Xing Yi Nei Gong

Xing Yi Health Maintenance and

Internal Strength Development

compiled and edited by

Dan Miller and Tim Cartmell
 Xing Yi Nei Gong
Xing Yi Health Maintenance and
Internal Strength Development

compiled and edited by

Dan Miller and Tim Cartmell

High View Publications, Pacific Grove, CA

Xing Yi Net Gong
Xing Yi Health Maintenance and Internal Strength Development

Copyright © 1994 Dan Miller and Tim Cartmell

I S B N 1-883175-04-6
All R i g h t s R e s e r v e d

Published by High View Publications

P.O. Box 51967
Pacific Grove, CA 9 3 9 5 0

Printed in the United States of America

Disclaimer
T h e author, translator, and publisher of t h e book a r e not responsible
f o r a n y i n j u r y w h i c h m a y r e s u l t f r o m following t h e i n s t r u c t i o n s c o n t a i n e d
herein.

Before e m b a r k i n g on a n y of the physical activities described in this

book, t h e r e a d e r s h o u l d c o n s u l t h i s o r h e r p h y s i c i a n f o r a d v i c e r e g a r d i n g
t h e i r individual suitability for performing such activity.
 Table of Contents
Acknowledgments
Dedication
Preface
Translator's Preface
Forward

Chapter 1 - W a n g |i Wu a n d t h e L i n e a g e of his X i n g Yi Q u a n 1

W a n g j i Wu's Xing Yi Quan Students 26

Wang Ji Wu's Principles of Living 30

Chapter 2 • Liu He X i n Yi Q u a n W r i t t e n T r a n s m i s s i o n s 33

Introduction 34
Dai Long Bang's Forward 36
Essential Knowledge for Martial Arts Practice 36
San Ti Shi (Trinity Posture) 39
T h e hive Element Fists 40
The Mutual Creation and Destruction of the Five Elements 42
T h e Twelve Forms 43
T h e Earth Dragon C a n o n 43
Three Fists, Three Clubs 44
Xing Yi Sword 44
Important Points of Body, Form, and Martial Practice 45
Body, Stepping, and Hand Methods SO
Internal Training (Net Gang) S3
Combat 55

C h a p t e r 3 - X i n g Yi Q u a n S t a n d i n g Practice 57

Introduction 58
Basic Concepts 63
Postures and Images 68
Images from the Xing Yi Classics 73
Practicing San 71 Shi 76

C h a p t e r 4 - X i n g Yi Health a n d Body S t r e n g t h e n i n g
Exercises: An Introduction 87

An Introduction by W a n g l.ian Yi 88
A Brief Introduction to the Sixteen Health Exercises 99
Chapter 5 • W a n g Ji W u ' s Body Strengthening a n d
Health M a i n t e n a n c e Exercises 107

Editor's Introduction 108

Exercise O n e : Uniting the Original Qi 110
Exercise Two; T h e Jade Dragon Weaves Around the Body 11S
Exercise Three: Opening and Closing Soothes the Meridians 119
Exercise Four: Ju Que and Xuan Wu Divide the North and South 124
Exercise Five: Uphold the Heavens and Firm the Root 128
Exercise Six: Empty t h e Eoot and Lift a Single Hand 1.34
Exercise Seven: Concentrate the Spirit and (laze at the Heel 138
The Golden Cock Eats Rice
Exercise Eight: Ape Arms Enliven the Blood • 144
Exercise Nine: Raising the Back Seven Times 148
Exercise Ten: Both Fists Strike the Back 152
Exercise Eleven: Rotating the Waist Strengthens the Kidneys 156
Exercise Twelve: Moving the Hips to the Left and Right 160
Exercise Thirteen: Pressing the Knees Regulates the Meridians 164
Exercise Fourteen: Rubbing the Knees and Stretching the Body 168
Exercise Fifteen: Yin Opens and Yfln^Closes 172
Exercise Sixteen: The Heels Kick Back 176
Supplemental Exercise: The Crawling Tiger 179
Song of the Sixteen Health Exercises 181
Afterward 182
Xing Yi Exercises Performed Lying On a Bed 18.3

C h a p t e r 6 - X i n g Yi Five E l e m e n t S p e a r 185

Introduction 186
Splitting Spear 187
Drilling Spear 189
Smashing Spear 192
Pounding Spear 194
Crossing Spear 196

About t h e Translator 199

About the Editor 200
 f the dan tian is lacking, the qi will not be
/ sufficient. With insufficient qi, power will be
inadequate. The five elements and the twelve forms
will be empty. In this state, in defense one will be as
a city surrounded by a dry moat, in attack, one will
be like a strong soldier with a weak horse. One must
practice diligently everyday. Sitting in meditation
trying to become immortal will not cultivate the dan
tian.

- from Dai Long Bang's

Written Transmissions of
Xin Yi Liu He Quan
 Acknowledgements
First a n d f o r e m o s t w e w o u l d like t o a c k n o w l e d g e M r . Z h a n g B a o Y a n g a n d
Mr. W a n g J i n Yu for their w i l l i n g n e s s to share this i n f o r m a t i o n w i t h t h e English
s p e a k i n g w o r l d . A d d i t i o n a l l y I w o u l d like t o t h a n k t h e t r a n s l a t o r s w h o h e l p e d
to translate interviews with Z h a n g Bao Yang and W a n g Jin Yu w h e n T i m
C a r t m e l l w a s n o t a v a i l a b l e . T h e s e i n d i v i d u a l s a r e : Bill T u c k e r , H u a n g G u o Q i ,
a n d X u Y u H o n g . T h e i r skill i n t r a n s l a t i o n a n d p a t i e n c e d u r i n g t h e l o n g h o u r s
of interviews is greatly appreciated.
W e w o u l d a l s o like t o t h a n k V i n c e B l a c k f o r p r o o f r e a d i n g a n d p r o v i d i n g a
forward t o this b o o k , N a n c y Miller for her p a t i e n c e a n d proofreading, a n d T i m ' s
wife Gu Feng M c i for her h e l p in translating t h e written material.
 Dedication

Wangji Wu (1891 - 1991)

This book is dedicated to the m e m o r y of

Xing Yi Quan Master W a n g Jt Wu.
His l i f e l o n g d e d i c a t i o n t o t h e m a r t i a l a n d
h e a l i n g arts a n d willingness to share
these arts o p e n l y w i t h others should
serve as an inspiration a n d e x a m p l e for
future generations.
 Preface
T h e m a t e r i a l i n t h i s b o o k i s a c u l m i n a t i o n o f n e a r l y 1 0 0 years o f e x p e r i e n c e
i n t h e art o r X i n g Y i Q u a n b y M a s t e r W a n g J i W u (JL.*8 over 40 years of
e x p e r i e n c e for each of W a n g ' s students, Z h a n g Bao Yang "f t§), W a n g Jin Yu
* ) . ) , a n d H e Y u Q i (fT^'Hc), a n d o v e r t w o years o f c o l l a b o r a t i o n b e t w e e n
W a n g ' s students, myself and T i m Cartmell. This material is straightforward,
p r a c t i c a l , easy t o l e a r n , a n d t i m e t e s t e d .
T i m C a r t m e l l a n d 1 first m e t Z h a n g B a o Y a n g o n t h e s i x t h o f O c t o b e r , 1 9 9 2 ,
i n B e i j i n g , C h i n a . W e w e r e a t t h e h o m e o f X i e Pei Q i (HfflH£), a well k n o w n B a
G u a practitioner in Beijing. X i e had k n o w n we were c o m i n g and had invited
s o m e o f h i s m a r t i a l arts f r i e n d s f o r t h e o c c a s i o n . D u r i n g o u r s t a y a t X i e ' s h o m e
t h e f o c u s o f a t t e n t i o n w a s X i e Pei Q i a n d h i s B a G u a , h o w e v e r , I c o u l d n o t h e l p
but notice a distinguished looking elder g e n t l e m a n sitting quietly in the corner
observing the interview. Just before we were about to leave I asked to be
i n t r o d u c e d to t h e g e n t l e m a n a n d found o u t he was X i n g Yi Q u a n Master Z h a n g
Bao Yang, President of the Beijing Xing Yi Q u a n Association. Z h a n g gave me his
n a m e c a r d a n d I a s k e d i f w e c o u l d visit w i t h h i m i n a f e w d a y s . Z h a n g a g r e e d
and we arranged to m e e t h i m at his h o m e on the eighth of October.
W h e n T i m a n d I arrived a t Z h a n g ' s h o m e , t w o o f h i s X i n g Y i b r o t h e r s , H e Y u
Q i a n d Pan Z h i Y u a n (iijfeSS). w e r e t h e r e w i t h h i m . I a s k e d Z h a n g a n d h i s
classmates about their X i n g Yi and they brought out s o m e photographs of their
teacher, W a n g Ji W u , and s o m e written material they had c o m p i l e d over t h e
y e a r s . T h e o l d p h o t o g r a p h s f a s c i n a t e d m e , e s p e c i a l l y a series o f p h o t o s s h o w i n g
W a n g J i W u p e r f o r m i n g a set o f e x e r c i s e s . I a s k e d a b o u t t h e p h o t o g r a p h s a n d
Z h a n g e x p l a i n e d t h a t t h e s e w e r e a set o f s i x t e e n h e a l t h a n d b o d y s t r e n g t h e n i n g
e x e r c i s e s t h a t his t e a c h e r h a d s t u d i e d o v e r h i s l i f e t i m e o f X i n g Y i Q u a n p r a c t i c e
a n d e x p e r i e n c e w i t h C h i n e s e m e d i c i n e . His t e a c h e r h a d s y s t e m a t i z e d t h e set
and taught t h e m to each of his Xing Yi Q u a n students as foundational training
f o r X i n g Yi. Z h a n g a s k e d i f I w o u l d like t o s e e t h e set a n d a l l o w e d m e t o f i l m h i m
p r a c t i c i n g all o f t h e e x e r c i s e s . I w a s v e r y i m p r e s s e d w i t h t h e s i m p l i c i t y o f t h e
e x e r c i s e s a n d t h e t h o r o u g h n e s s o f t h e e x e r c i s e set.

Z h a n g Bao Y a n g a n d his classmates were very o p e n a n d g e n e r o u s during our

first m e e t i n g . Z h a n g n o t o n l y s h o w e d u s t h e s i x t e e n h e a l i n g e x e r c i s e s a n d
several o f t h e i r X i n g Y i Q u a n f o r m s , b u t h e a l l o w e d m e t o c o p y all o f t h e
p h o t o g r a p h s he had collected of his teacher and o t h e r X i n g Yi Q u a n masters
d u r i n g h i s 4 0 years o f s t u d y i n g t h e a r t . T i m a n d 1 w e r e s o i m p r e s s e d w i t h Z h a n g
a n d h i s k n o w l e d g e o f X i n g Y i Q u a n t h a t o n O c t o b e r 1 1 t h w e w e n t b a c k t o visit
h i m to c o n d u c t a m o r e in-depth interview. During this interview we gathered
m o r e i n f o r m a t i o n a b o u t W a n g J i W u a n d his X i n g Y i ( J u a n .
As impressed as Tim and I were about Zhang Bao Yang's knowledge of X i n g
Y i , w e w e r e b o t h e q u a l l y i m p r e s s e d w i t h his p e r s o n a l i t y a n d c h a r a c t e r . T i m
c o m m e n t e d m a n y times about t h e clarity o f Z h a n g ' s s p o k e n word a n d his ability
t o e x p r e s s h i m s e l f v e r b a l l y . T i m said t h a t i t w a s o b v i o u s t h a t Z h a n g w a s a m a n

viii
o f h i g h e d u c a t i o n . Z h a n g ' s h o m e a n d his p e r s o n a l a p p e a r a n c e w e r e v e r y n e a t
a n d tidy, h e w a s a l w a y s e n e r g e t i c , h a d a v e r y p o s i t i v e a t t i t u d e , w i l l i n g l y
a n s w e r e d a n y o f o u r q u e s t i o n s , a n d n e v e r h a d a b a d thing, t o say a b o u t a n y o n e
else o r a n y o t h e r X i n g Y i s y s t e m . W h i l e m a n y A m e r i c a n s h a v e a s o m e w h a t
r o m a n t i c v i e w o f t h e " s c h o l a r l y b o x e r " a n d t h u s t h i n k t h a t t h e s e are c o m m o n
q u a l i t i e s f o u n d i n all o f t h e o l d b o x i n g m a s t e r s , t h e fact i s t h a t Z h a n g B a o Y a n g
i s a rare i n d i v i d u a l i n t h e b o x i n g w o r l d i n m a i n l a n d C h i n a .
I left C h i n a a t t h e e n d o f O c t o b e r , h o w e v e r , T i m s t a y e d I n t h e m a i n l a n d f o r
several m o r e w e e k s b e f o r e r e t u r n i n g t o T a i w a n . D u r i n g his t r a v e l s T i m r a n
a c r o s s a b o o k c a l l e d Shen (Jong {Jfttf) w h i c h w a s w r i t t e n by W a n g J i W u ' s s o n ,
W a n g I.ian Y i j£ H j . O n e of t h e chapters contained the sixteen exercises
which Zhang Bao Yang had shown us in Beijing. I began thinking about
p u b l i s h i n g a b o o k w h i c h c o n t a i n e d t h i s e x e r c i s e set a n d s o I a s k e d T i m t o
t r a n s l a t e w h a t w a s w r i t t e n i n W a n g Lian Y i ' s b o o k .
I r e t u r n e d t o B e i j i n g i n April 1 9 9 3 a n d a g a i n visited w i t h Z h a n g B a o Y a n g o n
several o c c a s i o n s . 1 t o l d Z h a n g of my i n t e r e s t in p u b l i s h i n g a b o o k of his
teacher's exercises a n d b e t h o u g h t that it would be a g o o d idea. During this trip
Z h a n g w e n t t h r o u g h e a c h o f t h e s i x t e e n e x e r c i s e s i n great d e t a i l w h i l e Bill
T u c k e r t r a n s l a t e d a n d I t o o k n o t e s . W h e n I r e t u r n e d h o m e I c o m p i l e d all o f t h e
i n f o r m a t i o n a n d p h o t o g r a p h s t h a t I had received from Z h a n g Bao Yang with t h e
i n f o r m a t i o n T i m h a d t r a n s l a t e d f r o m W a n g L i a n Yi's b o o k t o f o r m t h e first
r o u g h draft o f t h i s b o o k .
I n S e p t e m b e r 1 9 9 3 , 1 r e t u r n e d t o B e i j i n g a n d s h o w e d t h e first r o u g h d r a f t o f
t h e b o o k to Z h a n g . I f o u n d out that he a n d his classmates h a d also been busy
p r e p a r i n g m a t e r i a l for t h e b o o k . T h e y p r e s e n t e d m e w i t h r e v i s e d c o p i e s o f t h e
w r i t t e n m a t e r i a l t h e y h a d g i v e n m e d u r i n g m y first visit a n d a l s o g a v e m e a v e r y
detailed written description of each of the exercises. Z h a n g Bao Yang and W a n g
J i n Yu were not particularly f o n d of the way W a n g Ji W u ' s son h a d presented t h e
material in his b o o k . They felt t h a t h i s p r e s e n t a t i o n w a s t o o e s o t e r i c a n d
i n v o l v e d t o o m u c h o f t h e l a n g u a g e o f C h i n e s e m e d i c i n e . Z h a n g a n d W a n g felt
t h a t t h e e x e r c i s e s s h o u l d b e e x p l a i n e d i n a v e r y s t r a i g h t f o r w a r d , useful m a n n e r
a n d s o t h e y w a n t e d m e t o u s e t h e i r e x p l a n a t i o n s o f t h e e x e r c i s e s . Y o u will f i n d
t h a t I h a v e p r e s e n t e d b o t h W a n g l.ian Yi's m a t e r i a l a n d Z h a n g B a o Y a n g a n d
W a n g J i n Yu's material in this b o o k .

After r e t u r n i n g t o t h e U n i t e d S t a t e s , I s e n t t h e n e w m a t e r i a l t o T i m C a r t m e l l
to translate. T h e n e w m a t e r i a l i n c l u d e d t h e X i n g Y i Written Transmissions,
Explanations of the sixteen exercises, and historical information pertaining to
W a n g Ji Wu and W a n g Fu Yuan. Additionally, the biographies of W a n g ' s
students were included.
B e t w e e n N o v e m b e r 1 9 9 3 a n d M a r c h 1 9 9 4 , 1 p u t t o g e t h e r all o f t h e t r a n s l a t e d
i n f o r m a t i o n , wrote a biography of W a n g Ji W u ' s X i n g Yi lineage, added s o m e
material T i m h a d written about Xing Yi's s t a n d i n g practice, a n d printed a
s e c o n d r o u g h draft o f t h e b o o k . I n April 1 9 9 4 , T i m C a r t m e l l a n d i w e n t b a c k t o
visit Z h a n g B a o Y a n g a n d W a n g J i n Y u a n d s h o w e d t h e m t h e s e c o n d d r a f t .
Z h a n g and W a n g were b o t h pleased with t h e w a y t h e b o o k was s h a p i n g u p .
D u r i n g these m e e t i n g s , we asked s o m e m o r e detailed q u e s t i o n s about t h e
e x e r c i s e s , t h e w r i t t e n t r a n s m i s s i o n s , a n d X i n g Yi's s t a n d i n g p r a c t i c e . Z h a n g B a o
Y a n g a l s o p o s e d f o r all o f t h e p h o t o g r a p h s p r e s e n t e d i n t h e s e c t i o n s o n t h e
sixteen exercises a n d t h e standing practice. Additionally, Zhang gave us a video
t a p e h e h a d p r e p a r e d w h i c h c o n t a i n e d all o f t h e s o l o f o r m s , t w o - p e r s o n sets,
w e a p o n s forms and supplemental exercises from their X i n g Yi system. Included
o n t h i s t a p e w a s a l s o a p o w e r t r a i n i n g set w h e r e b y Z h a n g p e r f o r m e d X i n g Yi's
five e l e m e n t s w i t h a l o n g s p e a r .
S i n c e 1 w a n t e d t h i s b o o k t o r e p r e s e n t all o f t h e s u p p l e m e n t a l h e a l t h a n d
strength building exercises that a X i n g Yi practitioner might practice in
c o n j u n c t i o n w i t h t h e s t a n d a r d X i n g Y i f o r m s a n d t w o - p e r s o n sets, 1 d e c i d e d t o
a d d a c h a p t e r o n t h e p o w e r t r a i n i n g e x e r c i s e s w i t h t h e l o n g s p e a r . After o u r t r i p
t o B e i j i n g i n April, I i n c o r p o r a t e d t h e n e w m a t e r i a l w i t h t h e draft v e r s i o n o f t h e
b o o k a n d t h e result i s w h a t y o u n o w h o l d i n y o u r h a n d s .
T h e e x e r c i s e s p r e s e n t e d i n t h i s b o o k are s i m p l e a n d f u n c t i o n a l . T h e r e i s n o t
a n y t h i n g " e s o t e r i c " o r " m y s t i c a l " a b o u t t h e m . Like t h e art o f X i n g Y i itself, t h e s e
e x e r c i s e s a r e d i r e c t , p r a c t i c a l , a n d t h e y p r o d u c e results i f p r a c t i c e d d i l i g e n t l y .
In the Spring of 1 9 9 3 , V i n c e Black, T i m Cartmell, a n d I were interviewing a
X i n g Y i master i n T a i w a n . W e h a d b e e n asking q u e s t i o n s o f this g e n t l e m a n for
a c o u p l e o f h o u r s a n d a s t h e i n t e r v i e w c a m e t o a c l o s e V i n c e said, " B e f o r e w e e n d
this interview, are t h e r e a n y words of advice t h a t y o u can give us regarding t h e
p r a c t i c e o f X i n g Y i . " T h e g e n t l e m a n t h o u g h t f o r a m i n u t e a n d t h e n said, " Y o u
c a n n o t b e t o o s m a r t a n d p r a c t i c e X i n g Yi. A t t a i n m e n t o f X i n g Y i skill r e q u i r e s
r e p e t i t i o n o f t h e s a m e t h i n g t h o u s a n d s o f t i m e s . I f y o u t h i n k t o o m u c h y o u will
n o t be c o n t e n t with repeating the same m o v e m e n t s so m a n y times. Practice
hard, keep it simple, a n d d o n ' t be t o o s m a r t ! " T h i s is t h e same as t h e X i n g Yi
Q u a n adage to "practice t h e plain without e m b e l l i s h m e n t , practice simple
m o v e m e n t s until t h e y are highly r e f i n e d . "

T h e s a m e a d v i c e a p p l i e s t o t h e m a t e r i a l p r e s e n t e d i n t h i s b o o k . For b e s t
results, t h e s t a n d i n g p r a c t i c e a n d h e a l t h e x e r c i s e s s h o u l d b e p r a c t i c e d e v e r y d a y
b e f o r e a n d a f t e r f o r m s p r a c t i c e . D o n o t t r y t o read t o o m u c h i n t o t h e e x e r c i s e s ,
k e e p t h e m s i m p l e a n d p r a c t i c e e v e r y d a y a n d t h e g o o d results will n a t u r a l l y
follow. We h o p e that you enjoy this book.

Dan Miller
Summer 1994
Pacific Grove, CA
 Translator's Preface
by Tim Cartmell

T h e r e h a v e b e e n m a n y b o o k s o n X i n g Y i Q u a n f o r m s b u t v e r y little w r i t t e n
o n t r a i n i n g t h e b a s i c s a n d s u p p l e m e n t a r y t r a i n i n g . All m a r t i a l arts i n c l u d e b o t h
f o r m s t r a i n i n g (quart too) as w e l l as s u p p l e m e n t a r y p o w e r t r a i n i n g (Han gong).
T h e r e i s a f a m o u s q u o t e i n t h e C h i n e s e m a r t i a l arts w o r l d w h i c h s t a t e s , " I f o n e
p r a c t i c e s m a r t i a l f o r m s w i t h o u t a l s o t r a i n i n g f o r p o w e r , i n t h e e n d o n e will h a v e
achieved nothing." I t i s o u r h o p e t h a t t h i s b o o k will b e u s e f u l t o t h o s e
p r a c t i t i o n e r s o f X i n g Y i Q u a n ( o r a n y o t h e r m a r t i a l art) w h o are l o o k i n g f o r
traditional m e t h o d s of p o w e r training to s u p p l e m e n t their art. It s h o u l d be
noted that in addition to the potential increase in martial power that these
e x e r c i s e s a f f o r d t h e y are a l s o e x c e l l e n t h e a l t h b u i l d i n g m e t h o d s i n t h e i r o w n
right.

W h y i s i t t h a t t h e C h i n e s e a u t h o r s o f b o o k s o n X i n g Y i Q u a n are w i l l i n g t o
write extensively on the practice of b o x i n g forms, but supplementary power
t r a i n i n g i s u s u a l l y m e n t i o n e d i n p a s s i n g , i f a t a l l ? T h e a n s w e r lies i n t h e fact t h a t
b o x i n g f o r m s are useless u n l e s s t h e p r a c t i t i o n e r h a s t h e k n o w l e d g e o f h o w t h e y
are applied a n d t h e power to apply t h e m . As simple a n d basic as some of t h e
s u p p l e m e n t a r y exercises m a y seem, they were generally kept "secret." T h e
t r a d i t i o n a l c o n c e p t o f m a r t i a l i n s t r u c t i o n w a s t o drill a s t u d e n t i n f o r m s u n t i l
t h e t e a c h e r w a s c o n v i n c e d o f his s i n c e r i t y a n d m o t i v e s b e f o r e t h e m e t h o d s o f
power training and application were revealed. And these m e t h o d s were usually
c o n c e a l e d from t h e general public. Although in t h e m o d e r n world such ideas
m a y s e e m a bit a r c h a i c , k e e p i n g i n s u c h i n f o r m a t i o n s e c r e t i s still c o m m o n
a m o n g m a n y teachers.

Dan Miller a n d I were fortunate e n o u g h to m e e t Z h a n g Bao Yang by c h a n c e .

He h a d at o n e time been the head of the Beijing X i n g Yi Quan Association and
n o w serves a s a n a d v i s o r . Z h a n g w a s o n e o f t h e t o p s t u d e n t s o f W a n g J i W u , w h o
in t u r n was o n e of t h e great X i n g Yi Q u a n masters of this c e n t u r y . Z h a n g B a o
Y a n g i s o n e o f t h o s e rare i n d i v i d u a l s w h o p u t s t h e p r o m o t i o n o f h i s art a b o v e
his o w n personal gain. He m e t w i t h D a n a n d I several t i m e s a n d was c o m p l e t e l y
o p e n i n s h a r i n g h i s k n o w l e d g e w i t h u s . H e t a u g h t u s t h e set o f s i x t e e n e x e r c i s e s
f o r h e a l t h w h i c h his t e a c h e r h a d s t a n d a r d i z e d a n d w h i c h f o r m e d t h e n u c l e u s o f
t h e i r b a s i c t r a i n i n g . A l t h o u g h t h e m e t h o d i s r e f e r r e d t o a s a set o f h e a l t h
b u i l d i n g e x e r c i s e s , t h e s e m o v e m e n t s are a l s o t h e f o u n d a t i o n o f p o w e r t r a i n i n g .
In Xi An 1 c a m e u p o n a c o p y of a b o o k written by a n o t h e r of W a n g Ji W u ' s
s t u d e n t s (his s o n W a n g l.ian Yi) w h i c h i n c l u d e d t h e s i x t e e n h e a l t h e x e r c i s e s a n d
from w h i c h s o m e of t h e i n f o r m a t i o n in this b o o k is taken. But t h e a b o v e
m e n t i o n e d w o r k left o u t m a n y o f t h e f i n e r p o i n t s w h i c h Z h a n g B a o Y a n g later
i n c l u d e d . A n o t h e r o f W a n g j i W u ' s students, W a n g J i n Y u was also most helpful
i n c l a r i f y i n g t h e f i n e r p o i n t s o f t r a i n i n g . T h e last t i m e w e v i s i t e d Z h a n g , h e a l s o
s h o w e d us advanced m e t h o d s of power training with a long spear which should
p r o v e t o b e m o s t useful t o a d v a n c e d p r a c t i t i o n e r s o f t h e a r t . I n a d d i t i o n , t h e r e
is a rather extensive section on the benefits and practice of stance keeping,
a n o t h e r pillar o f X i n g Y i Q u a n b a s i c t r a i n i n g . I t h i n k t h i s b o o k i s a n i m p o r t a n t
first s t e p i n p r e s e n t i n g t h e " o t h e r s i d e " o f X i n g Y i Q u a n t r a i n i n g a n d I h o p e y o u
will f i n d t h e i n f o r m a t i o n i n c l u d e d h e r e u s e f u l t o y o u r o w n t r a i n i n g .

Tim Cartmell
Summer 1994
Taipei, Taiwan

Ml
 Foreword
by Vince Black

It is a privilege to write t h e forward to such an i m p o r t a n t piece of work on

t h i s lesser k n o w n a s p e c t o f t r a d i t i o n a l p h y s i c a l c u l t u r e m e t h o d s . T h i s b o o k v e r y
n e a r l y s t a n d s a l o n e i n its o r i g i n a l i t y a s a c o n t r i b u t i o n f r o m a m o s t s e n i o r m a s t e r
(and his students) of a traditional school of internal pugilism. This u n i q u e
p o s i t i o n i s s h a r e d b y few o t h e r s , p e r h a p s o n l y S u n L u T a n g a n d W a n g Z i P i n g ,
d u e t o t h e f a c t t h a t few b o x e r s a t t a i n s u c h h i g h level skills a n d k n o w l e d g e i n
b o t h m a r t i a l arts a n d t r a d i t i o n a l C h i n e s e m e d i c i n e , a s w e l l a s p o s s e s s i n g t h e
l i t e r a r y skill o f w r i t i n g , e a c h o f w h i c h r e q u i r e s y e a r s o f s t u d y . F u r t h e r m o r e ,
a c q u i r i n g e x p e r t i s e i n t h e s e v a r i e d skills w h i l e t r y i n g t o s u r v i v e t h e t u m u l t u o u s
h i s t o r i c a l p e r i o d o f t h e last c e n t u r y i n C h i n a w a s a m o n u m e n t a l a c h i e v e m e n t
i n a n d o f itself. T h e fact t h a t w e o n l y n o w h a v e i t all c o n s o l i d a t e d i n b o o k f o r m
is a n o t i o n that requires m o r e t h a n a passing t h o u g h t to appreciate. W a n g Ji Wu
a n d his students, in two g e n e r a t i o n s s p a n n i n g o n e h u n d r e d years, steadfastly
p e r s e v e r e d i n t h e i r p u r s u i t o f a life o f p h y s i c a l c u l t u r e a n d m e d i c i n e t h r o u g h
f a m i n e s , wars, m i l i t a r y o c c u p a t i o n s , a n d p o l i t i c a l a n d s o c i a l r e v o l u t i o n s , n o n e
o f w h i c h a l l o w s easily t h e u n i n t e r r u p t e d p u r s u i t o f t h e s e a r t s . I n s p i t e o f t h e
d i s c o r d a n d c o n s t a n t d i s r u p t i o n i n t h e i r lives, t h e s e i n v e t e r a t e b o x e r s c o n t i n u e d
t o p r a c t i c e t h e i r arts a n d t h i s b o o k i s t e s t i m o n y n o t o n l y t o t h e i r p e r s o n a l
a c h i e v e m e n t but to their willingness to share this knowledge o p e n l y with us.

W a n g J i W u lived t o 1 0 0 y e a r s o f age r e m a i n i n g r e m a r k a b l y spry t o v e r y l a t e

i n l i f e . T h i s i m p r e s s i v e s t r e t c h o f t i m e a l l o w e d h i s w o r l d v i e w t o e n r i c h itself
several g e n e r a t i o n s longer t h a n most people; t i m e t o refine a n d focus o n t h e
p o i n t s t h a t r e a l l y m a t t e r . His l e g a c y w a s t h e n c a r r i e d o n h y h i s s t u d e n t s Z h a n g
B a o Y a n g , W a n g J i n Yu, H e Y u Q i , W a n g L i a n Yi, a n d o t h e r s w h o h a v e r e m a i n e d
c l o s e a n d c o n t i n u e t o f o l l o w his e x a m p l e . Mr. Zhang Bao Yang and his
associates have worked together to produce this work in m e m o r y of their teacher
a n d f o r t h e b e n e f i t o f all t h o s e w h o v a l u e t h e t r a d i t i o n a l m e t h o d s o f p h y s i c a l
c u l t i v a t i o n o f b o d y , m i n d , a n d spirit.
I n m y o w n p u r s u i t o f X i n g Y i Q u a n , s p a n n i n g t h e last t w e n t y years, I h a v e
researched m a n y different expressions of X i n g Yi from various sources. W h i l e
e a c h o n e m a y h a v e t h e i r o w n s t y l i s t i c d i f f e r e n c e , t h e y all s h a r e t h e s a m e
e s s e n t i a l p r i n c i p l e s o f t h e art i n v a r y i n g d e g r e e s o f e m p h a s i s , f o r m y p e r s o n a l
n e e d I have selected several senior masters of X i n g Yi f r o m w h o m I draw to
d e v e l o p m y p e r s o n a l a r t . M y first " t r u e t e a c h e r " i n X i n g Y i w a s Hsu H o n g C h i
of Taipei, T a i w a n w h o s e s y s t e m 1 studied for ten years until his passing. T h e
o t h e r s f r o m w h o m I g l e a n e d v a l u a b l e i n s i g h t s a n d m e t h o d s are all m e n w h o
h a v e f o r t y t o f i f t y y e a r s e x p e r i e n c e i n X i n g Y i a n d all o f t h e s e m e n , w i t h o u t
e x c e p t i o n , h a v e h i g h regard f o r t h e i r c o m p l e m e n t a r y o r a d j u n c t i v e e x e r c i s e s .
W h i l e m a n y of t h e exercises were t h e same or similar versions, s o m e would be
distinctly u n i q u e to that master a n d clearly reflective of his favorite personal

xiii
t e c h n i q u e s , o r a t least h i s o w n c h a r a c t e r a n d p e r s o n a l n a t u r e .
S u p p l e m e n t a r y e x e r c i s e s are o f t e n v i e w e d a s o p t i o n a l o r n o n e s s e n t i a l . T h i s
i s c e r t a i n l y a s h o r t s i g h t e d i f n o t i n c o r r e c t a t t i t u d e . For t h e last t e n y e a r s , I h a v e
t r a v e l e d all o v e r t h e U . S . a n d C a n a d a t e a c h i n g X i n g Y i Q u a n f o r t h e N o r t h
American T a n g S h o u T a o Association. In these efforts, working with study
g r o u p s o f i n t e r n a l b o x e r s I h a v e c o m e t o rely w h o l e h e a r t e d l y o n o u r m u l t i -
layered system of s u p p l e m e n t a r y exercises to supplant t h e need of an ever
present teacher which is almost never possible. On m a n y occasions, I have had
to respond to observers, m o r e familiar with t h e generic martial expressions of
X i n g Yi proper, w h o would question the relationship of these exercises as t h e y
were unable to c o n n e c t t h e m specifically to t h e m o r e well-known X i n g Yi
p o s t u r i n g . T h e p e r c e p t u a l p r o b l e m results f r o m t h e a b s t r a c t n a t u r e o f X i n g Y i
d e v e l o p m e n t in general and t h e t e n d e n c y of h u m a n nature to a t t e m p t to relate
seemingly familiar c o m p o n e n t s from o n e school of t h o u g h t to a n o t h e r a n d
t h e r e b y s h o r t c h a n g e t h e m o r e s u b l i m e a t t r i b u t e s o f t h e o t h e r s c h o o l . H.L.
M e n c k e n clearly grasped t h e p r o b l e m w h e n he said, " T h e critic, to interpret his
a r t i s t , e v e n u n d e r s t a n d h i s a r t i s t , m u s t b e a b l e t o get i n t o t h e m i n d o f h i s a r t i s t ,
h e m u s t feel a n d c o m p r e h e n d t h e vast p r e s s u r e o f t h e c r e a t i v e p e r s o n . "

U p o n t h o r o u g h e x a m i n a t i o n , Xing Yi Nei Gong o f f e r s t h e r e a d e r m a n y

different perspectives from w h i c h to view t h e m o r e p r o f o u n d d e v e l o p m e n t a l
aspects of X i n g Yi training for b o t h t h e martial artists a n d for t h o s e interested
i n m e r e l y m a i n t a i n i n g t h e i r o p t i m u m h e a l t h far i n t o t h e t w i l i g h t o f t h e i r y e a r s .
T y p i c a l o f X i n g Y i m e t h o d s , W a n g J i W u ' s e x e r c i s e s are a r c h e t y p i c a l l y s i m p l e i n
d e s i g n yet s u b t l y p r o f o u n d i n e f f e c t . T h i s i s q u i n t e s s e n t i a l X i n g Y i .
I f t h e fruit i s a n y i n d i c a t i o n o f t h e q u a l i t y o f t h e tree, t h e n M r . Z h a n g B a o
Y a n g i s p r o o f p o s i t i v e o f t h e e f f i c a c y o f W a n g J i W u ' s m e t h o d s . I first m e t M r .
Z h a n g B a o Y a n g several y e a r s a g o a t his h o m e i n B e i j i n g . W e w e r e w a i t i n g i n
h i s r e c e i v i n g r o o m a t h i s h o m e w h e n h e arrived just b e f o r e 1 1 : 0 0 p m . I w a s
i m m e d i a t e l y impressed with the casual and easy m a n n e r with w h i c h he m o v e d
a b o u t t h e r o o m o f f e r i n g u s tea a n d f o o d . T w e n t y m i n u t e s e a r l i e r w e a l s o h a d
t o c l i m b t h e t e n f l o o r s o f stairs t o his a p a r t m e n t a n d i t s e e m e d m o r e t a x i n g o n
u s t h a n o n t h i s m a n i n his s e v e n t i e s . S h o r t l y a f t e r h i s arrival f r o m a l o n g w o r k
day he received a couple from a n e i g h b o r i n g a p a r t m e n t . It seemed t h e w o m a n
had t h r o w n her back out a n d , nearly doubled over in pain, c a m e to Mr. Z h a n g
f o r e m e r g e n c y t r e a t m e n t . H e g r a c i o u s l y a n d e n e r g e t i c a l l y i n v i t e d h e r t o lie
d o w n o n a m a k e s h i f t t a b l e a n d p r o c e e d e d t o g e n t l y w o r k o n h e r . His m e t h o d s
w e r e s i m p l e a n d few a n d h e p e r f o r m e d t h e m e f f o r t l e s s l y . Within twenty
m i n u t e s s h e w a s u p a n d s m i l i n g , t h a n k i n g h i m r e p e a t e d l y . H e s a w t h e m off,
w a l k i n g t h e m d o w n t h e h a l l part w a y h o m e , t y p i c a l o f C h i n e s e e t i q u e t t e , t h e n
r e t u r n e d t o d i s c u s s his Q i Gong. H e i m m e d i a t e l y t o o k e v e r y o p p o r t u n i t y a n d
m a d e every effort to see t h a t we clearly u n d e r s t o o d he was n o t m a k i n g a n y
extraordinary claims about his Qi methods. He didn't approve of flim flam and
abstruse m e t h o d s of inexplicable p h e n o m e n a . He regarded this kind of
i n f a t u a t i o n w i t h t h e bizarre a s u n h e a l t h y a n d p o s s i b l y d i s h o n e s t . O n c e w e w e r e
a b l e t o assure h i m w e w e r e n o t i n t e r e s t e d i n t h o s e t y p e s o f p e r f o r m a n c e , h e
o p e n l y a n d g e n e r o u s l y s h a r e d all t h a t w e w e r e a b l e t o a d d r e s s i n t h e t i m e w e h a d .

I n s u b s e q u e n t visits a n d o p p o r t u n i t i e s t o v i e w h i s a b i l i t i e s b o t h t e a c h i n g a n d
p e r f o r m i n g h i s X i n g Y i Nei G o n g , X i n g Y i Q u a n , a n d t r a d i t i o n a l m e d i c i n e skills,
it was clear that he is a true representative of t h e highest expression of C h i n e s e

xiv
physical culture. N o r i s h e t h e l o n e b a s t i o n o f W a n g J i W u ' s t e a c h i n g s , for
s e v e r a l o f h i s c l o s e a s s o c i a t e s i n his k u n g f u f a m i l y a r e e q u a l l y r e f i n e d i n t h e i r
c o m p r e h e n s i o n of t h e arts of X i n g Yi a n d traditional C h i n e s e m e d i c i n e as well
as their o w n personal character.
Xing Yi Nri Gong is n o t h i n g s h o r t of a n o t h e r m i l e s t o n e in t h e d e v e l o p m e n t
of internal b o x i n g in t h e English speaking world. It is in fact providing that very
e l e m e n t , so conspicuously missing in m o s t X i n g Yi programs, that is a specific
focus on health m a i n t e n a n c e a n d internal strength development through
specific yet n o n - m a r t i a l exercises. S o m e o f t h e f o r m s are p e r f o r m e d w i t h
objective simplicity that can be viewed as a further abstraction of t h e slightly
m o r e s u b j e c t i v e m a r t i a l g e s t u r i n g t h a t lies a t t h e h e a r t o f t h e s y s t e m , w h i c h
f o r m s t h e r o o t o f c e r t a i n m a r t i a l s t r a t a g e m s . O t h e r f o r m s a r e less i n v o l v e d i n
active m o v e m e n t s a n d m o r e usefully regarded as static posturing in m i m i c r y of
n a t u r a l e l e m e n t s , t h e r e b y c a p t u r i n g t h e p s y c h o l o g i c a l e s s e n c e t h a t lies a t t h e
heart of the natural power cultivated in the process. It is this multi-dimensional
approach to exploring and developing the essence of our nature that I find Xing
Yi a m o s t f a s c i n a t i n g art f o r m .

This routine of W a n g j i W u ' s has been developed, handed down, and further
developed, organized a n d expounded upon by generations of Xing Yi practitioners
o f t h e h i g h e s t o r d e r w h o s e s o l e m o t i v a t i o n w a s a l i f e l o n g l o v e f o r t h e art o f X i n g
Yi a n d w h o s e h o p e a n d purpose was t h e preservation a n d proliferation of this
m a g n i f i c e n t a r t . A s a m e t h o d t h a t t a r g e t s ever h i g h e r l e v e l s o f a c h i e v e m e n t ,
e a c h exercise is built on a foundation developed by t h e previous exercise.
Bearing this in m i n d , o n e will progress m o r e quickly a n d with m o r e c o m p l e t e
results. This is n o t to dwell intellectually on these p o i n t s but to simply
a p p r e c i a t e t h e i r m u t u a l r e l a t i o n s h i p . T o b e a b l e t o see t h e t h o u s a n d i n t h e o n e ,
a n d t h e o n e i n t h e t h o u s a n d , o n e first h a s t o m a n i f e s t t h e p r i n c i p l e .
For t h e purpose of providing a deeper a n d broader view of t h e relationship
b e t w e e n these exercises a n d t h e X i n g Yi system, several chapters have b e e n
added to offer m o r e linkage between t h e supplemental training and the martial
aspects of t h e art. M r . Miller's a n d M r . C a r t m e l l ' s discussion of the basic
c o n c e p t s a n d structured analysis of t h e basic son h' posture of X i n g Yi Q u a n offers
m a n y departure points from which to e x a m i n e t h e various aspects of the basic
essentials entailed in the X i n g Yi foundation and m a n a g e s to do so in a direct
" j u s t t h e f a c t s " m a n n e r . A r e a d i n g t h a t a n y a s p i r i n g p r a c t i t i o n e r will f i n d u s e f u l .
T h e h i s t o r i c a l b a c k g r o u n d i n f o r m a t i o n , a l o n g w i t h t h e m a n y rare p h o t o g r a p h s ,
a n d t h e material on t h e X i n g Yi spear is an added b o n u s for t h o s e practitioners
w h o seek further personal research material.

We owe a debt of thanks to Mr. Zhang Bao Yang, Mr. W a n g Jin Yu, Mr. He
Y u Q i , M r . W a n g L i a n Y i , a n d all t h e i r b r e t h r e n w h o s h a r e d i n t h i s c o n t r i b u t i o n
t o all f u t u r e g e n e r a t i o n s o f X i n g Y i p r a c t i t i o n e r s a r o u n d t h e w o r l d . F o r t u n a t e
we are to have b e e n able to, t h r o u g h t h e m , reach deeply i n t o t h e past history
o f o u r art a n d c o m e t o k n o w t h e i r t e a c h e r M r . W a n g j i W u .

Vince Black
Summer 1994
T u c s o n , Arizona

xv
 Chapter 1

Wang Ji Wu
and the lineage of his

Xing Yi Quan

Xing Yi Quan Master W a n g Ji Wu (1891-1991)

Xing Yi Nei Gong

Wang Ji Wu and the lineage

of his Xing Yi Quan
by Dan Miller

Wangji Wu £ 0 , w h o w a s a l s o k n o w n a s W a n g Z h o n g G a o ( i $ * |jj), w a s
a n a t i v e of S h a n x i Province, Yu Ci C o u n t y , D o n g S h a n Village. He was b o r n in
1891. His g r a n d f a t h e r w a s a f a m o u s C h i n e s e d o c t o r a n d w a s c o n s i d e r e d
incorruptible. Likewise, W a n g ' s father was charitable a n d enthusiastically acted
for t h e g o o d o f t h e c o m m u n i t y . I n his y o u t h , W a n g j i W u studied i n t h e village
s c h o o l a n d was a gifted s t u d e n t . He h a d a natural love of martial arts a n d studied
what he c o u l d with t h e martial artists of his village. He was a student by d a y a n d
t h e w a t c h m a n o f a g o u r d p a t c h a t n i g h t , w h i c h left p l e n t y o f t i m e for m a r t i a l arts
practice while at work. During a lifetime of study, W a n g b e c a m e an expert of
m a r t i a l arts ( i n c l u d i n g f / i ' ^ o n , ? - < £ ) a n d C h i n e s e M e d i c i n e ( i n c l u d i n g o s t e o p a t h y ) .
J

B e c a u s e o f h i s d e e p u n d e r s t a n d i n g o f b o t h t h e m a r t i a l a n d m e d i c a l arts, h i s level
o f a t t a i n m e n t i n b o t h w a s v e r y h i g h . H e led a s t a b l e life, p l a c i n g j u s t i c e a b o v e
material gains, and took pleasure
in helping others. Because of
this, he was m u c h respected a n d
a d m i r e d by h is f r i e n d s a n d f a m i l y .

W a n g j i Wu's Xing Yi lineage

At sixteen years of age, W a n g
J i W u m o v e d t o t h e c i t y o f Tai
Yuan in Shanxi Province to
apprentice in business. Here,
w h e n h e w a s e i g h t e e n years o f
age, h e w a s i n t r o d u c e d t o W a n g
Fu Yuan ( i f a ? t ) . <°P s t u d e n t
a

of the famed Xing Yi Quan master

L i u Q i Lan ( f ' J - f t f ) .

X i n g Yi Q u a n ( # • * * • ) was
created at the end of the Ming
D y n a s t y by Ji L o n g F e n g * g,
- a l s o k n o w n as Ji Ji Ke - if fft *T)
ofShanxiProvince. Insucceeding
g e n e r a t i o n s t h e art spread
t h r o u g h o u t S h a n x i , Hebei, a n d
Henan provinces and
s u b s e q u e n t l y t o t h e rest o f t h e
world. W a n g Ji Wu's Xing Yi
Q u a n lineage is well k n o w n to A young Wang Ji Wu

2
Xing Yi Nei Gong

W a n g Ji Wu (left - a g e 63) sits with t w o of his X i n g Yi Q u a n f r i e n d s ,

Ma Yu T a n g (center - age 82) a n d Zhang X i a n g Zhai (nicknamed the
" I r o n L o h a n " - age 80). This picture w a s t a k e n in 1954. Wang Ji Wu
lived t o b e 100 y e a r s old. M a Y u T a n g died a t 87, a n d
Zhang Xiang Zhai lived to be 96.

t h o s e w h o are f a m i l i a r w i i h t h e h i s t o r y o f X i n g Y i Q u a n . H e w a s a s e v e n t h
g e n e r a t i o n i n h e r i t o r o f t h e style o f X i n g Y i Q u a n w h i c h o r i g i n a t e d w i t h J i J i K e
( a l s o k n o w n a s j i L o n g F e n g ) . J i J i K e passed his art t o C a o J i W u w h o p a s s e d i t
t o D a i L o n g B a n g , w h o i n t u r n passed i t t o L i N e n g Ran ( a l s o k n o w n a s L i L o u
N e n g ) . L i N e n g Ran t a u g h t Liu Q i L a n , w h o t a u g h t W a n g j i W u ' s t e a c h e r , W a n g
F u Y u a n . Thus W a n g J i W u w a s o f t h e s e v e n t h g e n e r a t i o n o f J i J i Ke's X i n g Y i
Q u a n (see d e t a i l e d l i n e a g e c h a r t o n t h e p r e v i o u s p a g e ) .

D a i S t y l e X i n g Yi Q u a n £ $ $ )
The style of Xing ViQuau w n i c n W a n g j T fv'u t a u g h t a n a ' p r a c t i c e d " is k n o w n
as t h e D a i style of X i n g Yi Q u a n ( o r i g i n a l l y c a l l e d Liu He Xin YiQuan-^ - f i - ^ - f t #-)
b e c a u s e i t d e s c e n d e d f r o m C a o J i W u ' s s t u d e n t , Dai L o n g B a n g .
Dai L o n g B a n g w a s b o r n i n t h e b e g i n n i n g o f Q i n g d y n a s t y i n S h a n x i P r o v i n c e ,
( J i C o u n t y . His f a m i l y h a d t w o s o n s . H e h a d a n o l d e r b r o t h e r n a m e d D a i L i n g
B a n g (K ft -*P). T h e y b o t h h a d liked p r a c t i c i n g m a r t i a l arts s i n c e t h e y w e r e
v o i m g . As small boys, t h e t w o b r o t h e r s practiced m i m i c i n g fighting m o v e m e n t s
with sticks a n d o t h e r o b j e c t s they f o u n d a n d e n j o y e d practicing kicking,
s t r e t c h i n g , l i f t i n g w e i g h t s , a n d t h r o w i n g s a n d b a g s . B y t h e t i m e Dai L o n g B a n g
was i n h i s t e e n s his a r m s w e r e v e r y s t r o n g . O n e d a y i n t h e v i l l a g e a m i l l s t o n e fell
a n d n o o n e c o u l d m o v e it. D a i a p p r o a c h e d t h e s t o n e , s q u a t t e d d o w n , p i c k e d i t
-p and put it b a c k were it b e l o n g e d . S o o n Dai b e c a m e f a m o u s for his s t r e n g t h .
T h e y c a l l e d h i m " t w o d o n k e y " Dai b e c a u s e h e w a s s o s t r o n g .
O n e y e a r i n t h e s u m m e r i t r a i n e d c o n t i n u o u s l y f o r o v e r t e n days a n d t h e s t r e e t

4
 Lineage

o u t i n f r o n t o f t h e i r s h o p b e c a m e like a river. S o m e o n e w a s d e l i v e r i n g g o o d s i n
a w a g o n a n d t h e w h e e l s o f t h e w a g o n g o t c a u g h t i n t h e m u d . F o u r o r five w o r k e r s
couldn't m o v e t h e w a g o n out o f t h e m u d . Dai said, "Let m e try." W i t h o n e
breath and a shove he pushed the wagon out of the m u d . T h e people watching
started calling h i m " s t r o n g m a n " Dai.
After Dai lifted t h e w a g o n , h e h e a r d a l a u g h i n g v o i c e b e h i n d h i m s a y i n g , " H a ,
y o u a r e really a s t r o n g m a n ! " H e t u r n e d a r o u n d a n d s a w a n o l d m a n s t a n d i n g
t h e r e . D a i felt t h a t t h e m a n h a d a s p e c i a l l o o k a b o u t h i m . D a i s a i d , " I c a n t e l l
b y y o u r a c c e n t y o u are f r o m Q i C o u n t y . H o w e v e r , 1 d o n ' t t h i n k 1 h a v e e v e r s e e n
y o u b e f o r e . " Dai a s k e d h i m w h o h e w a s a n d t h e m a n said t h a t his n a m e w a s C a o
J i W u . H e h a d b e e n t r a v e l i n g f o r y e a r s a n d w a s n o w o n his w a y h o m e . D a i i n v i t e d
h i m in f o r a rest.
As Dai a n d C a o were walking t h r o u g h t h e courtyard, t h e y passed by a tree.
C a o a c t e d a s i f h e w a s t r i p p e d b y a t r e e r o o t a n d l o o k e d a s i f h e w a s g o i n g t o fall
f o r w a r d . D a i g r a b b e d C a o a r o u n d t h e w a i s t i n a n a t t e m p t t o pull h i m u p b e f o r e
h e fell t o t h e g r o u n d . N o m a t t e r h o w h a r d h e t r i e d , D a i c o u l d n o t pull h i m u p .
It was as if C a o h a d roots in t h e g r o u n d . C a o finally s t o o d up, l a u g h e d a n d said,
" H a , s t r o n g m a n , w h e r e i s y o u r s t r e n g t h n o w ? " Dai k n e w t h a t C a o w a s a m a n
o f u n c o m m o n skill a n d b o w e d b e f o r e h i m t o ask t o b e c o m e h i s s t u d e n t .
T h e n e x t d a y C a o said h e w a s l e a v i n g t o g o b a c k t o t h e c o u n t r y s i d e . D a i
b e g g e d h i m t o s t a y . C a o a g r e e d t o s t a y f o r a few d a y s . D a i fed h i m well a n d d i d
e v e r y t h i n g for h i m . C a o , e n j o y i n g t h i s a r r a n g e m e n t a n d i n n o h u r r y t o g e t
h o m e , s t a y e d w i t h D a i f o r t h r e e m o n t h s . E v e r y d a y Dai a s k e d i f C a o w o u l d t e a c h
him a n d C a o refused.
Dai a n d C a o slept i n t h e s a m e r o o m a n d o n e n i g h t Dai w o k e u p a n d d i s c o v e r e d
C a o w a s g o n e . T h e n e x t few n i g h t s Dai p r e t e n d e d h e w a s a s l e e p a n d e a c h n i g h t
he saw C a o sneaking out as s o o n as he t h o u g h t Dai h a d fallen asleep. Dai
p r e t e n d e d t o fall a s l e e p a g a i n t h e n e x t n i g h t a n d a f t e r C a o h a d left, h e w e n t o u t
t o see w h a t C a o w a s d o i n g . W h e n C a o r e a c h e d t h e wall a r o u n d t h e c o u r t y a r d
i n f r o n t o f D a i ' s h o m e b e e a s i l y l e a p t o v e r it. T h e wall w a s h i g h s o Dai h a d t o
c l i m b h i s w a y o v e r . C a o w e n t o u t i n t o a c l e a r i n g a n d b e g a n t o p r a c t i c e his m a r t i a l
arts. His m o v e m e n t w a s fast, a c c u r a t e a n d v i c i o u s . D a i w a s s o i m p r e s s e d t h a t h e
could not c o n t a i n himself as he cried out in a m a z e m e n t . C a o turned a r o u n d a n d
s e e i n g Dai said, " l a m o l d n o w a n d c a n ' t m o v e s o w e l l , p l e a s e d o n o t l a u g h a t m e
for d o i n g m a r t i a l arts t h i s w a y .

T h e y w e n t b a c k t o h a v e t e a . C a o s a i d t h a t s i n c e Dai h a d s e e n h i m , h e w o u l d n ' t
h i d e t h e t r u t h f r o m h i m a n y m o r e . H e said " 1 w a s a i n n e r d o o r s t u d e n t o f J i J I K e
f o r t e n y e a r s . " C a o r e v e a l e d t h a t i n t h e s c h o l a r l y e x a m s h e h a d r e a c h e d t h e first
level a n d i n t h e m a r t i a l e x a m i n a t i o n s h e h a d p l a c e d s e c o n d . T h e E m p e r o r g a v e
h i m t h e p o s i t i o n a s t h e c h i e f c o n s t a b l e o f t h e c o u n t y i n S h a n x i a n d t h e n later
h e b e c a m e t h e g o v e r n o r . H e r e t a i n e d his p u b l i c p o s i t i o n f o r o v e r t e n y e a r s b u t
b e c a m e t i r e d o f t h e c o r r u p t i o n . After r e s i g n i n g his p o s i t i o n , h e left a n d t r a v e l e d
around the country to meet people.
C a o f o u n d Dai to be very sincere a n d trustworthy. He h a d stayed at Dai's
h o m e f o r t h r e e m o n t h s w i t h o u t a c c e p t i n g h i m a s a d i s c i p l e i n o r d e r t o test h i s
c h a r a c t e r . D u r i n g t h i s t i m e , h e s a w t h a t D a i w a s h o n e s t a n d u p r i g h t . Dai a g a i n
knelt and asked to be a c c e p t e d as a student a n d this t i m e (lao agreed.
After a g r e e i n g t o a c c e p t Dai a s a s t u d e n t , C a o t o l d Dai a b o u t h i s o w n t e a c h e r .
At t h e end of t h e M i n g D y n a s t y t h e r e was a m a n from Y o n g Ji C o u n t y , S h a n x i

5
Xing Yi Nei Gong

P r o v i n c e . He was a m a n of great ability n a m e d J i j i Ke. He was also k n o w n as

J i L o n g F e n g . H e t o o k t h e i m p e r i a l e x a m s , p a s s e d t h e test w i t h h i g h m a r k s a n d
b e c a m e an official in S h a a n x i . He was upright a n d h o n e s t a n d spoke t h e truth.
Because of his honesty, he upset s o m e of his corrupt superiors and t h e y forced
h i m o u t o f o f f i c e . After l e a v i n g o f f i c e h e t h e n t r a v e l e d a r o u n d C h i n a .
On o n e occasion Ji was in XI An visiting a friend. It was getting dark and
s t a r t e d t o rain s o h e r a n i n t o a J i n g W u t e m p l e . I t w a s a n o l d a n d d i l a p i d a t e d
p l a c e . H e s a w a s t a t u e o f Y u e Fei (-£- ^ ) i n t h e t e m p l e a n d r e a l i z e d i t w a s a t e m p l e
d e d i c a t e d t o t h e m e m o r y o f Y u e Fei. J i l o o k e d c l o s e l y a t t h e s t a t u e a n d n o t i c e d
t h a t i t w a s c r a c k e d . H e c o u l d see s o m e t h i n g i n s i d e t h e c r a c k a n d s o h e t o o k h i s
sword a n d c h i p p e d a w a y a r o u n d t h e crack. Inside he f o u n d a manuscript called
Yue Fei's Six Harmony Xin Yi Boxing Manual. He w a s v e r y h a p p y b e c a u s e e v e r y o n e
k n e w a b o u t Y u e Fei's f a m i l y o f m a r t i a l a r t s b u t b e t w e e n t h e t i m e Y u e Fei w a s a l i v e
a n d J i j i Ke's t i m e , t h e art h a d b e e n l o s t . H e f o l l o w e d t h e m a n u a l a n d p r a c t i c e d
h a r d . He later w e n t b a c k to his h o m e in S h a n x i p r o v i n c e . He copied t h e b o o k
o n t o n i c e p a p e r t o p r e s e r v e it. J i later m e t a n d a c c e p t e d C a o J i W u a s h i s d i s c i p l e . *
Dai L o n g B a n g a s k e d C a o w h a t w a s s p e c i a l a b o u t X i n g Y i . C a o said t h a t i t w a s
a l s o c a l l e d Liu He Xin Yi Quan (Six H a r m o n y X i n Yi B o x i n g ) . T h e r e are t w e l v e
f o r m s a n d t w e l v e styles, t h r e e t u r n i n g s a n d t h r e e r e t u r n i n g s , m e t h o d s o f
a t t a c k i n g a n d m e t h o d s o f d e f e n d i n g . All o f t h e s e m e t h o d s a r e t o g e t h e r i n o n e
b o d y . T h e m o v e m e n t s are v e r y agile a n d a d r o i t a n d c a n c h a n g e v e r y q u i c k l y .
E v e n i f y o u a r e w a l k i n g i n p i t c h b l a c k n i g h t a n d t h e r e i s a s l i g h t b r e e z e , y o u will
react and turn with t h e breeze.

Dai b e c a m e v e r y e x c i t e d a n d w a n t e d t o start l e a r n i n g i m m e d i a t e l y . C a o felt

D a i ' s s h o u l d e r s a n d said, " A l t h o u g h y o u r s h o u l d e r s are like steel a n d y o u r dan
tian i s h a r d , t h e r e i s n o t h i n g i n s i d e . " H e c o n t i n u e d , " Y o u h a v e t h e h a r d s h e l l o f
a strong m a n , but no internal s u b s t a n c e . " Dai replied, "I d o n ' t u n d e r s t a n d w h a t
y o u m e a n . " C a o said, " T h e m a r t i a l arts y o u h a v e p r a c t i c e d i n t h e past h a v e b e e n
practiced incorrectly. Because y o u have lifted h e a v y weights, y o u r b o d y is very
hard and tight. With this type of body, there is no way you can practice X i n g Yi."
D a i L o n g B a n g g o t n e r v o u s a n d said, " D o e s t h i s m e a n t h a t I h a v e r u i n e d m y s e l f
a n d c a n n o t e v e r p r a c t i c e X i n g Y i . " C a o said t h a t i t w a s n o t t o o l a t e a n d t a u g h t
D a i e x e r c i s e s s u c h as t h e tiger s t e p , h o w to s q u a t like a m o n k e y , a n d San Ti Shi
(trinity s t a n d i n g posture), in order to o p e n up his b o d y inside a n d cultivate h i s
qi.

After a few days, C a o felt t h a t D a i w a s p r a c t i c i n g t h e m o v e m e n t s c o r r e c t l y a n d

said " I a m l e a v i n g y o u n o w . P r a c t i c e t h e s e m o v e m e n t s s e r i o u s l y f o r a y e a r a n d
t h e n I will c o m e b a c k a n d s e e h o w y o u ' v e d o n e . 1 will t h e n j u d g e w h e t h e r o r n o t
y o u are r e a d y t o l e a r n X i n g Y i . " A y e a r later, D a i w e n t o u t t o p r a c t i c e o n e d a y
a n d saw a n old m a n o n the g r o u n d o n his h a n d s a n d k n e e s . H e w e n t out t o h e l p
t h e o l d m a n g e t u p . H e c o u l d n ' t lift t h e m a n ' s b o d y , b u t c o u l d lift h i s a r m . T h e
m a n t u r n e d a r o u n d a n d D a i s a w t h a t i t w a s C a o J i W u . C a o said, " I see y o u h a v e
b e e n p r a c t i c i n g , y o u c a n n o w lift u p m y a r m . I t h i n k y o u a r e n o w r e a d y t o start
learning Xing Yi."

* The true origin of Ji Ji K<z's Xing Yi (Juan is unknown. This story about him finding Yue Hei's manual
is the popular version of Xing Yi Quail's origin, however, it cannot be verified. Some versions of this
story say he found Yue Fei's manual in a cave, others say it was given to him by LI stranger and the story
above says he found it in a temple. Others say that Ji Ji Ke originaicd Xini; Yi himself based on the
movements of the spear. The truth will never be known.

6
Xing Yi Nei (long

C a o t a u g h t Dai s o m e n e w e x e r c i s e s a n d t h e n left a g a i n t o a l l o w h i m t i m e t o
p r a c t i c e o n his o w n . T h i s w e n t o n f o r e i g h t y e a r s . C a o s h o w e d u p a t D a i ' s h o m e ,
t a u g h t h i m s o m e new exercises a n d forms, stayed l o n g e n o u g h to ensure t h a t Dai
w a s p e r f o r m i n g t h e e x e r c i s e s c o r r e c t l y a n d t h e n left f o r o n e y e a r . O n e d a y , a f t e r
e i g h t years, C a o c a m e b a c k w i t h s o m e r o p e s m a d e o f c o w t e n d o n s a n d t i e d t h e m
a r o u n d D a i ' s w a i s t . Dai laid o n t h e g r o u n d a n d C a o said, " I a m g o i n g t o g r a b t h e
r o p e a n d lift y o u o f f t h e g r o u n d . T h e last t i m e y o u l i f t e d m e , i t i s n o w m y t u r n
t o lift y o u . " C a o lifted a n d t h e r o p e b r o k e . C a o said, " T h i s r o p e b r o k e n o t b e c a u s e
y o u d o n ' t h a v e gong f i t o r b e c a u s e I a m t o o w e a k . I t i s t h a t t h e r o p e i s t o o w e a k
f o r b o t h o f u s . W e are n o w e v e n . "
Dai j u m p e d u p a n d said, " H o w c o u l d I ever b e g i n t o c o m p a r e m y s e i f t o m y
m a s t e r . " C a o s a i d , " F o r a g o o d s t u d e n t , I c a n tell t h e m ' o n e ' a n d t h e y c a n f i g u r e
o u t ' t w o . ' Y o u a r e n o w a t t h e level w h e r e I tell y o u ' o n e ' a n d y o u c a n c o u n t t o
t e n o n your o w n . Y o u are t h e i n h e r i t o r o f m y style." C a b t h e n gave Dai his sword.
H e said, " Y o u c a n n e v e r b e c o m p l a c e n t . I f y o u p r a c t i c e o n e d a y y o u g a i n o n e d a y .
I f y o u m i s s o n e day, t h e n y o u l o o s e t e n d a y s . R e m e m b e r , a l w a y s b e d i s c r i m i n a t i n g
in w h o m you t e a c h . "
T h e n e x t m o r n i n g D a i w o k e u p a n d C a o w a s g o n e . H e w a i t e d for h i m t o r e t u r n
for ten y e a r s a n d t h e n w e n t searching for h i m , but C a o was n e v e r f o u n d . Dai later
found out that Cao went to Jung Nan m o u n t a i n , near Xian, to cultivate himself
a n d h e d i e d t h e r e . D a i L o n g B a n g b e c a m e t h e i n h e r i t o r o f t h e style a n d p r a c t i c e d
diligently. He c a m e up with new things from the old things. Xing Yi Q u a n
entered a new phase of development with him, so he is considered to be t h e
f o u n d e r o f t h i s style a n d i t i s n o w c a l l e d " D a i F a m i l y X i n g Y i Q u a n . " D a i L o n g
B a n g was o n e o f t h e m o s t r e s p e c t e d h i s t o r i c a l f i g u r e s i n m a r t i a l arts i n C h i n a , h e
lived t o b e 9 0 years o l d . D a i ' s m o s t f a m o u s s t u d e n t s w e r e h i s s o n , Dai W e n j u n ,
h i s n e p h e w , D a i W e n X i o n g , a n d L i N e n g R a n . T h e Written Transmissions w h i c h
a p p e a r i n C h a p t e r 2 o f t h i s b o o k w e r e h a n d e d d o w n f r o m Dai L o n g B a n g a n d h i s
student Li N e n g Ran.

Li N e n g Kan gfc)
T h e m a j o r i t y of t h e Northern style X i n g Yi Q u a n that is practiced around t h e
w o r l d t o d a y c a n b e t r a c e d d i r e c t l y t o D a i L o n g B a n g ' s s t u d e n t , L i N e n g Rati ( a l s o
k n o w n as Li Lou N e n g ) . Li Neng Ran was f r o m Shell C o u n t y in Hebei Province.
W h e n h e was 3 7 h e w e n t t o S h a n x i , Q i C o u n t y a n d studied X i n g Y i f r o m Dai
Long Bang a n d later with Dai's n e p h e w Dai W e n X i o n g ( ^ He studied for
years a n d b e c a m e very g o o d at X i n g Yi a n d t h e n taught martial arts to
bodyguards. Li was e m p l o y e d by t h e o w n e r of a bodyguard service in Tai G u ,
S h a n x i P r o v i n c e f o r a n u m b e r o f years a n d b e g a n t e a c h i n g X i n g Y i Q u a n i n Tai
G u . His first X i n g Y i Q u a n d i s c i p l e w a s C h e Y i Z h a i .
S i n c e Li N e n g Ran worked for a b o d y g u a r d service, he f r e q u e n t l y traveled a n d
t a u g h t s t u d e n t s i n v a r i o u s p a r t s o f S h a n x i a n d 1 l e b e i . Later, h e m o v e d b a c k t o
his h o m e in S h c n C o u n t y , Hebei Province and taught students there. T w o of his
m o s t f a m o u s s t u d e n t s , Liu Q i Lan a n d G u o Y u n S h e n w e r e f r o m S h e n C o u n t y .
LI N e n g Ran h a d several s t u d e n t s w h o b e c a m e very well k n o w n for their X i n g Yi
Q u a n . A m o n g t h e m w e r e C h e Y i Z h a i , G u o Y u n S h e n , Liu Q i Lan, Bai X i Y u a n ,
S o n g S h i R o n g , S o n g S h i D e a n d h i s s o n , L i Tai He. Li's s t u d e n t s w h o d i d t h e m o s t
t o p r o p a g a t e h i s art w e r e C h e Y i Z h a i , S o n g Shi R o n g , Liu Q i Lan a n d G u o Y u n
S h e n . Liu Q i L a n a n d G u o Y u n S h e n t a u g h t L i N e n g R a n ' s X i n g Y i i n S h c n

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C o u n t y , Hcbei Province. C h e Yi
Z h a i a n d S o n g Shi R o n g t a u g h t i n
Shanxi Province.
L i N e n g Ran c o u l d p o s s i b l y b e
called the " f a t h e r " of the Northern
styles o f X i n g Y i Q u a n . L i i s k n o w n
f o r r e f i n i n g a n d adding to what Dai
Long Bang h a d taught h i m . LI is
credited with developing m a n y of
t h e t w o - p e r s o n forms, such as Wu
Xing Sheng Ke <_S.fr ± & ) a n d Ai
Shen l\io* ( 4 f e ^ ( f c ) , n o w p r a c t i c e d
by X i n g Yi practitioners in n o r t h e r n
C h i n a . S o m e say t h a t h e w o r k e d
o u t t h e s e t w o - p e r s o n sets w i t h his
top student C h e Yi Zhai.

Li N e n g Ran is a l s o t h o u g h t to
have changed some of the animal
styles and added new ones.
A d d i t i o n a l l y , it is t h o u g h t t h a t Li
c a m e up with the principles of
k e e p i n g t h e e l b o w s c l o s e t o t h e ribs
a n d k e e p i n g t h e fists i n f r o n t o f t h e
heart. His idea was that t h e
C h e Yi Zhai (left) w i t h G u o Y u n S h e n p r a c t i t i o n e r s h o u l d use t h e b o d y
in Tai Gu, Shanxi. a n cj s t C p
S m striking m o r e t h a n
u s i n g t h e e x t e n s i o n o f t h e a r m s a s i n t h e o l d s t y l e o f X i n g Yi.
L i N e n g Ran c r e a t e d m a n y n e w ideas a n d f o r m s t o a d d t o t h e art h e l e a r n e d
from his teacher. He was a great i n n o v a t o r a n d is responsible for c o m i n g up with
m a n y of the fundamental principles of Xing Yi (Juan practice.

C h e Yi Zhai UM£|j->
C h e Y i Z h a i , a l s o k n o w n a s C h e Y o n g H o n g (^-Tk. £ ) , w a s t h e s e c o n d c h i l d
in his family a n d people called h i m " C h e n u m b e r t w o . " He was b o r n in 1 8 3 3 in
Tai G u C i t y , S h a n x i P r o v i n c e , T a o Y u a n B a o V i l l a g e . W h e n h e w a s y o u n g his
f a m i l y w a s v e r y p o o r . F r o m t h e t i m e h e w a s a s m a l l b o y h e f o l l o w e d his f a t h e r
to do m a n u a l labor. W h e n he was ten he was sent to a rich family's r a n c h to work
as a s h e p h e r d .
C h e w a s o f t e n b e a t e n a n d c u r s e d a t b y h i s e m p l o y e r . O n e t i m e h e lost a f e m a l e
s h e e p a n d t h e f a m i l y b e a t h i m w i t h a stick, m a d e h i s f a t h e r p a y for t h e s h e e p a n d
t h e n fired h i m . O n l y a f t e r h i s f a t h e r b e g g e d f o r h i s j o b w a s h e a c c e p t e d b a c k .

'Ai Shen Pao, or "close body pounding," is also commonly known as An Shen I'uo
or "stahlebody pounding." Xing Yi practitioners from Shanxi Province say that
the original name of this form was Ai Shen I'uo, however, since many Xing Yi men were
illiterate, somewhere along the line the name was mistakenly changed. While most
practitioners in Hebei Province now call this form An Shen Pao many of the practitioners
in Shanxi Province still call it AI Shen Pao. Since this lorm was originally developed to
practice close-in fighting strategics Ai Shen I'ao is the name that makes more sense.

