Japheth and Ham, Noah’s sons and Martial Arts in Old Indonesia

Martial planet
d Laurent 1/22/20 19

Japheth and Ham, Noah’s sons and Martial Arts in Old Indonesia

In light of Japanese karate and Chinese kung fu, the ancient national martial art of Indonesia is pentjak-silat and is based upon the movements of animals. It is thought that the art developed because the pre-Hindu priests of long ago observed the critters and mimicked them to protect themselves, much as they did in China and India. Broken down, pentjak means, “regulated, skillful body movements in variations and combinations,” whilst silat is “to fight by applying pentjak” (Draeger and Smith, p. 178). Some scholars believe that mature PS primarily came from the Menangkabau kingdom of Sumatra et al., and from there fanned out, changing stylistics as it went along. They think that pentjak-silat was the first proto-*style, claiming that the art is the oldest of the devised fighting systems, which may make sense considering the following contemplation. In fact, there are 23 major styles of PS in Sumatra and “the Menangkabau styles are the technical core for all Sumatran pentjak-silat” (Draeger, Indonesia, pp. 131-132). What does this tell us?

From lore, an old peasant woman went to her stream one day to pail water only to find a tiger and large bird furiously going to town (some say it was a tiger/monkey duet). After battling the while, they died. Being late, the husband came to berate her and tried to scold her, but she fended herself with the bird and tiger moves she saw. This started, they say, PS and as proof of the tale, adepts cite that there are still female masters around. This animal fight business is a very ancient widespread familiar tale in the arts, no less, showing broad cultural circulation of a more than likely monogenetic “single-source” point of historic origin.

One curious art that ties into this is the silat harimau “tiger” style. Because of slimy jungle conditions, devotees crouch low to the ground, and embracing it, slip and slide about as if on grease, requiring a great deal of rubbery effort and dexterity. Harimau comes from the Menangkabau tribe of Sumatra.
The very intriguing bit of information below helps authentic the fact that there was knowledge of the fighting arts aboard “Noah’s Ark” and that kind-hearted huggable Granpa Noah with his little toy boat of stuffed fluffy animals you see at Toys“R”Us is no mere kiddie bedtime story. The idea of a monogenetic, or “single source” starting point of the martial arts from the Middle East as opposed to the polygenetic “many sources” from all over the place view helps establish Genesis Chapters 10 and 11 as being the legitimate starting point for all true martial studies. To understand how “monogeneticism” works and just how potent and extensive it is, consider the sharp observations of master martial historian Donn F. Draeger (1922-1982). Citing the Menangkabau tribe of Indonesia, a once powerful kingdom, today:

The Menangkabau are known as Orang Malāyo, or ‘Malāys,’ but their precise origin is unknown. Myths, fables, and quasi-historical records posit various possibilities. Annals and historical records of the Menangkabau are rare, but all deduce their origin from two brothers, Perapatisi-batang and Kei Tamanggungan, who were supposed to have been passengers on Noah’s Ark (Indonesia, p. 112).

