Dragon style kung fu forms

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(Learn how and when to remove this template message) Southern Dragon Kung Fu龍形摩橋Also known asLóng-Xíng Mó Qiáo,Lóng Ying Pai,Long Ying Mo KiuFocusStrikingCountry of originChinaCreatorDaai Yuk / Tai YukFamous practitionersJee Sin Sim See (Five Elders)Lam Yiu Gwai / Lam Yiu-KwaiJeung Lai Chuen / Cheung Lai-ChuenLi Ah
YuParenthoodSouthern Shaolin Kung Fu, Lam Gar, Li (Lee) Family, Bak MeiDescendant artsBak Mei (Jeung Lai Chuen lineage)Olympic sportNo Part of a series onChinese martial arts (Wushu) Styles of Chinese martial arts List of Chinese martial arts Terms Chin Na Fa jin Kung fu Neigong Neijia Qi Qigong Shifu Yin and yang Historical locations
Kunlun Mountains Mount Emei Mount Hua Shaolin Monastery Wudang Mountains Legendary figures Guan Yu Bodhidharma Zhang Sanfeng Fong Sai-yuk Yim Wing-chun Li Ching-Yuen Eight Immortals Five Elders Historical individuals Emperor Taizu of Song Yue Fei Hong Xiguan Dong Haichuan Yang Luchan Chan Heung Wu Quanyou Wong Fei-hung
Sun Lutang Li Shuwen Huo Yuanjia Wang Ziping Chen Fake Ip Man Ten Tigers of Canton Modern celebrities Bruce Lee Bolo Yeung Sammo Hung Jackie Chan Jet Li Donnie Yen Vincent Zhao Zhang Jin (actor) Dennis To Related Hong Kong action cinema Kung fu film Vietnamese martial arts Wushu (sport) Wuxia vte The movements of the Southern
Dragon style (traditional name Lung Ying) (Chinese: 龍形摩橋; pinyin: lóng xíng mó qiáo; Cantonese Yale: long4 ying4 mo1 kiu4; lit. 'dragon shape rubbing bridges') of Shaolin Boxing are based on the mythical Chinese dragon. The Dragon style is an imitative-style that was developed based on the imagined characteristics of the mythical Chinese
dragon. The Dragon played an influential and beneficial role in Chinese culture. An amalgam of several creatures, including monitor lizards, pythons and the Chinese alligator, the polymorphic dragon was a water spirit, responsible for bringing the rains and thus ensuring the survival of crops. The dragon was the symbolic guardian to the gods, and
was the source of true wisdom. This latter feature most likely resulted from the observation of the living reptilian counterparts which, usually at rest, seem to be in a near constant state of contemplation. The dragon represented two of the ancient elements, Earth and Water, endowing the creature with powers of illusion and strength. A Yang symbol,
the Taoists saw the dragon as a personification of the Tao itself—"the Dragon reveals himself only to vanish". Shaolin Buddhists saw him as a vision of enlightened truth, to be felt, but never to be held. Certain very old men were called dragons, these being well versed in the life-supporting skills of herbal medicine, agriculture, and kung fu. In early
China, these skills were surely a matter of life or death, and those so educated were held in high regard. History The history of Southern Dragon style has historically been transmitted orally rather than by text, so its origins will probably never be known in their entirety. Modern Southern Dragon style's history can be reliably traced to the monk Daai
Yuk Sim Si who was the abbot of Huashoutai (华首台) (White Hair) temple on Mount Luofu (罗浮山).[1] No reliable records of the style's origin prior to that exist, though there is much speculation regarding the subject. Southern Dragon style has roots in a combination of the local styles of the Hakka heartland in inland eastern Guangdong with the style
that the monk Ji Sin Sim Si taught in Guangdong and the neighboring province of Fujian in the 18th century.[2] North of the Dongjiang in the northwest of Bóluó (博羅) County in the prefecture of Huizhou in Guangdong Province is the sacred mountain Luófúshān. Luófúshān is the site of many temples, including Wa Sau Toi where, c. 1900, a Chan
(Zen) master named Daai Yuk taught Southern Dragon style to Lam Yiu Gwai (1874–1965), who in turn passed the art on to the many students of his schools in Guangzhou.[3] Lam Yiu Gwai and Jeung Lai Chuen (1880-1966) were good friends from their youth in the Dongjiang region of Huizhou, longtime training partners[4] and later cousins by
marriage. Lam and Jeung would open several schools together, and Southern Dragon style and Jeung's style of Bak Mei share many similarities. A variation of the Southern Dragon style is taught by the Long Choo Kung Fu Society based in Penang, Malaysia and with branches in Australia. Founded by Li Ah Yu and his father near the turn of the 20th
