Wu Style Taiji Saber (Xuanxuan Dao)

THE TAIJI UNFATHOMABLE SABER OF THE INTERNAL SCHOOL

by Wu Tunan

[published by The Commercial Press, LTD, Apr, 1934]

[translation by Paul Brennan, Sep, 2014]

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Portrait of Chu Minyi

A souvenir for elder brother Wu Tunan

- calligraphy by Chu Minyi

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Portrait of Wu Jianquan

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Portrait of the Author, Wu Tunan

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by Wu Tunan:

The Taiji Unfathomable Saber of the Internal School

- calligraphy by Cai Yuanpei

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by Wu Tunan:


- [calligraphy by] Yu Youren

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by Wu Tunan:


- calligraphy by Yi Peiji

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by Wu Tunan:


- calligraphy by Chu Minyi

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For Wu Tunans publication of Unfathomable Saber:

Work your muscles and bones.

- calligraphy by Wu Tiecheng

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The quintessence of Chinese martial arts!

- Inscription for Wu Tunan, Nov, 1931, by Qi Jingyu

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A gift for Wu Tunan:

You have the skill of the gliding blade.

[i.e. the skill of the famous cook Zhuangzi, chapter 3]

- calligraphy by old Xu Sian

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To my dear friend Wu Tunan, for his book of Taiji Saber Methods:

[The softest thing in the world] wears away the hardest. [Daodejing, chapter 43]

- [calligraphy by] Qixun Tiegen

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PREFACE BY CHU MINYI

It is my nature to love exercise. When I was overseas, I engaged in extra training in Western

calisthenics, becoming very familiar with it. After I returned home, I discovered the use of

Chinese martial arts and then learned Taiji Boxing from Wu Jianquan. After practicing for a

year, I felt my body and mind had received limitless benefit. I therefore became intent upon

further training and advanced enthusiastically, also doing my utmost to promote it so that

someday it may spread everywhere.

Having given it much contemplation, I have also made an addition to it. Taiji Boxings pushing hands and weapons sets are enjoyed by many of my comrades. But the year before

last, while on the boat to Europe and back, there was no sense of ordinariness about it, and

when I was not practicing the boxing set, it struck me that the postures were overcomplicated.

Beginners who practice it all feel troubled that it is difficult to practice and easy to forget. I

thereupon invented Taiji Calisthenics [also writing a book about it, published Aug, 1931]. It

has the same function as Taiji Boxing, but the postures are simpler, and it is easier to practice

and remember. It has affected people because of this.

Our nations martial arts have a history of several thousand years. Not only are we not able to carry them forward, these techniques are vanishing into oblivion with each passing day, a

pitiable situation. I have often reflected upon this in my spare time and feel that the cause of

this comes down to no more than these couple of reasons:

Firstly, successive generations of students have wanted to teach more than they have

wanted to study. Therefore martial arts principles have gotten vastly misunderstood. By

following their strained interpretations and obscure explanations, it has drifted down a path of

mystical nonsense.

Secondly, in former times, people thought of martial arts as a specialized skill, and those

who had it bragged of themselves as unique. They did not lightly teach people with whom

they did not have a very close relationship or who thought different from the local folk, much

less popularize and spread their art.

Therefore we nowadays should strive to rectify these mistakes of previous generations. It

is inappropriate to only use martial arts as a way to gain individual health and happiness. We

should instead have a deep concern for the well-being of the group, and we should look upon

martial arts as a means of more efficiently strengthening our people, thus we should humbly

do our utmost to popularize these arts. We especially should meticulously study them,

arranging everything about them to make them systematic and organized, then compile them

into specialized books to be widely circulated, sometimes even coming up new methods that

are more convenient to learn if we have to. In order to be able to make progress in carrying

this out, we will, all of my comrades, have to work hard together.

As for Wu Tunans particular field, he has studied Taiji Boxing intensively for more than twenty years, including the supplemental studies of Taiji Saber and Taiji Sword. He has

become thoroughly knowledgeable through study, not to mention what he has gained through

experience. He has already authored a book, A Scientific Martial Art: Taiji Boxing, which is

popular throughout the nation. Now he is near to publishing this volume on the saber. I have

browsed through it and feel that his purposes and my long-held aspirations are the same. And

so I cannot help but be pleased to write this preface.

written by Chu Minyi of Wuxing at the Executive Branch Secretariat, May 1, 1932

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PREFACE BY A MR. WANG

I once met Wu Tunan of Beijing last year in Chu Minyis house. He is cultured, elegant, and remarkable in conversation, very different from ordinary people. Then I became aware he is

adept at boxing arts and has authored a book on Taiji Boxing that is popular in every school

and with every student in Shanghai. Chu along with them praises him highly.

Wu expresses the ancient teacher Zhang Sanfeng, who obtained the secret of softness, distinct from the Shaolin schools emphasis on martial strength. In an emergency, it can be used to defend against assailants. In ordinary times, it can be used to build ones health. It can be practiced by young and old alike, due to its pure naturalness. As we were talking, it came

out that he would soon be writing Taiji Saber Methods to share with everyone.

He then took off his jacket and performed it for us. The shine of his saber danced through

air, appearing to be a ball of shimmering snowflakes. Going left and right, up and down, it

leapt forth over and over again. It was a magical skill I found incomparable. I long ago

memorized the poem Zeng Qius Large Saber by Zhu Mingpan of Taixing. I thought its descriptions were too extraordinary to be real, but now Wu has lived up to it.

It seems to me that warfare throughout the world is valuing artillery most of all, but for

fighting at close quarters it is the saber-wielders that have the edge. This is because of the

Songs axes and Lus knives [Rites of Zhou, Record of Artisans] type of value for what is ancient. But unless the weapons are superbly sharpened and the techniques are highly skillful,

it would not be of adequate effectiveness.

Once this book has been published, there will then soon be vast numbers of students

getting together to practice the material to perfection so that our nation can resist foreign

aggression. The training initiated by Wu will not be on a small scale, due to the spread of this

book.

written by the Modern Traditional Good-for-Nothing, 8th day of the second ten-day week, last month of summer, 1931

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AUTHORS PREFACE

Our nations martial studies began a very long time ago. The creating of weapons by the Yellow Emperor was the beginning of martial arts. During the Three Dynasties [Xia, Shang,

and Zhou], skill with the weapons of war was trained from boyhood, thereby strengthening

the culture and the race, defending both self and nation. It was thereafter passed down from

master to disciple, each focusing on their own specialty. There were those who used it to

spread cruelty and those who used it to help the unfortunate, and gradually its original

intention of encouraging physical education was lost.

When the Song Dynasty was being replaced by the Yuan, the founding teacher Zhang

Sanfeng emerged and developed the Taiji skill in accordance with the theory in the Book of

Changes. Energy divides into passive and active aspects, a moment which initiates distinction

between movement and stillness, and in realizing both self and other, it merges with the Way.

It was then passed down from the talented to the talented, each generation having its

representative figure, but unfortunately it was always passed down by way of personal

instruction instead of being supplied to the world. Although there are gentlemen who love

studying it, they have not obtained the knack, and their followers feel what a pity it is.

I took this as a warning, and so in the winter of 1928, I set out from my limited experience

to write and publish a book, A Scientific Martial Art: Taiji Boxing [published Oct, 1931].

Exaggerating and ignorant students praised it, decreeing that it greatly contributed to the

promotion of martial arts, though I suppose it was not without some slight achievement. Now,

in further response to the demands of the current situation, I have continued by completing

another book, The Taiji Unfathomable Saber of the Internal School, and I urge you all to

promote it. By using scientific methods, we can build a strong populace, and the future of the

Chinese people depends on this.

