A Brief History of Tibetan Lama Pai Gung-Fu

Introduction

Since martial artists were seldom the intellectual elite in China and many regional and government records are either lost or unavailable, the only record of any system’s origin is the oral legend told from Sifu to student over the years. Unfortunately, there are generally several versions of each legend and accounts vary from individual to individual.

When attempting to document the history of Tibetan martial arts (i.e. those who developed-from the system known as Lion’s Roar) there are even more problems. First and foremost is the Chinese disregard for anything not Chinese. Despite the fact that the tradition existed for ten generations in Tibet prior to Sing Luhng’s arrival in-Guangdong province, almost nothing is said about the style of Lion’s Roar prior to this date (1865). It must also be remembered that the Chinese often regard the three systems we know today as Maht Jong Lama Pai (Esoteric Principle Lama Style), Haap Ga Kyuhn (Knight Family Style) and Baahk Hok Pai (White Crane Style) as a foreign tradition and remember when they were the official methods of the foreign imperial court (the Manchurians).

Another problem we faced when writing this book was the general uncooperativeness of the Chinese teachers involved in the styles in question. All three of the current systems are very close in composition and appearance and no one wanted to define each style or even discuss the breaks in Lion’s Roar that caused the three styles in the first place. Lineages were next to impossible to verify because teachers either wouldn’t give them, gave false ones intentionally or simply disagreed (with no apparent reason) with other teacher’s versions. I personally became to believe these problems are rooted in the recent involvement of certain associations and societies with the Tibetan tradition.

Perhaps all these problems are the very reason why Tibetan Lama Pai has remained so mysterious to even the Chinese. Despite the fact the name Lama Pai is well known and respected, very few people know anything concrete about it. Lama Pai is perhaps unique because there is little, if any, correct, detailed information concerning the system, even in Chinese! While many styles are unknown to westerners one can generally find books written in Chinese concerning them. To the authors’ knowledge only two books about Lama Pai have ever been written in Chinese and even they fall far short of explaining the style.

Because Tibetan Lama Pai is so rare and has been so closely guarded by those who practice it there have been many misunderstandings and abuses. Following a meeting of Sifu Chan Tai-Shan’s senior students it was decided that this book would be written.

What is Lama Pai?

Lama Pai is a distinct system unto itself and is most definitely not simply another name for either White Crane or Haap Ga. In fact, Lama Pai is a much older, much more complete system and the mother style of these other styles. Sifu Chan Tai-Shan, the official representative of Lama Pai in the U.S., is 4th generation Chinese Lama Pai but can trace the system back 13 generations to Tibet, its place of origin. This book will only concern itself with Tibetan Lama Pai.

Tibetan or Chinese Martial Art?

There has been a debate among martial art historians for some time as to whether or not Lion’s Roar was in fact a “Tibetan” martial art. This argument is based primarily on two logical observations. First and foremost is the fact that the martial traditions that exist in Tibet today are, for the most part, very un-Chinese in appearance. Some of the long swinging motions are present but in general Tibetan martial arts are much closer to Indian traditions. While some of this apparent disparity is due to Chinese influences on Lion’s Roar in the last hundred years, it is indeed a valid point.

The second consideration, directly related to the first, is the fact that Lion’s Roar in many ways resembles systems that are associated with Sichuan and northern China. The long range swinging motions (those utilizing large circles, not those small circle techniques which are very much a specialization of the “Tibetan” tradition) of Lion’s Roar can be found in systems such as Pek Gwa Myuhn, White Ape, Choi Lei Faht and even Nhg Moi Pai (Wu Mei Pai). Many of Lion’s Roar’s kicking techniques also resemble northern systems.

This debate can be put to rest quite quickly if one examines more closely the history of Lion’s Roar. Ho Da-Do, the founder of Lion’s Roar, is described as both ethnically Chinese (i.e. Han) and as living in what is now the province of Qinghai, situated in north western China, next to modern day Tibet. There is also some reason to believe Sing Luhng Lo Jeung, the Buddhist monk who brought Lion’s Roar to Guangdong, was raised and trained in Qinghai (according to Haap Ga Sifu Chin Dai-Wei). To understand the significance of this one has to know a little about the history of the region.