Were these two cruise-setters Japheth (Perapatisi) and Ham (Kei Tamanggungan) Noah’s sons? Are these political/god/royal titles as well? Their trademark handles seem etched into the names above. Noah & Sons built civilization, their marks seen clearly, as Mencius insists, citing that “There is nothing as clear as that which is dimly seen.” Thus, we do see such things and if not, we are poor detective-strategists. In A Scandal in Bohemia, Sherlock Holmes chides Watson, “You see, but you do not observe. The distinction is clear,” whilst Samurai master Musashi advises all those who would take up the wartàodō to learn how to “Perceive that which cannot be seen by the eye” (or get whomped). The king/priest title leftover persona-imprint for Tamanggungan in China and Japan carries on in the deity names Píshāmén and Bishamonten for Nimrod. In Cathay, he is kindly known as the deity Píshāmén whilst in Japan he is the god-saint Bishamonten/Tammon-ten.
Now rotten Ham is the father of evil Cush who is the father of the vile King Nimrod. Nimrod, a noted feroxian artifex (Lat., “aggressive war-like martial artist”) in his own right, apparently was an early master of what comes down today as the black tiger kung fu system of China. So if Nimrod knew tiger fu, and the Menangkabau who know silat harimau tiger fu and who yet claim to have come from in this case Tamanggungan or Ham, Nimrod’s grandfather, then it seems logical that there was some sort of family “tiger kung fu knowledge” aboard the Ark.
As he was “very fond” of conflict, it would be just like the gleeful, boastfully proud reminiscing Ham to pass along what cherished philomakheō-savvy knowledge he had to his pride and joy, his “mighty” grandson teen rebel Nimrod. By tea-spooning out info an iota at a time and by showing the likes of the young, easily influenced and pliable Nimrod a trick or two, it was this type of disseminated knowledge that eventually seeped into the hands of the Menangkabau and a whole lot of other Asian folks too. These folks would be the northern and southern Chinese, Ham’s descendants through Heth and Sin. Cf. Luke 17.26-27 “And just as it happened in the days of Noah. . . .”—according to this line, the Lord implies there were fighting arts before the Flood, the world being filled with violence.
The rampant tiger style seems to run amok in the family of Ham who not only settled in Africa and the Middle East but also Asia proper and Southeast Asia where the Menangkabau reside. In Chinese culture, the tiger is a symbol of power and unruliness, which certainly the Ham House and Nimrod were. Case of point, both the Hamitic *tiger and dragon emblems are well known all-star kung fu icons out of the Shaolin Temple in China today, which is currently a world heritage site. The university Temple, a great repository of knowledge, is the great historical axis of the Asian arts from which hundreds of styles developed. The Hamitic tiger/dragon motifs were forceful enough in meaning to show the other Noahic tribes that the determined Ham family would not have egg on their face by being restrained and were most adamant about that. They were madder than wet hens at Noah’s judgment upon them and were relentless (Gen. 9.18-27). They even went as far as grilling the forearms of their dead-set Lohan Kung fu disciples (allegedly typified at the Chinese Shaolin Temple, perhaps earlier), branding them with their own family animal icons. This was done by lifting the ill-rumored beastly hair-raising, cauterizing, ember-incited, igneous-sizzling, ever-lovin’ merciless 300-pound cantankerous urn that was ablaze with the incandescent red-hot animal signs as a graduation gift for their put-through-the-fire Tammuz-style (Hislop p. 245) sweat slogging studies at Temple. Lohan refers to those who are “enlightened.” Conveniently enough however, from the Hamitic view, Ham was the first Lo-Han, or rather, the first Lo-Ham “enlightened” one in his line. See Cooper, p. 244.

*According to the Chinese cosmological model of the heavens, the celestial vault is held up by four great animals, the eastern azure (blue green) dragon, the western white tiger, the southern vermillion bird and the northern black tortoise (w/snake) which doubles for the “black warrior.” In line with this, it just may be that Ham is the white tiger. It is said that this tiger turned white at 500 years of age, which appears compatible to the longevity of the early patriarchs. The white tiger may also be the symbol of Semiramis, or Ishtar, Nimrod’s wife as her icon was also that of Venus, which correlates with the white tiger of the east. As for the blue green dragon and the black tortoise-warrior of the north, these are icons for Nimrod and are spread though out history, myth, philosophy, five element theory, the I-Ching, feng shui, astrology, literature, linguistics—wherever Nimrod and his family left their tracks.

The world apparently is not that old. It requires very little faith to believe in God’s Genesis story when you have information such as this glaring at you. And if the above info was not enough for God to slip us His right as a convincer, check this gem of a quote out:

It has been postulated that the Filipino art of Escrima [kali] originated in India and that it was brought to the Philippines by people who traveled through Indonesia across a land bridge known as the Riouw archipelago that linked the Malay peninsula to Sumatra, and across another land bridge that connected Malaya to the Philippine islands. Indonesian Tjakalele and Malay Silat Melayu are two forms of combat said to have been introduced to the Philippines via these now-sunken routes (Wiley, p. 21).

It is also thought that the old Filipino’s either came from Egypt or worked their way South and East from the Iranian (Persian) region and the Indian subcontinent. But of more spellbinding interest, here we find in the above quote a reference to “sunken land bridges,” an action that created the Riouw/Riau-Lingga Archipelago. Grippingly, earliest proofs do gather that a more organized form of silat did indeed come from the Riouw Archipelago, which was a former “land bridge” between the Indonesian Archipelago and the Malay Peninsula. This could only have occurred in Noahic times as the world sought to re-stabilize itself after the Flood. The timing of this thought is very astute.
Silat’s roots go back to the inception of the Malay civilization and undoubtedly beyond, traceable to about 2,000 years ago. Melayu (“malay-silat”), a blanket term for many Malayan martial styles, apparently was the first silat described. The phrase initially used to refer to the primal silat of Riouw, but nowadays it means systems developed in Southeast Asia’s peninsular region. It is also used to describe Malaysian arts apart from the pentjak-silat of Indonesia. “Current” traditions claim that “old-style silat,” tua-silat was the first melayu-silat to have been founded in the peninsula area with weapon and empty-hand martial arts from China (jiàn/gim straight sword, four xíng yì hand lookalikes) and India (mace, Ramayana-poem based inspired hands).
Practically speaking and perhaps stereotypically so, melayu seems linked to fixed hand positions, slow dance-like movements and low stances, but this is not the case, its techniques are very real. Eventually diversifying, melayu wended its way to the Menangkabau kingdom where masters there developed it into the very sophisticated menangkabau-silat. A mix of this today is under the umbrella of pamur-silat that emphasizes the harimau tiger style. Here, basic mainstream Sumatran melayu fuses with atjeh-silat and menangkabau-silat, placing emphasis on kabau kicks. Both melayu and kabau are noted for their depoks and sempoks—their deep crouching, and deep sitting postures. Many assortments of empty-hand employments and weaponry are used, atjeh extolling—worshipping—and making most use of the blade.

