Origins
Mantis Boxing (Tanglang Quan) is a classical Chinese martial system founded in Shandong, most likely during the Kangxi reign (1662-1722) of the Qing Dynasty. The style’s foundation is attributed to alleged anti-Qing rebel Wang Lang, who in popular folklore is said to have created it after observing a mantis attacking and killing a cicada. The historical accuracy of the foundation legend (and its multiple variants) is tenuous at best, but the system is said to have been passed down by the monks of Laoshan for almost one hundred years before transmission beyond the temples of the mountain.
Whether founded by Wang Lang, or in fact even practiced on Laoshan prior to the 20th century, Tanglang became the system of choice for bandits, security companies and private militia in Shandong over the next few hundred years and has continued to evolve via continual conflict and technical exchange with neighbouring styles.
Whether founded by Wang Lang, or in fact even practiced on Laoshan prior to the 20th century, Tanglang became the system of choice for bandits, security companies and private militia in Shandong over the next few hundred years and has continued to evolve via continual conflict and technical exchange with neighbouring styles.
Technical
Mantis Boxing is a comprehensive system, having absorbed the techniques and principles of the major Northern Chinese schools of boxing. Its consolidation of diverse methods, as recorded in ancient manuscripts, categorises Tanglang as one of the earliest verifiable examples of a true ‘mixed martial art’. Although often labelled as an imitative or ‘mimic’ boxing style, Tanglang emphasises the spirit and ferocity of the mantis rather than superficial mimicry of the insect's movements.
Mantis Boxing utilises the full range of striking methods (open and closed handed strikes, kicks, knees, elbows, head butting, shoulder, torso and hip/buttock ramming), grappling and throwing, joint seizing and immobilization and pressure point attacks. Tanglang attacks in rapid-fire combinations supported by highly mobile footwork, inspired by the nimble movement of primates.
Mantis Boxing utilises the full range of striking methods (open and closed handed strikes, kicks, knees, elbows, head butting, shoulder, torso and hip/buttock ramming), grappling and throwing, joint seizing and immobilization and pressure point attacks. Tanglang attacks in rapid-fire combinations supported by highly mobile footwork, inspired by the nimble movement of primates.
Divisions
Various factions arose within Mantis Boxing at the turn of the 19th century - the two most prominent being Qixing (Seven Star) and Meihua (Plum Blossom). Meihua is further divided into Taiji (Grand Ultimate) and Taijimeihua (Grand Ultimate Plum Blossom) Tanglang. Taiji and Meihua Tanglang are essentially two branches of the same family rather than distinct divisions, with Taijimeihua (AKA Hao Family Taijimeihua) a distinct entity built upon the foundations of Meihua. The third most prominent school is Liuhe (Six Harmonies), the so-called ‘soft’ or internal variety of Mantis Boxing.
Other mantis sects include Babu (Eight Step), Guangban (Shining/Bright Board), Mimen (Secret/Closed Door), Yuhuan (Jade Ring), Chang Quan (Long Fist), Shaolin, Tongbei and Yuanyang (Mandarin Duck) Tanglang. Unrelated families of Tanglang also arose in Guangdong and Fujian Provinces.
Other mantis sects include Babu (Eight Step), Guangban (Shining/Bright Board), Mimen (Secret/Closed Door), Yuhuan (Jade Ring), Chang Quan (Long Fist), Shaolin, Tongbei and Yuanyang (Mandarin Duck) Tanglang. Unrelated families of Tanglang also arose in Guangdong and Fujian Provinces.
Boxing Art
Although commonly labelled a waijia (external) martial art, Mantis Boxing certainly contains neijia (internal) principles and methods, especially evident at the higher levels. Mantis Boxing also contains its own Qigong (internal energy cultivation skill) methods, including those such as Shiba Luohan Gong (Eighteen Arhat Skill), San Hui Jiu Zhuan (Three Returns Nine Rotations) and Ba Duan Jin (8 Section Brocade). As a result, the system defies such convenient categorisation.
Tanglang Quan is an explosive and highly demanding art, best suited to those of an athletic disposition. Considerable physical effort and coordination is required to execute even fundamental techniques. Training consists of a multitude of drills aiding in the development of dynamic flexibility, strength (including the use of apparatus), endurance, explosive power and speed. Perhaps as a direct result of its stringent physical requirements and rigorous training regimen, Tanglang has produced some of Shandong and the Dongbei (Northeast) region's most fearsome fighters (Kuaishou Li, Liang Xuexiang, Fan Xudong, Yang Weixin and Jiang Hualong amongst others) earning a well-deserved reputation as an effective boxing art.
