WHAT IS THE SOUND OF MUSIC.?.

 

SHINY DELL SILVER MOON SHIRO

SHIROs AND SILVER MOONs.

 

VOUDON ROCK N ROLL...

Connecting the dots tends to produce those aha moments.

As an independent researcher i, (shiro), also tend to mass produce raw intel (refer INTEL REPORTS; elsewhere on this site) and blog those several+ bits n pieces that have links to the subject at hand.

Well…in theory anyway!

So…

 WHAT IS THE 

 SOUND OF MUSIC.?.

On with the intel shiro.

music mach

 THEY CAN’T STOP THE MUSIC…!?

…can they ???

 

Oft. there are lil intel bites left over.

Some of these stand alone, general in nature type and are in progress. Topics such as ALCHEMY, ANCIENT TECH and  USURY for example. Others are more like one-liners and very specific; yet sitting idle…waiting for the right time to be shared.

Such was the case here-

What is the sound of music ?- with the Vatican it began:

LUCIFER LOOKS...VATICAN PONDERS...

VATICAN AND LUCIFERWATCHING THE HEAVENS

 

Looking ‘ into the Vaticans Astronomical Observatory with the so aptly named…

LUCIFER TELESCOPE eyepiece

spawned an early post (click) and a leftover intel note about a time when the ‘ Authorities ‘ turned off the music.

(Time to share…let’s turn on the music shall we???…).

VOUDON CHILD OF MINE

 WHAT IS THE

 SOUND OF MUSIC ?

 

From this came the realisation: that when the musical numbers were ‘ allowed ‘ back on…

parts of the orchestra were missing per se.

The SOLFEGGIO Frequencies could not be heard;

 

The Numbers just don’t add up any more…

someone rewrote the entire score.

 

IS 432 or 528  the sound of music ?…

or is 444 (hz) THE SOUND OF MUSIC !..

cept if you follow the authority ;

then its 440 ok !?

 TAKING CONTROL OF 

 MUSIC FOR THE MASSES.

 

Music is a joy.

There is much in such sweet sounds that uplift the soul. There are times in LIFE when it is a necessity.

Joyous occasions…official…solemn and sad ones too. On a personal level, when i listen to a favorite song-my mood, demeanor, approach-even unto my ‘ humanity ‘ etc…sing along too.

A censor of such music…would have a lot of explaining to do.

Such were shiro’s thoughts…

not that i ever expect to get an answer…(click)

it’s all about CONTROL…but y? o y?..

does it seem the olden knowledge of the Sacred & Divine in TEXT, LORE, MUSIC and PROSE ignored by Mass Religion such as that promoted by the Vatican..? The popularity of such as FRASER, VELIKOVSKY, KOLOSIMO, VAN DANIKEN etc.

More recently DAN BROWN, GRAHAM HANCOCK, ROBERT BAUVAL, JOHN WEST and others in investigating the old civilisations, mysteries and legends for knowledge of value is of great interest to many it seems…incl. Shiro.

Many of these inquiries reveal Traditions and Arts of great longevity and antiquity, allowing us to peek into perhaps, the everyday Life of our Ancestors in a more revealing manner than dry old reference books.

 

GIANT WORK WORK WORK

…ANCIENT PHOTOS… ANCIENT GIANT BUILDERS IN EGYPT… WORK WORK WORK.

 

 MARTYRS FOR MUSIC.

Artists of any genre come to understand the concept of sacrifice for the cause. Putting one’s heart into the work to produce a work of (that) art.

For many…the art is ALL OF THEIR LIFE

IS THEIR LIFE.

The natural singing methods such as opera and bel canto have produced many fine performers over many generations.

ALL have sacrificed much for their art.

A little remembered genre within though, took sacrifice to a whole new level.

In an effort to maintain the purity of their song these male artists sacrificed even unto their manhood…oft. long before manhood even reached so to speak.

Martyred male singers, boys, now eunuchs for their cause- have ensured their place in music history though oft.forgotten.

Known as the CASTRATI  (those who are castrated…) :

 

LEGENDS OF THE OPERATIC MUSIC HISTORY AND ORIGINS.

 GIVING ALL

 FOR THE ART.

Now…before we get too judgemental on this practice, it must be kept in mind there have been other similar actions throughout History…not just by the mere males either (harem eunuch guards…).

