Forma Lian Bu Quan

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FOOTWORK-TRAINING SET (LIAN BU QUAN) Posted on March 30, 2011by Paul Brennan

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練步拳FOOTWORK-TRAINING SET

吳志青

by Wu Zhiqing

[published by 大東書局 Great East Bookstore, March, 1931]

[translation by Paul Brennan, March, 2011]

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自序AUTHOR’S PREFACE

溯夫少林拳創始。為達摩禪師之十入手。（卽十八羅漢手是也）達摩旣化其徒曇宗等。佐唐太平王世充。有功者十三人。皆能習此十八手。運用精巧。變化無窮。嗣後宋太祖趙匡胤。研習最深。堪稱此中能者。精三十六長拳。六步猴拳。囮拳等。定鼎以後。庋其書於嵩山少林寺。後世傳習太祖之拳者。稱太祖門。及金元之時。有白玉峯者。剃度入山。實得少林之衣缽。以傳覺遠上人。變化增益。十八手為七十二手。化散為整。錯綜參互。盡其體用。復從七十二手。增為一百七十三手。遂有五拳之流。五拳者。龍虎豹蛇鶴。所以練神骨力氣精者也。蓋漢華陀氏之五禽戲拳。曰虎鹿熊猿鳥。白氏師承其意。改為龍虎豹蛇鶴焉。而與白氏同時之李叟。所傳大小洪拳。陜洛川楚。至今多宗之。Tracing back, Shaolin boxing originated from zen master Damo’s

Eighteen Techniques (namely, the Eighteen Lohan Techniques).

Damo passed it down to his disciples, Tan Zong and the rest, and

they assisted the Tang Dynasty in pacifying Wang Shichong. They

were thirteen who performed this service, all of them capable with

these eighteen techniques, applying them skillfully and adapting

endlessly. Later, the first Song Dynasty emperor, Zhao Kuangyin,

studied and trained very deeply. Among his skills, he was superb at

Thirty-Six Long Boxing, Six-Step Monkey Boxing, Decoy Boxing, and

so on. After establishing his new dynasty, he stored his books in the

Songshan Shaolin Temple. Later generations transmitted the

knowledge of the first emperor’s boxing, and so it is known as the

Taizu [“first emperor”] School. During the Jin and Yuan Dynasties,

there was Bai Yufeng, who shaved his head and became a monk, and

truly obtained the Shaolin legacy. He taught his disciple, the monk

Jue Yuan, who made changes and additions. Eighteen techniques

became seventy-two techniques. They evolved into new methods and

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then were consolidated into standard patterns, their intricacies

blending together, until they reached a peak of form and function.

Then from seventy-two techniques, again more was added and

became one hundred seventy-three techniques, finally branching into

five categories of boxing. The five kinds of boxing are dragon, tiger,

leopard, snake, and crane, training spirit, bone, sinew, breath, and

power respectively. There was the Han Dynasty physician Hua Tuo’s

Five Animal Frolics Boxing, being the tiger, deer, bear, ape, and bird.

Bai transmitted his idea, changing them to dragon, tiger, leopard,

snake, and crane. Contemporary with Bai was Old Li, who taught

Large and Small Hong Boxing, which has spread all over south-

central China [the text specifying 陜 Shaanxi, 洛 Henan, 川 Sichuan,

and 楚 Hubei-Hunan] and today there are many traditions of it.

若本編之練步拳。卽少林五拳之一。龍拳是也。取其神化無窮。在今科學時代。已成過去之名詞。今復更名為練步拳。亦練神練骨之意也。此拳傳自川人武士會會長劉崇峻君。蓋劉君久歷秦隴河洛。探訪名師益友。專研少林五拳。及岳門短打。經三十餘年之旁搜博探。確認此拳為龍拳而無疑。去春同事中央國術館。公餘之暇。以龍拳示我。並述其顛末。余歎未曾前聞。見習一過。覺與他拳相異。且剛柔相濟。無太過亦無不及。恰似黃庭初寫。始信龍拳之神妙也。退而默念此路拳式。簡而明。精而約。不若其他之拳式繁蕪亢長。實可稱為少林上乘之拳法也。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.

今春休暇滬上。檢閱舊篋。得劉君口述大意。及岳門嫡派之聯成拳。加以整理。分別製圖。以期就正於劉君。早付剞劂。公諸同好。使少林之真諦。不為私人所祕。庶以廣流傳於永遠云爾。是為序。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.

十九年三月吳志靑記於海上尚武樓Wu Zhiqing, writing from the Shanghai “Esteeming the Martial”

School, March 1930

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凡例HOW TO USE THIS BOOK

一本編取材少林正宗五拳之龍拳更改。今名為練步拳。此拳為四川廣漢劉崇峻君所傳述。志靑愛而好之。編為教本。以供國術同志參考。茲分二章。第一章。緒論、武術精義概要。第二章。詳解圖說應用教學諸法。- 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.

一本編按教育程序。分二章、四節、九段、三十六式。每段分四式。每式又附以術名、用法、說明、術解、式圖。使學者一目了然。易於練習。- 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.

一本編教授團體操。可參考軍事分排分隊法。- This volume teaches group calisthenics and can be referred to by

the military for training its companies and platoons.

一本編各式有口令。原為初學者便利起見。習熟後可删繁就簡。一氣呵成。以不違古人定法。及近代教育程序為原則。- 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.

一本編假定行拳方位。為初學者便於記憶而設。練熟後則不拘方向。- 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.

一本編謌譜。失傳已久。今按實用名詞。編定術名。集各式術名。編成謌訣。使學者口誦身行。為補助記憶之法也。- 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.

一本編為劉先生得意之看家拳。曾在中央國術館教授全館生員。志靑朝夕研究。一得之愚。編輯成册。供獻國術同志。作為研究資料也可。幷希指正。幸甚。- 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.

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練步拳目次FOOTWORK-TRAINING SET CONTENTS

自序Author’s Preface

凡例How to Use This Book

第一章緒論Chapter One: Introductory Material

第一節武術精義概要Part 1: Outline of Martial Arts Essentials

（一）抱殘守缺1. Cherishing the Old Stuff

（二）拳術源流2. The Origin and Development of Boxing Arts

（三）育人殺人之分野3. The Line Between Nurturing People and Murdering People

（四）陰陽勁4. Passive or Active Strength

（五）五合三催5. The Five Unions and Three Hastenings

（六）避正面6. Avoid the Direct Line

（七）說動7. Discussing Movement

（八）審勢8. Examining Force

（九）四兩撥千斤9. Four Ounces Moves a Thousand Pounds

（十）平均力10. Balance

（十一）練拳黃金時代11. The Best Times to Train

第二節歌訣Part 2: Instructions in Verse

第二章圖說Chapter Two: Illustrated Explanations

第一節行拳方位圖說Part 1: Diagram of the Directions Faced in Practicing the Set

第二節教學法圖說Part 2: Illustrated Explanations of the Teaching Method

第一段術名用法術解Section 1 (name of the technique / function / remarks on the

technique):

第一式懷抱太極Posture 1: EMBRACING THE TAIJI SPHERE

開始動作由無極化太極之法

The beginning movement is a method of changing from inactivity to

activity.

