TaiChi ABC Chapter 2: The Initial Experience of Qi

Kung Fu begins with sensation. Those fortunate enough to encounter a wise teacher are blessed. Through direct contact with the teacher, and listening to the energy, one directly perceives what Qi is and captures the feeling of Qi. Under the guidance of a knowledgeable teacher, this sensation becomes more acute, and Kung Fu advances.

But for those without the chance to meet such a teacher, how can one capture the feeling of Kung Fu?

Imagine going on a barbecue outing—how do you ignite the entire grill? Firstly, choose an environment with minimal wind. Use the most easily flammable material as kindling and surround it with charcoal. Ensure there is space between each piece of charcoal; airflow is crucial for combustion. At this point, a small match is enough to ignite the entire barbecue.

Internal energy is inherent in every individual. Everyone has a natural sensitivity to internal energy, much like how you laugh heartily when watching a comedy and feel sorrow during a tragedy.

Some accomplished traditional Chinese medicine practitioners classify people based on their innate sensitivity to internal energy (see "Questions about Traditional Chinese Medicine," pages 274-277 and 352-353). They categorize individuals into four types: extremely sensitive meridian type (Type A), sensitive meridian type (Type B), insensitive meridian type (Type C), and extremely insensitive meridian type (Type D). The classification is determined through the following test:

Extend your left hand, form a sword finger with your right hand, and draw a circle about 10 centimeters away from the palm of your left hand.

If you feel something with just one stroke, you are Type A.

If it takes a moment to feel, you are Type B.

If there's no sensation even after a minute, you are Type C.

If there's no sensation regardless of how much you stroke, you are Type D.

The purpose of this classification is only to give you an expectation of the difficulties you may encounter, not to determine who can or cannot succeed. While Types A and B may experience quicker results, Types C and D face greater challenges. However, with perseverance, even Types C and D can eventually capture the sensation. Additionally, everyone's sensitivity may vary based on different states, such as after exercising or when in a good mood. As long as you are alive, everyone has the innate ability to learn internal skills; it's just a matter of varying levels of capability, similar to different barbecue grills having different ignition difficulties.

Returning to the barbecue analogy, the palms are the most sensitive areas for sensing internal energy. This is the kindling. Everyone has their own time and space least disturbed by the external world. This is the environment. The muscles and bones should not be tense but relaxed. This is how the charcoal is arranged. Once settled, cradle the ball between the palms in the most comfortable way. You can stand or sit, without exerting force or tension, allowing the mind to settle, the spirit to rise, and sensing the palms like a "Bluetooth pairing," mutually "listening."

At this point, feel as if there's a basketball between the palms; take a moment to sense and remember the feeling. Then let the basketball gradually transform into a balloon. During this transformation, let the mind capture the changes in the sensation between the palms and remember them. Next, let the balloon slowly morph into a large soap bubble, being careful not to let it burst. Again, let the mind capture the changes in the sensation between the palms during this transformation and remember them.

This process doesn't need to be too lengthy for beginners; 3-5 minutes are sufficient. Keep writing tools nearby, and after each session, jot down your feelings and any questions.

If you sense something intangible filling the space between the palms, with the palms repelling each other like magnets, do not try to enhance the effect, and don't make squeezing movements to intensify the sensation. Let it happen naturally; quietly observe the "emptiness" between the palms. If you feel comfortable, let this comfort be transmitted from one palm to the other.

If you can sense the "ball" within the "emptiness" between the palms, you are experiencing what "relaxation" is. This "ball" can be small or large, and the palms can only passively open and close according to the sensation. The larger the expansion, the better the state of "relaxation." Remember this feeling; it is the spark you've ignited. Though the spark is small, it is the first bucket of gold in your practice. Though the spark is small, it is the spark that kindles the blaze. As the saying goes:

"In places where the sun doesn't reach, youth naturally comes.

Moss flowers are as small as rice grains, yet they still learn to bloom like peonies."

—Yuan Mei, "Moss"

Internal energy, like moss flowers, naturally comes in the state of "relaxation." What is the state of "relaxation"? It is the state where your palms feel "empty." The more "virtual" and "empty" your hands feel, the better the state of "relaxation" and the stronger the Qi. Transitioning from a basketball to a soap bubble is the direction and principle of this transformation.

