however, to assume that the development of martial arts was a primary
function of the Shaolin Temple, and that all fighting arts of China may be
traced back to the Shaolin arts. In fact, at this time, the People’s Republic of
China recognizes only two forms as being authentic Shaolin fist methods:
the Xiao Hing Quan(little red fist) and the Da Hong Quan(big red fist). In
contemporary usage, the appellation “Shaolin” functions primarily to es-
tablish credibility for the lineage and therefore the efficacy of a given style.
Other arts that did not claim to originate in the temple were no less
effective or devastating. In fact, other arts, especially the “internal arts,”
such as xingyiquan, baguazhang, liu ho ba fa,and taijiquan,are regarded
as being diametrically opposed to the Shaolin arts. These arts make up the
“internal” martial arts, while the arts of Shaolin are thought of as “exter-
nal” martial disciplines. The internal methods primarily seek to cultivate
the esoteric inner strength known as qi. The external methods have tradi-
tionally been seen as relying mostly on building up muscle and bone
strength. On the other hand, the famous five animals of Shaolin—the
Dragon, Tiger, Crane, Snake, and Leopard—were said to develop not only
physical but mental attributes. The Dragon forms were practiced to de-
velop an indomitable spirit, the Tiger to develop bone strength, the Crane
to develop the tendons, or sinews, the Snake to develop the qi, and the
Leopard to develop speed. The origins of both the internal and external
styles are similarly the subject of traditional narrative, which is subject to
distortion. In fact, Stanley Henning claims that both the origin legends (of
the external styles in Shaolin and the internal arts at a site on Wudang
Mountain) are derived from a single political allegory.
In time, and based upon the geographic location of the various tem-
ples, tradition maintains the styles were modified to suit their respective en-
vironments. As noted earlier, the stylists of the north became extremely
skilled in kicking techniques, and those in the south devoted themselves to
striking techniques. The major feature of northern styles of Chinese boxing
is that the techniques avail themselves of greater acrobatic methods and a
wider variety of kicking techniques. These types of movements can be
found in styles such as Mi Zhong Lo Han (Lost Track Lohan [Buddhist dis-
ciple]), Tanglangquan(Praying Mantis Boxing), and Bei Ying Jow Pai
(Northern Eagle Claw; pinyin Bei Yingzhaoquan). The major features of
the southern methods are the lower stances and a greater emphasis on
punching techniques and close-range methods, including qinna(grasp and
seize) and dianxue(spot hitting), in Cantonese called dim mak (death
touch). This emphasis can be seen in such arts as Nan Shaolin Hu Hao
Quan (Southern Shaolin Tiger Crane Fist); yongchun, better known by the
Cantonese term wing chun(Eternal Spring); various Hequan(Crane Box-
ing) styles; and Choy Lay Fut Boxing (pinyin Cailifoquan). The Southern38 Boxing, Chinese Shaolin Styles