Note:
The following descriptions of the rare and ancient arts given below were created by Dr Alan Tinnion, in his capacity as a much respected and trusted Inner Chamber Disciple of his Master, Shizu [Grandmaster] Chee Kim Thong, to provide proper accurate scholarly descriptions of Wujiquan and Luohan Ru Yi Quan on the Wikipedia website resource. The creation of both articles was due to a general lack of accurate description of these systems for reasons explained below.

Parts of these systems have been taught to a limited number of individuals of the Chee Kim Thong Lineage, but they were taught in their entirety to Dr Alan Tinnion on a personal direct basis by Grandmaster Chee Kim Thong who felt him worthy of preserving and teaching them in their unaltered, accurate forms. The transmission of the two systems took place over a number of years.
Wujiquan and Luohan Ru Yi Quan were taught to Grandmaster Chee Kim Thong by his final and greatest teacher, the Chan Buddhist patriarch of the legendary Southern Shaolin Temple [Fujian province], the Very Reverend Abbot Yik Cha’an Cha’an Sze .
Please also see the ‘Spirit of Gong Fu’ article in the Articles section of this website: this provides further information about the Luohan Ru Yi Quan system.

Wujiquan

Wujiquan (Chinese (無極拳): Pinyin: Wujiquan; Wade-Giles: Wu Chi Chuan): ‘Ultimate Void Boxing’: A Rare and Secret Ultimate Void Boxing Skill, and Mother Art of Taijiquan; from Wuji comes Tai-ji The Wujiquan System is composed of 36 ‘Characters’: 18 kinds of natural climatic phenomena, and 18 of Qi applications.

One of the rarest of traditional Shaolin Boxing systems, Wujiquan is also one of the purest of traditional Chinese soft-internal boxing systems(Neijia): being taught to very few in its entirety and only after years of rigorous training and testing for aptitude; it never became widely known, which meant that unlike the better known, Taijiquan, there was no opportunity for the system to undergo the experimentation and mixing with other systems and arts which during recent centuries led to the variety of styles which characterize Taijiquan.

Wujiquan’s origins are ancient, belonging to the age of the renowned legendary Chinese physician, Hua Tuo (c 208), or even earlier times. As its name and the names of its individual 36 Characters indicate, it is derived from ancient Chinese, Daoist and pre-Daoist (shamanic ancient Chinese) concepts such as Yin-Yang, and also from natural climatic phenomena. The name of its creator(s) is unknown, but it is understood to have been originally taught at and included amongst the ancient systems taught at the Shaolin Temple (Songshan, Henan Province, China) from its early centuries until at least as late as the era of the Sino-Japanese Conflict (1937–1945). The authority for the assertion of the ancient origins and teaching within the original historical Shaolin Temple System from very early times is derived from one of the last Abbots of the Putian, Nan Pu Tuo (also formerly known as ‘Quanlin Yuan’), Southern Shaolin Temple (Fujian Province). The Abbot of this historic temple, the Very Reverend Yik Cha’an Cha’an Sze taught this system (and Luohan Ru Yi Quan, and 18 Arhat Boxing) over the course of 3 years to his disciple, Grandmaster Chee Kim Thong (c 1920–2001) prior to the fall of the temple and invasion of Fujian by the Japanese – Grandmaster Chee gave the system the nickname of ‘Shaolin Tai-Ji’.

Luohan Ru Yi Quan

Luohan Ru Yi Quan [ Hanyu Pinyin ]: literally ‘Luohan “As You Wish” Fist.’ This set altogether has 108 different hand techniques, and includes the Dazun 9 Yang Gong, Wuji Gong, Tai Ji Gong, and Wuxing. A rare and secret high-level Shaolin martial art: it should not be confused with the much better known Eighteen Lohan [or Arhat ] Boxing System.

The system is also known by the names, ‘Printing the Red Palm [Push attack],’ and ‘The Old Man Set’ (an informal name for the system known within the Chee Kim Thong Nan Shaolin lineage).

