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Gu Lao Wing Chun Kuen – 40 Points

by Robert Chu

 

When Leung Jan retired from his pharmacy in Foshan he returned to his native Gu Lao village in the Heshan (Hok San) area of Guang Dong province. There, the renowned doctor passed along a simple yet remarkably profound style of Wing Chun, the sei sup dim (forty points) system, also known as Gu Lao Wing Chun. Leung Jan was known as the “King of Wing Chun Boxing” and the Gu Lao style of Wing Chun is his final legacy.

History and Development

Legends say that during the Qing Dynasty, Yim Wing Chun and her husband, Leung Bok Chao taught the 2nd generation of Wing Chun Kuen. These second-generation students worked undercover as a Red Boat Cantonese Opera troupe by day and Anti Qing terrorists by night. They were affiliated with many Anti Qing groups including the Heaven and Earth Society. Their goal was to overthrow the Manchurian government and restore the Chinese Ming to the throne of China. Wing Chun Kuen was their art of choice. They could hide knives in their loose fitting garments and assassinate Qing officials in the narrow alleys of Southern China. As an Opera Troupe, they moved about freely at any time without suspicion.

The second-generation students of Yim Wing Chun included Wong Wah Bo, Leung Yee Tai, Dai Fa Min Kam, Gao Lo Jung, Hung Kam Biu, and Leung Lan Kwai. Many of these Opera members had training in Shaolin Fist and pole techniques, acrobatics, and knowledge of two man sets. They were master choreographers, performing every night the Opera was in a town. Yim Wing Chun’s art consisted of simple, direct, economical moves and was conceptual in content. Training consisted of some 40 or so repetitive techniques that could be practiced solo, with a partner, or on a dummy, empty handed or with knives. It is speculated at this point in the history of Wing Chun Kuen development, there were no set forms, as it was the goal of this training to be applied immediately to serve the purpose of self defense or assassination.

Wong Wah Bo and Leung Yee Tai had a student named Leung Jan. Leung studied the original art and later studied the art in set forms after they were choreographed by the Opera members. Leung became known for his application of Wing Chun in “Gong Sao” (Talking Hands a real match) and became known as the King of Wing Chun, or the Gong Sao Wong (Talking Hands King). Leung Jan has become the famous subject of books written by the famous fiction author Au Soy Jee and today, movies. It is known that Leung Jan became an herbalist and opened an herb stop on Chopsticks street in Fut Shan. The shop was called Jan Sang Tang (Mr. Jan’s Hall). Leung Jan was a native of Gu Lao, not Fut Shan. Leung Jan went on to teach a few, select students like his sons Leung Bik and Leung Chun, Chan Wah Shun, Muk Yan Wah, Chu Yuk Gwai, and Fung Wah.

Upon reaching retirement, Leung Jan returned to his native Gu Lao. While there, he taught a few local students his synthesis of Wing Chun. Instead of focussing on teaching the Wing Chun forms, dummy set and weapon sets that were choreographed by the Opera members, he focused his training on the forty short routines and San Sao drills, pole techniques and double knife techniques. These became known as the Gu Lao Sae Sup Dim (40 points) Wing Chun system. The 40 points are the loose expression and application of Wing Chun Kuen. The forms Siu Lien Tao, Chum Kiu, Biu Jee and Muk Yan Jong sets, and the Yee Ji Cern Dao (Ba Jaam Dao) were created later. Training in Chi Sao and San Sao are emphasized, as well as practice of the 40 points on the wooden dummy. Since we consider them “points”, as opposed to techniques or postures, their applications can be limitless. Each point teaches numerous concepts, and it is the goal of the Gu Lao sifu to teach one how to combine the 40 points. I came to learn this system from my good friend and Sifu, Kwan Jong Yuen, who in turn learned the art from Leung Jan’s grandstudent from Gu Lao, Tam Yeung. I am told that one of Leung Jan’s students in Gu Lao taught Fung Sung, who created the Pien Shen Wing Chun system. The Pien Shen Wing Chun and Gu Lao systems are perhaps one and the same, with the only difference in how they have arranged their curriculum, and who have passed them down. I have also recently read an article from Mainland China that shows the existence of a 22 point Gu Lao Wing Chun system. Until further research indicated they are different, however, I will consider them the same system as the one I learned from Kwan Jong Yuen, owing only to stylistic difference or changes in curriculum.