Recall that during the Shanghai Incident [Jan-Mar, 1932], our troops were wielding large

sabers, yet they charged forward and broke through the enemys position to slaughter him. From this can be seen that in our scientific world, our nations martial arts are still capable of distinguishing themselves. As this book becomes popular, it can perhaps work toward

avenging the enemys insults and help us to work together during this time of national crisis. I hope our whole nation and all of its people will rise up as one, and that my martial arts

colleagues will make a great effort to spread such information. Then our nations future will assuredly receive some small boost. Thus I have written this preface.

written by Wu Tunan of Beijing at the Shanghai Central State College of Engineering, Proctors Hall, Feb 22, 1933

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CONTENTS

Chapter One: Generalities

Chapter Two: Specifics

[1] TAIJI POSTURE [2] CATCH THE SPARROW BY THE TAIL Part 1 [3] CATCH THE SPARROW BY THE TAIL Part 2 [4] CATCH THE SPARROW BY THE TAIL Part 3 [5] STEP FORWARD, BRUSH KNEE

[6] BRINGING THE SABER TO THE OTHER SIDE [7] IN A SUDDEN FLASH, SHOW THE SABER [8] PLUCKING THE STARS TO THE LEFT [9] PLUCKING THE STARS TO THE RIGHT [10] WITHDRAWING STEP, CAPTURING WITH THE SABER [11] STAB THROUGH THE CENTER [12] HANGING THE GOLDEN BELL TO THE LEFT [13] PUSH OPEN THE WINDOW TO GAZE AT THE MOON [14] TURN AROUND, CHOP [15] TURN AROUND, RAISE TO THE GROIN [16] HANGING THE GOLDEN BELL TO THE LEFT [17] CLIMB THE MOUNTAIN AND LOOK OUT AT THE VIEW [18] HAWK TURNS AROUND

[19] RUKH SPREADS ITS WINGS [20] SWALLOW ENTERS ITS NEST [21] ADVANCE, CAPTURING WITH THE SABER [22] STAB TO THE FACE [23] TURN AROUND, CONCEALING THE SABER [24] SABER TO THE GROIN [25] FIGHTING TIGER POSTURE [26] SWALLOW ENTERS ITS NEST [27] ADVANCE, CAPTURING WITH THE SABER [28] BLUE DRAGON LEAVES THE WATER [29] TURN AROUND, CONCEALING THE SABER

[30] UPWARD WITH THREE SPREADINGS

[31] HELPING A DRUNK REMOVE HIS BOOTS [32] PUSH OPEN THE WINDOW TO GAZE AT THE MOON [33] TURN AROUND, CONCEALING THE SABER

[34] TURN AROUND, CHOP

[35] TURN AROUND, RAISE TO THE GROIN [36] SWEEPING ASIDE A THOUSAND SOLDIERS [37] HANGING THE GOLDEN BELL TO THE LEFT [38] PUSH OPEN THE WINDOW TO GAZE AT THE MOON [39] TURN AROUND, CONCEALING THE SABER [40] TURN AROUND, CHOP [41] SEARCHING THE SEA

[42] SCOOPING THE MOON [43] WITHDRAWING STEP, CAPTURING WITH THE SABER [44] STAB THROUGH THE CENTER [45] JADE RINGS PROP UP THE SABER [46] BIG DIPPER SABER [47] CROUCHING TIGER JUMPS OVER THE STREAM

[48] STAB TO THE FACE [49] CROUCHING TIGER POSTURE [50] CONCEALING THE SABER [51] COILING DRAGON POSTURE [52] CHASING STEP, COILING DRAGON POSTURE [53] CLOUDING SABER, CONCEALING THE SABER [54] PROTECT THE KNEE, CHOP [55] HANGING THE GOLDEN BELL TO THE LEFT [56] FLOPPING FISH POSTURE [57] CONCEALING THE SABER [58] STAB TO THE FACE [59] CROUCHING TIGER POSTURE [60] FLOPPING FISH POSTURE [61] CONCEALING THE SABER [62] STAB THROUGH THE CENTER [63] TURN AROUND, BLOCKING

[64] GREEN SNAKE HIDES ON THE GROUND [65] STAB THROUGH THE CENTER

[66] TURN THE HORSE, LIFTING THE BELL [67] DIAGONAL FLYING POSTURE [68] GOLDEN NEEDLE POINTS SOUTH [69] EMBRACING THE MOON [70] GOING WITH THE CURRENT TO PUSH THE BOAT [71] DIAGONAL FLYING POSTURE [72] LIFTING THE SABER, SEARCHING THE SEA [73] WITHDRAWING STEP, SUDDEN SPREADING [74] ADVANCE AND CHOP [75] HANGING THE GOLDEN BELL TO THE LEFT [76] PUSH OPEN THE WINDOW TO GAZE AT THE MOON

[77] BLUE DRAGON SHOWS A CLAW [78] SWEEPING ASIDE A THOUSAND SOLDIERS [79] METEOR CHASES THE MOON [80] DIAGONAL FLYING POSTURE

[81] EMBRACING THE MOON

[82] BRAVING THE WIND AND WAVES [83] STAB THROUGH THE CENTER [84] PLUCKING THE STARS TO THE RIGHT [85] PLUCKING THE STARS TO THE LEFT [86] WITHDRAWING STEP, CAPTURING WITH THE SABER [87] ADVANCE, FLICK WITH THE SABER [88] TURNING OVER THE ARM TO PLANT SEEDS

[89] GREEN SNAKE HIDES ON THE GROUND [90] STAB THROUGH THE CENTER [91] ROTATING THE CRANK TO LIFT THE BASKET [92] ADVANCE, LIFTING THE BASKET [93] CLOUD DRAGON PLAYS IN THE WATER [94] SPIN AROUND, CHOP

[95] TURN AROUND, CHOP [96] CROUCHING TIGER POSTURE [97] CONCEALING THE SABER [98] ADVANCE, EXCHANGING THE SABER [99] BRUSH KNEE IN A CROSSED STANCE [100] RETREAT, GATHERING IN THE SABER [101] RETURN TO THE TAIJI POSTURE Chapter Three: Conclusion

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THE TAIJI UNFATHOMABLE SABER OF THE INTERNAL SCHOOL

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CHAPTER ONE: GENERALITIES

Our nation, the earliest to become civilized, has the vastest terrain, the largest population, and

the most abundant resources in the world. We should be able to be prosperous and strong, and

gain the respect of the world. But nowadays we are so enfeebled, how could we ever?

Although there are a great many sources of our sickness, when we seek for the main cause, it

is that the citizens are unhealthy in body and inactive in spirit.

A saying goes: Strengthening the spirit always lies in strengthening the body. And so it is indeed the case that without strengthening the body, there is no strengthening of the spirit.

Without strengthening our spirit so we can conduct the scientific research that will help us fix

our circumstances, what chance will we have in the fight for survival in the modern world?

The reason a sick nation always invites bullying by foreign countries is that a weakened

populace can hardly defend itself. The enemy is the chopping blade while we are but the fish

flesh on the chopping block. Alas.

In view of this situation, I have firmly decided to promote Chinese martial arts so that we

may ceaselessly improve ourselves [Book of Changes, hexagram 1] and awaken our fellow countrymen so they do not continue to idly sit back and allow the same things to happen over

and over. We must work together, all with the same purpose, that of community-wide exercise

in martial arts, to bring our people to a position of strength in both body and spirit. Then we

will mightily create and build, and we will have success in our hopes. Westerners consider our

nation to be lacking in vitality, and they are on the verge of giving a roar and leaping at us.

In ancient times, the Yellow Emperor had his limbering arts, which were the beginning of

martial arts. During the Xia, Shang, and Zhou dynasties, dancing, music, and skill with

weapons were trained from boyhood, thereby strengthening the culture and the race,

defending both self and nation. Thereafter, despotic rulers ceased to encourage it, for fear that

if the citizenry had a means for strengthening body and spirit, they would resist the

government when they were dissatisfied and there would be no way to deal with them, and

thus was begun the elevating of literary pursuits above martial ones. Once the system was

established of selecting men for government positions by means of literary training, citizens

spent their whole lives buried in poetry and prose. As for the health of the body, there was no

time to attend to it. This is what our nation encouraged.

