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Chinese martial arts describes the enormous variety of Martial Arts styles originating in China . Kung fu and '''wushu''' are popular terms that have become synonymous with Chinese martial arts. However, the () have very distinct connotations. Each term can describe different martial arts traditions and can also be used in a context without referencing martial arts. Colloquially, kung fu (or gong fu) alludes to any individual accomplishment or cultivated skill. In contrast, wushu is a more precise term that refers to general martial activities. The term wushu has also become the name for a Modern Sport similar to gymnastics involving the performance of adapted Chinese bare-handed and weapons forms (tàolù 套路) judged to a set of contemporary aesthetic criteria for points. HISTORY OF CHINESE MARTIAL ARTS .]] The origins of Chinese martial arts are traced to . According to legend, the reign of the system called jiao li, the practice of which in the Zhou Dynasty was recorded in the Classic Of Rites . Classic Of Rites . Chapter 6, Yuèlìng. Line 108. This combat system included techniques such as Strikes , Throw s, Joint Manipulation , and Pressure Point attacks. Jiao li became a sport during the Qin Dynasty (221 - 207 B.C.). Jiao li eventually became known as shuai jiao, its modern form. Sophisticated theories of martial arts based on the opposing ideas of Yin And Yang , and the integration of "hard" and "soft" techniques are recorded in the Annals of the Spring And Autumn Period (722 BCE–481 BCE).Henning, Stanley E. (Fall 1999). "Academia Encounters the Chinese Martial arts". ''China Review International'' 6 (2): 319–332. ISSN 1069-5834 The '' Han History Bibliographies'' record that, by the Former Han (206 BCE–8 CE), there was a distinction between no-holds-barred weaponless fighting, which it calls ''shǒubó'' (手搏), for which "how-to" manuals had already been written, and sportive wrestling, then known as ''juélì'' or ''jiǎolì'' (角力). Wrestling is also documented in the '' Shǐ Jì '', The Records of the Grand Historian, written by Sima Qian dating from 109 BC to 91 BC. In the Tang Dynasty , descriptions of sword dances were immortalized in poems by Li Bai . In the Song and Yuan dynasties, xiangpu (the earliest form of Sumo ) contests were sponsored by the imperial courts. The modern concepts of wushu were fully developed by the Ming and Qing dynasties.China Sportlight Series (1986) "Sports and Games in Ancient China". New World Press, ISBN 0-8351-1534-8. Martial arts are also mentioned in Chinese Philosophy . Passages in the '' Zhuangzi '' (庄子), a Daoist text, pertain to the psychology and practice of martial arts. Zhuangzi, its eponymous author, is believed to have lived in the 4th century BC. The Tao Te Ching , often credited to Lao Zi , is another Daoist text that contains principles applicable to martial arts. According to one of the classic texts of Confucianism , '' Zhou Li '' (周禮/周礼), Archery and Chariot eering were part of the "six arts" (, including Rite s, Music , Calligraphy and Mathematics ) of the Zhou Dynasty (1122 - 256 B.C.E.). '' The Art Of War '' ( 孫子兵法), written during the 6th century B.C. by Sun Tzu ( 孫子), deals directly with military warfare but contains ideas that are used in the Chinese martial arts. Those examples shows that over time, the ideas associated with Chinese martial arts changed with the evolving Chinese society and over time acquired philosophical basis. Taoist practitioners have been practicing Tao Yin , physical exercises similar to Qigong that was one of the progenitors to Tai Chi Chuan , at least as early as the 500 B.C. era. In 39-92 A.D., "Six Chapters of Hand Fighting", were included in the ''Han Shu'' (history of the Former Han Dynasty) written by Pan Ku . Also, the noted physician, Hua Tuo , composed the "Five Animals Play" - tiger, deer, monkey, bear, and bird, around 220 B.C. Dingbo. Wu, Patrick D. Murphy (1994), "Handbook of Chinese Popular Culture", Greenwood Press, ISBN 0-313-27808-3 Taoist philosophy and their approach to health and exercise can still be seen in the Internal styles of Chinese martial arts. of Shaolinquan , an External Style of Chinese martial arts, being demonstrated at Daxiangguo Monastery in Kaifeng , Henan .]] With regards to the from bandits around 610 A.D., and their subsequent role in the defeat of Wang Shichong at the Battle Of Hulao in 621 A.D. From the 8th to the 15th centuries, there are no extant documents that provide evidence of Shaolin participation in combat. However, between the 16th and 17th centuries there are at least forty extant sources which