葉問宗師一脈.詠春拳體系教學::[葉問宗師一脈.詠春拳體系教學全7集.].Benny.Meng.-.Ip.Man.Wing..(3)

我是Dayton Ohio的文春博物館創辦人Benny Mang 這會是Series 9 主題是在葉蒙系統的六甸博物館 我用了這個詞來形容系列 因為這正是六甸博物館的系列 我訓練的葉蒙系統的家庭 每一個家庭都有些微變化 在六甸博物館 關鍵不在於系列是否正確 因為系列可能會有不同 技術也可能會有不同 所以關鍵在於六甸博物館的理解 是這個系列的主題 在這個系列 我會把六甸博物館分成幾個進步 基於理解和訓練進步 首先我會討論六甸博物館的基本歷史 然後是六甸博物館的基本訓練 第三是六甸博物館的基本動作 你已經看到了 最後最重要的是概念 基本訓練 這是基礎 因為基本訓練主要是 訓練正確的功能 讓我們能夠發揮正確的技術 我們會分成 空手 單手 然後是雙手 首先我想要示範的是空手 傳統會叫做曲狀 直到現在 你已經看到了 四連招成表 表節目引狀 四連招成表 五招 包含了 六甸的技術 OK 但是傳統的招式 是從小林開始 所以我們會介紹 我們叫做四平開馬 大招 因為為了擁有更長的武器 更重的武器 擺姿勢 永遠是最基本的 所以這個訓練 發揮了正確的結構 我們會叫做曲狀 再一次 曲狀發揮了基本的健身 機械 並介紹了四平開馬 但接下來我們會有 一系列基本的訓練 我們會叫做單手擰棍 記住 這是一步一步的進步訓練 六連招 半手擰棍 對於新手和初學者來說 主要是為了增強訓練 所以我不建議使用 單手擰棍 因為當你放太多的壓力 當你放太多的壓力 你可能無法發揮 你的結構 甚至可能導致 你的身體受損 所以這是單手的訓練 注意 OK 大約是 手掌的內側寬度 單手擰棍 注意 手掌向上 手掌向下 你要能夠保持 腳尖的同一高度 手臂緊緊的 肩膀不完全緊緊的 釋放能量 保持同一高度 下一個 同樣的 但我們走到旁邊 然後第三個 我們走直線 對 向上 對 你可以做六個 或十個 或你可以做一個組合 像一個組合 向上 下 旁邊 前面 這個訓練的訓練方法 很重要 你需要開始增強 你的機械技巧 來支援長槍 下一個 抬起 下 同樣是手掌 正確的機械技巧 手掌支撐肋骨 因為肋骨正確的 下一個 同樣的 但我們走到旁邊 我們走到後面 我會用我的左手 最後一個 最重要的是 手掌保持直線 然後 產生能量 集中槌 教你如何發勁 能夠消耗能量 能夠產生能量 或發射能量 這就是六個基礎訓練 或單手 雙手 如我之前提到 單手訓練 可以用普通的肋骨 讓你的身體習慣 但最終 主要是增強你的身體 讓你能夠操控 更重的武器 一般的鋼管訓練 從三公斤 到六公斤 在這個情況下 大概是四公斤 六點半棍 被稱為單頭棍 意思是 我們用一隻手 能力能夠 產生一隻手的力量 第一種叫雙手 叫單棍 類似單手 你加入肋骨的身體機械 雙手 如果你只是用雙手 就跟單手一樣 如果是雙手 你能夠用雙手 來表達身體 下一種叫肋骨 大家知道動作是什麼嗎 肋骨 所以 例如 如果肋骨鬆開 你無法這樣做 這就是為什麼 我們的肋骨掌 不像這樣 大部分的技術 都是用肋骨 為什麼 因為機械 肋骨 比肋骨強 肋骨比肋骨強 肋骨比較弱 這就是為什麼 當你使用技術 肋骨的機械技術不好 肋骨比較強 肋骨比較弱 我們說的是直立 不是空手 正確的測量 你的手 永遠都沒有 比手更大 你總是有一點點 所以你不把手 拉到盡頭 但在手的內側 範圍內 這支肋骨有多遠 每個人都不一樣 你可以有短的肋骨 或者是長的肋骨 所以你用自己的肋骨 來測量 放在你的肋骨下 這是基本的肋骨 肋骨 現在我們回到 瞭解基本動作 例如基本的動作 腳步 以及個人技術 有幾個簡單的動作 這是中間 通常我們開始 做鋼管的動作 當然 這是以前的 一級金門馬 這是之前的一級金門馬 但你不會看到 鋼管的一級金門馬 所以下一個動作 是馬步 這是經典的鋼管動作 有時候 你會看到人們這樣打 這叫做西平大馬 下一個動作 是前面的動作 讓你向前投放能量 下一個動作 叫做吊胎馬 看起來像後面的動作 有些人叫做鋼管動作 最主要的是 這四個動作 第一個 中間 西平大馬 第四個動作 向旁投放能量 向旁投放力量 下一個動作 前面的動作 向前投放能量 下一個動作 讓你能夠轉身 後面的動作 或吊胎馬 所以你會有這些動作 最簡單的方式 就是通過這個動作 如果我們來看看 鋼管的動作 最主要的動作 跟鋼管不一樣 因為我們在 擁有空間 和最大距離 因為我們有 最大距離的武器 我們不需要 太多的前進 所以鋼管的動作 主要是 在自由戰鬥的狀態 你可以看到 這叫做 踏步 在鋼管的自然動作 腳步 也包括踏步 所以我們有踏步 轉身 我們稱之為 半步踏步 而不是 全步前進 所以鋼管和腳步 是蕭林的基礎動作 因為在舊時代 武器和空手道 是同時學習和教授的 在基本手法中 我們有一記鋼管 而鋼管 比較自然 我們稱之為 中間踏步 腳步不直 臀部仍然挺直 身體支撐著 這叫中間踏步 前進和前進 你已經看到了 前進 後退 這是前進和後退 前進 或者 後退 同時 角度 左 和右 最後 我們稱之為 中間踏步 所以 前進 後退 角度 上 和下 在鋼管動作中 我們有 殺棍 鋼管的下滑動作 我們有 攔棍 OK 攔棍 我們有 標棍 然後從這裡 我們有 吊鐵馬 釘 跳 釘跳 我們有 探 腹 綁 收棍 這些都是主要的技巧 你已經看到了 基本動作 腳步 以及個人技巧 但問題是 每個家庭都不一樣 所以 初學者 或學生 學習這個動作 都會問 哪個版本正確 我再次介紹 這個動作的概念 關鍵在於 鋼管動作的概念 不是在施工 或你擁有多少技巧 但無論如何 你必須瞭解 每個技巧 所有基本技巧 殺棍 攔棍 標棍 這是上半身功夫 然後加入整個身體 殺棍 標棍 攔棍 你看 現在我們可以加入身體 腳步 所以沒有固定的模式 是基於訓練的循環 所以 單獨 攤 槓 或腹 標 所以我們可以重複 這些組合技巧 在任何組合 你必須瞭解 這些組合技巧 稍後 你必須瞭解 這些組合技巧 接下來 我會說 一段時間前 一部電影剛推出 電影叫做 金箍棍 這部電影 描述了一位師傅 做一個槓 當他擊中牆壁 他做了六個槓 圓形的槓 一個技巧 擊中牆壁 做了半個槓 因此 槓叫做六個半槓 但那是電影版本 叫做金箍棍 所以 總是有解釋 名字 是概念 不是技巧 希望 這個圖表 我們可以看到 為什麼叫做金箍棍 我們開始 金箍棍的技巧 一 看看槓 武器的範圍 基本上就在這裡 所以我們叫它金 任何時候 你有能力 使用 或在某些情況下 使用槓的尾端 概念就叫做金 換句話說 如果我槓 槓 槍 這三種技巧 壁 這是第一點 六點 這是第一點 六個半槓 這是第一點 我們繼續 第二點 也可以用中間的位置 槓 也可以 擊中對方的手臂 不需要用槓 所以你可以用不同的技巧 但也表達了不同的概念 我們繼續進入下一步 我們稱之爲Sat 基本上是一個向下的動作 是一種向下的動作 如何破壞對手的武器 以及對手使用的向下的動作 這也是利用中間部分的動作 接下來的系列是Uptilt 當你看到形狀時 你會看到Up, Down 這也是Uptilt的標準 有時候Uptilt的動作 可以是雙手向上 或者雙手向下 這就表達了 向下和向上的概念 第四個動作是Kick 這就是中間部分的動作 或者當對手伸出手杖時 你會使用Kick 武器的一部分 又是身體的前半部分 你會有Tan 你會有Bong 你會有Song Kwan 如果你使用這些技巧 作爲返回的方式 打開,返回 這就表達了Kick的概念 有些人會疑惑 