As for the citizens themselves, they were ignored by the nation, and even the virtuous

disdained to do anything for them. Those who did do something for them were none of them a

valiant martial man [Book of Poems, poem 7], but instead the oafs among the ordinary people, leading everyone along to drift in uneducated ignorance. Systems branched off into

privately run schools. Within was the charm of having something to themselves, and by

keeping it secret, they were under the impression they possessed some supreme truth.

They feared that later generations of students would surpass them, and so they clearly had

no awareness of these ideas [from Xia Zhirongs On Teachers]: In becoming enlightened, there is a process. In developing a skill, there is concentrated study [The student is not necessarily inferior to the teacher] and the teacher is not necessarily superior to the student. They were even more unaware that there is no end to learning. The more we study, the more

details we notice. How can we close ourselves away from the world and hope to achieve

anything? [Making a cart behind closed doors, (you will have to come out to attach the wheels). from Zhu Xis Questions on the Zhong Yong, book 3] How can we really even see the world when looking at with such a limited scope? [Peering at a leopard through a pipe, (all that will be seen is a spot.) from Liu Yiqings A New Account of Tales of the World, part 5]

So constrained by sectarian bias, they followed what they considered superior doctrines and rejected what they considered inferior [from Han Yus Original Way]. These teachers looked upon each other as rivals and never discussed their arts with each other, and so they

were unwilling to conduct public classes or record the material in books. When ordinary

people see these things to be the case, why would they open their hearts to these arts and ask

for guidance in them? This is the major reason our nations martial arts have been lost. How then are we to implement the current policy of promoting martial arts? We must do

away with previous bad examples, get rid of sectarian bias, smash the corrupt habit of guarded

secrecy, and give these arts to the public as something we all have in common. Presenting

martial arts more scientifically will make it more understandable, thereby granting everyone

the opportunity to practice. Martial arts themselves indeed should be conforming to

mechanics and psychology, already based in physiology and health maintenance.

There are no limits of time nor restrictions of space. No money is required and there is no

need to put forth excessive effort. Regardless of old and weak, woman or child, all can

practice. Thus the status of martial arts will daily improve, their principles will become

gradually clearer, and their uses will increasingly manifest. Will this not make martial arts

more scientific, more organized, and more popular?

European and American styles of exercise are indeed also a way of strengthening the body.

But the movements are strenuous and the equipment is complex, and so they really fail to

ennoble people. Therefore they are not worth emulating. Furthermore, because people have to

wait their turn to use athletic facilities, such exercise cannot enable the entire populace to

practice simultaneously, already violating the principle of equal opportunity practice.

In the case of European and American calisthenics, they certainly can be practiced by large

numbers of people at the same time, but because they move in paths of straight lines, which is

rather absurd physiologically (See [Chu Minyis] Taiji Calisthenics [which are more curved in movement than the Western version], published by Great East Bookstore.), they are thus

incapable of being either entirely beautiful or entirely beneficial.

If from now on our fellow countrymen can unanimously recommend martial arts, delving

into them together, physical exercise will grow faster, and then within ten years, every citizen

can have a healthy constitution, thereby strengthening the nation, and as a product of that, our

Chinese nation can keep up with the worlds great powers. When empires hear of this [referring here particularly to Japan], they are sure to run away in defeat, and they will throw

out all of their unfair treaties without even waiting for them to be rejected. By this means, we

will achieve a position of freedom and equal standing.

It is apparent therefore that martial arts should be promoted and that this truly must not be

postponed. However, there is a great variety of martial arts. Which are best for body and

mind? Which most conform to scientific principles? Selecting a method is therefore also a top

priority.

Wang Yuyang said: Shaolin is the external school. Zhang Sanfeng of Wudang is the internal school. It was said by Huang Baijia: Shaolin is the peak of refinement for the external arts. Zhang Sanfeng was a Shaolin expert, but he turned the art on its head and

thereby created the internal school. Obtaining just a little bit of it is enough to defeat Shaolin. It can be seen from this that though Shaolin is the crystallization of the external school, the

internal school is the fulfillment of Shaolin, just as lush hillside begins with younger grass and

ice comes from the freezing of water.

Therefore in the promoting of martial arts, we should of course select the best and ignore

the worst, and thus we should recommend the internal school over the external school. Seeing

as Zhang Sanfeng was actually an expert of the external school through Shaolin and achieved

mastery after he was able with careful attention to mold it into something else, this indicates

the internal school is indeed the better vehicle.

I believe that in the promoting of martial arts, one should not admire the ones that are risky

or look dramatic, but instead those that are simple and easy to learn, unexhausting to perform,

easily spread to large numbers of people, and guarantee better health. It is the internal school

that indeed has all of these qualities.

Still surviving in the world is the Taiji skill. It is an excellent method for cultivating health.

Intention and energy are in charge. Bone and flesh are subordinate. Body and mind are

equally involved, neither being over-emphasized nor under-emphasized. After practicing it

over a long period, your body will naturally develop gracefulness. This is different from other

boxing methods that overemphasize certain sections of the body and lead to abnormal

development.

Once you have been transformed by it, the involuntary muscles throughout your body can

become more subject to voluntary movement, and so every part of your body can realize

heightened reflexes. From head to foot, there is no part that is not nimble, no part that is not

resilient, no part that is not calm, no part that does not flow. There is a coursing through the

entire body without the slightest discontinuity, naturally soothing the mind and quieting the

intention, and change is endlessly generated.

The internal school is a study in adaptability, whereas the external school is a study of

techniques. Changes cycle without end, whereas techniques at some point finish. Comparing

the two, they are as different in the world as cloud and mud. Furthermore, the internal school

includes both spirit and posture. Posture is what is on outside, spirit stored within. Therefore

your manner will be alert, your movement prompt, you will succeed whether advancing,

retreating, going to the left or right, and it will all be a matter of spirit.

Sunzi said [Art of War, chapter 2]: Mindless speed has sometimes been heard to succeed, but skilled tactics have never been seen to draw out a conflict. The internal school of boxing is no different, and thus students are given a demonstration of slowness. However, I fear that

beginners will hanker for speed, and the postures will not then easily be corrected nor the

movements easily feel natural. Once you are skillful at it, advancing and retreating will be

done properly, and attacking and defending will be done appropriately. When the opponent

moves quickly, act quickly. When the opponent moves slowly, act slowly. Thus it is said

[Thirteen Dynamics Song]: The magic lies in making adjustments based on being receptive to the opponent. This is the voice of the internal school of boxing [based on an Art of War quote, chapter 6: One who is able to seize victory because of the enemys changes can deservedly be described a magician.]. As for the origin and principles of the internal school of boxing, as well its postures and

applications, I have already discussed this in detail in A Scientific Martial Art: Taiji Boxing,

published by Commercial Press, LTD. I will therefore not go into very much of it here.

However, the saber and sword methods have rarely been taught. In former times, when laying

siege to cities or clashing on battlefields, victory always depended on weaponry. Therefore in

studying martial arts, the saber and sword methods also have to be understood.

Though I am untalented, I have been infatuated with martial arts for more than twenty

years. I often thought about producing writings and having them widely spread. Unfortunately

I was frequently being interrupted by life and so the work was very sporadic. In the spring of

1929, I made a manuscript of Taiji Saber Methods, which I then despondently threw on the

fire, so incapable was I of finishing the task. This autumn, I came to Shanghai and eventually

had spare time to write it, and it was now a pleasure to do so.

My Saber Methods was completed just as other gentlemen had the same thoughts in mind.

I received a letter inviting me to publish it and urging me to do it quickly. Though I am

untalented and have only limited experience, I made the book, now titling it The Taiji

Unfathomable Saber of the Internal School. The intention of unfathomable is that it is limitless. It is also one of the Daoist names of Zhang Sanfeng [Xuanxuan indicating that we could think of the Unfathomable Saber also as the Zhang Sanfeng Saber]. This is to make later generations of students aware that the transmission of these saber methods came

from Zhang. It is its quality of transformation that makes it so unfathomable, endlessly mysterious.

