Wing Chun
Wing Chun
A wing chun front kick (right) against a turning kick. This
illustrates the principles of centerline and simultaneous attack and
defence.
Also known as Wing Chun, Wing Tsun, Ving
Tsun
Focus Striking, Trapping
Country of origin China
Creator Ng Mui
Famous practitioners Sum Nung,[1] Yip Man,[2] Bruce
Lee[3]
Wing Chun
Traditional Chinese 詠春拳
Simplified Chinese 咏春拳
Literal meaning fist of spring chant
Alternative Chinese name
Chinese 永春拳
Literal meaning fist of eternal spring
[show]Transcriptions
Wing Chun (Chinese: 詠春 ; pinyin: yǒng chūn; Cantonese Yale: wihng chēun; literally
"spring chant"), also romanised as Ving Tsun or Wing Tsun, (and sometimes substituted
with the characters
needed]
永春 "eternal springtime"[4]); (also known as Snake-Crane style)[citation
; is a concept-based Chinese martial art and form of self-defense utilising both striking
and grappling while specialising in real world, close-range combat.
The alternative characters 永春 "eternal spring" are also associated with some other southern
Chinese martial arts, including Weng Chun Kungfu and White Crane Weng Chun (Yong
Chun).[5][6]
Contents
1 History
• 2 Characteristics
o 2.1 Balance, structure and stance
o 2.2 Relaxation
o 2.3 Centerline
o 2.4 Punches
o 2.5 Kicks
o 2.6 Uncommitted techniques
o 2.7 Trapping skills and sensitivity
o 2.8 Close range
• 3 Curriculum
o 3.1 Forms and san sik
3.1.1 Empty hand
3.1.2 Wooden dummy
3.1.3 Forms
3.1.4 Weapons
o 3.2 Chi sao
o 3.3 Chi gerk
o 3.4 Mook Wan
• 4 Southern martial art
• 5 Global spread
o 5.1 In popular culture
• 6 Branches
• 7 See also
• 8 References
• 9 Sources
History
Main article: History of Wing Chun
The earliest known mentions of Wing Chun date to the period of Red Boat Opera.
The common legend as told by Yip Man[7] involves the young woman Yim Wing-chun,
(Wing Chun literally means 'forever springtime' or 'praising spring',) at the time after the
destruction of the Southern Shaolin Temple and its associated temples by the Qing
government:
After Yim Wing-Chun rebuffed the local warlord's marriage offer, she said she'd reconsider
his proposal if he could beat her in a fight. She soon crossed paths with a Buddhist nun--Ng
Mui, who was one of the Shaolin Sect survivors, and asked the nun to teach her fighting. The
legend goes that Ng Mui taught Yim Wing-Chun a new system of martial art that had been
inspired by Ng Mui's observations of a confrontation between a Snake and a Crane; this then-
still nameless style enabled Yim Wing Chun to beat the warlord in a one-on-one fight. Yim
Wing-Chun thereafter married Leung Bac-Chou and taught him the style, which was later
named after her.
Since the system was developed during the Shaolin and Ming resistance to the Qing Dynasty,
many legends about the creator of Wing Chun were spread to confuse enemies, including the
story of Yim Wing Chun. This perhaps explains why no one has been able to accurately
determine the creator or creators of Wing Chun.[8]
Characteristics
Balance, structure and stance
Some Wing Chun practitioners believe that the person with better body structure will win. A
correct Wing Chun stance is like a piece of bamboo, firm but flexible, rooted but yielding.
This structure is used to either deflect external forces or redirect them.[citation needed]
Balance is related to structure because a well-balanced body recovers more quickly from
stalled attacks and structure is maintained. Wing Chun trains the awareness of one's own
body movement derived from muscular, tendon, and articular sources. Performing Wing
Chun's forms such as Chum Kiu or the Wooden Dummy form greatly improve proprioception.
Wing Chun favours a high, narrow stance with the elbows kept close to the body. Within the
stance, arms are positioned across the vitals of the centerline. Shifting or turning within a
stance is carried out variantly on the heels, balls, or middle (K1 or Kidney 1 point) of the foot
depending on lineage. All attacks and counter-attacks are initiated from this firm, stable base.
Wing Chun rarely compromises structure for more powerful attacks because this is believed
to create defensive openings which may be exploited.
