One Application 136
Nai Fuan Chin Section Two Solo Sequence 147
Nai Fuan Chin Section Two Application 155
Nai Fuan Chin Section Three Solo Sequence 164
Nai Fuan Chin Section Three Application 175
Chapter Five Pushing Hands 188
Theories and Concepts 189
Practicing Pushing Hands 190
The Fixed Pushing Hands Drill 191
Changing Sides 193
Basic Changes 194
Change One 195
Change Two 198
Change Three 201
Introducing Saam Chin Boxing into Pushing Hands 203
Defense Against a Lead-hand Back-fist Strike 204
Defense Against an Upper-level Rear-hand Straight Punch 206
Defense Against a Rear-hand Back-fist Strike 208
Defense Against an Upper-level Lead-hand Straight Punch from a Crossed Position 210
Defense Against a Middle-level Hook Punch from a Crossed Position 214
Defense Against a Foot Sweep 217
Defense Against a Front Kick, Lead-hand Straight Punch Combination 220
Introducing Nai Fuan Chin Grappling into Pushing Hands 223
Set One 223
Set Two 226
Set Three 229
Chapter Six Final Thoughts 232
Some Maxims 232
Chu and the Watermelon 233
Conclusion 237
Acknowledgments
My thanks go to my parents, James and Barbara Johnson; my wife, Eleanor May-Johnson; Elaine and Terry May; and sangha members (past and present) of Chithurst Buddhist Monastery.
My thanks also go to Mr. Dave Franks, co-discoverer of the Nai Fuan Chin applications; Mr. Mike Stobart; Sensei Steve Rowe of Shi Kon Karate Kai; and the Three Unknown Men.
Many thanks to Pat Stockley and Amber Matthews for the photography, and Shao Cheen Laine for her artwork.
I am grateful to Mr. Patrick McCarthy, Director of the International Ryukyu Karate Research Society, who gave me permission to use the photos of Gichin Funakoshi and Choki Motobu, and the British Museum for the use of the photo of Chinese bronze statues.
Finally, I would like to thank Meik Skoss for his editorial guidance, and the staff of the Charles E. Turtle Company.
Foreword
by Steve Rowe
Chief Instructor, Shi Kon Karate Kai
Contributing Editor, Traditional Karate magazine
This book represents a milestone in the martial arts; it contains all the necessary ingredients to become a classic. Nathan Johnson has poured his heart and soul and a significant part of his training life into this work. He has 'burned the midnight oil' with his research into historical martial art texts and worn out the bodies and patience of his training partners in his quest to produce a generation of well-balanced karate-ka (karate practitioners).
The concepts contained within these pages are well researched and practical. They make sense of many of the kata (preset solo martial art forms) movements practiced by modern karate-ka for no other reason—until now—than that they were 'traditional' or with applications that have obviously been made up after the original ones were lost. The whole of this text is imbued with the wisdom of the ancient masters and Nathan manages to communicate these precepts in such a way that they reach out from the pages and touch the heart as well as the mind. That in itself makes this book a classic.
His research has broken all the barriers between the different nationalities and their prejudiced ways of presenting their own martial arts. In our workshops we have had people from many different martial backgrounds 'pushing hands' together under Nathan's guidance, exploring their similarities instead of their differences. It really does herald a new era where, instead of jealously guarding their 'secrets' from successive generations and allowing their art to disintegrate, modern instructors are sharing and learning from each other to improve their systems and then documenting them so they are not lost to those wishing to follow the way in the future.
Read this book with an open heart and an open mind and just let the philosophy wash over you, because the secret of all martial art technique lies in the weight of the practitioner's heart, not his hands or feet.
Introduction
Karate has become a household word in many countries of the world. It is a far cry indeed from the days when it was practiced as an obscure Okinawan village art. As a word, karate simply means empty hand (kara = empty, te- hand). Karate originated in China where the empty-hand arts grew as an extension of the ancient teachings of the Ch'an (Zen) monks of the Shaolin Temple. In fact, the true teachings reflect this ancient wisdom in a practical way. If a system is stripped of its essential philosophy, it becomes nothing more than a gross collection of methods for brutalizing our fellow human beings. Fear is a poor substitute for respect.
The great classics in any art form serve as a source of inspiration to the succeeding generations. They are the bedrock upon which future developments depend. True karate teachings can be said to be contained in the original solo forms, or kata, which preserve the classical art. Of the utmost importance in the preservation of these classical kata is the soul of each form, its practical function.
This book is about classical karate. However, far from being dry or safe, it is controversial. It breaks totally new ground, not through innovation but through the restoration of the neglected practical applications of two of karate's oldest and most profound kata. These are woven together to form a concise and highly practical system that remains true to the wisdom of the Shaolin Temple and that is enjoyable to learn and practice.
This bookreveals the Chinese origins of karate and how to unite and apply all the techniques shown. Most of these kata applications have never been published in English. You are invited to try them for yourself, and if you like them, to make them your own.
Chapter One of this book deals with the Shaolin Way and the history and background of karate. Chapter Two deals with basic techniques and exercises. Chapter Three deals with the Saam Chin kata and Saam Chin boxing (boxing is given to mean punching, striking, kicking, and deflecting). Chapter Four deals with the Nai Fuan Chin kata (note that this is in fact three kata in one) and Nai Fuan Chin grappling (joint locks, restraints, and throws). Chapter Five deals with the ultimate combination of the techniques in Chapters Two to Four through the medium of pushing hands, which forms the bridge or link between kata and application.
The karate in this book can be categorized as Zen Shaolin Karate, which means the empty-hand (way) of Shaolin meditation. It is not a style, however, but a living principle. Its major characteristics are strict adherence to Zen principles, and a refusal to use self-generated power or to initiate an attack. In fact, Zen Shaolin avoids direct confrontation (in which the strongest win), instead seeking the watercourse way (the line of least resistance), flowing with the lines of force, and turning an opponent's force back on him. In so doing, the need to become aggressive is removed.
Using genuine applications, you can also overcome the limitations of strength because you will not be using it! You will learn