The names of the saber techniques have long been lost to time and there is no way we can

examine them. I have thus considered how the features of each posture are interrelated with

the methods of their applications, then named them one after another according to how they

are to be practiced and how they are to be applied. They are each described individually

below. To provide for those who have an ambition for martial arts, I have done this simply for

the sake of reference.

Despite the invention of modern firearms which can attack fortifications from a great

distance, their power alone enough to frighten people, nevertheless when battle so rages that

bodies are compelled into closer quarters, it always comes down to the naked blade. Therefore

the Unfathomable Saber can still have its place as a backup force to artillery, hence this

discourse upon the subject.

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CHAPTER TWO: SPECIFICS

Because the Unfathomable Saber was taught by way of oral transmission, the original names

of the postures were lost long ago, and thus the postures and their applications have varied

from person to person. There are those who prefer to do what is simple and easy, there are

those who are able to do what is risky and dramatic, and then there are beginners, who have

no idea what to do. Electing to keep the postures simple to learn and easy to understand, I

have made a name for each technique. I have also included posture and application

explanations, enabling beginners to proceed step by step through imitation.

There are principles to abide by and plenty of fascinating movement transitions. If you are

able to ponder what you have learned, it will not be difficult to achieve a magical

illumination, a level at which your movement is endlessly mysterious. Below I sincerely

present the Unfathomable Saber, its individual postures with photographs and explanations, in

order that those who have an interest in saber methods will know where to look for guidance.

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POSITIONING CHART:

Right Rear Rear Left Rear

Right (Beginning Posture) Left

Right Front Front Left Front

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[1] TAIJI POSTURE

Explanation of the posture:

Your body stands straight, facing forward. Your head is upright, neck straight. Contain your

chest and pluck up your back. Your arms hang down leisurely. Your left hand carries the

saber, the handle placed beside your left hip, the edge facing forward, the tip pointing upward,

and the back of the saber must be touching your left arm. The fingers of your right hand are

forward, palm pushing downward, placed beside your right hip. Your feet are parallel at

shoulder-width apart. Your gaze is level.

[2] CATCH THE SPARROW BY THE TAIL Part 1


Your left foot takes a step forward and the knee bends forward. Your right foot stays where it

is and the leg squats down, the weight now fully on your right foot. At the same time, your

left arm, carrying the saber, lifts up until in front of your chest, the saber edge facing upward,

the tip pointing to the Left, the handle placed in front of your right shoulder, while your right

hand lifts up until between the saber and your chest, fingers upward, palm forward. Your

body is upright and comfortable, your gaze level.



Your left foot shifts its toes toward the Right Front (making an angle of forty-five degrees),

your right foot takes a step to the Right (ninety degrees), heel touching down, toes lifted, your

torso turning to the Right, the weight now fully on your left foot. At the same time, your left

hand, carrying the saber, shifts slightly to the Right, the handle to the Right, the edge facing

upward, the tip pointing to the Left, while your right hand, elbow dropping, palm standing,

extends to the Right, thumb at about nose level. Your gaze is to the Right.



Your right hand does a rollback downward to the Left, then extends to the Right, [the weight

shifting forward,] then goes from the Right to the Rear to the Left, turning in a semicircle,

[the weight shifting back,] and goes again to the Right, pushing out. Your left hand, carrying

the saber, does the same movement as your right hand, the saber handle placed beside your

right wrist, the edge facing upward, the tip pointing to the Left. At the same time, your right

toes come down, your right knee bends to the Right, and your left leg presses straight, the

weight shifting to your right foot. Your torso is facing to the Right, your gaze level.

[5] STEP FORWARD, BRUSH KNEE


Your left foot takes a step to the Left Rear, the knee bends to the Left, your right leg presses

straight, and the weight is now on your left foot. At the same time, your left arm, carrying the

saber, brushes past your left knee, and the saber handle is placed beside your left hip, the edge

facing to the Left, the tip pointing upward, while your right hand pushes out to the Left. You

are facing to the Left, your gaze level.

[6] BRINGING THE SABER TO THE OTHER SIDE


Your right hand lowers until in front of your left knee, then circles outward as your left hand

carries the saber until in front of your belly, whereupon the saber handle is switched to your

right hand, and then your left hand grabs your right wrist. The saber handle is placed to the

left [right] of your left knee, the edge facing downward to the Left Rear, the saber back

touching your left arm, the tip pointing upward to the Right Rear. You are facing to the Left,

your gaze level, and the weight is on your left foot.

[7] IN A SUDDEN FLASH, SHOW THE SABER


Your right foot takes a step forward to the Left Front, the knee bends, and your left leg

presses straight, the weight now on your right foot. At the same time, your right hand, holding

the saber, lifts up, the saber handle at about nose level, the edge facing to the Left, the tip

hanging straight down, while your left hand, the palm upright, the elbow hanging, lifts up

until in front of your chest, parallel with the back of the saber. Your torso is facing to the Left,

your gaze level.

Explanation of the application:

An opponent uses a spear to stab to my chest, so I lift up my saber to prop it outward, and

wait for what he will do next.

[8] PLUCKING THE STARS TO THE LEFT


Your left foot advances a step to the Left Rear, the knee bends, and your right leg presses

straight, the weight now on your left foot. At the same time, your right hand, holding the

saber, coils all the way around your head from the left, then goes upward to the Left Rear with

a raising action, while your left palm touches your right wrist to assist the posture. The saber

tip is pointing upward to the Left Rear, the edge facing upward to the Right Rear. Your torso

is facing to the Left Rear, your gaze to the saber tip.


The opponent uses his spear to stab to my chest, so I use my saber in a hanging action to take

it aside. He draws back his spear and retreats, so I take advantage of the moment by

advancing and using my saber to do a slash to his head.

[9] PLUCKING THE STARS TO THE RIGHT


Your right foot advances a step to the Left Front, the knee bends, and your left leg presses

straight, the weight now on your right foot. At the same time, your right hand, holding the

saber, goes from the Left Rear to the Right Rear with a downward chop, then goes to the Left

Front with a raising action, the saber tip pointing upward to the Left Front, the edge facing

upward to the Right Front, while your left palm touches your right wrist to assist the posture.

Your torso is facing to the Left Front, your gaze to the saber tip.


The opponent uses his spear to stab to my groin, so I use my saber to deflect his spear aside,

and then while advancing, to slash to his head.

[10] WITHDRAWING STEP, CAPTURING WITH THE SABER


Your right foot withdraws a half step to the Right, toes touching down, your left leg squatting

down, the weight now on your left foot. At the same time, your right hand, holding the saber,

goes downward in a capturing action, the saber handle beside your right knee, the tip pointing

to the Left, the edge facing downward. You are facing to the Left, your gaze level.


The opponent uses his spear to stab to my leg, so I withdraw a half step and follow his

stabbing energy by using my saber to do a capturing action to his spear, then wait for what he

will do next.

[11] STAB THROUGH THE CENTER


Your right foot advances a half step to the Left, the knee bends, and your left leg presses


saber, does a stab to the Left with the blade vertical, the saber tip pointing to the Left, the

edge facing downward, while your left hand extends to the Right, fingers pointing to the

Right, palm facing downward. You are facing to the Left, your gaze to the saber tip.


After the opponents spear gets captured, he looks for a new opening, which would be a stab to my head, so I take advantage of the moment he draws back his spear by advancing and

stabbing to his chest.

[12] HANGING THE GOLDEN BELL TO THE LEFT



down, the weight now fully on your left foot. At the same time, your right hand, holding the

saber, goes from the Left to the Right Rear, turning over and withdrawing with a hanging

action, the saber handle placed beside your left ear, the edge facing upward, the tip pointing to

the Left, while your left hand draws back from the right, the palm touching the handle to

assist the posture. You are facing to the Left, your gaze level.


The opponent uses his spear to stab to my head, so I send my saber outward to take him aside

with a hanging action, then watch for what he will do next.

