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Posted on November 23, 2013 BAJI BOXING
YIN QIANHE’S TAIJI
– YANG STYLE TAIJI SWORD
ACCORDING TO YIN QIANHE
WU STYLE TAIJI SWORD
(QIANKUN JIAN)
FROM THE BOXING METHODS OF THE ZHAO SCHOOL: THE TAIJI MANUAL OF LI XIANWU
ILLUSTRATED CANNON BOXING SET
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From the Boxing Methods of the Zhao School: Illustrated Cannon Boxing Set March 2011
by Wu Zhiqing February 2011
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Portrait of the author, Wu Zhiqing
PREFACE BY CHU MINYI
Chinese martial arts can be roughly classified into two branches: Wudang and Shaolin,
commonly known as internal training and external training. Although they are different in origin
and development, their aim of bringing strength and health to the body is the same. Therefore
we should not be biased toward one or the other, but should instead advocate both.
Sectarianism is the biggest hindrance to learning and development, and it is unfortunate that
colleagues within the martial arts world will often use it to try and one-up each other, which
rarely leads to progress. But worst of all are the naive and stubborn who keep their treasure
for themselves and are not willing to reveal what they have learned nor freely teach it to
others. Although they may have an amazing skill, every bit of it will be lost forever unless they
can be generous enough to share what they have.
Looking through the long history of Chinese martial arts, they have not only had the pattern
of being continually unable to flourish, but have actually been in a situation of continually
increasing decline. What is the reason for this? During the isolationism of former days,
literary pursuits were ennobled and martial pursuits were trivialized. There was reverence for
the intelligentsia whereas martial arts were considered to be of a lesser path. It was not just
that scholars viewed them with disdain, the common people did as well. With no esteem for
martiality, warriors were looked down upon and instead there was a fondness for frail
scholars. Because of this, our people have become more feeble with each passing day.
Because it has taken such a long time for martial arts to take shape, they have not been
able to flourish as much as they should have. Not only this, but martial arts organizations were
simply not considered of value, and thus there was no spread of their particular
characteristics and people were unable to learn. This is simply because without public
practice facilities, then even if there was a will to learn, there was no place to go for guidance.
As a result, when those rustic people possessed of skill went to the mountains to live in
seclusion, those who wished to learn had to go there to seek it from them in a secret teacher-
student relationship.
Not only did such teachers not seek to popularize it, they even fear it being popularized.
Why should this be? Because once a student had completed his study, he was then able to
do with it whatever he wanted. The best of them became righteous heroes, but the worst of
them became bullying bandits, resulting in martial arts becoming even more reviled by the
public. This is the view in those apocryphal histories within published novels, and is not
entirely without foundation. Who would behave like this? And can it not be said that society
was to blame? Well, no, because although it was the case that during the isolationism of
former days in which literary pursuits were ennobled and martial pursuits were trivialized,
people were still able to find ease in life. Nowadays the factions of the world have opened
their doors to each other with the result that competition among the common crowd is fierce.
The way of survival is that the superior succeed and the inferior perish, the stronger
animals devouring the weaker. It is entirely a matter of national determination as to whether
we will ascend to become one of the strong and prosperous nations. Our rise or fall as a
nation is simply a matter of whether or not we strengthen the people as a whole. To achieve
this, we must first of all pay particular attention to physical education. Martial arts are the
special treasure of our nation, truly the highest form of physical education, and they are a far
more economical use of our time and money than exercises such as Western calisthenics. If
we encourage capacity to engage in martial arts, then it will not be that they cannot be
popularized.
In recent years, the Central Martial Arts Institute has been established [Mar, 1928] and “the
wind in the trees is being heard” [i.e. the news of it is spreading]. Also in recent times, there
has been a shift in power [from empire to republic – 1911] and the general mood is one of
change. The value of martial arts is gradually being taken seriously by people, and local
martial arts organizations are being established one after another. There is an enthusiasm for
exercise, a public advocation for it of “any time, any place, anybody”. It can no longer be said
there is no restoration underway, no sign of national empowerment and prosperity.
Since the history of martial arts is long and the number of styles is many, they inevitably
have their strengths and weakness, good points and bad points. Choosing which is suitable
is a matter of taking the strengths of a system to fix the weaknesses of oneself, and so to
select the best entirely depends on the practitioner. If you wish to learn each of these arts, you
will never be able to put in enough effort or time. If you wish to learn from books, chances are
that a book about the particular style you have chosen is very hard to come by. These things
have led to some frustration and disillusionment for new generations of students, not to
mention that Chinese martial arts have been so easily lost anyway. The main reason for this
is because long ago nothing of them was written down to leave clear records for future
generations. This leaves us with no organized systems, making our work to carry them
thrivingly forward extraordinarily difficult. Furthermore, learning these skills in those days
usually depended on oral instruction and reference to drawings, and so there is insufficient
written material to consult for those who are making books on the subject. For those who are
learning on their own, this is yet another factor holding back the spread of these arts.
In view of this, Shen Junsheng of the Great East Bookstore has expressed grand
aspirations, soliciting help from the martial arts institutes and the nation’s martial arts experts
regarding our nation’s many native martial skills so that each school’s traditions and each
expert’s learning gets recorded one after another for posterity, a magnificent collection to
behold. He requested a preface of me as I am a habitual advocate of martial arts. Since I am
constantly upholding the same views on the subject, how could I have nothing to say about it?
Hence this sketch of my opinion, here presented in brief.
– Chu Minyi
AUTHOR’S PREFACE
A world without new things has reached its material limit in its ability for invention and
manufacture. A world without new ideas has reached its cultural limit in its endeavor to
discover and understand. The skills of an era are of use to that era. The skills of a nation have
the characteristics of that nation. Ancient skills are not suitable for use in the modern world.
Western skills are not compatible for use in China. Different environments, different
idealogies. Since the Revolution, rebuilding has sent the nation into a dispirited state, in one
way after another, and our martial arts are still deficient, which is truly a matter for regret.
I have somehow become the head of the Central Martial Arts Institute’s editing
department, and I myself have published books such as Cha Boxing, Big Dipper Sword, Two-
Person Tantui, Six-Line Short Boxing, A Scientific Approach to Martial Arts, and others, in
the hopes of strengthening the people and saving the nation. If we wish to popularize such
exercises, we will have no effect unless we increasingly publish them. In the context of our
national identity, history, and environment, if we wish to get on the path toward strengthening
the people and saving the nation, should we enlist the help of Western calisthenics or should
we restore our native martial arts? With some careful scrutiny, we can know the answer
without asking the question.
Since we are now in the gloriously scientific twentieth century, a thing cannot survive if it
does not address practical function, and this is the reason for the declining of our martial arts.
The fault lies in the lack of endeavor to discover and understand, in conservatively following
established methods rather than being aware of improvements. Fortunately there are
enlightened gentlemen in the nation who for this reason have done their utmost to encourage
the various schools and styles to surge forth, each expressing its strengths without any
declaring it is best, so that the old styles could be organized into a martial competition known
as the Martial Arts Examinations [which took place in Oct, 1928]. It encouraged only display
of one’s prowess within the randomness of fighting rather than the debating of one’s martial
theory to score points over another.
It served to show that between updated martial arts and the old systems, we do not know
the extent of the differences, much less how they have evolved. But what a pity it is when a
style relies on obscure theory and makes appeals to the past. This is a flaw, for it can do
nothing to promote martial arts as a whole. And on the other hand, when a style simply uses
real life as its premise, this does not prevent one’s character from degenerating, for although
one trains to toughen sinews and bones, one can only make jokes about the style in answer
to criticism, burying its heroic quality, which is even worse. Such lamentable situations.
If I have made any error in what I have said above, I hope that my martial arts comrades will
be roused to make corrections so that martial arts may keep advancing. This would give a
great brightening to the prospects of these arts. How admirable that would be.
My goals in making this book are: 1. to neither turn away from ancient teachings, 2. nor to
violate modern teaching principles, 3. to be able to encourage a more scientific approach in
educational organizations, 4. to explain specific application in order for this to be of practical
use. In this book, included with each posture is the name of the technique, its function, a
description of the movement, and an explanation of the technique. With a posture’s name,
function, movement, and significance explained, you can proceed step by step until you have
become an example fit for others to learn by.
The current trend is to engage in such a study of the experience of others in order to build
up our bodies and strengthen our national spirit. I am not talented, but I do have great hopes.
– written by Wu Zhiqing of Guxi [in Anhui] at the Shanghai “Esteeming the Martial” School,
April 1930
GENERAL COMMENTS
– For this book, I have selected the Cannon Boxing set from the Long Boxing system taught
to me by my teacher Yu Zhensheng. It is divided into two chapters: Chapter One is an
introduction to martial arts which analyzes various aspects, while Chapter Two is a
photographic guide to the solo practice.
– This book complies with the teaching procedure of a chapter being divided into five parts,
each part divided into four sections, each section divided into four postures. [The book
emulates the principle, but its actual structure is Chapter One being divided into six parts,
then Chapter Two being divided into five parts: part 1 – positioning chart and attention
stance, part 2 – four sections of the set (1-4), part 3 – four sections (5-8), part 4 – five
sections (9-13), part 5 – five sections (14-18), each section comprising four postures.]
Included with each posture is the name of the technique, its function, a description of the
movement, and an explanation of the technique. With a posture’s name, function, movement,
and significance explained, this enables you to understand at a glance and practice easily.
– Since this book is for teaching whole groups at a time, you may refer to military methods of
drilling.
– In this book, there is a command for each posture so that beginners may feel easily
motivated from the start. After they are familiar with the movements, the simple counting may
be done away with and it can flow without pauses. So as to not violate the principles of our
forefathers and yet teach with a modern procedure, there is this way of doing it.
– This book assumes practice facing certain directions so that beginners can easily
memorize and establish themselves in it. After drilling it until it is familiar, you can face any
direction.
– This book has a list of lyrics for the set which has been passed down from long ago. Its
phrases are to be recited over and over in order to get at its meaning. Although we should
comply with the writings of the original author in order to avoid losing touch with the authentic
version, another author has nevertheless come up with a new set of verse to further represent
the practical applications, and this is included following the old lyrics.
– This book settles upon posture names which are convenient for study, correspond to the
essentials of the applications, and suit the shapings of the postures. In studying our nation’s
martial arts, we find differences in terminology between schools and styles, or that the
movements of their sets may be the same but the names are different [or vice versa]. This is
one of the harms of keeping things secret and is truly one of the greater shortcomings in the
martial arts world.
– This book is based upon some of my teaching experience over the years. I have put it
together for publication in order to supply my fellow martial arts enthusiasts with reference
material.
– Some degree of incompleteness in this book is inevitable, and so I hope my martial arts
comrades will correct me.
CONTENTS
Portrait of the author
Author’s Preface
General Comments
Chapter One: Introduction
Part 1: Examining the Origin of the Schools
Part 2: Examining the Differences Between the Schools
Part 3: Examining the Categories of Long Boxing and Short Boxing
Part 4: Examining Differences Brought on by Nature
Part 5: Original Song
Part 6: New Song
Chapter Two: Illustrated Set
Part 1: Positioning Chart for the Boxing Set
Part 2: Song [for Sections 1-4]
Section 1 (name of the technique / function / remarks on the technique):
Posture 1: STEP FORWARD WITH THRUSTING PUNCHES / This is for beginning the
movements. / This posture is the opening technique in this boxing set, and it also readies
your body for exercise. The movement therefore is neither fierce nor slow, but natural. By
never forcing the movements, you will deeply obtain the essentials of health.
Posture 2: WRAPPING ELBOWS / This is preparation for performing the set of boxing
techniques. / This is for preparing you to go through the set, so that while you advance and
retreat, attack and defend, you will be able to avoid anxiety over making mistakes.
Posture 3: LEFT RAISING PALM / This is for catching by raising up. / This is a method of
drawing in the opponent’s hand to parry it away.
Posture 4: LEFT STEP FORWARD, THRUST PUNCH / This is for attacking with a strike. /
Use a palm to parry while using a fist to strike the opponent’s chest. When punching, both
your shoulder and arm must be relaxed. When aimed at the target, exerting yourself will only
bring you off target and leave with nothing to shoot at. This is why it is called “inch force” [i.e.
just the right measure of strength].
Posture 5: RETREAT, RAISING PALM / This is for defending with one side and attacking
with the other. / Use your left palm in a raising action to the opponent’s lower body. Thus it is
called “raising palm to the groin”. The movements of this technique coordinate the actions of
hand, eye, body, and step in order to achieve the effects of both defending yourself and
subduing the opponent.
Posture 6: SWIPING FIST / This is for avoiding the brunt of the opponent’s attack to await an
opportunity. / If the opponent attacks me, I evade his sharpest point, storing energy as I await
an opportunity to counter.
Posture 7: INTERCEPTING ELBOW, THRUST PUNCH / This is a method of “fake block, real
strike”. / If the opponent attacks me at middle height, I use my left elbow to block it, then use
my right fist to take advantage of the opportunity with a strike to his heart.
Posture 8: BINDING FIST, SNAPPING KICK / This is for dealing with the opponent and
returning a strike. / The opponent takes advantage of the gap that appeared because of my
punching, attacking my right ribs, so I turn over my wrist, binding in downward to defend
against him, and take advantage of the opportunity to attack him with a kick.
Posture 9: RIGHT THRUST PUNCH / This is for changing position. / This is for changing
position while fighting, causing the opponent to be unable to detect your strategy. The
intention is that of taking him by surprise, attacking him where he is unprepared.
Posture 10: LEFT THRUST PUNCH / This is for of turning around and striking. / I observe an
opponent’s feints versus real tactics and get ready for the moment to respond.
Posture 11: LEFT CAPTURING, RIGHT SEALING / This is for capturing and locking. / If the
opponent extends a hand to strike, I use my left hand to capture it, then switch to locking him
up with my right arm to make him trapped, after which I will send out my left hand to strike a
vital area.
Posture 12: LEFT THRUST PUNCH / This is for taking advantage of a moment of the
opponent’s inattentiveness to attack him. / Continuing from the previous technique’s sealing, I
take advantage of the opportunity to advance with a strike to the middle of the opponent’s
body.
Posture 13: RIGHT THRUST PUNCH / This is for continuing from the previous posture’s
advancing strike by turning it into an attack of continuous strikes. / This technique continues
from the previous technique, making a continuous succession of thrust punches. However, to
be able to achieve this effect, it is necessary for the punches to come out one after the other
rapidly and without hesitation.
Posture 14: CROSS-SHAPED PUNCHES / This is for turning around to strike an opponent. /
If there are opponents surrounding me, I leap up, flinging my fists upward in an inward circle to
prevent their techniques from getting to me, then I spot their weak points and attack.
Posture 15: SWIPING FIST / This is for luring the opponent in deep. / The swiping fist is used
to prevent the opponent’s attack by intercepting his strike, thereby keeping away his sharpest
point. I wait until he has come in too far and his power is spent, then when I see the moment to
act, I will take advantage of the situation and smash him.
Posture 16: INTERCEPTING ELBOW, THRUST PUNCH / This is for executing both defense
and attack in the same action. / I take advantage of the opponent’s attack by using my elbow
to cut away his technique and sending out my right fist in a direct attack to his heart, giving
him no time to assess what is happening, rendering me the one carrying out the winning
strategy.
Posture 17: BINDING FIST, SNAPPING KICK / This is for simultaneous attack and defense. /
The binding fist is for defending against the opponent and the kicking leg is for striking him.
However, the use of the kick should comply with the intention of “visible punch, invisible kick”,
and not just be a mechanical movement. It must be lively and very springy, catching him off
guard, and then the use of it will be appropriate, otherwise you will surely be under his control.
Be very careful of this.
Posture 18: RIGHT THREADING PALM / This is for dealing with the opponent by chasing and
striking. / If the opponent pretends to retreat, I then step rapidly, chasing him with a palm
strike to see what he will do. Once I observe his actions, I then settle upon the strategy that will
give me control over him.
Posture 19: LEFT THREADING PALM / This is for continuing to press the attack. / If the
opponent again tries to take me by surprise by feigning retreat, I again extend a hand, but I
must be walking in to follow him back. Rather than wait for how he will adjust, I crowd his body
to give him nowhere to escape to.
Posture 20: STOMPING STEP, THREADING PALM / This is for dealing with an opponent by
changing strategy. / Having captured the opponent, I suddenly turn around, taking advantage
of the situation by locking up his hand and fiercely dropping down, lifting my leg and stomping
the top of his foot.
Posture 21: LIFTING KICK, DOUBLE SPREADING / This is for defending above while
attacking below. / If an opponent covers himself downward, I then send my hands upward and
spread them apart, taking advantage of the opportunity to send a kick to his lower body. This
is the correct way to use this technique, but if you try to apply it before you have the knack of
it, you will end up under the opponent’s control. Take note of this point.
Posture 22: DOUBLE CANNON KICK / This is for offensive pursuit. / If the opponent jumps
away, I chase him and attack, my hands capturing in front while I suddenly attack his belly with
snapping kicks. The substance of this technique of pursuit comes down to the craftiness and
surprise of the kicking attack.
Posture 23: RIGHT PALM STRIKE / This is for tripping below and striking above. / When my
right foot comes down, it hooks around and trips up the opponent’s leg. By adding my right
palm pushing forward, he is made to lose his balance, and thus I am victorious.
Posture 24: LEFT PALM STRIKE / This is for continuous palm striking. / This technique
connects with the previous technique: if one strike misses, the next strike will succeed. As the
palms extend and recoil, they must be rapid and unhindered, no hesitation at all. Its success
or failure depends upon its quality of instantaneousness: “How did you do that so fast?”
Posture 25: RIGHT PALM STRIKE / This continues the palm strikes with a third strike. / This
technique of a single attack continues into a third strike, causing the opponent to not
understand what I am doing, which is why it is called skill.
Posture 26: TURN AROUND, PROP & HIT / This is for changing direction. / If an opponent
suddenly attacks my upper body from behind, I turn around and use my [left] arm to prop it up,
my left [right] fist taking advantage of the opportunity in that moment to strike to his heart.
Hand, eye, body, and step must be coordinated, arriving in unison, in order for this to be at all
successful.
Posture 27: PRESSING PALM, PLANTING PUNCH / This is for simultaneous attack and
defense. / The opponent takes advantage of an opportunity to strike to my ribs, so I quickly
use my [left] palm to press it down, then send my right fist downward with a planting punch to
his belly, stepping in to crowd him and render him less maneuverable, making opportunity
mine.
Posture 28: DOUBLE SPREADING, SHEATHING STEP / This is for preventing your lower
body from being attacked. / If the opponent attacks my head, I use double spreading hands to
defend against it, then do a sheathing step to reinforce my lower body, storing power with
which to prepare my counterattack [in the following technique].
Posture 29: CROSS-SHAPED KICK / This is for taking advantage of an opportunity to attack
the opponent from the side. / Closing on the opponent, I use both arms to brace open and
parry away his incoming hands, taking advantage of the opportunity to do a side kick to his
waist or ribs.
Posture 30: WRAPPING ELBOWS, SNAPPING KICK / This is for continuing the kicking
attack. / If my last kick misses, I quickly capture the opponent’s hand and draw it in toward my
chest while kicking with my right leg to his lower body, overcoming him by raising my foot to
catch his groin.
Posture 31: RIGHT PALM STRIKE / This is for taking advantage of an opportunity to destroy
the opponent if he loses his balance because of the previous technique. / Continuing from the
previous technique, if I feel the opponent is not toppling dramatically enough, I use a palm
strike to help send him away quicker. Although there is a palm strike, it must be coordinated
with the step for it to be effective.
Posture 32: LEFT PALM STRIKE / This is for turning the attack into continuous palm strikes,
right then left. / The purpose of the left palm strike following upon the right palm strike is that if
the opponent has not yet toppled and is still capable of struggling, I now add another and
more decisive strike to make him finally fall.
Posture 33: RIGHT CAPTURING, LEFT CHOPPING / This is for dealing with an opponent by
capturing and chopping. / If an opponent attacks me from behind, I turn around, capture his
hand, then strike him with a chop, too suddenly for him to deal with, and thereby gain control
over his fate. However, when turning around, the hips must be nimble and springy for the turn
to be done smoothly and for the technique to be at all effective.
Posture 34: LEAP, SHEATHING STEP / This is for overcoming an opponent by capturing
with both hands. / If the opponent withdraws his body to then counterattack, I leap into a
sheathing step to destroy his technique, my hands capturing his arm, making it too difficult for
