Footwork Training Set Guide

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FOOTWORK-TRAINING SET (LIAN BU QUAN)

Posted on March 30, 2011by Paul Brennan
FOOTWORK-TRAINING SET
by Wu Zhiqing
[published by Great East Bookstore, March, 1931]
[translation by Paul Brennan, March, 2011]
AUTHORS PREFACE
Tracing back, Shaolin boxing originated from zen master Damos Eighteen
Techniques (namely, the Eighteen Lohan Techniques). Damo passed it down to
his disciples, Tan Zong and the rest, and they assisted the Tang Dynasty in
pacifying Wang Shichong. They were thirteen who performed this service, all of
them capable with these eighteen techniques, applying them skillfully and
adapting endlessly. Later, the first Song Dynasty emperor, Zhao Kuangyin,
studied and trained very deeply. Among his skills, he was superb at Thirty-Six
Long Boxing, Six-Step Monkey Boxing, Decoy Boxing, and so on. After
establishing his new dynasty, he stored his books in the Songshan Shaolin
Temple. Later generations transmitted the knowledge of the first emperors
boxing, and so it is known as the Taizu [first emperor] School. During the Jin
and Yuan Dynasties, there was Bai Yufeng, who shaved his head and became a
monk, and truly obtained the Shaolin legacy. He taught his disciple, the monk
Jue Yuan, who made changes and additions. Eighteen techniques became
seventy-two techniques. They evolved into new methods and then were
consolidated into standard patterns, their intricacies blending together, until
they reached a peak of form and function. Then from seventy-two techniques,
again more was added and became one hundred seventy-three techniques,
finally branching into five categories of boxing. The five kinds of boxing are
dragon, tiger, leopard, snake, and crane, training spirit, bone, sinew, breath, and
power respectively. There was the Han Dynasty physician Hua Tuos Five
Animal Frolics Boxing, being the tiger, deer, bear, ape, and bird. Bai transmitted
his idea, changing them to dragon, tiger, leopard, snake, and crane.
Contemporary with Bai was Old Li, who taught Large and Small Hong Boxing,
which has spread all over south-central China [the text specifying Shaanxi,
Henan, Sichuan, and Hubei-Hunan] and today there are many traditions
of it.
If the Footwork-Training Set in this volume is one of the five kinds of Shaolin
Boxing, it is the Dragon Boxing, because its spirit is that of constant change. In
these modern times of technical terms, we have moved on from the name, and it
has now been changed to Footwork-Training Set, also with the intention of
training body and spirit. This set has been transmitted by the head of the
Sichuan Bodyguards Association, Liu Chongjun. Liu spent a long time going
through the Shaanxi and Gansu provinces between the Yellow and Luo rivers,
seeking for famous teachers and colleagues to mentor him, concentrating on
investigating the five Shaolin styles of boxing and the Yue schools Short
Fighting, passing more than thirty years searching far and wide for expertise,
and confirming that this set is without doubt Dragon Boxing. Last spring, while
working together in the Central Guoshu Institute, during our spare time, he
showed the Dragon Boxing to me and also explained the whole thing from
beginning to end. I exclaimed that I had never heard of it before. After seeing it
practiced, I considered the similarities and differences between it and other
styles. Hard and soft assist each other, it is neither excessive nor insufficient,
everything just right, and I began to see the ingenuity of Dragon Boxing. As I
learned each step, I contemplated its postures, so simple and clear, so efficient
and economical. It is not like other boxing styles, which are overly complex and
unnecessarily lengthy. Surely we can deem it the Mahayana [great vehicle] of
the Shaolin Boxing arts.
During the break this New Years holiday in Shanghai, I was looking through an
old chest of Lius notes of instructions and theories for it and also for the Yue
schools own Connected Boxing, arranging them into their proper order and
distinguishing all of the drawings, hoping to get opinions from Liu so as to
quickly make a book for all who might be interested, so that the true essence of
this Shaolin art does not stay a secret between just the two of us, but spreads
widely so it may last forever. And so I have written this preface.
Wu Zhiqing, writing from the Shanghai Esteeming the Martial School, March
1930
HOW TO USE THIS BOOK
- This volume shows a modified form of Orthodox Shaolin Dragon Boxing, now
called Footwork-Training Set. This set has been transmitted from Liu Chongjun
of Guanghan, Sichuan. As I love and admire it, I have compiled it into a
textbook for all martial arts comrades to consult. It is divided into two parts.
Part One is introductory material and an outline of martial arts essentials. Part
Two is a detailed explanation of its practical use to teach students all of its
methods.
- This volume functions according to a teaching procedure. It is divided into two

chapters, four parts, nine sections, and thirty-six postures. Each section is
divided into four postures. To each posture is then added the name of the
technique, its function, an explanation of its movement, remarks on the
technique, and a picture of the posture. This allows the student to immediately
comprehend and easily practice.

- This volume teaches group calisthenics and can be referred to by the military
for training its companies and platoons.
- This volume has a command for each posture so that beginners may feel easily
motivated from the start. After they are familiar with the movements, the simple
counting may be done away with and it can flow without pauses. So as to not
violate the principles of our forefathers and yet teach with a modern procedure,
there is this way of doing it.
- This volume assumes practice facing certain directions so that beginners can
easily memorize and establish themselves in it. After drilling it until it is
familiar, you can face any direction.
- This volumes table of lyrics was lost long ago. Nowadays we make note of
practical terms, organizing them into fixed technique names. We have gathered
each postures name and arranged them into verse for students to recite and
practice along with so as to aid memorization of the techniques.
- This volume is about Master Lius proudest specialty. He has taught it to all the
students in the Central Guoshu Institute. I constantly studied it, and my meager
perception of it I now compile into a book to offer to all my martial arts
comrades. May it be worthwhile research material. I would be very pleased if
you could make note of any mistakes.
FOOTWORK-TRAINING SET CONTENTS
Authors Preface
How to Use This Book

Chapter One: Introductory Material

Part 1: Outline of Martial Arts Essentials
1. Cherishing the Old Stuff
2. The Origin and Development of Boxing Arts
3. The Line Between Nurturing People and Murdering People
4. Passive or Active Strength
5. The Five Unions and Three Hastenings
6. Avoid the Direct Line
7. Discussing Movement
8. Examining Force
9. Four Ounces Moves a Thousand Pounds
10. Balance
11. The Best Times to Train

Part 2: Instructions in Verse

Chapter Two: Illustrated Explanations

Part 1: Diagram of the Directions Faced in Practicing the Set

Part 2: Illustrated Explanations of the Teaching Method

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

Posture 1: EMBRACING THE TAIJI SPHERE
The beginning movement is a method of changing from inactivity to activity.
This posture is the beginning and it accords with a physiological sequence,

preparing the exercises movements. First activate the four limbs, then gradually
go into the trunk. Proceeding in order, go fully into the demands of health, then
onward to practical skill. Use this posture as the beginning of transformation,
concealing within so an opponent can see no opportunity, which is the main
idea in martial arts.

Posture 2: CHEST-LEVEL PALM
This is a method of resisting to the left and guarding to the right.
In this posture, if an opponent is coming forward to attack, his fist rushing

toward me, I do not react until it is the right moment to leave my Taiji posture.
The subtlety lies in one hand propping up and one hand pushing down. Deeply
study this method, repeatedly giving it attention. Chest-Level Palm is a palm
technique for warding away an opponent. Its use is entirely in the heel of the
palm. Employ wrist strength and strike his chest. This is the movement and
posture of this technique. Within this one posture is contained limitless
possibilities. For one who is good at applying it, it is magical.

Posture 3: TURN AROUND, STOP WITH THE FOREARM
This is a method of dealing with an opponent attacking me from behind by

turning around to ward him off.
This posture is for when an opponent makes a surprise attack behind me which
I turn around to respond to, and when he gets close to my body, I use my
forearm to interrupt his incoming force, causing him to have no gap to invade
through and making my defense solid. I then follow up by seizing the
opportunity to defeat him. This is the skill of turning around to stop an

opponent.

Posture 4: CONNECTING FIST
This is a method of seizing the opportunity of an opponents incoming force to

connect to him.
In this posture, if the opponent extends a fist to strike me, I then connect along
his hand, using my fist to make contact. In this way I beat him at his own game
and make him have no chance or room to do anything. In a blink I am in
control. This style has the subtleties of lightning speed.


