In 1995, I began studying Northern Shaolin Long Fist under Sifu Henry Gong. I have had the opportunity to study and practice with six (6) traditional Chinese weapons: staff (Kun), dagger (Bi), spear (Qiang), broad sword/saber (Dao), double-edged straight sword (Jian), crescent-moon broadsword (Kwan Dao). Of these six weapons, I have had the most experience with the saber. The saber is (perhaps) the most used weapon in Chinese Kung Fu and considered to be the "marshal of all weapons". Almost all traditional Chinese martial arts incorporate some weapons training; I believe that an analysis of this particular weapon would benefit both current and potential Kung Fu students.
History
Beginning with the bronze swords of the Shang dynasty (2200 BC through 1766 BC) and progressing to the steel swords of the Qin dynasty (221 BC through 206 BC), Chinese swords had either single-edge curved or double-edge straight blades and usually had a tip for thrusting. By the end of the Han Dynasty (206 BC through 220 AD), the single-edged saber (dao) was more popular than the double-edged straight sword (jian), because the saber was considered to be the superior cavalry weapon. The early sabers were single-edged and had slight curves. The Mongols invaded China in the early 13th century. The Yuan dynasty of the Mongols influenced China and other nations considerably - most notably in terms of the implements and tactics of war. The favored weapon of the Mongol cavalry was the saber. Also referred to as a "Turko-Mongol Saber", this one handed, curved blade had been used by the nomadic tribes of Mongolia since the 8th century BC. Because of its effectiveness as a cavalry weapon and, its wide distribution across the Mongol Empire, the saber's influence had lasting effects. It engendered descendants throughout Asia and Europe that inspired the creation of even more types of curved swords over the years. The Persian "Shamshir", the Indian "Tulwar", the Afghani "Pulwar", the Turkish "Kilij", the Arabian "Saif", the Mamluke "Scimitar", and the European saber and cutlass are all direct descendents of the Mongolian saber.
Chinese sword smiths began producing blades that closely followed the design and dimensions of Mongolian blades after the Mongols conquered China. Sword smiths in different regions of China had their own distinctive personal and regional styles, which lead to slight variations in blade design and dimensions. Two of the most notable types of saber are called the Liuyedao ("willow leaf knife") and Yanmaodao ("goose quill knife"). Variations of this design include the Kwan Dao and Huyadao, which featured, curved blades on the ends of wooden shafts of varying lengths; in addition, the Burmese Dha and Siamese Krabi both closely resemble the Chinese saber. The surviving blade of the Mongols' is the Niuweidao (oxtail knife), which is the typical Chinese saber seen in today's Kung fu/Wushu schools. The Niuweidao was developed in the Qing dynasty but was used only by civilians - it was not issued to imperial solders.
The Chinese spear (Qiang) and saber (Dao) were commonly issued to infantrymen because of the expense of and, greater amount of training required for the effective use of the Chinese straight sword (Jian).
The Saber in Contemporary Martial Arts Training
Chinese martial arts (also referred to as Kung Fu or Wushu) have been evolving in China for well over 5000 years. During this time, a wide variety of barehanded fighting styles and techniques have been developed and perfected. At the same time, various types of weapons were developed for self-defense and were incorporated into these fighting disciplines. In ancient China, weaponry varied greatly in terms of design and purpose. Martial arts practitioners determined that the mastery of these weapons was not only important in terms of self-defense but also aided in the practitioners' overall physical and mental well-being. This tradition of mastering ancient Chinese weapons has continued to be an important part of Chinese martial arts training.
Saber play (in martial arts training) is viewed as a method whereby the practitioner may improve his/her perception and reaction time. Also, saber training (and for that matter, training with all traditional weapons) is viewed as having an artistic and historical value, which goes far beyond the satisfaction gained by merely perfecting weapons techniques. Saber play is seen as an invaluable training tool because it requires extensive physical activity that contributes to a strong and well-conditioned body.
Saber play is vigorous and quick in defense and offence so it is often compared to the character of the "fierce tiger".