The origins of the Luohan Ru Yi Quan system are unknown, but certainly date from an early period of the Shaolin Temple’s martial arts history. As with all of the Shaolin martial arts, and in particular the highest level ones such as Wujiquan, it has a spiritual meditation development purpose separate to its martial applications. In comparison to the predominantly ‘yin’ characteristics of Wujiquan, Luohan Ru Yi Quan is more robustly ‘yang’ in its fundamental dynamics and visual impact. It is known as ‘The Old Man Set,’ ‘As You Wish Fist,’ and ‘Printing The Red Palm,’ because it contains mastery of techniques which only the most gifted Shaolin gong fu masters and traditional Shaolin fighting monks of old attained after a lifetime of patient study and exceptional success in fighting application. With this level of gong fu reached, the Luohan Ru Yi System enabled its practitioners to use techniques, to ‘push through’ any form of attack, and defeat or kill the challenger.

The role of Disciple and Master: requirements and expectations...

The world of today with its consumerism, slick advertising, computer technology and accompanying largely rootless, superficial values is a far cry from the world Grandmaster Chee was brought up in. One of the concepts most difficult for the modern, Western mind to grasp is that of Discipleship. It is a concept poorly understood, and perhaps a little tarnished by its connotations of religious fanaticism, not to mention an apparent surrender of a large portion of personal liberty, with the disciples’ freewill being sacrificed to that of the Master.

However, in the world of Old China, to be a disciple of a true Gong Fu Master was both a great honour, and ultimately a protection. The concept of traditional Gong Fu discipleship is based on the wisdom that in surrendering a little, one gains much more.

This is unsurprising in a part of the world where the spiritual philosophy of Daoism and to a certain extent that of Buddhism thrive, for both teach the supreme spiritual and practical value of self-mastery [essentially mastery of ones negative emotions, through the application of rigorous self-discipline].


Of old a Master would not declare his powers, lest it provoke envy and troubles: In the actual words of Grandmaster Chee Kim Thong, quoting the great Chinese Philosopher [Confucius]

‘Ten thousand battles, ten thousand victories. Better to remain quiet’ ‘Ten thousand words, ten thousand arguments.
Better to remain silent.’

In other words empty vanity and boasts, lead to needless trouble and danger for the martial artist who fails to live by this wisdom.

In Old China, if a Master could not for all he tried, conceal his nature and powers, many would be drawn to him to request instruction in the arts to protect themselves from violent men in troubled times, while others would look to him to protect them.

In this way a recognised master would attract many followers from amongst which a small band of the most potentially gifted for learning the arts, would become his martial arts disciples. These principles and the phenomenon of the Gong Fu Master-Disciple relationship survived into modern times and changing circumstances.


The youth and early manhood of Grandmaster Chee fit the age-old pattern of the tradition, and is the very material of which Gong Fu legends are made. In his latter years the tradition was maintained but with some evolution to fit the circumstances of the modern world.

Men who loved the arts for those arts sake – the traditional reasons for seeking discipleship - and who wished to undergo the full rigours of training which went with the honour of being a disciple, were waning as life became less harsh, and more consumerist.

Yet violence and men of violence still troubled the part of the world Master Chee settled in: so the desirability for seeking the protection of the name of such a Master through association, remained. Moreover, due to a variety of factors Westerners increasingly became aware of the legends and powers attributed to Gong Fu masters.

Some became so enamoured of the glamour of the arts as to try to form connections with Chinese Gong Fu masters, and most of all with Grandmasters, of whom few remained, and of these one of the most renowned was Master Chee.


In these changed circumstances we find that the concept of discipleship went through some subtle evolution. There were students (who so to speak only ever received the ‘Mao Pi’ [‘hair and skin’] of the teachings of a Master and his System: ie they were only taught the surface level teachings and no more), disciples, honorary disciples, and Inner Chamber Disciples: these last constituted those most akin to the disciples of a master in China of old.

