Encyclopedia of Wing Chun. I. Dudukchan - encyclopedia of Wing Chun Kung Fu. book 4. training methods. Centerline theory

Dudukchan I., Fedorenko A

Encyclopedia

WING CHUN KUNG FU

"BASIC FORMS"

· SIU LIM TAO (initial idea)

· CHUM KIU (search for hands)

· BIL DZE (beating fingers)

Brief history of the school

The martial art system WING CHUN, 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 mastery of 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 mastered the entire system in three years of individual lessons. Having reworked the style of Ng Mai, Wan Wing Chun created an original bare-handed fighting technique, which later became known by her name. After the death of Wing Chun in the mid-17th century, her husband Liang Bak Chan began to develop and improve the style. He trained physician Liang Lei Kwai, who passed on his knowledge to Chinese opera actor and renowned butterfly knife swordsman Wang Wei Po. To the latter, the master of the long pole technique, Liang Ji Tai, suggested the following exchange: to introduce his pole technique into the WING CHUN style, and for this to study the fighting style of WANG WEI BO. The exchange took place and the pole technique, reworked in accordance with the principles of WING CHUN, was introduced into the practice of the school.

Liang Ji Tan trained the physician Lin Yan, who in turn trained his two sons Liang Chong and Liang Bak. In addition to his sons, Liang Yang passed on the knowledge of Wing Chun to one more person. His name was Chan Wah Shun. The latter had several students, among whom were Nguyen Te Kong and Ying Meng, whose names are associated with the further development of the Wing Chun school.

After the death of Chan Wei Shun, Nguyen Te Kong went to Vietnam, where he opened a school and began teaching 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 others the Wing Chun technique. His first students were restaurant employees, but as his fame spread, so did his number of followers. Ip Man's student was the famous film actor and fighter Bruce Lee.

From an early time, the teacher handed over the teaching to his older students and therefore the next generations of masters were trained mainly by his assistants. Thanks to this, and also due to the fact that students were little corrected by Yip Man (the Chinese principle of training, focusing 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 Ip Man's death, there was complete uncertainty in Hong Kong about who should be considered his successor. Since the master did not make a clear order before his death, the senior students took the leadership of the Wing Chun family into their own hands. Moreover, each of them founded his own school and his 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.

Be that as it may, it was thanks to their efforts that the Wing Chun system not only did not fade away, but also gained fame and recognition throughout the world.

Currently, there are two major directions of the Wing Chun style - Chinese (Hong Kong) and Vietnamese. The first is associated with the name of Yip Man, the second with the already mentioned above Nguyen Te Kong. Despite the similarity in basic principles and manner of fighting, they differ in the set of formal techniques. Let's take a closer look at the components of both directions of this martial art.

First of all, it is necessary to understand that WING CHUN is a close-range fighting technique in which the hands play the most 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 application, so it receives a lot of attention during the training process.

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. Similar exercises are available for the legs. The masters of the school have a developed “sixth sense”, which allows them to anticipate the enemy’s intention by touching his hand and thus determine it for at least one move; softness and pliability overcome brute force here.

The school's arsenal is encoded in six sets of formal exercises - Tao. The first “SIU LIM TAO- (“little idea”) is performed on the spot. It trains basic movements and hand combinations, and also cultivates internal Qi energy. The second “CHUM KIU* (search for hands) is devoted to practicing defense and control against 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 involves working with a wooden mannequin. 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 styles of WING CHUN. However, there are some differences that are worth mentioning.

These differences are not so great, but they constitute the “facade” of these directions.

Firstly, followers of Te 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 conducting training with a wooden dummy. In Hong Kong, they are studying the “116 techniques on a wooden mannequin” complex, developed by Ip 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 several large organizations have now been created in the world studying, developing and promoting the art of Wing Chun. These include the “World Organization of WING CHUN KUN FU” under the leadership of William Cheun, the “International Organization of WING CHUN KUN FU” under the leadership of Liang Ting, the “Wing Chun Te Kong Association” under the leadership of Wing Zang, etc.

