Xingyi

Hand Methods
Piguaquan
literally chop-hanging fist, also known as Piguazhang , "chop-hanging palm") due to its
emphasis on palm techniques, is often practiced along with Bajiquan , literally "eight
extremes fist") and is a style of wushu (Chinese martial arts) that features explosive,
long-range power. It originated in Cangzhou, a prefecture in Hebei Province of North
China, but today is also well known in other locales, including Taiwan. Piguaquan's
power is from the accelerational force of the arms which are often in rotation. The hip
movement in Piguaquan is more subtle and gentle compared to Bajiquan, because you
only need enough to guide the big chops whereas in Bajiquan, the hammers, punches,
elbows and swings rely completely on the quick and powerful rotation of the hips, and
sink to bring its power out.
A few years ago in Shanghai, China a foreign martial arts team came to compete and
test their skills against different Chinese martial artists. The leader of the foreign team
wanted to try his skill against the art of Hsing-i chuan. A local Hsing-i Master obliged him.
The challenger was told to punch the Hsing-i Master. He tried but was sent back through
the air several meters when the Hsing-i master touched him with his arm to apparently
block the punch. This event was seen by many and recorded in the Shanghai paper.
What could have caused the challenging martial artist to be sent several meters back by
what appeared to be a mere touch? The answer is Hsing-i. The Hsing-i master
countered the incoming blow with Pi chuan, or splitting fist.
This is the second in a series of articles that shall examine the fundamental principles of
Hsing- I Chuan as taught to me by Mr. Gaofei Yan. This is the Shang Yun Xian /Hebei
method. Now that the foundation has been laid in the first article where wuji and san ti
were discussed as well as their requirements, I will present the first of the five fists and
explain more about the principles that are required in Hsing-i Chuan movement.
The first of the five fists is Pi Chuan. It is referred to as the element metal. It's
characteristic is splitting and it is associated with the lungs. With Pi chuan the chi rises
and falls. But, before I go further into Pi chuan, I need to explain some of the
requirements that all of the fists have in common when in motion. And remember, the
standing requirements of chicken leg, dragon body, bear shoulder, and tiger embrace
are still present. To these requirements we add closing , wrapping, pouncing, stepping,
and shaking.
The aforementioned new requirements, or characteristics, are all a part of the bear/eagle
concept I explained in my first article of this series. As you may recall, the bear is
defensive in nature and saves energy. The eagle is offensive and releases the energy.
To this end, closing and wrapping are associated with bear. Pouncing and stepping are
associated with eagle. Shaking is a characteristic of application. Closing refers to the

legs and hip and the fact that they close in toward the center as you save energy.
Wrapping refers to the arm and torso as it wraps into the center to save energy. These
actions occur simultaneously and in harmony with one another. Together they are bear in
motion. Eagle is shown through pouncing and stepping. As the energy is released and
you move forward in attack, the bear flows into eagle. Pouncing is what the body does. It
is not unlike a cat pouncing on a mouse, quick, agile and ready to change. The stepping
is characteristically very quick and deep. By deep I mean that you will be very close to
your opponent. This type of stepping helps you uproot your opponent by placing your
body, which has good structure, into him. Shaking is the natural result of what happens
when a relaxed, unified body moves quickly within the principles of the internal martial
arts. The tan tien is the origin on the shaking not unlike the handle of a bull whip;
shaking begins here and is transmitted throughout the body. Shaking is seen throughout
the form, not only at the moment of application. Once you have properly positioned
yourself through the closing, wrapping, pouncing and stepping it is time to release
energy into your opponent's center. As you strike you will return your body into the
postural requirements of standing practice. Specifically chicken leg, dragon body, bear
shoulder and tiger embrace. Your posture will be vertical without leaning in any direction.
In terms of application, the shaking takes place as the chicken leg is set and you go into
dragon body. Obviously, this is all done very quickly and smoothly. The power comes
from the movement of the whole body with the assistance of the ground not from any
particular part of the body that may physically touch the opponent. When shaking
relaxation of the whole body is the key point. A relaxed body is much quicker and more
powerful that a tense body.
With this in mind, I would like to share with you a rough translation of an old san xi
Hsing-i classic concerning Pi chuan:

Pi chuan looks like an axe and it belongs to the element of metal

Practice long and well and the chi will go throughout the lungs
This is the first of the five element fists
It creates water and counters wood, this cycle is wonderful