century, this association claims it is teaching a Soft/ Hard Dragon style originating from Fukkien province.[5] Methods and philosophy Southern Dragons kung fu is essentially an internal qi (pronounced chi) cultivation method, but initialisation training is far more like a hard, external style, than the delicate approach an internal (like t'ai chi ch'uan or
baguazhang) would have. In learning the moves, the student will strike hard, block hard and rush into each position, with the idea of learning the proper place to be once each movement is complete. Eventually, the method of transmitting power is retained, and the physically strengthened body is able to make transitions in the proper, fluid manner.
In turn, this dragon-like smoothness helps disguise the attack, making it extremely difficult for an adversary to effectively counter.

Once a purely physical semblance to flow has been mastered, the disciple incorporates the deep hissing sounds to train chi flow. Inhaling is silent, but exhalation is deliberate, tense and controlled. Inhaling lightens the body for aerial maneuvers, while exhaling drives power into each technique. Blocking is dispensed with, and parries or simple strikes
substituted. At this point, novice and advanced student show very little in common. On the highest level, an opponent is allowed to tire himself out, evasion becoming the Dragon's key defense. Qi control is highly developed, and the degree to which the body must be moved to redirect or avoid impact is under greater control. The forms (Taolu 套路)
that constitute this system are divided by complexity into three categories, and are enumerated below: Basic 16 Movements/Holes (十六動) Passing Bridge Three Times (三通過橋) Fierce Tiger Leaping Over Wall (猛虎跳牆) Rescue Master From Single Side (單鞭救主) Single Sword and Mount (单刀匹马) Press and Hit from Four Sides (四門迫打) Eagle Claw
(鷹爪) Bridge Smashing (碎橋) Intermediate Touch Bridge (introduces sticking hands) (龍形摩橋) Venomous Snake Moves Tongue (毒蛇舐脷) Hua King's Fist (化極) Standing Five-Form (立五形) Cross Standing Five-Form Turn to Hook and Hit Five Horses Returning to Stable (五馬歸槽) Advanced Plum Flower Punch (梅花) Seven Ways of Plum Flower Punch
(梅花七路) In each form, one is taught to "ride the wind", a phrase which in large part means follow rather than lead. Provide no opening without first letting your opponent open. Unlike Crane, which also relies heavily upon evasion as a tactic, the Dragon evades primarily by rotation of upper or lower torso with straight and zig-zag stance movements,
while the Crane stylist hops frequently to reposition the entire body. Both styles employ pinpoint strikes to vulnerable meridian targets, but dragon also heavily uses tiger-like punches and clawing techniques, snake-like stance shifts, and leopard-like hit and run strikes to weaken a physically superior adversary. Southern Dragon kung fu also regularly
employs low sweeping techniques, but these are not unique; most senior stylists of any kung fu system use these on a weakened adversary. Techniques Overview The southern dragon stylist relies on a variety of fighting techniques that can be employed for a wide range of needs. The style uses techniques that can cripple or kill an opponent if the
need arises or it can be used simply to control a minor street fighting situation. Lung Ying (Dragon form) focuses mainly on powerful, short to medium range attacks, as is common among southern Chinese styles of kung fu. Gripping techniques and extensive use of forearms typify the art. The style was created as an aggressive combat art and
operates under the basic assumption that you are trying to either disable your opponent to the point that they are no longer a threat in battle, or kill them, though these are not by any means the only options a Lung Ying practitioner has. As such Lung Ying employs a large number of techniques to damage the opponent's joints either through joint
manipulation or direct striking; nullify the opponent's defenses either through breaking their stance or compromising their guard, and thus their ability to defend; and others. Like most southern style kung fu, it has initially limited kicks and jumps (they are common in the advanced levels) and consisted mainly of fist, palm and clawing techniques.