provided evidence that, not only did monks of Shaolin practice martial arts, but martial practice had become such an integral element of Shaolin monastic life that the monks felt the need to justify it by creating new Buddhist lore.Shahar, Meir (2000). "Epigraphy, Buddhist Historiography, and Fighting Monks: The Case of The Shaolin Monastery". Asia Major Third Series 13 (2): 15–36. References to Shaolin martial arts 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 even poetry.Shahar, Meir (December 2001). "Ming-Period Evidence of Shaolin Martial Practice". Harvard Journal of Asiatic Studies 61 (2): 359–413. . These sources, in contrast to those from the Tang period, refer to Shaolin methods of unarmed combat, as well as combat utilising various weapons. These include the Spear (Qiang) , and with the weapon that was the forte of Shaolin monks and for which they had become famous—the Staff (Gun, Pronounced As ''juen'') .Henning, Stanley (1999). "Martial arts Myths of Shaolin Monastery, Part I: The Giant with the Flaming Staff". Journal of the Chenstyle Taijiquan Research Association of Hawaii 5 (1), Shahar, Meir (2007), The Shaolin Monastery: History, Religion and the Chinese Martial arts", Honolulu: The University of Hawai'i Press By the mid-16th century, military experts from all over China were traveling to Shaolin to study its fighting techniques. The fighting styles that are practiced today were developed over the centuries, after having incorporated forms that came into existence later. Some of these include Bagua , Drunken Boxing , Eagle Claw , Five Animals , Hsing I , Hung Gar , Lau Gar , Monkey , Praying Mantis , Fujian White Crane , Wing Chun and Tai Chi Chuan . The present view of Chinese martial arts are strongly influenced by the events of the Republican Period (1912-1949). In the transition period between the fall of the Qing Dynasty as well as the turmoils 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 improve the health of the Nation. As a result, many martial arts training manuals (拳普) were published.Brian Kennedy and Elizabeth Guo (2005), Chinese Martial arts Training Manuals: A Historical Survey, CA: North Atlantic Books, ISBN 1-55643-557-6 and numerous martial arts associations were formed throughout China and in various oversea Chinese communities. The Central Guoshu Academy (Zhongyang Guoshuguan, 中央國術館/中央国术馆) established by the National Government in 1928Andrew Morris(2000), National Skills: Guoshu Martial arts and the Nanjing State, 1928–1937, Abstracts of the 2000 AAS Annual Meeting March 9–12, 2000, San Diego, CA and the Jing Wu Athletic Association (精武體育會/精武体育会) founded by Huo Yuanjia in 1910 are examples of organizations that promoted a systematic approach for training in Chinese martial arts.Susan Brownell (1995), Training the Body for China: sports in the moral order of the people's republic, IL: University of Chicago Press, ISBN 0-226-07646-6 J.A. Mangan and Fan Hong (2003), Sport in Asian Society: Past and Present, UK: Routledge, p.244 ISBN 0-7146-5342-X 1 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. Eventually, those events lead to the popular view of martial arts as a Sport . Chinese martial arts started to spread internationally with the end of the started to teach within the Overseas Chinese communities but eventually they expanded their teachings to include people from other cultures. Within China, the practice of traditional martial arts was discouraged during the turbulent years of the -driven approach.3 p.15 As a result of these changing sociological factors within China, both traditional styles and modern Wushu approaches are being promoted by the Chinese government.Minutes of the 8th IWUF Congress, International Wushu Federaton, December 9,2005 http://www.iwuf.org/Meetings/8thCongress/minutes.htm (accessed 01/2007) STYLES See Also: Styles of Chinese martial arts See Also: List of Chinese martial arts being practiced on The Bund in Shanghai ]] China has one of the longest , myths and legends. Some styles put most of their focus into the harnessing of Qi energy, while others concentrate solely on competition and exhibition. Each style offers a different approach to the common problems of self-defense, health and self-cultivation. Chinese martial arts can be split into various categories to differentiate them: For example, ''external'' (外家拳) and '' and Xingyiquan . Examples of the southern styles include Nanquan and Wing Chun. Chinese martial arts can also be divided according to religion, imitative-styles (象形拳), and more. There are distinctive differences in the training between different groups of Chinese martial arts regardless