The Wudang Mountains consist of a small mountain range in the northwestern part of Hubei, just south of Shiyan. They are home to a famous complex of Taoist monasteries associated with the god Xuanwu; the Wudang Mountains are renowned for the practice of Tai chi and Taoism as the Taoist counterpart to the Shaolin Monastery, affiliated with Chinese Chán Buddhism. The Wudang Mountains are one of the "Four Sacred Mountains of Taoism" in China, an important destination for Taoist pilgrimages. On Chinese maps, the name "Wudangshan" is applied both to the entire mountain range, to the small group of peaks located within Wudangshan subdistrict of Danjiangkou, Shiyan, it is the latter specific area, known as a Taoist center. Modern maps show the elevation of the highest of the peaks in the Wudang Shan "proper" as 1612 meters; some consider the Wudang Mountains to be a "branch" of the Daba Mountains range, a major mountain system of the western Hubei, Shaanxi and Sichuan. For centuries, the mountains of Wudang have been known as an important center of Taoism famous for its Taoist versions of martial arts or Taichi.
The first site of worship—the Five Dragons Temple—was constructed at the behest of Emperor Taizong of Tang. Further structures were added during the Song and Yuan dynasties, while the largest complex on the mountain was built during the Ming dynasty as the Yongle Emperor claimed to enjoy the protection of the god Beidi or Xuan Wu. Temples had to be rebuilt, not all survived. Other noted structures include Nanyang Palace, the stonewalled Forbidden City at the peak, the Purple Cloud Temple; the monasteries such as the Wudang Garden were made a UNESCO World Heritage Site in 1994. On January 19, 2003, the 600-year-old Yuzhengong Palace at the Wudang Mountains was accidentally burned down by an employee of a martial arts school. A fire broke out in the hall. A gold-plated statue of Zhang Sanfeng, housed in Yuzhengong, was moved to another building just before the fire, so escaped destruction in the inferno. At the first national martial arts tournament organized by the Central Guoshu Institute in 1928, participants were separated into practitioners of Shaolin and Wudang styles.
Styles considered to belong to the latter group—called Wudangquan—are those with a strong element of Taoist neidan exercises. Typical examples of Wudangquan are Taijiquan and Baguazhang. According to legend, Taijiquan was created by the Taoist hermit Zhang Sanfeng, who lived in the Wudang mountains. Wudangquan has been reformed to fit the PRC sport and health promotion program; the third biannual Traditional Wushu Festival was held in the Wudang Mountains from October 28 to November 2, 2008. Tao yin Wudang Sect Xuan Wu Yang Luchan Five Immortals Temple Pierre-Henry de Bruyn, Le Wudang Shan: Histoire des récits fondateurs, Les Indes savantes, 2010, 444 pp. Media related to Wudang Mountains at Wikimedia Commons UNESCO World Heritage Sites descriptions Wudang Mountain Kung Fu Academy International Wudang Federation Wudang Global Federation
The Eight Immortals are a group of legendary xian in Chinese mythology. Each immortal's power can be transferred to a vessel that can destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Shang Dynasty, they are revered by the Taoists and are a popular element in the secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea; the Immortals are: He Xiangu Cao Guojiu Li Tieguai Lan Caihe Lü Dongbin Han Xiangzi Zhang Guolao Zhongli Quan In literature before the 1970s, they were sometimes translated as the Eight Genies. First described in the Yuan Dynasty, they were named after the Eight Immortal Scholars of the Han; the tradition of depicting humans who have become immortals is an ancient practice in Chinese art, when religious Taoism gained popularity, it picked up this tradition with its own immortals. While cults dedicated to various Taoist immortals date back to the Han dynasty, the popular and well-known Eight Immortals first appeared in the Jin dynasty.
