SINGLE DEFENSE-SABER (DAN JIE DAO)

單戒刀
SINGLE DEFENSE-SABER
金一明
by Jin Yiming
[published by 新亞書店印行 New Asia Press, Oct, 1932]

[translation by Paul Brennan, Sep, 2015]

《單戒刀》 金一明 (1932) - callig 1

當頭捧喝
Offering a toast to the one before me.
何超
– [calligraphy by] He Chao

《單戒刀》 金一明 (1932) - callig 2

精神舉畏
Spirit inspires admiration.
左瀨小紸敬題
– calligraphy respectfully made by Zuo Laixiao

芮序
PREFACE BY RUI YUCHENG

余友金君一明。乃吾䢴上才子也。工文善畫。名噪一時。曩昔所著詩詞文章。頗為邑人争相傳誦。後睹軍閥橫行。遽萌投筆之志。旌旗飄動。叛逆相繼掃平。戎馬奔騰。北省先後底定。然而餘孽豈能盡誅。內訌因之頻仍不息。黨國不寗。竟懷退隱之念。家園閒處。每於雞鳴起舞之餘。重理筆墨生涯。數載以還。成篇累帙。以祕傳之武術。慨然公諸國人。小技雖屬雕蟲。何嘗無補於世。且其所著各書。匪特文辭工整。繪圗尤為清晰。而發明之特點繁多。更為他人所莫及。舉凡海內有志國術。而苦無完善之導師者。曷速展閲此篇。自方按圗習就。方知余言之不謬也。是為序。
民國十九年五月三日江都芮禹成序於揚州私邸
My colleague Jin Yiming is a talented scholar from our Hanjiang District [in Yangzhou, Jiangsu]. He is an expert in literature and excels at calligraphy. His name is well-known amongst his contemporaries. He previously produced poetry and essays, contending with his local peers to get widely read. Then after observing the rampaging of warlords, he quickly made a record of it, of the waving banners, of the succession of stampeding rebellions, of the war horses surging forward, of the pacifying of the northern provinces. But how can the remaining villains be punished? Due to frequent and unceasing internal strife, there is no peace for the Republic, and those in government really just want to retire from public life and idle away their time at home.
     Every morning after the rooster crows and shakes out its feathers, Jin again starts to write, building up material, hard at work producing books to generously share the secret teachings of martial arts with all his compatriots, feeling that even the most minor of skills are of use to the world. What he puts into his books is not only presented in clear language, but with especially clarifying drawings, and thus the complex characteristics of these arts are made simple. He furthermore supplies what other people would not otherwise have access to. Those throughout the nation who have martial arts aspirations and unfortunately do not have good teachers may readily open and read these books. If you work from their explanations and practice in accordance with their drawings, you will then know that I am not exaggerating.
     – written by Rui Yucheng of Jiangdu in the Yangzhou High Official’s Residence, May 3, 1930

題詞
COMMEMORATIVE INSCRIPTION

思遠人 一明老棣寄贈拳書賦以代東
“Missing Someone Far Away” (a gift of a prose-poem sent east for your martial arts book from your old younger brother)

寒雨瀟瀟風習習。今夕是何夕。酒樽黃菊。燈楘紅豆。書䚯鯉魚出。仁山貴胄平山客。挟有救時策。想亭榭竹西。畫船江上。滿載二兮月。
古歙吴東園倚務
Cold rain drizzled, wind whispered. “Is tonight going to be a good night?” There was wine poured into goblets, chrysanthemum petals fluttering, hanging lamps giving light, red beans giving appetite, discussion of books until the fish was brought out. The kind hills make gentlemen content mountain guests, and there we hatched a plan to save the nation of this generation. I miss those pavilions of bamboo to the west and the painted boats on the river, a full a year and two whole months ago.
     – written by Wu Dongyuan, called Yiwu, of Guxi [in Anhui]

邱鳴皋君歷畧
A BRIEF BIO OF QIU MINGGAO

邱君鳴皋。山東兖州人。年五十三嵗。行伍出身。其父懷義。以絕技聞名於時。邱君㓜承庭訓。亦以技擊顯。民國五年。曾充江蘇海州十一中學體操主任。八年充安徽蕪湖商團體育教練。九年任第二農業拳術教員。十年開辦蕪湖武術傳習所。十三年在上海辦尚武技擊團。十八年奉安徽國術館長王成美令往蕪湖開辦國術分館。擔任教授主任。十九年秋奉中央國術館長張令。往揚州開辦揚州國術支館。於國術一道精練三十餘年。可謂深得其中三昧者也
Qiu Minggao is from Yanzhou, Shandong. Now fifty-three years old, he has an army background. His father cherished righteousness and was well-known for his consummate skills. Qiu in his youth learned from his father and his martial arts prowess is clear.
     In 1916, he served as the gym teacher at Eleventh High School in Haizhou, Jiangsu.
     In 1919, he served as the physical education instructor to the Wuhu Merchants Organization.
     In 1920, he was appointed boxing arts instructor to the Second Agricultural Firm.
     In 1921, he opened the Wuhu Martial Arts Bureau.
     In 1924, he managed the Esteeming-the-Martial Boxing Arts Society in Shanghai.
     In 1929, he was appointed by the director of the Anhui Martial Arts Institute to open a branch school in Wuhu and assume the position of its director.
     In the autumn of 1930, he was also appointed by the director of the Central Martial Arts Institute to open the branch school of the Yangzhou Martial Arts Institute.
     As he has meticulously trained in the way of martial arts for more than thirty years, he can be considered to have deeply obtained the knack.

單戒刀全書總目
CONTENTS

名人題字
Calligraphy by Noteworthy Persons
芮禹成先生序文
Preface by Rui Yucheng
吳東園老先生題詞
Commemorative Inscription by Wu Dongyuan
著者金一明先生近影
Portrait of Jin Yiming [not actually included in the book]
演者邱鳴皋先生近影
Portrait of Qiu Minggao [not included]
邱鳴皋先生畧歷
A Brief Bio of Qiu Minggao
刀之源流
Origin & Development of Sabers
刀之形狀
Types of Sabers
刀之名稱
Names of Sabers
刀之出典
Some References to Sabers
單戒刀之來源
On the Origin of the Single Defense-Saber Set
〔單戒刀之法理〕
[Techniques & Principles of the Single Defense-Saber Set]
單戒刀之舞法
How to Perform the Single Defense-Saber Set
單戒刀之勁路
The Patterns of Energy for the Single Defense-Saber Set
單戒刀之練法
How to Practice the Single Defense-Saber Set
單戒刀全路圗解圗目
Names of the Postures in the Single Defense-Saber Set
單戒刀全路圗解
Illustrated Descriptions of the Single Defense-Saber Set

刀之源流
ORIGIN & DEVELOPMENT OF SABERS

自動物肉搏戰争而後。進而至於人類用棍木械鬬。因僅持棍木。仍不足以禦强暴。故神農氏始造干戈殳㦸矛斧。是於木棍之端。復加以銕器鋒刃矣。二儀寳錄。中則謂黃帝始作刀。物原書中。則謂蚩尤時始益以刀劍。而用馬戰。軒轅黃帝始征四方。製八陣法。史載軒轅造弓矢弩的。舜造弓袋史筒。餘皆多不可考。然博覽羣書。覺至軒轅之時。吾國國術已大用於争場之上。至棍杖而後。始有干戈弓矢。既有干戈弓矢。卽有鐵器。旣有銕器。卽有槍刀弓矢刀劍。是自黃帝之時。業已完備。再後始有刀之各種形狀。刀之各種名稱。刀之各種舞法用法。務使刀必盡其利。舞必盡其妙。用必收其效。故有因刀形而異者。亦有因舞法而異者。更有因馬上步下不同而異者。明明見其為同形同像之刀。彼用則彼有舞法。此用則此有舞法。或刀形相同而舞法不同。或有刀形不同。而用法互異。故刀法之千變萬化。更屬罄竹難書。各家之刀法。亦屬指不勝屈。所謂舞法人人皆會。各有巧妙不同。茲將刀之形狀分述於下。
We progressed from fighting against animals with our bare hands to fighting each other in groups with sticks. This was because sticks were all we had at the time, but they were not adequate for defense against a powerful foe. Therefore Shen Nong created weaponry such as shields, axes, single-pronged halberds, double-pronged halberds, lances, and spears. To the end of a stick was added a sharp iron point.
     According to the Precious Record of Dual Aspects, the Yellow Emperor first made sabers, and according to the Book of Origins, sabers and swords first began to be used during the time of Chiyou, as well as the use of horses in warfare. The Yellow Emperor then made his expeditions to the four directions and created his eight formations. Historical texts record that he made bows and arrows, and crossbows, and that the emperor Shun then made bow cases, but such details cannot be examined any further than that.
     I have extensively studied many books, and it seems to me that during the time of the Yellow Emperor, our nation’s martial arts were already greatly in use to contend over territory. After sticks, there were shields and halberds, bows and arrows. Once there are shields and halberds, bows and arrows, iron is being used in the making of weapons. Once iron is being used in making weapons, then there are spears, sabers, swords. From the time of the Yellow Emperor, these things were already complete.
     Later there began to be various types of sabers, each with their own names and their own methods of training and usage. Sabers had to be kept sharp, the training had to be ingenious, and usage had to be effective. Therefore there were different types of sabers with different training methods. Furthermore, due to the distinction between cavalry and infantry, a uniformity in the sabers being used can be clearly seen. The cavalry saber had its own function, thus its own method of training, and likewise for the infantry saber.
     Sometimes though the saber type was the same, the training method could be different, but if the saber type was different, the usage would also be different. Thus saber methods were endlessly evolving into variations too numerous to record, and there were countless schools of saber techniques. And thus it is said that “everyone gathers to train together, but each has his own unique skills”. Some different types of sabers are described below:

刀之形狀
TYPES OF SABERS

刀之形狀種類甚多。名稱各異。僅就余之所知者。如春秋刀。三尖刀。帶刀。倭刀。馬刀。腰刀。苗刀。匕首等類。
The saber takes a great many forms, each with a different name. The only ones I know about are those such as the spring & autumn halberd, three-tipped halberd, dragging saber, Japanese saber, horse-attacking saber, waist saber, Miao saber, dagger, and so on.

(一)大刀統稱春秋刀。其刀法有夫子刀或蔡揚刀。龐德刀等類。
1. Large saber, known as the spring & autumn halberd – its techniques include the “Confucius halberd cut”, “Cai Yang’s halberd cut”, the “great virtue cut”, and others:

《單戒刀》 金一明 (1932) - weapon 1

(二)三尖兩刄刀。此刀可剌可砍可挑。
2. Three-tipped double-edged halberd – this kind of saber can stab, slash, or perform raising cuts:

《單戒刀》 金一明 (1932) - weapon 2

(三)帶刀
3. Dragging saber:

《單戒刀》 金一明 (1932) - weapon 3

(四)倭刀(即雙手舞之長苗刀。)
4. Japanese saber – a long Miao saber, its techniques are performed two-handed:

《單戒刀》 金一明 (1932) - weapon 4

(五)馬刀(卽雙手舞之大單刀。)
5. Horse-attacking saber – a large single saber, its techniques are performed two-handed:

《單戒刀》 金一明 (1932) - weapon 5

(六)腰刀(卽厚背的單刀。)
6. Waist saber – a single saber carried behind the back [This most generic saber is the type used in the Single Defense-Saber set.]:

《單戒刀》 金一明 (1932) - weapon 6

(七)苗刀(卽單手的苗刀。)
7. Miao saber – this version to be wielded with a one-handed grip:

《單戒刀》 金一明 (1932) - weapon 7

(八)匕首(卽小剌刀。)
8. Dagger – a small stabbing saber:

《單戒刀》 金一明 (1932) - weapon 8

(九)雙刀 卽左右手同舞之雙刀。
9. Double sabers – its techniques are performed with a saber in each hand:

《單戒刀》 金一明 (1932) - weapon 9

(十)鬼頭刀
10. Ghost-head saber:

《單戒刀》 金一明 (1932) - weapon 10

(十一)響環刀
11. Jingling-rings saber:

《單戒刀》 金一明 (1932) - weapon 11

(十二)象鼻刀
12. Elephant-trunk saber:

《單戒刀》 金一明 (1932) - weapon 12

以上鬼頭刀響環刀象鼻刀均屬單刀之一種。不過因其形狀而定。各種兵器。因長短之不同。故有馬上與步下之分。大率馬上用長兵者居多。步下用短兵者居多。然亦有步下用長刀者。馬上用短刀者。不能一槪而論之。要在因人而異。因法而異耳。
The ghost-head saber, jingling-rings saber, and elephant-trunk saber are all single sabers and have the same basic shape. Among the various weapons, the difference between long weapons and short weapons is due to the distinction between cavalry and infantry. Generally, a man on horseback is best dealt with using a long weapon and a foot soldier is best dealt with using a short weapon, thus infantry troops wield long sabers whereas cavalry troops wield short sabers. But we cannot really generalize. What matters is that everyone is different and thus there are different methods.