9
Xing Yi Nei Gong

Che Yi Zhai Song Shi Rong

H o w e v e r , t h i s i n c i d e n t left a n i m p r e s s i o n o n h i m a b o u t b u l l i e s a n d h e v o w e d t o
s t u d y m a r t i a l arts.
Everyday C h e w o u l d carry a y o u n g calf in his arms w h i l e he exercised in order
t o m a k e h i m s e l f s t r o n g e r . O n e d a y h e w a s w r e s t l i n g w i t h a c o w a n d t h r e w it. His
e m p l o y e r saw h i m and t o o k a s w i t c h to beat h i m . C h e grabbed t h e switch a n d
snapped it in half, t h r e w it on t h e ground a n d quit his job. He t h e n w e n t to
a n o t h e r w e a l t h y f a m i l y i n T a i G u a n d g o t a j o b d r i v i n g a n o x c a r t . His e m p l o y e r ' s
n a m e was Wu Bo Nian ^ u -*p>- A t t h a t t i m e Tai G u h a d t h e n i c k n a m e o f " g o l d "
Tai Gu because there were a lot of rich people living there.
T h e streets o f T a i G u were narrow a n d t h e r e was n o t e n o u g h r o o m for t w o carts
t o pass e a c h o t h e r i n t h e a l l e y s . T h e r e w a s a rule t h a t i f t w o c a r t s m e t o n a street,
t h e p e r s o n o f h i g h e r s o c i a l s t a n d i n g g o t t o g o first. O n e d a y C h e w a s t a k i n g h i s
e m p l o y e r t h r o u g h a n alley. T h e y were almost t o t h e e n d o f t h e alley w h e n t h e
w e a l t h i e s t m a n i n t h e c o u n t y a p p r o a c h e d w i t h h i s c a r t . C h e s a i d , " C a n y o u just
b a c k u p a few f e e t a n d let m e g o t h r o u g h . " C h e ' s e m p l o y e r w h a c k e d C h e w i t h
a stick a n d then got out a n d apologized to t h e o t h e r m a n because C h e h a d n o t
f o l l o w e d t h e p r o p e r e t i q u e t t e . C h e w a s s h o c k e d a t t h e u n f a i r n e s s o f i t all a n d
w a n t e d to practice t h e martial arts with even stronger resolve.
O n e d a y C h e w a s a t h o m e w i t h h i s b o s s . His b o s s ' n e p h e w c a m e o v e r a n d s a w
t h a t C h e w a s v e r y s t r o n g . His n e p h e w ' s n a m e w a s W u H o n g P u M) and
was a Shaolin student o f a m o n k n a m e W a n g C h a n g D o n g ( i & C h e was
smart a n d saw t h e o p p o r t u n i t y to practice martial arts a n d asked Wu H o n g Pu
if he would teach h i m . Wu accepted C h e as a student. C h e practiced with Wu
H o n g Pu f o r five y e a r s .
W u H o n g P u r e c o g n i z e d t h a t C h e Y i Z h a i h a d a lot o f p o t e n t i a l a n d t o o k h i m
t o h i s t e a c h e r . C h e b e g a n p r a c t i c i n g w i t h W a n g C h a n g D o n g a n d h i s skill

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i m p r o v e d greatly. O n e day his boss, Wu Bo Nian, told C h e Yi Zhai t h a t if he c o u l d

b e c o m e v e r y skilled a t m a r t i a l arts, h e c o u l d b e his b o d y g u a r d a n d t a k e c a r e o f
his house. Wu Bo Nian h a p p e n e d to have a friend n a m e d M c n g and t h e M e n g
f a m i l y told h i m t h a t t h e y h a d a really g o o d martial artist w h o t a u g h t t h e
e m p l o y e e s o f their bodyguard service. T h e y suggested t o W u that C h e could
c o m e learn f r o m h i m . T h e t e a c h e r o f their b o d y g u a r d service h a p p e n e d t o b e
Xing Yi Quan master Li Neng Ran.
W h e n L i N e n g R a n saw h o w h a r d C h e p r a c t i c e d , h e a g r e e d t o t e a c h h i m . T h e
Wu family brought Li to their house and hired h i m to teach C h e Yi Zhai. Li often
h a d t o g o o u t t o w o r k a s a b o d y g u a r d a n d e s c o r t c o n v o y s , h o w e v e r , h e was b a c k
i n Tai G u five o r six t i m e s a y e a r b e t w e e n t r i p s . W h e n e v e r h e w a s i n T a i G u , h e
taught C h e . Because Li wasn't t h e r e a lot, C h e also w e n t back to his old S h a o l i n
t e a c h e r to learn m o r e . W h e n Li heard a b o u t this, he was n o t angry. He was
touched by Che's enthusiasm. Because C h e was so enthusiastic, Li took him to
m e e t Dai L o n g B a n g ' s n e p h e w D a i W e n X i o n g i n S h a n x i P r o v i n c e , Q i c o u n t y .
Dai h a d a l s o b e e n a b o d y g u a r d , b u t w a s n o w r e t i r e d . C h e w e n t t o s t u d y w i t h Dai
every c h a n c e h e got. Dai W e n X i o n g was already q u i t e old b y t h e n a n d didn't
a c c e p t n e w s t u d e n t s , b u t L i L o u N e n g , w h o w a s o n e o f h i s best s t u d e n t s , t a l k e d
h i m i n t o accepting C h e . Dai's h o m e was 2 0 miles from w h e r e C h e lived a n d C h e
walked there almost everyday to practice.

Dai W e n X i o n g o f t e n s a i d , o f m y s y s t e m I h a v e t w o i n h e r i t o r s , L i N e n g Ran
a n d C h e Y i Z h a i . H e t a u g h t e v e r y t h i n g t o C h e . H e t a u g h t C h e t h a t m a r t i a l arts
were to protect yourself a n d others a n d o n e should always be very selective in
a c c e p t i n g students. Before Dai W e n X i o n g died at t h e age of 9 6 , he gave C h e his
m a n u a l o f X i n g Y i m a r t i a l arts. B e c a u s e C h e s t u d i e d w i t h L i a n d D a i , h e s t u d i e d
t h e w h o l e b r e a d t h o f t h e X i n g Y i art a n d c a m e t o u n d e r s t a n d t h e p u r e e s s e n c e .
H e b e c a m e a f a m o u s m a r t i a l artist, b u t h e n e v e r b u l l i e d p e o p l e . W h e n p e o p l e
c a m e to challenge him, he did not hurt t h e m . He would entice t h e m into
e m p t i n e s s a n d use their o w n force against t h e m .
A r o u n d t h e turn of t h e c e n t u r y t h e C h i n e s e people were very weak. A corrupt
g o v e r n m e n t , foreign invasion, o p i u m addiction, a n d years of bad harvest h a d
b e a t e n t h e m d o w n . C h e felt like h e w a n t e d t o h e l p s t r e n g t h e n t h e c o u n t r y a n d
the reputation of the Chinese people. In 1888 in the Japanese concession in
Tianjin, a sword contest was held. T h e J a p a n e s e representative h a d already
beaten several f a m o u s s w o r d s m e n f r o m Tianjin and Beijing. He was a very g o o d
s w o r d s m a n , but was also overly arrogant. He loved to m a k e wild c l a i m s a b o u t
how g o o d h e was i n front o f t h e C h i n e s e . C h e heard a b o u t t h e c h a l l e n g e a n d
traveled to Tianjin. He got there in t h e m o r n i n g , went directly to t h e contest
place and jumped up on the platform. S o m e people in the audience recognized
him a n d word q u i c k l y spread t h a t t h e f a m o u s X i n g Yi m a s t e r C h e Yi Zhai was
there. T h e crowd began clapping wildly. T h e Japanese swordsman noticed from
t h e w a y C h e j u m p e d o n t h e stage t h a t h e w a s skilled a n d s o h e s t e p p e d u p
p r o u d l y , t r y i n g t o h i d e h i s fear. T h e J a p a n e s e m a n s a i d , " Y o u m u s t n o t b e afraid
of death if you have c o m e to challenge m e . "

T h e t w o m e n s q u a r e d o f f w i t h s w o r d s a n d t h e J a p a n e s e m a n a t t a c k e d first.
C h e a l l o w e d t h e J a p a n e s e m a r t i a l artist t o b a c k h i m t o t h e e d g e o f t h e p l a t f o r m
and t h e n C h e suddenly whirled a r o u n d a n d was b e h i n d his o p p o n e n t . T h e
J a p a n e s e m a n was n o w o n t h e edge o f t h e stage. C h e poked h i m w i t h h i s sword
on t h e shoulder a n d his o p p o n e n t was teetering on t h e edge. Instead of p u s h i n g

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Xing Yi Nei Gong

Li Fu Zhen Song Tie Lin

h i m o f f o r s t a b b i n g h i m , C h e just b a c k e d u p a n d said, " A - h a . "

C h e t h e n s t a r t e d m a k i n g b l i n d i n g l y fast m o v e m e n t s w i t h h i s s w o r d a n d c u t
h i s o p p o n e n t ' s w r i s t . T h e J a p a n e s e o p p o n e n t lost h i s s w o r d a n d a c k n o w l e d g e d
d e f e a t . After t h a t f i g h t , C h e b e c a m e f a m o u s all o v e r C h i n a . The g o v e r n m e n t
a w a r d e d h i m t h e h i g h e s t level o f m a r t i a l skill, r e c o g n i z i n g h i m for his a c h i e v e m e n t .
In 1 9 0 0 , during t h e Boxer Rebellion, t h e " b o x e r s " started their revolt in Tai
G u a n d a s k e d C h e t o t e a c h t h e m m a r t i a l arts. O n J u l y 3 1 , 1 9 0 0 t h e y a t t a c k e d a n
A m e r i c a n c h u r c h . C h e w a s t o o l d t o go, h u t h e s e n t t w o o f h i s s t u d e n t s , M e n g
X i n g D e ( j t -ft and W a n g Feng X i a n g (JL a n d t h e y w e r e t h e first t o g o
i n . T h e y k i l l e d a g r o u p o f A m e r i c a n m i s s i o n a r i e s a n d felt i t w a s a g r e a t h o n o r f o r
C h i n a . Later, a f t e r t h e b o x e r s lost t h e w a r , t h e f a m o u s X i n g Y i i n s t r u c t o r L i C u n
Y i ( + - § • & ) . h o h a d f o u g h t i n t h e r e b e l l i o n a n d k i l l e d m a n y f o r e i g n e r s , fled
w

Beijing because t h e foreigners were after h i m . He w e n t to Tai Gu a n d C h e Yi Zhai

h e l p e d h i d e h i m , C h e also sent his s t u d e n t Li Fu / h e n f|_ j g ) to stay w i t h l.i
f o r p r o t e c t i o n . T h e f o r e i g n e r s h a d put a p r i c e o n Li's h e a d , s o m a n y c o r r u p t
C h i n e s e m a r t i a l a r t i s t s w e r e a f t e r h i m . L i F u Z h e n w e n t a n d k i l l e d t h e m all. L i
F u Z h e n w a s a s e r v a n t a t W u R o N i a n ' s h o m e a n d w a s C h e Y i Z h a i ' s first s t u d e n t .
During Li C u n Yi's stay in Tai Gu he also spent m o r e t h a n 20 days practicing
X i n g Yi in Song Shi Rong's courtyard with Song's y o u n g student and n e p h e w
S o n g T i e L i n . L a t e r S o n g T i e L i n (^stUH) said t h a t h e a n d Li c o m p a r e d five
e l e m e n t s , t w e l v e a n i m a l s a n d p r a c t i c e d Mi Shen Pao t o g e t h e r . S o n g T i e L i n d i e d
i n 1 9 7 S at t h e a g e o f 9 4 .
I n 1 8 5 6 , X i n g Y i Q u a n c a m e t o Tai G u w i t h L i L o u N e n g . L i L o u N e n g ' s first
X i n g Yi disciple was C h e Yi Zhai, t h e s e c o n d was He Y o n g Hong ( n i c k n a m e d

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Zhang Zhao Dong Li Cun Yi

" d i v i n e l e g s " ) , n e x t w a s L i G u a n g X i a n g , S o n g Shi R o n g a n d h i s b r o t h e r S o n g Shi

D e . T h e s e w e r e h i s five f a m o u s s t u d e n t s i n Tai G u w h o l a t e r b e c a m e k n o w n a s
t h e " f i v e stars m e e t i n g i n Tai G u . " T h e s e five s t u d e n t s l a t e r g o t t o g e t h e r w i t h C h e
Y i Zhai a n d c a l l e d t h e i r s t y l e t h e C h e f a m i l y X i n g Y i Q u a n .
T h e last t i m e t h a t L i L o u N e n g w e n t t o Tai G u h e w a s 7 9 years o l d a n d c o u l d
still p e r f o r m t h e Ai Shen Poo f o r m w i t h C h e Yi Z h a i . As t h e y w e r e p r a c t i c i n g , Li
t i o t i c e d t h a t C h e h a d c h a n g e d s o m e t h i n g s . L i w a s s u r p r i s e d . C h e said, " F o r g i v e
me for c h a n g i n g your f o r m . " Li told C h e t h a t he had c h a n g e d it for t h e better.

Guo Yun Shen (J|5 ^ )£)

G u o Y u n S h e n h a d s t u d i e d X i n g Y i Q u a n w i t h L i N e n g Ran i n S h e n C o u n t y ,
Hebei P r o v i n c e . G u o loved to fight w h e n he was y o u n g . W h e n h e first
a p p r o a c h e d Li N e n g Ran w a n t i n g to learn X i n g Yi Q u a n , Li w o u l d n o t teach h i m
because G u o was of such a violent nature. Li told G u o t h a t unless he could
c h a n g e his c h a r a c t e r , h e w o u l d n e v e r t e a c h h i m m a r t i a l arts. G u o g o t a j o b a s
a s e r v a n t n e a r Li's h o m e a n d w o u l d s e c r e t l y w a t c h L i a n d h i s s t u d e n t s p r a c t i c e
X i n g Yi. G u o p r a c t i c e d Hengifitan I s m a s h i n g fist) o n h i s o w n f o r t h r e e y e a r s .
O n e d a y L i N e n g Ran saw G u o p r a c t i c i n g beng quart a n d n o t i c e d t h a t G u o w a s
v e r y g o o d a t i t a l r e a d y . L i realized t h a t G u o w a s s i n c e r e a b o u t l e a r n i n g X i n g Y i
Quan so he then agreed to teach h i m .
After G u o h a d s t u d i e d w i t h Li for a few years he g o t a j o b as a b o u n t y h u n t e r .
T h e l a w o f t h e d a y said t h a t a b o u n t y h u n t e r w a s a l l o w e d t o c a t c h c r i m i n a l s a n d
b r i n g t h e m in, h o w e v e r , t h e c r i m i n a l s h a d t o b e b r o u g h t i n a l i v e . O n o n e
o c c a s i o n , G u o was h u n t i n g a b a n d i t w h o was terrorizing travelers along a

V.i
Xing Yi Nei Gong

Geng Ji Shan Peng Ying Xi

f r e q u e n t l y traveled road. G uo found t h e bandit he was pursuing while t h e b a n d i t
was engaged in a fight w i t h a local escort service. G u o j o i n e d t h e battle a n d
captured t h e bandit, however, after he had captured h i m , t h e bandit pulled out
a c o n c e a l e d w e a p o n a n d t r i e d t o kill G u o . G u o h i t t h e m a n a n d killed h i m .
Recognizing that he had d o n e wrong, G u o turned himself in to the authorities.
T h e p e n a l t y for s u c h a c r i m e was death, h o w e v e r , t h e local magistrate's advisors
b e g g e d h i m t o c o n s i d e r n o t e x e c u t i n g G u o b e c a u s e h e w a s a rare t a l e n t i n t h e
m a r t i a l arts. I n s t e a d o f e x e c u t i o n , t h e m a g i s t r a t e s e n t e n c e d G u o t o t h r e e years
in prison. W h i l e in prison G u o was m a n a c l e d , h o w e v e r , he c o n t i n u e d to practice
his X i n g Y i Q u a n . W h e n h e c a m e o u t o f p r i s o n h i s skill w a s h i g h e r t h a n w h e n
he had entered.
W h i l e i n p r i s o n , G u o h a d d e v e l o p e d w h a t b e c a m e k n o w n a s ban b u bengquan
- h a l f s t e p s m a s h i n g fist) a n d b e c a m e s o f a m o u s for t h e p o w e r h e
d e v e l o p e d w i t h t h i s s p e c i a l p u n c h t h a t p e o p l e said t h a t his " h a l f s t e p s m a s h i n g
fist c o u l d b e a t all u n d e r h e a v e n . " A f t e r b e i n g r e l e a s e d f r o m p r i s o n , G u o w e n t t o
visit t h e e s c o r t s e r v i c e d o i n g b u s i n e s s i n t h e a r e a w h e r e t h e b a n d i t h e h a d k i l l e d
h a d o p e r a t e d . H e tnid t h e m t h a t e v e r s i n c e h e h a d killed t h e b a n d i t , t h e r o a d w a s
clear a n d their j o b h a d b e c o m e easy. He told t h e escort service t h a t t h e y o w e d
h i m m o n e y b e c a u s e o f t h e w o r k h e had d o n e for t h e m . Because o f his martial
arts skill, t h e y d i d n o t w a n t t o q u a r r e l w i t h h i m s o t h e y g a v e h i m s o m e m o n e y .
However, G u o would periodically c o m e b a c k for m o r e m o n e y a n d t h e escort
s e r v i c e g o t t i r e d o f it. I n s t e a d o f c o n f r o n t i n g G u o d i r e c t l y , t h e y s e n t a l e t t e r t o
Guo's teacher Li Neng Ran.
L i N e n g Ran c a l l e d G u o b a c k h o m e a n d t o l d h i m t h a t h e s h o u l d n ' t b o t h e r t h e

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e s c o r t s e r v i c e a n y m o r e . Li a l s o said, " P l u s , your gong fu is n o t n e a r l y as g o o d as

y o u t h i n k i t is. Y o u r skill d o e s n o t c o m e c l o s e t o t h a t o f y o u r o l d e r b r o t h e r C h e
Y i Z h a i . " I n t e l l i n g G u o t h i s , L i w a n t e d t o t e a c h h i m t w o l e s s o n s . T h e first w a s
that he should n o t be so arrogant because no matter h o w good s o m e o n e gets,
there is always s o m e o n e better. T h e s e c o n d reason was to try a n d bring h i m b a c k
: o c o m p l e t e h i s X i n g Y i t r a i n i n g . After G u o l e a r n e d t h e five fists o f X i n g Y i , h e
did n o t w a n t t o s t u d y a n y t h i n g e l s e . H e w a s s o g o o d a t a p p l y i n g t h e five fists t h a t
h e n e v e r lost a f i g h t , t h e r e f o r e , h e c o n c l u d e d t h a t h e d i d n o t n e e d t o l e a r n
a n y t h i n g else. Li h a d e n c o u r a g e d G u o to study X i n g Yi Q u a n ' s s u b s e q u e n t f o r m s
a n d t w o - p e r s o n s e t s a f t e r h e h a d l e a r n e d t h e five fists, b u t G u o t h o u g h t i t w a s a
b o t h e r a n d left L i b e f o r e h i s X i n g Y i t r a i n i n g w a s c o m p l e t e .
L ' p o n h e a r i n g t h a t his t e a c h e r t h o u g h t t h a t C h e Y i Z h a i ' s skill w a s b e t t e r t h a n
his, G u o b e c a m e angry and went to Shanxi Province to find C h e Yi Zhai a n d
c h a l l e n g e h i m . W h e n G u o arrived a t Che's h o m e , C h e was h a p p y t o see h i m a n d
said "Little b r o t h e r , I a m g l a d y o u h a v e c o m e t o v i s i t ! Let's h a v e s o m e t h i n g t o
e a t . " G u o said, " N o , I c a m e h e r e t o f i g h t . " C h e tried t o t a l k G u o o u t o f f i g h t i n g ,
but G u o p e r s i s t e d a n d t h u s C h e w a s left w i t h o u t a c h o i c e . G u o t r i e d t o u s e his
f a m o u s beng quan o v e r a n d o v e r . C h e kept b a c k i n g a w a y f r o m G u n ' s strikes a n d
t h e n q u i c k l y t u r n e d t o t h e side a s G u o s t r u c k a g a i n a n d e x e c u t e d p i quan
- splitting fist). C h e held t h e strike, s t o p p i n g i n c h e s f r o m G u o ' s h e a d . Realizing
: h a t C h e h a d g o t t h e b e s t o f h i m , G u o s t o p p e d a n d said, " I t i s just a s o u r t e a c h e r
h a s said, y o u a r e b e t t e r t h e n I . " F o l l o w i n g t h i s i n c i d e n t G u o n e v e r b o t h e r e d t h e
e s c o r t c o m p a n y a g a i n a n d h e w e n t b a c k t o L i N e n g R a n i n o r d e r t o c o m p l e t e his
Xing Yi Quan training.

Liu Qi Lan
Liu Q i Lan w a s f r o m S h e n C o u n t y i n H e b e i P r o v i n c e , a v e r y f a m o u s a r e a f o r
m a r t i a l arts. S h e n C o u n t y i s i n s o u t h - c e n t r a l H e b e i n e a r t h e c a p i t a l c i t y o f S h i
Jia Zhuang. There are m a n y frequently traveled roads that run through this
c o u n t y a n d t h u s large n u m b e r s o f " m a r t i a l arts b a n d i t s " i n h a b i t e d t h e a r e a a n d
robbed travelers. In addition to t h e bandits, there were also martial artists w h o
ran p r o t e c t i o n s e r v i c e s . T h e s e m a r t i a l a r t i s t s w e r e h i r e d t o e s c o r t t r a v e l e r s a n d
p r o t e c t t h e m a g a i n s t t h e b a n d i t s . N e e d l e s s t o say, t h e m a r t i a l a r t i s t s i n t h i s a r e a
Of H e b e i w e r e h i g h l y s k i l l e d . Liu Qi L a n ' s X i n g Yi Q u a n t e a c h e r , Li N e n g R a n ,
his X i n g Y i b r o t h e r , G u o Y u n S h e n , a n d f o u r o f Liu Q i L a n ' s f a m o u s s t u d e n t s , I.i

s-iStK,) weie
C u n Yi, Z h a n g Z h a o D o n g < *

B a G u a Z h a n g (/\
G e n g J i S h a n ( £ . H %•)• a n d W a n g F u Y u a n
all f r o m S h e n C o u n t y . A d d i t i o n a l ly, t h e f a m o u s s e c o n d g e n e r a t
) instructor C h e n g T i n g Hua H i 4 . • ) was also f r o m S h e n
County a n d Sun Lu Tang j£) s t u d i e d h i s X i n g Y i Q u a n w i t h G u o Y u n S h e n
in this area of Hebei. G u o Y u n S h e n ' s other f a m o u s s t u d e n t W a n g X i a n g Zhai
i * r - i £ ) , t h e o r i g i n a t o r of Yi Quan £ . ) a n d Da Cheng Quan iK,#0 w a s a l s o
a native of S h e n C o u n t y .
Z h a n g Z h a o D o n g m e t Liu Q i Lan w h e n h e w a s still a t e e n a g e r . Z h a n g a n d
a g r o u p o f h i s m a r t i a l arts f r i e n d s h a d all h e a r d o f t h e f a m o u s X i n g Y i m a n Liu
Q i Lan a n d w a n t e d t o m e e t h i m . T h e g r o u p g o t t o g e t h e r a n d w e n t t o visit Liu
t o ask i f t h e y c o u l d s t u d y h i s a r t . I n a d d i t i o n t o Z h a n g Z h a o D o n g , L i C u n Yi, a n d
G e n g j i Shan were also a m o n g the group. Most of these practitioners were in their
t w e n t i e s . Z h a n g w a s t h e y o u n g e s t a n d t h u s h e w a s k n o w n a s " l i t t l e b r o t h e r . " Liu

16
Xing Yi Nei Gong

a g r e e d t o t e a c h t h e m a n d t h u s t h e y w o u l d all f r e q u e n t l y travel f r o m t h e i r
r e s p e c t i v e h o m e v i l l a g e s t o s t u d y w i t h Liu Q i L a n .
Li Qi Lan had m a n y f a m o u s students, in addition to W a n g Fu Yuan, Zhang
Z h a o D o n g , L i C u n Yi, G e n g J i S h a n , Z h o u M i n g T a i ( # V \ a n d Liu D e K u a n
( f i l f t j t ) , h e a l s o t a u g h t t h e well k n o w n R a G u a m e n C h e n g D i a n H u a
a n d Liu F e n g C h u n (f'J 4 . ) . A d d i t i o n a l l y , Liu h a d t h r e e s o n s t h a t s t u d i e d X i n g
Yi, Liu D i a n C h e n $ t j £ - a l s o k n o w n a s Liu W e n H u a - f j X -¥•). Liu R o n g T a n g
(#'.#•_!:> a n d Liu J i n T a n g (tH^t). Liu Q i L a n ' s s e c o n d s o n , Liu D i a n C h e n , w a s
very g o o d at X i n g Yi Q u a n a n d Dragon Form Sword. He was similar to his father
i n c h a r a c t e r a n d s t u d i e d w i t h his f a t h e r f o r m a n y y e a r s . H e w a s p o w e r f u l a n d his
t e c h n i q u e w a s g o o d . Liu D i a n C h e n w r o t e a b o o k t i t l e d Xing Yi Quart's Secret
Skills.

Zhang Xiang Zhai ;f-jt ^ ) - T h e I r o n L o h a n

O n e o f Liu D i a n C h e n ' s t o p s t u d e n t s , Z h a n g X i a n g Z h a i { a l s o k n o w n a s Z h a n g
C h a n g Fa - lk-fk%fr), w a s v e r y f a m o u s in H e b e i f o r h i s f i g h t i n g a b i l i t y (see
p h o t o g r a p h o n p a g e 4 ) . Z h a n g h a d b e g u n h i s m a r t i a l arts t r a i n i n g s t u d y i n g B a
G u a Zhang in his teens with the famous Ba Gua instructor C h e n g Ting Hua in
Beijing. Zhang had m o v e d to Beijing from bis h o m e in Zhu Shiu Ying, Hebei
Province, w h e n he was y o u n g and got a j o b a p p r e n t i c i n g with a m a n w h o carved
C h i n e s e characters. He lived at his boss' h o m e a n d would h a v e to wake up very
early, g o t o p r a c t i c e B a G u a , a n d t h e n r e t u r n h o m e b e f o r e h i s b o s s k n e w h e w a s
gone.
After Z h a n g h a d b e e n w i t h C h e n g for t h r e e y e a r s h e r e t u r n e d h o m e t o a t t e n d
a festival and ran i n t o an old friend. T h e t w o friends discovered t h a t t h e y had
b o t h b e e n s t u d y i n g m a r t i a l arts, s o t h e y d e c i d e d t o h a v e a c o n t e s t . S i n c e Z h a n g ' s
friend was a wrestler, t h e y decided to h a v e a wrestling m a t c h . W h e n t h e t w o
friends fought, Zhang was beaten badly. Angry that his friend had won, Zhang
said, " I will r e t u r n i n t e n years a n d w e will f i g h t a g a i n ! " Z h a n g t h e n w e n t t o s t u d y
X i n g Y i Q u a n w i t h Liu Q i L a n ' s s o n , Liu D i a n C h e n .
Z h a n g practiced X i n g Yi very hard a n d after three years of practice he m e t his
old friend o n c e again. This time the t w o squared off to fight and Zhang
i m m e d i a t e l y hit his o p p o n e n t i n t h e h e a d w i t h X i n g Yi's " s p l i t t i n g fist" a n d
knocked him out. W h e n Z h a n g ' s friend c a m e t o h e said, " Y o u d i d n ' t use
w r e s t l i n g , t h a t w a s X i n g Y i ! " Z h a n g r e p l i e d , "It d o e s n ' t m a t t e r w h a t I u s e a s l o n g
as I w i n ! " Angered, t h e wrestler stood up a n d c a m e at Zhang. Zhang sidestepped
t h e a t t a c k a n d t h e n d a r t e d in, p i c k e d u p t h e w r e s t l e r a n d s l a m m e d h i m o n t h e
g r o u n d . After t h i s i n c i d e n t p e o p l e b e g a n t o c a l l h i m t h e " I r o n L o h a n . "
Later, Z h a n g worked as a bodyguard a n d martial arts instructor a n d m a d e a
reputation for h i m s e l f as a ferocious fighter. On o n e occasion the famous
w a r l o r d g e n e r a l Z h a n g Z u o Lin (JM1= wanted to hire Zhang to teach martial
arts t o h i s t r o o p s . H e i n v i t e d Z h a n g t o his h o m e a n d a s k e d h i m t o d e m o n s t r a t e
hisgongfU. Z h a n g d e m o n s t r a t e d a s w o r d f o r m , h o w e v e r , w h e n h e w a s d o n e t h e
o b s e r v e r s d i d n o t a p p e a r v e r y i m p r e s s e d . Z h a n g Z u o L i n's w i f e said, " I h a v e h e a r d
t h a t w h e n p r a c t i c i n g t h e s w o r d , m a r t i a l arts m a s t e r s c a n h a v e w a t e r t h r o w n a t
t h e m a n d will n o t get w e t b e c a u s e t h e s w o r d m o v e s s o fast. C a n y o u d e m o n s t r a t e
t h i s ? " Z h a n g r e p l i e d , " T h i s i s n o t p o s s i b l e . Y o u h a v e read t o o m a n y m a r t i a l arts
f a i r y t a l e s . " S h e a p p e a r e d d i s a p p o i n t e d . Z h a n g said, " Y o u h a v e s e e n m y skill, i f

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you do n o t t h i n k I am good, send me away."

Z h a n g Zuo Lin b o u g h t Z h a n g a r o o m at a n e a r b y I n n for t h e night a n d asked
him to return the n e x t day. T h e general then called t o g e t h e r s o m e of his troops
w h o were k n o w n to be good fighters. He planned to have Z h a n g fight these m e n
i n o r d e r t o really test Z h a n g ' s m a r t i a l a r t s a b i l i t y . T h e n e x t d a y Z h a n g r e t u r n e d .
W h e n t h e troops saw w h o i t was t h e y were supposed t o fight, n o n e w a n t e d t o
fight h i m . The g e n e r a l t h e n u n d e r s t o o d h o w g o o d a r e p u t a t i o n Z h a n g h a d
a m o n g martial artists. Z h a n g X i a n g Zhai died during the Cultural Revolution at
the age of 9 6 .

W a n g j i W u ' s X i n g Y i Q u a n t e a c h e r W a n g F u Y u a n ( j £ _ jffi
W a n g Fu Yuan ( 1 8 4 8 - 1 9 1 3 ) was n i c k n a m e d " I r o n A r m " W a n g a n d was
k n o w n a s a g r e a t X i n g Y i Q u a n m a s t e r . W a n g w a s s e n i o r t o his c l a s s m a t e s L i C u n
Yi, G e n g J i S h a n , Liu D e K u a n , a n d Z h a n g Z h a o D o n g ( a l s o k n o w n a s Z h a n g Z h a n
Kui) u n d e r Liu Q i L a n . W a n g F u Y u a n w a s f r o m Liu Q i L a n ' s h o m e v i l l a g e i n S h e n
C o u n t y , H e b e i P r o v i n c e , a n d s t u d i e d w i t h Liu Q i Lan f o r n e a r l y 2 5 y e a r s . H e
s t u d i e d X i n g Y i w i t h Liu Q i Lan f r o m t h e t i m e h e w a s 1 3 u n t i l h e w a s 3 7 a n d h e
never married,
W h e n W a n g F u Y u a n w a s t h i r t e e n years o l d ( 1 8 6 1 ) , h e w a s s e n t t o w o r k a s a n
a t t e n d a n t i n Liu Q i L a n ' s h o m e n e a r i n S h e n C o u n t y . Liu Q i Lan s a w t h a t t h e
b o y was intelligent a n d h o n e s t and after a period of t i m e a c c e p t e d h i m as a formal
s t u d e n t . W a n g F u Y u a n b e c a m e t h e first " i n n e r d o o r " s t u d e n t o f Liu Q i L a n .
After s t u d y i n g w i t h Liu Q i Lan for m a n y y e a r s , W a n g F u Y u a n b e c a m e a n
officer in t h e military a n d on o n e occasion was called u p o n to face a g a n g of
b a n d i t s i n S h e n C o u n t y . D u r i n g t h e f i g h t , W a n g F u Y u a n killed t h e g a n g l e a d e r .
F r o m t h a t t i m e f o r w a r d , t h e g a n g v o w e d t o get r e v e n g e a n d t h r e a t e n e d W a n g ' s
life. I n o r d e r t o a v o i d h a v i n g t o c o n s t a n t l y l o o k o v e r his s h o u l d e r , W a n g left
t o w n a n d w e n t t o live i n T a i G u , S h a n x i P r o v i n c e . W h e n h e a r r i v e d i n S h a n x i
P r o v i n c e h e s t u d i e d f o r a s h o r t t i m e w i t h his X i n g Y i b o x i n g " u n c l e " C h e Y i Z h a i .
C h e h a d b e e n a c l a s s m a t e o f Liu Q i L a n ' s u n d e r I.i N e n g R a n .
W a n g F u Y u a n ' s p o w e r a n d skill w e r e v e r y g r e a t . H e w o n t h e praise o f m a n y
o f t h e s e n i o r m a s t e r s o f t h e d a y . O n c e w h e n g u e s t s h a d c o m e t o visit, C h e Y i Z h a i
o r d e r e d W a n g t o d e m o n s t r a t e . W a n g p e r f o r m e d t h e set Pan Gen* ($2 He
s t a r t e d o f f very s l o w l y a n d g r a d u a l l y i n c r e a s e d t h e p a c e u n t i l his q u e u e w a s
standing straight out b e h i n d h i m because o f t h e speed o f his m o v e m e n t . O n e
o f C l i e Y i Z h a i ' s t o p s t u d e n t s , L i F u Z h e n , w a s o n t h e side w a t c h i n g a n d e x c l a i m e d
his a d m i r a t i o n .
D u r i n g t h e t i m e h e lived i n Tai G u , W a n g F u Y u a n c o n t i n u e d t o t r a i n d a i l y .
I l e h e a r d t h a t t h e S u f a m i l y o f N a n M i i n Y u C i w e r e l o o k i n g t o h i r e a m a r t i a l artist
as the head of household security. W i t h C h e Yi Zhai's r e c o m m e n d a t i o n , W a n g
got t h e j o b . T h e S u f a m i l y w a s v e r y w e a l t h y , b e i n g t h e o w n e r s o f several
p r o f i t a b l e p a w n b r o k e r a g e s . W h i l e W a n g F u Y u a n lived i n N a n M i , h e s t a y e d i n

'i'miCen is a Xing Yi Quan exercise similar to BaGua's circle walking practice, however,
the circle is very small. It is a three-step turning exercise where every step changes
direction while the hands arc held in a static position, t h e three step practice is trained
M that t h e student can learn how to quickly evade an attack, open up the opponent, and
then strike. The Earth Dragon ('.anon, which is presented iti the section of this book on
XiiiH Yi's Written Transmissions, pertains to the Pan Gen exercise.

17
Xing Yi Nei Gong

the back of o n e of the pawn shops.

O n o n e o c c a s i o n , W a n g w e n t t o Y u C i c i t y t o see h i s r e l a t i v e s . T h e d i s t a n c e
f r o m N a n Mi to Yu Ci is a b o u t t e n // (just o v e r t h r e e m i l e s ) . W a n g set o u t at d u s k
a n d w h e n h e arrived a t Y u C i C i t y t h e g a t e h a d a l r e a d y b e e n c l o s e d . T o g a i n
e n t r a n c e i n t o t h e c i t y W a n g u s e d his " l i g h t n e s s s k i l l " a n d a s c e n d e d t h e w a l l .
A f t e r h e h a d f i n i s h e d h i s b u s i n e s s , h e set o u t f o r h o m e . N e a r i n g h i s v i l l a g e , i t w a s
a l r e a d y n e a r d a y b r e a k . W a n g c a m e u p o n a s m a l l river w h i c h w a s a b o u t t e n
m e t e r s a c r o s s . H e was a l w a y s r e l u c t a n t t o d i s p l a y his skill i n f r o n t o f o t h e r s , b u t
s i n c e i t w a s e a r l y m o r n i n g a n d n o o n e else w a s a r o u n d , h e d e c i d e d t o j u m p o v e r
t h e river. H e b a c k e d a w a y f r o m t h e river a n d t h e n first s p r a n g f o r w a r d a b o u t t e n
f e e t . W h e n h i s f o o t t o u c h e d t h e g r o u n d h e s t a m p e d d o w n w i t h h i s right f o o t
b e h i n d his left, a n d s p r i n g i n g u p f r o m t h e waist, h e s a i l e d o v e r t h e river t o t h e
o t h e r s i d e . U n k n o w n t o W a n g t h e r e w a s a m a n f r o m his v i l l a g e w h o h a d a r i s e n
e a r l y a n d w a s s q u a t t i n g i n t h e grass r e l i e v i n g h i m s e l f . • T h i s m a n s a w W a n g use
his l i g h t n e s s skill a n d t o l d p e o p l e i n t h e v i l l a g e a b o u t it.
Besides practicing himself, W a n g Fu Yuan b e g a n to accept students of his o w n
while he was living in N a n Mi. Later he also t a u g h t students in Tai Yuan, that
i s w h e r e W a n g j i W u m e t h i m . O v e r a p e r i o d o f t h i r t y years o f t e a c h i n g i n S h a n x i ,
W a n g F u Y u a n ' s s t u d e n t s s p r e a d o u t all o v e r t h e p r o v i n c e . M a n y o f W a n g ' s
students b e c a m e f a m o u s in their own right. T h e f a m o u s "three Pengs," Feng
Y i n g Xi (jj u£ g), P e n g T i n g J u a n $ & ft), a n d P e n g Xi T a i j j . JO, t o g e t h e r
with Mu Xiu Yi % ) a n d W a n g j i W u (j£. were the top representatives
o f W a n g F u Y u a n . W a n g F u Y u a n was i n s t r u m e n t a l i n t h e s p r e a d o f X i n g Y i i n
S h a n x i P r o v i n c e . W a n g n e v e r left S h a n x i P r o v i n c e a n d , u n l i k e h i s X i n g Y i
b r o t h e r s L i C u n Yi, Z h a n g Z h a o D o n g , G e n g j i S h a n , a n d Z h o u M i n g T a i , W a n g
n e v e r b e c a m e f a m o u s . W a n g ' s first c o n c e r n w a s i n t r a i n i n g s u c c e s s o r s o f his art
a n d in S h a n x i Province his style has passed d o w n to this day.

M u Xiu Y i ^ l ^ ^ )
M u X i u Y i w a s v e r y f a m o u s i n S h a n x i p r o v i n c e . T h e C h i n e s e sold a b r a n d o f
cigarettes called " H H 5 J . « " a n d p u t M u S h u Y i ' s p h o t o o n t h e c o v e r o f t h e cigarette
/

p a c k a g e b e c a u s e h e w a s s o w e l l k n o w n . O r i g i n a l l y h e w a s a b u s i n e s s m a n a n d sold
fabric, h o w e v e r , w h e n he was accepted as W a n g Fu Y u a n ' s formal student, he
g a v e u p his b u s i n e s s a n d o n l y s t u d i e d X i n g Y i Q u a n .
I n a m o u n t a i n o u s a r e a o f S h a n x i P r o v i n c e , c a l l e d M i a n S h a n , t h e r e lived a
Buddhist M o n k in a t e m p l e w h o s e n a m e was Da You He. He was known to have
" I r o n H e a d " skill. H e w o u l d r i n g a large b e l l b y b a n g i n g i t w i t h h i s h e a d t o
d e m o n s t r a t e t h i s skill. W h e n h e h e a r d a b o u t M u S h u Y i h e w a n t e d t o c h a l l e n g e
M u i n o r d e r t o t e s t his skill. A t t h a t t i m e M u w a s r u n n i n g a v i n e g a r f a c t o r y . T h e
Buddhist w e n t to t h e factory to find M u , however, on this o c c a s i o n Mu was n o t
t h e r e . T h e m o n k t o l d t h e o t h e r s a t t h e f a c t o r y t o tell M u t h a t h e w o u l d b e s t a y i n g
at an Inn outside the south gate. W h e n Mu returned t h e y told h i m about the
m o n k t h a t h a d visited. M u sent o n e o f t h e workers t o g o t o where t h e m o n k was
staying and invite h i m back.

W h e n t h e m o n k a r r i v e d , M u h a d a b i g d i n n e r w a i t i n g f o r h i m . H e said,
" W e l c o m e , p l e a s e c o m e i n a n d e a t . " T h e m o n k said, " T h a n k y o u , b u t first I w o u l d
like y o u r i n s t r u c t i o n . " W h i c h i s a p o l i t e w a y o f s a y i n g , " L e t ' s f i g h t . " M u said, "As
y o u w i s h . W o u l d y o u like t o f i g h t w i t h b a r e h a n d s o r w e a p o n s ? " T h e m o n k said

18
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t h a t h e w i s h e d t o fight w i t h l o n g staffs. Mu agreed a n d they w e n t into t h e

courtyard to fight.
T h e t w o f i g h t e r s s q u a r e d o f f a n d a s s o o n a s t h e staffs h i t t h e m o n k t r i e d t o
p o k e M u i n t h e s t o m a c h . M u s t e p p e d b a c k w i t h his l e f t f o o t a n d b r o u g h t his s t a f f
around to whack the monk on the hand. The monk sawMu's intended move and
w i t h d r e w . M u c h a n g e d a n d h i t t h e m o n k o n t h e h e a d w i t h t h e v e r y t i p o f his
staff, r e m o v i n g a l a r g e c h u n k o f s k i n f r o m t h e m o n k ' s f o r e h e a d . E v e n t h o u g h t h e
m o n k h a d a v e r y h a r d h e a d , h e realized t h a t i f M i l ' s strike h a d o f h i t h i m o n t h e
t o p o f t h e h e a d i t w o u l d h a v e killed h i m . M u h a d c o n t r o l l e d h i s s t a f f s o w e l l t h a t
i t o n l y r e m o v e d s o m e s k i n . T h e m o n k c o u l d feel M u ' s p o w e r a n d r e c o g n i z e d t h a t
h i s level o f skill w a s s u p e r i o r . M u ' s p e o p l e w r a p p e d u p t h e m o n k ' s h e a d a n d t h e y
w e n t t o c a t . T h e m o n k said, " A s l o n g a s M a s t e r M u i s a l i v e I will n e v e r a d m i t t h a t
1 k n o w gong fuV

W a n g Ji Wu's study of Xing Yi Quan

At t h e t i m e W a n g j i Wu met W a n g Fu Yuan he was W a n g ' s y o u n g e s t student.
W a n g j i W u s t u d i e d i n t e n s e l y d a y a n d n i g h t f o r o v e r t e n years, t r a i n i n g s o h a r d
that " h i s dripping sweat bore a h o l e through the r o c k s . " Eventually W a n g
m a s t e r e d t h e h i g h e r l e v e l s o f t h e X i n g Y i Q u a n art, r e c e i v e d t h e i n n e r t e a c h i n g s
of his master and developed i m m e n s e martial power.
After a p e r i o d o f t i m e t e a c h i n g i n T a i y u a n , W a n g F u Y u a n r e t u r n e d t o Y u C i
a n d W a n g j i W u c o n t i n u e d s t u d y i n g w i t h h i s s e n i o r c l a s s m a t e s . After a y e a r o r
t w o , W a n g j i W u r e t u r n e d t o h i s h o m e t o w n t o visit r e l a t i v e s . W h i l e i n Y u C i ,
W a n g visited h i s t e a c h e r a n d a s k e d W a n g F u Y u a n t o c h e c k h i s f o r m . W a n g F u
Y u a n t o l d h i m t h a t n o t o n l y h a d h e n o t g r a s p e d t h e c o n c e p t s o f t h e style, b u t

W a n g Ji Wu (sitting) with a group of students on 2 November, 1974.

Zhang B a o Yang is standing directly to Wang's right, Wang J i n Yu is
directly to Wang's left a n d He Shuu Qi is to the far right of the photo.

19
Xing Yi Nei Gong

e v e n his f o r m w a s w r o n g . T o r e m e d y t h e s i t u a t i o n , W a n g j i W u q u i t h i s j o b a n d
followed W a n g Fu Yuan day and n i g h t practicing X i n g Yi Q u a n . By the t i m e he
w a s 2 3 o r 2 4 , W a n g J i W u w a s fast a p p r o a c h i n g m a s t e r y o f t h e b o x i n g art.
U n f o r t u n a t e l y , at this t i m e W a n g Fu Yuan was p o i s o n e d to d e a t h by a w r o n g
prescription o f m e d i c i n e . W a n g j i W u was h e a r t b r o k e n . H e a n d his classmates
took care of W a n g Fu Yuan's funeral arrangements and took his remains back to
his p l a c e o f b i r t h i n S h e n C o u n t y , H e b e i P r o v i n c e .
After W a n g Fu Yuan died, W a n g j i Wu kept his master's t e a c h i n g in m i n d a n d
p r a c t i c e d h a r d e r t h a n e v e r . H e c o n t i n u e d his s t u d y o f X i n g Y i Q u a n w i t h t h e
" T h r e e F a m o u s P e n g ' s " o f S h a n x i . T h e s e t h r e e f a m o u s X i n g Y i b o x e r s w h e r e all
n a m e d Peng, however, t h e y were n o t from the same i m m e d i a t e family. W a n g
s t u d i e d p r i m a r i l y w i t h P e n g Y o n g X i , w h o w a s his o l d e r X i n g Y i b o x i n g " b r o t h e r "
under W a n g Fu Yuan. W a n g Fu Yuan had three famous students, W a n g j i Wu,
P e n g Y i n g X i , a n d M u X i u Yi.

W a n g j i Wu's Bodyguard Service

After t h e fall o f t h e Q i n g e m p i r e , d u r i n g t h e early d a y s o f t h e R e p u b l i c , t h e area
o f S h a n x i w h e r e W a n g lived w a s c o n t r o l l e d b y a w a r l o r d . W a n g w a s o p p o s e d t o
h i s r u l e a n d c o n s e q u e n t l y left t h e P r o v i n c e . W a n g a n d t w o o f h i s m a r t i a l arts
brothers, Peng Ying Xi a n d Z h o u Bing Z h e n m o v e d t o Shi J i a Z h u a n g
i n H e b e i P r o v i n c e a n d set u p a n e s c o r t a n d b o d y g u a r d s e r v i c e . T h e y c a l l e d t h e
b o d y g u a r d s e r v i c e Ren Yi (P- T h e s e r v i c e q u i c k l y m a d e a n a m e f o r itself a n d
W a n g j i W u b e c a m e k n o w n a s t h e "Ren Y i g e n t l e m a n . " T o g e t h e r w i t h his
t e a c h e r ' s X i n g Yi Q u a n c l a s s m a t e Li C u n Yi, w h o a l s o r a n t h e f a m o u s Yi Hie (J^ fc)
b o d y g u a r d s e r v i c e i n B a o D i n g , t h e i r X i n g Y i Q u a n skills b e c a m e v e r y w e l l
known.

i j | f t } H
f i I f f t

Wang Ji Wu with students a n d grandstudents on 20 September, 1975.

Zhang B a o Yang is sitting second from right, Wang J i n Yu is to Wang
J i Wu's left, a n d H e S h o u Q i i s t o W a n g J i n Yu's left.

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Wang Ji Wu with a group of students and grandstudents

in B e i j i n g on 20 S e p t e m b e r 1982.

Later, d u r i n g t h e " w a r l o r d " p e r i o d i n C h i n a , W a n g w a s " i n v i t e d " t o c o m e a n d

w o r k f o r t h e local w a r l o r d a r m y , b u t a f t e r c a r e f u l c o n s i d e r a t i o n h e d e c l i n e d .
Since the " i n v i t a t i o n " had o v e r t o n e s of " y o u work for us or we p u t y o u out of
b u s i n e s s , " h e h a d n o c h o i c e b u t t o l e a v e t h e b o d y g u a r d b u s i n e s s i n Shi J i a
Zhuang. From Shi Jia Z h u a n g W a n g traveled to Tianjin where he went into
commercial business.

T h e Martial Artist
In 1 9 2 2 W a n g j i Wu was visiting Taiyuan a n d w e n t to observe a platform
b o x i n g m a t c h . Liu Q i L a n ' s s e c o n d s o n Liu D i a n C h e n ( w h o w a s a c l a s s m a t e o f
W a n g F u Y u a n u n d e r Liu Q i L a n ) , a n d m a n y o t h e r o f t h e c i d e r s i n t h e m a r t i a l arts
c o m m u n i t y were i n a t t e n d a n c e . O n e o f W a n g j i W u ' s X i n g Y i Q u a n " c o u s i n s "
his t e a c h e r ' s X i n g Y i b r o t h e r ' s s t u d e n t ) w a s f i g h t i n g a C h e n S t y l e Tai J i Q u a n
master n a m e d Zhu Yuo Jun Zhu was u n d e f e a t e d , h a v i n g beaten
sixteen people in platform m a t c h e s . During t h e fight, W a n g started c o a c h i n g his
f r i e n d f r o m t h e s i d e l i n e s . T h e C h e n m a s t e r d i d n o t like W a n g c o a c h i n g h i s
o p p o n e n t a n d so he shouted, "If you k n o w so m u c h , w h y d o n ' t you c o m e up here
and try." Wang jumped up on the platform and immediately knocked Zhu on
t h e g r o u n d . Zhu j u m p e d up a n d tried to stab W a n g in t h e eyes with his fingers.
W a n g reached out, blocked the jab and grabbed Zhu by the throat, lifting h i m
off the ground. Zhu couldn't m o v e and W a n g c o n t i n u e d holding h i m until he
was a b o u t t o pass o u t . T h e p o l i c e c a m e u p t o t h e p l a t f o r m y e l l i n g , " L e t h i m g o ,
y o u a r e t r y i n g t o kill h i m . " W a n g r e l e a s e d h i s g r i p a n d k n o c k e d Z h u t o t h e
g r o u n d . H e t u r n e d t o t h e p o l i c e a n d said, " E v e r y t h i n g i s all r i g h t , w e are just
h a v i n g a f r i e n d l y m a t c h . N o o n e will g e t h u r t . "
T h e n e x t d a y Z h u c a m e t o W a n g ' s r o o m w i t h gifts. T h e t w o d i s c u s s e d m a r t i a l

21
Xing Yi Nei Gong

W a n g Ji Wu's students a n d g r a n d s t u d e n t s on 17 J u n e 1984.

arts a n d b e c a m e g o o d f r i e n d s . T w o years later t h e y m e t a g a i n i n Shi J i a Z h u a n g .

Z h u h a d b e c o m e o n e o f t h e c h i e f m a r t i a l arts i n s t r u c t o r s f o r t h e G u o M i n D a n g
It - Kuo M i n T a n g ) a r m y . W a n g was carrying s o m e luggage a n d Zhu told
t w o soldiers t o carry t h e bags for h i m . W a n g j i W u ' s l o n g t i m e student Z h a n g Bao
Y a n g (jfc $ - $ ) , w h o b e g a n s t u d y i n g w i t h W a n g i n 1 9 5 3 , said t h a t h e m e t Z h u Y o u
J u n w h e n Z h u c a m e t o v i s i t h i s t e a c h e r i n B e i j i n g i n 1 9 5 4 . H e said t h a t Z h u w a s
t h e o n e w h o t o l d h i m t h e s t o r y a b o u t W a n g d e f e a t i n g h i m . Z h a n g said t h a t h i s
t e a c h e r d i d n ' t like t o tell s u c h s t o r i e s .
I n 1 9 3 3 W a n g j i W u settled i n Beijing where h e was active i n public service,
followed Daoist practices a n d studied C h a n B u d d h i s m (Zen). Through an
introduction from Peng Ting J u a n , W a n g began studying Daoist m e t h o d s of
h e a l t h cultivation u n d e r t h e Daoist master Huo C h e n g G u a n g (:f & ) - During
the 1930's, W a n g joined the Hong W a n Zi Association a n d spent m u c h of his
t i m e r e s e a r c h i n g h i s m a r t i a l arts, D a o i s t arts, a n d m e d i c i n e . H e w a s s u c c e s s f u l
in r e a c h i n g n e w levels of practice a n d it is during this period of t i m e t h a t he
created t h e X i n g Yi Q u a n Sixteen Health Exercises w h i c h are presented in this
book.

T h e Patriot
W a n g j i W u ' s s t u d e n t s say t h a t h e w a s n o b l e - m i n d e d , m a g n a n i m o u s , a n d
a b o v e p e t t y t h i n g s . W h e n h e first arrived i n B e i j i n g h e w o r k e d f o r a c h a r i t a b l e
o r g a n i z a t i o n a n d s p e n t h i s t i m e t r e a t i n g p e o p l e w h o h a d b e e n i n j u r e d duri n g t h e
J a p a n e s e W a r . After t h e fall o f T i a n j i n a n d B e i j i n g , W a n g p u t all h i s e f f o r t i n t o
h e l p i n g t h o s e i n v o l v e d in t h e J a p a n e s e resistance get out of Beijing in order to
a v o i d c a p t u r e . O n e t i m e , a l o c a l m i l i t i a l e a d e r Z h a n g Q i n g Y u ($k$t.-fr)i w a s

beaten by the Japanese and he and his m e n were in grave danger. Although
W a n g j i W u d i d n o t k n o w Z h a n g Q i n g Y u p e r s o n a l l y , h e r e s p o n d e d t o t h e call

22
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f o r h e l p a n d a t g r e a t p e r s o n a l risk h e l p e d Z h a n g e s c a p e f r o m d a n g e r . T h e r e are
m a n y e x a m p l e s o f W a n g j i W u ' s selfless s e r v i c e t o h i s c o u n t r y m e n . O n e t i m e
s o m e of t h e C h i n e s e U n d e r g r o u n d Resistance fighters were captured in Tianjin
a n d were b e i n g held for r a n s o m b y t h e J a p a n e s e . W a n g J i W u organized t h e
collection of t h e r a n s o m a n d secured t h e prisoners' release. He was k n o w n
widely for his sense of duty and generosity.

The Doctor
W h i l e in Beijing, W a n g b e c a m e quite well k n o w n as a doctor, especially
skilled i n t h e a r e a s o f b o n e s e t t i n g a n d t h e t r e a t m e n t o f e x t e r n a l i n j u r i e s . M a n y
p a t i e n t s w h o h a d b e e n p l a g u e d f o r years b y v a r i o u s a i l m e n t s w e r e c u r e d b y W a n g
Ji W u . His r e p u t a t i o n s p r e a d a n d W a n g c o n t i n u e d h i s g o o d w o r k w i t h
characteristic enthusiasm.
In a d d i t i o n to f i g h t i n g skills a n d nei gong {1*5 if]), W a n g a l s o s t u d i e d C h i n e s e
m e d i c i n e , b o n e s e t t i n g , a n d t r a u m a t o l o g y . H e later b e c a m e o n e o f t h e f o u r m o s t
f a m o u s doctors in Beijing. W h e n e v e r he taught martial arts he always included
the medical training and Daoist meditation. W a n g j i W u ' s daughter, son, son-
i n - l a w , a n d s i s t e r - i n - l a w all b e c a m e s k i l l e d d o c t o r s u n d e r h i s t u t e l a g e .
In his later years, besides t e a c h i n g his children a n d grandchildren, W a n g Ji
W u t a u g h t m a n y s t u d e n t s C h i n e s e m e d i c i n e . His " i n n e r d o o r " d i s c i p l e s i n c l u d e ,
W a n g Jin Liang, Z h a n g Bao Yang, He Yi Chi, Li L o n g M e n g , Pan Ji Yuan a n d W e i
Y u a n Hui W a n g j i W u w a s r e c o g n i z e d f o r h i s o u t s t a n d i n g a b i l i t i e s a s a d o c t o r .
W a n g Feng C h u n ( o n e of the four t o p doctors in Beijing) and C h e n Shu C h i n g
(an e x p e r t i n o s t e o p a t h y ) g a v e W a n g j i W u t h e h i g h e s t p r a i s e . W a n g ' s m e d i c a l
t r a i n i n g w a s a f a m i l y i n h e r i t a n c e . His g r a n d f a t h e r , W a n g X i n g Kai, w a s a f a m o u s
d o c t o r of internal a n d e x t e r n a l m e d i c i n e as well as o s t e o p a t h y . Wang's
g r a n d f a t h e r w a s u n c o n c e r n e d w i t h p r o f i t a n d o f t e n t r e a t e d his p a t i e n t s w i t h o u t
fee. B e c a u s e W a n g j i W u w a s a m a r t i a l artist, h e s p e c i a l i z e d i n b o n e s e t t i n g .
W a n g j i W u w a s a l w a y s v e r y fair i n his t r e a t m e n t o f p a t i e n t s , o f t e n f o r e g o i n g
t h e fee i f t h e p a t i e n t w a s u n a b l e t o p a y . O n e o f t h e m o s t v a l u a b l e a m o n g t h e
p r e c i o u s f o r m u l a s f o r h e a l t h w h i c h W a n g o f f e r e d w a s a set o f S i x t e e n H e a l t h
building exercises. These exercises had been passed d o w n within the X i n g Yi
s c h o o l f o r a h u n d r e d y e a r s a n d W a n g put t h e m t o g e t h e r i n a s y s t e m a t i c f a s h i o n .
After practicing these exercises s i n c e h e w a s a y o u n g m a n . a t t h e age o f 1 0 0 W a n g
Ji Wu m a i n t a i n e d a sharp m i n d , q u i c k reactions, a n d perfect eyesight (he could
read a n e w s p a p e r w i t h o u t g l a s s e s ) . W a n g o f t e n t a u g h t t h e s e e x e r c i s e s t o h i s
patients in order to speed t h e healing process. W a n g j i Wu died on September
13, 1991 in Beijing at the age of 1 0 0 .

Wang Ji Wu's Xing Yi Quan

W a n g Ji W u ' s X i n g Yi Q u a n training p r o g r a m is a very c o m p l e t e system for
b o t h h e a l t h a n d s e l f - d e f e n s e . T h e s y s t e m i n c l u d e s v a r i o u s k i n d s o f qigong a n d
m e d i t a t i o n p r a c t i c e s , n u m e r o u s s o l o f o r m s , t w o - p e r s o n f o r m s , w e a p o n s sets, a n d
power training. Additionally, W a n g encouraged his top students to study and
practice Chinese Medicine and Bone Setting.
W h e n W a n g J i W u t a u g h t X i n g Y i Q u a n t h e first t h i n g h e w o u l d t e a c h h i s
s t u d e n t s w a s a set o f s i x t e e n h e a l t h b u i l d i n g a n d b o d y s t r e n g t h e n i n g e x e r c i s e s
he had developed based on various d e v e l o p m e n t a l X i n g Yi exercises he had
l e a r n e d f r o m h i s t e a c h e r . T h e s e e x e r c i s e s s e r v e d a s a c o n d i t i o n i n g set t o h e l p t h e

•±:\
Xing Yi Nm Gong

b e g i n n i n g s t u d e n t ' s b o d y a n d m i n d g e t r e a d y for t h e p r a c t i c e o f X i n g Y i a n d t h e n
l a t e r s e r v e d a s a w a r m - u p a n d c o o l d o w n for X i n g Y i f o r m s a n d t w o - p e r s o n
practice.
T h i s set o f e x e r c i s e s w a s a vital part o f W a n g ' s X i n g Y i t r a i n i n g m e t h o d f o r
n u m e r o u s r e a s o n s . N o t o n l y d o e s t h e set c o n d i t i o n t h e b o d y b y h e l p i n g t o o p e n
up t h e joints, stretch t h e muscles, a n d strengthen t h e t e n d o n s , but it also helps
t h e student learn h o w t o c o o r d i n a t e t h e m i n d , b o d y a n d b r e a t h . T h e ability t o
totally c o o r d i n a t e t h e m i n d a n d body is o n e of the m a i n goals of X i n g Yi Q u a n
p r a c t i c e . T h e " p o w e r " o f X i n g Y i t e c h n i q u e relies o n t h i s a b i l i t y . W a n g j i W u ' s
m e t h o d of leaching these basic exercises to beginning students helped t h e m to
l e a r n h o w t o i n t e g r a t e t h e m i n d a n d b o d y early i n t h e t r a i n i n g p r o c e s s .
C o n t i n u a l practice of these exercises by intermediate and advanced students as
a w a r m - u p and c o o l - d o w n facilitated t h e proper mental a n d physical preparation
a n d c o n c l u s i o n f o r e a c h p r a c t i c e s e s s i o n a n d t h u s h i s s t u d e n t s w e r e a b l e t o get
m o r e out o f e a c h p r a c t i c e . A d d i t i o n a l l y , r e g u l a r p r a c t i c e o f t h e s e e x e r c i s e s h e l p e d
t h e students m a i n t a i n o p t i m u m health and thus they were able to avoid injury
a n d disease, e n a b l i n g t h e m t o train harder everyday. T h e sixteen health exercises
a r e p r e s e n t e d In C h a p t e r s 4 a n d 5 of t h i s b o o k .
After s t u d e n t s h a d b e g u n t o d e v e l o p s o m e m i n d / b o d y c o n n e c t i o n , f l e x i b i l i t y ,
coordination (internal and external) and balance during the execution of the
s i x t e e n e x e r c i s e s , W a n g t h e n t a u g h t h i s s t u d e n t s t h e San TiSliHs~Ht standing
practice. The length of time each student practiced standing everyday or
p r a c t i c e d s t a n d i n g b e f o r e t h e y s t a r t e d t h e five e l e m e n t f o r m s d e p e n d e d o n t h e i r
c o n s t i t u t i o n a n d t h e i r i n t e r e s t i n d e v e l o p i n g h i g h level skill. T h o s e w h o h a d a
s t r o n g b o d y , p a t i e n c e , a n d w e r e d e t e r m i n e d t o r e a c h a h i g h skill level p r a c t i c e d
s t a n d i n g lor a l o n g t i m e . T h e b o d y c o n n e c t i o n , w h o l e b o d y p o w e r , (//development,
a n d m i n d / b o d y h a r m o n y t h a t a r c forged d u r i n g l o n g s t a n d i n g s e s s i o n s a r e vital
i n t h e d e v e l o p m e n t o f X i n g Y i i n t e r n a l p o w e r . T h o s e w h o w e r e w e a k o r w h o lost
interest i n standing w o u l d n o t b e required t o s t a n d for t o o long. W a n g t a u g h t t w o
s t a n d i n g p o s t u r e s t o h i s s t u d e n t s . T h e first p o s t u r e h e c a l l e d " s i n g l e h a n d " San
T i a n d t h e s e c o n d p o s t u r e b e c a l l e d " d o u b l e h a n d " 5 . . / i 77. T h e s t a n d i n g p r a c t i c e
as taught by W a n g j i Wu is presented in C h a p t e r .T of this b o o k .
A f t e r l e a r n i n g t h e San T i Slii s t a n d i n g m e t h o d , W a n g ' s s t u d e n t s l e a r n e d X i n g
Y i ' s five e l e m e n t s . W a n g ' s five e l e m e n t s i n c l u d e d Pi Quan C^-^. - S p l i t t i n g Fist I,
Zuan Quail { - D r i l l i n g l i s t ) , Beng Quan ( $ # - - S m a s h i n g Fist), Pao Quan
- F o u n d i n g Fist I a n d t w o v a r i a t i o n s of Hcng Quan - C r o s s i n g Fist), Shun tin
Heng Quan ^jV ^ ^ j L - S m o o t h S t e p C r o s s i n g Fist) a n d Ao Hu Heng Quan
( & ) ^ J S ~ T w i s t i n g S t e p C r o s s i n g Fist). N e x t s t u d e n t s l e a r n e d t w o d i f f e r e n t
t w o - p e r s o n f o r m s , Wu Hua Pao - Five F l o w e r P o u n d i n g ) a n d Wu Xing
ShengKeQuani& j f ± Five E l e m e n t C r e a t i v e a n d D e s t r u c t i v e Fist). T h e s e
f o r m s are d e r i v e d t r o m t h e m o v e m e n t s o f t h e five e l e m e n t s .
I n c o n j u n c t i o n w i t h s t u d y o f t h e t w o - p e r s o n five e l e m e n t sets, s t u d e n t s a l s o
s t u d i e d t w o d i f f e r e n t five e l e m e n t l i n k i n g l o r n t s . O n e is c a l l e d He Yi (£-—
U n i t i n g i n t o O n e ) a n d t h e o t h e r c a l l e d jin Tuilian Huart Quan ( i d ig_ i^. -
C o n t i n u o u s l y Finked A d v a n c i n g and Retreating Fist). Next t h e students were
t a u g h t a n o t h e r b a s i c s o l o f o r m c a l l e d ji Xing Si Ra{% ft pj - C h i c k e n Form Four
G r a s p i n g ) . T h i s f o r m w a s a n i m p o r t a n t f o u n d a t i o n a l f o r m w h i c h later f o r m s
w o u l d build u p o n . A f t e r l e a r n i n g t h i s f o r m t h e s t u d e n t s w o u l d t h e n p r a c t i c e
a n o t h e r t w o - p e r s o n set c a l l e d Wu Shou (A - Five H a n d s ) .
 Lineage

After b u i l d i n g a s o l i d f o u n d a t i o n w i t h t h e a b o v e m e n t i o n e d f o r m s , W a n g ' s
s t u d e n t s w o u l d t h e n l e a r n X i n g Yi's t w e l v e a n i m a l f o r m s (Shi Er Xing Quan -
W a n g ' s t w e l v e a n i m a l sets i n c l u d e d t h e s t a n d a r d t w e l v e a n i m a l
f o r m s ( D r a g o n , T i g e r , M o n k e y , H o r s e , S n a k e , C h i c k e n , W a t e r Lizard, S p a r r o w ,
S w a l l o w , T a i Bird, Eagle, a n d B e a r ) plus t h e f o l l o w i n g a d d i t i o n a l a n i m a l sets:
l u m p i n g Dragon, Four Direction M o n k e y , C o m b i n e d Eagle-Bear, a n d Bear
S h o u l d e r s . After s t u d y o f t h e t w e l v e a n i m a l s t y l e s , s t u d e n t s w e r e t a u g h t a n o t h e r
t w o - p e r s o n f o r m c a l l e d W u XingPaoChui ( i f t - Five E l e m e n t C a n n o n Fist).
T h i s f o r m w a s f o l l o w e d by t h e c o m b i n e d s o l o f o r m s Chu Dong Ru Dong ($: Jft
- L e a v i n g a n d E n t e r i n g t h e C a v e ) , Shi Er Hong i'.liui ( - f - ^ & S i - T w e l v e Red
H a m m e r s ) , Za Shi Chid ( H A M - M i x e d F o r m B e a t i n g ) , Jin Gang Ha Shi (£-m A &
- B u d d h a ' s W a r r i o r E i g h t F o r m s ) , Long Xing Ba Shi ( f t , j£ A. A, • D r a g o n S t y l e
Light F o r m s ) , Shi Er Lian Quan (-f- — i £ ^ - T w e l v e L i n k e d Fists), a n d o t h e r t w o -
p e r s o n f o r m s as f o l l o w s : Zhou Too Hium (^ - N i n e L i n k e d S e t ) , a n d An Shen
I'ao ( # j | J f c - S t a b l e B o d y P o u n d i n g ) .
After s t u d y i n g t h e s o l o a n d t w o - p e r s o n b a r e h a n d f o r m s , s t u d e n t s w e r e t h e n
t a u g h t w e a p o n s sets. W a n g ' s s y s t e m i n c l u d e d t w o X i n g Y i s a b e r f o r m s ( C o n t i n u o u s
I . i n k i n g S a b e r a n d M e a s u r e d Path S a b e r ) , f o u r X i n g Y i s w o r d f o r m s ( C o n t i n u o u s l y
L i n k e d S w o r d , A d v a n c i n g S t e p S w o r d , R e t r e a t i n g S t e p S w o r d , a n d Four G a t e
D r a g o n F o r m S w o r d ) , t h r e e X i n g Y i staff f o r m s ( t w o sets o f C o n t i n u o u s l y L i n k e d
Staff a n d a T h r e e S e c t i o n Staff f o r m ) , X i n g Y i spear, X i n g Y i n e e d l e s , X i n g Y i
d o u b l e - h e a d e d spear, a n d X i n g Y i large s p e a r . T h e large s p e a r w o r k w a s p r a c t i c e
i n o r d e r t o d e v e l o p p o w e r i n t h e five e l e m e n t s ( t h i s set i s s h o w n i n C h a p t e r 6 o f
t h i s b o o k ) . Each o f t h e five c l e m e n t f o r m s i s p r a c t i c e d w i t h t h e large s p e a r .
Xing Yi Nei Gong

Wangji Wu's Xing Yi Quan Students

translated by Tim Cartmell

A Martial Artist and Martial Theorist: Wang Jin Yu

by Z h a n g Bao Y a n g a n d He Yu Qi

W a n g J i n Yu ( 1 9 2 2 - ) was b o r n in Hebei
Province. He graduated from Beijing University
in the 1 9 4 0 ' s where he originally studied
Economics. He has researched history and
p u b l i s h e d several b o o k s . F r o m 1 9 8 0 t o 1 9 8 9 h e
was an assistant professor of a n c i e n t C h i n e s e at
the C h u n g W e n Television University.
W a n g Jin Yu began studying Xing Yi Quan
with Yuan Wei Bin ( & - f # : ^ , ) , a X i n g Yi student
o f Z h o u M i n g Tai ( w h o w a s W a n g F u Y u a n ' s
c l a s s m a t e u n d e r Liu Q i L a n ) w h i l e i n J u n i o r
High S c h o o l . D u r i n g t h e 1 9 5 0 ' s W a n g J i n Y u
b e c a m e a student of W a n g j i W u . Unfortunately,
d u r i n g t h e 1 9 6 0 ' s , W a n g J i n Y u lost h i s left a r m
a n d he was no l o n g e r able to practice X i n g Yi
Quan. W a n g j i Wu encouraged W a n g Jin Yu to
c o n t r i b u t e t o t h e art b y s t u d y i n g its t h e o r y . I n
t h e 1 9 8 0 ' s , W a n g J i n Yu, w i t h t h e h e l p o f his
Wang J i n Yu
c l a s s m a t e s Z h a n g B a o Y a n g , H e Y u Q i a n d Pan
Zhi Y u a n p u t t o g e t h e r t h e first d r a f t of Liu He
Xin Yi Quan: The Written Transmissions. At t h e s a m e t i m e , t o g e t h e r w i t h Z h a n g
B a o Y a n g , he a n d his s o n , W a n g H u a n S h e n g , p u b l i s h e d Xin Yi Sixteen Exercises
for Health w i t h a c o m p a r a t i v e a n a l y s i s o f b o t h C h i n e s e a n d W e s t e r n m e d i c i n e .
He a l s o w r o t e A Treatise on San Ti Shi a n d Xin Yi Power Training. W a n g a l s o s t u d i e d
Qi Cong w i t h his c l a s s m a t e Hu Y a o Z h e n .
In addition to t h e above m e n t i o n e d martial arts books, W a n g J i n Yu has also
w r i t t e n a n u m b e r of o t h e r b o o k s i n c l u d i n g An Examination of Ancient Literature,
A History of Printing, Chinese Painting Master Li Ku Chan, Can Tu Tong ji, a n d
revised t h e Home Encyclopedia of Child Rearing.
W a n g w a s a s t a n d i n g m e m b e r o f t h e first a n d s e c o n d X i n g Y i Q u a n R e s e a r c h
C o m m i t t e e s , is a m e m b e r of the Beijing City Qi G o n g Research Association, and
i s a n i n s t r u c t o r a t t h e B e i j i n g J i X i a n M a r t i a l Arts A c a d e m y . I n 1 9 9 1 h e retired
I r o m t h e Beijing X i n g YI Q u a n Research C o m m i t t e e a n d n o w serves as an advisor.
He c o n t i n u e s his research of X i n g Yi Q u a n .
 Lineage

A Famous Practitioner of Xin Yi Liu He Quan:

Zhang Bao Yang
by W a n g Huan Sheng

Z h a n g Bao Y a n g ( 1 9 2 2 - ) was b o r n i n Hebei

P r o v i n c e i n t h e c i t y o f X i n g j i . After g r a d u a t i o n
from high s c h o o l , Z h a n g m o v e d to Beijing to
begin working. During the 1950*5, he began his
study o f X i n g Y i Q u a n u n d e r W a n g j i W u . H e
followed W a n g day a n d night a n d learned t h e
i n n e r t e a c h i n g s o f t h e a r t . P r a c t i c i n g m a r t i a l arts
morning and night, Zhang Bao Yang followed
t h e advice of his teacher a n d studied with a
humble attitude and o p e n mind.
Zhang also went to study with t h e f a m o u s Xin
C h e n g martial arts m a s t e r Z h a n g C h u a n g Fa
I also k n o w n a s Z h a n g X i a n g Z h a i , see p h o t o o n
page 4 ) . Z h a n g C h u a n g Fa was a X i n g Yi Q u a n
s t u d e n t o f Liu Q i L a n ' s s o n Liu W e n H u a ( a l s o
k n o w n a s Liu D i a n C h e n } a n d a B a G u a Z h a n g _
student o f C h e n g Ting Hua. Z h a n g Bao Yang's 7 u a n t R
r a y n a n t f

boxing uncle was Du Ji San, w h o was a student of

Bu Xue Kuan, a student of C h e Yi Zhai. Zhang £JL SJ? ±k
B a o Y a n g ' s t e a c h e r s w e r e all i m p r e s s e d w i t h h i s
spirit a n d e a g e r n e s s t o learn a n d w e r e m o r e t h a n h a p p y t o t e a c h h i m .
W h e n the Beijing X i n g Yi Q u a n Research Association was established in 1 9 8 3 ,
Z h a n g Bao Y a n g was a p p o i n t e d director. Zhang's e n t h u s i a s m and sacrifice in
p r o m o t i n g t h e m a r t i a l a r t s h a s w o n h i m t h e praise a n d a d m i r a t i o n o f h i s p e e r s .
His n o t o r i e t y h a s a t t r a c t e d c o r r e s p o n d e n c e f r o m m a r t i a l a r t i s t s all o v e r t h e
c o u n t y . He was given an advisory position in t h e Ji N a n X i n g Yi Q u a n Research
A s s o c i a t i o n , t h e F u k i e n S a n M i n C i t y Y o u t h M a r t i a l Arts T e a m , t h e B e i j i n g S u n
S t y l e Tai J i Q u a n A s s o c i a t i o n , a n d i s a c o a c h o f t h e B e i j i n g J i X i a n M a r t i a l Arts
A c a d e m y . As X i n g Yi Q u a n is an i n t e r n a l m a r t i a l art, Z h a n g a l s o s t u d i e d Qi Gong
with H u Y a o Z h e n i n o r d e r t o d e e p e n his k n o w l e d g e o f i n t e r n a l p o w e r .
Zhang Bao Yang is a m a n of m a n y talents. Besides studying o s t e o p a t h y with
W a n g j i W u , Z h a n g a l s o s t u d i e d a c u p u n c t u r e w i t h J i a C h u I.ian. I n a d d i t i o n t o
his a c h i e v e m e n t s i n m a r t i a l arts, QiGong, a n d m e d i c i n e , Z h a n g t a k e s p l e a s u r e i n
treating patients,
In order to further research X i n g Yi Q u a n , Z h a n g a n d his classmate W a n g J i n
Yu h a v e c o l l a b o r a t e d on o r g a n i z i n g a n d edi t i n g the Xing Yi Written Transmissions
a n d h a v e c o a u t h o r c d t h e m a n u s c r i p t The New Written Transmissions of Xin Yi Liu
He. I n a d d i t i o n , Z h a n g a n d his j u n i o r c l a s s m a t e , W a n g H u a n S h e n g , h a v e w r i t t e n
a h o o k on W a n g j i W u ' s X i n Yi S i x t e e n Exercises for Health.
In 1 9 9 1 , Z h a n g resigned as head of t h e X i n g Yi Research Association, but
c o n t i n u e s his i n v o l v e m e n t i n a n a d v i s o r y role. H e i s a l s o a m c m h e r o f t h e B e i j i n g
C i t y Q i Gang R e s e a r c h A s s o c i a t i o n . I n 1 9 8 6 h e b e g a n v o l u n t e e r i n g h i s l i m e a s a
m e d i c a l p r a c t i t i o n e r at a l o c a l h o s p i t a l .

