Origins of Shaolin Kung Fu

The Indian dhyana master Buddhabhadra (Chinese: 跋陀; pinyin: Bátuó) was the founding abbot and patriarch of the Shaolin temple. According to the Deng Feng County Recording (Deng Feng Xian Zhi), Bátuó came to China in 464 CE to preach Nikaya (小乘) Buddhism. Thirty-one years later, in 495, the Shaolin Monastery was built by the order of Emperor Xiaowen of Northern Wei for Batuo's preaching. The temple originally consisted of a round dome used as a shrine and a platform where Indian and Chinese monks translated Indian Buddhist scriptures into native Chinese languages.

Bodhidharma (c. 6th century CE) was the Indian monk traditionally credited as the founder of Chán (Zen) Buddhism in China. Very little contemporary biographical information on Bodhidharma is extant, and subsequent accounts became layered with legend, but most accounts agree that he was a South Indian monk who journeyed to southern China and subsequently relocated northwards. The accounts differ on the date of his arrival, with one early account claiming that he arrived during the Liú Sòng Dynasty (420–479) and later accounts dating his arrival to the Liáng Dynasty (502–557). The accounts are, however, generally agreed that he was primarily active in the lands of the Northern Wèi Dynasty (386–534).

Bodhidharma arrived in China during the 5th century. He stayed and taught for several years in the Shaolin temple.

Grandmaster Wong Kiew Kit, 4th generation successor of the Southern Shaolin Monastery writes:

"It was during this time that the Venerable Bodhidharma came from India to China to spread Buddhism. In 527 CE he settled down in the Shaolin monastery in Henan province, and inspired the development of Shaolin Kung Fu. This marked a watershed in the history of of Kung Fu, because it led to a change of course, as Kung Fu became institutionalized. Before this, martial arts were known only in the general sense."

Bodhidharma's status in martial arts is due to his role in the institutionalization of Chinese martial arts, presumably by introducing excercises, meditation, discipline, newer techniques etc. to the native fighting methods during his tenure at the Shaolin monastery.

Historians have noted foreign influences on aspects of Chinese culture, such as mythology (Sun Wukong and Guan Yin, which were influenced by Hanumana and Avalokiteshvara respectively) and architecture (Pagodas influenced by Buddhist Stupas) in the past.

The similarities between arts of India and Chinese martial arts have also been noted by martial arts practitioners, historians and news organisations.

Around the 3rd century BC, Patanjali wrote the Yoga Sutras, which taught how to meditate single-mindedly on points located inside one's body, which was used in later martial arts, while various mudra finger movements were taught in Yogacara Buddhism. These Yoga elements, as well as finger movements in the nata dances, were later incorporated into various martial arts.

References to martial arts are found in early Buddhist texts. The Lotus Sutra also categorized combat techniques as joint locks, fist strikes, grapples, and throws, and also referred to a martial art with dance-like movements called Nata. Indian movement patterns of Nata (http://en.wikipedia.org/wiki/Nataraja) were later incorporated into various martial arts.

Historians have also noted that Indian works of art and particularly in temple sculptures show warriors in positions similar to modern day East Asian martial arts.

Similarities were also recorded by the British Broadcasting Corporation in a television documentary in 1981 titled "Kalari, the Indian way" which noted that a Southern Kalaripayattu practitioner performed martial arts identical to one found in a branch lineage from the Wong-Hon-Wing line of Tibetan Hop-Gar Kung-Fu.

The Discovery Channel also notes "Possibly the oldest martial art in the world, Kalarippayattu is still being practiced widely today in the Indian state of Kerala. Shaolin chuan is said to have evolved from Kalarippayattu."

Warm welcome to all

Finally... I have brought life to this lifeless blog and that too on a passion of mine.

To all martial arts enthusiasts, just to let you know that I am a martial arts enthusiast as well. I have been researching on all sources available to my eyes and hands on various forms of martial arts since the age of 9. Not claiming to be Mr Know-All but I will try my best to provide information to anyone who is interested to know something specific about a particular martial arts.

With regards to the caption stated above on the banner, "Dedicated to provide all possible resources on martial arts...", I thought of starting off with the oldest form of martial arts according to researchers known as Kalarippayattu.

It is an Indian martial art practised in Kerala and contiguous parts of neighbouring Tamil Nadu, South India. The term Kalarippayattu is a tatpurusha compound formed from the words kalari meaning "school, gymnasium" and payattu meaning "to fight". Together these two words in Tamil mean "Practice of arts of the battlefield". Most words related to Kalari are originally from Tamil, including words like "suvadi" (palm leaf manuscript), "vadivu" (stance/pose), "verum kai" (empty hand), "mei payattu" (mei=body).

Discovery channel in Asia notes that Kalarippayattu may be one of the oldest martial arts in existence. The martial tradition of Kalarippayattu is also dated to ancient Dravidian traditions. Phillip Zarrilli, a professor at the University of Exeter and one of the few Western authorities on Kalaripayattu, estimates that Kalarippayattu dates back to at least the 12th century CE.

There are many different styles of Kalarippayattu. If one looks at the way attacks and defences are performed, one can distinguish three main schools of thought: the northern styles, the central styles, and the southern styles. The best introduction to the differences between these styles is the book of Luijendijk. Luijendijk uses photographs to show several Kalarippayattu exercises and their applications. Each chapter in his book references a representative of each of the three main traditions.