him to get away from the force of my technique.
Posture 35: LIFTING KICK / This is for restraining the opponent and kicking him while he tries
to escape. / The opponent wishes to escape, so I go along with his energy by kicking to the
middle of his body.
Posture 36: DOUBLE-HAND PUSH TO THE RIGHT / This [with the following two techniques]
is for pushing in all directions to create a way out from a group of surrounding opponents. /
This technique gets rid of a whole group. Or to continue from the previous technique, it helps
topple the opponent if he has not yet fallen.
Posture 37: DOUBLE-HAND PUSH TO THE LEFT / This is for continuing from the previous
technique by echoing the double-hand push. / This technique is for dealing with a crowd of
surrounding opponents. However, when pushing with your palms, your arms must have a
capacity to extend and contract in order to give you a degree of leeway. If you are not on
target, do not issue. When you issue, you must be on target to keep from being controlled by
your opponents.
Posture 38: DOUBLE-HAND PUSH TO THE RIGHT / This is for building upon the previous
two techniques to make a continuous attack against opponents. / This technique is for when
you are surrounded by opponents on all sides, continuing as push followed by push for a total
of three pushing attacks, opening up three pathways along which you can fight.
Posture 39: WITHDRAWING STEP, HANGING PUNCH / This is for when an opponent takes
advantage of an opportunity to attack, at which point I retreat and put out a hanging punch to
prevent it. / I defend against an opponent by evading my body to prevent his attack, hanging
up my elbow to resist it and thereby get a better observation of what is coming, then await the
opportunity to counter.
Posture 40: STEP FORWARD, RIGHT CARRYING PUNCH / This is for sharply thrusting
through to destroy the opponent. / This is for charging in, my right arm carrying away the
opponent’s incoming fist, then advancing with my body and step like a bear’s arm pressing
forward. My body pressing in close toward his, he is made to lose his will for attack or
defense, leaving me with the successful tactic.
Posture 41: STEP FORWARD, LEFT CARRYING PUNCH / This is for continuing the
previous technique’s bold advance upon the opponent. / This continues my fierce advance
pressing in toward the opponent. I absorb the power of rivers and mountains [smashing him
aside with an avalanche, washing him away with a flash flood], making him not dare to even
look me in the eye and contend against my aggressive spirit.
Posture 42: RIGHT PALM STRIKE / This is for continuing to press in against the opponent,
this time with a palm strike. / This continues from the previous technique’s forward pressure,
taking the opponent by surprise with a palm strike to the middle of his body while tripping up
his footing with my step, causing him to lose his balance.
Posture 43: RETREAT, THREADING PALM / This is for switching things up. / In this
technique, I use a palm to respond to the opponent while turning my body and retreating a
step, engaging the enemy with a change of strategy. Transforming from one technique to
another is the most important skill. Pay attention to the nimbleness of your hips. If your hips
are nimble, your body will be lively and your step stable. No matter what direction attacks
comes from – above, below, front, rear, left, right – you will thus give yourself time to deal with
them rather than be in the predicament of having too much to do at once.
Posture 44: THREADING PALM, KICK TO THE FACE / This is for turning around with
hooking and hanging, taking advantage of the opportunity to perform a kicking maneuver. /
This technique hooks and pulls in while hanging up a palm, then kicks to the opponent’s face.
In the practice of boxing arts, there is shape striking shape, not shape striking shadow. Within
your mind, there has to be an imagined opponent. Skillful victory is not really about success
through sinew, but is actually a matter of winning through wisdom.
Posture 45: FLYING HAND, RAISING PALM / This is a method of “spreading the clouds to
see the sun” – defending against the opponent by taking advantage of a gap through which to
attack. / As I use my right hand to deflect and left hand to raise up, my body turns sideways to
leave room in front, inducing the opponent to approach me so I can then seize the opportunity
to capture him [in the following technique].
Posture 46: LEFT CAPTURING, RIGHT CHOPPING / This is for capturing with the front hand
and chopping with the rear hand. / Continuing from the previous technique, your left raising
palm now captures the opponent’s hand and your right deflecting palm now comes downward
as a backfist, a fake technique switching to a real technique.
Posture 47: SNAPPING KICK / This is for continuing from the previous technique by attacking
the opponent with a snapping kick. / Continuing from the previous technique of capture and
chop, if the opponent dodges or blocks, I then take advantage of the opportunity to kick to his
lower body.
Posture 48: THRUST PUNCH, RAISING PALM / This is for striking the opponent with a thrust
punch… / This technique is a feint [“Shout to the east, but strike to the west.”]. However, when
turning around, your body must go along with your eyes as they observe for opponents
wherever they may be moving. You must never ignore opponents for an instant, and thereby
your boxing art will already be halfway realized.
Posture 49: CATCHING, INSERTION PUNCH / This is for catching an opponent and sealing
him off. / This continues from the previous technique. Once I have raised my left palm, I quickly
turn my wrist to catch the opponent’s hand, then my right arm comes out with a downward
punch to embrace his arm, which seals off his body, though the major effect is achieved by
stomping on his foot.
Posture 50: TURN AROUND, CAPTURE / This is for turning around and capturing. / This
technique stores up power for the next, and they are really one continuous energy rather than
two techniques. Understand that they are divided into two simply to make it easier to teach
when guiding a group.
Posture 51: RIGHT THRUST PUNCH / This is for continuing from the previous capturing
technique by attacking with a punch. / This technique is a matter of a real technique [the
following finger jab] coming from a feint [this punch], a preparation for the next posture. This
enables you in your training to constantly grasp the changes of opportunity, and train for the
using of fake and real techniques, straightforward and surprise techniques. When an
opponent attacks in an unorthodox way, I respond in a straightforward way [in order to take
him by surprise]. This renders the opponent unable to figure out whether my responses are
going to be feints or real, putting me successfully in charge of the situation. If you get stuck in
fixed methods, the applicability of the art will be limited.
Posture 52: TURN AROUND, INSERTING PALM / This is for turning around and jabbing. /
The strike to the west was a feint, the real technique being the response to the east. The
punch is straightforward while the palm strike is a surprise. This is the way of change in
boxing arts.
Posture 53: SHEATHING STEP, FLATTENED LEG / This is for turning around and chopping.
/ With every step, I am steadily advancing. With my sheathing step, I am stealing ground to
get behind the opponent, then when I spin to do a chop, I turn around like a snake slithering
through the grass, spinning like the wind, dancing with a display of so much transformation
that he is too overwhelmed to do anything to me.
Posture 54: RIGHT THRUST PUNCH / This is for continuing from the previous technique by
taking advantage of an opening for attack. / Continuing from the previous action, switch from
a feinting maneuver to a real technique, taking him by surprise with straightforwardness as
you strike with your right fist, a very straightforward technique.
Posture 55: SHEATHING STEP, WITHDRAWING FIST / This is for gathering yourself in to
await developments. / This technique is one of sitting down to observe developments, of
awaiting the opportunity to act, of overcoming movement with stillness.
Posture 56: FLATTENED LEG, CHOPPING PALM / This is for turning around to spread and
hit. / Having propped up, I turn around underneath, then spread and hit. This is the skill of
using a surprise technique [the spin] to generate a straightforward one [the chop]. Long
Boxing practitioners win by way of four terms: “leap” to “avoid”, “turn” to “evade”. Repeatedly
give them attention.
Posture 57: DOUBLE WINDS THROUGH THE EARS / This is for attacking an opponent’s
upper body by way of kicking to the middle of his body when he evades below and then
capitalizing on the adjustment he makes to it. / First I kick to the middle of the opponent’s
body, then punch to his upper body. Surprising him with a jumping kick, there is nothing he
can do, and then the straightforward technique follows upon it, victory brought about through
the surprise. [i.e. This punch to the head works because of the distracting kick.]
Posture 58: ELBOW TO THE HEART / This is an evasive elbow maneuver for when an
opponent’s body is getting too close, which also stores up power to attack him. / If the
opponent resists against the previous technique and I am unable to escape from him sticking
to me, I bend in my forearm to inhibit him and store up power for what happens next.
Posture 59: PUSH DOWN, BACK-HANDED SLAP / This is for continuing from the previous
technique of escaping from the opponent to now take advantage of the opportunity to strike
him with a back-handed slap. / Continuing from the previous technique, if the opponent uses
a palm to resist against my elbow, I overcome him by pushing down and seizing the
opportunity to give him a back-handed slap to the face. The skillfulness of your body’s
sucking back and shooting out is no trifling thing, for by withdrawing you will be able to dodge
without having to leave your ground, no matter how severe his attack and regardless of your
position, and you then need only shoot your body forward and you will have more than enough
for an assortment of punches and kicks. By knocking away the opponent’s attack so he leans
in slightly, you will hit the target, but otherwise it will be in vain.
Posture 60: RESPONDING WITH BOTH PALM & LEG / This is for continuing from the
previous two techniques by continuing the attack upon his upper body to now attack his
middle and lower body. / If I miss with the previous technique, I continue by executing both a
kick and a palm strike, simultaneously attacking him above [below] and in the middle, causing
him to have too much to deal with at once, ensuring that I will get a way through.
Posture 61: RIGHT PALM STRIKE / This is for continuing from the previous kicking technique
by using a bracing and tripping method to defeat the opponent. / If the opponent has yet not
been fallen after being struck by me, I trip him up with my step while bracing against him with
a palm, causing him to quickly fall away.
Posture 62: THREADING PALM / This is for changing in accordance with the previous
technique. / I continue from threading with my right palm by changing to my left palm.
Posture 63: RAISING PALM / This is for changing direction and preparing a pursuing strike. /
This change of direction is a preparation to chase an opponent, and is also for me to observe
his mind, thus I adopt this defensive stance and wait for the moment to advance.
Posture 64: RESPONDING WITH A PALM / This is for pursuing an opponent while drawing in
to strike. / If the opponent steadily steps away, I steadily follow. If he retreats urgently, I chase
him urgently, and if he retreats leisurely, I chase him leisurely. The strategy of drawing in my
palm is to see if he will counterattack and also to prepare to strike.
Posture 65: DRAWING OUT THE LEFT PALM / This is for continuing to pursue the opponent.
/ This technique is linked to the movement of the previous technique. As your feet alternate
advancing and following in order to crowd the opponent, your body and step should strive for
naturalness and must not manifest any sluggishness, thereby conforming to the principle of
whole-bodied coordination.
Posture 66: TURN AROUND, SEND UP CLOUDS / This is for turning around and spreading.
/ I turn my body to escape a threat, taking advantage of the opportunity to also split through
with my right palm.
Posture 67: THREADING PALM / This is for blocking down with the left hand and hanging up
with the right. / Continuing from the previous technique, I then intercept while coiling around to
hang a palm up, guarding against his attack to be prepared against all harm.
Posture 68: CROSS-SHAPED PALM STRIKES / This is for opening the door to face an
opponent. / This technique is firstly to open the door to face the opponent, secondly to
prepare for the end of the exercise.
Posture 69: CROSSED HANDS / This is for capturing with both hands. / This posture draws
the set to a close, reining in the work you have put into all the previous postures, causing the
blood circulation throughout your body to gradually resume its original condition by bringing
the set to a halt before it turns into strenuous exercise. The influence of this upon your health
is not small. Boxing sets usually go from beginning to end by going from simplicity to
complexity as a way to build you up in mind and body. Concluding the set then takes your
strenuousness to mildness so that your mind and body will easily recover from the fatigue.
Posture 70: WIPING PALM / This is for continuing from the previous technique of capturing
with both hands. / This posture brings the set to an end, harmonizing the movements, and is a
final display of bravado.
Posture 71: RETREAT WITH DOUBLE PUNCHES / This is for bringing the set to a
conclusion. / This posture concludes the exercise for your limbs and muscles, causing your
heartbeat and blood circulation to relax and resume their normal working condition.
Posture 72: WRAPPING ELBOWS / This is for returning to your original state. Upon
completing this posture, your hands hang down, returning you to standing at attention.
From the Boxing Methods of the Zhao School: Illustrated Cannon Boxing Set
CHAPTER ONE: INTRODUCTION
Part 1: Examining the Origin of the Schools
When we examine the written record of martial arts history, there are no martial systems to
speak of prior to the Six Dynasties [222-589]. They begin in the Liang Dynasty [502-577] with
the Buddhist monk Damo’s Shaolin Boxing. Then in the Song Dynasty [960-1279], there
appeared Taizu’s Zhao school of boxing. [Taizu means “great ancestor”, i.e. the founder or
first emperor of a dynasty. The first emperor of the Song Dynasty was Zhao Kuangyin. The
founder of any dynasty can be called Taizu, but he in particular is honored as the founder of a
famous martial arts system, and so Taizu in relation to martial arts refers specifically to him.
Nowadays the Zhao school of boxing, or Zhaojia Quan / Zhaomen Quan, is more commonly
known as Taizu Quan.] Also in the Song Dynasty appeared the Yue school of boxing from Yue
Fei, as well as Taiji Boxing from the Wudang Daoist Zhang Sanfeng.
Such is the account that can be read in chronicles or heard through oral traditions, but
subsequent generations further divided the schools into the styles we have today. The fashion
of striving to be the most unique increased and the force of sincerely encouraging each other
faded, with the result that our mighty and valuable martial arts systems have slipped into
complacency and fragility. In our modern era of scientific advancement, to not move ahead
means to fall behind until it is too hard to survive, which induced Sun Yat-sen to publicly
declare: “The statistics show that our nation’s population is decreasing in birthrate with each
passing day. Examine how listless and dispirited our national character is, and it goes
without saying how important martial arts are to the future of our national identity.”
In 1927, the government established Nanjing as the national capital, and then founded the
Central Martial Arts Institute there the following year as a scheme for widespread martial arts
instruction. Zhang Zhijiang was appointed director of the project. Martial arts experts from all
over the country heard about it and flocked in to conduct mutual research, doing away with
factional attitudes of style and returning to the essential source.
If we wish to know how the various styles came to be and how they should be summed up,
it will not really work without the principles of Chinese martial arts as a whole. Though I am not
very bright, I have at least learned this from my studies: Chinese martial arts as a whole
diverged into distinct schools, which further diverged into a variety of styles, each of which
then settled into their own boxes of reasoning, and by returning them to their essence, they
again become mixed into the whole of Chinese martial arts. This is expressed in drawings 1
and 2:
as a whole:
Chinese martial arts
levels of divergence:
From Shaolin
came the Zhao school,
from which came the Yue school,
from which came Wudang.
( )
Systems of Chinese martial arts began with Shaolin’s Five Animals. Since the Taizu system
of the Song Dynasty, development produced Cha Boxing, Hua Boxing, Hong Boxing, Cannon
Boxing, Tantui, Mind-Intent Six Unions, and various schools of Long Boxing. From Yue Fei
was created the double pushing hands exercises and the interconnected exercises of Xingyi.
This was passed down and refined until the early Ming Dynasty and Zhang Sanfeng’s Taiji
Boxing. Notice its place in drawing 2.
We know the sequence of divergence for the various schools – from Shaolin to Zhao, from
Zhao to Yue, from Yue to Wudang – but as for the reason for it, it all comes down to a single
process, a simple matter of time and space: the more the arts were practiced, the more they
were refined, day after countless day, and the more widely they were spread, the more they
branched off. Due to differences of climate, terrain, physique, and circumstances, each of
these arts selected different contents and methods. (Some of their different qualities are
presented further below.)
Although each school within the whole of Chinese martial arts occupies its own sphere of
influence, they are unable to depart from their source and exist on their own. This is
expressed in drawing 3:
other branches < Shaolin > Zhao school
Chinese martial arts
other branches < Wudang > Yue school
Each of the schools are merged together, but are distributed to form Chinese martial arts as
a whole. This is expressed in drawing 4:
Shaolin
Yue school Zhao school
Wudang
Part 2: Examining the Differences Between the Schools
( ) ……
Students say that Fuxi created the eight trigrams and that it was the basis of all Chinese
culture. Therefore everyone knows that the “Grand Polarity gave rise to the two polarities, and
the two polarities gave rise to the four manifestations.” Eventually the teachings of Daoism
prospered, and priests claimed to be nourishing their natures and cultivating truth. But they
were unable to grasp the essence of the eight trigrams, and so by way of clever
misappropriations and superficial wordings, strained interpretations of philosophy turned into
mythology and absurd explanations about Nature.
In my opinion, from about middle antiquity until recent times, our national character had
been completely wrapped up in conventional Daoist thought (although I am unable to prove
this in detail), so much so that when we talk in martial arts of things such as “seated
meditation” or the “elixir field”, these are examples of terminology from the Daoist arts and
elixirist traditions. Those who practice such arts study intensively to be able to bring about
longevity and the deathless death of ascending to the land of the immortals – nonsensical
gibberish.
Although there is no verification for why there is division into schools, there are two that
rise above the rest: the two traditions of Shaolin and Wudang.
Shaolin says of itself: externally it trains the sinews and bones and internally it cultivates the
elixir field – this is what it all comes down to. Generating stillness from movement, it has
hardness and it has softness.
Wudang says of itself: internally it refines the energy of the elixir field and externally it
performs the boxing postures – this is what it all comes down to. Generating movement from
stillness, it has softness and it has hardness.
As for their principles, although we may analyze the prioritizing of movement or stillness, or
the differences between hardness and softness, internal and external, ultimately the result is
the same! And so too for the elixirist traditions. If we force a distinction between the two
schools, then either movement or stillness will come before or after. But think about it. If there
was no movement, how could there be stillness? And if there was no stillness, how could
there be movement? There is naturally no absolute of movement or stillness, nor of hardness
or softness, internalness or externalness.
Thus the Shaolin tradition is outwardly hard and inwardly soft, whereas the Wudang
tradition is outwardly soft and inwardly hard. But once skill is achieved in either, one can be
either hard or soft, for hardness and softness have merged into one, meaning there is neither
hardness nor softness. In short, hardness and softness, movement and stillness, all have the
principle of being interconnected with each other. Since there is essentially no difference in
their goals, how then can we describe them as distinct schools? Hard and soft are the inside
and outside of each other, and cannot be separated, as demonstrated here by the Taiji
symbol – see drawing 5:
hard
soft
Furthermore, there are those who say that the Shaolin tradition is hard and active while the
Wudang tradition is soft and passive, that they have a different emphasis. Relevant to this
point is this common saying [derived from the writings of Cheng Yunsheng]: “Alone, the
passive cannot be born. Alone, the active cannot grow. [Therefore the sky and ground have
paired them into passive/active.]” Passive and active are an integrated whole, and this is an
irremovable truth of the universe, and this can be held up as evidence that Wudang and
Shaolin are not mutually exclusive. When the active aspect reaches its peak, the passive
aspect is generated, in the same way as the sun going down followed by the moon coming
out. For all things, there is a single principle of cycling unchangeably, again as demonstrated
by the Taiji symbol – see drawing 6:
active
passive
( ) ( )
Martial arts experts used to bluntly describe the distinction between internal and external
schools by drawing the division as “Daoist priests (internal) and Buddhist monks (external)”
rather than any meaningful distinction between the arts themselves. When martial artists talk
from the standpoint of these arts, they say internal training is a matter of the breath, and
consider that to be the internal skill, while external training is a matter of sinew, bone, and
skin, and consider that to be the external skill. To push for such a distinction is silly. Whatever
school you may have in mind, they all discuss the internal training of the elixir field and the
external training of sinews and bones. The principle remains that of responding to
physiological requirements and studying martial skills. It is only those who are obsessed with
a traditional Daoist mentality, those who parade themselves as being ever so mysterious
simply so they can show off how weird they are, that are the ones who therefore talk of
spirituality and push for a division between internal and external.
Part 3: Examining the Categories of Long Boxing and Short Boxing
Charting the boxing arts is like outlining an essay. An essay must have its four sections of
introduction, development, transition, and conclusion, and then one can begin the process of
writing it, in which there is then the gathering up of words to make sentences and the
collecting of sentences to form paragraphs. We could look at Chinese martial arts in the
same kind of way.
For example, Large Hong Boxing, Small Hong Boxing, Cha Boxing, Six Unions, or Taiji,
each a kind of boxing that has complete practice routines, can be thought of as the outlining
of the essay. Arts such as Tantui or Xingyi [both of which emphasize the practice of individual
techniques rather than full practice sets], can be thought of as the accumulating of words and
sentences. In this way, the Long Boxing arts train general structure, while Short Boxing arts
train specific function.
Furthermore, those Long Boxing arts each move around according to the situation,
addressing each of the compass points as though spotting opponents about to make
surprise attacks, the movement of the performance routine developing according to certain
circumstances in order to respond to opponents all around, as in the intro, development,
transition, and conclusion of essay composition. [Tantui and Xingyi exercises on the other
hand tend to move more along straight lines rather than addressing every surrounding angle.]
This is expressed in drawing 7:
F C E
B A
H D G
This diagram of the compass points is represented by A, B, C, D, E, F, G, and H. One of the

