|
|
Glossary
This is a collection of terms in common usage in our organization, the Lai Hung Chinese Martial Arts Institute. In the practice of Chinese martial styles, a basic knowledge of terminology is important to a deeper comprehension of the spirit and intent of the art, as well as the practical aspects of having a common language for dialogue between master and student.
Many of the recent generations of Chinese martial arts masters, notably those who refer to their practices as ''kung fu'', originated in the provinces of Southern China. Thus, most of the terminology of kung fu reflects the Cantonese spoken language. Mandarin terminology typically characterizes those lineages that have left Northern and Central China for the West more recently - a key example is contemporary wushu ( ), which has recently grown in popularity in the United States.
Before using this glossary, there are a few caveats of which the reader should be aware. Systematic study of the Chinese language by occidental academics has been largely confined to the 20th century. As a result, there is a preponderance of Chinese terms that were rendered in English before the development of self-consistent and phonetically accurate transliteration schemes. Most of these terms, which encompass geographical and proper names, persist in the literature. Some have undergone changes as a result of political pressures � for example, the replacement of Peking with Beijing as the name of the Chinese capital city in favor of the official spoken language of Mandarin in Communist China.
In addition, there was no standard transliteration scheme (or Romanization) that was used by immigration officials when the Chinese moved into the Western world. As such, any given Chinese surname may have been rendered multiple ways in English: for example, the surname,  , is typically rendered ''Louie'' but is also seen as ''Lui'' and ''Loui.'' To complicate matters, Chinese is a tonal language, so what may sound like the same name in English may perhaps correspond to different names/concepts in Chinese altogether: for example, the family name ''Lee'' may be one of several Chinese surnames.
Thus, the only true representation of Chinese is the written form of the language, which is independent of spoken dialect (be it Mandarin, Cantonese, etc.) as well as of any attempt at rendering the unique sounds of Chinese in any other language, which is sure to be imperfect. However, in academia, two Romanization schemes are preponderant and provide the most self-consistent and phonetically faithful ways of representing Chinese in English. The official dialect of the People�s Republic of China is Mandarin, and the official Romanization scheme in use is Hanyu Pinyin (which replaces the older Wade-Giles system). Cantonese, the second most widely used dialect of Chinese and the most common language of kung fu, is rendered in the Yale system
In this glossary, we endeavor to rectify the inconsistency that exists in the literature concerning the Chinese martial arts. On the whole, we will use the Yale system of representing Cantonese, where we drop the tone number suffix. Certain terms, though less phonetically correct, are retained in deference to more established usage—in particular, geographical locations—since these are the renderings that are most readily recognizable. In addition, Pinyin Romanization is occasionally used in recognition of the preponderance of those specific terms (i.e., ''Shaolin'' rather than ''Siu Lam'').
One should keep in mind that Chinese is a monosyllabic word language; that is, each symbol embodies a single concept (or set of concepts) and is represented vocally as a single sound. Thus, the imperfection inherent in attempting to represent Chinese sounds phonetically in English leads to pronunciations that may appear to have multiple syllables. Rather, these are an approximate representation of the diphthongs of the Chinese language as phoneticized in written English: for example, the surname ''Louie'' is typically pronounced ''Loo-wee'' when it actually is a single syllable that sounds like the Yale Leui.
The basic format of the glossary is as follows:
(English Term): (Chinese characters) (Yale Cantonese transliteration) ''Direct translation of characters''
(Short Definition)
Note: If a particular term has no common English description, the Yale Cantonese transliteration is used.
Backfist Strike:  Gwa Cheui ''Suspended Strike''
A circular strike delivered in a roughly horizontal plane towards the centerline of a target, leading with the back of the hand and striking with the knuckles; power is generated in this strike by rotation of the torso.
Baai Ma Pa Sau:  ''Leaning-Over Horse, Swinging Hand''
A movement where gwa cheui (see Backfist Strike) is performed while simultaneously advancing and settling down into nau ma (see Twisting Horse Stance). The advancing footwork, coupled with the opposing arm movement, is designed to trip and bring down an opponent in close proximity.
