Introduction
Kung Fu. The term alone conjures images of Shaolin monks scaling walls, masters with iron bodies, and philosophical warriors whose hands are as deadly as their wisdom is deep. But beyond the cinematic legends and folklore lies a far more complex reality: hundreds of distinct fighting systems, each with unique histories, lineages, and philosophies, developed over thousands of years across China’s vast landscape.
This guide traces the complete evolution of Chinese martial arts—from their murky origins in ancient battlefields to the organized systems of the Ming dynasty, through the legendary Shaolin Temple, and into the modern era where these ancient arts continue to evolve and inspire.
Part I: The Foundations of Chinese Martial Arts
Before Shaolin: Ancient Roots
Chinese martial arts did not spring fully formed from a single monastery. Historical records document the existence of combat systems in China thousands of years before the Shaolin Temple was ever built. The Spring and Autumn Annals of Wu and Yue, the Records of the Grand Historian, and other ancient texts describe wrestling arts like Shuai Jiao that predate the Shaolin establishment by several centuries .
During the Northern and Southern Dynasties period (420–589 AD), Chinese martial arts existed as practical combat skills passed down through families, military units, and regional traditions. The concept of distinct “styles” as we understand them today had not yet emerged. Instead, martial skills were commonly differentiated mainly by lineage—whose family or teacher had passed down which techniques .
The Ming Dynasty Turning Point
The modern concept of martial arts “styles” began to crystallize during the Ming dynasty (1368–1644). This period saw an explosion of martial arts literature, the codification of techniques into systematic forms, and the emergence of what we would recognize today as distinct schools of combat .
Why the Ming dynasty? Several factors converged. Military decline led to the conscription of civilian irregulars, including Buddhist monks, who brought their temple fighting methods to broader audiences. The publishing boom of the late Ming produced military encyclopedias and martial arts manuals that preserved and standardized techniques. And the rise of secret societies—many dedicated to overthrowing the foreign Manchu Qing dynasty—created networks through which martial knowledge spread rapidly .
Part II: The Shaolin Monastery – Cradle of Kung Fu
The Temple’s Founding (495 AD)
The Shaolin Temple was built in 495 AD among the Song Mountains of Henan province. The first monk to preach Buddhism there was an Indian monk named Buddhabhadra (called Batuo by the Chinese). Historical records indicate that Batuo’s first Chinese disciples, Huiguang and Sengchou, both possessed exceptional martial skills. Sengchou’s prowess with the tin staff and empty-hand strikes is documented in the Chinese Buddhist canon itself .
The Bodhidharma Legend – Separating Fact from Fiction
No figure looms larger in kung fu mythology than Bodhidharma, the Indian monk credited with transmitting Chan (Zen) Buddhism to China. According to popular legend, Bodhidharma taught the Shaolin monks a series of exercises that evolved into Shaolin kung fu. This story, repeated countless times in films and popular books, is almost certainly false .
The earliest surviving manual on Shaolin kung fu, the Exposition of the Original Shaolin Staff Method, was written around 1610 and published in 1621. It makes no mention of Bodhidharma in connection with martial arts. The association between Bodhidharma and Shaolin boxing first appeared in a qigong manual written in 1624 by a Taoist using the pen name “Purple Coagulation Man of the Way.” The manual was full of anachronistic mistakes and even included a popular fictional character as a lineage master .
The Bodhidharma-martial arts connection only became widespread in the early 20th century, largely due to the 1904–1907 serialization of the novel The Travels of Lao Ts’an. As martial arts historian Meir Shahar notes, “This story is clearly a twentieth-century invention” .
The Warrior Monks Emerge (Tang Dynasty, 618–907 AD)
The oldest evidence of Shaolin monks engaging in combat comes from a stele dated 728 AD. The inscription describes two incidents: a defense of the monastery from bandits around 610 AD, and the monks’ decisive role in the Battle of Hulao in 621 AD, where they helped Li Shimin defeat the rival emperor Wang Shichong. Li Shimin would become the second Tang emperor, and thereafter Shaolin enjoyed royal patronage .
However, the 728 stele does not mention any martial training at the monastery, nor any specific fighting techniques the monks specialized in. For the next 800 years—from the 8th to the 15th centuries—no extant source documents Shaolin participation in combat .