ATHENA.

LEGENDARY GODDESS ATHENA…

MUSICALLY INCLINED WARRIOR WOMAN.

 

SPEAR INCLINED WARRIOR WOMAN.

 IT’S A GIVEN THING...

 

The ancient athenian/greek records mention a group(s) of female combatants, archers and javelin/spear warrior women etc who felt the need to have a breast or two removed so the weapon action could be fully powered.

The mentality for such actions may be a lil hard to understand for those who are not moved by the art, that may stir others hearts so.

Women so intent on becoming Weapon Masters they also seem intent on refining their body to suit the natural weapon flow…by removing the obstacle…their own breast(s)…(both…if they were ambidextrous).

FLOW OF THE JAVELIN.

 

Running and moving issues quickly eased , battle view maintained very likely and the trigger/strike action of the body for such Weapons kept aligned and smooth.

The added power per se basically means equality on the battlefield...with some incredible and formidable mid to long range Weaponry Mastership to boot.

WIN WIN from that perspective…(radical but win win).

 

...TILL THE LADY SINGS.

…TILL THE LADY SINGS.

 

A similar concept is that of drug taking in Sport. Though confined per se to Body Chemistry the urge/desire to do better prevalent.

Lest too we forget…

even in our times when we do all we can for overall health…there appear times when the sacrifice of body items for overall survival recommended…gangrene, breast cancer, gonad cancer etc.( again…win win…if you survive).

 THEIR MUSIC…

 comes at a PRICE.!.

The CASTRATI HOPEFULLY too had some sort of choice in the matter.

The mentality described above, of a total dedication to their art does seem to be the primary cause though particular cases may vary. The natural singing methods and traditions of italy thru whence opera links seem oft. akin in the records to that of a trade or apprenticeship/guild

with a System per se; rules, guidelines, methods, places of learning/study.., so further associated societal/peer  pressures too may apply.

COLOSSEUM OF ROMA.

Living and learning in such training institutions for much of their lives. The times would have ensured a relatively hard life for most, till Fame hopefully came their way. They fine tuned their body to suit their songs.

 

Exercises for a HUGE lung capacity, throat and mouth strengthened, back aligned for clear air passage and for those with the higher vocal range(s)- castration to maintain it, usually well before puberty. In fact, the castration meant long term bone softness/pliability…to the extent that the castrati’s arms and ribs were noticeably…longer.

Their physical appearance was oft.commented on in the MEDIA of the times…

though much was rather uncomplimentary it seems.

THE SOCIALLY HUMOROUS LAMPOONING OF CELEBS…IS ALSO AN ANCIENT ART IT SEEMS…

 

The non appearance of puberty also ensured a somewhat more purer tone than even the female voice as well as greater range flexibility.

MARYTRS OF MUSIC, all for the cause.

 MUSICAL…

 FREQUENCY AND VIBRATION. 

A VISUAL COMPARISON OF VARIOUS FREQUENCY HARMONICS. IS THE KEY TO SACRED MUSIC THE KNOWLEDGE OF HOW TO CYCLE THRU THESE FREQUENCIES TO HAVE MUSIC THAT UPLIFTS OR IS THERE A KEY FREQUENCY THAT IS THE SOUND OF MUSIC..?

ALL IS VIBRATION it is sometimes said…and…it is so…

cept if you’re deaf perhaps, though  ‘ feeling ‘ of such oft. enhanced in lieu.

NATURE vibrates.

The rate determines the ‘ sound ‘. The current SCIENCES have decreed that this rate shall be named as HERTZ (hz)…in respect of one of their more famous adherents. This hz rate = vibrations/sec…= vibrations per sec. e.g. 2 hz= 2vibes per sec.

 CANT’ STOP THIS MUSIC

 

NUMBERS that such approaches find in Nature tend to show up in different facets.

Numbers such as pi and the golden mean and so on can be find in the spiral shape of a snails shell…or in the pyramids. Nature tends to replicate concepts that work in a wide variety of life per se.

So is there a natural sound

Are the natural singers , the castrati and those of the opera on the right note?

432…440…444…528…which is our ears sweetspot..?

To me and to you?

528444440 0r 432…or…?