此式開始恰符生理次序準備運動之動作先行四肢而後漸及於軀幹循序漸進極合衞生之需要對於術上之應用以此式為變化之始中藏莫測之機為國術之要旨也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.

第二式平心掌Posture 2: CHEST-LEVEL PALM

此為禦左防右之法This is a method of resisting to the left and guarding to the right.

此式設敵由前直入伸拳衝來不動聲色幾為我太極式所破矣妙處卽在一托一按深望研究斯道三注意焉平心掌為禦敵之掌其功用全在掌根使用腕勁擊敵心房此為技術之動式也一式之中含有無窮之變化在善用者神而明之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.

第三式反身斷肘Posture 3: TURN AROUND, STOP WITH THE FOREARM

設敵攻我後方反身拒敵之法This is a method of dealing with an opponent attacking me from

behind by turning around to ward him off.

此式為敵襲我後方則反身以應之而敵迫近我身以肘斷其來勢使敵無隙可侵則自衞固然後乘機克敵此為翻身斷敵之法術也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.

第四式觸拳Posture 4: CONNECTING FIST

此為順敵來勢以接觸敵之法This is a method of seizing the opportunity of an opponent’s

incoming force to connect to him.

此式設敵伸拳擊來我卽沿接其手以拳觸之此所謂將計就計之法使其無暇囘旋餘地受制於頃刻之間此拳有迅雷不及掩耳之妙用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.

第二段術名用法術解Section 2 (name of the technique / function / remarks on the

technique):

第五式上步搶掌Posture 5: STEP FORWARD, SHOOTING PALM

此為側面應敵伺隙待懈法This is a method of responding to an opponent from the side, waiting

for the chance and catching him unsuspecting.

此式手眼身步法要處處相合不可須臾相拗所謂五合三催是也何謂五合三催之理見「緒論」此式兩手動作均須齊一不能有此快彼遲之弊庶幾於拳理近矣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.

第六式反擒子午Posture 6: RECEIVING BLOCK, GOING FROM 6 TO 12 O’CLOCK

此為進步左擒右擊法This is a method of advancing while doing a receiving block on the

left and striking on the right.

此式左掌反擒敵手右拳隨擒而出擊敵正面名曰平心子午拳敵不動時我不動敵欲動而我先動兵法云其靜如山其動如風是也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.”

第七式退步趕肘Posture 7: RETREAT, DRIVING AWAY WITH THE FOREARM

為誘敵深入以肘逐敵之法This is a method of luring an opponent to overcommit and using the

forearm to drive him out.

此式誘敵使其深入重圍我則乘機以克之又設我臂被敵所封則使趕肘以逐之雖兩臂一伸一縮須與全身進退取一致動作方為有效否則無功而有害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.

第八式挂肘子午Posture 8: HANG UP THE FOREARM, GOING FROM 6 TO 12

O’CLOCK

為護衞追擊法This is a method of guarding while chasing and striking.

此式為追擊之術然敵不動我亦不動觀其欲動我則順其來勢乘機進攻兵法云出其不意攻其無備是也然而攻人者反為人所攻何也夫人心之所欲必現諸形色自己不覺而他人洞若觀火所以反為人攻譬如第他人欲舉何手其肩必預為之準備欲與人談話眼必先注此為觀察敵情之一也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.

第三段術名用法術解Section 3 (name of the technique / function / remarks on the

technique):

第九式封門搶掌Posture 9: CLOSE THE DOOR, SHOOTING PALM

為佯攻誘敵法This is a method of feigning an attack to lure an opponent in.

此式先以肘封敵之門戶迅卽出掌擊敵之胸部以為餌此為佯攻誘敵之法俟其出手防我恰中我邊捶之計矣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.

第十式邊捶Posture 10: PUNCH FROM THE SIDE

為出其不意之法This is a method of attacking an opponent where he is not paying

attention.

此式以上式誘敵暗藏邊捶乘敵忙於招架出其不意左臂猛然收囘右臂乘勢橫掃以拳脊背驟然擊之猶如軍艦上之邊礟猝發也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.

第十一式上步斷肘Posture 11: STEP FORWARD, STOP WITH THE FOREARM

為禦敵襲擊之法This is a method of warding off an opponent’s surprise attack.

此式設敵來襲我則以肘斷其勢使敵無暇可侵則我侵機以使下式之鴛鴦肘蓋拳術路子均係一攻一守一進一退為全套之網領應如何設計防禦及攻克之技術均視當時環境而變化在學者善用時機耳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.

第十二式鴛鴦肘Posture 12: MANDARIN DUCK FOREARMS

此為乘機陷陣克敵法This is a method of seizing the opportunity of an opponent’s bad

position to defeat him.

此式名曰鴛鴦肘卽左右兩臂同時並用挾攻之意惟身體須活潑順乎手步之法旋身滚入勢若游龍深入敵境出全力以制之則勝莫自操矣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.

第四段術名用法術解Section 4 (name of the technique / function / remarks on the

technique):

第十三式封門搶掌Posture 13: CLOSE THE DOOR, SHOOTING PALM

為上佯下取法This is a method of feinting above to catch him below.

此式以左掌封敵之門戶右掌搶出擊敵之咽喉與眼倘敵設防於上我取其下或取其中隨機變化不拘一格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.

第十四式攔肘Posture 14: BLOCK WITH THE FOREARM

為縮身上下抗敵法This is a method of withdrawing the body above and below to resist

an opponent.

此式為護頂攔敵之法亦為守勢之基礎兩手一上一下如撕綿然不分重輕遲鈍只要動作齊一用力均匀則守基自固矣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.

第十五式撩陰掌Posture 15: RAISING PALM TO THE GROIN

為變更方位襲敵法This is a method of changing direction to surprise an opponent.

此式為襲擊敵人下部卽攻其無備之意當身轉變步亦隨之不可遲滯至失機會是為拳術之要旨也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.

第十六式退步趕肘Posture 16: RETREAT, DRIVING AWAY WITH THE FOREARM

為佯退實拒法This is a method of feigning a retreat to actually confront.

此式以上式之掌設被敵所封我則以肘逐之而抽後身退伺迎敵來復再乘勢以攻之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.

第五段術名用法術解Section 5 (name of the technique / function / remarks on the

technique):

第十七式上步加封Posture 17: STEP FORWARD, PASTE UP AN ANNOUNCEMENT

為進步追擊之法This is a method of advancing with a chasing attack.

此式設敵乘我後退再逼一步我卽上右腳封其左腳出左手擒其臂右拳順勢繞擊其耳門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.

第十八式封門搶掌Posture 18: CLOSE THE DOOR, SHOOTING PALM

為封敵運掌法This is a method of closing off an opponent and executing a palm

technique.

