Professional Documents
Culture Documents
Took a
course at the Central Academy of National Martial Arts. Now works as an editor at the
Central Academy of National Martial Arts.
CHUAN NA QUAN
Style of Piercing Blows and Holds
Publishing House “Shan Wu Yin Shu Guan”
Shanghai, 1936
2005
2
Contents
Preface of Yi Jin……………………………………………………………………………………5
Author’s Preface…………………………………………………………………………………...9
On sources and main content of the art of TAI JI YUAN GONG 12
Explanations 19
Biography of Sha Da Chuan 21
Part I
1. The beginning of the execution CHAN NA. Initial position 27
2. ZHI NIAO LIAN YI: “Bird of prey folds its wings” 28
3. YI BU YOU LAN: “Making a step and barring on the right flank” 30
4. KUA BU JUO TIAO: “Jumping and warding off on the left flank” 31
5. TAN NANG QU WU: “Fumbling in a bag to take the right thing” 33
6. SHUNG SHOU TUI ZHOU: “Stretching an arm and pushing the boat” 35
7. SHUANG DAO ZHAN JIAO: “Slaying the sea dragon with two swords” 37
8. FEN LU YAN BIAO: “Throwing darts in opposite directions” 39
9. HU QI DAN LUE: “Protecting the stomach and blocking diagonally” 40
10. SHANG BU FA MA: “A step forward just as a horse trots” 42
11. ZHUAN SHEN FENG QUAN: “Torso turn, Phoenix fist” 43
12. MAI DAN QIE XI: “Cutting a knee in the position MAI DAN” 45
13. TAN GONG SHE YAN: “Drawing the bow and shooting an arrow at the wild goose” 46
14. SHANG BU FA MA: «A step forward just as a horse trots” 48
15. ZHUAN SHEN FU HU: “To turn and tame a tiger” 49
16. SHUANG GOU DU LI: “Two hooks in one-leg position” 51
17. JIN BU SHUANG FENG: “Advancing by one step, executing pair locking” 52
Part II
18. JIN BU FAN ZHANG: “One step forward, an overturned palm” 54
19. XUAN YA LE MA: “Reining in a horse at the edge of the precipice” 56
20. JIN BU SHUANG FENG: “Advancing by a step, executing pair lock” 57
21. ZHUAN SHEN FAN ZHANG: “Turning the torso, a turned palm” 59
22. XUAN YA LE MA. “Reining in a horse on the edge of a precipice” 61
23. JIN BU SHUANG FENG: “Advancing by a step, executing a pair lock” 62
24. ZHUAN SHEN SHUANG TUI: “Turning and executing a pair push with palms” 63
25. BO YUN JIAN RI: “Dispersing clouds to see the sun” 64
26. TIAO BU QING NA: “Jumping up and freeing oneself from a grip” 66
27. SHOU BU ZUO ZHANG: “Front leg drawing and left palm striking” 68
28. SHANG BU YU ZHANG: “A step forward, a right palm blow” 69
3
29. FENG QI YUN FEI: “A gust of wind blows away clouds” 71
30. SHANG BU FA MA: “A step forward just as a horse trots” 73
31. TUI BU YU ZHANG: “One step back, a blow with the right palm” 74
32. SHUNG SHOU QIAN YANG: “Stretching out an arm and taking away a sheep” 75
33. SHEN XIAN DAO TUO: “The Celestial changes his appearance” 77
34. YUAN HOU ZHUI ZHI: “A monkey hangs on a branch” 79
35. JIU DI BAN CHUAI: Kicking aside from the ground” 80
36. QIAN JIN ZHUI DI : “1000 JINs weigh on the ground” 81
37. TI ZU ZUO ZHANG: “Raising a leg and striking with the left palm” 83
38. TUI CHUAN WANG YUE: “Flinging the window wide open and enjoying the moon” 84
Part III
39. ZHUAN SHEN SHUANG TUI: “Turning and executing a pair push with palms” 86
40. BO YUN JIAN RI: “Dispersing clouds to see the sun” 87
41. TIAO BU QING NA: “Jumping up and freeing oneself from a grip” 89
42. SHOU BU ZUO ZHANG: “Front leg drawing and left palm striking” 90
43. SHANG BU YU ZHANG: “A step forward, a right palm blow” 92
44. FENG QI YUN FEI: “A gust of wind blows away clouds” 93
45. SHANG BU FA MA: “A step forward just as a horse trots” 95
46. TUI BU YU ZHANG: “One step back, a blow with the right palm” 96
47. SHUNG SHOU QIAN YANG: “Stretching out an arm and taking away a sheep” 97
48. SHEN XIAN DAO TUO: “The Celestial changes his appearance” 99
49. YUAN HOU ZHUI ZHI: “A monkey hangs on a branch” 100
50. JIU DI BAN CHUAI: Kicking aside from the ground” 102
51. QIAN JIN ZHUI DI : “1000 JINs weigh on the ground” 103
52. TI ZU ZUO ZHANG: “Raising a leg and striking with the left palm” 105
53. TUI CHUAN WANG YUE: “Flinging the window wide open and enjoying the moon” 106
54. TAN LI DE ZHU: “Picking up a wonderful pearl from the chin of a sleeping dragon” 107
55. CHUAN NA FAN PU: “The final position of CHUAN NA” 109
***
4
Preface of Yi Jin
Six years has already passed since the Central Academy of National Martial
Arts1 under the guidance of the respected Zhang Zhi Jiang
undertook to propagate and develop national martial arts.
During that time a lot of books on martial arts appeared
like “spring flowers that bloom after a heavy rain”.
However, in the process of detailed familiarization with a
General Zhang
great deal of those works a whole number of shortcomings Zhi Jiang
inherent in most of them is found. For instance, some hieroglyphs that did not
reveal proper sense of some movements were used, clear differentiation of
single positions and methods was not always done, instructions on methods of
execution – fast or slow, with force or without force were not available.
Furthermore, fuzzy photographs, wrong directions (of movements),
description of movements proper and their combat use with lack of sufficient
details were often provided. So doubts and questions often arose; the readers
felt as if something was withheld from them, superficial understanding of the
subject occurred. All this created insuperable difficulties on the way to fine
acquisition of presented methods and techniques and made a profound
unassisted study of them impossible.
Editor’s notes:
1
The Central Academy of National Martial Arts was founded in Nanking (the
capital of China at that time) in 1928. The Academy was set up with
governmental support and with the aim “to consolidate martial arts of China
by gathering all great masters.” General Zhang Zhi Jiang, known for his
devotion to WU SHU (martial arts), was appointed as the chancellor of the
Academy. Before that appointment General Zhang Zhi Jiang was the
commander of the North-Western Army and strictly demanded that all
soldiers and officers under his command should improve their WU SHU.
5
Xu Ji Liu2 and I work together at the Central Academy of National Martial
Arts. He showed me photos and the text of the book CHUAN NA QUAN and
asked to write a preface. Having read the contents, I can say that it is the case
when “it is possible to pull out the whole chain by holding the main link”.
Text spacing is clear3, explanations of movements are very detailed and at the
same time understandable and intelligible to the highest degree, as the saying
goes, “to reveal the heart of a problem with one stroke4”. Furthermore,
combat use of movements is explained.
The first state examinations for national martial arts which took place at the
Central Academy in Nanking in 1928.
The opening ceremony of the state examinations.
Editor’s notes:
2
Xu Ji Liu, another name of the author of the book is Xu Yi Qian.
3
It means spacing between sentences and indentations, that was an
innovation in the traditional Chinese writing at the beginning of the XX
century.
4
Figure of speech; it means a brush for writing hieroglyphs.
6
omitting one small detail. A name is none other than the mental image of the
object and the image must reflect its essence. There is no object which
essence could not be expressed
through mental images. You pass
from one position to another, from
one method to another as if you are
wandering at mountain peaks, going
high up and down. One movement “Empty hands” bout.
follows another to form a continuous chain. The pictures of black-and-white
photographs are very clear, all methods and positions are shown in detail,
therefore it is easy to see what is
what. It is necessary to stick to
the photos in order not to deviate
from the original and preserve
the traditional manner of
execution and the spirit of the art
proper. Besides, the smallest
details of all movements and
methods are explained in the Sword bout.
text, which gives a chance to unite single steps (positions) and blows into
“paths”5. Following images, you must move as gracefully as “a wild goose
sitting down at the sand bank”; raise up as rapidly as “a swallow which shoots
straight up”; descend like “a bird of prey swooping down on its prey with the
folded wings”; you must be in readiness as “a bow string of the arbalest and a
naked sword” are and move as quickly as “an arrow shot from a bow”. If you
exercise pell-mell and do not follow instructions, it will be a hindrance on the
Editor’s notes:
5
“Path”, a sequence of movements presupposing notional completeness; it
can be a single method or several methods following each other.
7
way to profound comprehension; in such a way you can not reach genuine
mastership.
Certainly, even if you reached the highest mastership, you can not do much
alone in the battlefield with a sword against the whole hostile army. One man
can do nothing in a modern war. But if hundreds of thousands of such masters
are in the battlefield, one should not tell fortunes by a tortoise shell to guess
the winner. The present aspirations must be aimed at waking up “China’s
Lions”; that’s why we undertook the edition of this book with ardor. The
author set himself the task to disclose all niceties of the style and described
movements with so many details that it is possible to exercise independently
of a master. This problem was successfully solved by him. Now those who
have no tutor can train themselves with the aid of the book as if a flesh-and-
blood tutor is beside them. I share and hail such an approach of the honorable
Xu, therefore I was happy to write the preface.
8
Author’s Preface
The book contains thirty of the most effective methods from CHUAN NA and
few techniques from the section SHAN DIAN SHOW (“Arms like lightning”)
of the style TAI JI YUAN GONG. We tried to shift the grain from chaff and
show all that is the most valuable. All in all, fifty-five position are available,
each of them is shown on a photo and supplied with detailed explanations on
the execution of movements, movement directions, etc. I think writing books
on martial arts requires the utmost exactness, briefness and clarity, so the
9
reader could catch all nuances of movements and their combat employment at
once. I always tried to proceed from actual situation, take into account
practical training experience and compile a book on that base. Quintessence
and innermost gist of this martial art are given in the book. The book includes
actual movements, methods and techniques and does not contain idle talk and
methods unfit for practical use.