Structure is viewed as important, not only for reasons of defense, but also for attack. When
the practitioner is effectively "rooted", or aligned so as to be braced against the ground, the
force of the hit is believed to be far more devastating. Additionally, the practice of "settling"
one's opponent to brace them more effectively against the ground aids in delivering as much
force as possible to them.[9][10]
Relaxation
Softness (via relaxation) and performing techniques in a relaxed manner, is fundamental to
Wing Chun.
• Tension reduces punching speed and power. Muscles act in pairs in opposition to each
other (e.g. biceps and triceps). If the arm is tensed, maximum punching speed cannot
be achieved as the biceps will be opposing the extension of the arm. In Wing Chun,
the arm should be relaxed before beginning the punching motion.
• Unnecessary muscle tension wastes energy and causes fatigue.
• Tense, stiff arms are less fluid and sensitive during trapping and chi sao.
• A tense, stiff limb provides an easy handle for an opponent to push or pull with,
whereas a relaxed limb provides an opponent less to work with.
• A relaxed, but focused, limb affords the ability to feel "holes" or weaknesses in the
opponent's structure (see Sensitivity section). With the correct forwarding these
"holes" grant a path into attacking the opponent.
• Muscular struggle reduces a fight to who is stronger. Minimum brute strength in all
movement becomes an equalizer in uneven strength confrontations. This is very much
in the spirit of the tale of Ng Mui.
Centerline
While the existence of a "central axis" concept is unified in Wing Chun, the interpretation of
the centerline concept itself is not. Many variations exist, with some lineages defining
anywhere from a single "centerline" to multiple lines of interaction and definition.
Traditionally the centerline is considered to be the vertical axis from the top of a human's
head to the groin. The human body's prime striking targets are considered to be on or near
this line, including eyes, nose, throat, solar plexus, stomach, pelvis and groin.
Wing Chun techniques are generally "closed", with the limbs drawn in to protect the central
area and also to maintain balance. In most circumstances, the hands do not move beyond the
vertical circle that is described by swinging the arms in front, with the hands crossed at the
wrists. To reach outside this area, footwork is used. A large emphasis and time investment in
training Chi Sao exercise emphasizes positioning to dominate this centerline. The stance and
guard all point at or through the center to concentrate physical and mental intent of the entire
body to the one target.
Wing Chun practitioners attack within this central area to transmit force more effectively,
since it targets the "core center" (or "mother line", another center defined in some lineages
and referring to the vertical axis of the human body where the center of gravity lies). For
example, striking an opponent's shoulder will twist the body, dispelling some of the force and
weakening the strike, as well as compromising the striker's position. Striking closer to the
center transmits more force directly into the body.
Punches
Due to the emphasis on the center line, the straight punch is the most common strike in Wing
Chun. However, the principle of simultaneous attack and defense (Lin Sil Die Dar) suggests
that all movements in the Siu Nim Tau with a forward execution flow into a strike if no
effective resistance is met, without need for recomposure. Other explicit examples of punches
can be found in the Chum Kiu and Bil Jee forms, although these punches may appear to be
superficially different they are simply the result of the punch beginning from a different
origin position while following the same fundamental idea, to punch in a straight line
following the shortest distance between the fist and the opponent.
The punch is the most basic and fundamental in Wing Chun and is usually thrown with the
elbow down and in front of the body. Depending on the lineage, the fist is held anywhere
from vertical to horizontal (palm side up). The contact points also vary from the top two
knuckles, to the middle two knuckles, to the bottom three knuckles. In some lineages of Wing
Chun, the fist is swiveled at the wrist on point of impact so that the bottom three knuckles are
thrust forward adding power to the punch while it is at maximum extension.
The punches may be thrown in quick succession in a "straight blast" or "chain punching".
When executed correctly, it can be used as a disorienting finisher.
When executing the punch, you must relax and use your shoulders. The punch comes from
the body and not the arm. Like most other punches in martial arts, Wing Chun punches with
the body.
Wing Chun is often criticized for encouraging weaker punches that do not utilize the whole
body[citation needed]. However, as per the formal name of the punch (which is translated as "The
Sun-character Rushing Punch (or Hammer in Cantonese)")[citation needed], a practitioner
typically would thrust his full body weight towards his opponent, with the fist as the "nail",
and his body as the "hammer". With each successive punch, the practitioner would step in
closer and closer to the opponent, driving the fists forward as a hammer drives a nail.