Tanglang places great emphasis on practicality and as such, free fighting (Sanda, Sanshou or Boji) is a major component of training. Tanglang Sanda incorporates all elements of combat, beginning at the elementary level with open hand strikes and limited kicks and throws. Graduated progression leads through to unlimited contact with all striking surfaces, joint locking and throws - terminating in attacks to the grounded opponent. The ‘ground fighting’ component of Tanglang constitutes falling and evasion techniques, defence and counter-attack from the grounded position against a standing opponent, as opposed to ground-based grappling.
Tanglang Quan is an explosive and highly demanding art, best suited to those of an athletic disposition. Considerable physical effort and coordination is required to execute even fundamental techniques. Training consists of a multitude of drills aiding in the development of dynamic flexibility, strength (including the use of apparatus), endurance, explosive power and speed. Perhaps as a direct result of its stringent physical requirements and rigorous training regimen, Tanglang has produced some of Shandong and the Dongbei (Northeast) region's most fearsome fighters (Kuaishou Li, Liang Xuexiang, Fan Xudong, Yang Weixin and Jiang Hualong amongst others) earning a well-deserved reputation as an effective boxing art.
Tanglang places great emphasis on practicality and as such, free fighting (Sanda, Sanshou or Boji) is a major component of training. Tanglang Sanda incorporates all elements of combat, beginning at the elementary level with open hand strikes and limited kicks and throws. Graduated progression leads through to unlimited contact with all striking surfaces, joint locking and throws - terminating in attacks to the grounded opponent. The ‘ground fighting’ component of Tanglang constitutes falling and evasion techniques, defence and counter-attack from the grounded position against a standing opponent, as opposed to ground-based grappling.
Characteristics
Mantis Boxers have at their disposal the complete arsenal of percussive attack methods. Coupled with an extremely wide range of seizing, grappling, sweeping and throwing methods, the exponent has the option of delivering highly variable attack combinations guided by detailed strategies of long, middle and close range combat.
Combinations flow from one strike into the next, with straight thrusting strikes folding or collapsing on impact into coiling or circular attacks – inversely, arcing attacks instantaneously rebounding into penetrating linear strikes. Heavy, smashing blows evolve on contact into ‘soft’, wrapping/dampening techniques, while flexible whip-like strikes readily solidify on impact to produce club-like pounding.
Long-range chopping, lashing and raking attacks bring the practitioner into the middle range, smashing the opponent's preliminary defences to enter the ‘central hall’. Rapid combinations randomly alternating between upper and lower target zones, paired with destabilising lower leg attacks tie up the opponent, reducing the opportunity for counter-attack until devastating short-range strikes finish the job.
Combinations flow from one strike into the next, with straight thrusting strikes folding or collapsing on impact into coiling or circular attacks – inversely, arcing attacks instantaneously rebounding into penetrating linear strikes. Heavy, smashing blows evolve on contact into ‘soft’, wrapping/dampening techniques, while flexible whip-like strikes readily solidify on impact to produce club-like pounding.
Long-range chopping, lashing and raking attacks bring the practitioner into the middle range, smashing the opponent's preliminary defences to enter the ‘central hall’. Rapid combinations randomly alternating between upper and lower target zones, paired with destabilising lower leg attacks tie up the opponent, reducing the opportunity for counter-attack until devastating short-range strikes finish the job.
Evolution
Mantis Boxing has an extensive catalogue of bare-hand and weapon routines, which have arisen throughout the course of its evolution. These routines, or forms, are the equivalent of an encyclopaedia preserving the core principles and techniques of the style.
It is generally considered that Beng Bu (Burst or Crushing Step), Lanjie (Intersection, AKA Luanjie – Chaotically Connected), Ba Zhou (Eight Elbows) and the Zhaiyao (Summary, Abstract or Essentials) series are among the oldest forms still extant. Rou Ling (Flexible or Soft Efficacy), Duo Gang (Avoiding Hardness, AKA; Cuo Gang, Zuo Gang), Shiba Suo (variously; 18 Shuttles, 18 Locks), Shuang Cha Hua (Double Insert Flowers), Fanche (Waterwheel), Tou Tao (Steal Peach), Chu Dong (Exit Cave) and Ru Dong (Enter Cave) are considered antique sets at the core of the Qixing Tanglang curriculum.