Qinghai has only recently been considered “Chinese”. For much of its history it was under the control of Tibet and has for generations been inhabited, in addition to ethnic Chinese, by Tibetans, Mongolians and Manchurians. It is therefore quite possible to understand how a system could develop in Qinghai that combined a wide variety of influences.

Another important point is the fact that many teachers of Lion’s Roar inspired derivatives (Lama Pai, Haap Ga, and Baahk Hok Pai) do not in fact refer to their arts as being “Xi Zang” (Tibetan) but rather as belonging to the Maht Jong Pai or Esoteric Principle Sect. This is an important distinction. Maht Jong Pai is clearly Tibetan in origin but was transplanted and adopted by the Chinese just as other schools of Buddhism were. The connection to Tibet is perhaps more throughout religion than technical composition. In fact, Chan Tai-Shan refers to Lama Pai as “Chinese Lama Pai” when speaking of its national origin but practices Maht Jong Buddhism.

The Origin of Lama Pai

While we know very little about the history of Lama Pai while it was in Tibet and Qinghai, the legend about the creation of the system has remained intact. According to this legend, Lion’s Roar was created by a martial artist and Buddhist “Lama” (a practitioner of the highest spiritual forms of Tibetan Buddhism) named Ho Da-Do (please note: this person is not Bodhidarma).

Ho Da-Do was born in 1426 and was a member of a nomadic tribe that traveled throughout Tibet and Qinghai. He was an active young man who practiced horsemanship, wrestling and a special type of Kahm-Na (seizing and controlling skill). After being ordained as a monk in Tibet he also learned a martial art that was apparently Indian in origin.

For several years Ho Da-Do retreated to the mountains to live in seclusion, studying Buddhist texts and meditation. He also hoped to improve his martial art skill.

One day Ho Da-Do’s meditation was disturbed by a loud sound. Ho Da-Do left the cave he had been meditating in to investigate and found an ape trying to capture a crane. He was astonished. Despite the ape’s great size and strength, the crane eluded the great swings and pecked at soft, vital points. Ho Da-Do decided to create a system that would mimic this deft evasion and vital point striking. He later also incorporated the ape’s powerful swings.

Based on a line found in the sutra known as “The Lantern Passing Record”, this new system was named Lion’s Roar. Lion’s Roar was considered the Tibetan Lamas’ special gift, directly from Buddha, and was taught only within the monasteries.

Lama Pai’s Northern Chinese Influence

During the closing years of the Ming Dynasty, Lion’s Roar was practiced by nomadic Chinese, Mongolians and Manchurians and spread to parts of northern China. It was during this period that Lion’s Roar was exposed to and incorporated northern style techniques.

For example, modern Lama Pai contains a series of sets known collectively as “The Black Dragon Family” that are extremely northern in appearance. These sets seem to have originated in the Black Dragon river region in northern China. Modern Lama Pai also extensively incorporates techniques from both Ba Gua and Taiji.

The Qing Dynasty (1644-1911) and the Arrival of Sing Luhng

The Manchurians were followers of Tibetan Buddhism and so, upon invading China, brought Tibetan monks along with them. Many of these monks were sent to various Chan (Zen) monasteries, particularly in southern provinces, to act as spies and uncover rebel conspiracies. One of these monks, Sing Luhng Lo Jung (lit. Sage Dragon Venerable Monk), was sent to a small monastery in Guangdong province known as the Green Cloud Monastery (it is also sometimes referred to as the Joyous or Blessed Cloud monastery).

Sing Luhng was more interested in martial arts and Buddhist studies than politics and quickly made friends with the Chinese monks. In exchange for them teaching him their Shaolin based arts (Five Animal System, Hung Ga, and others) Sing Luhng taught a select few the Lion’s Roar system. It is here that the system’s name changes. The Chinese monks began to refer to the art they were learning as “Lama Pai” which simply meant the art practiced by Lamas (i.e. Tibetan monks). Sing Luhng also took laymen as students. Among these laymen students were Chu Chi-Yiu and the brothers Wong Yan-Lam and Wong Lam-Hoi.

