TWELVE-LINE TANTUI

拳術基本 潭腿圖說
BOXING ARTS FUNDAMENTALS – ILLUSTRATED HANDBOOK FOR TANTUI
何光銑先生演式
postures performed by He Guangxian
胡健先生编輯
text compiled by Hu Jian
上海中華圗書館印行
published by Chinese Library of Shanghai
民國六年五月出版
1st edition – May, 1917
繪圖者 宜興徐悲鴻
drawings by Xu Beihong of Yixing
[In his early twenties at the time of the book’s publication, Xu was later to become one of the renowned painters of the 20th century. This book’s drawings are therefore a priceless example of his early work. Though unimpressive when held up against his later work, they may arguably have a certain something when compared to other artists’ attempts at drawing figures rapidly within the martial arts publications of the era.]

[translation by Paul Brennan, Jan, 2013]

《潭腿圖說》 (1917) - callig

拳術基本 潭骽圖說
Boxing Arts Fundamentals – Illustrated Handbook for Tantui
黃炎培題
– calligraphy by Huang Yanpei


PREFACE [by Ling Rongqi]

英人戈登嘗謂中國之民耐勞易使教練成軍可為世界極强之兵夫惟耐勞故易使然吾國之民奚由而有此耐勞之習慣則拳術為之也蓋拳術每路皆一氣呵成習之者興味盎然不樂中道自已而耐勞之習慣有莫之致而至矣惜自歐人挾其火器東漸以來吾國一再敗衂而拳術遂為社會所屏棄矣不知火器利於遠攻而不利於近戰狹巷短兵血肉相搏之際槍礮失其利而拳術神其用矣倭人之破斡羅思於遼東非謂以柔術制勝乎柔術即吾國之拳術之一部分彼實竊取吾國之奧秘而變換其名詞耳近者國人曉然於拳術為吾國絕技可以衞生可以保國行伍以之教練學校列於科目以圗保存此國粹矣惟此道向無專書足資學者自修識者憾之江蘇省教育會坿設體育傳習所有拳術一科吳興張君夢吉任其教練授以北派潭腿同學胡君少剛何君守白為之圗說學者以之自修可憑說按圗不費索解而自得也同學慫恿付之剞劂二君慨然允之是編一出行見洛陽紙貴為體育界大放光明焉江寧凌榮琪序於江蘇省教育會體育傳習所講舍
The Englishman Charles George Gordon once said that the Chinese people are hard-working and easily employed, and that if we train our military, we will have the strongest army in the world. It is because we are hard-working that we are easily employed. But where does our tendency to work hard come from? It is because of our boxing arts. For all the styles of boxing arts, they are to be attended to without interruption. Practitioners with genuine interest take no pleasure in going at them half-heartedly. Through personal hard work, everything will be achieved.
     Ever since Europeans started bringing firearms to the East long ago, our nation has been defeated again and again, and so boxing societies have been abandoned. We did not understand that while firearms are advantageous for long-range attack, they are disadvantageous for close-quarter combat. When fighting in narrow alleys at the range of knife or body, rifles and cannons lose their effectiveness, and boxing arts rival their use.
     When the Japanese defeated the Russians east of the Liao river [in 1905], was it not because of jujitsu that they were victorious? Jujitsu is a part of our nation’s boxing arts. They actually stole our nation’s secrets and then changed the name. It has recently dawned on our countrymen that boxing arts are our nation’s specialty, able to both defend one’s health and protect the nation. The military uses them for training, and schools hold courses in them, thereby preserving our cultural essence. But these arts have no specialized literature adequate to supply for the self-training of students, for which the discerning regret.
     The Jiangsu Educational Association set up a Physical Education Training Institute, in which there is a boxing course taught by Zhang Mengji of Wuxing [in Zhejiang], who instructs in the northern art of Tantui. My classmates Hu Shaogang [Jian] and He Shoubai [Guangxian] have made a handbook about it so that students may teach themselves. You can go by its explanations and drawings to obtain it for yourself without the trouble of seeking it. Inspired to share, Hu and He have generously made this book available. It will go far and will become a bestseller shining in the world of physical education. [This was apparently not a vain prediction – by 1923, the book was on its 7th printing.]
     – written by Ling Rongqi of Nanjing at the Jiangsu Educational Association, Phy-Ed Bureau lecturer’s dorm


PREFACE [by Zhu Hongshou]

嘗讀世界進化史矣自近世紀以來世界各文明國無不崇尚武裝以為和平之後盾我國東亞病夫國之徽號方見誚於世界此何故耶殆不講求武藝學之弊耳不知我國武藝學發明最早後漢時有創俗家派之郭頥梁時印度達摩禪師傳教中邦著易筋洗髓二經以傳其徒衆名曰佛家派即近世盛稱之少林派也洪拳源於宋之太祖武當創自張三峯元明清代時有名家惜尚文輕武之風太盛而武藝遂不如前古之發達雖研究是藝者世不乏人大率皆草茅下賤既無統系記載可憑又無嫡派真傳可凖稍知門徑即仗藝陵人為社會害以致神聖之國粹將湮沒無聞者盖有故也武藝之起源乃以強健筋骨延長生命為目的故名之曰長生術非以搏人為主旨者也况武藝與生理在在攸關而我國武術界中向不知生理為何物每見習武藝者未入門徑身體已羸弱不堪此非武藝之弊乃教者不明生理無階級之教材故耳去嵗冬間江蘇省教育會諸君子知非尚武不足與世界強國相角逐於是有體育傳習所之設列武藝學為必修科聘請武藝學專家教授之入所學習者皆本省各縣之一時俊彥以平時教師所授編緝成書繪以圗像將付剞劂公之於世由傳習所學員黃警頑君問序於余余雖於此道研究二十餘年為政學醫各務所覊未能專心於此故學術空疏識見膚淺又拙於文何敢為序固辭不獲述其所知如右
丙辰年二月初七日寶山朱鴻夀序於中西普通醫院之院長室
I once studied world history. Since the arrival of the modern era, every culture in the world has advocated using the military as a back-up for peace. We Chinese are called the “sick men of Asia”, looked down on by the whole world. Why is this? Because we have made the perilous error of not giving attention to martial studies, and have become unaware that our nation’s study of martial skills was the earliest to develop.
     During the Eastern Han Dynasty, commoners came up with systems in their own localities. Then during the Liang Dynasty, the Indian zen master Damo transmitted teachings to China and wrote the two classics of Changing the Sinews and Washing the Marrow. What he passed on to his followers was called the Buddhist School, what in modern times is the renowned Shaolin School. Hong Boxing originated from the first Song emperor. The Wudang School began with Zhang Sanfeng. In the Yuan, Ming, and Qing dynasties, there were famous schools, but alas, the custom of venerating the civil and trivializing the martial went to excess, and so skill in martial arts became inferior to earlier times.
     As for their development in ancient times, although there has over the generations been no lack of people studying these arts, they have generally been of a lower social status. Hence there are no records of these systems that can be relied on, nor is there any lineage that can accurately be called authentic, and those who do have the real stuff spend so much time fighting that they only do harm to society. For these reasons, our sacred national culture may end up sinking into oblivion.
     Martial arts stem from the goal of strengthening the body to extend one’s lifespan. Therefore they are called “longevity arts”, and their main purpose is not really for fighting people. Furthermore, martial arts are in all respects related to physiology, yet within the world of our nation’s martial arts, there are those who do not even know what physiology is. Whenever we see practitioners of martial arts who have not learned the real stuff, their bodies have been extremely weakened by it. The reason for this is not a flaw in martial arts, but is the fault of instructors who have no understanding of physiology and are without systematic teaching materials.
     During the last winter, everyone in the Jiangsu Educational Association has come to understand that if we do not esteem our martial aspect, we will be inadequate to the task of building our nation’s presence in the world. Thereupon the Physical Education Training Institute was established, in which martial arts studies are a required course, and for which martial arts specialists have been invited to teach. Students have come from all over the province to learn, and have quickly become capable. The common curriculum has been compiled into a book, complete with illustrations, to share with the world.
     A member of the Training Institute, Huang Jingwan [editor of the book], asked a preface of me. Although I have studied these methods for more than twenty years, I have also been studying medicine, and between the two tasks I have not been able to focus on this one. Consequently my study and experience of these arts is superficial. Nor am I any good at writing, so how can I presume to write a preface anyway? And so I must stop here, for I cannot relate my knowledge any further.
     – written by Zhu Hongshou of Baoshan at the director’s building of the Chinese & Western Universal Hospital, 1916, 2nd month, 7th day

