Wednesday, September 26, 2018

Xingyi Quan - Standing Practice - Developing Inner Force - Sun Lu Tang

Developing Inner Force Through 站立樹樁 Zhànlì Shù Zhuāng (Standing Erect Tree Stump)
The following was written by Sun Lu-T'ang's disciple, Jue Hau. His photo appears below.

站立樹樁 Zhànlì Shù Zhuāng (Standing Erect Tree Stump) mimics the ability to stand as if the rooted stump of a tree that stands erect, straight, yet pliable like a 樹苗 shùmiáo (sapling). Standing practice requires that one’s natural desire to move be restrained as if holding back on the reigns of a horse that is about to gallop. Movement is generated by the activity of 氣 qì. To gather qi from heavenly sources [those forces which are active] beget the natural transmutation of movement. Master Sun Lu-T’ang, like many Chinese boxing masters, taught that standing practices are the original methods that the Immortals employed to feed their ethereal bodies. Not being of mortal flesh their need to feed upon the qi of Heaven and Earth is resolute. Standing among the mountains and clouds the Immortals inhale harmonious vapors [qi] and exhale turbid remains [turbid qi].
The way of the Immortals is a pure path to follow. They beckon all to adhere to their practices. Master Sun said that such methods were taught to him by his master, Guo Yun-Shen. Master Guo was said to have learned the ways of the Immortals by monks who live in the region of Huang Shan (Yellow Mountain), where the Immortals often come to play and feed. They are often observed standing in various poses during the early morning when dew begins to form. Their standing is without a single stirring motion, yet onlookers speak of the Immortals having a frost [a glistening-cloudy glow] gathering about them. I asked Master Sun what is this frost? He answered that it is the light from the other side. I did not understand his meaning at that time and he would speak no more about this until years later.
I always asked my master many questions, though he gave few responses at first. I learned from his example that questions and responses are not without merit, though it is attaining an answer without having asked a question that must be sought. The answer often shows itself before the question is asked. This is the way of true learning. In standing practices I followed the methods taught by many; stand and absorb the qi, quiet the spirit, and seek to transform. To seek was my undoing, as it has been for many. Master Sun said that Master Guo taught that the action of seeking is as motion, both are the Great Inhibitors. His meaning is that in standing practices one must stand within a pool of stillness that has no ripples of thought, for thought brings forth seeking answers and accomplishments which inhibit the purity of one’s intent. Therefore, to accumulate qi and internal force one must not seek accumulation. To find stillness within one must not search for stillness. To search is the action by which transformation is abated. Empty the kettle, then it can be filled. To understand that which Master Sun has spoken on is to have taken the initial step into the practices of standing.
Standing requires that one become like a 李樹 lǐshù (plum tree) that is weighted with its fruit. Heavy, steadfast, and blossoming with essential vigor, this tree represents yang jing (generative force) within one’s body. To stand in the presence of Nothingness [the absence of mindful activity]) is to stand with the Tao.
Written and Translated by Brad Tyrey - Purchase his books HERE 
Found HERE 

Tuesday, September 18, 2018

Cheng Style Bagua Zhang Master Xu FanCeng 程式八卦掌 許繁曾

Cheng Style Bagua Zhang Master Xu FanCeng 程式八卦掌 許繁曾

Xu Fan Ceng is student of Cheng TingHua's son Cheng Youxin. This video is demonstrating "Covering Hand Palm"
董海川(Dong HaiChuan) --- 程廷華(Cheng TingHua)---程有信(Cheng Youxin

Friday, September 14, 2018

Xingyi Quan - Sun Lu Tang - Bradford Tyrey

鬆鶴三體式 Song He San-t’i Shi 
"The attached drawing comes from Sun Lu-T’ang’s earliest version (1912) of his published book 形意拳學 Xingyiquan Xue (The Study of Form-Intent Boxing) which was later revised and republished in (1915) using photos of Sun Lu-T’ang. 

Pine & Crane Three Embodiments Posture

The Chinese character 體 (t’i), according to period dictionaries during the time of masters Guo Yun-Shen
and Sun Lu-T’ang, means: the whole body; a frame consisting of many parts; substance; essentials; to
embody; a solid; a partition; completeness. The character (體) is composed of two radicals: bone [the human skeleton] and sacrificial vessel. These meanings will help you to understand Madam Sun’s response. As she of fine painting methods, she explained this written character according to its two
radical parts, and to the teachings of her father and Master Guo. Therefore, 三體式 San-t’i Shi can, in part, be translated as: Three Embodiments Posture; Three Substances Posture; or Three Essentials Posture. It is safe to say that collectively, these three translations of 三體式 will bring you closer to understanding its inclusive meaning. I have chosen to use ‘embodiment’ as the fore fronting translation based upon clarifications presented by both Madam Sun and Wang Xi-Kui (Sun Lu-T’ang’s disciple). The meaning of Pine and Crane as part of this posture is explained below as passed down and taught within the Sun family by Sun Lu-T’ang’s teacher, Guo Yun-Shen.

