Encyclopedia of Wing Chun. I. dudukchan - encyclopedia of wing chun kung fu. book 4. training methods. Let's move on to the description of the exercises

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Dudukchan I. Fedorenko A
Encyclopedia
WIN CHUN KUNG-FU
Book 2
"SPECIAL EQUIPMENT"

CHI SAU (glued hands)

LAP SPG (grasping arms)

BACKGROUND SAU (tying hands)

CHI TEK (glued legs)

A brief history of the school

The WING CHUN martial arts system, which is one of the most effective schools of hand-to-hand combat, originated about three hundred years ago in China. At the origins of the creation of the style was the nun Ng-Mai, whose skill in fighting was not surpassed by any fighter of her time. Based on her knowledge of Shaolin KUNG FU, she developed a new, thoughtful method of self-defense.

The formidable nun's student was a girl named Wan Wing Chun, who in three years of individual studies mastered the entire system. Having reworked the Ng Mai style, Wan Wing Chun created an original technique of fighting with bare hands, which later became known by her name. After the death of Wing Chun in the middle of the 17th century, her husband Liang Bak Chan began to develop and improve the style. He trained the physician Liang Lei Kwai, who passed on his knowledge to Chinese opera actor and famous butterfly knife swordsman Wang Wei Bo. For the latter, the master of the long pole technique Liang Ji Tai suggested such an exchange: to introduce his pole technique into the WING CHUN style, and for this to study the WAN WEI BO fighting style. The exchange took place and the technique of the pole, revised in accordance with the principles of WIN CHUN, was introduced into the practice of the school.

Liang Ji Tai taught the doctor Liang Yang, who in turn taught his two sons Liang Chun and Liang Bak. In addition to his sons, Liang Yang passed on the knowledge of WING CHON to another person. His name was Chan Wa Shui. The latter had several students, among whom were Nguyen Te Kong and Ip Men, whose names are associated with the further development of the WIN CHUN school.

After the death of Tran Wei Shun, Nguyen Te Kong left for Vietnam, where he opened a school and began to teach the art of WING CHUN.

Yip Man was in no hurry to pass on his knowledge to others. Only at the age of 56, having moved permanently to Hong Kong, he began to teach other WING CHUN techniques. His first students were restaurant employees, but as his fame spread, so did his following. Yip Man's pupil was the famous film actor and fighter Bruce Lee.

From an early time, the teacher passed on the teaching of his older students, and therefore the next generations of masters were trained mainly by his assistants. Due to this, and also due to the fact that the students were little corrected by Yip Man (a Chinese teaching principle that focuses on attentive and talented students), many modifications of the Wing Chun style appeared, which differ not only in the spelling of the name of the system, but also in the technique of execution.

After Yip Man's death in Hong Kong, there was complete confusion about who should be considered his successor. Since the master did not make a clear order before his death, the senior disciples took the leadership in the Wing Chun family into their own hands. At the same time, each of them founded their own school and their own associations, which led to rivalry and competition, because they all taught in Hong Kong. To this day, the unity of these former students has not been achieved, and they speak very negatively about each other.

Whatever it was, but thanks to their efforts, the WIN CHUN system not only did not die out, but also gained fame and recognition throughout the world.

Currently, there are two major areas of the WIN CHUN style - Chinese (Hong Kong) and Vietnamese. The first is associated with the name of Ip Man, the second - with the already mentioned Nguyen Te Kong, Despite the similarity in the basic principles and manner of fighting, they differ in a set of formal techniques. Let's consider in more detail the components of both directions of this martial art.

First of all, it must be said that WING CHUN is a close-range combat technique in which the hands play an important role.

However, one should not think that little attention is paid to footwork in school. The leg technique is very sophisticated and effective in real life, so it gets a lot of attention during training.

A distinctive feature of the WING CHUN hand technique is the CHI SAU (glued hands) exercises, which develop in the followers of the school the ability to control the opponent's hands and correctly distribute their strength. There are similar exercises for the legs. The masters of the school have developed a "sixth sense" that allows them to outstrip the opponent's intention by touching his hand and thus outstrip him at least one move, softness and pliability prevail here with brute force.