自序
AUTHOR’S PREFACE [Hu Jian]

拳術為我國絕技夫人而知之矣惟是派別甚繁求其便於初學一朝一夕即能心領神會者實不可多得用是學者往往淺嘗輒止不能造乎奧窔健等學於江蘇省教育會體育傳習所吳興張夢吉先生以北派潭腿見授其動作凡十二路簡易輕靈便於初學習熟而精之自可成一家派且就教育言動作平匀可以使身體均齊發育就衞生言運動合度可以促血液循環加速就應用言則手腕靈敏步武穩健遇有危急足以自衞健等不揣譾陋每路依其順序為之說明而附之以圗付之手民以公諸同好非敢自詡心得也
Boxing arts are our nation’s specialty, as everyone knows. Although there is such a variety of styles, for those who seek to be able to learn something in a short period of time, it turns out there are not many options. This is why students often dabble in one of them and then give up, unable to attain a deep level.
     We [“I, Jian, and the rest of us”] learned at the Jiangsu Educational Association’s Physical Education Training Institute, where Zhang Mengji of Wuxing instructed us in the movements of the northern art of Tantui. All of its twelve lines are simple and nimble, easy for beginners to learn and become proficient in, thus able to succeed in one of the systems.
     Regarding its educational result, the movements are balanced [i.e. are done on both sides], and so it can cause the body to be developed uniformly. Regarding its health effect, the exercise is appropriately proportioned, and so it can improve blood circulation. Regarding its practical function, your hands are made agile and your steps are made stable, so that when you encounter danger, it will be sufficient to defend yourself with.
     Our abilities are limited and shallow. Though we have explained every line in sequence, complete with drawings, and have published it to share with all those who are interested, we would not presume to praise ourselves for what we have learned.

拳術大要 徐廷峻
ESSENTIALS OF BOXING ARTS – by Xu Tingjun

拳法者乃百技之基也蓋訓練純熟則身體活潑手腕便利足脛輕固進退得宜而其妙也顛起倒揮而其猛也披劈橫拳而其快也活捉朝天而其柔也知當閃劈勢勢相承變化無窮幻焉冥焉人不得而窺其端倪棍刀鎗劍矛楯諸器之運用莫不基於此迨近世火器發明棍刀鎗劍諸具廢而拳法亦鮮有問徑矣雖然火器利遠而不利近苟短兵相接鋒刃當前必賴手足敏捷身體矯健以應其變是拳法又何可廢乎故今日之學校設有拳術兼操器械惟願學者勿憚勞苦勿重形式勿弄花法勿泥空架當求其運用之方也嗚呼當茲國步艱難羣宜憤發勤勉振晚世之懦風舍康健勇武其奚由吾又不得不推重拳術也茲撮其大要系於篇後并附以少林棒彈腿諸法少林棒所以操練腕力彈腿所以活動足部筋絡亦拳術之一助也
In boxing arts, there are hundreds of fundamental skills. Once you train in them until you are proficient, then [quoting from Qi Jiguang’s New Book of Effective Methods, chapter 14:] “Your body is nimble, your hands fluent. With your feet agile yet stable, and with correct advancing and retreating, [your legs will be able to fly.] Its ingenuity lies in dropping, turning, and slipping through. Its fierceness lies in chopping and swinging. Its swiftness lies in flinging the opponent down so he is looking up at the sky. Its softness lies in knowing when to lean out of the way… When posture after posture follows upon each other, [you will subdue the opponent.] When your adaptations are inexhaustible, [he will have no idea what you are doing.] Your actions are shadowy and invisible, he cannot figure it out, [and so he calls it magic.]”
     The use of weapons – staff, saber, spear, sword, lance, shield, etc – are all based in this. Now that firearms have been invented, the staff, saber, spear, and sword have all been abandoned, and boxing arts too are seldom considered anymore. Although firearms have the advantage at a distance, they do not at short range. When fighting close in, sharp weapons ought to come forth. Adapting to circumstances will depend on the agility of hands and feet, and on the vigor of the body. So how can boxing arts be abandoned?
     Therefore educational institutions nowadays incorporate both boxing arts and weapons. What I hope of students is that you: do not shirk hard work, do not overemphasize posing, do not show off with flashy techniques, and do not paint yourself with a collection of empty postures, for you should seek applicable methods. Alas, this nation is trudging through troubles. Everyone should vigorously express diligence, rousing the weak of today. Why abandon health and courage? We have to esteem boxing arts.
     Below are the essentials, followed by the Shaolin Stick and Shaolin Tantui methods. The stick exercises are for training wrist strength, while Tantui is for exercising the leg muscles, both being very helpful things in boxing arts.
(一)凡拳術操練之時頭要鼎項要靈肩要垂
1. Generally when practicing boxing arts: your head should press up, your neck should be flexible, and your shoulders should hang down.
(二)氣貫丹田扎腰眼兩肩順兩肘兩肘順兩手兩脚立地十趾著力此立法也
2. Energy passes through to your elixir field and wraps all the way around your waist.
Your shoulders follow your elbows, and your elbows follow your hands. Both feet stand on the ground, all ten toes putting forth effort. These are the principles of standing.
(三)凡拳術有勾手有鵰手有鷹手有猴手有採手有揉手有磕手有替手有幌手有劈手有奔手有攔手此手掌之法也
3. Common methods of using the palm are: hooking hand, vulture hand, eagle hand, monkey hand, plucking hand, rubbing hand, knocking hand, switching hand, feigning hand, chopping hand, rushing hand, and blocking hand.
(四)凡拳術須用鎚(拳)有冲鎚有登鎚有彈鎚有連鎚有冲天鎚此拳手之法也
4. Common methods of using the fist are: thrusting punch, pressing punch, snapping punch, continuous punches, and “cannon to the sky”.
(五)凡拳術有進步有退步有簡步有賣步有偷步有單進步有雙進步有連環步有鴛鴦步有寒雞步有雙環步有正步有雙正步有尖步有跕步此步法也
5. Common methods of stepping are: advancing, retreating, short step, long step, stealing step, advancing with one foot, advancing with both feet, continuous stepping, mandarin duck step, shivering chicken step, double circling step, squared step, double squared step, pointed step, and tiptoe step.
(六)凡拳法有虛有實有進有退有剛有柔有長有短有上有下有左有右有前有後有遠有近有寬有窄有弓劍襠前腿彎如弓後腿直如矢所以護小腹而固脚力也兩肘鬆鎚似流星眼如電光腰如蛇行腿如鑽搥出手如放箭囘手如閃電此運用法也
6. Amongst common principles of application, there is: emptiness and fullness, advance and retreat, hard and soft, long and short, above and below, left and right, front and behind, far and near, and wide and narrow.
     There is the bow & arrow stance, in which your front leg is bent like a bow and your rear leg is straight like an arrow, thereby protecting your lower abdomen and strengthening your legs.
     Loosen your elbows.
     Your punch is like a meteor streaking. Your eyes are like lightning flashing. Your waist is like a snake slithering. Your leg is like a drill poking through. Your hand shoots out like an arrow, then withdraws fast as lightning.
(七)凡拳術有登腿有刴腿有彈腿有排腿有十字腿有擺腿有掃蹚腿有旋風腿有囘馬腿有劍彈腿有歸腿有卧盤腿有撥腿有驅腿此運動兩腿之法也
7. Common methods of kicking are: pressing kick, chopping kick, snapping kick, front sweep, kicking while punching with the opposite hand, swinging kick, back sweep, whirlwind kick, back kick, sword kick, spinning kick, millstone leg, deflecting kick, rushing kick.
(八)拳之精妙之處固不可盡形之筆墨然不外乎八法(一)觀法(二)手法(三)步法(四)身法(五)進法(六)打法(七)拿法(八)跌法訣曰猫穿狗讓寒雞步鷹眼猴手狐狸尾心得乎此則拳術精矣
8. Although the skills in boxing arts cannot be comprehensively described in writing, they do not go beyond these eight kinds of methods: methods of watching, methods of using the hands, methods of stepping, methods of turning, methods of pushing, methods of striking, methods of grabbing, and methods of falling.
     A mnemonic goes:
     Be a cat when going through the center, a dog when going around from the side, and step like a shivering chicken.
     Have an eagle’s keen vision, a monkey’s active hands, and slip all the way through like a fox’s tail.
     When you understand these things, you have the essentials of boxing arts.

