少林寺拳谱

章节摘录

插图：Form 34Having rested his left foot on its tiptoes on the ground beside his rightfoot, he bends his knees to lower his torso, spreads his right arm levelly right and his left arm levelly left, with the edge of his broadsword, which is held in his right hand, facing right and with his broadsword' s tip pointing forward. Now he looks into distance. (fig. 34-1)His left toes slides backward on the ground until they can no longer be kept in touch with the surface of the ground. Then he puts his left foot a step forward on the ground, brings his torso forward and slightly leftward, and lets his right toes scrape backward on the ground before he lifts his right foot backward off the ground, with his right sole being turned upward. While his right toes are scraping backward on the ground, he clings his left hand to his right wrist and swings his right forearm rightward for moving his broadsword, which is herd in his right hand, successively upward, leftward, and backward without fully extending his right arm until his broad- sword comes to a point off the right side of his right thigh.

前言

The culture of such traditional Chinese martial arts as are peculiar to in Shaolin Buddhist Monastery is both uniquely expansive and subtly philosophic and stands out as a component of world cultural heritage.Though there is an astoundingly bountiful spectrum, offered over centuries by the monastery, of pugilistic routines and traditional weaponry routines, yet none of them has ever been handed down to the monastic posterity in an unsystematic manner. Nevertheless we are confronted with the problem of technical adulteration that spoils the authenticity of some of Shaolin martial-art forms or routines. The problem is playing havoc with martial-art competitions as well as training programs across our country. Admittedly some martial-art coaches' mishandlings of Shaolin kung-fu lore have contributed partially to the problem. Therefore Shaolin Monastery takes it for granted that it is incumbent upon the monastery to retrieve such portions of Shaolin kung-fu lore as have already sunk into oblivion, to re- systematize Shaolin kung-fu lore and the systems of pugilistic and weaponry routines, and to standardize all of them. The first step the monastery took in this connection was the initiation of a hunt for the lost portions of Shaolin kung-fu lore by approaching not only the Buddhist martial artists but also such secular martial artists as have received kung-fu training at the monastery precisely for soliciting information that.

编辑推荐

《少林寺拳谱(少林老刀)(中英文对照)》是由河南人民出版社出版的。

作者简介

《少林寺拳谱(少林老刀)(中英文对照)》内容简介：余与嵩山少林寺方丈永信大师交往20余年，20余年的交往中，知其为人高洁，志存高远。尤其在重振少林禅寺方面，吃尽了苦，作尽了难，世间的事情就是这样不尽人意，再好的事情，不是所有的人都能理解。不能让多数人理解的好事情，做起来就更困难。虽然出家人不言苦，不言难，这并不等于苦或难对他们来说不存在。这一切苦和难都被方丈的大度所化解，普度众生永远是佛家的不二法门。

图书封面

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