The school's arsenal is coded in six sets of formal exercises - Tao. The first "SIU LIM TAO" ("little idea") is performed on the spot. In it, basic movements and combinations of hands are practiced, and the internal energy of Chi is also cultivated. The second "CHUM KIU" (search for hands) is devoted to the development of defense and control from several attackers.

This complex is practiced already in motion and includes new elements of technique - kicks and elbows, etc. In the third "BIL DZE" (hitting fingers), the technique of working with fingers and striking vulnerable points is practiced. The fourth complex is a work with a wooden dummy. The fifth and sixth complexes are devoted to practicing techniques with weapons (pole and "butterfly knives"). All of the above is true for both the Chinese and Vietnamese directions of VIN CHUN. However, there are some differences that should be mentioned.

These differences are not so great, but they are precisely the "facade" of these directions.

First, the followers of Tae Kong are currently studying the Fist of Five Beasts complex, thus paying tribute to the famous Shaolin style.

Secondly, the differences are in the set and manner of training with a wooden dummy. In Hong Kong, study the complex "116 techniques on a wooden dummy", developed by Yip Man.

In the Vietnamese direction, there is a pair complex "108 forms", which can be performed together with a partner, on a mannequin or alone.

Other differences are not significant and will not be mentioned.

In conclusion, it should be said that now in the world there are several large organizations that study, develop and promote the art of WIN CHUN. These include the "WIN CHUN KUN-FU World Organization" under the leadership of William Cheun, the "WIN CHUN KUN-FU International Organization" under the leadership of Liang Ting, the "Wing Chun Te Kong Association" under the leadership of Wing Zang and others.

Basic principles

Center line theory

Centerline (JOAN XIEN) is the most important concept in WING CHUN style. This is the core on which all attacks and defenses are based. The influence of the center line is visible in all stances, hand positions, stance changes, advances and retreats.

The WING CHUN fighter constantly makes sure that his center line is protected. So, for example, when performing a blow with the right hand, the left hand is pulled back and in the final position is in front of the chest near the elbow of the beating hand (Fig. 1).

Fixed elbow theory

The fixed elbow theory (BAT DOAN YANG) is very important in WING CHUN. In theory, it looks like a hurricane. The center of the hurricane is calm, but its periphery is moving with great force.

A fixed elbow works the same way. The arm moves in all directions, but the elbow never moves.

If the pressure on the arm is too much, it is better to back off with the whole body than with the elbow alone, breaking the boundary line. The distance between the thumb and the little finger of the left hand is the correct distance between the elbow and the body (Fig. 2).

In the fixed elbow theory, boundary lines define the boundaries of the arm's movement to the side, up, and down. The upper border is the eyebrows, the lower one is the groin area, to the sides it is slightly wider than the shoulders. (fig. 3).

Four corners

The boundaries of the four corners are the same as the boundaries of the fixed elbow: the eyebrows above, the groin below, and the area behind the shoulders on both sides (Fig. 4).

The four corners are divided into four equal areas or gates (men). For example, the upper half on the side of the extended hand is the outer high gate.

Any attack into this gate is blocked outward. Attacks to the inner gate are blocked inward. Each gate has two distinct regions: anterior and posterior (Fig. 5).

Any attack to the front area is blocked by the hand extended forward, to the rear area by the hand located behind.

Racks

For WIN CHUN KUNG-FU, as for any martial art, the right stance is the basic foundation. This is the foundation on which all the techniques of the WING CHUN school are built, without which it is impossible to master the art of combat.

The stance is a position of balance between attacking and defensive capabilities. The essence of every stance is to be always ready for anything. For those who know this circumstance, the stance allows you to immediately release reflex speed and give an adequate technical expression.

In ancient times, in the schools of KUNG-FU for the first six months, or even a year, students were taught the ability to take racks, mix from one rack to another. However, no other technique has been studied. This was the teaching methodology that bore fruit.

The WING CHUN style is characterized by one basic stance called JOR MA BU. There are three variations of this stand.