少林棒創於少林寺其用甚宏姑列其名稱
The Shaolin stick exercises come from the Shaolin Temple. They are magnificently useful. Listed here are the names of the exercises:
(一)韋馱獻杵
1. Skanda Threatens with his Pestle
(二)金剛托鉢
2. Arhat Holds up his Alms Bowl
(三)翻江攪海
3. Turn the River to Stir the Sea
(四)黃龍翻身
4. Yellow Dragon Turns Around
(五)烏龍絞尾
5. Black Dragon Coils its Tail
(六)秦王摩旗
6. Emperor Waves his Banner
(七)銀龍攤爪
7. Silver Dragon Extends a Claw
(八)天王撑傘
8. Atlas Props Up the Sky
(九)白蛇吐信
9. White Snake Flicks its Tongue
(十)臥虎抓山
10. Crouching Tiger Claims the Mountain
(附以粗繩兩條上附橫樑下系木之兩端木之中間墜以石此木距地約三尺許石置地上練習時以兩手分置繩旁之木攪繩則石起再輕輕放下如兩人各立木端共轉此木亦可石之重三十斤至二百斤
Two thick ropes are attached to a roof beam above and the ends of a stick below. [The stick cannot be more than about three feet wide.] Hanging below the center of the stick is a stone. Stick and stone are about three feet apart, the stone placed on the ground.
     When practicing, take hold of each of the ropes, and by bending them [i.e. pulling one toward you while pushing the other away], lift the stone and gently let it down again. If two people stand at either end of the stick, they can turn the stick together. This stick can bear the weight of a stone between thirty and two hundred pounds.

十路彈腿大摩祖師所傳其法甚多列其常用者十路於後
As for the 10-Line versions of Tantui [here meaning “snapping kicks”] passed down from Damo, their variations are numerous. The [two] most common versions are listed below:

頭路冲錘腿
1. Thrust Punch
二路十字腿
2. Kick with Opposite Hand Punching
三路蓋馬腿
3, Saddle the Horse
四路撑採腿
4. Bracing & Pulling Down
五路栽跨腿
5. Planting Across
六路單展腿
6. Single Spreading
七路棚鎖腿
7. Touch & Lock
八路鑽環腿
8. Drill Through & Surround
九路盤肘腿
9. Coiling Elbow
十路劍彈腿
10. Sword-like Snapping Kick

頭路式法一溜草邊
1. A Single Path Beside the Lawn
二路式法十字奔脚尖
2. Sudden Toe-Kick with Opposite Hand Punching
三路式法蓋馬夜行式
3. Saddle the Horse for a Night Journey
四路式法撑採霸路攔
4. Bracing & Pulling Down (or “Tyrant Blocks the Road”)
五路式法栽跨人難攩
5. Planting Across so the Opponent Cannot Defend
六路式法單展
6. Single Spreading
七路式法棚鎖
7. Touch & Lock
八路式法鑽環
8. Drill Through & Surround
九路式法盤肘
9. Coiling Elbow
十路式法劍彈
10. Sword Kick

說明潭腿之功用 究武
EXPLANATIONS OF TANTUI’S FUNCTIONS (according to our research)

潭腿傳聞出自山東龍潭寺故以潭名其格式分為十二路每路以簡易之法藴變化之機初學者未窺其奧輙鄙夷之不知人身之力未經煅煉全屬虛浮雖能扛鼎何禆實用人所貴夫力者冀能以貫注手足使為吾用耳初學鮮有知此者故僅求潭腿形式而忽畧其精采買櫝還珠抑何可笑然知而不言咎在吾輩故不嫌贅辭細述其功用如左或亦同志所不棄乎
It is said that Tantui comes from the Dragon Pool Temple [“Long Tan Si”] in Shandong, and thus Tan [“Pool”] is used in the name. Its patterns are divided into twelve lines. Each road is simple and easy, and are variations on a theme.
     Whenever beginners do not yet comprehend its subtleties, they ignorantly belittle it. Until the power of their bodies has been trained, the whole thing will be superficial. Although they may be strong enough to lift a caldron, what good is that? Those who value strength hope that ability with hands and feet will count as applicability.
     Beginners rarely understand these things, and so they only seek of Tantui’s postures, overlooking its wonders, showing a lack of discernment [“buying the box and returning the pearl”]. But how can we mock them? To know it and not explain it is a fault that lies in ourselves, and therefore they are not to be despised. So that our comrades will not look down on them, its functions are explained in detail below.
(一)長氣力
[1] It develops power:
初學者脈絡筋骨不甚靈活故手足發力甚微迨習之旣久氣由腋肋漸達指尖斯時力隨意注運動時手足出發有定點使勤以赴之則筋肉日長而氣力日增矣
The body of a beginner is not very flexible, and thus the power emitted from the hands and feet is tiny. After training over a long period, energy gradually extends from flank to fingertips, and at that time, you will apply as much power as you wish. When focused in the exercise, with your hands and feet expressing to the same place over and over again, it causes your muscles to daily develop and your power to daily increase.
(一)穩步武
[2] It stabilizes stances:
未經練習之人則上重下輕足掌虛空不能前後著地一經用力自如懸旌而足顫動不已昔之技擊家必先令學習站樁然站樁足不動殊乏興味潭腿法則藉手足之運動以減去學者生厭之心可謂法良意美唯初練數日必覺全身酸痛異常膝蓋尤甚此無他內部筋肉由多數之運動漸漸發生故耳際此切勿畏難須向前猛進不旬日間酸痛去而足踵強矣求學者多有因此生疑北方教員格於方言無從解釋而肉食輩又以內傷之說相恐嚇致阻其嚮學之熱心惜哉
A person who has not yet trained will be top-heavy. The soles of your feet will lack substance and be unable to stand flush against the ground. As soon as any effort is used, you will become unsteady and your feet will constantly tremble. In the old days, boxing masters had to first go through stance training, in which the feet do not move, and which is incredibly dull. Tantui’s method uses the exercising of the hands and feet instead. Students who would otherwise be bored will say this is a good method, a wonderful idea.
     After the first few days of training, you will inevitably find your whole body to be extraordinarily aching, especially your knees. This gradually happens simply because the muscles are performing so many movements. Do not let this make you cower. You must forge on ahead. After about a week, the ache will go away and your heels will become strong. Potential students often begin to distrust northern instructors because of this experience, resisting their instruction, not going along with it though they take it in, and when they talk with older students about any injuries, they become afraid of it, diminishing their enthusiasm to learn it. Alas.
一致實用
[3] It has practical application:
潭腿不特能自行習練且可覔氣力相當者逐路對打名曰接潭腿(在編輯中)行之既久躱閃勾撇矯捷異常設遇對家或被人侵犯即可施諸實用亦防身之利器至手眼身步法(乃北方拳家術語)之藉以日益精進猶其餘事耳
Tantui not only can train the self, for you can seek out a person of equal strength and work each line with a two-person exercise, what is called Contact Tantui (compiler’s description). After practicing it for a long time, you will dodge and deflect with unusual agility. Whether you work with a partner or get attacked by someone, you will be able to perform all of its applications and also protect yourself efficiently, and the methods of eye, body, hand, step, and so on (the [eight] methods described earlier as a part of northern boxing arts), will be daily refined as a bonus.
一堅筋骨
[4] It toughens muscles and bones:
潭腿既云可接則手足必互相抵觸須知抵觸愈力則筋骨愈堅有練未半年其臂膊腿足堅如鑌鐵者然精進與否亦視其人之耐苦心如何耳惟較之昔日打樁打沙袋等事輕重難易之相去不可以道里計蓋對家均係氣力相當者已覺痛楚則彼亦痛楚非與木樁等相接觸僅自已吃苦而已綜上所述不過舉其崖畧至其中變化頗難以筆墨形容非至熟極而流之侯亦不自覺據云北方習武之儔僅以潭腿一路習之數年者所在多有彼足不蹴則已一蹴則三百斤之石滚去尋丈外以人當之其何以堪不斷折筋骨者幾希可知長氣力強筋骨健全人之身體者莫潭腿若也
With Tantui it is said that if the Contact version be worked on, the hands and feet of both people will be clashing with each other, and so they need to understand that the stronger the clashing, the harder their bodies will get. After practicing it for not even half a year, their arms and legs will be hard as iron. But whether or not such progress is made depends on how much hard work both people can bear.
     Comparing it to methods in the old days of striking against wooden dummies, sandbags, and so on, it differs in severity and difficulty, and cannot be thought of in the same terms. This is because when two partners are being equally forceful against each other, both will experience the pain of it, whereas when striking dummies and the like, you alone will taste the hardship.
     Described above are only the essential ideas. Its adaptability is difficult to describe in words, and until you have become skillful and precise, you will not have a sense of it.
     It is said among northern practitioners that for those who practice only the first line of Tantui for several years, it is almost always the case that it is over before the opponent has kicked, for with a single kick, a three hundred pound stone will be rolled away more than ten feet. How could an opponent stand up to that?
     Those who unceasingly work to toughen their muscles and bones may be few, but it is evident that when it comes to developing power, toughening the muscles and bones, and invigorating the whole body – nothing compares to Tantui.
     [Although inspiring, the exhortations in 3 & 4 to practice the Tantui two-person set do seem somewhat out of place in a book that contains only the solo exercise.]