Basic principles

Centerline theory

The center line (JOAN SIEN) is the most important concept in the 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 ensures that his center line is protected. So, for example, when performing a strike with the right hand, the left hand is pulled back and in its final position is in front of the chest near the elbow of the striking hand (Fig. 1).

Fixed Elbow Theory

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

A stationary elbow works on the same principle. The arm moves in all directions, but the elbow never moves.

If the pressure on the hand is too great, it is better to retreat with the whole body rather than just the elbow, breaking the boundary line. The distance between the thumb and little finger of the left hand is the correct distance between the elbow and the body (Fig. 2).

In the fixed elbow theory, limit lines define the limits of arm movement to the side, up and down. The upper border is the eyebrows, the lower border is the groin area, to the sides - slightly wider than the shoulders. (Fig. 3).

Current page: 1 (book has 3 pages in total)

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

CHI SAU (glued hands)

LAP SAU (grabbing hands)

VON SAU (binding hands)

CHI TEK (glued legs)

Brief history of the school

The WING CHUN martial art 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 mastered the entire system in three years of individual lessons. Having reworked Ng Mai's style, Wan Wing Chun created an original technique of bare-handed fighting, which later became named after her. After the death of Wing Chun in the mid-17th century, her husband Liang Bak Chan began to develop and improve the style. He trained physician Liang Lei Kwai, who passed on his knowledge to Chinese opera actor and renowned butterfly knife swordsman Wang Wei Bo. To the latter, the master of the long pole technique, Liang Ji Tai, proposed the following exchange: to introduce his pole technique into the WING CHUN style, and in return to study the fighting style of WANG WEI BO. The exchange took place and the pole technique, reworked in accordance with the principles of WING CHUN, was introduced into the practice of the school.

Liang Ji Tai trained the physician Liang Yang, who in turn trained his two sons Liang Chong and Liang Bak. In addition to his sons, Liang Yang passed on the knowledge of Wing Chun to one more person. His name was Chan Wa Shui. The latter had several students, among whom were Nguyen Te Kong and Yip Man, whose names are associated with the further development of the Wing Chun school.

After the death of Chan Wei Shun, Nguyen Te Kong went to Vietnam, where he opened a school and began teaching 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 others the Wing Chun technique. His first students were restaurant employees, but as his fame spread, so did his number of followers. Ip Man's student was the famous film actor and fighter Bruce Lee.

From an early time, the teacher handed over the teaching to 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 students were little corrected by Yip Man (a Chinese teaching principle focusing 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 Ip Man's death, there was complete uncertainty in Hong Kong about who should be considered his successor. Since the master did not make a clear order before his death, the senior students took the leadership of the Wing Chun family into their own hands. Moreover, each of them founded his own school and his 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.

Be that as it may, it was thanks to their efforts that the Wing Chun system not only did not fade away, but also gained fame and recognition throughout the world.

Currently, there are two major directions of the Wing Chun style - Chinese (Hong Kong) and Vietnamese. The first is associated with the name of Yip Man, the second with the already mentioned above Nguyen Te Kong. Despite the similarity in the basic principles and manner of conducting a duel, they differ in the set of formal techniques. Let's take a closer look at the components of both directions of this martial art.

First of all, it must be said that WING CHUN is a close-range fighting technique in which the hands play the most 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 application, so it receives a lot of attention during the training process.

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. Similar exercises are available for the legs. The masters of the school have a developed “sixth sense”, which allows them to anticipate the enemy’s intention by touching his hand and thus get ahead of him by at least one move; softness and pliability overcome brute force here.

The school's arsenal is encoded in six sets of formal exercises - Tao. The first "SIU LIM TAO" ("little idea") is performed on the spot. It trains basic movements and hand combinations, and also cultivates internal Qi energy. The second “CHUM KIU” (search for hands) is devoted to practicing defense and control against 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 involves working with a wooden mannequin. 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 WING CHUN. However, there are some differences that are worth mentioning.

These differences are not so great, but they constitute the “facade” of these directions.

Firstly, followers of Te 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 conducting training with a wooden dummy. In Hong Kong, they are studying the “116 techniques on a wooden mannequin” complex, developed by Ip 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 several large organizations have now been created in the world studying, developing and promoting the art of Wing Chun. These include the “World Organization of WING CHUN KUN FU” under the leadership of William Cheun, the “International Organization of WING CHUN KUN FU” under the leadership of Liang Ting, the “Wing Chun Te Kong Association” under the leadership of Wing Zang, etc.