刀之名稱
NAMES OF SABERS

刀之名稱。不僅因形而異。古人多有因刀定名者。若鬼頭響環象鼻。不過普通之名稱而已。至若古人因刀定名者甚多。余僅略知其名。而不能深推其定名之意義。例如鳴鴻則為漢武之刀名。露陌則為魏文帝之刀名。冷艷鋸則為闗夫子之刀名。新亭侯則為張飛之刀名。珠碧則為西涼李嵩之刀名。吳大帝有三刀。一曰百練。二曰青犢。三曰漏景。陶貞白有二刀。一曰善勝。二曰寳勝。均僅知為吹毛切玉之寳刀。其形狀均不可臆斷矣。此外有脱光刀四儀刀。用以彰身者名彰刀用以佩於腰間名橫刀。用以刑人者名歐刀。此為散見於各經史子集者。又刀柄上之護手處有用獸形者。名曰蜥蜴護於刀之手握處。僅苗刀上有之。清朝乾隆二十一年。工部定訂則例造兵仗式者。有十九種。一曰春秋刀。二曰撲刀。三曰挑刀。四曰腰刀。五曰斬馬刀。六曰滚背雙刀。七曰牌刀。八曰長刄大刀。九曰寬刄大刀。十曰雙手帶刀。十一曰背刀。十二曰長片刀。十三曰寬背㓲刀。十四曰虎牙刀。十五曰窩刀。十六曰鴛鴦刀。十七曰船尾刀。十八曰割刀。十九曰繚風刀。見九通兵類。均有名稱。而無圗形。姑誌之於此。
Saber names do not only describe the different forms of the weapon. Ancient people often had special names for their sabers. Names such as “ghost-head saber”, “jingling-rings saber”, or “elephant-trunk saber” are just ordinary descriptions. As for the many names of ancient sabers, I only know a few and cannot interpret them very far.
     For instance, the saber of Emperor Wu of Han was called “Cries of Geese”, the saber of Emperor Wen of Wei was called “Revealing the Path”, the saber of Guan Yu was called “Coldly Beautiful Saw”, the saber of Zhang Fei was called “Newly Appointed Nobleman”, and the saber of Li Song of Xiliang was called “Pearl of Jade”. Emperor Da of Wu [Sun Quan] had three sabers: “Hundred Temperings”, “Blue as a Newborn Calf”, “Revealing the Scenery”. Tao Zhenbai had two sabers: “Superb Victory” and “Precious Victory.” All we know of these precious sabers is they could “slice along a hair” or “carve jade”. We cannot assume what kind of sabers they were.
     Beyond these were the “Flesh-Stripping Saber” and the “Four-Duties Saber”. For use to decorate one’s person was a “display saber”, to be worn at the waist was a “side saber”, and for dispatching criminals was an “executioner’s saber”. These get scattered mentions in classics, histories, philosophical texts, and anthologies. There is also mention of a saber guard above the handle displaying a depiction of some beast, described as a “lizard guarding the hand’s grip”, but this only appears on Miao sabers.
     In the twenty-second year of the Qing emperor Qianlong [1756], the labor ministry records say there were nineteen types of sabers made for soldiers: spring & autumn saber, pouncing saber, propping saber, waist saber, horse-beheading saber, back-rolling double sabers, flat saber, long-blade large saber, wide-blade large saber, two-handed dragging saber, shouldered saber, lengthened-cut saber, thick-spined paring saber, tiger-tooth saber, sheltering saber, mandarin duck saber, boat-steering saber, slicing saber, and sewing-the-wind saber. As I looked through its listings of various weapons, they all had names, but there were no accompanying drawings. This is usually the case with old records.

刀之出典
SOME REFERENCES TO SABERS

刀之出典。古之書頗不乏記載。尤以詩中為最多。茲將余所知者約畧舉其一二。
There is certainly no lack of allusions to sabers in ancient books, mostly within poems. Below I present a small sampling of the ones I am aware of:

▲昆吾割玉刀
[1] Kunwu Jade-Slicing Saber

十洲記載。周穆王時。西胡獻昆吾割玉刀。長一尺。切玉如切泥。後蘇軾詩中有『君才有如切玉刀。見之凛凛寒生毛。』又陸游詩云。『切玉名刀萬里來。』
It says in [Dongfang Shuo’s] Records of the Nation [part 1]: “During the reign of King Mu of Zhou, the western Hu tribe presented him with the Kunwu Jade-Slicing Saber… a foot in length… which could cut through jade as though it was mud.”
     It was later mentioned in a poem by Su Dongpo [“Seeing off Li Gongshu”]: “He possesses a saber that can apparently slice through jade. It gives me goosebumps when I look at it.”
     It is also mentioned in a poem by Lu You [“Remembering Times at Shannan”]: “There was that famous jade-cutting saber that had been brought from so far away.”

▲孟勞
[2] Meng Lao

穀梁傳。孟勞者魯之寳刀也。後王安石詩中有『詩鋒㨗孟勞。』句
It says in the Guliang Zhuan [1st year of Duke Jia]: “Meng Lao [“the first worked”] is a precious saber from the state of Lu.”
     It was later mentioned in a poem by Wang Anshi [“Response to the Poem of Thanks from Wang Zhengzhong for the Gift”]: “[The amount of drink would have filled the ocean.] The poetry produced was as keen as Meng Lao.”

▲鸞刀
[3] Jingle-Bell Knife

詩云『執其鸞刀。以啟其毛。』取其血以膋禮。鸞刀之貴。注刀鐶有鈴。故名鸞刀。杜甫詩『鸞刀縷切空紛綸。』
A poem says [Book of Poetry, poem 210]: “[To make an offering to ancestors,] take up the jingle-bell knife, then part the hair [of a red bull], and take its rich blood.” In this ceremony, a “jingle-bell knife” is required. It has a bell on its pommel, hence its name.
     It says in a poem by Du Fu [“Beautiful Ladies Assemble”]: “Jingle-bell knives busily slice off pieces of meat, adding to the vacuous din [of the banquet].”

▲鄭刀
[4] The Sabers of Zheng

考工記。載鄭之刀。宋之斤。魯之削。吳粵之劍。遷乎其地。而弗能為良。地氣然也。
It says in the “Record of Artisans” from the Rites of Zhou: “The sabers of the state of Zheng, the axes of Song, the knives of Lu, the swords of Wu and Yue – wherever they go, they cannot be bested, such is their quality.”

▲吳刀
[5] The Saber of Wu

呂氏春秋。帝殛鯀於羽山。副之以吳刀。
It says in the Lü Shi Chun Qiu [chapter 122]: “Emperor Shun killed Gun at Mt. Shan with the aid of the Saber of Wu.”

▲百劈
[6] Hundred Nobles

魏文帝建安諸論。丕造百辟寳刀。其一文似靈龜。名曰靈寳。其二彩似丹霞。名曰含章。其三鋒似崩霜。刀身劍鋏。名曰素質。又作露陌刀。一名龍鱗。
According to various sources, Emperor Wen of Wei, i.e. Cao Pi, had the “Hundred Nobles Treasure Saber” made. On it was inscribed a magic tortoise, and so it was considered to be a magic treasure. It shined the color of sunset red, and so it was considered to embody the rules of authority. It was as sharp as falling icicles, and so through its saber body and sword grip it was considered to be of purest quality. He also had made the “Revealing the Path Saber”, which was called “Dragon Scales”.

▲百鍊刀
[7] Hundred-Temperings Saber

古今注。吳大皇帝有寳刀三。一曰百鍊。二曰青犢。三曰漏景。蘇軾詩云『為君鑄作百鍊刀。要斬長鯨為萬段。』
In the Records of the Ancient & Modern [part 1], it says: “Emperor Da of Wu had three precious sabers: ‘Hundred Temperings’, ‘Blue as a Newborn Calf’, ‘Revealing the Scenery’.”
     It says in a poem by Su Dongpo [“On the Charcoal Road”]: “The Hundred-Temperings Saber was made for the ruler to chop greedy men into countless pieces.”

▲展巧
[8] Exhibition of Skill

裴景聲。文身刀銘曰。良金百鍊。一名展巧。
It says in Pei Jingsheng’s “Literate Saber Inscriptions” [recorded in Tai Ping Yu Lan – Weapons, section 77, part 4]: “Fine metal tempered a hundred times – its name is ‘Exhibition of Skill’.”

▲吳鈎
[9] Wu Hook

張柬之詩。『吳鈎似明月。楚劍利如霜。』杜甫詩。『經過辨豐劍。意氣逐吳鈎。』夢溪筆談云。唐人詩多有言吳鈎者。吳鈎者刀名也。刄彎今南蠻用之。謂之葛黨刀。余以意度之。或卽虎頭鈎之古名歟。未卜是否姑誌之以備查考。
It says in a poem by Zhang Jianzhi [“Crossing the Frontier”]: “A Wu hook gleams as bright as the moonlight. A Chu sword feels as sharp as the first frost.”
     It says in a poem by Du Fu [“Seeing off Department Chief Liu”]: “One may pass by a multitude of swords, but the mind will dwell on the sight of a Wu hook.”
     It says in Dream Brook Essays [part 19]: “Tang poets often mentioned a ‘Wu hook’. It is the name of a type of saber with a curved blade. It is used nowadays by the southern barbarians, who call it a ‘Vine-Gang saber’.”
     I at first thought that a “Wu hook” was something like the “tiger’s-head” hook swords. I am still not clear about what it is and will continue to investigate the records.

▲宿銕刀
[10] Night-Worked-Iron Saber

北齊書。綦毋懷文傳。造宿銕刀。斬甲過三十札。
In says in the Books of Northern Qi Dynasty – bio of Qiwu Huaiwen: “He invented the ‘night-worked iron’ [i.e. steel] saber, which could slash right through thirty strips of wood.”

▲寳鈿刀
[11] Precious Pearl Saber

唐書。太宗美其臣廉。賜髙昌寳鈿刀。
From the Old Books of Tang [book 113]: “When the army returned, Emperor Taizong praised his upright subjects and bestowed upon the pacified people of Gaochang a precious saber inlaid with mother-of-pearl [along with a thousand sections of multicolored fabrics].”

▲兩刄刀
[12] Double-Edge Saber

唐書闞陵傳。陵善用兩刄刀。其長丈者。名曰拍刀。
It says in the Books of Tang, bio of Kan Ling [Six Supplementary Records, book 14]: “He was an expert at using a double-edge saber that was ten feet in length, called a ‘lashing saber’, [one swing of which killed many people, leaving no serious opposition before him.]”

▲雌雄刀
[13] The Male & Female Sabers

陶宏景著。古今刀劍錄云。後燕慕容垂造二刀。長七尺。一雌一雄。别處之則鳴。宋書樂志。刀鳴箾中。倚床無施。足見刀之常鳴也。
It says in Tao Hongjing’s List of Swords & Sabers, Ancient & Modern: “Mu Rongchui, ruler of the Later Yan Dynasty, had two sabers made, seven feet in length. [Engraved in clerical script] on one was ‘male’ and on the other ‘female’. They were praised everywhere.”
     It says in the Books of the Song Dynasty – “Records on Music” [Lu Shiyong’s poem “Lone Deer”]: “Those sabers are already praised in fluted songs, so I lie on my bed and do nothing.” This indicates how often they were talked of.

▲雁翎刀
[14] Goose-Feather Saber

明世宗送大將毛伯温南征詩云『大將南征膽氣豪。腰橫秋水雁翎刀。』玉海誌載。清乾道元年命軍器所。造雁翎刀以三千柄為一料。
It says in a poem written by the Ming emperor Shizong when he sent his general Mao Bowen on a campaign to the south: “The general heads south, bold in his courage, at his waist a shining goose-feather saber.”
     It says in the Jade Sea Records [book 151]: “In the first year of the reign of Emperor Qiandao, he ordered that the army be equipped with three thousand goose-feather sabers.”