27
Xing Yi Nei Gong

Zhang Bao Yang has taught m a n y students. Because of his open teaching, his
s t u d e n t s i m p r o v e r a p i d l y a n d several o f his s t u d e n t s h a v e b e c o m e t e a c h e r s i n
t h e i r o w n r i g h t . S o m e o f his s t u d e n t s h a v e b e g u n t e a c h i n g h i s a r t o v e r s e a s . O n e
of his students, Du Fu Kun, has been teaching in Czechoslovakia.

A Practitioner of Xin Yi Liu He Quan: He Yu Qi

by Zhang Wu Ben

He Yu Qi ( 1 9 3 0 -) was b o r n in Hebei Province

in Ding Xing County. After m i d d l e s c h o o l h e
w e n t t o w o r k i n b u s i n e s s a n d later i n i n d u s t r y . H e
w o r k e d a s a n e n g i n e e r a n d b e c a u s e o f his skill w a s
v e r y c r e a t i v e i n t h e field, e v e n t u a l l y r e t i r i n g f r o m
the Beijing Scientific Instruments firm.
He Yu Qi and my father, Zhang Bao Yang, were
both formal students of W a n g j i W u . He Yu Qi
became a Xing Yi Quan student of W a n g j i Wu in
1 9 5 2 a n d in the same year also began studying Qi
Gon^with Hu Yao Zhen. Because He Yu Qi and my
father were neighbors, t h e y often practiced
together. At my f a t h e r ' s r e q u e s t , I b e c a m e a
student of He Yu Qi.
Besides being proficient in osteopathy, He Yu
Qi studied a c u p u n c t u r e under Jia C h u Lian. He is
p r o f i c i e n t i n t h e m a r t i a l arts, m e d i c i n e , a n d q i
gong a n d i s a m e m b e r o f t h e B e i j i n g X i n g Y i Q u a n He Y u Qi
Research Association a n d t h e Beijing Qi G o n g
Research Association. Before retirement, he often
treated friends a n d family m e m b e r s a n d n o w
works together with my father.

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 Lineage

A Practitioner of Xin Yi Liu He Quan: Wang Huan Sheng

by Zhang Wu Ben

W a n g Hun S h e n g ( 1 9 5 4 - ) is t h e son of
W a n g J i n Yu. He was b o r n in Beijing a n d at
seven years of age he was i n t r o d u c e d by his
father to W a n g Ji Wu a n d b e c a m e Master
W a n g ' s student, studying b o t h martial arts a n d
m e d i c i n e . After g r a d u a t i o n f r o m m i d d l e s c h o o l
lie w o r k e d f o r a t i m e i n i n d u s t r y . B e c a u s e o f h i s
expertise in osteopathy (he learned the essence
o f W a n g j i W u ' s skill), b e b e g a n w o r k i n g i n a
hospital. W a n g Huan S h e n g was very popular
with the patients a n d in order to further his
medical knowledge, he entered the Beijing
Medical College, graduating in 1 9 8 4 .

W a n g c o m b i n e d his knowledge of
traditional Chinese medicine with that of
m o d e r i i n i e d i c i n e w i t h e x c e l l c n t r e s u l t s . Besides "^^^^J^y
his m e d i c a l p r a c t i c e , h e p r a c t i c e s t h e m a r t i a l
arts everyday. He possesses c o n s i d e r a b l e Wang Huan Sheng
internal power. ,« *«.
I n t h e 1 9 8 0 ' s , u n d e r t h e g u i d a n c e of Z h a n g jfc. <5p
Bao Y a n g , H e S h o u Q i a n d h i s f a t h e r , W a n g J i n
Yu, W a n g H u a n S h e n g c o m p l e t e d a m a n u s c r i p t of W a n g Ji W u ' s Xin Yi Sixteen
Health Exercises. He c o m b i n e d his k n o w l e d g e ot traditional a n d m o d e r n
m e d i c i n e , m a r t i a l a r t s , a n d qigong r e s u l t i n g in a n e w p e r s p e c t i v e w h i c h w a s well
received b y t h e p o p u l a c e a n d c o n t r i b u t e d t o their h e a l t h . I n 1 9 8 6 , W a n g m o v e d
to I l o n g K o n g a n d o f t e n travels b a c k and forth to Beijing. W a n g H u a n S h e n g has
built a f i n e r e p u t a t i o n .

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Xing Yi Nei Gong

In his own words, at the age of 100, Wangji Wu describes

his principles of living a healthy life:

t h e h e a r t i s c a l m , q u i e t a s still w a t e r
My o w n history is from t h e end of the Qing Dynasty, t h r o u g h the period of
t h e R e p u b l i c t o t h e P e o p l e ' s R e p u b l i c , a l r e a d y a h u n d r e d y e a r s . M y life h a s s e e n
its s h a r e o f u p s a n d d o w n s , t i m e s o f p o v e r t y a n d h a r d s h i p , h o n o r a n d d i s h o n o r ,
t h e c h a n g e s o f t h e s e a s o n s , all o f w h i c h h a v e left a d e e p i m p r e s s i o n o n m e . After
t h e f o u n d i n g o f t h e P e o p l e ' s R e p u b l i c , m y life b e c a m e s t a b l e , b u t w i t h t h e
Cultural Revolution, disaster o n c e again overran t h e c o u n t r y a n d I was forced o u t
o f b u s i n e s s . All o f t h e s e e v e n t s s e r v e d a s a m e a n s o f c u l t i v a t i n g m y spirit, a n d
afforded m e t h e o p p o r t u n i t y t o practice t h e " g o n g f u " o f living i n t h e world.
O n e m u s t always m a i n t a i n a calm heart even w h e n i n f l u e n c e d by t h e seven
e m o t i o n s ; j o y , a n g e r , h a p p i n e s s , w o r r y , s a d n e s s , fear, a n d s u r p r i s e . T h e h e a r t
m u s t r e m a i n a s c a l m a s still w a t e r , n e v e r a l l o w i n g a n y p e r s o n a l d e s i r e s t o stir u p
a r i p p l e o f d i s t u r b a n c e . M y t h o u g h t s a r e p u r e , i n spirit I s e e k t o f o r g e t m y s e l f a n d
t r a n s c e n d t h e c o m m o n affairs o f i h e w o r l d , k e e p i n g m y life s i m p l e a n d m y
desires few. W i t h a clear heart, 1 do n o t c o n t e n d w i t h others or m a k e d e m a n d s
u p o n t h e w o r l d , b u t r a t h e r s e e k t o c o n t r i b u t e w h a t I c a n f o r ( b e b e n e f i t o f all,
aiding those in need and protecting those in danger.
W i t h o u t desire o n e i s s t r o n g , w i t h o u t d e s i r e o n e i s q u i e t , w i t h o u t desire o n e
m a y return to that w h i c h is natural, w i t h o u t desire o n e returns to t h e original

30
 Lineage

s t a t e . W i t h a h e a r t like still w a t e r , f r o m t h e e x t r e m e s t i l l n e s s will s p r i n g a c t i o n ,

f r o m t h e v o i d c o m e s t h a t w h i c h i s a l i v e , yin a n d yang a r e i n h a r m o n y a n d t h e q i
f l o w s u n i m p e d e d . W i t h a h e a r t like still w a t e r t h e q i i s s u f f i c i e n t a n d t h e spirit
full. W h e n t h e q i i s s u f f i c i e n t a n d t h e spirit full, t h e o r g a n s f u n c t i o n n o r m a l l y ,
t h e b l o o d i s n o u r i s h e d , t h e m e r i d i a n s , n e r v e s , d i g e s t i o n a n d c i r c u l a t i o n a r e all
h e a l t h y and t h e m e t a b o l i s m stimulated. W h e n t h e factors w h i c h prevent aging
a r e all s t r o n g , o n e m a y p r e v e n t i l l n e s s a n d live a l o n g a n d h e a l t h y l i f e .
H u m a n s are w h o l i s t i c b e i n g s w h i c h a r e p o s s e s s e d o f a c e r t a i n v i t a l i t y . T h e
spirit a n d f l e s h a r e i n s e p a r a b l e a n d f o r m a c o m p l i c a t e d e n t i t y . T h e h u m a n
vitality supports, influences and is responsive to t h e person as a whole, while t h e
spirit i s t h e l e a d e r a n d c o n t r o l l e r , t h e " c o m m a n d e r - i n - c h i e f " o f t h e b e i n g a s a
w h o l e . U n d e r c e r t a i n c i r c u m s t a n c e s , i t c a n b e said t h a t t h e s p i r i t " p u l l s a t o n e
h a i r a n d t h e w h o l e b o d y f o l l o w s " o r a t t h e s l i g h t e s t s t i r r i n g o f t h e spirit t h e w h o l e
b e i n g r e s p o n d s , a n d e a c h m o v e m e n t o f t h e spirit h a s a real e f f e c t o n t h e
i n d i v i d u a l . T h e r e f o r e , I p u t s p e c i a l e m p h a s i s o n t h e spirit a s t h e l e a d e r , e v e r
s t r e n g t h e n i n g m y r e s o l v e t o c u l t i v a t e t h e spirit, m a i n t a i n c a l m n e s s o f t h e h e a r t
a n d b e c o m e as pure as light w i t h o u t a speck of dust. T h i s is akin to t h e m e a n i n g
of a Song Dynasty poet w h o wrote " t o understand the highest virtue," applied
to the present time. B e t t e r y e t , t h i s c u l t i v a t i o n o f t h e spirit a n d h e a r t will
improve the physical constitution of the people, protect their health, and
c o n t r i b u t e to a l o n g a n d h e a l t h y life.

Live a n e n t h u s i a s t i c life, serve t h e p u b l i c g o o d .

1 h a v e t r a v e l e d t h e l o n g r o a d o f life, e x p e r i e n c i n g h a r d s h i p , d i f f i c u l t y a n d I
k n o w the s e n t i m e n t of m a n is often as thin as paper. I h a v e seen corruption and
t h o s e w h o s e o n l y c o n c e r n is realizing their o w n desires. Because of this, 1 h a v e
s t r i v e d e v e n h a r d e r t o live a p r a c t i c a l life, w i l l i n g t o s a c r i f i c e e v e n m o r e f o r t h e
g o o d of the people. After t h e f o u n d i n g of t h e Republic, I spent my t i m e w o r k i n g
in t h e streets as a d o c t o r , treating a n y o n e w h o c a m e to me for h e l p w i t h
w h o l e h e a r t e d e n t h u s i a s m . W h e n o n e f i n d s h a p p i n e s s i n s e r v i n g o t h e r s , o n e will
b e full o f t h e spirit o f life, s e e i n g t h i n g s a s t h e y a r e w i t h a c a l m h e a r t . T h u s , o n e
m a y r e a c h t h e s t a t e w h e r e t h e spirit i s p r e s e r v e d w i t h i n , t h e b o d y i s h e a l t h y a n d
t h e spirit full, t h e i n t e l l e c t w i s e , d e c i s i o n s m a d e a d r o i t l y a n d r e a c t i o n s m a d e
spontaneously. Consequently, the lifeenergywillbestrengthened and increased
while promoting the health and longevity of the body.

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Xing Yi Nei Gong

Wang Ji Wu with his student He Yu Qi

 Chapter 2

Liu He Xin Yi Quan

(Xing Yi Quan)
Written Transmissions

Wang Ji Wu with his student Zhang B a o Yang

33
Xing Yi Nei Gong

Liu He Xin Yi Quan

(Xing Yi Quan)
Written Transmissions
compiled by Wang Jin Yu and Zhang Bao Yang
assisted by He Yu Qi and Pan Zhi Yuan
reviewed by Wangji Wu
translated by Tim Cartmell

Introduction
by Wang Jin Yu

T h e X i n g Yi Q u a n , Liu He Xin Yi Quan Written Transmissions h a v e n e v e r b e e n

published. T h e s e writings h a v e been passed d o w n a n d copied by practitioners
a n d t h o s e i n t e r e s t e d i n t h e m a r t i a l arts, a n d u s e d f o r r e f e r e n c e p u r p o s e s .
T h r o u g h its l o n g p e r i o d o f b e i n g h a n d c o p i e d n o t o n l y h a v e several d i s c r e p a n c i e s
in t h e characters developed but also s o m e of t h e m e a n i n g s of t h e original text
have been altered. Therefore, it is impossible to avoid different interpretations
a n d e x p l a n a t i o n s of t h e text. It is n o t clear w h a t t h e original outline of t h e
t r a n s m i s s i o n s w e r e really l i k e .
"A given culture is influenced by the state of politics and e c o n o m i c s of the
society of w h i c h it is a part." T h e X i n g Yi Q u a n transmissions were written
during C h i n a ' s feudal period. It is obvious that a n c i e n t feudal political rule was
c o r r u p t , t h i s c e r t a i n l y h a d its i n f l u e n c e . T o d a y , u n d e r s o c i a l i s t rule, i n o r d e r t o
" p r o m o t e physical education a n d increase the health of the people," we should
a c t i n a c c o r d a n c e w i t h t h e s a y i n g , " i n regards t o a n c i e n t c u l t u r e , w e s h o u l d n o t
reject it out of h a n d , a n d should also not accept it blindly, but should judge and
a d o p t w h a t i s u s e f u l . " Also, " e l i m i n a t e t h e d r e g s o f f e u d a l i s m a n d a b s o r b t h a t
w h i c h is the essence of d e m o c r a c y . " We must separate the corrupt practices of
f e u d a l i s m f r o m t h o s e e x c e l l e n t t h i n g s useful t o t h e p e o p l e ' s c u l t u r e a n d d e m o c r a c y
and the revolutionary cause.

1) In order to get as close as possible to t h e m e a n i n g s of t h e original text, t h e

c o m m o n l y s e e n t e r m s h a v e b e e n c o m p a r e d a n d c h o s e n f r o m several h a n d
copied versions of t h e original text. At this point in time this version c o n t a i n s
what is believed to be the most accurate rendition.

2 ) M a r t i a l arts are a f o r m o f p h y s i c a l e d u c a t i o n , t h e m o v e m e n t s s h o u l d c o n f o r m
t o e s t a b l i s h e d rules o f p h y s i o l o g y . H o w e v e r , a f t e r a l o n g p e r i o d o f b e i n g s t r i p p e d
a w a y u n d e r a c l a s s s t r u c t u r e d r u l e , t h e art i s rife w i t h t h e d r e g s o f f e u d a l i s t i c

34
 Written Transmissions

s o c i e t y . B e c a u s e in a c l a s s s t r u c t u r e d s o c i e t y , "all c u l t u r e , l i t e r a t u r e a n d art all

b e l o n g to a c e r t a i n c l a s s , a n d all f o l l o w a c e r t a i n p o l i t i c a l p o l i c y . " T h e r e f o r e , in
regards t o t h e " d r e g s o f f e u d a l i s m , " w e h a v e a l r e a d y r e c o g n i z e d t h e e x t e n t o f
their influence in order to delete t h e m .

3) T h i s v o l u m e is a result of c o n t i n u o u s h a n d copied versions passed d o w n .

Therefore, t h e order of t h e c o n t e n t s a n d t h e length of t h e sections have been very
d i f f i c u l t t o k e e p i n t h e o r i g i n a l o r d e r w i t h o u t o m i s s i o n s . T h e r e are m o r e t h a n a
few p l a c e s w h e r e p a r t s o f t h e c o n t e x t a r e m i s s i n g , o r t h e c o n t e n t i s c o n f u s e d a n d
thus it is very difficult to say w h i c h was t h e correct order of p r e s e n t a t i o n of t h e
material. Because of this, in preparing this copy, we h a v e temporarily o m i t t e d
some of the sections, we have taken the information and included it in other
sections, for e x a m p l e t h e sections o n " b o d y m e t h o d " a n d "step m e t h o d " are not
placed in their original order. This does not necessarily m e a n t h a t information
included in o n e section is not also included in o t h e r sections, if i n f o r m a t i o n was
relative to t h e section at h a n d , it m a y have also b e e n included therein. W h e n
i n f o r m a t i o n is again presented in a different c o n t e x t , with different i n f o r m a t i o n ,
it should be viewed differently t h a n before in relation to the n e w c o n t e x t in
w h i c h it appears.

A l t h o u g h s o m e i n f o r m a t i o n repeats, t h e reason is to give as c o m p l e t e an

explanation as possible of the concept in question. Of course, although the body
can be divided i n t o s e c t i o n s for i n s t r u c t i o n a l purposes, it is in reality a singular
e n t i t y . Bear in m i n d that a l t h o u g h t h e t e x t talks a b o u t t h e b o d y in different a n d
s e p a r a t e s e c t i o n s f o r c l a r i t y o f i n s t r u c t i o n , t h e v a r i o u s s e c t i o n s a r e all r e l a t e d a n d
m u s t b e c o n s i d e r e d t o g e t h e r i n a c t u a l p r a c t i c e . For e x a m p l e , t h e r e are s e p a r a t e
s e c t i o n s f o r i n t e r n a l a n d e x t e r n a l t r a i n i n g , b u t i n r e a l i t y t h e t w o are n o t s e p a r a t e
a n d unrelated. T h e text has a passage w h i c h reads: "If o n e w a n t s to o b t a i n t h e
h i g h e s t level o f skill, o n e m u s t s t r e n g t h e n t h e dan tian, i f o n e w i s h e s t o
s t r e n g t h e n t h e dan tian, o n e m u s t first p r a c t i c e t e c h n i q u e . " T h i s is a g o o d
example of the mutual relationship between internal and external training.

4) In organizing this text wc have attempted to eliminate the superfluous and

p r e s e n t t h e t e x t w i t h o u t o m i t t i n g its e s s e n c e , i t m u s t b e v i e w e d a s a n i m p e r f e c t
a t t e m p t a s o u r l i t e r a r y s t a n d a r d s a n d level o f m a r t i a l e x p e r i e n c e a r e l i m i t e d . W e
have perhaps chosen wrong characters, etc. There may be other mistakes and we
I n v i t e all o f o u r c o m r a d e s w h o h a v e a l o v e a n d i n t e r e s t i n t h e m a r t i a l arts t o o f f e r
their constructive criticism that we m a y improve together, in order to produce
material that c o n f o r m s to the science of exercise physiology.

5) Finally, this c o p y has u n d e r g o n e m a n y revisions, a n d this outline is t h e result.

I h o p e t o m a k e r e v i s i o n s o f its i n a d e q u a c i e s a s s o o n a s p o s s i b l e .

Wang Jin Yu
Beijing, C h i n a
New Year's Day 1 9 8 2

Editor's Note: W a n g Jin Yu and Zhang Bao Yang made <i final revision to this text in
September, 1 9 9 3 .

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Xing Yi Nei Gong

Dai Long Bang's Foreword

T h e vital p o i n t s o f X i n Y i Q u a n i n c l u d e : Y i n Y a n g , Five E l e m e n t s , s t i l l n e s s a n d
m o t i o n , rising a n d falling, a d v a n c i n g a n d r e t r e a t i n g , s u b s t a n t i a l a n d i n s u b s t a n t i a l ,
h a r d a n d s o f t . Its p r o f u n d i t y relies o n t h e six h a r m o n i e s :

1 ) t h e h a n d s h a r m o n i z e w i t h t h e feet,
2) the shoulders h a r m o n i z e with the hips,
3) the elbows h a r m o n i z e with the knees,
4) the heart harmonizes with the intent,
5) t h e i n t e n t h a r m o n i z e s w i t h t h e qi,
fi) the qi harmonizes with t h e power.

I f o n e i m p r o v e s d a y b y d a y , g a i n s c o m p l e i e k n o w l e d g e , i s b r a v e i n all
c i r c u m s t a n c e s , o b t a i n s a n u n d e r s t a n d i n g o f t h e p r i n c i p l e s , a n d u n i t e s w i t h its
e s s e n c e , o n e will b e a b l e t o c o m e a n d g o n a t u r a l l y , m a y b e w e a k o r s t r o n g , will
b e a b l e t o a d v a n c e o r r e t r e a t , c a n b e soft o r h a r d .

Dai l o n g B a n g , 1 7 5 0 A.D.

When the internal and external are united, this is the Six Directions.
When the Six Harmonies are mastered, this is the Six Ferocities.

Essential Knowledge For the Practice of Martial Arts

1 ) S o l o a n d P a r t n e r P r a c t i c e : For t h o s e p r a c t i c i n g m a r t i a l arts, e i g h t y p e r c e n t
of the time is spent in solo practice, twenty percent of the time is spent with
others. Therefore, it is said, " T h e t i m e s t r e n g t h e n i n g t h e b o d y is long, t h e t i m e
defeating o p p o n e n t s is short."

2) D a i l y P r a c t i c e : O n e m u s t practice every day, barring illness, without break.

3) Humility: O n e m u s t not s h o w off or bully others

4) Quality versus Q u a n t i t y ; In practice, quality is m o r e important than

q u a n t i t y . T o d e f e a t a s i n g l e o p p o n e n t t h i s i s t h e c o r r e c t m e t h o d , t o defeat m a n y
o p p o n e n t s , t h i s i s still t h e c o r r e c t m e t h o d . I n c o m p a r i s o n , I b e o n e w h o p r a c t i c e s
t o o great a variety will b e c o m e p a n i c k e d a n d distraught, If o n e d o e s n o t train t h e
b o d y w i t h a r e a l i s t i c f o u n d a t i o n , i n c o m b a t t h e r e will h e n o m a t u r e t e c h n i q u e
t o fall b a c k o n , o n e will h a v e n e i t h e r a well t r a i n e d b o d y n o r a s o l i d t e c h n i q u e .

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5) P e r s e v e r a n c e : T h e r e are t h o s e w h o talk about principles for a great l e n g t h of

t i m e , t h e y say m a r t i a l arts a r e full o f s e c r e t s . W h e n y o u ask t h e m t h e y d o n ' t
answer, or t h e y answer i n c o m p l e t e l y . How can this be! T h e r e are t h o s e w h o are
easily s a t i s f i e d , o r i n v i t e d i s a s t e r b y u n d e r e s t i m a t i n g t h e art, o r like t o b u l l y
o t h e r s . T h e r e a r e t h o s e w h o h a v e n o p e r s e v e r a n c e , w h o s t u d y a little a n d t h i n k
t h e y k n o w i t all, t h e y are q u i t e s a t i s f i e d w i t h t h e m s e l v e s a n d r a r e l y p r a c t i c e , t h e y
t h i n k t h e y are a g r e a t s u c c e s s , u n t i l t h e y h a v e t o u s e t h e art a n d f i n d t h e m s e l v e s
u s e l e s s . T h i s i s n o t t h e fault o f t h e t e a c h e r b u t r a t h e r t h e s t u d e n t w h o h a s g o n e
about learning in t h e wrong way. If these types teach students t h e students are
lost a n d t h e art d e g e n e r a t e s g e n e r a t i o n b y g e n e r a t i o n . W h e r e are t h e s e c r e t s !

6) I m p o r t a n t points for practice:

a ) B e f o r e p r a c t i c e : T h e s t o m a c h s h o u l d b e n e i t h e r t o o full o r t o o e m p t y , t h e
m i n d s h o u l d n o t b e p r e o c c u p i e d w i t h o t h e r affairs, d o n o t p r a c t i c e w h e n a n g r y .
W h e n h u n g r y o n e h a s n o e n e r g y , t o o full a n d t h e s t o m a c h will b e i n j u r e d .
E x t r a n e o u s t h o u g h t s h a r m t h e b r a i n . A n g e r h a r m s t h e spirit.

b) During practice: Do n o t fool a r o u n d . Do not spit. Do n o t be disrespectful.

I f o n e i s n o t s e r i o u s i n p r a c t i c e t h e spirit i s d i s p e r s e d , s p i t t i n g i n f l a m e s t h e t h r o a t ,
disrespect weakens the practice.

c ) After p r a c t i c e : D o n o t eat o r d r i n k , d o n o t r e l i e v e y o u r s e l f , d o n o t lay d o w n .

F o o d a n d d r i n k will n o t d i g e s t w e l l , e l i m i n a t i o n c a u s e s q i t o s c a t t e r , l a y i n g d o w n
c a u s e s t h e q i t o rise c a u s i n g d i s c o m f o r t .

7 ) T h e T h r e e H a r m s : T h o s e w h o p r a c t i c e m a r t i a l arts m u s t a v o i d t h e t h r e e
h a r m s . I f o n e i s n o t f a m i l i a r w i t h t h e t h r e e h a r m s , p r a c t i c e will i n j u r e t h e b o d y .
W h a t is m e a n t by t h e three h a r m s ? T h e three h a r m s are:

1) Inappropriate use of strength,

2) Forcing the breath,
3) Sticking out the chest and pulling up t h e belly.

I f o n e uses s t r e n g t h i n a p p r o p r i a t e l y , t h e q i will n o t f l o w s m o o t h l y t h r o u g h
t h e l i m b s a n d f r a m e , t h e m e r i d i a n s will b e o b s t r u c t e d , t h e e n t i r e b o d y will b e
r e s t r i c t e d , t h e b a n d s a n d feet will n o t b e agile, t h e b o d y will b e b o g g e d d o w n b y
s t a g n a n t qi, w h e r e v e r t h e q i s t a g n a t e s i l l n e s s will r e s u l t . I f o n e f o r c e s t h e b r e a t h ,
o n e will b e c o m e stiff a n d e a s y t o b r e a k , w i t h t h e c h e s l full o f air t h e l u n g s will
b e s q u e e z e d a n d will suffer h a r m . I f o n e s t i c k s o u t t h e c h e s t a n d s u c k s i n t h e b e l l y ,
t h e q i will m o v e t h e w r o n g d i r e c t i o n a n d will rise, i t will n o t r e t u r n t o t h e dan
tian.

8) S e e k i n g I n s t r u c t i o n : In order to study martial arts, o n e must be diligent in

t w o a r e a s . First, o n e m u s t b e w i l l i n g t o travel g r e a t d i s t a n c e s i n o r d e r t o s t u d y
wild those of higher ability a n d sincerely request instruction. O n e must also be
d i l i g e n t i n s p e e c h , h u m b l i n g t h e self a n d a s k i n g f o r g u i d a n c e .

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9 ) F o r c e a n d S e l f - s a t i s f a c t i o n : I n p r a c t i c i n g t h e m a r t i a l arts t h e r e a r e t w o t h i n g s
w h i c h m u s t b e a v o i d e d , t h e first i s r e l i a n c e u p o n f o r c e , t h e s e c o n d i s self-
satisfaction.

10) Start P r a c t i c e S l o w l y : Begin practice by m o v i n g softly, gently a n d slowly

in order to s o o t h e a n d o p e n t h e c o n n e c t i v e tissue a n d b o n e s , this guides t h e qi
a n d p o w e r a n d l e a d s i t c o r r e c t l y . After a p e r i o d o f p r a c t i c e , i t i s g o o d t o u s e m o r e
force a n d speed in order to increase t h e i n t e r n a l power for practical a p p l i c a t i o n .

1 1 ) S e q u e n c e o f P r a c t i c e : A t t h e b e g i n n i n g o f p r a c t i c e s t a n d i n Son T i Shi ( t r i n i t y
standing posture), afterwards practice forms.

1 2 ) S t a g e s o f T r a i n i n g : After b e g i n n i n g f o r m a l p r a c t i c e , o n e m u s t f o l l o w t h e
rules o f t r a i n i n g , i f s o , i n t h r e e y e a r s t h e b a s i c t r a i n i n g will b e c o m p l e t e . I n t h e
i n t e r m e d i a t e s t a g e s o f t r a i n i n g , p r a c t i c e s i n g l e f o r m s r e p e a t e d l y , use t h e f o r m t o
e x p r e s s t h e i n t e n t . A f t e r a l o n g p e r i o d o f p r a c t i c e o n e will b e a b l e t o c h a n g e
s p o n t a n e o u s l y w i t h t h e c i r c u m s t a n c e s . After six y e a r s o n e will c o m p l e t e t h i s
level o f t r a i n i n g . I n a d v a n c e d s t a g e s o f t r a i n i n g , b o t h t h e i n t e r n a l a n d e x t e r n a l
gong fu will be c o m p l e t e d , y o u r b o d y w i l l b e c o m e as h a r d as s t e e l , y o u r gong fu
will b e o f a h i g h l e v e l . T h e r e f o r e , t h e c o r r e c t s e q u e n c e o f t r a i n i n g f o l l o w s t h e s e
three steps:

Method Principle Gong Fu

1. Obvious Energy C h a n g e Essence to Qi Changes Bones

2. Hidden Energy C h a n g e Q i t o Spirit Changes Tendons
3. C h a n g e Energy C h a n g e Spirit t o V o i d Changes Marrow

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San Ti Shi (jLfll ^v,- T r i n i t

Y Posture)

T h e t h r e e " b o d i e s " (Son 7 1 o r t r i n i t y ) i n m a r t i a l arts r e f e r t o t h e h e a d , h a n d s ,

a n d f e e t . San Ti is f u r t h e r d i v i d e d i n t o t h r e e s e c t i o n s as f o l l o w s :

W a i s t {dan tian) Spine (heart) H e a d (Ni Wan P o i n t )

Hips Knees Feet
Shoulders Elbows Hands

T h e root, middle, a n d terminus is also k n o w n in X i n g Yi Q u a n as the "three

j o i n t s . " All p r a c t i c e s t a r t s w i t h S f l M T i s t a n d i n g . After w a l k i n g t h r o u g h t h e f o r m s ,
o n e m u s t f o l l o w t h e c o r r e c t s e q u e n c e o f t r a i n i n g a n d m u s t n o t o m i t s t e p s . All
s u b s e q u e n t m o v e m e n t is f o u n d e d in San Ti Shi. T h i s p o s t u r e is t h e g a t e of t h e
W a y , i t i s t h e r o o t a n d c e n t r a l n u c l e u s o f t h e art o f X i n g Y i Q u a n .

Wang Ji Wu Stands in S a n Ti S h i
Xing Yi Nei Gong

The Five Element Fists

1) Pi Quan (Splitting Fist)

R i s i n g F o r m • T h e t w o fists h u g a n d m o v e o u t f r o m t h e t e n t e r o f t h e b o d y I n
f r o n t o f t h e m o u t h , t h e f r o n t h a n d resists u p w a r d a t t h e level o f t h e h e a r t , t h e
rear h a n d f o l l o w s c l o s e l y b e h i n d , t h e t w o e l b o w s h u g i n c l o s e t o t h e ribs a t t h e
h e i g h t o f t h e h e a r t , t h e q i f o l l o w s t h e b o d y a n d s i n k s t o t h e dan tian.
L o w e r i n g F o r m - T h e h a n d s a n d f e e t c o m e d o w n t o g e t h e r w i t h t h e rear f o o t
following, t h e four fingers are separated a n d t h e "tiger's m o u t h " is round, t h e
f r o n t h a n d i s a t t h e level o f t h e h e a r t , t h e rear h a n d i s be" neat h t h e ribs, t h e f r o n t
h a n d , ( f r o n t | f o o t a n d n o s e are o n a s t r a i g h t l i n e .

2) Zuan Quan (Drilling Fist) gj^;^.

R i s i n g F o r m - T h e d r i l l i n g fist resists u p w a r d a t t h e h e i g h t o f t h e h e a r t , t h e
rear h a n d i s h i d d e n b e n e a t h t h e ribs, t h e t w o e l b o w s h u g t h e ribs, t h e f o o t rises,
t h e eyes follow t h e h a n d , a d v a n c e a step a n d lower t h e foot in c o n t i n u o u s steps.
L o w e r i n g F o r m - W h e n c h a n g i n g t h e fists, t h e e l b o w s a r e h i d d e n b e n e a t h ,
w h e n t h e h a n d s a n d feet l o w e r t o g e t h e r t h e q i will f l o w s m o o t h l y . T h e e y e o f t h e
f r o n t fist faces u p w a r d , t h e rear fist i s h i d d e n u n d e r t h e h e a r t , t h e f r o n t h a n d , f o o t
a n d n o s e are o n a s t r a i g h t l i n e .

3) Beng Quan (Smashing Fist)

M o v i n g A w a y F o r m - W h e n t h e fist m o v e s o u t t h e t h r e e p o i n t s m u s t b e o n
a l i n e ( h a n d , f o o t a n d n o s e ) , t h e e y e o f t h e fist p o i n t s u p w a r d a t t h e level o f t h e
h e a r t , t h e rear h a n d i s a yang fist a n d i s h i d d e n b e n e a t h t h e ribs, t h e f r o n t f o o t
p o i n t s s t r a i g h t a h e a d a n d t h e rear f o o t i s t o e d - o u t ( t h e c h a r a c t e r " e i g h t " ( A . )
step).
T u r n i n g t h e B o d y F o r m - T u r n t h e b o d y a n d raise t h e fist s o i t m o v e s o u t f r o m
t h e h e i g h t o f t h e e y e b r o w , t h e b o d y s t a n d s u p s t r a i g h t a n d t h e f o o t i s lifted, t h e
h a n d a n d f o o t are l o w e r e d t o g e t h e r i n t o a s c i s s o r s t e p , t h e f r o n t f o o t i s t u r n e d o u t
o b l i q u e l y a n d I h e rear f o o t p o i n t s s t r a i g h t a h e a d , t h e q i f o l l o w s t h e b o d y m o t i o n
a n d e n t e r s t h e dan t i a n .

4) I'ao Quan (Pounding Fist)

R i s i n g F o r m - T h e t w o e l b o w s c l o s e l y f o l l o w t h e f o o t a s i t r i s e s , t h e fists are
t i g h t a n d raise t h e h a n d s , t h e f r o n t h a n d i s o b l i q u e a n d t h e rear h a n d i s s t r a i g h t ,
t h e fists are a t t h e h e i g h t o f t h e n a v e l , t h e b o d y faces s t r a i g h t .

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L o w e r i n g L-orm - T h e h a n d s a n d feet a r e l o w e r e d t o g e t h e r w i t h t h e t h r e e
p o i n t s o n a l i n e , t h e b o d y i s a n g l e d , t h e feet m o v e s t r a i g h t a h e a d , t h e e y e o f t h e
fist f a c e s u p w a r d a t t h e h e i g h t o f t h e h e a r t , t h e f r o n t h a n d drills u p w a r d a n d
p r e s s e s a g a i n s t t h e e y e b r o w , t h e e y e o f i t ' s fist f a c e s d o w n w a r d , t h i s i s t h e p r o p e r
form.

5) Heng Quan (Crossing Fist) yffi i?^*.

R i s i n g F o r m - T h e f r o n t h a n d is a yartg fist a n d t h e rear h a n d is a yin fist. T h e

rear h a n d m o v e s o u t f r o m u n d e r t h e ribs, w h e n c h a n g i n g t h e h a n d s a n d m o v i n g
t h e h a n d o u t , t h e f o o t rises, l o w e r t h e b o d y a n d t w i s t a n d t h e q i will f l o w
smoothly.
C h a n g i n g F o r m - T h e c h a n g i n g f o r m o f Heng Qiwjj u s e s t h e " c h a r a c t e r t e n "
( - f - ) s t e p , t h e b o d y m o v e s o b l i q u e l y t h e n t h e s t e p i s c o r r e c t , t h e rear fist t u r n s
o v e r t o b e c o m e a yang fist a n d t h e t h r e e p o i n t s a r e i n a l i n e , t h e n o s e a n d f o o t
follow closely.

Pi Quart is like an a x e a n d b e l o n g s to m e t a l , Beng Quan is like an a r r o w a n d

b e l o n g s to w o o d , Zuan Quan is like l i g h t n i n g a n d b e l o n g s to w a t e r , I'ao Quan is
like a c a n n o n a n d b e l o n g s t o fire, HengQuan m o v e s u p a n d d o w n like a s p r i n g
and belongs to earth.

The Five Elements

(Wu Xing)
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The Mutual Creation and Destruction

of the Five Elements

Creation
M e t a l c r e a t e s w a t e r so Pi Quan m a y c h a n g e to Zuan Quart, w a t e r c r e a t e s w o o d
so Zuan Quan m a y c h a n g e to Beng Quan, w o o d c r e a t e s fire, so Beng Quan m a y
c h a n g e to Pao Quan, fire c r e a t e s e a r t h , so Pao Quan m a y c h a n g e to Heng Quan.

Destruction
M e t a l o v e r c o m e s w o o d so Pi Quan b r e a k s Beng Quan, w o o d o v e r c o m e s e a r t h
s o Beng Quan b r e a k s Heng Quan, e a r t h o v e r c o m e s w a t e r s o Heng Quan b r e a k s Zuan
Quan, fire o v e r c o m e s m e t a l so Pao Quan b r e a k s Pi Quan.

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The Twelve Forms

D r a g o n , T i g e r , M o n k e y , H o r s e , A l l i g a t o r , C h i c k e n , Eagle, B e a r , Tai B i r d , S n a k e ,
C h i c k e n Hawk, Swallow
T h e D r a g o n i s a b l e t o f o l d u p its b o n e s , t h e T i g e r i s b r a v e e n o u g h t o p o u n c e
u p o n its p r e y , t h e M o n k e y i s a b l e t o r o a m freely o v e r m o u n t a i n s , t h e H o r s e i s a b l e
t o kick w i t h its h o o v e s , t h e A l l i g a t o r i s a b l e t o m o v e o n t h e s u r f a c e o f w a t e r w i t h
agility, t h e C h i c k e n i s fearless a s i t p e c k s , t h e E a g l e i s e x p e r t a t g r a s p i n g , t h e B e a r
has g r e a t s t r e n g t h a t r a i s i n g u p v e r t i c a l l y , t h e Tai Bird i s a b l e t o h o l d its tail
straight u p , t h e S n a k e i s a b l e t o s l i t h e r t h r o u g h t h e grass, t h e C h i c k e n H a w k i s
able to w e a v e t h r o u g h t h e forest, t h e Swallow has t h e agility to brush t h e surface
of the water.

Twisting Root - The Earth Dragon Canon

The w o r d s of t h e Earth Dragon Canon are u s e f u l in a t t a c k i n g on t h e g r o u n d .
P r a c t i c e w i t h t h e w h o l e b o d y , o n e will b e c o m e s t r o n g a n d a l e r t . T h a t w h i c h i s
extended m a y b e c o m e curved, that which is stationary m a y m o v e . Curved, it is
like a c r o u c h i n g tiger, it a s c e n d s like a s o a r i n g d r a g o n . It m o v e s a n d s t o p s
w i t h o u t l e a v i n g a t r a c e , its e x t e n d i n g a n d s t r a i g h t e n i n g a r e h i d d e n . W h e n t h e
b o d y c o m e s e r e c t i t i s like i r o n , its m e t h o d i s c o n c e a l e d like t h e d r a g o n .
O v e r t u r n i n g v i o l e n t l y like a tiger o r p a n t h e r , t u r n i n g r a p i d l y like a n e a g l e . G o i n g
d o w n i s s e p a r a t e d i n t o f r o n t , b a c k , left a n d r i g h t , t h e g a t e s m a y c h a n g e , t h e r e i s
n o set m e t h o d . W h e n a t t a c k i n g t o t h e f r o n t u s e t h e h a n d s , i t i s t h e s a m e f o r t h e
s e c o n d a n d t h i r d g a t e s . W h e n a t t a c k i n g t o t h e r e a r u s e t h e feet, t h e k n e e s f o l l o w
in attack. If t h e d i s t a n c e is great t h e n pursue, if t h e distance is small, go out a n d
c o n n e c t . W h e n t h e h i p s are o n t h e g r o u n d , lay o n t h e side a n d c u r l t h e b o d y .
F a l l i n g b a c k w a r d is like s i t t i n g , it is like l e a n i n g b a c k a g a i n s t a t a i l . H i g h a n d l o w
f o l l o w t h e i n t e n t , a s d o far a n d n e a r a n d level o r u p r i g h t .

E d i t o r ' s N o t e : T h e F^arth D r a g o n C a n o n (Di Long ling - jfc ) a p p l i e s to t h e

e x e r c i s e k n o w n in X i n g Yi Q u a n as Pan Gen 4ft - T w i s t i n g R o o t ) . Pan Gen is a
X i n g Yi Q u a n exercise similar to Ba Gua's circle walking practice, however, the
circle is very small. II is a t h r e e step t u r n i n g exercise w h e r e every step c h a n g e s
direction while t h e h a n d s are held in a static position. T h e three step practice is
trained so that the student can learn h o w to quickly evade an attack, open up the
o p p o n e n t , a n d t h e n strike. T h e t e r m " g a t e s " u s e d i n t h e t e x t a b o v e refers t o t h e
changing directions.

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Three Fists, Three Clubs

"When the three fists and the three dubs are mastered, they become
the three poisons."

T h r e e Fists
Zuan Quan - D r i l l i n g Fist), Guo Quan - W r a p p i n g Fist), Jian Quan
- Treading Fist). Zuan Quan is like l i g h t n i n g , Guo Quan is like a tiger
t r e a d i n g , jian Quan is like a g a l l o p i n g h o r s e , p e r f o r m e d c o n t i n u o u s l y w i t h o n e
breath.

Three Clubs
Peng C l u b , Pao C l u b ( j & t f l - P o u n d i n g C l u b ) , Fan Bei C l u b ( & 1 f -
O v e r t u r n i n g B a c k C l u b ) . Peng C l u b i s v i o l e n t , Pao C l u b m o v e s like t h e w i n d , Fan
Bei C l u b i s fast a s a n a r r o w , t h e t r u t h i s f o u n d w i t h i n .

Fists a n d C l u b s
T h e t h r e e fists a n d t h r e e c l u b s are n o t c o m m o n l y f o u n d , t h e c o r r e c t m e t h o d
is to keep a c o m p l e t e and tight defense, if o n e practices until o n e c o m e s to t h e
s p i r i t o f t h e t h i n g , t h e n o n e w i l l b e c o m e a first r a t e m a r t i a l artist.

Xing Yi Sword
Advance Six Step Sword
Raising the h a n d , point to heaven a n d row t h e earth, brush t h e b o d y a n d
p i e r c e t h e h e a r t s w o r d , split t o t h e r e a r o n e s t r o k e , f r o m h e r e r e v e r s e d i r e c t i o n s ,
lift t h e wrist s w o r d , d o w n t o t h e e a r t h t u m b l i n g b o d y s w o r d , l a n d i n g d r a g o n
s h a p e s w o r d , s w i n g left s w o r d , a d v a n c e o n e s t e p split o n e s t r o k e , t u r n t h e b o d y
a n d c h o p o n e stroke, central lifting sword, t h e black dragon tests t h e o c e a n
s w o r d , s w i n g left s w o r d , turn t h e b o d y a d v a n c e o n e s t e p c h o p o n e s t r o k e ,
o b l i q u e l y b r u s h l e f t s t a n c e s w o r d , s c o o p t h e wrist e m b r a c e t h e m o o n s w o r d , t u r n
right eight trigrams sword, brush t h e b o d y pierce t h e heart sword, halt step
i n t e r c e p t t h e wrist s w o r d , lift t h e wrist s w o r d , d o w n t o t h e e a r t h t u m b l i n g b r u s h
sword.

Retreat Six Step Sword

Raising t h e h a n d , point to h e a v e n and row t h e earth, brush t h e b o d y a n d
p i e r c e t h e h e a r t s w o r d , split t o t h e rear o n e s t r o k e , lift t h e wrist s w o r d , d o w n t o
t h e earth t u m b l i n g brush sword, landing dragon shape sword, a d v a n c e step
c h i c k e n h a w k o v e r t u r n s its b o d y s w o r d , s t e p b a c k a n d r e v e r s e d i r e c t i o n s ,
brushing sword, step back c h o p d o w n sword, c h o p d o w n destroy the form sword,
t u r n t h e b o d y a n d c h o p t h e h e a d s w o r d , t h e u s u r p e r lifts t h e t r i p o d s w o r d .

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Important Points of Body, Form, and

Martial Practice
T h e r e are a c o l l e c t i o n o f t e r m s o r p h r a s e s w h i c h a r e o f t e n s e e n i n m a r t i a l arts
t r a n s m i s s i o n s , f o r e x a m p l e t h e " E i g h t Vital P o i n t s , " o r t h e " F o u r t e e n P o i n t
Striking M e t h o d , " a n d so o n . T h e s e t e r m s were used t o s u m m a r i z e t h e
knowledge gained through practice by those w h o c a m e before. Because these
terms were n o t created by a single m a n in a single t i m e , s o m e repetition occurs.
B e l o w w e p r e s e n t a list o f t h e c o m m o n l y s e e n t e r m s w i t h e x a m p l e s . T h i s s h o u l d
h e l p t h o s e w h o are t r a i n i n g i n X i n g Y i Q u a n , e n a b l i n g t h e m t o u t i l i z e t h e
e x p e r i e n c e o f o u r p r e d e c e s s o r s . T h i s will s p e e d i m p r o v e m e n t .
O f c o u r s e , for t h e c r e a t o r s o f t h e t e r m s a n d p h r a s e s ' u s e d i n t h e w r i t t e n
t r a n s m i s s i o n s o f X i n g Y i Q u a n t h e y referred t o first h a n d e x p e r i e n c e , f o r u s t h e
knowledge is second h a n d . Because of this, besides trying to understand t h e
m e a n i n g of t h e written words, o n e m u s t use even m o r e effort in trying to
understand the teachings in actual training, adding to one's o w n knowledge a n d
e x p e r i e n c e . This i s b e c a u s e true k n o w l e d g e i s o n l y t r a i n e d t h r o u g h p r a c t i c a l
e x p e r i e n c e . I f o n e l e a v e s p r a c t i c a l e x p e r i e n c e , all t h a t i s left i s e m p t y t a l k .

Techniques come out like a pouncing dragon. Lift the hand like an
eagle grasping, the form maintains the characteristics of chicken leg,
dragon body, bear shoulders, tiger holding head. Quick as an old chicken,
it moves through forms like a locust, its rising forms are like shouldering
a yoke (it is also written, "move like a crawling bug, rise like lifting a
yoke").

The Eight Vital Points

W a n t i n g t o o b t a i n t h e u l t i m a t e t e c h n i q u e , o n e m u s t start w i t h self t r a i n i n g .
T h e m e t h o d o f t r a i n i n g c o n t a i n s b o t h c o l l e c t i n g t o g e t h e r a n d m o v i n g . For t h o s e
w h o p r a c t i c e m a r t i a l arts, t h e F i g h t Vital P o i n t s are o f first i m p o r t a n c e . T h e E i g h t
Vital P o i n t s are t h e m o t h e r o f X i n g Y i Q u a n . I n t e r n a l l y , p r a c t i c e t h e qi, e x t e r n a l l y
p r a c t i c e t h e f o r m s a n d m o v e m e n t s . I t d o e s n o t m a t t e r i f its t h e Five E l e m e n t s ,
t h e T w e l v e A n i m a l s , t h e c h a n g e s o f s u b s t a n t i a l a n d i n s u b s t a n t i a l , rise, drill, fall,
o r o v e r t u r n , all o f t h e s e f o l l o w t h e E i g h t V i t a l P o i n t s . T h e E i g h t V i t a l P o i n t s are
as f o l l o w s :

1) the i n s i d e s m u s l b e lifted,
2) the three hearts must unite,
3) the three intents must follow one another,
4) the Five E l e m e n t s m u s t f l o w s m o o t h l y ,
5) the four terminus must m o v e together,
6) the heart must he at ease,
7) the Ihree points must be on a line,
8) the eyes m u s t focus on a single point.

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E d i t o r ' s N o t e : T h e " i n s i d e s m u s t b e l i f t e d " refers t o t h e l i f t i n g o f t h e a n u s ,

pressing of the tongue on the roof of the m o u t h , and the lifting of the crown of
t h e h e a d . W h e n t h e " i n s i d e s a r e l i f t e d " a n " i n s u b s t a n t i a l e n e r g y rises t o t h e t o p . "
T h e " t h r e e h e a r t s " are t h e B a i H u i ("S~ G V-20, " o n e hundred convergences")
p o i n t a t t h e c r o w n o f t h e h e a d , t h e Lao Gong PCS, " p a l a c e o f l a b o r " ) p o i n t s
i n t h e h e a r t o f t h e p a l m s , a n d t h e Yong Quan jfc. - K - l , t h e " g u s h i n g s p r i n g " )
p o i n t s i n t h e h e a r t o f t h e soles o f t h e feet. I n " u n i t i n g t h e three h e a r t s " t h e
practitioner has an image of these three points being drawn in toward the center
of the body.
T h e " t h r e e i n t e n t s " a r e t h e Qi ( j j ^ - v i t a l f o r c e ) , Li (7^7 - s t r e n g t h ) , a n d t h e Yi
- intention).
T h e "Five E l e m e n t s " are earth, m e t a l , water, w o o d , a n d fire. H e r e t h e Boxing
Canon i s r e f e r r i n g t o five i n t e r n a l a n d five e x t e r n a l e l e m e n t s i n t h e b o d y . T h e
i n t e r n a l five e l e m e n t s a r e : t h e h e a r t , liver, s p l e e n , l u n g s , a n d k i d n e y s . T h e
e x t e r n a l five e l e m e n t s a r e t h e t o n g u e , e y e s , m o u t h , n o s e , a n d e a r s .
T h e " f o u r t e r m i n u s " are a s f o l l o w s : T h e t o n g u e i s t h e t e r m i n u s o f t h e f l e s h ,
t h e t e e t h a r e t h e t e r m i n u s o f t h e b o n e s , t h e f i n g e r s a n d t o e s are t h e t e r m i n u s o f
t h e c o n n e c t i v e tissue, t h e p o r e s o f t h e w h o l e b o d y a r e t h e t e r m i n u s o f t h e b l o o d
vessels.
T h e " t h r e e p o i n t s " are t h e n o s e , f r o n t h a n d , a n d f r o n t f o o t .

Twelve Important Points

1) t h e legs p r a c t i c e s t e p s as s t a b l e as a m o u n t a i n ,
2 ) t h e k n e e s erect a n d c u r v e , a n d s t r a i g h t e n like a pillar,
3) t h e c r o t c h a n d hips inside a n d out scrape together,
4) t h e chest a n d b a c k have a b a l a n c e of hard a n d soft
5 ) t h e f r o n t side o f t h e f o r e h e a d k n o c k s t h e e n e m y ,
6 ) t h e t h r e e g a t e s erect t h e s h o u l d e r s a n d a d h e r e t o t h e b a c k ,
7) t h e two gates obliquely a n d vertically use t h e elbows,
8) pierce t h e b o n e s and break t h e o p p o n e n t ,
9 ) stroke d o w n o n t h e b o n e s t o break t h e o p p o n e n t downward,
10) brush inward to take the o p p o n e n t ' s inside,
11) obstruct t h e outside to take the o p p o n e n t ' s outside,
12) provoke and attack from above, below, inside and outside.

Seven Key Points

1) sink t h e waist,
2) relax t h e shoulders,
3) depress the chest,
4) press,
5) lift,
6) m o v i n g across or s m o o t h l y must be clearly understood,
7) rising, d r i l l i n g , a n d o v e r t u r n i n g m u s t b e c l e a r l y s e p a r a t e d .

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T o " s i n k t h e w a i s t , " t h e c o c c y x m u s t b e r e l a x e d a n d s l i g h t l y lifted, t h e yang

q i w i l l a s c e n d t o w a r d h e a v e n , t h i s r e g u l a t e s t h e D u m e r i d i a n (if-JI^.). W h e n
" r e l a x i n g t h e s h o u l d e r s , " t h e y feel a s i f t h e y a r e b e i n g p u l l e d b a c k . T o " d e p r e s s
t h e c h e s t " i s t o o p e n t h e c h e s t s o t h e b r e a t h f l o w s s m o o t h l y a n d t h e yin q i
d e s c e n d s . T h i s r e g u l a t e s t h e Ren m e r i d i a n (4£ f t f t . ) . " P r e s s i n g " m e a n s t h e t o n g u e
p r e s s e s t h e r o o f o f t h e m o u t h a n d t h e h a n d s press o u t w a r d . " L i f t i n g " m e a n s t h e
a n u s i s lifted i n w a r d . " M o v i n g a c r o s s " i s t o rise a n d " m o v i n g s m o o t h l y " i s t o
l o w e r . T o rise i s t o drill, t o l o w e r i s t o o v e r t u r n . R i s i n g i s d r i l l i n g a n d l o w e r i n g
i s o v e r t u r n i n g . R i s i n g i s o b l i q u e a n d l o w e r i n g i s s m o o t h . Press u p w a r d w i t h t h e
h e a d a n d t h e n drill, r e t r a c t t h e h e a d a n d o v e r t u r n , raise t h e h a n d s t h e n drill,
l o w e r t h e h a n d s t h e n o v e r t u r n . Lift t h e f o o t t h e n drill, l o w e r t h e f o o t t h e n
o v e r t u r n . Raise t h e w a i s t t h e n drill, l o w e r t h e w a i s t t h e n o v e r t u r n .
W h e n raising o b l i q u e l y t h e oblique is not seen, w h e n lowering s m o o t h l y , t h e
s m o o t h is n o t seen. Rising is g o i n g out, l o w e r i n g is striking. Rising is also
s t r i k i n g , l o w e r i n g i s a l s o s t r i k i n g . Rise a n d fall a s r o l l i n g w a v e s , t h i s i s h o w t o r i s e
a n d l o w e r . N o m a t t e r w h a t , w h e n rising, d r i l l i n g , f a l l i n g o r o v e r t u r n i n g , t h e
e l b o w s never leave t h e ribs, t h e h a n d s n e v e r leave t h e heart. This is t h e vital p o i n t
of Xing Yi Quan. Those w h o understand have the essence of Xing Yi Quan. The
students should consider this carefully.

Defining Terms

" P r e s s i n g t h e s h o u l d e r s " i s like p r a c t i c i n g t h e steps, u r g e t h e rear a s i f e r e c t i n g

t h e w a i s t , r o u n d t h e c r o t c h t o s u p p o r t t h e h i p s , lift t h e c h e s t a s i f b a c k - b e n d i n g .
T h e " s h o u l d e r s " refers t o t h e p o w e r o f t h e " s h o u l d e r w e l l p o i n t , " s i n k d o w n t o
t h e Yang Quan ( K - l ) . " U r g i n g t h e r e a r " refers t o s q u e e z i n g t h e b u t t o c k s t o g e t h e r
a s m u c h a s p o s s i b l e . T h e c r o t c h feels a s i f i t i s p r e s s i n g a c r o s s b o t h i n w a r d l y a n d
o u t w a r d l y w i t h m a x i m u m e f f o r t . " L i f t i n g t h e c h e s t " refers t o l i f t i n g t h e c h e s t a s
if resisting a force f r o m t h e front. Relax t h e shoulders as if you are putting forth
strength. B o t h sides o f t h e b a c k b o n e press f o r c e f u l l y t o g e t h e r , t h e e n e r g y
originates from beneath the navel, from the internal organs revolving outward
t o t h e h e a d a n d t h e n r e t u r n s . W h e n u s i n g t h e p o w e r o f t h e s h o u l d e r well p o i n t ,
s o f t e n t h e i n t e n t a n d r e l a x , t h e r e will b e n o o b s t r u c t i o n .

Horizontal a n d vertical energies m u s t be clearly differentiated. Horizontal

energy is aided by t h e vertical, vertical energy is used horizontally. Vertical
energy is from t h e shoulders to t h e b o t t o m s of the feet. T h e horizontal energy
is in t h e t w o arms. From t h e c r o t c h to t h e b o t t o m s of t h e feet, f r o m t h e knees
t o t h e rear, t h e y a r e d e s c r i b e d t h r o u g h l e g w o r k .
T h e p o w e r o f t h e dan tian rises u p t h e h a c k a n d c o n t i n u e s a r o u n d t o l h e c h e s t ,
i t f l o w s t o t h e s t o m a c h , i t tilts t h e o r g a n s , i t s o l i d i f i e s t h e ribs, i l r u s h e s u p t o t h e
top o f t h e b r a i n .
" U n i t i n g " refers t o u n i t i n g t h e e n t i r e b o d y a s o n e . " F . r e c t i n g " refers t o t h e
vertical, h o r i z o n t a l , o b l i q u e , a n d reeling.
T o s t a m p d o w n i s like s t a m p i n g o n a p o i s o n o u s b u g . W h e n p o u n c i n g i t i s like
a tiger p o u n c i n g o n its p r e y . " W r a p p i n g " I s like w r a p p i n g s o m e t h i n g u p s o n o
part i s e x p o s e d . " C o m f o r t a b l e " refers t o a l l o w i n g t h e p o w e r t o b e c o m f o r t a b l e
and o p e n . To sever m e a n s to s h a k e s o m e t h i n g until il breaks.
" T o s t a m p " means that the foot has to stamp down with finality without

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further m o t i o n . W h e n p o u n c i n g o n e must use t h e p o w e r o f the w h o l e b o d y a n d

t h e t w o a r m s . W h e n w r a p p i n g t h e t w o a r m s l e a v e n o t r a c e o f a n y t h i n g still
u n c o v e r e d . " C o m f o r t a b l e " m e a n s t h e b o t h t h e i n s i d e a n d o u t s i d e use p o w e r .
W h e n t h e f o o t s t o m p s i t s h o u l d s o u n d like t h u n d e r . " T o s e v e r " m e a n s t h a t w h e n
t h e t w o h a n d s go out a n d enter t h e y should use shaking power.

Xing Yi Quan Practice

W h e n b e g i n n i n g practice, o n e should practice softly, slowly a n d gently. This

will relax a n d o p e n t h e c o n n e c t i v e tissue a n d b o n e s , i t will g u i d e a n d d i r e c t t h e
qi a n d power. C o n t i n u i n g with practice, o n e should use hard power a n d speed,
t h i s will d e v e l o p i n t e r n a l p o w e r for p r a c t i c a l a p p l i c a t i o n . T h e level o f r e f i n e m e n t
i s d i f f e r e n t f o r t h e a b o v e t w o m e t h o d s o f t r a i n i n g . First o n e uses c r u d e p o w e r ,
t h i s i s a p p r o p r i a t e f o r b e g i n n i n g s t u d y . Later t h e p o w e r i s r e f i n e d , t h i s i s s u i t a b l e
f o r t h o s e w i t h l o n g t i m e i n t r a i n i n g . T h i s m e t h o d uses fast m o t i o n p r a c t i c e d i n
intervals.
X i n g Y i Q u a n h a s m a n y s i n g l e f o r m s , t h e s e a r e t o b e p r a c t i c e d r e g u l a r l y . After
a l o n g p e r i o d o f p r a c t i c e o n e will b r e a k t h r o u g h w i t h o u t l i m i t . W h e n p r a c t i c i n g
X i n g Y i Q u a n t h e t i m e will pass, ten years will n o t d e v e l o p t h e u l t i m a t e skill. O n
t h e s u r f a c e i t will a p p e a r t h a t t h e l a t e r p r a c t i c e i s n o t a s f r u i t f u l a s t h e e a r l i e r
practice. Practicing a l o n g t i m e is n o t as p r o d u c t i v e as p r a c t i c i n g a little. W i t h
m a t u r i t y , t h e c h a n g e will c o m e , t h e i n t e r n a l p o w e r will b e full, t h e e x t e r n a l
p o w e r will pull b a c k i n . W i t h o u t m a n y y e a r s o f p r a c t i c e o n e w i l l n e v e r r e a c h t h i s
level.

Kight Character Secret

C h o p (Pi Quan), Intercept (Zuan Quan), Wrap (HengQuan), Stride (BengQuan),

U p l i f t (Jian Quan), Resist (Pao Quan), W a v e ( A l l i g a t o r F o r m ) , L e a d ( S n a k e F o r m ) .

Sixteen Point Practice Method

(also known as Tramping/Drilling Method)

1) Inch: I n c h refers t o t h e s t e p .
2) Tramp: Tramp means to go outward.
3 ) D r i l l : Drill i s t o a d v a n c e .
4) Receive: Receive is (o bind, t h e upper and lower bodies are b o u n d as o n e .
5 ) C o m e : T h i s i s t o s c i s s o r , t h e legs m o v e w i t h a s c i s s o r s t e p .
6 ) U n i t e : T h i s refers t o t h e i n t e r n a l a n d e x t e r n a l six h a r m o n i e s .
7 ) Q u i c k : T h i s m e a n s t o b e ( v i c i o u s ) like p o i s o n .
8) Square: This m e a n s to be straight. If looked at from the front the posture
a p p e a r s s l a n t e d , i f seen f r o m t h e side i t a p p e a r s s t r a i g h t .
9 ) P a s s i n g : T h e rear h a n d r u b s t h e f i n g e r s m o v i n g o u t w a r d .
1 0 ) L o w e r leg: T h e p l a c e t h a t i n i t i a t e s t h e m o t i o n o f t h e f o u r e x t r e m i t i e s . T h e
g u n h i t s its m a r k . M o v i n g , t h e i n t e n t n e v e r b r e a k s .

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11) Rise a n d Fall: T o r i s e i s t o g o o u t . T o l o w e r i s t o s t r i k e . T o r i s e i s t o s t r i k e ,

t o l o w e r i s a l s o t o strike, r i s e a n d l o w e r a s t h e o v e r t u r n i n g o f w a v e s , t h i s i s rise
a n d fall.
12) A d v a n c e a n d R e t r e a t : A d v a n c e w i t h l o w steps, r e t r e a t w i t h h i g h s t e p s . I f o n e
does n o t u n d e r s t a n d a d v a n c i n g a n d retreating, practice is a waste of t i m e .
13) Yin Yang: W h a t is Yin Yang? L o o k at yin, it c o n t a i n s yang. L o o k at yang, it
c o n t a i n s yin. I n b o x i n g , yin a n d yang m u t u a l l y u n i t e . T h e y m u s t b e t o g e t h e r .
14) F i v e E l e m e n t s : T h e i n t e r n a l five e l e m e n t s m u s t m o v e , t h e e x t e r n a l five
elements must follow.
15) M o v e m e n t a n d S t i l l n e s s : S t i l l n e s s i s t h e o r i g i n a l b o d y , m o v e m e n t i s t h e u s e .
W i t h s t i l l n e s s its u s e i s n o t r e v e a l e d , w i t h m o v e m e n t t h e r e i s left n o t t r a c e . W h e n
m o v e m e n t a n d s t i l l n e s s are a b o u t t o issue b u t h a v e n o t y e t i s s u e d , t h i s i s
m o v e m e n t a n d stillness.
16) S u b s t a n t i a l a n d i n s u b s t a n t i a l : T h e s u b s t a n t i a l i s t h e e s s e n c e , t h e i n s u b s t a n t i a l
i s t h e spirit. W h e n t h e r e i s b o t h e s s e n c e a n d spirit, t h e n t h e r e i s s u b s t a n t i a l a n d
insubstantial.

The Four Terminus

T h e t o n g u e i s t h e t e r m i n u s o f t h e f l e s h , t h e t e e t h are t h e t e r m i n u s o f t h e
b o n e s , t h e f i n g e r s a n d t o e s a r e t h e t e r m i n u s o f t h e c o n n e c t i v e tissue, t h e p o r e s
o f t h e w h o l e b o d y are t h e t e r m i n u s o f t h e b l o o d v e s s e l s .

The Internal and External Five Elements

T h e i n t e r n a l five e l e m e n t s a r e : t h e h e a r t , liver, s p l e e n , l u n g s , a n d k i d n e y s . T h e
e x t e r n a l five e l e m e n t s are t h e t o n g u e , e y e s , m o u t h , n o s e , a n d e a r s . T h e i n t e r n a l
a n d e x t e r n a l five e l e m e n t s are c o n n e c t e d a s f o l l o w s : h e a r t c o n n e c t s w i t h t h e
t o n g u e , liver w i t h t h e e y e s , s p l e e n w i t h t h e m o u t h , l u n g s w i t h t h e n o s e , a n d
k i d n e y s w i t h t h e e a r s . I n t h e b o x i n g , t h e i n t e r n a l five e l e m e n t s m u s t m o v e , t h e
e x t e r n a l five e l e m e n t s m u s t f o l l o w .

The Fourteen Points Striking Method

T h e h e a d i s t h e first fist, t h e s h o u l d e r s ( r i g h t a n d left) a r e fists, t h e h i p s ( r i g h t

a n d l e f t ) a r e fists, t h e e l b o w s (right a n d left) a r e fists, t h e h a n d s ( r i g h t a n d l e f t )
are fists, t h e feet ( r i g h t a n d left) a r c fists, t h e w h o l e b o d y i s a fist, all t o g e t h e r t h e r e
are f o u r t e e n fists.

The Three Knowings

Clearly k n o w t h e h a n d s , clearly k n o w t h e eyes, clearly k n o w t h e teacher.

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Body, Stepping, a n d H a n d M e t h o d s

Body Method

I n t h e s t u d y o f m a r t i a l arts t h e b o d y m e t h o d i s t h e k e y a n d t h e w a y t o
p r o f o u n d skill. W h a t i s t h e b o d y m e t h o d ? V e r t i c a l a n d h o r i z o n t a l , h i g h a n d l o w ,
a d v a n c i n g a n d r e t r e a t i n g , o v e r t u r n i n g a n d a n g l i n g . V e r t i c a l refers t o a d v a n c i n g
from any direction. H o r i z o n t a l refers t o w r a p p i n g u p p o w e r , o p e n i n g a n d
closing w i t h o u t o b s t r u c t i o n . High m e a n s t h e b o d y is lifted, it also m e a n s to
increase o n e ' s reach. Low m e a n s to b e n d down, t h e form looks as if o n e is ready
t o c a t c h a n d seize s o m e t h i n g . W h e n a p p r o p r i a t e t o retreat, t h e n retreat, g u i d e
t h e qi and return w i t h d r a w i n g a n d waiting for an o p p o r t u n i t y . Turn t h e b o d y
a n d g u a r d t h e rear, t h e rear i s a l s o t h e f r o n t . P a y a t t e n t i o n t o t h e left a n d r i g h t
sides, t h e n t h e sides w i l l b e s a f e . I t i s a s i f c l o s e d o f f a n d y e t n o t c l o s e d off. T e s t
the strengths a n d weaknesses of the opponent, m o v e following your own plan,
n o w v e r t i c a l l y , n o w s l o w d o w n t h e qi. C h a n g e a c c o r d i n g t o t h e c i r c u m s t a n c e ,
o n e m u s t n o t t r y o n e t e c h n i q u e f o r all s i t u a t i o n s . S u d d e n l y h i g h t h e n s u d d e n l y
low, able t o c h a n g e a t a n y t i m e , o n e m u s t n o t s t u b b o r n l y insist o n o n l y o n e
method.

S o m e t i m e s i t i s a p p r o p r i a t e t o retreat, t h e n w h i l e r e t r e a t i n g e n t i c e his
a d v a n c e . A d v a n c i n g i n s u r e s r e t r e a t . A s u c c e s s f u l r e t r e a t relies o n t h e a b i l i t y t o
r e - a d v a n c e . W h e n t u r n i n g t h e b o d y t o g u a r d t h e rear, t h e rear s h o u l d n o t feel
a s i f i t i s b e h i n d . W h e n g u a r d i n g t o t h e left a n d r i g h t , t h e side s h o u l d n o t feel
a s i f t h e y a r e t h e s i d e s . I n all t h i n g s , t h e e y e s a r e t h e k e y p o i n t , t h e y s e n d
i n f o r m a t i o n to t h e heart, t h e i m p o r t a n c e is grasped a n d t h e w h o l e b o d y reacts.
I f t h e b o d y a d v a n c e s , e v e n i f t h e l i m b s are n o t g u i d e d t h e y will m o v e . I f t h e b o d y
m o v e s b a c k , t h e e n t i r e f r a m e will r e t r e a t a s i f o n its o w n . T h e b o d y m e t h o d m a y
be seen but n o t explained. T h e practitioners of martial arts should pay h e e d .
C l o s e u p t h e b o d y a n d rise, l e n g t h e n t h e b o d y a n d l o w e r . Rise like t h e w i n d ,
l o w e r like a n a r r o w . B e i n g s t r u c k , i t i s t o o l a t e t o b l a m e b e i n g t o o s l o w . Rise like
a n a r r o w , l o w e r like t h e w i n d , f o l l o w t h e w i n d a n d c h a s e t h e m o o n w i t h o u t
relaxing.

I n regards t o b o d y m e t h o d , o n e m u s t n o t l e a n f o r w a r d o r b a c k w a r d , o n e m u s t
n o t tilt ( o t h e right o r t w i s t t o t h e left. M o v e s t r a i g h t f o r w a r d a n d l o w e r s t r a i g h t
forward.
W h e n far, s t e p c l o s e , a d v a n c e k n e e t o k n e e , s t a n d u p a n d u s e v e r t i c a l p o w e r .
W h e n t h e h e a r t stirs t h e w h o l e b o d y m o v e s , t h e five e l e m e n t s are all f o c u s e d
into one, be brave and succeed.
W i t h t h e t w o words " r i s e " a n d " f a l l " t h e b o d y is level. T h e word that " c o v e r s
t h e w o r l d " ( m o s t i m p o r t a n t ) i s a c e n t e r e d b o d y . T h e b o d y i s like a d r a w n b o w ,
t h e fist i s like a n a n o w .

Before the dragon arises there is first thunder, the wind blows the great
tree and the branches sway.
The best method is to move first, the proper technique is the hands and
feet arriving together.

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T h e i n t e r n a l i s l i f t e d , t h e e x t e r n a l f o l l o w s , rising i s h o r i z o n t a l , l o w e r i n g i s
s m o o t h , s t r i k e f r o m afar, t h e q i u r g e s t h e m o t i o n , t h e fist i s like a c a n n o n , like
a d r a g o n f o l d i n g its b o d y , w h e n e n c o u n t e r i n g a n e n e m y i t i s like fire b u r n i n g h i s
b o d y , rise a n d fall w i t h t h e b o d y l e v e l , e n t e r s t r a i g h t i n t o t h e c e n t e r .
A b l e t o a d v a n c e a t t h e a p p r o p r i a t e t i m e , o n e will n o t h a v e t o w o r r y a b o u t
s u r v i v a l , a b l e t o b e a h e a d o n e b r e a t h , o n e w i l l n o t fall b e h i n d .
W h e n rising horizontally t h e horizontal is n o t seen, w h e n lowering s m o o t h l y
t h e s m o o t h n e s s i s n o t s e e n , w h e n l o w l o o k h i g h , w h e n h i g h l o o k l o w . Rise a n d
lower m o v e with t h e heart, saving o n e at t h e p o i n t of d e a t h , dealing death at t h e
point of victory.
T h e s h o u l d e r s p u s h t h e e l b o w s , t h e e l b o w s p u s h t h e h a n d s , t h e waist p u s h e s
the hips, t h e hips push t h e knees, t h e knees push t h e feet.

Step Method

W h e n m o v i n g t h e b o d y , t h e s t e p i s o f first i m p o r t a n c e . T h e s t e p i s t h e r o o t
o f t h e b o d y , i t i s t h e c e n t r a l a x i s o f m o t i o n . S i n c e t h e w h o l e b o d y i s used i n a n
e n c o u n t e r w i t h a n e n e m y , t h e p e r s o n w h o w i s h e s t o b e u n b e a t a b l e m u s t rely o n
footwork. W h e n advancing, retreating, turning or angling, t h e c h a n g e s are in
the handwork, but it is the footwork that allows the h a n d s to adapt and c h a n g e
to the advantageous position. Advancing, retreating, turning or angling,
w i t h o u t t h e s t e p s h o w c a n o n e h a v e a c h a n c e ? L o w e r i n g , rising, e x t e n d i n g o r
contracting, without footwork how can one execute profound changes? The
s a y i n g i s t h a t t h e e y e s are k e y a n d t h e h e a r t d e c i d e s t h e r e a c t i o n , i n all c h a n g e s
a n d t u r n s o f t h e b o d y , i n r e a c t i o n t o all t y p e s o f a f f r o n t , i t m u s t b e t h a t f o o t w o r k
is t h e leader. In addition, t h e steps m u s t not be forced. M o v e m e n t must spring
from an e m p t y heart, as if d a n c i n g w i t h o u t c o n s c i o u s effort, t h e b o d y desires to
m o v e a n d t h e s t e p s t u r n t o all s i d e s . T h e h a n d s a r e a b o u t t o m o v e , t h e s t e p s a l s o
urge t h e m i n m o t i o n . W i t h o u t t i m i n g i t s o i t i s s o , w i t h o u t m a k i n g i t g o i t g o e s ,
t h i s i s w h a t i s referred t o a s t h e u p p e r w i s h e s t o m o v e a n d t h e l o w e r f o l l o w s .