The Golden Age (Ming Dynasty, 1368–1644)
The 16th and 17th centuries saw a dramatic shift. Over forty extant sources from this period attest that not only did Shaolin monks practice martial arts, but martial practice had become an integral element of monastic life so significant that the monks created new Buddhist lore to justify it .
During this golden age, Shaolin became famous for three distinct combat methods:
- Unarmed fighting (bare-hand techniques)
- Spear techniques
- Staff techniques – the weapon for which Shaolin monks became most renowned
By the mid-16th century, military experts from across Ming China traveled to Shaolin to study its fighting techniques. Around 1560, the famous general Yu Dayou visited the temple but found the monks’ skills disappointing. He took two monks south with him, trained them in staff techniques for three years, and sent them back to teach their brother monks. Martial arts historian Tang Hao traced the famous Shaolin staff style “Five Tigers Interception” directly to Yu’s teachings .
The earliest extant manual on Shaolin kung fu, the Exposition of the Original Shaolin Staff Method, was published in 1621 based on what its author Cheng Zongyou learned during a decade-long stay at the monastery.
The Southern Shaolin Temple – Legend and Reality
The destruction of the Shaolin Temple by the Qing dynasty (1644–1912) is one of the most enduring narratives in martial arts history. According to legend, the temple was destroyed, and only five masters—the legendary “Five Elders”—escaped: Jee Sin, Ng Mui, Bak Mei, Fung Dou Dak, and Miu Hin .
These five survivors supposedly scattered across China, each founding new styles. From this mythic diaspora emerged many of southern China’s most famous martial arts, including Hung Gar, Choy Gar, Mok Gar, Li Gar, Lau Gar, Wing Chun, and White Crane.
Historical evidence for this narrative is scarce. What is clear is that conditions of lawlessness in Henan and surrounding provinces during the late Ming and throughout the Qing dynasty contributed significantly to the development and spread of martial arts. Many of the styles that would become legendary—including tai chi, baguazhang, xingyiquan, and bajiquan—originated in this region during this turbulent period .
Part III: The Great Classification Systems
Northern vs. Southern Styles
The traditional dividing line between northern and southern Chinese martial arts is the Yangtze River. The well-known saying “Southern fists and Northern kicks” captures the conventional wisdom about their differences .
Northern Styles feature deeply extended postures—horse, bow, drop, and dragon stances—connected by quick fluid transitions. They emphasize legwork, kicking, acrobatics, and the ability to change direction of force quickly. Illustrious northern styles include Northern Shaolin, Baguazhang, Bajiquan, Chaquan, Chuojiao, Eagle Claw, Northern Praying Mantis, and tai chi. The influence of northern styles can be seen in traditional Korean martial arts and their emphasis on high-level kicks .
Southern Styles feature low, stable stances and short, powerful movements that combine both attack and defense. They focus more on arm techniques and full-body power than high kicks or acrobatics. The term “Southern styles” typically applies to the five family styles of southern China: Choy Gar, Hung Ga, Lau Gar, Li (Lee) Family, and Mok Gar. Other notable southern styles include Choy Li Fut, Fujian White Crane, Wing Chun, Southern Praying Mantis, Bak Mei, and Dragon-style. The influence of southern styles can be found in Goju Ryu, Uechi Ryu, and other Okinawan karate styles, as well as American and Japanese kempo .
External vs. Internal (Wai Jia vs. Nei Jia)
This famous distinction comes from Huang Zongxi’s 1669 Epitaph for Wang Zhengnan. Some scholars suggest this classification may have been as much political as technical—associating internal arts with indigenous Taoism and external arts with the foreign Buddhism of Shaolin .
External styles (外家, wài jiā) emphasize physical strength, speed, and explosive power. They begin with muscular development and application training, integrating qigong aspects at advanced levels. Most Chinese martial arts are classified as external. Examples include Shaolinquan, Hung Gar, Wing Chun, and Choy Li Fut.
Internal styles (内家, nèi jiā) focus on awareness of spirit, mind, qi (energy flow), and relaxed leverage rather than muscular tension. The modern classification of specific arts as internal was first recorded by Sun Lutang, who identified tai chi, baguazhang, and xingyiquan as the three main internal arts. Later, others added Liuhebafa, Ziranmen, and Yiquan .