凡例
GENERAL REMARKS

一是書取材係合教員之講授同學之切磋及編者之心得而成
– The materials that went into making this book were selected from what instructors have taught, what my fellow students have learned, and what I [Hu Jian] have learned myself.
一是編為北派拳術初步動作簡要不獨便於自修抑且適用於團體教練
– This book makes use of basic northern boxing, the movements of which, being simple and essential, are not only convenient for self-study but are also suitable for group instruction.
一是編圗說兼備學者按圗索驥不難一目瞭然惟時間短促說明之處未免語焉不詳識者諒之
– This book has both illustrations and explanations. When you work from the illustrations, you will not find it difficult to understand them at a glance, and so because time has been brief, the accompanying explanations are not very detailed. May the knowledgeable pardon us for this.
一是書倉卒付印未暇詳校且編者學識謭陋錯誤良多尚希大技擊家進而教之是幸
– Because this book was hurriedly sent to the printers before there was time to proofread it in detail, and since the compiler’s knowledge is superficial, errors are bound to be numerous. We hope that top martial arts experts will come forward and put us right, for which we would feel most fortunate.

潭腿攷畧
A BRIEF LOOK AT [THE NAME OF] TANTUI

潭腿為北派拳術之基本北方健兒束髮後即習之創自何人不一其說或曰山東龍潭寺某僧創之以教其徒侣後世習武者宗之因以潭名或曰河南譚某創此以專練兩腿工夫深到大有推倒豪傑之概門下傳布其法故亦以譚名云
Tantui is the fundamental training in northern boxing. In the north, athletic boys train in it upon becoming teenagers. There are different explanations as to who created it:
     Some say that a certain monk from the Dragon Pool Temple in Shandong created it for teaching his followers. Later generations of martial arts practitioners then honored him by using “Pool” in its name.
     Others say that a man from Henan named Tan created it to emphasize training the legs. Once his skill was deep and abundant, he defeated all challengers. His students who taught his method therefore used “Tan” in the name.
     [In this book, the author chose to go by the place name (潭) rather than the surname (譚). Between these two choices however, the surname is probably more reasonable, since to abbreviate Dragon Pool to Pool seems unlikely, nor does there appear to be any reason to abbreviate it at all. The Shaolin version mentioned earlier uses a different “tan” altogether (彈), meaning “springy”, “snapping”, or “to shoot”, describing a quality of the kicking rather than a source of the system. Amongst our different ways to render Tantui – Mr. Tan’s Kicks, Dragon Pool Temple Kicks, Snapping Kicks – the safest is to just refer to it as Tantui, which covers all of these explanations.]

潭腿十二路之名稱
NAMES OF THE TWELVE TANTUI LINES

第一路 衝拳
Line 1: THRUST PUNCH
第二路 踢打
Line 2: KICK & STRIKE
第三路 劈紥
Line 3: CHOP & TIE
第四路 撑剝
Line 4: PROP & PEEL
第五路 側搥
Line 5: SIDE STRIKE
第六路 單展
Line 6: SINGLE SPREADING
第七路 雙展
Line 7: DOUBLE SPREADING
第八路 墪坐
Line 8: SIT LIKE A MOUND
第九路 碰鎖
Line 9: TOUCH & LOCK
第十路 箭彈
Line 10: ARROW KICK
第十一路 上中下
Line 11: ABOVE, BETWEEN, BELOW
第十二路 進步橫擂
Line 12: ADVANCE WITH SIDEWAYS DRUMMING

拳之握法及掌之用法
METHODS OF MAKING A FIST AND USING A PALM

(甲)握拳之形式
A. How to make a fist:
緊屈四指。令各指之第三節在一平面。拇指屈第一節。指尖在中指與無名指之間。手背與臂平。
Tightly bend in all four fingers so that the larger joint sections make a single flat plane. The thumb bends in at the upper joint, the tip placed between the middle finger and ring finger. The back of your hand makes a flat plane with your forearm.

(乙)握拳之所忌
B. What to avoid when making a fist:
虛握而不用力
The grip is empty and there is no strength in it.

(丙)出掌之形式
C. How to use a palm:
拇指緊屈。四指挺直。用力合攏。勿散。出掌時。用掌之內側(小指之下腕骨之上肌肉最多處)前推。四指上向。
The thumb tightly bends in. The four fingers are straight, gathered together with strength. Do not let them spread apart. When using a palm, push forward with the inner [outer] edge (the meatiest area below the little finger and above the wrist), the fingers pointing upward.

(丁)出掌之所忌
D. What to avoid when using a palm:
四指不緊。而以手心向前。
The four fingers are not tightly together. The palm is facing forward.

步法之種類
THE DIFFERENT TYPES OF STANCES

(甲)騎馬式
A. Horse-riding stance:
兩足分開步成八字形。足踵距離。較肩部稍寬。屈膝下蹲。兩腿宜平。膝蓋與足尖須在一垂線。上體垂直。胸宜前挺。
Your feet are spread apart with the toes wider than the heels. The distance between your feet is somewhat wider than shoulder width. Bend at the knees and squat down. Your thighs should be flat. Your kneecaps must be in a vertical line with your toes. Your upper body is upright and your chest should be sticking out. [For an example, see 1.2 of Line 1.]

