#Xiangzhai

[ronnansink-blog]

The Historical Background of the Yiquan, Zhan Zhuang Lineage, and Memorial of Master Yu Yong Nian.

In the heart of Beijing, far removed from the roar of packed stadiums and cheering crowds, there exists a quietly powerful practice that has profoundly shaped the martial arts world—Yiquan. At the core of this discipline lies a unique training method called Zhan Zhuang, which translates to “standing post.” To an onlooker, it may appear as though the practitioner is simply standing still—arms gently curved in front of the body, eyes relaxed yet focused. But beneath this unmoving exterior is an intense cultivation of internal energy, a hidden strength that has captivated martial artists for generations. Central to this story is the legacy of Master Yu Yong Nian, whose dedication and research made him a towering figure in the world of Yiquan.

When people think of sports coverage, the mind often drifts to high-intensity competitions, last-minute buzzer-beaters, or record-breaking sprints. By contrast, Yiquan seems to take the concept of competition and slow it to a near standstill—literally. Zhan Zhuang training is about finding stillness and alignment, rather than launching into acrobatic kicks or flying punches. Yet the demands placed on the practitioner’s body and mind can be every bit as grueling as a championship match. You won’t see leaps or spins. Instead, the real drama unfolds internally: muscles quivering, sweat forming on the brow, and a spirit that refuses to give in to discomfort. As in any demanding sport, resilience is key. Practitioners speak of how this simple stance, if done consistently, transforms posture, enhances muscle tone, and develops a formidable internal power. The body begins to function as a cohesive unit, while the mind learns to stay centered under stress. It’s a kind of “silent athleticism” that, like any endurance sport, pushes its participants to discover the hidden reserves of their own strength.

To understand Master Yu Yong Nian’s role in shaping the art, it’s important to look back at the early 1900s, when Yiquan’s founder, Wang Xiangzhai, introduced a revolutionary perspective to Chinese martial arts. Trained in Xingyiquan, Wang had grown disenchanted with the complexity of traditional forms and sought to distill combat training to its essence. He wanted to focus on generating true power, rather than simply perfecting choreography. Thus, Yiquan was born—its name literally translates to “intention boxing,” emphasizing the mental and energetic elements at play. Wang Xiangzhai’s emphasis on Zhan Zhuang was nothing short of groundbreaking. Instead of practicing long sequences, students were encouraged to stand in various postures, cultivating a deep sense of alignment, tension, and release in the body. Over time, these postures condition the muscles and fascia while teaching the practitioner to direct energy throughout the body. Despite its quiet appearance, Zhan Zhuang turned out to be a powerhouse training method, and it quickly drew a committed following of martial artists looking to refine their internal strength.

Zhan Zhuang is often described as “standing like a tree,” but a more accurate description might be “standing like a live wire.” The stance is dynamic, demanding constant micro-adjustments that reveal imbalances in posture and mindset. The arms may be held in front, like cradling a large sphere, or at times placed at the sides. Even subtle changes in arm or foot positioning can drastically alter the experience. Beginners might find their thighs shaking, their backs sore, and their minds racing. However, through perseverance, they discover the secret of Yiquan: alignment brings relaxation, and relaxation unleashes power. As the skeleton aligns and the mind settles, the body can access a level of integrity that enhances both health and martial ability.

Among the dedicated practitioners who embraced Wang Xiangzhai’s methods, Master Yu Yong Nian stood out for his unwavering commitment and scientific curiosity. A trained medical professional, he had a unique lens through which to examine the benefits and mechanics of Zhan Zhuang. In the 1950s, he began an in-depth study of the practice, observing how different postures affected the body’s systems—from circulation to musculoskeletal alignment. For decades, Master Yu dedicated himself to understanding how this seemingly simple form of standing could yield such remarkable results. He engaged in hands-on research, comparing the progress of different practitioners and collaborating with other experts in the martial and medical fields. He wrote extensively about his findings, bringing clarity to a practice that had, until then, largely been taught through oral tradition. His thorough, almost clinical approach helped demystify the art, making it more accessible to a global audience.

Sports fans often appreciate the marriage of raw talent and innovative coaching. Similarly, Master Yu Yong Nian blended the wisdom of traditional Yiquan with modern scientific perspectives. He was convinced that sharing knowledge openly would only help the art evolve, ensuring that more people could benefit from it. While some martial arts communities were guarded about their training secrets, Master Yu believed that transparency would foster greater understanding and preserve the practice for future generations. Thanks to his advocacy, Zhan Zhuang began to find new adherents beyond China’s borders. Martial artists from disciplines like Karate, Taekwondo, and even Western boxing visited Master Yu to learn how standing still could refine their own techniques. Through open seminars, writings, and personal demonstrations, Master Yu showcased how Yiquan’s emphasis on correct structure, intention, and relaxed power could bring profound improvements in health, endurance, and fighting effectiveness.

Walk into a contemporary Yiquan class anywhere in the world, and you might see a diverse group of students—some seeking better health, others pursuing inner tranquility, and still others hoping to sharpen their combative edge. That multiplicity of goals stems from the practice’s versatility, a hallmark of Wang Xiangzhai’s vision and Master Yu’s scholarly work. In many cases, Yiquan principles align beautifully with other disciplines. Track and field athletes might incorporate standing postures for improved alignment and explosive power. Mixed martial artists might use it to refine their stance and enhance mental focus. Even those recovering from injuries can find the gentle yet focused nature of Zhan Zhuang supportive in rehabilitation. Master Yu Yong Nian’s lifelong mission to highlight the adaptability of Yiquan is now evident in the countless practitioners who integrate it into their training regimens worldwide.

When Master Yu Yong Nian passed away, the martial arts community lost more than just a teacher; it lost a passionate researcher, an ambassador, and an innovator. Students and friends shared memories of how his kindness and depth of knowledge inspired them to delve deeper into Yiquan. Many spoke of how he combined the caring nature of a physician with the precision of a martial arts scientist. His memorial drew attendees from numerous backgrounds—martial arts masters, healthcare professionals, and everyday practitioners—each person testifying to the profound impact he had on their lives. The ceremony wasn’t merely a somber reflection of loss; it was also a celebration of the lineage he helped strengthen. Photographs of Master Yu in classic Zhan Zhuang postures circulated, sparking conversations about the subtle nuances of his form and the life lessons embedded within those poses. His published works now serve as guiding texts for aspiring students, ensuring that his efforts will continue to shape practice and innovation long after his passing.

