蛇鶴詠春翁國榮體育會蛇鶴詠春翁國榮體育會蛇鶴詠春翁國榮體育會蛇鶴詠春翁國榮體育會 Snake Crane Wing Chun Yung Kwok Wing Athletic Association

(SCWCYKWAA)

Update: 2012-06-25, by Wayne K.W. Yung

http://scwc.com.hk/SCWC e-mail: ccwayne@yahoo.com

蛇鶴詠春蛇鶴詠春蛇鶴詠春蛇鶴詠春 : : : : 三拳雙刀一棍三拳雙刀一棍三拳雙刀一棍三拳雙刀一棍 Snake Crane Wing Chun: Three forms, twin knives and long pole.

據說，蛇鶴詠春開始時只有數下招式手法，即攤手、膀手、伏手及衝捶而已，更離棄

了傳統少林長橋大馬，並以內家拳形式，以短打打法、借力打力及快速手法去強攻敵

人中線。當受到攻擊時，是以柔制剛、借力打力、利用身形去抵消及運用步法去化解

對方來勢，這可用較小的力量去制服對手，令蛇鶴詠春達至內家拳定義的四個標準：

「欲柔不欲強 欲順不欲逆 欲定不欲亂 欲聚不欲散」

Accordingly, Snake Crane Wing Chun began only a few techniques under way, that

TanSau 攤手(dispersing hand), BongSau 膀手(wing arm), FookSau 伏手(lying hand) and

YatGeeKuen 日字拳(vertical punch). It also abandons the traditional style of Shaolin Long

bridge and big stance, and based on the Internal style concept, with short bridge and narrow

stance, to develop a closed contact fighting techniques, leveraging the power of and fast way

to storm the enemy centerline. When under attack, based on softness to overcome hardness,

leveraging the power, the use of body movement and the use footwork to offset each other to

resolve the attacking, which can be used little power to subdue the rival, so that it makes

Snake and Crane Wing Chun having the four criteria to define as an Internal style martial arts:

欲柔不欲強

Prefer Softness rather than Hardness

欲順不欲逆

Prefer to Follow the direction of the attack rather than to Oppose the attack

欲定不欲亂

Prefer Imperturbability rather than Trepidation

欲聚不欲散

Prefer Concentration of power rather than Scattering

往後更基於其中線理念、把這數下招式重組而創出小念頭套拳來練習，並應用於黐手

練習中。因小念頭主守，並且以守中用中慨念與敵人交峰，所以被動的時候比較多。

要是一套完整拳法，必須有其主守一面，主攻一面及在危險時候在救身方面都要兼顧

到，同時馬與步也要顧及得到的，往後蛇鶴詠春拳才遂漸地及有系統地發展出「尋

橋」及「標指」來。

Later on, based on the concept of centerline, the above techniques are re-organized to develop

the first form “SiuLimTau 小念頭” for daily practice. It also applies to the Sticky hand

training. “SiuLimTau 小念頭” is mainly for defense, and using the concept “Keeping on the

centerline and make use of the centerline 守中用中” to oppose the enemy, so more passive.

To become a complete family of a style of martial arts, it needs to have defense, attacking

actively, and once in a worst situation, special techniques for surviving should be cope with.

Also, stances and steps should also be considered. Then the Snake Crane Wing Chun was

gradually and systematically developed with the ChumKiu and BiuJee..

蛇鶴詠春的小念頭很有趣的是有一首六句七言詩的「念頭歌」隨著，方便練習，而且

非常押韻，整首詩描述整套拳法及其由來。

白鶴戲水蛇歸洞 飛麟九轉表掌通 蛇鶴爭揮堵勁融

鶴足三提翼四功 白鶴摺翼登天際 蛇鶴能制逆宗童

In Snake Crane Wing Chun SiuLimTau, there is a six-seven-words-statements poem of the

"LimTau Song 念頭歌" with, and it is very rhymes. The whole poem describes the whole set

of the form and its origin from.

白鶴戲水蛇歸洞

Whit crane plays around with water, and the snake returns the hole.

飛麟九轉表掌通

Flying snake rotates the head in nine ways to represent the palm techniques.

蛇鶴爭揮堵勁融

Snake and crane show off their best techniques and strength.

鶴足三提翼四功

Crane feet step three times and the crane’s wing flips in four ways.

白鶴摺翼登天際

White crane folds the wings and flies to the sky.

蛇鶴能制逆宗童

Snake Crane Wing Chun is able to overcome the traitor (MaNinYee 馬寧兒) of

he Southern Shaolin.

頭五句詩正是描述整套蛇鶴詠春小念頭招式，第六句就說明這套拳的由來是用來制服

叛逆祖宗的人（馬寧兒）。

The first five statement of the poem describes the whole set playing of the SiuLimTau, and

the last statement tells that the reason to develop the Snake Crane Wing Chun is to overcome

the Shaolin traitor, MaNingYee 馬寧兒.