This is your initial experience with Qi, where you capture the feeling of "relaxation" in Kung Fu. This sensation is not intellectual knowledge; it is not a definition woven with words. It is the result of experience, much like love, where you need a mutually interested partner to feel what it's like for affection to be reciprocated. Without experience, the martial arts classics of the ancients are mere familiar words.

With the guidance of a wise teacher, this experience comes conveniently and quickly. The teacher demonstrates the state of relaxed internal energy directly to the student. Using the words of Sifu Wang Zhongming: "Send my comfort to the other person." Students must capture this "comfortable feeling" through personal experience, thus grasping the concept of "relaxation."

Being able to relax allows internal energy to dissipate and merge with the space. In other words, only when there is the objective effect of internal energy dispersing can it be called the "relaxation" of Kung Fu. This objective effect serves as the foundation and standard for the exchange between teacher and student in the process of teaching and learning internal skills. This objective effect allows you to discern which "masters" are truly wearing the emperor's new clothes.

Without the guidance of a wise teacher, through the experience of holding the ball, you also have the opportunity to capture the feeling of Kung Fu. When you can differentiate between different sensations while holding the ball, you need to learn to forget. When you can "hear" the sensation of the balloon as soon as you hold your palms together, you can discard the basketball. After some days, when you can "hear" the sensation of the soap bubble as soon as you hold your palms together, you can skip the basketball. After some more days, you can forget about your hands. This means feeling as if the palms are absent, allowing the Qi to permeate beyond the range of the palms. At this point, you have achieved some initial success.

This initial success, through continued practice, will continue to grow. Whether standing in a pile or practicing forms, you need to "express" and "replicate" the feeling of "relaxation" as much as you can.

Victoria BC, 2024

TaiChi ABC Chapter 1: The Path to Martial Arts Mastery

How does one enter the hallowed halls of martial arts? "Don't think, feel." Bruce Lee's words are direct and to the point—man is as his fist. Kung Fu isn't born of contemplation; it emerges from sensation. It's a golden nugget refined through his experiences.

Kung Fu begins with feeling and evolves through understanding. In the internal martial arts classics, there is a repeated emphasis on the role of the "heart," not the "mind." The "heart" is the master of sensation, while the "mind" governs thought.

Aesthete Zhu Guangqian once said, "'Feeling' is passive, allowing the sensory and spiritual aspects of the natural world to move me" ("On Silence" by Zhu Guangqian). However, for beginners in Kung Fu, feeling is an active, focused endeavor, capturing sensations with the mind.

What is capturing? When learning a new language, listening involves concentrating on meaningful combinations of sounds amidst an unfamiliar cacophony to comprehend the message. Once language proficiency approaches that of a native speaker, the effort to "capture" becomes second nature. You navigate effortlessly through the ocean of meaning, like a fish unaware of the water's presence. This marks Zhu Guangqian's stage where "feeling is passive."

In reality, isn't every form of art about capturing sensations? Actors capture subtle emotions, painters capture changing hues, and musicians capture celestial melodies. Poets capture fleeting inspiration. So, what should internal martial artists capture? Internal energy—this is the key to initiation.

"Teacher, how does one cultivate the 'qi' in martial arts?"

"Qi is inherent. From the day we are born, we possess 'qi.' It's just that later on, we get accustomed to exerting force and forget about the existence of 'qi.'"

"What does 'qi' feel like?"

"At this point, language seems inadequate. Come, let's engage. Listen to yourself, feel it. Now, I release my joints, relax my muscles, focus my spirit, and 'qi' emerges. Can you feel it? Okay, now it's your turn to let me 'hear' it."

The above is a snippet from a teacher's instruction. Martial arts involve both theoretical knowledge and experiential understanding. In the transmission of knowledge, experiential understanding is especially crucial and precious—something you encounter but cannot seek.

Internal energy is intangible; during the demonstration, the teacher uses internal energy to leave an imprint, a sensation, on the student. The student must capture and remember this sensation, striving to reproduce and interpret it during practice. In this process, the teacher acts as a guardian. They listen to the student's interpretation, ensuring the sensation is captured accurately. Then, the teacher demonstrates again, and again, and again— from instability to stability, from uncertainty to confidence, until the student masters the art. This ensures the student doesn't develop a false sense of accomplishment.

From the student's perspective, this capturing is a mental activity. Martial artists must use their perceptual systems to capture that sensation. The sensitivity of the soul determines the accuracy of capturing and the speed of learning. For a poet, how to capture the feeling of snowfall? From "scattering salt in the air" to "willow catkins swirling in the wind," it shows the disparity in two levels of artistic sensitivity. This is an innate talent. Kung Fu is no different.

