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Posted on March 30, 2011 FURTHER WRITINGS OF
SUN LUTANG
– THE XINGYI MANUAL OF
SUN LUTANG
THE BAGUA MANUAL OF
SUN LUTANG
FOOTWORK-TRAINING SET THE TAIJI MANUAL OF
SUN LUTANG
BAGUA SWORD
by Wu Zhiqing
[published by Great East Bookstore, March, 1931] Recent Comments
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[translation by Paul Brennan, March, 2011] May 2015
April 2015
March 2015
– December 2014
November 2014
October 2014
September 2014
AUTHOR’S PREFACE August 2014
June 2014
March 2014
January 2014
December 2013
November 2013
September 2013
August 2013
July 2013
June 2013
Tracing back, Shaolin boxing originated from zen master Damo’s Eighteen Techniques May 2013
April 2013
(namely, the Eighteen Lohan Techniques). Damo passed it down to his disciples, Tan Zong March 2013
and the rest, and they assisted the Tang Dynasty in pacifying Wang Shichong. They were February 2013
thirteen who performed this service, all of them capable with these eighteen techniques, January 2013
December 2012
applying them skillfully and adapting endlessly. Later, the first Song Dynasty emperor, Zhao November 2012
Kuangyin, studied and trained very deeply. Among his skills, he was superb at Thirty-Six Long October 2012
Boxing, Six-Step Monkey Boxing, Decoy Boxing, and so on. After establishing his new September 2012
August 2012
dynasty, he stored his books in the Songshan Shaolin Temple. Later generations transmitted May 2012
the knowledge of the first emperor’s boxing, and so it is known as the Taizu [“first emperor”] March 2012
School. During the Jin and Yuan Dynasties, there was Bai Yufeng, who shaved his head and January 2012
November 2011
became a monk, and truly obtained the Shaolin legacy. He taught his disciple, the monk Jue July 2011
Yuan, who made changes and additions. Eighteen techniques became seventy-two March 2011
techniques. They evolved into new methods and then were consolidated into standard February 2011
patterns, their intricacies blending together, until they reached a peak of form and function. Categories
Then from seventy-two techniques, again more was added and became one hundred Complete Works of Sun Lutang
seventy-three techniques, finally branching into five categories of boxing. The five kinds of Shaolin
converted by Web2PDFConvert.com
boxing are dragon, tiger, leopard, snake, and crane, training spirit, bone, sinew, breath, and Taiji
Uncategorized
power respectively. There was the Han Dynasty physician Hua Tuo’s Five Animal Frolics
Xingyi
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 Meta
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Large and Small Hong Boxing, which has spread all over south-central China [the text
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specifying Shaanxi, Henan, Sichuan, and Hubei-Hunan] and today there are many Entries RSS
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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 school’s 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 Year’s holiday in Shanghai, I was looking through an old chest of
Liu’s notes of instructions and theories for it and also for the Yue school’s 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 volume’s table of lyrics was lost long ago. Nowadays we make note of practical terms,
organizing them into fixed technique names. We have gathered each posture’s 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 Liu’s 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
Author’s 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
exercise’s 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 opponent’s 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 O’CLOCK
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 opponent’s hand, while the right fist
at the same time comes out with a strike directly forward, called “chest-level 6-to-12-o’clock
[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 O’CLOCK
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 opponent’s 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 opponent’s 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 opponent’s 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 opponent’s 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 opponent’s 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 opponent’s 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 body’s advance, acheiving a fish’s 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
body’s 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 opponent’s 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 posture’s 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 opponent’s 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 set’s 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 Kairan’s “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 country’s 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 nation’s 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 art’s 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 monkey’s 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 opponent’s 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
θ
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 A’s
force in, making use of his incoming momentum to pull him. A’s 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 A’s force away, taking advantage of his
momentum to push him. A’s 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 sun’s 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 o’clock, then drive away with the forearm too.
Hang up the forearm and go from 6 to 12 o’clock, 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 FOOTWORK-TRAINING SET
PART 1: DIAGRAM OF THE DIRECTIONS FACED IN PRACTICING THE SET
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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 doesn’t 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 body’s 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
exercise’s 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 out. 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 opponent’s 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 O’CLOCK
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 opponent’s hand, while the right fist
at the same time comes out with a strike directly forward, called “chest-level 6-to-12-o’clock
[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 arm’s 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 O’CLOCK
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 opponent’s 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 horse-riding 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 opponent’s 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 opponent’s 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 opponent’s 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 opponent’s 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 opponent’s 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 horse-riding 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 body’s advance, acheiving a fish’s 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 palm’s 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
body’s 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 elbow’s 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 photo 26 (side view):
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 elbow’s momentum, turning to the right to face up, eyes looking to the elbow. See
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
opponent’s 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 opponent’s 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 posture’s 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 opponent’s 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 opponent’s 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 set’s 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.
Related
FURTHER WRITINGS OF SUN LUTANG
BAFAN BOXING
HAO STYLE TAIJI
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Lian Bu Quan

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FOOTWORK-TRAINING SET (LIAN BU QUAN) Recent Posts

HOW TO USE THIS BOOK

FOOTWORK-TRAINING SET CONTENTS

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

9. Four Ounces Moves a Thousand Pounds

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.

Posture 2: CHEST-LEVEL PALM

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

Posture 3: TURN AROUND, STOP WITH THE FOREARM

Posture 4: CONNECTING FIST

Section 2 (name of the technique / function / remarks on the technique):

Posture 5: STEP FORWARD, SHOOTING PALM

Posture 6: RECEIVING BLOCK, GOING FROM 6 TO 12 O’CLOCK

Posture 7: RETREAT, DRIVING AWAY WITH THE FOREARM

Posture 8: HANG UP THE FOREARM, GOING FROM 6 TO 12 O’CLOCK

This is a method of guarding while chasing and striking.

Section 3 (name of the technique / function / remarks on the technique):

Posture 9: CLOSE THE DOOR, SHOOTING PALM

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

Posture 10: PUNCH FROM THE SIDE

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

Posture 11: STEP FORWARD, STOP WITH THE FOREARM

This is a method of warding off an opponent’s surprise attack.

Section 4 (name of the technique / function / remarks on the technique):

Posture 13: CLOSE THE DOOR, SHOOTING PALM

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

Posture 14: BLOCK WITH THE FOREARM

Posture 15: RAISING PALM TO THE GROIN

This is a method of changing direction to surprise an opponent.

Posture 16: RETREAT, DRIVING AWAY WITH THE FOREARM

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

Section 5 (name of the technique / function / remarks on the technique):

This is a method of advancing with a chasing attack.

Posture 18: CLOSE THE DOOR, SHOOTING PALM

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

Posture 19: BLOCK WITH THE FOREARM

This is a method of guarding above and below.

Posture 20: SLAM THE DOOR SHUT

This is a method of prostrating the opponent.

Section 6 (name of the technique / function / remarks on the technique):

Posture 21: STEP FORWARD, PASTE UP AN ANNOUNCEMENT

This is a method of preventing a counterattack.

Posture 22: A PALM FROM THE SIDE

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

Posture 23: ROLLING ELBOW

This is a method of compelling an opponent to retreat.

Posture 24: GORING ELBOW