View source for Chinese martial arts

{{Short description|Variety of fighting styles developed in China}}
{{Redirect|Kung fu|the generalized meaning of the term|Kung fu (term)|other uses|Kung fu (disambiguation)}}
{{AI-generated|date=August 2025}}
{{Infobox Chinese
| t = 武術
| s = 武术
| l = "Martial arts"
| p = wǔshù
| w = {{tone superscript|wu3-shu4}}
| bpmf = ㄨˇ ㄕㄨˋ
| mi = {{IPAc-cmn|wu|3|.|sh|u|4}}
| suz = vû-zéh
| j = mou5 seot6
| y = móuh-seuht
| ci = {{IPAc-yue|m|ou|5|.|s|eot|6}}
| tl = bú-su̍t
| tp = wǔ-shù
| altname = Kung Fu
| altname3 = Guoshu
| c2 = 功夫
| p2 = gōngfu
| w2 = {{tone superscript|kung1-fu}}
| tp2 = gong-fu̇
| bpmf2 = ㄍㄨㄥ ㄈㄨ˙
| mi2 = {{IPAc-cmn|g|ong|1|.|f|u|5}}
| j2 = gung1 fu1
| y2 = gūng-fū
| ci2 = {{IPAc-yue|g|ung|1|-|f|u|1}}
| t3= 國術
| s3= 国术
| p3 = guóshù
| tp3 = guó-shù
| w3 = {{tone superscript|kuo2-shu4}}
| bpmf3 = ㄍㄨㄛˊ ㄕㄨˋ
| mi3 = {{IPAc-cmn|g|uo|2|.|sh|u|4}}
| j3 = gwok3 seot6
| y3 = gwok-seuht
| ci3 = {{IPAc-yue|gw|ok|3|.|s|eot|6}}
}}
{{Chinese martial arts}}
[[File:حرکات انفرادی کنگ فو، محمد اکبری Kung fu in iran (Qom) Mohammad Akbari 27.jpg|thumb|Kung fu in Iran]]
'''Chinese martial arts''', commonly referred to with [[umbrella term]]s '''[[Kung fu (term)|kung fu]]''' ({{IPAc-en|ˈ|k|ʌ|ŋ|_|ˈ|f|uː}}; {{zh|c=[[wiktionary:功夫|功夫]]|p=gōngfu|cy=gūng fū|j=gung1 fu1}}), '''kuoshu''' ({{zh|c=國術|labels=yes|p=guóshù|j=gwok3 seot6}}) or '''[[wushu (sport)|wushu]]''' ({{zh|c=武術|labels=yes|p=wǔshù|j=mou5 seot6}}), are [[Styles of Chinese martial arts|multiple fighting styles]] that have developed over the centuries in [[Greater China]]. These fighting styles are often classified according to common traits, identified as "families" of martial arts. Examples of such traits include ''[[Shaolin kung fu|Shaolinquan]]''  ({{zh|c=少林拳|labels=no}}) physical exercises involving [[Five Animals]] ({{zh|c=五形|labels=no}}) mimicry or training methods inspired by [[Chinese philosophies|Old Chinese philosophies]], religions and legends. Styles that focus on [[qi]] manipulation are called ''[[Internal martial arts|internal]]'' ({{lang|zh|内家拳}}; {{transliteration|zh|''nèijiāquán''}}), while others that concentrate on improving muscle and cardiovascular fitness are called ''[[Styles of Chinese martial arts#External styles|external]]'' ({{lang|zh|外家拳}}; {{transliteration|zh|''wàijiāquán''}}). Geographical associations, as in ''northern'' ({{lang|zh|北拳}}; {{transliteration|zh|''běiquán''}}) and ''[[Nanquan (martial art)|southern]]'' ({{lang|zh|南拳}}; {{transliteration|zh|''nánquán''}}), is another popular classification method.

==Terminology==
{{See also|Kung fu (term)}}
''Kung fu'' and ''wushu'' are [[loanword]]s from Cantonese and Mandarin respectively that, in English, are used to refer to Chinese martial arts. However, the [[Chinese language|Chinese]] terms ''[[kung fu (term)|kung fu]]'' and ''wushu'' ({{Audio|Zh-wu3shu4.ogg|listen (Mandarin)}}; {{zh|cy=móuh seuht}}) have distinct meanings.<ref name="Jamieson">{{Cite book  | last1 = Jamieson | first1 = John | last2 = Tao | first2 = Lin | last3 = Shuhua | first3 = Zhao | title = Kung Fu (I): An Elementary Chinese Text | year =2002  | publisher = The Chinese University Press | isbn = 978-962-201-867-9 }}</ref> The Chinese equivalent of the term "Chinese martial arts" would be ''Zhongguo wushu'' ({{zh|t=中國武術|p=zhōngguó wǔshù|links=no}}) ([[Mandarin Chinese|Mandarin]]).

In Chinese, the term ''kung fu'' refers to any skill that is acquired through learning or practice. It is a compound word composed of the words 功 (gōng) meaning "work", "achievement", or "merit", and 夫 (fū) originally meaning "man" or "person," but functions here as a suffix indicating someone who has attained skill or discipline through effort.

''Wushu'' literally means "[[martial art]]". It is formed from the two [[Chinese character]]s {{lang|zh|[[:wikt:武術|武術]]}}: {{lang|zh|[[wiktionary:武|武]]}} ({{lang|zh-latn-pinyin|wǔ}}), meaning "[[wiktionary:martial|martial]]" or "[[military]]" and {{lang|zh|[[wiktionary:術|術]]}} or 术 ({{lang|zh-latn-pinyin|shù}}), which translates into "[[art]]", "[[discipline]]", "[[skill]]" or "[[wikt:method|method]]". The term ''wushu'' has also become the name for the modern sport of [[wushu (sport)|''wushu'']], an exhibition and full-contact sport of bare-handed and weapon forms ({{zh|labels=no|c=套路}}), adapted and judged to a set of aesthetic criteria for points developed since 1949 in the [[People's Republic of China]].<ref>{{cite book |editor-last=Price |editor-first=Monroe E. |editor2-last=Dayan |editor2-first=Daniel |title=Owning the Olympics: Narratives of the New China |location=Ann Arbor |publisher=University of Michigan Press |year=2008 |isbn=978-0-472-07032-9}}</ref><ref name="Mastering Yang Style Taijiquan">{{cite book 
|last=Fu |first=Zhongwen |title=Mastering Yang Style Taijiquan.
|orig-date=1996|year=2006 |publisher=Blue Snake Books |location=Berkeley, California |isbn=1-58394-152-5<!-- (trade paper)--> |others=Louis Swaine}}</ref>

''Quánfǎ'' ({{lang|zh|拳法}}) is another Chinese term for Chinese martial arts. It means "fist method" or "the law of the fist" (''quán'' means "boxing" or "fist", and ''fǎ'' means "law", "way" or "method"), although as a compound term it usually translates as "boxing" or "fighting technique." The name of the Japanese martial art [[kempō]] is represented by the same [[hanzi]] characters.

==History==
The genesis of Chinese martial arts has been attributed to the need for [[self-defense]], hunting techniques and military training in [[History of China#Ancient China|ancient China]]. [[Hand-to-hand combat]] and [[weapon]]s practice were important in training ancient Chinese [[soldiers]].<ref>{{cite book|last=Van de Ven|first=Hans J.|author-link=Hans van de Ven|date=October 2000|title=Warfare in Chinese History|publisher=Brill Academic Publishers|page=328|isbn=90-04-11774-1}}</ref><ref>{{cite book|last1=Graff|first1=David Andrew|last2=Higham|first2=Robin|author-link2=Robin D. S. Higham|date=March 2002|title=A Military History of China|publisher=Westview Press|pages=15–16|isbn=0-8133-3990-1}} {{cite book|last=Peers|first=C.J.|date=2006-06-27|title=Soldiers of the Dragon: Chinese Armies 1500 BC–1840 AD|url=https://archive.org/details/soldiersdragonch1840peer_125|url-access=limited|publisher=Osprey Publishing|page=[https://archive.org/details/soldiersdragonch1840peer_125/page/n131 130]|isbn=1-84603-098-6}}</ref>

Detailed knowledge about the state and development of Chinese martial arts became available from the [[Nanjing decade]] (1928–1937), as the  [[Central Guoshu Institute]] established by the [[Kuomintang]] regime made an effort to compile an encyclopedic survey of martial arts schools.
Since the 1950s, the People's Republic of China has organized Chinese martial arts as an exhibition and full-contact sport under the heading of  ''[[Wushu (sport)|"wushu"]]''.{{citation needed|date=October 2023}}

===Legendary origins===
According to legend, Chinese martial arts originated before the semi-mythical [[Xia dynasty]] over 4,000 years ago. It is said that the [[Yellow Emperor]] (Huangdi), who ascended to power in 2698 BC, introduced the earliest fighting systems to China. The Emperor is renowned as a great general who, prior to becoming China's leader, authored extensive treatises on medicine, astrology, and the martial arts. One of his primary adversaries was Chi You, credited as the progenitor of jiao di, a precursor to modern [[Shuai jiao|Chinese wrestling]].{{citation needed|date=October 2023}}

