Dongjiang Dragon Style (Dongjiang Lungxing)
History of the Art ( Information Provided by Cheung Kwok Tai Association )
Lin Yao-Gui is a man from the Potau-Cun, Bolou county of Guangdong.Son of the famous martial artist of Dongjiang. His uncle was a government official of the Chengdongmen in Huezhou. Both men trained with their father at a very young age. Later, they also became students of the abbot Guang Jin of Shaoshu Mountain's Shaolin temple of Fujian province.
During the time when they were in their 30s, they also spent several years learning from the renowned martial artist Wang Lian-Giao of Haufeng ( also known as Haufeng-Weng ) gaining the knowledge and techniques of the style. Later on in life, he was directed to the Taoist monastery at Haushoutai of Mountain Loufwushan by The head of the YuenMiu Taoist Temple in Huezhou via a letter. in Huezhou. There, he was defeated by the student of abbot Da Yu. Because of this, he requested to learn under Da Yu's teaching.
In the youth of Abbot Da Yu, he journeyed around with Abbot Wu Mei. During this period of time, he was able to receive the vast knowledge of abbot Wu Mei. Therefore, he became highly proficient with certain arts of Shaolin including dragon style, techniques of Tiaojia and Hauquan-Xiaoma of Meihauzhu. Over several decades of training, he was able to absorb all of the skills of Abbot Da Yu and left to start his own school in the area of Dongjiang. Both masters taught all which they knew to Yao-Gui Gong.
Yao-Gui Gong left school at the age of six in order to focus on the training of martial arts. At the age of sixteen, he started his own school in Dongjiang and taught as well as learnt from his new masters. Unfortunately, both masters passed away before he learnt all there was to be learnt. However, Yao-Gui Gong did not lose heart of his goal of learning. Later, he started to take students from a village below Loufwushan. Under the invitation of the villagers, he made a performance in front of the local temple. Coincidentally, the student of abbot Da Yu was also present. Seeing that their arts being similar, he invited Yao-Gui Gong to meet with him at Haushoutai. Remembering that his father too learnt his skills from Haushoutai, he, following his father's footsteps, also journeyed to Loufwushan Haushoutai. Hoping to remake the journey of Da Yu as well as Gao Xiong-Wen, Ma Jian, Chen Hau-Gao, as well as the senior student of Da Yu. His main intention was to be able to learn there. Touched by his desire to learn and better himself, Gao Xiong-Wen first tested him by making him demonstrate his skills to see what level he is at. Ma Chen-Jie was defeated at the hands of Yao-Gui Gong. Later, Gao Xiong-Wen tested him personally and despite Yao-Gui Gong using all that he has ever learnt, it was deflected away with relative ease and was finally defeated after a series of attacks.
Seeing his own failure, he asked how it was that all his attacks were deflected in such a effective manner. Gao Xiong-Wen saw the sincerity in him and agreed to take him as a student and taught him the secrets of the techniques of Hauquan-Xiaoma of the dragon style. As a student of Haushoutai, he often went up to the mountains with his master as a means to gather herbs, study their characteristics and learning the Chinese form of physiotherapy. Over time, he was able to become a master of this field.
After this, he once again returned to Shuihuezhou-cheng of Dongjiang where is opened a school and clinic teaching martial arts as well as offering medical help to the community. All who came to challenge him was defeated in which his fame spread over the area. Around the age of thirty-five he started to teach at Yangcheng.
Eighteen years after the forming of the republic, a kinsman of Yao-Gui Gong introduced him to the city's renowned martial arts master Lin Yin-Tang. By recommendation of him, he became the instructor of the community's program. Both the northern and southern style challengers of the city lost to him.
As such, in later years, there are schools of Yao-Gui Gong in both areas of Guangdong and Hong Kong. In 1947, a martial arts tournament in Guangzhou was held. The newspaper of the times, had an extract dedicated to Yao-Gui Gong 's history. He was also gave a nickname of "Dongjiang -laohu" ( Tiger of Dongjiang ). Yao-Gui Gong was not a man who enjoyed fighting. However, in order to gain a higher level of martial arts, he was willing to participate in constructive matching. It was just that there was no one who was not defeated by him. Yao-Gui Gong was also a devotee to the eradication of the conflict between schools Therefore, was must respected by the martial artists of Hong Kong, Guangdong and other areas.
This concludes the brief history of the grandmaster of Lungxing-moqiao, Yao-Gui Gong.