攤手、膀手、伏手及衝捶等都是蛇鶴詠春小念頭的主要招式，同時也加插了部份實用

招式如吞橋、圈手，撐掌等，所有招式都是應用於其獨特的黏手訓練上，可知蛇鶴詠

春小念頭的重要性。由於小念頭主守及其堅固的二字拑羊馬，並沒有任何步法移動動

作，作用是站穩及穩守子午線來作反擊，可以說是被動的。

TanSau 攤手(dispersing hand), BongSau 膀手(wing arm), FookSau 伏手(lying hand) and

YatGeeKuen 日字拳(vertical punch) are the major techniques of SiuLimTau 小念頭 in

Snake Crane Wing Chun, and also some practical techniques, such as TonKiu(吞橋swallow

bridge), HuenSau(圈手circle hand), ChanGen(撐掌palm support) and etc are also added.

All techniques are applied to the unique sticky hands training. That’s why the SiuLimTau 小

念頭 is so importance in Snake Crane Wing Chun. The playing of the SiuLimTau 小念頭

form is based on the stance “YeeGeeKimYenMa 二字拑羊馬”, firm and no-step movement.

The player stands firmly and hands movement are mainly on the centerline to react. From the

concept of the centerline of view, the player defends and react along the centerline. That’s

why it can be said to be passive.

往後就發展出「尋橋」來，尋橋建基於主動出擊，然後作出快速攻擊，主要利用膀手

作護身去尋覓對手橋手，屬於主攻，而拳套內分「靜態」及「動態」兩部份的，前半

部份屬於靜態的，是沒有任何步法移動的，主要憑身法、在左、右兩邊及正面尋找對

手橋手，利用機剪馬把身體左右轉動而已；而在動態方面，開始有馬步移動的出現，

主要是主動出擊，步法有虛實腳及穩實向前的機剪步（機剪馬的步法）。再者，尋橋

的膀手，不論在靜態或動態下都是尋找三次，而第一二次都假設尋找不到，所以就沒

有任何攻擊招式跟隨，到了第三次就遇到對方橋手而作出即時攻擊，然後該組組合就

完成了。從子午線方面來看，尋橋相對是去尋找對方子午線後來作攻擊，正是蛇鶴詠

春的「朝面追中」慨念。

Back on the development of "ChumKiu 尋橋”, it looks for the opponent’s bridge 橋手(hands)

built on the initiative, and then make a quick attack. The main use of BongSau 膀手 is for

protection. It is used to protect the player himself/herself and to look for opponent’s body

bridge hand, and it is mainly for active attack. The form can be divided in two parts of the

static and dynamic. The first half is static and no next-step move. The main virtue of agility,

in the left side, in the right side and in the front of the bridge, is to find opponent’s hand. The

turning around the body is mainly based on the use of GuyGinMa（機剪馬side stance) to

turn. In the dynamic part, the GuyGinMa starts to step and move, and mainly to take the

initiative step with the actual situation and have a solid foot moving forward (Gait of

GuyGinMa 機剪步). Using BongSau 膀手 in ChumKiu 尋橋is for protection and looks for

the opponent’s bridge arm. Whether in static or dynamic, it looks for the three times. The

first and second ones pretend nothing to meet, so there is no attack techniques followed. The

third one pretends to get the opponent bridge of hand and makes immediate attack. Then the

group portfolio is complete. From the concept of the centerline of view, it is to find the

bridge of the opponents, and the centerline to centerline concept is built. In Snake Crane

Wing Chun, it terms "Toward the opponent and chasing the opponent’s centerline 朝面追中"

concept.

機剪馬的名稱來自其轉動時，雙腳掌同時在平行地轉動，如從前木工師傅的量度角度

工具「機剪」，由兩條橫木釘於兩條直木上，當橫木左右對拉時，兩條直木就相對平

行地轉動，如橫木重複左右對拉，直木就會相對左右擺動，因機剪馬的腳掌平行地向

左或右擺動時便正正如此，所以名「機剪馬」。 GuyGinMa 機剪馬 the name of the stance is from its rotation, turning the soles of the feet in

parallel, such as the angle of the ancient carpenter's measuring tools "machine cut 機剪". By

making two crossbars nailed in two straight woods, when crossbars are pulled relatively, the

two parallel straight woods will turn in the same direction. As the crossbars are about to pull

repeatedly forward and backward, the parallel ones will be relatively turning left and right.

The toes of feet becomes, like this “machine cut 機剪” tool, parallel to the left or right all the

time when it is precisely move, so named GuyGinMa 機剪馬(“machine cut 機剪” stance).

