YI QUAN
Veština razvijanja unutrašnjeg znanja
Ji čuan (Yi Quan) je veština fine rezonance.
Ji čuan je relativno mlada veština, ali ono što je bitno jeste da sadrži samu esenciju poznavanja prirodnih principa i temelji se na veoma starim, gotovo zaboravljenim znanjima.
Sam naziv veštine upućuje na važnost mentalnog treninga i razvijanja principa „ji“ – silne namere uma, kao i principa „šen“ – silnog spirita. Reč „čuan“ znači pesnica. Prevod naziva veštine bi glasio „pesnica uma“.
Kasnije se pojavljuje se još jedan naziv, dačeng čuan (Dacheng Quan), kojim neki od učenika počinju da nazivaju ovu veštinu zbog njene velike učinkovitosti kako u aspektu samoodbrane tako i u aspektu negovanja zdravlja. Prevod ovog naziva bi bio „savršena umetnost“.
Šta znači reč veština? Dok mnogi ljudi sa kojima se susrećem znaju tek ponešto o tai čiju, gotovo niko ne zna šta je ji čuan. Pošto je reč o velikoj veštini, potrudiću se u ovom tekstu da vam je približim koliko to moje skromno znanje dozvoljava.
Primetili ste sigurno da često koristim reč veština. Nekima od vas, koji se možda bavite nekom borilačkom veštinom, ova reč je smislenija u kontekstu, dok vama koji niste upoznati sa terminologijom ova reč verovatno znači „biti vešt u nečemu“. Ipak, veština u ovom našem kontekstu ima dublje značenje.
Veština predstavlja način života.
Dok se na pozornici života ljudi i događaji smenjuju, veština predstavlja svetlu tačku koja posvećenika održava na njegovom putu. Ona je sigurna luka i mirno more kad je napolju bura. Veština je u ovom brzom i promenljivom svetu je konstanta; nešto što jeste i nešto što će biti. Čak se čini da bi prikladnija reč bila umetnost.
Ji čuan: više od fizičkog treninga
Mentalni trening u ji čuanu je na prvom mestu i daleko je važniji od treninga mišića. Ova veština veliku pažnju posvećuje aspektu uma, jer
svaki naš pokret jeste rezultat koordinacije, ili njenog nedostatka, između uma, nervnog sistema i tela.
Struktura tela, kao i njegove funkcije, zavise od načina života kojim živimo, te mu se direktno prilagođavaju. Što više koristimo mišiće, oni se sve više razvijaju kako bi se prilagodili našim potrebama. Takođe, što više koristimo senzorski sistem tela u treningu, komunikacija između nervnog sistema i tela se poboljšava. Drugim rečima, kako je struktura tela sa svojim sistemima promenljive prirode, pravilnim treningom možemo direktno da utičemo na telesno blagostanje, tj. zdravlje.
Počeci veštine ji čuan: Majstor Vang Šangđai (Wang Xiangzhai)
Osnivač ove divne i velike veštine bio je jedan od najvećih učitelja borilačkih veština dvadesetog veka Vang Šangđai (Wang Xiangzhai, 1886 – 1963). Njegov životni put bio je jako interesantan pa ću se potruditi da Vam ga ukratko ovde i opišem.
Učitelj Vang je bio posvećenik, koji je ceo svoj život posvetio pronalaženju sistema vežbi za negovanje zdravlja i efikasne samoodbrane, sistema koji bi i nakon njega kao nasleđe ostao generacijama koje dolaze.
Za života Majstor Vang je proputovao celu Kinu, izučavajući veštine i upoznajući mnoge velike učitelje tog vremena. Hteo je da bude siguran da će iza sebe ostaviti vanvremensku veštinu koja bi u sebi sadržala esencijalne elemente negovanja uma i tela, a za dobrobit svih ljudi. Uspevši u svojoj nameri, Učitelj Vang je iza sebe ostavio sistem jednostavnih, a istovremeno veoma efikasnih vežbi koje pri svemu tome nemaju nikakvih štetnih uticaja po zdravlje čoveka.
Još kao dete, zbog slabog zdravlja, roditelji su ga odveli kod jednog rođaka koji je živeo u njihovom selu, a koji je bio jedan od najvećih majstora hsin ji veštine. Pored veština tai či i ba gua, hsin ji je bio treća veština kineskih unutrašnjih (mentalnih) veština.