Long Boxing sets could begin and return to any of these points, but only as long as none of
the directions is left ignored is it then to be deemed a full demonstration of martial arts.
Practicing only one direction would make an incompletely structured boxing set and would not
be favored.
The significance of the Short Boxing arts is then in the specific training of the various
methods for hand, eye, body, and step, the training of both left and right, and the linking up of
all the parts to make applicable technique. [This indicates that to add them to our view of
drawing 7, we could perhaps think of the Short Boxing arts as representing the dots of the
dotted lines.]
Part 4: Examining Differences Brought on by Nature
The climate is colder in the north and warmer in the south, and there is variation of physique
as a consequence, as well as a difference in which methods are selected for developing
physique. Different climates produce different chemical activity in bodies. Southerners are
wise and tactful, and their bodies are shorter and weaker. Northerners on the other hand are
blunt, and their bodies are strong. This is because of the terrain and the weather.
Their training methods are thus different, and yet the material they select from is the same.
North and south both draw from Shaolin and Wudang. When these traditions were being
passed down, teachers did not stick to one or the other, and it is still not known why they have
developed into their present form. As to combat using the northern or southern boxing arts,
each has it specialty and they are well-matched, and they are slightly distinct in terms of
physiology.
The southern arts emphasize defense, usually employing a posture of shrinking the body
in. Their defense is solid and meticulous, but they are slightly lacking in offense. Their
muscles are tensed up as though seized in spasms, meaning that the most skilled tend to
look worn out and emaciated.
The northern arts emphasize attack. They are spread open and lively, the muscles loose
and extended, thereby easily nurturing the body, meaning that the most skilled tend to be tall
and imposing. Some of the differences between north and south are presented in the table
below:
/
examples of differences between south / north:
climate – warm / cold
terrain – mountains & rivers / plains
temperament – tactful / frank
mentality – progressive / conservative
physique – delicate / robust
diet – rice / wheat
transportation – boat / cart & horse
In the table of differences above, there is variation in physique, mentality, etc. Their methods
of health and self-defense also became different in response to physiological demands and
the pressures to defend themselves. This is the theory of distinctiveness between northern
and southern schools.
In conclusion:
From the above can be seen that they have different needs, adapting to different
environments and different circumstances, and yet their goals are the same: health and self-
defense. Therefore the branches stem from a single source, the various styles deriving from a
single family, all in an interconnected relationship, and none can be said to be inferior or
superior. Based on this, finding suitable martial arts to fit into our modern scientific era should
not be difficult.
Part 5: Original Song
The shock of the hero’s cannon makes the bells ring.
Smooth stepping gains him a way in.
He seems to fire his cannon then dodge out of the way with a leap through the dragon’s
gate.
The onslaught of his hands seems like a hurling of cannonballs at his opponent.
Opposing the mountain to split it into mountains new, he overpowers and captures the
opponent.
He is like a sparrow hawk entering the pine forest with a few flaps of its wings.
The continuous cannon fire is hard to survive.
The Three-Line Cannon Boxing keeps advancing.
His cross-shape punches are a match for Mt. Hua.
With “twin birds steal away food”, he reverses sky and ground.
Some people will ask you if the boxing is really like a cannon.
Immediately give a shout and let them feel the sound of the Three-Line Cannon Boxing.
Note:
The original version above is an ancient form of oral instruction. Its phrases are rather difficult
to explain, yet it expresses truth. For the sake of the methods of application, I have made this
new version below:
Part 6: New Song
THREE-LINE CANNON BOXING IN VERSE

