A few months ago I found out Grandmaster Fu Wei Zhong, the 13th lineage holder of the 800 year old Emei tradition, was coming to Boston. I contacted a few of my friends who study Alchemy/Qi Gong/Martial Arts to ask if they wanted to come with me to meet the Grandmaster of this science. One of my teachers and one of my training partners decided to sign up. The event was five days, 9am-5pm, with an hour for lunch (and lunch turned out to be some of my most memorable moments). What follows is a discussion of my experiences with this exceptional man.

Emei History

In 1227 A.D., a monk traveled to the top of Mt Emei, one of China’s Four Holy Mountains. This monk trained and meditated on Emei and, when he reached enlightenment, took the name Bai Yun (White Cloud). Grandmaster Bai Yun wrote all his sacred knowledge, including his system designed to cultivate health and treat illness while striving to attain enlightenment, in a book called The Emei Treasured Lotus Cannon which is currently being held in a Beijing Museum.

The complete transmission of this sacred system was passed down only from direct lineage holder to direct lineage holder until the time before the Second World War when the 11th lineage holder, Grandmaster Yong Nian, had a vision that the art would be lost. Grandmaster Yong Nian then made a decision that the art should be shared between a Monk and Layman, to help protect the Emei Life, Science and Art system. Grandmaster Yong Nian taught the art to Grandmaster Zhou Qian Chuan who became the first Layman to receive full transmission, and the 12th lineage holder of the system.

Grandmaster Zhou Qian Chuan taugth the art to Buddhist Abbot Ju Zan. Grandamster Ju Zan also became the 12th generation Monk lineage holder. Around 1977, Traditional Chinese Medical Doctor and Qi Gong practitioner, Grandmaster Fu Wei Zhong was brought by a friend to meet Grandmaster Ju Zan. Grandmaster Fu Wei Zhong was invited to join a select group for training in the Emei arts. Grandmaster Ju Zan selected Grandmaster Fu Wei Zhong to receive the full transmission. In 1984, Grandmaster Fu Wei Zhong was given the title of 13th lineage holder.

Grandmaster Fu Wei Zhong is currently spending six months a year training the next lineage holder and six months a year traveling teaching seminars on Emei Philosophy, Health and Healing arts. Grandmaster Fu Wei Zhong is the Layman lineage holder so it is his job to train a Monk in the Emei arts. This was the wishes of Grandmaster Yong Nian and the tradition maintained today.

Emei Holistic Art

In the computer age, thanks to the Internet, information can be found on almost any subject. What is very surprising, however, is the noticeable lack of information to be found regarding the Emei traditions.

The Emei tradition has what Grandmaster Fu Wei Zhong calls “Physical and Spiritual (mental) Balance”. Bai Yun’s art consists of The Twelve Ways, The Six Tiger Steps (or Tiger Walking), Meditations, Healing Sounds, Medicine, Weapons etc. Grandmaster Fu Wei Zhong feels it’s very important to have a balanced system. Grandmaster Fu Wei Zhong discussed how too much of anything is not good and gave an example of the difference between Emei, Shaolin and Wudang related systems and their practices:

“Of the three major orthodox Qi Gong systems in China, the Shaolin and Wudang systems mainly emphasize the martial arts forms; Emei Qigong emphasizes healing, internal self-cultivation of Qi (energy) and cleansing one’s heart so that one’s true nature and latent abilities can emerge”.

Twelve Posts

In the Emei system the 12 Ways (or Paths), commonly known as 12 posts, are the Body Cultivation. These are specific short sets designed to un-lock and holistically link the body while keeping it healthy and strong. While very similar to India’s Yogic practices, they are distinctly Chinese. The beauty of the 12 Ways is that there is no inch of the body that is not targeted. According to Grandmaster Fu Wei Zhong, the Mother of the 12 Ways is the Tian Zhuang (Heaven Post). Grandmaster Fu Wei Zhong said: “Tian Za Zhuang is to Emei just as San Ti Shi is to Xing Yi”. The last Zhuang in the Emei art, Mei Za Zhuang, is based on Meditation practice. Actually, there are 4 different types of meditations that the Emei practitioner studies at that level.
Tiger Walking

The Emei 6 Tiger Walking exercises are the 12 Ways for the Lower Half and uniting the Upper and Lower Half. Of the Emei teaching, this could be some of their most secret training aspects. Grandmaster Fu Wei Zhong told me “after 800 years, only 3 of the 6 Tiger Walking sets have been released to the public”. The last two Grandmaster’s each released one to the public and Grandmaster Fu Wei Zong released the third one. Only the Lineage holders know all 6 and Grandmaster Fu said “I leave it up to my successor to decide if he wishes to release the 4th set”.