Master Yu Yong Nian’s memorial highlighted an ongoing truth: Yiquan is very much alive. It is carried forward by the many teachers and students who stand in quiet focus, striving to replicate the posture and spirit of those who came before. Like an unending relay race, the baton passes from one generation to the next through shared practice and open communication. Each practitioner who discovers the benefits of Zhan Zhuang pays homage to the lineage—from Wang Xiangzhai’s radical vision to Master Yu’s meticulous research and beyond. Though it doesn’t feature choreographed pyrotechnics or thunderous cheers, Yiquan stands as a remarkable pillar of the athletic world. It challenges common definitions of training by emphasizing not just physical prowess, but also mental and energetic development. In a world often dominated by speed and spectacle, Yiquan’s quiet stance remains a gateway to profound strength.

Every sports narrative has its legends, individuals whose stories resonate through the ages. In the universe of Yiquan, Master Yu Yong Nian occupies a special place. He bridged the gap between tradition and science, dedicated his life to demystifying the art, and inspired countless practitioners to pursue a higher level of mastery. His legacy isn’t confined to well-worn books or dusty photographs; it lives on in each stance held, each posture refined, and each moment of clarity discovered in the heart of stillness. Even now, when new practitioners stand in Zhan Zhuang, they are part of a living tapestry. The echoes of Wang Xiangzhai’s foundational vision ripple through them, and the meticulous insights of Master Yu Yong Nian guide their practice. In that silent, intense posture, they inherit a tradition that balances body and mind in ways both tangible and intangible. And in honoring that tradition, they write the next chapter of Yiquan’s unfolding story—a testament to truly extraordinary art and the people who’ve dedicated their lives to keeping it alive.

[desativadohdg]

Bem-vindo, Shuijing!

Nome do personagem: Li Shuijing

Faceclaim: Li Xiangzhai

Nascimento: 10 de fevereiro de 1999, Taipé - Taiwan

Sexo: Masculino

Ocupação: Artista e estudante de moda

Moradia: Seogwipo

OOC: +18

Grandes poderes acompanham grandes responsabilidades, e esse sempre foi o maior dilema do taiwanês. Concebido por uma das famílias mais ricas de Taiwan, teve sua vida repleta de mordomias, Li Shuijing sempre carregou a linhagem de sua família com orgulho, e um pouco de desleixo.

Na primavera de fevereiro, em um bairro nobre de Taipei o rapaz nasceu banhado nos holofotes, filho de uma atriz conhecida pela Ásia inteira e seu pai, dono de um imobiliária envolvida com lavagem de dinheiro de uma grande máfia chinesa. Estava acostumado a conviver nesse círculo, por mais que fosse uma criança, o garoto sabia distinguir o bem do mal, e desde sempre firmou que não iria seguir o mesmo caminho de seu pai, muito menos da mãe.

Tendo a sua vida completamente pública e exposta para o mundo inteiro, extroversão sempre foi o seu ponto alto, Shuijing não reclamava de estar no meio dos flashs e manchetes pela Ásia. Nunca teve uma relação direta com eles, costumavam saber das notícias através de manchetes e de raras ligações que sua mãe fazia, porém aprendeu muito com ambos. Sua reviravolta aconteceu aos 10 anos quando seu pai envolveu a família inteira em risco ao se envolver indiretamente com uma máfia rival, que acarretou a morte de seus pais. Por hora, teve que viver até a sua maioridade com seus tios – que agora eram donos da imobiliária de seu pai. Desenvolveu o seu interesse por moda através de encontros que presenciava com a sua mãe, tinha uma paixão tanto pela criação no papel, quanto pela produção. Chegou a presenciar inúmeras semanas de moda em Paris onde floresceu ainda mais esse seu lado artístico.

Aos 19 anos vivendo em uma cidade pequena longe de celulares, Shuijing levou consigo diversos traumas e problemas sociais, seus responsáveis sempre aconselharam para falar o necessário, naquela altura do campeonato, o rapaz ainda estava na mira da máfia chinesa. Passava por episódios de espionagem e perseguição durante o colegial, mas infelizmente não podia mudar de província, afinal Taiwan sempre fora vigiada por essas máfias. A relação com seus tios era turbulenta, além de todo processo traumático que o garoto passou, ele ainda era colocado em uma posição de repressão pelos responsáveis extremamente conservadores. Shuijing tinha uma noção que gostava de garotos desde sempre, o que até não tinha florescido ainda, mas com todo amadurecimento do rapaz na flor da idade, acabou transparecendo. O que ia além de amassos na sala de detenção – que o rapaz frequentava, e muito – também resultou em várias paixonites durante todo esse período. Dava a mínima para o que seus responsáveis pensavam disso, mas em quatro paredes isso mudava. O garoto era obrigado a desenvolver um prazer por mulheres, desde aos filmes adultos até as garotas de programa que seu tio contratava de vez em quando, que no final das contas acabavam tornando suas amigas.

Atingindo a maioridade, seus tios decidiram contar toda a verdade envolvendo o assassinato de seus pais, inclusive que haviam sido mortos por chineses, e desde então, uma aversão havia sido desenvolvida – até porque sempre foi um ativista do movimento sociopolítico de independência de Taiwan. Shuijing possuía toda grande herança de seus pais e agora estava vivendo em constante ameaça por conta de toda reputação que tinha – má e principalmente boa, por grande parte da Ásia, mas ainda assim era um perigo estar na mira de pessoas perigosas. Com a ajuda de seus tios, decidiu mudar para a ilha de Jeju por ser uma província de pouca notoriedade e sabia que talvez não ia acarretar tantos problemas – além da sua falta de experiência no idioma. Shuijing decidiu ingressar na faculdade seguindo o curso de design de moda e tenta sobreviver socialmente em um lugar que jamais havia pisado.

Follow: @shjli_hdg

[waterspirit6x8]

The MALineage Project Site

The Martial Arts Lineage Project website had attempted to collect lineage history and details of any martial art or person; unfortunately it is not always accessible; it partially appears on its Facebook site.