Baat Ji Geuk:    ''Eight Character Feet''
The splaying of the feet outward from the centerline when assuming sei ping ma (see Square Horse Stance). This positioning of the feet, viewed as poor form and a weakening of the integrity of the stance, takes its name from the resemblance to the character for the number ''eight.''
Bei Fu:   ''Ready Tiger''
A movement where each arm blocks outward, one high and the other low, while simultaneously assuming lok gwai ma (see Kneeling Horse).
Bei Lai:  ''Prepare (the) Courtesy''
The call to assume the formal bow of the kung fu school. This show of respect accompanies the beginning of every set, and typically takes the form of a fist covered by an open hand combined with some form of stance. This has its origins in 18th century China, when it served as a means of identifying persons loyal to the revolutionaries hoping to overthrow the reigning Manchurian Qing government.
Bow and Arrow Stance:  Chin Gung Hau Jin ''Front Bow, Rear Arrow''
A stance in which one leg is bent to the front of the body while the other is held straight to the rear of the body. The bent front leg represents the curve of the bow (weapon), while the bracing rear leg represents the straight shaft of an arrow.
Cat Stance:  Diu Tai Ma ''Hanging Hoof Horse''
A stance in which, with the torso held erect, one leg is bent to the front of the body while the other supports the body from beneath. All of the body weight is borne on the rear supporting leg. Also referred to as a ''rearing horse stance.''
Chaap Cheui:  ''Penetrating Strike''
One of the signature strikes of Choy Lay Fut: an extended punch with the hand held such that the second knuckles of the fingers are the striking surface. This hand formation is typically referred to as a ''panther fist'' because of its resemblance to the paw of that animal. The strike can be delivered with the fist flat, vertical or with a pronounced pronation of the forearm for ''drilling'' power.
Chinese Martial Art Institute:  Gwok Seut Hok Yun ''National Art Institute''
A school providing instruction in traditional Chinese martial arts. ''Gwok seut'' (national art) is a common term used to refer to the Chinese martial arts, and is used interchangeably with ''kung fu.''
Cho Ma:   ''Sit (in) Horse''
To assume the square horse stance, sei ping ma. Also the name of Set #3 in the Northern Shaolin curriculum.
Choy Lay Fut:  Choi Lei Fat
A Southern Chinese martial art founded in 1836 by Chan Heung ( ). As was tradition, the synthesis of Northern and Southern Shaolin disciplines into a unique style was named after the founder's three teachers: Choi Fuk ( ), Lei Yau Saan ( ) and Chan Yun Wu ( ). ''Fut'' ( ) is a contraction of ''Fut-To'' ( ), the Chinese phoneticization of ''Buddha''; as all Chan Heung's teachers were trained in Shaolin kung fu, he used ''fut'' to pay homage to Chan Buddhism [''Chan'' ( ) refers to the meditative practices (Mandarin phoneticization of the Indian dhyana, meaning ''contemplation'') that characterize the branch of Buddhism practiced by the monks of Shaolin, known as ''Zen'' in Japan].
Chung Kyun:   ''Charging Fist''
The act of throwing a punch, with the implication that it is executed in an explosive manner. Also, the proper term for the so-called ''one-inch'' punch.
Crane Beak:  Hok Jeui ''Crane�s Beak''
The formation of the hand in which, with the wrist bent inward, the fingers are held together such that their tips converge into a point. The configuration is supposed to resemble the beak of the crane.
Crescent Kick, Inside-Out:    Baai Lin Teui ''Swinging-Continuously Legs''
A circular kick delivered in a roughly vertical plane away from the midline of the target, striking with the outside edge of the foot.
Crescent Kick, Outside-In:    Gwa Min Teui ''Suspended-Facing Legs''
A circular kick delivered in a roughly vertical plane toward the midline of the target, striking with the instep of the foot.