這些技巧的名字 他們認爲6.5的位置 應該在這裏 不是在技巧上 而是在概念上 例如Foot Kwan 可以是Cover 這也是Lung的概念 或者可以是Running 這就是Zao 如果對手打到我的臀部 我會返回 看起來像Foot Kwan 但實際上 當你使用這些技巧 理論的背景 就是Zao Kwan 你會有Hing Kwan和Zao Kwan 返回和Circle Kwan 第六個動作 是一個概念 我們應該使用 整個臀部的距離 如果對手進攻 我可以阻擋 利用第二半臀部的距離 或者我可以阻擋 利用第一半臀部的距離 所以 第六個動作 是使用整個臀部的距離 所以 這個概念表達了 應用 第七個動作 第八個動作 叫做Flo 或者叫做La 假設你學了很多技巧 但你無法連接它們 你無法 使用這些技巧 如果你能連接它們 但你無法Flo 這意味着你會被困住 例如你練習的形狀 固定的模式 你會被困住 因爲它們是固定的 所以當你練習 形狀是基礎的 後來你要用生命的力量 或者生命的對手 因此 爲了能夠連接 所有的點 你必須有第七個點 那是半個點 爲什麼叫做半個點 假設第六個點 是遊戲的50% 然後連接的 是剩下的50% 因此叫做 第六個點 因爲沒有這個最後的概念 流 你沒有半個點 也就是說 半個點都不存在 所以我們叫它第六個點 概念 概念是通過許多技巧 從建造到連接 你知道流 不是技巧 是能夠連接 所有的技巧 能夠表達 而不是固定的 所以在這個圖表 你能夠理解 什麼是技巧 哪個部分 最後 什麼是第六個點 連接是一個完整的系統 我們從空手開始 從開始 有一個概念 空手 我之前在空手系列 解釋過 一個概念叫做中線 如果你想象 你持有長槍 你超越 你的防禦 或者你只是前進 沒有中線 對於長槍戰鬥 你不會有效果 事實上 它會打開你的防禦 你持有長槍 所以在長槍戰鬥中 軍 武 兩行 沒有兩個聲音 一個動作 大多數時候 已經決定了結果 除了第六個點 大多數關鍵概念 來自於武器 中線 這是一個例子 第二 如果你記得 我們做的基本訓練 是強化我們的機械 我們的結構 通過持有長槍和重槍 你會知道 什麼是好的結構 什麼是弱的結構 不僅有高槍 在第六個點 也有傳統的槍 這又是 回到武術的概念 現在 我們進入六點半關 一步一步 這叫做 Sat Kwan Sat是 下方的槍 是一個概念 這意味着 你可以用尾部 或身體 甚至這部分 根據範圍 是一個概念 Biu Dang Tiu Biu Dang Tiu Biu是一種技術 但是它是 第一個概念 如果我用身體 Dang Tiu 就會變成 Tat Sat 所以試着瞭解 技術和概念的區別 我們進入三個過程 Biu Dang Dang Tiu Dang Dang Tiu Biu Dang And Biu Dang Biu Dang Deng, tiu, deng, tiu, deng, tiu, so we have the diu tai wa. From there, we go off to the angle, tan, this is tan, which is part of the concept of ki, to open or to redirect. Then, same sequence, fok, biu, tan, song kwan. So that's why each sequence, or actually each teacher might have a variation. My teacher in Yip Man system is Grandmaster Mu Yat. And also I have a fortunate training experience with Grandmaster Yi Jing. Grandmaster Yi Jing does not do the tan, where Grandmaster Mu Yat does the tan. Again, this type of small difference is on sequence, but they cover all the concepts. So, tan, song, fok, biu, deng, tiu, deng, tiu, again here, fok, biu, deng, tiu. Same sequence, coming back, there is bong kwan, fok kwan with the front stance, biu, come back, bong kwan, lan kwan, then, song kwan. So, the step by step, you can start to see the technique. But it's important, technique is not the same as the concept. But throughout the whole form, it expresses all six points. The connection, the flow is the half point. Let's break down the sequence again. Four sequence, song, biu, deng, tiu, song kwan, fok, then repeat. This is the first sequence, going forward. Second sequence, going back. Hao ma, or lok ma, deng biu kwan, deng, tiu. Lok ma biu kwan, deng, tiu. So, three step up, and three step back. So, the third sequence, moving to my right. Hao ma, song, fok, biu, deng, tiu. So, you notice, off to the corner, but by the time I come back to deng tiu, I'm back to center line straight again. So, the third sequence. Now, the fourth sequence, moving to my left. So, two sequence, two steps here. Deng, back, deng, tiu. Bong kwan, lan kwan, sa kwan. So, completely you have up sequence, down, moving back, right, left, finishing move. Does the sequence of training matter for the full practice? This is a very good question. In the modern day Wing Chun, such as the Yip Man system, most of the weapons are practiced last, such as the pole and the