TWO-PERSON AVALANCHE STEPS BOXING SET

領崩步
UNDERSTANDING THE AVALANCHE STEPS BOXING SET
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:麥華永 戴金城
postures performed by Mai Huayong & Dai Jincheng
攝影者:譚以禮
postures photographed by Tan Yili
校對者:譚以仁
text proofread by Tan Yiren
[published in Hong Kong, 1955]

[translation by Paul Brennan, May, 2020]

領崩步
Understanding the Avalanche Steps Boxing Set
關卓題
– calligraphy by Guan Zhuo

演式次序
POSTURE SEQUENCE

中平雙蓄勢
[1] STANDING STABLY, BOTH FISTS STORING POWER
跨虎斜補捶
[2] SITTING-TIGER STANCE, DIAGONAL FILLING PUNCH
跨虎捕蟬式
[3] SITTING-TIGER STANCE, CATCHING A CICADA
登山左揷掌
[4] MOUNTAIN-CLIMBING STANCE, LEFT CHARGING PALM
登山右補捶
[5] MOUNTAIN-CLIMBING STANCE, RIGHT FILLING PUNCH
蹤跳封統捶
[6] LEAP, SEAL & THRUST PUNCH
入環右撥肘
[7] KNEELING STANCE, RIGHT PILING ELBOW
入環右崩捶
[8] KNEELING STANCE, RIGHT AVALANCHE PUNCH
背踢雙撥掌
[9] KICK FROM BEHIND, DOUBLE DEFLECTING HANDS
馬式雙封手
[10] HORSE-RIDING STANCE, DOUBLE SEALING HANDS
登山刁劈捶
[11] MOUNTAIN-CLIMBING STANCE, HOOKING HAND, CHOPPING PUNCH
右抅摟採手
[12] RIGHT GRAB-PULL-TAKE
跨虎番車式
[13] SITTING-TIGER STANCE, WHEELING TECHNIQUE
登山左揷掌
[14] MOUNTAIN-CLIMBING STANCE, LEFT CHARGING PALM
登山右補捶
[15] MOUNTAIN-CLIMBING STANCE, RIGHT FILLING PUNCH
馬式雙封手
[16] HORSE-RIDING STANCE, DOUBLE SEALING HANDS
登山右腰斬
[17] MOUNTAIN-CLIMBING STANCE, RIGHT SLICING THROUGH THE WAIST
馬式左崩捶
[18] HORSE-RIDING STANCE, LEFT AVALANCHE PUNCH
提腿左刁手
[19] LIFTING LEG, LEFT HOOKING HAND
提腿反提刁
[20] LIFTED LEG, REVERSE LIFTING HOOK
馬式右劈軋
[21] HORSE-RIDING STANCE, RIGHT CRUSHING CHOP
扭步左黏肘
[22] TWISTING STANCE, LEFT STICKY ELBOW
登山左拐肘
[23] MOUNTAIN-CLIMBING STANCE, LEFT PROPPING ELBOW
登山右斜掌
[24] MOUNTAIN-CLIMBING STANCE, RIGHT DIAGONAL PALM
馬式正補捶
[25] HORSE-RIDING STANCE, FORWARD FILLING PUNCH
雙刁左揪腿
[26] DOUBLE HOOKING, LEFT SCOOPING KICK
雙刁右揪腿
[27] DOUBLE HOOKING, RIGHT SCOOPING KICK
跨虎雙捆手
[28] SITTING-TIGER STANCE, DOUBLE SNARING HANDS
踢腿刁取眼
[29] KICK, JAB TO THE EYES
提腿雙擊掌
[30] LIFTING LEG, STRIKING THE PALMS TOGETHER
刁手反衝爪
[31] HOOKING HAND, REVERSE THRUSTING CLAW
拼腿上圈捶
[32] LEGS TOGETHER, RISE UP, SWINGING PUNCH
提腿下截捶
[33] LIFTING LEG, DOWNWARD INTERCEPTING FIST
提腿上挑捶
[34] LIFTED LEG, CARRYING FIST
登山封齊掌
[35] MOUNTAIN-CLIMBING STANCE, SEALING, EQUALIZING PALM
反封左措捶
[36] REVERSE SEALING, LEFT TWISTING HIS FIST
迎封右措捶
[37] BLOCK & SEAL, RIGHT TWISTING HIS FIST
掛手頂臍捶
[38] HANGING HAND, PUNCH TO THE NAVEL
吞塌右扇風
[39] GULP & SINK STANCE, RIGHT FANNING
吞塌左扇風
[40] GULP & SINK STANCE, LEFT FANNING
吞塌右扇風
[41] GULP & SINK STANCE, RIGHT FANNING
引針右腰斬
[42] DRAWING THE NEEDLE, RIGHT SLICING THROUGH THE WAIST
登山左圈捶
[43] MOUNTAIN-CLIMBING STANCE, LEFT SWINGING PUNCH
登山左圈捶
[44] MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH
七星左刁手
[45] BIG-DIPPER STANCE, LEFT HOOKING HAND
七星右補捶
[46] BIG-DIPPER STANCE, RIGHT FILLING PUNCH
跨虎捕蟬式
[47] SITTING-TIGER STANCE, CATCHING A CICADA


PREFACE

螳螂拳發明迄今達三百年歷七傳,論歷史不為暫矣,然歷代相傳俱藉手抄本之記載而述其綱要耳!以是而世之非螳螂拳門弟子便得其名而不知拳藝之所自來矣,先師生時,余亦屢屢縷述出書行世之志,師亦允助余成之,當着手編寫時適太平洋戰起,師乃作北歸之計,臨行乃將得自范公之遺著授余,囑發揚光大之,迨翌年師逝於春申,余對叮嚀致囑之言未敢時刻或忘也。
勝利後即重輯舊稿,於翌三十五年刋行螳螂拳術闡秘一書,初版弍千本,迨昨春售罄,於同年初冬再版之,三十六年出崩步拳,初版弍千本,亦於昨秋售罄,乃將羅師遺式僅四十幀(次七張,內余補攝塡足。)更名為(重訂崩步拳)是為拙著中之第八種矣,前承各地讀者諸君垂愛,囑編印(領崩步)一書,因此乃編成此冊,至佳劣與否?非余所計也,祗瘁其心力勉應,拳拳雅意而已。
Mantis Boxing was created about three hundred years ago and has been passed down through seven generations, no brief period. Over the generations, the art was recorded in handwritten manuals, and thus people who are not students of Mantis Boxing have heard of the art but are not aware of the source material for its skills.
  While Master Luo was alive, I often stated an ambition to publish books about the art, and for this he gave me both permission and support. Just as I had started writing, war in the Pacific broke out and Luo decided he had to return north. Before leaving, he presented to me the posthumous writings of his teacher Fan Xudong and urged me to carry the art forward. Luo died the following year in Shanghai and I have since never dared to forget his last advice to me for a moment.
  After the war had been won, I threw myself into writing. Secrets of the Mantis Boxing Art was published in 1946. An initial two thousand copies were printed, which were sold out by last spring. By the beginning of winter [Nov, 1954], the second edition was published. Avalanche Steps Boxing Set was published in 1947. Again an initial two thousand copies were printed, which were sold out by last autumn. I then made use of the photos I had inherited of Luo performing the set. There were only forty of these photos, so I supplemented them with a further seven photos of myself and produced the revised version, which forms Volume 8 of the Mantis Boxing Series.
  Readers and gentlemen from many places who have helped support this work have urged me to make a book about the two-person version of this set, and hence here it is. As to whether it is of any worth or of low quality, I am not qualified to determine this. I can only do my best and then leave it up to your discerning judgment.