Basic principles

Centerline theory

The center line (JOAN SIEN) is the most important concept in the 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 ensures that his center line is protected. So, for example, when performing a strike with the right hand, the left hand is pulled back and in its final position is in front of the chest near the elbow of the striking hand (Fig. 1).

Fixed Elbow Theory

The Fixed Elbow Theory (BAT DOAN YANG) is very important in WING CHUN. In theory, it's like a hurricane. The center of the hurricane is calm, but its periphery is moving with great force.

A stationary elbow works on the same principle. The arm moves in all directions, but the elbow never moves.

If the pressure on the hand is too great, it is better to retreat with the whole body rather than just the elbow, breaking the boundary line. The distance between the thumb and little finger of the left hand is the correct distance between the elbow and the body (Fig. 2).

In the fixed elbow theory, limit lines define the limits of arm movement to the side, up and down. The upper border is the eyebrows, the lower border is the groin area, to the sides - 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 at the top, the groin at the bottom 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 from the side of the forward hand is the outer high gate.

Any attack into this gate is blocked from the outside. Attacks on the inner gate are blocked inward. Each gate has two separate areas: front and back (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 WING CHUN KUNG FU, as for any martial art, the main foundation is the correct stance. This is the foundation on which the entire technique of the WING CHUN school is built, without which it is not possible to master the art of combat.

The stance is a position of balance between the possibilities of attack and defense. The essence of every stance is to always be ready for anything. For those who know this fact, the stance allows one to immediately release reflexive speed and give adequate technical expression.

In ancient times, in KUNG FU schools, for the first six months, or even a year, students were taught the ability to take stances and move from one stance to another. However, no other technique was studied. This was the teaching method that bore fruit.

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

1) Front

This is a training stance, which is used, as a rule, to practice basic techniques, as well as when performing paired exercises CHI SAU, PAWS SAU and others.

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

2) Lateral front

This stance also applies 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 post is adopted by turning to the right or left by 45° from the front post. The turn is carried out on the entire foot, which is an essential point, since if you lift your toes off the floor when turning, you will lose your balance. When taking a stance, 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 at 45° relative to the front line. The criterion for correctly adopting a stance is the position of the body. Its center line should be offset relative to 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 located on the same line, almost parallel to each other and directed at an angle of 45° to the front line.

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

Movements

When advancing

1. A right-handed stance is adopted (Fig. 1).

2. Without changing the position of your hands, you should take a full step forward with your right foot (Fig. 2) and then half a step with your left foot (Fig. 3).

When retreating

Make the opposite movement to the offensive one; from the right stance (Fig. 4), the left leg slides back (Fig. 5) and then takes a half step back with the right foot (Fig. 6).

When stepping left

1. You should take a right-handed stance (Fig. 7).

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

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

When you step to the right

1. It is necessary to take a right-handed stance (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 a left-sided front stance (Fig. 13).

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

Without stopping, step your right foot at an angle of 90° to the line of your initial movement. At the same time, change the position of your hands, i.e. move your right hand forward, and pull your left one towards the body (Fig. 16).

Step your left foot towards your right so as to take a right-sided stance (Fig. 17).

Now follow the steps above in symmetrical display. As a result, you will find yourself in a left-handed stance. Next, move to the right-side stance, then to the left-side, etc. Move forward all the time. The movement trajectory is shown in Fig. 18.

Turns in place.

This technique is important in the Wing Chun style. It is practiced literally from the first training sessions. In the Vietnamese direction of the VING CHUN school, the first six months, students use about half of the training time to practice this technique. Turning in place develops the ability to move the body away from the line of attack.

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

Take a frontal stance. Bend your arms and pull them to your chest (Fig. 19).

Turn your entire foot to the right 45°. Shift your body weight to your left leg, leaving your right leg almost free. You have adopted a side front stance (Fig. 20).

Now turn left 90°. Shift your body weight to your right leg (Fig. 21).

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

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

Leaving the line of attack (changing stance).

