Grandmaster Yip Man Centenary Birth by VTAA 1993 PDF

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WING CHUN CLASS OF SHA TIN TOWN HALL 反
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佛山大學詠春班
FOSHAN UNIVERSITY WING CHUN CLASS
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MASTER JIM FUNG’S 徐尚
WING CHON ACADEMY CHU SHONG TIN
致意致意
悼葉問宗師
詠春派掌門葉問宗師，於本月一日下午五時四十分
，壽終九龍通菜街寓所，享壽七十七歲，五日下午一時
半在九龍殯儀館大殮，二時出殯，卜葬於九龍新界，港
九武術界同人，皆致悼念 f
葉問宗師爲佛山世家子，祖居福賢里，俗稱桑園，
民國十四年，開闢馬路後，改稱福賢路，街中大厦雲連
，盡是閥閱之家，葉問自幼便性嗜武技，時詠春派梁贊
先生第一大弟子陳華順在蓮花地授徒，陳華順年靑時以
找換銅錢爲業，人稱找錢華，尊稱爲陳華公，葉宗師拜
華公學習詠春拳一年，華公不幸歸道山，再由入室弟子
吳仲素深造，前後數年，已有相當造詣
葉宗師十五歲時，來港就讀於聖士提反學校，年少
好動，且民族自尊心甚强，目睹外籍人士尤其是印籍人 .
欺侮華人，挺身而出，專與印籍人作對，印籍人聞葉問
而心驚，時梁贊公子亞壁來港居於蘇杭街，聞訊召葉問來訓斥一頓，葉問不服，與亞壁較量，
爲亞壁所敗，才知自己之技，仍未爐火純靑，再隨亞壁深造。又兩年，葉宗師之技，已登峯造
極，性情亦大變，謙謙君子，彳旬彳旬若儒者， . 不識者固不知其爲國術大師也。_
余與葉宗師相交數十載，葉宗師由福賢黾遷居於公正路福興街，與余有坊鄰之誼，詠春前
輩吳仲素 ’ 譚尙志 ’ 亦爲芳鄰故知其事甚稳抗戰初起時，余從軍北上 _，後撤退冋粵桂，路
’
過佛山故鄕，與葉宗師相遇，祝余陞官發財，其實在國難當頭，國家命脈危如 I I 卵之時，身爲
中國人，亦聊盡國民天職而已，葉宗師祝余陞官發財，余唯報之以苦笑，迄今不覺已 5 十多年
，葉宗師當年的聲音笑貌，歷歷如在目前也。
勝利後，余復員廣州，任職於星報及七十二行商報，撰 I 佛山贊先生」一書，叙述詠春派
梁贊 ’ 找錢華 ’ 葉問各師的事蹟，後來港創辦環球報 .，武術雜誌，天下日報等，葉宗師亦來港
，在深水埗大南街港九飯店工會任敎，該會理事長梁相，佩服葉宗師之技，拜門習詠春拳，Iri]
門習技者有駱耀，余復再撰「詠拳拳丨 •:_ 一書，刊於武術雜誌及環球報，亡友許凱如則撰「詠
春拳」一書於天下日報，今許君與葉宗師均先後謝世，唯余獨存，益增蒹葭秋水之思广。
我是山人陳勁
目
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第一部分 ( 關於葉問宗師的生平）
© 我的父親—— 葉問葉正
My Father - Ip Man Yip Chun
②我的舅父葉問盧文錦
My U ncle, Mr. Yip Man David Muncie 譯
( D 詠春、葉問、香港駱耀
VingTsun, Yip Man, Hong Kong LokYiu
④我學詠春之經過羅炳
第二部分 ( 詠春功夫特色、要訣）
① 詠春拳之特熙馮漢
The Uniqueness of VingTsun Stewart H. Fung
(2 ) 小念頭的隱藏力量徐尚田
The Hidden Power o f Sin-Nim-Tau (Little Idea) Tsui SheungTin
③讓我從小念頭裡介紹詠春拳種馮平波
A llow me to introduce the significance of the Siu-Lim-Tao Derek Fung
form in the Wing Chun system.
④ 親手 — 詠春的心
Chi Sau, The Heart o f Wing Chun Samuel Kwok
⑤詠春轉馬的重要 Shaun Rawcliff 文梁定國譯
The importance of turning stance Shaun Rawcliff
⑥ 內在的詠春（由內至外的） Alan Gibson + John McFarlane 文
“Internal” Wing Chun (from the Inside-out) 黃偉才譯
⑦八斬刀
Eight-Cutting Doubleknives Techniques. 蕭堪民 I Siu Yuk Men
第三部分 ( 學拳或敎拳心得）
® 我對比武的心得黃淳棵
© 敎授詠春拳術的體驗原文：Rolf Frutschi
Experience in Teaching Wing Chun 譯文：梁定國
⑧ 詠春- 明之刚途維德樂伕
VingTsun - A Bright Future? Rolf Wichter
④ 四海_ 家白威林及維德安達
VingTsun -T h e Uniting Principle Wilhelm Blech + Andreas Wichter
⑤ 詠春與氣功謝i 韋精 Steve Lee Swift
Wing Chun and Qigong 譯： Michael Tse
⑥ 對詠春的一些意見劉功成
第四部分 ( 發展）
①葉問傳下的武術如何征服歐洲？梁挺譯 Frank S c h m id t 文
How Yip Man’s Matial Art Conquered Europe
②詠春拳術闖佔澳洲敎育界一席位梁嘉麗
Wing Chun Kung Fu: First Martial Art Officially Grace Yung
Recognised by Australian Government
③香港城市理工學院之詠春班撰：伍智恆、司徒美心（祖兒）
④詠春功夫歐洲總會 Philipp Bayer
VingTsun Kung Fu Association Europe - Philipp Bayer
第五部分其他
①②③④⑤⑥
佛山叙會散記編者
聯想與趣事亞當
誤道、謊言與斷章取義徐尚田
對詠春拳的感想原文：Steve2 Lei wift
譯文：鄭佩瑤
葉問宗師年譜葉準
編後語編者
編者按：本文作者葉正，乃葉問宗師之子。十年歲月，作者隨宗師學拳而助敎、朝夕不離
。對宗師之敎拳心得、體會至深、故文中所提，極有價値，故誠意向讀者推介。
我的父親 — 葉問
先父葉問宗師，自四九年挾技來港之後，積極發揚詠春拳，在短短二十亡年（五零至七二
) 之時間，不但在港澳台地區把詠春發揚光大，更將詠春種籽散落到世界每一角落，使詠春之
果實牢牢散播於世界各大國家，他生前培養出之人才如梁相、葉步靑、招允、李小龍、駱耀、
徐尙田、黃惇樑、何金銘 ……等一班出色之弟子，分别都能繼承宗師遺志，把詠春拳進一步發
展，故宗師逝世後，詠春門人，一致推崇他爲詠春派一代宗師（先父一生謙虛謹愼，從未自稱
自己是詠春之宗師或什麼掌門人之類，這一黠，特别寫給一些曾爭做掌門人之詠春同門爲戒）
這個稱號先父實受之無愧。
先父於淸未生於佛山，佛山位於廣東珠江三角洲一個最富庶地區之一，水陸交通十分方便
，古來就與景德、’朱仙和漢口合稱爲中國四大名鎭，歷來工商業，特别是手工業十分發達，居
民生活安定富裕，因而文化藝術也十分昌盛，中國功夫爲中國傳統文化藝術之一種，故歷來武
風尤盛，南派成名之武術大師如黃飛鴻、張鴻勝、梁贊、馮小靑 ……都出自佛山，宗師生長於
這樣的一個年代，加上他對功夫熱愛，兼具聰明和毅力，且得名師傳授（前有陳華順後有梁贊
之子梁碧），宗師之成就是可以理解的。
我六二年來到香港，即跟隨先父學拳，後來更協助他敎拳，一直至七二年他逝世，從未中
斷，對他如何傳授功夫，耳濡目染，體會深刻。藉此紀念葉問宗師誕辰一百周年的今天，提出
宗師敎拳之一二心得，願跟所有詠春同門學習和探討。
宗師十分注重對人才之選擇，他經常說：「徒弟選擇一個好師傅，固然困難，但師傅選擇
一個好徒弟，更加困難。」作爲一個一生以敎拳爲職志之人，能有這種心態，殊不簡單，這可
說是他對工作態度之認眞，對所敎徒弟負責之表現。宗師一生敎拳，從不掛牌，亦不賣招生廣
吿，他之所以這樣，其唯一之目的，就是保留 _ 一個 • 有選擇收徒弟之主動權。」二十年來，
宗師信守這個原則，作爲一個敎拳爲職志者，是十分難能可貴的。
詠春拳是一門實而不華，簡單直接和實用的功夫，宗師對初入門者之基本訓練，十分重視
，當傳授小念頭時，從正確手法，腰馬配合，到發力運用，從沒有時間限制，只要學者能達到
他的要求，他才會進而敎授新的課程，從不苟且，這其實是對勤學者一種獎勵。
宗師授拳另一特黠，就是量才而敎，他對毎一個學者，從心理而至個性，身材體魄而至知
識程度，文化修養而至吸收能力，先作充分了解，更根據每個學者不同所需，作出不同的方法
而敎，務使每一個學者都能更容易學習和吸收。
宗師敎拳過程中極之注重和自由搏擊的練習，這是培養學者對詠春的喜愛和信心，從
而引導學者進二步對詠春拳的法度和木人樁之硏究。
宗師除對詠春功夫有高深的造詣外，他早歲時，亦曾受過高深的敎育，更加上他不斷吸收
現代之科學知識，故經常能利用今日之科技常識。如力學原理、幾何角度 ……去解釋詠春拳之
法度。宗師更能進揚棄一些主學上令人費解的理論，如五行、八卦，相生相剋的辭語等，這一
黙對功夫淨化，實是宗師之所以有如許之成就。宗師從來沒有且十分討厭一些「巧遇甚麼奇人
異士，授予特異功能，或是武林絕學，藉此欺騙門徒，宣傳自己的行爲。」他認爲這樣的人，
足對自己所學毫無信心，對功夫之法度，認識十分膚淺，而希望能利用這種似是而非之故事，
去嚇人騙人而矣。這種不靠眞材實學的敎拳形式方法，注定是失敗。
宗師授拳之心得，當然不祇上述幾黙，更希望詠春同門今後有更多和更有意義之發掘。
My Father - IP Man
My later father, Master IP Man, actively promoted the art of “Wing Chun” after coming to
Hong Kong in 1949. In a brief period of 22 years (1950 - 1972), the art of “Wing Chun”
blossomed in Hong Kong, Macau and Taiwan. More than that, the seeds of Wing Chun were
spread throughout the world and a firm foundation was laid in the major countries of the world.
During his life, excellent disciples such as LEUNG Sheung, IP Bo-ching, CHIU Wan, Bruce
LEE, LOK Yiu, CHUI Sheungtin, W ONG Shun-leung and HO Kam-ming were cultivated and
they inherited M aster Yip’s wish to further develop “Wing C hun” , therefore, M aster Yip was
held in the highest esteem by his disciples and unanimously praised as the “Master of Wing Chun
after he passed away. (My late father was humble and prudent throughout his life and he had
never claimed himself as the M aster of Wing Chun or the elader of any school. I mentioned this
point as a warning to fellow disciples of “Wing Chun” who had completed to be leader of the
school.) My later father could accept this title without feeling embarrassed.
My late father was born in Foshan at the end of Oing Dynasty. Foshan was situated at the
most prosperous region of the Zheyieng Delta of Guangdong province and it was the hub of
land and sea transport. From ancient time, it had been called one of the Ever Major Historical
Towns of China in association with Jingde, Thuxian and Hankiou. Industry and trade, in
particular handicraft trade, prospered all along and the residents lived a stable and prosperous
life. As a result, culture and art developed fully and as Chinese amrtial art was part of China^
traditional culture and art, the trend of learn material art was very popular. Well known masters
of the South School, e.g. W ONG Fai-hung, CH EU N G Hung-shing, LEUNG Chan, LEUNG
Siu-ching etc. came from Foshan. M aster Ip was born in such an age and he was extremely
found of Chinese martial art. With talent and persistence as well as teaching by famous teachers
(CHAN Wah-shun at the beginning and LEUNG Pik, son of LEUNG Chan later), Master Ip’s
achievement could be envisaged.
I came to Hong Kon gin 1962 and followed my father to learn martial arts. Afterwards, I
assisted him in teaching “Wing Chun” until he passed away in 1972. I learned a lot from the way
he taught. As it was the 100th anniversary of the birth of M aster IP Man, I would like to put
forward a few points that I learned from the M aster’s way of teaching in the hope that all “wing
C hun” disciples would learn from them and study them.
The Master put great emphasis on the selection of talent. He always said, “No doubt it is
difficult for a disciple to select a teacher. But it is even more difficult for a teacher to select a
disciple” . It wes extraordinary for someone who taught martial art for a living to have such a
mentality. This meant that he was serous in his attitude and responsible to the disciples he
taught. Throughout his life, the Master had neither hung up a signboard nor put up enrollment
advertisement. The aim for this was just to reserve “the active right to select disciple” . The
M aster adhered to this principle strictly for the past 20 years. It was commendable for someone
who taught martial art for a living.
“Wing Chun” is practical, simple and direct without any fancy element. The Master put
great emphasis on the basic training of the new disciples. When he taught them Xiu NinTau, he
imposed no time constraint on the learning of correct stance, co-ordination of the waist and the
stand as well as the use of strength. He would teach a new topic only after the disciple could
prove that he could meet his requirement. He would never teach perfunctorily. This was in fact,
a kind of award to those who worked hard to meet the requirement.
A nother characteristic of the M aster’s way of teaching was teaching a disciple according to
his aptitude. He would thoroughly analyze the mentally, character, physical fitness, physique,
education standard, cultural accomplishment as well as power of absorption of the disciple first.
Then he would teach him ways and means according to the different needs of individual to make
sure that every disciple would absorb and learn easily.
In the course of teaching, the Master placed a lot of importance in practicing a show and
free combat, the aim was to nurture disciple’s love of and confidence in “Wing Chun” so as to
guide him to study the rules of “Wing Chun” and the wooden dummy.
A part from great attainments in “Wing Chun’，，the Master recived advanced education in
4
his youth. Moreover, he continued to absorb modern scientific knowledge. Therefore, he could
always make use of present day’s technological knowledge such as mechanic and mathematics
theories to explain the rules of Wing Chun. The Master could even give up unintelligible
wordings such as the Five Elements, Eight Diagrams and nutual promotion and restraint
between the Five Elements that were commonly used in metaphysics. This helped purification of
martial arts and this was also the secret for the Master to achieve such high attainment. The
M aster had never said and even detested anyone who said “I met a genius or hermit who taugt
me extraordinary skill or unique move in martial a rt” to cheat his disciple and to promote
himself. He thought that such person had no confidence in what he had learnt and he was
extremely shallow in the rules of martial art. He only wished to scare people by telling this kind
of specious story. Such person was doomed to failure by using this kind of unsubstantiated
means to teach martial art.
The secret of the M aster’s way of teaching was not limited to the above points. I hope that
fellow disciples will explore more meaningful points in the future.
我的舅父葉問
葉問本名繼問，爲廣東佛 u i 鎭人氏，排行第二，家
住佛山福賢路桑園，爲當地一大家族，大門之左側爲佛
山著名的茶樓「桃源居」，隔鄰爲著名的餅食店公興隆
。桑園內屋宅佔地甚廣，連綿數條街位，『桑園葉』在
佛山無人不知。我出生及生長於香港，第二次世界大戰
期間，我由香港返佛山，在桑園住了一段很長的時間，
往長的時間，得與舅父朝夕相見，加以母親生前談及一
些舅父年靑的往事，如今仍歷歷如新。舅父在七歲那年
，便拜師於陳華順門下，時華公年事已老，甚少親自執
敎，故棄問入門後，則不再接受任何人士拜門學技。因
此成爲華公的封門弟子，更得華公所疼愛，各年長師兄
如吳仲素、雷汝濟、陳汝棉等，對此年幼師弟更加照顧
。但當時華公所取費用比較高昂，學技弟子毎月約付白
葉問先師遺照
銀數兩之多，非一般人士所能負擔，故華公敎奉數十年
，門下弟子也懂得十數人而已。故當時乃有人稱詠春乃「少爺拳」：。六年後，華公仙逝，彌留
之際，交付大弟子吳仲素代師敎道此一年幼師弟，棄問謹記師訓再勤力跟師兄苦學三年。到十
六歲那年，棄問便赴香港求學外文，就讀於聖士提反學校，因得同學之介紹，認識梁贊先生的
次子梁碧，再隨同門師叔修練三年，盡得其學，使詠春拳技臻入化境。
在芸芸師兄弟中，與舅父最好的則推阮奇山。阮氏爲師伯吳仲素愛徒，也是舅父世交，兩
人年紀相近，故常到舅父家中作客，共硏拳技。且阮氏對葉準表兄尤爲疼愛，時現敎導葉準表
兄練習的小念頭。
民國初年，佛山每年都流行「秋色」遊行盛會。在一次的「秋色」遊行中，舅父與其表妹
數人共觀「秋色」，有一當地軍閥排長對我的表姨不禮貌，當時葉問身穿長衫，薄底鞋，甚 d
王孫公子打扮，且體形並不高大，望似可欺。對方更是色胆包天，上前對女眷欲毛手毛脚。爲
葉問標身上步，以詠春拳法攤打齊擊，對方當塲應聲倒地。此軍閥排長因而起身拔槍，當時葉
問以迅雷不及掩耳的手法，握住對方槍管，以大拇指力量直壓左輪手槍的槍膛，镜然把左輪手
槍槍芯壓曲，使其無法發射。
在日軍攻佔佛山後，日憲兵隊因知舅父武功過人，欲邀擔任憲兵敎練，但舅父站穩 W 族 iK
義之立塲，毅然拒受日本憲兵之邀。使日憲兵因而遷怒舅父，便令當時被認爲佛山名敎頭的梁
〕，指名與葉問講手，舅父在再：被迫之下，接受梁某較技，梁某自認拳费馬建，以箭槌迫
馬追打，舅父乃擺出詠春二字箝羊馬之樁手，以耕手消去對方低樁箭槌，轉身跗脚，使對方迅
時失去重心無法站立。
自此以後，葉問爲恐日人對其不利，暫離佛山，但仍不斷協助政府推展抗日工作行動。抗
戰勝利以後，舅父仍沒有設舘敎拳，在警政機關任職。歷任除暴安良工作，R 曾親手偵破佛山
沙糖坊之劫案，並在昇平路昇平戲院內親擒劫匪。從此與鬼槍（手槍）結上不解之緣。人陸陪
匪前，仍在廣州市擔任南闽巡邏隊隊長之職。
大陸變色後，舅父由佛山逃到香港，由好友李民之推介，得在九龍深水埗人闸街飯 ),〖
丨1: 會
敎授詠春拳，開始時入門學技者，僅有李民、梁相、駱耀 ……與我本人等，+ 足十人，而李 W
與舅父早是世好，可說是亦師亦友，以後繼有徐尚田、葉步靑 ……等追隨學技。
一九五四年，在 H 下弟子日衆的情形之下，舅父便離開了飯店工會，在深水埗海壇街設舘
，我與早期的師兄弟仍堅隨學藝，當時舅父爲便利香港地區的學者，每週更抽空二至三個晚上
在上環某工會及灣仔大道東大王廟執敎。以後由於求技者日見增加。塲地上的限制，舅父一而
再的把敎練塲地由海壇街遷到油麻地利達街，李鄭屋村，深水渉興業大厦等，但並無公開招生
，只由所熟識者的親友及弟子介紹。李小龍是於油麻 [利達街時由張卓慶介紹到門下學技，李
小龍於後期發逹後，曾提出送一層樓房的代價請舅父親自拍攝全部詠春樁法，彳詠春樁法待筆
者有暇時再向讀者一 -介紹）但爲舅父所拒，其老人家的意見是只要學者有心學技，則全力傳
授，絕不把功夫當作成品出售，更不厚此薄彼，此種大家長作風，更爲門下弟子擁載。一九七
三年招允師兄來台時也談及此事，事實上舅父授拳的方法，是根據每個人的知識水平，接受
能力、生理習慣和興趣，而訂出各種各樣的敎授方法，使每個學者都能按其習慣與生理機能達
到進歩與成功，也是他老人家的一番舍心。
七十歲的葉問，其功力並不遜色於靑壯年時代，在七年前香港社會搶劫之風最盛時，舅父
在一次間散步時，有雨名流 ® 持刀意圖搶劫他時，被舅父以疾風式的連環脚法，瞬間把兩劫
匪踢出數尺之外。
我是受到舅父的鼓勵，回到祖國。旱在一九五四年，我以香港靑年代表的身份到台灣，並
得到先總統蔣公的訓示，返港後受到舅父的指責，認爲我旣有機會投進祖國懷裡，又何必重
回香港，失去爲國家、社會服務的大好機會，故我在一九六 O 年再度回國，並投入某軍事學校
，民國丄九七四，更得到葉準表兄及師兄弟的鼓勵，在台北市八德路 • 段 § 二巷五十一弄三十
一號四樓設舘發揚詠春拳技，成爲台灣地區第 ^ 傳人。至今回思，才領悟到當時舅父極力鼓勵
我回國的目的，除獻身國家之外，更要把這門實而不華的功夫貢獻給全國同胞《尙幸仍不負他
生前的企望，先從由外國來華拜入詠春門下學習者，遍及法國、美國、英國、南非、東非、馬
來西亞、西德 ……等國家地區的外籍人士。在近兩次的世界以及亞洲的國術大賽中參加的詠春
選手，更有良好的表現，獲得最高榮譽，更使詠春功夫再向世界邁 _ 翁大步。
MY UNCLE, MR. YIP MAN
Translate by Mr. David Muncie
Although Chinese Kung Fu has risen in popularity since the time of Bruce Lee, few people
know the story of Bruce Lee’s master - Yip Man, the leader of the Wing Chun style. The author
of this article, Lo Man Kam, is the nephew of Mr. Yip Man, and also the elder kung fu brother
of Bruce Lee. He is presently the Grand M aster of the Wing Chun style in Taiwan. As a youth,
M aster Lo Man Kam, spent much time living with M aster Yip Man in the Fut San district in
Canton Province. Later, as a young man in Hong Kong, he was among the first of M aster Yip’s
students, and studied there with him for many years. Thus, his knowledge of the kung fu
practiced by Yip Man is extremely extensive. In this article has gives us a chance to share in
some of the adventures and events which occurred in the life of Master Yip Man.
Yip Man’s real name was Jee Man. He was a native of Fut San district in the Province of
Canton, Southern China. Yip Man was the second son born in to the Jee family, who were very
well-known in that area. They lived on Fuk Yin Road in Mulberry Gardens. To the left of the
main gate of the family residence was a famous tea room known asTau Yan Gui. And next door
to that was a famous bakery, Gong Hing Lung. The houses in Mulberry Garden were all very
big, and Mulberry Garden itself was very large and well known throughout Fut San.
I, Lo Man Kam, was born and spent the early years of my life in Hong Kong. During World
War II, because of the Japanese occupation of Hong Kong, I went to Fut San to live in Mulberry
Gardens. AT that time, I met with my uncle every day. My mother also used to tell me many
stories about him, and even tot his day, I still clearly rem eber many things about his life.
At the age of seven my uncle became one of the students of Master Chan Wah Shun.
Master Chan was already very old at that time so he was not teaching that many students. In
fact, Yip Man was the last student he accepted. A fter my uncle became his closed door disciple,
M aster Chan developed a great liking for him. Indeed he became Master Chan’s favorite
student. Yip Man’s elder kung fu brothers, such as Ng Jung Su, Lu Yu Ji and Chan Yu Min, were
also very fond of him and they all took care of him.
Master Chan’s tuition was very high 一 each student had to pay a few ounces of silver, which
was a tremendous sum at that time in China. Naturally, the common man could not afford such
a cost. For this reason, although Master Chan had been teaching for more than 10 years, his
students only numbered in the teens. Due to the extremely high tuition, Wing Chun thus became
known as the rich man’s kung fu.
Six years later Master Chan was near death. Just before he died, however, he ordered one
of his students, Ng Jung Su, to teach Wing Chun to young Yip Man. Master Yip Man followed
his elder kung fu brother for three years. At the age of sixteen, Yip Man went to Hong Kong to
study English at St. Steven’s College. There he was introduced by a classmate to Leung Bik, who
was the second son of Mr. Leung Jun, who had been the teacher of Chan Wah Shun, Yip Man’s
teacher. Thus Leung Bik, who had learned from his father, was a skilled practioner of Wing
Chun. My uncle studied under him for three more years, honing his skills to perfection,a nd
fully mastering the art of Wing Chun.
Among his fellow students, Yip Man got along best with Mr. Yuen Chi Shan, who was the
student of Ng Jung Su. Yip and Yun were the same age and often studied and spent time
together at my uncles home. While at Yip Man’s house Mr. Yun met my cousin Yip Chun. He
liked my cousin very much, so he taught himn the first form of Wing Chun, Sil NimTou.
During the early years of the Chinese Republic, Fut San had a yearly parade called
“Autumn Scenes” . One year my unde, Yip Man, went to see the festivities with one of his
female cousins. aT that time, a military officer was attracted by her beauty and began to make
advanced toward her. My uncle was wearing a long traditional Chinese gown, and thin-heeled
cloth shoes. Due to his elegant dress, and the fact that he was not very tall, he looked more like
a gentleman than a fighter. The officer thus figured he was a helpless weakling incapable of
protecting his cousin, so he became even more daring and offensive. My uncle could no longer
tolerate the man’s behavior. He thus used one of the simultaneous attack and defense techniques
8
of Wing Chun, and the officer was immediately knocked to the floor. The officer then drew his
revolver, but before he could shoot, Uncle Yip grabbed the barrel and used the strength of his
thumb to force open the cylinder, thus rendering it useless.
When the Japanese occupied Fut San, the military police caught wind of Yip Man’s
reputation as a kung fu fighter, and invited him to become their coach, he refused on the
grounds of righteousness, however. This angered the Japanese very much and as an act of
revenge, th ey ordered another kung fu master, surnamed Leung, to challenge him. Master Yip
agreed to accept the challenge only after being asked many times.
M aster Leung thought his punch was very powerful, and when the fight began, he used it to
attack M aster Yip. Yip M an used the Geng Sao technique to block the punch, thus rendering it
ineffective. He then used the P’o Bu step of Chum Keo to advance forward, placing his right
foot inside and next to the right foot of M aster Leung, locking legs with him. He then turned
slightly and using the leverage of this Wing Chun technique, forced his opponent to the ground
in defeat.
A fter this incident it was necessary for Yip Man to leave Fut San as it was increasingly
obvious the Japanese meant to do him harm. Nevertheless, he still continued to help the
Chinese government resist the Japanese. A fter the Japanese resistance, Uncle Yip did not teach
Wing Chun, but worked as a police detective. In order to rid the area of evil and protect the
people, M aster Yip solved many crimes, including a kidnapping cas fin which the son of a
wealthy merchant was abducted from ShaTang Fang Lane, and the arrest of a famous criminal at
the Sing Pin theatre. Yip Man continued his position as leader of the military patrol of Southern
Canton up until the time of the collapse of the Nationalist government.
A fter the Nationalist government fell, Yip Man left Fut San for Hong Kong. On the
strength of an introduction by his good friend, Mr. Lee Man, he established aWing Chun school
at the Kowloon Restaurant Association (aka Mess Union) on Da Nan Street in Kowloon. At the
beginning there were no more than 10 students, including Lee M an, Leung Hsiang, Luo Yau and
myself. Mr. Lee of course, was not only a studnet, but also a very good friend of my uncle.
Later on, Shu Sun Tin and Yip Bue Shing also joined my uncle’s classes at the Mess Union.
The students kept increasing to the point that in 1954, M aster Yip left the Mess Union to a
establish a larger kung fu institute at Hai Tian Street in Deep Water Bay, Kowloon. The other
students and I followed him there and continued to study as usual. At that time Uncle Yip also
had to go to Hong Kong Island two or three time a week to teach some other students he had
at Hsin Hawn and Tai Wong Temple on Queen’s Road East. The students continued to increase so
my uncle moved the institute from Hai Tian Street to Lee Tat Street, and then to Lee Jing Village
and shin Yip building.
Yip Man never openly advertised for students; one would have to be introduced by a friend
or know one of Y ip’s students. Bruce Lee was introduced to my uncle by Chueng Jwo Chin
(William Chueng) who is now a famous Wing Chun fighter and instructor in Austrlaia. After this
formal introduction, Bruce Lee began to learn Wing Chun from my uncle at the institute on Lee
Tat Street.
Yip Man’s method of instruction depended on, and corresponded with the individual
studnets degree of knowledge, natural ability, personal habits and interests. His innovative
method of personal instruction was to help each student progress at his own pace in accordance
with his practice habits and physical skills.
The strength of yip man at seventy was no less than that of a young man. Ten years, ago,
due to the large number of local gangs, robberies occured quite frequently in Hong Kong. One
night as Yip Man was taking a walk, two young hoods with knives tried to rob him. Uncle Yip
used the upper slap block to knock the knife held by the closer youth up and and out of harms
way, while simultaneously kicking him backwards. Before the other youth had time to analyse
the situation, Yip Man quickly turned and kicked him as well, thus ending the attempted
robbery.
In addition to his life-long passion for kung fu, Master Yip Man also had an interest in the
martial abilitie sof Chinese fighting dogs, as well as fighting crickets. In Canton Province, there
is a certain type of cricket which is ell known for its fierce nature aand fighting spirit. Whenever
two males of the species are put together they immediately engage in combat, usually to the
death. AT these matches, which Uncle Yip enjoyed very much, the participants first weigh their
crickets on very accurate scales to assure that both are of the same approximate size, thus
guaranteeing a fair match. The two crickets are then exhibited and wagers are often made before
th ebattle commences. These fighting crickets are so brave that even after losing one of their
limbs in combat, they will fight on undauntingly rather than flee from their opponent.
I was encouraged by my uncle to come to Taiwan in 1956. I was then representing the young
people of Hong Kong and received private guidance from President Chiang Kai-shek. When I
later returned to Hong Kong, my uncle scolded me for coming back. Yip man thought it was to
great a chance to pass by, so in 1960 I returned to Taiwan to serve my country by enrolling in a
military school and learning the art of war as a field commander.
In 1974, with much encouragement from my cousin Yip Chun, I established an institute at
Number 31 4F Lane 12, Alley 51, Sec. 3 Pa Te Road, Taipei. At that time I was the only teacher
of Wing Chun in Taiwan. Thus, now that I think about it, I realize that Yip Man’s purpose in
sending me back to Taiwan was to devote myself to the country and help kung fu prosper in
Taiwan. His wish is today beilng fulfilled, for there are French, American, English, South
African, East African, New Zealand and West German students learning here. During the Asian
and World kung fu contests, the members of the Wing Chun sport team received high honours,
thus helping the Wing Chun style prosper around the world.
10
詠春、葉問、香港
詠春拳術現今已是世界知名，擁有衆多弟子的武術門派。記得四十多年前，詠春拳在香港
並未爲大衆所熟識，後因葉問宗師在飯店工會傳授詠春拳術而迅速發展，迄今擧世知名，其中
經過，筆者覺得應向我派同門略作叙述，作爲詠春拳在香港發展的歷史參考。
因何港九飯店職工總會（深水埗 ¥ 南街黃竹街交界） :會成爲葉問宗師敎授詠春拳法的發展
根據地，這當然附有緣份上的牽引，天時地利，人和的配合，個中情節，又似覺是機緣巧合的
安排。
在一九五〇年間，飯店工會秘書徐風，屬於兼職顧問，後因徐風秘書私務日繁，示意另聘
秘書担任日常會務工作，當時有工會會員李應年君，是人和悅酒庄推銷員，得知工會有意另聘
秘書，極力推薦其叔李天培君接任，李君便受聘爲工會秘書？由於李君與葉問宗師是世好，亦
曾隨葉宗師習拳，閒時喜愛練習詠春拳之圈手招式，至令梁相察覺是詠春拳之手法，在當年飯
店工會職員中，多爲拳術的愛好者，並從李君口中得知詠春派眞傳宗師葉問在港寄居，要求引
見並徵得葉宗師答應在工會內傳授詠春派拳術。
在李君引見葉問宗師見面時，經過一段過手情節，極堪一提 6 原因是梁相當年個子高大，
體壯年輕，是一名體重約 • 百七十餘磅之精壯人士，更屬身懷數派武術專長之武痴，驟見葉問
宗師個子矮小身材消瘦，表露懷疑目光，葉宗師知其意，並主動提議可與其一試，梁相亦急
不及待，表示願意領敎，於是立即擺開架式，祈求印証，只見葉宗師隨意站立，雙膝微曲，兩
手一前〒後放於胸前中心位置，並無半黠切磋武技招式，對梁相說，現在你可隨意進攻，我不
會傷害你。於是梁相也不客氣，急步標馬，先以左拳運力向葉宗師胸部平拳打出，但見葉宗師
右手似膀，似攻非攻，略作進馬，與梁相左手橋手接個正着，各人還未看個淸楚，梁相即時馬
步浮動，身體急後仰盈丈，坐於地上，面露 — 片迷妄之色，一刹間淸醒過來，立即起身拱手
向葉宗師表示歎服，並多謝手下留情。事後据梁相表示，當時在他心目中已組織好一連串進攻
招數，意欲施用左右手拳連環進攻，繼施以吞、吐、擊撞等手法，認爲以當時葉宗師身形體態
絕難應付，誰知一經接觸，已不由自主倒退，那有機會施用心中所組織好的攻勢，才領略到天
外有天，人外有人的道理，眞是上了人生寶貴的 I * 課。- ':
此後梁相等早期師兄弟除積極協助推廣敎務，還極力鼓勵同門用心學習此世間難求的優良
絕學，及後詠春拳術能夠迅速發展，亦與梁相經此一役及衆弟子對詠春拳之認識與信心及協助
推廣有連帶關係。
葉問宗師於飯店工會內授拳，凡五年之久，曾在飯店工會內習拳者据筆者記憶有（梁相）
駱耀（劉明）、崔祖（陳球）、陳醒圖（許二）、李思榮（曾榮）、鄭洪、徐尙田，文少雄 (李
榮），（招允），羅炳（葉步靑），許彥良，羅宗彥，何巨華，黃淳樑、李金城。
詠春在香港能夠迅速發展是經過多方面的考驗，優良的拳理固然是主因，葉宗師的敎導有
方，衆弟子的虛心受敎，勤奮的練習，又喜與别派武術人士切磋，印証，漸爲局外人士認識，
吸引求學者日衆所至®
此後由於外界（非飯店之會人士）弟子衆多 ’ 另租賃，深水埗海壇街一單位，油蔴地利達
街一單位爲舘址，擴大吸納學員，奠定了詠春拳術推向世界發展的基礎。
駱耀
11
12
VingTsun, Yip Man, Hong Kong
by Lok Yiu
Translated by Buick Yip
Nowadays Ving Tsun is a worldwide famous Chinese M artial A rt with a large number of
students and instructors. However, about 40 years ago, Ving Tsun had not been acknowledged by
the public in Hong Kong. It was through our grandmaster Yip Man’s teaching in the Restaurant
Employee’s Association, so that its development has been speeded up. As Ving Tsun is now
worldwide know. I think I should give a brief report about the development of Ving Tsun in
Hong Kong for our companions as a reference.
It is just a coincidence that caused Yip an develop a foundation in the quarter of Hong
Kong —Kowloon Chinese Restaurant Employee’s Association. [The quarter was at the mode of
Tai Nam Street (.大南街） and Wong Chuk Street ( 黃竹街） in Sham Shui Po District (深
水埗） ] Certainly, a gathering of the right time the right place and the right people is necessary.
In the 1950s, the secretary of the Association, Tsui Fung ( 徐風） , being a part-time
employee was fully occupied by his personal affairs and has requested to assign. Then, another
member, Lee Ying Lin (李應 _ ) ，a liquor salesman, strongly recommended his uncle Lee Tin
Pui ( 李天培） to succeed the post. Lee and Yip were good friends and had also studied uner
Yip. Lee liked to practice the posture of Ving Tsun during the leisure time, this brought the
attention of Leung Sheng( 梁相），who recognized that it was the Ving Tsun techniques. In those
days the employees of the Association were mainly Martial art goers. From Lee, they learned
that a Ving Tsun M aster was residing in Hong Kong. They then registed to be introduced and also
got the promise that Yip would teach them.
During the introduction of Yip by Lee, there was a worth-mentioning story. Leung Sheung
was a well built young man, weighted over 170 pounds. He was also a profession of several
martial arts. He found that Yip was a dwarf, thin and elderly man, thus he presented a
suspicious vision towards the ability of Yip. Yip realized that and automatically suggested that he
could try out with Leung. Leung was motivated and willing to accept, then he immediately
displayed his fighting found. Yip stood freely, slightly bended his two knees, pushed out both
hards - one in the front, the other in the back and located them at the middle of the chest. That
did not like a fighting format. A fter that, he told Leung to attack as he liked, and promised he
would never hurt hime. Leung did not hestitate, and advanced fiercely with his left fist punching
horizontally toward Yip’s chest. Yip pushed up his right hard, formed an incomplete Bong Sau
，neither defending nor attaching, and marched fprward a little. It was too pick for
everyone to see what was hoppered, when they were in contact with each together, Leung was
already losing his position and retreated backward as such as ten feet and falling onto the floor.
A fter he recovered, he stood up, sreeted humbly with obedience to Yip, and he was also
gratitude to Yip for not hunting him.
It was biter disclosed by Leung that before bombarding with Yip, he hood already
organised an ttacking procedure; wishing to use continuous punching, backed up with graping,
slapping and hummering techniques. He believed that according to Yip’s configuration, he could
not deal with that. However, when come into contact, Leung was unable to control himself and
moved backward; there was no chance for him to perform his organised offense. By this lesson,
Leung has learned the meaning of a Chinese idiom ‘a high mountain may not be the highest’.
Afterwards, Leung and other members studied uner Yip diligently and introduced this
precious martial art to the public. Later on, the prompt expansion of Ving Tsun to the public is
really related to this contest and the confidence gaived by the students.
Yip Man has taught in the Association for 5 years. According to my memory. Those who
learned Ving Tsun under Yip at that period included: Leung Sheung ( 梁 | 目），Lok Yiu ( 絡耀），
Liu Ming ( 劉明），Tsui Cho ( 崔祖），Chan Kau ( 陳球），Chan ShingTao ( 陳醒圖），HuiYee
( 許：），Lee Yan Wing ( 李恩榮），TsangWing (.曾榮），Cheng Hung ( 鄭洪），Chu ShangTin
(徐尙田 ) ，Man Siu Hung ( 文少雄），Lee Wing ( 李榮），Chiu Wan (招允 j , Law Bing (羅
炳），Yip Bo Ching ( 葉步靑），Hui Yin Leung ( 許彥良），Law Chung Yin ( 羅宗彥），
Ho Kui Wah ( 何巨華），Wong Shun Leung ( 黃淳樑）， as well as Lee Kam Shing
(李金城）
(Note: the name which is underlined represent that person is no longer alive]
The achievement of a peedy expansion of Ving Tsun in Hong Kong is owing to the success
of its companions in passing through various difficulties. First of all, the fire and practical theory
is a prime factor. On the other hand, Yip’s patience in teaching, and the willingness of his
students to born were the other factors. In addition, the numerous matches with other schools
making Ving Tsun gradually recognised by other people, thus attaching more learners.
Afterwards, outsiders (non-members of the Association) also joined the learning classes.
The Yip had rented an apartm ent in Hoi Tan Street ( 海壇街） in Sham Shui Po District as a
living place and another apartm ent in Lee Tak Street ( 利達街） in Yau HaTei District (油蔴
地區）as school for acquiring new students, thus establishing the foundation of Ving Tsun.
14
我學詠春的經過
回遡四十多年前，我還是個好動的靑年，工作以外
最肄好的就是拳術，那時正跟一位姓李的師傅學習南螳
螂，經三四年間的苦練，總算有黙根基，而我的師傅也
不反對我跟别派的拳手切磋，互相印證，由於好奇及自
信的驅使，我也先後曾跟好幾派的拳手印證，多少也得
黠成績 ^
有_▲ 天晚上，家裡來了幾泣年靑伙子，其中三位是
我朋友的弟弟，當中一不就是黃淳樑，那時他的年齡大
槪是十六七歲左右，他還未學習詠春拳術的，因後來他
拜師還比我遲半年左右，但其中有一位是我素未謀面的
，經介紹後，才知道他叫歐陽明，剛習詠春數月，他是
個身裁瘦削，中等高度，年齡約二十出頭，那時我的年
齡大約三十，因彼此都甚年靑，總不免有躍躍欲試的念
頭，在雙方同意下，自然 :§ * 洽即妥，在很友誼的情形下
進行一次比試，雙方擺開架式，由黃淳樑的哥哥叫一聲開始，我隨即發動進攻，此際歐陽明不
慌不忙地使出左右膀手，有條不素地後退，雖然我頻頻進攻，不斷地左右出擊，使他沒有還擊
的時間，且他拳齡太短，人也並不凶悍，自然不是，個狠的對手，雖是這樣，他未有還擊，但
我也沒奈他何，大槪進逼了三十尺左右，由於他不斷後退，保持着距離，更兼頻頻使出膀手及
枕手，中間頻有法度，這是値得讚賞的，此時因再無後退的地方、雙方都停了下來，這塲的切
磋可以說是我勝了，但這一夜我却不能入睡、一個拳齡很短，無甚搏鬥經驗而年紀比我輕的小
伙，居然能 — 化解我的攻勢，我心裏總有黠不是味道，經幾翻思量，我決定去尋個究境，過
了幾天，在工餘的時間跑到深水埗飯店工會看看詠春練習，因此認識了葉問師傅，相談下覺得
他的談吐溫文爾雅，爲人隨和好客，平易近人，對拳術的闡析、往往道前人之未道，令我耳目
一新，不由得油然生出仰慕之心，而他的門徒也很能和睦共處，且多是知識份子，待人斯文有
禮，自然有喜與親近的意思，且他們探討拳術、都持有很客觀的態度，凡事都尋求論據印證，
不單只是態度認眞，更此種拳術有很合理的要求，每個動作都可以通物理力學幾何的解析，眞
是一種難得的拳術，所以到今天詠春拳在世界各地受着不少學者的接受，其程度有甚於香港，
這樣我就成了詠春門下的一員，也充實了我的人生，因詠春的理論不單放於拳術，更可放置到
很多情況而作爲剖釋，因它是二進制的數學觀念，甚至可以平衡你的情緖，所以我放在詠春的
時間絕不寃枉。
詠春拳之特熙
詠春拳是一種十分科學化和人工化的拳術。其長處在於埋身搏擊。它拳快而防守緊密，馬
步靈活和上落快，攻守兼備及守攻同期，注重剛柔並濟，氣力消耗量少。
詠春拳就其理論、心法、手法等創有小念頭、尋橋和標指等三拳套及木人樁法。更配合委离
手練習以訓練與敵橋手雙接後的感覺和反應。詠春拳用一種叫做「寸勁』之發力方法來攻擊和
防守。理論和心法方面注重中線、埋踭、朝面追形、左右兼顧、來留去送、甩手直衝等，以最
短距離和時間去進攻和防守。
以下是詠春拳特黙之逐項陳述：
( f )_理論和心法： -
⑴ 中線理論： - 中線者由人體頭頂至尾閭（尾龍骨）之線。若將敵我之中線連接便成一個
中線平面。若配合「朝面追形」我們在進攻和防守方面是絕對的有利。在進攻方面我們
沿着中線配合「朝面追形」向敵方中線攻擊，這是敵我最短之距離；同等拳速，拳軌近
者當然較快 .擊中。再者我們若問敵方左或右攻擊，對方很容易卸去我們之力。但若我們
向敵方中線攻擊，對方則甚難卸力，而且受力較重。在防守方面我們守中線，配合「朝
面追形」_及沿着中線平面以分水方法去消解，這也是消法之最短行軌。
(2)朝面追形： • 與對方朝正面對面者爲「朝面」。若不能「朝面」（如對方面向其他方向
) 我們之面沿着中線平面追望對方中線之形者是爲「追形」。
詠春對敵時盡可能是正面朝敵的。不論敵方環繞着我走向任何方向我們必定朝面追
形向着敵方。其好處如下： -
① 防守方面： - 簡化敵人向我們進攻的來向。因爲正面之攻擊，敵人向我們進攻之來向
只限於九路。九路者即左上、左中、左下、中上、中中、中下、右上、右中、右下。
因此我們對敵人來勢較易捉摸。
② 進攻方面：配合中線理論，我們較易擊中目標及敵人受力較重。
-
③ 出手快而影少： - 雙手能同時到達敵人，所以出手時不用轉動膊頭，因此出手之影（
先兆）會很少，而且左右手很易互相兼顧。
(3)埋择理論： - 詠春出手或防守大多數是手踭緊貼着中線平面的。好處如下： -
① 巧方面：- 可搶中線以達最短距離和最重之攻擊。
②守方面： ■ ' 一方面埋淨本身已保護身體若干重要部份，另方面守中線以達最短距離之
防守。
(4)收淨理論： - 詠春出手後（不論是攻或守），手和手臂均不再蓄力，手踭屈曲是爲收踭
。這樣除了有利自己同一隻手能立刻再作攻擊外，在防守方面使敵方難以取我們之關節
並守位方面亦會較緊密。
( 5 ) 「來留去送」心法： - 「來留」者對方向我們擊來之手法。我們除了消外最好盡可能將
其留住，以便利用詠春橋手相接之感覺將其控制。「去送」者當敵方發强力向我們擊來
，我們利用手法把擊來之方向改變，令其攻擊不能擊中我們，若可能我們應當再加力順
其勢向那改變後的方向送去，令敵失勢或招式用老。
( 6 ) 「用手直冲」心法： - 「甩手」者是當對方突然將與我相接之橋手撤去（不論向任何方
面）。每當對方「甩手」，我們應以第一時間發招冲出直攻敵方爲之「直冲。 ^ 來留
去送」和「甩手直冲」心法，是從練習锻練出來的。
(7)守攻同期：，當我們消對方之攻擊時，在可能範圍內我們應同一時期發招攻向對手，這
樣將會由被動變主動而達到後發制人。
16
⑶ 其他輔助心法：-
① 不消「過籠」： - 詠春消手以能消對方來手而不超過防守所需範圍爲原則。對方來手
若不可能擊中我們，我們則不需要運用任何消法。不消「過籠」可以減少氣力和時間
的消耗。消後反擊敵當會更快。
② 不「追手」： - 「追手」者，離開防守所需範圍來追着去接觸對方橋手也。詠春拳長
於橋手相接後之惑覺和反應。所以初學詠春拳者很容易下意識地犯「追手」的錯誤。
若敵橋手不在我之防守範圍內，我們不要追着去接觸其橋手，反之應該趁機向敵攻擊
以求擊敵。若對方用橋手消我們之攻擊，我們便達到接觸對方橋手之目的；這是「尋
橋」方法之一。
③ 不「衝身」： - 詠春出手（攻或防）、馬步上落和轉變都要以維持重心爲原則。盡量
減少被對方借力機會而至「失形」。「失形」者失去重心而不能保持對敵之平衡狀態
也。
④ 不需借助位置而發力：〜詠春拳的「攻」與「守」皆以能鍛練到從任何位置都可以發
力爲原則 ' 。換句話說，無論手在何處皆能發力消對方來手或向對方攻擊而不需要將手
收回或提高已某一位置來幫助發力。
(二）. 「寸勁」乃詠春用作攻防之勁力，亦稱「彈勁」或「短勁」： -這是一種短暫而有爆發性
和能於短距離（約兩寸）內發出殺傷力擊敵之勁力。「寸勁」是從小念頭，扯空拳及打沙
包等鍛練。
(三 ) 練習：- 其目的是：-
(1)鍛練與敵方橋手接觸後之感覺和反應。
(2)鍛練製造和尋找敵方之空隙。
(3)鍛練雙手之左右兼顧和一心二用。
(4)锻練詠春心法如「來留去送」、「甩手直冲」、「不消過籠」、「不追手」等等。
(5)練習攻，防手法與組合。
(6)練習手法與馬步之配合。
感覺者乃是當雙方橋手相接後，對方有沒有破綻和空隙，對方力度之方向和轉變和何，以
及對方之攻擊和防守中有沒有破綻等所有「資料」的體會。詠春拳特别注重感覺和反應。我們
認爲用眼吸收後而發出之反應是較橋手相接後感覺之反應慢。因爲從眼看到要經神經線傳上大
腦，然後大腦才下命令去作適當反應。然而橋手相接之感覺反應乃是走捷徑的經由脊骨神經而
發出的，所以反應較快。經過適當锻練後橋手相接之感覺和反應當會達到。
馮漢
17
The Uniqueness ofV IN G TSU N
by Stewart H. Fung
VING TSUN is a very scientific yet articificial form of martial art. Its specialty is in close
contact combat utilizing quick punches combined with tight defence, and coordinated through
agile stances for quick advance and retreat. The effectiveness of VING TSUN is achieved by
well-coordinated attack with simultaneous defence and vice versa, delivering strength yet
maintaining flexibility and finesse with minimum dissipation of energy.
The principles, theories and techniques of VING TSUN is founded on the three training
sets and the wooden dummy techniques. The three training sets being Siu Lim Tau (The Little
Idea Training Set), Chum Kiu (The Bridge Searching Training Set) and Bin Gee (The Thrusting
Fingers Training Set). Training is achieved mostly through the unique VING TSUN Chi Sau
(Sticky Hands Practice) which, in addition to putting the principles, theories and techniques of
VING TSUN into practice, it also develops the practitioner’s Kum Kok (the perception of
information through arms/legs contact), and the respective reflexes. VING TSUN utilizes an
explosive form of energy called Tsuen Ging (Inch Power) in offence and defence. Taking
advantage of the shortest possible distance and timing in both attack and defence, some of the
principles and theories ofV IN G T SU N emphasize the following.:
- Jung Sein (The Central Line)