In the early stages, one can only sense obvious strength and pathways, like waves on a shallow shore. Those with profound skill, they can perceive the existence of elusive and ethereal energy—a hidden current in a vast ocean. This capability to capture sensation is called "listening," as in the Daoist concept of "gathering vision and returning to listening": "Without listening through the ears, listen through the heart. Without listening through the heart, listen through the qi" (Zhuangzi, Human World). This "listening" involves the interaction of one's dispersed qi with the external space, leading to an understanding of the universe and nature. Qi is an extension of the nervous system. The concept of "listening to energy" in Kung Fu is to use one's internal qi to "listen" to the movements of the opponent's internal qi. Everything lies in the sensation of "listening." Once you understand internal energy, you naturally comprehend the wisdom of the ancients, as if they were whispering secrets to you.

In the movie "Mr. Holland's Opus," there's a scene where a clarinet student struggles for a long time without success, deciding to give up. When saying goodbye to the teacher, Mr. Holland delivers the following lines:

"You know what we’ve been doing wrong?

We’ve been playing the notes on the page.

…

There's a lot more to music…than notes on a page.

…

Because playing music…is supposed to be fun.

It's about... heart.

It's about feelings and... moving people…and something beautiful and being alive, and It's not about notes on a page!

I could teach you notes on a page….I can't teach you that other stuff."

Then he invites the student to pick up the instrument, and a captivating dialogue unfolds:

“Let me ask you a question.

What?

When you look in the mirror... what do you like best about yourself?

My hair.

Why?

Well, my father always says that it reminds him of a sunset.

Play the sunset.

Close your eyes. One, two, three, four...”

The music begins, and this time, the student finally captures the feeling. It's no longer about practicing; it's about enjoying, and experiencing the music. Mr. Holland guides her to feel and comprehend "that other stuff." A teacher's cultivation determines a student's starting point and future heights. How many martial arts masters only understand teaching forms, and how many can point out "that other stuff"? "The truly important things are invisible to the eye" (The Little Prince).

第一章 起步點

如何步入武學的殿堂？ 「Don’t think, feel.」  李小龍一句話，直接了當，人如其拳。功夫不是思考出來的，而是感受出來的。相信這是他經驗中，提煉出來的金句。(https://www.youtube.com/watch?v=3yKf9bhXMbU)

功夫，始於感覺，而成於感悟。故內家拳經中，一再強調「心」的角色，而非「腦」。「心」，是感受的主宰，而「腦」主思考。

美學家朱光潛說：「『感受』是被動的，是容許自然界事物感動我的感官和心靈」。  然而，對剛要入門的功夫修煉者而言，感受是主動地，專注地，以心靈去捕捉感覺。

何謂捕捉？當你剛學習一種新語言，聆聽便是要專注地從一堆陌生的聲音中，捕捉有意義的組合，才能理解訊息。而一旦這語言能力接近母語程度，你就渾然不覺有「捕捉」的努力，自然自在地在意義的海洋中𣈱遊，像魚在湖海中，渾不知有水的存在一般。那時，才進入朱光潛所提的「感受是被動的」無為階段。

其實，哪一門的藝術不是在捕捉感覺？専業演員捕捉細膩情感，畫家捕捉變幻色調，音樂家捕捉天籟之音。詩人捕捉稍縱即逝的靈感……那麼，對內家功夫而言，要捕捉什麼感覺？曰：對內氣的感覺。這是入門的關鍵。

「老師，人要怎樣修煉，才能得拳道中的『氣』？」

「『氣』是與生俱來的。自從我們有生命的那一天，我們便都有『氣』。只是後來我們都習慣用力。而忘記了『氣』的存在。」

「那麼『氣』給人的具體感覺是怎樣的呢？」

「到這地步，語言就顯得無能為力了。來！我們接手。你自己聽聽，感受一下吧。好，現在我鬆開關節、鬆開肌肉、提起精神，『氣』就出來了。你感覺到了嗎？好，現在輪到你做給我『聽』。」