Adopt a right-hand front stance. In this case, the right hand is moved forward, and the left is located closer to the body (Fig. 22).

Pull your right leg towards your left, and then move it to the right, taking a front stance (Fig. 23).

Without stopping, transfer your body weight to your right leg, pull your left leg towards your right and then push it forward, taking a left-front stance (Fig. 24).

When placing the left foot forward, a change of hands occurs. The left one moves forward, and the right one is pulled back towards the body.

Now make the transition from the left-sided stance to the right-sided one. All actions are performed according to the scheme described above, 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 leave the line of attack and approach the enemy from the flank to carry out your attack.

Punches

Punching is the hallmark of the 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. Moreover, 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 direct strike with a vertical fist, performed at a certain angle, can actually serve as a retraction block and at the same time a counterattack.

In some schools of the Hong Kong style of WING CHUN, the main emphasis is on studying and practicing the direct punch of NOU MUNG 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. It’s hard to disagree with this, but in reality, it’s often the other way around: a circular or arc-shaped movement is more effective than a direct blow. For example, in the classic basic exercise LAPS SAU, in many schools, instead of a direct blow, NOU MUNG CHUI, a chopping blow is delivered with a fist.

The book offered to your attention will examine the five basic punches studied in the Vietnamese direction of the Wing Chun school.

1) Direct punch (NOU MUNG CHUI)

Basic strike in WING CHUN style. It is most often used in practice, so it is necessary to pay the greatest attention to its development.

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

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

Figure 2 shows the use of a direct strike with a simultaneous block of TAN SAU.

2) Side impact

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

Figure 4 shows the use of a side impact with a simultaneous PAK self-propelled gun unit.

The book presents in an accessible form one of the traditional styles of hand-to-hand combat in China - Wing Chun Kuen. The basic principles, techniques, forms and methods of training are described in detail.

Encyclopedia of Wing Chun Kung Fu. Volume 2

Book 2. Special equipment
— CHI SAU (glued hands)
— LAP SAU (grabbing hands)
— VON SAU (binding hands)
— CHI TEK (glued legs)

Encyclopedia of Wing Chun Kung Fu. Volume 3

Book 3. Pair complex “108 forms”

Pair work in the WING CHUN school is given a lot of attention. This, already known to the reader, is the practice of CHI SAU, LAP SAU, FON SAU.

At more advanced stages of training, they begin to study and practice paired complexes (duilian). They require excellent coordination, a sense of rhythm, speed, a combination of movements of all parts of the body, and understanding of your partner.

Encyclopedia of Wing Chun Kung Fu. Volume 4

Book 4. Training methods

Understanding the Wing Chun style begins with studying stances and movements. According to tradition, this section of basic technique should be devoted to the first six months of classes.

No other technique is learned during this time. This is the tradition, and anyone who wants to master the martial art to perfection must follow it strictly.

Encyclopedia of Wing Chun Kung Fu. Volume 5

Book 5. Pole technique “Luk dim buk gun”

The Bow Dim Buk Gun pole technique became an integral part of the Wing Chun style thanks to master Wang Wei Bo.

Before this, the only weapons in the Wing Chun school were butterfly knives. From that time to this day, learning the technique of working with a wooden pole has been mandatory for all Wing Chun practitioners.

Encyclopedia of Wing Chun Kung Fu. Volume 6

Book 6. Butterfly sword technique “Bat Cham Dao”

The main type of weapon in the Wing Chun school are butterfly swords. This is a dual wield weapon. The technique of wielding butterfly swords is considered the most difficult, so it is studied at more advanced stages of training. There is an opinion that butterfly swords have no equal among bladed weapons in terms of effectiveness.

This type of weapon was introduced into the Wing Chun style by the third generation of masters. The technique of working with butterfly swords was adapted to the basic technique. To a certain extent, the basic movements with swords are the same as the basic movements of the hands in the unarmed version. The swords here are like an extension of the hands.

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Dudukchan I., Fedorenko A

Encyclopedia

"WING CHUN KUNG FU."