一 Mai Jarn (Centre-adducted Elbow)
一 Facing the opponent’s Central Line
一 Paying attention'to both left and right simultaneously at all times
- Retaining oncoming forces to deflect or accelerate it to another direction
- Launching instantaneous reflex offence the moment an opponent’s hand disengages
- Simultaneous offence with defence
(I) Principles and Theories
(1) Jung Sein (the Central Line) Theory - Jung Sein is an imaginary line that passes
through the vertical axis of a person. When facing an opponent, this is the centre line
or median of the opponent. The Jung Sein’s of two persons connect to form the Jung
Sein Vertical Plane. By constantly facing the opponent and co-ordinating all attacks
and defences along th eJung Sein Vertical Plane, maximum advantage is achieved. By
attacking along the Jung Sein Vertical Plane, punches will reach the opponent faster
and with maximum impact since this is the shortest distance between the two
opponents. If an attack is launched along either side of the Jung Sein Vertical Plane,
the punches could be easily deflected resulting in much weaker impact. By the same
token, defending along the Jung Sein Vertical Plane while facing th eopponent allows
punches to be deflected within the shortest possible time to the left or right away from
the body, hence achieving full effectiveness.
(2) Facing the O pponent’s Central Line - The VING TSUN practitioner should maintain a
direct face-to-face position with the opponent whenever possible. In case the opponent
circles around or constantly shifts positions, the VING TSUN practitioner would adjust
his/her position to face the opponent’s Central Line. The advantages of such a tactic
are as follows:
(i) From the a defence point view, facing the opponent’s Jung Sein would effectively
reduce the opponent’s attacks to fall only in nine areas. The nine areas are: the
upper left ；the mid-left, the lower left, the upper middle, the centre, the lower
middle, the upper right, the mid-right and the lower right. In this way, the
opponent’s attacks become more predictable and hence much easier to defend.
(ii) In launching attacks based on the Jung Sein Theory, facing the opponent’s Jung
Sein allows punches to reach the opponent faster in the shortest possible distance
with maximum impact.
(iii) By maintaining a face-to-face position with the opponent’s Jung Sein, the VING
TSUN practitioner can reach the opponent with both hands since they are at
equal distance to the opponent. Therefore, a punch can be delivered with either
hand without shifting the shoulder, effectively keeping the forewearning of the
attack to a minimum. In addition, attention can be paid simultaneously on both
sides at all times in co-ordinating attacks and defences.
(3) Mai Jarn (Centre-Adducted Elbow) Theory - VING TSUN’s attacks and defence are
launched with the elbow as close to Jung Sein Vertical Plane as possible. The
advantages are:
(i) Attacks can be launched within the shortest possible distances and timing while
achieving maximum impact.
(ii) In defences, Mai Jarn allows some of the most im portant parts of the body to be
protected. In addition, attacks can be deflected within the shortest possible
distance.
(4) Sau Jarn (Flexed Elbow) Theory - In VING TSUN, upon completion of an attack or
defence move, the muscle tension in the hand and the arm should be released. The
elbow is retracted and remains bent, this is Sau Jarn. In the Sau Jarn position, the
VING TSUN practitioner is poised to attack again with the same hand. From a
defence point of view, Sau Jarn makes the elbow less vulnerable to attack and also
tightens the defence.
(5) The principle of retaining an oncoming force to deflect and accelerate it to the other
direction - The ideal VING TSUN defence is to block the attack and at the same time,
detain the opponent’s arm or leg used in the attack. Using Kum Kok (the perception
of information through arms/legs contact), the VING TSUN practitioner would be able
to control the opponent’s attacking arm or leg. If the opponent’s attack is a forceful
'o n e , the attacing arm or leg could be deflected out of harm ’s way or even accelerated
to other directions by using appropriate technqiues.
(6) The principle of launching instantaneous reflex offence the moment an opponent’s
hand disengages from yours - If an opponent’s attacking arm or leg suddenly
disengages from contact, the VING TSUN practitioner’s trained reflex will launch an
instantaneous attack at the opponent. This form of instantaneous reflex offence is
acquired through Chi Sau (Sticky Hand) practice.
(7) Simultaneous offence with defence - In blocking an attack, the VING TSUN
practitioner should also launch a simultaneous offence whenever possible; thus turning
areactive defence situation into a proactive offence position.
(8) O ther VING TSUN principles -
(i) No uncessary excessive defence - As a rule, the blocking of an attack must not
exceed the necessary area of defence. If an attack cannot reach the VING TSUN
practitioner, there is no need to launch any defensive moves. By avoiding any
unnecessary excessive defence, energy can be reserved and at the same time,
counter-attacks can be launched quicker.
(ii) Do not “chase” the opponent’s hands - “Chasing” an opponent’s hands means
leaving the necessary area of defence to follow the opponent’s hands in order to
19
make contact with the opponent. Since VING TSUN emphasizes on Kum Kok
and reflexes upon contact with an opponent, it is not unusual for the novice
VING TSUN practitioner to subconciously “chase” the opponent’s hands outside
of the necessary defence area. If the opponent’s hands fall outside of the
necessary defence area, instead of chasing the opponent’s hands, the VING TSUN
practitioner should launch an attack along the Central Line Vertical Plane; this
forces the opponent to block the attack and in so doing, arms contact is achieved;
this is also one of the Chum Kiu (Bridge Searching) techniques.
(iii) Maintaining body blance by keeping the upper part of the body upright - It is
important to maintain body balance during attacks and defences through proper
co-ordination of stances. This will minimize the VING TSUN practitioner^
attacking moves from being finessed to the opponent’s advantage by not losing
body balance.
(iv) Launching attacks or defences from any position 一V IN G TSU N ’s training aims at
reaching a stage where attacks and defences can be launched from any position.
In other words, no m atter where the VING TSUN practitioner’s hands are,
attacks can be blocked or punches launched with maximum effectiveness without
having to return to a pre-determined position.
(II) Tsuen Ging (Inch-Power)
Tsuen Ging or Inch-Power is a short-duratioon and explosive form of energy used in VING
TSUN’s offence and defence. It is also sometimes referred to as Tam Ging (Springy-Power)
or Duen Ging (Transient-Power). Tsuen Ging, as the name (inch-power) implies, is able to
deliver knock-out punches at the opponent within a very short distance of approximately
two inches. Tsuen Ging is acquired through the Siu Lim Tau training set, air punching
training and sand bag punching (refer to Chapter Two for further details).
(III) Chi Sau (Sticky-Hands) Practice
The objectives of Chi Sau or Sticky-hands practice are:
(1) To enhance Kum Kok and respective reflexes upon contact with the opponent’s hands.
( 2 ) To create or seek the opponent’s weak areas.
(3) To give simultaneous attention to both left and right an to co-ordinate different moves
launched by both hands.
(4) To turn the principles and theories outlined in (I) above into practice.
(5) To practice attacking and defensive moves and combinations.
(6) To practice the co-ordination between hand techniques and foot stances.
Kum Kok is the perception of information through arms/legs contact. Such information
includes th eopponent’s potential weak areas, the opponent’s strength and the direction in which
it is applied an changed. VING TSUN emphasizes extensively n Kum Kok and reflex. It is
believed that reaction as a result of seeing through the eyes ins far slower than the reflexes
through Kum Kok. This is because anything seen through the eyes has to be processed through
the central nervous system to the brain before a reaction such as a punch or a block can be
initiated. In contrast, reflex through Kum Kok is delivered from the spinal cord, which is much
faster. Kum Kok is acquired through extensive practice in Chi Sau.
20
小念頭的隱藏力量
葉問宗師在飯店 : | : 會傳授詠春拳術，而我是飯店工會秘書，因此終日與葉宗師相敍 J •起，
很多時間都在聆聽宗師滔滔不絕的向衆弟子講解詠春拳理，偏偏我有喜歡硏究用力方法個性，
便經常將宗師所講解詠春拳術的結構與用力的技巧作深入的鑽硏，發覺詠春拳術的結構與用力
技巧已達無懈可擊的境界，便決定拜葉問宗師門下而執弟子之禮。
最初學的當然是「小念頭」，當時「小念頭」的招式在我長時間的觀看下已有很深刻的印
像，稍作模仂經已熟習，爲招式以外的探討，便向宗師請敎因何故這套拳術的命名不似拳術的
名稱，是否另有含義。，象師答： .、
.尋是 < 盒念」的關係，相信很多師兄弟也聽過「立念」這名詞
，還說只要不斷地練習「小念頭」，便能領略「立念」的奧妙。
「立念」還隱藏着奥妙使我反覆地推考，但始終得不到要領，於是決定不求甚解，日以繼
夜的努力練習 r' 小念頭」。再經過一段長久的日子，「立念」. 的含義開始融滙於「小念頭」的
招式中，惑受到練拳的另一種樂趣，令我愛不惜手，欲罷不能地繼續鑽硏，漸漸地又有另一種
感覺，感受到丨^ 股無形的力量充實了「小念頭」的每 - 招式，使每一招式產生了不可擊破的力
量，而從表面看來仍然是十分柔軟的手法。這時對「立念」的含意起了很大的啓發作用，也明
白了何以稱爲「小念頭」的理由。*/
因此，我將這股無形的力量稱爲「念力」. ，並對「小念頭」作出我個人見解的結論：「小
念頭」有兩個主要的重勲，一是 f 念力」，：是「結構」 f 並作出如下的分析。
(1 ): f 念力」，將詠春拳的招式穩定成爲 ^ 個富有彈性的架構組合，令該架構的承受力大
大增强及產生反彈力的作用。「念力」，「氣功」，「內功」，「特異功能」，被認爲是一種
不平常的力量，其他的不作分析，只採「念力」的成因作簡略的敍述，其實「念力」是集中精
神的力量，能使全身各部份貫注內氣，相信任何人士都有這種能力，只是未經訓練，很難集中
精神。「小念頭」是集中精神力量的誘導者，如經適當地練習，可以在任何時間驅駿這種力量
貫注於身體各部，招式的急速改變也不會導致精神分散，這便是練了「小念頭」而存在的「念
力」。
簡單的擧個相似的例子〖 • 個體格健康的人從六、七尺高處在毫無準備中墜下，雖然是雙
足先着地，恐難免扭傷或跌倒，但是預先有了準備才躍下，雙足着地時能自動卸力和產生反彈
力，而且必定是肌肉在鬆弛的狀態下才會有反彈的效果，也是放鬆肌肉的特性，這便是「念力」
配六肌肉特性的結合所得的結果
注：根據近代科學對肌肉硏究分析結果，實驗證明肌肉在放鬆或放鬆而以衡速活動的狀態
下，能產生比收緊肌肉 _(俗稱用力 ___)產生更强大承受力，因此更證明一黠，五枚大師在數百年
前所創「小念頭」以放鬆肌肉和緩慢而衡速的練習方法已經了解肌肉的特性。
(2 ) ：是「結構」，二字柑羊馬是將個人的力量集中朝向目標，’ 「提肛是令身體與雙足合
爲一體，使雙足處於備戰狀態，產生「念力」等多方面特性，是必須緊記的。而「小念頭」的攤
、膀、伏手法，更是用力理論上的精妙結構。這幾招手法，均爲弓形與曲尺形之間，將這形狀
按比例延長，先形成有卸力作用的拱橋形狀，再延長便構成圓形，攤膀、伏手法在運用中均形
成半個球體，須知任何物體如構成圓形，便可增强承受撞擊力和最活躍的運作動力，而且加速
的效果比任何形狀更快更省力。「小念頭」的結構意念便是從圓形這個堅强的結構得到靈感創
造而作，每一招式都是在推動圓形的結構而產生，再配合「念力」，便成爲堅固難破的招式，
如能適當地運用，更能發揮强大的攻防力量，因此從上述的分析及近代科學的實驗證明，我們
應該堅信「小念頭」的所有招式是不應用力的 ’ 也不易疲勞，若再配合意念推動，必可隨心所
欲，揮洒自如了。
21
還有更値得一提的是大多數的學習者都是將詠春拳的招式手法以固定形態爲招式，因此便
有評論何人的膀手過高，某人又不夠高度而不合標準，又或有這樣是傳統派，那樣是更新派的
多方面論調。其實「小念頭」的招式不是以固定形態而作爲招式名稱。例如由攤手旋上而變膀
手，這個由攤手變膀手的整個過程才算是膀手招式，才能發揮圓形旋轉的作用，其他的招式也
是一樣，力求發揮旋轉的動力。
最近我被一初學弟子問及，聞說膀手是消極的手法，在無可奈可情況下才以膀手將攻勢卸
開，這就是以定式膀手作爲接招推論的解釋，不了解膀手作用的結果。我可以肯定，膀手能發
揮很大的攻擊能力，是具有霸道的攻擊拳法，最具侵略性的招式，產生令人難以阻擋的力量。
最後，我建議凡學習「小念頭」，最好將每一招式結構逐一分析、硏究其作用配合圓形的
運作，集中精神以緩慢及均衡速度，用意念來推動每一招式，如能心領神會，對練習「小念頭」
會產生無窮樂趣，達到滿足和享受的境界。
徐尚田
22
The Hidden Power of Siu-Nim-Tau (Little Idea)
by TSUI SHEUNG TIN
I came to know M aster YIP Man when I was the secretary of the Association of restaurant
Workers of Hong Kong. As M aster Yip was teaching the Chinese M artial A rt of VingTsun in the
Association, I had plenty of chances of meeting him. Daily, I was able to listen to Master Yip
Man explaining to his disciples the theory of VingTsun. Since I was interested in researching the
ways of exerting force, I studied in depth M aster Yip Man’s theory of all the components ofVing
Tsun. I discovered that the components of VingTsun and the skill of exerting force in VingTsun
were unparalleled in grace and pwer. I therefore made up my mind to follow Master Yip Man to
learn VingTsun.
Being a beginner, I started to practise “Siu-Nim-Tau” . It was because I had plenty of