Characteristic of the Art ( Information Provided by Cheung Kwok Tai Association)
The school of the dragon style was passed down initially by Yao-Gui Gong ( 1876 - 1966 ) of the Tupotau Village in the Bolou county. Born in a family of martial artist, he began his passion and training at a very young age. Later on in life, he became a student of abbot Da Yu of the Haushoutai temple. Gaining the essence of the art.
The Dragon style requires one to have Qishi, Juangshi and alignment of three points. The horse stance of this style is a cross between Mabu ( classical horse stance ) and Dingbu. Its strengths are in its hand techniques yet is not lacking in its lower body moves. It has developed into a southern style unique at its own right. Dragon style often fights at a close range with a lot of jumping and leg sweeping, quick action and powerful strikes. Yet within its dynamic action, it also carries a softer force which enables quick changes and agility. When in use, it is like the flowing of a dragon, powerful as thunder as well as continuous and unceased.
The main hand techniques includes Chu ( stick ), Mo ( touch ), Hua ( deflect ), Na ( grapple ), Pi ( smash ) . Body movements consists of Tun ( swallow ), Tu ( swell ), Fwu ( raise ), Chen ( sink ), Yuan ( round ), Bian ( flat ), Fu ( lean ) while leg techniques have Zhipaibu ( force step ), Shangmabu, Sanjiaobu, Shuisherbu. Reaching the level of emptiness in strength and strength in emptiness. In action, the strikes should fast and dynamic. On the inside, one should develop their Jing ( essence ), Qi ( energy ) and Chen ( mental power ). On the outside, development should be focussed on the eye, hands, body and footwork as well as their compatibility in use. The requirement is that the power should flow continuously and the posture should be correct on a very strict level. This includes head being level, shoulder and elbow lowered, stomach in with back straight, pelvis tightened and sunk, hip loosen along with small stance, quick yet stable. Shouts are used to increase the power. There are little high kicks and jumping involved in the actual use of the art. Main kicks includes ti ( lift ), Dan ( toe thrust ), ti ( kick ), Chuai ( step+press ), Den, Jian ( hook ), sao ( sweep ), liao ( groin kick ) ( groin kick ). Kinds of power includes Biao ( thrust ), Dan ( toe thrust ), Chen, Su ( quick ) and Hua ( deflection ). When generating the powers, the breath should be pushed down to the abdominal. Power should come from the foot, pushed through the hips and acted through the arm and hands.
A single stream of power should flow through the hips, legs and arm. In order to reach this level, the movements of the footwork, body and hands must be compatible with each other to a point which " where the leg goes, so will the body, as will the hand." When attacking, it is important to have the three points aligned. The key is to form the will into Chen ( mental power ), form the Qicuijing which in turn will unit the external and the internal into one. From this, the idea is to "move like wind, stance as stable as steel, strike like a knife, advance like a tiger and retreat like a cat".
Strikes of the Dragon style are rapid and continuous. Fast and flowing with no strike ever fail to hit its intended target. In situations of combat, it is often the case of using hand techniques such as Chu ( stick ), Mo ( touch ), Hua ( deflect ), Na ( grapple ), Pi ( smash ). Stance ready for attack, sudden gathering of power which should result in "wait for the attack, stick onto the attack, deflect the attack, pursue with an attack." If the enemy is weak, advance and attack into the centre. If the enemy is strong, retreat and attack the limps. If one cannot chu ( stick ), he does not attack. Once the Chu has been made, the attack follows instantly. Pursue an attack using advancing footwork, deflection and attack occurs simultaneously. Based on a highly flexible foundation, a set of movements emerges which numerous uses. As well as many sets of movements with a unified use.
The routines of the Dragons styles are always practical as well as clear. From the start to the finish, each move has a specific fighting purpose be it attack or defence. Most of them being relatively short with the "long" routines consisting of no more than six sections. The short routines having no more than two. Due to the fact that it is often consisted of three to four separate moves, all the routines each has their own characteristics and uniqueness. Each having a point to emphasis within its content. For example, most of the beginners routine emphasis of power directing. Simple and easy to learn. It focuses mainly on hand techniques as well as the control of hard and soft forces. Judging of distance and the ability to change and use different combination of moves. The strengths of these routines are that it teaches some of the more effective moves in actually combat situation such as the hand techniques, waist techniques as well as leg techniques. Within the shape of a dragon, it trains the wrists, shoulders, waists as well as other joint areas of the body.
Most of the routines works along a single line with little repeated movements. Moves are often reduced to a small area. This is due to the fact that in a short distance, movements could be fast as well as easily interchangeable.
Lungxin is a self developing combat sport. Although its athletic and combat demands unique requirements at certain areas as well as organs of the body, it overall helps to give a well-rounded development of the body. Therefore, it does stand alone among the different southern styles.
