History
(Nam Ng Ga Kuen Gong Fu Moon Pai)
founder's name, and in this case, stands for Gung Fu families. Most people familiar with the Five Family Fist System as it exists today,
know that it covers the five family arts of Choy, Li, Fut, Mok, and Hung and the classic Southern Sil Lum Five Animals of Tiger, Dragon,
Crane, Leopard, and Snake. This is true, but many people do not understand how in-depth and involved the system actually is. Nor do they
recognize the rich history associated with its creation.
During the Yuan Dynasty (1280-1368), a great change occurred in Shaolin Gung Fu. A great General, well trained in combat arts, Gwok
Yuen (Abbott Zhao Yuan), sought refuge at the Shaolin Temple in Honan. In a short time, Gwok Yuen had mastered the arts of Shaolin and
became Abbott of the Honan Temple. However, he felt that improvements could be made and innovated the changes that would impact the
Shaolin system and its branch styles for generations. He took the existing Sup Baht Lo Han Kuen (Eighteen Buddhist Disciples Fist), which
according to legend had been devised by Da Mo (the founder of Shaolin kung fu), and expanded it to 72 movements to create a more
comprehensive fighting form. Not completely satisfied, Gwok Yuen left the confines of the Shaolin temple to search for other
knowledgeable martial artists to help him restore the Shaolin system to its former glory. In his quest, he found two other accomplished
masters, Bai Yu Feng and Li Sau.
Gwok Yuen, Bai Yu Feng and Li Sau went into seclusion to work on improving and rebirthing the Shaolin system. Their combined efforts
produced a most commendable outcome; the creation of the Ng Ying (Five Animals). These teachings were transmitted through several
generations of Shaolin monks. In 1644, a retired Ming General, Tzu Gwo Tzo (Tzu Yuan/Chu Te Chou), whose Buddhist name was Tung
Chan Sim Si, inherited and mastered the teachings. Abbott Tung Chan had 36 disciples, which included the well known Five Elders of
Shaolin (Fong Dao De, Wu Mei Sze Tai, Miow Shen, Tze Shein/Gi Sin Sim Si, and Pak Mei Dao Ren). The most influential individual in
dispersing the Five Animal System at the Southern Sil Lum Temple in Fukien Province during the 15th century was Tze Shein (Gi Sin Sim
Si). The concepts of the Ng Hong (Five Elements) were later developed and incorporated with the concepts of the Ng Ying (Five Animals).
The combination of the two fighting concepts (Ng Ying and Ng Hong) became known as Sup Ying Kuen (Ten Shadows Fist) which is the
basis for the five family styles of Southern Sil Lum Gung Fu: Hung, Lau, Choy, Lay and Mok. As the generations passed, these concepts
became fighting forms; and, while portions of Ng Ying and Ng Hong can be seen in many of today’s Southern Gung Fu styles such as Choy
Lay Fut, Ving Tsun and Jow Gar, only one style contains all ten fighting techniques, the Hung Gar Kuen of Hung Hei Goon.
The Five Family-Five Animal System originated in the Southern Sil Lum Temple and was created by five Sil Lum descendants. Each of
whom contributed their elite techniques to form a new system which had better transition & strength, and compensated for the weaknesses
in their own styles. The new system concentrated on speed, accuracy, and power. The 5 - Animals (Tiger, Crane, Leopard, Snake &
Dragon) fighting actions were added to strengthen and expand the combative concept. The Dragon techniques however, were used to
enlighten spiritual thinking.
The most popular story claims that when escaping revolutionaries transplanted these arts to Southern China, they adopted many of the
distinguishing characteristics of the existing native styles (i.e. rapid close quarter hand strikes and low powerful kicking techniques aimed
below the belt). The focus of Southern styles was learning through suffering and building up a strong foundation in the Say Ping Ma (Horse
stance). Many Southern styles seem to share these major guidelines. You will never see a southern style which does not work on stances
and powerful hand techniques. Most of the southern styles are family styles which represent close communication and traditional values.
The combination of Northern and Southern elements make these kung fu systems particularly versatile and effective self-defense systems.
The population and geography of Southern China played an important role in the development of the five major family styles of Southern
China. The five famous Southern Shaolin Families of Gung Fu were:
Hung Gar (founded by Hung Hei Gung/Khoon), Lau Gar (founded by Lau Sam Ngan), Choy Gar (founded by Choy Gau Yee/Choy Pak
Tat), Lei Gar (founded by Lei Gum Lun/Li Yau San) and Mok Gar (founded by Mok Ching Giu); Over time, Lau was replaced by Fut to
pay tribute to the systems Buddhist roots.
The five family systems were created strictly as fighting arts, used to battle the Qing Dynasty rulers. Unlike Northern systems, which were
much older and had evolved during peaceful times when students could study for many years before reaching higher levels; the masters of
the Southern systems had to hurry their training and quickly teach their students how to fight. As a result, hard power was taught first,
followed by internal training (if taught at all). Stances were wider and lower, and Southern footwork was less active than Northern, relying
more on the practitioner's strength for defense.