Inner Chamber Disciples were few in number, a mere handful of select individuals – of which Shifu Alan Tinnion was one - who underwent the full Rites of Initiation. Of all types and grades of disciple, the Inner Chamber Disciples were the most important, and most senior in the traditional sense.

Others may be more senior in terms of age, and these in line with traditional Gong Fu etiquette were always accorded respect, but this respect should not be confused with the special kind accorded to the Inner Chamber Disciples in the personal esteem of the Master, for these were his spiritual sons enjoying the unique role and privilege of being the real Guardians of the Arts and of the Lineage.

Wuzuquan/ Shaolin Five Ancestor Gong Fu

WHO WERE ‘THE FIVE ANCESTORS'?

THE FIVE ANCESTORS were not individuals as such, but rather exemplary master-exponents of specific Gong Fu self-defence/fighting systems (and even then modified in their final stage of finished perfection by a sixth influence – ‘The Lady in The Green Dress [Hian Loo]). Wuzuquan is an art, having an infusion of five great systems. To learn more about the history of Wuzuquan please visit our Articles Page.

The FIVE ANCESTORS were the exponents of the following: Damo: Luohan Quan: Taizu: Baihe Quan: Xing Zhe Quan
Added to these were modifications by Hian Loo (The ‘Lady in the Green Dress’).

Damo (Tat Choon)

Damo introduced Qi-Gong exercises to the Chinese monks and it is from Damo that the breathing techniques of Wuzu are derived. An Indian monk who travelled from India to Guangzhou (Canton) in 520, and thence by foot to Song Mountain Henan, where he settled in the Shaolin Temple (then hardly a century old): Damo (Bodhidarma) was the 28th Patriarch of Buddhism and the First Patriarch of Chan (Zen) Buddhism.

At the Temple he found the monks in poor health, hardly able to carry out their important spiritual duties. At the end of his famous nine year long meditation (carried out in a cave to the rear of the Temple) he realised that his long period of sitting had atrophied his leg muscles to the point of immobility. He sought a remedy to this problem (and fortuitously to that of the health condition of his fellow monks as well) through specially devised breath control exercises, combined with meditation (mind-intent).

Through these excercises his mobility was progressively regained and his vitality greatly increased, for he had generated and directed his qi through the qi-gong exercises he had discovered. These, he taught the monks, who were not only swiftly restored to good health and gained great powers of concentration, but also found aspects of the system could be used in self-defence.
Damo is reputedly the creator of the 18 Lohan Hand Forms. He pursued his travels once again having taught the monks Ch’an Buddhism. He inspired the writing of two famous books, The ‘I Chin Ching/ I Jin Jing’ (The Sinew Change Classic), and the ‘Sui King Chin/Sui King Jin’ (Washing Marrow Classic): both teach the meditation and respiratory techniques for developing the Qi and hand movements.

Luohan Quan (Lohan): (The Immortal)

The original Shaolin system. Luohan Quan was created by the expert monks of the Shaolin temple in honour of the 18 Luohans, or immortals.

The characteristics of the system are correct posture, dynamic strength and internal power. The18 Buddhist Immortals, legendary figures whose affinity with mankind is renowned, gave their name to this distinctive ancient Shaolin boxing system.

They encapsulate the generation of dynamic power through expansion and contraction of the muscles of the body and its limbs in unison with breath control techniques: the system is therefore not surprisingly renowned for its body posture and fist techniques. Each Luohan has a special name and distinctive characteristic appropriate to martial skills and powers: in the images and statues depicting the Lohan, each has either a symbolic object or a wild animal in close proximity.

Taizu (Tai Chor): (Zhao Kuang Yin)

Zhao Kuang Yin, was the first Emperor of the Sung Dynasty, also known as the Sung Grand Ancestor, or Emperor Taizu, he was famous for his martial arts skills and established his own system, the majestic and graceful characteristics of which are proportion in one's movements, accuracy and a minimum of effort.

