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Xu Yi Qian, alias Ji Liu, born in the town of Nantong, province of Jiangsu. Took a course at the Central Academy of National Martial Arts. Now works as an editor at the Central Academy of National Martial Arts.

Central Academy of National Martial Arts

CHUAN NA QUAN Style of Piercing Blows and Holds Publishing House “Shan Wu Yin Shu Guan” Shanghai, 1936 © Copyright Shaolin Kung Fu OnLine Library

Published by Shaolin Kung Fu OnLine Library

www.kungfulibrary.com/e-book-store.htm Xu Yi Qian. CHUAN NA QUAN. Style of Piercing Blows and Holds / Shanghai, 1936 /

2005 2

Translation: Wang Ke Ze Oleg Korshunov

Contents Preface of Yi Jin……………………………………………………………………………………5 Author’s Preface…………………………………………………………………………………...9 On sources and main content of the art of TAI JI YUAN GONG

12

Explanations

19

Biography of Sha Da Chuan

21

Part I 1. The beginning of the execution CHAN NA. Initial position

27

2. ZHI NIAO LIAN YI: “Bird of prey folds its wings”

28

3. YI BU YOU LAN: “Making a step and barring on the right flank”

30

4. KUA BU JUO TIAO: “Jumping and warding off on the left flank”

31

5. TAN NANG QU WU: “Fumbling in a bag to take the right thing”

33

6. SHUNG SHOU TUI ZHOU: “Stretching an arm and pushing the boat”

35

7. SHUANG DAO ZHAN JIAO: “Slaying the sea dragon with two swords”

37

8. FEN LU YAN BIAO: “Throwing darts in opposite directions”

39

9. HU QI DAN LUE: “Protecting the stomach and blocking diagonally”

40

10. SHANG BU FA MA: “A step forward just as a horse trots”

42

11. ZHUAN SHEN FENG QUAN: “Torso turn, Phoenix fist”

43

12. MAI DAN QIE XI: “Cutting a knee in the position MAI DAN”

45

13. TAN GONG SHE YAN: “Drawing the bow and shooting an arrow at the wild goose”

46

14. SHANG BU FA MA: «A step forward just as a horse trots”

48

15. ZHUAN SHEN FU HU: “To turn and tame a tiger”

49

16. SHUANG GOU DU LI: “Two hooks in one-leg position”

51

17. JIN BU SHUANG FENG: “Advancing by one step, executing pair locking”

52

Part II 18. JIN BU FAN ZHANG: “One step forward, an overturned palm”

54

19. XUAN YA LE MA: “Reining in a horse at the edge of the precipice”

56

20. JIN BU SHUANG FENG: “Advancing by a step, executing pair lock”

57

21. ZHUAN SHEN FAN ZHANG: “Turning the torso, a turned palm”

59

22. XUAN YA LE MA. “Reining in a horse on the edge of a precipice”

61

23. JIN BU SHUANG FENG: “Advancing by a step, executing a pair lock”

62

24. ZHUAN SHEN SHUANG TUI: “Turning and executing a pair push with palms”

63

25. BO YUN JIAN RI: “Dispersing clouds to see the sun”

64

26. TIAO BU QING NA: “Jumping up and freeing oneself from a grip”

66

27. SHOU BU ZUO ZHANG: “Front leg drawing and left palm striking”

68

28. SHANG BU YU ZHANG: “A step forward, a right palm blow”

69

3

29. FENG QI YUN FEI: “A gust of wind blows away clouds”

71

30. SHANG BU FA MA: “A step forward just as a horse trots”

73

31. TUI BU YU ZHANG: “One step back, a blow with the right palm”

74

32. SHUNG SHOU QIAN YANG: “Stretching out an arm and taking away a sheep”

75

33. SHEN XIAN DAO TUO: “The Celestial changes his appearance”

77

34. YUAN HOU ZHUI ZHI: “A monkey hangs on a branch”

79

35. JIU DI BAN CHUAI: Kicking aside from the ground”

80

36. QIAN JIN ZHUI DI : “1000 JINs weigh on the ground”

81

37. TI ZU ZUO ZHANG: “Raising a leg and striking with the left palm”

83

38. TUI CHUAN WANG YUE: “Flinging the window wide open and enjoying the moon”

84

Part III 39. ZHUAN SHEN SHUANG TUI: “Turning and executing a pair push with palms”

86

40. BO YUN JIAN RI: “Dispersing clouds to see the sun”

87

41. TIAO BU QING NA: “Jumping up and freeing oneself from a grip”

89

42. SHOU BU ZUO ZHANG: “Front leg drawing and left palm striking”

90

43. SHANG BU YU ZHANG: “A step forward, a right palm blow”

92

44. FENG QI YUN FEI: “A gust of wind blows away clouds”

93

45. SHANG BU FA MA: “A step forward just as a horse trots”

95

46. TUI BU YU ZHANG: “One step back, a blow with the right palm”

96

47. SHUNG SHOU QIAN YANG: “Stretching out an arm and taking away a sheep”

97

48. SHEN XIAN DAO TUO: “The Celestial changes his appearance”

99

49. YUAN HOU ZHUI ZHI: “A monkey hangs on a branch”

100

50. JIU DI BAN CHUAI: Kicking aside from the ground”

102

51. QIAN JIN ZHUI DI : “1000 JINs weigh on the ground”

103

52. TI ZU ZUO ZHANG: “Raising a leg and striking with the left palm”

105

53. TUI CHUAN WANG YUE: “Flinging the window wide open and enjoying the moon”

106

54. TAN LI DE ZHU: “Picking up a wonderful pearl from the chin of a sleeping dragon”

107

55. CHUAN NA FAN PU: “The final position of CHUAN NA”

109

***

4

Preface of Yi Jin Six years has already passed since the Central Academy of National Martial Arts1 under the guidance of the respected Zhang Zhi Jiang undertook to propagate and develop national martial arts. During that time a lot of books on martial arts appeared like “spring flowers that bloom after a heavy rain”. However, in the process of detailed familiarization with a great deal of those works a whole number of shortcomings

General Zhang Zhi Jiang

inherent in most of them is found. For instance, some hieroglyphs that did not reveal proper sense of some movements were used, clear differentiation of single positions and methods was not always done, instructions on methods of execution – fast or slow, with force or without force were not available. Furthermore, fuzzy photographs, wrong directions (of movements), description of movements proper and their combat use with lack of sufficient details were often provided. So doubts and questions often arose; the readers felt as if something was withheld from them, superficial understanding of the subject occurred. All this created insuperable difficulties on the way to fine acquisition of presented methods and techniques and made a profound unassisted study of them impossible. In compiling this book the author succeeded in avoiding the above-mentioned shortcomings; he wrote it so that it could be possible to train oneself with the same success as if you were guided by a flesh-and-blood tutor. The respected Editor’s notes: 1

The Central Academy of National Martial Arts was founded in Nanking (the capital of China at that time) in 1928. The Academy was set up with governmental support and with the aim “to consolidate martial arts of China by gathering all great masters.” General Zhang Zhi Jiang, known for his devotion to WU SHU (martial arts), was appointed as the chancellor of the Academy. Before that appointment General Zhang Zhi Jiang was the commander of the North-Western Army and strictly demanded that all soldiers and officers under his command should improve their WU SHU. 5

Xu Ji Liu2 and I work together at the Central Academy of National Martial Arts. He showed me photos and the text of the book CHUAN NA QUAN and asked to write a preface. Having read the contents, I can say that it is the case when “it is possible to pull out the whole chain by holding the main link”. Text spacing is clear3, explanations of movements are very detailed and at the same time understandable and intelligible to the highest degree, as the saying goes, “to reveal the heart of a problem with one stroke4”. Furthermore, combat use of movements is explained.

The first state examinations for national martial arts which took place at the Central Academy in Nanking in 1928. The opening ceremony of the state examinations.

Let’s consider, as an example, basic movements of the style CHUAN NA QUAN. They are LAN (to bar), TIAO (a blow or a block from below upward), TUI (a push forward), SHEN (a blow or a block from above downward), GOU (to hook), CHA (to drive into) and others. All of them are described in detail and systematized, therefore, when methods are explained, it is clear what the matter is about. As the saying goes, “if you drew a dragon, draw his pupils”. Otherwise, you will distort the essence of the object by

Editor’s notes: 2

Xu Ji Liu, another name of the author of the book is Xu Yi Qian. It means spacing between sentences and indentations, that was an innovation in the traditional Chinese writing at the beginning of the XX century. 4 Figure of speech; it means a brush for writing hieroglyphs. 3

6

omitting one small detail. A name is none other than the mental image of the object and the image must reflect its essence. There is no object which essence could not be expressed through mental images. You pass from one position to another, from one method to another as if you are wandering at mountain peaks, going high up and down. One movement

“Empty hands” bout.

follows another to form a continuous chain. The pictures of black-and-white photographs are very clear, all methods and positions are shown in detail, therefore it is easy to see what is what. It is necessary to stick to the photos in order not to deviate from the original and preserve the

traditional

manner

of

execution and the spirit of the art proper. Besides, the smallest details of all movements and methods are explained in the

Sword bout.

text, which gives a chance to unite single steps (positions) and blows into “paths”5. Following images, you must move as gracefully as “a wild goose sitting down at the sand bank”; raise up as rapidly as “a swallow which shoots straight up”; descend like “a bird of prey swooping down on its prey with the folded wings”; you must be in readiness as “a bow string of the arbalest and a naked sword” are and move as quickly as “an arrow shot from a bow”. If you exercise pell-mell and do not follow instructions, it will be a hindrance on the

Editor’s notes: 5

“Path”, a sequence of movements presupposing notional completeness; it can be a single method or several methods following each other. 7

way to profound comprehension; in such a way you can not reach genuine mastership. Certainly, even if you reached the highest mastership, you can not do much alone in the battlefield with a sword against the whole hostile army. One man can do nothing in a modern war. But if hundreds of thousands of such masters are in the battlefield, one should not tell fortunes by a tortoise shell to guess the winner. The present aspirations must be aimed at waking up “China’s Lions”; that’s why we undertook the edition of this book with ardor. The author set himself the task to disclose all niceties of the style and described movements with so many details that it is possible to exercise independently of a master. This problem was successfully solved by him. Now those who have no tutor can train themselves with the aid of the book as if a flesh-andblood tutor is beside them. I share and hail such an approach of the honorable Xu, therefore I was happy to write the preface. Written at the Academy of National Martial Arts, the second decade of September, the 23-d year of People’s Republic (1934). Jin Yi Ming from Hanjiang.

8

Author’s Preface CHUAN NA QUAN, a kind of the pugilistic art, was developed by master Sha Da Chuan from the town of Nantong. All movements of this kind of the pugilistic art were taken from the style TAI JI YUAN GONG; the oldest and respected specialist in it was master Wang Yue Qun, a fellow-townsman of Sha Da Chuan. During several decades this style was formed through reflection, training and practical experience. It is complicated enough, sometimes sequences of movements are unpredictable, therefore, it is difficult to understand the essence without a prior grounding. In my childhood I exercised with a sword under the guidance of Li Xue Qun. He and my father are schoolmates, Wang Yue Qun’s skill is a legacy to both of them. They acquired forty-three methods from the style TAI JI YUAN GONG and twenty methods from the Master Sha’s style CHUAN NA during six years they lived together with him. After thirty years their hair became grey and noticeably thin. As this kind of QUAN SHU (“pugilistic art”) is passed down to outsiders very seldom, there are only few people who know it. Being anxious that with time this style can be entirely lost, I recorded everything I knew from my tutors, wrote on paper my opinions based on personal experience and compiled this book for future generations. The book contains thirty of the most effective methods from CHUAN NA and few techniques from the section SHAN DIAN SHOW (“Arms like lightning”) of the style TAI JI YUAN GONG. We tried to shift the grain from chaff and show all that is the most valuable. All in all, fifty-five position are available, each of them is shown on a photo and supplied with detailed explanations on the execution of movements, movement directions, etc. I think writing books on martial arts requires the utmost exactness, briefness and clarity, so the 9

reader could catch all nuances of movements and their combat employment at once. I always tried to proceed from actual situation, take into account practical training experience and compile a book on that base. Quintessence and innermost gist of this martial art are given in the book. The book includes actual movements, methods and techniques and does not contain idle talk and methods unfit for practical use. Practice and theory must not be separated form each other. Now it often occurs that those who practice martial arts do not write books and writers do not practice them. Such editions are mere profanation. Their contents seem to be convincing only at first sight. Those editions do not represent true spirit of the national martial art; on the contrary, they distort its contents, widely disseminate incorrect views and opinions. It is very harmful. If it goes on in future, the idea of popularization of the national martial arts itself will be distorted beyond recognition. The manuscript copy of this book was re-written four times. However, it is difficult to avoid shortcomings. We pray specialists make their corrections. The central authorities set up the Academy of National Martial Arts to promote and disseminate them. The Ministry of Defense and the Ministry of Education issued directives which instructed all military units and educational institutions to conduct regular lessons of WU SHU and include them into syllabuses. Mutual hopes for the central authorities have been justified. At last, the matter was shifted from mere propaganda to the practical plane. In such a situation the publication of educational manuals becomes an important and urgent task. The Director of the Academy of National Martial Arts treats me with benevolence. He entrusted me with compiling this book to replenish collection of educational manuals. At the present time, full of troubles and deprivations, each man is responsible for the destiny of motherland. We must 10

direct our mutual efforts to the revival of our nation and strengthening its Spirit. That’s why I alone may not keep secrets passed down on me by my tutors, although I realize that my description has a lot of shortcomings due to my limited knowledge6. I hope that connoisseurs will give their advice. Xu Yi Qian

Editor’s notes: 6

A standard pejorative phrase said by all Chinese masters who follow the tradition. The Code of Martial Virtue WU DE specifies to a speaker to belittle his merits and praise merits of a tutor. 11

On sources and main content of the art of TAI JI YUAN GONG Master Wang Yue Qun is a patriarch of the style TAI JI YUAN GONG. Master Wang had also another name – Yan Zhou. At the time of the Qing dynasty, during years under the motto of QIAN LONG7, he lived in the locality of Nantong, the province of Jiangsu. As he was of small stature and feeble, his fellow-villagers called him the imp. Local young ruffians often bullied him. Wang Yue Qun did not want to tolerate it and went to the province of Shangdong where he looked for tutors and learned the martial art from them. Then he came to the province of Henan where he learned from monks of the Shaolin monastery. After several years he came back to his native land. Young ruffians started to bully him again but he repulsed several of them. They realized that they can not to cope with him alone. Once a few ruffians surrounded him but they could not even approach him. Then about 20-30 men armed with sticks gathered and attacked him. Wang let them come closer to him. His hands flew like swallows and sticks were knocked out from the hands of the assailers. After it the youngsters realized that a real WU SHU master was before them. They kneeled and began begging to excuse them. As a rule, Wang did not reveal his skill and used it only in case of emergency. Wang comprehended secrets of the style TAI JI YUAN GONG which absorbed all the most valuable things from all styles and schools of WU SHU. Over time this style became a separate kind of Pugilistic Art (QUAN SHU). It contains eight TAOs8: the first TAO – TIAN HUO TONG REN, the second TAO – CHUAN SHAN SHEN HUA, the third TAO – DOU SHOU SHEN Editor’s notes: 7

Years of ruling under the motto QIAN LONG, 1736 – 1795. TAO, a formalized complex of movements that contains techniques and methods of the style.