T h e s t e p s are d i v i d e d i n t o f o r w a r d a n d b a c k , a l s o f i x e d s t e p s , a l s o n o n - f i x e d
steps are a l s o f o o t w o r k , like a d v a n c i n g f o r w a r d , f o l l o w i n g b a c k w a r d , f o r w a r d
and backward proceed f r o m a fixed step. If y o u take a forward step as if to t h e
: e a r , a n d a rear s t e p a s i f t o t h e f r o n t , t h e n a f o r w a r d s t e p c o u l d b e a n a d v a n c e
: o t h e rear, f o r w a r d a n d b a c k w a r d s t e p s n a t u r a l l y d o n o t f o l l o w a n y set p a t t e r n
t h e r e i s n o set d i r e c t i o n s o f o r w a r d a n d r e a r are r e l a t i v e t e r m s ) . For t h e
p r a c t i t i o n e r s o f t h e m a r t i a l arts, t h o s e w h o d o n o t p u t b o d y a n d f o o t w o r k first
m i m p o r t a n c e will n o t b e s u c c e s s f u l i n d e f e a t i n g e n e m i e s . T h i s m u s t n o t b e t a k e n
lightly.
C o m e w i t h a s c i s s o r s t e p , t h e legs m o v e i n a s c i s s o r m o t i o n . M o v e t h e s t e p s
by inches. C o m e this way. Go this way. Advance with low steps, retreat with
h i g h s t e p s , i f o n e d o e s n o t u n d e r s t a n d a d v a n c i n g a n d r e t r e a t i n g t h e y are w a s t i n g
their t i m e studying martial arts. It is i m p o r t a n t to h a v e t h e correct s e q u e n c e of
m o v e m e n t , d o d g i n g , o r l e a p i n g a b o u t t h e feet f o l l o w . U s i n g t h e f e e t t o strike t h e
i n t e n t t o s t o m p n e v e r m i s s e s , t h e f e e l i n g c o m p l e t e l y relics o n t h e s n a p p i n g o f t h e
rear f o o t . K e e p f e e l i n g i n t h e rear f o o t , a n d a d v a n c e a t t a c k i n g w i t h a s t o m p i n g
strike t h a t s h o w s n o m e r c y . I f t h e h a n d s a r e raised w i t h o u t t h e feet r i s i n g i t i s
also a w a s t e o f t i m e , i f t h e feet a r e raised b u t t h e h a n d s a r e n o t raised i t i s a g a i n

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a w a s t e o f t i m e . I f s e p a r a t e d b y a s p a c e o f t e n f e e t , t h e s t e p s m u s t b e fast, t w o
heads turning, t h e m o s t i m p o r t a n t is t h e inch step. T h e w h o l e b o d y is capable
o f s t r i k i n g . W i t h f o o t w o r k t h e e n t i r e b o d y will b e (as h a r d t o strike) a s air. S t e p
s t r a i g h t i n b e t w e e n t h e o p p o n e n t ' s legs, drill i n t h r o u g h h i s c r o t c h . T h e legs h a v e
t h e a b i l i t y to travel at a g r e a t s p e e d .
T h e f r o n t leg r e l i e s o n t h e b a c k leg, t h e rear leg s t e p s d o w n n e x t t o t h e a n k l e ,
t h e r e a r leg relies o n t h e f r o n t leg, t h e a n k l e i s raised i n s e q u e n c e .
I n regards t o s t e p m e t h o d s t h e r e are i n c h s t e p s , fast s t e p s , a n d s t o m p i n g steps,
n o n e must be omitted. I n regards t o l e g w o r k , t h e r e i s l i f t i n g a n d d r i l l i n g ,
lowering a n d overturning, n o t drilling n o r overturning. T h e m o s t i m p o r t a n t is
t h e i n c h step.
T h e f e e t are s e v e n t y p e r c e n t a n d t h e h a n d s a r c t h i r t y p e r c e n t .
T h e leg s t e p s i n t o t h e o p p o n e n t ' s c e n t e r a n d s t e a l s h i s p o s i t i o n . E v e n t h e m o s t
e x p e r t f i g h t e r will f i n d i t h a r d t o d e f e n d .

Hand Method

T h e h a n d s are able to push aside a n d turn.

I f t h e h a n d s a r e r a i s e d b u t t h e f e e t are n o t raised, i t i s a w a s t e o f t i m e . I f t h e
feet are lifted b u t t h e h a n d s a r e n o t , i t i s a g a i n a w a s t e o f t i m e . N e v e r m o v e t h e
h a n d s f o r n o r e a s o n . D o d g i n g t o t h e left a n d r i g h t , p r o t e c t i n g b o t h sides. Raise
t h e h a n d s like a steel file, l o w e r t h e h a n d s like a h o o k . T h e e y e s m u s t h a v e a
poisonous look, the hands must be wicked.
T h e e l b o w s d o n o t l e a v e t h e ribs, t h e h a n d s d o n o t l e a v e t h e h e a r t . T h e h a n d s
enter and exit openings a n d the b o d y follows close b e h i n d . Wait until the
o p p o n e n t ' s i n t e n t lags, t h e n a t t a c k . T h e s h o u l d e r s p u s h t h e e l b o w s , t h e e l b o w s
push the hands.

Raise the hands like a steel file, lower the hands

like a hook. The eyes must have a poisonous
look, the hands must be wicked.

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I n t e r n a l T r a i n i n g (Nei Gong)

T h e people of t h e world do not k n o w what t h e internal power of X i n g Yi Q u a n

is. They t r y t o g u e s s f r o m l o o k i n g a t t h e f o r m , o r s u p p o s e t h a t w e u s e m u c h e f f o r t
from t h e heart, or suppose it is s o m e m o v e m e n t in t h e belly, these types of t h i n g s
h a v e n o e f f e c t , t h i s i s t a k i n g t h e false f o r t h e t r u e .
I n t h e m a r t i a l w a y , it's f o r m i s t h e s t r u c t u r e o f its m o v e m e n t s , its f o r m l e s s n e s s
i s its p o w e r . T h e r e f o r e , t h e s t r u c t u r e o f t h e f o r m s u s e s t h e p o w e r f r o m w i t h i n .
I f o n e h a s n o p o w e r , t h e n t h e f o r m a n d s t r u c t u r e i s u s e l e s s . T h e r e f o r e , p o w e r (yi
//) is t h e r o o t of t h e s t r u c t u r e . If y o u w a n t s u f f i c i e n t p o w e r , t h e qi m u s t be full,
t h e r e f o r e , qi is t h e r o o t of s t r e n g t h .
T h o s e w h o p r a c t i c e m a r t i a l arts m u s t p u t t h e E i g h t V i t a l P o i n t s first. T h e E i g h t
Vital P o i n t s are t h e m o t h e r o f X i n g Y i Q u a n . I n t e r n a l l y , t r a i n t h e qi, e x t e r n a l l y
p r a c t i c e t h e art o f t h e m o v e m e n t s . N o m a t t e r i f y o u ' r e p r a c t i c i n g t h e five
elementsor the twelve forms, or c h a n g i n g b e t w e e n substantial and insubstantial,
o r u s i n g rise, drill, fall, a n d o v e r t u r n , o n e m u s t n e v e r l e a v e t h e E i g h t V i t a l P o i n t s .
I f o n e w i s h e s t o p r a c t i c e t o a r e f i n e d level, o n e m u s t s t r e n g t h e n t h e dan tian.
I f o n e w i s h e s t o s t r e n g t h e n t h e dan tian, first p r a c t i c e t e c h n i q u e . D e v e l o p i n g
b o t h t h e dan tian a n d t e c h n i q u e t o g e t h e r i s t h e key t o o b t a i n i n g r e s u l t s . W h a t
is t h e dan tian? It is t h e r o o t of t h e o r i g i n a l yang qi, it is t h e p l a c e w h e r e qi a n d
s t r e n g t h reside.
If t h e dan tian is l a c k i n g , t h e qi will n o t be s u f f i c i e n t . W i t h i n s u f f i c i e n t qi,
p o w e r will b e i n a d e q u a t e . T h e five e l e m e n t s a n d t h e t w e l v e f o r m s will b e e m p t y .
I n t h i s s t a t e , i n d e f e n s e o n e will b e a s a c i t y s u r r o u n d e d b y a d r y m o a t , i n a t t a c k ,
o n e w i l l b e like a s t r o n g s o l d i e r w i t h a w e a k h o r s e . O n e m u s t p r a c t i c e d i l i g e n t l y
e v e r y d a y . S i t t i n g i n m e d i t a t i o n t r y i n g t o b e c o m e i m m o r t a l will n o t c u l t i v a t e t h e
dan tian.
W h e n using internal power, the power must follow the correct route. If o n e
d o e s n o t u n d e r s t a n d t h e p r o p e r r o u t e s o f p o w e r a n d f o r c e s p o w e r o u t , t h e r e will
b e h a r m . T h e f r o n t o f t h e b o d y i s t h e Ren m e r i d i a n , t h e b a c k o f t h e b o d y i s t h e
Du m e r i d i a n , t h e qi f o l l o w s f l o w i n g t h r o u g h . T h e Ren a n d Du o r i g i n a t e at t h e
Cheng Jiang ( C V - 2 4 - s a u c e r e c e p t a c l e ) p o i n t , it m o v e s s t r a i g h t d o w n in f r o n t of
t h e Yin p o i n t . T h e D u m e r i d i a n s t a r t s a t t h e c o c c y x p o i n t , i t r u n s s t r a i g h t u p t h e
b a c k , it passes t h r o u g h t h e Yu Zhen ( B L - 9 • j a d e p i l l o w ) p o i n t , t h e Ni Wan ( G V -
2 0 - m u d b a l l p a l a c e ) p o i n t , g o e s d o w n past t h e YinTangpoint ( t h e s p a c e b e t w e e n
t h e e y e b r o w s ) , a n d s t o p s a t t h e Zhong ( c e n t r a l ) p o i n t . T h e t w o ling p o i n t s issue
e n e r g y cyclically. T h e s h o u l d e r s h a v e t h e s h o u l d e r well points, at t h e c e n t e r of
t h e s h o u l d e r . T h e C M p o i n t refers t o t h e Q u Chi ( L I - 1 1 - p o o l a t t h e b e n d ) p o i n t
a t t h e m i d d l e o f t h e e l b o w . T h e s e are t h e p l a c e s o f t h e b o d y w h i c h issue p o w e r .
T h r o u g h t h e m y r i a d o f c h a n g e s , all a r e r o o t e d i n t h e s e , i f t h e d e p t h o f t h i s i s
g r a s p e d , o n e will s i g h i n a m a z e m e n t .

Qi" a s c e n d s f r o m t h e Gui Wei ( G V - 1 - t u r t l e t a i l ) , c u l t i v a t e t h e spirit in t h e dan

tian. T h e c o c c y x i s t h e e x t r e m e p o i n t . U s e f o r c e t o t u r n i t u p w a r d , t h e t r u e q i will
n a t u r a l l y a s c e n d . T h e q i d e s c e n d s t o t h e o c e a n , first f o c u s t h e h e a v e n l y h e a r t .
T h e c e n t e r o f t h e b e l l y i s t h e sea o f qi. T h e c e n t e r o f t h e f o r e h e a d i s t h e h e a v e n l y
h e a r t . Its f o r m s h i n e s o u t s i d e . A n i n c h o r t w o b e l o w t h e n a v e l i s t h e dan tian
p o i n t . O n e s h o u l d d i l i g e n t l y p r a c t i c e c o n s e r v i n g t h e o r i g i n a l spirit h e r e .
O n e must be clear about t h e meridians, t h e n look at t h e forms. T h e forms are
p a t t e r n s all b e g i n n e r s m u s t s t u d y . I f o n e d o e s n o t u n d e r s t a n d t h e m , t h e r e i s n o

5:5
Xing Yi Nei Gong

use t a l k i n g a b o u t t h e m e r i d i a n s .
T h e h e a d i s c e n t e r e d t h e n rises, t h e s h o u l d e r s level t h e n are f r e e . I f t h e c h e s t
s t i c k s o u t t h e r e will b e o b s t r u c t i o n . C e n t e r t h e h e a d a n d p r e s s u p t h e c r o w n , t h e
c o u n t e n a n c e will b e s t r o n g a n d t h e spirit full. T h e s h o u l d e r s a r e a l i v e a n d t h e
back straight a n d level. W i t h t h e c h e s t o u t , t h e b o d y wants t o withdraw i n w a r d .
T h i s i s t h e t r u e c r u x . T h e feet a r e s o l i d a n d s t a b l e , t h e c r o t c h i s s o l i d a n d h e l d
in, t h e ribs are o p e n a n d e x t e n d e d , w h e n t h e feet m o v e t h e k n e e s u s e p o w e r , t h e
f r o n t yin c o n t r a c t s , t h e ribs o p e n , t h e t r u e q i i s r e g u l a t e d a n d e v e n , t h e e n e r g y
r e l a x e s a n d t i g h t e n s . W h e n i s s u i n g q i t h e ears h e a r n o s o u n d . T h e e n e r g y m u s t
first b e r e l a x e d a n d t h e n t i g h t e n , m o v e i t s l o w l y .
First i n h a l e t h e n e x h a l e , m o v i n g i n a n d o u t . First lift, t h e n l o w e r , o n c e
a s c e n d i n g o n c e d e s c e n d i n g . T h e dan tian is i n s i d e , it is t h e p l a c e t h e qi r e t u r n s
t o . I n h a l e inward, e x h a l e outward, never m a k e a s o u n d . W h i l e lifting i n h a l e ,
k e e p t h e t h o u g h t t h a t t h e real q i i s a s c e n d i n g t o t h e c r o w n o f t h e h e a d . W h e n
l o w e r i n g , t h e real q i d e s c e n d s . W h i l e l o w e r i n g , feel a s i f t h e q i o f t h e w h o l e b o d y
is i n f i n i t e s i m a l l y s m a l l , it falls i n t o t h e dan tian. A h i b e r n a t i n g d r a g o n or a
s l e e p i n g tiger, l a t e n t a n d c o n c e a l e d . C o n t r a c t t h e a n u s a t t h e l o w e r e n d , raise t o
t h e Y u Lou ( j a d e t o w e r ) , t h e n past t h e p u b i c b o n e . A l l o w t h e q i t o f l o w w i t h o u t
obstruction. Do not stop it at any o n e point, the qi m o v e s from the throat to the
l u n g s a n d h e a r t . E v e n t h o u g h thec/i g a t h e r s i n t h e dan tian, k e e p t h e t h o u g h t t h a t
it is in a l o w p l a c e . Rising, it h a s its r o u t e of a s c e n s i o n . T h e ribs a r e lifted t o g e t h e r .
G o i n g d o w n t h e r e i s a r o u t e o f d e s c e n d i n g . T h e q i rises a l o n g t h e ribs, o p e n t h e
s u t u r e s o f t h e b o n e a s m u c h a s p o s s i b l e , lift t h e m u p w a r d , o n e will n a t u r a l l y
o b t a i n t h e k e y . D e s c e n d i n g m u s t start f r o m t h e m o u t h , t h e n i t e n t e r s t h e f r o n t
heart, this is t h e true route.

Breathe smoothly and evenly, o n c e inhaling o n c e exhaling, breathe through

t h e n o s e . T h e n t h e q i will s o o n b e c o m e s t a b l e . P r o c e e d t o i n h a l e o n e b r e a t h . A s
y o u i n h a l e i m a g i n e t h a t t h e real qi is m o v i n g o u t f r o m t h e Yong Quan ( K - l -
g u s h i n g s p r i n g ) p o i n t , a s c e n d s a l o n g t h e ribs, m o v e s t o t h e f r o n t o f t h e c h e s t ,
t h e n i t m o v e s t o t h e b a c k o f t h e ears, p r o c e e d i n g i t a s c e n d s t o t h e N i Wan p o i n t .
W h e n t h e q i d e s c e n d s i m a g i n e t h a t i t m o v e s f r o m t h e N i Wan p o i n t t o t h e Yin
Tang p o i n t , f r o m t h e Yin Tang p o i n t t o t h e n o s e , f r o m t h e n o s e t o t h e t h r o a t , f r o m
the throat following the spine and penetrates the front heart, from the front
h e a r t it s i n k s to t h e dan tian.
T h e eyes look at the nose, t h e nose is lined up with the navel. Moving from
p o i n t t o p o i n t o n e s h o u l d k e e p still, pull o p e n t h e t w e n t y - s i x l i n k e d l o c k s , a p o i n t
o f l i g h t will h a n g a t t h e e y e b r o w s .
Squeeze t h e a n u s tightly up a n d inward, the c o c c y x is raised folding up t h e
b o n e s , t h e f e e l i n g r e t u r n s to t h e dan tian. G o i n g f o r w a r d it is a l s o t h e Que Qiao
route, at twelve it descends to the pool, lock up the m o n k e y of t h e heart, control
t h e h o r s e o f t h e i n t e n t , b u i l d t h e f o u n d a t i o n i n t h e b o t t o m o f t h e sea o f t h e dan
tian, o n e will feel j o y w i t h o u t l i m i t . R e t u r n t o t h e s o u r c e a n d p u r s u e t h e self
k n o w l e d g e o f t h e o r i g i n a l h e a r t , a f t e r a l o n g p e r i o d o f p r a c t i c e o n e will h a v e a
b o d y a s h a r d a s steel, t h e h u n d r e d i l l n e s s e s will d i s a p p e a r a n d o n e will b e c o m e
as a c h i l d .

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Combat
T h e key i s t h e e y e s , t h e y s e n d i n f o r m a t i o n t o t h e h e a r t . T h e i r i m p o r t a n c e i s
grasped a n d t h e w h o l e b o d y reacts.
First s t a b i l i z e t h e h e a r t , t h e f a c e s m i l e s , t h e e y e b r o w s l o o k h a p p y a n d t h e lips
d o n o t m o v e . T h e h e a r t i s t h e G e n e r a l , t h e e y e s are t h e v a n g u a r d , t h e legs are t h e
w a r h o r s e s , t h e h a n d s are t h e spears a n d s w o r d s , t h e h e a r t , liver, s p l e e n , l u n g s ,
a n d k i d n e y s are t h e b a r r a c k s a n d s e n t i n e l s . T h e b o d y i s like a m i l i t a r y
e n c a m p m e n t , t h e p o r e s o f t h e b o d y a r e like a t h o u s a n d s o l d i e r s a n d t e n t h o u s a n d
h o r s e s . T h e b o d y w i t h d r a w s like a n e x p l o d i n g c a n n o n .
T h e s o u n d o f " H a " i s like i s s u i n g o r d e r s . S t r i k i n g w i t h t h e h a n d i s like l i g h t i n g
a fuse, k n o c k i n g m e n d o w n w i t h o u t a smile.
T h e b o d y is like a d r a w n b o w , t h e fist is like a p o i s o n a r r o w , w i t h o u t a t h o u g h t
it c a n n o t be stopped.
T h e b e s t m e t h o d i s t o m o v e first, w h e n t h e h a n d s a n d f e e t arrive t o g e t h e r , t h a t
i s t h e t r u e m e t h o d . T h e i n t e r n a l i s l i f t e d , t h e e x t e r n a l f o l l o w s , rising h o r i z o n t a l l y ,
l o w e r i n g i s s m o o t h , s t r i k e f r o m a d i s t a n c e , t h e q i u r g e s ( t h e m o v e m e n t ) , t h e fist
i s like a c a n n o n , like a d r a g o n f o l d i n g its b o d y , w h e n y o u m e e t a n e n e m y i t i s like
fire b u r n i n g h i s b o d y .
I f y o u a r e a b l e t o a d v a n c e o n t h e m o m e n t , y o u will n o t b e o n t h e d e f e n s i v e ,
be a breath a h e a d a n d n o t a breath b e h i n d .
W h e n m a r t i a l a r t i s t s f i g h t , c o v e r t h e five e l e m e n t s , t h e t h r e e r i s i n g s a r e n o t
s e e n , t h e t h r e e a d v a n c e s are n o t s e e n , i t i s all r i g h t i f t h e y a r e s e e n , i t i s a l s o all
right i f t h e y a r e n o t s e e n , m o v e i n t o t h e c e n t e r , t h e n i t i s h a r d e s t t o c h a n g e .
W h e n fighting with others, it is i m p o r t a n t to u n d e r s t a n d t h e " T h r e e Firsts:" t h e
e y e s are first, t h e h a n d s are first, a n d t h e feet are first.
W h e n f i g h t i n g w i t h t h e b r a v e d o n o t t h i n k , h e w h o t h i n k s will f i n d i t h a r d
to take i n c h steps.
E v e r y p a r t o f t h e b o d y m a y strike, w h e n t h e feet k i c k , t h e w h o l e b o d y i s e m p t y .
W h e n far a w a y f r o m t h e o p p o n e n t d o n o t kick, t h e kick will n o t r e a c h . W h e n
there is space do n o t strike, w h e n there is space do n o t attack.
First strike t h e o p p o n e n t ' s d e f e n s e s t h e n strike h i m . T h e w h o l e b o d y i s a b l e
t o d e f e n d . W h e n striking, y o u r o w n b o d y s h o u l d b e a b l e t o a d a p t t o c i r c u m s t a n c e s
a t a n y t i m e . W h e n p u t t i n g t h e h a n d s o u t d o n o t m i s s , d o d g i n g r i g h t a n d left,
d e f e n d b o t h sides.
W h e n m e e t i n g a n o p p o n e n t , i f y o u h o p e t o b e victorious, t h e four t e r m i n u s
m u s t arrive t o g e t h e r . I f t h e h a n d s raise a n d t h e f e e t d o n o t i t i s a w a s t e o f t i m e .
I f t h e feet rise a n d t h e h a n d s d o n o t , i t i s a l s o a w a s t e o f t i m e .
If you run i n t o m a n y o p p o n e n t s , swing three times a n d spin twice.
I f t h e o p p o n e n t ' s p o s t u r e i s g o o d , d o n o t a t t a c k . I f t h e o p p o n e n t i s far a w a y ,
d o n o t a t t a c k . K n o w t h e n e a r a n d k n o w t h e far, k n o w w h e n p o w e r i s e a r l y a n d
w h e n it is mature, k n o w the wide and k n o w the narrow. T h e upper and lower
f o l l o w o n e a n o t h e r , i f t h e h e a r t stirs b u t t h e b o d y d o e s n o t m o v e i t i s a w a s t e o f
time, if the b o d y m o v e s but t h e heart does not it is also a waste of t i m e .
S t r i k i n g p e o p l e is like t a k i n g a walk, l o o k at p e o p l e as if t h e y are s t r a w , a t t a c k
like t h e w i n d , rise a n d fall a s a d r i l l i n g a r r o w . W a i t f o r a m o m e n t o f lapse t h e n
a t t a c k , w h e n t h e o p p o n e n t ' s a t t e n t i o n lags, m o v e o n h i m .

r>r>
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Xing Yi Quan
Standing Practice
Xing Yi Nei Gong

Xing Yi Quan
Standing Practice

Introduction
by Tim Cartmell

Non-action is the real action. One hundred acts are not as good as one moment of
silence. One hundred movements are not as good as one moment of standing still. Big
movement is not as good as small movement. Small movement is not as good as no
movement.
- W a n g X i a n g Zhai

Author's Note: Following is an explanation of the benefits of stance keeping

and important points of practice. The information is my interpretation of stance
keeping based on my b a c k g r o u n d and experiences. M y ideas, i m a g e s , c o n c e p t s
a n d translations represent o n l y o n e of m a n y possible theories a n d interpretations.

M o v e m e n t in Stillness

T h e i n t e r n a l m a r t i a l arts h a v e a s a b a s i c t e n a n t t h e p r i n c i p l e s k n o w n a s
"stillness in m o v e m e n t a n d m o v e m e n t in stillness." T h i s c o n c e p t is related to
t h e p o p u l a r yin/yang c o n c e p t o f d u a l i t y . T h e b a s i s o f all m o v e m e n t l i e s i n
stillness, w h i c h is the natural state before m o t i o n begins. If o n e c a n n o t
distinguish between absolute stillness a n d m o t i o n , there c a n never be true
c o o r d i n a t i o n . T h i s i s b e c a u s e p a r t ( s ) o f t h e b o d y will a l w a y s b e m o v i n g e i t h e r t o o
little or t o o m u c h , thereby decreasing t h e efficiency of m o t i o n . Beginning
m o t i o n from true stillness allows o n e to c o n t r o l t h e m o t i o n to a very fine degree.
O n e is strongest w h e n t h e m i n d a n d body are unified a n d work in a c o o r d i n a t e d
f a s h i o n . This is o n l y possible w h e n t h e r e is c a l m . O b v i o u s l y , it is m u c h easier
to practice and cultivate mind/body unity in stillness t h a n it is during t h e
p e r f o r m a n c e of c o m p l i c a t e d m o v e m e n t s . From this stillness is born efficient
m o v e m e n t . T h e reason this is so is because with stillness a n d c a l m n e s s c o m e t h e
m o s t vital e l e m e n t t o m a r t i a l e f f i c i e n c y ( a n d m o t i o n e f f i c i e n c y i n g e n e r a l ) , a n d
that is "true b a l a n c e . " W i t h o u t true b a l a n c e t h e r e c a n never be c o m p l e t e release
of unnecessary tension a n d true relaxation.

A b o d y even slightly out of balance d e m a n d s c o n t i n u o u s adjustment and an

extra e x p e n d i t u r e of energy just to keep from falling d o w n . T h i s causes u n d u e

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t e n s i o n a n d stress a n d e f f e c t i v e l y p r e v e n t s o p t i m a l p e r f o r m a n c e . M o v e m e n t
begun from this u n b a l a n c e d state can never be c o m p l e t e l y efficient. Stillness in
m o t i o n a n d m o t i o n in stillness m e a n w h e n there is m o v e m e n t there is total,
efficient, coordinated m o v e m e n t ; w h e n m o t i o n stops, it stops completely a n d
returns to absolute stillness. Training of this type eventually allows the
practitioner to mobilize 100 percent of his or her power and to focus it where it
i s n e e d e d . A s w i t h t h e a c q u i s i t i o n o f a n y o t h e r skill, o n e s h o u l d n a t u r a l l y
p r o c e e d f r o m t h e easy t o t h e d i f f i c u l t . I d e a l l y , t h e t r a i n i n g w o u l d b e d e v o i d o f
a n y superfluous m o v e m e n t a n d every action a n d m i n u t e spent would bring o n e
c l o s e r t o o n e ' s g o a l s . T h e m o s t e f f i c i e n t t y p e o f t r a i n i n g w h i c h will e n a b l e t h e
practitioner to d e v e l o p a strong f o u n d a t i o n , a n d m a n y of t h e vital attributes
necessary for martial efficiency, is s t a n d i n g still.

Stance Keeping ^

T h e f o u n d a t i o n of t h e internal martial arts (and m a n y external martial arts as

w e l l ) i s t h e p r a c t i c e o f " s t a n c e k e e p i n g " o r /Man ihxtang. I n t h e X i n g Y i Q u a n
system, stance keeping is t h e very core of training and develops m a n y of the
qualities essential to t h e d e v e l o p m e n t of martial ability. Over years of living,
people acquire bad habits of b o d y use a n d lose t h e original mind/body u n i t y a n d
suppleness a n d s p o n t a n e i t y that was their natural state. If o n e begins to train
complicated patterns of m o v e m e n t before correcting bad habits, these inefficient
h a b i t s o f m o t i o n are c a r r i e d o v e r i n t o t h e n e w l y a c q u i r e d m o v e m e n t skills a n d
are f u r t h e r r e i n f o r c e d . I r v i n g t o f u n c t i o n w i t h i n e f f i c i e n t p o s t u r e o r m o t i o n c a n
be c o m p a r e d to drivinga car with t h e e m e r g e n c y brake on. If you are driving your
car with t h e e m e r g e n c y brake o n , t h e way to increase p e r f o r m a n c e is not to put
a b i g g e r e n g i n e i n t h e car, i t i s t o r e l e a s e t h e b r a k e . O n l y w h e n t h e car i s r u n n i n g
a s e f f i c i e n t l y a s i t s h o u l d i n t h e first p l a c e d o e s i t m a k e s e n s e t o " s o u p u p " t h e
e n g i n e . T h e r e f o r e , i t i s m u c h m o r e e f f i c i e n t t o first i n h i b i t a n d release b a d h a b i t s
a n d then, building on this f o u n d a t i o n , train to increase power a n d ability.
Stance keeping does b o t h at once. It inhibits and eliminates poor habits of body
use while increasing h a l a n c e , strength a n d sensitivity.

T h e root of efficient m o v e m e n t is stillness. Therefore, a logical place to begin

t r a i n i n g i s s i m p l y s t a n d i n g still. S t a n d i n g still, o n e m a y r e d u c e t h e n u m b e r o f
v a r i a b l e s t o b e dealt w i t h t o t h e b a r e m i n i m u m . T h e m i n d m a y n a t u r a l l y q u i e t
a n d f o c u s itself o n t h e f e e l i n g o f c o r r e c t p o s t u r e a n d t r u e b a l a n c e . T h e first g o a l
of standing is to return to t h e state of " n o t - d o i n g " a n y t h i n g , thereby inhibiting
previously acquired bad habits and allowing t h e neuromuscular system to
register t h e f e e l i n g o f n a t u r a l b a l a n c e u n t i l i t o n c e a g a i n b e c o m e s t h e p r e d o m i n a n t
s t a t e . A n y m o v e m e n t i n i t i a t e d f r o m t h i s s t a t e o f t r u e b a l a n c e will n a t u r a l l y h a v e
power.
Every t e a c h e r will tell y o u t h a t t h e m o s t i m p o r t a n t p a r t o f t r a i n i n g i s t o b u i l d
a g o o d f o u n d a t i o n , b u t m a n y a r e n o t e x a c t l y c l e a r w h a t a g o o d f o u n d a t i o n is.
T h e d e f i n i t i o n I offer is that a good f o u n d a t i o n is mind/body unity w i t h an
a b s e n c e o f p o o r habits o f b o d y use w h i c h allows o n e t o fully utilize i n h e r e n t
strengths.

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Xing Yi Nei Gong

Internal Power [7\1 ^7

A l t h o u g h m a n y t e a c h e r s o f i n t e r n a l arts like t o talk a b o u t i n t e r n a l p o w e r a n d

qi ( £ , ) as s o m e t h i n g fantastic and mysterious (especially in t h e west), this is
a l m o s t invariably a result of m i s u n d e r s t a n d i n g ( o n t h e part of t h e t e a c h e r ) or
o u t r i g h t deceit (because it is g o o d for b u s i n e s s ) . W e , as physical beings, are
s u b j e c t t o t h e laws o f p h y s i c s ; m a s s , e n e r g y , a n d g r a v i t y . O u r b o d i e s are
c o n s t r u c t e d a c e r t a i n w a y , o u r m i n d s p r o d u c e real e n e r g y a n d w e a r e all u n d e r
t h e i n f l u e n c e o f g r a v i t y , all t h e t i m e . T h e i n t e r n a l m a r t i a l a r t s ( a c t u a l l y , a n y o f
t h e h i g h e r level m a r t i a l arts) s e e k t o w o r k w i t h o u r n a t u r a l s t r e n g t h s , t o u t i l i z e
our internal (mental) energies most efficiently and to produce the most effective
m o v e m e n t relative t o our e n v i r o n m e n t (gravity a n d o u t s i d e forces). T h e result
i s i n t e r n a l p o w e r . " I n t e r n a l " refers t o w o r k i n g w i t h o u r i n h e r e n t a n d i n b o r n
strengths under the guidance of t h e m i n d . O n c e again, mental direction is t h e
k e y , o n e ' s a c t i o n s a n d r e a c t i o n s are i n h a r m o n y w i t h n a t u r a l laws a n d i n b o r n
strengths, rather t h a n r a n d o m , inappropriate external reactions to stimuli.

I h a v e h e a r d t e a c h e r s o f t h e i n t e r n a l arts talk a b o u t u s i n g q i i n s t e a d o f m u s c l e
f o r c e , a n d t h a t n o s t r e n g t h n e e d b e u s e d a s o n e ' s p o w e r c o m e s f r o m a m a s s e d qi.
This sounds very p r o f o u n d a n d wonderful, but a m o m e n t s reflection m a k e s
o b v i o u s t h e fact t h a t w i t h o u t u s i n g m u s c l e f o r c e a n d s t r e n g t h w e w o u l d b e
u n a b l e t o get u p o f f t h e f l o o r . T h e p o i n t i s t h i s , t h e e x t e r n a l l y o b s e r v a b l e r e s u l t
o f m o v e m e n t i s a l w a y s a result o f m u s c l e m o v e m e n t i n t h e b o d y , t h e k e y t o
i n t e r n a l p o w e r i s how t h e b o d y i s m o v e d .
M a n y mistaken ideas about internal power c a m e a b o u t because with m i n d /
body unity, correct relaxation and mental direction, a tremendous a m o u n t of
p o w e r i s r e l e a s e d i n a n a l m o s t c o m p l e t e l y e f f o r t l e s s m a n n e r . T h a i is, t h e p e r s o n
i s s u i n g t h e i n t e r n a l p o w e r feels a s i f h e o r s h e i s u s i n g h a r d l y a n y s t r e n g t h a t all.
T h e results o f t e n a p p e a r a l m o s t m a g i c a l . T h e k e y lies i n a l l o w i n g ( n o t f o r c i n g )
t h e b o d y t o u s e its i n h e r e n t s t r e n g t h s i n a c o o r d i n a t e d m a n n e r . I t i s m o r e a
process of n o t - d o i n g t h a n of using effort, a n d such p o w e r must be directed by t h e
mind.
In s u m m a r y , internal power is only mysterious w h e n misunderstood. It is the
result o f r e l a x i n g c o m p l e t e l y s o t h e b o d y ' s n a t u r a l , i n t r i n s i c s t r e n g t h s c a n b e
fully brought i n t o play (such things as m e c h a n i c a l advantage, t h e natural
elasticity of the tissues, b o d y mass, t h e stretch reflex, etc.) T h e w h o l e process is
under mental direction. The mind doesn't "control" as much as "inhibit"
incorrect processes or t e n s i o n so t h e b o d y can f u n c t i o n naturally. Finally, at
h i g h e r l e v e l s o f t r a i n i n g , t h e vast r e s e r v o i r o f s u b c o n s c i o u s p o w e r m a y b e
brought under conscious control. It should be noted that the same mental and
p h y s i c a l state t h a t p r o d u c e s i n t e r n a l p o w e r i s a l s o c o n d u c i v e t o g o o d h e a l t h , a s
o n e s e e k s t o release stress a n d relax t h e b o d y a n d m i n d w h i l e a l l o w i n g t h e b o d y
to function optimally.

(in
 Standing Practice

Whole Body Power §jj

O n e of t h e special characteristics of t h e internal arts is t h e i r training a n d use

o f s o - c a l l e d " w h o l e b o d y p o w e r . " T h i s refers t o c o o r d i n a t i n g t h e b o d y i n o r d e r
to produce a m a x i m u m a m o u n t of power, m u c h m o r e power t h a n could be
g e n e r a t e d w i t h a s e c t i o n o f t h e b o d y ( a n a r m o r leg) a l o n e . T h i s t y p e o f p o w e r
i s m a n i f e s t i n alt m o v e m e n t , a l t h o u g h i n d i f f e r e n t w a y s . W h o l e b o d y p o w e r i s
based on relaxation a n d b a l a n c e w h i c h allows t h e b o d y to be used in a
c o o r d i n a t e d , natural way. T h e s t a n d i n g practice is essential for releasing b a d
habits a n d d e v e l o p i n g t h e essentials necessary for this type o f power. T h r o u g h
s t a n d i n g p r a c t i c e w e l e a r n t o r e l a x a n d let o u r w e i g h t s i n k t h r o u g h t h e e a r t h i n
a n o n c o n t e n t i o u s a l i g n m e n t w i t h gravity. W e also learn h o w t o b e c o m e "still"
a n d let t h e b o d y ' s n a t u r a l p o w e r w o r k f o r us.

True relaxation a n d letting t h e b o d y weight sink in a l i g n m e n t with gravity is

essential to producing w h o l e b o d y power. Any superfluous tension or m o t i o n
keeps t h e b o d y t i s s u e a t t h e p l a c e o f t e n s i o n f r o m c o n t r a c t i n g a n d e x p a n d i n g a s
i! should naturally a n d w i t h o u t c o n s c i o u s effort (which a m o u n t s to a blockage
w h i c h p r e v e n t s o n e f r o m u s i n g t h e p o w e r o f t h e w h o l e b o d y ) . All t h e tissue o f
the b o d y , as well as t h e f r a m e of t h e b o d y , h a v e t h e ability to c o n t r a c t a n d
expand, a natural elasticity and "springiness." W h e n the whole body is relaxed
and aligned with gravity (true b a l a n c e ) this springiness of t h e b o d y is capable of
p r o d u c i n g t r e m e n d o u s p o w e r w i t h very little e f f o r t . All t h a t is r e q u i r e d is to let
t h e b o d y m o v e a n d react a s i t w a s m e a n t t o . A n y f o r c i n g o r t e n s i o n o n l y serves
to r e d u c e p o w e r . H e r e is a s i m p l e i l l u s t r a t i o n . A f a l l i n g r a i n d r o p i s n ' t " d o i n g "
a n y t h i n g , b u t i t still h i t s t h e g r o u n d w i t h c o n s i d e r a b l e f o r c e . T h e r a i n d r o p i s o n l y
t o t a l l y g i v i n g i n t o g r a v i t y a n d t h e r e f o r e i t strikes t h e g r o u n d w i t h a s m u c h f o r c e
as it is capable of w i t h o u t effort or t e n s i o n . No a m o u n t of extra m o t i o n of t h e
water m o l e c u l e s w i t h i n t h e r a i n d r o p i t s e l f will c a u s e i t t o h i t t h e g r o u n d a n y
h a r d e r . T o t h e r a i n d r o p itself, e v e n a s i t falls u n d e r t h e pull o f g r a v i t y , i t i s still
i stillness in m o t i o n ) . Therefore, t h e t w o m o s t i m p o r t a n t points in d e v e l o p i n g
whole b o d y p o w e r arc relaxation a n d a l i g n m e n t w i t h gravity.

T h e above is an e x a m p l e of using the b o d y mass in accordance with t h e

principles of relaxation and a l i g n m e n t with gravity. W h a t seems to be relaxed
and passive actually produces t h e m o s t power as t h e r e is c o n f o r m i t y to natural
principles. Again, it is t h e n o n - d o i n g a n d n o n - e f f o r t t h a t p r o d u c e t h e m o s t
efficient results.
I n X i n g Y i . a f t e r b a s i c s t a n d i n g p r a c t i c e w e p r o c e e d t o s i m p l e m o v e m e n t s (five
e l e m e n t fists) w h i c h d e v e l o p t h e a b i l i t y t o issue w h o l e b o d y p o w e r i n a n e f f i c i e n t ,
easy m a n n e r w h i c h uses n o b r u t e f o r c e w h a t s o e v e r . F i n a l l y , a n a d d e d a d v a n t a g e
is that this type of power begins f r o m stillness, is issued c o m p l e t e l y a n d t h e n
r e t u r n s t o s t i l l n e s s ( r e a d y t o b e i s s u e d a g a i n i m m e d i a t e l y ) . T h e r e i s n o t i m e lost
i n " w i n d i n g u p " o r " c o c k i n g " a b l o w a n d n o o v e r c o m m i t m e n t w h i c h c a u s e s loss
of balance or vulnerability. W h o l e body power can be applied to any type of
strike, k i c k , l o c k , t h r o w a n d e v e n t o g r o u n d f i g h t i n g .

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Xing Yi Nei Gong

Standing Meditation ^£

Finally, stance keeping is a form of standing m e d i t a t i o n . T h e benefits to

m a r t i a l arts a n d h e a l t h i n g e n e r a l are n u m e r o u s . W e are s e e k i n g a m i n d / b o d y
unity, a kind of wholeness of being. Conflict in the m i n d precludes mind/body
unity. As simple as it sounds, while standing o n e is taught to "just stand." There
i s n o right o r w r o n g , o n l y a n i m a g e o f f o c u s t o w h i c h t h e b o d y n a t u r a l l y
c o n f o r m s . T h e i m a g e itself serves as a focal point of m e n t a l activity w h i c h serves
to calm the mind. There is o n l y an attendant "feeling" and acknowledgment
thereof. There is none of the nonsense about "not thinking anything" or
" e m p t y i n g t h e m i n d . " T h e m i n d i s f o c u s e d . T r y i n g t o " s t o p t h o u g h t s " will o n l y
p r o d u c e c o n f l i c t a n d stress. W h i l e s t a n d i n g , o n e o n l y o b s e r v e s o n e s e l f i m p a r t i a l l y
w i t h a t t e n t i o n t o h o w i t feels, t h e r e i s n o c o n f l i c t , t h e m i n d a n d b o d y a r e u n i f i e d
a n d t h e brain waves settle d o w n ( n o t stop) i n t o a c a l m state. It is in this state of
c a l m a n d stillness that perception is clear, reaction is s p o n t a n e o u s l y efficient a n d
o n e literally " r e s t s " a n d " e x e r c i s e s " a t t h e s a m e t i m e . This type o f standing
p r a c t i c e y i e l d s all t h e b e n e f i t s o f m e d i t a t i o n w h i l e a t t h e s a m e t i m e r e i n f o r c i n g
mind/body unity and cultivating the body's natural power.
 Standing Practice

Basic Concepts
by Tim Cartmell

Relaxation

T h e C h i n e s e w o r d song i s u s u a l l y t r a n s l a t e d i n E n g l i s h a s " r e l a x . " T h i s

d e f i n i t i o n i s i n c o m p l e t e a n d o f t e n leads t o m i s u n d e r s t a n d i n g a n d c o n s e q u e n t l y
i n c o r r e c t p o s t u r e a n d m o v e m e n t . T h e c o n c e p t o f song requires f u r t h e r e x p l a n a t i o n .
If you tense up the muscles in your a r m as m u c h as possible, you h a v e created
t h e s t a t e t h e C h i n e s e call ying o r " h a r d . " I f y o u let y o u r a r m h a n d l i m p a n d i g n o r e
i t c o m p l e t e l y t h e C h i n e s e say i t i s man ( s o f t i n t h e s e n s e o f s l a c k ) . I f y o u l e a v e
t h e m u s c l e s i n y o u r a r m r e l a x e d , b u t put y o u r m i n d i n y o u r a r m b y u s i n g a n
i m a g e , s u c h a s y o u r a r m b e i n g p u m p e d full o f air, o r t h a t y o u r a r m i s a h o s e w i t h
water rushing out of your fingertips (without actually tensing t h e muscles) so
t h a t y o u r a r m is n o w s u p p l e , s p r i n g y , a n d alive, t h i s is t h e s t a t e of song. It is a
b a l a n c e d state w h i c h is neither slack n o r t e n s e .

Song is a s t a t e of r e l a x a t i o n w h i c h i n c l u d e s t h e Yi or m i n d ( i n t e n t i o n ) .
A l t h o u g h t h e b o d y i s r e l a x e d , i t i s " c h a r g e d " w i t h t h e real p o w e r o f t h e m i n d .
This mind/body unity is o n e ' s original and strongest state. This c o n c e p t of
relaxation applies t o t h e m i n d a s well ( a l t h o u g h w h e n applied t o t h e m i n d t h e
C h i n e s e u s u a l l y refer t o t h e desired s t a t e a s jing m e a n i n g q u i e t o r a c a l m
awareness). T h e m i n d is relaxed in t h e sense that there should be no conflict
between what o n e is doing and what one thinks o n e " s h o u l d " be doing. During
p r a c t i c e , w e s e e k t o let g o o f a n y c o n f l i c t s a n d p a y a t t e n t i o n t o w h a t w e are f e e l i n g
a t t h e t i m e . R e m e m b e r , t h e r e i s n o right o r w r o n g i n p r a c t i c e , o n l y a n i m a g e o r
f e e l i n g t h a t o u r b o d y c o n f o r m s t o , a s m u c h a s i t i s a b l e , w i t h o u t stress o r f o r c e .

I t s h o u l d b e n o t e d t h a t just a s t r u e p h y s i c a l r e l a x a t i o n i s t h e s t a t e free o f e x c e s s
t e n s i o n y e t n o t s l a c k , t r u e m e n t a l r e l a x a t i o n ijing) i s t h e s t a t e free o f a n y c o n f l i c t
yet not " d u l l " in t h e sense of daydreaming or " e m p t y i n g " t h e m i n d until o n e
b e c o m e s s o m e k i n d o f i n e r t z o m b i e . A s m i n d a n d b o d y are i n reality o n e e n t i t y
to begin with, t h e state of o n e has a p r o f o u n d influence on t h e state of t h e o t h e r .
I n fact, w h e n o n e i s song o n e i s a l s o jing a n d v i c e - v e r s a . W h e n o n e i s lost, s o i s
the other.
T h e o t h e r m a j o r benefit or true relaxation is that o n c e it b e c o m e s t h e natural
state there will be "stillness in m o v e m e n t a n d m o v e m e n t in stillness." T h i s
m e a n s t h a t i n s t i l l n e s s o n e i s n o t s l a c k a n d dull b u t r a t h e r c o n t a i n e d w i t h i n t h a t
stillness is an active energy ( m o v e m e n t in stillness). While moving one
m a i n t a i n s t h e feeling of c a l m a n d relaxation so o n l y t h e proper a m o u n t of energy
a n d p o w e r are u s e d I n t h e a p p r o p r i a t e w a y ( s t i l l n e s s i n m o v e m e n t ) . M o v e m e n t
b o r n of stillness a n d relaxation is m o s t efficient a n d allows t h e use of internal
power.
F i n a l l y , i t c o u l d b e s a i d t h a t song o r true r e l a x a t i o n i s t h e k e y c o n c e p t i n X i n g
Y i ' s b a s i c s t a n d i n g p r a c t i c e . T r u e r e l a x a t i o n a l l o w s t r u e b a l a n c e , i t i s t h e s t a t e free
o f b a d h a b i t s o f b o d y u s e , m a k i n g full u s e o f all o n e ' s i n h e r e n t s t r e n g t h s w h i l e
i n t h e state o f m i n d / b o d y u n i t y .

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Xing Yi Nei Gong

Sinking

This c o n c e p t is actually inseparable from the c o n c e p t of relaxation. " T o sink"

m e a n s t o relax t h e b o d y and allow t h e tissues o f t h e b o d y t o return t o their
i n t e n d e d p l a c e . All m a t t e r n a t u r a l l y m o v e s ( s i n k s ) t o t h e l o w e s t p o s s i b l e p o i n t
u n d e r g r a v i t y ' s i n f l u e n c e . T h e v a r i o u s t i s s u e s o f o u r b o d y are n o e x c e p t i o n .
" H o l d i n g u p " parts o f our b o d y o n l y serves t o waste energy, reduce m e c h a n i c a l
e f f i c i e n c y a n d c u t p o w e r . The o n l y w a y w e c a n f u l l y u t i l i z e o u r n a t u r a l , i n b o r n
s t r e n g t h s ( t h e e l a s t i c i t y o f t h e t i s s u e s , r e f l e x r e a c t i o n , m a s s , e t c . ) i s i f w e are
relaxed a n d " s u n k " m e a n i n g aligned with gravity. M a n y of the images taught
in practice have relaxation and sinking as their primary purpose.
W e all e n j o y e d e f f o r t l e s s p o i s e a n d n a t u r a l m i n d / b o d y c o o r d i n a t i o n a s s m a l l
children. Over t h e years we a c c u m u l a t e bad habits of b o d y use a n d a l i g n m e n t ;
w e b e g a n t o s e p a r a t e o u r m i n d s a n d b o d i e s t o t h e d e t r i m e n t o f b o t h . T h e first
step in training is to inhibit a n d release these habits in order to effect a return to
the mind/body unity, relaxation, poise and natural power we o n c e possessed.
M u c h o f t h e early t r a i n i n g i n X i n g Y i Q u a n , e s p e c i a l l y t h e s t a n d i n g p r a c t i c e ,
is designed to reinstate true relaxation as t h e natural state. O n e stands
c o m f o r t a b l y relaxed w h i l e directing the m i n d with specific images w h i c h serve
to inhibit a n d e l i m i n a t e bad habits until o n e ' s original state of true relaxation
a n d mind/body unity o n c e again b e c o m e s t h e natural c o n d i t i o n . W i t h true
r e l a x a t i o n a n d s i n k i n g , o n e will feel b o t h " h e a v y " ( r o o t e d s t a b l y t o t h e g r o u n d )
a n d " l i g h t " ( w i t h agile e a s e o f m o v e m e n t ) a t t h e s a m e t i m e . I n t h i s s t a t e , o n e i s
balanced a n d powerful white m o t i o n seems a l m o s t w i t h o u t effort.

Alignment and Structure

T h e p o s t u r e s a n d m o v e m e n t s o f X i n g Y i Q u a n are all d e s i g n e d t o r e a l i g n t h e
b o d y into positions of natural power. This involves lining up the frame so there
i s " s p a c e " i n t h e j o i n t s a n d t h e soft tissue ( m u s c l e s a n d f a s c i a ) a r e g e n t l y
s t r e t c h e d . T h e result i s a n o v e r a l l e l a s t i c i t y o r " s p r i n g i n e s s " i n t h e e n t i r e b o d y
w h i c h is the source of whole body power and unitary motion. W h e n this type
o f b o d y s t a t e i s d i r e c t e d b y t h e m i n d , o n e c a n m a k e hill u s e o f o n e ' s " i n t e r n a l
p o w e r . " T h i s internal, w h o l e b o d y power m e a n s to use t h e natural strengths of
the b o d y issuing energy in a " p u l s e " w h i c h is developed t h r o u g h o u t , a n d
s u p p o r t e d b y , t h e w h o l e b o d y . T h i s t y p e o f p o w e r feels a l m o s t e f f o r t l e s s a s i t i s
effected b y "fulfilling t h e r e q u i r e m e n t s " (setting u p t h e c o n d i t i o n s ) for internal,
w h o l e b o d y p o w e r a n d t h e n l e t t i n g t h e b o d y issue t h e p o w e r " b y i t s e l f . " O n c e
again, n o t h i n g can be forced but rather t h e a l i g n m e n t s a n d m o v e m e n t s are
m e n t a l l y directed. Forcing a n d t e n s i n g o n l y serve t o detract from t h e power
generated.

T h e b a s i c s t a n c e k e e p i n g p r a c t i c e s o f X i n g Y i Q u a n are t h e p r i m a r y t o o l f o r
training correct b o d y a l i g n m e n t s in positions of power (positions useful in
martial encounter). T h e h u m a n body is capable of withstanding and generating
a t r e m e n d o u s a m o u n t o f f o r c e . T h i s a b i l i t y g o e s far b e y o n d w h a t w e n o r m a l l y

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think of as ordinary muscle strength (although it comes from t h e muscles, bones

a n d c o n n e c t i v e t i s s u e ) . T h e key t o u t i l i z i n g t h i s n a t u r a l " i n t e r n a l " p o w e r i s t o
p u t t h e b o d y i n t o t h e c o r r e c t a l i g n m e n t a n d t h e n let t h e b o d y f u n c t i o n o n its
o w n . I n fact, w e u s e t h i s t y p e o f p o w e r all t h e t i m e i n a t h l e t i c s a s w e l l a s d a i l y
life. T h e goal of t r a i n i n g is to develop a n d refine this ability a n d bring it u n d e r
conscious control.

Use the Mind a n d Not Brute Strength Jf]

A s s t a t e d a b o v e , w e are l o o k i n g f o r a s t a t e o f r e l a x e d a w a r e n e s s i n w h i c h t h e
w h o l e b o d y is supple, elastic, a n d alive. T h e o n l y way to achieve this state is to
u s e t h e m e n t a l t o d i r e c t t h e p h y s i c a l . N o t u s i n g f o r c e refers t o w h a t t h e C h i n e s e
c a l l /HO Li, w h i c h c a n b e t r a n s l a t e d a s " b r u t e f o r c e " (it l i t e r a l l y m e a n s " c l u m s y
p o w e r " ) . Brute force is strength inappropriate to the situation, generated by t o o
tense or t o o slack muscles w i t h o u t mind/body unity. T h e way to avoid using
b r u t e f o r c e i s t o d i r e c t all m o v e m e n t s w i t h m e n t a l i m a g e s w h i c h a l l o w o n e t o
m a i n t a i n t h e desired states of relaxation a n d mind/body u n i t y a n d fully utilize
the body's inherent strength until such m o v e m e n t b e c o m e s t h e natural state.
O n t h e o t h e r h a n d , u s i n g t h e m i n d a n d n o t f o r c e d o e s n o t m e a n w e are l i m p
a n d w e a k . S t r e n g t h i s u s e d (if n o s t r e n g t h w e r e u s e d w e w o u l d b e u n a b l e t o m o v e
a t all) a n d f o r c e i s a p p l i e d , b u t i t i s g e n e r a t e d b y a r e l a x e d a n d b a l a n c e d b o d y , a n d
t h e strength used is e x a c t l y appropriate to t h e situation at h a n d . T h e primary
difference b e t w e e n t h e expert a n d t h e n o v i c e is that t h e expert applies strength
and force appropriately while the novice applies strength inappropriately. T h e
inappropriate application of force is t h e very definition of " c l u m s y . " Use of
" c l u m s y f o r c e " i s a d d r e s s e d i n t h e first o f t h e " t h r e e h a r m s " i n t h e X i n g Y i Q u a n
written transmissions, "inappropriate use of s t r e n g t h . "
It is i m p o r t a n t to r e m e m b e r that c o m b a t t e c h n i q u e s arc useless until t h e y are
a c o n d i t i o n e d r e f l e x a n d e v e n r e f l e x i v e t e c h n i q u e s n e v e r r e a c h t h e i r full
potential for p o w e r a n d effectiveness until t h e y are applied f r o m a state of
relaxation, mind/body unity a n d true balance.

Keeling C o m f o r t a b l e a n d Pleasant

R e l e a s i n g t e n s i o n a n d stress a n d r e l a x a t i o n lead t o a n o v e r a l l f e e l i n g o f
comfort. T h e postures, m o v e m e n t s , a n d images of Xing Yi Q u a n produce a calm
and pleasant state that is b o t h conducive to health and increases martial power.
A l t h o u g h s t a n d i n g i s s u r p r i s i n g l y t a x i n g e x e r c i s e ( m u s c l e s will a c h e ! ) , i t i s a l w a y s
practiced c o m p l e t e l y without mental coercion in the relaxed state. M a n y of the
i m a g e s will c a u s e f e e l i n g s o f w a r m t h , s u d d e n r e l e a s e o f t e n s i o n i n v a r i o u s parts
of t h e b o d y a n d a peaceful state of m i n d .
E x e r c i s e w h i c h p u t s u n d u e stress o n t h e b o d y will u l t i m a t e l y b e g i n t o t e a r t h e
b o d y d o w n . Sports a n d physical training w h i c h repeatedly overstress t h e s a m e
p a r t s o f t h e b o d y m a k e u s s u c c e p t i b l e t o i n j u r y . All e x e r c i s e i s a f o r m o f stress
which the body adapts to over time, this is the way the physical condition is

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improved a n d strengthened by exercise. But there is a world of difference

between appropriate exercise w h i c h develops the w h o l e person and mindless
repetition of m o v e m e n t s without mind/body unity which m a y prove more
detrimental than beneficial.

Cultivation of Life Force

A l t h o u g h t h e postures a n d m o v e m e n t s o f X i n g Y i Q u a n m a y vary from o n e

style t o a n o t h e r , t h e y all c o n f o r m t o n a t u r a l p r i n c i p l e s ( i n c l u d i n g t h e l a w s o f
p h y s i c s , b o d y m e c h a n i c s , m e n t a l a n d p h y s i c a l e n e r g y f l o w , e t c . ) a n d feel g o o d .
T h e m i n d a n d body are never forced a n d s h o u l d never strain. Health is built up
a s t h e f o u n d a t i o n o f m a r t i a l p o w e r . T h e X i n g Y i Q u a n m a s t e r s o f t e n said t h a t
t h e e x e r c i s e m u s t be wet sheng, or p r o t e c t i v e of life (in c o m m o n s p e e c h wei sheng
m e a n s " s a n i t a r y " ) . T h e b r o a d e r m e a n i n g o f t h i s c o n c e p t i s t h a t all p h y s i c a l a n d
m e n t a l t r a i n i n g s h o u l d c u l t i v a t e t h e life f o r c e a n d b u i l d h e a l t h . T h e X i n g Y i
masters viewed extreme forms of training and conditioning w h i c h increased
m a r t i a l skill o r p o w e r a t t h e e x p e n s e o f o n e ' s g e n e r a l h e a l t h , o r w h i c h d a m a g e d
t h e i n t e g r i t y o f t h e b o d y tissue a s f o o l i s h a n d u l t i m a t e l y c o u n t e r p r o d u c t i v e .
Training w h i c h involves forced breathing, c o n d i t i o n i n g t h e body by striking it
with hard o b j e c t s , and o v e r t r a i n i n g o n e part of t h e b o d y to be used as a " w e a p o n "
o f t e n results i n loss o f h e a l t h a n d f u n c t i o n w h i c h e v e n t u a l l y d e t r a c t f r o m , r a t h e r
than add to martial efficacy.

I n c o n t r a s t , t h e m e t h o d s o f X i n g Y i Q u a n e m p h a s i z e t h a t all t r a i n i n g f o r
m a r t i a l p o w e r a n d a b i l i t y m u s t a t t h e s a m e t i m e c u l t i v a t e t h e life f o r c e a n d b u i l d
health. T h e rationale is simple; people made weak from sickness or unbalanced
training do not have the strength or energy to fight. This point is so obvious that
it seems a l m o s t ridiculous to point it out, yet m a n y people engage in training
that, while building limited strength in o n e area, detracts from their overall
h e a l t h a n d u l t i m a t e l y r o b s t h e m o f t h e i r v i t a l i t y a n d t h e a b i l i t y t o fight a t all.
T h e p o s t u r e s a n d m o v e m e n t s o f X i n g Y i Q u a n all p r o m o t e h e a l t h a n d
s t r e n g t h e n t h e b o d y as t h e basis of martial power. A n o t h e r benefit to health is
that stance keeping is a form of standing meditation. The m i n d is calmed and
focused a n d unified with t h e body. This suppresses s y m p a t h e t i c nervous activity
( w h i c h is active during excited, nervous "fight or f l i g h t " activity) a n d elicits t h e
s t a t e t h e C h i n e s e c a l l n i jing ( e n t e r i n g s t i l l n e s s ) a n d i s k n o w i n t h e W e s t a s t h e
" r e l a x a t i o n r e s p o n s e . " T h e b o d y is exercised as t h e m i n d rests. O n e m a y never
h a v e c a u s e t o u s e h i s o r h e r m a r t i a l skills " f o r r e a l " i n a n e n t i r e l i f e t i m e , b u t e a c h
p e r s o n m u s t live w i t h t h e i r s t a t e o f h e a l t h e v e r y s i n g l e d a y . I t o n l y m a k e s s e n s e
to practice a system w h i c h e n h a n c e s b o t h health and martial ability. T h e
p r a c t i c e o f X i n g Y i Q u a n serves t o i n c r e a s e b o t h a t t h e s a m e t i m e .

A l t h o u g h n o t y p e o f t r a i n i n g i s a p a n a c e a f o r all ills o r will t u r n u s i n t o

s u p e r m e n or s u p e r w o m e n , if t h e m e t h o d of t r a i n i n g we c h o o s e to d e v o t e a part
o f o u r lives t o i s n o t d e s i g n e d t o c u l t i v a t e o u r life f o r c e , b u i l d o u r h e a l t h , a n d g i v e
us t h e v i t a l i t y f o r all o u r p u r s u i t s , m a r t i a l or o t h e r w i s e , it is m o s t p r o b a b l y a w a s t e
of our time.

lili
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Mind/Body Unity 3^ ^

Our m i n d s a n d bodies are originally o n e . Although t h e y appear separate on

the surface, t h e y b e l o n g to t h e same c o n t i n u u m of energy w h i c h makes up the
whole of our being. T h e almost unbelievable strength of babies is a product of
t h i s o r i g i n a l u n i t y o f m i n d a n d b o d y . All o f t h e p r e v i o u s l y m e n t i o n e d c o n c e p t s
( r e l a x a t i o n , s i n k i n g , c o r r e c t b o d y a l i g n m e n t , e t c . ) are t o o l s w e u s e t o a i d u s i n o u r
r e t u r n t o t h i s s t a t e . I t c o u l d e v e n b e said t h a t m i n d / b o d y u n i t y i s t h e p r i m a r y
goal of basic training as it is t h e f o u n d a t i o n u p o n w h i c h s u b s e q u e n t p o w e r a n d
skill is b u i l t .
W i t h m i n d / b o d y u n i t y t h e b o d y i s c a p a b l e o f f u n c t i o n i n g free o f b a d h a b i t s
a n d will h a v e full use o f n a t u r a l , i n b o r n s t r e n g t h : W i t h a r e t u r n t o t h i s s t a t e
c o m e s true balance. O n e is balanced internally ( m i n d and body in balance with
t h e e n e r g y s y s t e m s o p e n ) a n d e x t e r n a l l y (in r e l a t i o n t o t h e e n v i r o n m e n t ,
m e a n i n g gravity a n d pressures c o m i n g from outside t h e b o d y ) . W i t h this
f o u n d a t i o n , a n y t y p e o f p h y s i c a l skill i s l e a r n e d free o f r e s t r i c t i v e b a d h a b i t s
w h i c h detract from power and efficiency. Strength is built up where it is naturally
required. In addition, a n y type of training u n d e r t a k e n in t h e state of mind/body
u n i t y i s n a t u r a l l y wet sheng ( p r o t e c t i v e o f l i f e ) , b u i l d i n g t h e b o d y a n d c u l t i v a t i n g
t h e life f o r c e a s s p e c i f i c skills are l e a r n e d .
Although t h e i m m e d i a t e goals of training are good health in general a n d
m a r t i a l arts skill i n p a r t i c u l a r , t h e u l t i m a t e g o a l o f t r a i n i n g s h o u l d b e a c o m p l e t e
a n d p e r m a n e n t return to t h e natural, unified m i n d / b o d y state of being. T h e n
o n e will b e " p r a c t i c i n g " 2 4 h o u r s a d a y a n d life will b e e n h a n c e d t h r o u g h a
g r e a t e r a w a r e n e s s o f self a n d a m o r e c o m p l e t e f o c u s o f t h e u n i f i e d life f o r c e . A n d
t h e s t a r t i n g p o i n t a n d f o u n d a t i o n o f s u c h t r a i n i n g i n t h e art o f X i n g Y i Q u a n i s
stance keeping.

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Postures and Images

by Tim Cartmell

Images
O u r g o a l s i n p r a c t i c i n g s t a n c e k e e p i n g are m i n d / b o d y u n i t y a n d a r e t u r n t o
a natural balanced posture. In addition, we w a n t to train t h e muscles a n d
n e u r o m u s c u l a r s y s t e m i n p o s i t i o n s o f p o w e r , t h a t is, p o s i t i o n s w h i c h will later
b e useful i n m a r t i a l e n c o u n t e r s a n d w h i c h a l l o w full u s e o f o u r i n b o r n s t r e n g t h s .
S i n c e w e m u s t n e v e r f o r c e a n y t h i n g b u t r a t h e r release a n d let t h e b o d y r e t u r n t o
its s t r o n g e s t state, h o l d i n g a w k w a r d p o s t u r e s c o e r c e d b y t h e will w i t h f o r c e will
o n l y s u c c e e d i n t e a r i n g d o w n t h e b o d y , r e i n f o r c i n g b a d h a b i t s a n d c a u s i n g stress.
T h e b a s i c San T i s t a n d i n g p o s t u r e o f X i n g Y i Q u a n i s e r e c t a n d n a t u r a l , w i t h
t h e arms held in gentle curves. Rather than holding a posture by force or having
t o c o n s t a n t l y m o n i t o r f o r c o u n t l e s s d e t a i l s , t h i s s t a n d i n g m e t h o d uses m e n t a l l y
d i r e c t e d i m a g e s w h i c h a u t o m a t i c a l l y l i n e u p t h e b o d y , r e l e a s e stress a n d b r i n g
a b o u t mind/body unity in a state of d y n a m i c relaxation. For e x a m p l e , t h e
instructor could give elaborate instructions detailing every angle, arc, a n d curve
t h e b o d y s h o u l d a s s u m e w h i l e h o l d i n g a p o s t u r e , h o w e v e r , t h e stress o f t r y i n g
t o r e m e m b e r s o m a n y d e t a i l s will b e e n o u g h t o n e g a t e all t h e b e n e f i t s o f p r a c t i c e .
O n e t h i n g that makes X i n g Yi's San Ti s t a n d i n g practice so valuable is t h a t it
h a s t h e m o s t i n g e n i o u s a n d c o m p l e t e sei o f m e n t a l i m a g e s o f a n y m a r t i a l s y s t e m .
All o f t h e i m a g e s h a v e b e e n c a r e f u l l y d e s i g n e d a n d p r o g r e s s i v e l y c a t e g o r i z e d t o
i m m e d i a t e l y b r i n g a b o u t t h e desired s t a t e s o f m i n d / b o d y u n i t y , t r u e b a l a n c e ,
stress release a n d c o n d i t i o n t h e n e u r o m u s c u l a r s y s t e m t o fully u t i l i z e o n e ' s
i n b o r n power in t h e m o s t efficient m a n n e r . T h e images are simple and effective
a n d t h e p r a c t i t i o n e r will b e a b l e t o u n i t e m i n d a n d b o d y a n d c o o r d i n a t e
m o v e m e n t from the start. (The traditional images used in X i n g Yi Q u a n practice
are o u t l i n e d s t a r t i n g o n p a g e 7 3 i n t h e s e c t i o n t i t l e d " I m a g e s f r o m t h e X i n g Y i
Classics.")

Postures

In this section I will discuss some important points for all postures and movements

T h e Head:
T h e p o s i t i o n o f t h e h e a d i s t h e key t o t h e a l i g n m e n t o f t h e w h o l e b o d y . T h e
h e a d i s a t o n e e n d o f o u r a n a t o m y ( t h e t o p ) w i t h t h e feet a t t h e o t h e r . I n o r d e r
to relieve tension, elongate t h e body, a n d create t h e proper t o n e in t h e b o d y
tissue, w e m u s t g e n t l y l e n g t h e n o r " s t r e t c h " t h e b o d y f r o m o n e e n d t o t h e o t h e r .
C o r r e c t t o n e i n t h e b o d y tissue m e a n s c o r r e c t p o s t u r e w i t h a n o v e r a l l e l a s t i c i t y
or " s p r i n g i n e s s " w h i c h creates proper space for our internal o r g a n s a n d systems
w h i l e s e t t i n g u p t h e c o n d i t i o n s for t h e use o f i n t e r n a l p o w e r a n d t h e full
utilization of our inherent strengths. If you want to stretch s o m e t h i n g , there
m u s t b e a n a n t a g o n i s t i c pull a t b o t h e n d s . G r a v i t y t a k e s c a r e o f p u l l i n g o u r feet

(is
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downwards, what we must do is allow our head to be "pulled" upwards (meaning

a w a y from our feet, n o t necessarily straight u p ) . So t h e position of o u r h e a d is
m o s t i m p o r t a n t in d e t e r m i n i n g t h e state of our w h o l e body. W h e n standing, t h e
h e a d i s g e n t l y lifted u p w a r d s ( w i t h t h e m i n d , n o t f o r c e ) a l l o w i n g t h e e n t i r e b o d y
t o r e l e a s e e x c e s s t e n s i o n a n d a l i g n itself p r o p e r l y w i t h g r a v i t y .

T h e Feet:
T h e b o d y w e i g h t i s e v e n l y d i s t r i b u t e d b e t w e e n b o t h feet. Let t h e w e i g h t s e t t l e
o n t h e e n t i r e s u r f a c e o f t h e s o l e s o f t h e feet (try t o a v o i d p u t t i n g t h e w e i g h t t o o
far f o r w a r d t o w a r d t h e b a l l s o f t h e feet o r t o o far b a c k t o w a r d t h e h e e l s , a l s o b e
c a r e f u l n o t t o roll t h e f e e t i n w a r d o r o u t w a r d ) . M a k e s u r e t h e feet are r e l a x e d a n d
take a m o m e n t to " f e e l " t h e ground. (This is t h e " d o u b l e w e i g h t e d " variation of
t h e SanTi p o s t u r e . I f y o u s t a n d w i t h a 7 0 / 3 0 w e i g h t d i s t r i b u t i o n , t h e d i s t r i b u t i o n
o f w e i g h t o n t h e feet i s t h e s a m e , t h e o n l y d i f f e r e n c e b e i n g t h e c e n t e r o f g r a v i t y
i s s h i f t e d t o w a r d s t h e rear.)

T h e Knees:
T h e k n e e s are s l i g h t l y b e n t a n d f a c e t h e s a m e d i r e c t i o n a s t h e t o e s . T h e k n e e s
m u s t n e v e r c o l l a p s e i n w a r d o r b o w o u t w a r d . I n g e n e r a l , w e will s t a n d u p
n a t u r a l l y , w i t h a v e r y s l i g h t b e n d a t t h e k n e e s . Later, i f y o u c h o o s e t o s q u a t m o r e
d e e p l y , r e m e m b e r t h e k n e e s s h o u l d n e v e r pass t h e v e r t i c a l l i n e w h i c h p a s s e s
t h r o u g h t h e tips of t h e toes.

I he W a i s t a n d Hips:
T h e h i p s a r e h e l d l e v e l . R e l a x t h e t o r s o a n d t r y t o feel a s i f i t i s " f u l l " o n all
sides ( t h i s m e a n s d o n o t a r c h t h e b a c k o r c o l l a p s e t h e c h e s t ) . T h e kua ( j u n c t u r e
a t t h e f r o n t o f t h e waist w h e r e t h e t h i g h j o i n s t h e t o r s o ) i s s l i g h t l y i n s e r t e d
i n w a r d . Let t h e b u t t o c k s r e l a x a n d s i n k a s i f y o u a r e " f e e l i n g d o w n w a r d " w i t h
y o u r rear. T h e w a i s t a n d h i p s f o r m t h e c e n t e r o f t h e b o d y a n d j o i n t h e u p p e r w i t h
t h e l o w e r . T h i s area i s key t o w h o l e b o d y p o w e r a n d e f f i c i e n t m o v e m e n t . W h e n
s t a n d i n g c o r r e c t l y , t h e w h o l e p e l v i c area a n d w a i s t s h o u l d feel c o m f o r t a b l e a n d
f r e e ( a l m o s t as if it is " f l o a t i n g " ) .

The S p i n e :
T h e spine is relaxed a n d allowed to elongate. T h i s m e a n s there is no effort of
t h e muscles to h o l d t h e spine or torso in a n y forced position. W i t h t h e lifting
o f t h e h e a d a n d s i n k i n g o f t h e b o d y , t h e s p i n e will b e e l o n g a t e d i n t o its n a t u r a l
p o s i t i o n a n d t h e stress b e t w e e n t h e v e r t e b r a i s r e l e a s e d . W h i l e s o m e m e t h o d s
advocate "straightening" the spine by pulling the c o c c y x down and under, in
order to reduce t h e curve in t h e lower back, this position is tense, tiring, a n d
unnatural. T h e s p i n e is n o t supposed to be perfectly straight, it has natural curves
f o r a r e a s o n . W e d o n ' t w a n t t o u s e f o r c e t o pull t h e s p i n e s t r a i g h t , r a t h e r , w e
release t e n s i o n i n t h e b a c k a n d t o r s o a n d a l l o w t h e s p i n e t o e l o n g a t e n a t u r a l l y .
This allows the spine to h a v e a natural "springiness" w h i c h renders it capable of
generating tremendous power.

The Stomach:
T h e m u s c l e s o f t h e s t o m a c h a n d w a i s t are c o m p l e t e l y r e l a x e d . W i t h t h e l i f t i n g
o f t h e h e a d a n d e l o n g a t i o n o f t h e s p i n e t h e a b d o m i n a l m u s c l e s will b e g e n t l y

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stretched a n d held in t h e proper state of t o n u s . Although t h e s t o m a c h muscles

are c o m p l e t e l y r e l a x e d , b e c a u s e w e a r e s t a n d i n g i n d y n a m i c , c o r r e c t p o s t u r e , t h e
m u s c l e s will n o t sag o r c a u s e a " p o t b e l l y " e f f e c t a s t h e p o s t u r e serves t o g e n t l y
stretch t h e a b d o m i n a l wall. Your s t o m a c h a n d waist muscles are exercised even
as y o u stand still.

The Chest:
T h e chest is relaxed, widened and very slightly depressed inward. O n e should
n e i t h e r pull b a c k t h e s h o u l d e r s a n d stick o u t t h e c h e s t n o r s l u m p t h e s h o u l d e r s
a n d let t h e c h e s t c o l l a p s e . The c h e s t s h o u l d feel o p e n , w i d e , a n d r e l a x e d i n a
natural position.

The Shoulders:
T h e shoulders are level a n d relaxed. They a r e n e i t h e r p u l l e d b a c k n o r
h u n c h e d f o r w a r d . O n e s h o u l d feel a s i f t h e s h o u l d e r s are p o i s e d a n d b a l a n c e d
a t t h e t o p o f t h e t o r s o . I t i s v e r y i m p o r t a n t n o t t o lift t h e s h o u l d e r s a t a n y t i m e
during the practice.

