MantisQuarterly J eee Tce Sf Mats (hi Rau Torxt aoe the other sx, please sce Mant Quarter Vol 4 Issue 3, hi tong er gou shou: Ifthe ‘opponent strikes with a pow- erful straight punch, then respond with the hook hand. The power of a straight punch is something 1 be avoided, but that same power can be used against the opponent. As the hand enters, the Mantis boxer contacts the attacking am, ‘moves with i for an instant and then caprures the arm ‘sing che threefinger grab of the gou shou (hocking hand). Its one of the signarure tech niques of Mantis Boxing It both deflects and capeures the ‘opponent’ arm for & moment. In that time, the Mantis boxer can strike with his other hand ‘or disengage his hook and strike with the same hand. The ‘gs shou can be employed in an upper, lower or reverse fish jm to deal with tikes from any angle Many instructors inerpeet this category’ to apply to all dao shou (booking hand) techniques. Diao actually means tricky or artful, bur its best known in English as the Mantis Hook. Huang Hanxun described three kinds of hook hands. The fist is 4. tap with a hook hand that follows and deflecs bbut does not remain attached. Ie would be used to defend, but not t tap. Icis often combined with lower atacks or a continuous motion lead ing to a counteratac withthe same hand, ‘The second is hook hand that attaches afer contact, enabling the creation of an opening. ‘thatthe Mantis boxer uses ro deliver strikes with cither the same hand or the opposite hand. The third ea hook hand that eatches and maintains The late Sits Yu Tincheng (1837-2008) performs Ba Wang Qing Ke (Hege- ‘mon King Inites Gues) fom the Beng Bu Quon (Cushing Step Boxing) fr. This movemers hich poet pling motion that precedes mary tang and tring techniques would fll under the category of ea shoe she (acai a plucking hor! then immeditly Ske). Thanks to Shia Slowomic Ilezore and he Polish Monts Basing Society fe roving this phot. contact, becoming a mote substancal grabbing ‘motion. This motion enables locks, chrows and limb destructons. All chee ofthese hook hands techniques follow the same principle of contact ing and following, Cai shou er ru shou: Execute the plucking hand, then immediately strike. ‘The cai shou (plucking hand) isa sudden, jerk ing motion executed most offen against the ‘opponents arms. Afier coming into contact with the opponent’ bridge arms, the Mantis boxer will use his tng jin (listening energy) to feel =Mie Gots (ef) ond John ‘Duly (ah) deronstate cei show ou shou execute the plucking hand. then “nmeditely te) the direction of che opponent's force and add tie, desabilz ing the opponent and creating ‘openings fr striking and poesi- bly damaging che opponent's captured limb, On the ofense, this racic enables the Mantis boxer o enter into close range as he lcerally pulls himself to his opponent. On che defense, this enables the Mantis boxer to crete openings or throw his ‘opponent off balance. An ‘sample of thie racic can be fen in the phoro sequence on this page In either case, the Mantis bot is dinecred to strike immediately after using the phicking hand. One reason for this cha che opening will nearly always be there and i isan opportunity that passes quick: ly. The second reason is that ci often involves the Mantis boxer using both hands 1 execute the plucking motion. In such cases, he leaves himself open iFhe dacs not fill dhe void wich his own strike Because ofthis moment of potential valners biliy for both sides, this method ako can be ‘ead, “Ifyour opponent uses the plucking hand against you, shen you should immediately strike.” This strike can be done withthe hand, but ic also can be done with any ofthe Eight Short Striking Methods (Ba Dan Da), asthe Matis bose rides the force ofthe plucking ‘motion ro slam into his atecker witha shoulder, cdo hip or even « head but 2 | manisquartety Lou shou er jn shou: Execute the gathering hhand, then attack. Loa isto gather, a raking in money fin a table. The gathering hand mecte the opponent’ tack, coves the opponent's arm and directs the rack into a harmless vector. This motion takes Tie energy because it uses che opponents own force 1o create the opening by leading