The Forty Points 

The 40 points include classical and metaphorical names for each of the movements. In typical Chinese Cheng Wu style, this was designed so that members of other systems would not be able to understand what the movements were unless they had studied the same system. Some of these may indicate the Shaolin origin of some of the movements. Most of these names in modern Wing Chun have been replaced using modern jargon. Although few in number and perhaps not as intricate as the classical forms of Wing Chun, the forty points serve to review the Wing Chun system to the advanced practitioner, and serve as an excellent teaching tool to beginning students. They are trained in sets of repetition, alternating left and right sides. One should not simply look at the 40 points as techniques, but look at them as tactics to teach the fighting skills of Wing Chun. When the basics are mastered, a student can then look to doing combinations and permutations of the techniques while moving left and right, with high and low stances, or done high, middle or low levels, to the front and back, and while advancing and adjusting your steps. The advanced practitioner can reach the level of being able to change and vary his movements with empty hands or the double knives of Wing Chun.

The 40 points are not inseparable or different from the other forms of Wing Chun as taught today. Leung Jan simply passed on the art of Wing Chun Kuen in its San Sao (loose hands) stage when he retired to Gu Lao. Kwan Jong Yuen tells me, that in Gu Lao, when Tam Yeung was a student, it would cost a small fortune to learn one point. This included the complete application of the point while standing, with steps, during Chi Sao and with an opponent during San Sao.
Forms and Training 

Gu Lao Wing Chun’s basics are trained through the forty points outlined below:

  1. Ji Ng Chuie (Meridian Punch)- Also known as Yat Ji Chung Chuie, (Sun Character Thrusting Punch) this is Wing Chun’s signature punch with short explosive power with the vertical fist, the fists are held relaxed until impact and force is exerted with the entire body.
  2. Duen Kiu (Short Bridge)- The Short bridge is equivalent to the Cern Jum Sao (Sinking Bridge ) movements. In application, it teaches the concept of Por Jung, breaking the centerline. The hands are open and relaxed and cut down vertically to the opponent’s attacking bridge.
  3. Ba Gua Long Na (Eight Directional Dragon Grab)- Uses the double grabbing hands (Lop Sao), the lead hand held upwards in a clawing motion, while simultaneously the rear hand grabs and pulls the opponent’s bridges, setting the opponent up for a kick, throw or strike.
  4. Sae Mun (Four Gates)- refers to the four gates using the on guard stance (Bai Jong); one exercises the left and right positions of the forward stance (Ji Ng Ma) and the left and right Chum Kiu horse stance positions
  5. Siu Fuk Fu (Small Subdue the Tiger)- Uses an alternating left and right double Gaun Sao with phoenix eye fists; similar to the Gaun Sao section of the Biu Jee set.
  6. Dai Fuk Fu (Big Subduing Tiger)- This technique is basically the same as the above, but using triangle steps to enter at an opponent’s side gates
  7. Pien Shen Chuie (Slant Body Punch)- This is the Ji Ng Chuie using the Wing Chun shift. In application you may strike to your opponent’s outside gate, crossing over his attempted blow.
  8. Pien Jeung (Slant Palm)- This tactic uses palm heel with the fingers pointed to the centerline to strike the opponent. The same short explosive power is used.
  9. Biu Jee (Darting Fingers)- Although the movement implies the fingers, the technique in application utilizes the forearm when striking the opponent at the acupoints ST9 and LI 18
  10. Wan Wun Yiu/Tiet Ban Kiu (Emergency Bend at the Waist and Iron Bridge)- Trains the practitioner to bend forward or backwards at will and can be coupled with hand techniques. It is similar in application as the fade and slip in western boxing.
  11. Chum Kiu (Sinking Bridges)- Uses a double sinking bridge arm position that breaks into the centerline of the opponent
  12. Gwai Ma Chuie (Kneeling Horse Strike)- This tactic utilizes the kneeling horse and a phoenix eye fist to deliver a blow aimed at the groin. This gives an insight into Wing Chun applied at a low line level.
  13. Pien Shen Jeung (Slant Body Palm)- Uses the side palm as a slashing palm maneuver using the front/back shifting
  14. Gao/Dae Jeung (High and Low Palms)- The high and low double palms are actually horizontal butterfly palms with palms facing the opposite direction
  15. Lian Wan Fai Jeung (Linked Fast Palms)- utilize are a Tan Sao/Pak Sao combination followed with a circular Saat Jeung/Chong Jeung combination
  16. Hoc Bong (Crane Wing)- uses the arm in an upwards 90 degree or 45 degree maneuver to attack or defend
  17. Dai Bong (Big Wing)- the Big wing is a low Bong Sao position used to defend against a low attack
  18. Jung Bong (Middle Level Wing Hand)- is the standard middle level Bong Sao
  19. Noi Liem Sao (Inside Cutting Hand)- This is the inner line hand utilizing the Fuk Sao in a circular fashion
  20. Oi Liem Sao (Outside Cutting Hand)- the outer line hand position utilizes Tan Sao in an outward circular fashion
  21. Fu Mei (Tiger’s Tail)- The tiger tail is a short backward hammer-fist strike to the opponent’s groin
  22. Gua Long Jeung (Hanging Dragon Palm)- Combines the dragon claw and Ji Ng Chuie in combination similar to a Fuk Da or Lop Da
  23. Fu Biu Chuie (Darting Tiger Blow)- The darting tiger blow is the equivalent to Fuk Sao combined with a phoenix eye strike
  24. Sam Jin Chuie (Three Arrow Blows)- Is done with one hand (high, middle and low straight punches or equivalent with Lien Wan Chuie
  25. Sam Bai Fut (Three Bows to Buddha)- utilizes the Tan, Pak Sao and Gum Sao to stop multiple blows
  26. Dip Jeung (Butterfly Palm)- Is the equivalent to the Bao Pai Jeung attack and defense
  27. Siu Poon Sao (Small rolling hands)- Trains the Luk Sao or rolling hands of Wing Chun
  28. Poon Sao (Rolling Hand)- This tactic is similar to a Pak Sao/Lou Sao combination, but close to the body. It is the main transitional move in Wing Chun
  29. Juk Da (Slanting Strike)- The slant strike is equivalent to the slant body Jut Da
  30. Juk Kiu (Slanting Bridge)- The slant bridge is essentially Tan Da done with a shift
  31. Dang Jeung (Hammer Palms)- The hammer palms are the equivalent to the second section of Siu Lien Tao utilizing the Gum Sao. There are 4 positions: left, right, double frontal and double rear.
  32. Ping Lan Sao (Level Obstruction Hands)-The level bar arms is the equivalent of the Kwun Sao or Tan/Bong position
  33. Lui Kiu (Double Palms)- Utilize a double Tan Sao position to bridge the gap on an opponent
  34. Chong Jeung (Thrusting Palm)- is the equivalent of the forward palm strike of Wing Chun done to the opponents face or chest.
  35. Fan Cup Chuie (Flipping Upper Cut)- Is similar to the Chou Chuie from the Chum Kiu set
  36. Cup Da Sao (Covering Hitting Hand)- utilizes th Bong Sao immediately followed up with a Lop Sao and downward back fist (Gwa Chuie)
  37. Cern Lung (Double Dragons)- The double straight punches
  38. Pien Shen Dip Jeung (Slant Body Butterfly Palm)- alternating low palm strike
  39. Charp Chuie (Piercing Strike)- is basically a Wu Sao with a fist combined with a straight punch
  40. Bik Bong (Pressing Wing Hand)- is the Wing Chun elbow strike