Internal training includes stance holding (zhan zhuang), slow form practice to improve coordination and balance, and two-person training like pushing hands. At advanced levels, internal styles are performed quickly, but the goal remains whole-body coordination, relaxed power, and precise breathing.
Part IV: The Major Styles – Northern Traditions
Tai Chi Chuan (Taijiquan)
Tai chi is the most widely practiced martial art in the world today, though most practitioners focus on its health benefits rather than combat applications. Its origins are shrouded in legend, with some attributing its creation to the Taoist immortal Zhang Sanfeng, who supposedly witnessed a snake and crane fighting and derived principles of softness overcoming hardness.
Historically, tai chi can be traced to the Chen family village in Henan province during the late Ming or early Qing dynasty. Chen Wangting (1580–1660), a retired military officer, is credited with codifying the family’s martial traditions into what would become Chen-style tai chi.
The major styles of tai chi are:
| Style | Founder | Characteristics |
|---|---|---|
| Chen | Chen Wangting (1580-1660) | Explosive power (fajin), silk reeling, alternating fast/slow |
| Yang | Yang Luchan (1799-1872) | Large, expansive movements; even tempo; most popular style |
| Wu (Hao) | Wu Yuxiang (1812-1880) | Small, compact movements; high stances; precise internal focus |
| Wu | Wu Quanyou (1834-1902) | Forward-leaning posture; small circle movements |
| Sun | Sun Lutang (1861-1932) | High stances; agile footwork; combines tai chi, xingyi, bagua |
Baguazhang (Eight Trigram Palm)
Baguazhang is one of the three main internal martial arts of the Wudang school, alongside tai chi and xingyiquan. Its name refers to the bagua (eight trigrams) of the I Ching (Book of Changes), one of the core canons of Taoism .
The creation of baguazhang as a formalized martial art is attributed to Dong Haichuan (1797–1882), who is said to have learned it from Taoist and Buddhist masters in the mountains of rural China during the early 19th century. Many Chinese authorities reject the Buddhist origin, maintaining that the teachers were purely Taoist, as evidenced by baguazhang’s frequent reference to Taoist core concepts like yin-yang theory and the bagua diagram .
Dong Haichuan served as a servant in the Imperial Palace, where he impressed the emperor with his graceful movements and fighting skill, eventually becoming an instructor and bodyguard to the court .
The defining characteristic of baguazhang is circle walking (or “turning the circle”). Practitioners walk around the edge of a circle (typically 6–12 feet in diameter) in various low stances, facing the center, periodically changing direction as they execute forms. This circular stepping builds centripetal force and allows the practitioner to maneuver quickly around an opponent .
Famous disciples of Dong Haichuan established distinctive branches:
- Yin Fu (1840–1909): Yin style, known for “threading” palm techniques
- Cheng Tinghua (1848–1900): Cheng style, specializing in close-in wrestling and joint locks
- Liang Zhenpu (1863–1932): Liang style
- Song Changrong: Song or “Plum Flower” style
Cheng Tinghua participated in the Boxer Rebellion and was killed when he refused to flee from advancing foreign troops .
Xingyiquan (Form-Intention Fist)
Xingyiquan is the third of the major internal arts. Its founding is attributed to Ji Jike (1588–1662), also known as Ji Longfeng, from Yongji, Shanxi Province .
Ji Jike was a highly accomplished martial artist nicknamed “God of the Lance” (or “Divine Spear”) for his exemplary skill with the spear. According to accepted theory, he is widely considered the originator of xingyiquan. (Less credible theories attribute the art to Bodhidharma or the Song dynasty general Yue Fei.)
During the tumultuous transition from Ming to Qing, Ji Jike was forced out of his position as a court official due to corruption. He traveled throughout China, eventually spending more than ten years at the Shaolin Temple, where he created Xinyiquan (Heart and Intention Boxing), the precursor to xingyiquan. Legend has it that he was inspired to complete his development of the art after observing two cocks fighting .