opportunity to see the students practising it before I became the disciple of M aster Yip Man.
Hence, it only took me a short while to get familiar with “Siu-Nim-Tau” . In order to investigate
more about “Siu-Nim-Tau” beyond its superficial moves, I asked M aster Yip Man why the name
of “Siu-Nim-Tau” was used even though it did not sound like it was a form of Martial Act. Was
there any reason behind it? Master Yip Man replied that it was done to the concept of “building
up a idea” . He also said that one could get to appreciate the amazing nature of “building up an
idea” if one practised “Siu-Nim-Tau” persistently.
I thought about this so called “building up an idea” from time to time but at first I came up
with nothing. Finally, I decided to give up investigating its meaning but to practise uSiu-Nim-
Tau” as much as I could. A fter a long time, I felt that this Ubuilding up an idea” began to
incorporate itself into my moves of “Siu-Nim-Tau” . I was beginning to feel that practising “Siu-
Nam-Tau” was so enjoyable that I could not stop practising and studying it. Gradually, I felt that
there was an invisible force which filled up every move of the “Siu-Nim-Tau” ，enabling each
move to generate an unassailable power. However, from their appearances, the moves were still
very soft and graceful. It was from this moment that I understood the meaning of “building up
an idea” and understood why the form was called “Siu-Nim-Tau” .
As a result, I named this invisible force as “Force of Idea” and also concluded that uSiu-
Nim-Tau” consisted of two significant parts
(i) Force of Idea; and (ii) Structure. They can be analysed as follows
(i) “Force of Idea” - It stablizes the moves of ving Tsun so that a flexible structure can be
formed. This flexible structure can receive heavy force without collapsing and is capable of
producing a reaction. “Force of Idea” , “Air Power” “Internal Power” (i.e. Qigong and
Ligong) and “Special Power” are regarded as different kinds of power. However, I am not
going to discuss about the other kinds of power but I will describe briefly the formation of
“Force of Idea” . In fact, the “Force of Idea” is simply a concentration of one’s mind so that
every part of the body is filled up with internal strength. It is believed that any person can
do this but it may be difficult for a person without training to fully concentrate his mind.
“Siu-Nim-Tau” is the guide to the full concentration of the mind. If practised properly, one
can drive one’s internal strength into any part of one’s body at any time. One is said to have
gained the “Force of Idea” from “Siu-Nim-Tau” if one can maintain the concentration of
one’s main even if there are rapid moves. Just take a very simple example. A healthy man,
who falls over accidentally from a height of 6 or 7 feet, with his feet touching the ground
first, will either get hurt or tumble over. However, if he is well prepared to jump down, his
legs will nullify the force and produce reaction when touching the ground. The reaction can
only be done when the muscle is in a relaxed state, this is the characteristic of th emuscles.
The achievement of relaxation in the muscles is the result of the combination of the “Force
of Idea” and the special nature of the muscles.
(N.B. According to recent research in connection with muscles, it has been proved that the
muscles in a relaxed state or exercising rapidly in a relaxed state can tolerate greater force
or heavier loads than when the muscles are in a contracted state (commonly known as in
the state of exerting force). A few hundred years ago, Abbess Ng Mui who invented “Siu-
Nim-Tau’’，which required the relaxation of muscles was well as slow and steady moves,
already understood the characteristic of the muscles.
(ii) The “structure” - the Two Adduction Stance (Yee Chi Kim Yeung Ma) is to gather all the
power of a person towards a specific target. It must be c remembered that contracting the
muscle of the lower abdomen can enable the body and the legs to function as one entity.
This enables the legs to get in a state ready for action and generates the “Force of Idea” .
The basic moves of “Siu-Nim-Tau” ，i.e. “Tan Sau” ，“Bong Sau” and “Fook sau” are in
theory the finest structures to utilise force.
These moves are really in the form hands held in a position where there are two opposite
right angles. If this shape is extended proportionately, it will become an arch which
possesses the ability to set aside or slide away any opposing force. If the arch is extended
further, it will become a circle. “Tan Sau” and “Fook Sau” are in a form of a hemisphere
when they are in action. It should be known that anything in the form of a circle has greater
resistance to a striking force and can produce greater momentum when being put in action.
Moreover, the speed of the action can be accelerated more rapidly and with the least energy
when compared with other shapes. The structure of “siu-Nim-Tau” is actually based on the
circular motion, the movement in a circular motion together with the “force of Idea”
creates the invincible moves. If the moves are applied correctly, they will become the most
effective ways of attack and defence.
From the above analysis and the recent scientific experiments, I firmly believe that in
practising the moves of “Siu-Nim-Tau” muscular force should not be used. In so doing, one will
not get tired so easily during the practice of “Siu-Nim-Tau” . If one can apply the “Force of Idea”
during one’s practice of Ving Tsun moves, one achieved the highest level of vingTsun.
I would also like to mention that the majority of students practise Ving Tsun in the form of
set or fixed moves. For this reason, one student will criticise another student for his “Bong Sau”
being too high or too low” or even that a particular move is not up to standard. Moreover, some
people have invented the names of “Traditional” or “Reform ed” VingTsun. As a matter of fact,
the moves of “Siu-Nim-Tau” are not named because of any fixed action or moves. For example,
only the whole process^rom “Tan sau” turning into “Bong Sau” can be termed as “Bong Sau” .
It is during the process ^ the circular motion that the revolving force of the action is effected.
The principle of other moves of “Siu-Nim-Tau” is also the same, i.e. to fully effect the revolving
force during practice.
Recently, I have been asked by a beginner if “Bong Sau” is a negative way of defence, as it
is used to turn away the opponent’s force when there is no other better alternative. This showed
that he did not understand the real theory of “Bong Sau” but followed the move commonly
accepted theory of the fixed “Bong Sau” . I believe that “Bong Sau” ，if operated properly, can
effect the greatest attackin gpwoer and is the most aggressive and invasive move that produces
power that an opponent cannot match.
Lastly, I suggest that all the students of “Siu-Nim-Tau” should analyse each move of “Siu-
Nim-Tau” so as to incorporate its movement with the circular motion. When practising “Siu-Nim-
Tau” ，one should concentrate one’s mind and try to use th eidea to effect every move slowly and
steadily. If one can use the idea to control the movement during one’s practice, one will find that
practising “Siu-Nim-Tau” is most interesting. One can certainly obtain as much enjoyment,
satisfaction and good health as I have.
讓我從 ‘ 小念頭 ’ 裡介紹詠春拳種
我時常記着葉問師尊對我說：「波仔，你到了澳洲後，統之日日勤練 ‘小念頭 ’ 就得喇！」
我時刻練 ‘小念頭 ’ 練了數十年有多，還未得悉其中竅妙。
最近幸得徐尙田師兄黙悟我，才得悉 ‘小念頭 ’ 裡的奥妙， ‘小念頭 ’ 就是詠春拳的棟樑，如
果沒有做熟 ‘小念頭 ’ 的結構，又怎能學到 ‘尋橋 ’ 標指呢！
我熟練 ‘小念頭 ’ 的結構後，分悉到 ‘小念頭 ’ 裡有五個拳種：— 攤、膀、伏、護、圏是也
!
攤與膀是有連帶關係，是攻防對手外門橋之用，伏與護亦是有連帶關係，是攻防對手內門
橋之用。圈手與攤、膀、伏、護都帶着連帶關係，他們都是相輔相乘。伏、護、攤、膀多從
‘小念頭 ’ ‘尋橋 ’ 推動較多，圈手多從 ‘標指 ’ 及木人樁裡發動多。
我希望學者對此五個拳種有所認識，加諸勤練，互爲表裡，相互結合，能演變無窮招數。
在此向同門請安！
馮平波（D E R E K FU N G )
26
27
Allow me to introduce the significance of the Siu LimTao form in the Wing Chum system.
I remember my Sifu Yip Man saying to me, Derek I advise you to train the Siu Lim Tao
form everyday. One day you will understand why. So Itrain the Siu Lim Tao form for over thirty
years. I never missed a day. Even today I am still learning and researching the hidden tr easures
of this remarkable form.
Recently I was lucky enough to see my Sihing Chu ShongTin. His inspiration and wisdom
made me realise that the Siu Lim Tao form is the stepping stone for the core of the complete
system of Wing Chun. Without mastering the Siu Lim Tao structure, how could one progress into
the higher forms like the Chum Kiu and Bil Gee.
From the Siu Lim Tao I have mastered the five vital hand structures which are TAN,
BONG, FO O K , WU and H U EN Sao.
1. Tan and Bong Sao are intergrated into one group. They are for attack and defence of the
opponent from the out-door bridge area.
2. Fook and Wu Sao are also intergrated into one group. They are for attack and defence of
the opponent from the in-door bridge area.
3. Huen Sao is related to the other four hands.
The force for TAN, BO NG , FO O K and Wu Sao is rgenerated from the Siu Lim Tao and
Chum Kiu forms. The force for the Huen Sao is generated from the Bil Gee and the Wooden
Dummy forms.
I hope all practioners will see the importance of these five vital hands. So train hard an
dyou will be rewarded with all th ebenefits of the Wing Chun system. From these five hand
structures practioners will be able to generate an infinite num ber of movements.
My best wishes to all followers of Wing Chun.
D erek Fung
28
黐手一詠春的心
什麼是黐手？篛手重要嗎？黐手如何練習？這些問題，有誰知道答案？
在這篇短文裏，我嘗試透過黐手去令大家認識詠春拳，同時，我更嘗試去澄淸一些存在了
多年的錯誤觀念。黐手就是詠春的心，它的重要性無法估計。黐手可令練習者學懂招式，學懂
用力，而學習期間沒有受傷的危險。
有很多人用黐手去打他們的練習對手，以期獲取黙數；在幼嫩的階段中，他們覺得是應該
這樣做的。但這往往會因失控而用力過度或擊到面部，這便帶來了損傷；而事實上，這種求取
黠數的練習方法是隨時會失控的。這種好勝的練習態度不獨違背了功夫的哲學，更窒礙了學者
的進步。這使學者不能在一個放鬆、自信而又眞實的情況下去認識打鬥，認識生命。另 i 個可
悲的發展，就是一些詠春武館養成了毫無思考的學習態度。武館間的比賽，造成了彼此間的敵
霉，而最後更令到他們的學員在黐手中有暴力的行爲，這更影響了他們的詠春功夫。
詠春是殺傷力很大的功夫；它令人明白到打鬥的眞實性，又令人懂得在身體受到威脅的塲
合中如何應付。
我們不能透過練習拆拳、練習打鬥去學習詠春。鑛手可令練習者矯正套拳招式的位置，明
白手肘的重要性，明白招式中用力的變化。要明白眞正的街頭打鬥就要理論與實踐並重，而黐
手就是達至這個目的的梯航。
黐手沒有固定的動作組合，這與拳擊相類，尤其是高程度的鑛手則更相類。但黐手應在受
控制的情況下練習，這又與拳擊或自由搏擊不同 — 鑛手只要求控制你的對手。
拳擊練習最主要的不足是它不能帶來眞實打鬥的體會，因爲我們不能用盡力去打我們的練
習對手；留手就容許了對手的反擊。穿上了護身裝備也不能用盡力去打，因爲當擊到頭部時，
外傷可能避免了，但內在的腦震盪卻不能避免。
黐手只不過是磨鍊打鬥技術的工具。技術的進步不獨只透過招式動作的練習，更需要我們
與對手的討論 — 討論一下練習時動作的細節及這些動作與詠春拳理的關係。詠春拳理包括：
直線、簡捷、動作經濟、不以力制力、身馬招式配合、用力放鬆並重。當我們徹底明白了詠春
的招式或動作時，以上的原則是一定會被顧及的。有些東西是要學者親自去體會的，師傅講解
了也不足夠。學者可以有招式運用的知識，但一定要他們自己體會到正確的動作、適當的用力
，他們才算徹底的明白了
只有通過漸進的、系統的鑛手練習，學者才可獲得必要的經驗，而這些經驗能令他成爲一
個眞正的詠春學者。在最初的階段，單黐、盤手只要求學生專注於手臂的位置、某些簡單的槪
念與原則及對情況轉變的反應。當這個簡單的滾動動作及反射作用開始進入了他們的第二天性
時，那麼，他們便掌握了基本的招式。基本招式能啟迪學者掌握準確的移動時機及啟迪他尋求
箇中的技巧。何時？如何？— 就只是這兩個問題，學者一定要學懂自己回答自己。當學者通
過鑛手的訓練而成長起來後，招式便變成了他們的本能。當他們的經驗較富時，他們會發現，
用基本招式去對付同等功力的對手是根本不能湊效的。這不是因爲他們的基本招式有誤，而是
因爲對手懂得如何化解。接着，鑛手的進展就是要我們去發展對自己處境的反射作用及反應，
這總比去估計將會發生什麼或憶記已經發生什麼好。
到 r 這個時候，學者應開始專注於閉目黐手的訓練。閉目鑛手能幫助學者集中發展他們的
感覺，使他們不致完全倚賴視覺去覺察周遭發生什麼。學者會學習用手臂去感覺，擴大他們獲
得訊息的範圍，而在這範圍內他們是有能力去判定自己的估計的。就防守方面言，閉目黐手令
我們明白手臂應放在什麼位置，以保護自己的中線 — 那條與對手手臂及相方身體並列而形成
的中線；它又可以攻擊性的方法去化解在空隙出現那一利那間的攻勢。
但一定要明白，閉目黐手不是最高層次的。在閉目黐手的層次之上，玩黐手的能透過手臂
的的感覺及視覺去了解自己處境的全部。他們的反應是相關性的和針對性的。在最高的層次中
，當雙方都有同等的功力時，那麼，鑛手就與弈棋非常相似。比試不是要將對手盡快消滅，這
反而是一個長時間的貓捕鼠遊戲 — 雙方都在等候着第一個錯誤出現，而這錯誤是會促成不能
解救的接觸的。在鬆弛、愉快的氣氛下，黐手會是一種社會的交往；兩個練習者都有同等的得
着，同時，又避免了以牙還牙的敵對狀況。武館內應存有大家庭的觀念，而以牙還牙是無裨於
這觀念的。
學到好的鑛手的其中一項重要因素就是要保持開放的思想及求知的性格。當你找到眞理之
後，你還要發展一種接受眞理的能力。這篇文章並不是要對你提供身體動作上的指引，而是要
說出哲理性的觀黙 ; 因此，這文章能促發一些討論，總好過成爲將被遺忘的陳述。
當兩個人去敎授同一樣的理論時，出現分歧是很自然的，但這不應該妨害討論。不同的師
傅的不同演繹，應被視爲一塊包容各方見解的大錦帷；在這塊錦帷上，意見是可分享的，而最
後是可令大家的見解更深邃的。幼稚的武斷論說：「這是對的，因爲是我說的！」這是不容於
理智性的知識追求的。一個不容反駁的事實是：假若鑛手是沒有效用的話，則詠春功夫是沒有
效用的。一個有經驗而又向前的師傅能用黐手對付一個後退而不能熟用招式的學生，並不代表
那師傅的猶手有效。招式的正確與否，全視乎：我們對招式硏究的深度，招式本身是否合乎詠
春拳理，及我們有否考慮過所有的不同見解。
當我們明白了招式背後的原理及於生活體驗當中應用過後，我們便知道：基本地說，詠春
是「如何適當地使用能量？’」我們用力時，肌肉便燃黙起需要的能量；當能量的需求超過了氧
氣的供應，那時乳酸便會積聚起來，換句話說，我們疲倦了。因此，如果我們用力用到最低限
度，我們具戰鬥能力的時間便會延至最長。要做到這黙，我們要在被衝擊時保持淸醒，要知道
何時發招，更要知道用多少力量去使招式完美。
這是整個體系中的理論性的完美，它需要透過黐手的實踐才可捉緊。因爲完美是容易記不
起的，所以我們要畢生不斷的尋求，要保持我們追求深入的熱忱。每一個新的黐手對手，不管
他是什麼級數的，他都能給予我們新的經驗，而這經驗能令我們有更深的體會。師傅也可以從
學生身上學習，這只視乎爲師的有多少的誠意。
鑛手有很多的階段 — 由放鬆的技巧練習以至硬朗而眞實的戰鬥。要獲得完滿的黐手學問
就要明白毎一階段的道理；忽略了其中的任何，個項目都會令你的詠春功夫失去平衡。
緊記，要達到高水平的鑛手是需要時間的，所以，拿出你的耐性吧！當你解決了重要的問
題時，你便得到所有問題的答案！
原文：S A M U E L KWOK
30
CHI SAU, THE HEART OF WING CHUN
by
SAMUEL KWOK
W hat is Chi Sau? Is it important? How do you practise Chi Sau? Who has all the answers?
In this brief article I shall try to give you an insight into Wing Chun viewed through the
practise of Chi Sau and a tthe same time erase some misconceptions that have developed over
the years. Chi Sau is the heart of Wing Chun, its importance cannot be over estimated. Chi Sau
allows a practitioner to investigate technqieu and us of energy correctly, without the risk of
injury.
Too many people use their Chi Sau to score points by hitting their training partner. In a
juvenile way they feel the need to prove themselves. Quite often the contact made is far too
heavy and is directed into the face. This can lead to injuries because of the lack of control that is
inherent in this method of practise. An aggressive attitude of this kind not only goes against the
philosophy of Kung Fu, it is also detrimental to the progress of the student. It prevents them
from attaining a relaxed, confident and realistic approach to fighting and to everyday life.
A nother sad development is the isolation this way of thinking has created among Wing Chun
schools. The competition between schools results in rivalry and animosity which then cause
violence between their members when they play at Chi Sau and influences their Wing Chun.
Wing Chun is a very violent system; it deals with understanding the reality of fighting and
learning to cope with situations where you are faced with a serious physical threat.
You cannot learn Wing Chun merely by rote practise of rehearsed techniques taken from
the forms and by fighting. Chi Sau allows the Wing Chun practitioner to correct the position of
techniques from the three forms in a practical seeting, to understand the importance of the
elbow, as well as the changing requirements of energy and strength ahat are specific in
technqiues. To understand the reality of street conflict you must have a balance of theoretical
and practical application. Chi Sau provides the means to achieve this.
There is no fixed pattern of movements in Chi Sau and this relates it closely to sparring,
especially at the highest level. Yet Chi Sau should always be practised with control and
maintained as a separate concept distinct from sparring or free fighting, where the aim is to
dominate your opponent.
The main difficulty with sparrying is that is does not give a realistic view of actual fighting,
as you cannot use full energy with your training partner in attacking techniques. Holding back
allows your partner to strike back, where, in reality, they would not have been in the position to
do so if the initial technique had been performed correctly. This is still true even when wearing
protective equipment. When Striking to the head, cuts may be avoided but not the internal
damage cause by brain shake at impact.
Chi Sau is only a tool to hone your fighting skills. This is achieved not only through the
physical trianing of technique, but by discussion with your trianing partner of the details of .a
movement and how it relates to the principles laid down in Wing Chun. These principles include:
straight lines, simplicity, economy of motion, never using strength to overcome strength, how
stances turning and body shifts are incorporated in a technique, and the use of tension and
relaxation. All of these factors must be dealt with if a full understanding of a technique or
movement is to be achieved. This is something that must be experienced physically by a student,
31
and not just passed on verbally by the Instructor. A student can have a knowledge of how a
technique works, but it is only when they have “felt” the correct movement and energy inside
themselves that they can be considered to have fully understood it.
It is only through the gradual and systematic progress through Chi Sau exercises that a
student develops the necessary experiences that allow him to become a complete Wing Chun
practitioner. In the early stages of Dan Chi and Poon Sau a student is only expected to
concentrate on simple concepts and principles, correct are positions and responding to
circumstances. Once the ismple rolling movements and reflexes start to become second nature,
the basic techniques are introduced. The importance of the basic techniques lies in developing
the correct timing of the move and investigating the mechanics involved. The “when” and “how”
are just two of the questions students ahve to learn to answer for themselves. As a student grows
through their Chi sau education, the technqiues become instinctive. As their experience expans
they will find that their basic techniques do not work against training partners who have the
same level of ability in Chi Sau. This is not because the technique is at fault, merely that your
partner has the knowledge to dissolve the attack. Progress in Chi Sau then depend supon
developing reflexes and responses that relate to the situation you find yourself in, rather than
trying to predict what might happen or remember what has happened in the past.
It would be around this time that a student begins to concentrate upon blindfold Chi Sau.
Blindfold Chi Sau helps the student to focus on developing their “feeling” ，and not relying
totlaly upon their eyes to see what is happening in their surrounding.s The student will learn to
sense with their arms, extending the range of information that is available to them to make a
judgement of their predicament. In defense, it helps to understand how your arms are positioned
to protect your centr eline in relation to your opponents arms and their alignment. It is used
offensively in learning t6 release a strike th emoment that a gap appears.
However it must be realised that blindfold Chi Sau is not the highest level. Once beyond
the blindfold stage the Chi Sau players hould be able to use the information from the sensitivity
of the arms, together with that from the yees, to give a complete picture of the situation. The
player can then respond in a relevant and specific way. At the highest level, with two practiqners
of equal ability, Chi Sau becomes much more like a game of chess. There are no quick kills but
a prolonged cat and mouse game, with each player waiting for the first mistake that allows an
unanswered contact to be made. When practised in a relaxed, good-humoured atmosphere Chi
Sau becomes more of a social intercourse. Both players should gain equally from the practise
and avoid the tit for tat hitting that does nothing to promote the family spirit that should be the
basis of any Kung Fu school.
Among the im portant factors in developing good Chi Sau are, keeping an open mind and
maintaining an inquisitive nature. I fyou seek the truth then you must also develop the ability to
accept it when it is proved to you. This article does not give you physical directions but more of
a philosophical viewpoint so that it can be a catalyst provoking discusssion rather than a
statement to be dismissed.
The natural differences that occur when two people teach the same theory should not cloud
the issue. The variety of ways that instructors use to describe their understanding of a concept
should be viewed as a broad tapestry from shich ideas can be shared and result in a greater
depthof knowledge for all. The childish dogmatism of “This is right because I say so!” has no
place in logical investigation. One fact that cnanot be argued against is, that if Chi sau is
ineffectual them Wing Chun will also be ineffectual, at the highest level. Just because an
experienced, aggressive instructor can apply a technique on a submissive student does not
validate the technique. The correctness of a technique depends upon how deeply it has been
researched and how it stands up to the criteria of Wing Chun theory, and only then if all the
possible variations have been considered.
32
Essentially, Wing Chun is all about correct use of energy, understanding the fundamentals
behind a technique and applying commonsense. When we use tension our muscles burn up the
available energy, if the enervy requirements exceed the oxygen supply then we get a lactic acid
build up i.e. we get tired. Therefore, if we ration the amount of tension to the bare minimum,
we can maximise the time that we can maintain our fighting capabilities in a confrontation. To do
this you must have an understanding of what happens at the moment of impact, when a
technique is applied, and how tension is involved in producing the perfect technique.
It is the theoretical perfection of the whole system that should be sought for through the
practical investigation that is Chi Sau. As perfection will always remain elusive, it allows us to
continue the search throughout our lifetime, keeping our enthusiasm for learning intact. Each
new person with whom you play Chi Sau, provides you with new experiences and through these
a greater understanding, irrespective of their level of Win Chun. The teacher also learns from the
student, it just depends upon how honest the teacher is with himself.
Chi Sau has many layers, and to gain a complete knowledge all of them must be
understood, from the soft relaxed practise of the mechanics to the hard realism of conflict, to
ignore any aspect will result in an imbalance in your Wing Chun.
Remember, that to achieve a high standard in Chi Sau takes time, so be patient. You hold
all the answers, once you have worked out what the im portant questions are!
詠春轉馬的重要
以往有不少文章闡述詠春的馬步及其秘訣。我認爲二字柑羊馬和轉馬是詠春馬步的關鍵。
勤練和了解是成功的秘訣。
透過二字柑羊馬的練習，可以鍛練腿肌組織和三角骨骼，及把全身電量透過臀部，均勻地
分别傳送至雙腿和雙踵。（圖片一）下一步才可練習正確的轉馬。
轉馬是妙用無窮的，它旣能增加出拳的速度、威力和距離，也可巧妙地避開對手的攻擊焦
黠。轉馬的要訣在於協調手、肩、身、腰、腿。此事看似容易，實不簡單，特别對初學者而言
o
初學者需練習轉馬 45 度角，其後 90 度角，如尋橋馬。轉馬需以足跟中心爲軸，擺動雙脚和
足址。
轉馬時需脊椎骨和身體垂直，但臀部和肩膊轉 45 度（圖片二）。轉馬可以避免對手攻擊自
己的中線，並可在不受阻礙情況下沿着子午線、擊向對手的中線，配以防守性手法。祇需接觸
對手，並不需發力抵擋攻擊。因己方已避開對手的攻擊重黙。（圖片三）
轉馬的另一好處是減少受擊面和減輕受擊力。由於轉馬需由其中一腿承托全身體重（圖片
四），在踢腿和走馬時，無需側膊把承托力由雙腿轉爲單腿，因此不易爲對手事前察覺。
轉馬時給予自己的保護是全面的。身體下部的中線，受到重心腿膝蓋的保護，以應付直踢
( 圖片五）。另一腿可護側面中線，以應側踢。雙手可護 90 度弧型範圍，再略一轉馬，可護 180
度（圖四）。
苦練轉馬可從「尋橋」入手，並可同時練習馬步配合手法，以便從容應付對手任何攻擊。
「尋橋」. 轉馬 45 度，但肩膊轉馬 90 度（圖片六）。若肩馬皆轉 90 度，則不穩（圖片七 ) 。欲馬
步轉穩，需擺動前腿（圖片八）。
爲達至强而穩的馬步，轉馬時不可過度（圖片九）。正確的轉馬該如圖片 i h — ，右臀
在脚跟上，左臀與前腿連成直線，從而構成一個完美、强力、平穩的三角馬。精通轉馬後，• 良
好的走馬和踢脚將較易達致。
原文： S H AU N R A W C L I F F
譯文：梁定國
34
37
38
The importance of turning stance (
There have been many articles written about the stances and footwork within the Wing
Chun system, some even claiming to reveal the so-call “secret” footwork, however the true key
to the footwork is the “Yee” Gee Kim Yeung Ma ( ) and the Juen Ma ( )
and the only secret is H A R D W ORK and UNDERSTANDING.
The “Yee” Gee Kim Yeung Ma ( ) trains the leg muscles antagonistically (ie: one
against the other), develops triangular skeletal and muscular structure, equally distributing the
mass of the body across the hip girdle, down through the legs and to the heels (see photo 1).
Only once this stance has been practised and worked can you begin to train Juen Ma corectly.
The Juen ma utilises the leg muscles and triangular structure developed in “Yee” Gee Kim
Yeung Ma and adds to that the torque twist from the waist to increase the acceleration, force
and reach of the strike, whilst shifting the body away from the focus of the attackers strike.
The skill is to coordinate the hands the waist and the legs to move in unison. This appears
visually to be very simple, and in truth once fully understood and appreciated it is, however to a
beginner attempting to learn Juen Ma, the movement can seem complex to achieve correctly
and requires a lot of practice.
The initial training involves turning the body from directly facing the opponent / partner
and angling to 45 though later, in Chum Kiu, you also learn to turn the body through a full 90
to face to the side, (though the hips remain angled at 45).
When turning, the “Pivot” point is the centre of the heels, the feet and toes sweeping
around maintaining contact with the ground at all times (see photo 1 & diagram 1). This is very
im portant, if you were to pivot on the centre or the balls of the feet your mass would essentially
be “uprooted” .
In Juen Ma ( ) the hips and shoulders turn through 45 and the body is shifted
across from the centre to above one leg, the hips are locked forward, the spine and the body
held vertical (see photo 2 )
There are many advantages to turning correctly, first, by coordinating the legs, hips,
shoulders and arms together in a short sharp twist you can generate an extremely powerful and
efficient strike, and because the body is shifted across over the one leg the mass of the body is
behind the strike. In addition the action of twisting as a response to an attack is to avoid their
strike to your centreline ( ) whilst enabling you to counter strike unimpeded along an
alternative meridian line ( ) to attack their centreline ( ).
By turning the hips and hsouldes to 45 your counter strike can be accompanied by a
simultaneous defensive technique (Wu sao for example) to receive and parry the opponents
strike. Because the Juen Ma moves the body away from the attacking line the defensive
technique does not need to physically “block” the strike but simply makes contact to control and
gather information, (see diagram 3)
A nother benefit to angling the body to 40, is that you present a narrower target to your
opponent and should any strike manage to penetrate your fefences it will land as a glancing blow
rather than a direct strike, and well away from the centre line (
It is imperative in Juen Ma that all the weight is placed over the one leg and not distributed
say 70/30 betv^e»p the legs. By sitting the body over the one leg the leg muscles train and
develop to accept and support all th ebodies mass which is essential when kicking or stepping,
(see photo 4)
If your weight is split between the legs then you will have to adjust your weight distribution
and centre of gravity when you want to kick or step and that shift in balance will be seen by your
opponent, and if you are in contact with your opponent, it will be felt.
Either way the shift in balance will indicate your intention and can be used against you,
however by supporting the body over the one leg a kick or step can be employed at any time
without signalling your intentions.
An additional benefit of the correct weight distribution is that th eknee of the supporting
leg will automatically cover and guard yur cetreline against a frontal kick (see photo 5), whilst
the other leg automatically covers the centreline from a kick from the side. Because the hips and
shoulders are angled at 45 the arms can cover a full 90 arc and a single twist means that the full
180 can easily be covered, (see diagram 4)
40
The Juen Ma is trained even harder in the first section of Chum Kill, the emphasis being on
the correct application of the turning stance in conjunction with the appropriate hadn techniques
to find and receive an opponents attack. Since the art of self defence lies in knowing first the
angle, line and force of an attack so that you can then offer a direct defensive response base
upon that information, you first need to make physical contact with the attacking limb in order
to gain that information.
Chum Kiu contains many turning and stepping movements in conjunction with various hand
techniques to train you to turn and step to safely receive an opponents attacking technique.
When turning in Chum Kiu the hips turn through 45, as previously discussed, though now
as ell as the upper body angling at 45 you also turn the shoulders to 90 to face to the side, (see
photo 6 ).
However, if the hips are also twisted through a full 90, then the stance will be unstable and
unbalanced (see photo 7), in order therefore to regian stability you will need to shift the front
leg across (see photo 8 ).
It is of course vital that you do not over twist and that you maintain a balanced and
triangulated stance as you have to be strong in your stanc ein order to be forceful in your attacks
and effective in your defences.
In photo 9, the stance has been over twisted and though the hips are at 45 the spine has
been placed directly over the heel of the supporting leg, this means that the stance is not
triangulated and it feels as though you are welking a tightrope. In photos 10 & 11 the weight is
still completely over the rear leg but now it is the right hip that is directly over the heel and the
left hip is aligned with the lead leg, this then perfectly triangulates the stance making it very
strong and well balanced. Once this position has been trained and “mastered, then turning,
’
stepping and kicking become much simpelr manoeuvres.
41
“Yee” Gee Kim Yeung Ma - Basic training stance.|「二」字柑羊馬
This is the training stance that develops and strengthens th eleg muscles using antagonistic
dynamic muscle tension. It is vital that the leg muscles are strong so that you can remain
standing and are therefore able to defend yourself or run away, if your legs are weak and you get
knocked or fall down then you cannot protect yourself and are at risk. Of course the ability to
remain standing is just one benefit of the stance, another benefit is the ability to use your power.
It doesn’t m atter how powerful your upper body and your techniques are, if your stance is not
strong then you will be weak in your attacks and defences since they require the support of the
body and the ground.
The stance is opened from the feet together position by pivoting on the heels and sliding
the toes outwards, then pivoting on the balls of the feet and sliding the heels outwards until the
heels are further apart than the heels and the toes point inwards. The width between the inside
of the heels should equal your shoulder width so that it is a natural standing and stepping
distance. The opening of the stance is im portant since it is the size of your feet that determines
the width of the stance, so by opening it correctly the stance width is ideally suited and unique
to each person.
The knees are held bent and the muscles tensed to train and develop the quadriceps, ham
string and calf muscle groups, the feet and knees are rotated inwards so that the aductor muscles
can be tensed and worked without putting any lateral strain on the knees or the cruciate
ligaments, which would be damaging.
The leg positions will be familiar to any one who has learnt the “Snow plough” method in
skiing, here however the upper body n is held vertical and the hips rotated forward and
underneath the body to perfectly align the spinal column. This leaves the upper body and arms
relaxed and free to train punches etc.. whilst the leg muscles develop.
Wing Chun is based upon triangular and pyramidal structure and nowhere can this be seen
more easily than looking at the basic stance. W hether you view the stance from the front, side or
from above, the triangulation is obvious and therein lies it’s strength.
I C ofG
w
SH O U LD ER WITH
The Centreline Theory
The Centreline is in truth not a line but a several imaginary lines and planes which
combined with various concepts and principles form a vital part of the Wing Chun system.
Jic Seen 直線
This translates as “straight line” and can be considered as an imaginary line running
vertically through the centre of the body.
By striking directly to the Jic Seen, the opponents body must accept the full force of the
blow, however if the strike hits to either side of the Jic Seen then at best the force of the impact
will cause the body to twist, rotating around the Jic Seen therefore the effect and damage of the
blow will be lessened, but it is quite conceivable that the opponent will use that resultant turning
effect to increase the force of their strike. The concept of using an opponents force against them
is one of the fundamental principles of Wing Chun, we must equally therefore avoid giving
anyone the opportunity to use this against ourselves.
Chung Sum Seen 中心線