以上是老師教學的片段。拳道武學有知識的層面，也有經驗的層面。在傳承中，經驗的層面尤為關鍵而珍貴，可遇不可求。

內氣無形無象，老師在示範過程中，用內氣在你身上留下記憶，感覺。學生必須捕捉這感覺，記得這感覺，並在練習時盡己所能，把這感覺復製出來，演繹出來。這過程中，老師是個守護者。他要聽你演繹出來的感覺，是否捕捉得準。然後再示範一次、兩次、三次……由不穩定到穩定，由不肯定到肯定，直到你功夫上身。確保你不會閉門造車而自我感覺良好。

從學生的角度，這捕捉，是心靈的活動。功夫修煉者，要用盡自己知覺系統，去捕捉那感覺。心靈敏感度，決定了捕捉感覺的準確度，也決定了學習速度。對詩人而言，如何捕捉大雪紛飛的感覺？從「撒鹽空中差可擬」，到「莫若柳絮因風起」，就顯示了兩種藝術敏感度的高下。這是天分。功夫也如是。

功夫淺，只能感受到明顯的勁路勁束，正如淺灘上的浪花。功夫深者，能感知若有若無，飄渺莫測之氣的存在，那是汪洋中的暗流。這種感覺捕捉能力，稱為「聽」，道家「收視返聽」的「聽」：「無聽之以耳，而聽之以心。無聽之以心，而聽之以氣。」。這「聽」，即是以散出的氣與外界空間交感，而對宇宙自然有所感悟。氣，便是神經系統的延伸。功夫所講的「聽勁」，便是以己之內氣「聽」彼內氣的動向。一切盡在「聽」的感受中。一旦懂內氣，自然明白古人的智慧，仿如對你說著悄悄話。

電影「生命因你動聽」(Mr. Holland's Opus) 有這一幕：單簧管學生苦練多時仍不得要領，心灰之下決定放棄。向老師告別時，Mr. Holland有以下對白: (https://www.youtube.com/watch?v=eL9k2pTFYrE)

“You know what we’ve been doing wrong?

We’ve been playing the notes on the page.

…

There's a lot more to music…than notes on a page.

…

Because playing music…is supposed to be fun.

It's about... heart.

It's about feelings and... moving people…and something beautiful and being alive, and It's not about notes on a page!

I could teach you notes on a page….I can't teach you that other stuff.”

接着邀請學生拿起樂器，精彩的對白出現了：

“ Let me ask you a question. 

What?

When you look in the mirror... what do you like best about yourself?

My hair.

Why?

Well, my father always says that it reminds him of a sunset.

Play the sunset.

Close your eyes. One, two, three, four...”

樂聲響起，這次學生終於捕捉到感覺，不再覺得是在練習，而是在享受，享受音樂。Mr. Holland引導她感受並領悟到 “that other stuff”。老師的修養決定了學生的起跑線，以及將來的高度。而世上多少功夫師傅就只懂教你拳架套路，又有多少人能為學生指出 “that other stuff” ？「真正重要的東西，是用肉眼看不見的。」 

January 4, 2024, Victoria BC

關於【人類生命的科學•拳道】

陳靖先生的新著【人類生命的科學•拳道】(下簡稱【拳道】) 終於出版了。

前人對於內氣內功學問，罕有見諸文字，即使師徒傳授，也只是片言只字，惜墨如金。汪永泉先生的【楊式太極拳述真】是近代第一本較全面系統地表達內功的著作。而汪永泉的公子汪仲明先生早期對自己的功夫深藏不露，為人低調。只有陳靖先生發現其功夫深不可測，屢次求拜為師，終償所願，成為汪師唯一親傳弟子。那是2008年。【拳道】便是陳靖先生追隨汪師這十多年來對功夫練與悟的階段性總結。

近代關於內功論著，常言必引用古語經典，中醫經脈之說，以示深奧。陳靖先生的新著，恰恰相反，𧗊量用淺白的、直接的、原創的語言，以期達到深入淺出的效果。文字平淡中透着自信，因為所闡述的道，不是抄來的、聽來的、而是煉出來的。誠如汪師在本書序中所言：成功的修煉者，應該不但能講，且能做到。

【拳道】一書內容涉獵既廣且深，由論及招式動作的初等學，到神意氣不同程度的修煉的中等及高等學，都有論及，由不同篇章有序鋪排，不是一本容易速讀的書。適宜靜心地、細緻地、一讀再讀去品味的著作。一般人認為，內功是身體內部的鍛鍊。本書卻提出令你意想不到的論述，令你發現武俠小說的描寫與真實功夫的區別，甚至是相反的事實。