===Early history===
The earliest references to Chinese martial arts are found in the ''[[Spring and Autumn Annals]]'' (5th century BC),<ref name=journal>{{cite journal|title=Journal of Asian Martial Arts Volume 16|publisher=Via Media Pub. Co., original from [[Indiana University]]|page=27|year=2007|issn=1057-8358|title-link=Journal of Asian Martial Arts|journal=Journal of Asian Martial Arts}}</ref> where a hand-to-hand combat theory, one that integrates notions of [[Hard and soft (martial arts)|"hard" and "soft"]] techniques, is mentioned.<ref>trans. and ed. Zhang Jue (1994), pp. 367–370, cited after Henning (1999) p. 321 and note 8.</ref>  A combat [[wrestling]] system called ''juélì'' or ''jiǎolì'' ({{lang|zh|角力}}) is mentioned in the ''[[Classic of Rites]]''.<ref name=classicofrites>[[Classic of Rites]]. Chapter 6, Yuèlìng. Line 108.</ref> This combat system included techniques such as [[Strike (attack)|strikes]], [[throw (grappling)|throws]], [[Chin Na|joint manipulation]], and [[pressure point]] attacks.
Jiao Di became a sport during the [[Qin dynasty]] (221–207 BC).  The ''[[Book of Han|Han History]] Bibliographies'' record that, by the [[Former Han]] (206 BC&nbsp;– 8 AD), there was a distinction between no-holds-barred weaponless fighting, which it calls ''shǒubó'' ({{lang|zh|手搏}}), for which training manuals had already been written, and sportive wrestling, then known as juélì ({{lang|zh|角力}}).
Wrestling is also documented in the Shǐ Jì, ''[[Records of the Grand Historian]]'', written by [[Sima Qian]] (ca. 100 BC).<ref name="Henning">{{cite journal |last=Henning |first=Stanley E. |date=Fall 1999 |title=Academia Encounters the Chinese Martial arts |url= |journal=China Review International |volume=6 |issue=2 |pages=319–332 |doi=10.1353/cri.1999.0020 |issn=1069-5834 |jstor=23732172 |s2cid=145378249 }}</ref>

In the [[Tang dynasty]], descriptions of sword dances were immortalized in poems by [[Li Bai]]. In the [[Song dynasty|Song]] and [[Yuan dynasty|Yuan dynasties]], xiangpu(相扑) contests were sponsored by the imperial courts. The modern concepts of wushu were fully developed by the [[Ming dynasty|Ming]] and [[Qing dynasty|Qing]] dynasties.<ref>{{cite book|title=Sports & Games in Ancient China (China Spotlight Series)|date=December 1986|publisher=China Books & Periodicals Inc.|isbn=0-8351-1534-8}}</ref>

====Philosophical influences====
The ideas associated with Chinese martial arts changed with the evolution of Chinese society and over time acquired some philosophical bases:  Passages in the ''[[Zhuangzi (book)|Zhuangzi]]'' ({{lang|zh-hant|莊子}}), a [[Taoist]] text, pertain to the psychology and practice of martial arts. [[Zhuang Zhou|Zhuangzi]], its [[eponym]]ous author, is believed to have lived in the [4th century BC]. The ''[[Tao Te Ching]]'', often credited to [[Laozi]], is another Taoist text that contains principles applicable to martial arts. According to one of the classic texts of [[Confucianism]], ''[[Zhou li|Zhou Li]]'' ({{lang|zh-hant|周禮}}), [[Archery]] and [[chariot]]eering were part of the "six arts" ({{zh|t=六藝|s=六艺|p=Liù yì|links=no|c=}}, including [[Li (Confucianism)|rite]]s, [[music]], [[calligraphy]] and [[mathematics]]) of the [[Zhou dynasty]] (1122–256 BC). ''[[The Art of War]]'' ({{zh|t=孫子兵法|s=孙子兵法|p=Sūnzǐ bīngfǎ}}), written during the [6th century BC] by [[Sun Tzu]] ({{zh|t=孫子|s=孙子|p=Sūnzǐ}}), deals directly with military warfare but contains ideas that are used in the Chinese martial arts.{{citation needed|date=October 2023}}

[[Taoist]] practitioners have been practicing ''[[daoyin]]'' (physical exercises similar to [[qigong]] that was one of the progenitors to [[tai chi]]) from as early as 500 BC.<ref>{{Cite journal|last=Lao|first=Cen|title=The Evolution of T'ai Chi Ch'uan|journal=The International Magazine of T'ai Chi Ch'uan|volume=21|issue=2|publisher=Wayfarer Publications|date= April 1997|issn=0730-1049}}</ref> In 39–92 AD, "Six Chapters of Hand Fighting", were included in the ''Han Shu'' (history of the Former [[Han dynasty]]) written by [[Ban Gu]]. Also, the noted physician, [[Hua Tuo]], composed the "Five Animals Play"—tiger, deer, monkey, bear, and bird, around 208 AD.<ref>{{cite book|last=Dingbo|first=Wu|author2=Patrick D. Murphy|year=1994|title=Handbook of Chinese Popular Culture|publisher=Greenwood Press|page=156|isbn=0-313-27808-3}}</ref> Taoist philosophy and their approach to health and exercise have influenced the Chinese martial arts to a certain extent. Direct reference to Taoist concepts can be found in such styles as the "[[Eight Immortals]]," which uses fighting techniques attributed to the characteristics of each immortal.<ref>{{Cite journal|last=Padmore|first=Penelope|date=September 2004|title=Drunken Fist|url=https://books.google.com/books?id=wtsDAAAAMBAJ&q=eight+immortals+kung+fu&pg=PA80|journal=[[Black Belt Magazine]]|publisher=[[Active Interest Media]]|page=77}}</ref>

===Southern and Northern dynasties (420–589 AD)===

====Shaolin temple established====
In 495 AD, the first Shaolin temple was constructed on Song Mountain in Henan province. The initial Buddhist monk who propagated Buddhism there was an Indian monk named Buddhabhadra, known as Batuo in Chinese. Historical records suggest that Batuo's first Chinese disciples, Huiguang and Sengchou, possessed exceptional martial skills. For instance, Sengchou's proficiency with the tin staff is documented in the Chinese Buddhist canon. Following [[Buddhabhadra (translator)|Buddhabhadra]], another Indian monk named Bodhidharma, also known as Damo in Chinese, arrived at [[Shaolin Monastery|Shaolin]] in 527 AD. His Chinese disciple, Huike, was likewise a highly skilled martial artist. There are indications that these first three Chinese Shaolin monks—Huiguang, Sengchou, and Huike—may have had a military background prior to embracing [[Monasticism|monastic life]].{{citation needed|date=October 2023}}

===Shaolin and temple-based martial arts===
{{Main|Shaolin Monastery}}
[[File:Shaolin Temple 1830s Painting in Baiyi Hall (10198879445).jpg|thumb|220px|Mural at Shaolin temple from 1830's depicting forearm strikes and reverse kicks]]

The Shaolin style of kung fu is considered one of the earliest organized Chinese martial arts. The oldest documented evidence of Shaolin's involvement in combat dates back to a stele from 728 AD, which records two significant events: the defense of the Shaolin Monastery against bandits around 610 AD and their subsequent contribution to the defeat of [[Wang Shichong]] at the Battle of Hulao in 621 AD. However, between the 8th and 15th centuries, there are no surviving records that provide concrete proof of Shaolin's involvement in combat activities.

Between the 16th and 17th centuries, at least forty sources exist to provide evidence both that monks of Shaolin practiced martial arts, and that martial practice became an integral element of Shaolin monastic life. The earliest appearance of the frequently cited legend concerning [[Bodhidharma at Shaolin|Bodhidharma's supposed foundation]] of [[Shaolin kung fu]] dates to this period.<ref>{{cite book |last=Shahar |first=Meir |title=The Shaolin Monastery: History, Religion, and the Chinese Martial Arts |location=Honolulu |publisher=University of Hawaiʻi Press |year=2008 |isbn=978-0-8248-3349-7}}</ref>  The origin of this legend has been traced to the [[Ming dynasty|Ming period]]'s ''[[Yijin Jing]]'' or "Muscle Change Classic", a text written in 1624 [[pseudepigraphy|attributed to]] Bodhidharma. 
[[File:Shaolin-wushu.jpg|thumb|220px|Depiction of fighting monks demonstrating their skills to visiting dignitaries (early 19th-century mural in the [[Shaolin Monastery]]).]]

References of martial arts practice in Shaolin appear in various literary genres of the late Ming: the epitaphs of Shaolin warrior monks, martial-arts manuals, military encyclopedias, historical writings, travelogues, fiction, and poetry. However, these sources do not point out any specific style that originated in Shaolin.<ref>{{Cite journal|last=Shahar|first=Meir|author-link=Meir Shahar|s2cid=91180380|date=December 2001|title=Ming-Period Evidence of Shaolin Martial Practice|journal=Harvard Journal of Asiatic Studies|issue=2|pages=359–413|issn=0073-0548|doi=10.2307/3558572|volume=61|publisher=Harvard-Yenching Institute|jstor=3558572}}</ref> These sources, in contrast to those from the Tang period, refer to Shaolin methods of armed combat. These include a skill for which Shaolin monks became famous: the [[Gun (staff)|staff]] (''gùn'', Cantonese ''gwan''). The Ming general [[Qi Jiguang]] included a description of [[Shaolin kung fu]] and staff techniques in his book, ''[[Jixiao Xinshu]]'', which can translate as ''New Book Recording Effective Techniques''. When this book spread across East Asia, it had a great influence on the development of martial arts in regions such as Okinawa<ref>{{cite book|last=Kansuke|first=Yamamoto|author-link=Yamamoto Kansuke (general)|year=1994|title=Heiho Okugisho: The Secret of High Strategy|publisher=W.M. Hawley|isbn=0-910704-92-9}}</ref> and Korea.<ref>{{cite book|last=Kim |first=Sang H.|date=January 2001|title=Muyedobotongji: The Comprehensive Illustrated Manual of Martial Arts of Ancient Korea|publisher=Turtle Press |isbn=978-1-880336-53-3|title-link=Muye Dobo Tongji}}</ref>

===Modern history===
{{Further|Modern history of East Asian martial arts}}

====Republican period====
Most fighting styles that are being practiced as traditional Chinese martial arts today reached their popularity within the 20th century. Some of these include [[Baguazhang]], [[Drunken boxing|Drunken Boxing]], [[Eagle Claw Kung Fu|Eagle Claw]], [[Five Animals (martial arts)|Five Animals]], [[Xingyiquan|Xingyi]], [[Hung Gar]], [[Monkey Kung Fu|Monkey]],  [[Bak Mei|Bak Mei Pai]], [[Northern Praying Mantis]], [[Southern Praying Mantis]], [[Fujian White Crane]], [[Jow Ga]], [[Wing Chun]] and [[tai chi]].  The increase in the popularity of those styles is a result of the dramatic changes occurring within the Chinese society.

