article

For the 1994 Hong Kong film, see Wing Chun (film)'''

Wing Chun (; Yale Cantonese: Wing2 Cheun1) is a system of Chinese martial arts with an emphasis on close-range striking and interception and low kicks. It also features the use of weapons. Alternative romanizations include Ving Tsun; note that certain romanizations (e.g. WingTsun) are trademarks that should not be used generically.

History

The history of Wing Chun has been passed from teacher to student verbally without documentation and is thus uncertain. Stories tend to be romanticised or mythologised. Adding to the confusion is the tendency for Wing Chun practitioners to split into very separate lines. A common element in the tales is that the style is named after a woman called Wing Chun (咏春/詠春), a name literally meaning "Sings the Spring".

Higher criticism methods have been applied with varying results to discern the origins of Wing Chun by determining the specific purpose of its techniques. The earliest documented reference to Wing Chun comes from third-party accounts of Wing Chun practitioner Dr. Leung Jan.

Oral histories

Yip Man Wing Chun
The oral history of the Yip Man branch of Wing Chun dates its creation to the reign of the Emperor Kangxi (1662–1722). After escaping the destruction of the Fujian Shaolin Monastery by Qing forces, the Abbess Ng Mui fled to the distant Daliang mountains (大涼山) on the border between Yunnan and Sichuan. One day, she came upon a fight between a snake and a crane (or other animal). She took the lessons she learned from observing the fight between the two animals and combined them with her own knowledge of Shaolin kung fu to create a new style. Ng Mui often bought her bean curd at the tofu shop of Yim Yee (嚴二). Yim Yee had a daughter named Yim Wing-Chun (嚴詠春)Yim Wing-Chun whom a local warlord was trying to force into marriage. Ng Mui taught her new fighting style to Wing-Chun, who used it to fend off the warlord once and for all. Wing-Chun eventually married a man she loved, Leung Bok-Chao (梁博儔), to whom she taught the fighting techniques that Ng Mui had passed on to her. Husband and wife in turn passed the new style on to others.

Yiu Kai Wing Chun
The oral history of the Yiu Kai lineage dates the creation of Wing Chun roughly a century later, to the early 19th century, and names Wing-Chun's father as Yim Sei (嚴四), a disciple at the Fujian Shaolin Temple who avoids persecution by fleeing with his daughter to Guangxi. Wing-Chun learned the Fujian Shaolin arts from her father and, from their raw material, created a new style after being inspired by a fight between a snake and a crane. She eventually married Leung Bok-Chao (梁博儔)—a Shaolin disciple just like Wing-Chun's father—and taught her fighting style to her new husband. The young couple began teaching Wing Chun's fighting style to others after moving to Guangdong Province in 1815, settling in the city of Zhaoqing.

Numerous variations on this story abound.

Theories

Other origins for Wing Chun have been suggested, typically involving connections to the Triads, revolutionary groups (often anti-Qing), or the Hakka people of southern China. Almost all extant lineages of Wing Chun, with the exception of the Pao Fa Lien (刨花蓮) branch, claim descendance from the members of the mid-19th century cohort of the Red Boat Opera Company (紅船戲班).

Espionage and assassination
According to one theory, opponents of the Qing Dynasty used the Red Boat Opera Company as a cover to disguise themselves as a troupe of travelling entertainers. Their identities as Chinese opera performers provided a cover for martial arts training; however, the flashy moves of opera style martial arts were not suited to the activities of espionage and assassination, which required specialized skills. Even though assassinations themselves would be carried out using poison or knives, their targets were usually protected by bodyguards who, on discovery of an intruder, would seize the person, call for help, and disable the person to be held for interrogation. Therefore, according to this hypothesis, Wing Chun was designed to deal with an opponent who seized rather than struck and to silence that opponent immediately. This would explain certain technical aspects of Wing Chun, such as its emphasis on close-range combat and its many strikes to the throat and diaphragm.

