LIUHE DOUBLE SABERS

六合雙刀
LIUHE DOUBLE SABERS
順德黃漢勛編述
by Huang Hanxun [Wong Honfan] of Shunde
山東蓬萊羅光玉老師授
as taught by Luo Guangyu of Penglai, Shandong
演式者:戴金城
postures performed by Dai Jincheng
攝影者:譚以禮
photographed by Tan Yili
校對者:黃子英
text proofread by Huang Ziying
[published 33rd year of the cycle, 8th month, 1st day (Sep 5, 1956)]

[translation by Paul Brennan, Dec, 2018]

六合双刀
Liuhe Double Sabers
梁倍望題
– calligraphy by Liang Beiwang

六合雙刀形勢图例:凢由東至西之直線除斜線外倶為同一線形也。
This is a map for the postures in the set. The postures will travel from east to west [and back again] in a line that veers off onto diagonals.

S

E   東     西  W

N

闗序
PREFACE BY GUAN ZHUO

曩目羅師任職精武以來歷時二十餘載,除北方藉負盛名於武壇者曷可勝數,其造就南方之英才亦濟濟有衆,其曾任職各地精武數十年之林兄伯炎,陳兄震儀,黃兄漢勛,黃兄錦洪等為最著也。
憶卓初加入精武受先師指導時,以上各先進師兄俱巳出任各地矣,民二十六秋漢勛兄自武漢歸來,因以得朝夕共處者凡數載,迨後雖經戰亂離別而感情反日益增進。
漢勛兄除致力訓練後輩外,常以宣揚螳螂拳術及寫述羅師盛德為己任,惟限於環及經濟能力致未遂行於先師生前,但在黃兄艱苦努力下其百折不撓之精神,卒於民國三十五年達成,其初試啼聲之傑作為「螳螂拳術闡秘」,顧名思義當是盡量披露精奧於無遺矣,一經問世大有洛陽紙貴之慨,至今巳再版三版矣,漢勛兄不以此自足,仍繼續寫述其得自先師遺法配以個人數十年經歷所得於斯出至十四種矣,以漢勛兄之抱負及其精神魄力相信不久便可將有關螳螂拳之法則及拳械之圖解等一一付諸刋行矣,卓忝列同門亦深以漢勛兄之志為値得欽佩,茲値其第十四種「六合雙刀」付梓乃畧述其槪如上以為序。
南海闗卓
Master Luo [Guangyu] taught for the Jingwu Association for more than twenty years. Beyond earning a great reputation in northern martial arts circles as being unbeatable, he has also taught a vast number of southerners, holding a position in various Jingwu branches over those decades. His best students were Lin Boyan, Chen Zhenyi, Huang Hanxun, and Huang Jinhong. I recall that when I joined the Jingwu Association and received guidance from Luo, these gentlemen had already gone on to hold teaching positions themselves in other branches. In the autumn of 1937 [1938], Huang Hanxun returned [to Hong Kong] from Wuhan [in Hubei] to receive a few more years of constant training. Having been distracted away from the art for a while because of the chaos of war [during the Defense of Wuhan against the Japanese], he became increasingly sentimental toward it.
  Beyond devoting himself to training the next generation of students, Huang decided it was his personal duty to publish materials about the Mantis boxing art and to make a record of the teachings of Master Luo. Limited by the current environment [with the Japanese then occupying Hong Kong] as well as financial difficulties, he did not get very far while Luo was still alive [who had gone to Shanghai in 1942 and passed away in 1944], but Huang worked hard, undaunted by setbacks, and finally in 1946, on his first try he produced a celebrated masterpiece, Secrets of the Mantis Boxing Art. Just as the title suggests, it reveals the secrets of the art, hiding nothing. As soon as it was published, it became a bestseller, and it is now already in its third printing. Huang has not become complacent because of this and instead has continued to write about what he inherited from Luo, mixed with his own decades of experience, to produce further books, this one being the fourteenth volume in this series. With his ambition and his audacious spirit, I am sure it will not take long for him to present the methods of Mantis Boxing, with its boxing and weapon sets getting published one after another. I am unworthy to be in the company of my fellow student and deeply admire his ideals, and so in honor of the publication of Liuhe Double Sabers, I have written this brief preface.
  - written by Guan Zhuo of Nanhai [district of Foshan, Guangdong]

自序
AUTHOR’S PREFACE

嘗聞故老云,武家以雙刀為「父母」之説,筆者謭陋,實不知此説之根據,但知其同單刀之脱自大刀耳!且比單刀為易習,易用。拳經云:單刀看手,雙刀看走,若欲求雙刀之竅要,便先須注意步法之靈活,左右之平勻,苟得此二者之佳妙,則距雙刀之成功不遠矣!練之者祈三致意焉。
丙申八月初一日於陋室
I have heard my elders say that martial arts masters call the double sabers “father & mother”. I am an ignorant person, and so I am not really sure on what grounds they would say this, though I do know that the single saber is based on the large saber. Compared to the single saber, the double sabers are easier to practice with and easier to use in application. It is said in the boxing classics: “With the single saber, be mindful of your other hand. With the double sabers, be mindful of your footwork.” If you want the secret to the double sabers, it is that you first have to pay attention to making your footwork nimble and working both sabers equally. If you can grasp these two major subtleties, then success with the double sabers will not be far off. I hope practitioners will give this point repeated attention.
  - written in my humble room, 33rd year of the cycle, 1st day of the 8th month [Sep 5, 1956]

編者之坐盤攔劈式
The author performing SITTING-TWISTED STANCE, BLOCK & CHOP [Posture 35]

第一式 中平持刀式
Posture 1: STANDING STABLY, HOLDING THE SABERS

說明:
Explanation:
本刀之佈式演進是以東方作起點者,我先擇東方站定,為右東,左西,面北,背南者,雙脚倂立,雙手分持兩刀,刀鋒向外而平放(因攝影關係以致兩有看不淸之弊。)為此刀之預備式,如『定式圖』。
This saber set is performed starting from the eastern part of the practice space. Stand with the east to your right, the west to your left, the north in front of you, the south behind you, feet together, each hand holding a saber with the saber edge facing outward [downward according to the photo]. (The view from which this photo is taken unfortunately makes the sabers hard to see.) This is the preparation posture. See photo 1:

功用:
Application:
刀勢尚未展開,故無功用可言。
As the saber movements have not yet begun, there is no real application to speak of in this posture.

