Happy Chinese New Year 2014! Year of the Horse!

Kung Fu Seminar - Xingyi & Bagua - Boulder, CO - Feb 8 & 9 - 2014

Xingyi and Bagua Seminar with

Matt Autrey

*Senior Student of Luo De Xiu of Taiwan*

 

*Boulder, CO. February 8th & 9th 2014*

Matt Autrey is a senior student of Internal Kung Fu teacher Luo De Xiu. Matt has moved back to the United States after 8 years of training Bagua Zhang, Xingyi Quan, Tai Ji Quan in Taipei, Taiwan including 5 years with Marcus Brinkman as a private student. Matt spent many years teaching and assisting in Teacher Luo’s class in Taiwan, his extensive knowledge and command of the principles, theory and applications of the internal martial arts is an asset to any practitioner.

Boulder, CO. Dates and Curriculum:

Saturday, February 8th - 1st Session 1:00pm – 4:00pm
Xing Yi Animals – Tuo Xing & Xióng Xing – Theory and Application
This will be an excellent introduction to two of the Xing Yi Quan Animal forms, the Alligator and the Bear. Learn the fundamental and advanced training practices, footwork, and applications of the form. This seminar is open to public and beginners are welcome.

Saturday, February 8th - 2nd Session 4:30pm – 7:30pm
Gao Bagua Zhang – Hou Tian – Straight Line Bagua – Form & Theory
In this seminar Matt will teach Hou Tian Bagua. The famous Straight Line Bagua of the Gao system. Matt will cover beginning and advanced Bagua theory, application and training practices. This seminar is a great addition to any Bagua Zhang style. This seminar is open to public, beginners and advanced practitioners are welcome.

Sunday, February 9th - 1st Session 1:00pm – 4:00pm
Xing Yi Quan - Da Fa - Striking Methods
Matt will be teaching Xing Yi Da Fa – Xingyi Hitting Methods. This session will cover the philosophy and methodology of striking strategies used in Xingyi Quan. Students will learn about distance, timing, range of use and how to move between various techniques. This seminar is open to public, beginners and advanced practitioners are welcome.

Sunday, February 9th - 2nd Session 4:00pm – 7:00pm
Chin Na (Joint Locking) in the Yi Zong System
The idea of Chin Na (Joint Locking) is fundamental to all martial arts in general and Yi Zong style Tai Chi, Xingyi and Bagua in particular. This seminar will cover Joint Locking theory and its usage as it relates to the Internal Martial Arts. Using two person training drills, theory and application this class will build reflexes, timing and distance required for the usage of Chin Na in a combat setting. This seminar is open to public and beginners are welcome.

Cost:
1 $175 for all Four Sessions!
2 Individually, Each Session is $50.
3 Saturday & Sunday $95 each day or $175 for both Days.
4 Preferred payment is cash (please contact if paying by check)
5 Same day registration (call for availability) $180 cash only

FOR PRICING INFO AND LOCATION EMAIL:
Owen Schilling at mailto:Owen_YiZong@Hotmail.com

Or Check http://boulderinternalmartialarts.blogspot.com/
Call 1 720 841 3526

Matt will be offering private lessons while he is in town. I highly recommend them; his knowledge and skill applied at the individual level is a fantastic catalyst for growth. Contact me or Matt at yizongwest@gmail.com or talk to him at the seminar.

 For more info on Matt check his web site: http://portlandbagua.com/

 

Internal Kung Fu - Tang Sho Tao - Xingyi Animals - Mike Patterson

 

Tang Sho Tao/ Xingyi Quan teacher Mike Patterson Demonstrating  the Dragon and the Chicken/ Rooster Animal forms.

 

I teach Xingyi Quan - Internal Kung Fu at Boulder Internal Arts. Check: HERE

Kung Fu Dao - Chinese Broadsword - Boulder Internal Arts

 

 

Dao - Broadsword

Dated: late 19th century

Culture: Chinese

Measurements: overall length 74 cm, blade 46.2 cm

 

Belonging to the late Qing Dynasty era, this sword features pierced and gilded brass mounts, with a grip and scabbard covered in polished rayskin. The broad, single-edged blade shows layered construction. Source: Copyright © 2014 Auction Flex

Learn Xingyi Kung Fu Broadsword at Boulder Internal Arts

Kung Fu - Bagua - Cheng Ting Hua Descendant - Cheng You Gong

Cheng Yougong: why he went to the Northeast.

Oral narration by Yu Baili
Edited by Wáng Tiechao

From Jingwu Magazine, Oct. 2001
 

Baguazhang was transmitted from Mr. Dong Haichuan.   He produced many famous masters.  Chéng Tínghuá, the head of Chéng Style, also produced many famous masters such as Chéng Youlong, Chéng Youxin, Chéng Yousheng, and Chéng Yougong, etc.  The most outstanding of the descendents are too numerous to mention.  The Chéng Style descendents also transmitted the art and produced their own students of great renown.  Only Chéng Yougong remains relatively unknown in the martial arts community.  While there are a few who know his name, very little is known of his students.  As for how he came to arrive in the northeast, even less is known.