Weapons

Emei Weaponry comes in three forms: Sword, Short Blade (Dagger) and Hand Spike. According to Grandmaster Fu Wei Zhong the long weapons are not practical for Emei region. Its location is in the Mountains and very dense. Shorter tools were adapted. When asked about the famed Emei Umbrella methods, Grandmaster Fu Wei Zhong said it was not part of the art.

Healing

The healing traditions of Emei are vast; everything from Sacred Mantras for Meditation to Vibration Healing Sounds for Internal Organs. Lineage Holders of Emei could be considered Chan (Zen) Nature Masters. The Grandmasters of this tradition have taught doctors and helped use their art for other to benefit from. It is even said that when the Abbot of Shaolin was very ill it was Grandmaster Fu Wei Zhong who was brought in to treat him. Grandmaster Fu Wei Zhong maintains the Emei tradition of using his art and skill to help others: “Emei comes from the people and should be returned to the people”.

Analyzing the DNA

When researching martial arts there are many potential lines of comparison: historical data, terminology, poetry (Kuen Kuit), postural structure, and numerous other aspects. None, however, are as important as the Process of Cultivation with regards to Ging/Chi. In the study of Kung Fu (or any sport) we must first strengthen the body or begin its developmental training. Similar ideas can be found in Wing Chun. Among the late Grandmaster Yuen Kay-San’s early written notes is: “Sum Jing Hei Cheung Lao - quiet the heart and conserve the Chi/Breath.” One of the boxing maxims espoused by the late Grandmaster Yip Man: “externally train the tendons/sinews and internally train one Chi/Breath.” In Koo Lo village art of the late Grandmaster Leung Jan, it is recorded: “Lik Yiu Noi Gong / your power must be internal”. These references allude to a specific cultivation platform in Wing Chun.
Significantly different from the Hard Bow methods of the so-called South Fist arts, the Wing Chun cultivation process follows the road of Rou Jing (within soft carries hard). The training of the tendons, sinews, joints, meridians, and sinking of the chi to the dan tien follow a different model than those who develop the body through forced “Hard” Gong methods such as Hung Gar’s Tiet Sien (Iron Wire) or the Tiet Saam (Iron Shirt) of other arts. The Chuk (speedy), Keng (shock), Duen (short), Chuen (inch) Ging are all terms used to describe Wing Chun’s signature power. This sort of specific force is not produced via un-natural breathing and Hardening but through the road of soft.

The root of Wing Chun is Siu Lin Tao (training of the little details) set and the root of the other common arts of its region is Som Chin (Three Battles) or Som Bo Jin (Three Step Arrow). These certainly represent two different types of Base Cultivation and most certainly different forms of “Ging/Qi” cultivation. Grandmaster Fu Wei Zong said: “just as there are different Precious Stones there is different qualities of Chi. Emei uses High Quality Qi.”

The most famous description of the Wing Chun Kuen art reads: “Wing Chun Kuen is characterized by its ‘narrow’ horse and ‘short’ bridge.” The Yee Jee Kim Yeung Ma (character “=” clamping the “yang” meridian horse) and the Emei “=” shoulder Wuji (empty) horse both are designed to cultivate the Zheng Qi (True/Proper Chi) and both follow the same Yin/Yang relationship of sinking of the Yin and raising or supporting of the Yang (as in Yee Jee Kim “Yang” Ma). It is also interesting to note that in the alchemy traditions of the art, the Snake or Serpent can be regarded as the dormant dan tien Zheng Qi coiled at the base of the spine waiting to be unleashed to penetrate the body’s pathways.

Wing Chun and the Snake

Throughout the history of the world ancient cultures have used the Snake or Serpent as a symbol for Wisdom and Alchemy. The Ouroborus for the Greeks and Egyptians is similar to the Kundalini Serpent in certain Yoga arts of India. Those who practice Alchemic arts from China to cultivate Zheng Qi may have come across this symbol many times and so would those who research ancient religions.