Martial Arts Lineage Project-1 http://www.malineage.com/styles/Liuhebafaquan http://www.malineage.com/node/16502/edit

Philosophy Submitted by: dr_k_conor

There exists four 'documents', each carrying traits of history and philosophy principles that are generally presented to explain and teach LiuHe BaFa and boxing. The First I will call the 'Cave Codex' alledgedly from found within a Mt. Hua Yo Shan 華嶽山 grotto 洞. Note that the Taoist Canon is divided into three dong 洞, "caves", "grottoes". The Second is usually called the 'Five Word' verses or 'songs' 拳學 五字 歌訣; these are generally refered to as: quan2 xue2, 拳學, boxing knowledge in verse format, wu3 zi4 五字 5-character-word in length, and ge1 jue2 歌訣 'secret' verses of farewell.[this is often mistranslated as 'song']  The 'said' author is given as Li, 'East-wind' 李東風 Li Dong-feng whose name does not appear in any archaic Song Dynasty document. However, some LHBF student place great value in them. The Third 'document' the actual exercise names, for the Nanjing 66-form series of Wu Yi-hui 六十六 起式 easily can be seen as differing and each form naming demonstrates the academic proficiency of Wu as a man of the arts. Some of the 66-lines of 5-characters each also includes Chinese idioms and references to history, art, and music. http://www.silkqin.com http://waterspirit6x8.tripod.com/id11.html

The Fourth 'document' collective are the commentaries written from various teachers to explain via verses; there are either simple two-word idioms, or longer 5 or seven word explanations.

The Six Combinations [also called 'harmonies' as unified concordances], LiuHe 六 合  are as follows: >1. bodys' structure harmonizes with the minds' awareness, >2. minds' awareness harmonizes with innate 'intent', >3. intent harmonizes with the chi (energy-flow), >4. chi harmonize with the 'spirit', >5. spirit harmonizes with 'motion', >6. motion harmonizes with the 'everywhere', [ Note: that there are actually seven factors, Ti, Xin, Yi, Qi, Shen, Tung, Kung. ]

The Eight Methods [also called 'laws' or regulations], BaFa 八法 are as follows: >1. Qi-Fa =Flow: Move the chi and concentrate the spirit >2. Ku-Fa =Bone: Genuine-structural energy when bones are correct >3. Hsing-Fa =Form: Shapes exchange freely, follow a model, pantomime >4. Sui-Fa =Following: Flexible, adaptable, and coordinated in union >5. Ti-Fa =Lifting: Lift the head upward as if suspended from space >6. Huan-Fa =Reversal: The interchange of motions reverses and reciprocates >7. Le-Fa =Limit: Restraint is needed to harness the dynamic forces >8. Fu-Fa =Hidden: The intrinsic force arises from natural obscurity without method. http://waterspirit6x8.tripod.com/id11.html http://waterspirit6x8.tripod.com/id55.html

One of the often addended 'Fourth Document' ideas, is not from LiuHe BaFa at all, they are from late 1800's to 1900's codification of bodily anatomy often used in the zhan zhuang 站樁 'standing post' of Yi quan 意 拳  from Wang Xiang-zhai who was 'friendly' and respectful to Wu and also from some teachers of Ba-kua-palming. These are often unnecessary and may also be misleading. http://waterspirit6x8.tripod.com/id12.html A more relevant added teaching is from Huang Shou Ting, 黃手庭 of the Shanghai Wu Shu Association, who studied with Song Guang-yu 宋关羽 in Xu Shou; he discusses 8-physical aspects differently : > Qi-Luo: 起 : 落 rising + falling > Dong-Jing: 動 : 靜 moving + stillness > Jin-Tui: 進 : 退 advance + retreat > Kai-He: 開 : 合 open + close > Yin-Yang: 陰 : 陽 in+out, soft+hard > Xu-Shi: 虛 : 实 empty + full > Wa-Qiao: 跃 : 远 jumping + bridging > Liu-He: 六 : 合 internal six-pairs in harmony http://waterspirit6x8.tripod.com/id11.html

Waterspirit6x8 Teachings; http://waterspirit6x8.tripod.com/id11.html Liuhebafachuan; http://www.liuhebafachuan.com/ Liuhebafa verses; http://trinity.psnw.com/~dlmurray/6h8m1.html

Martial Arts Lineage Project-2 http://www.malineage.com/styles/Liuhebafaquan http://www.malineage.com/node/16502/edit

LiuHe BaFa quan Submitted by: dr_k_conor LiuHeBaFa, LiuHe BaFa, Lok Hop Pat Fat, Six-harmony, Eight-methods Boxing Exercise http://waterspirit6x8.tripod.com/id37.html LiuHe BaFa 六合八法 is a collective of martial concepts and boxing exercises. http://waterspirit6x8.tripod.com/id21.html LiuHe BaFa 六合八法 is also a collective of verse of concepts, the Six Harmonies 六合, obtainable by an understanding the utilization of Eight Methods 八法; each aspect is derived from archaic Chinese exercises and pugalisms. The LiuHe BaFa boxing is not directly derived from the modern versions of Tai-chi-, Xing-yi-, or Ba-kua-palm boxing. http://waterspirit6x8.tripod.com/id11.html The verse name is often abbreviated in non-Chinese as LHBF or LHPF. The core concepts and methods of the LiuHe BaFa are known to be derived from the 1900's manchurian Wu Yi-hui 吴翼翚 (1887-1958) who learned them from three differing teachers; Wu first taught them in Shanghai and later at the Nanjing National College of Martial Arts founded in 1928 and later became the Dean of Studies in 1936 [closed 1948].

Although many exercises and concepts are claimed to be from the real-life Song Dynasty Court Taoist Chen Tuan [ Bo ] 陳摶 , aka Chen Xi-yi 陳希夷 [d. 990] who was associated with the military General whose abilities made him the First Emperor of Song, Tai-zu, there exists no official or other records to support the common claim that the LiuHeBaFa- or its principle 'water' flowing or its' verse principles factually originated from the Court Taoist Chen Bo nor from his said mountain residence at Mt. Hua Yu 山 華嶽 in Shenxi Province. http://waterspirit6x8.tripod.com/id9.html

Popular naming has resulted in addending the syles' name to include this mythology: as the Chen Xi-yi Men 'sect' 華嶽希夷門 Hua Yue Xi-yi with LiuHeBaFa Boxing principles becoming: 華嶽 希門 (+) 六合八法拳.

