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Martial arts are extensive systems of codified practices and traditions of combat that are practiced for a variety of reasons, including self-defense, competition, physical health and fitness, as well as mental, physical and spiritual development. The term martial art has become heavily associated with the fighting arts of eastern Asia, but was originally used in regard to the combat systems of Europe as early as the 1550s. An English fencing manual of 1639 used the term in reference specifically to the "Science and Art" of swordplay. The term is ultimately derived from Latin, martial arts being the "Arts of Mars," the Roman god of war.^[1] Some martial arts are considered 'traditional' and tied to an ethnic, cultural or religious background, while others are modern systems developed either by a founder or an association.

Variation and scope[link]

Martial arts may be categorized along a variety of criteria, including:

• Traditional or historical arts and contemporary styles of folk wrestling vs. modern hybrid martial arts.
• Regional origin, especially Eastern Martial Arts vs. Western Martial Arts
• Techniques taught: Armed vs. unarmed, and within these groups by type of weapon (swordsmanship, stick fighting etc.) and by type of combat (grappling vs. striking; stand-up fighting vs. ground fighting)
• By application or intent: self-defense, combat sport, choreography or demonstration of forms, physical fitness, meditation, etc.
• Within Chinese tradition: "external" vs. "internal" styles

By technical focus[link]

Unarmed

Unarmed martial arts can be broadly grouped into focusing on strikes, those focusing on grappling and those that cover both fields, often described as hybrid martial arts.

Strikes

• Punching: Boxing (Western), Wing Chun
• Kicking: Capoeira, Kickboxing, Taekwondo, Tang Soo Do, Savate
• Others using strikes: Karate, Kung Fu, Muay Thai, Ninjutsu, Sanshou, Vale Tudo

Grappling

• Throwing: Glima, Judo, Sambo
• Joint lock/Chokes/Submission holds: Aikido, Brazilian Jiu-Jitsu, Hapkido, Submission Wrestling
• Pinning Techniques: Judo, Wrestling, Sambo

Weapon-based

Those traditional martial arts which train armed combat often encompass a wide spectrum of melee weapons, including bladed weapons and polearms. Such traditions include eskrima, silat, Kalarippayattu, kobudo, and historical European martial arts, especially those of the German Renaissance. Many forms of Chinese martial arts also feature weapons as part of their curriculum.

Sometimes, training with one specific weapon will be considered a style of martial arts in its own right. This is especially the case in Japanese martial arts with disciplines such as kenjutsu and kendo (sword), bojutsu (staff), and kyudo (archery). Similarly, modern Western martial arts and sports include modern fencing, stick-fighting systems like canne de combat or singlestick, and modern competitive archery.

By application or intent[link]

Combat-oriented

Many martial arts, especially those from Asia, also teach side disciplines which pertain to medicinal practices. This is particularly prevalent in traditional Indian martial arts which may teach bone-setting, and other aspects of traditional Indian medicine.^[2]

Martial arts can also be linked with religion and spirituality. Numerous systems are reputed to have been founded, disseminated, or practiced by monks or nuns.

For example, gatka is a weapon-based Indian martial art created by the Sikhs of the Punjab region of India and the Kshatriya caste of Hindus have another ancient martial art named Shastra vidhya.

Japanese styles, when concerning non-physical qualities of the combat, are strongly influenced by Zen philosophy. Concepts like "empty mind" and "beginner's mind" are recurrent. Aikido, for instance, can have a strong philosophical belief of the flow of energy and peace fostering, as idealised by its founder Morihei Ueshiba.

Systema draws upon breathing and relaxation techniques, as well as elements of Russian Orthodox thought, to foster self-conscience and calmness, and to benefit the practitioner in different levels: the physical, the psychological and the spiritual.^[3]

Some martial arts in various cultures can be performed in dance-like settings for various reasons, such as for evoking ferocity in preparation for battle or showing off skill in a more stylized manner. Many such martial arts incorporate music, especially strong percussive rhythms. (See also war dance.)

History[link]

Historical martial arts[link]

While evidence show that martial arts have roots in prehistory, the earliest evidence of systematic training in specific martial arts traditions emerges in antiquity (late 1st millennium BC) in both Asia and Europe. The foundation of modern Asian martial arts is likely a blend of early Chinese and Indian martial arts. During the Warring States period of Chinese history (480-221 BC) extensive development in martial philosophy and strategy emerged, as described by Sun Tzu in The Art of War (c. 350 BC).^[4] Legendary accounts link the origin of Shaolinquan to the spread of Buddhism from India during the early 5th century AD, with the figure of Bodhidharma, to China.^[5]

Boxing was practiced in the ancient Mediterranean.

In Europe, the earliest sources of martial arts traditions date to Classical Antiquity.

Boxing (pygme, pyx), Wrestling (pale) and Pankration were represented in the Ancient Olympic Games. The Romans produced gladiatorial combat as a public spectacle.

Systema has its roots in the combat skills of the medieval Russian warriors

During the Middle Ages, the development of the cossacks as self-governing warrior communities in the current region of Ukraine and Southern Russia resulted in an accumulation of fighting skills passed through generations. Due to a wide variety of climate and enemies, these people developed versatile and fast-learning martial habilities, which are considered to be the roots of systema.^[6][7]

A number of historical combat manuals have survived from the European Middle Ages. This includes such styles as sword and shield, two-handed swordfighting and other types of melee weapons besides unarmed combat. The most famous of these is Johannes Lichtenauer's Fechtbuch (Fencing book) of the 14th century, which today forms the basis of the German school of swordsmanship. Likewise, Asian martial arts become well-documented during the medieval period, Japanese martial arts beginning with the establishment of the samurai nobility in the 12th century, Chinese martial arts with Ming era treatises such as Ji Xiao Xin Shu, Indian martial arts in medieval texts such as the Agni Purana and the Malla Purana, and Korean martial arts with Joseon era texts such as Muyejebo (1598). "Historical martial arts" in both Asia and Europe are mostly based on such records of the late medieval to early modern period (15th to 17th centuries; see also Koryū).

European swordsmanship was trained for duels until the Napoleonic era, and developed into sport fencing during the 19th century. Modern boxing originates with Jack Broughton's rules in the 18th century, and reaches its present form with the Marquess of Queensberry Rules of 1867. Europe's colonization of Asian countries also brought about a decline in local martial arts, especially with the introduction of firearms. This can clearly be seen in India after the full establishment of British Raj in the 19th century.^[8] Similar phenomena occurred in Southeast Asian colonies such as Malaysia, Indonesia, Vietnam and the Philippines.

Folk styles[link]

All over the world, there are traditional styles of folk wrestling, and in some cases also stick fighting, rooted in local culture and folklore. In East and Southeast Asia, these are forms such as Korean, Khmer or Mongolian wrestling and Japanese Sumo, in South and Southwest Asia Indo-Persian Pehlwani, in Central and Western Asia Turkic (Uzbek, Tatar) styles; in Europe, there are Icelandic, Swiss and various English wrestling traditions. African folk wrestling includes the West African style of Lutte Traditionnelle.