Chéng Yougong was the son of Chéng Tínghuá’s older brother.  Chéng Yougong served as a shop assistant in Chéng Tínghuá’s eyeglasses shop.  (Chéng Tínghuá was given the nickname “Eyeglasses” Chéng because he ran an eyeglasses shop.) Every day he would look after the inside of the store and take care of business outside. Then he would study Bagua with his uncle.

Chéng Yougong had an uncommunicative and eccentric disposition.  He didn’t say much.  In practicing the art with his uncle, he devoted himself to training hard, but he never did it in front of people.  He was devoted to his studies throughout his many years with his uncle. His skills gradually became quite refined and he reached a high degree of proficiency.  According to my teacher, Miáo Yuchun, when Master Chéng practiced his skills, he would make two large round balls out of mud.  Before the mud could dry, he would insert his fingers into the mud balls.  He would leave his fingers in the holes.  After the mud balls dried, he would wear them on his hands when doing the turning palms.  Each ball weighed about ten pounds.  When Master Chéng was living with Teacher Miáo’s family, he would use this method to practice his skills.  When he was working in Fengtian (present day Shenyang city), he frequently trained his turning palms using a ten pound iron staff.  He trained morning and evening, year in and year out without break.

There were times when Master Chéng Yougong would speak of past events:  Everyone knows that Chéng Tínghuá was shot and killed during the conflict with the Eight Allied Armies.  However the details are not known.  According to Master Chéng, Chéng Tínghuá, liked to tie a small copper bell in the tip of his pigtail.  When doing the turning palms, the pigtail would be pulled levelly behind him because he did the turning palms so fast.  This thing was also used as a hidden weapon.  Chéng Tínghuá however never spoke of it with outsiders. When he fought against the Eight Allied Armies, he used a saber to quickly kill ten of the foreign devils.  When the foreign devils saw that their lives were threatened, they then took up their guns and shot at him.  Chéng Tínghuá waited for an opportunity to jump over a house to escape. Only when he was going over the house, the pigtail with the small copper bell attached got hung up in the rafters where the edges of the roof tiles meet.  His could not get over the roof, and was immobilized long enough for the Eight Allied Armies’ soldiers to take aim. Unfortunately he was killed.

After this happened to Chéng Tínghuá, the feeling in the Chéng Style School was gloomy.  At that time, in the capitol, there was a fighter of great skill.  Men called him ‘Mr. Two.’  His skills were exceptional.  He had heard of what happened to Chéng Tínghuá and wanted to check out the situation.  One day, when the students were practicing in the courtyard, it was suddenly announced that Mr. Two had come to visit.  Around this time students from all of the other Bagua schools in Beijing had gathered at the Chéng Style School.   “Mr. Two” came in, took a look around, and asked for a contest.  He competed with a number of people. They were all experts of the Bagua School, yet all were defeated by Mr. Two.  Mr. Two thereupon exclaimed, “Dong Gong’s wondrous skills have not survived!”   Saying this he turned around to leave.

At this time, Chéng Yougong sitting on the stairs watching the fighting.  He heard Mr. Two’s statement.  He got up and said, “Mr. Two stay a moment, a Chéng is coming down.” Mr. Two heard this and turned around.  As he looked below, he couldn’t help but be taken aback and catch his breath as he sees a big tall man coming.  Chéng Yougong arrived with a forceful presence, both eyes glimmering pure and bright.  Mr. Two knew in his heart that this man’s skill was sure to be uncommon, and thereupon adopted a strict posture to await him.  The two men came close and crossed hands.  Mr. Two saw the swift movement of hands and body.  At first Chéng was in the front, and then suddenly he was in the rear.  Mr. Two only saw the traces of Chéng’s palms overturning and flying.  In front of him was the form of a body, but true or false, empty or solid were hard to distinguish.  He made an effort to brace himself.  A slap like a black bear reaching with its claws hit his back in a surprise attack. Mr. Two quickly turned around to respond, but his opponent had already evaded, changed, and again arrived at his back.  Again he turned his back only he was too late.  Chéng Yougong used Push the Mountain into the Sea.  His hand rose and his palm fell.  Mr. Two went flying through the door to land in front of his horse.  As Mr. Two mounted his horse, he said, “The mysterious skills of Bagua have been passed down unbroken; Chéng [Tínghuá] Gong can close his eyes [in his grave]!”  He saluted and left.

Most people knew that Chéng Yougong practiced his skills, but they didn’t know how skillful he was. Now they knew that his skills had attained a high level of perfection.

After this, Chéng Yougong commonly traveled between Beijing and Tianjin, perhaps because he was invited by friends, perhaps to pay a call on classmates of other schools.  He was acquainted with many people of exceptional ability and people of ideals and integrity in the martial community.  There was his classmate Li Wenbiao who sent for him to come to Fengtian (present day Shenyang city, also known as Mukden) to take up a position working for the government.  In the Northeast, there was an area where burglars and thieves were time and again apprehended by Chéng Yougong.  Chéng often got to use his skills.  From this Chéng Yougong’s martial skills reached their highest degree.  He was also engaged by Zhang Zuolín to teach at his palace where he taught his art to Xiao Lìuzi  (Xiao Lìuzi was Zhang Zuolín’s son General Zhang Xuéliáng).

