驚扎勁是一個位於兩個「浮」之間的非常高速而完美的六勁合一
驚扎勁並非從一套特別的套路鍛鍊而成一種特別的技巧，它只不過是鍛鍊六勁合一的最高目的或最後階段，從學習直步鏢指(直步)的第一課便循這個目標進發。
在學習直步期間，學員便開始須要熟習利用身體的六個部分(頸、肩、手、腰、腹及腳)同時發勁。但最初便好像切積木似的，只能用這六個之中的二至三個部分同時於一短時段內發力，這樣的招式便很難被視為發勁。
在一般的情况下，學員不可能在學習九步推之前已能發出正確的六勁合一，因為這是需要一段頗長的鍛鍊才成。現今的人，極少有能耐接受長時間單一直步的訓練。若從另一角度去考慮，學習九步推是可以給學員對於六勁合一在實用上的一個啟示，因為九步推基本上是一些實戰的招式。剛勁是九步推的基本目標，但它並未能達到一個完美六勁合一的要求，因它通常缺少了陷胸、拔背、擰腰、壓馬、頂勁、藏肘、等其中一些或全部。而最重要的是缺少了正確使用浮或完全把它忘記了。
在鍛鍊九步推一段長時間之後，一般的學員都會有點不耐煩，但他們仍然未能洞悉一個完美的六勁合一。事實上，雖然他們仍未能達至一個完美的六勁合一，但已可能在部分九步推的招式上發出頗為大的勁力。一般的學員，如果他們不能或沒有機會去領會一個真正的完美的六勁合一，便會認為剛勁是白眉武藝的一種勁，而不知剛勁只不過是向上達至驚扎勁的第一步而已。在這種情況下，學習十八摩橋(摩橋)便可令他們認識到一個高水平的六勁合一是多麼重要，因為摩橋主要是發韌勁或回勁的，而發韌勁或回勁是需要在前後兩個浮的狀況下才可成功的。因此，韌勁或回勁亦只不過又是向上達至驚扎勁的另一步而已。
在學習摩橋期間，學員會感覺到腹勁的重要性，便以為有了腹勁便是到達驚扎勁的境介了，這只不過是一種錯覺。其實在部分摩橋的招式是需要加強腹的勁力，以達至把對手抽向自己的下方，例如「拍掌鏢指」、「挽手鞭橋」、「挽手攝橋」等。若然細心分析，學員便可發覺早在鏢指的「虎爪角掌」及九步推的「雙抽勁」已需要腹勁與擰腰同發才可把對手抽向左下方，不過當時學員一般仍未能把這二個動作齊發，而腹勁往往是被忽畧的。其實白眉任何招式都必須由六勁合一(節勁除外)所發，但因應效果的需要而把其中某些勁量加大，簡單來說就是每一招式都由六個不同的勁量所組成的。
最後要說的便是猛虎出林，它的要求是發所謂重勁。重勁就是在吞的招式上把身體各個關節熔合成為一體而附於對手身上，就好像你跳入對手的懷內讓他把你抱著，你發勁的動力加上你身體的重量在剎那間完全附於對手身上。這樣是須要一個完美的六勁合一的，它就是驚扎勁。在吐的招式上如果你能把身體各個關節熔合成為一體，你的身體便會在發勁向前攻擊時稍為向前滑動。重勁可以說是達至驚扎勁的最後一步，至此你便完成學習白眉武藝了，你使用的所有任何招式都可以說是白眉的了。
請記著，所有招式都是由六個不同分量的勁所組成。例如: 「摩橋」的雙拍掌便須要較大的腹勁把雙掌在極少的距離猛然下拍對方的來手; 「九步推」的雙抽手的前段便須要較大的腹勁把對手抽向你自己的前下方而失去重心，跟著便是利用擰腰把對手抽向你的左下方; 「直步」的轉身縮馬鞭橋便須要較大勁發動擰腰以增強橋手的動力; 等等。任何單一或六個以下的組合勁都不能代表你已達至驚扎勁的境介。
在你達至驚扎勁的水平前不應滿足
30-6-2009
黃耀佳
Gink Jak Ging
Gink Jak Ging is a very high speed perfect Luk Ging Hup Yat sandwiched between 2 FAU
Gink Jak Ging, GJG, is not a special technique that acquires through training of a special set of movements. It is the end result or final destination of practicing Luk Ging Hup Yat, LGHY, starting from the first lesson of learning Jik Bo Bil Gee, JBBG.