While these arts are based on historical traditions of folklore, they are not "historical" in the sense that they reconstruct or preserve a historical system from a specific era. They are rather contemporary regional sports that coexist with the modern forms of martial arts sports as they have developed since the 19th century, often including cross-fertilization between sports and folk styles; thus, the traditional Thai style of Muay Boran developed into the modern national sport of Muay Thai, which in turn came to be practiced worldwide and contributed significantly to modern hybrid styles like kickboxing and mixed martial arts.

Modern history[link]

late 19th to early 20th century

The mid to late 19th century marks the beginning of the history of martial arts as modern sports developed out of earlier traditional fighting systems. In Europe, this concerns the developments of boxing and fencing as sports. In Japan, the same period marks the formation of the modern forms of judo, jujitsu, karate, and kendo (among others) based on revivals of old schools of Edo period martial arts which had been suppressed during the Meiji Restoration.^{[citation needed]} Modern Muay Thai rules date to the 1920s. In China, the modern history of martial arts begins in the Nanjing decade (1930s) following the foundation of the Central Guoshu Institute in 1928 under the Kuomintang government.

Western interest in Asian martial arts arises towards the end of the 19th century, due to the increase in trade between the United States with China and Japan.^{[citation needed]} Relatively few Westerners actually practiced the arts, considering it to be mere performance. Edward William Barton-Wright, a railway engineer who had studied jujitsu while working in Japan between 1894–97, was the first man known to have taught Asian martial arts in Europe. He also founded an eclectic style named Bartitsu which combined jujutsu, judo, boxing, savate and stick fighting.

Fencing and Greco-Roman wrestling was included in the 1896 Summer Olympics. FILA Wrestling World Championships and Boxing at the Summer Olympics were introduced in 1904. The tradition of awarding championship belts in wrestling and boxing can be traced to the Lonsdale Belt, introduced in 1909.

20th century (1914 to 1989)

The International Boxing Association was established in 1920. World Fencing Championships have been held since 1921.

Brazilian Jiu-Jitsu, or Gracie Jiu-Jitsu, is an adaptation of pre–World War II judo developed by the brothers Carlos and Hélio Gracie, with a large focus on groundwork. Jiu-Jitsu gained fame quickly in Brazil because of the popular fights with Capoeira fighters.^[9]

As Western influence grew in Asia a greater number of military personnel spent time in China, Japan, and South Korea during World War II and the Korean War and were exposed to local fighting styles. Jujutsu, judo and karate first became popular among the mainstream from the 1950s-60s. Due in part to Asian and Hollywood martial arts movies, most modern American martial arts are either Asian-derived or Asian influenced.^[10] The term kickboxing (キックボクシング) was created by the Japanese boxing promoter Osamu Noguchi for a variant of Muay Thai and Karate that he created in the 1950s. American kickboxing was developed in the 1970s, as a combination of boxing and karate. Taekwondo was developed in the context of the Korean War in the 1950s.

The later 1960s and 1970s witnessed an increased media interest in the Chinese fighting systems, influenced by martial artist Bruce Lee. Jeet Kune Do, the system he founded, has its roots in Wing Chun, western boxing, savate and fencing. Bruce Lee is credited as one of the first instructors to openly teach Chinese martial arts to Westerners.^[11] World Judo Championships have been held since 1956, Judo at the Summer Olympics was introduced in 1964. Karate World Championships were introduced in 1970.

Following the "kung fu wave" in Hong Kong action cinema in the 1970s, a number of mainstream films produced during the 1980s contributed significantly to the perception of martial arts in western popular culture. These include The Karate Kid (1984) and Bloodsport (1988). This era produced some Hollywood action stars with martial arts background, such as Jean-Claude Van Damme and Chuck Norris.

Also during the 20th century, a number of martial arts systems were adapted for self-defense purposes for military hand-to-hand combat. World War II combatives, Kapap (1930s) and Krav Maga (1950s) in Israel, Systema (Soviet era Russia), San Shou (People's Republic of China). The US military de-emphasized hand-to-hand combat training during the Cold War period, but revived it with the introduction of LINE in 1989.

1990 to present

Jackie Chan one of the best known Hollywood actor and martial artist.

During the 1990s Brazilian Jiu-Jitsu became popular and proved to be effective in mixed martial arts competitions such as the UFC and PRIDE.^[12]

The K-1 rules of kickboxing were introduced in 1993, based on 1980s Seidokaikan karate.

Jackie Chan and Jet Li are prominent movie figures who have been responsible for promoting Chinese martial arts in recent years.

With the continual discovery of "new" Medieval and Renaissance fighting manuals, the practice of Historical European Martial Arts and other Western Martial Arts are growing in popularity across the United States and Europe.

Testing and competition[link]

Testing or evaluation is important to martial art practitioners of many disciplines who wish to determine their progression or own level of skill in specific contexts. Students within individual martial art systems often undergo periodic testing and grading by their own teacher in order to advance to a higher level of recognized achievement, such as a different belt color or title. The type of testing used varies from system to system but may include forms or sparring.

Steven Ho executing a Jump Spin Hook Kick

Various forms and sparring are commonly used in martial art exhibitions and tournaments. Some competitions pit practitioners of different disciplines against each other using a common set of rules, these are referred to as mixed martial arts competitions. Rules for sparring vary between art and organization but can generally be divided into light-contact, medium-contact, and full-contact variants, reflecting the amount of force that should be used on an opponent.

Light- and medium-contact[link]

These types of sparring restrict the amount of force that may be used to hit an opponent, in the case of light sparring this is usual to 'touch' contact, e.g. a punch should be 'pulled' as soon as or before contact is made. In medium-contact (sometimes referred to as semi-contact) the punch would not be 'pulled' but not hit with full force. As the amount of force used is restricted, the aim of these types of sparring is not to knock out an opponent; a point system is used in competitions.

A referee acts to monitor for fouls and to control the match, while judges mark down scores, as in boxing. Particular targets may be prohibited, certain techniques may be forbidden (such as headbutting or groin hits), and fighters may be required to wear protective equipment on their head, hands, chest, groin, shins or feet. Some grappling arts, such as aikido, use a similar method of compliant training that is equivalent to light or medium contact.

In some styles (such as fencing and some styles of Taekwondo sparring), competitors score points based on the landing of a single technique or strike as judged by the referee, whereupon the referee will briefly stop the match, award a point, then restart the match. Alternatively, sparring may continue with the point noted by the judges. Some critics of point sparring feel that this method of training teaches habits that result in lower combat effectiveness. Lighter-contact sparring may be used exclusively, for children or in other situations when heavy contact would be inappropriate (such as beginners), medium-contact sparring is often used as training for full contact

Full-contact[link]

Full-contact sparring or competition, where strikes are not pulled but thrown with full force as the name implies, has a number of tactical differences from light and medium-contact sparring. It is considered by some to be requisite in learning realistic unarmed combat.^[13]

In full-contact sparring, the aim of a competitive match is either to knock out the opponent or to force the opponent to submit. Where scoring takes place it may be a subsidiary measure, only used if no clear winner has been established by other means; in some competitions, such as the UFC 1, there was no scoring, though most now use some form of judging as a backup.^[14] Due to these factors, full-contact matches tend to be more aggressive in character, but rule sets may still mandate the use of protective equipment, or limit the techniques allowed.