Wing Chun favors the vertical punch for several reasons:
• Directness. The punch is not "loaded" by pulling the elbow behind the body. The
punch travels straight towards the target from the guard position (hands are held in
front of the chest).
• Protection. The elbow is kept low to cover the front midsection of the body. It is more
difficult for an opponent to execute an elbow lock/break when the elbow occupies this
position. This aids in generating power by use of the entire body structure rather than
only the arm to strike. Also with the elbow down, it offers less opening for the body
to be attacked while the forearm and punch intercept space towards the head and
upper body.
• Strength and Impact. Wing Chun practitioners believe that because the elbow is
behind the fist during the strike, it is thereby supported by the strength of the entire
body rather than just a swinging fist, and therefore has more impact. A common
analogy is a baseball bat being swung at someone's head (a round-house punch), as
opposed to the butt end of the bat being thrust forward into the opponent's face (wing
chun punch), which would cause far more damage than a glancing hit and is not as
easy to evade. Many skilled practitioners pride themselves on being able to generate
"short power" or large amount of power in a short space. A common demonstration of
this is the "one-inch punch", a punch that starts only an inch away from the target yet
delivers an explosive amount of force.
• Alignment & Structure. Because of Wing Chun's usage of stance, the vertical punch is
thus more suitable. The limb directly in front of the chest, elbow down, vertical nature
of the punch allows a practitioner to absorb the rebound of the punch by directing it
through the elbows and into the stance. This is a desirable trait to a Wing Chun
practitioner because it promotes use of the entire body structure to generate power.
Whereas, the rebound of a horizontal punch uses only the arm to strike. In this elbow-
out position the hinge-structure directs force outwards along the limb producing
torque in the puncher's body.
Kicks
Kicks can be explicitly found in the Chum Kiu and Mook Jong forms, though some have
made interpretations of small leg movements in the Siu Nim Tau and Bil Jee to contain
information on kicking as well. Depending on lineage, a beginner is often introduced to basic
kicking before learning the appropriate form. Traditionally, kicks are kept below the waist.
This is characteristic of southern Chinese martial arts, in contrast to northern systems which
utilize many high kicks.
Variations on a front kick are performed striking with the heel. The body may be square and
the knee and foot are vertical on contact (Chum Kiu), or a pivot may be involved with the
foot and knee on a plane at an angle (Mook Jong). At short distances this can become a knee.
A roundhouse kick is performed striking with the shin in a similar manner to the Muay Thai
version with most of the power coming from the body pivot. This kick is usually used as a
finisher at closer range, targeting anywhere between the ribs and the back of the knee, this
kick can also become a knee at close range. Other kicks include a stamping kick (Mook Jong)
for very close range and a sweep performed with the heel in a circular fashion.
Every kick is both an attack and defence, with legs being used to check incoming kicks or to
take the initiative in striking through before a more circular kick can land. Kicks are delivered
in one movement directly from the stance without chambering/cocking.
Uncommitted techniques
Wing Chun techniques are uncommitted. This means that if the technique fails to connect, the
practitioner's position or balance is less affected. If the attack fails, the practitioner is able to
"flow" easily into a follow-up attack. All Wing Chun techniques permit this. Any punches or
kicks can be strung together to form a "chain" of attacks. According to Wing Chun theory,
these attacks, in contrast to one big attack, break down the opponent gradually causing
internal damage. Chained vertical punches are a common Wing Chun identifier.
Trapping skills and sensitivity
The Wing Chun practitioner develops reflexes within the searching of unsecured defenses
through use of sensitivity. Training through Chi Sao with a training partner, one practices the
trapping of hands. When an opponent is "trapped", he or she becomes immobile.
Chinese philosophy:
"Greet what arrives, escort what leaves and rush upon loss of contact"- Yip
Man
Close range
Wing Chun teaches practitioners to advance quickly and strike at close range. While the
Wing Chun forward kick can be considered a long range technique, many Wing Chun
practitioners practice "entry techniques"—getting past an opponent's kicks and punches to
bring him within range of Wing Chun's close range repertoire. This means that theoretically,
if the correct techniques are applied, a shorter person with a shorter range can defeat a larger
person by getting inside his range and attacking him close to his body.
