Willy Lin

Contents

Dedication
Acknowledgements
About the author
Author's preface
History of Chin-Na
Part One: Shao Tran
Chapter One: Primary grab
Chapter Two: Counters to Shao Tran
Part Two: Chin-Na against commonly attacked zones of the body
Chapter Three: Chin-Na against the neck grab
Chapter Four: Chin-Na against head holds from therear
Chapter Five: Chin-Na against head holds from the front
Chapter Six: Chin-Na against shoulder grabs
Chapter Seven: Chin-Na against the chest area
Chapter Eight: Chin-Na against body grabs
Chapter Nine: Chin-Na against grabs to teh imbs
Part Three: Chin-Na against the moving attack
Chapter Ten: Chin-Na against the punch
Chapter Eleven: Chin-Na against the kick
Part Four: Chin-Na against weapons
Chapter Twelve: Chin-Na against the knife
Afterword… (meer)

You are leisurely strolling through your local park one fine autumn evening when you are grabbed from behind by some thug demanding money. But the surprise is on him. Before he can even say the word 'wallet' you have him by the wrist or the thumb or the elbow, and with the least amount of effort, you literaly bring him to his knees.

And so it goes with the Chin-Na style of T'ien Shan P'ai kung fu, an ageless form of opponent control that hasn't changed in centuries. Still as simple as the day it was first developed, in the right hands it is amoung the most effective streefighting techniques being used today. The practitioner quickly seeks out some natural weakness in the body of his attacker, grasps it and manipulates it effectively.

One last word, Chin-Na is primarily a defensive, rather than an offensive, style. It was developed for opponent control, as a response to an attack. Students should always remember that Chin-Na techniques should never be used to break bones or to bring opoonents great harm.

Contents

Introduction
Author's Preface
Training tips before you practice
Part One: Principles
Chapter One: Basic preparations
Chapter Two: Pressure points
Chapter Three: The quick release
Chapter Four: Quick-release variations
Part Two: Execution
Chapter Five: The hair grab
Chapter Six: The neck grab
Chapter Seven: The chest grab
Chapter Eight: The upper-arm grab
Chapter Nine: The forearm grab
Chapter Ten: The wrist grab… (meer)

Here, in his first book, martial artist Willy Lin introduces readers to T'en Shan P'ai, an innovative and comprehensive school which incorporates elements of not only the Shaolin system, but Tai chi Ch'uan, Pa Kua and Hsing-I as well. A fully illustrated text, the work also includes section on the Chinese arts of Ch'in-Na (grappling) and Ch'i Kung (Breathing). Contents Part I A brief history Yin and yang Characteristics of T'ien Shan P'ai Part II The Shaolin boxing art The internal systems Tai Chi Ch'uan Hsing-I and Pa Kua Chin-Na Wrestling (Shaui Chueh) Weaponry Part III Basic exercises Basic techniques Basic forms… (meer)