Theories & Principles

Concepts
Clear concepts are a requisite of ving tsun's scientific methods. Concepts are mental images constructed from either generalizations or specific details. From ving tsun's conceptual foundation, facts were established through observation. Parallels were then drawn after the classification and scrutinization of these facts. When these parallels were assumed to be true (i.e., possessing within their structure the ability to overcome a stronger opponent in the confines of close quarters), they became principles. Following are six concepts that form the backbone of ving tsun's scientific methods.

Distance
The understanding and ability to control distance is a crucial element in the implementation of ving tsun techniques. Since they are considered to be most effective at close range, ving tsun practitioners spend years developing the ability to interpret the proper distance necessary to defeat an opponent, and the proper method of "bridging the gap" between themselves and their opponent.
Positioning. Proper positioning is a key element of ving tsun. The position of the ving tsun practitioner and his opponent must be realized, and a means of changing position through footwork and body shifting must be mastered if a positive result is to be achieved. Through the practice of ving tsun's three forms and wooden dummy training, the ving tsun stylist develops an acute awareness of proper body positioning and spatial relationships.

Offense and defense
In ving tsun, the concepts of offense and defense are not mutually exclusive, but instead complementary. After a desired distance and position have been achieved, the ving tsun practitioner does not think in terms of offense and defense (since they are often the same), but rather in terms of occupying his own centerline.

Movement
Movement skills are developed and utilized during the practice of ving tsun sensitivity drills called chi sao (sticking hands) and chi gerk (sticking feet). Chi sao develops sensitivity to an opponent's arm placement and body shifting. Chi gerk develops the ability to step into an opponent's center of gravity or "center point," which negates the opponent's position and unbalances his stance.
Economy of motion. According to some martial artists, it is not how fast something travels, but how soon it gets there that counts. This maxim is representative of ving tsun techniques, in which directness is the key to superior results. Ving tsun techniques follow the principle that the shortest distance between two points is a straight line. Therefore all ving tsun tech- niques are aimed toward the centerline. Speed is rooted in the efficiency of ving tsun movements.

Sensitivity
Because ving tsun stylists are expected to possess an acute aware- ness of pressure through touch, their infighting skills may be unequaled. The ability to interpret an opponent’s intention, direction, and energy before he has had a chance to act on them gives ving tsun practitioners a great advantage in an altercation.

Ving tsun theories are methodical classifications of concepts which provide a structure for the grouping of various physical movements. The theories provide a means of categorizing pertinent infighting knowledge. The three theories which follow from the foundation from which ving tsun's principles are based are:

Centerline
The centerline is an imaginary line that runs through the center of the body and perpendicular to it. It is used as a reference to determine the shortest distance between two points. The ving tsun practitioner is trained to control the centerline and negate his opponent's linear attacks by presenting them with a barrier, such as the hands. Circular attacks cause the ving tsun stylist some problems, slowing his reaction time and opening his centerline to counterattack.

Facing
Ving tsun practitioners are trained to face all oncoming attacks, and to do so with "equal hands." One hand dictates where the other should go. This so-called "replacement of hands" can only be achieved by those who employ equal hands through facing. In contrast, opponents who have "unequal" hands possess an inherent weakness: if their lead hand is trapped, their rear hand must travel too far a distance to control the open line of attack. Ving tsun stylists, however, hold their hands at approximately the same distance away from the body, thereby making them "equal," and thus shortening the time necessary for the second hand to interact with the lead hand.

Immovable elbow
When employing ving tsun techniques, the elbow must be kept one and one-half fist's distance from the body. This is the proper distance at which attack and defense can coexist, and also provides the greatest leverage. If the arms are held too far from the body, your techniques will be weaker and less effective, and you will be more susceptible to attack. If the arms are held too close to the body, your techniques can be easily jammed and your counterattacks restricted.

Training Methods
A constant struggle for perfection in postures and movements is the nucleus of ving tsun. Through its scientific methods, it was found that a frail person could indeed defeat a much stronger and larger opponent. After ving tsun's theories and principles were established, scientific training methods were devised. It is through the dedicated practice of ving tsun's three choreographed combat forms-sil lim tao, chum kil, and bil jee--that practitioners perfect the art's deflections, traps, strikes, kicks and footwork. These techniques are enhanced through the practice of two man sets called pak sao, lop sao, chi sao, and chi gerk. These sets help the ving tsun stylist develop acute sensitivity, balance, coordination, timing and relaxation. All of the practitioner's skills can be fine-tuned on the mook jong (wooden dummy) training apparatus.

Once the ving tsun practitioner has mastered the empty-hand system, he begins training with ving tsun's two weapons, the staff and butterfly knives. This is the final phase of ving tsun-and wing chun-training.

By Mark V. Wiley
Source: http://www.blackbeltmag.com/archives/blackbelt/1992/jul92/wingchun/wingchun.html