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The first Shaolin Monastery abbot was Batuo (also called Fotuo or Buddhabhadra, or also known as Bodhidharma) a dhyana master who came to China from India in 464 AD to spread Buddhist teachings.
According to the Continued Biographies of Eminent Monks (645 AD) by Daoxuan, Shaolin Monastery was built on the north side of Shaoshi, the central peak of Mount Song, one of the Sacred Mountains of China, by Emperor Xiaowen of the Northern Wei Dynasty in 477 AD. Yang Xuanzhi, in the Record of the Buddhist Monasteries of Luoyang (547 AD), and Li Xian, in the Ming Yitongzhi (1461), concur with Daoxuan's location and attribution. The Jiaqing Chongxiu Yitongzhi (1843) specifies that this monastery, located in the province of Henan, was built in the 20th year of the Taihe era of the Northern Wei Dynasty, that is, the monastery was built in 495 AD.
The Kangxi Emperor of the Qing Dynasty was a supporter of Shaolin Temple, and he wrote the calligraphic inscriptions that still hang over the Heavenly King Hall and the Buddha Hall today.
Wikipedia Español:
La conexión entre Bodhidharma y las artes marciales chinas provienen de la novela Viajes de Lao Tsan publicada en 1907. Las circunstancias que ayudaron a crear la fama del Templo Shaolin son entre otras: Su ubicación en el monte Song, considerado como unos de los cinco montes sagrados de China; la proximidad del Templo a la ciudad de Luoyang la cual sirvió como capital de varias dinastías; la ayuda que algunos miembros del Templo le brindaron al iniciador de la Dinastía Tang, Li Shimin (Emperador Taizong), y la participación en milicias durante la campaña en la dinastía Ming en contra de los piratas chinos y japoneses de la época. La mención que aparece en la Estela de Shaolin, solo menciona la participación de 13 monjes en la campaña militar que dio inicio a la Dinastía Tang.
What is now known as "t'ai chi ch'uan" only appears to have received this appellation from around the mid 1800s. There was a scholar in the Imperial Court by the name of Ong Tong He who witnessed a demonstration by Yang Luchan ("Unbeatable Yang"). Afterwards Ong wrote: "Hands holding Taiji shakes the whole world, a chest containing ultimate skill defeats a gathering of heroes." This was the time when Yang Luchan made the Chen clan's martial art known to the world through his own form ("Yang family style").
Before this time the Art had no name.It was simply an unusual martial art practiced by a few. Jiang Fa passed down the Art to Chen Qingping in Zhaobao Town and Chen Changxing in Chenjiagou. Before the time of Yang Luchan, the art appears to have been generically described by outsiders as zhan quan (沾拳, "touch boxing"), mian quan (绵拳, "soft boxing") or shisan shi (十三式, "the thirteen techniques")
T'ai chi ch'uan's theories and practice are believed by the schools to have been formulated by the Taoist monk Zhang Sanfeng (Zhang Sanfeng was a legendary Chinese Taoist priest who is believed by some to have achieved immortality, said variously to date from either the late Song Dynasty, Yuan Dynasty or Ming Dynasty. His name is said to have been Zhang Junbao before he became a Taoist.) in the 12th century, at about the same time that the principles of the Neo-Confucian school were making themselves felt in Chinese intellectual life. However, modern research casts serious doubts on the validity of those claims, pointing out that a 17th-century piece called "Epitaph for Wang Zhengnan" (1669), composed by Huang Zongxi (1610-1695 A.D.), is the earliest reference indicating any connection between Zhang Sanfeng and martial arts whatsoever, and must not be taken literally but must be understood as a political metaphor instead. Claims of connections between t'ai chi ch'uan and Zhang Sanfeng appear no earlier than the 19th century.
Zhang Sanfeng, los montes Wudang y la relación con el taoismo (wiki, español)
En las artes marciales de China, el tai chi chuan se cuenta entre las artes marciales internas (chin. Neijia), relacionándose con los principios del Taoismo. Como fundador legendario de las artes marciales internas y por tanto también del tai chi chuan suele considerarse al monje taoista e inmortal Zhang Sanfeng, que según se afirma vivió entre los siglos X y XIV. Sin embargo su existencia histórica no ha sido comprobada. Según la leyenda descubrió los principios de las artes marciales internas en los montes Wudang, después de haber observado la lucha entre una serpiente y una grulla blanca.
La ciencia histórica no conoce documentos de la época en que por primera vez se fijó por escrito la leyenda de Zhang Sanfeng, en los que se sugiera una relación entre Zhang Sanfeng y las artes marciales o que lleguen a mencionarlo como inventor de un arte marcial particular. Algunos de los textos de los llamados „clásicos“ del tai chi chuan llevan nombres de autores que sugieren la existencia de tal relación. Sin embargo no se ha establecido con seguridad cuándo fueron escritos esos textos y si acaso los nombres de los supuestos autores no fueron agregados con posterioridad. Eso pudo haberse hecho, por un lado, para darle un mayor peso a los textos, y por otra parte para cumplir con la virtud confuciana de la modestia, o bien simplemente solo para subrayar la relación con los montes Wudang.1112 Muy ocasionalmente hay adeptos del tai chi chuan que citan raíces aún más antiguas, que según se afirma se remontarían a la dinastía Liang (502–557). 13
Aunque se trata de una afirmación históricamente cuestionada, los monjes taoistas y representantes de las artes marciales contemporáneas en los montes Wudang sostienen que las artes marciales internas (y con ellas también el tai chi chuan) se han conservado, desarrollado y hecho tradición desde los tiempos de Zhang Sanfeng en los monasterios taoistas de los montes Wudang. Se agrega que hasta hace poco rara vez habrían sido transmitidos a extraños. Así, en el siglo XVII, el monje viajero del Wudang, Wang Zongyue (chino: 王宗岳), habría enseñado su arte marcial en la aldea de Chenjiagou después de que se lo hubieran solicitado, produciéndose así la fundación del estilo Chen (ver más abajo).