This classic gives some insight into the nature of Pi chuan. The reference to the axe tells
us that Pi chuan appears to be up and down like the swinging of an axe. Pi chuan is the
splitting fist. The Pi chuan is the chi rising and falling. All of the fists are associated with
an element. Pi chuan's is metal. The reference to the lung gives testimony to the health
benefits of Hsing-i. Pi chuan is associated with the health of the lungs. The internal arts
are all good for the health. But, why is a certain fist in Hsing-i associated with a particular
element? Of course, the improved circulation resulting form the standing practice is good
for overall health, but the specific movements of the various fists help internally massage

and stimulate specific organs. This is why after a long period of time a specific organ will
benefit from a particular fist. There are five fists in Hsing-i and Pi chuan is the first. The
last line of the classic refers to the wu xing. Here we can see that all of the fists act in
harmony each creating and destroying another. This is not unlike the child's game of
paper, scissors and rock. Pi chuan creates water refers to tsuan chuan or the drilling fist.
Pi chuan counters wood refers to Peng chuan or the crushing fist.
Now, to actually perform the physical movements of the splitting fist, let's start from the
san ti and take it from there. From the san ti the right arm begins its wrapping by
screwing the fist up and along the center line. The lead hand is drawn back slightly and
rotates inward to cover center. The body is relaxed as energy is saved and the center
line protected. The screwing fist follows center and drills up and along side the other
arm. While all of this was happening the rear leg and hip were simultaneously closing to
save energy also. The rear leg comes into the center and saves energy as it protects the
groin. The body remains straight and does not lean heavily forward or to either side. This
is bear in Pi chuan. The rear leg now leaves center and steps out into the center of the
opponent (visualize if only doing the form). The screwing arm now rises, overturns and
falls into the target thereby splitting its center. As the rear hand has now become the
lead, the lead has now become the rear. You will end up in the san ti posture again. This
is the eagle. An outside observer's perception will end here. I must, however, go into
more detail to explain the details of what happened in terms of requirements and
structure so that you can appreciate what many would dismiss. As the rear leg goes
forward it is in conjunction with the screwing, rising, overturning, and falling of the hand.
As the lead had falls to split, power and balance is maintained by the rear hand as it
pulls back to maintain tigers embrace and aid in the dragon body. Needless to say, for
proper structure, as the lead foot steps and lands quickly one must establish a sound
chicken leg and open the inner thigh. Only then can you issue power by establishing the
dragon body. The requirements for bear shoulder and tiger embrace must also be
fulfilled prior to the issuance of power. If any of these things are missing that I detailed in
the first article of this series, then you will be unable to establish a sound structure and
therefore be unable to issue internal power. You will be force to rely on physical strength.
You will notice as I land and issue power my lead hand goes forward. Be careful not to
allow the body to lean forward with the shoulder to make the lead arm go forward. The
forward motion of the lead hand is generated by the sinking of the body and the dropping
of the lead elbow as the dragon body is put in place. You should read the last sentence
again. This is a very common mistake. I know this from personal experience. When you
look at the photographs and read the explanation try to focus on the requirements and
not so much the actual technical movements. There are several ways to do Pi chuan
and the other fists. The important factor to consider is whether or not the movement is in
harmony with the requirements. In the previous articles I have gone into very minute
detail in terms of how the body should move when executing a particular fist or animal.
Here I have purposely spared you from that type of reading and shall let the emphasis
rest on the requirements and principles that I have already provided you with in this
series of articles. I realize that this forces the reader to think a bit more. I hope that this
burden will stimulate your thought processes. I find that that is how I learn the best.

So, how is this splitting fist different than just taking a big bolo swing at somebody and
cracking him over the head. Well, there are two ways it is different. As I previously
mentioned, there is the health aspect of the structure which promotes and facilitates the
flow of chi through out the body to improve ones health. I know this sounds somewhat
mystical but it is something the you can actually feel. I have felt it personally. It is nothing
special or secret. It is just a matter of realigning and relaxing your body to do what it is
supposed to do. Chi is real and can easily be felt with proper instruction. Now, on a more
combative side, Pi chuan differs from a regular blow in that upon touching the opponent
we are able to read where the opponent's center is and immediately cut his root and
unbalance him. The term fist as it is used in Hsing-i is somewhat of a misnomer. In the
Kai Sai Lien Huan method of Hsing-i as taught to me by Prof. Cravens, we referred to
elements rather than fists to emphasize the over all energy of the action. Classically,
however, the term fist is more common. With that in mind, do not limit yourself to the
actual physical fist itself. In this method of Hsing-i Pi chuan strikes contact the opponent
anywhere from the hand to the elbow. This area is often referred to as the eagle claw.
Now, what happens when you touch the opponent. Remember, Pi chuan is chi rise and
fall. Actually, it is a bit more complicated than that when one uses the Art combatively. Pi
chuan has two vectors of force when applied to an opponent. One is to go forward and
the other is to go down. The actual vector the force will follow is a combination of the two
and depends on the opponent entirely. This is the area of "touch" that Chen Tai chi
people call silk reeling and Hsing-i people call Moso Jing. For example if I feel that my
opponent's energy is rising I will follow him and allow my structure to push him back. I
will go more forward and only slightly down after his root is cut. If I were to go down
immediately this would be fighting his force which is something the internal martial artist
wishes to avoid. If I touch my opponent and I feel that his energy is going down, I will
follow him down and push forward only slightly once his root is cut. But, what is it that
makes me go forward and what makes me go down.? The forward movement of my arm
is generated from the rotation of my body as the dragon body is set. The downward
motion comes from a relaxing of the hip/inner groin and a dropping of the elbow. Bear in
mind, the lead hand must maintain good structure. If it goes limp the chi will not go to the
end of the finger and the body will lose power. Keep in mind that forward and downward
energy can be provided by a difference in size between you and your opponent. If he is
much taller his energy may naturally be downward. If he is much shorter, his energy may
be rising. No matter what the situation, just follow and avoid resisting his force. His body
will determine what ratio of forward to down that you should use. If you and your
opponent are of equal size, the moment of touch shall determine the direction you must
follow and the resulting force you will use. Unless the two of you are perfectly balanced,
he will give you energy to work with. If you are in perfect balance it will be a question of
changeability and the skill you each have in hiding center. As you can see there is an
infinite combination of forward and down depending on the action of the opponent. If I
were to just try to split him down the middle with no consideration for his movement and
energy, I would be relying on nothing more than my physical strength. As you can now
see, this is why Hsing-i is so powerful. We do not project force until the opponent's root
is cut and he is off balance. Then, our strong structure moves into his center and the