The Arms and Hands:

T h e a r m s a n d hands are c o m p l e t e l y relaxed a n d always held in gentle curves.
T h e e l b o w s are n e i t h e r b e n t t o o m u c h n o r rigidly s t r a i g h t e n e d ( t h e C h i n e s e s a y
t h e a r m s "appear straight but are not straight"). T h e palms are curved a n d m a d e
" d e e p . " T h e b a c k s o f t h e h a n d s are s p r e a d a n d t h e e n t i r e h a n d i s o p e n a n d full,
a l l o w i n g t h e m i n d a n d energy t o flow f r o m t h e fingers u n i m p e d e d . T h e fingers
a r e g e n t l y s p r e a d a n d r o u n d e d , n e i t h e r t e n s e n o r s l a c k . The a r m s a n d h a n d s
s h o u l d feel r e l a x e d , s o m e w h a t h e a v y , full, s e n s i t i v e a n d g e n t l e . W h e n h o l d i n g
t h e arms up, t h e weight s h o u l d settle a l o n g t h e b o t t o m (ulna side) o f t h e arm
with the elbows " h a n g i n g . "

The Neck:

The n e c k i s s t r a i g h t ( b u t n o t t e n s e ) w i t h a g e n t l e lift a t t h e b a c k o f t h e n e c k .

The Chin:

T h e c h i n is very slightly tucked down and in.

The T e e t h :

T h e t e e t h a r e c l o s e d t o g e t h e r w i t h o u t f o r c e ( n o s l a c k jaws o r g r i n d i n g t e e t h ) .

T h e Eyes:
T h e e y e s are level a n d l o o k s t r a i g h t a h e a d . O n e m a y l o o k s l i g h t l y u p w a r d a s
i f s e e i n g far i n t o t h e d i s t a n c e (as i f v i e w i n g a v a s t l a n d s c a p e f r o m t h e t o p o f a t a l l
m o u n t a i n ) . S o m e t i m e s t h e eyes will b e g e n t l y c l o s e d .
T h e Ears:

T h e ears " l i s t e n i n s i d e " t o t h e " s o u n d s " o f t h e b o d y .

T h e Face:
R e l a x t h e facial m u s c l e s , r e l a x a l s o t h e m u s c l e s a r o u n d t h e sides o f t h e h e a d
a70
n d t h e scalp. M a k e sure y o u are not wrinkling t h e f o r e h e a d (frowning) b y
 Standing Practice

relaxing the space between t h e eyebrows. It helps to smile a little.

The Tongue:

T h e t o n g u e is relaxed a n d slightly curved, t o u c h i n g t h e roof of t h e m o u t h .

The Breath:
Relax and breathe in and out through the nose. As you stand and relax, you
m a y find you are b r e a t h i n g slower a n d m o r e deeply. T h i s is g o o d . Y o u can
consciously relax your chest and a b d o m e n to facilitate deep breathing but o n l y
" w a t c h " yourself b r e a t h e , d o n ' t try t o force o r c o n t r o l t h e b r e a t h . W h e n y o u
c o r r e c t t h e p o s t u r e a n d r e l a x , y o u r b o d y will n a t u r a l l y b r e a t h e i n t h e m o s t
beneficial m a n n e r . O u r bodies k n e w h o w to b r e a t h e best long before we were
e v e r a w a r e t h a t w e w e r e b r e a t h i n g a t all a n d will d o s o a g a i n i f w e let t h e m .
T h e a b o v e p o i n t s g e n e r a l l y a p p l y t o all p o s t u r e s a n d m o v e m e n t s o f X i n g Y i
Q u a n . T h e y serve as a k i n d of o b j e c t i v e view of t h e observable m e c h a n i c s of
posture a n d a l i g n m e n t . T h e s e p o i n t s c a n be used as a " c h e c k l i s t " for a l i g n m e n t
o r a s a c o m p a r a t i v e r e f e r e n c e w h e n a n a l y z i n g o n e ' s o w n p o s t u r e o b j e c t i v e l y (as
in a film or p h o t o g r a p h ) or w h e n c h e c k i n g t h e posture of a n o t h e r .

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Possible Sensations

I t w o u l d b e very d i f f i c u l t , i f n o t i m p o s s i b l e , t o p a y a t t e n t i o n t o all o f t h e
previously m e n t i o n e d details in practice (even while s t a n d i n g still). Besides, t h e
f a c t t h a t d i v i d i n g t h e b o d y u p i n t o s o m a n y parts w o u l d d e t r a c t f r o m t h e o v e r a l l
"feeling" of b a l a n c e a n d mind/body unity we are trying to achieve. W h a t is
needed is a m e t h o d that inhibits previously acquired bad habits while aligning
t h e b o d y a n d b r i n g i n g a b o u t m i n d / b o d y u n i t y " a l l a t o n c e " w i t h o u t stress o r
t e n s i o n . T h e images f r o m t h e X i n g Yi classics w h i c h appear in t h e n e x t s e c t i o n
provide such a m e t h o d a n d tie t h e practice t o g e t h e r i n t o a unified w h o l e .
Each of t h e postures a n d m o v e m e n t s in X i n g Yi Q u a n are designed to cultivate
a n d t r a i n t h e m i n d / b o d y u n i t y a n d p o w e r for v a r i o u s t y p e s o f lings o r e n e r g i e s
basic to martial t e c h n i q u e . T h e types of energies trained in theiVin Ti posture of
X i n g Y i i n c l u d e m a n y o f t h e b a s i c p o w e r s u s e d i n t h e a p p l i c a t i o n o f t h e art a n d
t h u s t h i s p o s t u r e f o r m s a f o u n d a t i o n for f u r t h e r s t u d y . A n a l y s i s o f t h e e n e r g i e s
c u l t i v a t e d i n t h e Son T i p o s t u r e r e v e a l s t h a t t h e r e i s a n a n t a g o n i s t i c e n e r g y , o n e
of which can be considered offensive, while at the same t i m e there is also a
defensive energy, so t h e posture s i m u l t a n e o u s l y trains power for attack a n d
defense in the same plane.

Possible Sensations:
D u r i n g p r a c t i c e , e s p e c i a l l y i n t h e early stages, y o u m a y e x p e r i e n c e s o m e o f t h e
f o l l o w i n g p h e n o m e n a . T h e s e are p e r f e c t l y n a t u r a l r e a c t i o n s a n d f e e l i n g s a n d
t h e r e i s n o n e e d t o w o r r y . J u s t r e l a x a n d persist w i t h p r a c t i c e a n d i n t i m e y o u will
c o m e t o feel v e r y c o m f o r t a b l e a s y o u s t a n d . D e s p i t e t h e fact y o u a r e n ' t m o v i n g ,
s t a n c e k e e p i n g i s real e x e r c i s e . Y o u m a y e x p e r i e n c e m i l d t o f o r c e f u l s h a k i n g i n
y o u r l i m b s . This i s d u e t o a r e l e a s e o f n e r v o u s t e n s i o n o r f a t i g u e a n d will pass a f t e r
a s h o r t p e r i o d o f p r a c t i c e . Y o u m a y feel h e a t , c o l d , t i n g l i n g , o r n u m b n e s s ,
e s p e c i a l l y I n y o u r b a n d s . T h e s e s e n s a t i o n s a r e a l s o t h e result o f t h e n e r v o u s
s y s t e m r e a d j u s t i n g a n d b a l a n c i n g itself a n d will s o o n p a s s .
You may also experience soreness and a c h i n g in the muscles. The shoulders
a r c p a r t i c u l a r l y p r o n e t o a c h e . T h i s i s n a t u r a l ( j u s t like s o r e n e s s f r o m a n y o t h e r
f o r m o f e x e r c i s e ) a n d will p a s s a s y o u b e c o m e s t r o n g e r . I f y o u r m u s c l e s b e g i n t o
a c h e a s y o u s t a n d , try t o r e l a x a n d u s e t h e i m a g e s t o " t a k e t h e pressure o f f . " I t
m a y also b e h e l p f u l t o lower t h e a r m s a n d g e n t l y s h a k e out t h e l i m b s a n d t h e n
r e t u r n t o t h e p o s t u r e . I f t h e a c h i n g i s i n t e n s e o r y o u feel v e r y f a t i g u e d , s t o p
p r a c t i c e f o r t h e d a y a n d rest ( t h e s e i s n o r u s h , p o w e r a n d skill are c u l t i v a t e d , t h e y
c a n n o t h e f o r c e d ) . E v e n t u a l l y , w h e n y o u s t a n d y o u will feel v e r y c o m f o r t a b l e
a n d c a l m , a s i f y o u are f l o a t i n g i n w a r m w a t e r .

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Images from the Xing Yi Classics

by Tim Cartmell

T h e classical literature of X i n g Yi b o x i n g offers a w e a l t h of i m a g e s a n d

p r a c t i c a l i n s t r u c t i o n s w h i c h are d e s i g n e d t o a i d t h e p r a c t i t i o n e r i n a l i g n i n g h i s
or her body with the proper balance and focus of intent. T h e instructions range
from alignments in relation to anatomical landmarks to colorful images. Below
I have i n c l u d e d t h e translations of s o m e of t h e m o r e relevent passages with brief
explanations.

The Six Harmonies: (Liu He -

1) the h a n d s h a r m o n i z e w i t h t h e feet,
2) the shoulders h a r m o n i z e with t h e hips,
3) the elbows h a r m o n i z e with the knees,
4) the heart harmonizes with the intent,
5) the i n t e n t h a r m o n i z e s w i t h t h e qi,
6) the qi harmonizes with t h e power.

T h e first t h r e e a r e r e f e r r e d t o a s t h e " T h r e e E x t e r n a l C o o r d i n a t i o n s " w h i l e t h e

r e m a i n i n g t h r e e a r e referred t o a s t h e " T h r e e I n t e r n a l C o o r d i n a t i o n s . " T h e
m o v e m e n t s o f X i n g Y i Q u a n a r e a s n a t u r a l a s w a l k i n g . W e all m a i n t a i n t h e T h r e e
External C o o r d i n a t i o n s during t h e m o t i o n s o f n o r m a l walking a n d this degree
of naturalness should be maintained during the practice of martial forms. This
t y p e o f n a t u r a l m o t i o n i s w h a t o u r b o d i e s a r e " d e s i g n e d " for, a n d c o n s e q u e n t l y
building a martial system a r o u n d m o v e m e n t s w h i c h m a k e use of and work in
h a r m o n y w i t h o u r i n n a t e s t r e n g t h s will b e i n h e r e n t l y m o r e p o w e r f u l t h a n
f o r c i n g o u r b o d i e s t o p e r f o r m " u n n a t u r a l " m o v e m e n t s (like f i t t i n g a s q u a r e peg
in a r o u n d h o l e . )

T h e Three I n t e r n a l C o o r d i n a t i o n s are d e s c r i p t i o n s o f t h e s t a t e i n w h i c h t h e r e
;s no separation b e t w e e n desire, will a n d a c t i o n . T h e trained individual is faster
than t h e untrained individual because he or she has reflexive patterns of
m o v e m e n t trained into t h e n c u r o - m u s c u l a r system. T h e trained fighter has a
desire t o s t r i k e a n d t h e i n t e n t i m m e d i a t e l y m o b i l i z e s t h e p r e - t r a i n e d r e s p o n s e ,
t h e n e r v e s fire i n t h e c o n d i t i o n e d p a t t e r n a n d t h e b o d y m o v e s . T h e u n t r a i n e d
person has t h e desire t o strike a n d t h e n must t h i n k a b o u t t h e details o f t h e
motion and make conscious decisions as the unfamiliar m o t i o n is made. In order
lo m o v e as quickly and efficiently as possible the interval of t i m e between the
desire t o m o v e ( h e a r t ) , t h e a c t u a l s p e c i f i c m e n t a l d i r e c t i o n s t o m o v e ( i n t e n t ) , t h e
" e u r o - m u s c u l a r r e a c t i o n s t o t h e i m p u l s e o f t h e i n t e n t (qi) a n d t h e a c t u a l m o t i o n
Tself ( p o w e r ) m u s t b e a s s h o r t a s p o s s i b l e .

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The Eight Words (Ba Zi - /\

T h e eight words provide the practitioner with images used in aligning the
b o d y and using strength naturally. Each of the eight words has three important
p o i n t s . T h e e i g h t w o r d s a r e a s f o l l o w s : Press, C l o s e , R o u n d , S e n s i t i v e , H o l d , S i n k ,
Curve, a n d Extend. Each word has three places of application on the b o d y as
follows:

T h e T h r e e P r e s s i n g s ( S a n D i n g - J L T i l ) : T h e h e a d presses u p w a r d , t h e p a l m s
press o u t w a r d a n d t h e t o n g u e presses a g a i n s t t h e r o o f o f t h e m o u t h .

T h e T h r e e C l o s i n g s ( S a n K o u - = _ } o ) : T h e s h o u l d e r s feel a s i f t h e y will c l o s e
t o g e t h e r , t h e b a c k o f t h e h a n d s a n d feet feel a s i f t h e y a r e c l o s i n g t o g e t h e r a n d
the teeth close together.

T h e T h r e e R o u n d i n g s ( S a n Y u a n - j r . [51): T h e b a c k i s r o u n d , t h e c h e s t i s r o u n d ,
a n d t h e Tiger's M o u t h (space b e t w e e n t h e t h u m b a n d i n d e x finger) is round.

T h e T h r e e S e n s i t i v i t i e s ( S a n M i n - _£.;&): T h e h e a r t i s s e n s i t i v e , t h e e y e s are
sensitive, a n d t h e h a n d s are sensitive.

T h e T h r e e H o l d i n g s ( S a n B a o - £ . # L ) : H o l d t h e dan tian, h o l d t h e q i o f t h e h e a r t ,
h o l d t h e ribs.

T h e Three Sinkings (San C h u i - . -3b): T h e q i s i n k s , t h e s h o u l d e r s s i n k a n d t h e

elbows sink.

T h e T h r e e C u r v e s (San Qu - ~- T h e a r m s a r e c u r v e d , t h e k n e e s are c u r v e d ,
a n d t h e wrists are c u r v e d .

T h e T h r e e E x t e n s i o n s (San T i n g - r - , T h e neck i s extended (lengthened),

t h e s p i n e i s e x t e n e d a n d t h e k n e e s are e x t e n d e d .

(Note: F o r d e t a i l s p l e a s e refer t o t h e i m p o r t a n t p o i n t s for p o s t u r e s a t t h e

beginning of this section.)

The Five Bows (Wu Gong - ):

T h e t w o a r m s , t w o legs, a n d s p i n e are i m a g i n e d t o b e b o w s . T h e a r m s a n d legs

a r e s l i g h t l y c u r v e d (like a d r a w n b o w ) w i t h t h e i n t e n t o f e x t e n d i n g (as i f t o r e l e a s e
a n a r r o w ) . A k i n e s t h e t i c s e n s e o f t h i s i m a g e fills t h e b o d y w i t h a k i n d o f " e l a s t i c "
p o w e r w h i c h i s n e i t h e r rigid n o r slack. T h e s p i n e i s e x t e n d e d a n d t h e h e a d p r e s s e s
upward but there is a slight feeling of a drawn curve because t h e shoulders a n d
a r m s are e x t e n d e d f o r w a r d .

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The Four Levels (Si Ping - t « j

T h e t o p o f t h e h e a d , t h e t w o e y e s , t h e s h o u l d e r s , a n d t h e h i p s a r e all h e l d " l e v e l , "

m e a n i n g parallel to t h e g r o u n d . T h e s e a l i g n m e n t s are r e l a t i v e l y s i m p l e t o
u n d e r s t a n d a n d feel, a n d a l o n g w i t h t h e p r e s s i n g u p o f t h e h e a d g o a l o n g w a y
towards aligning the whole body.

Sticking out the chest, pulling in the stomach, forcing the

breath, and using brute force will harm the body.

T h e s e are s o m e o f t h e m o s t c o m m o n m i s t a k e s o f b e g i n n e r s . T o a v o i d t h e s e
mistakes the chest is held normally without pushing it out or letting it collapse
inward. T h e s t o m a c h must be relaxed so that t h e b r e a t h i n g is n o t restricted a n d
t h e w a i s t i s r e l a x e d a n d a b l e t o m o v e f r e e l y . F o r c i n g t h e b r e a t h refers t o h o l d i n g
t h e air i n d u r i n g p h y s i c a l e x e r t i o n . F i n a l l y , b r u t e f o r c e refers t o t h e e x t r a t e n s i o n
caused by a b o d y out of alignment or using o n e part of the b o d y without the
support of the whole.

Three Points on a Line (San Jian Yao Zhao - j = _ ^ flS):

T h e t i p o f t h e n o s e , t h e t i p o f t h e f r o n t h a n d a n d t h e t i p o f t h e f r o n t f o o t are
all o n t h e s a m e v e r t i c l e p l a n e . T h i s p a s s a g e i s r e l a t e d t o t h e T h r e e E x t e r n a l
C o o r d i n a t i o n s of t h e Six H a r m o n i e s . W h e n this a l i g n m e n t is correct, o n e
automatically has the Three External Coordinations.

The Fists do not Leave the Heart, the Arms (Elbows) do not Leave
the Ribs:

O n c e again, this passage is related to t h e T h r e e External C o o r d i n a t i o n s . T h e

h a n d s d o n o t m o v e v e r y far f r o m t h e c e n t e r l i n e o f t h e b o d y b e f o r e t h e b o d y
b e g i n s t o t u r n . T h e e l b o w s d o n o t lift u p a w a y f r o m t h e ribs ( s i n k t h e e l b o w s ) n o r
a r e t h e a r m s e x t e n d e d t o o far t o t h e f r o n t .

F i n a l l y , t h e p o s i t i o n a n d s h a p e o f t h e v a r i o u s p a r t s o f t h e b o d y are c o m p a r e d
t o a n i m a l s . T h e s e i m a g e s are r e l a t e d t o t h e e i g h t w o r d s a n d say t h e s a m e t h i n g
i n a s t r o n g l y i m a g i n i t i v e w a y . T h e a n i m a l / b o d y c o n n e c t i o n s are a s f o l l o w s :

Chicken Leg (Ji Tui - g£ ft)

Dragon Body (Long Shen - H, fy)
Eagle Claw (Ying Zhao - £
Bear Shoulers (Xiong Bang - til ? $ )
Tiger's Head Embrace (Hu Bao Tou -

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Xing Yi Nei Gong

Practicing San Ti Shi

Wang Ji Wu's Method
by Dan Miller and Tim Cartmell

The Boxing Canon states:

" T h e t h r e e b o d i e s [San Ti) i n m a r t i a l arts refer t o t h e h e a d , h a n d s , a n d feet. San
Ti is f u r t h e r d i v i d e d i n t o t h r e e s e c t i o n s as f o l l o w s :

Root Mid-section Terminus

W a i s t [dan tian) Spine (heart) H e a d (Ni Wan P o i n t )

Hips Knees Feet
Shoulders Elbows Hands

All X i n g Yi Q u a n p r a c t i c e starts w i t h San Ti s t a n d i n g . After w a l k i n g t h r o u g h

the forms, o n e must follow the correct sequence of training and must n o t omit
Steps. All s u b s e q u e n t m o v e m e n t is f o u n d e d in San Ti Shi. T h i s p o s t u r e is t h e g a t e
o f t h e W a y , i t i s t h e r o o t a n d c e n t r a l n u c l e u s o f t h e art o f X i n g Y i Q u a n . "

Almost every system of Xing Yi Q u a n in Northern C h i n a has the practice of

s t a n d i n g s i l e n t l y in San Ti Shi at its f o u n d a t i o n . W h i l e o n e will f i n d s l i g h t
v a r i a t i o n s i n t h e e x a c t b o d y p o s i t i o n s a n d a l i g n m e n t s f r o m o n e style t o t h e n e x t ,
all s t a n d i n g p r a c t i c e a d h e r e s t o c e r t a i n p r i n c i p l e s . I n S e p t e m b e r o f 199.1 a n d
April o f 1 9 9 4 , w e d i s c u s s e d W a n g j i W u ' s S a n T i s t a n d i n g p r a c t i c e w i t h t w o o f h i s
t o p students, Z h a n g Bao Yang a n d W a n g J i n Yu. In t h i s section we will discuss
t h e general principles as well as t h e specific details of t h e s t a n d i n g practice in this
system of Xing Yi Quan.
W a n g j i W u t a u g h t h i s s t u d e n t s t w o v e r s i o n s o f t h e San T i p o s t u r e , o n e h e
c a l l e d " s i n g l e h a n d " San T i a n d t h e o t h e r " d o u b l e h a n d " San T i (see p h o t o s t h e
n e x t p a g e ) . I n t h e S h a n x i s t y l e o f X i n g Y i Q u a n , t h e " s i n g l e h a n d " San T i p o s t u r e
is typically assumed as a beginning transition into the form m o v e m e n t s and the
" d o u b l e h a n d " San T i p o s t u r e i s a s s u m e d w h e n e n d i n g t h e f o r m s . In our
d i s c u s s i o n s , Z h a n g B a o Y a n g a n d W a n g j i n Y u said t h a t i n p r a c t i c i n g t h e San T i
s t a n d i n g p o s t u r e , t h e s t u d e n t " t r a i n s t o k e e p his o r h e r c e n t e r . " B y k n o w i n g h o w
t o a l w a y s " k e e p h i s c e n t e r " t h e s t u d e n t will a l w a y s b e s t a b l e a n d h a v e g o o d
balance while b e i n g very agile at t h e same t i m e . In addition to developing an
a w a r e n e s s o f o n e ' s c e n t e r , s t r e n g t h e n i n g t h e legs, a n d d e v e l o p i n g a s t r o n g r o o t ,
t h e a l i g n m e n t s of this posture also develop internal energy and integrate t h e
whole body.

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 Standing Practice

"Single Hand" San Ti Shi "Double Hand" San Ti Shi

Z h a n g a n d W a n g said t h a t t h e m o s t i m p o r t a n t f u n d a m e n t a l p r i n c i p l e s t o
r e m e m b e r w h e n p r a c t i c i n g San Ti s t a n d i n g are o u t l i n e d in t h e Boxing Canon in
t h e " S i x H a r m o n i e s " a n d " E i g h t V i t a l P o i n t s . " T h e s e p r i n c i p l e s are a s f o l l o w s :

I iglit Vital P o i n t s ;

1) the i n s i d e s m u s t b e lifted,
2) the three hearts must unite,
3) the three intents must follow o n e another,
4) the Five E l e m e n t s m u s t f l o w s m o o t h l y ,
5) the four terminus must move together,
6) the heart m u s t b e a t e a s e ,
7) the three points must be on a line,
8) the eyes must focus on a single p o i n t .

Six Harmonies: -A-

1) the h a n d s h a r m o n i z e with t h e feet,

2) the shoulders h a r m o n i z e with the hips,
3) the elbows h a r m o n i z e with t h e knees,
4) the heart harmonizes with the intent,
5) the i n t e n t h a r m o n i z e s w i t h t h e qi,
6) the qi harmonizes with the power.

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Wangji Wu's San Ti Standing Postures

Posture One: "Single Hand" San Ti Shi

B e g i n n i n g P o s t u r e : T h e Son T i s t a n d i n g p r a c t i c e b e g i n s w i t h t h e p r a c t i t i o n e r
standing in a relaxed natural posture as s h o w n in p h o t o g r a p h #1 on the n e x t
page. Stand up naturally, the heels together, the toes pointing outward at a 60
degree angle ( 6 0 degree angle between t h e m ) . T h e w h o l e b o d y is relaxed a n d
c o m f o r t a b l e , d o n o t stand stiffly. T h e eyes l o o k straight a h e a d , close t h e m o u t h ,
the tongue touches the roof of the m o u t h , breathe naturally, imagine the breath
m o v e s i n a n d o u t o f t h e dan tian, c o n c e n t r a t e t h e spirit a n d q u i e t t h e qi. T h e t w o
a r m s are r e l a x e d , h a n d s a t t h e s i d e s . T h e h e a r t i s a s q u i e t a s still w a t e r . T h e c r o w n
of t h e head g e n t l y presses upward. N o w y o u are prepared for m o v e m e n t .

T r a n s i t i o n P o s t u r e : F r o m t h e b e g i n n i n g s t a n c e t h e w e i g h t s h i f t s t o t h e r i g h t leg,
t h e k n e e s b e n d s l i g h t l y , a n d t h e left leg raises u p o f f t h e g r o u n d s l i g h t l y i n t o a
" c h i c k e n " stance. The hands move up to a position in front of the heart with the
r i g h t h a n d r e s t i n g o n t o p o f t h e left h a n d , t h e f i n g e r s o f b o t h h a n d s p o i n t i n g
s t r a i g h t a h e a d (see p h o t o g r a p h # 2 ) . T h e b o d y r e m a i n s r e l a x e d . E n s u r e t h a t t h e
s h o u l d e r s r e m a i n r e l a x e d a n d t h e e l b o w s are d r o p p e d d o w n w h e n t h e h a n d s a r e
brought up.

T h e " S i n g l e H a n d " S a n Ti Posture: From the transitional posture of photograph

# 2 , t h e right leg stays i n p l a c e w h i l e t h e left leg s t e p s o u t a n d t h e w e i g h t s e t t l e s
a t 5 0 / 5 0 . A t t h e s a m e t i m e , t h e left h a n d p u s h e s f o r w a r d a n d e x t e n d s o u t i n f r o n t
o f t h e h e a r t w h i l e t h e r i g h t h a n d p u l l s b a c k , t h e r o o t o f t h e t h u m b rests a g a i n s t
t h e n a v e l (see p h o t o g r a p h # 3 ) . T h e h i p s t u r n 4 5 d e g r e e s w i t h t h e f r o n t h i p b e i n g
forward. A detailed description of this posture is given below.

T h e Head:
T h e h e a d is gently lifted upwards a n d tilted slightly forward. T h e forward tilt
i s f a c i l i t a t e d b y t h e e y e s l o o k i n g a t t h e h u kou ( I . I - 4 ) o r " t i g e r ' s m o u t h " ( a p o i n t
near w h e r e the t h u m b and index finger m e e t ) o f t h e forward h a n d . W h i l e t h e
h e a d i n g e n e r a l i s g e n t l y l i f t e d u p w a r d , t h e bai hid p o i n t a t t h e c r o w n o f t h e h e a d
h a s a feeling of being g e n t l y sucked i n w a r d . W h i l e m a n y s t a n d i n g m e t h o d s call
f o r o n e t o lift u p a t t h i s p o i n t , W a n g j i W u ' s m e t h o d c a l l s f o r t h e h e a d t o b e g e n t l y
lifted up, t h e n e c k gently stretched in back while t h e c h i n is gently tucked in a n d
t h e bai hui p o i n t t o h a v e a f e e l i n g o f b e i n g s u c k e d i n w a r d .

T h e Feet:
T h e w e i g h t o f t h e b o d y i s e v e n l y d i s t r i b u t e d i n b o t h legs ( 5 0 / 5 0 w e i g h t e d ) .
W h i l e m a n y m e t h o d s o f San T i s t a n d i n g call f o r t h e w e i g h t d i s t r i b u t i o n t o b e 7 0 /
3 0 o r 6 0 / 4 0 ( e s p e c i a l l y i n t h e H e b e i styles o f X i n g Y i ) , t h e 5 0 / 5 0 w e i g h t
distribution is typical of the Xing Yi in Shanxi Province. Zhang Bao Yang
explains that they e m p h a s i z e t h e 50/50 weighted stance in their system because
o n e c a n b e m o r e agile i n b o t h d i r e c t i o n s ( f o r w a r d a n d b a c k w a r d ) . H e s t a t e s t h a t
the 70/30 or 60/40 stance is more "active forward" while in the 50/50 stance the

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Xing Yi Nei Gong

practitioner is ready to m o v e in either direction. T h e i r m e t h o d of X i n g Yi utilizes

q u i c k , s h o r t , s t r o n g s t e p s w h i c h are b e s t l a u n c h e d f r o m t h e 5 0 / 5 0 s t a n c e . H e a l s o
says t h a t s t a n d i n g w i t h this weight distribution develops a strong central
equilibrium a n d a d e e p root. It is easier to d e v e l o p an awareness of y o u r c e n t e r
from this posture.
T h e t o e s h a v e a f e e l i n g o f g r a s p i n g t h e g r o u n d . T h e h e e l s feel a s i f t h e y w a n t
to m o v e outward (away from y o u r center) a n d t h e toes feel as if t h e y w a n t to
m o v e i n w a r d ( t o w a r d s y o u r c e n t e r ) . T h e yong quan ( K - l ) o r " b u b b l i n g w e l l "
p o i n t s in t h e hearts of b o t h feet h a v e t h e feeling of b e i n g pulled upward. T h e
f o r w a r d f o o t p o i n t s f o r w a r d w h i l e t h e rear f o o t a n g l e s o u t w a r d a t 4 5 d e g r e e s . T h e
b a c k leg h a s a f e e l i n g o f b e i n g r e a d y t o m o v e a s i f w a n t i n g t o s p r i n g t h e b o d y
forward.

The Knees:
T h e knees are slightly b e n t a n d face t h e same direction as t h e toes. T h e knees
must never collapse inward or b o w outward. In general, stand up naturally, with
a v e r y slight b e n d a t t h e k n e e s . T h e f o r w a r d k n e e i s p o s i t i o n e d s u c h t h a t t h e
forward shin is approximately perpendicular to the ground.

T h e Waist a n d Hips:
T h e b o d y is divided into three sections; from t h e top of t h e head to t h e hips
is o n e section, from the hips to the knees is the second section and from the knees
t o t h e feet i s t h e t h i r d s e c t i o n . T h e w a i s t i s t h e a r e a t h a t j o i n s t h e u p p e r a n d l o w e r
b o d y . T h e w a i s t m u s t b e r e l a x e d w i t h t h e q i a n d b r e a t h s u n k i n t o t h e dan tian
so that a m o v e m e n t from the center moves the whole body in a coordinated
f a s h i o n . T h i s i s a key t o w h o l e b o d y p o w e r .

T h e Chest:
T h e chest must never be stuck out and is held slightly depressed. As t h e
s h o u l d e r s are p u l l e d f o r w a r d t h e c h e s t will h a v e t h e a p p e a r a n c e o f " e m p t y i n g "
i n t o t h e dan tian. T h i s f a c i l i t a t e s t h e a l i g n m e n t o f t h e s h o u l d e r s a n d h i p s .

The Shoulders:
T h e s h o u l d e r s are level a n d r e l a x e d . T h e y a r e n e v e r p u l l e d b a c k n o r h u n c h e d
f o r w a r d . O n e s h o u l d feel a s i f t h e s h o u l d e r s a r e p o i s e d a n d b a l a n c e d a t t h e t o p
o f t h e t o r s o . I t i s v e r y i m p o r t a n t n o t t o lift t h e s h o u l d e r s a t a n y t i m e d u r i n g t h e
p r a c t i c e . I n a c c o r d a n c e w i t h t h e " s i x h a r m o n i e s " t h e s h o u l d e r s are a l i g n e d w i t h
t h e h i p s . H o w e v e r , a s o n e will n o t i c e f r o m t h e p h o t o s o f Z h a n g B a o Y a n g o n t h e
next page, this a l i g n m e n t is n o t exactly vertical. Because of the 50/50 weighted
s t a n c e , t h e w e i g h t o f t h e b o d y falls i n - b e t w e e n t h e l e g s . T h e s h o u l d e r s are k e p t
forward of t h e hips, a n d t h e spine is straight. This a l i g n m e n t facilitates a direct
line from the back heel to the hips, along the spine, to the shoulders and t h e n
up through the top of the head. Photograph #4 on t h e next page clearly
illustrates this a l i g n m e n t . If you were to draw a line f r o m Z h a n g Bao Yang's head
t o h i s b a c k h e e l , y o u w o u l d n o t i c e t h a t t h e s p i n e will b e p a r a l l e l t o t h i s l i n e a n d
t h e a l i g n m e n t o f t h e h i p s a n d s h o u l d e r s are a l s o p a r a l l e l t o t h i s l i n e . T h i s
a l i g n m e n t i s c h a r a c t e r i s t i c o f S h a n x i style X i n g Y i .

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Photo #4 Photo #5

The Arms a n d Hands:

In accordance with the requirements of the "three curves," the arms and
h a n d s are a n d a l w a y s h e l d i n g e n t l e c u r v e s . T h e y a r e r e l a x e d , h o w e v e r , t h e r e i s
i n t e n t i o n all t h e w a y o u t t o t h e f i n g e r t i p s . T h i s m e a n s t h a t t h e h a n d s are r e l a x e d ,
b u t t h e y are n o t s l a c k . T h e e l b o w s are n e i t h e r b e n t t o o m u c h n o r rigidly
s t r a i g h t e n e d ( t h e C h i n e s e say t h e a r m s " a p p e a r s t r a i g h t b u t a r e n o t s t r a i g h t ,
a p p e a r b e n t b u t a r e n o t b e n t " ) . T h e wrists are r e l a x e d a n d h e l d i n a l i n e w i t h t h e
f o r e a r m s , c u r v e d s l i g h t l y o u t w a r d a n d u p w a r d . T h e p a l m s are c u r v e d a n d m a d e
" d e e p " o r " h o l l o w " a t t h e laogong ( I ' C - 8 ) p o i n t i n t h e c e n t e r o f t h e p a l m .
T h e b a c k s o f t h e h a n d s a r e s p r e a d a n d t h e f i n g e r s a r e s p r e a d a p a r t like a n
e a g l e ' s t a l o n . T h e f i n g e r s are g e n t l y s p r e a d a n d r o u n d e d , n e i t h e r t e n s e n o r s l a c k .
T h e t h r e e o u t s i d e f i n g e r s o f e a c h h a n d are c u r v e d s l i g h t l y a s i f o n e i s p r e p a r i n g
to grasp s o m e t h i n g . This builds "digging p o w e r . " The " t i g e r ' s m o u t h " i s
rounded as the t h u m b is stretched away from the index finger. Beginning
students should o n l y curve t h e fingers slightly, m o r e advanced students can
c u r v e t h e f i n g e r s t o a g r e a t e r d e g r e e (as s h o w n i n p h o t o g r a p h # 3 o n p a g e 79). I f
a b e g i n n e r bends t h e fingers as m u c h as W a n g Ji Wu has his b e n t in t h e
p h o t o g r a p h , t h e f i n g e r s will t e n d t o b e l i m p a s t h e b e g i n n i n g s t u d e n t h a s n o t y e t
developed the proper intention or power in the h a n d s . T h e beginner should
b e n d t h e fingers as Z h a n g Bao Y a n g d e m o n s t r a t e s in the t w o p h o t o s a b o v e .

T h e e l b o w s m u s t a l w a y s h a n g a n d feel a s i f t h e y are " s i n k i n g . " T h e w e i g h t o f

the shoulders presses t h e e l b o w s . In turn, t h e heaviness of t h e e l b o w s is m e n t a l l y
transferred to t h e h a n d s .
T h e f o r w a r d p a l m m a i n t a i n s t h e f e e l i n g o f p u s h i n g f o r w a r d w h i l e t h e rear
p a l m feels a s i f i t i s p u s h i n g d o w n w a r d a n d t h e rear e l b o w i s p u l l i n g b a c k w a r d .
A t t h e s a m e t i m e t h e t w o p a l m h e a r t s h a v e t h e f e e l i n g a s i f t h e y are b e i n g s u c k e d
inward.

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The Neck:

T h e n e c k i s s t r a i g h t ( b u t n o t t e n s e ) w i t h a g e n t l e lift a t t h e b a c k o f t h e n e c k .

The Chin:

T h e c h i n is very slightly tucked d o w n a n d in.

The Teeth:
T h e t e e t h are c l o s e d t o g e t h e r w i t h o u t f o r c e . This is one of the "Three
Closings."
T h e Eyes:
T h e e y e s are level a n d l o o k s t r a i g h t a h e a d a t t h e " t i g e r ' s m o u t h . " T h i s a l l o w s
y o u to focus on w h a t you are doing and puts your head in t h e correct position.
The Tongue:

T h e t o n g u e is relaxed and slightly curved, t o u c h i n g t h e roof of t h e m o u t h .

The Breath:
Relax a n d b r e a t h e in a n d o u t t h r o u g h t h e n o s e . As y o u stand and relax, y o u
m a y f i n d y o u a r e b r e a t h i n g s l o w e r a n d m o r e d e e p l y . T r y t o feel y o u r b r e a t h
s i n k i n g i n t o y o u r l o w e r a b d o m e n , i n t o t h e dan tian a r e a . B r e a t h i n g s h o u l d b e
s l o w , s m o o t h , c o n t i n u o u s , e v e n a n d d e e p . B r e a t h i n g i n t o t h e dan tian will h e l p
you relax your chest.

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Posture Two: "Double Hand" San Ti Shi

As stated previously, In t h e S h a n x i style of X i n g Yi Q u a n t h e " d o u b l e h a n d "

sun ti p o s t u r e is t y p i c a l l y a s s u m e d d u r i n g t h e e n d i n g s e q u e n c e of a f o r m w h i l e
t h e " s i n g l e h a n d " son t i i s p r e f o r m e d a s p a r t o f t h e o p e n i n g s e q u e n c e o f a f o r m .
T h i s i s n o t o n l y a c h a r a c t e r i s t i c o f W a n g j u W u ' s X i n g Y i , o t h e r styles f r o m S h a n x i
P r o v i n c e , s u c h a s t h e S o n g S h i R o n g style, a l s o e n d t h e i r f o r m s e q u e n c e s w i t h t h i s
posture.
W h e n practicing these postures in isolation from the forms, in o t h e r words,
a s p a r t o f " s t a n d i n g p r a c t i c e " b y itself, t h e p r a c t i t i o n e r c a n t r a n s i t i o n s t r a i g h t
from the "single h a n d " standing posture to the "double h a n d " standing posture
a s i n d i c a t e d i n t h e series o f p h o t o g r a p h s s t a r t i n g b e l o w a n d c o n t i n u i n g o n t o t h e
n e x t page.
F r o m t h e " s i n g l e h a n d " son t i t h e p r a c t i t i o n e r w i l l s h i f t t h e w e i g h t f o r w a r d
a n d a l l o w b o t h h a n d s l o s e p a r a t e o u t t o t h e sides a s s h o w n i n p h o t o # 2 b e l o w .
F r o m t h i s p o s i t i o n t h e h a n d s m o v e u p w a r d a n d t h e w e i g h t b e g i n s t o shift b a c k
t o t h e rear leg. T h e n t h e p r a c t i t i o n e r will d r a w t h e h a n d s b a c k i n a l o n g t h e c e n t e r
l i n e o f t h e b o d y a n d d r a w t h e f r o n t f o o t i n w a r d a s all o f t h e b o d y w e i g h t i s s h i f t e d
t o t h e b a c k leg a s s h o w n i n p h o t o # 3 b e l o w . F r o m t h i s p o s i t i o n , t h e f r o n t leg s t e p s
o u t a s i n t h e " s i n g l e h a n d p o s t u r e " w h i l e b o t h h a n d s press d o w n w a r d a s s h o w n
i n p h o t o s 4 a n d 5 o n t h e n e x t p a g e . N o t i c e t h a t b o t h p a l m s are f a c i n g d o w n w a r d
a n d t h e k n i f e e d g e (small f i n g e r side) o f t h e f o r w a r d h a n d i s f a c i n g f o r w a r d . T h e
rear h a n d is p l a c e d in f r o n t of t h e dan tian as in t h e " s i n g l e h a n d " p o s t u r e . All
o t h e r b o d y a l i g n m e n t r e q u i r e m e n t s r e m a i n a s o u t l i n e d i n t h e last s e c t i o n .

When examining photographs 4 and 5 notice t h e roundness of the forward

arm. T h e arm should be held in a g e n t l e c u r v e f r n m t h e s m a l l f i n g e r all t h e w a y
up to t h e middle of t h e back. In this posture t h e practitioner is developing a
combination of "ward-off" energy a n d pressing d o w n energy in t h e forward a r m .
E x a m i n i n g t h e p h o t o g r a p h o f W a n g j i W u o n p a g e 7 7 , y o u will n o t i c e t h a t
he is n o t pressing d o w n w a r d with t h e forward h a n d , but is allowing t h e forward
h a n d fingers to p o i n t d o w n w a r d . This is a more a d v a n c e d posture. Pressing

Photo #1 P h o t o #2 P h o t o #3
Xing Yi Nei Gong
 Standing Practice

d o w n with the palm as Z h a n g Bao Yang is doing in the p h o t o s on the opposite

page helps to e x t e n d the i n t e n t i o n to the palm and fingers. If the b e g i n n i n g
student holds his h a n d as W a n g j i Wu does in the p h o t o g r a p h on page 77, the
f i n g e r s will t e n d t o b e l i m p a s t h e b e g i n n i n g s t u d e n t h a s n o t y e t d e v e l o p e d t h e
proper intention or power in the hands. T h e beginner should hold the h a n d as
Zhang Bao Yang demonstrates in the two p h o t o s on the previous page.
T o c o n c l u d e t h e s t a n d i n g p r a c t i c e t h e p r a c t i t i o n e r will c l o s e a s s h o w n i n t h e
p h o t o g r a p h s o n t h e b o t t o m o f t h e p r e v i o u s p a g e . First b o t h h a n d s s e p a r a t e o u t
t o t h e sides a s s h o w n i n p h o t o # 6 . N e x t t h e h a n d s raise u p a b o v e t h e h e a d a s
s h o w n in p h o t o #7, a n d t h e n t h e p r a c t i t i o n e r c o m e s to a resting p o s i t i o n as
s h o w n i n p h o t o # 8 . T h e p r a c t i t i o n e r s h o u l d s t a n d i n this relaxed p o s i t i o n for
several m i n u t e s , b r e a t h i n g n a t u r a l l y a n d r e l a x i n g t h e e n t i r e b o d y .

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 Chapter 4

Xing Yi Health and Body

Strengthening Exercises:
An Introduction

Wang Ji Wu with the Xing Yi "Needles"

Xing Yi Nei Gong

Xing Yi Health Exercises

An Introduction by Wang Lian Yi*
Translated by Tim Cartmell

The Five Elements, Yin and Yang, inside and outside, intent, qi,
power, hard and soft, form and spirit, technique, internal power, false
and real, the original yang qi, all united into one.

• W a n g Fu Yuan

T h e w a y o f h e a l t h i n v o l v e s e x e r c i s e , n u t r i t i o n a n d p e r s o n a l h y g i e n e , all o f
w h i c h e n a b l e t h e i n d i v i d u a l t o e n j o y b o t h a h e a l t h y b o d y a n d spirit. I n a d d i t i o n ,
w e m u s t a l s o a d d r e s s t h e issues o f p r e v e n t i n g a n d c u r i n g d i s e a s e a n d t h e m e t h o d
of e x t e n d i n g life.
T h e r e are t w o m a j o r i n f l u e n c e s o n t h e l e n g t h o f l i f e . O n e i s t h e h a r m f u l e f f e c t s
of disease a n d injury, t h e o t h e r is t h e natural process of aging. If we wish to be
h e a l t h y , we m u s t apply t h e principle of "active use to prevent d e c a y . " T h i s
involves physical training, internal cultivation and t h e practice of the X i n g Yi
Q u a n h e a l t h e x e r c i s e s . F o l l o w i n g t h e a b o v e m e t h o d will e n a b l e o n e t o s t r e n g t h e n
t h e i r life e n e r g y , p r e v e n t i l l n e s s , d e l a y t h e a g i n g p r o c e s s a n d e x t e n d l i f e .
W a n g j i Wu is a f a m o u s c o n t e m p o r a r y master of X i n g Yi Q u a n , a n d is already
o v e r o n e h u n d r e d y e a r s o l d . H e h a s b e n e f i t e d g r e a t l y f r o m his p r a c t i c e s o f
c u l t i v a t i n g t h e p r e - b i r t h q i a n d X i n g Y i arts. T h e m a s t e r b e l i e v e s i n t e a c h i n g b y
e x a m p l e , a n d h a s t a u g h t t h e c o m p l e t e h e a l t h art t o t h e p u b l i c . M a s t e r W a n g h a s
d r a w n o n h i s vast k n o w l e d g e o f t h e i n t e r n a l m a r t i a l arts, C h i n e s e M e d i c i n e ,
s e c r e t t e a c h i n g s , p e r s o n a l e x p e r i e n c e a n d o n e h u n d r e d years o f t r a i n i n g t o p u t
together a system of health exercises. This m e t h o d is the essence of Master
W a n g ' s k n o w l e d g e . T h e m o v e m e n t s are e a s y t o l e a r n , a n d are s u i t a b l e f o r y o u n g
a n d old alike. People of b o t h sexes, t h e h e a l t h y a n d t h o s e with physical p r o b l e m s
o r i l l n e s s m a y all p r a c t i c e w i t h g r e a t b e n e f i t . T h e X i n g Y i h e a l t h e x e r c i s e s a r e t h e
very m e t h o d Master W a n g h i m s e l f practices on a daily basis. T h i s b o o k includes
extensive explanations a n d illustration to present the exercises so they m a y be
easily l e a r n e d . M a n y o f t h e c o n c e p t s p r e s e n t e d h e r e h a v e b e e n w i t h h e l d f r o m
t h e general public as precious secrets.

In addition to t h o r o u g h l y explaining these concepts, Master W a n g has

i n c l u d e d m a n y o f his o w n d i s c o v e r i e s g l e a n e d f r o m a l i f e t i m e o f d e d i c a t e d
practice. T h e practicality of the exercises in this b o o k have been proven over time
a n d t h i s m e t h o d i s truly a t r e a s u r e o f t h e C h i n e s e p e o p l e . Life i s m o v e m e n t .
A c t u a l l y , t h e o l d e s t m e d i c a l t r e a t i s e in t h e w o r l d , t h e Yellow Emperor's Book of
Internal Medicine s t a t e s , " w i t h m o v e m e n t t h e r e i s n o d e c a y . " W h y i s t h i s s o ?
T h e b a s i c p r o c e s s e s o f life are i n m e t a b o l i c a s s i m i l a t i o n a n d b r e a k d o w n .
Assimilation involves processing nutrients taken in from outside the body and

* Wang Lian Yi, W a n g j i Wu's son, wrote this material in 1991 while W a n g j i Wu was
still alive. This materia! was published in Wang Lian Yi's book Shen Gong in 1 9 9 2

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m a k i n g t h e m i n t o s u b s t a n c e s t h e b o d y c a n use. T h e s e s u b s t a n c e s b e c o m e part
o f t h e b o d y a n d are s t o r e d a s e n e r g y . M e t a b o l i c b r e a k d o w n i n v o l v e s t a k i n g
organic matter inside t h e b o d y a n d breaking it d o w n , t h e r e b y releasing energy.
T h e processes of assimilation and breakdown involves taking organic matter
inside the b o d y a n d breaking it d o w n , t h e r e b y releasing energy. T h e processes
o f a s s i m i l a t i o n a n d b r e a k d o w n are m u t u a l l y s u p p o r t i v e a n d o c c u r w i t h o u t e n d .
W h e n t h e building process of assimilation is greater t h a n t h e tearing d o w n of t h e
b o d y t h r o u g h m e t a b o l i c b r e a k d o w n , t h e n t h e b o d y i n c r e a s e s its s t r e n g t h . W h e n
b r e a k d o w n is p r e d o m i n a t e t h e opposite holds true, t h e b o d y b e c o m e s weaker.
Although physical exercise causes metabolic breakdown to produce energy, it
stimulates increased assimilation a n d adaptation to t h e effort of exercise, w h i c h
in turn s t r e n g t h e n s t h e body. T h i s is t h e m e a n i n g of "life is m o v e m e n t , " t h e
v a r i o u s life s u p p o r t s y s t e m s o f t h e b o d y are s t i m u l a t e d t h r o u g h e x e r c i s e .

Health and Training

T h e m u s c l e s o f t h e h u m a n b o d y are m a d e u p o f b u n d l e s o f m u s c l e f i b e r w h i c h
a r e c a p a b l e o f c o n t r a c t i o n . W i t h i n t h e m u s c l e s are m a n y n e r v e s , b l o o d v e s s e l s
a n d g l a n d s . A s p e o p l e grow o l d e r , t h e s t r e n g t h o f t h e i r m u s c l e s s l o w l y d e t e r i o r a t e s .
W i t h regular e x e r c i s e o n e m a y i n c r e a s e t h e size, e l a s t i c i t y a n d s t r e n g t h o f
muscles, improve circulation, stimulate the metabolism, and improve one's
speed, e n d u r a n c e , agility, a n d c o o r d i n a t i o n . W i t h a d v a n c e d age, o n e very o f t e n
experiences calcification of the joints, and weakening of the muscles and
c o n n e c t i v e tissue. W i t h regular exercise, t h e t e n a c i t y of t h e joints may be
increased allowing t h e joints m o r e elastic strength a n d f r e e d o m of m o v e m e n t ,
thereby preventing arthritis and stiffening of the joints.
T h e e l d e r l y a l s o o f t e n e x p e r i e n c e a loss o f e l a s t i c i t y i n t h e w a l l s o f t h e b l o o d
vessels, s o m e t i m e s causing a loss of efficiency in t h e p u m p i n g a c t i o n of t h e heart.
Regular physical exercise can help prevent this d r o p in efficiency by keeping t h e
heart muscle strong, increasing t h e n u m b e r of capillaries a n d t h e stroke v o l u m e
o f t h e h e a r t . T h e s e b e n e f i t s o f e x e r c i s e result i n a s t r o n g h e a r t w h i c h i n t u r n i s
responsible for efficient c i r c u l a t i o n t h r o u g h o u t t h e entire b o d y with a lower
r e s t i n g p u l s e rate. T h e h e a r t will i n c r e a s e i n w e i g h t a n d w i l l h a v e m o r e
e n d u r a n c e w h i c h will e n a b l e t h e individual t o h a n d l e m o r e stress a n d
r e s p o n s i b i l i t y . All o f t h e a b o v e b e n e f i t s a d d u p t o p r o t e c t i o n a g a i n s t m a n y o f t h e
p r o b l e m s of old age, such as arteriosclerosis, high b l o o d pressure a n d m a n y of t h e
o t h e r p r o b l e m s t h a t plague t h o s e of a d v a n c e d years.

A s far a s r e s p i r a t i o n i s c o n c e r n e d , c o n s i s t e n t e x e r c i s e p r o m o t e s d e e p a n d full
b r e a t h i n g . T h e s l o w e r a n d d e e p e r t h e b r e a t h , t h e f e w e r b r e a t h s t a k e n per m i n u t e .
T h i s t y p e o f b r e a t h i n g a l l o w s t h e r e s p i r a t o r y s y s t e m t i m e t o rest. W h e n t h e
r e s p i r a t o r y c a p a b i l i t y i s g o o d , t h e i n d i v i d u a l i s full o f v i t a l i t y a n d t h e a g i n g
p r o c e s s is s l o w e d .
R e g u l a r e x e r c i s e a l s o aids d i g e s t i o n , s t i m u l a t i n g peristalsis a n d s e c r e t i o n o f
d i g e s t i v e fluids, l-'ood i s b r o k e n d o w n a n d a s s i m i l a t e d m o r e q u i c k l y . I n a d d i t i o n ,
exercise increases t h e depth of respiration w h i c h in turn causes a greater degree
of m o t i o n in the diaphragm. This diaphragmatic m o t i o n helps to massage the
i n t e r n a l o r g a n s , i n c l u d i n g t h e s t o m a c h a n d i n t e s t i n e s w h i c h a l s o aids i n
digestion. Because of these reactions, exercise can help cure s t o m a c h and

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intestinal problems, prolapsis and constipation.

During exercise the circulation of the whole body is increased w h i c h stimulates
m e t a b o l i s m a n d can s t r e n g t h e n t h e liver a n d spleen. During exercise, t h e
muscles a n d j o i n t s relax a n d c o n t r a c t in r h y t h m . This type of r h y t h m i c m o t i o n
p r o v i d e s a v e r y b e n e f i c i a l s t i m u l a t i o n t o t h e b r a i n . The f a v o r a b l e r e a c t i o n o f t h e
b r a i n s e r v e s t o c o n d i t i o n t h e n e r v o u s s y s t e m , i m p r o v e its r e a c t i o n t i m e , r e f l e x
speed, preventing fatigue a n d strengthening resistance.
Exercise is also capable of improving the functions of the kidneys, increasing
the kidney's ability to eliminate the waste products of metabolism and absorption
o f w a t e r a n d n e c e s s a r y s u b s t a n c e s . T h e skin a l s o b e n e f i t s f r o m e x e r c i s e a s
circulation is increased, m e t a b o l i c processes are stimulated, t h e sensitivity of t h e
skin improves a n d t h e a m o u n t o f resistance t o t h e external e n v i r o n m e n t
i n c r e a s e s . I n a d d i t i o n t o t h e a b o v e b e n e f i t s , e x e r c i s e a l s o i m p r o v e s t h e level o f
functioning of the various glands and stimulates the production of new blood in
the bone marrow.
T h e r e f o r e , i f o n e w i s h e s t o e n j o y g o o d h e a l t h a n d a l o n g life, fit i n b o t h b o d y
a n d spirit, t h e n i t i s n e c e s s a r y t o h a v e a regular p r o g r a m o f p h y s i c a l t r a i n i n g . T h e
value of such exercise has been substantiated by doctors, physiologists, t h o s e
i n v o l v e d i n c u l t i v a t i o n o f t h e b o d y , m a r t i a l a r t i s t s a n d h i s t o r y itself. A f a m o u s
French physician in t h e e i g h t e e n t h c e n t u r y o n c e said, "Exercise can take t h e
p l a c e o f m e d i c i n e , b u t all t h e m e d i c i n e i n t h e w o r l d c a n n o t t a k e t h e p l a c e o f
exercise."
T h e contemporary hundred year old master of X i n g Yi Quan, W a n g j i Wu
says, " X i n g Y i Q u a n , t h e h e a l t h e x e r c i s e s o f X i n g Y i Q u a n , a n d t h e p r e - b i r t h
m e t h o d of cultivation have been t h e treasures that h a v e given me a lifetime of
b e n e f i t s i n g o o d h e a l t h . 1 h a v e p r a c t i c e d t h e m for n e a r l y o n e h u n d r e d y e a r s , a n d
t h e t i m e has passed as q u i c k l y as a day. I h a v e n e v e r taken a break from t r a i n i n g
a n d m y d i l i g e n c e h a s p a i d o f f i n a h e a l t h y b o d y a n d spirit, a c l e a r a n d q u i c k m i n d
a n d w i s d o m . M y life i s p r o o f o f t h e e f f e c t i v e n e s s o f t h e m e t h o d , s u p e r i o r t o a n y
m e d i c i n e o r d r u g , a s t h e " m e d i c i n e " i n v o l v e d i n t h i s m e t h o d o f self c u l t i v a t i o n
is f o u n d within oneself a n d s t r e n g t h e n s o n e from t h e very root of o n e ' s b e i n g . "
A t o n e h u n d r e d years o f age M a s t e r W a n g ' s s t a t e o f h e a l t h i s a s f o l l o w s : T h e
f u n c t i o n s o f h i s h e a r t a n d l u n g s a r e n o r m a l , his b l o o d p r e s s u r e i s n o r m a l , h i s
digestion is excellent, his m i n d is perfectly clear, his eyesight is good, his heart
is at peace a n d he always m a i n t a i n s an o p t i m i s t i c attitude. T h e above facts are
a m p l e p r o o f that t h e practice of X i n g Yi Q u a n , t h e h e a l t h exercises a n d t h e pre-
b i r t h m e t h o d o f c u l t i v a t i o n are a n e x t r e m e l y e f f e c t i v e s y s t e m f o r p r o m o t i n g
h e a l t h a n d l o n g life. T h i s system m a y serve as a base for t h e c u l t i v a t i o n of a long,
p r o s p e r o u s a n d h e a l t h y life.
T h e practice of internal martial arts provides t r e m e n d o u s benefits to t h e
n e r v o u s system, glands, internal organs, skeletal system, m e r i d i a n s a n d j o i n t s
w h i l e g e n e r a l l y s t r e n g t h e n i n g , b a l a n c i n g a n d t o n i n g o n e ' s e n t i r e p h y s i c a l self.
T h e e f f e c t s o f e x e r c i s e i n t h e a r e a o f r e c o v e r y f r o m i l l n e s s are o f t e n m o r e
p r o n o u n c e d t h a n t h e i n g e s t i o n o f d r u g s . R e g u l a r e x e r c i s e i s t h e best m e t h o d o f
strengthening one's physical make-up, improving the body's functions,
s t i m u l a t i n g m e t a b o l i s m , i n s u r i n g a l o n g h e a l t h y life a n d a c t i v e l y p r e v e n t i n g
h a r m f r o m a f f e c t i n g o n e ' s m i n d a n d spirit. I t i s a great p i t y t h a t s o m a n y p e o p l e
still are u n f a m i l i a r w i t h t h e m a n y b e n e f i t s o f e x e r c i s e a n d c o n s e q u e n t l y are
c o n t e n t to r e m a i n as t h e y arc. This is a great d e t r i m e n t to society as a w h o l e .

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The Dangers of Insufficient Exercise

B e c a u s e t h e l i f e s t y l e o f a g r e a t m a n y p e o p l e n e g l e c t s r e g u l a r e x e r c i s e , ill h e a l t h
is often t h e direct or indirect result. Although t h e idea of insufficient exercise as
a " d i s e a s e " is a n e w c o n c e p t in t h e m e d i c a l field, it is h o w e v e r a very real a n d
serious p r o b l e m . Physical p r o b l e m s caused either directly or indirectly from lack
of exercise usually develop slowly over a long period of t i m e a n d go u n n o t i c e d .
W h e n t h e p r o b l e m starts t o c a u s e o b v i o u s p h y s i c a l s y m p t o m s i t i s o f t e n t o o l a t e
lo effect a cure. Prevention is t h e m o s t effective m e t h o d of dealing with these
t y p e s o f i l l n e s s . Regular e x e r c i s e will s t r e n g t h e n t h e b o d y a n d m a k e i t h e a l t h y ,
p r e v e n t i n g disease f r o m t h e inside.
W h y d o e s i n s u f f i c i e n t e x e r c i s e lead t o p h y s i c a l p r o b l e m s ? T h e v a r i o u s
s y s t e m s a n d o r g a n s i n t h e b o d y all h a v e a c e r t a i n a m o u n t o f reserve e n e r g y o v e r
a n d a b o v e t h e a m o u n t typically n e e d e d for n o r m a l f u n c t i o n i n g . This reserve can
b e c o m p a r e d t o t h e b a c k u p p o w e r r e s e r v e d f o r e m e r g e n c y use i n m a c h i n e s . For
e x a m p l e , a person m a y survive with o n l y o n e kidney, a n d a small portion of t h e
liver i s e n o u g h t o p e r f o r m t h e l i v e r ' s e n t i r e f u n c t i o n . T h e h e a r t t o o h a s a g r e a t
d e a l o f reserve c a p a c i t y . For e x a m p l e , a y o u n g p e r s o n c a n g o t h r o u g h d a i l y life
u s i n g o n l y fifty p e r c e n t o f t h e t o t a l c a p a c i t y o f t h e i r h e a r t . T h e p r o b l e m s start
w h e n t h e person does n o t get e n o u g h exercise, or t h e exercise t h e y do get is
insufficient t o m a i n t a i n their reserves o f energy. T h e e n e r g y t h e b o d y n o r m a l l y
h o l d s i n r e s e r v e i s s l o w l y r e d u c e d b e c a u s e o f l a c k o f u s e . A s far a s t h e i n d i v i d u a l
i s c o n c e r n e d , h e o r s h e feels n o r m a l a n d t h e r e s u l t s o f m e d i c a l e x a m i n a t i o n are
also normal. T h e d a n g e r o f h a v i n g n o extra reserves o f energy for bodily
f u n c t i o n s only b e c o m e s apparent w h e n t h e individual exerts effort b e y o n d the
m i n i m u m . For e x a m p l e , t h e i n d i v i d u a l m a y c l i m b s t a i r s o r run a f e w s t e p s t o
c a t c h a bus, suddenly n o t i c i n g shortness of b r e a t h or a racing heart. Ability to
a d j u s t t o e x t r e m e s i n t e m p e r a t u r e a n d r e s i s t a n c e t o all t y p e s o f d i s e a s e i s l o w e r e d .
F i n a l l y , w h e n t h e b o d y ' s e n e r g y reserves a r e e n t i r e l y g o n e , m e d i c a l e x a m i n a t i o n s
will o f t e n u n c o v e r p r o b l e m s t h a t c o u l d h a v e b e e n p r e v e n t e d a n d o f t e n t r e a t m e n t
a t t h i s stage i s t o o l a t e .

M o d e r n m e d i c i n e n o longer l o o k s a t t h e a b s e n c e o f o b v i o u s disease a s t h e
definition of health. O t h e r factors, such as the state and functional capabilities
of the organs a n d physical e n d u r a n c e are taken into account w h e n deciding on
t h e state of an individual's h e a l t h .
Because c h a n g e occurs so rapidly in b o t h nature a n d society in our m o d e r n
world, people of today have to cope with threats to their health that were
n o n e x i s t e n t i n t h e past. For i n s t a n c e , t h e d e v e l o p m e n t o f l a b o r s a v i n g d e v i c e s ,
automobiles, television, industrialization, and increased competition in the
w o r k p l a c e h a v e all c o n t r i b u t e d t o i n c r e a s i n g t h e stress o f life w h i l e r e d u c i n g t h e
o p p o r t u n i t y for exercise. P a r t i c u l a r l y h a r m f u l a r e t h e d i s a s t r o u s results o f
insufficient exercise, and this problem deserves special a t t e n t i o n .

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Physical Labor is Not a Substitute for

Systematic Physical Exercise

Here I w o u l d like t o r e m i n d t h o s e w h o still h a v e n o t m a d e r e g u l a r e x e r c i s e a

p a r t o f t h e i r lives, f o r w h a t e v e r r e a s o n , t h a t t h e w h o l e issue o f m a i n t a i n i n g
physical fitness goes b e y o n d t h e individual's personal health a n d also influences
o n e ' s f a m i l y a n d society as a w h o l e . E v e r y o n e s h o u l d try to participate in an
exercise p r o g r a m t o e n h a n c e their quality o f h e a l t h a n d life.
T h e r e a r e a l s o t h o s e i n d i v i d u a l s w h o feel t h a t b e c a u s e t h e i r o c c u p a t i o n
involves s o m e sort of physical labor t h e y do n o t n e e d to e n g a g e in a s y s t e m a t i c
physical fitness program. T h i s is an erroneous a s s u m p t i o n . W h i l e it is true t h a t
physical labor provides some beneficial exercise, t h e problem is that the exercise
i s u s u a l l y l i m i t e d t o c e r t a i n m u s c l e s o r f u n c t i o n s , w h i l e t h e rest o f t h e b o d y
r e c e i v e s little o r n o b e n e f i t . T h i s i s e s p e c i a l l y t r u e i n t o d a y ' s era o f s p e c i a l i z e d
labor. T h e result of specialization is t h e repeated p e r f o r m a n c e of t h e s a m e
m o t i o n over an e x t e n d e d period of time, often resulting in overwork and injury
to the overused part of the body. A good e x a m p l e is w o m e n involved in weaving
t e x t i l e s . A s t h e y a r e f o r c e d t o s t a n d all d a y i n a s t a t i o n a r y p o s i t i o n , t h e y o f t e n
e x p e r i e n c e p a i n i n t h e legs a n d w a i s t , v a r i c o s e v e i n s a n d p r o l a p s e s . T h o s e
e n g a g e d in heavy physical labor, such as t h e loading a n d u n l o a d i n g of cargo also
h a v e p r o b l e m s w i t h p a i n i n t h e legs a n d w a i s t a n d a r t h r i t i s . M i n e r s o f t e n h a v e
p r o b l e m s with their j o i n t s a n d lungs. It c a n be seen from t h e above e x a m p l e s that
t h e r e are g r e a t d i f f e r e n c e s b e t w e e n t h e r e s u l t s o f l a b o r a n d a p r o g r a m o f
s y s t e m a t i c e x e r c i s e . S y s t e m a t i c e x e r c i s e p r o v i d e s m o t i o n f o r all o f t h e j o i n t s a n d
muscles and stimulates t h e nervous system in a beneficial way, p r o m o l i n g a
pleasant calmness while reducing fatigue. Therefore, individuals should c h o o s e
a program of regular exercise a c c o r d i n g to their physical c o n d i t i o n a n d needs
a n d b e g i n t h e p r o c e s s o f b u i l d i n g a h e a l t h y b o d y a n d spirit.

W h e n r e v i e w i n g t h e m e t h o d s o f b e n e f i c i a l e x e r c i s e , qigonghas t a k e n its p l a c e
a l o n g s i d e m a r t i a l arts a n d s p o r t s i n r e c e n t y e a r s a n d m u s t n o t b e o v e r l o o k e d . Q i
gong h a s a t t r a c t e d t h e a t t e n t i o n o f g r e a t n u m b e r s o f p e o p l e a n d h a s h a d a
p r o f o u n d i n f l u e n c e o n t h e lives o f m a n y . I n t h e a r e a s o f i m p r o v i n g t h e p e o p l e ' s
p h y s i c a l c o n s t i t u t i o n , p r o t e c t i n g h e a l t h , c u r i n g i l l n e s s a n d e x t e n d i n g life, t h e
r e s u l t s o f q i gong p r a c t i c e h a v e b e e n e s p e c i a l l y p r o n o u n c e d .
T h e h i s t o r y of qi gong is v e r y l o n g a n d its s o u r c e s v a r i e d . B u d d h i s t s , D a o i s t s ,
C o n f u c i a n i s t s , C h i n e s e m e d i c a l practitioners, martial artists, a n d t h e arts o f X i n g
Y i Q u a n , Tai J i Q u a n , B a G u a Z h a n g a n d S h a o f i n Q u a n all h a v e t h e i r o w n
theories, m e t h o d s of practice a n d special characteristics. Each of these m e t h o d s
c o n t a i n d e e p a n d s e e m i n g l y mysterious practices at h i g h e r levels of training.
In C h i n a during the end of the decade of the 19S0's a n d the beginning of the
1 9 6 0 ' s , t h e p r a c t i c e o f qigong f o r h e a l t h , c u r i n g d i s e a s e a n d p r o l o n g i n g life h a d
a l r e a d y g a i n e d a c c e p t a n c e . After t w o d e c a d e s o f d e v e l o p m e n t a n d p r o m o t i o n b y
t h e g o v e r n m e n t , q i gong h a s g r e a t l y i n c r e a s e d i n p o p u l a r i t y a n d its p r a c t i c e h a s
b e c o m e widespread, m o s t n o t a b l y in t h e areas of treating c h r o n i c illness,
i n c r e a s i n g r e s i s t a n c e t o d i s e a s e , raising t h e level o f h e a l t h a n d s t r e n g t h e n i n g t h e
body. By now people enthusiastically welcome the opportunity to practice qi
gong. A t t h e s a m e t i m e , t h e t y p e s o f qigong ami m e t h o d s o f t r a i n i n g h a v e " g r o w n

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as b a m b o o after t h e spring rain," with ever increasing popularity.

M a s t e r W a n g j i W u h a s p r o l o n g e d his y e a r s past h i s o n e h u n d r e d t h b i r t h d a y
a n d h a s b e n e f i t e d g r e a t l y f r o m t h e p r a c t i c e o f p r e - b i r t h qigong and t h e art o f X i n g
Y i Q u a n . B a s e d o n h i s life l o n g e x p e r i e n c e , m a s t e r y o f t h e p r i n c i p l e s a n d m e t h o d
of Xing Yi Quan and personal insights and breakthroughs, Master W a n g has
taken into consideration the requirements of the prevention and curing of
d i s e a s e , h e a l t h a n d life e x t e n s i o n a n d h a s d e v e l o p e d a m e t h o d o f s i m p l e e x e r c i s e
s u i t a b l e for t h o s e o f a n y a g e o r s e x , a s well a s t h e w e a k a n d i n f i r m . M a s t e r W a n g
o f f e r s h i s s y s t e m o f p h y s i c a l c u l t i v a t i o n t o all p e o p l e i n t h e h o p e s t h a t i t will
i m p r o v e t h e h e a l t h a n d q u a l i t y o f life o f t h o s e w h o p r a c t i c e .
Master W a n g j i Wu c o m b i n e d the elements of Buddhist pre-birth m e t h o d s of
cultivation with the Xing Yi Q u a n system of internal cultivation and his o w n
precious experience to form a unique system of exercises which, although deep
in principle, are easy to practice. T h e m e t h o d utilizes n a t u r a l , a b d o m i n a l
r e s p i r a t i o n to s t r e n g t h e n t h e p r e - b i r t h o r i g i n a l yang qi. T h e result is a m e t h o d
w h i c h o p e n s t h e p a t h w a y s o f b l o o d a n d e n e r g y , i n c r e a s e s i n t e r n a l p o w e r , rids
o n e o f disease a n d i m p r o v e s t h e h e a l t h .
I t i s i m p o r t a n t t o m a i n t a i n a c h e e r f u l a n d o p t i m i s t i c state o f m i n d , r e l e a s i n g
a n y c o n c e p t s t h a t are n o t c o n d u c i v e t o g o o d h e a l t h , a s w e l l a s c o n t r o l l i n g t h e
" s e v e n e m o t i o n s a n d six d e s i r e s . " O n e s h o u l d k e e p a q u i e t a n d h a p p y h e a r t ,
a l l o w i n g t h e b o d y t o r e m a i n i n its n o r m a l s t a t e . T h i s will a l l o w o n e t o h a v e a
h e a r t a s c a l m a s still w a t e r , c o m f o r t a b l e , a n d c o n c e n t r a t e d s o t h a t t h e h e a r t a n d
spirit u n i t e a s o n e . T h e b r e a t h s h o u l d b e n a t u r a l a n d s m o o t h w i t h t h e t o n g u e
p r e s s i n g a g a i n s t t h e r o o f o f t h e m o u t h , t h e lips g e n t l y c l o s e d , t h e e y e s l o o k i n g
" i n w a r d " a n d t h e ears l i s t e n i n g t o t h e self, t h e h e a r t a n d b r e a t h a r e c o o r d i n a t e d
a n d t h e i n t e n t is on t h e dan tian.
From t h e e x t r e m e of stillness, m o t i o n is b o r n . W h e n t h e heart is quiet a n d
t h e b o d y r e l a x e d , o n e will c o m e t o a state o f " e m p t i n e s s " i n w h i c h t h e self i s
f o r g o t t e n . I n t h i s s t a t e , t h e o r i g i n a l p r e - b i r t h yang q i will fill t h e b o d y a n d
c i r c u l a t e f r e e l y o f its o w n a c c o r d . I n t h i s s t a t e o f q u i e t r e l a x a t i o n , o n e s h o u l d
practice t h e X i n g Yi exercises for h e a l t h . T h e m o v e m e n t s s h o u l d be p e r f o r m e d
s m o o t h l y a n d r h y t h m i c a l l y w h i l e a d h e r i n g t o t h e i n s t r u c t i o n s . T h e n o n e will
naturally receive the b e n e f i t s of a l o n g a n d h e a l t h y life.
Xing Yi Nei Gong

f t i ^
Xing Yi Quan boxers in Shanxi Province, May 3 1 , 1 9 6 0
W a n g J i W u w a s not t h e only e x a m p l e o f X i n g Y i Q u a n ' s t r e m e n d o u s h e a l t h
benefits. Pictured above a r e a group of X i n g Yi Q u a n practitioners in S h a n x i
P r o v i n c e i n 1 9 6 0 . S o n g T i e L i n ( f i r s t row, s e c o n d f r o m l e f t ) , a s t u d e n t a n d n e p h e w
o f S o n g S h i R o n g , lived t o b e 9 4 y e a r s old. B u X u e K u a n ( f i r s t row t h i r d from l e f t ) ,
a s t u d e n t o f C h e Y i Z h a i , lived t o b e 9 6 y e a r s old. L i G u i C h a n g ( l a s t row, f a r r i g h t I
i s c u r r e n t l y 8 2 y e a r s uld a n d l i v e s i n T a i y u a n , S h a n x i P r o v i n c e . L i still p r a c t i c e s
X i n g Yi Quan every day.

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Wangji Wu's son, Wang Lian Yi, writes

about his father's health maintenance
and body strengthening program
Translated by Tim Cartmell
I n t h e c u l t i v a t i o n o f life, b o t h m o v e m e n t a n d s t i l l n e s s a r e e q u a l l y i m p o r t a n t .
Master W a n g j i W u ' s understanding of X i n g Yi Q u a n is very profound, especially
i n t h e a r e a o f i n t e r n a l c u l t i v a t i o n . His e x p e r i e n c e i s u n i q u e . I n t h e p r a c t i c e o f
X i n g Y i Q u a n ' s i n t e r n a l e x e r c i s e s , M a s t e r W a n g h a s r e a c h e d t h e level w h e r e t h e
skill h a s b e c o m e o n e w i t h h i s v e r y self, a n d h i s i n t e r n a l p o w e r i s t r e m e n d o u s . H e
has c o m e to t h e state in w h i c h " b o x i n g is n o t - b o x i n g . " Of his a c c o m p l i s h m e n t s
i n X i n g Y i Q u a n , t h e m o s t n o t e w o r t h y i s t h e set o f s i x t e e n h e a l t h e x e r c i s e s w h i c h
h e c o m p i l e d f r o m his p e r s o n a l e x p e r i e n c e . T h e s e e x e r c i s e s a r e t h e c r y s t a l l i z a t i o n
o f t h e b e s t o f t h e M a s t e r ' s k n o w l e d g e . I f t h e e x e r c i s e s are p r a c t i c e d d i l i g e n t l y , o n e
m a y e l i m i n a t e illness, i m p r o v e t h e h e a l t h a n d e x t e n d o n e ' s life. Master W a n g
encouraged t h e public to study these exercises, as his wish was to c o n t r i b u t e to
t h e h e a l t h a n d w e l f a r e o f all. S u c h i s t h e h o p e o f t h e m a s t e r , a n d t h e p e o p l e ' s
benefit has b e e n great.