8

12

HUA, the forth TAO – FU SHOU SHEN HUA, the fifth TAO – FEN SHEN SHEN HUA, the sixth TAO – CHU SHOU SHEN HUA, the seventh TAO – ZUO YOU SHEN HUA, the eighth TAO – SHENG SHENG SHEN HUA. In its turn, each from the eight TAOs is divided into eight sections. Each section contains 24 – 25 movements. Below are the names of all 64 sections which form 8 TAOs.

The first TAO HAN JI BU. “Cock crow early in the morning.” LUN HUI ZHU. “The wheel of Sansara.” LIAN HUAN BU. Continuous series of movements.” WO XIN TUI. “A kick at the heart.” SHUANG FEN ZHANG. “Parting palms to sides.” HU ZONG BU. “The tiger leaps forward.” TIE SHAN SHOU. “The arm like an iron fan.” FA ZHONG SHOU. “Buddhistic arm.”

The second TAO YA CHA SHOU. “Interlacing fingers.” HUA BAI SHOU. ”The arm chopping with all might.” QI XIN SHI. “Position of seven stars.” WO LI PAO. “A family quarrel.” ZHONG ZHEN SHOU. “Arms of the middle way.” MEI HUA CHUAI. “A kick at plum blossom.” QI SHENG SHOU. “The arm of seven geniuses.” SAN FA SHOU. “Three arms techniques.”

13

The third TAO GANG DIU BU. “Making a step and throwing away firmly.” SHI TANG TUI. “The leg like a stone dam.” FA MA SHI. “The horse at the trot.” XUN JI BU. “A cock’s step.” JIN ZHONG SHOU. “The heavy arm.” CI MA SHOU. “The arm pricking an eye.” SHAN DIAN SHOU. “Arms like lightning.” YIN FENG ZHANG. “The palm of the head wind.”

The fourth TAO ROW PI SHOU. “Soft chopping arm blow.” SHUANG LUE SHOU. “A pair hands grip.” BIAN PE BU. “A step aside and a blow.” MEI HUA ZHANG. “The palm of plum blossom.” ZHE BEI SHOU. “Bent back.” SHE DAO TUI. “The snake sheds its skin.” NUO MO SHOU. “Groping one’s way.” JIN WEI SHOU. “Warp and weft thread.”

The fifth form MEI HUA DAO. “Pounding plum blossom.” SHUANG CHONG XI. “Double knees blow.” SHUANG GU CHUI. “The blow like hooping.” DIU DA SHOU. “Throwing away with an arm blow.” HE MIAN ZHANG. ”Put together palms.” YI FO SHOU. “Buddha’s hand.” 14

CHENG JIN SHOU. ”The arm of sinking power.” HUI LONG TUI. ”A kick of rotating dragon.”

The sixth TAO QING NA SHOU. ”A grip and hand control.” DAN LUE SHOU. “Seizing with one hand.” SHI ZHONG BU. ”Continuous changes of position.” MEI HUA BU. ”Steps of plum blossom.” YI HUA SHOU. ”A painter’s hand.” YING MEN HONG. ”Roaring gate.” FU HU SHI. ”The crouching tiger.” GAO MING CHUAI. ”Gao Ming kicks.”

The seventh TAO KUN LONG SHOU. ”The arm of Kunlong mountain.” CHU YING SHOU. ”Nestling of an eagle.” DING GUAN SHOU. ”The arm of the radiant Buddha.” ZUO YU FENG. ”Protecting the left and right flanks.” ZHANG JIAN SHOU. ”Squeezing a sword.” ER SHU BU. ”Making two steps.” SHE TIAN SHOU. ”The cobra is making its skin into a hood.” SHUANG PI SHOU. “Pair chopping blows.”

The eighth TAO YI QI SHOU. ”In one breath.” YING MEN TUI. ”Opening wide the gate with a kick.” YI JI SHOU. ”The fast arm.” 15

HE DIAN BU. “The head top of a crane.” FENG LEI ZHANG. ”Wind and peals of thunder.” QIAN JIN ZHUI. ”Hurling 1000 JINs.” JING MIAN SHOU. ”The arm like a mirror surface.” SHEN HUA SHOU. ”The arm of divine metamorphoses.”

These 64 sections are learned one after another in the mentioned sequence in order to avoid confusion. In the very beginning of learning it is necessary to exercise “Small GONG FU” to which belong such techniques as CHONG QUAN (straight punch), BO ZHANG (crossing palm), ZHANG DAN (static positions), LOU XI (shaking-off a knee), DOU QUAN (fist-scoop), TI TUI (kicks) and others. Though it is called “Small GONG FU”, at the same time it is the foundation of “Big GONG FU”. “Big GONG FU” results from “Small Gong FU”. If at first you do not acquire “Small GONG FU” and start learning “Big GONG FU” right away, you deprive yourself of an opportunity to come to the true top of mastership. When you are in the process of acquiring “Small GONG FU”, you gets used to training and thus you prepare yourself to acquire “Big GONG FU”. However, “Small GONG FU” is not the work of one day. In the past members of the famous family Qun with master Li Xue Qun at the head often had discussions as regard to this Art, searched the truth through practice, gave preference to quality, not to quantity, rated combat efficiency highly, not good looks. It was thought that the simpler arm work, the more practical it is in use. “One has always to advance in the process of learning, but fast results can not be achieved. Those without permanency (in view) can not achieve good results. Static positions must be perfected very slowly. A slow training 16

develops “The Inner”. When you are exercising movements and changes in positions, you have to care about very fast movements. So “The Outer” is trained. The foundation will not be laid without training “The Inner”. If there is no foundation, nothing can be said about defense. There will be no techniques and methods without training “The Outer”. He who did not acquire techniques and methods may not say anything about attack. Defense is present in attacking actions, attack hides in defense. The energy QI concentrates in the region of DAN TIAN. The Spirit is revealed at the external level. Over time it will happen by itself and the spiritual source JIN will run through everything”. We inherited these instructive words from Wang Yue Qun. His unsurpassable achievement passed down from generation to generation, the tradition was preserved and augmented, the knowledge, uncoordinated before, was arranged into a coherent system. It is possible to reach the utmost tops of mastership with that knowledge. That Art was completely passed down only to three men; they are Zhang Zheng, Sha Ming (alias Da Chuan) and Chen Hui. But they did not pass down (the skill) to another people. Master Sha alias Da Chuan wrote down classic methods of the style YUAN GONG with the help of a disciple from a regional school and added some arm techniques which was not practiced before. Through thought and continuous improvement he created two TAO of CHUAN NA that he passed down to his son Zhan Wu. Zhan Wu who became a successor and keeper of the style maintained the tradition. He passed down the complete Doctrine to master Wu Bi You who, in his turn, passed it down to the Qun family and master Li Xue Qun. During 70 years now the Qun family develop and improve the Art with care. Is it possible not to exercise and not to do everything in one’s power for it? In my childhood I diligently learned civil sciences and sword fencing and at the age of sixteen became a disciple of master Li Xue Qun. I started 17

exercising with the moon rise and did it without stopping in spite of heat and cold during six years. I learned over forty sections from the style YUAN GONG, as well as both TAO of the CHUAN NA style of the family Sha. Unfortunately, master Li who reached perfection in his art died two years before the People’s Republic (1911). The Qun family maintained his tradition and trained people in the true art without falseness. I tried, to the extent of my modest abilities, to recount understandably and briefly what I myself learned. I did my best to expound in all details the Teaching by writing down exactly what the Master passed me down. The 23-d year of the People’s Republic (1934), June. Written by me at the Academy of National Martial Arts. Xu Yi Qian.

18

Explanations This style was founded by master Sha Da Chuan who passed it down to his son Zhan Wu. Zhan Wu, maintaining the tradition, passed it down to master Wu Bi You who, in his turn, passed the tradition down to masters Li Xue Qun, Cai Wen Quan, Xu Ran Deng, Xu Zhao Hui. During the years under the motto of Guang Xu (1875-1908) master Li Xue Qun passed the tradition down to Chen Fu Ren, Tang Li Ting, Ge Li Tang, Wang Jin Bo, Li Si Ran, Cai Shan Chung, Song Huan and Xu Yi Qian. In the 23-d year of the People’s Republic (1934) Xu Yi Qian was appointed to a post at the editing department of the Academy of National Martial Arts. At that time he contributed to the propagation of the style by compiling the present book. In February of 1935 photos were made and the book was published in 1936. Initially this TAO contained only 30 positions but later 14 more positions from the section SHAN DIAN SHOU (“Arms like lightning”) and the final position (FU SHI) were included after position 17. Thus, TAO contains 55 positions presented in the book. There is a clear division into methods in the book, instructions are given on how to unite methods into “paths” and each method is illustrated with a photo. All the methods have detailed descriptions, therefore a man who starts exercising is quite capable to reproduce movements and understand their practical use, thus perfecting his skill and improving knowledge. A separate paragraph covers each method. At first all movements are described in all details, then a practical use of a method is given, then the method of training is described, and at last explanations of terminology are given. 19

This TAO belongs to the highest grade (level of mastership); therefore, learners of this TAO must have a good base level of skills. In that case one can start exercising and misunderstanding and unclear things will not arise. In some cases positions (photos) are phases of a single continuous movement and pauses must not be made between them. There are special directions concerning it. Each position has a distinct orientation as regard to the cardinal points, it must be strictly observed. Some movements next will be made in another (opposite) direction. The book describes all movements in the sequence of their execution, i.e. if at first an arm moves, the arm movement is described, if a leg, the leg movement. Thus, it is necessary to adhere the established sequence (of movements) to avoid shortcomings and mistakes. Many methods have similar names but movements differ. There are indications to all that in the explanatory text.

20

Biography of Sha Da Chuan Sha Ming, alias Da Chuan, was born in the town of Nantong in the province of Jiangsu. In his young years he was a persistent scholar of sciences and passed an examination for the degree of XUCAI9. He was not of strong health, therefore small-minded people always laughed at him and bullied him. It was just the time when he started persistently train himself in different martial arts. He learned the style TAI JI YUAN GONG from his fellowtownsman Wang Yue Qun through exercising, in spite of heat and cold, during many years and succeeded in comprehending the innermost sense of that Art. Master Wang used for exercising a copper staff weighing over 30 JINs (more than 15 kilograms); they say, that thing was the work from the time of the dynasty Yuan (1271-1368). Sha trained with the staff to execute different methods and rotations and Wang showed some stage movements with the staff. Unfortunately, afterwards the staff was lost. Years passed, but Sha found no peace yet as if he lost something important. Once, several years later (after the loss of the staff), he heard that a Peking opera troupe gave performances in Jiangnan, south of the river10. Sha crossed the river, found the place where performance was staged and joined the audience. The actors played a piece from the opera “The River Backwaters”, just the piece where drunken Lu Zhi Shen knocks at the temple gate. But, unfortunately, the performance was near the end. Musical proficiency of the performers was superb, the audience applauded the brilliant actors and Sha was very merry. When the actors finished the performance and started to bow, the audience asked them very much to demonstrate once more their highest skill. All people around expressed their admiration. Next day Sha came to the Editor’s notes: 9

XUCAI, the first (initial) scholar degree in the old China which gave the right to hold a post of a district official. 10 The river of Yangtze, flowing south of Nantong, is meant. 21

place exactly at the time not to be late for the performance. Soon drums started beating and the performance started. Rude and impolite monk Lu Zhi Shen appeared on the stage to loud and sonorous music that sounded far away and expressed resolution and temerity. Mastery of the actor (GONF GU) was very high; moreover, his appearance was accompanied by excellent melodies in the style of KUNQU11. The audience was shaken. When the monk started to force his way through the gate, trying to smash it with a copper staff, Sha immediately understood that the staff was the lost Master Wang’s heirloom. He extremely rejoiced at his heart. The performance went on, the flickering staff whizzed in the air with the sound resembling the wind. The staff moved so fast that it was impossible to glimpse even its shadow. The actor who played the drunken monk started to sing sad songs and sympathy and lenience toward this rude and lecherous monk was born in the hearts of the spectators. It took the breath of most of the audience with delight, some of them were even wrung with horror. After the performance several rich spectators decided to arrange a feast and invited to it the actors to express their great gratitude to them. Sha approached the actors and explained in low polite voice the purpose of his coming there. On hearing this, one of the actors readily took the copper staff and handed it to Sha. Sha was very happy and accepted the staff with great gratitude. In the twelfth year of the reign of emperor Qian Long (1736-1795) some official who lived south of the river of Huaihe got himself a big ape five CHIs Editor’s notes: 11

KUNQU (the Kunshan opera), came into existence in the district of Kunshan, the province of Jiangsu, at the end of the Yuan dynasty (12791368) – the beginning of the Ming dynasty. Soft and clear vocalism is characteristic of Kunqu, its melodies, nice and refined, resemble dance music. That genre was on the peak of popularity at the end of the Ming dynasty (1368-1644) – the beginning of the Qing dynasty (1644-1911), it had tremendous influence on other kinds of opera. About the middle of the Ming period it spread to the north of the country and gradually transformed into a more energetic, more severe type of opera called the Northern Kunqu. 22

(about 1.6 m.) in height. It was a very fast, active and unusual animal. Once a man who looked after the ape was not prudent enough and the ape escaped from the cage and got itself on the loose. Traces of its jumps and outrage were seen everywhere, the ape always ran away, it was absolutely impossible to come close to it. The official, the owner of the ape, was an old acquaintance of master Sha. Just at that day he sent an invitation to master Sha to visit him. Mater Sha put on his cap and robe and made his mind to show his friendly disposition, to express respect and wish long years for the man. When he quickly approached the YAMEN12 and entered the yard he was suddenly attacked. The ape, when it saw him, tried to scratch his face. Probably, its attention was attracted by the red bands that decorated the Sha’s cap13. Sha dodged the blow so fast that the bands on his mandarin cap came off. The ape jumped aside at once and tried to run away, but Sha seized it by its paw. The ape wounded itself in its trials to get free, its blood sprinkled and stained his dark blue robe. At that moment the official looked at the happening from a distance through the fold of the door. After seeing what had happened he went out to meet Sha with a loud laugh and suggested him to change the clothes, thereby expressing his respect. After that incident Sha and his schoolmate Chen Hui /His other name was Gu Fang. Gu Fang and Sha got to the bottom of the innermost secrets of the teaching and became its followers and successors. Their remarkable achievement in the secret art NEI GONG14 raised their mastership to unattainable height/ killed

powerful enemy Zhang Hu, thereby accomplished a feat notable of the time of errant knights. That man, Zhang Hu, was a merchant known as a crooked man. He came to the town and settled (in the region of) Shigang, east of the Editor’s notes: 12

Yamen, a state office, town council. One of decorations on the mandarin’s cap in the shape of a small plume. 14 NEI GONG, “Internal work”, “Internal mastership”; methods of work with the internal energy, transformation of the internal structure of the body, strengthening of the marrow et cetera; also, combat QI GONG. 13

23

river. He was exceptionally bellicose and could break a pile of bricks with one blow of his palm, was able to use “the art of lightness”, could jump to a distance of several ZHANGs15. The man was lecherous, often accosted women and got used to visit brothels. One can hardly number all unseemly deeds of that man. Once, in day time, the village people tried to settle some disputes in a tea house. Not coming to common agreement, they snatched bamboo tubes for keeping copper coins and started beating each other on heads. Thanks to happy coincidence one of those present was Wu Xi Hu. /Wu Xi Hu lived in Shigang near the Northern Gate, he had a place for exercising there; he was a follower of the style ZI WU ZHANG. Each day at the hour of ZI16 and at the hour of WU17 he used to exercise in the Northern Chamber of the Main Ceremonial Hall near the stone stela during thirty years. Impact marks of his palms and elbows can still be seen at that stela./ With an arm wave he separated those who were

fighting, the bamboo tubes were splashed into splinters, the coins were scattered off, so the peasants got out from the difficult situation. But at that moment Zhang Hu began to approach Wu Xi with abusive language. Wu alone did not dare to encounter. He went to ask Sha and Chen Hui for help. At that time Wu Hui had fever and he said that he was not able to take part in fight. But Sha convinced him to participate in fight and they went together. At first they tried to influence with words and persuasion but without effect. Then Sha said such words: “A noble man can be so lofty in his deeds and aspirations that he is able settle any conflict and stop outrage with laugh and with ease alone.” However, Hu insisted on a fight, finally they agreed to fight in a street near the Eastern Temple.