results are devastating. Imagine how little force is required to knock down a man who
has already lost his balance. Now, imagine the same man beginning to fall when he is hit
by a car. That is Hsing-i.
When the Art of Hsing-i is used combatively, the term eagle claw is used not only to refer
to the area from the hand to the elbow but it is sometimes used to refer to "touch" like
moso jing. The application of eagle claw, in terms of touch, relies heavily on a screwing
action that takes place on three levels. Actually, one could say that the entire body is
screwing. Remember the chicken leg? It screws into the ground for stability and power.
The torso screws and rotates around the tan tien as the dragon body forms for
centeredness and power. However, some people may miss the fact that the arms also
screw and rotate not only during the form but upon physical contact with the opponent.
The rotation of the arm helps hide our center and to feel the exact location of our
opponent's center. The screwing also assists us in yielding to the opponent's force and
seizing his center by following his force. If we do not rotate the entire body, including the
arm, it is extremely difficult to yield to his force. From a defensive point of view, imagine
your body to be a ball floating in a pool. As your opponent tries to strike your center, the
natural rotation of the ball in water conceals the center thereby protecting it from the
projection. Offensively, the rotation provides a constant updating of information as to the
opponent's intensity, direction and center. With this type of information, the opponent is
unable to hide his intention and his root is easily cut while ours is protected.
Another term used when discussing Hsing-i is thunder sound. As we strike, we exhale
and send chi to the extremities to add power to the movement. This sending of the chi to
the extremities is sometimes referred to as thunder sound because of the noise that one
makes when exhaling. This rushing of the chi to the extremities adds much power and
can only be accomplished after the body is able to reach a high level of relaxation. Also,
the body must be united as one unit and the meridians must be open to accept the flow
of chi. Here is where the standing practice really pays off. As I mentioned in the first
article of this series, standing practice will comprise a very large percentage of your
training. For me it is about 60 %. The standing really increases ones ability to relax and,
once the body is properly aligned, the chi will flow freely and naturally.
Clearly, you can see by now that the focus of my presentation of this Art relies heavily on
principles and structure as opposed to techniques and form. The form is where we put
the principles and structural requirements in place and in motion. The bear/eagle
concept will continue with each of the other four fists. The closing, wrapping, stepping,
pouncing will be seen throughout the Art as will eagle claw and thunder sound.
Remember that bear is protecting the center and saving energy. Eagle is offensive and
projecting energy. All of the action comes from the mind and the requirements are found
in the san ti. This is why san ti is practice is emphasized so much. The requirements
must be second nature so that you can implement them immediately as required. And,
the special way of following and cutting the root of your opponent prior to issuing power
is a great secret that one must develop through contact with as many people as
possible. This is called Moso Jing and merits a life time of study. The next article will

examine Peng chuan, the crushing fist.