Power generated from the waist using soft hard jin (see neijin and waijin).

Lung Ying training also involves an extensive amount of iron body training. Hardening the forearms especially is considered essential to the style as it makes such extensive use of them. Depending on the particular school any of a fairly large pool of traditional training methods will be used to toughen the body. Three, five and seven star conditioning
drills, pea buckets, weighted ropes, sand bags, and striking poles are all common in Lung Ying schools. It really isn't possible to separate Lung Ying conditioning from its methods, the two work hand in hand, each needing the other to be completely effective. Basics The Southern Dragon Kung Fu practitioner typically attacks with winding low yang;
that is, powerful and quick movements. For example, when striking with the fist, more power can be exerted when the movement originates from the feet, is guided by the waist, flows through the body, and exits through the fist. Foot work In Southern Dragon style, leg work is characterized by a zig-zag motion that mimics the imagined movement of
the mythical Chinese dragon. This also allows one to use floating, spitting, swallowing and sinking movements which are very important in generating power and stability, making your body calm and relaxed. Though the Lung Ying footwork pool is deep, it generally centers on two basic types of stepping. The first is "Zig Zag" stepping (dragon
stepping). Basically with each step forward, the rear foot moves forward and becomes the forward foot.

However, the step is not taken directly forward but basically follows the angle the front foot is turned at (about 33 degrees). This has the effect of moving the Lung Ying practitioner forward and off to an angle while offering some protection to the groin from attack. This type of stepping allows a Lung Ying practitioner to press his opponent (usually
used before the opponent's center has been taken) while launching attacks from angles that are difficult for the opponent to defend. The Lung Ying practitioner seems to be constantly moving into an uncomfortable range and at an angle that forces their opponent to reposition their whole body to defend against, or else torque their torso around thus
breaking their structure and disconnecting them from the power generation machinery of their lower body. The second basic type of stepping is Bik Bo stepping, or press stepping. In this method the front foot moves forward and the rear foot drags up to get back to the basic position. This stepping generally covers less distance than the dragon
stepping, and is used to press the opponent.