Editor’s notes: 15

ZHANG, a measure of length equal to 3.33 m. ZI, time of the day since eleven o’clock p.m. till one o’clock a.m. (2300 -100). 17 WU, time of the day since eleven o’clock a.m. till one o’clock p.m. (1100 1300). 16

24

And now the enemies met. Hu fiercely rushed at Sha, trying to come close and deliver a decisive blow but Sha kept a distance and kicked with the method QUN BAN TUI - “A kick from under the skirt”. /That method in CHUAN NA QUAN is called JIU DI BAN CHUAI – “Kicking aside from the ground”/

Hu dodged Sha’s kicks and attacked again and again, time after time. Suddenly a Sha’s kick got the aim and Hu fall down. At once Sha shouted: “Gu Fang!” /It was the other name of Chen Hui/ and Chen rushed forward and struck a crushing blow at ribs of the fallen enemy. That was the method JIU DI ZHUI JIN ZHUAN - “Pressing a gold brick to the ground”. /That method in CHUAN NA QUAN is called QIAN JIN ZHUI DI : “1000 JINs18 weigh on the ground/ They say, at the end Hu exclaimed in a loud voice: “An excellent

blow!” It seems to be true, as the blow fractured the bones. Soon Hu gave up the ghost. Two months later some elderly man who said that he was Hu’s father was looking for the friends. His beard and moustache stood on end like spikes of a hedgehog, his eyes shined brightly, it could be seen from the first sight that he was unsurpassed in GONG FU. By sending his visiting card he expressed his desire to meet Sha and Chen. Sha and Chen were busy preparing for a serious talk; they realized that the man did not come to them with good intentions. They supposed that the old man had taken a pledge to avenge for his son. And now an appointed meeting took place. The old man told the friends that his obstinate and ungrateful sun who was wounded by the two heroes died on the way to the city gates. The people who accompanied him asserted that before death Hu said: “Sha has excellent leg technique and arm blows of Chen are good.” Then he uttered some inarticulate sounds and died. The old man said that his son relied on his bellicosity, committed a lot of the evil deeds and did not expiate them with his death. The elderly man wanted to make himself forget him but could not do it. But the two heroes eliminated the trouble. Editor’s notes: 18

JIN, measure of weight approx. equal to 0.5 kg. 25

They saved people from many misfortunes. At any rate, one must do justice to the Hu’s skill that was very high. Twenty years passed, the fame of the friends resounded throughout three provinces, and they had no worthy opponents. Many years passed since that time, they died long ago, but by my modest opinion, those two heroes are outstanding men, people remember them until now and feel deep respect toward them. They sincerely worship two of those great men. The men invariably exercised even if they stayed for night in an unknown place. Why did they win a victory over Hu? With their superior technique they could not feel fear of defeat. When leaving their ancestral house and setting out for a long way, the Sha family left commemorative inscriptions on the outside of the walls. Although the surface of the walls has already cracked and has been broken at some spots, there are still traces of the inscriptions. Even at the present time, after coming closer to the house, /for several years the house belongs to the Wang clan/ one can see the remains of the inscriptions at seven

spots. As a result of restoration and repair of the house made by the Wang clan the inscription remains disappeared one by one, that relic of the past can be lost. It will be a great loss for future generations. Honorable Sha was skilful in calligraphy and deeply engaged in martial arts, he was a connoisseur of literature and music. In spite of the difference in age he had long and strong friendly ties with Chen. They together created the style CHUAN NA, passed it down to Zhan Wu and until now the style is passed down from generation to generation according to the tradition. CHUAN NA has a complex of exercises (TAO) for individual training which was included into this book. 24-th year of the Chinese Republic (1935), winter, Nangking. Written by Xu Yi Qian at the Academy of National Martial Arts.

26

CHUAN NA QUAN Photographs and Comments Part I. Position 1. The beginning of the execution (of the exercise complex) CHAN NA. Initial position. Photo 1 shows the first position of a “path”19

made

movements.

up

We

have

of

five

retained

traditional names, as they have a figurative sense. This “path” must be executed continuously, but not in a

hurry:

all

movements

must

smoothly pass from one to another.

Take the initial position: stand upright, facing the south, arms down along the body, legs joined (Photo 1). Practical use: This action is called Photo 1.

“QING SHOU” and means “To cross

Editor’s notes: 19

Here and further the term “path” means a sequence of movements with common sense done continuously. 27

arms” as an invitation for a bout. You must imagine that you stand on a ground in front of the enemy and show respect to him. Comments: The sense of the style name, [CHUAN NA], is revealed in each of its hieroglyph: CHUAN means “to pierce”, “to transfix”, “to break through” by a blow, and holding the enemy with the aid of grips is expressed by hieroglyph NA – “to squeeze”, “to hold”, “to control”. Earlier the style had a name of CHA20 NA. The present name is CHUAN NA. Besides, the way of writing of hieroglyph NA was replaced with a modern one21.

Position 2. ZHI NIAO LIAN YI: “Bird of prey folds its wings” The second movement of the path. Photo 2 shows the second movement. Positions, from the second to the fifth one inclusively, must be done within one breath, as a single action. Actions in the book are divided into single (intermediate) positions for the sake of a more detailed description.

The movement starts from the previous position: tuck the body to become like a compressed spring, slightly bend knees and elbows, bend the wrists too and raise your hands a little, turn the head to the right by 45 degrees (to the southwest), stare to the right and forward (Photo 2).

Editor’s notes: 20

CHA is translated as “to stick into”, “to thrust into”, “to pierce through”. There was another way of writing hieroglyph NA in ancient time; however, the meaning of the old and new hieroglyphs is the same. 21

28

Practical use: This is the position of readiness, taking measures to ward off the enemy who approaches you from the front and from the right, that’s why you must look forward and to the right. Method of training: Movements of arms, eyes, body, and knees are done simultaneously. Comments: [ZHI NIAO LIAN YI] “Bird of prey folds its wings” is the figurative name of one of the principles

of

the

martial

Photo 2.

art

described in the ancient canon “Thirty-six stratagems”. A bird of prey in flight folds the wings and swoops down to its pray. In respect to the martial art it means to take an advantageous position relative to the enemy and rapidly attack at the weakest point in his formation with overwhelming force. That is, so to say, to suppress “weakness” with “strength”.

29

Position 3. YI BU YOU LAN: “Making a step and barring on the right flank” The third movement of the path. Move the right leg to the right and forward by a half step, the knee remains to be bent. Then move the left leg and take the stance XU BU. Simultaneously

the

right

arm

stretches to the right and forward (in the south-western direction), doing a “barring” (blocking) movement from the left to the right in front of the breast. ZHANG KOU22 (of the right palm) points to the left, the wrist is bent, finger tips point up23 at the level of eyes. The left arm is slightly bent, its palm adjoins the stomach Photo 3.

and covers side ribs, the center of

the left palm points forward. You stare at the right palm (Photo 3). Practical use: The enemy attacks me at the right part of the breast with his left arm, I parry his arm with a “barring” movement of the right arm and protect myself against a possible attack of his right arm or leg with my left Editor’s notes: 22

ZHANG KOU, lit. “mouth of a palm”, the space between the thumb and the forefinger which are moved aside. 23 Please note that the fingers of the right palm are slightly bent and strained, the palm itself looks as if it is concave (photo 3). It is one of those small differences which distinguish the traditional (applied) WU SHU from the sports WU SHU. In such a position of the hand the risk of damaging fingers during a collision with an enemy’s extremity substantially decreases. 30

arm that is near my stomach. Alternatively, the left arm may be raised to “support” my right arm. Method of training: At the initial learning stage first the right leg moves concurrently with the right arm, then the left leg is drawn to the right one, at the same time the left arm moves. Later on, the movements must be united into a whole one. Comments: [XU BU] One foot completely (with the whole of its sole) stands on the ground surface24, the other (foot) only slightly rests on the ground with the front part of the foot, the heel is slightly raised. It is an “empty” leg, hence the name of the stance25.

Position 4. KUA BU JUO TIAO: “Jumping and warding off on the left flank” The fourth movement of the path. Continuing the previous movement, make a step with the left leg forward and to the left (to the south) and immediately push off from the ground with the right leg. At the moment when the left foot touches the ground the right leg leaves the left leg behind and is half a step ahead (of the left foot), touching the ground only with the toe. That position is called DIAN BU – “jumping step”. During the movement the left arm raises up, the left palm is at the level which is a little above the forehead. The right arm is brought to the torso, its

Editor’s notes: 24 25

The right foot in this case. XU BU, literal translation means “an empty position” or “empty step”. 31

palm adjoins ribs, the center of the palm points upward. Stare forward (Photo 4). Practical use: The enemy attacked me with his left arm, I ward off his blow with my right arm (the previous position). The enemy immediately continues his attack with a blow of his right arm aimed at my left ear or temple. I block his blow with my left arm, at the same time I move the right leg forward and take the position DIAN BU. It is convenient to strike with the (front) leg from that position. Method of training: The movement of left arm is done concurrently with a step of the left leg, the movement of

Photo 4.

the right arm and taking the position DIAN BU are done simultaneously. Comments: [DIAN BU] One foot completely rests on the ground, the other foot slightly touches the surface only with the toe26. [KUA BU] is a movement with a jump when one leg makes a step and the other leg pushes off from the ground.

Editor’s notes: 26

Body weight in the stance DIAN BU is supported by one leg, the second leg is completely relieved as if it is suspended in the air. 32

Position 5. TAN NANG QU WU: “Fumbling in a bag to take the right thing”27 The fifth movement of the path. Continuing the previous movement, bend the left knee a little more and slightly crouch, stretch the right arm forward (to the south) and downward, and raise a little up at the end of the movement. The center of the (right) palm points forward, stare at the right palm (Photo 5). Practical use: The enemy attacks me at the head with his right arm, I ward off his blow with my left arm (the previous position) and immediately attack the enemy at the groin with my right arm. Method of training: This position with the palm blow LIAO ZHANG and the previous position DIAN BU is executed concurrently, in one breath. Photo 5. Comments: [CHENG SHANG SHI] “To continue the previous position” – three of these hieroglyphs draw your attention to the fact that this and previous positions are carried out as one movement, in one breath. [LIAO] The term LIAO ZHANG, “Raking palm”, describes the nature of an arm Editor’s notes: 27

A figure of speech, meaning “easy job” (proverb). 33

movement (blow) in its second phase when the arm comes back: you as if “rake” (LIAO) something and pull toward you. The first phase of the movement is a downward and forward palm blow; palm fingers point down, the palm center points forward. [TAN NANG QU WU] Li Hu, master of the fifth generation, says: “A technique, resembling our one, is employed all over China, for instance, in Jiangnan it is called just TAN NANG”. The previous five movements are united into a “path” and done as a single whole. They have the common name YUAN HOU CHU DONG – “Monkey leaves the cave”. Those movements are rather simple to comprehend even for beginners, especially if positions and movements are distinctly divided at the initial stage of acquisition. After taking the initial position (Position 1) one must concentrate, quietly breathe out and execute four successive movements as one action, in one breath.

34

Position 6. SHUNG SHOU TUI ZHOU: “Stretching an arm and pushing the boat” The first movement of the path. This movement is, to a great degree, similar to a method from TAI JI QUAN (TAI CHI CHUAN) called LOU XI AO BU – «Brush knee and twist step».

Step to the right with the right leg (TAN

BU),

the

right

arm

concurrently with the step rounds the right knee (RAO XI), its hand takes the shape of a “hook” (GOU) and rises to the head to protect the (right) ear, the “tip”28 of the hook points forward. The torso, following the movement (of the right arm and right leg) turns to the right (to facie the west), the left arm straightens in the frontal direction and strikes a fast and strong palm blow. The wrist (of the left palm) is bent at the level

Photo 6. of the shoulder, fingers point up, the center of (of the left palm) points forward. At the moment of striking the knee of the right leg bends and moves forward, the left leg straightens and the right stance GONG QIAN is formed where GONG (“bow”) is the right leg and QIAN (“arrow”) is the left leg. You stare at the left palm (Photo 6).

Editor’s notes: 28

“Tip of a hook” means fingers gathered to form a pinch. 35

Practical use: The enemy, being in front of me and on my right, kicks at my right knee. I immediately ward off the attacking leg of the enemy to the right with my right arm by “hooking” it from below, strike him at his side or back with my left arm and topple him over on the ground. Method of training: The step (of the right leg) TAN BU and the “rounding” movement (of the right arm) round the (right) knee RAO XI are executed at the beginning of the movement concurrently, in one breath. Then the right arm bends and rises to the head to protect the ear, the left palm strikes, the right knee bends – three of these actions are done concurrently. Comments: [TAN] We shall explain the use of hieroglyph TAN (“to reconnoiter”, “to get the lay of the land”) in the word combination TAN BU29. When the right leg executes the step TAN, the center of gravity is not shifted to it at once, the leg is “light” as if you sound the soil before stepping and that is exactly TAN BU. [RAO XI] The arm passes near the knee cap and moves outside, warding off the blow of the enemy, that is exactly RAO XI – “Rounding a knee”. [GOU] The wrist bends inside (toward the inner side of the forearm), fingers form a pinch, the shape of the arm resembles a “hook” (GOU). [GONG QIAN DAN] Legs in this position are put forward and backward at a distance of one step, the knee of the front leg bends like a drawn bow (GONG), the back leg is straight like an arrow (QIAN). Therefore, they say about this stance: “a bow in front and an arrow behind”. The term DAN is adopted among masters from the Wang family and in combination with hieroglyphs GONG and QIAN hints at a stance. This term was borrowed from the Master Wang Yue Qun’s style TAI JI YUAN GONG where it was used in the combination QIAN DAN (to denote the same stance). The Central Academy of National Martial Arts adopted a common Editor’s notes: 29

BU, lit. “a step”, also used in the meaning “position”, “stance”. 36

name of that stance – GONG SHI (“The shape of a bow” or “The position of a bow”) without distinguishing the right and left positions. However, we shall point out in this text which leg is in front and which is behind in the following manner: “left bow, right arrow” or “right bow, left arrow”. One should follow those instructions.