封面及目錄：https://quan-dao.blogspot.com/2020/04/blog-post.html

訂購方法：

香港

A) 本書已在香港各商務、三聯、中華書局各分店有售。第一版數量有限，建議先致電書局預訂留書，再前往收取。

門市：

商務書局 (香港及深圳)

https://www.cp1897.com.hk/storeBusiness.php?storeBusiness=storeInfo_main

三聯書局

https://www.jointpublishing.com/bookstore/store-map.aspx

中華書局

https://www.chunghwabook.com.hk/Index/chBookStoreMap

或

B) 直接致電(+852) 9355 6628   或   WhatsApp (+852) 6600 6400   聯絡梁先生訂購。

澳門

澳門星光書店門市及網站有售。

網站：

http://www.skbooks.com.mo/product/9789628554614/

門市：

http://www.skbooks.com.mo/locations/

陳靖老師新著

姬林有 清徐縣 形意拳典範 雜式捶

張玉萍 太谷縣 形意拳典範 五行拳

汪永泉大师纪念画册

【汪永泉大師紀念畫冊】 

「    2018年初，汪公永泉紀念畫冊經過幾年收集資料，編纂，設計，數易其稿，終於面世了。 

畫冊分三個部份，以懷念汪公、德厚流光、源遠流長、踵事增華等為題，收入了汪公的拳照、劍照、生活照、與弟子合影、著作等，又將社會活動圖片、汪脈傳人著作、永泉太極拳研究會會員的傳承譜系、研究會歷屆組織機構和成員列於其後。使之成為對汪公的崇仰緬懷之冊、汪傳楊式太極的宣傳之冊、研究會會員拳術傳承的證明之冊。」 

轉載自漫天飛雪劍氣橫的分享專欄：

 https://www.meipian.cn/133h146t?from=timeline

 畫冊由汪永泉大師之子汪仲明先生任總指導。為有志研究汪氏一脈的太極傳承脈絡、以及目前已面世的著作，提供了可靠的第一手資料。

近代中華武術

近代中華武術

陳靖

古代，國家有軍隊保家衛國，而武術則是將士的武器。可以說，武術是屬於國防力量。還有維持社會治安的府衙官兵，武藝就是他們的隨身武器。

軍隊的士兵主要是佈陣行營的軍事訓練，作戰時是以陣法和人員多寡為決勝要素。

府衙官兵，捕快之類，對武力的技術就比較謹慎。因為對方不一定是敵人，所以運用武力要恰到好處。做到恰到好處是要有很高的技術手段。

古代朝廷政府為確保社會穩定治安。是不鼓勵民間習武，妨論普及。交通的不便，訊息的閉塞，武術運動的資料傳播很大程度上是依靠「戲劇」和「說書」的傳播。這兩種職業依據歷史故事和坊間的俠義傳說誇張地，生動地深入人心。
 

『抗爭導致傳播擴散』

明末清初，兩朝更代的歷史際會。漢人民族情緒洶湧澎湃，明朝的腐敗漢人毫不計較，一心志在反清復明。社會上的有志之士，成為號召者，組織者，領導者，發動者。組織民兵，發動抗爭。因而造就武術的風行，清代初期是中國武術普及發展的鼎盛時期。武術從以前由少數人高雅的修道行為，被簡化和廣泛地運用到民兵和官府的武力抗爭中。

隨著清朝政權的穩固，激烈的抗爭愈演愈少，規模愈發愈小，以至平息，社會秩序日趨平和。鬥爭沒有了，但是，曾經遍及疆域的武術卻種留在民間。在日盛一日的成長過程中，造成中華武術獨特的形象。

滿清朝代社會太平穩定，國家富足，民間富有。各類勞動的發展不斷地進步，各種藝術的修養不斷提高。各行各業的出類拔萃者不斷湧現。追求至高境界和超越境界的理想者互逐先進。

武術界也不例外，由於當時的傳留，廣范地令喜好者得以學習的機會，安定的生活環境使有條件的學者去追求更高的知識和境界—拳道修煉。

少數得道人士通過拳道修煉把修煉的成果運用在武術中，展現出令人驚異的效果，並且珍藏和作出選擇性的傳授。民間認同並將這些人士的技藝稱為功夫。「功」指成功，「夫」指有資格教授的人。