Posture 5: STEP FORWARD, SHOOTING PALM
This is a method of responding to an opponent from the side, waiting for the
chance and catching him unsuspecting.
In this posture, the hand, eye, body, and stepping methods should all be
coordinated with each other and must not have a single moment of hesitation,
as per the five unions and three hastenings (see Chapter One [Part 1, number
5]). In this posture, the movements of the hands are in unison and cannot have
the error of one being fast while the other is slow. I hope you will realize the
boxing principle.

Posture 6: RECEIVING BLOCK, GOING FROM 6 TO 12 OCLOCK
This is a method of advancing while doing a receiving block on the left and
striking on the right.
In this posture, the left palm does a receiving block to the opponents hand,
while the right fist at the same time comes out with a strike directly forward,
called chest-level 6-to-12-oclock [meaning a straight line] punch. While the

opponent does not move, I do not move. Once the opponent wishes to move, I
move before him. Sunzi said: Stillness like a mountain, then movement like the
wind.

Posture 7: RETREAT, DRIVING AWAY WITH THE FOREARM
This is a method of luring an opponent to overcommit and using the forearm to

drive him out.
In this posture, I lure the opponent in to make him overcommit and be in a

dangerous position, then take advantage of the opportunity and defeat him. Or
if my arm is sealed off by him, then I use my forearm to drive him away.
Although the arms are one extended and one retracted, they must move with the
whole body, advancing and retreating as one unit for it to be effective. Otherwise
it will be without skill and risky.

Posture 8: HANG UP THE FOREARM, GOING FROM 6 TO 12 OCLOCK
This is a method of guarding while chasing and striking.
In this posture is the skill of chasing and striking. While the opponent does not
move, I also do not move. When I see the opponent wishes to move, I then seize
the opportunity of his incoming force, take advantage of it, and advance to
attack. This is as Sunzi said: Attack where he is not paying attention and where
he is unprepared. When confronted with an attacker, subvert his attack. How?
What a person feels will manifest in all kinds of forms and colors. If he does not
notice it himself but you are aware of it and read him right, then you have
subverted his attack. For example, if you watch another person about to raise a
hand, you can know which hand it will be because his shoulder must first
prepare the action. Or if he wants to converse with someone, you will know who
because his eyes must first establish contact. This is the same as examining the
situation with an opponent.


Posture 9: CLOSE THE DOOR, SHOOTING PALM
This is a method of feigning an attack to lure an opponent in.
In this posture, I first use my elbow to cover the opponents attack then quickly
strike with my palm toward his chest to bait him. This technique is for feigning
an attack to lure the opponent in. I wait for him to block me, and when the
moment is right I will punch him from my other side.

Posture 10: PUNCH FROM THE SIDE
This is a method of attacking an opponent where he is not paying attention.
This posture continues from the previous posture, luring the opponent in to a
hidden punch from the side, exploiting his haste to block and attacking where
he is not paying attention. The left [right] arm fiercely withdraws and the right
[left] arm uses the momentum to sweep across, using the back of the fist to
strike suddenly, just like cannon fire from the side of a battleship.

Posture 11: STEP FORWARD, STOP WITH THE FOREARM
This is a method of warding off an opponents surprise attack.
In this posture, if an opponent comes to attack me by surprise, I then use my

elbow to interrupt his force and cause him to have no chance to invade, and
then I seize the opportunity and make the following posture of Mandarin Duck
Forearms. In the methods of boxing arts, always the aspects of attacking,
defending, advancing, and retreating run through the whole set. You should
consider what the best way to defend is, and then you will have the skill of
overcoming opponents. One who adapts when spotting the right moment that
is a student who is good at making use of opportunity.

Posture 12: MANDARIN DUCK FOREARMS
This is a method of seizing the opportunity of an opponents bad position to

defeat him.
As this posture is called Mandarin Duck Forearms, both arms are at the same
time using an intention of depending on each other. But the body must be lively
and go along with the hand and stepping method, turning and rolling in, the
dynamic like a swimming dragon, deeply entering the opponents space.
Expressing your full power when you do it will ensure you grasp success.


This is a method of feinting above to catch him below.
In this posture, use the left palm to cover the opponents attack and the right
palm to shoot out a strike toward his throat or eyes. If he defends above, I will
catch him below or in his middle, adjusting to the situation and not getting
stuck to a pattern.

Posture 14: BLOCK WITH THE FOREARM
This is a method of withdrawing the body above and below to resist an

opponent.
This posture is a method of guarding the head and blocking the opponent, and is
also a basic defensive posture. The hands go one up and one down as if ripping
silk, with no difference between them in terms power or speed. Only if they are
moving in unison with force applied equally will the defense will be solid.

Posture 15: RAISING PALM TO THE GROIN

This is a method of changing direction to surprise an opponent.
This posture is for making a surprise attack to an opponents lower section,

exemplifying the idea of attacking him where he is unprepared. When the body
turns, the stance goes along with it. It must not be sluggish or you will lose your
chance, which is the gist of boxing arts.

This is a method of feigning a retreat to actually confront.
In this posture, if my palm in the previous posture has been sealed off by the
opponent, I then use my forearm to drive his block away, withdrawing my body
and retreating, waiting for him to attack, then again taking advantage of the
opportunity to attack him.


Posture 17: STEP FORWARD, PASTE UP AN ANNOUNCEMENT
This is a method of advancing with a chasing attack.
In this posture, if the opponent takes advantage of my retreat by taking another

step toward me, I then step forward with my right foot to seal off his left foot,
putting out my left hand to do a receiving block to his arm, my right fist seizing
the opportunity to coil a strike to his ear.

This is a method of closing off an opponent and executing a palm technique.
In this posture, it connects to and employs the previous posture, but varies the
hand technique instead of repeating itself, so as to make the opponent unable to
tell where the attack is coming from. Thus the boxing art earns its designation of
art and its significance is broad.

Posture 19: BLOCK WITH THE FOREARM
This is a method of guarding above and below.
In this posture, if the opponent takes advantage of my unguarded area,

attacking me below, I then dodge to evade it and withdraw my hand to resist
him. What martial arts esteems is self-defense, not ability to attack people. This
is the real intention of physical education.

Posture 20: SLAM THE DOOR SHUT
This is a method of prostrating the opponent.
In this posture, if the opponent attacks my middle, I use my right hand to seal
off his left arm, my left arm taking advantage of the momentum and pushing
down, my body dodging and coiling around behind him. This is what is called
slamming a door shut.


This is a method of preventing a counterattack.
In this posture, the body spins with the dynamic of a swimming fish, the steps
going along with the bodys advance, acheiving a fishs capacity to flip. The
hands coordinate with each other above and below. The eyes keep a watch on
the actions of the opponent. By not losing your opportunities, you will begin to
obtain a standard of skill.

Posture 22: A PALM FROM THE SIDE
This is a method of taking advantage of a gap to strike an opponent.
In this posture, attack the opponent where he does not expect with a rapid
follow-up [to the previous technique], taking advantage of his inattention to
strike him. Although the feet do not leave their location, the body is evasive, and
they go along with it and adjust accordingly. The bodys evasive turn itself is
done by going along with the momentum of the hands. In short, extending,
contracting, evading, and turning all must be continuous rather than a matter of
stops and starts.

Posture 23: ROLLING ELBOW
This is a method of compelling an opponent to retreat.
In this posture, if an opponent is close beside me, a moment when it is best to

fight at close quarters, I right away use my elbow to defeat him, since to throw
out fists or palms would have no effectiveness. This elbow technique has rolling
as its name. When the elbow comes out, focus on using the power of the whole
body to lead the rolling and you will begin to be successful, but the stance must
be stable, for if it is not and lower body is too loose, the whole thing will be in
vain.

Posture 24: GORING ELBOW
This is a method of responding to an opponent by subduing him.
In this posture, if an opponent pounces down from high above, use the elbow to
hold him, conveniently pounding it into his chest. In boxing arts, if you want to
be sure of success and yet you neglect close-in fighting, there will be no way to
win. The use of the elbow, as well as the use of hip, shoulder, or knee are all
related to methods of close-in fighting.