Tjakalele these days is either an Indonesian tribal stick fighting art and its name may be the origin of the term for Filipino kali. Or it is a male war dance reminiscent of raiding party triumphs. “But its importance within a combative study is great. Alefuru warriors in full costume demonstrate their skills with the full range of aboriginal weaponry” (Draeger, p. 235).

During the rule of the Javanese Majapahit Empire (ca. 1293-1500) that extended to the Philippines, Cambodia, Malaysia and Brunei southern Thailand, etc., the thirteenth century Majapahit warriors still trained–concretely and tangibly–in the tjakalele and melayu-silat ways. The Majapahit’s greatest hits were:

1. Burmese myanma yuya louvi boxing.
2. Cambodian bokator.
3. Chinese kuntao variant.
4. Filipino arnis, escrima, kali.
5. Indonesian pentjak-silat.
6. Malaysian seni-silat.
7. Thai krabi-krabong weapons systems.
8. Thai muay boran boxing.
9. Thai tomoi boxing.

There are six substantial facts in the above information in the above information. 1) The term “Majapahit” refers to a royal title. 2) What appears to be a remnant of Japheth’s name is centered squarely inside this regal moniker. 3) Japheth’s name under Majapahit is associated with affirmed historical forms of silat still in existence today and that their progenitor arts, Indonesian tjakalele and Malay melayu are the ones that crossed the “sunken land bridge” deal many a long year ago. 4) One of the Menangkabau-Malay’s founding fathers, Perapatisi-batang was an “alleged” passenger on Noah’s Ark, a partial of Japheth’s name again appearing neatly embedded into this label as well. 5) Observe that Japheth’s name, associated with links to the Menangkabau and their early-on melayu-silat is again very close in time to once dry migration routes now flooded. 6) The royally named Majapahit, like all decent silat folk, had plenty of weapons and empty-hands play. 7) Are there any more thoughts out there? Like outgoing ripples on a still pond when a pebble is tossed into it, from whence did the first wave come from, Japheth, Ham and company? What was the first kersplash? What was the primary cause to the still felt long after effect?
Does any of this make sense? Perhaps not in terms of scattered bits and pieces of information that when separated appear faded, of no real account and look inert, but when welded together, their collective data unites and strengthens, heavily pointing to the obvious. If we are having trouble with digesting these tidbit factoids and concepts of curiously crunchy thought, perhaps a line by Sir Arthur Conan Doyle’s great fictional detective, Sherlock Holmes will help. In The Sign of Four he says, “How often have I said to you that when you have eliminated the impossible, whatever remains, however improbable, must be the truth?”
Do not ask how this jumbled entanglement of piled upon “pick-up sticks” happenings stacked itself into a tidy package and exactly came to be, except to say that Genesis is the real deal. It seems clear that for a ballpark average, the above info displays overall a short chronology of time, and solidly squares with the Genesis time view of history all the way down the line. This goes to show once again, amongst many other things that the sons of Noah had extensive kung fu know-how that undoubtedly came from the old patriarch himself that in time spread over the globe becoming the modern martial arts. In all, you just have to know where to look. Genesis, as always, rings true.

Bibliography

- Cooper, Bill. After the Flood. New Wine Press. West Sussex, England. 1995.
- Draeger, Donn F. The Weapons and Fighting Arts of Indonesia. Charles E. Tuttle Co. Rutland, Vt. Tokyo, Japan. 1993.
- Draeger, D. and Smith, R. W. Comprehensive Asian Fighting Arts. Kodansha International. Harper and Row, Publishers. New York. 1983.
- Hislop, Alexander. The Two Babylons. A & B Publishers, Brooklyn, NY. 1999.

- Laurent, Douglas. Martial Arts on Noah's Ark. Kindle. 2012. Amazon.com.
- Wiley, Mark V. Filipino Martial Arts: Cabales Serrada Escrima. Charles E. Tuttle Company, Rutland, Vt., Tokyo. 1995.

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My god, are you still at this?