This translates as “Central H eart Line” ，(traditionally the Chinese perceive the heart to be
the “C entre” of the body.)
This an imaginary line drawn vertically on the surface of the body which equally bisects the
body. Along this centre line (Actually within 2 inches either side of the line), lie all the “Vital
organs” of the body. Vital because if struck they certainly prevent the defender from defending
themselves further and may even result in death. For example a strike to the groin area, whilst
it may not seriously permanently damage you, the excruciating pain makes you double over and
therefore vulnerable to further attacks which could result in serious injury. A strike to the throat
however may be fatal.
The Chung Sum Seen is the line that Wing Chun exponents defend whilst counter attacking
to their opponents line, to ensure maximum efficiency and damage combined with perfect aim
when striking, the Jic Seen and Chung Sum Seen should be lined up like the front and rear sight
on a rifle.
44
Tse M Seen
This translates as “Meridian Line” and can be considered as a centre line plane that
radiates out from the Jic Seen in all directions and joins the Jic Seen of the attacker to that of
the defender. This is the line that a Wing Chun exponent will always dominate, defend and
counter attack along, it may not, however be the line of the opponents attack.
The defence centre line is in fact the Tse M Seen (see above) This is the line that the Wing
Chun practitioners counter attack will always take, being the shortest distance between attacker
and defender.
The attack centre line is that line along which the atacker strikes which may be a different
line to the Tse M Seen, it may be straight or hooked, at low, mid or high level, using either hand
or foot.
It is this line of attack that the Wing Chun practitioner must intercept.
45
Triangulation
The strength of all Wing Chun techniques lie in the correct shape and structure of that
technique and not on the physical muscular strength of the practitioner. All Wing Chun stances
and hand techniques are based, upon a series of triangles forming a pyramid, the defensive and
simultaneous counter attack techniques triangulate together to form a stable, strong, unified
structure which due to it’s shape is difficult to penetrate, and automatically deflects any on
coming force, and is supported by a triangulated stance.
If the skeletal structure is correctly triangulated and maintained then the positions will be
immensely powerful without the need for muscular strength.
46
Centreline Advantage
When applying Wing Chu the above Centreline concepts and theories are combined
together to achieve “Centreline advantage” over your opponent.
Centreline advantage is when you are in a position where you can control the Tse M Seen
and strike the opponent but they cannot hit you, this is achieved by correct angling and body
positioning so that you are facing your opponent but they are not facing you.
It is essential that the Centreline is fully understood since it is the conceptual foundation
for the whole Wing Chun system.
‘Yat’ Chi Chung K u en 「日」字衝拳 Character 'SUN' Thrustung punch
Jick Kuen 直拳 Centreline punch

The centreline punch uses the bottom three knuckles in a vertical fist. Hus keeps the elbow
tucked in and down so that it covers and protects the ribs as the punch travel forward, the punch
is thrust along the centreline (Tse m seen) to the opponents centreline (Jic seen) - T h e shortest
distance between to points is a straight line’.
The fist is held loose and relaxed until approximately one inch from impact, thus keeps the
bicept muscles relaxed and allows the tricept muscles to explode and thrust the punch forward
with the maximum acceleration. The fist is formed approximately one inch from impact, as the
fist teuses the wrist automatically snaps of and locks, increasing the acceleration and penetration
of the punch.
The punch striker to the Jic seen but never pushes beyond a through the centre of the body
so the opponent must absorb the full force of the impact and strike.
W hen training the stance and hips should be locked the shoulders and arms relaxed.
YATCHI KUEN
「曰」字拳
__
Newtons Second law states: Force + mass x acceleration.
Force
This can be considered the force of the blow and the damage potential.
Mass
Your body mass fixed at any particular time, you cannot grow and put on weight because
your opponent is bigger and/or heavier than you are.
your mass is variable however because you can trcun to use your body mass more
efficiently.
For example: If a 17 stone man throws a swinging hook, he may only be using the mass of
his arm weighting perhaps 2 stone, thats approximately 11% of his total mass.
A Wing Chun practitioners weighting only 10 stone trains to use a straight punch in
conjunction with his turning or stepping stance to put his body behind his punch can use 85% of
his body weight thats 8 2 stone and so can hit harder.
V
Its not what you weight or how strong you are, its how efficiently you use that weight or
strength.
Acceleration
The faster an object accelerates, the force it can impact and damage it can cause.
For example if you throw a bullet at someone, it will bounce off them. If you then load it
in to a gun and shoot them, it can easily kill Ithem.
In Wmg Chun we train to relax and explode our techniques and strikes, not just for the
force and damage of astrike but also you must remember that by definition sell defend means
the defendes reacts second, yet still must strike first, therefore you must be quicker than the
attacker.
To achieve this the following brust be done:

i) Relax and explade your techniques - Tension inhibits speed.
ii) Always take the straight line never the longer and slower circular pa
iii) Strike and move from wherever your hands may be, never draw back for
Wing Chun saying: T h e punch comes from the heart’

Kuen Yau Sum Fot.
48
Lim Wan Kuen Consegutive punches 連環拳
Since the shertest distance between two points is a straight line. All Wing Chun punches
travel straight along the centreline to the apponents centreline. Once the front punch has
extended fully along the centreline it drops and the rear hand shoot along the centreline to strike
to the some point, the rear hand returns reloxed beneath to the elbow position.
The stance should be locked the shoulders and face relaxed and the breathing natural.
49
內在的詠春（由內至外的）
練功夫有兩種方法，分别是內功和外功（亦有人稱爲軟功夫和硬功夫）。
通常外家功夫比較多人熟識，外功主要靠速度及力度致勝，所以，學習外功的學生必須練
好自己的體能。這訓練方法對年靑或强壯的人來說是沒有問題的，但對於身型比較細小或不喜
歡侵略他人的人來說，就不適合了。還有，速度和力度會隨年歲降低。
內家功夫則利用對手的力。你的身體是一具把對手的力還給他的運輸功具，當然，效率越
高越好。正如機器的一輪是被另一輪推動一樣，我們的身體被對手所推動（正如作用力與反作
用力）。正如圖中一樣，我們以支黙作爲支黙，並以脊椎作爲軸。
正如我們所見，對手的力被我們的反作用力打回自己。我們則保持被動。
這只是一個簡化了的例子，但只要將基本槪念吸收並在黏手中練習，我們有可能對從任何
角度而來的力作出反應並反擊對手，像圖一的圓形一樣，變成一個球體可以循任何方向轉動。
兩隻手要放鬆，並可以獨立地將力反彈回對方的中心，當任何一隻手被推，另一隻手就從
另一途徑將力反彈。
馬步則是用來與對手保持正確的角度和距離。另一方面，當不能保持重心或當進馬太多的
時候，便可以踢腿來解決。
學習基本槪念只需很短的時間，而練習則須和套拳給我們的知識平衡進行。
放鬆必須是潛意識的，可以用訓練知覺皮應的練習培養出來，使反作用力可以立刻而不需
思索。於是乎，不需大腦的芦制，身體會自然作出反應，不需我們下命令。還有，練內功比較
溫和，練習時不易受傷，技 '術亦不會隨年歲下降。
原文： ALAN GIBSON and

JOHN M I C F A R L A N E
譯文：黃偉才
50
“Internal” Wing Chun (from the Inside-out)
There are two ways to execute any given technique, ‘internally’’ or “externally” (some
people will call this hard or soft Kung Fu).
“External” is the method that most people are familiar with where success depends on
superior speed and strength so the student must train for high level of fitness. This method is
okay for a young or strong person but for someone of small stature or someone who is not
aggressive it is difficult to become something that is not in your nature. Also speed and strength
will diminish with age.
Kung Fu practised “internally” uses the strength of the opponent. Your body becomes a
vehicle to transport the aggressors energy and return it, as efficiently as possible. Just as one
wheel in a machine is driven by another so our body’s are driven by our opponent's force
(reaction as opposed to action). For this to be possible our body must act as a pivot with our
spine as the axis. This can be explained by this simple diagram.
As we can see the aggressor effectively hits himself with his own force, the practitioners
part has been passive.
This is a simplified example but once the basic concepts have been absorbed and practised
in Chi Sau，it is possible to react to and send back any force from any angle so that the circle
seen in F ig(l), becomes a sphere or ball which can spin in any direction.
The hands are relaxed and independently sprung towards the opponents centre, anything
that pushes them away will cause them to spring back by another path, striking on the way.
Footwork is used to maintain correct angle and distance relative to the opponent, kicks will
be the result of the posture (or centre of gravity) being disrupted or an exaggerated footwork
step that crosses the opponents line.
Learning the basic concepts will take a relatively short time and exercises should progress in
parallel with the information given to us in the forms.
Reflexes must be programmed into the sub conscious by means of force sensitive exercises
so that reactions are spontaneous and thought free. Then the head will switch off and allow the
body to take over, correct techndiques happen, we do not do them Also, as an internal art is
more gentle, there is far less risk of injury during practice and your skill will not be diminished
with age.
, ALAN GIBSON
外 & JO H N M cFARLANE
52
八斬刀
八斬刀爲本門獨有刀法，有别於其他門派之子毋刀和雙飛蝴蝶刀，八斬刀共分爲八節，刀
法有耕，滾，膀，枕，攤，破，斬，割，插，劏，和摘等，與小念頭，尋橋，標指拳法，木人樁
法，相輔相乘，同樣實用沒有花巧招式，理論也是以快、準、簡單直接招式將敵人擊倒，練習
八斬刀可媲美練習六黠半棍及木人樁，同 .樣能達到步法，手法，腰馬，心意合一，常練更能增
强功力，對掌握腕力，長橋力，及雙手佩合運用於拳擊上有很大幫助，以我個人體會，我認爲
八斬刀是本門最佳輔助器械，値得推薦同門勤加練習，不知同門有同感否！
蕭煜民
53
54
BART C H A N DAO
(Eight-cutting Doubleknives Techniques)
Bart Chan D ao, also known as the Eight-cutting doubleknives, which is quite different to
the “Butterfly doubleknives” and “Tsz Mo doubleknives” of the other southern Kungfu styles, is
a unique set of doubleknives techniques in VingTsun. The doubleknives techniques are divided
into eight sections. The doubleknives techniques are have gang, Kwun, Bong, Jum, Tan, POR
(break), Chan (cut) Got (drawing) Chark, (insert) Tom (operate) and Tung (insert) are
complementary to either Idea form (siu-Nim Tam). Arm Seeking Form (Chum Kiu), Thrusting
Fingers form (Bin Tze) and wooden Dummy (Muk Yan Choug). The principle is also to
overcome the opponent with fast, sample, straightforward strokes. Practising the eight-cutting
broadswords techniques is comparable to practising 6 V2 point long pole and wooden Dummy
techniques. The both achieve the purpose of bringing footwork, strokes, waist and footing to one
with mind. Frequent practice further helps strengthen your ability, and is very useful in helping
your grap the application of exerting force with the wrists and forearms in the frist fighting art.
Personally, my experience is that the Eight-curing doubleknives are th ebest auxiliary equipment
in VingTsun. It is a techniques worth recommending fellow learners more practise. I wonder if
fellow learners share my view in this!
SIU YUK MEN
55
我對比武的心得
在這裏我談的搏擊並不是一般擂台上的搏擊，因爲擂台上的搏擊早已訂好了一套比賽的規
則，漸漸演變成一種遊戲，一種運動，遠離了眞實的打鬥，現在我所談的是眞正的無限制的打
鬥，不管是衝突的或雙方同意下進行，因搏鬥是相對，對方的身裁體能都可以直接影响變化，
所很難下一個不變的定論，正如兵法有說「先陣而後戰，也有先戰而後陣」，其實兩者可互爲
因果的，如要詳細寫搏擊的文章，恐怕用盡這本特刊的篇幅也寫不了。
今我將詠春學員經常犯的錯誤寫出來，提供給大家硏究
( 一 ) 黐手，這是一種反應上的練習，而且是不斷地反覆鍛練，盡量做到反應純熟快捷機巧
，達到詠春拳術的要求，如「來留去送，甩手直冲」，但這都是敵我旣接觸後的訓練，所以一
開始便進人了旣接觸的環境，而導師又沒有給他們闡析的話，久而久之便會過份信賴他們所練
的黐手，很容易走向錯誤的道路，揑拿着一個錯誤的意識，老是想着去跟對方黐手，在還未接
觸之始，這想法很容易做成「追手」的錯誤、也犯了詠春在搏擊中的大忌，如「小念頭」中一
開始的時候便要朝形，從中線及直線出拳都晕在還未接觸之前爭取最短的距離及最直接地攻擊
對手，却沒要求去跟對方黐手，因對方兩手活動的範圍那麼廣闊，若苦苦地尋對方手，好比小
孩的追逐，對方突然左轉你又跟隨左轉，對方突然右轉你又右轉，總是受對方擺佈，你却處在
被動的位 i ，最後却失掉了目標，如圖（一），（二），（三），所以在搏鬥中，心裏只存着攻擊對
手，狠狠的緊盯目標，尋求最簡單直接的出擊，當你的出擊要求受到阻礙時，須要變化來達到
目的，平時所練習的鎮手才適當發揮出來。
( 二 ) 授敵以先機，，雙方作鬥，勝負之數往往在乎伺敵先機，如兵法有云「兵半渡而擊之」
則事半而功倍，因對方的意圖，動態，路線全在你窺伺之中，半渡而擊之，敵首尾難以呼應，
進退失據，受創必然，但在詠春的庸手及學員却常常犯這個錯誤，從老遠便發拳出擊，其實彼
此還有很大的距離，如圖（四），（五），（六），這是多笨拙的擧動，是授敵以先機，魯莫甚，一
般對陣時切莫急燥，到達彼此一步左右的距離才突然出擊，讓敵人來個措手不及，因你的突然
進攻，當你進一步時，敵人眼睛看到了傳達給腦部再指揮手脚，唯時却已太遲了，他只能作半
步的向左石或後退，這樣是較容易和敵接觸，避免授敵以先機，使敵來不及應付。
( 三 ) 切忌存過份理想，因你有過份的理想就會過份緊張，在詠春的理論中，假如你能完全
做到的話，確是全無破綻的，理論始終是理論較任何人都不可能做到全無出錯的地步，在正常
的比武，多是身重相若，彼此都有雙手雙腿，有能受重擊的地方，也有很脆弱的部位，大家都
是一樣的條件，這總是有得鬥的，問題是雙方技術的距離比較，假設你的贏面佔百份之七十，
總也右巨份之三十受擊的，回看 ^£ 世界拳賽中，即使是拳王也捱不少拳的，最終他是勝方就是
r ，但今天很多詠春敎練常常狂誇渲染，故 1 ：其說，甚至導人於迷，欺己欺人，甚耻莫甚假如
賽前有合理的心理準備，臨陣才不會畏首畏尾，以至手足無措。
( 四 ) 切忌猶豫，雙方要鬥一定要進人能互相攻擊的距離，攻擊的機會雙方都有，在拳來脚
汗的情形下絕無時間你去玫慮，平時的訓練，拳脚的輕重及嫺熟都在這時盡量發揮出來，勝負
幾已成定局，但在將接觸而還未接觸之間就切莫猶豫，稍一猶豫就會引來很多不必要的麻煩 ’
好像我們在電影中常看高腿連環橫踢的腿法，很多都是憑空構思出來的 ’ 若在眞實的搏鬥中，
-腿旣中決難第二腿連發，敵人若倒或不倒 ’ 都不會有站脚的位置及空間 ’ 除非敵人中了橫踢
ifii直線後退的話才有機會連踢，但在物理力學中也難找出可能性 ’ 若敵方是畏打的。作急速後
退， .• 腿旣空，則第二腿亦會落空的 ’ 因時間上的節奏錯誤了 ’ 好比跳舞和音樂都一樣 ’ 只有
猶 f f + 決的人才受此擊，所以應退即退，應進即進，機會的掌握往往轉瞬即逝。
以上種種並不是敎你怎樣去贏 ’而是盡量減少錯誤 ’ 其實要贏的話還是要看是否很堅毅地
去練，臨陣時的鬥志，堅忍 ’ 體能的訓練 ’ 信 .心等等 ’ 至於說最高境界「心平氣嫻」 ’ 那都是
以上條件支持的。
黃淳棵
56
i l
mi n 議I
讓
A
^ ^ 1 _ .
_
58
59
61
The kind of fighting 2 refer to here is not that which you see in the boxing ring, which has
been restricted by a lot of game rules and regulations, and which gradually turns into some form
of sport games that has no significant resemblance to the realistic combat fighting.
W hat i would like to refer to here is the “real fight,” kind of fight tht is totally unrestricted
and unlimited, be it from conflict or mutual agreement. This kind of fight is also very relative in
nature itself. Everything is at stake in such kind of fight. It is hard to assume any factors being
constant; therefore, opponents’ body structures can and will directly affect the result of any
fights.
The ancient Chinese “Strategics” says it well:

“First evaluate and then fight”，or
“Fight first and evaluate Later”
One or the other can affect its countepart in terms of cause and effect.
Indeed, when it comes to fighting, a lot will have to be discussed and illustrated. A nother
book of this volume will barely have enough space to cover all that which is essential.
A nd now, I would like to point out the most common mitakes found in Wing Tsun
practitioners, such that we all can learn and avoid them:
(1) “Stsicky-hand” Practice

This is the training on reflex that needs to be done repeatedly to satisfy the essential
requirem ent of Ving Tsun M artial A rt system,
ie. quick, sleek and responsive.
“Keep that which comes in,

follow that which goes out;
when breaking contact,
straight thrust is without a doubt!”
This is the beginning but yet profound training to prepare a Wing Tsun practitioner mentally
as well as physically for real fight situation.
If “pin-pointed” explanation is not given to the beginners, they would tend to indulge
themselves in their own “Styles” of “Sticky-hand” and feel overly confident about themselves,
This is a sure fire way for anyone to hold on to the self-created illusions and be led astray.
For example, too much thinking on “Sticky-hand” will cause one to form the bad habbit of
“Chasing hands” ，which is a big “no-no” ，in accordance with the fighting principles of the Ving
Tsun System.
As dictated by the first form “Siu Lim Tau - the little Idea’’，facing the opponent “square-
on” will facilitate favorable positioning even before the fight, that in turn enable sone more
chances to execute straight and powerful punches along the central line to accomplish the goal of
direct and successful attack to the opponent in the shortest distance.
But the “Siu Lim Tau’’，on the other hand, never requires on to “stick” hands with one’s
opponent. For a simple reason.
Since the scope of movement of the opponent’s hands is so much and multi-directional, it
will be chilish to “chase” hands only, neglecting the importance of launching significant attacks.
In chasing hands, one is in a passive situation. One’s opponent is taking the lead by moving
their hands around and confuse one’s attention, therefore, whoever chasing hands is considered
to be at the mercy of their opponent. Besides, anyone involving themselves in fights only to be
chasing hands around is like putting the cart in front of the horse, never in focus of the ultimate
goal, as shown in (fig. 1) and (fig. 2). (fig. 3).
62
Therefore, we should bear in mind, when in combat, that we need to keep a stern eye on
our enemy and that our enemy is our main target to hit, with the most simple and direct attack.
It is only when our attack has been blocked that our famous “Sticky-hand” technique will
be used, as a means to an end. An this time, mind you, the end is winning the fight.
(II) “Letting the cats out of th ebag”

W hether or not to be able to know opponent & moves ahead of time plays a very
im portant role in determing who is to win the fight.
The good old Chinese “Strategics” puts it well:
“Strike when enemy is on half way.”
Any attack launched at such favorable strategic timing will help one reap twice as much
harvest as the opponent’s intention, plans and moves are under one’s watchful eyes; besides,
when greeted halfway with appropriate counter-attacks, the opponent often finds it hard to co
ordinate the whole body’s movement, thereby losing control and as a result, losing the fight is
inevitable.
However, some inexperienced and poor Wing Tsun practitioners always tend to commit
mistakes of this kind.
They will start their attacks long before they enter the appropriate “range” ，leaving a lot of
distance between their opponent and themselves, see (fig. 4) and (fig. 6 )
These are most unwise and self-defecting moves, as they “let the cats out of th eb at.” they
imply to the opponent one’s secrets.
So, when in combat, never be impatient.
Wait until the opponent is only one step away before suddenly launching attacks, This will
make one’s opponent totally a t a loss for action.
Because of the sudden attack in close range, the opponent cannot react properly in time;
therefore, the opponent is very likely to retreat half-step backward or sideway. This will make it
even easier for one to gain control of the situation when the opponent is off balance.
Therefore, try by all means not to let your opponent know what is in your mind as far as
strategy is concerned.
(III) Do not hold too much fantasy