Kada nije kuvao i spremao kuću, Vang je vredno vežbao pod budnim okom svog učitelja. Ustajao je rano i dugo je stajao u statičkoj poziciji džang džuang (Zhan Zhuang). Jedna od anegdota iz ovog vremena govori da je Guo povremeno proveravao svoj učenika tako što je gledao količinu znoja, koji se u potocima slivao sa Vangovog tela usled dugog stajanja u džang džuang poziciji. Zbog talenta, istrajnosti i velike želje za učenjem mladog Vanga, učitelj Guo Jun-šen ga je podučavao izvornom principu veštine, koji se inače nije javno prenosio.
Vang je ostao uz svog učitelja sve do njegove smrti. Pred smrt, učitelj Guo je izjavio: „Imao sam mnogo učenika, ali jedino je Vang bio sposoban da razume i primi prenos izvorne veštine“.
U nameri da proveri to što je naučio od svog učitelja i u želji za daljim usavršavanjem, 1907. godine Vang započinje svoju veliku avanturu proputovanja kroz celu Kinu, od juga do severa, zaustavljajući se na mnogim mestima i manastirima čuvenim po borilačkim veštinama. Jedno od mesta gde je boravio nekoliko meseci učeći bio je i šaolinski hram gde sa kaluđerom Heng Linom vežbao šinjiba (Xinyiba) veštinu koja se vežbala samo unutar hrama. Po svoj prilici, šaolinski kaluđeri su u Vangovom slučaju napravili izuzetak.
Godine 1915. biva postavljen na mesto šefa instruktora borilačkih veština u jedinicama kineske kopnene vojske i ostaje na tom mestu sve do 1918. godine. Te godine on napušta Peking i svoje mesto instruktora kako bi nastavio sa usavršavanjem. U provinciji Hunan, Vang sreće čudnog i ekscentričnog gospodina pod imenom Šie Tiefu (Xie Tiefu).
U svojim pedesetim godinama, Majstor Šie je bio toliko dobar u svojoj veštini da je prekinuo kontakt sa ljudima i rasprave o aspektima borenja pošto ih je smatrao besmislenim. Kao i svi pre njega koji su poznavali esenciju veštine i Majstor Šie je znao da se veštini ne može naučiti neko ko nema dobar umni sklop i sposobnost razumevanja.
Svoj prvi poraz, Vang je doživeo upravo od ovog gospodina i nakon toga je bio jako razočaran i spreman da ode pomalo posramljen. Međutim, gospodin Šie je primetio Vangov veliki talenat i uzeo ga je za učenika. Vang je sa Učiteljem Šiem proveo nekih godinu dana i taj period je jako važan za dalji razvoj ji čuan veštine.
Godine 1925. Vang se vratio u Peking i počeo je da podučava hsin ji. Tu je primetio da njegovi učenici pažnju obraćaju samo na snagu i spoljašnje izvođenje forme, sa željom da nauče što više pokreta kako bi bili „jako dobri“ – a sve to bez poznavanja esencije veštine i njenog mentalnog aspekta. Tada je od učenika počeo da zahteva da obrate pažnju na mentalni aspekt, tj. na upotrebu namere uma – ji (yi), i osnovnu esencijalnu poziciju džan džuang. U tom periodu, Majstor Vang je iz naziva veštine izbacio karakter „xin“, koji je označavao formu. Tako se rodila nova veština „Yi Quan“, koja je po sistemu vežbanja bila potpuno drugačija od ostalih veština koje su se do tada vežbale.
Zanimljivo je još, da je Majstor Vang bio sitan građom a da svoje izazivače u duelima nije povređivao. Kao neko ko je poznavao prilike i imao priliku da se sretne sa velikim učiteljima borilačkih i terapeutskih veština na pitanje novinara jednog čuvenog pekinškog lista Šibao ko su po njemu veliki majstori, i to ne samo kao njegovi savremenici, Majstor Vang naveo je samo tri imena.
Osnovni principi veštine ji čuan
Vežbajući ji čuan (Yi Quan), mi se koristimo urođenom inteligencijom našeg tela, mehanizmima koje svako od nas već poseduje ali toga nije svestan.
Pre nego što počne sa učenjem borilačkog aspekta, svaki praktikant prvo znanje stiče na terapeutskom aspektu veštine, koji predstavlja čvrst temelj na kome se kasnije kroz trening gradi dobar odnos između promena od mekoće do sile i brzine.
Kako bismo postigli pokret koji je u harmoniji sa silama koje nas okružuju i da bismo izbegli mehaničko ponavljanje pokreta, potrebno je da pomoću našeg osećaja, vođenog prisutnim umom, pokretu damo život.