(乙)左面弓式
B. Bow stance – facing to the left:
兩足之尖。均須半面向左。左腿畧平。右腿伸直。右足踵不可離地。身體須挺直。不可傾斜。(右面弓式者凖此。惟方向相反耳。)
The toes of both feet are pointed to a forty-five degree angle. Your left thigh is almost flat and your right leg is straight. Your right heel must not leave the ground. Your upper body must be erect and cannot be leaning. [See 1.1 of Line 1.] (The bow stance on the right side is the same as this, just on the opposite side.)

(丙)仆腿
C. Pouncing stance:
右腿蹲下。則左腿伸直下仆。左腿蹲下。則右腿伸直下仆。是為常例。然仆腿之足。仍宜踏平。切不可離地分釐也。至於上體。須隨屈腿之方向。宜畧傾斜。
The standard is that when squatting down on your right leg, your left leg is prostrated straight, and when squatting down on your left leg, your right leg is prostrated straight. But the foot of the straight leg should still be flat on the ground and must not lift up the slightest bit. As for your upper body, it should slightly incline in the direction of the squatting leg. [See 1.2 of Line 6.]

(丁)右丁式
D. T stance – right:
左腿平屈。右腿以足尖點地。而點地之足尖。與着地之足踵宜成一直線。(左丁式者凖此。惟方向相反耳。)
With your left leg bent so the thigh is flat, your right toes are touching the ground. Your right toes should be in a straight line with your left heel. (The T stance on the left side is the same as this, just on the opposite side.) [See 1.6a of Line 8.]

(戊)倒揷步
E. Retreating insertion stance:
前腿微屈。後腿伸直。上體宜左右彎屈。而不可前後彎屈也。
Your front leg is slightly bent, rear leg straight. Your upper body should bend to the side, be it left or right, but must not bend forward or back. [See 1.1 of Line 4.]

注意
Points for attention:
以上所述各種之步法。宜隨手勢而變換其方向。且姿勢最忌板滯。望行拳者留意及之。
The stances described above should change direction in accordance with what your hands are doing. The postures should most of all avoid being stiff. Keep your attention by watching the actions of your fists.

潭腿圗說
ILLUSTRATED HANDBOOK FOR TANTUI

各路之說明
EXPLANATIONS FOR EACH LINE

第一路 衝拳 三五呼唱
LINE 1: THRUST PUNCH (three times, five counts each)

預備
Preparation:
身直立。胸前挺。臀向後。兩足尖併攏。右臂握拳。(握拳須大指壓貼無名指為度。)平舉於右。虎口向上。(側拳)左臂屈於胸前。掌向右。置於右肩銷骨旁。為動作之凖備。
Your body stands straight, chest sticking out forward, buttocks arched to the rear, your feet are standing toes together [i.e. not only heels together]. Your right arm grasps into a fist (the standard being that the thumb presses down on the ring finger) and is raised level to the right with the tiger’s mouth facing upward (performing a side punch), while your left arm bends to be in front of your chest, palm facing to the right and placed beside your right shoulder bone. This is the preparation for the movements.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 1

動作
Movements:
(一)左足向左踏出屈膝。步成弓式。同時左手握拳。向左平伸。(衝拳)頭隨之左旋。目須注視左拳。
1.1: Your left foot steps out to the left and the knee bends, making a bow stance, while your left hand grasps into a fist and extends level to the left (performing a thrust punch). Your head goes along with the movement and turns to the left. Your eyes must be looking toward your left fist.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 2

(二)左臂平屈於胸側。(推手)同時右膝平屈。兩腿屈如騎馬式。
1.2: Your left arm bends in horizontally to be to the side of your chest (performing a “refusing hand” technique). At the same time, your right knee bends and flattens out so that both legs are bent into a horse-riding stance.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 3

(三)左臂由左小腿旁。畫半圓至後方。與肩平為度。(撩拳)同時右臂由右方向下畫半圓。上體左旋。而右臂平舉於前。(挑拳)斯時右膝伸直。復左面之弓式。
1.3: Your left arm goes from beside your left lower leg to draw a half circle to the rear until at shoulder level (performing a raising fist). At the same time, your right arm goes from the right, drawing a half circle, your upper body turning to the left, and your right arm is raised level in front (performing a carrying punch). Your right leg is now straight, and you are again in a bow stance facing to the left.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 4

(四)右臂自左方畫圈。(擂拳)大臂緊貼胸側。小臂舉於前方。拳心向上。
1.4: Your right arm draws a circle on the left side (performing a drumming punch) and the upper arm comes tight to the side of your chest, the forearm raised forward with the center of the fist facing upward.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 5

(五)左足向前踢出。(寸腿)左腿屈膝毋動。
1.5: Your left [right] foot kicks out (performing an “inch kick”), your left leg bending at the knee and not leaving its location.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 6

(二)右足踏下。右臂向右平伸。同時體向左轉。復(一)之姿勢。
2.1: Your right foot steps down as your right arm extends level to the right. At the same time, your torso turns to the left, then repeat 1.1 [on the other side].

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 7

(二)(二)(三)(四)與(一)之(二)(二)(三)(四)同。惟反其方向耳。
2.2-2.5 are the same as in 1.2-1.5, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 8

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 9

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 10

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 11

(三)(二)(三)(四)(五)與(一)(二)(三)(四)(五)同。
3.1-3.5 are the same as in 1.1-1.5.

立正 三動
Stand at attention – three movements:
(一)右足踏定。復(一)之姿勢。
i. Your right foot steps down firmly and you repeat 2.1.
(二)復預備之姿勢。(左臂在外。右拳在內。如穿拳樣式。亦名冲天炮。)
ii. Return to the preparation posture. (With your left arm to the outside, right fist to the inside, it is as though you will perform a threading punch, which is also called “cannon to the sky”.)

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 1 - drawing 12

(三)兩臂下垂。足尖分開。復立正之姿勢。
iii. Your arms hang down, your toes may spread apart, and you return to standing at attention.

姿勢上之注意
Points for attention in this line:
弓式與騎馬式。宜分清不可混雜。撩拳須在左膝之下。踢出之脚。膝宜挺直。站立之脚。膝稍彎屈。且行拳之際。兩腿勿使搖動。能如是。即得其門徑矣。
Bow stance and horse-riding stance should be distinct from each other and must not get blurred together. The raising fist must go from below the forward knee. When the kick comes out, the knee should be straight, but the knee of the standing leg should be slightly bent. While the fists are moving, it should not cause the legs to wobble. If you can do it in this way, you will obtain the art.

第二路 踢打 三三呼唱
LINE 2: KICK & STRIKE (three times, three counts each)

預備 與第一路同
Preparation: same as in Line 1.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 2 - drawing 1

動作
Movements:
(一)右臂自頭上畫一圓形。置拳於右腋之下。同時左拳由右臂之上。向左伸直。拳心向下。(扁帶拳)隨卽左足向左踏出。兩膝屈成騎馬式。頭向左旋。目注視左拳。
1.1: Your right arm draws a circle going from above your head until placed below your right flank. At the same time, your left fist extends to the left over your right arm (performing a flat leading punch), the center of the fist facing downward, as your left foot steps out to the left. Both legs are bent to make a horse-riding stance. Your head is turned to the left, eyes looking toward your left fist.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 2 - drawing 2

(二)右手向左伸直。(腰步拳)同時左手縮於胸側。拳心向上。體向左旋。右膝伸直成左面弓式。
1.2: Your right fist extends to the left (performing a waist-driven punch) while your left fist withdraws to be beside your chest, the center of the fist facing upward, and your torso twists to the left, your right knee straightening, making a bow stance facing to the left.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 2 - drawing 3

(三)左手向前伸直。右手屈於胸側。同時右足向前踢出。(十字腿)
1.3: Your left fist extends forward while your right arm bends in to be beside your chest. At the same time, your right foot kicks out forward (performing a “cross kick” [a kick coordinating with an action of the opposite hand]).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 2 - drawing 4

(二)右足踏下。體向左轉。兩膝平屈。復成騎馬式。同時右臂向右伸直。拳心向下。((扁帶拳)左臂屈於胸旁。拳心向上。
2.1: Your right foot steps down, your torso turning to the left, and both legs bend and flatten out to make a horse-riding stance. At the same time, your right arm extends to the right, the center of the fist facing downward (performing a flat leading punch), and your left arm bends in to be beside your chest, the center of the fist facing upward.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 2 - drawing 5

(二)(三)與(一)之(二)(三)同。惟反其方向耳。
2.2&2.3 are the same as in 1.2&1.3, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 2 - drawing 6

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 2 - drawing 7

(三)(二)(三)與(一)(二)(三)同。
3.1-3.3 are the same as in 1.1-1.3.

