林家洪拳創始人
林世榮（1860–1943年）

林世榮生於南海平洲一個武術世家，自幼習家族留傳的「林氏洪拳」，為後來發展打下非常紮實的根基。林世榮是民國時期最重要的廣東武術家之一。後來，在南天王陳濟棠（1890–1954年）執政廣東時期，更成為他的教官及陳濟棠家人的私人武術老師。三十年代林世榮攜家移居香港，把一些新的重要武術概念帶至香江。其創立的南武體育會，推廣廣泛意義的中華武術及尚武精神，積極吸納南北方傑出的武術家，開創香港現代「國術」的先河。

林世榮也是最早使用現代攝影技術紀錄武術和公開發行拳譜的人之一，從一九二三年到一九五一年先後出版的《工字伏虎拳》、《虎鶴雙形拳》和《鐵線拳》，記錄了林世榮和林家洪拳最核心並最重要的武藝，也完整保留了黃飛鴻傳下來的主要拳術。

Founder of Lam Family Hung Kuen
Lam Sai Wing(1860–1943)

Lam Sai Wing was born in a martial arts family from Ping Chau, Nam Hoi (Nanhai) prefecture, in Guangdong province. He was among the most important martial artists in Guangdong in the early 20th century. During the governorship of Chen Jitang (1890–1954), Lam became a martial arts instructor in his army and family teacher, and later made Hong Kong his base. The Nam Mou Athletic Association he set up lay the foundation for “modern Guoshu” development in Hong Kong. Lam Sai Wing was among the first to systematically document traditional martial arts. Between 1923 and 1951, he and his students published manuals for Taming the Tiger Boxing, Tiger and Crane Boxing and Iron Wire Boxing.

林家第二代傳人
林祖（1910–2012年)

林祖，幼失怙恃，自小由叔父林世榮養育。林祖師傅用一生的精力，專注傳授和研究武藝。祖公有過人的記憶和敏銳的眼光，能過目不忘，把大量流行民間的經典武藝吸納入林家洪拳，最後融匯各家各派武藝，大大擴充了林家洪拳的套路與技術。

林祖很早就認識到「創新」的重要性，所以，他對傳下的洪拳套路做了有效而合理的調整。林祖改進了「工字伏虎拳」──重新編排套路順序，減少重複的動作及增加整個套路的靈活性和趣味。同時，林祖也十分重視實用訓練。由此，他為「虎鶴雙形拳」設計出一套新的對拆套路，有助人們了解其繁複動作的各種應用方式。其外，他又將其他門派的精采拳術套路引入洪拳系統，包括「劉家拳」、「崩步」和「猴拳」等。

總括林祖對洪拳的貢獻，他對兵器武藝下了最大的功夫，也有最顯著的成就。相比叔父世榮公傳下的有限器械武藝，林祖匯編了大量的兵器套路，包括「劉家棍」（又稱「流水棍」）、「蝴蝶雙刀」、「雙龍刀」、「行者棒」，「單刀」、「小挑」、「梅花槍」、「崑崙劍」、「瑤家大鈀」等。每種武器都是華南各兵器種類中最優秀的。

Lam Family Second Generation Master
Lam Cho (1910–2012)

Lam Cho was raised by his uncle Lam Sai Wing. Gifted with extraordinary memory and a keen sense of observation, Lam Cho incorporated many classic martial art sets and techniques into Lam Family Hung Kuen. Lam Family Hung Kuen as we know it owes much to Master Lam Cho’s reform and innovation: he made Taming the Tiger Boxing less repetitive, and came up with a new two-man training set for Fu Hok Seung Ying Kuen (Tiger and Crane Boxing). He also assimilated other outstanding empty-hand sets into the Hung Kuen system, notably Lau Gar Kuen (Lau Family Boxing), Bun Bou (Crushing Step) and Hou Kuen (Monkey Style). However, it is in weapons that Lam Cho made the greatest contribution. Compared to the limited range of weapon techniques inherited from his uncle, he assembled and choreographed a large number of weapon sets including Lau Family Staff (Lau Gar Gwan), Wu Dip Seung Dou (Butterfly Double Knives), Seung Long Dou (Double Dragon Swords), Monkey Staff (Hang Che Pang), Daan Dou, Siu Tiu, Mui Fa Cheung, Yiu Gar Dai Par, etc.