Ji based the fundamentals of Xinyi on the spear techniques for which he was famous. He taught his art to the monks at Shaolin, who passed it on as Xinyi Ba. Later, after leaving the temple, he taught in the Henan region. The most prominent of his students were Cao Jiwu and Ma Xueli .
It was Li Luoneng, a most famous descendant of Ji Jike, who modified Xinyi and called it Xingyi (Form and Intention Boxing). Today, there are three main branches of xingyiquan: Shanxi, Hebei, and Henan, each with unique characteristics but all tracing back to Ji Jike’s original art .
Xingyiquan is characterized by its linear, aggressive movements and its five elemental fists (Metal, Water, Wood, Fire, Earth), which correspond to different types of power generation.
Part V: The Major Styles – Southern Traditions
Hung Ga (Hung Gar)
Hung Ga, also known as Hung Kuen, is one of the most famous southern Chinese martial arts, largely due to its association with the folk hero Wong Fei-hung (1847–1925), whose life has been depicted in over 100 films .
According to legend, Hung Ga was named after Hung Hei-gun, who learned martial arts from Jee Sin, a Chan (Zen) master at the Southern Shaolin Temple. Jee Sin was also the master of four other students—Choy Gau Lee, Mok Da Si, Lau Sam-Ngan, and Li Yao San—who became the founders of the five famous southern Shaolin styles: Hung Ga, Choy Gar, Mok Gar, Li Gar, and Lau Gar .
The character “hung” (洪) was used in the reign name of the emperor who overthrew the Mongol Yuan dynasty to establish the Han Chinese Ming dynasty. Opponents of the Manchu Qing dynasty made frequent use of this character in their imagery. Anti-Qing rebels named the most far-reaching secret society they formed the “Hung Mun” (洪門), which claimed to be founded by survivors of the Shaolin Temple’s destruction. The martial arts its members practiced came to be called “Hung Gar” and “Hung Kuen” .
The hallmarks of Hung Gar (specifically the Wong Fei-hung lineage) are:
- Deep low stances, notably the “sei ping ma” (square horse stance)
- Strong hand techniques, particularly the “bridge hand” and versatile “tiger claw”
- Traditional training that once required students to spend months to years in stance training alone
The core curriculum of Wong Fei-hung’s Hung Gar includes four pillar forms :
| Form | Chinese | Purpose |
|---|---|---|
| “工” Character Taming the Tiger Fist | 工字伏虎拳 | Basic techniques, endurance building |
| Tiger Crane Paired Form Fist | 虎鶴雙形拳 | Adds vocabulary to the practitioner’s repertoire |
| Five Animal Fist | 五形拳 | Bridge between external force and internal focus |
| Iron Wire Fist | 鐵線拳 | Internal power development |
The Iron Wire Fist is attributed to Tit Kiu Saam (Iron Bridge Three), one of the legendary Ten Tigers of Canton. Wong Fei-hung learned this form as a teenager from Lam Fuk-sing, a student of Tit Kiu Saam .
Wing Chun
Wing Chun is perhaps the most famous southern style in the West, largely due to its most famous practitioner: Bruce Lee, who studied under Ip Man (Yip Man, 1893–1972) .
The origins of Wing Chun are traced to the legendary Ng Mui, a Shaolin nun and one of the Five Elders who survived the temple’s destruction. According to legend, Ng Mui observed a crane and snake fighting and developed a new, efficient system that did not rely on brute strength. She taught this system to a young woman named Yim Wing-chun (from whom the art takes its name), who used it to defend herself against an unwanted suitor .
Nearly all extant lineages of Wing Chun, except the Pao Fa Lien and Hek Ki Boen branches, claim descent from members of the mid-19th-century Red Boat Opera Company (紅船戲班), a traveling opera troupe whose performers were secretly revolutionaries. From this company emerged the art’s transmission to the modern era .
Ip Man was the first person to teach Wing Chun to a wider public. After his death, his many students formed separate schools, leading to the art’s global spread. Notable students included :
| Student | Known For |
|---|---|
| Bruce Lee | Founder of Jeet Kune Do, international film star |
| Wong Shun-leung | “King of Talking Hands,” legendary fighter |
| Leung Ting | Founder of Wing Tsun (WT) organization |
| William Cheung | Controversial figure, developed “Traditional Wing Chun” |
| Ip Chun | Ip Man’s eldest son, current inheritor of the legacy |
Other major Wing Chun branches include the Yiu Choi branch, the Jiu Wan branch, the Gulao (Koo Lo) Village branch (taught by Dr. Leung Jan in retirement), the Pan Nam branch, and the Yuen Kay Shan branch .