Nearly all mixed martial arts organizations such as UFC, Pancrase, Shooto use a form of full-contact rules, as do professional boxing organizations and K-1. Kyokushin karate requires advanced practitioners to engage in bare-knuckled, full-contact sparring while wearing only a karate gi and groin protector but does not allow punches to the face, only kicks and knees. Brazilian Jiu-Jitsu and judo matches do not allow striking, but are full-contact in the sense that full force is applied in the permitted grappling and submission techniques.

Martial Sport[link]

Several martial arts, such as Judo, are Olympic sports.

Martial arts have crossed over into sports when forms of sparring become competitive, becoming a sport in its own right that is dissociated from the original combative origin, such as with western fencing. The Summer Olympic Games includes Judo, Taekwondo, western archery, boxing, javelin, wrestling and fencing as events, while Chinese Wushu recently failed in its bid to be included, but is still actively performed in tournaments across the world. Practitioners in some arts such as kickboxing and Brazilian Jiu-Jitsu often train for sport matches, whereas those in other arts such as aikido and Wing Chun generally spurn such competitions. Some schools believe that competition breeds better and more efficient practitioners, and gives a sense of good sportsmanship. Others believe that the rules under which competition takes place have diminished the combat effectiveness of martial arts or encourage a kind of practice which focuses on winning trophies rather than a focus such as cultivating a particular moral character.

The question of "which is the best Martial Art" has led to inter style competitions fought with very few rules allowing a variety of fighting styles to enter with few limitations. This was the origin of the first Ultimate Fighting Championship tournament (later renamed UFC 1: The Beginning) in the U.S. inspired by the Brazilian Vale tudo tradition and along with other minimal rule competitions, most notably those from Japan such as Shooto and Pancrase, have evolved into the combat sport of Mixed Martial Arts (MMA).

Some martial artists compete in non-sparring competitions such as breaking or choreographed routines of techniques such as poomse, kata and aka, or modern variations of the martial arts which include dance-influenced competitions such as tricking. Martial traditions have been influenced by governments to become more sport-like for political purposes; the central impetus for the attempt by the People's Republic of China in transforming Chinese martial arts into the committee-regulated sport of wushu was suppressing what they saw as the potentially subversive aspects of martial training, especially under the traditional system of family lineages.^[15]

Health and fitness benefits[link]

Training in martial arts imparts many benefits to the trainee, physical, mental, emotional and spiritual.^[16]

Through systematic practice in the martial arts a person's physical fitness may be boosted (strength, stamina, flexibility, movement coordination, etc.,)^{[citation needed]} as the whole body is exercised and the entire muscular system is activated. Beyond contributing to physical fitness, martial arts training also has benefits for mental health, contributing to self-esteem, self-control, emotional and spiritual well-being. For this reason, a number of martial arts schools have focused purely on therapeutic aspects, de-emphasizing the historical aspect of self-defense or combat completely.^{[citation needed]}

According to Bruce Lee, martial arts also have the nature of an art, since there is emotional communication and complete emotional expression.^{[citation needed]}

Self-defense, military and law enforcement applications[link]

U.S. Army Combatives instructor Matt Larsen demonstrates a chokehold.

Some traditional martial concepts have seen new use within modern military training. Perhaps the most recent example of this is point shooting which relies on muscle memory to more effectively utilize a firearm in a variety of awkward situations, much the way an iaidoka would master movements with their sword.

During the World War II era William E. Fairbairn and Eric A. Sykes were recruited by the Special Operations Executive (SOE) to teach their martial art of defendu (itself drawing on jujutsu and Western boxing) and pistol shooting to UK, US, and Canadian special forces. The book Kill or Get Killed, written by Colonel Rex Applegate, was based on the defendu taught by Sykes and Fairbairn. Both Fairbairn's Get Tough and Appelgate's Kill or Get Killed became classic works on hand-to-hand combat.

Traditional hand-to-hand, knife, and spear techniques continue to see use in the composite systems developed for today's wars. Examples of this include European Unifight, the US Army's Combatives system developed by Matt Larsen, the Israeli army's kapap and Krav Maga, and the US Marine Corps's Marine Corps Martial Arts Program (MCMAP).

Unarmed dagger defenses identical to those found in the manual of Fiore dei Liberi and the Codex Wallerstein were integrated into the U.S. Army's training manuals in 1942^[17] and continue to influence today's systems along with other traditional systems such as eskrima and silat.

The rifle-mounted bayonet, which has its origin in the spear, has seen use by the United States Army, the United States Marine Corps, and the British Army as recently as the Iraq War.^[18]

Martial arts industry[link]

Martial arts since the 1970s has become a significant industry, a subset of the wider sport industry (including cinema and sports television).

Hundreds of millions of people worldwide practice some form of martial art. Web Japan (sponsored by the Japanese Ministry of Foreign Affairs) claims there are 50 million karate practitioners worldwide.^[19] The South Korean government in 2009 published an estimate that Taekwondo is practiced by 70 million people in 190 countries.^[20]

The wholesale value of martial arts related sporting equipment shipped in the United States was estimated at 314 million USD in 2007; participation in the same year was estimated at 6.9 million (ages 6 or older, 2% of US population).^[21] R. A. Court, CEO of Martial Arts Channel, stated the total revenue of the US martial arts industry at USD 40 billion and the number of US practitioners at 30 million in 2003.^[22] Ultimate Fighting Championship generated a revenue of about USD 250 million in 2008, about 90% of the entire Mixed Martial Arts industry. World Wrestling Entertainment had a revenue of USD 1.4 billion.^[23]

Martial arts fraud[link]

Asian martial arts experienced a surge of popularity in the west during the 1970s, and the rising demand resulted in numerous low quality or fraudulent schools. Fueled by fictional depictions in martial arts movies, this led to the "ninja craze" of the 1980s United States.^[24] The rank system introduced for judo in the 1880s proved commercially viable, and "colored belt" systems were adopted in many martial arts degree mills (also known as "McDojos"; parodied in Penn & Teller: Bullshit! episode "Martial Arts", June 2010).