第二式 跨虎分刀式
Posture 2: SITTING-TIGER STANCE, SPREADING THE SABERS

說明:
Explanation:
循上式,原步不變,雙刀向左右分開,如「過渡式甲圖」
Continuing from the previous posture, with your stance not changing, the sabers spread away to the sides. See photo 2a:

再進右脚以成右跨虎式,雙刀由上自外交义向內,以右上,左下為合,如『定式圖』。
Then your right [left] foot advances to make a right [left] sitting-tiger stance as the sabers go upward from the outside and cross over each other to the inside, coming together with the right saber on top, left saber underneath. See photo 2b:

功用:
Application:
對方擬自我下路用槍刺來,我即出步用雙攔式由上壓落,再向外分開則來械有被輾斷之危矣。
An opponent using a spear tries to stab to my lower body, so I step out and use my sabers to block it, pressing downward from above and spreading outward to eliminate the danger from his incoming weapon.

第三式 跨虎右花刀
Posture 3: SITTING-TIGER STANCE, RIGHT FLOURISH

說明:
Explanation:
循上式,先原步不變,後脚拍前以成立正之狀,如「過渡式甲圖」。
Continuing from the previous posture, with your position not changing, your rear foot stomps forward to make a posture of standing at attention. See photo 3a:

再退右脚於東方,左手刀不動,右手刀掠起,如「過渡式乙圖」。
Then your right foot retreats to the east, the left saber not changing its position, the right saber sweeping upward. See photo 3b:

再拉起左脚以成左跨虎步,右手刀自右繞過左肩之上,左刀貼於右腰部,如「過渡式丙圖」。
Then your left foot pulls back to make a left sitting-tiger stance as the right saber arcs from the right to be over your left shoulder, the left saber going to the right side of your waist. See photo 3c:

再以右手刀從左肩部向面前撇去,復拉上至直手為度,如『定式圖』。
Then the right saber sweeps out in front of you from your left shoulder and pulls up until the arm is vertical. See photo 3d:

功用:
Application:
集數刀於一個動作之中,使環繞我四面八方之敵人俱無法近我。
This contains several saber actions in a single movement, causing opponents surrounding me to have no way to approach.

第四式 探海雙橫刀
Posture 4: SEARCHING THE SEA WITH DOUBLE SIDEWAYS SABERS

說明:
Explanation:
循上式,先左脚向前踏下,同時雙刀齊向前斜斜殺落,如「過渡式甲圖」。
Continuing from the previous posture, first your left foot comes down forward as the sabers go forward in unison and smash diagonally downward. See photo 4a:

再提起右脚,雙刀由下往後,如「過渡式乙圖」。
Then your right foot lifts as the sabers go downward to the rear. See photo 4b:

再乘提右脚之便往西方躍進以成左登山式,雙刀再轉歸後方,然後分左長右短齊出,如『定式圖』。
Then take advantage of the momentum of your right foot lifting by hopping forward to the west to make a left mountain-climbing stance as the sabers arc to the rear and then go out in unison with the left saber at long range and the right saber at short range. See photo 4c:

功用:
Application:
彼械自我中下路刺來,我乃用雙刀同攔法將其殺去,再轉刀由上路橫殺而出。
An opponent’s weapon stabs to my middle or lower area, so I use my sabers to do a sweeping action to smash it away, then send my sabers arcing from above to smash out with the blades sideways.

第五式 換刀雙橫刀
Posture 5: SWITCHING THE SABERS

說明:
Explanation:
循上式,原步不變,左刀往後縮,右刀向前出,如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, the left saber withdraws as the right saber goes out forward. See photo 5a:

再拉起左脚以成左跨虎步,左刀自下穿上再向前橫出,右刀反收於腋下,如『定式圖』。
Then your left foot pulls back to make a left sitting-tiger stance as the left saber threads upward from below, again going out forward with the blade sideways, and the right saber correspondingly withdraws to your [left] armpit. See photo 5b:

功用:
Application:
我不斷換刀者乃轉移敵方目標法之一,亦為彼去此來,使敵方無從捉摸之要着也。
I continuously switch the sabers as a method of diverting the opponent’s attention. The act of sending one out while bringing the other one back is also an effective means of causing him to have no idea what is going on.

第六式 大轉右花刀
Posture 6: LARGE TURN, RIGHT FLOURISH

說明:
Explanation:
循上式,先原步不變,左刀不動,右刀反手往後撇去,如「過渡式甲圖」。
Continuing from the previous posture, with your stance not changing, the left saber does not change its position as the right saber swings out to the rear with the hand turning over. See photo 6a:

再先動左脚自面前轉過後方以成登山之勢,刀則隨身而轉,成右上橫刀,左下橫刀,如「過渡式乙圖」。
Then your left foot steps around [in front of your right foot] from the front to the rear to make a mountain-climbing stance as the sabers arc along with the turning of your body so that the right saber is horizontal above and the left saber is horizontal below. See photo 6b:

再將右脚從後斜退以成轉身之左登山步,刀亦隨而轉出,如「過渡式丙圖」。
Then your right foot comes from the rear and retreats diagonally behind you as you turn around, making a left mountain-climbing stance, the sabers going out along with the turning of your body. See photo 6c:

再拉起左脚以成左跨虎式,右刀向上舉起,左刀收於右腰內,如『定式圖』。
Then your left foot pulls back lifted to make a left sitting-tiger stance as the right saber rises up and the left saber withdraws to the right side of your waist. [From the previous posture, this posture has turned you around 360°.] See photo 6d:

功用:
Application:
合四個動作而轉身,使刀由左至右,由上繞下,渾身皆有刀重叠綑纏,使敵無從入手也。
These four movements combined with the turning of my body send the sabers from left to right and arcing downward from above. My whole body has sabers weaving around it in overlapping circles, causing an opponent to have no place to get through.