Wing Chun City
Also of note is the existence of a city called Yongchun (永春)Yongchun (literally, "Eternal Spring") in Fujian Province, China. In Mandarin, the pronunciation of the martial art and the pronunciation of the town are identical: Yǒngchūn. In Cantonese, the pronunciations are virtually the same: wing2 cheun1 (martial art) vs wing5 cheun1 (municipality). The name of the town is written with the character yǒng/wing "永" meaning "always", whereas the lineages of Wing Chun that descend from Yip Man, Yiu Kai, Yuen Kay-San, the Cho family, Tam Yeung, Fung Sang, Yeung Fook, and Leung Kwok-Keung write the name of their martial art using the character yǒng/wing "詠" meaning "sing." However, the lineages of Wing Chun that descend from Pan Nam, Nguyễn Tế-Công, Way Yan, the Wang family of Saiquan, and Pao Fa Lien use the yǒng/wing "永" character, making the name of their martial art identical with the name of the town.

Several other Chinese martial arts come from Yongchun and the surrounding area, most notably the Fujianese style of White Crane, one branch of which is even called Wing Chun Bak Hok Kuen (永春白鶴拳),Wing Chun Bak Hok Kuen or Wing Chun White Crane boxing. Li Wenmao (李文茂), a historically verifiable opera performer and leader in the 1854–1855 Red Turban Rebellion in Foshan, is said to have been a Wing Chun White Crane practitioner.

There is a story that White Crane was created by Ng Mui after she was inspired by a fight between a snake and a crane, as in the Yip Man oral history of Wing Chun. Another White Crane legend states that the art was created by a young woman who combined her observation of cranes with the martial arts she learned from her father—in some versions a refugee from the destruction of the Fujian Shaolin Temple—and later taught her art to her husband, as in the Yiu Kai oral history of Wing Chun. Most stories name this young woman as Fong Chut-Neung (方七娘),Fong Chut-Neung to use the Cantonese pronunciation, but other stories name her Fong Wing-Chun (方詠春)Fong Wing-Chun and the Shaolin disciple she marries as Hung Hei-Gun (洪熙官), to whom she teaches her Crane style which he combines with his Tiger style to create the famous Hung Family Tiger Crane style.

Oral history aside, the technical similarities of Wing Chun and Fujian White Crane suggest that the two are related. As Yip Man's student Leung Ting put it, "Wing Tsun System is derived from the Fukien System of kung-fu, which is related to the Hakka System. Their common features are that during fights, pugilists of these systems prefer short steps and close fighting, with their arms placed close to the chest, their elbows lowered and kept close to the flanks to offer it protection. Another characteristic of these two systems of kung-fu is, unlike those of Kwangtung Province and Northern China, their boxing forms are rather simple" (Leung, 1978, p. 30). Fujian White Crane and Okinawan Karate are indisputably related and Guangdong is much closer to Fujian than Okinawa.

The origins of Wing Chun's branches

Leung Jan (梁贊)Leung Jan is as far back as the lineages that descend from him—Yip Man, Yiu Kai, Pan Nam, Tam Yeung, Fung Sing—can reliably verify their genealogy. He was a practitioner of traditional Chinese medicine in the city of Foshan in the 19th century. Leung Jan is said to have learned from Wong Wah-Bo (黃華寶)Wong Wah-Bo and Leung Yee-Tai (梁二娣),Leung Yee-Tai respectively the male and "female" martial leads of the Red Boat Opera Company, each of whom is said to have been an expert on different aspects of Wing Chun. According to legends from the Yip Man lineage, Leung Yee-Tai was a poler, that is, he used a pole to steer the Red Boat away from rocks and shoals, and was therefore chosen by the legendary Shaolin master Jee Shim himself to learn the six-and-a-half point pole. Leung Jan's students included his sons Leung Chun (梁春)Leung Chun and Leung Bik (梁壁)Leung Bik as well as "Wooden Man" Wah (木人華) and Chan Wah-Shun (陳華順)Chan Wah-Shun nicknamed "Moneychanger Wah" (找錢華), from whom the Yip Man, Yiu Kai, and Pan Nam lineages descend.

However, the Leung Jan lineage is not the only branch of the art. According to the traditions of the Cho family, Wong Wah-Bo and Leung Yee-Tai had as many as 11 peers in Wing Chun among their colleagues at the Red Boat Opera Company. For example, "Dai Fa Min" Kam (大花面錦),"Dai Fa Min" Kam who played the role of the martial painted face, is the ancestor of the Way Yan lineage. The Yuen Kay-San and Pan Nam branches descend from both Wong Wah-Bo and "Dai Fa Min" Kam. Gao Lo Chung ("Tall" Chung) and "Hung Gun" Biu (紅巾彪),"Hung Gun" Biu also of the Red Boat Opera Company, both passed the art on to relatives, respectively, his son-in-law Yin Lee-Chung and the Wang (王) family. Outside the Red Boat Opera Company, a monk who had taken the name "Dai Dong Fung" (大東風)"Dai Dong Fung" is named as its ancestor by the Pao Fa Lien (刨花蓮)Pao Fa Lien lineage of Wing Chun.