In 1900–01, the [[Righteous Harmony Society|Righteous and Harmonious Fists]] rose against foreign occupiers and Christian missionaries in China. This uprising is known in the West as the [[Boxer Rebellion]] due to the martial arts and calisthenics practiced by the rebels. [[Empress Dowager Cixi]] gained control of the rebellion and tried to use it against the foreign powers. The failure of the rebellion led ten years later to the fall of the [[Qing dynasty]] and the creation of the [[Republic of China (1912–49)|Chinese Republic]].

The present view of Chinese martial arts is strongly influenced by the events of the [[History of the Republic of China|Republican period]] (1912–1949). In the transition period between the fall of the [[Qing dynasty]] as well as the turmoil of the Japanese invasion and the Chinese Civil War, Chinese martial arts became more accessible to the general public as many martial artists were encouraged to openly teach their art. At that time, some considered martial arts as a means to promote national pride and build a strong nation. As a result, many training manuals (拳譜) were published, a training academy was created, two national examinations were organized and demonstration teams traveled overseas.<ref name="Kennedy">{{cite book|last=Kennedy|first=Brian|author2=Elizabeth Guo|date=2005-11-11|title=Chinese Martial Arts Training Manuals: A Historical Survey|publisher=North Atlantic Books|isbn=1-55643-557-6}}</ref> Numerous martial arts associations were formed throughout China and in various overseas Chinese communities. The [[Central Guoshu Academy]] (Zhongyang Guoshuguan, 中央國術館) established by the National Government in 1928<ref>{{cite conference|last=Morris|first=Andrew|year=2000|title=National Skills: Guoshu Martial arts and the Nanjing State, 1928–1937|url=http://www.aasianst.org/absts/2000abst/China/C-6.htm|conference=2000 AAS Annual Meeting, March 9–12, 2000|location=San Diego, CA, USA|archive-url=https://web.archive.org/web/20110404021901/http://www.aasianst.org/absts/2000abst/China/C-6.htm|access-date=2008-06-04|archive-date=2011-04-04|conference-url=https://web.archive.org/web/20110629045712/http://www.aasianst.org/absts/2000abst/wrld-toc.htm}}</ref> and the [[Jing Wu Athletic Association]] (精武體育會) founded by [[Huo Yuanjia]] in 1910 are examples of organizations that promoted a systematic approach for training in Chinese martial arts.<ref>{{cite book|first=Susan|last=Brownell|author-link=Susan Brownell|date=1995-08-01|title=Training the Body for China: sports in the moral order of the people's republic|publisher=University of Chicago Press|isbn=0-226-07646-6}}</ref><ref>{{cite book|first=J. A.|last=Mangan|author2=Fan Hong|date=2002-09-29|title=Sport in Asian Society: Past and Present|publisher=UK: Routledge|page=244|isbn=0-7146-5342-X}}</ref><ref>{{cite book|last=Morris|first=Andrew|date=2004-09-13|title=Marrow of the Nation: A History of Sport and Physical Culture in Republican China|publisher=University of California Press|isbn=0-520-24084-7}}</ref> A series of provincial and national competitions were organized by the Republican government starting in 1932 to promote Chinese martial arts. In 1936, at the 11th Olympic Games in Berlin, a group of Chinese martial artists demonstrated their art to an international audience for the first time.

The term ''kuoshu'' (or ''guoshu'', {{lang|zh|國術}} meaning "national art"), rather than the colloquial term [[Kung fu (term)|gongfu]] was introduced by the Kuomintang in an effort to more closely associate Chinese martial arts with [[Chinese nationalism|national pride]] rather than individual accomplishment.

====People's Republic====
{{Further|Wushu (sport)|International Wushu Federation}}

Chinese martial arts experienced rapid international dissemination with the end of the [[Chinese Civil War]] and the founding of the [[People's Republic of China]] on October 1, 1949. Many well known martial artists chose to escape from the PRC's rule and migrate to [[Taiwan]], [[Hong Kong]],<ref>{{cite book|last=Amos|first=Daniel Miles|title=Marginality and the Hero's Art: Martial artists in Hong Kong and Guangzhou (Canton)|url=https://books.google.com/books?id=13F0KQAACAAJ|access-date=2011-12-07|publisher=University Microfilms International|orig-date=1983|year=1986|location=University of California at Los Angeles|asin=B00073D66A|page=280}}</ref> and other parts of the world. Those [[sifu|masters]] started to teach within the [[overseas Chinese]] communities but eventually they expanded their teachings to include people from other ethnic groups.
[[File:Lutadores de Wushu competiram em Ceilândia pelo título Brasiliense.jpg|thumb|Two Brazilian fighters in a [[Sanda (sport)|Sanda/Sanshou]] match. Sanda is a modernized form of Kung Fu and one of the two disciplines of [[Sport wushu|Sport Wushu]]]]
Within China, the practice of traditional martial arts was discouraged during the turbulent years of the [[Chinese Cultural Revolution]] (1966–1976).<ref name="Mastering Yang Style Taijiquan"/> Like many other aspects of traditional Chinese life, martial arts were subjected to a radical transformation by the [[People's Republic of China]] to align them with [[Maoist]] revolutionary doctrine.<ref name="Mastering Yang Style Taijiquan"/> The [[People's Republic of China|PRC]] promoted the committee-regulated sport of [[Wushu (sport)|Wushu]] as a replacement for independent schools of martial arts. This new competition sport was disassociated from what was seen as the potentially [[subversive]] self-defense aspects and family lineages of Chinese martial arts.<ref name="Mastering Yang Style Taijiquan"/>

In 1958, the government established the All-China Wushu Association as an umbrella organization to regulate martial arts training. The Chinese State Commission for Physical Culture and Sports took the lead in creating standardized forms for most of the major arts. During this period, a national Wushu system that included standard forms, teaching curriculum, and instructor grading was established. Wushu was introduced at both the high school and university level. The suppression of traditional teaching was relaxed during the [[History of the People's Republic of China (1976–1989)|Era of Reconstruction (1976–1989)]], as Communist ideology became more accommodating to alternative viewpoints.<ref>{{cite book|last=Kraus|first=Richard Curt|date=2004-04-28|title=The Party and the Arty in China: The New Politics of Culture (State and Society in East Asia)|publisher=Rowman & Littlefield Publishers, Inc.|page=29|isbn=0-7425-2720-4}}</ref> In 1979, the State Commission for Physical Culture and Sports created a special task force to reevaluate the teaching and practice of Wushu.
In 1986, the Chinese National Research Institute of Wushu was established as the central authority for the research and administration of Wushu activities in the People's Republic of China.<ref>{{cite book|first=Wu|last=Bin |author2=Li Xingdong |author3=Yu Gongbao|date=1995-01-01|title=Essentials of Chinese Wushu|isbn=7-119-01477-3|publisher=Foreign Languages Press|location=Beijing}}</ref>

Changing government policies and attitudes towards sports, in general, led to the closing of the [[General Administration of Sport of China|State Sports Commission]] (the central sports authority) in 1998. This closure is viewed as an attempt to partially de-politicize organized sports and move Chinese sport policies towards a more [[Market (economics)|market-driven]] approach.<ref>{{cite book|last=Riordan|first=Jim|date=1999-09-14|title=Sport and Physical Education in China|publisher=Spon Press (UK)|isbn=0-419-24750-5}} p.15</ref> As a result of these changing sociological factors within China, both traditional styles and modern Wushu approaches are being promoted by the Chinese government.<ref>[http://www.iwuf.org/Meetings/8thCongress/minutes.htm Minutes of the 8th IWUF Congress] {{webarchive|url=https://web.archive.org/web/20070614182537/http://www.iwuf.org/Meetings/8thCongress/minutes.htm |date=2007-06-14 }}, International Wushu Federation, December 9, 2005  (accessed 01/2007)</ref>

Chinese martial arts are an integral element of 20th-century Chinese popular culture.<ref>{{cite conference | first = Wei | last = Zhang |author2=Tan Xiujun | title = Wushu | book-title = Handbook of Chinese Popular Culture | pages = 155–168   | publisher = Greenwood Publishing Group | year = 1994 | id = 9780313278082}}</ref>
[[Wuxia]] or "martial arts fiction" is a popular genre that emerged in the early 20th century and peaked in popularity during the 1960s to 1980s. [[Wuxia films]] were produced from the 1920s. The Kuomintang suppressed wuxia, accusing it of promoting superstition and violent anarchy. Because of this, wuxia came to flourish in [[British Hong Kong]], and the genre of [[kung fu movie]] in [[Hong Kong action cinema]] became wildly popular, coming to international attention from the 1970s. The genre underwent a drastic decline in the late 1990s as the [[Hong Kong film industry]] was crushed by economic depression.

In the wake of [[Ang Lee]]'s ''[[Crouching Tiger, Hidden Dragon]]'' (2000), there has been somewhat of a revival of Chinese-produced wuxia films aimed at an international audience,  including [[Zhang Yimou]]'s ''[[Hero (2002 film)|Hero]]'' (2002), ''[[House of Flying Daggers]]'' (2004) and ''[[Curse of the Golden Flower]]'' (2006), as well as Su Chao-pin and [[John Woo]]'s ''[[Reign of Assassins]]'' (2010).

==Styles==
{{Main|Styles of Chinese martial arts}}
{{See also|List of Chinese martial arts}}
[[File:Taichi shanghai bund 2005.jpg|thumb|300px|right|The [[Yang-style tai chi|Yang style]] of [[tai chi]] being practiced on [[the Bund (Shanghai)|the Bund]] in [[Shanghai]]]]
China boasts a rich history of martial arts traditions encompassing numerous styles, totaling in the hundreds. Over the course of the past two [[Millennium|millennia]], a multitude of distinct styles have been developed, each with its own unique techniques and philosophies. These styles are often categorized into "families" (家; jiā), "schools" (派; pai), or "sects" (門; men). While each style possesses its own characteristics, there are also common themes that thread through different styles.