Posture 25: DOUBLE SPREAD & SUSPEND

This is a method of defensively dispelling a threat.
This posture is for resisting above and defending below. For example, if an
opponent uses the technique of Double Sealing Through the Ears to strike to my
temples, I use both hands to spread his and dispel it, and if he then raises a kick
to my groin, I then use both hands to push down and defend against it. This is
an essential method of guarding.

Posture 26: DOUBLE PUSH
This is a method of resisting behind with a surprise attack.
In this posture, if an opponent does a surprise attack from behind, I turn around
to respond to it with both hands propping up his lower abdomen. Applying
power in the heels of the palms will injure his belly. Applying power in the
wrists will collapse him. If this posture is not actually felt, it will be empty. But
when touching, neither drop nor injure your partner. The student must not
lightly try this. Be careful.

Posture 27: TURN AROUND, RAISING TO THE GROIN
This is a method of turning around to counterattack.
This posture connects with the previous posture to be a method of continuously

adjusting to attacking opponents. If you want it to be effective, the body must
turn around smoothly, the mind nimble, the hands fast, without the slightest bit
of difficulty, and then what is in your mind will be realized in your hands.

This is a method of feigning a retreat to ward off an opponent.
In this posture, if the opponent catches my right hand, I use my left forearm to
drive his block away. In the methods of warding off opponents, regardless of
advancing, retreating, extending, or contracting, first neutralize the threat,
otherwise there will be no next step to think about.


In this posture, if an opponent strikes at me above, I do a receiving block to seal

off his hand and send out my right fist to smash across to his temple. But the
stepping of both feet must be lively and should not be stiff, and the steps must
ring around to the outside so the strike will come from the side, otherwise it will
be ineffective.

This is a method of again advancing a step.
This posture is the same as the previous posture but with a different curve.
Although it is similar, it is subtly different and not identical to what came
before. It is good to be able to do things on both sides, but do not fall into a
constant pattern.

Posture 31: HOOK & TRIP
This is a method of chasing the opponent for the third time to overcome him.
.
In this posture, the right hand pulls on the opponents neck while the left hand
hooks his throat, the right leg controls his foot, and the left foot sweeps his leg,
hooking above and tripping below. This not only defeats the opponent, it can
destroy him, and although the technique is like this, it is not the behavior of one
with real skill. To be better than this, you must work hard.

Posture 32: RETREAT, PASTE UP AN ANNOUNCEMENT
This is a method of retreating to defend.
This posture is a method of repeatedly retreating to sustain a defense, so the

opponent cannot get near. In ancient battles, storming fortifications was not
easy, but falling back to defend was especially difficult. If you can advance and
retreat smoothly, then a successful strategy can be carried out.


Posture 33: RETREAT, PASTE UP AN ANNOUNCEMENT
This is a method of stepping repeatedly to defend.
This posture continues the previous postures retreating, and the hands parry no
differently from the advancing version. The footwork must be stable and should
not be disordered, the hand techniques must be quick and should not be
hesitant, the body and mind must be calm and lively and should not be
impetuous or reckless, and then you will have almost got the knack.

Posture 34: TURN AROUND, DOUBLE PUSH
This is a method of mopping up any leftover opponent.
This posture is for turning behind to defend against an opponents surprise

attack, turning around to push with both hands. However that word turning
must be paid careful attention. If the turning is awkward, it will disorient you as
to the four directions, and you will not be able to attend to them, ending up
anxious at having too many things to think about at once.

Posture 35: TURN BACK, DOUBLE PUSH
This is a method of consolidating everything back to the beginning.
This posture is a method of preparing for the closing posture and returning to
your original position, as well as a method of repulsing an opponent.

Posture 36: RETURNING TO TAIJI
This is a method of returning to your original posture.
This posture is the sets ending posture. It is the same as the beginning posture.
There is no ending or beginning, no start or stop, for you have returned to the
Taiji posture. Transform unpredictably this is the meaning of Taiji.
FOOTWORK-TRAINING SET

CHAPTER ONE: INTRODUCTORY MATERIAL

PART 1: OUTLINE OF MARTIAL ARTS ESSENTIALS

1. CHERISHING THE OLD STUFF
From Xiang Kairans Record of What I Have Seen and Heard:

When Qi Jiquang of the Ming Dynasty compiled a new book containing a
section called Boxing Classic, our countrys boxing arts started to have
special books. When I was young I read it and looked at the thirty-two
postures he passed down. There was method but no theory, function but no
form. Expert boxers go through it but nothing in it helps their growth.
Beginners study it but nothing in it dispels their ignorance. Nowadays we use
it to train soldiers, and so we get no subtle wisdom from it.

There are other miscellaneous books scattered around, such as the Record of
Martial Training, inadequately compiled and insufficiently detailed.
Then there are novelists, who frequently exaggerate without foundation to
put out something exciting and they depart far from the reality of boxing arts.
But in modern times, generally such low-class activities as jumping around
and lashing out at others are not what a gentleman of letters engages in, and
so it would not be a part of literature because such men know nothing about it.
Let us cherish the old stuff. It may be a mess full of gaps, but it started a
long time ago.
2. THE ORIGIN AND DEVELOPMENT OF BOXING ARTS
As far as anything to do with the boxing arts, there is not much to be seen in
the classics and histories, nothing that can lead us through its development. To
get carried away with unfounded conclusions would not help the art and
would just make more of a problem.
Generally speaking, human beings in the beginning moved and lived as a
group. In flight, nothing compares to birds. In walking, nothing compares to
beasts. Of their methods of self-defense, let us learn from their wisdom to also
possess their skills, whether it be from the experience of fighting as a group or
in imitating their attributes.
For the propagation of all things, as well as the empowering of villians, the
boxing arts came about. Bows and arrows appeared. Halberds and spears
were made. The wise men of later generations had them made to make up for
what the boxing arts could not do, but when there was no more weapon
fighting, there were boxing arts.
(This theme is continued from the previous piece.)
3. THE LINE BETWEEN NURTURING PEOPLE AND MURDERING PEOPLE
In modern times, the weapons of combat are being refined on a daily basis
and the applicability of boxing arts has had its day. Even if you spend ten
years training the arms, or ten years training the eyes, the strength you
develop may be decorative and health-enhancing, and the speed you develop
may get applauded and envied, and yet for fighting, a puny pistol is perfectly
sufficient.
It is by looking back in history that we can see how our present culture
came about, though few seem to have the care and patience to do so. As for the
goal in encouraging boxing arts nowadays and the specific goal of boxing arts
in the first place, in ancient times boxing arts were for killing people whereas
nowadays they are for nurturing people. For all types of people, the body is
the foundation. Training boxing arts makes the body healthy. When the body
is healthy, the spirit is bold and the will is strong. With a bold spirit and a
strong will, you can do anything in the world. Therefore I relate these things
from my own experience, seeking the practical instead of displaying the
bizarre, so that we can all talk about them.
4. PASSIVE OR ACTIVE STRENGTH
Our nations boxing arts are varied. One province is different from another,
one county is different from another, and one person is different from another.
Each teacher passes on his tradition to his pupils, and each pupil defends what
he has learned. The arts postures that have been transmitted change without
limit, and correct ways and wrong are equally seen. If we cannot assemble the
boxing teachers of the nation and combine their experiences, then we cannot
know the extent of their skills and the good and bad points of their art. But
commonly people talk of the two schools of internal and external. One who has
ability in the internal school is as rare as a phoenix feather or a unicorn horn,
and I do not yet know of anyone. Although the external school has a great
variety, generally speaking it divides into the two branches of passive strength
and active strength. Active strength uses hardness to win. Passive strength
uses softness to win. Each reaches its extreme. Neither is better or worse,
except when discussing how the body is nourished, and then the passive
strength does not compare to the active strength. The passive strength
restrains the body to avoid opponents, with the chest hollowed like a monkeys
and the ribs shrunk in, the energy gathered and strictly confined. The active
strength extends the arms and lengthens the sinews, moving with vigor. To
begin training in the boxing arts these days, surely the active strength is the
suitable one.
5. THE FIVE UNIONS AND THREE HASTENINGS
In boxing, regardless of passive or active energies, the whole body, front and
back, left and right, above and below, all have offensive and defensive
techniques. If that is not the case, then it is an incomplete boxing style. In the
beginning it is necessary to train the boxing postures, and for that you should
know the principles of the five unions and the three hastenings. What are the
five unions? The hands unite with the eyes, the eyes unite with the mind, the
shoulders unite with the waist, the body unites with the step, and the upper
body unites with the lower. What are the three hastenings? The hands hasten,
the body hastens, and the step hastens.
6. AVOID THE DIRECT LINE
In boxing arts, avoiding a direct line of attack is the first essential. There is the
passive energy of hollowing the chest like a monkey or the active energy of
turning the body sideways, both situations which reduce the opponents direct
force.
7. DISCUSSING MOVEMENT
My teacher Wang Zhiqun said: While the opponent does not move, I do not
move. Once the opponent wishes to move, I move before him. Sunzi said:
Stillness like a mountain, then movement like the wind. Be as guarded as a
shy virgin, then shoot out like a bolting rabbit.
8. EXAMINING FORCE
In boxing arts, it is valuable to examine force. Force has two meanings. Where
the self is concerned, it is the storing up of potential. Where the opponent is
concerned, it is the taking advantage of his momentum. A beginner first learns
to store up potential, like a bird of prey about to strike, lowering in its flight
and drawing in its wings, or like a beast of prey about to pounce, coiling in its
claws and bearing its fangs. When taking advantage of his momentum, the
spirit is sure and the eyes are quick, exploiting the moment he is vulnerable,
and yet without long training, you will not be able to do this.
9. FOUR OUNCES MOVES A THOUSAND POUNDS
In comparing successful outcomes in boxing arts, strength is no match for

