Xingyi Quan - Fighting Chicken & opening applications - Marcus Brinkman

Xingyi Quan - Fighting Chicken & opening applications - Marcus Brinkman

My teacher Marcus Brinkman - Learn Xingyi Quan at Boulder Internal Martial Arts

Xingyi Quan - Fighting Chicken - with Marcus Brinkman

Xingyi Quan - Fighting Chicken - with my teacher Marcus Brinkman. 

http://boulderinternalarts.com/xingyi/

Song Style Xingyi Quan ( 宋氏形意拳)

 

Song Style Xingyi Quan ( 宋氏形意拳)

Xingyi - Hsing I's Five Fists by Allen Pittman - Boulder Internal Arts - Boulder, Colorado

Note: Allen Pittman was a student of Hung Yi Mien (who is in the pictures accompanying the article). Hung Yi Mien was the brother of Hung Yi Xiang  and both were students of Yi Zong school founder Zhang Jun Feng.

This is the lineage of Xingyi Quan (Hsing I Chuan) I teach at my school: Boulder Internal Arts.

The combative theory behind Hsing-I (Xing Yi) is based on starting after, but arriving before, the opponent’s attack. Because of this, the movements must be precise.

Be aware not to add “curly-cues,” bounces or wobbles or any other extraneous movements. Additional flairs and decorations may seem to make the art prettier or more dramatic, but remember that Hsing-I is not a performing art – it is an internal art with martial applications.
It is “Form-Intent Boxing,” so it is basically the release of an idea. Thus you must have the ideas in mind as you do it.

The main ideas are found in the Five Elements or Five Catalysts:

1. Splitting

Hung Splitting

Splitting is like an ax falling. It can be a short chiseling action like splitting a shingle, or a great swing like chopping wood. The raising of the arms raises the ribs, which makes room for the lungs to expand and take in breath as you inhale. As the arms swing down, exhale. Try to feel the feet at all times and notice how the upper and lower torso connect in the midsection – particularly around the naval.
Be sure the back foot does not “follow-step” too much. A half step is a good length. Sometimes the shorter people in class (due to their stride) must follow-step a bit more to keep up with the movement of the group. This is fine, but at home they should work at the other way with a shorter follow-step. Keep an eye on your back foot which should have an angle of about 30-45°, depending on where your knee is pointing. Over time your bones will change and your knee-to-toe shape will alter as your ankle gets more flexible. Give this time. It usually takes a month or so of regular daily practice of a half-hour to an hour a day. Lacking daily practice will slow down the process.

2. Drilling

Hung Drilling

Some teachers put Crushing in the number two position, but the older cosmologies, for ritual and healing reasons, put it second. You can practice either way. Notice your expanding lower ribs over the kidneys when you do this form. Sit well back into the follow-step. This form uses oppositional or tearing energy in the hands as they move in opposite directions. The actual drilling is in the front fist as it goes from palm down to up. This form, like splitting, goes straight ahead.

3. Crushing

Hung Crushing

Older forms of this usually hit with a downward arc. It is assigned to the liver (Wood) and easily targets this organ (unless the person is unusually tall or short!). The “Tiger-Mouth,” or the outstretched area between thumb and forefinger is best aligned with the armpit and let the turning of the hips align the fist to your body-center. The pulling of the opposite hand is very important for good posture, as well as function. This can vary in some styles from a straight stabbing action to an overhead hammer-like strike, stabbing downward. This one also goes straight ahead.

4. Pounding

Hung Pounding

The arm, which guards the head, can vary considerably in position. The compact version, from teacher Hung I-Mien, is as though you are a unicorn holding your own horn. The expanded version of Chen Pan-Ling swings the elbow well back, like in archery, and works well on a long-armed “hay-maker” type of punch. This form moves on a “Seven-Star step,” or follows a zigzag pattern. Keep the zigzag relatively narrow in order to protect your knees. Imagine going down a narrow corridor.
This form, which goes with “Fire,” strengthens the heart and targets it as well. Do not wait for the follow step to punch. Get the hand out early with the initial front step. Or drill with the guard hand with the first step then punch with the rear hand in coordination with the rear follow-step.

5. Crossing

Hung Crossing

According to Huang Po-Nien, in his old Ba Gua book, Crossing is the same as Ba Gua’s “Single Palm-Change.” Remember that the arm that crosses does so from outside the retracting arm. The movement varies from a purely lateral swing across the diaphragm – to a corkscrew into a descending hammer-like action. The footwork is along a wavy circular line. This fist is also called “The Mother” because within its articulations can be found all of the other 4 fists of Hsing-I. Crossing is paired with the Stomach and Spleen, and targets the same. In combat, one may target under the chin or throat too.

Conclusion

Remember the contact of the strike can be well before the end of the movement.

The Five Fists are an excellent foundation for all else in martial arts. They give you correct footwork, alignment, strong legs and lungs and develop the cross-crawl reflex. The empty-handed movements easily transfer to wielding a knife, hammer or an axe. Obviously the main thing when using a weapon is to not cross the arms. The transition for empty hand to weapon creates a whole new set of logistics which largely hinge on weapon length, placement of edge, and shape of blade (if there is one). Some of the well-known practitioners of Hsing-I were known for their skill with a spear.

The geometry of the movements, alignments of the limbs (the Six Harmonies), verticality of the spine and rooted-ness of the legs allow one to move forward with a fortress like fortitude.

Internal Kung Fu - Song Xingyi Quan - Song Hsing I Chuan - Zhao Yongchang Teaching

The Internal Kung Fu of Zhao Yongchang. Song style Xingyi Quan teacher.  Zhao Yongchang was a student of famous Song style master Song Tielin (nephew of the founder of the Song style -  Song Shirong).

Internal Kung Fu - Xingyi Quan- The Mind/ Shape Fist - The Classics of Li Guichang

The Teachings of Li Guichang

From Xingyi Quan Jiaocheng

By Shen Huazhang

Translated by Joseph Crandall (Found: HERE)

A Short Biography of Li Guichang

 

Master Li Guichang of Yuci, Shansi was born in 1914 and died in 2000. He was 86 years old.