Beng Quan
Beng Quan (pinyin romanization) or Peng Ch'uan (Wade-Giles) is the third of five
dynamics or fists in the art of Xingyiquan. Each dynamic consists of a single attack
method and a turn. One normally practices four to five of the attacks, a turn, and the
attacks again. Performing the five fists in this way, in sequence, is called Wuxing or "Five
Forms".
Translated as "crushing" or "smashing" fist, Beng Quan is the most straightforward of the
Xingyi dynamics, performed either as a grasp and strike or as a pair of strikes with the
fist. The strikes are unified with the forward, three-step motion of the body. Two steps
drive the fist forward. The third, or follow-step, brings the body into position for the next
strike. The legs, which are strengthened in standing exercises, santishi, are kept bent
and use the compression and release of the long muscles. The strikes or blows are
driven up in a diagonal from the muscles of the rear foot, through the muscles of the
torso and out the striking arm. This all combines to give Beng Quan a simple and
straightforward power which utilises the entire body's momentum and mass.
This is the third in a series of articles detailing the fundamental principles of the Shang
Yun Xiang/Hebei method af Hsing-i chuan. Specifically, we shall examine beng chuan
also known as the crushing or smashing fist. This fist is associated with the element
wood. In the wu xing it is said to create fire and destroy earth. Beng chuan is the
expansion and contaction of chi and is associated with the health of the liver and
nourishment of the brain.
In form practice, we begin in the san ti posture with the left leg forward. I begin by saving
energy as the right side of the body folds into the center. The right hands screws inward
so that the palm side faces up as the right hip moves in towards the center. The lead
hand draws back and in towards center slightly with the fist facing palm up. The elbows
are down. The body is propelled forward by a strong, screwing push from the rear leg as
the fists pass along center, palm side up. The left foot shall remain the lead foot. The
right fist actually screws as it passes over the left fist and finishes with the thumb side
up. The left fist rotates palm side down by the left hip and counterbalances the action of
the right hand. It should be note that some methods show the left hand at this point with
the palm facing up. I prefer palm down as this is more useful in a combative sense. As
the feet land, the body assumes the postural requirements of chicken leg, dragon body,
bear shoulder, and tiger embrace. To continue the form, merely repeat the above
movements on the opposite side. This fist is executed, in the form, with the left leg
forward the entire time. In application either leg can be forward.
There are several key points to the application of beng chuan that must be emphasized
and pointed out for the reader to gain an appreciation for this fist. Several Hsing-i
Masters have gained great reputations simply by their ability to execute this fist. One of
the most famous was Guo Yun Shen also known as "the divine crushing fist". First I

would like to address the action of the lead hand, whichever it may be. I previously
stated that I prefer the palm side down for form practice for combat. This is because the
lead hand, as it is drawn back, should be grabbing the opponent and pulling him toward
you and helping to break his balance. Let me explain what I mean by pull. I do NOT
mean to just grab and make a committed, unchangeable attempt to out muscle the
opponent and jerk him off his feet. What I mean is that it is likely, considering the
distance between you and your opponent, that your lead hand may be blocking or
otherwise in physical contact with the opponent. By hooking his arm/hand, for example,
and directing his momentum slightly to the side you can help offset his balance and
increase the force of the blow that you deliver by pulling yourself into him. This, in
conjunction with a strong push from the ground, is a lot of centered energy for the
opponent to deal with. If there is nothing there for the hand to grab, for whatever reason,
simply pull it back anyway to aid in the counterbalancing of the dragon body.
One cannot discuss the combative aspect of a fist without examining coverage upon
entry. As I have explained in the previous article in this series, the concept of bear and
eagle is the saving of energy and is defensive in nature (bear) while the releasing of the
energy is offensive (eagle). In beng chuan, the collapsing of the body into its center is
bear. As you can see in the photos, the center is protected as one would enter the critical
distance of the opponent. Critical distance being the distance where he could strike you
before you could react. As you step deeply into him, the posture opens and he his struck
in his center. Now, imagine that all is going well. You attack and have hooked his right
forearm with your lead hand (left). Your are entering protected and it is looking good.
Then, in a fraction of a second, you feel a tremendous surge of power as he tries to pull
back his right arm. Do you let it go? Do you pull harder to the side? Obviously there is no
time to think at this point. Your instinctive reaction will have to do. But, what is the best
course of action to train for situations like this when things do not go as one would like.
The answer is Moso Jing. It is Hsing-i's equivilant to Chen Tai chi's silk reeling or "touch"
as it is generally refered to in the Chinese internal martial arts. In this case, do not resist
the force. Merely follow his energy with your left arm. He wants to pull back forcefully so
let him. He is excpecting resistance. When he finds none and you help direct him off
balance with his own energy, his structure and root will start to collapse. But, what of the
other hand? Well, as this was going on on the left side, the right fist has begun to screw
into the solar plexus of the opponent. You can now feel through the right fist that the
opponent's center is going a bit to his right as a result of his attempted recovery of his
right arm and the following action taken by your left arm. To follow his center you must
adjust by slightly redirectly your right fist to the left and orienting your body to the left by
rotating the tan dien to that direction. If the opponent's center goes way to your left, it
may become necessary to move the toe of your left foot outward to facilitate the attack
on his center without crossing yourself thereby sacrificing your unitary body. That is an
example of how to follow to the opponent's right. Of course you may need to follow in
any direction. Allow me to briefly state that Moso jing can help follow in any direction.
Basically, one must not resist and follow the force while maintaining the structural
requirements. The application of Moso jing in Hsing-i is refered to as eagle claw. I have
just given an example of how to change if he goes to his right. If he rises up then you