Practice and theory must not be separated form each other. Now it often
occurs that those who practice martial arts do not write books and writers do
not practice them. Such editions are mere profanation. Their contents seem to
be convincing only at first sight. Those editions do not represent true spirit of
the national martial art; on the contrary, they distort its contents, widely
disseminate incorrect views and opinions. It is very harmful. If it goes on in
future, the idea of popularization of the national martial arts itself will be
distorted beyond recognition.
The manuscript copy of this book was re-written four times. However, it is
difficult to avoid shortcomings. We pray specialists make their corrections.
10
direct our mutual efforts to the revival of our nation and strengthening its
Spirit. That’s why I alone may not keep secrets passed down on me by my
tutors, although I realize that my description has a lot of shortcomings due to
my limited knowledge6. I hope that connoisseurs will give their advice.
Xu Yi Qian
Editor’s notes:
6
A standard pejorative phrase said by all Chinese masters who follow the
tradition. The Code of Martial Virtue WU DE specifies to a speaker to belittle
his merits and praise merits of a tutor.
11
On sources and main content of
the art of TAI JI YUAN GONG
Master Wang Yue Qun is a patriarch of the style TAI JI YUAN GONG.
Master Wang had also another name – Yan Zhou. At the time of the Qing
dynasty, during years under the motto of QIAN LONG7, he lived in the
locality of Nantong, the province of Jiangsu. As he was of small stature and
feeble, his fellow-villagers called him the imp. Local young ruffians often
bullied him. Wang Yue Qun did not want to tolerate it and went to the
province of Shangdong where he looked for tutors and learned the martial art
from them. Then he came to the province of Henan where he learned from
monks of the Shaolin monastery. After several years he came back to his
native land. Young ruffians started to bully him again but he repulsed several
of them. They realized that they can not to cope with him alone. Once a few
ruffians surrounded him but they could not even approach him. Then about
20-30 men armed with sticks gathered and attacked him. Wang let them come
closer to him. His hands flew like swallows and sticks were knocked out from
the hands of the assailers. After it the youngsters realized that a real WU SHU
master was before them. They kneeled and began begging to excuse them.
As a rule, Wang did not reveal his skill and used it only in case of emergency.
Wang comprehended secrets of the style TAI JI YUAN GONG which
absorbed all the most valuable things from all styles and schools of WU SHU.
Over time this style became a separate kind of Pugilistic Art (QUAN SHU). It
contains eight TAOs8: the first TAO – TIAN HUO TONG REN, the second
TAO – CHUAN SHAN SHEN HUA, the third TAO – DOU SHOU SHEN
Editor’s notes:
7
Years of ruling under the motto QIAN LONG, 1736 – 1795.
8
TAO, a formalized complex of movements that contains techniques and
methods of the style.
12
HUA, the forth TAO – FU SHOU SHEN HUA, the fifth TAO – FEN SHEN
SHEN HUA, the sixth TAO – CHU SHOU SHEN HUA, the seventh TAO –
ZUO YOU SHEN HUA, the eighth TAO – SHENG SHENG SHEN HUA. In
its turn, each from the eight TAOs is divided into eight sections. Each section
contains 24 – 25 movements. Below are the names of all 64 sections which
form 8 TAOs.
13
The third TAO
These 64 sections are learned one after another in the mentioned sequence in
order to avoid confusion. In the very beginning of learning it is necessary to
exercise “Small GONG FU” to which belong such techniques as CHONG
QUAN (straight punch), BO ZHANG (crossing palm), ZHANG DAN (static
positions), LOU XI (shaking-off a knee), DOU QUAN (fist-scoop), TI TUI
(kicks) and others. Though it is called “Small GONG FU”, at the same time it
is the foundation of “Big GONG FU”. “Big GONG FU” results from “Small
Gong FU”. If at first you do not acquire “Small GONG FU” and start learning
“Big GONG FU” right away, you deprive yourself of an opportunity to come
to the true top of mastership. When you are in the process of acquiring “Small
GONG FU”, you gets used to training and thus you prepare yourself to
acquire “Big GONG FU”. However, “Small GONG FU” is not the work of
one day.
In the past members of the famous family Qun with master Li Xue Qun at the
head often had discussions as regard to this Art, searched the truth through
practice, gave preference to quality, not to quantity, rated combat efficiency
highly, not good looks. It was thought that the simpler arm work, the more
practical it is in use.
“One has always to advance in the process of learning, but fast results can not
be achieved. Those without permanency (in view) can not achieve good
results. Static positions must be perfected very slowly. A slow training
16
develops “The Inner”. When you are exercising movements and changes in
positions, you have to care about very fast movements. So “The Outer” is
trained. The foundation will not be laid without training “The Inner”. If there
is no foundation, nothing can be said about defense. There will be no
techniques and methods without training “The Outer”. He who did not acquire
techniques and methods may not say anything about attack. Defense is present
in attacking actions, attack hides in defense. The energy QI concentrates in
the region of DAN TIAN. The Spirit is revealed at the external level. Over
time it will happen by itself and the spiritual source JIN will run through
everything”. We inherited these instructive words from Wang Yue Qun.
17
exercising with the moon rise and did it without stopping in spite of heat and
cold during six years. I learned over forty sections from the style YUAN
GONG, as well as both TAO of the CHUAN NA style of the family Sha.
Unfortunately, master Li who reached perfection in his art died two years
before the People’s Republic (1911). The Qun family maintained his tradition
and trained people in the true art without falseness.
18
Explanations
This style was founded by master Sha Da Chuan who passed it down to his
son Zhan Wu. Zhan Wu, maintaining the tradition, passed it down to master
Wu Bi You who, in his turn, passed the tradition down to masters Li Xue
Qun, Cai Wen Quan, Xu Ran Deng, Xu Zhao Hui. During the years under the
motto of Guang Xu (1875-1908) master Li Xue Qun passed the tradition
down to Chen Fu Ren, Tang Li Ting, Ge Li Tang, Wang Jin Bo, Li Si Ran,
Cai Shan Chung, Song Huan and Xu Yi Qian. In the 23-d year of the People’s
Republic (1934) Xu Yi Qian was appointed to a post at the editing department
of the Academy of National Martial Arts. At that time he contributed to the
propagation of the style by compiling the present book. In February of 1935
photos were made and the book was published in 1936.
Initially this TAO contained only 30 positions but later 14 more positions
from the section SHAN DIAN SHOU (“Arms like lightning”) and the final
position (FU SHI) were included after position 17. Thus, TAO contains 55
positions presented in the book.
There is a clear division into methods in the book, instructions are given on
how to unite methods into “paths” and each method is illustrated with a
photo. All the methods have detailed descriptions, therefore a man who starts
exercising is quite capable to reproduce movements and understand their
practical use, thus perfecting his skill and improving knowledge.
19
This TAO belongs to the highest grade (level of mastership); therefore,
learners of this TAO must have a good base level of skills. In that case one
can start exercising and misunderstanding and unclear things will not arise.
Each position has a distinct orientation as regard to the cardinal points, it must
be strictly observed. Some movements next will be made in another
(opposite) direction.
The book describes all movements in the sequence of their execution, i.e. if at
first an arm moves, the arm movement is described, if a leg, the leg
movement. Thus, it is necessary to adhere the established sequence (of
movements) to avoid shortcomings and mistakes.
Many methods have similar names but movements differ. There are
indications to all that in the explanatory text.
20
Biography of Sha Da Chuan
Sha Ming, alias Da Chuan, was born in the town of Nantong in the province
of Jiangsu. In his young years he was a persistent scholar of sciences and
passed an examination for the degree of XUCAI9. He was not of strong
health, therefore small-minded people always laughed at him and bullied him.
It was just the time when he started persistently train himself in different
martial arts. He learned the style TAI JI YUAN GONG from his fellow-
townsman Wang Yue Qun through exercising, in spite of heat and cold,
during many years and succeeded in comprehending the innermost sense of
that Art. Master Wang used for exercising a copper staff weighing over 30
JINs (more than 15 kilograms); they say, that thing was the work from the
time of the dynasty Yuan (1271-1368). Sha trained with the staff to execute
different methods and rotations and Wang showed some stage movements
with the staff. Unfortunately, afterwards the staff was lost. Years passed, but
Sha found no peace yet as if he lost something important.
Once, several years later (after the loss of the staff), he heard that a Peking
opera troupe gave performances in Jiangnan, south of the river10. Sha crossed
the river, found the place where performance was staged and joined the
audience. The actors played a piece from the opera “The River Backwaters”,
just the piece where drunken Lu Zhi Shen knocks at the temple gate. But,
unfortunately, the performance was near the end. Musical proficiency of the
performers was superb, the audience applauded the brilliant actors and Sha
was very merry. When the actors finished the performance and started to bow,
the audience asked them very much to demonstrate once more their highest
skill. All people around expressed their admiration. Next day Sha came to the
Editor’s notes:
9
XUCAI, the first (initial) scholar degree in the old China which gave the
right to hold a post of a district official.
10
The river of Yangtze, flowing south of Nantong, is meant.
21
place exactly at the time not to be late for the performance. Soon drums
started beating and the performance started. Rude and impolite monk Lu Zhi
Shen appeared on the stage to loud and sonorous music that sounded far away
and expressed resolution and temerity. Mastery of the actor (GONF GU) was
very high; moreover, his appearance was accompanied by excellent melodies
in the style of KUNQU11. The audience was shaken. When the monk started
to force his way through the gate, trying to smash it with a copper staff, Sha
immediately understood that the staff was the lost Master Wang’s heirloom.