In this cohort of the Red Boat Opera Company, the role of the virtuous "female" was played by Yik KamYik Kam (翼金), better known as "Ching-Deng" Kam because of the role he played. Cho Shun (曹順),Cho Shun who played the "Little Martial" (小武) role, was a student of Yik Kam. By passing the art on to his son Cho Dak-Sang (曹德生),Cho Dak-Sang Cho Shun established the Wing Chun lineage of the Cho family of Panyu village.

Recent history

Yip Man was the first Wing Chun master to teach the art openly in Hong Kong on a school fee basis. His students and their students therefore make up the majority of the practitioners of Wing Chun today (see his article for the outline of a family tree). Yip Man died in 1972.

Though he never started a school himself, Yuen Kay-San's lineage of Wing Chun was continued by his student Sum Nung and the subsequent generations of students that descend from him.

Notes

  Chinese Pinyin Yale Cantonese  
Yim Wing-Chun 嚴詠春 yán yǒngchūn yim4 wing2 cheun1
Yongchun 永春 yǒngchūn wing5 cheun1 literally "Always Spring," the name of a town and its surrounding county in the prefecture of Quanzhou, Fujian Province known for its White Crane boxing
Wing Chun Bak Hok Kuen 永春白鶴拳 yǒngchūn báihèquán wing5 cheun1 baak6 hok6 kyun4 the style of White Crane boxing associated with the town of Yongchun, Fujian
Fong Chut-Neung 方七娘 fāng qīniáng fong1 chat1 neung4 Minnan: hng1 chhit1 nia5
Fong Wing-Chun 方詠春 fāng yǒngchūn fong1 wing2 cheun1
Leung Jan 梁贊 liáng zàn leung4 jaan3
Wong Wah-Bo 黃華寶 huáng huábǎo wong4 wa4 bou2
Leung Yee-Tai 梁二娣 liáng èrtì leung4 yi6 tai5
Leung Chun 梁春 liáng chūn leung4 cheun1
Leung Bik 梁壁 liáng bì leung4 bik1
Chan Wah-Shun 陳華順 chén huáshùn chan4 wa4 seun6 nicknamed "Moneychanger Wah" (找錢華)
"Dai Fa Min" Kam 大花面錦 dàhuāmiàn jǐn daai6 fa1 min6 gam2 "Painted Face" Kam
"Hung Gun" Biu 紅巾彪 hóngjīn biāo hung4 gan1 biu1 "Red Bandanna" Biu or "Red Turban" Biu; the red turban, or red bandanna, was initially a symbol of opposition to the rule of the Mongol Yuan Dynasty that was revived by opponents of the Manchu Qing Dynasty
"Dai Dong Fung" 大東風 dàdōngfēng daai6 dung1 fung1 "Great East Wind"
Pao Fa Lien 刨花蓮 pàohuā lián paau4 fa1 lin4 "Wood-Planer Lien"
Yik Kam 翼金 yì jīn   better known as "Ching-Deng" Kam (??金; pinyin: "qingdan" jīn) because he played the role of the virtuous "female"
Cho Shun 曹順 cáo shùn  
Cho Dak-Sang 曹德生 cáo déshēng chou4 dak1 saang1

Curriculum

Forms

Forms are a meditative, solitary exercise which develop self-awareness, balance, relaxation and sensitivity. Forms also train the practitioner in the fundamental movement and the correct force generation of Wing Chun.

It is from the forms that all Wing Chun techniques are derived. Depending on lineage, the focus, content and intent of each form can have distinct differences which can therefore have far reaching implications. This also means that there are a few different ideas concerning what constitutes progression in the curriculum from form to form, so only a general description of overlap between different schools of thought is possible here.

Conventional Wing Chun generally comprises six forms: three empty hand forms, two weapons forms and one "wooden dummy" form.