論領拳
DISCUSSING THE “UNDERSTANDING” BOXING SETS

螳螂拳術乃近三百年來武林同道中所公認之剛柔互濟,長短相等,快而不浮,穩而不滯之最新發現,自王朗氏發明以迄范旭東氏俱大盛於山東各地,近自羅師光玉及楊維新師伯蒞臨滬濱傳技,始漸為後南方人仕所重,迨後羅師更親臨香島傳揚,益為百粵武壇所仰止也。
吾人素習知之拳術多是祗就拳套鍛練以達成技力上之修養,惟螳螂拳則有其特異之點曰:(領拳)者,即是其所傳授之拳,俱可照原來之動作上,整套作對拆式之領畧其作用,以是而使習之者乃有舉一反三之迅速成效,不致學而不知其用之困難矣,譬喻吾人習崩步拳至熟極時可尋一同練者依法演進,使全拳得一瞭然於用途之確切答案,進而互換其位置,更可彼此獲得同樣之成果矣,不但動作上獲得偉大之實效,且可操演成熟後作為一般(串子)式之表演亦美觀而緊凑,進而(躱剛拳)(揷捶)(十八叟拳)等基本拳均可作如是之練習,迨經此一過程,對其他較高級之拳術可不矣(領)已知大畧之八九矣,以是習螳螂拳而未經(領)者實為其最大之損失,因此余乃先將崩步對領圖解付印成書,俾習斯拳者得確切之認識,未習者亦可得覩螳螂拳之輪廓,且繼此而將其他各拳續以刋出,俾有志研究螳螂拳者得一眞面目也。
The Mantis boxing art is almost three hundred years old and everyone in martial arts circles has come to know of its innovative principles such as hardness and softness complementing each other, equal use of long range and short range, movements that are fast but not floating, and footwork that is stable but not sluggish. The art was created by Wang Lang, passed down to Fan Xudong, and then spread throughout Shandong. Luo Guangyu and Yang Weixin then came to Shanghai to teach these skills, and they gradually came to be renowned by southerners. Luo later came to Hong Kong to spread the art, where it earned the admiration of those in Cantonese martial arts circles.
  The usual practice of boxing arts is simply a bunch of solo sets used for cultivating a certain level of skill, but Mantis Boxing has a unique feature: the “understanding” sets. What is taught through these sets is built entirely upon the original movements. [Many Chinese martial arts involve partner sets, but they are typically arranged from scratch rather than having the partner’s actions grafted directly upon the solo sets themselves.] Each posture in a set is given an interaction with an opponent in order to generate an appreciation for its function. This quickly causes the practitioner to be able to intuit many applications based on one realized example instead of resulting in learning the art but having the barrier of not knowing how to use any of it at all.
  Once you have learned the Avalanche Steps solo set and can perform it at a high level of proficiency, you can then grab a fellow practitioner [who is also at a high level with the set] and go through the entire set, making the function of every movement clear and precise. Next you can switch roles so that both of you can obtain the same results. This will not only have an enormous effect on your movements, it will also help to mature your performance of ordinary two-person sets, making them more pleasing to the eye and exciting to watch. Then other basic boxing sets such as Dodging Hardness, Charging Punches, and Eighteen Elders can all be trained in this way, and by going through this process, you will already understand eighty or ninety percent of the material in more advanced boxing sets by the time you get to them.
  Mantis Boxing practitioners who have not yet learned one of the understanding sets are actually lacking the most important part of the training. Because of this, I am starting with Avalanche Steps as the first book explaining the understanding sets in order for practitioners of this set to obtain a precise knowledge of it, and also for those have not yet practiced Mantis Boxing to get a look at the general workings of the art. I hope to continue along these lines and publish further such treatments about other sets so that those who are interested in studying Mantis Boxing will be able to get an authentic look at it.

第一式:中平雙蓄勢
Posture 1: STANDING STABLY, BOTH FISTS STORING POWER

說明
Explanation:
全黑制服者為麥華永,簡稱為乙方,藍服黑褲者為戴金城,稱為甲方,甲方乃打崩步者,乙方乃領拳者,雙方立正,甲站東方,乙站西方,如上圖,
In the photos, the person dressed entirely in black is Mai Huayong, who will be referred to simply as Person B, and the person dressed in black pants but with a blue jacket is Dai Jincheng, who will be referred to simply as Person A. A will be performing the actual Avalanche Steps boxing set. B will be the attacker. Both of you stand at attention, A standing in the east, B standing in the west. See photo 1a:

循上圖各握拳收於腰以上,互相注視,中間相距約有三英尺之遙,惟身材有高矮之分,其指三尺者,乃指一般而論耳!若有特殊情形,當又作別論也,如下圖。
Both of you, grasp your hands into fists and pull them back at your waist as you look toward each other. There is a distance of about three feet between you. (This distance is based on average height and can of course be adjusted according to circumstances [the distance reducing below three feet for shorter people and increasing beyond three feet for taller people].) See photo 1b:

第二式:跨虎斜補捶
Posture 2: SITTING-TIGER STANCE, DIAGONAL FILLING PUNCH

說明
Explanation:
乙方先進右脚為登山步,出右掌攻甲方之面部,甲方仍未動,如上圖。
B, your right foot advances to make a mountain-climbing stance as your right palm goes out to attack A’s face. See photo 2a (showing A not yet responding to B’s action):

甲方先移左脚向後方,出右脚以成斜勢跨虎步,右掌撥去來掌,右拳直取乙方之腋下,此即補捶也,
A, your left foot shifts back and your right foot goes out to make a diagonal sitting-tiger stance as your left palm deflects B’s incoming palm and your right fist goes straight in to attack his armpit with a filling punch. See photo 2b (showing B not yet responding to A’s action):

乙方仍照甲圖不動,此式又有人呼之為「海底取珠」者,乃即指腋窩凹處,為我拳擊入如珠狀也,且跨虎為虛步而打補捶者為螳螂拳中之少見也,惟虛步而用實打者亦有佳處,蓋上用實打下用虛步乃易於變化也如下圖。
Some people also call this technique SNATCHING A PEARL FROM UNDER THE SEA, indicating the cavernous area of the armpit and the pearl-like shape of the striking fist. To perform a filling punch in a sitting-tiger stance, which is an empty stance, is less common in Mantis Boxing than to perform it in a more grounded stance, but a solid technique above paired with an empty stance below is an equally excellent method, for it is actually easier to transition into.

第三式:跨虎捕蟬式
Posture 3: SITTING-TIGER STANCE, CATCHING A CICADA

說明
Explanation:
乙方先漏右掌直落封閉來拳,再換步成左登山式,同時以左掌擊甲方面部,甲方不動如上圖。
B, first your right palm slips down to seal off A’s incoming fist as your right foot withdraws, then your left foot advances to make a left bow & arrow stance as your left palm strikes to his face. See photo 3a (showing A not yet responding to B’s action):

甲方先退右脚,並以雙手用捕蟬法封乙方腕肘兩部,同時起左脚撩陰,乙方即漏右手以掌殺落以消來腿,
A, first retreat your right foot and use both hands to make a “catching a cicada” gesture to seal off B’s left wrist and elbow while your left foot lifts up with a raising kick to his groin. B, your right palm chops down to dispel A’s incoming kick. See photo 3b:

此螳螂捕蟬式者,乃螳螂拳中之常見常用者,惟祗以跨虎步為居多,並不起脚者,但先師常訓廸吾人曰:凡跨虎步者即預備出脚矣,此式之領法亦以起脚作實驗者,即寓意於此也如下圖。
This is the “catching a cicada” posture, frequently seen and used in Mantis Boxing, but usually only done in a sitting-tiger stance without lifting the foot. However, Master Luo often reminded us: “Whenever you’re in a sitting-tiger stance, you’re ready to kick.” In the two-person version of this set, we actually have the chance to try it this way, and so now the principle makes more sense.

第四式:登山左插掌
Posture 4: MOUNTAIN-CLIMBING STANCE, LEFT CHARGING PALM

說明
Explanation:
乙方先掙脫封閉之手,退馬以右掌襲擊甲方面部,甲方未動如上圖,
B, first cast off A’s sealing hands as your left foot steps back, then your right palm strikes to A’s face [as your right foot steps forward]. See photo 4a (showing A not yet responding to B’s action):

甲方用殿步法標前仍成左登山步,先出左掌撥去來掌,如中圖。再順掌直揷乙方胸部如下圖。
A, charge forward with a stomping action to again make a left mountain-climbing stance as you first send out your left palm to deflect B’s incoming palm [while stepping forward with your left foot] and then your left hand continues into doing a charging palm to his chest [as your right foot comes forward with a stomp and your left foot goes farther forward]. See photos 4b and 4c:

第五式:登山右補捶
Posture 5: MOUNTAIN-CLIMBING STANCE, RIGHT FILLING PUNCH

說明
Explanation:
乙方先沉右掌封去甲方之揷掌,再退步以左掌擊之如上圖。
B, your right palm sinks down to seal off A’s left palm as your right foot retreats and your left palm strikes to his face. See photo 5a:

甲方抽出左掌撥去來手,再進右步而以拳衝前如中圖。
A, your left palm pulls back and deflects B’s incoming hand as your right foot advances and your right fist thrusts forward. See photo 5b:

乙方往後退步以右掌自下挑上架開來拳如下圖。
B, retreat as you send your right palm carrying upward from below to block away A’s incoming fist. See photo 5c:

第六式:蹤跳封統捶
Posture 6: LEAP, SEAL & THRUST PUNCH

說明
Explanation:
甲方先化右拳為封手以封閉乙方之手,乘勢躍進成獨立式,左拳照口面攻進乙方如上圖。
A, first your right fist becomes a sealing hand and seals off B’s right hand, then you leap forward into a one-legged stance on your left leg as your left fist goes forward to attack his face. See photo 6a:

乙方以左掌穿上以迎架甲方之來拳如下圖。
B, your left palm threads upward to block A’s incoming fist. See photo 6b:

附識:
Note:
舉凡拳術上之蹤跳式者須越遠越高為佳,當着地時又須重心力隨步而堅穩,若搖搖欲墜者是功夫膺淺之表徵也,其遠而高者則是減少敵我之距離及取得居高臨下之優勢而已!惟輕身而出者必須賴重心力之支持方不致授敵以𨻶也。
Whenever there is leaping in boxing arts, it should go high and far, and there should upon landing be an immediate establishing of stable balance. Wobbling indicates a superficial level of skill. By going high and far, the distance to the opponent is dramatically reduced, putting you in a commanding and superior position, but if your body is very light, you will have to completely rely on support from a strong sense of balance in order to avoid giving the opponent a gap to make use of.