Some styles draw inspiration from animal movements, replicating the agility and power of creatures such as tigers, snakes, or monkeys. Others derive their inspiration from Chinese philosophies, myths, and legends, incorporating their principles and symbolism into their techniques. Certain styles place significant emphasis on harnessing and manipulating ''qi'', while others prioritize competitive aspects, focusing on sparring and tournaments.

Chinese martial arts can be split into various categories to differentiate them: For example, "external" ({{lang|zh|外家拳}}) and "[[Internal martial arts|internal]]" ({{lang|zh-hant|內家拳}}).<ref>{{cite book|last=Tianji|first=Li|author2=Du Xilian|title=A Guide to Chinese Martial Arts|date=1995-01-01|publisher=Foreign Languages Press|isbn=7-119-01393-9}}</ref> Chinese martial arts can also be categorized by location, as in "northern" and "southern" as well, referring to what part of China the styles originated from, separated by the [[Yangtze River]]; Chinese martial arts may even be classified according to their province or city.<ref name="Kennedy" /> The main perceived difference between northern and southern styles is that the northern styles tend to emphasize fast and powerful kicks, high jumps and generally fluid and rapid movement, while the southern styles focus more on strong arm and hand techniques, and stable, immovable stances and fast footwork. Examples of the northern styles include [[changquan]] and [[xingyiquan]]. Examples of the southern styles include [[Bak Mei]], [[Wuzuquan]], [[Choy Li Fut]], and [[Wing Chun]]. Chinese martial arts can also be divided according to religion, imitative-styles ({{lang|zh|象形拳}}), and family styles such as [[Hung Gar]] ({{lang|zh|洪家}}). There are distinctive differences in the training between different groups of the Chinese martial arts regardless of the type of classification. However, few experienced martial artists make a clear distinction between internal and external styles, or subscribe to the idea of northern systems being predominantly kick-based and southern systems relying more heavily on upper-body techniques. Most styles contain both hard and soft elements, regardless of their internal nomenclature. Analyzing the difference in accordance with yin and yang principles, philosophers would assert that the absence of either one would render the practitioner's skills unbalanced or deficient, as yin and yang alone are each only half of a whole. If such differences did once exist, they have since been blurred.

==Training==
[[File:Eighteen Weapons of Ancient China (9883590715).jpg|thumb|Ancient Chinese weapons]]
Chinese martial arts training consists of the following components: basics, forms, applications and weapons; different styles place varying emphasis on each component.<ref>{{cite book|last=Liang|first=Shou-Yu|author2=Wen-Ching Wu|date=2006-04-01|title=Kung Fu Elements|publisher=The Way of the Dragon Publishing|isbn=1-889659-32-0}}</ref> In addition, philosophy, ethics and even medical practice<ref>{{cite book|last=Schmieg|first=Anthony L.|date=December 2004|title=Watching Your Back: Chinese Martial Arts and Traditional Medicine|publisher=University of Hawaii Press|isbn=0-8248-2823-2}}</ref> are highly regarded by most Chinese martial arts. A complete training system should also provide insight into Chinese attitudes and culture.<ref name="Hsu">{{cite book|last=Hsu|first=Adam|author-link=Adam Hsu|date=1998-04-15|title=The Sword Polisher's Record: The Way of Kung-Fu|publisher=Tuttle Publishing|edition=1st|isbn=0-8048-3138-6}}</ref>

Moreover, many Chinese [[martial arts styles]] integrate traditional medical practices into their training. This includes the understanding of meridians, pressure points, and [[Herbal medicine|herbal remedies]], as well as exercises that promote health, [[vitality]], and longevity. The holistic approach to training seeks to cultivate both internal and external strength, promoting overall well-being and balance.

Furthermore, [[Eight Banners|Chinese martial]] arts serve as a vessel for preserving and transmitting cultural values and attitudes. Respect for teachers, dedication, discipline, and perseverance are instilled in practitioners, fostering a sense of community and loyalty within martial arts schools and lineages. Chinese martial arts also often incorporate cultural elements such as music, costumes, and rituals, further deepening the connection to Chinese heritage and traditions.

Overall, Chinese martial arts encompass not just physical techniques but a comprehensive system that encompasses philosophy, ethics, medical knowledge, and cultural appreciation. It is this holistic approach that distinguishes Chinese martial arts as not just a means of self-defense but as a way of life, promoting personal growth, cultural understanding, and the pursuit of harmony and excellence.

===Basics===
The ''Basics'' ({{lang|zh|基本功}}) are a vital part of any martial training, as a student cannot progress to the more advanced stages without them. Basics are usually made up of rudimentary techniques, [[Physical exercise|conditioning exercises]], including [[Stance (martial arts)|stances]]. Basic training may involve simple movements that are performed repeatedly; other examples of basic training are stretching, meditation, [[Strike (attack)|striking]], [[throw (grappling)|throwing]], or jumping. Without strong and flexible muscles, management of ''qi'' or breath, and proper body mechanics, it is impossible for a student to progress in the Chinese martial arts.<ref>{{cite book|last=Wong|first=Kiew Kit|author-link=Wong Kiew-kit|date=2002-11-15|title=The Art of Shaolin Kung Fu: The Secrets of Kung Fu for Self-Defense, Health, and Enlightenment|publisher=Tuttle Publishing|isbn=0-8048-3439-3}}</ref><ref>{{cite book|last=Kit|first=Wong Kiew|author-link=Wong Kiew-kit|date=2002-05-01|title=The Complete Book of Shaolin: Comprehensive Program for Physical, Emotional, Mental and Spiritual Development|publisher=Cosmos Publishing|isbn=983-40879-1-8}}</ref> A common saying concerning basic training in Chinese martial arts is as follows:<ref>{{cite book|year=1994|title=Zhongguo da bai ke quan shu (中国大百科全书总编辑委員会) [Baike zhishi (中国大百科, Chinese Encyclopedia)]|publisher=Shanghai:Xin hua shu dian jing xiao|page=30|language=zh|isbn=7-5000-0441-9|author=Zhongguo da bai ke quan shu zong bian ji wei yuan hui "Zong suo yin" bian ji wei yuan hui, Zhongguo da bai ke quan shu chu ban she bian ji bu bian}}</ref>
{{Blockquote|内外相合，外重手眼身法步，内修心神意氣力。}}

Which translates as:

{{Blockquote|Train both Internal and External. External training includes the hands, the eyes, the body and stances. Internal training includes the heart, the spirit, the mind, breathing and strength.}}

===Stances===
[[Wushu stances|Stances]] (steps or 步法) are structural postures employed in Chinese martial arts training.<ref>{{cite book|last=Mark|first=Bow-Sim|year=1981|title=Wushu basic training (The Chinese Wushu Research Institute book series)|publisher=Chinese Wushu Research Institute|id=ASIN B00070I1FE}}</ref><ref>{{cite book|last=Wu|first=Raymond|date=2007-03-20|title=Fundamentals of High Performance Wushu: Taolu Jumps and Spins|publisher=Lulu.com|isbn=978-1-4303-1820-0}}</ref>{{self-published inline|date=February 2020}} They represent the foundation and the form of a fighter's base. Each style has different names and variations for each stance. Stances may be differentiated by foot position, weight distribution, body alignment, etc. Stance training can be practiced statically, the goal of which is to maintain the structure of the stance through a set time period, or dynamically, in which case a series of movements is performed repeatedly. The [[Horse stance]] ({{lang|zh-hant|騎馬步/馬步}}; {{transliteration|zh|''qí mǎ bù''/''mǎ bù''}}) and the [[Wushu stances#Gong bu|bow stance]] are examples of stances found in many styles of Chinese martial arts.

===Meditation===
In many Chinese martial arts, [[meditation]] is considered to be an important component of basic training. Meditation can be used to develop focus, mental clarity and can act as a basis for ''[[qigong]]'' training.<ref>{{cite book|last=Jwing-Ming|first=Yang|date=1998-06-25|title=Qigong for Health & Martial Arts, Second Edition: Exercises and Meditation (Qigong, Health and Healing)|publisher=YMAA Publication Center|edition=2|isbn=1-886969-57-4|url=https://archive.org/details/qigongforhealthm0000yang}}</ref><ref>{{cite book|last=Raposa|first=Michael L.|date=November 2003|title=Meditation & the Martial Arts (Studies in Rel & Culture)|publisher=University of Virginia Press|isbn=0-8139-2238-0}}</ref> Through [[meditation]], [[martial arts]] practitioners learn to regulate their breath, relax their bodies, and enter a state of deep focus. This kind of [[concentration]] helps them to stay present in their movements and [[Technique (album)|techniques]], enhancing their responsiveness and physical coordination. Meditation also cultivates the ability for introspection, enabling practitioners to become more keenly aware of their bodily sensations, energy flow, and inner state. Meditation is also closely related to ''qigong''. Through the concentration and adjustments achieved through meditation, martial arts practitioners can better perceive and direct the internal energy (known as "''qi''" in ''qigong''). They learn to manipulate the flow of ''qi'' through deep breathing and visualization exercises to promote bodily balance, [[harmony]], and health. Therefore, meditation, as a part of foundational training, offers Chinese martial arts practitioners a comprehensive approach to cultivating both the internal and external aspects. It assists them in developing various aspects of their body, energy, and mind, thereby enhancing their technical skills.