此式與上式連環使用為變化之手不落痕蹊使敵莫測其由來則拳術之術字其義廣矣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.

第十九式攔肘Posture 19: BLOCK WITH THE FOREARM

為上下防護法This is a method of guarding above and below.

此式設敵乘虛攻我下部我卽閃身以避之囘手以抗之夫國術貴乎自衞不以攻人為能始達體育之本旨矣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.

第二十式封門大閉Posture 20: SLAM THE DOOR SHUT

此為伏敵之法This is a method of prostrating the opponent.

此式設敵攻我中部我以右手封其左臂而左手卽乘勢下按身體閃開繞過敵後此所謂封門大閉是也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.

第六段術名用法術解Section 6 (name of the technique / function / remarks on the

technique):

第二十一式上步加封Posture 21: STEP FORWARD, PASTE UP AN ANNOUNCEMENT

為防護反擊法This is a method of preventing a counterattack.

此法以身法旋轉勢若游魚步隨身進盡其騰竄之能事手法則出其上下相應之技術眼則監視敵方情形舉動不失其機始可得尺寸之功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.

第二十二式單邊掌Posture 22: A PALM FROM THE SIDE

為乘隙擊敵法This is a method of taking advantage of a gap to strike an opponent.

此式出其不意以連珠法乘懈以擊之步法雖不動而身法一閃亦隨之而變動身閃轉亦隨手勢而行總而言之伸屈閃轉均須一氣到底不卽不離是也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.

第二十三式滚肘Posture 23: ROLLING ELBOW

為迫敵退卻法This is a method of compelling an opponent to retreat.

此式設敵近我身旁利於短兵相接之時當以肘克之因伸出掌失其效用故也此肘以滚命名係出肘時注全力連身帶滚始可制勝惟步武須穩不然一鬆全功盡棄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.

第二十四式頂肘Posture 24: GORING ELBOW

為應敵制敵法This is a method of responding to an opponent by subduing him.

此式設敵由高撲下以肘承之順頂其胸部夫拳術欲操勝算捨短兵肉搏無由成功用肘用膝用臀用肩均係短兵之法也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.

第七段術名用法術解Section 7 (name of the technique / function / remarks on the

technique):

第二十五式雙披挂Posture 25: DOUBLE SPREAD & SUSPEND

此為解危防護法This is a method of defensively dispelling a threat.

此式為上抗下禦例如敵以雙封貫耳擊我太陽穴我以雙披手解之又以腿撩我陰則以雙按手以禦之此為防護之要法也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.

第二十六式雙推Posture 26: DOUBLE PUSH

此為後拒襲擊法This is a method of resisting behind with a surprise attack.

此式設敵由後方襲擊我則轉身以應之雙掌托敵之小腹用掌根勁則傷腹用手腕勁則傾敵此式不著則已著則非跌卽傷學者不可輕試慎之慎之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.

第二十七式轉身撩陰Posture 27: TURN AROUND, RAISING TO THE GROIN

為轉身反攻法This is a method of turning around to counterattack.

此式與上式為連環變化攻敵之法欲其有效須身體轉動自如心靈手快無半點乾澀之狀則得心應手矣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.

第二十八式退步趕肘Posture 28: RETREAT, DRIVING AWAY WITH THE FOREARM

為佯退禦敵法This is a method of feigning a retreat to ward off an opponent.

此式設敵擒住我右手我以左臂肘驅趕之禦敵之法全憑一進一退一伸一縮之間得以化險為夷否則不堪設想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.

第八段術名用法術解Section 8 (name of the technique / function / remarks on the

technique):

第二十九式上步加封Posture 29: STEP FORWARD, PASTE UP AN ANNOUNCEMENT

為進步追擊法This is a method of advancing with a chasing attack.

此式設敵擊我上部我以第拿封其手出右掌橫第其太陽穴惟左右腳步法須活不呆出步處處走外圈由側面而擊之否則無功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.

第三十式上步加封Posture 30: STEP FORWARD, PASTE UP AN ANNOUNCEMENT

此為再進一步之法This is a method of again advancing a step.

此式與上式同功異曲雖是如此然其變化殊妙非比平常皆因其左右逢源不落痕蹊故也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.

第三十一式勾絆Posture 31: HOOK & TRIP

為三追克敵法

This is a method of chasing the opponent for the third time to

overcome him.

此式右手扳敵脖左手勾其頸右腳管其足左腳掃其腿上勾下絆同時.並舉克敵太如於摧枯拉朽法雖如此非有真實功夫者不克臻此學者務宜第之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.

第三十二式退步加封Posture 32: RETREAT, PASTE UP AN ANNOUNCEMENT

此為以退為守之法This is a method of retreating to defend.

此式為步步撤退之法以架為守不為敵所侵自古作戰攻堅不易退守尤難能進退自如則勝算可操矣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.

第九段術名用法術解Section 9 (name of the technique / function / remarks on the

technique):

第三十三式退步加封Posture 33: RETREAT, PASTE UP AN ANNOUNCEMENT

此為步步防守法This is a method of stepping repeatedly to defend.

此式連上式步步撤退而手之招架與進攻無殊而步法須要穩固不宜紊亂手法須要敏捷不宜遲鈍身心須要第靜而活潑不宜浮燥而輕滑庶幾稍得此中三昧矣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.

第三十四式轉身雙推Posture 34: TURN AROUND, DOUBLE PUSH

為肅餘敵法This is a method of mopping up any leftover opponent.

此式為囘顧後方防敵襲擊轉身雙推惟轉字須要十分注意而若轉動不靈則四方空虛不能照顧遂有顧此失彼之虞矣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.

第三十五式返身雙推Posture 35: TURN BACK, DOUBLE PUSH

為鞏固初基法This is a method of consolidating everything back to the beginning.

此式為預備收式返本歸原之法亦為卻敵之一法也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.

第三十六式太極歸真Posture 36: RETURNING TO TAIJI

此為返本歸真法This is a method of returning to your original posture.

此式為拳之終止式亦卽起始無終無始無起無止歸於太極變化莫測此卽太極之意歟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.

-

練步拳

FOOTWORK-TRAINING SET

第一章緒論CHAPTER ONE: INTRODUCTORY MATERIAL

第一節武術精義概要PART 1: OUTLINE OF MARTIAL ARTS ESSENTIALS

一抱殘守缺1. CHERISHING THE OLD STUFF

嘗閱向愷然先生見聞錄。明戚繼光著紀效新書。中列拳經一卷。吾國拳術。始有專書。早歲嘗一讀之。觀其所傳三十二式。有法無理。有用無體。精技擊者閱之。無裨其長。初學者研之。莫發其蒙。當世蓋用之以訓練士卒。故無取乎妙理焉。其他散見於雜書者。如武備志之類。擇焉不精。語焉不詳。而為小說家言者。又往往誕夸不經以衒奇。其離乎拳術之真相遠矣。近世大抵跳竄排撻鹵莽之事。非文人學士之所優焉。不能以文意達其所知。抱殘守缺。支離滅裂。其由來

久矣。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.