There is another less common and therefore less popular story of the creation of the Five Family styles. The claim is that Hung Ying (Ma
Hsing) whose Buddhist name was Gi Sin Sim Si was the top ranking monk of the Shaolin Temple in Honan (where he learned Gung Fu from
Tung Chan Sim Si). When the Honan Temple was destroyed by Qing troops, Gee Sin escaped to the South Sil Lum Temple (Kwong How
Temple) in Guangdong. Here he incorporated some of the short – midrange Southern elements into his Gung Fu, he then took on his ten
famous disciples to whom he taught various “old” Northern styles mixed with the “new” Southern elements. Among these disciples, were
Hung Hei Gung, Liu San Yan (Lau Soan Ngan), Choy Gau Yee/Choy Chin Kwong, Li Yau Shan (Lee Yao San), Mok Ching Gui (Mok Tai
Cheung, Mok Da Si) and Liu Chan. To each, Gi Sin Sim Shee taught a portion of the old style that was best suited to and could be learned
fastest by each student. As Liu Chan was a religious monk, his vows prevented him from fighting. The other five however, went on to fight
in the revolution. During this time, to hide their Shaolin connection, they named their fighting style after themselves. This accounts for the 5
famous Southern Families Choy, Li, Mok, Hung, and Lau; Fut was carried on by Gi Sin’s top student Ng Ging who later changed his name
to Ching Cho Wor Seung (Green Grass Monk).
Either way, except for Hung-gar, the Southern family styles individually are rarely seen today in their original forms.
NOTE: The following terms are used to differentiate key individuals associated with particular styles; based upon historical (but not
necessarily accurate) documentation.
• CREATOR: The first well documented or generally accepted individual, credited with organizing/establishing the basic elements of a
particular style.
• FOUNDER: The first well documented or generally accepted individual, credited with the naming/development/dissemination of a
particular style.
• GAR: The word Gar, means family or clan, and in this case is used to signify Gung Fu families. Depending on the dialect being used,
the following words may be used in place of Gar: Ga, Ka, Jia, Chia, Jie, Gu, and Ku.
GRANDMASTER WONG ARK YUEY’S
SOUTHERN FIVE FAMILIES FIST GUNG FU
amazing light on your outlook. In Gung Fu, the discovery of the foundation of ones discipline provides a base for comparison and contrast.
Our Five Family System should be no exception. Although the system is a mixture, utilizing only portions or specific elements of each style, it
should be nonetheless important in our journey of discovery. Why waste your time, one might ask. Why not invest your time, should be the
answer; the only thing that could result from such research, is something positive.
One can gain more insight into forms development, execution of techniques, the process of training, etc. Many of these things are sometimes
lost when styles are combined. Also, it is simply through the progression of time that some meaningful teachings may be lost, forgotten,
overlooked, or not fully transmitted (due to unforeseen circumstances) to the next generation. Still, other times, teachings are adapted to suit
changing times, to accommodate individuals, to adjust to a different environment, etc. For example, when one observes practitioners of various
branches (Canton Hung Gar, Hung Moon, Wubei Hung Gar, Szechuan Hung Gar, Ha Say Fu (4 lower Tigers), etc) and subsystems (Hung Fut,
Hung Mok, Hung Choy, etc.) of Hung Gar, one will observe a variety of differences within the similarities or vice-versa (i.e. all place great
emphasis on Ma Bu yet the proper height/width of the stance varies). Which one is right? Which one is wrong? Should not be the question;
they are all correct for their particular needs. However, from this observation a practitioner could gain insight into the training method and
functionality of the various heights and widths of Hung Gar’s Ma Bu. This type of study provides the practitioner, a glimpse of history,
development, and evolution; also, a foundation upon which they can develop adaptations for themselves, their students and their art.
Though none of our basic forms can be attributed exclusively to any one style, we can compare and trace individual movements. In Blackbird
for instance, we see a great amount of palming, slapping and slicing techniques (most likely derived from Fut Gar) and a few kicks and shifty
footwork (possibly borrowed from Mok Gar). In other instances, a connection beyond just single movements may be apparent; Saluting Act
(form) for example, when performed with tension is reminiscent of Hung Gars’ Iron Thread exercise. Are these observations accurate? Maybe
– Maybe Not; it’s up to each practitioner to discover and decide for themselves.
As an old proverb states, “Even the journey of a thousand miles began with a single step; Even the tallest building began with a single brick.”
So take your step; take your brick; and BEGIN.
Although entire books could and have been written on each Family Style individually; this condensed overview of each of our 5 Families
System contributors, though brief, should provide an adequate base for beginning study.
*NOTE: Lau Gar is not generally considered one of the foundation styles of Southern Five Families System but is included in the Five
Ancestors Fist System; and the Great Five Family System; and unquestionably contributed to the development of Southern Sil Lum Gung Fu,
in general. Therefore, Lau Gar is included here also, for the purpose of historical examination.