When he was 13, he started to study Chang Quan, Yue Style Eight Overturning Hands and weapons. Then he studied Xingyi Quan and Shaolin Five Elements Soft Art with the famous Xinyi master Dong Xiusheng. He trained in Xingyi Quan until he was peerless. His internal power was simple and clean. His demeanor was heroic, simple, and unsophisticated. Whether in pushing or fighting, he was accommodating and never held back. His soft exterior contained hardness. He had a considerable understanding of his teacher’s fighting methods and fighting principles. He embodied the saying "The man does not know me. I only know the man."

He required no confusion in fighting or pushing hands. To strike a person or follow him, we must pay attention to the power of the waist and legs. When we come together, we only look for the route of power. Therefore pushing hands requires that we seldom issue power. It is more in the whole person skills of sticking, adhering, connecting, and following. When Mr. Li pushes hands with people, he seized the opponent’s power path. He would stick as the enemy retreated; expanding and contracting, coming and going. He followed everywhere. Sometimes sticking, sometimes walking, sometimes hard sometimes soft, he was never stuck nor obstructed. Sticking and yielding whenever appropriate, one could not see the actions of his hands. This was truly the so-called "The fist strikes, but he does not know it." He informed us. "I use the body method to seize my opponent. In all respects it determines the strike. When to strike and how to strike are all within my grasp. You must not be eager to issue into the man." Mr. Li often said, "The principles of the martial arts are valuable for use in fighting a person. Blindly using rough strength to win is truly not high level martial study!"

Mr. Li had an amiable disposition. He enjoyed high prestige and commanded universal respect. Many students came to study with him. No matter if the person was poor and lowly, Mr. Li treated them equally and without discrimination. He personally set an example and he never held back. Mr. Li said, "Martial arts students are like the hairs on an ox. Practitioners are like the horns on an ox. Accomplished ones are truly like horns on a unicorn." During his lifetime, Mr. Li held the position of vice president of the Shansi Xingyi Quan Association, president of the Taiji Push Hands Association and other important posts. Throughout his life, he never complained and never regretted the painstaking effort that he gave for his martial arts undertaking. He made a very big contribution to the development of Shansi’s martial arts

Mr. Li Guichang’s Internal Martial Arts

I studied Xingyi Quan for 15 years with the teacher. I developed a deep understanding of my teacher’s fighting principles, methods, striking, art, skill, as well as the attainments of the inner cultivation and outer cultivation methods. My teacher was a professional martial artist. He was honest and cheerful. He was a gentleman. Regarding the Quan Lun, martial arts secrets are commonly recorded to increase their dissemination. People will realize how profound they are and that they show sound judgment. These are printed here so that martial arts enthusiasts may benefit from them.

I. The Inner Content of Xingyi Quan

1. Xingyi’s fundamental traditional fist methods include the Five Elements and Twelve Forms.

2. Single practice routines include Lianhuan, Si Ba, and Za Shi Chui.

3. Double practice routines include Xiang Sheng, Xiang Ke, Wu Hua Pao, Wu Xing Pao, and An Shen Pao.

4. Weapons routines include the saber, spear, sword, staff, and whipping rod, etc.

II. Training Methods

1. Three Stages

a. First Stage

b. Middle Stage

c. Last Stage

2. Three Practice Methods

a. Ming Jing: Ming jing is getting the body movements to be agile. The rising and falling of the hands and feet must be in good order.

b. An Jing: An jing trains the spirit. The qi must expand, circulate, and flow. It must not be obstructed.

c. Hua Jing: Hua jing trains the whole body. The lively actions of the four limbs, rising and falling, advancing and retreating, cannot use strength.

3. Three Tiered Daoist Principles

a. Practice jing transforming into qi.

b. Practice qi transforming into shen.

c. Practice shen returning to emptiness.

4. Three Steps Gongfu

a. Changing the bones

b. Changing the sinews

c. Changing the marrow

III. Xingyi’s Special Points

1. It is used to attack the enemy’s strength and destroy his hardness. Therefore we say that this makes it a high order soft art.

2. Xingyi uses standing posts to make it fundamental skills. It uses single practices as its foundation. It uses training issuing strength as its core. It uses first hard then soft to make the pattern of its actions. It focuses on advancing and attacking. It uses rapid fighting, moving fighting, and fighting to annihilate. Issuing without thought and attacking without preparation make the principles.

IV. Xingyi’s Pattern of Actions

Wuji creates Taiji. Taiji creates Liangyi. Liangyi creates the Four Phases. The Four Phases create the Eight Trigrams, the Three Abilities, Six Combinations, Five Elements, Seven Fists, Eight Extra Meridians, etc.

V. Santi Form Practice Method

1. The Santi form is Xingyi Quan’s customary first step for entering the door. A common saying goes, "On entering the door, one does standing posts for the first three years." The Santi form must contain the five elements, the four extremities, the eight necessities, and the eight character secrets. The Santi form is divided into upper joint, middle joint, and lower joint. If the upper joint is not understood, it is difficult to protect yourself. If the middle joint is not understood, then the whole body is empty. If the lower joint is not understood, then it will be difficult to achieve victory. A common saying goes, "If the three joints are not understood, then you have studied the arts in vain." The Santi form uses standing erect to make Wuji. The first posture makes Taiji. The second posture makes the Liangyi. Wuji creates Taiji is precisely being mindful that the head must push up. The neck must be erect. The tongue touches on the upper palate. The gudao is lifted upward. The sacrum is erect and centered. The qi sinks into the dantian. Use the will to keep it there. This is taking upon oneself the qualities of yin and yang. It is forcing creation. It is the turning of qian and kun. It is the twisting qi power. It is reversing the movement of the pre-natal true yang (expel it and therefore receive new.) Internally it is the spleen. In fighting is makes Heng Quan.

2. You must stand in the Santi form often. The breathing must be natural. Strength uses softness to break hardness. The qi moves and is solid. Strength consists in having a state of Mind/No Mind. Stand solidly and then use strength. Qi arrives like a mountain.

3. The Song (Xingyi Quan’s Taiji Song that is the Three Abilities Song)

Taiji is the mother of yin and yang,

Movement and stillness combine and support the Liangyi;

The Three Abilities and Four Phases are never lost,

                                   The Five Elements, Six Combinations, and Seven Brightness’s are primary.

You must use the seven bodies (head, shoulders, elbows, hands, hips, knees, and feet) to mutually assist each other. The hands and feet make friends.

4. The Song of the Four Phases

Having completed the four fists,

Then power ought to change,

Still like Mt Yue,

Moving then bursting and overturning.