二、拳術源流2. THE ORIGIN AND DEVELOPMENT OF BOXING ARTS

蓋拳術之為物。不多見於經史。莫能道其沿革者。穿鑿附會以求之。無益於技術。誠多事耳。大抵人類初生。與羣動同居。飛不如禽。走不如獸。其自衞者。豈徒智哉。蓋亦有其技矣。或以羣鬭之經驗。或師鳥獸之特長。以長百物。以雄醜類。而拳術於是乎興。弓矢出。戈矛成。蓋後世聖人製之。以補拳術之不逮。非械鬭起而後、有拳術也。（此則參看理論篇第一章第一節）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.)

三、育人殺人之分野3. THE LINE BETWEEN NURTURING PEOPLE AND MURDERING

PEOPLE

近世戰鬭之械日精。拳術之用已失。縱使十年練臂。十年練眼。力如賁育。捷若慶忌。以三寸手槍當之足矣。而歷觀物質文明。極端之邦。尚兢兢研求不遑者何也。蓋近世提倡拳術之目的。與拳術最初之目的殊。古之拳術以殺人。今之拳術以育人。人之百為基於其躬。練拳術則身健。身健則魄力雄。意志强。魄力雄、意志强。天下事不足為也。故余之所述者。本諸見聞。求取實用。不張怪誕。以與邦人君子商榷之。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.

四、陰陽勁4. PASSIVE OR ACTIVE STRENGTH

間訪吾國拳術至雜。省與省殊。縣與縣殊。人與人殊。一師各傳其弟子。弟子各守其心得。其傳術之式。變動不拘。美惡並見。不能集海內之拳師而合閱之。則不能知其技之短長。與其術之優劣。惟恆人所言者。為內外兩家。能內家者。如鳳毛麟角。余未之知也。外家雖雜。大抵分陰陽勁之二派。陽勁以剛勝。陰勁以柔勝。各臻其極。無所為優劣也。惟以身體發育而論。則陰勁不如陽勁。陰勁束身以避敵。猴胸短肋。氣歛局緊。陽勁挺膊舒筋。發揚蹈厲。以今日而倡拳術。實以陽勁為宜。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.

五、五合三催5. THE FIVE UNIONS AND THREE HASTENINGS

拳無論陰陽勁。一身之前後左右上下。皆有攻守之手。非然者。為不完全之拳式。初學必演拳式者。欲知其五合三催之理也。何謂五合。手與眼合。眼與心合。肩與腰合。身與步合。上與下合是也。何謂三催。手催、身催、步催、是也。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.

六、避正面6. AVOID THE DIRECT LINE

拳術以避正面攻擊。為第一要義。陰勁之猴胸。陽勁之側身。皆所以殺之正力也。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.

七、說動7. DISCUSSING MOVEMENT

王志羣曰。敵不動時我不動。敵欲動時我先動。兵法云其靜如山。其動如風。守如處女。出如脫兔。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.”

八、審勢8. EXAMINING FORCE

拳術貴審勢。勢之義有二。在己曰蓄勢。在敵曰乘勢。初學者、先學蓄勢。如鷙之將擊。卑飛歛翼。如猛獸之將搏。縮爪張牙。乘勢則神定而眼捷。以待敵隙。非老於技擊者不能也。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.

九、四兩撥千斤9. FOUR OUNCES MOVES A THOUSAND POUNDS

蓋拳術較勝。以蠻力不如以法理。以法理須有精練純熟之工夫。始能運用其巧妙之技術。則勝算可操也。或問拳術尚方不尚巧。我以不尚蠢不如尚智力。術曰、「借人之力。順人之勢。」卽是四兩撥千斤的意思。何謂四兩撥千斤。譬如槓杆平放。力點在中心。

力－θ－點

槓竿直豎。力點在極下。

│

│△力點

若兩人鬭拳。甲方出拳。如有千斤之蠢力衝來。銳不可當。而乙方只須增加四兩引力。順著來勢。向後牽引。則甲方之力。非其所自有。卽為乙方所借矣。或甲方用千斤之力。向懷中猛拉。而乙方亦只須增加四兩送力。順勢推之。則甲方亦必失其重心而倒矣。又如人直立地上。兩腳穩如千斤鑄鼎。亦只須稍出微力。撥其腳踵。其人亦必立覆。是之所謂四兩撥千斤也。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”.

十、平均力10. BALANCE

夫人之行立坐臥。得其平則安穩。失其平則攲斜。而不穩者皆平均力失其中庸所使然也。而練南派拳術。初入門者。以練習四平樁為不二法門。實得科學之真理。然四平工夫。練到深處。伸拳踢腿。輕若驚鴻。穩似泰山。一舉一動。係得重心之運用。則無往而不安穩矣。平常人未曾習練平均力者。除行立坐臥外。欲試非素習之動作。在在均有傾跌之處也。又如習舟楫者。舟行風浪之中。任其顛簸。如履平地。而不傾覆者、何也。蓋得平均力故也。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.

十一、練拳黃金時代11. THE BEST TIMES TO TRAIN

習拳術者。以三伏三九。為練工夫之黃金時代。其說如何。蓋三伏之天。太陽行近赤道。為一年中與地球最接近之期。地球受太陽所罩。則熱度亦因之驟增。而人之生理。亦因之變化。按全部骨骼筋肉。含膠質部分。均有弛懈之象徵。然習練工夫者。在此時期。加工鍛練。則能深入骨髓。其功必深。又因天熱骨柔。易於矯正姿勢。並且內臟所積之老廢物。由汗線盡量而洩。在熱天所受之暑氣。則排除淨盡。不但技術深入骨髓。關係身體之康强。亦有莫大之效用。至三九之天。因太陽離赤道遠。天氣至斯為最寒冷之期。人之全身骨骼筋肉。均有緊縮之象。習工夫者。以此時亦為黃金時代。蓋人身旣受嚴寒而萎縮。當在斯時加工鍛練。則體內熱力。乃充滿四肢。氣候雖至極寒。亦必出汗如瀋。一若三伏時也。然人之體魄因鍛練而强壯。精神因之而充足。事業因之而日進。豈僅關於身體而

已哉。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.

第二節歌訣PART 2: INSTRUCTIONS IN VERSE

[The structure is only seen in the Chinese text. Naturally no real

sense of verse manifests in the translation.]

懷抱太極本心掌斷肘觸拳連掌搶反擒子午趕肘還挂肘子午加搶掌邊捶斷肘暗地藏進步鴛鴦中門搶攔肘撩陰趕肘還上步加封先搶掌攔肘封門又大閉上步加封單邊掌滚頂連肘雙披挂雙推轉身又撩陰

退步趕肘加封進上步加封勾絆急加封退步分左右雙推太極復歸真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.