knife. You go through student talks on Bei Biu Ji and Mo Yuan Zong before you get to weapons. There are many reasons for that. Number one could be the teacher's methodology, such as the Yip Man, due to his geographical locations, and many reasons, maybe he taught the weapons last. This is a methodology. So, it's not really right or wrong things. Number two, in the past, this system comes from Shaolin or any type of old fighting system that is dealing with reality of fighting, that you have to really pick up the weapons right from the beginning. Just like today, we join the military. We don't learn hand-to-hand combat first. We learn how to shoot first. So, most of the practical system of the past, you learn weapons and hand-to-hand combat simultaneously. So, the way that I teach my students is that we teach the weapons fundamentals, as you see through the tape, basic exercise, basic movements, simultaneously with the hand-to-hand combat. So, again, if you want to base on more of a natural progression, based on history, you can do the weapons and hand-to-hand combat at the same time. Or you follow a certain family lineage. If your teacher taught you a certain way, you can carry on that tradition. So, in my mind, the sequence is not so important, as long as you get the complete pictures. This is more of dealing with the history. Number one, history is not 100% because we don't have a time machine. Most of the history is based on legends or writing that are really not historical writings. So, there are primarily two sources of information that explain about the Pope. If we go back to the old days, where Wenquan come from Shaolin, and Shaolin Temple is known for its Pope techniques. But particularly in the Qing Dynasty and Ming Dynasty period, there were a period of time where the Southern Shaolin Temple were combined force with the military people in the south to fight off the Japanese pirates. Now, there was well documented where the generals and military people had introduced many long weapons to the Shaolin monks, such as a spear. So, there are certain Wenquan lineage today that is based on the Shaolin spear, and then change and adapt into Pope techniques. So, it contain the elements of spear and Pope. So, as progressively we move into modern day, such as the opera days, this is in the middle of 1800s, then you see the elements of today's Lok Tin Pui Guan start taking into shape. Number one, the weapon got heavier, and then the sequence what you see today is like human's form of Lok Tin Pui Guan start taking into shape. I believe that has to do with, again, geographical locations, such as the Red Boat. Again, based on legend, Long Yidai was very proficient with his Pope, and being in a Red Opera on a boat, they used long poles to steer, as well as to push the boat in shallow waters. So, that might be one of the reasons where the Pope got heavier. So, the structure and technique have also changed. So, primarily there are those two identities of the Shaolin Wenquan Pope. One still contains the old Shaolin identity of the Pope form. The second is modern day Lok Tin Pui Guan where it becomes the