第七式:入環右叠肘
Posture 7: KNEELING STANCE, RIGHT PILING ELBOW

說明
Explanation:
甲方先落右脚,再跟進左脚以成入環步,同時以左拳順勢封閉乙方之右手,趁落步之勢曲右肘向乙方左臂部叠壓之,乙方亦退馬成左入環步以就其勢,右掌護於左肩上,曲左臂以卸被叠之肘,
A, first your right foot comes down and then your left foot follows it forward to make a kneeling stance as your left hand seals off B’s left hand and your right elbow bends and presses down against his arm. B, your right foot retreats to make a left kneeling stance, as your left arm bends to prevent A’s piling technique from injuring your elbow, your right palm guarding at your left shoulder. See photo 7:

攻者以經叠於上是居高臨下也,其勢有若千鈞,即使曾痛下苦功者亦難抵禦,是以惟曲肘卸之以減其勢復可由曲肘尖向上而將壓力消失也,苟不此之圖則有臂斷之危矣,幸練此者留意焉。
The attacker in this situation has the high ground, and thus his power is like a heavy weight, causing pain that is difficult to bear. Bending your elbow is the only way to diminish the danger, and then you can send your elbow upward to dissolve the pressure. If you do not respond in this way, your arm will be at risk of getting broken. I hope practitioners will give attention to this point.

第八式:入環右崩捶
Posture 8: KNEELING STANCE, RIGHT AVALANCHE PUNCH

說明
Explanation:
甲乙兩方俱不變原來步法,甲方以對方旣曲肘消去叠肘之勢,乃即捨下圖上,就原手反上照乙方口面崩打而下,乙方亦以護於肩部之右手橫架而上,使崩捶不得下,
For both of you, your stance does not change. A, once B has bent his elbow and thus dispelled the effect of your piling elbow, abandon that attack and switch to attacking his upper area by striking downward to his face with an avalanche punch. B, send your right hand blocking upward to keep his punch from reaching you. See photo 8:

崩捶者即嶺南拳術之掛捶耳!為勢至雄勁,因先叠肘而以此捶為繼者,實增其自然而勢順,且迎面打落者,亦為拳擊中雄猛之着,遇此攻擊能不小心應付乎哉。
In the boxing arts of Guangdong and Guangxi, an avalanche punch is called a “hanging punch”. It delivers a great deal of power. Starting from a piling elbow, there is natural flow in switching to a downward strike to the face. This is a fierce technique within fighting. To deal with this attack, you have to be very alert.

第九式:背踢雙撥掌
Posture 9: KICK FROM BEHIND, DOUBLE DEFLECTING HANDS

說明
Explanation:
上式旣成對峙之勢,乙方俟機走過甲方之左後方以掌打其腦後,甲方未動如上圖。
B, continuing from facing each other in the same position, quickly pass behind A and use your right palm to strike to the back of his head. See photo 9a (showing A not yet responding to B’s action):

甲方將前右脚自後撥歸,同時更以雙掌分長短返後而打如中圖,
A, rise up and send your right foot kicking behind you as your palms counterattack behind, your left palm at long range, right palm at short range. See photo 9b:

乙方乃提步避去背踢之脚,再漏右掌攔去來手,如下圖。
B, your right foot lifts to evade A’s kick as your right palm slides down his arm to block his incoming hand. See photo 9c:

第十式:馬式雙封手
Posture 10: HORSE-RIDING STANCE, DOUBLE SEALING HANDS

說明
Explanation:
乙方旣消去甲方上下齊擊之法,乃即向甲方面前進馬,更以左手橫撥之,甲方仍未動,如上圖,
B, once you have dispelled A’s simultaneous attacks above and below, then advance in front of A and send your left hand swinging across. See photo 10a (showing A not yet responding to B’s action):

甲方將背踢之脚,迅即收囘,以成騎馬式,再合雙手分陰陽向乙方腕部及肘上力封之,
A, your right foot quickly withdraws from its kick behind to make a horse-riding stance as your hands close toward each other to forcefully seal off B’s left arm, your right hand at his wrist with the center of the hand facing downward, your left hand at his elbow with the center of the hand facing upward. See photo 10b:

此式原名為(順手牽羊)攻者分陰陽二手合牽對方肘腕兩部是寓有折斷之意矣,且其撤步順退之勢至順,我若受其牽制,當先曲肘以解其勢,再順其牽纏而入,另尋弱點而予以反擊,斯為上着也。
This posture was originally called LEADING A SHEEP WITH EASE. The attacker grabs the opponent with a downward-facing hand at the wrist and an upward-facing hand at the elbow and pulls. Within this action, there is also an intention of breaking his arm. Going along with the retreating momentum of the withdrawing foot is why the technique is named “with ease”. If you are affected by such a pull, first bend your elbow to dispel his potential to harm the joint, then follow along with his pull as a means to enter his space, while also seeking a weak point in order to counterattack him there. This in an advanced maneuver.

第十一式登山刁劈捶
Posture 11: MOUNTAIN-CLIMBING STANCE, HOOKING HAND, CHOPPING PUNCH

說明
Explanation:
乙方原步出右拳迎頭劈落,甲方仍未動如上圖。
B, staying where you are, send your right fist chopping down to A’s head. See photo 11a (showing A not yet responding to B’s action):

甲方由馬式轉為登山式,先以左手刁去來手,同時以右拳反劈乙方頂上如中圖。
A, switch to a mountain-climbing stance as your left hand hooks away B’s incoming hand and your right fist chops to his head in return. See photo 11b:

乙方提左手向上橫架以遮去來手,如下圖。
B, your left hand lifts to block A’s incoming hand. See photo 11c:

第十二式:右抅摟採手
Posture 12: RIGHT GRAB-PULL-TAKE

說明
Explanation:
甲方以去拳被招乃即化拳作刁手向下一扣以封來手如上圖。
A, your right fist turns into a hooking hand and comes down to seal off B’s left hand [“grab”]. See photo 12a:

再循上圖,甲方再搭左手過右方,以替代右手,使右拳直統而入,乙方未予招架如中圖,
A, continuing by bringing your left hand over to the right to switch places with your right hand [“pull”] and thus enable your right fist to go straight in [“take”]. See photo 12b (showing B not yet blocking):

乙方自腰部出右拳向上一迎如下圖。
B, your right fist goes upward from your waist to block A’s punch. See photo 12c:

第十三式:跨虎番車式
Posture 13: SITTING-TIGER STANCE, WHEELING TECHNIQUE

說明
Explanation:
甲方右拳被招,隨即化成封手,反將來手封閉,隨而踏步深入以成跨虎步,左拳由下反手穿上衝擊乙方下頷如上圖。
A, once your right fist has been blocked, it quickly changes to a sealing hand and seals off B’s right hand, then your right foot comes forward with a stomp and you crowd his space with a sitting-tiger stance as your left fist threads upward from below, thrusting to his chin. See photo 13a:

乙方退一步乃成右登山式,同時左掌自腋下穿,右拳往下一沉,俾解被封纏之手。(如下圖)
B, your left foot retreats a step to make a right mountain-climbing stance as your left palm threads out from below your armpit, your right fist sinking down in order to dispel A’s sealing hand. See photo 13b:

此式原名為(崩步)是以此式作為全拳術之代名也,惟余以許多拳套中頗有同式而異名者,因此於作「拳譜」時統一之,其兩手分先後而以一封一抽俱由下逆上者為富有意義也。
The original name of this posture is AVALANCHE STEP, therefore this posture represents the entire set. Whenever this posture appears in other sets, I have usually called it WHEELING TECHNIQUE, and so I have also done so in this case to make it consistent with the naming pattern for the rest of the sets. With the hands performing the successive roles of one hand sealing and the other hand whipping out, and since both hands are going upward from below, this name seems to suit it better.

第十四式:登山左插掌
Posture 14: MOUNTAIN-CLIMBING STANCE, LEFT CHARGING PALM

說明
Explanation:
乙方旣解去糾纏,題即原步揮右掌打甲方左面部,而甲方未動如上圖。
B, once [your left hand sets your right hand] free of this tangled position, and with your stance not changing, your right palm swings [leftward] to strike to the left side of A’s face. See photo 14a (showing A not yet responding to B’s action):

甲即踏步而前以成左登山式,出左掌撥向來手如中圖。
A, step forward to make a left mountain-climbing stance as your left palm deflects B’s incoming hand. See photo 14b:

再沿臂而入,乙方未動如下圖。
A, then your left hand slides along the inside of B’s right arm and attacks. See photo 14c (showing B not yet responding to A’s action):

第十五式:登山右補捶
Posture 15: MOUNTAIN-CLIMBING STANCE, RIGHT FILLING PUNCH

說明
Explanation:
乙方先退步漏右掌撇消來掌,另以左掌反擊甲方,如上圖。
B, your right foot retreats a step as your right palm slides down to fling aside A’s incoming palm and your left palm counterattacks to his head. See photo 15a:

甲方進右脚以成右登山步,而以左掌撥歸右方俾將來手拍去,右拳再自腰部直入以取乙方中路,
A, your right foot advances to make a right mountain-climbing stance as your left palm goes to the right to deflect B’s incoming hand and your right fist goes straight out from your waist to attack his middle area. See photo 15b:

補捶者乃見空而補之意,此揷掌然後補捶者,除見空而補外復具先左招右打之作用,我左掌旣消去來勢,其右方必疏於防備矣,因此我以右捶補其空缺則恰到好處矣,毋以螳螂拳多此類拳法而輕視之也。
The idea of a “filling punch”: when you see a gap, fill it. This filling punch, which follows through from a charging palm, goes beyond literally filling a gap, now involving a component of drawing attention with one hand in order to attack with the other. While your left palm dispels the attacks from B’s incoming left hand, he drops his guard on his right side and is now primed for you to fill the gap in his attention. Although this kind of technique occurs frequently in Mantis Boxing, do not take it for granted.