He extremely rejoiced at his heart. The performance went on, the flickering
staff whizzed in the air with the sound resembling the wind. The staff moved
so fast that it was impossible to glimpse even its shadow. The actor who
played the drunken monk started to sing sad songs and sympathy and lenience
toward this rude and lecherous monk was born in the hearts of the spectators.
It took the breath of most of the audience with delight, some of them were
even wrung with horror.
After the performance several rich spectators decided to arrange a feast and
invited to it the actors to express their great gratitude to them. Sha approached
the actors and explained in low polite voice the purpose of his coming there.
On hearing this, one of the actors readily took the copper staff and handed it
to Sha. Sha was very happy and accepted the staff with great gratitude.
In the twelfth year of the reign of emperor Qian Long (1736-1795) some
official who lived south of the river of Huaihe got himself a big ape five CHIs
Editor’s notes:
11
KUNQU (the Kunshan opera), came into existence in the district of
Kunshan, the province of Jiangsu, at the end of the Yuan dynasty (1279-
1368) – the beginning of the Ming dynasty. Soft and clear vocalism is
characteristic of Kunqu, its melodies, nice and refined, resemble dance
music. That genre was on the peak of popularity at the end of the Ming
dynasty (1368-1644) – the beginning of the Qing dynasty (1644-1911), it had
tremendous influence on other kinds of opera. About the middle of the Ming
period it spread to the north of the country and gradually transformed into a
more energetic, more severe type of opera called the Northern Kunqu.
22
(about 1.6 m.) in height. It was a very fast, active and unusual animal. Once a
man who looked after the ape was not prudent enough and the ape escaped
from the cage and got itself on the loose. Traces of its jumps and outrage were
seen everywhere, the ape always ran away, it was absolutely impossible to
come close to it. The official, the owner of the ape, was an old acquaintance
of master Sha. Just at that day he sent an invitation to master Sha to visit him.
Mater Sha put on his cap and robe and made his mind to show his friendly
disposition, to express respect and wish long years for the man. When he
quickly approached the YAMEN12 and entered the yard he was suddenly
attacked. The ape, when it saw him, tried to scratch his face. Probably, its
attention was attracted by the red bands that decorated the Sha’s cap13. Sha
dodged the blow so fast that the bands on his mandarin cap came off. The ape
jumped aside at once and tried to run away, but Sha seized it by its paw. The
ape wounded itself in its trials to get free, its blood sprinkled and stained his
dark blue robe. At that moment the official looked at the happening from a
distance through the fold of the door. After seeing what had happened he went
out to meet Sha with a loud laugh and suggested him to change the clothes,
thereby expressing his respect.
After that incident Sha and his schoolmate Chen Hui /His other name was Gu
Fang. Gu Fang and Sha got to the bottom of the innermost secrets of the teaching
and became its followers and successors. Their remarkable achievement in the
secret art NEI GONG14 raised their mastership to unattainable height/ killed
powerful enemy Zhang Hu, thereby accomplished a feat notable of the time of
errant knights. That man, Zhang Hu, was a merchant known as a crooked
man. He came to the town and settled (in the region of) Shigang, east of the
Editor’s notes:
12
Yamen, a state office, town council.
13
One of decorations on the mandarin’s cap in the shape of a small plume.
14
NEI GONG, “Internal work”, “Internal mastership”; methods of work with
the internal energy, transformation of the internal structure of the body,
strengthening of the marrow et cetera; also, combat QI GONG.
23
river. He was exceptionally bellicose and could break a pile of bricks with one
blow of his palm, was able to use “the art of lightness”, could jump to a
distance of several ZHANGs15. The man was lecherous, often accosted
women and got used to visit brothels. One can hardly number all unseemly
deeds of that man.
Once, in day time, the village people tried to settle some disputes in a tea
house. Not coming to common agreement, they snatched bamboo tubes for
keeping copper coins and started beating each other on heads. Thanks to
happy coincidence one of those present was Wu Xi Hu. /Wu Xi Hu lived in
Shigang near the Northern Gate, he had a place for exercising there; he was a
follower of the style ZI WU ZHANG. Each day at the hour of ZI16 and at the hour of
WU17 he used to exercise in the Northern Chamber of the Main Ceremonial Hall
near the stone stela during thirty years. Impact marks of his palms and elbows can
still be seen at that stela./ With an arm wave he separated those who were
fighting, the bamboo tubes were splashed into splinters, the coins were
scattered off, so the peasants got out from the difficult situation. But at that
moment Zhang Hu began to approach Wu Xi with abusive language. Wu
alone did not dare to encounter. He went to ask Sha and Chen Hui for help. At
that time Wu Hui had fever and he said that he was not able to take part in
fight. But Sha convinced him to participate in fight and they went together. At
first they tried to influence with words and persuasion but without effect.
Then Sha said such words: “A noble man can be so lofty in his deeds and
aspirations that he is able settle any conflict and stop outrage with laugh and
with ease alone.” However, Hu insisted on a fight, finally they agreed to fight
in a street near the Eastern Temple.
Editor’s notes:
15
ZHANG, a measure of length equal to 3.33 m.
16
ZI, time of the day since eleven o’clock p.m. till one o’clock a.m. (2300 -100).
17
WU, time of the day since eleven o’clock a.m. till one o’clock p.m. (1100 -
1300).
24
And now the enemies met. Hu fiercely rushed at Sha, trying to come close
and deliver a decisive blow but Sha kept a distance and kicked with the
method QUN BAN TUI - “A kick from under the skirt”. /That method in
CHUAN NA QUAN is called JIU DI BAN CHUAI – “Kicking aside from the ground”/
Hu dodged Sha’s kicks and attacked again and again, time after time.
Suddenly a Sha’s kick got the aim and Hu fall down. At once Sha shouted:
“Gu Fang!” /It was the other name of Chen Hui/ and Chen rushed forward and
struck a crushing blow at ribs of the fallen enemy. That was the method JIU
DI ZHUI JIN ZHUAN - “Pressing a gold brick to the ground”. /That method in
CHUAN NA QUAN is called QIAN JIN ZHUI DI : “1000 JINs18 weigh on the
ground/ They say, at the end Hu exclaimed in a loud voice: “An excellent
blow!” It seems to be true, as the blow fractured the bones. Soon Hu gave up
the ghost.
Two months later some elderly man who said that he was Hu’s father was
looking for the friends. His beard and moustache stood on end like spikes of a
hedgehog, his eyes shined brightly, it could be seen from the first sight that he
was unsurpassed in GONG FU. By sending his visiting card he expressed his
desire to meet Sha and Chen. Sha and Chen were busy preparing for a serious
talk; they realized that the man did not come to them with good intentions.
They supposed that the old man had taken a pledge to avenge for his son. And
now an appointed meeting took place. The old man told the friends that his
obstinate and ungrateful sun who was wounded by the two heroes died on the
way to the city gates. The people who accompanied him asserted that before
death Hu said: “Sha has excellent leg technique and arm blows of Chen are
good.” Then he uttered some inarticulate sounds and died. The old man said
that his son relied on his bellicosity, committed a lot of the evil deeds and did
not expiate them with his death. The elderly man wanted to make himself
forget him but could not do it. But the two heroes eliminated the trouble.
Editor’s notes:
18
JIN, measure of weight approx. equal to 0.5 kg.
25
They saved people from many misfortunes. At any rate, one must do justice to
the Hu’s skill that was very high.
Twenty years passed, the fame of the friends resounded throughout three
provinces, and they had no worthy opponents. Many years passed since that
time, they died long ago, but by my modest opinion, those two heroes are
outstanding men, people remember them until now and feel deep respect
toward them. They sincerely worship two of those great men. The men
invariably exercised even if they stayed for night in an unknown place. Why
did they win a victory over Hu? With their superior technique they could not
feel fear of defeat. When leaving their ancestral house and setting out for a
long way, the Sha family left commemorative inscriptions on the outside of
the walls. Although the surface of the walls has already cracked and has been
broken at some spots, there are still traces of the inscriptions. Even at the
present time, after coming closer to the house, /for several years the house
belongs to the Wang clan/ one can see the remains of the inscriptions at seven
spots. As a result of restoration and repair of the house made by the Wang
clan the inscription remains disappeared one by one, that relic of the past can
be lost. It will be a great loss for future generations.
Honorable Sha was skilful in calligraphy and deeply engaged in martial arts,
he was a connoisseur of literature and music. In spite of the difference in age
he had long and strong friendly ties with Chen. They together created the style
CHUAN NA, passed it down to Zhan Wu and until now the style is passed
down from generation to generation according to the tradition. CHUAN NA
has a complex of exercises (TAO) for individual training which was included
into this book.
26
CHUAN NA QUAN
Photographs and Comments
Part I.
Position 1. The beginning of the execution (of the
exercise complex) CHAN NA. Initial position.
Editor’s notes:
19
Here and further the term “path” means a sequence of movements with
common sense done continuously.
27
arms” as an invitation for a bout. You must imagine that you stand on a
ground in front of the enemy and show respect to him.
Comments: The sense of the style name, [CHUAN NA], is revealed in each
of its hieroglyph: CHUAN means “to pierce”, “to transfix”, “to break
through” by a blow, and holding the enemy with the aid of grips is expressed
by hieroglyph NA – “to squeeze”, “to hold”, “to control”. Earlier the style had
a name of CHA20 NA. The present name is CHUAN NA. Besides, the way of
writing of hieroglyph NA was replaced with a modern one21.
Photo 2 shows the second movement. Positions, from the second to the fifth
one inclusively, must be done within one breath, as a single action. Actions
in the book are divided into single (intermediate) positions for the sake of a
more detailed description.
The movement starts from the previous position: tuck the body to become like
a compressed spring, slightly bend knees and elbows, bend the wrists too and
raise your hands a little, turn the head to the right by 45 degrees (to the south-
west), stare to the right and forward (Photo 2).
Editor’s notes:
20
CHA is translated as “to stick into”, “to thrust into”, “to pierce through”.
21
There was another way of writing hieroglyph NA in ancient time; however,
the meaning of the old and new hieroglyphs is the same.