Curriculum
Forms and san sik
Forms are meditative, solitary exercises which develop self-awareness, balance, relaxation
and sensitivity. Forms also train the practitioner in the fundamental movement and the correct
force generation of Wing Chun.
San Sik (translated as Separate Forms) are compact in structure. They can be loosely grouped
into three broad categories: 1) focus on building body structure through basic punching,
standing, turning, and stepping drills; 2) fundamental arm cycles and changes, firmly
ingraining the cardinal tools for interception and adaptation; and 3) sensitivity training and
combination techniques.
It is from the forms and san sik that all Wing Chun techniques are derived. Depending on
lineage, the focus, content and intent of each form can have distinct differences which can
therefore have far reaching implications. This also means that there are a few different ideas
concerning what constitutes progression in the curriculum from form to form, so only a
general description of overlap between different schools of thought is possible here.
What's commonly seen are six Wing Chun forms:[11] three empty hand forms, one "wooden
dummy" form, and two weapons forms.
Empty hand
The first, and most important form in Wing Chun,
小念頭
Siu Lim Tao, is the foundation or "seed" of the art
Siu Nim Tao ( ; xiǎo niàn from which all succeeding forms and techniques
depend.[12] Fundamental rules of balance and body
小
tóu; Yale Cantonese: síu nihm
tàuh; "little idea" or "little
念 小
structure are developed here. Using a car analogy:
imagination") or Siu Lim Tao ( for some branches this would provide the chassis,[13]
頭 練頭 ; xiǎo liàn tóu; Yale for others this is the engine.[14] It serves basically as
the alphabet for the system. Some branches view the
Cantonese: síu lihn tàuh; "little
practice"). symmetrical stance as the fundamental fighting
stance, while others see it as more a training stance
used in developing technique.[15]
尋 Chum Kiu ( 尋橋 ; pinyin: xún qiáo; The second form, Chum Kiu, focuses on coordinated
橋 Yale Cantonese: cham4 kiu4; movement of bodymass and entry techniques to
"seeking the bridge". Alternately "bridge the gap" between practitioner and opponent
"sinking bridge" pinyin: chen qiáo; and move in to disrupt their structure and
Yale Cantonese: sám kìuh;) balance.[16][17] Close-range attacks using the elbows
and knees are also developed here. It also teaches
methods of recovering position and centerline when
in a compromised position where Siu Nim Tao
structure has been lost. For some branches
bodyweight in striking is a central theme, whether it
be from pivoting (rotational) or stepping
(translational). Likewise for some branches, this
form provides the engine to the car. For branches
who use the "sinking bridge" interpretation, the form
takes on more emphasis of an "uprooting" context
adding multi-dimensional movement and spiraling to
the already developed engine.
The third form, Biu Jee, is composed of extreme
short-range and extreme long-range techniques, low
kicks and sweeps, and "emergency techniques" to
counter-attack when structure and centerline have
been seriously compromised, such as when the
practitioner is seriously injured.[18] As well as
pivoting and stepping, developed in Chum Kiu, a
third degree of freedom involving more upper body
鏢指
and stretching is developed for more power. Such
鏢 Biu Tze ( ; pinyin: biāo zhǐ; movements include very close range elbow strikes
指 Yale Cantonese: bìu jí; "darting
fingers")
and finger thrusts to the throat. For some branches
this is the turbo-charger of the car. For others it can
be seen as a "pit stop" kit that should never come in
to play, recovering your "engine" when it has been
lost. Still other branches view this form as imparting
deadly "killing" and maiming techniques that should
never be used if you can help it. A common wing
chun saying is "Biu Jee doesn't go out the door."
Some interpret this to mean the form should be kept
secret, others interpret it as meaning it should never
be used if you can help it.