▲七寳刀
[15] Seven-Treasure Saber

李商隱詩。『摩挲七寳刀。』髙適詩。『交情脱寳刀。』
It says in a poem by Li Shangyin [“Spring Outing”]: “[While ascending the three stories,] I caress the Seven-Treasure Saber” [to be given as a gift].
     It says in a poem by Gao Shi [“Sending Firewood to Minister Liu”]: “[Let go of frustration and go along with the flow of the river.] In friendship, I give this treasure saber.”

▲呂虔刀
[16] Lü Qian’s Saber

杜甫詩。『前軍蘇武節。左將呂虔刀。』按呂虔有佩刀。有工相之。以為必發。後果然。虔贈王祥。祥臨危以刀授王覽。覽後嗣亦多英俊。
It says in a poem by Du Fu [“Happy to Hear the Troops are Bearing Down on the Enemy”]: “The forward army is under Su Wu’s control, the left generaled by Lü Qian’s saber.” This saber was worn at the waist and did the job of expressing his authority. In the aftermath, Lü gave it as a present to Wang Xiang. When Wang Xiang was dying, he then gave it to his brother Wang Lan. Wang Lan later passed it down to his descendants, many of whom were eminent men.

此外有名徑路者。見漢書匈奴傳。應劭曰。徑路匈奴之寳刀也。又刀劍錄載。董元代討黃祖。蒙衝(大船)挾河。元代引刀斷衝纜。號其刀曰斷蒙。又盧綸難綰刀子歌。『輕冰薄玉狀不分。一尺寒光能決雲。』李頎咏烏孫佩刀歌云。『烏孫腰間佩兩刀。刃可吹毛錦為帶。』郝經詩云。『生平知己壓腕刀。借交報仇燕南豪。』均為刀之斑斑可考之出典也。
Beyond these examples was also the famous “Narrow Path” saber mentioned in the Books of Han, Annals of the Xiongnu [although the actual quote is from Jade Sea Records, book 151)]: “Ying Shao said that ‘Narrow Path’ is a precious saber of the Xiongnu people.”
     It says in Tao Hongjing’s List of Swords & Sabers: “Dong Yuancheng dealt with the warships of Huang Zu coming down the river by having sabers made that would cut their ropes. This kind of saber was called a ‘ship stopper’.”
     It also says in Lu Lun’s “Song of the Tricky Coiling Knife”: “Appearing no different from a thin icicle or thin piece of jade, it is a foot of pale shining light blurring like a cloud.”
     It says in the song “Sabers Worn at the Waist of the Wusun People” by Li Qi: “Those of Wusun wear a double saber at the waist. The blades can slice along hairs. Brocaded is the belt it is tied with.”
     It says in a poem by Hao Jing [“Recalling a Precious Saber”]: “All his life he was close to his ‘wrist-pressing’ saber, which he used to avenge Yan Nanhao.”
     These are but a sampling of saber allusions which can be examined in books.

單戒刀之來源
ON THE ORIGIN OF THE SINGLE DEFENSE-SABER SET

單戒刀為右手持舞單刀之一種。據邱鳴皋君云。單戒刀確為武松所傳。查武松其人。雖不多見於史書。惟余與戴子天球(字星一)。民國九年游西子湖時。見蘇小墓旁有宋義士武松之墓。是武松有其人而又有其事。不可謂為虛有其名矣。其事實杭州府誌中當然載之。恨余未能閲及。故其事畧未叙。單戒刀之來源如是。單戒刀之源流更不可考矣。
This is a kind of saber set performed holding the weapon in the right hand.
     According to Qiu Minggao: “This set was likely passed down from Wu Song. [This notion is presumably due to Shackle-Breaking Boxing being attributed to Wu Song, “breaking free of chains” being a postural feature of this saber set.] When we examine into his person, there are not many mentions of him to be found in historical records, but Dai Tianqiu, also called Dai Xingyi, and I traveled to West Lake in 1920, where we found beside a small tomb the grave of Song Dynasty patriot Wu Song. Therefore Wu Song was a person with a history and we cannot say he was a fictional character. There is indeed mention of him within the Records of Hangzhou Prefecture, but unfortunately I have not been able to find further information and cannot make a proper biographical sketch.”
     Such is the “origin” of this set. Its development would be even harder to examine.

單戒刀之法理
TECHNIQUES & PRINCIPLES OF THE SINGLE DEFENSE-SABER SET

何以謂之法。示之當然者謂之法。何以謂之理。指出其所以然者謂之理。余所著國術諸書。其中均法理並重。言法務使習者見而知其當然。言理務使習者見而知其所以然。單戒刀之刀法。有吹劈撩帶剌五字。單戒刀之刀理。有心眼手身步五字。以言刀法。斜刀為吹。直刀為劈。挑刀為撩。囘刀為帶。仰刀為刺。以言刀理。心要明。眼要清。手要快。身要靈。步要凖。單戒刀係短兵之一種。僅一面有鋒刄。故其練習時較棍法稍難。而較兩邊有刄之劍法為易。茲將單戒刀之舞法述之如下。
What is meant by “techniques”? What are seen demonstrated are called “techniques”. What is meant by “principles”? Pointers on how to execute the techniques are called “principles”. Within all of the martial arts books I have written, techniques and principles are given equal emphasis. When we discuss techniques, it is so the practitioner knows what he is doing. When we discuss principles, it is so the practitioner understands how he is doing it.
     There are five saber techniques in this set – slashing, chopping, raising, dragging, stabbing – and five saber principles – mind, gaze, hand, body, step.
     As for the techniques: an angled cut is “slashing”, a straight cut is “chopping”, a carrying cut is “raising”, a withdrawing cut is “dragging”, and a forward cut is “stabbing”.
     As for the principles: the mind should be clear, the gaze should be bright, the hands should be quick, the body should be nimble, and the steps should be precise.
     The single saber is one of the short weapons. It has only one sharp edge, and thus while it is somewhat more difficult to practice than staff techniques, it is easier than the double-edged sword. The performance of the techniques is described below:

單戒刀之舞法
HOW TO PERFORM THE SINGLE DEFENSE-SABER SET

舞刀之法。技擊家嘗云雙刀繞。單刀跳。葢因在習刀之先。非先練拳不可。待至拳脚活便之後。始能練刀。故又有單刀好舞左手難藏之口頭禪。是由深處推想解説。單刀雖然易練。而左手空拳。畢竟不能伸縮自如。豈非右手舞刀反易。而左手須藏反更難乎。故舞刀之時。必須左手隨刀花上下旋轉。順勢伸縮。例如砍刀向下。則左手在上。剌刀向前。則左手在後。此為普通舞法。余昔編三義刀(大東書局出版)時。其中手法間多與本篇不同者。因唐殿卿師曾云。單刀好舞。左手難長。將藏字改為長字。謂左手藏之頗易。而左手見長尤長。故刀法中尤須加以手法。又云雙刀看走。單刀看手。此言實含有無窮之意味。夫旣舞刀。理應看刀法。何以不看刀而反看走與看手何哉。因雙刀全賴步法之連枝轉換。單刀全在左手伸屈得勢。右手之單刀始能得勁而生神。故左手不但不能屈藏不動。並且要與單刀遙遙相應。相依相輔。俾右手手中之刀。施展巧妙。還須於必要時。左手在刀花之中。施展其手法。如是則刀中有手。手中有刀矣。
以上為三義刀之手法。若單戒刀之手法。雖間有用左手之時。亦頗簡便。因其中左手手法之定例。大都右手收刀下落。則左手貼按右手手腕之上。右手持刀進前。則左手曲貼在後。單刀盤頭。則左手屈藏。抽刀向後。則左手進前。或因刀空而身進。亦或手縮而刀吐。總宜左手不離刀背。此法不明。半邊是空。身手步不合。則不能舞刀。心氣神不連。則不能得勢。既要刀尖足尖鼻尖三尖相照。又要身手步心氣神六部相連。余本擬編六合刀。六合刀為何玉山所傳。六合者何。一手與足合。二肘與膝合。三肩與跨合。五意與氣合。六氣與力合。共為六合。亦有謂身與步合。步與手合。手與眼合。眼與心合。心與神合。神與氣合。共為六合。二説畧有不同。其理則一也。書成一半。因十九年秋在揚州國館見邱鳴皋君所舞之單戒刀。確為少林之衣缽。其刀法之𦂳密。姿勢之優美。身腰之靈活。步法輕固。逈非個中人所能望其頎背遂改編單戒刀。旣取其手法簡單。更羡其刀法𦂳密。邱君云。單戒刀之刀法。其中大都左手不離右手手腕。宛然雙手梏桎相似。但施展之時。則如龍行太空。馬馳大地。翻騰上下。折曲迂迴。皆在演之純熟而已。故余見邱君舞刀之時。覺其心眼手身步無一不合。砍劈撩帶剌無一不連。無怪其其行如龍。其動如虎。其步如猴。亦若百鍊剛化為繞指柔。其快也如風。其急也如雨。追形隨影。如弄彈丸。誠合短兵長用之旨。亦合快刀急棍煞手鐧之法。遂欣然而為之編著。惟所繪圗形。不及邱君之神采煥發。是為缺憾。欲想攝影傳神。又不及用虛綫繪圗明顯。容編他書時。再於攝影底片中加以虛綫套圗。則其姿勢神情。當可一目了然。較之繪圗之法。必更進步一層。世之留心國術者。或不以余言為河漢也。
As to methods of wielding the saber, masters often say: “With the double sabers, there is rolling around. With the single saber, there is jumping around.” To begin training in the saber art, it cannot be practiced unless the boxing art is trained first. Wait until your fists and feet have become nimble, then you can practice the saber art.
     There is also the saying: “The single saber is easy to wield, but the left hand is difficult to hide.” Let us reckon an explanation of this profound statement. Although the single saber is easy to practice, the left hand is basically a useless fist, ultimately unable to extend and withdraw freely [while there is a sharp blade flying around]. So how could it not be that the right hand has an easier time wielding the saber and the left hand has a harder time keeping out of the way?
     Therefore when wielding the saber, you must get your left hand to comply with the flourishes of the saber at is goes up and down, whirling and circling, your left hand extending and withdrawing correspondingly. For instance, when the saber cleaves downward, the left hand goes above, or when the saber stabs forward, the left hand goes behind. This is the common principle.
     Previously I published a book on the Three-Virtues Saber (published by Great East Press). The hand principles in it were often different from those within this book. Master Tang Dianqing said: “The single saber is easy to wield, but the left hand is difficult to extend.” Notice he says “extend” rather than “hide”. He considers the left hand to be easy to hide, but sees the extending of the left hand as an overreaching. Therefore the saber art requires additional principles just for hand.
     It is also said: “With the double sabers, give attention to the feet. With the single saber, give attention to the hand.” These words contain limitless significance. Before wielding the saber, attention should be given to saber principles. Why should such attention be given to stepping and to the left hand but not to the saber itself? This is because the double sabers depend entirely on the footwork for the coordinated alternation of the blades, and the success of the single saber is entirely a matter of the extending and withdrawing of the left hand. The single saber in the right hand can then be able to achieve power and generate spirit.
     Therefore the left hand is not rendered impotently bent in and unmoving, it also should act in coordination with the saber. They depend on and complement each other. In order for the saber in the right hand to be used skillfully, it is also essential that the left hand in the midst of the saber’s flourishes perform according to the principles for the hand. In this way, the [left] hand will have a presence in the saber set just as the saber has a presence in the [right] hand.
     Above are the principles for the hand in the Three-Virtues Saber set. As for the left hand in the case of Single Defense-Saber, although it sometimes does have an actual function, the principles are very simple and consistent:
     When your right hand withdraws the saber downward, your left hand usually pushes down on top of your right wrist.
     When your right hand sends the saber forward, your left hand usually sticks behind it, the arm bent.
     When the saber coils around your head, your left arm bends in to keep out of the way.
     When you pull the saber to the rear your left hand usually goes forward, for sometimes the saber is not involved while the body is advancing.
     Sometimes the hand withdraws while the saber expresses forward, but usually the left hand should not leave the back of the saber.
     If these principles are not understood, one half of your body will be useless. If body, hand, and step are not united, you will not able to wield the saber. If mind, energy, and spirit are not connected, you will not able to succeed. The saber tip, the tip of your [front] foot, and your nose should be aligned with each other, and your body, hands, step, mind, energy, and spirit should be linked with each other.
     I now borrow from the principles of the Six Unions saber art. In the Six Unions Saber as taught by He Yushan: “The six unions are: hand united with foot, elbow united with knee, shoulder united with hip, [mind united with the intention,] intention united with the energy, energy united with the power.” Another version is: step united with hand, hand united with the gaze, gaze united with the mind, mind united with the spirit, spirit united with the energy. Although these two descriptions are slightly different, their principle is the same.
     Half of this book was completed because in the autumn of 1930 I saw Qiu Minggao at the Yangzhou Martial Arts Institute performing the Single Defense-Saber set. It is truly a legacy of Shaolin. Its saber techniques are precise, its postures are graceful, its torso movements are flexible, and its steps are light but solid. Even the layman will be able to observe the craftsmanship that went into arranging this set, able to grasp its simple hand methods, and especially to admire the precision of the saber techniques.
     Qiu said: “In the saber methods of the Single Defense-Saber set, the left hand for the most part does not leave the right wrist, as though the hands are shackled together. But when it is performed, it is then like a dragon flying into the sky and a horse galloping over the ground, the movements churning above and below, bending and winding, all performed skillfully.”
     Indeed when I saw Qiu perform with the saber, I felt that his mind, gaze, hand, body, and step were all united, and that his slashing, chopping, raising, dragging, and stabbing were all continuous actions. It is no wonder then that his maneuvers are like a dragon, his movements are like a tiger, his steps are like a monkey, and tempered steel seems to be transformed into a coiling pliability. He is as fast as wind, as sudden as thunder, his postures ahead of their shadows, as though bullets would be too slow for him. He truly merges the aims of both short weapons and long, as well combining the methods of sharp knife, fast staff, and cruel mace.
     I thereupon produced this book with pleasure. Although I have made drawings of Qiu’s postures, the defect of this is that I have not been able to capture his joyful expression. I feel that while photographs are more vivid, they are simply not as clarifying as using line drawings. Sometimes in other books, people have drawn dotted lines of motion onto photographic plates so that the expressiveness of the postures can be immediately clear. But outright drawings will make the postures clearer anyway. I hope there are some custodians of martial arts who do not think this opinion of mine is frivolous.