Too much fantasy or too much expectation wil make one overly-excited.
In Wing Tsun’s principles, if we can execute certain or all moves accurately, then we are
100% perfect. But this situation will only exist in theory.
Human beings are all apt to make mistakes. And nobody is perfect.
In normal combat situation, conditions on both sides are very much compatible: body
weight, hands and legs, strong points, weak points, and the like.
These are pretty much in balance and therefore can be compared. The most determining
factor is the skill each side possesses.
Supposing the chance of winning the fight is 70%, there still is 30% chance that one is
under attack. Look at the world championship boxing, whoever wins the game will have taken a
lot of hits from opponent to finalize the competition.
Nowadays, a lot of Ving Tsun instructors will come up with a lot of “mumbo jum bo ” ，
making up a lot of nice stories or fantasies to mislead students. Fooling themselves and fooling
others. It is a big shame.
Instead, if one has the proper training mentally and physiclaly, and being aware that having
punches landed on one’s own body is normal, then all that goes on during the fight will nqt be so
confusing as to be self-defeating. Winning the fight is more likely.
(IV) Do not hesitate

In order to attack, both sides need to be in the combat zone or range. Both have equal
chances to launch attacks.
During the exchange of punches, there is little time to think and ponder. Feelings and
experiences accumulated from routine trainings will be fully applied at time like these. Tow in or
to lose is determined by how much one has within.
But no m atter what happens, do not hesistate. To hesitate will invite a lot of unnecessary
troubles.
The high kicks that we see in movies that are perform ed continuously are products of
imagination. In real fight situation, one successfully executed kick will make it hard or
impossible to execute the 2nd one. W hether the opponent falls down or not, there will still be no
space to stand. Unless the opponent is hit by a side kick but retreat in a straight line, there is not
much chance to execute continuous kicks. The laws of physics will reject such possibilities.
If the opponent is very much afraid of getting hit, and escape backward in a sudden
manner, one unsuccessful kick will be followed by another unsuccessful one, the reason being
the wrong rhythm in timing. Just like that in dancing.
Therefore, only those who hesitate will be attacked. Advance or retreat, if done promptly,
will behelpful in seizing chances to success.
All these points mentioned above are not to make anyone a winner in fights. They are to
help reduce mistakes. The most important and significant factors to contribute winning are the
persistence in training, the fighting morale, perseverance, physical strength, confidence, and the
like.
All these qualities will make the highest level of harmony and peace possible.
敎授詠春拳術的體驗
敎授詠春拳術多年而深化了個人對詠春的了解，實非始料所及。此體驗並帶來無窮的樂趣
及再度燃起自己對詠春的熱愛。
一位詠春師傅所得到的重要經驗是如何辨别敎拳和自我鍛鍊。一位詠春師傅不斷自我鍛鍊
的話，他的技術，即體能上和理論上，將不斷向前邁進；並與敎拳所得的經驗，相得益彰。在
敎拳時，師傅的注意力集中在個别學員的進展和熱身、敎授、總結等階段上。因此，再度以自
我爲中心的鍛鍊實非常重要。
在授課的過程中，由始至終，都需要師傅的高度關注。雖然課程早已備好，一位良師還需
能抵受因關注全部學員所帶來的情緖壓力。有時個别學員會突然提出有趣的問題和意見，P 要
我的關注和講解；此等機會，實不容錯過。因此，我授課時會按照當時情況，並非完全依據預
先編排的課程去敎導。
我認爲構思和準備一個令人滿意和創新的功夫課程應是較長期的，例如一個月甚至三個月
以上。
配合現塲需要的敎授是最佳的訓練，因爲那需要師傅經常的專注和高度的敏銳觸覺。
在授課的過程中，師傅需確定與每一位學員都建立口頭、視覺或觸覺的接觸。而每一位學
員定要有受到關注和督導的感受。倘若放任學員完全自我練習的話，他將會學習如何去自我激
勵。倘若師傅指導一位學員去改善他的錯誤而在下課前能確認他的改進，對他將是莫大的鼓舞
和激勵。
詠春班的人數最好比較少，以不超過十 = 人一班爲合，以便能達致有效的督導，使每一位
學員皆有良好的進展，和其他學員甚至整體學員的進度融和。
倘若我們能定期地和全心全意地學習和敎導，並啟發學員的學習動機，將會帶來莫大的滿
足感。
如何取錄學員和他們的期望
一位到來學功夫的學員有什麼期望？在 ^ 位門外漢的想像中，功夫是怎麼樣的東西？與一
些對功夫有興趣的人的初步短暫交談後，便可得悉他們的目標和目的。這對敎授功夫是重要的
。接着，我便考慮是否取錄他們。
經過試驗性的敎導後，我可斷定他是否適宜學功夫或是否一位一勇鬥狠之徒。我會對一位
“不准人學 ” 的準學員圓滑地解釋他不受歡迎的 7 1 因。師傅應有擇徒的權利和自由。被拒絕入
學者能証明他有耐性、謙虛和對人尊敬，我便再度考慮收他爲徒。
師徒之間互助尊重
學員除學習師父的功夫外，亦會學習他待人處世之道。師徒的敎與學需要互相坦誠、信任
和尊黾，特别是發自內心的尊重。
敎學相長
師傅需明白不祇學員可從師傅處學習，師傅亦可從他們處學習。祇敎而不學將竭。人類是
最佳的互相學習對象。一位對功夫毫無認識的新學員是最有價値的訓練對手，而師傅是他的理
想學習對象。
這五年來，作爲一位專業者，敎授詠春拳術，自由搏擊和江湖技藝等，我體會到的是：必
須尊歌你的對手，有如尊重自己一樣；克服你對人生的恐懼和最直接了當的莫如向你的師傅學
n °
原文： ROLF FRUTSCHI
OF S W I T Z E R L A N D
譯文：梁定國
66
SIFU ROLF FRUTSCHI, SWITZERLAND
C EXPERIENCE IN TEACHING WING CHUN
It is most extraordinary to observe the personal gain in knowledge over the years when
teaching Wing Chun. The recognition hereof always gives cause to great joy and renewed
enthusiasm.
An im portant experience gained as a teacher: Not only to continue teaching, but also to
train alone or with a partner; to make a distinct difference between teaching and self-training. A
teacher who has never stopped training on his own, will never cease to further develop himself,
be it technically, i.e. bodily, or intellectually. This does not undermine the gain experience while
teaching, on the contray. However, when supervising and guiding the training attention is
concentrated on the individual progress of the single apprentices and in the run of the course,
the logical sequences of the warming up phase, the main phase and the concluding phase. It is
therefore always im portant to centre yourself again and to concentrate only on yourself.
The attention of a trainer should, from the very beginning to the end, be exploited to the
limit. A good trainer can bear the tension, the concentration of an entire class throughout the
training, even when all the exercises have been prepared. Experience has taught me, however, a
maximum preparation of one exercise after the other is not very satisfying. Too much goes into
adhering to the plan, especially if you want to stick to it at all costs eventhough training and the
apprentices ask for something else. I want to say that the training, suddenly and spontaneously
and influenced by the unplanned element calls for concentration on something entirely different
which would be much more appropriate at that stage. Possibly this is an interesting question
suddenly cropping up, or an idea, or the possibilities which would simplify the whole matter. It
would be a gret pity if you didn’t grab the unique opportunity, simply because something else
had been planned. I think a creative and satisfying preparation and planning of Kung-Fu training
should be done for a longer period of perhaps one month or even three months.
The best training was the improvised, a successful improvisation demands constant
attention and much sensitivity of the instructor.
A trainer must make sure that an oral, visual or bodily contact is built up to each apprentice
during training. The apprentice must, to a certain extent feel supervised and acknowledged
though in between the exact contrary is surely a good experience. The apprentice, left absolutely
to his own devices will learn to motivate himself. If a student was corrected in the course of the
training a possible confirmation of improvement before closing is of encouraging and motivating
influence.
In order to be able to fully implement control and quality in training, to support the
indivudal progress of each single person and also the integrity of the group and the work with a
partner, the class should of course be relatively small, possibly have a maximum of twelve.
The full satisfaction needed to arouse the necessary motivation, to dedicate yourself to
something that can only be fruitful through regularity, can only be achieved by complete
dedication whilsts training and learning.
Expectations and the enrolment of apprentices

What does a woman or a man expect when he comes to Kung-Fu? What does a layman
imaging Kung-Fu is, and how the training is done? A short initial talk usually tells you much
about the ambitions and intentions of those interested. Then, after possible enrolment of this
person more detailed attention may be paid to him. The reason for their coming and training
with us becomes clear. This can be of importance for teaching. I spoke of a possible enrolment -
not all people are suited or even prepared to learn martial arts. I think this is a diplomatic way
to tell a prospective member that he is unwelcome or still too immature to exercise martial arts.
It goes without saying that such a person should know the exact reason for my statement and for
the “No to the integration in the school” .
I only make such a decision, as a rule, after a trial training in which I really had the feeling
the person concerned was unsuitable or even an aggressive mugger type of person. I think this is
a very im portant ethical decision for humanity and a qualitative confirmation for the Kung-Fu
school and for the trainer who takes the liberty to decide whom he wishes to teach.
Should a rejected candidate who possibly again asks to be enroled, finally and paradoxically
be accepted, I should like to say this is creative progress, provided the candidate proves himself
in patience, being humble and showing respect. I could be worthwhile giving such a person the
chance to change himself positively. This would call for more attention and energy of the trainer
than would usually be the case for a person already having these properties.
Respect between apprentice and trainer

The apprentice absorbes what the instructor teaches him. Not Kung-Fu alone, but also the
manners and way in which the instructor deals with his apprentices is taken in as an example.
Teaching and learning calls for reciprocal frankness between apprentice and instructor.
Great trust is required to open oneself. Trust is strongly influenced by respect. We can thus
maintain that when we find due respect we also find optimum conditions for teaching.
Respect your apprentices in a natural way and they will respect you as Sifu and person. Do
not get tied up in the lifeless, traditional gestures of respect, as due respect comes from the heart
as something natural and not learnt.
The Sifu also learns from the apprentices

As Sifu we may understand that not only does the apprentice learn from us but we also
learn a great deal from him. If we merely gave all the time without ever getting anything in
exchange we should very soon become exhausted. Thus if the Sifu is willing to accept and take,
a very valuable exchange can take place. We are all people who learn from each other. A
newcomer who is formless and has no technique is in any case a very valuable partner for
training and vice versa, the Sifu is naturally the ideal person for a beginner who to start with,
wanted to learn something.
What I have ghot to know in the five years as a professional trainer and Sifu while teaching
Wing Chun Kung-Fu, full contact and ground acrobatics is:
REspect your opponent as you do yourself, overcome your fear in life and learn from the
simplicity of nature®- your Master.
詠春一光明之前途？
自從葉問宗師在香港發揚之後，詠春拳術已發展至世界各地，通過雜誌及電影之推介，詠
春功夫的聲譽早已在世界各地確立。
本人經過 10年跟隨不同同師父學習詠春，我自信對詠春拳術有相當的瞭解，但通過這 10年
的學習和觀摩，我覺得如何維持一個高質素的詠春是非常重要的，很多學員在學習過程中並未
能學得全部詠春的神髓，長此下去，則詠春的未來將導至更多的失誤及誤解，從而打擊詠春早
已確立的聲譽。
際此，在葉問宗師 1 0 0 年冥壽的日子裏，我希望本門各位德高望重的前輩們，能切實的考
慮這個問題，共襄妙法，以使詠春拳術能繼續發揚光大，永垂不朽！
維德樂伕一德國詠春功夫硏究會
Ving Tsun —A Bright Future?
Ving Tsun has made a great leap since the early days of Grandmaster Yip Man’s Hong Kong
school. It has spread all over the world, making headlines in martial arts magazines and being
shown in movies. Ving Tsun kung fu’s reputation has been established.
The problem, on the other hand, is that our art has been commercialised to an extent
where maintaining overall quality has become a problem. Many students are being taught Ving
Tsun without also being taught the underlying theories and principles. We all know ving Tsun is
more than just physical training. Going through the motions will only take a student so far; it is
not sufficient to truly understand when one is doing. A fter more than 10 year^ of Ving Tsun
experience (and having been taught by several different instructors) I believe I am now able to
recognize quality in Ving Tsun, having seen many different teachers and their streams of Ving
Tsun. There are “black sheep” in every martial art; in VingTsun, however, there is less publicity
of such damaging practices, and thus more misinformation of the public. Should somebody
proclaim himself the new Grandmaster of Ving Tsun, I would not be surprised if nobody stood
up to oppose this person. Due to this, I am very seriously thinking about the future prospects of
our fascinating martial art. How can we, all registered Ving Tsun teachers worldwide, make sure
to preserve a level of high quality? This might become essential to keep the good students of
G randm aster Yip Man, have the ability, the right and, I think, the obligation to be concerned
with the welfare of the Ving Tsun system. Especially in light of 100th birthday of Yip Man, we
should all seriously think about ways to achieve this aim and thus preserve the legacy of out
Grandmaster.
Rolf Wichter, Wing Chun Kung Fu Academy Germany

四海一家
當我開始學習詠春時，我對於詠春背後的哲學和思想，非常好奇，我知道中國功夫通常會
帶有宗敎色彩和背景，如佛敎道敎等，令我困惑的是，作爲一個西方人，對東方文化一無所知
會否成爲我學習詠春的絆脚石呢？
在經過學習詠春數年之後，我體驗到詠春本身是一套思維哲學學者通過學習詠春的過程中
，將能更有系統的發展本身的潛能及思維，這個體會，令我當初的疑惑，一掃而空，我曾目睹
，有些學員，刻意去瞭解東方文化及哲學，以其加深學習詠春的能力及理解，到頭來，只有鑽
進牛角尖，對詠春的學習並無幫助，基於以上的經驗，我覺得通過學習詠春，世界各地的學員
，在思想和文化上的距離將可大爲拉近，令各學員不論置身何地，都 _ 一個同在詠春大家庭之
中的感覺，在此我非常感激詠春的始祖 “ 五枚師太 ” 及詠春歷代的各位前輩，薪火相傳，令我
有機會可學習春拳術。
白威林，維德安達一德國詠春功夫硏究會
71
Ving Tsun - The Uniting Principle
When I started learning Ving Tsun, I was curious about the philosophical background of this
martial art. I knew that the martial arts in general drew on philosophical teachings of different
hue, mostly buddhist. What troubled me about this was the difficulty for Westerners to
understand those teachings, and the possible repercussions on their ability to understand a
martial art that was founded on those principles. Only after years of training have I finally
understood that Ving Tsun is a philosophy - or better a way of thinking - in itself. The dedicated
practitioner, as he assimilates the teachniques, movements and principles of Ving Tsun, also
assimilates the thinking processes underlying them as a m atter of course - they are one and the
same.
Only in this way can someone really nderstand what his martial art is about all too often
—
I have seen martial artists aspiring to understand and practise a philosophy and way of thinking
alien to themselves and their heritage, trying to gain full understanding and appreciation of their
art. All too often this remained a false front. A t least in VingTsun, this seems unnecessary (and
wrong) to me.
This feedback effect of VingTsun bas a strong influence on each aspect of thought, and thus
on each and every aspect of life. It is not confined to the training studio or a combat situation.
Ving Tsun becomes, after a time, a central influence on the practitioner’s way of life.
This special quality of VingTsun makes it a very international art, one that can be practised
anywhere with equal understanding. It is what makes it possible to feel as part of the family no
m atter where you come from and where you live. We are all heirs to a great tradition, practising
the timelessly modern art created by Ng Mui and finally spread by Grandmaster Yip Man.
Andreas Wichter, Wilhelm Blech, Wing Chun Fu Academy Germany

詠春與氣功
你有沒有這樣經驗？當練習小念頭的時候身體覺得暧，甚至熱，呼吸很平和，很深度，全
身覺得很舒服呢？如果有的話你就已經練習着詠春拳的內功了，亦即是氣功了。
甚麼是氣功呢？氣功就是與呼吸，姿勢和思想有關的鍛鍊。傳統的中國武術是包含着內功
與外功的锻鍊，所謂內練精、氣、神；外練筋、骨、皮，同時在練拳的時候一定包含有他的拳
理，亦即是拳術的哲學。
如果一種功夫沒有了內功的鍛鍊是他的哲學拳理，這就不是武術，這只是一種打鬥，這就
不能叫 “武術 ” 或甚至叫做 “藝術 ” ， “藝術 ” 就是 “藝術 ” ，與個人的思想，感覺及哲學有
關的，所以一門好的武術可以一代一代的傳下去，如果你只是想練習打架的技巧，那就很容易練
，你只要去一間功夫用品店，買一個沙包，每天練八個小時，這樣你就很快成爲打架的高手，
甚至可以成爲擂台冠軍，但不保証你的身體會健康，而你亦不是一個武術家，因爲你沒有內外
的修練技術，一個好的武術家，一定知道甚樣打，同時亦都怎樣制止打鬥，如果你能制止别人
攻擊你，甚至可以控制他，或他們，這樣你的武術一定很高，甚至不止一個人，或三、四個人
拿着武器的，你亦可以制止他們，甚至控制他們，那樣你的武術一定是個高手了。
其實武術的意思是 “制止打鬥 ” ，中文釋成爲武術。武者 “止戈爲武 ” 所以武術是一門 “
制止打鬥的技術 ” 。
如果一個人只知道打鬥，而忽略了內在技術的锻鍊及拳術哲學，這樣就會變得暴戾，容易
發怒，脾氣不好。 ’
在英國有一個人叫自己爲 “功夫之王 ” ，在大約在七十年代他經常到利物浦的一些酒吧打
人，不久人們對他便害怕起來，他的名聲就漸漸大了，之後他開了一間武術學校，在敎練的過
程中，他把他的學生全打倒，所有的學生怕了他以爲這樣是學武的態度。今天這個 “功夫之王 ”
已經離開了他的學校，留給他的學生了 ; 因爲他的頸受了很嚴重的傷，要施手術，這次已經是 -
第三次了；因爲他的頸問題，連帶影響了他的腰，連帶踏膝部，也成了問題，我亦聽到現在連
他的學生也開始有同樣的問題。
在他的思想上，如果能夠把别人打倒，就是好的武術家，現在他已經回應了他施予他人的
暴戾，最可惜的是，他把這樣的思想傳落了下七代。你試想想如果中國所有的武術就以這樣的
態度及想法敎下去，會變成甚樣呢？武術家與匪幫又有可分别呢？
老子說：一兵者不祥之器，非君子之器，不得已而用之，恬淡爲止，勝而不美，而美之者
，是樂殺人。夫樂殺人者，則不可得志于天下矣。
在詠春拳的歷史裏，它是由一個佛敎的尼姑傳下來的，名字伍梅，她把詠春敎了嚴詠春，
亦是一個女子，這個故事由梁贊傳至陳華順到葉問也是同一樣的；當然現在也有其他的想法及
歷史的發現，但我本人是相信詠春是佛家的拳術，也是由一個女子所創造的。
在詠春拳的練習中，我們知道 “中線 ” 是非常重要的，不能太過或太傾，如果你離開了中
線，你就可能被打倒，或失去平衡，在練習的時候，我們瞭解到一拳打出，當打完就立刻放鬆
，這樣的原則是與老子所講的兵器原則完全一樣，雖然老子是道家，伍梅師太是佛家，但是他
們用的是同一樣道理的哲學；道家以 “無爲 ” 爲主，佛家是以 “空 ” 爲主， “空 ” 與 “無爲 ”
根本是一 ■樣的。
“空 ” 是詠春的哲學，其氣功亦以 “空 ” 爲主，傳統中國的宗敎與哲學是連成一體的，而
佛敎與道敎也是很相似的，在佛敎裏人人都可以成佛，而道敎之中人人都可以練成 “仙 ” ，這
就不同西方的一神宗敎。
所以在練習第 - 套拳小念頭及其他詠春拳樁的練習時，要達到 “空 ” 的境界，特别在小念
頭第一節的練習時，更要慢，不能急，要將心中所有的雜念拋開，到達 “空 ” 的境界。雖然有
些將小念頭譯成爲 “ 要有家的念頭 ” 其實你不可用任的念頭，你要忘記所有的雜念，好像打坐
一樣，把所有的肌肉放鬆，因爲外在放鬆，所以內裏的臟腑就會强壯起來，氣就會自然流通所
有經絡。我還記得在小時候跟隨伯父學習詠春時，（他是我第一個詠春拳的師傅 — 謝超雄，
後來他去世，我亦跟隨葉準師傅學習我的未完成的詠春拳。）他要求我要練習四十分鐘的小念
頭，慢慢地練，開始令到我的腿麻痹和手震，眞的難受極了，覺得時間特别慢，且又辛苦。但
慢慢就開始習慣了，其後，覺得好像有一股熱能在身體內走動，這亦是我第一次感受到氣的存
在，之後我便覺得很舒服，身體也放鬆了，直到思想呼吸及身體成爲一體。
當你練習詠春拳的時候，身體姿勢要正確，腰直，頭部與頸部放鬆，眼向前望，自會穴與
會陰穴（百會穴在頭頂上，會陰穴在兩腿之間之下）成一直線，加上思想空無，氣沉丹田（丹
田在臍下一寸三分，是人體的中心，可以儲存能量）這樣的姿勢其實與太極拳的站樁是相似的
，呼吸放鬆及自然，要達到在練習時像沒有呼吸一樣，即是不要注意呼吸，這就是佛家 “空 ”
的最高境界，亦與道家的 “天人合一 ” 一樣，這樣你的內氣就會强盛，思想就會靜下來。如果
長期用這樣的方法鍛鍊，你就不用到外面與人打架，來發洩你的不平恆的暴戾。
在另一方便，黐手是詠春一種非常良好的練習，幫助我們增加反應，知覺，及技術，這樣
你就不必到酒吧來 “講手 ” （與人打别來鍛鍊技術）。如果眞的是有人想攻擊你，用你練習的
反應和技術，你一定能爲自己自衞，甚至可以控制對方。這樣你就是眞正的武術家，不是一個
只會打架的人。
當你觀察别人練習詠春拳，如知道他們的技術有多高，只要看看他有多健康就可以了。
謝瑋精
Wing Chun and Qigong
by Michael Tse
Have you ever had the experience when practising ‘Siu Lim Tao’ of feeling warm, even hot,
the breathing becoming calm and deep and your body feeling very comfortable? If you have,
then you have been training internally as this is actually the internal training of Wing Chun 一
Qigong.
W hat is Qigong? Qigong cnnects your breathing, posture and mind. Traditionally, all
Chinese M artial A rts covered both, internal and external training. Internal training trains the
Jing, Qi and Shen. External training deals with training the bones, muscles and skin. And also
there must have been some philosophical background.
If a martial art is without internal training and philosophy, then it is not a martial art, it is
just fighting skill and you cannot call it “a rt” . A rt is art, and it relates to the mind, the feelings
and the philosophy of a person. Therefore a good martial art can pass down from generation to
generation. If you just like fighting skills, then these are easy to find. All you have to do is go to
a shop, buy a punch bag and punch it for eight hours none stop everyday. You will become a
serious fighter, perhaps even a champion, but you will not be a martial artist, because you do
not know the art!
A good martial artist must know how to fight, but also he must know how to stop fighting.
If you can stop others from attacking you, just control them , then your martial skill must be very
high. Even if three or four armed people attack you and you can still control them, then you
must have a very high level of skill. But also it means that you can attack as well.
‘M artial A rt’ means stop fighting. In Chinese we call them ‘Wu Shu’. ‘Wu’ in Chinese is a
combination of two words (characters) which mean ‘stop’ and ‘fighting’. ‘Shu’ means ‘skill’ or
‘a rt’. And together this is'm artial art.
If someone knows only fighting and misses the art and philosophy, he will become
aggressive, angry and have a bad temper.
In England, there is a man who called himself “The King of Kung Fu” . During the
seventies he went around the pubs in Liverpool beating people up. Soon every one was scared of
him and then he started his martial arts club. During training he beat up all his students. They
were all scared of him and thought this was the attitude to have when learning a martial art.
Today, the “King” has left his classes to his students because he suffers from a neck problem and
needs an operation. I think that now he is on to his third neck operation and because of his neck
he also has back and knee problems. I have also heard that some of his students are now
suffering from the same problems!
In his mind, he thought that if you can beat someone up then your martial art must be
good. Now he is suffering the consequences of his aggression and what he has done to the other
people. His mentality has also passed down to his students.
Can you imagine what China as a country would look like if everyone who studied a
martial art had the same attitude and mentality? What would be the difference between a
martial artist and a gangster?
Lao Tze said “Weapons (by which means also fighting and war) are unlucky things and not
for the gentleman to use. If you have no choice but to use them, then the best way is to keep
them simple and quiet. Even if you win, never be happy, if you are happy it means that you
enjoy killing people and then you will never have success in this world.”
The history of Wing Chun Chuan says that it came from a Buddhist nun - Wu Mei (Ng Mui) and
she taught Yim Wing Chun. This is the story that was passed down from Leung Jan to Chan Wa
Shun and then on to Yip Man. Even though there are some other stories. I personally believe
that it comes from a Buddhist style and is a woman’s technique.
In Wing Chun Chuan training we know of the 'Centre Line’ principle which emphasises that
you do not go too far. If you leave it you might get beaten, or loose your balance. When
attacking we are told once we have finished (our strike) we should immediately relax. These
principles are the same as LaoTze’s principles of the weapon (fighting), although L aoTze was a
Taoist and Wu Mei was a Buddhist, they share the same principles. Taoism emphasises ‘Wu Wei’
- nothing, and Buddhism emphasises 4Z huk’ 一 emptiness, and these are the same.
Zhuk is Wing Chun’s philosophy and Qignong’s as well. Traditionally, in China, religion and
philosophy were connected. In Buddhist and Taoist training you can become a Buddha or an
Immortal. This is different from the west where there is only one god.
So in the form ‘Sui Lim Tao’ and training of Wing Chun we need to reach ‘Z huk’. When
doing the first form we need to do it slowly, to get rid of any distracting thoughts. Although
some people interpret it to mean ‘Little Idea’，but actually you do not need any ‘idea’ (thought).
You need to get rid of any distracting thoughts. Like meditation, you must let go of the external
body, then the internal body will be strong and the Qi will flow along the channels. I remember,
when I was little and studying with my uncle. (He was my first Wing Chun teacher: Tse Chiu
Hung. A Fter he died I then began studying with Yip Chun.) H e would make me do the form for
at least forty minutes, it had to be slow. This made my legs numb and they would shake. At the
beginning it was very hard but after a while I got used to it and then I felt a tremendous heat
coming through my body. This was the first time I experienced Qi. Afterwards I would feel very
comfortable and relaxed because my mind, breathing and posture had all come together.
W hen your posture is correct: back stright, head and neck relaxed, looking forwards then
the Baihui point and Huiyin point (acpuncture point on the top of the head and between the
legs) will be vertically in line, and if the mind is empty, your Qi can sink down to the Dantien
(the centre of the body just below the navel, where you energy is stored). Then this posture is
similar to theTaiji Quan standing posture, the brething is relaxed and natural and eventually you
will not notice it at all. This is a high level of Qigong - ‘Emptiness’，the Taoist clal it, “Heaven
and man become one’’，so your internal Qi becomes strong and your mind becomes calm. Then
you will not need to go out and beat anyone to release your aggression.
On the other hand, Chi Sau (sticking hands) can help us learn the techniques of Wing Chun
Chuan, help us to release our tensions and build up our sensitivity. Then, after training, there is
no point to go out to the pub looking to cause a problem. And if someone really attacks you,
with your sensitivity you will definitely know how to defeat them and also know how to control
them. So now you are a real martial artist, not just a fighter.
W hen looking at people practising Wing Chun Chuan, you can tell how good their level is,
just by looking at the condition of their health.
l i 者按：本文作者劉君乃應屆葉問國術總會董事會主席，其所提之意見，極具見地，希讀
者垂意。
對詠春派的一黯意見
摒除私見並緊密合作，將詠春拳納入正軌，發揚光大，踏所局限，很難有更大的成就，所
以本人呼？各同門齊心協力爲如詠春人士，不正視此等問題。詠春拳的發展便會有甚至互相詆
諉，時至今日，情況亦未有改善，筆者認爲詠春拳乃一科學化及有邏輯依據之中國功夫，從嚴
詠春傳至佛山梁贊，詠春拳已漸爲人所熟悉，其後傳至葉問，詠春拳再推至另一個新高峯，其
出色門徒多於天上之星，不可勝數，由此可見葉問宗師對詠春拳的發展，貢獻極大。
筆者學習詠春拳已二十餘年，啓蒙於梅逸師傅，其後再追隨葉問師傅繼續硏習詠春拳，在
學藝其間，亦從旁協助葉問師傅敎導後輩，與此同時，不斷與其他同門黐手切磋，察覺有等同
門對師傅傳授之拳法技術和解釋，多有不同的理解。而且有小數同門更各自吹噓甚至今日，情
况亦未有改善，筆者認爲如詠春人士，不正視此等問題。詠春拳的發展便會有所局限，很難有
更大的成就，所以本人呼？各同門齊心協力摒除私見並緊密合作，將詠春拳納入正軌，發揚光
大，踏足世運。
本人謹此建議採取下列措施：
① 成立技術顧問團，統一拳套及手法，以免後學者習染旁門左道，無所適從。
② 以分級考試制度去評定學員之水平，以免有人空言誇大，導至同門互鬥，引起是非。
③ 設立詠春拳之專業守則，使爲人師者及學員有所依據。
④ 成立專業守則委員會負責監察守則執行。
⑤ 成立競賽組織，制定比賽規則，擧辦賽事，以增加學員興趣，吸收更多學員，提高國際地
o
上述意見乃主人愚見，期以取之詠春，用於詠春，以發揚詠春爲目的，希望各同門積極對
本人之意見提出批評，修改，以祈將詠春拳成爲流行國際之體育項目。
E ditor’s remarks: The attention of the readers is drawn to the fact that the author of this article
is the current President of the Yip Man Chinese M artial A rt Association,
whose suggestions are considered as renovative and invaluable by the Chinese
martial art circle.
Wing Chun is a scientific and logical Chinese Kung Fu. It was first taught by Madam YIM
Wing Chun. When it was passed on to LEUNG Chan, it was beginning to become known as an
im portant Chinese Kung Fu. Later on, when YIP Man emerged, he elevated Wing Chun to a
new height. His numerous outstanding students have made Wing Chun popular throughout all
the five continents. Indeed, the contribution of Grand Master YIP Man to the development of
Chinese Kung Fu and Wing Chun as well has been unmatched.
I have been practising Wing Chun for over twenty years. I first learnt from M aster MOYYat
and then followed Grand M aster YIP Man to continue my studies. During my stay with Grand
M aster YIP M an, I helped him in teaching the juniors and at the same time stuck hands with
other fellow senior students, finding to my surprise that there were different interpretations to
the Wing Chun forms as well as principles and that there were a few who got used to boasting of
their Kung Fu and even defamed the Kung Fu of other Wing Chun brothers. Up to now, this
undesirable phenomenon still exists. If we do not take measures to rectify these irregularities,
the development of Wing Chun will be very limited, if not diminishing. I therefore appeal to all
Wing Chun brothers to forget all our personal grudges, if any, to pull ourselves together and to
put Wing Chun on the right track to blooming development and eventually a place in the
Olympics.
The following measures are recomended to attain the above goal:-