Empty Hand
The first and most important form in Wing Chun. Siu Nim Tao is the foundation or "seed" of the art from which all succeeding forms and techniques depend. Fundamental rules of balance and body structure are developed here as well as elbow force. Using car analogy; this would provide the chassis.

The second form Chum Kiu focuses on coordinated movement of bodymass and entry techniques to "bridge the gap" between practitioner and opponent and disrupt their structure and balance. Close-range attacks using the elbows and knees are also developed here. It also teaches methods of recovering position and centreline when in a compromised position where Sil Lim Tao structure has been lost. Bodyweight in striking is a central theme, whether it be from pivoting(rotational) or stepping(translational). This form provides the engine to the car.

The third form Biu Jee is comprised of extreme short-range and extreme long-range techniques, low kicks and sweeps, and "emergency techniques" to counter-attack when structure and centreline have been seriously compromised, such as when the practitioner is seriously injured. As well as pivoting and stepping developed in Chum Kiu, a third degree of freedom involving more upper body and stretching is developed for more power. This is the turbo-charger of the car.

Wooden dummy

The Muk Yan Jong form is performed against a "wooden dummy", a thick wooden post with three arms and a leg mounted on a slightly springy frame representing a stationary human opponent. Although representative of a human opponent, the dummy is not a physical representation of a human, but an energetic one. Wooden dummy practice aims to refine a practitioner's understanding of angles, positions, footwork and to develop full body power. It is here that the open hand forms are pieced together and understood as a whole.

Variations in the empty hand forms
Both the Way Yan and Nguyễn Tế-Công branches use different curricula of empty hand forms. The Tam Yeung and Fung Sang lineages both trace their origins to Leung Jan's retirement to his native village of Gu Lao, where he taught a curriculum consisting of dozens of short drills rather than conventional long routines.

The Siu Nim Tao of Cho Ga Wing Chun includes the movements that, in other branches, comprise Chum Kiu and Biu Jee. The other two major forms of the style are Sui Da ("Random Striking") and Jui Da ("Chase Striking").

Weapons
Once correct force generation in the open-handed forms is achieved, the student is ready to progress to weapons. With the open hand forms delivering force to the end of the finger tips, the idea is to be able to extend that force further to the end of a weapon as an extension of the body, using the same principles.

  • "Butterfly Swords" — two small Chinese broadswords (Dao)
  • "Six-and-a-half Point Pole" or "Dragon Pole" — an eight-foot tapered wooden pole

The weapons curriculum of the Vietnamese style includes the jian and the Pao Fa Lien lineage trains more weapons still.

Chi sao

Chi sao (Chinese 黐手, Cantonese chi1 sau2, Mandarin chǐshǒu) or "sticking hands" , is a drill performed in pairs. The participants face each other with their forearms touching. They then push and "roll" their forearms against each other while trying to remain relaxed. The aim is to feel forces, test resistances and find defensive gaps. Chi sao helps to develop contact sensitivity and trapping skill — crucial elements to Wing Chun. There are also pre-arranged chi sao and "chi gerk" (sticking legs) drills used to practise basic techniques.

Usually chi-sao drills begin with one-arm chi-sau (chi-sao) which helps the amateur student to get the feel of the exercise. Each practitioner uses one hand from the same side as they face each other.

One practiotioner uses tan-sau (tan-sao) and the other fox-sao (fauk-sao). The first practioner tries to change into a straight punch while the other respondes. As the feel gets better more moves are inserted and finally both hands are used silmutaneously.

Again with both hands only a few moves are used and as practioners get better the whole variety of moves can be used and practised.

Chi-sao is only a drill. An exercise used to obtain specific abilities. It must not be confused or mistaken as a sparring equivalent.

Wing Chun Kuen Kuit

Some Wing Chun schools use wing chun kuen kuit (詠春拳訣 lit. Wing Chun Fist Formula (mnemonic)) in teaching the art. These are short, often sing-song, sayings or rhymes that encapsulate principles, strategies or combat responses. Their meanings are often derived from local slang. Some sayings may appear simple but gain greater lucidity and meaning during training.

Principles

Perhaps the foremost principle of Wing Chun is that of viewing movements and gross technique as of secondary importance to the energy behind the movements.

Other tenets of Wing Chun include practicality, efficiency and economy of movement. The core philosophy becomes a useful guide to practitioners when modifying or refining the art.