-

第二章練步拳圖說CHAPTER TWO: ILLUSTRATED EXPLANATIONS FOR THE

FOOTWORK-TRAINING SET

第一節行拳方位圖說PART 1: DIAGRAM OF THE DIRECTIONS FACED IN PRACTICING

THE SET

N

北↑

W 西–|–東 E

|

南S

說明Explanation of the diagram:

初學習國術。首須記淸方位。然後開始練習。或複習時。或自習時。庶不致盲然無所措手足。或偶遺忘。視方向便於追憶。所以初學者。首須識別方位。例如假定東南西北。習熟後。則不拘何方均可。此路拳假定由東往西。面南背北。如上圖。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].

立正式說明Explanation of the posture of STANDING AT ATTENTION:

兩足跟宜在一線上靠攏並齊。兩足尖向外撇開。約六十度。兩腿自然伸直。上體體重平置於腰上。脊背伸直。微向前傾。兩肩宜平。稍向後張。兩臂自然下垂。兩手貼於股際。五指拼攏而微屈。頭宜正。頸宜直。口宜閉。由鼻呼吸。兩眼向南平視。如第一圖。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:

第二節教學法圖說PART 2: ILLUSTRATED EXPLANATIONS OF THE TEACHING

METHOD

第一段口令數一二三四SECTION 1 (The command counts “1… 2… 3… 4…”):

第一式Posture 1

術名Name of the technique:

懷抱太極EMBRACING THE TAIJI SPHERE

用法Function:

開始動作由無極化太極之法。

The beginning movement is a method of changing from inactivity to

activity.

說明Explanation of the movement:

聞令數一。由立正式全身不動。眼仍視南。左臂上提。小臂平舉於胸前。掌心向下。五指拼而微屈。同時右臂微提。小臂平橫於臍前。五指拼而微屈。掌心向上。與左掌心上下相印。中間相距約二十五生的。兩手形似太極。名曰懷抱。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”.

太極定式如第二圖For the Taiji posture, see photo 2:

術解Remarks on the technique:

此式開始。恰符生理次序。準備運動之動作。先行四肢。而後漸及於軀幹。循序漸進。極合衞生之需要。對於技術上之應用。以此式為變化之始。中藏莫測之機。為國術之要旨也。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.

第二式Posture 2


平心掌CHEST-LEVEL PALM

用法Function:

此為禦左防右之法。This is a method of resisting to the left and guarding to the right.


聞令數二。由上式左腳向東出一步。左膝彎似弓。右腳直似箭。簡稱左弓式。反是則稱右弓式。或稱前後弓式。下稱倣此。同時左掌往下按。卽向東平推。左臂平舉於左。指尖向南。掌心向東。右掌卽向上托。（一按一托。同時並舉。）握拳收囘於右肋前。拳心向上。小臂平屈。肘尖正向西。眼卽順左掌平視東方。腰直胸挺。如第三圖。“Two!” From the previous posture, the left foot steps out to the east,

the left knee bending like a bow, the right leg straightening like an

arrow. The simple name is left bow stance, the opposite being right

bow stance (or they could be called forward or backward bow

stance), and from now on they will be termed thus. At the same time,

the left palm presses down then pushes horizontally to the east, the

arm raised horizontally to the left, fingertips to the south, palm to

the east, while the right palm props up, (pushing down and propping

up happening at the same time), grasps into a fist, and withdraws in

front of the right ribs, fist center up, the forearm level and bent,

elbow pointing to the west. The eyes follow the left palm to look level

to the east. The waist is erect and the chest sticks. See photo 3:


此式設敵由前直入。伸拳衝來。不動聲色。幾為我太極式所破矣。妙處卽在一托一按。深望研究斯道。三注意焉。平心掌為禦敵之掌。其功用全在掌根。使用腕勁。擊敵心房。此為技術之動式也。一式之中。含有無窮之變化。在善用者神而明之。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.

第三式Posture 3


反身斷肘TURN AROUND, STOP WITH THE FOREARM

用法Function:

設敵攻我後方。反身拒敵之法。This is a method of dealing with an opponent attacking me from

behind by turning around to ward him off.

說明

Explanation of the movement:

聞令數三。由上式翻身向西。左腳不動。右腳收囘半步。腳尖點地。膝微屈。同時右拳由懷中往西平摔。拳眼朝上。大臂與小臂成曲尺形。左臂同時由上繞半圜向右。而掌卽護於右肩前。指端向上。小臂貼於胸前。頭向右轉。眼平視西。如第四圖。“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:


此式為敵襲我後方。則反身以應之。而敵迫近我身。以肘斷其勢。使敵無隙可侵。則自衞固。然後乘機克敵。此為翻身斷敵之法術也。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.

第四式Posture 4


觸拳CONNECTING FIST

用法Function:

此為順敵來勢以接觸敵之法。This is a method of seizing the opportunity of an opponent’s

incoming force to connect to him.


聞令數四。由上式右腳向西出半步成弓。同時左腳直為箭。稱曰右弓式。右斷肘卽向西伸直。作衝擊之狀。拳眼斜向上。左掌乃護於右肩前。腰直胸挺。眼平視西。如第五圖。“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:


此式設敵伸拳擊來。我卽沿接其手。以拳觸之。此所謂將計就計法。使其無囘旋餘地。受制於頃刻之間。此拳有迅雷不及掩耳之妙用。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.

第二段口令一二三四SECTION 2 (“1… 2… 3… 4…”):

第五式Posture 5


上步搶掌STEP FORWARD, SHOOTING PALM

用法Function:

此為側面應敵。伺隙待懈之法。This is a method of responding to an opponent from the side, waiting

for the chance and catching him unsuspecting.


聞令數一。由上式左腳向正南上前一步。成左弓式。卽左腳彎。右腳直。同時右拳變掌。向前平擄。繞四分之一週。至右肋前。卽握拳。手心向上。同時左掌卽向南平搶出。指端向西。掌心向南。右臂平舉於前。眼向南正視。腰直胸挺。如第六圖。“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]:


此式手、眼、身、步法。要處處相合。不可須臾相拗。所謂五合三催是也。何謂五合三催之理見緒論。此式兩手動作。均須齊一。不能有此快彼遲之弊。庶幾於拳理近矣。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.

第六式Posture 6


反擒子午RECEIVING BLOCK, GOING FROM 6 TO 12 O’CLOCK

用法Function:

此為進步左擒右擊法。This is a method of advancing while doing a receiving block on the

left and striking on the right.


聞令數二。由上式右脚上正南再出一步。成右弓式。同時左掌變拳作擒拿狀。卽向左肩前帶囘。拳與左耳齊。拳心向後。同時右拳由右肋前向南衝出。平舉於前。拳眼向東。眼視拳。腰直胸挺。如第七圖。（側面圖）

“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):


此式左掌反擒敵手。右拳隨擒而出。擊敵正面。名曰平心子午拳。敵不動時。我不動。敵欲動。而我先動。兵法云。其靜如山其動如風是也。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.”