何謂拳道：形練成之為拳。炁煉成之得道。

這不僅是指有形與無形的化合，重要的是從有形走向虛無的鍛鍊過程乃至以探討虛無，虛空的學問。

在那個年代，由於資訊不發達，交通不方便，真的能學好，達到拳道高境界的人士為數不多。自古以來都是鳯毛麟角，一代不出數人。
 

『經濟發展促進武術發展』

在古代冷兵器時代，學得和煉好武術是一种可以作為工作求生活。以武術為職業的包括有軍隊將士，衙門捕快，鏢士，護院，等等。

這些以武力營生的工作，比拼的是武藝的高強。這類的工作往往是用生命作代價。但是，高強的武藝是需要長時期的鍛煉才能成就的。可是，為了生活，年紀輕輕就要投入這些行當職業謀生。因工作需要，除了靠先天的孔武有力，或者身體強健之外，必須有後天的煅煉和武術的學習。為了盡快地達到或掌握特殊的工作能力，依據本身的工作經驗，以及周圍生物活動所觸發的靈感，衍生各种技藝變化的發展和解決曾經遇上的工作問題。

鍛煉上為了盡快地練出特殊的技藝，為練就本身肢體的堅硬，不惜以傷殘自身的磨練行為作為達到目的手段。例如：身體忍受擊打的鐵布衫、全手掌拍打硬物至成老繭的鐵沙掌、敲打手前臂的尺骨和撓骨，使之受傷甚至微裂而產生骨質增生，因此增强手臂硬度。包括練掃堂腿、鐵頭功，諸如此類。

利用對拳雙臂之餘，又在兵器上花心思。因此，輕重有別的各類長短兵器，相互克制的各種器械類型，層出不窮。同時，取長補短，出奇制勝的各類暗器如：飛刀、飛鏢、石彈等等，無奇不有，各自擅長。

以往，國家的糧食，油品等等民生物資，均為朝廷政府統籌。調派物資都是由地方政府或軍隊監察護送。

至清朝中期，民間商貿興旺，朝廷政府也鼓勵民間的商貿活動。以往的階級地位是：士、農、工、商。商人經常要離家謀生，別井離鄉，是屬厭惡性的工作。唐朝詩人白居易在琵琶行一詩寫道：「老大嫁作商人婦，商人重利輕別離」。

蓬勃的商貿活動帶給商人豐厚的金錢利潤。商人腰緾萬貫，社會地位因此提高。隨著買賣的坐大，貨物販運的安全保障需要，鏢局行業也因此大量湧現。

由於財富的聚集，商人的家業除了請丫環、奴僕之外，還必須要請看家護院。而這一類的工作都要求是武藝高强的練武術的人士。

這幾种因素就讓這些煉武術的人士有條件相聚，有機會相互探討、切磋武藝，從而提高工作能力。這個時期的中華武術的普及在程度上又提高到另一層次。

社會上把拳道學者稱為「煉炁士」，俗稱「煉家子」。把練武術的人士稱為「練把式」，或者「把式匠」。
     

『煉炁士   把式匠』

煉炁士在修煉的過程中不斷地提高學問，通過修煉明白大宇宙觀。這類人士並不滿足於將成果使用在武功範疇。而是重視如何將自身與空間化合產生與遙遠的距離遙相呼應。這是一種永無止境的學問。所以必須盡情把自己的生命延長來滿足於對大宇宙的探索。要延長生命包括保護生命，自然而然，武術也包含其中。同時，也積累了延長生命的養身保健之法。

「把式匠」們的出身在民眾基層，以農民居多，基本上文化水平較低。而這一類的學習者眾多，在廣泛流傳的民眾間為了加以區分，就產生了以地區來注明如：華山的華拳。練法的特徵如：環手的通背拳。行動的目的如：意的形意拳。等等，等等而命名的拳術流派。這樣，民間里零散的招式和短小的招式組合，逐漸地，有效的，有系統地被組編起來。武術的發展待以進一步地提高。

清朝後期，一些「把式匠」們生活安穩，家境富足。有了這等條件之後，他們把武術認定為一種學問，并努力去學習和鍛煉。由因那個年代交通，資訊的不便，他們只能利用自身富裕的經濟條件，接待過往前來的練武術人士和懂功夫的得道之士。自古以來，祖輩聖賢記錄下來的丹經，鍛煉方法，那些「煉炁士」也漸多地將功夫留藏在民間。中華武術在這個時期的普及程度也隨著提高。
     