YOU CAN’T STOP THIS MUSIC…

 SWEET SWEET SOUNDS…

From the natural singers perspective;

the majority prefer the lower figures:

makes sense…

less strain on voice/body…chords vibrate lower/less…easier to change and flow into next section…

BETTER PERFORMANCE the main driver/persuader  here.

The singers argument is sensible and practical…a reasonable request…lower freq.= a lil more attention/effort/help for singer and instr.players per se…

some/many of the orchestral type peeps too agree with the ” concept ” for similar reasons…some of the supporters are big names…great voices and ears per se…

an opinion of value/experience etc.

 

so onto more intel

lets hear  the opinion of ear Science experts and what they think about how the EAR is…or isn’t…wired for sound.

 

 SEARCHING SCIENCE FOR THE

 SWEETSPOT.

 

The normal hearing range contains some big numbers

usually 0-20 hz…to some 20000 hz.

As we age this will lower accordingly…slightly more loss on males…the outer ear and canal direct the sound into/onto a membrane/drum…then again onto the cochlea which btw is…

a snail shell shaped bone

specific fibres in the cochlea respond to particular/diff. frequencies.

This specialisation allows the EAR to be used to, basically sample and analyse a wide-ish range of sounds to the extent this System picks up a freq.difference of only 3% and registers then/that as a new frequency.

...DID THAT WORK???

WOW…DID YOU HEAR THAT..???

 

SCIENCE finds no specific sweetspot, narrowing it down to only a range…and whilst hints of naturally being somehow wired for sound, rhythm, music and song in the general sense endure…the reasoning seems clear.

WE LIKE…what IT IS we like.

As individuals…that oft. overlap.

There are indications that NATURE prefers symmetry and our bodies structure and functions prefer coherence over dissonance…producing that overall sense of well-being we enjoy.

Whilst particular areas may prefer particular frequencies which, in itself may be an area of interest for more research.., Nature further provides a quite diverse range of choice…covering all bases per se.

 SHIRO’s SINGING SWEETSPOT:

Just for the record…

shiro couldn’t find his.

He still sounds like…cats howling..!

 

From the previous intel, even our ears can’t agree

some say 440…some 432 it seems.

Some others…some in between.

The natural voice singers prefer the subtlety of the 432…

do you..?

 VIVE LE MUSIC 

 AND ROCK ON INDEED.

 

Shiro methinks that alike beauty is in the eye of the beholder…

music is to thy ear…???

Perhaps we should listen to both,

to ALL:

to see..,

if like our choice of genre…we agree

on what is the sound of music…

to be.

SITE INTEL REPORTS ACCESS…click

TIL NEXT…

 

SILVER MOON & SHIRO.

SHIRO & SILVER MOON.

 

12 LEGENDARY SWORDS.

 

SHINY DELL SILVER MOON SHIRO

GREETINGS FROM SHIROs AND SILVER MOONs.

 

The clash of swords is not for the faint-hearted.

A favored weapon among those using, studying and collecting such items; many have become Legendary.

Truth and Myth combined in a blade.Though the true history and usage of each is sometimes unclear they ALL captivate and charm.

LEGENDS. ALL.

Stuck in a stone…or not,..

some may indeed have helped shape Civilisation. (click)

...NEED MORE LEVERAGE...

…uh…OK…WHO PUT NINJA SUPER GLUE ON MY SWORD???

 12 LEGENDARY SWORDS . 

12 LEGENDARY SWORDS.
Swords of renown are the seeds of legend.
Fueled by tales of bloodshed and conquest, there have been Swords throughout history that have grown to mythical proportions, blending fact and fiction until the two are all but inseparable.
We’ve found Swords that might in fact be legends brought to life; others have tales so bizarre we have to question their truth.
There will never be another weapon that has left a greater impact on history as the Sword––some more than others.
THANKS Guest Blogger @listverse.com Nathan Willey

 10.  The SWORD IN THE STONE . 

While the Arthurian legend is mostly a product of folklore and myth, there is evidence that its Sword in the stone tale might be very real. In a chapel in Monte Siepi, Italy lies an ancient Sword embedded in stone that could be the key to deciphering the origin of the legend.