第七式Posture 7


退步趕肘RETREAT, DRIVING AWAY WITH THE FOREARM

用法Function:

為誘敵深入。以肘逐敵之法。

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

forearm to drive him out.


聞令數三。由上式右腳向北。後退一步。成左弓式。同時右拳上翻。乘勢下降。左拳卽靠於右臂上。腰直。眼南視。如第八圖。（側面圖）“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):

同時左腳收囘半步。膝彎。腳尖點地。右膝稍曲。成丁字式。右拳卽收囘於懷中。拳心向上。左臂順右臂收囘之勢。向前下趕出。拳心向下。身向前傾。腰腹後吞。胸挺。眼仍視南。如第九圖。（側面圖）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):


此式誘敵。使其深入重圍。我則乘機以克之。又設我臂被敵所封。則使趕肘以逐之。雖兩臂一伸一縮。須與全身進退。取一致動作。方為有效。否則無功而有害。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.

第八式Posture 8


挂肘子午HANG UP THE FOREARM, GOING FROM 6 TO 12 O’CLOCK

用法Function:

為護衞追擊法This is a method of guarding while chasing and striking.


聞令數四。由上式左腳向南半步。右腳跟蹤再上一步。成右弓式。同時左小臂上挂於左肩前。拳心向北。右拳卽由懷中向南衝出。平舉於前。拳心向下。腰直胸挺。眼仍視南。如第十圖。（側面圖）

“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):


此為追擊之術。然敵不動。我亦不動。觀其欲動。我則順其來勢。乘機進攻。兵法云。出其不意攻其無備是也。然而攻人者。反為人所攻。何也。夫人心之所欲。必現諸形色。自己不覺。而他人則洞若觀火。所以反為人攻。譬如觀他人欲舉何手。其肩必預為之準備。欲與人談話。眼必先注。此為觀察敵情之一也。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.

第三段口令一二三四SECTION 3 (“1… 2… 3… 4…”):

第九式Posture 9


封門搶掌CLOSE THE DOOR, SHOOTING PALM

用法Function:

為佯攻誘敵法。This is a method of feigning an attack to lure an opponent in.


聞令數一。由上式左腳向南上步。兩膝彎成騎馬式。同時左臂由左肩前向南下。平斷。微曲於左。右拳卽收囘。護於腰間。眼視南。如第十一圖。（側面圖）“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):

同時右腳伸直。左膝仍彎成左弓式。同時右拳變掌。搶向南出。指尖斜向上。左拳亦變掌。隨右臂下囘。護於右腋。掌心向下。眼仍視南。胸挺腰直。如第十二圖。（側面圖）

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):


此式先以肘封敵之門戶。迅卽出掌擊敵之胸部以為餌。此為佯攻誘敵之法。俟其出手防我。恰中我邊捶之計矣。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.

第十式Posture 10


邊捶PUNCH FROM THE SIDE

用法Function:

為出其不意之法。This is a method of attacking an opponent where he is not paying

attention.


聞令數二。由上式右腳復彎。成騎馬式。同時左掌變拳。向南橫掃。拳眼向上。右掌卽收囘於右肋前。拳心向上。眼視左拳。胸張向東。腰直。如第十三圖。（側面圖）“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):


此式以上式。誘敵暗藏邊捶。乘敵忙於招架。出其不意。左臂猛然收囘。右臂乘勢橫掃。以拳脊背驟然擊之。猶如軍艦上之邊礟猝發也。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.

第十一式Posture 11


上步斷肘

STEP FORWARD, STOP WITH THE FOREARM

用法Function:

為禦敵襲擊之法This is a method of warding off an opponent’s surprise attack.


聞令數三。由上式右腳向南出一步。膝彎。左膝微彎。成側馬式。同時右拳由右向左繞半圜。臂微曲。以肘橫斷於前。拳眼斜朝上。左拳卽變掌。囘護於右肩前。身軀隨步往左旋轉。上體略向前傾。眼平視南。如第十四圖。（側面圖）“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):


此式設敵來襲我。則以肘斷其勢。使敵無懈可侵。則我乘機以使下式之鴛鴦肘。蓋拳術路子。均係一攻、一守、一進、一退。為全套之網領。應如何設計防禦。及攻克之技術。均視當時環境而變化。在學者善用時機耳。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.

第十二式Posture 12


鴛鴦肘MANDARIN DUCK FOREARMS

用法Function:

此為乘機陷陣克敵法。This is a method of seizing the opportunity of an opponent’s bad

position to defeat him.


聞令數四。由上式左腳上前一步。成半馬式。同時左掌由右臂下沿右拳向南上繞抄。右拳卽變掌。上體順勢隨步滚進。左掌尖與鼻平行。左掌尖與下腭齊。一身傾東南。眼仍視前。如第十五圖。（側面圖）“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):


此式名曰鴛鴦肘。卽左右兩臂同時並用挾攻之意。惟身體須活潑。順乎手步之法。旋身滚入。勢若游龍。深入敵境。出全力以制之。則勝算自操矣。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.

第四段口令一二三四SECTION 4 (“1… 2… 3… 4…”):

第十三式Posture 13



用法Function:

為上佯下取之法。This is a method of feinting above to catch him below.


聞令數一。由上式右腳向南上一步。膝彎。左腳直。成右弓式。同時右掌向南斜上搶出。指尖與眼成平行線。手心向上。左掌囘護於右腋下。眼平視南。腰直胸挺。如第十六圖。（側面圖）

“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):


此式以左掌封敵之門戶。右掌搶出擊、敵之咽喉與眼。倘敵設防於上。我取其下。或取於中。隨機變化。不拘一格。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.

第十四式Posture 14


攔肘BLOCK WITH THE FOREARM

用法Function:

為縮身上下抗敵法。This is a method of withdrawing the body above and below to resist

an opponent.

說明


聞令數二。由上式兩腿下彎。成騎馬式。同時左掌由右腋下托護於頭頂之前面。右掌握由內繞半圜下攔於右腿之外。拳眼斜向西南。眼平視南。身軀面西。腰直胸挺。如第十七圖。（側面圖）“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):


此式為護頂攔敵之法。亦為守勢之基礎。兩手一上一下。如撕綿然。不分輕重遲鈍。動作齊一。用力均匀。則守基自固矣。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.

第十五式Posture 15


撩陰掌RAISING PALM TO THE GROIN

用法Function:

為變更方位襲敵法。This is a method of changing direction to surprise an opponent.


聞令數三。由上式轉身向左。左膝仍彎。右腳蹬直。成左弓式。同時右拳變掌。由南向北下上撩掌心向上。五指微曲。左掌下降。護於右肩前。身軀向北。眼亦朝北平視。如第十八圖。（側面圖）“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):


此式為襲擊敵人下部。此卽攻其無備之意。而身轉變。步亦隨之。不可遲滯。至失機會。是為拳術之要旨也。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.

第十六式Posture 16



用法Function:

為佯退實拒法。This is a method of feigning a retreat to actually confront.