單戒刀之勁路
THE PATTERNS OF ENERGY FOR THE SINGLE DEFENSE-SABER SET

吸氣蓄勁。吐氣發拳。蓄勁如張弓。發勁似放矢。拳脚如是。刀法何獨不然。苟不吸氣。則無吐氣之能。苟不蓄勁。必無發勁之力。發勁要上下相隨。收勁要呑吐相應。舞刀之時。勁起於脚跟。蓄於腰肩。達於手指。發於鋒刄。故腰肩如弓把。手脚如弓稍。刀尖似箭鏃。見敵人兵械為何種形式。發手為何種法門。視其來去之方向。秤其勁力之大小。度其快慢。量其距離。或吹或劈。或撩或帶或剌。均在一瞥之間。方寸之內。前進後退。五官四肢。各部同時運用。左顧右盻。內外完整一氣。用勁各有不同之點。因砍有砍勁。劈有劈勁。撩有撩勁。帶有帶勁。剌有剌勁。各種刀法。有各種的勁路。各種勢法。亦有各勢的勁路。勁路非實練與自悟不能領會。例如單刀破花槍。則舞刀者必須知到槍的勁路。始能破之。此外如槍與槍扎。刀與刀對。均須彼此知道勁的來去路綫。我找到彼的勁路則彼敗。彼找到我的勁路則我敗。所謂知己知彼。則百戰百勝。得法之祕訣有二句云。『剛在他方前。柔乘他方後。』換言之。卽是『我發勁時使彼不及防。彼發勁時我已有所備。』此不過言其大槪而已。至來囘之勁路。仍須於實練中尋之。
Inhale to store power, then exhale to shoot out your fist. [From the Taiji Classics:] “Store power like drawing a bow. Issue power like loosing an arrow.” Punching and kicking are like this. Why would the saber techniques be any different? If you do not inhale, you will not be able to exhale. If you do not store power, there is no power to release. To release power, your upper body and lower should be coordinated. To gather power, sending out and taking in should correspond to each other.
     When performing saber techniques, power rises from your heel, builds up in your waist and shoulders, reaches to your fingers, and is expressed at the blade. Therefore your waist and shoulders are like a bow grip, your hands and feet are like the bow tips, and your saber tip is like an arrowhead.
     Observe what kind of weapon the opponent is using, what kind of art he trained in when he sends out his hands, and in what directions he comes and goes. Measure the extent of his power, as well as his speed, and his distance.
     Whether slashing, chopping, raising, dragging, or stabbing, always look for a target within a square inch.
     While advancing and retreating, your five senses, four limbs, and all parts should function in unison. While moving to the left and right, inside and outside should be an integrated whole.
     Each energy you apply has its own characteristic. Slashing has a slashing energy. Chopping has a chopping energy. Raising has a raising energy. Dragging has a dragging energy. Stabbing has a stabbing energy. The various techniques each have their energies and the various postures each have their energies.
     Without whole-hearted practice, the patterns of energy cannot be understood. For instance, for a single saber to win against a whirling spear, the saber wielder has to know the patterns of energy for a spear, and then he will be able to defeat it. Furthermore, in a case of spear versus spear, or saber versus saber, both opponents will surely know the patterns in which one another’s energy will come and go. If I find the pattern of my opponent’s energy, he will lose. But if he finds the pattern of my energy, I will lose. As it is said [Art of War, chapter 3]: “Knowing both self and opponent, in a hundred battles you will have a hundred victories.”
     To obtain the knack of the method, here are a couple of sayings: “I use hardness when I am facing the opponent and then I use softness once I have gotten behind him.” Another way to say this: “When I issue power, he cannot defend against it, but when he issues power, I am already prepared for him.” These words give merely the general idea. To know the patterns in which energy will come and go, more ardent practice is required in order to discover them.

單戒刀之練法
HOW TO PRACTICE THE SINGLE DEFENSE-SABER SET

(一)本篇本擬繪刀路圗一幅。因邱鳴皋君云。按步定方。未免呆板。因刀花盤頭有大小之分。轉身有快慢之別。祇須刀法無訛。故毋庸再刻舟求劍云。
[1] About the saber set illustrated in this book, Qiu Minggao said: “There are specific steps to take and specific directions to face, but avoid becoming stubborn about practicing according to them. Because there will be variation in the size of the circle the saber coils around the head or in the speed the body turns, all that matters is that you perform the saber techniques without error. There will then be no cause for comments such as ‘you made a mark on the boat to look for your sword’ [Lü Shi Chun Qiu, chapter 84 – in which a foolish man expected to find his sword that fell in the river by carving a mark on the boat at the spot it fell and then hopelessly looked for it according to that mark after the boat had moved on down the river.]” [i.e. Real usage of the techniques will not adhere to the structure of the set – be adaptive.]

(一)練刀之時。須逐日加多。切忌多而不熟。諺云。學勢千着。一熟為先。練刀千勢。一快為主。
[2] When learning this saber set, you must add a little more each day. But be sure not to learn more without mastering what you have learned so far. A saying goes: “You may learn a thousand techniques, but the first priority is to master one.” You may train countless saber techniques, but all that is important is one moment of sharpness.

(一)每日早起。日習四勢。一月之後各勢記清然後由慢而快。由快而緊。由緊而精。由精而神。自能如臂使手。如手使刀。刀手不分矣。何以謂之緊。卽是刀花盤頭。緊貼身腰。上中下三盤均要顧到。自然緊密而無瑕隙矣。
[3] Get up early every day and practice a few of the techniques. After a month, you will remember all of the techniques clearly. Then go from practicing them slowly to practicing them quickly, then tightly, then with precision, then with spirit. Naturally you will get to the point that it seems your arm drives your hand and your hand drives your saber, and then there will be no distinction between hand and saber. What is meant by “tightly”? This means that when the saber coils around your head, it sticks close to your body. It also has to do with the three areas around your body – upper, middle, and lower. If they can be kept tightly overlapping, there will be no flaws in your coverage of yourself.

(一)練刀之時。必須自悟其刀法因何用砍。因何用剌。我用砍時。敵人器械打來。如何禦法。我用剌時。敵人器械打來。如何禦法。能如是。則能變化一切而得其秘覈矣。
[4] When practicing the saber set, you have to realize the reason why a slashing technique slashes and a stabbing technique stabs. When I use slashing or stabbing, I am choosing what seems the best defense against the opponent’s attack. If you can practice in this way, you will be able to transform constantly and will obtain the knack.

(一)練刀之時。尤須默記其方向。或左或右。或前或後。如若一敵在場。如何禦法。如係二敵在場。如何禦法。向何處去為生門。向何處去是死門。不如此留心。不足以成名家。學者尤應三注意也。
[5] When practicing the saber set, you have to be especially aware of the directions around you – left, right, forward, back. Consider what your responses will be if you are facing one opponent, but also if you are facing more than one. Consider where in your surrounding space is the safest place to be and where is the most dangerous. If you are not mindful of these things, you will not become an expert in the art. Think upon this over and over.

(一)練刀之時。必須刀快眼快。心快步快。其來如風。其去如矢。身輕脚便洒脱自如全無凝滯。自能得心應手。所向必克矣。
[6] When practicing the saber set, you must be quick with your weapon, your gaze, your hands, and your steps. Come in like the wind, go out like an arrow. With your body light and your feet stepping with ease, there will automatically be no sluggishness in the movement. You will naturally be able to perform what is in your mind, and are sure to succeed.

(一)練刀之時。默想彼刀砍來。如何讓法。讓過之後。不容還手。緊逼一刀。所謂不招不架。只是一下。設若我刀為敵刀砍下。最好卽於砍下之處。隨時乘其虛隙以補進之。則較之雙方過門。再更他勢覩面接戰者。尤為巧妙。
[7] When practicing the saber set, contemplate an opponent’s attacks and your own defense. After defending against an attack, do not allow him to attack again, instead crowd him with your saber. As it is said: “If you do not spend your time defending, you will only need to deal with one attack. [Whereas if you are constantly defending, you will have to deal with many attacks.]” If an opponent slashes at me with his saber, the best thing to do is, just as his saber is about to reach me, to take advantage of the gap he has made and charge in through the doorway. By observing his attacks and engaging him in this way, you will become very skillful.

(一)練刀之時間。務宜起早。在大小便之後。若飽食盛醉之後。皆不可行。練刀之後。行走十分鐘時間。待血氣旣定。然後再進飲食。庻不妨碍衛生。
[8] As for the time to practice the saber set, you should get up early and then practice after using the bathroom. If you are full of food or wine, you cannot practice. After practicing, take a ten-minute stroll to regulate blood and energy. When you eat and drink afterwards, consume nothing that will obstruct health.

(一)練刀之時。氣行短促。可用鼻吸口噓。互相運用。不宜緊閉。務須隨其自然。
[9] While practicing the saber set, your breaths will be short, and so you may inhale through your nose and exhale through your mouth, alternating with each other. You should not close your mouth tightly, for you must do what is natural.

(一)練刀一道。在昔專為禦敵而用。故不得不如上述所云。欲心領神會。揣測來去之方與砍剌之法。然近世射擊之學盛行。鎗彈之效尤著。練刀一事。不遇增長體力膽力。與靈活身腰。流通血液。飬成民眾有果敢冒險之心而已。若持四尺之單刀與三寸之手鎗以相抗衡。則螳臂當車。未免不自量矣。
[10] The way of saber training was previously for the specific use of defending against enemies. Therefore everything described above was a matter of course, understood intuitively – observing and anticipating an opponent’s directions of withdraw and attack, the methods of slashing and stabbing, etc. However in modern times, training in firing guns is more popular, bullets being so effective. The purpose of practicing the saber art is only to increase strength and courage, to make the body more nimble, improve circulation, and to cultivate in ordinary people the daring to face challenges. If you were to take up a four-foot saber and contend against someone with a three-inch pistol, you would be overestimating your ability [“a mantis raising its arms to stop a wagon” – Zhuangzi, chapter 4]. Avoid doing that.