It will frequently be used once the Lung Ying practitioner has begun to press their attack in earnest or is exploiting some advantage. There are specific methods for stretching this footwork out addressed in various forms. One of the primary purposes of this footwork is to keep the Lung Ying practitioner "on top of" their opponent and in attacking
range. Also, this type of stepping is heavily used in various stance breaking methods. Lung Ying Motto Southern Dragon style motto 克己讓人非我弱 存心守道任他 "Control yourself, let others do what they will. This does not mean you are weak. Control your heart, obey the principles of life. This does not mean others are strong". Codes of Southern
Dragon style The seeds were first planted from Haufeng; the essence was gained later at Haushou Restrain one's self and yield to others not because one is weak, but to uphold the ethical Tao and let the others have their claim. Four rules of the Southern Dragons Focus to train and condition the body. Be righteous and uphold your honor. Respect
your parents, honor your teacher. Treat others with honesty, treat your friends with loyalty. Dragon style in popular culture This section appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture, providing citations to reliable, secondary sources, rather
than simply listing appearances. Unsourced material may be challenged and removed. (February 2023) The 2010 show A Fistful of Stances has used this in episode 22 and 23. The style was performed by Jackie Chan in his films Dragon Lord and Dragon Fist. Dragon is one of the three fighting styles utilized by the character Sub-Zero in the Mortal
Kombat series (as seen in Mortal Kombat: Deadly Alliance and Mortal Kombat: Deception) and the character Jarek in Mortal Kombat: Armageddon. It is also Liu Kang's grapple style in Mortal Kombat: Shaolin Monks. Onaga, the boss character of Mortal Kombat: Deception, also uses a fighting style named Dragon. However, this is not the true Dragon
style (as used by Sub-Zero); it is simply named as such due to Onaga being an actual dragon. The Dragon fighting style is used at times by the police officer Lei Wulong in Tekken. On Avatar: The Last Airbender and The Legend of Korra, some firebending techniques were based on Southern Dragon Kung Fu. These are all examples of Běilóngquán
(Northern Dragon Fist), rather than the aforementioned Southern Dragon Fist (Nánlóngquán). References ^ Robert Hill (2010). World of Martial Arts!. Lulu.com. ISBN 978-0-5570-1663-1. ^ Steve Martin. "History of Southern Dragon Style Kung Fu". Sojourn past. Archived from the original on February 5, 2015. Retrieved 2007-07-15. ^ Order of
Shaolin Chán (2004). The Shaolin Grandmasters' Text: History, Philosophy, and Gung Fu of Shaolin Chán. Order of Shaolin Chan. ISBN 0-9755-0090-2. ^ Benjamin N. Judkins & Jon Nielson (2015). The Creation of Wing Chun: A Social History of the Southern Chinese Martial Arts. Suny Press. ISBN 978-1-4384-5693-5. ^ Loong Choo Kung Fu Society.
"A Brief Historical Background of Loong Choo Kung Fu Society". Southcom. Archived from the original on July 6, 2011. Retrieved 2007-11-20. External links Dongjiang Dragon Style (Dongjiang Lungxing). "Dongjiang Dragon Style (Dongjiang Lungxing)".
Retrieved August 22, 2005. Chow, David & Spangler, Richard (1982). Kung Fu: History, Philosophy and Technique. Burbank, CA: Unique Publications. ISBN 0-86568-011-6.

History of Southern Dragon Style Kung Fu by Steve Martin (2003) Retrieved October 7, 2004. "Riding the Wind: Dragon Style Kung Fu". Shaolin.com. Archived from the original on October 13, 2018. Retrieved August 26, 2005. Dragon Style Kung Fu by Lisa Neuweld (1999) Retrieved October 7, 2004. Lineage of Dragon Kung Fu Retrieved October 7,
2004. Information about Southern Dragon Style Kung Fu An introductory article on Dragon Kung Fu Images of a person doing Dragon Kung Fu Wah Nam Lung Ying History Australia Yip's Dragon Style Kung Fu New York Retrieved from " Developed by Grandmaster Lam Yiu Gwai, Dragon style kung fu (long ying kuen) is the only Chinese martial arts
system that is modelled on a mythical animal. While other styles developed that imitated the movements of animals, birds and insects, Dragon style was developed from the understanding, essence and symbolism that these awesome and immensely powerful creatures represented. Dragon style is an extremely effective martial art, incorporating a wide
variety of kicks, sweeps, strikes, locks and takedowns.