[13] PUSH OPEN THE WINDOW TO GAZE AT THE MOON


Your right foot advances a half step to the Left, then your left foot steps forward to the Left

Front, the knee bends, and your right leg presses straight, the weight now on your left foot. At

the same time, your right hand, holding the saber, raises out to the Left Front, the saber tip

pointing downward to the Left Front, the edge facing upward to the Left Front, while your left

hand, palm upright, elbow hanging, is between the saber and your chest. You are facing to the

Left Front, your gaze upward to the Left Front.


The opponent draws back his spear and stabs to my belly, so I use my saber in a raising action

to take his spear aside, taking advantage of the moment by stepping forward, following his

spear with an advance, and doing a raising action to his front hand.



Your body turns around to the Right Rear, your knee bends to the Right Rear, and your left

leg presses straight, the weight now on your right foot. At the same time, your right hand,

holding the saber, lifts up from the Left Front and chops downward to the Right Rear, the

saber handle placed in front of your right knee, the tip pointing downward to the Right Rear,

the edge facing downward, while your left hand touches your right wrist to balance the

posture. You are facing downward to the Right Rear, your gaze to the saber tip.


An opponent from behind me uses a spear to attack me with a stab, so I turn around to prevent

it, using my saber to chop to his head.

[15] TURN AROUND, RAISE TO THE GROIN


Your body turns around from the Right Rear to the Left Front, your right foot advances a step

to the Left Front, the knee bends, and your left leg presses straight. At the same time, your

right hand, holding the saber, raises from the Right Rear to the Left Front, the tip pointing

downward to the Left Front, the edge facing upward to the Left Front, while your left hand

touches your right wrist to assist. Your gaze is to the saber tip and the weight is now on your

right foot.


The opponent that is now behind me uses a spear to attack with a stab, so I turn around to

suddenly take his spear aside, taking advantage of the moment by stepping in and using my

saber to do cleaving raise to his leg [groin].



Your right foot withdraws a half step to the Front [Right Rear], toes touching down, your left

leg squatting down, the weight now fully on your left foot. At the same time, your right hand,

holding the saber, goes from the Left Front to the Right Rear, turning over and withdrawing

with a hanging action, the saber handle placed beside your left ear, the edge facing upward,

the tip pointing to the Left, while your left hand draws back from the Left Front, the palm

touching the handle to assist the posture. You are facing to the Left, your gaze level.


The opponent uses his spear to stab to my head, so I send my saber outward [to take him

aside] with a reverse hanging action, then wait for what he will do next.

[17] CLIMB THE MOUNTAIN AND LOOK OUT AT THE VIEW


[Your right foot advances a half step to the Left,] then your left foot steps forward to the Left



pointing to the Left Front, the edge facing upward to the Left Front, the handle placed beside

your right ear, while your left hand, palm upright, elbow hanging, touches the saber handle to

assist [and saber and left hand then stab forward together]. You are facing to the Left Front,

your gaze level.


The opponent uses his spear to stab to my groin, so I use my saber in a raising action to take

his spear aside, taking advantage of the moment by advancing forward and using my saber to

stab to his throat.

[18] HAWK TURNS AROUND


With your right hand holding the saber and not changing its location, your torso turns from

beneath your right arm, your right foot lifts up, toes hanging down, and using your

straightened left leg as a pivot, goes from the Left Front to the Right until facing to the Left

Rear, spinning around two hundred seventy degrees. Then your right hand, holding the saber,

is withdrawn in an embracing action to the Right Rear, the saber tip pointing to the Left Front,

the edge facing upward, while your left hand touches the handle to assist. You are facing to

the Left Front, your gaze to the saber tip.


An opponent uses a spear to stab to my back, so I turn around to prevent it by taking his spear

aside, holding my saber with both hands, then watch for what he will do next.

[19] RUKH SPREADS ITS WINGS


Your right foot takes a step forward to the Left Front, the knee bends, and your left leg

presses straight, the weight now on your right foot. At the same time, your right hand, holding

the saber, stabs out to the Left Front, the saber tip pointing to the Left Front, the edge facing

upward, while your left hand extends level to the Right Rear. You are facing to the Left Front,

your gaze to the saber tip.


The opponent uses his spear to stab to my chest, so I use my saber to follow along his

spearshaft, advancing with a slash [stab] to his head.

[20] SWALLOW ENTERS ITS NEST


[Using your left foot as a pivot, your body turns from the Left Front to the Right Rear, and]

your right leg does a level kick to the Right Rear, while your right hand, holding the saber,

goes downward from the Left Front, then raises to the Right Rear, to be parallel with your

right leg, the tip pointing to the Right Rear, the edge facing upward, your left hand touching

your right wrist to assist. You are facing to the Right Rear, your gaze level, the weight fully

on your left foot.


The opponent behind me uses his spear to attack me with a [low] stab, so I turn around and

use my foot to kick it aside, taking advantage of the moment by using my saber to do a raising

action to his hand.

[21] ADVANCE, CAPTURING WITH THE SABER


Your right foot advances a step to the Right Rear, the knee bends, and your left leg presses


saber, sinks down with a capturing action, the saber handle placed beside your right hip, the

tip pointing to the Right Rear, the edge facing downward, while your left hand, palm upright,

elbow hanging, is placed in front of your chest. You are facing to the Right Rear, your gaze

level.


The opponent uses his spear to stab to my groin, so I send my saber downward to capture his

spear, then watch for what he will do next.

[22] STAB TO THE FACE


Your left foot advances a step to the Right Rear, the knee bends, and your right leg presses


saber, then goes to the Right Rear with a level stab, the saber tip pointing to the Right Rear,

the edge facing downward, while your left palm touches your right forearm to assist. You are

facing to the Right Rear, your gaze level.


The opponent draws back his spear, so I take advantage of his withdrawing energy and use

my saber to stab to his face.

[23] TURN AROUND, CONCEALING THE SABER


Your torso turns around to the Left, your right foot taking a half step to the Left Front,

the knee bends, and your left leg presses straight, the weight now on your right foot. At the

same time, your right hand, holding the saber, goes from the Right Rear to the Rear, to the

Left, to the Front, lifts up and coils a complete circle around your head, then the saber handle

is placed beside your right hip, the tip pointing to the Left, the edge facing downward, while

your left hand, palm upright, elbow hanging, is placed in front of your chest. You are facing

to the Left, your gaze level.


The opponent behind me uses his spear to stab to my groin, so I turn around, using my saber

to deflect it aside. He again stabs, now to my head, so I use my saber in a coiling action

around my head to prop his spear aside, then conceal my saber beside my hip and wait for

what he will do next.

[24] SABER TO THE GROIN


Your right hand, holding the saber, stabs downward to the Left Rear, the saber tip pointing

downward to the Left Rear, the edge facing downward, while your left palm touches your

right forearm to assist. You are facing to the Left Rear, your gaze to the saber tip.


The opponent draws back his spear, so I take advantage of his moment of unpreparedness and

use my saber to stab to his groin.

[25] FIGHTING TIGER POSTURE


Your left foot takes a step to the Left Rear, the knee bends, and your right leg presses straight,

the weight now on your left foot. At the same time, your right hand, holding the saber, [lifts

up from downward in the Left Rear and] chops downward to the Left Front, the tip pointing

downward to the Left Front, the edge facing downward, while your left hand is placed

crosswise above your forehead to assist the posture. You are facing to the Left Front, your

gaze to the saber tip.


The opponent uses his spear to stab to my waist, so I take a step forward to evade his spear

tip, taking advantage of the moment by using my saber to chop at him.

[26] SWALLOW ENTERS ITS NEST


Your right leg does a level kick to the Left Rear, your left leg standing straight, the weight

now fully on your left foot. At the same time, your right hand, holding the saber, raises to the

Left Rear to be parallel with your right leg, the tip pointing to the Left Rear, the edge facing

upward, your left hand touching your right forearm to assist. You are facing to the Left Rear,

your gaze level.


An opponent from the side uses his spear to attack me with a stab, so I turn around and use

my foot to kick it aside, taking advantage of the moment by using my saber to do a raising

action to his hand.

