LIUHEBAFA DEMONSTRATED BY CHEN YIREN

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六合八法拳學
A STUDY OF LIUHEBAFA BOXING
陳亦人
by Chen Yiren
[published in Hong Kong, Sep 1, 1969]

[translation by Paul Brennan, May, 2021]

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六合八法
Liuhebafa
張之江書於滬濱
– calligraphy made by Zhang Zhijiang in Shanghai

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六合八法拳具有力學支點醫療原理及科學內容
更能彂展个體活力適合大众練習可增強人身健康
Liuhebafa Boxing adheres to scientific principles, particularly of mechanics and medicine.
It can greatly enhance your vitality and health, and can be practiced by everyone.
公元一九六六年姜容樵題
– calligraphy by Jiang Rongqiao, 1966

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陈亦人先生六合八㳒作著書成紀念
In commemoration of Chen Yiren’s A Study of Liuhebafa Boxing:
發揚中华傳統武術
Promote traditional Chinese martial arts.
魏元峯敬题一九六八年五月
– sincerely inscribed by Wei Yuanfeng, May, 1968

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摰友陳亦人先生精岐黃擅國術早嵗漫遊滬濱從名家吳翼翬學六合八法拳藝盡得其傳後隨褚桂亭姜容樵論形意拳八卦掌繼至杭州復遇奇士相与究道其藝益精近更將其歷年所得秘奧編著六合八法拳學刋行問世余獲覩其書內容挈領提綱明晰暢達對於各種動作与方法述說至為詳盡
誠學者之寶筏也爰書數言以告珍賞
My colleague Chen Yiren is an expert in Chinese medicine and highly skilled at Chinese martial arts. In his youth, he traveled to Shanghai, where he learned Liuhebafa Boxing from Wu Yihui, receiving the full art. He later also learned Xingyi Boxing from Chu Guiting and Bagua Palming from Jiang Rongqiao. He then went to Hangzhou, where he met a unique scholar with whom he studied Daoism. His skills increased over the years to a profound level. He has now written and is publishing A Study of Liuhebafa Boxing. I have examined the contents of this book and find that the principles are explained clearly and that the various movements and methods are presented in thorough detail, providing a genuine aid for students. I humbly offer these few words to inform you what a treasure you are holding.
戊申仲夏鄧夢痕於新嘉坡
– written by Deng Menghen in Singapore, 45th year of the cycle, 2nd month of spring [i.e. March, 1968]

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亦人先生
for Chen Yiren:
闡揚武術
He explains and spreads our martial arts.
郭佩弦敬题
– sincerely inscribed by Guo Peixian

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六合八灋　南来首倡　著書啓後　聖道以揚
活人濟技　功牟庚相　立言立德　萬載留香
First Liuhebafa came to the south,
then this book put forth this ancient wisdom.
When modern people work together to obtain these skills,
they bring the art glory and virtue that will be honored forever.
亦人先生𤴓正　丁未仲春陳震𠍵敬題
– calligraphy by Chen Zhenyang, 44th year of the cycle, 2nd month of spring [i.e. March/April, 1967], for Chen Yiren’s book

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亦人武術家雅屬
for the cultured martial arts master Chen Yiren:
華嶽衣鉢惟君受
陳拳自古是名家
Chen Yiren has received this legacy from Mt. Hua,
Chen Xiyi’s boxing art renowned since ancient times.
張之江書於滬濱
– calligraphy made by Zhang Zhijiang in Shanghai

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六合八法拳具有擊技和保健壽方面所作用
Liuhebafa Boxing develops both martial skill and lifelong health.
裴锡荣题
– calligraphy by Pei Xirong

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張之江先生題詞
Commemorative words from Zhang Zhijiang written on a wall scroll [referencing several lines of the “Boxing Secrets in Five-Character Lines”]:

要為心意功　先從八法起　有剛亦有柔　隂陽竝相濟
體用一連貫　遍身皆弹力　圓展松合靜　養我浩然氣
動作似游龍　蘊藏皆珠玉　華嶽希夷門　惟君得承繼
If you want to learn the Mind & Intention art,
start from the eight methods. [lines 11/12]
There is hardness and also softness,
the passive and active aspects working together. [lines 35/36]
Theory and practice are linked together,
filling your body with a springiness. [line 14]
Through its roundness, spreading, loosening, uniting, and stillness,
the art cultivates your noble energy. [line 13]
The movements resemble a swimming dragon
and are full of precious gems. [lines 116 & 82]
The teachings of Chen Xiyi of Mt. Hua
have been inherited by this man. [line 89]
亦人武術家雅屬　張之江書
– calligraphy by Zhang Zhijiang, for the cultured martial arts master Chen Yiren

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吳翼翬先生墨寶
Priceless example of calligraphy by Wu Yihui, written onto a fan [on which he copied out two brief texts from the Daoist Canon]:

蟄龍吟
Hibernating Dragon Chant

睡神仙睡神仙石根高卧忘其年三光沉淪性自圓氣氣歸玄竅息息任天然莫散亂須安恬溫養得汞性兒圓等待他鉛花兒現無走失有防闲真火候運中间行七返不艱難煉九還何嗟嘆靜觀龍虎戰場戰暗把陰陽顛倒顛人言我是矇矓漢我却眠未眠學就了真卧禪養成了真胎元卧龍一起便昇天此蟄法是誰傳曲肱而枕自尼山樂在其中無人諳五龍飛躍出深潭天將此法傳圖南圖南一派儔能繼邋遢道人張丰仙
Sleeping immortal, sleeping immortal, comfortably sleeping on a mattress of stone, forgetting the passage of time. Sun, moon, and stars disappear, and the self fully emerges.
　　Energy flows through, the breath natural. There must be no disorder, everything calm.
　　Mild cultivation is like mercury, making the temperament complete, and patiently awaiting is like lead, allowing results to blossom [mercury and lead being components in ancient Daoist pills of immortality].
　　Do not become distracted, stay mindful. When your energy has been trained to a high enough level, it will move within you.
　　Doing the exercises over and over is not difficult. Repeated practice will leave with nothing to regret.
　　Quietly watch the battle between the dragon and tiger within you. Secretly grab the passive and active aspects and reverse them.
　　People will say that you are asleep, but you are asleep without sleeping.
　　Having learned the art, you have achieved sleeping meditation. When your cultivation is complete, you have returned to your fetal beginning.
　　The sleeping dragon gets up and ascends into the sky. Just who was it that passed down this wonderful hibernation art?
　　Pillowing on a curled-up arm, you have your own Mt. Ni [birth place of Confucius]. There is joy to be found when there is no one else around. [quoting from Confucius in Lun Yu, 7.16: “Even in plain food, mere water for drink, and pillowing on a curled-up arm, there is joy to be found. Wealth and status are to me as ephemeral as clouds.”]
　　Five dragons leap out of a deep pool. Nature taught these methods to Chen Xiyi.
　　His art is a continuation of the teachings of the “Slob Immortal”, Zhang Sanfeng.

三丰先生傳
Passage from the “Bio of Zhang Sanfeng”

先生歷盡艱辛終南遇師之後足遍天涯乃於武當山修成大道所可異者先生未降世而武當一席早為安排昔希夷先生游太華遇異人孫君訪曰武當九室巖深靜可居君後有徒孫更能發跡此山君光大張蓋已知名山有主人大道有法嗣也豈不異乎
Zhang Sanfeng went through all sorts of hardships. After he met with masters in the Zhongnan Mountains, in his quest for the elixir of eternal life, he then went to the Wudang Mountains to cultivate the Way. He was a very unusual person. Before he had even been born, there was already a place arranged for him at Wudang.
　　Chen Xiyi had been wandering around the nation and met the remarkable abbot Sun Biyun, who told him: “Wudang’s Nine Rooms Rock is a quiet place for you to stay. When you later have disciples of your own, you will bring greater fame to these mountains and even more glory to the great Zhang.” Knowing that this famous place produces great masters, and that the great Way inspires methods that will be passed down through the generations, Chen knew he would become unusual too.

