Emei Kungfu

Emei Kung Fu Emei Wushu follows the principle of “One tree with five flowers, and the five flowers supported by eight leaves”. The “one tree” refers to Emei Wushu itself. The “five flowers” represent five regions: Qingniu in Fengdu, Tiefu in Tongjiang, Huangling in Kaixian, Dianyi in Fuling, and Qingcheng in Guanxian. The “eight leaves” correspond to eight major sects: Seng (Monk), Yue, Du, Zhao, Hong, Hui, Zi (Character), and Hua (Transformation). Among them, the Seng Sect is the most prominent, standing as the leader of the eight Emei sects. Its movements seem fast yet slow, alternating between speed; appear soft yet hard, combining hardness and softness.Emei Wushu (Martial Arts) is one of the major schools of traditional Chinese martial arts. Originating from Mount Emei in Sichuan Province, it is also a national-level intangible cultural heritage. It is a general term for the martial arts that originated in the Mount Emei area of Sichuan and spread widely throughout Sichuan and even the southwest region of China. With its birthplace in Mount Emei, Emei Wushu boasts over 80 sects and hundreds of boxing styles and routines, ranking among the three major schools of Chinese martial arts. By integrating with the Buddhist, Taoist, and Confucian cultures of Mount Emei, Emei Wushu has promoted its own development. It emphasizes the combination of hardness and softness, as well as the cultivation of both internal (spiritual, qi) and external (physical) aspects. Emei Wushu, along with Shaolin Wushu and Wudang Wushu, forms the three most famous schools in Chinese martial arts circles. The techniques of the Emei School lie between the masculine hardness of Shaolin and the feminine softness of Wudang. It embodies both softness and hardness, values both internal and external cultivation, and utilizes both long and short-range attacks. It integrates offense and defense, as stated in the boxing classics: “In boxing, do not meet the opponent’s hands directly; in spearplay, do not move in circles; in swordplay, do not expose the hilt. This is the true Emei style.” and “Transform ten thousand methods into one, and use one method to defeat ten thousand.” In short, it focuses on defeating the strong with the weak, using both truth and falsehood, and integrates the strengths of Wudang, Shaolin, and other schools from a perspective that emphasizes flexibility (often associated with feminine characteristics). After experiencing numerous ups and downs, the Emei School has evolved into many branches. However, its core technique training system has always been secretly passed down only among a very small number of Emei disciples. Its origin can be traced to the senior masters of the Emei School, who integrated the five major forms (dragon, tiger, leopard, snake, crane) of the Northern Shaolin Boxing with the essence of Yin-Yang and Tai Chi. They then incorporated esoteric Buddhist mental methods to create unique Emei moves and techniques, thus establishing an independent school. Emei Wushu integrates the essence of Chinese martial arts, emphasizing the cultivation of both internal and external aspects, as well as the simultaneous training of the mind and martial skills. Historical Origin Nurtured in Ancient Times, Originated in the Spring and Autumn Period Regarding the origin of Emei Wushu, its formative period is generally defined as the Warring States period (within the Spring and Autumn era). However, Emei Wushu originated from the ancient Ba and Shu regions, and its nurturing period can be traced back to ancient times. The people of ancient Ba and Shu believed in the mysterious witchcraft culture and advocated health-preserving techniques. In many local historical records, “Peng Zu”, a revered ancestor in the Ba and Shu regions, is regarded as the pioneer of Ba-Shu martial arts. As recorded in Huayang Guozhi·Ba Zhi (Records of the Huayang Kingdom·Records of Ba), King Wu of Zhou once led the military forces of Ba and Shu to attack King Zhou of Shang. The book left a record stating, “The troops of Ba were brave and fierce, using singing and dancing to overwhelm the people of Yin (Shang Dynasty).” The “singing and dancing” here refers to a practical combat skill that integrated witchcraft and martial arts, which is also known as the “Bayu Dance” in historical documents. Most primitive peoples in the world practiced witchcraft, and almost all witchcraft rituals contained the rudiments of original singing and dancing or martial arts routines for exorcising ghosts and demons. During the primitive tribal period, there were many such “witch dances”, such as the “Nuo Dance” and “Ban Dun Dance” (Shield Dance). In the ancient Ba and Shu regions, besides these typical “witch dances”, there were also martial arts forms that combined “opera” and “dance”, such as “Sword Dance Opera”, “Bullfighting Opera”, “Sword Dance”, and “Jiaodi Opera” (Wrestling Opera). These “operas” and “dances” marked with witchcraft culture originated from primitive life, possessed strong vitality, and enriched the connotation of the origin of Emei Wushu.  Took Shape in the Warring States Period, Flourished in the Southern Song Dynasty Influenced by witchcraft culture, many scholars and alchemists in history lived in seclusion in Mount Emei to practice Taoism and seek immortality. “According to local records: ‘In the Warring States period, there was a white ape named Donglingzi, styled Yisan’”, who created a set of flexible offensive and defensive boxing techniques – “Emei Tongbi Boxing” (Emei Through-the-Arm Boxing). “Donglingzi” in historical materials refers to the Patriarch White Ape, Situ Xuankong. Situ Xuankong not only created Tongbi Boxing but also developed the “Yuangong Swordsmanship”, which is the prototype of the modern “Emei Swordsmanship”. Tang Shunzhi, an anti-Japanese pirate general in the Ming Dynasty, once mentioned in his Ode to the Emei Taoist’s Boxing: “The Taoist’s technique was taught by the white ape in the mountains; its methods are diverse and illusory, as fast as lightning.” The creation of “Emei Tongbi Boxing” not only holds an epoch-making significance for the development of Emei Wushu but also highlights the unique cultural characteristics of Ba-Shu martial arts. During the Wei and Jin dynasties, with the widespread spread of Buddhist and Taoist ideas, Mount