Northern Kalarippayattu places comparatively more emphasis on weapons than on empty hands. Masters in this system are usually known as gurukkal. By oral and written tradition, Parasurama is believed to be the founder of the art. Northern Kalarippayattu is distinguished by its meippayattu - physical training and use of full-body oil massage. The system of treatment and massage, and the assumptions about practice are closely associated with Ayurveda. The purpose of medicinal oil massage is to increase practitioners' flexibility, to treat muscle injuries incurred during practice, or when a patient has problems related to the bone tissue, the muscles, or nerve system. The term for such massages is thirumal and the massage specifically for physical flexibility katcha thirumal. There are several lineages (sampradayam), of which the arappukai is the most common nowadays. There are schools which teach more than one of these traditions.

In southern styles of kalarippayattu practice and fighting techniques emphasize empty hands and application from the first lesson. In the southern styles the stages of training are Chuvatu (solo forms), Jodi (partner training/sparring), Kurunthadi (short stick), Neduvadi, Katthi, Katara, valum parichayum, Chuttuval, double sword and Marmma and kalari grappling. The southern styles of kalarippayattu are Tamil and for at least several hundred years have been practised primarily by Nadars, Kallars, Thevars, and some Sambavar. Zarrilli refers to southern kalarippayattu as ati murai (the 'law of hitting') or varma ati (hitting the vital spots). The preliminary empty-hand techniques of ati murai are known as Adithada (hit/defend). Varma ati refers specifically to the application of these techniques to vital spots. Weapons may include long staffs, short sticks, and the double deer horns. Southern styles of Kalarippayattu are not usually practiced in special roofed pits but rather in the open air, or in an unroofed enclosure of palm branches. Masters are known as asaan rather than gurukkal. The founder and patron saint is believed to be the rishi Agasthya.

Medical treatment in southern styles of kalarippayattu—which does include massage—is identified with Dravidian Siddha medicine which is as sophisticated as—though distinct from—Ayurveda. The Dravidian Siddha medical system is also known as Siddha Vaidyam and, like ati murai, is attributed to the rishi Agasthya. Active suppression of Nairs in southern Kerala led to the virtual extinction of their southern dronamballi sampradayam by the mid 1950s.

The central style is a composite from both the northern and southern styles that includes northern meippayattu preliminary exercises, southern emphasis on empty-hand techniques, and its own distinctive techniques, which are performed within floor drawings known as kalam.

The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai.

Meithari:

Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. Twelve meippayattu exercises for neuromuscular coordination, balance and flexibility follow the basic postures of the body.

Kolthari:

Once the student has become physically competent, he/she is introduced to fighting with long wooden weapons. The first weapon taught is the Kettukari staff, which is usually five feet (1.5 m) in length, or up to the forehead of the student from ground level. The second weapon taught is the Cheruvadi or Muchan, a wooden stick three palm spans long, about two and a half feet long or 75 cm. The third weapon taught is the Otta, a wooden stick curved to resemble the trunk of an elephant. The tip is rounded and is used to strike the vital spots in the opponent's body. This weapon is considered the master weapon, and is the fundamental tool of practice to develop stamina, agility, power, and skill. The training in 'Otta' consists of 18 sequences.

Ankathari:

Once the practitioner has become proficient with all the wooden weapons, he/she proceeds to Ankathari (literally "war training") starting with metal weapons, which require superior concentration due to their lethal nature. The first metal weapon taught is the Kadhara, a metal dagger with a curved blade. Taught next are sword (Vaal) and shield (Paricha). Subsequent weapons include the spear (kuntham), the flexible sword (Urumi or Chuttuval), an extremely dangerous weapon taught to only the most skillful students. Historically, after the completion of 'Ankathari' training, the student would specialize in a weapon of his choice, to become an expert swordsman or stick fighter.

Verumkai:

Only after achieving mastery with all weapons forms is the practitioner taught to defend his/her person with bare-handed techniques. These include arm locks, grappling, and strikes to the Pressure Points (Marmam), the vital points of the body. The Gurukkal teaches knowledge of Marmam only to those students whom he trusts, restricting the knowledge to very few.

Marmams (vulnerable parts of the human body):

It is claimed that learned persons can disable or kill their opponents by a mere touch in a Marmam. Marmam is taught only to the promising and level-headed persons, to forbid misuse of the technique. Kalarippayyattu teachers often provide massages with traditional medicinal oils to their students in order to increase their physical flexibility or to treat muscle injuries encountered during practice. Such massages are generally termed Thirumal and the unique massage given to increase physical flexibility is known as Katcha thirumal. Kalari marma treatment is as sophisticated as the uzhichil treatment of Ayurveda. This system of marma treatment comes under Sidha Vaidhyam, whose origin is attributed to Sage Agasthya and his disciples.

Influence of Kalarippayattu:

Influence of Kalarippayattu can be seen in major classical art forms of Kerala, mainly Kathakali. Many of the traditional performing art and dance forms of Kerala, like Kathakali, Kolkali, Velakali, etc., have drawn elements from Kalarippayattu during their stages of evolution. Kathakali has borrowed much from Kalarippayattu in its basic body preparative training of the actor not only in terms of technique in practice but also from the body massage for the trainee. Many of the body postures, choreography and foot work of the Kathakali characters are taken directly from Kalarippayattu. Some dance schools incorporate kalaripayattu as part of their exercise regimen. Some of its choreographed sparring can be applied to dance.

Being the oldest form of martial arts, Kalarippayattu has been a major initialisation for Shaolin Kungfu (which you will get to see in the next post).