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陳希夷祖師真像
A traditional image of the founder, Chen Xiyi

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吳翼翬宗師
Master Wu Yihui

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著者陳亦人
The author, Chen Yiren

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前排右起
Front row (right to left):
形意八卦太極拳專家褚桂停光生。
Chu Guiting – master of Xingyi, Bagua, and Taiji
六合八法專家南京國術舘長張之江先生、
Zhang Zhijiang, director of the Nanjing Martial Arts Institute – master of Liuhebafa
六合八法宗師吳翼翬先生、
Wu Yihui – grandmaster of Liuhebafa
形意八卦太極拳專家姜容樵先生、
Jiang Rongqiao – master of Xingyi, Bagua, and Taiji

後排
Back row:
呂紅八勢專家尹天雄先生、
Yin Tianxiong – master of Lü Hong’s Eight Throws
形意八卦太極專家韓星橋先生、
Han Xingqiao – master of Xingyi, Bagua, and Taiji
著者陳亦人。
Chen Yiren – the author

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姜序
PREFACE BY JIANG RONGQIAO

先友吳翼翬，是遼寧鐵嶺人，移居北京，他從小練習各門拳術，最後專習六合八法，他的六合八法拳，在全國可以説獨一無二的。
過去幾十年中，有人疑為六合八法是太極拳脱化而來的，其實不是，六合八法是宋朝時陳希夷先生所發明，代有傳人，斑斑可考，三十年前，我也疑六合八法是太極拳的變化，經過多年的訪查，才證明六合八法與太極拳無闗。
六合八法的發源地是河南沈邱縣的鹿邑鄉，其次黑龍江佳木斯一帶也很多，但是吳翼翬的六合八法練法不同，翼翬的六合八法，在藝術和技術上，都有他相當的價值。
前河南省國術舘長徐文炳，濟南左相臣，也是六合八法專家，可是沒有翼翬的六合八法精巧，六合八法與太極拳根本不同，六合八法有五百一十多個姿勢動作，不同樣子，不同名稱，而又是不斷勁的，但太極拳重複姿勢很多，像單鞭蹬腿等，僅有三十多個，由此證明六合八法與太極拳毫無相干，我曾為了證明這一事實，跟翼翬先生學過半趟，才知六合八法確是難學難精。
近得亦人老第來書，幷附有他的近作（六合八法拳）快將出版，洋洋數萬言，誠現代武術界之一大貢獻，不獨為初學之人做指南針，就是學而不精，知而不詳的買一本看看，也得到益處不小，特述其崖畧以為序。
丁未仲夏滄縣姜容樵序於上海
My colleague Wu Yihui was from Tieling, in Liaoning, and moved to Beijing. He practiced various kinds of boxing arts since he was a child, ultimately specializing in Liuhebafa [“six unions & eight methods”]. His Liuhebafa Boxing can be considered unparalleled throughout the nation.
　　For the last few decades, people have thought that Liuhebafa comes from Taiji Boxing, but this is actually not true. Liuhebafa was invented by Chen Xiyi of the Song Dynasty and passed down through the generations, though the records of this are incomplete. Thirty years ago, I too thought that Liuhebafa was just a variation of Taiji Boxing, but after many years of investigation, it is now clear to me that Liuhebafa has no connection to Taiji Boxing.
　　Liuhebafa began in Luyi Village, Shenqiu County, Henan, and the second largest community of practitioners is in Jiamusi, Heilongjiang. Wu Yihui’s training methods are somewhat different from those of others, but his skills and techniques are just as valuable. Xu Wenbing, who was a director of the Henan Martial Arts Institute and a government official in Jinan, was also a master of Liuhebafa, but his skill was not as refined as Wu’s, making the teachings of Wu even more valuable.
　　Liuhebafa is fundamentally different from Taiji Boxing. It has hundreds of movements performed in a continuous flow without any repetitions of postures or posture names, whereas Taiji Boxing has a great many repeated postures, such as SINGLE WHIP and PRESSING KICK, and has only about thirty distinct postures altogether. This feature alone makes it obvious that Liuhebafa and Taiji Boxing have nothing to do with each other. What finally drew my attention to this fact was that when I had so far learned only the first half of the set from Wu Yihui, I suddenly realized that Liuhebafa is much more difficult to learn.
　　Chen Yiren recently sent me a letter and included with it a copy of the manuscript for his new book, A Study of Liuhebafa Boxing, soon to be published. An impressive work containing tens of thousands of words, it will be an enormous contribution to the modern martial arts community. It will not merely point the way for curious beginners who just want to purchase the book to peruse it, to study the art but not master it, to be acquainted with the art but not know it in detail, it will also provide tremendous benefit. I offer these few words just to present a general idea of what you have before you.
　　- written in Shanghai by Jiang Rongqiao of Cang County, 44th year of the cycle, 2nd month of summer [i.e. June/July, 1967]