第十六:式馬式双封手
Posture 16: HORSE-RIDING STANCE, DOUBLE SEALING HANDS

說明
Explanation:
乙方退步以成右登山步,出右掌自下挑上以消去來拳,甲方仍照前式不變如上圖。
B, your left foot retreats a step to make a right mountain-climbing stance as your right palm carries upward to dispel the threat from A’s incoming fist. See photo 16a (showing A not yet responding to B’s action):

甲方將右拳化作封手以封乙方之右腕,左掌繼自下穿出以封乙方近肩之臂部,再往後一拖,退步成騎馬式,乙方亦被拖而變成騎馬式,
A, your right fist changes into a sealing hand and seals off B’s right wrist as your left palm threads out underneath to seal off his upper arm, then you pull to the rear as you retreat to make a horse-riding stance. B, being dragged, you also switch to a horse-riding stance. See photo 16b:

在定式觀是與第十式相同,惟前者是由背踢而退步以成馬式,此式則是由正面退馬者為勢至强,是以其原名以(霸王請客)名之者即寓有强行之意,是不能相提並論也。
The final position [for Person A] is the same as in Posture 10, except that in that case you were retreating a kick behind, whereas in this case you are retreating from a position of facing forward. This technique uses great strength, hence its original name of TYRANT INVITES A GUEST, for it involves an intention of forcing someone to do something, and it this regard it is the opposite of the situation in Posture 10 [in which you were pulling the opponent when was already moving forward, making use of his momentum, whereas here you are pulling him when he is retreating, forcing a complete reversal of the direction of force.]

第十七式:登山右腰斬
Posture 17: MOUNTAIN-CLIMBING STANCE, RIGHT SLICING THROUGH THE WAIST

說明
Explanation:
乙方先轉馬右為登山步,出左拳打甲方之面部,如上圖。
B, your body turns to make a right mountain-climbing stance as your left fist goes out to strike to A’s face. See photo 17a:

甲方右手仍緊握乙方之右手,放開左手以封其左手,如中圖。
A, with your right hand still holding B’s right arm, your left hand lets go of his right arm and seals off his left hand. See photo 17b:

再踏步進前變成左登山式,以扣乙方之馬,放開右手化掌斜切乙方之腰部如下圖。
A, Your right foot stomps and you shift forward into a left mountain-climbing stance, trapping B’s front leg, as your right hand lets go of his right hand and goes out as a palm with a diagonal slice to his waist. See photo 17c:

第十八式:馬式左崩捶
Posture 18: HORSE-RIDING STANCE, LEFT AVALANCHE PUNCH

說明
Explanation:
乙方先往後一跳,以避開扣馬,復以右手拍落甲之腕,如上圖。
B, first hop back to keep your front leg from getting trapped and use your right hand to slap down onto A’s left wrist. See photo 18a:

因而封得甲方之手如中圖。
B, then seal off A’s left hand [as you pull back your own left hand]. See photo 18b:

甲方再出右手封去乙方之手,替出左拳迎頭崩落如下圖。
A, send out your right hand to seal off B’s right hand, freeing your left fist to send an avalanche punch downward to his face. See photo 18c:

第十九式:提腿左刁手
Posture 19: LIFTING LEG, LEFT HOOKING HAND

說明
Explanation:
乙方先以左拳往迎上攔崩下之捶,如上圖。
B, first send your left fist from below to block A’s avalanche punch. See photo 19a:

再出右脚自後踢向甲方如中圖。
B, [bring your left foot forward a half step and] use your right foot to kick to A from behind. See photo 19b:

甲方即收右拳,提左脚,以左刁手貼身抅下如下圖。
A, your right fist withdraws and your left foot lifts as your left hand hooks away downward next to your body. See photo 19c:

第二十式:提腿反提刁
Posture 20: LIFTED LEG, REVERSE LIFTING HOOK

說明
Explanation:
乙方以甲方提腿避之,更復用手抅之,若不求迅速變勢不難為甲所制也,於是乃即以蹤跳連環之法,不俟右脚落地即疾起左脚,以擊甲方之前面,甲方亦順手反刁向前挑上,旣使乙方無法踢到,又可乘勢再挑高之,因貼腿而落之故為勢至速,苟能挑高至水平線上,則乙方可能因此而失去重心之平衡而有什倒之危,若能急求解禳,當又作別論也。如圖。
B, now that A has avoided your attack by lifting his leg and hooking away your kick, if you do not quickly change your position, it will not be difficult for him to control you. Therefore continue by making use of a hopping method: quickly lift your left foot before your right foot has come all the way down and kick him from the front. A, simply send your left hand forward and carrying upward as a reverse hook, causing B to have no way for his kick to reach you. You can take advantage of this position by carrying still higher. B will want to bring his leg down right away, but if you can act quickly enough and carry his foot well beyond the horizontal line of his leg, then he will be at risk of losing his balance and have to quickly find a means of saving himself. See photo 20:

第二十一式:馬式右劈軋
Posture 21: HORSE-RIDING STANCE, RIGHT CRUSHING CHOP

說明
Explanation:
乙方以連續兩脚俱為甲方所破,乃即落步成馬式,出左拳直取甲腰如上圖。
B, once A has spoiled your kick, follow through by bringing your left foot down into a horse-riding stance as you send your left fist out to attack his waist. See photo 21a:

甲方即用左手封去來手,再落步進馬扣其馬而以右拳橫殺其項如中圖。
A, use your left hand to seal off B’s incoming fist, then come down advancing into a horse-riding stance to trap his front leg as you send your right fist across to smash his neck. See photo 21b:

乙方即以右掌自左肩穿出架開橫劈之拳如上圖。
B, your right palm threads out past your left shoulder to brace away A’s chop. See photo 21c:

第二十二式:扭步左黏肘
Posture 22: TWISTING STANCE, LEFT STICKY ELBOW

說明
Explanation:
甲方以劈捶為乙方消去,乃即化捶封其腕,再向右扭步,曲左肘自下托上以折乙方之肘部,如上圖。
A, with your chopping punch deflected by B, switch to sealing off his wrist as you twist your stance to the right, bending your left elbow, and use it to prop up from below in order to break B’s elbow. See photo 22a:

乙方化馬式為登山式,同時將右拳沉時以卸去甲方之攻勢,雖扭步因順勢之故頗為迅速,復以短手中之黏肘法更為緊凑沉雄,因此除用以肘破肘之外恐無他法矣,乙方先退馬者是避其鋒銳,再用沉肘法架拒為最適當而有效之法則矣,如圖。
B, switching to a mountain-climbing stance, sink your right arm down to dispel the force of A’s attack. Not only is it a very quick action for A to simply twist his stance, but the short-range sticky-elbow technique is quick and powerful. For using an elbow to break an elbow, there is no better method than this. You can retreat to try evade the brunt of the attack, but sinking the elbow to resist against it is actually the most appropriate and effective method. See photo 22b:

第二十三式:登山左拐肘
Posture 23: MOUNTAIN-CLIMBING STANCE, LEFT PROPPING ELBOW

說明
Explanation:
甲方以黏肘法已為乙方所解,乃即進馬成登山式,右手仍緊封來手,向上之左肘順勢滑下撞入乙方腋窩之內如上圖。
A, since B has spoiled your sticky-elbow technique, advance to make a left mountain-climbing stance, your right hand still sealing off his right hand, as your left elbow slides along underneath his right arm to smash into his armpit. See photo 23a:

乙方以來勢兇猛亦即退步躱之,再沉右肘壓下,使來勢蹤猛亦無法得再進分毫也,雖然暫遏止拐肘之法,惟甲方旣已連續使用黏肘,拐兩法進逼,難保其不再使用更多之肘法也,於是乙方乃用斜跨步法轉移甲方目標,雖欲更進亦無由矣,如下圖。
B, due to the fierceness of A’s attack, retreat to evade it and then sink your right elbow to press it down so that it has no way of reaching you at all. This can temporarily stop A’s propping-elbow technique, but he can continue to press the point with another sticky elbow and another propping elbow, and so on. Because it is difficult to prevent him from using further elbow techniques in such a position, you will have to step off at an angle to reorient yourself entirely and thereby take away his ability to advance with the same thing over and over. See photo 23b:

第二十四式:斜登山右掌
Posture 24: MOUNTAIN-CLIMBING STANCE, RIGHT DIAGONAL PALM

說明
Explanation:
乙方乘沉肘之勢跨進右脚以成彼此對面之勢,再以右掌攻入如上圖。
B, from your sinking elbow position, advance your left foot so that your torso is squared with A’s and use your left palm to attack him. See photo 24a:

甲方即以右掌撥去來掌如中圖。
A, your right palm deflects B’s incoming palm. See photo 24b:

再沿臂直揷乙方之胸,左拳轉而收於腰部如下圖。
A, your right palm slides along his left arm, charging toward his chest, your left fist withdrawing to your waist. See photo 24c:

第二十五式:馬式正補捶
Posture 25: HORSE-RIDING STANCE, FORWARD FILLING PUNCH

說明
Explanation:
乙先漏下左掌撥去甲掌,再出右掌打向甲方如上圖。
B, first your left palm slides down and deflects A’s right palm, then your right palm strikes to his face. See photo 25a:

甲轉右掌過左方拍開來掌,右拳從腰直出如中圖。
A, your right palm arcs around to the left to slap away B’s incoming palm as your left fist shoots out from your waist. See photo 25b:

乙乃合右長左短兩掌照凖來拳之上殺落如下圖。
B, your palms close inward and smash down onto A’s incoming punch, your right palm at long range [and thus onto his upper arm], left palm at short range [and thus onto his forearm]. See photo 25c:

第二十六式:雙刁左揪腿
Posture 26: DOUBLE HOOKING, LEFT SCOOPING KICK

說明
Explanation:
乙先旣已消去來拳乃即疾走甲之右斜方用掌自腦後擊來如上圖。
B, once you have dispelled A’s incoming punch, quickly step over to A’s right side and send your right palm to strike to the back of his head. See photo 26a:

乙先用右刁手封住來手之腕,再轉身抅入左脚,左刁手直搶其喉部如中圖。
A, first use a right hooking hand to seal off B’s incoming hand at the wrist, then turning your body rightward, use your left foot to hook around his front leg and a left hooking hand to attack his throat. See photo 26b:

乙方提右脚以解除揪腿威脅,再出左手消去鎖喉法如下圖。
B, your right foot lifts to eliminate the threat of A’s scooping kick as you send your left hand out to eliminate the threat of his attack to your throat. See photo 26c:

第二十七式:雙刁右揪腿
Posture 27: DOUBLE HOOKING, RIGHT SCOOPING KICK

說明
Explanation:
甲方再乘緊封來手腕部之利,立即進右脚揪其前鋒馬,右手直搶其喉部如上圖。
[B, your right foot comes down behind you to make a left mountain-climbing stance as your right fist withdraws to your waist and your left hand attacks A.] A, tightly seal off B’s left wrist to prevent that hand from being able to do anything to you, then quickly advance your right foot with a scooping kick to his front leg as your right hand becomes a hooking hand and attacks his throat. See photo 27a:

乙方乃提左脚,穿右手,同時解去甲方上下之威脅,
B, your left foot lifts as your right hand threads out, eliminating the threat of A’s attacks above and below simultaneously. See photo 27b:

揪腿者乃螳螂拳獨特腿法之一,凡用此腿法必先封得對方來手始行之,復以另一手搶鎖其喉,使其傾意於上部,我乃可遂行下路之襲擊,否則單獨進行揪腿者必為對方從容禳解也,如下圖。
The scooping kick is one of the characteristic techniques of Mantis Boxing. To apply this leg technique, it is necessary to first seal off the opponent’s incoming hand and then use your other hand to attack his throat, causing him to lean back. Once he is put in this position, a sudden attack to his lower body will be successful. If instead the kick was performed by itself, he would just calmly evade it.

第二十八式:跨虎双捆手
Posture 28: SITTING-TIGER STANCE, DOUBLE SNARING HANDS

說明
Explanation:
乙方先退提起之左脚,以成右登山式,擬以另一手法攻擊甲方,甲方為把握主動機先,乃即先起右脚伸得全身凌空而起,乘凌空而有全身力道之勢,向乙方撲進,雙手向乙之右手腕臂之間,自上撲封之,使其臂部有被斷之可能,
B, your left foot retreats to make a right mountain-climbing stance as [your left fist withdraws to your waist and] your right hand attacks A. A, take the initiative by lifting up your right foot and leaping forward, using the strength of your whole body, to crowd B as your hands pounce down to seize his right arm at the wrist and elbow, putting him in a position that could break his arm. See photo 28:

乙方旣處劣勢之下,當以解救被封之手是務,當甲方手到之時,即先曲肘坐馬以消解之,再以空置之左手反擊甲方,使其被逼而放棄雙手捆封我手之勢,斯為圍魏救趙之法也,如圖。
B, now that you are in an inferior position, the most important thing to do is rescue your right arm. Right when A’s hands arrive upon your arm, you will bend the elbow and sit into your stance in order to reduce the threat, then use your left hand to counterattack A where he is unguarded [which is depicted in photo 29a below], forcing him to let go in order to deal with your left hand. This is the tactic of “besieging Wei to rescue Zhao”.

第二十九式:踢腿刁取眼
Posture 29: KICK, JAB TO THE EYES

說明
Explanation:
乙方以臂被撲,乃採圍魏救趙之法,拼兩指直取甲眼部如上圖。
B, with your right arm having been seized, use the tactic of “besieging Wei to rescue Zhao” by sending out your left hand with a two-fingered jab to A’s eyes. See photo 29a:

甲亦採以牙還牙方式,先以左手封去來手,再用蹤跳方式,取眼撩陰同時並進如中圖。
A, adopting an “eye for an eye” attitude, first use your left hand to seal off B’s incoming hand, then hop forward and attack with a jab to his eyes and a kick to his groin at the same time. See photo 29b:

乙方亦用右上左下分迎來勢如下圖。
B, send your right hand up and left hand down to block A’s incoming attacks. See photo 29c:

第三十式:提腿雙擊掌
Posture 30: LIFTING LEG, STRIKING THE PALMS TOGETHER

說明
Explanation:
乙方搶先用右掌漏進以打甲方面之左便如上圖。
B, your right hand [retracts and then] shoots out to strike to the left side of A’s face. See photo 30a:

甲方先將踢出之脚收囘以成獨立之勢,再以左手反封來手,前手復歸後,合雙掌之勢以擊來掌,
A, your right foot withdraws to make a one-legged stance as your left hand does a reverse sealing action to B’s incoming hand and your right hand pulls back, both palms coming together to strike his hand. See photo 30b:

斯為射人先射馬,打人先打手之着,幸毋以打手而輕視之,彼手旣為我擊着,不但可遏制其攻勢,且可循此以反擊之,在不得已時而採用此法每能奏意想不到之奇效,吾人練拳用功焉可不注意及之耶!如下圖。
This is the tactic of “to shoot a man, first shoot his horse” [from the poem “Forward to the Frontier” by Du Fu], or “to strike a man, first strike his hand”. I hope you will not underestimate the tactic of striking the opponent’s hand. Striking his hand in this way can not only stop his attack, it can also produce opportunities to counterattack. When you have no other choice, this technique can actually prove surprisingly effective, and thus we who work hard at practicing boxing arts have to give it attention.

第三十一式:刁手反衝爪
Posture 31: HOOKING HAND, REVERSE THRUSTING CLAW

說明
Explanation:
甲方旣截擊來掌,右刁手反沿乙方臂下直銜入腋下如上圖,
A, once you have stopped B’s incoming palm, your right hand becomes a hooking hand and slides along underneath his arm to thrust to his armpit with your wrist area. See photo 31a:

乙為甲一擊再擊乃突即以蹤跳方式向後撤退以解連續被擊之危,
B, having been struck [on the hand] by A and now about to be struck again, suddenly jump away [and grab his right wrist] to eliminate the threat. See photo 31b:

甲且乘乙方末及收囘出手之時,順手封之,再以反爪衝入,其捨拳掌而用反爪者亦含有至理在,蓋人之腋窩位置至小,若以拳擊之必在肌肉層外,對寓有攻擊性之作用將消失矣,於是我乃利用反爪之位置小而尖銳,方可撞入透達其內部也,如下圖。
A, before B pulled away and sealed off your right hand, you sent out a reverse claw. There is a reason for this use of a reverse claw instead of a fist or palm. Because the armpit is a small target, a fist may just run into some muscles, which would disperse the shock, whereas a reverse claw forms a smaller and sharper point, enabling the force of impact to penetrate all the way to the internal organs.