28
Practical use: This is the position of
readiness, taking measures to ward
off the enemy who approaches you
from the front and from the right,
that’s why you must look forward
and to the right.
29
Position 3. YI BU YOU LAN: “Making a step and
barring on the right flank”
The third movement of the path.
Practical use: The enemy attacks me at the right part of the breast with his
left arm, I parry his arm with a “barring” movement of the right arm and
protect myself against a possible attack of his right arm or leg with my left
Editor’s notes:
22
ZHANG KOU, lit. “mouth of a palm”, the space between the thumb and the
forefinger which are moved aside.
23
Please note that the fingers of the right palm are slightly bent and
strained, the palm itself looks as if it is concave (photo 3). It is one of those
small differences which distinguish the traditional (applied) WU SHU from
the sports WU SHU. In such a position of the hand the risk of damaging
fingers during a collision with an enemy’s extremity substantially decreases.
30
arm that is near my stomach. Alternatively, the left arm may be raised to
“support” my right arm.
Method of training: At the initial learning stage first the right leg moves
concurrently with the right arm, then the left leg is drawn to the right one, at
the same time the left arm moves. Later on, the movements must be united
into a whole one.
Comments: [XU BU] One foot completely (with the whole of its sole) stands
on the ground surface24, the other (foot) only slightly rests on the ground with
the front part of the foot, the heel is slightly raised. It is an “empty” leg, hence
the name of the stance25.
Continuing the previous movement, make a step with the left leg forward and
to the left (to the south) and immediately push off from the ground with the
right leg. At the moment when the left foot touches the ground the right leg
leaves the left leg behind and is half a step ahead (of the left foot), touching
the ground only with the toe. That position is called DIAN BU – “jumping
step”. During the movement the left arm raises up, the left palm is at the level
which is a little above the forehead. The right arm is brought to the torso, its
Editor’s notes:
24
The right foot in this case.
25
XU BU, literal translation means “an empty position” or “empty step”.
31
palm adjoins ribs, the center of the palm points upward. Stare forward (Photo
4).
Practical use: The enemy attacked
me with his left arm, I ward off his
blow with my right arm (the previous
position). The enemy immediately
continues his attack with a blow of
his right arm aimed at my left ear or
temple. I block his blow with my left
arm, at the same time I move the right
leg forward and take the position
DIAN BU. It is convenient to strike
with the (front) leg from that position.
Editor’s notes:
26
Body weight in the stance DIAN BU is supported by one leg, the second
leg is completely relieved as if it is suspended in the air.
32
Position 5. TAN NANG QU WU: “Fumbling in a bag
to take the right thing”27
The fifth movement of the path.
Continuing the previous movement, bend the left knee a little more and
slightly crouch, stretch the right arm forward (to the south) and downward,
and raise a little up at the end of the movement. The center of the (right) palm
points forward, stare at the right palm (Photo 5).
Photo 5.
Editor’s notes:
27
A figure of speech, meaning “easy job” (proverb).
33
movement (blow) in its second phase when the arm comes back: you as if
“rake” (LIAO) something and pull toward you. The first phase of the
movement is a downward and forward palm blow; palm fingers point down,
the palm center points forward. [TAN NANG QU WU] Li Hu, master of the
fifth generation, says: “A technique, resembling our one, is employed all over
China, for instance, in Jiangnan it is called just TAN NANG”.
The previous five movements are united into a “path” and done as a single
whole. They have the common name YUAN HOU CHU DONG – “Monkey
leaves the cave”. Those movements are rather simple to comprehend even for
beginners, especially if positions and movements are distinctly divided at the
initial stage of acquisition. After taking the initial position (Position 1) one
must concentrate, quietly breathe out and execute four successive movements
as one action, in one breath.
34
Position 6. SHUNG SHOU TUI ZHOU: “Stretching
an arm and pushing the boat”
The first movement of the path.
This movement is, to a great degree, similar to a method from TAI JI QUAN
(TAI CHI CHUAN) called LOU XI AO BU – «Brush knee and twist step».
Editor’s notes:
28
“Tip of a hook” means fingers gathered to form a pinch.
35
Practical use: The enemy, being in front of me and on my right, kicks at my
right knee. I immediately ward off the attacking leg of the enemy to the right
with my right arm by “hooking” it from below, strike him at his side or back
with my left arm and topple him over on the ground.
Method of training: The step (of the right leg) TAN BU and the “rounding”
movement (of the right arm) round the (right) knee RAO XI are executed at
the beginning of the movement concurrently, in one breath. Then the right
arm bends and rises to the head to protect the ear, the left palm strikes, the
right knee bends – three of these actions are done concurrently.
Editor’s notes:
29
BU, lit. “a step”, also used in the meaning “position”, “stance”.
36
name of that stance – GONG SHI (“The shape of a bow” or “The position of a
bow”) without distinguishing the right and left positions. However, we shall
point out in this text which leg is in front and which is behind in the following
manner: “left bow, right arrow” or “right bow, left arrow”. One should follow
those instructions.
The movement starts from the previous position. The right “hook”
transforms into a fist30, the torso starts turning to the left, the right forearm,
maintaining the vertical position, also moves to the left, the fist is at the chin
level, the elbow protects right-side ribs. The position (shape) of the right arm
is as shown in the picture:
Turn the torso to the left (to face the south), bend knees and take the low
stance QI MA DAN (“Rider’s stance”). Clench both hands into fists with the
center turned inside, the right arm is inside, the left arm is outside. Cross both
forearms in front of the breast like scissors. Stare forward (Photo 7).
Practical use: The enemy attacks at the breast with his right fist, I press on
his forearm (XIA BO) from inside with my right arm and press on his
Editor’s notes:
30
The right hand is meant.
37
shoulder (SHANG BO) from outside with my left arm. My arms “cut” like
scissors, which results in fracture of the elbow joint of the enemy’s arm.
38
Position 8. FEN LU YAN BIAO: “Throwing darts in
opposite directions”
The third movement of the path.
I do not know why the name of this movement has been changed, but such
renaming took place. The earlier name was MA FEN ZONG – “Combing
horse mane”. It looks like a man who sitting on horse-back brushes its mane
with his fingers and sets his arms to sides. The same is here: the torso
remains immovable, only arms that are setting to sides move.
Practical use: The enemy strikes me at my left ear (GUO ER) with his right
arm, I ward off his arm to the left with my right arm and protect my stomach
against a possible attack of his left arm and leg with my left arm. If the enemy
attacks me with his left arm, it is possible not only to beat off his blow but to
“prop up” (TUO) his lower jaw with the same movement. Here and further it
is necessary to bear in mind that although some methods and positions (when
40
they are described and learnt) presuppose certain (predetermined)
employments and canonical execution and are executed in certain sequence, it
is not a dogma in reality. Each method in practice has several ways of
employment. An established external shape must be combined with internal
changeability and mobility, one method must be naturally pass into another
one. The external shape (“outline”) of a method proper can change depending
on a situation as well.
Method of training: A turn of the body and a turn of feet are done as one
movement. The left arm protects the stomach, the right arm “props up” while
moving forward and upward. All movements are made in one breath.
Commentary [NIN31] A toe of the foot slightly rises. The heel is planted on
the ground; the toe turns to the right or to the left. [LUE] “Diagonal
deflecting (of the enemy’s arm)”, this term is used in WU SHU when a
striking arm of the enemy is warded off to the right with the left arm or to the
left with the right arm. [GUO ER32] Blow at the ear. [TUO33] “A propping
up” movement from below upward.
Editor’s notes:
31
NIN, lit. “to twist”, “to turn”.
32
GUO ER, lit. “blow at the ear”.
33
TUO, lit. “prop up”, “to support”.
41
Position 10. SHANG BU FA MA: “A step forward
just as a horse trots”
The first movement of the path.
The right hand takes the shape of a “hook” (GOU), the right arm stretches
backward, the left hand raises above the level of brows, fingers point up.
Concurrently with this, the left foot with its toe slightly turns outside, the left
leg bends in knee, the right leg takes a step forward, its knee slightly bends
too, the right stance JIAN DAN is formed. The torso slightly shifts back (the
main weight of the body is on the back leg) and “sinks” down. You stare at
the right and forward (south-east) (Photo 10).
be made concurrently.
42
Commentary: [JIAN DAN] Feet are at a distance of a small step from each
other, the front leg is “empty” (XU), the back leg is bent in knee, the center of
body gravity is shifted to the back leg. The torso is slightly shifted back, it is
as if “sunk” down. Both knees are moving inside to approach each other. The
leg position resembles scissors (JIAN), hence the name. The initial name of
the position was FA MA SHI – “The position of a trotting horse”, by now it is
replaced with SHANG BU FA MA to have words “a step forward” (SHANG
BU) in the name.
Method of use: The enemy kicks (CHUAI) me at the knee from behind, I
turn, “catch up” his leg and strike with “Phoenix fist” at the point TAI YANG
which is situated at the temple of the enemy.
Commentary: [RAO XI] The arm passes near the knee cap and moves
outside, that is exactly RAO XI – “Rounding the knee”. [BAO ZHOU] It is
the position when a fist with its center pointed up is tightly pressed to ribs; it
is of no importance whether it is one fist or two, in both cases that position of
hands is called BAO ZHOU. [NIAN BU] A foot slightly rises and
immediately goes down to the surface, while the toe of the foot turns inward
or outward. [FENG QUAN] “Phoenix fist” – the thumb is tightly pressed to
the forefinger on one side, the middle knuckle of the forefinger is moved
forward, the blow is delivered horizontally. [CHUAI] The blow is delivered
with the whole of a sole, that’s why it is called a “push” (CHUAI).
44
Position 12. MAI DAN QIE XI: “Cutting a knee in the
position MAI DAN”
The third movement of the path.
Below is described one of a few possible palm blows in this position. It also
is possible to deliver a “rising” (TIAO) blow at the groin, it is possible to beat
off a kick of the enemy etc.
The depth of torso “sinking” in the position MAI DAN must be correlated
with a situation.
