Translated by: Emanuele Papa
This poem from the Qing scholar Gu Qian 顾汧 (1646-1712) is a very important historical testimony of wrestling practice among the Qing bannermen. Worthy of attention are the passages in which the poet describes the way the wrestlers engage each other, which closely resembles the ritual dance of inner Mongolian wrestling, also present in a slightly different fashion in today’s folk shuaijiao practice.
Have you not seen,
[that] at the Qin court, those with the strength to lift a ding (1) and its intricate pattern were promoted to the rank of official at court; [that during] the Han [they used to] go hunting carrying bows and spears, [their physical prowess was such that] when hitting a horse with their chariot its neck would snap.
Carrying a message, an imperial bodyguard arrived north, [and] military commander knelt down to listen to his speech: “In these recent years too few generals are as brave as tigers. Why don’t you all do your utmost?” Suddenly hearing the emperor’s words, all were terrified, [but] the brave[est] ones among them had their spirits high and excited. [At] the gate of the camp an order was issued, [calling for] a military examination, the bannermen were brave and jumped on their horses [excited for the battle]. They were separated into groups to fight each other with correct and reverent deportment, to continuously select the best among them. Leaping and jumping from two [opposite] sides, [wearing] short jackets [with] narrow sleeves and a pair of chaps (2), each seeking an opponent able to take him on, closing their fists and rubbing their palms [all] eager to fight an equally worthy [opponent] . [They] quickly circle [each other], keeping a distance not easy to cross , [then] suddenly engage in grappling, going towards each other. [With] iron arms and copper legs stretching out and slapping, [they] push and pull back and forth, about to fall but not yet falling. Like raging bears showing off their fury, like pixiu (3) leaping and jumping wild. Sometimes the fat violently crushes the thin, at other times the short one wearing black [boots] (4) throws the tall one wearing white. The last two men standing are equally strong and unwavering, wobbling [but still] holding on [to each other]. [Like] steel is tempered through fire, excellence is forged [in constant struggle], peace and happiness [are brought] to the whole army [by their] outstanding appearance. The Commander [led] the fearless cavalry to the hunting ground, and [the] two wings [shot] a rain of arrows like a wall. [Anywhere from] the plains to the Shalu mountain fell into confusion and disorder. Hunting ten or more beasts in one day, can it be called a success? [They] gazed at the wild prey like gazing at a herd of sheep. In a thick forest or in a deep cave [nowhere] it is safe to hide. The horse dragging the following chariots fully loaded and speeding on the road couldn’t carry any more. Cooked, the fat meat fills [their] leather bags. Every kind of thing is offered to the imperial palace. The Son of heaven’s great generals stroke fear into every direction [the whole world].
NOTES:
1) With the term ding 鼎 the author refers to one type of ancient Chinese ritual bronze. Such kind of objects where widely used for ritual purposes during the Shang (16th to 11th centuries BC) and Zhou (11th to 3rd centuries BC) dynasties. Chinese ritual bronzes and their peculiar design became so iconic that they were copied and reproduced with various different materials throughout all of Chinese history.
2) The author here uses the term 裲裆. Although the term generally refers to a piece of clothing or armor covering the chest and the back, this is not supported by any graphic source. The author is probably referring to a specific garment worn by the wrestlers on their legs to protect their knees. Indeed, it is possible to interpret the two characters separately from each other, thus indicating a garment worn on top of the pants and tied to the waist that protects the knees which at the same time leaves the groin area 裆 exposed. Such hypothesis is supported by the interpretation by Prof. 金启孮 of the same two characters from a passage of the poem 行围即景-相扑 written by 赵翼: … 衣才及露裲裆. [金启孮，中国摔跤史 (呼和胡特市，内蒙古出版社，2007)， p. 151.] Such kind of chaps or knee protection are still part Inner Mongolia traditional wrestling attire. The Manchu name for this specific piece of clothing was ᡨᠠᡴᡳᡨᡠ takitu.
3) The Pixiu 貔貅 is a Chinese mythical creature resembling a winged lion.
4) The two characters 黔 and 皙, namely black and white, are very likely referred to the traditional custom of wearing black and white boots to differentiate the two contenders.
The ballad can be found inside the 《凤池园集》.
