THE WING CHUN LEGEND
1. The varied origins of Wing Chun – fact or folklore?
The story of the origin of the Wing Chun Kung Fu style is far from certain and is based more on assumptions and richly embellished legends than on verifiable facts.
Nevertheless, particularly in Germany, there is a tendency to adhere to the standard legend of the nun Ng Mui and her student Yim Wing Chun.
In Asia alone, however, there are numerous Wing Chun styles, each accompanied by its own version of the origin story. The legends of these diverse Wing Chun styles are propagated by their practitioners, with each story carrying its own sense of drama and intrigue, often resembling elaborately crafted folk tales.
To provide beginners in Wing Chun with an initial insight into the history of the Wing Chun system, I will first present the standard legend, which is especially widespread in Germany.
But be warned! This standard legend is only *one* possible version of the Wing Chun origin story!
In the following article Alternatives of the Wing Chun Legend, I will seek to critically examine the history of the Wing Chun system, presenting alternative views on the traditional legend.
Thank you for your effort, Cord. I invite you for a cup of coffee!
2. The Siu Lam temple, or Shaolin monastery - the birthplace of many Kung Fu styles
Shaolin refers to a Buddhist monastic order in China. In common usage, the term Shaolin also denotes the order's original monastery, located on Mount Songshan in the town of Dengfeng in Henan Province, at the heart of China.
The Shaolin Monastery is renowned for its martial art, Shaolin Kung Fu (Shaolin Quanfa), as well as Tai Chi Chuan (Tai Qi Quan) and Chi Kung (Qigong). It is also considered the birthplace of Chan Buddhism, the historical precursor to Japanese Zen Buddhism.
Shaolin Monastery or Temple - The Siu Lam Temple on Mount Songshan in Dengfeng, Henan Province, China.
The temple’s Chinese name, Shaolinsi, is composed of the characters *Shao* for "young" or "little," *Lin* for "forest," and *Si* for "temple." Thus, it can be interpreted as the "Temple in the Young Forest." Sometimes, it is also referred to as the Siu Lam Jee Temple, or simply the Siu Lam Monastery or Temple. In any case, “temple” and “monastery” both refer to the same Shaolin Monastery.
The monastery was established around 500 AD by the Indian monk Ba Tuo in the Songshan mountains of Henan Province. According to legend, the monk Bodhidharma (known as Putidamo in Chinese, or Da Mo) introduced the foundations of Shaolin martial arts around 527 AD as the founder and first patriarch of Chan Buddhism, later known as Zen Buddhism in Japan (see the related article on Buddhism in Wing Chun). These teachings were further developed at the monastery and passed down to subsequent generations of monks.
During the Tang Dynasty (around 600 AD), the Shaolin monks gained significant renown throughout the Chinese empire. The Shaolin Monastery is said to have dispatched 13 warrior monks in 728 AD to assist the beleaguered Tang Dynasty. In gratitude for this aid, the emperor granted the monastery certain privileges, including the right to train some monks as warriors.
From 1368 to 1644, the Shaolin Monastery and its martial arts flourished under the support of the ruling Ming Dynasty. Reports suggest that the monastery's army reached a strength of about 2,500 men, and the martial arts practiced there evolved into countless variations and techniques. This period is often referred to as the golden age of the monastery.
Shaolin Monastery or Temple - The monastery is famous for the martial art of Shaolin Kung Fu.
Throughout its history, the temple (or monastery) has been destroyed, looted, and rebuilt numerous times. The most well-known of these alleged destructions occurred during the Qing Dynasty, supposedly ordered by Emperor Kangxi (also spelled Kang-Hsi, 1654–1722). According to legend, fearing the martial prowess of the monks, he had the temple set ablaze, resulting in its destruction and the death of many monks.
However, Kangxi is likely better regarded as a supporter of the temple. Evidence supporting this is the calligraphic inscription that still hangs above the monastery’s main gate.
Other legends speak of a second Shaolin Monastery located further south in Fujian (Fukien), which reportedly existed until the 18th century.
It is possible that the legend of Kangxi’s destruction of the Shaolin Monastery refers to this southern monastery. This southern Shaolin Monastery is often regarded as the origin of southern Chinese martial arts styles, such as Wing Chun. However, the exact historical location of this monastery remains uncertain, with at least three different sites in China claiming to be the location of the southern monastery.