[27] ADVANCE, CAPTURING WITH THE SABER


Your right foot advances a step to the Left Rear, the knee bends, and your left leg presses


saber, sinks down with a capturing action, the saber handle placed beside your right hip, the

tip pointing to the Left Rear, the edge facing downward, while your left hand, palm upright,

elbow hanging, is placed in front of your chest. You are facing to the Left Rear, your gaze

level.


The opponent uses his spear to stab to my groin, so I send my saber downward to capture his

spear, then watch for what he will do next.

[28] BLUE DRAGON LEAVES THE WATER


Your left foot advances a step to the Left Rear, the knee bends, and your right leg presses


saber, then goes to the Left Rear with a level stab, the saber tip pointing to the Left Rear, the

edge facing downward, while your left palm is placed crosswise above your forehead. You

are facing to the Left Rear, your gaze level.


The opponent draws back his spear, so I take advantage of the moment by advancing and

using my saber to stab to his throat.



[Your body turns around to the right and] your right foot steps sideways to the Right Rear, the

knee bends, and your left leg presses straight, the weight now on your right foot. At the same

time, your right hand, holding the saber, lifts up then lowers to the Right, the saber handle

placed beside your right hip, the tip pointing to the Right, the edge facing downward, while

your left hand, palm upright, elbow hanging, is placed in front of your chest. You are facing

to the Right, your gaze level.


The opponent behind me uses his spear to attack me with a low stab, so I turn around, using

my saber to deflect it aside, then wait for what he will do next.

[30] UPWARD WITH THREE SPREADINGS [i.e. the spreading out of the saber, the left

hand, and the right knee]


Your left leg stands straight and your right knee lifts up, the weight now fully on your left

foot. At the same time, your right hand, holding the saber, does a level stab to the Right, the

tip pointing to the Right, the edge facing downward, while your left hand, palm upright,

pushes out to the Left. You are facing to the Right, your gaze level.


The opponent uses his spear to stab to my leg, so I lift up my knee to evade it, then use my

saber to stab forward to his throat.

[31] HELPING A DRUNK REMOVE HIS BOOTS


Your right leg does a level kick to the Right. At the same time, your right hand, holding the

saber, withdraws in an embracing action toward your chest, the saber handle placed in front of

your chest, the tip pointing to the Right, the edge facing upward, your left hand touching your

right wrist to assist. You are facing to the Right, your gaze level.



his spear aside, taking advantage of the moment by using my foot to kick his front hand.



Your right foot comes down to the Right and your left foot takes a step to the Right Rear,

the knee bends, and your right leg presses straight, the weight now on your left foot. At the

same time, your right hand, holding the saber, raises out to the Right Rear, the saber tip

pointing downward to the Right Rear, the edge facing upward to the Right Rear, while your

left hand, palm upright, elbow hanging, is between the saber and your chest. You are facing to

the Right Rear, your gaze level.


The opponent uses his spear to stab to my belly, so I use my saber in a raising action to take

his spear aside, taking advantage of the moment by stepping forward, advancing along his

spear to seek his front hand.



[Your torso turning around to the Left,] your right foot takes a half step to the Left Front, the


time, your right hand, holding the saber, lifts up and then comes downward to the Left with a

capturing action, the saber handle placed beside your right hip, the tip pointing to the Left, the

edge facing downward, while your left hand, palm upright, elbow hanging, is placed in front

of your chest. You are facing to the Left, your gaze level.


The opponent behind me uses his spear to attack me with a low stab, so I turn around, sending

my saber downward to capture his spear, then watch for what he will do next.



Your left leg steps to the Left, your body turns around from the Left to the Right, your right

knee bends to the Right, and your left leg extends straight, the weight now on your right foot.

At the same time, your right hand, holding the saber, lifts up and chops downward to the

Right, the saber handle placed to the right side of your right knee, the tip pointing downward

to the Right, the edge facing downward, while your left hand touches your right wrist to

assist. You are facing to the Right, your gaze to the saber tip.


The opponent behind me uses his spear to stab to my leg, so I withdraw my leg a full step to

evade his spear tip, then turn around, using my saber to chop to his head.

[35] TURN AROUND, RAISE TO THE GROIN


[Your body turning around from the Right to the Left,] your right foot steps forward to the

Left, the knee bends, and your left leg presses straight, the weight now on your right foot. At

the same time, your right hand, holding the saber, raises from downward in the Right to the

Left, the tip pointing downward to the Left, the edge facing upward to the Left, while your

left hand touches your right wrist to assist. You are facing to the Left, your gaze to the saber

tip.


The opponent behind me uses his spear to attack me with a stab, so I turn around to suddenly

take his spear aside, taking advantage of the moment by stepping in and using my saber in a

raising action to his groin.

[36] SWEEPING ASIDE A THOUSAND SOLDIERS


Squat down with both legs and center your torso, the weight now between your feet. At the

same time, your right hand, holding the saber, lifts up until in front of your face, then sweeps

across to the Left as a flat blade, the tip pointing to the Left, the edge facing to the Front,

while your left hand extends to the Right. You are facing to the Left, your gaze to the saber

tip.



his spear aside. He draws back his spear, so I take advantage of the moment by using my

saber to sweep across to his head.





saber, goes from the Left to the Right Rear, turning over and withdrawing with a hanging

action, the saber handle placed beside your left ear, the edge facing upward, the tip pointing to

the Left, while your left hand draws back from the Right, the palm touching the handle to

assist the posture. You are facing to the Left, your gaze level.






Your right foot advances a half step to the Left, then your left foot steps forward to the Left



pointing downward to the Left Front, the edge facing upward to the Left Front, while your left

hand, palm upright, elbow hanging, is placed between the saber and your chest. You are

facing to the Left Front, your gaze upward to the Left Front.


The opponent draws back his spear and stabs to my belly, so I use my saber in a raising action

to take his spear aside, taking advantage of the moment by stepping forward, advancing along

his spear to get to his front hand.



[Your body turns around to the Right and] your right foot takes a half step out to the Right

Rear, the knee bends, and your left leg presses straight, the weight now on your right foot. At

the same time, your right hand, holding the saber, lifts up from the Left Front, then goes

downward to the Right with a capturing action, the saber handle placed beside your right hip,

the tip pointing to the Right, the edge facing downward, while your left hand, palm upright,

elbow hanging, is placed in front of your chest. You are facing to the Right, your gaze level.


The opponent behind me uses his spear to come at me with a stab, so I turn around, using my

saber to deflect it aside, then conceal my saber beside my right hip and wait for what he will

do next.



[Your body turning around to the Left,] your left foot takes a step forward to the Right, your

knee bends to the Left, and your left leg straightens, the weight now on your right foot. At the

same time, your right hand, holding the saber, lifts up from the Right and chops downward to

the Left, the saber handle placed in front of your right knee to the Left, the tip pointing

downward to the Left, the edge facing downward, while your left hand touches your right

wrist to assist. You are facing downward to the Left, your gaze to the saber tip.


The opponent behind me uses his spear to stab to my leg, so I step forward to evade it, then

turn around, using my saber to chop to his head.

[41] SEARCHING THE SEA


[Your body turning around from the Left to the Right,] your right foot steps forward to the

Right, the knee bends, and your left leg presses straight, and the weight is now on your right

foot. At the same time, your right hand, holding the saber, goes from downward in the Left by

raising out to the Right, the tip pointing downward to the Right, the edge facing upward,

while your left hand extends to the Left. You are facing to the Right, your gaze to the saber

tip.


The opponent behind me uses his spear to attack with a low stab, so I turn around to prevent

it, taking advantage of the moment by stepping in and [using my saber] to seek his leg.

[42] SCOOPING THE MOON


Your torso slightly shifts to the Left, then returns. At the same time, your right hand, holding

the saber, lifts up from the Right, goes downward to the Left, and again downward to the

Right, the hand turning over with a raising action, the tip pointing downward to the Right, the

edge facing upward, your left hand touching your right wrist to assist. You are facing to the

Right, your gaze to the saber tip, and the weight is again on your right foot.



his spear aside, then take advantage of the moment by using my saber in a raising action to his

lower body.