Da Saam Sing:  ''Hitting Three Stars''
The conditioning of the forearms by the endurance of repeated blows. Usually performed with one or two partners, these blows are sustained from three ''sides'' of the forearm. A common practice in the kung fu styles of Southern China, this conditioning traditionally requires the subsequent application of medicines to promote healing (see Dit Da Gou).
Directions:
Left Side:  Jo Bin ''Left side''
Right Side:  Yau Bin ''Right side''
Forward:  Chin Bin ''Front side''
Behind:  Hau Bin ''Rear side''
Dit Da Gou:  ''Falling Hitting Ointment''
A traditional Chinese medicine used to enhance the healing of superficial injuries incurred during the course of martial training. More commonly formulated in an ethyl alcohol base (dit da jau or ''falling hitting wine,''  ).
Double Kick:  Seung Fei Teui ''Paired Flying Legs''
A forward, leaping kick in which one leg generates forward and upward momentum while the other leg kicks out at the peak of the jump.
Fist:  Kyun ''Fist; Forms (of Combat)''
This is the generic term for the various closed hand formations, but typically refers to the colloquial definition: fingers clenched with thumb bent and overlaid on the index and middle fingers.
In other contexts, this term refers to the forms or sets of the Chinese martial arts, those choreographed collection of movements and postures that comprise the traditional curriculum of Asian combatives. It can sometimes, in a broader sense, refer to particular styles of Chinese martial arts.
Front Leg Sweep:   ,  Chin Mo, Chin Sou ''Front Grind, Front Sweep''
A swift leg sweep in which the shin is used to knock out the opponent�s legs from under them. Can be used in conjunction with the rear leg sweep, hau sou, in which case the sequence is known as chin mo hau sou (e.g. in Northern Shaolin Set #6).
Fun Sau:  ''Wide Hands''
An outward block with both arms simultaneously travelling backward and away from the centerline of the body.
Golden Chicken Stance:  Gam Gai Duk Laap ''Golden Chicken Single (Leg) Stance''
A stance in which, with the torso held erect, one leg is held bent and high while the supporting leg is held straight through the knee. The spirit of the posture is that of a fowl poised for attack.
Gong Jeung:   ''Hard Palm''
A thrusting palm strike.
Hammer-Fist Strike:  Pek Cheui ''Splitting Strike''
A strike delivered with the inside of the wrist facing upwards, hitting a target with the forearm or fist; power is generated in this strike by rotation of the torso. This strike can be used for both offensive and defensive purposes.
Heel Kick:  Dang ''Stepping (Kick)''
A front kick delivered with the heel of the foot against a target.
Hei Gung:  ''Air Work''
The practice of cultivating a synergy between breathing and coordination to enhance physical power in movement, the ability of the body to absorb blows and in one�s overall state of health.
Horizontal Fist:  Ping Kyun ''Level Fist''
A fist with knuckles held in a horizontal line, thumb facing towards the midline of the body.
Hung Tau Fat Mei:  Hung Tau Fat Mei
A Southern style of kung fu similar to Choy Lay Fut, characterized in practice by slow movements and low stances.
Iron Palm:  Tit Sa Jeung ''Iron Sand Palm''
The practice of toughening the striking surfaces of the hand by progressively hitting harder and rougher materials. Traditionally, this involves thrusting the hands into increasingly coarse sand and rock, and striking grain or sand filled bags. The use of dit da gou (see entry above) during this training helps to prevent debilitating injury.
Kap Cheui:  ''Drawing-In Strike''
A swinging strike that arcs towards the centerline, moving from high to low and striking with the first or second knuckles of the fist.
Kam Na:   ''Seize Hold''
The general term for joint locks, limb manipulation and submission techniques. More commonly known by the Mandarin appellation ''Chin Na/Qinna.''
Kiu Sau:   ''Bridge Hand''
An inward block with the wrist or forearm; the arm travels toward the centerline, intercepting a blow with the thumb side of the limb. Also commonly referred to as ''mirror hand,'' since the hand is typically held in jeung (see Palm) such that the person appears to be gazing into a handheld mirror.