Wong Yan-Lam and Wong Lam-Hoi

Of the two brothers, Wong Yan-Lam was perhaps the more famous. Known by the nickname “Haap” (roughly equivalent to Knight or Hero), Wong Yan-Lam was ranked number one among the famous Ten Tigers of Guangdong. During the Ten Tigers period he was also responsible for teaching Wong Fei-Hung (of Hung Ga fame) many of the long arm techniques found in the Tiger and Crane Set. In exchange, Wong Yan-Lam learned Wong Fei-Hung’s five animal techniques and created the Lama Pai Five Animal Hand Set.

Wong Lam-Hoi is ironically known more for his students than his own accomplishments. Of principle interest is his student, Nhg Siu-Chung, who founded the Baahk Hok Pai, which stresses the white crane section of the traditional Lama Pai curriculum. Wong Lam-Hoi was however also a member of the Ten Tigers and was well respected for his abilities.

Because both Wong Yan-Lam and Wong Lam-Hoi were brothers, for a period of time they taught together and co-operated a school in the small village at the base of the mountain the Green Cloud Monastery sat on. Despite the fact this was short lived (Wong Yan-Lam went north and worked as an armed escort for many years), they did manage to train a number of outstanding students. In particular there was one student who learned from both men and achieved quite a reputation. That man’s name was Jyu Chyuhn.

Jyu Chyuhn: Buddhist Monk and an Accomplished Martial Artist

Jyu Chyuhn began his training in martial arts at an early age and studied a wide variety of styles including Hung Ga, Ngok-Fei Pai, Choi Lei Faht and Southern Eagle Claw. He was also a master of the “Biu Gung” or iron finger technique. It is said that Jyu Chyuhn was surrounded one day by twelve men and dispatched them all with only his right index finger.

Jyu Chyuhn learned Lama Pai from both Wong Yan-Lam and Wong Lam-Hoi. He was one of their most accomplished students and given permission by both to pass on the complete system. He was however not truly interested in teaching and retired to become a Buddhist monk in the Green Cloud Monastery.

Other Well Known Third Generation Students

After a number of years of study and teaching under the direction of Sing Luhng Lo Jung, Wong Yan-Lam left Guangdong and worked as an armed escort in Shan Xi province during this period Wong Yan-Lam met and exchanged techniques with a great number of martial artists, including Qing palace guards. It was only in his old age that Wong Yan-Lam returned to Guangdong and decided to open a school that would teach “outsiders” (people other than the Green Monastery monks and lay men). It was during this period of his life that he became involved in the Ten Tigers of Guangdong and taught a number of students including Wong Hon-Wing, Choi Yit-Keung and Nhg Yim-Ming. Jyu Chyuhn also trained with Wong Yan-Lam during these years and expanded his knowledge of the Lama Pai system.

Wong Hon-Wing was for a very long time considered Wong Yan-Lam’s number one student and was his official representative. It was Wong Hon-Wing who changed the name of what he taught from Lama Pai to Haap Ga Kyuhn (lit. Knight’s Family Style). He based this name change on Wong Yan-Lam’s title of “Haap”, bestowed upon him for his numerous heroic deeds. As time passed Haap Ga Kyuhn was used to describe Wong Hon-Wing’s own vision of Lama Pai, a system that only stressed five hand forms and was considered easier for the general public to learn.

There are numerous stories concerning the reasons for this shift and Wong Hon-Wing’s subsequent loss of position. The authors have decided not to concern themselves with this issue since politics tends to distort the truth. What is important to realize is that for whatever reason other students were accepted by Wong Yan-Lam and taught the advanced skills. Nhg Yim-Ming, who for reasons unknown to the author, taught traditional Lama Pai under the name Haap Ga (that is to say he taught all the forms) and spread the art by teaching Lama Pai to the Air Force of the People’s Republic of China. However, in 1950 Nhg Yim-Ming visited his family in San Francisco and decided to stay. There he taught a number of students including Chin Dai-Wei.