strategy. Strategy requires well-trained skill. When you can begin to apply this
skill, then you can be successful. If asked if boxing arts emphasize
straightforwardness over ingenuity, I say that not emphasizing stupidity is not
as good as emphasizing intelligence. It is said in the art: Borrow his power and
make use of his momentum. This is the idea of four ounces moves a thousand
pounds. What is meant by four ounces moves a thousand pounds? If a lever
lay flat, the force is in the center [representing a stable opponent]:
F
R
C
E
But when the lever is vertical, the force is all the way at the bottom [representing
an overcommitted opponent]:
FORCE
If two people are fighting and person A attacks as if with a thousand pounds of
brute force which cannot be opposed, person B then only needs to add four
ounces of force to draw As force in, making use of his incoming momentum to
pull him. As force is thus no longer his own. B has borrowed it. Or if A uses a
thousand pounds of force to grab and fiercely pull, B then only needs to add four
ounces of force to send As force away, taking advantage of his momentum to
push him. As force will thus defeat his own balance and topple him back. Also,
if someone stands up straight, his feet stable as a thousand-pound cauldron, you
only need emit a slight force to affect his heels and he will be uprooted. These
examples are what is meant by four ounces moves a thousand pounds.
10. BALANCE
In walking, standing, sitting, or lying down, if it is balanced, you will be stable,

and if not, you will lean. If you are not stable, then all your balance will be
uncentered. When training in southern style boxing arts, for a beginner the best
thing to do is practice the four-equal stance [probably meaning equalized in
all four directions - front, back, left, right - as opposed to leaning in any one
direction, and likely the horse-riding stance is what is indicated] to solidly get a
true rational sense of it. When the four-equal skill has been trained to a deep
level, then when you punch and kick, you move as lightly as an alarmed goose
and yet remain as stable as Mt. Tai. In every movement, move through the use
of your center of weight, and then every direction you go you will be stable. For
ordinary people who do not yet train balance, then beyond walking, standing,
sitting, or lying down, if they want it but do not train a lot, always they will
collapse. Whereas one who practices rowing a boat in turbulent waters, and no
matter how much it is bumped around, it is as though he is walking on a level
road and is not overturned, that one indeed has balance.
11. THE BEST TIMES TO TRAIN
For training in boxing arts, the hottest time of the year and the coldest time of
the year are the best times to train. How so?
In the hottest time of the year, the sun is higher in the sky. As the Earth
approaches the middle of its year, it receives the suns rays more broadly, and
the temperature increases. Human physiology also changes as a result. Notice

that the whole body, skeleton, flesh, and joints, all are looser. Therefore by
training at this time that much extra, your skill will deepen and the result will
surely be profound. The heat also increases flexibility, making it easier to correct
the postures. Furthermore, toxins built up in the organs will be expelled through
the extreme sweating. Summer heat cleanses you. Not only will your skill
become deeper, your body will become healthier.
Also of the greatest effectiveness is the coldest time of the year, when the sun
goes over into the southern sky. When the weather reaches this coldest period,
the whole body, bones and muscle, has an attitude of shrinking away. To train at
this time is also the best time to train. When the body receives severe cold, it
atrophies. You should at this time do extra exercise so the body will have a
heating power which fills the limbs. Although it is the coldest time of the year,
you must still work hard enough to perspire as if it is the hottest time of the
year, thus your body will be strengthened. Not to mention your spirit will be
made abundant and everything you work on will improve, for it is not only the
effects on the body that matter.

PART 2: INSTRUCTIONS IN VERSE
[The structure is only seen in the Chinese text. Naturally no real sense of verse
manifests in the translation.]
Embrace the Taiji sphere and do a chest-level palm.
Stop with the forearm, connect with the fist, then shoot out a palm.
Do a receiving block and go from 6 to 12 oclock, then drive away with the
forearm too.
Hang up the forearm and go from 6 to 12 oclock, then add a shooting palm.
Punch from the side, then stop with the forearm, concealing within.
Advance with mandarin duck forearms and go through the door with a shooting
palm.
Block with the forearm, raise to the groin, then drive away with the forearm too.
Step forward to paste up an announcement before shooting out a palm.
Block with the forearm and shut the door, slamming it shut.
Step forward to paste up an announcement, then send a palm from the side.
Rolling and goring are continuous elbow techniques, then do double spread and
suspend.
Do a double push, then turn around to again raise to the groin.
Retreat and drive away with the forearm, then advance to paste up an
announcement.
Step forward to paste up announcements, then hook and trip violently.
Paste up announcements while retreating on both sides.
Do double pushes, and the Taiji posture is then returned to.

CHAPTER TWO: ILLUSTRATED EXPLANATIONS FOR THE FOOTWORKTRAINING SET

PART 1: DIAGRAM OF THE DIRECTIONS FACED IN PRACTICING THE SET
W | E
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Explanation of the diagram:
When beginning to learn martial arts, you first must remember clearly the
direction being faced, then you can start to practice, and whether you are
reviewing or practicing by yourself, you will not get lost as to where to put your
hands and feet. If you do forget, observe what direction you are facing and you
will easily remember. Therefore in the beginning you must first discern
directions, imagining for example that you are facing east, south, west, or north.
After you have become familiar with them, then it doesnt matter what actual
direction you face. In this boxing set, assume you are going [with the initial
step] from east to west [west to east], facing [in the beginning posture] south
with your back to the north, as in the diagram above [the arrow not indicating
the direction you are facing but merely serving as a general westernized
compass needle].