3. The Legend of the Shaolin Monastery’s Destruction
As mentioned earlier, the Shaolin Monastery is believed to have been destroyed during the Qing Dynasty, allegedly by Emperor Kangxi. Other sources, however, attribute the destruction to Emperor Yongzheng (also known as Yinzhen or Yung-Cheng, 1678–1735).
Yongzheng, the fourth son of Emperor Kangxi, became Emperor of the Qing Dynasty in 1723 after a palace intrigue led him to succeed his father. Sources suggest that the destruction of the Shaolin Monastery occurred in Yongzheng’s 12th year of reign, although it remains uncertain if the burning of the monastery actually took place.
Legend places this destruction around 1740, which would mean Wing Chun could not have originated before this period, as it only began to develop after the monastery’s fall—around 1740, more or less. So, if one wishes to estimate the approximate age of Wing Chun, the calculation begins roughly at 1740, up to the present day. This remains only a rough approximation.
During this period, the Siu Lam Temple (or Shaolin Monastery) is said to have been a refuge for anti-Qing revolutionaries. Consequently, it was only a matter of time before the Manchu government decided to destroy the temple. According to legend, while Qing troops besieged the monastery from the outside, conspirators within the Siu Lam Monastery set it on fire, destroying it from within.
4. The Legend of the Nun Ng Mui as the Founder of a New Martial Art Style
Among Wing Chun practitioners, the following story is widely circulated about the creation of the Wing Chun system:
During the destruction of the Shaolin Monastery, many residents—including skilled martial monks, pilgrims, and servants—are said to have perished. However, some fighters reportedly managed to escape.
Among the escapees were the so-called Ng Jo or Wuzu, or the "Five Elders," who were considered the leaders of the five major Shaolin styles. This group included the Buddhist nun Ng Mui Si Tai (abbreviated as Ng Mui), the abbot of the Shaolin Monastery and Chan Buddhist teacher Jee Shim Sim Si (also written as Chi Sim or Chi Shin), the Daoist Bak Mei Dao Yan (also known as Pak Mei), Fung Dao-Duk (also written as Fung To Tak), and Miu Hin. These masters, along with a few of their closest disciples, fled the besieged monastery.
After their successful escape, the group separated, with each member hiding in different parts of the country.
Jee Shim, for instance, is said to have disguised himself as a cook on one of the many Red Junks, transport vessels that were the hallmark of a traveling opera troupe (Hung Suen Hay Ban).
Ng Mui, on the other hand, fled to the White Crane Temple (Bak Hok Jee) at the foot of the Daliang Mountains (also known as the Tai Leung Mountains) to devote herself to martial arts practice and the teachings of Chan Buddhism (see the related article on Buddhism in Wing Chun).
According to legend, Ng Mui began developing a new Kung Fu style that would enable her, as a woman, to defend herself effectively against male pursuers—both Manchu government soldiers and traitors from the Shaolin Monastery. She was acutely aware of the disadvantage women faced when fighting men and took this into account when designing the tactics for her new style.
She sought to create a martial art system for those who were physically less strong, a style that could rival the powerful Shaolin techniques of the monks, though it was naturally rooted in traditional Shaolin Kung Fu.
Many Kung Fu styles are said to have originated from or been inspired by the observation of animals, and the same is true for Wing Chun.
Legend has it that Ng Mui once witnessed a fight between a wild crane and a fox. The crane (positioned in the center) was encircled by the fox.
As the fox sought an opening to attack, the crane consistently turned its chest toward the circling fox. When the fox struck, the crane deflected the attack with a wing while simultaneously countering with its sharp beak. Practitioners of Wing Chun will recognize the typical alignment of the centerline toward the opponent (with Man Sao and Wu Sao facing the opponent’s center like a compass needle) and the strategy of simultaneous defense and counterattack. This is notably evident in the Biu Tze approach, where defense and offense merge into a single movement.
This encounter is said to have served as Ng Mui’s “inspiration for developing the new combat system.”
The Fight Between Fox and Crane – According to legend, the inspiration for many Kung Fu styles arose from observing animal battles. This is also true for Wing Chun: Ng Mui is said to have drawn her inspiration for the new martial art system of Wing Chun from watching a fight between a fox and a crane.