(a) Technical Advisory Committee is to be set up to uniformize the forms and hands to
aviod newcomers getting lost among misconceptions;
(b) G raded examinations are to be introduced to ascertain the different standards of the
students to aviod them boasting of their Kung Fu resulting in unnecessary disputes;
(c) A set of Professional Code of Ethics is to be established, which is to be abided by all

Wing Chun people;
(d) A Disciplinary Committee is to be constituted to see that the set of Professional Code
of Ethic is abided by and to take disciplinary actions on cases of breach of the set of
code;
(e) A Match Committee is to be formed to lay down match regulations and to run matches
to enhance the interest and standard of the students.
The above suggestions are by no means exhaustive and I sincerely hope that my Wing Chun
brothers can give their comments on them with an aim to developing Wing Chun into an
internationally popular sport.
TRANSLATED BY JEFFREY C.F. CHAN

葉問傳下的武術如何征服歐洲？
「功夫」 — 啥樣的中國菜？
早在七十年代初，其時甚至李小龍的電影仍未在德國及絕大多數的其他歐洲國家中上演過
，當歐洲人聽到「功夫」或「詠春」這些字眼，便會以爲是些什麼「中國菜」的名稱 ^ ~ 一或者
祇有一個人例外 — 他便是當時在基爾大學任語文科講師，及擁有美式空手道拳法黑帶兩級的
德國人「基富 • 簡斯樸」；也就是日後第一位將正宗中國拳術引入德國的人。
何必捨本求末？
早在六零年時，簡斯撲已是德國最早期空手道人仕之一。其後，他更先後練習過摔角、柔
道、柔術、合氣道、松濤舘空手道、古武道、跆拳道、泰國拳、及菲律賓棒術等。可是，他總
覺得彷彿在這些東洋及韓國武術中，有黙什麼欠缺了似的？
經過了多次的實驗，最後，他撫心自問：「旣然發現了空手道在某方面缺乏了一些東西的
話，就應乾脆從它的老祖宗 — 中國功夫 — 中去硏究。何必捨本求末？」
造了手術去假裝中國人！
當時，整個德國都沒有眞正敎授中國功夫的武舘；即使有也祇是那些穿着成『中國功夫佬』
般的衣服，實際上敎授空手道及柔術之類的「武林騙子」。
因此之故，乘着前往英 ®I去追索其中一位英裔血統的祖先曾在一五一八年間獲得「約郡武
士爵位」之便，簡斯樸順道在那裡找尋眞正的中國功夫。可惜的是，當時的英國也同樣充滿了
「假功夫」；有人甚至去造了手術，冒充「中國人」呢！
沒有人喜歡敎『鬼佬』！
找遍整個英倫三島以後，簡斯樸終於獲得了一些資料：在倫敦有一位名叫，「輝忠」 '的人，
在唐人街敎授一種名叫「詠春」的拳術。但在當時，中國人似乎將每一樣東西都保持了最高機
密；其尤是對於敎授『白鬼』武術，更沒有幾位中國拳的敎頭願這樣做。大槪他們覺得總該留
黙技術去讓中國人作爲擊敗那些在身形及體格方面都較他們高大健碩的歐洲人吧？ ’
費了一番唇舌，加上幾瓶威士忌酒之功，鄭忠終於同意讓簡斯樸參觀他的拳術班了。於是
，自簡斯樸回到德國以後，雖然自知本身的「詠春拳」技倆仍處於幼稚階段，卻毅然地將自己
的空手道舘改爲詠春武舘。自此之後，簡斯撲多番前往倫敦，纟_ ! 不捨地追尋更多有關這一個
令人迷醉的武術門派資料。
一九七六年 — 香港詠春傳入德國
在一九七四年間，簡斯樸買到幾本有關梁挺師傅及他的詠春拳術的中文雜誌。他開始寫信
去香港聯絡。最後，於七六年間，梁挺師傅終於被他的信件攻勢打動，帶同一位助敎由香港前
赴西德、丹麥及英國去。
這是有史以來，中國拳師訪問德國及丹麥的首次。在這段期間內，梁挺師傅及他的這名德
國弟子，不獨要擊敗幾許來自各種武術流派的挑戰者，更要對抗數不盡的偏見與抗拒。他們要
鬥爭的不光是爲了自己，不光是爲了葉問宗師傳下的詠春拳，更是爲了全中國武術的名譽。打
從一九七六年以來，梁挺師傅每年至少訪問德國一至四次不等、迄今不斷。
唯一的 1功夫堡壘」
一九七八年，簡斯樸辭去了大學講師的敎職，與妻子由德國北部遷到位於南方，富有浪漫
情調的「海德堡市」去。在那裡，他正式成爲了全職的詠春拳術敎頭，並創立了「西歐詠春組
織」，隸屬於粱挺師傅的「國際詠春拳 * 總會」歐洲部份。經過了不斷的奮鬥、失望、重起，
他終於將總部建立於「蘭靳秀堡壘」之內，成爲了武術界中唯一的「功夫堡壘」。
德國智慧與中國天才結合成的最龐大武術總會
簡斯樸以其天賦的領導才能及組織力，配合了其師梁挺的拳術原理，終得到了最驚人的成
就：現目的「西歐組織」不獨是「國際詠春拳術總會」中最强大的部份，更是全世界「全職化
武團體」中最寵大的一個組織。
今天的簡斯樸 — 或者被亞洲人稱爲「簡基富師傅」 — 須要照顧近一千間武舘 ; 其中多
間武舘甚至擁有每間過千學員的人數。大部份簡斯撲的首徒都已跟隨他超過十五年以上。至少
可以証明一黠：簡斯撲的領導才能並非靠「專制」形式去統治；而是以公平及友善的方法去對
待他的門徒。
事實上。簡斯樸並非祇敎葉問的「打鬥方式」便算，他更將這種基於道家思想的隨機應變
原理活用於日常丰活中。他甚至將這套「打鬥的哲學」敎授德國最頂尖的經理級商界人仕，德
國有名的「霍伯士商業雜誌」（ F O R B E S ) ，更特别爲文報道此事呢！
由錯誤中得回來的成就
簡斯樸承認，他也曾犯過很多錯誤。比如說：他過往就曾經犯了粗暴對待門徒的毛病；致
使那些不能忍受他那種方式的門人爲此而離去。
此外，由於他原是德國北部擧重界冠軍級强人，在初期太過份地强調臂力。如此一來，一
部份他的門徒也不免受他的影响而强調了本身膂力的發展，而竟然失誤了這一套由五枚師太所
創，以「陰柔」爲本的武術原義。
當發現了這個錯誤以後，簡斯撲徹底地改變他的敎法。可是，一個二百二十磅的「人山」
又怎可裝成柔弱呢？爲了要令他的門人 ------- 同時也包括了他本人 ----- 去信服即使不憑藉强大的
肌肉，詠春拳仍能奏効，簡斯撲於是改變了他的锻鍊方式，並克意節食，使體重銳減六十磅。
現今的他，雖然很多時比較他的對手輕得多，但卻從未在搏鬥中失敗過。在現象眼中，他
那有如玩魔術般的技術，輕巧得來彷似毫不着力一般，偏偏又那麼地無懈可擊，使他的對手們
簡直無機可乘。
千名敎練協助簡斯樸將詠春發揚世界各地
在蘭靳秀堡壘內，「簡基富師傅」及他的敎練們每星期敎授六日 ’ 毎日八小時。來自全歐
洲各地的熱心人仕在這堡壘內以兩年時間接受嚴格訓練之後，將變成合格敎練 ’ 便可回到他們
的家鄕設舘了。
美國聯邦密探及海軍陸戰隊練詠春拳
早在六五年，當時簡斯樸尙未成爲大學講師，曾經當過一陣子警察，更是將空手道拳技敎
授給那些祇懂柔術的警隊敎練之一。
到了九一年，簡斯樸已成爲歐洲武壇深具影响力的武術敎頭。除了身爲「賓士」及「法拉
利」兩家汽車公司經理級人員的武術敎練外，更由於社當着來自世界各地的特别警察首腦級自
衞術敎練比試詠春拳對韓、日武術的優劣問題 ’ 結果大大地獲得所有參與此次武術班的在塲人
80
仕一致贊同：「詠春拳的確是特别警察的最佳自衞術！」
由此更令葉問的武術系統再一次成功地証實了它的優越性。
當然，爲了配合警察人員的特别需求，簡斯撲採取了最先進的敎授方法，將詠春拳扼要的
灌輸給他們。
二百七十磅的總敎練勝不了百五磅的中國人
一年以後，簡斯樸兩次被邀請負責一個爲數達一百五十人的警察敎練級短期課程。這次，
是由他的師尊梁挺親自任敎。
就在梁挺師傅向這批分别來自空手道、跆拳道、合氣道、泰國拳、西洋拳等各流派參加者
面前示範詠春拳的優黙的當兒，有一位體重二百七十磅的巨人，走出來要以柔術的 _ 鎖」招
式將梁挺的手腕鎖着，愛看他如何化解。雖然，梁挺早已答應過這位身爲全德國警察部柔術總
敎練說：他絕不會以詠春拳的招式向對方還擊，甚至不施展任何動作去化解對方的腕鎖，目的
祇是向各人示範一般的「鎖扣 j 及「擒拿 j 招式對柔軟的詠春拳起不了作用。
可是，這位巨人，卻突然使出了一招最陰險的把戲：祇見他發覺以 T O 鎖」仍然無法百份
之百制肘着對方時，竟然在出其不意之間猛然以一招摔法欲將梁挺摔倒地上。驍是如此，他的
「暗算」技倆立即當着各人面前，尤其是當着徐尙田師傅 — 另一位第一次受邀請來德國的詠
春耆老 — 面前，大大的丢了個現眼。如雷的掌聲和唱采聲霎時响過不絕；所有在塲的警察自
衞術敎練事後紛紛論及此事說：他們從沒有見過如此像鬼魅般的武術！
詠春拳備受武林敬重
一九九二年，在德國多曼市擧行了一次全世界最大的武術表演會；入塲觀衆達一萬五千之
衆。
這次的表演會，實際上被詠春派佔盡風光丨整個塲內不獨所有駐塲護衞都是由簡斯樸派出
，穿上了印上詠春武舘製服的門徒；甚至各貴賓如：國際巨星羅禮士、世界全接觸賽拳王「噴
射機」賓尼，與及曾與李小龍合夥演出的羅拔窩等人，均由二十名特别派出的詠春拳手作爲他
們的貼身保鏢。
當然，該節目的最高潮要算由梁挺師傅表演的詠春八斬刀法及代表「詠春體育會」受邀而
來的當屆主席徐尙田師傅所臨塲親自表演的兩幅書法 Q 其一即塲贈於簡基富師傅，另一幅則贈
給邀請他來德國作爲這次震撼世界的武術表演的觀禮嘉賓的主辦人。
簡基富絕不忘本
簡斯樸經常到香港去拜訪他的師父、師叔及師兄弟如：鄭傳勳、布達華、梁冠、梁團、譚
鴻勳等。如可能的話，更盡量拜訪葉問宗師的其他弟子們諸如：駱耀、徐尙田、黃淳樑、羅炳
、蕭煜民、王喬、葉準、伍燦、藍賢發、盧文錦、葉正、陳暖林及其他人等。
簡斯撲歡迎所有詠春同門共同努力將葉問的武術系統發揚於世界每一地。由於我們的武術
由傳統之上建立起來，簡斯撲相信，唯一能令本門拳術保持其確定及繁盛的地位，是：敎法不
妨創新及科學化、但精神上卻必須維持傳統：「同門無二師」 — 因此必須本着「一日爲師、
終生爲父」的信念去一輩子尊敬你唯一的師父 — 這是葉問宗師的遺訓。而且，無論你是中國
人也好、美國人或歐洲人也好，祇要你是葉問宗師的門人之一，也絕對應該遵守這一訓示。
我等仝寅必須明白，祇有嚴格地遵行舊例，我們方可避免我們的「武術」變質爲「運動」
，而我們的身份也不會由崇高的「師父 j 地位貶爲有如那健身倶樂部中的「敎練」地位。
( 國際詠春拳術總會西歐組織法蘭克 •史密夫撰稿）（渭斌譯）
How Yip Man’s Martial Art Conquered Europe
Kung Fu - A Chinese dish?
In the early seventies 一 when Bruce Lee’s films had not yet been shown in Germany and
most of the other countries in Europe, people in Europe would think of a Chinese dish, when
they heard the words “Kung Fu” or “Wing Chun” . Not so Keith R. Kernspecht, at that time a
language-lecturer of the University of Kiel and 2nd D an Kempo-Karate-Black Belt, who was to
become the first German to introduce authentic Chinese Kung Fu to Germany.
Why invent the wheel a 2nd time?
In 1960 he had been one of the Karate-Pioneers in Germany. A fter studying wrestling, Judo, Ju-
Jutsu, Aikido, Shotokan-K arate, Ko-Budo, Taekwon-do, Thai-Boxing and Philippine Escrima he
felt that something was missing in the established Japanese and Korean martial arts. A fter some
experimenting he said to himself: “Why invent the wheel a second time? When Karate is missing
some aspects, why not investigate its Grandfather: Chinese Kung Fu?”
Some even had a surgical operation so as to appear Chinese
But there was no real Chinese Kung Fu in the whole of Germany, only some phoneys who
simply taught Karate or Ju Jusu-Techniques while being dressea like Kung-Fu-men.
So Keith R. Kernspecht, who can trace his English ancestors as far back as to 1518, to a
knight in York, went to England to find out about the real Kung Fu. But also England at that
time had its share of false Kung-Fu-Masters, some even went as far as having an operation so as
to look Chinese...
Nobody liked to teach the Gwailos
A fter Kernspecht had searched all parts of England for the real Kung Fu, he finally received
some information in London’s China-town about a style called “Wing Chun” and its Sifu Cheng
Chung. At that time everything was top-secret. The Sifus at that time did not like teaching the
“white devils” ，maybe because they felt that the Europeans were so big and strong that the
Chinese had to keep their techniques for themselves so as to have a chance in a flight. It took a
lot of persuading and some bottles of Whiskey, before Cheng Chung would even allow
Kernspecht to watch his class. When Kernspecht went back to Germany, he abruptly changed his
Karate Gym into a Wing Chun-gym, although his knowledge was still poor. From then on Keith
R. Kernspecht travelled to London on a regular basis to find out more about this most
fascinating martial art.
Hong Kong came to Germany in 1976
At last in 1974 he bought some Chinese magazines featuring Sifu Leung Ting and his Wing Tsun.
He wrote to Hong Kong and an interesting correspondence started that resulted in Sifu Leung
Ting and one of his assistants coming to Germany, Denmark and England in 1976. This was the
first visit of a Chinese Kung-Fu-Instructor to Germany and Denmark. Sifu Leung Ting and his
German disciple not only had to defeat many challengers from different styles but he also had to
fight against numerous prejudices. And they fought their fights not only for themselves, not only
for the good of Yip Man Wing Chun, but also for the glory of all Chinese Kung Fu. Since 1976
up to now Sifu Leung Ting has regularly visited his German student one to 4 times every year.
The one and only Kung-Fu-Castle
In 1978 Kernspecht left the university and Northern Germany and moved with his wife to the
romantic city of Heidelberg in Southern-Germany to become a full-time Wing Tsun-Instructor.
H e founded the European Wing Tsun Organissssation (EW TO) which is the European section of
Sifu Leung Ting’s Int. Wing Tsun Martial A R t Association, and after hard work, many
disappointments and drawbacks set his headquarters in the only martial arts castle: Langenzell
Castle.
Germ an organizational talents and Chinese genius produced the largest professional martial
arts association in the world
Kernspecht’s organizational talents as well as natural leadership abilities combined with Sifu
Leung Ting’s fighting principles had terific results: NOw the EW TO is not only the strongest
section of the IW TM AA, but by itself the greatest professional martial arts organization in the
whole world. Today Keith R. Kernspecht or “Kan Kifu Sifu” ，as he is known in Asia, takes care
of nearly 1,000 gyms. Some of the gyms having up to 1,000 active members each. Many of
Kernspecht’s headstudents have now following him for over 15 years. A proof that Kernspecht,
whose leading-style is in no way that of a dictator, treats his tudents in a fair and friendly way.
In fact Kernspecht does not only teach and fight the Yip Man-way, he also follows its
flexible taoistic principle sin daily life. He even teaches German Top-Managers to adopt Yip
Man’s fighting formulas for business and was featured in the famous “Forbes”-business-
magazine.
From mistakes to the summit of success
In the beginning Kernspecht admits, he made a lot of mistakes: He was too rough to his
students, so some of them could not take it and ran away. Also - being a powerlifter and of the
strongest men in North-Germany at that time - he stressed physical power too much, so that
some students 一 not necessarily the worst - missed the soft and female elemennt in his
interpretation of Ng M ui’s martial art.
Then Kernspecht saw his mistake and changed his teaching radically. But how could a
mountain of a man of over 220 Lbs pretend to be weak and soft? To convince himself and his
students that his Wing Tsun-technique worked even without big muscles, Kernspecht changed his
diet and training method to lose 60 Lbs of weight. And although he was now even lighter than
many of his opponents he never lost a fight and his technique appeared like magic to the
spectators, so light and effortless looke dhis movements that left Kernspecht’s opponents
without many chance.
1,000 instructors help Kernspecht to make Wing Tsun conquer the world
In Langenzell Castle Sifu Kan Kifu and his team of instructors teach 6 days a week and 8
hours per day. Enthusiasts from all over Europe train in the castle-gym and leave 2 years later as
well-trained and qualified assistant-instructors, so that they can open gyms in their own home
towns.
Even the special agents of the FBI and the US-Marine Corps prefer Wing Tsun
In 1965 before Kernspecht became a university-lecturer he used to be a policeman. Actually

he was the one to introduce Japanese Karate to his police-unit who only knew some Ju-Kitsu-
tricks. So in 1991 when Kernspecht, who is now very influential in Europe teaching e.g.
Mercedes Bez- and the Ferrari-managers, saw a chance to compare wing Tsun against the Korean
and Japanese Martial arts on front of a big audience of the leading self-defense instructors of the
various special-police-units from all over the world, he demonstrated so successfully and made
the advantages of Yip Man’s martial art so clear that the unanimous judgement of all seminar-
spectators was: Wing Tsun is the best self-defense for special police-work! Of course Kernspecht
taught Wing Tsun in a modern and special way geared especially to the needs of the police.
Not even the 270 Lbs Chief-Instructor could defeat the 150 Lbs Chinese
One year later Kernspecht was again invited to a seminar with over 150 Police-Selfdefense-
Instructors. this time Kernspecht’s Si-Fu Leung Ting taught the seminar. A fter Leung Ting proved
to the participants who came from Karate, Taekwon-Do, Aikido, Thaiboxing as well as Western
Boxing, that even the Police-Jujutsu-Chiefinstructor, a huge man of 270 Lbs, could not do him
any harm, although Sifu Leung Ting promised to remain passive and not to hit back while the
giant was allowed to use all his techniques, so as to show the attendants that the normal locking-
and grappling techniques could not work on a flexible Wing Tsun expert. When even the Jujutsu-
M aster^ most dangerous trick: a clever combination of a lock and throw failed, the applause
seemed never ending. In the presence of Sifu Tsui Shang Tn, who was visiting Germany at that
time, all the police-selfdefense-instructors later said that they had never seen such a phantastic
martial arts system before.
Wing Tsun winning respect among all the other arts
In 1992 the world’s biggest martial arts event with over 15,000 spectators and participants
from all over the world was staged in D ortm und, Germany. And Wing Tsun literally ruled the
show. Not only was the whole show guarded by Kernspecht’s fighters in their WT-gym-T-Shirts,
also VIPs such as Chuck Norris, Benny the Jet Urquidez and Bruce Lee-film-partner Bob Wall
were protected by 20 Wing Tsun-bodyguards.
Of course the highlight of the whole show was Sifu Leung Ting’s double-knives-
demonstration and Sifu Tsui Shang Tin writing two beautiful Chinese scrolls which he handed
over to Keith Kernspecht and the organizer of the Budo Gala who had invited Tsui Shang Ting,
the then chairman of the VTA A, as the guest of honour of this most prestigeous martial arts
event in the world.
Kernspecht does not forget where his martial art comes from
Regularly Kernspecht visits Hong Kong, his Si-Fu, his Si-Suks and Sihings, e.g. Cheng
Chuen Fun, Po Kin Wah, Leung Koon, Leung Tuen, Tam Hun Funa nd if posisble the other
students of the late Grandm aster Yip Man e.g. Lok Yiu,Tsui Shang Tin, Wong Shun Leung, Law
Bing, Siu Yuk Man, Wong Kiu, Ip Chun, Ng Chang, Lam Yin Fat, Lo Man Kam, Ip Ching, Chan
Nuen Nam, Ma Hang Lum and many more.
Kernspecht welcomes all Wing Chun-Clansmen to unite in propagating Yip Man’s martial
art world-wide. And since our art is founded on tradition, Kernspecht believes the only way to
keep it authentic and alive is while teaching it in a scientific and modern way, to enforce the
traditional virtues: Nobody can have two Si-Fus within the Wing Tsun- Ving Tsun or Wing Chun-
Clan, so one must respect one’s own Si-Fu and to be loyal to this one and only Si-fu for your
whole life, which was the late great Grandm aster Yip Man’s instruction, this idea should also be
supported by all the Yip man Kung Fu- Clansmen whether Chinese, European or American!
We must all keep in mind that only by keeping strictly to the old rules we can protect our
martial art from becoming a fighting “ksport” and ourselves from devaluating from highly
respected “Si-fus” (Kung-Fu-fathers) to mere “trainers” in a health-club.
written by: Frank Schmidt