Život je ono što pokretu daje slobodu i dovodi ga u skladni odnos sa silama oko nas. Tada energija, cirkulacija krvi, disanje i svaka ćelija pulsiraju ritmom života, ukazujući na prisutan, stabilan um, dobro povezan sa telom. Neprekidan ciklus konekcije čoveka i polja se dešava preko uma i osećaja, preko tela kroz pokret, preko disanja i prisutnosti, širenja i sakupljanja, jedinstvenim pulsiranjem uma i tela. Tada se postiže jedinstvo čoveka i univerzuma.
Prilježni praktikant ove velike veštine, ispravnim učenjem, menja i način razmišljanja, a veze koje su povezane sa starim, lošim navikama, mislima i emocijama jednostavno se gube. Tako ova veština pomaže da se na svim nivoima – telesnom, umnom i emotivnom – unapredi život.
Potvrda terapeutske učinkovitosti veštine ji čuan
Prvi zvanični rezultati kojima je potvrđena efikasnost ovih vežbi u terapeutske svrhe nastali su polovinom prošlog veka, kada je Majstor Vang pri bolnicama podučavao pacijente i medicinsko osoblje svojoj veštini. Odlični rezultati su doveli do toga da se za ovu veštinu zainteresuju i počnu da je izučavaju i lekari sa Zapada, kako bi pomogli što većem broju ljudi.
Veština ji čuan kod nas
Jedinstveni sistem vežbi učinio je danas ovu veštinu jako popularnom širom sveta a među prvim zemalja u Evropi gde počinje da se vežba veština ji čuan (Yi Quan) je Srbija. Ovu veštinu na naše prostore donosi učitelj Mario Topolšek 2007. godine, kada je organizovan prvi seminar na kojem vežbači dobijaju priliku da se upoznaju sa esencijom terapeutskog i borilačkog pokreta.
YI QUAN
THE ART OF INNER KNOWLADGE
Yi Quan is the art of fine resonance.
Yi Quan is a relatively new martial art but what makes it stand out is that it contains the essence of knowledge of natural principles as it is based on ancient, almost forgotten knowledge.
The name of the art itself shows us the importance of mental training and the development of the principle of “yi” – the powerful intention of the mind, as well as the principle of “shen” – powerful spirit. The word “quan” means fist, so the translation of the name of this art is “mind fist”.
Another name appeared later on: Dacheng Quan. This is the name that some practitioners of the art coined in order to emphasize its effectiveness both as an art of self-defense and as a healing technique. The translation of this name is “the perfect art”.
What does the word “art” mean?
While many people know something about Tai Chi, almost no one knows what Yi Quan is. As this is a great art worthy of attention, in this text I will try to tell you as much as my humble knowledge of it permits.
You have surely noticed that I often use the word “art”. Some of you, who practice martial arts, understand this word. Those of you who have no experience of this word other than within the context of pictorial art, perhaps, lack a full understanding of this word. The word “art”, as we will be using it, has a deep meaning.
Art is a way of life.
While actors and events on the stage of life come and go, art is the polestar that guides the aspirant along the path. It is the dedicated practitioner’s safe harbor when the seas are rough. In this world of change, the art is constant. It is something that simply is and something that will always be. That is why we use the word “art”.
Yi Quan: More Than Just Physical Exercise
In Yi Quan, mental training is paramount and above muscle training. This art places great importance on the mental aspect because every movement we make is the result of coordination, or lack
thereof, between the mind, nervous system, and body.
The structure of our body and its functions are influenced by our lifestyle and adapt to it. The more we use our muscles, the more they develop in order to adjust to our needs. Also, the more we use our sensory system during practice, the more the communication between our nervous system and our body improves. In other words, as the structure of the body and its systems is adaptable, with correct practice we can directly bring about physical wellbeing and health.
The Beginnings of the Art of Yi Quan: Master Wang Xiangzai
The founder of this beautiful art was one of the foremost martial artists of the twentieth century, Wang Xiangzai (1886-1963). His interesting life merits a short description.
Master Wang was a devotee of the art, who spent his whole life on the quest to find a system of exercises which would promote health and also be an efficient method of self-defense, a system that would outlive him and remain as his legacy to future generations.
During his life Master Wang travelled the length and breadth of China, studying various martial arts and personally getting to know many great martial artists of the time. He wanted to make sure he would leave behind him a timeless art, one which would contain the essential elements necessary for cultivating the mind and the body and remain for the benefit of all mankind. Master Wang succeeded in his mission and left a system of simple but highly efficient exercises which have no negative effects on physical health.