The bonefide utility of the core LHBF verses, is that they are succinct and are applicable to all of other Chinese Internal martial arts. Although form and principle aspects of these internal martial arts [Tai-chi-, Xing-yi-, and Ba-gua-] are evident in the LHBF, there is a popular trend to classifiy the LHBF exercise as a 'fourth' art which it is not; the Chinese Martial Arts Association classifies it as a sub-style of Tai-chi-boxing. Perhaps in keeping with this method of distinction, some teachers have named their styling as a Hua-Yu Tai Chi-boxing exercise. http://waterspirit6x8.tripod.com/id58.html

There also now exists absorption of Yi-chuan, 'intuition' boxing fundamentals as set forth by founder Wang Xiang-zhai 王薌齋, (1886-1963), and his students in the LHBF system; this again results in further name changes and ,mixings with the applications of LiuHeBaFa-. http://waterspirit6x8.tripod.com/id5.html Wang Xiang-zhai is known to have interacted and cross traded to other system styles while he was a teacher at the Nanking Martial Academy [Shao-lin, tai-chi, xing-yi, etc].

To further complicate understanding, Wu Yi-hui, from his earliest martial studies, learned a shaolin-related boxing called Lu Hong Ba Shih 呂紅八勢 sometimes also called Lu Hong boxing 呂紅拳. A careful study of Wu's 66-form version made during his time in Nanjing, does shows evidence of being embedded. The LHBF core exercises are called zhu zi 築基. http://waterspirit6x8.tripod.com/id52.html

LiuHeBaFaQuan;  http://waterspirit6x8.tripod.com/ Liuhebafachuan;  http://www.liuhebafachuan.com/ Lu Gui-yao, Chin Wo Athletic Assoc, Foshan PRC;  http://www.liuhebafa-lgy.com/ Wu Ying-hua, S. China Institute Huainan, Anhui PRC;  http://lhbflm.com/index.asp Kam Tung, LHBF Academy,Hong Kong; http://www.liuhebafa.com.hk/ Liu Xiang-ling, Takoma PK, MD, USA; http://wudanglongmen.com/form.html

Martial Arts Lineage Project-3 http://www.malineage.com/node/16502/edit

Informational Links

Google Search https://www.google.co.th/search?q=Liuhebafaquan&gws_rd=cr&ei=t8wAWOrkFcjovgTHw4-ICA 六合八法拳 六合八法拳 pdf 六合八法拳技 六合八法拳 金童 六合八法拳 金彤

Related Books Related Videos

Related People Style: Liuhebafaquan;  http://www.malineage.com/styles/Liuhebafaquan Martial Artist: Wang Xiangzhai; http://www.malineage.com/martial-artists/Wang-Xiangzhai Style: Yao's Modern Yiquan; http://www.malineage.com/styles/Yaos-Modern-Yiquan Links; http://www.malineage.com/styles/Liu-He-Ba-Fa-Chuan-nid26156 Teacher; http://www.malineage.com/martial-artists/Wu-Yi-Hui http://www.malineage.com/martial-artists/Li-Dao-Li http://www.malineage.com/martial-artists/Liang-Qi-Zhong http://www.malineage.com/martial-artists/Liang-Zipeng http://www.malineage.com/martial-artists/Moy-Lin-Shin http://www.malineage.com/martial-artists/Li-Chung http://www.malineage.com/martial-artists/Huang-Wei-Lun > https://www.google.co.th/?gws_rd=ssl#q=Huang+Wei+Lun > http://slantedflying.com/master-wei-lun-huang-passes-away/

http://www.malineage.com/styles/Liuhebafaquan?section=schools http://www.malineage.com/styles/Liuhebafaquan?section=videos http://www.malineage.com/styles/Liuhebafaquan?section=photos http://www.malineage.com/styles/Liuhebafaquan?section=history http://www.malineage.com/styles/Liu-He-Ba-Fa-Chuan

[testefixohdg]

Bem-vindo, Shuijing!

Nome do personagem: Li Shuijing

Faceclaim: Li Xiangzhai

Nascimento: 10 de fevereiro de 1999, Taipé - Taiwan

Sexo: Masculino

Ocupação: Artista e estudante de moda

Moradia: Seogwipo

OOC: +18

Grandes poderes acompanham grandes responsabilidades, e esse sempre foi o maior dilema do taiwanês. Concebido por uma das famílias mais ricas de Taiwan, teve sua vida repleta de mordomias, Li Shuijing sempre carregou a linhagem de sua família com orgulho, e um pouco de desleixo.

Na primavera de fevereiro, em um bairro nobre de Taipei o rapaz nasceu banhado nos holofotes, filho de uma atriz conhecida pela Ásia inteira e seu pai, dono de um imobiliária envolvida com lavagem de dinheiro de uma grande máfia chinesa. Estava acostumado a conviver nesse círculo, por mais que fosse uma criança, o garoto sabia distinguir o bem do mal, e desde sempre firmou que não iria seguir o mesmo caminho de seu pai, muito menos da mãe.

Tendo a sua vida completamente pública e exposta para o mundo inteiro, extroversão sempre foi o seu ponto alto, Shuijing não reclamava de estar no meio dos flashs e manchetes pela Ásia. Nunca teve uma relação direta com eles, costumavam saber das notícias através de manchetes e de raras ligações que sua mãe fazia, porém aprendeu muito com ambos. Sua reviravolta aconteceu aos 10 anos quando seu pai envolveu a família inteira em risco ao se envolver indiretamente com uma máfia rival, que acarretou a morte de seus pais. Por hora, teve que viver até a sua maioridade com seus tios – que agora eram donos da imobiliária de seu pai. Desenvolveu o seu interesse por moda através de encontros que presenciava com a sua mãe, tinha uma paixão tanto pela criação no papel, quanto pela produção. Chegou a presenciar inúmeras semanas de moda em Paris onde floresceu ainda mais esse seu lado artístico.

Aos 19 anos vivendo em uma cidade pequena longe de celulares, Shuijing levou consigo diversos traumas e problemas sociais, seus responsáveis sempre aconselharam para falar o necessário, naquela altura do campeonato, o rapaz ainda estava na mira da máfia chinesa. Passava por episódios de espionagem e perseguição durante o colegial, mas infelizmente não podia mudar de província, afinal Taiwan sempre fora vigiada por essas máfias. A relação com seus tios era turbulenta, além de todo processo traumático que o garoto passou, ele ainda era colocado em uma posição de repressão pelos responsáveis extremamente conservadores. Shuijing tinha uma noção que gostava de garotos desde sempre, o que até não tinha florescido ainda, mas com todo amadurecimento do rapaz na flor da idade, acabou transparecendo. O que ia além de amassos na sala de detenção – que o rapaz frequentava, e muito – também resultou em várias paixonites durante todo esse período. Dava a mínima para o que seus responsáveis pensavam disso, mas em quatro paredes isso mudava. O garoto era obrigado a desenvolver um prazer por mulheres, desde aos filmes adultos até as garotas de programa que seu tio contratava de vez em quando, que no final das contas acabavam tornando suas amigas.