在標指方面，大多招式都是比較凶狠的，如鈒肘、批肘、撤頸等，主要因為是用來救

身的。因己身並無朝向對手及同時被對手正面朝望著，所以招式是比較凶狠及出手快

而且比較重，用來更正己身來朝去望向對手，出手完全沒有留情的一面，以轉身重打

對手弱點。若從子午線方面來看，標指尤如失去對方子午線及同時己方子午線正被對

手正面朝著，而設法搶回朝著對方子午線機會及同時作出即時反擊。

In BiuJee 標指,most techniques refer to the area to be more vicious, such as mainly elbow

techniques, neck attacks, knee attacks and etc, because it is used for survival. The opponent’s

centerline is not toward, but the player’s centerline is faced toward on by the opponent.

That’s why the techniques applied must be quick and heavy, more wild and fierce. It is also

used to adjust and to look toward the opponent’s centerline, unsparing attack in severe way to

re-beat opponent weaknesses. From the concept of the centerline, it seems loss of the

opponent’s centerline and the player’s centerline is looked toward on by the opponent. It

tries to snatch the opportunity and make the centerlines of both toward each other for

immediate counterattack.

自火燒南少林後，因僧人四處逃命，至善禪師等逃至嶺南，並把蛇鶴詠春拳流傳嶺南

紅船上。因蛇鶴詠春拳本身並沒有任何兵器，所以就把嶺南的蝴蝶刀改良，並將其刀

身修窄，刀鋒只開刀尖部份，並將蛇鶴詠春拳手法應用於其刀身上，成為手的續而

創出「二字拑羊奪命刀」又命「奪命雙刀」，收藏於衣袖裏成「袖裏刀」，用法都相

當陰險。

Since the fire of the Southern Shaolin, the monks escape to different areas in the country.

Some fled to Lingnan 嶺南 area (GuongDong 廣東), and the Snake Crane Wing Chun spread

to Lingnan Red Boat 嶺南紅船 at this moment. However, the Snake Crane Wing Chun itself

does not have any weapons, so it makes the Lingnan butterfly knives 嶺南蝴蝶刀

improvement. Narrow the blades, and only the blade’s tips are open sharply. Then apply the

Snake Crane Wing Chun techniques to the knives, as the two hands extension, but with

special stances and steps. Finally, it named "YeeGeKimYamDuMingDao 二字拑羊奪命刀”

or "DuMingShunDao 奪命雙刀". The knives are usually hid in the long sleeves becoming

"sleeve knives 袖裏刀" (in Qing dynasty, the cloth was very big enough) and make the usage

blackness.

Snake Crane Wing Chun compared to the Lingnan butterfly knives 嶺南蝴蝶刀, the blades

are quite narrow to hide easily inside the long sleeves.

蛇鶴詠春雙刀相比蝴蝶刀，刀身比較窄

Lingnan butterfly knives 嶺南蝴蝶刀 relatively wide blade, not easy hidden in the sleeves

嶺南蝴蝶刀刀身比較闊，不易藏於衣袖裏

In the Qing Dynasty, big clothes robes is wide sleeves, pole sleeves and easily hidden in a

"sleeve knives 袖裏刀", of course, not like the man wearing the T-Shirt now.

於清朝、衣衫是闊袍大袖的，雙刀易於藏於衣袖裏成「袖裏刀」，當然不是這外籍人

士穿著的 T-裇

Boating scull 搖櫓

划船的搖櫓

蛇鶴詠春的「六點半棍」就是划船用的搖櫓，重約十多二十斤，當陀手與別人有爭執

時，便使用搖櫓作兵器來對抗。後來上了岸，搖櫓上的雙翼也被切除，成為一支又粗

又大的棍，配合簡單棍法就成為蛇鶴詠春的六點半棍。從舊相片都可看見棍身比一般

單頭棍肥粗而且大，拿起來都相當吃力，還有手握是棍頭，非棍尾，如手握搖櫓般，

棍本身的的吊力都非常重，所以舞動它都不是輕而易舉事，招式方面只有六招半，並

配合簡單馬步彷似在船上般作小步移動。

Snake Crane Wing Chun's scull-like "Long Pole" was developed from the boating scull 搖櫓,

weighs almost twelve to twenty catties. While the scullers had any disputes with others, they

used the scull as a weapon to fight. Later, on the shore, the pedals of the scull have been

removed, as a big thick stick. Simple pole techniques are applied to make the Snake Crane

Wing Chun's Long Pole techniques. From the old photo below, it can be found that the Long

Pole is thicker than the normal sticks from other families. Also, it is held on the pole head

(the thin side), not the pole end (the thick side), and it is very heavy enough and not easy to

lift up. There are only six and a half techniques applied to it, with a simple stance and small

steps movement on the boat.

Snake Crane Wing Chun's scull-like Long Pole (from thin to thick).

Young age of Master Law Chiu Wing 羅昭榮 in 1950s

蛇鶴詠春的六點半棍（由窄至粗），像搖櫓般

於五十年代，年青時代的羅昭榮師傅