‘三體式 San-t’i Shi (Three Embodiments Posture) embraces more than the tip of the nose, tip of a finger, and tip of a toe, the 三 san (three) which form a ‘single alignment.’ These are not the only three tips that are aligned, there exist both the upper and lower and front and back, each containing three tips that are to be aligned during xingyi boxing postures and sets. Beyond such tips exist further teachings essential to San-t’i Shi as well as all postures. To begin, one must understand 伸展 shenzhan (to stretch). 伸展 Shenzhan is the unity of both 伸 shen (to extend) and 展 zhan (to spread outwardly) in a manner that evokes forward extension with sideward spreading like the wings of a 鶴 he’r (crane). Both physical actions are slight, yet their intent is great. When these two actions unify 伸展 shenzhan becomes the ability to ‘stretch’ in a manner strictly adhering to ‘extending’ and ‘spreading.’ However, 不用力 buyongli (no physical exertion) must be followed. The practice of xingyi boxing must be done so in a relaxed manner physically. Internal softness with only the appearance of external strength is essential. Once attained then the skill of 撞擊 zhuangji (ramming strikes) fuse within all hand and foot attacks. This is one’s ability to have each hit contain the force of a battering-ram, each possessing 擊力 jili (striking power) able to collapse a wall built of stone. Such must be coupled with 突擊 tuji (to suddenly attack) without warning and with great ferocity that must not be seen upon one’s face.

三體式 San-t’i Shi (Three Embodiments Posture) must also 收縮 shousuo (receive-withdraw). This is beyond the simplicity of contracting the body at times, it is the ability to 收 shou (receive/collect) one’s Spirit, gathering it inward so that purity of thought can attend only to 體 t’i (the embodiments) being practiced. Among such embodiment skills to attend to is the internal manifestation of 盤繞 panrao (to coil around [to coil around a thing]). 盤繞 Panrao, though externally applied like a dragon or snake coiling and wrapping upon its prey, it is the original essences of 盤 pan (coiling [to coil around/entwine a thing]) and 繞 rao (winding [to wind through or around a thing]) that must be separately understood, practiced, enhanced, then unified within one’s being. When they are unified their harmonious force resembles the churning of the Cosmos, having no equal. To practice in this manner one’s essential 氣力 qili (vigor) shall be enhanced and 長壽 changshou (longevity) shall be without hindrance. Hence it is said such practice of 三體式 San-t’i Shi (Three Embodiments Posture) shall produce 鬆鶴遐齡 Song He Xialing (Pine & Crane Long-lasting Age). These are but part of 三體式 San-t’i Shi practices.’

Note from Bradford: The character 鬆 song means to loosen and relax. However, it also refers to a Pine tree which is symbolic of long-life and often the wisdom that comes with a long lifespan. 鶴 He is the character for Crane, also symbolic, in this case, for longevity. Paired, 鬆鶴 Song He refers to a person who will live as long as the Pine and Crane nestled among the Tao.

Further information on 三體式 San-t’i Shi and related teachings by masters Guo and Sun are found in my books under Bradford Tyrey."

Found: HERE

Wednesday, September 12, 2018

Kunwu Sword Manual by Li Lingxiao (昆吾劍譜, 李凌霄) Translated by Scott M. Rodell

Advice from the Kunwu Sword Manual by Li Lingxiao (昆吾劍譜, 李凌霄)


Yī kě chuán zhī rén bù chuán, shī rén. Bùkě chuán zhī rén ér chuán, shī jiàn. Rú rèn rén bù zhēn, níng shī rén wù shī jiàn. Zìgǔ jiē rán, fēi wúbèi zhī lìn yě.

If there is someone that the art can be transmitted to, but it is not, that person is lost. If someone who can not receive the transmission is taught, the sword art is lost. So recognize the people who are right. Rather lose a person than lose the sword art. Since ancient times it was always this way, it is not our generations stinginess.

from the Ten admonishments for the Sword Art Translated by Scott M. Rodell

Found HERE

Saturday, September 8, 2018

Martial Wisdom from Tim Cartmell

"Looking to ancient Chinese shamanistic fortune telling for martial wisdom is the equivalent of reading the prophecies of Nostradamus to try to figure out how to get out of a headlock." - Tim Cartmell 

Quote from: 

Tuesday, September 4, 2018



Those who know do not talk. 
Those who talk do not know.

Keep your mouth closed. 
Guard your senses. 
Temper your sharpness. 
Simplify your problems. 
Mask your brightness. 
Be at one with the dust of the Earth. 
This is primal union.

He who has achieved this state 
Is unconcerned with friends and enemies, 
With good and harm, with honor and disgrace. 
This therefore is the highest state of man.

56th Verse - Tao Te Ching
Gia Fu-feng and Jane English

Found: HERE

Sunday, September 2, 2018

Swordsman vs. Arrow- Sword Cuts Speeding Arrow

Swordsman vs. Arrow- Sword Cuts Speeding Arrow

"Speed is one of the five essential elements of Chinese Swordsmanship (Jiànfǎ, 劍法). Cutting an arrow in flight is the ultimate test of a Swordsman’s skills. The Japanese refer to this skill as Yadome no jutsu (the military study of arrow cutting or blocking), considering it an indicator of superior martial prowess. Scott M. Rodell, director of the Great River Taoist Center, draws his jian (sword) slicing an arrow shot at him from just over 15 meters away. Traveling at 70.2 mph (113 kph) the arrow flies 51’ (15.5 m) in .48 of a second. Drawing his jian (sword) from the scabbard, his Liāo cut (撩) sliced it neatly in two."