1) Front

This is a training stance, which is used, as a rule, for practicing basic techniques, as well as when performing paired exercises CHI ACS, LAP ACS and others.

In this stance, the body weight is evenly distributed over both legs, the knees are slightly bent and directed inward. The position of the feet resembles the shape of a triangle - toes inward, heels apart. The distance between the mid-feet is shoulder width. The pelvis is slightly forward. The body is straightened. The head is in line with the body (Fig. 1).

2) Side frontal

This stance also refers to training, since it is very often used in the training process, but it is quite possible to use it in a real fight. The lateral front pillar is received by turning to the right or left 45 ° from the front pillar. The turn is carried out on the whole foot, which is an essential moment, since if, when turning, to tear off the socks from the floor, then balance is lost. When the stance is accepted, the body weight is almost completely transferred to one leg. When turning to the right, the body weight is transferred to the left leg, when turning to the left, to the right leg.

The body turns as well as the feet 45 ° in relation to the frontal line. The criterion for the correct acceptance of the stance is the location of the torso. Its center line should be offset from the vertical axis. (fig. 2).

3) Front

This is the only fighting stance used in the WING CHUN style. The body is 3/4 directed forward. The feet are in line, almost parallel to each other and directed at a 45 ° angle to the frontal line.

80% of body weight falls on the hind leg. Both legs are slightly bent at the knees, which tend inward, thereby covering the groin area. The forward leg is almost free and is used for blocking and attacking actions. (fig. 3).

Movements

On the offensive

1. The right-hand rack is accepted (fig. 1).

2. Without changing the position of the hands, one should make a full step forward with the right leg (Fig. 2) and then half a step with the left leg (Fig. 3).

When retreating

Make the opposite move to the offensive one; from the right stance (Fig. 4) the left leg slides back (Fig. 5) and then half a step back is done with the right leg (Fig. 6).

When stepping to the left

1. Take a right-hand stand (fig. 7).

2. The left leg slides to the left in a straight line (fig. 8).

3. Take half a step with the right foot (Fig. 9).

When stepping to the right

1. It is necessary to accept the right-hand stand (fig. 10).

2. The right leg slides to the right in a straight line (fig. 11).

3. Take half a step with the left foot (Fig. 12).

Zigzag movement.

Starting position: Take the left-hand front leg (fig. 13).

Step your front foot at a 45 ° angle to the line connecting your heels or to the front line. Transfer body weight to the left leg and pull the right to the left (Fig. 14, 15).

Without stopping, step with your right foot at a 90 ° angle to the line of original movement. At the same time, change the position of the hands, ie, push the right hand forward, and pull the left hand to the body (Fig. 16).

Step your left foot to your right so that you take a right-sided stance (fig. 17).

Now follow the above steps in a symmetrical display. As a result, you will find yourself in a left-sided stance. Next, go to the right-side stand, then to the left-side, and so on. Move forward all the time. The trajectory of movement is shown in Fig. eighteen.

Turns in place.

This technique is essential in the WING CHUN style. It is practiced literally from the first training sessions. In the Vietnamese direction of the WIN CHUN school, the first six months, students use about half of the training time to practice this technique. Turns in place develop the ability to pull the body away from the line of attack.

Let's move on to the description of the exercises.

Adopt a frontal stand. Bend your arms and pull them to your chest (fig. 19).

Turn your entire foot to the right 45 °. Transfer body weight to the left leg, the right one is almost free. You have adopted a side frontal stand (fig. 20).

Now turn left 90 °. Transfer your body weight to your right leg (fig. 21).

Now turn to the right (fig. 20) and then again to the left (fig. 21) and so on many times.

During a workout, you must perform at least a hundred turns. Subsequently, this number increases. It is recommended to use a weight attached to the belt.

Leaving the line of attack (change of stance).

Adopt the front right side strut. In this case, the right hand is pushed forward, and the left is closer to the body (Fig. 22).

Bring your right leg to your left, and then move it to the right, taking the front stance (fig. 23).

