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http://www.wcarchive.com/articles/maxims-kuen-kuit.htm
Wing C hun Kue n Kuit a re "Wo rds o f W isdo m " which ca pture in po e tic te rm s the fine r
a ttribute s o f W ing C hun Kung Fu. "Kue n Kuit" is C a nto ne se fo r "m a rtia l sa yings" o r
"fighting so ngs." C hine se m a rtia l a rts e m plo y Kue n Kuit a s co ncise , rhythm ic ve rse s
which pre se nt a m e tho d o r philo so phy o f a style . Eve n a m o ng co m pe ting W ing C hun
tra ditio ns, m a ny sa yings a re re co gnize d a nd sha re d. O ne significa nt pro ve rb cite s,
"Lo y La u Ho i Sung, Lut Sa u Jik C hung." T his m e a ns: "R e ta in wha t's co m ing in; Se nd
o ff wha t's re tre a ting; R ush in upo n lo ss o f ha nd co nta ct." R e ga rdle ss o f the W ing
C hun tra ditio n, this a dvice bridge s m a ny diffe re nce s a nd de fine s o ne o f the m o st
im po rta nt stra te gie s o f the a rt.
T he o rigina l W ing C hun Kue n Kuit a re be lie ve d to de sce nde d fro m a n a ncie nt, o ra l
tra ditio n, a nd re po rte dly we re co nne cte d to so uthe rn C hine se se cre t so cie tie s o f the
nine te e nth ce ntury. Mo y Ya t wro te , "It wa s during the ching dyna sty tha t m a ny o f the
pro ve rbs we re pa rt o f se cre t co de s a nd ritua ls de ve lo pe d by the re be ls de dica te d to
o ve rthro wing the Ma nchus." O ve r the pa ssing ye a rs, unre la te d o r ina pplica ble sa yings
we re e ve ntua lly disca rde d, the re m a ining fe w a re de scribe d a s be ing "truly intrinsic" to
W ing C hun Kung Fu.
"W ing C hun C hue n Jing Tung" is a n im po rta nt pro ve rb usua lly displa ye d in the
tra ditio na l W ing C hun scho o l. T his re fe rs to the ge nuine ne ss o f the m a rtia l a rt a nd
re a ds, "W ing C hun a uthe ntica lly pa ssing do wn." T his m e a ns pa ssing o n the true
syste m o f W ing C hun "uncha nge d by yo ur o wn ide a s." O the r we ll k no wn pro ve rbs cite :
Kue n Ya u Sum Fa a t (T he punch sta rts fro m the he a rt); Y ing Da Juck Da , But Y ing Da ,
But Ho Da ... (Strik e whe n yo u sho uld, Do no t strik e whe n yo u sho uld no t ...); C he w
Y ing Jo i Y ing (Fa ce to wa rd a nd cha se the o ppo ne nt); C hum Jo ng Sa u Jo ne (Sink the
e lbo w, pro te ct the ce nte r)4; Gua n Mo Le ung He ung (T he sta ff do e sn't m a k e two
so unds), e tc.
W ing C hun's Tra ditio na l R ule s o f C o nduct a nd the po pula r sa yings a bo ve m a y be
e a sily re co gnize d. O the rs ha ve be e n pre se rve d ba se d upo n the discre tio n o f
Augustine Fo ng, a nd the se o rigina lly a ppe a rs in R a ndy W illia m 6 bo o k se t. T he re a re
m a x im s, tra ining pro ve rbs a nd sa yings fo r a ll W ing C hun fo rm s. T he m a jo rity o f the se
a re ge nuine , a rtistic co m m e nta rie s o n W ing C hun bo x ing. It m a y be no tice d so m e
ve rse s a re sim ila r to tra ining pro ve rbs pre se nte d in the C hine se Inte rna l Arts. T hus,
"Pe o ple do no t k no w the e x te nt o f m y sk ills, but I k no w the ir a bilitie s," ha s be e n
a ttribute d to Ya ng Le w-Sha n: "T he the o ry o f Ta i-C hi is tha t no bo dy k no ws yo u, o nly
yo u k no w the m ." T his is a po pula r sa ying, a s a re tho se which m e ntio n invisible
te chnique s such a s the fa m e d Mo Y ing Ge rk (No Sha do w k ick ).
W hile m a ste rs o f se lf-de fe nse de cla re tha t re a l e x pe rie nce is the be st te a che r, W ing
C hun pro ve rbs do e x ce l a s wo nde rful re m inde rs a nd clue s to the m a ste ry o f the
m a rtia l a rt. T he se po e tic sta nza s pre se rve a se cre t Kung Fu tra ditio n, a le ga cy which
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http://www.wcarchive.com/articles/maxims-kuen-kuit.htm
ca n be re nde re d in be a utiful C hine se ca lligra phy. W ing C hun Kue n Kuit a re tre a sure s
wa iting to be disco ve re d; the y re m a in a n o utsta nding co ntributio n to the wo rld o f
C hine se m a rtia l a rts.
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http://www.wcarchive.com/articles/maxims-kuen-kuit.htm
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Chum Kiu
- C hum Kiu tra ins the sta nce a nd the wa ist; the a rm bridge is sho rt a nd the ste p is
na rro w.