The four fists are: Head Fist, Flick and Lead, Eagle Seize, and Sticky Hand.

5. The Song of the Six Combinations

The body is made of six forms: chicken legs, dragon body, bear shoulders, eagle claws, tiger embraces, and the sound of thunder. These six combinations are Xingyi’s body method. They require moving like a tree bug, and rise like flicking and carrying something on the shoulders.

6. Discourse on the Five Elements

The Five Elements Fists are the foundation of Xingyi Quan. What are the five elements? These are said to be metal, wood, water, fire, and earth. Humans have five internal organs and five external organs. These are mutually joined with the five elements. The lungs correspond to metal. The liver corresponds to wood. The kidneys correspond to water. The heart corresponds to fire. The spleen corresponds to earth. These are the five elements concealed within. The ears lead to the kidneys. The eyes lead to the liver. The nose leads to the lungs. The tongue leads to the heart. Man’s center leads to the spleen. These are the external expression of the five elements. In fighting then we have the five fists: pi, beng, zuan, pao, and heng.

7. The Five Elements Matched to the Five Organs

The Five Elements (metal, wood, water, fire, and earth) are matched to the five organs (lungs, liver, kidneys, heart, and spleen.) The five elements are divided into five colors. The heart corresponds to fire and the color is red. The liver corresponds to wood and the color is green. The spleen corresponds to earth and the color is yellow. The lungs correspond to metal and the color is white. The kidneys correspond to water and the color is black. They are also divided into the four seasons. For the heart, red, and summer qi, make the sound xi. For the liver, green, spring qi, make the sound xu. For the spleen, earth, yellow, all four seasons, make the sound hu. For the lungs, white, metal, and autumn qi, make the sound shen. For the kidneys, black, water, and winter qi, make the sound kong.

8. The Five Organs Cycles of Mutual Creation and Mutual Destruction

a. The five organs cycle of mutual creation:

i. The liver creates the heart

ii. The heart creates the spleen

iii. The spleen creates the lungs.

iv. The lungs create the kidneys.

v. The kidneys create the liver.

b. The five organs cycle of mutual destruction:

i. The liver destroys the spleen

ii. The spleen destroys the kidneys.

iii. The kidneys destroy the heart.

iv. The heart destroys the lungs

v. The lungs destroy the liver.

VI. In order to practice good gongfu, you need to understand the Seven Feelings and Eight Extra Meridians

1. The Seven Feelings are:

a. xi = joy

b. nu = anger

c. you = worry.

d. Bei = grief

e. Jing = fear

f. Kong = alarm

g. Si = reflection

2. The Eight Extra Meridians are:

a. Ren Mai

b. Du Mai

c. Dai Mai

d. Chong Mai

e. Yin Wei

f. Yang Wei

g. Yin Zhong

h. Yang Zhong

• The Ren Mai connects to each yin meridian and each yang meridian.

• The Dai Mai is the meridians’ ocean. The Dai Mai connects to each meridian in the whole body.

• The Chong Mai, Dai Mai, and Ren Mai begin in the dantian.

• The 12 meridians all pass through the dantian. They circulate through the five zang organs and six fu organs and pass outward through the four limbs.

• The dantian is the chief opening of the meridians. Like the qihai point, the idea is to protect the dantian is in order to regulate yin and yang, link up the heart and kidneys, cause the True Qi to become substantial, understand the eight extra meridians, and restore the pre-natal earth true yang qi.

• The Du Mai begins inside man’s body. It moves up to the baihui point. It moves down through the back and arrives at the back of the huiyin point. This is a prenatal meridian. It governs the vitality. The Ren Mai begins in the chengjiang point. It moves down the chest and abdomen to arrive at the front of the huiyin point. It makes the post-natal earth meridian qi. It governs the blood. These are the general theories for training jing transforming to qi, qi transforming to shen and shen returning to emptiness.

• The dantian is the hub of the rise and fall of the true qi. In men, the hidden jing is stored there. In women the nurturing womb is stored there. It governs creating life. It creates the source of qi. It is the root of the five zang organs and six fu organs. It is the foundation of the 12 meridians. It is the place where yin and yang meet. It is the gate of breathing. It is the area where water and fire meet and join. Therefore, when practicing gongfu, use the dantian as the main place to make collect together, save, and preserve the true qi. Kan and Li rise and descend there. Use this to make the center palace. This is the foundation of the rising and falling of the qi meridians. It can strengthen the jing, nourish the marrow, nurture the qi, assist the yang. The eyes become bright, the body light, and the strength strong. The idea is to protect the dantian in order to restore the true qi entering and leaving, rising and falling in the dantian.

VII. The important significance of Jing, Li, and Qi in the life force of man’s body

Jing can create qi. Qi can transform jing. The one who practices this skill employs conscious breathing in the training. They use accumulating qi to create jing and practice qi transforming into shen. They practice shen returning to emptiness. Shen is created from jing and qi. Therefore if man has qi, then he has shen. If the qi is destroyed then the body is destroyed. If a person loses a lot of shen, the effect is that one cannot maintain the body’s normal life force. Practicing this skill method strengthens and nourishes the shen. Protecting the shen is an effect of strengthening the shen. Shen is will and qi combined, and produces particular skills, abilities, and effects. Pre-natal shen manufactures original qi. Shen can create qi. Accumulating qi can produce jing. Practice jing transforms to qi. Practice qi transforms to shen. Practice shen returns to emptiness. Emptiness means empty spiritual force. And this precisely is the Primordial shen. The Du Mai is the reservoir of yang. The Ren Mai is the reservoir of yin. The Chong Mai is the reservoir of the 12 meridians, it is the reservoir of blood. The Dai Mai ties together all the meridians. The Yang Zhong controls the left and right Yin and Yang Wei. The Wei pathways all make the surface yin. The Wei pathways yin controls the inside. These are the eight extra meridians.

VIII. Requirements for Practicing Skill

1. Do not be overanxious for quick results. Especially pay attention to eating and drinking in moderation in daily life. Limit sexual intercourse. Live a regular life. If not, then there will be no benefit and much harm.

2. Thoughts are collected inside. The Ren Mai drops down. The Du Mai rises up. Only the brain must remain quiet. Then the dantian can give out heat. It rises up from the lower area of the vertebrae to arrive at the baihui point. Then it goes down and ends in the dantian. The whole body relaxes. The waist area drives the four limbs. (This is precisely ‘using the waist to be the commander’.) This makes all the movements lively and skillful.