i. The “Mantis boxer is told to enter the opening created by this action with st, jin shou, Jin means ‘o ence, a if entering a room, Conversely the boxer aso is old, “I your ‘opponent uses the gathering hand, then use an emtetng hand." In this interpretation, he fighter is advised to shoot in with either his opposite hand or che tapped hand. When using the trapped hand, che fighcer relaxes hi am and bends his elbow to escape the restraining force of the gathering hand and continue into strike in manner similar tothe lou shou (leaking hand), ‘Ke shou er ru shou: Execute the knocking brand, then attack. The ke shou (knocking hand) is one of the ech ques thar hat many interpretations. One inte: pretation is thar the knocking hand cues fiom the outside tothe inside of an opponent’ bridge arm and atacks once inside. Others hold that the ke shou references Jin Xiang, one of the Eighteen Founders whose styles make up Tanglang Quan, ‘The Eighteen Foundew’ poem says "Jin Xiang de ke shou tong quan” (in Xiang knocking hands flow continous) This second incexpretation indicates a method of striking that alternates ight and lee ‘or high and low, causing the opponent vo open himself up for an arack. Tou Shou (Stealing VOUME 4 ISSUE 4Hand), Ds Fan Tian Yin (Big Overturning the Heaven's Palm) and Xiao Fan Tian Yin (Small (Overturning the Heavens Palm) are examples of this method: I the opponent ‘then attack with a "The Breaking Hand referred co here i giana technique intended 10 be used when an oppo- nen adheres ro the Mantis boxer’ arms of wrists. Arig can coable skilled boxer ro neutralize strikes and enter safely 10 dow, lok or strike "The Mantis boxer uses his sensiiviy (cing jin) co feel the direction ofthe opponent’ intended ‘movement, harmonize with icand execute a inna limb destruction, lock or takedown. An ‘example ofthis tactic cn be seen in the photo sequence on this page. Po show in Mantis Boxing can also refer to ‘one of the Eighteen Founders, for example Yan ‘Qing Po Shou (Van Qing’s Breaking Hands). Ie is found in the eworpersoa form Pai An (Slap- ping Press. Kai shou er die shou: Execute the opening hand, then the combining hands. In this method, the Mantis boxe opens the guard ofthe opponent, especially when the ‘opponent has atempred a double-hand strike or 4 crapping motion using two hands. Aer open- ing the guard of the opponent the boxer will counter with a serike using both hands together. The borer who internalizs the principles of the Tolve Soft and the Eight Haed gains a sense of which is appropriate to use ina specific situation, The boxer becomes neither all soft nor all hard. Instead, the mixing of soft and hard with the correct timing brings che boxer to what is called formlessess, a sate of sophistica tion where the opponent does nct know how the boxers power will manifest irs, MQ ‘ke Coes (et) and ohn Duly igh) demonstrate ian shou e po shou (the ‘opponent adhere a your hands then atack with ae ae VOLUME 4 ISSUE 4 Manisquartery | 3 tKorean Praying Mantis Boxing About the Author Fernando Blanco Dopao is Wlcbmastrof The Mant ove anda longtime pact tianer ef the Tan branches of Tang Lang Quan. He is ‘anol concerrating on tecning in moinland OF 2g Tang tang Quon Introduction Kota is located close ro Shan Dong Province in China, the birthplace of Tang Lang Quan (Pray- ing Mantis Boxing). Because of the geographical situation, fed elaionship berween these 10 locations would be expected, but over the years the exchange has been impacted by hisworcal and Political stations, Modem times have been if Ful for Kore, The peninsula went through a horrendous Japanese cecupation, was affected by the Chinese Communist Revolution and fically suf terrible cv war, We have to under- the tansminion of Chinese boring eles in Korea in ight of thse even “Although several modern Korean styles, such as Hoa Rang Do, Tang Soo Do Moo Dale Kwan and Kuk Sool Won, claim Chinese root or influ fences, in most cases the historical inks and the Stylistic similares are not evident. In this art cle, we will concentrate onthe verilable ans ‘mission of Tang Lang Quan. Historical Transmission Most ofthe Tang Lang Quan euteny Found in Korea comes