heavy weapon what we see today. But the origins still go back to the Shaolin. Why are there so many variations in the pole forms? Now, hopefully, this tape will give you the answer already. As I mentioned, if you go after each family and you look at their sequence, you will see variations. And the variation is due to these techniques. For example, Grand Master Yip Jing, he does not have the Tan, where Grand Master Mo Yan has the Tan. So, if you refer to a certain sequence, almost every family I come across, I have seen, to a certain extent, Yip Jing, Yip Chun, Mak Bo, Mo Yan, and many other Sifus in Wenquan's pole form. And they are all different. But the difference, again, is in the techniques. The key is that we don't want to look at the variation of technique. It's that we have to look, does the form contain the original six and a half point concept? So, again, the key question is that as long as the concept is there, you can have many variations. As a matter of fact, some of the most important concepts of Wenquan were created because of the long weapon. For example, if you think about the center line, if I carry a long weapon, and if you don't have your center line, if you are fighting a long weapon, that means you really don't have a reference to be efficient. If you are just going all over the places, and somebody comes in with a long weapon, you are not going to be able to stop that. And number two is really the gate theories, okay? So, as we talk about the Wenquan form, you have the six gates. But in this form here, of Ding Bun Guan, you see the body all turns sideways. So the gate theory is still there. It's just that when I'm holding a long weapon, I turn sideways. So now you have the upper, middle, and the lower gate. So you have the three gates facing rather than the six gates facing. So the gate theory and the center line is one of the key concepts of the Po, which really influences the rest of the empty hand systems. So I believe that this concept originated from the Po before it got to the empty hands, which is one of the core concepts of the Wenquan. So again, variations are due to variation in technique. The important thing is to focus on the concepts. Again, this is the main focus of this Ding Bun Guan series. For example, Tian, Tiu, Biu. So you might say, well, you know, those are three techniques, but actually, they express the first point. If I use Biu as a spear, or smack your feet, or break your jawbone, I'm using the tip of the Po as the main form of attack. That's the first point. But it could be expressed in the forms of three techniques. Biu, Ding, Tiu. Okay? Now, if I have a motion that goes down with the tip, that becomes Ding. Now, if I have a motion that goes down, but using the body of the one, that becomes the second point. That's the downward energy using the body to express the techniques. So sometimes we call this point Sa. Okay? So you might say, well, you know, I see this as more like a line. Well, line is the next point where it expresses, occupy and fence off the space. So in concept, it's different from where you're coming down to destroy your opponent's