TIBETAN, LION'S ROAR, HOP-GAR, LAMA KUNG-FU

       The Lion's Roar!

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         Ruling Body-Lines 

          "Catur-Raja-Resha-Kaya"

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  Simhanada Catur-Raja-Resha-Kaya

        獅子吼身紋

The 'Ruling Lines' of the body within Indo-Tibetan Lion's Roar! Tantric Martial Arts, are called in Sanskrit: Simhanada Catur (also Catu) Raja Resha (also Rekha) Kaya. 

There are four in total, three transverse and one vertical.  These are called in Sanskrit:

1. Skandhya Resha  (Shoulder Body-Line)

2. Tanumadhya Resha (Waist Body Line)

3. Padhya Resha (Feet Body Line) 

4. Kaseruka Resha "Sushuma" (Spine/Central Channel Body Line). 

Figure 1.

       

Figure 1A.  WESTERN CONCOMITANT OF RULING (TRANSVERSE) LINES

   

Figure 2.

             

These Ruling Lines refer NOT to 'Gates' (Mun: in Han Cantonese), but to planes or axis's of structure (Rupa) and action (Karma) of the body (Kaya). 

The three transverse Ruling Lines move in relation to one another, but also in relation to the vertical Ruling Line.  The position and movement of these Lines relative to one another, produces the Shakti's (Han: Ging's) or Tantric 'Powers' of the Body in Lion's Roar! Martial Arts SEE LINK Simhanada Tantra Kaya Sakti

The Ruling Lines 'move' in the three physical dimensions and at varying angles and planes of incidence relative to one another.  So, the diagrams show only a basic representation.  The Ruling Lines also interact in the temporal dimension (time) and in the esoteric dimension represented by the Bardo concept (Sanskrit: Antarala) SEE LINK: The Bardo Warriors

The three transverse Ruling Lines are said to move up and down the length of the Vertical Ruling Line in a spiraling or corkscrew manner like spindles on a cog.  Physically, this produces the torque of integrated rotational forces, and the means to deliver these as issued force. Esoterically, it is linked with the mobilization of the Chakra's and the various Shakti's (see below).

All MANIFEST aspects of the Lion's Roar! Tantric Martial Art - that is the externally represented aspects of the Art, act thru the Ruling Lines of the Body.  This includes the Kaya's (Body's), Shaktis' (Powers), Guna's (Qualities and Principles), the Nama-Rupa and Nata of 'Form', and the  Mukti-Yoga itself (Techniques and Applications). 

The systems SEEDS see LINK: The 8-Seed Fists In Sanskrit and: Ashta Bija Mushti: Deva Raja all work thru the correct usage of the Ruling Lines.

Of ALL the Ruling Lines, the Sushuma or 'Central Channel' (correlated with the spine) is the most important.  Physically, the rotation of this vertical axis, and its linkages to all parts of the body, determines the maintenance of structure and motion for the whole body.  Esoterically, the vertical Ruling Line is governed by the 'Central Nadis Channel' (Sushuma) of the Subtle Body, and governs the flow of Prana (Han: Chi) 

In combat, displacement and disruption of this vertical Ruling Line in the opponent, is a basic goal of the Lion's Roar! Tantric Martial Art:

Figure 3.       Vertical Axis Displacement:

Dispalcement of centre of gravity by knocking the median plane out of alignment with the vertical axis. The body MUST then fall in the direction this plane is moving

                            

In Han variants of the Lion's Roar! Martial Art, the three transverse Ruling Lines are correlated with:

1. Skandhya Resha  (Shoulder Body-Line) with Tan-Ging 'Spring Power'

2. Tanumadhya Resha (Waist Body Line) with Che-San Ging 'Wheel-Body Power'

3. Padhya Resha (Feet Body Line) with Che-Mah Ging 'Wheel Horse (stance) Power'

These three work with the Chum-Ging 'Sinking Power' of the Vertical Axis the: Kaseruka Resha; to produce Chune-Ging 'Cutting Thru Penetrative Power' 

The Ruling Lines have Deva-Raja (Ruling Tantric Deities) associated with each:

1. Skandhya Resha  Kali;  Kali 'moves' thru coiled spring energy, which harnesses rising and issuing forces (Kiundalini)  The Rising forces reach the head, which is positioned at the juncture of the Sushuma and the Skandhya Resha (Head/Spine and Shoulder Line) The Skandhya Resha is the 'issuing' line of the upper limbs and the head. 