- Eye s a re tra ine d to be a le rt; the chi flo ws in a pe rpe tua l m o tio n.
- Strive to re m a in ca lm in the m idst o f m o tio n; lo o se n up the m uscle s a nd re la x the
m ind.
- Turning the sta nce with a circula r m o ve m e nt, will a llo w supe rio r ge ne ra tio n o f po we r.
- W he n the o ppo ne nt's a rm bridge e nte rs m y a rm bridge , use the e sca ping ha nd to
turn a ro und the situa tio n.
- Pa ss by the o ppo ne nt's inco m ing a rm bridge fro m a bo ve , witho ut sto pping whe n the
co unte ring m o ve ha s sta rte d.
- Lo n Sa u a nd Jip Sa u put a n o ppo ne nt in da nge r.
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- Do no t co llide with a stro ng o ppo ne nt; with a we a k o ppo ne nt use a dire ct fro nta l
a ssa ult.
- A quick fight sho uld be e nde d quick ly; no de la y ca n be a llo we d.
- Use the thre e jo ints o f the a rm to pre ve nt e ntry by the o ppo ne nt's bridge ; ja m the
o ppo ne nt's bridge to re strict his m o ve m e nt.
- C re a te a bridge if the o ppo ne nt's bridge is no t pre se nt; nullify the bridge a cco rding
to ho w it is pre se nte d.
- T he a rm bridge tra ck s the m o ve m e nt o f the o ppo ne nt's bo dy; whe n the ha nds
ca nno t pre va il, use bo dy po sitio n to sa ve the situa tio n.
- Using sho rt ra nge po we r to ja m the o ppo ne nt's bridge , the thre e jo ints a re nice ly
co ntro lle d.
- W he re is the o ppo ne nt's bridge to be fo und? C hum Kiu guide s the wa y.
Biu Jee
- T he Biu Je e ha nd co nta ins e m e rge ncy te chnique s.
- Iro n finge rs ca n strik e a vita l po int a t o nce .
- T he ste pping in e lbo w strik e ha s sufficie nt thre a te ning po we r.
- T he pho e nix e ye punch ha s no co m pa ssio n.
- Fa k Sa u, Ginge r Fist, a nd Guide Bridge ; the ir m o ve m e nts a re clo se ly co o rdina te d
a nd ha rd to de fe nd a nd nullify.
- Springy po we r a nd the e x te nde d a rm a re a pplie d to clo se ra nge .
- T he situa tio n is diffe re nt whe n pre ve nting fro m de fe a t in a n e m e rge ncy.
- T he Biu Je e is no t ta ught to o utside rs.
- Ho w m a ny Sifu pa ss o n the pro pe r he rita ge ?
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General Sayings
- T he re is no diffe re nce in who sta rte d to study first; the o ne who a chie ve s
a cco m plishm e nt is first.
- Stude nts fro m the sa m e te a che r will diffe r in the ir sk ills.
- To uching the o ppo ne nt's a rm bridge m a k e s the situa tio n m o re fa vo ra ble .
- W he n fa cing m ultiple o ppo ne nts, it is e a sy to m a na ge the situa tio n.
- W he n cha sing the o ppo ne nt's a rm bridge , be wa re o f be ing le d.
- W he n pushing the o ppo ne nt's e lbo w, be wa re o f be ing pulle d.
- Le a rning the te chnique s witho ut de ve lo ping the sk ills will ne ve r bring a ny
a cco m plishm e nt.
- T he ide a l in Ma rtia l Arts is hum a nita ria nism . Acco m plishm e nt use s dilige nce a s a
go a l.
- W he n the o ppo ne nt pa sse s yo ur a rm bridge , a ve rt the da nge r by turning the sta nce
a nd fa cing with the a ppro pria te po sture .
- Strik e whe n yo u sho uld. Do no t strik e whe n yo u sho uld no t.
- Do no t be to o e a ge r to strik e . Do no t be a fra id to strik e . O ne who is a fra id o f
ge tting hit will fina lly be hit.
- Pe rsiste nt a tta ck s will sure ly ga in yo u e ntry. Sta ying o n the de fe nsive to o lo ng will
sure ly ge t yo u into tro uble .
- T he punch sta rts fro m the he a rt. T he sta ff do e s no t m a k e two so unds. A k ick do e s
no t m iss.
- Po we r is ge ne ra te d fro m the jo ints. Stre ngth o rigina te s fro m the he e ls.
- Sto re m e nta l e ne rgy with the m ind. Mo ve chi with m e nta l e ne rgy. Ex e rt stre ngth with
chi. Ge ne ra te po we r with stre ngth.
- No ha rm will co m e if chi is nurture d na tura lly. Po we r ca n be sto re d but with e no ugh to
spa re .
- chi co m e s o ut o f the Ta n T ie n, a nd tra ve ls a lo ng the wa ist, the thighs, a nd the ba ck .
- Kno w yo urse lf a nd yo ur o ppo ne nt, a nd yo u will a lwa ys win.
- Pe o ple do no t k no w the e x te nt o f m y sk ills, but I k no w the ir a bilitie s.