第七式 大轉左花刀
Posture 7: LARGE TURN, LEFT FLOURISH

說明:
Explanation:
上式乃返囘原來開式之位置者,此式則走西北斜方,面對東南方者,我先開左脚以成為如左登山之勢,左刀不動,右刀平撇而出,如「過渡式甲圖」。
Continuing from the previous posture, you will return to the spot you started, stepping diagonally toward the northwest to finish facing toward the southeast. First your left foot steps out to make a left mountain-climbing stance, the left saber not changing its position, the right saber swinging out. See photo 7a:

再原刀不動,只進右脚以成右登山式,如「過渡式乙圖」。
Then with the position of the sabers not changing, your right foot advances to make a right mountain-climbing stance. See photo 7b:

再循此左脚由後斜退轉身,則反以右脚在前如右登山式,刀分左右斜掛於背後,如「過渡式丙圖」。
Then you continue this motion by bringing in your left foot from the rear and diagonally retreating it as you turn your body, thereby turning your right foot into the front foot, and almost making a right mountain-climbing stance, the sabers spreading to the sides and hanging diagonally behind you. See photo 7c:

再拉起右脚以成右跨虎步,左刀自後經過面前復轉而舉起,右刀同時繞過右方而收於左腰部,身體斜對東南方,如『定式圖』。
Then your right foot pulls back to make a right sitting-tiger stance as the left saber goes from behind, passes in front of you, arcs away [to the left], and rises up, the right saber at the same time arcing through from the right side and withdrawing to the left side of your waist. You are now facing toward the southeast. [From the previous posture, this posture has turned you around 135°.] See photo 7d:

功用:
Application:
與第六式同,祗方向之別耳。
Same as in Posture 6, except in the opposite direction.

第八式 大轉右花刀
Posture 8: LARGE TURN, RIGHT FLOURISH

說明:
Explanation:
刀與第六式一樣轉法,但第六者是東西之直線型,此式與第七式則走斜線形,第七則自東方走過西北方,此則自西北走過東南,而面對西北者是,祗細看『甲,乙,丙,丁,定式圖』。
The sabers will behave in the same way as in Posture 6, but whereas in that posture you were stepping along a straight west-to-east line, this posture steps along a diagonal line as in the previous posture. In Posture 7, you step from the east to the northwest. In this posture, you step from the northwest to the southeast to finish facing toward the northwest. [From the previous posture, this posture has turned you around 180°.] Carefully examine photos 8a–8e:

功用:
Application:
與第六,第七式同。
Same as in Postures 6 and 7.

第九式 大轉左花刀
Posture 9: LARGE TURN, LEFT FLOURISH

說明:
Explanation:
第七,第八,是走西北,與東南之斜線,此式則自東南斜角處,復走過正西方,以面對東方為合,其轉身之法一如第六,第七,第八之法,如『甲,乙,丙,丁,定式圖』。
The previous two postures step along a diagonal line, Posture 7 stepping toward the northwest, Posture 8 stepping toward the southeast. This posture switches from stepping to the southeast corner to stepping directly to the west, and then you will turn around to be facing toward the east. It is the same technique as in Postures 6–8. [From the previous posture, this posture has turned you around 225°.] See photos 9a–9e:

功用:
Application:
與第六,第七,第八式同。
Same as in Postures 6–8.

第十式 大轉右花刀
Posture 10: LARGE TURN, RIGHT FLOURISH

說明:
Explanation:
循上式先落右前脚,再向東方本來位置躍進一步,然後向東轉身走直線復歸於東,面對西而立,如第六,第七,第八,第九各式,如『甲,乙,丙,『定式圖』。
Continuing from the previous posture, first your right foot comes down, then you advance to the east with a hopping step, and then you turn around as you step back to your original spot in the east and stand facing toward the west, carrying out the same actions as in Postures 6–9. [From the previous posture, this posture has turned you around 180°.] See photo 10a–10d:

功用:
Application:
與第六,七,八,九各式同。
Same as in Posture 6–9.

第十一式:跨虎左花刀
Posture 11: SITTING-TIGER STANCE, LEFT FLOURISH

說明:
Explanation:
循上式,進左脚以成左登山式,右上刀斜斜向下撇去,如「過渡式甲圖」。
Continuing from the previous posture, your left foot advances to make a left mountain-climbing stance as the right saber swings out downward diagonally [the left saber not changing its position]. See photo 11a:

再進右脚,右刀不動,左刀自腰部撇過後下方,如「過渡式乙圖。」
Then your right foot advances, the right saber not changing its position, as the left saber leaves your waist and swings across downward and behind you. See photo 11b:

再左脚斜向左南方踏進,左刀斜掛而上,右刀向後下方收,如「過渡式丙圖。」
Then your left foot advances diagonally to the left, toward the south, as the left saber hangs upward diagonally and the right saber withdraws downward and to the rear. See photo 11c:

再移右脚過南方以成右跨虎步,(共走四步俱向南方者),左刀經面前再拉於上,如『定式圖』。
Then your right foot shifts toward the south to make a right sitting-tiger stance (totaling four southward steps) as the left saber passes in front of you and then pulls upward [and the right saber withdraws to your waist]. See photo 11d:

功用:
Application:
我疾走過南方者乃欲抑制自南方攻來之敵人,或亦向南採取攻勢之着也。
I quickly step toward the south to control an opponent attacking from that direction, or I am attacking in that direction myself.