單戒刀全路圗解圗目
NAMES OF THE POSTURES IN THE SINGLE DEFENSE-SABER SET

第一圖 提刀寒雀勢
Drawing 1: LIFTING SABER, SHIVERING SPARROW STANCE
第二圗 砍刀寒雞勢
Drawing 2: SLASHING SABER, SHIVERING CHICKEN STANCE
第三圗 舉刀金雞勢
Drawing 3: LIFTING SABER, GOLDEN ROOSTER STANCE
第四圗 披刀伏虎勢
Drawing 4: DRAPING SABER, CROUCHING TIGER POSTURE
第五圗 揚刀弓箭勢
Drawing 5: PROPPING SABER, BOW & ARROW STANCE
第六圗 背刀擔衫勢
Drawing 6: SABER BEHIND THE BACK, JACKET-SHOULDERING POSTURE
第七圗 披刀伏虎勢
Drawing 7: DRAPING SABER, CROUCHING TIGER POSTURE
第八圗 揚刀弓箭勢
Drawing 8: PROPPING SABER, BOW & ARROW STANCE
第九圗 橫刀攘翅勢
Drawing 9: HORIZONTAL SABER, SPREADING WINGS POSTURE
第十圗 挺刀寒雞勢
Drawing 10: STANDING SABER, SHIVERING CHICKEN STANCE
第十一圗 絞刀反撩勢
Drawing 11: TWINING SABER, REVERSE RAISING POSTURE
第十二圗 扦刀抝步勢
Drawing 12: POKING SABER, TWISTED STANCE
第十三圗 劈刀弓箭勢
Drawing 13: CHOPPING SABER, BOW & ARROW STANCE
第十四圗 帶刀蹲坐勢
Drawing 14: DRAGGING SABER, SQUATTING STANCE
第十五圗 抽刀抝步勢
Drawing 15: PULLING SABER, TWISTED STANCE
第十六圗 掃刀攘翅勢
Drawing 16: SWEEPING SABER, SPREADING WINGS POSTURE
第十七圗 躍步空人勢
Drawing 17: JUMPING STEP, DISAPPEARING BODY
第十八圗 劈刀弓箭勢
Drawing 18: CHOPPING SABER, BOW & ARROW STANCE
第十九圗 操刀撈月勢
Drawing 19: HOLDING THE SABER, MOON-SCOOPING POSTURE
第二十圗 請刀夾馬勢
Drawing 20: INVITING SABER, SQUEEZED HORSE-RIDING STANCE
第二十一圗 扦刀立正勢
Drawing 21: POKING SABER, STANDING STRAIGHT
第二十二圗 背刀獨立勢
Drawing 22: SABER BEHIND THE BACK, ONE-LEGGED STANCE
第二十三圗 披刀脱梏勢
Drawing 23: DRAPING SABER, BREAKING FREE OF CHAINS
第二十四圗 藏刀抝步勢
Drawing 24: CONCEALING SABER, TWISTED STANCE
第二十五圗 翻身旋風腿
Drawing 25: SPIN AROUND, WHIRLWIND KICK
第二十六圗 魁星踢斗勢
Drawing 26: KUIXING KICKS THE BIG DIPPER
第二十七圗 挺刀馬襠勢
Drawing 27: STANDING SABER, HORSE-RIDING STANCE
第二十八圗 藏刀弓箭勢
Drawing 28: CONCEALING SABER, BOW & ARROW STANCE
第二十九圗 藏刀弓箭勢
Drawing 29: CONCEALING SABER, BOW & ARROW STANCE
第三十圗 推窗望月勢
Drawing 30: PUSHING OPEN THE WINDOW TO GAZE AT THE MOON
第三十一圗 空人獨立勢
Drawing 31: DISAPPEARING BODY, ONE-LEGGED STANCE
第三十二圗 空人獨立勢
Drawing 32: DISAPPEARING BODY, ONE-LEGGED STANCE
第三十三圗 藏刀弓箭勢
Drawing 33: CONCEALING SABER, BOW & ARROW STANCE
第三十四圗 藏刀弓箭勢
Drawing 34: CONCEALING SABER, BOW & ARROW STANCE
第三十五圗 單腿馬襠勢
Drawing 35: SINGLE-LEG HORSE-RIDING STANCE
第三十六圗 攘翅弓箭勢
Drawing 36: SPREADING WINGS, BOW & ARROW STANCE
第三十七圗 掃刀揚翅勢
Drawing 37: SWEEPING SABER, LIFTING WINGS POSTURE
第三十八圗 砍刀夾馬勢
Drawing 38: SLASHING SABER, SQUEEZED HORSE-RIDING STANCE
第三十九圗 舉刀弓箭勢
Drawing 39: LIFTING SABER, BOW & ARROW STANCE
第四十圗 護頂倒挿勢
Drawing 40: GUARDING THE HEADTOP, FALLING BACK
第四十一圗 扦刀坐馬勢
Drawing 41: POKING SABER, HORSE-RIDING STANCE
第四十二圗 掃刀掃搪腿
Drawing 42: SWEEPING SABER, SWEEPING LEG
第四十三圗 護頂坐馬勢
Drawing 43: GUARDING THE HEADTOP, HORSE-RIDING STANCE
第四十四圗 退步三旋刀
Drawing 44: RETREATING STEP, TRIPLE-WHIRLING SABER
第四十五圗 脱梏夾馬勢
Drawing 45: BREAKING FREE OF CHAINS, SQUEEZED HORSE-RIDING STANCE
第四十六圗 空人抝步勢
Drawing 46: DISAPPEARING BODY, TWISTED STANCE
第四十七圗 帶刀舖地勢
Drawing 47: DRAGGING SABER, UNROLLING-RUG STANCE
第四十八圗 扦刀坐馬勢
Drawing 48: POKING SABER, HORSE-RIDING STANCE
第四十九圗 推刀望月勢
Drawing 49: PUSHING AWAY THE SABER TO GAZE AT THE MOON
第五十圗 劈刀弓箭勢
Drawing 50: CHOPPING SABER, BOW & ARROW STANCE
第五十一圗 藏刀獨立勢
Drawing 51: CONCEALING SABER, ONE-LEGGED STANCE
第五十二圗 藏刀舖地勢
Drawing 52: CONCEALING SABER, UNROLLING-RUG STANCE
第五十三圗 盤頭三進步
Drawing 53: COIL AROUND THE HEAD, ADVANCING THREE STEPS
第五十四圗 收刀寒雞勢
Drawing 54: FINISHING SABER, SHIVERING CHICKEN STANCE

單戒刀圗解 揚州金一明著
ILLUSTRATED DESCRIPTIONS OF THE SINGLE DEFENSE-SABER SET – BY JIN YIMING OF YANGZHOU

第一勢 提刀寒雀勢
Posture 1: LIFTING SABER, SHIVERING SPARROW STANCE

由立正姿勢。右手握刀挺直向上。刀背緊貼右膀上臂。刀柄在上。刀尖向後。靠近右邊脊背。同時右足一跺。左足尖向前點地微懸。身腰蹲落。吸腹呑胸。左掌併攏。垂直向後。頭偏向左。目光左視。形如下圗。
『方向』身體朝北。頭眼向西。
From a posture of standing upright, your right hand grabs the saber and holds it straight up, the back of the saber touching your right upper arm, continuing until the saber handle is pointing upward, the saber tip pointing to the rear, close to the right side of your back. At the same time, your right foot stomps, your left toes go forward, touching down [so that the heel is] slightly raised, your torso squats down, belly withdrawing, chest hollowing, and your left palm pinches into a hook, pointing to the rear, [the arm] hanging and straight. Your head turns to the left, your gaze going to the left. See the drawing below. [Each drawing has the arms and legs labeled left and right.] (Orientation: Your torso is squared to the north. Your gaze is to the west.)

《單戒刀》 金一明 (1932) - drawing 1

第二勢 砍刀寒雞勢
Posture 2: SLASHING SABER, SHIVERING CHICKEN STANCE

右手單刀。由右外方向左。右手向上。單刀盤頭。繞過背後。再向左旁方橫砍一刀。刀口向內。順勢一轉。手心朝右外方。兩臂挺勁微彎。刀尖遙對左膝角。同時進右足。再進左足。足尖點地。成寒雞勢。同時左臂順刀旋轉。起一圎花。目光左視形如下圗。
『方向』身體朝北。眼視西北。
Your right hand takes the saber from the right side to the left, then comes up again, coiling the saber behind your back and around your head, and comes down to the left side with a slashing action, the saber blade facing inward. The movement continues into a rotation to make the center of the hand face outward to the right, the arm having an energy of straightening though slightly bent, the saber tip now positioned to the outside of your left knee. At the same time, advance with your right foot, then your left foot, toes touching down, making a “shivering chicken” stance, your left arm performing a circle corresponding to the [final] circle of the saber. Your gaze is toward the left. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the northwest.)

《單戒刀》 金一明 (1932) - drawing 2

第三勢 舉刀金雞勢
Posture 3: LIFTING SABER, GOLDEN ROOSTER STANCE

左掌落按右手腕臂之上。將刀雙臂提舉過頂。刀口向後外方。刀尖垂在左膀大臂後下方。右足懸起。小腿屈曲足心靠近右膝角。足尖向下。成金雞獨立勢。目光前視。形如下圗。
『方向』身體朝北。頭眼視西北。
Your left palm braces on top of your right wrist, both hands lifting the saber above your head, the saber blade facing outward to the rear, the saber tip hanging down behind your left [right] upper arm, and your right foot lifts, the leg bending, the sole of the foot close to your right knee, toes hanging down, making a stance of a golden rooster standing on one leg. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the northwest.)

《單戒刀》 金一明 (1932) - drawing 3

第四勢 披刀伏虎勢
Posture 4: DRAPING SABER, CROUCHING TIGER POSTURE

左手離開右腕臂。右手將刀向前右方砍下。順勢由右後方盤頭向右前方下磕刀柄貼近右足內方。刀口朝下。左掌仍貼落右腕之上。同時左足向左外方挺伸。右膝屈落。身腰蹲坐。目光左視。形如下圗。
『方向』身體朝北。頭眼向西。
Your left hand comes away from your right wrist, your right hand brings the saber forward with a downward slashing action, then continues from the right rear, coiling around your head, and knocking downward to the forward right, the saber handle close to the inside of your right foot, the saber blade facing downward, your left palm again coming down on top of your right wrist. At the same time, your left leg extends outward to the left, your right knee bends and lowers, your torso squatting. Your gaze is to the left. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the west.)

《單戒刀》 金一明 (1932) - drawing 4

第五勢 揚刀弓箭勢
Posture 5: PROPPING SABER, BOW & ARROW STANCE

身腰向左傾。右腿挺立在後。左膝屈曲成左弓右箭勢。同時右手將刀向左前上方提舉。左掌移前托在刀背之後。離刀頭約三寸。刀口朝外。刀尖向下。兩臂挺直。右髙左低。目光前視。形如下圗。
『方向』身體朝西北。目光朝西。
Your torso inclines to the left, your right leg straightening behind, your left knee bending, making a stance of left leg a bow, right leg an arrow. At the same time, your right hand brings the saber upward, lifting to the forward left, your left palm shifting forward to prop behind the back of the saber, about three inches away from the saber hilt, the saber blade facing outward, the saber tip pointing downward, arms straight, right hand higher, left hand lower. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the northwest. Your gaze is to the west.)

《單戒刀》 金一明 (1932) - drawing 5

第六勢 背刀擔衫勢
Posture 6: SABER BEHIND THE BACK, JACKET-SHOULDERING POSTURE

將刀向右前方砍下。身腰右轉。左足獨立。右足提起。貼近左膝。左手後鵰。同時右手單刀砍下。順勢向後。右臂舉起。刀尖在右後下方。成二郎擔衫勢目光右視。形如下圗。
『方向』正面朝東。目光向東北。
Sending the saber slashing downward to the forward right, your torso turning to the right, your left leg standing one-legged, right foot lifting to be close to your left knee, your left hand making a “vulture hand” behind. Once your right hand sends the saber slashing downward, it then continues to the rear and your right arm lifts up, the saber tip pointing downward to the right rear, making the posture of “Erlang Shoulders His Jacket”. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is to the northeast.)