- Go a lo ng with yo ur o ppo ne nt's fa iling po sture in o rde r to ta k e a dva nta ge o f it.
- Gla ss-lik e he a d, co tto n-lik e be lly, a nd iro n-lik e a rm bridge .
- Yo u ca n strik e a nywhe re whe n yo ur a rm bridge ha s pa sse d be yo nd yo ur o ppo ne nt's
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thre e jo ints.
- Pa ss by the o ppo ne nt's inco m ing a rm bridge fro m a bo ve . Ja m the o ppo ne nt's
bridge to re strict his m o ve m e nt.
- C re a te a bridge if the o ppo ne nt's bridge is no t pre se nt. Nullify the bridge a cco rding
to ho w it is pre se nte d.
- Kno w the diffe re nce be twe e n Y in a nd Ya ng, re a l a nd fe igne d. Ta k e a dva nta ge o f a ny
a va ila ble o ppo rtunity.
- Stick ing to the o ppo ne nt while shifting ha nd po sitio n sho ws go o d co ntro l o f the
situa tio n.
- Be ing stuck to by the o ppo ne nt while a tte m pting to shift yo ur o wn ha nd po sitio n
ca nno t pro duce the inte nde d re sult.
- Bo ng Sa u m ust no t re m a in. Fa a n Sa u sho uld be clo se ly pa ce d.
- Kno w yo ur o wn lim it in the use o f po we r. R e le a sing a ll o ut is 90% o f the wa y to
de fe a t.
- T he k ne e s le a d the sta nce . T he wa ist link s the bo dy. W he re the m ind go e s, the
e ye s go, a nd the ha nds a nd fe e t fo llo w.
- Strive to re m a in ca lm in the m idst o f m o tio n. Lo o se n up the m uscle s a nd re la x the
m ind.
- T he thre e te rro rs o f W ing C hun a re Ta un Sa u, Bo ng Sa u, a nd Fo k Sa u.
- Fe e t a nd ha nds wo rk to ge the r, a nd the thre a t co m e s to a n e nd.
- Be wa re o f brute stre ngth whe n fa cing so m e o ne fro m the sa m e style . Be wa re o f the
situa tio n in a co nfro nta tio n.
- In uniting the wa ist with the sta nce , po we r ca n be ge ne ra te d.
- In a m a tch do no t e x pe ct a ny co m pa ssio n.
- Gra sping the thro a t is a ruthle ss te chnique . O nce co m m e nce d, it ca nno t be sto ppe d.
- Sto ring e ne rgy re se m ble s pulling a bo w. R e le a sing po we r is lik e sho o ting a n a rro w.
- C ircula r a nd stra ight a cco m pa ny e a ch o the r. Be nt a nd stra ight co m ple m e nt o ne
a no the r.
- Ex tre m e so ftne ss e na ble s o ne to be ha rd. Be ing e x tre m e ly na tura l e na ble s o ne to
be a gile .
- Dire ct the m ind to sto re spirit, no t chi, in the bo dy. O the rwise it le a ds to
sluggishne ss. No po we r is o bta ine d whe n o ccupie d with chi.
- Use a lte ra tio ns in ste pping fo rwa rd a nd ba ck wa rd. Ha nds a nd fe e t sho uld be clo se ly
co o rdina te d.
- Invisible po sture . Invisible k ick .
- As lo ng a s yo u a re stick ing to yo ur o ppo ne nt, yo u a re unlik e ly to lo se . A we ll tra ine d
wa ist ca n pre ve nt lo ss o f ba la nce .
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- Ha nd te chnique s m ust fo llo w the Y in Ya ng principle . Stre ngth m ust be a pplie d with
inne r po we r. T he re is a co unte ra ctio n to e ve ry a tta ck .
- R a pid m o ve s a re ha rd to gua rd a ga inst. Go in whe n the o ppo ne nt slo ws do wn.
- Kick s lo se nine tim e s o ut o f te n.
- T he fe e t a re lik e whe e ls, a nd the ha nds lik e a rro ws.
- A ha nd use d fo r a tta ck se rve s a lso to pa rry.
- Do no t co llide with a stro ng a rm bridge . Ge t o ut o f the wa y a nd ta k e initia tive to
a tta ck .
- During stick y ha nd pra ctice , the ha nd which ha s e nte re d be yo nd the e lbo w will win
nine tim e s o ut o f te n.
- Do no t fo llo w, fo rce , o r butt a ga inst the o ppo ne nt's ha nds.
- De stro ying the o ppo ne nt's ce nte r line will co ntro l his bridge .
- In Bo ng Sa u the fo re a rm incline s, the wrist is o n the ce nte r line , a nd the finge rs
dro o p. A ra ise d e lbo w we a k e ns the fo rce .
- T he e lbo w m ust be stro ng. T he n yo u ca n ta k e o n a ny a tta ck .
- If the o ppo ne nt gra sps yo ur a rm bridge , do no t o ppo se him with brute fo rce . Go with
the o ppo ne nt's fo rce a nd cha nge into ro lling ha nds. Turn a ro und the situa tio n to
co ntro l him .
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