"TRAINING METHODS"

Brief history of the school

The martial art system WING CHUN, 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 mastered the entire system in three years of individual lessons. Having reworked the style of Ng Mai, Wan Wing Chun created an original bare-handed fighting technique, which later became known by her name. After the death of Wing Chun in the mid-17th century, her husband Liang Bak Chan began to develop and improve the style. He trained physician Liang Lei Kwai, who passed on his knowledge to Chinese opera actor and renowned butterfly knife swordsman Wang Wei Bo. To the latter, the master of the long pole technique, Liang Ji Tai, proposed the following exchange: to introduce his pole technique into the WING CHUN style, and in return to study the fighting style of WANG WEI BO. The exchange took place and the pole technique, reworked in accordance with the principles of WING CHUN, was introduced into the practice of the school.

Liang Ji Tai trained the physician Liang Yang, who in turn trained his two sons Liang Chong and Liang Bak. In addition to his sons, Liang Yang passed on the knowledge of Wing Chun to one more person. His name was Chan Wah Shun. The latter had several students, among whom were Nguyen Te Kong and Yip Man, whose names are associated with the further development of the Wing Chun school.

After the death of Chan Wei Shun, Nguyen Te Kong went to Vietnam, where he opened a school and began teaching 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 others the Wing Chun technique. His first students were restaurant employees, but as his fame spread, so did his number of followers. Ip Man's student was the famous film actor and fighter Bruce Lee.

From an early time, the teacher handed over the teaching to 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 students were little corrected by Yip Man (a Chinese teaching principle focusing 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 Ip Man's death, there was complete uncertainty in Hong Kong about who should be considered his successor. Since the master did not make a clear order before his death, the senior students took the leadership of the Wing Chun family into their own hands. Moreover, each of them founded his own school and his 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.

Be that as it may, it was thanks to their efforts that the Wing Chun system not only did not fade away, but also gained fame and recognition throughout the world.

Currently, there are two major directions of the Wing Chun style - Chinese (Hong Kong) and Vietnamese. The first is associated with the name of Yip Man, the second with the already mentioned above Nguyen Te Kong. Despite the similarity in basic principles and manner of fighting, they differ in the set of formal techniques. Let's take a closer look at the components of both directions of this martial art.

First of all, it must be said that WING CHUN is a close-range fighting technique in which the hands play the most 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 application, so it receives a lot of attention during the training process.

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. Similar exercises are available for the legs. The masters of the school have a developed “sixth sense”, which allows them to anticipate the enemy’s intention by touching his hand and thus determine it for at least one move; softness and pliability overcome brute force here.

The school's arsenal is encoded in six sets of formal exercises - Tao. The first "SIU LIM TAO" ("little idea") is performed on the spot. It trains basic movements and hand combinations, and also cultivates internal Qi energy. The second “CHUM KIU” (search for hands) is devoted to practicing defense and control against 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 involves working with a wooden mannequin. 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 styles of WING CHUN. However, there are some differences that are worth mentioning.

These differences are not so great, but they constitute the “facade” of these directions.

Firstly, followers of Te 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 conducting training with a wooden dummy. In Hong Kong, they are studying the “116 techniques on a wooden mannequin” complex, developed by Ip 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 several large organizations have now been created in the world studying, developing and promoting the art of Wing Chun. These include the “World Organization of WING CHUN KUNG FU” under the leadership of William Cheun, the “International Organization of WING CHUN KUNG FU” under the leadership of Liang Ting, the “Wing Chun Te Kong Association” under the leadership of Wing Zang, etc.

Chapter 1. Stances and movements

Understanding the Wing Chun style begins with studying stances and movements. According to tradition, this section of basic technique should be devoted to the first six months of classes. No other technique is learned during this time. This is the tradition, and anyone who wants to master the martial art to perfection must follow it strictly.

The concept of “stance” refers to the position of the legs, or more precisely, the feet. The main requirement for a stand is that it should be comfortable and stable. In any stance, the fighter must be able to engage the entire body in the blow, as well as quickly change to another stance. The correct stance depends on the position of the entire body, the position of the back, head, hips and much more.

In Wing Chun, one single stance is taught, which has three variations.

This is the front stand (Fig. 1),

Rice. 1

lateral frontal (Fig. 2)

Rice. 2

and anterior (Fig. 3).