第十二式 跨虎右花刀
Posture 12: SITTING-TIGER STANCE, RIGHT FLOURISH

說明:
Explanation:
(由南斜橫方進過北方)循上式,右前脚移開過北方如右登山式,右刀不動,左刀自上斜撇而下,如「過渡式甲圖」。
(Switch from stepping across diagonally toward the south to advancing toward the north.) Continuing from the previous posture, your right foot shifts out toward the north to almost make a right mountain-climbing stance, the right saber not changing its position, as the left saber swings diagonally downward from above. See photo 12a:

再進左脚,左刀不動,右刀自腰部拉過後下斜方,如「過渡式乙圖」。
Then your left foot advances, the left saber not changing its position, as the right saber leaves your waist and pulls diagonally downward to the rear. See photo 12b:

再進右脚,左刀不動,右刀自前繞過背後而至左肩之上,如「過渡式丙圖。」
Then your right foot advances, the left saber not changing its position [withdrawing toward your waist], as the right saber arcs behind you to be over your left shoulder See photo 12c:

再進左脚以成左跨虎步,左刀畧拉高至腰部,右刀再繞過面前而舉高至手直為止,如『定式圖』。
Then your left foot advances to make a left sitting-tiger stance, the left saber pulling up slightly higher on your waist, as the right saber passes in front of you and then rises high until the arm is vertical. See photo 12d:

功用:
Application:
與十一式同,祗南北方之別耳。
Same as in Posture 11, except going toward the north instead of the south.

第十三式 跨虎左花刀
Posture 13: SITTING-TIGER STANCE, LEFT FLOURISH

說明:
Explanation:
循上式,進左脚以成左登山式,右上刀斜斜向下撇去如「過渡式甲圖」。
Continuing from the previous posture, your left foot advances to make a left mountain-climbing stance as the right saber swings out downward diagonally. See photo 13a:

再進左脚斜向左南方踏進,左刀斜掛而上,右刀向後下方收,如「過渡式乙圖。」
Then your left [right] foot advances diagonally to the left, toward the south, as the left saber hangs upward diagonally and the right saber withdraws below and to the rear. See photo 13b:

再移右脚過南方以成右跨虎步,(共走四步俱向南方者)左刀經面前再拉於上,如『定式圖』。
Then your right foot shifts toward the south to make a right sitting-tiger stance (totaling four southward steps) as the left saber passes in front of you and then pulls upward [and the right saber withdraws to your waist]. See photo 13c:

功用:
Application:
我疾走過南方者乃欲抑制自南方攻來之敵人,成亦向拉南取攻勢之着也。
I quickly step toward the south to control an opponent attacking from that direction, or I am attacking in that direction myself.

第十四式 大轉下分刀
Posture 14: LARGE TURN, SPREADING BELOW

說明:
Explanation:
循上式,右脚向前開出動,右刀,左刀不向前撇下,如「過渡式甲圖」。
Continuing from the previous posture, your right foot steps out forward, the left saber not changing its position, as the right saber swings forward and downward. See photo 14a:

再進左脚,再刀分前後分開,如「過渡式乙圖」。
Then your left foot advances as the sabers spread apart to the front and rear. See photo 14b:

再將右後脚由後轉過後方,乃轉一大圈之勢,刀亦隨身轉而分向左右如「過渡式丙圖。」
Then your right foot steps through from the rear to again be behind you as you make a large [rightward] turn, the sabers going along with the turning of your body by spreading apart to the left and right. See photo 14c:

原步不動,雙刀往內架下以成交义形,右刀在上,左刀在下,如『定式圖』。
Then with your stance not changing, the sabers go inward and block downward, making a crossed shape with the right saber on top, left saber underneath. See photo 14d:

功用:
Application:
大轉身者皆在變形換勢以解對方之攻勢,其以交叉向下者,乃用輾刀法,以破其下,路之刺法也。
This large-turning maneuver is a means of changing position to dispel an opponent’s attack. I use an action of rolling the sabers to send them downward in a crossed shape in order to ruin a stab to my lower area.

第十五式 穿心上分刀
Posture 15: THROUGH-THE-CENTER KICK, SPREADING ABOVE

說明:
Explanation:
沿上式,雙刀向上舉起,復向左右平刀分開,同時更以右脚用撑腿法直撑而出,如『定式圖』。
Continuing from the previous posture, both sabers raise up and then spread apart to the sides with your arms level, your right foot at the same time going out with a bracing kick. See photo 15:

功用:
Application:
來械以下路被輾乃改向上路攻來,我乃就勢向上一分,使來械被殺去,我乘隲以腿穿心腿直撑其胸部。
Once the opponent’s stab to my lower area has been prevented by my rolling sabers, he switches to attacking to my upper area, so I spread apart above, causing his incoming weapon to be smashed away [to either side], and then I take advantage of the gap by sending a through-the-center kick to his chest area.

第十六式 登山平分刀
Posture 16: MOUNTAIN-CLIMBING STANCE WITH THE SABERS SPREAD LEVEL

說明:
Explanation:
原刀不變,將撑起之脚落下以成右登山式,如『定式圖』。
With the sabers not changing their position, your foot comes down to make a right mountain-climbing stance. See photo 16:

功用:
Application:
我腿若使懸空不下便可招致危險矣,於是乃落步以俟下式之展開也。
If my kick misses and ends up just hanging in the air, I will be in a position that invites danger, so I bring my foot down in order to more safely wait for what the opponent will do next.