『國勢積弱   武術奮鬥』

清朝末期，雖然國勢積弱，但是民間存在著高有高消費，低有低消費。官員，民眾好像沉溺在享樂的迷茫之中。鴉片對國人的荼毒，八國聯軍的圍攻，外國強敵的侵略，清朝政府和人民潰散了。留下國人的恥辱：「東亞病夫」。

義和團組織反抗外國強敵，以刀劍對抗槍炮。雖然慘敗，卻激發起民族情，全民練武，全民皆兵成燎原之勢。這時期，派生拳種如雨後春筍。例如：以《水滸傳》書里的英雄人物命名的拳種，以《三國演義》書中的將軍命名的拳種，以生物臆名的拳派拳種等等，等等。並且效仿者綿綿有續。

清末民初，戰亂不斷，國困民窮，老百姓流離失所。

民國初期，各類精英人物游聚上海。國民政府委民國將軍張之江在南京成立「南京中央國術館」，提出「強種救國」口號。並舉行人材選拔賽事，勵行推廣武術運動。武術界精英匯集南京、上海。全國各地的武術高手爭先恐後。這一階段是中華武術發展的中流砥柱。同樣，拳種流派在這時期也肆無忌憚地衍生。內家拳和外家拳也是在這時期分為道別。
   

『政策意屬全民    發展卻成冰雕沙雕』

中華人民共和國成立後，當時國情「一窮二白」。長時期的國內外戰爭，貧窮的國家老百姓體質虛弱，國家最高統治者毛澤東提出「發展體育運動，增強人民體質」的政策。各類體育運動全面展開，武術運動也不例外。只是，武術運動選擇性地重點提倡「太極拳」。在號稱為內家拳一系的流派傳承中，現代的太極拳始祖楊露蟬、楊建候、楊澄甫、楊家祖孫三代厥功至偉。

當代實至名歸的代表人物為楊家太極拳的汪永泉、意拳王薌齋、華嶽心六合八法拳吳翼翬。當今，碩果僅存的楊家太極拳汪仲明。

當時，地方武術的流傳範圍有所局限，而太極拳的傳承已由我國地北至南，地東至西。再者，太極拳的肢體柔化運動更適合全民性的體育保健活動。

諸多共和國的領導人丶包括軍隊中的將領對中華武術亟之酷愛。國家體育學院也設有武術這門專業，這也包括全國各地的高等體育學院。師資方面盡多地錄用原南京中央國術館的學生。

這批朝氣蓬勃的南京中央國術館的年輕學生在學校里有機會接觸到各門各派的武術技藝，有機會接受各門各派的頂尖武術教授教導，學識多，見識廣。為他們日後任教和編寫教材，教導學生積累了豐富的學習經驗。

這批新進的武術教授在此時確實起到了承前啓後的作用，並奠定他們在武術界的地位。

也是這樣，這批當年的學生，當代的教授，大多文化程度不高，所學的都是武術範疇的拳腳技藝和奮不顧身的搏鬥。他們編排著讓職業運動員短暫的職業壽命的比賽套路。這種不屬於全民的武術發展，名字叫著「學院派」。

隨著他們年紀的老大，因為不容許後來者挑戰他們的地位丶權威和既得利益，他們保守了，成為當今武術發展的障礙。接班人又重蹈覆轍。
     

『大時代的需要』

1966年在政府的鼓動下發生了一場文化大革命的政治運動。全國處於停學停工的狀態，並形成「一種主義兩個分派」的局面。兩派的對立導致暴力的對抗。當時的中央領導之一「江青」女士發出一個政策性的口號：「文攻武衛」。幾乎可以說，全國的年輕人掀起了練武術的熱潮。城市里街頭巷尾都會有練武的小團隊，有些大城市甚至在大公園，大廣場大範圍教授武術。地方，區域的拳種門派蜂擁而出。特別是學生可以無限制地全國串聯，這時代成就了武術交流的大時代。民間的武術文化和各門各派的武術技藝，手抄本的文字記載的拳譜大量地流通，學者對武學文化的認識也因此再次提高了。民間習武人士對學院派的只有動作難度，沒有文化深度的武術既不欣賞，也不追求。