member of EW TO (European Wing Tsun Organisation)
詠春拳術闖佔澳洲敎育界一席位
國際詠春學院，獲得澳洲政府正式認可，成爲一間二年制的敎授詠春拳術高級文憑課程的
學院，該學院設有探討詠春拳術，健身，市塲推廣及經營手法，理論與實踐等課程，適合愛好
詠春拳術人士及海外靑年欲往澳洲成爲半工讀學生入學，一經該學院取錄，便可獲得澳洲政府
發給兩年可以兼職工作的入境簽証，但是這是 - • 所高級文憑學院，相等於工專程度，故申請人
需具有大學預科或同等學歷資格。
這所能獲得澳洲政府承認的國際詠春學院，是由詠春派拳術宗師葉問嫡傳弟子徐尙田的早
期弟子馮全强君所創立。遠在馮君仍是澳洲學生時代，因醉心詠春拳法之高深理論，經常在無
意間向同學及朋友示範詠春功夫及講解詠春拳理，被衆人認同詠春派是擁有高深實際理論和實
踐實用的拳術，因此引起這批同學及朋友對詠春拳術的興趣，紛紛惩通馮君授拳，使澳洲人士
也有機會學習這樣高深技巧的拳術。初時是在家中車房裡授拳，續漸擴展至大學體育舘作定期
授課。期間，瑪君仍經常回港向徐師公討敎，務使其詠春拳術續有進步。
鑑於澳洲人士仰慕詠春拳術而求學者日衆，爲了希望逹到求學者的要求，於一九七五年在
亞德雷德市中心開辦了第一所詠春拳術院。一九八一年，又將校址遷至鄰近面積較大的地方，
新校面積達六千呎，規模龐大，爲全澳功夫學院的表表者。不久，馮君又在雪梨市中心開辦了
一間面積三千呎的分校，在不斷擴展下，至今，已在澳洲各地開設了分館二十餘間，學員中不
乏法官、警員、敎師、律師及學生等各行各業人士，學院又應各警署、學校、政府部門及私人
機構聘請，派出轄下資深導師負責傳授詠春拳術。
爲了進一步推廣詠春拳 _ ，馮君更出版了兩本有關書藉 — 「詠春」及「詠春武器」，又
拍攝了一部被美國功夫雜誌 i w S ID E KUNG T U 評爲世界一流水準的錄影帶 — 「詠春」
，于一九八八年，學院受澳洲政府之邀，在徐師公帶領下，成爲全澳唯一出席澳洲二百週
年紀念世界武術滙演的功夫院校，現時，馮君和其轄下學員仍經常被傳媒邀請 ’ 接受訪問 ’ 或
出席各項示範活動。
至此，詠春拳已成爲被澳洲人士推崇的中國功夫，于一九九二年，馮君所創辦的國際詠春學
院成爲澳洲政府正式認可的高級文憑學院，替中國武 _ 奠定了崇高的榮譽。
澳洲國際學院秘書梁嘉麗
87
88
JIM FUNG WITH vSUPRlNTENDENTS OF CORRECTIONAL SERVICES AND NEW SOUTH WALES POLICE FORCE AT A RECEST SYDNEY
SCHOOLS OPEN DAY.
馮傳蘋與紉朽懲敎處及警務處警司在雪梨校慶時影
r s
f ^ AcV
X U 0 |： 7A，
JIM FUNG DEMONSTRATES TH E POWER OF WING CHUN KICKINESS AT THE SOUTH AUSTRALIAN MARTIAL ARTS EXHIBITION.
馬傳菽表演詠春腿功，攝於南澳武術表演節丨丨
WING CHUN KUNG FU: FIRST MARTIAL ART
DIFFICIALLY R ECO G NISED BY A U STRA LIA N GOVERNM ENT
Australia’s International Wing Chun Academy has become the first martial arts school
officially recognised by the Australian Government as an educational institution.
The government has accredited the Academy’s two-year Advanced Certificate in Wing Chun
Instruction course with university or trade school status.
The course, which covers Wing Chun theory and practice, health, fitness, marketing,
business administration, philosophy, etc., is open to Australian and overseas students.
Overseas students are eligible for two-year work and study visas. Because the Certificte is
equivalent to a trade or technical qualification, the education of applicants must have reached at
least Hong Kong matriculation standard for them to be accepted.
The International Wing Chun Academy was founded by Fung Chuen Keung, one of the
earliest students of Sigung Tsui SeungTin, protege of the late Yip Man. Fung introduced the art
to his fellow students while studying at university in Australia. He was often asked to
deminstrate his skills and explain the principles.
At his friends’ urging, he reluctantly set up a class in the garage of his home in the early
1970s. Word spread and before long, he was invited to teach at the Abelaide University
gymnasium. Maintaining his training in Hong Kong with Sigung Tsui during his holidays, Fung’s
skill - and so the popularity of his classes continued to
— improve.
Because of the increasing demand for his teaching, Fung established his first perm anent
school in Abelaide in 1975. The school was upgraded by a shoft to much larger premises nearby
in 1981: at 6,000sq ft, the new school became one of the largest martial arts teaching premises in
Australia. A branch was established in Sydney ear Chinatown soon after. Since then, the school’s
teaching network has extended throughout South Australia, New South Wales and the Northern
Territory. Students include judges, police, teachers, lawyers and schoolchildren, many of whom
learn through special ‘in-house’ courses such as those offered government departments by the
Academy.
Fung has also spread word of Wing Chun through the publication of two books, “Wing
C hun” and “Wing Chun Weapons” ，and an educational video, “Wing Chun” ，which was voted
one of the world’ top martial arts videos by America’s ‘Inside Kung Fu ，magazine. aT the 1988
Bicentennial M artial A rts Exhibition organised by the Australian Government in Adelaide, the
Academy, led by Sigung Tsui，was the only kung fu school in Australia invited to participate.
Fung and his students are constantly in demand for media interviews and public
demonstrations of Wing Chun. As a result, Wing Chun is now regarded in Australia as one of the
top martial arts styles.
The Australian Government’s recognition of the Advanced Certificate course is not only a
feather in the cap of the Academy but for Wing Chun and Chinese kung fu as a whole.
Lai (GRACYYUNG)
Secretary,
INTERNATIONAL W ING CHUN ACADEMY.
香港城市理工學院詠春班是武術學會的一個分支。上届武術學會會長有志在城市理工引入
詠春國術，遂往沙田大會堂邀請葉準師傅爲本校詠春班的導師。葉師傅一口答應，並由他兩名
入室弟子梁定國和盧德安擔任助敎。本校的詠春班亦得以在一九九二年二月正式成立。
成立初期，學員僅有廖廖數人，經過大約一年的發展，學員人數已增至五十多人，並分成
六個級别，接受由淺入深的詠春訓練。初入門的學員，先要學習「小念頭」及一些詠春的基本
手法和馬步。例如，日字沖拳、攤手、膀手、枕手、獵手、單鑛手及轉馬等。繼而，學員會學
習「尋橋」、箭步、雙鑛手及不同的脚法。再者，學員須練習木人樁法和三角馬。至於八斬刀
法和六黠半棍法，則須在學員達到一定年資及掌握相當技巧後，由師傅推薦上館學習。毎逢星
期二、四晚上，我們都會在校內上課。上課時，師傅不但詳細講解詠春理論，更悉心地敎導詠
春手法；而學員亦用心聆聽、努力實踐，希望把每招每式都做得盡善盡美，以應付嚴謹的升級
考試 °
最近，詠春班更購置一座木人樁，並計劃於來年多添置一座，使學員有更多練習機會。展
望將來，詠春班會在城市理工繼續不斷發展，讓更多同學能認識詠春這種國術精萃。
撰：伍智恆
司徒美心（祖兒 )
jp
i 瞀
V V 軍
一 ® ®f • 9
92
The Wing Chun club is a branch of the Martial A rts Association in the Hong Kong City
Polytechnic. It is the chairman of Last Year’s M artial A rts Association who brough out the idea
of introducing Wing Chun as one of the M artial A rts in the polytechnic. He then went to the
Shatin City Hall to invite G randm aster YIP CHUN to be the master of the Wing Chun Club.
Without hesitation. Grandm aster YIP agreed and also recommended two of his mot senior
student Mr Patrick Leung and Raymond LO as coaches. With their help. O ur Wing Chun club in
the polytechnic was established in February 1992.
In the beginning, it had only a few members. However, a year later, its members increased
to more than fifty. They are now divided into six groups to receive different levels of knowledge
in Wing Chun. The beginner will learn “Siu Lim Tau” together with some basic skill in Wing
Chun such as straight punches, “Tan Sau’’，“Bon Sau’’，single hand chi sau and turning stance,
etc.. Then “Chum Kiu” forward stepping, double hand chi sau, and different kicking
methodology will be taught. The senior student will then learn about the “Wooden Dummy” and
triangular stepping. More sophisticated sill such as “Butterfly kKnife” and “six and half long
pole” will be taught only if student can reach certain level of maturity in Wing Chun. Also they
must be introduced by coaches to learn in G randm aster’s club. There are two sessions of meeting
held in City Polytechnic in every Tuesday and Thursday. In every sessions ， “Sifu” will teach us
theories and practical skills in Wing Chun. He will also, practise with us. We, as student, certainly
will listen carefully a nd spend time to practise so as to differentiate each parts of skills. Besides,
we have to attem pt an examination so as to promote to senior groups.
Recently, the Wing Chun club has brought a “Wooden Dummy” and many other accessories
such as focus pad and kick pad etc. A nother “Wooden Dummy” will be purchased in the year to
come. These equipment will provide student more opportunities to practise and to utilize their
techniques. To foresee our future. Wing Chun club will keep on growing in City Polytechnic so
that more student will be able to learn this great Chinese aKung Fu,5.
赛春功夫歐洲丨總會
Ving Tsun Kung Fu Association Europe
Philipp Bayer
Like many others, I felt attracted to the asian martial arts from an early stage. The
theories and practice of fighting, which these far eastern martial arts involved, exuded for me
and many of my generation a fascination which went beyond the mere philosophical. First and
foremost, they presented great opportunities for reclaiming from the habitual, received thinking
and behavior of our own culture, new perspectives and possiblities for personal development.
The only martial arts respresenting the far eastern styles in our country at that time were,
roughly speaking, those of Japan and Korea. As a result I pursued with great curiosity and
interest shotokan-karate from 1970 to 1976. Thereafter I turned my attention to Taekwondo until
1979.
W hen the first representatives of VingTsun, then the only exponents of real Chinese boxing
arts, appeared on the german martial arts scene, they made a tremendeous impression, the
effect of which was comparable to the earlier introducltion of japanese and korean martial arts
to our culture. In numerous demonstrations and through uncompromising proof of its efficiency
and authority in many confrontations and challenges this originally Chinese school gained for
itself, witin a short period, a worthy position among the already established, mostly japanese
and korean schools. The effect of this soft and intelligent boxing style on martial arts
practitioners’ existing attitudes towards thinking and moving was as spectacular as the previous
introduction of far eastern sport- and fighting- schools (by this I refer to the circumstances
surrounding the arrival of Jiu-Jitsu, Judo, Karate and Taekwondo in Europe).
For many of my generation this signalled a new departure. A fter my first encounters with
Ving Tsun and on the basis of th einitial information which I was able to obtain about this
Chinese family-system, it seemed to be what I had always associated with Chinese boxing arts in
my secret hopes and up to then unsatisfied expectations.
W ithout hesitation I joined up, in 1979 (and until 1981), with the, at that time, only
representatives of this famous family-style in Germany, in order to find out more about this
method and, at last, to learn it in the best possible way.
A serious accident, the result of which was the complete loss of my left hand, lead to
dramatic upheavals in my life generally, but particularly in this initial stage of my Ving-Tsun-
career. In the course of long discussions and arguments with my then teachers and trainers I was
made to feel that, in the light of my handicap and its associated difficulties, where Wing Tsun was
concerned, problems would automatically arise, ruling out any further study of Wing Tsun.
During this period I was left with the distinct impression, that there was little or no willingness
on their part to deal with my specific disability, despite my deeply professed desire to learn,
teach and successfully master the Wing-Tsun-system.
The large amount of money and time I had already6 invested, seemed, strangely enough, to
count for very little.
Having resolved not to give up VingTsun and faced with such a fait accompli, I felt more or
less compelled, therefore, to go my own way.
My inner and outer VingTsun Odyssey had begun in the autumn of 1980 with the loss of my
left hand. Relying, however, upon my own unrelenting efforts and research, I eventually came
upon the school, in which, at last, I found my sifu and true ving-Tsun-teacher.
Since I entered his school in 1983, Wong Shun Leung has accepted me as his pupil in the
traditional way and with all the consequences. He has so far attended to me in my ving-Tsun-
studies as a fully committed, problem-oriented and dedicated teacher.
In the course of meetings with Wong Shun Leung, I have been able to cast aside many
illusions and have gained general as well as specific insights into the history of VingTsun and its
techniques. Although they could all form anecdotes worth the telling, on this occasion there isn’t
the space for going into the details.
I would, however, conclude that the close cooperation with Wong Shun Leung has made the
logic, directness and efficiency of Ving Tsun apparent to me. It has imbued in me a spirit of
inquiry, allowing new terrain and insights to be embraced, and has revealed increasing
opportunities in VingTsun with particular regard to my handicap. It has also, be it by accident or
design, brought previously unreachable technqiues within my grasp.
94
As a result Ving Tsun has grown into a complete mental approach, the applicability and
productivity of which has enriched me in a variety of areas.
Thanks, in large part, to my sifu Wong Shun Leung’s willingness not to avoid the
implications of my specific disability, but rather to deal with it seriously, the positive spirit of
inquiry and the fearlessness, which can be regarded as inherent to Ving Tsun, have, not just for
me nor just in particular situations, opened many doors.
In conclusion it must be said, that my interest for Ving Tsun and the relationship to my Sifu
Wong Shun Leung have created many possibilities for me and have allowed me to be of help to
others. Therefore, the notion that any further encouragement was necessary is completely
superfluous.
With this little account of my life in Ving Tsun I would like, foremost, to honour my sigung ，
G rand M aster Yip M an, to whom I ultimately owe the welcome and the privilege of belonging
to the Ving-Tsun-family.
佛山叙會散記
自葉問宗師一九四九年來港，五〇年在港九飯店職工總會傳授詠春派拳術，衆弟子只知詠
春拳術長根於佛山，由於當時政治因素，港、佛兩地人士溝通困難，對國內師兄弟及長輩只可
神馳，甚難相叙。
在我國對外開放期間，兩地同門已有個别接觸，互相砥礪，充份表現一脈相連，顯露中華
民族優良傳統。
及至一九九二年十二月中，由詠春體育會同人發起組團訪問佛山同門及武術界俊彥，經葉
準兄策劃，中國旅行社協辦，徐尙田、黃淳樑、葉正、羅炳、蕭煜民、葉賢等領導，一行三十
餘衆暢遊佛山祖廟，南海少林，西樵山，蓮花山等，品嘗佛山名菜風味，衆人尤對享用羌汁撞
奶贊不住口，可惜精武體育會正在重修，無緣拜會舘中精英。
晚上八時，在佛山賓舘會議廳邀見佛山同門及武術界名宿，到會者凡十餘廿衆，先由葉準
致詞，略云希望藉此叙會增進兩地武術界情誼，繼着各人自我介紹之後，由徐尙田講述詠春拳
術在香港蓬勃發展經過及目前世界各地揭起學習詠春熱潮情形和催勢。再由黃淳樑發言，表示
自追隨葉宗師學習詠春拳術後，覺得葉宗師性情開放，是順應社會潮流的進步，希望詠春能與
各界武術打成一片，共同發展中國武術。
佛山名宿也相繼致詞，首先由精武體育會會長黃穎心女士，是大雁氣功傳人，她以溫文而
動聽語調贊揚我輩在香港發展詠春拳之成績及推向世界各地，引起外國人士學習中國武術潮流
，是國術界的光彩。又講及 11弗山精武舘遭雷擘失修，現經文化舘建議爲保存文物發起籌欵贊助
維修，經一番努力，現已着手重修，使具有歷史性文物得以保存，可堪吿慰。侃侃而談，表露
個人智慧與魄力，巾幗不讓鬚盾。另一位李銘淸先生，是梅花樁的傳人，他說當地有一句流行
語：「領導中國人大翻身，第一毛澤東，第二李小龍」。將詠春第子李小龍跟隨毛主席排行，
太抬擧了。並提出寶貴意見，希望能組織佛山同盟，共同深入探討高深的詠春拳法，發掘更高 '
層次的成就。再一位中國廣東武術協會副會長區榮巨先生發言，略云本人學習太極拳，其父親
認識贊先生，又說詠春拳則重實戰而揚名，語多獲獎。（筆者按，區榮巨先生是高齡長者，有
佛山掌故字典之美譽，但對詠春評論則重實戰筆者並不同意，因詠春除了有高深的實戰應用結
構外，整體構思十分完美。如對健康，修養，集中意志，貫通意念等都有很深層次的總藏而不
外露，因此第一套拳名已命名爲「小念頭」而表露着以意念爲主的含義，這些不屬本文範圍，
不作詳細分析）。其後郭富師兄帶病到會，並發言表示佛山詠春發展保守，比不上香港同門迅
速將詠春發揚光大，對香港同門稱贊嘉許，具長者風範。
繼續有霍蘇、羅强、姚奇、李湘賢、羅炳、梁挺、彭南、霍佳等多人以坐談式踴躍發表意
見，互相交談，一遍融洽氣氛，而最令在坐各人興奮的是區榮巨先生提及葉問宗師在佛山長興
街遭受槍擊，反抗而揸爛左輪手槍，譽滿佛山一事 ’ 各人興緻勃勃地繪聲繪影加以補充 ’ 姚奇
兄還說，這是葉宗師當年拍拖的韻事，不是後來的髮妻，引起此次叙會的高潮，這次叙會就在
這樣高興的塲面中結束，最後由徐尙田代表詠春體育會向佛山名宿致送紀念錦旗，盡歡而散。
跟着，各施各法的找尋夜生活，則無法綜合描述了。
編者
96
translated by ChanTsz Cho, Danny
A report of a meeting in Foshan by chu shongTin

O ur grandmaster Yip Man ( 葉問） reached Hong Kong in 1949. The next year, he started
to teach Ving Tsun at Hong Kong - Kowloon Chinese Restaurant Employees’ Assocition ( 港九
飯店職工總會），His students only knew that Ving Tsun had originated in Foshan ( 佛山），but
owing to the political factors at that time, communications between the two places was not easy,
any gathering was difficult even if it was possible.
Individual contacts and discussions have been carried out since the Open D oor Policy. This
implies that we all descended from the same origin, showing our Chinese traditions.
By mid-December, 1992, the Ving Tsun Athletic Association ( 詠春體育會）had proposed a

visting trip to Foshan, organised by Yip C h u n ( 葉準），lead by Chu Shong Tin ( 徐尙田），Wong
Shun Leung ( 黃淳樑），Yip Ching ( 葉正），Law Bing ( 羅炳），Siu Yuk Man ( 議想民）as well
as Yip Yin ，and altogether there were about 30 persons. In Foshan we visited many
scenic sites, such as Foshan Temple, the South-sea Shaolin, Xi-qiao M ountain, Lotus Mountain
and so on. We enjoyed the Foshan cuisine very much, especially the ginger juice curd.
Unfortunately, the quarter of the China-Mo Athletic Association ( 精武體育會）was under re-
decoration, so were were unable to visit it.
At 8pm that evening, a meeting was held at the conference room of the Foshan Hotel.
About 20 famous martial arts exponents of Foshan were invited. The meeting was started by an
address from Yip Chun. He briefly stated that the objective of th emeeting was trying to further
develop the friendly reltions. Then all participants made their own self-introduction. A fter that,
I accounted for the historical development of Ving Tsun in Hong Kong as well as its current
situation, and the future trend in the world. He was succeeded by Wong Shum Leung, who
expressed his feelings about studying under Yip Man. He felt that Yip Man had an open
character, was able to keep step with society and he also possessed a desire to unite Ving Tsun
with other schools for promoting Chinese Martial Arts.
Thereafter, the martial arts exponents delivered their speeches one by one. The first one
was Ms Wong Wing Sum ( 黃穎心女士），the chairlady of Ching Mo Athletic Association. She
used her soft and convincing voice to praise our success in publicizing Ving Tsun in Hong Kong
and the rest of the world so as to arouse people’s interest. In addiition, she mentioned that the
quarter of the Chine-Mo Athletic Association had been damaged by thunder. Fortunately, the
Cultural Museum ( 文化館 ) which aims at preserving historical and cultural materials, assisted
in the fund raising. Then the Q uarter was under re-decoration and as that that historical building
could be preserved. From her speech, Ms Wong showed her wisdom and ability. What an ‘iron
woman’ she is!
A nother speaker was Lee Ming China ( 李銘淸）ofTai Ngan Chi Kung ( 大雁氣功）. He
quoted a local colloquialism, ‘the first man leading Chinese to have a great leap was Mao Tse
Tung ( 毛澤東），and the second was Bruce L e e ( 李小龍）•’ Linking Bruce Lee, a student of
VingTsun, with the chairman Mao, what a great tribute that is! In addition, Mr Lee made some
precious suggestions, and hoped that a Foshan Brotherhood could be organised for the
exploration of and achieving higher standards of Ving Tsun techniques.
There was another martial arts exponent was Au Wing K u i ( 區榮巨 ) ，the vice-chairman of
the Guangdong M artial Arts Association ( 中國廣東武術協會） • In his speech, he briefly
mentioned his study of Tai Chi ( 太極 ) and he announced that Ving Tsun was famous for its
concern with artual fighting. His father was acquainted with Leung Tsan ( 梁贊）• (Note: Mr Au
is an elder, being honoured as the Foshan Dictionary. I do not agree with his comment. Ving
Tsun is not only concerned with actual fighting, its structural design and content are perfect, and
are good for health, personal development, and the concentration of mental power. That’s why
the first form is known as Siu Xlim Tan ( 小念頭）which implies sth emain theme is ‘mind’ and
‘intention’. Since this is not included in this article. I am not going to make any further
explanations.)
Later on, Kwok Fu ( 郭富 | attended the meeting although he felt ill. He disclosed that the
development of Ving Tsun in Foshan was relatively conservative, and the progress did not keep
up with Hong Kong. He then expressed his gratitude to the companions from Hong Kong.
Afterwards, others such as Fok S o ( 霍蘇）• Law Keung ( 羅强），Yiu K e i ( 姚其），Lee

Sheung Yin ( 李湘賢），Law Bing ( 羅炳），Leung Tin ( 梁挺），Pang Nam ( 彭南），Folc Kai
( 霍佳）， ........ ，expressed their opinions consecutively. The atmosphere of the meeting was free
and easy. Everyone was in harmony with each other, and we were stimulated by Au Wing Kui’s
( 長興齒 ) story about Yip Man. The story happened in Cheung hing Street ( 區榮巨） in
Foshan. One day, Yip Man was shot, he then struck back and smashed that revolver, so he was
famed for his convage. At that time, Yiu Kei added another story about Yip Man. From the
story, we learnt that Yip Had a lover other than his wife, this was the climax of the meeting. At
last, I presented flags to all Foshan martial arts exponents and the meeting was ended.
Following on, all the participants looked for their own amusement and I am unable to
describe this accordingly.
聯想與趣事
( 一）二字拊羊馬
在紅船上、廚師正欲宰羊作膳，被羊逃脫由於水急浪大，衆人難以站穩，不能及時捉回，
令羊兒受驚，盲目撞向其中一詠春弟子，只見該弟子把雙膝一柑，把羊柑穩而又步馬穩定，自
此之後，衆人練拳，均以此馬步站立，成爲今日之二字柑羊馬。
(二）六熙半棍
紅船航行，若遇急流，詠春弟子必携竽協助，坐馬作勢，左標右標，左撑右撑，左釘右篤
，繼續篤撑、篤撑，釘篤撑，.感覺甚有氣勢，閒時也拿棍把弄，創出六黠半棍法。
( 三）關門弟子
有拳齡甚長之學員，要求窣師指勲，不斷詢問膚淺理論、單簡的入門搏撃法，宗師嘆了一
口氣，操濃厚佛山口音說：「亞嘅係邊個個仔」，關門停授。
( 四）最難消受有心人
癲馬（馬亨霖）個性熱情，樂於助人，慣夜遊，一日與宗師宵夜後，堅持送宗師入屋，久
坐不去，已深夜三時，宗師雖呵欠頻頻，仍不願明令趕走，心生一計說，我幾乎忘記，王喬有
急事找你。癲馬立即往找王喬、拍門高叫，王喬撑開睡眼，客氣延之入坐，癲馬頻頻暗示是否
有事需要幫助，王喬無法會意，就此一個客氣寒喧，一個暗示可以幫忙，相對坐至天明，苦了
王喬 °
( 五）絕招與超人
聞學武者經常表示，甲說師傅子時單獨授我絕招，乙說丑時，丙說寅時 ……等，均說只有
他學得到，假如有十人，毎人學得師傅十份之一而失去十份之九，絕招很易失傳，而師傅可不眠
不休授拳，是超人還是機械人，是誰識師傅還是自貶身價？
亞當
99
Association of Ideas & Anecdotes
1. Yee Chi Kim Yeung Ma
On the red junk, formerly a show boat, a cook was about to slaughter a sheep for food but
the sheep made good its escape.，The junk was caught in a current. Many passengers on board
lost their footing as a result and were unable to retrieve the sheep in time. The animal fled in
fright and rammed at one of the vingTsun clansmen, who, thereupon, bent his knees inward and
entrap its head at a stance as firm as ever, thus, bringing it to a complete standstill. Thereafter,
we adopt this stance in our practice of the Ving Tsun kungfu and clal it the “Yee Chi Kim Yeung
M a” meaning a stance to be postioned like a character 8 with knees bent and toes inward to
pinch the head of a sheep.
2. The Six & A Half Point Pole
W hen a red junk sailed along a swift current, a Ving Tsun clansman always carried a
bamboo pole along to give a hand. He posed a graceful stance, thrusting and punting
continuously on both sides of the junk. These movements filled him with a sense of grandeur and
magnificence. A t this leisure, he would repeat the same movements with his pole, which has
caused the being of the “Six & A H alf Point Pole” of to-day.
3. A Ving Tsun Disciple Shut O ut of D oor
A senior student, who had pursued the Ving Tsun system for years, asked the Grand Master
for guidance. H e kept on, asking for replies to superficial theories and simple ways to combating.
The G rand M aster heaved a big sign and said in a deep Fat Shan accent, “Whose son is this
fellow?” H e then shut the student out of the door and finishe dhis teaching for the dya.
4. H ard to Turn Down a Considerate Man
Crazy H orse, Ma Hang Lam is warm-hearted and helpful in nature. He used to stay away
from home late. One evening, he insisted on taking the Grand Master home aftera mid-night
snack, crazy Horse just lingered there and it was already three o ’clock in the morning. The
G rand M aster though yawning from time to time, was reluctant to turn him away. Later, he cam
eup with an idea to say to Crazy Horse, “I almost forgot. Wong Kiu was looking for you for
some imporant business.” Crazy Horse hurried away right at the instant to Wong Kiu’s place. He
knocked and called out loud at the door. Being hospitable, Wong Kiu endeavoured to open his
sleepy eyes to invite him in whereupon crazy Horse seized the opportunity to insinuate if he
could offer any help. However, Wong Kiu was unable to get the hint. Thus, Wong Kiu kept on
being hospitable while Crazy Horse kept on insinuating to offer his help. Both of them had to
seat the evening out until dawn. Poor Wong Kiu.
5. Incomparable Sill and the Supernatural
It is said that kungfu learners often reveal they had obtained alone from their teacher an
incomparable or extraordinary skill. “A” learner alleged his teacher passed it along to him alone
at such a time while “B” or “C” learner claimed they had got it at other times. For whatever
they alleged or claimed, each of them would confirm he was th eonly one who had learned it all
successfully. For instance, there are ten learners each of whom is only able to pick up one tenth
of the skill at the cost of losing nine tenths of it and the skill will be easily gone astray or lost
during the course of time. A t this, the teacher has to become restless, giving up even his time of
rest so as to teach the skill to its full complement. The teacher is either supernatural or he is a
robot, such a situation is to defame the teacher or to devalue the status of the learners
themselves - we just wonder.
誤道、謊言與斷章取義
誤會、誤道、傳說、 I I 言，都可能導致美麗或醜惡的效果，我在學與敎的過程中，單是聽
聞對宗師的傳說，也有不少例子，如有這種傳言而引起美麗的誤會，當然大衆都感到喜悅，如
導致醜惡的誤會，輕則影响衆人的情緖，重則可能引起分化，敵視和令宗師形像受損等不良效
果，尙幸人類天生有高度的智慧，能分辨是非，化解不少醜惡的誤會。
擧個實例，某君講述葉問宗師的授拳經過，在早期，宗師授拳喜親力親爲，所有在學弟子
，宗師皆親自講授及黐手，到了中期，宗師體能已不如前，黐手續漸減少，很多時是由資深弟
子代勞，但眼見徒兒練習有偏差時，亦必親自糾正及示範，及至晚年之末，由於體弱多病，已
經沒有親自與徒兒們黐手了。這段叙述當然是事實，但經過刪減的複述及不同時期學習弟子的
講述，產生了不符事實的傳說。
例如早期的弟子說，宗師授拳必親力親爲，更喜歡親自與弟子黐手，末期的弟子聽了表示
，我也是宗師的弟子，但從沒見過宗師與弟子黐手，言下之意似乎暗示早期的弟子在說謊，如
輾轉傳至第三者聽到，很有可能認定必有一人在說謊。又例如中期的弟子說，宗師並不是經常
與弟子鑛手，多由師兄代勞，見到弟子練習有偏差時，才親自解釋和示範。但有些弟子爲了誇
耀宗師對他特别愛護，獲得宗師指黙最多等等。這是一般人常有的正常心態，若然經過誤傳，
便說成宗師授拳十分偏私，能令他歡心的弟子才會得到親自敎授等不符事實的傳說，其實很多
時得到宗師特别照顧的反而是領悟力較弱的弟子。
還有另一種誤傳，就是將某君所說的前兩段早期與中期的授拳情形有意或無意地不提，只
叙述宗師晚期之末的一段「宗師是沒有親自敎授徒兒們鑛手的」。這樣的叙述當然也是某君所
說的眞相，不是誤道，也不是謊言，究竟屬於甚麼呢？據聞近期又有某外文刊物作斷章取義的
報導，但願不會影响宗師敎拳的負責任與品德，更希望今後如再有類同的例子，身爲詠春的同
人，應該耐心糾正和輔導，務求實踐宗師敎拳的心願，詠春的門人是一個相親相愛的大家庭，
實現理想的「詠春之家」。
徐尙田
Misinterpretation, Lies & Garbled Statements
M isunderstanding, misleading, hearsay etc. of some events or persons can bring about a
good or bad effect. Throughout the course of my learning and teaching of the Ving Tsun system,
many things have been said about the Grand Master and examples of the kind are numerous.
Understandably, a beautiful saying about the Grand M aster can make us feel so heartily
delighted. O r else, we may feel upset about what we heard and, even worse, it may bring about
splitting, hostility and a cause of damages to the Grand M aster’s image. Fortunately, we are
gifted with profound wisdom to fathom right or wrong, being able to decompose this adverse
effect to a great extent.
Someone gave a vivid description about the Grand M aster in his teaching process. In the
early period, he was personally involved in teaching all students both on the theoretical and
practical side of the system. In the middle period, he was physically not as strong as he used to
be and he let most of the time the senior students teach the system in his place. There were
times when some of the students went wrong in their movements, he would rise up to give
demonstrations to correct them. In the last period, he suffered from amny illnesses and his
stamina grew much weaker than before due to old age. As a result, he could no longer teach the
practical side of the system. The description given is factual all the way and, yet, through
repetition or abridgement by students learning Ving Tsun under the Grand M aster in various
periods, many garbled statements are given.
For instance, a student of the early period alleged that the Grand Master would teach
personally and nothing else could have pleased him more than that doing the practical side with
his students. Thereupon, a student of the last period retorted he was the Grand Master's student,
too, but he had never seen the Grand Master do anything of the kind with his students,
insinuating in such a a way that the student of the early period was, then, lying. I fthese
quotations were repeated to a third person, he wuld assume one of the students must have lied.
For another instance, a student of the middle period, would put it in this way that the Grand
M aster did not practise all the time with his students and he let the senior students do it for him
most of the time except on occasions when students went wrong in their movements, he would
arise to explain arid demonstrate what had gone wrong. There were students, too, who would
pride themselives on being the Grand M aster’s avourites, having, thus, gained more knowledge
of the system than others, this is a normal mentality as it may seem but, through
m isinterpretation, the Grand Master may be taken as a partial teacher, taking sides to those
students who could have pleased him most. Of course, this is not true. Believe it or not, the
sudents who benefited most from the Grand M aster’s teaching were those slow in learning or
below standard.
There is another kind of saying about the Grand M aster’s teaching. It avoids mentioning
iwth or without intention the ways he taught during the early and th emiddle period but it
merely mentions specifically that how he taught during the last period. The saying is neither
misleading nor lying. But what it is of an we just wonder. Recently, we have learned from a
foreign periodical which has contained naother piece of garbled statement about the Grand
M aster^ teaching. Be that as it may, we are still in hopes that it may not arouse any adverse
effect on the intrinsic obligations and ethics of his teaching. Being ving Tsun clansmen, we
further hope to guide and redress with patience all the misleading or misinterpretation when
circumstances may arise from these occasions. This is not only to fulfill the Grand M aster’s
wishes but also to see realised the ving Tsun clansmen as a big and endeared family.
過去十七年裏，不論是在海外或在美國，我都全心全意地投入練習和敎授詠春拳，幫助他
人從多方面自我改進，而我還知道自己已幫忙拯救了不少生命，對我來說，這些無疑是至高的
獎勵及至深刻的體會。
敎授詠春，能夠協助學生發展一種 M 實用和更實際的思維，這是日常生活中是十分重要的
。詠春讓學生眞眞正正感受到身體自然的活動和反應，在日常街道遇到任何敵對塲面，也能夠
應付自如。通過一連串身體反射作用、敏感度及應用的鍛鍊，和臨塲對拆（如練習黐手與自由
搏擊），學生行於道上更不會心存那種損害心理甚至足以致命的虛潙安全感。
最後，在香港，適逢敬愛的葉問宗師百週年誕辰，我寫下以上關於詠春的感想給各位讀者
o
我祈望在葉問宗師兒子葉準的指導下，葉問宗師那令人尊敬的詠春功夫能得以推廣。
原文：STEVE LEE S W I F T
譯文：鄭佩瑤
I have been dedicatedd to fulltime training and professional teaching of the Wing Chun
Kuen system overseas and in the U.S.A. In the past 17 years. Helping others develop themselves
in the many facets of self improvement and knowing that I have helped save many, many lives,
has been most rewarding and a heart-felt experience for me. Teaching of the Wing Chun system
helps develop a student into having amore practical and realistic state of mind which is
im portant in everyday life. Wing Chun allows a student to truly understand natural body
movement and reaction while being able to adapt to anything that happens in real street
confrontations.
Thru the training of reflex, sensitivity, practicality and having actual close quarter contact
(training chisao and free style fighting) the student can walk the street without a false sense of
security which can be mentally damaging or even fatal.
In conclusion I write to you from Hong Kong during this 100th year anniversary of beloved
late G randm aster Yip Man.
I look forward to promoting his respectful art of Wing Chun for many years to come.
SIFU Steve Lee Swift