During the JBBG period, student is required to get used to the requirement of exerting power from the six parts of the body, i.e. neck, shoulders, arms, waist, stomach & legs, at the same time. But, this is like starting to play jig saw puzzle. Usually only 2 or 3 parts can be put together at the same time but seldom can they be treated as Ging.
It is impossible to require any one to perform LGHY correctly before starting to learn the Gau Bo Tui, GBT, because that would take a very long time to achieve. Very few people nowadays have the patience to learn JBBG for a long period. Besides, learning GBT will give the students some idea of how LGHY is applied to the movements because GBT is practically a fighting technique. During this period, Gong Ging is the target to achieve but it hardly can be treated as a perfect LGHY because Hum Hung, But Boi, Ling Yiu, Art Ma, Ding Ging, Chong Jow (may not be all) are usually missed during the exerting of LGHY. And, most important is that FAU has not been correctly applied or even forgotten.
After a long period of practicing the GBT the students will on the one hand become impatience and on the other hand is still unable to visualize the true perfect LGHY because most of the movements in GBT can be very powerful though LGHY is still not fully applied. People who are unable or not having the chance to appreciate a true perfect GJG will consider Gong Ging is one of the gings in Bai Mei not knowing that it is just the first step forward towards GJG. So, the learning of Sup Ba More Kiu, SBMK, that concentrates on the use of UN Ging , UG, or Wu Ging, WG, will provide the learners a more advanced vision of a perfect LGHY because UG or WG demands a better quality of LGHY and the application of FAU right ahead and after a movement. So, again UG or WG is just another step forward towards GJG.
During the learning of SBMK students will feel that Fook Ging is quite important. Accordingly, they will think that having Fook Ging is equal to having GJG. This is totally wrong. Because, some of the movements in SBMK require a high degree of Fook Ging in order to draw the opponent downwards towards your side, e.g. Pak Jeung Bil Gee, Wan Sau Bin Kil, Wan Sau Sip Kil, etc. If analyze carefully, students will discover that Fook Ging is also required, in Fu Jow Kok Jeung of JBBG and Sheung Chow Ging in GBT to bring the opponent downward towards your lower left side with the Ling Yiu. Nevertheless, students usually are unable to exert both powers at the same time and Fook Ging is always not there. The fact is, all Pak Mei movements, except Jit Ging, are generated by LGHY. But, higher degree of some of the Gings are required to suit the expected result. Simply saying, each and every movement is composed of different degrees of power of each and every of the six gings.
Finally, the learning of Mount Fu Chui Lum, MFCL, is aiming at the use of a so called Chung Ging or Heavy Ging. To apply, you need to fuse all parts of your body in one piece in doing Tun movements, i.e. to add your body weight onto the opponent like jumping onto a person and let him hold you in his body. It requires a perfect LGHY, i.e. Gink Jak Ging. In Tow movements your body should automatically slide a little bit forward if you are able to fuse all parts of the body during the blow. Chung Ging is the final step up to Gink Jak Ging. At there, you will complete the learning the arts of Bai Mei and from there any movement from your body is Bai Mei.
Please bear in mind that all the movements are composed of 6 different quantities of gings, e.g. Sheung Park Jeung (double banging hands) in SBMK requires a very high degree of Fook Ging to bang the opponent’s coming hands downward ; Sheung Chow Sau in GBT requires a higher degree of Fook Ging in the first part of the movement to draw the opponent downward towards your front in order to make him off balance followed by Ling Yiu to bring him towards the lower left side of yourself; Juen Sun Suk Ma Bin Kil in JBBG requires more ging in Ling Yiu to increase the momentum of the arm; etc. Don’t consider any one ging represent the acquiring of Gink Jak Ging.
