Martial Arts Discussion by Huan Yuangxi - Great Bit On Sparring

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WUDANG SWORD
BOXING METHODS OF THE INTERNAL SCHOOL (NEI JIA

QUAN FA)
MARTIAL ARTS DISCUSSIONS by HUANG YUANXIU

Posted on June 1, 2014
THE SKILLS & ESSENTIALS OF YANG STYLE TAIJI BOXING

and
MARTIAL ARTS DISCUSSIONS
[published by
by Huang Wenshu [Yuanxiu]

Martial Arts United Monthly Magazine Society, June 15,
1936]
[translation by Paul Brennan, June, 2014]
Group photo of leading figures in Chinese martial arts:
converted by Web2PDFConvert.com
The people in this photo are (from right to left):

Front row:
Tian Shaoxian [Zhaolin], Zheng Zuoping, Du Xinwu, Li Fangchen [Jinglin], Liu Baichuan, Sun
Lutang, Yang Chengfu
Back row:
Shen Erqiao, Huang Wenshu [Yuanxiu], Chu Guiting, Gao Zhendong, Qian Xiqiao, Su Jingyou
Group photo of famous martial artists from Hebei [from right to left]:
Huang Yuanxiu, Chu Guiting, Su Jingyou, Wang Xiangzhai, Zhao Daoxin, Zhang Zhaodong, Li
Xingjie, Gao Zhendong, Sun Rujiang, Li Ziyang
Group photo of famous martial artists from Hebei:

[back row, right to left:]
Fang Ruichen, cavalry corps martial arts instructor

Huang Jianbai, cavalry corps head martial arts adviser
Ma Chengzhi, cavalry brigade martial arts instructor
[front row, right to left:]
Tan Mengxian, Nanchang Field Headquarters head Taiji Boxing adviser
Huang Yuanxiu,
Yuan Yuanhui, cavalry corps martial arts instructor
The author of this book, Huang Yuanxiu, has been the department head of the Nanchang
Bereavement Office, the supervisory inspector and commander in charge of public safety for
the Fujian 4th Administrative Division, and the Tongan county magistrate. In this photo, he is
practicing Taiji Boxings large rollback exercise with Yang Chengfu.
Portrait of Li Jinglin
Portrait of the author, Huang Yuanxiu
Huang Yuanxiu & Liu Baichuan performing Luohan Boxing
Huang Yuanxiu & Han Qingtang performing Shuaijiao
Huang Yuanxiu & Zhejiang Martial Arts Institute instructor Han Qingtang practicing saber
versus spear, photo 1
Huang Yuanxiu & Han Qingtang practicing saber versus spear, photo 2
Han Qingtang performing cross-shaped kick
Han Qingtang performing Yang Style spear

[right to left:]
Huang Yuanxiu
Ye Jingcheng, martial arts instructor to 79th Army Division
Major Cao Yanhai, martial arts adviser and instructor to the Bandit Suppression Army
Northern Headquarters
[right to left:]
Huang Jianhou
Huang Yuanxiu
Xu Yusheng, an elder of Yang Style Taiji Boxing
[right to left:]
Taiji Boxing master Chen Ziming of Chen family village, Wen county, Henan
Huang Yuanxiu
Taiji Boxing master Chen Zhaopi of Chen family village, Wen county, Henan
Huang Yuanxiu & Ye Jingcheng practicing Wudang Sword
Cao Yanhai practicing long spear
Huang Yuanxiu & Li Yaxuan performing Taiji pushing hands
Huang Yuanxiu & War Ministry martial arts instructor Chu Guiting practicing Wudang Sword
Liu Baichuan, dean of Zhejiang Martial Arts Institute, performing double sabers
Liu Baichuan performing Luohan Boxing
Cao Yanhai practicing Taiji Sword
Huang Yuanxiu & Tian Zhaolin practicing Taiji spear applications
Huang Yuanxiu & Tian Zhaolin practicing Taiji spear applications
Huang Yuanxiu & Tian Zhaolin performing Taijis large rollback exercise
Huang Yuanxiu & Tian Zhaolin performing the Taiji two-person set [posture 28 (Huang in the B
role, Tian in the A role)]
Huang Yuanxiu & Tian Zhaolin performing the Taiji two-person set [posture 34 (Huang now in
the A role, Tian in the B role)]
Tian Zhaolin & Huang Yuanxiu performing Taiji pushing hands
PREFACE BY TAN MENGXIAN
In March of 1934, I went to Nanchang to visit with committee heads. There I met field
headquarters section chief Huang Yuanxiu. He was putting out this book and asked me to
add a few lines to it because I am supposedly someone who has something to say on the
subject. So I went and asked my teacher Yang Mengxiang [Shaohou] about it. He said: There
are three keys to the study of Taiji Boxing:
1. PRACTICING THE SOLO SET
In the beginning, it should be even, slow, upright, and stretched out.

Even:
The circles you draw in the air should be round. When two arcs cross the lines of each
other, they should pass through all the way to the center of the other circle. Seek to keep the
movements orderly and consistent.
Slow:
This causes internal energy to store up. Gradually it will reach your fingertips. Seek to have
an unfretting temperament.
Upright:
Your whole body is balanced and comfortable, without making the mistake of leaning in
any direction. Seek to make your posture graceful.
Stretched out:
Get your muscles and joints to naturally extend. Seek to get the exercise to conform with
the principles of physiology.
2. PUSHING HANDS
1.
2.
Once the solo set has been practiced to familiarity and your skill has slightly progressed, then
learn pushing hands, which is also called touching hands or pressuring hands. Pushing
hands is done with two people, each using one hand or both to apply a slight pressuring
touch. While using the four-part skill of sticking, connecting, adhering, and following, they draw
a yinyang symbol in the air. There are two methods of this:
i. Person A draws a circle which Person B goes along with, or B draws a circle which A
goes along with.
ii. A and B each draw a half circle, which together forms a full circle.
Whether they are making an integrated circle or each is just making their half of it, both
people within this circling are working with the four essential techniques of ward-off, rollback,
press, and push.
However, attention should also be paid to the fact that each person has a center of
balance, and that when they press their hands together, the point of contact naturally creates
another center. This third center point comes from the vying between the two people. If you
gain this center, you will win. If you lose the center, you will lose. This is a fixed principle.
3. ISSUING AND NEUTRALIZING
Once pushing hands has been practiced to familiarity, then practice issuing and neutralizing.
In the beginning, you can practice by placing your hands on top of someones issuing energy.
This is called joining palms or assisting hands. Those with deeper skill will practice waist
energy, or issuing from the heel, which is called issuing from the heel and expressing at the
fingers.
Issuing should be straight. Neutralizing should be rounded. Neutralizing has no limit [for a
curve can go on coiling forever]. Issuing has no distance [for a straight line can be infinite].
When first learning neutralizing, the direction should be at an angle, but at a high level of skill,
you will be able to neutralize toward your own body, as in guiding him in to land on nothing.
It is also said that the masters method is to reverse the control you try to have over him,
meaning that the opponents force is borrowed and used to strike the opponent, or the
opponents energy is borrowed and used to control the opponent.
However, when issuing or neutralizing, it must be done in the context of sticking, adhering,
connecting, following, warding off, rolling back, pressing, pushing, plucking, rending,
elbowing, or bumping, otherwise it cannot be effective.
As for myself in regard to Taiji Boxing, it is something I love to study but I have not yet done
any concentrated research. In carrying out this task that Huang assigned to me, I have not
presumed to place the responsibility onto another, rather I have carefully made a lasting
record of my teachers words instead of making something up.
sincerely written by Tan Mengxian in Nanchang
PREFACE BY YAO YIHUA
Huang Yuanxiu has studied widely and has many abilities. He esteems martial heroism.
When he was a youth in his hometown, he loved to converse freely about martial arts with the
more seasoned practitioners, and always understood intuitively. He was not yet civilized in
those days, so often rebelling against the elders of his community. Then when he grew up, he
was always in a rush dealing with affairs of state, exhausted by his duties and never having
time for these things.
Once he become middle-aged, he started learning from Tian Zhaolin and Yang Chengfu,
and became acquainted with many other famous martial artists, one after another, until he
had learned Taiji Boxing and various other martial arts. Before long he became a student of
Li Jinglin and trained in the Wudang sword art. For more than a decade, he has reached out
and made friendships from which he has benefited extensively, progressing daily in his
studies.
Recently he has written Martial Arts Discussions, amounting to more than fourteen
thousand words, explaining boxing arts training in detail and methods of their use. His words
are especially clear on subjects such as regulating physical strength and nourishing the body
and mind. As for the many kinds of schools and styles, their masters and traditions, he briefly
presents their general ideas, sufficient to serve as reference material. There is no lack of
excellent boxing arts manuals, but this one presents not only method and theory, it can also
give practical instruction about general function.
Because this book represents what Huang has obtained through experience, he has
brought to it a meticulous understanding, and so you will find it to have moments of real
distinctiveness. It is written in ordinary language, yet its presentation of the theory and
practice is comprehensive. I hope you will not delve into it only to disregard it, for it is good
stuff.
sincerely written by Huangs junior classmate, Yao Yihua, second month of spring, 1934
PREFACE BY JIANG XINSHAN
Martial arts are generally separated into the classifications of Wudang and Shaolin. Shaolin
comes from Damo. Wudang comes from Zhang Sanfeng. Examining the martial skills of
Wudang, it then split into different paths. The ones that I know of are Taiji Boxing, Bagua
Swimming-Body Continuous Palming, and the Wudang sword art, all of which were passed
down from Zhang Sanfeng.
Those in Taiji Boxing who reached the pinnacle of perfection were Xu Xuanping and Li
Daozi of the Tang Dynasty, Zhang Sanfeng of the Yuan Dynasty, and Zhang Songxi of the
Ming Dynasty. Zhang Songxi was the top disciple of Zhang Sanfeng. He taught students in Yin
county, Zhejiang, and the many famous exponents that came after him should all be
considered to be of the Zhang Songxi branch.
The best in Bagua Swimming-Body Continuous Palming was the great master Dong
Haichuan, who learned from the Daoist Bi Dengxia at Mt. Withered Blossoms in the Jiangnan
area, while the best at the Wudang sword art was my teacher, the late Song Weiyi, who
learned from the Daosit Bi Yuexia, Bi Dengxias elder classmate, at Mt. Shamans Gate. The
arts of each Bi are similar but different, different but similar. Whether twisting rope to the left
or twisting rope to the right, both are a matter of twisting rope. In this way, they are different
but similar.
One changes in its techniques by coming up from below while the other comes down from
above. The one that changes from below [Bagua] is like the Qian trigram with its full lines,
advancing with noticeable fire. The way it spins is like the turning of a ball. The way it adapts
with the body is like a willow in the wind, while the hands are like shuttles weaving cloth. The
one that changes from above [Wudang Sword] is like the Kun trigram with its broken lines,
retreating with hidden meaning. It is like an avalanche of round rocks [Art of War, chapter 5],
but the key to its method is to lure the opponent into the trap. [The best warriors are not
warmongers.] The best fighters are not berserkers. The best victors do not fight. [Daodejing,
chapter 68] In this way, they are similar but different.
We should further differentiate the Wudang elixirist sword art as taught to Zhang Songxi by
Zhang Sanfeng at Mt. Siming in Yin county, which is therefore also known as the Siming
sword art. Zhang Songxi was originally a famous Shaolin exponent. He traveled everywhere
and had never been defeated, but was bested at last by Zhang Sanfeng at Siming.
Thereupon he discarded all his Shaolin learning and devoted himself to the Wudang arts,
keeping only the Shaolin Five-Elements Hidden-Hand Staff, also called Damos YangzteCrossing Staff. Therefore the Zhang Songxi style of swordwork is steeped in the methods of
the Shaolin Hidden-Hand Staff.
In the autumn of 1924, Song Weiyi talked to me about the principles of Taiji Boxing. I was
not aware of his Taiji Boxing fame, as indeed practitioners of Taiji Boxing are unaware of his
famous Wudang sword skill. The essentials of Taiji Boxing are sticking, adhering,
connecting, and following. The essentials of the Wudang elixirist sword art are retreat into
solitude and attack into emptiness, entirely a matter of maintaining lack of contact, of
entering and exiting without a trace. When we examine the eras and places, it is clear both
arts come down to us through Zhang Songxi.
My colleague Huang Yuanxiu of Hulin has written Essentials of Taiji Boxing / Martial Arts
Discussions, and he has asked me to make a preface. I am neither smart nor well-read, and
so I have simply described a general idea of the origin and development of the various
Wudang systems. My great hope is that modern martial fads will fade out [in favor of the
Wudang arts].
written by Jiang Xinshan of Hebei in Tianjins Cleansed Karma Temple Martial Arts
Research Society, Autumn, 1934
PREFACE BY BAO FOTIAN
Huang Yuanxius knowledge is incredible. Both scholarly and heroic, he is honest and
sincere. When he was young, his ambition was for martial arts, but since these methods were
still mainly hidden away at that time and experts were not highly regarded, he could not yet
attain such a goal. In his quest, he joined the military, which developed his character, and he
put all his energy into affairs of state, which took up all his time for many years.
Then his aspirations finally all came together at the fateful National Martial Arts Gathering,
due to which he received profound personal instruction from the Taiji Boxing star Yang
Chengfu in the inherited boxing art of Yang The Invincible Luchan. Because he was now
associated with famous martial arts experts from all over the country, he became a different
person. He also learned the Wudang sword art from General Li Jinglin, which nicely
complements the Taiji boxing art.
From this point on, he felt he should seek out and gather together all such wisdom,
increasing his knowledge of the secrets of these methods. Recently he has given all his free
time, even forgetting to eat, to producing Essentials of Yang Style Taiji, including Martial
Arts Discussions, which contains what he has learned from his own experience. There are
the ways of various boxing arts systems, their methods and principles, the regulating of
physical strength, the cultivating of body and mind, everything presented with devotion. For
those with ambition in this direction, this can indeed be held up as a standard text. Huang has
said: I am making a record of the many parts of the Yang Style Taiji written tradition so they
do not become forgotten.
Last summer, when the field headquarters here was established, Huang received orders
to come to Jiangxi. I threw myself into the task of making him feel at home, and since then,
every bit of my spare time has gone into emulating his movements and soaking up his
knowledge. Fortunately he does not look down on anyone, and instead he quite forgets the
distinction between self and others. I began to find out what a truly skilled martial artist he is.
I myself had failed in these methods. I had studied them when I was young, but it was
merely the equivalent of learning to walk, and I suffered from having no one I could ask for
guidance. Now I was inspired by his knowledge, to the point of being obsessed and
determined, but my duties pressed on me, worldly affairs holding me back and preventing me
from training. When January came along, I was finally able to start making up for the
diminished six months that had preceded, and I have since spent some time every evening
with Huang for extra practice in boxing sets and swordwork, until my head is now stuffed with
his many theories.
From ancient times to the present, the fine words and deeds of wise and worthy people
have given us rules and lessons, direction for what we should do in life the way of being
rooted in sincerity, always courteous and cordial, always gracious in speech. As for the
young, they should put extra effort into training their bodies and giving attention to the
principles of conduct, working harder than just praying to the Buddha or giving to the poor.
Because Huang is so considerate of personal behavior, he sees practicing martial arts
and strengthening the body as not merely an end, but as a beginning. He in fact sees a
martial artist as having the same strengths as an ethicist or a philanthropist, simultaneously
exercising moral character, maintaining health, and benefiting the masses martial arts as a
single thread pervading all of these essentials.
I have been learning from Huang for more than a year now, but have glimpsed maybe a
hundredth of a percent of his knowledge, and so I am overjoyed that he has written this book,
and I look forward to the rest of you being able to share in such delight.
written by Bao Fotian of Jingshan at the Nanchang Field Headquarters, Oct, 1934
PREFACE BY LIN JINGPING
When I learned Taiji Boxing from Tian Zhaolin, I got to know Huang Yuanxiu. He is a man of
profound determination, one who when he has a task in front of him, he just gets on with it,
and whatever skill he is working on, he has to master it before moving on from it. Hence the
speed of his progress and the depth of his attainments I cannot even measure.
In the spring of this year, Huang has spent his spare time from working for the state by
committing to writing what he has learned from experience in his many years of hard work
and gathering it all together to make his Martial Arts Discussions. He wishes to reveal to
beginners the real methods of training. The benefits of this to the world are by no means
insignificant. Once the manuscript was finished, he assigned me, on the grounds of my little
bit of medical training, to present some succinct words on the physiological benefits of boxing
arts. Out of respect for his request, I sincerely offer the points below:
1. As for the art of Taiji Boxing: If one part moves, every part moves, and if one part is still,
every part is still. In both movement and stillness, it is always the case that body and mind
are to be attended to simultaneously, inside and outside mutually cultivated. Never make the
mistake of emphasizing one over the other. It is to be trained in the proper sequence, going
from the easy to the difficult, progressing step by step. It values mildness rather than awkward
effort. Anger is forbidden. Never make the mistake of overdoing it. If you can develop the
health of your bodys organs and get your flesh to fill out, your body will become stronger with
each day.
2. As for the actual practice of Taiji Boxing, gather your essence and rouse your spirit to
tell your body what to do. With every movement, intention is in command. No freedom of
anarchy can compare to this. If you can focus your will, your spirit will become stronger with
each day.
3. Breathing is what we depend on to stay alive. Its importance can hardly be conveyed in
words, but in actuality it tends to get overlooked. We commonly ignore our breath and then
seek to put forth a massive amount of effort, with the result that our faces go purple and swell
until our veins pop out, then we turn pale and dejected as we collapse to the ground. This is
always due to a lack of awareness of the attention that is to be paid to the breath, and a lack
of compliance to the oxygen requirements within the body. This is not the case with Taiji
Boxing, in which the mind is focused within and moves the breath. The inhaling and exhaling
are always done according to the bodys movements. The breath is always linked up with the
alternating of emptiness and fullness. Thus it is said [also from Understanding How to
Practice]: Use mind to move the energy Use energy to move your body. Between body
and mind is the breath. Therefore if you can make your body nimble and your breathing
smooth, your lung capacity will grow with each day.
The three points above are just the general idea, just enough to fulfill my responsibility,
quite inadequate toward fully describing the physiological benefits of boxing arts.
sincerely written by Lin Jingping, director of the Nanchang Field Headquarters 8th
Provisional Hospital, Jan, 1934
AUTHORS PREFACE
Since childhood I have loved engaging in martial arts and hearing stories of ancient heroes. I
learned from fellow villagers but after several years still had not succeeded. When I grew up, I
studied science and then joined the army, and so I no longer had time for it.
In 1919, a fellow student, staff officer Si Jingwu, invited Tian Zhaolin of Beijing to teach in
Zhejiang and told me I should join in. I had learned from Tian for just a few months, and then
there was an outbreak of hostilities in Jiangsu and Zhejiang. I was then rushing around
overworked and had to give up in the middle of the training.
In 1929, Zhang Jingjiang came to Zhejiang to hold the National Martial Arts Gathering,
bringing together famous martial arts experts. I was thrilled to take part in the event, getting an
intensive training in Taiji Boxing from Yang Chengfu of Guangping, as well as studying
various skills with old friends Sun Lutang and Zhang Zhaodong, and from my sworn brothers
Du Xinwu and Liu Baichuan. I then received instruction from Li Jinglin in the Wudang sword
art, and am ashamed that after six years of it I have still not mastered it. I admire him deeply,
remember him fondly, and indeed I never go a day without missing him.
Last year in the first month of spring, the Japanese occupied the northeast [establishing
the Manchukuo government in Feb, 1932]. Colleagues requested my presence as an attach
to the 8th Army Camp and so I came south with the onset of summer and was appointed to a
position in the field headquarters here. I have spent my spare time amusing myself with
boxing sets and swordplay. Since there are plenty in the barracks with the same interests, I
have ardently written down the material in this manual to provide for all my colleagues, also
including several compositions discussing my experience of practicing boxing arts.
written by Huang Yuanxiu at the field headquarters in Baihuazhou, Nanchang, middle of
Jan, 1934
BIO OF ZHANG SANFENG
Zhang Sanfeng, given name Tong, called Junshi, was from Liaoyang. He was a Confucian
scholar from the end of the Yuan Dynasty, excelling at calligraphy and painting, versed in
poetry and essays. In the first year of Kublai Khans reign [1260], he was noticed for his
remarkable talent and was appointed as a scholar-official for Zhongshan. He admired the
nature paintings of Ge Zhichuan, which inspired him to abandon his official career, and he
traveled to Mt. Baoji, where the mountain has three peaks so proud and elegant, green and
lush, a joy to behold, and from then he was known as Three Peaks [san feng].
Over the generations, about a dozen sources of biographical information about Zhang
have accumulated, but none discuss his superb boxing art. At the beginning of Emperor Hong
Wus reign [1368], he was invited to court, but his way was blocked at Wudang. That night in
a dream, the deity Xuan Wu gave him the boxing method, and then at dawn he used it to
defeat the bandits. Thereupon his boxing art was known as the Wudang branch, or the
internal school of boxing.

Internal stylists are of a Confucian mentality, and are therefore distinct from
transcendentalists. Also because eight techniques and five steps are the key within this
boxing art, it is therefore called Thirteen Dynamics [or thirteen postures], meaning thirteen
methods. Later generations have misunderstood the term as indicating postural postures,
leading to confusion.
It was taught to Zhang Songxi and Zhang Cuishan. Then beginning with Song Yuanqiao
and Yu Lianzhou, and followed by Yu Daiyan, Zhang Songxi, Zhang Cuishan, Yin Liheng, and
Mo Gusheng, these seven colleagues met each other in Nanjing, then together went to the
Wudang Mountains. They sought to visit a Master Li, but they did not get to meet him.
However, passing by the Jade Emptiness Temple, they did meet Zhang Sanfeng. They did
obeisance to him, listened to his wisdom for over a month, and then went home, constantly
returning to get more lessons. From this it can be seen that all seven of these men
considered Zhang to be their teacher, but only Zhang Songxi and Zhang Cuishan taught his
art by the name of Thirteen Dynamics.
It is also said that Zhang lived during the reign of Huizong [1082-1135] of the Song
Dynasty. During the invasion to install the Jin Dynasty [1115-1234], he killed more than five
hundred Jin troops single-handed. The people of mountainous Shaanxi admired his valiance,
earning him hundreds of followers, and so he passed down his skill in Shaanxi.
When the Yuan Dynasty began, Wang Zongyue of Xian obtained the authentic
transmission and became renowned everywhere. He authored the Taiji Boxing Classic, the
Taiji Boxing Treatise, Understanding How to Practice, the Touching Hands Song, and the
Thirteen Dynamics Song. Chen Tongceng of Wenzhou learned it, and thereupon it spread
from Shaanxi all the way to eastern Zhejiang [i.e. from the mountains to the sea].
More than a hundred years later, there was Zhang Songxi of Haiyan county, Zhejiang, who
became the most famous within the system (see the Records of Ningbo Prefecture). His art
was then passed on in Ningbo to Ye Jimei, called Jinquan, who then taught it to Wang
Zhengnan, called Laixian, during the reign of the Qing Emperor Shunzhi [1644-1661].
Because Zhengnan was bold with people but just, he had a unique reputation at the end of
the Ming Dynasty. Huang Zongxi puts the greatest importance on Wang Zhengnan (whose
deeds can be found in the Stories of Knight-Errants). When Wang died, Huang wrote a
memorial inscription for him. Huang Baijia [Huang Zongxis son] wrote the Boxing Methods of
the Internal School, including Six-Line Long Boxing, Ten Sections of Brocade, and other
instructions. More than a century after Zhengnan, the next person of note was Gan Fengchi.
These are all exponents of the southern branch.
Of those who passed on the northern branch, it was taught by Wang Zongyue to Jiang Fa
of Henan, who then taught it to Chen Changxing of the Chen family village, Huaiqing
prefecture, Henan. Chen always stood straight, impassively, not inclining in any direction, was
as expressionless as a rooster made of wood, and so people called him Mr. Board. He had
two sons, Gengxin and Jixin.
At that time, Yang Luchan, called Fukui, from Yongnian county, Guangping prefecture,
Hebei, heard of his fame, and so he with his fellow villager Li Baikui went to learn from him.
When they arrived, they were the only students who did not have the surname Chen and they
were looked upon as being very much outsiders, but because there was a close bond
between the two of them, they studied wholeheartedly, often practicing throughout the night
instead of sleeping. Mr. Board saw that Yang studied diligently and thereupon taught him all
his secrets.
Yang went home and taught the art to his fellow villagers, and it was commonly known as
Soft Boxing or Neutralization Boxing, because it has the ability of using evasion to gain
control over a strong force. Then Yang traveled to Beijing and was a guest in every mansion.
Many Qing Dynasty royals, nobles, and men of rank learned from him, and at that time he was
made martial arts instructor to the Manchu barracks. He had three sons, the eldest named Qi,
who died young, the second named Yu, called Banhou, and the third named Jian, called
Jianhou, also called Jinghu, and both Banhou and Jianhou earned much fame.
I learned from Yang Jianhou for years and know his familys history. He has three sons, the
eldest named Zhaoxiong, called Mengxiang, the middle one named Zhaoyuan, who died
young, the third named Zhaoqing, called Chengfu. Banhou had one son, named Zhaopeng,
who is a farmer in his village. While Yang Luchan served as instructor at the Manchu
barracks, three people who got instruction from him were Wan Chun, whose power was hard,
Ling Shan, who was good at flinging opponents away, and Quan You, who was good at
neutralizing, and so it is said that three people each obtained one of his qualities. When he
physically declined, he then told them all to do obeisance to Banhou as their teacher, and
hence they are said to be Banhous disciples.
Song Shuming, who says he is descended from Song Yuanqiao, has traveled much, is an
expert in the theory of the Book of Changes, and is proficient in the Taiji boxing art,
contributing many innovations. He is casual and familiar with me, and I have had a constant
association with him from which I have received unique benefit. Instructors in my organization
such as Ji Zixiu, Wu Jianquan, Liu Enshou, Liu Caichen, and Jiang Dianchen have also
received much from him.
text by Xu Yusheng of Beijing [from his 1921 manual]
CONTENTS TO ESSENTIALS OF YANG STYLE TAIJI BOXING
Prefaces:
Preface by Tan Mengxian
Preface by Yao Yihua
Preface by Jiang Xinshan
Preface by Bao Fotian
Preface by Lin Jingping
Authors Preface
Contents:
1. The Taiji Boxing Treatise
2. The Treatise of Wang Zongyue
3. Understanding How to Practice the Thirteen Dynamics
4. Thirteen Dynamics Song
5. Names of the Postures in the Taiji Boxing Set
6. Pushing Hands Song & Large Rollback in Brief
7. A Few Words from Yang Jinghu [Jianhou]
8. Names of the Postures in the Taiji Long Boxing Set
9. Taiji Long Boxing Songs
10. Taiji Sword Posture Names
11. Taiji Sword Song

12. Song of Posture Names for Taiji Saber
13. Stick & Follow Spear
ESSENTIALS OF YANG STYLE TAIJI BOXING (compiled by Huang Yuanxiu)
1. THE TAIJI BOXING TREATISE
Before there was a universe, within the infinity of space was the single indistinct energy of
non-polarity [wu ji]. Then from this neutral energy came the principle of grand polarity [tai ji],
which is the foundation of the universe and for the evolving of people and things, the
beginning of all transformation. Once life gets going, there is sometimes change from one
form into another, leading to the frequent generating of new forms. For instance, insects are
born from within trees and lice come to life upon the human body. These are both examples
of changing states of life. If there was no sweat on the body or decaying wood within trees,
how would such situations come to be? From this can be seen that the grand polarity [i.e. the
engine of creative interaction between the passive and active aspects] is the guiding
principle of the universe. (I wonder if this section should have been left out.) [It is indeed a
mystery why Huang included this introductory paragraph in the first place. It is from the early
Qing Dynasty novel
Gossip in the Bean Shed, chapter 12, and does not typically lead
into the more usual text that follows.]
Once there is any movement, your entire body should be nimble and alert. There especially
needs to be connection from movement to movement. Energy should be roused and spirit
should be collected within. Do not allow there to be cracks or gaps anywhere, pits or
protrusions anywhere, breaks in the flow anywhere. Starting from your foot, issue through your
leg, directing it at your waist, and expressing it at your fingers. From foot through leg through
waist, it must be a fully continuous process, and whether advancing or retreating, you will then
be able to catch the opportunity and gain the upper hand. If not and your body easily falls into
disorder, the problem must be in your waist and legs, so look for it there. This is always so,
regardless of the direction of the movement, be it up, down, forward, back, left, right. And in
all of these cases, the problem is a matter of your intent. It is internal and does not lie outside
of you.
With an upward comes a downward, with a forward comes a backward, and with a left
comes a right. If your intention wants to go upward, then harbor a downward intention, like
when you reach down to lift up an object. You thereby add a setback to the opponents own
intention, thus he cuts his own root and is defeated quickly and certainly. Empty and full must
be distinguished clearly. In each part there is a part that is empty and a part that is full.
Everywhere it is always like this, an emptiness and a fullness. Throughout your body, as the
movement goes from one section to another there has to be connection. Do not allow the
slightest break in the connection.
This relates to the theory left to us from Zhang Sanfeng of Mt. Wudang. He wanted all the
heroes in the world to live long and not merely gain martial skill.
2. THE TREATISE OF WANG ZONGYUE
Taiji [grand polarity] is born of wuji [nonpolarity]. It is the manifestation of movement and
stillness, and the mother of yin and yang [the passive and active aspects]. When there is
movement, passive and active become distinct from each other. When there is stillness, they
return to being indistinguishable.
Neither going too far nor not far enough, comply and bend then engage and extend. He is
hard while I am soft this is yielding. My energy is smooth while his energy is coarse this is
sticking. If he moves fast, I quickly respond, and if his movement is slow, I leisurely follow.
Although there is an endless variety of possible scenarios, there is only this single principle
[of yielding and sticking] throughout. Once you have engrained these techniques, you will
gradually come to identify energies, and then from there you will gradually progress toward
something miraculous. But unless you practice a lot over a long time, you will never have a
breakthrough.
Forcelessly press up your headtop. Energy sinks to your elixir field. Neither lean nor slant.
Suddenly hide and suddenly appear. When there is pressure on the left, the left empties.
When there is pressure on the right, the right disappears. When looking up, it is still higher.
When looking down, it is still lower. When advancing, it is even farther. When retreating, it is
even nearer. A feather cannot be added and a fly cannot land. The opponent does not
understand me, only I understand him. A hero is one who encounters no opposition, and it is
through this kind of method that such a condition is achieved.
There are many other schools of boxing arts besides this one. Although the postures are
different between them, they never go beyond the strong bullying the weak and the slow
yielding to the fast. The strong beating the weak and the slow submitting to the fast are both a
matter of inherent natural ability and bear no relation to skill that is learned. Examine the
phrase four ounces moves a thousand pounds, which is clearly not a victory obtained
through strength. Or consider the sight of an old man repelling a group, which could not come
from an aggressive speed.
Stand like a scale. Move like a wheel. If you drop one side, you can move. If you have
equal pressure on both sides, you will be stuck. We often see one who has practiced hard for
many years yet is unable to perform any neutralizations, always under the opponents control
and never able to control the opponent, and the issue here is that this error of double
pressure has not yet been understood. If you want to avoid this error, you must understand
passive and active. In sticking there is yielding and in yielding there is sticking. The active
does not depart from the passive and the passive does not depart from the active, for the
passive and active exchange roles. Once you have this understanding, you will be identifying
energies. Once you are identifying energies, then the more you practice, the more efficient
your skill will be, and by absorbing through experience and by constantly contemplating,
gradually you will reach the point that you can do whatever you want.
The basic of basics is to forget about your plans and simply respond to the opponent. We
often make the mistake of ignoring what is right in front of us in favor of something that has
nothing to do with our immediate circumstances. For such situations it is said: Miss by an
inch, lose by a mile. You must understand all this clearly.
Long Boxing: it is like a long river flowing into the wide ocean, on and on ceaselessly
The thirteen dynamics are: warding off, rolling back, pressing, pushing, plucking, rending,
elbowing, and bumping which relate to the eight trigrams:
and advancing, retreating, stepping to the left, stepping to the right, and staying in the center
which relate to metal, wood, water, fire, and earth: the five elements. These combined [8+5]
are called the Thirteen Dynamics.
Warding off, rolling back, pressing, and pushing correspond to , , , and in the four
principle compass directions [meaning simply that these are the primary techniques].
Plucking, rending, elbowing, and bumping correspond to , , , and in the four corner
directions [i.e. are the secondary techniques].
Advancing, retreating, stepping to the left, stepping to the right, and staying in the center
correspond to the five elements of metal, wood, water, fire, and earth.
It is important to be mindful of every sentence in this essay. It does not contain a single word
that does not enrich and sharpen its ideas. But if you are not smart, you will not be able to
understand it. The founder did not lightly teach the art, not just because he was discriminating
over accepting students, but also because he did want to go to the effort only to have it
wasted.
3. UNDERSTANDING HOW TO PRACTICE THE THIRTEEN DYNAMICS
Use mind to move the energy. You must get the energy to sink. It is then able to collect in the
bones. Use energy to move your body. You must get the energy to be smooth. Your body can
then easily obey your mind.
If you can raise your spirit, then you will be without worry of being slow or weighed down.
Thus it is said [in the Thirteen Dynamics Song]: Your whole body will be nimble and your
headtop will be pulled up as if suspended. The mind must perform alternations nimbly, and
then you will have the qualities of roundness and liveliness. Thus it is said [also in the Song]:
Pay attention to the alternation of empty and full.
When issuing power, you must sink and relax, concentrating it in one direction. Your
posture must be upright and comfortable, bracing in all directions.
Move energy as though through a winding-path pearl, penetrating even the smallest nook
(meaning that the energy is everywhere in the body). Wield power like tempered steel, so
strong there is nothing tough enough to stand up against it.
The shape is like an osprey catching a fish. The spirit is like a cat pouncing on a mouse.
In stillness, be like a mountain, and in movement, be like a river.
Store power like drawing a bow. Issue power like loosing an arrow.
Within curving, seek to be straightening. Store and then issue.
Power comes from the spine. Step according to your bodys adjustments.
To gather is to release and to release is to gather. Disconnect but stay connected.
In the back and forth [of the arms], there must be folding. In the advance and retreat [of the
feet], there must be variation.
Extreme softness begets extreme hardness. Your ability to be nimble lies in your ability to
breathe.
By nurturing energy with integrity, it will not be corrupted. By storing power in crooked
parts, it will be in abundant supply.
The mind makes the command, the energy is its flag, and the waist is its banner.
First strive to open up, then strive to close up, and from there you will be able to attain a
refined subtlety.
It is also said:
First in the mind, then in the body.
With your abdomen relaxed, energy gathers in your marrow. Spirit comfortable, body calm
at every moment be mindful of this.
Always remember: if one part moves, every part moves, and if one part is still, every part is
still.
As the movement leads back and forth, energy sticks to and gathers in your spine.
Inwardly bolster spirit and outwardly show ease.
Step like a cat and move energy as if drawing silk.
Throughout your body, your mind should be on the spirit rather than on the energy, for if you
are fixated on the energy, your movement will become sluggish. Whenever your mind is on
the energy, there will be no power, whereas if you ignore the energy and let it take care of
itself, there will be pure strength.
The energy is like a wheel and the waist is like an axle.
4. THIRTEEN DYNAMICS SONG
Do not neglect any of the thirteen dynamics,

their command coming from your waist and hips.
You must pay attention to the alternation of empty and full,
then energy will flow through your whole body without getting stuck anywhere.
In stillness, movement stirs, and then in moving, seem yet to be in stillness,
for the magic lies in making adjustments based on being receptive to the opponent.
In every movement, very deliberately control it by the use of intention,
for once you achieve that, it will all be effortless.

At every moment, pay attention to your waist,
for if there is complete relaxation within your belly, energy is primed.
Your tailbone is centered and spirit penetrates to your headtop,
thus you will be wholeheartedly nimble and your headtop will be pulled up as if suspended.
Pay careful attention in your practice that you are letting bending and extending,
contracting and expanding, happen as the situation requires.
Beginning the training requires personal instruction,
but mastering the art depends on your own unceasing effort.
Whether we are discussing in terms of theory or function, what is the constant?
It is that mind is sovereign and body is subject.
If you think about it, what is emphasizing the use of intention going to lead you to?
To a longer life and a longer youth.
Repeatedly recite the words above,
all of which speak clearly and hence their ideas come through without confusion.
If you pay no heed to those ideas, you will go astray in your training,
and you will find you have wasted your time and be left with only sighs of regret.
5. NAMES OF THE POSTURES IN THE TAIJI BOXING SET
[1] TAIJI BEGINNING POSTURE

[2] CATCH THE SPARROW BY THE TAIL
[3] WARD-OFF, ROLLBACK, PRESS, PUSH
[4] SINGLE WHIP
[5] RAISE THE HANDS
[6] WHITE CRANE SPREADS ITS WINGS
[7] LEFT BRUSH KNEE IN A CROSSED STANCE
[8] PLAY THE LUTE
[10] RIGHT BRUSH KNEE IN A CROSSED STANCE
[12] PLAY THE LUTE
[14] ADVANCE, PARRY, BLOCK, PUNCH
[15] SEALING SHUT
[16] CROSSED HANDS
[17] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

[20] DIAGONAL SINGLE WHIP
[21] PUNCH UNDER THE ELBOW
[22] RETREAT, DRIVING AWAY THE MONKEY LEFT & RIGHT
[23] DIAGONAL FLYING POSTURE
[24] RAISE THE HANDS
[26] LEFT BRUSH KNEE
[27] NEEDLE UNDER THE SEA
[28] MOON THROUGH THE BACK
[29] TURN AROUND, TORSO-FLUNG PUNCH
[30] WHITE SNAKE FLICKS ITS TONGUE
[31] STEP FORWARD, PARRY, BLOCK, PUNCH
[32] STEP FORWARD, CATCH THE SPARROW BY THE TAIL
[34] SINGLE WHIP
[35] CLOUDING HANDS LEFT & RIGHT
[36] SINGLE WHIP
[37] RISING UP AND REACHING OUT TO THE HORSE
[38] KICK TO THE RIGHT SIDE
[39] KICK TO THE LEFT SIDE
[40] TURN AROUND, PRESSING KICK
[41] BRUSH KNEE IN A CROSSED STANCE LEFT & RIGHT
[42] ADVANCE, PLANTING PUNCH
[46] RIGHT PRESSING KICK

[47] FIGHTING TIGER POSTURE LEFT & RIGHT
[48] RIGHT PRESSING KICK
[49] DOUBLE WINDS THROUGH THE EARS
[50] LEFT PRESSING KICK
[51] TURN AROUND, RIGHT PRESSING KICK
[53] SEALING SHUT
[54] CROSSED HANDS
[59] LEFT WILD HORSE VEERS ITS MANE
[60] RIGHT WILD HORSE VEERS ITS MANE
[61] LEFT WILD HORSE VEERS ITS MANE
[64] SINGLE WHIP
[65] MAIDEN WORKS THE SHUTTLE LEFT & RIGHT
[68] SINGLE WHIP
[70] SINGLE WHIP
[71] SLANTING BODY, LOW POSTURE
[72] GOLDEN ROOSTER STANDS ON ONE LEG LEFT & RIGHT

[78] NEEDLE UNDER THE SEA
[79] MOON BEYOND THE BACK
[85] SINGLE WHIP
[87] SINGLE WHIP
[89] TURN AROUND, RIGHT PRESSING KICK
[90] LEFT BRUSH KNEE, PUNCH TO THE CROTCH
[93] SINGLE WHIP
[95] STEP FORWARD WITH THE BIG DIPPER
[96] RETREAT TO SITTING TIGER POSTURE
[97] TURN AROUND, DOUBLE-SLAP SWING-THOUGH KICK
[98] BEND THE BOW TO SHOOT THE TIGER
[100] SEALING SHUT
[101] CROSSED HANDS
[102] CLOSING POSTURE
6. PUSHING HANDS SONG
Ward-off, rollback, press, and push must be taken seriously.

With coordination between above and below, the opponent will hardly find a way in.
I will let him attack me with as much power as he likes,
for I will tug with four ounces of force to move his of a thousand pounds.
Guiding him in to land on nothing, I then close on him and send him away.
I stick to him and go along with his movement instead of coming away or crashing in.
LARGE ROLLBACK IN BRIEF
[1] I rollback his elbow.

[2] He steps forward with press.
[3] I slap with a single hand.
[4] He turns his body and rolls back.
[5] I step forward with press.
[6] He evades with his body.
[repeat of 1 on the opposite side] I do a rollback.
[repeat of 2 on the opposite side] He steps forward with press. [And the same pattern
continues on the opposite side. I slap with a single hand,]
7. A FEW WORDS FROM YANG JINGHU [JIANHOU]
He said: With lightness there is sensitivity, with sensitivity there is movement, with movement
there is adaptation, and with adaptation there is transformation.
He also said: If he takes no action, I take no action, but once he takes even the slightest
action, I have already acted. The power seems to be relaxed but not relaxed, about to
express but not yet expressing. Although the power finishes, the intent of it continues. If you
are not an experienced practitioner, you will not be able to understand these words.
8. NAMES OF THE POSTURES IN THE TAIJI LONG BOXING SET

[4] FISH-TAIL SINGLE WHIP
[5] PHOENIX UNFURLS ITS WINGS
[6] BRUSH KNEE IN A CROSSED STANCE
[7] PLAY THE LUTE
[8] SPARROWS TAIL POSTURE
[9] BEND THE BOW TO SHOOT THE GOOSE
[10] LUTE POSTURE
[12] WINNOWING BASKET POSTURE (SAME AS SEALING SHUT & CROSSED HANDS)
[17] PUNCH UNDER THE ELBOW
[18] RETREAT, DRIVING AWAY THE MONKEYS HEAD
[19] BRUSH KNEE, PUNCH TO THE CROTCH
[21] STEP FORWARD, PLANTING PUNCH
[22] DIAGONAL FLYING POSTURE (THREE TIMES)
[24] FISH-TAIL SINGLE WHIP
[26] STEP FORWARD, MAIDEN WORKS THE SHUTTLE
[27] DOUBLE PALMS & DOUBLE PUNCHES, LEFT PALM & RIGHT PUNCH
[29] WILD HORSE VEERS ITS MANE LEFT & RIGHT (TWO TIMES)
[31] GOLDEN ROOSTER STANDS ON ONE LEG LEFT & RIGHT
[36] BRUSH KNEE IN A CROSSED STANCE
[37] PEARL UNDER THE SEA
[38] MOON THROUGH THE BACK
[39] TURN AROUND, WHITE SNAKE FLICKS ITS TONGUE
[42] SINGLE WHIP
[43] CLOUDING HANDS LEFT & RIGHT (THREE TIMES)
[44] SINGLE WHIP
[46] KICK TO BOTH SIDES
[48] BRUSH KNEE IN A CROSSED STANCE LEFT & RIGHT
[49] DOUBLE WINDS THROUGH THE EARS LEFT & RIGHT
[50] FLYING KICK
[51] LEFT FIGHTING TIGER POSTURE
[52] DOUBLE WINDS THROUGH THE EARS RIGHT
[53] LEFT PRESSING KICK
[54] TURN AROUND, PRESSING
KICK
[55] STEP FORWARD, TORSO-FLUNG PUNCH

[56] WHITE SNAKE FLICKS ITS TONGUE PUNCH
[57] ADVANCE, PARRY, BLOCK, PUNCH
[60] SINGLE WHIP
[61] CLOUDING HANDS LEFT & RIGHT (THREE TIMES)
[62] SINGLE WHIP
[64] TURN AROUND, SINGLE-SLAP SWING-THROUGH KICK
[65] STEP FORWARD, PUNCH TO THE CROTCH
[67] TURN AROUND, SINGLE WHIP
[68] LOW POSTURE
[69] BIG DIPPER POSTURE, SITTING TIGER POSTURE
[70] TURN AROUND, DOUBLE-SLAP SWING-THROUGH KICK
[71] BEND THE BOW TO SHOOT THE TIGER
[72] PARRY, BLOCK, PUNCH
[73] SEALING SHUT
[74] CROSSED HANDS
[75] CLOSING POSTURE
9. TAIJI LONG BOXING SONGS
[1] The Taiji Long Boxing set is unique to this school.
That it endlessly transforms is truly no exaggeration.

Its subtlety is entirely based on borrowing the opponents power.
In that moment of anxiety, do not be so willing to grab him.
[2] Palm or fist, elbow and wrist,
shoulder, waist, hip, knee, foot

the power of these nine sections above and below

each depend on the waists central role in issuing.
To sum up:
By going along with the opponent, you will be able to get into the right position. By borrowing
his power, there will be no need to grab him.
10. TAIJI SWORD POSTURE NAMES
[1] THREE LOOPS AROUND THE MOON

[2] KUIXING POSTURE
[3] SWALLOWS TAKES UP WATER
[4] LEFT & RIGHT BLOCKING SWEEPS
[5] SMALL KUIXING POSTURE
[6] SWALLOW ENTERS ITS NEST
[7] QUICK CAT CATCHES THE MOUSE
[8] PHOENIX NODS ITS HEAD
[9] WASP ENTERS THE HIVE
[10] PHOENIX UNFURLS ITS WINGS TO THE RIGHT
[11] SMALL KUIXING POSTURE
[12] PHOENIX UNFURLS ITS WINGS TO THE LEFT
[13] WAITING FOR A FISH
[14] DRAGON MOVING TO THE LEFT & RIGHT
[15] BIRD GOES INTO THE FOREST TO ROOST
[16] BLACK DRAGON SWINGS ITS TAIL
[17] BLUE DRAGON LEAVES THE WATER
[18] WIND ROLLS UP THE LOTUS LEAVES
[19] LION SHAKES ITS HEAD LEFT & RIGHT
[20] TIGER HIDES ITS HEAD
[21] WILD HORSE JUMPS THE STREAM
[22] TURN AROUND, REIN IN THE HORSE

[23] COMPASS NEEDLE
[24] BRUSHING OFF DUST AGAINST THE WIND LEFT & RIGHT
[25] GOING WITH THE CURRENT TO PUSH THE BOAT
[26] METEOR CHASES THE WATER
[27] DIVINE BIRD DESCENDS THROUGH THE SKY
[28] RAISING A CURTAIN
[29] LEFT & RIGHT WHEELING
[30] SWALLOW PECKING AT MUD
[31] RUKH UNFURLS A WING
[32] TRYING TO SCOOP THE MOONS REFLECTION FROM THE WATER
[33] EMBRACE THE MOON
[34] NEZHA SEARCHES THE SEA
[35] RHINO GAZES AT THE MOON
[36] SHOOT THE GOOSE
[37] BLUE DRAGON SHOWS A CLAW
[38] PHOENIX UNFURLS ITS WINGS
[39] CARRYING THE BASKET LEFT & RIGHT
[40] SHOOT THE GOOSE
[41] WHITE APE OFFERS FRUIT
[42] LEFT & RIGHT FALLING PETALS POSTURE
[43] MAIDEN WORKS THE SHUTTLE
[44] WHITE TIGER TWITCHES ITS TAIL
[45] FISH LEAPS THE DRAGON GATE
[46] BLACK DRAGON COILS AROUND THE PILLAR LEFT & RIGHT
[47] IMMORTAL POINTS THE WAY
[48] HOLDING UP A STICK OF INCENSE
[49] WIND SWEEPS THE PLUM FLOWERS
[50] IVORY FLUTE POSTURE
[51] EMBRACE THE SWORD AND RETURN TO THE ORIGINAL POSITION
11. TAIJI SWORD SONG
The sword art is hard to teach,

for its directness of attack and withdraw is so subtle.
Basically, if you keep swinging it at me like its a saber,
Zhang Sanfeng will laugh at you.
12. SONG OF POSTURE NAMES FOR TAIJI SABER
BIG DIPPER and SITTING TIGER are followed by EXCHANGING THE SABER.
ALWAYS AT THE READY, SUDDENLY EXPAND, rousing mind and energy.
LOOK LEFT & RIGHT, then SPREAD APART TO BOTH SIDES.
WHITE CRANE SPREADS ITS WINGS with a five-element palm.
WIND ROLLS UP THE LOTUS LEAVES, then store inward.
MAIDEN WORKS THE SHUTTLE deals with all directions.
THREE STARS POSTURE, then open and close, and TAKE CHARGE OF THE
SITUATION.
DOUBLE KICK, then perform FIGHTING TIGER POSTURE.
DRAPE THE BODY, hanging at an angle, then perform MANDARIN DUCK KICK.
GOING WITH THE CURRENT TO PUSH THE BOAT, use your iron staff like a puntingpole.
LOWERING, ENGAGE THREE TIMES, moving with fluency.
SWIM TO THE LEFT & RIGHT, then LEAP THE DRAGON GATE.
BIAN HE CARRIES THE STONE, then the PHOENIX RETURNS TO ITS NEST.
What my teacher has bequeathed us is praised everywhere.
Because of his personal instruction, I can never forget what he taught me:
the techniques such as cleaving, hacking, scratching, checking, shaving, raising to the
wrist, and so on
13. TAIJI STICK & FOLLOW SPEAR
1. Advance, stabbing to his solar plexus.

2. Advance, stabbing to his ribs.
3. Advance, stabbing to his arm.

4. Advance, stabbing to his throat.
(These are advancings that come from retreats, retreating in response to the opponent
advancing, then advancing toward him.)
[1] Retreat with a plucking spear technique
[2] Advance with a rending spear technique.
[3] Advance with a shoveling spear technique.
[4] Step forward with a flinging spear technique.
(These four spear techniques lie within the first four.)
Above are the main ideas of the various skills of the Taiji school and their essential
principles, but without personal instruction and experience, you will not be able to understand
them.
PREFACE TO MARTIAL ARTS DISCUSSIONS
Ever since ancient times, wise men and scholars have all taken what they have studied and
what they have inquired into, fully exploring the essence of a subject then explaining its
principles, and have recorded it all in books. For instance, on the subject of learning itself,
there is Gu Yanwus Daily Collectings of Knowledge. On the Confucian classics, there is
Wang Niansuns Miscellaneous Notes on the Classics. On the study of history, there are
Zhang Shizhais Constants in Literature and History and Ji Xiaolans Select Complexities of
History. On literature, there is Liu Xies The Literary Mind and the Carving of Dragons. On
painting and calligraphy, there are Bao Shichens Art of Rowing with Two Oars, as well as
Kang Youweis expanded rendition of it, Dong Qichangs Paintings from the Zen Chamber
with Accompanying Calligraphy, Da Zhongguangs Paintings of Fish Traps, Gong Xians
Paintings with Poetry, and Qin Zuyongs Paintings with Poetry Made in the Shade of the
Tong Tree and The Art of Painting from Ones Heart. On medicine, there are Chen Shiduos
On Distinguishing Feverish Illnesses and Zhu Danxis Art of Psychology. And so on.
Although these examples do not constitute a huge collection [a vast store of books made
by filling the house through the labor of oxen], they are made of the penetrating insights that
have come from personal experience. The authors have presented basic essentials and put
them on display for future generations, hoping that such learning will not fall by the wayside,
but will instead be further developed by those who read them.
Martial arts are the innate form of physical education in China. Through five thousand
years of magnificent and glorious history, they have been used to strengthen the masses and
support the nation, defend the self and resist aggression. But due to the sheer variety of
systems, there is a lack of truly adequate teaching materials. It is so rare to find recorded
explanations of the essentials and examinations of their subtleties that what has been passed
down to us leaves us merely speculating, and this is indeed one of the major causes for the
daily decline of these arts.
In the spring of 1934, my major ambition was to enlist the help of Chu Minyi and various
comrades in order to produce the Martial Arts United Monthly Magazine in Shanghai. By
that summer, I really felt that there was a lack of material, as I specifically pointed out in the
second part of our magazines article on Main Principles: These things that have been
learned through personal experience, or written based on personal reflection, are presented
in a manner that is enthusiastic and open-minded, avoiding expressions of ridicule or
disrespect, and put forth in a language that is pleasant and smooth so that readers will come
to understand through the study of such contributions. What worries me is that there are not
enough people writing.
Now Huang Yuanxiu, with a worthy introduction from Tan Mengxian, has made this
combined volume of Martial Arts Discussions and Essentials of Yang Style Taiji Boxing, an
outpouring of brilliance from the Nanchang Field Headquarters, spreading its words to those
who have sought but not found. The perfect author for this situation, Huang takes abstruse
and complex boxing principles and puts them into writing that is insightful and graceful, with a
mentality of admiration and gratitude for such knowledge. The work now completed, Huang
has been corresponding with distant colleagues to let them all know the date of publication for
this book that will be of benefit to aficionados everywhere. Before that day arrives and this
special volume becomes famous as a bestseller, I presume to convey some of my
appreciation by being the first to commemorate the occasion.
written [by Jiang Xiahun] at the Hundred Heroes Lodge, June 10, 1936
MARTIAL ARTS DISCUSSIONS (by Huang Yuanxiu)
Since the Revolution [1911], we have seen advancement in every field of learning, which has
brought an end to the tradition of secrecy in martial arts and given them the opportunity to
flourish. By now, every province has set up their own special institutes, and they spread their
publications in the cities. But so far it is only the methods of spear, saber, staff, and boxing
that have been taught, and a study has not yet been made of their educational aspects.
As for the purpose of such training, no one yet fully understands how far the results can go,
and therefore while those practicing who are strong are getting results, those practicing who
are severely ill are also getting results. I feel that as truly important as the skills are, it is the
body itself that should be given the most attention. Therefore we must first understand
methods of taking care of oneself and that the goal is effectiveness, and then we may
commence to training the skills and participating in all the customs within the world of
Chinese martial arts, adhering faithfully to their essentials. What I have gained through my
own experience, I present below:
ONE: THE PURPOSE OF PRACTICING MARTIAL ARTS
The reason we are promoting our nations martial arts is not for any immediate practicality in
combat, but for the indirect results it will bring to our undertakings. Modern mechanized and
chemical warfare can make no use of the human body as a weapon. Anyone with common
sense can understand this. It is scientific research that builds cannons and makes planes fly,
yet without a strong body, you would be unable to use such machines with ease. Without an
imposing air, you would be unable to be a leader that inspires confidence. Without an
abundant spirit, you would be unable to handle the research that is involved.
In the undertakings of normal society, this is also always the case. If a student of a martial
art can indeed adhere to its process, practicing according its principles and in a nurturing
way, never overdoing any part of the training nor quitting halfway, but gradually progressing
step by step, then he will certainly be able to increase his vigor, vigor which can applied in
these ways: those engaged in education must be able to freely apply argumentation, those
engaged in industry must be able to be sufficiently enterprising, those engaged in military
tasks must be able to fulfill their assignments, and those engaged in scientific studies must
be able to broaden their research. These are examples of how directly attending to matters of
health will indirectly bolster all undertakings, and such attention will enable all citizens in the
nation to increase their power to struggle for their own well-being.
Martial arts instructors are not necessarily like sports coaches, nor do they need to be
presiding over larger gatherings of people. Regardless of winter or summer, rain or shine,
they are out there dancing with their swords in the moonlight, exhibiting theory and skill like a
lamp for all to see, even in remote mountains and distant valleys. In every era, there have
been teachers, especially in our nation of several thousand years, in the consummate art of
improving ones health.
When we speak of happiness, we mean that our bearing shows a sensation of comfort or
that our thoughts are reveling in our interests. But when we seek the source of our happiness,
it always comes from abundance of spirit. Children for instance jump around with so much
liveliness, with limitless joy in their hearts, and the reason for this is abundance of spirit.
Those addicted to cigarettes and alcohol use those vices to lift their spirits, but it is a
perversely temporary comfort, and although they know it is harmful, they are unable to quit.
They do not understand that those who practice martial arts are full of vigor and fresh with
health, and have a sense of happiness that so utterly outclasses the ephemeral highs of
substance abuse. One person will eventually become so ill as to be rendered almost
immobile, while the other who is training to develop wonderful skills will be preventing
disease and prolonging his life. The difference between these benefits and harms is
immeasurable.
TWO: MAINTAINING HEALTH
People nowadays are learning boxing arts just because their bodies are frail and weak. In the
beginning of the training, the first principle in taking care of oneself is awareness of the
seasons. In spring, take medicines to keep you cool. In summer, take medicines that drive
out heat. In autumn, take medicines that help you retain moisture. In winter, take medicines
that heat you up. Such tonics are indispensable throughout the year for martial arts
practitioners.
(There is a saying in my village: Poor in learning, rich in fighting. In the old days, students
of the classics first studied the Four Books, and they might throughout their lifetime value only
a few hundred works. Those who instead trained for the provincial military examinations
trained year round and put all their money into weapons and equipment far exceeding the
price of a set of the Four Books [and thereby subverting the saying to rich in learning, poor in
fighting].)
As for which tonics will help you progress, it is hard to determine because every body is
different, but it is usually the case that medicine does not compare to eating right. Usually
foods such as cod-liver oil, milk, eggs, beef tendon, liver and kidneys, and spinal marrow are
to be recommended. Other weird foods like tiger tendon, deer breast, tortoise, soft-shelled
turtle, or varieties of eel are very rich and oily, and if you eat them too often, they will probably
cause ulcers, and so I recommend avoiding them.
Of the recommended foods above, liver is good for your liver, kidneys are good for your
lower back, cod-liver oil is good for your lungs, spinal marrow is good for your marrow, and
beef tendon is good for your tendons. Beyond these, beans are also extremely nourishing,
and do not neglect garden vegetables. Overall, food does not need to be exotic, appetite
does not need to be insatiable, use the right amount of food for efficient digestion meaning
neither too much nor too little and to digest efficiently, make sure to chew your food
thoroughly.
The famous martial arts master Sun Lutang, who carried a great reputation for his prowess
in the arts of Taiji, Xingyi, and Bagua, passed away without illness above the age of seventy.
His diet usually consisted of extremely bland food. The leading Taiji authority Yang Chengfu of
Guangping, known everywhere from north to south, has a very large body, but not an
excessive appetite. The famous Shaolin masters Du Xinwu and Liu Baichuan take the same
meals as very ordinary people. My elder classmate Cao Yanhai is tall and robust with a skill
that is refined and deep. He earned 4th place in the national competition in Zhejiang and 1st
place in the national competition in Shanghai. Little did I imagine that he is actually a
vegetarian.
None of these gentlemen have been known to touch alcohol. Examining their experience,
or that of bodyguards throughout the north, career soldiers on the move, or traveling
performers everywhere, it is well-known that in their ordinary sleeping, eating, and daily life,
they are all conscientious of staying healthy. It is obvious that the maintaining of health does
not lie with gluttony, what the ancients called a man who takes three gallons of wine and ten
helpings of meat, which is nothing more than a description of unrestrained behavior.
On regulating time spent:
Time for training and time for resting should harmonize with each other. Ones daily work
routine should be restricted in its hours so as to make time for nurturing body and mind. This
is a crucial point. I have seen several of my friends become so revitalized due to the training
that they threw themselves back into their professional tasks with even more excessive effort
than before, and then after a year, they looked spent and hunched over. Some friends took
their boosted spirit to the brothels and then rapidly perished after a couple years of that. If you
train in but do not obtain the skills, there may be no benefit. But if you do obtain the skills and
yet do not know how to take care of yourself, not only will there be no benefit, there will be
harm. If you ardently seek these arts, ponder these words over and over.
THREE: SOME THINGS TO AVOID
Whenever people train in martial arts, a heroic spirit naturally manifests and a usually timid
manner becomes forgotten. This often may lead to behaviors of drunkenness, laziness, or
combativeness. Therefore in ancient and uncivilized times, typical parents would always
forbid boys from fighting with sticks, firstly to prevent them from getting hurt, and secondly to
keep them from disturbing others. I have witnessed in the street market near a certain Martial
Arts Institute a practitioner brawling with people. This would not have happened in those
former times, in which it was the little boys who most easily slipped into such a pattern. As for
drunkenness, it injures the body, and as for laziness, it wastes a life, but those who love to get
into fights are sure to cause a great deal of trouble. The source of their behavior being
deemed reckless courage is actually a mischaracterization, for the activation of a heroic
personality would normally result in a more compassionate heart. When the opposite occurs
and people are harming others, this must not be allowed and should be gravely guarded
against.
Avoid practicing martial arts when too full or too hungry, after drinking alcohol, or when in
wind. After sex or nocturnal emissions, and after recovering from illness or becoming fatigued
due to work, you should give yourself a day to recover, maybe even two or three. Once you
feel your spirit has returned to normal, you may then continue, otherwise you are bound to
make yourself ill.
After practicing, do not remove clothes just because you have been sweating, nor
suddenly drink any cold beverages, nor sit down and take a nap. These are all things to be
avoided which will cause you at the least to catch a cold, and in worse cases will lead to such
internal aching as to impede you in your training.
For martial practitioners, it is essential to be aloof from sexual lust, especially abstaining
from masturbation, since natural nocturnal emissions already diminish enough of the bodys
energy, and so anything beyond it would be harmful and shorten your life span. Be sure not to
become addicted to pornographic materials or brothels. Even marital sex should be engaged
in only in moderation, no more than once a month past the age of thirty, no more than once a
season past the age of forty, and no more than once a year past the age of fifty.
Both martial practitioners and cultivators of the Way thus have internal resources to draw
upon the three treasures of essence, energy, and spirit. Without these resources, there is
really no capacity for practice. On this point, there was a martial man who said: If a body that
practices martial arts were valued in gold, a single hair on it would be worth a thousand
pieces. This serves to show that warriors since ancient times have attached importance to
health maintenance.
FOUR: EXERCISE & TRAINING
The ancient worthies said: Train your essence and transform it into energy. Train your energy
and transform it into spirit. Train your spirit and return to emptiness. Then by way of
emptiness, achieve the Way. After thousands of years, this principle is unchanged. Take a
look at our recent martial arts competitions and performances. You will often see long white
beards, healthy old warriors. Famous athletes in Europe and America on the other hand will
probably no longer be engaging in their particular forms of exercise when they are at an
advanced age. Recently the Japanese athlete Mikengi was headed into the next year with a
great reputation, then suddenly he was dead and buried. Why is this so? Because he did not
understand the cultivation of the three parts essence, energy, and spirit.
A wise man said: With eyes bright and tongue moist, ones essence is abundant. With
clarity of voice and articulation in speech, ones energy is potent. With rosy eyelids and the
fingernails pink and smooth, ones blood is thriving. And also: When ones essence is
sufficient, there is no obsession with sex. When ones energy is sufficient, there is no craving
for food. When ones spirit is sufficient, there is no drowsiness.
Most people have three meals a day, which are broken down in the stomach, then broken
down further in the intestines, and once absorbed and dissolved, essence is produced.
(This particular mention of essence is not referring to the sexual essence, but the nutritional
essence that is crucial for maintaining life.) For scholars of cultivation practices, when the fire
of the life gate rises, it transforms energy and blood, ascends to create spirit, spreads to
create muscle, and acts to build strength, its changes natural, miraculous, invisible. This is a
rough explanation of the process. If you persistently visit prostitutes, a different process will
enter your kidneys, weakening your energy, impoverishing your blood, diminishing your
strength. Or if you harmfully consume alcohol, or overwork yourself, then nutrition will be not
enough to repair you and you will be irretrievably expending your life essence, the reducing of
which will natural lead to illness and shortening of life span.
Energy is the basis of the universe, as in the manifestings of energy [i.e. portents in the
sky], movements of energy [operations of fate], or calculations of energy [wheel of fortune].
All forms of increase or decrease are a matter of the waxing and waning of energy. Why
would this not also be the case for human beings? We always talk of someones energy
being up in the same way energy rises into the sky to produce rainbows, or how ones
energy gives one a heroic countenance with a bold voice and authoritative air. When ones
energy declines, one dwells deathlike in its vestiges, breathing feebly. Therefore our strength
or weakness, our ups or downs, are entirely a matter of energy.
Unaware of our energy, it is actually produced by our sexual essence. Though dwelling in
our elixir field, its source is the life fire and sexual essence. Daoists call this water and fire in
a state of mutual benefit and is what is meant by internal elixir. For an analogy, motive
power in modern machines depends on steam. Fire is used to evaporate water, the water
becomes steam, and the steam gives movement to the machines. Even the electrical power
from power plants is generated by steam-produced friction. If the water ever dried up or the
oil ever ran out, without such explosive intensity, there would be a collapse.
Exercise is: the energy and blood moving internally, and the bodys shell being worked
externally. Exercise, inside and out, is as the saying goes [Lu Shi Chunqiu, book 3, chapter
2]: Running water never goes stale and a door that gets used does not get rusty hinges. We
push aside the old to take in the new, or pick out what is false to practice what is true, and this
is an asset in esoteric cultivation practices. Daoists have their Five Animal Frolics, while
Buddhists have their Tendon Changing Classic. Daoists have Zhang Sanfeng, while
Buddhists have Damo. But when we investigate the fuel for such exercises, it turns out there
is nothing but essence, energy, and spirit.
The training should not be interrupted, regardless of winter or summer, fair weather or foul.
The way the human body is put together, unless it is the time of year in which the plums are
ripening, we are oppressed by those grandest of alternations that are summer and winter.
Thus we are typically practicing during either severe cold or intense heat, and so we always
have to pay special attention to our health.
With diligent training, you will be able to develop skill without easily regressing. When
training, always practice until you are sweating. Otherwise you were just posing, rendering
your training superficial and useless. A person usually begins to sweat from his head and
armpits, then from his lower back and belly, then his thighs, and once his calves are sweating,
then he ought to stop. Likewise when we are running a horse at a gallop, if the horse is
sweating behind its ears, we must stop the horse, otherwise we would endanger its life.
For a regular boxing arts regimen, get up each day before 4 in the morning and practice
for an hour. Then lie down and rest until dawn. After breakfast, go for a walk outside,
breathing in fresh air. Return for lunch, then take a siesta for an hour. Get up at 3 or 4 in the
afternoon, then practice for an hour or maybe two. Have supper at 7, practice again from 8
until 9, then sleep at 10. This is a more focused practice, but for those of us who have jobs,
we should try to get two hours of practice out of our mornings and evenings combined,
although an hour or half hour will be acceptable. Always expect to put many years into it and
do not seek to develop in a mere day.
FIVE: THE GENERAL COMPONENTS OF TAIJI BOXING
In recent years, Taiji Boxing is in vogue everywhere and can be said to be the most
widespread boxing art in the Chinese martial arts world. Observing it in various places, how it
is practiced by various practitioners, and the distinctions between them, it can generally be
classified into three branches:
1. Hebei Hao Style
I do not know who started this style, but I have heard it has been passed down by
Grandmaster Hao of Hebei. I do not recall his name, but everyone calls him Grandmaster
Hao. During the Qing Dynasty, he was a convoy escort in the area between Shanxi and
Shaanxi. He was highly skilled and an expert with a halberd. He was called The Terror of
Forest Bandits and bodyguard agencies vied to employ him. He was truly a hero of the
highways of Shanxi and Shaanxi.
I have met Jiang Xinshan of Tianjin and Liu Zishan, who both practice this boxing art. There
are not many practitioners of it in the south, but when my teacher Li Jinglin came to the south,
his family and close colleagues all became proficient in it. Its techniques are extremely
complex, and it has twice as many movements as the Yang and Chen styles, with perhaps
more than two hundred postures. To perform it once takes an excessively long time.
According to Li: In addition to its boxing set, it also has a variety of additional pushing
hands methods, making its repertoire of techniques more comprehensive than other styles.
Because it is so detailed, it is more difficult to remember. Its theory is consistent with Yang
Style, and it is not really necessary to add it to your practice if you are already practicing Yang
Style. I asked some colleagues to learn it and see how far they got after two months. They
were unable in that time to complete the set, and from this can be seen how complicated it
really is.
Sun Lutang told me: The strength of this art is that it is so utterly soft and yielding. At that
time, I neglected to seek out its boxing manuals, and so I do not know the similarities and
differences between its theory and that of the Chen and Yang styles.
2. Henan Chen Style
This is the boxing art passed down through the generations in the Chen family village of Wen
county, Henan. I am familiar with Chen Boyuan, his nephew Jifu, and Jifus brother Ziming,
each of them descendants in the Chen family and transmitters of their art. According to the
brothers Chen Ziming and Chen Jifu: Our ancestors used this art to serve their nation and
protect their homes, rendering meritorious service over and over again, and therefore we all
practice Taiji Boxing.
There are two versions of it, the old frame and the new frame, and it also has what is called
Taiji Cannon Boxing. I have tried this arts movements and perused its manuals. It is
completely different from the Yang family tradition. Its hand techniques are firm, its stances
are heavy, and it wields power with every move. It also has places in it that allow for some
originality, which means that all who perform the Chen Style will not feel it exactly the same
way as others.
I recently heard that director Zhang Zhijiang had sent some people to the Chen family
village to make a study of what is there and obtain inherited manuals for publication, and that
the book made by Chen Ziming [published 1932] is in some parts at variance with them. I
suspect the reason for this is that with handwritten copies of anything, there are always and
inevitably errors in transcription. Not to mention there are also those who discover things in
their own experience and then revise the work of others, adding to or deleting from someone
elses text. As it passes through many hands, it goes through many alterations, and is
ultimately rendered inconsistent.
3. Beijing Yang Style
Inheritors of the teachings of Yang The Invincible Luchan include Yang Banhou, Yang
Jianhou, Yang Shaohou, Yang Chengfu, Xu Yusheng, Wu Jianquan, and others. Each
performs in a different way, but the differences mostly divide into two classifications: large
frame and small frame. I once asked Yang Chengfu about this, and he told me: First strive to
open up, then strive to close up. In the beginning of the training, it should be the large frame,
which can get your sinews and vessels stretched out, boosting the flow of blood and energy.
This will put you in a position to then manifest skill. When the time comes to apply the
techniques, you have to be quick and fluent, and for that you will need the small frame. The
way my elder brother [Yang Shaohou] practices now [placing this exchange prior to 1930] is
all about fighting methods.
His idea seems to be that if the basic skills are not yet attained but you wish to skip ahead
to fighting, you would be no better than a child who is not yet able to walk and first wants to
learn how to jump. Could the child do it? It is also like learning to swim. If you are not yet able
to swim in calm water but you wish to swim in choppy rivers and seas, would you be able to?
It is also like learning to ride a horse. If you are not yet confident even at a slow trot but you
wish to leap over barriers, would you be able to? An ancient man said [from the Zhong
Yong]: To climb high, you must start low. To go far, you must start where you are. This is
indeed a true maxim.
In short, fighting is not something you need to face every day, whereas health you cannot
really do without for even a moment. Let us then ask ourselves which is more important, more
urgent. This book is full of common sense rather than grand theories. If you can proceed in
this steady way, you will find that although there may not be much material in a day of it, there
is more than enough after a month, and your health will benefit. As for amazing and
astonishing theories presented in an elaborate style, I dont know any.
A typical student nowadays by which I mean ordinary students, not disciples usually
wants fast results, hoping to be given Taiji Boxing skill in a just few steps and attain decades
of learning in just a few days, and because of this, many hundreds of thousands of people
have accumulated in a recent years to learn Taiji Boxing, everywhere from north to south, from
the mouth of the Yellow River to the Yangtze River and down to the Pearl River delta. But
when take a look at Zhejiang for instance, of the several thousand who have been practicing
there for more than ten years, those who now can be considered to have made even some
small achievement in it are very few and far between. As for the average ability in pushing
hands, those who are clearly distinguishing the four techniques of ward-off, rollback, press,
and push are again very rare.
What is the reason for this situation? One reason is that they seek to get results quickly,
another is that they have no perseverance. Those who expect too much will certainly not
succeed. On the other hand, those of us who start with the basics and then build on that
foundation will certainly not fail. First seek to make your energy and blood abundant, then you
will be able to make your spirit full and your body strong. Make sure that your postures are
correct and your movements are appropriate. Make the exercise beneficial rather than
harmful. Train in the proper sequence and progress gradually. It is not a matter of forcing the
pace, but of how diligent you are at learning and how safe your method is.
Yang Shaohous boxing set was small and hard, the movements fast and heavy. He always
used the stiffening and severing energies, and those who fought with him always came away
from it with their skin and muscles in pain. His instructions were usually about methods of
application. While his skills were certainly the authentic transmission from his grandfather,
unfortunately no ordinary people were able to learn from him. Frail scholarly types were not
able to endure his teaching, and those who did not already have a foundation were not able to
understand what he was talking about. He had a violent disposition, which he probably got
from his uncle Banhou. His comrades have all heaved angst-ridden sighs over how difficult
the training was. Therefore although his fame was great, his followers were few.
The boxing set of Yang Chengfu, Shaohous younger brother, was stretched out and
supple, the techniques soft and heavy. It has been described as a steel bullet wrapped in
silk, for there is hardness within the softness. Taiji Boxing enthusiasts have all welcomed his
version. Yet there are still those who are reluctant to push hands with him, because every time
he issues power or someone is struck by him, that person falls down more than ten feet away.
His students still have a hard time bringing themselves to experience his power. I have often
asked Yang Chengfu why the teaching has to be done in this way. He has said: If its not like
this, if theres no demonstration of power, if the teaching is casual and vague, why should
people come for it? Wouldnt it just be a waste of their time and money?
In the autumn of 1929, Yang Chengfu became the dean of the Zhejiang Martial Arts
Institute. I have often pushed hands with him. Sometimes when I tried the double-hand push
on him, he would seize the opportunity to pat my chest, and before his fingers had even
touched my jacket, there would be a dull pain in my chest for a moment. As to why this would
happen, before his arm had made contact, how could I feel pain? Could this be said to be
some boxing arts folktale? I asked Yang about it, and he said: After all this time, I still dont
understand how this internal energy stuff works.
According to Tian Zhaolin: During the years I was learning from Yang Jianhou, I punched
him in the gut as hard as I could, but just then he made his belly bulge out, and I fell down
outside the courtyard. He was still sitting quietly on his chair, smoking his pipe as before, as if
unaware that he had moved at all.
Later on I also had a bout with Yang Chengfu in which he hit me on my right ribs, and then
my left ribs hurt for over a month.
These kinds of instances depict unimaginable skill [except perhaps for Huangs pushing
hands chest pain, which appears to be a simple case of Pavlovian anticipation], especially
considering that Tian Zhaolin himself is so skillful. With the cleverness of his hands and the
heaviness of his power, he is truly no ordinary Taiji Boxing exponent, and his skill can be
considered to be beyond our reach. But it is not my purpose here to trumpet his prowess, and
everyone aware of Taiji Boxing history already knows that Tian Zhaolin is a master.
Others such as Wu Huichuan, Chu Guiting, Chen Weiming, and Dong Yingjie have all
learned directly from Yang Chengfu, and have taken his methods north and south. They have
for years earned their own prestige and the esteem of people in society. Though their
techniques are not always the same and they each have their own emphasis as to theory, it is
obvious they all learned from Yang when compared to others who did not.
These three branches of the art each have their particular strong points and are each
extremely ingenious, but they cannot be expected to follow identical paths or have identical
strengths. They cannot be divided into which of them is better or lesser, and you must also not
think of one as right and another as wrong. In short, they are all the same art. And it can go on
for another thousand years or more without being abandoned, for it has gained the
admiration of ordinary people. There is within it an indelible set of principles that causes in
people immeasurably wonderful effects.
According to the situation above, regardless of which style or which teacher, there is
transmission of a system and transmission through a person, and so the number of
movements will not always be the same, nor does it need to be entirely identical. This is not
only so in Taiji Boxing, but also for example with Tantui, in which there are those who practice
a ten-line version and those practice a twelve-line version. Although it is a single Muslim art, it
is nevertheless divided into two versions. It is also the case for the various styles of Shaolin
Boxing, Taizu Boxing, or the methods of the Yue school.
For each transmission that is passed down, it has what it has and it does not have what it
does not have, and it is only in terms of theory that the styles need to be unanimous. If the
theory is not the same, then it is clearly a distinct branch and cannot be said to be of the
same school. I think the nations experts would concur with this.
PRACTICING THE BOXING SET Part 1
To practice the entire Taiji Boxing set, by learning one or two postures each day, sticking at it
without skipping a day, a person of ordinary intelligence can learn the whole thing in about a
month. You must then go through two months of making corrections, and then another month
of ardent training, totaling four months to solidify the postures, and then you may leave your
teacher after a year without it being prone to altering from what was taught.
If you only put a month into it, you would barely get the general idea. You would not go
through a process of receiving corrections, and thus you would not be able to grasp what you
have learned, and because you have taken even a short break from it, the orientations and
movements would soon begin to slip and become distorted.
Instead you must continue to go over it again every day without interruption. If you practice
it twice a day, you will be well-versed in it. If you practice it three times a day, you will become
increasingly skillful. If you practice it only once a day, you will merely be keeping yourself from
forgetting it.
As regards the learning of the boxing set, to go from the initiating of the first movement to the
halting of the last is considered a single set. There are within it more than a hundred named
movements. Every posture is to be done with precision and completeness. Moreover, you are
to be sensitive and calm. In not a single posture can you just do whatever you feel like, nor in
a single posture can you be coming away or crashing in coming away in this case
meaning not being present, crashing in in this case meaning being stiff.
Your limbs and every part of your body should adhere to nimbleness, flow, and softness.
You are to be nimble rather than abrupt. You are to move continuously rather than in a
punctuated manner. You are to be soft rather than crumbly. If you focus [too hard] and give
rise to stiff energy, this is called crashing in, and you will then have departed from the Taiji
path. Ardently pay attention to this.
For a single practice of the boxing set, the longer it takes to go through it, the more profound
the experience. There are those who need more than an hour to practice it. But after
slowness has been trained, you must then switch to practicing quickness. There are those
who practice it five or six times within just a few minutes.
Whether slow or fast, in either case the evenness of the movements is to be maintained,
as is said in the Taiji classics [the Treatise]: Do not allow there to be cracks or gaps
anywhere, pits or protrusions anywhere, breaks in the flow anywhere. For a beginner to go
through it once, it will take at least eight to ten minutes. If you keep at it for five or six years,
your skill will have deepened enough that you can then practice doing it fast. Yet you must still
do every posture perfectly and cannot allow it to get sloppy because of the faster pace.
The solo set divides into three versions: Beginners practice a high frame, intermediates
perform a more level frame (gaze, hands, thighs, and crotch flattened out), and then once skill
has deepened, there is gradual progress into a low frame. Going from high to middle to low
depends entirely on skill level and must not be forced, otherwise a multitude of errors will
manifest, and there will be no benefit for you at all.
When practicing the set, externally you should pay attention to the movements, which should
be done smoothly and calmly, as is said in the Taiji classics [the Treatise]: From foot through
leg through waist, it must be a fully continuous process. Internally, breath is divided into inhale
and exhale, which should also be smooth and calm, like it is no task at all, and you should
never be holding your breath.
Your mental intent must not be stagnant, as is said in the Taiji classics [Understanding
How to Practice]: If you can raise your spirit, then you will be without worry of being slow or
weighed down. Thus it is said: Your whole body will be nimble and your headtop will be
pulled up as if suspended. The mind must perform alternations nimbly, and then you will have
the qualities of roundness and liveliness. Thus it is said: Pay attention to the alternation of
empty and full.
Additionally, there is the skill of transforming energies, like the energy of RAISE THE
HANDS transforming into the energy of WHITE CRANE SHOWS ITS WINGS, which then
transforms into the energy of BRUSH KNEE IN A CROSSED STANCE. With each posture
and breath, each breath and energy, they change from one to another, yet are connected in
between. A change of posture is a change of technique. A change of technique is a change
of intent. From a change of intent comes a change of breath. From a change of breath comes
a change of energy. These are the transitions of transformation. Internally there is the
movement of your intent and breath, while externally there is the reaching, turning, expanding,
and contracting of your limbs, and of the greatest concern is that these things must conform to
the principles in the Taiji classics.
Those who are increasing their skill are the ones who gradually, day by day, lengthen their
breath (rather than holding their breath and trembling), those who gradually increase the
nimbleness of their hands and feet, gradually increase the flexibility of their hips, gradually
thicken their palms and the soles of their feet, gradually increase the rosiness of their
completions, leading to abundance of spirit, attention to detail, clarity of voice, ability to
endure hunger or cold, to face things calmly, to handle hard work, to feel satiated at meals,
and sleep soundly, all of which are demonstrably the case.
Although each boxing technique has benefit, it may or may not actually suit the students body.
Thus there is a distinction between a liberal education and a specialized education. If you are
in your prime and your surroundings are conducive, then you might as well learn widely from
the ways of every system, browsing amongst them until you end up favoring one style over the
rest. If you are already old, or your professional life is hectic, then it will be easiest to make
gains by simply selecting what is most suitable for yourself and practicing just that.
One whose body is heavy and large can learn Tongbi Boxing or Shuaijiao. One whose body
is of average build and strong can learn Cuojiao Boxing, Baji Boxing, Taizu Boxing, or Xingyi
Boxing. One whose body is nimble and petite can learn Ditang Boxing, Monkey Boxing, or
Drunken Eight Immortals. One whose body is old and weak can learn Bagua Boxing, Taiji
Boxing or the Twelve Jingang Methods. Chinese martial arts are extremely numerous and I
have here only given a general idea.
Practicing the boxing set is an exercise in the art of self-defense and a matter of self-
cultivation. The pushing hands exercises and two-person set are learned for methods of
attack and evasion. Techniques of training the energies have to do with dealing with
opponents.
For one who is already old and suffers from chronic ailments, emphasizing the practice of
the boxing set can prevent illness and prolong life. For one who is young, very fit, and lives in
affluent surroundings, one can focus on hiring a noteworthy instructor and make an involved
personal study of it.
According to colleagues, the various postures within the Taiji Boxing set are actually just
boxing postures from various systems. Within the set as a whole, there are the eight kinds of
techniques ward-off, rollback, press, push, pluck, rend, elbow, and bump and there are
also eight kinds of energy:
[1] expanding as in RETREAT TO SITTING TIGER POSTURE
[2] contracting as in RAISE THE HANDS
[3] lowering NEEDLE UNDER THE SEA
[4] lifting WHITE CRANE SPREADS ITS WINGS
[5] advancing BRUSH KNEE IN A CROSSED STANCE
[6] retreating RETREAT, DRIVING AWAY THE MONKEY
[7] turning to the right CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN
[8] turning to the left PUNCH UNDER THE ELBOW
There are also eight kinds of stances (example Taiji posture / equivalent Shaolin stance):
[1] CROSSED HANDS / parallel horse stance
[2] BRUSH KNEE IN A CROSSED STANCE / attack stance [or bow stance]
[3] LOW POSTURE / flattened stance
[4] GOLDEN ROOSTER STANDS ON ONE LEG / one-legged stance
[5] PLAY THE LUTE / Taiji stance
[6] PARRY, BLOCK, PUNCH / sitting twisted stance
[7] PLANTING PUNCH / unicorn stance
[8] SITTING TIGER STANCE / hanging foot stance [i.e. empty stance]
These are the eight stances. No matter how many kinds of boxing techniques, they never
happen in anything other than these eight stances. Therefore what are called fighting skills
[ba shi] by some instructors may actually be an erroneous homonym for the eight stances
[ba shi].
Song of Eight Quicknesses:
Move like the wind.

Stand like a nail.
Rise like a monkey.
Descend like an eagle.
Punch faster than a shooting star.
Your gaze is like lightning.
Your waist writhes like a snake.
Kick through like a drill.
Beyond the eight techniques and eight stances, there are also eight kicks: snapping,
pressing, lifting, swinging, catching, sheathing, trimming, and stamping. By the end of the
Qing Dynasty, there were only four kicking maneuvers being practiced: KICK TO THE SIDE
[snapping], TURN AROUND WITH PRESSING KICK [pressing], DOUBLE KICK [lifting], and
SWING-THROUGH KICK [swinging]. And nowadays there are only three: snapping, pressing,
and swinging. Those other four are heard of less and less.
Catching:
When I see the opponents kick is coming, I use my lower leg to kick his lower leg, thereby
catching it.
Sheathing:
When I see his kick is coming, I kick out with a sheathing kick [i.e. sticking in a kick to his
standing leg while his other leg is raised]. If he kicks with the left, I insert a kick to the right. If
he kicks with the right, I insert a kick to the left.
Trimming:
I use my foot to kick the inside of his foot, as though it is the inside of a hemline.
Stamping:
I stamp with my foot at an angle when he attacks me from the side.
These four kicks are truly not easy to practice, nor are they easy to apply. You must work at
each of them over a long period as a supplementary practice, otherwise you will not be able
to apply them smoothly. I suppose that when ordinary Taiji Boxing instructors found
themselves incapable of getting everyone to learn these extra kicking techniques, being
especially difficult for the old and weak to practice, they were eliminated from the training.
However, due to their practical ingenuity, they have to be included for your kicking art to be
complete.
The essentials of kicking lie in four terms: straighten, lift, whoosh, and wave.
Straighten:
Snapping kicks and pressing kicks, whether forward or to the side, must always
straighten. If your leg does not straighten, your kicks will be unable to penetrate skillfully.
Lift:
Send it high. Snapping kicks and pressing kicks should both be high. You are thus able to
cover the full range. At the very least, kick higher than your waist. Ability to kick high during
practice means that you will be able to kick wherever you wish when applying it.
Whoosh:
When performing a snapping kick or a pressing kick, do it fast enough that there is a
whooshing sound. The term has to do with speed. There is no speed if there is no whoosh,
and without it you will be unable to express power.
Wave:
When performing a snapping kick, there is the appearance of a wave from your waist to
your toes, indicating power penetrating all the way to the tip of your foot.
With these four terms, you can consider the fundamentals of your kicking complete. This is
not only the case for Taiji Boxing, but for any school or style. These are always the basic
requirements.
Kicking with the foot [ti jiao] may not be quite the same as kicking with the leg [ti tui]
(kicking with the foot snapping kick / pressing kick uses the toes, edge, or sole to strike
an opponent, whereas kicking with leg uses the whole lower leg or the heel to strike an
opponent), but their essentials are the same, according to these sayings from experts: While
the hands spread apart like the two edges of a fan, striking the opponent entirely depends on
the kick. The eight stances do not play a game of feinting, but pointing above makes it easy
to strike below. This sufficiently demonstrates the significance of kicking.
When practicing the boxing set, the five most important things to pay attention to are: hand,
gaze, body, technique, and step.
The hand has to do with the actions of the palm, fist, elbow, or wrist.
Your gaze has to do with looking left, right, up, or down.
The body has to do with the actions of the shoulders, as in containing the chest and
plucking up the back, as well as the waist and hips, as in turning or shifting the weight.
Technique means every kind of posture in the art, whether it be Taiji Boxing, Hong Boxing,
Hua boxing, etc. There is too great a variety of schools, sets, and techniques to
comprehensively describe, but it should be understood that within every boxing set are
methods for fighting opponents.
Stepping is the easiest part of the training for practitioners to overlook, yet it is the most
important of all, for your stance is your foundation. Your speed lies with your step, and so
does your stability. Your technique lies with your step, and so does its ingenuity. An expert
has said: If your feet are not arriving when your hands are arriving, you will find you have
much to worry about. If you are drooping your head and stooping at the waist, what you have
been taught is surely not of a very high level. These five principles are all encapsulated here
in a couple phrases.
Included below is some correspondence I have received from Wu Huichuan and Tian Zhaolin:
Dear Wenshu, my elder classmate,

Its been quite a while since we last talked, and Ive been missing you very much. Ive just
received the wonderful letter of questions you sent. Here are the answers Im sending back
to you about the main points of practicing Taiji Boxing:
Your body must be balanced and upright, rounded and full.
Your energy should be relaxed.
When your hands give a push, it should wriggle through your shoulders, then elbows,
then rub outward.
Your shoulders should loosen and your elbows should sink.
Your tailbone should be tucked in.
When your foot comes down, it starts empty then fills.
Your upper body and lower should work in unison.
Every posture should be rounded and full.
Your headtop should be lifted.
Energy should sink to your elixir field.
When practicing, it should be done slowly. If fast, your energy will float up as if you are
on the Gan River.

Be an understanding friend, able to give a few tips here and there to make practicing
together easier. Then your pushing hands will easily make progress and your body will
become healthy.
I have long known you to be a scholar with profound insights and that you are able to
conduct research with an open mind. In days ahead, you will surely become a famous
exponent of Taiji, helping the art to prosper. But I anticipate this of only you since I doubt
others are capable of such achievement. Go forth and clear aside those who are corrupt,
then when you return triumphant, I will hurry up your stairs to congratulate you. Although it
will take you a great deal of time and hard work, I hope youll take good care of yourself and
that everything will go smoothly for you.
Sincerely, your younger classmate Wu Huichuan, Oct 21, 1934
Dear Wenshu,
Ive read your letter which you first sent to Lin Jingping for a readthrough. Youve recently
been devoted to the study of Taiji Boxing with its energies of neutralizing and issuing. Your
progress has certainly been rapid and I deeply admire it. You have put forth questions on
several points and asked me to explain. Im ashamed of my superficial skill and I fear I
cant really explain very thoroughly, but Ill present here some brief bits of understanding on
a few things:
1. Neutralizing energy is the most important thing. Go along with the opponents force,
especially matching his speed. If you go too fast, his energy will easily adapt. If too slow,
you will remain unable to neutralize.
2. To issue, you must first neutralize in order to change what you receive into something
better, then you will have the opportunity to issue. When such opportunity is yours, you
should release swiftly, your power should be in good order, and you should be calm.
3. To attack the opponent, you must be in the right place at the right time. If the
opportunity has not yet arrived, it is inappropriate to attack the opponent. When spreading
apart or just spreading to one side, you should join with him and get him to go upward,
ward-off energy being also extremely important. Bump energy should be preceded by
neutralizing and closing in. When bumping, you have to be quick and you should have a
specific target.
For all of these kinds of situations, unless you practice them for a very long time, you will
be unable to carry them out very proficiently.
Do you agree with these ideas?
My family wishes you safe and sound and free of worries. Respectfully yours, peace to
you, Tian Zhaolin, Oct 8, 1934
PUSHING HANDS Part 1
The practice of the boxing set relates to an imaginary opponent, making the training of the
energies a rather vague study. For that, the practice advances into pushing hands. This builds
up the techniques of ward-off, rollback, press, push, pluck, rend, elbow, and bump, which it
does by means of cycling through attack and defense in order to actually try out Taiji Boxings
methods of attacking and evading with a partner.
Its most difficult aspects are the four skills of listening, neutralizing, seizing, and issuing.
Listening is when I connect to the opponent with my hand, wrist, or body, so that I will instantly
be aware of his changes of movement. Neutralizing is when I evade his attack. Seizing is
when I take control of his technique. Issuing is when I attack his weakest point. As for the
specific details of these four parts of technique, they occur within but a moment, and this is
why these four skills are so incredibly difficult that there will be no end to them even after a
lifetime of study.
The key to it all is a circle, neutralizing and issuing, evading and attacking, all occurring as
part of a circle, which is why it is called taiji [as in the image of the yinyang symbol], and why
it seems like magic. (This is as true for plucking, rending, elbowing, and bumping as it is for
warding off, rolling back, pressing, and pushing.)
As for the general plan, pushing hands practice begins with ward-off, rollback, press, and
push, commencing with two people cooperating to perform five kinds of large circles, which
are considered the basic methods: 1. level circle, 2. vertical circle, 3. diagonal circle, 4. backand-forth circle, 5. natural circle. Start by drilling these until you are skillful at them, then you
may switch to other kinds of circling to enhance the effect. However, these five circles have to
be taught personally, for the movements are too hard to explain in words.
Start with a large circle to get the idea, then shrink the circle to make it livelier. Then shrink
it further so that it is inside but no longer outside, a circling intent with no longer a circling
shape. Within such a moment, issuing is wonderfully subtle. At this level, you will be operating
on intuition rather than instruction. No one really comprehends such subtlety, yet it is a subtlety
which will arise naturally. But without hard work over a very long period, you will not be able to
achieve it.
Pushing hands is the testing ground of Taiji Boxing. This has already been explained, but
here are three further things to pay attention to in the course of it:
1. You must not be competitive. People who are of a similar mentality will naturally improve
each other in a friendly way. They will slightly frustrate each others movements as they go
back and forth, but as there is no winner or loser, triumph or disgrace, to speak of, there will
not be any sense of dispute or envy.
2. You must not be reckless. The marvels of Taiji lie in skillfulness rather than ferocity. It
says in the Taiji classics [Wang Zongyue]: Examine the phrase four ounces moves a
thousand pounds, which is clearly not a victory obtained through strength. If ferocity is being
relied on, the way of Taiji Boxing is not being studied.
3. You must not seek to embarrass others. People who are of a similar mentality should all
love each other and help each other. Toward one who is my superior, I should politely seek
his guidance. Toward one who is my inferior, I should cordially offer him pointers. There is a
saying [Book of Poetry, Poem 184]: The stones from other mountains can carve just as well.
And so I will not bully one who is weaker than me, nor one who departs from my expectations,
nor even one who does not seem to think like me at all.
When two partners link hands, they must drill the five aspects of hand, eye, body, technique,
and step, and train the energies of palm, fist, elbow, wrist, shoulder, waist, hip, knee, and foot,
as well as the Thirteen Dynamics: ward-off, rollback, press, push, pluck, rend, elbow, bump,
advance, retreat, go to the left, go to the right, and stay in the center. Right from the start, this
is the goal and basic task of pushing hands, but we typically find that students are not
practicing according to this list. It is as though they are just grinding beans to make tofu, and
although they may repeat the same actions thousands of times, they get very little benefit.
When you begin practicing these things:

It is best to choose a partner whose body size is equal to yours, then calmly analyze and
ponder.
If any aspect is incorrect or not understood, ask a teacher for specific directions.
Do not be intimidated by the complexities of the task nor whine that it does not suit your
temperament. Through focused and persistent study, it will naturally someday all come to
fruition.
Here is some commentary upon parts of the Taiji classics that have to do with the skills of
listening, neutralizing, seizing, and issuing:
It says in Wang Zongyues Treatise: He is hard while I am soft this is yielding. My energy
is smooth while his energy is coarse this is sticking. These two terms have to do with the
moment when the opponent and I make contact, in which if he attacks with hardness, I
neutralize him with softness. This is neutralizing. [What is being described here is neutralizing
in the context of listening.]
I am now borrowing his energy, which causes him to back off, and I then follow his
momentum without letting go of it. This is seizing. What I am describing here is sticking
[seizing] in the context of neutralizing.
If I can get the opponent to back off and then stay with him as he goes, the merest issuing
will put him in a state of being pressured while he is already collapsing and he will surely
topple. [What is being described here is issuing in the context of seizing, because:] Seizing is
what the opportunity for issuing comes from. It is also said [in Understanding How to
Practice]: Within curving, seek to be straightening. Store and then issue Store power like
drawing a bow. Issue power like loosing an arrow When issuing power, you must sink and
relax, concentrating it in one direction. This explains issuing.
However, the four skills above of listening, neutralizing, seizing, and issuing must emerge
from practicing sticking. Wang Zongyue said: If he moves fast, I quickly respond, and if his
movement is slow, I leisurely follow. As is being described, if the opponent steps in quickly, I
respond with the same quickness, whereas if he comes in slowly, I will go along with his
slowness. In either case, I never lose contact with him, and this is sticking. If my arms are not
sticking to him or my feet are not following him, I will not be able to listen and neutralize, much
less seize and issue.
It says in Understanding How to Practice: In going back and forth, there must be folding. In
advancing and retreating, there must be variation. This refers to adaptive body maneuvering
as the opponent closes in.
Extreme softness begets extreme hardness. Your ability to be nimble lies in your ability to
breathe. This has to do with the training of internal movement.
Step like a cat and move energy as if drawing silk. This means that you are to take your
steps with both the nimbleness and stability of a cat as it walks, and to move energy with both
the continuousness and unsuddenness of drawing out silk. These have to do with the external
aspect of the training.
You should experiment with all that has been said here so far, but never depart from this
comment from Wang Zongyue: Once you have ingrained these techniques, you will gradually
come to identify energies, and then from there you will work your way toward something
miraculous. In other words, if you wish to be identifying energies, you will not be able to
without drilling the techniques to perfection, and then by proceeding step by step, you will
attain a level of almost magical clarity. But how does one come to identify energies, or train
the techniques to perfection, or even train the techniques at all? Only through doing pushing
hands.
Students of pushing hands must never lean forward or back.

1. If I were to lean forward, my center of balance would go forward. The opponent would
use plucking energy and I would easily fall forward. If I were to lean back, my center of balance
would go back. The opponent would use rending energy and I would surely fall to the rear.
2. Once we cross hands, he is sure to have a method of attack, and so I need to maintain
extra room to adapt, as well as extra capacity for my body to maintain good structure as I
move to the left, right, forward, back, or turn.
When pushing hands with an opponent whose wrists are heavy or whose attack is fierce,
you must not: i. shrink your arms in, ii. use a ferocious energy, iii. hold your breath, iv. draw
your body back.
If you shrink your arms in, you will shorten your reach and be unable to draw in the
opponent. If you use a ferocious energy, your whole body will only stiffen like that of a clumsy
idiot, contrary to Taiji principles, and you will be ingraining a method which you cannot apply.
If you hold your breath, your blood will stagnate, your face will turn blue, and you will only be
obstructing yourself physiologically. If you draw your body back, the opponent will
correspondingly advance with an attack, and there will be nothing you can do. Watch out for
these four errors.
Constants for beginners, whether practicing the boxing set, pushing hands, large rollback, or
sparring:
1. You should watch people practicing, to see what is good body structure, skillful hand
technique, and nimble footwork, and thus you will build up a model to learn from. You must
pay attention to every detail in order to ingrain it well.
2. You should listen to people explaining, taking in the experiences of your elders and
classmates, and you should always be listening with an attentive and open mind so as to gain
understanding.
3. You should practice! This is really what skill comes from, what gets you to the ability for
practical function. Although if you only know how to practice and you do not know how to
watch and listen, it will be like the old saying of the blind cultivating blindness. On the smaller
scale, all your hard work would be in vain, while on the larger scale, you would hurt yourself in
body and mind. The results you achieve would be the reverse of your goals.
The pushing hands and the boxing set having already been explained above, there are two
terms to consider within your body: emptiness and fullness. For every part of your body,
there has to be a distinguishing between empty and full, as well as hard and soft. If while you
are advancing and retreating, lifting and lowering, you have no sense of emptiness and
fullness, you will inevitably be clumsy in your actions, incapable of nimbleness. Your feet
should be divided into empty and full, for each foot must be either empty or full. Your hands
also must have emptiness and fullness, for each hand must be either empty or full. The
Treatise says: Empty and full must be distinguished clearly. In each part there is a part that is
empty and a part that is full. Everywhere it is always like this, an emptiness and a fullness.
Wang Zongyue said: We often see one who has practiced hard for many years yet is
unable to perform any neutralizations and is generally under the opponents control instead of
able to control the opponent, and the issue here is that this error of double pressure has not
yet been understood. What is meant by double pressure is that empty and full are not being
distinguished.
If you have equal pressure on both sides, you will be stuck. What is meant by stuck is
that your movement is unable to be nimble and you are thus easily controlled by the opponent.
If you drop one side, you can move. If you sink an arm or leg without a sense of which is
empty or full, you are sure to give the opponent control.
If you want to avoid this error, you must understand passive and active The active does
not depart from the passive and the passive does not depart from the active, for the passive
and active exchange roles. Once you have this understanding, you will be identifying
energies, and then the more you practice, the more efficient your skill will be. Some
examples of passive/active are: empty/full, hard/soft, gather/release, contract/expand,
retreat/advance, lower/lift, dodge/spin, grab/throw.
As for hardness and softness:

When pushing hands with one whose spirit outwardly blooms but whose muscles are stiff,
whose movements are extra large but whose issuing is able to find its way right to your
center, this is a person who practices weapon sets more and boxing sets less,
for his energy tends toward hardness.
When pushing hands with one whose movement is continuous and delicate, whose
footwork and body maneuvering is nimble, whose technique seems powerful yet hits with no
feeling of striking, this is a person who practices boxing sets more and weapon sets less, for
his energy tends toward softness.
If it is with one who is able to make his spirit comfortable and his body stable as a
mountain, be coordinated above and below, issue with energy that is both heavy and
extended, and using his entire body when giving a shock release of power, this is a person
who trains both hardness and softness, the energies of passive and active complementing
each other.
It must be understood that soft energy and hard energy are not like specialized laws of
physics or chemistry. As we practice throughout our lives, we sometimes incline toward hard
energy, sometimes toward soft energy, and the rarest moments are when hardness and
softness balance out. Practitioners of Pigua Boxing or Baji Boxing usually tend to issue with
hard energy, whereas Bagua or Taiji practitioners more often tend toward soft energy. It really
does not matter what school or what style it is. They all have to work with both hardness and
softness, passive and active, for the boxing art to be genuine.
Although the pushing hands actions appear to take place at the hands and wrists, its actually
all about the waist. It could be said that thirty percent of what is going on is at the hands, ten
percent at the shoulders, ten percent at the chest, and fifty percent at the waist. If your
shoulders cannot loosen, your chest cannot hollow, your waist cannot liven, and it all depends
on your hands and wrists, you will never be able to neutralize an opponent nor shoot him
away. This situation has to be given attention when practicing the boxing set.
The stability or otherwise of your stance has to do with the energy at your crotch area. This
means that the movements of hips, legs, and feet are coordinated there. To put it another
way, ability to stick and connect lies with your upper body (hands, shoulders, chest) while
ability to follow and maintain stability lies with your lower body (hips, legs, feet), but the engine
of movement, both above and below, lies entirely with your waist. It says in the Taiji classics
[the Treatise]: The problem must be in your waist and legs, so look for it there. Energy being
organized at the waist is not only important in Taiji Boxing. Xingyi and Bagua both lay
particular stress on it, and every school of Shaolin pays attention to it as well.
The words above have to do with postural quality. As for internal energy, it begins from
intention. Where intention goes, energy may not necessarily arrive, and when energy arrives,
blood may not necessarily have increased flow in that area. But there is no other way to get
started, and so you must first use intention to guide energy and use energy to mobilize blood
flow. After a long time, intention and energy will naturally be able to function as one, and
energy and blood will naturally be working together.
It says in Understanding How to Practice: Use mind to move the energy. You must cause
the energy to sink. It is then able to collect in the bones. Use energy to move your body. You
must cause the energy to be smooth. What is meant by mind here is intention. What is
meant by body is the blood and flesh. As for movement, energy sinking and energy
smooth should especially be given importance. Otherwise you will drift into floating and
become stuck in awkwardness. By sink is meant energy sinking to your elixir field. By
smooth is meant the liveliness of your waist and legs. Inside and out working in unison is the
idea. You must make use of absorbing through experience and by constantly contemplating
and then you will be able to do whatever you want. Someday I will explain these very subtle
principles in more detail when I have more free time from my military correspondence.
Ordinary practitioners of the boxing set and pushing hands pay most of their attention to
the upper body, analyzing the intricacies of the hand techniques and body maneuvers as have
been explained earlier, but they do not understand that the lower body is actually more
important. To evolve and progress, we must continue to experiment and practice.
In the beginning of practicing the boxing set, you will be unable to get the height and size of
the postures to be natural, or to get the movements to be steady. Then the movements
become gradually more even and the steps become gradually more stable. As you progress,
you will gain a more nimble manner and you will move as you please.
In the beginning of experiencing pushing hands, your waist and legs will be stiff and you will
be wobbly. Then your turning, advancing, and retreating will gradually become stable. As you
progress, your hands will be doing what is in your mind, and your waist and legs will operate
as a single unit.
LARGE ROLLBACK
Taijis pushing hands training divides into three stages:

1. Fixed-step pushing and pulling.
2. Moving-step pushing hands. (I advance, he retreats. He advances, I retreat.)
3. When you have become skillful at the first two steps, you have made progress with the
techniques of ward-off and rollback. But these exercises move back and forth only along a
straight line, and so once you are skillful at them, continue on into practicing the large rollback
exercise, which moves toward the four corners.
When practicing large rollback, the person doing the bump must advance three steps in
order to be at a right angle to the person doing the rollback. If only two steps, you will end up
stepping in from too acute an angle. The person doing the rollback must retreat two steps. If
only one step, you will be unable to evade the opponents attack.
I roll back, he bumps, then he rolls back, I bump, and the exercise recycles on and on.
Whatever direction you are moving toward when rolling back or bumping, your stance should
be grounded and your hips should be square, and you will thus be conforming to the
requirements.
SPARRING which is the fourth stage and divides into two types:
1. To sharpen the ability to apply each Taiji Boxing posture, two partners oppose each other
[in a choreographed sequence]. For example: when person A attacks person B with
DOUBLE WINDS THROUGH THE EARS, B upsets it with DOUBLE-HAND PUSH, or when
A attacks B with ROLLBACK, B upsets it with BUMP. As the two people continuously trade
attacks, if they oppose each other only within the context of making pretty movements, it will
bear no resemblance to transforming an opponents attack into a counterattack sent back to
him. If you do not train in this way, then you will not understand the practical function of each
Taiji Boxing posture, and your solo set will only amount to a solo dance.
2. The two-person set described above entirely has to do with prearranged postures which
both partners have to drill together to complete the set. The second type of sparring is not like
this. Both partners go without prearrangement, no choreography at all. They each get into a
posture of readiness, then begin attacking: sometimes slow and sometimes fast, sometimes
high and sometimes low, sometimes straight and sometimes round, sometimes punching
and sometimes kicking, both responding to each other freely.
On the whole, there are a couple of constant fighting patterns. There is the round pattern,
as in person A going through the center while person B moves away to attack from all sides,
and then there is the straight pattern, in which both people go directly back and forth, as in
you attack and I go back, and since I am retreating while you are advancing, this makes a
duel along a straight-line. During competition, it is most of the time nothing more than these
two patterns.
When two opponents cross hands, it is called joining. When joining in combat, there are
estimations of degree, which are wholly indicative of the other persons daily training
regimen. For instance, is his energy long or short? How accurate are his fists and feet? What
is the magnitude of the power he issues? Such refining comes about entirely from doing the
pushing hands and large rollback exercises.
This section of the training is entirely a matter of practical skill and can be considered the
final stage. For those in this stage, you will not succeed unless you are in a constant state of
hard training. Beginners should be sparring with instructors, and the instructors should always
allow the students to do the actual striking. For such instructors, this is called feeding with
kicks and punches [i.e. performing restrained attacks to give the student the chance to learn
how to defend against them].
If the teacher does not feed the student, the student will be unable to get the knack,
although this is for teachers the most difficult and arduous form of instruction. One issue is
that the opportunity is hard to come by in which sparring occurs when the spirit is as
burgeoning as it should be or there is nobody around distractingly watching, and it necessary
for the teachers body to receive strikes, inevitably entailing some pain. Another issue is that
some teachers will keep students from completing their study, becoming traitors to their
profession, and some will even forbid students from winning against their teacher for fear that
he may lose his status and livelihood. For this reason, teachers are often not willing to teach,
but really they have no choice but to bear with it. This is just the way it is in the study of boxing
arts. The study of weapons is also thus, yet is even more arduous than the study of boxing.
Names of the movements in the Taiji Boxing two-person sparring set:
1. (A) STEP FORWARD & PUNCH

2. (B) RAISE THE HAND
3. STEPPING FORWARD, BLOCK & PUNCH
4. PARRY & PUNCH
5. STEP FORWARD WITH LEFT BUMP
6. RIGHT FIGHTING TIGER POSTURE
7. STRIKE WITH LEFT ELBOW
8. RIGHT PUSH
9. LEFT BACKFIST
10. RIGHT BUMP
11. WITHDRAW A STEP, LEFT FIGHTING TIGER POSTURE
12. RIGHT BACKFIST
13. RAISE THE HAND
14. TURN & PUSH
15. FOLD UP, BACKFIST
16. PARRY & PUNCH (TAKING THE MOMENTUM ASIDE)
17. HORIZONTAL RENDING TECHNIQUE
18. WILD HORSE VEERS ITS MANE LEFT POSTURE (SWITCHING THE FEET)
19. RIGHT FIGHTING TIGER POSTURE (USING LOWER HAND)
20. WITHDRAWING A STEP, ROLLBACK
22. TURN & PUSH
23. SEPARATE BOTH HANDS, PRESSING KICK (RETREAT TO SITTING TIGER
STANCE)
24. PUNCH TO THE CROTCH
25. STEP FORWARD, PLUCK & REND
26. SWITCH THE FEET, MAIDEN WORKS THE SHUTTLES RIGHT POSTURE
27. LEFT WARD OFF, RIGHT BACKFIST
28. WHITE CRANE SHOWS ITS WINGS (PRESSING KICK)
29. LEFT BUMP

30. WITHDRAW A STEP, TWIST THE ARM
31. TURN & PUSH (ROLLING BACK)
32. DOUBLE WINDS FILL THE EARS
33. DOUBLE-HAND PUSH
34. LOW-POSTURED PARRY & PUNCH
35. SINGLE-HAND PUSH (TO THE RIGHT ARM)
36. RIGHT TWIST THE ARM
37. SEIZING THE MOMENT, PUSH
38. NEUTRALIZE, STRIKE WITH RIGHT PALM
39. NEUTRALIZE & PUSH
40. NEUTRALIZE, STRIKE WITH RIGHT ELBOW
41. PLUCK & REND
42. SWITCH THE FEET, BREAK THE ARM
43. RIGHT FIGHTING TIGER POSTURE
44. TURN, WITHDRAWING A STEP, ROLLBACK
46. RETURN WITH PRESS
47. SPREAD WITH BOTH HANDS, BUMP (SWITCHING THE FEET)
48. TURN, LEFT BUMP (SWITCHING THE FEET)
49. STRIKE WITH RIGHT ELBOW
50. TURN, LEFT ONE-LEGGED STANCE
51. RETREAT & NEUTRALIZE
52. PRESSING KICK
53. TURN & BUMP (STEPPING FORWARD)
54. TWIST THE LEFT ARM
55. TURN (SWITCHING THE FEET), KICK TO THE RIGHT SIDE
56. SPREADING WITH BOTH HANDS, RIGHT BRUSH KNEE
57. TURN (SWITCHING THE FEET), KICK TO THE LEFT SIDE

58. SPREADING WITH BOTH HANDS, LEFT BRUSH KNEE
59. SWITCH HANDS, RIGHT BUMP
60. RETURN WITH RIGHT BUMP
61. WITHDRAW A STEP, ROLLBACK
62. SEIZING THE MOMENT, BUMP
63. RETURN WITH PRESS
64. TURN & PUSH
The sixty-four techniques listed above in columns for attacker and defender comprise only
half of the techniques in the solo set. As for the rest of them, continue to bear them in mind
during your spare time.
[Evidently it was soon felt that this situation was not good enough, since by 1943 the other half
of the movements from the solo set were added into the 2-person set, replacing movements
61-64 of the 1936 list and adding a further twenty-four to bring the total to 88.
This 1936 publication and Chen Yanlins 1943 manual therefore give us a rare moment
when a piece of the Taiji curriculum can be reasonably dated. We can justifiably say that
movements 61-88 of the complete two-person set of Yang Style Taiji were added sometime
around the late 1930s. As to who exactly added them is another matter.]
PRACTICING THE ENERGIES
Whether practicing a boxing set or a weapon set, you must in either case send internal
energy to your limbs. If practicing with weapons, whether it be the sword art or spear art, you
must send internal energy to the sword tip or spear tip. As for the extent of your energy, it is
not the same kind of thing as an innate talent, and so it cannot be as clearly described. If you
are able to extend energy all the way to the tip of your weapon, your martial skill will be able to
reach a high level.
However, you must train in the proper sequence and not skip ahead. Beginning therefore
with the bare-handed training, send your bodys energy to four sections: shoulders, forearms,
thighs, and feet. It will then arrive at your fingers and toes. To get to this level will take three or
four years and then you may move on to using short weapons.
When the training gets to long weapons, you have to get your internal energy to pass
through the weapon, which is extremely difficult and quite unlike the bare-handed training.
Knowledgeable practitioners say there are three phases to this: 1. sending energy through
the weapon, 2. energy coursing from the handle to the center of the weapon, 3. energy
reaching the tip. These three phases do not have anything to do with how much strength you
have, but with how much patient and painstaking work you put into it every day. Professionals
(which grow from apprentices) put in enough extra work that most of them can get through
these three phases, but ordinary amateurs can rarely make it.
What with the process of training energy having been described above, the various
energies in Taiji Boxing are explained individually below:
1. Soft energy:
This is also called sticking energy. It says in the Taiji classics [the Treatise]: Once there is
any movement, your entire body should be nimble and alert. There especially needs to be
connection from movement to movement Do not allow there to be cracks or gaps
anywhere, pits or protrusions anywhere, breaks in the flow anywhere. When practicing the
boxing set, you must use soft energy, otherwise the movements will not link together, and
there will inevitably be the errors of cracks and gaps, pits and protrusions, breaks in the flow.
It says in Wang Zongyues Treatise: He is hard while I am soft this is yielding. My energy
is smooth while his energy is coarse this is sticking Neither lean nor slant. Suddenly hide
and suddenly appear. When there is pressure on the left, the left empties. When there is
pressure on the right, the right disappears. (This has to do with the skill of soft energy when
fighting with an opponent, and can easily be made use of during pushing hands.) It says in
Understanding How to Practice: Extreme softness begets extreme hardness Step like a
cat and move energy as if drawing silk. It says in Words from Yang Jianhou: The power
seems to be relaxed but not relaxed, about to express but not yet expressing. Although the
power finishes, the intent of it continues.
With these words, the principle of soft energy is explained with great clarity. Its effects are
the abilities of sticking and drawing in, sticking to the opponent to keep him from ever getting
away, drawing him in to put him under your control. Beginners must start from this energy, and
if it is not given attention, you will easily stray from the path of Taiji and it will be truly difficult to
have any achievement in it.
2. Hard energy:
This is also called interrupting energy, stiffening energy, or rending energy. Different
names, same technique. The nature of it is fierce, and when issuing it is like an artillery shell
exploding. It says in the Taiji classics [Understanding How to Practice]: Wield power like
tempered steel, so strong there is nothing tough enough to stand up against it In stillness,
be like a mountain, and in movement, be like a river. Store power like drawing a bow. Issue
power like loosing an arrow. Within curving, seek to be straightening. Store and then issue
When issuing power, you must sink and relax, concentrating it in one direction.
About these words, each of these instructions has to do with methods of hard energy. Its
effect is to subdue the opponent completely. When practicing this energy, pay attention that it
has both fierceness and length. If your issuing is a short sharp jolt, then even if it is fierce, it
will not often be effective.
3. Connecting energy:
This is also called borrowing energy. This energy contains all the energies or listening,
neutralizing, hardness, and softness. It is the most difficult energy to practice and is the last
stage of the training. When the opponents energy arrives, so does mine. It says in the Taiji
classics [Words from Yang Jianhou]: Once the opponent takes even the slightest action, I
have already acted. In other words, while the opponents energy is reaching my body, I am
neutralizing it and issuing, for just as his energy is about to arrive, I am already issuing my
energy before his energy [has fully reached me]. Whenever I connect to the opponents
energy, I borrow it and then issue, a technique which operates by way of a circle. As his
energy is coming to me, I lift it up with a tiny circle and then issue. This circle is not visually
perceptible, it is beyond the comprehension of beginners, and it cannot be understood
without having attained a level of subtlety. It is said that it can be intuited but cannot be
explained verbally.
It says in the Taiji classics [the Treatise]: Catch the opportunity and gain the upper hand
[If your intention wants to go upward, then harbor a downward intention,] like when you reach
down to lift up an object, you thereby add a setback to the opponents own intention, thus he
cuts his own root and is defeated quickly and certainly. It says in the songs [Pushing Hands
and Long Boxing respectively]: Guiding him in to land on nothing, I then close on him and
send him away I will tug on his movement with four ounces of force moving his of a
thousand pounds. The subtlety is entirely based on borrowing the opponents power That
there is endless transformation is truly no exaggeration.
An essential part of connecting energy which has gone unsaid is that this technique must
be learned through personal instruction and must also be practiced, because no words can
sufficiently describe it.
COMPETITION
This comes out of learning sparring, through which you have gained experience and made
progress, and with further hard work you will then attain the level of competition with a firm
enough grasp of what is going on that even if you encounter an opponent stronger than
yourself, he will be unable to defeat you, unless it is by accident. Therefore sparring as a
stage of training truly is the final phase of martial practice, and indeed the ultimate purpose of
it. If a martial arts practitioner does not learn to spar, then he will never be able to compete,
much less actually fight, for in an emergency he would not be able to suddenly obtain the
necessary skills. This is why Westerners slander Chinese martial arts as solo dancing.
Below I attempt to state my views regarding competition:
Competition within the training is called sparring, whereas within a contest it is indeed
called competing, and within actual conflict is called fighting. Their names are different, but
their function is the same: a struggle to determine winner or loser. We all have the same five
senses and four limbs, and although we have different natural gifts, we have the same innate
intelligence as well. I am able to see the opponent and he is also able to see me. I am able to
strike the opponent and he is also able to strike me. Therefore ability to succeed lies in both
method and skill. If I have method but no skill, it amounts to having nothing at all. If I rely solely
on skill but have no method, this is like the blind cultivating blindness and would be a futile
effort. There are three key components to method & skill: determination, quickness, and
precision.
1. With determination, I can seize the offensive. I will be able to get my hands to where I
send them, be able to express with all of my power, and be able to defeat the opponent. If on
the other hand I am timid of mind, whatever I do would easily be rendered useless.
2. Quickness has to do with when we both issue at the same time. As soon as he issues, I
issue sooner. If he issues short, I issue long. If he issues soft, I issue hard. If he issues
vaguely, I issue with determination. And thus I am victorious.
3. Precision is the most important. If I send out a leg or hand technique without precision,
then even if I am determined and quick, it would be of no use.
[A LOOK AT SOME OTHER SYSTEMS:]
[1] WUDANG SWORD THE MOVEMENTS IN ITS SPARRING SETS [This material is from
Huangs 1931 Wudang Sword book, chapters Three and Nine.]
Set #1:
[1] A & B, both of you perform the initiating posture, then do a horizontal-blade stab (full active
grip) toward each other, then an overturned flick toward each other. [2] A, tap to Bs wrist. [3]
B, do a drawing cut to As wrist, then stab. [4] Both of you, do a lifting cut toward each other,
then walk around each other. [5] B, do an overturned block, then a dragging cut to As waist,
then A, do an overturned block, then a dragging cut to Bs waist Do this twice. [6] B, press
down As sword, then strike to As ear (filling the ear). [7] A, do a dragging cut to Bs wrist
(with a flicking energy). [8] Both of you, do a lifting cut toward each other, then chop at each
other. [9] B, stab to As throat. [10] A, do a dragging action to Bs sword, then stab to his
throat. [11] Both of you, perform active sword circling. [12] A, perform horizontal stirring. [13]
B, strike to As head. [14] A, strike to Bs leg. [15] B, check to As wrist. [16] A, do a dragging
cut to Bs wrist (getting into the guarding the gate posture). [17] B, do a left check to As
wrist. [18] A, do a drawing cut to Bs wrist, then stab to his chest. [19] B, check to As wrist.
[20] A, do a dragging cut to Bs wrist (guarding the gate). [21] B, do an overturned block.
[22] A, do a drawing cut to Bs wrist. [23] Both of you, adopt the guarding the gate posture.
This concludes set #1.
Set #2:
[1] B, step forward and strike. [2] A, strike to Bs wrist. [3] Both of you, do a lifting cut toward
each other. [4] A, stab to Bs knee (in an arrow stance). [5] B, press down As sword, then do
a dragging cut to his waist (in an arrow stance). [6] Both of you, do an overturned flick toward
each other. [7] A, tap to Bs wrist. [8] B, step diagonally and do a stabbing flick. [9] A, do a
drawing cut. [10] B, stab to As belly. [11] A, do a left check to Bs wrist. [12] Both of you, chop
at each other. [13] B, do a reverse strike to Bs ear. [14] A, do a reverse strike to Bs wrist.
[15] B, do a drawing cut to As thigh. [16] Both of you, stab to your opponents wrist, do a
drawing cut to his waist, then walk around each other Do this twice. [17] B, strike to As
head. [18] A, do a dragging cut to Bs wrist, then do a reverse strike. [19] Both of you, do a
lifting cut toward each other, then return to the guarding posture. This concludes set #2.
Set #3:
[1] B, chop to As head. [2] A, block Bs sword, then do a dragging cut to his waist. [3] B,
block to As wrist, then do a dragging cut to his waist. [4] A, block to Bs wrist, then do a
dragging cut to his waist. [5] B, block to As wrist, then do a dragging cut to his waist. [6] A,
block to Bs wrist. [7] B, press down As sword, then do a reverse strike to his ear (filling the
ear). [8] A, do a vertical-blade dragging cut (with a flicking energy). [9] B, do a lifting cut. [10]
A, step forward, cover Bs wrist, and strike. [11] B, step forward, cover As wrist, and strike.
[12] Both of you, walk around each other, both do an opposite drawing cut [one doing drawing
from above while the other does drawing from below] toward each other. [13] B, stab to As
belly. [14] A, block to Bs wrist. [15] Both of you, coil around your opponents wrist, then return
to the guarding posture. This concludes set #3.
Set #4:
[1] A, do a clearing cut. [2] B, perform active sword circling, your hand lifted. [3] Both of you,
perform active sword circling. [4] B, perform passive sword circling, your hand lifted. [5] Both
of you, perform passive sword circling. [6] B, advance with stirring. [7] Both of you, stir. [8] B,
do a drawing cut. [9] Both of you, advance and retreat with drawing and dragging Do this
three times. [10] B, flick. [11] A, do a drawing cut. [12] B, step forward and stab. [13] Both of
you, press down your opponents sword. [14] A, strike to Bs thigh, then do a reverse strike to
his ear. [15] B, do a vertical-blade dragging cut. [16] Both of you, do a lifting cut toward each
other, then return to the guarding posture. This concludes set #4.
Set #5:
[1] Both of you get into a crouched posture. [2] A, stab (half passive grip). [3] B, strike to As
wrist. [4] A, raise your sword and do a horizontal check. [5] Both of you, check to your
opponents wrist. [6] Both of you, do a lifting cut toward each other, then walk around each
other. [7] A, do an upright flick (half passive grip). [8] B, do a dragging to As wrist (putting you
into the guarding posture). [9] A, advance and do a reverse block (half passive grip). [10] B,
do a drawing cut to As body, then check to his wrist. [11] A, step forward and check Bs wrist.
[12] B, do a reverse check to As wrist. [13] A, do a drawing cut to Bs hand, then check his
wrist. [14] B, do a drawing cut to As hand, then check his wrist. [15] A, do a dragging cut to
Bs thigh, then switch feet and stab to his waist. [16] B, switch feet and stab to As waist. [17]
A, do a horizontal drawing cut. [18] B, stab to As chest (performing GOLDEN ROOSTER
STANDS ON ONE LEG). [19] A, do a horizontal-blade dragging cut. [20] Both of you, do a
lifting cut toward each other, return to the guarding posture, then get into a crouched posture.
[21] B, stab to As chest. [22] A, do a horizontal strike. [23] Both of you, do a lifting cut toward
each other. [24] Both of you, chop at each other. [25] Both of you, stab at each other. [26] A,
block to Bs wrist. [27] B, turn over your wrist and stab. [28] A, cover Bs wrist and stab. [29]
Both of you, turn around, chop at each other, return to the guarding posture, then finish with
the closing posture.
The sword arts thirteen techniques:
The Wudang sword art basically consists of thirteen techniques, namely drawing, dragging,
lifting, blocking, striking, stabbing, tapping, flicking, stirring, pressing, chopping, checking,
and clearing. This is the same situation as with Taiji Boxings [thirteen dynamics]: plucking,
rending, elbowing, bumping, warding off, rolling back, pressing, pushing, advancing,
retreating, moving to the left, moving to the right, and staying in the center. Beyond them,
there is free style sword dancing. You will not be able to learn it until you have become
skillful, nor able to even comprehend it without personal instruction.
These sparring sets were made by the eminent sword expert Li Jinglin and are constructed of
the thirteen techniques. When practicing these sparring sets, examine what comes at you and
consider what you will send out, always acting in accordance with your training in those
techniques. When beginning to learn these sets, it should be slow instead of fast, deliberate
instead of rushed. Your postures should be perfect and your techniques should be genuine.
Sometimes during the sets, you will have to take note of the difference between combat and
training, and that the training in these sets will give you only a general sense of it.
[2] A GENERAL LOOK AT SHUAIJIAO
In Chinese boxing arts, beyond kicking and striking, there are also the arts of throwing and
grabbing. Shuaijiao [throwing] is an indispensable technique for when you are tangled up
close to an opponents body. At first glance, it seems to be all brawn, and those who know
nothing of its methods have no way of seeing that it is actually highly skillful.
Beginners first practice single exercises with a partner, such as advancing and retreating,
turning the body, turning the head, hooking with the foot, raising the leg, straightening the
back, horse-riding stance, and so on. But there is no striking or kicking, and if you violate this
rule, all partners will refuse to work with you.
In the beginning, there is training with the teacher, then contests against fellow students
such as: clasping the forearms, hoisting the buttocks, wiping the neck, and others. It is a skill
entirely built on personal experiment.
Mastery of it is a matter of turning your head. If an opponent has tried to grab you from
above or below, and you have turned your body but not your head, you will still be unable to
make him fall, but once you turn your head, he is sure to fall.
The most proficient at this art nowadays are all in the Jiangnan area: Yang Fangwu, Tong
Zhongyi, and Wang Ziqing.
The training equipment includes a special jacket to attack and a waistband to grip. The
etiquette is that it is the jacket that gets thrown to death rather than ones partner. Your level of
quality is measured by how many times you throw an opponent.
In competition, the standard is to agree to either thirty or fifty throws. Experts usually find
thirty to be sufficient, for they can easily throw an opponent thirty times, or throw an opponent
up a flight of stairs, or throw an opponent to break his back or leg or even kill him. Some
people therefore consider this a dangerous art, but that actually depends more on the
temperament of the teacher or student.
Shuaijiao has a great many techniques, as well as a specialized literature, for it takes
more than a few words to be able to describe it all. This book briefly presents a general idea
so as to help Taiji students have some idea of it.

What the Japanese call Judo actually comes from our own ancient tradition. When we
examine its effectiveness, it is indeed a profound achievement, but when we examine its
methods, it is still not worth a tenth of our Shuaijiao. Unfortunately we are not able to
unanimously encourage Shuaijiao in our nation because it is generally looked upon as the
superficial tricks of street performers, undeserving of admiration from people of refinement.
[3] ESSENTIALS OF QINNA
The art of Qinna [grabbing] does not strike, kick, or throw. It focuses on special hand
techniques of grabbing an opponent. To put it another way, it sends out a single technique
against one of the opponents limbs and makes him incapable of moving, muscling his way
out, or escaping at all. If he resists, that particular limb of his will suffer intolerably and he will
risk injuring his ligaments or breaking his bones, and so he only gets to listen to my
commands. This is called apprehending. Below are listed the methods of grabbing various
parts:
1. Methods of apprehending at the head: Pressing aside the head, grabbing the face,
grabbing the ear, and pinching the throat.
2. Methods of apprehending at the elbow: twining around the elbow, deflecting the elbow
upward, pushing the elbow upward, turning around and resisting the elbow, horizontal elbow
break, and pressing the elbow down.
3. Methods of apprehending at the fist: wrapping the fist and rolling the body, rolling the fist,
covering the fist and turning the elbow, and covering the fist and pressing down the elbow.
4. Methods of apprehending at the wrist: twining one hand around the wrist, twining both
hands around the wrist, and large twining around the wrist.
5. Methods of apprehending at the palm: turning the palm over and breaking the elbow,
tugging the palm and straddling the elbow, pulling the hand, covering the palm and pushing
down the elbow, covering the hand and turning the elbow, and pinching the hand and pressing
acupoints on the back of the hand.
6. Methods of apprehending at the leg: sitting backwards onto the leg, twisting the leg, and
grabbing the groin and yanking on it.
[4] TARGETS OF KICKING & STRIKING
There are three kinds of targets: eight permissible targets, eight emergency targets, and
eight forbidden targets. The eight permissible targets can be struck without causing injury
during competition. The eight emergency targets are for punishing real-life attackers. The
eight forbidden targets are too dangerous to strike. These three kinds of targets must be
understood by students, and so they are listed below:
The eight permissible targets:
the upper ribs

the upper arms
the shoulder blades
the thighs
These eight places can be struck during practice between teacher and pupil without
impeding the training.
The eight emergency targets:
1. the space between the eyebrows as well as the eyes themselves

2. the Ren Zhong acupoint above the upper lip
3. the hollow between the lower ear and cheek
4. the spine
5. the elbow joint
6. the soft tissue just below the kneecap
7. the ankles
8. top of the foot, the toes, or shin
If you encounter a criminal or ruffian whose actions are vicious, correct him from among
these eight targets, rendering him either in pain or unconscious, incapacitating him from
committing further evil.
The eight forbidden targets:
1. the crown of the head

2. the ears
3. the throat or windpipe
4. the solar plexus
5. the floating ribs
6. the groin
7. the kidneys
8. the tailbone
Kicking or striking these eight targets will endanger someones life, and are therefore
forbidden.
[5] THE NATURAL SCHOOL
This boxing art is practiced according to the natural actions of the human body. In the
beginning of the training, the hands and feet, waist and legs, eyes, and the fingers and toes,
are all given special attention. Its training methods are explained in Wan Laishengs seminal
Compilation of Martial Arts Systems, published by Commercial Press, LTD [as was Huangs
Wudang Sword book]. He was among the winners in the Central Institutes competition.
His teacher is my sworn brother, Du Xinwu. Du, now seventy years old, is consummately
skillful, with eyes that flash like lightning. Unfortunately he has become obsessed with
enlightenment and has essentially turned into a Daoist priest. I have recently heard that he
has retreated to the woods to live the life of a recluse.
[6] THE MAGICAL SCHOOL
This school of boxing is the most detailed and complete of the Shaolin arts. In the beginning
of the training, there are five kinds of patterns that are first learned, which are also called
Luohan boxing or basic skills. Then trained as isolated techniques are a variety of striking
methods and eight kinds of kicking methods that are absent from other systems. Practice
consists of methods of both movement and stillness.
It is so extremely detailed and profound that ordinary people are incapable of learning it.
My senior colleague Liu Baichuan has studied this art intensively. At the end of the Qing
Dynasty, he was a convoy escort in the north. After the revolution came, he became Chiang
Kai-sheks bodyguard. At the end of the Northern Expedition, he resigned on the grounds of
old age. He now serves as the dean of the Zhejiang Martial Arts Institute.
SIX: THE DIFFERENCE BETWEEN ENERGY & STRENGTH
The effectiveness of the movements of our limbs is called strength by physical education
experts, but is called energy by martial arts experts. The distinction between these two
words seems tiny. However, strength manifests naturally in accordance with changes in age
and health: a young person is strong whereas an old person is weak, and a healthy person is
mighty whereas a sick person is feeble.
These are not the case for energy, which after many years of diligent training will produce
an effectiveness that will not be diminished by age or illness. When Bagua master Dong
Haichuan was on his deathbed at the age of more than ninety, a sturdy soldier tried to change
his clothes for him. Dong did not want to, so with but a raise of his hand, he flung the soldier
out of a window. This is nowadays a favorite anecdote in Bagua schools and sufficiently
demonstrates that internal energy does not abate due to illness. We can take the bodys
strengths and develop them into internal energies, as follows:
Strength in gripping will become grasp energy.
Strength in closing in will become press energy.
Strength in drawing a bow will become rend energy.
Strength in pushing will become push energy.
Strength in tugging will become pluck energy.
Strength in pulling will become rollback energy.
Strength in propping up will become shoulder energy or brace energy.
Strength is raising will become ward-off energy.
Strength in lifting will become lift energy.

Strength in drawing in will become wrist energy.
Strength in horse riding will become sink energy.
Strength in shoving aside will become spread energy.
These twelve energies are the basis of issuing. They each start from the foot, are directed by
the waist, and then sent through the limbs.
SEVEN: THE RELATIONSHIP BETWEEN TEACHER & STUDENT
Through the ages, the teaching of boxing arts, even though taught by way of oral transmission,
has never been other than one of these three situations:
Version 1:
The student is called disciple. The teacher is called master. The student has to train wholeheartedly. The teacher has to instruct whole-heartedly. However, apart from his studies, the
student also has to be ready at all times to do odd jobs for the teachers family members. The
teacher waits for the student to manifest some skill, then begins to give him a few tips, and
finally switches to properly teaching him.
Three to five years of teaching salary will then supply for all the teachers needs. After that
time, the student will notice the teacher sizing him up and considering his quality. As the
student gradually becomes experienced, the teacher eventually becomes polite to him. From
that point, the student will look after himself in all things, but will still respect the teacher as his
senior. Seniority is taken very seriously in boxing arts systems.
This pattern is mostly the same as for traveling performers, such as those in traditional
opera troupes. The usual practice within an opera school is that the apprentice must do his
utmost to make a big name for himself, play leading roles, be able to draw large and diverse
crowds, earn a large monthly wage, which he then gives entirely to his teacher, and by the
time he is qualified, he is already an old man. After going through this whole process of his
apprenticeship, he then has the freedom to run the business. It is the same situation for every
teacher and every student.
Although this is the conventional practice for traveling performers, it is also a normal
human inclination. If it were not done this way, the teacher would have no hope of making a
profit, and would thus have no reason to put all his effort into teaching the student. On the
students side, he would admire the teachers skill but be unable to obtain it, much less
surpass it.
Version 2:
The student is a student or within the school a devoted pupil. The teacher is a teacher.
Between teacher and student, there is a slight ceremoniousness. The student is not engaged
in any personal business beyond his studies. The teacher teaches at a suitable level of
instruction and the student correspondingly achieves. As for the students, there are those who
do their best to fulfill their obligation to their teacher and those who do not, but the instruction
is the same for everyone in the school.
Version 3:
The teacher is simply an instructor, as in educational institutions and military barracks, and
merely goes along with what is currently popular. Classes are held only once or twice a week,
and so he is unable to give accurate guidance. The student will receive what is in fashion, but
that is all, and so the experience will be very unlikely to result in any meaningful achievement.
All those who become a formal student of a master must give a red invitation. On the first
page is written your name and reverence to the teacher. On the second page is written your
family lineage going back three generations your parents, grands, and greats your age,
birthplace, and address. On the third page, some write the name, birthplace, and address of
those who recommended them, while others instead just write the date.
In addition, set up an altar with incense for making offering to the schools founder, then
invite the teacher, with his colleagues and students, to attend the ceremony. First the teacher
will bow to the founders image (Damo in Shaolin schools, Zhang Sanfeng in Wudang
schools), then his students will also bow. Kneel down and offer the teacher his invitation
again, then bow twice toward him, rise and salute each of your teachers colleagues and your
fellow students, and then hold a banquet.
The presenting of gifts is not always required. It depends on the sentiment between
teacher and student, and the students financial situation.
Here is the process of Shaolin training (as taught in the Shaolin schools in the regions of
Shandong and Cangzhou):
1. Make obeisance to a teacher. Gain an introduction through others, then send an invitation
to share some wine, and go through the various ceremonies.
2. Practice Tantui. This is the foundation of the various Shaolin boxing sets, and therefore it is
practiced first.
3. Go through the various boxing sets, practicing them until your hands and feet are skillful,
your body movement is natural, and the power of your whole body can be expressed through
your limbs, (meaning all the way to your fingers and toes). After about two or three years of
this, you may then move on to learning sets for short weapons. If you were to skip ahead to
weapons, it would easily create problems, which is why the teacher will not allow it.
4. Learn saber and sword sets, as well as whip-rod, hammer, and other short weapons. Then
train with the long spear.
5. Drill the boxing techniques. Take each of the postures from the boxing sets and explore
their functions. Then do the same with the weapons techniques.
6. Practice two-person sets to drill the various fighting techniques.
7. Learn hand techniques, meaning various kinds of grabbing techniques.
8. Practice two-person weapon sets to drill the fighting techniques for the various weapons.
9. Free sparring. There are two kinds of sparring civil and martial. The civil kind is when
you use your hands more than your legs. The martial kind is when you use your legs more
than your hands. When using hands and legs equally, it is civil and martial combined.
10. Study its poetic canon. The canon is like the secret jargon of traveling performers, or
street performer speak [akin to carnival lingo]. Through the ages, this has been considered
an important aspect, hence the saying: The many arts through the millennia have all had their
own oral tradition. Because this kind of specialized jargon is only known by people within the
tradition, the community of practitioners becomes like a family which looks after and
maintains its traditions.
Note [by way of example of one of its traditional phrases]:
If you dont talk a walk at the end, no medicine will help you when you get old. This means
that after practicing, you must not stop and sit down, but should walk around for several laps
to loosen your legs, balance your energy, and regulate your bloodflow.
EIGHT: CUSTOMS WITHIN THE MARTIAL ARTS WORLD
Practitioners of martial arts have to be somewhat familiar with general rules, in the same way
that someone entering a new country will inquire as to what is forbidden there or someone
entering a new town will ask about what is customary in such a place.
When watching someone performing a boxing set or weapon set, you must stand rather
than sit, otherwise you are sure to be met with contempt, or even be made to move from your
seat. If the seat you have chosen happens to be the teachers place, or that of a senior
student, or of a parent or uncle, then there will be no restraining the amount of contempt you
will face. Once the person has finished his set, you must express praise for his performance.
When performing yourself, you should remove your hat and long robes. You must not take
off your shirt or go barefoot, but at least dispense with hat and jacket. You are then to
apologize to everyone present for not being good enough, otherwise your fellow martial
artists will think you are being disrespectful toward your teacher, scornful toward your
ancestors, and arrogant. A silent bias will grow against you and you will soon find yourself
challenged, leading to a lengthy enmity.
If you go up to people and seek to borrow a saber, sword, or other weapon [to perform
with], you must not be blunt and casual about it, but must instead start by asking their
permission. Once you have been lent a weapon, you should go away off to the side before
examining it. You must hold it so its sharp edges are facing toward yourself, never toward the
other person, otherwise it would extremely disrespectful, not to mention that you might even
injure him. The most important thing is that you must not polish his sword with your fingers and
spit. If you do this, you will be especially despised.
While seated at a banquet table, when fellow martial artists hand you tea or pour you some
wine, you should always express respect and admiration for their etiquette. Once you have
received, you should stand and toast to their hospitality, never overlook it.
In ordinary speech, always avoid commenting on whether someones skill is good or bad.
Even though you may simply be chatting and have no prejudice about someones abilities,
that persons reputation and therefore livelihood may as a consequence be struck a
significant blow. He will do everything in his power to seek revenge, and so you must be
aware of this.
All the various items above are inevitably just a general idea, a mere smattering. As for the
wonders of Taiji, I first heard about them more than ten years ago and have since set out to
propagate such teachings among the public. By way of instruction from various teachers and
personal experience, as well as experimenting with fellow students and colleagues, you can
reach a high level of proficiency and truly obtain a magical and incomprehensible ability. But I
am not making a novel here, so I do not need to impress with dazzling words. All that matters
is to point out to good students that if you work hard, you will naturally succeed.
[As for weapons,] there have since ancient times in China been a great variety of weapons
in a great variety of shapes. Their names are different, but they are commonly referred to
collectively as the eighteen kinds of weapons: long spear, large saber, dagger-axe, spear,
halberd, lance, axe, hook, claw, trident, rake, fork, staff, hammer, sword, saber, whip-rod, and
archers bow. Since maces are based on whip-rods, crossbows are based on bows, darts
are based on spears, and daggers are based on swords, they have not been listed among
the eighteen.
POSTSCRIPT
,
In my opinion, the term we use often for martial arts national arts [guo shu] should be
changed to simply martial arts [wu shu]. It is more suitable. This is because the term
national arts has too great a scope. The arts of China our drawing and painting, our music
and chess, the traditions of the hundred crafts and the six arts can all be considered
national arts. Why should we single out our martial arts?
Someone may say: But if we say martial arts, it runs the risk of conjuring a military
connotation. Nonsense, the studying of battle formations is always labeled military. There is
military strategy and military training, military colleges and military academies. There is the
army [land military], navy [sea military], and air force [sky military]. There are soldiers
[military men], field officers [military officials], noncombatant officers [military assistants],
ordnance [military mechanisms], etc. This is the same in every country in the world and
nowhere is it ever confused with martial arts.
Someone may say: This has to do with specifically Chinese skills, and so we must apply
the word national. If we let that be the case, then should not all of Chinese science and
every Chinese invention be labeled national as well? In every country, east or west, the
learning that occurs in ones native land is never labeled national, for the keys in any field of
understanding are the facts and the context of itself.
Recently the Central Guoshu Institute has also been conducting courses in such arts as
Western boxing and Japanese fencing, therefore it would surely be better to change the
guoshu to wushu. I ask you, is there an intelligent person anywhere in the nation who would
not agree?
APPENDICES TO MARTIAL ARTS DISCUSSIONS
1. Photo of Sword Pond at Mt. Mogan

2. Photo of the Sword Casket Pavilion in Fengcheng
3. The Ancient Sword Casket
4. On the Restoring of the Sword Casket Pavilion
5. List of Famous Sword Heroes in History
Sword Pond
Sword Pond at Mt. Mogan is where Mo Ye and Gan Jiang made swords. There is a rocky
cave there which is not very wide, and a waterfall above it that is rolling over a series of rocks
as it pours downward, making it an especially distinctive place. Engraved there are the two
words sword pond, but it is not known in what era this was carved.
note by Huang Yuanxiu
The Ancient Sword Casket Pavilion in Fengcheng county, Jiangxi
In the center of the pavilion is the ancient stone sword casket of Gan Jiang and Mo Ye,
explained below in the two sections that follow:
THE ANCIENT SWORD CASKET
This object is from the time of the Zhou and Qin dynasties, locked away long ago among King
Helus military treasures. He had shown two white rabbits to the swordsmiths Gan Jiang and
Mo Ye, and told them: It is essence and energy that makes things. He then requested they
make two swords, one masculine and one feminine, engraved with exquisite script and
astrological markings to make them truly magical objects. The Qin emperor did not dare to
wear them at his waist and so buried them deep in his cellar, thinking that such magical
objects might suppress his royal power.
Then during the Eastern Jin Dynasty, Zhang Hua and Lei Huan observed there was a
sword energy in addition to the sunlight. Seeking its source, they found it to be in Fengcheng.
They prayed profoundly and excavated the spot deeper and deeper until had they obtained
the stone casket containing the two Zhou Dynasty swords. The casket we have inherited is
the casket that was hidden away in those ancient times. Our city is already known for the
swords, and we also have the casket. We cherish it as a way to look upon those worthies
from long ago, for we cannot help but regret the loss of [the complete version of] Records of a
Great Variety of Things [by Zhang Hua].
written by Li Yong of Fengcheng, third month of spring, during the reign of Emperor
Guangxu, year 43 of the cycle [1906]
ON THE RESTORING OF THE SWORD CASKET PAVILION
Sword Pond is in Yanping prefecture, Fujian. In the summer of year 57 of the cycle during the
reign of Emperor Jiaqing [1800], I attended my father on a trip to Fujian. As we passed by the
Pond, a boatman told us there was there a pair of dragons coiled under the water. I hesitated
to go any farther. But it sparked my memory that Lei Huan in the Jin Dynasty excavated in
Fengcheng [in the neighboring province of Jiangxi] and found a stone casket containing two
swords [a pair of dragons]. One was delivered to Zhang Hua, who said: This is Gan Jiang.
Why is Mo Ye not here? The divine objects were ultimately reunited and were now in
Fengcheng. I wondered, was the ancient casket also there or not?
Unfortunately I could not then make a visit to Fengcheng. More than seven years later, I
came to Jiangxi as a city official. It was then another thirteen years until my duties finally took
me to Fengcheng and I got to examine what was said about the stone casket. In addition to
the caskets covering section, there is a base for it to rest on. The covering section was there,
but its base had been lost. A woman told me: The base disappeared into a pond in the
village of Rongtang. Every year on the third day of the third month, there is a breeze above the
pond, and in a rainy mist the twin dragons return from their casket to see if the base is there.
She did not talk deeply on the subject, merely recited that the swords were magical
objects and that the casket was also a magical object, and that they had been separated for
a thousand years. Zhang Hua and Lei Huan have ascended to become immortals, the
swords of Gan Jiang and Mo Ye have transformed to become dragons, and the casket alone
has gotten ruined through the course of wars and relocation to a pond. But cozy in our human
world, we cannot really know that the Creator has not performed a miracle and does not want
the obscurity of the caskets base to end yet.
Examining the caskets process from beginning to end, first it was buried in a hole in the
ground. Then during the Jin Dynasty, it was uncovered among an assortment of other old
objects. In the Ming Dynasty, it was moved to a modern institute of study. Then in the 11th
year of the reign of our Qing emperor Jiaqing [1806], at the command of Zhu Rujin
[Fengcheng county magistrate], it was placed for the first time to the east side of the
Venerable Scripture Chamber and covered by a pavilion. Not long after, the pavilion was
ruined by flood and the casket was again temporarily consigned to the wilderness. Being an
innately magical object, it cannot be obtained through effort, only luck, and thus we hear of it
disappearing, reappearing, and disappearing again, making us greatly sigh.
In summer, in the sixth month, with the authority of my city administrators seal, I and
members of the gentry made plans to rebuild the old site. We constructed many feet high,
restoring the pavilion to its former appearance and readying it to again contain the casket, so
that travelers to the pavilion can see the casket [minus base] for themselves and be moved by
it. A person may be unswervingly indifferent to it, another may find it plain and say so bluntly,
another may be reserved in his refinement and not show that he is impressed, and still
another may be of a solitary disposition and his quests will take him elsewhere. But some
talented person may become inspired and rise to new heights, far up among the
constellations of Ox and Ladle, transcending from mere literary brilliance to dragon-like glory,
and it will be said in future generations that he is admired even by those who do not follow in
his footsteps. Then we will know the miracle cannot be treated lightly, that the miracle will
have no end.
When Su Dongpo went to Mt. Stone Bells, he berthed his little boat below a precipice to
find out why that place had such a resonant reputation. Ever since I passed by Sword Pond, I
always wanted to see the stone casket. I never expected that after a couple of decades I
would be able to. As a travel-wearied official, I finally encountered it among the duckweeds.
Fate has never yet played false with us, and now I have been sent fulfillment for my heartfelt
admiration of ancient works. Thus I have recorded these words.
written Yao Minde of Qiupu, assistant to the Fengcheng county magistrate, day 36 of the
day-cycle, sixth month, year 21 of the year-cycle, fourth year of the reign of Emperor
Daoguang [1824]
[Note: The pavilion was demolished during the Cultural Revolution and the casket again went
missing. Once it had been recovered in the 1980s, the pavilion received yet another
restoration, though it now looks rather different than in the priceless photo above.]
LIST OF FAMOUS SWORD HEROES IN HISTORY
name / title / era / story / source:
[1] Master Zhuanxu / emperor / ancient times

He ruled with the swords of Shadowmaker and Skyflyer. If armies came from anywhere, these
swords flew up, pointed in their direction, and cut them down. (Record of Recollected Lost
Works [book 1])
[2] Zhong You [Zilu] / scholar / Spring & Autumn period

Dressed in martial attire, he met Confucius. Confucius asked him: What do you like to do? I
like to draw my long sword and dance with it. Didnt gentlemen in ancient times use swords
to defend themselves? (Sayings from the School of Confucius [chapter 10])
[3] Juzi Gengyu / ruler / Spring & Autumn period

He was cruel but loved swords. Whenever he had a sword made, he had to test it on
somebody, so everyone feared him. (Gongyang Gaos Commentary to the Annals [Spring &
Autumn Annals, 23rd year of Duke of Zhao])
[4] Cao Mo / general / Spring & Autumn period kingdom of Lu

Cao Mo was a Lu general who was defeated by the kingdom of Qi three times, rendering Lu
a pacified territory. While forming the alliance at Ke, Cao Mo took out his dagger and
threatened Duke Huan of Qi. The duke was too afraid to move, and so he returned all the
territory to Lu. (Historical Records, Bio of Cao Mo [Bios of Assassins])
[5] Chu Ni / assassin / Spring & Autumn period kingdom of Lu
Duke Ling of Jin was no gentleman. He shunned the admonishment of Zhao Dun and hired
Chu Ni to murder him. Zhao was in court dress and sitting properly. Chu sighed in admiration
and said: One who never forgets such respectfulness is worthy of being the ruler of the
people. To murder the ruler of the people would be disloyal. But to ignore the command of my
prince would be unfaithful. So he threw himself at a pagoda tree [presumably with his sword
braced against the tree and pointing at himself] and died. (Zuos Commentary to the Annals
[second year of Duke Xuan])
[6] Zhuan Zhu / assassin / Spring & Autumn period kingdom of Wu
The son of the Duke of Wu wanted power. He invited the king and his officials to drink with
him. He had Zhuan Zhu hide a dagger within the belly of a broiled fish and bring it forward.
Once in front of the king, Zhuan Zhu tore open the fish and stabbed the king, who died. But
Zhuan Zhu also was killed. (Historical Records, Bio of Zhuan Zhu [Bios of Assassins])
[7] Yao Li / assassin / Spring & Autumn period kingdom of Wu
The king of Wu ordered Yao Li to kill Qing Ji. Yao offered to slaughter his own wife and
children, and to have his own right hand cut off, as a ploy to appear to be a desperate
criminal and flee to be under Qings protection. Qing believed the plot, then while crossing the
river on the way to Wu, Yaos spear pointed at Qing because the wind was behind them, so
he stabbed it forward, and Qing died. Yao then also killed himself. (Annals of Wu & Yue
[second year of King Helu])
[8] Qiu Laidan / assassin / Spring & Autumn period kingdom of Wei
Qius father was killed by Hei Luan. He decided to get revenge by killing Hei with a sword.
But having no ability, he then borrowed a precious sword from Wei Kongzhou, which was
named Night Visible. He made three slashes at Hei Luan, but there was no blood on the
blade. Then he made three stabs at Heis son, again in vain. So he sighed and went home.
(Liezi, chapter 5)
[9] Chi Bis killer / assassin / Spring & Autumn period kingdom of Chu
Gan Jiang was killed by the king of Chu and his son Chi Bi sought revenge. As the king knew
of this, Chi Bi fled, only to meet his own assassin, who promised to also fulfill Chi Bis
revenge against the king. Chi Bi then killed himself, and the assassin took his head and
sword and showed them to the king, who was delighted. The assassin asked the king to look
in at Chi Bis head in a bubbling caldron. When the king looked in at it, the assassin chopped
of the kings head, which fell into the boiling water. The assassin then cut off his own head,
which fell into the boiling water too. (Collection of Supernatural Tales [book 11])
[10] Ci Fei / sword master / Spring & Autumn period kingdom of Jing
As Ci Fei was crossing the Yangzte river, two dragons coiled around his boat. Facing death
unflinchingly, he pushed up his sleeves, pulled out his sword, went into the water, attacked the
dragons, and cut off their heads, saving the people in the boat. (Huainanzi [chapter 12])
[11] Lanzi / sword master / Spring & Autumn period kingdom of Song
Lanzi used his skill to perform for the rulers of Song and Yuan. He juggled seven swords,
tossing them in alternation so there were always five in the air at a time. (Liezi, chapter 8)
[12] The Maiden of Yue / sword hero / Spring & Autumn period kingdom of Yue
The king of Yue sent Duke Yuan to employ the Maiden of Yue, seeking her sword art.
Encountering her on the road, she gave an invitation to test her skill. Thereupon Duke Yuan
grabbed them some bamboo stalks that had dried but not yet fallen to the ground. The
Maiden was so fast with her tip, Duke Yuan fled up into the tree as though he was a monkey.
The maiden then went to see the king of Yue and discuss her sword art. This is the beginning
of the sword heroes. (Annals of Wu & Yue [Goujian, year 13])
[13] Yu Rang / assassin / Warring States period
Yu Rang was a minister to Zhi Bo [who was killed by Zhao Xiangzi] and intent on being his
avenger. He hid in wait for Zhao in his bathroom, then again under a bridge. Both times Zhao
discovered him before he could act. But Zhao showed honor to Yu Rang by giving him his
jacket for him take his revenge on. Yu Rang drew his sword and cut through Zhaos jacket.
Then he fell on his own sword and died. (Strategies of the Warring States [book 1 of Zhao,
chapter 4])
[14] Nie Zheng / assassin / Warring States period

Nie Zheng was moved by his friend Yan Sui and promised to take revenge on the Han
minister Kui. There was a government meeting at Dongmeng and Kui would be there. Nie
Zheng went in alone, holding his sword, and stabbed him right though, killing him and killing at
the same time the Marquis Ai. Nie Zheng then also killed himself. (Strategies of the Warring
States [book 2 of Han, chapter 22])
[15] Jing Ke / assassin / Warring States period
Prince Dan of Yan feared the Qin emperor would annex his territory, so he entreated Jing Ke
to assassinate him. Jing used the head of Fan Wuji and the map of Dukang in Yan as
presents to get close to the emperor. Unrolling the map for him to look at it, Jing Ke pulled the
concealed dagger out of it and stabbed at him, chasing him all over the hall. The emperor
drew the ceremonial sword he was wearing and cut Jing Kes thigh. Jing Ke knew the
situation was now hopeless, so he leaned against a pillar, laughing, cursing his killers as they
swarmed upon him from all directions. (Historical Records, Bio of Jing Ke [Bios of
Assassins])
[16] Gao Jianli / assassin / Warring States period
Gao Jianli went to the state of Qin and changed his name to Song Jiayong. One day, he
played the zither, reducing all the listeners to tears. The Qin emperor heard about this and
summoned him to hear him play. As soon as he was close to the emperor, he tried to strike
him with his zither, but he missed and was then put to death. (Historical Records, Bio of Jing
Ke [Bios of Assassins])
[17] King Wen of Zhao / ruler / Warring States period

He loved to watch swordplay. More than three-thousand swordsmen had crowded through his
palace gate, day and night fighting each other for his entertainment. (Discussion of Swords
[Zhuangzi, chapter 30])
[18] Zhu Fu of Zhao / ruler / Warring States period

Zhu Fu learned the art of invisibility from a holy man. He entered the residential palace of King
Zhao of Qin in the dead of night without anybody knowing, intent upon assassinating the king
with a dagger. He reached the target, but then left the king unharmed. (Records from the
Divine Library [book 1])
[19] Xiang Zhuang & Xiang Bo / warrior & heroic guest / Chu-Han Contention
Xiang Yu gave a feast at Hong Gate for the Duke of Pei [Liu Bang]. Fan Zeng ordered Xiang
Zhuang [Xiang Yus cousin] to perform a sword dance in order to strike the Duke of Pei. But
then Xiang Bo [Xiang Yus uncle] also got up to join in the dance and used his body to shelter
the Duke of Pei. ([Historical Records,] Annals of Gaozu [Xiang Yu])
[20] The Assassin Sent by the King of Liang / assassin / time of Han Emperor Jing
The king of Liang resented Yuan Ang for criticizing his succession, and so he sent someone
to kill him. When the assassin reached Guanzhong [now called Shaanxi], everyone praised
Yuan as a man who always stood up for what he believed. He felt he could not bear to kill
such a man, but then he pulled himself together and put his sword into him. (Books of Han,
Bio of Yuan Ang [Bios, part 19])
[21] Prince of Huainan / prince / Han Dynasty

Prince An of Huainan learned how to use a sword, and he considered himself to be peerless.
([Books of Han,] Bio of King An of Huainan [Bios, part 14])
[22] The Assassin Sent by the People of Shu / assassin / time of Han Emperor Jianwu
Lai Xi attacked Gongsun Shu, defeating him and then advancing. The people of Shu were
very afraid of him, so they sent an assassin, who killed him. (Books of the Later Han, Bio of
Lai Xi [Bios, part 5])
[23] Yang Xian / assassin / time of Han Emperor Jian Wu

Kui Xiao ordered Yang Xian to assassinate Du Lin at Longdi. Yang Xian found Du Lin
pushing along a deer cart laden with offerings for his younger brothers funeral. Yang Xian
sighed and said: How can I bear to murder such an honorable man? And so he left him
alone. ([Books of the Later Han,] Bio of Du Lin [Bios, part 17])
[24] The Assassin Sent by Liang Ji / assassin / Han

Liang Ji [governor of Henan] ignored the admonishment of Cui Qi [a court official] and sent
him home, then ordered an assassin to secretly kill him. The assassin found Cui Qi plowing a
field while trying to read a book, and so he took pity on his willpower and told him to run away.
([Books of the Later Han,] Bio of Cui Qi [Bios, part 70a])
[25] The Assassin Sent by Liu Ping / assassin / Later Han

Liu Bei lead his forces to Pingyuan. Liu Ping had always despised him and so he sent an
assassin to kill him. But the assassin could not bear to do so, said so, and left. (Records of
Shu [
Records of the Three Kingdoms], Bio of Liu Bei [book 2 of Shu])
[26] The King of Yue / general / during the reigns of Han emperors Huan and Ling
An expert in the sword art, the noise of his fame shook the capital. (Preface to Cao Pis
Literary Treatises)
[27] E Yan / general / during the reigns of Han emperors Huan and Ling
He obtained the entire sword art of the King of Yue. (Preface to Literary Treatises)
[28] Deng Zhan / general / Han

An expert in various weapons, he was able chop through blades with his bare hands.
(Preface to Literary Treatises)
[29] Cao Pi / prince / Wei Dynasty
In his youth, he learned how to fight with a sword, and in his experience, he taught a great
many. During the reigns of emperors Huan and Ling, the warrior king of Yue was an expert at
the sword art, and known as the best of them all. The Henan governor E Yan traveled to Yue
and obtained the kings entire sword art, and then Cao Pi learned from E Yan and became
highly proficient. He heard that the Pinglu general Deng Zhan was an expert and discussed
the art with him. They then had a test of skill and Cao Pi won. (Preface to Literary Treatises)
[30] Deng Xia / sword master / Jin Dynasty

There was a dragon in the Mianshui section of the Han River north of the city of Xiangyang
which was frequently killing people. Deng Xia therefore drew his sword and entered the river.
As the dragon coiled around his feet, Deng Xia waved his sword, chopping the dragon into
several pieces, and came out of the river. (Bio of Deng Xia [
Imperial Readings of the
Taiping Era, book 275 Brilliant Generals, part 1])
[31] Mu Qian / assassin / Jin
Liu Yu feared Sima Chuzhi, so he sent the female assassin Mu Qian to kill him. Sima heard
that Mu was ill [though she was pretending to be so as to get close to him], so he personally
brought her some restorative soup. She was so touched by this that she revealed her dagger
and told him everything, whereupon she entered his service instead. (Books of Wei, Bio of
Simu Chuzhi [Bios, part 25])
[32] L Yuanbo / assassin / Jin
Liu Yilong feared Wang Huilong, so he sent assassin L Yuanbo to take his head. L
pretended to have fallen on hard times and asked Wang for help. Wang suspected him and
had him searched, finding a sword on him. L begged to die, but Wang forgave him. ([Books
of Wei,] Bio of Wang Huilong [Bios, part 26])
[33] Zheng Zhi / assassin / Liang Dynasty
Fufeng prefectural chief Dong Hun sent Zheng Zhi to Yongzhou [old name for Fengxiang,
Shaanxi] as a secret assassin. But the Yongzhou governor Zheng Shaoshu [Zheng Zhis
younger brother] knew of this and secretly warned the visiting emperor, who then threw a
banquet at which they invited Zheng Zhi to view the local military forces. Zheng Zhi then left,
not daring to act [now knowing that the forces of Fufeng would have no chance against
Yongzhou]. (Books of Liang, Bio of Zheng Shaoshu [Bios, part 5])
[34] The Man from Zaoqiang / assassin / end of the reign of the first Tang emperor
While personally leading his army through Hebei, the Tang emperor commanded Yang
Shihou to split off his forces to attack Zaoqiang county. After penetrating halfway through the
territory for a week, they came upon stone walls that blotted out the sun, there to protect
children and elderly from being slaughtered. Meanwhile from within the walls was sent out a
man named Min to pretend to join the attacking army. Li Zhouyi received him into his ranks.
Min told Li: Please let me be the first swordsman to scale the walls and enter the town. Li
said it was not yet time. Min suddenly slipped his bags of tea off the pole at his shoulder and
struck Li with it, who fell to the ground, and Min was then captured from all sides. He originally
wanted to single out Yang Shihou, but could not figure out who he was, and so he targeted Li
by mistake. (Chatter of Dreams from the North [book 16])
[35] The Guest With Curly Whiskers / sword hero / Sui Dynasty
Knowing Li Jing was a brave man, he gave to him all his martial manuals, with which Li would
later help the Tang Dynasty to prevail. One day, the Guest was drinking wine with Li. He
opened a leather bag containing a human head and heart. Leaving the head in the bag, he
sliced off a chunk of the heart with his dagger while they ate their meal together. He said:
This was a heartless man. I have sought him for ten years and now at last I have found him,
Im sorry to say. (Du Guangtings The Guest With Curly Whiskers)
[36] Li Jing / general / Tang Dynasty

Receiving the martial methods and sword art from Curly Whiskers, he then assisted the first
Tang emperor in establishing his reign. (Du Guangtings The Guest With Curly Whiskers)
[37] Pei Min / sword master / Tang Dynasty
Pei Min performed a sword dance for the painter Wu Daozi. His steps were swift as a horse
as he whirled all around to the left and right. He threw his sword into the clouds, hundreds of
feet up as though a lightning bolt had shot down, then reached out holding his scabbard, and
his sword came down right into it. Pei Min also frequently campaigned in the north with
Youzhou army commander Sun Quan. Their forces surrounded the Xi clan. Pei immediately
danced with his sword. His blade intercepted arrows from all directions. The Xi people were
amazed and decided to be on their way. (Records of Unique Tales [book 2])
[38] The Maiden of Chezhong / sword hero / Tang Kaiyuan era
A scholar from Wu prefecture had come to the capital and was mistakenly arrested for
stealing from the imperial gardens. The Maiden got into his prison, tied strong silk around his
chests and arms, and also her own body, then leapt up and away, bringing him down many
miles from the city. (Tales of Sword Heroes)
[39] Mo Lei of Kunlun / sword hero / Tang Dali era
He put Cui Sheng and his concubine over his shoulder and flew over the high city walls to
come down several miles away. Later fifty armored soldiers surrounded Cui Shengs home,
so Mo Lei grabbed his daggers, jumped out over the walls, and stabbed as rapid as flapping
wings, as fast as eagles pouncing. Arrows fell on him like rain, but none of them could hit the
target. (Tales of Sword Heroes)
[40] The Old Man at Lanling / sword hero / Tang
The old man occasionally visited the town of Lanling. From the capital was a man named
Zhao Yin who could not quite attain his level. The old man demonstrated his sword skill by
dancing around the courtyard juggling seven long swords, punctuated by sudden leaps and
slashes, blades flashing like flickers of lightning, waving them side to side as if whipping out
silks, whirling around as though he was fighting off a fire. He then took two short swords, both
just over two feet long, and played at Zhaos beard. Zhao went to look in a mirror and found
his beard had been trimmed down to less than an inch. (Tales of Sword Heroes)
[41] Lady Gongsun / sword master / Tang Kaiyuan era

Among her dances were Western River, Deflecting Everything, Flowing Li River, and
Broken Rhythm. She was the best of all sword dancers known and the emperor regarded
her as the best of all women. (Annals of Tang [Preface to Du Fus poem Watching Lady
Gongsuns Student Performing a Sword Dance])
[42] Twelfth Lady Li / sword master / Tang Dali era

She was a pupil of Lady Gongsun. In Kui prefecture, in the special residence of Bie Jiayuan,
I got to see the sword dancing of Twelfth Lady Li of Linying. Her performance was
magnificent and peerless. (Preface to Du Fus poem Watching Lady Gongsuns Student
Performing a Sword Dance)
[43] Hong Xian / sword hero / Tang
Luzhou governor Xue Song worried that Weibo governor Tian Chengsi intended to combine
their territories, so his servant girl Hong Xian came up with plan. She snuck after dark into
Weibo and stole a golden box from Tians room. In the middle of the night she returned to
Luzhou, having covered over two hundred miles to go there and back. When Tian found he
had lost his golden box, his soldiers searched for it but thought it would never be found. Xue
then sent someone to return to Tian the golden box with a friendly letter. Tian was extremely
grateful. From then on, the two territories had cordial relations with each other, but Hong Xian
decided it was time to go away and live alone. (Tales of Sword Heroes)
[44] The Monk Hero / sword hero / Tang beginning of Jianzhong era
A scholar named Wei encountered a monk on the road and the monk invited him to stay in his
home. But it took such a long time to get to it, Wei became suspicious and loaded his pellet
bow. Once they arrived, the monk was very generous to him. He came outside with five
pellets for Wei and also handed him a sword. He then begged Wei to use all the skill he had
to try and kill his disciple Fei Fei. Wei loaded his bow and awaited the monks disciple. Once
he had shot off all his pellets, he leapt onto the roof and silently tiptoed along the wall, then
used his sword to attack. But Fei Fei was suddenly close to Weis body and Wei just barely
blocked the short rod that was assaulting him out of nowhere. There was nothing he was able
to do to harm the boy. (Tales of Sword Heroes)
[45] Nie the Hermit Woman / sword hero / Tang Zhenyuan era
She was the daughter of General Nie Feng of Weibo. When she was ten years old, a nun
took her away into a cave and instructed her for five years in her arts. Once the training was
completed, she sent her home. Every night she disappeared [to be with her secret fianc],
then returned at dawn. When her father died, Liu Changyi [Liu Wu] had a premonition that she
was coming to kill him [on the orders of the new Weibo commander], and then she entered
his service instead. An assassin named The Proficient One was now sent to take his head,
but the woman killed him. Then a better assassin named The Transcendent One was sent
whose skill would have been too much for her, so she told Liu to wear a jade collar around his
neck, and she transformed into a fly and flew down into his intestines. At midnight, Liu heard a
loud noise at his neck. The woman then leapt out of his mouth and told him he was safe. Later
she left his service, and was never seen again. (Songs from the Sweet Marsh)
[46] Lu Sheng / sword hero / Tang Yuanhe era
The hermit Tang was said to be an expert in alchemy. He encountered Lu Sheng, who sought
his art, but Tang was not willing to share it with him. Lu explained he was a swordsman and
took a dagger from his jacket. In fear, Tang explained his whole art to him. Lu then laughed
and said: This is only half the art. I was already taught the whole art by a true expert [and just
wanted to find out if you were a fraud]. (Tales of Sword Heroes)
[47] Tian Penglang & Wang Xiaopu / sword heroes / Tang reign of Emperor Wenzong
The emperor had lost his pillow made of jade and initiated a rigorous search for the thief. One
night, General Wang Jinghong of Fan was having a midnight banquet for his troops and he
wanted music. Wang was amazed his servant arrived with a lute so quickly and asked him
who if he knew who the thief was. The servant told him: It was Tian Penglang. The soldiers in
the business district would not be able to catch up with him, for he is unusually brave and
strong, and he is an expert at walking the rooftops. With a thousand soldiers or even ten
thousand cavalrymen, he would be difficult to catch. The following night, Tian was about to
leave the city through Holy Gate. The servant [was waiting for him and] struck his leg with a
bat, breaking his leg [so he could not get away with his fast-walking skills], and Tian was
arrested. (Tales of Sword Heroes)
[48] Li Guishou / assassin / Tang reign of Emperor Xuanzong
The Duke of Jin retired to his study, followed by his dog, Pretty Duck, who chomped on his
robe to pull him back. The duke entered anyway and the dog looked up at him and started
barking urgently, so he then became doubtful, took up a sword, and called to the air: If theres
any strangers or magic spirits in here, come out so we can take a look at each other!
Suddenly a man dropped from the roof beams, apologized, and said: I am Li Guishou.
Someone gave me a large bribe to murder you. The duke decided to pardon him [and
employ him]. (Yangzte River Tales [
Extensive Records of the Taiping Era, book
197: chapter 4 of Heroes, part 3])
[49] Thirteenth Lady Jing / sword hero / Tang
Li Zhenglang and a courtesan were in love with each other. But the womans parents instead
forced her to become the courtesan of the wealthy Zhuge Yin. Li told this to Lady Jing, who
said to him: At noon on the sixth day of the sixth month, await me at Mt. Beigu in Runzhou.
When that time arrived, Lady Jing brought to Li the courtesan and the severed heads of her
parents. (Tales of Sword Heroes)
[50] The Old Shop Owner West of the Capital / sword hero / Tang
Wei Xinggui was traveling through the area west of the capital, confident in his archery skill.
An old man advised him not to travel at night. He paid no heed and went on for many miles.
Someone rose up out of the grass behind him, so he fired his arrows at him. He used up all
his arrows, but the still the man would not retreat, and Wei was terrified. Suddenly there was
wind and thunder, so Wei hid under a big tree. He looked up at the sky and saw lightning
heading his way. As it gradually approached the top of his tree, he looked up and called out a
prayer. The storm stopped, but there was nothing left of the tree but its trunk. He went back to
the old carpenters shop. The old man laughed and said: Strangers should not rely on
archery. They need to know the sword art. Then he turned and pulled a fresh board out of a
bucket. Wei saw the bucket was filled with all the arrows he had shot last night [and realized
the old man had been the one standing in the grass and that his swordwork had caused what
seemed to be lighting and had taken apart the tree]. (Tales of Sword Heroes)
[51] The Assassin on the Roof Beam / assassin / Tang
While Li Mian, Duke of Qian, was magistrate of Kaifeng, he had pardoned a criminal. Later
when he was no longer the magistrate, he happened to meet the man, who then welcomed
him into his home, was a generous host, and wanted to repay his kindness. But his wife was
embarrassed that such kindness would be too expensive to repay, and so she asked him to
just murder Li instead. Once Li knew of this, he fled in the night. Arriving at a shop in Tianjin, a
man up on a roof beam looked down at him and said: I sometimes kill my elders by mistake.
He then went away, and just before dawn he brought Li the heads of the criminal and his wife.
(Supplemental History of Tang [book 2])
[52] Chang Ankes Concubine / sword hero / Tang Zhenyuan era
Chang Anke purchased a concubine who then lived with him for several years, but suddenly
he did not know where she was. One night she appeared holding up a human head and
explained to him: I had to avenge my father, which is why you see me like this, and why it is
now time for me to let you know. She asked to leave, [made a tearful farewell,] then went out
the door like wind, suddenly whirling back in only to slit the throats of the two children they had
together, and disappeared. (Supplemental History of Tang [book 2])
[53] The Assassin from the Prince / assassin / peak of Tang

Army commander Xie You was ruthless and cruel. He compelled King Cao to commit
suicide. But then the kings son sent a stealthy assassin to cut off Xies head. (Secret
Records of the Golden Carriage [
Tales of Both Court and Commoners, book 2])
[54] L Yongzhi / sorcerer / Tang reign of Emperor Xizong
L Yongzhi returned to society after learning magic and offered his services to Gao Pian.
There was a grudge between Gao and Zheng Tian. L had foreknowledge that Zheng had
sent an assassin to kill Gao. He informed Gao and asked him to put himself under the
protection of his colleague Zhang Shouyi, and Gao thus avoided danger. [Zhang had
pretended to save Gao by clanging his sword at the entrance to his bedroom and splashing
around some pigs blood. L thereby succeeded in winning Gaos favor through this scheme.]
(Lessons in Government [book 254])
[55] The Assassin sent by King Kang / assassin / Five Dynasties period first year of the
reign of Emperor Zhenming of Liang
King Kang Youzi wanted to become emperor, so he sent an assassin to kill the current
emperor. The emperor had a dream of someone trying to harm him, and so he was already
awakened because of it. He then heard the sound of a sword clang against furniture. He
[jumped up, drew a sword,] tangled the assassin up with his bed ropes, and killed him
himself. (New History of the Five Dynasties [book 13], Bios of Individuals [part 1])
[56] Tian Ying / assassin / Southern Tang twelfth year of the reign of Emperor Baoda
Receiving reward from general Jing Hanru of Zhou, he beheaded the Khitan envoy and
brought ruin to Pan Shitou of Jiangnan. (Books of Southern Tang [book 18])
[57] Pan Yi / sword master / Five Dynasties period Southern Tang
Zheng Kuanguo was prefectural governor of Haizhou. After he learned he had a sword master
in his household, he asked for a demonstration of his skills. Pan took two pellets of tin from
his jacket and placed them on his palm. After a while, energy came out of his fingertips like
two white rainbows and coiled around Zhengs neck with a deafening noise. Pan then drew
them back to his hand and they became tin pellets again. (Books of Southern Tang [book
17])
[58] Rinsed-Off Dirt / swordsman / Five Dynasties period
In Weishu was a recluse who left footprints in the rinsed-off dirt that had accumulated in the
ditches. He then rested in the shade of a large tree belonging to Yuwen Huas estate. Yuwen
saw that he was unusual and invited him to come visit. A week later, Rinsed-Off Dirt arrived at
the door. The doorkeeper saw his broken hat and scolded him sternly. Yuwen heard this and
went out to meet the visitor. They drank much together, discussed the Way, and then Dirt took
his leave. The next morning, he knocked on the door and left something for Yuwen wrapped in
a new handkerchief. Yuwen unwrapped it and saw that it was somebodys topknot. As the sun
rose higher, his doorkeeper still had not taken his post, so he called for him and was told:
Sometime before dawn, someone cut off my topknot while I was sleeping. (Gossip From
the Thatched Pavilion [book 3])
[59] The Anonymous Bodyguard / swordsman / Five Dynasties period
Yan Nu had a bodyguard who could shoot out two multicolored pellets from his wrist. He
shouted at them to change and they transformed into birds which flew up into the sky. He
called them his bird slaves [yan nu]. He commanded them to change again, and they
transformed into two small swords which fought each other. In an instant, they again became
pellets and went back into his wrist. (Miscellaneous Records on Cloud-Dwelling Immortals
[book 9])
[60] Li Guangfu / swordsman / Song Dynasty

Li Guangfu was an expert sword fighter during the reign of Emperor Zhenzong. He went to
see the emperor and was told: We will praise you, and then everyone will know the
excellence of your swordsmanship. (History of Song, Records from the Reign of Emperor
Zhenzong [book 6])
[61] Zhang Guaiya / sword hero / Song
Zhang Guaiya one day was visiting the hermit Zhu. Zhang took a date from Zhus date tree in
one hand. He extended his hand and a dagger flew from his sleeve at about shoulder height,
cutting the date in two. Zhu was surprised and said: I once saw Chen Xiyi do that trick, but I
had never spoken of it with anyone. Another day, imperial examinations candidate Wang
Yuanzhi saw him in the countryside and made way for him in the road while he was still a
hundred paces off. [Zhang asked why he did this, and] Wang explained: When I see a
gentleman walking with such bold strides and such an inspired aura, I know he must be an
extraordinary person. (Records from the Spring Islets [book 3])
[62] The Tangut Assassin / assassin / Song
Duke Wei of Han had quelled surrounding rebellion and was staying in Yanan. Zhang Yuan
hired an assassin from among the Tangut people and sent him to stab the duke at night in his
bed. The duke awoke and told the assassin: Take my head and go. The assassin said: I
cannot bear to now that youve told me to. That gold belt will be enough. (Miscellaneous
Records of Clarified Events [book 2, section 21])
[63] The Assassin from Miao & Liu / assassin / Song
Zhang Jun denounced Miao Fu and Liu Zhengyan. He sat down one night, his garrison on full
alert. Suddenly a stranger appeared in front of him, pulled out a document, and said: See
here that Miao and Liu are recruiting criminals with offers of reward. Though my ability to read
is poor, I know where my loyalties lie and I cannot be a criminal for their hire. But [spies will
see that your defenses are not good enough and] I fear there will be more intruders like me.
[The next day, Zhang executed many criminals to keep them from becoming assassins.]
(History of Song, Bio of Zhang Jun [Bios, part 120])
[64] The Divine Swordsman of the Jiang Household / divine swordsman / Song
Jiang Lianfu had just gone to bed one night when suddenly a woman came in and told him
she wanted to be his concubine. Then one day she said there was trouble and that she had to
go away for a while. She went out the door and disappeared, then soon a Daoist came in. He
told Jiang to set up a bed in quiet room and lie down on it with the door shut until noon the
next day. After a long while, Jiang heard the noise of swords ceaselessly hitting each other,
then suddenly the sound of something falling to the floor and rolling under the bed. At noon,
the Daoist opened the door and came in with a smile. He said there was no longer anything
to worry about and told him to look at what fallen under the bed a giant skull. The Daoist
applied some magic medicine and the skull melted away into water. He then told Jiang: That
woman and I, we are sword spirits. She was already married to this giant fellow, but she
discarded him to be with you. This enraged him and so he sought to kill you and her. I put all
my effort into saving you both, and now that I have succeeded, I will go. Then the woman
came back into the room to be with Jiang as before. (Miscellaneous Records of the Sincere
and Pure [book 2])
[65] The Daoist Hermit Who Saved Guolun / sword hero / Song
Guo was being insulted by some obnoxious youths. [After a Daoist intervened,] Gou offered
him a drink in thanks. The Daoist accepted the drink, then said: I am no ordinary person, Im
a sword hero. He put aside the finished cup, bowed, and walked out the door. With a loud
sound, a sword appeared and fell to the ground. The Daoist stepped onto it and flew away up
into the sky. (Tales of Sword Heroes)
[66] Liu Sui / sword master / Liao Dynasty

Emperor Shengzong commanded Liu Sui to teach sword methods to his Divine Warriors
army in Nanjing, rewarding him with beautiful clothes and wealth. (History of Liao, Records
from the Reign of Emperor Shengzong [book 4])
[67] aqan Temr / general / Yuan Dynasty
In the eleventh year of the Zhizheng era [1351], rebels attacked Ruyang [in Henan] and
Yingzhou [in Anhui], burning cities and towns, and slaughtering all those in charge, wreaking
such havoc as to bring about the collapse of all the prefectures around the Yangtze and Huai
rivers. The imperial government conscripted armies to punish them, but was ultimately
unsuccessful. By the next year, aqan Temr had raised an army of many hundreds.
Combining his forces with the army of Li Siqi of Luoshan [in Henan], they attacked and
destroyed the rebels there. When the news came to the imperial court, he was given official
titles for his righteousness and made commander of the eastern forces, tens of thousands of
troops, with which he made victorious war upon the traitors. (New History of Yuan [book 220])
[68] Zhang Sanfeng / divine swordsman / Yuan
A divine swordsman at the time the Yuan Dynasty ended and the Ming Dynasty began, he
was originally a Wudang elixirist. He was summoned by the first Ming emperor but his way
was blocked. That night in a dream, a deity taught him the boxing method, making him the
most skillful in the world and giving him a thorough understanding of the sword art. At dawn,
he used it to kill more than a hundred bandits single-handed. (Bio of Zhang Sanfeng)
[69] Mysterious Loyalty / sword hero / Ming Dynasty reign of Emperor Zhengde Wuzong
This and the following nineteen heroes are drawn from anecdotal Ming history. When Prince
Fan of Ning conspired against the state, he everywhere seized livestock, his soldiers
committed depravities, and he brought disaster to the realm and the people, his
megalomania out of control. Wang Shouren [Yangming] of Yuqian employed a team of
incomparably skillful heroes who were able to leap over walls. These sword heroes worked
together, pooling their righteousness and abilities. They fought their way into the princes lair
and the traitor was captured. Whether or not these were real people or their exploits actually
happened, I will not dare to assert, I will only list them according to extracts from various
books. (anecdotal Ming history, as are the following nineteen below)
[70] A Bit of Dust / sword hero / Ming

[71] Flying Cloud / sword hero / Ming
[72] Keeping Quiet / sword hero / Ming
[73] In the Mountains / sword hero / Ming
[74] Rainbow Clothes / sword hero / Ming
[75] The Seagull / sword hero / Ming
[76] The Scholar Ling Yun / sword hero / Ming
[77] The Scholar Yu Feng / sword hero / Ming
[78] The Scholar Yun Yang / sword hero / Ming
[79] The Scholar Kui Lei / sword hero / Ming
[80] The Scholar Du Hu / sword hero / Ming
[81] The Scholar Wo Yun / sword hero / Ming
[82] The Scholar Luo Fu / sword hero / Ming
[83] The Scholar Yi Piao / sword hero / Ming
[84] The Scholar Meng Jue / sword hero / Ming
[85] The Scholar Shu Shi / sword hero / Ming
[86] The Scholar He Ji / sword hero / Ming
[87] The Scholar He Hai / sword hero / Ming
[88] The Scholar Zi Quan / sword hero / Ming
[89] Zhang Songxi / sword master / Ming

He was Zhang Sanfengs top disciple. (Bio of Zhang Sanfeng)
[90] L Siniang / sword hero / Qing

This and the following eight sword heroes appear in so many scattered anecdotes in books,
their details will not be cumbersomely noted here.
[91] Zhou Xun / sword hero / Qing

[92] Cao Renfu / sword hero / Qing
[93] Gan Fengchi / sword hero / Qing
[94] L Yuan / sword hero / Qing
[95] Lu Minzhan / sword hero / Qing
[96] Bai Taiguan / sword hero / Qing
[97] Zhang Fuer / sword hero / Qing
[98] Chen Meiniang / sword hero / Qing
[99] The Sword Hero Xie / sword hero / 1933
On a certain day in August, 1933, Huang Qinghan of Changde, Hunan, who had been an
apprentice for seventeen years in a cosmetics shop to Geng Xinger of Yiyang, was lured by
a Daoist to a tall mountain where he stayed for ten days. There was at the same time another
man who had been lured there and who was the same age as Huang. The Daoist was
brainwashing them both to become sword assassins. Suddenly a man appeared out of
nowhere, frightening the Daoist, and told him: You are an evil murderer. Then he took a
quantity of myrrh from his jacket and made the Daoist swallow it, who promptly fell down
dead, the color drained from his face. He then took both men from there, hurried them away
to Yingwuzhou in Hanyang [in Hubei], and advised them to return home and get help from their
families. They asked him his name, but he only answered that his surname was Xie and then
disappeared. Thus he was called The Sword Hero Xie. Xie and that Daoist both happened
to speak with a northern accent. This story is indeed true. (from recent records)
[100] Chen Shijun / sword master / Republic

He was from northern Anhui. He spent many years living as a hermit in Guangdong. He was
able to appear and disappear without trace. He could eat a whole sheep in a single day or go
several days without eating at all. He wore no thick furs in winter nor thin clothes in summer.
He taught the human realm sword art to General Li Jinglin of Hebei.
[101] Li Jinglin / general / Republic
He was from Zaoqiang county, Hebei. He learned personally from the sword hero Chen
Shijun, who taught him the human realm sword art. He utterly defeated all contenders, be
they the Japanese soldiers occupying the eastern provinces or famous martial artists and
sword fighters of China. He also excelled in other boxing arts and spear arts. (Bio of Li Jinglin
[See Huangs 1931 Wudang Sword book.])
Although sword heroes are not often encountered, throughout the last few millennia there have
been such people. However, there is no way to examine what their systems were like, since
these methods were taught personally rather than written down. Their arts have come and
gone, appearing and then disappearing, vanishing like magic dragons. The general populace
was very ignorant of such heroes and thus incapable of speaking about their methods. These
arts were also something of a taboo, and so most chroniclers did not dare to write about
them, and most scholars did not consider them worthwhile anyway. The further that heroes
were placed from ordinary people, the greater the estranging distinction between them.
This list was compiled from biographical records within historical texts, miscellaneous
records from various schools of thought, and recorded anecdotal histories. Because the
systems of these people cannot be examined, we are left with only their chronological
placement in history. While perhaps not in the same rank as the rest of the heroes, there are
some sword experts who are widely known, therefore the three gentlemen of Xie, Chen, and
Li have been added to the end of the list, who are each modern rarities. As my knowledge on
the subject is not extensive, I have listed perhaps only a hundredth of a percent of these
stories, and I hope that more learned gentlemen will help fill in the gaps.
written by Huang Yuanxiu of Hulin at the field headquarters in Baihuazhou, Nanchang,
Dec, 1934
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Martial Arts Discussion by Huan Yuangxi - Great Bit On Sparring

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BOXING METHODS OF THE INTERNAL SCHOOL (NEI JIA

MARTIAL ARTS DISCUSSIONS by HUANG YUANXIU

THE SKILLS & ESSENTIALS OF YANG STYLE TAIJI BOXING

by Huang Wenshu [Yuanxiu]

Group photo of leading figures in Chinese martial arts:

The people in this photo are (from right to left):

Group photo of famous martial artists from Hebei:

Fang Ruichen, cavalry corps martial arts instructor

Portrait of the author, Huang Yuanxiu

Huang Yuanxiu & Liu Baichuan performing Luohan Boxing

Huang Yuanxiu & Han Qingtang performing Shuaijiao

Han Qingtang performing cross-shaped kick

Han Qingtang performing Yang Style spear

Huang Yuanxiu & Ye Jingcheng practicing Wudang Sword

Cao Yanhai practicing long spear

Huang Yuanxiu & Li Yaxuan performing Taiji pushing hands

Liu Baichuan performing Luohan Boxing

Cao Yanhai practicing Taiji Sword

Huang Yuanxiu & Tian Zhaolin practicing Taiji spear applications

Huang Yuanxiu & Tian Zhaolin practicing Taiji spear applications

Tian Zhaolin & Huang Yuanxiu performing Taiji pushing hands

Huang Yuanxiu & Ye Jingcheng practicing Wudang Sword

Huang Yuanxiu & Ye Jingcheng practicing Wudang Sword

PREFACE BY TAN MENGXIAN

1. PRACTICING THE SOLO SET

In the beginning, it should be even, slow, upright, and stretched out.

3. ISSUING AND NEUTRALIZING

PREFACE BY YAO YIHUA

PREFACE BY JIANG XINSHAN

PREFACE BY BAO FOTIAN

PREFACE BY LIN JINGPING

BIO OF ZHANG SANFENG

internal school of boxing.

CONTENTS TO ESSENTIALS OF YANG STYLE TAIJI BOXING

11. Taiji Sword Song

ESSENTIALS OF YANG STYLE TAIJI BOXING (compiled by Huang Yuanxiu)

1. THE TAIJI BOXING TREATISE

2. THE TREATISE OF WANG ZONGYUE

3. UNDERSTANDING HOW TO PRACTICE THE THIRTEEN DYNAMICS

4. THIRTEEN DYNAMICS SONG

Do not neglect any of the thirteen dynamics,

for once you achieve that, it will all be effortless.

5. NAMES OF THE POSTURES IN THE TAIJI BOXING SET

[1] TAIJI BEGINNING POSTURE

[17] CAPTURE THE TIGER AND SEND IT BACK TO ITS MOUNTAIN

[46] RIGHT PRESSING KICK

[74] DIAGONAL FLYING POSTURE

[102] CLOSING POSTURE

6. PUSHING HANDS SONG

Ward-off, rollback, press, and push must be taken seriously.

LARGE ROLLBACK IN BRIEF

[1] I rollback his elbow.

7. A FEW WORDS FROM YANG JINGHU [JIANHOU]

8. NAMES OF THE POSTURES IN THE TAIJI LONG BOXING SET

[1] CATCH THE SPARROW BY THE TAIL

[55] STEP FORWARD, TORSO-FLUNG PUNCH

9. TAIJI LONG BOXING SONGS

[1] The Taiji Long Boxing set is unique to this school.

That it endlessly transforms is truly no exaggeration.

[2] Palm or fist, elbow and wrist,

shoulder, waist, hip, knee, foot