Many Wing Chun practitioners have long speculated the questions: “what are the roots of our art?” “What is the meaning behind the Snake and the Crane?” “What did the founder, or founders, have knowledge of when developing the signature set of our art, the Siu Lin Tao (training the small details sets)?”

Across numerous lineages such as Fung, Cho, Yuen, Yip, etc. there is a story about the fusion of Snake & Crane. According to Cho and Yuen family records there is also a story of Grandmaster Miao Shun (Miu Shun) being the person who fused the two arts. Miao Shun was in all likelihood a nickname, and his real identity may never be known, but his work, even after hundreds of years, may still be retained in his signatures.

According to Grandmaster Fu Wei Zhong, in the Emei system it is the Snake that binds the 12 Zhuang and Art together. This is the DNA or signature training of Emei. It is then, perhaps, remarkable to note that the first section of Wing Chun’s Siu Lin Tao set (also found and further expanded on in the first section of the Biu Jee set) contains this exact same training concept for the hands/fingers. In the Cho family tradition, this section is called Snake Sliding Cocoon, in the Yuen Kay-San lineage it was originally called Sae Ying Sao (Snake Shape hand), and in the Fung family, Sae Mun Bai Jee (Four Direction Swaying Fingers). Many arts have this sort of training but what makes Wing Chun’s process different from that of arts like Southern Mantis is the “Rou”-style Snake Binding property.

Tracing the Taiji Circle

In the lineages of Fung, Cho, Yuen and others there is a common Sao Kuen/Sik (Fist or Section Closing Sequence) often referred to as Lop Sao, which is also popular in most south fist traditions. The Taiji Circle is “O”-shape and an older, symbolic term for the line the fingers follow when performing the action. Fung Chun, head of the Fung family of Wing Chun, can be seen performing this on his son’s web site when demonstrating some basics of his art.

During lunch with Grandmaster Fu Wei Zong, I pulled out some Kuen Kuit notes which originated with Wing Chun ancestor Yik Kam (of the Red Junk opera) and passed down through the Cho family. Grandmaster Fu asked me to read them to him. At first I don’t think he realized what they were but when I told him they were notes from Miao Shun he stopped me. “This is your poetry?” he asked. “Yes”, I answered and continued to read on. Grandmaster Fu stopped me again a number of times with questions about this or that note, but the one time that really stood out was when I read the term Taiji Circle. Grandmaster Fu asked me to show him what this was and after I showed him he said: “Yes! That is our Tracing the Taiji Circle!”

Since the Wing Chun movement was so similar to the more general version of this training, the differences or “Little Details” became important: the individual knuckle to knuckle (joint by joint) and opening/closing of the six bones of the hand that makes Wing Chun’s unique from the others.

Wing Chun’s Darting Finger

Another aspect of Emei is the Inch Silk Worm Finger. During a break in class Grandmaster Fu Wei Zhong surprised me when he walked up said: “Jim! Let me see your Silk Worm training”. By this point it had been a couple of days into class and we had already discussed the possibility of Miao Shun and the potential of Wing Chun aspects coming from his Emei art. I was a bit confused and surprised at first, and then I began to do the Snake Arm/Body and he said: “Jim! Inch Silk Finger!”. So, I isolated the Finger and Hand aspect. Grandmaster Fu then said: “I thought so! Everyone has trouble with this. When my Master, Grandmaster Ju Zan, taught me this training I thought I was never going to get it.” He then proceeded to show me how he wanted it practiced and told me to do it a little every day.

Wing Chun practitioners often hear about “secret” Biu Jee “darting fingers” training and methods, yet the actual Darting Finger motion itself is common to numerous Southern Fist traditions, and is even called by the same name in arts such as South Mantis. What, then, could be the “secret”? Could it be the “Inch Finger” training of Emei? Could that be the root of Wing Chun’s “Darting Finger” training concept?

Another aspect of Snake training could be found in the sharp torque of the Darting Finger set. When viewing the three fist sets of Futshan Wing Chun, SLT can be seen as representing long, Chum Kiu as representing medium, and Biu Jee as representing close. This can be looked at as 12, 1:30, and 3 on a clock (Front, Half Side & Full Side). In Fung family and Cho family lineages the training of the Ging from the early stages to the Biu Jee “related” level keeps getting more and more refined. Since only a healthy and specifically trained body/spine can reproduce this Ging, perhaps this wholesome “short torque” could be seen as signature Snake Body development. This is a much different concept from the typical third set of the so-called Shaolin related Southern Fist arts that use the Yut Bot Ling Bot (108) as their most advance empty hand set.