DO NOT SATISFY BEFORE YOU HAVE GOT THE GINK JAK GING
30-6-2009
WONG Yiu Kai
驚扎勁並非從一套特別的套路鍛鍊而成一種特別的技巧，它只不過是鍛鍊六勁合一的最高目的或最後階段，從學習直步鏢指(直步)的第一課便循這個目標進發。
在學習直步期間，學員便開始須要熟習利用身體的六個部分(頸、肩、手、腰、腹及腳)同時發勁。但最初便好像切積木似的，只能用這六個之中的二至三個部分同時於一短時段內發力，這樣的招式便很難被視為發勁。
在一般的情况下，學員不可能在學習九步推之前已能發出正確的六勁合一，因為這是需要一段頗長的鍛鍊才成。現今的人，極少有能耐接受長時間單一直步的訓練。若從另一角度去考慮，學習九步推是可以給學員對於六勁合一在實用上的一個啟示，因為九步推基本上是一些實戰的招式。剛勁是九步推的基本目標，但它並未能達到一個完美六勁合一的要求，因它通常缺少了陷胸、拔背、擰腰、壓馬、頂勁、藏肘、等其中一些或全部。而最重要的是缺少了正確使用浮或完全把它忘記了。
在鍛鍊九步推一段長時間之後，一般的學員都會有點不耐煩，但他們仍然未能洞悉一個完美的六勁合一。事實上，雖然他們仍未能達至一個完美的六勁合一，但已可能在部分九步推的招式上發出頗為大的勁力。一般的學員，如果他們不能或沒有機會去領會一個真正的完美的六勁合一，便會認為剛勁是白眉武藝的一種勁，而不知剛勁只不過是向上達至驚扎勁的第一步而已。在這種情況下，學習十八摩橋(摩橋)便可令他們認識到一個高水平的六勁合一是多麼重要，因為摩橋主要是發韌勁或回勁的，而發韌勁或回勁是需要在前後兩個浮的狀況下才可成功的。因此，韌勁或回勁亦只不過又是向上達至驚扎勁的另一步而已。
在學習摩橋期間，學員會感覺到腹勁的重要性，便以為有了腹勁便是到達驚扎勁的境介了，這只不過是一種錯覺。其實在部分摩橋的招式是需要加強腹的勁力，以達至把對手抽向自己的下方，例如「拍掌鏢指」、「挽手鞭橋」、「挽手攝橋」等。若然細心分析，學員便可發覺早在鏢指的「虎爪角掌」及九步推的「雙抽勁」已需要腹勁與擰腰同發才可把對手抽向左下方，不過當時學員一般仍未能把這二個動作齊發，而腹勁往往是被忽畧的。其實白眉任何招式都必須由六勁合一(節勁除外)所發，但因應效果的需要而把其中某些勁量加大，簡單來說就是每一招式都由六個不同的勁量所組成的。
最後要說的便是猛虎出林，它的要求是發所謂重勁。重勁就是在吞的招式上把身體各個關節熔合成為一體而附於對手身上，就好像你跳入對手的懷內讓他把你抱著，你發勁的動力加上你身體的重量在剎那間完全附於對手身上。這樣是須要一個完美的六勁合一的，它就是驚扎勁。在吐的招式上如果你能把身體各個關節熔合成為一體，你的身體便會在發勁向前攻擊時稍為向前滑動。重勁可以說是達至驚扎勁的最後一步，至此你便完成學習白眉武藝了，你使用的所有任何招式都可以說是白眉的了。
請記著，所有招式都是由六個不同分量的勁所組成。例如: 「摩橋」的雙拍掌便須要較大的腹勁把雙掌在極少的距離猛然下拍對方的來手; 「九步推」的雙抽手的前段便須要較大的腹勁把對手抽向你自己的前下方而失去重心，跟著便是利用擰腰把對手抽向你的左下方; 「直步」的轉身縮馬鞭橋便須要較大勁發動擰腰以增強橋手的動力; 等等。任何單一或六個以下的組合勁都不能代表你已達至驚扎勁的境介。
在你達至驚扎勁的水平前不應滿足
30-6-2009
黃耀佳
Gink Jak Ging
Gink Jak Ging is a very high speed perfect Luk Ging Hup Yat sandwiched between 2 FAU
Gink Jak Ging, GJG, is not a special technique that acquires through training of a special set of movements. It is the end result or final destination of practicing Luk Ging Hup Yat, LGHY, starting from the first lesson of learning Jik Bo Bil Gee, JBBG.