第十七式 囘身左撩式
Posture 17: TURN THE BODY, LEFT RAISING

說明:
Explanation:
循上式,先將左後脚移正為直線之登山式,右刀不變,左刀反手反刀自上斜下,復由下逆劏而上,如『定式圖』。
Continuing from the previous posture, your left foot shifts toward the west to make a left mountain-climbing stance, the right saber not changing its position, as the left saber turns inward and goes diagonally downward from above and then upward from below with a reverse slice. See photo 17:

功用:
Application:
彼由我面前而繞過我左方,意欲有所作為,我不俟其動,即以陰撩法反劏之。
The opponent moves from in front of me over to my left and is about to try something, so I wait for him to take some action and I then do a reverse raising cut to his groin.

第十八式 上步右撩刀
Posture 18: STEP FORWARD, RIGHT RAISING

說明:
Explanation:
循上式,右脚自後進前以成右登山式,右刀自後順劏而前,由下而上,左刀平攔於頂上,如『定式圖』。
Continuing from the previous posture, your right foot advances from the rear to make a right mountain-climbing stance as the right saber slices forward and upward from below and behind, the left saber blocking horizontally above your headtop. See photo 18:

功用:
Application:
我逆劏一刀為彼躱過,隨即跟步順劏一刀,使難予招迎也。
The opponent evades my first raising cut, so I immediately send another one while stepping through to follow him back, making it difficult for him to block it.

第十九式:大轉左撩刀
Posture 19: LARGE CIRCLE INTO LEFT RAISING

說明:
Explanation:
循上式,左後脚循後上前一步,刀隨轉身而倒置於後,如「過渡式甲」。
Continuing from the previous posture, your left foot steps forward from the rear, the sabers going along with the rightward turning of your body to end up behind you [the right saber arcing counterclockwise, the left saber arcing clockwise]. See photo 19a:

再原步轉馬以成左登山式,左刀自後逆劏而上,右刀則橫置於後方之上,如『定式圖』。
Then with your feet staying in this location, you switch to a left mountain-climbing stance as the left saber goes upward from the rear with a reverse slice, the right saber being placed upward and horizontal behind you. See photo 19b:

功用:
Application:
與第十七式大同小異耳。
Mostly the same as in Posture 17.

第二十式 跨虎下分刀
Posture 20: SITTING-TIGER STANCE, SPREADING BELOW

說明:
Explanation:
循上式,原方向不變,左脚往後拉以成左跨虎步,再用右後刀加於前左刀之上,如『定式圖』。
Continuing from the previous posture, without changing direction, your left foot pulls back to make a left sitting-tiger stance as the right saber goes forward to be on top of the left saber. See photo 20:

功用:
Application:
彼漏過我反劏之刀,即自我下路刺來一槍,我先拉步卸之,再用分刀法攔輾之。
The opponent evades my cut and uses his spear to stab to my lower body, so I pull back a step and use a spreading-sabers technique to block it away.

第廿一式 跨虎右花刀
Posture 21: SITTING-TIGER STANCE, RIGHT FLOURISH

說明:
Explanation:
循上式,自向東者先撇右刀往西方,左脚亦同時用前偸步方式轉過西方,左刀不動,如「過渡式甲圖」。
Continuing from the previous posture, first the right saber swings toward the west, your left foot at the same time stepping around in front of you toward the west with a stealth step, the left saber not changing its position. See photo 21a:

再開右後脚往後西方致形成左登山之步,左刀仍未動,右刀自後西方拉起轉於頭上,如「過渡式乙圖」。
Then your right foot steps out behind you toward the west to make a left mountain-climbing stance, the left saber still not changing its position, the right saber pulling up from behind you in the west and going around your head. See photo 21b:

再拉起左脚以成左跨虎步,右上刀繞過面前復向上舉起至臂直為止。左刀收於腰下,如『定式圖』。
Then your left foot pulls back to make a left sitting-tiger stance as the right saber arcs past your face and then lifts up until the arm is vertical, the left saber withdrawing below your waist. See photo 21c:

功用:
Application:
與第十二式同,方向畧異耳。
Same as in Posture 12, except in the opposite direction.

第廿二式 跨虎左花刀
Posture 22: SITTING-TIGER STANCE, LEFT FLOURISH

說明:
Explanation:
循上式,(由背西向東之方向,向西北方斜走,以面對東南為合。)先開前左脚,右上刀向向前平撇而出,如「過渡式甲圖」。
(From facing toward the east with your back to the west, you will step diagonally toward the northwest [northeast] to be facing toward the southeast.) Continuing from the previous posture, first your left foot steps forward as the right saber swings out forward. See photo 22a:

再進右脚,右刀不動,左刀自腰出經過面前復向頭上舉起,如「過渡式乙圖」。
Then your right foot advances, the right saber not changing its position, as the left saber leaves your waist, passes in front of you, and then rises up above your head. See photo 22b:

再進左脚,右刀仍未動,左刀轉過右肩之外,如「過渡式丙圖」。
Then your left foot advances, the right saber still not changing its position, as the left saber arcs around you to the outside of your right shoulder. See photo 22c:

再進右脚以成右跨虎步,左刀自右經面前轉至左上舉高,右刀同時收入左腰之內,如『定式圖』。
Then your right foot advances to make a right sitting-tiger stance as the left saber arcs in front of you from the right and rises up high to the left, the right saber at the same time withdrawing to the left side of your waist. See photo 22d:

功用:
Application:
與第十三式同,祗方向之別耳。
Same as in Posture 13, except in the opposite direction.