Position 7. SHUANG DAO ZHAN JIAO: “Slaying the sea dragon with two swords” The second movement of the path. The movement starts from the previous position. The right “hook” transforms into a fist30, the torso starts turning to the left, the right forearm, maintaining the vertical position, also moves to the left, the fist is at the chin level, the elbow protects right-side ribs. The position (shape) of the right arm is as shown in the picture: The left forearm moves toward the right forearm and is situated outside, the left fist is opposite the right shoulder.

Turn the torso to the left (to face the south), bend knees and take the low stance QI MA DAN (“Rider’s stance”). Clench both hands into fists with the center turned inside, the right arm is inside, the left arm is outside. Cross both forearms in front of the breast like scissors. Stare forward (Photo 7). Practical use: The enemy attacks at the breast with his right fist, I press on his forearm (XIA BO) from inside with my right arm and press on his

Editor’s notes: 30

The right hand is meant. 37

shoulder (SHANG BO) from outside with my left arm. My arms “cut” like scissors, which results in fracture of the elbow joint of the enemy’s arm. Method of training: All the abovementioned movements – turning the torso, taking the stance QI MA DIAN, squeezing the enemy’s arm, and “cutting” movement are made concurrently. Comments: [SHANG BO, XIA BO] A part of the arm from shoulder to elbow (SHANG BO) and a part of the arm from elbow to wrist (XIA BUO)

are

meant.

These

are

traditional terms of the arm. [QI MA DAN] Both legs are set to the left

Photo 7. and to the right at a distance of one step, toes point forward and a little outside, knees are bent almost at a right angle, the pelvis lowers almost to the knee level. This stance is also called SI PING DAN - “Stable stance”. Earlier this method was called “Killing a rat with two swords” (SHUANG DAO ZHAN SHU). The sense was that the enemy’s arm was compared to a rat. However, that name does not show the real power of the movement, it is like in the proverb: “To cut a hen with a knife for slaughtering bulls.” Therefore, in time they started to use the hieroglyph “sea dragon”.

38

Position 8. FEN LU YAN BIAO: “Throwing darts in opposite directions” The third movement of the path. I do not know why the name of this movement has been changed, but such renaming took place. The earlier name was MA FEN ZONG – “Combing horse mane”. It looks like a man who sitting on horse-back brushes its mane with his fingers and sets his arms to sides. The same is here: the torso remains immovable, only arms that are setting to sides move.

Remain in previous stance: legs and the torso are at the same place, the face is turned to the south. Set both arms to different sides, to the right and to the left respectively, finger tips point up, the arms are at the shoulder level and form a straight line. You stare foreword (Photo 8). Practical use: The enemy seizes me by both of my arms with his two hands. I “tear” the grip of the enemy with the aid of this method. Photo 8.

Method of training: Movement of both arms is made concurrently.

Comments: [FEN LU YAN BIAO] Master Xiao Wen known in Northern provinces says: “In Luoyan, at my birth-place, the method FEN LU YAN BIAO is widely spread”. The former name of this position is BAI MA FEN ZONG – “Combing the mane of a white horse”. This book gives the modern name along with the former one. At present the modern name of this method is mostly used. 39

Position 9. HU QI DAN LUE: “Protecting the stomach and blocking diagonally” The fourth movement of the path. In order to understand correctly the sense of this movement, it is important to realize the variety of its possible use. If one takes note of it, then there will be no mistakes made in its interpretation, its execution and practical use will be correct.

The torso turns to the left (to face the east); both feet, remaining in their place, slightly turn (NIN) with their toes to the left, the stance “left bow (GONG) and right arrow (QIAN)” is formed. At the time of turning the left arm protects the stomach, the right palm is drawn to the right ribs and delivers a blow from below forward and upward: finger tips point up, they are at the brow level, the arm is slightly bent in elbow, you stare at the right palm (Photo 9).

Photo 9.

Practical use: The enemy strikes me at my left ear (GUO ER) with his right arm, I ward off his arm to the left with my right arm and protect my stomach against a possible attack of his left arm and leg with my left arm. If the enemy attacks me with his left arm, it is possible not only to beat off his blow but to “prop up” (TUO) his lower jaw with the same movement. Here and further it is necessary to bear in mind that although some methods and positions (when 40

they are described and learnt) presuppose certain (predetermined) employments and canonical execution and are executed in certain sequence, it is not a dogma in reality. Each method in practice has several ways of employment. An established external shape must be combined with internal changeability and mobility, one method must be naturally pass into another one. The external shape (“outline”) of a method proper can change depending on a situation as well. Method of training: A turn of the body and a turn of feet are done as one movement. The left arm protects the stomach, the right arm “props up” while moving forward and upward. All movements are made in one breath. Commentary [NIN31] A toe of the foot slightly rises. The heel is planted on the ground; the toe turns to the right or to the left. [LUE] “Diagonal deflecting (of the enemy’s arm)”, this term is used in WU SHU when a striking arm of the enemy is warded off to the right with the left arm or to the left with the right arm. [GUO ER32] Blow at the ear. [TUO33] “A propping up” movement from below upward.

Editor’s notes: 31

NIN, lit. “to twist”, “to turn”. GUO ER, lit. “blow at the ear”. 33 TUO, lit. “prop up”, “to support”. 32

41

Position 10. SHANG BU FA MA: “A step forward just as a horse trots” The first movement of the path. The right hand takes the shape of a “hook” (GOU), the right arm stretches backward, the left hand raises above the level of brows, fingers point up. Concurrently with this, the left foot with its toe slightly turns outside, the left leg bends in knee, the right leg takes a step forward, its knee slightly bends too, the right stance JIAN DAN is formed. The torso slightly shifts back (the main weight of the body is on the back leg) and “sinks” down. You stare at the right and forward (south-east) (Photo 10). Method of use: The enemy attacks me at my face with his right arm. I ward off his arm up with my left arm. The enemy, continuing his attack, kicks at my thigh with his left leg. I take a step forward with my right leg and dodge the kick, at the same time I hook his leg with my right arm. Method of training: The left arm raises up, the right arm stretches back, the right leg takes a step Photo 10.

forward – all those movements must be made concurrently.

42

Commentary: [JIAN DAN] Feet are at a distance of a small step from each other, the front leg is “empty” (XU), the back leg is bent in knee, the center of body gravity is shifted to the back leg. The torso is slightly shifted back, it is as if “sunk” down. Both knees are moving inside to approach each other. The leg position resembles scissors (JIAN), hence the name. The initial name of the position was FA MA SHI – “The position of a trotting horse”, by now it is replaced with SHANG BU FA MA to have words “a step forward” (SHANG BU) in the name.

Position 11. ZHUAN SHEN FENG QUAN: “Torso turn, Phoenix fist” The second movement of the path. It looks like the method PE SHEN CHUI used in TAI JI QUAN. The right elbow must be slightly bent.

The left arm moves down and rounds the knee (RAO XI), then bends in elbow (BAO ZHOU), body weight is shifted to the right leg, the left leg turns with toe to the west

(NIAN

BU),

the

torso,

following it, turns to the left and backward (to the west). The right hand takes the position “Phoenix fist” (FENG QUAN), the right arm

Photo 11.

straightens and delivers a horizontal blow forward in front of the face, the fist stops at the brow level. Concurrently with the blow, the left leg moves a little 43

forward and to the left, its knee bends, the stance (DIAN) “left bow (GONG) and right arrow (QIAN)” is formed, you stare at the right hand (Photo 11). Method of use: The enemy kicks (CHUAI) me at the knee from behind, I turn, “catch up” his leg and strike with “Phoenix fist” at the point TAI YANG which is situated at the temple of the enemy. Method of training: The step NIAN BU and the warding-off movement round the knee are made concurrently. Body turn, bending of the left arm, blow with “Phoenix fist” are made concurrently too. Commentary: [RAO XI] The arm passes near the knee cap and moves outside, that is exactly RAO XI – “Rounding the knee”. [BAO ZHOU] It is the position when a fist with its center pointed up is tightly pressed to ribs; it is of no importance whether it is one fist or two, in both cases that position of hands is called BAO ZHOU. [NIAN BU] A foot slightly rises and immediately goes down to the surface, while the toe of the foot turns inward or outward. [FENG QUAN] “Phoenix fist” – the thumb is tightly pressed to the forefinger on one side, the middle knuckle of the forefinger is moved forward, the blow is delivered horizontally. [CHUAI] The blow is delivered with the whole of a sole, that’s why it is called a “push” (CHUAI).

44

Position 12. MAI DAN QIE XI: “Cutting a knee in the position MAI DAN” The third movement of the path. Below is described one of a few possible palm blows in this position. It also is possible to deliver a “rising” (TIAO) blow at the groin, it is possible to beat off a kick of the enemy etc. The depth of torso “sinking” in the position MAI DAN must be correlated with a situation.

Feet remain in their places, the right arm is drawn back to the torso into the position BAO

ZHOU,

the

torso shifts back and goes

down,

body

weight is shifted to the right bent leg, the Photo 12.

position MAI DAN is

formed. Concurrently with crouching into the position MAI DAN, the left palm, moving along the left leg, “cuts” (QIE) forward with its outer edge. You stare at the left palm (to the west) (Photo 12). Practical use: The enemy catches my right wrist with his left hand, takes a step forward and punches me at the face with his right fist. I sink into the position MAI DAN and dodge his attack, at the same time I jerk my right arm toward me and deliver a “whisking” (SHUA) blow at the left wrist of the enemy with my left palm, free myself from his grip, then strike a “chopping” (QIE) blow at his knee. 45

Method of training: Drawing the right arm to the torso into the position BAO ZHOU, delivering a blow with the left palm, “crouching” into the position MAI DAN – all those movements are carried out concurrently. Commentary: [MAI DAN] Both feet are planted apart at a distance of a big step, the front leg is wholly straight, the back leg is bent in knee, body weight is shifted to the back leg. [QIE XI] Lit. “to chop a knee”, a blow of palm edge is delivered at a low level at a knee of the enemy, the palm moves forward horizontally. [SHUA] Lit. “to clean off”, “to whisk”, one of the arms is quickly drawn to the torso, the other arm abruptly strikes with a palm edge. If the enemy grips one of your arms, it is possible to free yourself with the aid of the free arm. Another name (of this method) is XI SHOW – “Washing hands”.

Position 13. TAN GONG SHE YAN: “Drawing the bow and shooting an arrow at the wild goose” The fourth movement of the path. This position is the continuation of the previous position and executed inseparably with it. The torso must be raised quickly, while raising, it is necessary protect (ribs) and strike.

The movement starts from the previous position: the right leg straightens, body weight shifts on the left leg, its toe turns forward, the left knee bends and moves forward, the left (stance) GONG QIAN DAN directed to the west is formed. While changing the position, the left arm protects ribs (HUO LEI), the right hand with the protruded middle knuckle of the forefinger, following the movement of the torso, moves forward in front of the face and stops at the

46

chin level. The right arm is slightly bent; you stare at the right hand (Photo 13). Practical use: Using the advance of the enemy, I suddenly strike at his lower jaw. The blow is made with the fist JING ZUI, the left arm protects ribs against (a possible) kick of the enemy’s leg, (the left arm) must be bent to avoid a fracture of the elbow joint. Method of training: Raising the torso and straightening the right leg are done concurrently. The left arm protects ribs, the right arm delivers a

Photo 13. blow and the left knee bends – it should be done with one movement. Commentary: [HUO LEI] Lit. “to protect ribs”, any arm is pressed to ribs, it is of no importance how the hand is open – with the center inward or outward, all these are HUO LEI. [JING ZUI QUAN] Lit. “To bring politely some wine in fist” or “Fist of a man bringing wine politely”. The thumb in this position presses from a flank on the forefinger, the middle knuckle of the forefinger sticks out forward. If a blow is delivered forward and downward, it is called MI DING – “honey nail”; if a blow is directed upward, it is called JING ZUI QUAN, if a blow is directed straightly forward (horizontally), it is called FENG QUAN – “Phoenix fist.”

47

Position 14. SHANG BU FA MA: «A step forward just as a horse trots” The first movement of the path. The left leg, staying in its place, turns with its toe outward, the right leg takes a step forward, its knee slightly bends, the right (stance) QIAN DAN is formed (to face the west). Concurrently with the step the left hand rises up in front of the face, a little above the brow level, the right hand takes the shape of a “hook”, the arm stretches back. You stare forward and to the right (to the north-west) (Photo 14). Practical use: My left arm in an ascending movement beats off the attacking arm of the enemy up, the right “arm-hook” hooks an enemy’s leg, the right leg takes a step forward and forces the enemy to the right side. Being in such a position, I, on the one hand, control enemy’s legs, on the other hand, prepare an attack. Method of training: The left arm rises up, the right “hook” is brought Photo 14.

back, the right leg takes a step - all those movements are made concurrently.

Commentary [SHANG BU] Moving forward by a step is called SHANG BU. 48

Position 15. ZHUAN SHEN FU HU: “To turn and tame a tiger” The second movement of the path. At first it is necessary to hook an enemy’s leg with an arm in the position GOU SHOU (“arm-hook”), then to change (the position of the arm) into LIAO SHOW (“lifting arm”) to catch up and hold (the enemy’s leg). If you succeeded in holding an enemy’s leg, you support it from below in the region of the knee joint. If you failed to seize an enemy’s leg, the left palm turns up and “props up” (TUO) the enemy’s chin from below upward. The right hand makes a push to the waist or the stomach of the enemy; instead, it also is possible to seize his wrist.

The torso turns back (to the east) anticlockwise.

The

left

leg,

following the torso turn, also turns with its toe pointing to the east (NIAN BU), the knee bends. The right leg turns with its toe pointing to the south-east (NIAN BU) and moves a little back, while straightening and planting on the ground. The left (stance) GONG QIAN DAN is formed. Concurrently with a torso turn the left hand moves down and round the left knee, then rises up, a little

Photo 15.

above the brow level. The right

arm straightens forward and downward, its hand is in the position NA (“grip”), the path of the movement looks like an oblique stroke in calligraphy. 49

HU KOU34 (of the right palm) points up, the center of the palm points forward at the waist level. Stare at the right palm (Photo 15). Practical use: The enemy, attacking me from behind, kicks (CHUAI) at the bend of knee. Having made a turn with the step NIAN BU, I dodge his kick, round my knee with the left hand and catch up his leg. The enemy, seeing that his kick missed the target, attacks my face with fist, I beat off his arm up with my left arm and simultaneously strike at his side at the waist level with my right palm. Method of training: Moving the left hand round the knee, making the (step) NIAN BU with the left leg, and a body turn – all those movements are executed concurrently. The left arm beats off (the enemy’s arm) up, the right arm stretches down – those are done with one movement. The right leg takes the step NIAN BU after the left foot has gone to the ground. Commentary: [FU HU] Lit. “to tame a tiger”, “subdue a tiger”. This name came into being after warrior Zhao Bing who wandered over China could drive a tiger to the ground with the aid of an invocation. [NA] The arm presses (ANG) with all force down, its hand is in the position NA (“grip”). Here a palm is used to exert pressure on the enemy; it is called NA ZHANG (“a grip with the palm”).

Editor’s notes: 34

HU KOU, lit. “tiger mouth”, the space between the spread thumb and forefinger, the same as ZHANG KOU (“palm mouth”) is. 50

Position 16. SHUANG GOU DU LI: “Two hooks in one-leg position” The third movement of the path. This (arms) movement can be used both against an enemy’s attack and for the preparation of your own attack: arms move up and down, misleading the enemy. One leg is raised to protect the groin.

