|
|
Preface
The culture of such traditional Chinese martial arts as are peculiar to Shaolin Buddhist Monastery is both uniquely expansive and subtly philo sophic and stands out as a component of world cultural heritage.
Though there is an astoundingly bountiful spectrum, offered over cen turies by the monastery, of pugilistic routines and traditional weaponry routines, yet none of them has ever been handed down to the monastic posterity in an unsystematic manner. Nevertheless we are confronted with the problem of technical adulteration that spoils the authenticity of some of Shaolin martial-art forms or routines. The problem is playing havoc with martial-art competitions as well as training programs across our country. Admittedly some martial-art coaches，mishandlings of Shaolin kung-fu lore have contributed partially to the problem. Therefore Shaolin Monastery takes it for granted that it is incumbent upon the monastery to retrieve such portions of Shaolin kung-fu lore as have already sunk into oblivion, to re systematize Shaolin kung-fu lore and the systems of pugilistic and weaponry routines, and to standardize all of them. The first step the monastery took in this connection was the initiation of a hunt for the lost portions of Shaolin kung-fu lore by approaching not only the Buddhist martial artists but also such secular martial artists as have received kung-fu training at the monastery precisely for soliciting information that
contributes to replenishing the diminished Shaolin kung-fu lore. In 2002 the monastery created on its precincts KThe Workshop for Shaolin Style of Kung-fuw. The setup is composed of Shaolin kung-fu experts and dedicates itself to the task of re-systematizing and standardizing Shaolin kung-fu so as to lay a sound foundation of a prospective Shaolin kung-fu instruction system which is to benefit our posterity. For more than a millennium, generation after generation of Shaolin monastic population has been in the unswerving habit of exploring diverse constituents of Shaolin kung-fu lore and practicing diverse pugilistic and weaponry routines. By “routine” is meant wthe stereotyped and serialized martial-art movements and techniques^ that have proved quite operative in real combat situation. Routines are outcome of age-old wushu training from time immemorial and decisively instrumental for kung-fu training. So it goes without saying that “routines” are of vital importance for the realm of Shaolin martial arts.
Bearing the generic titled Shaolin Monastery s Compendium of Pugilism^ are a series of monographic writings expatiating on the entire gamut of such pugilistic routines as handed down through the lineage of kung-fu monks of the monastery. Routines thus anthologized in the compendium are all genuine Shaolin kung-fu. And these monographic writings are to be published one after another and should be duly esteemed as standardized Shaolin-wM^/zM teaching materials fit to be used by those who desire to master Shaolin kung-fu. In the future, formulation of the rules which govern the organiza tion of a Shaolin-martial-art-routine match can be based on this compendium.
On the occasion of the debut of this compendium, I pray that Shaolin school of traditional Chinese martial arts would further benefit the health of mankind and that everybody would elicit bliss from it!
Amitabha!
少林寺武术文化博大精深，是世界文化遗产。
少林功夫拳械套路繁多，但都流传有序。目前存在少林功夫套路 练习不统一的问题，给训练和竞赛都造成了一定的困难。这不排除以 诜传诜的过错。挖掘、整理、统一、规范少林功夫拳械套路是少林寺 义不容辞的责任。我寺组织人员，首先是对僧俗弟子及社会上的老拳' 师调查访问，对少林寺遗留下来的拳械套路进行挖掘整理。2002年我 寺又组织专业人员成立了少林武术工作室，对少林功夫套路进行专业 的整理、统一、规范，为今后的少林功夫教学打下了良好的基础。这 些套路是一千多年来我寺僧人世代演习的套路。所谓套路就是人们在 长期的演习中，逐渐择其确切实用的招势编为定式，以便人们更好地 练习。套路之重要可见一斑。
'《少林寺拳谱》将陆续出版少林寺流传下来的传统套路，这些套 路是少林寺的真传，可以作为习少林功夫者的标准教材，为今后少林 功夫套路竞赛及竞赛规则的制订打下了基础。
新书出版，我祈祷少林功夫造福于人们，人人都有一个强健的体
魄。
阿弥陀佛！
THE ROUTINE OF SHAOLIN POWER BOXING Into this routine have been incorporated rudiments of the great majority of pugilistic routines ever invented by the Shaolin school. None of the moves to be carried out in the course of doing this routine does not exude a kind of pliant smartness, and none of the movements contained in this routine is not permeated with such refreshing valiancy as is peculiar to the Shaolin pugilistic community. This routine can boast an unusually remarkable type of manual-movement flexibility compounded with footwork dex terity and ushers in a strict sequentiality of movements. In other words, though each of this routine! s movements is widely different from any of this routine, s other movements, yet all the movements this routine contains are regularly sequential. In traditional Chinese martial-art circles, most of the labels given to the majority of the movements this routine contains consist of the Chinese character “炮”，and that is why the Chinese name this routine bears is “炮 拳”一literally meaning “the routine of ‘炮Here, the Chinese translator takes the liberty to transliterate the Chinese character “炮” as “power” out of the motive of trying anyway to anglicize this transliteration.