El estilo de tai chi chuan que se practica en los montes Wudang como parte de las artes marciales internas y que en el intertanto se enseña a un público más amplio, se diferencia notablemente de los demás estilos y a veces se denomina estilo wudang del tai chi chuan, que no debe confundirse con el Wudang Tai Chi Chuan, desarrollado a mediados del siglo XX por Cheng Tin-hung en Hong Kong.
Glove puppetry (Chinese: 布袋戲; pinyin: bùdàixì; Pe̍h-ōe-jī: pò͘-tē-hì) is a type of opera using cloth puppets that originated during the 17th century in Quanzhou or Zhangzhou of China's Fujian province, and historically practiced in the Min Nan-speaking areas such as Quanzhou, Zhangzhou, the Guangdong region of Chaoshan, and other parts of southern China. It had since established itself more firmly and contemporarily as a popular art form in Taiwan. The puppet's head uses wood carved into the shape of a hollow human head, but aside from the head, palms, and feet, which are made of wood, the puppet's torso and limbs consist entirely of cloth costumes. At the time of the performance, a gloved hand enters the puppet's costume and makes it perform. In previous years the puppets used in this type of performance strongly resembled "cloth sacks," hence the name, which literally means "cloth bag opera." (wiki)
La tradición afirma que los caracteres chinos, la forma más antigua conocida de escritura de los existentes hoy en día, fueron inventados por Cang Jie (hacia 2650 A. C.). Otra tradición remonta su creación a los tiempos de Fuxi, el legendario primer emperador de China.
La cultura china concede una gran importancia a la caligrafía. Ésta se fundamenta en la belleza visual de los ideogramas, la técnica de su realización y los preceptos metafísicos de la cultura tradicional china. (wiki)
Chinese calligraphy is a form of calligraphy widely practiced and revered in the Sinosphere, which often includes China, Japan, Korea, and Vietnam. The calligraphic tradition of East Asia originated and developed from China. There is a general standardization of the various styles of calligraphy in this tradition. Chinese calligraphy and ink and wash painting are closely related, since they are accomplished using similar tools and techniques. Chinese painting and calligraphy distinguish themselves from other cultural arts because they emphasize motion and are charged with dynamic life. According to Stanley-Baker, "Calligraphy is sheer life experienced through energy in motion that is registered as traces on silk or paper, with time and rhythm in shifting space its main ingredients." Calligraphy has also led to the development of many forms of art in China, including seal carving, ornate paperweights, and inkstones. (wiki)
Existen diferentes mitos sobre el origen de la Danza del león, pero ninguno de ellos tiene registros históricos reales. De acuerdo con una de las leyendas, hace mucho tiempo atrás apareció un león en un pueblo y causó grandes destrozos a la población y a los animales domesticos. Un experto peleador de kung-fu supo del león y llegó al pueblo con la intención de matarlo. Él luchó sangrientamente con el león en tres ocasiones pero no consiguió matarlo. Por lo tanto, entrenó a algunos de los aldeanos en Kung-Fu con la intención de matar al león. Unos meses más tarde, subió con los aldeanos entrenados y consiguieron acabar con él. Los aldeanos, con el fin de festejar el triunfo del bien contra el mal o de los hombres contra el león (Yin y yang) crearon este baile popular, la Danza del león. Otra versión del origen de este baile fue que el rey de la Dinastía Qing, había visto un león de baile en uno de sus sueños y le ordenó entonces a los guardias del palacio a bailar de acuerdo con lo que había visto en sus sueños después de que él se despertó. (wiki)
THE ANIMAL The lion is called the king of animals. Although daring and brave, it is not as fierce as we think. Although it looks strong and powerful, it is benevolent and tame. Its heroic outlook instills fear in other animals. For thousand of years, the Chinese people respect and impress these qualities of the lion. Its status is on par with the symbolic dragon, phoenix, and Qi Lin in the Chinese epic.
In fact, there are no real lions found in China. Descriptions of lions came to China from India through the spreading of Buddhism. From the historical record, lion dance was started during the Han Dynasty. His Majesty Han Wu Ti made commercial ties with the West through the Silk Road to China. Cultural interaction by means of functions in the palace in welcoming the guest from the West, like dances and songs were performed. During the performance, the dancers wore the mask of animals so as to entertain the guest. When the guests later discovered that no real lions lived in China, the Silk Road traders from the west began to bring real lions as gift to China. They also brought along their lion trainers. Nowadays, lion shows (similar to those found in Western circuses, with lions jumping through flaming hoops) take place in China as well. (wiki)
Lion dances originated in India along with Buddhist lore and ritual. The popular form of lion dancing today's Chinese culture evolved in China, though several countries throughout the Asian region, including Japan, have developed their own styles of lion dance through the centuries.
The Dragon Dance itself originated during the Han Dynasty and was started by the Chinese who had shown great belief and respect towards the dragon. It is believed to have begun as part of the farming and harvest culture, also with origins as a method of healing and preventing sickness. It was already a popular event during the Song Dynasty where it had become a folk activity and like the lion dance, was most often seen in festive celebrations.
As the dragon gives people a feeling of great respect, it is often called the Sacred Dragon. The emperors of ancient China considered themselves as the dragon. The Dragon is also the emblem of Imperial Authority. It symbolizes supernatural power, goodness, fertility, vigilance and dignity.
In the Qing Dynasty, the Dragon Dance team of the province of Foochow had been invited to perform in Peking and had been greatly praised and admired by the Qing Emperor, which earned great fame for the team. (wiki)