The art of the Jin tombs of the 12th and 13th centuries depicts a group of eight Taoist immortals in wall murals and sculptures. They became known as the Eight Immortals in the writings and works of art of the Taoist group known as the Complete Realization; the most famous art depiction of the Eight Immortals from this period is a mural of them in the Eternal Joy Temple at Ruicheng. The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art, they were frequent adornments on celadon vases. They were common in sculptures owned by the nobility, their most common appearance, was in paintings. Many silk paintings, wall murals, wood block prints remain of the Eight Immortals, they were depicted either together in one group, or alone to give more homage to that specific immortal. An interesting feature of early Eight Immortal artwork is that they are accompanied by jade hand maidens depicted servants of the higher ranked deities, or other images showing great spiritual power.
This shows that early on, the Eight Immortals became eminent figures of the Taoist religion and had great importance. We can see this importance is only heightened in the Qing dynasties. During these dynasties, the Eight Immortals were frequently associated with other prominent spiritual deities in artwork. There are numerous paintings with the Three Stars together. Other deities of importance, such as the Queen Mother of the West, are seen in the company of the Eight Immortals; the artwork of the Eight Immortals is not limited to other visual arts. They are quite prominent in written works too. Authors and playwrights wrote numerous plays on the Eight Immortals. One famous story, rewritten many times and turned into several plays is The Yellow-Millet Dream, the story of how Lǚ Dòngbīn met Zhongli Quan and began his path to immortality; the Immortals are the subject such as paintings and sculptures. Examples of writings about them include: The Yueyang Tower by Ma Zhiyuan The Bamboo-leaved Boat by Fan Zi'an The Willow in the South of the City by Gu Zijing The most significant is The Eight Immortals Depart and Travel to the East by Wu Yuantai in the Ming Dynasty.
There is another work made during the Ming, by an anonymous writer, called The Eight Immortals Cross the Sea. It is about the Immortals on their way to attend the Conference of the Magical Peach when they encounter an ocean. Instead of relying on their clouds to get them across, Lü Dongbin suggested that they each should exercise their unique powers to get across. Derived from this, the Chinese proverb "The Eight Immortals cross the sea, each reveals its divine powers" indicates the situation that everybody shows off their skills and expertise to achieve a common goal. Furthermore, they have been linked to the initial development of qigong exercises such as the Eight Piece Brocade. There are some Chinese martial arts styles named after them, which use fighting techniques that are attributed to the characteristics of each immortal; some drunken boxing styles make extensive use of the Eight Immortals archetypes for conditioning, qigong/meditation and combat training. One subsection of BaYingQuan drunken fist training includes methodologies for each of the eight immortals.
Established in the Song Dynasty, the Xi'an temple Eight Immortals Palace Eight Immortals Nunnery, is where statues of the Immortals can be found in the Hall of Eight Immortals. There are many other shrines dedicated to them throughout Taiwan. In Singapore, the Xian'gu Temple has the Immortal Woman He from the group as its focus of devotion. In modern China, the Eight Immortals are still a popular theme in artwork. Paintings and statues are still common in households across China and are gaining some popularity worldwide. Several movies about the Eight Immortals have been produced in China in recent years. In Jackie Chan's movie Drunken Master, there are eight "drunken" Chinese martial arts forms that are said to be originated from the Eight Immortals. At first, the protagonist
Lee Jun-fan, known professionally as Bruce Lee, was a Hong Kong-American actor, martial artist, martial arts instructor, philosopher. He was the founder of the hybrid martial arts. Lee was the son of Cantonese opera star Lee Hoi-chuen, he is considered by commentators, critics and other martial artists to be the most influential martial artist and a pop culture icon of the 20th century, who bridged the gap between east and west. He is credited with helping to change the way Asians were presented in American films. Lee was born in the Chinatown area of San Francisco, California, on November 27, 1940, to parents from Hong Kong, was raised with his family in Kowloon, Hong Kong, he appeared in several films as a child actor. Lee moved to the United States at the age of 18 to receive his higher education at the University of Washington in Seattle, it was during this time that he began teaching martial arts, his Hong Kong and Hollywood-produced films elevated the traditional Hong Kong martial arts film to a new level of popularity and acclaim, sparking a surge of interest in Chinese martial arts in the West in the 1970s.