===Use of ''qi''===
{{Main|Qigong}}
The concept of ''[[qi]]'' is encountered in a number of Chinese martial arts. ''Qi'' is variously defined as an inner energy or "life force" that is said to animate living beings; as a term for proper skeletal alignment and efficient use of musculature (sometimes also known as ''[[fa jin]]'' or ''jin''); or as a shorthand for concepts that the martial arts student might not yet be ready to understand in full. These meanings are not necessarily mutually exclusive.<ref name="Kennedy" />{{Rp|pp=26–33}} The existence of ''qi'' as a measurable form of energy as discussed in [[traditional Chinese medicine]] has no basis in the scientific understanding of physics, medicine, biology or human physiology.<ref>{{cite book | last = Ernst | first = Edzard | author-link = Edzard Ernst |author2=Simon Singh  | year = 2009 | title = Trick or treatment: The undeniable facts about alternative medicine | isbn = 978-0-393-33778-5 | publisher = [[W. W. Norton & Company]] | author2-link = Simon Singh | title-link = Trick or Treatment }}</ref>

There are many ideas regarding the control of one's qi energy to such an extent that it can be used for healing oneself or others.<ref>{{cite book|last=Cohen|first=Kenneth S.|year=1997|title=The Way Of Qigong: The Art And Science Of Chinese Energy Healing|publisher=Ballantine|isbn=0-345-42109-4}}</ref> Some styles believe in focusing ''qi'' into a single point when attacking and aim at specific areas of the human body. Such techniques are known as [[Touch of death|dim mak]] and have principles that are similar to [[acupressure]].<ref>{{cite book|last=Montaigue|first=Erle|author2=Wally Simpson|date=March 1997|title=The Main Meridians (Encyclopedia Of Dim-Mak)|publisher=Paladin Press|isbn=1-58160-537-4}}</ref>

===Weapons training===
{{Further|Chinese swordsmanship}}
[[File:حرکات انفرادی کنگ فو، محمد اکبری Kung fu in iran (Qom) Mohammad Akbari 12.jpg|thumb|Kung fu sword]]
[[File:Forom des langues 2014 - École Shi Miaofeng - 0015.jpg|thumb|left|Martial arts fan]]
Most Chinese styles also make use of training in the broad arsenal of [[List of martial arts weapons|Chinese weapons]] for conditioning the body as well as coordination and [[strategy]] drills.<ref>{{cite book|last=Yang|first=Jwing-Ming|date=1999-06-25|title=Ancient Chinese Weapons, Second Edition: The Martial Arts Guide|publisher=YMAA Publication Center|isbn=1-886969-67-1}}</ref> Weapons training ({{lang|zh|器械}}; {{transliteration|zh|''qìxiè''}}) is generally carried out after the student becomes proficient with the basic forms and applications training. The basic theory for weapons training is to consider the weapon as an extension of the body. It has the same requirements for footwork and body coordination as the basics.<ref>{{cite book|last=Wang|first=Ju-Rong|author2=Wen-Ching Wu|date=2006-06-13|title=Sword Imperatives—Mastering the Kung Fu and Tai Chi Sword|publisher=The Way of the Dragon Publishing|isbn=1-889659-25-8}}</ref> The process of weapon training proceeds with forms, forms with partners and then applications. Most systems have training methods for each of the [[Eighteen Arms of Wushu]] ({{lang|zh|十八般兵器}}; {{transliteration|zh|''shíbābānbīngqì''}}) in addition to specialized instruments specific to the system.

===Application===
{{Main|Lei tai}}
{{See also|Sanshou|Shuai jiao}}
''Application'' refers to the [[Aliveness (martial arts)|practical use]] of combative techniques. Chinese martial arts techniques are ideally based on efficiency and effectiveness.<ref>{{cite book|last=Lo|first=Man Kam|date=2001-11-01|title=Police Kung Fu: The Personal Combat Handbook of the Taiwan National Police|publisher=Tuttle Publishing|isbn=0-8048-3271-4}}</ref><ref>{{cite book|last=Shengli|first=Lu|others=trans. Zhang Yun|date=2006-02-09|title=Combat Techniques of Taiji, Xingyi, and Bagua: Principles and Practices of Internal Martial Arts|publisher=Blue Snake Books|isbn=1-58394-145-2}}</ref> Application includes non-compliant drills, such as [[Pushing Hands]] in many internal martial arts, and [[sparring]], which occurs within a variety of contact levels and rule sets.

When and how applications are taught varies from style to style. Today, many styles begin to teach new students by focusing on exercises in which each student knows a prescribed range of combat and technique to drill on. These drills are often semi-compliant, meaning one student does not offer active resistance to a technique, in order to allow its demonstrative, clean execution. In more resisting drills, fewer rules apply, and students practice how to react and respond. 'Sparring' refers to a more advanced format, which simulates a combat situation while including rules that reduce the chance of serious injury.

Competitive sparring disciplines include Chinese [[kickboxing]] [[Sanshou|Sǎnshǒu]] ({{lang|zh|散手}}) and Chinese [[folk wrestling]] [[Shuai jiao|Shuāijiāo]] ({{lang|zh|摔跤}}), which were traditionally contested on a raised platform arena, or [[Lei tai|Lèitái]] ({{lang|zh|擂台}}).<ref>{{cite book|last=Hui|first=Mizhou|date=July 1996|title=San Shou Kung Fu Of The Chinese Red Army: Practical Skills And Theory Of Unarmed Combat|publisher=Paladin Press|isbn=0-87364-884-6}}</ref> Lèitái were used in public challenge matches first appeared in the [[Song dynasty]]. The objective for those contests was to knock the opponent from a raised platform by any means necessary.
[[San Shou]] represents the modern development of Lei Tai contests, but with rules in place to reduce the chance of serious injury. Many Chinese martial art schools teach or work within the rule sets of Sanshou, working to incorporate the movements, characteristics, and theory of their style.<ref>{{cite book|last=Liang|first=Shou-Yu|author2=Tai D. Ngo|date=1997-04-25|title=Chinese Fast Wrestling for Fighting: The Art of San Shou Kuai Jiao Throws, Takedowns, & Ground-Fighting|publisher=YMAA Publication Center|isbn=1-886969-49-3}}</ref> Chinese martial artists also compete in non-Chinese or mixed [[Combat sport]], including boxing, kickboxing and [[Mixed martial arts]].

===Forms (''taolu'')===
{{Further|Wushu (sport)#Taolu}}
''Forms'' or ''taolu'' ({{zh|c=套路|p=tàolù|links=no}}) in Chinese are series of predetermined movements combined so they can be practiced as a continuous set of movements. Forms were originally intended to preserve the lineage of a particular style branch, and were often taught to advanced students selected for that purpose. Forms contained both literal, representative and exercise-oriented forms of applicable techniques that students could extract, test, and train in through [[sparring]] sessions.<ref name="Bolelli">{{cite book|last=Bolelli|first=Daniele|author-link=Daniele Bolelli|date=2003-02-20|title=On the Warrior's Path: Philosophy, Fighting, and Martial Arts Mythology|publisher=Frog Books|isbn=1-58394-066-9}}</ref>

Today, many consider ''taolu'' to be one of the most important practices in Chinese martial arts. Traditionally, they played a smaller role in training for combat application and took a back seat to sparring, drilling, and conditioning. Forms gradually build up a practitioner's flexibility, internal and external strength, speed and stamina, and they teach balance and coordination. Many styles contain forms that use weapons of various lengths and types, using one or two hands. Some styles focus on a certain type of weapon. Forms are meant to be both practical, usable, and applicable as well as to promote fluid motion, meditation, flexibility, balance, and coordination. Students are encouraged to visualize an attacker while training the form.

There are two general types of ''taolu'' in Chinese martial arts. Most common are ''solo forms'' performed by a single student. There are also ''sparring'' forms — choreographed fighting sets performed by two or more people. Sparring forms were designed both to acquaint beginning fighters with basic measures and concepts of combat and to serve as performance pieces for the school. Weapons-based sparring forms are especially useful for teaching students the extension, range, and technique required to manage a weapon.

====Forms in traditional Chinese martial arts====
The term ''taolu (套路)'' is a shortened version of ''Tao Lu Yun Dong (套路運動)'', an expression introduced only recently with the popularity of modern wushu. This expression refers to "exercise sets" and used in the context of athletics or sport.

In contrast, in traditional Chinese martial arts alternative terminologies for the training (練) of 'sets or forms ''are:''

* lian quan tao (練拳套) – practicing a sequence of fists.
* lian quan jiao (練拳腳) – practicing fists and feet.
* lian bing qi (練兵器) – practicing weapons.
* dui da (對打) and dui lian (對練) – fighting sets.

Traditional "sparring" sets, called ''dui da'' (對打) or ''dui lian'' (對練), were an essential part of Chinese martial arts for centuries. ''Dui lian'' means to train by a pair of combatants opposing each other—the character ''lian'' (練), refers to practice; to train; to perfect one's skill; to drill. As well, often one of these terms are also included in the name of fighting sets (雙演; ''shuang yan''), "paired practice" (掙勝; ''zheng sheng''), "to struggle with strength for victory" (敵; ''di''), match – the character suggests to strike an enemy; and "to break" (破; ''po'').

Generally, there are 21, 18, 12, 9 or 5 drills or 'exchanges/groupings' of attacks and counterattacks, in each ''dui lian'' set. These drills were considered only generic patterns and never meant to be considered inflexible 'tricks'. Students practiced smaller parts/exchanges, individually with opponents switching sides in a continuous flow. ''Dui lian'' were not only sophisticated and effective methods of passing on the fighting knowledge of the older generation, but they were also essential and effective training methods. The relationship between single sets and contact sets is complicated, in that some skills cannot be developed with solo 'sets', and, conversely, with ''dui lian''. Unfortunately, it appears that most traditional combat oriented ''dui lian'' and their training methodology have disappeared, especially those concerning weapons. There are several reasons for this. In modern Chinese martial arts, most of the ''dui lian'' are recent inventions designed for light props resembling weapons, with safety and drama in mind. The role of this kind of training has degenerated to the point of being useless in a practical sense, and, at best, is just performance.

By the early Song period, sets were not so much "individual isolated technique strung together" but rather were composed of techniques and counter technique groupings. It is quite clear that "sets" and "fighting (two-person) sets" have been instrumental in traditional Chinese martial arts for many hundreds of years—even before the Song dynasty. There are images of two-person weapon training in Chinese stone painting going back at least to the Eastern Han dynasty.