The innovative, until then nameless, martial arts system was based on Shaolin Kung Fu techniques (also known as Siu Lam Kung Fu), but it differed from Shaolin in its simplicity and adaptability of techniques and movements.
While the traditional 10 forms of Shaolin Kung Fu varied more in sequence than in technique, Ng Mui’s system contained only four so-called hand forms (*Siu Nim Tao*, *Cham Kiu*, *Biu Tze*, and *Mok Yan Chong Fat*).
The techniques of this new system were optimized for efficiency, whereas many of the typical Shaolin Kung Fu movements, although visually impressive and given grandiose names, left something to be desired in terms of effectiveness and practical application.
As a result, this new system was less suited for performances and demonstrations, stripped of all show-like elements.
On the contrary, it contained no movements that were meaningless or unnecessary, being instead focused on practicality and application in combat.
This practicality was reflected in the names of the techniques as well, which simply described a hand position (e.g., *Tan Sao* = “palm-up hand”) or the execution of a movement.
Ng Mui also downplayed the emphasis on physical strength that is traditionally valued in Shaolin Kung Fu. While a Shaolin Kung Fu student would traditionally spend years developing the deep stance (horse stance) to build strength before learning any movement sequences, Ng Mui’s system aimed to defeat opponents by following principles and concepts rather than relying on raw power.
Where traditional Shaolin Kung Fu practitioners employed a stable, wide, and deep stance, expansive footwork, and strong bridging arms, Ng Mui’s system placed greater emphasis on swift, spring-like hand techniques and a flexible stance that could be combined with rapid footwork.
5. Yim Wing Chun - The System's Namesake
Depending on the chosen spelling for the name (Wing Chun, Wing Tsun, WT derivatives, etc.), the system's namesake is written in various ways.
Some common variants include Yim Wing Chun, Yim Wing Tsun, Yim Wing Tsung, Yim Wing Tzun, Yim Ving Tshun, and Yim Wing Tjun—all of which refer to the same individual.
In this interpretation, I use the internationally recognized spelling "Wing Chun," which, fortunately, is not trademarkable and thus cannot be commercially exploited in any way. Accordingly, I will refer to the system’s namesake as Yim Wing Chun, as is customary.
According to legend, the young girl Yim Wing Chun (a name that translates to “everlasting spring” or “beautiful spring”) was born in Guangdong Province (also spelled Kuan-tung—a region in northeastern China). After her mother’s death, she lived alone with her father, Chim Lee (also written as Yim Lee).
Spring in China - Typical for spring in Asia (such as China or Japan) is the lush cherry blossom of the many cherry trees growing there.
Since plum and cherry trees blossom in spring in China and Japan, the plum or cherry blossom is a symbol of spring. This idea is captured in the Chinese proverb: Hong Mei Bao Chun—"The plum blossom heralds the coming of spring."
In China and throughout Asia, the plum blossom represents feminine beauty, purity, virtue, courage, and the triumph of spring over winter.
Its designation as a plum blossom (Mei in Chinese) is not entirely accurate. Botanically, it is known as Prunus mume, which translates to “winter cherry.” This blossom belongs to a large genus where individual species were often mistaken for one another. For the people of ancient China, it was the first sign of approaching spring during the dark and cold season.
Many plum and cherry blossoms are five-petaled, which aligns with the symbolism of the Five Elders. Consequently, the stylized form of the plum or cherry blossom is often used as an emblem for Wing Chun.
The blossom - the plum or cherry blossom is considered one of the hallmark symbols of the Wing Chun system. It serves as a reminder of the system’s namesake, Yim Wing Chun, which translates to "beautiful spring." Additionally, due to its five petals, it symbolizes the Five Elders who escaped from the Shaolin Monastery. On the left, you can see the stylized form of the blossom as it commonly appears in many Wing Chun logos, embodying both the beauty of the spring season and the legacy of the Five Elders.
Chim Lee made his living at the foot of the Daliang Mountains as a tofu and food vendor. According to legend, Yim Wing Chun’s beauty caught the attention of a local ruffian named Wong, who eventually proposed marriage. However, his proposal was far from the civilized kind we know today. Instead, Wong set a deadline and threatened to beat Yim Wing Chun if she refused to accept his offer—a situation more reminiscent of the Stone Age, especially in terms of women’s rights.
