There really isn’t much in the way of solid written records supporting the santuary position. Even less in the way of “Shoalin being the Fountain Head of all KF.”
Back in the mid-1990s I would meet from time to time with “b” who was, arguably, the first non-Chinese Temple Monk in America. b was insistent that MA as a whole was a very small part of Temple life. The younger Monks spent time on it in pursuit of Som Bo Gin … 3 Battles (Forward) but the majority of Monks spent their time in far more esoteric practices with a -0- MA bent.
As for KF being the “Father” of kara te. I kind of doubt it. We have some decent documents reflecting a journey and exchange within a few of the kara te lines and those Han of the Fukien area. Still, the influence appears minimal as Goju-Ryu and some of the other systems have what I would characterize as only the “main branches” of Som Bo Gin which is their Sanchin Kata. The footwork is bare bones minimal and the Sanchin Kata I have seen do not have the 45 degree advance & withdraw steps found in Fukien White Crane. I “cut my teeth” on Fukien White Crane some 41 years ago … Feeding Crane sub-system to be exact.
I think it’s a bit odd … ethnocentric … to designate a place other than the Country in question as the “origin” or Fountain Head of their cultural MA systems. That argument basically means that no codified methodology of combat existed before …
Even if we accept the Chinese perspective that is a straw man as well. Ultimately, it would trace back to India which is the typically noted birth place of Da Mo. If you ever get the chance to see any legitimate MA from India you will most likely see the majority of movement paths held in TCMA.
I think Paul Whitrod (England) has probably done the most in this regard. Paul is an accomplished Southern Praying Mantis Master (Chow Gar - the late Ip Shui) and he made the trip to India in order to find his “roots” so to speak. If someone is really interested they can contact Paul directly as he is a decent and approachable Man.
Ultimately, I fail to see the value of tracing back through time any MA system - style. For some strange reason people hold out a notion that somehow the more primal versions must be better.
I say their reasons are “strange” because we certainly don’t apply that standard to any thing else in this World. No one is busy searching for a Model T car because they think it might be superior to what is available today. The other thing is that hold out the belief that the “older” way is the best way is to discount the improvements - changes that infuse any living MA form. Damned disrepectful to those that apparently paid a high price in the currency of sweat & blood in order to further their method of choice.
I think a decent argument can be made that Japanese main stream kara te post WWII is the exception to the improvement position that proves the rule. Looks like it was pushed into a more sporting posture with many of the stances & footwork being far too stylized & deep to be of real World value. Fine for Ippon style tourney play and that’s about it.
Regardless, from a purely pragmatic point of view … I have no desire to re-invent the wheel.
I that that whatever any MA “was” the key term is “was” as an Art form must live in the moment and speak to each generation in a voice that the generation understands.
Entropy prevails in all closed systems. A system that is open at the “present” end endures … it is then a process. All else runs out of steam … runs out of usefulness and dies.
The only thing left of such MA systems - styles is to be found in what I call the “cultural performers” … a mere shell of what the method once was … gutted, Souless, and totally useless outside of historical interest. John