can follow upward. I have found that by increasing the screwing action of the rear leg
and slightly tilting the striking fist up to follow can send the opponent off the ground. If
you feel the opponent's center go down then you follow down, not by pointing the fist
down and gaining leverage by raising the shoulder to punch down, but by dropping the
elbow and sinking the body while staying verticle. This is a very important point that
many will miss if you do not practice with a partner. Now, if the opponent shifts his center
to his left you must sense if his shift will be small or great. A small shift can be followed
by a slight rotation of the tan dien and fist. However, a great shift my endanger your wrist
by cocking it too far to the side. If that is the case, one should consider Heng chuan or
crossing fist to follow his center.
When fighting it is not wise to rely on a single strike to end a fight. A characteristic of
beng chuan is the constant expansion and contraction of chi. In application, the Hsing-i
practicioner who attacks, or defends, with beng chuan is like a machine gun. As one fist
fires it reloads the other as you advance into the opponent's center. The firing never
stops.
Like any internal art, you must feel these things. The subtleties are too fine to capture in
words or pictures. That is why I have not included photos of application here. It is
impossible to see and appreciate them in photo. It must be felt.
Zuan Quan
This shall be the fourth installment in my series of articles which presents the Shang Yun
Xiang method of Hsing-i chuan as taught to me by Yan Gaofei. Specifically, I will detail
and discuss the drilling fist, or tsuann chuan. Tsuann chuan is linked to the kidney and is
associated with the element of water. It is said that water can seek and penetrate the
smallest of cracks. This is the way of tsuann chuan. The action of the drilling fist seeks
out the tiniest openings and penetrates to the center. During the form and application of
tsuann chuan, the kidney is massaged and its health thereby enhanced. This is
especially true when the element is performed with great energy. In terms of the wu xing,
tsuann chuan creates beng chuan (wood/crushing) and destroys pao chuan
(fire/pounding).
To perform the tsuann chuan fist we will begin in the san ti posture with the left foot
forward. As you will see, the beginning movements are identical to those of pi chuan.
First the body begins to gather energy by closing into itself. The right fist passes up the
center while screwing clockwise. The hip also closes in at this point. As you can see in
the photo the center is well protected. Step through with the right leg and keep it close to
center. Here you are starting to release the energy. The screwing fist follows a circular
path up along the center and arcs forward with the highest point in the arc being about
face height. As the right fist is rising, the left fist is palm down and going back to a final
resting point near the left hip. This action aids greatly by enhancing the balance of the
body and the power of the strike. As you step through, keep the eyes focused forward.
As the foot lands remember to stay rear weighted. The lead elbow should remain down.
As lead fist reaches its maximum distance, the rear hand should be arriving at the rear

hip. The timing here is important.

So, now you have a basic guide as to the obvious physical movements but what is there
that is not so obvious. To examine this we must discuss the moso jin, or the aspect of
touch as it is used in combative application. First and foremost, I must clarify that
structure is the most important consideration. In the first article of this series I explained
in some detail the concepts of chicken leg, dragon body, tiger's head embrace, and bear
shoulder. If any one of these is not in place, the results will be somewhat less than
optimal. Secondly, you should remain relaxed. With these key points in mind, once you
physically touch the opponent, follow his force and attack his center. For example, when
you touch and you feel him trying force your arm up, follow him up as the screwing
action of the arm finds the opening to center. This is found through the tension is his
body with the aid of your sound structure.
Be careful, however, that you do not try to go deeper into his center by reaching forward
and compromising your balance. The proper way to go deeper forward is by stepping
deeply into him and by rotating the body (dragon body/chicken leg) so that the fist will
move forward. This is a very common mistake. I know because I have made it a lot. The
proper way to follow down is by dropping the lead elbow and the body while remaining
straight. The proper way to follow left/right can be found in the hips. Another thing I
would like to remind you is that when I use the word fist do not take it literally. The fist
can be much more than a clenched hand. In Hsing-i the fist refers to the overall striking
action of the body. The part of my body that strikes an opponent can be a clenched
hand, a forearm, shoulder or my side. There are many variables. What remains constant
are the structural requirements and relaxation.
Tsuann chuan is an interesting fist and, like the others, requires much thought and
practice to receive its benefits. In practicing this fist and you feel like there is no power
look to the ground for the answer. The power of this action should be felt in the rear foot.
If there is no connection between the rear foot and the point of impact then you have a
serious structural problem. The internal arts generate their awesome power from the
lower body and the ground. In the next issue I will present the fourth fist of Hsing-i, pao
chuan also known as the pounding fist.
Hend Quan
This is the final installment of the articles dedicated to documenting the Zhang Yunxian
method of Hsing-i Chuan as taught to me by Yan Gaofei. We began this process last
year with an examination of the San Ti posture and the 6 requirements: chicken leg,
dragon body, bear shoulder, tiger's embrace, eagle claw and thunder sound. Of this
series, the first two articles remain the most important. Those which have followed,
including this one, serve only to show different variations of the circle as applied with
these concepts of structure and alignment. This article shall briefly explain Heng chuan,
the crossing fist. It is associated with the element earth. It's practice is said to benefit the
spleen and stomach. Without strength in these areas, the other elements are weakened.
In the wu xing, heng chuan is created by pao chuan and destroys tsuan chuan.