Wooden dummy
The Muk Yan Jong form is performed
against a "wooden
" dummy", a thick
wooden post with three arms and a
leg mounted on a slightly springy
Muk Yan Jong ( 木 frame
rame representing a stationary human
木 人樁
opponent. Although representative of
; pinyin:
人
a human opponent, the dummy is not
mùrénzhuāng; Yale a physical representation of a human,
樁 Cantonese: muhk but an energetic one. Wooden dummy
yàhn jòng; "wooden practice aims to refine a practitioner's
dummy") understanding of angles, positions,
position
and footwork, and to develop full
body power. It is here that the open The Hong Kong wall
hand forms are pieced together and mounted version of the
understood as a whole. Wooden Dummy
Forms
Both the Way Yan (Weng Chun) and Nguyễn Nguy Tế-Công
Công branches use different curricula of
empty hand forms. The Tam Yeung and Fung Sang lineages both trace their origins to Leung
Jan's retirement to his native village
lage of Gu Lao, where he taught a curriculum of San Sik.
The Siu Lien Tao (Little First Training) of Cho Ga Wing Chun is one long form that includes
movements that are comparative to a combination of Siu Nim Tao, Chum Kiu, and Biu Jee of
other families. Thee other major forms of the style are Sui Da ("Random Striking"), Chui Da
("Chase Striking"), Fa Kuen ("Variegated Fist"), Jin Jeung ("Arrow Palm"), Jin Kuen
("Arrow Fist"), Joy Kuen ("Drunken Fist"), Sup Saam Sao ("Thirteen Hands"), and Chi Sao
Lung ("Sticking
king Hands Set"). Also, a few family styles of Wing-Chun
Wing Chun (especially those
coming from the "Hong Sun Hay Ban Tong" (Red Boat/Junk Opera Society) have a
combination advanced form called; "Saam Baai Fut" (3 Bows to Buddha) which includes
many flow/leak techniques
iques from all of the first 'standard' 6 forms.
Weapons
Once correct force generation in the open-handed
open handed forms is achieved, the student is ready to
progress to weapons.. With the open hand forms delivering force to the end of the finger tips,
the idea is to be able to extend that force further to the end of a weapon as an extension of the
body, using the same principles. Also, these weapons forms can be used as an exercise to
strengthen the forearms and wrists even further.
Also known as Yee Jee A form involving a pair of
八
Seung Do ("Parallel large ""Butterfly Knives",
斬
Shape Double Knives") slightly smaller than short
and Baat Jaam Do swords ((Dao). Historically
刀 (Eight
Chopping/Slashing
the knives were also referred
to as Dit Ming Do ("Life-
("Life
Knives"). Taking Knives").[citation needed]
"Long Pole"— a tapered
wooden pole ranging
anywhere from 8 to 13 feet in
length. Also referred to as
"Dragon Pole" by some
branches. For some branches
that use "Six and A Half
六 Point Pole", their 7 principles
點 Luk Dim Boon Gwun, of Luk Dim Boon Gwun(Tai
Gwun(Tai-
半 or "Six and A Half uprooting, lan
lan-to expand,
棍 Point Pole". dim--shock, kit-deflect, got-
cut down, wan-circle,
wan lau-
flowing) are used throughout
the unarmed combat as well. Leung Ting demonstrating the
The name six and a half point Long Pole
pole comes from these 7
principles, with the last
principle:Lau, or Flowing
counting as half a point.
The Yuen Kay-San/Sum Nung branch also historically trained throwing darts (Biu).
According to Sum Nung, his skill with them could not compare to Yuen Kay San's, so they
are not part of the current curriculum.
Chi sao
Chi Sao (Chinese 黐手 , Cantonese chi1 sau², Mandarin chǐshǒu) or "sticking hands". Term
for the principle, and drills used for the development of automatic reflexes upon contact and
the idea of "sticking" to the opponent. Although, in reality the intention is not to stick at all
centerline while attacking your opponent's centerline.[19] In
costs, but rather to protect your centerline
Wing Chun this is practiced through two practitioners maintaining contact with each other's
forearms while executing techniques, thereby training each other to sense changes in body
mechanics, pressure, momentum and "feel". This increased sensitivity gained
gained from this drill
helps a practitioner attack and counter an opponent's movements precisely, quickly and with
the appropriate technique.
Chi Sao additionally refers to methods of rolling hands drills (Luk Sao). Luk Sao participants
push and "roll" theirr forearms against each other in a single circle while trying to remain
relaxed. The aim is to feel forces, test resistances and find defensive gaps. Other branches do
a version of this where each of the arms roll in small separate circles. Luk Sao is most
notably taught within the Pan Nam branches where both the larger rolling drills and the
method where each of the arms roll in small separate circles are taught.