〔立正 同前〕
[Stand at attention: same as before.]

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 2 - drawing 8

姿勢上之注意
Points for attention in this line:
兩腿彎屈。不宜過髙。亦不宜過低。弓式之膝蓋骨。宜與足尖成一直線。不屈膝之足。愈伸直愈妙。
When both legs bend, they should be neither too high nor too low. When in a bow stance, the kneecap [of your front leg] should be in a vertical line with the toes, and for the leg that is not bent, the straighter it is the better.

第三路 劈紥 三五呼唱
LINE 3: CHOP & TIE (three times, five counts each)

預備 同前。
Preparation: same as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 1

動作
Movements:
(一)左足向左踏出屈膝。(弓式)同時左手握拳向左伸直。(衝拳)頭向左旋。目注視左拳。
1.1: Your left foot steps out to the left and the knee bends (making a bow stance). At the same time, your left hand grasps into a fist and extends to the left (performing a thrust punch), your head turns to the left, and your eyes look to your left fist.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 2

(二)左膝伸直。右膝屈。上體向右旋。同時右手由下畫半圓形。向右上方伸出。小臂稍屈。拳心向右。左手由前上方向下畫半圓形後舉。(兩拳交义時。左手在外。右拳在內。名冲天炮。亦名穿拳。)
1.2: Your left knee straightens, your right knee bends, and your upper body turns to the right. At the same time, your right hand goes from below, arcs a half circle to extend to the upper right, the forearm slightly bent in, the center of the fist facing to the right, while your left hand goes from above in front, and arcs a half circle downward to raise to the rear (When your fists cross, your left fist is on the outside, right fist on the inside. This is called “cannon to the sky” or “threading punch”.).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 3

(三)左臂由下而上。向身前畫圈。平舉於左。(挑拳)同時上體向左旋。右臂由上方畫半圓。平舉於前。拳心向左。(劈拳)
1.3: Your left arm goes up from below, arcs a circle in front of your body, and is raised level to the left (performing a carrying punch [raising fist]). At the same time, your upper body turns to the left, your right arm goes from above, arcs a half circle, and is raised level in front, the center of the fist facing to the left (performing a chopping punch).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 4

(四)右手於左方畫圈。將大臂緊靠於胸側。小臂平舉。拳心向上。
1.4: Your right fist arcs a circle on the left, the upper arm leaned in close beside your chest, the forearm raised level, the center of the fist facing upward.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 5

(五)右脚尖用力略向前踢出。(寸腿)左膝稍屈。
1.5: Your right toes forcefully kick out slightly forward (performing an inch kick), and your left knee is slightly bent.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 6

(二)右足踏定屈膝。右臂向右伸直。同時體向左轉。復(一)之姿勢。
2.1: Your right foot steps down and the knee bends, your right arm extending to the right. At the same time, your torso turns to the left. It is the repeat of 1.1 [except on the other side].

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 7

(二)(三)(四)(五)與(一)之(二)(三)(四)(五)同。惟反其方向耳。
2.2-2.5 are the same as in 1.2-1.5, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 8

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 9

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 10

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 11

(三)(二)(三)(四)(五)與(一)(二)(三)(四)(五)同。
3.1-3.5 are the same as in 1.1-1.5.

立正 同前。
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 3 - drawing 12

姿勢上之注意
Points for attention in this line:
穿拳。拳與肩部同髙。劈拳挑拳。均宜十分用力。方為合法。
For the threading punch, your fist is at shoulder height. The chopping punch and raising fist should both be very forceful for it to be the right method.

第四路 撑剝 三五呼唱
LINE 4: PROP & PEEL (three times, five counts each)

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 1

動作
Movements:
(一)左手握拳向左伸出。(平拳)同時右臂屈於胸前。掌向左。置於左肩胸骨旁。頭左旋。目注視左拳。右足向後左方進行一小步。(倒插步)
1.1: Your left hand grasps into a fist and extends to the left (as a flat fist) while your right arm bends in to be in front of your chest, palm facing to the left, placed beside your left shoulder bone. Your head is turned to the left, eyes looking toward your left fist, and your right foot has advanced a small step to the left rear (making a retreating insertion stance).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 2

(二)左足退後。上體右旋。成右斜面弓式。同時左手向右斜方出掌。右手平囘至後面成鈎形。
1.2: Your left foot retreats as your upper body turns to the right, making a diagonal bow stance. At the same time, your left hand comes out as a palm to the right corner while your right hand goes across and withdraws behind you as a hook.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 3

(三)右手穿左掌。此時左手在右手腋下。
1.3: Your right hand threads past your left palm, your left hand now below your left armpit.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 4

(四)(甲)右手在右膝下畫圈。
1.4a: Your right hand draws a circle below your right knee.
(乙)右手由頭後至頭前畫圈。
1.4b: Your right hand continues the circle from behind your head until in front of your head.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 5

(丙)右手後舉。(鈎手)左手伸出腿旁。(掌手)同時上體由左向後轉。成左面弓式。
1.4c: Your right hand (as a hook) then raises up behind while your left hand (as a palm) extends beside [above] your leg. At the same time, your upper body turns from the left to the rear [from the right to the left], making a left bow stance facing to the left.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 6

(五)右足踢出略向左。(托腿)
1.5: Your right foot kicks out slightly to the left (performing a propping kick).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 7

(二)(二)(三)(四)(五)如(一)(二)(三)(四)(五)之動作。惟反其方向耳。
2.1-2.5 are the same as in 1.1-1.5, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 8

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 9

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 10

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 11

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 12

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 13

(三)(二)(三)(四)(五)與(一)(二)(三)(四)(五)同
3.1-3.5 are the same as in 1.1-1.5.

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 4 - drawing 14

姿勢上之注意
Points for attention in this line:
掌手鈎手。四指宜用力密合。而掌手大指。則屈於掌中。
Whether palm or hook, all four fingers put effort into joining tightly, but in the case of the palm, the thumb bends inward toward the center of the palm.

第五路 側搥 三四呼唱
LINE 5: SIDE STRIKE (three times, four counts each)

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 1

動作
Movements:
(一)與第二路之(一)同。
1.1: Same as in 2.1.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 2

(二)左手握拳屈臂髙舉於額前。(約離二寸許)同時右拳伸出(衝心拳)上體左旋。成左面弓式。
1.2: Your left fist bends in and raises up to be in front of your forehead (about two inches away from it) while your right fist extends (performing a thrust punch to the chest) and your upper body twists to the left to make bow stance facing to the left.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 3

(三)右臂自左下方畫圈。(擂拳)大臂緊貼胸側。小臂舉於斜上方。拳心向上。
1.3: Your right arm draws a circle downward on the left side (performing a drumming punch), the upper arm coming in close beside your chest, the forearm raised to be diagonally upward, the center of the fist facing upward.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 4

(四)右足踢出。(寸腿)左足稍屈。
1.4: Your right foot kicks out (performing an inch kick), left leg slightly bent.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 5

(二)(二)(三)(四)同。(一)(二)(三)(四)之動作。惟反其方向耳。
2.1-2.4 are the same as in 1.1-1.4, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 6

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 7

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 8

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 9

(三)(二)(三)(四)與(一)(二)(三)(四)同。
3.1-3.4 are the same as in 1.1-1.4.

