LI JIANQIU’S ADDITIONS

形意拳術之基本五行拳 / 進退連環拳
XINGYI BOXING’S FIVE ELEMENTS TECHNIQUES / CONTINUOUS BOXING
[expanded versions of Chapters Three & Four of 形意拳術 The Art of Xingyi Boxing (1919)]
李劍秋
by Li Jianqiu
[published within the 2nd edition of The Art of Xingyi Boxing in 1922, which also included many pieces of commemorative calligraphy (among them an extra preface) that may have been originally intended for the 1919 edition]

[translation by Paul Brennan, Feb, 2020]

西學之設教也有德育智育體育體育者練尚武之精神以強其體者也體強而後其德進其智濬是體育實足以冠德智之两育故斯巴達獨重體育也凡兒童七歲即入體育場以練高飛競走角力拋槍投環之技斯其俗重武而其民好勇仿其制以救中國今日之積弱誠良藥也雖然此豈可以率爾操觚哉蓋必有古法之真傳名師之善诱然後可以成金剛不壞之身顧其教雖灌輸於泰西而其法實隱合於北魏蓋北魏之達摩祖師已有是術傳至宋岳武穆王乃變化其術以拳法合槍法教其將佐名之曰形意拳術形意之學雖代有傳人而著述不概見於世今惟孫祿堂先生有形意拳學之作嗣有束鹿李君剑秋者精此術教授於清華学校者有年見孫作慕其學恐其傳不廣因復就其經驗之㪽得編成此書行見達摩武穆之真傳再見於今日也誠後學之津筏歟
庚申孟夏白龙山人王震序
We now teach according to the Western style of learning: moral education, intellectual education, physical education. Physical education involves developing a spirit of respect for martial arts in order to strengthen the body. When one’s body is strong, one’s morality advances and one’s intellect deepens. Therefore physical education is truly the basis for moral education and intellectual education. This is why ancient Sparta only attached importance to physical education. All boys at the age of seven were brought into the sports ground where they were trained in skills such as jumping, running, wrestling, spear throwing, and discus throwing. Because theirs was a martial culture, their people were all courageous. Let us follow their example in order to rescue China from its long-standing weakness. This would indeed be the best medicine for us.
  However, we must not dive into such a project casually. We must have authentic transmission of ancient methods and expert guidance from noteworthy teachers, then we can become “unbreakable arhats”. Although this mode of education is imbued with the influence of Westerners, their methods actually coincide with those from our own Northern Wei Dynasty, because the founder of our martial arts, Damo, already possessed these kinds of skills at that time. They were later passed down to General Yue Fei of the Song Dynasty who transformed the art by using boxing training to compliment spear training. What he taught to his officers became known as the “Xingyi” [shape & intention] boxing art.
  Although Xingyi knowledge has been passed down through the generations, there is a lack of written works on the subject. So far there has only been Sun Lutang’s A Study of Xingyi Boxing. But now there is Li Jianqiu of Shulu, who is also an expert in this art and has been teaching it at Tsinghua University [at that time actually known as Tsinghua College] for many years. Li examined Sun’s work and admired his knowledge. However, he feared that Sun’s teachings might not become widespread enough, and so he drew upon what he has learned through his own experience to produce this book, further ensuring that the authentic teachings of Damo and Yue Fei will be resurrected in our modern times and become a genuine guide for future generations of students.
  - preface by Wang Zhen, called “the man from Mt. Bailong”, 57th year of the cycle, 1st month of summer [i.e. May/June, 1920]

精尚武德
Martial virtue!
子貞馬良题於上海
– calligraphy by Ma Liang, called Zizhen, of Shanghai

救人强種
Rescue the people by strengthening the masses.
全國道路協會吳山
– calligraphy by Wu Shan of the National Railway Association

闡發吾國尚武之精神
This reveals our nation’s martial spirit.
吳志青題於中華武術會
– calligraphy by Wu Zhiqing of the Chinese Martial Arts Association

民强而后國强
Strengthen the people and thereby strengthen the nation.
王壯飛書於上海公共體育場
– calligraphy by Wang Zhuangfei at the Shanghai Public Sports Ground

國技確有特殊之地位
Martial arts truly have a special place.
盧碩悬題于東大體育館
– calligraphy by Lu Shuoxuan of the Tokyo University Gymnasium