It’s believed that Saint Galgano was a 12th-century Tuscan knight whom Archangel Michael commanded to give up his sinful ways. Arguing that the task would be as difficult as cleaving stone, Galgano attempted to prove his point by breaking his Sword on a nearby rock. Legend says his blade cut into the stone as if it were butter.
The Sword in the stone still rests where Galgano left it behind, along with his worldly ways.After Saint Galgano was canonized, word of his Holy Sword spread quickly.
The legend of Excalibur predates Galgano, but the addition of the sword in the stone arose shortly after Galgano’s time. It’s theorized that his Sword was the true-life inspiration for Arthur’s Sword in the Stone.
Of course, that all depends on the sword’s legitimacy. Whether or not the Sword in Italy belonged to Galgano has been called into question numerous times. Luigi Garlaschelli of the University of Pavia, however, recently carbon dated the Sword to the 12th century––appropriate for Saint Galgano’s lifetime, if not necessarily absolute proof of the story’s legitimacy.

 9.  The KUSANAGI .

According to legend, the “Sword in the Snake,” Kusanagi, was found in the body of an eight-headed serpent killed by the God of Storms and Seas. It’s part of the Imperial Regalia of Japan, icons of the ancient Imperial family’s descent from the Sun Goddess––the symbols of their divine right to rule.

The Kusanagi is said to be housed in the Atsuta shrine in Nagano Prefecture, though it isn’t on public display and hasn’t been seen in centuries. The Sword is occasionally brought out for Imperial Coronation ceremonies, but it’s always kept shrouded in wrappings. Even though it has never been seen, and is only recorded in collections of oral history and pseudohistorical documents, authorities have nevertheless succeeded in keeping the world guessing about the Kusanagi by never officially confirming nor denying its existence.The only official mention of the Sword came after World War II—even though the late Emperor Hirohito disavowed any claim to his divinity, he was also recorded as having ordered the divine regalia’s keepers to defend them at all costs.”

 8.  The DURANDAL . 

For hundreds of years, a mysterious Sword had been embedded in the cliffs above the Notre Dame chapel in Rocamadour, France. The monks say it is Durandal, Sword of the paladin Roland. According to legend, Roland hurled the holy blade into the side of the cliff to keep it from being captured by his enemies.

Since the 12th century, the chapel has been a destination for sacred pilgrimages. In 2011, the Sword was removed by the local municipality and given to the Cluny Museum in Paris for an exhibit.But is the Sword actually Durandal? While the battle where Roland lost his life is a well-documented event, the first mention of Durandal was in “The Song of Roland,” composed hundreds of years later––about the same time the Notre Dame monks began claiming the Sword was Roland’s. They likely linked their Sword to Durandal since Rocamadour was the starting point for his journey, even though his final battle happened hundreds of miles away in the valley of Roncesvaux. So unfortunately, unless Roland pitched a really good fastball, the Sword in the cliff is likely nothing more than a story conjured up by the monks of the chapel. Still, where the Sword really came from remains a complete mystery.

 7. The MURAMASAS . 

Muramasa was an ancient Japanese Swordsmith who, according to legend, prayed that his Swords would be “great destroyers.” Because of the exceptional quality of his blades, the gods granted his request and imbued them with a bloodthirsty spirit that—if not sated with battle—would drive the wielder to murder or suicide.

There are countless stories of the Muramasas’ wielders going mad or being murdered. The Swords were believed to be cursed, and were banned by Imperial Edict.The Edict was made by Shogun Tokugawa Ieyasu, who condemned the Swords after they killed nearly all of his family. His grandfather had fallen to a Muramasa, and both Ieyasu and his father had been wounded by the Swordsmith’s blades. Finally, both his wife and his adopted son were later executed by the supposedly cursed Swords.But were Muramasa’s blades really cursed? Likely, Ieyasu’s trouble with the Swords began simply because they were extremely popular. Muramasa was not the name of one man, but the entire school of Swordsmiths he founded. Quality Muramasa blades had been produced for close to a century and Japan’s warrior class used them often. The fact that Muramasa’s Swords were used in so many killings related to the Shogun, while certainly a coincidence, was not exactly remarkable.

 6. The HONJO MASAMUNE . 


In contrast to Muramasa’s cursed Swords are the blades of Legendary Priest and Swordsmith Masamune. Legend has it that Masamune and Muramasa held a competition to decide the superior smith by placing their blades in a stream. While Muramasa’s cut everything it touched, Masamune’s refused to cut anything undeserving, even the air.