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 5 - drawing 10

姿勢上之注意
Points for attention in this line:
步宜穩固。目注視出拳。胸部宜挺起。腹宜收縮。
Your stance should be stable. Your eyes look to the extended fist. Your chest should stick out and your belly should withdraw.

第六路 單展 三四呼唱
LINE 6: SINGLE SPREADING (three times, four counts each)

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 1

動作
Movements:
(一)左足向左踏出屈膝。(弓式)同時左手握拳向左伸出。(衝拳)頭向左轉。目注視左拳。
1.1: Your left foot steps out to the left and the knee bends (making a bow stance). At the same time, your left hand grasps into a fist and extends to the left (performing a thrust punch), your head turning to the left. Your eyes are looking to your left fist.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 2

(二)右臂舉於後上斜方。左臂握拳平屈於胸側。同時右膝屈下。上體向右傾斜。左腿伸直。足尖向右旋。(仆腿)
1.2: Your right arm raises diagonally to the rear as your left arm bends its fist to be beside your chest. At the same time, your right knee bends downward, your upper body inclines to the right, and your left leg straightens, the toes turning to the right (making a pouncing stance).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 3

(三)左拳在左腿上畫半圓形。旋即屈舉於額前。同時上體向左旋成左面弓式。右拳由上劈下(劈拳)恰即大臂緊貼胸前。小臂舉起。(擂拳)
1.3: Your left fist arcs a half circle above your left leg, turning and bending in to be raised in front of your forehead. At the same time, your upper body turns to the left to make a bow stance facing to the left, and your right fist chops down from above (performing a chopping punch), placed so that the upper arm is close in front of your chest and the forearm is lifted up (performing a drumming punch).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 4

(四)右足向前踢出。(寸腿)左足稍屈。
1.4: Your right foot kicks out forward (performing an inch kick), your left leg slightly bent.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 5

(二)(二)(三)(四)同(一)(二)(三)(四)之動作。惟反其方向耳。
2.2-2.4 are the same as in 1.2-1.4, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 6

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 7

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 8

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 9

(三)(二)(三)(四)與(一)(二)(三)(四)同。
3.2-3.4 are the same as in 1.2-1.4.

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 6 - drawing 10

姿勢上之注意
Points for attention in this line:
仆腿。上體宜傾斜。其一足之宜伸直者。不可彎曲。足跟宜緊着於地。大忌鬆浮。
When in the pouncing stance, your torso should incline to the side, the straight leg must not bend, and the heel should press the ground without slackening.

第七路 雙展 三四呼唱
LINE 7: DOUBLE SPREADING (three times, four counts each)

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 1

動作
Movements:
(一)與第二路之(一)同。
1.1: Same as in 1.1 of Line 2.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 2

(二)左手自左膝前。向前由上繞半環置於腰際。同時體向左轉。(弓式)右拳自右側方向上繞半環。而置於左拳之下。(腰步拳)
1.2: Your left fist coils a half [full] circle from in front of your left knee, upward and forward, and is placed at your waist. At the same time, your torso twists to the left (making a bow stance) as your right fist coils a half circle upward from your right side, and is placed below your left fist (performing a waist-driven punch).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 3

(三)右拳向前方平擊。拳心向左。(平劈拳)
1.3: Your right fist does a crosswise strike forward, the center of the fist facing to the left (performing a crosswise backfist).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 4

(四)同二路之(三)。
1.4: Same as in 1.3 of Line 2.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 5

(二)右足踏下。體向左轉。兩膝屈成騎馬式。同時右臂向右伸直。拳心向下。(平拳)復(一)之姿勢。
2.1: Your right foot steps down, your torso turning to the left, and both legs bend to make a horse-riding stance. At the same time, your right arm extends to the right, the center of the fist facing downward (a flat fist), repeating 1.1 [except on the other side].

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 6

(二)(三)(四)與(一)之(二)(三)(四)同。惟反其方向耳。
2.2-2.4 are the same as in 1.2-1.4, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 7

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 8

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 9

(三)(二)(三)(四)與(一)(二)(三)(四)同。
3.1-3.4 are the same as in 1.1-1.4.

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 7 - drawing 10

姿勢上之注意
Points for attention in this line:
平劈拳宜向右斜上方。腰步拳兩拳須緊貼腰際。
The crosswise backfist should go diagonally upward to the right [in 1.3 and diagonally upward to the left in 2.3]. In the case of the waist-driven punch, both fists must come tight in to the waist.

第八路 墪坐 二十八動
LINE 8: SIT LIKE A MOUND (twenty-eight movements [including Stand at Attention])

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 1

動作
Movements:
(一)(二)(三)(四)(五)與第一路之(一)(二)(三)(四)(五)同。
1.1-1-5 are the same as in 1.1-1.5 of Line 1.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 2

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 3

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 4

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 5

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 6

(六)(甲)右足向前踏下。同時體向左轉。右膝屈。左踵起。足尖點地。右拳微屈於頭上。拳心向前。左拳置於左足之踵旁。兩腿向下蹲。(丁式)
1.6a: Your right foot steps down forward as your torso turns to the left, your right knee bends, and your left heel lifts so the toes are touching down. Your right fist is slightly bent in to be above your head, the center of the fist facing forward, while your left fist is placed beside your left heel. Both legs are squatting down (making a T stance).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 7

(乙)右手自上而下。穿過左拳。復屈於胸側。同時左足向左方平踢。左拳向左方平擊。(撑腿)
1.6b: Your right hand comes down from above, threading past your left fist, then bending in to be beside your chest. At the same time, your left foot does a level kick to the left (a bracing kick) while your left fist does a level strike to the left.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 8

(七)與(六)同。惟向右方行之。
1.7 is the same as in 1.6, except the movement is done on the right side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 9

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 10

二)(二)(三)(四)(五)與(一)(二)(三)(四)(五)同。
2.1-2.5 are the same as in 1.1-1.5 [except on the other side]. [There is a mistake in the drawing for 2.5, which should instead look like the drawing for 2.5 in Line 10.]

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 11

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 12

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 13

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 14

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 15

(六)(甲)左足提起。右足由右方後轉。同時左足着地。屈膝。右足起踵。左拳微屈於頭上。拳心向前。右拳置於右足之踵旁。兩腿向下蹲。(丁式)
2.6a: Your left foot lifts [steps down forward] as your right foot [torso] turns to the right. When your left foot comes down, the knee bends, and your right heel lifts. Your left fist is slightly bent in to be above your head, the center of the fist facing forward, while your right fist is placed beside your right heel. Both legs are squatting down (making a T stance).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 16

(乙)左手自上而下。穿過右拳。復屈於胸側。同時右足向右方平踢。右拳向右方平擊。(撑腿)
2.6b: Your left hand comes down from above, threading past your right fist, then bending in to be beside your chest. At the same time, your right foot does a level kick to the right (a bracing kick) while your right fist does a level strike to the right.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 17

(七)同(一)之(六)
2.7: Same as in 1.6.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 18

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 19

(八)同(一)之(七)
2.8: Same as in 1.7.

(三)(二)(三)(四)(五)(六)(七)與(一)(二)(三)(四)(五)(六)(七)同。
3.1-3.7 are the same as in 1.1-1.7.

(四)(二)(三)(四)(五)仍與(一)(二)(三)(四)(五)同。
4.1-4.5 are the same as in 1.1-1.5.

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 8 - drawing 20

姿勢上之注意
Points for attention in this line:
左(右)足向左(右)方平踢時。左(右)拳宜與左(右)足均宜平直。作丁式時。胸宜挺直。不可前傾。
When your left foot does the level kick to the left, your left fist should be in line with your left foot. (And when your right kick does the level kick to the right, your right fist should be in line with your right foot.) When making the T stance, your chest should be erect and must not slouch forward.