Training includes the complete application of each point while standing, with steps, during chi sao (sticking hands) and with an opponent during san sao (separate hands). Also taught in the curriculum are Chi Sao, application of the Gu Lao 40 points on a wooden dummy, practicing the Gu Lao points with knives (called “Yee Ji Cern Dao”) and pole exercises collectively known as the Luk Dim Boon Gwun.
Concepts & Principles

As with all Wing Chun systems, the Gu Lao 40 point system requires that the practitioner utilize the principle of “Lai Lou Hui Soong, Lut Sao Jik Chung”.

Gu Lao Wing Chun practitioners utilize the entire body, are principle oriented martial arts as opposed to the technique oriented systems. Timing and positioning are most important, and we utilize simple, direct economical movements in self-defense. A practitioner of the Gu Lao art is expected to learn the classical point, modify the technique according to circumstances, and combine a point with another point, while utilizing footwork and foot maneuvers (Gerk Faat).

It is interesting to note that the Yuen Kay Shan Wing Chun curriculum begins with many techniques similar to those in the Gu Lao curriculum. There is also a trend of modern Wing Chun (Wing Chun Do, Jeet Kuen Do, and other arts) variations to take many of the loose or separate techniques of Wing Chun Kuen.

The Gu Lao Wing Chun Kuen is a glimpse of the teachings of Wing Chun Kuen in a San Sao format. It is an ideal system to learn quick, simple, direct, economical movements for combat purposes.

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Gu Lao Wing Chun Kuen

bei Robert Chu

When Leung Jan retired from his pharmacy in Foshan he returned to his native Gu Lao village in the Heshan (Hok San) area of Guang Dong province. There, the renowned doctor passed along a simple yet remarkably profound style of Wing Chun, the sei sup dim (forty points) system, also known as Gu Lao Wing Chun. Leung Jan was known as the “King of Wing Chun Boxing” and the Gu Lao style of Wing Chun is his final legacy.

History and Development

Legends say that during the Qing Dynasty, Yim Wing Chun and her husband, Leung Bok Chao taught the 2nd generation of Wing Chun Kuen. These second-generation students worked undercover as a Red Boat Cantonese Opera troupe by day and Anti Qing terrorists by night. They were affiliated with many Anti Qing groups including the Heaven and Earth Society. Their goal was to overthrow the Manchurian government and restore the Chinese Ming to the throne of China. Wing Chun Kuen was their art of choice. They could hide knives in their loose fitting garments and assassinate Qing officials in the narrow alleys of Southern China. As an Opera Troupe, they moved about freely at any time without suspicion.