However, concealed within its practical and efficient external form is a devastating ‘internal’ power – an explosive force that also generates sensitivity, speed and agility. The roots of Dragon style kung fu can be traced to the Haushoutai temple on Loufwushan mountain…. The Chinese saw dragons as life-giving beings that circled the heavens and
which possessed a god-like quality that was worthy of reverence and worship. During the Celestial Empire it was the emblem for the Imperial family, with the “Son of Heaven” often referred to as the “Dragon King”. Dragons also symbolised earth and water, and was the sagacious protector of the land despite the fact that they also represented the
terrible destructive power of nature. Above all, the dragon represented the fertilising power of rain. As the continuous pelts of rain may nourish growth and health on one hand, they may also bring devastation on the other – as with the movements inside Dragon style kung fu. The Ch’an Buddhists at the Shaolin Monastery understood dragons to be
far more than the bringers of rain or the sign or royalty. They believed them to be a cosmic manifestation that signified the momentary, elusive vision of enlightened Truth which is eventually and suddenly realised by a Ch’an master. To the Taoists, the dragon epitomised the Tao itself, an all-consuming force that may suddenly reveal itself to us only
to instantly disappear again into the ethos. The roots of Dragon style kung fu (‘long ying’ or ‘lung ying’ in Chinese) can be traced to the Haushoutai temple on Loufwushan mountain. Dragon style was taught to its monks within the temple to enhance their superior fighting skills, spirit and internal development. One of these Teachers was a monk who
was known as Hai-Fung (after the place where he was from) and also as Gao Xiong-Wen, (meaning Upright River). Another monk, Da Yu (also known as Tai Yuk), also came from the southern temple and was proficient in boxing skills. Another teacher at the temple was a Taoist called Wong Lee Kiu. A man named Lam Qing Yuen from the Potau-Cun,
Bolou county of Guangdong had learned kung fu from these monks, as well as from the abbot Guang Jin of Shaoshu Mountain’s Shaolin Temple (Fujian province). Later on in life, he was directed to the Taoist monastery at Haushoutai of Mountain Loufwushan by the head of the Yuen Miu Taoist Temple in Huezhou via a letter. There, he was defeated
in friendly combat by a student of the abbot Da Yu and seeing how he still had much to understand, requested to learn under Da Yu’s instruction. Lam Yiu Gwai His son, Lam Yiu Gwai (1876 – 1966) started to learn kung-fu at a very young age from his father and grandfather. He progressed quickly, and in his early teens was able to beat grown men.
He thought himself quite accomplished, however his father worried that his physical ability had grown faster than his emotional refinement and would lead to trouble. At the age of sixteen, he started his own school in Dongjiang and taught as well as learnt from various masters. Unfortunately, his masters passed away before he had completed his
training. Later, he started to teach students from a village below Loufwushan and at the request of the local villagers, he agreed to do a performance in front of the local temple.
Coincidentally, a student of the abbot Da Yu happened to be there. Seeing that their style of kung fu was similar, he invited Lam Yiu Kwai to come back to Haushoutai to learn from Da Yu. Remembering that his father also learnt his skills from Haushoutai, he decided to follow the abbot’s teachings. When he arrived, an abbot named Gao Xiong-Wen
was impressed by his desire to learn and better himself. He decided to test Lam Yiu Gwai by making him demonstrate his skills in friendly combat with some other students. Initially, he defeated a student called Ma Chen-Jie, but when Gao Xiong-Wen tested him personally Lam Yiu Gwai was unable to defend against the abbot’s superior skills. Seeing
that he was no match for the abbot, Lam Yiu Gwai asked how he was able to beat him so easily. Gao Xiong-Wen and Da Yu were touched by his sincerity and agreed to take him as a student and teach him the secrets of the techniques of Hauquan-Xiaoma of Dragon style. As a student of Haushoutai, he often went up to the mountains with his master as
a means to gather herbs, study their characteristics and learn Chinese physiotherapy. Over time, he also became a master in this field. Lam Yiu Kwai’s son Lam Woong Gong When Lam Yiu Gwai returned to his village, he had integrated all he learned and was able to demonstrate Dragon style kung fu to a very high level. He began teaching, married
and had several children. In the early 1920’s, Lam Yiu Gwai went to the city of Guangzhou where he had heard there was a need for martial arts teachers. He established a number of Dragon style martial arts schools with several senior students to assist him (Ma Chai, Lam Woong Gong (his son), and Tsoi Yiu Cheung). In 1947, a martial arts
tournament was held in Guangzhou. A local newspaper had an extract dedicated to Lam Yiu Gwai’s background and gave him the nickname of “Dongjiang -laohu” (The Tiger of Dongjiang). However, Lam Yiu Gwai was not a man who enjoyed fighting, but in order to gain a higher level of martial arts he was willing to participate in friendly sparring. It
was just that there was no one who could beat him! The most famous of the Guangzhou teachers at that time were Lin Yum Tong (Mo-gar style), Lam Yiu Gwai (Dragon style) and Cheung Li Chen (Bak-Mei style). Lin Yum Tong introduced Lam Yiu Gwai to General Lee Yum-Chu who hired him as the head martial arts teacher to soldiers in the army. In
time, out of respect for the incredible ability these three teachers, they known as the “Three Tigers of the East River”.