The left leg rises up, its knee bends, the toe stretches out downward. The right leg stays in its place, the oneleg position (DU LI) is formed, the right

knee

is

slightly

bent.

Concurrently with it the left hand takes the shape of a hook (GOU), it is placed on the inner side of the hip and protects the groin: the tip of the “hook” points to the left, the left arm is straightened and is dropped. The right hand also takes the shape of a hook (GOU) and protects the ear, the tip of the hook points Photo 16.

forward and to the right, the right

elbow is bent, the tip of the elbow also points forward and to the right. You stare forward (to the east), the torso is turned a little sideways: the left shoulder is brought forward and the right shoulder backward, the chest is turned a little to the right (to the south-east) (Photo 16). Practical use: The enemy attacks me with a kick, I raise a leg and dodge his attack; then, it is possible to use an opportune moment and launch a 51

counterattack. At the same time I protect my ear against his blow with the right “hook” and protect myself with the left “hook” against a possible attack at the groin. Method of training: The left hand moves down and forms a “hook”, the right hand rises up and forms a “hook”, the left leg rises up – all those movements are made at the same time.

Position 17. JIN BU SHUANG FENG: “Advancing by one step, executing pair locking” The fourth movement of the path. The palm movement is rapid like a bolt of lightning. The path of the movement is slightly bent as shown in the picture: It is important that the elbows to be in a firm position, the arms must not be straightened completely, though they must not be bent too much.

The left foot goes to the ground, the right foot immediately moves forward by a step. Both knees bend, the stance “Lateral stance MA” (QIE MA DAN)35 is formed, you stare at the east. Both palms make a push forward from ribs, palm centers point forward and a little inward, fingers point up, both arms are slightly bent. The right hand is in the front and opposite the nose, the left hand is slightly behind (the right hand) and opposite the lower jaw. The right side and the right shoulder are slightly brought forward and the chest is turned a little to the left (to the north-east). (Photo 17).

Editor’s notes: 35

MA DAN, the same as MA BU, “Rider stance”; QIE, “lateral”, “sidewise”. 52

Practical use: If an arms movement is made at an upper level, the right arm attacks the point TAI YANG on the left temple of the enemy and the left arm pushes his lower jaw to the right. If an arms movement is made at the middle level, it is possible to seize (press on) the left wrist (of the enemy) with the left hand and to press with the right hand on his left arm above the elbow to fracture his elbow joint. Or it is possible to strike with both palms at the chest and ribs of the enemy. Photo 17. Method of training: The left foot goes to the ground, both hands are pulled up to ribs – both of these movements are made concurrently. A step forward with the right leg and an attack with both palms must also be made concurrently. Commentary: [QIE MA DAN] “Lateral rider stance” – both feet are at a distance of a small step from each other, knees are bent, the torso is slightly turned with its side forward (half-turn), hence the name. (That position) is also called BAN MA DAN – “Halved rider stance” and XIAO SI PING DAN – “Small stable position.” Now the Academy of National Martial Arts has approved the name QIE MA DAN. In the initial version of this style they immediately passed over to the position ZHUAN SHEN SHUANG TUI (position 24 in the modern version) after position 17. Later on six positions from the section SHAN DIAN SHOU

53

(“Arms like lightning”) were added in this place. According to the modern version the previous seventeen positions make up the first part.

Part II. Position 18. JIN BU FAN ZHANG: “One step forward, an overturned palm” The first movement of the path In the second version of employment this method is similar to the method XIE FEI SHI (“Shape of diagonal flight”) from TAI JI QUAN.

The right foot turns with its toe outward (NIN BU), the left leg steps forward, the left knee bends, the stance “left bow (GONG) and right arrow (QIAN)” is formed, you stare forward (to the east). Concurrently with the step the right arm executes “covering” (GAI) by moving along the left arm and over it, the right hand changes into a “hook”, the right arm straightens back, the tip of the “hook” points up. At the same time left hand starts moving

Photo 18.

forward from under the right 54

armpit, its back part points forward. The left arm straightens forward and makes a “sweeping” (SAO) movement, the back part of the left palm in the final position is turned to the left, finger tips point forward, the arm is straight, the hand is at the level of brows. You stare at the left palm (Photo 18). Practical use: I “cover” (GAI) the left (attacking) arm of the enemy with my right arm and immediately hit his left cheek with the back of the left palm. If a blow is delivered at the middle level, the left palm strikes a “sweeping” (SAO) blow at the left part of the chest of the enemy. In that case the blow can be made not only with a palm but with forearm, shoulder and whole arm. Concurrently with the left arm movement the left knee moves forward and props up the right knee of the enemy from a flank or behind, as a result the enemy falls on his back or right side. Method of training: The right foot turns with its toe outside, simultaneously the right arm is brought down. The left leg steps forward, the left palm attacks with a “sweeping” movement; it should be executed with one breath. Commentary: [FAN ZHANG] Lit. “An overturned palm”. A palm strikes at the enemy with its back. [GAI] “To cover”, “To fall down”. I cover an enemy’s arm with my arm, that’s why this hieroglyph is used.

55

Position 19. XUAN YA LE MA: “Reining in a horse at the edge of the precipice” The second movement of the path. The right foot stays in its place, body weight shifts back. The right leg bends in knee a little, the left foot is pulled (to the right foot) by half a pace, the left stance XU BU is formed

(faced

to

the

east).

Concurrently the right hand, moving from below along an arc path, takes the position in front of the stomach and clenches into fist. At the same time the left hand is pulled a little back and clenches into fist in front of the chest. Movements of right and left arms are executed while the

Photo 19.

stance is changed. The left fist is at

the level of the heart, the “fist eye”36 faces inward, the left arm is bent a little. The right fist is near ribs, its “eye” faces up. You stare ahead (Photo 19). Practical use: The enemy seizes my left arm with his right hand and punches me at the stomach with his left fist. I immediately seize his left wrist with my right hand, free myself from the grip by a circular movement of the left hand and, in my turn, seize him by the right wrist from above. At the same time I pull both arms to my torso and retreat to the stance XU BU. Editor’s notes: 36

“Fist eye”, surface of a fist on the side of the forefinger and the thumb. 56

Method of training: At first the right arm is brought in front of the breast, the right leg bends in knee, body weight shifts back. Then both hands are being clenched into fists concurrently with pulling the left leg to you. Commentary: [XU BU] See the commentary on position 3. [XUAN YA], lit. “the edge of a precipice”. You must move so as if you are on a high mountain, at the edge of a precipice, a steep cliff is below you and you can fall down into abyss.

Position 20. JIN BU SHUANG FENG: “Advancing by a step, executing pair lock” The third movement of the path. This position is similar to position 17.

The left leg moves forward by half a pace and bends in knee, the right leg, following the left leg, also moves forward with a small step (XING BU), its knee also bends, “Side rider stance” (QIE MA DAN) is formed. Concurrently with the movement both fists are brought forward, blows are made with palms. The left palm is in front, at the nose level, the right palm is a little behind, a little bit below the chin. The centers of both palms point forward, fingers up, arms are bent a little, you stare ahead (Photo 20).

57

Practical use: After my seizing the enemy by his arms in the previous position and making a pull toward me I, using the opportunity, move forward fast and attack his breast or ribs with both palms. A palm blow must be strong, it is necessary to use the weight of the whole body. Method of training: Legs, arms and torso, left and right sides of the body must move in coordination. Three positions,

from

position

18

to

position 20 inclusively, are one Photo 20.

single method and executed in one

breath as one uninterrupted movement. This method is called SHAN DIAN SHOU (“Arms like lightning”). At the initial stage of learning that movement can be divided into separate stages (positions) but later on, with improvement, they must be joined. Commentary: [XING BU] The term implies such a method of movement when one leg moves forward and immediately another one is pulled, thus the distance between feet (and the stance too) do not change. [Concurrently with the movement both fists are brought forward, blows are made with palms] At the beginning of the movement the hands are clenched into fists but in the course of the movement the fists unclench and palms strike. This statement should be taken as a base and one must exercise in conformity with it. The sense of the statement can be fully understood only in the course of training after realization comes. It is difficult to express the essence in words.

58

Position 21. ZHUAN SHEN FAN ZHANG: “Turning the torso, a turned palm” The fourth movement of the path. Positions 21, 22 and 23 repeat three previous positions, it is the same (method) SHAN DIAN SHOU, only it is executed to the right side.

The torso turns to the right and back (to the west), the left leg makes a “covering step” (GAI BU) forward (to the west). At the same time the left hand, moving along the right arm

and

“covering”

over

it,

(GAI)

executes

a

downward

movement, (the left hand) forms a hook and the arm stretches back. The right hand “hides” under the left armpit, you stare forward (Photo 21.1). The right leg takes a big step forward, the leg bends in knee and

Photo 21.1

the position “right bow (GONG), left

arrow (QIAN)” is formed (to face the west). Concurrently with the step the right arm with the back of the palm turned outward straightens forward from under the left armpit with a lateral sweeping movement (SAO). Finger tips point forward. The center of the palm points to the left. The hand is at the brow level. You stare at the right palm (Photo 21.2).

59

Practical

use:

The

enemy,

approaching from behind and from the right, attacks me at the level of the breast with his right arm. I “cover” his arm with my left arm, simultaneously turning and making a step toward him, and immediately attack him at his right cheek with my right palm or topple him with an arm “sweeping” movement (SAO) and by putting my knee under his leg. When you use this method, movements of arms, body and legs must be coordinated. A step toward

Photo 21.2

the enemy is made to approach him and not allow him to retreat.

Method of training: The left arm “covers” (GAI) down, the left leg executes a “covering step” (GAI BU), the torso turns – all those movements are executed concurrently, in one breath. The right leg takes a step forward, the right palm hits – those movements are also executed concurrently. Commentary: [GAI BU] “Covering step”, also called AO BU, “heteronymous step”. The left leg takes a step in front of the right one, the torso remains turned (forward) with its right side, the toe of the left foot is turned outward.

60

Position 22. XUAN YA LE MA. “Reining in a horse on the edge of a precipice” The second movement of the path. The left foot remains in its place, the left knee bends a little, body weight shifts back. The right foot is pulled (to the left one) by half a pace (SHOU BU), the right XU BU (to face

the

west)

is

formed.

Concurrently with it the left hand, moving from below along an arc, takes the position in front of the stomach and is being clenched into fist. At the same time the right hand is being pulled a little back and clenched into fist in front of the breast at the heart level, the “fist Photo 22

eye” points inward, the arm is

slightly bent. The left fist is near ribs, its “eye” points up. You stare ahead (Photo 22). Practical use: The enemy seizes my right arm with his left hand and punches me at the stomach with his right fist. I immediately intercept his right arm with my left hand, free myself from the grip with a circular movement of the right hand and seize him, in my turn, by his left wrist from above. Then I pull both arms toward the torso and retreat to the stance XU BU.

61

Method of training: The left hand moves from behind and below and reaches a position in front of the breast, at the same time the left leg bends and the body’s center of gravity shifts to it. Both hands clench into fists and are being pulled a little back concurrently with pulling (toward you) the right leg. Commentary: [SHOU BU], lit. “to pull a leg”, any leg which is in front is pulled toward you by half a space. [LE MA], lit. “to rein in a horse”, “to hold a horse back”. It looks like a stop for reining in a galloping horse.

Position 23. JIN BU SHUANG FENG: “Advancing by a step, executing a pair lock” The third movement of the path. The right leg moves forward by half a pace and bends in knee. The left leg, following the right one, makes a small step and also bends in knee. “Side rider stance” (QIE MA DAN) directed to the west is formed. Concurrently with advance both fists change into palms and deliver a double forward blow. The right palm is in front, at the nose level. The left palm is a little behind the right palm and a little below the level of the chin. Both palms point

Photo 23

forward, with fingers up, the arms

62

are bent a little in elbows. The right shoulder is brought a little forward. You stare at the right palm (Photo 23). Practical use: After my seizing the enemy by his arms with a strong jerk toward myself in the previous position, I move forward fast and, using the favorable situation, hit at his breast or ribs with both palms. As (at that moment) both legs and the whole body move forward, a blow will be strong. This method can be divided into the “empty phase” at the beginning and the “filled phase” at the end. It is called DIE JIN – “A falling effort” in WU SHU: you as if fall on the enemy, using the weight of the whole body. Method of training: Right and left parts of the body, torso, arms, and legs move in coordination like a single whole.

Position 24. ZHUAN SHEN SHUANG TUI: “Turning and executing a pair push with palms” The fourth movement of the path. The torso turns to the left and back, both hands move down and turn round the left knee from outside. The right leg rises a little, straightens back and plants with the whole sole on the ground. The left leg turns with its toe to the east and remains bent in knee. The left stance GONG QIAN DAN facing the east is formed. At the moment of finishing a shift of body weight on the left leg and straightening the right leg both palms simultaneously make a push forward. HU KOU of both palms point up, palm centers are opposite each other, the hands are on the waist level. You stare at both palms (Photo 24).

63

Practical use: The enemy, being behind me, kicks at my knee. I turn fast and deflect the kick from my knee

with

two

arms,

then

immediately push at his waist with both palms. Method of training: Movements of both hands round the knee, torso turn, turn of (the toe) of the left foot are done simultaneously. A shift of body weight forward, straightening the right leg and a palm push are executed as a single movement, in

Photo 24

one breath. Commentary: [NING BU] see position 9, [NIAN BU] see position 11.

Position 25. BO YUN JIAN RI: “Dispersing clouds to see the sun” The fifth movement of the path. Both arms move to the right and to the left respectively with a “smoothing” (MO) movement. The right leg kicks forward and up, the heel points up (Photo 25.1). After a kick the foot is lowered back to its place fast and you return to the initial position. Concurrently with leg return the left arm bends in elbow and is brought to ribs, the right palm strikes forward (to the east). The center of the right palm points forward, fingers point up. Stare at the right palm (Photo 25.2). 64

Practical use: Both arms bring the arms of the enemy to sides, opening his ribs and immediately a kick is made with the right leg. If the kick missed the target and the enemy tries to attack again, I counterattack with a right palm blow. In that case it is a feint kick and a real palm blow. During training sessions a kick is made above the head crown. At first the leg bends in knee and then straightens while striking fast and easily. In a real fight the kick must be delivered at enemy’s ribs.

Photo 25.1

Don’t raise the leg too high on any account. The left (supporting) leg must be bent a little to diminish the risk of a knee damage in case of a counterattack of the enemy with a kick. Master Xu Zhao Hui called that kick CHAO TIAN DENG - “Kick at the sky”. It was also used for knocking weapons out of enemy’s hands and for hitting at the lower jaw. Method of training: The arms parrying movement and the kick are executed concurrently. The right leg

Photo 25.2

down movement and the right palm 65

blow are also concurrent movements. The kick and returning the leg back must be done fast to avoid seizing your leg by the enemy and in order the enemy not to be able to use a delay and counterattack. Commentary: [MO] Lit. “to smooth out”, “to rub off”, is a parrying, beating off (enemy’s arms) movement to flanks.

Position 26. TIAO BU QING NA: “Jumping up and freeing oneself from a grip” The first movement of the path. Exercising in this method will allow improving one’s abilities for highjumping. After a jump you take the initial position, only its orientation changes (to the west). The effort of turning the body must reach a palm.