Atingindo a maioridade, seus tios decidiram contar toda a verdade envolvendo o assassinato de seus pais, inclusive que haviam sido mortos por chineses, e desde então, uma aversão havia sido desenvolvida – até porque sempre foi um ativista do movimento sociopolítico de independência de Taiwan. Shuijing possuía toda grande herança de seus pais e agora estava vivendo em constante ameaça por conta de toda reputação que tinha – má e principalmente boa, por grande parte da Ásia, mas ainda assim era um perigo estar na mira de pessoas perigosas. Com a ajuda de seus tios, decidiu mudar para a ilha de Jeju por ser uma província de pouca notoriedade e sabia que talvez não ia acarretar tantos problemas – além da sua falta de experiência no idioma. Shuijing decidiu ingressar na faculdade seguindo o curso de design de moda e tenta sobreviver socialmente em um lugar que jamais havia pisado.

Follow: @shjli_hdg

[mastertaichitoday]

On rumsoakedfist there is a link to “Essence of Combat Science” by Wang Xiangzhai as translated from Chinese by Andrzej Kalisz. Click here to go to the file.

Wang Xiangzhai wrote :-

In shi li there shouldn’t be partial, superficial force, especially there shouldn’t be unbalanced one directional force. You should observe if the whole body force is round, full or not, if it is possible…

[ronnansink-blog]

Kobayashi Naoki's fate led him to Kenichi Sawai, a legendary master of Taiki Shisei Kenpo, Taikiken.

For decades, the rhythmic shuffle of bare feet across a polished wooden dojo floor has signaled the heartbeat of a rare and quietly guarded martial tradition. At first glance, the unassuming exterior of Bidokan—the dojo overseen by Instructor Kobayashi Naoki—might pass unnoticed among Tokyo’s bustling streets. But inside those walls dwells a living heritage, shaped by two legendary masters and nurtured through the unwavering devotion of their heir, Kobayashi himself. Now, through the combined legacy of Sakurakoju Kazutaka’s orthodox Chinese boxing and Kenichi Sawai’s Taiki Shisei Kenpo, or Taiki Ken, this sanctuary has evolved into a place where the old ways remain very much alive, and possibly more relevant than ever in an era of instant gratification.

A Secret Art Unfolds

Few martial arts enthusiasts outside of Japan realize the depth of these intertwined lineages. The late Sakurakoju Kazutaka carried the torch of Chinese orthodox boxing, preserving the heritage of forms and techniques often practiced behind closed doors. Meanwhile, Kenichi Sawai became the only foreigner ever permitted to study under Wang Xiangzhai, the renowned founder of Dai Cheng Quan—more commonly referred to as Yiquan. After World War II, Sawai returned to Japan, forging Taiki Shisei Kenpo, a system whose name comes from the principle that “sincerity reaches the heavens.” Through rigorous training methods such as standing meditation (ritsuzen) and crawling exercises (hai), Taiki Ken quickly earned a reputation for its practicality and explosiveness.

For years, curious onlookers heard rumors of intense training sessions deep in the tranquil forest around Meiji Shrine, where Sawai’s handful of dedicated students braved dawn workouts in near-silence. There, each participant tested their resolve and refined their minds until the body and spirit worked in seamless harmony. Tales emerged of how a single subtle shift in stance or direction could redirect an opponent’s force, leaving them utterly disoriented. It didn’t take long for word to spread: Taiki Ken was one of the strongest, most practical martial arts around, seamlessly fusing Chinese internal methods with Japanese warrior ethos.

Enter Kobayashi Naoki

Born on March 1, 1954, Kobayashi Naoki began his martial arts journey at sixteen years old, joining Sakurakoju Kazutaka’s Dai Nippon Koubukai to immerse himself in authentic Chinese martial lineage. Under Kazutaka’s watchful eye, Kobayashi honed his understanding of body mechanics, breath control, and proper stance. Following the passing of his beloved teacher, fate led him to Kenichi Sawai, the legendary practitioner whose mastery of Taiki Shisei Kenpo was unparalleled. At twenty-eight, Kobayashi began rigorous training under Sawai’s guidance in Meiji Shrine’s forest—a veritable crucible of discipline. Sawai’s instruction was as relentless as it was profound. For ten years, Kobayashi dedicated himself to mastering the principles of Taiki Ken, ensuring that every posture, pivot, and breath had purpose.

When Sawai passed on, Kobayashi felt a renewed sense of responsibility. He had inherited not one but two invaluable lineages: the orthodox Chinese boxing from Kazutaka and Taiki Ken from Sawai. He founded the Bidokan in 1994 as a repository for both traditions, setting a personal mission to teach future generations while maintaining the purity of each discipline. In 2008, the dojo was officially renamed Bidokan to underscore its commitment to the Taiki Ken tradition, but in truth, Bidokan transcends labels—it is a living archive of timeless skills.

Legends and the Rido-kan Connection

Outside of the Bidokan realm, the martial arts community has long whispered about another close-knit circle: the Rido Clan and its cryptic head, Kobayashi Naoki (the same man, though many mistakenly believed them to be separate people), who some said kept the “strongest martial arts” under lock and key. Insiders would mention names like Kazutaka Sakurakoji (another common spelling is Sakurakoju) and Kenichi Sawai almost in the same breath, placing them at the pinnacle of Japan’s martial tapestry. Stories circulated of samurai from the Showa era, men such as Kenichi Sawai who, upon returning to Japan, had sculpted their unique forms of kenpo into unstoppable disciplines.

A deeply guarded system known as Chakryu Shinden Chinese Seiha Kenpo Taiki Shisei had been referenced in hushed tones. It revolved around the concept of Kosaho Riai—a principle of standing in a natural posture and using one’s structure as both a shield and sword. Attacks seemed to bounce off or veer away from the unassuming stance, as though the practitioner had become a rooted tree in a gale. The Rido-kan, as some called it, mirrored the essence of the Bidokan: a dedication to unity of spirit, body, and technique, with secrecy at its core.

