![]() ![]() If that's the case, it should resemble more of the "northern" styles at the time (ie Tongbi, Pigua, etc) wouldn't you think? Is it possible that it is the patriarch to all other Fujian styles. They were the imperial family that was overthrown by the Mongolians. It is said according to folklore that Taizu in Fujian was likely first brought in by the Song dynasty Zhao Family to the Quan Zhou area. The fact that Tai Zhu is, seemingly, so similar to the other Fujian styles is Tai Zhu the source art? Chronologically, Tai Zhu predates all the discussed Fujian styles.The 18 Luohan Shou Qigong in my mind is a modern day (c. ![]() It has no relation with 18 Luohan Shou Qigong of Henan Shaolin temple as far as I am aware. It came from Luohan Xinggong DuanDa (Arhat short strike) which is believe to be indigenous to Shandong province. If you mean northen mantis' 18 Luohan Gong, then it's not really Shaolin. Kun as in Gong or Kuen (Quan in mandarin?). Regarding Mantis Luohan Kun, I am not sure if you mean Southern or Northern. Is Mantis LuoHan Kun taken off Shaolin?.Do you see these as prototype of Tit Sin Kuen? In Fujian Shaolin Luohan, the highest level is done with “emotional” triggers like “Xi, Nu, Ai and Le”.SanZhan as a concept is based in TCM which by Ming dynasty is fully adapted into most of the old styles (ie Taizu, Fanzi, Houquan, etc.) IMHO. The Fang family might have been involved with the White Lotus cult. It is believed that Fang Zhong (father of Fang Qiliang) originally was from Zhejiang area. I believe Luohan is a derivitive of Fanziquan, which as Shaolin Master pointed out, was based in Minbei, the northern regions of Fujian. I believe Luohan as a martial art has to do with the White Lotus cult movement. Personally, I believe the Luohan that's found in Fujian area is not Shaolin per se. Read someplace that SanZhan could be essentially traced back to Shaolin LuoHan.They will only serve as an alternate perspective. It may not be in total accordance with written and oral traditions. I would caution though that all views put forth by me is my own opinions. It's a pleasure to share my views with you. Got a couple of questions that you might be able to shed some light:. You can pretty much forget about having a system and a style. Without cohersion and without consistency the forms are just a bunch of movements clinging together. Without Jik Bo as an anchor there's no Bak Mei. BTW GBT as I heard it from my Sifu, it is based on SBT. If we look at all the so called Bak Mei forms (Jik Bo, Guo Bo Tuey, Sap Baat Mor Kui, Meng Fu Chu Lum, etc) that he taught, we find a consistency that is echoing the Jik Bo which is derived from Sarm Bo Tuey. The same goes to GM Lum Yui Kwai's Lung Ying. I have no interest in flame war but I believe we should give credit where credit is due. ![]() All the "other lineages" of Bak Mei business is vivid imagination and creative hijacking of his success. He was a self made martial artist and brilliant mind person IMHO. If you ask me, Bak Mei as a style as we know it, is actually a creation of his own experiences with various styles. It is a fact that GM Cheung Lai Chun learned various arts includning Lung Ying. I believe this is the famous Hoi Fung Si in the Lung Ying/Bak Mei tradition. He also taught in Haifeng (Hoi Fung), Guangdong/Canton. One of his student Wang Qun (Wong Kwan) was a Hakka person. Gee Sin was the progenitor of Yong Chun (forever spring) style. It is believed that San Bu Tui (Sarm Bo Tuey in Cantonese) came from Abbot Gee Sin's line. There really is no need for those if the San Zhan or its derivitives are done properly! ) This is why you seldom hear about or find many other Qigong forms within the southern styles. It is to build the person from inside out in a holistic manner. It's primary function is similar to all those so-called Qigong forms such as Ba Duan Jin (8 pieces of brocade), Yi jin jing (tendon change classic), etc. We could say that it's the mother of all forms in southern styles. San Zhan (3 Battles) is a very important form that encompassed all the southern styles mechanics and principles. Most of the Southern styles as we know them are either derived from or influenced by Fujian Yong Chun He Fa (Fujian Yong Chun Crane method) which is the prototypical version of Fujian Baihe (White Crane) as we know it today. :) Your information is very insightful already. ![]()
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