Wing Chun’s 8 Leg Methods

According to Grandmaster Fu Wei Zhong, the 6 Tiger Walking sets have, to this date, only been learned in total by the Lineage Holders themselves. The last three Lineage Holders have each decided to release one of the sets to the public, so written records on these release times are well known (for example, the first set was released just after WW2). So, it is interesting to note that in Cho and Fung family history both arts state that Wing Chun is a combination of Snake, Crane, and Tiger. In Yip Man’s tradition there is a story about Snake, Crane, and Fox. The Tiger typically refers to training of the Spine but is there any connection between Emei’s “Snake” Body and “Tiger” Walking, and Wing Chun’s Snake and Tiger?

Wing Chun has long talked about the secret 8 leg methods or 8 kicks. One day after lunch, while we were in a little kitchen, I asked Grandmaster Fu Wei Zhong to look at my 8 leg methods to see if it was similar to any of Emei Tiger Walking sets. Grandmaster Fu consented and so I demonstrated. He started to smile and said: “you just need the breathing that goes with that.” I asked if what I demonstrated matched anything in his art. It turned out it did: it was from their first sequence, which was also known as 8 Methods Under the Foot!

But if the Emei “Tiger” Walking set was not released to the public until after WW2, and even then, released in a different part of the country, how could it be so similar to Wing Chun leg methods?

Grandmaster Miao Shun’s Art

Could the legend of the Snake and Crane be true? There are only so many ways to cultivate and utilize the human body for Martial Arts. After meeting Grandmaster Fu Wei Zhong, I began to wonder what would happen if someone like Grandmaster Fu fused his knowledge with the art of Fukien White Crane Weng Chun? What would the resulting art look like? Could it be something very much like Wing Chun?

Grandmaster Fu, the 13th generation Lineage Holder, seemed to believe several of Wing Chun’s signatures matched his own art, an art that has been preserved with a great amount of secrecy for nearly 800 years.

Could whomever used the nickname of “Miao Shun” have come from the Emei tradition? Could the generations of secrecy behind the Emei art have contributed to the legends, and to the story of the Snake? All we have are the very similar references in our verbal, written, and technical traditions, but the simple fact that we have these similar references makes it an incredibly compelling possibility. Even the name Wing Chun itself calls to the Spring, one of the Four Seasons of Nature. Was this a subtle homage to the holistic, to Emei technology mixed with Fukien Crane… Even the late “King of Wing Chun”, Dr. Leung Jan (a Chinese doctor) used the same numerology (if for different sets) for his final synthesis as the Emei arts platform: 12 ways and 6 extensions.

Wing Chun begins with Siu Lin Tao (Small/Little Ideas or Training). One of the Emei 12 Zhuang sets is called Siu Zhuang (Small/Little Ways). Was this part of the Emei Snake that was fused with the Fukien White Crane of the legendary Ng Mui (a nickname for Fang Chi Niang’s five plum footwork) to create Siu Lin Tao? Something made Siu Lin Tao and its Yee Jee Kim Yeung Ma different and distinct from other Fukien arts and offshoots (which preserve the San Chin root). Could the type and level of Body Awareness this sort of Snake Body training produced, when compared with the Tri-Post based San Chin, be this “something”?

The White Crane is not a strong bird and yet it can fly great distances because it opens and closes the rib cage to propel itself through the air. White Crane is known for its Chuen Ging Jeet Lak (inch force exerted from the joints) yet is considered a Half Hard/Half Soft (pang guy noon) art. Is the Soft Torso or Snake Body training of Wing Chun, and its cultivation of Chuk/Keng Ging, a sign of Grandmaster Miao Shun’s Emei influence? Is this why our art has often been called “Snake” style Wing Chun? Does that refer to the DNA of Miao Shun by different lineages such as Fok Bo Chuen’s?

If the Heaven Zhuang is the mother of Emei 12 Zhuang and the Siu Lin Tao is the mother of Wing Chun, and they share important similarities, could Miao Shun? Thanks to the amazing skill and incredible generosity of Grandmaster Fu Wei Zhong in sharing his Emei life, science, and healing system, we may be one step closer to finding out.