Practicality

Wing Chun techniques emphasise practicality and effectiveness over health or aesthetics. Most strikes are intentionally fatal and target vulnerable areas of the body such as the throat, groin, eyes and stomach. Also, it feeds of the fact that the closest distance between two points is a straight line. Its primary targets all lie on the center line of one's opponent. One's center line must always be pointing at one's opponent.

Efficiency

Wing Chun believes in using the least amount of required force in any fighting situation. It believes that small movements, properly timed and correctly positioned, can and should be used to defeat large movements. This is achieved through balance, body structure and relaxation. The Chinese saying "8 taels to move 1000 catties" (referring to an old Chinese measurement system) is appropriate here in describing how a small amount of force, precisely applied, can deflect large and powerful attacks.

Wing Chun prefers deflection and counterattack to hard blocking to conserve movements.

Economy of Movement

Most Wing Chun attacks take the straightest possible path to the target (usually a straight line). They also tend to attack the opponent's centerline, an imaginary vertical line bisecting the opponent's vitals (throat, heart, stomach, groin). The Wing Chun punch, for example, is delivered centrally from the practitioner's chest rather than diagonally from the shoulders in the first two forms. This helps teach the centerline concept. In the later forms, the punch is delivered diagonally from the shoulder to the centerline. This is because the distance is shorter than bringing the hand from the shoulder, to the center of the chest, and then down the centerline at the opponent.

Characteristics

Balance, Structure and Stance

Wing Chun practitioners believe that the person with better balance and body structure will win. A correct Wing Chun stance is like a piece of bamboo, firm but flexible, rooted but yielding. This structure is used to either deflect external forces or redirect them into the ground.

Balance is related to structure because a well-balanced body recovers quicker from stalled attacks and structure is maintained.

Wing Chun favours a high, narrow stance with the elbows kept close to the body. Within the stance, arms are positioned across the vitals of the centreline. All attacks and counter-attacks are initiated from this firm, stable base. Wing Chun rarely compromises structure for more powerful attacks because this is believed to create defensive openings which may be exploited.

Structure is viewed as important, not only for reasons of defense, but also for attack. When the practitioner is effectively 'rooted', or aligned so as to be braced against the ground, the force of the hit is believed to be far more devastating. Additionally, the practice of 'settling' one's opponent to brace them more effectively against the ground aids in delivering as much force as possible to them.

This concept may be better understood if the reader can imagine being on a frictionless surface. A strike would be quite ineffective in this environment, considering the force would cause the opponent and the practitioner to move equidistantly from the point of impact.

Relaxation

Softness (via relaxation) and performing techniques in a relaxed manner, is fundamental to Wing Chun.

  • Tension reduces punching speed and power. Muscles act in pairs in opposition to each other (e.g. biceps and triceps). If the arm is tensed, maximum punching speed cannot be achieved as the biceps will be opposing the extension of the arm. In Wing Chun, the arm should be relaxed before beginning the punching motion.

  • Unnecessary muscle tension wastes energy and causes fatigue.

  • Tense, stiff arms are less fluid and sensitive during trapping and chi sao.

  • A tense, stiff limb provides an easy handle for an opponent to push or pull with, whereas a relaxed limb provides an opponent less to work with.

Centerline

Wing Chun emphasizes attack and defense along an imaginary horizontal line drawn from the center of the practitioner's chest to the center of the enemy's chest. The human body's prime striking targets are considered to be on or near this line.

Wing Chun techniques are "closed", the limbs drawn in to protect the centerline and also to maintain balance. Generally, the hands do not move beyond the vertical circle that is described by swinging the arms in front, with the hands crossed at the wrists. To reach outside this area, footwork is used.

Wing Chun practitioners attack close to the centerline to transmit force more effectively. For example, striking an opponent's shoulder will twist the body, dispelling some of the force and weakening the strike. Striking closer to the center transmits more force directly into the body.

The Wing Chun punch

Punches are thrown with the elbow down and in front of the body. The fist is held vertical and the contact points are the bottom three knuckles. In some lineages of Wing Chun, the fist is swiveled on point of impact so that the bottom three knuckles are thrust forward adding power to the punch while it is at maximum extension.

Wing Chun favors the vertical punch for the following reasons:

  • Directness. The punch is not "loaded" by pulling the elbow behind the body. The punch travels straight towards the target from the guard position (hands are crossed in front of the chest).