Lam Yiu Gwai continued to teach and died in 1966 at the age of 90. Lam Yiu Gwai is seen as the grandmaster of southern Dragon style kung fu. This unique fighting system is comprised of Hakka kuen, (the style of Lam’s grandfather and father) Shaolin, (his teachers from Wah Sa Tsoi) and Taoist forms (from Wong Lee Giu). Lam Yui Gwai kept the
forms he learned from his teachers intact, but he also created new sets which blended all the concepts and principles of his studies. Principles of Dragon style kung fu Dragon style is a close range fighting style that incorporates a wide variety of highly effective kicks, sweeps and rapid strikes. Concealed within its strong ‘external’ movements is a
softer, ‘internal’ force that enables sensitivity, explosive power and agility. When in use, Dragon style embodies the essence of a Chinese dragon so that – when you attack you are like the wind, when you defend you are like a cloud, when you stop you are like iron, you advance like a tiger and retreat like a cat. The strikes in Dragon style are rapid
and continuous, controlling the opponent from the moment he moves to attack you. The body must retain a ‘dragon-like’ shape, training the wrists, shoulders, waist as well as other joint areas. Movements are fast and flowing with every strike hitting its intended target, as the practitioner “waits for the attack, sticks onto the attack, deflects the attack
and pursues with an attack.” Based on a highly flexible foundation of dynamic footwork, mental and physical sensitivity and powerful strikes, the practitioner has a limitless arsenal at his disposal that can adapt to any situation. As he learns to focus his Chen (mental power) with technique, his mind and intent become one. Dragon style is a complete
fighting system that is highly effective and practical. In its practice, Dragon style also helps develop the student mentally, ethically, physically and emotionally, keeping the mind and body young, supple and strong. Dragon style motto “Control yourself, let others do what they will. This does not mean you are weak. Control your heart, obey the
principles of life. This does not mean others are stronger.” Codes of Dragon Style The seeds were first planted from Haufeng The essence were gained later at Haushou Retrain one’s self and yield to others not because one is weak But to uphold the ethical Tao and let the others have their claim The four Rules and two principles Focus to learn and
condition the body. One must not have any act of laziness. Be righteous and uphold your honour.
One must not have any act of hypocrisy. Respect your parents, honour your teacher. One must not have any act of defiance. Treat others with honesty, treat your friends with loyalty. One must not have any act of arrogance. The Dragon Martial Arts Association teaches the following Dragon style forms: Sap lok dong Chat sik san sao Sam tung gor kiu
Mang fu tiu cheung Dan bin gow jiu Bo bo toi Bik bo soi kiu Long ying mor kiu Sei moon chai Dok sei toe hey Fa gik Ying Jow Mui fa kuen Mm ma gwai cho Long ying doi cha Tai po gim (straight sword form) Sei moon do (broadsword form) Miu fra cheung (spear form) Hakka ti yiu (Staff form) Sei moon tiu da (Staff form) Yee yan chak gwan (2 person
staff form) Wu dip seng do (Butterfly knives form) Wong long choon sum gwan (9 ft pole form)