R e g a r d i n g t h e art o f X i n g Y i Q u a n , i t i s n o t o n l y t h e p r a c t i c e o f f o r m b u t a l s o
possesses a very a d v a n c e d t h e o r y of c o m b a t . T h e fighting t e c h n i q u e s are highly
r e f i n e d a n d f l o w t h r o u g h c h a n g e s w i t h o u t e n d . I n a d d i t i o n , t h e art i n c l u d e s a
p r o f o u n d m e t h o d of internal cultivation w h i c h is relatively u n k n o w n . In t h e
past, this system of internal exercise was t a u g h t o n l y to a d v a n c e d students of t h e
s t y l e , a n d o n l y a f t e r t h e y h a d r e a c h e d a v e r y h i g h level i n t h e a r t . T h e art o f X i n g
Yi Quan includes methods of both internal and external cultivation, and
m o v e m e n t a n d s t i l l n e s s a r e s e e n a s e q u a l l y i m p o r t a n t . I t c a n b e said o f t h e art
t h a t t h e so-called " e x t e r n a l " m o v e m e n t s are based on t h e f o u n d a t i o n of internal
c u l t i v a t i o n . W i t h t h e i n t e r n a l a n d e x t e r n a l i n c o o r d i n a t i o n t h e f o r m a n d spirit
m a y u n i t e , w i t h t h e f o r m a s t h e " b o d y " a n d t h e spirit a s t h e " u s e . " I n t h e art o f
X i n g Y i Q u a n t h e s o c a l l e d e x t e r n a l p r a c t i c e s h o u l d h a v e a s its g o a l t h e
strengthening of the internal, with the accumulation of internal power as the
goal. Therefore, Master W a n g places equal importance on b o t h internal and
e x t e r n a l p r a c t i c e a n d w h e n c u l t i v a t e d i n t h i s m a n n e r t h e p r i s t i n e yangqiand t h e
dan tian n o u r i s h e s t h e w h o l e b o d y . T h e q i will b e full a n d t h e m e r i d i a n s c l e a r ,
t h e b l o o d a n d q i s u f f i c i e n t , t h e b o d y h e a l t h y a n d t h e spirit full, r e s u l t i n g i n a l o n g
a n d h a p p y life.

M a s t e r W a n g f o l l o w e d t h e Dao, w o r s h i p e d t h e g o d s a n d sat i n m e d i t a t i o n . H e
p r a c t i c e d t h e m e t h o d o f c u l t i v a t i n g t h e life f o r c e , w h i c h p r o c e e d s t h r o u g h t h e
p r a c t i c e o f b o x i n g , o r i n t e r n a l e x e r c i s e (qigong) i n t h r e e s t a g e s , n a m e l y c h a n g i n g
e s s e n c e t o qi, c h a n g i n g q i t o spirit a n d c h a n g i n g spirit t o t h e v o i d . T h r o u g h t h i s
process t h e s t r e n g t h a c q u i r e d after birth is replaced by t h e original, pre-birth
s t r e n g t h a n d t h e g o a l o f s t r e n g t h e n i n g t h e life f o r c e i s r e a l i z e d , r e s u l t i n g i n a
healthy b o d y a n d long life.
Master W a n g put even m o r e effort i n t o cultivating t h e original nature. T h i s
is achieved t h r o u g h w o r s h i p i n g t h e gods a n d m e d i t a t i n g at a very h i g h level. It
i s a t t h i s s t a g e t h e spirit i s c h a n g e d t o t h e v o i d . T h e T h r e e T r e a s u r e s a c q u i r e d a f t e r
o n e i s b o r n a r e t h e e s s e n c e , q i a n d t h e spirit. T h e T h r e e T r e a s u r e s o f o n e ' s p r e -

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b i r t h o r i g i n a l n a t u r e are o r i g i n a l qi ( p o s t - b i r t h qi is e q u i v a l e n t to air), spirit, a n d

o n e ' s n a t u r e . S i n c e t h e c h a n g i n g o f t h e spirit i n t o v o i d i s s o i m p o r t a n t , M a s t e r
W a n g p l a c e d s p e c i a l e m p h a s i s o n this gong fu. W i t h t h e c h a n g i n g o f spirit t o v o i d
t h e o r i g i n a l , p r e - b i r t h q i fills t h e b o d y , c a u s i n g o n e ' s i n t e l l i g e n c e t o rise t o a
h i g h e r s t a t e , t h e m i n d b e c o m e s p u r e a n d w i s d o m i s t h e result. I f o n e w i s h e s t o
see further ahead, o n e must c l i m b to a higher place. So it is with t h e cultivation
o f t h e o r i g i n a l n a t u r e ; o n e m u s t c u l t i v a t e t h e self c o n t i n u o u s l y o v e r a l o n g p e r i o d
o f t i m e , e v e n t u a l l y r e t u r n i n g t o o n e ' s o r i g i n a l self. T h e c u l t i v a t i o n p r o c e s s c a n
b e c o m p a r e d t o t h e r e f i n i n g o f steel a h u n d r e d t i m e s o v e r w h i c h i n t h e e n d i s
c a p a b l e o f r e p e l l i n g evil f o r a t h o u s a n d m i l e s .

Master W a n g m a d e use of Xing Yi b o x i n g a n d t h e m e t h o d of cultivating t h e

original essence to open up his internal energy systems, allowing the pre-birth,
o r i g i n a l yang qi to flow- u n i m p e d e d . This o r i g i n a l , p r e - b i r t h yang qi a c c u m u l a t e s
i n a n d fills t h e ittin tian, s t r e n g t h e n i n g t h e r o o t o f o n e ' s life, p r e v e n t i n g d i s e a s e ,
p r e s e r v i n g h e a l t h a n d e x t e n d i n g life. O n e o f t e n h e a r s t h e s a y i n g : " I t i s p r e f e r a b l e
to supplement one's health with food than with medicine, but strengthening
o n e ' s h e a l t h b y s t r e n g t h e n i n g t h e spirit i s b e s t o f a l l . " T h e p r i n c i p l e h e r e i s t h e
essence of Master Wang's method.
O n e s h o u l d b e c o m e a d e p t a t c u l t i v a t i n g t h e o r i g i n a l , p r e - b i r t h yang qi,
t h e r e b y p r e v e n t i n g i n v a s i o n b y a n y h a r m f u l a g e n t s . T h i s o r i g i n a l p r e - b i r t h yang
q i i s c u l t i v a t e d t h r o u g h t h e p r a c t i c e o f X i n g Y i Q u a n a n d qigong ( t h e p r e - b i r t h
m e t h o d o f c u l t i v a t i o n ) . T h e q i t h e n b e c o m e s full a n d i s s t o r e d i n t h e dan tian.
T h e X i n g Y i Q u a n c l a s s i c s s t a t e : " C u l t i v a t i o n ofthe</<iHiiY»risthc t r e a s u r e o f l o n g
life, t e n t h o u s a n d c a t t i e s o f g o l d c a n n e v e r r e a l l y b e p o s s e s s e d b y m a n . " O f
c o u r s e , i n t h e c u l t i v a t i o n o f t h e dan tian, o n e m u s t h a v e t h e c o r r e c t m e t h o d ,
p r a c t i c e d i l i g e n t l y w i t h o u t a b r e a k , " a s if t e n years p a s s e s as a s i n g l e d a y . " T h i s
is t h e formula for success. Practice a n d cultivation c a n n o t be separated. O n e
m u s t p r a c t i c e s i n c e r e l y a n d c u l t i v a t e o n e s e l f w i t h a f o c u s e d h e a r t , o n l y t h e n will
t h e t r e a s u r e o f life b e p r e s e r v e d . E x t e r n a l p r a c t i c e a n d i n t e r n a l c u l t i v a t i o n a r e o f
equal importance, even to the extent that oftentimes the internal cultivation is
t h e key t o success. O n e m u s t n e v e r forget internal c u l t i v a t i o n a n d o n l y focus o n
the external practice.

It should be pointed out that external practice a n d internal cultivation are

a c t u a l l y t w o sides o f t h e s a m e c o i n . T h e y are d e v e l o p e d t o g e t h e r a n d a r e
mutually supportive of t h e other's growth. T h e m e a n i n g of being adept at
c u l t i v a t i o n i s self e v i d e n t , i t refers l o v a l u i n g t h e o p p o r t u n i t y t o d o w h a t i s
a p p r o p r i a t e i n a p a r t i c u l a r s i t u a t i o n , p u t t i n g all o n e ' s h e a r t i n t o t h i s c u l t i v a t i o n
i n o r d e r t o d e v e l o p t h e self.
First, o n e m u s t realize t h a t i n t e r n a l c u l t i v a t i o n i s a t r e a s u r e o f life. A l t h o u g h
t h i s f o r m s t h e v e r y f i b e r o f o n e ' s b e i n g , still i n o r d e r t o b e m a d e m a n i f e s t one-
m u s t a c c u m u l a t e o v e r t i m e . T h i s c u l t i v a t i o n o f t h e self c a n n o t b e a c h i e v e d i n a
s h o r t t i m e , b u t r a t h e r r e q u i r e s a l i f e t i m e o f a t t e n t i v e e f f o r t . I f o n e forgets o n e s e l f
and indulges in that which is harmful, o n c e the damage is done, no a m o u n t of
m o n e y will b e a b l e t o r e p a i r it, m o r e o v e r , t h e r e will b e h a r m t o o n e ' s h e a l t h a n d
l o n g e v i t y , great c a u t i o n i s a d v i s e d . W h e n c u l t i v a t i n g t h e self, b e s i d e s c r e a t i n g
t h e c o n d i t i o n s a n d e n v i r o n m e n t necessary, o n e m u s t always seek t o protect t h e
o r i g i n a l p r e - b i r t h yangqi, i n s u r i n g its c o n t i n u e d d e v e l o p m e n t , l i v i n g a life of few
desires, d e v e l o p i n g a very deep a n d powerful internal e n e r g y to t h e u t m o s t
degree. At t h e s a m e t i m e , o n e m u s t also guard against t h e invasion by a n y
 Health Exercise Introduction

harmful influences from the outside.

I f o n e r e m a i n s r e l a t i v e l y free o f t h e p a s s i o n s o f t h e s e n s e s , h a r m f u l o u t s i d e
i n f l u e n c e s will n o t b e a b l e t o a f f e c t t h e self. A c c o r d i n g t o B u d d h i s t t h o u g h t , t h e
" s i x s e n s e s " w h i c h m u s t r e m a i n f r e e o f d e s i r e are t h e e y e s , ears, n o s e , t o n g u e ,
body, and mind. O n e m u s t guard against allowing pernicious influences
e n t e r i n g t h r o u g h t h e s e s e n s e o r g a n s b y a l w a y s m a i n t a i n i n g a h i g h level o f p u r e
t h o u g h t . H a r m f u l e f f e c t s are i n v a r i a b l y b r o u g h t a b o u t first t h r o u g h t h e i n t e l l e c t
c r e a t i n g a t h o u g h t w h i c h later b e c o m e s t h e f o c u s o f c o n t e m p l a t i o n , f i n a l l y
resulting in t h e t h o u g h t b e c o m i n g actualized in reality. This is the s e q u e n c e of
e v e n t s w h i c h h a r m s t h e o r i g i n a l , p r e - b i r t h yang qi. A s t h i s h a r m h a s very s e r i o u s
c o n s e q u e n c e s , o n e m u s t n e v e r treat t h i s t y p e o f s i t u a t i o n l i g h t l y , a s t o d o s o i s
to invite disaster.

O n e should avoid o v e r i n d u l g e n c e or impulsiveness w i t h regard to t h e seven

e m o t i o n s : j o y , a n g e r , h a p p i n e s s , w o r r y , s a d n e s s , fear o r s u r p r i s e . T h e r e a s o n i s
an excess of a n y of these e m o t i o n s influences t h e tranquility of the heart, causes
adverse reactions in t h e internal organs, i m p e d e s circulation, p r o m o t e s illness
a n d i s h a r m f u l t o t h e o r i g i n a l , p r e - b i r t h qi.
T h e e s s e n c e , qi, a n d spirit are t h e v e r y r o o t s o f life. A n e x c e s s o f s e x u a l a c t i v i t y
i s h a r m f u l t o t h e o r i g i n a l p r e - b i r t h qi. S e x u a l e x c e s s a l s o c a u s e s a d e p l e t i o n o f t h e
e s s e n c e a n d qi, w h i c h i n t u r n i s h a r m f u l t o t h e dan tian. O n e m u s t g u a r d a g a i n s t
t h i s e x c e s s a t all c o s t s , i n o r d e r t o p r e v e n t d i s e a s e a n d p r o l o n g life.
O n e m u s t guard against t h e h a r m f u l i n f l u e n c e s of the four seasons: coldness,
dampness, humidity, excessive heat, and dryness. T h e harmful effects of the
w e a t h e r can lead to infection by disease w h i c h is e x t r e m e l y h a r m f u l to t h e
o r i g i n a l p r e - b i r t h qi.
O n e should m a k e efforts to direct one's t h o u g h t s toward o p e n i n g n e w
c h a n n e l s o f useful e n e r g y w h i l e r e s t r i c t i n g t h e w a s t e o f m e n t a l r e s o u r c e s . O n e
s h o u l d a l w a y s s t r i v e t o w a r d s t r e n g t h e n i n g t h e o r i g i n a l p r e - b i r t h q i a n d its
c o n s e r v a t i o n . T h e g o a l i s t o e l i m i n a t e all areas w h i c h are h a r m f u l t o o r a d r a i n
on one's energy resources. This is the m e t h o d of beneficial cultivation.
T h e r e s h o u l d b e o r d e r i n e v e r y d a y life a n d r e s t r i c t i o n s o n f o o d a n d d r i n k .
O n l y w h e n o n e ' s life i s o r d e r l y a n d s t a b l e i s o n e a b l e t o p e r s e v e r e i n c o n s i s t e n t
training. O n e s h o u l d guard against disorder in o n e ' s schedule. Books, newspapers
a n d m a g a z i n e s s h o u l d b e read o n a r e g u l a r b a s i s .
B e f o r e a r i s i n g i n t h e m o r n i n g a n d b e f o r e s l e e p i n g a t n i g h t t h e r e i s a set o f
e x e r c i s e s t h a t will p r o m o t e h e a l t h . O n e s h o u l d t a k e a " d r y b a t h . " T h e m e t h o d
is to r u b t h e dan tian, p e r i n e u m , yong quan p o i n t s ( o n t h e s o l e s of t h e f e e t ) , a n d
t h e b a c k o f t h e n e c k * . U p o n a r i s i n g o n e s h o u l d r o t a t e t h e waist, lift t h e legs a n d
t h e n exercise or practice the elements of X i n g Yi Quan. Following this m e t h o d
will increase o n e ' s internal strength.
Food and drink should be simple and plain. T h e protein intake must be
adequate but t h e bulk of f o o d should be low calorie/high nutrition. O n e should
e a t f o o d s like f i s h , v e g e t a b l e s a n d l e n t i l s . Pay a t t e n t i o n t o c l e a n l i n e s s i n c h o o s i n g
a n d preparing f o o d . Stay away f r o m foods t h a t are sweet, oily or t o o strong.
N e v e r o v e r e a t . I n w i n t e r , i t i s g o o d t o e a t s o m e m u t t o n , eggs s o a k e d i n S h a o x i n g
w i n e o r s w e e t rice w i n e a n d g i n s e n g c h i c k e n s o u p . O n e s h o u l d e a t m a n y , s m a l l
meals a day. Food should be chewed thoroughly and swallowed slowly.

* See Xing Yi Exercises Performed Tying un a Bed on page 183

97
Xing Yi Nei Gong

F o l l o w i n g t h e a b o v e a d v i c e will a i d i n d i g e s t i o n a n d a s s i m i l a t i o n . A g a i n , o n e
must never overeat or overdrink. O n e must n o t s m o k e .
K e e p t h e s u r r o u n d i n g e n v i r o n m e n t c l e a n , fee o f p o l l u t a n t s a n d a s q u i e t a s
p o s s i b l e . T h e r o o m s o f t h e h o u s e s h o u l d b e c l e a n , airy, s u n n y , w a r m b u t n o t t o o
h o t . I t i s g o o d t o g r o w p l e n t y o f p l a n t s i n t h e h o u s e a n d k e e p fresh air f l o w i n g .
C l o t h e s should be kept clean, c h a n g e d o f t e n a n d dried in t h e sun.

S o m e examples of individuals w h o m h a v e practiced this system of health

e x e r c i s e a n d t h e r e s u l t s o f t h e i r p r a c t i c e a r e listed b e l o w :
W a n g Xiu is an assistant professor at t h e Beijing Normal University. He is
e i g h t y years o l d . M r . W a n g s t u d i e d t h e X i n g Y i s i x t e e n e x e r c i s e set o f h e a l t h
b u i l d i n g e x e r c i s e s w i t h M a s t e r W a n g J i W u , p r a c t i c i n g d a i l y , all y e a r r o u n d
without interruption. At eighty W a n g Xiu enjoys good health, with n o n e of the
h e a l t h p r o b l e m s c o m m o n l y a s s o c i a t e d w i t h o l d age, s u c h a s h i g h b l o o d p r e s s u r e ,
h e a r t d i s e a s e o r p r o b l e m s w i t h t h e i n t e r n a l o r g a n s . His e y e s i g h t , h e a r i n g , m e n t a l
f a c u l t i e s a n d m e m o r y a r e all n o r m a l . M r . W a n g ' s d i g e s t i o n i s e x c e l l e n t , h i s
a p p e t i t e g o o d a n d h e i s e n e r g e t i c a n d full o f spirit.

M a C h u n Y u n i s a n e i g h t y five y e a r o l d r e t i r e d o f f i c i a l . M r . M a h a s p a i d
a t t e n t i o n t o c u l t i v a t i n g h i s h e a l t h b y l e a d i n g a n o r d e r l y life, m a i n t a i n i n g a
positive attitude a n d r e m a i n i n g active. He practices t h e pre-birth m e t h o d of
c u l t i v a t i o n w i t h p r o n o u n c e d results. H e i s i n e x c e l l e n t h e a l t h , h i s e y e s i g h t a n d
h e a r i n g are v e r y g o o d , h e i s full o f spirit, a n d h e reads a n d w r i t e s e v e r y d a y . M r .
M a m e d i t a t e s t w i c e a d a y , q u i e t i n g his m i n d a n d c u l t i v a t i n g h i s o r i g i n a l p r e - b i r t h
qi. After e a c h s e s s i o n o f m e d i t a t i o n h e feels c o m f o r t a b l e a n d full o f e n e r g y . I f
M r . M a feels u n c o m f o r t a b l e , o r a n y p a r t o f h i s b o d y i s i n p a i n , h e uses h i s t i m e
in m e d i t a t i o n to circulate his original pre-birth qi to t h e area and experiences
i m m e d i a t e relief. H e feels t h e b e n e f i t s o f m e d i t a t i o n t o b e v e r y p r o n o u n c e d a n d
i s e v e n m o r e r e s o l u t e i n h i s d a i l y p r a c t i c e . M a C h u n Y u n feels t h a t h i s p r a c t i c e
o f c u l t i v a t i n g t h e h e a l t h t h r o u g h m e d i t a t i o n i s r e a l l y a t r e a s u r e o f life.

Liu De Tai is a n i n e t y y e a r o l d r e t i r e d g o v e r n m e n t o f f i c i a l . After r e t i r e m e n t

M r . Liu k e p t a c t i v e w i t h d a i l y w a l k s . U t e r , i t w a s h i s g o o d f o r t u n e t o l e a r n t h e
X i n g Y i s i x t e e n e x e r c i s e s f o r h e a l t h f r o m M a s t e r W a n g j i W u . M r . Liu p r a c t i c e d
t h e exercises diligently, b u t f o u n d t h e m s o m e w h a t difficult at times. He
p e r s i s t e d a n d a f t e r a p e r i o d o f t r a i n i n g b e g a n t o feel m u c h s t r o n g e r . Mr. Liu n o w
w a l k s w i t h a s t r o n g s t e p a n d i s full o f v i g o r . M r . Liu p r a c t i c e s t h e X i n g Y i e x e r c i s e s
for a half h o u r every m o r n i n g , followed by a walk. In t h e e v e n i n g he practices
t h e e x e r c i s e s a g a i n . I n d a i l y life h e p a y s a t t e n t i o n t o p r e p a r i n g f o r t h e w e a t h e r ,
e a t i n g c o r r e c t l y a n d t a k i n g c a r e o f a n y m i n o r i l l n e s s e s t h a t m a y arise. I f h e e v e r
feels u n d e r t h e w e a t h e r , h e n o t i c e s a f t e r p r a c t i c i n g his e x e r c i s e s h e will s w e a t
l i g h t l y a n d t h e d i s c o m f o r t d i s a p p e a r s . H e rarely n e e d s t o t a k e m e d i c i n e . M r . Liu
b e l i e v e s I n m a i n t a i n i n g a p o s i t i v e a n d h a p p y o u t l o o k o n life, a n d i s c a r e f u l n o t
t o let h i s e m o t i o n s h a v e t o o g r e a t a n i n f l u e n c e o n h i m . H e r e c o m m e n d s t h e X i n g
Y i e x e r c i s e s a s t h e y are e a s y t o s t u d y , c a n b e p r a c t i c e d a t t h e i n d i v i d u a l ' s p a c e a n d
w h e n m a t c h e d with b r e a t h i n g are especially beneficial to t h e elderly. O t h e r
a d v a n t a g e s o f t h i s s y s t e m are t h a t i t r e q u i r e s n o p r e p a r a t i o n a n d v e r y little s p a c e
t o p r a c t i c e , w h i l e t h e b e n e f i t s a r e o u t s t a n d i n g . For Liu L>e T a i , t h e X i n g Y i
e x e r c i s e s h a v e b e c o m e a n i n d i s p e n s a b l e part o f l i f e .

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 Health Exercise Introduction

A Brief Introduction to the

Xing Yi Sixteen
Health Exercises
by Wang Huan Sheng
edited and revised by Zhang Bao Yang,
Wang Jin Yu, and He Yu Qi
translated by Tim Cartmell

T h e Sixteen Health Exercises (hereafter referred to as t h e Sixteen Exercises)

w e r e o r i g i n a l l y c a l l e d t h e X i n Y i Liu H e S i x t e e n M o v e m e n t s I n t e r n a l - E x t e r n a l
T r a i n i n g ( X i n Y i Liu H e i s a l s o c a l l e d X i n Y i Q u a n , Liu H e Q u a n a n d i s p r e s e n t l y
called X i n g Yi Q u a n a n d is so n a m e d for t h e r e m a i n d e r of this article). T h e y were
developed out of a long period of training in the Xing Yi Q u a n m e t h o d . Below
is a brief description of their origins, special points, effects, a n d m e t h o d of
performance.

Origins

X i n g Y i Q u a n i s o n e o f t h e t h r e e o r t h o d o x i n t e r n a l m a r t i a l arts ( t o g e t h e r w i t h
T a l j i Q u a n a n d B a G u a Z h a n g ) . X i n g Y i Q u a n s p e c i a l i z e s i n "gang" o r h a r d p o w e r .
T h e Xing Yi Quan Canon of Boxing ( h e r e a f t e r referred to as t h e Boxing Canon) in
r e f e r e n c e t o t h e s e q u e n c e o f t r a i n i n g s t a t e s : " T h o s e w h o b e g i n t o s t u d y m u s t first
s t a n d in t h e San Ti Shi p o s t u r e , a n d a f t e r w a r d s p r a c t i c e m o v i n g f o r m s . " San Ti
Shi i s t h e s t a n c e k e e p i n g e x e r c i s e o f X i n g Y i Q u a n . T h e m o v i n g f o r m s refers t o
t h e Five E l e m e n t s . T h e s e a r e t h e b a s i c m o v e m e n t s o f t h e a r t . N o m a t t e r i f o n e
p r a c t i c e s t h e San T i p o s t u r e o r t h e f o r m s , all m u s t c o n f o r m t o t h e p r o p e r f o r m a n d
m e t h o d o f p o w e r u n i q u e l o X i n g Y i Q u a n , t h e s e i n c l u d e : c h i c k e n leg, d r a g o n
b o d y , b e a r s h o u l d e r s , t i g e r h o l d i n g h e a d , a n d t h e i n t e r n a l a n d e x t e r n a l six
h a r m o n i e s . T h e San T i p o s t u r e a n d t h e five e l e m e n t s are t w o sides o f t h e s a m e
c o i n . San T i i s t h e still v e r s i o n o f t h e five e l e m e n t s , t h e five e l e m e n t f o r m s a r c
t h e d y n a m i c v e r s i o n o f t h e San T i p o s t u r e . T o g e t h e r t h e y f o r m t h e f o u n d a t i o n
of t h e art of X i n g Yi Q u a n . W h e t h e r s t a n d i n g in San Ti Shi or p r a c t i c i n g t h e five
e l e m e n t s , o n e m u s t a l w a y s c o n c e n t r a t e t h e spirit a n d qi, b e r e l a x e d a n d n a t u r a l ,
a n d never use brute force. From t h e p o i n t of view of t h e various parts of t h e b o d y
a n d o r g a n s , i f o n e d o e s n o t c o n c e n t r a t e t h e spirit o n e will h a v e a h i g h level o f
nervous tension. Because of this, if o n e d o c s not take time to perform t h e
necessary p r e l i m i n a r y m o v e m e n t s w h i c h calm t h e b o d y a n d prepare it for
t r a i n i n g , i t will b e e a s y i o suffer h a r m . I n a d d i t i o n , i n a n c i e n t t i m e s , m a n y
p r a c t i t i o n e r s o f t h e m a r t i a l arts t r a i n e d n o t o n l y f o r h e a l t h , b u t a l s o i n o r d e r t o
r e a c h a h i g h l e v e l o f r e f i n e d m a r t i a l skill. T h e y o f t e n e x p e n d e d a g r e a t a m o u n t
o f t i m e i n i n t e n s e p h y s i c a l t r a i n i n g . For t h i s t y p e o f t r a i n i n g , p r o p e r p r e p a r a t o r y
exercises were even m o r e i m p o r t a n t . T h e Boxing Canon, i n r e f e r e n c e t o t h e
correct m e t h o d a n d s e q u e n c e of training states: " B e g i n by m o v i n g softly, gently

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a n d slowly in order to s o o t h e a n d o p e n t h e c o n n e c t i v e tissue a n d bones, this

g u i d e s t h e qi a n d p o w e r a n d leads it c o r r e c t l y . After a p e r i o d of p r a c t i c e , it is g o o d
to use m o r e force and speed in order to increase t h e internal p o w e r for practical
application." It is apparent f r o m this passage t h a t t h e Boxers of previous
generations were familiar with the correct sequence of training. The above
m e n t i o n e d s e q u e n c e of training is in c o m p l e t e a c c o r d a n c e with t h e rules of
physical education. Therefore, in t h e long run correct training is founded on
c o r r e c t p e r f o r m a n c e o f b a s i c p r e p a r a t o r y m o v e m e n t s . Still, m a n y i n s t r u c t o r s
would neglect the preparatory m o v e m e n t s . To remedy this situation, Master
W a n g j i Wu built on the foundation of the teachings of his teacher, W a n g Fu
Y u a n , a n d c o m p i l e d t h e b a s i c e x e r c i s e s i n t o a set m e t h o d .

T h i s set o f e x e r c i s e s c a n b e p r a c t i c e d a l o n e a s a s y s t e m o f h e a l t h b u i l d i n g , o r
t h e y c a n be used as a preparatory warm up and post exercise c o o l down. In
addition, these exercises c a n be used for o s t e o p a t h i c rehabilitation. Several
decades of practice have proven their efficacy in the a b o v e m e n t i o n e d areas.

Special Points

1 ) T h e s e m o v e m e n t s are based o n t h e basic r e q u i r e m e n t s for X i n g Y i p o w e r

training. Everyone knows that X i n g Yi requires o n e to " h o l d the chest and
stretch the back," " s i n k t h e shoulders and drop the elbows," and not to "stickout
t h e c h e s t a n d lift t h e s t o m a c h . " I n p e r f o r m a n c e o f t h e S i x t e e n E x e r c i s e s t h e s e
b a s i c p r i n c i p l e s a p p l y t h r o u g h o u t . I n t h e first e x e r c i s e s " C i r c l i n g t h e A r m s i n
Front of the C h e s t , " the second exercise " T h e Jade Dragon Weaves Around the
Body," and the third exercise " O p e n i n g and Closing Soothes the Meridians"
w h i l e standing in a horse stance, it is apparent that t h e chest is held a n d t h e b a c k
i s s t r e t c h e d , e t c . B u t e v e n i n t h e f i f t e e n t h e x e r c i s e "Yin O p e n s a n d Yang C l o s e s , "
w h i c h i s a b r e a t h i n g e x e r c i s e , t h e s a m e p r i n c i p l e s still a p p l y .

2) T h e s e exercises not o n l y address t h e external form, t h e y also pay a t t e n t i o n to

the development of internal power. T h e two types of training should unite as
one. I n a c c o r d a n c e w i t h t h e r e q u i r e m e n t t h a t o n e s h o u l d first o p e n t h e
c o n n e c t i v e tissue a n d relax t h e body, s o m e of t h e m o v e m e n t s are to be d o n e with
the greatest range of m o t i o n possible. T h e purpose is to o p e n a n d s o o t h e t h e
j o i n t s b y m o v i n g t h e m t h r o u g h t h e i r full r a n g e o f m o t i o n . A l t h o u g h m o s t o f t h e
m o v e m e n t s o f t h e five e l e m e n t s a n d t w e l v e f o r m s d o n o t r e q u i r e m o v e m e n t
t h r o u g h a full r a n g e o f m o t i o n , still t h e e x t r a f l e x i b i l i t y a c q u i r e d t h r o u g h t h e
S i x t e e n E x e r c i s e s will a d d t o t h e b o d y ' s p o w e r . T h e r e f o r e , X i n g Y i Q u a n p l a c e s
great i m p o r t a n c e o n t h e s e m o v e m e n t s .

J u s t a s t h e b o x i n g f o r m s o f X i n g Y i are p r a c t i c e d i n s i n g l e m o v e m e n t f o r m s ,
s o t o o are t h e m o v e m e n t s o f t h e Sixteen Exercises. W h y should m o v e m e n t s b e
p e r f o r m e d s i n g l y a n d r e p e t i t i v e l y ? T h e Boxing Canon s t a t e s " X i n g Y i Q u a n h a s
m a n y s i n g l e f o r m s , t h e y s h o u l d b e o f t e n p r a c t i c e d t h i s w a y . After a l o n g p e r i o d
o f t r a i n i n g o n e will b r e a k t h r o u g h a n d t h e r e will b e n o l i m i t t o t h e d e p t h o f s k i l l . "
It also states: " I n defeating others, quality (of t e c h n i q u e ) is preferable to t h e
a m o u n t . In defeating a single o p p o n e n t this is t h e m e t h o d , in defeating m a n y
o p p o n e n t ' s t h i s i s still t h e m e t h o d . " T h e p r i n c i p l e o f " a few t h i n g s h i g h l y
r e f i n e d " was i n c o r p o r a t e d i n t o m a r t i a l t r a i n i n g . T h i s p r i n c i p l e i s t h e s a m e a s t h e

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X i n g Yi Q u a n adage to "practice t h e plain w i t h o u t e m b e l l i s h m e n t , practicing

simple m o v e m e n t s until t h e y are h i g h l y r e f i n e d . "
In addition to simple physical m o v e m e n t s , Xing Yi Quan places importance
o n i n t e r n a l t r a i n i n g . T h e Boxing Canon s t a t e s : " I n t h e m a r t i a l w a y , t h a t w i t h a
f o r m i s t h e e x t e r n a l p o s t u r e , t h a t w i t h o u t a f o r m i s t h e at/power. T h a t w h i c h
m a k e s t h e p o s t u r e m o v e i s t h e </i7power." I t i s a l s o s t a t e d : " I f o n e w i s h e s t o
p r a c t i c e t o t h e h i g h e s t level o f skill, o n e m u s t s t r e n g t h e n t h e dan tian, i f o n e
w i s h e s t o s t r e n g t h e n t h e dan tian, o n e m u s t first p r a c t i c e t e c h n i q u e . " W h y m u s t
o n e s t r e n g t h e n t h e dan tian? T h e Boxing Cannon c o n t i n u e s : " W i t h o u t
s t r e n g t h e n i n g t h e dan tian, t h e qi will n o t be full, if t h e qi is n o t full, t h e s t r e n g t h
will b e i n s u f f i c i e n t a n d t h e five fists a n d t w e l v e f o r m s will b e e m p t y m o v e m e n t s . "
S o , i n o r d e r t o s t r e n g t h e n t h e dan tian w h y m u s t w e first p r a c t i c e t e c h n i q u e ?
M o s t p e o p l e b e l i e v e t h a t i f t h e b o d y suffers n o h a r m i t will n a t u r a l l y live t o a n
o l d a g e , t h e Boxing Cation says, " b u t i n t h e e n d o n e - w i l l n o t b e a b l e t o u s e t h e
p o w e r o f t h e dan tian u n l e s s o n e p r a c t i c e s t e c h n i q u e . " O n e m u s t p r a c t i c e b o t h
t h e internal a n d t h e external in order to have t h e " i n t e r n a l a n d external u n i t e
a s o n e , b r i n g i n g a b o u t t h e u n i t y o f t h e six h a r m o n i c s . "

T h e S i x t e e n Exercises also puts great e m p h a s i s o n t h e u n i t y o f t h e i n t e r n a l a n d

e x t e r n a l a n d t h e u n i t y o f m o v e m e n t a n d s t i l l n e s s . O n e m u s t seek s t i l l n e s s i n
m o v e m e n t . S t i l l n e s s d w e l l s i n its u n i t y w i t h m o t i o n a n d t h e " u n i f i c a t i o n o f t h e
internal and external." From the point of view of health, these exercises
stimulate a n d regulate t h e various physiological systems of t h e b o d y . This
c o n f o r m s w i t h t h e r u l e o f life, w h i c h i s " m o v e m e n t . " F r o m h e r e t h e r e i s a b a l a n c e
o f yin a n d yang, t h e m e r i d i a n s will b e o p e n a n d t h e q i will b e c u l t i v a t e d . I f o n e
wishes to acquire these benefits, t h e n there m u s t be a b a l a n c e of stillness a n d
m o v e m e n t a n d n o t an excess in either direction. T h i s is t h e special point of X i n g
Yi Q u a n a n d also t h e Sixteen Exercises.

3 ) T h i s s e c t i o n will d i s c u s s t h e S i x t e e n E x e r c i s e s a n d t h e i r b a s i s i n " p r a c t i c a l u s e . "

Everyone is familiar with X i n g Yi Q u a n ' s practical use, often referring to "vertical
a n d h o r i z o n t a l , a d v a n c i n g a n d r e t r e a t i n g , r i s i n g a n d f a l l i n g , a n d rise, drill, fall,
a n d o v e r t u r n . " All o f t h e s e are i n t e r r e l a t e d . I n p r a c t i c a l a p p l i c a t i o n , t h e s e are
u n i t e d i n t o o n e b o d y . H e r e w e will n o t g o i n t o d e t a i l e d e x p l a n a t i o n . H o w e v e r ,
w e n e e d t o b e f a m i l i a r w i t h t h e b a s i c spirit o f t h e s e t h i n g s a s t h e y are i n c l u d e d
i n all m o v e m e n t o f t h e S i x t e e n E x e r c i s e s . For e x a m p l e , i n e x e r c i s e six " E m p t y t h e
F o o t a n d Lift a S i n g l e H a n d , " t h e l i f t i n g o f t h e s i n g l e h a n d m o v e m e n t a l s o
i n c l u d e s t h e " l i f t i n g " a n d " d r i l l i n g " c o m p o n e n t s o f t h e b o x i n g skill. I n e x e r c i s e
nine "Raising the Back Seven T i m e s , " the two palms hanging includes the energy
of "tiger p o u n c i n g " a n d "falling a n d o v e r t u r n i n g . " Exercise twelve " M o v i n g t h e
Hips t o t h e Left a n d R i g h t , " includes t h e i n t e n t i o n o f t h e " b r u s h t h e water f o r m "
of t h e Swallow Form. It also includes "rising, falling, a d v a n c i n g a n d retreating."

4 ) T h i s s e c t i o n will d i s c u s s t h e " s y s t e m " o f t h e m o v e m e n t s i n t h e S i x t e e n

Exercises in relation to exercising the w h o l e body. Although the Sixteen
E x e r c i s e s a r e c o m p o s e d o f s i n g l e m o v e m e n t s , t h e y a r e all i n t e r r e l a t e d . F r o m t h e
p o i n t of view of the w h o l e body, the exercises work from the top of the body
downward. T h e exercises begin with the arms and head, working d o w n the b o d y
t o t h e l o w e r e x t r e m i t i e s . T h e first f o u r e x e r c i s e s w o r k p r i m a r i l y t h e u p p e r b o d y ,
t h e fifth t h r o u g h s e v e n t h e x e r c i s e s w o r k t h e t r u n k a n d waist, a n d f r o m e x e r c i s e

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e i g h t o n , t h e l o w e r b o d y i s e x e r c i s e d . T h e e n t i r e b o d y i s e x e r c i s e d i n t h i s set a n d
t h e i n s t r u c t i o n s are s i m p l e t o f o l l o w . All t h e v a r i o u s s y s t e m s o f t h e b o d y a r e
e x e r c i s e d , m a k i n g t h i s set a c o m p l e t e t r a i n i n g f o r t h e w h o l e b o d y .

5 ) T h e e x e r c i s e s o f t h e S i x t e e n E x e r c i s e s set are b o t h a d a p t a b l e a n d f l e x i b l e . A s
previously stated, t h e Sixteen Exercises can be practiced singly, as h e a l t h
b u i l d i n g exercise, t h e y can also be p e r f o r m e d as a w a r m up for strenuous activity
a n d as a regulating c o o l d o w n after activity. T h e y c a n also be used to build t h e
f o u n d a t i o n f o r m a r t i a l p o w e r . B e c a u s e o f t h i s , t h e s e e x e r c i s e s are e x t r e m e l y
adaptable a n d versatile. T h e y c a n be successfully performed by t h o s e of different
age g r o u p s , b o t h s e x e s , t h o s e w i t h d i f f e r e n t g o a l s i n m i n d a n d a l s o b y t h o s e o f
varying physical condition.
T h e elderly and infirm can practice the m o v e m e n t s according to their
a b i l i t i e s . For e x a m p l e , t a k e t h e h o r s e r i d i n g p o s t u r e i n t h e first e x e r c i s e , o n e m a y
squat higher or lower d e p e n d i n g on physical ability. T h e elderly a n d infirm m a y
b e n d their knees o n l y slightly while t h e y o u n g a n d strong o r t h o s e practicing for
t h e m a r t i a l a r t s c a n s q u a t a s l o w a s p o s s i b l e . A s a n o t h e r e x a m p l e , i n e x e r c i s e five
" T h e T w o Hands Hold Up the Heavens," during the forward bending m o v e m e n t
t h o s e w i t h h i g h b l o o d p r e s s u r e o r b e g i n n e r s c a n b e n d o v e r s l i g h t l y . Also, t h e
n u m b e r of repetitions can be limited. In addition, it is not necessary to perform
all s i x t e e n e x e r c i s e s i n o n e e x e r c i s e p e r i o d . O n e m a y c h o o s e s e v e r a l a n d p r a c t i c e
only those.
W h e n performing t h e Sixteen Exercises, t h e basic r e q u i r e m e n t s include n o t
using brute strength a n d b e i n g natural a n d relaxed. T h i s is especially suited to
t h e e l d e r l y a n d i n f i r m . D o e s t h i s m e a n t h a t t h e r e s u l t s o f p r a c t i c e are n o t a s g o o d
for t h e strong? Q u i t e t h e opposite, bet's look at t h e basic r e q u i r e m e n t s for h e a l t h
a n d s t r e n g t h . W e all k n o w t h a t " l i f e i s m o t i o n , " t h i s i s a b a s i c p r i n c i p l e . I f a
p e r s o n e x e r c i s e s o n a regular basis h e o r s h e will h a v e a s t r o n g life f o r c e , h e a l t h y
c o n s t i t u t i o n , a n d will b e full o f spirit. T h e b o x i n g m a s t e r s o f o l d r e c o g n i z e d t h i s
p r i n c i p l e . In the Boxing Canon it is s t a t e d : " I f o n e w i s h e s to s t r e n g t h e n t h e b o d y ,
a n y t y p e o f m a r t i a l t r a i n i n g will s u f f i c e . " T h e r e a s o n i s n o m a t t e r t h e s t y l e o f
b o x i n g c h o s e n , t h e y are all b a s e d o n m o v e m e n t . M o v e m e n t i s a n i n t r i n s i c
q u a l i t y o f life. D a i l y e x e r c i s e e q u a l s a h e a l t h y b o d y . B e s i d e s t h i s , f r e q u e n t
e x e r c i s e a l s o n a t u r a l l y results i n a n i n c r e a s e i n p o w e r a n d a n i n c r e a s e i n t h e
elasticity of t h e body. O n e m a y also i m p r o v e t h e quality of t h e exercise, t h e range
of m o t i o n of t h e b o d y a n d t h e n u m b e r of repetitions p e r f o r m e d Especially since
o n e is required to exercise without using brute force (not using force does not
m e a n t h e b o d y h a s n o c o n s t r u c t ive stress d u r i n g e x e r c i s e s , b u t r a t h e r t h e a m o u n t
o f stress i s u n d e r c o n s c i o u s c o n t r o l a n d i s a l w a y s a p p r o p r i a t e t o t h e i n d i v i d u a l ' s
physical c o n d i t i o n ) . This type of exercise improves t h e physical condition a n d
i s s u i t a b l e f o r t h o s e o f all l e v e l s o f f i t n e s s .

6) T h e Sixteen Exercises do not require any type of e q u i p m e n t . All t h a t i s

n e c e s s a r y i s a s m a l l , level s p a c e . T h e e x e r c i s e s a r e s i l e n t a n d will n o t d i s t u r b t h o s e
a r o u n d . O n e m a y p r a c t i c e i n d o o r s , o u t d o o r s , o r i n a s m a l l s p a c e like a b a l c o n y .
This s y s t e m i s c o n v e n i e n t , e c o n o m i c a n d v e r y e f f e c t i v e .

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Benefits of Practice

T h e Sixteen Exercises h a v e evolved t h r o u g h over n i n e t y years of practical

e x p e r i e n c e a n d h a v e b e e n regularly practiced by m a n y students. T h e results have
b e e n t h e weak b e c o m i n g strong a n d m a n y diseases have b e e n cured. T h e s e
exercises have p r o v e n beneficial in treating various c h r o n i c diseases, i n c l u d i n g :
h i g h b l o o d pressure, hepatitis, tuberculosis, a n d n e u r a s t h e n i a . T h e exercises
h a v e also proved helpful in curing injuries i n v o l v i n g soft tissue a n d p r o b l e m s
involving t h e mobility of the joints, such as i n f l a m m a t i o n and back problems.
T h e s e exercises are an excellent m e t h o d of building t h e health a n d strengthening
t h e b o d y after injury or illness.

Method of Practice

I n d i s c u s s i n g t h e m e t h o d o f p r a c t i c i n g t h e S i x t e e n E x e r c i s e s , let's first d i s c u s s
t h e o l d rules passed d o w n f r o m o u r p r e d e c e s s o r s . N e x t w e will g o o v e r t h e a c t u a l
m e t h o d of training in detail. During exercise, o n e should follow the basic
principles for salubrious exercise.

1 ) P e r s e v e r a n c e : T h e s e e x e r c i s e s will i n c r e a s e t h e h e a l t h a n d c h a n g e o n e ' s
c o n s t i t u t i o n , b u t results do n o t c o m e o v e r n i g h t . After a few days of practice o n e
c a n n o t h o p e to see great c h a n g e s . W h a t is called for, rather, is c o n s i s t e n t exercise
over a l o n g period of t i m e . F r o m t h e p o i n t of view of p h y s i o l o g y , it takes t i m e
for c h a n g e s to o c c u r in t h e various systems a n d o r g a n s of t h e b o d y , especially in
regards to t h e central nervous system a n d t h e ability of t h e brain to adapt to t h e
stress o f e x e r c i s e . I n a d d i t i o n , i n l e a r n i n g a n y skill, i t t a k e s a p e r i o d o f t i m e d u r i n g
which t h e ne w m o v e m e n t patterns must be repeated before the body assimilates
t h e m o t i o n . A period of repetitive practice is required for t h e central n e r v o u s
system to have a concrete m e m o r y of the sequence of m o v e m e n t . Therefore,
p r a c t i c e s h o u l d b e c o n s i s t e n t a n d r e g u l a r . E v e n i f t h e m o v e m e n t skills a r e
a c q u i r e d , i f o n e n e g l e c t s t h e e x e r c i s e s f o r a p e r i o d o f t i m e t h e skills will b e l o s t .
T h e s e p r i n c i p l e s a p p l y t o all m o v e m e n t skills a n d t h e S i x t e e n E x e r c i s e s a r e n o t
the exception.

I f o n e w i s h e s t o see results, t h e e x e r c i s e s m u s t b e p r a c t i c e d c o n s i s t e n t l y a n d
continuously. T h e Boxing Canon s t a t e s : " I n t h e p r a c t i c e o f m a r t i a l a r t s , o n e
s h o u l d b e h u m b l e , i f o n e s t o p s a f t e r a little t r a i n i n g o r p r a c t i c e s o n a n d o f f , o n e
will n e v e r r e a c h a h i g h level o f s k i l l . " I t a l s o s t a t e s : " I f o n e h a s n o p e r s e v e r a n c e ,
s t u d i e s a little a n d t h i n k s t h e y u n d e r s t a n d m u c h , feels s a t i s f i e d w i t h t h e i r level
o f skill, s t u d i e s s p o r a d i c a l l y , o r t h i n k s t h e y a r e a n e x p e r t , o n e will f i n d i n
a p p l i c a t i o n t h e y a r e useless, t h i s i s n o t t h e f a u l t o f t h e t e a c h e r b u t o f t h e s t u d e n t . "
T h e s e passages are an a c c u r a t e description of t h e result of sporadic t r a i n i n g .

2) T h e p r o p e r s e q u e n c e of t r a i n i n g : W h e n studying anything, one proceeds

from t h e simple to t h e c o m p l e x a n d from t h e easy to t h e difficult. Martial
t r a i n i n g i s n o e x c e p t i o n . O n e s h o u l d e s p e c i a l l y t a k e h e e d i n regards t o t h e
a m o u n t of exercise taken. T h e ability of t h e body to endure increasingly greater

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l e v e l s o f stress i n e x e r c i s e i n c r e a s e s g r a d u a l l y . D u r i n g t h e p r a c t i c e o f t h e S i x t e e n
E x e r c i s e s , o n e m u s t g r a d u a l l y b u i l d u p o n o n e ' s c u r r e n t level o f f i t n e s s b y
increasing the a m o u n t of exercise the body can a c c o m m o d a t e . Exercising within
o n e ' s level o f f i t n e s s w h i l e g r a d u a l l y i n c r e a s i n g t h e d i f f i c u l t y will s t e a d i l y
i m p r o v e t h e physical c o n d i t i o n . T h i s builds t h e f o u n d a t i o n for c o m p l i c a t e d a n d
d i f f i c u l t e x e r c i s e . T h e s e p r i n c i p l e s a r e i n a c c o r d a n c e w i t h t h e p h y s i o l o g i c a l laws
of exercise and established m e t h o d s of scientific training. To exercise in
o p p o s i t i o n t o t h e s e p r i n c i p l e s will n o t o n l y b e i n e f f e c t u a l b u t a l s o m a y b e
harmful.

3) C o m p l e t e d e v e l o p m e n t : T h e Chinese medical point of view of the body as

a "wholistic e n t i t y " is scientific in nature. T h e d e v e l o p m e n t , or lack thereof, of
a n y p a r t o f t h e b o d y h a s a n e f f e c t o n all o t h e r p a r t s . U n d e r d e v e l o p m e n t i n o n e
a r e a will i n t e r f e r e w i t h t h e d e v e l o p m e n t o f all o t h e r p a r t s . T h e r e f o r e , e x e r c i s e
should be c o m p o s e d of various m o v e m e n t s . T h i s is c o n d u c i v e to t h e overall
d e v e l o p m e n t of the w h o l e body. W i t h even d e v e l o p m e n t of the whole body
c o m e s t h e p o t e n t i a l f o r a h i g h level o f skill a n d f i t n e s s . T h e S i x t e e n E x e r c i s e s p a y
s p e c i a l a t t e n t i o n t o t h i s p o i n t . For e x a m p l e , e x e r c i s e t w e l v e " M o v i n g t h e H i p s
t o t h e Left a n d R i g h t , " i n w h i c h y o u s q u a t o n o n e leg t o t h e left a n d r i g h t a n d
e x e r c i s e t h i r t e e n a n d f o u r t e e n are all i n t e r r e l a t e d . T h e r a n g e o f m o t i o n o f v a r i o u s
e x e r c i s e s all h a v e a m u t u a l e f f e c t o n t h e o t h e r .

4 ) A s a w a r m u p o r c o o l d o w n : W h e n p r a c t i c i n g m a r t i a l arts, b e f o r e s t a n d i n g
i n t h e San T i P o s t u r e a n d w a l k i n g t h r o u g h t h e f o r m s o n e s h o u l d first w a r m u p .
After t r a i n i n g o n e s h o u l d c o o l d o w n a n d r e g u l a t e t h e b o d y . After e x e r c i s e i t i s
advisable to perform various cool d o w n m o v e m e n t s w h i c h regulate or "work
o u t " any tension that m a y have accumulated during training. These m o v e m e n t s
should relax t h e w h o l e body. C o o l down exercises also prevent a n y adverse
reactions from suddenly stopping intense exercise.

Important Points For Practice

1) T h e f o r m a n d spirit m u s t be r e l a x e d : T h e Emperor's Classic o f Internal

Medicine s t a t e s : " W h e n t h e e m o t i o n s a r e e m p t y a n d w e a k , t h e n t h e q i f l o w s ,
w h e n t h e spirit i s h e l d w i t h i n , d i s e a s e will n o t c o m e . " T h e t e r m " w e a k e m o t i o n s "
refers t o h a v i n g a r e l a x e d a n d n a t u r a l spirit. O n e m u s t m a i n t a i n a r e l a x e d
c o m p o s u r e . W e a r e all f a m i l i a r w i t h t h e g r e a t i n f l u e n c e t h e e m o t i o n s h a v e o n
the health, we do n o t need to go into it here. Having a relaxed body m e a n s to
a v o i d u s i n g b r u t e s t r e n g t h . T h e b o d y a n d spirit are b o t h n a t u r a l a n d r e l a x e d . The
t w o m a y t h e n u n i t e a s o n e . T h i s will l e a d t o a n i n c r e a s e i n i n t e r n a l p o w e r , a s w e l l
as health. This state is the beginning of the healing process. Relaxed does not
m e a n slack. It m e a n s to r e m a i n natural in t h e midst of e x e r t i o n , never straining.
T h i s r e l a x e d s t a t e will release b o t h a c c u m u l a t e d m e n t a l a n d p h y s i c a l f a t i g u e .
A f t e r a p e r i o d o f t r a i n i n g , o n e will h a v e a r a d i a n t spirit a n d p o w e r f u l m o v e m e n t s .

2) T h e b r e a t h i n g m a t c h e s t h e m o v e m e n t s n a t u r a l l y : The principle is to inhale

w h e n d o i n g s t r e t c h i n g a n d o p e n i n g m o v e m e n t s . Like e x e r c i s e n i n e " R a i s e t h e
Back Seven l i m e s , " or exercise fifteen " Y i n O p e n s a n d Yang Closes," w h e n

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raising u p o r o p e n i n g t h e h a n d outward o n e s h o u l d inhale deeply. W h e n

p e r f o r m i n g c l o s i n g m o v e m e n t s , t h e n e x h a l e . Like e x e r c i s e five " T h e T w o H a n d s
U p h o l d t h e H e a v e n s , " o r e x e r c i s e t e n " T h e T w o Fists S t r i k e t h e B a c k , " o r e x e r c i s e
T h i r t e e n " T h e W h i t e C r a n e R o t a t e s its K n e e s , " w h e n b e n d i n g f o r w a r d , r e t u r n i n g
t h e h a n d s o r squatting d o w n , o n e exhales. W h e n there are m o v e s w h i c h involve
b o t h s t r e t c h i n g a n d c o n t r a c t i n g s i m u l t a n e o u s l y , t h e rule i s t o b r e a t h e n a t u r a l l y
a n d never force or hold the breath.

3 ) M a i n t a i n g o o d l i v i n g h a b i t s : Exercise aids i n p r o m o t i n g h e a l t h . But i f o n e

h a s p o o r l i v i n g h a b i t s i n g e n e r a l , o n e will still b e u n a b l e t o r e a l i z e t h e g o a l o f g o o d
h e a l t h . E v e r y o n e k n o w s t h i s t o b e t r u e . For t h o s e w h o p r a c t i c e t h e S i x t e e n
Exercises, w h e t h e r for t h e p r e v e n t i o n of disease or to cure an existing a i l m e n t ,
w i t h o u t a r e g u l a t e d l i f e s t y l e , a s e n s i b l e diet a n d a n a p p r o p r i a t e a m o u n t o f
e x e r c i s e , o n e will b e u n a b l e t o i m p r o v e h e a l t h . A s e n s i b l e l i f e s t y l e a n d p r o p e r
e x e r c i s e h o w e v e r , will a l l o w o n e t h e b e n e f i t s t h e i r h e a r t d e s i r e s .

4) Other points:

a ) P r a c t i c i n g i n a n a r e a w i t h fresh a n d c i r c u l a t i n g air i s i d e a l . O n e should

avoid drafts, especially w h e n perspiring.

b) Before practice it is advisable to e m p t y t h e bladder a n d bowels. During

exercise, t h e internal organs receive a high degree of stimulation. G o i n g to the
rest r o o m b e f o r e p r a c t i c e o n e m a y a v o i d a n y d i s c o m f o r t d u r i n g t r a i n i n g . I n
a d d i t i o n , t h e m o v e m e n t s o f t h e o r g a n s will n o t b e o b s t r u c t e d . X i n g Y i Q u a n
p l a c e s great i m p o r t a n c e o n t h e e x e r c i s e o f t h e i n t e r n a l o r g a n s . T h e Boxing Canon
s t a t e s : " T h e five o r g a n s m u s t f u n c t i o n s m o o t h l y . " T h e five o r g a n s are t h e h e a r t ,
liver, s p l e e n , l u n g s , a n d k i d n e y s .

c ) B e f o r e p r a c t i c e o n e s h o u l d n o t b e t o o h u n g r y n o r t o o full. I f o n e i s t o o
h u n g r y , t h e r e will b e a l a c k o f e n e r g y , i f o n e i s t o o full t h e s t o m a c h m a y b e
injured.

d) Always m a i n t a i n a c a l m heart, never talk or joke during training, in order

to prevent scattering t h e spirit.

e ) After p r a c t i c e , d o n o t i m m e d i a t e l y e a t o r d r i n k , n o r lie d o w n , i n o r d e r t o
a v o i d d i s t u r b i n g t h e d i g e s t i o n a n d f l o w o f qi.

During Practice is a Teacher's Guidance Necessary?

Finally, let's discuss w h e t h e r or n o t it is necessary to h a v e a teacher, a n d if t h e

student c a n accurately learn t h e Sixteen Exercises a l o n e . T h e answer to these
questions c a n n o t be generalized. We must analyze the questions according to
t h e a p p l i c a b l e p r i n c i p l e s . T h e Boxing Canon h a s t h i s t o s a y : " F o r t h o s e p r a c t i c i n g
t h e m a r t i a l arts, e i g h t y p e r c e n t o f t h e t i m e i s s p e n t t r a i n i n g a l o n e , t w e n t y p e r c e n t
w i t h a n o t h e r . I t t a k e s a l o n g p e r i o d o f t i m e t o s t r e n g t h e n t h e self a n d a s h o r t
a m o u n t of t i m e to defeat an o p p o n e n t . " It is also stated: " W h e n considering

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s t r e n g t h e n i n g t h e b o d y , i t i s n o t i m p o r t a n t w h i c h s t y l e o f m a r t i a l arts i s c h o s e n ,
all w i l l s e r v e t h i s p u r p o s e . " H e r e t h e p r i n c i p l e i s c l e a r l y s t a t e d , t h e first g o a l o f
m a r t i a l arts i s t o s t r e n g t h e n t h e b o d y a n d a n y m e t h o d o f m a r t i a l arts t r a i n i n g i s
acceptable. T h e r e a s o n i s t h a t all m a r t i a l a r t s i n v o l v e " m o v e m e n t / ' a n d
m o v e m e n t is t h e root of life.
M o v e m e n t is an essential quality of life. T h e o n l y c o n s i d e r a t i o n is w h e t h e r
o r n o t t h e m o v e m e n t s c o n f o r m t o correct posture a n d are systematic. W h e n
c h o o s i n g a m e t h o d of exercise, o n e should consider personal training goals and
one's own physical condition. If t h e goal is a h e a l t h y b o d y , relaxed a n d
c o m f o r t a b l e e x e r c i s e w h i c h a v o i d s t h e u s e o f b r u t e s t r e n g t h i s all t h a t i s r e q u i r e d .
If o n e perseveres in practice, benefits naturally accrue. If o n e wants to train n o t
o n l y for h e a l t h but also for martial ability, t h e n besides a d h e r i n g to t h e principles
of relaxed exercises w h i c h avoid brute strength, o n e must also pay close a t t e n t i o n
t o p e r f o r m i n g t h e m o v e m e n t s i n strict f o r m . F o r t h o s e o n l y i n t e r e s t e d i n h e a l t h ,
f o l l o w i n g t h e written d i r e c t i o n s is sufficient. But for t h o s e w h o wish to train for
martial ability, it is best to practice u n d e r a t e a c h e r ' s g u i d a n c e . Always r e m e m b e r
this: as long as o n e practices in a relaxed m a n n e r without using brute strength
t h e e x e r c i s e s will n a t u r a l l y c o n f o r m t o t h e c o r r e c t p r i n c i p l e s o f m o v e m e n t . H e r e
o n e m u s t e x a m i n e t h e self. M a n y p e o p l e h a v e t h e s a m e k i n d o f f e e l i n g a f t e r
p r a c t i c i n g t h e e x e r c i s e s , t h a t is, t h e y feel c o m f o r t a b l e a n d r e l a x e d a s i f t h e y h a d
just taken a bath. This is evidence that the practice is correct and that the
p r i n c i p l e s are b e i n g c o r r e c t l y f o l l o w e d .

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Editor's I n t r o d u c t i o n
by Dan Miller

T h e material in this c h a p t e r is a c o m b i n a t i o n of written material taken f r o m

W a n g Lian Y i ' s bookShen Gong and m a t e r i a l p r o v i d e d b y Z h a n g B a o Y a n g , W a n g
J i n Yu, H e Y u Q i , a n d W a n g H u a n S h e n g . T h e p r e s e n t a t i o n o f e a c h e x e r c i s e
follows t h e same format; there is an introduction, followed by practical
information on h o w to perform the exercise, followed by a " s o n g " explaining the
exercise. T h e i n t r o d u c t i o n a n d t h e " s o n g " were written by W a n g Lian Yi in his
Shen Gong b o o k . T h e p r a c t i c a l i n f o r m a t i o n a b o u t h o w t o p r a c t i c e t h e e x e r c i s e
was provided by Zhang a n d the others m e n t i o n e d above.
Y o u will f i n d t h a t t h e i n f o r m a t i o n p r o v i d e d b y Z h a n g ' s g r o u p i s v e r y d i r e c t
a n d p r a c t i c a l w h i l e t h e i n f o r m a t i o n b y W a n g L i a n Y i i s a t t i m e s uses t e r m i n o l o g y
f r o m C h i n e s e m e d i c i n e . W e p r o v i d e b o t h o f t h e s e e x p l a n a t i o n s a s w e feel i t will
h e l p t h e r e a d e r b e t t e r u n d e r s t a n d t h e full d e p t h o f t h e e x e r c i s e s . Y o u w i l l n o t i c e
t h a t m a n y o f t h e e x e r c i s e s h a v e t w o titles, t h e first t i t l e listed i s W a n g L i a n Yi's
title, t h e s e c o n d title is t h a t used by Z h a n g B a o Yang's group.

A t first g l a n c e t h i s e x e r c i s e set m a y a p p e a r t o b e v e r y s i m i l a r t o a n y o t h e r q i
gong o r nei gong set o f e x e r c i s e s o n e m a y h a v e e n c o u n t e r e d w h i l e s t u d y i n g t h e
i n t e r n a l m a r t i a l arts. H o w e v e r , W a n g j i W u ' s g e n i u s i n p u t t i n g t h i s p a r t i c u l a r set
of exercises t o g e t h e r is in the set's c o m p l e t e n e s s as an internal d e v e l o p m e n t
s y s t e m . T h i s set o f e x e r c i s e s w a s n o t p u t t o g e t h e r h a p h a z a r d l y . T h e r e i s a
c o m p l e t e n e s s a n d w h o l e n e s s i n its d e s i g n a n d a t t h e s a m e t i m e t h i s set o f
e x e r c i s e s i s s i m p l e , p r a c t i c a l , easy t o l e a r n , a n d e a s y t o e x e c u t e .
A n y i n t e r n a l d e v e l o p m e n t e x e r c i s e set s h o u l d c o n s i s t o f e x e r c i s e s w h i c h s e r v e
to integrate the body, mind, and breath while strengthening the body
energetically, viscerally, a n d physically in a natural a n d b a l a n c e d m a n n e r .
E n e r g e t i c a l l y , t h e set s h o u l d c o n t a i n e x e r c i s e s w h i c h a r c d e s i g n e d t o c a l m t h e
m i n d a n d b o d y s o t h a t e n e r g y s i n k s t o t h e dan dan. I n a d d i t i o n , t h e m o v e m e n t s
s h o u l d d i s t r i b u t e t h a t e n e r g y i n a full a n d b a l a n c e d f a s h i o n t h r o u g h o u t t h e b o d y
t h r o u g h gentle coaxing. T h e m o v e m e n t of energy should not be forced through
t h e use of strong i n t e n t i o n or muscular t e n s i o n . T h e m i n d is calm a n d t h e
p h y s i c a l m o v e m e n t g e n t l y u r g e s t h e m o v e m e n t o f t h e qi. A s W a n g L i a n Y i s t a t e s
i n h i s i n t r o d u c t i o n t o e x e r c i s e n u m b e r f o u r , " W a n g j i W u felt t h a t t h e b e g i n n e r
s h o u l d n o t t r y a n d f o r c e t h e q i t o f l o w t h r o u g h s t r o n g i n t e n t i o n . His a d v i c e w a s
to practice the exercises with a relaxed m i n d a n d the intention focused on the
dan tian. A f t e r t h e qi h a s g a t h e r e d in t h e dan tian, it will f i n d its o w n w a y in t h e
"Small Heavenly Cycle" through the gentle coaxing of the physical m o v e m e n t s . "
T h e e n e r g y m o v e m e n t e x e r c i s e s i n W a n g j i W u ' s set a r e d e s i g n e d t o m o v e e n e r g y
t o all distal p o i n t s o f t h e b o d y i n a n a t u r a l , b a l a n c e d , a n d safe m a n n e r .

A n o t h e r important c o m p o n e n t in a n y c o m p l e t e internal d e v e l o p m e n t system

is visceral m a n i p u l a t i o n , or s i m p l y stated, m o t i o n designed to m o v e each of t h e
visceral organs to a small degree so that t h e organs are gently massaged a n d thus
t h e r e i s less c h a n c e f o r fluid s t a g n a t i o n . I n t h e last c h a p t e r W a n g L i a n Y i s t a t e d

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"life is m o v e m e n t . " E v e r y o n e k n o w s t h a t if a n y part of t h e b o d y r e m a i n s

s t a t i o n e r y f o r a n e x t e n d e d p e r i o d o f t i m e , i t b e c o m e s stiff. I f m u s c l e s , t e n d o n s ,
a n d l i g a m e n t s a r e n o t m o v e d t h r o u g h t h e i r full r a n g e o f m o t i o n o n a r e g u l a r b a s i s
t h e i n d i v i d u a l will start t o l o o s e t h a t full r a n g e o f n a t u r a l , u n r e s t r i c t e d m o t i o n .
A w e l l d e s i g n e d set o f e x e r c i s e s will b e d e v i s e d s o t h a t all o f t h e b o d y ' s j o i n t s ,
m u s c l e s , t e n d o n s , a n d l i g a m e n t s are m o v e d t h r o u g h t h e i r full r a n g e o f m o t i o n
d u r i n g t h e e x e r c i s e set. W a n g ' s set d o e s t h i s , b u t a d d i t i o n a l l y s o m e o f t h i s s e t ' s
exercises work to gently m o v e and manipulate the internal organs so that the
o r g a n s f u n c t i o n p r o p e r l y a n d all o f t h e s y s t e m s o f t h e b o d y w h i c h p u m p fluids
are s t i m u l a t e d . W h e n b o d i l y fluids s u c h a s l y m p h , bile, b l o o d , e t c . are a l l o w e d
t o s t a g n a t e a n y w h e r e i n t h e b o d y , p r o b l e m s will a r i s e . I n o r d e r t o p r e v e n t
stagnation, the body needs to bend, m o v e , and stretch so that no small " p o o l s "
o f fluids a r e a l l o w e d t o c o l l e c t a n d b e c o m e s t a g n a n t . W a n g J i W u ' s set o f
e x e r c i s e s i s e x p e r t l y d e s i g n e d t o w o r k all o f t h e v i s c e r a s o t h a t t h e o r g a n e n e r g y
i s s t i m u l a t e d a n d t h e b o d i l y fluids a r e e n c o u r a g e d t o m o v e f r e e l y .

I n t e r m s o f p h y s i c a l d e v e l o p m e n t , t h i s set o f e x e r c i s e s n o t o n l y g e n t l y
stretches the muscles, joints, ligaments, and tendons to keep t h e m operating
o p t i m a l l y t h r o u g h t h e i r full r a n g e o f m o t i o n , i t a l s o h e l p s t o b u i l d t h e t y p e o f
whole body, coordinated strength w h i c h is functional in t h e internal martial
arts.

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Xing Yi Nei Gong

Exercise One: Uniting the Original Qi

(Circling the Arms in Front of the Chest)

I n t r o d u c t i o n : T h e s t a t e o f a n i n d i v i d u a l ' s h e a l t h c a n h e said t o b e d e t e r m i n e d
by several factors, including heredity, external factors (food, weather, etc.), o n e ' s
s t a t e o f m e n t a l h e a l t h , t h e e n v i r o n m e n t , o n e ' s a t t i t u d e t o w a r d life, e t c . U n d e r
further analysis, such influences as e n v i r o n m e n t a l factors a n d internal factors,
such as t h e emotion, c o m b i n e to form complex patterns of influence on one's
health. But from t h e point of view of m e d i c i n e , physiology, cultivation of t h e
health and t h e Xing Yi Q u a n m e t h o d of exercise, the state of one's qi is the
primary consideration.
A c c o r d i n g t o ( C h i n e s e ) m e d i c a l s c i e n c e , t h e b a s i c t h e o r i e s o f Yin/Yang and t h e
Five F l e m e n t s h o l d t h a t i n t h e n a t u r a l w o r l d , p h y s i c a l f o r m s m u s t i n t e r a c t w i t h
qi in order to create; m o v e m e n t a n d stillness m u s t follow o n e a n o t h e r if t h e
t h i n g s o f c r e a t i o n are t o d e v e l o p , a n d t h e s t a t e o f p e r s o n a l h e a l t h i s d e t e r m i n e d
by the condition of the qi a n d
blood. "Qi is t h e leader of t h e
b l o o d , b l o o d i s t h e m o t h e r o f qi."
W h e n t h e qi a n d b l o o d are
"sufficient" the body is healthy.
According to the theory of Xing Yi
Quan's internal and external
methods of cultivation and
training, the original "pre-birth"
yang qi is t h e v e r y r o o t of t h a t
which protects the health.
Therefore, in preserving and
building health the cultivation of
qi, s t r e n g t h e n i n g of t h e dan tian
and refining the essence until it
t r a n s f o r m s i n t o qi are m o s t
important.

T h e m a i n p u r p o s e o f t h i s first
e x e r c i s e lies i n r e g u l a t i n g t h e
b r e a t h , c u l t i v a t i n g t h e qi, a n d
b r e a t h i n g w i t h t h e dan tian as t h e
root of t h e breath, thus allowing
t h e original qi to circulate freely
throughout the whole body. W h e n
t h e qi is s u f f i c i e n t t h e spirit is full,
a n d o n e m a y p r e v e n t illness, cure
disease, i m p r o v e a n d s t r e n g t h e n
t h e p h y s i c a l c o n s t i t u t i o n , raise t h e
level o f h e a l t h a n d e x t e n d t h e l i f e .
Preparatory Posture

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 Health Exercises

P r e p a r a t o r y Posture: Stand up naturally, the heels together, the toes point

o u t w a r d a t a 6 0 d e g r e e a n g l e (see p h o t o 1 - 1 ) . T h e w h o l e b o d y i s r e l a x e d a n d
c o m f o r t a b l e , d o n o t s t a n d stiffly, t h e e y e s l o o k s t r a i g h t a h e a d , c l o s e t h e m o u t h ,
the tongue touches the roof of the m o u t h , breathe naturally, imagine the breath
m o v e s i n a n d o u t o f t h e dan tian, c o n c e n t r a t e t h e spirit a n d q u i e t t h e qi. N o w
y o u a r e p r e p a r e d for m o v e m e n t .

Method of Practice:

1 . O p e n t h e legs, t h e feet p o i n t s t r a i g h t a h e a d a n d are p a r a l l e l , t h e f e e t a r e

shoulder width apart, slightly b e n d t h e knees. T h i s is usually called " s q u a t t i n g
in t h e horse riding s t a n c e " but here the purpose and emphasis is different. You
must hold the chest naturally, stretch the back (lengthen the spine) a n d gently
lift t h e a n u s . See p h o t o 1 - 2 .
2 . Lift t h e h a n d s t o t h e f r o n t w i t h t h e p a l m s f a c i n g o u t w a r d ( p h o t o 1 - 3 ) .
3 . M o v e t h e h a n d s t o t h e left side ( p h o t o 1 - 4 ) . M o v e v e r y s l o w l y . C o n t i n u e ,
m o v i n g t h e h a n d s d o w n I n f r o n t o f t h e b o d y , t h e p a l m s will n a t u r a l l y f a c e i n w a r d
as the h a n d s m o v e down ( p h o t o 1-5). C o n t i n u e m o v i n g the h a n d s toward the
right side ( p h o t o 1 - 6 ) . R e t u r n t h e h a n d s t o t h e s t a r t i n g p o s i t i o n ( p h o t o 1 - 7 ) .
C o n t i n u e m o v i n g t h e h a n d s t o t h e left, d o w n w a r d , t o t h e r i g h t a n d t h e n b a c k
u p ( p h o t o s 1-3 t h r o u g h 1 - 7 ) . C o n t i n u e m a k i n g c i r c l e s w i t h t h e a r m s i n f r o n t o f
the body.
4 . After c o m p l e t i n g a n u m b e r o f r e p e t i t i o n s , r e v e r s e t h e d i r e c t i o n o f t h e c i r c l e
a n d repeat for t h e s a m e n u m b e r o f repetitions ( p h o t o s 1-8 t h r o u g h 1-11).

Number of Repetitions: One should

perform the exercise according to one's
physical c o n d i t i o n . T h o s e w h o are weak
o r ill, o r w h o h a v e j u s t b e g u n t o e x e r c i s e ,
can practice fewer repetitions. T h e strong
can practice more repetitions. As the
physical condition improves, o n e may
increase the n u m b e r of repetitions from
eight to sixteen to thirty two or even more
if o n e desires. il,
Important Points:

1 . T h e a r m s m u s t n o t b e stiff a s i f u s i n g
strength, and must not be bent too m u c h .
Bend t h e a r m s at a natural angle.
2 . The f i n g e r s are s l i g h t l y s p r e a d a p a r t a n d
t h e palms are r o u n d e d .
3. Relax the shoulders.
4. Breathe naturally. At the top of the
circle, begin to exhale, at t h e b o t t o m begin
to inhale.
5. W h i l e m o v i n g , as an aid in c o n c e n t r a t i n g
t h e spirit, o n e m a y s i l e n t l y c o u n t t h e

in
Xing Yi Nei Gong

number of repetitions.
6. M o v e slowly. I m a g i n e that your h a n d s are m o v i n g t h r o u g h water.