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序
PREFACE BY LI ZIYUN & SHEN WUXING

心意六合八法拳之發揚於海外，迺是陳師亦人，自一九六一年以還，多次由港南來宣揚所致。竊心意六合八法拳，乃宋代華山隱士陳希夷所創始。該拳之優點，貴在動作輕靈慢勻，剛柔相濟，節節貫中，圓活不滯，參陰陽而分虛實，有如雲龍飛行隱現不定。故常習之，則筋骨舒展，氣血調和，呼吸深長，使精神道德之修養臻至化境，而獲益壽延年之效，誠非虛言哉。今陳師亦人，為俾斯拳得以推廣流傳，特將之編印成六合八法拳學一書，以其所學和心得，公諸於世，並躬親攝成圖片，對逐式之變化奧妙，均闡述無遺，圖和文堪稱盡善盡美矣。此不啻可供諸同門藉以印證參照，而多所發現，卽未問津者，苟能手此一書，按圖模仿，揣摩學習，亦可得其門徑，而達自修之路。其光大斯術，嘉惠後學，豈淺尠哉。是為序。
受業盧子雲沈武興己酉年孟夏序於星洲
The spread of Xinyi [“mind & intention”] Liuhebafa Boxing abroad is due to Chen Yiren, who since 1961 has made many trips south from Hong Kong to promote it. Xinyi Liuhebafa Boxing was created during the Song Dynasty by Chen Xiyi, a hermit of Mt. Hua. Its characteristics are: the movements are light and nimble, slow and even, using both hardness and softness, continuously flowing, lively and never stagnant, expressing both passive and active, involving both emptiness and fullness, appearing and disappearing without pattern like a dragon flying in the clouds. With consistent practice, the sinews will be stretched out, the energy and blood will be harmonized, and the breathing will be deep and long, resulting in the cultivation of the spirit, the attainment of a stronger morality, and the obtaining of longevity. These are not exaggerations.
　　In order to popularize this boxing art, Chen Yiren has written A Study of Liuhebafa Boxing based on his knowledge and experience in order to share the art with the world. He personally posed for the photographs. As for the subtleties of the movement transitions, they are all fully explained in precise language. This book is simply intended as reference material for practitioners. Many who have discovered the art have not found a way to learn it. If you can pick up this book, imitate the postures, and contemplate the principles, you will have gained access to the art and reached a path to learning it on your own. The wonders of this art will bring you significant benefits.
　　- written by Lu Ziyun & Shen Wuxing, students of Chen Yiren, in Singapore, 46th year of the cycle, 1st month of summer [i.e. May/June, 1969]