According to what has been passed on by the older generations, the approximate ratio of contact sets to single sets was approximately 1:3. In other words, about 30% of the 'sets' practiced at Shaolin were contact sets, ''dui lian'', and two-person drill training. This ratio is, in part, evidenced by the Qing dynasty mural at Shaolin.

For most of its history, Shaolin martial arts was mostly weapon-focused: staves were used to defend the monastery, not bare hands. Even the more recent military exploits of Shaolin during the Ming and Qing dynasties involved weapons. According to some traditions, monks first studied basics for one year and were then taught staff fighting so that they could protect the monastery. Although wrestling has been a sport in China for centuries, weapons have been an essential part of Chinese wushu since ancient times. If one wants to talk about recent or 'modern' developments in Chinese martial arts (including Shaolin for that matter), it is the over-emphasis on bare hand fighting. During the Northern Song dynasty (976–997 A.D.) when platform fighting is known as ''Da Laitai'' (Title Fights Challenge on Platform) first appeared, these fights were with only swords and staves. Although later, when bare hand fights appeared as well, it was the weapons events that became the most famous. These open-ring competitions had regulations and were organized by government organizations; the public also organized some. The government competitions, held in the capital and prefectures, resulted in appointments for winners, to military posts.

====Practice forms vs. kung fu in combat====
Even though forms in Chinese martial arts are intended to depict realistic martial techniques, the movements are not always identical to how techniques would be applied in combat. Many forms have been elaborated upon, on the one hand, to provide better combat preparedness, and on the other hand to look more aesthetically pleasing. One manifestation of this tendency toward elaboration beyond combat application is the use of lower stances and higher, stretching kicks. These two maneuvers are unrealistic in combat and are used in forms for exercise purposes.<ref>{{cite book|last= Kane|first=Lawrence A. |year=2005|title=The Way of Kata |publisher=YMAA Publication Center |page=56|isbn= 1-59439-058-4}}</ref> Many modern schools have replaced practical defense or offense movements with acrobatic feats that are more spectacular to watch, thereby gaining favor during exhibitions and competitions.<ref name="Bolelli" />{{Rp|pp=118–119}} This has led to criticisms by traditionalists of the endorsement of the more acrobatic, show-oriented Wushu competition.<ref>{{cite news |first=Ian |last=Johnson |author2=Sue Feng  |title=Inner Peace? Olympic Sport? A Fight Brews |url= https://www.wsj.com/articles/SB121916373044753643 |publisher= Wall Street Journal |date=August 20, 2008 |access-date=2008-08-22 }}</ref> Historically forms were often performed for entertainment purposes long before the advent of modern Wushu as practitioners have looked for supplementary income by performing on the streets or in theaters. Documentation in ancient literature during the Tang dynasty (618–907) and the [[Northern Song dynasty]] (960–1279) suggests some sets, (including two + person sets: ''dui da'' also called ''dui lian'') became very elaborate and 'flowery', many mainly concerned with aesthetics. During this time, some martial arts systems devolved to the point that they became popular forms of martial art storytelling entertainment shows. This created an entire category of martial arts known as ''Hua Fa Wuyi''. During the Northern Song period, it was noted by historians this type of training had a negative influence on training in the military.

Many traditional Chinese martial artists, as well as practitioners of modern sport combat, have become critical of the perception that forms work is more relevant to the art than sparring and drill application, while most continue to see traditional forms practice within the traditional context—as vital to both proper combat execution, the Shaolin aesthetic as an art form, as well as upholding the meditative function of the physical art form.<ref>{{cite news |first=Geoffrey |last=Fowler |author2=Juliet Ye |title=Kung Fu Monks Don't Get a Kick Out of Fighting |url= https://www.wsj.com/articles/SB119758024054227513?mod=Sports |publisher= Wall Street Journal |date=December 14, 2007 |access-date=2008-08-22 }}</ref>

Another reason why techniques often appear different in forms when contrasted with sparring application is thought by some to come from the concealment of the actual functions of the techniques from outsiders.<ref>{{cite book|last= Seabrook|first=Jamie A. |year=2003 |title=Martial Arts Revealed |publisher=iUniverse | page=20 |isbn= 0-595-28247-4}}</ref>{{self-published inline|date=February 2020}}

Forms practice is mostly known for teaching combat techniques yet when  practicing forms, the practitioner focuses on posture, breathing, and performing the techniques of both right and left sides of the body.<ref>{{Cite web|url=http://www.chinastrategies.com/hiddenforms.htm|title=Three hidden meanings of Chinese forms|last=Verstappe|first=Stefan|date=2014-09-04|archive-url=https://web.archive.org/web/20140904100024/http://www.chinastrategies.com/hiddenforms.htm|access-date=2019-04-12|archive-date=2014-09-04}}</ref>

==Wushu==
{{See also|Wushu (sport)}}
[[File:Gun2 10 all china games.jpg|thumb|250px|right|Modern forms are used in the sport of [[wushu (sport)|wushu]], as seen in this staff routine]]

The word ''wu'' ({{lang|zh|武}}; ''{{transliteration|zh|wǔ}}'') means "martial". Its Chinese character is made of two parts; the first meaning "walk" or "stop" ({{lang|zh|止}}; ''{{transliteration|zh|zhǐ}}'') and the second meaning "lance" ({{lang|zh|戈}}; ''{{transliteration|zh|gē}}'').  This implies that "wu 武" is a defensive use of combat.{{Dubious|reason=spelling does not reliably indicate meaning|date=April 2017}} The term "wushu 武術" meaning "martial arts" goes back as far as the [[Liang dynasty]] (502–557) in an anthology compiled by [[Xiao Tong]] (d.{{nbsp}}531), called ''Selected Literature'' ({{lang|zh|文選}}; ''{{transliteration|zh|Wénxuǎn}}''). The term is found in the second verse of a poem by Yan Yanzhi titled: 皇太子釋奠會作詩 "Huang Taizi Shidian Hui Zuoshi".

<blockquote><poem>The great man grows the many myriad things ...
Breaking away from the military arts,
He promotes fully the cultural mandates.

— Translated from ''Echoes of the Past'' by Yan Yanzhi (384–456)</poem></blockquote>

The term ''wushu'' is also found in a poem by Cheng Shao (1626–1644) from the Ming dynasty.

The earliest term for 'martial arts' can be found in the Han History (206 BC – 23 AD) was "military fighting techniques" ({{lang|zh|兵技巧}}; ''{{transliteration|zh|bīng jìqiǎo}}''). During the Song period (c.960) the name changed to "martial arts" ({{lang|zh|武藝}}; ''{{transliteration|zh|wǔyì}}''). In 1928 the name was changed to "national arts" ({{lang|zh|國術}}; ''{{transliteration|zh|guóshù}}'') when the [[Central Guoshu Institute|National Martial Arts Academy]] was established in Nanjing. The term reverted to ''wǔshù'' under the People's Republic of China during the early 1950s.

As forms have grown in complexity and quantity over the years, and many forms alone could be practiced for a lifetime, modern styles of Chinese martial arts have developed that concentrate solely on forms, and do not practice application at all. These styles are primarily aimed at exhibition and competition, and often include more acrobatic jumps and movements added for enhanced visual effect<ref>{{cite book|last=Shoude|first=Xie|year=1999|title=International Wushu Competition Routines|publisher=Hai Feng Publishing Co., Ltd.|isbn=962-238-153-7}}</ref> compared to the traditional styles. Those who generally prefer to practice traditional styles, focused less on exhibition, are often referred to as traditionalists.  Some traditionalists consider the competition forms of today's Chinese martial arts as too commercialized and losing much of their original values.<ref>{{cite news |first=Richard Lloyd |last=Parry |author-link=Richard Lloyd Parry |title=Kung fu warriors fight for martial art's future|url= http://www.timesonline.co.uk/tol/sport/olympics/article4543383.ece |publisher= Times Online |date=August 16, 2008 |access-date=2008-08-22  | location=London}}{{dead link|date=September 2024|bot=medic}}{{cbignore|bot=medic}}</ref><ref>{{cite book|last=Polly|first=Matthew|author-link=Matthew Polly|year=2007|title=American Shaolin: Flying Kicks, Buddhist Monks, and the Legend of Iron Crotch: an Odyssey in the New China|url=https://archive.org/details/americanshaolinf00poll|url-access=registration|publisher=Gotham|isbn=978-1-59240-262-5}}</ref>

==Martial morality==
Traditional Chinese schools of martial arts, such as the famed [[Shaolin Monastery|Shaolin]] monks, often dealt with the study of martial arts not just as a means of self-defense or mental training, but as a system of [[ethics]].<ref name="Hsu" /><ref>{{cite book|last=Deng|first=Ming-dao|author-link=Deng Ming-Dao|date=1990-12-19|title=Scholar Warrior: An Introduction to the Tao in Everyday Life|publisher=[[HarperOne]]|edition=1st|isbn=0-06-250232-8}}</ref>  ''Wude'' ({{lang|zh|[[wiktionary:武|武]] [[wiktionary:德|德]]}}) can be translated as "martial morality" and is constructed from the words ''wu'' ({{lang|zh|[[wiktionary:武|武]]}}), which means martial, and ''de'' ({{lang|zh|[[wiktionary:德|德]]}}), which means morality. ''Wude'' deals with two aspects; "[[Virtue]] of deed" and "Virtue of mind". Virtue of deed concerns social relations; morality of mind is meant to cultivate the inner harmony between the emotional mind ({{lang|zh|[[wiktionary:心|心]]}}; {{transliteration|zh|''Xin''}}) and the wisdom mind ({{lang|zh|[[wiktionary:慧|慧]]}}; {{transliteration|zh|''Hui''}}). The ultimate goal is reaching "no extremity" ({{lang|zh|[[wiktionary:無|無]] [[wiktionary:極|極]]}}; {{transliteration|zh|''Wuji''}}) – closely related to the [[Taoist]] concept of [[wu wei]] – where both wisdom and emotions are in harmony with each other.