As a child, he was of poor health so his parents took him to live with a relative in his village who was a master of the art of Xing Yi. Alongside Tai Chi and Ba Gua, Xing Yi was part of the trio of Chinese internal (mental) martial arts.
When he wasn’t cooking or doing housework, Wang diligently practiced under the watchful eye of his teacher. He would rise early in the morning and remain many hours in the static position Zhang Zhuang. One anecdote from this period tells how Master Guo would from time to time check on his student’s progress by looking at the amount of sweat he produced. Master Guo’s young acolyte perspired profusely while he stood in the Zhang Zhuang position. Master Guo Yun-Shen taught young Wang the original principles of the art, which he normally did not transmit to others, because of his student’s talent, dedication, and great desire to learn,
Wang remained with his teacher until his death. Just before the end of his life, Master Guo said: “I had many students, but only Wang was capable of understanding and transmitting the original art.”
With the intention of testing what he had learned and wishing to discover more, in 1907 Wang embarks on his great adventure through China. He travelled from south to north, stopping in many places and monasteries where martial arts were cultivated. One of the places where he spent several months was the Shaolin Temple. There he practiced the Xinyiba art with the monk Heng Lin. Although the art was only practiced within the temple, the monks of Shaolin must have recognized the dedication of Wang and made an exception.
In 1915, Wang became the chief instructor of martial arts in the Chinese land army, a position he held until 1918, when he left Beijing and his job in order to continue his education. In the Hunan province, Wang meets the odd and eccentric gentleman called Xie Tiefu.
In his fifties, Master Xie was an accomplished martial artist who had severed all contact with people and refused to engage in discussions about martial arts, believing them meaningless. Like others who had got to know the essence of the art, Master Xie knew that only those with the right mindset and understanding could master the art.
It was at the hands of Master Xie that Wang suffered his first defeat. Humiliated, Wang was ready to leave, however, Master Xie recognized his great talent and accepted him as his student. Wang spent several years with Master Xie, a period which was very important for the further development of the art of Yi Quan.
In 1925, Wang returned to Beijing where he started to teach Xing Yi. That was when he noticed that his students only seemed to care about developing their strength and outer proficiency of form execution. They wanted to become “very good” martial artists without true knowledge of the essence of the art and its mental aspect. That was when Wang started demanding that his students pay close attention to the mental aspect, that is, the use of the intention of the mind Yi and the foundational position Zhan Zhuang. During this period, Master Wang removed the character “xin”, which denoted form from the name of the art he taught. This marked the birth of the new art: Yi Quan. What Master Wang now taught was completely different from all other martial arts that were practiced at the time.
It is interesting to note that Master Wang had a slight phyisique and that he never hurt his opponents in combat. He was someone who had the chance to meet many great teachers of martial and therapeutic arts, but when asked by a journalist from the renowned Beijing newspaper Shibao who he considered to be great martial artists, not only of the day but in the past, he named only three.
The Basic Principles of the Art of Yi Quan
When we practice Yi Quan, we use the innate intelligence of our bodies, the mechanisms that all of us posses but are perhaps not aware of.
Before starting to learn the martial aspect of the art, every practitioner first learns about the therapeutic elements, which are the foundation and allow one to later build a good relationship between measured, soft movements and speed and strength.
In order to perform a movement in harmony with the forces that surround us and avoid the mechanical repetition of movements, it is necessary to give life to every movement. This is done through the use of using feeling guided by mind.
Life is what gives freedom to movement and what brings it into a harmonious relationship with the forces around us. That is when energy, blood circulation, breathing and every cell pulsate in the rhythm of life. This is the product of an attentive, calm mind that is connected with the body. The unbroken connection between man and the field is mediated by the mind and feeling, through bodily movements, breath and awareness, expansion and contraction, the unique pulse of the mind and body. That is when man and universe achieve unity.
Through a correct attitude towards learning, the dedicated student of this great art changes his ways of thinking, and old, harmful habits, thoughts and emotions are simply abandoned. That is how the art helps improve the aspirants life on all levels – the physical, mental and emotional.
Proof of the Therapeutic Benefits of the Art of Yi Quan
The first official proof of the efficacy of these exercises appeared around the mid-20th century, when Master Wang went to hospitals and taught his art to patients and medical staff. The excellent results caused interest in the West, where doctors started studying the health benefits of Yi Quan.
Yi Quan in Serbia
The unique system of exercises made Yi Quan popular around the world and one of the first countries in Europe where it was taught was Serbia. In 2007, Master Mario Topolšek held the first seminar during which practitioners were given the chance to get to know the essence of therapeutic and martial movements.