第廿三式 跨虎右花刀
Posture 23: SITTING-TIGER STANCE, RIGHT FLOURISH

說明:
Explanation:
循上式,(由向東南前進者轉為向東北斜進為合。)先開右脚如登山式,左刀平撇而出,如「過渡式甲圖」。
(Switch from advancing toward the southeast [northeast] to advancing diagonally toward the northeast [southeast].) Continuing from the previous posture, first your right foot steps out to almost make a mountain-climbing stance as the left saber swings out. See photo 23a:

斜進左脚,左刀不動,右刀自腰部斜出撇歸於後,如「過渡式乙圖。」
Your left foot advances diagonally, the left saber not changing its position, the right saber swinging out diagonally from your waist and pulling back to the rear. See photo 23b:

再斜進右脚,左刀橫垂於下,右刀舉高而貼於背部如「過渡式丙圖」。
Then your right foot advances diagonally as the right saber hangs across below and the right saber rises high near your back. See photo 23c:

再上左脚以成左跨虎步,右刀自背經面前復歸於上,左刀貼起至腋下而止,如『定式圖』。
Then your left foot comes forward to make a left sitting-tiger stance as the right saber passes in front of you and then goes back to rising up, the left saber rising to finish below your [right] armpit. See photo 23d:

功用:
Application:
興十二式同,祗方向相反耳。
Same as in Posture 12, except in the opposite direction.

第廿四式 跨虎左花刀
Posture 24: SITTING-TIGER STANCE, LEFT FLOURISH

說明:
Explanation:
循上式,(由背西向東之方向,向西北方斜走,以面對東南為合。)先開前左脚,右上刀向前平撇而出,如「過渡式甲圖。」
(From facing toward the east with your back to the west, you will step diagonally toward the northwest [northeast] to be facing toward the southeast.) Continuing from the previous posture, first your left foot steps forward as the right saber swings out forward. See photo 24a:

再進右脚,右刀不動,左刀自腰出經過面前復向頭上舉起,如「過渡式乙圖。」
Then your right foot advances, the right saber not changing its position, as the left saber leaves your waist, passes in front of you, and then rises up above your head. See photo 24b:

再進左脚,右刀仍未動,左刀轉過右肩之外,如「過渡丙圖。式」
Then your left foot advances a step, the right saber still not changing its position, as the left saber arcs around you to the outside of your right shoulder. See photo 24c:

再進右脚以成右跨虎步,左刀自右經面前轉至左上舉高,右刀同時收入左腰之內,如『定式圖』。
Then your right foot advances to make a right sitting-tiger stance as the left saber arcs in front of you from the right and rises up high to the left, the right saber at the same time withdrawing to the left side of your waist. See photo 24d:

功用:
Application:
與第十三式同,祗方向之別耳。
Same as in Posture 13, except in the opposite direction.

第廿五式:大轉下分刀
Posture 25: LARGE TURN, SPREADING BELOW

說明:
Explanation:
循上式,原刀不動右脚向右開前以成登山之勢,如「過渡式甲圖。」
Continuing from the previous posture, with the sabers not changing their position [the right saber swinging forward and downward], your right foot steps out forward to make a [right] mountain-climbing stance. See photo 25a:

再進前左脚一步,雙刀亦隨而轉動而下,如「過渡式乙圖。」
Then your left foot advances a step as the sabers arc downward along with the [rightward] turning of your body. See photo 25b:

再退右脚以成為轉身之勢,使成左登山式,雙刀架下,右刀居上,左刀在下,如『定式圖』。
Then your right foot retreats as your body turns around, making a left mountain-climbing stance as the sabers block downward, the right saber on top, left saber underneath. See photo 25c:

功用:
Application:
此刀之變化及動作適如第十四式,不過方向不同耳。
Same as in Posture 14, except in the opposite direction.

第廿六式 穿心上分刀
Posture 26: THROUGH-THE-CENTER KICK, SPREADING ABOVE

說明功用:
Explanation & application:
俱與第十五式同,祗差方向而巳。
Same as in Posture 15, except in the opposite direction. [See photo 26:]

第廿七式 登山平分式
Posture 27: MOUNTAIN-CLIMBING STANCE WITH THE SABERS SPREAD LEVEL

說明功用:
Explanation & application:
俱與第十六式同,祗差方向耳。
Same as in Posture 16, except in the opposite direction. [See photo 27:]

第廿八式 囘身左撩刀
Posture 28: TURN THE BODY, LEFT RAISING

說明:
Explanation:
循上式:移左脚過西方以成左登山式,右刀不動,左刀反手逆劏而上,如『定式圖』。
Continuing from the previous posture, your left foot shifts toward the west to make a left mountain-climbing stance, the right saber not changing its position, as your left hand turns over and the saber goes upward with a reverse slice. See photo 28:

功用:
Application:
與第十七相同,祗差方向耳。
Same as in Posture 17, except in the opposite direction.

第二十九式 上步右撩刀
Posture 29: STEP FORWARD, RIGHT RAISING

說明:
Explanation:
循上式,右脚進前一步,以成登山式,左刀拉起平架於頭上,右刀自後逆劏而上,如『定式圖』。
Continuing from the previous posture, your right foot advances a step to make a [right] mountain-climbing stance as the left saber pulls upward to block horizontally above your head and the right saber goes upward from the rear with a reverse slice. See photo 29:

功用:
Application:
與第十八式同,祗方向之別耳。
Same as in Posture 18, except in the opposite direction.

第三十式 大轉左撩刀
Posture 30: LARGE CIRCLE INTO LEFT RAISING

說明:
Explanation:
循上式,左脚自背後進前以成左登山之勢,右刀拉後反上橫於肩上,左刀則自上轉下逆劏而上,如『定式圖』。
Continuing from the previous posture, your left foot advances from the rear to make a left mountain-climbing stance as the right saber pulls behind you, turns over, and becomes horizontal over your [right] shoulder [drawing a counterclockwise arc], the left saber arcing downward from above and then going upward with a reverse slice [drawing a clockwise circle]. See photo 30:

功用:
Application:
與第十九式同,因方向而異耳。
Same as in Posture 19, except in the opposite direction.