In some lineages (such as the Yip Man and Jiu Wan branches), Chi Sao drills begin with one- one
armed sets called Dan Chi Sao which help the novice student to get the feel of the exercise,
each practitioner uses one hand from the same side as they face each other. Chi Sao is a
sensitivity drill
rill to obtain specific responses, it should not be confused with sparring/fighting,
though it can be practiced or expressed in a combat form.
Chi gerk
"Sticking-legs," is the lower-body equivalent of the upper body's Chi-sao training. Chi-gerk is
first experienced by way of various strength and conditioning drills, and a great deal of
strength and conditioning is experienced prior to continuing. Because the legs are stronger,
they are usually harder to relax during drills. Also, because students are busy concentrating
on upper body movements, many will usually not place the emphasis required in the lower
body.
Mook Wan
"Wooden Ring", is another, somewhat rare training-tool in some families of Wing-chun. An
approximately 10 inch to 14 inch ring made of bamboo or ratan (some schools use a "metal"
ring (progressively)), the Mook-Wan is used for training the wrists and forearms, and to
instruct the student in "flow" from technique to technique. An actual "form" set-up in some
schools, other schools just train techniques and strategies without a formulated "set" pattern.
Also Jook Wan Huen (bamboo link ring).
Southern martial art
Main article: Southern Chinese martial art
Wing Chun, together with Hung Gar and Choi Lei Fut, is named as one of "The Three Great
Martial Art Schools of the South", which originated and became popular in Southern China.
Global spread
Wing Chun is practiced globally, in over 64 countries.[20] It is the world's most popular form
of Southern Kung Fu.[21]
In popular culture
Donnie Yen has also caused impact in the martial arts world through his various films.
Donnie Yen played the role of Wing Chun Grandmaster in the 2008 movie, Ip Man, which
was a box office success.[22]
Branches
Main article: Branches of Wing Chun
See also Chinese martial arts
• List of movies featuring Wing Chun
• Wing Chun terms
References^ Complete Wing Chun: The Definitive Guide to Wing Chun's History and Traditions –
Robert Chu, René Ritchie, Y. Wu – Google Books. Books.google.com (1998-06-15). Retrieved on 2012-01-14.
1. ^ Complete Wing Chun: The Definitive Guide to Wing Chun's History and Traditions – Robert Chu,
René Ritchie, Y. Wu – Google Books. Books.google.com (1998-06-15). Retrieved on 2012-01-14.
2. ^ Wing Chun Kung Fu: Traditional Chinese King Fu for Self-Defense and Health – Ip Chun, Michael
Tse – Google Books. Books.google.com. Retrieved on 2012-01-14.
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Complete Wing Chun: The Definitive Guide to Wing Chun's History and Traditions and Ritchie, Rene,
"What's in a name?"
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10.
7. ^ The Secret History of Wing Chun: The Truth Revealed, – By Benny Meng and Alfredo Delbrocco
8. ^ "Rediscovering the Roots of Wing Chun". Kung Fu Magazine. Retrieved 2010-02-06.
9. ^ "Integrative Wing Chun". Kung Fu Magazine. Retrieved 2010-02-06.
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11. ^ Michel Boulet. "The Simple Basics of a Complex Art". the Wing Chun Archive. Retrieved 2013-02-
10.
12. ^ Jim Fung (2009-02-23). "Wing Chun Stance". Wingchun.com.au. Retrieved 2013-02-10.
13. ^ Tsui Sheung Tin. "The Hidden Power of Siu Nim Tau". Tstvingtsun.bc.ca. Retrieved 2013-02-10.
14. ^ martialarts2[dead link]
15. ^ "The Forms of Wing Chun Kuen Kung Fu | Reading Academy Wing Chun & Kali".
Teamwingchun.co.uk. Retrieved 2013-02-10.
16. ^ "Ving Tsun Martial Arts Studio – Training". Tstvingtsun.bc.ca. Retrieved 2013-02-10.
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18. ^ "Chi Sau: What's Behind Sticky Hand Training". Wingchunlife.com. Retrieved 2013-02-10.
19. ^ "Orange County Wing Chun FAQ's". Ocwingchun.com. 2004-02-26. Retrieved 2013-02-10.
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21. ^ "2008 Chinese Box Office records". Boxofficemojo.com. Retrieved 2013-02-10.