The R a n g e o f M o t i o n a n d E f f e c t s :

T h e m a i n purpose of this exercise is to c o n d i t i o n t h e shoulders. T h e muscles

of t h e arms are also exercised. T h i s exercise is structured a r o u n d c o n t r a c t i n g t h e
upper arm inward t h e n e x t e n d i n g it outward, t h e a r m s are twisted in a n d out.
T h e s e m o t i o n s provide a c o m p l e x m o v e m e n t w h i c h involves the trapezius
muscle, latissimus muscle, t h e pectorals, t h e biceps, t h e triceps, a n d t h e muscles
of t h e forearms. Therefore, this exercise can be used in c o n j u n c t i o n with medical
t r e a t m e n t as an aid in curing p r o b l e m s with t h e shoulders, arms, a n d back.
F o r m a r t i a l arts t h i s e x e r c i s e is v e r y g o o d f o r d e v e l o p i n g t h e jing ( t r a i n e d
s t r e n g t h ) r e q u i r e d w h e n d e f l e c t i n g t o t h e side o r b l o c k i n g i n a d o w n w a r d o r
upward m o t i o n .

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P h o t o 1-10 P h o t o 1-11 P h o t o 1-12

P h o t o 1-13
Xing Yi Nei Gong

The "Song" of Uniting the Original Qi:

T h e b o d y s t a n d s n a t u r a l l y e r e c t , t h e t w o a r m s are r e l a x e d , h a n d s a t t h e s i d e s .
C o n c e n t r a t e t h e spirit a n d q u i e t t h e qi, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h
as possible.
The h e a r t i s a s still a s water; heaven and earth exist together.
The eyes l o o k straight a h e a d , t h e limbs a n d b o d y are relaxed.
The m o u t h is closed, the tongue touches the roof of the m o u t h .
The q i a n d b r e a t h fill t h e a r t e r i e s , c i r c u l a t i n g t o a n d f r o m t h e " s e a o f qi."

T h e feet are o p e n e d p a r a l l e l , i n t h e h o r s e r i d i n g p o s t u r e .
T h e entire soles of t h e feet grip t h e g r o u n d , t h e " b u b b l i n g springs p o i n t " is
contracted inward.
liie knees are b e n t , t h e e n e r g y o f t h e w a i s t m o v e s d o w n w a r d .
The palms are placed on t h e tops of t h e thighs, t h e fingers are stretched a n d
opened.

R e l a x t h e s h o u l d e r s a n d e m p t y t h e c h e s t , press t h e h e a d u p w a r d a n d s t r a i g h t e n
the back of the neck.
T h e i n t e n t i s k e p t i n t h e dan tian, t h e b r e a t h i s d e l i c a t e , i n h a l e g e n t l y .
Exhale s m o o t h l y , delicately, even, slow, a n d long.
Press u p t h e sky a n d s t a n d e r e c t o n t h e e a r t h , o n e q i c o m p l e t e a n d n a t u r a l .

T h e two arms e x t e n d forward, m o v i n g from t h e shoulders.

B e n d t h e e l b o w s a n d lift t h e p a l m s , b e n d t h e m a t a n a t u r a l a n g l e .
F r o m t h e left t o t h e r i g h t , m a k e a c i r c l e i n f r o n t o f t h e b o d y .
M o v i n g in c o n t i n u o u s circles, circling around in a t u r n i n g m o t i o n .
At t h e top of t h e circle, begin to exhale, at the b o t t o m begin to i n h a l e .
The e n e r g y c o m e s f r o m t h e dan tian, f r o m t h e s h o u l d e r t o t h e e l b o w s .
T h e elbows p u s h t h e p a l m s a n d hands, t h e power reaches t h e four extremities.

F r o m right t o left, m a k e a c i r c l e i n f r o n t o f t h e b o d y .
M o v i n g in c o n t i n u o u s circles, circling around in a t u r n i n g m o t i o n .
At t h e t o p of t h e circle, begin to exhale, at the b o t t o m , begin to inhale.
F o c u s o n t h e t h r e e h e a r t c e n t e r s , t h e c e n t e r o f t h e p a l m s , t h e c e n t e r o f t h e feet,
and the center of the body.
R e l a x i n g all o f t h e j o i n t s , t h e p o w e r r e a c h e s t h e f o u r e x t r e m i t i e s .

T h e q i a n d b r e a t h m o v e i n a n d o u t , t h e dan tian e x p a n d s a n d c o n t r a c t s .
T h e qi follows the m o v e m e n t s of t h e palms, t h e palms m o v e and the qi goes.
T h e spirit a n d f o r m u n i t e a s o n e , t h e i n t e n t first l e a d s , i t m o v e s t h r o u g h a
c o m p l e t e cycle and t h e n returns, in cycles without e n d .
T h e q i i s full a n d t h e spirit c o n c e n t r a t e d , w h e n t h e spirit i s c o n c e n t r a t e d t h e h e a r t
i s a t p e a c e , t h e fire a n d w a t e r are u n i t e d , t h e k i d n e y s a r e s t r e n g t h e n e d a n d t h e
skill is r e f i n e d .

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 Health Exercises

Exercise Two: The Jade Dragon Weaves

Around the Body
(Pulling Horizontally Right and Left)

I n t r o d u c t i o n : I n t h i s e x e r c i s e t h e t w o p a l m s m o v e a s i f t h e y are i n t h e c l o u d s .
T h e p a l m s a r e h e l d a b o u t five i n c h e s a p a r t , t h e yang h a n d o v e r t u r n s a n d t h e yin
h a n d supports. T h e jade d r a g o n suddenly appears, his b o d y s w i m m i n g t h r o u g h
space, the qi and power follow o n e another, the heart with the intent, the intent
with t h e qi a n d t h e qi with the power, these arc the three internal c o n d i t i o n s . Use
t h e i n t e n t t o lead t h e qi, t h e q i t o m o v e t h e p o w e r a n d t h e p o w e r t o m o v e t h e
h a n d s a n d f e e t The./j f o l l o w s t h e m o v e m e n t s o f t h e e x t e r n a l f o r m , t h e f o r m g o e s
a n d t h e qi m o v e s , t h e form a n d qi arc sensitive to o n e a n o t h e r , t h e ten t h o u s a n d
things are created. Yin a n d Yang a r e u n i t e d , t h e five e l e m e n t s m u s t f o l l o w
s m o o t h l y , t h e e x t r e m e of stillness c o n t a i n s t h e intent to m o v e , m o v e m e n t a n d
s t i l l n e s s u n i t e as o n e , t h e qi is s t o r e d in t h e dan tian, f r o m t h e r e it m a y be i s s u e d
externally.

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Xing Yi Nei Gong

Preparatory Posture: T h e horse riding stance. See p h o t o s 2 - 1 a n d 2 - 2 .

Method of Practice:

1 . B e n d t h e e l b o w s a n d e x t e n d t h e a r m s t o t h e left side ( p h o t o 2 - 3 ) .
2 . T h e left h a n d i s a t t h e h e i g h t o f t h e left a r m p i t , t h e left p a l m f a c e s u p w a r d .
3 . T h e right p a l m i s i n f r o n t o f t h e c h e s t , w i t h t h e p a l m f a c i n g d o w n w a r d .
4 . S l i g h t l y r o u n d t h e p a l m s a s i f t h e h a n d s are g r a b b i n g s o m e t h i n g (like a l a r g e
r o p e ) . T h e d i s t a n c e b e t w e e n t h e h a n d s i s a b o u t f o u r o r five i n c h e s , pull t h e h a n d s
t o t h e r i g h t , level w i t h t h e g r o u n d ( p h o t o 2 - 4 ) .
5 . A s t h e r i g h t h a n d p a s s e s t h e right a r m p i t , t u r n t h e p a l m t o f a c e u p w a r d , t h e
left p a l m s i m u l t a n e o u s l y t u r n s t o f a c e p a l m d o w n . The r i g h t h a n d p a s s e s t h e
right a r m p i t a n d t h e left h a n d i s i n f r o n t o f t h e c h e s t ( p h o t o 2 - 5 ) . C o n t i n u e ,
p u l l i n g t h e h a n d s b a c k a c r o s s i n f r o n t o f t h e c h e s t t o w a r d t h e left ( p h o t o s 2 - 6 a n d
2-7).
6. C o n t i n u e the exercise by pulling the hands b a c k a n d forth in front of t h e c h e s t
(photos 2-3 through 2-8).

N u m b e r o f R e p e t i t i o n s : Start with eight repetitions back a n d forth. Increase t h e

n u m b e r to sixteen and eventually to thirty-six or m o r e .

Important Points:

1 . W h e n p u l l i n g t h e h a n d s h o r i z o n t a l l y left a n d r i g h t , e x t e n d a n d b e n d t h e a r m s
n a t u r a l l y , d o n o t s t i f f e n t h e a r m s . I n a d d i t i o n , i m a g i n e y o u are a c t u a l l y p u l l i n g
s o m e t h i n g f r o m left I n r i g h t .
2 . A s y o u a r e p u l l i n g , t h e h i p s will n a t u r a l l y t u r n a little t o a i d i n t h e m o t i o n ,
but do not swing t h e hips i n t e n t i o n a l l y .
3. T h e shoulders remain relaxed.

The R a n g e of M o t i o n a n d Effects: This m o v e m e n t is also primarily an exercise

of t h e shoulders. T h e arms m o v e , o n e rotating outward while t h e other twists
inward, t h e range of m o t i o n is s o m e w h a t greater t h a n t h a t of exercise o n e .

P h o t o 2-1 P h o t o 2-2 P h o t o 2-3

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The "Song" of the Jade Dragon Weaves Around the Body:

T h e b o d y s t a n d s u p s t r a i g h t , t h e h a n d s are h a n g i n g b e s i d e t h e b o d y .
C a l m t h e h e a r t a n d q u i e t t h e qi, n o t h o u g h t s , n o c a r e s .
L o o k s t r a i g h t a h e a d , t h e spirit i s h e l d w i t h i n .
Close the m o u t h , the t o n g u e touches t h e roof o f t h e m o u t h .
R e g u l a t e t h e b r e a t h i n g , i n a n d o u t f r o m t h e dan tian.

T h e feet are o p e n e d p a r a l l e l , a b i t w i d e r t h a n t h e s h o u l d e r s .
Stand in the horse riding posture, b e n d t h e knees.
T h e e n e r g y of t h e two knees is as if t h e y are m o v i n g towards each o t h e r w i t h o u t
a c t u a l l y m o v i n g , t h e t w o feet feel a s i f t h e y are t w i s t i n g i n w a r d .
T h e qi s i n k s to t h e dan tian, t h e p e r i n e u m is g e n t l y l i f t e d .

R e l a x t h e s h o u l d e r s a n d e m p t y t h e c h e s t , press t h e h e a d u p a n d s t r a i g h t e n t h e
back of the neck.
Press u p t o w a r d t h e sky a n d s t a n d e r e c t o n t h e e a r t h , o n e </i c o m p l e t e a n d n a t u r a l .
T h e i n t e n t is k e p t in t h e dan tian, t h e i n t e n t l e a d s t h e qi.

T h e left a r m e x t e n d s o u t s t r a i g h t t o t h e left f r o n t , a t t h e h e i g h t o f t h e c h e s t .
T h e p a l m o f t h e left h a n d f a c e s u p w a r d , r e l a x t h e s h o u l d e r s a n d s i n k t h e e l b o w s .
T h e r i g h t a r m a l s o e x t e n d s o u t t o t h e left, t o t h e r i g h t o f t h e left a r m .
T h e d i s t a n c e b e t w e e n t h e left a n d r i g h t p a l m s i s a b o u t 4 - 5 i n c h e s , t h e r i g h t p a l m
faces t h e g r o u n d .
O n e h a n d faces up a n d t h e o t h e r faces down, o n e should i m a g i n e o n e is stroking
something, the energy is the same as "cloud h a n d s . "
M o v e f r o m t h e left t o t h e r i g h t , t h e e n e r g y o f t h e h a n d s c o o r d i n a t e a n d t h e h a n d s
m o v e t h r o u g h a level p l a n e , t o t h e r i g h t s i d e .
T h e e l b o w s are n a t u r a l l y b e n t , t h e s h o u l d e r s a r e r e l a x e d a n d o p e n e d .

After t h e h a n d s h a v e m o v e t o t h e r i g h t f r o n t , t h e r i g h t h a n d t u r n s p a l m u p , t h e
left h a n d t u r n s p a l m d o w n , t h e left p a l m i s t o t h e left o f t h e r i g h t p a l m .
T h e palms are about 4-5 i n c h e s apart.
T h e h a n d s m o v e f r o m t h e r i g h t t o t h e left t h r o u g h a level p l a n e , m o v i n g t o t h e
left s i d e .
T h e h a n d s m o v e t o t h e left a n d right, i n c y c l e s w i t h o u t e n d .

Yin a n d Yang a r e u n i t e d , t h e 171 m o v e s to the dan tian, t h e s h o u l d e r s are r e l a x e d

a n d t h e e l b o w s s i n k , t h e p a l m s f e e l a s i f t h e y are p u l l i n g a t h o u s a n d p o u n d s , t h e
w a i s t a n d h i p s , t h e h a n d s a n d f e e t , t h e i n t e n t a n d t h e q i a r e all c o n n e c t e d , t h e
i n t e r n a l o r g a n s a r e s o l i d a n d t h e life i s p r o l o n g e d .

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Exercise Three: Opening and Closing

Soothes the Meridians
(Circling the Arms to the Front and Back)

I n t r o d u c t i o n : The j o i n t s , m e r i d i a n s a n d s k e l e t a l f r a m e s e r v e t h e f u n c t i o n s o f
a l l o w i n g t h e b o d y m o b i l i t y . P r a c t i c i n g t h e X i n g Y i Q u a n E x e r c i s e s f o r h e a l t h will
k e e p t h e s e v a r i o u s s y s t e m s i n e x c e l l e n t c o n d i t i o n , p r e v e n t i n g a g i n g a n d loss o f
mobility w h i l e p r o m o t i n g cellular m e t a b o l i s m w h i c h preserves the capabilities
o f y o u t h ; s u p p l e m u s c l e s , q u i c k r e a c t i o n s , a n d g r e a t v i t a l i t y f o r life.

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Xing Yi Nei Gong

P r e p a r a t o r y P o s t u r e : T h e horse riding stance. Sec p h o t o s 3-1 a n d 3-2.

Method of Practice:

1 . T h e r i g h t p a l m p r e s s e s a g a i n s t t h e left a r m p i t . T h e f o u r f i n g e r s a r c u n d e r t h e
a r m p i t , t h e t h u m b i s o u t s i d e against t h e front o f t h e s h o u l d e r . T h e palm presses
a g a i n s t t h e c e n t e r o f t h e left c h e s t m u s c l e ( p h o t o 3 - 3 ) .
2 . T h e left h a n d m a k e s a fist, t h e s h o u l d e r i s r e l a x e d , t h e e l b o w i s c o m f o r t a b l y
extended tphoto 3-3).
3 . T h e left fist m o v e s f r o m h a n g i n g s t r a i g h t d o w n a n d b e g i n s t o lift u p t o w a r d
the front ( p h o t o 3-4), it c o n t i n u e s circling over the top and down towards the
rear, m a k i n g a c o m p l e t e 3 6 0 d e g r e e r e v o l u t i o n ( p h o t o s 3 - 5 t h r o u g h 3 - 7 ) . A f t e r
m a k i n g a certain n u m b e r of repetitions, reverse t h e d i r e c t i o n of t h e circle ( p h o t o s
3-8 through 3-10).
4. C h a n g e a r m s and repeat circling t h e right arm in t h e forward a n d reverse
directions (photos 3-11 through 3-20).

N u m b e r of R e p e t i t i o n s : Make the same n u m b e r of repetitions with each arm

i n b o t h d i r e c t i o n s . O n e m a y start w i t h e i g h t r e p e t i t i o n s a n d s l o w l y i n c r e a s e t h e
n u m b e r over time.

Important Points:

1. T h e s h o u l d e r s m u s t n o t b e rigid
2. Bend the arms a natural a m o u n t .
3. Do not use power.
4. i m a g i n e t h e r e i s s o m e r e s i s t a n c e a r o u n d t h e wrists a n d h a n d s .

T h e R a n g e of M o t i o n a n d Effects: This exercise is a c o m b i n a t i o n of bending

a n d s t r a i g h t e n i n g t h e a r m s as well as m o v i n g t h e a r m s in a circular m o t i o n . As
t h e range of m o t i o n of t h e shoulder is great in this exercise, it is a g o o d exercise
f o r t h o s e w h o h a v e stiff s h o u l d e r s .

P h o t o 3-1 P h o t o 3-2 P h o t o 3-3

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P h o t o 8-16 P h o t o 3-17 P h o t o 3-18

P h o t o 3-19 P h o t o 3-20 P h o t o 3-21

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The "Song" of Opening and Closing Soothes the Meridians:

T h e body stands naturally erect, t h e h a n d beside t h e b o d y .

C o n c e n t r a t e t h e spirit a n d q u i e t t h e qi, t h e h e a r t i s c a l m a s still w a t e r .
C l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h a s p o s s i b l e , t h e spirit i s h e l d w i t h i n .
T h e eyes l o o k straight a h e a d , t h e b o d y is relaxed.
Close the m o u t h , t h e t o n g u e t o u c h e s the roof of the m o u t h .
T h e q i a n d b r e a t h fill t h e a r t e r i e s , c i r c u l a t i n g t o a n d f r o m t h e dan tian.

The feet are o p e n e d p a r a l l e l , s l i g h t l y w i d e r t h a n s h o u l d e r w i d t h .

Adopt t h e horse riding posture, t h e e n t i r e soles of t h e feet grip t h e g r o u n d .
Bend b o t h knees, the "bubbling spring p o i n t " is contracted inward.
T h e palms are on t h e tops of t h e thighs, t h e fingers o p e n a n d e x t e n d .

R e l a x t h e s h o u l d e r s a n d e m p t y t h e c h e s t , press t h e h e a d u p a n d s t r a i g h t e n t h e
back of the neck.
The i n t e n t is k e p t in t h e dan tian, i n h a l e d e l i c a t e l y .
Exhale s m o o t h l y , the breath fine, even, slow and long.
Press u p t o w a r d t h e sky a n d s t a n d e r e c t o n t h e e a r t h , o n e q i c o m p l e t e a n d n a t u r a l .

P l a c e t h e r i g h t p a l m o n t h e t o p o f t h e left ribs, t h e h a n d a n d e l b o w are pressed

firmly against t h e front of the chest.
T h e left h a n d m a k e s a fist, w i t h t h e s h o u l d e r j o i n t a s t h e a x i s b e g i n m o v i n g t h e
left a r m i n c o m p l e t e r e v o l u t i o n s .
F r o m t h e b o t t o m t o t h e f r o n t , f r o m t h e f r o n t t o t h e rear, s w i n g t h e a r m f r e e l y i n
a circle.

P l a c e t h e left p a l m o n t o p o f t h e r i g h t ribs, t h e h a n d a n d e l b o w are pressed f i r m l y

against the front of the chest.
T h e right h a n d m a k e s a fist, w i t h t h e s h o u l d e r j o i n t a s t h e a x i s , b e g i n m o v i n g t h e
right a r m in c o m p l e t e revolutions.
F r o m t h e b o t t o m t o t h e f r o n t , f r o m t h e f r o n t t o t h e rear, s w i n g t h e a r m f r e e l y i n
a circle.
Relax t h e s h o u l d e r a n d ease t h e elbow, t h e m o v e m e n t m a t c h e s t h e circulation
of qi a n d b r e a t h .

This m o v e m e n t can help open and stimulate the meridians, exercise the
joints, increase t h e circulation, aid digestion, o p e n t h e s t o m a c h , increase the
peristalsis of t h e intestines, increase t h e a b s o r p t i o n of nutrients, increase the
resistance to disease, b r e a k d o w n a n d e l i m i n a t i o n of wastes a n d increase the
overall health of the b o d y .

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Xing Yi Nei Gong

Exercise Four: Ju Que and Xuan Wu

Divide the North and South
(Clapping the Palms Above and Below)

I n t r o d u c t i o n : Traditional C h i n e s e Medicine, Xing Yi Quan, pre-birth m e t h o d s

o f c u l t i v a t i o n a n d p r a c t i c a l e x p e r i e n c e all h o l d t h e f o l l o w i n g t o b e t r u e : T h e s t a t e
of an individual's health is directly influenced by t h e fullness or lack of original
p r e - b i r t h yang qi, a n d t h e c o n d i t i o n o f t h e q i a n d b l o o d . I f t h e q i a n d b l o o d a r e
in g o o d c o n d i t i o n t h e n t h e b o d y is h e a l t h y . Of utmost i m p o r t a n c e is t h e state
of t h e o r i g i n a l p r e - b i r t h yang qi; if it is " f u l l , " s t r o n g a n d c i r c u l a t e s f r e e l y
throughout the body t h e n t h e health of the body is positively effected.
This exercise is particularly helpful
in stimulating t h e flow of qi t h r o u g h
t h e m e r i d i a n s , e s p e c i a l l y i n t h e Ren
a n d Du m e r i d i a n s . If t h e qi c i r c u l a t i o n
in t h e Ren a n d Du m e r i d i a n s is s t r o n g ,
the "Small Heavenly Cycle" is open
a n d there arc great b e n e f i t s to h e a l t h ,
including increased m e t a b o l i c activity,
increased resistance to disease,
increased powers of recovery from
illness a n d leading to a long a n d
h e a l t h y life.

W h i l e qi c i r c u l a t i o n in t h e Ren a n d
Du m e r i d i a n s is a v i t a l p a r t of
m a i n t a i n i n g health, W a n g j i W u felt
that t h e b e g i n n e r s h o u l d n o t try a n d
force t h e qi to flow t h r o u g h strong
i n t e n t i o n . His a d v i c e w a s t o p r a c t i c e
t h e exercises with a relaxed m i n d a n d
t h e i n t e n t i o n f o c u s e d o n t h e dun tian.
After t h e qi h a s g a t h e r e d in t h e dan
tian, it w i l l f i n d its o w n w a y in t h e
"Small Heavenly Cycle" through the
gentle coaxing of the physical
movements.

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Preparatory Posture: S t a n d n a t u r a l l y , t h e feet a r e t o g e t h e r ( p h o t o 4 - 1 ) .

Method of Practice:

1 . T h e t w o a r m s h a n g b y t h e s i d e s . Lift t h e h a n d s f o r w a r d a n d u p t o a h e i g h t
just a b o v e t h e t o p o f t h e h e a d a n d c l a p t h e t w o p a l m s t o g e t h e r . I n h a l e d e e p l y
a s y o u e x e c u t e t h i s m o v e (see p h o t o s 4-1 t h r o u g h 4 - 3 ) .
2 . C o n t i n u i n g , t h e t w o a r m s s w i n g d o w n t o t h e rear a n d c l a p t h e h a n d s b e h i n d
t h e b a c k . C l a p t h e h a n d s a s h i g h a s p o s s i b l e b c h i n d t h e b a c k . E x h a l e . See p h o t o s
4-4 and 4-5.
3. Continue clapping the hands above and behind.

N u m b e r o f R e p e t i t i o n s : Start b y clapping a b o v e a n d b e h i n d sixteen times,

increasing as o n e ' s physical condition improves.

Important Points:

1 . I t i s v e r y i m p o r t a n t t o k e e p t h e s h o u l d e r s r e l a x e d . Let t h e b r e a t h m a t c h t h e
m o v e m e n t naturally.
2 . The a r m s aTe n a t u r a l l y s t r a i g h t , o n e m u s t n o t h o l d t h e a r m s rigid.

T h e R a n g e o f M o t i o n a n d E f f e c t s : T h i s exercise i n v o l v e s a great range o f m o t i o n

t o t h e f r o n t a n d rear. This e x e r c i s e , a l o n g w i t h e x e r c i s e s o n e , t w o , a n d t h r e e c a n
b e c o n s i d e r e d t o g e t h e r a s a set o f e x e r c i s e s p r i m a r i l y f o r t h e s h o u l d e r s . T h o s e
with p r o b l e m s of the shoulders, back a n d h a n d s m a y use these exercises as
treatment.

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P h o t o 4-6

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 Health Exercis

The "Song" of Ju Que and Xuan Wu Divide the North and South

S t a n d erect, with t h e h a n d s h a n g i n g at t h e sides.

C a l m t h e h e a r t a n d q u i e t t h e qi, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h a s
possible.
T h e e y e s l o o k s t r a i g h t a h e a d , t h e spirit i s h e l d w i t h i n .
Close the mouth, the tongue touches t h e top of the m o u t h .
R e g u l a t e t h e q i a n d b r e a t h , m o v i n g i n a n d o u t o f t h e dan tian.

T h e feet are c o m f o r t a b l y h e l d t o g e t h e r .
Adopt a naturally erect posture, slightly b e n d t h e knees.
T h e e n e r g y o f t h e k n e e s feels a s i f t h e y are g e n t l y p u l l e d t o g e t h e r , t h e feet c l o s e
inward.
T h e q i s i n k s t o t h e dan tian, t h e p e r i n e u m i s g e n t l y p u l l e d u p w a r d .

Relax t h e shoulders a n d e m p t y t h e chest, press t h e h e a d up and straighten t h e

back of the neck.
Press u p t o w a r d t h e sky a n d s t a n d e r e c t o n t h e e a r t h , o n e q i c o m p l e t e a n d n a t u r a l .
T h e i n t e n t is on t h e dan tian, t h e i n t e n t g u i d e s t h e qi.

The two a r m s m o v e forward a n d up.

T h e two palms clap together over the head.
A t t h i s t i m e , r e l a x t h e s h o u l d e r s , t h e a r m s are p a r a l l e l , b r e a t h e i n d e e p l y .

S w i n g b o t h h a n d s d o w n f r o m a b o v e t o t h e f r o n t a n d t h e n b a c k t o t h e rear,
clapping the palms together behind the back.
At this time relax t h e shoulders and shock with t h e arms, e x h a l e completely.
Repeat as m a n y times as c o m f o r t a b l e .

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Exercise Five: Uphold the Heavens

and Firm the Root
(The Two Hands Uphold the Heavens)
I n t r o d u c t i o n : According to t h e theories of Chinese medicine, the internal body
i n c l u d e s t h e six yin o r g a n s a n d six yang o r g a n s i n c l u d i n g t h e triple w a r m e r . The
triple w a r m e r i s n o t a s i n g l e o r g a n b u t r a t h e r a c o m p l e x o f i n t e r a c t i o n s r e g a r d i n g
a c c u m u l a t i o n a n d d i s p e r s i o n o f m e t a b o l i c a l l y g e n e r a t e d h e a t a n d body-fluids via
the thoracic cavity, a b d o m i n a l cavity, and pelvic or lower a b d o m i n a l cavity. T h e
triple w a r m e r has no c o n c r e t e organ a n d therefore c a n n o t be observed during an
a u t o p s y , b u t c a n o n l y b e k n o w n b y o b s e r v i n g its f u n c t i o n i n t h e l i v i n g b o d y .
In t h e m e d i c a l t r e a t i s e Lin Qu Ying Wei Sheng HueiPien it is w r i t t e n , " T h e u p p e r
w a r m e r is like fog, t h e m i d d l e w a r m e r is like f o a m , t h e l o w e r w a r m e r is like a
d i t c h . " In t h e Medical Recipes for the Internal Organs, it s a y s , " T h e c l a s s i c s say t h e
u p p e r w a r m e r i s like fog, t h e r e t h e spirit o f h a r m o n y o f o r i g i n a l q i s t e a m s f o r t h ;
t h e m i d d l e w a r m e r i s like f o a m , t h i s i s t h e c e n t e r f o r t h e d i g e s t i o n a n d a b s o r p t i o n
o f f o o d : t h e l o w e r w a r m e r i s like a d i t c h , i t i s t h e r o u t e f o r t h e r e m o v a l o f w a s t e
p r o d u c t s . " From t h e a b o v e it c a n be seen that the upper warmer f u n c t i o n s to
d i s s e m i n a t e t h e p r o t e c t i v e qi, t h e m i d d l e w a r m e r f u n c t i o n s i n a b s o r b i n g n u t r i e n t s ,
nurturing the blood and supplying the entire body wilh the nutrients it needs,
and the lower warmer f u n c t i o n s in absorbing liquids and excreting urine and
feces.

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T h i s e x e r c i s e i n v o l v e s l i f t i n g t h e h a n d s a n d b e n d i n g t h e w a i s t . T h i s will
i m p r o v e t h e digestive a n d absorptive f u n c t i o n s of t h e triple warmer, especially
t h e digestive capabilities of t h e s t o m a c h a n d intestines a n d t h e ability of t h e
b l a d d e r t o rid t h e b o d y o f w a s t e s . T h e a b i l i t y t o d i g e s t a n d a b s o r b f o o d , a s w e l l
a s e l i m i n a t e w a s t e p r o d u c t s c a n all b e i m p r o v e d . T h i s i n t u r n will s t r e n g t h e n t h e
physical c o n s t i t u t i o n and p r o m o t e h e a l t h and a l o n g life.

Preparatory Posture: S t a n d n a t u r a l l y , t h e feet t o g e t h e r ( p h o t o 5 - 1 ) .

M e t h o d of Practice: This exercise i s practiced i n t w o parts.

Part O n e
1. Interlace t h e fingers in front of the body, t h e p a l m s face down ( p h o t o 5 - 2 ) .
2 . Lift t h e p a l m s u p a l o n g t h e f r o n t o f t h e b o d y , a t t h e s a m e t i m e , t u r n t h e h a n d s
t o f a c e p a l m s u p . E x t e n d t h e a r m s u n t i l t h e h a n d s are s t r a i g h t u p o v e r t h e t u p
of the head (photo 5-3).
3 . L e a n t h e u p p e r b o d y b a c k w a r d a s far a s p o s s i b l e , t h e n c o n t i n u e b y l e a n i n g t o
t h e left a n d right, t h e h a n d s i n i t i a t e t h e m o t i o n a n d g u i d e t h e b o d y t o l e a n left
a n d r i g h t . L e a n b a c k , left a n d right t h r e e t i m e s e a c h w a y ( p h o t o s 5 - 4 t h r o u g h
5-6).
4 . N o w b e n d o v e r f o r w a r d a n d let t h e h a n d s m o v e d o w n t o t h e f r o n t . T h e p a l m s
t o u c h t h e g r o u n d in front of t h e feet ( p h o t o 5 - 7 ) .
5 . T h e f e e t are t o g e t h e r w i t h t h e k n e e s s t r a i g h t , c o n t i n u i n g , s l i g h t l y t u r n t h e
waist t o t h e left a n d press t h e p a l m s d o w n i n f r o n t o f t h e left f o o t , n o w t u r n t h e
waist to the right a n d press t h e p a l m s d o w n in front of t h e right f o o t (the fingers
arc interlaced t h r o u g h o u t ) . Sec p h o t o s 5 - 8 t h r o u g h 5 - 1 0 .
6 . S t a n d u p a n d a g a i n lift t h e p a l m s u p a n d s t r a i g h t e n t h e a r m s w i t h t h e p a l m s
over t h e t o p of t h e head. Repeat steps 1 - 5 t h r e e or four times ( p h o t o s 5-2
through 5-10).

Part T w o
1. Bend the arms with the palms facing in with the hands held in front of the
f o r e h e a d . A t t h e s a m e t i m e , t a k e a s t e p f o r w a r d w i t h t h e left f o o t a n d b e n d t h e
leg w h i l e s t r a i g h t e n i n g t h e r i g h t leg i n t o a left b o w a n d a r r o w s t a n c e ( p h o t o 5 -
11).
2 . T u r n t h e b o d y t o t h e left a n d l o o k t o t h e rear, l o o k b a c k a n d d o w n a t t h e right
heel, at the same time the hands can help the fKKly twist to the left (photo 5-12).
3 . Turn b a c k t o t h e f r o n t a n d w i t h d r a w t h e left leg, s t e p o u t w i t h t h e r i g h t f o o t
i n t o a r i g h t b o w a n d a r r o w s t a n c e , t u r n t h e w a i s t t o t h e right a n d l o o k b a c k a n d
d o w n t o t h e left h e e l ( p h o t o s 5 - 1 3 t h r o u g h 5 - 1 7 ) .
4 . R e p e a t part t w o o f t h i s e x e r c i s e t w i c e t o t h e left a n d r i g h t .

N u m b e r of Repetitions: The n u m b e r o f r e p e t i t i o n s s u g g e s t e d a b o v e i s t h e
m i n i m u m a m o u n t . O n e m a y i n c r e a s e t h e n u m b e r a s o n e i s a b l e . Those w h o a r e
w e a k o r i n f i r m m a y lessen t h e n u m b e r o f r e p e t i t i o n s .

Important Points:

1 . W h e n s t a n d i n g i n t h e b o w a n d a r r o w s t a n c e , t h e rear h e e l m u s t n o t l e a v e t h e

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ground, t h e foot should be flat.

2 . S i n c e t h i s e x e r c i s e p l a c e s c o m p a r a t i v e l y g r e a t e r a m o u n t o f stress o n t h e w h o l e
body, o n e should be especially careful n o t to use force. In t h e b e g i n n i n g , if o n e
is u n a b l e to perform t h e exercise as described, do n o t try to force the m o v e m e n t s ,
c o m p e t e n c y will c o m e w i t h t i m e .
3 . The b r e a t h i n g s h o u l d b e n a t u r a l .

T h e R a n g e o f M o t i o n a n d E f f e c t s : The first part o f t h e e x e r c i s e , t h e f o r w a r d a n d

b a c k w a r d b e n d i n g , will s t r e t c h o u t t h e b a c k a n d a b d o m i n a l m u s c l e s . A s t h e a r m s
l e a d t h e b o d y t o s t r e t c h side t o side, t h e w a i s t a n d s t o m a c h are s t r e n g t h e n e d . N o t
o n l y are t h e m u s c l e s o f t h e a b d o m e n a n d w a i s t s t r e n g t h e n e d , t h e i n t e r n a l o r g a n s
a r e a l s o e x e r c i s e d , i n c l u d i n g t h e k i d n e y s a n d m a j o r b l o o d vessels i n t h e
a b d o m i n a l cavity.
Part t w o o f t h e e x e r c i s e s t r e t c h e s a n d c o n t r a c t s t h e i n t e r c o s t a l m u s c l e s a n d
exercises the lumbar region.

P h o t o 5-1 P h o t o 5-2 P h o t o 5-3

P h o t o 5-4 P h o t o 5-5 P h o t o 5-6a

l SO
Xing Yi Nei Gong

P h o t o 5-15 P h o t o 5-16 P h o t o 5-17

Photo 5-18 P h o t o 5-19 P h o t o 5-20

 Health Exercises

The "Song" of Uphold the Heavens and Firm the Root:

Stand erect w i t h t h e h a n d s h a n g i n g at the sides.

C a l m t h e h e a r t a n d q u i e t t h e qi, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h a s
possible.
The e y e s l o o k s t r a i g h t a h e a d , t h e spirit i s h e l d w i t h i n .
T h e m o u t h is closed, the tongue touches the roof of the mouth.
R e g u l a t e t h e q i a n d b r e a t h , m o v i n g i n a n d o u t o f t h e dan tian.

Interlace t h e fingers, place the h a n d s in front of t h e lower s t o m a c h .

T h e palms face downward, the energy of the arms hangs down.
Turn t h e p a l m s t o f a c e u p w a r d , raise t h e a r m s a n d lift t h e m a s i f h o l d i n g u p t h e
sky.

T h e power c o m e s from t h e shoulders and arms, relax t h e shoulders a n d lean the

waist back.
R e t u r n t o p r e s s i n g s t r a i g h t u p t o t h e sky, n o w l e a n t h e b o d y t o t h e left s i d e .
L e a n t h e b o d y a l t e r n a t e l y t o t h e r i g h t a n d left t h r e e t i m e s .
Breathe out slowly, b r e a t h e in s m o o t h l y .
( n o t e : T h i s m o v e m e n t s t i m u l a t e s t h e s t o m a c h b y p r o v i d i n g e v e n p r e s s u r e all
around and strengthens t h e upper warmer.)

Bend at the waist and straighten the arms, slowly b e n d forward to the ground.
T h e h a n d s a r e still i n t e r l o c k e d , press t h e p a l m s t o t h e g r o u n d i n f r o n t o f t h e f e e t .
T u r n t h e b o d y t o t h e left, t o u c h t h e g r o u n d o u t s i d e t h e left f o o t .
T u r n t h e b o d y to t h e right, t o u c h t h e g r o u n d outside t h e right foot.
C o n t i n u e the exercise as long as comfortable.
( n o t e : T h i s m o v e m e n t s t i m u l a t e s t h e b l a d d e r b y p r o v i d i n g e v e n p r e s s u r e all
around and strengthens the lower warmer.)

E x t e n d t h e left f o o t f o r w a r d , m o v e i t o u t a s t e p .
T h e f r o n t leg i s b e n t , t h e rear leg i s s t r a i g h t e n e d .
T h e h a n d s a r c i n t e r l o c k e d , raise t h e h a n d s a b o v e t h e h e a d .
T h e p a l m s f a c e u p w a r d , t w i s t t h e b o d y t o t h e left.
Look back at t h e right foot, the power c o m e s from t h e inner thighs.

Extend t h e right foot forward, m o v e it out a step.

T h e f r o n t leg i s b e n t , t h e rear leg i s s t r a i g h t e n e d .
T h e h a n d s a r e i n t e r l o c k e d , raise t h e h a n d s a b o v e t h e h e a d .
T h e p a l m s face upward, twist the b o d y to the right.
L o o k b a c k a t t h e left f o o t , t h e p o w e r c o m e s f r o m t h e i n n e r t h i g h s .
( n o t e : T h i s m o v e m e n t stimulates t h e m i d d l e o f t h e a b d o m e n a n d central part
o f t h e b o d y b y p r o v i d i n g e v e n p r e s s u r e all a r o u n d a n d s t r e n g t h e n i n g t h e m i d d l e
warmer.)

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Xing Yi Nei Gong

Exercise Six: Empty the Foot and Lift a Single Hand

B a l a n c i n g Yin a n d Yang, r e g u l a t i n g t h e Five E l e m e n t s , r e f i n i n g t h e e s s e n c e
i n t o in, q i i n t o spirit a n d spirit i n t o t h e v o i d a r e all t r a d i t i o n a l t h e o r i e s o f C h i n e s e
medicine, a n d X i n g Yi Q u a n internal cultivation practices, a n d are supported by
p r a c t i c a l e x p e r i e n c e . P r a c t i c i n g t h i s set o f e x e r c i s e s c a n i n c r e a s e o n e ' s i n t e r n a l
power, cultivate t h e body, increase vitality, slow t h e aging process, cure disease
a n d e x t e n d life. P r a c t i c i n g t h e s e m o v e m e n t s w i t h i n t e n t c a n b a l a n c e t h e i n t e r n a l
systems, aid t h e f u n c t i o n s o f t h e organs, s t r e n g t h e n t h e muscles a n d s h a r p e n t h e
s e n s e s . T h e t r a n s f o r m a t i o n o f t h e e s s e n c e i n t o q i b u i l d s u p t h e " p r o t e c t i v e qi"
w h i c h surrounds t h e b o d y a n d wards off illness. T h e internal circulatory systems
are r e g u l a t e d , t h e i n d i v i d u a l c e l l s a r e e n l i v e n e d , t h e b l o o d i s n o u r i s h e d a n d t h e
q i will b e full. T h e n e r v o u s s y s t e m i s s t r e n g t h e n e d , t h e s t o m a c h a n d i n t e s t i n e s
are s t r e n g t h e n e d a n d d i g e s t i o n i s i m p r o v e d . T h e liver a n d s p l e e n are b e n e f i t e d
a n d t h e p r o d u c t i o n of b l o o d is increased. T h e entire skeletal system receives
benefit.

T h i s exercise c a n be said to be a m a r v e l o u s m e t h o d of cultivating t h e b o d y a n d

improving the health. T h o s e w h o wish to strengthen the b o d y must look here!
T h e b e s t m e d i c i n e i n t h e w o r l d i s i n s i d e y o u r o w n b o d y , all t h a t i s l a c k i n g i s t h e
p r a c t i c e a n d r e f i n e m e n t t o m a k e u s e o f it. N o m a t t e r t h e r e a s o n o n e h a s n o t t a k e n
advantage of the healing power of the body before, whether it be ignorance of
the correct m e t h o d , laziness, disbelief or insufficient m o t i v a t i o n , n o w that t h e
m e t h o d i s k n o w n , all t h a t i s n e e d e d i s t o put t h e m e t h o d i n t o p r a c t i c e i n o r d e r
to build h e a l t h , cure disease and p r o l o n g life.

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 Health Exercises

Preparatory Posture: S t a n d n a t u r a l l y , t h e f e e t are t o g e t h e r ( p h o t o 6 - 1 ) .

Method of Practice:

1 . S l i g h t l y b e n d t h e left k n e e , t h e left f o o t i s flat o n t h e g r o u n d . S h i f t t h e e n t i r e

w e i g h t o f t h e b o d y o n t o t h e left f o o t .
2 . Lift t h e h e e l o f t h e r i g h t f o o t o f f t h e g r o u n d . T h e b a l l o f t h e r i g h t f o o t l i g h t l y
touches the ground.
3 . A t t h e s a m e t i m e , b e n d t h e e l b o w s a n d lift t h e h a n d s u n t i l t h e p a l m s are i n
f r o n t o f t h e c h e s t , t h e left h a n d i s a g a i n s t t h e b o d y , p a l m f a c i n g d o w n , t h e r i g h t
p a l m i s o u t s i d e t h e left p a l m f a c i n g p a l m u p ( p h o t o 6 - 2 ) .
4 . T h e left h a n d p r e s s e s d o w n w a r d past t h e left side o f t h e s t o m a c h a n d h i p , a t
t h e s a m e t i m e , t h e right h a n d p u s h e s u p w a r d past t h e f o r e h e a d . Do not
c o m p l e t e l y e x t e n d t h e a r m s (photos 6-3 a n d 6 - 4 ) .
5 . C o n t i n u i n g , p u t t h e right f o o t d o w n flat, s h i f t t h e w e i g h t t o t h e r i g h t f o o t a n d
lift t h e left h e e l w i t h t h e left t o e s l i g h t l y t o u c h i n g t h e g r o u n d .
6 . A t t h e s a m e t i m e , t h e r i g h t h a n d presses d o w n w a r d , t u r n t h e p a l m t o f a c e
d o w n , m o v e t h e h a n d a l o n g t h e b o d y , t h e left p a l m t u r n s p a l m u p a n d m o v e s
u p o u t s i d e t h e right p a l m , t h e left p a l m lifts u p a s t h e right p a l m p r e s s e s d o w n
( p h o t o s 6-5 t h r o u g h 6 - 8 ) .
7. Repeat with o n e palm pressing up as t h e o t h e r presses d o w n .

N u m b e r of Repetitions: P r a c t i c e e i g h t t i m e s t o t h e right a n d left t o start,

gradually increasing to sixteen repetitions.

Important Points:

1. W h e n pushing one hand up and the other down, inhale. W h e n changing,

e x h a l e . O n e m a y a l s o just b r e a t h e n a t u r a l l y .
2 . I m a g i n e s o m e resistance w h e n p u s h i n g t h e palms but use n o external force.

The Range of Motion and

Effects: The upward and
downward pressing
motions of the palms and
t h e l i f t i n g o f t h e h e e l flex
and extend the muscles and
j o i n t s o f t h e h a n d s , wrists,
a n d feet. S h i f t i n g t h e w e i g h t
from foot to foot also helps
improve balance. The
actions of the h a n d s stretch
t h e m u s c l e s a t t h e sides o f
the body and the movement
is also beneficial to the
peristalsis a n d digestion.
P h o t o 6-1 P h o t o 6-2

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 Health Exercises

The "Song" of Empty the Foot and Lift a Single Hand

Stand naturally, the arms h a n g by t h e sides.

C o n c e n t r a t e t h e spirit a n d q u i e t t h e qi, t h e h e a r t i s c a l m a s still w a t e r .
C l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h a s p o s s i b l e , t h e spirit i s h e l d w i t h i n .
T h e eyes look straight a h e a d , t h e b o d y is relaxed.
Close the m o u t h , the t o n g u e t o u c h e s the roof of the m o u t h .
T h e (ji a n d b r e a t h fill t h e a r t e r i e s , m o v i n g i n a n d o u t o f t h e dan tian.

M o v e t h e w e i g h t t o t h e left f o o t , e m p t y t h e r i g h t f o o t , t h e ball o f t h e right f o o t

lightly touches the ground.
Regulate the qi and breath, the intent encompasses the entire universe.
A s f r o m a n c i e n t t i m e s , h e a v e n a n d m a n are o n e .
T h e b o d y i s agile, r e a c h a s i f for t h e s k y .

T h e left a r m b e n d s a t t h e e l b o w , t h e left h a n d i s h e l d p a l m o p e n .
M o v e t h e h a n d u p past t h e s t o m a c h , t h e h a n d s t o p s a b o v e t h e c h e s t .
T h e c e n t e r o f t h e p a l m t u r n s i n w a r d , fill t h e p a l m w i t h qi.
M o v e t h e right h a n d i n t h e s a m e m a n n e r , m o v i n g t o t h e right side o f t h e b o d y .
C o n t i n u i n g , t u r n t h e p a l m , s w i n g t h e r i g h t p a l m u p a s t h e left p a l m i s l o w e r e d .
T h e left h a n d i s a t t h e left side, t h e p a l m f a c i n g d o w n w a r d .
T h e qi moves i n t o the palm, t h e intent is as if pressing d o w n t h e earth.

T h e r i g h t a r m b e n d s a t t h e e l b o w , t h e right h a n d i s h e l d i n a p a l m .
T h e p a l m f a c e s i n w a r d , t h e q i fills t h e p a l m .
T h e left p a l m i s m o v e d t o t h e left s i d e .
C o n t i n u i n g , t u r n t h e p a l m o v e r , lift i t u p p a s t t h e c h e s t .
T h e h a n d m o v e s u p t o t h e h e i g h t o f t h e top o f t h e head, t h e palm faces upward.
T h e q i fills t h e p a l m , t h e i n t e n t i s a s i f l i f t i n g u p t h e s k y .

T h e w e i g h t i s m o v e d t o t h e right f o o t , t h e left f o o t i s e m p t y , t h e b a l l o f t h e f o o t
lightly touches the ground.
Regulate the qi and breath, the intent e n c o m p a s s e s the entire universe.
A s f r o m a n c i e n t t i m e s , h e a v e n a n d m a n a r c o n e , t h e b o d y i s agile, r e a c h a s i f t o
t o u c h t h e sky.

T h e right a r m b e n d s a t t h e e l b o w , t h e r i g h t h a n d i s h e l d i n a p a l m .
M o v e t h e h a n d u p past t h e s t o m a c h , t h e h a n d s t o p s a b o v e t h e c h e s t .
T h e c e n t e r o f t h e p a l m t u r n s i n w a r d , fill t h e p a l m w i t h qi.
M o v e t h e left h a n d i n t h e s a m e m a n n e r , m o v i n g t o t h e left side o f t h e b o d y .
C o n t i n u i n g , t u r n t h e p a l m , s w i n g t h e left p a l m u p a s t h e r i g h t p a l m i s l o w e r e d .
T h e right p a l m i s a t t h e right side, t h e p a l m f a c i n g d o w n w a r d .
T h e qi m o v e s i n t o t h e palm, the intent is as if pressing d o w n t h e earth.

T h e left a r m b e n d s a t t h e e l b o w , t h e left h a n d i s h e l d i n a p a l m .
T h e p a l m f a c e s i n w a r d , t h e q i fills t h e p a l m .
T h e right p a l m i s m o v e d t o t h e left s i d e .
C o n t i n u i n g , t u r n i n g t h e p a l m o v e r , lift i t u p past t h e c h e s t .
T h e h a n d m o v e s up to t h e height of t h e top of t h e head, t h e palm faces upward.
The qi fills t h e p a l m , t h e i n t e n t is as if l i f t i n g up t h e s k y .

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Xing Yi Nei Gong

Exercise Seven (Part One): Concentrate the Spirit

and Gaze at the Heel
(Lean, Tilt, Look Right and Gaze Left)

I n t r o d u c t i o n : C o n c e n t r a t e t h e spirit t o q u i e t t h e h e a r t , t h e h e a r t i s q u i e t a n d
w i t h o u t interfering t h o u g h t , w i t h o u t worry. T h i s is t h e state of Wu ji *&) t h e
o r i g i n a l v o i d . All i s u n i t e d i n t o o n e , d i m a n d i n d i s t i n c t , r e t u r n i n g t o t h e g r e a t
void, tranquil a n d flowing endlessly, t h e large a n d small h e a v e n l y cycles flow
naturally, strengthening t h e kidneys and the essence, nourishing the core of the
b o d y , b e n e f i t i n g t h e b r a i n a n d n e r v e s , fire a n d w a t e r a r e b a l a n c e d , t h e r o u t e o f
t h e dan tian I s o p e n . T h e i n t e r n a l a n d e x t e r n a l are c u l t i v a t e d t o g e t h e r ,
m o v e m e n t and stillness follow o n e a n o t h e r , t h e i n t e n t m o v e s a n d form follows,
t h e f o r m relies o n t h e c h a n g e s o f t h e i n t e n t , b e d i l i g e n t i n c u l t i v a t i o n a n d
practice, return to that w h i c h is natural, t h e heart is quiet a n d t h e i n t e n t is true,
it is like p o l i s h i n g g o l d or f i l i n g steel i n t o a n e e d l e , s t u d y d i l i g e n t l y w i t h a q u i e t
m i n d . O n c e t h e m e t h o d i s realized, o n e will e n j o y l o n g life, w i t h b o u n d l e s s
happiness.

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 Health Exercises

Exercise Seven (Part Two):

The Golden Cock Eats Rice
Introduction: According to the traditional theories of Chinese Medicine,
besides t h e " p r e c i o u s " organs, the body also has a network of meridians w h i c h
m n t h r o u g h o u t t h e e n t i r e b o d y . A l t o g e t h e r t h e r e are t w e l v e m a i n m e r i d i a n s
w h i c h are c o n n e c t e d t o t h e i n t e r n a l o r g a n s a n d are d i v i d e d i n t o t w e l v e s y s t e m s .
S i x o f t h e m e r i d i a n s a r e "yang" a n d are l o c a t e d a l o n g t h e l a t e r a l s u r f a c e o f t h e
b o d y . S i x o f t h e m e r i d i a n s a r e "yin" a n d a r e l o c a t e d o n t h e m e d i a l s u r f a c e o f t h e
body. Because the twelve meridiansare c o n n e c t e d to and nourish the important
internal organs, their condition is most important to the health of the body.
T h e goal of health exercises and internal cultivation is to cause the original
p r e - b i r t h yang q i t o f l o w f r e e l y t h r o u g h t h e m e r i d i a n s . T h e q i leads t h e b l o o d ,
t o g e t h e r t h e y n o u r i s h all t h e o r g a n s a n d p r e v e n t d i s e a s e , a n d i n c r e a s e o n e ' s
v i t a l i t y . T h e c a v i t i e s t h a t lie a l o n g t h e m e r i d i a n s are i m p o r t a n t j u n c t u r e s i n t h e
flow of energy. T h e state of these cavities plays a significant role in t h e
p r e v e n t i o n o f d i s e a s e . T h e p r a c t i c e o f t h e X i n g Y i e x e r c i s e s for h e a l t h c a n
s t i m u l a t e t h e f l o w o f t h e o r i g i n a l p r e - b i r t h yang q i t h r o u g h t h e m e r i d i a n s ,
h e l p i n g to r e m o v e a n y o b s t r u c t i o n s in t h e cavities thereby greatly i m p r o v i n g t h e
health. T h e benefits of this exercise include comfortably extending t h e spine
a n d nerves w h i c h run to a n d f r o m t h e brain, as well as o p e n i n g the i m p o r t a n t
c a v i t i e s w h i c h lie a l o n g t h e s p i n e , i n c r e a s i n g t h e f l o w o f e n e r g y i n t h e Ren a n d
D u m e r i d i a n s , i n c r e a s i n g t h e life e n e r g y ,
r e l i e v i n g f a t i g u e a n d c a l m i n g t h e spirit

while benefiting the brain.

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Xing Yi Nei Gong

Preparatory Posture: S t a n d n a t u r a l l y , t h e feet are t o g e t h e r ( p h o t o 7 - 1 ) .

M e t h o d of Practice: This exercise is divided into two parts.

Part O n e : C o n c e n t r a t e t h e Spirit a n d Gaze a t t h e Heel

1 . T h e e y e s l o o k s t r a i g h t a h e a d , s l o w l y t u r n t h e h e a d t o t h e left, l o o k i n g b a c k a s
far a s p o s s i b l e , a s i f l o o k i n g o v e r t h e left s h o u l d e r a t t h e h e e l s ( p h o t o 7 - 2 ) .
2 . R e p e a t t h e m o v e m e n t t u r n i n g t h e h e a d t o t h e r i g h t ( p h o t o s 7-3 a n d 7 - 4 ) .
3 . R e p e a t t u r n i n g t h e h e a d left a n d r i g h t a n d l o o k i n g b a c k a t t h e h e e l s ( p h o t o s
7-1 t h r o u g h 7 - 4 ) .

Part T w o : T h e G o l d e n C o c k Eats Rice

1 . L e a n t h e h e a d b a c k a s far a s p o s s i b l e a n d l o o k u p ( p h o t o 7 - 6 ) .
2 . L o o k d o w n a s far a s p o s s i b l e ( p h o t o 7 - 7 ) .
3. Repeat leaning the head back t h e n bending t h e head forward.

N u m b e r o f R e p e t i t i o n s : Repeat according t o your physical c o n d i t i o n . T h o s e

w i t h h i g h b l o o d p r e s s u r e , o r w h o b e c o m e dizzy, c a n start w i t h just a few
repetitions and gradually increase the n u m b e r .

Important Points:

1 . D u r i n g t h e e x e r c i s e , o n e s h o u l d Temain a s q u i e t a n d c o n c e n t r a t e d a s p o s s i b l e .
M o v e slowly t o avoid b e c o m i n g dizzy.
2. W h e n tilting t h e head forward t h e c h i n t o u c h e s the chest.
3. Breathe naturally.

T h e R a n g e of M o t i o n a n d Effects: This is primarily an exercise for the head a n d

neck. T h e actions of this exercise work the muscles of the head and the cervical
vertebrae, t h e c i r c u l a t i o n to t h e h e a d is increased. T h e m o v e m e n t s h e l p relieve
m e n t a l f a t i g u e a n d relieve t e n s i o n i n t h e c e n t r a l n e r v o u s s y s t e m , w h i l e i m p r o v i n g
its f u n c t i o n . I n a d d i t i o n , s i n c e t h e e y e s l o o k b a c k a s far a s p o s s i b l e , t h e m u s c l e s
a r o u n d t h e e y e s are s t r e n g t h e n e d . T h e e x e r c i s e i s b e n e f i c i a l f o r t h o s e w i t h
problems in the head, neck or central nervous system. The muscles of the neck
a n d c e r v i c a l v e r t e b r a e r e m a i n h e a l t h y a n d t h e e x e r c i s e will a l s o h e l p restore
b a l a n c e to those w i t h high b l o o d pressure or h a r d e n i n g of t h e arteries.

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The "Song" of Concentrate the Spirit and Gaze at the Heel

Stand erect, t h e h a n d s h a n g a t t h e sides.

T h e h e a r t i s c a l m a s still w a t e r , t h e r e i s n o t t h e s l i g h t e s t d i s t u r b a n c e .
T h e e y e s l o o k s t r a i g h t a h e a d , t h e spirit i s h e l d w i t h i n .
T h e m o u t h is closed, the tongue touches the roof of the m o u t h .
R e g u l a t e t h e q i a n d b r e a t h , m o v i n g i n a n d o u t f r o m t h e dan tian.

Turn t h e h e a d a n d n e c k t o t h e left, s l o w l y a n d g e n t l y .
G a z e a t t h e h e e l s , t h e i n t e n t m o v e s first.
C o n c e n t r a t e t h e spirit o n t h e b a c k w a r d gaze, f o c u s o n t h e h e e l s .
T h e i n t e n t and(/i m o v e t o g e t h e r , t h e e n e r g y will f l o w t h r o u g h t h e Ken m e r i d i a n .

Yin a n d Yang a r e u n i t e d , t h e e n e r g y f l o w s t h r o u g h t h e h e a v e n l y c y c l e s .
Slowly and gently, t h e intent a n d qi m o v e in an u n i n t e r r u p t e d flow.
T h e h e a d r e t u r n s t o t h e c e n t r a l p o s i t i o n , t h e q i i s c o n t a i n e d o n t h e dan tian.

Turn t h e head a n d neck to the right, slowly a n d gently.

Craze a t t h e h e e l s , t h e i n t e n t m o v e s first.
C o n c e n t r a t e t h e spirit o n t h e b a c k w a r d gaze, f o c u s o n t h e h e e l s .
The i n t e n t a n d q i m o v e t o g e t h e r , t h e e n e r g y wilt f l o w t h r o u g h t h e Ren m e r i d i a n .
T h e energy flows t h r o u g h t h e h e a v e n l y cycles.

The m o v e m e n t i s s o f t a n d g e n t l e , r e p e a t a s m a n y t i m e s a s i s c o m f o r t a b l e .
T h e qi and breath flow comfortably, this exercise prevents dizziness.

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The "Song" of The Golden Cock Eats Rice

Stand erect, t h e h a n d s h a n g at t h e sides.

The h e a r t i s c a l m a s still w a t e r , w i t h o u t t h e s l i g h t e s t d i s t u r b a n c e .
T h e e y e s l o o k s t r a i g h t a h e a d , t h e spirit i s h e l d w i t h i n .
Close the mouth, the tongue touches the roof of the m o u t h .
R e g u l a t e t h e q i a n d b r e a t h , m o v i n g i n a n d o u t o f t h e dan tian.

T h e h e a d i s h e l d u p w i t h t h e n e c k s t r a i g h t , relax t h e s h o u l d e r s a n d e m p t y t h e
chest.
T h e feet g r i p t h e g r o u n d , t h e " b u b b l i n g s p r i n g " p o i n t w i t h d r a w s u p w a r d .
S i n k t h e qi to t h e dan tian, t h e p e r i n e u m is c o n t r a c t e d u p w a r d .
Move the crown of the head backward, t h e chin moves upward.
S l o w l y i n h a l e , b r e a t h e i n t o t h e " s e a o f qi."

Return t h e head to t h e upright position, proceed slowly.

T h e heart is calm and the qi s m o o t h , you must not hold the breath.
The e y e s l o o k f o r w a r d , r e l a x e d , q u i e t a n d n a t u r a l .

T h e head is held up with t h e neck straight, relax t h e shoulders a n d e m p t y t h e

chest.
S i n k t h e q i t o t h e dan tian, t h e p e r i n e u m i s g e n t l y c o n t r a c t e d u p w a r d .
M o v e t h e crown of t h e h e a d forward, t h e "jade pillow" (a point at t h e base of t h e
skull) moves upward.
S l o w l y e x h a l e , t h e air l e a v e s t h e " s e a o f qi."

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Exercise Eight: Ape Arms Enliven the Blood

(Rubbing the Palms)
I n t r o d u c t i o n : T h e C h i n e s e m e d i c a l t r e a t i s e BenZangPian s t a t e s , " T h e m e r i d i a n s
are t h e p a t h w a y s o f q i a n d b l o o d , t h e y m a n a g e yin andyang, n o u r i s h t h e t e n d o n s
and bones and benefit t h e joints." The m e a n i n g of this is the internal organs,
b o n e s a n d j o i n t s are n o u r i s h e d b y t h e f l o w o f q i a n d b l o o d . A b a l a n c e d f l o w o f
qi a n d b i o o d also benefits t h e c o n n e c t i v e tissue, b o n e s a n d skin. T h e balances
o f t h e b o d y are all d e p e n d e n t u p o n t h i s f l o w . I f t h e r e are n o o b s t r u c t i o n s t o t h e
n o r m a l f l o w o f q i a n d b l o o d t h r o u g h o u t t h e e n t i r e b o d y , all parts o f t h e b o d y will
b e n o u r i s h e d a n d will f u n c t i o n n o r m a l l y . T h e b o d y i s t h e n a b l e t o w a r d o f f
h a r m f u l i n f l u e n c e s a n d m a i n t a i n its h e a l t h .
In t h e Ling Qiu Theory of Regulating the Meridians t h e r e is a d i s c u s s i o n of t h e
" l i v e r s t o r i n g b l o o d . " T h i s refers t o t h e liver's a b i l i t y t o s t o r e a n d r e g u l a t e t h e
a m o u n t o f b l o o d i t c o n t a i n s . The v a r i o u s d i s e a s e s o f t h e b l o o d are c a u s e d b y t h e
" i n a b i l i t y o f t h e liver t o s t o r e b l o o d . "
T h e purpose of this exercise is to open the meridians, including the Twelve
M a i n Meridians a n d t h e Eight Extra Meridians, a l l o w i n g the energy to flow
u n i m p e d e d . T h e b l o o d v e s s e l s t o o are o p e n e d a n d t h e c i r c u l a t i o n i s s t r o n g . W i t h
t h e q i a n d b l o o d c i r c u l a t i n g n o r m a l l y , all t h e v a r i o u s o r g a n s a n d s y s t e m s o f t h e
body receive t h e n u t r i e n t s n e e d e d for o p t i m a l h e a l t h a n d p r e v e n t i o n of disease.
 Health Exercises

Preparatory Posture: S t a n d n a t u r a l l y , t h e feet a r e t o g e t h e r ( p h o t o 8 - 1 ) .

Method of Practice:

1 . B e n d t h e k n e e s s l i g h t l y , s h i f t t h e w e i g h t t o t h e r i g h t f o o t , lift t h e left h e e l a n d
l i g h t l y t o u c h t h e g r o u n d w i t h t h e b a l l o f t h e left f o o t .
2 . B e n d t h e left e l b o w , lift t h e left h a n d u n t i l i t i s level w i t h a n d i n f r o n t o f t h e
left side o f t h e f o r e h e a d .
3 . Put t h e f i n g e r s o f t h e right h a n d t o g e t h e r , r u b t h e left p a l m i n a n u p a n d d o w n
m o t i o n w i t h t h e right f i n g e r s ( p h o t o 8 - 2 ) .
4 . T u r n t h e h e a d a n d l o o k t o t h e right, a s i f l o o k i n g a t t h e right h e e l .
5 . After r u b b i n g t h e left p a l m a n u m b e r o f t i m e s , p u t t h e left f o o t d o w n , s h i f t t h e
w e i g h t t o t h e left f o o t , b e n d t h e k n e e s l i g h t l y a n d t o u c h t h e ball o f t h e r i g h t f o o t
l i g h t l y o n t h e g r o u n d . Lift t h e r i g h t p a l m a n d r u b w i t h t h e left l i n g e r s ( p h o t o s
8-3 and 8-4).
6 . R e p e a t t o t h e left a n d r i g h t .

N u m b e r of Repetitions: P e r f o r m t w i c e o n t h e r i g h t a n d left sides. R u b t h e p a l m

u n t i l it is w a r m .

Important Points:

1 . T h e s h o u l d e r s m u s t b e r e l a x e d , t h e a r m s m u s t n o t b e rigid.

T h e R a n g e o f M o t i o n a n d E f f e c t s : T h i s e x e r c i s e will i n c r e a s e t h e e n d u r a n c e o f
t h e arms and fingers. It is especially beneficial to t h o s e w h o have injured their
ha u d s or f i n g e r s . R u b b i n g t h e pal m s t i m u l a t e s t h e Lao Gong p o i n t (in t h e c e n t e r
of the p a l m ) . This is beneficial to those suffering from " h e a t " in the internal
organs, e x t r e m e thirst, nasal problems, inability to focus t h e attention a n d
stroke.

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 Health Exercises

The "Song" of Ape Arms Enliven the Blood

S t a n d e r e c t , t h e h a n d s h a n g d o w n b y t h e sides.
The h e a r t i s c a l m a s still w a t e r , w i t h o u t t h e s l i g h t e s t d i s t u r b a n c e .
T h e e y e s l o o k straight a h e a d , t h e spirit i s h e l d w i t h i n .
Close the m o u t h , the tongue touches the roof of the mouth.
R e g u l a t e t h e q i a n d b r e a t h , m o v i n g i n a n d o u t o f t h e dan tian.

E m p t y t h e left f o o t , t h e ball o f t h e left f o o t l i g h t l y t o u c h e s t h e g r o u n d .

T h e w e i g h t o f t h e b o d y i s o n t h e right f o o t .
T h e i n t e n t i s o n t h e dan tian, t h e p e r i n e u m i s g e n t l y lifted u p .

B e n d t h e left e l b o w , lift i t past t h e s t o m a c h t o t h e h e i g h t o f t h e c h e s t .

Lift t h e left p a l m , p l a c e i t b e s i d e t h e left side o f t h e h e a d .
T h e center of t h e palm is at t h e height of t h e forehead, as if you are holding up
t h e sky.

B e n d t h e right e l b o w s l i g h t l y , lift t h e r i g h t p a l m .
Lift i t t o t h e h e i g h t o f t h e h e a d , p l a c e t h e right f i n g e r t i p s a g a i n s t t h e left p a l m .
The right f i n g e r s r u b t h e left p a l m , r u b w i t h a n u p a n d d o w n m o t i o n .
T u r n t h e head to t h e right, look at t h e right h e e l .

E m p t y t h e right f o o t , t h e b a l l o f t h e right f o o t l i g h t l y t o u c h e s t h e g r o u n d .
T h e w e i g h t o f t h e b o d y i s o n t h e left f o o t .
T h e i n t e n t is on t h e dan tian, t h e p e r i n e u m is l i f t e d u p w a r d .

B e n d t h e r i g h t e l b o w , lift i t p a s t t h e s t o m a c h t o t h e h e i g h t o f t h e c h e s t .
Lift t h e left p a l m , p l a c e i t b e s i d e t h e left side o f t h e h e a d .
T h e c e n t e r o f t h e p a l m i s a t t h e h e i g h t o f t h e f o r e h e a d , a s i f y o u are h o l d i n g u p
t h e sky.

B e n d t h e left e l b o w s l i g h t l y , lift t h e left p a l m .

Lift i t t o t h e h e i g h t o f t h e h e a d , p l a c e t h e r i g h t f i n g e r t i p s a g a i n s t t h e right p a l m .
T h e left f i n g e r s r u b t h e r i g h t p a l m , rub w i t h a n u p a n d d o w n m o t i o n .
T u r n t h e h e a d t o t h e left, l o o k a t t h e left h e e l .

Repeat as long as c o m f o r t a b l e .

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Exercise Nine: Raising the Back Seven Times

I n t r o d u c t i o n : W h e n o n e i s a b l e t o lead t h e b r e a t h , t h e o r i g i n a l p r e - b i r t h yang
qi c a n ensure that t h e n o u r i s h i n g qi flows freely t h r o u g h t h e m e r i d i a n s , t h e b l o o d
c i r c u l a t i o n will b e c o m p l e t e a n d e a c h p a r t o f t h e b o d y will receive t h e n o u r i s h m e n t
i t n e e d s . T h e o r g a n s will t h e n f u n c t i o n n o r m a l l y , t h e b o d y will b e h e a l t h y a n d
d i s e a s e will h a v e n o p l a c e t o t a k e h o l d . A t t h e s a m e t i m e , w h e n b r e a t h i n g
c o r r e c t l y o n e m a y a l s o fill t h e dan tian w h i c h s t r e n g t h e n s t h e i n t e r n a l o r g a n s .
T h i s e x e r c i s e will s t r e n g t h e n t h e f u n c t i o n o f t h e l u n g s , i m p r o v e r e s p i r a t i o n ,
vital capacity a n d s t i m u l a t e m e t a b o l i c activity. Practicing r h y t h m i c b r e a t h i n g
also improves the f u n c t i o n of t h e heart, s t r e n g t h e n s t h e b l o o d vessels, a n d
increases the heart's power of endurance which p r o m o t e s health and a long,
h e a l t h y life.

US
 Health ExercifM'K

Preparatory Posture: S t a n d n a t u r a l l y , t h e f e e t are t o g e t h e r ( p h o t o 9 - 1 ) .

Method of Practice:

1 . Lift t h e h a n d s u p i n f r o n t t o t h e h e i g h t o f t h e h e a d , t h e p a l m s f a c e o u t w a r d .
2 . A t t h e s a m e t i m e , raise u p o n t h e t o e s , t h e legs a r e t o g e t h e r a n d t h e k n e e s a r e
s t r a i g h t . T h e e n t i r e w e i g h t o f t h e b o d y i s o n t h e balls o f t h e feet. I n h a l e d e e p l y .
See p h o t o s 9-2 a n d 9 - 3 .
3. Lower t h e heels as t h e two arms drop straight d o w n in front of t h e body, b e n d
t h e knees a n d slightly squat (dropping t h e b o d y w e i g h t and t h e arms swiftly as
t h e h e e l s are l o w e r e d ) , e x h a l e t h o u g h t t h e m o u t h w i t h t h e " H A " s o u n d ( p h o t o
9-4).
4 . I m m e d i a t e l y raise u p o n t h e t o e s a g a i n a n d s w i n g t h e a r m s u p a b o v e t h e h e a d
(photos 9-5 and 9-6).
5. Repeat steps 1-4.

N u m b e r o f R e p e t i t i o n s : Start w i t h seven repetitions, work u p t h e n u m b e r o f

repetitions as y o u are able.

Important Points:

1. T h e w h o l e b o d y is relaxed. Match the breath with the m o v e m e n t . Inhale w h e n

raising up on the toes and exhale w h e n lowering the heels. R e m e m b e r to e x h a l e
through the m o u t h with an audible " H A " sound.
2. Perform the exercise slowly.

T h e R a n g e o f M o t i o n a n d Effects: Thisexercise stretches t h e m u s c l e s o f the four

extremities, with t h e m a t c h e d b r e a t h i n g there is a slight shock w h e n t h e heels
d r o p , w h i c h i s g o o d f o r t h e i n t e r n a l o r g a n s . T h e e x e r c i s e i s r e l a t e d t o e x e r c i s e five
and has a similar effect. In addition, since the entire weight of the b o d y is
s u p p o r t e d b y t h e balls o f t h e f e e t , t h e b a l a n c e i s i m p r o v e d .

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The "Song" of Raising the Back Seven Times:

Stand erect, t h e h a n d s h a n g at t h e sides.

T h e h e a r t i s c a l m a s still a s w a t e r , w i t h o u t t h e s l i g h t e s t i n t e r f e r e n c e .
T h e e y e s l o o k s t r a i g h t a h e a d , t h e spirit i s h e l d w i t h i n .
Close the mouth, the tongue touches the roof of the m o u t h .
R e g u l a t e t h e q i a n d b r e a t h , m o v i n g i n a n d o u t o f t h e dan tian.

T h e qi s i n k s to t h e dan tian, t h e p e r i n e u m is g e n t l y lifted u p w a r d .

Lift t h e h a n d s t o g e t h e r , s l o w l y raise t h e m u p o v e r t h e h e a d .
T h e t w o palms face t h e front.
A t t h e s a m e t i m e raise u p o n t h e b a l l s o f t h e f e e t , t h e h e e l s raise u p o f f t h e g r o u n d .
I n h a l e d e e p l y , t h e p o i n t o f p o w e r i s i n t h e feet, a r m s , w a i s t a n d h i p .

T h e two arms forcefully swing d o w n .

T h e heels lower to the ground, exhale with a " h a " sound.
All o f t h e stale air i n t h e l u n g s i s e x h a l e d w i t h t h e " h a " s o u n d .
This cleans the lungs and benefits the brain, strengthens the heart and improves
t h e liver.

R e m e m b e r in your heart,
Repeat t h e exercise, seven t i m e s is ideal.
All i l l n e s s a n d d i s e a s e will d i s a p p e a r .

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Exercise Ten: Both Fists Strike the Back

I n t r o d u c t i o n : T h e Ren m e r i d i a n r u n s a l o n g t h e f r o n t o f t h e b o d y a n d r e g u l a t e s
t h e yin, i t i s t h e " s e a " o f t h e yin m e r i d i a n s . T h e D u m e r i d i a n r u n s a l o n g t h e h a c k
a n d c o n t r o l s t h e yang, i t i s t h e " s e a " o f t h e yang m e r i d i a n s . W h e n t h e Ren a n d
D u m e r i d i a n s are u n i t e d a n d t h e q i a n d b r e a t h f l o w f r e e l y i n c o n t i n u o u s c y c l e s ,
t h e n t h e b o d y will b e s t r o n g a n d full o f v i t a l i t y . W h e n t h e energy flows
u n i m p e d e d t h r o u g h t h e D u m e r i d i a n , t h e yang q i o f t h e k i d n e y will rise t o t h e
" w e l l o f t h e s h o u l d e r s " a n d will f l o w d o w n w a r d t o t h e h e e l s . The k i d n e y q i will
b e full, t h e spirit p u r e a n d c o n c e n t r a t e d , t h e w a i s t a n d legs will b e s t r o n g , t h e
i n t e r n a l o r g a n s will b e a t e a s e . W i t h c o n t i n u e d p r a c t i c e o f t h i s e x e r c i s e t h e results
will b e c o m e o b v i o u s .