《單戒刀》 金一明 (1932) - drawing 6

第七勢 披刀伏虎勢
Posture 7: DRAPING SABER, CROUCHING TIGER POSTURE

將刀由右向後盤頭。向右前下方砍成鋪地錦勢目光左視。左手先須離開刀柄。待左足向前一步。右膝屈曲。身腰蹲下時。左手再按貼右手腕背之上。刀柄靠近右足。刀口朝下。形如下圗。
『方向』身體向東南。頭眼朝東。
From the right rear send the saber coiling around your head and slashing downward to the forward right, making a stance of “unrolling a rug”. Your gaze is to the left. Your left hand must first come away from the saber handle, then once your left foot steps forward, your right knee bends, and your torso squats down, your left hand again touching on top of your right wrist, the saber handle close to your right foot, the saber blade facing downward. See the drawing below. (Orientation: Your torso is squared to the southeast. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 7

第八勢 揚刀弓箭勢
Posture 8: PROPPING SABER, BOW & ARROW STANCE

身腰左轉左腿屈曲在前。右腿挺直在後。成左弓右箭步。同時左手離開右腕。沿刀背向前托定。離刀尖約三四寸之處。右手微曲。揚刀齊眉。刀柄在右上方。刀尖朝左下方。目光前視形如下圗。
『方向』身體朝東。頭眼向東。
Your torso turns to the left as your left leg bends in front and your right leg straightens behind, making a stance of left leg a bow, right leg an arrow. At the same time, your left hand leaves your right wrist and goes forward along the back of the saber to prop it about three or four inches away from the saber tip. Your right arm is slightly bent, propping the saber at eyebrow height, the saber handle pointing to the upper right, the saber tip pointing to the lower left. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 8

第九勢 橫刀攘翅勢
Posture 9: HORIZONTAL SABER, SPREADING WINGS POSTURE

刀由左後方繞右。向左旁方橫砍一刀。名玉帶圍腰。左手仍托刀背。將刀髙舉過頂。成白鶴揚翅勢同時身腰左轉。正面朝西。左足獨立右足懸起。目光前視。形如下圗。
『方向』身體朝西。目光隨刀注視。
The saber coils to the right from the left rear, then does a sideways slashing to the left side, an action called “jade belt around the waist”. Your left hand again propping the back of the saber, send the saber lifting up above your headtop, making a posture of a white crane spreading its wings. At the same time, your torso turns around to the left to be squared to the west, your left leg standing one-legged, your right foot lifting. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the west. Your gaze follows the saber.)

《單戒刀》 金一明 (1932) - drawing 9

第十勢 挺刀寒雞勢
Posture 10: STANDING SABER, SHIVERING CHICKEN STANCE

右手單刀盤頭。向右下方披一刀。左手托握右腕之下。同時右足落下。左足向前半步。成寒雞步。右臂在前下方挺直。刀尖向上。目光前視。形如下圗。
『方向』身體朝西。目光前視。
Your right hand coils the saber around your head and goes to the lower right with a draping action, your left hand propping up, grabbing under your right wrist. At the same time, your right foot comes down and your left foot goes forward a half step, making a shivering chicken stance, your right arm straightening forward and downward, the saber tip pointing upward. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the west. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 10

第十一勢 絞刀反撩勢
Posture 11: TWINING SABER, REVERSE RAISING POSTURE

反絞刀先由右後下方將刀向前撩起。左手仍托右腕之下。同時右步抬起前進一步。再將刀由左後下方向前撩起。左手不動。同時左步抬起。前進一步。目光隨刀花兩邊注視。一刀一步。向前撩進。約五六步。形如下圗。
『方向』身步向西。頭眼二面注視。
Turning over and twining the saber begins from the lower right rear, sending the saber raising forward, your left hand still propping under your right wrist, your right foot lifting and advancing a step. Then the saber goes from the lower left rear and raises forward, your left hand again not leaving its position, your left foot lifting and advancing a step. Your gaze follows the saber as it flourishes to both sides. Each saber action is accompanied by a step, raising forward and advancing for about five or six steps. See the drawing below. (Orientation: Your torso is squared to the west. Your toes are pointed to the west. Your gaze is to the sides.)

《單戒刀》 金一明 (1932) - drawing 11

第十二勢 扦刀抝步勢
Posture 12: POKING SABER, TWISTED STANCE

隨勢向右旁方一扦刀。刀口朝上。右手虎口朝外。左手貼落。右手小臂之上。同時左足伸出右足之右後方。成抝步交义形。剪子股勢。左足足尖斜對右足外方中間。腰如蛇形。頭向右視。形如下圗。
『方向』身體朝南。單刀指西。頭眼向西。
The movement continues to the right side with the saber poking, the saber blade facing upward, the tiger’s mouth of your right hand facing outward, your left hand coming down on top of your right forearm. At the same time, your left foot reaches out behind your right foot to the right rear, making a twisted stance in a posture of your thighs overlapping like scissors, your left toes pointing the middle of the outside of your right foot, your waist behaving like a snake. Your head is turned to look to the right. See the drawing below. (Orientation: Your torso is squared to the south. The saber points to the west. Your gaze is to the west.)

《單戒刀》 金一明 (1932) - drawing 12

第十三勢 劈刀弓箭勢
Posture 13: CHOPPING SABER, BOW & ARROW STANCE

身腰向左轉。右手單刀由右上方。向左前方一劈。成右弓左箭步。左手托握右手手腕。正面朝東。目光前視。形如下圗。
『方向』身體朝東。頭眼前視。
Your torso turns around to the left, your right hand sending the saber chopping from the upper right to the forward left as you make a stance of right leg a bow, left leg an arrow, your left hand propping up, grabbing your right wrist. Your torso is squared to the east. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 13

第十四勢 帶刀蹲坐勢
Posture 14: DRAGGING SABER, SQUATTING STANCE

將刀劈後。使勁帶囘。向左下方。右手臂貼近胸前。左臂微屈。上舉左掌護頂。右手置於左腋窩之下。單刀直豎左腋窩之後。刀尖朝上。刀口朝後。同時身腰左轉。右足收囘微懸。左膝。屈落身步蹲坐。目光右視。形如下圗。
『方向』身體朝北。頭眼視東北。
Send your saber chopping to the rear with an energy of dragging it in to the lower left, your right arm coming close in front of your chest, your left palm lifting up to guard your headtop, arm slightly bent, right hand placed below your left armpit, the saber standing straight behind the armpit, the saber tip pointing upward, the saber blade facing to the rear. At the same time, your torso turns to the left, your right foot withdraws, [heel] slightly lifted, your left knee bending as you lower your body into a squatting stance. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the northeast.)

《單戒刀》 金一明 (1932) - drawing 14

第十五勢 抽刀抝步勢
Posture 15: PULLING SABER, TWISTED STANCE

右手抽刀盤頭。刀尖由右下方繞向左後下方向上。左手變鵰手。手心與刀尖遙對。同時右足向左方後退一步。身腰右轉。左足繞前向右足右旁方一步。成交义剪子股抝步勢。右足根向左外方。右手在右前方挺刀過頭。腰如蛇形目光左視。形如下圗。
『方向』身體朝南。頭眼向東。
Your right hand pulls the saber into coiling around your head, the saber tip coiling from the lower [upper] right to the lower left rear and then upward, your left hand forming a vulture hand, the center of the hand and the saber tip pointing toward each other. At the same time, your right foot retreats a step to the left, your torso turning around to the right, and your left foot coils around in front to the right side of your right foot, making a twisted stance in a posture of thighs overlapping like scissors, your right heel pointing outward to the left, your right hand lifting the saber to the forward right to be above your headtop, your waist behaving like a snake. Your gaze is to the left. See the drawing below. (Orientation: Your torso is squared to the south. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 15

第十六勢 掃刀攘翅勢
Posture 16: SWEEPING SABER, SPREADING WINGS POSTURE

身腰蹲下盤根腿一絞花。向右轉身。刀向右後方掃去。成一大圎圈。正面朝東。立起成白鶴攘翅。左足提懸。左足獨立。左手成鵰手。置於左上方。右手置於右上方。刀口朝後。刀尖向下。目光前視。形如下圗。
『方向』身體由向西南轉東頭眼隨刀注視
Your torso squats down onto “twisted roots”, your legs making a twisted-vine stance, as your body turns around to the right, the saber sweeping out toward the right rear, making a large circle. Your torso is squared to the east. Stand in a posture of a white crane spreading its wings, your left [right] foot lifting, your left leg standing one-legged, your left hand forming a vulture hand placed above to the left, your right hand placed above to the right, the saber blade facing to the rear, the saber tip pointing downward. Your gaze is forward. See the drawing below. [Left and right are mislabeled on the legs in the squatting drawing.] (Orientation: Your torso turns from the southwest to be squared to the east. Your gaze follows the saber.)

《單戒刀》 金一明 (1932) - drawing 16

第十七勢 躍進空人勢
Posture 17: JUMPING ADVANCE, DISAPPEARING BODY

左手仰托右手手腕。成空中人字形。右足躍前落下。左足隨之躍進。右足提起。身腰仍然挺立。正面朝東。形如下圗。
『方向』身體朝東。頭眼前視。
Your left hand props up your right wrist, making a posture of a person going into the sky as your right foot jumps up and comes down forward, your left foot then jumps up and advances, and your right foot lifts, your torso still stood upright. Your torso is squared to the east. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 17

第十八勢 劈刀弓箭勢
Posture 18: CHOPPING SABER, BOW & ARROW STANCE

右足落下。用響步。左足前進一步。成弓箭勢。同時將刀向前直劈。刀背朝上刀尖指前。左手握托右腕之下正面朝東形如下圗
『方向』身體朝東。頭眼前視
Your right foot comes down with a stomp and your left foot goes forward a step, making a bow and arrow stance. At the same time, bring the saber forward with a vertical chop, the back of the saber facing upward, the saber tip pointing forward, your left hand propping up below your right wrist. Your torso is squared to the east. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 18

第十九勢 操刀撈月勢
Posture 19: HOLDING THE SABER, MOON-SCOOPING POSTURE

刀尖向左下方操成海底撈月勢左手仍托右手手腕。帶刀撩上向西揚起。再向東一劈。豎起刀尖朝上刀口朝東。同時弓步收囘。向右足右後方斜退一步成抝步剪子股式腰如蛇形。目光右視形如下圗。
『方向』身體朝北頭眼視東
The saber tip goes to the lower left, making the action of “trying to the scoop the moon’s reflection from the water”, your left hand still propping your right wrist, then lead the saber upward with a raising action, then to the east into a chopping action, then lift it to be upright, the saber tip pointing upward, the saber blade facing to the east. At the same time, your bow stance withdraws, [your left foot stepping] toward your right foot and around to the right rear with a diagonal retreating step, making a twisted stance with a scissored-thighs posture, your waist behaving like a snake. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 19

第二十勢 請刀夾馬勢
Posture 20: INVITING SABER, SQUEEZED HORSE-RIDING STANCE

順勢身腰左轉。右足躍向左足右方。成鷂子翻勢同時右手單刀順勢向前披劈豎起。刀尖朝上刀口朝外。左足不動僅足尖就地一磨。正面仍然朝東右腿在前挺直微懸。左腿屈蹲成夾馬請刀勢。左手未動。目光前視形如下圗
『方向』身體向左後方大轉。正面朝東頭眼前視
Continuing the momentum, your torso spins around to the left, your right foot leaps to the right of your left foot, making a posture of a “hawk turning over”. At the same time, your right hand brings the saber forward with a draping chop, held upright, the saber tip pointing upward, the saber blade facing outward, your left foot staying where it is, only pivoting on the ball of the foot. Your torso is again squared to the east. Your right leg extends forward, slightly empty, your left leg bending into a squat, making a squeezed horse-riding stance, the saber in a posture of inviting. Your left hand has not moved from its position. Your gaze is forward. See the drawing below. (Orientation: Your torso is spun around to the left rear to be squared to the east. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 20

第二十一勢 扦刀立正勢
Posture 21: POKING SABER, STANDING STRAIGHT

左足向右足並攏。同時刀尖向左下方成圎花。操起。向右旁方砍一刀。身腰立直刀與肩平順勁將刀再向右一扦。收囘左手托在右手小臂之下全體挺立目光右視。形如下圗。
『方向』身體朝東。頭眼向南。
Your left foot moves to stand next to your right foot as the saber tip goes to the left rear, making a circular flourish that lifts it back up, and it does a poke to the right. Your torso is upright, the saber at shoulder level. Use a smooth power to poke the saber to the right and withdraw your left hand to be propping under your right forearm. Your whole body is standing straight. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is to the south.)

《單戒刀》 金一明 (1932) - drawing 21

第二十二勢 背刀獨立勢
Posture 22: SABER BEHIND THE BACK, ONE-LEGGED STANCE

左足向左前方一步。右腿曲懸成獨立勢。身腰左轉。同時右手單刀拉向左腋後背方。左臂上屈成左揚掌。上曲護頂。身腰挺立。正面朝北。目光前視。形如下圗。
『方向』身體朝北。目光前視。
Your left foot takes a step forward, your right leg bends and lifts, making a one-legged stance, your torso turning to the left. At the same time, your right hand pulls the saber to your left armpit and behind your back, your left hand going upward as a propping palm, guarding your headtop with the arm bent. Your torso is upright, squared to the north. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 22

第二十三勢 披刀脱梏勢
Posture 23: DRAPING SABER, BREAKING FREE OF CHAINS

單刀盤頭。由右下方繞後披前。右足落下。足尖朝右。向右轉身。左足向右進步再盤頭披一刀進右足再進左足。再進右足懸左腿。右足獨立。由第二次盤頭後。刀披向前方。刀口向左。刀尖在左旁後方。左手貼落右手腕上。刀背擱在左膀背上。左手腕擱在左膝角上。成脱梏姿勢。如下圗。
『方向』身體朝東。目光前視。共進四步。盤頭二次。
The saber coils around your head, going from the lower right to the rear and then draping in front, your right foot coming down, toes pointing to the right, as you turn your body to the right. Your left foot advances to the right, then your right foot advances as you coil around your head again with the saber, then your left foot advances again, and then your right foot advances again and you lift your left leg, your right leg standing one-legged. After coiling around your head the second time, the saber drapes in front, the saber blade facing to the left, the saber tip pointing behind your left arm, your left hand coming down on top of your right wrist, the back of the saber touching your left upper arm, your left wrist placed above your left knee, making a posture of breaking free of chains. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is forward. There are altogether four advancing steps and two coilings around your head.)