3. ‘Expelling and then taking back in fresh’ is the method of practicing breathing. There are six methods of expelling qi. These are: he, xu, hu, si?, chui, and xi. Practice this skill each day without break. Practice for a fixed amount of time until you can produce the sensations of abdominal sounds, slightly aching fingertips, tingling, swelling and needle pricks, etc. In practicing this skill you must pay attention to study the theory, follow the rules, abide by the regulations, and also have the theory and real fighting mutually joined together. You must also be constantly improving. Then you will have a comparatively good grasp of using it in the fighting arts.

4. One Year Four Seasons Expelling Qi Method

In the Spring, expel the qi of the liver (wood); xu character anger

In the Summer, expel the qi of the heart (fire); hu character joy

In the Autumn, expel the qi of the lungs (metal); si character grief

In the Winter, expel the qi of the kidneys (water); chui character fear

During all Four Seasons ,the earth spleen’s qi; hu character thought.

The Sanjiao has the fire. Expel the xi character to control dizziness.

Use the above expelling characters only to make the shape of the mouth. When practicing qi, everything must be practiced according to this method.

IX. Things to pay attention to while practicing skills

1. In practicing the skill, there emerges the sensation of ‘ants walking and bugs crawling’. This occurs mostly in the head and face areas, perhaps between the skin. This is a very common phenomenon. You must not use the hands to rub it in order to avoid impeding the flow of qi. You must ignore it. As you continue on it will gradually disappear.

2. In practicing the skill, there are the so-called ‘contacts’. These are: big, small, light, heavy, cool, warm, itchy and numb and the emergence of saliva. These are very good phenomena. Divide the saliva into three parts and swallow it down. The idea is to swallow it into the dantian.

3. In practicing the skill, if you sweat a lot, then this will injure the yin and you must stop practicing the skill. You must not wear damp clothes. You must not be where there are draughts. When practicing the skill, you must not immediately urinate or defecate. You need to wait an hour then use the lavatory. Otherwise it can form a conditioned reflex. If you practice the skill and be on the point of urinating or defecating then this will cause the original qi to leak.

4. When practicing the skill, you must pay attention to making softness be the focus. This is the process of being relaxed and still. You need to be still inside. Persevere. Each day move about on a schedule and your talents will become successful. When practicing the skill, the mind must be relaxed and happy. Eliminate distracting thoughts and fears. When the skill is completed, then your feelings arrive at a state of being always happy and the vitality always abundant.

5. When practicing the skill, you must pay attention to tiredness and internal injuries. Otherwise joy will injure the heart, anger will injure the liver, concern will injure the spleen, sorrow will injure the lungs, fear will injure the kidneys, food will injure the stomach, walking will injure the sinews, staring will injure the blood, sitting will injure the muscles, standing will injure the bones, and lying down will injure the qi. Pay a lot of attention to avoiding sex. Practicing skill is therefore practicing saliva transforming to jing, practicing jing transforming to qi, practicing qi transforming to shen, practicing shen returning to emptiness so that the jing is full and the qi is full. Jing is the foundation for shen, therefore it is commonly said, "When the jing is used up the shen is destroyed."

6. When practicing skill, still more you cannot be drunk, lustful, greedy, or angry. You cannot be in strong wind, strong rain, thick fog, thunder and lightning, strong sun. You cannot have over-eaten, be famished, or overly excited. These will impede progress.

7. The Practice Skills Song:

Nurture the jing, it becomes the foundation of spiritual force. Qi nurtures the shen;

           Nurture the skill, nurture The Way, see heaven’s truth.

Nurture the dantian to approach a long precious life;

This is worth more than 1000 ounces of yellow gold.

Heaven has three treasures: sun, moon, and stars;

Man has three treasures: jing, qi, and shen.

Earth has three treasures: water, fire, and wind.

The jing is full with no leaks;

The qi is full, you are not hungry;

The shen is full, there is no lying down.

X. The Song of the Five Elements Fists

1. Pi Quan is like an ax, its nature corresponds to metal,

It creates Zuan and destroys Beng, wondrous and peerless;

Metal is associated internally with the nose being connected to the lungs,

It is truly the first of the five elements.

 

2. Zuan Quan is like lightning, its nature corresponds to water,

It creates Beng and destroys Pao, Pao creates Heng;

Rise, drill, fall, and overturn; yin and yang revolving,

Its cleverness arrives at returning to emptiness; full, it washes the marrow.

 

3. Beng Quan is like an arrow, its nature corresponds to wood,

It creates Pao and destroys Heng, its principles are not false;

The two fists take turns, cycling and advancing,

Remember, the left is in front, the right foot follows.

 

4. Pao Quan is like a cannon, its nature corresponds to fire,

It creates Heng and destroys Pi, internal and external combined;

The needle moves, what harm in following the army,

The essence of the five elements is the 13 patterns.

 

5. Heng Quan is like a bullet, its nature corresponds to earth,

It creates Pi and destroys Zuan, it is like an arc;

It draws a triangle, ultimately a small place,

It controls the heart, liver, spleen, lungs, and kidneys.

 

XI. The Song of the Five Elements Creating and Destroying

1. The Mutual Creation Song:

Pi can create Zuan, Zuan creates Beng,

Beng can create Pao, Pao creates Heng;

Heng can create Pi, the foundations of each form,

10000 things on earth are created by the five elements.

2. The Mutual Destruction Song:

Pi can destroy Beng, Beng Destroys Heng,

Heng can destroy Zuan, Zuan destroys Pao;

Pao can destroy Pi, return to the principles of change,

It is nothing more than the five elements seeking the profound.

XII. The Song of Lianhuan Quan

Swiftly Advance, swiftly retreat, the forms are linked together,

Suddenly long, suddenly short, know clearly the principles of change;

The Original One Qi, its scope is widespread,

Cycling left and right, it is difficult to find its limits.

XIII. Five Elements Necessities

1. Internally, the five elements must move. Externally, the five elements must follow. Stillness makes the foundation. Movement makes the function.

2. The song says:

The heart moves and courage is created,

The liver moves and there is fire, smoke, and steam,

The spleen moves and there is great strength to attack,

The lungs move and make the sound of thunder,

The kidneys move and you are quick like the wind,

The five elements combined in one place,

To act boldly with confidence requires that the skills be complete.