Using both legs, jump up, turn the torso to the left and back (to the west) in flight. Land in the left stance GONG QIAN: the left leg is bent in knee and is in front, forming a “bow”, the right leg is straight and forms an “arrow” behind. At the time of jumping the left hand moves along the right forearm and the wrist in a “sweeping” (SHUA) movement, then the left arm bends in elbow and is pulled to the torso. At the moment when the feet land the right arm Photo 26

strikes forward with the open palm, 66

finger tips point up, the hand is at the shoulder level. You stare at the right palm (Photo 26). Practical use: The enemy, being in front of me, seizes (QING NA) me by my right wrist with his hand. Then, suddenly (XI) he resorts to the method FENG SAO DI – “The wind sweeps the ground” and undercuts my legs, going behind my back at the same time. I free myself from his grip with the aid of my left arm, avoid his undercut by jumping up and after turning and landing strike at his chest with my right palm. Method of training: Jumping up, turning the torso, “sweeping” movement of the left arm – all those actions are executed concurrently. Landing, blow with the right palm and bringing the left arm to the torso are executed in one breath. While jumping, the left leg pushes off from the ground, the right leg bends in knee and rises up the first. The torso turns by 180 degrees in flight, the right foot lands the first, then the left one. Commentary: [QING] Rapid seizing hand movement, quick grab. [NA] “To catch”, “to grasp”, “to gripe and to hold” is called NA. [XI] Lit. “to assault from behind cover”, “to make a surprise attack”; a rapid surprise attack without visible preparations is called XI. [FENG SAO DI] “The wind sweeps the ground”, a leg executes a circular undercutting movement low above the ground.

67

Position 27. SHOU BU ZUO ZHANG: “Front leg drawing and left palm striking” The second movement of the path. Positions from 27 to 29 are phases of a single movement. It means that during a training session they must be executed one after another without stopping, in one breath.

The right arm is brought to the torso, the elbow bends, the fist is located near ribs. At the same time body weight shifts back, the right leg bends in knee, the left leg is brought a little back, the left stance DIAN BU is formed. The left foot touches the ground only with its toe, it is located in front of the right foot at the distance of a foot length. The left palm strikes forward (to the west). The center of the left palm points forward and to the right, fingers point up, the hand is at the Photo 27

shoulder level. Stare at the left palm (Photo 27).

Practical use: The enemy seized my right wrist. I pull the right arm with a jerk toward me, at the same time I turn the wrist clockwise and clench the hand into fist, simultaneously I make a “sweeping” (SHUA) movement with my left hand and free myself from a grip. However, one has not only to free oneself from a grip, but to fracture an enemy’s elbow as well. For that 68

purpose it is necessary to seize the enemy with right hand by his forearm or wrist and pull (with a jerk) toward oneself to get his arm straightened, simultaneously attacking his elbow with left palm. It will be very difficult for the enemy to free himself. Simultaneously with those actions, it is possible to resort to leg technique at a low level, using advantages of the stance DIAN BU. Method of training: Bending the (right) elbow, striking with the (left) palm and taking the stance DIAN BU are executed concurrently. Commentary: [DIAN BU] see the commentary on position 4.

Position 28. SHANG BU YU ZHANG: “A step forward, a right palm blow” The third movement of the path. This position uninterruptedly follows the previous one. The left leg remains in its place and supports body weight, the right leg steps forward; the right stance GONG QIAN BU is formed.

The left foot lands with the whole sole (LUO BU), the right leg steps forward and bends in knee; the right stance GONG QIAN BU (to the west) is formed. Simultaneously the left arm is pulled to the torso, the hand clenches into fist, it is placed on one side at the waist level. The right palm strikes forward, its center points forward and fingers upward. Stare at the right palm (Photo 28).

69

Practical use: The enemy retreats back, I follow him. I step forward and deliver a blow at his breast. At the same time, it is possible to seize the right arm of the enemy with other hand and pull him with a jerk toward yourself. In addition, a movement of right arm can be considered as defense against a counterblow of the enemy directed at my ribs, in that case it is necessary to punch with the (left) fist immediately. One must act according to the dictum: “Defense is Photo 28

present in attacking actions, attack hides in defense”.

Method of training: The left foot lands the ground with the whole sole, the left arm bends, the fist is pulled to the waist – those movements are made concurrently. Then the right leg steps forward and the right palm strikes, it is done simultaneously, in one breath. Commentary: [LUO BU] The foot of the front leg in the stance DIAN BU or XU BU lands with the whole sole. [SHANG BU] Any movement forward by one step is called SHANG BU.

70

Position 29. FENG QI YUN FEI: “A gust of wind blows away clouds” The fourth movement of the path. This position follows the previous one without interruption. Jump up from the previous position and change the stance. During the movement hips must not be relaxed, shoulders must not be raised, the waist must be “sunk” and stomach muscles must be tensed.

Jump up by pushing yourself off with both legs. The right leg goes down behind, the left leg lands in front. Knees are slightly bent and tend inward, the left stance JIAN DAN is formed (facing the west). Concurrently with a jump the right hand makes a circle (DAN QUAN) from left to right in front of the face and is brought to the left armpit and from there strikes forward along an arched path. Finger tips are opposite the point TIAN TING37, the arm is slightly bent. The left arm moves

Photo 29

from right to left diagonally, along

the right arm, with a covering downward movement, its hand takes the shape of a hook, the arm stretches back. Stare at the right palm (Photo 29).

Editor’s notes: 37

TIAN TING, a point between brows. 71

Practical use: The enemy delivers a blow with his left arm at an upper level, then immediately attacks with the right arm at a middle level and simultaneously kicks at my right knee. I parry the blow of his left arm with my right arm, “cover” his right arm with my left arm, bring back in a jump the right leg and dodge his kick, put forward my left leg to keep the former position (“maintaining the front line”) and to prepare a counterattack. Depending on the situation, I strike at his face with my right arm or parry a blow of his right arm. Training method: The first phase – the right hand moves in a circle, the right leg pushes off the ground and is brought back. The second phase – the left arm “covers” from right to left and from above downward, the left leg pushes off the ground, the right leg lands. The third phase – the left leg lands, the left “arm-hook” stretches back, the right arm completes the circular movement and shoots out forward. All those movements must be made continuously and at a great speed. Those who have been exercising for a short time are not able do it properly. Commentary: [DAN QUAN] Lit. “one circle”. The right hand moves from under the left armpit forward, fingers point up, finger tips are at the brow level, the arm is slightly bent.

72

Position 30. SHANG BU FA MA: “A step forward just as a horse trots” The first movement of the path. The right arm goes down, the hand changes into a hook, the arm stretches back. The left arm rises with

a

“propping-up”

(TUO)

movement, the hand is a little above the brow level. Concurrently with it the right leg takes a step forward, the knee slightly turns inward, the right (stance) JIAN BU is formed (facing the west). You stare to the right and forward (Photo 30). Practical use: The enemy, while dodging my blow DAN QUAN,

Photo 30

quickly retreats (TUI BU ZHA) and

counterattacks me with a blow aimed at my head. While advancing into the position SHANG BU FA MA, I parry his blow from below upward by attack his elbow with the left arm, “hook” his left (attacking) arm with my right arm, and put forward my right leg. A kick with the right or left leg can be also made in this position. Training method: The right arm goes down, the left arm rises, the right leg is brought forward – all those movements are made concurrently.

73

Commentary: [TUO] The arm, rising from below upward, makes a “propping-up” block. [TUI BU ZHA] After making a step back with the left leg, turn and go off the line of attack and be a little aside from enemy, immediately deliver a blow at the enemy’s head, his temple or ear.

Position 31. TUI BU YU ZHANG: “One step back, a blow with the right palm” The second movement of the path. The left hand executes a lateral blocking movement from left to right and stops near the right shoulder (BAO HU), at the same time the right arm strikes with the palm forward, the center of the palm points forward. Concurrently with arm work the right leg retreats, straightens and takes a firm stand with the whole sole. The left leg which remains in its place bends in knee. The left stance GONG QIAN (to the west) is formed. Stare at the right palm (Photo 31).

Photo 31

Practical use: The enemy closely approaches and tries to “hook” (KOU) my right leg. I retreat, protecting my groin; while retreating, I strike at his breast in the region of the heart with my right palm. It is so-called “the attack hides in defense”. 74

Training method: The left hand protects the shoulder (BAO HU), the right palm strikes, the right leg retreats back – all those movements are made concurrently. Commentary: [BAO HU] Lit. “to protect a shoulder”; the left palm moves laterally in front of the breast to the right shoulder or the right palm moves to the left shoulder, finger tips point upward. [KOU] Lit. “to approach”, “to lock”, in this case “to hook”. After coming close to the enemy, it is necessary to hook his leg (with your own leg) to disturb his equilibrium.

Position

32.

SHUNG

SHOU

QIAN

YANG:

“Stretching out an arm and taking away a sheep” The third movement of the path. To catch an enemy’s arm and immediately deliver a palm blow – those are two phases of a single method. The effort must be applied fast and be powerful.

The torso turns to the right and back (to the east), feet remain in their place and also turn, following a turn of the torso. The right stance GONG QIAN DAN is formed. The right arm moves to the right and down concurrently with a turn of the torso, then the hand takes the shape of a Photo 32

hook and is raised to the (right) ear, 75

at that moment the left palm strikes forward at the shoulder level. Stare at the left palm (Photo 32). Practical use: The enemy who is behind my back, after taking the right stance GONG QIAN DAN punches me with his right fist at the rib level. I turn to face him, parry his blow with my right arm, immediately bend the right arm and raise it up with squeezing the right forearm of the enemy between my shoulder and forearm. At that time my right hand takes the shape of a hook and presses on the enemy’s arm from above. At the same moment I strike at his shoulder with my left palm and topple over him to the ground. Training method: Body turn, feet turn, parrying (blow) movement of the right arm are done concurrently – it is the first phase of the method. Then the right “hook” rises to the ear and the left palm strikes – it is the second phase. Actually it is a single movement executed in one breath without division into phases. However, it is better to train the method phase by phase with a short pause between them.

76

Position 33. SHEN XIAN DAO TUO: “The Celestial changes his appearance” The fourth movement of the path. The left hand moves along an arc path and rounds the knee, the left arm bends in elbow. At the same time the torso turns (ZHUAN SHEN) to the left and back (to the west). The torso turns on the right foot, the left foot slightly comes off the ground. Then the left foot steps to the east, in front of the right foot (farther than the right foot), and lands with a stamp, the torso turns (FAN SHEN) to the right, the right leg straightens; the right stance GONG QIAN DAN is formed (to the

east).

At

the

moment

Photo 33

of

descending the left foot to the ground the right palm strikes forward at the shoulder level. Stare at the right palm (Photo 33). Practical use: The enemy, being on the left, kicks me at ribs. I turn (ZHUAN SHEN) fast to the left, parry his leg aside with my left arm and catch up it from below, then immediately turn (FAN SHEN) to the right and step toward the enemy and knock him down with a right palm blow. When I seize the striking leg of the enemy, he finds himself standing on one leg. I use the force caused by a torso turn and a forward movement and put that force into a palm

77

blow which is delivered at the enemy’s spine; as a result of it he falls down to the ground. Training method: The movement of the left hand round the knee and the body turn (ZHUAN SHEN) to the left are made concurrently. Then the left foot raises up, simultaneously the torso turns (FAN SHEN) to the right. The left elbow bends and the right palm strikes concurrently with landing the left foot. At first those movements can be exercised separately. As far as the progress is achieved, they must be united and executed in one breath. Commentary: [FAN SHEN and ZHUAN SHEN] Both terms imply a torso turn back. But if the front-standing leg moves in the direction of a body turn, it is called FAN SHEN. If a turn is done at the same spot (feet remain in their place), it is called ZHUAN SHEN. The two previous positions (32 and 33) were initially called LU DI XIAN SHEN DAO TUO – “The Celestial who descended upon the Earth changes his appearance.” It is a complicated movement, not easily executed at the initial stage of learning. Therefore, at first it can be divided into some parts which, after acquiring them, can be joined together.

78

Position 34. YUAN HOU ZHUI ZHI: “A monkey hangs on a branch” The first movement of the path. It is necessary to execute positions from 34 to 36 as a single movement, in one breath. One must strive for it in the process of training.

The left hand props up (TUO), the right hand forms a hook and is brought to the ear concurrently with a turn of the torso. Bring the left leg back (toward yourself) and take the stance DIAN BU, bend the right leg and take a low position. The torso is turned a little sideways, the breast faces the south-east. Stare to the left (to the east) (Photo34). Practical use: The enemy fiercely rushes to me. Using his force, I seize him by a wrist and pull toward

Photo 34

myself. Using an enemy’s forward

rush, I prop up (TUO) his wrist from below, clutch his arm with my right arm and sink into the low position DIAN BU to prepare a kick. Method of training: The right hand transforms into a “hook”, the left arm props up (TUO) the wrist, the torso shifts back – those movements are made concurrently and make up the first phase of the method. Then the right leg bends in knee, the torso sinks down, the left leg is brought to the position 79

DIAN BU, the right “hook” is raised to the ear – those movements are made concurrently, in one breath. Commentary: [YUAN HOU ZHUI ZHI] “A monkey, hanging on a branch”; the position was named so because it resembles a monkey, hanging in branches and picking up fruit. [TUO] Lit. “to prop up”, “to support from below”, it is a palm movement from below upward. [DIAN BU] The front foot slightly touches the ground only with the toe, its heel is raised a little.

Position 35. JIU DI BAN CHUAI: Kicking aside from the ground” The second movement of the path. After seizing an arm of the enemy and crouching, it is necessary to kick immediately. This should not be separated (in actual use) into two movements (positions) as shown in photos 34 and 35.

Slightly rise on the right leg without changing the position of feet and make a kick (BAN CHUAI) with the left foot from below upward and forward (to the south-east), the sole of the left foot faces the ground, the toe stretches forward. Stare ahead and to the right (to the south-east)

Photo 35

(Photo 35).

80

Practical use: Using the enemy’s advance, I quickly make a “ripping up” (TIAO) blow with my leg at his groin or kick at his shin, or at his knee-cap. Method of training: The right leg straightens, the left foot achieves its aim – it is a single movement to be made in one breath. Commentary: [BAN CHUAI] “A flank kick”, a kick at the enemy who is at your flank is made with the instep of a foot. It is also called TIAO TUI – “A ripping kick”. In ancient times that blow was called QUN BAN TUI - “A kick from under the skirt”.

Position 36. QIAN JIN ZHUI DI : “1000 JINs38 weigh on the ground” The third movement of the path. This method is well-known and widely spread.

The left foot, continuing the previous movement, lands, the right foot is brought forward by one step (to the east), the torso pivots to the left on the sole of the left foot and goes down, the right position “A croucher” (FU DAN) is formed. While sinking the torso, the left palm protects the right shoulder, the right hand clenches into fist and delivers, starting from the shoulder, a straight blow GUAN QUAN toward the ground (vertically downward). The torso in the final position is with the breast turned to the left and forward (to the north-east); stare at the right fist (Photo 36)39.

