Ng Mui was one of five monks from the the Northern temple that had the task
of putting together a new system.  This new system was to take 5-7 years
to produce a proficient fighter instead of the usuall 15-20.  These
five masters were:

      Jee Shin Shim Shee
      Ng Mui
      Fung Doe Duck Doa Jung
      Mew Hing Doa Nung
      Bok Mai Doa Jung

The five were representative masters of various arts (Eagle Claw, White 
Crane, Mantis, and a few others).  They met to discuss and evaluate the
best techniques and concepts of their respective systems, in order to
form this newer one. As mentioned above, goal of this art was not to fight 
against "renegade monks", but rather to shorten the time it took to train
proficient fighters to eventually be used to try and overthrow the
conquering Manchu's.

When Emporer Kangxi (1662-1722) set fire to the temple (approx. 1700)
These five were of the only ones to escape.  Their plan was to eventually
meet up again at O'Mie Shan in Szchwan.

On the way, Ng Mui wound up for a time in Kwangtung provinence at a place
called Bock Hock Gwoon ("White Crane Temple" on Tai Leung Mountain.  I'm
assuming this is in Kwangtung, but it could actually be the Fukien temple
in the neighboring province of Fukien).  While staying there, she
eventually met a young girl who sold bean curds in the village below. What
is not clear is whether she was an orphan or not.  Some say she was an
orphan and Ng Mui named her Yimm Wing Chun which can be translated to mean
"Beautiful Springtime" or "Hope for the Future".  Other's say she was the
daughter a farmer/seller by the name of Yimm Yee. What is known is that a
head of the local Tong wanted Yimm Wing Chun for his own.  Ng Mui decided
to teach Yimm the temple art so she could defend herself. 

Yimm went to the Tong leader and said he could have her only if he
could beat her.  The man was a talented Eagle Claw practitioner, and
laughed joyously when responding affirmitively to the challenge.  A time
was set up and Ng Mui continued her training.

During the training, Ng Mui and Yimm Wing Chun modified and fine tuned
the temple art, further refining it from it's original form.  This is
interesting to note, as there are other arts that claim to be related
to Wing Chun through the other five monks.  One, Fut Ga Kin, goes so far
to say that it *is* the original art that Wing Chun was based off of.

Yimm Wing Chun met with the man, and thrashed him.  After the fight, she
left the village and traveled with Ng Mui, further challenging many great
male fighters (and beating them) with the understanding that any who could
beat her would have her.  What's important to note is that according to
master Doo Wai of Bok Fu Pai system (founded by Fung Doe Duk Doa Jung of
the original five masters), the five monks met up at O'Mie Shan about two
years after the fall of the temple.  This would lead one to believe that
Yimm was accompanying Ng Mui along her further trek to O'Mie Shan, and
corroborate the tale of the further challenges.

Yimm Wing Chun eventually found someone she cared about, and decided
to throw the fight so she could marry him.  She left Ng Mui and settled
down with the man, Leung Bak Cho.  After a time, Leung Bok Cho took
to teasing his wife about her fighting skills and giving her a hard
time.  When she'd had enough, she challenged Leung in their courtyard
and proceeded to thrash him.  Leung was in awe, and immediately began
learning the system from his wife.

Later, this system became known as Wing Chun in honor of the founder.
(At what time period in the linneage is not known).

After Leung Bok Cho learned the art, he eventually taught it to his nephew
Wong Wah Bo who was a performer in a traveling opera troop based on the
ship Hung Shuen (Red Boat) in Canton.  It was at this time that the Dragon
Pole and Butterfly Swords were added to Wing Chun.  Apparently, Jee Shin
Shim Shee of the original five was in hiding on this ship as the ship's
cook.  Given the timing, one would have to think this was some time
after they had all met up in O'Mie Shan.  While Jee Shin was at the temple,
he had also specialized in two different weapons that he felt covered
the main ranges: Butterfly Swords and Long Staff.  While on the ship,
he trained Wong Wah Bo in these two forms, who then modified them to
fit within the principles of Wing Chun he had learned.  Wong then went
on to teach it to his nephew Leung Yee Tye, who was also on the ship.
The element of the ship's oars comes in because that is what was used
to practice the long pole, as it was most easily available.  What is
also little known, was the arms of the mook jong first became their
detachable style that we use now, during this time.  At this time,
the ship's masts were used as the dummy's body.  The arms were fit
into slots grooved in to the masts, and taken out and hidden when
not in use.  

The art was then passed on to Dr. Leung Jan, the son of Leung Yee Tye,
he went to live in the village of Fatshan, just south of Canton in 
Kwangtung provinence.  The rest of the linneage is commonly known,
but either way I will quickly run through it:  Leung Jan passed it
on to his son's Leung Cheun and Leung Bok, and later to Chan Wah
Soon.  At the age of 12, Yip Man began learning under Chan Wah Soon
and became the man's last disciple.  After Chan's death, Yip Man later
found Leung Bok in Hong Kong and finished his training.  He later
returned to Fatshan, only leaving when the Communists won victory
on the mainland.  He fled, leaving his fortune behind and evetually
wound up in Macau, impoverished and destitute.  It was here he
technically had his first student.  He defeated the son of a reputable
Tai Chi practitioner, and according to tradition the son had to train
under Yip Man for a short time.  Some time later, Leung Shan found
Yip Man and brought him back to Hong Kong to stay with him.  Leung Shan
was a White Eyebrow instructor, and upon seeing the art and the training
methods, Yip Man ridiculed Leung Shan.  Leung Shan chellenged Yip Man and
was defeated.  Yip Man then took Leung Shan as his student and opened
the now legendary school in Hong Kong at the Worker's Union in 1951.
Upon seeing no other's were left that knew the full spectrum of the art,
he declared himself Grandmaster of Wing Chun.