Explanation of the posture of STANDING AT ATTENTION:
The heels should be standing together on a line with each other, the toes opened
outward about 60 degrees, the legs naturally straight. The upper bodys weight
is evenly distributed on top of the waist, the back straight and slightly inclined
forward, and the shoulders should be level and slighly stretched to the rear. The
arms hang down naturally, the hands stay close to the thighs, and the fingers are
together and slightly bent. The head should be upright and the neck straight.
The mouth should be closed and the breathing done through the nose. The eyes
look level to the south. See photo 1:

PART 2: ILLUSTRATED EXPLANATIONS OF THE TEACHING METHOD

SECTION 1 (The command counts 1 2 3 4):
Posture 1
Name of the technique:
EMBRACING THE TAIJI SPHERE

Function:
The beginning movement is a method of changing from inactivity to activity.
Explanation of the movement:
Hear the command of One! From standing at attention, the whole body not
moving and the eyes still looking to the south, the left arm rises up, forearm
horizontal in front of the chest, palm downward, fingers together and slightly
bent. At the same time, the right arm slightly lifts, forearm horizontal in front of
the navel, fingers together and slightly bent, palm upward. The palms above and
below match each other and the distance between them is about 25cm. The
hands are in a shape like the Taiji sphere. Hence it is called embracing.
For the Taiji posture, see photo 2:
Remarks on the technique:
This posture is the beginning and it accords with a physiological sequence,

preparing the exercises movements. First activate the four limbs, then gradually
go into the trunk. Proceeding in order, go fully into the demands of health, then
onward to practical skill. Use this posture as the beginning of transformation,

concealing within so an opponent can see no opportunity, which is the main
idea in martial arts.
Posture 2
CHEST-LEVEL PALM
Function:
This is a method of resisting to the left and guarding to the right.
Two! From the previous posture, the left foot steps out to the east, the left
knee bending like a bow, the right leg straightening like an arrow. The simple
name is left bow stance, the opposite being right bow stance (or they could be
called forward or backward bow stance), and from now on they will be termed
thus. At the same time, the left palm presses down then pushes horizontally to
the east, the arm raised horizontally to the left, fingertips to the south, palm to
the east, while the right palm props up, (pushing down and propping up
happening at the same time), grasps into a fist, and withdraws in front of the
right ribs, fist center up, the forearm level and bent, elbow pointing to the west.
The eyes follow the left palm to look level to the east. The waist is erect and the
chest sticks. See photo 3:

In this posture, if an opponent is coming forward to attack, his fist rushing

toward me, I do not react until it is the right moment to leave my Taiji posture.
The subtlety lies in one hand propping up and one hand pushing down. Deeply
study this method, repeatedly giving it attention. Chest-Level Palm is a palm
technique for warding away an opponent. Its use is entirely in the heel of the
palm. Employ wrist strength and strike his chest. This is the movement and
posture of this technique. Within this one posture is contained limitless
possibilities. For one who is good at applying it, it is magical.
Posture 3
TURN AROUND, STOP WITH THE FOREARM
Function:
This is a method of dealing with an opponent attacking me from behind by

turning around to ward him off.
Three! From the previous posture, turn the body to the west, the left foot not
leaving its location, the right foot withdrawing a half step, toes touching down,
knee slightly bent. At the same time, the right fist goes from the chest, swinging
horizontally to the west, the fist eye up, the upper arm and lower arm making a
nintey-degree angle. The left arm at the same time goes from above, coiling a
semicircle to the right, the palm guarding in front of the right shoulder, fingers
up, forearm close in front of the chest. The head is turned to the right and the
eyes look level to the west. See photo 4:
This posture is for when an opponent makes a surprise attack behind me which
I turn around to respond to, and when he gets close to my body, I use my
forearm to interrupt his incoming force, causing him to have no gap to invade
through and making my defense solid. I then follow up by seizing the
opportunity to defeat him. This is the skill of turning around to stop an
opponent.
Posture 4

CONNECTING FIST
Function:
This is a method of seizing the opportunity of an opponents incoming force to

connect to him.
Four! From the previous posture, the right foot takes a half step to the west to
make a bow stance. At the same time, the left leg straightens like an arrow, and
so it is called right bow stance, and the right stopping elbow extends to the west
in a punching manner, the fist eye diagonally upward. The left palm still guards
in front of the right shoulder. The waist is erect and the chest sticks out. The
eyes look level to the west. See photo 5:
In this posture, if the opponent extends a fist to strike me, I then connect along
his hand, using my fist to make contact. In this way I beat him at his own game
and make him have no chance or room to do anything. In a blink I am in

control. This style has the subtleties of lightning speed.

SECTION 2 (1 2 3 4):
Posture 5
STEP FORWARD, SHOOTING PALM
Function:
This is a method of responding to an opponent from the side, waiting for the
chance and catching him unsuspecting.
One! From the previous posture, the left foot takes a step forward to the south,
making a left bow stance, which is the left leg bent and the right leg straight. At
the same time, the right fist becomes a palm, goes horizontally forward to
capture, coiling a complete circle, and arrives in front of the right ribs, grasping
into a fist, the fist center up. At the same time, the left palm strikes out
horizontally to the south, fingertips to the west, center of the palm to the south,
the arm raised horizontally forward. The eyes look directly south. The waist is
erect and the chest sticks out. See photo 6 [side view]:

In this posture, the hand, eye, body, and stepping methods should all be
coordinated with each other and must not have a single moment of hesitation,
as per the five unions and three hastenings (see Chapter One [Part 1, number
5]). In this posture, the movements of the hands are in unison and cannot have
the error of one being fast while the other is slow. I hope you will realize the
boxing principle.
Posture 6
RECEIVING BLOCK, GOING FROM 6 TO 12 OCLOCK
Function:
This is a method of advancing while doing a receiving block on the left and
striking on the right.

Two! From the previous posture, the right foot then steps out to the south,
making a right bow stance. At the same time, the left palm becomes a fist and
does a receiving block, in this case leading back to be in front of the left
shoulder, level with the left ear, the fist center to the rear. Also at the same time,
the right fist goes from in front of the right ribs and thrusts out to the south,
raised horizontally in front, the fist eye to the east. The eyes look to the fist. The
waist is erect and the chest sticks out. See photo 7 (side view):
In this posture, the left palm does a receiving block to the opponents hand,
while the right fist at the same time comes out with a strike directly forward,
called chest-level 6-to-12-oclock [meaning a straight line] punch. While the
opponent does not move, I do not move. Once the opponent wishes to move, I
move before him. Sunzi said: Stillness like a mountain, then movement like the
wind.
Posture 7
RETREAT, DRIVING AWAY WITH THE FOREARM
Function:
This is a method of luring an opponent to overcommit and using the forearm to

drive him out.
Three! From the previous posture, the right foot takes a step back to the north,
making a left bow stance. At the same time, the right fist turns over upward and
uses the momentum to drop, the left fist nearing over the right arm. The waist is
erect. The eyes look to the south. See photo 8 (side view):
Then the left leg withdraws a half step, knee bent, toes touching down, the right
knee slightly bent, making a T-shape stance, the right fist withdrawing to the
chest, the fist center up. The left arm goes along with the right arms
withdrawing momentum to drive out forward and downward, the fist center
down. The body leans forward, the waist and belly absorbed to the rear, the
chest sticking out. The eyes still look to the south. See photo 9 (side view):

In this posture, I lure the opponent in to make him overcommit and be in a

dangerous position, then take advantage of the opportunity and defeat him. Or
if my arm is sealed off by him, then I use my forearm to drive him away.
Although the arms are one extended and one retracted, they must move with the
whole body, advancing and retreating as one unit for it to be effective. Otherwise
it will be without skill and risky.
Posture 8
HANG UP THE FOREARM, GOING FROM 6 TO 12 OCLOCK
Function:
This is a method of guarding while chasing and striking.
Four! From the previous posture, the left foot takes a half step to the south
and the right foot takes a full step forward, making a right bow stance. At the
same time, the left arm is hung upward in front of the left shoulder, the fist
center to the north, and the right fist thrusts out forward from the chest, raised
horizontally forward, the fist eye down. The waist is erect and the chest sticks
out. The eyes still look to the south. See photo 10 (side view):
In this posture is the skill of chasing and striking. While the opponent does not
move, I also do not move. When I see the opponent wishes to move, I then seize
the opportunity of his incoming force, take advantage of it, and advance to
attack. This is as Sunzi said: Attack where he is not paying attention and where
he is unprepared. When confronted with an attacker, subvert his attack. How?
What a person feels will manifest in all kinds of forms and colors. If he does not
notice it himself but you are aware of it and read him right, then you have
subverted his attack. For example, if you watch another person about to raise a
hand, you can know which hand it will be because his shoulder must first
prepare the action. Or if he wants to converse with someone, you will know who
because his eyes must first establish contact. This is the same as examining the
situation with an opponent.