[There is no actual explanation in the book for the “three lines”. There is not even a meaningful
mention of the term other than in Posture 38, which gives a hint that it could be used to
express “three pathways” for fighting surrounding opponents. Is the theme of the set
supposed to be a sense of cannons firing in three directions? This would also spotlight
Postures 36-38 to be the central movements of the set not only as numberings but also as the
major techniques. More likely the “three lines” are simply intended to mean a breakdown of
the set into three segments, in which case it would seem to most reasonably divide into the
first as Postures 1-25, the second as Postures 26-48, and the third as Postures 49-72.]
[Postures 1-16:]
Step forward, sending out both fists to attack the opponent.
Wrap your elbows in toward your body and observe all around.
Raise to the left, step forward sending out a thrust punch.
Retreat, raising to his groin in a heroic tiger stance.
A fist swipes, another thrusts out and then binds in.
Punch right and left, then capture and seal.
After a left thrust punch, the right fist shoots out.
Perform cross-shaped punches, swiping fist, then intercepting elbow and thrust punch.
[Postures 17-32:]
Binding fist and snapping kick, then right threading palm.
Left threading palm, then turn around and stomp down full.
Lifting kick with double spreading, then double cannon kick.
Execute triple palm strikes, starting with the right.
Turn around to prop and hit, attacking his heart.
Press down for a planting punch, then hands spread apart to return in front.
Kick into a cross shape, then do a snapping kick.
Palm strikes go out with left and right steps to adapt to the situation.
[Postures 33-52:]
Capture and chop with right hand and left.
Leap into a sheathing step, then a kick lifts up.
Perform double-hand follow-step pushes, starting with the right.
Pushing left and right, the effect is extraordinary.
Retreat with a hanging punch to defend against his technique.
Perform carrying punches, stepping the same on both sides.
Send out a palm, then thread through with the other.
Facing him, follow with a kick.
Flying hand and raising palm, then capture and chop.
Do a kick, a thrust punch, then a raising palm in a golden rooster stance.
First catch then insert, then turn around to capture.
To do a jabbing palm, a thrusting punch creates the best opportunity.
[Postures 53-72:]
A leg flattens, a punch thrusts out and draws back in.
Turning around, a leg flattens and a palm spreads forcefully.
Double wind through the ears starts by delivering a kick.
Attack his heart with an elbow, then give a back-handed slap to his face.
When the left leg kicks, a palm also shoots out.
Palms then thread to the opponent’s throat, right then left.
Palms then extend with steps, right then left, to press another opponent.
Hands fly, turn around, and a threading palm is sent out.
The crossed hands continue into the wiping palm.
With double punches and wrapping elbows, the set comes to a rest.
CHAPTER TWO: ILLUSTRATED CANNON BOXING SET
Part 1: Positioning Chart for the Boxing Set
Explanation:
When starting to learn a boxing set, you should first of all make note of your orientation,
then begin to practice. Thus when you are going through it on your own, you will not be at a
loss as to where to put your hands and feet. If you by chance forget, just consider what
direction you are facing and you will easily recall. Therefore in the beginning, you must be
clear about “north”, “south”, “east”, and “west”, although after you have practiced the set to
familiarity, you will no longer need such directions. For this particular set, you start in the
“east”, facing “north” with “south” behind you. See the compass:
W E
STANDING AT ATTENTION
Explanation of the posture:
Your heels should be standing next to each other on the same line, toes swung out so your
feet are at about a sixty degree angle to each other. Your legs should be naturally straight.
Your upper body should be balanced on top of your waist, your spine straightened, and
slightly leaning forward. Your shoulders should be level and slightly spread away to the rear.
Your arms should hang naturally, hands touching your thighs, fingers together and slightly
bent. Your head should be upright, neck straight. Your mouth should be closed, breathing
done through your nose. Your gaze is level to the south.
Step forward, sending out both fists to attack the opponent.