While Masamune’s works are valued as Japanese National Treasures, one of the Swords has never been found. Following the  surrender in WWII, the “Honjo Masamune” was given to an American soldier, Sgt. Coldy Bimore, who most likely took it home with him as a war souvenir. As the mysterious G.I. has never been found, the Sword’s whereabouts have likewise been lost.

Despite the Sword’s doubtless worth (it is potentially worth millions), sword collectors are no closer to finding the legendary lost Masamune than they were the day it disappeared.

 5. The JOYEUSE .

Photo credit: Siren-Com

Joyeuse, King Charlemagne’s Legendary Sword, was said to change colors 30 times every day, and was so bright it outshone the sun. Since as early as 1271, two Swords called Joyeuse have been part of French Coronation Ceremonies. But since both Swords can’t be the famed Joyeuse, the mystery of which one is the true Sword of the Holy Roman Emperor has lingered for centuries.

The Joyeuse residing in the Louvre has suffered heavy modification over its considerable lifetime. The oldest section is the pommel, which recent tests place sometime between the 10th and 11th centuries. Since Charlemagne died in 813, this puts it just outside the Holy Roman Emperor’s lifetime.

The other contender is the “saber of Charlemagne” housed in the Imperial Treasury in Vienna. It is unknown how the Sword became part of the French Imperial Regalia, but the Saber is dated to the early 10th century—closer than the Joyeuse, but still just after the time of Charlemagne’s Legendary Sword.

The Saber was probably fashioned by Hungarian Swordsmiths, which opened the door for additional legends of it being the famedsword of Attila,” which was said to have been given to Attila the Hun by Mars, the God of War. Sadly, this isn’t really historically plausible either.

 4. The SWORD OF ST.PETER . 


There are several legends about the Sword used by Saint Peter when he cut off the ear of the servant to the high priest in the garden of Gethsemane. English lore has it brought to England by Joseph of Arimathea along with the Holy Grail.

In 968, however, a Sword was brought to Poland by Bishop Jordan—a Sword which he claimed was the actual Sword of St. Peter. The Bishop’s sword, considered the true relic, remained in Poland and was eventually moved to the Archdiocese Museum in Poznan.

Did the mysterious Sword belong to Saint Peter?

There are claims that the Sword could have been made in the Eastern borderlands of the Roman Empire in the first century, but there is little evidence to substantiate them except the (perhaps misplaced) faith of those who want to believe the sword is a genuine relic. The Sword in Poland is a falchion—a type of sword likely not in use during Saint Peter’s time.

Metallurgy tests have also dated it to long after the saint’s death.

 3. The WALLACE SWORD . 


Legend has it that William Wallace––the titular character of Mel Gibson’s Braveheart––used human skin for his Sword’s scabbard, hilt, and belt. The flesh’s donor was said to have been Hugh de Cressingham, treasurer of Scotland, whom Wallace had flayed after defeating him in the battle of Stirling Bridge.

One version of the legend speaks of Wallace using one strip of Cressingham for his Sword belt. Other accounts say Wallace and his men used Cressingham’s skin for saddle girths.

The legend spread even further when King James IV sent the Wallace Sword to have its scabbard, belt, and pommel replaced with something more befitting a Sword of such stature. The Sword as it is now, in the National Wallace Monument, bears the replacement parts.

Did Wallace have a Frankensword? While Cressingham was most definitely flayed, accounts have Wallace using the unfortunate tax collector’s skin only for his Sword belt, not the actual Sword. The story also came from the English side, and was likely embellished to make the Scottish hero look like a barbarian.

Still, we can certainly understand Wallace’s grudge against tax collectors. It might not be a stretch to say he used the skin from one to decorate his Sword. As with many legends, the truth has been lost to time.

 2. The SWORD OF GOUJIAN . 


In 1965, a remarkable Sword was found in a damp tomb in China—despite being over 2,000 years old, there wasn’t a spot of rust on it.

The blade was so untouched by time it even drew blood when one archeologist tested its edge on his finger. Besides its unearthly resilience, the craftsmanship of the etchings was also unbelievably detailed for a Sword forged so long ago. It was, for the time, a complete mystery.