第九路 碰鎖 三五呼唱
LINE 9: TOUCH & LOCK (three times, five counts each)

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 1

動作
Movements:
(一)同一路之(一)。
1.1: Same as in 1.1 of Line 1.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 2

(二)左肘引後。拳心向內。右掌拍於左拳之上。同時體向左轉。
1.2: Your left elbow draws back, the center of the fist facing inward, your right palm slapping onto your left fist. At the same time, your torso turns to the left.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 3

(三)左手向左側方平撑。右手向前方平撑。
1.3: Your left palm braces level to the left side as your right palm braces level forward.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 4

(四)右臂自左側方畫圈。(擂拳)大臂緊貼胸側。小臂舉於斜上方。拳心向右。同時左手自原位握拳。拳心向外。
1.4: Your right arm arcs a circle on the left (performing a drumming punch), the upper arm sticking close beside your chest, the forearm raised diagonally upward, the center of the fist facing upward. At the same time, your left hand stays where it is but grasps into a fist, the center of the fist facing outward.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 5

(五)右脚向前踢出。(寸腿)左膝稍屈。
1.5: Your right foot kicks out forward (performing an inch kick), and your left knee is slightly bent.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 6

(二)右足踏下。右臂向右方伸直。同時體向左轉。復(一)之姿勢。
2.1: Your right foot steps down, your right arm extending to the right. At the same time, your torso turns to the left. It is the repeat of 1.1 [except on the other side].

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 7

(二)(三)(四)(五)與(一)之(二)(三)(四)(五)同。惟反其方向耳。
2.2-2.5 are same as in 1.2-1.5, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 8

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 9

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 10

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 11

(三)(二)(三)(四)(五)與(一)(二)(三)(四)(五)同。
3.1-3.5 are then the same as in 1.1-1.5.

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 9 - drawing 12

姿勢上之注意
Points for attention in this line:
雙掌齊出時。體須半面向左轉。再本路之二三兩動。若練習純熟。可照此姿勢。而改為一動。
When your palms go out in unison, your torso must face halfway to the left, as in 1.2 and 1.3. Once you become familiar with the movements, you can do it in this way as one movement [i.e. 1.2 and 1.3 will merge into 1.2&3].

第十路 箭彈 三八呼唱
LINE 10: ARROW KICK (three times, eight counts each)

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 1

動作
Movements:
(一)(二)(三)(四)(五)。與一路之(一)(二)(三)(四)(五)同。
1.1-1-5 are the same as in 1.1-1.5 of Line 1.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 2

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 3

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 4

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 5

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 6

(六)體向左轉。同時左手在外。右手在內。(穿拳)而左膀旋屈舉於頭上。掌心向上。右手自右方平舉。目注視右拳。(平拳)變成騎馬式。
1.6: Your body turns to the left with your left hand going to the outside and your right hand going to the inside (performing a threading punch), your left forearm rotating and bending in to rise above your head, palm upward, as your right hand goes from your right side to be raised level. Your eyes are looking to your right fist (a flat fist). Your stance has changed to a horse-riding stance.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 7

(七)左手向右方推掌。(內斜撑)同時體向右轉。左肘引後。(弓式)
1.7: Your left palm pushes to the right (as an inward slanting palm) while your body turns to the right (making a bow stance), your left [right] elbow drawing back.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 8

(八)右手向前伸。(平拳)左手縮於胸側。拳心向上。同時左足先起。與右足交互平踢。而左手拍於右足之尖。(雙飛腿)
1.8: Your right hand extends forward (with a level punch) as your left fist withdraws beside your chest, the center of the fist facing upward. At the same time, your feet perform level kicks in succession (performing a double flying kick), left foot first, with your left fist tapping your right toes.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 9

(二)(二)(三)(四)(五)(六)(七)(八)同(一)(二)(三)(四)(五)(六)(七)(八)之動作。惟反其方向耳。
2.1-2.8 are the same as in 1.1-1.8, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 10

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 11

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 12

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 13

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 14

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 15

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 16

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 17

(三)(二)(三)(四)(五)(六)(七)(八)。與(一)(二)(三)(四)(五)(六)(七)(八)同。
3.1-2.1 are the same as in 1.1-1.8.

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 10 - drawing 18

姿勢上之注意
Points for attention in this line:
飛腿上體宜直。兩足落地時。身體宜穩定不可搖動
During the flying kick, your upper body should be erect. When your feet come down, your body should be stable and must not wobble.

第十一路 上中下 三五呼唱
LINE 11: ABOVE, BETWEEN, BELOW (three times, five counts each)

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 1

動作
Movements:
(一)同一路之(一)。
1.1: Same as in 1.1 of Line 1.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 2

(二)左臂由左膝外側。移於右腋之下。同時左足移於右足之後。(弓式)
1.2: Your left arm shifts from the outside of your left knee to be below your right armpit. At the same time, your left leg shifts behind your right leg (making a bow stance).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 3

(三)左膀平向左側後方平鈎。手心向後。指成鈎式。(鈎踢)同時左足向前踢出。(掃腿)右膝直。目向前平視。
1.3: Your left arm goes horizontally to the left rear, hooking across, palm to the rear, fingers making a hook shape (performing a “hook and kick” action) as your left foot kicks out forward (as a sweeping kick), your right knee straightening. Your eyes are looking straight ahead.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 4

(四)左足與體同時向左側方後轉。(騎馬式)右拳平垂於胯下。拳心向內。左拳平舉於左側。拳心向外。
1.4: Your left leg, in unison with your torso, turns to the left rear (making a horse-riding stance), your right fist hanging across until below the hip, the center of the fist facing inward, while your left fist is raised across to the left side, the center of the fist facing outward.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 5

(五)左拳自左方向右側上方斜擊。同時體向右轉。(弓式)
1.5: Your left fist goes from the left side upward to the right side with a diagonal strike. At the same time, your torso twists to the right (making a bow stance).

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 6

(二)左拳在外。右拳在內。(穿拳)復(一)之姿勢。
2.1: Your left fist goes outward while your right fist goes inward (performing a threading punch). It is the repeat of the posture in 1.1 [except on the other side].

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 7

(二)(三)(四)(五)同(一)之(二)(三)(四)(五)之動作。惟反其方向耳。
2.2-2.5 are the same as in 1.2-1.5, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 8

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 9

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 10

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 11

(三)(二)(三)(四)(五)與(一)(二)(三)(四)(五)同。
3.2-3.5 are the same as in 1.2-1.5.

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 11 - drawing 12

姿勢上之注意
Points for attention in this line:
作第三動時。手足宜同時用力。不可偏重於一部。
During the third part of the movement [the “hook and kick”], hand and foot should both exert force at the same time, and you must not give emphasis to one or the other.

第十二路 進步橫擂 三二呼唱
LINE 12: ADVANCE WITH SIDEWAYS DRUMMING (three times, two counts each)

預備 同前
Preparation: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 1

動作
Movements:
(一)同一路之(一)。
1.1: Same as in 1.1 of Line 1.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 2

(二)右足向左踢下。
1.2a: Your right foot does a low kick to the left.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 3

同時體向左轉。(仆腿)右手置於右腿傍。拳心向下。
[1.2b:] Then your torso turns to the left (as you make a pouncing stance) and your right fist is placed near your right leg, the center of the fist facing downward.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 4

(二)右手向右側方平舉。復(一)之姿勢。目注視右拳。(弓式)
2.1: Your right fist goes to the right to be raised level. It is the repeat of the posture in 1.1. Your eyes look to your right fist. (You are in a bow stance.)

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 5

(二)同一之(二)。惟方向相反耳。
2.2 is the same as 1.2, except on the other side.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 6

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 7

(三)(二)與(一)(二)同。
3.1 is the same as [the posture in] 1.1 [as in the drawing below], then 3.2 follows the same 1.2.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 8

立正 同前
Stand at attention: as before.

《潭腿圖說》 繪圖者:徐悲鴻 (1917) - Line 12 - drawing 9

姿勢上之注意
Points for attention in this line:
由仆腿而變成弓式時。身手宜相應。
When changing from pouncing stance to bow stance, your torso and hand should coordinate with each other.

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