- Srpski
-
YI QUAN
Veština razvijanja unutrašnjeg znanja
Ji čuan (Yi Quan) je veština fine rezonance.
Ji čuan je relativno mlada veština, ali ono što je bitno jeste da sadrži samu esenciju poznavanja prirodnih principa i temelji se na veoma starim, gotovo zaboravljenim znanjima.
Sam naziv veštine upućuje na važnost mentalnog treninga i razvijanja principa „ji“ – silne namere uma, kao i principa „šen“ – silnog spirita. Reč „čuan“ znači pesnica. Prevod naziva veštine bi glasio „pesnica uma“.
Kasnije se pojavljuje se još jedan naziv, dačeng čuan (Dacheng Quan), kojim neki od učenika počinju da nazivaju ovu veštinu zbog njene velike učinkovitosti kako u aspektu samoodbrane tako i u aspektu negovanja zdravlja. Prevod ovog naziva bi bio „savršena umetnost“.
Šta znači reč veština? Dok mnogi ljudi sa kojima se susrećem znaju tek ponešto o tai čiju, gotovo niko ne zna šta je ji čuan. Pošto je reč o velikoj veštini, potrudiću se u ovom tekstu da vam je približim koliko to moje skromno znanje dozvoljava.
Primetili ste sigurno da često koristim reč veština. Nekima od vas, koji se možda bavite nekom borilačkom veštinom, ova reč je smislenija u kontekstu, dok vama koji niste upoznati sa terminologijom ova reč verovatno znači „biti vešt u nečemu“. Ipak, veština u ovom našem kontekstu ima dublje značenje.
Veština predstavlja način života.
Dok se na pozornici života ljudi i događaji smenjuju, veština predstavlja svetlu tačku koja posvećenika održava na njegovom putu. Ona je sigurna luka i mirno more kad je napolju bura. Veština je u ovom brzom i promenljivom svetu je konstanta; nešto što jeste i nešto što će biti. Čak se čini da bi prikladnija reč bila umetnost.
Ji čuan: više od fizičkog treninga
Mentalni trening u ji čuanu je na prvom mestu i daleko je važniji od treninga mišića. Ova veština veliku pažnju posvećuje aspektu uma, jer
svaki naš pokret jeste rezultat koordinacije, ili njenog nedostatka, između uma, nervnog sistema i tela.
Struktura tela, kao i njegove funkcije, zavise od načina života kojim živimo, te mu se direktno prilagođavaju. Što više koristimo mišiće, oni se sve više razvijaju kako bi se prilagodili našim potrebama. Takođe, što više koristimo senzorski sistem tela u treningu, komunikacija između nervnog sistema i tela se poboljšava. Drugim rečima, kako je struktura tela sa svojim sistemima promenljive prirode, pravilnim treningom možemo direktno da utičemo na telesno blagostanje, tj. zdravlje.
Počeci veštine ji čuan: Majstor Vang Šangđai (Wang Xiangzhai)
Osnivač ove divne i velike veštine bio je jedan od najvećih učitelja borilačkih veština dvadesetog veka Vang Šangđai (Wang Xiangzhai, 1886 – 1963). Njegov životni put bio je jako interesantan pa ću se potruditi da Vam ga ukratko ovde i opišem.
Učitelj Vang je bio posvećenik, koji je ceo svoj život posvetio pronalaženju sistema vežbi za negovanje zdravlja i efikasne samoodbrane, sistema koji bi i nakon njega kao nasleđe ostao generacijama koje dolaze.
Za života Majstor Vang je proputovao celu Kinu, izučavajući veštine i upoznajući mnoge velike učitelje tog vremena. Hteo je da bude siguran da će iza sebe ostaviti vanvremensku veštinu koja bi u sebi sadržala esencijalne elemente negovanja uma i tela, a za dobrobit svih ljudi. Uspevši u svojoj nameri, Učitelj Vang je iza sebe ostavio sistem jednostavnih, a istovremeno veoma efikasnih vežbi koje pri svemu tome nemaju nikakvih štetnih uticaja po zdravlje čoveka.
Još kao dete, zbog slabog zdravlja, roditelji su ga odveli kod jednog rođaka koji je živeo u njihovom selu, a koji je bio jedan od najvećih majstora hsin ji veštine. Pored veština tai či i ba gua, hsin ji je bio treća veština kineskih unutrašnjih (mentalnih) veština.