See also[link]

Martial arts portal

• For a time line of martial arts historical milestones, see Martial arts timeline
• For a detailed history of martial arts see: History of martial arts
• For a detailed list of martial arts, see List of martial arts
• For a detailed list of fictional martial arts, see List of fictional martial arts

Equipment[link]

• Breaking boards
• Dummy partners such as the wooden dummy
• Hojo undō, specialized conditioning equipment
• List of martial arts weapons
• Protective equipment for sparring and competition for example Boxing gloves and Headgear
• Targets such as punching bags and the makiwara

References[link]

External links[link]

Wikimedia Commons has media related to: Martial arts

• Martial arts at the Open Directory Project
• World Martial Arts Community
• Martial art books and resources

v t e Martial arts by regional origin The Martial Arts Portal     China (styles · list · wrestling) "External": Shaolin Kung Fu Northern: Changquan · Fanziquan · Northern Praying Mantis Southern: Bājíquán · Hung Ga · Southern Praying Mantis · Wing Chun Wudangquan / "Internal": Baguazhang · Liuhebafa · T'ai chi ch'uan · Xingyiquan Japan and Ryūkyū (Okinawa) traditional: swordsmanship (kenjutsu) (Battōjutsu)  · stick fighting (bojutsu) (Jōdō)  · archery (kyujutsu)  · spear (sojutsu)  · unarmed (jujutsu)  · Sumo · Kobudō · Ninjutsu modern: Aikido · Iaido · Judo · Jūkendō  · Karate · Kendo · Nippon Kempo Korea: Hapkido · Subak · Taekkyeon · Taekwondo · Kuk Sul Do · Tang Soo Do  · Ssireum Burma : Lethwei Laos  : Muay Lao Malaysia: Tomoi · Silat Melayu Thailand: Muay Boran  · Krabi krabong  · Silat Pattani Indonesia: Pencak Silat Philippines: Eskrima · Kuntao · Panantukan · Sikaran Vietnam: Vovinam Indian subcontinent North India: Gatka (Sikh) · Inbuan (Mizoram) · Lathi (stick fighting) · Malla-yuddha  · Musti yuddha  · Mukna (Manipur) · Pehlwani (Persian wrestling)  · Thang-Ta (Manipur) South India: Kalarippayattu  · Kuttu varisai  · Marma Ati  · Silambam Middle East and Central Asia Greater Iran Varzesh-e Pahlavani, Pehlwani folk wrestling: Armenian, Azeri, Mongolian, Turkish, Uzbek Western Historical fencing: German · French school of fencing · Italian · Spanish stick fighting: Bataireacht · Bâton français · Juego del Palo · Jogo do Pau · quarterstaff  · singlestick striking: Pankration · Greek boxing, Russian fist fighting folk wrestling: Breton · English: Cumbrian, Devon, Lancashire · Greek · Icelandic · Scottish · Serbian · Swiss Other Americas: Okichitaw Africa: Dambe, Istunka, Canarian wrestling, Senegalese wrestling Oceania: Mau rākau Modern or hybrid Olympics: Fencing · Boxing · Judo · Taekwondo · Wrestling  Australia: Zen Do Kai  Brazil: Brazilian Jiu-Jitsu · Capoeira · Luta livre esportiva  Canada: Defendo  · Okichitaw  PRC: Wushu · Sanshou  France: Canne de combat · Kinomichi · Savate  Germany: Universal Fight  Iran: Kung Fu To'a  Israel: Kapap · Krav Maga  Indonesia: Tarung Derajat  Japan: Judo · Japanese kickboxing  · Karate (styles)  · Puroresu · Shoot Boxing · Shooto · Shootfighting · Shoot wrestling  South Korea: Haidong Gumdo · Kuk Sool Won  · Taekwondo  Norway: Stav  Philippines: Modern Arnis · Yawyan Russia: Sambo · Systema · Retuinskih's System ROSS · Spetsnaz GRU hand-to-hand combat style · Kadochnikov's Systema · Ryabko's Systema Serbia: Real Aikido  Thailand: Muay Thai · Krabi krabong  United Kingdom: Bartitsu · Catch wrestling · Defendu  USA: Chun Kuk Do · Jeet Kune Do · Kajukenbo · American kickboxing  · Marine Corps Martial Arts Program · Modern Army Combatives · Toso Kune Do · Collegiate Wrestling

Martial
Born	March 1, 40 Augusta Bilbilis (now Calatayud, Spain)
Died	Between 102 and 104 AD Rome
Occupation	Author
Nationality	Roman
Genres	Satire
Notable work(s)	Epigrams
Influences Catullus, Pedo, and Marsus and Juvenal

Marcus Valerius Martialis (known in English as Martial) (March 1, 40 AD – between 102 and 104 AD), was a Latin poet from Hispania (the Iberian Peninsula) best known for his twelve books of Epigrams, published in Rome between AD 86 and 103, during the reigns of the emperors Domitian, Nerva and Trajan. In these short, witty poems he cheerfully satirises city life and the scandalous activities of his acquaintances, and romanticises his provincial upbringing. He wrote a total of 1,561, of which 1,235 are in elegiac couplets. He is considered to be the creator of the modern epigram.

Early life[link]

Knowledge of his origins and early life are derived almost entirely from his works, which can be more or less dated according to the well-known events to which they refer. In Book X of his Epigrams, composed between 95 and 98, he mentions celebrating his fifty-seventh birthday; hence he was born on March 1 (x. 24) 38, 39, 40 or 41 AD, under Caligula or Claudius. His place of birth was Augusta Bilbilis (now Calatayud) in Hispania Tarraconensis. His parents, Fronto and Flaccilla, appear to have died in his youth.

His name seems to imply that he was born a Roman citizen, but he speaks of himself as "sprung from the Celts and Iberians, and a countryman of the Tagus;" and, in contrasting his own masculine appearance with that of an effeminate Greek, he draws particular attention to "his stiff Hispanian hair" (x. 65, 7).

His home was evidently one of rude comfort and plenty, sufficiently in the country to afford him the amusements of hunting and fishing, which he often recalls with keen pleasure, and sufficiently near the town to afford him the companionship of many comrades, the few survivors of whom he looks forward to meeting again after his thirty-four years' absence (x. 104). The memories of this old home, and of other spots, the rough names and local associations which he delights to introduce into his verse, attest to the simple pleasures of his early life and were among the influences which kept his spirit alive in the stultifying routines of upper-crust social life in Rome.

He was educated in Hispania, a country which in the 1st century produced several notable Latin writers, including Seneca the Elder and Seneca the Younger, Lucan and Quintilian, and Martial's contemporaries Licinianus of Bilbilis, Decianus of Emerita and Canius of Gades. Martial professes to be of the school of Catullus, Pedo, and Marsus, and he admits his inferiority only to the first. The epigram bears to this day the form impressed upon it by his unrivalled skill.

Life in Rome[link]

The success of his countrymen may have been what motivated Martial to move to Rome, from Hispania, once he had completed his education. This move occurred in AD 64, in which Seneca the Younger and Lucan may have served as his first patrons.