Internally the five elements must move. This is precisely going to the natural nothingness and creating the one qi. Still more, following the one qi and producing yin and yang. This is the neigong of Xingyi Quan. Xingyi Quan without practicing neigong cannot be called an internal art.

XIV. The Six Combinations

1. What are the inner three combinations and the outer three combinations? The inner three combinations are: the mind and will combine, the will and qi combine, the qi and the body combine. The outer three combinations are: the shoulders and hips combine, the elbows and knees combine, the hand and feet combine. When the inner and outer combine then that makes the Six Combinations.

2. The requirements for the inner three combinations are: the head must push upward. The neck must be straight and erect. The lower jaw must be pulled back. The waist must cover and bow. The sacrum must be lifted internally. The yang qi rises up. These are the principles of the Du Mai. The hips must wrap but the joints do not show the wrapping energy.

3. The requirements for the outer three combinations are: The shoulders and hips combine. Both elbows hang down. Both elbow’s inward wrapping must be rounded out. Both knees have ‘covering inside’ energy. Both heels have ‘twisting outward’ energy but you cannot show the twisting energy. The centers of both hands must have ‘sucking inward’ energy. The hands and feet combine.

XV. The Three Drives

The waist drives the shoulders. The shoulders drive the elbows. The elbows drive the hands. The waist drives the hips. The hips drive the knees. The knees drive the feet making the three drives

XVI. The Four Extremities

These are: the tongue makes the extremity of the flesh. The hair makes the extremity of the blood. The teeth make the extremity of the bones. The nails make the extremity of the sinews.

XVII. The Body Method

Chicken legs, dragon body, bear shoulders, eagle claws, tiger embraces, the sound of thunder.

XVIII. The Seven Fists

Head, shoulders, elbows, hands, hips, knees, feet.

XIX. The Fourteen Places Striking Method

1. In the striking method you must first deal with the upper body,

When the hands and feet arrive together then the skill is real.

2. The fist is like a cannon, the form is like a dragon folding its body,

Meeting the enemy is like a fire burning the body.

3. The head strike follows the idea of being in the center place,

When the whole body arrives together, the opponent will find it difficult to stop.

4. The foot treads the center gate, to snatch away his position,

Even if he is an immortal, he will find it difficult to defend himself.

5. The shoulder strike is one yin, then in the opposite direction one yang,

Both hands are hidden in a secret place.

6. Left and right together rely on the demands of the posture,

With the two words: contracting and expanding, one life is destroyed.

7. The hand strike goes out, the idea is in the chest,

This posture is like a tiger pouncing on a sheep.

8. Touching solidly and using strength require being expanded and loose, Both elbows are hidden below the ribs.

9. The hip strikes are mutually connected at the center, Yin and yang together need to be natural.

10. The outer hip sticks out like a fish striking, The inner hip with a rushing step then changing postures is difficult.

11. People do not understand where the knee can strike, It is like a fierce tiger leaving a wooden cage.

12. With a flowing and turning body, the posture never stops, It moves at will to the left or right one after another.

13. The foot strike treads, the idea is not to fall into emptiness, Information completely relies on the rear foot pressing down.

14. When men engage in comparing their courage, there is no need to prepare. The idea is very much like a whirlwind.

15. One should not be able to see the form of three joints of a fist strike,

If you can see the form, then there is no ability.

Ability rests on one thought to advance

Not on one thought in reserve

Ability rests on one qi first

Not on one qi later

This precisely is "He doesn’t move, then I don’t move. He moves but I move first."

                                    XX. Fighting Songs

• Action proceeds from an empty mind, issuing energy proceeds from no senses.

• Mind/no mind, will/no will, in the middle of no will is the true will.

• If empty then protect, if solid then issue, change the hands adroitly; push the solid don’t issue in vain.

• If the outside is not flowing, the inside is not together, and the steps not stable, then the fist will be confused.

• If the steps are not quick, the fist will be slow; the will arrives and the hand issues, the hand arrives and the body follows.

• Striking a man is like walking on a road, see the man like tall grass.

• When striking someone, do not use vain strength, if you use vain strength then your art is not refined.

• Left and right, one sided position, a single arm destroys a double attack.

• Empty empty, full full, the spirit is in the center; empty full, full empty, the hand moves.

• Practicing martial arts without understanding the principles of empty and full make your efforts futile and in the end incomplete.

• If empty then defend, if solid then issue, the palm is the knack, if you don’t issue when solid the art is not refined.

Actions come from seeking within the form; stillness creates movement inside, the body appears soft.

Within advancing there is retreating, attack is concurrent with defense; open loose, closed contracted, softness destroys hardness.

Too far then the hand doesn’t go out, too close then use the elbow

Too far then don’t raise the foot, too close then use the knee

The foot strikes seven and the hand strikes three, the five elements and four extremities must be completely combined.

The five elements combine in one place, to act boldly with confidence requires complete skill.

To attack you cannot have a fearful mind.

• The hands are two doors, completely rely on the legs to beat the man

• If the hand arrives but the foot doesn’t arrive, then your striking someone is not very skilled.

• Qi is naturally created in the dantian, whole strength is concentrated in the center of the palm.

• The center of the palm strength follows, the lungs and heart respond, the three words are touch, push, and spit.

• Completely use the small heavenly star.

One hand rises toward the center; one hand is hidden below the ribs.

A posture with a raised hand and horizontal fist is difficult to attack; spread; open; level; front and back tips.

Look over the eyebrows, chop and fold, turn around to look behind yourself; like a tiger searching the mountain, intercepting hand pao.

XXI. The Fist Classic

Chaotic original one qi, my path is complete,

The completed path is not outside the five true forms.

The true forms hide the true vitality inside,

The spirit hides the qi, the neidan path is complete.

When asking about the true form you need to seek what is true,

You must know the true form contains the true shape.

When the true shapes combine then you have the true secrets,

When the true secrets are combined, the wondrous Way is created.

XXII. Working on the Powers with a Distracted Mind only aids the Enemy. Working on the Powers with a Calm Mind is Cultivating the Dao.

Natural philosophers have studied the ways of life of the twelve types of animals, and their specialties and basic abilities. Then people practice moving like the animals and take on the wills of the animals. This is where the twelve forms come from.

1. Dragon Form: The Dragon has the posture of the ‘Descending Dragon’. It has the form of the ‘Reclining Dragon Ascends to Heaven’. It also has the method of ‘Searching out the Bones.’

