍器渾脫。 瀏灕頓挫，獨出冠時。自高頭宜春梨園二伎坊內人，洎外供奉，曉是舞者，聖文神武皇帝初，公孫一人而已。玉貌錦衣，況余白首！今茲弟子亦匪盛顏。既辨其由 來，知波瀾莫二。撫事慷慨，聊為劍器行。昔者吳人張旭善草書書帖，數嘗於鄴縣見公孫大娘舞西河劍器，自此草書長進，豪蕩感激。即公孫可知矣！


昔有佳人公孫氏， 
一舞劍器動四方。  
觀者如山色沮喪，
天地為之久低昂。  
霍如羿射九日落，  
矯如群帝驂龍翔。  
來如雷霆收震怒，  
罷如江海凝清光。  
絳唇珠袖兩寂寞，  
晚有弟子傳芬芳。  
臨潁美人在白帝，  
妙舞此曲神揚揚。  
與余問答既有以，  
感時撫事增惋傷。  
先帝侍女八千人，  
公孫劍器初第一 。
五十年間似反掌，
風塵澒洞昏王室。
梨園子弟散如煙，  
女樂餘姿映寒日。  
金粟堆前木已拱，  
瞿塘石城草蕭瑟。  
玳筵急管曲復終，  
樂極哀來月東出 。
老夫不知其所往，  
足繭荒山轉愁疾。

JIAN QI XING:
"On Watching The Sword Dance by A Disciple of Dame Gongsun"   With Preface
-- by DU FU (712-770)
-- Translated by Frank C Yue
Preface

In the second year of the Da Li period, on the nineteenth day of the tenth month, at the home of Yuan Chi, magistrate of Kuizhou,  I saw the girl -- Li "The Twelfth" -- performed the Sword Dance. She was so skilful that I asked her who was her teacher. She said, "I am a disciple of Gongsun the First." In the third year of Kai Yuan, When I was a child I saw Gongsun doing the Sword Dance and Felt Hat Dance at Yancheng. She did them with grace and power, in a class of her own.  In the beginning of the Xuan Zong`s period, of the two Opera schools -- Spring Court and Pear Garden -- Gongsun was the best. Her beauty has faded as my hair grows white. Even her students do not look young now. But the fluent, rippling movements of teacher and students are one. I was so moved that I am writing this "Song of the Sword Dance". Once Xu of Wu, a fine calligrapher, saw Gongsun the First do the Sword Dance at Ye. Since then his cursive writing improved tremendously, showing Gongsun`s great strength and rhythm.  

The Poem

There was a pretty woman named Gongsun in the years past;
When she did her Sword Dance the effects were striking and vast.
Like still mountains, all spectators were spellbound, petrified;
It seemed Heav'n and Earth with her ev'ry move were unified,
So dazzling and bright as down the 'Nine Suns' Hou
Yi shot --
O Mighty and fast as the Gods rode their dragon-chariots!
As she lept up, like an angry thunder bolt, the Dance began;
Like frozen green waves, the cool blade was ev'rywhere
at the end.

Long ago, the Master's dancing sleeves and songs fell silent;
Of late, she still has a fine disciple with great talent.
At Bai Ti city -- a fair lady from Linying was there;
Her songs and dance (in battle attire) were beyond compare.
She answers my questions: now I know the wherefores and why;
Sadly, lamenting the great changes, one would always cry.
The late Emp'ror had eight thousand ladies (and no less);
All the time, among them Dame Gongsun's Sword Dance was the best!

Just like the turning of one's palm, fifty years have gone,
And so has the Old Court as ceaselessly Time marches on.
Like smokes, disbanded, the Pear Garden members disappear'd;
In failing sunlight, the Master's disciple is still here. 
Around the great Emperor's mausoleum, now grown are all the trees;
At Qutang, the city's a shadow of what it used to be.
The sumptuous feasts, joyous music, songs and dances had ceased;
Ecstasy! Then come great sorrows and the Moon in the east.
When dinner is over, I know not where I shall wander;
My sad, corn-covered feet carry me to the hills yonder.

From Wikipedia:    

成都杜甫草堂內景             ［杜甫（712年2月12日－770年），字子美，號少陵野老，一號杜陵野客、杜陵布衣，唐朝現實主義詩人，其著作以社會寫實著稱。中國河南鞏縣（今河南省鞏義市）人。祖籍湖北襄陽（今湖北省襄陽市）。因其曾任左拾遺、檢校工部員外郎，因此後世稱其杜拾遺、杜工部；又稱杜少陵、杜草堂。

杜甫與李白合稱「李杜」，為了與另兩位詩人李商隱與杜牧即「小李杜」區別，杜甫與李白又合稱「大李杜」，杜甫也常被稱為「老杜」。據岑仲勉考證杜甫是杜預第四子杜耽之後，且為杜預十四世孫，然而胡可先根據杜預叔父杜並墓誌所記載的先祖，指出杜甫是杜預長子杜錫的後代。雖然在世時名聲並不顯赫，但在身後，杜甫的作品最終對中國文學和日本文學產生了深遠的影響，約1500首詩歌被保留了下來，作品集為《杜工部集》。他在中國古典詩歌中的影響非常深遠，被後人稱為「詩聖」，他的詩也被稱為「詩史」。杜甫共有約1500首詩歌被保留了下來，大多集於《杜工部集》。］