Wrap your elbows in toward your body and observe all around.
Raise to the left, step forward sending out a thrust punch.
Retreat, raising to his groin in a heroic tiger stance.
A fist swipes, another thrusts out and then binds in.
Punch right and left, then capture and seal.
After a left thrust punch, the right fist shoots out.
Perform cross-shaped punches, swiping fist, then intercepting elbow and thrust punch.
SECTION 1 (The command counts “1… 2… 3… 4…”):
Posture 1
Name of the technique:
STEP FORWARD WITH THRUSTING PUNCHES
Function:
This is for beginning the movements.
Explanation of the movement:
Hear the command of “One!” From standing at attention, take three steps forward [left, right,
left] to stand with your feet together again as in standing at attention. At the same time, your
hands lift up, palms upward, fingertips touching your waist, and they each go outward, making
complete circles until in front of your chest, grasped into fists with the fist eyes facing each
other. Your body is again standing as in the attention posture. Your gaze is level. See photo 1:
Remarks on the technique:
This posture is the opening technique in this boxing set, and it also readies your body for
exercise. The movement therefore is neither fierce nor slow, but natural. By never forcing the
movements, you will deeply obtain the essentials of health.
Posture 2
WRAPPING ELBOWS
Function:
This is preparation for performing the set of boxing techniques.
“Two!” From the previous posture, your fists roll over so they have their pulse area facing
upward and withdraw to your waist, making the posture of your elbows wrapping in. Your
body’s posture has still not changed. Your gaze is level. See photo 2:
This is for preparing you to go through the set, so that while you advance and retreat, attack
and defend, you will be able to avoid anxiety over making mistakes.
Posture 3
LEFT RAISING PALM
Function:
This is for catching by raising up.
“Three!” From the previous posture, your stance still does not change. Your left fist becomes
a palm, goes downward, to the west, and raises upward, the fingertips pointing up, arm
slightly bent. Your gaze is to the fingertips. Your right arm keeps its elbow wrapped in. See
photo 3:
This is a method of drawing in the opponent’s hand to parry it away.
Posture 4
LEFT STEP FORWARD, THRUST PUNCH
Function:
This is for attacking with a strike.
“Four!” From the previous posture, your left foot takes a step forward to the west and your
right foot follows to stand next to it. At the same time, your right fist thrusts out to the west,
tiger’s mouth diagonally upward, your left hand guarding beside your right arm’s pulse area,
your body going along with the punch by slightly turning to the left. Your gaze is to the west.
See photo 4:
Use a palm to parry while using a fist to strike the opponent’s chest. When punching, both
your shoulder and arm must be relaxed. When aimed at the target, exerting yourself will only
bring you off target and leave with nothing to shoot at. This is why it is called “inch force” [i.e.
just the right measure of strength].
SECTION 2 (“1… 2… 3… 4…”):
Posture 5
RETREAT, RAISING PALM
Function:
This is for defending with one side and attacking with the other.
“One!” From the previous posture, your right foot retreats a step to the east, the knee slightly
bends, your left foot withdraws a half step, toes touching down, making a T-shape sitting tiger
stance. At the same time, your right fist becomes a palm, raises upward, and extends to the
rear until it is level, fingertips pointing upward, palm facing to the north, while your left palm
goes downward, forward, and raises up, fingertips pointing upward, arm slightly bent. Your left
elbow hangs down pointing to your left knee, which is turned outward to the left. Your gaze is
to the fingertips of your left palm. Your chest is opened and your hips are sinking down. Your
feet are right full, left empty. See photo 5:
Use your left palm in a raising action to the opponent’s lower body. Thus it is called “raising
palm to the groin”. The movements of this technique coordinate the actions of hand, eye,
body, and step in order to achieve the effects of both defending yourself and subduing the
opponent.
Posture 6
SWIPING FIST
Function:
This is for avoiding the brunt of the opponent’s attack to await an opportunity.
“Two!” From the previous posture, your body and feet do not move, but your left palm
becomes a fist, the forearm evasively bending in until level with the upper arm. At the same
time, your hips slightly sink. Your gaze is still to the west. See photo 6:
If the opponent attacks me, I evade his sharpest point, storing energy as I await an
opportunity to counter.
Posture 7
INTERCEPTING ELBOW, THRUST PUNCH
Function:
This is a method of “fake block, real strike”.
“Three!” From the previous posture, your left foot takes a half step forward, the knee bends,
and your right leg straightens, making a left bow stance. At the same time, your left hand cuts
downward in front of your left knee, then goes to the rear until the fist is at ear level, while your
right hand grasps into a fist, gathering in beside your waist, then goes to the west with a thrust
punch at chest level. Your body stands in a left crossed stance [i.e. left foot and right hand
forward]. Your chest is opened up and your torso is upright. Your gaze is to the west. See
photo 7:
If the opponent attacks me at middle height, I use my left elbow to block it, then use my right
fist to take advantage of the opportunity with a strike to his heart.
Posture 8
BINDING FIST, SNAPPING KICK
Function:
This is for dealing with the opponent and returning a strike.
“Four!” From the previous posture, your right fist turns over so the wrist is downward and the
hand is facing up, the upper arm touching your right ribs. At the same time, your right foot lifts
and kicks to the west, the sole of your left foot twisting to the right [left]. Going along with the
kick, your body faces to the southwest. Your gaze is to the west. See photo 8:
The opponent takes advantage of the gap that appeared because of my punching, attacking
my right ribs, so I turn over my wrist, binding in downward to defend against him, and take
advantage of the opportunity to attack him with a kick.
SECTION 3 (“1… 2… 3… 4…”):
Posture 9
RIGHT THRUST PUNCH
Function:
This is for changing position.
Description of the movement:
“One!” From the previous posture, your right leg lowers and stands straight, and your left foot
follows by closing in upward, the lower leg bending back to be parallel with the ground, upper
leg hanging straight down, toes hanging down. At the same time, your right fist goes from
your waist with a level thrust punch to the west, while your left fist gathers in to your waist,
elbow wrapped in. Your body is squared to the south. Your gaze is to the west. Your chest is
opened up and your torso is upright. See photo 9:
This is for changing position while fighting, causing the opponent to be unable to detect your
strategy. The intention is that of taking him by surprise, attacking him where he is unprepared.
Posture 10
LEFT THRUST PUNCH
Function:
This is for turning around and striking.
“Two!” From the previous posture, your left foot takes a step out to the east, your right foot
follows to stand next to it, toes pointing to the south. At the same time, your left fist goes from
beside your waist with a level thrust punch to the east, your right arm raising high, the tiger’s
mouth facing to the east. Your body is squared to the south, and your gaze is to the east. Your
chest is opened up and your torso is upright. See photo 10:
I observe an opponent’s feints versus real tactics and get ready for the moment to respond.
Posture 11
LEFT CAPTURING, RIGHT SEALING
Function:
This is for capturing and locking.
“Three!” From the previous posture, your body turns to the left rear, your right foot takes a step
out to the east, both knees bending to make a horse-riding posture. At the same time, your
left fist becomes a palm, goes to the east, and makes a complete circle to the east that ends
in a capturing technique, bending in the fingers to form a tiger’s claw, to capture the
opponent’s hand, while your right arm comes downward to the east to lock in the opponent’s
arm with your elbow, the fist eye diagonally upward, the forearm cutting diagonally to the
outside of your right leg, your left palm guarding in front of your right shoulder. Your torso is
upright and your chest is sticking out. Your gaze is to the east, your body squared to the north.
See photo 11:
If the opponent extends a hand to strike, I use my left hand to capture it, then switch to locking
him up with my right arm to make him trapped, after which I will send out my left hand to strike
a vital area.
Posture 12
LEFT THRUST PUNCH
Function:
This is for taking advantage of a moment of the opponent’s inattentiveness to attack him.
“Four!” From the previous posture, your horse-riding stance changes to a right bow stance. At
the same time, your left palm grasps into a fist and does a level thrust punch to the east, while
your right fist withdraws to your waist, elbow wrapped in, your body slightly turning to the right.
Your chest is squared to the east, your gaze is still to the east, and you are in a left [right]
crossed stance [right foot and left hand forward]. See photo 12:
Continuing from the previous technique’s sealing, I take advantage of the opportunity to
advance with a strike to the middle of the opponent’s body.
SECTION 4 (“1… 2… 3… 4…”):
Posture 13
RIGHT THRUST PUNCH
Function:
This is for continuing from the previous posture’s advancing strike by turning it into an attack
of continuous strikes.
“One!” From the previous posture, your body does not change, but your left hand withdraws to
your waist, elbow wrapped in, while your right fist thrusts out to the east, making a straight-
stance right bow stance [right foot and right hand forward]. Your gaze is still to the east. See
photo 13:
This technique continues from the previous technique, making a continuous succession of
thrust punches. However, to be able to achieve this effect, it is necessary for the punches to
come out one after the other rapidly and without hesitation.
Posture 14
CROSS-SHAPED PUNCHES
Function:
This is for turning around to strike an opponent.
“Two!” From the previous posture, your right foot lifts and your left foot goes up as your body
leaps up and turns around to the right rear, your right foot coming down with a stomp, and
your left foot takes a step out to the west, making a left bow stance. At the same time, your
arms fly up, hands still as fists, then come together in front of your chest, draw in to your waist,
and spread apart as thrust punches to the east and west. Your left fist is slightly lower at chest
level, right fist slightly higher at ear level. Your body goes along with the action by slightly
leaning to the left. Your gaze is to the west, your body squared to the north. See photo 14:
If there are opponents surrounding me, I leap up, flinging my fists upward in an inward circle to
prevent their techniques from getting to me, then I spot their weak points and attack.
Posture 15
SWIPING FIST
Function:
This is for luring the opponent in deep.
“Three!” From the previous posture, your body and step do not move, but your left forearm
bends in to be level with your upper arm. At the same time, your hips slightly sink to the left
[right] to drive the swipe. Your torso is upright and your chest is sticking out. Your gaze is to
the west. See photo 15:
The swiping fist is used to prevent the opponent’s attack by intercepting his strike, thereby
keeping away his sharpest point. I wait until he has come in too far and his power is spent,
then when I see the moment to act, I will take advantage of the situation and smash him.
Posture 16
INTERCEPTING ELBOW, THRUST PUNCH
Function:
This is for executing both defense and attack in the same action.
“Four!” From the previous posture, you remain in a left bow stance as your left hand cuts
downward in front of your left knee and goes upward to the rear until the fist is at ear level,
while your right fist gathers in beside your waist and goes to the west with a thrust punch at
chest level, your body slightly turning to the left. You are in a left crossed stance [left foot and
right hand forward]. Your gaze is to the west. See photo 16:
I take advantage of the opponent’s attack by using my elbow to cut away his technique and
sending out my right fist in a direct attack to his heart, giving him no time to assess what is
happening, rendering me the one carrying out the winning strategy.
Binding fist and snapping kick, then right threading palm.