SECTION 3 (1 2 3 4):
Posture 9
CLOSE THE DOOR, SHOOTING PALM
Function:
This is a method of feigning an attack to lure an opponent in.
One! From the previous posture, the left foot steps forward to the south and
the legs bend, making a horse-riding stance. At the same time, the left arm goes
from in front of the left shoulder downward to the south, level and bent, slightly
curved to the left, the right fist withdrawing to guard the waist. The eyes look to
the south. See photo 11 (side view):
Then the right leg straightens, the left knee still bent, making a left bow stance.
At the same time, the right fist becomes a palm and rushes out to the south,
fingers diagonally upward, the left fist also becoming a palm, and going along
with the right arm, withdrawing downward to guard the right armpit, palm
down. The eyes still look to the south. The chest sticks out and the waist is erect.
See photo 12 (side view):
In this posture, I first use my elbow to cover the opponents attack then quickly
strike with my palm toward his chest to bait him. This technique is for feigning
an attack to lure the opponent in. I wait for him to block me, and when the
moment is right I will punch him from my other side.
Posture 10
PUNCH FROM THE SIDE
Function:
This is a method of attacking an opponent where he is not paying attention.
Two! From the previous posture, the right leg again bends, making a horseriding stance. At the same time, the left palm becomes a fist and sweeps
horizontally to the south, fist eye up, the right palm withdrawing to be in front
of the right ribs, palm up. The eyes look to the left fist. The chest is expanded to
the east and the waist is erect. See photo 13 (side view):
This posture continues from the previous posture, luring the opponent in to a
hidden punch from the side, exploiting his haste to block and attacking where
he is not paying attention. The left [right] arm fiercely withdraws and the right
[left] arm uses the momentum to sweep across, using the back of the fist to
strike suddenly, just like cannon fire from the side of a battleship.
Posture 11
STEP FORWARD, STOP WITH THE FOREARM
Function:

This is a method of warding off an opponents surprise attack.
Three! From the previous posture, the right foot steps out to the south, the
knee bends, the left knee slightly bending, making a sideways horse-riding
stance. At the same time, the right fist coils a semicircle from the right to the
left, arm slightly bent, the elbow coming across in front, the fist eye diagonally
facing up, the left fist becoming a palm to shield in front of the right shoulder.
The body goes along with the step and turns to the left. The upper body is
slightly leaning forward. The eyes look level to the south. See photo 14 (side
view):
In this posture, if an opponent comes to attack me by surprise, I then use my

elbow to interrupt his force and cause him to have no chance to invade, and
then I seize the opportunity and make the following posture of Mandarin Duck
Forearms. In the methods of boxing arts, always the aspects of attacking,
defending, advancing, and retreating run through the whole set. You should
consider what the best way to defend is, and then you will have the skill of
overcoming opponents. One who adapts when spotting the right moment that
is a student who is good at making use of opportunity.
Posture 12
MANDARIN DUCK FOREARMS
Function:
This is a method of seizing the opportunity of an opponents bad position to

defeat him.
Four! From the previous posture, the left foot takes a step forward to make a
half horse-riding stance. At the same time, the left palm coils from below the
right arm and along the right fist to lift up to the south, the right fist becoming a
palm. The upper body follows the momentum and goes along with the step to
roll forward. The fingertips of the left palm are level with the nose. The
fingertips of the left [right] palm are level with the lower jaw. The whole body
inclines to the southeast. The eyes still look forward. See photo 15 (side view):

As this posture is called Mandarin Duck Forearms, both arms are at the same
time using an intention of depending on each other. But the body must be lively
and go along with the hand and stepping method, turning and rolling in, the
dynamic like a swimming dragon, deeply entering the opponents space.
Expressing your full power when you do it will ensure you grasp success.

SECTION 4 (1 2 3 4):
Posture 13
Function:
This is a method of feinting above to catch him below.
One! From the previous posture, the right foot steps forward to the south, the
knee bending and the left leg straightening, making a right bow stance. At the
same time, the right palm shoots out diagonally upward to the south, fingertips
lined up with the eyes, palm up, the left palm guarding below the right armpit.
The eyes look level to the south. The waist is erect and the chest sticks out. See
photo 16 (side view):

In this posture, use the left palm to cover the opponents attack and the right
palm to shoot a strike toward his throat or eyes. If he defends above, I will catch
him below or in his middle, adjusting to the situation and not getting stuck to a
pattern.
Posture 14
BLOCK WITH THE FOREARM
Function:
This is a method of withdrawing the body above and below to resist an

opponent.
Two! From the previous posture, both legs bend down to make a horse-riding
stance. At the same time, the left palm goes from below the right armpit to prop
up and guard the head in front of the face, and the right palm grasps into a fist
and coils a semicircle inward to block down to the outside of the right leg, the
fist eye diagonal toward the southwest. The eyes look level to the south. The
body is square to the west. The waist is erect and the chest sticks out. See photo
17 (side view):
This posture is a method of guarding the head and blocking the opponent, and is
also a basic defensive posture. The hands go one up and one down as if ripping
silk, with no difference between them in terms power or speed. Only if they are
moving in unison with force applied equally will the defense will be solid.
Posture 15
RAISING PALM TO THE GROIN
Function:
This is a method of changing direction to surprise an opponent.
Three! From the previous posture, turn the body to the left, the left knee
staying bent, the right leg pressing straight, making a left bow stance. At the
same time, the right fist becomes a palm and goes from the south to the north,
raising up from below, palm up, fingers slightly bent. The left palm comes down
to guard in front of the right shoulder. The body is square to the north. The eyes
also look level to the north. See photo 18 (side view):
This posture is for making a surprise attack to an opponents lower section,

exemplifying the idea of attacking him where he is unprepared. When the body
turns, the stance goes along with it. It must not be sluggish or you will lose your
chance, which is the gist of boxing arts.
Posture 16
Function:

This is a method of feigning a retreat to actually confront.
Four! From the previous posture, the left foot withdraws a half step, toes
touching down, the right leg squatting down. At the same time, the right palm
grasps into a fist and withdraws in front of the ribs, the left palm becoming a fist
and going along the right arm to the north, rushing out diagonally downward to
be level with the left knee, the fist eye diagonally upward. The waist is erect and
the chest sticks out. The eyes look level to the north. See photo 19 (side view):
In this posture, if my palm in the previous posture has been sealed off by the
opponent, I then use my forearm to drive his block away, withdrawing my body
and retreating, waiting for him to attack, then again taking advantage of the
opportunity to attack him.

SECTION 5 (1 2 3 4):

Posture 17
STEP FORWARD, PASTE UP AN ANNOUNCEMENT
Function:
One! From the previous posture, the right foot takes a step to the north, the
knee bending and the left leg straightening, making a right bow stance. At the
same time, the right fist goes from in front of the ribs to the northwest,
diagonally upward in a winding strike, the fist eye diagonally upward, while the
left fist becomes a palm which goes from the lower front, coiling the wrist, to do
a receiving block and guard in front of the right shoulder, fingertips up. The eyes
look to the right fist. The body is slightly leaning forward. See photo 20 (side
view):

In this posture, if the opponent takes advantage of my retreat by taking another
step toward me, I then step forward with my right foot to seal off his left foot,
putting out my left hand to do a receiving block to his arm, my right fist seizing
the opportunity to coil a strike to his ear.
Posture 18
Function:
This is a method of closing off an opponent and executing a palm technique.
Two! From the previous posture, the body and stance do not change. The right
fist withdraws below the armpit, again becomes a palm, and shoots out
diagonally upward to the north, palm up, fingers together and slightly bent. At
the same time, the left hand goes from in front, winding a full circle, and closes
below the right armpit, palm down. The eyes look to the right palm. See photo
21 (side view):

In this posture, it connects to and employs the previous posture, but varies the
hand technique instead of repeating itself, so as to make the opponent unable to
tell where the attack is coming from. Thus the boxing art earns its designation of
art and its significance is broad.
Posture 19
BLOCK WITH THE FOREARM
Function:
This is a method of guarding above and below.
Three! From the previous posture, both legs bend down, making a horseriding stance, the body square to the east. At the same time, the right palm
withdraws and becomes a fist, taking advantage of the momentum and blocking
outward with the forearm, the fist eye to the east. The left palm props up to
guard the head, palm diagonally upward. The eyes look level to the north. The
waist is erect and the chest sticks out. See photo 22 (side view):

In this posture, if the opponent takes advantage of my unguarded area,

attacking me below, I then dodge to evade it and withdraw my hand to resist
him. What martial arts esteems is self-defense, not ability to attack people. This
is the real intention of physical education.
Posture 20
SLAM THE DOOR SHUT
Function:
This is a method of prostrating the opponent.
Four! From the previous posture, the right foot coils to be in front of the left
foot, toes swinging out, and when the body turns, the left leg follows along,
taking a large step out to the north. The right leg bends deeply and crouches to
the ground, making a left pouncing stance, the body square to the west. At the
same time, the right fist becomes a palm and goes from below to coil upward
and then push down, the left palm at the same time pushing down. The body
slightly leans to the left. The eyes look to the north. The waist is erect and the
chest sticks out. See photo 23 (side view):
In this posture, if the opponent attacks my middle, I use my right hand to seal
off his left arm, my left arm taking advantage of the momentum and pushing
down, my body dodging and coiling around behind him. This is what is called
slamming a door shut.