Virtues:
{| class="wikitable"
|+Deed
!Concept
!Name
!Traditional Chinese
!Simplified Chinese
!Pinyin romanization
!Yale Cantonese Romanization
|-
|[[Humility]]
|Qian
|{{lang|zh-hant|謙}}
|{{lang|zh-hans|谦}}

|{{transliteration|zh|qiān}}

|{{transliteration|zh|hīm}}

|-
|[[Virtue]]
|Cheng
|{{lang|zh-hant|誠}}

|{{lang|zh-hans|诚}}

|{{transliteration|zh|chéng}}

|{{transliteration|zh|sìhng}}

|-
|[[Respect]]
|Li
|{{lang|zh-hant|禮}}

|{{lang|zh-hans|礼}}

|{{transliteration|zh|lǐ}}

|{{transliteration|zh|láih}}

|-
|[[Morality]]
|Yi
|{{lang|zh-hant|義}}

|{{lang|zh-hans|义}}

|{{transliteration|zh|yì}}

|{{transliteration|zh|yih}}

|-
|[[Trust (social sciences)|Trust]]
|Xin
|colspan=2|{{lang|zh|信}}
|{{transliteration|zh|xìn}}

|{{transliteration|zh|seun}}

|}

{| class="wikitable"
|+Mind
!Concept
!Name
!Chinese
!Pinyin romanization
!Yale Cantonese Romanization
|-
|[[Courage]]
|Yong
|{{lang|zh-hant|勇}}

|{{transliteration|zh|yǒng}}

|{{transliteration|zh|yúhng}}

|-
|[[Patience]]
|Ren
|{{lang|zh-hant|忍}}

|{{transliteration|zh|rěn}}

|{{transliteration|zh|yán}}

|-
|[[Endurance]]
|Heng
|{{lang|zh-hant|恆}}

|{{transliteration|zh|héng}}

|{{transliteration|zh|hàhng}}

|-
|[[wikt:perseverance|Perseverance]]
|Yi
|{{lang|zh-hant|毅}}

|{{transliteration|zh|yì}}

|{{transliteration|zh|ngaih}}

|-
|[[Will (philosophy)|Will]]
|Zhi
|{{lang|zh-hant|志}}

|{{transliteration|zh|zhì}}

|{{transliteration|zh|ji}}

|}

==Controversies==
There are a number of intrigues and unsettled disputes within the world of Traditional Chinese Martial Arts.<ref>{{cite book|last=Lu|first=Zhouxiang|author-link=Zhouxiang Lu|year=2018|title=Politics and Identity in Chinese Martial Arts|publisher=Routledge|isbn=978-1138090804}}</ref><ref>{{cite book|last=Bluestein|first=Jonathan|author-link=Jonathan Bluestein|year=2024|title=Martial Arts Politics Explained|publisher=Amazon Digital Services LLC - Kdp |isbn=979-8335564984}}</ref> Nevertheless, not all schools and practitioners are political. That is, as involvement in martial arts politics typically counteracts the principles of Martial Morality, which were detailed earlier. Some of the common topics for such conflicts involve the following:

* Lineage: Who belongs or does not belong to a given lineage? Who is entitled to the claim over being a "lineage inheritor"? <ref>{{Cite web|url=https://chinesemartialstudies.com/2014/01/24/five-thoughts-on-lineage-legitimacy-and-manipulation-in-the-traditional-chinese-martial-arts/|title=Five Thoughts on Lineage, Legitimacy and Manipulation in the Traditional Chinese Martial Arts|date=January 24, 2014}}</ref>

* Style Supremacy: Claims over whose style "is better" than others. 

* Nationalism or racism: Refusal to teach people of certain races or cultures; or the opposite - the glorification of certain practitioners due to their association with a specific race or culture.

* Historical Disagreements: Such as the origins of a style.  

* Ranks and Degrees: Who should receive a certain rank or a degree within a martial art system? People who are said to have been unjustifiably promoted, while others were not. 

* Religion and spirituality: Disagreements over the role of traditional faiths within martial arts schools, and whether or not they should be extant within a given school or organization.<ref>{{cite book |last=Shahar |first=Meir |title=The Shaolin Monastery: History, Religion, and the Chinese Martial Arts |location=Honolulu |publisher=University of Hawaiʻi Press |year=2008 |isbn=978-0-8248-3349-7}}</ref>

* Criminal Activities: The involvement of certain schools with gangs or criminal organizations; a phenomenon which was historically more common than today, but still exists.

==Notable practitioners==
{{See also|Category:Chinese martial artists|Category:Wushu practitioners}}

Examples of well-known practitioners ({{lang|zh|武術名師}}) throughout history:

* [[Yue Fei]] (1103–1142 CE) was a famous Chinese general and patriot of the [[Song dynasty]]. Styles such as [[Eagle Claw]] and [[Xingyiquan]] attribute their creation to Yue. However, there is no historical evidence to support the claim he created these styles.
* [[Ng Mui]] (late 17th century) was the legendary female founder of many Southern martial arts such as [[Wing Chun]], and [[Fujian White Crane]]. She is often considered one of the legendary [[Five Elders]] who survived the destruction of the [[Shaolin Temple]] during the [[Qing dynasty]].
* [[Yang Luchan]] (1799–1872) was an important teacher of the [[Neijia|internal]] [[martial art]] known as [[tai chi]] in [[Beijing]] during the second half of the 19th century. Yang is known as the founder of [[Yang-style tai chi]], as well as transmitting the art to the [[Wu (Hao)-style tai chi|Wu/Hao]], [[Wu-style tai chi|Wu]] and [[Sun-style tai chi|Sun]] tai chi families.
* [[Ten Tigers of Canton]] (late 19th century) was a group of ten of the top Chinese martial arts masters in [[Guangdong]] (Canton) towards the end of the [[Qing dynasty]] (1644–1912). Wong Kei-Ying, Wong Fei Hung's father, was a member of this group.
* [[Wong Fei Hung]] (1847–1924) was considered a Chinese folk hero during the Republican period. More than one hundred Hong Kong movies were made about his life. [[Sammo Hung]], Jackie Chan, and Jet Li have all portrayed his character in [[Blockbuster (entertainment)|blockbuster]] pictures.
* [[Huo Yuanjia]] (1867–1910) was the founder of [[Chin Woo Athletic Association]] who was known for his highly publicized matches with foreigners. His biography was recently portrayed in the movie ''[[Fearless (2006 film)|Fearless]]'' (2006).
* [[Ip Man]] (1893–1972) was a master of the [[Wing Chun]] and the first to teach this style openly. Yip Man was the teacher of [[Bruce Lee]]. Most major [[branches of Wing Chun]] taught in the West today were developed and promoted by students of Yip Man.
* [[Gu Ruzhang]] (1894–1952) was a Chinese martial artist who disseminated the [[Northern Shaolin (martial art)|Bak Siu Lum (Northern Shaolin)]] martial arts system across southern China in the early 20th century. Gu was known for his expertise in Iron Palm hand conditioning among other Chinese martial art training exercises.
* [[Bruce Lee]] (1940–1973) was a Chinese-American martial artist and actor who was considered an important icon in the 20th century.<ref>{{cite magazine|author=Joel Stein|date=1999-06-14|title=ТІМЕ 100: Bruce Lee|magazine=Time|url=http://www.time.com/time/time100/heroes/profile/lee01.html|access-date=2008-06-09|archive-url=https://web.archive.org/web/20080114015051/http://www.time.com/time/time100/heroes/profile/lee01.html|archive-date=January 14, 2008}}</ref> He practiced [[Wing Chun]] and made it famous. Using Wing Chun as his base and learning from the influences of other martial arts his experience exposed him to, he later developed his own martial arts philosophy that evolved into what is now called [[Jeet Kune Do]].
* [[Jackie Chan]] (b. 1954) is the famous [[Hong Kong]] martial artist, film actor, stuntman, action choreographer, director and producer, and a global pop culture icon, widely known for injecting physical comedy into his martial arts performances, and for performing complex stunts in many of his films.
* [[Jet Li]] (b. 1963) is the five-time sport [[wushu (sport)|wushu]] champion of China, later demonstrating his skills in cinema.
* [[Donnie Yen]] (b. 1963) is a Hong Kong actor, martial artist, film director and producer, action choreographer, and world [[wushu (sport)|wushu]] tournament medalist.
* [[Wu Jing (actor)|Wu Jing]] (b. 1974) is a Chinese actor, director, and martial artist. He was a member of the Beijing [[wushu (sport)|wushu]] team, and started his career as action choreographer and later as an actor.

==In popular culture==
References to the concepts and use of Chinese martial arts can be found in popular culture. Historically, the influence of Chinese martial arts can be found in books and in the performance arts specific to Asia.<ref name=":0" />{{Page needed|date=February 2024}} Recently, those influences have extended to the movies and television that targets a much wider audience. As a result, Chinese martial arts have spread beyond its ethnic roots and have a global appeal.<ref>{{cite book|last=Prashad|first=Vijay|date=2002-11-18|title=Everybody Was Kung Fu Fighting: Afro-Asian Connections and the Myth of Cultural Purity|publisher=Beacon Press|isbn=0-8070-5011-3}}</ref><ref>{{cite book|last=Kato|first=M. T.|date=2007-02-08|title=From Kung Fu to Hip Hop: Globalization, Revolution, and Popular Culture (Suny Series, Explorations in Postcolonial Studies)|publisher=State University of New York Press|isbn=978-0-7914-6992-7}}</ref>

[[Martial arts]] play a prominent role in the literature genre known as [[wuxia]] ({{lang|zh|武俠小說}}). This type of fiction is based on Chinese concepts of chivalry, a separate martial arts society ({{lang|zh|武林}}; {{transliteration|zh|''Wulin''}}) and a central theme involving martial arts.<ref>{{cite book |last=Denton |first=Kirk A. |url=https://archive.org/details/columbiacompanio00bada/page/509 |title=The Columbia Companion to Modern East Asian Literature |author2=Bruce Fulton |author3=Sharalyn Orbaugh |date=2003-08-15 |publisher=Columbia University Press |isbn=0-231-11314-5 |editor=Joshua S. Mostow |pages=[https://archive.org/details/columbiacompanio00bada/page/509 509] |chapter=Chapter 87. Martial-Arts Fiction and Jin Yong |chapter-url=https://archive.org/details/columbiacompanio00bada |via=[[Internet Archive]]}}</ref> Wuxia stories can be traced as far back as 2nd and 3rd century BCE, becoming popular by the [[Tang dynasty]] and evolving into novel form by the [[Ming dynasty]]. This genre is still extremely popular in much of [[Asia]]<ref>{{cite book |last=Cao |first=Zhenwen |title=Handbook of Chinese Popular Culture |date=1994-08-23 |publisher=[[Greenwood Publishing Group]] |isbn=978-0-274-94163-6 |editor=Wu |editor-first=Dingbo |page=237 |chapter=Chapter 13. Chinese Gallant Fiction |editor-last2=Murphy |editor-first2=Patrick D.}}</ref> and provides a major influence for the public perception of the martial arts.