At the age of eleven years Choi Yit-Keung was introduced to Wong Yan-Lam and accepted as his last official student. Choi Yit-Keung devoted himself to his teacher and the Lama Pai style and learned the entire system in approximately eight years. Choi Yit-Keung would be one of the few men to carry on the pure Lama Pai tradition and would teach a number of respected students in Hong Kong.

Sifu Chan Tai-Shan

Chan Tai-Shan was born into a wealthy and influential family in the Toi Saan district of Guangdong province in 1911. His grandfather had been good friends with the Abbot of the Green Cloud monastery and had contributed a large sum of money to pay for the monastery’s restoration. Because of this, Chan Tai-Shan was adopted by the monk when his father died. Chan Tai-Shan was about twelve at the time. At first Chan Tai-Shan did not learn Lama Pai. Instead he learned basic gung-fu skills and Hung Kyuhn, Choi Lei Faht and general monastic practices. He practiced everyday, three times a day for close to seven years before he even heard about Lama Pai.

Sifu Chan relates that he had a terrible temper and had gotten into fights with local gangsters. Despite repeated warnings from the monks, Sifu Chan engaged in many duels, including several with western boxers, and was always victorious. For this reason the monks suspended his training and refused to allow him to study their most valued system Lama Pai.

One day, out of frustration, Chan Tai-Shan decided to challenge his teacher, the very same monk who taught Lama Pai. The monk easily defeated Chan Tai-Shan but saw a spark of hope in the young student. After Chan Tai-Shan swore change his ways he was finally accepted by the monk. That monk was Jyu Chyuhn.

After seven years of intense study, Chan Tai-Shan completed the Lama Pai system under Jyu Chyuhn’s direction. Chan Tai-Shan would then go on to study many systems under some of China’s most famous Sifus including the “White Haired Devil” Baahk Mo Jyu (Hung Faht Pai), Cheung Lai-Chung (White Eyebrow), the Buddhist Nun Mok Jing-Kui (founder of Mok Ga), Chan Sai-Mo (Choi Lei Faht) and Ma Yi-Po (Lama Pai). Chan Tai-Shan is currently considered one of China’s living treasures and appeared in a movie dedicated to China’s most outstanding Sifu. He is the former coach of the Guangdong martial arts team (1982-83) and toured with the Guangdong team for several years, demonstrating Qi-Gong.

Lama Pai in Modern Times

Today, there are very few men qualified to teach the Tibetan Lama Pai system. This is because Lama Pai has for the most part remained in the Green Cloud monastery and in a select few organizations with restricted membership. It is also because those who are qualified seldom seek recognition or fear commercializing their art. There are however at least a few teachers willing to share their knowledge with the world.

In modern times Lama Pai has been passed down through two distinct lineages. The first begins with the well-known instructor and fighter Choi Yit-Gung. In the later years of his life, Choi Yit-Gung moved to Hong Kong and taught quite a number of individuals who helped popularize the Lama style. Among these Hong Kong disciples were Chan Kuen-Nhg, Gung Yi-Ki, and Lo Wai-Keung. Today, a number of students of Gung Yi-Ki teach in the Tibetan Lama Pai Association of Vancouver, Canada and Lo Wai-Keung operates a large school in Hong Kong. Lo Wai-Keung has also written the only two books on Tibetan Lama Pai (one has been translated into English) prior to this work.

As mentioned previously, there was also a small group of Lama Pai students under Chin Dai-Wei but the author is not sure if they are still teaching.

The second lineage includes all of Jyu Chyuhn’s students. At present, Lei Wei-Shan, Jyu Chyuhn’s senior student and the leader of the Tibetan Lama Pai style, teaches the style to several hundred students in Toi Shan County in Guangdong, China. In the United States there are currently two men who studied under Jyu Chyuhn, Chan Tai-Shan in New York City and Chiu Wan-Shan in Chicago. Because Chan Tai-Shan is Jyu Chyuhn’s number two student, he acts as the official representative of the Lama Pai style in the United States.

Thanks to the efforts of Chan Tai-Shan, there are also a number of his students teaching the style in North America.  Master Gus Kaparos ran the first official Chan Tai San Kung Fu academy in the U.S. and is still running that school in the New York Long Island area.

The Technical Composition of Lama Pai
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