The Emperor (reigned 960 – 976) was not only a great military leader and strategist, and a cultured caring Father of his Nation, but also an innovative pugilist. He was not the inventor of the first system of Emperor Fist Boxing (of which there are more than one variety), but gave his name to the greatest of these systems, so that Emperor Fist and his name have ever since been synonymous.

The System is also known as Square Boxing, characterised by distinctive and emphatic linear movements which are visually deeply impressive. The System’s Hand Techniques are no less distinctive, being forcefully applied by simultaneously stamping and exhalation of the Dantien. Zhao Kuang Yin also invented a martial Form, using the Three Section Cudgel.

Baihe Quan/ White Crane (Pei Hoke): Yinyang Baihe

White Crane comprises usage of the open palm; there are 8 forceful and dynamic hand techniques, complimented by 24 refined and delicate hand movements.
The system was created by an unknown martial arts exponent who while walking along a riverbank was disturbed by the commotion of two cranes locked in battle. He observed the way they used their wings and beaks for defence and attack, and from these observations, modified and adapted the crane techniques into a fighting system.
Shaolin Wuzuquan uses the Yinyang Baihequan School of White Crane techniques (one of four known in traditional Chinese martial arts). The unpredictability of the flapping of the Cranes’ wings is highly dangerous transformed into fighting application.

Monkey Style (Soo Heng Cheh)

Monkey Style, characteristics of which are its nimble and cunning footwork, agility, and evasive skills.
The origins of Monkey Style Boxing are ancient: the first recorded allusion to it occurred as long ago as the Han Dynasty (206 BCE- 220 CE) where it was reputedly performed at the Imperial Court as part of the ‘Mi Hou Wu Dance.‘
Although small and apparently weak, the monkey is tenacious, extremely agile, fleet of foot, and hard to catch. In particular apart from its aptitude for grabbing, light jumping, controlled falling, and lunging, it is possessed of the ability to turn its hand and arm - once locked at the wrist - into a single, long, and very powerful hand, which it uses for defence or attack.
Practitioners of Monkey Style apply the exceptional evasive tactics and fighting skills of the monkey to their own defensive and fighting techniques in a way which is extremely difficult to counter.

Hian Loo (The Lady in the Green Dress)

Hian Loo, ‘The Lady in the Green Dress,’ completed the refinement of the Wuzuquan System with the most deadly of its techniques – DIM MAK – lethal strikes to the pressure points of the body.
No less importantly she taught her fellow founders of the system the wisdom of being Humble in attitude, and discrete as regards demonstrating and speaking about the art they had created: a classic value of all true and high level Gong Fu martial artists.

LEGENDARY AND FACTUAL GONG FU HISTORY

NOTE CONCERNING THE OBJECTIVITY AND RESEARCH OF MODERN HISTORIANS CONTRADICTING ACCEPTED/ LEGENDARY HISTORY OF CHINESE MARTIAL ARTS:

For some modern/twentieth century historians of Chinese martial arts, Damo is a controversial figure. Such scholars as Tang Hao, who deeply and dispassionately researched the historical records available, have concluded that there is no evidence to suggest that Damo did – or could have ever – taught the monks of the Shaolin Temple any martial arts.
The truth of the matter can never be known, but at the very least it is certain that the health giving and sustaining Qi-Gong techniques attributed to him, are more than credible from the little we know of his life while at the famous temple. As to the reputed martial arts teaching dimension attributed to him, at the very least it is not far-fetched to assert that one or two of the most suitably gifted monks who knew him personally, to whom he taught his Qi-Gong and therapeutic breathing techniques may have put the benefits these bestowed to martial use.
Whichever explanation be the true one, it is certain that Damo directly or indirectly has a unique place of honour in the System of martial arts to which his name is given, and which provides a most indispensable part of Wuzuquan.