Left threading palm, then turn around and stomp down full.
Lifting kick with double spreading, then double cannon kick.
Execute triple palm strikes, starting with the right.
Turn around to prop and hit, attacking his heart.
Press down for a planting punch, then hands spread apart to return in front.
Kick into a cross shape, then do a snapping kick.
Palm strikes go out with left and right steps to adapt to the situation.
SECTION 5 (“1… 2… 3… 4…”):
Posture 17
BINDING FIST, SNAPPING KICK
Function:
This is for simultaneous attack and defense.
“One!” From the previous posture, your right fist turns over so the wrist is downward and the
center of the hand is facing up, the upper arm touching your left [right] ribs. At the same time,
your right leg lifts and does a level kick to the west. Going along with the kick, your body
slightly turns to the left. Your whole body is standing upright, your left arm still raised. Your
gaze is to the west. See photo 17:
The binding fist is for defending against the opponent and the kicking leg is for striking him.
However, the use of the kick should comply with the intention of “visible punch, invisible kick”,
and not just be a mechanical movement. It must be lively and very springy, catching him off
guard, and then the use of it will be appropriate, otherwise you will surely be under his control.
Be very careful of this.
Posture 18
RIGHT THREADING PALM
Function:
This is for dealing with the opponent by chasing and striking.
“Two!” From the previous posture, your right leg comes down, your left foot crowds toward it
with a half step forward, then your right foot takes a further step out to the southwest. At the
same time, your right fist changes to a palm, the wrist turning over in a small inward-coiling
circle, and threads out to the southwest. Your whole body goes along with the posture, making
an open-step upright stance. Your body is squared to the southeast. Your right [left] arm has
not moved. Your gaze is to the southwest. See photo 19 [18]:
If the opponent pretends to retreat, I then step rapidly, chasing him with a palm strike to see
what he will do. Once I observe his actions, I then settle upon the strategy that will give me
control over him.
Posture 19
LEFT THREADING PALM
Function:
This is for continuing to press the attack.
“Three!” From the previous posture, your left foot steps out to the southwest, your right foot
goes forward a half step, and your left foot again steps out to the southwest. At the same
time, your left fist gathers in toward your chest, changing to a palm, goes along the top of your
left [right] arm, and threads diagonally upward to the southwest, your whole body going along
with the technique by putting you in an open-step upright stance. Your body is squared to the
northwest. Your right palm stays close to your chest, fingertips upward. Your gaze is still to the
southwest. See photo 19:
If the opponent again tries to take me by surprise by feigning retreat, I again extend a hand,
but I must be walking in to follow him back. Rather than wait for how he will adjust, I crowd his
body to give him nowhere to escape to.
Posture 20
STOMPING STEP, THREADING PALM
Function:
This is for dealing with an opponent by changing strategy.
“Four!” From the previous posture, your right foot steps out to the southwest, your whole body
turning around to the left rear, your left foot lifts and stomps, your hips sinking, and you are
squatting down with your feet together. At the same time, your right palm threads out and coils
a full circle from the upper left while your left arm blocks downward from the upper left, your
wrists crossed, fingertips upward at shoulder level, going along with your body’s sinking by
pulling in downward in front of your chest. Your torso is upright and your chest is sticking out.
Your body is squared to the northeast, your gaze forward and level. See photo 20:
Having captured the opponent, I suddenly turn around, taking advantage of the situation by
locking up his hand and fiercely dropping down, lifting my leg and stomping the top of his foot.
SECTION 6 (“1… 2… 3… 4…”):
Posture 21
LIFTING KICK, DOUBLE SPREADING
Function:
This is for defending above while attacking below.
“One!” From the previous posture, your left foot takes a half step to the northeast and your
right foot lifts and kicks forward. At the same time, your arms go upward and spread apart to
the sides to form a semicircle. Your body is squared to the northeast, your gaze level to the
northeast. See photo 21:
If an opponent covers himself downward, I then send my hands upward and spread them
apart, taking advantage of the opportunity to send a kick to his lower body. This is the correct
way to use this technique, but if you try to apply it before you have the knack of it, you will end
up under the opponent’s control. Take note of this point.
Posture 22
DOUBLE CANNON KICK
Function:
This is for offensive pursuit.
“Two!” From the previous posture, with your arms not moving, your right foot comes down and
you quickly take three large steps to the northeast [the first being your right foot coming down,
then left, right], your left foot lifts, and your right foot immediately goes upward with a snapping
kick to the northeast. At the same time [as the double kick], your arms go forward from above,
raised level, then withdraw in front of your chest, palms facing each other, fingers diagonally
forward. Your chest is sticking out, your gaze to the northeast. See photo 22:
If the opponent jumps away, I chase him and attack, my hands capturing in front while I
suddenly attack his belly with snapping kicks. The substance of this technique of pursuit
comes down to the craftiness and surprise of the kicking attack.
Posture 23
RIGHT PALM STRIKE
Function:
This is for tripping below and striking above.
“Three!” From the previous posture, your right foot comes down to the northeast, the knee
bends, and your left leg straightens, making a right bow stance. At the same time, your right
palm slices diagonally downward to the northeast, your left palm withdrawing to your waist [as
a fist according to the photo], and your upper body going along with the technique by slightly
leaning forward. Your gaze is to your palm. See photo 23:
When my right foot comes down, it hooks around and trips up the opponent’s leg. By adding
my right palm pushing forward, he is made to lose his balance, and thus I am victorious.
Posture 24
LEFT PALM STRIKE
Function:
This is for continuous palm striking.
“Four!” From the previous posture, your stance does not change, but your right palm
withdraws to your waist while your left palm goes out to the northeast, fingertips forward, your
body going along with the technique by slightly turning to the left [right]. Your gaze is again to
the palm. See photo 24:
This technique connects with the previous technique: if one strike misses, the next strike will
succeed. As the palms extend and recoil, they must be rapid and unhindered, no hesitation at
all. Its success or failure depends upon its quality of instantaneousness: “How did you do that
so fast?”
SECTION 7 (“1… 2… 3… 4…”):
Posture 25
RIGHT PALM STRIKE
Function:
This continues the palm strikes with a third strike.
“One!” From the previous posture, your stance does not change, but your left palm withdraws
to your waist while your right palm again slices to the northeast, your body going along with
the palm by turning slightly to the right [left]. Your gaze remains forward. See photo 25:
This technique of a single attack continues into a third strike, causing the opponent to not
understand what I am doing, which is why it is called skill.
Posture 26
TURN AROUND, PROP & HIT
Function:
This is for changing direction.
“Two!” From the previous posture, your body turns to the left rear to be squared to the
southwest, your feet not changing their location but the toes turning to point to the northwest,
your left knee bending, right leg straightening, making a bow stance. At the same time, your
left arm goes forward from below, propping upward, as your right palm grasps into a fist and
does a level thrust punch to the southwest. You are in a left crossed stance [left foot and right
hand forward]. Your gaze is to the southwest. See photo 26:
If an opponent suddenly attacks my upper body from behind, I turn around and use my [left]
arm to prop it up, my left [right] fist taking advantage of the opportunity in that moment to strike
to his heart. Hand, eye, body, and step must be coordinated, arriving in unison, in order for
this to be at all successful.
Posture 27
PRESSING PALM, PLANTING PUNCH
Function:
This is for simultaneous attack and defense.
“Three!” From the previous posture, your right foot steps out to the southwest in front of your
left foot, making an overlapping stance. At the same time, your left palm presses down from
above to be in front of your belly, your right fist withdrawing to your waist then going over your
left arm to plant downward to the southwest. Your gaze is to your fist. See photo 27:
The opponent takes advantage of an opportunity to strike to my ribs, so I quickly use my [left]
palm to press it down, then send my right fist downward with a planting punch to his belly,
stepping in to crowd him and render him less maneuverable, making opportunity mine.
Posture 28
DOUBLE SPREADING, SHEATHING STEP
Function:
This is for preventing your lower body from being attacked.
“Four!” From the previous posture, your left foot steps out to the southwest, your right foot
follows with a sheathing step behind your right [left] foot so your legs are overlapping in a
sitting stance. At the same time, your right fist becomes a palm, both arms raise high, spread
apart to the sides, and circle fully so that they come together in front of your belly, palms
upward. Your torso is upright and your chest is sticking out. Your gaze is to the southwest.
See photo 28:
If the opponent attacks my head, I use double spreading hands to defend against it, then do a
sheathing step to reinforce my lower body, storing power with which to prepare my
counterattack [in the following technique].
SECTION 8 (“1… 2… 3… 4…”):
Posture 29
CROSS-SHAPED KICK
Function:
This is for taking advantage of an opportunity to attack the opponent from the side.
“One!” From the previous posture, your body slightly leans to the right as your left foot lifts and
does a side kick to the left. At the same time, your arms spread apart to the sides, bracing
open like a bird spreading its wings, your right arm raised to be level with your left foot, left
arm slightly higher and with its fingers forward. Your gaze is to the west, your body squared to
the northwest. See photo 29:
Closing on the opponent, I use both arms to brace open and parry away his incoming hands,
taking advantage of the opportunity to do a side kick to his waist or ribs.
Posture 30
WRAPPING ELBOWS, SNAPPING KICK
Function:
This is for continuing the kicking attack.
“Two!” From the previous posture, your left foot comes down, then your right foot lifts, your
body turning to the northwest [southwest], and kicks. At the same time, your palms grasp into
fists and quickly withdraw, elbows wrapping in. Your body is squared to the south [southwest].
Your left leg stands straight. Your chest is opened up and your torso is upright. Your gaze is to
the southwest. See photo 30:
If my last kick misses, I quickly capture the opponent’s hand and draw it in toward my chest
while kicking with my right leg to his lower body, overcoming him by raising my foot to catch
his groin.
Posture 31
RIGHT PALM STRIKE
Function:
This is for taking advantage of an opportunity to destroy the opponent if he loses his balance
because of the previous technique.
“Three!” From the previous posture, your right leg comes down to the northwest [southwest]
and the knee bends, making a right bow stance. At the same time, your right fist becomes a
palm, braces forward, fingers upward, striking the opponent with the palm edge, arm slightly
bent. Your body slightly leans forward. Your gaze is to your palm. See photo 31:
Continuing from the previous technique, if I feel the opponent is not toppling dramatically
enough, I use a palm strike to help send him away quicker. Although there is a palm strike, it
must be coordinated with the step for it to be effective.
Posture 32
LEFT PALM STRIKE
Function:
This is for turning the attack into continuous palm strikes, right then left.
“Four!” From the previous posture, your left foot steps out to the northwest and the knee
bends, making a left bow stance. At the same time, your right fist [palm according to the
photo] withdraws to your waist, elbow wrapped in, while your left fist becomes a palm and
goes out with your left step. Your gaze is to the palm. Your body slightly leans forward. See
photo 32:
The purpose of the left palm strike following upon the right palm strike is that if the opponent
has not yet toppled and is still capable of struggling, I now add another and more decisive
strike to make him finally fall.
Capture and chop with right hand and left.