The second-generation students of Yim Wing Chun included Wong Wah Bo, Leung Yee Tai, Dai Fa Min Kam, Gao Lo Jung, Hung Kam Biu, and Leung Lan Kwai. Many of these Opera members had training in Shaolin Fist and pole techniques, acrobatics, and knowledge of two man sets. They were master choreographers, performing every night the Opera was in a town. Yim Wing Chun’s art consisted of simple, direct, economical moves and was conceptual in content. Training consisted of some 40 or so repetitive techniques that could be practiced solo, with a partner, or on a dummy, empty handed or with knives. It is speculated at this point in the history of Wing Chun Kuen development, there were no set forms, as it was the goal of this training to be applied immediately to serve the purpose of self defense or assassination.

Wong Wah Bo and Leung Yee Tai had a student named Leung Jan. Leung studied the original art and later studied the art in set forms after they were choreographed by the Opera members. Leung became known for his application of Wing Chun in “Gong Sao” (Talking Hands a real match) and became known as the King of Wing Chun, or the Gong Sao Wong (Talking Hands King). Leung Jan has become the famous subject of books written by the famous fiction author Au Soy Jee and today, movies. It is known that Leung Jan became an herbalist and opened an herb stop on Chopsticks street in Fut Shan. The shop was called Jan Sang Tang (Mr. Jan’s Hall). Leung Jan was a native of Gu Lao, not Fut Shan. Leung Jan went on to teach a few, select students like his sons Leung Bik and Leung Chun, Chan Wah Shun, Muk Yan Wah, Chu Yuk Gwai, and Fung Wah.

Upon reaching retirement, Leung Jan returned to his native Gu Lao. While there, he taught a few local students his synthesis of Wing Chun. Instead of focussing on teaching the Wing Chun forms, dummy set and weapon sets that were choreographed by the Opera members, he focused his training on the forty short routines and San Sao drills, pole techniques and double knife techniques. These became known as the Gu Lao Sae Sup Dim (40 points) Wing Chun system. The 40 points are the loose expression and application of Wing Chun Kuen. The forms Siu Lien Tao, Chum Kiu, Biu Jee and Muk Yan Jong sets, and the Yee Ji Cern Dao (Ba Jaam Dao) were created later. Training in Chi Sao and San Sao are emphasized, as well as practice of the 40 points on the wooden dummy. Since we consider them “points”, as opposed to techniques or postures, their applications can be limitless. Each point teaches numerous concepts, and it is the goal of the Gu Lao sifu to teach one how to combine the 40 points. I came to learn this system from my good friend and Sifu, Kwan Jong Yuen, who in turn learned the art from Leung Jan’s grandstudent from Gu Lao, Tam Yeung. I am told that one of Leung Jan’s students in Gu Lao taught Fung Sung, who created the Pien Shen Wing Chun system. The Pien Shen Wing Chun and Gu Lao systems are perhaps one and the same, with the only difference in how they have arranged their curriculum, and who have passed them down. I have also recently read an article from Mainland China that shows the existence of a 22 point Gu Lao Wing Chun system. Until further research indicated they are different, however, I will consider them the same system as the one I learned from Kwan Jong Yuen, owing only to stylistic difference or changes in curriculum.

The Forty Points

The 40 points include classical and metaphorical names for each of the movements. In typical Chinese Cheng Wu style, this was designed so that members of other systems would not be able to understand what the movements were unless they had studied the same system. Some of these may indicate the Shaolin origin of some of the movements. Most of these names in modern Wing Chun have been replaced using modern jargon. Although few in number and perhaps not as intricate as the classical forms of Wing Chun, the forty points serve to review the Wing Chun system to the advanced practitioner, and serve as an excellent teaching tool to beginning students. They are trained in sets of repetition, alternating left and right sides. One should not simply look at the 40 points as techniques, but look at them as tactics to teach the fighting skills of Wing Chun. When the basics are mastered, a student can then look to doing combinations and permutations of the techniques while moving left and right, with high and low stances, or done high, middle or low levels, to the front and back, and while advancing and adjusting your steps. The advanced practitioner can reach the level of being able to change and vary his movements with empty hands or the double knives of Wing Chun.

The 40 points are not inseparable or different from the other forms of Wing Chun as taught today. Leung Jan simply passed on the art of Wing Chun Kuen in its San Sao (loose hands) stage when he retired to Gu Lao. Kwan Jong Yuen tells me, that in Gu Lao, when Tam Yeung was a student, it would cost a small fortune to learn one point. This included the complete application of the point while standing, with steps, during Chi Sao and with an opponent during San Sao.