The direction and tone of his films changed and influenced martial arts and martial arts films in the US, Hong Kong, the rest of the world. He is noted for his roles in five feature-length films: Lo Wei's The Big Boss and Fist of Fury. Lee became an iconic figure known throughout the world among the Chinese, based upon his portrayal of Chinese nationalism in his films and among Asian Americans for defying stereotypes associated with the emasculated Asian male, he trained in the art of Wing Chun and combined his other influences from various sources into the spirit of his personal martial arts philosophy, which he dubbed Jeet Kune Do. Lee held dual nationality in Hong Kong and the US, he died in Hong Kong on July 20, 1973 at the age of 32, was buried in Seattle. Bruce Lee was born on November 27, 1940, in Chinatown, San Francisco. According to the Chinese zodiac, Lee was born in both the hour and the year of the Dragon, which according to tradition is a strong and fortuitous omen. Lee and his parents returned to Hong Kong.
Bruce's father, Lee Hoi-chuen, was Han Chinese, his mother, Grace Ho, was of Eurasian ancestry. Grace Ho was the adopted daughter of Ho Kom-tong and the half-niece of Sir Robert Ho-tung, both notable Hong Kong businessmen and philanthropists. Bruce was the fourth of five children: Phoebe Lee, Agnes Lee, Peter Lee, Robert Lee. Grace's parentage remains unclear. Linda Lee, in her 1989 biography The Bruce Lee Story, suggests that Grace had a German father and was a Catholic. Bruce Thomas, in his influential 1994 biography Bruce Lee: Fighting Spirit, suggests that Grace had a Chinese mother and a German father. Lee's relative Eric Peter Ho, in his 2010 book Tracing My Children’s Lineage, suggests that Grace was born in Shanghai to a Eurasian woman named Cheung King-sin. Eric Peter Ho said that Grace Lee was the daughter of a mixed race Shanghainese woman and her father was Ho Kom Tong. Grace Lee said her mother was English and her father was Chinese. Fredda Dudley Balling said. In the 2018 biography Bruce Lee: A Life, Matthew Polly identifies Lee's maternal great-grandfather as Mozes Hartog Bosman, a Dutch-Jewish businessman from Rotterdam.
Bosman moved to Hong Kong with the Dutch East India Company and served as the Dutch consul to Hong Kong at one time. He had a Chinese concubine named Sze Tai with whom he had six children, including Lee's grandfather Ho Kom Tong. Bosman subsequently immigrated to California. Ho Kom Tong became a wealthy businessman with a wife, 13 concubines, a British mistress who gave birth to Grace Ho. Lee's Cantonese birth name was Lee Jun-fan; the name homophonically means "return again", was given to Lee by his mother, who felt he would return to the United States once he came of age. Because of his mother's superstitious nature, she had named him Sai-fon, a feminine name meaning "small phoenix"; the English name "Bruce" is thought to have been given by the hospital attending physician, Dr. Mary Glover. Lee had three other Chinese names: a family/clan name. Lee's given name Jun-fan was written in Chinese as 震藩, the Jun Chinese character was identical to part of his grandfather's name, Lee Jun-biu. Hence, the Chinese character for Jun in Lee's name was changed to the homonym 振 instead, to avoid naming taboo in Chinese tradition.
Lee's father, Lee Hoi-chuen, was one of the leading Cantonese opera and film actors at the time and was embarking on a year-long opera tour with his family on the eve of the Japanese invasion of Hong Kong. Lee Hoi-chuen had been touring the United States for many years and performing in numerous Chinese communities there. Although many of his peers decided to stay in the US, Lee Hoi-chuen returned to Hong Kong after Bruce's birth. Within months, Hong Kong was invaded and the Lees lived for three years and eight months under Japanese occupation. After the war ended, Lee Hoi-chuen resumed his acting career and became a more p
Chen-style t'ai chi ch'uan
The Chen family-style is the oldest and parent form of the five traditional family styles of Tai chi. Chen-style is characterized by Silk alternating fast/slow motion and bursts of power. Contemporary t'ai chi ch'uan is practised for a number of varying reasons: health, external/internal martial art skills, meditation or as an athletic/competition sport. Therefore, a teacher's system and choice of training routines emphasizes one of these characteristics during training; the five traditional schools because they are traditional, attempt to retain the martial applicability of their teaching methods. Some argue; the origin and nature of what is now known as tai chi is not verifiable until around the 17th century. Documents of this period indicate the Chen clan settled in Chenjiagou, Henan province, in the 13th century and reveal the defining contribution of Chen Wangting, it is therefore not clear how the Chen family came to practise their unique martial style and contradictory "histories" abound.