Rice. 3

Jor Ma Bu is the name of the stand. 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 stand options in order.

This stance is a training stance. It is used in the training process to practice basic techniques, as well as in most paired exercises of Chi Sau, Lap Sau and others. Method of taking a stance

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

Rice. 4, 5

spread your toes apart at an angle of 45° (Fig. 6),

Rice. 6

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

Rice. 7

You have assumed the front stance of Jor Ma Bu.

Basic requirements for the rack:

1. Body weight is evenly distributed on both legs.

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

3. Knees are slightly bent and directed inward.

4. The pelvis is moved forward.

Brief history of the school

The martial art system WING CHUN, 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 mastered the entire system in three years of individual lessons. Having reworked the style of Ng Mai, Wan Wing Chun created an original bare-handed fighting technique, which later became known by her name. After the death of Wing Chun in the mid-17th century, her husband Liang Bak Chan began to develop and improve the style. He trained physician Liang Lei Kwai, who passed on his knowledge to Chinese opera actor and renowned butterfly knife swordsman Wang Wei Bo. To the latter, the master of the long pole technique, Liang Ji Tai, proposed the following exchange: to introduce his pole technique into the WING CHUN style, and in return to study the fighting style of WANG WEI BO. The exchange took place and the pole technique, reworked in accordance with the principles of WING CHUN, was introduced into the practice of the school.

Liang Ji Tai trained the physician Liang Yang, who in turn trained his two sons Liang Chong and Liang Bak. In addition to his sons, Liang Yang passed on the knowledge of Wing Chun to one more person. His name was Chan Wah Shun. The latter had several students, among whom were Nguyen Te Kong and Yip Man, whose names are associated with the further development of the Wing Chun school.

After the death of Chan Wei Shun, Nguyen Te Kong went to Vietnam, where he opened a school and began teaching 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 others the Wing Chun technique. His first students were restaurant employees, but as his fame spread, so did his number of followers. Ip Man's student was the famous film actor and fighter Bruce Lee.

From an early time, the teacher handed over the teaching to 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 students were little corrected by Yip Man (a Chinese teaching principle focusing 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 Ip Man's death, there was complete uncertainty in Hong Kong about who should be considered his successor. Since the master did not make a clear order before his death, the senior students took the leadership of the Wing Chun family into their own hands. Moreover, each of them founded his own school and his 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.

Be that as it may, it was thanks to their efforts that the Wing Chun system not only did not fade away, but also gained fame and recognition throughout the world.

Currently, there are two major directions of the Wing Chun style - Chinese (Hong Kong) and Vietnamese. The first is associated with the name of Yip Man, the second with the already mentioned above Nguyen Te Kong. Despite the similarity in basic principles and manner of fighting, they differ in the set of formal techniques. Let's take a closer look at the components of both directions of this martial art.

First of all, it must be said that WING CHUN is a close-range fighting technique in which the hands play the most 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 application, so it receives a lot of attention during the training process.

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. Similar exercises are available for the legs. The masters of the school have a developed “sixth sense”, which allows them to anticipate the enemy’s intention by touching his hand and thus determine it for at least one move; softness and pliability overcome brute force here.

The school's arsenal is encoded in six sets of formal exercises - Tao. The first "SIU LIM TAO" ("little idea") is performed on the spot. It trains basic movements and hand combinations, and also cultivates internal Qi energy. The second “CHUM KIU” (search for hands) is devoted to practicing defense and control against 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 involves working with a wooden mannequin. 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 styles of WING CHUN. However, there are some differences that are worth mentioning.

These differences are not so great, but they constitute the “facade” of these directions.

Firstly, followers of Te 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 conducting training with a wooden dummy. In Hong Kong, they are studying the “116 techniques on a wooden mannequin” complex, developed by Ip 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 several large organizations have now been created in the world studying, developing and promoting the art of Wing Chun. These include the “World Organization of WING CHUN KUNG FU” under the leadership of William Cheun, the “International Organization of WING CHUN KUNG FU” under the leadership of Liang Ting, the “Wing Chun Te Kong Association” under the leadership of Wing Zang, etc.