Let us begin from the san ti posture with the left leg forward. From here, step forward at
a slight angle to the left with the lead leg as you begin to save energy (bear) by
collapsing inward towards center with your right side. As you step forward, the rear foot
pushes from the ground to help you go forward. You continue the strike by extending and
rotating the right arm forward so that the palm side of the fist is facing up. It is important
to have the rear hand pull back simultaneously to add power and balance to the
movement. To continue, save energy by collapsing the left side into center as you bring
the rear foot next to the lead foot. Step out and strike as before to the opposite side.
heng chuan, in the form, strikes with the opposite hand and foot forward. For example,
left foot and right fist forward, right fist and left foot forward. The weight should remain in
the rear leg during this fist. The power of the crossing fist comes from a forward
movement. That is important....the crossing power comes from a whole body movement
forward. To illustrate, lets examine heng chuan with the left foot forward and the right fist
forward. The energy against an opponent is lateral and will knock him to the side hence
the name crossing fist. But, a common mistake is to wind up the upper body and use
your strength to muscle him to the side. The correct way according to the structural
requirements is to rely on the forward movement of the body as the chicken leg,dragon
body, bear shoulder, and tiger embrace are set. While all are essential, the chicken leg
and dragon body are what is most obvious in this movement. When the legs are set and
screwing into the ground, the left kua (inner groin) collapses through relaxation. As a
result, the body naturally turns in such a way that the right fist goes forward as it rotates.
This comes into contact with the opponent. This screwing combined with the forward
momentum is what makes the crossing fist.
Now, you can see the basic concepts of the way inwhich power is generated in heng
chuan. As in all internal arts, we must examine how the force is followed to attach the
energy properly. This is the requirement of eagle claw. Upon contact we must seek to
avoid force against force. We shall also seek the opponent's center as the target for our
projection. If one feels the force coming directly at our body, it is easy enough to follow
his force and attack from the side. If the opponent's force is rising towards us, we should
relax into our structure and follow it force and deliver it back into him through the circle. If
his force is dropping down, the same principle applies etc. etc..
Clearly, Hsing-i is one of the three main internal arts which come from China. One of the
characteristics that makes it an internal art is the circling of force back into the opponent
through a reliance on its structure and relaxation. While the circles are not as obvious an
they are in Tai chi, they are the none the less. In fact, the five fists I have been writing
about for the past year are nothing more than expressions of the structure moving in five
different circles. If you can understand that, then your understanding of this art is deeper
than many practitioners who train the art in the external way. In closing, I hope that the
reader has gained a little insight into this wonderful art. I urge you all to remember that
structure and alignment are the key to this and all internal arts. It is only through proper
structure and alignment can one learn to truly relax and practice the internal arts as they
where meant to be practiced. A goal which I am pursuing myself.

Stances - These are different Stances used in Xingyiquan, and that can help to develop
Xingyi all together.
- Ma Bu
Ma Bu, known as horse stance or horse-riding stance, is a fundamental stance found
in nearly all styles of wushu. In actual attack and defense, Ma Bu is sometimes viewed
as a transitional stance, from which a practitioner may quickly switch to other stances.
The stance typically begins with the feet a shoulder-width apart. The feet are parallel,
straight forward, and the knees are bent at 90 degrees. The torso sinks down as if
following a plum line and the sacrum curves forward and in or arches. Equal weighting
(50-50) is given to each foot, making for a very stable stance. Ma Bu is frequently used
for conditioning and building up knee strength. Many kung fu masters required students
to be able to hold Ma Bu for at least five minutes before learning the forms of a
style[citation needed].
Different styles of kung fu often teach variations on the horse stance. For instance, in bi
h qun , the knees are bent inward and almost touching, unaligned with the toes.
- Gong Bu
Translated as "bow stance", Gong Bu is also known as "Deng Shan Bu" (mountainclimbing stance) or "Gong Jian Bu" (bow and arrow stance). The lead foot is pointed
straight ahead, with the lead leg bent slightly. The trailing foot is angled outward at a 45
degree angle, with the heel lined up with the heel of the leading foot. The trailing leg can
be held straight or slightly bent. The result is a "lunging" pose. In southern styles, the toe
is if it had stayed in Ma Bu; starting in Ma Bu, the hind leg steps forward and turns while
the front leg stays in the same position. In northern styles, the toe points forward. The
given weighting is 70% on the front foot and 30% on the rear.
In application, it is popularly used for attacking. The structure of the stance partially
protects the groin and allows the martial artist to punch with greater power by driving the
rear leg into the ground. Additionally, the rear leg can be quickly drawn forward for
kicking attacks.
- Xu Bu - Empty Stance
Xu bu the Empty Stance is also known at a Cat Stance in most Japanese martial
arts. It is called an Empty Stance because the front leg is mostly empty of weight. It is
used for retreat, absorbing, evading an attack. Because the front leg does not have
much weight, it can also be used for setting up for a kick.
The weight distribution is about 90-10. The only weight that is in the front foot is the
weight of the leg. The back leg holds the weight of the upper body. The foot needs to
be pointing mostly forward, some people like to point the foot at a 90 to the side. The