Choy Li Fut (Cai Li Fo)
Choy Li Fut is a synthetic style founded by Chan Heung (1806–1875) in 1836. Its name honors the three teachers from whom Chan synthesized his art: Choy Fook (a Shaolin monk who taught Choy Gar), Li Yau-san (who taught Li Gar), and his uncle Chan Yuen-wu (who taught Fut Gar, “Buddha Family”) .
Chan Heung’s training was extensive. At age seven, he began studying Fut Gar with his uncle. At fifteen, he spent four years learning Li Gar from Li Yau-san. Impressed with Chan’s abilities, Li Yau-san recommended he train with the reclusive Shaolin monk Choy Fook on Lou Fu mountain. Chan begged for nine years before Choy Fook agreed to teach him both Buddhism and martial arts .
When Chan Heung was twenty-eight, he returned to his village and spent two years revising and refining everything he had learned. In 1836, he formally established the Choy Li Fut system. Before parting, Choy Fook gave Chan a double couplet of advice:
“The dragon and tiger met as the wind and the cloud,
My disciple, you must take good care of your future.
To revive the arts of Shaolin,
Don’t let the future generations forget about this teaching.”
Choy Li Fut is known for its combination of northern and southern techniques—southern hand techniques with northern footwork and kicking. It is one of the most comprehensive southern systems, with a vast curriculum of empty-hand forms, weapons, and two-person drills.
Part VI: Northern Shaolin – The Gu Ruzhang Lineage
The Northern Shaolin style associated with Gu Ruzhang (Ku Yu-cheung, 1894–1952) is one of the most complete and systematic northern styles preserved today. Its lineage can be traced through nine generations :
| Generation | Master |
|---|---|
| 1 | Monk Zhao Yuan (朝元和尚) |
| 2 | Gan Fengchi (甘鳳池, 18th century) |
| 3 | Wan Bangcai (萬邦才) |
| 4 | Yan Degong (嚴徳功) |
| 5 | Yan Sanxing (嚴三省) |
| 6 | Yan Jiwen (嚴機溫) |
| 7 | Gu Ruzhang (顧汝章) |
| 8 | Ma Jianfeng, Yan Shangwu, Long Zixiang |
| 9 | Wong Jack-man, Chan Kwok-wai, and others |
Gan Fengchi, the second-generation master, was a celebrated lay disciple who studied with the Shaolin monk Zhao Yuan. Gan is also remembered for founding the martial art Huaquan (“Flower Fist”) and writing the book Introduction to Huaquan. He taught Wan Bangcai, who taught Yan Degong, and so on down to Gu Ruzhang .
In 1928, at the Central National Martial Arts Institute in Nanjing, Gu Ruzhang placed in the top fifteen among hundreds of martial artists. He was included in the “Five Southbound Tigers” (or “Five Tigers from the North”), five northern masters sent to Guangzhou to organize another National Martial Arts Institute. In Guangzhou, where the name “Shaolin” was already associated with Hung Gar and other southern styles, Gu’s style became known as “Northern Shaolin” .
Gu Ruzhang standardized the style into Ten Classical Forms (十路少林拳) :
| # | Name | Chinese | Focus |
|---|---|---|---|
| 1 | Open the Gate | 開門 | Essential entry/basic skills |
| 2 | Lead the Way | 領路 | Drawing the opponent |
| 3 | Mount the Horse | 坐馬 | Counter-attacks |
| 4 | Pierce the Heart | 穿心 | Attacks to solar plexus |
| 5 | Martial Skills | 武藝 | Combat techniques |
| 6 | Close Combat | 短打 | Close-encounter combinations |
| 7 | Plum Blossom | 梅花 | Breaking ambushes |
| 8 | Pull the Step | 拔歩 | Open-space fighting |
| 9 | Chain of Rings | 連環 | Chained multiple strikes |
| 10 | Pattern Methods | 式法 | Essence of the style |
Part VII: Other Notable Styles
Bajiquan (Eight Extremities Fist)
Bajiquan is known for its explosive power and elbow strikes. It has been adopted by military and police forces in China and Taiwan. Its lineage includes the legendary Li Shuwen (1864–1934), known as “God of Spear” and “Divine Fist.”
