Intermediate Hand Forms

Fu Hok Seung Ying Kuen (Tiger and Crane Form)

Photo 1: GM Lam Chun Chung executing Lohan Sai See from Fu Hok Seung Ying 

Photo 2: GM Lam Chun Chung and Lam Chung Sing demonstrating an application and defence against Lohan Sai See  

Fu Hok Seung Ying Kuen was created by Hung Hei Gwoon, having combined the Shaolin Tiger techniques with crane techniques of his wife. Wong Fei Hung is said to have re-choreographed the tiger and crane form by adding the Kiu Sau techniques learned from Tit Kiu Sarm and other key skills from each of the great martial arts families of the day. The form is practised in Lam Family Hung Gar as an intermediate form and is one of the four pillar forms of Hung Gar.

The key concepts which are practiced in the form include:

(a)                Kiu Sao/Chuen Kiu Section

(i)                 Single/Double Kiu Sao whilst executing the Sei Ping Ma (Horse Riding Stance) and Ji Ng Ma (Front Stance) consecutively;

(ii)               Chuen Kiu – this technique allows the practitioner to block continuous straight attacks by use of the Kiu Sao;

(iii)             Straight punching and kicking;

(iv)             Tung Tin Choi – Upper Cut – This technique may be applied to the head or body of opponent;

(b)               Tiger Section

(i)                 Seung Fu Jau - Double Tiger Claw – This technique is used for grappling the attack arm of the opponent and striking the opponent upper body or face at the same time.  Contrary to popular belief, the tiger claw is not used for clawing the face or body of the opponent.  Rather the attacking tiger claw is used as a palm strike with focus being given to the bottom part of the palm.

(ii)               Darn Fu Jau - Single Tiger Claw – This technique is used for deflecting an opponent's attack and attacking the opponent's face or body with a palm strike.

(c)                Crane Section

(i)                 Double Crane Beaks – These techniques are used to attack pressures points of the body including the throat, eyes and temples.  Two crane beak techniques are executed consecutively.  One beak act as a defence technique to deflect an opponent's attack whilst the other beak attacks the opponent.

(d)               Lohan Section

(i)                 Lohan Sai See – Double Punch – Arguably the most famous technique in Hung Gar, this technique is a double punch to the face and the body at the same time. Usually, this technique is used after executing Tui Ma in order to counter attack against a front kick or a lower level reverse punch.

(ii)               Jui Jow Bart Sin – Drunken Immortal Punch – This punch is used for attack an opponent from a crouched position.  Usually because the Hung Gar practitioner has had to duck from a technique executed by an opponent.

With diligent practice, this form builds upon the foundation built up in Gung Gee and adds additional vocabulary to a Hung Gar Practitioner's repetitior. The set contains hard and soft techniques, as well as long and short ranged techniques. Many of the techniques practiced in Fu Hok Seung Ying Kuen are directly applicable to self defence situations.  It is said that this form is often used by instructors to gauge a student's level of skill in Hung Gar. 

Ng Ying Kuen/Sup Ying Kuen (Five Animals/Five Elements Form)

Photo 2: GM Lam Cho performing snake section of Sup Ying Kuen

Ng Ying Kuen is created by Wong Fei Hung.  The form progress from the foundation built in Gung Gee and Fu Hok and lays the foundation for a student to study and practice Tit Sin Kuen. 

In Ng Ying Kuen, the Lam Family practitioners practices the animal forms in the following order: dragon, snake, leopard, tiger and crane. In Sup Ying Kuen, the student practices the animals forms in the following order: dragon, snake, tiger, leopard and crane.  In opinion of the writer, the animals forms have been so named because the hand movements and footwork of the forms resemble the movements of relevant animals.

The Sup Ying Kuen comprises of the Ng Ying Kuen plus the Ng Hung Kuen (Five Elements Form) which was added to the form by Lam Sai Wing.  In Ng Hung section of Sup Ying Kueng, the student practices the gold, wood, water, fire, earth forms.  In the opinion of the writer, the elements forms have been so named because the names of the relevant techniques contain a character from one of the elements.

The form is practised in Lam Family Hung Gar as an intermediate/advanced form and is one of the four pillar forms of Hung Gar.

Examples of techniques practiced for each of the animals and elements in the Sup Ying Kuen are as follows (the application of the techniques will be varied to suit the individual practitioner):

(a)                Dragon – Contrary to popular belief that the dragon section covers internal training and essentially the first section of the Tit Sien Kuen, the dragon section of Five Animals only covers one movement.  The movement is used to simultaneously block an attack to the head or chest and counterattack with a low attack. Also, the technique has also been interpreted for locking and dislocating the elbow joint.

(b)               Snake – The snake is representative of direct, fast and continuous strikes by use of the Biu Tsi (or thrusting fingers).  The movements are used for both blocking straight attacks and attacking weak points of an opponent such as the eyes.

(c)                Tiger – This is a repeat of the 10 tiger claws which includes double and single tiger claws which was already practised in Fu Hok.  See the Fu Hok section above for an explanation concerning these techniques.

(d)               Leopard – the leopard emphasises quick but power attacks.  This section emphasises the use of the Gwa Chui, Sau Chui and Charp Chui combination and which may be used in quick succession to attack an opponent.  This section also emphasises the Mor Kuen combination which is used for chain punching the side of an opponent's head. 

(e)                Crane – this section is a repeat of the crane section of Fu Hok.  See the Fu Hok section above for an explanation concerning these techniques

(f)                Gold – The element emphasises hard power generated and focused in the forearms.  An example of the gold techniques is a Fun Gum Choi.  This technique is used for attacking an opponent's rib cage (or Hei Moon – air gate) to wind an opponent.

(g)                Wood – This element emphasises simultaneous attack and defence short range techniques.  An example is the short range double punches to the body which are immediately after the gold section of the form.

(h)               Water – An example of this technique is the Sui Long Pow Choi which emphasises dislocation of the elbow joint at the time of interception of an attack.  The Sui Long Pow Choi is said to be the favourite technique of Lam Sai Wing.

(i)                 Fire – This element emphasises continuous straight attacks.  The most obvious example of this element is the Foi Jin Choi (Arrow Fists).  In the form, it is practised in combination and in quick succession.

(j)                 Earth – This element emphasises attacks to the lower part of the body including but not limited to the groin.  One example of this technique is the Tou Pow Choy which attacks the opponent's groin.

This form is said to be a dictionary of all of the most characteristic Hung Gar techniques. With diligent practice, this form builds upon the foundation built up in Gung Gee and Fu Hok and adds additional vocabulary to a Hung Gar Practitioner's repetitiore.  The techniques practiced in this form are directly applicable to self defence and combat situations.