[43] WITHDRAWING STEP, CAPTURING WITH THE SABER


Your right foot withdraws a half step to the Left, toes touching down, your left leg squatting


goes downward in a capturing action, the saber handle placed beside your right knee, the tip

pointing to the Right, the edge facing downward, while your left hand touches your right wrist

to assist. You are facing to the Right, your gaze to the saber tip.


The opponent uses his spear to stab to my leg, so I withdraw a half step, using my saber to

capture his spear, then wait for what he will do next.



Your right foot advances a half step to the Right, the knee bends, and your left leg presses


saber, does a stab to the Right with the blade vertical, the saber tip pointing to the Right, the

edge facing downward, while your left hand extends to the Left, fingers pointing to the Left,

palm facing downward. You are facing to the Left, your gaze to the saber tip.


After the opponents spear is captured, he draws it back to stab at me again, so I take advantage of the moment he draws back his spear by advancing using my saber to stab to his

chest with the blade vertical.

[45] JADE RINGS PROP UP THE SABER


Your right foot steps out a half step to the Right Front, then your left foot advances a full step

to the Right Front, the knee bends, and your right leg presses straight, the weight now on your

left foot. At the same time, your right hand, holding the saber, draws back from the Right and

pushes out upward to the Right Front, the saber handle placed to the forward right of your

forehead, the tip pointing downward to the Right Front, the edge facing upward to the Right

Front, while your left hand, palm upright, elbow hanging, is between the saber and your chest.

You are facing to the Right Front, your gaze level.


The opponent uses his spear to stab to my head, so I send my saber outward in a hanging

action to take his spear aside, then take advantage of the moment by stepping forward and

using my saber in a raising action seeking his belly.

[46] BIG DIPPER SABER


Your torso turns from the Right Front to the Right Rear, your feet staying where they are, the

weight still on your left foot. At the same time, your right hand, holding the saber, goes to the

Right Rear, sinking down to stand it up straight, the saber handle placed in front of your chest,

the tip pointing upward, the edge facing to the Right Rear, while your left hand, palm upright,

elbow hanging, is placed between the saber and your chest. You are facing to the Right Rear,

your gaze level.


The opponent uses his spear to stab to my chest from the side, so I shift the direction of my

torso, using my saber to deflect his spear aside, then watch for what he will do next.

[47] CROUCHING TIGER JUMPS OVER THE STREAM


Your right foot withdraws a half step to the Right Front, but before it comes down, your left

foot lifts up, making a hopping step, then your right foot comes down, the leg squats down,

and your left foot steps forward a half step to the Right Rear, toes touching down,

the knee slightly bent [the weight now on your right foot]. At the same time, your right hand,

holding the saber, goes downward from the Right Rear, then to the Left Front, upward, and

again to the Right Rear, sinking down with a capturing action, the saber handle placed beside

your right hip, the tip pointing to the Right Rear, the edge facing downward, while your left

hand, palm upright, elbow hanging, is placed in front of your chest. You are facing to the

Right Rear, your gaze level.


The opponent uses his spear to stab toward my [right] leg, so I hop a step to evade it while

sending my saber outward in a hanging action to take his spear aside, then wait for what he

will do next.



Your left foot advances a step to the Right Rear, the knee bends, and your right leg presses


saber, then goes to the Right Rear with a level stab, the saber making a line with the arm, the

tip pointing to the Right Rear, the edge facing downward, while your left palm touches your

right wrist [forearm] to assist. You are facing to the Right Rear, your gaze to the saber tip.


The opponent draws back his spear, so I take advantage of the moment by stepping in and

using my saber to stab to his face with the blade vertical.

[49] CROUCHING TIGER POSTURE


Your torso turns from the Right Rear to the Left, your left leg squats down, and your right leg

presses straight, the weight still on your left foot. At the same time, your right hand, holding

the saber, goes from the Right Rear to the Right Front, coiling a half circle around your head,

until downward to the Left Front, then sweeps across upward to the Right Rear, the saber

handle placed beside your left ribs, the tip pointing upward to the Right, the edge facing to the

Right Rear, while your left hand is placed crosswise above your forehead. You are facing to

the Left, your gaze level.


The opponent behind me uses his spear to attack me with a stab [to my head], so I turn

around, using my saber to deflect it aside. He again stabs, now to my belly, so I use my saber

to sweep aside his spear, then wait for what he will do next.

[50] CONCEALING THE SABER


Your right foot takes a half step to the Left Front, the knee bends, and your left leg presses


saber, goes from the Right Rear to the Left Front with a downward chop, then lifts up the

saber and coils it all the way around your head, from the Front to the Right, passing around to

the Left and again forward, the saber handle placed beside your right hip, the tip pointing to

the Left, the edge facing downward, while your left hand, palm upright, elbow hanging, is

placed in front of your chest. You are facing to the Left, your gaze level.


The opponent uses his spear to stab to my leg, so I use my saber to deflect it aside. He again

stabs, now to my head, so I use my saber in a coiling action around my head to prop his spear

away, then conceal my saber beside my leg and watch for what he will do next.

[51] COILING DRAGON POSTURE


Your left foot withdraws a half step to the Right Rear, the leg squats down, and your right

foot withdraws a half step to the Right Rear, toes touching down, the weight now fully on

your left foot. At the same time, your right hand, holding the saber, goes to the Right Rear

with the saber upright in a crossing action to hang his weapon aside, the tip pointing upward,

the edge facing to the Left Rear, while your left hand, palm upright, elbow hanging, sticks to

the back of the saber. You are facing to the Left, your gaze level.


The opponent uses his spear to stab to my face, so I send my saber outward to hang his

weapon aside while retreating, then wait for what he will do next.

[52] CHASING STEP, COILING DRAGON POSTURE


Your right foot steps out a half step to the Left Front, the knee bends, the leg squats down,

and your left foot follows the right foot forward a half step, toes touching down, the weight

now fully on your right foot. At the same time, your right hand, holding the saber, does not

move, while your left hand still sticks to the back of the saber. You are facing to the Left

Front, your gaze level.


After his spear has been hung aside, he draws it back to try a different attack, so I follow his

withdrawing energy, chasing forward to again hang his weapon aside, then calmly wait for


[53] CLOUDING SABER, CONCEALING THE SABER


Your right foot takes a step to the Left Front and then your left foot takes a step to the Left

Front, your torso turning to the Right Rear, as your right hand, holding the saber, chops

downward to the Left Front, then sweeps across to the Right Rear as a horizontal blade. At the

same time, your right leg squats down and your left foot takes a half step to the Right Rear

[Rear], toes touching down, as your right hand, holding the saber, captures downward, the

saber handle placed beside your right hip, the tip pointing to the rear, the edge facing

downward, while your left hand, palm upright, elbow hanging, is placed in front of your

chest. You are facing to the Rear, your gaze level.


The opponent uses his spear to stab to my leg, so I advance, using my saber to deflect it aside.

Suddenly an opponents spear appears behind me, so I turn around and use my saber in a clouding action to ward it away [then conceal my saber beside my right leg and wait for what

he will do next].

[54] PROTECT THE KNEE, CHOP


Your left foot steps out a half step to the Rear, then your right foot takes a step to the Rear, the


time, your right hand, holding the saber, goes from beside your left knee, going outward in a

hanging action, then chops downward to the Rear, the tip pointing downward to the Rear, the

edge facing downward, while your left hand extends Forward. You are facing downward to

the Rear, your gaze level.


The opponent uses his spear to stab to my knee, so I send my saber outward in a hanging

action to send his spear aside, then take advantage of the moment by stepping in and using my

saber to chop to his head.



Your right foot withdraws a half step to the Front, toes touching down, your left leg squatting


saber, goes to the Right Front, turning over and withdrawing with a hanging action, the saber

handle placed beside your left ear, the tip pointing to the Rear, the edge facing upward, while

your left hand touches your right wrist to assist. You are facing to the Rear, your gaze level.