About this time, Japan was eyeing China like a tiger.  They were about to establish  their presence there.  Pú Yí was made the emperor of Manchuguo.  When Japanese arrived in Tianjin, they assigned Japanese Bushi to be his bodyguards.  The Japanese men naturally relied on their martial skills.  They never let Pú Yí out of their eyesight.  Still more not seize him because he is the emperor.  They became more arrogant and haughty every day and spoke mockingly of the Chinese.  Pú Yí truly exercised patience and restraint.  One day he made a suggestion.   He demanded that they change his bodyguard to be made of Chinese martial arts masters.  The Japanese said with despite that the Chinese martial arts masters were all are scorned as having flowery techniques.  They could all be defeated by the Japanese Bushi. They just laugh at Pú Yí’s demands.  When the opportunity arose, Pú Yí issued an official proclamation calling on Chinese masters to come forward and compete.  Although many men came forward, all were defeated by the Japanese experts. The Japanese Bushi became even more arrogant.  At this time in Tianjin, there was the great hero Huò Diàngé.  He did not compete because he did not wish to protect a false Emperor.  Although the competition lasted many days, he refused to come forward and paid no heed to it.  Later, he saw the defeated with the injuries they suffered at the hands of the Japanese Bushi.  The Japanese were wildly arrogant in the extreme, which made him most furious.  In addition, his classmates and friends advised him saying, “The issue is not about protecting Pú Yí or not. What this is really about is that the Chinese cannot compete with the Japanese.”  Mr. Huò thereupon went by himself to compete.  He used his pure and profound martial skill and strength to defeat the devils.  He subdued the Japanese Bushi.  Pú Yí was greatly pleased.  He insisted and pressed Huò stay.   Mr. Huò had no alternative and became Pú Yí’s bodyguard.

Later the Japanese forced Pú Yí to go to Changchun.  Huò Diàngé then arranged for his good friend, Chéng Yougong, to go with him.  In the past, Chéng Yougong used to get together with Mr. Huò and they would learn from each other by exchanging views and skills.  They appreciated each other’s superb martial skills and moral character.  They valued each others wisdom and associated closely with each other.  Now, even though he had no with to protect the Emperor either, he was still pleased to be able to go with his friend and be with him all the time, so he went with Mr. Huò.

As before, Chéng Yougong trained each day with great concentration.  Besides going to Harbin at someone’s invitation to teach Li Tianja’s father, La Yùlín, he did not accept any students.  Mr. Huò then set up a school and began to teach his art. He accepted many disciples and many students.  One day, Mr. Huò had a birthday.  His students and grand students all came to congratulate him on his birthday.  Mr. Chéng Yougong, as was only natural, was an honored guest.  He saw this lively scene, but in his heart he did not feel happy.  During the feast, Mr. Huò saw that Master Chéng was gloomy and not happy.  He said, “Brother Chéng, today my brother is in poor spirits. The students have all come to celebrate.  Everyone is having a good time.   Brother Chéng, what is the cause of your low spirits and unhappiness?”  Mr. Yougong smiled and said, “Brother Huò, you have pupils everywhere.  You have men to carry on after you….!”  He was never one to say much, but Mr. Huò already knew what he meant.  He said, “Brother Chéng, I know what you are saying.  Why do you worry about such things?  Pick and choose from among my students, who do you like?”  When Chéng Yougong heard these words he was delighted.  He asked, “Brother Huò, do you mean what you say?”  Mr. Huò laughed and said, “You and I are good friends, we never play with words.”  Chéng Yougong said, “In that case I wish to choose your best!”  “Brother Chéng, who do you wish to pick?”  Master Chéng pointed toward one man and said, “I don’t want many. I only want this one.”  Master Huò looked to where he was pointing. The only person he saw was his favorite student Miáo Yuchun.    In his heart, Huò did not want to give him up, but he had already has spoken.  Still, he admired Master Chéng’s discrimination. He went up to Miáo Yuchun and said, “Mr. Chéng wants you to be his student.  Are you agreeable to it?”  As a matter of fact Miáo Yuchun had wanted to study Mr. Chéng’s Baguazhang skills for a long time.  He would have liked to ask him to be his teacher, but he was hindered by being Master Huò’s favorite and found it difficult to bring up the subject.  That day, when he heard his teacher say those words, he was truly overjoyed.  At once he obeyed his teacher’s orders, and at the banquet he asked Chéng Yougong to be his teacher.  Mr. Huò said, “Yuchun, today you have asked Mr. Chéng to be your teacher, you are truly fortunate!”  Then he turned to Chéng Yougong and said, “Congratulations! Brother Chéng, you now have a student.”  The two men both laughed loudly, and enjoyed themselves to the fullest until the party broke up.

After this, Miáo Yuchun asked Master Chéng to live in his home where he was taught day and night.   Master Chéng was in Master Miáo’s home for seven years.  Master Chéng’s martial skills were the quintessence. Master Miáo inherited all of it.