Editor’s notes: 38 39

JIN, measure of weight approx. equal to 0.5 kg. See also photo 51 >>. 81

Practical use: After kicking the enemy and his falling down, until he stands

up,

it

is

necessary

to

immediately punch him at ribs. At that it is necessary to protect yourself with the left palm against an enemy’s arm (against a possible counterblow). Method of training: The left foot lands – it is the first phase. The right leg takes a step forward – it is the second phase. Then the right fist punches down and the torso is

Photo 36

lowered toward the ground into the

position FU DAN – those two movements must be made concurrently, in one breath. Commentary: [GUAN QUAN] The center of the fist points inward, the fist moves from the shoulder down with a piercing blow. Another name is QIAN JIN ZHUI – “Pressing down with one thousand JINs”. The full name of the method is JIU DI ZHUI JIN ZHUAN - “Pressing a gold brick to the ground”. For the sake of convenience we have given a separate name of four hieroglyphs to each position, this name is used in the headline. The three previous positions (34, 35 and 36) from the beginning to the end must be executed in one breath as one movement.

82

Position 37. TI ZU ZUO ZHANG: “Raising a leg and striking with the left palm” The fourth movement of the path. The right leg bends in knee and is raised up, the toe of the foot being stretched and pointed down. The oneleg stance is formed (DU LI), the left leg is a supporting one, its knee is bent a little. Concurrently with raising the right leg, the right arm protects left ribs and the left palm strikes forward (to the north-east), the center of the palm points forward and fingers upward, the palm is at the shoulder level. You stare at the left palm (Photo 37). Photo 37

Practical use: The enemy kicks me

(CHUAI) at the right knee or shin. I quickly raise the leg up and slap him at his face with my palm. Concurrently I parry the enemy’s leg aside with my right leg. A kick can be also made from that position. Method of training: The leg must be raised very fast, concurrently it is necessary to protect ribs and make a blow - those movements are made in one breath. The supporting leg in the position DU LI (one-leg position) must firmly stand, the torso must not sway. It is possible to strengthen the inner force by means of training, become steadier and eliminate swaying. Commentary: [DU LI], one-leg position.

83

Position 38. TUI CHUAN WANG YUE: “Flinging the window wide open and enjoying the moon” The fifth movement of the path. The right hand moves from left ribs along the left arm with a “sweeping” movement (XI SHOU), at the same time the left arm is drawn to the torso. The left and right palms move to the right and forward (to the north-east)

from

ribs

without

stooping to execute “pair lock” (SHUANG FENG). The right palm is in front, opposite the right cheek, the left palm is located a little behind the right palm, opposite the tip of the nose. The centers of the palms

point

forward,

fingers

Photo 38

upward, the arms are a little bent in

elbows. During the forward movement of the palms the right leg lands a step ahead of the left one, the right stance GONG QIAN DAN (facing the northeast) is formed. You stare at the right palm (Photo 38). Practical use: The enemy pushes my left elbow from below or seizes my left arm. I immediately push off his arm with my right arm, simultaneously draw the left arm to my torso, thus neutralizing his action. After freeing myself from (a seizure) of the enemy’s arm, I step forward and execute a “pair lock” (SHUANG FENG). It may be a blow at his breast and ribs. It is also possible to hit his left temple with the right palm, and to the right side of his lower jaw 84

with the left palm. It is also possible to seize the enemy by his head and wring his neck. Or that movement can be considered as a block against attacking arm, which will lead to a fracture of the enemy’s elbow. Method of training: Both arms are drawn to ribs and stretched forward in a single movement, in one breath. A “pair lock” is done exactly at the moment when the right foot lands. Commentary: [XI SHOU] Lit. “sweeping hand”, “shaking-off hand.” The arm which is inside, i.e. nearer to the torso, moves along the other arm on its outer side and is brought forward. If the enemy seized my arm, I free myself from his grip with the aid of that movement. Positions from 24 throughout 38 are a fragment of the form that will be further executed to another (opposite) direction. 21 previous positions (18 – 38) make up the second part.

85

Part III. Positions from 39 throughout 53 exactly correspond to positions 24 – 38. The only difference is that they are directed to the opposite side according to the principle “north – south”, “west – east” and vice versa.

Position 39. ZHUAN SHEN SHUANG TUI: “Turning and making a pair palm push” The first movement of the path. Both hands move along an arch path outside from the left knee. The left foot, remaining in its place, turns with its toe to the west, then the torso also turns back (to the west). The left leg bends in knee, the left GONG QIAN DAN is formed. At the moment of taking the stance both palms make a forward push. HU KOU of palms point up, the centers of palms are oppose each other at the height of the waist or ribs. You stare at both palms (Photo 39).

Photo 39

Practical use: The enemy attacks me from behind my back. With the aid of both arms that move on an arc I parry his blow and turn my left foot with its toe facing the west. I protect my left leg with an arms movement and at the same time shield my groin. Then I immediately push the enemy at his breast or ribs with both arms. 86

Method of training: The movement of hands round the left knee, feet and torso turn as well, are executed concurrently, in one breath. Shift of body weight, bending (the left) knee and a push with both palms must be also executed concurrently (in coordination). Commentary: [SHUANG TUI] Lit. “pair push”. There is a similar method called SHUANG TUI SHOU – “A push with both arms” in the Yu family.

Position 40. BO YUN JIAN RI: “Dispersing clouds to see the sun” The second movement of the path. Both arms move with a “smoothing” (MO) movement to the right and left sides respectively. Then the left arm bends in elbow, the right arm is placed near the breast. At that moment the right leg strikes with the heel forward and upward (CHAO TIAN DENG), the heel is raised to the level TIAN TING40 (Photo 40.1). Then, without stopping the right foot quickly descends to the former place and you take the initial position (facing the west). The left arm, concurrently with the return of Photo 40.1

the leg, bends in elbow and is Editor’s notes: 40

TIAN TING, “Celestial palace”, an acupuncture point located above the bridge of the nose in a pit between brows. 87

brought to ribs and the right palm strikes forward (to the west). The center of the right palm points upward and fingers up. You stare at the right palm (Photo 40.2). Practical use: I draw the enemy’s arms aside (to the right and to the left) with my arms and immediately kick him at the lower jaw. When my leg returns to the initial position, I strike the enemy at the chest with my right palm. That blow is called CHAO TIAN DENG – “Kicking the sky”, it must not be made carelessly. As the leg rises very high, the enemy may have time to dodge, so it is quite difficult to hit the target. Therefore,

while

exercising

the

Photo 40.2

blow, it is necessary to strike with

the heel upward, but during an actual use of this method a blow with a heel must be made forward to hit the enemy in the region of the heart or the stomach. If you encounter an armed enemy, it is possible to beat off or knock out his weapon from his hands or hit his groin or legs. Method of training: A smoothing (MO) movement of arms and a kick are executed concurrently, in one breath. Then the leg quickly sinks to the initial position with a simultaneous palm push. Commentary: [CHAO TIAN DENG] The sole of the foot that kicks points up to the sky, therefore that method was named “Kicking the sky”.

88

Position 41. TIAO BU QING NA: “Jumping up and freeing oneself from a grip” The first movement of the path. Exercising in this method will allow improving one’s abilities for highjumping. After a jump you take the initial position, only its orientation changes (to the east). The effort of turning the body must reach a palm.

Using both legs, jump up, turn the torso to the left and back (to the east) in flight. Land in the left stance GONG QIAN: the left leg is bent in knee and is in front, forming a “bow”, the right leg is straight and forms an “arrow” behind. At the time of jumping the left hand moves along the right forearm and the wrist in

a

“sweeping”

(SHUA)

movement, then the left arm bends in elbow and is pulled to the torso. At the moment when the feet land the right arm strikes forward with Photo 41

the open palm, finger tips point up,

the hand is at the shoulder level. You stare at the right palm (Photo 41). Practical use: The enemy, being in front of me, seizes (QING NA) me by my right wrist with his hand. Then, suddenly (XI) he resorts to the method FENG SAO DI – “The wind sweeps the ground” and undercuts my legs, going behind my back at the same time. I free myself from his grip with the aid of

89

my left arm, avoid his undercut by jumping up and after turning and landing strike at his chest with my right palm. Method of training: Jumping up, turning the torso, “sweeping” movement of the left arm – all those actions are executed concurrently. Landing, blow with the right palm and bringing the left arm to the torso are executed in one breath. While jumping, the left leg pushes off from the ground, the right leg bends in knee and rises up the first. The torso turns by 180 degrees in flight, the right foot lands the first, then the left one. Commentary: [QING] Rapid seizing hand movement, quick grab. [NA] “To catch”, “to grasp”, “to gripe and to hold” is called NA. [XI] Lit. “to assault from behind cover”, “to make a surprise attack”; a rapid surprise attack without visible preparations is called XI. [FENG SAO DI] “The wind sweeps the ground”, a leg executes a circular undercutting movement low above the ground.

Position 42. SHOU BU ZUO ZHANG: “Front leg drawing and left palm striking” The second movement of the path. Positions from 42 to 44 are phases of a single movement. It means that during a training session they must be executed one after another without stopping, in one breath.

The right arm is brought to the torso, the elbow bends, the fist is located near ribs. At the same time body weight shifts back, the right leg bends in knee, the left leg is brought a little back, the left stance DIAN BU is formed. The left foot touches the ground only with its toe, it is located in front of the right 90

foot at the distance of a foot length. The left palm strikes forward (to the east). The center of the left palm points forward and to the right, fingers point up, the hand is at the shoulder level. Stare at the left palm (Photo 42). Practical use: The enemy seized my right wrist. I pull the right arm with a jerk toward me, at the same time I turn the wrist clockwise and clench the hand into fist, simultaneously I make

a

“sweeping”

(SHUA)

movement with my left hand and free myself from a grip. However, one has not only to free oneself from a grip, but to fracture an enemy’s elbow as well. For that purpose it is necessary to seize the enemy with right hand by his forearm or wrist Photo 42

and pull (with a jerk) toward oneself

to get his arm straightened, simultaneously attacking his elbow with left palm. It will be very difficult for the enemy to free himself. Simultaneously with those actions, it is possible to resort to leg technique at a low level, using advantages of the stance DIAN BU. Method of training: Bending the (right) elbow, striking with the (left) palm and taking the stance DIAN BU are executed concurrently. Commentary: [DIAN BU] see the commentary on position 4.

91

Position 43. SHANG BU YU ZHANG: “A step forward, a right palm blow” The third movement of the path. This position uninterruptedly follows the previous one. The left leg remains in its place and supports body weight, the right leg steps forward; the right stance GONG QIAN BU is formed.

The left foot lands with the whole sole (LUO BU), the right leg steps forward and bends in knee; the right stance GONG QIAN BU (to the east) is formed. Simultaneously the left arm is pulled to the torso, the hand clenches into fist, it is placed on one side at the waist level. The right palm strikes forward, its center points forward and fingers upward. Stare at the right palm (Photo 43). Practical use: The enemy retreats back, I follow him. I step forward Photo 43

and deliver a blow at his breast. At

the same time, it is possible to seize the right arm of the enemy with other hand and pull him with a jerk toward yourself. In addition, a movement of right arm can be considered as defense against a counterblow of the enemy directed at my ribs, in that case it is necessary to punch with the (left) fist immediately. One must act according to the dictum: “Defense is present in attacking actions, attack hides in defense”.

92

Method of training: The left foot lands the ground with the whole sole, the left arm bends, the fist is pulled to the waist – those movements are made concurrently. Then the right leg steps forward and the right palm strikes, it is done simultaneously, in one breath. Commentary: [LUO BU] The foot of the front leg in the stance DIAN BU or XU BU lands with the whole sole. [SHANG BU] Any movement forward by one step is called SHANG BU.

Position 44. FENG QI YUN FEI: “A gust of wind blows away clouds” The fourth movement of the path. This position follows the previous one without interruption. Jump up from the previous position and change the stance. During the movement hips must not be relaxed, shoulders must not be raised, the waist must be “sunk” and stomach muscles must be tensed.

Jump up by pushing yourself off with both legs. The right leg goes down behind, the left leg lands in front. Knees are slightly bent and tend inward, the left stance JIAN DAN is formed (facing the east). Concurrently with a jump the right hand makes a circle (DAN QUAN) from left to right in front of the face and is brought to the left armpit and from there strikes forward along an arched path. Finger tips are opposite the point TIAN TING41, the arm is slightly bent. The left arm moves from right to left diagonally, along the right arm, with a covering downward movement, its hand takes the shape of a hook, the arm stretches back. Stare at the right palm (Photo 44).

Editor’s notes: 41

TIAN TING, a point between brows. 93

Practical use: The enemy delivers a blow with his left arm at an upper level, then immediately attacks with the right arm at a middle level and simultaneously kicks at my right knee. I parry the blow of his left arm with my right arm, “cover” his right arm with my left arm, bring back in a jump the right leg and dodge his kick, put forward my left leg to keep the former position (“maintaining the front

line”)

and

to

prepare

a

counterattack. Depending on the situation, I strike at his face with my Photo 44

right arm or parry a blow of his right arm.

Training method: The first phase – the right hand moves in a circle, the right leg pushes off the ground and is brought back. The second phase – the left arm “covers” from right to left and from above downward, the left leg pushes off the ground, the right leg lands. The third phase – the left leg lands, the left “arm-hook” stretches back, the right arm completes the circular movement and shoots out forward. All those movements must be made continuously and at a great speed. Those who have been exercising for a short time are not able do it properly. Commentary: [DAN QUAN] Lit. “one circle”. The right hand moves from under the left armpit forward, fingers point up, finger tips are at the brow level, the arm is slightly bent.

94

Position 45. SHANG BU FA MA: “A step forward just as a horse trots” The first movement of the path. The right arm goes down, the hand changes into a hook, the arm stretches back. The left arm rises with

a

“propping-up”

(TUO)

movement, the hand is a little above the brow level. Concurrently with it the right leg takes a step forward, the knee slightly turns inward, the right (stance) JIAN BU is formed (facing the east). You stare to the right and forward (Photo 45). Practical use: The enemy, while dodging my blow DAN QUAN,

Photo 45

quickly retreats (TUI BU ZHA) and

counterattacks me with a blow aimed at my head. While advancing into the position SHANG BU FA MA, I parry his blow from below upward by attack his elbow with the left arm, “hook” his left (attacking) arm with my right arm, and put forward my right leg. A kick with the right or left leg can be also made in this position. Training method: The right arm goes down, the left arm rises, the right leg is brought forward – all those movements are made concurrently.

95

Commentary: [TUO] The arm, rising from below upward, makes a “propping-up” block. [TUI BU ZHA] After making a step back with the left leg, turn and go off the line of attack and be a little aside from enemy, immediately deliver a blow at the enemy’s head, his temple or ear.

Position 46. TUI BU YU ZHANG: “One step back, a blow with the right palm” The second movement of the path. The left hand executes a lateral blocking movement from left to right and stops near the right shoulder (BAO HU), at the same time the right arm strikes with the palm forward, the center of the palm points forward. Concurrently with arm work the right leg retreats, straightens and takes a firm stand with the whole sole. The left leg which remains in its place bends in knee. The left stance GONG QIAN (to the east) is formed. Stare at the right palm (Photo 46). Photo 46 Practical use: The enemy closely approaches and tries to “hook” (KOU) my right leg. I retreat, protecting my groin; while retreating, I strike at his breast in the region of the heart with my right palm. It is so-called “the attack hides in defense”. 96

Training method: The left hand protects the shoulder (BAO HU), the right palm strikes, the right leg retreats back – all those movements are made concurrently. Commentary: [BAO HU] Lit. “to protect a shoulder”; the left palm moves laterally in front of the breast to the right shoulder or the right palm moves to the left shoulder, finger tips point upward. [KOU] Lit. “to approach”, “to lock”, in this case “to hook”. After coming close to the enemy, it is necessary to hook his leg (with your own leg) to disturb his equilibrium.