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自序
AUTHOR’S PREFACE

齊人隆技擊，聞諸中國史矣、大和魂武士道、又聞諸日本史矣！昔孔子教人以六藝而不能缺射御者、有文事不可無武備，其於治道、更昭然若揭矣，余自束髮受書、以至今日、凜於先聖之教、故文事之餘，涉及武道、鍥而不舍、殆亦性之所近也，乃星霜數歷、轉益多師、學海汪洋、不敢自滿，歲己已得南京國術舘長張之江先生之介、師事吳翼翬夫子，夫子精金礪玉、粹然淵澄，所授六合八法一技、以陰陽為則，以轉變為圓、盖氣之體為陰陽，其成在天地之先，其能見於萬物孕育之後，轉動變化，益見其功，故能育萬物如子，而萬物亦倚之如母，然氣之在人、能自宰而不隳者、在儒家謂之性，盡功極能，守之為元，行之為仁、如是者、非所謂浩然之氣為何？能善學者，得其本體，善參者，明其作用，此非轉變為圓乎，翼翬夫子於返鐵嶺前，命將六合八法拳學、其未盡者屬補成之，責以宣揚光大、不可使先賢絕學淪胥以亡，受示，旋客香江，迄今又弍十年，而夫子亦歸道山矣，夫廣宗垂永、責在吾人，此卷之刋實不敢苟，其亦孔子射御之意，所以輔禮樂書數、以振民德、而發民育，以興吾道於靡窮中、倘有道君子更進而教之、好學者更不勝跂望矣。
己酉仲夏陳亦人自序於香港
Martial arts have been famous throughout Chinese history, just as Bushido has been famous throughout Japanese history. When Confucius taught his students the “six arts”, he did not neglect archery and charioteering. There cannot only be attention given to civil matters and none to martial preparations. When running a country, this is an obvious principle. I have enjoyed reading books ever since childhood. To this day, I remain in awe of the teachings of Confucius, and as a consequence, I went beyond mere literary studies and also engaged in martial training, persevering until there is a balance of both.
　　Over the years, I have learned many things from many teachers, but I do not dare to become complacent. In 1929, I was introduced by Zhang Zhijiang, director of the Nanjing Martial Arts Institute, to Master Wu Yihui. His skill in Liuhebafa Boxing was refined and profound. The art is based in the alternations of the passive and active aspects. The energy of it thus traces back before the universe came to be and reaches on beyond the formation of all things that now exist by way of endless transformation. These skills are thereby able to draw upon and derive from all things.
　　When the energy within you can be controlled but not oppressed, you will have what the Confucianists called “character”. When this ability is taken to a high level, you will furthermore be preserving your primordial self and acting with benevolence toward others. In this way, your energy will have nobility. If you are good at learning, you will be able to perform the movements, and if you are good at analyzing, you will understand how to apply the movements, and in this way the art will become complete.
　　Before Wu went back to Tieling, he ordered me to write A Study of Liuhebafa Boxing as an aid to those who do not have a full understanding of the art. I felt it my duty to promote the art, for I cannot allow such wisdom to be lost. I have worked at it in Hong Kong for the last twenty years. Wu has since passed away [in 1958]. It is our duty to carry on his teachings forever. This book refuses to neglect them, and indeed embodies the Confucian ideal of attending to archery and charioteering to address martial needs while the rest of the six arts – rituals, music, calligraphy, and mathematics – address the moral education of the people. To preserve our disappearing traditions, I hope that knowledgeable teachers will come forward to teach and eager students will rush to learn from them.
　　- written by Chen Yiren in Hong Kong, 46th year of the cycle, 2nd month of summer [i.e. June/July, 1969]

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例言
INTRODUCTORY REMARKS

一本編係華嶽希夷門之蟄龍法，從前隱而不傳、今科學昌明，百術公開時代，不得故步自封，視為獨得之秘，故基於利己利人之心。願同登健康之域。
The material in this book has to do with the “Hibernating Dragon” art of Chen Xiyi of Mt. Hua. It used to be secret and was never shared publicly. In today’s scientific era, all arts are shared publicly, keeping people from becoming complacent in their traditions or from jealously guarding them as something for themselves. The mentality is now one of benefiting others as well as oneself, and so I hope we will use these tools to all climb together to a higher level of health.

一本編發明此拳，純以尚德不尚力，內養心性、外修形體、固能舒展筋骨，血液循環，今將六十六式之築基初步諸法，貫為全編，使學者對於各勢之虛實變化、逐漸領悟、易於明瞭。
This boxing art emphasizes virtue rather than force. It internally develops the temperament, externally develops the body. It can enhance the physique and boost the blood circulation. This book presents the fundamental sixty-six posture set in its entirety, enabling you to gradually and more easily understand the transformations between empty and full within each posture.

一本編拳式動作解説中、凡有「同時」二字、卽不論先寫或後寫、均係同時連續活動，不分先後、例如「弓箭」前脚彎曲、後脚蹬直、須同時進行，两手動作亦同，必須與下一動作相聯繫。
The movements involve actions that happen simultaneously, regardless of the order in which they are written. For an example of actions happening at the same time, getting into a bow stance requires that the bending of the front leg and the straightening of the rear leg proceed in unison. The same is true for the movements of the hands, the left hand and right hand moving together rather than one at a time.