第三十二式:拼腿上圈捶
Posture 32: LEGS TOGETHER, RISE UP, SWINGING PUNCH

說明
Explanation:
甲方將左後脚拍前以成立平之狀,右手拍落封來之手,且由此而反封之,替出右拳以橫圈乙方之太陽穴如上圖。
A, your left foot stomps forward to stand next to your right foot as your right [left] hand slaps downward to seal off B’s right hand, allowing your right hand to get free and swing across as a fist to his left temple. See photo 32a:

乙方將被封之手往後一抽俾便脫去封纏,再轉成騎馬式,向下一坐以免頭部有擊被之險如下圖。
B, pull back your right hand, escaping from A’s grip, as you switch to a low horse-riding stance, ducking out of danger. See photo 32b:

漢註:
Note:
此式依照先師遺照中是提腿而圈捶者,而漢則立正式而圈捶,客或於此有其疑感矣,蓋圈捶為硬打之剛手,提腿獨立則成虛步,於此便成上實下虛反常之勢矣,且下式下截捶亦為提脚,若此豈非連續兩式俱為同一步法乎?因此乃以先後兩式分別之,非有不同之處也,如下圖。
According to the photo of my teacher performing this posture, it is to be done with a lifted leg, but I do it standing straight, which may spark some confusion. The swinging punch is a technique of hardness, while a one-legged position makes an empty stance, thus producing a top-heavy condition of solid above, empty below. Furthermore, the following posture involves lifting the leg anyway. Since there seems to be little reason to hold the leg up for both postures, I have thus decided to make these postures more distinct from each other.

第三十三式:提腿下截捶
Posture 33: LIFTING LEG, DOWNWARD INTERCEPTING FIST

說明
Explanation:
乙方以甲方旣已集中攻擊我上部,其下路當有𨻶可乘矣,於是乃乘坐馬閃過圈捶之便順勢自腰衝出右拳直取甲方之腰部,此坐馬衝拳為勢至盛也,非等閒可能招迎,甲方先提步以讓其勢,再以上圈之右拳順勢橫截而下,更以左掌護於肩部以防不測如圖。
B, because A’s attention is focused upon attacking your upper area and his lower area is consequently open, due to dropping into a horse-riding stance to duck his attack, take advantage of the situation by thrusting out your right fist from your waist to attack his waist area. This thrust punch in a horse-riding stance is very powerful and should not be used casually. A, lift your right leg to guard against B’s attack as your right fist follows through from its swing by arcing downward and blocking across, your left palm guarding at your right shoulder to prepare yourself against any surprises. See photo 33:

第三十四式:提腿上挑捶
Posture 34: LIFTED LEG, CARRYING FIST

說明
Explanation:
乙方以右拳被截,若不急求他法,將為甲方所乘矣,於是即將前出之拳收囘,再向甲方上部作二次之衝擊,甲方原步不變,就將橫截之手再向上橫挑,使來手失去攻擊目標,反而造成甲方有利之勢,且以左掌掩於腰腹之間藉防再有攻擊也,如圖。
B, with your right fist having been intercepted, A will take advantage of your position if you do not quickly find another means of attack, and therefore withdraw your fist and do a second thrust, now to his upper area, [as you shift into a right mountain-climbing stance]. A, with your stance not changing, your right fist switches from intercepting below to carrying above, causing B’s incoming hand to miss its target and denying him an advantageous position, your left palm guarding at your belly in case he attacks again to your middle area. See photo 34:

第三十五式:登山封齊掌
Posture 35: MOUNTAIN-CLIMBING STANCE, SEALING, EQUALIZING PALM

說明
Explanation:
甲方先以左手自肘下穿出,由內反外封閉乙方之腕部如上圖。
A, your left hand threads out from below your right elbow to seal off B’s right wrist. See photo 35a:

再落提起之右脚以成右登山式,將替出之右拳化掌自乙方臂下橫掌直撇乙方腰肋之部,乙方連續兩圖仍未變動,
A, your right foot comes down to make a right mountain-climbing stance as your right fist becomes a sideways palm and flings out underneath B’s right arm to attack his rib area. See photo 35b (showing A not yet responding to A’s action):

此式與三十一式頗有相似之處,前者是以反爪作衝擊,此式即改用橫掌切入乙方腰部,使習螳螂拳者多一類似之攻勢,不至墨守一法而不知變幻莫測之神妙也,如下圖。
This posture looks similar to Posture 31, except in that case you were thrusting out with a reverse claw, whereas in this case you are using a sideways palm to slice to the opponent’s ribs. Practitioners of Mantis Boxing often perform attacks that seem similar to other attacks, but instead of simply being repetitive, they have the ingenuity to make unpredictable changes.

第三十六式:反封左措捶
Posture 36: REVERSE SEALING, LEFT TWISTING HIS FIST

說明
Explanation:
乙方以被連續攻擊,乃以蹤跳返身之法往後撤退,當退至相當遙遠時以右手反封甲方之手,甲方不俟其封得即自下反封而上如上圖。
B, once you have been attacked, leap away, and once you have gone back an appropriate distance, your right hand seals of A’s right hand. A, do not wait for B’s sealing to sink in, send your hand upward from below to seal him off instead. See photo 36a:

甲旣封得來手,且反其腕向上,若再施用右手措其腕則擒拏纏絲之手法乃成,
A, once you have sealed off B’s hand, turn his wrist over until it is facing upward, then your left hand twists back his hand, locking his joint with a “coiling silk” method. See photo 36b:

因此機不可失,隨出出右手合成上下反措之勢,措骨截穴俱為拳術上之重要法則,稍有研究無不知其利弊,而截穴則玄妙莫測,非對此道有深刻之研練不易致用,惟措骨措筋之法至為現實,凡四肢之能彎曲及可活動之處皆成目標矣,如下圖。
Because you must not fail to take advantage of any opportunity, the thing to do here is to bend back the opponent’s hand. Locking joints and striking acupoints are major skills in boxing arts, and everyone with even a modicum of study is aware of their advantages and disadvantages. Striking acupoints is a challenge to even comprehend and is not easy to apply without a deep level of study and training, but once you have fully realized the methods of twisting bones and sinews, then everywhere the limbs can bend and move becomes a target.

第三十七式:迎封右措捶
Posture 37: BLOCK & SEAL, RIGHT TWISTING HIS FIST

說明
Explanation:
乙方以腕為甲所握制,若不急求解脫當有斷腕之危矣,於是循左轉身以左拳迎頭打落如上圖。
B, if you do not quickly escape once your wrist has been grabbed by A, you are going to have a broken wrist, therefore turn your body around to the left and send your left fist striking down to his face [as your left foot steps forward]. See photo 37a:

甲乃先放左手反封之如中圖。
A, first your left hand lefts go of A’s right hand and seals off B’s left hand. See photo 37b:

再以右手反措之如下圖。
A, then your right hand twists back B’s wrist. See photo 37c:

第三十八式:掛手頂臍捶
Posture 38: HANGING HAND, PUNCH TO THE NAVEL

說明
Explanation:
乙方換步返身用右捶劈向甲方頭上如上圖。
B, switch your feet, turning your body, and use your right fist to chop down to A’s head. See photo 38a:

甲方踏右脚進左脚成左登山步,左手向上架去來手,右拳反手自下抽上至臍而止如中圖。
A, stomp with your right foot and advance with your left foot, making a left mountain-climbing stance, as your left hand goes upward to block away B’s incoming hand and your right fist whips out upward from below to his navel, the center of the fist facing upward. See photo 38b:

乙方退左脚為左登山步,右拳橫穿而止以攔去來拳如下圖。
B, retreat your right foot to make a left mountain-climbing stance as your left fist threads across [outward from inside] to block away A’s incoming fist. See photo 38c:

第三十九式:吞塌右扇風
Posture 39: GULP & SINK STANCE, RIGHT FANNING

說明
Explanation:
甲方以頂臍被攔,乃即以左上手自下穿封乙方之左腕,進右脚為吞塌式以扣乙方之馬,右手拼五指抓向乙方之右耳如上圖。
A, once your punch to B’s navel has been blocked, your left hand threads from below to seal off his left wrist, then your right foot advances to make a gulp & sink stance in order to trap his front leg as your right hand forms a claw and goes across to the right to snatch his right ear. See photo 39a:

乙方即提左脚以卸去甲方之扣馬,右拳自後穿出俾消來手,
B, your left foot lifts to avoid getting trapped as your right hand threads out to block A’s incoming hand. See photo 39b:

左右揪腿為封手然後用剛性之揪法,斯吞塌扇風者亦頗類於揪腿,祗是前者為明攻硬打,此式即是暗入而帶柔性耳!常使對方被扑尚不知其所以致扑之原由,是其佳妙之處也,如下圖。
Performing a scooping kick involves a sealing action and then the use of hard power. This method of gulp & sink with fanning is similar to a scooping kick, but a scooping kick is an obvious attack and strikes with hardness, whereas this technique is more subtle and guides the opponent with softness. With this technique, the opponent can be seized and not really know what is going on until it is too late, and therein lies the ingenuity of it.