Further study of the etchings concluded that it was a Sword belonging to the Yue king, Goujian, and is believed to be the legendary blade mentioned in The Lost History of Yue. According to the text, when King Goujian had his Sword collection appraised, there was only a single Sword of merit. This Sword was so magnificent it was said to have been made with the combined efforts of Heaven and Earth.

How did the Sword stay in such excellent condition for over 2,000 years? Tests show the Swordsmiths of Yue had reached such a high level of metallurgy they were able to incorporate rust-proof alloys into their blades. Their Swords were also treated with rust-resistant chemicals, helping them survive the ages relatively unblemished.

In addition, and in a stroke of brilliant luck, the scabbard of this particular blade was nearly airtight, which prevented oxidation and allowed the Legendary Sword to be found in such pristine condition—even two millennia after it was enclosed in the tomb.

 1. The SEVEN-BRANCHED-SWORD . 


In 1945, a mysterious Sword was found in Japan’s Isonokami shrine. The Sword was of exceedingly unusual make, with six protrusions branching out from its sides (the tip is considered its seventh).

The Sword was in poor condition, but a faded inscription could be made out along the blade. The exact translation has been questioned numerous times, but what is clear is that the Sword was a gift from a Korean king to a Japanese monarch.

This matched a Sword found in the Nihon Shoki, a folklore-infused historical document cataloging the early history of Japan. If this was the same seven-branched Sword given to a semi-mythical Shaman Empress, Jingu, it would serve as an important keystone marking where legend became fact.

The dating on the blade matched reliable sources in China, Korea, and Japan. The Isonokami shrine itself was also mentioned in other documents dating from the time of the Nihon Shoki, so the Sword could well have been left there since ancient times.

Scholars now believe the seven-branched Sword is the actual Sword from the legend, giving the shaman Empress Jingu an authentic place in history.

 +. The LA TIZONA . 


La Tizona was the Sword of legendary hero El Cid, who fought for both Christian and Muslim armies in Spain. In a museum in Burgos, Spain, there is a controversial Sword which the museum claims is none other than El Cid’s own blade.

The Sword was said to have been given to the Marquis of Falces by King Ferdinand in 1516. It was then passed down through his family until it was given to the Madrid Military Museum in 1944. There it remained, its legitimacy unchallenged, for sixty years until the current Marquis sold it to the Castile and Leon region for display in the Museum of Burgos.

Upon its sale, the Culture Ministry––which is connected to the Military Museum––launched a scholarly attack against the Sword, saying it was forged centuries after El Cid’s lifetime. Castile and Leon launched a counterattack, upholding the Sword’s authenticity in a different study and saying the Ministry was only jealous because it lost the Sword.

In the epic poem, the “Lay of El Cid,” La Tizona was said to have terrified unworthy enemies into a swoon at mere sight. The Sword in Burgos may not have made any museum visitors swoon, but it certainly seems to have the power to spark controversy.

The Sword’s authenticity remains a fierce debate.

 +. The ULFBERHT . 


Though mostly forgotten in modern times, there was a type of Sword prized by Vikings that far exceeded any European weapon of its day. The Ulfberht Swords were a thousand years ahead of their time, and wielded only by the elite of Viking Warriors.

What made the Ulfberht blades so advanced? While most Viking blades were found to have been composed of slag-ridden, low-carbon steel, these blades’ metal was comparable to the strength of modern steel. They were inscribed with the signature “+ULFBERH+T,” and their like would not be seen again in Europe until the industrial revolution. The mystery was how the Vikings created these blades while the rest of Europe was still making steel that could shatter like glass.

Scholars now believe the secret to the Ulfberht blades was crucible steel, which the Vikings imported from Iran and Afghanistan. We can’t be certain who Ulfberht was––or even if he was just one man––but he was the only European smith of his time to work crucible steel.

And that made his swords arguably the most advanced weapons of their time and place, ever.

via listverse.com

 

 

For those interested in viewing footage of modern blacksmith reproductions of such

LEGENDARY WEAPONS…

The MAN at ARMS crew is highly recommended.(click)

 

and…for those interested…

JAPANESE SWORD COMPONENTS visual aid.Njoy.

SWORD

SWORDS OF DIFFERENT SHAPES…

FOR A LOOK AT 9 UNIQUE NINJA WEAPONS...(click)…or

(click) here for a LEGEND OF A GODDESS.