《單戒刀》 金一明 (1932) - drawing 23

第二十四勢 藏刀抝步勢
Posture 24: CONCEALING SABER, TWISTED STANCE

左足落下。身腰左轉。單刀由左盤頭向前橫砍。同時右足向左前方進步。左足向右足後方偷進一步。成抝步倒挿勢。左臂上曲。揚掌護頂。單刀由前繞向左後方。右手貼胸。刀藏左腋之後。刀尖朝上。目光右視。形如下圗。
『方向』身體朝北。頭眼向東。
Your left foot comes down as your torso turns to the left, the saber going from coiling around your head to the left to slashing across in front. At the same time, your right foot advances to the forward left and your left foot advances with a stealth step behind your right foot, making a posture of falling into a twisted stance, your left palm guarding your headtop, the arm bent. As the saber then coils from in front to the left rear, your right hand is close to your chest and the saber is concealed behind your left armpit, the saber tip pointing upward. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 24

第二十五勢 翻身旋風勢
Posture 25: SPIN AROUND, WHIRLWIND POSTURE

向左大轉身。踢旋風腿。以左手拍右足內旁。身體落下。面仍朝北。右足懸起。左足獨立目光前視。如下圗。
『方向』身體朝北。目光左右兩邊注視。
Spin your body in a full circle to the left, performing a whirlwind kick, using your left hand to slap the inside edge of your left foot, then your torso lowers, squared again to the northeast. Your right leg is lifted, your left leg standing one-legged. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze goes to each side.)

《單戒刀》 金一明 (1932) - drawing 25

第二十六勢 魁星踢斗勢
Posture 26: KUIXING KICKS THE BIG DIPPER

右足落下。單刀由左後方盤頭向前平方橫砍一刀。名玉帶圍腰。順勢向左旁方揚起護頂。左足向右偷踢。屈懸成魁星踢斗姿勢。右手上舉。刀口朝上。刀尖向左。遙指左肩。左臂屈曲護胸。目光左視。形如下圗。
『方向』身體朝南。頭眼向東。
Your right foot comes down as your saber coils around your head from the left rear and slashes across in front, performing “jade belt around the waist”. The movement continues back toward the left as you lift the saber up to guard your headtop, your left foot performing a sneaky kick to the right, the leg bent, making the posture of “Kuixing Kicks the Big Dipper”, your right hand lifting up, the saber blade facing upward, the saber tip pointing to the left toward your left shoulder, your left arm bent in to guard your chest. Your gaze is to the left. See the drawing below. (Orientation: Your torso is squared to the south. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 26

第二十七勢 挺刀馬襠勢
Posture 27: STANDING SABER, HORSE-RIDING STANCE

左足向左一步。左手上屈護頂。右手操刀向左。刀尖朝上。刀口朝外。成坐馬勢蹲下。目光前視。形如下圗。
『方向』身體朝南。頭眼前視。
Your left foot takes a step to the left, your left hand guards your headtop, arm bending, and your right hand brings the saber to the left, the saber tip pointing upward, the saber blade facing outward. You are making a horse-riding stance, squatting down. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the south. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 27

第二十八勢 藏刀弓箭勢
Posture 28: CONCEALING SABER, BOW & ARROW STANCE

右足不動。右轉身。左足向右橫進一步。右足向右後方。退進一步。同時帶刀向右繞後。向前盤頭。連花二次。順勢刀藏左腋後方。刀口朝左刀尖向後。成身裏藏刀勢。左手作推掌。右手握刀柄。靠近左肘之下。步法右弓左箭勢。目光前視。形如下圗。
『方向』身體朝東。頭眼隨刀轉視
Your right foot stays where it is as your body turns to the right and your left foot advances a sideways step to the right, then your right foot retreats a step to the right rear. At the same time, send the saber dragging to the right, then coiling around to the rear, around your head and forward, then coiling around a second time, flowing into the saber being concealed behind your left armpit, the saber blade facing to the left, the saber tip pointing to the rear, making the posture of concealing the saber behind you. Your left hand performs a pushing palm and your right hand is gripping the saber handle close below your left elbow. Your stance is right leg a bow, left leg an arrow. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze follows the circling of the saber.)

《單戒刀》 金一明 (1932) - drawing 28

第二十九勢 藏刀弓箭勢
Posture 29: CONCEALING SABER, BOW & ARROW STANCE

左足前進。右足後退。左足再前進。右足後退。向右大轉身二次。將刀盤頭二次。身裏藏刀。左手向前進掌。步法成右弓左箭勢。與上勢完全相同。形如下圗。
『方向』身體朝東。目光前視。
Your left foot advances, your right foot retreats, your left foot again advances, your right foot again retreats, spinning your body around in two full circles to the right as you coil the saber twice around your head, then conceal the saber behind your back, your left hand going forward as a pushing palm. Your stance is right leg a bow, left leg an arrow, same as the previous posture. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 29

第三十勢 推刀望月勢
Posture 30: PUSHING AWAY THE SABER TO GAZE AT THE MOON

將刀披砍右下方。向後盤頭繞前。左手護刀背。將刀平推向前。右腿不動。左足向右後方偷進。成抝步連枝勢。眼光向左上視。成犀牛望月勢。形如下圗。
『方向』身體朝南。頭眼向東。
Send the saber slashing downward to the right, then to the rear, coiling around your head, and forward, your left hand guarding at the back of the saber as you send the saber pushing forward and level. Your right leg stays where it is as your left foot advances with a stealth step to the right rear, making a twisted overlapping stance. Your gaze goes upward to the left. This completes a posture of “pushing away the saber to gaze at the moon”. See the drawing below. (Orientation: Your torso is squared to the south. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 30

第三十一勢 空人獨立勢
Posture 31: DISAPPEARING BODY, ONE-LEGGED STANCE

用絞花步向左大轉身。腰如蛇形。將刀平端。身腰矮下。由東北磨轉朝西。同時右足提懸。左足獨立。左手按落右手腕下。雙手髙舉成空人式。刀柄朝上刀尖朝下在左後下方目光前視。形如下圗
『方向』身體朝西。目光前視。
Use a twisting-vine stance to spin your body around in a full circle to the left, your waist behaving like a snake, bring the saber across with both hands, your torso lowering, twisting around from the northeast to be squared to the west. At the same time, your right foot lifts, your left leg standing one-legged, your left hand coming down behind your right wrist and both hands lifting high to make a “disappearing body” posture, the saber handle pointing upward, the saber tip hanging down behind the left side of your body. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the west. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 31

第三十二勢 空人獨立勢
Posture 32: DISAPPEARING BODY, ONE-LEGGED STANCE

原地右足落下。身腰左磨向後。左足懸起。正面朝東。刀法手法不動。形如下圗
『方向』身體朝東。目光前視。
Staying where you are, your right foot comes down, your body turns around to the left rear, and your left foot lifts. Your torso is squared to the east. The saber and hand position do not change. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 32

第三十三勢 藏刀弓箭勢
Posture 33: CONCEALING SABER, BOW & ARROW STANCE

左足向前一步。成左弓右箭勢。右手單刀落向左腋窩下。刀尖在後。成身裏藏刀。左臂微曲。手掌腕根朝前。手指朝上。向前作推掌勢目光前視。形如下圗。
『方向』身體朝東目光前視。
Your left foot steps forward into a stance of left leg a bow, right leg an arrow, your right hand lowering the saber under your left armpit, the saber tip pointing to the rear, making a posture of concealing the saber behind your body. With your left arm slightly bent, the heel of the palm faces forward, fingers pointing upward, as you go forward with a pushing palm. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 33

第三十四勢 藏刀弓箭勢
Posture 34: CONCEALING SABER, BOW & ARROW STANCE

向右大轉身。左足不動。右足向右後方一步。兩腿絞花。帶刀由右向後盤頭。成右弓左箭式身裡藏刀。左手推掌。目光前視。形如下圗
『方向』身體朝西北。目光前視。
Your body spins around in a full circle to the right, your left foot staying where it is, your legs momentarily performing a twisting-vine step, then your right foot takes a step to the right rear as you drag the saber across from the right rear and coil it around your head. You are making a stance of right leg a bow, left leg an arrow, the saber is concealed behind your body, and your left hand is performing a pushing palm. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the northwest. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 34

第三十五勢 單腿馬襠勢
Posture 35: SINGLE-LEG HORSE-RIDING STANCE

向右轉身。左足向右足右旁方躍進一步。右足再退躍一步。披刀向右。帶後盤頭順勢翻前。身腰蹲坐。將左足提攔右膝角。成單腿馬襠勢。右手橫刀在前。左手推在刀背中間。成平刀。目光向北前視。形如下圗。
『方向』身體朝北。目光前視。
Your body turning to the right, your left foot advances a jumping step to the right side of your right foot and your right foot then retreats a jumping step as you drape the saber to the right, then lead it behind you, coiling around your head, and returning in front, your torso squatting down as your left foot lifts to be in front of your right knee, making a one-legged horse-riding stance. Your right hand is holding the saber sideways in front of you, your left hand pushing at the middle of the back of the saber, making a position of a level saber. Your gaze is forward to the north. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 35

第三十六勢 攘翅弓箭勢
Posture 36: SPREADING WINGS, BOW & ARROW STANCE

左足向右旁方一步。身腰右轉。正面朝東。成左弓右箭勢。單刀由左向後。兩臂髙舉成白鶴攘翅勢。左手成鵰手。刀尖在左脊背之後。目光右視。形如下圗。
『方向』身體朝東。目光前視。
Your left foot takes a step to the right side, your torso turns around to the right to be squared to the east as you make a stance of left leg a bow, right leg an arrow, the saber going behind you from the left, then both arms raising to make a posture of a white crane spreading its wings, your left hand forming a vulture hand, the saber tip behind the left side of your back. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the east. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 36

第三十七勢 掃刀揚翅勢
Posture 37: SWEEPING SABER, LIFTING WINGS POSTURE

右足向前半步。身腰隨之蹲下。將刀由右上方向前左下方掃砍。身腰微向右轉。帶刀揚起。仍成白鶴翅勢。左足懸。右足立。目光前視。形如下圗。
『方向』身體朝北。頭眼隨刀注視。
Your right foot goes forward a half step, your torso correspondingly squatting down, as your send the saber forward from the upper right to the lower left with a sweeping slash, your torso turning slightly to the right, leading the saber into lifting up, again making a posture of a white crane spreading its wings, left leg lifted, right leg standing. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze follows the saber.)

《單戒刀》 金一明 (1932) - drawing 37

第三十八勢 砍刀夾馬勢
Posture 38: SLASHING SABER, SQUEEZED HORSE-RIDING STANCE

左足落前半步挺伸。身腰蹲坐。右腿屈曲成夾馬勢。將刀由右上方向前平方劈一刀。左手托握右手腕底。刀尖朝上。刀柄靠近左膝角上。目光前視。形如下圗。
『方向』身體朝北。頭眼前視。
Your left foot extends a half step forward, your torso squatting down, right leg behind, making a squeezed horse-riding stance, as your bring the saber forward from the upper right with a level chop, your left hand propping up and grasping below your right wrist, the saber tip pointing upward, the saber handle close to your left knee. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 38

第三十九勢 舉刀弓箭勢
Posture 39: LIFTING SABER, BOW & ARROW STANCE

身腰左轉。向左一操刀。由左反撩向右。同時上右步成右弓左箭勢。雙手將刀髙舉過頂。刀尖在下。刀口朝後。正面朝西。目光前視。形如下圗。
『方向』身體朝西。頭眼隨刀注視。
Your torso turning to the left, bring the saber to the left, then turn it over and perform a raising action to the right. At the same time, your right foot steps forward to make a stance of right leg a bow, left leg an arrow, both hands bringing the saber high above your head, the saber tip pointing downward, the saber blade facing to the rear. Your torso is squared to the west. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the west. Your gaze follows the saber.)