Kada nije kuvao i spremao kuću, Vang je vredno vežbao pod budnim okom svog učitelja. Ustajao je rano i dugo je stajao u statičkoj poziciji džang džuang (Zhan Zhuang). Jedna od anegdota iz ovog vremena govori da je Guo povremeno proveravao svoj učenika tako što je gledao količinu znoja, koji se u potocima slivao sa Vangovog tela usled dugog stajanja u džang džuang poziciji. Zbog talenta, istrajnosti i velike želje za učenjem mladog Vanga, učitelj Guo Jun-šen ga je podučavao izvornom principu veštine, koji se inače nije javno prenosio.
Vang je ostao uz svog učitelja sve do njegove smrti. Pred smrt, učitelj Guo je izjavio: „Imao sam mnogo učenika, ali jedino je Vang bio sposoban da razume i primi prenos izvorne veštine“.
U nameri da proveri to što je naučio od svog učitelja i u želji za daljim usavršavanjem, 1907. godine Vang započinje svoju veliku avanturu proputovanja kroz celu Kinu, od juga do severa, zaustavljajući se na mnogim mestima i manastirima čuvenim po borilačkim veštinama. Jedno od mesta gde je boravio nekoliko meseci učeći bio je i šaolinski hram gde sa kaluđerom Heng Linom vežbao šinjiba (Xinyiba) veštinu koja se vežbala samo unutar hrama. Po svoj prilici, šaolinski kaluđeri su u Vangovom slučaju napravili izuzetak.
Godine 1915. biva postavljen na mesto šefa instruktora borilačkih veština u jedinicama kineske kopnene vojske i ostaje na tom mestu sve do 1918. godine. Te godine on napušta Peking i svoje mesto instruktora kako bi nastavio sa usavršavanjem. U provinciji Hunan, Vang sreće čudnog i ekscentričnog gospodina pod imenom Šie Tiefu (Xie Tiefu).
U svojim pedesetim godinama, Majstor Šie je bio toliko dobar u svojoj veštini da je prekinuo kontakt sa ljudima i rasprave o aspektima borenja pošto ih je smatrao besmislenim. Kao i svi pre njega koji su poznavali esenciju veštine i Majstor Šie je znao da se veštini ne može naučiti neko ko nema dobar umni sklop i sposobnost razumevanja.
Svoj prvi poraz, Vang je doživeo upravo od ovog gospodina i nakon toga je bio jako razočaran i spreman da ode pomalo posramljen. Međutim, gospodin Šie je primetio Vangov veliki talenat i uzeo ga je za učenika. Vang je sa Učiteljem Šiem proveo nekih godinu dana i taj period je jako važan za dalji razvoj ji čuan veštine.
Godine 1925. Vang se vratio u Peking i počeo je da podučava hsin ji. Tu je primetio da njegovi učenici pažnju obraćaju samo na snagu i spoljašnje izvođenje forme, sa željom da nauče što više pokreta kako bi bili „jako dobri“ – a sve to bez poznavanja esencije veštine i njenog mentalnog aspekta. Tada je od učenika počeo da zahteva da obrate pažnju na mentalni aspekt, tj. na upotrebu namere uma – ji (yi), i osnovnu esencijalnu poziciju džan džuang. U tom periodu, Majstor Vang je iz naziva veštine izbacio karakter „xin“, koji je označavao formu. Tako se rodila nova veština „Yi Quan“, koja je po sistemu vežbanja bila potpuno drugačija od ostalih veština koje su se do tada vežbale.
Zanimljivo je još, da je Majstor Vang bio sitan građom a da svoje izazivače u duelima nije povređivao. Kao neko ko je poznavao prilike i imao priliku da se sretne sa velikim učiteljima borilačkih i terapeutskih veština na pitanje novinara jednog čuvenog pekinškog lista Šibao ko su po njemu veliki majstori, i to ne samo kao njegovi savremenici, Majstor Vang naveo je samo tri imena.
Osnovni principi veštine ji čuan
Vežbajući ji čuan (Yi Quan), mi se koristimo urođenom inteligencijom našeg tela, mehanizmima koje svako od nas već poseduje ali toga nije svestan.
Pre nego što počne sa učenjem borilačkog aspekta, svaki praktikant prvo znanje stiče na terapeutskom aspektu veštine, koji predstavlja čvrst temelj na kome se kasnije kroz trening gradi dobar odnos između promena od mekoće do sile i brzine.
Kako bismo postigli pokret koji je u harmoniji sa silama koje nas okružuju i da bismo izbegli mehaničko ponavljanje pokreta, potrebno je da pomoću našeg osećaja, vođenog prisutnim umom, pokretu damo život.