SECTION 6 (1 2 3 4):
Posture 21
Function:

This is a method of preventing a counterattack.
One! From the previous posture, the left foot coils to be in front of the right
foot, taking a step to the west [south], the body turning to the left. At the same
time, the right foot goes along with the body and coils a half turn, taking a step
to the north, the chest facing to the east. Also at the same time, the left palm
goes from below to coil a full circle in front of the chest as a receiving block,
guarding in front of the right shoulder, and the left [right] palm becomes a fist
and goes from in front of the body, coiling outward to the right and diagonally
upward to do a horizontal strike, the fist eye outward. The eyes look to the
north. The waist is erect. See photo 24 (side view):
In this posture, the body spins with the dynamic of a swimming fish, the steps
going along with the bodys advance, acheiving a fishs capacity to flip. The
hands coordinate with each other above and below. The eyes keep a watch on
the actions of the opponent. By not losing your opportunities, you will begin to
obtain a standard of skill.

Posture 22
A PALM FROM THE SIDE
Function:
This is a method of taking advantage of a gap to strike an opponent.
Two! From the previous posture, the stance does not change. The right fist
withdraws to guard in front of the right ribs. At the same time, the left palm uses
the momentum to brace out to the north, the upper body going along with the
momentum and turning to the left [right], the stance below making a right
twisting stance [meaning a bow stance with the opposite arm forward]. The eyes
look to the palms fingertips, which are slanted upward, the center of the palm
to the north. See photo 25 (side view):

In this posture, attack the opponent where he does not expect with a rapid
follow-up [to the previous technique], taking advantage of his inattention to
strike him. Although the feet do not leave their location, the body is evasive, and
they go along with it and adjust accordingly. The bodys evasive turn itself is
done by going along with the momentum of the hands. In short, extending,
contracting, evading, and turning all must be continuous rather than a matter of
stops and starts.
Posture 23
ROLLING ELBOW
Function:
This is a method of compelling an opponent to retreat.
Three! From the previous posture, the right leg straightens and the left leg
bends. At the same time, the right arm bends and uses the elbow to roll to the
left, the left palm guarding above the right fist. The upper body goes along with
the elbows momentum, fiercely rolling to the left, the stance below making a
twisting stance. The eyes also follow the elbow and look level to the south. See

In this posture, if an opponent is close beside me, a moment when it is best to

fight at close quarters, I right away use my elbow to defeat him, since to throw
out fists or palms would have no effectiveness. This elbow technique has rolling
as its name. When the elbow comes out, focus on using the power of the whole
body to lead the rolling and you will begin to be successful, but the stance must
be stable, for if it is not and lower body is too loose, the whole thing will be in
vain.
Posture 24
GORING ELBOW
Function:
This is a method of responding to an opponent by subduing him.

Four! From the previous posture, the left leg straightens and the right leg
bends, the location of the feet not changing, only the toes turning while the legs
straighten and bend. At the same time, the right elbow gores high upward to the
north, the left palm propping up and protecting the right fist, the upper body
turning [to the right], leaning to the left side. The head goes along with the
elbows momentum, turning to the right to face up, eyes looking to the elbow.
See photo 27 (side view):
In this posture, if an opponent pounces down from high above, use the elbow to
hold him, conveniently pounding it into his chest. In boxing arts, if you want to
be sure of success and yet you neglect close-in fighting, there will be no way to
win. The use of the elbow, as well as the use of hip, shoulder, or knee are all
related to methods of close-in fighting.

SECTION 7 (1 2 3 4):
Posture 25
DOUBLE SPREAD & SUSPEND
Function:
This is a method of defensively dispelling a threat.
One! From the previous posture, the left foot steps out to the north. Both legs
bend down, making a horse-riding stance. The waist is erect and the chest sticks
out. At the same time, the arms go up, separating to the sides, palms diagonal to
the east, the whole body square to the east. See photo 28 (side view):
Then the palms go from above, passing in front of the chest, to push down. The
body and stance do not change, but the legs sink slightly lower. See photo 29
(side view):

This posture is for resisting above and defending below. For example, if an
opponent uses the technique of Double Sealing Through the Ears to strike to my
temples, I use both hands to spread his and dispel it, and if he then raises a kick
to my groin, I then use both hands to push down and defend against it. This is
an essential method of guarding.
Posture 26
DOUBLE PUSH
Function:
This is a method of resisting behind with a surprise attack.
Two! From the previous posture, the right foot steps from the east out to the
west, the knee bending and the left leg straightening, making a right bow stance.
At the same time, the arms turn over and move together, using both palms to
push out to the east [west], fingertips diagonally downward, palms upward. At
the same time, the body goes along with the footwork, turning around to the
right rear. The waist is erect and the chest sticks out. The eyes look level to the
west. See photo 30:
In this posture, if an opponent does a surprise attack from behind, I turn around
to respond to it with both hands propping up his lower abdomen. Applying
power in the heels of the palms will injure his belly. Applying power in the
wrists will collapse him. If this posture is not actually felt, it will be empty. But
when touching, neither drop nor injure your partner. The student must not
lightly try this. Be careful.
Posture 27
TURN AROUND, RAISING TO THE GROIN
Function:
This is a method of turning around to counterattack.

Three! From the previous posture, the body turns around to the left rear, the
right leg straightening and the left leg bending, making a left twisting stance. At
the same time, the right palm goes below to the east as a raising palm, the left
palm guarding over the right arm. The chest sticks out. The eyes look level to the
east. See photo 31:
This posture connects with the previous posture to be a method of continuously

adjusting to attacking opponents. If you want it to be effective, the body must
turn around smoothly, the mind nimble, the hands fast, without the slightest bit
of difficulty, and then what is in your mind will be realized in your hands.
Posture 28
Function:

This is a method of feigning a retreat to ward off an opponent.
Four! From the previous posture, the right leg bends and the left foot
withdraws a half step, toes touching down. At the same time, both palms
become fists, the left arm going to the lower front to drive away with the
forearm, the right arm withdrawing to guard beside the right ribs. The eyes still
look to the east. See photo 32:
In this posture, if the opponent catches my right hand, I use my left forearm to
drive his block away. In the methods of warding off opponents, regardless of
advancing, retreating, extending, or contracting, first neutralize the threat,
otherwise there will be no next step to think about.