After the liberation, Miáo Yuchun went to Jílín Provence.  There he taught students Wèi Míngyì (already deceased), Yú Baili, Yú Baixin, Zhào Yongfu, etc. Through him the teachings of the two arts, Chéng Style Baguazhang and Huò Style Bajiquan, took root and blossomed in Jílín. 






Cheng Yougong: why he went to the Northeast. pt 2

Oral narration by Yu Baili
Edited by Wáng Tiechao

From Jingwu Magazine, Oct. 2001

Baguazhang was transmitted from Mr. Dong Haichuan.   He produced many famous masters.  Chéng Tínghuá, the head of Chéng Style, also produced many famous masters such as Chéng Youlong, Chéng Youxin, Chéng Yousheng, and Chéng Yougong, etc.  The most outstanding of the descendents are too numerous to mention.  The Chéng Style descendents also transmitted the art and produced their own students of great renown.  Only Chéng Yougong remains relatively unknown in the martial arts community.  While there are a few who know his name, very little is known of his students.  As for how he came to arrive in the northeast, even less is known.

Chéng Yougong was the son of Chéng Tínghuá’s older brother.  Chéng Yougong served as a shop assistant in Chéng Tínghuá’s eyeglasses shop.  (Chéng Tínghuá was given the nickname “Eyeglasses” Chéng because he ran an eyeglasses shop.) Every day he would look after the inside of the store and take care of business outside. Then he would study Bagua with his uncle.

Chéng Yougong had an uncommunicative and eccentric disposition.  He didn’t say much.  In practicing the art with his uncle, he devoted himself to training hard, but he never did it in front of people.  He was devoted to his studies throughout his many years with his uncle. His skills gradually became quite refined and he reached a high degree of proficiency.  According to my teacher, Miáo Yuchun, when Master Chéng practiced his skills, he would make two large round balls out of mud.  Before the mud could dry, he would insert his fingers into the mud balls.  He would leave his fingers in the holes.  After the mud balls dried, he would wear them on his hands when doing the turning palms.  Each ball weighed about ten pounds.  When Master Chéng was living with Teacher Miáo’s family, he would use this method to practice his skills.  When he was working in Fengtian (present day Shenyang city), he frequently trained his turning palms using a ten pound iron staff.  He trained morning and evening, year in and year out without break.

There were times when Master Chéng Yougong would speak of past events:  Everyone knows that Chéng Tínghuá was shot and killed during the conflict with the Eight Allied Armies.  However the details are not known.  According to Master Chéng, Chéng Tínghuá, liked to tie a small copper bell in the tip of his pigtail.  When doing the turning palms, the pigtail would be pulled levelly behind him because he did the turning palms so fast.  This thing was also used as a hidden weapon.  Chéng Tínghuá however never spoke of it with outsiders. When he fought against the Eight Allied Armies, he used a saber to quickly kill ten of the foreign devils.  When the foreign devils saw that their lives were threatened, they then took up their guns and shot at him.  Chéng Tínghuá waited for an opportunity to jump over a house to escape. Only when he was going over the house, the pigtail with the small copper bell attached got hung up in the rafters where the edges of the roof tiles meet.  His could not get over the roof, and was immobilized long enough for the Eight Allied Armies’ soldiers to take aim. Unfortunately he was killed.

After this happened to Chéng Tínghuá, the feeling in the Chéng Style School was gloomy.  At that time, in the capitol, there was a fighter of great skill.  Men called him ‘Mr. Two.’  His skills were exceptional.  He had heard of what happened to Chéng Tínghuá and wanted to check out the situation.  One day, when the students were practicing in the courtyard, it was suddenly announced that Mr. Two had come to visit.  Around this time students from all of the other Bagua schools in Beijing had gathered at the Chéng Style School.   “Mr. Two” came in, took a look around, and asked for a contest.  He competed with a number of people. They were all experts of the Bagua School, yet all were defeated by Mr. Two.  Mr. Two thereupon exclaimed, “Dong Gong’s wondrous skills have not survived!”   Saying this he turned around to leave.

At this time, Chéng Yougong sitting on the stairs watching the fighting.  He heard Mr. Two’s statement.  He got up and said, “Mr. Two stay a moment, a Chéng is coming down.” Mr. Two heard this and turned around.  As he looked below, he couldn’t help but be taken aback and catch his breath as he sees a big tall man coming.  Chéng Yougong arrived with a forceful presence, both eyes glimmering pure and bright.  Mr. Two knew in his heart that this man’s skill was sure to be uncommon, and thereupon adopted a strict posture to await him.  The two men came close and crossed hands.  Mr. Two saw the swift movement of hands and body.  At first Chéng was in the front, and then suddenly he was in the rear.  Mr. Two only saw the traces of Chéng’s palms overturning and flying.  In front of him was the form of a body, but true or false, empty or solid were hard to distinguish.  He made an effort to brace himself.  A slap like a black bear reaching with its claws hit his back in a surprise attack. Mr. Two quickly turned around to respond, but his opponent had already evaded, changed, and again arrived at his back.  Again he turned his back only he was too late.  Chéng Yougong used Push the Mountain into the Sea.  His hand rose and his palm fell.  Mr. Two went flying through the door to land in front of his horse.  As Mr. Two mounted his horse, he said, “The mysterious skills of Bagua have been passed down unbroken; Chéng [Tínghuá] Gong can close his eyes [in his grave]!”  He saluted and left.