Building the Bridge Between Two Worlds

In reality, the divide between the Rido-kan and the Bidokan amounts to little more than different naming conventions. Both spaces served—and still serve—as vessels for Kobayashi’s martial knowledge, which has blossomed into a remarkable synergy of orthodox Chinese boxing and Taiki Shisei Kenpo. As with any storied tradition, once students prove their commitment to the fundamentals—stances, breath control, and mental focus—they move on to advanced concepts like the “fly” form, the practice of intercepting or redirecting an opponent’s attack in an almost weightless fashion.

Kobayashi frequently references Kenichi Sawai’s legendary demonstrations, where Sawai’s head (which, according to lore, was “harder than a wooden sword”) could be used as an unconventional yet devastating weapon. At its core, Taiki Ken emphasizes not letting the opponent retain structural integrity: “If you don’t break it, it will come,” says Kobayashi, underscoring that martial combat is a constant dance of giving and taking away stability. If you leave your opponent’s stance, spirit, or line of attack unbroken, they will attack again. It’s a simple but powerful axiom that resonates through all advanced martial arts.

Training Under the Canopy of Tradition

Strolling into Bidokan on a typical training day, one might see a circle of students standing motionless, eyes half-closed in ritsuzen, or standing meditation. The instructor quietly paces, adjusting postures with a nudge here or a tap there, guiding each disciple to awaken an internal awareness that words alone cannot convey. Later, these same students might practice crawling drills (hai), a physically demanding method that tests their core strength, mobility, and determination. Then come forms that combine footwork from Chinese boxing with the explosive directness of Taiki Ken. Each drill culminates in two-person work, pitting practitioners against each other in a controlled environment that still manages to feel dangerously alive.

Far from being esoteric, these methods form the bedrock of practical combat. The idea is to develop balance and rootedness so profound that even a sudden jolt from an opponent seems to dissolve at the point of impact. In advanced practice sessions, one might witness a student launch a powerful strike at Kobayashi, only for him to redirect or absorb the force effortlessly, sending the would-be attacker stumbling. No fancy spin kicks, no telegraphed movements—just raw, refined power guided by decades of mastery.

Sincerity Reaches the Heavens

If there’s a guiding philosophy that brings all these threads together, it’s found in the name Taiki Shisei Kenpo itself: sincerity reaches the heavens. That sincerity underscores every facet of training—sincerity in one’s stance, breath, gaze, and intention. It’s about being honest in your limitations and then systematically dismantling them, forging yourself into a vessel worthy of carrying centuries of martial heritage.

Kobayashi embodied this principle from the moment he entered Sakurakoju Kazutaka’s fold at sixteen, maintaining it through his apprenticeship with Kenichi Sawai, and onward as the overseer of Bidokan. In many ways, the sincerity principle also resonates in the teaching style. There is no room for theatrics or illusions. If a stance is flawed, the instructor corrects it. If a student’s mindset is clouded, the training reveals it. The forest training at Meiji Shrine that Kenichi Sawai championed was not just about physical conditioning; it was a spiritual journey, a testing ground for sincerity in the face of grueling adversity.

A Legacy Continues

Today, Bidokan stands as a beacon for those seeking something beyond the commercial flash of modern competitive martial arts. While mainstream dojos often chase spectacle—focusing on high-flying kicks or bombastic marketing—Kobayashi has made it his life’s work to honor the memory of the two masters who shaped him. By maintaining strict standards and never compromising on authenticity, he ensures their teachings endure. Students at Bidokan learn more than how to strike or throw: they learn how to stand, breathe, and ultimately, how to live with purpose and fortitude.

In merging Sakurakoju Kazutaka’s Chinese orthodox boxing with Kenichi Sawai’s Taiki Shisei Kenpo, Kobayashi Naoki has forged a truly unique path—one that straddles centuries-old traditions and modern practicality. From the echoing footsteps in the dojo halls to the morning dew collecting on the grass at Meiji Shrine, each breath in training serves as a reminder that sincerity, discipline, and the relentless pursuit of skill remain the bedrock of true martial mastery.

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Wang Xiangzhai: The Poet-Kickmaster Who Redefined Martial Arts

In the vibrant tapestry of Chinese martial arts, few names resonate with the profound impact and revolutionary spirit of Wang Xiangzhai. Born in 1885 in the Shenxian district of Hebei province, Wang was not just a martial artist but a poet whose lyrical genius and scientific mind coalesced to reshape the very essence of combat. His journey from a sickly child to one of the greatest martial geniuses of the twentieth century is a story of resilience, intellect, and unwavering dedication.

A Prodigious Apprenticeship

Wang’s foray into martial arts began at the tender age of eight, under the strict tutelage of his Uncle Guo Yunshen, a renowned Xingyiquan master. Despite initial reluctance due to his uncle’s own physical ailments, Wang’s exceptional intelligence and relentless work ethic won him the mantle of a worthy successor. Their bond was forged in the rigorous practice of Zhan Zhuang, or standing meditation—a foundational element that Wang would later elevate to new heights. This early training not only restored Wang’s health but also honed his innate martial prowess, making him a formidable fighter by his teenage years.

Guo Yunshen’s mentorship was both strict and visionary. He emphasized the importance of inner cultivation over mere physical prowess, a philosophy that deeply influenced Wang. As Wang later articulated, the right combination of student, teacher, and art was crucial for genuine progress—a principle that guided his entire career.

Early Triumphs and Trials

Wang’s martial journey was punctuated by significant challenges that tested and ultimately validated his skills. At sixteen, he famously defended himself and his father against a bandit ambush, demonstrating his formidable strength and strategic acumen. Another notable incident involved his encounters with young monks, whom he effortlessly bested, further cementing his reputation as a martial virtuoso.

However, Wang’s path was not without personal struggles. His departure from home at 22, driven by disciplinary conflicts, led him to Beijing where his martial talents were soon recognized by a military captain. This encounter not only secured him a position as a martial arts instructor but also introduced him to a life enriched by both poetry and combat.

The Quest for Knowledge

Wang’s insatiable thirst for martial knowledge took him across China, engaging with masters from various disciplines. His time at the Shaolin Monastery was particularly transformative. There, he forged a deep friendship with Monk Henglin and absorbed invaluable teachings from Abbot Benhong. These experiences broadened his understanding of Xingyiquan and laid the groundwork for his future innovations.