limbs or weapons. So again, the movement might be the same, or you might call it a different technique. But the concepts are very different. So again, line. I could have a line where I brace off with this end of the pole to fence off, to occupy space. Or I could be line with using the first half of the pole. I could be line down. I could be line going up. I could be line going down. Because line expresses, occupies space. As long as I occupy my areas, that's more of what we call line concept. So that's three points right there. Okay? The next point is tight. So if you have a downward motion, you can attack, have upward motion. So if I hit with the body of the pole going up, that's tight. So not necessarily that's where you're using the tip. So again, okay? The movement might look similar, but the concept is different. So here you have four right now. You have the point, the very ending of the pole. Then you have the body to destroy going down, destroy going up. And then to brace, fence off, to occupy space using the whole pole. So that's the four point. The fifth point, where you are talking about incoming energy, where you direct. Okay? You sweep. Okay? We direct. So Tan, Fook, So Guan, Guang Guan, all those techniques are direct. We call that Ki. Or continue to parry. Okay? So they're actually the same point, but different techniques. So that's the fifth point. Then last you have the sixth point, where you're dealing with a lot of motions, where you're going back and forth. For example, if I go Fook, this is actually running. Okay? Somebody chop my stick down, I run on top and hit his hands. So actually it looks like a Fook technique, but actually that's called Zou Guan. So it's called running pole. That's the sixth concept. So when you string all the six together, that connection, that is called a half point. Because if you put six of those concepts together, that's only half of the picture. The other half is the connection. So we call that six and a half. So again, I hope that this gave you guys a new insight into the Lu Ding Bun Guan. Again, Gong Fu, Wen Chun, or any type of martial art, we get our guidance from the experienced teachers and master, but one of the most important teacher is our own experience and then our own understanding. So don't forget that we have to gain the experience, understand the concepts, and be humble enough to have an open mind to receive teaching from someone with more experience. Thank you very much for watching this Lu Ding Bun Guan series. This is number nine. Hopefully you have gained a new insight and with your guidance from your own Sifu as well as your own practice. I wish you the best of luck in this Lu Ding Bun Guan series. The next series, which is ten, I intend to do the Ba Zhang Dou. And then after that, future series will be strictly on Wen Chun fighting applications, which includes open hands as well as the weapons, the two-man weapon sets as well as Qi Guan and all type of applications. So again, thank you and have the best of luck in training. PC Media brings you the finest demo and instructional videos from Tiger Claw and Kung Fu Magazine.