As fate would have it, the nun Ng Mui was a customer of Chim Lee’s, and through this connection, she learned of the troubles facing the father and daughter. Ng Mui, being the fierce, emancipated martial artist she was, decided to help Yim Wing Chun by giving her lessons in her newly developed martial art.
According to the legend, Yim Wing Chun mastered Ng Mui’s combat method after about three years! It’s worth noting that even then, skills didn’t come easily or overnight, requiring hard work, training, and dedication—an often-overlooked truth in today’s world.
After completing her three years of training under Ng Mui at the White Crane Temple, Yim Wing Chun was once again harassed by Wong. But this time, instead of running away, she challenged him to a fight. As with all good tales, it is clear that Yim Wing Chun thoroughly defeated Wong, leaving him humiliated.
Following this encounter, Wong reportedly never bothered Yim Wing Chun again, serving as a reminder that women should never tolerate mistreatment from men—whether that includes ultimatums, threats, insults, or violence. However, this also emphasizes that women should be prepared (physically and mentally) to take matters into their own hands. Nothing happens on its own, and relying on hope alone is rarely effective!
So, ladies, get ready for some hard Wing Chun training!
Later, Yim Wing Chun married her fiancé, Leung Bok Chao, to whom she passed on her martial art. In honor of his wife, he called it Wing Chun Kuen, meaning the "Boxing Style of (Yim) Wing Chun."
The term "Kuen" is sometimes spelled as "Chuan" (as in Tai Chi Chuan) or "Quan," translating to "fist" or "style." Thus, the abbreviated form Wing Chun is a shortened version of Wing Chun Kuen (Wing Chun Chuan or Wing Chun Quan) – the boxing style of Yim Wing Chun.
6. From Leung Bok Chao to Leung Lan Kwai and Wong Wah Bo
Leung Bok Chao later passed on the system he had learned from his wife to Leung Lan Kwai, a doctor and herbalist of the time. Leung Lan Kwai subsequently taught Wong Wah Bo, a member of the legendary Red Junk Opera Troupe (Hung Suen Hay Ban).
Typical Chinese junk - In China, the term "junk" refers to a variety of traditional single- or multi-masted sailing vessels. The German word Dschunke derives from the English term “junk,” which itself originates from the Malay words Dgong or Jong. These junks are used as trading, cargo, or fishing ships on Chinese rivers, coastal waters, and even the open sea. They are often utilized as houseboats as well. Larger junks can hold a capacity of 400 to 500 tons. The “Red Junks” likely resembled the style shown in the illustration—sturdy, practical, and versatile vessels central to the lives of many, including the legendary Red Junk Opera Troupe, which played a key role in Wing Chun’s history.
At that time, it was quite common for members of an opera troupe to have some knowledge of martial arts, as athletic movements and fight scenes were not unusual in opera performances.
Additionally, since the performers’ faces were heavily painted during shows, many revolutionaries and martial arts experts of the time could effectively hide within such troupes. This allowed them to conceal their true identities from the pursuing Manchu government without being recognized.
Chinese Opera - Unlike other forms of musical drama in Europe, India, or Japan, Chinese opera combines expressions of music, singing, acting, dance, and acrobatics, often shaped by local styles. The themes generally revolve around well-known legends and myths, serving as a medium to portray social, political, and spiritual aspects, and historically even addressing current events.
It’s common for Chinese opera troupes to seek athletic performers with martial arts experience. The use of masks and heavy makeup provides an ideal way for individuals to remain incognito, making it a perfect hiding place for those wanting to conceal their identity.
The abbot Jee Shim Sim Si (also known as Chi Sim), one of the original Five Elders who escaped from the Shaolin Monastery, is said to have taken refuge on the Red Junk by working as a cook.
During his time with the opera troupe members, he eventually revealed his true identity to a select few. Instead of betraying him, these individuals protected Jee Shim, as they too harbored strong resentment toward the ruling Manchu government.
Jee Shim began to teach Shaolin Kung Fu to chosen students, equipping them with skills to increase their chances of survival and victory in potential confrontations with Manchu soldiers.
Coincidentally, Leung Yee Tai, who worked as a laborer or seaman on the Red Junk, was on board at the same time as Wong Wah Bo. Responsible for steering and docking the vessel, Leung Yee Tai used a long pole (known as a “longpole”), which earned him the nickname “Poler.” In shallow waters, he would propel the boat forward by pushing against the riverbed, similar to the technique used in pole boats on the Neckar River in Germany, which can still be seen in Tübingen today.