Not much is known of the details of his life for the first twenty years or so after he came to Rome. He published some juvenile poems of which he thought very little in his later years, and he laughs at a foolish bookseller who would not allow them to die a natural death (I. 113). Martial had neither youthful passion nor youthful enthusiasm to precociously make him a poet. His faculty ripened with experience and with the knowledge of that social life which was both his theme and his inspiration; many of his best epigrams are among those written in his last years. From many answers which he makes to the remonstrances of friends—among others to those of Quintilian—it may be inferred that he was urged to practice at the bar, but that he preferred his own lazy Bohemian kind of life. He made many influential friends and patrons and secured the favor of both Titus and Domitian. From them he obtained various privileges, among others the semestris tribunatus, which conferred on him equestrian rank. Martial failed, however, in his application to Domitian for more substantial advantages, although he commemorates the glory of having been invited to dinner by him, and also the fact that he procured the privilege of citizenship for many persons on whose behalf he appealed to him.

The earliest of his extant works, known as Liber spectaculorum, was first published at the opening of the Colosseum in the reign of Titus. It relates to the theatrical performances given by him, but the book as it now stands was presented to the world in or about the first year of Domitian, i.e. about the year 81. The favour of the emperor procured him the countenance of some of the worst creatures at the imperial court—among them of the notorious Crispinus, and probably of Paris, the supposed author of Juvenal's exile, for whose monument Martial afterwards wrote a eulogistic epitaph. The two books, numbered by editors xiii. and xiv., and known by the names of Xenia and Apophoreta—inscriptions in two lines each for presents—were published at the Saturnalia of 84. In 86 he gave to the world the first two of the twelve books on which his reputation rests.

From that time till his return to Hispania in 98 he published a volume almost every year. The first nine books and the first edition of Book X. appeared in the reign of Domitian; Book XI. appeared at the end of 96, shortly after the accession of Nerva. A revised edition of book X., that which we now possess, appeared in 98, about the time of Trajan's entrance into Rome. The last book was written after three years' absence in Hispania, shortly before his death, which happened about the year 102 or 103.

These twelve books bring Martial's ordinary mode of life between the age of forty-five and sixty very fully before us. His regular home for thirty-five years was Rome. He lived at first up three flights of stairs, and his "garret" overlooked the laurels in front of the portico of Agrippa. He had a small villa and unproductive farm near Nomentum, in the Sabine territory, to which he occasionally retired from the boors and noises of the city (ii. 38, xii. 57). In his later years he had also a small house on the Quirinal, near the temple of Quirinus.

At the time when his third book was brought out he had retired for a short time to Cisalpine Gaul, in weariness, as he tells us, of his unprofitable attendance to the bigwigs of Rome. For a time he seems to have felt the charm of the new scenes which he visited, and in a later book (iv. 25) he contemplates the prospect of retiring to the neighbourhood of Aquileia and the Timavus. But the spell exercised over him by Rome and Roman society was too great; even the epigrams sent from Forum Corneli and the Aemilian Way ring much more of the Roman forum, and of the streets, baths, porticos and clubs of Rome, than of the places from which they are dated.

His final departure from Rome was motivated by a weariness of the burdens imposed on him by his social position, and apparently the difficulties of meeting the ordinary expenses of living in the metropolis (x. 96); and he looks forward to a return to the scenes familiar to his youth. The well-known epigram addressed to Juvenal (xii. I 8) shows that for a time his ideal was realized; but the more trustworthy evidence of the prose epistle prefixed to Book XII. proves and that he could not live happily away from the literary and social pleasures of Rome for long. The one consolation of his exile was a lady, Marcella, of whom he writes rather as if she were his patroness—and it seems to have been a necessity of his being to have always a patron or patroness—than his wife or mistress.

During his life at Rome, although he never rose to a position of real independence, and had always a hard struggle with poverty, he seems to have known everybody, especially every one of any eminence at the bar or in literature. In addition to Lucan and Quintilian, he numbered among his friends or more intimate acquaintances Silius Italicus, Juvenal, the younger Pliny; and there were many others of high position whose society and patronage he enjoyed. The silence which he and Statius, although authors writing at the same time, having common friends and treating often of the same subjects, maintain in regard to one another may be explained by mutual dislike or want of sympathy. Martial in many places shows an undisguised contempt for the artificial kind of epic on which Statius's reputation chiefly rests; and it seems quite natural that the respectable author of the Thebaid and the Silvae should feel little admiration for either the life or the works of the bohemian epigrammatist.

Martial and his patrons[link]

Martial was dependent on his wealthy friends and patrons for gifts of money, for his dinner, and even for his dress, but the relation of client to patron had been recognized as an honourable one by the best Roman traditions. No blame had attached to Virgil or Horace on account of the favours which they received from Augustus and Maecenas, or of the return which they made for these favours in their verse. That old honourable relationship, however, greatly changed between Augustus and Domitian. Men of good birth and education, and sometimes even of high official position (Juv. i. 117), accepted the dole (sportula). Martial was merely following a general fashion in paying his court to "a lord," and he made the best of the custom. In his earlier career he used to accompany his patrons to their villas at Baiae or Tibur, and to attend their morning levees. Later on, he went to his own small country house, near Nomentum, and sent a poem, or a small volume of his poems, as his representative at the early visit.

Martial's character[link]

Pliny the Younger, in the short tribute which he pays to him on hearing of his death, wrote, "He had as much good-nature as wit and pungency in his writings" (Ep. iii. 21). Martial professes to avoid personalities in his satire, and honour and sincerity (fides and simplicitas) seem to have been the qualities which he most admires in his friends. Some have found distasteful his apparent servile flattery to the worst of the many bad emperors of Rome in the 1st century. These were emperors Martial would later censure immediately after their death (xii. 6). However, he seems to have disliked hypocrisy in its many forms, and seems to be free from cant, pedantry, or affectation of any kind.

Though many of his epigrams indicate a cynical disbelief in the character of women, yet others prove that he could respect and almost revere a refined and courteous lady. His own life in Rome afforded him no experience of domestic virtue; but his epigrams show that, even in the age which is known to modern readers chiefly from the Satires of Juvenal, virtue was recognized as the purest source of happiness. The tenderest element in Martial's nature seems, however, to have been his affection for children and for his dependents.

[edit] Martial's Epigrams

Martial's keen curiosity and power of observation are manifested in his epigrams. The enduring literary interest of Martial's epigrams arises as much from their literary quality as from the colorful references to human life that they contain. Martial's epigrams bring to life the spectacle and brutality of daily life in imperial Rome, with which he was intimately connected.

From Martial, for example, we have a glimpse of living conditions]in the city of Rome:

"I live in a little cell, with a window that won't even close,

In which Boreas himself would not want to live."
Book VIII, No. 14. 5–6.

As Jo-Ann Shelton has written, "fire was a constant threat in ancient cities because wood was a common building material and people often used open fires and oil lamps. However, some people may have deliberately set fire to their property in order to collect insurance money."^[1] Martial makes this accusation in one of his epigrams:

"Tongilianus, you paid two hundred for your house;

An accident much common in this city destroyed it.

You collected ten times more. Doesn't it seem, I pray,

That you set fire to your own house, Tongilianus?"
Book III, No. 52

Martial also pours scorn on the doctors of his day:

"I felt a little ill and called Dr. Symmachus.