of the type of classification. TRAINING Chinese martial arts training consists of the following components: basics, forms, applications and weapons. Each style has its own unique training system with varying emphasis on each of those components Shou-Yu Liang and Wen-Ching Wu (2006), Kung Fu Elements, The Way of the Dragon Publishing, ISBN - 978-1889659329 . In addition, philosophy, ethics and even medical practise Anthony Schmieg (2004) Watching Your Back: Chinese Martial Arts and Traditional Medicine , University of Hawaii Press, ISBN 978-0824828233 are highly regarded by most Chinese martial arts. A complete training system should also provide insight into Chinese attitudes and culture. Basics ''Basics'' (基本功) are a vital part of the training, as a student cannot progress to the more advanced stages without them; without strong and flexible muscles including the management of the "Chi" (breath, or energy), many movements of Chinese martial arts are simply impossible to perform correctly Wong Kiew Kit (2002), Art of Shaolin Kung Fu: The Secrets of Kung Fu for Self-Defense Health and Enlightenment Tuttle Publishing, ISBN 978-0804834391 Kiew Kit Wong (2002), The Complete Book of Shaolin: Comprehensive Program for Physical, Emotional, Mental and Spiritual Development, Cosmos Publishing, Inc., ISBN - 978-9834087913 . Basics training involves a simple series of simple movements that are performed repeatedly over a short interval . Examples of basics training includes stretching, stances, meditation and special techniques. A common saying concerning basic training in Chinese martial arts is as follows: Which can be translated as
Stretching Chinese martial arts pay considerable attention to . Stances Stance s (steps or 步法) are special postures employed in Chinese martial arts trainingBow-Sim Mark (1981), Wushu basic training (The Chinese Wushu Research Institute book series) Chinese Wushu Research Institute, ASIN: B00070I1FE Raymond Wu (2007), Fundamentals of High Performance Wushu: Taolu Jumps and Spins, Lulu.com, ISBN - 978-1430318200 . They represent the individual elements of a form. Each style has different names and variations for each stance. Stances may be differentiated by feet position, body weighting, body alignment, and other such factors. Stance training can be practiced statically, the goal of which is to maintain the structure of the stance through a set time period. Stance training can also be practiced dynamically, in which case, a series of movements is performed repeatedly. The horse riding stance (骑马步，马步 qí mǎ bù,mǎ bù) or a bow stance is a representative example of a stance found in many styles of Chinese martial arts. Meditation In many styles, Meditation , the other two being medicine and martial arts. Special techniques Special techniques are basic exercises that are unique to a particular martial arts style. Special techniques are developed based on the experience and understanding of a particular style. For example, many styles have training to increase the ability to withstand a direct hit through methods such as the "Golden Bell Cover" (金钟罩) or "Iron Shirt" (铁布衫) Mantak Chia (1986),Iron Shirt Chi Kung I, Healing Tao Books, ISBN 0935621024. In Wing Chun, basic training includes the use of a wooden dummy ("Mook Jung" in Cantonese and "Moo Juang" in Mandarin) to develop striking power and some hand trapping techniques. Joseph Wayne Smith (1992), Wing Chun Kung-Fu: Weapons and Advanced Techniques, Tuttle Publishing,ISBN 0804817200 Garrett Gee, Benny Meng, Richard Loewenhagen (1993), Mastering Kung Fu, Human Kinetics,ISBN 0736045686 There are also types of training that can be characterized as being fictional rather then real. For example, the ability to move lightly without leaving footprints or the ability to climb walls. Leung Ting (1992), Skills of the Vagabonds, BAFA, ISBN - 9789627284178 Forms ''Forms'' or ''taolu'' () in Chinese are series of techniques defined by their stances combined so they can be practiced as one whole set of movements. Some say that forms resemble a choreographed dance, though martial artists often argue that a general difference is the speed and explosiveness seen in most external styles, and that the movements are actual fighting techniques. This confusion often results from modern practitioners not understanding the combat applications of such forms, however this is a key aspect to training and should never be ignored. Daniele Bolelli (2003), On the Warrior's Path: Fighting, Philosophy, and Martial Arts Mythology, Frog, ISBN - 1583940669 These forms sought to incorporate both the internal and external aspects of Chinese martial