From 330BCE to 600CE India acted as a melting pot for various cultural, spiritual and martial systems. Greek, Persian, Afghan and native Indian systems intermingled and intermixed creating powerful strains that would have profound influence upon the world to this day. A system named Simhananda Vajramukti (Lions Roar Fist Art) was practiced and its founding was attributed to Indra. Even historical Buddha, being of warrior caste, is recorded as having learnt the art from the Guru Kshantideva.
From this mix Buddhism emerged and travelled with Monks to (amoungst other places) Tibet where it adapted to local traditions and, to some extent, the shamanistic traditions of the Tibetan people (Bön). Alongside with this various arts travelled including the Lions Roar martial art. The physical literature of the Lions Roar style contained a great deal of Hindu imagery and philosophy. This was not a problem as Tibetan Buddhism had largely already absorbed these archetypes.
Within classical Hinduism as well as Tibetan Buddhism there is a Vajrayana (Tantric) tradition, known in Tibet as “yesh cholwa”, or “crazy wisdom”. This means utilising someone’s path, whatever it is, as a means of transcending it. Whilst Buddhism may not agree with violence, supressing an impulse towards it is not a solution – leaving one ‘unwhole’ or passive aggressive individual. If the impulse is there much better to study violence and use it as a vehicle of transformation; essential ‘working through it’.
So the lions road became a paradoxical vehicle for transcending violence through the study of violence. It is worth noting that this was certainly not a break from Indian traditions, where there has always been a close relationship between martial arts and spiritual development. One only has to read the Bhagavad Gita to see that the central place of the warrior path in spiritual development explained (this is also true of the 24 Jainas saints and later of Sikhism).
Sifu Richards (in the early 70s) head of the Uk SiJiHao lineage
Sifu Richards (in the early 70s) head of the Uk SiJiHao lineage
After its further development in Tibetan the art then crossed the then culturally blurred border into China, the lineage gradual made the massive voyage from from the far north to the South of China. In China Lions roar is sometimes referred to as Indra’s fist, pointing to the arts Indian origin, or Lama Pai (Tibetan Monk Sect) in reference to the Tibetan influence. However it is also referred to as Hop Gar (Hero fist) in reference to the legendary fighting skills of Wong Yam who was unbeaten in full contact fighting and had a profound influence on many other systems in Canton.
From Hop gar the Tibetan White Crane system emerged placing emphasis on the crane aspects of the system. During the arts adaption to Chinese (Han) culture it undoubtedly continued to develop absorbing local fighting methods and often replacing Indo-Tibetan imagery/philosophy with Chinese equivalents. Some lineage changed more then others, some maintaining the Indo-Tibetan ideals and tantra, others replacing them with Taoist or Chan practices and some becoming purely fighting systems.
there are 2 aspects ape, and crane the one with his hands down would be using the ape
aspect the one with his hands up the crane.
Mr_Wood wrote:Windwalker, nice footagethere are 2 aspects ape, and crane the one with his hands down would be using the ape
aspect the one with his hands up the crane.
looks like a two man bagua set to me
looks like a sketchy bagua set to me
Mr_Wood wrote:haha its the internet, low blows are frequent
its very interesting and im not trying to disrespect what others are doing. just my sense of humour i guess. for me circle walking has another purpose than being a moving target.
many did at the time only to find out that they ended up being the target...
Really liked this one. Good training.
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