Most people knew that Chéng Yougong practiced his skills, but they didn’t know how skillful he was. Now they knew that his skills had attained a high level of perfection.

After this, Chéng Yougong commonly traveled between Beijing and Tianjin, perhaps because he was invited by friends, perhaps to pay a call on classmates of other schools.  He was acquainted with many people of exceptional ability and people of ideals and integrity in the martial community.  There was his classmate Li Wenbiao who sent for him to come to Fengtian (present day Shenyang city, also known as Mukden) to take up a position working for the government.  In the Northeast, there was an area where burglars and thieves were time and again apprehended by Chéng Yougong.  Chéng often got to use his skills.  From this Chéng Yougong’s martial skills reached their highest degree.  He was also engaged by Zhang Zuolín to teach at his palace where he taught his art to Xiao Lìuzi  (Xiao Lìuzi was Zhang Zuolín’s son General Zhang Xuéliáng).

About this time, Japan was eyeing China like a tiger.  They were about to establish  their presence there.  Pú Yí was made the emperor of Manchuguo.  When Japanese arrived in Tianjin, they assigned Japanese Bushi to be his bodyguards.  The Japanese men naturally relied on their martial skills.  They never let Pú Yí out of their eyesight.  Still more not seize him because he is the emperor.  They became more arrogant and haughty every day and spoke mockingly of the Chinese.  Pú Yí truly exercised patience and restraint.  One day he made a suggestion.   He demanded that they change his bodyguard to be made of Chinese martial arts masters.  The Japanese said with despite that the Chinese martial arts masters were all are scorned as having flowery techniques.  They could all be defeated by the Japanese Bushi. They just laugh at Pú Yí’s demands.  When the opportunity arose, Pú Yí issued an official proclamation calling on Chinese masters to come forward and compete.  Although many men came forward, all were defeated by the Japanese experts. The Japanese Bushi became even more arrogant.  At this time in Tianjin, there was the great hero Huò Diàngé.  He did not compete because he did not wish to protect a false Emperor.  Although the competition lasted many days, he refused to come forward and paid no heed to it.  Later, he saw the defeated with the injuries they suffered at the hands of the Japanese Bushi.  The Japanese were wildly arrogant in the extreme, which made him most furious.  In addition, his classmates and friends advised him saying, “The issue is not about protecting Pú Yí or not. What this is really about is that the Chinese cannot compete with the Japanese.”  Mr. Huò thereupon went by himself to compete.  He used his pure and profound martial skill and strength to defeat the devils.  He subdued the Japanese Bushi.  Pú Yí was greatly pleased.  He insisted and pressed Huò stay.   Mr. Huò had no alternative and became Pú Yí’s bodyguard.

Later the Japanese forced Pú Yí to go to Changchun.  Huò Diàngé then arranged for his good friend, Chéng Yougong, to go with him.  In the past, Chéng Yougong used to get together with Mr. Huò and they would learn from each other by exchanging views and skills.  They appreciated each other’s superb martial skills and moral character.  They valued each others wisdom and associated closely with each other.  Now, even though he had no with to protect the Emperor either, he was still pleased to be able to go with his friend and be with him all the time, so he went with Mr. Huò.

As before, Chéng Yougong trained each day with great concentration.  Besides going to Harbin at someone’s invitation to teach Li Tianja’s father, La Yùlín, he did not accept any students.  Mr. Huò then set up a school and began to teach his art. He accepted many disciples and many students.  One day, Mr. Huò had a birthday.  His students and grand students all came to congratulate him on his birthday.  Mr. Chéng Yougong, as was only natural, was an honored guest.  He saw this lively scene, but in his heart he did not feel happy.  During the feast, Mr. Huò saw that Master Chéng was gloomy and not happy.  He said, “Brother Chéng, today my brother is in poor spirits. The students have all come to celebrate.  Everyone is having a good time.   Brother Chéng, what is the cause of your low spirits and unhappiness?”  Mr. Yougong smiled and said, “Brother Huò, you have pupils everywhere.  You have men to carry on after you….!”  He was never one to say much, but Mr. Huò already knew what he meant.  He said, “Brother Chéng, I know what you are saying.  Why do you worry about such things?  Pick and choose from among my students, who do you like?”  When Chéng Yougong heard these words he was delighted.  He asked, “Brother Huò, do you mean what you say?”  Mr. Huò laughed and said, “You and I are good friends, we never play with words.”  Chéng Yougong said, “In that case I wish to choose your best!”  “Brother Chéng, who do you wish to pick?”  Master Chéng pointed toward one man and said, “I don’t want many. I only want this one.”  Master Huò looked to where he was pointing. The only person he saw was his favorite student Miáo Yuchun.    In his heart, Huò did not want to give him up, but he had already has spoken.  Still, he admired Master Chéng’s discrimination. He went up to Miáo Yuchun and said, “Mr. Chéng wants you to be his student.  Are you agreeable to it?”  As a matter of fact Miáo Yuchun had wanted to study Mr. Chéng’s Baguazhang skills for a long time.  He would have liked to ask him to be his teacher, but he was hindered by being Master Huò’s favorite and found it difficult to bring up the subject.  That day, when he heard his teacher say those words, he was truly overjoyed.  At once he obeyed his teacher’s orders, and at the banquet he asked Chéng Yougong to be his teacher.  Mr. Huò said, “Yuchun, today you have asked Mr. Chéng to be your teacher, you are truly fortunate!”  Then he turned to Chéng Yougong and said, “Congratulations! Brother Chéng, you now have a student.”  The two men both laughed loudly, and enjoyed themselves to the fullest until the party broke up.

