Chinese Kungfu Wingchun Is Overwhelming
By shirly on 2016-03-23

With the famous movie IP Man 3 giving a big hit on China’s office box, the Chinese Kungfu, Wingchun has become well-known to all. In the movie, the grandmaster Ye Wen, also called IP Man in Cantonese, used the Wingchun to help the weak and beat the bully, manifesting courage and good will.

Wing Chun (Chinese: 詠春; pinyin: yǒng chūn; Jyutping: wing ceon; literally: "spring chant"), also romanised as Ving Tsun or Wing Tsun, (and sometimes substituted with the characters 永春 "eternal springtime"; is a concept-based Chinese martial art and form of self-defense utilising both striking and grappling while specialising in close-range combat. Even though it could be considered a linguistically erroneus romanization at least from English-speaking countries perspective, especially in Finland,Germany and Turkey (and as a commonplace term in some other countries such as Austria, Bulgaria, Italy, Slovakia) Wing Chun schools are usually called Wing Tsung.

The alternative characters 永春 "eternal spring" are also associated with some other southern Chinese martial arts, including Weng Chun Kung Fu and Yong Chun .

What's commonly seen are six Wing Chun forms: three empty hand forms, one "wooden dummy" form, and two weapons forms.

① Empty hand

1. Siu Nim Tao (小念頭; xiǎo niàn tóu; Yale Cantonese: síu nihm tàuh; "little idea" or "little imagination") or Siu Lim Tao (小練頭; xiǎo liàn tóu; Yale Cantonese: síu lihn tàuh; "little practice").

The first, and most important form in Wing Chun, Siu Lim Tao, is the foundation or "seed" of the art from which all succeeding forms and techniques depend. Fundamental rules of balance and body structure are developed here. Using a car analogy: for some branches this would provide the chassis, for others this is the engine. It serves basically as the alphabet for the system. Some branches view the symmetrical stance as the fundamental fighting stance, while others see it as more a training stance used in developing technique.

2. Chum Kiu (尋橋; pinyin: xún qiáo; Yale Cantonese: cham4 kiu4; "seeking the bridge". Alternately "sinking bridge" pinyin: chen qiáo; Yale Cantonese: sám kìuh;)

The second form, Chum Kiu, focuses on coordinated movement of bodymass and entry techniques to "bridge the gap" between practitioner and opponent and move in to disrupt their structure and balance. 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.

3. Biu Tze (鏢指; pinyin: biāo zhǐ; Yale Cantonese: bìu jí; "darting fingers")

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. As well as pivoting and stepping, developed in Chum Kiu, a third degree of freedom involving more upper body and stretching is developed for more power. Such movements include very close range elbow strikes 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.

② Muk Yan Jong (木人樁; pinyin: mùrénzhuāng; Yale Cantonese: muhk yàhn jòng; "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 frame representing a stationary human opponent. Although representative of a human opponent, the dummy is not a physical representation of a human, but an energetic one. Wooden dummy practice aims to refine a practitioner's understanding of angles, positions, and footwork, and to develop full body power. It is here that the open hand forms are pieced together and understood as a whole.

③ Weapon forms

1. Also known as Yee Jee Seung Do ("Parallel Shape Double Knives") and Baat Jaam Do (Eight Chopping/Slashing Knives").

A form involving a pair of large "Butterfly Knives", slightly smaller than short swords (Dao). Historically the knives were also referred to as Dit Ming Do ("Life-Taking Knives").

2. Luk Dim Boon Gwun, or "Six and A Half Point Pole".

"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 Point Pole", their 7 principles of Luk Dim Boon Gwun(Tai-uprooting, lan-to expand, dim-shock, kit-deflect, got-cut down, wan-circle, lau-flowing) are used throughout the unarmed combat as well. The name six and a half point pole comes from these 7 principles, with the last principle:Lau, or Flowing counting as half a point.