One of Wang’s most pivotal encounters was with Xie Tiefu, a reclusive Xinyiquan grandmaster. Despite being defeated in multiple bouts, Wang’s perseverance and humility earned him Xie’s mentorship, resulting in significant personal growth and mastery. These interactions across northern and southern China not only enhanced his technical prowess but also deepened his philosophical insights into martial arts.

Discovering the Dunhuang Legacy

Wang’s exploration led him to the ancient Dunhuang caves, where he uncovered Buddhist texts and art that predated many martial traditions. These discoveries provided a historical and spiritual foundation that Wang meticulously integrated into his own practice. The revelations from Dunhuang reinforced his belief in the unity of mind and body, a cornerstone of his philosophy.

His collaboration with Huang Muqiao, who reconstructed the ancient “Health Dance,” was another milestone. This partnership not only enriched Wang’s techniques but also solidified his conviction in the importance of mental cultivation over physical form.

Revolutionizing Martial Arts: The Birth of Yiquan

Wang Xiangzhai’s most enduring legacy is undoubtedly the creation of Yiquan, a system that stripped away the ornate forms of traditional martial arts to focus purely on the cultivation of the mind. By eliminating the emphasis on movement patterns, Yiquan encourages practitioners to harness their inner strength and respond naturally to any situation. This radical approach challenged the status quo, sparking both admiration and controversy within the martial arts community.

Wang’s critique of traditional martial arts was scathing yet insightful. He argued that the obsession with forms hindered true martial development and that secrecy and authoritarianism within martial lineages stifled innovation and collaboration. His call for openness and mental discipline was revolutionary, paving the way for a more holistic and accessible martial practice.

Dominating the Dojo: Domestic and International Challenges

In Shanghai, Wang’s reputation soared as he effortlessly defeated countless challengers, including prominent European and Japanese martial artists. His bouts were not merely contests of strength but demonstrations of his superior mastery of Yiquan’s principles. The legendary encounters with fighters like the Hungarian World Featherweight Champion Inge and Japanese martial artist Kenichi Sawai showcased Wang’s unparalleled control and strategic brilliance.

These victories were not just personal triumphs but symbolic of Yiquan’s efficacy and Wang’s visionary approach. His ability to transcend cultural and stylistic barriers underscored the universal applicability of his system, earning him respect and followers both domestically and abroad.

Facing Political Turbulence and Legacy

The political upheavals of mid-20th century China posed significant challenges to Wang’s mission. The rise of the Communist regime forced him to curtail his teachings to focus on the health aspects of Yiquan. Despite these restrictions, Wang remained steadfast in his research, further exploring the connections between Yiquan and traditional Chinese medicine.

Wang’s final years were dedicated to refining his teachings and ensuring that his revolutionary insights would endure. His passing in 1963 marked the end of an era, but his legacy continued to influence martial arts practitioners worldwide.

Enduring Influence and Timeless Wisdom

Wang Xiangzhai’s contributions to martial arts extend beyond his technical innovations. His emphasis on mental cultivation, natural movement, and the integration of ancient wisdom with modern understanding has left an indelible mark on the martial arts landscape. Yiquan remains a testament to his genius, inspiring countless practitioners to seek the harmony of mind and body.

Wang’s life story is a powerful reminder of the transformative potential of dedication and intellect. From his humble beginnings to his rise as a martial arts luminary, Wang Xiangzhai exemplified the true spirit of a warrior-poet, blending physical mastery with philosophical depth. His legacy continues to flourish, nurturing the growth of martial arts as a path of both physical excellence and spiritual enlightenment.

As the martial arts world continues to evolve, the principles established by Wang Xiangzhai remain as relevant as ever. His vision of a martial art that prioritizes the mind’s role in physical practice challenges practitioners to look beyond mere technique, urging them to cultivate inner strength and adaptability. In honoring Wang’s legacy, the martial arts community not only preserves a rich heritage but also embraces a future where the true essence of combat lies in the harmony of mind and body.

Wang Xiangzhai: A Legacy of Strength and Spirit

Wang Xiangzhai’s story is more than a chronicle of martial prowess; it is a narrative of intellectual curiosity, philosophical depth, and unwavering commitment to redefining ancient art. As the world continues to celebrate his contributions, Wang remains a beacon of innovation and inspiration, embodying the timeless principles that elevate martial arts from mere physical discipline to a profound journey of self-discovery and mastery.

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A Rising Force: The Story of Iken, Taiki-ken, and the Evolution of Modern Martial Arts

In a modest training hall tucked away in Saitama, Japan, a small group of dedicated martial artists gathers each morning. At the head of the room stands Son Ritsu, the honorary director of the Kyokushin Kaikan Saitama branch and chairman of the International Iken Association. His posture is calm yet commanding, his presence radiating the quiet confidence that comes from decades of rigorous study. The group of students bows deeply, ready to begin their practice. On this particular morning, they will explore the art of Iken—an ancient Chinese martial art with deep historical roots that have influenced and intertwined with the evolution of karate, Taiki-ken, and the broader world of fighting disciplines.

It’s a journey that began nearly a century ago. In the mid-1920s, a visionary named Wang Xiangzhai devoted his life to understanding the essence of Chinese martial arts. Traveling across China for about 20 years, Wang sought out the best teachers and the most gifted students, accumulating knowledge and forging friendships that would shape his practice. In time, he developed a system he called “Iken,” which soon captured the attention of martial arts enthusiasts throughout China. Wang’s commitment and accomplishments led to him receiving the title “Taisei-ken” from his contemporaries—an honor that acknowledged the brilliance and integrity of his approach, an approach that insisted on going beyond rote technique to embrace a deeper, more universal foundation of power, stability, and agility.

By the time Wang Xiangzhai turned 60, his reputation was formidable, drawing admirers and challengers from both near and far. One of those challengers was Sawai Kenichi, a determined Japanese martial artist with a string of victories under his belt. Having defeated numerous fighters in China, Sawai felt he had little left to prove—until he crossed paths with Wang. In their first meeting, Sawai was thrown instantly, the sheer ease of Wang’s power jolting him to his core. Undeterred, he tried again and again, only to be swept aside each time. Sawai’s pride quickly gave way to awe, and he resolved to become Wang’s disciple, forging a teacher-student bond that would bring Iken to Japan.