聞令數四。由上式左腳收囘半步。腳尖點地。右腿下蹲。同時右掌握拳。收囘於肋前。左掌卽變拳。沿右臂向北斜下趕出。拳與左膝平行。拳眼斜向上。腰直胸挺。眼平視北。如第十九圖。（側面圖）“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):


此式以上式之掌。設被敵所封。我則以肘逐之。而抽身後退。伺迎敵來。復再乘勢以攻之。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.

第五段口令一二三四SECTION 5 (“1… 2… 3… 4…”):

第十七式Posture 17


上步加封STEP FORWARD, PASTE UP AN ANNOUNCEMENT

用法Function:

為進步追擊之法。This is a method of advancing with a chasing attack.


聞令數一。由上式右腳向北出一步。膝彎。左腳伸直。成右弓式。同時右拳由肋前向西北上斜方繞擊。拳眼斜向上。左拳卽變掌。由前下往上繞腕。作反擒狀。卽護於右肩前。指尖向上。眼視右拳。身稍前傾。如第二十圖。（側面圖）“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):


此式設敵乘我後退。再逼一步。我卽上右腳。封其左腳。出左手擒其臂。右拳順勢繞擊其耳門。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.

第十八式Posture 18



用法Function:

為封敵運掌法。This is a method of closing off an opponent and executing a palm

technique.


聞令數二。由上式身樁不動。右拳收囘於腋下。復變掌。卽向北斜上搶出。掌心向上。五指拼齊。微曲。同時左手由前往繞一周。卽封於右腋下。掌心向下。眼視右掌。如第二十一圖。（側面圖）“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):


此式與上式連環使用。為變化之手。不落恆蹊。使敵莫測其由來。則拳術之術字。其義廣矣。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.

第十九式Posture 19


攔肘BLOCK WITH THE FOREARM

用法Function:

為上下防護法。This is a method of guarding above and below.


聞令數三。由上式兩腿下彎。成騎馬式。身軀朝東。同時右掌抽囘變拳。乘勢向外攔肘。拳眼向東。左掌上托護頂。掌心斜向上。眼向北平視。腰直胸挺。如第二十二圖。（側面圖）“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):


設敵乘虛攻我下部。我卽閃身以避之。囘手以抗之。夫國術貴乎自衞。不以攻人為能。始達體育之本旨矣。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.

第二十式Posture 20


封門大閉SLAM THE DOOR SHUT

用法Function:

此為伏敵之法。This is a method of prostrating the opponent.


聞令數四。由上式右腳繞至左腳前一步站地。腳尖旋轉。左腳隨旋身時。卽向北出一大步。右膝深彎。伏地。成左撲腿式。身軀朝正西。同時右拳變掌。由下往

上繞轉。卽下按伏。左掌同時亦下按。身軀稍左傾。眼視北。腰直胸挺。如第二十三圖。（側面圖）“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):


此式設敵攻我中部。我以右手封其左臂。而左手卽乘勢下按。身體閃開繞過敵後。此所謂封門大閉是也。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.

第六段口令一二三四SECTION 6 (“1… 2… 3… 4…”):

第二十一式Posture 21



用法Function:

為防護反擊法。This is a method of preventing a counterattack.


聞令數一。由上式左腳繞至右腳前。向西出一步。身體向左旋轉。同時右腳順身繞半周。向北出一步。胸脯朝東。同時左掌由下向胸前繞轉一周。作反擒勢。卽護於右肩前。同時左掌卽變拳。由身前向外繞至右斜上方橫擊。拳眼向外。眼視北。腰直。如第二十四圖。（側面圖）“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):


此式以身法旋轉。勢若游魚。步隨身進。盡其騰竄之能事。手法則出其上下相應之技術。眼則監視敵方形情舉動。不失其機。始可得尺寸之功。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.

第二十二式Posture 22


單邊掌A PALM FROM THE SIDE

用法Function:

為乘隙擊敵法。This is a method of taking advantage of a gap to strike an opponent.


聞令數二。由上式步位不動。右拳收囘。護於右肋前。同時左掌乘勢向北撐去。上體順勢向左轉。下步成右拗步。眼視掌指端。斜向上。掌心向北。定式如第二十五圖。（側面圖）“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):


此式出敵不意。以連珠法乘懈以擊之。步法雖不動。而身法一閃。亦隨之而變動。身體閃轉。亦隨手勢而行。總而言之。伸屈閃轉。均須一氣到底。不卽不離是也。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.

第二十三式Posture 23


滚肘ROLLING ELBOW

用法Function:

為迫敵退卻法。This is a method of compelling an opponent to retreat.


聞令數三。由上式右腿伸。左腿彎。同時右臂曲彎。以肘向左滚。左掌卽護於右拳上。上體順肘勢。向左猛滚。下樁成拗步。眼亦隨肘向南平視。定式如第二十六圖（側面圖）“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):


此式設敵近我身旁。利於短兵相接之時。當以肘克之。因伸拳出掌。失其效用故也。此肘以滚命名。係出肘時注全力連身帶滚。始可制勝。惟步武須穩。不然。下部一鬆。全功盡棄。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.

第二十四式Posture 24


頂肘GORING ELBOW

用法Function:

為應敵制敵法。This is a method of responding to an opponent by subduing him.


聞令數四。由上式左腿伸。右腿曲。部位不動。惟兩腳尖轉動。兩腿伸曲。同時

右肘往北向上高頂。左掌托護右拳。上體旋轉。向左側傾。頭順肘勢。卽向右轉仰面向上。眼視肘尖。定式如第二十七圖。（側面圖）“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 photo 27 (side view):


此式設敵由高撲下。以肘承之。順搗其胸部。夫拳術欲操勝算。捨短兵肉搏。無由成功。用肘亦用臂。用肩用膝。均係短兵之法也。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.

第七段口令一二三四SECTION 7 (“1… 2… 3… 4…”):

第二十五式Posture 25


雙披挂

DOUBLE SPREAD & SUSPEND

用法Function:

此為解危防護法。This is a method of defensively dispelling a threat.


聞令數一。由上式左腳向北一步。兩腿下彎。成馬式。腰直胸挺。同時兩臂往上。左右分披開。掌心斜向東。全身面東。如第二十八圖。（側面圖）“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):

同時兩掌由上經胸前下按。身樁不動。兩腿稍下沉。如第二十九圖。（側面圖）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):


此式為上抗下禦。例如敵以雙封貫耳。擊我太陽穴我以雙披手解之。又以腿撩我陰。則以雙按手以禦之。此為防護之要法也。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.

第二十六式Posture 26


雙推DOUBLE PUSH

用法Function:

此為後拒襲擊法。This is a method of resisting behind with a surprise attack.


聞令數二。由上式右腳由東往西出一步。右膝彎。左腳直。成右弓式。同時兩臂翻轉並行。用雙掌向東推出。指端斜向下。掌心仰上。同時身體順步法。右向後轉。腰直胸挺。眼平視西。如第三十圖。“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:


此式設敵由後方襲擊我。則轉身以應之。雙掌托敵之小腹。以用掌根勁則傷腹。用手腕勁則傾敵。此式不著則已。著則非跌卽傷。學者不可輕試。慎之慎之。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.