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Preparatory Posture: Stand in t h e horse riding stance ( p h o t o 10-2).

Method of Practice:

1 . C l o s e t h e h a n d s i n t o l o o s e fists, b e n d t h e e l b o w s a n d s w i n g t h e h a n d s u p w a r d .
Use t h e " t i g e r ' s e y e " ( t h e radial side o f t h e fist) t o strike d o w n w a r d o n t h e t o p s
of t h e trapezius muscles.
2. At the same time, push out the stomach and lean back (photos 10-3 through
10-5).
3 . T h e fists fall b a c k t o t h e i r s t a r t i n g p o s i t i o n h a n g i n g b y t h e sides ( p h o t o s 1 0 -
6 and 10-7).
4. Repeat steps 1-3.

N u m b e r of Repetitions: Sixteen repetitions is average, o n e m a y work up to

t w e n t y four or m o r e .

Important Points:

1 . W h e n striking t h e back and pushing out t h e s t o m a c h , inhale. W h e n returning

t o t h e u p r i g h t p o s i t i o n a n d d r o p p i n g t h e fists, e x h a l e .
2 . After c o m p l e t i n g e x e r c i s e n i n e , o n e m a y rest a b r i e f p e r i o d b e f o r e b e g i n n i n g
e x e r c i s e t e n . E x e r c i s e n i n e i s a bit m o r e stressful a n d o n e s h o u l d a l l o w t h e b o d y
time to c a l m d o w n a n d b e c o m e quiet before going on to exercise ten, in order
t o a v o i d loss o f b r e a t h .

t h e Range of M o t i o n a n d Effects: This exercise c o n d i t i o n s the m u s c l e s o f the

s t o m a c h a n d w a i s t . W h e n p u s h i n g o u t t h e s t o m a c h t h e a b d o m i n a l m u s c l e s are
s t r e t c h e d , t h i s i n f l u e n c e s t h e i n t e r n a l o r g a n s . The l i g h t t a p p i n g o n t h e t r a p e z i u s
muscles is beneficial to (hose w h o have injured their neck, shoulders, or back.

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P h o t o 10-1 P h o t o 10-2 P h o t o 10-3

P h o t o 10-4 P h o t o 10-5 P h o t o 10-6

P h o t o 10-7 P h o t o 10-8 P h o t o 10-9

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The "Song" of Both lists Strike the Back:

Stand up naturally, the h a n d s h a n g beside the body.

C o n c e n t r a t e t h e spirit a n d q u i e t t h e qi, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h
as p o s s i b l e .
T h e h e a r t i s c a l m a s still w a t e r , t h e h e a v e n a n d e a r t h e x i s t t o g e t h e r .
T h e eyes look straight a h e a d , t h e limbs a n d b o d y are relaxed.
Close the mouth, the tongue touches the roof of the m o u t h .
T h e q i a n d b l o o d fill t h e a r t e r i e s , m o v i n g t o a n d f r o m t h e " s e a o f qi."

T h e feet are o p e n e d p a r a l l e l i n t h e h o r s e r i d i n g p o s t u r e .
T h e entire soles of t h e feet grip t h e g r o u n d , the " b u b b l i n g s p r i n g s " p o i n t s are
contracted upward.
T h e knees are b e n t , t h e e n e r g y o f t h e w a i s t m o v e s d o w n w a r d .
The palms are p l a c e d o n t h e t o p s o f t h e t h i g h s , t h e f i n g e r s are s t r e t c h e d a n d
opened.

Relax t h e shoulders a n d e m p t y t h e chest, press t h e h e a d upward a n d straighten

the back of the neck.
The i n t e n t is k e p t in t h e dan tian, t h e b r e a t h is d e l i c a t e , i n h a l e g e n t l y .
Exhale s m o o t h l y , delicately, even, slow, and long.
Press u p t h e sky a n d s t a n d e r e c t o n t h e e a r t h , o n e q i c o m p l e t e a n d n a t u r a l .
T h e s h o u l d e r s a n d e l b o w s r e l a x e d , c l o s e t h e fisls t i g h t l y .

T h e shoulders "urge" the elbows, the elbows "urge" the hands.

W a v e t h e t w o fists, s w i n g t h e m u p w a r d .
Swing t h e m above t h e head, then d o w n the back.
T h e fists s t r i k e t h e " w e l l o f t h e s h o u l d e r s " t h e c h e s t a n d w a i s t l e a n b a c k .
T h e qi and breath m o v e in a n d nut, regulating t h e m o v e m e n t .

Repeat in this m a n n e r , striking t h e "well of t h e shoulders."

C o n t i n u e as long as is c o m f o r t a b l e .

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Exercise Eleven: Rotating the Waist

Strengthens the Kidneys

I n t r o d u c t i o n : According to the theories of traditional Chinese medicine, the

f u n c t i o n s of the kidneys include the removal of wastes a n d uric acid, a n d also
r e p r o d u c t i o n . In t h e Su Xing: Ling Lan Mi Dion Lun it is w r i t t e n , " T h e k i d n e y is
a n o r g a n w h i c h gives s t r e n g t h , i t m a k e s o n e c l e v e r . " T h e m e a n i n g o f " g i v i n g o n e
s t r e n g t h " refers t o e n e r g y a n d v i t a l i t y , w h i l e " m a k i n g o n e c l e v e r " refers t o h a v i n g
a s h a r p m i n d . A l t h o u g h t h e b r a i n i s r e s p o n s i b l e f o r t h o u g h t , t h e c e r e b r a l fluid
is produced by t h e kidneys, therefore t h e health of t h e kidneys is closely related
to one's mental powers.
The k i d n e y s a r e related t o t h e e l e m e n t w a t e r . T h e a n c i e n t s b e l i e v e d w a t e r i s
yin, h o w e v e r , yin is c o n t a i n e d w i t h i n yang, t h i s m e a n s t h a t t h e r e is fire in t h e
midst of water. Because of this, t h e t w o kidneys are divided into t h e water kidney
a n d t h e fire k i d n e y , t h e left k i d n e y i s w a t e r a n d t h e r i g h t k i d n e y i s a s s o c i a t e d w i t h
t h e ming men p o i n t a n d i s fire. T h e f u n c t i o n s o f t h e t w o k i d n e y s a r e c o o r d i n a t e d ,
w h e n they f u n c t i o n t o g e t h e r in h a r m o n y t h e b o d y is able lo m a i n t a i n a state of
great vitality. Therefore, t h e health of
t h e kidneys is very i m p o r t a n t to t h e
overall h e a l t h of the body. Practicing
the Xing Yi health exercises, especially
this exercise, can greatly i m p r o v e t h e
strength and function of the kidneys
resulting in increased vitality, g o o d
health in general, a sharp m i n d a n d t h e
e n e r g y to s u c c e e d in life.

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Preparatory Posture: Stand in the horse riding stance ( p h o t o 11-2).

M e t h o d of Practice:

1 . P u t t h e h a n d s o n t h e s i d e s o f t h e waist, t h e t h u m b s are f o r w a r d u n d e r t h e f r o n t
o f t h e l o w e r ribs a n d t h e f o u r f i n g e r s are o n e a c h side o f t h e b a c k n e a r t h e l u m b a r
region (photo 11-3).
2 . T u r n t h e w a i s t i n a c i r c l e first t o t h e left, t h e n t o t h e f r o n t , t h e n t o t h e r i g h t ,
t h e n t o t h e rear ( m a k i n g a c l o c k w i s e c i r c l e ) . See p h o t o s 1 1 - 3 t h r o u g h 1 1 - 7 .
3 . After a n u m b e r o f r e p e t i t i o n s , reverse t h e d i r e c t i o n o f t h e c i r c l e a n d r e p e a t
( p h o t o s 11-H t h r o u g h 1 1 - 1 1 ) .
4. Repeat steps 1-3.

N u m b e r of Repetitions: Start with eight o r sixteen repetitions a n d gradually

increase the number.

Important Points:

1. T h e m o v e m e n t should be light a n d slow.

2 . T h e size o f t h e c i r c l e c a n v a r y a c c o r d i n g t o o n e ' s p h y s i c a l c o n d i t i o n .
3 . T h e f e e t r e m a i n flat o n t h e g r o u n d t h r o u g h o u t t h e m o v e m e n t . O n l y t h e h i p s
a n d waist s h o u l d m o v e .
4 . D o n o t let t h e h e a d r o t a t e o r s w i n g , t r y t o k e e p t h e h e a d r e l a t i v e l y still.
5 . T h e h a n d s s h o u l d firmly h o l d t h e waist. T h i s helps protect t h e waist muscles
and also helps o n e perform the exercise.
6. Breathe naturally.

T h e R a n g e o f M o t i o n a n d E f f e c t s : T h i s e x e r c i s e m o v e s t h e waist, h i p s , k n e e s ,
a n d wrists t h r o u g h u n c o m m o n a n g l e s o f m o t i o n . T h e w a i s t i s t h e c e n t r a l axis
of t h e body's m o t i o n , t h e muscles of t h e waist a n d a b d o m e n as well as the
k i d n e y s will b e s t i m u l a t e d b y t h i s e x e r c i s e . T h e m o v e m e n t i s b e n e f i c i a l f o r t h o s e
w i t h pain in t h e waist.

P h o t o 11-1 P h o t o 11-2 P h o t o 11-3

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P h o t o 11-4 P h o t o 11-5 P h o t o 11-6

P h o t o 11-7 P h o t o 11-8 P h o t o 11-9

P h o t o 11-10 P h o t o 11-11 P h o t o 11-12

 Health Exercises

The "Song" of Rotating the Waist Strengthens the Kidneys

T h e body stands naturally erect, t h e h a n d s h a n g at t h e sides.

C o n c e n t r a t e t h e spirit a n d q u i e t t h e qi, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h
as p o s s i b l e .
T h e h e a r t i s c a l m a s still w a t e r , h e a v e n a n d e a r t h e x i s t t o g e t h e r .
T h e eyes look straight a h e a d , t h e limbs a n d b o d y relax.
Close the mouth, the tongue touches the roof of the m o u t h .
T h e q i a n d b r e a t h fill t h e a r t e r i e s , m o v i n g i n a n d o u t o f t h e " s e a o f qi."

T h e feet o p e n o u t p a r a l l e l , a d o p t t h e h o r s e r i d i n g p o s t u r e .
T h e e n t i r e s o l e s o f t h e feet g r i p t h e g r o u n d , t h e b u b b l i n g well p o i n t i s c o n t r a c t e d
upward.
T h e knees are b e n t , t h e e n e r g y o f t h e waist m o v e s d o w n w a r d .

T h e h a n d s are h e l d p a l m s open, place t h e palms b e h i n d t h e back.

Put t h e p a l m s o n t h e l o w e r b a c k o n e a c h side o f t h e s p i n e , t h e t i p s o f t h e f i n g e r s
should be touching.
T h e qi s i n k s to t h e dan tian, t h e qi a n d b r e a t h are n a t u r a l .
Lean back, t h e s t o m a c h m o v e s forward, m o v e t h e waist in a circle.
R o t a t e f r o m t h e f r o n t t o t h e left, f r o m t h e left t o t h e rear.
F r o m t h e rear t o t h e right, from t h e right b a c k t o t h e f r o n t .
Repeat as long as is c o m f o r t a b l e .

Lean back, t h e s t o m a c h m o v e s forward, m o v e t h e waist in a circle.

R o t a t e f r o m t h e f r o n t t o t h e r i g h t , f r o m t h e r i g h t t o t h e rear,
F r o m t h e rear t o t h e left, f r o m t h e left b a c k t o t h e f r o n t .
R e p e a t as l o n g as is c o m f o r t a b l e .

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Exercise Twelve: Moving the Hips

to the Left and Right
I n t r o d u c t i o n : T h e f r a m e , t o r s o , waist a n d h i p s are i n v o l v e d i n t h e o v e r a l l
m o t i o n c a p a b i l i t i e s o f t h e b o d y , t h e s e areas m u s t n o t b e n e g l e c t e d d u r i n g
e x e r c i s e . F r o m t h e p o i n t o f view o f p h y s i o l o g y , a n d t h e s t r u c t u r e o f t h e b o d y ,
t h e frame, torso, waist a n d h i p s include m a n y i m p o r t a n t meridians, o r g a n s a n d
vital areas of c i r c u l a t i o n . T h e i m p o r t a n c e of t h e s e areas s h o u l d be c o n s i d e r e d
when executing exercises to strengthen t h e overall f u n c t i o n s of the body.
After p r a c t i c i n g t h e X i n g Y i e x e r c i s e s f o r h e a l t h , o n e will s t r e n g t h e n t h e v e r y
r o o t o f t h e self, m a k i n g t h e b o d y h e a l t h y , t h e q i full, t h e l i m b s agile, t h e w a i s t
a n d legs s t r o n g , t h e l o w e r b o d y s t a b l e , m o v e m e n t s a d r o i t , t h e s t e p s l i g h t , t h e
back straight a n d t h e b o d y light a n d agile.

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Preparatory Posture: S p r e a d t h e legs t o d o u b l e s h o u l d e r w i d t h a p a r t , t h e feet

are parallel.

Method of Practice:

1. T h e upper body leans forward, t h e h a n d s grasp t h e ankles.

2 . S q u a t d o w n o n t h e left leg, t h e left k n e e p r e s s e s a g a i n s t t h e c h e s t , t h e left f o o t
r e m a i n s flat o n t h e g r o u n d . T h e r i g h t leg i s s t r e t c h e d s t r a i g h t . N o w t h e w a i s t ,
b a c k a n d h i p s are all t u r n t o w a r d t h e r i g h t s i d e . T h e e y e s l o o k t o w a r d t h e r i g h t
(photo 12-1).
3 . R e l a x t h e s h o u l d e r s , s i n k t h e e l b o w s , t h e p a l m s r e a c h t o w a r d t h e right f o o t
a n d a l t e r n a t e l y r e a c h f o r w a r d a n d pull b a c k ( p h o t o s 12-1 t h r o u g h 1 2 - 4 ) .
4 . R e p e a t , s q u a t t i n g d o w n o n t h e r i g h t leg ( p h o t o s 1 2 - S t h r o u g h 1 2 - 8 ) .
5. Repeat t h e exercise twice on e a c h side.

N u m b e r of R e p e t i t i o n s : If o n e has sufficient endurance, more repetitions m a y

be performed if desired.

Important Points:

1. Breathe naturally.
2 . F o r b e g i n n e r s o r t h o s e w h o are u n a b l e , i f o n e c a n n o t p e r f o r m the exercise as
d e s c r i b e d , d o n o t f o r c e it. O v e r t i m e o n e will e v e n t u a l l y b e a b l e t o do the exercise
completely.
3. T h e exercise is to be d o n e slowly, with stability a n d in a quiet manner.
S q u a t t i n g f o r l o n g e r p e r i o d s will relax t h e t e n d o n s a n d i n c r e a s e flexibility, this
is preferable to adding repetitions.

T h e Range of Motion a n d Effects: I n t h i s e x e r c i s e t h e u p p e r p a r t o f t h e leg

rotates o u t w a r d to a great degree. T h e weight of t h e b o d y is b o r n e by t h e h i p . At
t h e s a m e t i m e , t h e knees, waist a n d a n k l e s are also c o n d i t i o n e d . With the
pushing and pulling motions of the hands, the whole body is exercised.

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 Health Exercises

The "Song" of Moving the Hips to the Left and Right:

Stand u p naturally, t h e h a n d s h a n g b y t h e sides.

C o n c e n t r a t e t h e spirit a n d q u i e t t h e qi, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h
as possible.
The h e a r t i s c a l m a s still w a t e r , h e a v e n a n d e a r t h e x i s t t o g e t h e r .
T h e eyes look straight ahead, t h e limbs a n d b o d y relax.
Close the m o u t h , the t o n g u e touches the roof of the m o u t h .
T h e q i a n d b l o o d fill t h e a r t e r i e s , m o v i n g i n a n d o u t o f t h e " s e a o f qi."

T h e feet a r e o p e n e d p a r a l l e l , t h e feet a r e o p e n e d c o m f o r t a b l y , s l i g h t l y w i d e r t h a n
shoulder width.
T h e e n t i r e s o l e s o f t h e f e e t g r i p t h e g r o u n d , t h e " b u b b l i n g s p r i n g p o i n t " (yong
quan) is c o n t r a c t e d u p w a r d .
T h e a n k l e s are b e n t , r e l a x t h e h i p s .

S q u a t d o w n o n t h e left leg, t h e b u t t o c k s sit o n t h e left h e e l .

T h e knee touches the chest, the torso remains erect.
T h e right leg i s p u l l e d s t r a i g h t a n d i s level w i t h t h e ground, the entire sole of t h e
right foot remains on t h e ground.
T h e a n k l e s a r e b e n t , t h e e y e s l o o k a t t h e right foot.

T h e left h a n d g r a b s t h e t o p o f t h e left f o o t , t h e r i g h t h a n d g r a b s t h e t o p o f t h e
right f o o t .
T h e h e a d , neck, waist, a n d shoulders twist to t h e right.
Sink t h e e l b o w s a n d relax t h e shoulders, t h e p a l m s push toward the right side.
T h e qi and breath m o v e in and out, follow what is natural.

S q u a t d o w n o n t h e right leg, t h e b u t t o c k s sit o n t h e r i g h t h e e l .

T h e knee touches the chest, the torso remains erect.
T h e left leg i s p u l l e d s t r a i g h t a n d i s level w i t h t h e g r o u n d , t h e e n t i r e s o l e o f t h e
left f o o t r e m a i n s o n t h e g r o u n d .
T h e a n k l e s a r e b e n t , t h e e y e s l o o k a t t h e left f o o t .

T h e right h a n d g r a b s t h e l o p o f t h e r i g h t f o o t , t h e left h a n d g r a b s t h e t o p o f t h e
left f o o t .
T h e h e a d , n e c k , w a i s t , a n d s h o u l d e r s t w i s t t o t h e left.

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Exercise Thirteen: Pressing on the Knees

Regulates the Meridians
(The White Crane Rotates its Knees)
I n t r o d u c t i o n : T h e meridians, ligaments, and tendons c o n n e c t and control the
s k e l e t a l s y s t e m , w a i s t , legs, a r m s a n d h a n d s . T h e m e r i d i a n s a n d c o n n e c t i v e
tissue, w h e n h e a l t h y , m a i n t a i n a c e r t a i n d e g r e e o f f l e x i b i l i t y , e l a s t i c i t y , a n d
tenacity. T h e y allow t h e b o d y to m o v e with agility and t h e b o d y is in a fine state
o f h e a l t h . W i t h regular e x e r c i s e , t h e l i m b s a n d b o d y will b e s t r e n g t h e n e d , t h e
f u n c t i o n s o f t h e i n t e r n a l o r g a n s i m p r o v e d , t h e o r i g i n a l p r e - b i r t h yangqi will b e
c u l t i v a t e d a n d t h e e n t i r e b o d y will b e n e f i t . I n t h i s s t a t e t h e spirit will b e s t r o n g ,
t h e b o d y h e a l t h y a n d free o f d i s e a s e a n d o n e will live a p r o s p e r o u s l i f e .

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Preparatory Posture: S t a n d n a t u r a l l y w i t h t h e feet t o g e t h e r ( p h o t o 1 3 - 1 ) .

M e t h o d of Practice: This exercise is performed in two parts.

Part One
1 . L e a n t h e u p p e r b o d y f o r w a r d , t h e h a n d s are p l a c e d o n t h e k n e e s ( p h o t o 1 3 -
2).
2 . B e n d t h e k n e e s a n d r o t a t e t h e k n e e s t o t h e left i n a c o u n t e r c l o c k w i s e c i r c l e
(photos 13-3 through 13-6).
3 . After a n u m b e r o f r e p e t i t i o n s , r e v e r s e t h e d i r e c t i o n o f t h e c i r c l e . P e r f o r m t h e
same n u m b e r of revolutions clockwise (photos 13-6 through 1 3 - 1 0 ) .

Part T w o
1. Return to position n u m b e r o n e described above ( p h o t o 13-10).
2 . S q u a t s t r a i g h t d o w n u n t i l t h e h e e l s press a g a i n s t t h e b u t t o c k s a n d t h e k n e e s
press a g a i n s t t h e c h e s t ( p h o t o 1 3 - 1 1 ) .
3 . S t a n d u p a n d r e p e a t s t e p 2 for a n u m b e r o f r e p e t i t i o n s ( p h o t o s 1 3 - 1 0 t h r o u g h
13-12).

N u m b e r of Repetitions: Start w i t h e i g h t r e p e t i t i o n s a n d g r a d u a l l y i n c r e a s e t h e
number.

Important Points:

1. Breathe naturally.
2 . T h e k n e e i s o n e o f t h e m o s t c o m p l e x j o i n t s i n t h e b o d y , its r a n g e o f m o t i o n
i s s m a l l , try t o r o t a t e t h e k n e e s t h r o u g h t h e g r e a t e s t r a n g e o f m o t i o n p o s s i b l e ,
h o w e v e r , d o n o t force t h e m o v e m e n t i n part o n e . B e careful n o t t o a l l o w t h e
knees to e x t e n d laterally b e y o n d a c o m f o r t a b l e range of m o t i o n .

T h e Range of Motion and Effects: The main purpose of this exercise is to

strengthen the knee joint. A t t h e s a m e t i m e , t h e feet a n d a n k l e s a s well a s t h e
s u p p o r t i n g m u s c l e s o f t h e legs are a l s o c o n d i t i o n e d .

P h o t o 13-1 P h o t o 13-2 P h o t o 13-3

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 Health Exercises

The "Song" of Pressing on the Knees Regulates the Meridians:

Stand naturally erect, t h e h a n d s h a n g beside t h e b o d y .

C o n c e n t r a t e t h e spirit, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h a s p o s s i b l e .
T h e h e a r t i s c a l m a s still w a t e r , h e a v e n a n d e a r t h e x i s t t o g e t h e r .
T h e eyes look straight a h e a d , t h e limbs a n d b o d y relax.
Close the mouth, the tongue touches the roof of the m o u t h .
T h e q i a n d b l o o d fill t h e a r t e r i e s , m o v i n g i n a n d o u t o f t h e " s e a o f qi."

T h e e n t i r e s o l e s o f t h e feet g r i p t h e g r o u n d , t h e " b u b b l i n g s p r i n g s " p o i n t s a r e

contracted upward.
Bend t h e knees forward, to about a 90 degree angle.
T h e h a n d s are placed o n t h e knees, t h e h a n d s tightly grip t h e knees.

T h e hands help support the knees, the knees make revolutions.

F r o m t h e f r o n t t o t h e left, f r o m t h e left t o t h e rear.
F r o m t h e rear t o t h e r i g h t , f r o m t h e r i g h t b a c k t o t h e f r o n t .
T h e feet r e m a i n flat o n t h e g r o u n d , t h e y m u s t n o t raise u p .
C o n t i n u e making circles as long as is comfortable.

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Exercise Fourteen: Strengthening the Meridians by

Rubbing the Knees and Stretching the Body
I n t r o d u c t i o n : T r a n s f o r m i n g t h e e s s e n c e i n t o qi, t h e q i i n t o spirit a n d t h e spirit
i n t o t h e v o i d a r e t h e t h r e e i m p o r t a n t s t e p s o f t h e art o f X i n g Y i Q u a n . I t c a n b e
stated that these steps are t h e m e t h o d of improving t h e health, s t r e n g t h e n i n g
t h e b o d y , s l o w i n g t h e e f f e c t s o t a g i n g a n d e x t e n d i n g lite. O n c e o n e h a s r e a c h e d
t h e level o f t r a n s f o r m i n g t h e spirit i n t o t h e v o i d , t h e p r e - b i r t h q i will b e c o m e
refined to t h e highest degree, filling the body with e n e r g y a n d s t r e n g t h e n i n g t h e
brain.
In t h e Lin Qtt: HaiLim I'ien it is w r i t t e n , " T h e b r a i n is t h e sea of m a r r o w , w h e n
t h e r e is a s u r p l u s of m a r r o w t h e b o d y is full of e n e r g y , if t h e r e is a d e f i c i e n c y of
m a r r o w , t h e r e will b e r i n g i n g i n t h e ears, t h e legs will a c h e , o n e will b e dizzy, t h e
e y e s i g h t will n o t b e c l e a r a n d o n e will b e u n a b l e t o s l e e p s o u n d l y . " T h e S u Wen:
lie ling Wei l.un s t a t e s , " T h e m a r r o w fills t h e b o n e s . " In t h e Wei Lun it is a l s o
w r i t t e n , " W h e n t h e b o n e s are ' d r y ' t h e m a r r o w will b e i n s u f f i c i e n t , t h e b o n e s will
w i t h e r . " T h e s e p a s s a g e s refer t o t h e fact t h a t t h e b r a i n i s r e s p o n s i b l e f o r t h e
m o v e m e n t o f t h e b o d y a n d t h e clarity o f sight. T h e m a r r o w nourishes t h e b o n e s .
T h e r e f o r e , t h e k i d n e y s , b r a i n , e s s e n c e , m a r r o w , b o n e s a n d c o n n e c t i v e t i s s u e all
h a v e a r e c i p r o c a l e f f e c t o n o n e a n o t h e r a n d are m u t u a l l y s u p p o r t i v e o f t h e o t h e r ' s
growth. Strengthening the meridians by rubbing the knees and stretching the
b o d y i s a n e x e r c i s e o f t h e X i n g Y i h e a l t h e x e r c i s e set w h i c h s t i m u l a t e s a n d
s t r e n g t h e n s t h e m e r i d i a n s , b o n e s , a n d m a r r o w . A d d i t i o n a l l y i t aids t h e m o v e m e n t
capabilities of the limbs, strengthens the kidneys, benefits the brain, increases
t h e p r o d u c t i o n o f e s s e n c e a n d m a r r o w , b a l a n c e s t h e yin a n d yang o f t h e b o d y ,
improves the f u n c t i o n s of the internal organs, slows the aging process and
e x t e n d s life.

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Preparatory Posture: Stand naturally (photo 14-1)

Method of Practice:

1 . Raise t h e left leg a n d p l a c e t h e h e e l o n a l o w s t o o l (if o n e d o e s n o t h a v e a c c e s s

t o a s t o o l o r s i m i l a r o b j e c t , o n e m a y e x t e n d t h e leg s t r a i g h t o u t i n f r o n t a n d p l a c e
t h e h e e l o n t h e g r o u n d w i t h t h e t o e s p o i n t i n g u p a n d t h e right leg s l i g h t l y b e n t ) .
2 . T h e p a l m s a r e p l a c e d o n e o n t o p o f t h e o t h e r o n t h e left k n e e . R u b t h e k n e e
i n c l o c k w i s e c i r c l e s f o r a n u m b e r o f r e p e t i t i o n s t h e n reverse t h e d i r e c t i o n ( p h o t o
14-2).
3 . R e a c h a n d g r a b t h e t o e s o f t h e left f o o t w i t h t h e h a n d s a n d l e a n t h e u p p e r b o d y
o v e r , t r y t o t o u c h t h e c h i n t o t h e left h e e l ( p h o t o 1 4 - 3 ) . R e p e a t several t i m e s .
4. Cross the arms a n d grab the opposite elbow with the hands. Bend forward and
t r y t o t o u c h t h e t o e s o f t h e left f o o t a l t e r n a t e l y w i t h e a c h e l b o w ( p h o t o s 1 4 - 4 a n d
1 4 - 5 ) . Repeat several t i m e s .

5. S w i t c h legs a n d r e p e a t s t e p s 1 - 5 ( p h o t o s 1 4 - 6 t h r o u g h 1 4 - 9 ) .

N u m b e r of Repetitions: R e p e a t w i t h e a c h leg t w o t i m e s .

Important Points;

1. Try to rub and move the kneecap as m u c h as possible.

2. Breathe naturally.
3. Beginners and those whose physical condition is not good may n o t be able
to perform t h e exercise as described. Slowly try to increase t h e range of m o t i o n
over t i m e . Do not try to force t h e stretch as it m a y cause i n j u r y .
4 . W h e n s t r e t c h i n g f o r w a r d a n d p r e s s i n g t h e leg, m o v e s l o w l y , s t a b l y , a n d
s m o o t h l y , o n e m a y hold t h e stretch for a period of t i m e .
T h e R a n g e of M o t i o n a n d Effects: T h e m a i n purpose of this exercise is to stretch
t h e l e g s . T h e leg p r e s s i n g e x e r c i s e i s a n i m p o r t a n t m e t h o d o f i n c r e a s i n g t h e
f l e x i b i l i t y a n d e l a s t i c i t y o f t h e l e g s . T h i s skill i s a c o m m o n r e q u i r e m e n t o f all
m a r t i a l arts. Those w h o practice calisthenic exercises, dancers and opera
p e r f o r m e r s , all use t h e leg press. 'The leg press e x e r c i s e i n c l u d e s p r e s s i n g t o t h e
f r o n t a n d t o t h e s i d e . X i n g Y i Q u a n uses t h e f r o n t press v a r i a t i o n . T h i s e x e r c i s e
i n c r e a s e s t h e e l a s t i c i t y o f t h e leg w h i l e a t t h e s a m e t i m e c o n d i t i o n s t h e w a i s t ,
b a c k , k n e e s , a n d t h e m u s c l e s a l o n g t h e sides o f t h e t o r s o .
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The "Song" of Strengthening the Meridians by Rubbing the

Knees and Stretching the Body

Stand naturally erect, t h e h a n d s h a n g by t h e sides.

C o n c e n t r a t e t h e spirit a n d q u i e t t h e qi, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h
as possible.
T h e h e a r t i s c a l m a s still w a t e r , h e a v e n a n d e a r t h exist together.
T h e eyes look straight ahead, t h e limbs a n d b o d y relax.
Close the m o u t h , the t o n g u e touches the roof of the mouth.
T h e q i a n d b l o o d fill t h e a r t e r i e s , m o v i n g i n a n d o u t o f t h e " s e a o f qi."

T h e left leg e x t e n d s a s t e p t o t h e f r o n t .
T h e heel is on t h e ground, t h e toes point upward.
T h e h a n d s press o n t h e k n e e g e n t l y , r u b t h e k n e e f r o m left t o r i g h t .

Lean the b o d y forward, t h e p o w e r is in t h e hips.

Stretch t h e waist as if t h e h e a d w a n t s to t o u c h t h e t o e s .
T w i s t t h e b o d y , b e n d t h e left e l b o w a n d t o u c h t h e t o e s w i t h t h e left e l b o w .
T w i s t t h e b o d y , b e n d t h e right e l b o w a n d t o u c h t h e t o e s w i t h right e l b o w .
Repeat as long as c o m f o r t a b l e .

T h e r i g h t leg e x t e n d s a s t e p t o t h e f r o n t .
T h e heel is on the g r o u n d , t h e toes point upward.
T h e h a n d s press t h e k n e e g e n t l y , rub t h e k n e e f r o m left t o r i g h t .

Lean the body forward, t h e power is in t h e hips.

S t r e t c h t h e waist a s i f t h e h e a d w a n t s t o t o u c h t h e t o e s .
T w i s t t h e b o d y , b e n d t h e left e l b o w a n d t o u c h t h e t o e s w i t h t h e left e l b o w .
T w i s t t h e b o d y , b e n d t h e right e l b o w a n d t o u c h t h e t o e s w i t h r i g h t e l b o w .
Repeat as long as c o m f o r t a b l e .
Xing Yi Nei Gong

Exercise Fifteen: Yin Opens and Yang Closes

I n t r o d u c t i o n : W h e n yin a n d yang a r c b a l a n c e d i n t h e b o d y , t h e i n t e r n a l o r g a n s
will all f u n c t i o n h a r m o n i o u s l y , t h e " f i v e e l e m e n t s " will c h a n g e a p p r o p r i a t e l y
a n d all s y s t e m s w i l l f u n c t i o n n o r m a l l y . This exercise regulates the breath,
thereby stimulating and strengthening the heart, improving the functions of the
gall b l a d d e r a n d s t o m a c h , i m p r o v i n g d i g e s t i o n a n d t h e a b s o r p t i o n o f n u t r i e n t s ,
benefiting t h e internal organs, i m p r o v i n g t h e overall h e a l t h , cultivating t h e
spirit, i n c r e a s i n g e n e r g y a n d e x t e n d i n g life.

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Preparatory Posture: Stand naturally with t h e feet t o g e t h e r ( p h o t o 1 5 - 1 ) .

Method of Practice:

1 . Lift t h e h a n d s u p i n f r o n t o f t h e b o d y u n t i l t h e y a r c a t t h e h e i g h t o f t h e
shoulders. T h e arms are straight with t h e palms facing d o w n w a r d ( p h o t o 15-2).
2 . The a r m s m o v e o u t w a r d t o t h e left a n d r i g h t u n t i l t h e y are s t r a i g h t o u t t o t h e
sides o f t h e b o d y i n a s t r a i g h t l i n e . A s t h e a r m s r e a c h t h e s t r a i g h t o u t p o s i t i o n ,
t h e palms turn over to face up (photos 15-3 and 15-4).
3. C o n t i n u i n g , close t h e h a n d s t o g e t h e r again in front of the body, t u r n i n g the
h a n d s to face palm down as they m o v e in towards each other (photos 15-5
through 15-7).
4. Repeat t h e exercise, o p e n i n g and closing t h e arms.

Number of Repetitions: Repeat t h e m o v e m e n t sixteen t i m e s .

Important Points:

1. Inhale as the hands open, exhale as the h a n d s close.

2. T h e m o v e m e n t should be slow a n d gentle.
3. Be careful n o t to stick out t h e chest.

T h e R a n g e of M o t i o n a n d Effects: This is primarily a breathing exercise. The

m u s c l e s o f t h e c h e s t , t h e i n t e r c o s t a l m u s c l e s a n d t h e d i a p h r a g m are all c o n d i t i o n e d .
T h e slow a n d gentle m o v e m e n t c o u p l e d with t h e s m o o t h a n d stable b r e a t h i n g
a l s o s e r v e s a s a r e g u l a t o r y e x e r c i s e w h i c h b a l a n c e s t h e b o d y . The e f f e c t s o f t h i s
exercise are especially a p p a r e n t if p e r f o r m e d after t h e " c r a w l i n g tiger" exercise
(see t h e s u p p l e m e n t a r y exercise s e c t i o n ) .

IT:.-t
Xing Yi Nei Gong
 Health Exercises

The "Song" of Yin Opens and Yang Closes

Stand naturally erect, t h e arms h a n g at t h e sides.

C o n c e n t r a t e t h e spirit, q u i e t t h e qi, c l o s e o u t i n t e r f e r i n g t h o u g h t s a s m u c h a s
possible.
The h e a r t i s c a l m a s still w a t e r , h e a v e n a n d e a r t h e x i s t t o g e t h e r .
T h e eyes look straight ahead, t h e l i m b s a n d b o d y are relaxed.
Close the mouth, the tongue touches the roof of the m o u t h .
T h e q i a n d b l o o d fill t h e a r t e r i e s , m o v i n g i n a n d o u t o f t h e " s e a o f qi."

T h e t w o a r m s are slowly raised to t h e front.

T h e y c o m e to t h e h e i g h t of the shoulders, the p a l m s face d o w n w a r d .
M o v e t h e a r m s o u t t o t h e left a n d right k e e p i n g t h e m p a r a l l e l w i t h t h e g r o u n d .
T h e a r m s m o v e out u n t i l t h e y are i n a s t r a i g h t l i n e t o t h e s i d e s .
Slowly inhale as the arms m o v e outward.

Turn t h e p a l m s t o f a c e p a l m u p ,
Move t h e m in together to the center.
T h e h a n d s m o v e u n t i l t h e y are t o g e t h e r i n f r o n t o f t h e b o d y , s l o w l y e x h a l e .
Repeat as long as c o m f o r t a b l e .

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Exercise Sixteen: The Heels Kick Backward

A t t h e c o n c l u s i o n o f a n y e x e r c i s e set, t h e b o d y s h o u l d g e n t l y b e b r o u g h t t o
a calm and natural position. The energy of the body, which has been stimulated
and transported throughout the body during the practice, is allowed to gather
a n d s i n k t o t h e dan tian. T h e h e e l k i c k e x e r c i s e r e g u l a t e s t h e e n e r g y o f t h e w h o l e
b o d y a n d will r e l a x t h e b o d y a f t e r e x e r c i s e .

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Preparatory Posture: S t a n d n a t u r a l l y w i t h t h e feel t o g e t h e r ( p h o t o 1 6 - 1 ) .

Method of Practice:

1 . B e n d t h e knee a n d kick backward with force, try t o t o u c h t h e heel t o t h e

buttocks (photo 16-2).

2 . A l t e r n a t e k i c k i n g b a c k w i t h t h e right a n d left legs ( p h o t o s 1 6 - 2 a n d 1 6 - 3 ) .

Number of Repetitions: O n e m a y r e p e a t t h i r t y six t i m e s o r m o r e .

Important Points:

1. Perform the exercise slowly and gently. Breathe naturally.

2 . T h e a r m s h a n g n a t u r a l l y a t t h e sides. L o o k s t r a i g h t a h e a d . W h i l e k i c k i n g t h e
body should not sway.
T h e R a n g e o f M o t i o n a n d E f f e c t s : This i s a v e r y o l d X i n g Y i Q u a n e x e r c i s e u s e d
to regulate the b o d y . This m o v e m e n t will relax t h e w h o l e b o d y after exercise.

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Supplemental Exercise

The Crawling Tiger

(Laying on the Palms)

Preparatory Posture: Stand naturally

Method of Practice:

1 . M a k e t w o fists a n d l o w e r y o u r s e l f d o w n o n t o t h e g r o u n d i n t h e p u s h - u p
position (resting o n t h e fists). T h e h a n d s are shoulder width apart { o n e m a y also
perform this exercise on t h e fingertips or holding o n t o w o o d e n handles). Hold
t h e a r m s s t r a i g h t , t h e b o d y parallel t o t h e g r o u n d , s u p p o r t e d b y t h e h a n d s i n t h e
f r o n t a n d t h e b a l l s o f t h e feet i n t h e rear ( p h o t o S - l ) .
2 . B e n d t h e e l b o w s a n d a l l o w t h e b o d y t o d r o p d o w n parallel t o t h e g r o u n d a n d
a b o u t six i n c h e s a b o v e t h e g r o u n d ( p h o t o S - 2 ) .
3. Push up with the arms while the buttocks stay in place ( p h o t o S - 3 ) .
4 . L o o k straight a h e a d . C o n c e n t r a t e t h e spirit, l o o k b a c k t o t h e right a n d t h e n
t o t h e left. T h e legs are t o g e t h e r .
5 . Lift t h e b u t t o c k s a n d t h e waist t o t h e rear ( p h o t o s S - 4 a n d S - 5 ) .
6 . P u s h f o r w a r d w i t h t h e legs d o w n i n t o t h e l o w p u s h - u p p o s i t i o n ( p h o t o S - 6 ) .
7. R e p e a t 1 - 3 t i m e s ( p h o t o s S-2 t h r o u g h S - 6 ) .

N u m b e r of Repetitions: Do as many your endurance permits.

Important Points:

1. Breathe naturally.

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Xing Yi Nei Gong

2. Do not overdo t h e exercise.

3 . After c o m p l e t i n g t h e e x e r c i s e , c o n c e n t r a t e t h e spirit a n d s t a n d u p .

The R a n g e o f M o t i o n a n d E f f e c t s : This exercise stimulates t h e entire b o d y . T h e

t o r s o , e x t r e m i t i e s a n d h e a d are all i n v o l v e d . I f o n e ' s p h y s i c a l c o n d i t i o n p e r m i t s ,
o n e m a y a d d t h i s e x e r c i s e a f t e r e x e r c i s e f o u r t e e n " R u b t h e K n e e s a n d Press t h e
L e g s . " F r o m t h e first e x e r c i s e t h r o u g h t h e " c r a w l i n g t i g e r " m a k e s u p t h e t r a i n i n g
section of t h e system. Exercises fifteen and sixteen are cool d o w n exercises w h i c h
serve t o regulate a n d relax t h e b o d y .

la
y ' -v

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Song of the Sixteen Health Exercises

by Zhang Bao Yang

T h e two h a n d s circle as if closing up.

T h e f r o n t h a n d drags, t h e h a c k h a n d h o o k s a n d t h e y pull d i a g o n a l l y w i t h
force.

T h e fists s l o w l y r o t a t e f r o n t a n d b a c k o v e r t h e c r o w n o f t h e h e a d .

T h e hands clap above and below and t h e b o d y stands erect.

T h e t w o h a n d s h o l d u p t h e sky a n d a l s o s u p p o r t t h e h e a r t , t a k e a s t e p
forward and rotate the eyes.

O n e h a n d h o l d s u p t h e sky a s t h e o t h e r p r e s s e s t h e e a r t h .

L o o k left, gaze right a n d see w h a t i s b e h i n d , t h e h e a d rises a n d l o w e r s w i t h

the strength of the neck.

The p o s t u r e o f t h e b o d y l o o k s like t h a t o f a n a p e .

T h e h a n d strokes, t h e n e c k turns a n d t h e b o d y squats d o w n , t h e back shakes

a n d t h e f o u l air i s e x p i r e d .

T h e t w o fists s t r i k e t h e b a c k a s t h e b o d y l e a n s t o t h e r e a r .

If t h e waist is rotated r o u n d a n d r o u n d the kidneys b e n e f i t .

M o v e t h e k n e e s left a n d r i g h t w i t h t h e b o d y l o w e r e d .

Turn t h e k n e e s , flex a n d e x t e n d w h i l e t h e t o e s g r i p t h e g r o u n d .

K n e a d i n g t h e k n e e s a n d e x e r c i s i n g t h e legs o n e m u s t b e n d t h e w a i s t .

W i t h t h e yang o f o p e n i n g a n d t h e yin o f c l o s i n g t h e l u n g s are free o f d i s e a s e .

K i c k i n g t h e rear w i t h feet c a u s e s t h e q i t o d e s c e n d . These are t h e s i x t e e n

exercises of Xing Yi Q u a n .

The c r a w l i n g t i g e r uses b o t h h a n d s f o r s u p p o r t .

T h e a b o v e song was written by Z h a n g B a o Yang in order to help students

r e m e m b e r the order and i m p o r t a n t p o i n t s of t h e exercises. It is printed here for
y o u r c o n s i d e r a t i o n . T h e c r a w l i n g tiger w a s o r i g i n a l l y n o t p a r t o f t h e s i x t e e n
exercises, however, as we c o m m o n l y practice this exercise along with the others
the line about it has been added to the song.

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Xing Yi Nei Gong

Afterword
My classmates a n d I followed our fathers a n d h a v e practiced martial arts with
m a s t e r W a n g j i W u f r o m six o r s e v e n y e a r s o f a g e . B e f o r e p r a c t i c e , w e i n v a r i a b l y
performed the sixteen exercises. S o m e t i m e s because of schoolwork, I didn't have
e n o u g h time to practice X i n g Yi Quan, but I never missed a day of practicing the
sixteen exercises. Later, as I was growing up, I often followed Master W a n g in his
medical practice. As soon as a patient was near recovery, t h e Master would teach
t h e m t h e sixteen exercises. This n o t o n l y speeded recovery but also helped to
p r e v e n t a n y c o m p l i c a t i o n s a n d m a d e t h e b o d y s t r o n g . After I b e g a n m y c a r e e r
as a health practitioner, I followed Master W a n g ' s e x a m p l e and taught the
s i x t e e n e x e r c i s e s t o m y p a t i e n t s . I n o r d e r t o raise t h e level o f h e a l t h o f t h e p e o p l e ,
a n d a i d i n t h e p r e v e n t i o n o f d i s e a s e , w e o f f e r t h i s set o f e x e r c i s e s a n d h o p e t h a t
others in t h e health care profession m a y find t h e m useful in their o w n
professions.

Wang Huan Sheng

Beijing, C h u n g W e n District
Chian Men Hospital
January, 1981

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 Health Exercises

Xing Yi Exercises Performed Lying On A Bed

Edited a n d Transmitted by Zhang Bao Yang
Translated by Tim Cartmell

Introduction:
T h e f o l l o w i n g e x e r c i s e set i s p e r f o r m e d i n t h e m o r n i n g b e f o r e g e t t i n g o u t
o f b e d a n d i n t h e e v e n i n g b e f o r e g o i n g t o s l e e p . I t will h e l p a w a k e n t h e b o d y
a n d prepare it for t h e day in t h e m o r n i n g a n d relax t h e b o d y before sleep at
night.

Exercises:

T h e h e a r t a n d m i n d a r e q u i e t , t h e q i a n d b l o o d are p u r e ,
practice m o r n i n g and night, the exercises lying on a bed.
R u b t h e h a n d s t o g e t h e r , u n t i l t h e y are w a r m ,
t h e n " w a s h " ( r u b ) t h e f a c e , t h e b l o o d v e s s e l s w i l l all o p e n .
Rub t h e eyes with t h e h a n d s , this clears t h e vision,
r u b b e s i d e t h e n o s e , t h e b r e a t h i n g passages will b e o p e n .
C l e n c h t h e t e e t h t o g e t h e r , i t will s t r e n g t h e n t h e g u m s ,
w a s h t h e m o u t h w i t h air, t h i s p r o d u c e s m o r e s a l i v a .
C o m b t h e h a i r w i t h t h e h a n d s , t h e spirit will b e p u r e ,
r u b t h e n e c k , i t will d i s p e l t h e e f f e c t s o f d r a f t s .
Strike the "sky d r u m " (the base of t h e skull), listen to t h e s o u n d ,
r u b t h e ears, t h e h e a r i n g will b e s h a r p .
R u b t h e u p p e r a r m s , t h i s will o p e n t h e m e r i d i a n s ,
and also helps t h e circulation, this is a supplement to training.
U s e t h e fists t o r u b t h e waist, t h u s p r e v e n t i n g p a i n ,
k n e a d t h e h i p s , t h e j o i n t s will feel l i g h t .
Rub t h e lower extremities, this also o p e n s t h e meridians,
push d o w n a l o n g t h e outside, and return a l o n g t h e inside.
Rub t h e s o l e s o f t h e f e e t , t h i s b e n e f i t s t h e e s s e n c e o f t h e k i d n e y s ,
m o v e t h e balls o f t h e feet, r e l a x t h e a n k l e s .
P u s h o n t h e r i g h t ribs, t o s o o t h e t h e liver,
m o v e t o t h e left ribs, t h e s p l e e n a n d s t o m a c h will b e free o f o b s t r u c t i o n .
Rub t h e Shen Que (in t h e m i d d l e o f t h e u p p e r b a c k ) , w i t h a n e m p t y p a l m ,
p u s h i n g o n t h e Ren m e r i d i a n , t h e " t r i p l e w a r m e r " will b e c l e a r .
After a l o n g p e r i o d o f p r a c t i c e , d i s e a s e will n o t b e a b l e t o t a k e h o l d ,
be consistent in practice, do n o t take these exercises lightly.
O u r ancestors passed this k n o w l e d g e d o w n , it is a marvelous m e t h o d ,
t o b e p r e s e r v e d f o r f u t u r e g e n e r a t i o n s , t o save t h e ill.

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Xing Yi Nei Gong
 Five Element Spear

Chapter 6

Xing Yi Five Element Spear

Zhang Bao Yang with the Xing Yi "Needles"

185
Xing Yi Nei Gong

Xing Yi Five Element Spear

by Dan Miller

Introduction
All s y s t e m s o f C h i n e s e i n t e r n a l m a r t i a l arts i n c l u d e s o m e t y p e o f p o w e r
d e v e l o p m e n t t r a i n i n g u s i n g h e a v y a n d / o r l o n g w e a p o n s . Tai J i p r a c t i t i o n e r s
u t i l i z e a l o n g spear or staff, Ba G u a p r a c t i t i o n e r s use a l a r g e b r o a d s w o r d , l a r g e
s t r a i g h t s w o r d , a n d a l o n g spear, a n d X i n g Y i p r a c t i t i o n e r s u t i l i z e t h e l o n g s p e a r
o r h e a v y s t r a i g h t s w o r d . I n t h i s c h a p t e r w e w i l l p r e s e n t t h e five X i n g Y i l o n g
s p e a r e x e r c i s e s w h i c h a r e a s s o c i a t e d w i t h t h e five e l e m e n t fist m o v e m e n t s o f t h e
Xing Yi open h a n d system.
T y p i c a l l y t h e X i n g Y i s t u d e n t will n o t b e t a u g h t t h e five e l e m e n t l o n g spear
practice until he or she has spent a considerable a m o u n t of t i m e practicing the
san t i s t a n d i n g p r a c t i c e a n d t h e b a r e h a n d f o r m s . I f t h e b o d y ' s a l i g n m e n t s a n d
t h e m o v e m e n t s a n d m e c h a n i c s o f t h e b a r e h a n d f o r m s are n o t c o r r e c t , w h e n t h e
s t u d e n t p r a c t i c e s w i t h t h e spear, t h e s e b a d h a b i t s will b e f u r t h e r i n g r a i n e d a s t h e
s t u d e n t will b e t r y i n g t o " m u s c l e " t h e spear w i t h h i s a r m s a n d u p p e r b o d y
instead of using aligned strength a n d w h o l e b o d y power. On t h e other h a n d ,
if t h e student has spent a sufficient a m o u n t of t i m e with t h e bare h a n d forms
a n d his o r h e r m e c h a n i c s a n d p o w e r are c o r r e c t , p r a c t i c e o f t h e five e l e m e n t l o n g
s p e a r e x e r c i s e s will g r e a t l y e n h a n c e t h e s t u d e n t ' s p r a c t i c e .
E a c h o f t h e spear t e c h n i q u e s will i m p r o v e t h e w h o l e b o d y c o n n e c t i o n a n d
p o w e r n e c e s s a r y f o r p e r f o r m a n c e o f t h e five fists. A l t h o u g h t h e h a n d a n d a r m
m o v e m e n t s are n o t e x a c t l y t h e s a m e i n s o m e c a s e s , i t i s t h e p o w e r c o m i n g f r o m
t h e legs a n d t o r s o t h a t t h e s e spear t e c h n i q u e s a r e t r a i n i n g . After t h e s t u d e n t h a s
p r a c t i c e d t h e s e spear m e t h o d s , t h e r e s h o u l d b e a n o t i c e a b l e d i f f e r e n c e i n t h e
e x e c u t i o n o f t h e b a r e h a n d m e t h o d s . T h e spear t h a t i s u s e d i s a p p r o x i m a t e l y 1 0
t o 1 2 feet i n l e n g t h , h o w e v e r , s m a l l e r s p e a r s c a n b e u s e d . I n f a c t , b e g i n n i n g
s t u d e n t s m a y w a n t t o start w i t h a six f o o t s p e a r u n t i l t h e m e c h a n i c s o f t h e
m o v e m e n t are c o r r e c t b e f o r e t r y i n g t o use a l o n g e r , h e a v i e r s p e a r .

N o t e : The photographs taken in this section were captured from a video that was
taken by one of Zhang Bao Yang's students, t h e original video was taken on a h o m e video
camera in the PAL format used in mainland China. This video had to be converted to
the NTSC format used in the United States and thus some of the resolution was lost in
t h e conversion process. Due to the conversion and video capture, the photos arc not
quite as clear as we would like them to be, however, wc feel that they are clear enough
for the reader to understand the movements and since this was the only source of
photographs available we went ahead and used t h e m .
In all photograph sequences the sequence begins in the middle of a repetitive line.
Because of the camera angle and the distance from the camera w h e n Zhang began the
line, the photographs of the beginning and ending form were not clear enough to include
here. However, t h e form beginning and ending arc inconsequential.

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 Five Element Spear

Pi Qiang - Splitting Spear)

T h e s p l i t t i n g spear m o v e m e n t s t r a i n t h e m e c h a n i c s o f t h e d o w n w a r d
( v e r t i c a l ) s t r i k i n g m o t i o n o f t h e s p l i t t i n g fist. C o n c e n t r a t i o n s h o u l d b e f o c u s e d
on e x p a n d i n g t h e torso (especially t h e intercostal muscles) as t h e spear m o v e s
upward a n d t h e c o n t r a c t i n g of t h e torso as the spear m o v e s downward. See t h e
photographs on the following page.

P h o t o 1 : I n t h i s p h o t o Z h a n g h a s just c o m p l e t e d o n e r e p e t i t i o n a n d i s a b o u t
t o b e g i n a n o t h e r . B e g i n i n t h e son t i s t a n c e w i t h t h e s p e a r h e l d a p p r o x i m a t e l y
level t o t h e g r o u n d .

P h o t o 2 : S t e p f o r w a r d w i t h t h e r e a r leg a n d b e g i n t o pull t h e s p e a r s t r a i g h t
u p w a r d . A s y o u pull t h e spear u p w a r d , d o n o t u s e t h e a r m , u s e t h e t o r s o t o m o v e
t h e s p e a r . T h e a r m will r e m a i n i n a n a l m o s t s t r a i g h t p o s i t i o n t h r o u g h o u t t h e
e x e c u t i o n o f t h i s m o v e m e n t . T h e f o r w a r d h a n d slides u p t h e s h a f t o f t h e spear
a s t h e spear m o v e s u p w a r d . D o n o t g r i p t h e s p e a r w i t h t h e f o r w a r d h a n d a n d
pull u p w a r d w i t h t h e a r m . A l l o w t h e h a n d t o s l i d e a s t h e b a c k m u s c l e s m o v e t h e
weapon.

P h o t o 3 : Raise t h e f o r w a r d k n e e u p s o t h a t t h e t h i g h i s p a r a l l e l t o t h e g r o u n d
as you c o n t i n u e to bring t h e spear straight up to a perfectly vertical position. T h e
f o r w a r d h a n d c o n t i n u e s t o slide u p t h e s h a f t o f t h e s p e a r a s t h e spear i s l i f t e d .
The f o r w a r d a r m i s s t r a i g h t a n d v e r t i c a l i n t h i s p o s i t i o n a n d t h e c h e s t i s
e x p a n d e d on t h e forward h a n d side. However, t h e shoulders are relaxed.

P h o t o 4 : S t e p o u t w i t h t h e f o r w a r d leg a n d b e g i n t o p r e s s t h e s p e a r s t r a i g h t
d o w n w a r d . Use a c o n t r a c t i n g m o t i o n in t h e chest, torso, a n d back, h o w e v e r do
not allow the chest to collapse or t h e back to round. T h e spine remains straight.
The c o n t r a c t i n g m o t i o n i s s t r a i g h t d o w n w a r d . D o n o t press d o w n w i t h t h e a r m
m u s c l e s . A l l o w t h e p s o a s m u s c l e , t h e i n t e r c o s t a l m u s c l e s a n d t h e l a t i s i m u s dorsi
m u s c l e s t o d o t h e w o r k . The h a n d o f t h e f o r w a r d a r m will s l i d e i n w a r d a l o n g
t h e spear s h a f t a s t h e a r m m o v e s d o w n w a r d .

P h o t o 5 : T h e f o r w a r d f o o t i s p l a n t e d o n t h e g r o u n d a s t h e spear c o n t i n u e s t o
split d o w n w a r d . A g a i n , t h e h a n d i s s l i d i n g a l o n g t h e s h a f t . D o n o t p u s h
downward with the arm. A l l o w t h e s l i d i n g o f t h e h a n d t o press t h e spear
downward.

P h o t o 6 : T h e s p e a r h a s split all t h e w a y d o w n t o a level p a r a l l e l t o t h e g r o u n d .

The m o m e n t u m o f t h e d o w n w a r d m o t i o n will c a r r y t h e t i p l o w e r t h a n p a r a l l e l ,
however, y o u want to stop t h e d o w n w a r d m o t i o n of y o u r a r m s at t h e parallel
p o s i t i o n . B e g i n t o b r i n g t h e rear leg f o r w a r d a n d e x e c u t e t h e n e x t r e p e t i t i o n .

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Zuan Qiang (gfctffr - Drilling Spear)

T h e drilling spear m o v e m e n t is very similar to b o t h t h e basic Tai Ji a n d t h e
B a G u a l o n g spear p o w e r e x e r c i s e s . A s i n all o f t h e s p e a r e x e r c i s e s , t h e
practitioner should concentrate on t h e m o v e m e n t s of the torso and not muscle
t h e spear w i t h t h e a r m s a n d s h o u l d e r s . All m o v e m e n t s s h o u l d b e s m o o t h a n d
fluid.

P h o t o 1 : S t a r t i n a sun t i s t a n c e w i t h t h e spear s t r a i g h t o u t i n f r o n t o f y o u . I n
t h i s p h o t o Z h a n g h a s just c o m p l e t e d o n e r e p e t i t i o n a n d i s g e t t i n g r e a d y f o r t h e
n e x t s o t h e spear i s h e l d a bit h i g h e r i n t h i s p i c t u r e t h a n i n t h e n o r m a l s t a r t i n g
posture.

P h o t o 2 : 1'ull t h e s p e a r b a c k w i t h t h e rear h a n d a l l o w i n g t h e spear s h a f t t o slide

t h r o u g h t h e f r o n t h a n d ( f r o n t h a n d stays i n p l a c e ) . T h i s m o v e m e n t i s e x e c u t e d
by e x p a n d i n g from t h e c e n t e r of t h e b o d y a n d o p e n i n g up in t h e chest area,
h o w e v e r d o n o t s t i c k o u t t h e c h e s t t o o far. D o n o t s i m p l y d r a w t h e a r m b a c k
without the m o v e m e n t being initiated from the center of the body. All
m o v e m e n t s c o m e from the center of the b o d y and torso, n o t t h e arms alone. As
t h e s p e a r i s d r a w n b a c k , b e g i n t o s t e p f o r w a r d w i t h t h e rear f o o t i n t o a f o r w a r d
c r o s s - s t e p p o s i t i o n . Also, a s t h e spear i s d r a w n b a c k , t h e f r o n t h a n d t u r n s o v e r
to face palm up.

P h o t o 3 : After t h e s p e a r i s d r a w n b a c k t o t h e p o s i t i o n s h o w n i n p h o t o 2 , t h e
rear h a n d flips u p t o w a r d s t h e rear s h o u l d e r a n d t h e r e i s a q u i c k f l i c k i n g m o t i o n
o f t h e r e a r w r i s t . T h e r e a r e l b o w stays i n p l a c e a s t h e h a n d m o v e s t o w a r d t h e
s h o u l d e r . T h e m o t i o n o f t h e rear f o r e a r m a n d wrist s h o u l d c a u s e t h e s p e a r t i p
t o m o v e d o w n w a r d a n d t o t h e left s i d e . T h e s t e p p i n g f o o l c o n t i n u e s f o r w a r d .

P h o t o 4 : W i t h t h e e l b o w still i n p l a c e , t h e rear f o r e a r m r o t a t e s a w a y f r o m t h e
b o d y a n d d o w n w a r d . T h i s will b r i n g t h e spear t i p b a c k u p t o c e n t e r . T h e
stepping foot begins to plant firmly on the ground.

P h o t o S : T h e rear h a n d c o n t i n u e s m o v i n g d o w n w a r d a n d b e g i n s t o m o v e i n
towards the body as the elbow m o v e s outward slightly (notice the difference in
t h e rear e l b o w p o s i t i o n b e t w e e n p h o t o s 4 a n d 5 ) .

P h o t o 6 : W h e n t h e f o r w a r d f o o t i s p l a n t e d o n t h e g r o u n d t h e b o d y w e i g h t shifts
forward a n d the forward h a n d rotates a n d presses d o w n w a r d on the spear shaft.
N o t i c e t h a t in p h o t o 5 t h e f o r w a r d h a n d is f a c i n g u p w a r d a n d in p h o t o 6 it is
facing d o w n w a r d . T h e overturning of the palm helps whip t h e spear d o w n w a r d
and to t h e right. In t h e s e q u e n c e starting in p h o t o 3 and ending with p h o t o 6,
t h e s p e a r t i p h a s d r a w n a h o r s e s h o e s h a p e d p a t t e r n i n t h e air. It m o v e d
d o w n w a r d a n d t o t h e left i n p h o t o 3 , u p w a r d t o c e n t e r i n p h o t o s 4 a n d 5 , a n d
t h e n d o w n w a r d a n d t o t h e r i g h t i n p h o t o 6 . T h e f l i c k i n g u p w a r d o f t h e wrist
(in p h o t o 3 ) a n d t h e r o l l i n g o v e r o f t h e p a l m (in p h o t o 6 ) h e l p t h e s p e a r m o v e
properly.

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Xing Yi Nei Gong

P h o t o 7 : T h e r e a r f o o l b e g i n s t o s t e p f o r w a r d a n d t h e rear h a n d b e g i n s t o p u s h
t h e spear shaft straight forward.

P h o t o 8: T h e rear foot c o n t i n u e s stepping forward a n d f he rear h a n d c o n t i n u e s

p u s h i n g t h e s p e a r s h a f t s t r a i g h t f o r w a r d . The s p e a r s h a f t slides t h r o u g h t h e
f o r w a r d h a n d as it is t h r u s t s t r a i g h t f o r w a r d .

P h o t o 9 : T h e rear f o o t s t e p s f o r w a r d a s t h e s p e a r i s t h r u s t f o r w a r d .

P h o t o 1 0 : T h e rear h a n d m e e t s t h e f r o n t h a n d a s t h e s t e p p i n g f o o t i s p l a n t e d
f i r m l y o n t h e g r o u n d a n d t h e a r m s e x t e n d i n a full f o r w a r d t h r u s t o f t h e s p e a r .
T h e practitioner is n o w ready to repeat t h e m o v e m e n t s .

Drilling S p e a r 3 Drilling S p e a r 4

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Drilling Spear 9 Drilling S p e a r 10

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Xing Yi Nei Gong

Beng Qiang (fafc - Smashing Spear)

T h e s m a s h i n g spear m o v e m e n t s are a l m o s t i d e n t i c a l t o t h e m o v e m e n t s o f
the open hand smashing fist as executed in W a n g j i Wu's Xing Yi system. The
m o t i o n of the hips and torso rotating around the body's center helps to provide
the power in this m o v e m e n t .

P h o t o 1: B e g i n in a san ti p o s t u r e w i t h t h e s p e a r s t r a i g h t f o r w a r d a n d l e v e l .

P h o t o 2 : S t e p f o r w a r d w i t h t h e f o r w a r d leg, t u r n a t t h e h i p s s o t h a t t h e f o r w a r d
hip m o v e s forward. T h e forward shoulder moves forward in c o o r d i n a t i o n with
t h e step a n d h i p m o v e m e n t a n d t h e forward h a n d slides forward o n t h e spear
shaft a n d presses d o w n w a r d slightly with a quick, crisp m o t i o n . T h e spear tip
should m o v e downward as s h o w n in the p h o t o . T h e m o v e m e n t of the forward
h a n d is coordinated with the m o v e m e n t of the forward step.

P h o t o ;i: T h e w e i g h t m o v e s f o r w a r d a n d t h e r e a r leg b e g i n s t o s t e p f o r w a r d .

P h o t o 4 : The r e a r leg c o n t i n u e s t o s t e p f o r w a r d a s t h e rear h a n d b e g i n s p u s h i n g

t h e s p e a r f o r w a r d . T h e spear s h a f t m o v e s t h r o u g h t h e f o r w a r d h a n d .

P h o t o 5 : A s t h e rear f o o t i s p l a n t e d just b e h i n d t h e f o r w a r d f o o t , t h e s p e a r i s
t h r u s t f o r w a r d w i t h t h e rear h a n d . The t w o h a n d s m e e t t o g e t h e r a s t h e s p e a r i s
thrust forward. Do not execute this m o v e m e n t by simply pushing with the arm.
T h e r o t a t i o n o f t h e rear h i p f o r w a r d a n d t h e c o o r d i n a t e d m o v e m e n t o f t h e h i p
a n d shoulder in c o n j u n c t i o n with t h e step provide t h e thrusting force.

P h o t o 6 : B e g i n t o s t e p f o r w a r d w i t h t h e f o r w a r d leg a n d d r a w t h e s p e a r b a c k
w i t h t h e rear h a n d .

P h o t o 7: C o n t i n u e stepping forward a n d drawing t h e spear back. The s p e a r

s h a f t slides t h r o u g h t h e f o r w a r d h a n d .

P h o t o 8: Repeat as e x p l a i n e d in step 2 a b o v e .

Smashing Spear 1 Smashing Spear 2

 Five Element Spear

Smashing Spear 3 Smashing Spear 4

Smashing Spear 5 Smashing Spear 6

Smashing Spear 7 Smashing Spear 8

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Xing Yi Nei Gong

Pao Qiang - Pounding Spear)

P h o t o 1 : Start i n t h e san t i p o s t u r e w i t h t h e spear h e l d a p p r o x i m a t e l y level t o

t h e g r o u n d . T h e h a n d s arc held closer t o g e t h e r in this exercise, t h e y are
approximately o n e foot apart on t h e spear shaft.

P h o t o 2 : T h e rear h a n d r o t a t e s u p w a r d a n d m o v e s u p t h e c e n t e r l i n e o f t h e b o d y
as t h e forward h a n d rotates d o w n w a r d a n d t h e arm e x t e n d s straight out.

P h o t o 3 : Begin t o p u l l t h e spear b a c k w i t h b o t h h a n d s a s y o u b e g i n t o s t e p
f o r w a r d w i t h t h e b a c k leg i n a f o r w a r d c r o s s - s t e p .

P h o t o 4 : C o n t i n u e s t e p p i n g f o r w a r d w i t h t h e rear leg a n d p u l l i n g t h e s p e a r b a c k
w i t h b o t h h a n d s . T h e f o r w a r d p a l m i s f a c i n g y o u a n d t h e rear p a l m i s f a c i n g
away from you.

P h o t o 5 : A s t h e rear f o o t h i t s t h e g r o u n d t h e h a n d s a r e b r o u g h t u p t o s h o u l d e r
height.

P h o t o 6: Begin to step forward with t h e rear foot a n d bring t h e h a n d s d o w n and

forward.

P h o t o 7: Repeat as described in step 2.

Pounding Spear 1 Pounding Spear 2

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195
Xing Yi Nei Gong

Heng Qiang ($rJ& - Crossing Spear)

P h o t o 1: S t a r t i n t h e son t i s t a n c e w i t h t h e spear parallel t o t h e g r o u n d .

P h o t o 2 : Pull a c r o s s t h e f r o n t o f y o u r b o d y t o t h e left w i t h t h e f o r w a r d h a n d .
Insure that the m o v e m e n t c o m e s from the torso, not the arm. T h e forward h a n d
slides f o r w a r d o n t h e s p e a r s h a f t a s y o u p u l l .

P h o t o 3: Push t h e spear back across t h e front of t h e b o d y as you begin to e x e c u t e

a f o r w a r d c r o s s - s t e p w i t h t h e rear f o o t .

P h o t o 4 : C o n t i n u e e x e c u t i n g t h e forward cross-step a n d push t h e spear across

t h e front of the body h o r i z o n t a l l y . T h e spear shaft, r e m a i n s parallel to t h e
g r o u n d . T h e f o r w a r d h a n d slides o n t h e spear s h a f t a s i t p u s h e s . D o n o t p u s h
f r o m t h e a r m m u s c l e s , use t h e t u r n i n g m o t i o n o f t h e h i p s a n d s h o u l d e r s .

P h o t o 5 : T h e r e a r f o o t l a n d s f o r w a r d a s t h e spear r e a c h e s t h e l i m i t o f its c r o s s i n g
m o v e m e n t t o t h e right.

P h o t o 6 : B e g i n s t e p p i n g f o r w a r d w i t h t h e rear leg a n d p u l l i n g t h e spear b a c k

a c r o s s t h e b o d y t o t h e left. The f o r w a r d a r m r e m a i n s r e l a t i v e l y s t r a i g h t a n d
slides o n t h e s p e a r shaft a s t h e m o v e m e n t o f t h e t o r s o pulls t h e spear a c r o s s t h e
f r o n t o f t h e b o d y . D o n o t pull t h e spear w i t h t h e a r m a l o n e , a l l o w t h e h i p s t o
do t h e work.

P h o t o 7 : C o n t i n u e s t e p p i n g f o r w a r d w i t h t h e rear f o o t a n d p u l l i n g t h e s p e a r
across t h e front of the body.

P h o t o 8: Repeat as specified a b o v e in step 2.

Crossing Spear 1 Crossing Spear 2

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 Five Element Spear

Crossing Spear 3 Crossing Spear 4

Crossing Spear 5 Crossing Spear 6

Crossing Spear 7 Crossing Spear 8

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Xing Yi Nei Gong
 About the Translator

Tim Cartmell

T i m C a r t m e l l b e g a n h i s m a r t i a l arts t r a i n i n g i n K u n g F u S a n S o o i n 1 9 7 2 a t
t h e a g e o f e l e v e n . H e r e c e i v e d his e i g h t h d e g r e e b l a c k b e l t ( M a s t e r ' s D e g r e e ) i n
t h e art in 1 9 8 4 .
After g r a d u a t i o n f r o m L o n g B e a c h S t a t e U n i v e r s i t y i n 1 9 8 4 , T i m m o v e d t o
the Republic of C h i n a (Taiwan) lo begin training in the internal Chinese martial
arts. O r i g i n a l l y s t u d y i n g w i t h M a s t e r Hsu H o n g C h i , T i m e a r n e d his b l a c k bell
in Tang Shou Tao Xing Yi in 1987.
I n 1 9 8 6 , T i m w o n t h e m i d d l e w e i g h t d i v i s i o n o f t h e All T a i w a n I n v i t a t i o n a l
Full C o n t a c t T o u r n a m e n t a n d a g a i n w o n t h a t d i v i s i o n o f t h e C h u n g C h e n g
I n t e r n a t i o n a l Full C o n t a c t T o u r n a m e n t later t h a t s a m e y e a r . T i m h a s s t u d i e d
B a G u a Z h a n g , X i n g Y i Q u a n , C h e n a n d Y a n g s t y l e Tai J i Q u a n , Y i Q u a n , t h e
W h i t e Crane system, and various other methods of Qi G o n g and internal boxing
since m o v i n g to Taiwan. He is presently a senior student of Ba Gua Zhang Master
Luo De Xiu. I n a d d i t i o n t o his m a r t i a l arts t r a i n i n g , T i m s t u d i e d C h i n e s e
l a n g u a g e a n d l i t e r a t u r e full t i m e a t t h e T a i w a n N o r m a l U n i v e r s i t y f o r five y e a r s .
T i m C a r t m e l l still lives i n t h e R e p u b l i c o f C h i n a w h e r e h e p r a c t i c e s a n d t e a c h e s
m a r t i a l arts, w r i t e s , a n d w o r k s as a t r a n s l a t o r .

Wang J i n Yu, Zhang Bao Yang, and Tim Cartmell

199
Xing Yi Nei Gong

About the Editor

D a n Miller

A native of Springfield, Virginia, Dan Miller graduated from t h e U n i t e d

States Naval A c a d e m y in Annapolis, Maryland in 1 9 8 2 with a Bachelor of Science
in M a t h e m a t i c s and accepted a c o m m i s s i o n in t h e United States Marine Corps.
H e s u b s e q u e n t l y s e r v e d f o r t e n years a s a n o f f i c e r o f M a r i n e s . W h i l e i n t h e
military he was sent to study at t h e Naval Postgraduate S c h o o l in M o n t e r e y ,
California ( 1 9 8 7 - 1 9 8 9 ) a n d e a r n e d a Masters Degree-in Electrical Engineering.
D a n b e g a n his study of C h i n e s e martial arts a n d Qi G o n g in 1 9 8 3 . S i n c e
t h a t t i m e h e h a s s t u d i e d B a G u a Z h a n g , X i n g Y i Q u a n , Tai J i Q u a n a n d Q i
G o n g w i t h v a r i o u s i n s t r u c t o r s i n t h e U n i t e d States, T a i w a n , a n d m a i n l a n d C h i n a .
H e c u r r e n t l y s t u d i e s B a G u a Z h a n g w i t h Park B o k N a m a n d X i n g Y i Q u a n w i t h
V i n c e Black.
In 1 9 9 0 , D a n a n d his wife N a n c y founded High View Publications a n d began
p u b l i s h i n g t h e Pa Kua Chang Newsletter. In 1 9 9 2 t h e n e w s l e t t e r w a s u p g r a d e d
t o a J o u r n a l a n d D a n M i l l e r left t h e m i l i t a r y s e r v i c e t o p u r s u e m a r t i a l arts
p r a c t i c e , p u b l i s h i n g , a n d i n s t r u c t i n g full t i m e . S i n c e m o v i n g b a c k t o t h e
M o n t e r e y P e n i n s u l a i n t h e fall o f 1 9 9 2 D a n M i l l e r h a s t a u g h t B a G u a Z h a n g ,
Tai J i Q u a n a n d X i n g Y i Q u a n , c o n t i n u e d t o e d i t a n d p u b l i s h t h e P a Kua Chang
Journal, h a s p u b l i s h e d five m a r t i a l arts b o o k s a n d p r o d u c e d t h r e e m a r t i a l arts
instructional videos.

Wang J i n Yu, Zhang Bao Yang, and Dan Miller

200