第四十式:吞塌左扇風
Posture 40: GULP & SINK STANCE, LEFT FANNING

說明
Explanation:
乙自甲後走過其左以掌突攻其面部如上圖。
B, pass behind A and use your right palm to attack the left side of his face. See photo 40a:

甲即返身用右手封去來手如中圖。
A, turn around and use your right hand to seal off B’s incoming hand. See photo 40b:

再踏右脚開左脚以成左吞塌步,左手抓乙之左耳,乙方提右脚,穿左掌以卸其上下夾擊之法如下圖。
A, stomp with your right foot and step out with your left foot [to trap B’s right foot], making a gulp & sink stance, as your left hand reaches out to snatch his left ear. B, your right foot lifts as your left palm threads out, dispelling A’s simultaneous attacks above and below. See photo 40c:

第四十一式:吞塌右扇風
Posture 41: GULP & SINK STANCE, RIGHT FANNING

說明
Explanation:
乙方退右脚成左登山式,甲方以左手封去架來之手,再進右脚成右吞塌步,轉以右手向乙右便抓去,乙方亦以手來招,如上圖。
B, your right foot retreats to make a left mountain-climbing stance. A, your left hand seals off B’s left hand, then your right foot advances to make a gulp & sink stance as your right hand reaches out to snatch his right ear. See photo 41a (which shows B already blocking A’s incoming hand):

乙方旣招去來手復提步避過扣馬之法,
B, as your right hand blocks A’s right hand, your left foot lifts to avoid getting trapped. See photo 41b:

吞塌頗肖掃膛腿法,惟掃膛腿則深入而低,因低而力稍弱,吞塌法則淺入而畧高,進旣迅速,退亦容易,且其初進為輕,至緊扣時則可用大力,可輕可重中和於掃膛腿與揪腿之間,用此着者祈注意焉,如下圖。
The gulp & sink technique is very similar to a sweeping kick, but a sweeping kick reaches deeper and sits lower. Because the sweep involves dropping very low, the kick has less power. The gulp & sink method reaches out the foot not quite as far and stands slightly higher, which means that it advances more quickly and can retreat more easily. Initially it comes in rather lightly, and then once it has trapped the opponent’s front leg, it can express a great deal of power [especially with the hand swiping across in the opposite direction above]. The power level of the gulping technique is between a sweeping kick and a scooping kick [sweep = low power, gulp = medium power, scoop = high power]. I hope you will give this technique attention.

第四十二式:引針右腰斬
Posture 42: DRAWING THE NEEDLE, RIGHT SLICING THROUGH THE WAIST

說明
Explanation:
乙方先退提起之右脚以成右登山式,甲方左手仍緊握乙方之左手不放,當乙方退步時即跟步以七星勢抅住乙方之前鋒馬,右手化掌自下斜漏過右方,切向乙方之腰部,同時更以左手向握乙方一牽,合封手,抅馬,切掌三紀動作於齊一運用,使乙方重心失去均衡而至扑倒,勢至柔而其效實至大也,
B, your left foot comes down behind you to make a right mountain-climbing stance [as your right hand withdraws]. A, with your left hand still tightly gripping B’s left wrist, follow his retreat to make a left big-dipper stance, hooking around his front foot as your right hand becomes a palm and goes from below on the right side with a diagonal slicing action to his waist, your left hand at the same time pulling his hand in. With these three actions working in unison – pulling hand, trapping foot, slicing palm – this will cause him to lose his balance and topple. This technique uses great softness and yet is greatly effective. See photo 42:

螳螂拳技是以八剛十二柔為主,此引針腰斬之法不啻是柔中至柔,初練拳者認識不深,對各動作多强自發力,不但對法不合,尋且埋沒靈活之法,轉為呆滯矣,如圖。
Chief among the Mantis Boxing skills are the “eight hardnesses” and “twelve softnesses”. The technique of DRAWING THE NEEDLE, SLICING THROUGH THE WAIST is the softest of the softnesses. This quality will not be recognized very well in the beginning of the training and you will often execute various movements with too much strength. Not only would that be incompatible with this technique, it would also diminish its liveliness and make it sluggish.

第四十三式:登山左圈捶
Posture 43: MOUNTAIN-CLIMBING STANCE, LEFT SWINGING PUNCH

說明
Explanation:
乙方以左右上下俱受制於甲方,偶一不愼便有傾撲之可能,於是乃全身蹤起往後跳去,當跳起時,順勢以右手反封甲方如上圖。
B, A has control over you to the left and right, above and below. If you are not careful, you will get toppled over, and so your whole body has to leap away, and then once you have leaped back [pulling back your left hand], your right hand seals off A’s left hand. See photo 43a:

甲即落步成登山式,更用右手拍消被封之手,反而因此封之,替出左拳向乙方頂上橫揮,欲擊其太陽穴位,乙方乃坐馬低首避過,
A, your left foot comes to make a left mountain-climbing stance as your right hand slaps down onto B’s right hand, sealing off his hand and freeing your own so that you can now swing across to his head with your left fist, aiming for his right temple. B, sit down into a horse-riding stance and duck your head to evade A’s attack. See photo 43b:

練螳螂拳之不易者莫如一剛一柔之分析與致用,例如上式是用柔中至柔之法,此式則瞬息之間改為剛中至剛,若隨便用之,不但對螳螂拳技無深刻之認識,且將去實用之道遠矣,如下圖。
When of the most difficult things in practicing Mantis Boxing is distinguishing and applying hardness and softness. For instance, the previous technique is the softest of the softnesses, but then this technique is a sudden change all the way to the opposite: the hardest of the hardnesses. If you are using hardness and softness randomly, not only does this indicate a shallow understanding of Mantis Boxing skills, it also means that you are a long way from being able to apply them.

第四十四式:登山左崩捶
Posture 44: MOUNTAIN-CLIMBING STANCE, LEFT AVALANCHE PUNCH

說明
Explanation:
乙方俟甲拳過後隨即轉為右登山式,掙脫被封之右手反而搭上再封甲方右手如上圖。
B, once A’s fist has passed over you, quickly switch to a right mountain-climbing stance as you pull free your right hand and then send it out to seal off his left hand. See photo 44a:

甲方以右手拍落,旣可脫去右手又可趁勢反封之,反左拳曲肘迎頭打落,乙方用左手橫架而上,
A, slap down with your right hand to again seal off B’s right hand, freeing your left hand, then roll over your left elbow and send your left fist striking down to his face. B, your left hand goes up to block A’s attack. See photo 44b:

螳螂拳中祗有圈捶,而崩捶,斷無崩然後圈者,此為順序而行,蓋圈乃橫掃對方上部者,對方必低頭避之,若不低頭亦必謀架格者矣,旣架格當自兩傍,於此我乃改用正面崩下之法為正常,否則便成反常之逆勢矣,如下圖。
In Mantis Boxing, the combo of swinging punch followed by avalanche punch flows seamlessly from one to the other. Because the swinging punch sweeps across the opponent’s upper area, he must duck his head to evade it, and if not, he will have to block. Once he has ducked or blocked, it is natural to turn your torso to be facing forward and send an avalanche punch down onto his face. Any other response would feel contrary to the situation.

第四十伍式:七星左刁手
Posture 45: BIG-DIPPER STANCE, LEFT HOOKING HAND

說明
Explanation:
乙方先以橫架之左手刁住甲方之左腕,同時以右掌反上打向甲方之左便,如上圖。
B, your left hand hooks aside A’s left wrist as your right palm comes up and strikes to his left temple. See photo 45a:

甲方往後坐馬以成左七星式,再乘抽脫之左手向來手之腕部刁去,
A, sit back to make a left big-dipper stance as your left hand pulls back and hooks aside the wrist of B’s incoming hand. See photo 45b:

此乃寓迎攔於封閉,若能封閉對方來手是即主動操於我手,搏擊之道主動者為操勝算之先决傑件,若易主動為被動則處處居下風,其不立敗者幾稀!是以螳螂拳之多用刁手者即把握主動之意也,如下圖。
This action contains the quality of going from blocking to sealing. If you can seal off the opponent’s incoming hand, then you have seized control over the situation. It is a truism in fighting that victory is in the grasp of the one who first seizes control. If it is easy to gain control over you, you will always be in a disadvantageous position and it would be rare indeed for you not to lose. Therefore Mantis Boxing often uses the hooking hand as a means of seizing control.

第四十六:七星右補捶
Posture 46: BIG-DIPPER STANCE, RIGHT FILLING PUNCH

說明
Explanation:
甲方不俟乙方變式,即進右脚成七星式,右拳自腰衝出如上圖。
A, without giving B any chance to adjust his position, quickly advance your right foot to make a right big-dipper stance while sending your right fist thrusting out from your waist. See photo 46a:

乙方原步往後一撤,同時以左掌橫壓來手,反右掌從甲方頭頂打下,
B, scoot back in the same stance as your left palm goes across, pressing down A’s incoming hand, and your right palm counterattacks by striking down to his head. See photo 46b:

登山補捶,馬式補捶,跨虎補捶皆於前式見之,登山騎馬兩法為穩健而實打之法,跨虎乃虛步法而用實打,斯七星步打法為虛實剛柔之大成,至適用何法須俟實際使用者臨陣方能作最後之决定,否則便有紙上談兵之嫌矣,如下圖。
The filling punch has so far been performed in a mountain-climbing stance [Posture 5 and 15], a horse-riding stance [Posture 25], and a sitting-tiger stance [Posture 2]. With a mountain-climbing stance or horse-riding stance, it is a solid technique in a solid stance. With a sitting-tiger stance, it is a solid technique in an empty stance. Now with a big-dipper stance, it achieves equal parts of emptiness and fullness, hardness and softness. As for exactly which stance it should be applied in, this is ultimately determined by the particular situation. To suggest otherwise evokes the dubiousness of the armchair strategist.