Without stopping, transfer the weight of the body to the right leg, pull the left to the right and then push forward, taking the front left-side stance (Fig. 24).

When placing the left leg forward, a change of hands occurs. The left one is pushed forward, and the right one is retracted to the body.

Now go from the left-side to the right-side rack. All actions are performed according to the above described scheme, only in reverse order.

The transition from rack to rack must be performed a large number of times. This will teach you the ability to get out of the line of attack and flank the enemy to carry out your attack.

Punching

Punching is the hallmark of WING CHUN school.

The density of blows in a duel reaches such a level that an analogy with a machine-gun burst often comes to mind. At the same time, the strength of one of them is enough to knock down a person of average build. Moreover, attacking movements are often used in defense. Surprisingly, for example, a straight punch with a vertical fist, performed at a certain angle, can really play the role of a retracting block and, at the same time, a counterattack.

In some schools of the Hong Kong style of WING CHUN, the main emphasis is on the study and practice of the direct punch KNOW MUN CHUI. It is believed that the straight trajectory is the shortest, and therefore the movement is the fastest, which is extremely important in close combat conditions. It is difficult to disagree with this, but in reality it is often the other way around, a circular or arcuate movement is more effective than a direct blow. So, for example, in the classic basic exercise LAP ACS, in many schools, instead of a direct blow, KNOW MUN CHUI, they inflict a chopping blow with their fist.

In the book brought to your attention, five basic punches studied in the Vietnamese direction of the WIN CHUN school will be considered.

1) Direct strike (KNOW MOON CHUI)

The main blow in the WING CHUN style. The most frequently used in practice, therefore, it is necessary to pay the greatest attention to its development.

KNOW MOON CHUI is applied along the center line straight ahead. The fist takes a vertical position. The knuckles of the little finger, ring and middle fingers are the striking surface.

In the final phase of the impact, the elbow is fully extended (Fig. 1).

Figure 2 shows the use of a direct strike with a simultaneous TAN ACS unit.

2) Side impact

It is applied along an arcuate trajectory from outside to inside in a horizontal plane. The fist takes a horizontal position with the fingers down. The arm during the strike is always bent at the elbow and never fully extended (Fig. 3).

Figure 4 shows the use of a side impact with a simultaneous PAK SAU unit.

Dudukchan I., Fedorenko A

Encyclopedia

"WIN CHUN KUNG-FU."

"TRAINING METHODS"

A brief history of the school

The WING CHUN martial art system, which is one of the most effective schools of hand-to-hand fighting, originated about three hundred years ago in China. At the origins of the creation of the style was the nun Ng-Mai, whose skill in fighting was not surpassed by any fighter of her time. Based on her knowledge of Shaolin KUNG-FU, she developed a new, thoughtful method of self-defense.

The formidable nun's student was a girl named Wan Wing Chun, who in three years of individual studies mastered the entire system. Having reworked the style of Ng Mai Wan Wing Chun, she created an original technique of fighting with bare hands, which later became known by her name. After the death of Wing Chun in the middle of the 17th century, her husband Liang Bak Chan began to develop and improve the style. He trained the physician Liang Lei Kwai, who passed on his knowledge to Chinese opera actor and famous butterfly knife swordsman Wang Wei Bo. For the latter, the master of the long pole technique Liang Ji Tai suggested such an exchange: to introduce his pole technique into the WING CHUN style, and for this to study the WAN WEI BO fighting style. The exchange took place and the technique of the pole, revised in accordance with the principles of WIN CHUN, was introduced into the practice of the school.

Liang Ji Tai taught the doctor Liang Yang, who in turn taught his two sons Liang Chun and Liang Bak. In addition to his sons, Liang Yang passed on the knowledge of WING CHON to another person. His name was Chan Wa Shun. The latter had several students, among whom were Nguyen Te Kong and Ip Men, whose names are associated with the further development of the WIN CHUN school.

After the death of Tran Wei Shun, Nguyen Te Kong left for Vietnam, where he opened a school and began to teach the art of WING CHUN.

Whatever it was, but thanks to their efforts, the WIN CHUN system not only did not die out, but also gained fame and recognition throughout the world.