What is known is that the other four contemporary traditional tai chi styles trace their teachings back to Chen village in the early 1800s. According to Chen Village family history, Chen Bu was a skilled martial artist who started the martial arts tradition within Chen Village; the Chen family were from Hong Dong, Shanxi. Chen Bu, considered to be the founder of the village, moved from Shanxi to Wen County, Henan Province in 1374; the new area was known as Chang Yang Cun or Sunshine village and grew to include a large number of Chen descendants. Because of the three deep ravines beside the village it came to be known as Chen Jia Gou or Chen Family creek/brook. For generations onwards, the Chen Village was known for their martial arts; the special nature of Tai Chi Chuan practice was attributed to the ninth generation Chen Village leader, Chen Wangting. He codified pre-existing Chen training practice into a corpus of seven routines; this included five routines of tai chi chuan, 108 form Long Fist (一百零八勢長拳）and a more rigorous routine known as Cannon Fist.
Chen Wangting integrated different elements of Chinese philosophy into the martial arts training to create a new approach that we now recognize as the Internal martial arts. He added the principles of Yin-Yang theory, the techniques of Daoyin, Tui na, the Chinese medical theory of energy and Chinese medical theory of the meridians; those theories encountered in Classical Chinese Medicine and described in such texts as the Huang Di Nei Jing. In addition, Wangting incorporated the boxing theories from sixteen different martial art styles as described in the classic text, Ji Xiao Xin Shu written by the Ming General Qi Jiguang. Chen Changxing, 14th generation Chen Village martial artist, synthesized Chen Wangting's open fist training corpus into two routines that came to be known as "Old Frame"; those two routines are named individually as the Second Form. Chen Changxing, contrary to Chen family tradition took the first recorded non-family member as a disciple, Yang Luchan, who went on to popularize the art throughout China, but as his own family tradition known as Yang-style t'ai chi ch'uan.
The Chen family system was only taught within the Chen village region until 1928. Chen Youben of the 14th Chen generation, is credited with starting another Chen training tradition; this system based on two routines is known as "Small Frame". Small Frame system of training lead to the formation of two other styles of Tai chi chuan that show strong Chen family influences, Zhaobao jia and Hulei jia; however they are not considered a part of the Chen family lineage. Some legends assert that a disciple of Zhang Sanfeng named Wang Zongyue taught Chen family the martial art to be known as taijiquan. Other legends speak of Jiang Fa, reputedly a monk from Wudang mountain, he is said to have helped transform the Chen family art with Chen Changxing by emphasizing internal fighting practices. However, there are significant difficulties with this explanation, as it is no longer clear if their relationship was that of teacher/student or who taught whom; the availability and popularity of Chen-style t'ai chi ch'uan is reflective of the radical changes that occurred within Chinese society during the Twentieth century.
In the declining period of the Qing Dynasty, the emergence of a Republican government and the policies of the People's Republic of China, Chen Tai Chi Chuan underwent a period of discovery, popularization and internationalization. During the second half of the 19th century, Yang Luchan and his family established a reputation of Yang-style t'ai chi ch'uan throughout the Qing empire. Few people knew that Yang Luchan first learned his martial arts from Chen Changxing in the Chen Village. Fewer people still visited the Chen village to improve their understanding of Tai Chi Chuan. Only Wu Yu-hsiang, a student of Yang Luchan and the
The Kunlun Mountains are one of the longest mountain chains in Asia, extending more than 3,000 kilometres. In the broadest sense, the chain forms the northern edge of the Tibetan Plateau south of the Tarim Basin; the exact definition of this range varies. An old source uses Kunlun to mean the mountain belt that runs across the center of China, that is, Kunlun in the narrow sense: Altyn Tagh along with the Qilian and Qin Mountains. A recent source has the Kunlun range forming most of the south side of the Tarim Basin and continuing east south of the Altyn Tagh. Sima Qian says that Emperor Wu of Han sent men to find the source of the Yellow River and gave the name Kunlun to the mountains at its source; the name seems to have originated as a semi-mythical location in the classical Chinese text Classic of Mountains and Seas. From the Pamirs of Tajikistan, it runs east along the border between Xinjiang and Tibet autonomous regions to the Sino-Tibetan ranges in Qinghai province, it stretches along the southern edge of what is now called the Tarim Basin, the infamous Takla Makan or "sand-buried houses" desert, the Gobi Desert.