Eagle Claw (Yingzhaoquan)
Eagle Claw combines Chin Na (joint locking) techniques with powerful grasping and striking. It traces its lineage to the Song dynasty general Yue Fei (1103–1142), though historical documentation is limited.
Praying Mantis (Tanglangquan)
Praying Mantis styles imitate the quick, darting movements of the praying mantis. There are northern and southern branches, with Northern Praying Mantis being more widespread. The style emphasizes speed, trapping, and relentless attacks.
White Crane (Baihequan)
White Crane originated in Fujian province and is considered a significant influence on Okinawan karate. The style emphasizes breathing, soft power, and distinctive “crane beak” hand techniques.
Bak Mei (White Eyebrow)
Bak Mei is named after one of the legendary Five Elders. The style is known for its explosive, short-power techniques and is considered highly advanced and secretive.
Part VIII: Kung Fu in the Modern Era
The Central Guoshu Academy (1928)
The Republican period (1912–1949) saw the first systematic attempt to standardize and preserve Chinese martial arts. The Central Guoshu Academy (Zhongyang Guoshuguan) was established in Nanjing in 1928, bringing together masters from across China. It was here that the external/internal classification became popular, used to differentiate between competing groups within the academy .
Modern Wushu (1949–Present)
After the Communist revolution in 1949, the Chinese government standardized martial arts into “Wushu” (literally “martial arts”) as a modern sport. Changquan (“Long Fist”) was developed as the representative northern style, and Nanquan (“Southern Fist”) as the representative southern style. These modern forms emphasize athleticism, acrobatics, and aesthetics over combat effectiveness .
Global Spread
Chinese martial arts spread globally through several waves:
- Chinese diaspora in the 19th and early 20th centuries
- Ip Man’s teaching in Hong Kong (1950s-1960s) and his famous student Bruce Lee
- 1970s kung fu film craze (Bruce Lee, Shaw Brothers studio)
- 1980s-1990s new wave of films (Jackie Chan, Jet Li, Crouching Tiger Hidden Dragon)
- Modern MMA and UFC – some fighters incorporate kung fu techniques, though traditional training methods are often adapted for sport fighting
Lineage and Preservation
Traditional kung fu places enormous emphasis on lineage—the unbroken chain of transmission from master to student. Most styles maintain detailed genealogies tracing back to their founders. In the 20th century, many masters emigrated from China, establishing schools in North America, Europe, Australia, and elsewhere, ensuring these ancient arts survived and evolved in new contexts.
References
- “Styles of Chinese Martial Arts.” Wikipedia, Wikimedia Foundation.
- “Shaolin Kung Fu.” Wikipedia, Wikimedia Foundation.
- “Branches of Wing Chun.” The Free Dictionary Encyclopedia.
- “Baguazhang.” Wikipedia, Wikimedia Foundation.
- “Ji Jike.” Wikipedia, Wikimedia Foundation.
- “Fung Dou Dak.” Wikipedia, Wikimedia Foundation.
- “Hung Ga.” Wikipedia, Wikimedia Foundation (archived).
- “Chan Heung.” Wikipedia, Wikimedia Foundation.
- “Northern Shaolin Kung Fu.” Wikipedia, Wikimedia Foundation.
Further Reading
- Shahar, Meir. The Shaolin Monastery: History, Religion, and the Chinese Martial Arts. Honolulu: University of Hawai’i Press, 2008.
- Green, Thomas A., ed. Martial Arts of the World: An Encyclopedia. ABC-CLIO, 2001.
- Liang, Shou-Yu; Yang, Jwing-Ming; Wu, Wen-Ching. Baguazhang: Emei Baguazhang Theory and Applications. YMAA Publication Center, 1994.
- Wong, Doc-Fai; Hallander, Jane. Choy Li Fut Kung Fu: The Dynamic Fighting Art Descended From the Monks of the Shaolin Temple. Unique Publications, 1985.
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