第四十七式:跨虎捕蟬式
Posture 47: SITTING-TIGER STANCE, CATCHING A CICADA

說明
Explanation:
甲方以右拳橫撇來掌如上圖。
A, your right fist flings aside B’s incoming palm. See photo 47a:

甲方向左後方轉身,乙方退右脚,同時轉為捕蟬式以結束此拳如中圖。
Both of you, make a “catching a cicada” posture, A turning around to the left rear, B retreating your right foot. This wraps up the entire set. See photo 47b [which shows both people much closer together than they actually would be, resulting in a somewhat amusing impression of one guy tapping another on the shoulder to ask him what time the next bus arrives]:

全拳旣完,雙方俱立正,如下圖。
With the entire set finished, both of you now stand at attention. See photo 47c:

為螳螂拳同道普言
A MESSAGE FOR FELLOW MANTIS BOXING PRACTITIONERS

螳螂者乃動物類中之昆虫耳!假使有人尊之為神為仙,吾並不反對,但發明人王朗氏當日發明斯拳時,純採像形,且配以猿猴步以接近其快速之出手,兼集十二字訣,八剛十二柔,八打八不打之中和方式,若祗知螳螂為神物,而對像形中而具備剛柔,手步齊全之拳技而茫無所知,則其相去於螳螂拳技眞不知以道里計矣。
若夫祗求形式上維肖維妙於一隻活螳螂,但其對揮拳動足中有疾徐,有姿態,有剛柔,有合多手為一組拳法,或手足並用者為一組,或單拳一足作運用者,吾人應先有所認識,然後加以推研,加以練習,按途程當以三年小成,五年大成,惟人有慧拙之分,功有動惰之別,迨又非限之以歲月矣。
先師在日常斥責一般循不正途軌而欲急於成就者曰:(亂七八糟)蓋在學技途中任誰俱欲於短期內超越前輩同學之心,且多數以為多習幾套拳而以為榮,實不知拳技亦等如一般藝術(欲速不達也)尤以領拳一道為螳螂門中之最重要者,若不領拳則不知既學之拳作何解拆,如是匪但多學無益,且枉費心血氣力也,至若領拳亦必先擇得與性格,技術相等者為理想,若對方技術幼稚者必拖累本身進步緩滯,對方超越於己者則力求配合其速度而致彼此皆感困難進而減低興趣,卒至一無所成,是以領拳雖似易實難也,今當領崩步刋成之日不得不向先後同道致其衷誠,尚希鑒其愚誠而加以指導也。
Among animals, the mantis is just an insect! If you revere it as some kind of divine being, I am not going to argue with you. However, when Wang Lang created this boxing art, he patterned it entirely upon the external image of the animal. He then paired its fast hand movements with monkey stepping, and further accumulated principles such as the “twelve terms”, the “eight hardnesses” and “twelve softnesses”, and the “eight allowable targets” and “eight forbidden targets”. If you only think of the mantis as a supernatural creature, but the boxing skills based on its behavior – hardness and softness complementing each together, hands and feet working in unison, and so on – are entirely unknown to you, then the skills of Mantis Boxing will truly not be understood. All it takes is to imitate the lively actions of the mantis, and then we will have speed and attitude, use both hardness and softness, and combine several hand movements into a single technique, or combine hand movements and foot movements into a single technique, punching with each step.
  We should first obtain knowledge, then study further and practice more. The process should take about three years to gain a small degree of success, five years to achieve a large success. Though of course not everyone has the same level of intelligence or will put in the same amount of work, and so one’s progress cannot really be scheduled. Master Luo would often scold us whenever we were doing it wrong because we were in too much of a hurry to succeed with these words: “What a mess!” When learning these skills, everyone wants to quickly surpass their teachers and fellow students. They also feel that having more and more sets to practice makes them somehow special. But learning boxing skills is no different than learning any other kind of skill. [Lun Yu, 13.17:] “If you push to get things done fast, they won’t get done at all.” This is especially true when it comes to the understanding sets, which are the most important part of the Mantis curriculum. Without the understanding sets, you would not know what makes the art tick, and then not only would you have learned a lot of useless stuff, you also would have wasted a great deal of energy in doing so.
  When it comes to the understanding sets, you must choose a partner with the right temperament and with a similar skill level to yourself. If the opponent’s skills are immature, it will make your own progress sluggish. If instead the opponent’s skill far surpasses yours and you have to struggle to match his speed, you will both feel it is too awkward and grow to lose interest in it, ultimately accomplishing nothing. Therefore although the understanding sets seem like they would be easy [considering they are based on solo sets that you would have already learned], they are actually quite difficult.
  Now that the time has come to publish Understanding the Avalanche Steps Boxing Set, I have to express my wholehearted sincerity to fellow enthusiasts, hoping that knowing how sincere I am will help induce you to give me corrections wherever they are needed.

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[View an original Chinese edition of Understanding the Avalanche Steps Boxing Set, provided by the Ravenswood Academy.]

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[Below are included the “eight allowable targets” and “eight forbidden targets” as described in Huang’s Secrets of the Mantis Boxing Art (1946).]

八打
THE EIGHT ALLOWABLE TARGETS

每部位皆屬次要,雖不致命,亦必重傷,如遇强手,非此不足以致勝,然不可輕予施用,以傷好生之德,惟吾同道愼之。
These are all secondary targets. Although not life-threatening, they are sure to cause injury. If you encounter an attacker who is highly skilled, these will be sufficient to defeat him. But you must not employ them rashly or you may do injury to your own life-sparing virtue. I hope my fellow practitioners will be mindful.

(一打)眉頭雙睛
1. the space between the eyebrows as well as the eyes themselves
(二打)唇上人中
2. the Ren Zhong acupoint above the upper lip
(三打)穿腮耳門
3. the hollow between cheek and earlobe
(四打)背後骨縫
4. the spine
(五打)脅內肺腑
5. the lungs under the upper ribs
(六打)撩陰高骨
6. the pelvic bone
(七打)鶴膝虎頭
7. the soft tissue just below the kneecap
(八打)破骨千斤
8. the shins

八不打
THE EIGHT FORBIDDEN TARGETS

是皆致命之處,苟非性命相搏,幸毋施用,若對方不念人命之為重,亦祗招之而已。
All of these targets are for life-threatening situations [and are thus the primary targets]. If you are not fighting for your life, I hope you will not employ them. Only use them if your attacker clearly does not consider human life to be of any value.

(一不打)太陽為首
1. the temples
(二不打)正中鎖喉
2. the windpipe
(三不打)中心兩壁
3. the solar plexus
(四不打)兩肋太極
4. the false ribs
(五不打)海底撩陰
5. the groin
(六不打)兩腎對心
6. the kidneys
(七不打)尾閭風府
7. the tailbone
(八不打)两耳扇風
8. the ears

[A more extensive version of these targets appears in Huang Yuanxiu’s Martial Arts Discussions (1936), also included below.]

踢打之部位
TARGETS OF KICKING & STRIKING

八可打,八應打,八不打三法。所謂八可打者,比演時可打而無害。八應打者,懲兇罰惡之舉。八不打者,打着便有危險。以上三種:亦是學技者,不可不知也。今開列如下:
There are three kinds of targets: eight permissible targets, eight emergency targets, and eight forbidden targets. The eight permissible targets can be struck without causing injury during competition. The eight emergency targets are for punishing real-life attackers. The eight forbidden targets are too dangerous to strike. These three kinds of targets must be understood by students, and so they are listed below:

八可打
The eight permissible targets:

兩肩窩,
1 & 2. the upper ribs
兩上肘,
3 & 4. the upper arms
兩背胛,(背之上部)
5 & 6. the shoulder blades
兩大腿,
7 & 8. the thighs
以上八處,可為師徒間揀習撲打之用,尚無妨礙。
(These eight places can be struck during practice between teacher and pupil without impeding the training.)

八應打
The eight emergency targets:

一打眉頭雙睛,
1. the space between the eyebrows as well as the eyes themselves
二打口上人中,
2. the Renzhong acupoint above the upper lip
三打耳下穿腮,
3. the hollow between earlobe and cheek
四打背後脊縫,
4. the spine
五打兩肘骨節,
5. the elbow joint
六打鶴膝虎脛,
6. the soft tissue just below the kneecap
七打腿下顆骨,
7. the ankles
八打脚背指脛。
8. top of the foot, the toes, or shin
如遇暴客凶徒;舉動狠毒時,應打以上八處,
而懲之,使其疼痛昏迷,不致作惡也。
(If you encounter a criminal or ruffian whose actions are vicious, correct him from among these eight targets, rendering him either in pain or unconscious, incapacitating him from committing further evil.)

八不打
The eight forbidden targets:

一不打泰山壓頂,
1. the top of the head
二不打兩耳封門,
2. the ears
三不打喉咽氣管,
3. the windpipe
四不打胸間穿心,
4. the solar plexus
五不打乳下雙脇,
5. the false ribs
六不打海底撈陰,
6. the groin
七不打腰心兩腎,
7. the kidneys
八不打尾閭中正。
8. the tailbone
以上八處,踢打中着,必有性命之虞,故不打也。
(Kicking or striking these eight targets will endanger someone’s life, and are therefore forbidden.)

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