fom Shifa Lin Pin Zhang, a su dene of shfus Ji Chung Ting and Sun Yuan Chang. Shift Lin immigrated vo Korein the 19405 This lineage unually asd as Met Hua Tang Lang Quan (Plum lower Paying Mantis Boxing), and itis probably the most popular Maas ineage in Korea The othe sig nifeane Korean branch originated with hi Jiang Kyung Fung, a cose rend of Shia Lin Ping Zang who abo immigrated to Kora in the 1940s, Shi ang was sede of Shika Hao Heng Lu in San Dong Province, and bis lineage is usally casi Tat Ji Moi Hox “ang Lang Quan (Supreme Plum Flower Paying Mantis Boxing) Ta addition, I ave scen some Liu He Tang Lang Quan (Sx Harmonies Paying Mantis Bor- ing) Forms bing done in Kore but the boxes were unable o provide a good explanation of thei ings Finally {have head rumors tha hifi Wei Xiao Tang tugh Ba Bu Tang Lang Quan (ight Steps Praying Mantis Boing) in Korea afer he lef Shan Dong prior his Bal move vo Ts sean but [war unable o find ay representative ofthis branch nee peninl® In summary, cording vo our curent research, we wl have | manicure 1 limie our focus tothe lineages we can clearly document; therefore, I will classify Korean Tang Lang Quan aca locally avored Tang Lang Quan of che Mei Hua variews Characteristics ay tes the Koren Tang Lang Quan branch Tigiesesteubiccivence! branch, The purty disussion is nonsense: there ino such thing a pure or orginal Tang Lang ‘Quan. Toa reste of lesser exent, every Manis branch has had inflenes fom other Chinese boing soles o other Tang Lang Quan branches yen if shift has only tained ina single Tang Lang Quan lineage, he will have his own petson- al Navor when doing forms, he will have favorite st of techniques, or he will emphasize one taining method over others. Eventually he wil transfer his point of view to his students, ‘who wil go throug the same proces “Thacis how Chinese boxing syles have volved over the yea, by exchanging techniques ‘with other styles or by personal research by our ancestors in the art. We would be fooling our- ‘cies to think chat one lineage or another has ep it pure and unchanged over the yeas. We can be sure thar any Tang Lang Quan found today i differen fom the Tang Lang Quan tesined in the nineteenth century, or even the “Tang Lang Quan tsined a the beginning of the twentieth century. If we understand that Chi- nese bora ses are an evolving et of princi ples then we can se chat the Korean Tang Lang Quan branch isa lgiimace sister branch of shore curently practiced in mainland China, Taiwan or Hong Kong, ‘Some have questioned the legitimacy ofthe Korean branch, laiming thatthe Chinese mas- ters of Tang Lang Quan did not reach the com plete sel to he Koreans because of nationalistic Pride. However, here is tong evidence to Aemonseate that Chinese Tang Lang Quan mas- ters in Korca have not held back knowledge. For example, iis surprising to see how many Korean Tang. Lang Quan boxers know the Ba Zhou (Eight Elbows) form compared ro Mancis boxers in Taiwan and Hong Kong. ‘Looking at Korean Mei Hua Tang Lang Quan, we ca se that this branch has is ov characteristics. These diferent elements have been incorporated through the influence of local VOLUME 4 ISSUE 4and Japanese boxing systems, as well as other ‘Chinese boxing styles practiced in Korea In some movements, especialy in the hard training methods, we can see the Korean favor, with force meeting force and very linar movement for the most pare ‘When we compare dhe Korean Mantis ‘branch with is Met Hua Tang Lang Quan sister branches in Taiwan and mainland China, we ean sce that the Koreans havea harder, more rigid quality in their Mantis techniques However, if we compare Korean Tang Lang ‘Quan to the most wellknown Manis system in the west, Hong Kong Qi Xing Tang Lang Quan (Seven Star Praying Mantis Boxing), the Laer scams to be an even more diret, straight-line ar Hong Kong Qi Xing Tang Lang Quan uses medium to small-range movements, with small cece inthe hand forms, creating very quick, dlireceateacke, Korean Tang Lang Quan tesins the Mei Hus techniques, using larger cirls in the hand forms, and the movements are media to large compared ro Hong Kong Qi Xing Tang Lang Quan, Korein Tang Lang Quai lao uses