It is an unproven but attractive hypothesis that the originators of the style formulated a system based almost entirely around key methods eventually outlined in the 12 Character Principles, the practice of free fighting and qigong (hard and soft) – potentially devoid of boxing routines.
It is generally considered that Beng Bu (Burst or Crushing Step), Lanjie (Intersection, AKA Luanjie – Chaotically Connected), Ba Zhou (Eight Elbows) and the Zhaiyao (Summary, Abstract or Essentials) series are among the oldest forms still extant. Rou Ling (Flexible or Soft Efficacy), Duo Gang (Avoiding Hardness, AKA; Cuo Gang, Zuo Gang), Shiba Suo (variously; 18 Shuttles, 18 Locks), Shuang Cha Hua (Double Insert Flowers), Fanche (Waterwheel), Tou Tao (Steal Peach), Chu Dong (Exit Cave) and Ru Dong (Enter Cave) are considered antique sets at the core of the Qixing Tanglang curriculum.
It is an unproven but attractive hypothesis that the originators of the style formulated a system based almost entirely around key methods eventually outlined in the 12 Character Principles, the practice of free fighting and qigong (hard and soft) – potentially devoid of boxing routines.
Twelve Character Principles
Though generally containing several consistent core components, the 12 Character Principles (AKA 12 Keyword Formula) vary between families. There are many variations of keyword formulae, some including a larger number of characters (from 12 – 36 characters). Each principle can be applied independently, or in combination with any other – most commonly expressed in four character groupings, reflected in spoken verse – e.g. ‘Gou, Lou, Cai, Gua’.
The following version was widely disseminated as representative of Shaolin Jingang Qixing Tanglang in the latter half of the 20th century. It is one of a number of versions recorded by Li Zhanyuan over a martial career spanning approximately 80 years.
Gou (hook): Attach or deflect by hooked hand or ‘mantis claw’.
Lou (rake, gather, grasp): Gather or control by grasping or raking motion.
Cai (pluck, pick, snatch): Plucking, pulling or reefing motion.
Gua (hang, suspend): Rising defection incorporating a circular arc, resulting in the temporary suspension of an opponent’s strike.
Nian (to be sticky, to adhere): To contact and adhere.
Zhan (paste, to be stuck on): Following the contacted surface as if glued.
Tie (press, attach): To press against, assisting the acceleration of the target whilst attached.
Kao (lean against, closing): To close in, lean on and repel by sudden transferral of explosive force.
Beng (burst, crack, crumble, collapse): Explosive burst or crack, literally the Beng Chui or back-fist strike. More generally - striking downwards with explosive force.
Pi (chop, hack, split): Literally, splitting or chopping strikes. Any cleaving or dividing motion.
Tiao (raise, lift): Uppercut strikes or lifting. Any motion from below that drives the target upwards and backwards.
Chong (smash, lash, thrust): Penetrating linear attacks.
The following version was widely disseminated as representative of Shaolin Jingang Qixing Tanglang in the latter half of the 20th century. It is one of a number of versions recorded by Li Zhanyuan over a martial career spanning approximately 80 years.
Gou (hook): Attach or deflect by hooked hand or ‘mantis claw’.
Lou (rake, gather, grasp): Gather or control by grasping or raking motion.
Cai (pluck, pick, snatch): Plucking, pulling or reefing motion.
Gua (hang, suspend): Rising defection incorporating a circular arc, resulting in the temporary suspension of an opponent’s strike.
Nian (to be sticky, to adhere): To contact and adhere.
Zhan (paste, to be stuck on): Following the contacted surface as if glued.
Tie (press, attach): To press against, assisting the acceleration of the target whilst attached.
Kao (lean against, closing): To close in, lean on and repel by sudden transferral of explosive force.
Beng (burst, crack, crumble, collapse): Explosive burst or crack, literally the Beng Chui or back-fist strike. More generally - striking downwards with explosive force.
Pi (chop, hack, split): Literally, splitting or chopping strikes. Any cleaving or dividing motion.
Tiao (raise, lift): Uppercut strikes or lifting. Any motion from below that drives the target upwards and backwards.
Chong (smash, lash, thrust): Penetrating linear attacks.