Thanks for sharing the knowledge of the

12 LEGENDARY SWORDS.

 

til next-

 

RESEARCH

BELIEVE IT…OR NOT.

COMPUTER SHIRO & DELL SILVER MOON

SHIROBANRYU & SHINY DELL SILVER MOON LAPTOP.

 

THE CHINESE MASTERS OF YESTERYEAR.

 

SILVER MOON & SHIRO.

SHIRO & SILVER MOON.

 

THE GREAT WALL OF CHINA.

The longevity of the Chinese Culture and the means to secure it has ensured a long list of heroes.

From many times and traditions, past and present.

 

 THE CHINESE MASTERS

  OF YESTERYEAR. 

 

The Martial Arts Tradition has produced some of note. (click)

The modern/current continuation of such as TAI CHI or the SHAOLIN KUNG FU MONKS an ongoing example.(click)

 

LONG STUFF

 

The following historical overview provided by Guest Blogger @ chinawhisper.com records some 10 past Masters of the Martial Ways.

The Chinese Masters of Yesteryear.

 

Njoy.Simple.

 

 THE CHINESE MASTERS:

Nowadays real Kung Fu Masters, or Martial Artists, are difficult to find in China.

Finding a genuine Master is more difficult than finding a gem in a hay stack.

However, actually in ancient China there were many good Kung Fu Masters.

Here is a list of  10 ancient Chinese martial artists.

 

1.   HUA TUO   华佗:

 

HUA TUO in the Han Dynasty was more famous as a physician. However he was also known for the early QI GONG exercise named Five – Animal Exercises, in which the practitioner imitates the actions of tigers, deer, bears, apes, and birds. These practices later developed into many kinds of martial arts such as TAI CHI.

 

2.   YUE FEI  岳飞;

 

YUE FEI  was a well-known patriotic general in Southern Song Dynasty (1127–1279). Besides he is widely credited for creating XINGYIQUAN, a kind of Chinese martial arts featuring aggressive, seemingly linear movements and explosive power. Several more martial arts were also attributed to YUE FEI such as EAGLE CLAW, FANZIQUAN AND CHUOJIAO.

 

3.   ZHANG SANFENG  张三丰:

 

ZHANG SANFENG was usually regarded as the founder of TAI CHI. The legend goes that he created TAI CHI by observing a fight between a snake and a crane in Wu-dang Mountains.

 

4.   WANG LANG  王朗:

 

WANG LANG is said to have created the PRAYING MANTIS BOXING during the Northern Song Dynasty (969-1126). He was inspired to develop this special KUNG FU by observing the insects actions and interactions.

 

5.   CHEN WANGTING  陈王廷:

 

CHEN WANGTING  (1580–1660), a Ming Dynasty General, founded Chen-style TAI CHI at Chenjiagou, Wenxian county, Henan province. CHEN is also said to have helped create the Push Hands exercises often practiced.

 

6.   ZHANG SONG XI  张松溪:

 

ZHANG SONG XI  (Ming Dynasty) was  the disciple of martial artist Zhang Sanfeng. He also combined the fundamental WUDANG practices and created the unique Wudang Songxi Internal Style.

 

7.   QI JIGUANG :

 

QI JIGUANG  was well-known as a patriotic military general in the Ming Dynasty. He made great contribution in sorting out and researching folk style KUNG FU, leaving behind a famous book JiXiao Xinshu, a book dedicated to the practice of WUSHU.

 

8.   GAN FENGCHI  甘凤池:

 

GAN FENGCHI (Qing Dynasty) was a master of HUA QUAN which originated from SHAOLIN KUNGFU. He wrote a book called “ The Essence of Hua Fist ” which gives detailed introduction of this martial art. HUA QUAN  has the speed & power of LONG FIST and softness of TAIJI.

 

9.   DONG HAICHUAN  董海川:

 

DONG HAICHUAN is widely regarded to be the founder of BAGUA ZHANG, which features a very effective fighting system. He integrated ideas from the The Book of Changes into martial arts and created the famous BAGUA ZHANG.

 

10.   YANG LUCHAN  杨露蝉:

 

YANG LUCHAN was an influential TAI CHI master and teacher in the second half of the 19th century. He founded his own style of Tai Chi –  YANG STYLE TAI CHI, which features agreeable movements and actions combining hardness, softness and naturalness.

 

via chinawhisper.com

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