第二十七式Posture 27


轉身撩陰TURN AROUND, RAISING TO THE GROIN

用法Function:

為轉身反攻法。This is a method of turning around to counterattack.


聞令數三。由上式身向左後轉。右腳伸直。左腳彎曲。成左拗步。同時右掌向東下撩掌。左掌卽護於右膊上。胸挺。眼平視東。如第三十一圖。“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:


此式與上式為連環變化攻敵之法。欲其有效。須身體轉動自如。心靈手快。無半點乾澀之狀。則得心應手矣。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.

第二十八式Posture 28



用法Function:

為佯退禦敵法。This is a method of feigning a retreat to ward off an opponent.


聞令數四。由上式右腳曲。左腳卽收囘半步。腳尖點地。同時左右兩掌卽握拳。左臂向前下趕肘。右臂卽收囘。護於右肋旁。眼仍視東。如第三十二圖。“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:


此式設敵擒住我右手。我以左臂肘驅趕之。禦敵之法。全憑一進一退一伸一縮之間。得以化險為夷。否則不堪設想。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.

第八段口令一二三四SECTION 8 (“1… 2… 3… 4…”):

第二十九式Posture 29



用法Function:

為進步追擊法。This is a method of advancing with a chasing attack.


聞令數一。由上式左腳向南踏出一步。右腳卽跟隨再出一步。膝彎。左腿伸直。成右弓式。同時左拳變掌。小臂由左繞小環一周。似擒拿之狀。同時右臂伸直。卽向南斜上橫擊。拳心仰向。左掌護於右肩前。眼平視拳。如第三十三圖。（右側面圖）“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):


此式設敵擊我上部。我以擒拿封其手。出右拳橫摧其太陽穴。惟左右腳步法須活。不宜呆。出步處處須走外圈。由側面而擊之。否則無效也。

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.

第三十式Posture 30



用法Function:

此為再進一步之法。This is a method of again advancing a step.


聞令數二。由上式右腳由東向南活一步。左腳卽跟隨向南進一步。左膝彎。右腳伸直。成右弓式。同時右拳變掌。用臂腕由左繞一圈作擒拿狀同時左掌變拳伸臂由東向南前橫擊太陽穴。右掌卽護於右肩前。左臂斜上舉。眼視拳。腰直胸挺。如第三十四圖。（左側圖）“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):


此式與上式同功異曲。雖是如此。然其變化殊妙。非比平常。皆因其左右逢源。不落恆蹊故也。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.

第三十一式Posture 31


勾絆HOOK & TRIP

用法Function:

為三追克敵法。This is a method of chasing the opponent for the third time to

overcome him.


聞令數三。由上式右腳向南出半步。膝稍彎。左腳卽向南橫掃。腳尖往內勾絆敵足。腿伸直。小腹歛。胸挺。眼平視南。同時左拳變掌。反擒繞半環於右腋下。卽變勾同時兩手各向東西平擄。掌心朝北。如第三十五圖。（右側圖）“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):


此式右手扳敵脖。左手勾敵頸。右腳管敵足。左足掃敵腿。上勾下絆。同時並舉克敵。尤易於摧枯拉朽。法雖如此。非有真實功夫者。不克臻此學者宜勉之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.

第三十二式Posture 32


退步加封RETREAT, PASTE UP AN ANNOUNCEMENT

用法Function:

此為以退為守之法。This is a method of retreating to defend.

說明


聞令數四。由上式右腳活半步向北。左腳同時倒退一步。腿伸直。右膝彎。成右弓式。同時左手由內繞半環反擒。護於右肩前。右勾卽變拳。橫擊於身前。手心仰上。拳與眼平。胸［挺腰直。］眼視拳。如第三十六圖。（側面圖）“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):


此式為步步撤退之法。以架為守。不為敵所侵。自古作戰。攻堅不易。退守尤難。能進退自如。則勝算可操矣。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.

第九段口令一二三四SECTION 9 (“1… 2… 3… 4…”):

第三十三式Posture 33

術名

Name of the technique:

退步加封RETREAT, PASTE UP AN ANNOUNCEMENT

用法Function:

此為步步防守法。This is a method of stepping repeatedly to defend.


聞令數一。由上式左腳先活半步。膝彎。同時右腳向北退後一大步。腿伸直。成左弓式。同時右拳變掌。向內繞半環。作反擒狀。左掌卽握拳。由外橫擊太陽穴。右掌護於左肩前。拳與眼齊。腰直胸挺。如第三十七圖。“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:


此式連上式。步步撤退。而手之招架與進攻無殊。而步法須要穩固。不宜紊亂。手法須要敏捷。不宜遲鈍。身心須要鎮靜而活潑。不宜浮燥而輕滑。庶幾稍得此中三昧矣。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.

第三十四式Posture 34


轉身雙推TURN AROUND, DOUBLE PUSH

用法Function:

為肅淸餘敵法。This is a method of mopping up any leftover opponent.


聞令數二。由上式兩腳部位不動。而腳尖轉向北。右膝彎。左腳直。成右弓式。同時左拳變掌。收囘於腹前。兩掌齊出。推敵小腹。指端斜向下。掌心仰起。眼平視北。胸挺腰直。如第三十八圖。（側圖）“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 photo 38

(side view):


此式為囘顧後方。防敵襲擊。轉身雙推。惟轉字須要十分注意。而若轉動不靈。則四方空虛。不能照顧。遂有顧此失彼之虞矣。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.

第三十五式Posture 35


返身雙推TURN BACK, DOUBLE PUSH

用法Function:

此為鞏固初基法。This is a method of consolidating everything back to the beginning.


聞令數三。由上式兩腳部位仍不動。惟兩腳尖移動朝南。右腳伸直。左膝彎。成左弓式。同時身體向左後轉。兩臂隨轉。卽將兩掌收囘於懷中。向前下斜推出。掌微屈。手心仰向。指端斜下。眼平視南。胸挺腰直。如第三十九圖。（側面）“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):


此式為預備收式。返本歸原之法。亦為卻敵之一法也。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.

第三十六式Posture 36


太極歸真RETURNING TO TAIJI

用法Function:

此為返本歸真法。This is a method of returning to your original posture.


聞令數四。由上式左腳收囘。與右腳靠攏。成立正式。同時兩臂收囘。左臂橫於胸前。掌心向下。右臂橫於臍上。掌心向上。兩掌心相印心前。似懷抱太極圖然。眼平視南。如第四十圖。“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:

欲休止運動。兩臂下垂。還立正式。When you want to cease the exercise, the arms hang down, returning

you to the posture of Standing at Attention.


此式為拳之終止式。亦卽起始式。無終無始。無起無止。歸於太極。變化莫測。此卽太極之意歟。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.

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Documents

Forma Lian Bu Quan