Forms & Training

Gu Lao Wing Chun’s basics are trained through the forty points outlined below:

  1. Ji Ng Chuie (Meridian Punch)- Also known as Yat Ji Chung Chuie, (Sun Character Thrusting Punch) this is Wing Chun’s signature punch with short explosive power with the vertical fist, the fists are held relaxed until impact and force is exerted with the entire body.
  2. Duen Kiu (Short Bridge)- The Short bridge is equivalent to the Cern Jum Sao (Sinking Bridge ) movements. In application, it teaches the concept of Por Jung, breaking the centerline. The hands are open and relaxed and cut down vertically to the opponent’s attacking bridge.
  3. Ba Gua Long Na (Eight Directional Dragon Grab)- Uses the double grabbing hands (Lop Sao), the lead hand held upwards in a clawing motion, while simultaneously the rear hand grabs and pulls the opponent’s bridges, setting the opponent up for a kick, throw or strike.
  4. Sae Mun (Four Gates)- refers to the four gates using the on guard stance (Bai Jong); one exercises the left and right positions of the forward stance (Ji Ng Ma) and the left and right Chum Kiu horse stance positions
  5. Siu Fuk Fu (Small Subdue the Tiger)- Uses an alternating left and right double Gaun Sao with phoenix eye fists; similar to the Gaun Sao section of the Biu Jee set.
  6. Dai Fuk Fu (Big Subduing Tiger)- This technique is basically the same as the above, but using triangle steps to enter at an opponent’s side gates
  7. Pien Shen Chuie (Slant Body Punch)- This is the Ji Ng Chuie using the Wing Chun shift. In application you may strike to your opponent’s outside gate, crossing over his attempted blow.
  8. Pien Jeung (Slant Palm)- This tactic uses palm heel with the fingers pointed to the centerline to strike the opponent. The same short explosive power is used.
  9. Biu Jee (Darting Fingers)- Although the movement implies the fingers, the technique in application utilizes the forearm when striking the opponent at the acupoints ST9 and LI 18
  10. Wan Wun Yiu/Tiet Ban Kiu (Emergency Bend at the Waist and Iron Bridge)- Trains the practitioner to bend forward or backwards at will and can be coupled with hand techniques. It is similar in application as the fade and slip in western boxing.
  11. Chum Kiu (Sinking Bridges)- Uses a double sinking bridge arm position that breaks into the centerline of the opponent
  12. Gwai Ma Chuie (Kneeling Horse Strike)- This tactic utilizes the kneeling horse and a phoenix eye fist to deliver a blow aimed at the groin. This gives an insight into Wing Chun applied at a low line level.
  13. Pien Shen Jeung (Slant Body Palm)- Uses the side palm as a slashing palm maneuver using the front/back shifting
  14. Gao/Dae Jeung (High and Low Palms)- The high and low double palms are actually horizontal butterfly palms with palms facing the opposite direction
  15. Lian Wan Fai Jeung (Linked Fast Palms)- utilize are a Tan Sao/Pak Sao combination followed with a circular Saat Jeung/Chong Jeung combination
  16. Hoc Bong (Crane Wing)- uses the arm in an upwards 90 degree or 45 degree maneuver to attack or defend
  17. Dai Bong (Big Wing)- the Big wing is a low Bong Sao position used to defend against a low attack
  18. Jung Bong (Middle Level Wing Hand)- is the standard middle level Bong Sao
  19. Noi Liem Sao (Inside Cutting Hand)- This is the inner line hand utilizing the Fuk Sao in a circular fashion
  20. Oi Liem Sao (Outside Cutting Hand)- the outer line hand position utilizes Tan Sao in an outward circular fashion
  21. Fu Mei (Tiger’s Tail)- The tiger tail is a short backward hammer-fist strike to the opponent’s groin
  22. Gua Long Jeung (Hanging Dragon Palm)- Combines the dragon claw and Ji Ng Chuie in combination similar to a Fuk Da or Lop Da
  23. Fu Biu Chuie (Darting Tiger Blow)- The darting tiger blow is the equivalent to Fuk Sao combined with a phoenix eye strike
  24. Sam Jin Chuie (Three Arrow Blows)- Is done with one hand (high, middle and low straight punches or equivalent with Lien Wan Chuie
  25. Sam Bai Fut (Three Bows to Buddha)- utilizes the Tan, Pak Sao and Gum Sao to stop multiple blows
  26. Dip Jeung (Butterfly Palm)- Is the equivalent to the Bao Pai Jeung attack and defense
  27. Siu Poon Sao (Small rolling hands)- Trains the Luk Sao or rolling hands of Wing Chun
  28. Poon Sao (Rolling Hand)- This tactic is similar to a Pak Sao/Lou Sao combination, but close to the body. It is the main transitional move in Wing Chun
  29. Juk Da (Slanting Strike)- The slant strike is equivalent to the slant body Jut Da
  30. Juk Kiu (Slanting Bridge)- The slant bridge is essentially Tan Da done with a shift
  31. Dang Jeung (Hammer Palms)- The hammer palms are the equivalent to the second section of Siu Lien Tao utilizing the Gum Sao. There are 4 positions: left, right, double frontal and double rear.
  32. Ping Lan Sao (Level Obstruction Hands)-The level bar arms is the equivalent of the Kwun Sao or Tan/Bong position
  33. Lui Kiu (Double Palms)- Utilize a double Tan Sao position to bridge the gap on an opponent
  34. Chong Jeung (Thrusting Palm)- is the equivalent of the forward palm strike of Wing Chun done to the opponents face or chest.
  35. Fan Cup Chuie (Flipping Upper Cut)- Is similar to the Chou Chuie from the Chum Kiu set
  36. Cup Da Sao (Covering Hitting Hand)- utilizes th Bong Sao immediately followed up with a Lop Sao and downward back fist (Gwa Chuie)
  37. Cern Lung (Double Dragons)- The double straight punches
  38. Pien Shen Dip Jeung (Slant Body Butterfly Palm)- alternating low palm strike
  39. Charp Chuie (Piercing Strike)- is basically a Wu Sao with a fist combined with a straight punch
  40. Bik Bong (Pressing Wing Hand)- is the Wing Chun elbow strike