Leap into a sheathing step, then a kick lifts up.
Perform double-hand follow-step pushes, starting with the right.
Pushing left and right, the effect is extraordinary.
[Retreat with a hanging punch to defend against his technique.
Perform carrying punches, stepping the same on both sides.]
Send out a palm, then thread through with the other.
Facing him, follow with a kick.
Flying hand and raising palm, then capture and chop.
Do a kick, a thrust punch, then a raising palm in a golden rooster stance.
First catch then insert, then turn around to capture.
To do a jabbing palm, a thrusting punch creates the best opportunity.
SECTION 9 (“1… 2… 3… 4…”):
Posture 33
LEFT [RIGHT] CAPTURING, LEFT CHOPPING
Function:
This is for dealing with an opponent by capturing and chopping.
“One!” From the previous posture, your upper body turns around to the right rear, your right
hand circling outward, performing a capturing maneuver, then grasps into a fist at your waist.
At the same time, your left foot lifts and takes a large step to the northeast, the leg extending
and flattening downward, your right leg bending and lowering, while your left palm chops
down, parallel with your left leg, almost to the ground, the palm facing to the southeast. The
weight of your body is on your right foot and is squared to the northeast. Your gaze is level.
See photo 33:
If an opponent attacks me from behind, I turn around, capture his hand, then strike him with a
chop, too suddenly for him to deal with, and thereby gain control over his fate. However, when
turning around, the hips must be nimble and springy for the turn to be done smoothly and for
the technique to be at all effective.
Posture 34
LEAP, SHEATHING STEP
Function:
This is for overcoming an opponent by capturing with both hands.
“Two!” From the previous posture, your right foot stepping out to the northeast, your body
leaps, your left foot stepping through with a sheathing step behind your right foot, and both
knees bend to make a sitting twisted stance. At the same time, your left [right] hand circles
outward to be below your navel, palm upward, fingers slightly bent, as your right [left] hand
circles inward to be below your solar plexus, palm downward, fingers slightly bent, the palms
facing each other. Your chest is sticking out and your torso is upright. Your head is turned to
the right, your gaze to the northeast [although turning to the left to gaze northwest in the photo],
body squared to the northwest. See photo 34:
If the opponent withdraws his body to then counterattack, I leap into a sheathing step to
destroy his technique, my hands capturing his arm, making it too difficult for him to get away
from the force of my technique.
Posture 35
LIFTING KICK
Function:
This is for restraining the opponent and kicking him while he tries to escape.
“Three!” From the previous posture, your left leg stands straight as your right foot lifts and
snaps out with a toe kick to the northeast, your palms still as before. Your whole body is
standing straight. Your gaze is to the northeast. See photo 35:
The opponent wishes to escape, so I go along with his energy by kicking to the middle of his
body.
Posture 36
DOUBLE-HAND PUSH TO THE RIGHT
Function:
This [with the following two techniques] is for pushing in all directions to create a way out from
a group of surrounding opponents.
“Four!” From the previous posture, your right foot comes down and your left foot does a follow
step forward to the northeast, toes touching down, right knee bent, making a left shivering
chicken stance. At the same time, your arms send out your palms pushing together to the
north [northeast], the palms facing outward, your right arm somewhat more forward than your
left. Your body is upright and your chest is sticking out. Your gaze is to the north [northeast].
See photo 36:
This technique gets rid of a whole group. Or to continue from the previous technique, it helps
topple the opponent if he has not yet fallen.
SECTION 10 (“1… 2… 3… 4…”):
Posture 37
DOUBLE-HAND PUSH TO THE LEFT
Function:
This is for continuing from the previous technique by echoing the double-hand push.
“One!” From the previous posture, your left foot steps out to the south [southwest], your right
foot follows, toes touching down, making a right shivering chicken stance. At the same time,
your palms withdraw in front of your chest then push together to the southeast [southwest],
your left arm somewhat more forward than your right, the palms facing outward. Your chest is
sticking out and your torso is upright. Your gaze is to the south [southwest]. See photo 37:
This technique is for dealing with a crowd of surrounding opponents. However, when pushing
with your palms, your arms must have a capacity to extend and contract in order to give you a
degree of leeway. If you are not on target, do not issue. When you issue, you must be on
target to keep from being controlled by your opponents.
Posture 38
DOUBLE-HAND PUSH TO THE RIGHT
Function:
This is for building upon the previous two techniques to make a continuous attack against
opponents.
“Two!” From the previous posture, your right foot steps out to the northwest, your left foot
follows, toes touching down, making a left shivering chicken stance. At the same time, your
palms withdraw in front of your chest then push together to the northwest, your right arm
somewhat more forward than your left, the palms facing outward. Your chest is sticking out
and your torso is upright. Your gaze is to the northwest. See photo 39 [38] [The photo is
unfortunately a repeat of 36 which shows the posture directed to the northeast. There should
instead be a different photo showing the same posture turned ninety degrees to the left.]:
This technique is for when you are surrounded by opponents on all sides, continuing as push
followed by push for a total of three pushing attacks, opening up three pathways along which
you can fight.
Posture 39
WITHDRAWING STEP, HANGING PUNCH
Function:
This is for when an opponent takes advantage of an opportunity to attack, at which point I
retreat and put out a hanging punch to prevent it.
“Three!” From the previous posture, your left foot withdraws a step to the southeast and your
right follows your left foot’s retreat, toes touching down, making a T-shape sitting tiger stance.
At the same time, your palms grasp into fists, your left hand drawing back to your waist, elbow
wrapped in, while your right fist turns over so the wrist is upward and does a hanging punch
[hanging in the sense of hanging something up rather than drooping down] to nose level, the
elbow bent and pointing down to your right knee, in line with the toes. Your body goes along
with the posture by squaring to the southwest, your head turned to the right, your gaze to the
northwest. Your chest is opened up and your torso is upright. See photo 39:
I defend against an opponent by evading my body to prevent his attack, hanging up my elbow
to resist it and thereby get a better observation of what is coming, then await the opportunity
to counter.
Posture 40
STEP FORWARD, RIGHT CARRYING PUNCH
Function:
This is for sharply thrusting through to destroy the opponent.
“Four!” From the previous posture, your right foot steps forward to the northwest and the knee
bends, making a right bow stance. At the same time, your right fist goes forward and upward
with a carrying punch until higher than your headtop, your left fist still with its elbow wrapped
back. Your gaze is to the northwest. See photo 40:
This is for charging in, my right arm carrying away the opponent’s incoming fist, then
advancing with my body and step like a bear’s arm pressing forward. My body pressing in
close toward his, he is made to lose his will for attack or defense, leaving me with the
successful tactic.
SECTION 11 (“1… 2… 3… 4…”):
Posture 41
STEP FORWARD, LEFT CARRYING PUNCH
Function:
This is for continuing the previous technique’s bold advance upon the opponent.
“One!” From the previous posture, your right foot steps out to the northwest and the knee
bends, making a left bow stance. At the same time, your right fist withdraws, elbow wrapped
in, and your left fist does a carrying punch forward and upward until higher than your headtop,
your body going along with the technique by turning to the left [right]. Your chest is opened up
and your torso is upright. Your gaze is to the northwest. See photo 41:
This continues my fierce advance pressing in toward the opponent. I absorb the power of
rivers and mountains [smashing him aside with an avalanche, washing him away with a flash
flood], making him not dare to even look me in the eye and contend against my aggressive
spirit.
Posture 42
RIGHT PALM STRIKE
Function:
This is for continuing to press in against the opponent, this time with a palm strike.
“Two!” From the previous posture, your right foot again steps out to the northwest, to trip up
the opponent’s leg, and the knee bends, making a right bow stance. At the same time, your
left fist withdraws, elbow wrapped in, and your right fist becomes a palm, bracing out to the
middle of the opponent’s body, your body going along with the technique by turning to the
right [left]. Your gaze is to the northwest. See photo 43 [42]:
This continues from the previous technique’s forward pressure, taking the opponent by
surprise with a palm strike to the middle of his body while tripping up his footing with my step,
causing him to lose his balance.
Posture 43
RETREAT, THREADING PALM
Function:
This is for switching things up.
“Three!” From the previous posture, your right foot retreats a large step and the leg
straightens, making a left bow stance. At the same time, your left fist becomes a palm and
threads out to the northwest over your right palm, fingers pointing diagonally upward, as your
right palm withdraws below your left armpit, palm downward. Your gaze is to your [left] palm.
See photo 43:
In this technique, I use a palm to respond to the opponent while turning my body and
retreating a step, engaging the enemy with a change of strategy. Transforming from one
technique to another is the most important skill. Pay attention to the nimbleness of your hips. If
your hips are nimble, your body will be lively and your step stable. No matter what direction
attacks comes from – above, below, front, rear, left, right – you will thus give yourself time to
deal with them rather than be in the predicament of having too much to do at once.
Posture 44
THREADING PALM, KICK TO THE FACE
Function:
This is for turning around with hooking and hanging, taking advantage of the opportunity to
perform a kicking maneuver.
“Four!” From the previous posture, your body turns to the right rear, your left foot takes a large
step out to the southeast, and your right foot lifts and does a high kick to the southeast. At the
same time, your left arm sends its palm from above in the rear, making a circle that passes in
front of your forehead then hooking downward until beside your waist [grasped into a fist],
while your right palm goes from beside your waist to hang upward then come down to slap
the back of your right foot. Your left leg is standing straight but with the knee slightly bent. Your
chest is opened up and your torso is upright. Your body is squared to the southeast, your
gaze forward and level. The photo shows the moment when the right palm is hanging up and
the right leg is about to kick, palm about to slap the top of the foot. See photo 44:
This technique hooks and pulls in while hanging up a palm, then kicks to the opponent’s face.
In the practice of boxing arts, there is shape striking shape, not shape striking shadow. Within
your mind, there has to be an imagined opponent. Skillful victory is not really about success
through sinew, but is actually a matter of winning through wisdom.
SECTION 12 (“1… 2… 3… 4…”):
Posture 45
FLYING HAND, RAISING PALM
Function:
This is a method of “spreading the clouds to see the sun” – defending against the opponent
by taking advantage of a gap through which to attack.
“One!” From the previous posture, your right foot comes down to the southeast and your left
foot then takes a half step forward, toes touching down, both knees bending, making a sitting
tiger stance. At the same time, your right palm flies up from below in front and spreads away
to the right rear, fingertips at ear level, while your left palm goes from your waist, passing
along your hip, going forward and upward as a raising palm, fingers at shoulder level, elbow
pointing downward toward your left knee. Your torso is upright and your chest is opened up.
Your gaze is to your palm, body squared to the northeast. See photo 45:
As I use my right hand to deflect and left hand to raise up, my body turns sideways to leave
room in front, inducing the opponent to approach me so I can then seize the opportunity to
capture him [in the following technique].
Posture 46
LEFT CAPTURING, RIGHT CHOPPING
Function:
This is for capturing with the front hand and chopping with the rear hand.
“Two!” From the previous posture, your left foot takes a half step to the southeast and the
knee bends, making a left bow stance. At the same time, your left palm turns over so the wrist
is upward, then captures and is grasped into a fist beside your waist, while your right palm
becomes a fist and chops forward, the center of the fist facing upward, upper arm touching
your right ribs. You are in a left crossed stance [left foot and right hand forward]. Your torso is
upright and your chest is sticking out. Your gaze is to the southeast. See photo 46:
Continuing from the previous technique, your left raising palm now captures the opponent’s
hand and your right deflecting palm now comes downward as a backfist, a fake technique
switching to a real technique.
Posture 47
SNAPPING KICK
Function:
This is for continuing from the previous technique by attacking the opponent with a snapping
kick.
“Three!” From the previous posture, your right foot lifts and does a level kick to the southeast,
your left leg straightening, your body slightly turning to the left. Your upper body and arms have
not moved. Your body is squared to the east, head turned to the right, your gaze to the
southeast. See photo 47:
Continuing from the previous technique of capture and chop, if the opponent dodges or
blocks, I then take advantage of the opportunity to kick to his lower body.
Posture 48
THRUST PUNCH, RAISING PALM
Function:
This is for striking the opponent with a thrust punch…
“Four!” From the previous posture, your right leg comes down to the east [southeast] and
stands straight, your left leg lifts so the lower leg is hanging down, while your right fist thrusts
out to the southeast. Your gaze is to your fist. Then turn around [to the left] to face to the
northwest, your left fist becoming a palm and hanging down from beside your waist, moving
along the outside of your left leg and raising forward [with your left leg also raising], while your
right fist withdraws to your waist, elbow wrapped in. Your gaze is to the west [northwest]. See
photo 48:
This technique is a feint [“Shout to the east, but strike to the west.”]. However, when turning
around, your body must go along with your eyes as they observe for opponents wherever they
may be moving. You must never ignore opponents for an instant, and thereby your boxing art
will already be halfway realized.
SECTION 13 (“1… 2… 3… 4…”):
Posture 49
CATCHING, INSERTION PUNCH
Function:
This is for catching an opponent and sealing him off.
“One!” From the previous posture, your left foot comes down to the northwest, toes swung out
to point to the north [south], your body rolling to the left, and your right foot follows, stomping
down beside your left foot, hips sinking down, both knees bent to make a ninety degree
angle. Your torso is upright and your chest is sticking out. Your body is squared to the north
[south], your gaze to the west. At the same time, your right [left] palm goes along with the
initial movement of your left foot by turning inward with a catching action, while your right fist
rushes upward until at shoulder level, then does an insertion punch when your right leg stomps
downward, your left palm guarding in front of your right shoulder, palm downward, lower arm
bent in, level in front of your chest. See photo 49:
This continues from the previous technique. Once I have raised my left palm, I quickly turn my
wrist to catch the opponent’s hand, then my right arm comes out with a downward punch to
embrace his arm, which seals off his body, though the major effect is achieved by stomping
on his foot.
Posture 50
TURN AROUND, CAPTURE
Function:
This is for turning around and capturing.
“Two!” From the previous posture, your whole body spins around to the left rear, your left foot
takes a large step out to the west, and your right knee bends, making a left reverse bow
stance. At the same time, your left arm extends with an inserting palm in a manner of wanting
to capture, fingertips pointing to the west, as your right fist withdraws, elbow wrapped in. Your
gaze is to the west. See photo 50:
This technique stores up power for the next, and they are really one continuous energy rather
than two techniques. Understand that they are divided into two simply to make it easier to
teach when guiding a group.
Posture 51
RIGHT THRUST PUNCH
Function:
This is for continuing from the previous capturing technique by attacking with a punch.
“Three!” From the previous posture, your left leg bends and your right leg straightens, making
a left bow stance. At the same time, your left palm becomes a fist and withdraws to your
waist, elbow wrapped in, while your right fist does a level thrust punch to the west. You are in
a crossed stance [left foot and right hand forward]. Your chest is sticking out and your torso is
upright. Your gaze is to the west. See photo 51:
This technique is a matter of a real technique [the following finger jab] coming from a feint
[this punch], a preparation for the next posture. This enables you in your training to constantly
grasp the changes of opportunity, and train for the using of fake and real techniques,
straightforward and surprise techniques. When an opponent attacks in an unorthodox way, I
respond in a straightforward way [in order to take him by surprise]. This renders the opponent
unable to figure out whether my responses are going to be feints or real, putting me
successfully in charge of the situation. If you get stuck in fixed methods, the applicability of the
art will be limited.
Posture 52
TURN AROUND, INSERTING PALM
Function:
This is for turning around and jabbing.
“Four!” From the previous posture, your feet stay where they are, but your left leg straightens
and your right leg bends, making a right bow stance. At the same time, your right fist
withdraws, becoming a palm which then does a level jab to the east, palm facing downward,
your left fist remaining at your waist, elbow wrapped in. Your body goes along with the palm
technique by turning to the right. Your gaze is to the east. See photo 52:
The strike to the west was a feint, the real technique being the response to the east. The
punch is straightforward while the palm strike is a surprise. This is the way of change in
boxing arts.
A leg flattens, a punch thrusts out and draws back in.
Turning around, a leg flattens and a palm spreads forcefully.
Double wind through the ears starts by delivering a kick.
Attack his heart with an elbow, then give a back-handed slap to his face.
When the left leg kicks, a palm also shoots out.
Palms then thread to the opponent’s throat, right then left.
Palms then extend with steps, right then left, to press another opponent.
Hands fly, turn around, and a threading palm is sent out.
The crossed hands continue into the wiping palm.
With double punches and wrapping elbows, the set comes to a rest.
SECTION 14 (“1… 2… 3… 4…”):
Posture 53
SHEATHING STEP, FLATTENED LEG
Function:
This is for turning around and chopping.
“One!” From the previous posture, your left foot passes in front of your right foot and takes a
large step to the east, then your right foot takes a half step to the east behind your left foot,
making an overlapping stance. The toes of both feet now spin around to the right and your left
foot again takes a large step out to the east, the leg extends and flattens out, and your right
knee bends to make a left reverse bow stance. At the same time, your left fist becomes a
palm and threads out straight along your right arm, then goes along with your body as it spins
around to the right, your right palm going along upward, then drawing back in front of your
chest and beside your waist, elbow wrapped in, your left arm now extending with your left leg,
chopping down to the east, arm parallel with the leg. Your torso is upright and your chest is
sticking out. Your gaze is to the east. See photo 53:
With every step, I am steadily advancing. With my sheathing step, I am stealing ground to get
behind the opponent, then when I spin to do a chop, I turn around like a snake slithering
through the grass, spinning like the wind, dancing with a display of so much transformation
that he is too overwhelmed to do anything to me.
Posture 54
RIGHT THRUST PUNCH
Function:
This is for continuing from the previous technique by taking advantage of an opening for
attack.
“Two!” From the previous posture, your feet stay where they are, but your left knee bends and
your right leg straightens, making a left bow stance. At the same time, your left palm
withdraws, grasped into a fist at your waist, elbow wrapped in, while your right fist leaves your
waist with a level thrust punch to the east. You are in a [left] crossed stance [left foot and right
hand forward]. Your gaze is to the east. See photo 54:
Continuing from the previous action, switch from a feinting maneuver to a real technique,
taking him by surprise with straightforwardness as you strike with your right fist, a very
straightforward technique.
Posture 55
SHEATHING STEP, WITHDRAWING FIST
Function:
This is for gathering yourself in to await developments.
“Three!” From the previous posture, your left foot withdraws in a sheathing step behind your
lower right leg, your legs overlapping, both knees bent, making a sitting twisted stance. At the
same time, your left fist becomes a palm and goes along under your right arm as your right
fist withdraws to your waist, elbow wrapped in, left palm passing in front of your body and
propping upward, palm facing to the east [south], your upper body putting all its energy into
turning to the left [right]. Your chest is squared to the west [south], your gaze level to the west.
Your chest is sticking out and your torso is upright. See photo 55:
This technique is one of sitting down to observe developments, of awaiting the opportunity to
act, of overcoming movement with stillness.
Posture 56
FLATTENED LEG, CHOPPING PALM
Function:
This is for turning around to spread and hit.
“Four!” From the previous posture, your toes spin around to the left rear, your left [right] leg
straightens, then takes a large step to the west and flattens out, your left knee bending,
making a left reverse bow stance. At the same time, your left palm goes to the left rear in a
capturing manner, then withdraws to guard in front of your right shoulder, while your right fist
changes to a palm, goes upward, and chops downward to the west. Your body is supported
on your left foot. Your chest is sticking out and your torso is upright. Your head is raised, your
gaze to the west. See photo 56:
Having propped up, I turn around underneath, then spread and hit. This is the skill of using a
surprise technique [the spin] to generate a straightforward one [the chop]. Long Boxing
practitioners win by way of four terms: “leap” to “avoid”, “turn” to “evade”. Repeatedly give
them attention.
SECTION 15 (“1… 2… 3… 4…”):
Posture 57
DOUBLE WINDS THROUGH THE EARS
Function:
This is for attacking an opponent’s upper body by way of kicking to the middle of his body
when he evades below and then capitalizing on the adjustment he makes to it.
“One!” From the previous posture, your left leg lifts up, and before it comes down, your right
foot does a kick to the west. When your feet come down, your right knee bends and your left
leg straightens, making a right bow stance. At the same time, your right hand withdraws,
grasping into a fist, then your arms go forward from the sides, joining together with a strike,
your left palm guarding at and touching the tiger’s mouth of your right fist, your arms raised up
until at shoulder level. Your chest is sticking out and your torso is upright. Your gaze is to the
west. See photo 57:
First I kick to the middle of the opponent’s body, then punch to his upper body. Surprising him
with a jumping kick, there is nothing he can do, and then the straightforward technique follows
upon it, victory brought about through the surprise. [i.e. This punch to the head works because
of the distracting kick.]
Posture 58
ELBOW TO THE HEART
Function:
This is an evasive elbow maneuver for when an opponent’s body is getting too close, which
also stores up power to attack him.
“Two!” From the previous posture, your right leg straightens and your left knee bends, making
a left reverse bow stance, your right arm folds in toward your chest, then the elbow strikes out
to the west, your left palm guarding on top of your elbow, your body withdrawing to the left.
Your torso is upright and your chest is sticking out. Your gaze is level to the west. See photo
58:
If the opponent resists against the previous technique and I am unable to escape from him
sticking to me, I bend in my forearm to inhibit him and store up power for what happens next.
Posture 59
PUSH DOWN, BACK-HANDED SLAP
Function:
This is for continuing from the previous technique of escaping from the opponent to now take
advantage of the opportunity to strike him with a back-handed slap.
“Three!” From the previous posture, your right leg bends and your left leg quickly straightens
to shoot you forward, your left palm touching your right elbow as your right arm turns over
upward and chops downward to the opponent’s face with the back of the hand, your left palm
moving along the underside of your right arm. Your gaze is to the west. See photo 59:
Continuing from the previous technique, if the opponent uses a palm to resist against my
elbow, I overcome him by pushing down and seizing the opportunity to give him a back-
handed slap to the face. The skillfulness of your body’s sucking back and shooting out is no
trifling thing, for by withdrawing you will be able to dodge without having to leave your ground,
no matter how severe his attack and regardless of your position, and you then need only
shoot your body forward and you will have more than enough for an assortment of punches
and kicks. By knocking away the opponent’s attack so he leans in slightly, you will hit the
target, but otherwise it will be in vain.
Posture 60
RESPONDING WITH BOTH PALM & LEG
Function:
This is for continuing from the previous two techniques by continuing the attack upon his
upper body to now attack his middle and lower body.
“Four!” From the previous posture, your right leg straightens and your left foot does a level
kick to the west, your body slightly turning to the right. At the same time, your left palm extends
to the west parallel with your left leg, your right palm withdrawing to guard in front of your chest
[withdrawing to the waist in the photo]. Your gaze is to the west. See photo 60:
If I miss with the previous technique, I continue by executing both a kick and a palm strike,
simultaneously attacking him above [below] and in the middle, causing him to have too much
to deal with at once, ensuring that I will get a way through.
SECTION 16 (“1… 2… 3… 4…”):
Posture 61
RIGHT PALM STRIKE
Function:
This is for continuing from the previous kicking technique by using a bracing and tripping
method to defeat the opponent.
“One!” From the previous posture, your right leg lowers to trip up the opponent’s left foot, the
knee bending to make a left bow stance. At the same time, your right palm braces to the
middle of the opponent’s body, putting you in a left crossed stance [left foot and right hand
forward], your left palm withdrawing to your waist. Your gaze is to the west. Your torso is
upright and your chest is sticking out. See photo 61:
If the opponent has yet not fallen after being struck by me, I trip him up with my step while
bracing against him with a palm, causing him to quickly fall away.
Posture 62
THREADING PALM
Function:
This is for changing in accordance with the previous technique.
“Two!” From the previous posture, your stance does not change, but your left palm threads out
over your right palm, fingers upward, while your right palm becomes a fist and withdraws to
your waist, elbow wrapped in. You are in a left bow stance. Your chest is opened up and your
torso is upright. Your gaze is to the west. See photo 62:
I continue from threading with my right palm by changing to my left palm.
Posture 63
RAISING PALM
Function:
This is for changing direction and preparing a pursuing strike.
“Three!” From the previous posture, your body turns to the right rear to be squared to the east
[north], your right foot withdraws a half step, toes touching down, making a T-shape sitting
tiger stance. At the same time, your right palm goes downward, raises forward and upward,
again goes downward to again raise upward passing along the outside of your right leg [i.e.
your right hand makes a complete circle on your right side], fingers and shoulder pointing
toward each other, elbow and knee pointing toward each other, your left hand remaining
raised to the left rear. Your gaze is to the east. See photo 63:
This change of direction is a preparation to chase an opponent, and is also for me to observe
his mind, thus I adopt this defensive stance and wait for the moment to advance.
Posture 64
RESPONDING WITH A PALM
Function:
This is for pursuing an opponent while drawing in to strike.
“Four!” From the previous posture, your right foot steps out to the east, your left foot follows
forward a half step, and your right foot again takes a step forward. At the same time, your
right palm withdraws in front of your chest, then goes out forward to meet the opponent, your
left palm remaining raised and unmoving. Your body is squared to the south [north] and
standing straight. Your gaze is to the east. See photo 64:
If the opponent steadily steps away, I steadily follow. If he retreats urgently, I chase him
urgently, and if he retreats leisurely, I chase him leisurely. The strategy of drawing in my palm
is to see if he will counterattack and also to prepare to strike.
SECTION 17 (“1… 2… 3… 4…”):
Posture 65
DRAWING OUT THE LEFT PALM
Function:
This is for continuing to pursue the opponent.
“One!” From the previous posture, your left foot steps out to the east, your right follows
forward a half step, and your left foot advances another step. At the same time, your left palm
gathers in to be in front of your chest [while your right hand goes to your waist]. Your body is
squared to the north [south] and standing straight. Your gaze is to the east. See photo 65:
This technique is linked to the movement of the previous technique. As your feet alternate
advancing and following in order to crowd the opponent, your body and step should strive for
naturalness and must not manifest any sluggishness, thereby conforming to the principle of
whole-bodied coordination.
Posture 66
TURN AROUND, SEND UP CLOUDS
Function:
This is for turning around and spreading.
“Two!” From the previous posture, your feet stay in their location as you turn around to the
right rear, your right foot going a half step to the east, lifting and stomping down. At the same
time, your right arm goes along with the turning of your body by raising upward until level on
the right side, fingers pointing to the east, palm facing to the south [north], your left palm
guarding in front of your right shoulder. Your knees are slightly bent. Your torso is upright and
your chest is sticking out. Your body is squared to the north, your gaze to the east. See photo
66:
I turn my body to escape a threat, taking advantage of the opportunity to also split through with
my right palm.
Posture 67
THREADING PALM
Function:
This is for blocking down with the left hand and hanging up with the right.
“Three!” From the previous posture, your body stays the same, but your right palm coils a
circle, going downward, in front of your chest, and threading diagonally upward to the east,
while your left arm coils a circle, going outward to the lower left, upward, and ends up in front
of your right shoulder, so that one palm threads to the right while the other pushes down
beside your ribs. Your body is standing straight, squared to the north, your gaze level. See
photo 68 [67]:
Continuing from the previous technique, I then intercept while coiling around to hang a palm
up, guarding against his attack to be prepared against all harm.
Posture 68
CROSS-SHAPED PALM STRIKES
Function:
This is for opening the door to face an opponent.
“Four!” From the previous posture, your left foot takes a large step to the west, the knee
bends, and your right leg straightens, making a left bow stance. At the same time, your right
arm goes to the right side until raised level, fingers upward, while your left palm spreads away
to brace straight to the west, fingers upward. Your gaze is to your left palm. See photo 68:
This technique is firstly to open the door to face the opponent, secondly to prepare for the end
of the exercise.
SECTION 18 (“1… 2… 3… 4…”):
Posture 69
CROSSED HANDS
Function:
This is for capturing with both hands.
“One!” From the previous posture, your stance does not change, but your right palm goes
downward and coils a half circle to the west so that it and your left palm are crossing each
other at the pulse area, fingers diagonally upward. Your gaze is to the west. Your torso is
upright and your chest is sticking out. See photo 69:
This posture draws the set to a close, reining in the work you have put into all the previous
postures, causing the blood circulation throughout your body to gradually resume its original
condition by bringing the set to a halt before it turns into strenuous exercise. The influence of
this upon your health is not small. Boxing sets usually go from beginning to end by going from
simplicity to complexity as a way to build you up in mind and body. Concluding the set then
takes your strenuousness to mildness so that your mind and body will easily recover from the
fatigue.
Posture 70
WIPING PALM
Function:
This is for continuing from the previous technique of capturing with both hands.
“Two!” From the previous posture, your right knee bending, your left foot withdraws and goes
out to the northeast. Your thighs are together, left leg straight, belly sucked back, making an
empty stance. At the same time, your hands turn over their wrists and draw in toward your
chest, your left palm then becomes a fist at your waist, elbow wrapped in, while your right
palm goes downward, wiping along your left leg until to the back of the foot, your upper body
going along the palm by leaning over, then goes forward and raises up high. Your gaze is
level and settled. See photo 70:
This posture brings the set to an end, harmonizing the movements, and is a final display of
bravado.
Posture 71
RETREAT WITH DOUBLE PUNCHES
Function:
This is for bringing the set to a conclusion.
“Three!” From the previous posture, your left foot retreats a step to the south and your right
foot follows by retreating so that both feet are standing next to each other. At the same time,
your left fist becomes a palm and extends forward while your right palm turns over coming
downward so that both palms meet in front of your chest, palms facing upward. Then they
spread apart to the sides, passing by your waist, and again go forward, making complete
circles ending up again in front of your chest, and once your palms meet, they have become
fists, tiger’s mouths facing each other, pulses facing downward. Your whole body stands
straight, your gaze level to the north. See photo 71:
This posture concludes the exercise for your limbs and muscles, causing your heartbeat and
blood circulation to relax and resume their normal working condition.
Posture 72
WRAPPING ELBOWS
Function:
This is for returning to your original state.
“Four!” From the previous posture, your body does not move, but your forearms turn over and
withdraw to the rear, your elbows wrapped in beside your waist. Your torso is upright and your
chest is sticking out. Your gaze is to the north. See photo 72:
Note:
Upon completing this posture, your hands hang down, returning you to standing at attention.
Related
FOOTWORK-TRAINING SET (LIAN BU QUAN)
WU STYLE TAIJI SABER (XUANXUAN DAO)
THE XINGYI MANUAL OF LI JIANQIU
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Taizu Cannon Boxing