一本編動作必須緩慢、柔和、圓滑，全體虛無自在，始終一貫，手肘要保持畧彎而墜，肩胯成垂直線，肘膝上下相對，手足相合，須有剛柔虛實，輕靈變化，勢勢須有意味，處處須圓潤無積，使呼吸逐漸深長細勻、內臟充實、積久則體力自然增加。
The movements must be slow, gentle, smooth, comfortable, and be a single flow from beginning to end. The elbows should constantly be slightly bent and hanging down. There has to be vertical alignment between the shoulders and hips, elbows and knees, hands and feet. There must be both hardness and softness, emptiness and fullness. Stay alert and adaptable. Every movement should be filled with significance. Every part of the body should have a sense of fullness, but never a feeling of being sluggish. The breath should gradually become deeper, longer, and more even, enriching the internal organs. After practicing this art for a long time, strength will naturally increase.

一本編所説明練習方法，本平日教授之經騐、着筆祗求明白、挂一漏萬之處、在所不免、尚望海內方家指正為幸。
The explanations for the movements are based on my own experience of teaching them daily. My only goal is to make the material understandable. However, errors are inevitable, and so I hope that experts will offer corrections.

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六合八發拳學目次
CONTENTS

心意六合八法之溯源
The Origin of Xinyi Liuhebafa
拳學五字訣
Boxing Secrets in Five-Character Lines
吳翼翬宗師題詞
Inscription by Wu Yihui
六合八法歌訣
Secrets of Liuhebafa
六合八法名稱之意義
The Meaning of the Name Liuhebafa
拳學五字訣詮釋
Elaborating Upon the “Boxing Secrets in Five-Character Lines”
六合八法論架子和姿勢
A Discussion of the Xinyi Liuhebafa Solo Set & Its Postures
六合八法內篇
Liuhebafa’s Internal Theory
六合八法拳各勢次序及名稱
Liuhebafa Boxing Posture Names in Sequence
六合八法拳圖解（上段）
Liuhebafa Boxing Set Illustrated (Part One)
六合八法拳圖解（下段）
Liuhebafa Boxing Set Illustrated (Part Two)
吳肇鍾先生之六合八法拳跋
Postscript by Wu Zhaozhong

–

華嶽心意六合八法之溯源
THE ORIGIN OF THE XINYI LIUHEBAFA ART OF MT. HUA

[Part 1 (by Wu Yihui)]