Training includes the complete application of each point while standing, with steps, during chi sao (sticking hands) and with an opponent during san sao (separate hands). Also taught in the curriculum are Chi Sao, application of the Gu Lao 40 points on a wooden dummy, practicing the Gu Lao points with knives (called “Yee Ji Cern Dao”) and pole exercises collectively known as the Luk Dim Boon Gwun.

Concepts & Principles

As with all Wing Chun systems, the Gu Lao 40 point system requires that the practitioner utilize the principle of “Lai Lou Hui Sung, Lut Sao Jik Chung”.

Gu Lao Wing Chun practitioners utilize the entire body, are principle oriented martial arts as opposed to the technique oriented systems. Timing and positioning are most important, and we utilize simple, direct economical movements in self-defense. A practitioner of the Gu Lao art is expected to learn the classical point, modify the technique according to circumstances, and combine a point with another point, while utilizing footwork and foot maneuvers (Gerk Faat).

It is interesting to note that the Yuen Kay Shan Wing Chun curriculum begins with many techniques similar to those in the Gu Lao curriculum. There is also a trend of modern Wing Chun (Wing Chun Do, Jeet Kuen Do, and other arts) variations to take many of the loose or separate techniques of Wing Chun Kuen.

The Gu Lao Wing Chun Kuen is a glimpse of the teachings of Wing Chun Kuen in a San Sao format. It is an ideal system to learn quick, simple, direct, economical movements for combat purposes.

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Pien San Wing Chun

Side Body Wing Chun, also known as Gulao Wing Chun, originates from Mr. Leung Jan. Mr. Jan’s ancestral home was Gulao village, Heshan county. It is said that when he was 73 years old, he retired to his native village. There, he accepted Wong Wah-Sum, Yik Ying, Leung Bak-Cheung, etc. as students. They say what he taught them was Side Body Wing Chun, not Straight Body Wing Chun. It had one set of hand techniques and a 3 1/2 point pole method. Leung Jan taught them until he died at age 76. Following his death, Mr. Jan’s Kwan Knife was placed in the Heshan Ancestral Hall and every year a memorial ceremony was held.

Wong Wah-Sum taught the skills to Koo Siu-Lung and Fung Lim. Pien San Wing Chun thus has two branches- the Fung Family and the Koo family.

Pien San Wing Chun was generally only taught to students in the same village. Trusted to teach it outside were Fung Lim (Fei Lo Lim or Fat Lim) and Fung Joi-Hoi (called Seung Hoi). In Guangzhou, Fung Lim’s son, Fung Sang, received instruction from Koo Siu-Lung, thus learning from both families. In Hong Kong, there are very few students. Fellow villager Lee Ding (Bak Tao Lao or White Head, also known as Lee Bak) moved to Vancouver, Canada in 1988 where he taught a few students.
Fung Lim had studied Fujian Siu Lam (Shaolin) and mixed the methods. Therefore, the Fung family fist method was compartively harder and more fierce.

Pien Shen Wing Chun uses short bridge and narrow stances. The “Yee” Character Clamping Yang Stance is the foundation, the stances and steps turn and move with agility, like the wheels of a cart. The elbows sink and the shoulders drop. The fingers are together and the fists are empty. The specialty is sticking and striking.

Gulao Wing Chun is 7 parts soft, 3 parts hard. Foshan Wing Chun is 3 parts soft, 7 parts hard.

New Martial Hero. Roughly translated from Chinese.