Practical use: The enemy catches my right wrist with his left hand, takes a
step forward and punches me at the face with his right fist. I sink into the
position MAI DAN and dodge his attack, at the same time I jerk my right arm
toward me and deliver a “whisking” (SHUA) blow at the left wrist of the
enemy with my left palm, free myself from his grip, then strike a “chopping”
(QIE) blow at his knee.
45
Method of training: Drawing the right arm to the torso into the position
BAO ZHOU, delivering a blow with the left palm, “crouching” into the
position MAI DAN – all those movements are carried out concurrently.
Commentary: [MAI DAN] Both feet are planted apart at a distance of a big
step, the front leg is wholly straight, the back leg is bent in knee, body weight
is shifted to the back leg. [QIE XI] Lit. “to chop a knee”, a blow of palm edge
is delivered at a low level at a knee of the enemy, the palm moves forward
horizontally. [SHUA] Lit. “to clean off”, “to whisk”, one of the arms is
quickly drawn to the torso, the other arm abruptly strikes with a palm edge. If
the enemy grips one of your arms, it is possible to free yourself with the aid of
the free arm. Another name (of this method) is XI SHOW – “Washing
hands”.
The movement starts from the previous position: the right leg straightens,
body weight shifts on the left leg, its toe turns forward, the left knee bends
and moves forward, the left (stance) GONG QIAN DAN directed to the west
is formed. While changing the position, the left arm protects ribs (HUO LEI),
the right hand with the protruded middle knuckle of the forefinger, following
the movement of the torso, moves forward in front of the face and stops at the
46
chin level. The right arm is slightly bent; you stare at the right hand (Photo
13).
Commentary: [HUO LEI] Lit. “to protect ribs”, any arm is pressed to ribs, it
is of no importance how the hand is open – with the center inward or outward,
all these are HUO LEI. [JING ZUI QUAN] Lit. “To bring politely some
wine in fist” or “Fist of a man bringing wine politely”. The thumb in this
position presses from a flank on the forefinger, the middle knuckle of the
forefinger sticks out forward. If a blow is delivered forward and downward, it
is called MI DING – “honey nail”; if a blow is directed upward, it is called
JING ZUI QUAN, if a blow is directed straightly forward (horizontally), it is
called FENG QUAN – “Phoenix fist.”
47
Position 14. SHANG BU FA MA: «A step forward
just as a horse trots”
The first movement of the path.
The left leg, staying in its place, turns with its toe outward, the right leg takes
a step forward, its knee slightly bends, the right (stance) QIAN DAN is
formed (to face the west). Concurrently with the step the left hand rises up in
front of the face, a little above the brow level, the right hand takes the shape
of a “hook”, the arm stretches back. You stare forward and to the right (to the
north-west) (Photo 14).
48
Position 15. ZHUAN SHEN FU HU: “To turn and
tame a tiger”
The second movement of the path.
49
HU KOU34 (of the right palm) points up, the center of the palm points
forward at the waist level. Stare at the right palm (Photo 15).
Practical use: The enemy, attacking me from behind, kicks (CHUAI) at the
bend of knee. Having made a turn with the step NIAN BU, I dodge his kick,
round my knee with the left hand and catch up his leg. The enemy, seeing that
his kick missed the target, attacks my face with fist, I beat off his arm up with
my left arm and simultaneously strike at his side at the waist level with my
right palm.
Method of training: Moving the left hand round the knee, making the (step)
NIAN BU with the left leg, and a body turn – all those movements are
executed concurrently. The left arm beats off (the enemy’s arm) up, the right
arm stretches down – those are done with one movement. The right leg takes
the step NIAN BU after the left foot has gone to the ground.
Commentary: [FU HU] Lit. “to tame a tiger”, “subdue a tiger”. This name
came into being after warrior Zhao Bing who wandered over China could
drive a tiger to the ground with the aid of an invocation. [NA] The arm
presses (ANG) with all force down, its hand is in the position NA (“grip”).
Here a palm is used to exert pressure on the enemy; it is called NA ZHANG
(“a grip with the palm”).
Editor’s notes:
34
HU KOU, lit. “tiger mouth”, the space between the spread thumb and
forefinger, the same as ZHANG KOU (“palm mouth”) is.
50
Position 16. SHUANG GOU DU LI: “Two hooks in
one-leg position”
The third movement of the path.
This (arms) movement can be used both against an enemy’s attack and for
the preparation of your own attack: arms move up and down, misleading the
enemy. One leg is raised to protect the groin.
elbow is bent, the tip of the elbow also points forward and to the right. You
stare forward (to the east), the torso is turned a little sideways: the left
shoulder is brought forward and the right shoulder backward, the chest is
turned a little to the right (to the south-east) (Photo 16).
Practical use: The enemy attacks me with a kick, I raise a leg and dodge his
attack; then, it is possible to use an opportune moment and launch a
51
counterattack. At the same time I protect my ear against his blow with the
right “hook” and protect myself with the left “hook” against a possible attack
at the groin.
Method of training: The left hand moves down and forms a “hook”, the right
hand rises up and forms a “hook”, the left leg rises up – all those movements
are made at the same time.
The palm movement is rapid like a bolt of lightning. The path of the
movement is slightly bent as shown in the picture:
It is important that the elbows to be in a firm position, the arms must not be
straightened completely, though they must not be bent too much.
The left foot goes to the ground, the right foot immediately moves forward by
a step. Both knees bend, the stance “Lateral stance MA” (QIE MA DAN)35 is
formed, you stare at the east. Both palms make a push forward from ribs,
palm centers point forward and a little inward, fingers point up, both arms are
slightly bent. The right hand is in the front and opposite the nose, the left hand
is slightly behind (the right hand) and opposite the lower jaw. The right side
and the right shoulder are slightly brought forward and the chest is turned a
little to the left (to the north-east). (Photo 17).
Editor’s notes:
35
MA DAN, the same as MA BU, “Rider stance”; QIE, “lateral”, “sidewise”.
52
Practical use: If an arms movement
is made at an upper level, the right
arm attacks the point TAI YANG on
the left temple of the enemy and the
left arm pushes his lower jaw to the
right. If an arms movement is made
at the middle level, it is possible to
seize (press on) the left wrist (of the
enemy) with the left hand and to
press with the right hand on his left
arm above the elbow to fracture his
elbow joint. Or it is possible to
strike with both palms at the chest
and ribs of the enemy.
Photo 17.
Method of training: The left foot goes to the ground, both hands are pulled
up to ribs – both of these movements are made concurrently. A step forward
with the right leg and an attack with both palms must also be made
concurrently.
53
(“Arms like lightning”) were added in this place. According to the modern
version the previous seventeen positions make up the first part.
Part II.
54
armpit, its back part points forward. The left arm straightens forward and
makes a “sweeping” (SAO) movement, the back part of the left palm in the
final position is turned to the left, finger tips point forward, the arm is straight,
the hand is at the level of brows. You stare at the left palm (Photo 18).
Practical use: I “cover” (GAI) the left (attacking) arm of the enemy with my
right arm and immediately hit his left cheek with the back of the left palm. If
a blow is delivered at the middle level, the left palm strikes a “sweeping”
(SAO) blow at the left part of the chest of the enemy. In that case the blow
can be made not only with a palm but with forearm, shoulder and whole arm.
Concurrently with the left arm movement the left knee moves forward and
props up the right knee of the enemy from a flank or behind, as a result the
enemy falls on his back or right side.
Method of training: The right foot turns with its toe outside, simultaneously
the right arm is brought down. The left leg steps forward, the left palm attacks
with a “sweeping” movement; it should be executed with one breath.
55
Position 19. XUAN YA LE MA: “Reining in a horse
at the edge of the precipice”
The second movement of the path.
Practical use: The enemy seizes my left arm with his right hand and punches
me at the stomach with his left fist. I immediately seize his left wrist with my
right hand, free myself from the grip by a circular movement of the left hand
and, in my turn, seize him by the right wrist from above. At the same time I
pull both arms to my torso and retreat to the stance XU BU.
Editor’s notes:
36
“Fist eye”, surface of a fist on the side of the forefinger and the thumb.
56
Method of training: At first the right arm is brought in front of the breast,
the right leg bends in knee, body weight shifts back. Then both hands are
being clenched into fists concurrently with pulling the left leg to you.
Commentary: [XU BU] See the commentary on position 3. [XUAN YA], lit.
“the edge of a precipice”. You must move so as if you are on a high mountain,
at the edge of a precipice, a steep cliff is below you and you can fall down
into abyss.
The left leg moves forward by half a pace and bends in knee, the right leg,
following the left leg, also moves forward with a small step (XING BU), its
knee also bends, “Side rider stance” (QIE MA DAN) is formed. Concurrently
with the movement both fists are brought forward, blows are made with
palms. The left palm is in front, at the nose level, the right palm is a little
behind, a little bit below the chin. The centers of both palms point forward,
fingers up, arms are bent a little, you stare ahead (Photo 20).
57
Practical use: After my seizing the
enemy by his arms in the previous
position and making a pull toward
me I, using the opportunity, move
forward fast and attack his breast or
ribs with both palms. A palm blow
must be strong, it is necessary to use
the weight of the whole body.
58
Position 21. ZHUAN SHEN FAN ZHANG: “Turning
the torso, a turned palm”
The fourth movement of the path.
59
Practical use: The enemy,
approaching from behind and from
the right, attacks me at the level of
the breast with his right arm. I
“cover” his arm with my left arm,
simultaneously turning and making
a step toward him, and immediately
attack him at his right cheek with
my right palm or topple him with an
arm “sweeping” movement (SAO)
and by putting my knee under his
leg. When you use this method,
movements of arms, body and legs
must be coordinated. A step toward
Photo 21.2
the enemy is made to approach him
and not allow him to retreat.
Method of training: The left arm “covers” (GAI) down, the left leg executes
a “covering step” (GAI BU), the torso turns – all those movements are
executed concurrently, in one breath. The right leg takes a step forward, the
right palm hits – those movements are also executed concurrently.
