Xingyi Quan - Essence of Beng Quan
Thursday, December 31, 2020
Tuesday, December 29, 2020
Sàn jiàn fǎ
Liàn sàn jiàn. Fēn sānzhǒng fāngfǎ. Dì yī yuán dì duì jī fǎ. Huóyòng shǒuwàn. Yǔ rén jī cì. Shǐ xīnyǎn shǒu sān zhě hé wéi yīqì shì yě. Dì èr háng dòng duì jī fǎ. Yǐ shǒufǎ bù fǎ yǔ rén duì jī. Dì sān huóyòng shēn fǎ. Shǒufǎ. Bù fǎ. Hū qián hū hòu. Shēngdōngjīxī. Huò shàng huò xià. Bēnténg piāohū. Jiàn háng rú diàn. Shēn háng rú lóng shì yě.
The practice of free swordplay is divided into three methods.
The first method is standing in place striking at each other, adapting with a lively wrist. The intention is for the eyes, mind, and hand, these three to become one qì.
The second method is moving and striking. Use hand technique and footwork for swordplay.
The third method is a lively, adaptive body.
Hand techniques, footwork, back and forth, make a noise in the east and attack in the west, sometimes high, sometimes low, moving fast and unpredictable, the sword moves like lightening. The body moves like a dragon.
Commentary and Notes: In this chapter on swordplay, the author follows a common plan of development seen in Chinese martial arts, namely moving from fixed-step two-person exercises to moving step set routines. Naturally, students commence training in these exercises after techniques have been learned and thoroughly practised through solo forms and drills. Once the student has integrated the hand techniques with their footwork through the moving-step two-person forms, they can then move on to actual free play.
A common error, particularly amongst newer sword students is to always give distance, retreating to neutralize attacks. The problem with this is that once out of distance, one cannot counter-cut. This allows the opponent to control the flow of the action. By making sure the beginning swordsman has a sound foundation in his or her hand techniques, meaning he or she can properly deflect and counter-cut before adding footwork to the response to an attack, the student prevents this error of excessive or unnecessary footwork.
The author describes developing a lively wrist as part of the first step in learning free sword. The word for lively used here is huó (活). Huó means loose or lively, but in this context it does not simply mean the ligaments are loose and adequately stretched out. It means that one is able to adapt quickly and easily to any given situation. The quick changes that provide jiànfǎ with its versatility rely on this lively wrist.
“Make a sound in the east, hit in the west” is a classic Chinese strategy idiom for creating a diversion.
-Scott M. Rodell
Sunday, December 27, 2020
Monday, December 21, 2020
Saturday, December 19, 2020
Thursday, December 17, 2020
Tai Chi Master Makes Excuses For Losing To Xu Xiaodong - Xu Xiaodong vs Chen Yong
Tuesday, December 15, 2020
Hero (2004) Jet Li vs. Donnie Yen - Chess Courtyard fight
Sunday, December 13, 2020
Xing Yi Quan, Ai Shen Pao, Che lineage 山西形意拳名家高宝东挨身炮
"This is beautiful performance of Ai Shen Pao by GM Gao Baodong (高宝东) the master of my friend Hou Jinsheng (侯锦升) and GM An Qibang (安启邦) both disciple of Wu Zhitai (吴治泰) from Shanxi, Taigu(山西, 太谷). Gao Baodong and An Qibang are high skilled and well known Shanxi masters from Che Yizhai(车毅斋) lineage, two of just few descendants of the old orthodox Xing Yi Quan. There is long friendship between our and Liujian line. Lineage of grandmaster Gao and his disciple (my lineage "uncle") Hou: Li Luoneng(李洛能)---Che Yizhai(车毅斋)---Liu Jian(刘俭)--Wu Zhitai-吴治泰---Gao Baodong(高宝东)---Hou Jinsheng(侯锦升)."
Friday, December 11, 2020
Wednesday, December 9, 2020
Monday, December 7, 2020
Xing Yi Ba Fa Sword - Old grandmaster Zhang Baoyang
"Grandmaster Zhang Baoyang(张宝杨，1922-2016) was famous Xing Yi Quan (Xin Yi Liu He Quan心意六合拳) practitioner, founder of Beijing Xing Yi Quan Research Association（北京武术协会形意拳研究会). This is rare footage of 8 Basic methods of Xing Yi Sword (形意八法剑). Lineage: Li Luoneng(李洛能)---Liu Qilan(刘奇兰)---Wang Fuyuan(王福元)---Wang Jiwu(王继武)---Zhang Baoyan (张宝杨）."