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Gulao (Pien San) Wing Chun

Pien San (Side Body) Wing Chun originates from the village where Dr.Leung Jan retired after leaving Foshan. Gulao was his home (a small village in Heshan province).Traditionally in Chinese culture the leading Kung Fu master of thevillage would teach the village youngsters in order that they would beable to protect their village from bandits and raiders who were prevalent at this time and would prey on the weaker villages. Like allstyles of Kung Fu this teaching had two purposes, one was to provide apractical fighting system that would allow the youngsters to defendthemselves and their loved ones. The second was to promote health inmind and body to allow the youngsters to live long lives. In additionwith the ability to deal out deadly techniques, there must be someresponsibility so the Master much teach the youngsters to be mature,responsible people.

Leung Jan therefore taught a method of Wing Chun that was different fromthe stylized approach he had previously taught in Foshan. It was quickand easy to pick up being made up of separate techniques (San Sao). Thatthe beginner could repeat in order to strengthen his body and use veryquickly in a fighting situation. Yet there was a lot more to Leung Jan’steaching than mere body movements. At a more advanced stage the studentwould realize that these San Sao actually encompassed all theunder-lying principles that make up Wing Chun. Once this was realizedthe student would be able to apply them with ease to any situation -including fighting with sticks, pole and knife.

Many people today fail to realize that Wing Chun is primarily a set offighting principles. The basic movements taught are merely a vessel tofocus these principles. Today many instructors teach like this, the movemust be done this way, rather than focusing on the principle behind themove. This will allow the student to learn much faster, and allow WingChun to become a part of themselves rather than a set of foreignmovements that a student must repeat with the hope that they may one dayassimilate them. This, I believe, was the original intention of LeungJan.

What then happened to this Pien San or Gulao Wing Chun, and what does ithave to do with the man who brought Wing Chun to England? Indeed, whowas the man who brought Wing Chun to England?

Wing Chun was brought to England towards the end of the 1950’s by myMaster, Lee Shing. Who’s first teacher was Fong Yee Ming, who himselfhad learnt from Wong Wah Sam who hadlearnt from Leung Jan. Lee Shing had a real interest in Wing Chun andwas a keen disciple who was interested immediately in researching allthe different styles of Wing Chun inspired by his knowledge of PienSan Kuen. He therefore, in his research, went on to study under FungSang who was one of the central points of Pien San Wing Chun, havingstudied under his father Fung Lim and his uncle Koo Siu-Lung (bothstudents of Wong Wah Sam). He then went on to learn from the famous Kung Fu master Ng Jung So, and later Jiu Wan. Please excuse me for the detailin this article but I try to maintain interest in the history of WingChun.

Even though the present of Wing Chun is more important than the past, itis important to know where your roots lie. This can give you an insightinto the reason: mg behind your art and the techniques used. Lee Shingeventually moved to Hong Kong where he met and trained with Lok Yiubefore being introduced to Yip Man in the 50’s before being allowed toopen up a school on Hong Kong island – with the opening ceremony beingconducted by Grandmaster Yip Man. It was at this time that Lee Shing met Yip Chun who had resumed his studies in Wing Chun. The two became firmfriends and henceforth when Yip Chun came to England, he would alwaysstay at Lee Shing’s home.

Lee Shing eventually moved to England and went on to teach many cur-rentday masters such as Joseph Chung, and was well respected by all Londonbased Kung Fu Masters; Nigel Fan, Eddie Yeoh, Tan Man Kun, How Bing Sam,Austin Goh and Joseph Man.

His syllabus comprised of the following Siu Lim Tao (little idea form) intended to give beginners an idea of the scope of Wing Chun, Chum Kiu(seeking the bridge) teaching how and when to make first contact, Biu Jee and Dai Lim Tao (big idea form). This is as important as Siu Lim Taoin that it encompasses the scope of Wing Chun but this time with theidea for the techniques to be used in all situations. The principles ofthe hands can therefore be applied to the feet, ie. Bong Gerk or whilst grappling.

The Form consists of the following 12 Handsets;

  1. Siu Lim Tao
  2. Dai Lim Tao
  3. Sam Jheen Choi (Three finger jab)
  4. Biu Choi (Charging/Thrusting punch)
  5. Sap Jee Choi (Reverse meridian/Cross hand punch)
  6. Dip Cheung (Double Butterfly Palm). Alternating low palm strikes.
  7. Lan Kiu (Bar Arm bridge)
  8. Teet Jee Chum Kiu (Iron Finger Sinking bridge). Back fist flowinginto low strike followed by low palm strike.
  9. Tang Ma Biu Jee (Rising thrusting finger with phoenix eye).
  10. Hok Bong (crane bong). Level Bong Sau, moving into side body withsimultaneous attack.
  11. Wan Wan Yeu (Life after Death). Using the waist to lean back toavoid strikes detected late, then using the return waist power in thehand strike.
  12. Fook Fu (Subduing the Tiger). Mixture b/w Gan and Fak Sau withphoenix eye.