2. Tanumadhya Resha: Haruman; Haruman 'moves' with circular rotational arc paths thru the waist and Navel Chakra's

3. Padhya Resha: Indra; Indra 'moves' as the God of Sky and Thunder, to join Heaven and Earth. He issues from the root to the Sky, as a Thunderbolt meets as two simultaneous directions from sky to ground. This Ruling Line is rooted, but turns as the Wheel-Base along the Sushuma.

4. Kaseruka Resha: Vayu; Vayu 'moves' up and down the Line of the Vertical Axis, as a spiraling Vortex breath, so his 'Line' is the Central Channel of the breath of life - the Prana - as Sushuma - the Central Channel.

The Simhanada Catur-Raja-Resha-Kaya In Combat Application:

The Ruling Lines Of The Body have their applied combat application too.  As issuing lines for the initiation of force and of movement, and as mapping reference lines for the body, they are also applicable as 'contact and control' planes on the opponents structure:

Figure 4.

The Ruling Lines Overlain Onto A Laterally Aspected 'Target'

                                         

Figure 5

The Ruling Lines Overlain Onto A Frontally Aspected 'Target'

                                           

The ability to 'shape' and to control these planes, allows for fluid and efficient combat information processing, for striking and for grappling either upright or on the floor. 

This leads up to the Padma-Kaya the 'Lotus-Body' and its Western concomitant in combat information processing and modeling:

         The Padmakaya "Lotus Body"

Figure 6

                                    

       The "Torso Clock" the Western 

         equivalent of the Padmakaya

Figure 7

      

Torso-Clock as a HUD 'Head-Up Display

Padmakaya is similarly projected:

Figure 8

                                               

 Figure 9    Bindu-Kaya "Point Body"

                     Control Points:

        

  Figure 10 The Limb Control Points: the Western equivalent of the Bindu-Kaya

        

Bindu-Kaya "Point Body" Control Points: Laterally Aspected Target.

Figure 11

                                  

Bindu-Kaya "Point Body" Control Points: Frontally Aspected Target.

Figure 12

                                  

The Ruling Lines, The Padmakaya (and Western HUD Clock), plus the Limb Points (Bindu) are 'overlain' onto the target, and not as in Han-Chinese methods, placed in- between the target and the practitioner.  There is no 'waiting' for the opponent to pass thru 'Gates' or no modeling of passing thru Gates of our own in order to reach the opponent.  The method is proactive and goal orientated - the goals being summed up in the the Lion's Roar! Tantric Guna's SEE LINK: Mukti-Dharma

The Han 'Gate' model is essentially 'Introverted' (in a Western psychological sense) in that the model is placed between the subject and object and action occurs by passing thru the Gates.  The Lion's Roar! and HUD Combat Model is 'Exroverted' in that it actively seeks and overlays the target, and has its 'end-point' built it to the target acquisition process.  This has the advantage of reducing information processing load (RAM by analogy with a computers working memory)

  Guard Bisection And Shoulder Plane 

  Basic Engagements and Penetrations:

 

 

  

In Figures 13-15 above MANY variations in angle of incidence are possible.  From the examples given, these can easily be calculated.   

                                  

  Figure 17

Figure 18

Figure 19

Figure 20:  

Shoulder Plane and Upper-Limb Points:

 Figure 21:  Lion's Roar! Axe Path Attack

            'X'-ing The Torso 'Axe Path' - Strap Muscles of the 

                          Neck to the Iliac Crest of the hips

                                             

Cognitive Combat Information      Processing Path:

The Informational Field:

‘Combat Modeling’ refers to the process whereby the human brain makes sense out of the chaotic informational field that is interpersonal combat. In order to do this, the brain must work efficiently with information, both as raw input sensory data, and as an encompassing ‘model’ of the situation as a whole.

Figure 22:  

The 7-Stage Information Processing Model:

                             

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