陳摶。字圖南。自號扶搖子。亳州真源人。始四五歲戲渦水岸。側有青衣嫗乳之。自是聰悟日益及長讀經。百家之言。一見成誦。悉無遺忘。以詩名。後唐中興舉進士不第。遂不求仕祿。以山水為樂。隱居當武九室岩。服氣避穀。移居太華雲台觀。先師好讀易。端拱初。自言死期。呼弟子賈德昇鑿石為室。石室成。化形蓮花峰張超谷中。著有指玄篇。高陽集。釣潭集。三峰寓言。六合八法。二十四氣導引法等。延年健身之術。圖南之後。李東風居隱山。距鹿邑東南十三里。崎嶇起伏。望之常有雲氣。李氏隱居於此。精心意六合。為希夷門之衣砵。繼傳闗杰。劉韻聲。流傳燕豫間矣。
宋道人元通。法心意六合。入太華學劍。為中條老姆派。曰法劍以術治成。必得英豪絕俗。正直無私者而傳之。
王得威。咸陽大魏邨人。六合八法。易名水拳。傳道人圓融。習元通八法。傳川陝間。葉李兩姓。不知居址。房山楊景群。以心意六合醫病。亦名先天十二勢。
清道光。先師陳光弟。河北昌平黃花鎮人。釋達遠之弟子也。心意六合之正宗。喜遨遊自慰。幼年經商。客開封。遇李道人靜然。習心意神功。相識范固國者。居黃河北岸。黑堽口。范家灘。先生精技擊。凡鄉里之拳勇著稱者。無不留之於家欵待。嗣見來者技無精深。不足所欲。乃挾資走江湖。期有所遇。行抵闗中。結識李蟬道人。携往南陽玄妙觀。學心意六合。內外神功。及大乘。小乘。玉川等劍法。凡五載技術大精進。得其三昧。陳師與劉養真至南陽。邂逅李師蟬。縱談古今。甚相得。乃執贄為弟子。與范氏固國。朝夕相從。凡李之所傳。更視為金科玉律。
Chen Tuan [Xiyi], called Tunan, as well as Fuyaozi, was from Bozhou [in Anhui]. When he was a small boy, he played beside a whirlpool and was nursed by an old woman dressed in green. His intelligence increased by the day, so he grew up studying the classics and absorbed the words of philosophers, memorizing them at a glance, and he himself later gained a reputation as a poet.
　　During the Later Tang Dynasty, he failed the civil service examination, and so he did not seek official position. Finding delight in nature, he lived in seclusion in the Wudang Mountains, at Nine Rooms Rock, where he practiced Daoist breathing and had an ascetic diet, then moved to Yuntai Temple at Mt. Hua, where he was obsessed with studying the Book of Changes.
　　At the beginning of the Duangong era of Emperor Taizong [988 AD], he predicted the time of his own death, so he ordered his disciple Jia Desheng to carve a stone room for him. Once the room was completed, it transformed into a lotus flower that spread out over the whole valley.
　　Chen’s writings include: Essays on Metaphysics, Collection of Writings Made at Gaoyang, Collection of Writings Made While Fishing at the Pond, Fables of Three Peaks, Six Unions & Eight Methods, and Twenty-Four Breathing Exercises, all of them about techniques for health and longevity.
　　After Chen Tuan, there was Li Dongfeng, who lived in seclusion in the mountains a few miles southeast of Luyi County, where the jagged peaks disappeared into the clouds. While he lived there, he mastered Xinyi Liuhe, having received Chen Xiyi’s teachings. He then passed the art down to Guan Jie and Liu Yunsheng, who in turn taught many students in Hebei and Henan.
　　The Daoist Song Yuantong mastered Xinyi Liuhe and then came to Mt. Hua to study the sword art. An exponent of the Old Nurse Style, he said: “The sword art is a means of governing the self. It gives heroes the power to transcend worldly concerns.” Upright and selfless, he freely taught the art.
　　Then there was Wang Dewei, who was from Dawei Village in Xianyang [in Shaanxi]. He taught Liuhebafa, which he called Water Boxing, to the Daoist Yuan Rong, training him in Yuantong’s eight methods. He taught a Mr. Ye of Sichuan and a Mr. Li of Shaanxi, though it is not known what became of him after that.
　　Yang Jingqun of Fangshan [district of Beijing] used the Xinyi Liuhe art to treat illness, also calling the art the “Primordial Twelve Postures”.
　　During the reign of the Qing emperor Daoguang [1821–1850], there was Master Chen Guangdi. He was from Huanghua Village in Changping, Hebei. A student of the Buddhist Da Yuan [“Reaching Far”], he received the genuine transmission of the Xinyi Liuhe art. He loved to travel, and he spent his younger days in the merchant trade. While visiting Kaifeng [in Henan], he met the Daoist Li Jingran, who then taught him the Xinyi Shengong skills.
　　Chen met Fan Guguo on the northern bank of the Yellow River, at Black Mouth Cove, on the Fan family beach. A master of martial arts, Fan entertained all of the town’s best boxers in his home. Whenever any of these visitors was not highly skilled, he was lenient with them.
　　Chen later gathered provisions and went wandering, hoping to find great masters. When he arrived in Guanzhong [in Shaanxi], he met the Daoist Li Chan and accompanied him to the Xuanmiao Temple in Nanyang [in Henan], where Li then gave him instruction in Xinyi Liuhe, internal and external Shengong, and the Greater Vehicle, Lesser Vehicle, and Jade River sword arts. After five years, his skill progressed to the point of mastery.
　　Chen brought Liu Yangzhen to Nanyang, where Liu also got to meet Li Chan. Liu and Li got along well together, discussing old ways and modern ways, and Liu then become Li’s student. Liu and Fan Guguo [who was also a student of Li] subsequently trained together every day from dawn to dusk. All three of them considered Li’s teachings to be precious and perfect.