During the JBBG period, student is required to get used to the requirement of exerting power from the six parts of the body, i.e. neck, shoulders, arms, waist, stomach & legs, at the same time. But, this is like starting to play jig saw puzzle. Usually only 2 or 3 parts can be put together at the same time but seldom can they be treated as Ging.
It is impossible to require any one to perform LGHY correctly before starting to learn the Gau Bo Tui, GBT, because that would take a very long time to achieve. Very few people nowadays have the patience to learn JBBG for a long period. Besides, learning GBT will give the students some idea of how LGHY is applied to the movements because GBT is practically a fighting technique. During this period, Gong Ging is the target to achieve but it hardly can be treated as a perfect LGHY because Hum Hung, But Boi, Ling Yiu, Art Ma, Ding Ging, Chong Jow (may not be all) are usually missed during the exerting of LGHY. And, most important is that FAU has not been correctly applied or even forgotten.
After a long period of practicing the GBT the students will on the one hand become impatience and on the other hand is still unable to visualize the true perfect LGHY because most of the movements in GBT can be very powerful though LGHY is still not fully applied. People who are unable or not having the chance to appreciate a true perfect GJG will consider Gong Ging is one of the gings in Bai Mei not knowing that it is just the first step forward towards GJG. So, the learning of Sup Ba More Kiu, SBMK, that concentrates on the use of UN Ging , UG, or Wu Ging, WG, will provide the learners a more advanced vision of a perfect LGHY because UG or WG demands a better quality of LGHY and the application of FAU right ahead and after a movement. So, again UG or WG is just another step forward towards GJG.
During the learning of SBMK students will feel that Fook Ging is quite important. Accordingly, they will think that having Fook Ging is equal to having GJG. This is totally wrong. Because, some of the movements in SBMK require a high degree of Fook Ging in order to draw the opponent downwards towards your side, e.g. Pak Jeung Bil Gee, Wan Sau Bin Kil, Wan Sau Sip Kil, etc. If analyze carefully, students will discover that Fook Ging is also required, in Fu Jow Kok Jeung of JBBG and Sheung Chow Ging in GBT to bring the opponent downward towards your lower left side with the Ling Yiu. Nevertheless, students usually are unable to exert both powers at the same time and Fook Ging is always not there. The fact is, all Pak Mei movements, except Jit Ging, are generated by LGHY. But, higher degree of some of the Gings are required to suit the expected result. Simply saying, each and every movement is composed of different degrees of power of each and every of the six gings.
Finally, the learning of Mount Fu Chui Lum, MFCL, is aiming at the use of a so called Chung Ging or Heavy Ging. To apply, you need to fuse all parts of your body in one piece in doing Tun movements, i.e. to add your body weight onto the opponent like jumping onto a person and let him hold you in his body. It requires a perfect LGHY, i.e. Gink Jak Ging. In Tow movements your body should automatically slide a little bit forward if you are able to fuse all parts of the body during the blow. Chung Ging is the final step up to Gink Jak Ging. At there, you will complete the learning the arts of Bai Mei and from there any movement from your body is Bai Mei.
Please bear in mind that all the movements are composed of 6 different quantities of gings, e.g. Sheung Park Jeung (double banging hands) in SBMK requires a very high degree of Fook Ging to bang the opponent’s coming hands downward ; Sheung Chow Sau in GBT requires a higher degree of Fook Ging in the first part of the movement to draw the opponent downward towards your front in order to make him off balance followed by Ling Yiu to bring him towards the lower left side of yourself; Juen Sun Suk Ma Bin Kil in JBBG requires more ging in Ling Yiu to increase the momentum of the arm; etc. Don’t consider any one ging represent the acquiring of Gink Jak Ging.
DO NOT SATISFY BEFORE YOU HAVE GOT THE GINK JAK GING
30-6-2009
WONG Yiu Kai