more waist movement: everalls it sems to he ‘more circulate in its approach to combat than Hong Kong Qi Xing Tang Lang Quan. Curricula in Korean Branches ‘Avan equal sister tothe other Mei Ha Tang Lang Quan branches, che Korean method has a Joe to add to the discussion, Tang Lang Quan was introduced in Korea mote than 50 yeats ago, ‘making i atleast as old as che mainstream Mei Hua Tang Lang Quan in'Tsiwan, Tat offers us an opportunity to analyze this branch by com- paring ito other branches in mainland Chins, Taiwan and Hong Kong, adding a valuable cle ment to understanding Mei Hus Tang Lang Qua history and evlution, Western gong fa practitioners are oft con fused and frastrated with Chinese expressions and langwags, and sometimes language is a bor ‘eri the tansmision of knowledge from master to student. Something similar happened in Kore, and we can sein che different Tang Lang, Quan school programs that the sets were some- times retained with Chinese names and some ‘were translated to Korean. Unfortunately the tanslations are nor very aecurate Several Korea lineages ince diferent forms in thee teaching curriculum. To add ro the confusion, in Korea we sea siuatin similar to “Taiwan — differen branches and lineages have ‘exchanged knowledge, and stdents have trained ‘with diferene masters — making i dificule to describe a seandard curriculum for Korean Tang ‘Lang Quan. Iwill attempt to do this by listing the forms most commonly trained in the Korean peninsula lineage In several Korean Mei Hua Tang Lang {Quan schools, we find what is called the Shou Series, which are series of basic combinations smbered one through seven, Most schools train only Yi Shots Quan (One Hand Boxing) Wa Show Quan (ive Hands Box ing) and Qi Show Quan (even Hands Boxing). These sets ae bas aally one combina tion done four each direction, plus the ernst: Al moves, Although interest. ing, these combi rations cannot be considered tao lu (forms), buc rather inecoductory tech We can clasify the actual to he trained in che df (eee kell ages inthe follow ing groups accord ing to thee origin ‘Shiu Yim Ho Sok as ‘fet of Shit Chon Song ‘Shing (Me Hua Tongan ‘Quan, Shi in Bin zhong Group 1: External Influences 1. Hei Hu Quan (Black Tiger Boxing) 2. Tan Tui Quan (Spring Leg Boxing) 3. Jing Gang Quan (Buddha's Wartiors Boxing) lineage) demonstrates weapons techniques I wil ies attemps to identify the clements that came from other gong-fn eles, [have not included the forms trained in some Korean Tang Lang Quan schools that can be clearly «raced back wo Ba Gus Zhang (Eight Teigrams Palm}. We know that Shifu Lu Shien Tien! trained Ba Gua Zhang and Xing Yi Quan (Form and Will Boxing) and that he incorpo: rated certain Tang Lang Quan techniques and forms into his method. His Tang Lang Quan teaching has clearly been modified by a strong Be Gua Zhang influence, Shifts Lu Shien Tiea was a close friend of Shifa Lin Ping Zhang, and they shared many students, 0 the relationship is clear rei Hua Quan s noc a Tang Lang Quan forms itis from Shan Dong Province’ Chang = Mantisqusetery | 5‘Author Fernando lenco boxing Teng Lang Quon in «Buddhist Temple. ‘Quan (Long Boxing), and i is also tained by many Tang Lang Quan boxer i Taiwan Tan Tei Quan is posibly the most famous Bei Quan (Northera Boxing) to lu. This form is also trained in many Hong Kong’Tang Lang (Quan lineages cansmitted through the Jing Wu Hui (Chin Woo Association). cis unclear if cis form was originally part ofa Tan Tai Quan style or if ic jast used to be pare of Fun Quan (China Boxing) or Cha Quan (Cha Clan Boxing). Ia any cae, is clear that eis related ro the Moslem boxing syles from northern China and noc an ‘original Tang Lang Quan form. Ting, Gang Quan is clearly dentfied in the Korean lineages as « Shaolin form that was incor- porated into the system, and iti pot an original Tang Lang Quan form. Group 2: Hong Kong Qi Xing Tang Lang Quan Influence 44. Shi Ba Sou (Fighteen Ancestors Boxing)® 5. Cha Chui Quan (Piercing Strike Boxing )" 6. Mei Hua Quan (Plum Blossom Fist) 5 | maniscuartriy 1. Mei Hua Shou (Plum Blossom Hand) 8. Da Jia Shi (Lage Freme Form) 9. Xiao Jia Shi (Smell Frame Form) 10.Si Lu Ben Da (Four Directional Chase and Stike) 11. Bai Yuan Chu Dong (White Ape Exits the Cave) 12.Bai Yuan Tou Tao (White Ape Steals the Peach) We can clay trace forms four through 100 the Hong Kong branch of Qi Xing Tang Lang, (Quan (Seven Star Praying Mantis Boxing). We have to recognize chat Shift Huang Han Xun books have influenced some Korean lineages since the 1950s. Versions of Shi Ba Sou and Cha Chui Quan found in Korea are dissnet from the ‘mainland Qi Xing Tang Lang Quan versions, but they resemble the Hong Kong branch The same etre of the Bai Youn forms. In Tai Ji Mei Hua Tang Lang Quan, these 680 forms belong to a seis of six or seven white monkey form. Although these forms were into duced more recendly into Mei Hua Tang Lang (Quan, the similarity of names would suggest link between Mei Hua and Qi Xing, However, i wwe look atthe techniques, the Korean foems look more closely related to the Hong Kong versions: therefore, iis beer to classify chem as being part of the second group (Hong Kong Qi Xing Tang Lang Quan) of influences As there is no evidence that masters from Hong Kong moved to Korea during this period, the logical explanation forthe presence of Qi Xing Tang Lang Quan forms developed by Shi Luo Guang Yas thar they were taken from Shif Hiuung Han Xuss books. This i touchy subject Inccause nobody wants to acknowledge che influ ‘ence of books on their own systems or curricula, ‘but ics face chat Sifu Huang Han Xuns Bei “Tang Lang Quan books have been a source of information nor only in Korea, bu also in Ta wan and mainland Chins do not want my previous satement about the Hong Kong Qi Xing Tang Lang Quan ill cence on Korean Tang Lang Quan to be misntr preted | do not mean ro say that Korean Tang, Tang Quan does nt hold original traditional teaching. In fac, ro srs che relevance of the Korean branch, Iwill provide an example related to the Mei Hua Li (Phim Flower Read) form, which was originally developed in Mei Hua Ting Lang Quan and Iter adapted by ether branches. The Korean version of this form i almost ident cal co che Li Kun Shan lineage! version tained in Taiwan, In contest, the Hong Kong Qi Xing Tang Lang Quan version of this form has more VOLUME 4, ISSUE4‘movements. The similtty between the inde- pendent Taiwanese and Korean branches points to the conclusion thar the Hong Kong version has addtional movements added by later master and the Korean and Taiwanese versions are closet to the original Mei Hua La Group 3: Korean Forms 13, Shuang Feng Quan (Double Wind Boxing) 14. ai Lu Quan (Open Road Boxing) These forms ae trained in the Korcan lineage; bur noc in other Tang Lang Quan lineages. As | have been unable to identify a source fr these forms in other branches, I assume they were developed in Korea by local masters, although it is possible tha chey belong co other syle of Chi nese boring that Iam not aware of Group 4: Mei Hua Tang Lang Quan Core 15. Beng Bu Quan (Crush tep Boxing) 16. Met Hua ts (Pum Flower Road) 1. Lan ie (Disorderly Connection) 18.8 Zhou 1-4 (ight Eows 1-8)" 18. Zhai Yoo Quon 1-6 seal Boxing 1-6) 28. Fan Che Quan uring the Water! Boxing) Putting aside external influences, this branch pro vides grea opportunity to understand what Mei Hua Tang Lang Quan was ikea the begin ning ofthe 1940s. Because the Korean branch remained isolated from ather Tang Lang Quan branches for many yeas, c provides atime stamp, of a sort of snapshot, of the posible look ‘of Mei Fluz Tang Lang Quan daring Shits Jang Hua Long’ ime By analying the Korean line age in comparison to other lineages in Taiwan and mainland China, we can dheorize that che style was composed ofthe Forms in Group 4 Other Training Methods Teeny ts Kees tin Sn i Zan Luo Ha Gong Cee euro and Nine Raub bats Ec, conporl aff Oi Gong and Si Be La Tia uc ads Sy Nae Po tac) of io Han ard Oi Gong sich habe tunedin aan Tt Ma Tan Lang Quan Pu in Korea In addition ots contribution to Mei Hua Tang. Lang Quan research on the evolution oftech- nique, the Korean branch has important infor mation to add tothe study of Tang Lang Quan WoLUME 4 1SSUE 4 bistory: Quan pu is ranelated in English as box: ing manval, or more accurately as boxing man pt: The relevance