During their journey together on the Red Junk, Leung Yee Tai and Jee Shim became acquainted. Jee Shim taught Leung Yee Tai the longpole techniques of Shaolin Kung Fu, passing on both the Six-and-a-Half-Point Longpole form and its applications.
Since Leung Yee Tai was accustomed to handling a long pole daily, he reportedly took to this combat skill naturally—a detail celebrated in the legend.
Pole Boats on the Neckar in Tübingen / Germany - The technique of steering and propelling boats using long poles, as seen in the image here, is still practiced today on the Neckar River in Tübingen, and it’s a popular pastime. If the pole gets stuck between rocks while pushing the boat forward, there’s a chance the boat might continue on without its “poler”—adding an element of adventure to the experience!
Wong Wah Bo is also said to have traveled on the Red Junk, not as a seaman but as a member of the opera troupe. He and Leung Yee Tai exchanged their knowledge, with Wong sharing his Wing Chun expertise in return for Leung’s longpole techniques. Through this exchange, the Wing Chun system expanded to include the longpole techniques and the Six-and-a-Half-Point Longpole form.
The integration of Wing Chun’s empty-hand training methods with the longpole combat techniques enhanced and refined both aspects—the strategic principles of Wing Chun and the tactical applications of the longpole as a weapon.
7. From Wong Wah Bo and Leung Yee Tai to Dr. Leung Jan
In his later years, Leung Yee Tai is said to have taught Wing Chun Kung Fu to Leung Jan (also known as Dr. Leung Jan or Jan Sin-Sang, meaning "Mr. Jan"), a physician from the city of Foshan (also spelled Fatshan, meaning “Buddha Mountain”) in Guangdong Province, southern China.
While the stories surrounding earlier figures such as Ng Mui and Yim Wing Chun remain largely unverified, Dr. Leung Jan’s existence is considered well-documented. The location of his apothecary in Foshan is still known, and some Wing Chun enthusiasts claimed around 2010 that an old, weathered wooden dummy could still be found there. Wing Chun’s mystical history seems to periodically bring surprising artifacts to light.
Dr. Leung Jan was reputedly a well-educated man with expertise in traditional Chinese medicine, including acupuncture and acupressure practices, meridian pathways, and *Chi* (Qi). He was also recognized as a Wing Chun master, earning the nickname “Wing Chun Wong” (King of Wing Chun).
Chinese Apothecary - As a physician and apothecary, Dr. Leung Jan was well-versed in traditional Chinese medicine (TCM), including acupuncture and related practices. Legend has it that he taught Wing Chun in his apothecary, blending his medical knowledge with martial arts training. This unique setting likely allowed his students to benefit from both his expertise in healing and his mastery of Wing Chun, creating an environment where health and martial arts were closely intertwined.
Dr. Leung Jan taught Wing Chun in his apothecary, known as Jan Sang Tong (meaning “Mr. Jan’s Hall”), where he instructed a number of students, including his sons Leung Chun and Leung Bik, as well as his disciple Chan Wah-Shun.
Despite his wealth, Dr. Leung Jan did not teach Wing Chun for financial gain; rather, he sought training partners to refine and develop his own Wing Chun skills further.
Chan Wah-Shun (also known as Jiao-Chin Wah or “Wah the Money Changer”) was reportedly not readily accepted as a student. Instead, he observed Leung Jan’s training sessions with his sons and eventually proved his worthiness by challenging and fighting one of Leung Jan’s sons. This display of determination convinced Leung Jan to take him on as a student.
8. Chan Wah-Shun, known als "Wah the Money Changer" and Yip Man
Chan Wah-Shun, the “Money Changer,” is also surrounded by numerous legends.
Once he became a student of Dr. Leung Jan, Chan Wah-Shun quickly progressed. Like many of his fellow countrymen, he worked as a common laborer in the marketplace, often among the lower classes. This environment provided him with ample opportunities to test and hone his Wing Chun skills in real fights. As a large and powerful man, he won many battles, thereby bolstering the reputation of the Wing Chun system throughout Foshan.
Chinese coins - Chan Wah-Shun earned the nickname “Wah the Money Changer” due to his trade. Throughout his Wing Chun journey, he significantly strengthened the system’s reputation, engaging in and winning numerous fights. His success in these encounters helped to establish Wing Chun as a respected martial art in the region.