A U G . 28, 1993.
葉問宗師年譜
葉問宗師（10 - 1893— 12 - 1972 ) ，享壽七十九年，在他一生中，對發揚詠春，功勞至大

。世界不少詠春人仕及詠春愛好者，不斷發表有關葉宗師之文章，如對技術之探討、歷史硏究
、及一些生活鱗爪 …… 爲此，藉宗師一百周年誕辰，編寫靑年譜，以供有關人仕參玫。
靑年譜主要是記錄宗師對詠春一派有關之歷史及其貢獻，而其他如求學、職業 … … 盡量簡
略；另外宗師之門下，何止千萬，絕難 — 羅列，如有掛漏，敬希海涵。
1893年 10 月 1 0 日淸光緒癸已年九月初五
宗師生于廣東省佛山市。即前廣東省南海縣佛山鎭。故宗師常對其之藉貫書成廣東南海。
宗師之父葉靄多、母吳瑞、姊弟共四：計兄繼格（宗師原名繼問）、姊允媚（適龐）、妹
允堪（適傅）。
1899年一 1905年淸光緖己荄至乙已年
宗師六至十弍歲佛山
宗師隨陳華順公（找錢華）學習詠春拳。地黙在佛山鎮桑園大街之葉家宗祠。（桑園大街
曾兩度易名，開關馬路時改名爲福賢路，現已改名爲蓮花路，葉家宗祠即現在佛山市城區人民
政府）。葉氏宗祠正是宗師自己之祠堂，故宗師有緣隨陳華順公學技。當時和宗師一起學技的
，計有霍汝濟、吳仲素、吳小魯 … … 。
1905年淸光緖乙已年
宗師十式歲佛山
陳華順公仙逝，死前，囑吳仲素爲宗師完成詠春之學業、稍後、宗師隨師兄門，護送華公
返其故鄕順德陳村安葬。
190M D 7 年淸光緖乙已年至丁未年
宗師十式 —十四歲佛山
宗師遵華公之遺言，隨師兄吳仲素學校、吳舘設于普君坊線香街，當時在吳舘習武的有阮
奇山、姚才（姚視之父） ......... 。
1908年淸光緖戌申年
宗師十五歳香港
宗師待其姻親龐偉庭資助，來港求學，就讀於赤柱聖士提反，住在堅道。
1909— 1913年淸宣統已酉年至民國二國年
宗師十六至二十一歲香港
宗師得其同班同學之介紹，得以認識梁碧。（先生碧，梁贊師祖之次子）後再隨梁碧深造
詠春近四年。（其過程大致與拙作短篇小說先生碧所載相似。）
1914年民國三年香港、日本神戶、佛山
宗師得乃兄繼格協助，擬赴日本求學，因事故而未果。（其原因詳見拙著短篇小說求學記）
1914— 31 年民國三年至二十六年
宗師廿一至四十四歲佛山廣州
在這二十多年光陰，宗師生活簡述如 ^F ：
工作：大致上是軍，警方面工作。
娶妻：元配夫人張永成，亦佛山望族，是淸未大臣、戊戌政變歷史關鍵人物張蔭丨互之後人
生子女，按次如下：葉學準（葉準），學正，雅心（遠伍），雅緩（遠吳）。
在這二十多年歲月中，宗師除工作外，人緣甚好，更喜與武林人仕交遊，相互硏究及切磋
武術，故武名大燥，南國武林，都知道有佛山葉問。在詠春同門中，亦不時與同門交換心得，
共同探討，葉家宥一大花園，空地廣闊，時見宗師與同門鑛手，大廳一角。置一木人樁、且常
練習。當時一起與宗師練拳者，除阮奇山、姚才外，還有葉仲康、黎協池、湯繼 ……諸人。
o
1937年民國二十六年
宗師四十四歲佛山
日軍南侵，南中國陷。
1 9 3 7 -4 5 年民國二十六至三十四年
宗師四十四至五十弍歲佛山
此乃八年抗戰，佛山屬淪陷區，由敵僞所統治，宗師素重節義，在任何惡劣環境下，誓不
爲敵所用。故生活十分窮苦，家中時有斷炊之苦，幸賴好友周淸泉不時接濟。宗師爲報其恩，
故答應收其子周光耀爲徒並於 4 1 - ^ 3 年間，在永安路聯昌花紗行內進行敎授，此時與周光耀一
起學拳的有郭富、陳志新、呂應、倫佳、周細 ……這一批，應算是葉問宗師行敎的第一批門徒
。這批人除陳、呂身故外，現仍健在，郭富、倫佳仍分别在廣州佛山兩地敎授詠春功夫。
1945年民國册四年
宗師五十弍歲佛山抗戰勝利
1945一 49 年民國册四至册八年
宗師五十弍至五十六歲佛山廣州
這一段時期，是宗師工作中最繁忙之年代，在這段時間，連他最心愛之詠春功夫也全部放
下。惟在四八年時，經其好友湯繼之介紹，彭南自己之苦求下，在百忙中，對彭南在拳套上作
過某些之指導，地黙是在上沙衆義體育會。
1949年民國卅八年十月
宗師五十六歲澳門、香港
大陸解放、宗師經澳門到香港，在澳門時，曾在草堆街其友之一間雀仔舖停留半月。
1 9 5 0 -^ 3 ^ 民國卅九至四十弍年
宗師五十七歲至六十歲
50 年七月，由李民之介紹，宗師在九龍大南街飯店職工總會開設第固詠春班，開班時，
僅得梁相、騎耀八個人。全是該會之職工。而于稍後參加的 ’ 計有徐尚田、葉步靑、招允
、李思榮、羅炳、文少雄 … 等。這段時間，稱前期飯店工會。
與此同時，宗師還在飯店職工總會在香港上環之公安分會設班，在該次學拳的，有李榮、
佘美琼、李銀歡 0
195314年民國四十弍至四十三年
宗師六十至六十一歲
由於飯店工會改選，梁相落敗，工會理事易人、宗師將拳舘遷到海壇街、在該處學拳者，
計有黃淳樑、王橋、王作、伍燦 … - * 。
宗師仍到汝洲街三太子廟作私人敎授，學者有李漢 … … 。
195415年民國四十三至四十四年
宗師六十一至六十弍歲
梁相重掌飯店工會大權，宗師將敎拳地方搬回飯店工會 ’ 稱後期飯店工會 ° 在這段時間參
加者有李金賦、簡華捷、盧文錦、張卓慶、梁紹雄。
1955—57 年民國四十四至四十六年
宗師六十弍至六十四歲
宗師將拳舘遷至九龍油蔴地利達街，在該處參與者計有李小龍、陳成、張學健、蕭煜民、
潘炳烈、彭錦發。
1957—62 年民國四十六至五十一年
宗師六十四至六十九歲
在這五年多時間中，宗師將授拳地方搬至李鄭屋邨，在這段時間之學者，計有麥普、楊熙
、梅逸、何金銘。_
這段時間，私人敎授特别多、分别有：
— 、宵箕灣順記缸瓦舖，學者有王伯夷、王榮、楊淙瀚、周樂治、王國有 …… 6
尖沙咀寶勒巷，學者有唐祖志、李偉志、陳德超、譚禮 … … 。
3 、大埔道，學者有鍾錦泉、鍾永康兄弟。
1962—63 年民國五十一至五十二年
宗師六十九、七十歲。
宗師將舘搬至大埔道六十一號興業大厦一單位敎拳，學者有張耀榮、何聯、章靜安、陳暧
林、陳太炎、郭思恩。
私人敎授有在尖沙咀式華洋服舖，學者有鄭彼得和寶勒巷之一班舊人。
1963~ 65 年民國五十弍至五十四年
宗師七十至七十弍歲香港
宗師轉授於大角咀福全街大生飯店之閣樓，該地原爲飯店之貨倉，由飯店之東主何聯借出
。在該處習授者，多爲與業大厦之舊人，除何聯外，有楊宗翰、屈榕生、彭錦發、章靜安、李
恩榮、邱克蘇 … … 。
在這段期間，宗師授私人的，有新蒲崗衍慶街，在該學拳的，多爲警務人員，計有鄧生、
藍賢發、袁志剛、李耀輝、黃國 … … 。
1965—72年民國五十四至六十一年
宗師七十弍至七十九歲香港
大生飯店敎拳結束，宗師返回通菜街住所。因年事已高，已作半退休狀態，但仍有作個别
敎授。在這段時間，個别到宗師住所學拳的，計有王仲華（一誇居士）、黃禧、韓澤全 … … 。
外出敎者，有如下三處：
1 . 詠春體育會。詠春體育會於 1967經擬準正式成立爲謹册社團有限公司，亦是本港國術團
體第一個註册之團體，會方決定在會址開設功夫班，由宗師主持，協助宗師之助敎有章靜安、
瑪漢、黃漢忠 ........ 但時間甚短。僅 S ■幾個月。
2 . 窩打老道陳街匡家中，在此學者，陳街匡、兆龍兄弟外，還有王子安、陳錦銘、鍾佑、
劉琪球、文彥光。
3 . 自由道，此乃窝打老道之延續 ° 因陳街臣因爭未能繼續，而移往劉庚琳家中之天台，在
這加入的有王嗣明，還正式收錄一個叫吳月多之女弟子。，
4 . 肇輝台、葉承芍律師之家，這 l a 除葉律師外，其他大都是律師，這也可以說是宗師最後
一處敎拳的地方。
宗師仙遊于 1972 年 12 月 1 日。民國六十一年農歷十月二十六日，病逝于通菜街家中，享壽
七十九歲。
葉準
107
110
A Chronicle of the Life of Grandmaster Yip Man.
Writte by
Yip Chun.
Translated into %English by
Samuel Kwok
and
Daniel Marshall-Searson.
A chronicle of the life of Gransmaster Yip Man.
Born October 1893, died December 1972
Grandsm aster Yip Man spent his whole life as champion of the cause of Wing Chun Kung
Fu. He was responsible for advancing Wing Chun Kung Fu to its’ eminence today. Throughout
the world, students of Wing Chun Kung Fu continue to publish articles about Grandm aster Yip
Man, his life and achievements. Therefore to celebrate the 100th anniversary of the birth of
G randm aster Yip Man this chronicle is being produced for all those interested in Wing Chun
Kung Fu.
This chronicle is about Yip Man and his contribution to the style of Wing Chun Kung Fu.
Therefore the details of his life, his education and profession, will be only be covered in brief.
There are thousands of practitioners of Wing Chun Kung Fu and those who are not mentioned in
this tribute must bear with the author for lack of space.
He was born on O ctober 14th 1893 in the Chine Dynasty (Kang Shoui - September 5th in
the Chinese calendar) in Fut Shan town in Kwong Tung province which was then in Lam Hoi
county. So Yip Man’s birthplace is often referred to as Lam Hoi in Kwong Tung.
G randm aster Yip Man’s father was called Yip Oi Dor, his mother was Ng Shui，he was one
of four brothers and sisters. His older brother was called Gei Gak (Grandmaster Yip Man was
originally called Gei Man). His sister’s names were Wan Mei and Wan Horn.
1899 to 1905 (Ching Kwon S h u i)( 淸光緖己亥至乙已年）
G randm aster Yip Man 6 to 12 years old.
Location: Fut Shan.
G randm aster Yip Man studied Wing Chun Kung Fu with Chan Wah Shun (Money Changer
Wah). The location was in Fut Shan town main street (Song Yun Dai Gai) in the Yip family hall,
The garden is now owned by the government and the hall is no longer there.
At that time studying together with Grandmaster Yip Man were Lui Yui Chai, Ng Chung
Sao, Ng Siu Lo and others.
1905 (Ching Kwon Shui)( 淸光緖乙已年）
G randm aster Yip Man is 12 years old.
Location: Fut Shan.
Chan Wah Shun passed away, but before he died he asked Ng Chung Sao to help Yip Man
to complete the Wing Chun system. Chan Wah Shun’s body was taken by his Kung Fu disciples to
Chan village in Shun D ak, for burial.
1905 to 1907 (Ching Kwon Shui)( 淸光緖乙巳年至丁未年）
Location: Fut Shan.
112
G randm aster Yip Man followed the last words of Chang Wah Shun to study with Ng Chung
Sao. Ng’s school was situated in Sin Huen Gai street. In Ng’s school at that time were Yuen Kei
Shan, Yiu Choi (Yiu Kei’s father) and others.
1908 (Ching Kwon Shui)( 淸光緖戊申年）
G randm aster Yip man is 15 year sold.
Location: Hong Kong.
G randm aster Yip Man came to live at Kane Road, Hong Kong with the help of a relative,
Leung Fut Ting, and was sponsored to study at St Stephen College in Stanley.
1909 to 1913 (Ching Shun Tong)( 淸宣統已酉年至民國二年）
G randm aster Yip Man, through classmates, came to know Leung Pik, the second son of the
late G randm aster Leung Chan, and studied with him for four years. A short story by Yip Chun
has recorded this.
1914 to 1937 (Man Kwok Year 3 to 2 6 ) |( 民國三年）
Locations: Hong Kong - Japan - Fut Shan.
During this 20 years his job was mainly in the army and police work. He married Cheung
Wing Sing, who’s family were descended from Cheung Yum Hang, one of the last of the Ching
dynasty ministers. H e had four children, sons Yip Hok Chun (Yip Chun), Hok Ching (Ying
Ching) and daughters A r Sum, A r Wun.
When he was not working, Grandmaster Yip Man liked to get together with other Martial
Artists to study and practice. H e bacame famous. Throguhout the martial arts community of
southern China everyone came to know the name of Yip Man from Fut Shan. In Yip Man’s large
garden a lot of ideas were exchanged about the Wing Chun style. In the corner of the living
room was a wooden Wing Chun dummy. Practising at that time with Yip Man were Yuen Gei
San, Yiu Choi and also Yip Chung Hong, Lai Hip Chi, Tong Kai, and others.
1937 (Man Kwok Year 2 6)(( 民國二十六年）
Grandm aster Yip Man 44 Years old.
Location: Fut Shan.
The Japanese invaded south China.

1937 to 1945 (Man Kwok year 26 to 3 4 ) ( 民國二十六至三十四年）
Location: Fut Shan.
For 8 years Yip Man fought the Japanese but Fut Shan was occupied and ruled by a puppet
government. The G randm aster swore not to be used by the puppet government so he became
very poor and often he went hungry. Luckily his good friend, Chow Cheng Chung, gave him
food from time to time. G randm aster Yip Man wanted to repay his kindness and so accepted his
son, Chow Kwang Y iu，as a student. From 1941 to 1943 he taught Wing Chun Kung Fu in the
cotton maill at Wing On. At this time studying with Chow Kwong Yiu were Kwok Fu, Chan Chi
Sun, Ng Ying，Lun Kai, Chow Sai and others. These were the first generation of students that
G randm aster Yip Man taught. Kwok Fu and Lun Kai are still alive and teaching Wing Chun
Kung Fu in China today, in Kwong Chow, Fut Shan.
1945 (Man Kwok year 3 4 ) ( 民國卅四年）
G randm aster Yip man is 52 years old.
Location: Fut Shan.
The year Japan surrendered.
1945 to 1949 (Man Kwok year 34 to 3 8 ) ( 民國卅四至卅八年）
G randm aster Yip Man 54 to 56 year sold.
Location: Kwong Chow, Fut Shan.
During this period of time, Grandm aster Yip Man was at his busiest at work，Even though
he loved Wing Chun Kung Fu he had to leave if for a time. Until, in 1948, through his very good
friend Tong Kai, he was introduced to Pang Lam who begged Yip Man to teach him Wing Chun
Kung Fu. Through this busy time Yip Man coached Pang Lam on the form at the Fut Shang
Cheung Yee Athletic Association.
1945 (Man Kwok year 3 8 ) ( 民國卅八年十月）
G randm aster Yip Man is 56 year sold,
Location: Macao and Hong Kong
G randm aster Yip Man went through Macao to Hong Kong but while in Macao he stayed
for two weeks at Cho Doi Street with friends who owned a bird shop
1950 to 1953 (Man Kwok yeaar 39 to 42) ( 民國卅九至四十弍年
Grandm aster Yip Man 57 to 60 years old.
114
In July 1950, through Lee Man’s introduction, G randm aster Yip Man started teaching in
Dai Lam Street, Kowloon. The first Wing Chun Kung Fu class was for the R estaurant Workers
Association. When he opened the class there were only 8 people including Leung Shang and Lok
Yiu. All these were restaurant workers, but later he was joined by Tsui Shan Tin, Yip Bo Ching,
Chiu Wan, Lee Yan Wing, Law Peng, Man Siu Hung and others. This period of time was called
the forefront of the Restaurant Workers Association. G randm aster Yip Man also taught in the
Restaurant Workers, Shang Wan branch, Union H Q in Hong Kong, students included Lee Wing,
Yue May Keng, Lee Leung Foon and others.
1953 to 1954 (Man Kwok year 42 to 4 3 ) ( 民國四十式至四十三年 )
G randm aster Yip Man 60 to 61 years.
W hen Leung Shang was defeated in the union elections, G randm aster Yip Man moved the
school to Hoi Tan Street. Learning at that time were Wong Shun Leung, Wong Kiu, Wong Chaok,
Ng Chan and others. Yip Man also taught private lessons at Three Prince Temple on Yue Chow
Street. Students were Lee Hong and others.
1954 to 1955 (Man Kwok year 43 to 4 4 ) ( 民國四十三至四十四年）
G randm aster Yip Man 61 To 62 years old.
Leung Shang was re-elected chairman of the Restaurant Workers union and so Grandmaster
Yip Man moved back to the union H Q. This is called the later stage of the Restaurant Workers
Association. At this time he was joined by Lee Kam Sing, Kan Wa Jeet (Victor Kan), Lo Man
Kam, Cheung Cheuk Heng (William Cheung) and others.
1955 to 1957 (Man Kwok year 44 to 4 6 ) ( 民國四十四至四十六年）
G randm aster Yip Man 62 to 64 years.
Grandm aster Yip Man moved the school to Lee Tat Street, Yao Ma Tei in Kowloon. The
students here were Lee Siu Lung (Bruce Lee), Chan Shing, Haw Kin Cheung, Siu Yuk Man,
Poon Bing Lid, Pang Kam Fat and others.
1957 to 1962 (man Kwok year 46 to 5 1 ) ( 民國四十六至五十一年）
During this 5years Yip Man moved the school to Lee Chang Oak Chuen. At his time
students were Mek Po, Yeung Hei, Moi Yat, Ho Kam Ming and others. During this period of
time Grandmaster Yip Man taught mostly private lessons.
1/ Sau Kei Wan, Shun Kei pottery shop. Students were Wong Pak Yee, Wong Wei, Yeung
Chung H an, Chow Lok G ee, Wong Kwok Yau and others.
2/ Tsim Sha Tsui, Bo Lak Hong, students were tong Cho Chi, Lee Fat Chi, Chang Tak
Chiu, Tam Lai and others.
3/ Tai Po Road. Students were Chung Kam Chuen, Chung Wing Hong.
1962 to 1963 (Man Kwok year 51 to 5 2 ) ( 民國五十一至五十二年）
G randm aster Yip Man moved the schooll to 61 Tai Po Road, a unit in the Heng Yip
building. Students were Cheung Yiu Wing, Ho Luen, Jun Ching On, Chan Woon Lam, Chang Tai
Yim and Kwok See Yan. Private lessons were taught at Yee Wa tailor’s shop at Tsim Sha Tsui.
Students were Peter Chang and a group of people from Po Lak Hong.
1963 to 1965 (Man Kwok year 52 to 5 4 ) ( 民國五十二至五十四年）
The school was moved to the top floor of the Tai Sang restaurant on Fook Chuen Street, Tai
Kok Tsui. Originally this had been the storeroom. The owner was called Ho Luen who let them
use the room. Most of the people from the school at the Heng Yip building also moved here. As
well as Ho Luen there were also Yeung Chung Hon, Wat Yung Sung, Pang Kam Fat, Jun Ching
O n, Lee Yan Wing and Yau Hak So. During this period of time Grandmaster Yip Man also
taught students, mainly from the police, privately on Hin Hing Street, San Po Kong. These
included Tang Sang, Lam Ying Fat, Yuen Chi Kong, Lee Yiu Fei, Wong Kok and others.
1965 to 1972 (Man Kwok year 54 to 6 1 ) ( 民國五十四至六十一年）
The school at the Tai Sang restaurant finished and Grandmaster Yip Man moved to live on
Tong Choi Street residence because he was getting old. Although he was already partly retired
he was still teaching one to one private tuition. Going to Yip man’s home during this period of
time, were Wong Chung Wah (Yat Oak GoiTse), Wong Hei, Hong Jap Sum and others. He also
went out teaching to three places:
1/ The vingTsun Athletic Association, which, in 1967, was the first martial arts society to
be officially registered with the government. The Ving Tsun Athletic Association then
decided to open Kung Fu classes at the association’s address. The association placed
Grandm aster Yip Man in charge of the instruction. Assisting him were Jun Ching On,
Fung H on, Wong Hon Chung and others. This was only for about three months.
2/ Chen Wei H ong’s hrome on Waterloo Road. Learning here were Chen Wei Hong, the
Siu Lung brothers, also Wong Chi O n, Chan Kam Ming, Chung Yau, Lau Hon Lam,
Man Yim Kwong and others.
3/ Chi Yau Road. W hen Chen Wei Hong ahd other business and could not continue at
Waterloo R oad, Grandm aster Yip Man moved to the roof top of Lau Hon Lam ’s
home. Joining here were Wong Chi Ming and he also officially accepted a female
student called Ng Yuet Dor.
4/ Siu faiToi. A t solicitor Yip Sing Cheuk’s house. A part from Yip sing Cheuk the rest of
the students were also mostly solicitor. This was the last place that Grandm aster Yip
Man taught Wing Chun Kung Fu.
G randm aster Yip man passed away at his home on Tong Choi Street on the 1st December
1972 (man Kwok year 61). 26th October in the Chinese lunar calendar.
H e enjoyed 79 years of life.
編後語
感謝同門踴躍來稿，使這本特刊，得以內容充實、多姿多采。
我們原則上盡量尊重原作者之意見，對來稿盡少刪改，那怕是詠春一辭之英文譯名，也不
例外、故在特刊內，無出現不同之英文譯名。
再加上有限之水平，全無經驗。刊內文理不通、文字錯漏、翻譯錯誤 …… 在所難免，但這
是功夫佬之文章。祇能表達原作者之意見，我們的目的達到了，敬請讀者見諒。
再一次表不多謝！ ■ 編者
編輯委員
右起
葉葉黃蕭徐
淳沃尙
正準棟文田
I would like to express my sincere gratitude to my fellow Wing Chun brothers for all their
contribution which makes this special volume complete, covering many differennt aspects of
Wing Chun Kung Fu.
To show my respect to the contributors, corrections have been minimized. Like the
different ways of writing “Wing Chun” ，I did not change them but rather accepted the way each
contributor wrote them. So, this book will contain different spellings of “Wing Chun” .
Incoherent writing, inaccurate use of words, translation errors are all difficult to avoid. But
since this is a collection of articles on Wing Chun Kung Fu for martial arts readers, then as long
as the idea of each author is properly expressed then we have achieved our purpose.
I would also like to thank the readers for their understanding.
封
封
編
出
出
面
面
輯
版版
題
設
委
時
者
字
計
員
間
.
.
•
陳蕭黃徐葉 1_ 詠一
兆煜淳尙 # 九
龍民樑田正驾 1 體九
冃二
會年
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Grandmaster Yip Man Centenary Birth by VTAA 1993 PDF

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葉 問 宗 師 遺 照

亨 & l<汰淡 i <4尤咚

EUROPEAN LOK YIU WING CHUNj

INT. MARTIAL ART. ASSOCIATION

- Jung Sein (The Central Line)

(I) Principles and Theories

(8) O ther VING TSUN principles -

(II) Tsuen Ging (Inch-Power)

(III) Chi Sau (Sticky-Hands) Practice

The objectives of Chi Sau or Sticky-hands practice are:

Being a beginner, I started to practise “Siu-Nim-Tau” . It was because I had plenty of

3. Huen Sao is related to the other four hands.

My best wishes to all followers of Wing Chun.

stepping and kicking become much simpelr manoeuvres.

Chung Sum Seen 中 心 線

Jick Kuen 直 拳 Centreline punch

Newtons Second law states: Force + mass x acceleration.

To achieve this the following brust be done:

Wing Chun saying: T h e punch comes from the heart’

原 文 ： ALAN GIBSON and

SIU YUK MEN

The ancient Chinese “Strategics” says it well:

(1) “Stsicky-hand” Practice

“Keep that which comes in,

(II) “Letting the cats out of th ebag”

(III) Do not hold too much fantasy

(IV) Do not hesitate

C EXPERIENCE IN TEACHING WING CHUN

Expectations and the enrolment of apprentices

Respect between apprentice and trainer

The Sifu also learns from the apprentices

Rolf Wichter, Wing Chun Kung Fu Academy Germany

Andreas Wichter, Wilhelm Blech, Wing Chun Fu Academy Germany

The following measures are recomended to attain the above goal:-

(c) A set of Professional Code of Ethics is to be established, which is to be abided by all

TRANSLATED BY JEFFREY C.F. CHAN

Why invent the wheel a 2nd time?

Some even had a surgical operation so as to appear Chinese

Nobody liked to teach the Gwailos

Hong Kong came to Germany in 1976

From mistakes to the summit of success

In 1965 before Kernspecht became a university-lecturer he used to be a policeman. Actually

Wing Tsun winning respect among all the other arts

written by: Frank Schmidt

A report of a meeting in Foshan by chu shongTin

By mid-December, 1992, the Ving Tsun Athletic Association ( 詠 春 體 育 會 ）had proposed a

Afterwards, others such as Fok S o ( 霍 蘇 ）• Law Keung ( 羅 强 ），Yiu K e i ( 姚 其 ），Lee

2. The Six & A Half Point Pole

3. A Ving Tsun Disciple Shut O ut of D oor

4. H ard to Turn Down a Considerate Man

5. Incomparable Sill and the Supernatural

SIFU Steve Lee Swift

葉 問 宗 師 （10 - 1893— 12 - 1972 ) ，享 壽 七 十 九 年 ，在 他 一 生 中 ，對 發 揚 詠 春 ，功 勞 至 大

Translated into %English by

1899 to 1905 (Ching Kwon S h u i)( 淸 光 緖 己 亥 至 乙 已 年 ）

G randm aster Yip Man 6 to 12 years old.

Location: Fut Shan.

1905 (Ching Kwon Shui)( 淸 光 緖 乙 已 年 ）

G randm aster Yip Man is 12 years old.

Location: Fut Shan.

1905 to 1907 (Ching Kwon Shui)( 淸 光 緖 乙 巳 年 至 丁 未 年 ）

G randm aster Yip Man 12 to 14 years old.

Location: Fut Shan.

葉問宗師遺照

Chung Sum Seen 中心線

Jick Kuen 直拳 Centreline punch

原文： ALAN GIBSON and

By mid-December, 1992, the Ving Tsun Athletic Association ( 詠春體育會）had proposed a

Afterwards, others such as Fok S o ( 霍蘇）• Law Keung ( 羅强），Yiu K e i ( 姚其），Lee

葉問宗師（10 - 1893— 12 - 1972 ) ，享壽七十九年，在他一生中，對發揚詠春，功勞至大

1899 to 1905 (Ching Kwon S h u i)( 淸光緖己亥至乙已年）

1905 (Ching Kwon Shui)( 淸光緖乙已年）

1905 to 1907 (Ching Kwon Shui)( 淸光緖乙巳年至丁未年）

1908 (Ching Kwon Shui)( 淸光緖戊申年）

1909 to 1913 (Ching Shun Tong)( 淸宣統已酉年至民國二年）

1914 to 1937 (Man Kwok Year 3 to 2 6 ) |( 民國三年）

1937 (Man Kwok Year 2 6)(( 民國二十六年）

1945 (Man Kwok year 3 4 ) ( 民國卅四年）

1945 to 1949 (Man Kwok year 34 to 3 8 ) ( 民國卅四至卅八年）

1945 (Man Kwok year 3 8 ) ( 民國卅八年十月）

1950 to 1953 (Man Kwok yeaar 39 to 42) ( 民國卅九至四十弍年

1953 to 1954 (Man Kwok year 42 to 4 3 ) ( 民國四十式至四十三年 )

1954 to 1955 (Man Kwok year 43 to 4 4 ) ( 民國四十三至四十四年）

1955 to 1957 (Man Kwok year 44 to 4 6 ) ( 民國四十四至四十六年）

1957 to 1962 (man Kwok year 46 to 5 1 ) ( 民國四十六至五十一年）

1962 to 1963 (Man Kwok year 51 to 5 2 ) ( 民國五十一至五十二年）

1963 to 1965 (Man Kwok year 52 to 5 4 ) ( 民國五十二至五十四年）

1965 to 1972 (Man Kwok year 54 to 6 1 ) ( 民國五十四至六十一年）