第卅一式 跨虎下分刀
Posture 31: SITTING-TIGER STANCE, SPREADING BELOW

說明:
Explanation:
循上式,先將左脚拉後以成左跨虎步,雙刀向當中交义而下,右刀居上,左刀在下,如『定式圖』
Continuing from the previous posture, your left foot pulls back to make a left sitting-tiger stance as the sabers cross each other directly in front of you and go downward, the right saber on top, left saber underneath. See photo 31:

功用:
Application:
與第二十式同,祗向方之別耳。
Same as in Posture 20, except in the opposite direction.

第卅二式 跨虎右花刀
Posture 32: SITTING-TIGER STANCE, RIGHT FLOURISH

說明功用:
Explanation & application:
俱與第十二式同。
Same as in Posture 12 [21, except in the opposite direction]. [See photos 32a–32c:]

第卅三式 左右雙花刀
Posture 33: DOUBLE FLOURISHING

說明:
Explanation:
循上式,開進左脚向西方邁進,右刀由上劈落,如「過渡式甲圖」。
Continuing from the previous posture, your left foot advances toward the west as the right saber chops down from above. See photo 33a:

進右脚,收右刀於左肩,左刀出前、如「過渡式乙圖」。
Your right foot advances as the right saber withdraws toward your left shoulder and the left saber goes out forward. See photo 33b:

再原步不變,收左刀,出右刀,如「過渡式丙圖」。
Then with your stance not changing, the left saber withdraws as the right saber goes out. See photo 33c:

再原步未動,右刀轉過左肩之上,如「過渡式丁圖」
Then with your stance not changing, the right saber arcs over your left shoulder. See photo 33d:

再進左脚,右刀轉過右方,出左刀,如「過渡式戊圖」。
Then your left foot advances as the right saber arcs through the right side and the left saber goes out. See photo 33e:

再原步不變,收左刀於腰,平出右刀,如『定式圖』。
Then with your stance not changing [your right foot advancing], the left saber withdraws to your waist as the right saber goes out until level. See photo 33f:

註:
Note:
合上陸個圖片,不斷進前,不斷揮雙手之刀,此乃通常之雙刀花也。
The six photos above depict continuous advancing while continuously waving the sabers. This is the usual action of flourishing both sabers.

功用:
Application:
因吾左右之不斷揮動手中雙刀,敵人輕易不敢近前也。
Because I am ceaselessly waving the sabers in my hands, opponents will not dare to approach.

第三十四 跨虎右花刀
Posture 34: SITTING-TIGER STANCE, RIGHT FLOURISH

說明:
Explanation:
循上式,右脚進前一步轉身即成向東方之左登山步矣,刀亦隨之而轉,如「過渡式甲圖」。
Continuing from the previous posture, your right foot advances a step and you turn around to make a left mountain-climbing stance as the sabers arc along with the turning of your body. See photo 34a:

再拉起左脚以成左跨虎步,復將右刀自前拉後而舉起,如『定式圖』。
Then your left foot pulls back to make a left sitting-tiger stance as the right saber pulls back from in front and rises up. See photo 34b:

功用:
Application:
與廿一式同
Same as in Posture 11 [except in the opposite direction].

第三十五式 坐盤迎劈刀
Posture 35: SITTING-TWISTED STANCE, BLOCK & CHOP

說明:
Explanation:
循上式,右脚進前,以成右登山式,右刀不動,左刀自腰部拉出,如「過渡式甲圖」。
Continuing from the previous posture, your right foot advances to make a right mountain-climbing stance, the right saber not changing its position, the left saber pulling out from your waist. See photo 35a:

再將左脚自後進前以成坐盤之勢,右上刀向前劈落,左刀後拉上頭上,如『定式圖』。
Then your left foot advances behind you to make a sitting-twisted stance as the right saber chops down forward and the left saber pulls to the rear and goes up above your head. See photo 35b:

功用:
Application:
彼自我正面攻入,我先用左刀劈去來械,再進馬以右刀迎頭砍落,左刀架於頂上者實防其由上反攻也。
An opponent in front of me attacks, so I first use my left saber to chop away his incoming weapon, then advance my stance and use my right saber to chop down to his head, my left saber now blocking over my head in order to guard against an attack from above.

第三十六式 翻扑雙劈刀
Posture 36: TURN OVER, REACHING-LEG STANCE, DOUBLE CHOPPING SABERS

說明:
Explanation:
循上式,循左方轉身,提起左脚,雙刀亦同時掠起,如「過渡式甲圖」。
Continuing from the previous posture, your body turns around leftward and your left foot lifts, the sabers at the same time sweeping upward. See photo 36a:

乘提腿之便往東方扑下以成扑腿之勢,雙刀亦同時由上劈落,如『定式圖』。
Take advantage of the momentum of your leg lifting by dropping down toward the east, making a reaching-leg stance, the sabers at the same time chopping down from above. See photo 36b:

功用:
Application:
彼欲往後撤退,我隨即用連翻帶扑之迅捷方式,翻身搶進。
The opponent now wants to retreat, so I quickly continue right into turning around and dropping down, spinning and advancing upon him.