2. Tiger Form: The Tiger has the posture of ‘Nest Cavities’. It has the courage to pounce on food. It has the ability to swing its tail.

3. Monkey Form: The Monkey has the flying body agility for climbing mountains and leaping streams. It has the method of contracting strongly. It has the skill to climb on branches. It has the strength to sit on a branch. It has the wondrous unfathomable spiritual power of spreading, turning, shifting and moving.

4. Horse Form: The Horse has the skill of quick hooves. It has the righteousness of ‘Carrying the Whip’. It has the courage to pound the mountain and leap the brook.

5. Alligator Form: The Alligator has the agility to float in the water. It has the strength of ‘Overturning River Falls into the Sea.’

6. Chicken Form: The Chicken has the skill to stand on one leg. It has the awesome power of shaking its feathers. It has the courage to fight. It has the ability to take by strategy.

7. Sparrow Hawk Form: The Sparrow Hawk has the method of binding it wings. It has the ability to enter the forest. It has the talent of overturning its body. It has the courage to spiral to heaven.

8. Swallow Form: The Swallow has the essence of taking up water. It has the ability to skim the water.

9. Snake Form: The Snake has the ability to part the grass. It has the agility of bending and straightening, coiling and uncoiling.

10. Tai Form: The Tai has the ability of making its tail stand up erect. It has the form of dropping down and striking animals with it two claws.

11. Eagle Form: The Eagle has the essence of seizing and holding. It has the ability to see small animals.

12. Bear Form: The Bear has the strength to keep its neck erect. It has the talent of tossing its arms.

XXIII. Xingyi Quan Eight Characters

Zhan, Jie, Guo, Kua, Tiao, Ding, Yun, Ling,

Pi, Zuan, Heng, Beng, Swallow, Pao, Snake, Alligator,

Qian, Kan, Gen, Zhen, Sun, Li, Kun, Dui,

Metal, Wood, Water, Fire, Earth, Wood, Metal.

XXIV. Song (Jing, Qi, Shen, Bone, Strength)

1. The dragon form trains the spirit, this precisely is courage,

The cross form stepping method resides in the thigh strength;

Horizontal tread, leaning leg, twisted stepping at will,

Evade the enemy; strength is hidden in the lower levels.

The enemy suffers the strike and retreats,

Follow closely and use one leg to sweep his heel;

Raise the foot, still more evade quickly,

It is like continuously kicking his crotch.

 

2. The tiger form trains the bones, that makes rising,

Bow the body, bend the body, the hands lift upward.

Store up strength to pierce and subdue when the opportunity arises,

Both palms fiercely fall, the tiger pounce goes out;

People say the cat matches the tiger,

It is not above piercing and subduing the swimming fish for its benefit,

It is important to know this information,

Press down and push, two words, these are connected strikes.

 

3. The leopard trains strength, the fingers are like hooks,

Hard hands and fingers, the face and nose will worry,

If you can grab to reach his chest and nipple area,

Connect to the skin, pull the flesh, and uphold directly;

If the enemy seizes my elbow,

I pluck open and draw close the hands, they go up double hooks,

He asks where this skill comes from.

Daily practice is the key.

 

4. The snake form trains the qi, the arm stretch out,

Strength reaches the palm area, that makes ability;

One hand blocks, unroll and part the head ,

Two fingers straight enter the organ cavities;

The enemy’s shoulder gate is difficult to use,

The fingers intercept the eyeballs and the throat below;

Small circles neutralize and open the chest, defending hand,

Moving with connected steps is the small heavenly star;

Where does the small heavenly star come from?

Retreat to the origin is the palm root;

The snake winds and the snake evades, touch, stick, and tease,

Raise half, raise half, the idea is to suddenly create.

　

5. The crane form trains the jing, use the hands and elbows,

Dare to call the enemy, stretch out the arms;

Fold and stop the enemy’s elbow, rising coiling elbow,

The enemy slips and evades, this cannot be considered skillful;

Unexpected spreading the elbows is also ferocious,

Spread the elbows, both palms separate to the front and back;

The front palm strikes the enemy, his entire face will be red,

The rear palm focuses on striking the enemy’s upper weapons;

He asks what this technique is called,

White Crane Stands on One Leg, Standing Chicken Evades;

If the vertical palm is trained, then you will arrive at a place of high understanding,

Then it will increase the Shaolin soft transforming skills.

 

             XXV. Ta, Tui, Yun, Nian, Mo

Ta makes falling down. Ta with the palm is like a mountain coming down.

Tui properly is lifting up. Tui with the palm is like upholding the heavens.

Yun is like two turning wheels. It is round like billowing clouds.

Nian is like walking in a circle. Nian is like the power of 1000 pounds.

Doing Mo with the palm is like stirring water.

XXVI. Training the Form, Jing, Qi, and Shen

Train the form and you can be firm.

Train the Jing and you can be solid.

Train the Qi and you can be strong.

Train the shen and you can be agile.

XXVII. An Explanation of the Meaning of the Three Fists

Xingyi is straight, Taiji uses horizontal curving motions, they proceed from the Bagua gates. The three fists aid in knowing how things stand and having the confidence to handle them, in addition to the Shaolin soft transforming skills.

Long fist is empty in the middle, short fist is solid in the middle, Xingyi is straight in the middle, Bagua transforms the middle, Taiji is hollow in the middle.

XXVIII. To Practice Xingyi Quan Well You Must Know Daoist Principles

Wuji and Taiji, liangyi, yin and yang, san cai, si xiang, five elements, six measures-one emotion, seven channels and eight meridians, nine songs, drilling and overturning, movement and stillness, empty and full, advance and retreat, crossways and straight. Step up and hook the toes, the hook step and the embracing palm are round.

                                            Translated by Joseph Crandall (Found: HERE)

 

            Internal Kung Fu - Xingyi Quan- The Mind/ Shape Fist - The Classics of Li Guichang

 

Li Laonong - Father of Modern Xingyi Quan

OLD FARMER LI
by Wu Dianke and Cheng Suren  (Translated By Joseph Crandall - Found: HERE)

 Part I
Li Laonong, also called Li Nengran, was born in 1807 and died in 1888 at the age of 81. He was born in Shen County in the province of Hebei. As a young man he was naturally good at martial arts. He excelled in the arts of Tongbei and Gongli Quan. He grew to be big and strong because of his constant practice. He was an honest, sincere man and never spoke ill of anyone. In 1845, when he was 38 years old, he sold his land, divided up his family property, and moved to Qi County in Shansi province. He arrived at the Xiao Han village with the purpose of finding a new martial arts teacher.