 

Does ANYBODY actually believe in the story of Noah’s Ark to be historical fact? Anybody at all?

What a waste of time.

 

I don't and indeed a waste of time.

 

No.

 

Seriously.....No, just no.......vert VERY wrong, no historical evidence to back any of this up at all.......well...if you make up the evidence I suppose you could claim there was....but fantasy does not replace fact

 

Yes, but only if you put Wushu master dinosaurs on the ark

 

I watched a documentary about this recently, well worth the study!

 

I’ve never heard of this documentary. It looks outstanding!

 

It's on YouTube (for free) and Netflix, a small amount of naughty language from both triceratops, Odin and also Hitler though, so not suitable for kids.

https://www.google.com/url?sa=t&sou...BMAB6BAgEEAE&usg=AOvVaw2uZPAdksGvc0CKGBKzB0Qi

The sequel is out this year with an all star cast!

"Starring alongside Sandberg will be Michael Fassbender, Arnold Schwarzenegger, Alexandra Shipp and Ralf Moeller."

 

dinos were on the ark
– Whitcomb, John C. The World that Perished. Baker Book House. Grand Rapids, MI. 1988. Great stuff about Flood, frozen Mammoths, oil, etc.

 

the ark's storage capacity was 500 or so train boxcar's worth of space enough for thousands of species it was not only an ark but a curation museum

 

the ark was the moel for the super tankers and battleships of today

 

How often have I said to you that when you have eliminated the impossible, whatever remains, however improbable, must be the truth?”

--Sherlock Holmes, The Sign of Four

(The maps didn't show...hang on, as for disrespecting culture, no, culture is like a layer cake, larger truth rings on the bottom build up. Check out the Table of Nations in genesis 10 in the line of ham you will find heth and sin who went on to colonize northern china (heth-khittae-hittite-cathay-china) and sin of the sinim, mt. Sinai, 'Sino-Japanese relations' etc, and southern china. study word histories in conjunction with motions .

"Martial traditions and lore’s reach back thousands of years and in view of this, there is much to be said. According to Sensei Bruce Haines, it was in antiquity, before the development of the much later historical Shaolin five animal styles that there were eight proto-*Shaolin ch’uan-fa “fist-methods” that came to be incorporated into the later Shaolin syllabus under the heading of the “External School.” He writes:

The Shaolin ch’üan fa is the first school of bare-handed fighting listed under the general heading of ‘External School’ or Wai Chia. The ‘External School’ is the major classification under which eight other styles are grouped. The exact date of origin for this terminology is not known. It was probably used at first to categorize various types of ch’üan fa under one heading after the Shaolin style came into existence. The other eight forms listed under the ‘External School’ are: Hung Ch’üan and T’au T’ei Yu T’an T’ui both from the Sung period (AD 1127-1279); the Hon Ch’üan, Erh-lang Men, Fan Ch’üan, and Ch’a Ch’üan styles dated from the Ming dynasty (AD 1368-1644)—the latter form used exclusively by Chinese Moslems; and two styles attributed to the Ch’ing period (AD 1644-1911), called Mi Tsung Yi and Pa Ch’üan. In nearly every instance, the founders of these eight ch’üan fa styles were said to have been Taoist deities or demi-gods. The real creators of these various forms appear to be lost to the world and, as the so-called godlike inventors are timeless entities in the mythology of China, many Chinese believe that ch’üan fa has always existed. Historically dating the first public display of the above named styles of ch’üan fa has thus far been impossible (pp. 31-32)."

Deities and demigods? Ch’uan-fa always existing? Eight exclusive styles perhaps for eight people on the Ark?


– Haines, Bruce A. Karate’s History and Traditions. Charles E. Tuttle Co. Rutland, Vermont, Tokyo. 1982.

"I'll be Bach . . . but I won't be Beethoven."

 

Except it was made of wood and a wooden vessel the size of the purported ark would have cracked into pieces the first time it encountered a wave.

 

Seriously, your going to use a book for a reference that virtually every single person who studies dinosaurs and biblical history says is completely wrong.....but then if you don't care about historical and archaeological fact and base claims on made up charts and documents...then I guess I am not surprised

Do you have any knowledge about buoyancy? One diplodocus weighted over 17 tons, one Tyrannosaurus rex weighed over 11,000 pounds. TAke 2 of every animal plus 2 of every dinosaur......in a wooden boat......big difference between what a boat made of steel can carrier as opposed to a boat made of wood.....or is the next claim that gopherwood is actually a type of steel

Actually my book, based on pseudo and science fiction science, says the ark was more of an Aircraft carrier the size of the USS Gerald R. Ford . It had to be to accommodate alien spaceships that were coming to the earth to check out the flood and go swimming.