arts. A kung fu form needs to be both practical, usable, and applicable as well as promoting flow, meditation, flexibility, balance and coordination. Often kung fu teachers are heard to say "train your form as if you were sparring and spar as if it were a form." Types of forms There are two types of forms in Chinese martial arts. Most common are the solo forms, performed alone by one person, but there are also "sparring" forms, which is a combined fighting sets performed by two or more people. There is another meditative component on kung-fu that is very useful to put the student on an imaginative real fight situation and also to literally "defeat" the fear factor. Many styles consider forms as one of the most important practices, as they gradually build up the practitioner's strength and flexibility, internal power, speed and stamina, and teach balance and coordination. They also function as a tool for both the students and the teacher to remember the many techniques taught by the style, and sort them into various groups. A style can have many compartments, both empty-handed and with weapons. In most styles, empty-handed techniques are the most common, but many styles also contain forms using a wide range of weapons of various length and type, utilizing one or two hands. There are also styles that only practice a certain weapon, containing only forms with the specific weapon. Forms are meant to work the body. Once a basic structure is able to be maintained in the body, forms are then used to work that structure. Forms develop a sensibility of moving from position to position. This teaches the body to react. Some forms focus specifically on punching and kicking, while others focus on joint manipulation, grappling, jump kicking, or weapons. Still other forms focus on different styles of movement, or on using specific configurations. Often, forms will combine several of these attributes. Appearance of forms Even though forms in Chinese martial arts are based on martial techniques, the movements might not always be identical to how the techniques they symbolize would work when applied in actual combat. This is due to the way many forms have been elaborated: on the one hand to provide better combat preparedness, and on the other hand, to look more aesthetic. One easily understood manifestation of this tendency toward elaborations that go beyond what most often might be used in combat is the inclusion of lower stances and higher kicks. The regular practice of techniques while using lower stances both adds strength to the same techniques when used with higher stances, and also facilitates using the same techniques in the lower stances when the realities of combat make doing so the most appropriate choice. In recent years, as the perceived need for self-defense has decreased, 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. The mainland Chinese government has especially been criticized by traditionalists for "watering down" the wushu competition training it promotes. Appearances have been important in many traditional forms as well, seen as a sign of balance, but may not be the most important requirements of successful training, from the martial perspective. Some martial artists have looked for supplementary income by performing on the streets or in theaters, although in the most traditional schools, such performance is forbidden. Another reason why the martial techniques might look different in forms is thought by some to come from a need to "disguise" the actual functions of the techniques from outsiders, namely rival schools or the authorities, since China has been ruled by foreign powers in the past. The intention was to leave the forms in such a state that they could be performed in front of others without revealing their actual martial functions, while retaining their original functionality in a less obvious form. However some forms were created for reasons other than combat and martial application: some were created to help martial artists develop certain qualities. For example, in addition to aesthetic reasons, acrobatics blended into martial arts help martial practitioners develop strength, balance and flexibility. Modern forms See Also: Wushu (sport) As forms have grown in complexity and quantity over the years, and many forms alone could be practiced for a lifetime, styles of modern 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 Xie Shoude (1999), International Wushu Competition Routines (Paperback),Hai Feng Publishing Co., Ltd., ISBN - 9622381537 compared to the traditional styles. Those who generally prefer to practice traditional styles, focused less on