After this, Miáo Yuchun asked Master Chéng to live in his home where he was taught day and night.   Master Chéng was in Master Miáo’s home for seven years.  Master Chéng’s martial skills were the quintessence. Master Miáo inherited all of it.

After the liberation, Miáo Yuchun went to Jílín Provence.  There he taught students Wèi Míngyì (already deceased), Yú Baili, Yú Baixin, Zhào Yongfu, etc. Through him the teachings of the two arts, Chéng Style Baguazhang and Huò Style Bajiquan, took root and blossomed in Jílín.

 

Internal Kung Fu - Bagua Jian (Sword) - Sword Holding Formations of Li Zi Ming - Liang Style Ba Gua Zhang

The Sword Holding Formations of the Ba Gua Jian are forms of holding the sword handle which must be understood in sword training and application. They are the basis of the changes of the movements of the sword and the requirements of the various attacking and defending techniques.

Excerpted from: Ba Gua Three Harmony Sword – Ba Gua San He Jian (八卦三 合 剑) by Zhang Quan Liang. Master Zhang is a 3rd generation inheritor of Liang Style Ba Gua Zhang. Zhang studied under the famous Li Zi Ming. Found: HERE

The forms of holding the sword handle in training the Ba Gua Jian can be generalized into the following eight types:

1. Yin Sword Handle: Hold the sword with the palm center, or large part of the palm center, facing upward.

Yin Sword

2. Yang Sword Handle: Hold the sword with the back of the hand, or large part of the back of the hand, facing upward.

Yang Sword

3. Medial Sword Handle: Hold the sword with the palm center, or large part of the palm center, facing the left.

Medial Sword

4. Lateral Sword Handle: Hold the sword with the palm center, or large part of the palm center, facing the right.

Lateral Sword

5. Internal Sword Handle: Hold the sword with the palm center, or large part of the palm center, facing to your own body.

Internal Sword

6. External Sword Handle: Hold the sword with the back of the hand, or large part of the back of the hand, facing to your own body.

External Sword

7. Reverse Sword Handle: Hold the sword with the palm center backwards or upwards.

Reverse Sword

8. Closed Sword Handle: Hold the sword with the two hands, with the palm center facing to each other or, to hold the sword handle with the right hand, with the left hand supporting it (Fig. 2-16).

Closed Sword

 

Found: HERE

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.

Xingyi and Bagua Seminar in Boulder, Colorado with Matt Autrey - February 8 & 9!

Xingyi and Bagua Seminar with

Matt Autrey

*Senior Student of Luo De Xiu of Taiwan*

 

*Boulder, CO. February 8th & 9th 2014*

Matt Autrey is a senior student of Internal Kung Fu teacher Luo De Xiu. Matt has moved back to the United States after 8 years of training Bagua Zhang, Xingyi Quan, Tai Ji Quan in Taipei, Taiwan including 5 years with Marcus Brinkman as a private student. Matt spent many years teaching and assisting in Teacher Luo’s class in Taiwan, his extensive knowledge and command of the principles, theory and applications of the internal martial arts is an asset to any practitioner.

Boulder, CO. Dates and Curriculum:

Saturday, February 8th - 1st Session 1:00pm – 4:00pm
Xing Yi Animals – Tuo Xing & Xióng Xing – Theory and Application
This will be an excellent introduction to two of the Xing Yi Quan Animal forms, the Alligator and the Bear. Learn the fundamental and advanced training practices, footwork, and applications of the form. This seminar is open to public and beginners are welcome.

Saturday, February 8th - 2nd Session 4:30pm – 7:30pm
Gao Bagua Zhang – Hou Tian – Straight Line Bagua – Form & Theory
In this seminar Matt will teach Hou Tian Bagua. The famous Straight Line Bagua of the Gao system. Matt will cover beginning and advanced Bagua theory, application and training practices. This seminar is a great addition to any Bagua Zhang style. This seminar is open to public, beginners and advanced practitioners are welcome.