problem with this is that at such an angle it is an easy target for taking out ones knee.
Also, in a fight, one does not have good balance or time to adjust the foot so much. If
one were to do several Empty Stancess at a time, such as Repulsing the Monkey in Tai
Ji Quan, it is stepping backwards, it will not give one stopping power in a retreating
stance, and can even hurt the knee.
The knees should be above the feet to keep proper alignment. This also helps prevent
putting weight into the arch of the foot. Practice gripping the ground by lifting the arch of
the foot. Very importantly, the weight should not be felt in the knees, the weight of the
body goes into the ground.
- Pa Bu
Fu Hu Bu is translated as tame the tiger stance. Other names include drop stance or
Pu Bu, flat stance. According to changquan master Yang Jwing-Ming, the stance was
named after a martial artist named Wu Song, who slew a leaping tiger with the stance
during the Song Dynasty.[2] In this position, the martial artist squats on one leg until the
thigh is parallel to the ground and extends the other leg out to the side. Both feet are
parallel and pointing forward, relative to the torso, and like Zuo Pan Bu, the practitioner
faces the opponent with his/her side.
Versatile in application, Fu Hu Bu can be employed for both attack and defense. A
primary application of this stance is defense against high or jumping kicks, as evidenced
in the Taiji technique Strike the Tiger. Baguazhang and Taiji forms also use the stance
for low hand attacks, such as Snake Creeps Down from the Yang-style taijiquan
sequence. With Northern Praying Mantis, Fu Hu Bu is applied in Ba Bu Gan Chan (
, a leaping attack to the opponents ankle with the foot. In traditional changquan
forms, such as Yi Lu Mai Fu, the stance is used to pick up objects from ground for use
as projectiles during combat.
As with Ma Bu, different styles assume Fu Hu Bu in differing ways.
- Zuo Pan Bu
Zuo Pan Bu (interpreted as sitting on crossed legs stance) is known by a number of
names, such as the contemporary wushu cross stance or rest stance. It can be
assumed by beginning in Ma Bu, pivoting counterclockwise on the right toe, and
crouching down with the back straight. The result is a cross-legged stance that can be
used for initiating attacks or defending, while facing the opponent with ones side. The
crossed legs protect the groin from attacks and prepare the practitioner for a side kick.
More importantly, Zuo Pan Bu is the basis for Xie Bu ( literally crab walking), which
is also called clandestine steps. Crab walking is performing by alternating assuming
Zuo Pan Bu and Ma Bu, moving to one side. From Ma Bu, stepping to the side with
either leg effects a transition to Zuo Pan Bu. Using the other leg, the next step to the
side returns the practitioner to Ma Bu and the process iterates. The overall effect is rapid

movement to one side. Nearly all combat applications of Zuo Pan Bu involve Xie Bu to
some degree.
Below is a list of the footwork within Xingyi
- Jin Bu - Advancing step
Step forward with the front foot: Jin Bu is when a forward step is taken with the front foot,
and the back foot just follows and slides forward with the forward momentum. This is a
quick step commonly used in situations that require you to move forward swiftly. Usually
jin Bu does not involve a weight change or a change in stance posture. If the back foot
follows quickly and moves close to the front foot, it will be easy to step forward again
with your front foot. If a second forward step is taken, the sequence is called gen bu, or
following step. Gen bu offers a chance to make a quick and continous forward steps. In
real fighting situations , jin bu and gen bu are used more often than shang bu.
- Tui Bu - Retreating Step
Step back with the back foot - tui bu is when a backward step is taken with the back foot,
and the front foot just follows. Like Jin Bu, it is a quick step, often used in situations
requiring you to move back very quickly. Usually there is no weight in charge or change
in stance posture durring in tui bu.
- Che Bu - Withdrawing Step
Step back with the front foot: Che Bu is a big step, in which the front foot moves back
until it is behind the fixed foot. The moving foot should follow a curved path, moving the
first alongside the fixed foot and then to the back and the side of the fixed foot. Like
Sang Bu, Che bu is a large, slow step. It is used when you need to move back a long
distance.
- Ceshan Bu - Side dodge step
Ceshan bu is a step in which the right foot moves in the right and forward while the left
foot follows, or the left foot follows, or the left foot moves to the left anf forward while the
right foot follows. Ceshan Bu is frequently used for moving quickly to the side.
- Gai Bu - Cover Step
Gai bu, is a step that turns the body slightly so that the side of the body faces slightly
forward. In it, one of the foot is lifted up and moves forward. As it moves, it turns outward
and comes to the rest alongside the fixed foot. Having taken this step, the foot that
moves is placed flat on the ground. Gai bu can result in a rest stance in which most of
the body's weight is on only one leg, or in a cover stance in which the body's weight is
more divided between the two legs. It is a fast, often used step for moving forward and
turning quickly to the side.
- Kou Bu - Buckle Step