exhibition, are often referred to as traditionalists. Many traditionalists consider the evolution of today's Chinese martial arts as undesirable, saying that much of its original value is lost. Application ''Application training'' refers to the training of putting the martial techniques to use. Chinese martial arts usually contain a large arsenal of techniques and make use of the whole body; efficiency and effectiveness is what the techniques are based on Man Kam Lo, Bradley Temple, Nicholas Veitch and John Kang (2001), Police Kung Fu: The Personal Combat Handbook of the Taiwan National Police, Tuttle Publishing, ISBN-13: 978-0804832717 Lu Shengli and Zhang Yun (2006), Combat Techniques of Taiji, Xingyi, and Bagua: Principles and Practices of Internal Martial Arts, Blue Snake Books, ISBN - 978-1583941454 Tong Zhongyi and Tim Cartmell (2005), Method of Chinese Wrestling,North Atlantic Books, ISBN - 978-1556436093 . However, many Chinese martial arts appear to be flowery and 'fancier' than other arts but the movements are very meaningful in terms of application. When and how applications are taught varies from style to style, but in the beginning, most styles focus on certain drills where each person knows what technique is being practiced and what attack to expect. Gradually, fewer and fewer rules are applied, and the students learn how to react and feel what technique to use, depending on the situation and the type of opponent. 'Sparring' refers to one aspect of application training that simulates fighting situations but still with rules and regulations to reduce the chance of serious injury to the student. The subject of application training is controversial and is part of a raging debate between the practice of martial arts and Sports based on the martial arts. In the traditionalist view, martial arts training should eventually lead to and be proven by actual combat as well as being govern by a moral philosophy. In comparison, the sports view suggests that the training does not require such extreme methods or such deep contemplation. Ming Shi, Shi Ming , Weijia Siao and Siao Weija translated by T.F. Cleary (1994),Mind Over Matter: Higher Martial Arts, Frog, ISBN 1883319153 The traditionalist view is shaped by the history of Chinese martial arts where the techniques were developed as a means of self-preservation. Because of its importance, application training was kept secret and was given only to those that were considered 'worthy.' From the vantage point of martial arts as a sport, the issues of life and death is no longer decided by martial arts. As a result, the goal of the training should re-focus towards health and friendly competition. Competitive sparring is one approach to satisfy the difference between the two viewpoints. In this approach, opponents can use their combat techniques but subject to a set of pre-defined rules and regulations which are designed to limit serious injuries. An example of this approach in the Chinese martial arts is the tradition of . 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 without the raised platform and having rules in place to reduce the chance of serious injuries. Many Chinese martial arts schools teach sanshou and work to incorporate their movements, characteristics, and theory into sanshou's modern context. Sanshou is popular as a competition event and allows martial practitioners to both practice and put their skill to use in a friendly, non-hostile environment. It is similar to Muay Thai and is a type of sparring competition where the competitors wear protection and gloves and get points when scoring a hit on the opponent or performing a successful throw. Sanshou involves both stand-up striking and grappling, and as a modern competition is limited for safety reasons, in turn limiting technique and other components of the martial arts. However, many of these skills and techniques are still practiced among many sanshou practitioners, such as Chin Na and ground fighting. Tai D. Ngo and Shou-Yu Liang (1997), YMAA Publication Center, ISBN 1886969493 Weapons training Most Chinese styles also make use of training the broad arsenal of Chinese Weapons for conditioning the body as well as coordination and Strategy drills Yang Jwing-Ming (1999) Ancient Chinese Weapons, Second Edition: The Martial Arts Guide , YMAA Publication, CenterISBN 978-1886969674 . Weapons training (qìxiè 器械) are generally carried out after the student is proficient in the basics, forms and applications training. The basic theory for weapons training is to consider the weapon as an extension of your body. The same requirements for footwork and body coordination is