Cang Zhou: The Hometown of Chinese Martial Arts
Cang Zhou (滄州), also written as Cangzhou, is in the southeastern part of Hebei Province, 120 miles from Beijing (北京). It is famously known as Wushu Zhi Xiang (武術之鄉), or the Town of Martial Arts. This designation is justified due to the great number of styles practiced there, but also to the many famous masters it has produced. Our own Mizong Luohan Great Grandmaster, Ye Yuting, was born in Cang Zhou.
It is said that in China there are more than 120 distinctive styles of Chinese Gong Fu, and that nearly half of these styles are practiced in Cang Zhou. Since the number of styles is considerable, and space here is limited, I will focus only on some of the most well-known styles, and on some that are obscure in the West. The featured styles have strong roots in Cang Zhou and the surrounding prefecture.
In this article, although the character Quan (拳) means Fist, we will use the term “Style” as it is more indicative of martial arts content. I will provide a brief description and list the styles alphabetically so as not to show preference in the order of appearance.
Baji Quan, also written as Ba Ji Quan and Bajiquan (八极拳), the Eight Extremities Style, refers to the use of eight body parts: head, shoulders, elbows, hands, hips, thighs, knees, and feet. Baji has a history of more than 400 years and is one of the most renowned styles from Cang Zhou. Often referred to as Bodyguard Style, Baji is famous for its powerful elbow and shoulder striking techniques. We can recognize the style by the foot stomping that precedes many of its actions. Baji is also known for the use of Da Qiang, the big spear.
Chuo Jiao, also written as Chuojiao (戳脚), the Poking Feet Style. Chuo Jiao uses both strikes and kicks in its many types of attack. It makes extensive use of the Empty Stance (similar to a Cat Stance), which allows for quick movement forward or backward. Chuo Jiao contains unique kicks; it is fast and imposing in pressing the attack. Strikes and kicks come from unpredictable angles. People who are unfamiliar with the style are likely to be caught by surprise.
Duan Quan, is also written as Duanquan (短拳), the Short Style. As the name implies, Duan Quan is a close-quarters style that specializes in shrinking space and using suppleness and dexterity in closing the gap between you and your opponent. The posture is small and guarded, openings are protected, and the issuing of power is crisp. Footwork is quick and the legs are used to entangle and sweep an opponent’s legs.
Erlang Quan, also written as Er Lang Quan and Erlangquan (二郎拳), the Er Lang Style, is named after Er Lang, a Daoist deity considered a powerful warrior god. This style appears to be simple, yet its techniques are quick and explosive. The Er Lang style in attacking specializes in cutting or severing the tendons, and its powerful techniques can break bones. This style is rare even in China. The Erlang Qiang (Spear) is one of the unique weapons of this style.
Gongli Quan, also written as Gong Li Quan and Gongliquan (功力拳), the Power Fist Style. The form called Gong Li Quan (not to be confused with the style) is a famous routine in the Jingwu System and is typically the second routine learned after the Tan Tui set. Few practitioners know that Gong Li Quan is a distinctive and broad style. It is governed by a 12-Character Formula from which its fighting skills are developed. Gongli Quan, while not a flashy style, uses a fast rhythm and solid release of power to overwhelm the opponent.
Lan Shou, also written as Lanshou (攔手), the Blocking Hand Style. Lan Shou is often considered to be an internal style because of its emphasis on the cultivation of Qi. The style stresses the practice of single movements so as to develop speed, the flow of Qi, and explosive power. This style is rare outside of China.
Liuhe Quan, also written as Liu He Quan and Liuhequan (六合拳), the Six Harmony Style, blends the use of striking and kicking techniques. Practitioners are taught to seek stillness in movement and movement in stillness. The style contains many empty hand and weapons routines.
Mingtang Quan, also written as Ming Tang Quan and Mingtangquan (明堂拳), the Ming Tang Style. Ming Tang refers to King’s Hall, and it was first used during the Zhou Dynasty (1046-256 BC). The structure of this style is simple, and its techniques are connected. It harmonizes the use of striking and kicking with firm footwork, rendering its applications extremely practical.
Mizong Quan, also written as Mi Zong Quan and Mizongquan (燕青拳), the Lost Track Style. Mizong Quan was made famous by the legendary Huo Yuanjia who has been portrayed in many movies and is associated with the founding of the Jingwu Athletic Association in Shanghai. The name, Lost Track, derives from baffling, rapid, and deceiving footwork combined with flexible and lightning changes of fist and leg techniques. Its strategy is to adapt to the situation and use consecutive attacks. The style contains numerous empty hand and weapons routines.
Pigua Zhang, also written as Pi Gua Zhang and Piguazhang (劈挂掌), the Ax Hitch Style. It is known for rapid and fierce swinging and chopping techniques. Its characteristics have been described as follows: Hands are like meteors and the waist is like a snake. The power of Pigua is explosive and far-reaching. Pigua is famous for the use of the Miao Dao, or Grain Leaf Saber.
Shajiao Quan, also written as Sha Jiao Quan and Shajiaoquan (沙教拳), the Sha Jiao Style. Shao Jiao here refers to Islamic theocracy. The transmission of this style was restricted as it was passed down only to other Hui people (Chinese-speaking adherents of Islam). This method contains more weapons routines than empty-hand forms. Its practice is also said to be used to get rid of illness.
Tang Quan, also written as Tangquan (唐拳), the Tang Style. Tang here refers to the Tang Dynasty (618-907). This style is explosive and combines hardness with softness. The movements seem simple on the surface but are intricate in nature. Its attacks are fierce, complex, and unrelenting. Tang Quan also emphasizes Zhan Zhuang (Post Standing), which is training for developing and refining the Qi. We have two Tao Lu (Forms) in our Mizong Luohan curriculum: Tang Quan Yi Lu and Tang Quan Er Lu (Tang Dynasty First Set and Second Set), which derive from the Cang Zhou region.
These are only a few of the styles practiced in Cang Zhou. Much of the information in this post comes from extensive research conducted while doing interviews and preparing articles for publication in the Wu Gong Journal, and later, the Journal of Chinese Martial Arts.
Because of my deep interest in Mizong Luohan, I did considerable research on the martial arts of Cang Zhou. I believe it is important to know the roots of a system one practices.