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TAIZU CANNON BOXING SET Recent Posts

Portrait of the author, Wu Zhiqing

PREFACE BY CHU MINYI

Portrait of the author

Chapter One: Introduction

Part 1: Examining the Origin of the Schools

Part 2: Examining the Differences Between the Schools

Part 3: Examining the Categories of Long Boxing and Short Boxing

Part 4: Examining Differences Brought on by Nature

Part 5: Original Song

Part 6: New Song

Chapter Two: Illustrated Set

Part 1: Positioning Chart for the Boxing Set

Part 2: Song [for Sections 1-4]

Section 1 (name of the technique / function / remarks on the technique):

Section 2 (name of the technique / function / remarks on the technique):

Section 3 (name of the technique / function / remarks on the technique):

Section 4 (name of the technique / function / remarks on the technique):

Part 3: Song [for Sections 5-8]

Section 5 (name of the technique / function / remarks on the technique):

Section 6 (name of the technique / function / remarks on the technique):

Section 7 (name of the technique / function / remarks on the technique):

Section 8 (name of the technique / function / remarks on the technique):

Part 4: Song [for Sections 9-13]

Section 9 (name of the technique / function / remarks on the technique):

Section 10 (name of the technique / function / remarks on the technique):

Section 11 (name of the technique / function / remarks on the technique):

Section 12 (name of the technique / function / remarks on the technique):

Section 13 (name of the technique / function / remarks on the technique):

Part 5: Song [for Sections 14-18]

Section 14 (name of the technique / function / remarks on the technique):

Section 15 (name of the technique / function / remarks on the technique):

Section 16 (name of the technique / function / remarks on the technique):

Section 17 (name of the technique / function / remarks on the technique):

Section 18 (name of the technique / function / remarks on the technique):

Part 1: Examining the Origin of the Schools

came the Zhao school,

from which came the Yue school,

from which came Wudang.

other branches < Shaolin > Zhao school

other branches < Wudang > Yue school

Yue school Zhao school

Part 2: Examining the Differences Between the Schools

Part 3: Examining the Categories of Long Boxing and Short Boxing

This diagram of the compass points is represented by A, B, C, D, E, F, G, and H. One of the

Part 4: Examining Differences Brought on by Nature

climate – warm / cold

terrain – mountains & rivers / plains

temperament – tactful / frank

mentality – progressive / conservative

physique – delicate / robust

diet – rice / wheat

transportation – boat / cart & horse

Part 5: Original Song

Part 6: New Song

THREE-LINE CANNON BOXING IN VERSE

CHAPTER TWO: ILLUSTRATED CANNON BOXING SET

Part 1: Positioning Chart for the Boxing Set

Explanation of the posture:

Part 2: Song [for Sections 1-4]

Step forward, sending out both fists to attack the opponent.

SECTION 1 (The command counts “1… 2… 3… 4…”):

Name of the technique: