Brennan Translation

Home Contact

← DRUNKEN LUOHAN THE TAIJI MANUAL OF LONG ZIXIANG → Search

EIGHTEEN ELDERS Recent Posts

Posted on March 2, 2018 NIMBLENESS BOXING
(JIE QUAN)
– PLUM BLOSSOM SABER (MEI
HUA DAO)
SUNDIAL SWORD (ZIWU JIAN)
TAIJI BOXING ACCORDING TO
EIGHTEEN ELDERS BOXING SET XU ZHIYI
WHITE APE STEALS A PEACH

by Huang Hanxun [Wong Honfan] Recent Comments

postures drawn by Zheng Xiang, based on photographs taken by Tan Yiren Archives
October 2018
September 2018
published by Hong Kong Jingwu Athletic Association – Martial Arts Department August 2018
July 2018
[1954]
June 2018
May 2018
[translation by Paul Brennan, March, 2018] April 2018
March 2018
February 2018
– January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
August 2016
July 2016
June 2016
May 2016
February 2016
Eighteen Elders Boxing Set December 2015
November 2015
October 2015
– calligraphy by Huang Hanxun September 2015
August 2015
May 2015
– April 2015
March 2015
December 2014
November 2014
Posture Map for the Eighteen Elders Boxing Set (drawn by Huang Jiqiang): October 2014
September 2014
August 2014
 June 2014
March 2014
January 2014
December 2013
November 2013
September 2013
August 2013
July 2013
June 2013
May 2013
S April 2013
March 2013
February 2013
W E
January 2013
December 2012
N November 2012
October 2012
September 2012
– August 2012
May 2012
March 2012
[AUTHOR’S PREFACE]
January 2012
November 2011
July 2011
March 2011
February 2011

When Master Luo [Guangyu] gave instruction in this art, he first taught the Eighteen Elders Categories
Complete Works of Sun Lutang
boxing set and then the Charging Punches boxing set. But in writing the Mantis Boxing
Complete Works of Yin Qianhe
Book Series, I reversed their order [Charging Punches being Vol. 6, Eighteen Elders Shaolin
being Vol. 7]. People may say this is strange, but I felt I had to do it in this way to suit Taiji
Uncategorized
popular demand. Furthermore writing about the sets and teaching them are two different
Xingyi
things, and I am careful to distinguish between the two [i.e. the order of publication does
not affect the order of the teaching curriculum]. Meta
Register
The “elders” of Eighteen Elders was originally thought by people to be “hands”. [The
Log in
words (elders) and (hands) have a similar pronunciation in Mandarin and an identical Entries RSS
pronunciation in Cantonese, leading to a natural confusion.] After repeated explanation Comments RSS
WordPress.com
from Master Luo, it was finally understood that “elders” is more fitting. This is because
Mantis Boxing is a merging of various styles, eighteen in total. Northerners call the
masters of those styles the “eighteen old men”, meaning the “eighteen venerable
gentlemen”, and therefore naming a boxing set “Eighteen Elders” is a way of paying
homage to the achievements made in those eighteen styles of boxing arts.
Eighteen Elders is a fundamental boxing set, working left and right pretty equally, and so
it is very suitable for beginners to practice. Following on from my book on the Charging
Punches set, this set is now ready to be published for students to study.

NAMES OF THE POSTURES IN THE EIGHTEEN ELDERS BOXING SET

[1] STANDING STABLY, BOTH FISTS STORING POWER

[2] BIG-DIPPER STANCE, LEFT HOOKING HAND

[3] BIG-DIPPER STANCE, RIGHT ROLLING CHOP

[4] LIFTING LEG, SEAL & THRUST PUNCH

[5] MOUNTAIN-CLIMBING STANCE, RIGHT PILING ELBOW

[6] MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

[7] RIGHT GRAB & PULL CATCHING TECHNIQUE

[8] BIG-DIPPER STANCE, CARRYING, FILLING PUNCH

[9] ABSORB & SINK STANCE, RIGHT DOWNWARD DRAGGING

[10] MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

[11] BIG-DIPPER STANCE, RIGHT HOOKING HAND

[12] BIG-DIPPER STANCE, LEFT ROLLING CHOP

[13] LIFTING LEG, SEAL & THRUST PUNCH

[14] MOUNTAIN-CLIMBING STANCE, LEFT PILING ELBOW

[15] MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

[16] LEFT GRAB & PULL CATCHING TECHNIQUE

[17] BIG-DIPPER STANCE, CARRYING, FILLING PUNCH

[18] ABSORB & SINK STANCE, LEFT DOWNWARD DRAGGING

[19] MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

[20] BIG-DIPPER STANCE, LEFT HOOKING HAND

[21] BIG-DIPPER STANCE, RIGHT FILLING PUNCH

[22] WITHDRAWING STEP, LEFT DODGING HARDNESS

[23] WITHDRAWING STEP, RIGHT DODGING HARDNESS

[24] MOUNTAIN-CLIMBING STANCE, DOUBLE RUSHING PUNCHES

[25] LIFTING LEG, SEAL & THRUST PUNCH

[26] MOUNTAIN-CLIMBING STANCE, RIGHT PILING ELBOW

[27] MOUNTAIN-CLIMBING STANCE, HOOK, CHOPPING PUNCH

[28] RIGHT GRAB & PULL CATCHING TECHNIQUE

[29] BIG-DIPPER STANCE, ROLLING TECHNIQUE

[30] BIG-DIPPER STANCE, LEFT HOOKING HAND

[31] BIG-DIPPER STANCE, RIGHT FILLING PUNCH

[32] INWARD TWINING SILK, CRUSHING KICK

[33] HANG & THRUST PUNCH, SUDDEN KICK

[34] BIG-DIPPER STANCE, RIGHT ROLLING CHOP

[35] DOUBLE HOOKING, RIGHT SCOOPING KICK

[36] DOUBLE SEALING HANDS, CHARGING PALM

[37] DRAWING THE NEEDLE AND SLASHING THE WAIST

[38] MOUNTAIN-CLIMBING STANCE, LEFT SWINGING PUNCH

[39] MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

[40] BIG-DIPPER STANCE, LEFT HOOKING HAND

[41] BIG-DIPPER STANCE, RIGHT FILLING PUNCH

[42] SITTING-TIGER STANCE, CATCHING A CICADA

Posture 1: STANDING STABLY, BOTH FISTS STORING POWER

Explanation:

This posture of standing stably is the most common opening posture in Mantis Boxing.
With your feet next to each other, your hands grasp into fists and draw upward. To keep
your elbows from sticking out, you must not pull your fists up too high. See drawing 1:

Application:

This is a preparation before performing the movements, with basically no other function to
speak of.

Posture 2: BIG-DIPPER STANCE, LEFT HOOKING HAND

Explanation:

Your left foot steps out forward to the left to make a left big-dipper stance as your left
hand leaves your waist to hook outward, your right hand and right foot staying where they
are. Your left elbow is sinking down to keep the posture from having a floating quality. See
drawing 2:
Application:

The opponent tries to use a feint to find out where I am vulnerable. As I am unprepared to
engage, I beat him at his own game by likewise responding with a feint. As his attempt to
trick me amounts to nothing, this makes him feel disappointed. If he were to do a feint and
it induced me to commit to a real technique, he would win the exchange, and so I send out
a hooking hand just to find out what he is up to. If he was doing a real attack, I would have
to follow up with a real technique, for this posture would not be enough to end the
situation.

Posture 3: BIG-DIPPER STANCE, RIGHT ROLLING CHOP

Explanation:

Your right foot advances to make a right big-dipper stance as your right hand lifts from
your waist and goes forward with a downward chop, your left palm striking against it with
an audible crack. By the time the chopping technique has reached its completed position,
your left hand is guarding at your right shoulder. See drawing 3:

Application:
The hand technique in the previous posture is insubstantial, the purpose being to find out
about the opponent, and then I continue from it by sending forth a solid attack. Whether
during practice or actual application, these two postures are meant to be linked together,
making a combined technique that first has a softness and then a hardness.

Posture 4: LIFTING LEG, SEAL & THRUST PUNCH

Explanation:

Your left foot stays where it is and your right foot lifts so the knee is level, making a one-
legged stance. At the same time, your right hand does a sealing action in front and then
pulls back to your waist as your leg lifts, your left fist going straight out until it has switched
places with your right hand. See drawing 4:

Application:

In the previous technique, my chop to the opponent’s head comes down with such ferocity
that he has no choice but to use a hand to block it across, so I take charge of the situation
by sealing his hand with my right hand and pulling it to my right side, which causes him to
lean forward, and then using my left fist to strike to his face before he has a chance to
block.

Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT PILING ELBOW

Explanation:

Your right foot comes down to make a right mountain-climbing stance as your right hand
goes from your waist, the elbow bending and piling downward, your left palm going
upward to meet it. See drawing 5:
Application:

When my right [left] thrust punch attacks the opponent’s face, he puts all his strength into
blocking it, for if he does not, it would take only that one technique to make it difficult for
him to continue. I now grab his incoming hand and then employ a piling-elbow technique
using a pure hardness, pressing downward with a full-body leaning action, making it
difficult for him escape his new misfortune.

Posture 6: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

Explanation:

With your feet staying where they are, your left hand goes forward, sealing downward from
above, and your right fist goes out from the inside, performing an avalanche punch. See
drawing 6:

Application:

The piling elbow is a method of applying hard pressure to the opponent’s middle area,
focusing on the quality of “breaking bones under the weight of a thousand pounds”. But if
he uses a method of sinking my elbow down to divert his fate, I have no choice but to go
along with him into the space into which he is sending my elbow away, and since he is
thereby emptying above, I suddenly send an avalanche punch downward to his face,
making a surprise attack to his upper area. This is a key technique for “attacking where
the enemy is unprepared” [Art of War, chapter 7].

Posture 7: RIGHT GRAB & PULL CATCHING TECHNIQUE

Explanation:

Remaining in the mountain-climbing stance from Postures 5 and 6, your right hand hooks
outward, your left hand seals, then your right hand becomes a fist and goes out with a
straight thrust punch. These movements combined make the “grab & pull catching”
technique. See drawing 7:

Application:

The opponent and I are remaining in our stances as we make these exchanges. He draws
away my avalanche punch, so I go along with it by performing a “catching” technique,
involving a combined flurry of hand actions forming a single integrated attack. This is a
commonly used technique that is complex but not overly elaborate.

Posture 8: BIG-DIPPER STANCE, CARRYING, FILLING PUNCH

Explanation:

Your left foot comes forward a step, stomping down next to your right foot, and your right
foot goes out to make a right big-dipper stance, advancing still in the same direction, as
your left palm threads out from below your right armpit and your right fist pulls back to
your waist, then strikes out with a filling punch. See drawing 8:
Application:

The opponent draws in my catching technique, or perhaps seals it off. I have to extricate
my arm in order to perform another technique, so I use a carrying action to strip away his
grip. This would be sufficient in itself, but I also add a filling punch to strike him, which is
more fitting in the Mantis Boxing tradition.

Posture 9: ABSORB & SINK STANCE, RIGHT DOWNWARD DRAGGING

Explanation:

Your stance turns [leftward] toward the rear [with your right foot turning inward and your
left foot stepping farther back] to make a left absorb & sink stance, which is basically a
reverse mountain-climbing stance, as your right hand arcs downward, to the rear, and
makes a large circle that returns it to the rear, your left hand meeting it so that as it
reaches its final point, there is added stability. See drawing 9:

Application:

The opponent deflects my filling punch and at the same time makes a surprise attack to
my lower body, so I first turn my stance to dispel it, then use a downward dragging action,
like a saber sweeping at a kick. In this way, not only will he not reach me, he will also
suffer my counterattack.

Posture 10: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

Explanation:

With your feet staying in their location, your right knee bends forward to make a right
mountain-climbing stance, your left hand going forward with a sealing action, your right fist
rolling over and chopping downward. It is the same as in Posture 6. See drawing 10:

Application:

Mainly the same as in Posture 6, but in that case this technique is an attack for an
opponent right in front of you, whereas in this case it is used as an attack involving the
body turning.

Posture 11: BIG-DIPPER STANCE, RIGHT HOOKING HAND

Explanation:

With your left foot staying where it is, switch to a big-dipper stance as your left hand
withdraws to your waist and your right hand goes outward as a hook, the elbow sinking
down to be aligned with your [right] knee. See drawing 11:
Application:

The avalanche punch is a technique involving a hardness, but the opponent blocks or
deflects it. He will then take advantage of the opportunity by counterattacking to my right
side, so I immediately switch to a big-dipper stance and use a hand to hook onto his
attack, thereby spoiling his chance. Now that I have the advantage, I capitalize upon it to
marvelous effect by continuing into the following posture.

Posture 12: BIG-DIPPER STANCE, RIGHT [LEFT] ROLLING CHOP

Explanation:

Your left foot advances to make a left big-dipper stance as your left hand chops downward
from above. Once your left fist is level, your right palm is striking against it, making an
audible crack, thereby reinforcing correct positioning. For a Mantis Boxing practitioner, this
is a habitual technique. See drawing 12:

Application:

When I hook the opponent’s hand in the previous posture, I want to not advance and
instead get him to advance first, then I seize the opportunity to close in and use a rolling
chop to attack him above. In this way, I am neither inattentive to the situation nor in a rush.

Posture 13: LIFTING LEG, SEAL & THRUST PUNCH

Explanation:

Your left leg lifts to make a one-legged stance as your left hand seals in front and
withdraws, your right hand punching straight out, your hands performing a technique of
one hand withdrawing while the other hand goes out. See drawing 13:

Application:

The opponent threads upward from below to defend against my left hand, then retreats to
get away from me. In this way, he creates more distance between us, but I do not want to
cause him to go even farther away, so I use only a hand to seal him, and once I have
sealed his hand, I immediately use a straight thrust punch to attack his face. This is a
means of continuous attack [i.e. building upon the previous technique].

Posture 14: MOUNTAIN-CLIMBING STANCE, LEFT PILING ELBOW

Explanation:

Your left foot comes down to make a left mountain-climbing stance as your left hand
switches to elbowing, going out forward with a piling action, your right fist becoming a
palm and propping up against it. See drawing 14:
Application:

Same as in Posture 5, except with left and right reversed.

Posture 15: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

Explanation:

With your feet staying where they are, your right hand seals downward from above and
your left fist rolls over to strike out from behind the elbow. See drawing 15:

Application:

Same is in Posture 6, except with left and right reversed.

Posture 16: LEFT GRAB & PULL CATCHING TECHNIQUE

Explanation:

Remaining in the same stance from Postures 14 and 15, your left hand hooks, your right
hand pulls, then your left hand goes out with a thrust punch, completing a “catching”
technique. See drawing 16:

Application:

Same as in Posture 7, except with left and right reversed.

Posture 17: BIG-DIPPER STANCE, CARRYING, FILLING PUNCH

Explanation:

Your right foot comes forward a step to stand next to your right foot, your left foot going
along with this action by going forward to make a right big-dipper stance, as your right
palm threads out from below your right armpit to the outside tip of your fist, performing a
“carrying hand”, and then your left fist thrusts out from your waist, performing a filling
punch. See drawing 17:

Application:

The opponent and I have gotten farther apart, so I have no choice but to advance in order
to close in on him anyway, but he has sealed off my hand, which would put me under his
control. To regain the advantage, I seize the opportunity to slightly charge forward and
seek a way to get my hand out, then once my hand is free, I strike him suddenly.

Posture 18: ABSORB & SINK STANCE, LEFT DOWNWARD DRAGGING

Explanation:

Continuing from the previous posture, your stance turns [rightward] toward the rear [with
your left foot turning inward and your right foot stepping farther back] to make a right
absorb & sink stance, so that your posture changes even though the location of your feet
barely shifts, as your left fist hangs down, draws to the rear, and circles [to return to the
rear], your hands and feet working in unison. This is a means of changing an offensive
position to a defensive position. See drawing 18:

Application:

The opponent uses a hand to deflect my filling punch and at the same time uses a foot to
make a surprise attack to my lower body. If I hesitate to shift my position and change my
stance, it will be too late to deal with this emergency, so I use the method of switching
from a forward bow stance position to the rear with an absorb & sink stance in order to
dispel it, then drop a hand to smash downward. In this way, no matter how fast his attack
is, it will not amount to anything.

Posture 19: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

Explanation:

Continuing from the previous posture, your stance switches to a left mountain-climbing
stance as your right hand drags downward from above and your left fist rolls over from the
inside, performing an avalanche punch to the opponent’s head. See drawing 19:
Application:

After I fiercely smash the opponent’s foot, he will quickly withdraw it in order to escape his
misfortune. But I notice that he has carelessly left himself open above, so I suddenly turn
my body, switching my stance, and take advantage of the opportunity by using a left
avalanche punch to strike downward to his head. This technique is very similar to MT. TAI
CRUSHES THE HEADTOP from among the “eight kinds of hardness”.

Posture 20: BIG-DIPPER STANCE, LEFT HOOKING HAND

Explanation:

Same as in Posture 2, except that the hand action is slightly different when transitioning
from an avalanche punch instead of the position of standing stably. [The hand in this case
is circling downward, inward, outward. There is also no mention of the stance change
here, which involves sitting onto your right foot and slightly withdrawing your left foot.] See
drawing 20:

Application:

Same as in Posture 2.
Posture 21: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

Explanation:

Your right foot advances to make a big-dipper stance as your right fist thrusts out from
your waist, performing a filling punch. See drawing 21:

Application:

Once I have hooked the opponent’s left hand, he will try to cast off my snare by fiercely
pulling back. Although there is now only a small window of opportunity, I must not pass it
up, so I quickly advance to attack his armpit, using a filling punch to fill in the gap created
by my hooking.

Posture 22: WITHDRAWING STEP, LEFT DODGING HARDNESS

Explanation:

First your right foot retreats, then your left foot retreats diagonally about a half step to the
left, as your left hand threads out from below your [right] armpit, goes upward with the
hand sideways, carrying past your head, downward, and arcing upward, and waiting there
in a state of storing power. See drawing 22:
Application:

The opponent grabs my right hand, so I have to have a way to extricate it. I thus withdraw
diagonally while threading out with my other hand, above and below working in concert,
thereby enabling me to easily cast off his grip. Or he attacks forward with a fierce thrust,
which I can also use this technique to deal with, for it is a marvelous means of evading a
thrusting strike from directly ahead.

Posture 23: WITHDRAWING STEP, RIGHT DODGING HARDNESS

Explanation:

First your left foot retreats, then your right foot retreats diagonally about a half step [to the
right], as your right hand threads out from below your [left] armpit, goes upward with the
hand sideways, carrying past your head, downward, and arcing upward, again evading the
opponent’s hardness, thereby spending his strength. See drawing 23:

Application:

As I again evade diagonally, he stubbornly crowds in. If I want to again avoid a case of
hardness colliding with hardness, I then withdraw from the right side to the left side. If he
mistakes my action for cowardice, then with the following technique he will find out the
true purpose of my retreating.

Posture 24: MOUNTAIN-CLIMBING STANCE, DOUBLE RUSHING PUNCHES

Explanation:

Your right foot lifts and stomps down, and your left foot follows upon this action by taking a
step forward to make a horse-riding stance, both of your hands making fists and chopping
across forward and downward. Then your stance switches to a left mountain-climbing
stance, your hands thrusting out forward with one above and one below, the upper hand
targeting the face, the lower hand targeting the chest. See drawing 24:

Application:

If the opponent assumes I am shying away from him, then he is making a big mistake. As
his hands come in, attacking with hardness, I use the strategy of avoiding the full force of it
by making continuous retreats, and then when I see he has tired himself out, I suddenly
reverse our roles and take charge, using the hard fierceness of the technique of double
rushing punches to counterattack, stopping him in his tracks.

Posture 25: LIFTING LEG, SEAL & THRUST PUNCH

Explanation:

Continuing from the previous posture, without leaving your location, turn around
[rightward], lifting your right leg to make a one-legged stance, as your right hand goes to
the rear with a sealing action and your left fist performs a level thrust punch also to the
rear [while your right hand pulls back]. Hands, feet, and body have all now turned the front
into the rear so that the rear has now become the front. See drawing 25:
Application:

While fiercely attacking the opponent in front of me, another one comes in behind me so
that I am being engaged on both sides, rushing in from behind to catch me while I am
occupied with the first one. If I wait until I have turned around to face him, I will surely fall
into his trap, thus I use a technique of changing rear to front in order to deal with it,
thereby thwarting his plans.

Posture 26: MOUNTAIN-CLIMBING STANCE, RIGHT PILING ELBOW

Explanation:

Your right foot comes down to make a right mountain-climbing stance as your right hand
sinks down, the elbow bending, your left hand carrying it as a palm, elbow and palm
striking against each other, making an audible crack. See drawing 26:

Application:

When my thrust punch attacks the opponent’s face, he has to send a hand to meet it.
Once we make contact, I immediately grab his incoming [left] hand tightly and sink my
right hand down with the elbow bending, pressing down onto his own elbow. This is
another method of using a piling-elbow action.
Posture 27: MOUNTAIN-CLIMBING STANCE, HOOK, CHOPPING PUNCH

Explanation:

Without leaving your location, turn your body to the rear to make a left mountain-climbing
stance, with first your left hand hooking aside, then your right hand chopping down from
above and behind you. See drawing 27:

Application:

The opponent shifts from in front of me to be behind me, or another sneaks up behind me.
I must respond quickly in order to deal with this situation, so I change the rear into the
front, my hands going along with the turning of my body, first my left hand hooking to take
aside his incoming hand, then my right hand chopping to strike to his upper area, and in
this way I can eliminate the danger of his sudden attack.

Posture 28: RIGHT GRAB & PULL CATCHING TECHNIQUE

Explanation:

With your stance staying the same, your right hand hooks, your left hand pulls, and then
your right hand sends out a punch, performing the grab & pull catching technique. See
drawing 28:
Application:

Same as in Posture 7.

Posture 29: BIG-DIPPER STANCE, ROLLING TECHNIQUE

Explanation:

Your right foot goes forward a half step, stomping down, and your left foot continues the
motion by going forward to make a left big-dipper stance as your right hand strongly pulls
back above and your left hand thrusts out from below with a subduing punch. See drawing
29:

Application:

The opponent uses a hand to draw in my grabbing hand, so I take advantage of the
situation by sealing his, and because he has moved too far away, I stomp forward to close
the distance, then thrust upward with my left fist to attack his chin, causing him to be under
my control both above and below.
Posture 30: BIG-DIPPER STANCE, LEFT HOOKING HAND

Explanation:

With your feet staying where they are, your right fist withdraws to your waist and your left
hand hooks out forward. See drawing 30:

Application:

The opponent deflects my rolling technique and charges forward with a punch to my
middle area, which is indeed a wise move on his part, since my hands are occupied
above, so I respond to his rapid attack by sinking a hooking hand onto it in order to
eliminate the danger.

Posture 31: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

The explanation and application are the same as in Posture 21. See drawing 31:

Posture 32: INWARD TWINING SILK, CRUSHING KICK

Explanation:

Your right foot comes down forward as your right hand goes from the rear, turning over,
and draws upward until at navel level, whereupon your left hand is bracing against the
arm. This is similar in appearance to a “belly-piercing punch”, but is actually an inward
“twining silk” maneuver. Your left foot at the same time sweeps out from the rear with the
foot sideways to simultaneously perform a crushing kick. See drawing 32:

Application:

In the Dodging Hardness boxing set, there are three kinds of twining-silk actions: small,
outward, and turning. This technique involves an inward twining, which is better for
developing strength. The technique is supplemented by a sideways crushing kick, making
it even more difficult for the opponent to defend against, and then continues into the
following posture for even fuller effect.

Posture 33: HANG & THRUST PUNCH, SUDDEN KICK

Explanation:

Your right hand goes upward as a “hanging hand” while your left fist goes straight out, and
before your left leg comes down, your body leaps up and your right foot shoots out, your
left punch and right kick elegantly forming simultaneous parallel lines. See drawing 33:
Application:

I use the crushing kick to take the opponent by surprise, but he withdraws out of the way
and uses a hand to chop at me above, so I pretend to withdraw my foot but then follow
him, using my right hand to hang away his incoming fist and close in on him with a
through-the-center kick. The ingenuity of this technique lies in linking with the previous
posture.

Posture 34: BIG-DIPPER STANCE, RIGHT ROLLING CHOP

Explanation:

As your right leg comes down, making a right big-dipper stance, your right hand goes
along with it by lowering until level, your left hand striking against it with an audible crack.
See drawing 34:

Application:

The opponent evades my kick so I come down with a forceful technique, using a rolling
chop to attack his head. Once he evades my kick, unless I use a technique of great
hardness, it would be difficult for me to defend against the opportunity that he now has,
and I would slip into a dangerous position.
Posture 35: DOUBLE HOOKING, RIGHT SCOOPING KICK

Explanation:

Turn around [leftward] with your left hand hooking to the rear, then your right hand also
hooks, your right foot at the same time scooping away to the left. If you want to be stable
in this posture, your foot should finish on the ground, but if you want to move more fluidly
into the next posture, it is better for the foot to leave the ground. See drawing 35:

Application:

An opponent suddenly runs up to make a surprise attack behind me. It would be very
dangerous for me if I were to block it too late, so I [turn around] with my left hand hooking.
Then I use my right hand to attack his throat while using a scooping technique to attack
his lower body, causing him to have too many things to deal with at once.

Posture 36: DOUBLE SEALING HANDS, CHARGING PALM

Explanation:

Your right foot stomps and your left foot advances to make a left mountain-climbing
stance, your hands at the same time going to the right to seal away, then your right hand
charges straight out from the rear with a strike to the face. See drawing 36:
Application:

The opponent lifts his leg to evade my scooping kick, so I stomp [with my right foot] and
step forward [with my left foot] in order to crowd him, using both hands to seal off his
hand, then I withdraw my right hand and send it straight out to attack his face with a palm
strike.

Posture 37: DRAWING THE NEEDLE AND SLASHING THE WAIST

Explanation:

Your right foot follows a step forward and then your left foot steps out forward to make a
big-dipper stance, your left hand at the same time threading out from your right side and
pulling across to the left as your right hand slashes out to the opponent’s waist. See
drawing 37:

Application:

This is the softest hand technique in Mantis Boxing, involving left and right doing different
things while above and below are working in unison. Although it is an ingenious technique,
opportunities to use it are rare. And it is difficult to master, for it entails the difficulty of
switching from hardness to softness, which is more difficult than switching from softness to
hardness.

Posture 38: MOUNTAIN-CLIMBING STANCE, LEFT SWINGING PUNCH

Explanation:

Your foot comes down to make a left mountain-climbing stance as your left fist forcefully
arcs in a half circle to the right, your right palm meeting it with an audible crack. See
drawing 38:

Application:

This technique involves switching from extreme softness to extreme hardness, and
compared to the previous posture is easier to apply. When I use the technique of
DRAWING THE NEEDLE AND SLASHING THE WAIST, the opponent backs off to evade
it, so I bend my left knee forward, making a left mountain-climbing stance, and swing out a
punch to his upper area, making it even harder for him to deal with the situation.

Posture 39: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

Explanation:

Continuing from the previous posture, without changing your stance, your [left] fist circles
inward and then rolls over outward as you perform a sealing action and an avalanche
punch. See drawing 39:
Application:

An avalanche punch and a subduing punch will look no different in the finished posture,
but an avalanche punch strikes downward from above, whereas a subduing punch thrusts
upward from below. Also, an avalanche punch makes use of the stance you are already
in, whereas a subduing punch works best when advancing, and so they are different
situations.

Posture 40: BIG-DIPPER STANCE, LEFT HOOKING HAND

Explanation:

Sit back onto your rear leg, your front leg pulling back with the toes raised, making a big-
dipper stance, as your right fist withdraws to your waist and your left hand goes out
forward as a hook. See drawing 40:

Application:

Combat with fists is vastly different from combat with cannons. Shifting back from the
mountain-climbing stance into the big-dipper stance reduces the distance between my
front foot and rear foot to just over a foot apart. When an opponent comes in with an attack
I have no chance of dispelling, retreat is the best option [unlike with artillery fire, which
cannot be outrun if you are already in range].

Posture 41: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

Explanation:

Advance to make a right big-dipper stance with the same forward-stepping filling punch
technique as before [Postures 21 and 31]. See drawing 41:

Application:

The big-dipper stance is the most common stance in Mantis Boxing. Because it is half
empty and half full, you can advance and retreat with ease, and this is why it is so
frequently used. The hooking hand clears the way, and then the filling punch fills the gap.

Posture 42: SITTING-TIGER STANCE, CATCHING A CICADA

Explanation:

Continuing from the previous posture, your [right] foot comes down and your hands go
along with the [leftward] turning of your body as you turn around and get into a sitting-tiger
stance, storing power, so that you are in a good position to lift a foot and counterattack.
See drawing 42:
 Application:

If an opponent pursues from behind, I turn around and seal off his attack with a “catching a
cicada” gesture, storing power to give him a kick that he will find difficult to dodge.

Related

WHITE APE STEALS A PEACH

WHITE APE LEAVES THE CAVE

NIMBLENESS BOXING (JIE QUAN)

This entry was posted in Uncategorized. Bookmark the permalink.

← DRUNKEN LUOHAN THE TAIJI MANUAL OF LONG ZIXIANG →

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
Brennan
To find outTranslation
more, including how to control cookies, see here: Cookie Policy
Blog at WordPress.com.
Close and accept