Kou Bu is a step in which one foot is moved forward, touches the ground heel first, and
then turns so that the toes face the toes of the other foot. The toes of the toes of the two
feet should be closer to each other than the heels. The knees should be close to each
other and may even touch. Kou Bu is a fast and frequenly used step for turning the body
inward.
- Bai Bu - Swing Step
One foot moves forward then swings to the outside and touches the ground heal-first.
The toes of this foot point outward so that the heels are at the right angles to each
others. Bai bu is a commonly used fast step for turning the body outward.

Xingyiquan Training
San Ti Shi: "Three-Harmony" Standing Exercise
The San Ti Shi is based on the stances used in the Xing Yi exercise which is said to
have originated by General Yue Fei (1103-1142) of the Jin Dynasty or, according to
authentic historical records, by Dai Longbang during the Qing Dynasty (1644-1911), who
passed it on to Li Luoneng, a wushu master in Heibei Province. Using internal strength
cultivated through this Xing Yi exercise, Li managed to conquer every single one of his
adversaries in fighting contests and earned the nickname of Holy Fighter.
Li's style was later known as "neijia," or "internal school of boxing," which lays emphasis
on developing internal strength through exercises. The most basic technique to be
learned by a neijia practitioner is the standing exercise. As a saying among Li's
descendants goes, "The standing exercise is to martial arts what a granary is to food
grains."
The three-harmony standing exercise is explained in some of the writings by neijia
masters, with the main points as follows:
1) Stand upright and turn the body 45 degrees to the right, using both heels as pivots.
Bend both legs slightly so that the knees are directly above the toes. Meanwhile, clench
both hands into fists and place them on the hips with palm side down.
2) As you inhale deeply, bring the right fist up to nose level with the arm held close to the
body and turned externally so that the knuckles of the fist face forward, while the left fist
remains on the hip with the knuckles turned downward.
3) As you exhale, lower the right fist to chest level and, with the left arm drawn close to
the body, bring up the left fist to nose level, unclenching it when it passes over the right
hand.
4) Then move the left foot about two foot lengths to the front and strike out with the left
hand at nose level while unclenching the right fist into a palm and pressing it down to the

right "riyue" point as if to protect the rib cage.

5) As the foot and hand movements are completed at the end of exhalation, both legs
are slightly bent and the bulk of the body weight is on the rear leg, with the left arm bent
at an angle of 135 degrees and the palm facing obliquely downward like a tiger's claw,
that is, with thumb and index finger forming a semi-circle and the other fingers naturally
extended.
6) Keep standing in this position for as long as you don't feel tired. Traditionally, one
would stand for at least three minutes on each foot.
By "three harmonies" we mean, externally, 1) proper alignment between hands and feet
(with fingers above toes); 2) proper alignment between shoulders and hips (also with the
two on a vertical line); and 3) proper alignment between shoulders and hips (also with
the two on a vertical line).
Furthermore, internally the term refers to 1) harmony between mind and will, which
means that only with concentration of mind can you attain a state of tranquility and use
the power of the will; 2) harmony between will and "chi", which means that only by the
power of the will can chi be conducted up and down the body without interruption; and 3)
harmony between chi and force, which means that the internal organs will relax when chi
descends and contract when chi ascends, thus creating a force which, as vividly
described in The Yellow Emperor's Canon of Internal Medicine, "lies hidden as if in a
drawn crossbow and which is capable of displaying the power of a released arrow," a
force that is often effectively used by wushu masters for knocking down their adversaries
and by qigong masters for treating their patients.
In doing this exercise, you are required to keep your head and neck erect as though
something were pulling you up by the hair or a heavy object were resting on the top of
your head. At the same time, you must keep your belly and hips tucked in, so that the
lower dantian will be filled with chi, which, by means of regulated respiration, will flow up
into the upper dantian and down to yongquan (9) points through the Eight Extra
Channels in "large circles" and through the Ren and Du Channels in "small circles."
Regular practice will produce curative effects on such chronic ailments as hypertension,
arteriosclerosis and tachycardia.