Well, you came, Symmachus, but you brought 100 medical students with you.

One hundred ice-cold hands poked and jabbed me.

I didn't have a fever, Symmachus, when I called you –but now I do.
Book V, No. 9

Martial's epigrams also refer to the extreme cruelty shown to slaves in Roman society. Below, he chides a man named Rufus for flogging his cook for a minor mistake:

"You say that the rabbit isn't cooked, and ask for the whip;

Rufus, you prefer to carve up your cook than your rabbit."
Book III, No. 94

Martial's epigrams are also characterized by their biting and often scathing sense of wit as well as for their lewdness; this has earned him a place in literary history as the original insult comic. Below is a sample of his more insulting work:

"You feign youth, Laetinus, with your dyed hair
So suddenly you are a raven, but just now you were a swan.
You do not deceive everyone. Proserpina knows you are grey-haired;
She will remove the mask from your head."
Book III, No. 43

"Rumor tells, Chiona, that you are a virgin,
and that nothing is purer than your fleshy delights.
Nevertheless, you do not bathe with the correct part covered:
if you have the decency, move your panties onto your face."
Book III, No. 87

"'You are a frank man', you are always telling me, Cerylus.
Anyone who speaks against you, Cerylus, is a frank man."
Book I, No. 67

"Eat lettuce and soft apples eat:
For you, Phoebus, have the harsh face of a defecating man."
Book III, No. 89

Or the following two examples (in translations by Mark Ynys-Mon):

Fabullus' wife Bassa frequently totes

A friend's baby, on which she loudly dotes.

Why does she take on this childcare duty?

It explains farts that are somewhat fruity.
Book IV, No. 87

With your giant nose and cock

I bet you can with ease

When you get excited

check the end for cheese.
Book VI, No. 36

Reception[link]

The works of Martial became highly valued on their discovery by the Renaissance, whose writers often saw them as sharing an eye for the urban vices of their own times. The poet's influence is seen in Juvenal, late classical literature, the Carolingian revival, the Renaissance in France and Italy, the Siglo de Oro, and early modern English and German poetry, until with the growth of the Romantic Movement he became unfashionable.

Notes[link]

External links[link]

Works[link]

Wikisource has original works written by or about: Martial

Latin Wikisource has original text related to this article: Marcus Valerius Martialis

• Martial on Wikisource
• Liber spectaculorum (in Latin)
• Epigrammata (in Latin) at Bibliotheca Augustana.
• Epigrammaton (in Latin) at The Latin Library.
• Complete Epigrams (in English) at The Tertullian Project – actually incomplete: sexually explicit material is untranslated.
• Selected Epigrams in translation at Theatre of Pompey: 2:14; 6:9; 10:51; 11:1; 14:29; 14:166
• Some of Martial's more risqué Epigrams translated by Joseph S Salemi
• Selected Epigrams translated by Elizabeth Duke
• Translations from Martial by Franklin P Adams
• Apophoreta (in Latin)
• Xenia (in Latin)

Other links[link]

Wikiquote has a collection of quotations related to: Martial

• Poems by Martial at Poemhunter.com
• Martial Quotations at The Quotations Page
• Martial Blog
• SORGLL: Martial I.96, V.41, and X.30; read by Wakefield Foster
• [1]
• Court Poet & Pornographer Glen Bowersock on Martial from The New York Review of Books

References[link]

•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

J P Sullivan. Martial: the unexpected classic (1991)

Jet Li 李连杰
Jet Li at the premiere of Fearless in 2006.
Chinese name	李連杰 (Traditional)
Chinese name	李连杰 (Simplified)
Pinyin	Lǐ Liánjié (Mandarin)
Jyutping	Lei5 Lin4 Git6 (Cantonese)
Ancestry	Beijing, China
Born	(1963-04-26) April 26, 1963 (age 49) Beijing, China
Other name(s)	Lee Yeung Chung / Li Yangzhong 李陽中 (Traditional) 李阳中 (Simplified) Lǐ Yángzhōng (Mandarin) Lei5 Joeng4 Zung1 (Cantonese) (Chinese producer pseudonym)
Occupation	Actor Martial artist Film producer
Years active	1982–present
Spouse(s)	Huang Qiuyan (1987–1990) Nina Li Chi (1999–present)
Official Website	www.jetli.com
Awards Hong Kong Film Awards Best Actor 2008 The Warlords Hong Kong Film Critics Society Awards Best Actor 2006 Fearless Golden Horse Awards Special Award 1995 Other awards Shanghai Film Critics Awards 2008 Best Actor (The Warlords)

This article contains Chinese text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Chinese characters.

Li Lianjie ([lì ljǎntɕjɛ̌]; born April 26, 1963), better known by his stage name Jet Li, is a naturalized Singaporean^[1][1] film actor, film producer, Chinese martial artist, wushu champion, and international star who was born in Beijing.

After three years of intensive training with Wu Bin, Li won his first national championship for the Beijing Wushu Team. After retiring from Wushu at age 19, he went on to win great acclaim in China as an actor making his debut with the film Shaolin Temple (1982). He went on to star in many critically acclaimed martial arts epic films, most notably the Once Upon A Time In China series, in which he portrayed folk hero Wong Fei-hung.

Li's first role in a Hollywood film was as a villain in Lethal Weapon 4 (1998), but his first Hollywood film leading role was in Romeo Must Die (2000). He has gone on to star in many Hollywood action films, including Kiss of the Dragon and Unleashed. He co-starred in The Forbidden Kingdom (2008) with Jackie Chan, The Expendables (2010) with Sylvester Stallone, and as the title character villain in The Mummy: Tomb Of The Dragon Emperor (2008) opposite Brendan Fraser. He also appeared in the Hong Kong film Ocean Heaven (2010), directed and written by Xue Xiaolu.

Early life and martial arts career[link]

Li Lianjie was born in Beijing, People's Republic of China, the youngest of two boys and two girls. His father died when he was two years old, leaving the family struggling.^[2]

Li was eight when his talent for wushu was noticed at a summer course at school, and he began his practice there.^[3] Li participated in the sport of wushu in the non-sparring event. He began his wushu on the Beijing Wushu Team, an athletic group organized to perform martial arts forms during the All China Games. He was coached by renowned wushu coaches Li Junfeng and Wu Bin,^[4] who made extra efforts to help the talented boy develop. Wu Bin even bought food for Li's family because they could not afford to buy meat, which was essential for the good physical condition of an athlete.^[4] As a member of the team, he received wushu training and went on to win fifteen gold medals and one silver medal in Chinese wushu championships, where, despite his young age, he competed against adults.^[5]

According to Li, once, as a child, when the Chinese National Wushu Team went to perform for President Richard Nixon in the United States, he was asked by Nixon to be his personal bodyguard. Li replied, "I don't want to protect any individual. When I grow up, I want to defend my one billion Chinese countrymen!"^[7]