Kneeling Horse:  Lok Gwai Ma ''Drop Kneel Horse''
A stance in which one assumes a low position with one knee to the ground.
Kung Fu:  Gung Fu ''Hard Work''
A generic term for Chinese martial arts, usually for the hard ''external'' styles. The term connotes those positive results and benefits attained through hard work (the character ''gung'' is a combination of the characters for ''work'' and ''strength''). Kung fu is a descriptive term that is rarely used to describe martial arts in China, where the term gwok seut (guo shu in Pinyin) prevails (see Chinese Martial Arts Institute).
Low Side Kick:  Yai ''Dragging (Kick)''
A low kick executed with a long, smooth motion of the leg, striking an opponent's knee with the outer edge or the heel of the foot.
Lion Dance:  Mou Si ''Dance (of the) Lion''
The traditional ceremonial Chinese dance performed by pairs of people dressed in hand-crafted Chinese lion costumes; the dance is used in celebration, and is believed to bring good luck by appeasing the gods and warding off evil spirits.
Lion Head:  Si Tau ''Lion Head''
The head of the ceremonial Chinese lion costume used in traditional lion dance; more loosely, the entire lion costume.
Ngaan Cheui:  ''Eye Strike''
A variation of chaap cheui (see entry) directed at the eyes of an opponent, in which the index and middle fingers are split to strike each eyeball.
Northern Shaolin:  Buk Siu Lam ''Northern Young Forest''
A Northern Chinese martial art with its origins in the Shaolin temple.
Numbers:
One:  Yat ''One''
Two:  Yi ''Two''
Three:  Saam ''Three''
Four:  Sei ''Four''
Five:  Ng ''Five''
|
Six:  Luk ''Six''
Seven:  Chat ''Seven''
Eight: Baat ''Eight''
Nine:  Gau ''Nine''
Ten:  Sap ''Ten''
|
Opponent:  Deui Sau ''Opponent''
One�s opponent in either formalized or free-form combat.
Palm:  Jeung ''Palm (of Hand)''
The formation of the hand in which the hand is held flat, with the fingers held together.
Paau Cheui:   ''Cannon Strike''
An uppercut punch.
Ready Position:  Pou Kyun ''Enfolded Fists''
The posture in which the fists are held, knuckles facing downwards, at the waist; the generic position of the arms from which punches are usually initiated.
Rear Leg Sweep:  Hau Sou ''Rear Sweep''
A swift leg sweep in which the heel or back of the leg is used to knock out the opponent�s legs from under them (see Front Leg Sweep).
Roundhouse Punch: Sou Cheui ''Sweeping Strike''
A circular punch delivered in a roughly horizontal plane towards the midline of a target, striking with the knuckles; power is generated in this punch by rotation of the torso.
Sabers, Double:  Seung Dou ''Paired Sabers''
A pair of sabers used together, with handles of semicircular cross-section which allow a pair of such weapons to occupy a single scabbard, side by side.
Saber, Single:  Daan Dou ''Single Saber''
One of the four basic Chinese weapons: a slightly curved sword with a single cutting edge. Traditionally, the weapon of infantry.
Set (see Fist)
Seung Fung Gun Yi:     ''Paired Winds Pouring (Into The) Ears''
A fist strike performed by each arm simultaneously and directed at the ears or temple of an opponent.
Shin Kick:  Tek ''Kick''
A front kick delivered with the top of the foot or shin against a target.
Sidai:  Si Dai ''Younger Brother (of same) Teacher''
Term used by a student for a male student who has joined their kung fu school after them; a junior male student of the same generation.
Sifu:  Si Fu ''Teacher Father''
Term for a teacher of the martial arts. Can be more loosely applied to any instructor of a physical discipline or skill.
Sigung:  Si Gung ''Teacher Grandfather''
Term used by a student for the teacher of their sifu (commonly referred to in English as ''grandmaster'').
Sihing:  Si Hing ''Older Brother (of same) Teacher''
Term used by a student for a male student who has joined the kung fu school before them; a senior male student of the same generation.