A number of important rivers flow from it including the Karakash River and the Yurungkash River, which flow through the Khotan Oasis into the Taklamakan Desert. Altyn-Tagh or Altun Range is one of the chief northern ranges of the Kunlun, its northeastern extension Qilian Shan is another main northern range of the Kunlun. In the south main extension is the Min Shan. Bayan Har Mountains, a southern branch of the Kunlun Mountains, forms the watershed between the catchment basins of China's two longest rivers, the Yangtze River and the Yellow River; the highest mountain of the Kunlun Shan is the Kunlun Goddess in the Keriya area in western Kunlun Shan. Some authorities claim that the Kunlun extends further northwest-wards as far as Kongur Tagh and the famous Muztagh Ata, but these mountains are physically much more linked to the Pamir group. The Arka Tagh is in the center of the Kunlun Shan. In the eastern Kunlun Shan the highest peaks are Yuzhu Dradullungshong; the mountain range formed at the northern edges of the Cimmerian Plate during its collision, in the Late Triassic, with Siberia, which resulted in the closing of the Paleo-Tethys Ocean.
The range has few roads and in its 3,000 km length is crossed by only two. In the west, Highway 219 traverses the range en route from Yecheng, Xinjiang to Tibet. Further east, Highway 109 crosses between Golmud. Over 70 volcanic cones form the Kunlun Volcanic Group, they cones. As such, they are not counted among the world volcanic mountain peaks; the group, musters the heights of 5,808 metres above sea level. If they were considered volcanic mountains, they would constitute the highest volcano in Asia and China and second highest in the Eastern Hemisphere and one of Volcanic Seven Summits by elevation; the last known eruption in the volcanic group was on May 27, 1951. Kunlun is the name of a mythical mountain believed to be a Taoist paradise; the first to visit this paradise was, according to the legends, King Mu of the Zhou Dynasty. He discovered there the Jade Palace of the Yellow Emperor, the mythical originator of Chinese culture, met Hsi Wang Mu, the'Spirit Mother of the West' called the'Queen Mother of the West', the object of an ancient religious cult which reached its peak in the Han Dynasty, had her mythical abode in these mountains.
The Kunlun mountains are described as the location of the Shangri-La monastery in the 1933 novel Lost Horizon by English writer James Hilton. The mountains are the site of the fictional city of K'un Lun in the Marvel Comics Iron Fist series and the TV show of the same name. Munro-Hay, Stuart Aksum. Edinburgh: University Press. 1991. ISBN 0-7486-0106-6. China Tibet Information Centre Chinaculture.org
Qigong, qi gong, chi kung, or chi gung is a holistic system of coordinated body posture and movement and meditation used for the purposes of health and martial arts training. With roots in Chinese medicine and martial arts, qigong is traditionally viewed as a practice to cultivate and balance qi, translated as "life energy". Qigong practice involves moving meditation, coordinating slow flowing movement, deep rhythmic breathing, calm meditative state of mind. Qigong is now practiced throughout China and worldwide for recreation and relaxation, preventive medicine and self-healing, alternative medicine and self-cultivation, training for martial arts. Research concerning qigong has been conducted for a wide range of medical conditions, including hypertension and cancer, with respect to quality of life. Most research concerning health benefits of qigong has been of poor quality, such that it would be unwise to draw firm conclusions at this stage. Qigong, ch'i kung, chi gung are English words for two Chinese characters: qì and gōng.