Why would Li Laonong travel so far just to learn martial arts? In the Xiao Han village there was a family that made its living as bodyguards for the rich and influential. The heads of the household were Dai Wenxiong and his son Erlu. They were the successors of Dai Longbang, the founder of Hebei Style Xingyiquan.

At that time in Qi County, around the area of Taigu, the people were very prosperous. Many rich people moved to the area and the bodyguard business was doing well. Because of his great skill in the martial arts, Dai Erlu became a bodyguard and escort. Soon his reputation spread far and wide.

One time, Dai Erlu passed through the Cang Prefecture. He wanted to test the top martial arts master there. This master was so famous and feared that escorts wouldn't announce themselves publicly as they passed through for fear of being challenged and beaten. However, Dai Erlu intentionally broke all custom and paraded through the Cang Prefecture with his banners out and his servants loudly calling out his name. Sure enough, the martial arts master was soon there to block Dai Erlu's way. They fought at three different times and in three different places. Each was so impressed with the skills of the other that they became friends. After this Dai Earl’s reputation was greatly increased. The reason Li Loaning traveled so far was to study with the famous Dai Erlu.

Li Loaning arrived at the Xiao Han village and he repeatedly requested to be taken on as a student, but each time he was told, "Dai Style Xinyi is not taught to outsiders". However, Li could not return home and had nowhere else to go. He kept asking. He begged with all his heart and even offered to pay 100 double silver pieces, but still he could not get in. Finally, needing food and shelter, he offered to manage a radish field that lay outside the village walls. He stayed there for one year and everyday he could be seen selling radishes from a cart provided by the Dai family. Wind and rain didn't hinder him and the villagers began to see his honesty and tolerance. Out of respect they began to call him “Laonong” which means “Old Farmer”.

The steward for the Dai family was a man named Guo Weihan. Each month he came out to the fields and checked the accounts. Li always ready with the money he had collected and turned it over to Guo on time. At the end of the year, Guo, feeling that Li Laonong had worked very hard, invited him to a party. There, over a cup of wine, Guo tried to give Li his wages for his year’s work in the radish fields. However, Li firmly declined to accept the money, saying instead that he only wanted to learn fighting. At this impasse, Guo went to Dai Erlu's mother. Mother Dai soon knew all the facts of the case and felt moved. She ordered Li to return in exactly one month, when her son was due back from a job. Then they would see what could be done. Li was very happy. In one month there was a large ceremony at the village gate. Mother Dai ordered Erlu to teach Li Laonong, and as Erlu was a dutiful son, he could not refuse. However, he only agreed to pass on a few skills and to be a teacher in name only. What he taught Li was dun dantian (collecting qi into the dantian), she dantian (shooting qi from the dantian), pi quan, and beng quan. Li returned to the fields and practiced daily. He hung a ball from a tree to practice his striking and spent much of his time developing his skills in issuing power and cultivating true qi in his dantian. In one year, because of his severe discipline in training, he achieved a profound understanding of his art.

Part II

Time passed quickly, and two years were gone in a flash. During this time, Dai Erlu was mostly away from home on his escort business. On those when he was at home, he was, kept busy with odd jobs. Because of this Li Laonong never had the opportunity to get instruction on the finer points of his art.

Mother Dai's 80th birthday was coming. Two weeks beforehand, Li arrived at the family house to help out with preparations for the event. He worked very hard day and night. Mother Dai saw that he was hardworking, diligent, and sincere. She decided to reward him with a new suit of clothes. On the day of Mother Dai's birthday all the students gathered to demonstrate their skills. Their shouts were like thunder, each one flaunting his power and prestige. They were like tigers coming down from the mountains, fighting hand-to-hand and with spears and sabers. Each was trying to win Mother Dai's smile as a blessing. Dai Erlu sat near Mother Dai nodding his head in approval at his students' efforts. Li Laonong was in the back of the courtyard. He was worried because the senior students feared that he was not good enough and refused to let him onto the training ground. However, he knew that he was missing an opportunity that might not present itself for another two or three years. He was feeling confused and unsure of what to do. Finally he stepped out into the lineup and knelt down in his place.

Dai Erlu was taken aback as he recognized Li. He was not pleased and signaled to his students to have Li Laonong removed. Mother Dai noticed that Li was being passed over and ordered Li into the practice yard. Dai Erlu didn't dare offend his mother and gave the orders for Li to step out and demonstrate.

Li Laonong stepped to the middle of the practice yard. He was wearing Mother Dai's gift of new clothes: a black suit with a white overcoat, a special broad sash of red silk to denote martial skill wrapped around his waist, and new shoes. He stood there in the center of the practice yard, towering like a small mountain. He started first collecting qi in his dantian and then shooting it out. Everyone saw, as his upper garment, at first hanging straight, began to tremble. The trembling was the result of the gathering and issuing of qi from his dantian, which is the standing internal power practice in Xingyiquan. This form is like a crouching monkey watching the sea. Both hands are placed evenly on the thighs, both eyes slightly closed. Practiced a long time, the hands and feet give off heat, and the qi descends to the ground creating a root. Li Laonong arduously practiced this skill. The qi from his dantian was in his feet and he could issue qi from his dantian and extend it throughout his body. The intensity of this caused his clothes to tremble. Not many men ever achieve this and Dai Erlu was surprised. Li was no longer afraid. Slowly he stepped up and did beng quan. He did many lines of beng quan, inwardly calling up skill from his dantian and issuing power from his four limbs. Everyone saw the fists going out and heard the penetrating crack as his sleeves cut through the air. As his feet dropped to the floor, the bricks cracked and split. The students were awed by the power and spirit Li displayed and Dai Erlu had to admit to himself that Li Laonong was really good.

When Li finished his demonstration, he knelt down and requested that Dai Erlu point out his mistakes so that they could be corrected. Dai Erlu was greatly pleased. He stepped out into the practice yard and helped Li to stand up. First, he had Li describe his practice methods to the assembled group, then he called on all of his students to emulate Li Laonong. Mother Dai then stood up and called for a halt of the demonstration and Dai Erlu agreed with pleasure. After this, Dai Erlu invited Li to move into his house to live. There Li Laonong trained his martial skills day and night. He was even more diligent in his training and his skills advanced even more.