Li is a master of several styles of wushu, especially Changquan (Northern Longfist Style) and Fanziquan (Tumbling fist). He has also studied other arts including Baguazhang (Eight trigram palm), Taijiquan (Supreme ultimate fist), Xingyiquan (Shape intent fist), Zuiquan (Drunken fist), Yingzhaoquan (Eagle claw fist) and Tanglangquan (Praying mantis fist). He did not learn Nanquan (Southern fist), because his training focused only in the Northern Shaolin Styles. He has also studied some of wushu's main weapons, such Sanjiegun (Three section staff), Gun (staff), Dao (Broadsword), Jian (Straight sword) and many more.^[8]

It is Jet Li's authentic martial arts prowess that enabled his rise to domestic and international fame.^[9]

Acting career[link]

Chinese films[link]

Jet Li
Jet Li's hand print and autograph at the Avenue of Stars in Hong Kong.
Traditional Chinese	李連杰
Simplified Chinese	李连杰
Transcriptions Mandarin - Hanyu Pinyin Lǐ Liánjié - Wade–Giles Li Lien-chieh Cantonese (Yue) - Jyutping Lei5 Lin4 Git6 - IPA [le̬i lɪ̏ŋkìt]
Alternative Chinese name
Traditional Chinese	李陽中
Simplified Chinese	李阳中
Transcriptions Mandarin - Hanyu Pinyin Lǐ Yángzhōng - Wade–Giles Li Yang-chung - IPA [lì jɑ̌ŋtʂʊ́ŋ] Cantonese (Yue) - Jyutping Lei5 Joeng4 Zung1 - IPA [le̬i jœ̏ŋtsʊ́ŋ] - Yale Romanization Lee Yeung Chong

The fame gained by his sports winnings led to a career as a martial arts film star, beginning in mainland China and then continuing into Hong Kong. Li acquired his screen name in 1982 in the Philippines when a publicity company thought his real name was too hard to pronounce. They likened his career to an aircraft, which likewise "takes-off" as quickly, so they placed the name Jet Li on the movie posters. Soon everybody was calling him by this new name, which was also based on the nickname, "Jet," given to him as a young student, due to his speed and grace when training with the Beijing Wushu team. He made his debut with the 1982 film Shaolin Temple. Some of his more famous Chinese films include:

• The Shaolin Temple series (1, 2 and 3), which are considered to be the films which sparked the rebirth of the real Shaolin Temple in Dengfeng, China;
• The Once Upon a Time in China series (Chinese title: Wong Fei Hung), about the legendary Chinese folk hero Master Wong Fei Hung.
• Fist of Legend (Chinese title: Jing Wu Ying Xiong), a remake of Bruce Lee's Fist of Fury.
• The Fong Sai Yuk films about another Chinese folk hero.

Li starred in the 1995 film High Risk, where Jet Li plays a Captain who becomes disillusioned after his wife is murdered by crime lords. Along the way, he pairs up with a wacky sell-out actor, Frankie (played by Jacky Cheung), and proceeds to engage in a series of violent battles in a high-rise building. The setting is similar to that of Die Hard and both their Chinese film titles. This movie is notable in that director Wong Jing had such a terrible experience working with Jackie Chan in Jing's previous film City Hunter that he chose to make Cheung's character a biting satire of Chan. Jet Li would later publicly apologize to Chan for taking part in it.

Li has two wuxia feature films scheduled for release in 2011, The Sorcerer and the White Snake and Flying Swords of Dragon Gate, the latter is helmed by Tsui Hark.

In order to promote tai chi, in 2012 Jet Li will star in a film titled Tai Chi and will co-produce the movie with Chen Kuo-Fu. Li will portray Tai Chi master Yang Lu-ch'an.^[10][11]

American films[link]

In 1998, he made his American film debut in Lethal Weapon 4 which also marked the first time he had ever played a villain in a film. He agreed to do Lethal Weapon 4 after the producer Joel Silver promised to give him the leading role in his next film, Romeo Must Die (2000) alongside late singer Aaliyah. The film became a box office hit.

Li turned down Chow Yun-fat's role in Crouching Tiger, Hidden Dragon (2000) because he promised his wife that he would not make any films during her pregnancy.^[12] He also turned down the role of Seraph in The Matrix trilogy, based on his belief that the role was not one which required his skills and that the films were iconic and stunning enough without adding his name to the cast list.

In 2001, he appeared in two more Hollywood films: The One which was the first of his films with Jason Statham and Kiss of the Dragon opposite Bridget Fonda which did moderately well at the box office. In July 2001, Li agreed to produce and star in an action film with Jackie Chan which was to be released in 2002 or 2003, but no further news of their collaboration surfaced until 2006. In 2002, the period martial arts epic film Hero was released in the Chinese market. This film was both a commercial and critical success and became the highest-grossing motion picture in Chinese film history at the time.^[13] In 2003 he reunited with producer Joel Silver for the action thriller film Cradle 2 The Grave where he starred alongside rapper DMX and fellow martial artist Mark Dacascos. In 2004, Li lent his likeness, voice and provided motion capture work for the video game Jet Li: Rise to Honor.

Li took on a more serious role in the 2005 film, Unleashed (a.k.a. Danny the Dog), where he portrayed an adult with the mentality of a child who has been raised like an animal. Although his martial arts skills were utilized extensively, it was a somber film with more depth than had been previously seen in Li's films, and co-starred dramatic actors Bob Hoskins and Morgan Freeman.

In 2006, the martial arts film epic Fearless, was released worldwide. Although he will continue to make martial arts films, Fearless is his last wushu epic. In Fearless, he played Huo Yuanjia, the real-life founder of Chin Woo Athletic Association, who reportedly defeated foreign boxers and Japanese martial artists in publicized events at a time when China's power was seen as eroding. Together with the film Fist of Legend, Li has portrayed both Chen Jun, the student and avenger of Huo Yuanjia (aka Fok Yun Gap), as well as Huo Yuanjia himself. Fearless was released on January 26, 2006 in Hong Kong, followed by a September 22, 2006 release in the United States where it reached second place in its first weekend.

I stepped into the martial arts movie market when I was only 16. I think I have proved my ability in this field and it won't make sense for me to continue for another five or 10 years. Huo Yuanjia is a conclusion to my life as a martial arts star.^[14]

Li has stated in an interview with the Shenzhen Daily newspaper that this will be his last martial arts epic, which is also stated in the film's television promotions. However, he plans to continue his film career in other genres. Specifically, he plans to continue acting in action and martial arts films; epic films deal more with religious and philosophical issues.

Li's 2007 Hollywood film, War, was released in August of that year, and re-teamed him with actor Jason Statham, who previously starred with him in The One, and action choreographer Corey Yuen. War raked in a disappointing $23 million at the box office, becoming one of Li's lowest grossers in America; however, it was a hit on video, accumulating nearly $52 million in rental revenue, more than doubling its box office take.^[15] With the exception of Romeo Must Die and the worldwide release of Hero, most of Li's American films have been only modest hits like Kiss Of The Dragon, The One, Unleashed, Cradle 2 the Grave, and the worldwide release of Fearless.