林家第三代傳人
林鎮輝（1940年－)

林鎮輝是林祖長子，五歲隨父習武，十二歲開始授教。弱冠之年已在北角開設跌打醫館，行醫濟世並傳授洪拳。

林祖先生過世後，林鎮輝成為林家洪拳的最高權威，也是全球洪拳最富有凝聚力的人物。林鎮輝現為林世榮洪拳研究院主席。

自九十年代起，林鎮輝便經常受邀到歐美國家教授林家洪拳。近年林家武藝在歐洲蓬勃的發展，便是林鎮輝多年一直在歐洲多國宣揚洪拳的成果。至今林家洪拳的門人桃李遍及全球，在美國、加拿大、英國、德國、意大利、捷克、希臘、荷蘭、瑞典等多個國家都有直系的分館。

Lam Family Third Generation Master
Lam Chun Fai (1940–)

Lam Chun Fai, the eldest son of Lam Cho, started to learn martial arts when he was five and began to assist his father to instruct martial arts at the age of twelve. By the age of twenty, he had already opened his own dit da clinic-cum-martial arts school in North Point. Since Lam Cho’s passing, Lam Chun Fai has become the de facto head of Lam Family Hung Kuen, and is the current chairman of Lam Sai Wing Hung Kuen Research Society.Since the 1990s, Lam Chun Fai has been travelling to Europe and America to teach Hung Kuen. Today, Lam Family Hung Kuen practitioners and enthusiasts can be found all over the world, with branch schools in the U.S., Canada, the U.K., Germany, Italy, Czech Republic, Greece, the Netherlands, Sweden and many other countries.

While actively promoting Lam Family Hung Kuen abroad, Lam Chun Fai also keeps a watchful eye on the development of traditional martial arts in Hong Kong. In 2010, Hong Kong Home Affairs Bureau invited the public to join a regional survey to identify important local cultural heritage for the first Intangible Cultural Heritage (ICH) inventory list of Hong Kong. Upon receiving the news, Lam Chun Fai immediately partnered with International Guoshu Association to apply “Lam Family Hung Kuen”, “Taming the Tiger Boxing in I-Pattern”, “Tiger and Crane Boxing”, “Iron Wire Boxing”, and “Fifth Brother’s Eight Trigram Pole”, asHong Kong’s ICH. At the same time, gathering his students, Lam Chun Fai began to collaborate with International Guoshu Association to systematically document the legacy of Lam Family Hung Kuen, leading to a series of publications as well as the present exhibition.

劉家洪拳宗師
劉湛

劉湛，林世榮最出色的徒弟之一，本身也是一位舉足輕重的洪拳大師，所開創的功夫世家成為武術界傳奇，名遐中外。其學武背景和許多來自廣州的當代武師一樣，不拘於一格，對嶺南和北派功夫均有涉獵。

劉湛學武之路並不平凡。起初他在廣州開武館，後遷居至香港，一邊繼續教授武術，一邊追求演藝事業，曾和關德興一起參與黃飛鴻電影演出，在戲中飾演師父林世榮。劉湛也是最早結合功夫和電影的功夫巨擘之一。他將師父林世榮的形象演繹得唯妙唯肖，既呈現真實武打，又不失幽默，獨樹一幟的演出令觀眾難以忘懷，自此「豬肉榮」（林世榮外號）的形象深入民心，觀眾有關林世榮的想像其實源自劉湛的提煉和演繹。

Lau Family Hung Kuen First Generation Master
Lau Jaam

One of Lam Sai Wing’s most distinguished students, Lau Jaam became an important Hung Kuen master in his own right. Like many contemporary masters in Guangzhou, Lau Jaam seemed to have a fairly eclectic martial arts background, dabbling in both Lingnan and northern martial arts. Originally, he plied his trade as martial arts teacher in Guangzhou. After moving to Hong Kong he pursued an acting career while continuing to teach martial arts. He was part of the original cast for the Wong Fei Hung films, starring alongside Kwan Tek Hing in the role of his teacher Lam Sai Wing. Lau Jaam was among the earliest kung fu masters to bridge martial arts and cinema, while his memorable portraiture of his master and unique blend of real martial arts and humour, etched a lasting impression of “Butcher Wing” (Lam Sai Wing’s nickname) in the public consciousness.