《單戒刀》 金一明 (1932) - drawing 39

第四十勢 護頂倒挿勢
Posture 40: GUARDING THE HEADTOP, FALLING BACK

右足不動。左足向右後方偷步成倒挿勢。刀由左下方拉上。向右上方揚起。成護頂刀。左手收囘。經過胸前。向左平衝。眼光左視。形如下圗。
『方向』身體朝南。頭眼向東注視。
Your right foot staying where it is, your left foot goes to the right rear with a stealth step, making a posture of falling back, pulling the saber upward from the lower left, lifting to the upper right to guard your headtop, as your left hand gathers in, passing in front of your chest, and performing a level thrust punch. Your gaze is to the left. See the drawing below. (Orientation: Your torso is squared to the south. Your gaze is to the east [south].)

《單戒刀》 金一明 (1932) - drawing 40

第四十一勢 扦刀坐馬勢
Posture 41: POKING SABER, HORSE-RIDING STANCE

左轉身成坐馬勢蹲下。同時將刀向右平方一劈。左拳度掌托腕。劈後一縮。再向右一扦。扦時刀口朝上。左手待刀柄收囘。仍貼在右手手腕之下。
『方向』身體朝東。頭眼向南。
Your body turns to the left and squats down to make a horse-riding stance. At the same time, bring the saber to the right with a level chop, your left fist becoming a palm and propping your right wrist. After chopping, withdraw the saber and then poke out to the right, the saber blade facing upward. Your left hand moves with the saber handle as it withdraws, still touching behind your right wrist. [See the drawing below.] (Orientation: Your torso is squared to the east. Your gaze is to the south.)

《單戒刀》 金一明 (1932) - drawing 41

第四十二勢 掃刀掃搪腿
Posture 42: SWEEPING SABER, SWEEPING LEG

左腿蹲屈。足跟微提。足尖就地一磨。向左大轉身。右腿挺伸向左掃出。成掃塘腿。大圎花。右手單刀同時隨腿左掃。左手仍按右手腕下。此時正面由北經西轉南。目光隨刀注視。形如下圗。「註」此勢不停。接演下勢。
『方向』身體朝南。頭眼向南。
Your left leg bends into a deeper squat, heel slightly lifted, and pivots on the ball of the foot as your body spins around in a full circle to the left with your right leg extended, sweeping to the left, performing a “sweep the hall” leg action in a large circular flourish. At the same time, your right hand sends the saber sweeping around in tandem with your leg, your left hand still touching behind your right wrist. Your torso in this moment turns from the north to the west to be squared to the south. Your gaze follows the saber. See the drawing below. Note: This posture does not pause, but continues right into the following posture. (Orientation: Your torso is squared to the south. Your gaze is to the south [west].)

《單戒刀》 金一明 (1932) - drawing 42

第四十三勢 護頂坐馬勢
Posture 43: GUARDING THE HEADTOP, HORSE-RIDING STANCE

由上勢不停。右足向西落實。右手將刀向左後方後操。盤頭繞前。緊貼左腋之下。左手上曲。托掌護頂。成馬襠蹲下。目光右視。形如下圗。
『方向』身體朝南。頭眼向西。
Continuing from the previous posture without stopping, your right foot comes down fully in the west, your right hand sending the saber to the left rear, coiling around your head, and returning forward to be close below your left armpit, your left palm propping up to guard your headtop, arm bent, as you make a horse-riding stance, squatting down. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the south. Your gaze is to the west.)

《單戒刀》 金一明 (1932) - drawing 43

第四十四勢 退步三旋刀
Posture 44: RETREATING STEP, TRIPLE-WHIRLING SABER

左足向右足前方躍進。退右步。大轉身。將刀由右下方向後盤頭前砍。名為一旋刀。再上左步退右步一旋刀。再上左步退右步一旋刀。均向西向右大轉身。以退為進。由東轉西。旋轉三次。正面仍然朝南。目光隨刀右視。形如下圗。「註」此勢不停。接演下勢。
『方向』身體朝西南。頭眼向西。
Your left foot jumps forward in front of your right foot and your right foot retreats, turning your body all the way around, as you send the saber from the lower right to the rear, coiling around your head, and slashing forward, an action called “whirling saber”. Then your left foot steps forward and your right foot retreats with a whirling saber action, and again your left foot steps forward and your right foot retreats with a whirling saber action, turning your body completely around to the right to be squared toward the west. This technique is a matter of using retreat as advance, turning around from east to west. Whirl and turn three times. Your torso is squared to the south. Your gaze follows the saber to look to the right. See the drawing below. Note: This posture does not pause, but continues into the following posture. (Orientation: Your torso is squared to the southwest [west]. Your gaze is to the west [north].)

《單戒刀》 金一明 (1932) - drawing 44

第四十五勢 脱梏夾馬勢
Posture 45: BREAKING FREE OF CHAINS, SQUEEZED HORSE-RIDING STANCE

左手落於右手腕上。刀背擱置左臂。刀尖向左後上方成脱梏勢。身腰右轉蹲下。同時左足向前半步挺直。成夾馬勢。目光右視。形如下圗。
『方向』身體朝北。頭眼向北。
Your left hand lowers on top of your right wrist, the back of the saber touching your left upper arm, the saber tip pointing upward to the left rear, making a posture of breaking free of chains, your torso turning to the right and squatting down. At the same time, your left leg extends a half step forward, making a squeezed horse-riding stance. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the north.)

《單戒刀》 金一明 (1932) - drawing 45

第四十六勢 空人抝步勢
Posture 46: DISAPPEARING BODY, TWISTED STANCE

雙腿一磨。向左轉身。成左足在前。右足在左足後方剪子股形勢。雙手髙舉過頂。刀背在脊背之後。刀尖朝下。目光左視。形如下圗。
『方向』身體朝南。頭眼向左。
With both legs pivoting, turn your body around to the left so that your left foot is in front and your right foot is behind your left foot, making a scissored-thighs posture, both hands lifting above your headtop so the back of the saber is behind your back, the saber tip pointing downward. Your gaze is to the left. See the drawing below. [Left and right are mislabeled on the legs in the drawing.] (Orientation: Your torso is squared to the south. Your gaze is to the left.)

《單戒刀》 金一明 (1932) - drawing 46

第四十七勢 帶刀舖地勢
Posture 47: DRAGGING SABER, UNROLLING-RUG STANCE

順勢左轉身。左足僅足尖點地一躍。右足由後方繞前。向左足前方舖地。左膝屈曲。正面由南朝東。同時將刀由上向前一劈。刀柄靠近左足。刀尖朝上。刀口朝外。目光前視。形如下圗。
『方向』身體朝北。頭眼向東。
Continuing the momentum, your body turns around to the left, your left foot pivoting on only the ball of the foot, your right foot leaping around to the front from behind, extending on the ground in front of your left foot, your left knee bending, your torso turning from the south to be squared to the east. At the same time, send the saber chopping forward from above, the saber handle close to your left foot, the saber tip pointing upward, the saber blade facing outward, Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 47

第四十八勢 扦刀坐馬勢
Posture 48: POKING SABER, HORSE-RIDING STANCE

將刀在前面絞花。成大圎圈形。身腰蹲坐成馬襠勢。向右作扦刀勢。右膀貼胸。刀口朝北。刀尖朝東。將刀一扦。左手仍托在右手腕下。目光右視。形如下圗。
『方向』身體朝北。頭眼向東。
Bring the saber forward with a twisting flourish, making a large circle, your torso squatting down into a horse-riding stance, and the saber goes to the right with a poking action, your right arm close to your chest, the saber blade facing to the north, the saber tip pointing to the east, your left hand still propping behind your right wrist. Your gaze is to the right. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 48

第四十九勢 推刀望月勢
Posture 49: PUSHING AWAY THE SABER TO GAZE AT THE MOON

將扦刀收囘。由左向上。向左偏身。右足不動。左足偷向右足後方一步。成交义形。將刀髙舉過額。左手托在刀背中間。目光右視。成推刀望月勢。形如下圗。
『方向』身體朝西北。頭眼向東。
Withdraw the poking saber upward from the left, your body inclining to the left, your right foot staying where it is as your left foot takes a stealth step behind your right foot, making an overlapping stance, and you lift the saber high above your head, your left hand propping the middle of the back of the saber. Your gaze is to the right. This completes a posture of pushing away the saber to gaze at the moon. See the drawing below. (Orientation: Your torso is squared to the northwest. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 49

第五十勢 劈刀弓箭勢
Posture 50: CHOPPING SABER, BOW & ARROW STANCE

向左轉身。成右弓左箭勢。向西一劈刀。揚起。刀口朝前。刀尖向上。左手托在右手腕之下。與右膝角遙對。目光前視。形如下圗。
『方向』身體朝西。頭眼向西。
Your torso turns to the left, making a stance of right leg a bow, left leg an arrow, the saber chopping to the west, lifted up so the saber blade is facing forward, the saber tip pointing upward, your left hand propping under your right wrist in line with your right knee. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the west. Your gaze is to the west.)

《單戒刀》 金一明 (1932) - drawing 50

第五十一勢 藏刀獨立勢
Posture 51: CONCEALING SABER, ONE-LEGGED STANCE

右手帶刀向左。右膀曲貼左腋之下。刀藏身後。刀口朝外。左臂上曲。左掌護頂。右足懸起。身腰後挺。左足獨立。目光前視。形如下圗。
『方向』身體朝西。頭眼向西。
Your right hand drags the saber to the left under your left armpit, the arm bending, so the saber is concealed behind your body, the saber blade facing outward, as your left palm guards your headtop, the arm bending, your right leg lifting, your torso retreating upright, your left leg standing one-legged. Your gaze is forward. See the drawing below. (Orientation: Your torso is squared to the west. Your gaze is to the west.)

《單戒刀》 金一明 (1932) - drawing 51

第五十二勢 藏刀舖地勢
Posture 52: CONCEALING SABER, UNROLLING-RUG STANCE

右足落下。左足一跥。向右大轉身。右足再東一踟步。成舖地勢。左膝屈蹲。刀手未動。身體朝北。頭眼向東。形如下圗。
『方向』身體朝北。頭眼向東。
Your right foot comes down, your left foot does a stomp, your body spins a full circle to the right rear, your right foot then does a scraping step to the east, making an unrolling-rug stance, your left knee bending into a squat. The saber and your hands do not change from their position. Your torso is squared to the north. Your gaze is to the east. See the drawing below. (Orientation: Your torso is squared to the north. Your gaze is to the east.)

《單戒刀》 金一明 (1932) - drawing 52

第五十三勢 盤頭三進步
Posture 53: COIL AROUND THE HEAD, ADVANCING THREE STEPS

左足向右足旁方橫進一步。將刀由右下方繞後。盤頭翻前。大轉身。右足再向右。左足再向右前進。接連刀再盤頭。刀花共盤頭二次。連進三次。兩個大轉身。正面朝北。形如下圗。接下收刀。
『方向』身體由右向左連轉二次。正面朝北。
Your left foot advances a sideways step to be beside your right foot as you send the saber from the lower right to the rear and coiling around your head until in front, spinning your body in a full circle, your right foot then stepping to the right, your left foot again advancing to the right, the saber continuing into another coil around your head. The saber does two flourishing coils around your head, you take three continuous steps, and your body performs two full spins. Your torso is squared to the north. See the drawing below. This posture continues into the following posture. (Orientation: Your torso turns from right to left to be squared to the north.)

《單戒刀》 金一明 (1932) - drawing 53

第五十四勢 收刀寒鷄勢
Posture 54: FINISHING SABER, SHIVERING CHICKEN STANCE

由上勢向後一退。成左足在前。右足在下寒鷄勢。蹲後。右手挺直在後。刀口朝下。刀尖朝前。左手作推掌式。是為收刀勢。
『方向』正面朝北。目光前視。
From the previous posture, retreat a step so your left foot is now forward, your right foot stepping back into a shivering chicken stance, squatting to the rear, your right arm straightening behind, the saber blade facing downward, the saber tip pointing forward, left hand performing a pushing-palm action. This is the finishing posture. [See the drawing below. (The legs were drawn incorrectly in this drawing.)] (Orientation: Your torso is squared to the north. Your gaze is forward.)

《單戒刀》 金一明 (1932) - drawing 54

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