Sunday, February 9th - 1st Session 1:00pm – 4:00pm
Xing Yi Quan - Da Fa - Striking Methods
Matt will be teaching Xing Yi Da Fa – Xingyi Hitting Methods. This session will cover the philosophy and methodology of striking strategies used in Xingyi Quan. Students will learn about distance, timing, range of use and how to move between various techniques. This seminar is open to public, beginners and advanced practitioners are welcome.

Sunday, February 9th - 2nd Session 4:00pm – 7:00pm
Chin Na (Joint Locking) in the Yi Zong System
The idea of Chin Na (Joint Locking) is fundamental to all martial arts in general and Yi Zong style Tai Chi, Xingyi and Bagua in particular. This seminar will cover Joint Locking theory and its usage as it relates to the Internal Martial Arts. Using two person training drills, theory and application this class will build reflexes, timing and distance required for the usage of Chin Na in a combat setting. This seminar is open to public and beginners are welcome.

Cost:
1 $175 for all Four Sessions!
2 Individually, Each Session is $50.
3 Saturday & Sunday $95 each day or $175 for both Days.
4 Preferred payment is cash (please contact if paying by check)
5 Same day registration (call for availability) $180 cash only

FOR PRICING INFO AND LOCATION EMAIL:
Owen Schilling at mailto:Owen_YiZong@Hotmail.com

Or Check http://boulderinternalmartialarts.blogspot.com/
Call 1 720 841 3526

Matt will be offering private lessons while he is in town. I highly recommend them; his knowledge and skill applied at the individual level is a fantastic catalyst for growth. Contact me or Matt at yizongwest@gmail.com or talk to him at the seminar.
For more info on Matt check his web site: http://portlandbagua.com/

Xingyi Quan at CU – New Internal Kung Fu Class at the CU Rec Center - University of Colorado – Boulder

Xingyi Quan at CU – New Internal Kung Fu Class at the CU Rec Center  - University of Colorado – Boulder

Boulder Internal Arts is excited to be offering a new Internal Kung Fu - Xingyi Quan class at the CU Rec Center on the University of Colorado Campus.
Beginning on Monday January 13^th we will be teaching and training the Xingyi Quan - Five Elements Fists curriculum.

Classes will be held on Monday and Thursday evenings from 6pm to 7:30pm from January 13^th to May 1^st in Fitness Studio 4 (upstairs facing the Ice Rink).

Cost is: $90 for CU Rec members and $115 for Non-Members total - for the whole term.

The class will cover:

·         The Five Fists – Marital Application and Health Practices

·         Mind - Body Training

·         Joint Opening Exercises

·         Chi Gong

·         Theory

Yin Bagua - Internal Kung Fu - Instructional Video Series - He Jinghan's Yin Style Bagua Zhang

I believe this is He Jinghan's Yin Bagua instructional video series. While I do not teach Yin style Bagua, I do teach Gao Style Bagua here in Boulder, Colorado at Boulder Internal Arts. Check: HERE

Internal Kung Fu - Cheng Style Bagua Zhang - Founder Cheng Tinghua - Boulder, Colorado

Cheng Tinghua Biography

 Translated by Joseph Crandall (Found: HERE)

Cheng Tinghua was Dong Haichuan's other top student. He was from Cheng Village in Ji County, Hebei Province. Later he moved Beijing, where he opened an eyeglasses shop located next to the Fire Spirit Temple on Sishuai Street in the Flower Market Plaza. Therefore, he was called Eyeglasses Cheng or Spectacles Cheng.

As a youth, Cheng was fond of martial arts. He was best at Shuaijiao and was famous for his throwing skills. He was a friend of Yin Fu and Shi Jidong. He listened to the two men speak of Dong Haichuan's extraordinary martial skill and was enthralled by the stories. They recommended that he ask Dong to teach him. He was 28 years old at that time.

Cheng was accepted and studied with Dong for about half a year. Dong eventually notice Cheng's talents and intelligence. He took a personal interest in Cheng because of Cheng's diligence and pure heart. Cheng studied Baguazhang with Dong Haichuan for many years and achieved a high level of skill. It was not long before Cheng had all of the Baguazhang secrets. It is said that those that came to Dong's school to challenge him would first have to test their skill against Cheng. Cheng was skilled in turning an attacker's energy against himself. Cheng would simply stretch out his hand and the challenger would be thrown. With Dong's permission, he developed his own school, which became famous throughout the country.

Cheng had an impulsive nature. He was short, but strong. In all his fights, he was particularly fond of using single pounding palm and was always successful in throwing his opponents in a single movement. In contrast to Yin Fu, who popularized the ox tongue palm, Cheng was known for his dragon claw palm. He also mixed his art with Xingyi and achieved great things. Thus Cheng style is somewhat like Xingyi, the palm is shaped like a Xingyi palm and the steps sink firmly and strongly.

Legend says that he wore at ten pound vest of iron. To the end of his days, in practicing his skills or running his business, he never remove his vest, and matter how hot or cold it was. When practicing one form of striking palm, he used a basket of sand weighing 300 pounds hanging from a beam. He practiced striking it night and day. Many boxing masters were amazed at Cheng's strength and skill. He had a tub of water strung on a rope and he would use one palm to lift it up and down 10 times. Then, still holding up the tub, he would circle around three times. The water was never spilled. Cheng never ran out of breath, and his face never got red.

