| The Luo Han Monks - Martial Arts precursors?
A brief look at the introduction of Buddhism into the Chinese culture and the resultant Taoist Traditions is necessary to get the big picture. According to some historical accounts, Buddhism was introduced to China circa 200 B.C. Popular lore talks about an Indian Buddhist Monk, Bodhidharma, who spent considerable time at Shaolin. Apparently, he taught a series of exercises, “The Muscle-Tendon Change” and “The Bone-Marrow Washing”, which eventually evolved into to what we know today as martial arts. Many believe that he actually introduced what is commonly referred to as the “18
Luo Han”. Luo Han is derived from an ancient Buddhist Sanskrit term, “Arahant” which was earlier derived from “Arihan” (those who subdue or attain victory over foes).
The “18 Luo Han” according to Chinese sources originated from the “Lion Play School” of Ksatreya Vajramutki in its “forms” (Sanskrit: Nata) (Jap: Kata/Kor: Hyung) and “applications” (Sanskrit: Pratima) (Jap: Bunkai) (Kor: Ung Yong Sool). Apparently, Bodhidharma was sent as a missionary to succeed his contemporary, Bodhiruci, by his Sarvastivada-trained teacher, Prajinatara. The “18
Luo Han” is known in India as the “18 Subduings” (Sanskrit: Astadasajacan) or “18 Victors” (Sanskrit: Astadasavijaya). The “18 Subduings” were the most important of the Indian Ksatreya Vajramutki forms which seemed to reflect the doctrine of the “18 Paramitas” (Spiritually Perfecting Practices) and the “18 Voidnesses of Wisdom”. They were developed within the context of Chinese Buddhism by the Yogacara School of Vasubandhu. Although there were similar groupings of “18 Spiritual Realities” in many earlier Traditions. These exercises were a part of various Indian medical traditions which can be traced back to the Indian Brahmin Traditions and possibly to the birth of the Indian civilization as depicted in the Bhagavad Gita (Song of The One Who is Most Dear). There was numerous mention of martial and healing arts and spiritual practices which formed the cornerstone of the basic structure of this culture.
The “18 Subduings” essentially consist of 18 classical sets of mudra (ritual symbolic gestures or Hand Moves of the Arahants) each of which were combined with respiratory patterns, steps, muscle tension and relaxation, and specific meditation themes. The “18 Suduings” were said to contain three levels of understanding and meaning (Sanskrit: Trisatyabhumi), each relating to the mind, body and speech analysis. Once transplanted in the Chinese Buddhist traditions the three levels became known as “San Chin or San Chan” (Three Battles or Three Graspings). The “Three Battles or Three Graspings” indicated the battle of mind, body and speech undertaken by the trainee esoteric monks. The predominant way of placing the body to represent the “Three Battles” is now known as the “San Chin Posture or ritual gesture”. This posture is also known as “San Ti” by Ba Gua Zhang (Eight Trigram Boxing) and Xing Yi Chuan (Mind-Form Boxing) practitioners. San Chin is distinct from many other forms of body posture used for defensive purposes. When wearing the monk’s robe, it is the only posture in which the position of the legs is completely invisible to an observer. It is the only posture taken from the outer shape of the Vajra (Thunderbolt) and physically embodies the triangulation of physical and mental harmony and balance. When in this posture, the body is segmented into five elemental levels, each being composed of three equal degrees of torsion. Symbolically, these form three complete “jewel” shapes representing the Buddha (One Who is Awake), Dharma (The “Law” or totality of the principles realized by Buddhas and taught to mankind), and Sangha (“Congregation” or group of followers). The balancing of the tripartite torsion, both in the outer muscles and the inner organs maintains a composite pattern of physical power maintained by the body. Although totally stilled, the posture is capable of initiating instant response to external conditions. It is only posture from which a monk can immediately sit or stand from the cross-legged meditation position. Many contemporary Chinese and Korean temples contain Arahant Halls where lifelike statues of the original 18 Arahants stands each representing one the original ritual gestures. They may be hundreds of years old and represent many different races and cultures. Supposedly, these 18 Ritual Gestures forms the cornerstone of the Chinese martial disciplines and their derivatives. The modern Shaolin Tradition claims that their “Luo Han Shi Ba Shou (Luo Han 18 Hands)” is the first Hsing (form) of the Shaolin tradition. There is also the Korean “Ship Pal Gi (18 Weapons or 18 Hands) probably taken from the original Chinese name for the “Subduings”, Shi Pa
Luo Han Shou. In my opinion, neither of these versions bears any resemblance in practice or representation to the original 18 Ritual Gestures depicted by the 18 Arahants. The 18 Subduings was taught as a Nata (an ancient Buddhist term describing the earliest form of the art of ritual movement practiced for spiritual purposes, and used by Vajramutiki practitioners in India). The ritual movement made up of Mudras (a ritual gesture or pose assumed by a part or all of the body in order to invite, evoke, express, sanctify, or convey a principle or power of the forces involved in Enlightenment. Mudra may be performed singly or in sequences). This was the early beginnings of what we now know as Hsing (Chinese), Kata (Japanese), and Hyung (Korean). Mudras, Nata, and Pratimas forms the corner stone and building blocks for what we now know today as Martial Arts (Mu Sool). These are in fact sequences of preset, patterned movements originally drawn from ancient Indian (Hindu) warrior skills involving particular attitudes and orientation of mind, breath and body based on Buddhist principles. It is used as a means of neutralizing attacks without harm to those involved, and as a “self-unraveling” moving meditation capable of being explicated at many different levels of understanding.
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