炮拳
炮拳集少林寺拳谱各拳之精要。它动作鲜明、特点突 出、手法灵活、步法巧妙、起落有序。每一个动作都变化多 端，环环相扣。该拳中的动作多以“炮”字命名，故称“炮拳”。
Form 1
Having left his feet shoulder-width apart, spread his forearms to sides leisurely, and stood erect, the practi tioner now raises his palms, which are facing upward, to have them assembled and held in close contact before his chest, with his fingers all pointing upward. Then he looks into distance.
(fig. 1)
1.预备式
身体直立，两脚微开与肩同 宽，两手由两侧向上、向里合于胸 前，掌心相对，掌指向上，目视前
方。 (图1L
Form 2
This form consists of two acts which are to be carried out consecutively:
Act 1: While doing the moves of turning left 90° and stamping and set tling his right foot beside his left foot on the ground, he changes his fists into palms, stretches his forearms a little bit forward without fully straightening his arms, and has all his fingers stay crooked so that his hands now look like a pair of claws. Now he looks into distance, (fig.
Act 2: This act contains two parts which are to be started simultaneously: The 1st part: Having moved his left foot a step leftward, he lifts only his left heel off the ground with his left toes still staying aground and lowers his torso by bending his knees, taking care to interrupt the knees ^ flexing before his thighs are horizontal.
The 2nd part: He further stretches his forearms levelly until his arms are roughly straightened, switches his fore arms levelly towards each other, and sends one of his forearms to horizon tally rotate for once around his other forearm which is now also placed horizontal. After that, he pushes his arms levelly forward but deliberately leaves his right arm just half extended
so that his left palm goes levelly far- fig.2-2 (图 2-2) J
ther than his right palm, with his hands
being still shaped like a pair of claws.
Now he looks into distance, (fig. 2-2)
The practitioner is expected to
attach felicitous importance to the
following points: 0 The stamping of
his right foot beside his left needs to
be done fairly energetically. ® The
move of changing his fists into palms
with all his fingers staying crooked and that of stamping his right foot should be concomitants.
2.青龙献爪
体左转90°，右脚向左脚处并 拢，跺踏地面（震脚）；同时，两拳 变掌屈臂向前微伸。掌指微勾成为 爪形，目视前方。（图2—1)
左脚微起，脚尖'着地，两腿屈 膝，身向下蹲，成为左虚步；同 时，两手向前划孤绕行接着环绕一 小圏，屈肘前伸置于胸前，掌指勾 屈向前，左掌在前，右掌在后，目 视前方。（图2-2)
要点：震脚有力，两掌翻转交 爪与震脚同时进行。
Form 3
This form contains two acts which should be done sequentially.
Act 1: Having stood up and clenched his fists, he takes them each to their respective sides of his waist, with the backs of his fists facing downward. Now he looks into distance, (fig. 3-1)
Act 2: This act consists of two parts which need to be carried out at the same time:
Act 2: This act contains two parts which are to be started simultaneously: The 1st part: Having moved his left foot a step leftward, he lifts only his left heel off the ground with his left toes still staying aground and lowers his torso by bending his knees, taking care to interrupt the knees ^ flexing before his thighs are horizontal.