SECTION 8 (1 2 3 4):
Posture 29
Function:
One! From the previous posture, the left foot steps out to the south, then the
right foot follows along and steps out, the knee bending and the left leg
straightening, making a right bow stance. At the same time, the left fist becomes
a palm and the forearm goes from the left to coil a circle to do a receiving block.
At the same time, the right arm extends, going to the south and diagonally
upward to strike horizontally, the fist center upward, the left palm guarding in
front of the right shoulder. The eyes look level to the fist. See photo 33 (right
side view):
In this posture, if an opponent strikes at me above, I do a receiving block to seal
off his hand and send out my right fist to smash across to his temple. But the
stepping of both feet must be lively and should not be stiff, and the steps must
ring around to the outside so the strike will come from the side, otherwise it will
be ineffective.
Posture 30
Function:
This is a method of again advancing a step.
Two! From the previous posture, the right foot moves a step from the east to
the south, then the left foot follows along, advancing a step to the south, the left
knee bending and the right leg straightening, making a right bow stance. At the
same time, the right fist becomes a palm and uses the arm and wrist to go from
the left [right], coiling a circle to do a receiving block. At the same time, the left
palm becomes a fist, extending the arm from the east to the south, going
forward in a horizontal strike to the temple, the right palm guarding in front of
the right shoulder. The left arm is raised diagonally upward. The eyes look to the
fist. The waist is erect and the chest sticks out. See photo 34 (left side view):

This posture is the same as the previous posture but with a different curve.
Although it is similar, it is subtly different and not identical to what came
before. It is good to be able to do things on both sides, but do not fall into a
constant pattern.
Posture 31
HOOK & TRIP
Function:
This is a method of chasing the opponent for the third time to overcome him.
Three! From the previous posture, the right foot takes a half step to the south
and the knee slightly bends. The left foot then sweeps across to the south, toes
hooking inward to trip the opponents foot, the leg straightening. The lower
abdomen is gathered in and the chest sticks out. The eyes look level to the south.
At the same time, the left fist becomes a palm, does a capturing by coiling a
semicircle below the right armpit, becoming a hook, and then the hands both
horizontally plunder to the east and west, the centers of the hands facing north.
See photo 35 (right side view):
In this posture, the right hand pulls on the opponents neck while the left hand
hooks his throat, the right leg controls his foot, and the left foot sweeps his leg,
hooking above and tripping below. This not only defeats the opponent, it can
destroy him, and although the technique is like this, it is not the behavior of one
with real skill. To be better than this, you must work hard.
Posture 32
RETREAT, PASTE UP AN ANNOUNCEMENT
Function:
This is a method of retreating to defend.
Four! From the previous posture, the right foot moves a half step to the north
and the left foot then retreats a step, the leg extending straight while the right
knee bends, making a right bow stance. At the same time, the left hand coils a
semicircle from [toward] the inside to do a receiving block, guarding in front of
the right shoulder, and the right hook becomes a fist and does a horizontal
strike in front, fist center upward. The fist is at eye level. The chest sticks out
and the waist is erect. The eyes look to the fist. See photo 36 (side view):
This posture is a method of repeatedly retreating to sustain a defense, so the

opponent cannot get near. In ancient battles, storming fortifications was not
easy, but falling back to defend was especially difficult. If you can advance and
retreat smoothly, then a successful strategy can be carried out.

SECTION 9 (1 2 3 4):
Posture 33
RETREAT, PASTE UP AN ANNOUNCEMENT
Function:
This is a method of stepping repeatedly to defend.
One! From the previous posture, the left foot first moves a half step, the knee
bending, then the right foot retreats a large step to the north, the leg extending
straight, making a left bow stance. At the same time, the right fist becomes a
palm and coils a semicircle inward to do a receiving block, the left palm
grasping into a fist and going from the outside in a horizontal strike to the
temple. The right palm guards in front of the left shoulder. The fist is at eye
level. The waist is erect and the chest sticks out. See photo 37:
This posture continues the previous postures retreating, and the hands parry no
differently from the advancing version. The footwork must be stable and should
not be disordered, the hand techniques must be quick and should not be
hesitant, the body and mind must be calm and lively and should not be
impetuous or reckless, and then you will have almost got the knack.
Posture 34
TURN AROUND, DOUBLE PUSH
Function:
This is a method of mopping up any leftover opponent.
Two! From the previous posture, the feet do not leave their location but the
toes turn to the north, the right leg bending and the left leg straightening,
making a right bow stance. At the same time, the left fist becomes a palm and
withdraws in front of the belly. The hands come out in unison to push the
opponents lower abdomen, fingertips diagonally downward, palms upward.
The eyes look level to the north. The chest sticks out and the waist is erect. See

This posture is for turning behind to defend against an opponents surprise

attack, turning around to push with both hands. However that word turning
must be paid careful attention. If the turning is awkward, it will disorient you as
to the four directions, and you will not be able to attend to them, ending up
anxious at having too many things to think about at once.
Posture 35
TURN BACK, DOUBLE PUSH
Function:
This is a method of consolidating everything back to the beginning.
Three! From the previous posture, the feet do not leave their location, but the
toes shift to the south, the right leg straightening and the left knee bending,
making a left bow stance. At the same time, the body turns around to the left
rear. The arms go along with the turn, sending the hands to withdraw to the
chest and push out diagonally forward and downward, palms slightly bent and
facing upward, fingertips diagonally downward. The eyes look level to the south.
The chest sticks out and the waist is erect. See photo 39 (side view):

This posture is a method of preparing for the closing posture and returning to
your original position, as well as a method of repulsing an opponent.
Posture 36
RETURNING TO TAIJI
Function:
This is a method of returning to your original posture.
Four! From the preceding posture, the left foot withdraws to be next to the
right foot, making a posture of standing at attention. At the same time, the arms
withdraw, the left arm going across in front of the chest, the center of the palm
down, and the right arm going across over the navel, the center of the palm up.
The hands match each other in front of the chest. It is the same as the posture of
Embracing the Taiji Sphere. The eyes are looking ahead to the south. See photo
40:
When you want to cease the exercise, the arms hang down, returning you to the
posture of Standing at Attention.
This posture is the sets ending posture. It is the same as the beginning posture.
There is no ending or beginning, no start or stop, for you have returned to the
Taiji posture. Transform unpredictably this is the meaning of Taiji.
-

Footwork Training Set Guide

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FOOTWORK-TRAINING SET (LIAN BU QUAN)

HOW TO USE THIS BOOK

- This volume functions according to a teaching procedure. It is divided into two

FOOTWORK-TRAINING SET CONTENTS

How to Use This Book

1. Cherishing the Old Stuff

2. The Origin and Development of Boxing Arts

3. The Line Between Nurturing People and Murdering People

4. Passive or Active Strength

5. The Five Unions and Three Hastenings

6. Avoid the Direct Line

9. Four Ounces Moves a Thousand Pounds

11. The Best Times to Train

The beginning movement is a method of changing from inactivity to activity.

This posture is the beginning and it accords with a physiological sequence,

This is a method of resisting to the left and guarding to the right.

In this posture, if an opponent is coming forward to attack, his fist rushing

This is a method of dealing with an opponent attacking me from behind by

opportunity to defeat him. This is the skill of turning around to stop an

This is a method of seizing the opportunity of an opponents incoming force to

called chest-level 6-to-12-oclock [meaning a straight line] punch. While the

This is a method of luring an opponent to overcommit and using the forearm to

In this posture, I lure the opponent in to make him overcommit and be in a

This is a method of guarding while chasing and striking.

This is a method of feigning an attack to lure an opponent in.

This is a method of attacking an opponent where he is not paying attention.

This is a method of warding off an opponents surprise attack.

In this posture, if an opponent comes to attack me by surprise, I then use my

This is a method of seizing the opportunity of an opponents bad position to

This is a method of feinting above to catch him below.

This is a method of withdrawing the body above and below to resist an

This posture is for making a surprise attack to an opponents lower section,

This is a method of feigning a retreat to actually confront.

This is a method of advancing with a chasing attack.

In this posture, if the opponent takes advantage of my retreat by taking another

This is a method of closing off an opponent and executing a palm technique.

This is a method of guarding above and below.

In this posture, if the opponent takes advantage of my unguarded area,

This is a method of prostrating the opponent.

This is a method of preventing a counterattack.

This is a method of taking advantage of a gap to strike an opponent.

This is a method of compelling an opponent to retreat.

In this posture, if an opponent is close beside me, a moment when it is best to

This is a method of responding to an opponent by subduing him.

This is a method of resisting behind with a surprise attack.

This is a method of turning around to counterattack.

This posture connects with the previous posture to be a method of continuously

This is a method of feigning a retreat to ward off an opponent.

This is a method of advancing with a chasing attack.

In this posture, if an opponent strikes at me above, I do a receiving block to seal

This is a method of again advancing a step.

This is a method of retreating to defend.

This posture is a method of repeatedly retreating to sustain a defense, so the

This is a method of stepping repeatedly to defend.

This is a method of mopping up any leftover opponent.

This posture is for turning behind to defend against an opponents surprise

This is a method of consolidating everything back to the beginning.

This is a method of returning to your original posture.

From Xiang Kairans Record of What I Have Seen and Heard:

it to train soldiers, and so we get no subtle wisdom from it.

2. THE ORIGIN AND DEVELOPMENT OF BOXING ARTS