Saber Play and Lower Spinal Rotation ® (LSR)
Lower Spinal Rotation ® (LSR) is Sifu Henry Gong's concept and method whereby power and body control is supplemented by rotating the lumbar region (vertebra L1 through L5) of the spine. This approach is radically different from the traditional notion of 'waist' power in that LSR calls for the precise control of the vertebra and muscles of the lower back just above the sacrum. (This movement is independent of the movements of the hips and pelvis.)
Lower Spinal Rotation ® is not limited to unarmed martial arts movements, in fact, Sifu Gong stresses that LSR is applicable to an incredibly wide range of human activities including (but not limited to) swimming, running and dancing. It is only natural that this concept can (and should be) applied to the use of traditional martial arts weapons.
To apply LSR to the saber, we must first overcome a common attitude regarding the weapon's relationship to the martial arts practitioner. Many martial artists believe that the saber should be considered to be an extension of the user's arm. Based upon this notion, the manipulation of this weapon is dependent upon movements of the arm and shoulder exclusively. But, the arm is attached to the torso and, the torso is attached to the head and lower extremities. Isn't it safe to say that the human arm is an extension of the entire body? If this is the case, then the weapon may be viewed as an extension of the body and, LSR can be readily applied to the maneuvering of the saber. Quoting Sifu Gong, "LSR is about body movement. LSR applies to all martial arts styles…"
Incorporating LSR into the movements of the saber requires the martial artist to adjust his/her concepts of power, speed and precision. The main techniques of saber play include chopping, hacking, slashing, cutting, pricking, lifting, poking, winding, blocking and pushing. (It should be noted that these movements may be performed with different parts of the blade.) In order to perform any of the aforementioned movements, the martial artists should attempt to achieve a "feeling" between the specific parts of the blade and the lower spine. This is similar to the Tai Chi technique of "Push Hands" where the point of contact (I.E. hand, wrist, forearm) has a direct "feeling" to the lower spine. Specifically, the manipulation of the blade does not begin and end with the movements of the arm, wrist and shoulder. Instead, the blade is propelled by the incremental rotation of the lumber region of the lower spine in conjunction with the movements of the wrist, arm and shoulder.
Saber Forms and Techniques
Saber movements are not random; they (along with the weapon itself) have been carefully and systematically developed to allow the martial artist to wield the saber in an efficient, powerful and safe manner.
The core of saber training (and tradition) within Northern Shaolin Long Fist Kung Fu in rooted within four (4) sequences: Dao Bu, Chi Sing Dao, Pa Kua Dao, Er-Lan Jiu Huan Dao.
a) Dao Bu (Saber Steps):
After the martial arts student has learned the fundamental aspects of Northern Shaolin Long Fist, he/she will begin saber training by learning and becoming proficient in/with the saber form known as Dao Bu.
Dao Bu is a sequence of movements (a 'form') that was developed as a basic saber training routine. This form introduces the student to proper saber etiquette and to the proper methods for handling/wielding the blade. The form combines basic offensive and defensive saber movements. Dao Bu calls for the student to perform a series of thrusts, chops and slashes while moving from one position (stance) to another. In general the thrusts, chops and slashes of this form are made with the blade parallel to or perpendicular to the blade wielder's body for safety.
Although it is considered a 'beginners' form, Dao Bu is still practiced by more advanced martial arts students as a warm-up and as a conditioning tool. It is often performed at martial arts tournaments and demonstrations because of its simplicity and elegance.
b) Chi Sing Dao (Seven Star Saber):
Chi Sing Dao is considered an intermediate saber form and is not taught until the martial arts student has learned and become proficient with/in Dao Bu. Chi Sing Dao and Dao Bu share a high percentage of movements (although the order of the movements does vary). Chi Sing Dao does differ from Dao Bu in that it incorporates more kicks and other barehanded fighting movements, which raises the form's 'degree of difficulty'. This saber form helps practitioners improve their spatial orientations skills through rapid direction changes and transitions between low and high stances.