Codes of Dongjiang Dragon Style
The seeds were first planted
The essence were gained later at Haushou
Retrain one self and yield to others not because one is weak
But to uphold the ethical Tao and let the others have their claim.
The four Rules and two principles
(1) Focus to learn, condition
the body. Must not have any act of laziness.
(2) Be righteous, uphold your honour. Must not have any act of hypocrisy
(3) Respect your parents, honour your teacher. Must not have any act of defiance.
(4) Treat others with honesty, treat your friends with loyalty. Must not have any act of arrogance.
The Two Goals:
- Study the nation's art. Cultivate the heart and body. Serve the community without acts of evil.
- Respect your seniors, inherit from the traditional and perpetuate it, Have the heart to promote the ideals of the Dragon style.
Principles of Dragon Style:
1. The basic movements includes hands, body and footwork. Demands that where the eye goes, so goes the hand as well as the stance. When attacking, three points must be aligned. Lower the shoulders and the elbows, and clear differences between tun ( swallow ),Tu ( swell ), Fwu ( raise ) and Chen ( sink ).
2. Waist and shoulders should be variable with the stance being stable yet changeable.
3. When attacking, be mindful that the heart, hand, waist, stance are one as well as displaying Chen ( mental power ), mind, will, breath and power as unified.
External training: Natural, stability, agility.
Eliminate instability and sluggish movements.
The goal is the training of the eye, body, hand, leg, power and overall performance.
Internal Training: Chen ( mental power ) mind, will, breath, power.
Power Training : Biao ( thrust ), Dan ( toe thrust ), Su ( quick ), Hua ( deflection )
Body Training: Tun ( swallow )Tu ( swell ) Fwu ( raise )Chen ( sink )Yuan ( round ) Bian ( flat ) Fu ( lean ).
Hand Training: Chu ( stick ), Chou ( haul up ) Mo ( touch ), Ge ( slice ), Kou ( lock ), Na ( grapple ) Pi ( smash ), Sao ( sweep ), Zhuang ( collide ), Kan ( chop ), Chong ( force in ), Tiao ( flick ), Lan ( block path ), Chie ( cut )
Kick Training: Dan ( toe thrust ), Ti ( kick ), Chuai ( step+press ), Den, Sao ( sweep ), Zhuang ( collide )
Stance/footwork: Paibu (force step ), Sanjiaobu, Loubu, Shuisherbu, Binbu, Tiaohuanbu
Hand forms: Fist, palm, fingers, claw.
Stances : Shipingma ( horse stance ), Zhiwuma, Diaoma, Wentzuma, Danhudiema, Tishi
Kicks : Jenti ( front kick ), Tsueti ( side kick ), Danti (toe thrust ), saotui ( sweep ), Terngkongti ( airborne kick ).
Kicks ( specific ) : Liaoyingtui (groin kick ) Tatui ( stepping ), Tsuentui, ( Shin kick ), Pingshe ( Straight trust ), Humei ( reverse ) , Iuaniangtui, Chuanxintui ( Heart piecing kick ) Xuanfengtui ( whirlwind kick ), Saotui ( sweep kick ), Jianchantui.
Left and right Gongbu (
leaning stance ) + punch
Internal + external hand sticking
Advancing + retreating Moqiaoshou
Sanshou-qizi ( Seven separate moves )
Shiliudong ( sixteen movements )
Sanshou-qizi ( Seven separate moves ) :
Shiliudong ( sixteen moves )
Stand at attention & prepare.
Left stance right punch
Advance+ form stance|
Force step spear fingers
Grab hands straight punch
Turn + slam punch
Force step straight punch
Advance + form stance
Force step spear fingers
Grapple hand straight punch
Turn + slam punch|
Force step straight punch
Advance + form stance
Force step palm smack
Force step intercept + attack
Force step side uppercut
Control breath and stand at attention
Theory Behind Shiliudong:
"Shiliudong" is the fundamental routine of dragon style conditioning the ears, eyes, body, hand and steps. Within this routine, the hand postures of Biao ( thrust ) Chen, Su ( quick ) Ge ( slice ), Shiao ( slash), Chou ( haul up ), Dan ( toe thrust ) are included as well as the change between the upper and lower body, variation of distance and Ying and Yang. Moving in a straight line train's one's advance as well as the swallowing of the hips and release of power. Running the power though the hips, arms, elbows, wrists and fingers. Making waist, stance, body, hand, breath and power into one and achieve "where the eye goes, so will the hand. Where the hand goes, so will the stance. Body, hand, waist and stance unified".