of quan pu tothe historical development of Chinese boxing has been highly overrated, considering that in Chinese society during chat time most ofthe population (includ ing boxing masters) was iligerae, but we cannot ‘deny chat today bosing manuals are a valuable resource in understanding the history and evo tion of Chinese boxing systems, (On this topic, dhe Korean branch has a val able resource for consideration. Shifa Ji Chun Ting brought 2 manasripe writen by Shif fang Hua Long to Korea (actualy iia copy of Shite Liang Xue Xiangs manuscript Ru Men Quan fe Many rumors and legends have developed in Ta wan abou this manuscrip, inching tha large sates of land have been given upto obain it Regardless ofthe stories surrounding the man script, dhe document exists, andthe Korean branch has this importanc piece to contribute ro the quan pu libary ofthe various Tang Lang (Quan families spread throughout the word Conclusions In addition cits Korean home Jand, this branch has now spread tm Europe and the United States because were es have traveled tw Asia with the specific purpose of seudying the boxing syle, or the other way around, through Korean mascors mowing tothe ‘West. Another vehicle of rans mission has been the US. miliary: Soldier seatoned, in Korea fora couple of years have had che chance to ein in tis branch with local mas- ter. Ie isa pity thar di othe limited vime spenc taining, ‘Author Fernando Blanco boxing Tong Lang Quan ot ‘yongbotiung Place, fr rmery the emperors palace in Seoul Kore. Manisgniay | 7‘many ofthem did nothave has helped to maintain the Korean branch pu the chance wo «gain athor- tation as an effective style foeuned on developing ough understanding ofthe fighting sil style a to complete the This aril represents the state of my cutent curriculum. research on this topic, and | understand that ome ‘On the other hand, in of my statements may be considered controversial spite of nor having ime to 1 encourage feedback and discusion on his sub- reach the most advanced ject of about Tang Lang Quan in general. and I material, soldiers who were can be contacted at mantiscave@® yahoo.com. 1 more interested in learning hope this acicle has sparked your curiosity about fighting techniques than the Korean branch and that more practitioners training showy forms wese got interested in these lesser known lineages. The able ro do so. The profile Korean Tang Lang Quan branch has alt of| ofthis ype of practitioner treasures waiting to be discovered, MQ ‘Shi Yin Hon Sok ote guan in young Take Cry ‘Byaung Ki0e) nore. Notes Words in Korean do not follow any romanization standard. They have been obtained from different sources according co phonetic transcriptions, and that i why I have attempred to void them in the atile whenever possible. ‘4 Tai Ji Mei Hua Tang Lang Quan is sometimes called Hao Jia Tang Lang Quan (Hao Family Praying ‘Mantis Boxing). bb For deuiled genealogy charts of the masters mentioned in this aril, please visit The Mancis Cave at hele geoctescom/mantissave, «© These combinations ae romanized in Korean a Il Soo Kwon (One hand Boxing), © Soe Kwon (Five Hands Boxing) and Chil Soo Kwon (Seven Hands Boxing). 44 This name is ako sometimes romanized as Lu Shui Tien, No Su Jen ot No Sue Chon in Korean © Shfiu Sun Shao Tang, 2 Sun Bin Quan (General Sun Bin Boxing) and Cha Quan (Cha Clan Box ing teacher, made this form popular. F have ranslaced Jin Gang as Buddhas Warios, but hers prefer to translace Jin Gang a a Chi- ‘ese expression fr che rem via, which refers to a type of diamond hardness and lary, Theva translation is more common in Tang Lang Quan and Sho Ln, ip Pal Soo Kwon. Romanized in Korean as Shap Choo Kwon, 4. For more deals about this form, refer tothe book Mei Hua Tang Lang Quan (Plum Hower Praying ‘Mess Basing) published by ji Zheng Tang in Taiwan. The Moi Hua Lu foun in this book is very similar tothe Korean version, and the movement names published inthis book are almost dential to Shift Li Kun Shans manvscrpe j Romanized in Korean as Boong Bo Kwon Ik Romanized in Korean as Pl Jo 1 Romanized in Korean as Sho Jio Kwon or Choy Yo Kwon, ‘Romanized in Korean as S 2 | Mantisquartey YOUUME 4 SUE