Legend has it that when Chi Sing Dao is executed correctly, the martial artist's steps will follow the pen strokes that makeup the Chinese character that represents the number seven.
c) Pa Kua Dao (Eight Shapes Saber):
Pa Kau Dao is an advanced saber form consisting of rapid transitions between high and low stances that are executed while the practitioner performs a series of chops, thrusts and slashes at unusual heights and angles. This form is reserved for advanced martial arts students because many of the saber movements call for the blade to pass dangerously close to the blade wielder's body. The form calls for long, graceful slashes and short, precise chops and thrusts. The form's overall footwork is considered to be somewhat intricate. One can see the evolution of this form as it combines many of the movements seen in both Dao Bu and Chi Sing Dao. Individuals viewing a performance of Pa Kua Dao will note that the sequence begins with a series of simple body and blade movements but blade movements and stances steadily increase in complexity and degree of difficulty as the form progresses to its conclusion.
d) Er Lan Jiu Huan Dao (Second Brother's Nine-Ring Saber):
Er Lan Jiu Huan Dao is another advanced saber form that is not learned until the martial artist has achieved a high degree of proficiency in both Dao Bu and Chi Sing Dao. Although the form's footwork and saber movements are not considered to be overly complex or intricate, the form's 'advanced' label is earned because it is performed with a nine-ring saber.
The nine-ring saber differs from the standard Chinese saber in several important ways. The blade of the nine-ring saber is both shorter (by approximately 25%) and wider (by approximately 30%) and, has a set of metal rings (typically between seven and nine) attached to the blunt edge of the blade. These adaptations make the blade of the nine-ring saber heavier and less supple than the typical Chinese saber. Martial artists who pick up the nine-ring saber for the first time generally describe the blade as both 'heavy' and 'awkward' and, difficult to maneuver. To familiarize the student to the intricacies of the nine-ring saber, he/she is encourage to use this type of blade when practicing a more basic saber routine such as Dao Bu or Chi Sing Dao.
Er Lan Jiu Huan Dao is a form that was developed to take advantage of the physical characteristics of the nine-ring saber. Long graceful slashes do not appear in this form; instead, the sequence contains a large number of chops and shorts thrusts, which emphasizes balance and power. Also, this form contains a relatively small number of defensive maneuvers. Even when the sequence calls for the martial artist to retreat, the blade is used to chop at an imaginary opponent.
(The term 'Er Lan Jiu Huan Dao' does not precisely/directly translate into English. It can mean: "Second brother's nine-ring big knife" or "Er-Lan's nine-ring big knife - where 'Er-Lan' refers to the name of an actual person. This minor mystery arises from the fact that the origins of this particular saber form are not well known.)
It should be noted that the saber training of martial artists is not restricted to the practice of traditional forms. Once students have learned (and attained a competent level of proficiency in) several saber forms, they are encouraged to develop personal training incorporating movements from two or more forms into free flowing and improvised routines.
For additional information please refer to the following:
www.shaolinlongfist.com www.lowerspinalrotation.comBibliography
1. Ancient Chinese Weapons: A Martial Artist's Guide
by Dr. Yang Jwing-Ming
YMAA Publication Center, 1999
2. Forever Young: The Secret Blueprint
by Henry P. Gong
Push Pull Press, 2002
3. Illustrated Chinese Sabre for Self-Defense
by Douglas H. Y. Hsieh
Meada Enterprise Co., Inc., 1983
4. Kung Fu Elements: Wushu Training and Martial Arts Application Manual
by Shou-Yu Lian and Wen-Ching Wu
The Way of the Dragon Publishing, 2001
5. Shaolin Long Fist Kung Fu
by Dr. Yang Jwing-Ming and Jeffery A. Bolt
Unique Publications, Inc., 1982
published with author's permission
Master Gong begins from a horse stance, with the saber tip against his chest. His lower spine is in what appears to be a neutral position, but in reality his spine is slightly prepped to the right. He looks at his target to his left, as he prepares to move.
He uses a leftward LSR to lead his turn. This brings his saber forward in a straight line, and the left hand back into a hook, as both follow the motion of his very center oriented spinal rotation, they are brought up together up their respective front / back centerlines. He shifts his weight towards the target, sinks a little into his bow stance, and his hips contribute an additional amount of turning force; these forces, along with his LSR are all transmitted into his saber's tip.