60
Position 22. XUAN YA LE MA. “Reining in a horse
on the edge of a precipice”
The second movement of the path.
Practical use: The enemy seizes my right arm with his left hand and punches
me at the stomach with his right fist. I immediately intercept his right arm
with my left hand, free myself from the grip with a circular movement of the
right hand and seize him, in my turn, by his left wrist from above. Then I pull
both arms toward the torso and retreat to the stance XU BU.
61
Method of training: The left hand moves from behind and below and reaches
a position in front of the breast, at the same time the left leg bends and the
body’s center of gravity shifts to it. Both hands clench into fists and are being
pulled a little back concurrently with pulling (toward you) the right leg.
Commentary: [SHOU BU], lit. “to pull a leg”, any leg which is in front is
pulled toward you by half a space. [LE MA], lit. “to rein in a horse”, “to hold
a horse back”. It looks like a stop for reining in a galloping horse.
62
are bent a little in elbows. The right shoulder is brought a little forward. You
stare at the right palm (Photo 23).
Practical use: After my seizing the enemy by his arms with a strong jerk
toward myself in the previous position, I move forward fast and, using the
favorable situation, hit at his breast or ribs with both palms. As (at that
moment) both legs and the whole body move forward, a blow will be strong.
This method can be divided into the “empty phase” at the beginning and the
“filled phase” at the end. It is called DIE JIN – “A falling effort” in WU SHU:
you as if fall on the enemy, using the weight of the whole body.
Method of training: Right and left parts of the body, torso, arms, and legs
move in coordination like a single whole.
The torso turns to the left and back, both hands move down and turn round
the left knee from outside. The right leg rises a little, straightens back and
plants with the whole sole on the ground. The left leg turns with its toe to the
east and remains bent in knee. The left stance GONG QIAN DAN facing the
east is formed. At the moment of finishing a shift of body weight on the left
leg and straightening the right leg both palms simultaneously make a push
forward. HU KOU of both palms point up, palm centers are opposite each
other, the hands are on the waist level. You stare at both palms (Photo 24).
63
Practical use: The enemy, being
behind me, kicks at my knee. I turn
fast and deflect the kick from my
knee with two arms, then
immediately push at his waist with
both palms.
Commentary: [NING BU] see position 9, [NIAN BU] see position 11.
Both arms move to the right and to the left respectively with a “smoothing”
(MO) movement. The right leg kicks forward and up, the heel points up
(Photo 25.1). After a kick the foot is lowered back to its place fast and you
return to the initial position. Concurrently with leg return the left arm bends in
elbow and is brought to ribs, the right palm strikes forward (to the east). The
center of the right palm points forward, fingers point up. Stare at the right
palm (Photo 25.2).
64
Practical use: Both arms bring the
arms of the enemy to sides, opening
his ribs and immediately a kick is
made with the right leg. If the kick
missed the target and the enemy
tries to attack again, I counterattack
with a right palm blow. In that case
it is a feint kick and a real palm
blow. During training sessions a
kick is made above the head crown.
At first the leg bends in knee and
then straightens while striking fast
and easily. In a real fight the kick
must be delivered at enemy’s ribs.
Photo 25.1
Don’t raise the leg too high on any
account. The left (supporting) leg
must be bent a little to diminish the
risk of a knee damage in case of a
counterattack of the enemy with a
kick.
Master Xu Zhao Hui called that kick
CHAO TIAN DENG - “Kick at the
sky”. It was also used for knocking
weapons out of enemy’s hands and
for hitting at the lower jaw.
65
blow are also concurrent movements. The kick and returning the leg back
must be done fast to avoid seizing your leg by the enemy and in order the
enemy not to be able to use a delay and counterattack.
Commentary: [MO] Lit. “to smooth out”, “to rub off”, is a parrying, beating
off (enemy’s arms) movement to flanks.
Exercising in this method will allow improving one’s abilities for high-
jumping. After a jump you take the initial position, only its orientation
changes (to the west). The effort of turning the body must reach a palm.
66
finger tips point up, the hand is at the shoulder level. You stare at the right
palm (Photo 26).
Practical use: The enemy, being in front of me, seizes (QING NA) me by my
right wrist with his hand. Then, suddenly (XI) he resorts to the method FENG
SAO DI – “The wind sweeps the ground” and undercuts my legs, going
behind my back at the same time. I free myself from his grip with the aid of
my left arm, avoid his undercut by jumping up and after turning and landing
strike at his chest with my right palm.
Commentary: [QING] Rapid seizing hand movement, quick grab. [NA] “To
catch”, “to grasp”, “to gripe and to hold” is called NA. [XI] Lit. “to assault
from behind cover”, “to make a surprise attack”; a rapid surprise attack
without visible preparations is called XI. [FENG SAO DI] “The wind sweeps
the ground”, a leg executes a circular undercutting movement low above the
ground.
67
Position 27. SHOU BU ZUO ZHANG: “Front leg
drawing and left palm striking”
The second movement of the path.
(Photo 27).
Practical use: The enemy seized my right wrist. I pull the right arm with a
jerk toward me, at the same time I turn the wrist clockwise and clench the
hand into fist, simultaneously I make a “sweeping” (SHUA) movement with
my left hand and free myself from a grip. However, one has not only to free
oneself from a grip, but to fracture an enemy’s elbow as well. For that
68
purpose it is necessary to seize the enemy with right hand by his forearm or
wrist and pull (with a jerk) toward oneself to get his arm straightened,
simultaneously attacking his elbow with left palm. It will be very difficult for
the enemy to free himself. Simultaneously with those actions, it is possible to
resort to leg technique at a low level, using advantages of the stance DIAN
BU.
Method of training: Bending the (right) elbow, striking with the (left) palm
and taking the stance DIAN BU are executed concurrently.
This position uninterruptedly follows the previous one. The left leg remains
in its place and supports body weight, the right leg steps forward; the right
stance GONG QIAN BU is formed.
The left foot lands with the whole sole (LUO BU), the right leg steps forward
and bends in knee; the right stance GONG QIAN BU (to the west) is formed.
Simultaneously the left arm is pulled to the torso, the hand clenches into fist,
it is placed on one side at the waist level. The right palm strikes forward, its
center points forward and fingers upward. Stare at the right palm (Photo 28).
69
Practical use: The enemy retreats
back, I follow him. I step forward
and deliver a blow at his breast. At
the same time, it is possible to seize
the right arm of the enemy with
other hand and pull him with a jerk
toward yourself. In addition, a
movement of right arm can be
considered as defense against a
counterblow of the enemy directed
at my ribs, in that case it is
necessary to punch with the (left)
fist immediately. One must act
according to the dictum: “Defense is
Photo 28
present in attacking actions, attack
hides in defense”.
Method of training: The left foot lands the ground with the whole sole, the
left arm bends, the fist is pulled to the waist – those movements are made
concurrently. Then the right leg steps forward and the right palm strikes, it is
done simultaneously, in one breath.
Commentary: [LUO BU] The foot of the front leg in the stance DIAN BU or
XU BU lands with the whole sole. [SHANG BU] Any movement forward by
one step is called SHANG BU.
70
Position 29. FENG QI YUN FEI: “A gust of wind
blows away clouds”
The fourth movement of the path.
This position follows the previous one without interruption. Jump up from
the previous position and change the stance. During the movement hips
must not be relaxed, shoulders must not be raised, the waist must be “sunk”
and stomach muscles must be tensed.
Editor’s notes:
37
TIAN TING, a point between brows.
71
Practical use: The enemy delivers a blow with his left arm at an upper level,
then immediately attacks with the right arm at a middle level and
simultaneously kicks at my right knee. I parry the blow of his left arm with
my right arm, “cover” his right arm with my left arm, bring back in a jump the
right leg and dodge his kick, put forward my left leg to keep the former
position (“maintaining the front line”) and to prepare a counterattack.
Depending on the situation, I strike at his face with my right arm or parry a
blow of his right arm.
Training method: The first phase – the right hand moves in a circle, the right
leg pushes off the ground and is brought back. The second phase – the left
arm “covers” from right to left and from above downward, the left leg pushes
off the ground, the right leg lands. The third phase – the left leg lands, the left
“arm-hook” stretches back, the right arm completes the circular movement
and shoots out forward. All those movements must be made continuously and
at a great speed. Those who have been exercising for a short time are not able
do it properly.
Commentary: [DAN QUAN] Lit. “one circle”. The right hand moves from
under the left armpit forward, fingers point up, finger tips are at the brow
level, the arm is slightly bent.
72
Position 30. SHANG BU FA MA: “A step forward
just as a horse trots”
The first movement of the path.
Training method: The right arm goes down, the left arm rises, the right leg is
brought forward – all those movements are made concurrently.
73
Commentary: [TUO] The arm, rising from below upward, makes a
“propping-up” block. [TUI BU ZHA] After making a step back with the left
leg, turn and go off the line of attack and be a little aside from enemy,
immediately deliver a blow at the enemy’s head, his temple or ear.
Practical use: The enemy closely approaches and tries to “hook” (KOU) my
right leg. I retreat, protecting my groin; while retreating, I strike at his breast
in the region of the heart with my right palm. It is so-called “the attack hides
in defense”.
74
Training method: The left hand protects the shoulder (BAO HU), the right
palm strikes, the right leg retreats back – all those movements are made
concurrently.
Commentary: [BAO HU] Lit. “to protect a shoulder”; the left palm moves
laterally in front of the breast to the right shoulder or the right palm moves to
the left shoulder, finger tips point upward. [KOU] Lit. “to approach”, “to
lock”, in this case “to hook”. After coming close to the enemy, it is necessary
to hook his leg (with your own leg) to disturb his equilibrium.
75
at that moment the left palm strikes forward at the shoulder level. Stare at the
left palm (Photo 32).
Practical use: The enemy who is behind my back, after taking the right
stance GONG QIAN DAN punches me with his right fist at the rib level. I
turn to face him, parry his blow with my right arm, immediately bend the
right arm and raise it up with squeezing the right forearm of the enemy
between my shoulder and forearm. At that time my right hand takes the shape
of a hook and presses on the enemy’s arm from above. At the same moment I
strike at his shoulder with my left palm and topple over him to the ground.
Training method: Body turn, feet turn, parrying (blow) movement of the
right arm are done concurrently – it is the first phase of the method. Then the
right “hook” rises to the ear and the left palm strikes – it is the second phase.
Actually it is a single movement executed in one breath without division into
phases. However, it is better to train the method phase by phase with a short
pause between them.
76
Position 33. SHEN XIAN DAO TUO: “The Celestial
changes his appearance”
The fourth movement of the path.
Practical use: The enemy, being on the left, kicks me at ribs. I turn (ZHUAN
SHEN) fast to the left, parry his leg aside with my left arm and catch up it
from below, then immediately turn (FAN SHEN) to the right and step toward
the enemy and knock him down with a right palm blow. When I seize the
striking leg of the enemy, he finds himself standing on one leg. I use the force
caused by a torso turn and a forward movement and put that force into a palm
77
blow which is delivered at the enemy’s spine; as a result of it he falls down to
the ground.
Training method: The movement of the left hand round the knee and the
body turn (ZHUAN SHEN) to the left are made concurrently. Then the left
foot raises up, simultaneously the torso turns (FAN SHEN) to the right. The
left elbow bends and the right palm strikes concurrently with landing the left
foot. At first those movements can be exercised separately. As far as the
progress is achieved, they must be united and executed in one breath.
Commentary: [FAN SHEN and ZHUAN SHEN] Both terms imply a torso
turn back. But if the front-standing leg moves in the direction of a body turn,
it is called FAN SHEN. If a turn is done at the same spot (feet remain in their
place), it is called ZHUAN SHEN.
The two previous positions (32 and 33) were initially called LU DI XIAN
SHEN DAO TUO – “The Celestial who descended upon the Earth changes
his appearance.” It is a complicated movement, not easily executed at the
initial stage of learning. Therefore, at first it can be divided into some parts
which, after acquiring them, can be joined together.
78
Position 34. YUAN HOU ZHUI ZHI: “A monkey
hangs on a branch”
The first movement of the path.
Method of training: The right hand transforms into a “hook”, the left arm
props up (TUO) the wrist, the torso shifts back – those movements are made
concurrently and make up the first phase of the method. Then the right leg
bends in knee, the torso sinks down, the left leg is brought to the position
79
DIAN BU, the right “hook” is raised to the ear – those movements are made
concurrently, in one breath.
80
Practical use: Using the enemy’s advance, I quickly make a “ripping up”
(TIAO) blow with my leg at his groin or kick at his shin, or at his knee-cap.
Method of training: The right leg straightens, the left foot achieves its aim –
it is a single movement to be made in one breath.
The left foot, continuing the previous movement, lands, the right foot is
brought forward by one step (to the east), the torso pivots to the left on the
sole of the left foot and goes down, the right position “A croucher” (FU
DAN) is formed. While sinking the torso, the left palm protects the right
shoulder, the right hand clenches into fist and delivers, starting from the
shoulder, a straight blow GUAN QUAN toward the ground (vertically
downward). The torso in the final position is with the breast turned to the left
and forward (to the north-east); stare at the right fist (Photo 36)39.
Editor’s notes:
38
JIN, measure of weight approx. equal to 0.5 kg.
39
See also photo 51 >>.
81
Practical use: After kicking the
enemy and his falling down, until he
stands up, it is necessary to
immediately punch him at ribs. At
that it is necessary to protect
yourself with the left palm against
an enemy’s arm (against a possible
counterblow).
Commentary: [GUAN QUAN] The center of the fist points inward, the fist
moves from the shoulder down with a piercing blow. Another name is QIAN
JIN ZHUI – “Pressing down with one thousand JINs”.
The full name of the method is JIU DI ZHUI JIN ZHUAN - “Pressing a gold
brick to the ground”. For the sake of convenience we have given a separate
name of four hieroglyphs to each position, this name is used in the headline.
The three previous positions (34, 35 and 36) from the beginning to the end
must be executed in one breath as one movement.
82
Position 37. TI ZU ZUO ZHANG: “Raising a leg and
striking with the left palm”
The fourth movement of the path.
83
Position 38. TUI CHUAN WANG YUE: “Flinging the
window wide open and enjoying the moon”
The fifth movement of the path.
Practical use: The enemy pushes my left elbow from below or seizes my left
arm. I immediately push off his arm with my right arm, simultaneously draw
the left arm to my torso, thus neutralizing his action. After freeing myself
from (a seizure) of the enemy’s arm, I step forward and execute a “pair lock”
(SHUANG FENG). It may be a blow at his breast and ribs. It is also possible
to hit his left temple with the right palm, and to the right side of his lower jaw
84
with the left palm. It is also possible to seize the enemy by his head and wring
his neck. Or that movement can be considered as a block against attacking
arm, which will lead to a fracture of the enemy’s elbow.
Method of training: Both arms are drawn to ribs and stretched forward in a
single movement, in one breath. A “pair lock” is done exactly at the moment
when the right foot lands.
85
Part III.
Positions from 39 throughout 53 exactly correspond to positions 24 – 38.
The only difference is that they are directed to the opposite side according
to the principle “north – south”, “west – east” and vice versa.
86
Method of training: The movement of hands round the left knee, feet and
torso turn as well, are executed concurrently, in one breath. Shift of body
weight, bending (the left) knee and a push with both palms must be also
executed concurrently (in coordination).
Editor’s notes:
40
TIAN TING, “Celestial palace”, an acupuncture point located above the
bridge of the nose in a pit between brows.
87
brought to ribs and the right palm strikes forward (to the west). The center of
the right palm points upward and fingers up. You stare at the right palm
(Photo 40.2).
Commentary: [CHAO TIAN DENG] The sole of the foot that kicks points
up to the sky, therefore that method was named “Kicking the sky”.
88
Position 41. TIAO BU QING NA: “Jumping up and
freeing oneself from a grip”
The first movement of the path.
Exercising in this method will allow improving one’s abilities for high-
jumping. After a jump you take the initial position, only its orientation
changes (to the east). The effort of turning the body must reach a palm.
Practical use: The enemy, being in front of me, seizes (QING NA) me by my
right wrist with his hand. Then, suddenly (XI) he resorts to the method FENG
SAO DI – “The wind sweeps the ground” and undercuts my legs, going
behind my back at the same time. I free myself from his grip with the aid of
89
my left arm, avoid his undercut by jumping up and after turning and landing
strike at his chest with my right palm.
Commentary: [QING] Rapid seizing hand movement, quick grab. [NA] “To
catch”, “to grasp”, “to gripe and to hold” is called NA. [XI] Lit. “to assault
from behind cover”, “to make a surprise attack”; a rapid surprise attack
without visible preparations is called XI. [FENG SAO DI] “The wind sweeps
the ground”, a leg executes a circular undercutting movement low above the
ground.
The right arm is brought to the torso, the elbow bends, the fist is located near
ribs. At the same time body weight shifts back, the right leg bends in knee,
the left leg is brought a little back, the left stance DIAN BU is formed. The
left foot touches the ground only with its toe, it is located in front of the right
90
foot at the distance of a foot length. The left palm strikes forward (to the east).
The center of the left palm points forward and to the right, fingers point up,
the hand is at the shoulder level. Stare at the left palm (Photo 42).
Method of training: Bending the (right) elbow, striking with the (left) palm
and taking the stance DIAN BU are executed concurrently.
91
Position 43. SHANG BU YU ZHANG: “A step
forward, a right palm blow”
The third movement of the path.
This position uninterruptedly follows the previous one. The left leg remains
in its place and supports body weight, the right leg steps forward; the right
stance GONG QIAN BU is formed.
92
Method of training: The left foot lands the ground with the whole sole, the
left arm bends, the fist is pulled to the waist – those movements are made
concurrently. Then the right leg steps forward and the right palm strikes, it is
done simultaneously, in one breath.
Commentary: [LUO BU] The foot of the front leg in the stance DIAN BU or
XU BU lands with the whole sole. [SHANG BU] Any movement forward by
one step is called SHANG BU.
This position follows the previous one without interruption. Jump up from
the previous position and change the stance. During the movement hips
must not be relaxed, shoulders must not be raised, the waist must be “sunk”
and stomach muscles must be tensed.
Jump up by pushing yourself off with both legs. The right leg goes down
behind, the left leg lands in front. Knees are slightly bent and tend inward, the
left stance JIAN DAN is formed (facing the east). Concurrently with a jump
the right hand makes a circle (DAN QUAN) from left to right in front of the
face and is brought to the left armpit and from there strikes forward along an
arched path. Finger tips are opposite the point TIAN TING41, the arm is
slightly bent. The left arm moves from right to left diagonally, along the right
arm, with a covering downward movement, its hand takes the shape of a
hook, the arm stretches back. Stare at the right palm (Photo 44).
Editor’s notes:
41
TIAN TING, a point between brows.
93
Practical use: The enemy delivers a
blow with his left arm at an upper
level, then immediately attacks with
the right arm at a middle level and
simultaneously kicks at my right
knee. I parry the blow of his left arm
with my right arm, “cover” his right
arm with my left arm, bring back in a
jump the right leg and dodge his
kick, put forward my left leg to keep
the former position (“maintaining the
front line”) and to prepare a
counterattack. Depending on the
situation, I strike at his face with my
Photo 44
right arm or parry a blow of his right
arm.
Training method: The first phase – the right hand moves in a circle, the right
leg pushes off the ground and is brought back. The second phase – the left
arm “covers” from right to left and from above downward, the left leg pushes
off the ground, the right leg lands. The third phase – the left leg lands, the left
“arm-hook” stretches back, the right arm completes the circular movement
and shoots out forward. All those movements must be made continuously and
at a great speed. Those who have been exercising for a short time are not able
do it properly.