The 2nd part: He further stretches his forearms levelly until his arms are roughly straightened, switches his fore arms levelly towards each other, and sends one of his forearms to horizon tally rotate for once around his other forearm which is now also placed horizontal. After that, he pushes his arms levelly forward but deliberately leaves his right arm just half extended
so that his left palm goes levelly far- fig.2-2 (图 2-2) J
ther than his right palm, with his hands
being still shaped like a pair of claws.
Now he looks into distance, (fig. 2-2)
The practitioner is expected to
attach felicitous importance to the
following points: 0 The stamping of
his right foot beside his left needs to
be done fairly energetically. ® The
move of changing his fists into palms
with all his fingers staying crooked and that of stamping his right foot should be concomitants.
2.青龙献爪
体左转90°，右脚向左脚处并 拢，跺踏地面（震脚）；同时，两拳 变掌屈臂向前微伸。掌指微勾成为 爪形，目视前方。（图2—1)
左脚微起，脚尖'着地，两腿屈 膝，身向下蹲，成为左虚步；同 时，两手向前划孤绕行接着环绕一 小圏，屈肘前伸置于胸前，掌指勾 屈向前，左掌在前，右掌在后，目 视前方。（图2-2)
要点：震脚有力，两掌翻转交 爪与震脚同时进行。
Form 3
This form contains two acts which should be done sequentially.
Act 1: Having stood up and clenched his fists, he takes them each to their respective sides of his waist, with the backs of his fists facing downward. Now he looks into distance, (fig. 3-1)
Act 2: This act consists of two parts which need to be carried out at the same time:
Form 4
This form consists of three acts which should be performed continuously:
Act 1: Having hopped a step for ward on his right foot, he remains stand ing on that foot, lifts his left heel off the ground, and holds it suspended about a foot above the ground. While hopping on his right foot, he withdraws his fists to his waist with their backs facing the ground. Now he looks into distance, (fig. 4-1)
Act 2: This act consists of two parts which need to be done simultan eously:
The 1 st part: Having hopped a step forward on his left foot and stayed put there on the foot, he raises his right heel off the ground to keep it about a foot above the ground and then hops again a step forward on his left foot just to perch himself on it.
The 2nd part: Having spread his fists outwards and at the same time changed them into palms, he swings each palm outwards to describe an arc in the air. And in the extremely short duration when his palms are describing
arcs, he changes them back into fists and finally takes them to his waist, with their backs facing downward. Now he looks into distance, (fig. 4-2)
Act 3: While moving his right foot a step forward and bending his right knee so that he can shift the weight of his torso mainly onto his right leg with his left leg being fully stretched and with his left foot being propped against the ground, he changes his fists into palms and then thrusts them simulta neously and levelly forward, with all his fingers pointing upward. Now he looks into distance, (fig. 4-3)
The practitioner needs to be nimble in doing the hops and energetic in push ing his palms forward.
4.饿虎扑食
将身直起，右脚向前跳一步支 撑，左腿屈膝后勾提起；同时，两 拳收回腰间，拳心向上，目视前 方。（图4-1)
左脚向前跳一步支擇，右腿屈 膝后勾提起；接着左脚再前燈跳一 步支撑；同时，两拳变掌向两侧划 孤环绕后变拳仍置腰间，拳心向 上，•目视前方。（图4—2)
右脚向前落一步，屈膝成弓
步；同时，两拳变掌齐向前方推 出，掌指向上，目视前方。（图4—3) 要点：跳步要快，推掌有力。
Form 5
This form contains two acts which should be performed in rapid succession: Act 1: This act contains two parts which have to be done at the same time: The 1st part: Having turned left 180° and lifted his left foot off the ground just for instantly putting it down at the very spot where it was in the pre vious move, he bends his left knee for shifting the weight of his torso mainly onto his left leg by fully stretching his right leg and prodding his right foot against the ground.
The 2nd part: While flinging his left palm upward, forward, and then downward to imitate the action of rak ing up some imaginary objects until the palm which is now already facing downward is positioned at a point close to his chest, he changes his right palm into a fist and takes it to his waist, with its back facing downward. Now he looks into distance, (fig. 5-1)
Act 2: Immediately after having
浏览1,171次