Martial arts influences can also be found in dance, theater<ref>{{Cite journal |last=Mroz |first=Daniel |date=July 2009 |title=From Movement to Action: Martial Arts in the Practice of Devised Physical Theatre |journal=Practice of Devised Physical Theatre, Studies in Theatre and Performance |volume=29 |issue=2 |pages=161–172 |doi=10.1386/stap.29.2.161_1 |issn=1468-2761 |eissn=2040-0616 |via=[[Taylor and Francis]]}}</ref> and especially [[Chinese opera]], of which [[Beijing opera]] is one of the best-known examples. This popular form of drama dates back to the [[Tang dynasty]] and continues to be an example of Chinese culture. Some martial arts movements can be found in Chinese opera and some martial artists can be found as performers in Chinese operas.<ref name=":0">{{cite book |last=Mroz |first=Daniel |url=https://archive.org/details/dancingwordembod0000mroz/mode/2up |title=The Dancing Word: An Embodied Approach to the Preparation of Performers and the Composition of Performances. (Consciousness, Literature & the Arts) |date=2011-04-29 |publisher=[[Rodopi (publisher)|Rodopi]] |isbn=978-90-420-3330-6 |via=[[Internet Archive]]}}</ref>{{Page needed|date=February 2024}}

In modern times, Chinese martial arts have spawned the genre of cinema known as the [[Kung fu film]]. The films of [[Bruce Lee]] were instrumental in the initial burst of Chinese martial arts' popularity in the West in the 1970s.<ref>{{cite news |last=Schneiderman |first=R. M. |date=2009-05-23 |title=Contender Shores Up Karate's Reputation Among U.F.C. Fans |url=https://www.nytimes.com/2009/05/23/sports/23karate.html |access-date=2010-01-30 |work=[[The New York Times]] |issn=0362-4331}}</ref> Bruce Lee was the iconic international superstar that popularized Chinese martial arts in the West with his own variation of Chinese martial arts called ''[[Jeet Kune Do]]''. It is a hybrid style of martial art that Bruce Lee practiced and mastered. ''Jeet Kune Do'' is his very own unique style of martial art that uses little to minimum movement but maximizes the effect to his opponents. The influence of Chinese martial art has been widely recognized and has had a global appeal in Western cinema starting with Bruce Lee.

Martial artists and actors such as [[Jet Li]] and [[Jackie Chan]] have continued the appeal of movies of this genre. Jackie Chan successfully brought in a sense of humour in his fighting style in his movies. Martial arts films from China are often referred to as "kung fu movies" ({{lang|zh|功夫片}}), or "wire-fu" if extensive wire work is performed for special effects, and are still best known as part of the tradition of kung fu theater. (see also: wuxia, [[Hong Kong action cinema]]). The talent of these individuals have broadened Hong Kong's cinematography production and rose to popularity overseas, influencing Western cinemas.

In the west, kung fu has become a regular action staple, and makes appearances in many films that would not generally be considered "Martial Arts" films. These films include but are not limited to [[The Matrix (franchise)|''The Matrix'' franchise]], ''[[Kill Bill]]'', and ''[[The Transporter]]''.

Martial arts themes can also be found on television networks.  A [[United States|U.S.]] network [[TV western]] [[television series|series]] of the early 1970s called ''[[Kung Fu (1972 TV series)|Kung Fu]]'' also served to popularize the Chinese martial arts on television. With 60 episodes over a three-year span, it was one of the first North American TV shows that tried to convey the philosophy and practice in Chinese martial arts.<ref>{{cite book |last=Pilato |first=Herbie J. |title=Kung Fu Book of Caine: The Complete Guide to TV's First Mystical Eastern Western |date=1993-05-15 |publisher=[[Tuttle Publishing]] |isbn=978-0-8048-1826-1 |edition=1st |author-link=Herbie J Pilato}}</ref><ref>{{cite book|last=Carradine|first=David|author-link=David Carradine|date=1993-01-15|title=Spirit of Shaolin|publisher=Tuttle Publishing|isbn=0-8048-1828-2|url-access=registration|url=https://archive.org/details/spiritofshaolin0000carr}}</ref> The use of Chinese martial arts techniques can now be found in most TV action series, although the philosophy of Chinese martial arts is seldom portrayed in depth. In the 2006 music video of [[Knights of Cydonia]] by [[Muse (band)|Muse]], the [[protagonist]] can be seen training Chinese martial arts in the opening. In 2022, martial arts and action sequences inspired by Hong Kong cinema can be found in [[Everything Everywhere All at Once]].<ref>{{Cite web |last=Yang |first=Melissa |date=2022-12-23 |title=The Best Action Scene of 2022 Was the Butt-Plug Fight in 'Everything Everywhere All at Once' |url=https://www.gq.com/story/everything-everywhere-all-at-once-butt-plug-fight-scene-making-of-daniels-stephanie-hsu |access-date=2023-02-22 |website=[[GQ]] |language=en-US}}</ref>

''The Kung Fu Diaries: The Life and Times of a Dragon Master (1920–2001)'' is a work of fiction, combining aspects of biography, historical fiction, and guide to instruction purportedly from a collection of diaries or papers left by a Kung-Fu Dragon Master.<ref>{{Cite book |last=Grant |first=Patrick |title=The Kung Fu Diaries: The Life and Times of a Dragon Master (1920–2001) |date=2018-04-28 |publisher=The Book Guild Ltd |isbn=978-1-912362-37-0 |location=Leicestershire UK |page=ix |language=en-GB |chapter=Foreword}}</ref>

=== Influence on hip hop ===
In the 1970s, [[Bruce Lee]] was beginning to gain popularity in Hollywood for his martial arts movies. The fact that he was a non-white male who portrayed self-reliance and righteous self-discipline resonated with black audiences and made him an important figure in this community.<ref>{{Cite news |last=Hoad |first=Phil |date=2012-07-18 |title=Why Bruce Lee and kung fu films hit home with black audiences |url=https://www.theguardian.com/film/filmblog/2012/jul/18/bruce-lee-films-black-audiences |access-date=2024-02-11 |work=[[The Guardian]] |language=en-GB |issn=0261-3077}}</ref> Around 1973, Kung Fu movies became a hit in America across all backgrounds; however, black audiences maintained the films' popularity well after the general public lost interest. Black youth in New York City were still going from every borough to Times Square every night to watch the latest movies.<ref>{{Cite web |date=2017-06-05 |title=Know Your Hip-Hop History: The B-Boy |url=http://throwbackmag.com/site/know-your-hip-hop-history-the-b-boy/ |url-status=dead |archive-url=https://web.archive.org/web/20180616162609/http://throwbackmag.com/site/know-your-hip-hop-history-the-b-boy/ |archive-date=2018-06-16 |access-date=2024-02-11 |website=Throwback Magazine}}</ref>  Amongst these individuals were those coming from the Bronx where, during this time, [[Hip hop music|hip-hop]] was beginning to take form. One of the pioneers responsible for the development of the foundational aspects of hip-hop was [[DJ Kool Herc]], who began creating this new form of music by taking rhythmic breakdowns of songs and looping them. From the new music came a new form of dance known as b-boying or [[breakdancing]], a style of street dance consisting of improvised acrobatic moves. The pioneers of this dance credit kung fu as one of its influences. Moves such as the crouching low leg sweep and "up rocking" (standing combat moves) are influenced by choreographed kung-fu fights.<ref name="jetli.com">{{Cite web |last=Friedman |first=Chris |date=October 2017 |title=Kung Fu Influences Aspects of Hip Hop Culture Like Break Dancing |url=https://www.jetli.com/2017/10/kung-fu-break-dancing-hip-hop |url-status=dead |archive-url=https://web.archive.org/web/20180227094121/https://www.jetli.com/2017/10/kung-fu-break-dancing-hip-hop |archive-date=2018-02-27 |access-date=2024-02-11 |website=Jet Li}}</ref> The dancers' ability to improvise these moves led way to battles, which were dance competitions between two dancers or crews judged on their creativity, skills, and musicality. In a documentary, ''Crazy Legs'', a member of breakdancing group [[Rock Steady Crew]] described the breakdancing battle being like an old kung fu movie, "where the one kung fu master says something along the lines of 'hun your kung fu is good, but mine is better,' then a fight erupts."<ref name="jetli.com"/>

==See also==
{{Portal|China|Martial arts}}
* [[Eighteen Arms of Wushu]]
* [[Hard and soft (martial arts)]]
* [[Kung Fu (1972 TV series)|Kung fu (disambiguation)]]
* [[Kwoon]]
* [[List of Chinese martial arts]]
* [[Weapons and armor in Chinese mythology]]
* [[Wushu (sport)]]

==References==
{{Reflist|colwidth=30em}}

{{Kung fu schools}}
{{China topics|state=autocollapse}}
{{Martial arts}}
{{Authority control}}

{{DEFAULTSORT:Chinese Martial Arts}}
[[Category:Chinese martial arts| ]]
[[Category:Sports originating in China]]