童子軍應具的技能
These are further skills that the Boy Scouts ought to have.
顧拯来於江蘇童子軍聫合會
– calligraphy by Gu Zhenglai of the Boy Scouts Federation of Jiangsu

彂揮我们潛伏的天才
We are developing our hidden talents.
華豪吾書于中國女子體育學校
– calligraphy by Hua Haowu [principal] of the Chinese Girls’ Athletic School

發揚國技
Promote martial arts!
碩穀若題于東大
– calligraphy by Shuo Guruo of Tokyo

國魂所寄
It is in these arts that the soul of our nation resides.
柳成烈題于中華体育學校
– calligraphy by Liu Chenglie of the Chinese Athletic School

其德剛健而文明
“Its virtue is that it is vigorous and yet civilized.” [Book of Changes, hexagram 14]
朱重明題於江蘇體育研究會
– calligraphy by Zhu Zhongming of the Jiangsu Physical Education Research Association

人種轉強的妙術
These are ingenious arts for strengthening the masses.
薛敏殊題於中國女子體育學校
– calligraphy by Xue Minshu of the Chinese Girls’ Athletic School

表現人軆之真美
This is a means of expressing the true beauty of the human body.
李超士吳法鼎題于上海美術学校
– calligraphy by Li Chaoshi & Wu Fading of the Shanghai Fine Arts School

挽回女性底柔弱
This will help reverse the fundamental weakness of women.
唐稚篔書于女青年会體育師範
– calligraphy by Ms. Tang Yun of the YWCA Physical Education Program

發展本能
We are developing our native abilities.
沈有乾題
– calligraphy by Shen Youqian

保康之法
Herein lies a means of staying healthy.
黃方剛题
– calligraphy by Huang Fanggang

保國強種之方針
This fulfills the policy of protecting the nation by strengthening the masses.
朱鴻壽題於劉行鄉
– calligraphy by Zhu Hongshou of Liuhang Village [within the Baoshan District of Shanghai]

強國之基
This is the basis of strengthening the nation.
安定根题韓國赤十字會
– calligraphy by An Dinggen of the Red Cross Society of Korea

民衆應具的技術
These are skills that the masses should possess.
陳凈題於京师一女中
– calligraphy by Chen Jing of Nanjing First Girls’ Secondary School

第三章 形意拳術之基本五行拳
CHAPTER THREE: ON THE XINGYI BOXING ART’S FUNDAMENTAL FIVE ELEMENTS TECHNIQUES

五行拳者、劈拳、崩拳、攢拳、礮拳、橫拳也。分五節以演之。
The five elements techniques are: chopping, crashing, drilling, blasting, and crossing. They are explained individually below:

第一節 劈拳
1. CHOPPING

拳名劈者、以其掌之下、如斧之劈也。由立正時起首。
The technique known as “chopping” goes downward with the palm like the chopping of an axe. Begin from standing at attention.

(一)兩手握拳。右臂以拳心貼身上升、自心口向上前伸、至拳之高度在眉與頸之間止。當右拳未過心時、右臂已含有右轉意、右臑(自肘至肩曰臑)亦微轉。及右拳自心口伸出時、右臂盡力右轉、至右拳之小指屈曲而成之圈形向上為止。其時右肘正止於心口前、離心口約半尺。肘穴上向。當右臂如是動作時、左臂亦左轉向上前伸。卽貼身止於前心口。拳心亦上向。有隨右肘前伸意。同時眼視右拳。頭向上頂。胸任開展。小腹鼓氣、臀向前挺。兩膝稍屈。而兩胯相夾甚緊。如第一圖。
1. Your hands grasp into fists. Your right forearm rises, the center of the fist staying near your body, and extends upward and forward from your solar plexus until the fist is between eyebrow and neck height. Just before the fist has passed your solar plexus, your right forearm has an intention of rotating outward, the upper arm also slightly rotating. While your right fist extends from your solar plexus, the forearm rotates fully so that the curled shape made by the little finger is facing upward, your right elbow arriving in front of and about half a foot away from your solar plexus, the pit of the elbow also facing upward. During the movement of your right arm, your left forearm also rises close to your body, rotating outward, the center of the fist facing upward in front of your solar plexus [though still at the waist in the photo], the fist having an intention of following your elbow to extend forward. Your gaze is toward your right fist, your head presses up, your chest opens, your lower abdomen rouses its energy, your buttocks tuck in, your knees slightly bend, and your thighs squeeze toward each other. See image 1:

(二)左拳由心口前伸、在右肘右臂之上經過、至兩拳相遇處、兩拳皆翻成掌。皆手背向上。而左掌斜落前推。右掌斜落後拖。止於臍之右旁。兩掌之指、其各節皆微灣。各指張開不相著。而虎口(大指與食指之間曰虎口)作大圓灣。兩掌之大圓灣皆上向。左肘向裏緊裹。與第一圖右肘無異。惟彼係拳、此係掌耳。右臂緊貼腰處。當兩臂如是動作時、左足隨左手之前推而亦前進。其前進之形如箭。蓋其進也直而速。及其著地、則如箭之中物、足趾緊鉤住地、固而不易拔矣。步之大小、隨身之長短。其時右足不動。兩膝微灣。左膝與左足跟成垂線。右膝與右足跟成垂線。兩腿如翦。在前之左腿、雖有前進意、而亦含後扣意。在後之右腿、雖屹立不前、而頗有前催意。前後相夾、不亦穩乎。其餘各部、其用力始終依前所云。凡以上所示者、觀第二圖自明。(說明)此圖本應面左因面左後右臂不能照見故面右
2. Your left fist extends forward from your solar plexus, passing over your right elbow and right forearm, and once your fists meet, they turn over, becoming palms, the backs of the hands facing upward. Then your left palm diagonally lowers, pushing forward, as your right palm diagonally lowers, pulling back until at the right side of your navel. The fingers of each hand are slightly bent and are spread apart rather than touching, and the tiger’s mouth between thumb and forefinger makes a large rounded shape, both tiger’s mouths both facing upward. Your left elbow wraps tightly inward, same as the right elbow in image 1, except in this case the position uses a palm rather than a fist, and your right forearm is tight against your waist. While your arms move in this way, your left foot goes along with the forward push of your left hand by advancing like an arrow, straight and fast, and when it touches down, it is like an arrow hitting a target. The toes clamp down over the ground solidly and are not easily pulled up. The size of the step depends on your height. Your right foot in this moment stays where it is [does a follow step]. Your knees are slightly bent, your left knee making a vertical line with your left heel, your right knee making a vertical line with your right heel [toes], your legs making a shape like scissors. Although your left leg has an intention of advancing, it also maintains an intention of hooking back. Although your right leg does not stand in front, it has a strong intention of hastening forward. Your legs forward and rear squeeze toward each other to be that much more stable. As for the other parts of your body, they constantly exert forward as described. See image 2 (which shows a reverse view of the technique because it is being performed on the left side and is thus best seen from the right side so that the position of the right arm is visible):

(三)左手收囘。收法在用力拳屈各指、如拉重物然。及其收至心口、掌復變為拳矣。於是更自心口發出、與第一圖之右手無異。同時右掌亦後拉、變拳而出、止於心口、與第一圖之左手無異。須留意者、凡後拉而變掌為拳時、其掌皆含有下壓之力。凡拳前伸時、皆含有上挑之力。其故維何、蓋以其拳或掌在前所止之處、較心口稍高也。同時左足隨左手以出。其步法與前不同。足尖外轉、約三十度、如立正式、然後前進。謂之墊步。後足本作墊步者、仍作墊步。墊步者當前足進大步時、後足卽上墊、使兩足距離有定、以免不穩之患者也。劈拳中凡隨拳而出之步、皆屬墊步。此段所說、乃劈拳拳式如第三圖是也。
3. Your left hand withdraws, strongly bending into a fist, the fingers seeming to be pulling something heavy, and gathers in until reaching your solar plexus, the palm now fully changed to a fist, and then shoots out again from your solar plexus, the same movement as the right hand in image 1, as your right palm pulls back, becoming a fist, and finishes at your solar plexus, the same movement as the left hand in image 1. When your left hand pulls back, changing from palm to fist, it should contain a downward pressing strength, and when your fist extends forward, it should contain an upward propping strength. The reason for this is that when the palm is forward, its position is slightly higher than your solar plexus. At the same time, your left foot goes along with the forward movement of your left hand, same as before, but in this case the foot turns outward about thirty degrees, same as when you were standing at attention, and then advances with a small step [or “cushion step”]. Your rear foot also goes forward a small step [in that case referred to as a “follow step”]. Whenever your front foot advances a large step, your rear foot comes forward a small step, causing the distance between the feet to remain consistent, thereby preventing any worry of instability. During the chopping technique, when the front foot goes out along with the hand, it is always followed by a follow step. This is the “fist position” in the chopping technique. See image 3 [reverse view]:

(四)然後右手右足上前。右手變為掌。與第二圖之左手左足同一動作。此段所說、乃劈拳掌式、如第四圖是也。
4. Then your right hand and right foot go forward, your right hand becoming a palm. It is the same movement as in image 2, but on the other side. This produces the “palm position” in the chopping technique. See image 4 [reverse view]:

(五)右手右足之動作與第三圖之左手左足同。
5. Your right hand and right foot make the same movement as in image 3, except on the other side [and is thus shown best demonstrated by way of image 10].

(六)左手左足復作如第二圖。左手復變為掌。
6. Your left hand and left foot repeat the movement in image 2, your left hand again becoming a palm.

如此絡繹不絕。凡一手一變為掌、為一劈拳。左手欲作劈拳、則必其前著為右拳右足在前。右手欲作劈拳、則必其前著為左手左足在前也。若欲轉身、則當左手作劈拳時、須自右向後轉。而變成右手右足在前。右手作拳、與欲作劈拳前一著無異。若當右手作劈拳時、則必自左向後轉。取其順也。在劈拳內、手足皆相隨。卽左手在前、則左足亦在前、右手在後、則右足亦在後也。習熟後可將拳式與掌式合成一著。卽當作拳式時、後足不必跟上立住、可直前進步作掌式也。
Continue in this way without pausing. Each time a hand becomes a palm, this is the “chopping” of the chopping technique. If your left hand wants to chop, your right fist and right foot must first go forward. If your right hand wants to chop, your left fist and left foot must first go forward. To turn around, you have to be in the left chopping position. Turn around to the right and send your right hand and right foot forward, your right hand making a fist, then chop forward with your left hand as before. If you would rather turn from the right chopping position, you will have to turn around to the left. Do what is natural for you. Within the chopping technique, your hands and feet always correspond to each other: if your left hand is forward, this means that your left foot is also forward, and if your right hand is behind, this means that your right foot is also behind. Once you have practiced this technique to the point of familiarity, the fist position and palm position can be blurred into a single action, meaning that when you are performing the fist position, it will no longer be necessary for your rear foot to do a follow step and can instead go right into advancing to make the palm position.

第二節 崩拳
2. CRASHING

崩之為義、山壞也。山之壞、其勢必甚猛、而此拳之性似之、故名。其起首與劈拳之第一第二二圖無異。其先蓋作劈拳掌式也。
The idea of “crashing” is of a mountain collapsing [as in a landslide or avalanche], a very fearsome dynamic which the personality of this technique resembles – hence the name [although the technique is performed as a forward strike rather than downward]. The exercise begins in the same way as in images 1 and 2, starting by making the fist position and palm position of the chopping technique.

(一)當作劈拳式時、在前之左手、與在後之右手、同時變掌為拳、食指及大指所屈成之圈向上、在前之左手如是。右手則拳心向上。然後左拳抽回、放在腰旁。抽時拳心卽翻向上。同時右拳自心口伸出。伸時拳心卽翻向在旁、卽變成方纔在前之左拳式也。學者須注意者、右肘終須裏裹、與劈拳同。庶幾肘穴上向、微見下灣、則全肢不覺僵直矣。此中妙處、久習自得。(可參觀第六章)同時左足隨右拳之前擊而出。步法與劈拳掌式無異、卽足尖平直前射也。然後右足跟上、仍作墊步。惟此步須較劈拳之步為小。右足竟可與左足跟接觸、壯其勢也。同時身須直挺。頭上頂、切勿下垂。腿勢必微灣、以步過小也。其式與劈拳第一圖之腿同。以上所說、觀第五圖更明。
1. Your left hand in front and right hand behind both become fists, the circle made by your left fist’s forefinger and thumb facing upward, the center of your right fist facing upward. Then your left fist withdraws to be placed at the left side of your waist, the center of the fist turning to be facing upward, as your right fist extends from your solar plexus, the center of the fist turning to be facing to the left, instantly switching places with your left fist. Your right elbow must end up wrapped inward, same as in the chopping technique, so that the hollow of the elbow is almost facing upward. By manifesting a slight downward bend in your elbows, your whole body will be kept from feeling stiff, a wonderful characteristic which is obtained through long practice. (See [item 2 of] Chapter Six [which can be found in the 1919 edition].) At the same time, your left foot goes forward along with the striking of your right fist, stepping in the same way as in the palm position of the chopping technique, the toes pointing straight forward, and then your right foot does a follow step. This step needs to a larger step than the follow step of the chopping technique. Your right foot may touch your left heel due to the vigor of the technique. At the same time, your body must be erect. Your head is to be pressing upward and must not hang down. Your legs must be slightly bent. Use a shorter step than before. The position of the legs is the same as in image 1. The explanation above is made even clearer by simply examining image 5:

(二)然後左拳發出、右拳收回、法與第五圖同。惟無論何拳在前、左足終在前、而右足終自後跟上。如第六圖。
2. Then your left fist shoots out as your right fist withdraws. It is the same as in image 5, except that now your left fist and left foot are going forward, your right foot again doing a follow step. See image 6 [reverse view]:

(三)轉身時須由右邊轉。轉後右拳作劈拳之拳式。右腿擡起、脚底向外、所以踏人也。如第七圖。
3. To turn around, you must turn to the right. Your right fist makes the fist position from the chopping technique and your right foot lifts with the sole of the foot turned outward to stomp on the opponent behind you. See image 7:

(四)遂作劈拳之掌式。左手前推。右手後收。右腿落於左足前。右足橫如一字。如第八圖。
4. Then make the palm position of the chopping technique – left hand pushing forward, right hand pulling back – as your right leg lowers in front of your left foot, your right foot turned outward to make a sideways line. See image 8:

(五)然後左足右拳又前發、與第五圖同。
5. Then your left foot and right fist shoot forward [with your left fist withdrawing and your right foot doing a follow step], same as in image 5 [which in this case is a reverse view].

相續不絕如此。凡轉身必從右轉、以左足始終在前、不便左轉也。
Continue in this way without pausing. When you finally turn around again, you again have to turn to the right. Because your left foot is always forward, it would not be convenient to turn around to the left.

第三節 攢拳
3. DRILLING

攢之為義、聚也。此拳之動作有似乎攢、故曰攢拳。其起首仍如崩拳之先作劈拳式、如劈拳第一第二二圖是也。
The idea of “drilling” is to concentrate power. The movement of this technique is like the hand is drilling through – hence the name. As with the crashing technique, the exercise begins in the same way as in images 1 and 2, starting by making the fist position and palm position of the chopping technique.

(一)兩掌變成拳。在前之左拳拳背向上。在後之右拳亦然。左拳有下壓意。右拳若欲前伸者然。同時在前之左足進步。在後之右足跟上。步法與劈拳拳式之步法同。如第九圖。(說明)此圖左拳手背猶未翻向上
1. Your palms become fists, the backs of both fists facing upward, your left fist having an intention of pressing downward, your right fist wanting to extend forward. At the same time, your left foot advances and your right foot does a follow step, this stepping action the same as in the chopping technique. See image 9 (which instead shows the back of the left fist facing downward):

(二)於是左臂下壓、收回。右拳向左臂上擊出、其法正與劈拳拳式同。左臂止於臍之左旁、貼身靠住、拳背上向。同時右足隨右拳出。左足卽跟上。步法與劈拳掌式之步法同。步之大小隨便。如第十圖。
2. Then your left arm presses down, withdrawing, as your right fist strikes out over your left arm, making the fist position from the chopping technique, your left forearm finishing against your body at the left side of your navel, the back of the fist facing upward. As your right fist goes out, your right foot advances and your left foot does a follow step, the footwork the same as in the chopping technique. The size of the step depends on what is natural for yourself. See image 10:

(三)左拳擊出時仿前。
3. Then your left fist strikes out in the same way as described before [in movement 1 (image 9)].