1949年，一批武術界的精英出走到當年同屬中國領土卻歸英國管轄的香港。外來的武學和本土的武學互相融匯，欣欣向榮。

1970年時期，香港武術界一位傑出人材「李小龍」。他利用香港電影攝製的先進水平拍攝以他為主角的武俠電影。電影具以褒揚中華民族精神為體裁，他以不折不撓的熱血青年的形象，演繹著他獨特的武術技藝，向全世界展示和宣掦中華武術，風行全球。李小龍本身的硬朗和靈活的武術技藝在電影中的誇張表演，讓習慣了西方的搏擊術的世人看到了東方中華武術的搏擊術而心存驚憟，並且響往、追求。就這樣，世界武壇有了一個響亮的名字：「中國功夫」。

八十年代，盛行於香港的武俠電影和武俠電視連續劇傳染了有十億人口的中華大地。也影響到電影製作的體裁所帶來的經濟效益。武俠電影盛行。這個時期，各省巿體育院校的武術系學生和職業武術運動員，憑借他們職業訓練，絕佳的腰腿功以及耀眼的難度動作，在武俠電影里得到充份的發揮。運動員的精美造型，漂亮的動作。翻騰的難度，奇妙的閃展，美侖美奐。觀眾看得目瞪口呆，高聲喝彩。全世界，全國的年輕人，小朋友，甚至成年人都為之響往。若大的巿場有龐大的經濟潛力，各地的武術學校、武館如雨後春筍，連「空門」也聘請武術運動員和體院學生來冒名頂替，借屍還魂的商業活動。這時期，中華武術如火如荼地發揚。這潮流淹蓋了地方武術—「傳統武術」。

武術運動，學院派將其又為套路表演賽運動員和散打運動員兩種。散打體育專項給搏擊運動員提供了一個合法、公平的競技平台。可是，有一些人卻大聲叫嚷著而不去利用這個公平、合法的平台。

但是，這不意味著套路競賽運動員的訓練就輕鬆些。反而，為了配合難度的提高，運動員的訓練是極之嚴格和辛苦。因此，跌撞損傷就象是必然的事。學院派發揚的此類武術又統稱為—「新派武術」。

人們發現到這些武術運動員出身的武俠電影演員，大多都受過傷，甚至嚴重受傷。可是他們並不是在擂台上格鬥受傷，或者是隨意的比武受傷，而全都是在學習、訓練中受傷的，這些運動員只是比賽表演套路而已。基層武館的教學是迎合比賽、表演的需要。所有的課題都跟隨著學院派不斷的更新而追隨。這類違背武術以練好自身體質為原意的新派武術，讓人們驚呆了。當人們清醒過來後，又是啼笑皆非。每個孩子都是父母的寶貝。武館、武校陸續結業。

中華武術是一種能量，是人類生活和勞動的營養劑。

正如拳經：『「四民均宜習武藝論」：士也終日讀書，予亢困倦之時，故士也應即擇武學之，乃精神振起再去讀書，是武也不病於士而大有益於士也，士也胡不學武。

農也朝夕田間，予無歇息，與其胡頑偷閒，不如學武，可以保家，是武不病農而有益農，胡不學武。

工也商也，芬芳風塵道路，予也燕處時耶，當此之際，學習武藝不妨工商之事，日計不足月計有餘，一旦精通，誰不另眼看待，設遇危險之變，豈不能自保身家哉，是武不病於工商也，而有益於工商也，胡不學武。』。

武術是有生命，有歷史承擔。原本很清晰的學問，現在卻搞得混淆了。失去了信念，迷失了方向。如果我們不能把前人探索過的境界，用自己的功夫顯示給後輩，那麼，前人對拳道的論述，便會隨著歲月的流逝而變為雖流行但陌生的文字。成為人云亦云，想當然的空洞概念，這也是現今中華拳道傳承的迫切問題。

凡拳種源流，普遍的認識均流行美化、故事化。常將野史、傳說當正史。現代交通便利，資訊發達。因此，很多動人的故事，美麗的傳說，人們都可以親臨感受。結果呢，那些動人的故事和美麗的傳說一個個泡破，徹底地令人失望。

為了適應當代社會的需求，那些泛稱「傳統武術」的民間武藝，正在靜靜地自我革命。然而，冠以美名為「傳統」的現代人喜於自篡，多輕視於繼承而多重視於復古。今人取其精華作用，也必須有去其糟粕之為。

什麼是傳統呢！

憑著智慧和本能作出反應的學問。

經歷空間久了，仍然存在，這就是傳統。

新生的文化也是在傳統文化的影響之下而衍生，變化的。

在這個大時代，中華武術又要肩負什麼承擔！

二零一五年七月十三日初稿於香港