Qi is translated as life energy, referring to energy circulating through the body. Qi is the central underlying principle in traditional Chinese martial arts. Gong is translated as cultivation or work, definitions include practice, mastery, achievement, result, or accomplishment, is used to mean gongfu in the traditional sense of achievement through great effort; the two words are combined to describe systems to cultivate and balance life energy for health. The term qigong as used was promoted in the late 1940s through the 1950s to refer to a broad range of Chinese self-cultivation exercises, to emphasize health and scientific approaches, while de-emphasizing spiritual practices and elite lineages. With roots in ancient Chinese culture dating back more than 4,000 years, a wide variety of qigong forms have developed within different segments of Chinese society: in traditional Chinese medicine for preventive and curative functions. Contemporary qigong blends diverse and sometimes disparate traditions, in particular the Daoist meditative practice of "internal alchemy", the ancient meditative practices of "circulating qi" and "standing meditation", the slow gymnastic breathing exercise of "guiding and pulling".
Traditionally, knowledge about qigong was passed from adept master to student in elite unbroken lineages with secretive and esoteric traditions of training and oral transmission, with an emphasis on meditative practice by scholars and gymnastic or dynamic practice by the working masses. Starting in the late 1940s and the 1950s, the mainland Chinese government tried to integrate disparate qigong approaches into one coherent system, with the intention of establishing a firm scientific basis for qigong practice. In 1949, Liu Guizhen established the name "Qigong" to refer to the system of life preserving practices that he and his associates developed based on Dao yin and other philosophical traditions; this attempt is considered by some sinologists as the start of the modern or scientific interpretation of qigong. During the Great Leap Forward and the Cultural Revolution, along with other traditional Chinese medicine, was under tight control with limited access among the general public, but was encouraged in state-run rehabilitation centers and spread to universities and hospitals.
After the Cultural Revolution, along with t'ai chi, was popularized as daily morning exercise practiced en masse throughout China. Popularity of qigong grew during the Deng and Jiang eras after Mao Zedong's death in 1976 through the 1990s, with estimates of between 60 and 200 million practitioners throughout China. Along with popularity and state sanction came controversy and problems: claims of extraordinary abilities bordering on the supernatural, pseudoscience explanations to build credibility, a mental condition labeled qigong deviation, formation of cults, exaggeration of claims by masters for personal benefit. In 1985, the state-run "National Qigong Science and Research Organization" was established to regulate the nation's qigong denominations. In 1999, in response to widespread revival of old traditions of spirituality and mysticism, perceived challenges to State control, the Chinese government took measures to enforce control of public qigong practice, including shutting down qigong clinics and hospitals, banning groups such as Zhong Gong and Falun Gong.
Since the 1999 crackdown, qigong research and practice have only been supported in the context of health and traditional Chinese medicine. The Chinese Health Qigong Association, established in 2000 regulates public qigong practice, with limitation of public gatherings, requirement of state approved training and certification of instructors, restriction of practice to state-approved forms. Through the forces of migration of the Chinese diaspora, tourism in China, globalization, the practice of qigong spread from the Chinese community to the world. Today, millions of people around the w
Sammo Hung known as Hung Kam-bo, is a Hong Kong actor, martial artist, film producer and director, known for his work in many martial arts films and Hong Kong action cinema. He has been a fight choreographer for other actors such as Jackie Chan. Hung is one of the pivotal figures who spearheaded the Hong Kong New Wave movement of the 1980s, helped reinvent the martial arts genre and started the vampire-like jiangshi genre, he is credited with assisting many of his compatriots, giving them their starts in the Hong Kong film industry, by casting them in the films he produced, or giving them roles in the production crew. Jackie Chan is addressed as "Da Goh", meaning Big Brother. Hung was known as "Da Goh", until the filming of Project A, which featured both actors; as Hung was the eldest of the kung fu "brothers", the first to make a mark on the industry, he was given the nickname "Da Goh Da", Big, Big Brother, or Biggest Big Brother. Hung's ancestral hometown is Zhejiang. Born in Hong Kong, both of his parents worked as wardrobe artists in the local film industry and guardianship was thrust upon his grandparents.