  • Protection. The elbow is kept low to cover the front midsection of the body. It is also more difficult for an opponent to execute an elbow lock/break when the elbow occupies this position. This also aids in generating power by use of the entire body structure rather than only the arm to strike.

  • Strength and Impact. Wing Chun practitioners believe that because the elbow is behind the fist during the strike, it is thereby supported by the strength of the entire arm rather than just a swinging fist, and therefore has more impact. A common anology is a baseball bat being swung at someone's head (a round-house punch), as opposed to the butt end of the bat being thrust forward into the opponent's face (wing chun puch), which would cause far more damage than a glancing hit and isn't as easy to evade. Many skilled practitioners pride themselves on being able to perform the "one-inch punch", a punch that starts only an inch away from the target, yet delivers an explosive amount of force through the application of the wing chun techniques.

  • Alignment & Structure. The vertical punch allows a practitioner to absorb the rebound of the punch by directing it through the elbows and into the stance. In contrast, the rebound of the horizontal punch creates torque in the puncher's body. Like many Chinese martial arts, Wing Chun favors the usage of stances; the vertical punch is thus more suitable. As the vertical punch is believed to be structurally safer, practitioners feel no need to tape their wrists.

The last item above can be easily tested. Hold your fist vertically, in front of you, your elbow pointing down, one foot behind the other. Make sure your elbow is in your centerline. Then ask a friend to push into your fist while you attempt to resist. You will feel the push pressuring your legs and stance. Repeat with a horizontal fist, elbow at shoulder height and to the side. You will feel the incoming push twisting you sideways.

Uncommitted techniques

Wing Chun techniques are uncommitted. This means that if the technique fails to connect, the practitioner's position or balance is not compromised. If the attack fails, the practitioner should be able to "flow" easily into a follow-up attack. All Wing Chun techniques permit this. Any punch or kick can be strung together to form a "chain" or combination attack.

Trapping Skills and Sensitivity

The Wing Chun practitioner uses reflexes and sticking hands to probe for holes in the opponent's defense through touching.

The practitioner controls an opponent by contacting through a block or a strike and maintaining contact or "sticking" to the opponent. If the opponent attempts to withdraw or redirect the hand, the practitioner follows, often using the motion to facilitate a trap or a strike.

A common Wing Chun saying is "greet what arrives, escort what leaves and rush upon loss of contact", regarding the importance of trapping incoming force and advancing quickly when an opening is sensed.

Close Range

Wing Chun teaches practitioners to advance quickly and strike at close range. While the Wing Chun forward kick can be considered a long range technique, many Wing Chun practitioners practice "entry techniques" - getting past an opponent's kicks and punches to bring him within range of Wing Chun's close range repertoire. This means that theoretically, if the correct techniques are applied, a shorter person with a shorter range can defeat a larger person by getting inside their range and attacking them close to their body.

This theory can be tested by examining various distances of range with a partner. Standing two metres away from your opponent, you are both out of each other's range. A full arm's length away, you are within a range typical of most martial arts; round house punches and most kicks are effective at this range. Now stand close to your opponent, your arm slightly bent, your elbow a hand's width from your chest, and your fingertips just touching your opponent. This is the wing chun range. While wing chun punches, hand strikes and low kicks are highly effective at this range, it is too close for an opponent of the same height and using a different style to counter-attack with a roundhouse punch or any kicks. A taller person will find it even harder to defend themselves if attacked at this close range, as any typical forms of counter-strike will be ineffective without room to gain momentum, and once their hand extends past their opponent, they have no means with which to protect their centre line. A saying much-relished by smaller wing chun practitioners is "the bigger they are, the harder they fall".

Branches

Main article: Branches of Wing Chun

See also

References

  • Rene Ritchie, Robert Chu and Hendrik Santo.
  • Rene Ritchie, Robert Chu and Hendrik Santo.

External links

Chinese martial arts | Wing Chun

Wing Chun | Γουίν Τσουν | Wing Chun | Wing Chun | Wing Chun | 詠春拳 | Wing Chun | Wing Chun | Wing Chun | Wing Chun | Вин чун | Wing Chun | 咏春拳

 

This article is licensed under the GNU Free Documentation License. It uses material from the "Wing Chun".

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