Život je ono što pokretu daje slobodu i dovodi ga u skladni odnos sa silama oko nas. Tada energija, cirkulacija krvi, disanje i svaka ćelija pulsiraju ritmom života, ukazujući na prisutan, stabilan um, dobro povezan sa telom. Neprekidan ciklus konekcije čoveka i polja se dešava preko uma i osećaja, preko tela kroz pokret, preko disanja i prisutnosti, širenja i sakupljanja, jedinstvenim pulsiranjem uma i tela. Tada se postiže jedinstvo čoveka i univerzuma.
Prilježni praktikant ove velike veštine, ispravnim učenjem, menja i način razmišljanja, a veze koje su povezane sa starim, lošim navikama, mislima i emocijama jednostavno se gube. Tako ova veština pomaže da se na svim nivoima – telesnom, umnom i emotivnom – unapredi život.
Potvrda terapeutske učinkovitosti veštine ji čuan
Prvi zvanični rezultati kojima je potvrđena efikasnost ovih vežbi u terapeutske svrhe nastali su polovinom prošlog veka, kada je Majstor Vang pri bolnicama podučavao pacijente i medicinsko osoblje svojoj veštini. Odlični rezultati su doveli do toga da se za ovu veštinu zainteresuju i počnu da je izučavaju i lekari sa Zapada, kako bi pomogli što većem broju ljudi.
Veština ji čuan kod nas
Jedinstveni sistem vežbi učinio je danas ovu veštinu jako popularnom širom sveta a među prvim zemalja u Evropi gde počinje da se vežba veština ji čuan (Yi Quan) je Srbija. Ovu veštinu na naše prostore donosi učitelj Mario Topolšek 2007. godine, kada je organizovan prvi seminar na kojem vežbači dobijaju priliku da se upoznaju sa esencijom terapeutskog i borilačkog pokreta.
- English
-
YI QUAN
THE ART OF INNER KNOWLADGE
Yi Quan is the art of fine resonance.
Yi Quan is a relatively new martial art but what makes it stand out is that it contains the essence of knowledge of natural principles as it is based on ancient, almost forgotten knowledge.
The name of the art itself shows us the importance of mental training and the development of the principle of “yi” – the powerful intention of the mind, as well as the principle of “shen” – powerful spirit. The word “quan” means fist, so the translation of the name of this art is “mind fist”.
Another name appeared later on: Dacheng Quan. This is the name that some practitioners of the art coined in order to emphasize its effectiveness both as an art of self-defense and as a healing technique. The translation of this name is “the perfect art”.
What does the word “art” mean?
While many people know something about Tai Chi, almost no one knows what Yi Quan is. As this is a great art worthy of attention, in this text I will try to tell you as much as my humble knowledge of it permits.
You have surely noticed that I often use the word “art”. Some of you, who practice martial arts, understand this word. Those of you who have no experience of this word other than within the context of pictorial art, perhaps, lack a full understanding of this word. The word “art”, as we will be using it, has a deep meaning.
Art is a way of life.
While actors and events on the stage of life come and go, art is the polestar that guides the aspirant along the path. It is the dedicated practitioner’s safe harbor when the seas are rough. In this world of change, the art is constant. It is something that simply is and something that will always be. That is why we use the word “art”.
Yi Quan: More Than Just Physical Exercise
In Yi Quan, mental training is paramount and above muscle training. This art places great importance on the mental aspect because every movement we make is the result of coordination, or lack
thereof, between the mind, nervous system, and body.
The structure of our body and its functions are influenced by our lifestyle and adapt to it. The more we use our muscles, the more they develop in order to adjust to our needs. Also, the more we use our sensory system during practice, the more the communication between our nervous system and our body improves. In other words, as the structure of the body and its systems is adaptable, with correct practice we can directly bring about physical wellbeing and health.
The Beginnings of the Art of Yi Quan: Master Wang Xiangzai
The founder of this beautiful art was one of the foremost martial artists of the twentieth century, Wang Xiangzai (1886-1963). His interesting life merits a short description.
Master Wang was a devotee of the art, who spent his whole life on the quest to find a system of exercises which would promote health and also be an efficient method of self-defense, a system that would outlive him and remain as his legacy to future generations.
During his life Master Wang travelled the length and breadth of China, studying various martial arts and personally getting to know many great martial artists of the time. He wanted to make sure he would leave behind him a timeless art, one which would contain the essential elements necessary for cultivating the mind and the body and remain for the benefit of all mankind. Master Wang succeeded in his mission and left a system of simple but highly efficient exercises which have no negative effects on physical health.