His grandmother was archetypal martial art actress Chin Tsi-ang and his grandfather was film director Hung Chung-ho. Hung joined the China Drama Academy, a Peking Opera School in Hong Kong, in 1961, he was enrolled for a period of seven years, beginning at the age of 9, after his grandparents heard about the school from their friends. The opera school was run by Master Yu Jim Yuen and as was customary for all students, Hung adopted the given name of his sifu as his family name whilst attending. Going by the name Yuen Lung, Hung became the foremost member of the Seven Little Fortunes performing group, would establish a friendly rivalry with one of the younger students, Yuen Lo. Yuen Lo would go on to become international superstar Jackie Chan. At the age of 14, Hung was selected by a teacher who had connections to the Hong Kong film industry to perform stunts on a movie; this brief foray into the industry piqued his interest in film and he took particular interest in the operation of film cameras.
As the eldest of the troupe, Hung would give his opera school brothers pocket money from his earnings, endearing him to his young friends. Shortly before leaving the Academy at the age of 16, Hung suffered an injury that left him bedridden for an extended period, during which time his weight ballooned. After finding work in the film industry as a stuntman, he was given a nickname after a well-known Chinese cartoon character, Sam-mo. Many years in 1988, Hung starred in Alex Law's Painted Faces, a dramatic re-telling of his experiences at the China Drama Academy. Among the exercises featured in the film are numerous acrobatic backflips, hours of handstands performed against a wall. Despite some of the more brutal exercises and physical punishments shown in Painted Faces and the rest of the Seven Little Fortunes consider the film a toned-down version of their actual experiences. Hung appeared as a child actor in several films for Cathay Asia and Bo Bo Films during the early 1960s, his film debut was in the 1961 film Education of Love.
In 1962, he made his first appearance alongside Jackie Chan in the film Big and Little Wong Tin Bar, followed by a role in The Birth of Yue Fei, in which he played the ten-year-old Yue Fei, the historical figure from the Song Dynasty who would go on to become a famous Chinese general and martyr. The majority of Hung's performance was alongside another actor portraying Zhou Tong, Yue's elderly military arts tutor. In 1966, at the age of just 14, Hung began working for Shaw Brothers Studio, assisting the action director Han Yingjie, on King Hu's film Come Drink with Me. Between 1966 and 1974, Hung worked on over 30 wuxia films for Shaw Brothers, progressing through the roles of extra, stunt co-ordinator and action director. In 1970, Hung began working for the Golden Harvest film company, he was hired to choreograph the action scenes for the first Golden Harvest film, The Angry River. His popularity soon began to grow, due to the quality of his choreography and disciplined approach to his work, he again caught the eye of celebrated Taiwanese director, King Hu.
Hung choreographed A Touch of Zen and The Fate of Lee Khan. In the same year, Hung went to South Korea to study hapkido under master Ji Han Jae. In 1973, he was seen in the Bruce Lee classic, Enter the Dragon. Hung was the Shaolin student. In 1975, Hung appeared in The Man from Hong Kong, billed as the first Australian martial arts film. Toward the late 1970s, Hong Kong cinema began to shift away from the Mandarin-language, epic martial art films popularized by directors such as Chang Cheh. In a series of films, along with Jackie Chan, began reinterpreting the genre by making comedic Cantonese kungfu. While these films still featured martial arts, it was mixed with a liberal dose of humour. In 1977, Hung was given his first lead role in a Golden Harvest production, in the film Shaolin Plot, his next film, released the same year, was his directorial debut, The Iron-Fisted Monk, one of the earliest martial art comedies. In 1978, Raymond Chow gave Hung the task of completing the fight co-ordination for the re-shoot of Game of Death, the film Bruce Lee was unable to complete before his death in 1973.
In 1979, Hung directed his second film, the comedy Enter the Fat Dragon, for H. K. Fong Ming Motion Picture Company playing the lead role Ah Lung. Hung has impersonated Lee on film twice more -