In late 2007, Li returned again to China to participate in the China/Hong Kong co-production of the period war film The Warlords with Andy Lau and Takeshi Kaneshiro. This film with its focus on dramatics rather than martial arts netted Li the Hong Kong Film Award for Best Actor.

Li and fellow martial arts veteran Jackie Chan finally appeared together onscreen for the first time in The Forbidden Kingdom, which began filming in May 2007 and was released to critical and commercial success on April 18, 2008. The film was based on the legend of the Monkey King from the Chinese folk novel Journey to the West.^[17][18] Li also starred as the lead villain in the fantasy action film The Mummy: Tomb of the Dragon Emperor with actors Brendan Fraser, Isabella Leong and Michelle Yeoh.^[19]

After a one-year hiatus from filmmaking, Jet Li returned to acting in 2009, portraying a mercenary in the film The Expendables, teaming up with action stars Sylvester Stallone, Jason Statham, Dolph Lundgren, Mickey Rourke, Eric Roberts, Steve Austin, Terry Crews, and Randy Couture. It was the third time he had teamed up with Statham.

Personal life[link]

Jet Li with Jackie Chan in Hong Kong.

Li is a practitioner of Tibetan Buddhism.^[20] His master is Lho Kunsang^[21] of the Drikung Kagyu lineage of the Kagyu school.^[22]

In 1987, Li married Beijing Wushu Team member and Kids from Shaolin co-star Huang Qiuyan,^[23] with whom he has two daughters, Si and Taimi.^[24] They divorced in 1990. Since 1999, he has been married to Nina Li Chi (born Li Zhi), a Shanghai-born, Hong Kong-based actress. He has two daughters with her as well, Jane (born 2000) and Jada (born 2002).^[25]

Li was in the Maldives when a tsunami hit during the 2004 Indian Ocean earthquake. Although it was widely reported at the time that he had died during the disaster,^[26] he only suffered a minor foot injury, caused by a piece of floating furniture, while he was guiding his 4-year-old daughter Jane and the nanny holding his 1-year-old daughter Jada to safety. The four of them were by the pool and slightly above the beach when the wave came ashore.^[27]

In 2009, Li, who previously had American citizenship, after years working in the United States, was thought to have renounced his American citizenship and taken up Singaporean citizenship,^[1][28] although no official confirmation has been provided by Singapore authorities.^[29] On July 28, 2009, the chairman of One Foundation (the Charity fund of Jet Li) announced that Jet Li had indeed become a Singaporean citizen.^[1] He was said to have chosen Singapore for its education system for his two daughters.^[1]

In 2009, Li launched his own fitness program that he named "Wuji".^[30] The programme consists of elements of martial arts, yoga and pilates; Adidas launched a special clothing line for it that bears the initials of "JL".^[31][32]

In his free time he likes to play badminton, table tennis, volleyball, ride his bicycle, read and meditate. He collects rare Tibetan beads. He says he is never bored in his free time.^[33][34]

Views on life and martial arts[link]

Li as a Buddhist believes that the difficulties of everyday life can be overcome with the help of religious philosophies.^[36] He thinks that fame is not something he can control; therefore, he does not care about it.^[37]

According to Li, everything he has ever wanted to tell the world can be found in three of his films: the message of Hero is that the suffering of one person can never be as significant as the suffering of a nation; Unleashed shows that violence is never a solution and Fearless tells that the biggest enemy of a person is himself. Li thinks that the greatest weapon is a smile and the largest power is love.^[38]

About Wushu, Li said that he believes the essence of martial arts is not power or speed but inner harmony and considers it a sad development that today's Wushu championships place greater emphasis on form than on the essence of being a martial artist. He believes Wushu now lacks individuality and competitors move like machines, whereas according to his views Wushu should not be considered a race where the fastest athlete wins. He would like to see Wushu as a form of art, where artists have a distinctive style. Li blames the new competition rules that, according to him, place limitations on martial artists.^[39]

Li believes that Wushu is not primarily for self-defense and instead of trying to play the hero people should think about peaceful resolutions of conflicts and call the police if necessary: "A gun outdoes years of martial arts training in a split second. Like I've said many times before, it is important to differentiate between movies and reality. The hero in movies may be able to knock the gun off his opponent and save the day, but in real life – probably that is not the case."^[40] He has also stated that he has never had to use his martial arts skills in a real life fight and he does not wish to, either.^[35]

Philanthropy[link]

Li has been a "philanthropic ambassador" of the Red Cross Society of China since January 2006. He contributed 500,000 yuan (US$62,500) of box office revenues from his film Fearless to the Red Cross' psychological sunshine project, which promotes mental health.^[41]

In April 2007, touched by his life-shaking experience in the Maldives when he was close to dying during the 2004 tsunami, Li formed his own non-profit foundation called The One Foundation.^[42][43] The One Foundation supports international disaster relief efforts in conjunction with the Red Cross as well as other efforts, including mental health awareness and suicide prevention. Since the starting of the foundation, Li has been involved with recovery efforts in seven disasters, including the 2008 Sichuan earthquake^[27] and Typhoon Morakot in Taiwan.^[44] Wu Jing was a One Foundation volunteer and helped in the effort.^[45]

Li discussed his commitment to philanthropy in an interview with the December 2009 issue of Alliance magazine, stating that "grassroots non-government organizations can help the government in its blind spots. Government relief is not always detail-oriented. Grassroots NGOs can’t be as big as a government effort, but they need to be flexible and independent."^[46]

In September 2010, Jet Li was appointed by the International Red Cross as the first Good Will Ambassador. He posted online saying "Today I signed a deal with the International Federation of Red Cross and Red Crescent Societies – IFRC - to become the FIRST goodwill ambassador in the history of this humanitarian organization. I am very honored! At the same time, I will not pause to celebrate, but instead keep pushing forward.. and do my best to help the world! Thank you all once again for your support and belief in me!"^[47]

It was also announced that Jet Li would be meeting Bill Gates and Warren Buffet to talk about charity work. "Three days ago, I received an email from Gates, hoping I could make time because he and Buffett hoped I could go for a 30-minute chat before the dinner about the future we face as human beings, so I will go," Li said.^[48]

Filmography[link]

Considering US box office statistics, the most successful Jet Li film as of August 2010 is Lethal Weapon 4, which grossed over 130 million dollars domestically, while the second is The Mummy: Tomb of the Dragon Emperor with over 102 million dollars.^[49] Hero is the third most successful foreign language film in the US,^[50] and one of the best critically acclaimed Li movies.^[51] Fearless is the sixth most successful foreign language film of all time in the US.^[50] From a critical point of view, the best acclaimed Li movie is Fist of Legend (Rotten Tomatoes: 100%) and the worst is War (Rotten Tomatoes: 12%).^[51]

See also[link]

• Cinema of China;
• Cinema of Hong Kong.

References[link]