As a child, he was of poor health so his parents took him to live with a relative in his village who was a master of the art of Xing Yi. Alongside Tai Chi and Ba Gua, Xing Yi was part of the trio of Chinese internal (mental) martial arts.
When he wasn’t cooking or doing housework, Wang diligently practiced under the watchful eye of his teacher. He would rise early in the morning and remain many hours in the static position Zhang Zhuang. One anecdote from this period tells how Master Guo would from time to time check on his student’s progress by looking at the amount of sweat he produced. Master Guo’s young acolyte perspired profusely while he stood in the Zhang Zhuang position. Master Guo Yun-Shen taught young Wang the original principles of the art, which he normally did not transmit to others, because of his student’s talent, dedication, and great desire to learn,
Wang remained with his teacher until his death. Just before the end of his life, Master Guo said: “I had many students, but only Wang was capable of understanding and transmitting the original art.”
With the intention of testing what he had learned and wishing to discover more, in 1907 Wang embarks on his great adventure through China. He travelled from south to north, stopping in many places and monasteries where martial arts were cultivated. One of the places where he spent several months was the Shaolin Temple. There he practiced the Xinyiba art with the monk Heng Lin. Although the art was only practiced within the temple, the monks of Shaolin must have recognized the dedication of Wang and made an exception.
In 1915, Wang became the chief instructor of martial arts in the Chinese land army, a position he held until 1918, when he left Beijing and his job in order to continue his education. In the Hunan province, Wang meets the odd and eccentric gentleman called Xie Tiefu.
In his fifties, Master Xie was an accomplished martial artist who had severed all contact with people and refused to engage in discussions about martial arts, believing them meaningless. Like others who had got to know the essence of the art, Master Xie knew that only those with the right mindset and understanding could master the art.
It was at the hands of Master Xie that Wang suffered his first defeat. Humiliated, Wang was ready to leave, however, Master Xie recognized his great talent and accepted him as his student. Wang spent several years with Master Xie, a period which was very important for the further development of the art of Yi Quan.
In 1925, Wang returned to Beijing where he started to teach Xing Yi. That was when he noticed that his students only seemed to care about developing their strength and outer proficiency of form execution. They wanted to become “very good” martial artists without true knowledge of the essence of the art and its mental aspect. That was when Wang started demanding that his students pay close attention to the mental aspect, that is, the use of the intention of the mind Yi and the foundational position Zhan Zhuang. During this period, Master Wang removed the character “xin”, which denoted form from the name of the art he taught. This marked the birth of the new art: Yi Quan. What Master Wang now taught was completely different from all other martial arts that were practiced at the time.
It is interesting to note that Master Wang had a slight phyisique and that he never hurt his opponents in combat. He was someone who had the chance to meet many great teachers of martial and therapeutic arts, but when asked by a journalist from the renowned Beijing newspaper Shibao who he considered to be great martial artists, not only of the day but in the past, he named only three.
The Basic Principles of the Art of Yi Quan
When we practice Yi Quan, we use the innate intelligence of our bodies, the mechanisms that all of us posses but are perhaps not aware of.
Before starting to learn the martial aspect of the art, every practitioner first learns about the therapeutic elements, which are the foundation and allow one to later build a good relationship between measured, soft movements and speed and strength.
In order to perform a movement in harmony with the forces that surround us and avoid the mechanical repetition of movements, it is necessary to give life to every movement. This is done through the use of using feeling guided by mind.
Life is what gives freedom to movement and what brings it into a harmonious relationship with the forces around us. That is when energy, blood circulation, breathing and every cell pulsate in the rhythm of life. This is the product of an attentive, calm mind that is connected with the body. The unbroken connection between man and the field is mediated by the mind and feeling, through bodily movements, breath and awareness, expansion and contraction, the unique pulse of the mind and body. That is when man and universe achieve unity.
Through a correct attitude towards learning, the dedicated student of this great art changes his ways of thinking, and old, harmful habits, thoughts and emotions are simply abandoned. That is how the art helps improve the aspirants life on all levels – the physical, mental and emotional.
Proof of the Therapeutic Benefits of the Art of Yi Quan
The first official proof of the efficacy of these exercises appeared around the mid-20th century, when Master Wang went to hospitals and taught his art to patients and medical staff. The excellent results caused interest in the West, where doctors started studying the health benefits of Yi Quan.
Yi Quan in Serbia
The unique system of exercises made Yi Quan popular around the world and one of the first countries in Europe where it was taught was Serbia. In 2007, Master Mario Topolšek held the first seminar during which practitioners were given the chance to get to know the essence of therapeutic and martial movements.