Part III

One time, years later, when Li Laonong was about 43 years old, an important event occurred. Dai Erlu had an old rival on Taixing Mountain in the Niu Family village. Dai Erlu was passing through the area and stopped at an inn outside the village walls. It was the middle of the hot season and Dai Erlu became ill. While Dai Erlu was sick, the village leader came and stole Dai's escort wagon. Dai Erlu could do nothing and he had to suffer this man's schemes. Thinking of what this would do to the heroic reputation he had earned, he was both saddened and infuriated. The Niu Family village is in the south pass of Taixing Mountain, the north face overlooks the Fen River in a remote part of Shansi. The village had high walls with four gateways; each gateway guarded by a tower. The terrain around the village was perilous and steep. Also there were four martial experts, one to guard each gate. Dai Erlu's escort troops attacked the village many times but were not successful in retrieving the wagon. The local authorities were all taking Niu Family bribes and paid no heed to Dai Erlu's entreaties for aid. The Niu Family village leader was full of arrogance and not only threatened to discontinue the bribe money but threatened the authorities physically with his favorite weapon, a flying bullet which he could throw from his hand with devastating effect.

Before long, Li Laonong arrived on the scene. He had come to handle Dai Erlu's affairs and make arrangements for Dai to return home. As soon as he knew of the situation he took his Double-hand Snowflake Saber, grabbed a handful of throwing knives from a nearby table and ran at top speed for the Niu Family village. Just by chance, the Niu Family village leader and his four martial experts were in one of the towers drinking wine and celebrating their victory. Suddenly, they saw a large man coming from afar. Li came as fast as a horse; his feet were flying. He jumped across the village moat, raised his hand and drove a throwing knife into the wall. Li made a ladder out of his knives and climbed over the wall. The four martial experts rushed out to answer the challenge. In a few moments, one after another suffered defeat at Li's hands. The village leader saw his predicament and shot out a bullet at Li Laonong, but Li reached out his hand, caught the bullet, and sent it back where it came from. The bullet hit the village leader's left ear and knocked him down. As blood poured from his ear, the village leader begged for mercy and that his life be spared. Li Laonong ordered him to go to the inn, kneel down and ask Dai Erlu to forgive his crime. If he did that, Li would release him. After this event Li followed his teacher in his travels to protect the escort wagon.

In 1855, because he was getting old, Dai Erlu formally made Li Laonong his successor. Li traveled everywhere north and south of the Long River, beyond the Great Wall, and to the high plateaus. Because of his fame many students came to learn his skills. In 1856, when Li was living in Qi County near Taigu, he accepted his first disciple, Che Yonghong. Then came Song Shirong, Song Shide, Li Guangxiang, and He Yunheng. In Hebei, his students were Guo Yunshen, Liu Qilan, Zhang Shude, Liu Xiaolan, Li Jingzhai, and Liu Yuanheng. In Jiangsu, there was Bai Xiyuan and in Yunnan, there was Meng Laorong. The Xingyi style was not limited to just one location. Schools sprung up like bamboo shoots, each one striving for excellence, until Xingyi had spread everywhere, with each school developing its own characteristics.

Part IV

Li Laonong worked to develop and improve Xingyiquan. He was innovative and made many major contributions to the art. The original name was Xinyi (Xin means heart and Yi means will). Li said, "The heart and will are at the center, the limbs and body form the exterior. The form (xing) is determined by the will (yi)". He changed the name of the art to Xingyi or 'Form of the will boxing'. He encouraged dun dantian and she dantian practice. He improved the Santi form, adding it to the beginning and end of each boxing routine. He advocated the exercise of standing on stakes to increase the functional value of the forms. He added the “Coiling root stepping method' and improved the practice of the Unicorn knives, the Phoenix Wing striker and other peculiar weapons. He also influenced his students to continue to be innovative and raise the excellence of the art. Che Yonghong's work on the double set "An Shen Pao" is the heart of Che Style Xingyiquan. Song Shirong and Song Shide's forms had a skillful use of qi development that caused them to vibrate and shake as they issued power. This is the hallmark of Song Family Xingyiquan. Guo Yunshen, already an expert of Shaolin quan, added a smooth grace, like floating on the wind, combined with rigorous short quick movements. These helped to shape the Hebei and Shansi styles of Xingyi Quan.


When Li Laonong was 79 years old, he returned to Taigu in Shansi to see his students' major achievements in Xingyiquan. He was pleased at what he saw and told them, "Good! You must persevere. Then I will be able to set my mind at ease about the future of Xingyiquan." Then he said, "There is to be one firm rule: You must break down the differences that are forming between you. Martial virtue must come before all." Li then encouraged the students to mutually exchange their knowledge and skills. The great teachers of Xingyi Guo Yunshen, Liu Qilan, Li Cunyi, and Sun Lutang all went to Shansi and the Shansi students went to Hebei to visit. They would question and trade back and forth. Because of this interchange, the double styles of Hebei and Shansi expanded, grew, and built a solid foundation.


A story was told by Li Laonong's students, of his meeting with Dong Haiquan and Yang Luchan. Dong Haiquan was the founder of Baguazhang and Yang Luchan was a great master of Taijiquan. Li Laonong visited the capitol and became friends with the two men. One day, Li arrived at Dong's house. Dong offered Li a cup of tea, but as Li reached out to receive the cup Dong refused to let go. Li realized that Dong wanted to test his skill and strength, and therefore he took the teacup and pushed it back toward Dong. The two men laughed together and compared their strength. At that moment Yang Luchan arrived. He also reached out his hand to push the teacup. The three men were each using their skill, internal wer, and their palm strength. Their hands were moving together and the cup started to rotate like a ball. When they finished, not one drop of tea had been spilled from the cup. The three men admired and respected each other and had succeeded in achieving the ideal goal of "three combining to become one'. Afterwards, the three men frequently met to exchange views. Thus the three arts: Xingyi, Taiji, and Bagua were joined and the principles and foundations for the goal of "three fists becoming one" were laid down.


Li Laonong eventually returned to Taigu in Shansi, satisfied that he had worked hard to sow the seeds of Xingyiquan. The art was full of vitality, growing, and would be handed down from generation to generation.