Cheng's reputation was heralded far and wide. It constantly made men jealous, but ordinary men couldn't compare. One day a husky fellow arrived to see Cheng. He said, his strength was incomparable and wanted to contest with Cheng. Cheng out his right arm and said, "If you can lift my arm, I will admit defeat." The fellow used his shoulder to try and raise Cheng's arm. He used his utmost strength but didn't raise it a fraction of an inch. Cheng slightly dropped his elbow and the fellow was dumped on the ground. He lay gasping for quite a while before rising and leaving.

Cheng associated with Xingyi Quan masters. The famous Xingyi master Guo Yunshen was from Ji County like Cheng, and they were familiar one another. When Guo visited the Capitol, he stayed a time with the Cheng family. Cheng asked Guo why he had come. Guo replied that he had heard of Dong Haichuan's skill and he had come to challenge him. Once Cheng knew of Guo's purpose he said, "We are from the county, and have a good relationship with each other. I will be honest with you. I don't think you should go see Master Dong. It will be damaging to your reputation. Dong likes to fight. Ten thousand men have lost to him. How can you hope to win? My humble opinion is that you don't go see him." Guo listened to Cheng and pondered his words as he drank his tea. Suddenly Guo faced Cheng and said, "Brother, how about it you suffer my beng quan?" That was all the notification Cheng got that the punch was coming. Cheng evaded the punch and Guo's incoming fist struck the door frame, knocking a piece from it. (Bagua master Li Ziming attests to seeing this door frame after it had been repaired.) Guo stayed with Cheng a few more days and then returned to Ji County.

Another time, Cheng was walking along a road outide Beijing's Sui Wen gate. It was late at night. Suddenly he heard footsteps approaching rapidly from the rear. He quickly evaded as a man with a saber tried to split his back. Cheng twisted his body and the saber met emptiness. Cheng seized the saber and with one kick sent the man sprawling. He said, "My friend, there are many martial arts and many skills. When you are ready, you may try me again."

There was a man from Shandong named Li Yong'gui. He was six feet tall and each arm had the strength of 100 pounds. He had iron palm training and his gongfu was very strong. He carried a single saber in a sheath across his back. He came to Cheng's home and called out, "Is this Eyeglasses Cheng's home? Where is Eyeglasses Cheng?" Master Cheng came to the door and asked what he wanted. Li said that he had come from Shandong to see Cheng. Cheng told him that he was Cheng Tinghua's younger brother and that Cheng was out visiting friends. Li was acting rudely. He wolfed down the cakes and dumplings Cheng served him and when Cheng asked him if he had had enough, he only said, "It was not too bad." Li then went outside. Cheng sent a student to see what Li was doing. The student saw Li suddenly seize a stone hitching post and break it apart. The student quickly went to tell Cheng. Master Cheng thought that Li had come a long way to compare skills and was not likely to go away. He also wondered if Li might want to be his student. Cheng went to Li and said, "No one knows when Master Cheng will be back, but I have practiced a long time. Why don't we compare out skills?" Li replied, "That is a good idea. However, if my strike knocks you down, I will continue to look for Eyeglasses Cheng." The two men went out into the courtyard. They assumed their stances and did two or three moves. Master Cheng put his palm on Li's upper hip and Li was thrown six feet. Then, while still on the ground, Li tried a move called 'Hungry Tiger Seizes Food' only Cheng dodged the blow and again struck Li to the ground. Li rolled over, opened his eyes and said, "You said you were Eyeglasses Cheng's student but I think you are Eyeglasses Cheng himself. Why are you so unfair to me?" Li then knelt down and asked to study Baguazhang with Master Cheng. Following this event he lived in the Cheng household. Many months later, Cheng said to Li, "Let us talk. You came to learn my art and I welcomed you. However your appetite is too big. I cannot stand it. You had best return to your home and practice there." Li heard this and laughed for now he was able to leave Cheng Tinghua without bad feelings.

During the Boxer Rebellion (July 1900) Cheng was in Beijing. He saw the invading armies come in killing and looting. He swore to defend his country from the invaders. One day the invading armies were killing indiscriminately.  A German army company had orders to kill the Yihe Guard, but proceeded to kill the common people because the Yihe members wouldn't fight. They proceeded to plunder and burn everywhere. When Cheng saw this his heart was filled with righteous indignation. In the middle of the night he approached a German patrol alone and attacked, killing many. The officers were furious and ordered the soldiers to surround Cheng. Cheng used his piercing palm to evade them but was shot and killed as he leapt over a wall.

Translated by Joseph Crandall (Found: HERE)

Note: Cheng Tinghua is the founder of Cheng style Bagua Zhang. Cheng style Bagua Zhang (and all its branch schools) are the most practiced variations of Bagua Zhang in the world. Gao style Bagua Zhang is a branch of the Cheng School. Learn Gao style Bagua Zhang here in Boulder, Colorado at Boulder Internal Arts.

 

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