(四)轉身有二法。
4. To turn around, there are two methods:
(甲)與劈拳同。
A. The same way as for the chopping technique.
(乙)設左手左足在前、則向右轉、變成右足在前。當轉時左拳先前伸、下壓、收回。於是右拳乘此由左拳上擊出。右足轉後在前、立刻隨右拳之擊出而進步。左足更跟上。如第十一圖。
B. When your left hand and left foot are forward, turn around to the right so that your right foot becomes the front foot, your left fist extending forward. Your left fist then presses down and withdraws as your right fist strikes out over your left fist, your right foot immediately going along with right fist by advancing, your left foot again doing a follow step. See image 11 [repeat of image 10]:

此法甚妙。當敵人自後攻來時、我一拳將彼攻我之拳壓下、而同時右拳已擊中其面矣。習熟後可將(一)(二)兩動作合成一著。卽當第一動作時、左足前進、右足更不必跟上立住、可卽接以第二動作也。
This method is ingenious. When an opponent attacks you from behind, you use your left fist to press down his attacking fist while at the same time using your right fist to strike to his face. (Note: After practicing this exercise to familiarity, you can combine movements 1 and 2 into a single action. When your left foot advances in movement 1, it will no longer be necessary for your right foot to do a follow step and can instead go right into the advancing step in movement 2.)

第四節 礮拳
4. BLASTING

礮之取義、與崩畧同、謂其拳之作用似礮也。起首先作劈拳式。
The idea of “blasting” is somewhat similar to crashing. It is said that the action of the technique is like a cannon firing. Begin by making the chopping posture.

(一)一時二掌變拳。在前之左掌、當變拳時、卽收回。收時拳背向下、貼身放於臍之左旁。在後之右掌變拳後、亦拳背下向、貼身放於臍之右旁。同時在後之右足半向右進步。左足卽跟上。以左足之右旁、貼住右足之左旁。左足須提起、勿著地。兩腿微灣。身雖半右向、而頭則半左向。如第十二圖。(說明)左足非必貼住右足書中所說使此著與下著相連者也而圖中則不得不分二著
1. Your palms become fists and withdraw, your left fist placed against your body at the left side of your navel, your right fist against your body at the right side of your navel, the backs of both fists facing downward. At the same time, your right foot advances to the forward right and your left foot follows to be close beside your right foot. Your left foot has to be lifted and should not yet come down. Your legs are slightly bent. Your torso is turned halfway to the right, but your head is turned halfway to the left. See image 12 (Note: Your left foot does not actually need to pause close to your right foot. The movement described here should flow right into the following movement, but has been divided into two actions for the sake of showing the technique in photos.):

(二)左拳貼身上升、拳背仍下向。至面處忽然翻轉、變成拳心外向。而拳背則止於額前、不貼於額。翻時全臂用力向外上推、此拳所以破敵從高擊下之拳也。同時右手卽作崩拳、向頭所向之方擊去、則敵人且中我拳矣。蓋形意妙處、大槪如是。每發拳攻人、同時可自護。及人攻我而我自護時、我亦能卽此攻人。故人每不及自禦也。然猶未盡其妙。當此之時、我不著地之左足、乘此作箭步向右手擊出之方進去。而右足自後跟上。其步法如崩拳。兩腿微灣。右腿有前催之力。而在前之左腿、則雖前向、亦頗含有穩立意。同時將全身之氣收聚於小腹、暗運於四肢。則其二臂之力本不多者、至此終須增加數倍矣。以其數倍其力、故雖壯夫、莫之能當也。如第十三圖。
2. Your left fist rises, staying close to your body, the back of the fist still facing downward, then once the fist passes in front of your face, it suddenly turns over so the center of the fist is facing outward, the back of the fist stopping in front of your forehead, though not actually touching it because the arm is forcefully pushing outward and upward. The purpose of this technique is to deflect an opponent’s attack high while striking beneath it. At the same time, your right fist performs a crashing technique, striking out in the same direction that your head is facing [i.e. to the forward left]. The opponent is therefore being simultaneously attacked by your punch. A marvelous feature of Xingyi is that generally whenever you are attacking an opponent, you are simultaneously able to protect yourself, which means that during the moment that the opponent is attacking and you are defending, you are also able to attack him, rendering him too late to defend himself against it. Its marvels do not end there, for also at the same time, your lifted left foot does an “arrow step”, advancing in the same direction as your right hand striking out, and your right foot does a follow step, similar to the stepping of the blasting technique. Your legs are slightly bent as your right leg hastens forward toward your left leg, and therefore although you are moving forward, you maintain a strong awareness of your stability. During this action, take the energy of your whole body, which is gathered into your lower abdomen, and invisibly send it into your limbs. Thus the power of your arms, which is not much in itself, will with this addition be multiplied many times. With this multiplied power, even if you are facing strong opponents, none will be able to stand up against it. See image 13:

(三)現在此身之方向、係半向左。在前之左足、仍向此方前進。右足跟上、提起、靠於左足旁。兩拳收下、置於臍之兩旁。與一相似。如第十四圖。
3. Now your torso turns halfway to the left as your left foot again advances and your right foot follows to be lifted beside your left foot, your fists withdrawing, lowering to be placed in line with each other at each side of your navel. See image 14:

(四)右拳向上外翻。左拳作崩拳擊出。提起之右足隨在拳向右前發出。左足跟上。與(二)同。如第十五圖。
4. Your right fist goes upward, turning over, and your left fist strikes out with a crashing technique as your right foot lifts and goes along with your left fist by shooting out to the forward right, your left foot doing a follow step. It is the same as in movement 2 [except on the other side]. See image 15:

如此不絕。轉身時、若當身半向左時、則左腿向右鉤、身卽轉向後。右足仍跟上、提起、靠住。如第十六圖。(說明)此圖與第十四圖惟方向不同彼前去此轉回但形式則無異
Continue in this way without pausing. To turn around, you have to be doing the technique to the forward left [i.e. the position in image 13], then your left leg hooks inward to the right, your body turns around to the right, and your right foot comes in to be lifted next to your left foot. See image 16 (Note: This image is a repeat of image 14 because the position is the same, but it is in this case a reverse view because you have turned around.):

然後右足左拳發出、與前無異。其進步之方向、觀第十七圖自明。橫拳進步之方向亦然。
Then your right foot and left fist shoot out, the same way as before, the direction of this advance being indicated [by the final arrow, pointing to lower left] in image 17 (The footwork for the crossing technique will be the same as in this diagram.):

劈拳
Get into the chopping posture.
(一)半向右
1. Go to the forward right.
(二)半向左
2. Go to the forward left.
(三)向右鉤
3. To turn around, your left foot hooks inward to the right,
轉身
and your body turns around to the right.

第五節 橫拳
5. CROSSING

此拳用法、不直而橫、故名橫拳。起首作劈拳式。
The function of this technique is not to go straight forward but to go across, hence it is called “crossing”. Begin by making the chopping posture.

(一)在後之右足進步。左足跟上、提起、與炮拳同。(學者須記橫拳與炮拳步法同)同時掌變為拳。在前之左掌變為拳時、拳心翻向上、仍置於前、肘仍緊裹。在後之右掌變拳後、手背仍上向。其餘皆與炮拳同。如第十八圖。
1. Your right foot advances and your left foot lifts, the same as in the blasting technique. (Keep in mind that the footwork for the crossing technique is the same as for the blasting technique.) At the same time, your palms become fists, the center of your left fist turning to be facing upward, the hand remaining forward with the elbow wrapped in tightly, the back of your right fist still facing upward. The rest of this position is the same as in the blasting technique. See image 18 [reverse view]:

(二)右拳自左肘下、向左前發出。拳剛過肘時、卽翻身、使拳心上向、而肘緊裹、與攢拳相似。同時左拳收回、貼身放於臍之左旁。方纔提起之左足、此時卽向左前作箭步射出、與炮拳全合。如第十九圖。
2. Your right fist shoots out to the forward left from under your left elbow, your torso turning to the left. The center of the fist is facing upward, the elbow wrapped in tightly, the same as in the drilling technique. At the same time, your left fist withdraws against your body, placed to the left of your navel, as your left foot lifts and steps like an arrow to the forward left, the same as in the blasting technique. See image 19:

(三)左足前進一步。拳不動。(以後每欲打橫拳前必先將前足進一步所以使手足之動相符不亂也)然後左拳由右肘下向右前作攢拳擊出。右拳收回。同時右足向右前進步。如第二十圖是也。
3. Your left foot advances a step, your fists not changing their position. (When performing the crossing technique, your first have to advance your front foot in order for the movements of your hands and feet to coordinate without confusion.) Then your left fist goes from below your right elbow, striking out to the forward right with a drilling technique, as your right fist withdraws and your right foot advances. See image 20:

如此絡繹不絕。轉身時、與炮拳同。惟當腿鉤身轉時、拳不動。待旣鉤旣轉後、始從肘下發出耳。
Continue in this way without pausing. Turning around is the same as in the blasting technique, except that when your front foot hooks inward and your body turns around, your fists do not change their position. Once you have hooked and turned, your rear fist then shoots out from below the elbow of your front arm.