Position

47.

SHUNG

SHOU

QIAN

YANG:

“Stretching out an arm and taking away a sheep” The third movement of the path. To catch an enemy’s arm and immediately deliver a palm blow – those are two phases of a single method. The effort must be applied fast and be powerful.

The torso turns to the right and back (to the west), feet remain in their place and also turn, following a turn of the torso. The right stance GONG QIAN DAN is formed. The right arm moves to the right and down concurrently with a turn of the torso, then the hand takes the shape of a hook and is raised to the (right) ear, at that moment the left palm strikes forward at the shoulder level. Stare at the left palm (Photo 47).

97

Practical use: The enemy who is behind my back, after taking the right stance GONG QIAN DAN punches me with his right fist at the rib level. I turn to face him, parry his blow

with

my

right

arm,

immediately bend the right arm and raise it up with squeezing the right forearm of the enemy between my shoulder and forearm. At that time my right hand takes the shape of a hook and presses on the enemy’s arm from above. At the same moment I strike at his shoulder with Photo 47

my left palm and topple over him to the ground.

Training method: Body turn, feet turn, parrying (blow) movement of the right arm are done concurrently – it is the first phase of the method. Then the right “hook” rises to the ear and the left palm strikes – it is the second phase. Actually it is a single movement executed in one breath without division into phases. However, it is better to train the method phase by phase with a short pause between them.

98

Position 48. SHEN XIAN DAO TUO: “The Celestial changes his appearance” The fourth movement of the path. The left hand moves along an arc path and rounds the knee, the left arm bends in elbow. At the same time the torso turns (ZHUAN SHEN) to the left and back (to the east). The torso turns on the right foot, the left foot slightly comes off the ground. Then the left foot steps to the west, in front of the right foot (farther than the right foot), and lands with a stamp, the torso turns (FAN SHEN) to the right, the right leg straightens; the right stance GONG QIAN DAN is formed (to the west). At the Photo 48

moment of descending the left foot to

the ground the right palm strikes forward at the shoulder level. Stare at the right palm (Photo 48). Practical use: The enemy, being on the left, kicks me at ribs. I turn (ZHUAN SHEN) fast to the left, parry his leg aside with my left arm and catch up it from below, then immediately turn (FAN SHEN) to the right and step toward the enemy and knock him down with a right palm blow. When I seize the striking leg of the enemy, he finds himself standing on one leg. I use the force caused by a torso turn and a forward movement and put that force into a palm

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blow which is delivered at the enemy’s spine; as a result of it he falls down to the ground. Training method: The movement of the left hand round the knee and the body turn (ZHUAN SHEN) to the left are made concurrently. Then the left foot raises up, simultaneously the torso turns (FAN SHEN) to the right. The left elbow bends and the right palm strikes concurrently with landing the left foot. At first those movements can be exercised separately. As far as the progress is achieved, they must be united and executed in one breath. Commentary: [FAN SHEN and ZHUAN SHEN] Both terms imply a torso turn back. But if the front-standing leg moves in the direction of a body turn, it is called FAN SHEN. If a turn is done at the same spot (feet remain in their place), it is called ZHUAN SHEN.

Position 49. YUAN HOU ZHUI ZHI: “A monkey hangs on a branch” The first movement of the path. It is necessary to execute positions from 49 to 51 as a single movement, in one breath. One must strive for it in the process of training.

The left hand props up (TUO), the right hand forms a hook and is brought to the ear concurrently with a turn of the torso. Bring the left leg back (toward yourself) and take the stance DIAN BU, bend the right leg and take a low position. The torso is turned a little sideways, the breast faces the north-west. Stare to the left (to the west) (Photo 49).

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Practical use: The enemy fiercely rushes to me. Using his force, I seize him by a wrist and pull toward myself. Using an enemy’s forward rush, I prop up (TUO) his wrist from below, clutch his arm with my right arm and sink into the low position DIAN BU to prepare a kick. Method of training: The right hand transforms into a “hook”, the left arm props up (TUO) the wrist, the torso shifts back – those movements are made concurrently and make up the Photo 49

first phase of the method. Then the

right leg bends in knee, the torso sinks down, the left leg is brought to the position DIAN BU, the right “hook” is raised to the ear – those movements are made concurrently, in one breath. Commentary: [YUAN HOU ZHUI ZHI] “A monkey, hanging on a branch”; the position was named so because it resembles a monkey, hanging in branches and picking up fruit. [TUO] Lit. “to prop up”, “to support from below”, it is a palm movement from below upward. [DIAN BU] The front foot slightly touches the ground only with the toe, its heel is raised a little.

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Position 50. JIU DI BAN CHUAI: Kicking aside from the ground” The second movement of the path. After seizing an arm of the enemy and crouching, it is necessary to kick immediately. This should not be separated (in actual use) into two movements (positions) as shown in photos 49 and 50.

Slightly rise on the right leg without changing the position of feet and make a kick (BAN CHUAI) with the left foot from below upward and forward (to the north-west), the sole of the left foot faces the ground, the toe stretches forward. Stare ahead and to the right (to the north-west) (Photo 50). Practical use: Using the enemy’s advance, I quickly make a “ripping up” (TIAO) blow with my leg at his groin or kick at his shin, or at his

Photo 50

knee-cap.

Method of training: The right leg straightens, the left foot achieves its aim – it is a single movement to be made in one breath. Commentary: [BAN CHUAI] “A flank kick”, a kick at the enemy who is at your flank is made with the instep of a foot. It is also called TIAO TUI – “A

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ripping kick”. In ancient times that blow was called QUN BAN TUI - “A kick from under the skirt”.

Position 51. QIAN JIN ZHUI DI : “1000 JINs42 weigh on the ground” The third movement of the path. This method is well-known and widely spread.

The

left

foot,

continuing

the

previous movement, lands, the right foot is brought forward by one step (to the west), the torso pivots to the left on the sole of the left foot and goes down, the right position “A croucher” (FU DAN) is formed. While sinking the torso, the left palm protects the right shoulder, the right hand clenches into fist and delivers, starting from the shoulder, a straight blow GUAN QUAN toward

the

ground

(vertically

downward). The torso in the final

Photo 51

position is with the breast turned to

the left and forward (to the south-west); stare at the right fist (Photo 51).

Editor’s notes: 42

JIN, measure of weight approx. equal to 0.5 kg. 103

Practical use: After kicking the enemy and his falling down, until he stands up, it is necessary to immediately punch him at ribs. At that it is necessary to protect yourself with the left palm against an enemy’s arm (against a possible counterblow). Method of training: The left foot lands – it is the first phase. The right leg takes a step forward – it is the second phase. Then the right fist punches down and the torso is lowered toward the ground into the position FU DAN – those two movements must be made concurrently, in one breath. Commentary: [GUAN QUAN] The center of the fist points inward, the fist moves from the shoulder down with a piercing blow. Another name is QIAN JIN ZHUI – “Pressing down with one thousand JINs”. The full name of the method is JIU DI ZHUI JIN ZHUAN - “Pressing a gold brick to the ground”. For the sake of convenience we have given a separate name of four hieroglyphs to each position, this name is used in the headline. The three previous positions (49, 50 and 51) from the beginning to the end must be executed in one breath as one movement.

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Position 52. TI ZU ZUO ZHANG: “Raising a leg and striking with the left palm” The fourth movement of the path. The right leg bends in knee and is raised up, the toe of the foot being stretched and pointed down. The oneleg stance is formed (DU LI), the left leg is a supporting one, its knee is bent a little. Concurrently with raising the right leg, the right arm protects left ribs and the left palm strikes forward (to the south-west), the center of the palm points forward and fingers upward, the palm is at the shoulder level. You stare at the left palm (Photo 52). Practical use: The enemy kicks me

Photo 52

(CHUAI) at the right knee or shin. I quickly raise the leg up and slap him at his face with my palm. Concurrently I parry the enemy’s leg aside with my right leg. A kick can be also made from that position. Method of training: The leg must be raised very fast, concurrently it is necessary to protect ribs and make a blow - those movements are made in one breath. The supporting leg in the position DU LI (one-leg position) must firmly stand, the torso must not sway. It is possible to strengthen the inner force by means of training, become steadier and eliminate swaying. Commentary: [DU LI], one-leg position.

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Position 53. TUI CHUAN WANG YUE: “Flinging the window wide open and enjoying the moon” The fifth movement of the path. The right hand moves from left ribs along the left arm with a “sweeping” movement (XI SHOU), at the same time the left arm is drawn to the torso. The left and right palms move to the right and forward (to the southwest) from ribs without stooping to execute

“pair

lock”

(SHUANG

FENG). The right palm is in front, opposite the right cheek, the left palm is located a little behind the right palm, opposite the tip of the nose. The centers of the palms point forward, fingers upward, the arms are

Photo 53

a little bent in elbows. During the

forward movement of the palms the right leg lands a step ahead of the left one, the right stance GONG QIAN DAN (facing the south-west) is formed. You stare at the right palm (Photo 53). Practical use: The enemy pushes my left elbow from below or seizes my left arm. I immediately push off his arm with my right arm, simultaneously draw the left arm to my torso, thus neutralizing his action. After freeing myself from (a seizure) of the enemy’s arm, I step forward and execute a “pair lock” (SHUANG FENG). It may be a blow at his breast and ribs. It is also possible to hit his left temple with the right palm, and to the right side of his lower jaw 106

with the left palm. It is also possible to seize the enemy by his head and wring his neck. Or that movement can be considered as a block against attacking arm, which will lead to a fracture of the enemy’s elbow. Method of training: Both arms are drawn to ribs and stretched forward in a single movement, in one breath. A “pair lock” is done exactly at the moment when the right foot lands. Commentary: [XI SHOU] Lit. “sweeping hand”, “shaking-off hand.” The arm which is inside, i.e. nearer to the torso, moves along the other arm on its outer side and is brought forward. If the enemy seized my arm, I free myself from his grip with the aid of that movement.

Position 54. TAN LI DE ZHU: “Picking up a wonderful pearl from the chin of a sleeping dragon” The fourth movement of the path. That position is similar to position 5, merely the stance is the right one and its use differs a little.

The left leg steps forward and a little to the left to be located ahead of the right leg; the right leg is immediately drawn and bends in knee; the left stance DIAN BU (to the south) is formed. The left arm, concurrently with the forward movement, rises from below upward with a blocking movement, its hand is raised above the forehead level. At the same time the right palm is drawn to ribs and strikes from ribs with finger tips forward and down, at the 107

end of the movement finger tips rise a little up and are located at the level of the point QI HAI43. You stare at the right palm (Photo 54). Practical use: I parry a blow of the enemy’s arm with my left arm and hit the point QI HAI with the right arm. Method of training: The left arm moves up and at the same time the left leg steps forward. The right leg is brought forward and the stance DIAN BU is formed; at that moment a blow is made with fingers of the right hand. Commentary: [QI HAI] The spot one CUN and five FENs below the

Photo 54

navel44.

Editor’s notes: 43

QI HAI, “QI Sea”, an acupuncture point, located at the central line of the body a little below the navel. 44 One FEN, measure of length equal to 3.2 mm; one CUN, measure of length equal to 3.2 cm. Respectively, one CUN and five FENs are a distance of 4.8 cm. 108

Position 55. CHUAN NA FAN PU: “The final position of CHUAN NA” The final position of TAO coincides with the first position. [FAN PU] means “return to primary source”. That is the inmost sense of returning into the first, initial position that is [MU SHI], “mother position” of the whole TAO. MU SHI contains all successive “son positions” which are only modification and transformation of MU SHI. All the methods presented here in their variety and changeability originate from a single source.

The left leg remains in its place and straightens in knee. The right leg is brought close to the left leg. Both arms sink along the body; you stand upright, the breast is spread, stare forward (to the south) (Photo 55). Practical use: This is the final position that concludes the complex of

movements

(TAO).

It

also

expresses respect toward the enemy. Method of training: The right leg is drawn close to the left leg, the left arm sinks, the right arm is brought

Photo 55

to the torso and also sinks. Those movements are made concurrently.

Commentary: [FAN PU] Here means “to come back to the very beginning”. 17 previous positions (39 – 55) belong to part 3 of TAO and conclude it.

*** 109

Old Chinese Books in Electronic Format Shaolin Kung Fu OnLine Library

Jin Jing Zhong

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Jin Jing Zhong

Lam Sai Wing

TRAINING

DIAN XUE SHU:

Moving Along the

METHODS OF 72

SKILL OF ACTING

Hieroglyph Gung,

ARTS OF SHAOLIN

ON ACUPOINTS

I Tame the Tiger

Lam Sai Wing

Lam Sai Wing

TIGER & CRANE

IRON THREAD

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www.kungfulibrary.com/e-book-store.htm For the first time in English! Jin Jing Zhong

"Training Methods of 72 Arts of Shaolin" (Tanjin, 1934) .

For the first time the book describes full training methods in all 72 Shaolin Arts. Being Jin Jing Zhong: until recently for outsiders the "We collected all we had most secret part of training of Shaolin monks, which made seen and heard, we them invulnerable in fight, 72 gathered ancient Shaolin Arts at the present time manuscripts given to us become available to all who are by our tutors to compile ready to practice them "The Shaolin Martial Art the present edition". persistently and with an open has absorbed a lot of heart. Training methods schools and styles. 72 Arts "72 Arts are perfect described in the book allow to are the top of true exercises. First of all, it develop supernatural abilities, mastership" is necessary to far beyond abilities of an assimilate the hornbook ordinary man... of mastership. Apt /Shaolin Tutor Ru Jing/ At present the book has moment, apt time, apt mystery... Strictly been translated into English observe instructions, and and published in electronic you will be able to format on our web-site. become as perfect as the You can order this e-book here: Dragon" /Shaolin Tutor Chun Jin/ 110

Canonical Books by Lam Sai Wing "SINCE MY YOUNG YEARS TILL NOW, FOR 50 YEARS, I HAVE BEEN LEARNING FROM MASTERS. I AM HAPPY THAT I HAVE EARNED THE LOVE OF MY TUTORS WHO PASSED ON Lam Sai Wing

ME THE SHAOLIN MASTERY…"

(1860-1943) Lam Sai Wing was one of the best fighters of his time, an outstanding master of Southern Shaolin Hung Gar Kung Fu and a disciple of the legendary Wong Fei Hung. At the beginning of twentieth century, supposedly in 1917-1923, when Lam Sai Wing was the Chief Instructor in hand-to-hand fight in the armed forces of Fujian province, he wrote three books on traditional Shaolin methods of the achievement of the highest mastership. In those books he scrutinized COMBAT TECHNIQUES of TIGER and CRANE styles, as well as the OLD SHAOLIN METHOD of developing the "INTERNAL" and "EXTERNAL" force. The books are illustrated with a great number of fine drawings showing the author demonstrate his wonderful techniques. Until now the books of Master Lam Sai Wing serve as a basic textbook for those who seriously practices Hung Gar in China.

Now this book has been translated into English and published in electronic format on our site. You can order this e-books here:

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