Commentary: [DAN QUAN] Lit. “one circle”. The right hand moves from
under the left armpit forward, fingers point up, finger tips are at the brow
level, the arm is slightly bent.
94
Position 45. SHANG BU FA MA: “A step forward
just as a horse trots”
The first movement of the path.
Training method: The right arm goes down, the left arm rises, the right leg is
brought forward – all those movements are made concurrently.
95
Commentary: [TUO] The arm, rising from below upward, makes a
“propping-up” block. [TUI BU ZHA] After making a step back with the left
leg, turn and go off the line of attack and be a little aside from enemy,
immediately deliver a blow at the enemy’s head, his temple or ear.
Practical use: The enemy closely approaches and tries to “hook” (KOU) my
right leg. I retreat, protecting my groin; while retreating, I strike at his breast
in the region of the heart with my right palm. It is so-called “the attack hides
in defense”.
96
Training method: The left hand protects the shoulder (BAO HU), the right
palm strikes, the right leg retreats back – all those movements are made
concurrently.
Commentary: [BAO HU] Lit. “to protect a shoulder”; the left palm moves
laterally in front of the breast to the right shoulder or the right palm moves to
the left shoulder, finger tips point upward. [KOU] Lit. “to approach”, “to
lock”, in this case “to hook”. After coming close to the enemy, it is necessary
to hook his leg (with your own leg) to disturb his equilibrium.
To catch an enemy’s arm and immediately deliver a palm blow – those are
two phases of a single method. The effort must be applied fast and be
powerful.
The torso turns to the right and back (to the west), feet remain in their place
and also turn, following a turn of the torso. The right stance GONG QIAN
DAN is formed. The right arm moves to the right and down concurrently with
a turn of the torso, then the hand takes the shape of a hook and is raised to the
(right) ear, at that moment the left palm strikes forward at the shoulder level.
Stare at the left palm (Photo 47).
97
Practical use: The enemy who is
behind my back, after taking the
right stance GONG QIAN DAN
punches me with his right fist at the
rib level. I turn to face him, parry his
blow with my right arm,
immediately bend the right arm and
raise it up with squeezing the right
forearm of the enemy between my
shoulder and forearm. At that time
my right hand takes the shape of a
hook and presses on the enemy’s
arm from above. At the same
moment I strike at his shoulder with
Photo 47
my left palm and topple over him to
the ground.
Training method: Body turn, feet turn, parrying (blow) movement of the
right arm are done concurrently – it is the first phase of the method. Then the
right “hook” rises to the ear and the left palm strikes – it is the second phase.
Actually it is a single movement executed in one breath without division into
phases. However, it is better to train the method phase by phase with a short
pause between them.
98
Position 48. SHEN XIAN DAO TUO: “The Celestial
changes his appearance”
The fourth movement of the path.
Practical use: The enemy, being on the left, kicks me at ribs. I turn (ZHUAN
SHEN) fast to the left, parry his leg aside with my left arm and catch up it
from below, then immediately turn (FAN SHEN) to the right and step toward
the enemy and knock him down with a right palm blow. When I seize the
striking leg of the enemy, he finds himself standing on one leg. I use the force
caused by a torso turn and a forward movement and put that force into a palm
99
blow which is delivered at the enemy’s spine; as a result of it he falls down to
the ground.
Training method: The movement of the left hand round the knee and the
body turn (ZHUAN SHEN) to the left are made concurrently. Then the left
foot raises up, simultaneously the torso turns (FAN SHEN) to the right. The
left elbow bends and the right palm strikes concurrently with landing the left
foot. At first those movements can be exercised separately. As far as the
progress is achieved, they must be united and executed in one breath.
Commentary: [FAN SHEN and ZHUAN SHEN] Both terms imply a torso
turn back. But if the front-standing leg moves in the direction of a body turn,
it is called FAN SHEN. If a turn is done at the same spot (feet remain in their
place), it is called ZHUAN SHEN.
The left hand props up (TUO), the right hand forms a hook and is brought to
the ear concurrently with a turn of the torso. Bring the left leg back (toward
yourself) and take the stance DIAN BU, bend the right leg and take a low
position. The torso is turned a little sideways, the breast faces the north-west.
Stare to the left (to the west) (Photo 49).
100
Practical use: The enemy fiercely
rushes to me. Using his force, I seize
him by a wrist and pull toward
myself. Using an enemy’s forward
rush, I prop up (TUO) his wrist from
below, clutch his arm with my right
arm and sink into the low position
DIAN BU to prepare a kick.
101
Position 50. JIU DI BAN CHUAI: Kicking aside from
the ground”
The second movement of the path.
Method of training: The right leg straightens, the left foot achieves its aim –
it is a single movement to be made in one breath.
102
ripping kick”. In ancient times that blow was called QUN BAN TUI - “A kick
from under the skirt”.
Editor’s notes:
42
JIN, measure of weight approx. equal to 0.5 kg.
103
Practical use: After kicking the enemy and his falling down, until he stands
up, it is necessary to immediately punch him at ribs. At that it is necessary to
protect yourself with the left palm against an enemy’s arm (against a possible
counterblow).
Method of training: The left foot lands – it is the first phase. The right leg
takes a step forward – it is the second phase. Then the right fist punches down
and the torso is lowered toward the ground into the position FU DAN – those
two movements must be made concurrently, in one breath.
Commentary: [GUAN QUAN] The center of the fist points inward, the fist
moves from the shoulder down with a piercing blow. Another name is QIAN
JIN ZHUI – “Pressing down with one thousand JINs”.
The full name of the method is JIU DI ZHUI JIN ZHUAN - “Pressing a gold
brick to the ground”. For the sake of convenience we have given a separate
name of four hieroglyphs to each position, this name is used in the headline.
The three previous positions (49, 50 and 51) from the beginning to the end
must be executed in one breath as one movement.
104
Position 52. TI ZU ZUO ZHANG: “Raising a leg and
striking with the left palm”
The fourth movement of the path.
105
Position 53. TUI CHUAN WANG YUE: “Flinging the
window wide open and enjoying the moon”
The fifth movement of the path.
Practical use: The enemy pushes my left elbow from below or seizes my left
arm. I immediately push off his arm with my right arm, simultaneously draw
the left arm to my torso, thus neutralizing his action. After freeing myself
from (a seizure) of the enemy’s arm, I step forward and execute a “pair lock”
(SHUANG FENG). It may be a blow at his breast and ribs. It is also possible
to hit his left temple with the right palm, and to the right side of his lower jaw
106
with the left palm. It is also possible to seize the enemy by his head and wring
his neck. Or that movement can be considered as a block against attacking
arm, which will lead to a fracture of the enemy’s elbow.
Method of training: Both arms are drawn to ribs and stretched forward in a
single movement, in one breath. A “pair lock” is done exactly at the moment
when the right foot lands.
That position is similar to position 5, merely the stance is the right one and
its use differs a little.
The left leg steps forward and a little to the left to be located ahead of the
right leg; the right leg is immediately drawn and bends in knee; the left stance
DIAN BU (to the south) is formed. The left arm, concurrently with the
forward movement, rises from below upward with a blocking movement, its
hand is raised above the forehead level. At the same time the right palm is
drawn to ribs and strikes from ribs with finger tips forward and down, at the
107
end of the movement finger tips rise a little up and are located at the level of
the point QI HAI43. You stare at the right palm (Photo 54).
Editor’s notes:
43
QI HAI, “QI Sea”, an acupuncture point, located at the central line of the
body a little below the navel.
44
One FEN, measure of length equal to 3.2 mm; one CUN, measure of length
equal to 3.2 cm. Respectively, one CUN and five FENs are a distance of 4.8
cm.
108
Position 55. CHUAN NA FAN PU: “The final
position of CHUAN NA”
The final position of TAO coincides with the first position. [FAN PU] means
“return to primary source”. That is the inmost sense of returning into the
first, initial position that is [MU SHI], “mother position” of the whole TAO. MU
SHI contains all successive “son positions” which are only modification and
transformation of MU SHI. All the methods presented here in their variety
and changeability originate from a single source.
Commentary: [FAN PU] Here means “to come back to the very beginning”.
17 previous positions (39 – 55) belong to part 3 of TAO and conclude it.
***
109
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in all 72 Shaolin Arts. Being
Jin Jing Zhong: until recently for outsiders the
"We collected all we had most secret part of training of
Shaolin monks, which made
seen and heard, we
them invulnerable in fight, 72
gathered ancient
Shaolin Arts at the present time
manuscripts given to us
become available to all who are
by our tutors to compile ready to practice them "The Shaolin Martial Art
the present edition". persistently and with an open has absorbed a lot of
heart. Training methods schools and styles. 72 Arts
"72 Arts are perfect
described in the book allow to are the top of true
exercises. First of all, it develop supernatural abilities,
is necessary to mastership"
far beyond abilities of an
assimilate the hornbook ordinary man...
of mastership. Apt /Shaolin Tutor Ru Jing/
moment, apt time, apt At present the book has
mystery... Strictly been translated into English
observe instructions, and and published in electronic
you will be able to format on our web-site.
become as perfect as the
You can order this e-book here:
Dragon"
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Canonical Books by Lam Sai Wing
"SINCE MY YOUNG YEARS TILL NOW,
FOR 50 YEARS, I HAVE BEEN LEARNING
FROM MASTERS.
I AM HAPPY THAT I HAVE EARNED THE
LOVE OF MY TUTORS WHO PASSED ON
of Southern Shaolin Hung Gar Kung Fu and a disciple of the legendary Wong Fei
Lam Sai Wing was the Chief Instructor in hand-to-hand fight in the armed
books are illustrated with a great number of fine drawings showing the
author demonstrate his wonderful techniques. Until now the books of Master
Lam Sai Wing serve as a basic textbook for those who seriously practices
Now this book has been translated into English and published in
electronic format on our site. You can order this e-books here:
http://www.kungfulibrary.com/e-book-store.htm
© Copyright 2005
Shaolin Kung Fu OnLine Library
e-mail: hunggar@addr.com
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