劉家洪拳第二代傳人
劉家良（1934–2013年)

洪拳大師劉家良，兼任演員、電影製作人、武術指導，最著名的代表作為1970-1980年代的邵氏功夫影片。劉家良承傳父親劉湛的風格，將真實武打搬上大銀幕，令傳統中國武術，尤其是洪拳，得以普及，繼而傳揚海外。

1960年代，他成為邵氏兄弟主要武術指導之一，與導演張徹合作無間，與唐佳一起在張導演多部作品中擔任武術指導，包括《獨臂刀》(1967)及《雲海玉弓緣》(1966)。1975年推出首部作品《神打》。其後，陸續製作出一系列經典功夫片，包括《陸阿采與黃飛鴻》 (1976)、《少林三十六房》 (1978)、《武館》(1981)、《南北少林》 (1986)，為武俠片的黃金年代增添一抹風采。

劉家良的電影孕育劉家輝、傅聲等一代武打巨星。另外，續李小龍之後，劉家良通過電影表達其武術哲學及理想，為作品添上一層獨特的質感與真實感。

Lau Family Hung Kuen Second Generation Master
Lau Kar Leung (1934–2013)

Lau Kar Leung was a Hung Kuen master as well as actor, filmmaker and choreographer. Lau is best known for the films he made in the 1970s and 1980s for the Shaw Brothers Studio. Following the footsteps of his father, Lau Kar Leung brought “real kung fu” to cinema, and may be credited for popularizing traditional Chinese martial arts – in particular Hung Kuen – around the world. In the 1960s Lau Kar Leung became one of Shaw Brothers' main choreographers and forged a strong partnership with director Chang Cheh, working on many of Chang's films including The One-Armed Swordsman (1967) and The Jade Bow. He made his directorial debut with Spiritual Boxer in 1975, and went on to make a series of highly successful kung fu classics including Challenge of the Masters (1976), The 36th Chamber of Shaolin (1978), Martial Club (1981), Martial Arts of Shaolin (1986), etc., which contributed to the golden age of kung fu cinema. 

Lau Kar Leung nurtured some of the best martial art actors to grace the big screen, such as Gordon Liu and Alexander Fu Sheng. In addition, like Bruce Lee before him, Lau Kar Leung used cinema to express his ideals and philosophy in martial arts, giving his films a unique texture and authenticity.

劉家洪拳第二代傳人
劉家輝 (1951年–)

劉家輝，本名冼錦熙，劉湛的乾兒子，跟從義兄劉家良學武。

在劉家良的作品中，劉家輝呈現出各種理想化的銀幕功夫英雄形象，更將前者的動作設計以及其多部作品的中心思想——武德，活現於觀眾眼前。70年代末到80年代初，劉家輝攀上事業頂峰，堪稱邵氏電影最耀眼的武打巨星之一，與成龍齊名，並同樣大受歡迎。他與另一武打演員傅聲也多次合作，參與劉家良多部經典作品。其代表作有《陸阿采與黃飛鴻》 (1976)、《中華丈夫》 (1978) 、《少林搭棚大師》(1980) 、《武館》(1981)、《長輩》 (1981)、《五郎八卦棍》 (1983)。不過，他最深入民心的角色，莫過於在《少林三十六房》中飾演的三德和尚，此片將他的名氣推至巔峰，更為他在功夫電影界贏得傳奇的地位。

Lau Family Hung Kuen Second Generation Master
Gordon Liu (1951– )

Gordon Liu, né Sin Kam Hei (Xian Jinxi), was adopted into the Lau Family by Lau Jaam and learnt Hung Kuen from his adopted brother Lau Kar Leung. In many ways, Gordon Liu was the onscreen avatar of Lau Kar Leung’s idealized martial hero, bringing to life the latter’s choreographic vision as well as ideas about martial virtue, which lies at the heart of many of his films. At the height of his career in the late 1970s and early 1980s, Gordon Liu was arguably the brightest kung fu star for Shaw Brothers’ Studio, rivalling Jackie Chan in name and popularity. Together with Alexander Fu Sheng, he was ever-present in many of Lau Kar Leung’s classic films, including Challenge of the Masters (1976), Heroes of the East (1978), Return to the 36th Chamber (1980), Martial Club (1981), My Young Auntie (1981), The Eight Diagram Pole Fighter (1983), etc. However, he was best known for his role as the monk Sande in The 36th Chamber of Shaolin, which propelled him to fame and for which he has attained a cultic status in kung fu cinema.