Sawai Kenichi took Wang Xiangzhai’s art and introduced it to the Japanese martial arts community under the name “Taiki-ken.” The 1920s were a turbulent period for combat sports in Japan, with many new schools and techniques vying for prominence. Karate in particular was on the rise, and its power and philosophy resonated with a wide audience—thanks in large part to figures like Oyama Masutatsu, founder of the Kyokushin style. Sawai, who had befriended Oyama upon returning to Japan, occasionally instructed at Kyokushin dojos, sharing the inner workings of Taiki-ken. It wasn’t long before Royama, one of Oyama’s devoted followers, sought Sawai’s guidance, as did other prominent branch managers in the Kyokushin organization.

Royama’s journey took an intriguing turn when he immersed himself in Taiki-ken’s practice methods. Impressed by what he learned, Royama rose to become a 7th Dan (Denshi) in Taiki-ken and eventually reconnected with Iken, seeking to study it in its purest form. Over time, he realized that the subtle, fluid movements of Iken might be the key to unlocking deeper layers of power, precision, and balance in karate. Slowly but surely, he integrated Iken’s principles into his own teaching, demonstrating to students around the world that the line between Chinese and Japanese martial arts might be more blurred—and more fertile—than initially assumed.

In the morning classes under Son Ritsu’s watchful eye, the training starts with Ritsuzen—the standing meditation that underpins both Iken and Taiki-ken. The students are told to imagine a “kamifusen,” or paper balloon, lightly suspended between their arms. The goal is to maintain a posture and alignment that would neither crush nor drop this imaginary balloon. Knees slightly bent, back extended, hips tucked just enough to align the spine properly—this is what they call “standing like a tree.” It may look simple, but the challenge is profound. Over time, practitioners discover the blossoming of internal power, a sharpened sense of balance, and an unshakeable mental calm that can be harnessed in a split-second burst of force.

When the morning session ends, the training continues in the afternoon with more rigorous exercises—rolling heavy rollers across the ground to strengthen the core, pounding sandbags to cultivate a steel-like resilience in the fists and forearms. While these methods might seem mundane compared to flashy kicks or spectacular throws, they form the bedrock of a fighter’s prowess. The seasoned students joke that sometimes it feels like building a house from the foundation up, day after day, hour after hour. The difference is, the “house” is the human body—and Iken’s nuanced instructions ensure that no stone remains unturned in the quest for martial perfection.

Royama, who once wondered if there was anything left to learn after leaving the Kyokushin organization, rediscovered his hunger for growth when introduced to Samaji, a fabled karateka known to have defeated dozens of rowdy street fighters all by himself. With an unassuming demeanor, Samaji shattered Royama’s assumptions about what “strong” truly looked like. Their first match ended almost before it began. For Royama, it was a reminder that martial excellence resides not in flamboyant displays, but in precise technique, strategic insight, and mastery of body alignment.

In reflecting on all these lessons, Royama often returns to Oyama Masutatsu’s pioneering spirit. At the Oyama Dojo, karate was never treated as a static art form, but rather as a fluid system that could absorb elements from various disciplines. This willingness to embrace new ideas set Kyokushin on a path of constant evolution. The rigorous kumite that Kyokushin is known for, the punishing leg kicks, the famous 100-man fights—these all stemmed from a mindset that respected tradition yet refused to remain bound by it. It’s a spirit that resonates powerfully with the philosophy of Iken, which Royama believes is more than just another style of Chinese kung fu. To him, Iken is a universal practice method—a living, breathing foundation that can help practitioners discover their innate potential, regardless of their primary style.

If there is a defining hallmark of Sports Illustrated-style journalism, it’s a focus on the human narrative behind the athlete. And the story of Iken is rich with human drama—Wang Xiangzhai’s relentless travels across China, Sawai’s humbling defeat and subsequent devotion, Royama’s search for the next step after leaving the established path, and, finally, Son Ritsu’s quiet but passionate mission to unify these threads under a single banner. Whether they train in a polished dojo in Tokyo or a dusty open lot in the suburbs, Iken’s students share the same intangible drive—to understand the roots of power in the body and how to unleash it gracefully in combat.

Standing at the cusp of tradition and innovation, Son Ritsu sees himself as a guardian, ensuring that Wang Xiangzhai’s vision remains alive. Under his stewardship, the Saitama and Jonan branches of Iken uphold the founder’s teaching methods, all while embracing an international community of fighters who come to train. Indeed, modern martial arts are less siloed than ever; cross-training is now the norm, and champions from different disciplines often borrow from one another. In this environment, Iken’s emphasis on internal power and strategic positioning feels more relevant than ever, particularly for those with backgrounds in full-contact karate styles like Kyokushin. The synergy that emerges from combining the explosive techniques of karate with the subtle, fluid energy of Iken can breathe new life into an athlete’s repertoire, granting them advantages that purely external systems may not offer.

And so, each day at dawn, a select few gather under Son Ritsu’s guidance, arms outstretched, paper balloon floating in their imaginations, bodies rooted like centuries-old oak trees. It’s not a scene of swirling acrobatics or high-voltage strikes—those come later. Instead, it’s a silent testament to the pursuit of martial clarity, a chance to experience what Royama once felt when he faced Samaji or when Sawai squared off against Wang Xiangzhai. It is, in essence, the pursuit of something at once timeless and ever-evolving—pure martial artistry.

From Wang Xiangzhai’s travels through China, to Sawai’s cross-continental revelations, to the modern transformations happening in Saitama and beyond, Iken has survived by adapting and growing. Much like Sports Illustrated has chronicled the odysseys of heroes in countless sports, we look upon the story of Iken as more than just a chronicle of technique. It’s a story of passionate individuals thirsting for knowledge, forging bonds across cultures, and pushing the boundaries of physical and spiritual discipline.

As the training hall finally empties late in the afternoon, there is a palpable sense of achievement in the air. Each drop of sweat on the tatami floor tells a tale of self-discovery. And perhaps that’s what martial arts have always been about: forging resilience, instilling humility, and helping us strive for continual improvement. In an age where new methods and fads crowd the marketplace, the enduring traditions and philosophies of Iken remind us that sometimes, to move forward, we must first ground ourselves more deeply, hands hovering around a delicate paper balloon, hearts open to the broader world of wisdom, waiting to be discovered.