Over the years, Chan Wah-Shun taught only 16 students in total, understanding early on that quality surpasses quantity. He preferred a smaller group over a large school where he couldn’t give each student individual attention. Unfortunately, this wise approach has largely faded in today’s commercialized martial arts world.
Among his students were his son Chan-Yiu Min, as well as disciples like Ng Siu-Lo, Ng Jung-So, Lui Yiu-Chai, Lai Hip-Chi, and his final student, Yip Man.
According to the story, around the age of 70, Chan Wah-Shun rented a space from the Yip family clan and accepted his 16th and last student—the then 11-year-old Yip Man (also spelled Ip Man).
When Chan Wah-Shun eventually passed away, Wing Chun’s development paused. None of his students had the time or resources to fully dedicate themselves to passing the art on to the next generation.
It wasn’t until Yip Man was 56 that he first introduced the Wing Chun system to the world. His hard work and the dedication of his tireless students—including Bruce Lee, Yip Chun, Yip Ching (Yip Man's sons), Lo Man Kam (Yip Man’s nephew), Lok Yiu, Moy Yat, Wong Shun Leung, Hawkins Cheung, Duncan Leung, and many others—were key to the art's popularity and spread.
Leung Ting, who claimed to be Yip Man’s last “closed door” student, remains a debated figure. Whether he actually studied directly with Yip Man or only conversed with him while receiving training from Yip Man’s senior students during Yip Man’s later years when he was elderly and ill, cannot be definitively answered today.
This question has little impact now, given Leung Ting’s notable contribution to popularizing the system under the name Wing Tsun. His success was also aided by Keith R. Kernspecht’s clever marketing strategy—a strategy that I personally view critically—which sparked intense discussions in the 1990s and early 2000s.
9. End of the Standard Legend - Moving Forward with Yip Man (Ip Man)
So far, this has been the standard legend of the Wing Chun system as it is most commonly recounted.
I’ve summarized it briefly, highlighting the key figures and events. This standard legend appears in countless Wing Chun books, with variations and embellishments here and there. At its core, however, the story remains the same, featuring the same essential characters (though name spellings vary due to the challenges of translating Chinese names into Western scripts).
Like any good myth, the story can be endlessly embellished. Some authors provide elaborate details about the lives of these legendary figures, as if they had personally shopped for tofu at the marketplace with Ng Mui or proposed to Yim Wing Chun.
It’s all quite amusing—if only some wouldn’t insist that this is exactly how it happened, honestly, truly, no joke, just like this… REALLY!
The most important takeaway is to understand that the origins of the Wing Chun system are rooted in legend—comparable to a fable or myth.
To clarify, legends often involve inaccurate claims that may still contain a kernel of truth, though the sources are unverified. Like folklore, myth, or fairy tales, the narrative framework of a legend remains in the realm of fiction.
So, what’s the truth behind the Wing Chun legend? Is it true?
Was Wing Chun really invented by a woman—or is that all just a clever marketing strategy from the 20th century?
Who really knows? China is full of such legends, and, as usual, there’s likely something to them.
For me, the question is less important and ultimately unanswerable—no matter who runs through every monastery in China today, claiming that Abbot Jee Shim personally sat on this or that stone slab, chewing tofu and practicing secret forms for digestion.
The legend and the tales are interesting and sometimes downright amusing. Still, as with other fictional stories, they’re enjoyable to read, and the countless variations often provide a good laugh—like the story where Yip Man allegedly snatches the drum from a police officer’s revolver with his fingers, as portrayed in the film Ip Man.
It makes one think the revolver must have been ancient and probably non-functional. Still, why not believe it?
In addition to this entertaining standard legend, I can’t resist offering readers some alternative versions of Wing Chun’s origin story in the article Alternatives to the Wing Chun Origin Legend, reminding us all that truth can sometimes be a matter of interpretation.
The history becomes especially interesting for Wing Chun practitioners from the time of Yip Man onward, as he was ultimately forced to introduce the Wing Chun system to the world due to financial necessity—a legacy from which we all benefit today.
To learn more about the development of Wing Chun from Yip Man’s era onward, you can read the article Yip Man – Forefather of Many Wing Chun Styles Worldwide.