required Ju-Rong Wang & Wen-Ching Wu (2006),Sword Imperatives--Mastering the Kung Fu and Tai Chi Sword, The Way of the Dragon Publishing, ISBN-13: 978-1889659251 . The process of weapon training proceed with forms, forms with partners and then applications. Most systems have training methods for each of the Eighteen Arms Of Wushu (shíbābānbīngqì 十八般兵器) in addition to specialized instruments specific to the system. MARTIAL ARTS AND MORALITY Traditional Chinese schools of martial arts, such as the famed 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 Ming-dao Deng (1990), Scholar Warrior: An Introduction to the Tao in Everyday Life , HarperOne, ISBN - 978-0062502322 Adam Hsu (1998), The Sword Polisher's Record: The Way of Kung-Fu, Periplus Editions, ISBN - 978-0804831383 . Wude () (closely related to the Taoist concept of Wu Wei ), where both wisdom & emotions are in harmony with each other.
USE OF QI See Also: Qigong The concept of '' Qì '' or ''ch'i'' (氣/气), the inner energy or "life force" that is said to animate living beings, is encountered in almost all styles of Chinese martial art. Lam Kam Chuen (2003), Chi Kung - Way of Power, IL: Human Kinetics, ISBN 9780736044806 Internal styles are reputed to cultivate its use differently than external styles. One's qi can be improved and strengthened through the regular practice of various physical and mental exercises known as qigong. Though qigong is not a martial art itself, it is often incorporated in Chinese martial arts and, thus, practiced as an integral part to strengthen one's internal abilities. There are many ideas regarding controlling one's qi energy to such an extent that it can be used for healing oneself or others: the goal of medical qigong. 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 Dim Mak and have principles that are similar to Acupressure . Erle Montaigue and Wally Simpson (1997),The Encyclopedia of Dim-Mak: The Main Meridians, Paladin Press, ISBN 978-1581605372 Erle Montaigue and Wally Simpson (1997),The Encyclopedia of Dim-Mak: The Extra Meridians, Points, and More, Paladin Press, ISBN 978-0873649285 Some suggests that by practicising qigong to an advanced level it is possible to cause a physical reaction to an opponent without even touching the opponent. Paul Dong (2006), Empty Force: The Power of Chi for Self-Defense and Energy Healing, Blue Snake Books, ISBN 1583941347 This is a popular concept in Chinese martial arts movies but are rarely seen in the everyday world. NOTABLE PRACTITIONERS Main article: See also: Examples of well-known practitioners (武术名师) throughout history: was a famous Chinese Martial Artist , whom Jet Li portrayed in '' Fearless ''.]]
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. 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. Vijay Prashad (2002), Everybody Was Kung Fu Fighting: Afro-Asian Connections and the Myth of Cultural Purity Beacon Press; ISBN - 978-0807050118 M. T. Kato (2007) From Kung Fu to Hip Hop: Globalization, Revolution, and Popular Culture (Suny Series, Explorations in Postcolonial Studies), State University of New York Press, ISBN - 978-0791469927 Martial Arts plays a prominent role in the literature genre known as Wuxia (武侠小说). This type of fiction is based on a Chinese concepts of chivalry, a separate martial arts society (Wulin, 武林) and a central theme involving martial arts.Joshua S. Mostow, Hirk A. Denton, Bruce Fulton, Sharalyn Orbaugh (2003) "Chapter 87 - Martial-Arts Fiction and Jin Yong" in "The Columbia Companion to Modern East Asian Literature". Columbia University Press p.509 ISBN 0-231-11314-5. Wuxia stories can be traced as far back as 2nd and 3rd century BC, becoming popular by the Tang Dynasty and evolving into novel form by the Ming Dynasty . This genre is still extremely popular throughout East Asia and provides a major influence for the public perception of the martial arts. Martial arts influences can also be found in 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. In modern times, Chinese martial arts have spawned the genre of cinema known as the ). A U.S. network TV Western Series of the early 1970s called '' 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 of Chinese martial arts. Herbie J. Pilato (1993) , The Kung Fu Book of Caine: The Complete Guide to Tv's First Mystical Eastern Western, ISBN - 978-0804818261 David Carradine (1993), Spirit of Shaolin, ISBN - 978-0804818285 The use of Chinese martial arts techniques can now be found in most TV action series, although the philosophy of Chinese martial arts are seldom portrayed in depth. REFERENCES SEE ALSO
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