[56] FLOPPING FISH POSTURE


[Your right foot takes a half step to the Rear,] your left foot takes a full step to the Rear, then

your right foot steps to the Rear, behind your left foot, and both legs squat down, the weight

now on your left foot. At the same time, your right hand, holding the saber, sinks down with a

capturing action, the saber handle below your left knee, the tip pointing to the Rear, the edge

facing downward, while your left hand touches your right wrist to assist. You are facing to the

Rear, your gaze level.


The opponent uses his spear to stab to my leg, so I use my saber to capture his spear, then




Your body goes from the Rear to the Left, to the Front, to the Right, spinning all the way

around, then your left foot takes a half step to the Rear, toes touching down, heel lifted,

your right foot not leaving its location, the leg squatting down, the weight now on your right

foot. At the same time, your right hand, holding the saber, lifts up, then sinks down to the

Rear with a capturing action, the saber handle placed beside your right hip, the edge facing

downward, the tip pointing to the Rear, while your left hand, palm upright, elbow hanging,

extends to the Rear. You are facing to the Rear, your gaze level.


The opponent uses his spear to stab to my head, so I lift up my saber to deflect it aside,

[spinning my body around,] then conceal my saber beside my leg and wait for what he will do

next.



Your left foot takes a half step to the Rear, the knee bends, and your right leg presses straight,

the weight now on your left foot. At the same time, your right hand, holding the saber, then

goes to the Rear with a level stab, saber and arm making a straight line, the saber tip pointing

to the Rear, the edge facing downward, while your left palm touches your right wrist to assist

the posture. You are facing to the Rear, your gaze to the saber tip.


The opponent draws back his spear, so I take advantage of the moment by stepping in and

using my saber to stab to his face with the blade vertical.

[59] CROUCHING TIGER POSTURE


Your left foot retreats a step to the Front, the leg squats down, and your right foot takes a step

to the Right, toes touching down, heel lifted, knee slightly bent, the weight now on your left

foot. At the same time, your right hand, holding the saber, goes from the Rear to the Right,

then to the Front, coils all the way around your head, then waves outward to the Left below

your armpit, the tip pointing upward to the Left, the edge facing downward to the Left Front,

while your left hand is placed crosswise above your forehead. You are facing to the Right,

your gaze level.


The opponent uses his spear to stab to my head, so I use my saber to deflect it aside. He then

uses his spear to stab to my belly, so I send my saber to sweep aside his spear, then wait for


[60] FLOPPING FISH POSTURE


Your right foot advances a half step to the Right, your left foot then takes a full step to the

Right, then your right foot steps to the Right Front, behind your left foot, both legs squat


sinks down to the Right with a capturing action, the tip pointing to the Right, the edge facing

downward, while your left hand touches your right wrist to assist the posture. You are facing

to the Right, your gaze level.






Your body goes from the Right to the Rear, to the Left, to the Front, spinning all the way

around, your right foot not leaving its location, the leg squatting down, and your left foot

advances a half step to the Right, toes touching down, heel lifted, the weight now on your

right foot. At the same time, your right hand, holding the saber, sinks down with a capturing

action, the saber handle placed beside your right hip, the tip pointing to the Right, the edge

facing downward, while your left hand, palm upright, elbow hanging, extends to the Right.

You are facing to the Right, your gaze level.






Your left foot advances a half step to the Right, then your right foot advances a full step to the

Right, the knee bends, and your left leg presses straight, the weight now on your right foot. At

the same time, your right hand, holding the saber, does a level stab to the Right, the saber tip

pointing to the Right, the edge facing downward, while your left hand extends to the Left.

You are facing to the Right, your gaze to the saber tip.


Once his spear has been captured by me, he draws it back and looks for a new opening to

again stab at me, so I take advantage of the moment he draws back his spear by advancing and


[63] TURN AROUND, BLOCKING


Your right foot takes a step to the Left, behind your left foot, and your left knee bends,

the weight now on your left foot. At the same time, your right hand, holding the saber, goes

downward from the Right, blocking downward to the Left, the tip pointing downward to the

Left, the edge facing downward to the Right, while your left hand touches your right wrist to

assist. You are facing downward to the Left, your gaze to the saber tip.


The opponent behind me uses his spear to stab to my leg, so I turn around and use my saber to

block his spear.

[64] GREEN SNAKE HIDES ON THE GROUND


Your left foot takes a step to the Left, your right foot then advances a step to the Left, [your

torso spinning around,] and both legs squat down, the weight now between your feet. At the

same time, your right hand, holding the saber, pokes out to the Left [along with the left step],

then sinks down with a capturing action [along with the right step and the spin], the saber

handle placed beside your abdomen, the tip pointing to the Left, the edge facing downward,

while your left hand touches the saber handle to assist the posture. You are facing to the Left,

your gaze level.


The opponent draws back his spear, then stabs to my chest, so I use my saber to capture his

spear, then wait for what he will do next.



Your right foot staying where it is, the knee bends, and your left leg presses straight, the

weight now on your right foot. At the same time, your right hand, holding the saber, does a

level stab to the Left, the saber tip pointing to the Left, the edge facing downward, while your

left hand extends to the Right. You are facing to the Left, your gaze to the saber tip.


After the opponents spear has been captured, he draws it back to look for a new opening to again stab at me, so I take advantage of the moment he draws back his spear by advancing and


[66] TURN THE HORSE, LIFTING THE BELL


Your right foot takes a step to the Right, the knee bends, and your left foot lifts up to be

downward to the Left, the weight now fully on your right foot. At the same time, your right

hand, holding the saber, lifts up from the Left, then with the hand turning over, does a raising

action downward to the Left, the tip pointing downward to the Left, the edge facing upward to

the Left, while your left hand touches your right wrist to assist the posture. You are facing

downward to the Left, your gaze to the saber tip.


The opponent uses his spear to stab my leg, so I feign a bad position, then take advantage of

the moment of his unpreparedness by [using my foot to kick his spear aside and] using my

saber to do a raising action to his lower body.

[67] DIAGONAL FLYING POSTURE


[Your left foot comes down,] your left [right] foot advances a step to the Right, your [left]

knee bends, and your right leg presses straight, the weight now on your left foot. At the same

time, your right hand, holding the saber, lifts up from downward in the Left, goes to the Right,

downward, making a complete [vertical] circle, then again with the hand turning over, goes

downward to the Left with a raising action, while your left hand extends upward to the Right.

You are facing downward to the Left, your gaze to the saber tip.


The opponent draws back his spear and stabs to my chest, so I lift up my saber and send it

outward to deflect him aside, then take advantage of the moment by [advancing and] using

my saber to seek his leg with a raising action.

[68] GOLDEN NEEDLE POINTS SOUTH


Your right foot withdraws a half step to the Right, toes touching down, heel lifted, knee

slightly bent, your left leg squatting down, the weight now fully on your left foot. At the same

time, your right hand, holding the saber, withdraws toward your chest, the saber handle placed

in front of your chest, the tip pointing to the Left, the edge facing upward, while your left

hand touches your right hand to assist. You are facing to the Left, your gaze level.



his spear aside, then wait for what he will do next.

[69] EMBRACING THE MOON


Your right takes a half step to the Left, then your left foot advances a full step to the Left,

[stepping over your right leg,] and both legs squat down, the weight now on your right foot.

At the same time, your right hand, holding the saber, [goes downward in a capturing action,

then] embraces toward your chest, the tip pointing to the Left, the edge facing upward, while

your left hand touches the saber handle to assist, You are facing to the Left, your gaze level.


The opponent draws back his spear, so I take advantage of the moment by advancing and

[using my saber to] capture his spear, then [draw it back and] wait for what he will do next.

[70] GOING WITH THE CURRENT TO PUSH THE BOAT


Your right foot advances a step to the Left, the knee bends, and your left leg presses straight,

the weight now

Documents

Wu Style Taiji Saber (Xuanxuan Dao)