Also included in the syllabus are Dai Bong (Low soft Bong), Fu Mei (lowstrike to the groin), Gwai Lung Na (double Lop Sau), Sam Bai Fut (Threebow to Buddha), Sam Jhin Chiu (Three arrow blow), Fan Kup Choi (uppercut), Lien Wan Fai Jeung (linked fast palms), and important principleslike the double bridge – double, Flicking Tan Sau with forward energy tobrige the Gap in Chum Kiu.

Pien San teaches you also how to modify these points depending on thesituation and how to combine them effortlessly in free flowingtechniques so that they are not static but flow freely along withcorrect footwork.

I would like to dedicate this article to the Wing Chun Family,especially of the Lee Shing lineage and I would also like tocommemorate the recent unfortunate passing away of one of the Lee ShingWing Chun Family, Nigel Fan, who has done a lot of work in film andtelevision programs as both a stuntman and actor. Always ready with ajoke, he would often drive to my school on his motorbike before we wouldgo off for a quiet meal with the rest of my indoor students – may herest in peace.

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An Interview with Fung Sang’s Family

by Jim Roselando

One of the most well known names in Master Leung Jan’s Side Body Boxing family was Fung Sang Sifu! The late Fung Sang Sifu was the first member of the Fung family to openly teach his families art in Hong Kong. In our family it is said; before Chun Suk (Fung Chun) and Fung Chiu, there was Fung Sang! Fung Sang Sifu was interviewed (by the Sun Mo Hop magazine) many years ago but to this day not much is known about this talented man. So, I contacted Fung Sang SiBok’s family and we organized an interview! Respect to Fung Sang!

Family History

Fung Sang was born in 1940 and passed away in 2006. His father, Fung Lim was a practitioner of Fuzhou (Fujian) Nam Kuen “southern fist” {not White Crane} for over eighteen years. When Fung Lim returned home to Kulo village he experienced the art of Side Body Boxing and discovered that nothing he had trained was as effective as the Kung Fu King’s teaching! Fung Lim then discarded his previous art and started training with Master Wong Wah Sam!

Master Wong Wah Sam had eight disciples. Of the eight it is said that Fung Lim, Fung Min and Fung Chun were the most active. Fung Lim taught his son from an early age but wanted his son to learn as much as possible so he sent his son to train with his Kung Fu brother, Gu Siu Lung. Gu Siu Lung was one of Master Wong Wah Sam’s eight disciples. Fung Sung Sifu trained with Gu Siu Lung for the last three years of his life. Today the Gu lineage is no longer active.

The Teaching

Fung Sang Sifu began teaching when he was only thirty years old. He taught in three districts of Hong Kong. {Tai Hing, Yau Ma Tei and Tuen Mun} Fung Sang’s teaching was public but it was mostly friends and family who trained with him. They were fishermen and would meet in the park after work every day to practice and socialize. Fung Sang’s closest and senior disciple is Mr. Fung Ho Chiu. Fung Ho Chiu trained with Fung Sang since 1968 and when we called on Fung Sang’s family for the interview it would be Fung Sang’s son (Tim Fung) and Fung Ho Chiu who would answer all our questions.

The art of Side Body Boxing is rooted in the Twelve Fists of Master Leung Jan but there is much more to the systems curriculum to be studied, which, lead to different expressions of the art. One element of Kulo history that was confirmed from this interview was; Who developed the Yee Sup Yee or Twenty Two Point Kulo system? It was Fang Sang’s father, Fung Lim, who developed, and taught, this system to the public! The system that Fung Sang taught consisted of Eighteen Points (12/6), Dummy, Pole & Dbl Knives. Fung Ho Chiu said this about his sifu’s teaching, “Ging power comes from “yao yun” soft power from the waist. In the early training the horse is emphasized along with the 18 basics single man followed by the Chi Sao two man training.”

Today & Tomorrow

Fung Sang Sifu was extremely active his entire life with his Pin Sun Wing Chun. Today there are only a few close students preserving Fung Sang’s art and boxing in the world. There are no schools or active public teachers in Hong Kong. Yet, men like Fung Ho Chiu Sifu are still going strong and training daily with a few! This is how the art is passed on today and unless we continue to actively search for the roots our art we will have no chance for a strong tomorrow. Thanks to Fung Sang Sifu’s diligent training, research and teaching throughout his entire life, this obvious love for his art would later allow him to become one of the most well known and respected figures in the history of our Pin Sun Wing Chun family! I leave you with some words from Fung Ho Chiu Sifu to give you a good idea as to how the art is taught and preserved in 2010; “There are no teachers in Hong Kong today. I work as a textile worker with cloth. I train most every day for my health. There is no school but I do have a few students and my son who train.”