第三十七式:翻扑雙劈刀
Posture 37: TURN OVER, REACHING-LEG STANCE, DOUBLE CHOPPING SABERS

說明功用:
Explanation & application:
俱與第三十六式同
Repeat Posture 36. [See photos 37a and 37b:]

第三十八式 隻手捧雙刀
Posture 38: ONE HAND HOLDING UP BOTH SABERS

說明:
Explanation:
循上式,原步不變,由扑腿法轉過左西方以成為登山式,先將左刀自下挑起,如「過渡式甲圖」。
Continuing from the previous posture, with your feet not leaving their location, switch from a reaching-leg stance to a left mountain-climbing stance facing toward the west, first sending the left saber carrying upward from below. See photo 38a:

再原步不變,再以右刀自後挑起而加於右臂之上,如「過渡式乙圖」。
Then with your stance not changing, send the right saber carrying upward from the rear and put it on top of your right arm. See photo 38b:

再將左脚拉起以成左跨虎步,以姆指夾緊右刀,右手化掌自下反上,橫架於頭上,如『定式圖』
Then pull back your left foot to make a left sitting-tiger stance, your [left] thumb gripping the right saber as your right hand becomes a palm and goes upward from below to block across above your head. See photo 38c:

功用:
Application:
此式乃全刀之收式,其分左右挑出者,亦含有挑敵腕之作用,至此巳完。
This is the closing posture of the whole set. It divides into left and right carrying, also containing the function of carrying to the opponent’s wrist, and with this action the set is completed.

六合雙刀論
ON THE LIUHE DOUBLE SABERS SET

術語云:單刀看走,雙刀看老,大刀看白刃,斯為刀法上不可或缺之成法也,大刀者為四大兵刃之首,其由來亦至古,循其演變乃有單刀雙刀之技,前者利於馬上使用,後二者則為步戰中之利器,大刀雖被時代淘汰中而少用,但尚為武術同道所重者厥為富有歷史性之兵械也,吾看南北各家之「春秋大刀」者不下百數十套之多,其得名之由來大抵俱以武聖關羽喜讀「春秋」而誌其文武兼備之良模也,除同一源流者外甚少相同之處,南方多注重「撥鬚」「磨刀」「跑馬」等動作,北方則祗循大刀看白刃之原則為凖,是各有千秋,固無所謂優劣也。至單刀之法則宋以後方始大盈,尤以「浪于燕靑」為擅於用此,於著第十二種「燕靑單刀」一技,據先師言:是即其遺法矣。練單刀之必以看手者,是因右手持刀固然以輕靈刁巧之法則盡量發揮其砍劈撈刺之技能,惟是左手無物可憑,其安置與揮動,則頗費躊躇矣,於此武林先哲乃强調指出看手之重要,以使練習單刀者注意及之,毋使有徧重之弊!抑亦使空置之手有配合單刀為用之機會,是以老於斯術者,表演必使左手有平衡運用之發展,其看技審別優劣,亦必以此作經緯。
至雙刀一技在未習斯技時,必以為難於單刀,其實雙刀之最重要者厥為雙刀平匀,步法輕巧飄忽,刀隨步轉,則雙刀之技便得其法矣。
六合雙刀少花巧而重實用,法雖簡而包括一切雙刀應有之技能。雙刀之長處是應付多方攻襲,上下左右旋轉翻騰俱優為之,技在人為固不限某一技之成就也,拉雜談之,尚希武道先進時予賜敎,以匡不遠是所厚幸焉。
There is a saying in martial arts: “With the single saber, be mindful of your other hand. With the double sabers, be mindful of your footwork. With the large saber, be mindful of the blade itself.” These are indispensable precepts of the saber art. The large saber has been one of the main weapons of the army. Its origins are ancient and the single saber and double saber arts evolved from it. Formerly swung from horseback, it later became the sharpest tool of the infantry. Although the large saber has since become obsolete, it is still highly valued by martial artists for its rich historical significance.
  I have noticed that in both northern and southern styles there are many sets for the “Spring & Autumn Halberd”. The name of the weapon [often also called “General Guan’s Halberd”] is generally considered to be in honor of how much the martial sage Guan Yu liked to read the Spring & Autumn Annals, which serves as a good model for the importance of equal emphasis on both literary and martial training. Apart from the common source for the name of the weapon, there is very little that is similar between the northern and southern use of the weapon. Southerners mainly emphasize the actions of “stroking the beard”, “wiping the blade”, and “riding the horse”, whereas northerners simply focus on the large saber principle of “be mindful of the blade itself”. Both of these tendencies are valid, neither method better or worse.
  Methods for the single saber began to flourish after the Song Dynasty, due especially to the famous skill of “The Wanderer” Yan Qing, the focus of the twelfth volume in this series, Yan Qing’s Single Saber, which my teacher said is a standard set that has been passed down. When practicing with the single saber, you have to be mindful of your other hand. This is because while your right hand is holding the saber, and thus is of course busy performing nimble and ingenious techniques of cleaving, chopping, scooping, stabbing, and so on, your left hand really has nothing to do but find places to go along for the ride and thus often wastes its time hesitating over where to be. Therefore wise men in the martial arts community long ago stressed the importance of being mindful of your other hand. Practitioners of the single saber have to pay attention to the empty hand, but do not make the error of paying all of your attention to it! The empty hand should coordinate well with the saber, as is exhibited by experienced practitioners. When performing the set, you have to get your left hand to express a sense of balancing the movements. The awareness of that hand is ultimately what determines one’s skill level.
  Before learning this double sabers set, you need to have gone through the struggle of learning the single saber set. With the double sabers, the most important things are that both sabers are used equally, footwork is light and nimble, and the sabers go along the changing direction of the steps. In this way, skill with the double sabers will be easy to obtain. Liuhe Double Sabers is a set that rarely tries to be flashy and instead emphasizes practicality. Although the techniques are simple, they consist of the skill of always using both sabers. The strength of the double sabers is that they good for dealing with attacks from multiple directions, superb at whirling and churning, going up and down, left and right, skill lying in not being limited to a certain technique. [The original meaning of the term liu he (“six unions”) is the connections of north–south, east–west, up–down, which provide the structure of our three-dimensional world, and thus is particularly suitable for the double sabers, which create a sphere of spinning blades cocooning you from attacks.] And now after this rambling mess of words, I only hope that martial arts masters will give me corrections. I will feel blessed indeed if you do not hold back.

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