Currently, there are two major areas of the WIN CHUN style - Chinese (Hong Kong) and Vietnamese. The first is associated with the name of Ip Man, the second with the already mentioned Nguyen Te Kong. Despite the similarity in the basic principles and manner of fighting, they differ in a set of formal techniques. Let's consider in more detail the components of both directions of this martial art.

First of all, it must be said that WING CHUN is a close-range combat technique in which the hands play an important role.

However, one should not think that little attention is paid to footwork in school. The leg technique is very sophisticated and effective in real life, so it gets a lot of attention during training.

A distinctive feature of the WING CHUN hand technique is the CHI SAU (glued hands) exercises, which develop in the followers of the school the ability to control the opponent's hands and correctly distribute their strength. There are similar exercises for the legs. The masters of the school have developed a "sixth sense" that allows them to outstrip the opponent's intention by touching his hand and thus determine it at least one move, softness and pliability prevail here with brute force.

This complex is practiced already in motion and includes new elements of technique - kicks and elbows, etc. In the third "BIL DZE" (hitting fingers), the technique of working with fingers and striking vulnerable points is practiced. The fourth complex is a work with a wooden dummy. The fifth and sixth complexes are devoted to practicing techniques with weapons (pole and "butterfly knives"). All of the above is true for both the Chinese and Vietnamese directions of WIN CHUN. However, there are some differences that should be mentioned.

These differences are not so great, but they are precisely the "facade" of these directions.

First, the followers of Tae Kong are currently studying the Fist of Five Beasts complex, thus paying tribute to the famous Shaolin style.

Secondly, the differences are in the set and manner of training with a wooden dummy. In Hong Kong, study the complex "116 techniques on a wooden dummy", developed by Yip Man.

In the Vietnamese direction, there is a pair complex "108 forms", which can be performed together with a partner, on a mannequin or alone.

Other differences are not significant and will not be mentioned.

In conclusion, it should be said that now in the world there are several large organizations that study, develop and promote the art of WIN CHUN. These include the "WIN CHUN KUNG-FU World Organization" under the leadership of William Cheun, the "WIN CHUN KUNG FU International Organization" under the leadership of Liang Ting, the "Wing Chun Te Kong Association" under the leadership of Wing Zang and others.

Chapter 1. Stands and Movements

Comprehension of the Wing Chun style begins with the study of stances and movements. Traditionally, this section of the basic technique should be devoted to the first six months of classes. During this time, no other technique is being learned. This is a tradition, and everyone who wants to master the martial art to perfection must follow it strictly.

The concept of "stance" means the position of the legs, more precisely - the feet. The main requirement for the stand is that it must be comfortable and stable. In any stance, the fighter must be able to include the whole body in the blow, as well as quickly switch to another stance. Correctness of the stance depends on the position of the whole body, on the position of the back, head, hips and much more.

In Wing Chun, one single stance is studied, which has three options.

This is the front stand (fig. 1),

Rice. one

lateral frontal (Fig. 2)

Rice. 2

and front (Fig. 3).

Rice. 3

Jor Ma Boo is the name of the rack. It is easy to see that a characteristic feature of Jor Ma Bu is the high location of the center of gravity relative to the surface. This allows you to move quickly and freely in any direction.

Let us now consider all three rack options in order.

Frontal JOR MA BU

This stance is a training stance. It is used in the training process for mastering the basic technique, as well as in most of the paired exercises of Chi Sau, Lap Sau and others. Rack making method

From the starting position (Fig. 4), bend your knees slightly (Fig. 5),

Rice. 4, 5

spread the toes of the feet to the sides at an angle of 45 ° (fig. 6),

Rice. 6

and then spread the heels to the sides at an angle of 90 ° (fig. 7).

Rice. 7

You have adopted the Jor Ma Boo Frontal Stand.

Basic rack requirements:

1. Body weight is evenly distributed on both legs.

2. Both feet are firmly on the ground, forming a triangle shape.

3. The knees are slightly bent and directed inward.

4. The pelvis is moved forward.