Sije:  Si Je ''Older Sister (of same) Teacher''
Term used by a student for a female student who has joined the kung fu school before them; a senior female student of the same generation.
Sijou:  Si Jou ''Forefather (of same) Teacher''
Term used by a student for the teacher of their sigung (commonly referred to in English as ''great grandmaster''); loosely, any teacher in the student's lineage from generations preceding their sigung.
Simou:  Si Mou ''Teacher Mother''
Term used by a student for the wife of their sifu.
Simui:  Si Mui ''Younger Sister (of same) Teacher''
Term used by a student for a female student who has joined the kung fu school after them; a junior female student of the same generation.
Single Straightsword:  Daan Gim ''Single Sword''
One of the four basic Chinese weapons: a double-edged straight sword. Traditionally, a weapon used by officers and statesmen, as it is held to be more refined than the dou (see Saber).
Spear:    Ying Hung Cheung ''Flower Red Spear''
One of the four basic Chinese weapons: a staff, roughly seven feet long, with a metal point mounted at one end. Commonly referred to as the ''king of weapons'' for its reach and killing potential, as well as the great skill required to wield it. The optional prefix ying hung refers to the red-dyed horsehair tassel tied to the base of the spear head, originally used to help absorb blood and prevent it from running onto the staff.
Square Horse Stance:  Sei Ping Ma ''Four Level Horse''
A stance in which, with the torso held erect, the legs are bent and angled away from the midline of the body. The knees are roughly positioned over the feet, with the thighs angled downwards slightly below the horizontal plane. The configuration is supposed to resemble a person astride a horse. The term ''sei'' () refers to the resemblance the stance has to the Chinese character for ''four.''
Staff:  Gwan ''Staff''
One of the four basic Chinese weapons: a staff of varying length, typically taller than the wielder.
Sweep Kick:  Liu ''Lifting-Up (Kick)''
A sweeping kick used to knock an opponent's feet out from under them, striking the target low with the lower shin or instep of the foot.
Tau Ma:  ''Stealing Horse''
A form of nau ma (see Twisting Horse Stance) that is assumed in a backward retreat rather than in a twisting transition.
Teui Jeung:  ''Pushing Palms''
A thrusting push with both palms, usually performed while advancing sideways in sei ping ma (see Square Horse Stance).
Teui Mo Sau:   ''Pushing-Grinding Hands''
An exercise in which participants attempt to gain superiority over their opponent either offensively or defensively while trying to maintain contact only through the hands and wrists. Is intended as an analysis in sensitivity and in the efficient usage of power.
Tiger Claw:  Fu Jaau ''Tiger Claw''
The formation of the hand in which the fingers are bent into a claw-like position. The configuration is supposed to resemble the seizing and rending paw of the tiger.
Tiu Sau:  ''Carrying Hand''
The upraised hand, held aloft to protect the head from blows from above.
Tornado Kick:  Syun Fung Teui ''Revolving Wind Legs''
A spinning kick delivered with instep of the foot against a target initially behind the kicker.
Twisting Horse Stance:  Nau Ma ''Twisting Horse''
A stance in which, with the torso held erect, the legs are bent and positioned against one another; one leg is placed to the front of the body with toes angled outwards, while the other leg is placed behind with knee braced against the front leg and trailing off to one side. The term refers to the twisting of the torso used to assume this stance in transition from the square horse stance.
Versus:  Deui Chaak ''Versus, Sparring''
A term used to denote various empty hand and weapon sparring forms with two or more participants. By itself, it is an abbreviated way of referring to such forms. More properly used as ''versus'' (e.g., daan dau deui chaak ying hung cheung or single saber versus red flower spear).
Vertical Fist:  Yat Ji Kyun ''Sun-Character Fist''
A fist with knuckles held in a vertical line, thumb facing upwards. The name refers to the resemblance the configuration has to the Chinese character for ''sun.''
Yu Bei:  ''To Prepare, Be Ready''
A call to readiness at the beginning of a set, the usual response being a bow at the waist.
|