第四章 進退連環拳
CHAPTER FOUR: ADVANCE & RETREAT CONTINUOUS BOXING

進退連環拳者、連五拳而成者也。凡十一著。
This exercise is the linking of the five techniques into a series of eleven movements:

(一)劈拳。
1. CHOPPING

如第二十一圖。
See image 21 [reverse view (repeat of image 2)]:

(二)崩拳。
2. CRASHING

如第二十二圖。
See image 22 [repeat of image 5]:

(三)退步崩拳。
3. RETREAT WITH CRASHING

其法先將在後之右足退後一步。然後左足更退一步於右足後。同時右拳收回。左拳發出。如第二十三圖。
First your right foot retreats and then your left foot retreats behind your right foot as your right fist withdraws and your left fist shoots out. See image 23 [reverse view]:

(四)順步崩拳。
4. STRAIGHT-STANCE CRASHING

順步崩拳者、右足右拳、或左足左拳、同在前之謂也。此時不便左足自後進步而右拳同時擊出、故卽使在前之右足與右拳同時前發也。同時左拳收回。左足跟上。如第二十四圖。
The “straight stance” means that the same fist and foot are forward. It would not be convenient in this moment for your left foot to advance while your right fist strikes out, therefore since your right foot is already in front, let it step forward along with your right punch, your left fist at the same time withdrawing and your left foot doing a follow step. See image 24 [reverse view]:

(五)雙橫拳。
5. DOUBLE CROSSING FISTS

兩拳相交、右拳在外。身半向左。如第二十五圖。
Your fists cross with your right fist on the outside, your torso turning halfway to the left. See image 25:

然後兩拳分開。兩臂作一半圓灣、切勿僵直、仍須微灣而含力、如第二十六圖。
Then your fists [rise up and] spread apart, your arms each drawing a semicircle. Your arms must not become stiff, and so they each maintain a slight bend and thereby contain strength. See image 26:

然後左拳放開。右拳與左拳合於臍處、貼身靠住。當兩手分開時、在後之左足退後一步。及二手合時、在前之右足卽與左足相並。身仍半向左。如第二十七圖。(說明)但其不同點在下部此圖之兩足當相並如書中所說
Then your left fist opens and your right fist meets it, your hands coming together at your navel, pressed against your body. When your hands spread apart, your left foot retreats a step. When your hands come together, your right foot goes next to your left foot, your torso turning halfway to the left. See image 27 (Note: This image does not accurately represent the position of the lower body [because it is simply a repeat of image 25] and should instead show the feet next to each other.):

(六)炮拳。
6. BLASTING

作左拳右足在前之炮拳。如第二十八圖。
Your left fist and right foot go forward. See image 28 [repeat of image 15]:

(七)退步劈拳。
7. RETREAT WITH CHOPPING

法在先退右足。右拳落下時、向前作一半圓形。左拳須先抽回、然後再劈出。同時左足稍退、須在右足前。如第二十九圖。
First your right foot retreats [a full step behind your left foot], your right fist lowering in a semicircle, your left fist withdrawing, and then your left hand chops out, your left foot slightly retreating, but still in front of your right foot. See image 29 [reverse view (repeat of image 2)]:

(八)劈拳。
8. CHOPPING

但此劈拳仍須左手左足在前。其法在將在前之左掌轉變成拳而抽回至心口、更自心口劈出。同時貼身靠住之右手亦變拳後仍變掌。如第三十圖。
This chopping technique involves your left hand and left foot still being forward [instead of switching to the other side]. Your left palm becomes a fist, pulling back to your solar plexus and your right hand becomes a fist [and drills out], then your left hand chops out again as your right fist again becomes a palm and withdraws against your body. See image 30 [reverse view (repeat of image 2)]:

(九)攢拳。
9. DRILLING

右手左足在前。如第三十一圖。
Your right hand and left foot go forward. See image 31 [repeat of image 19]:

(十)劈拳。
10. CHOPPING

左手右足在前。如第三十二圖。
Your left hand and right foot go forward. See image 32 [reverse view (repeat of image 8)]:

(十一)崩拳。
11. CRASHING

如第三十三圖。
See image 33 [repeat of image 5]:

(十二)作崩拳轉身。
12. TURN AROUND

轉後次序仍如前。至再作退步崩拳時止。卽以退步崩拳收式。
After you have performed the crashing technique, turn around, repeat the sequence as before until you are again performing movement 3, then finish.

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