[Part 2 (by Chen Yiren)]

吳師翼翬先生。東北鉄嶺籍。寄居北京。年七十七歲。以過去半封建情形之中國論。出身為詩書舊家。性豪任俠。崇師尊道。且天才特具。潛心修養。温文雅爾。和靄可親。先生精書善畫。負濟世才。懷絕技。不為人知。亦不求人知。張之江慕先生之高雅。聘為國術館教務處處長。並編教委員會主任。先生晚年又號逸叟。茲將先生習學拳術簡史。畧陳於后。
吾師於前清光緒廿一年。隨父宦遊汴梁。任河道事。設行台。寓黑堽口黃河北岸之三教莊。距河五里許。延聘張如燕。筆臣先生。家塾課讀。昆季三人。佩卿居長。東皋次之。先生時年九齡。從張公習詩書。天生慧穎。十一歲通經史。能詩文。性剛。喜技擊劍術。豫魯燕趙。多慷慨悲歌之士。村鄉市鎮習武之風。巍然大觀。到處林立場所。耳濡目染。益增尚武之心。時與同學友好至鉄佛寺。觀僧侶習拳棒。薰陶漸染。似有所得。惜于清末重文學。輕武功。卽教育文弱。以訓墨守陳規。亦復如斯。盖明清以來。未克有移風易俗者。是以吾師之先公雅不喜武道。亦不知武術為何物也。吾師習練拳術。實乏此機會。而有志未逮。
光緒廿二年冬吾師先公華誕。同寅諸好友來賀有范老固國者亦至。范為前清廩生也。忠厚誠樸。精技擊。善星相數理。先公與之莫逆。欵之至殷。飯後茶餘。談及拳術。范老對於南北拳術理論。頗能道其三昧。言中肯棨。精詳至微。先公許為理正辭嚴。然仍未允吾師學習此道也。豈非固執而守積俗。至此亦難釋其成見之深。吾師雖年在弱冠。而好武之志堅定。期必有志竟成。但心性急不能待。吾師遂與范老固國不介自薦願贄之為弟子。范老笑答少安勿燥。云拳一道。以養涵性情。健衞身心為上。切勿草草。俟遇機緣當為物色人選為之謀。范老謙不肯收。又云不投名師枉學藝也。自此之後杳無消息。
吾師先公河工事畢。卽返省垣。卜居老官街。方擬接篆理事廳任事。有陳君介紹閻師國興。自光山縣來。並携胡鳳翔。陳福成。張吉順。韓玉春。皆燕趙拳術巨手。濟濟群英。會聚一堂。吾師先公參觀各家名拳。及刀劍槍棍。精彩超群。自此始悉古代講武。確有其事也。吾師練習拳術之機會。亦由此而生。閻師對于拳術理論。滔滔不絕。詳述其攻守健衞之功能。至微至妙。及剛柔並用之法。陰陽互應之機。因是乃得先公贊許學藝。遂于光緒廿二年冬季。開始練習拳術。韋馱功。三盤十二勢。六合八法。及劍術刀槍棍法等長短器械。靡不練習。吾師先公此際。方知文事必有武備。所謂文經武緯。為國干城。不負男兒壯志耳。光緒廿四年。范老固國。携友陳光第先生。自黃河北岸。范家灘。來省垣。謁訪吾師先公。叙談離愫。知閻師方授吾師技。初未便與閻師談拳學。亦因拳術家之門户派别。成見甚深。是以不欲多所論列。迨見吾師拳術精熟。出入有節。進退得法。窈窈冥冥。超卓絕倫。稱讚不已。遂請閻師談。甚相得。詎為華嶽希夷門心意法之弟子也。益增欣幸。殊途同宗。各臻妙境。從此陳師寄寓開封。與閻師分時教授。承兩老諄諄教誨。冀吾師集於大成。閻師因公出差潢川。乃由陳師竭誠相教。吾師朝夕砥磨。細心研究。頗多進益。漸能應變知方。趨神入化。光緒廿七年秋。吾師隨同太君及两兄返京都。照閻陳二老之衣砵。會萃精研。動靜卒然明奇正。知虛實。得生生不已之妙。昔當清末之際。世界風雲日亟。內憂外患多事之秋。吾師嘗云寧為武愚。勿為文弱也。於光緒三十一年。由北京願學堂。考入保定北洋武備學堂。課餘之暇。不忘鍛鍊拳術。每逢星期休假。性喜獨往散步郊外。保之城鄉有下閘觀音庵。清靜幽僻。恒往練習武功。以此僻靜幽閑之區。期有所遇。以償素願。時值春夏之交。綠樹陰濃。天朗氣清。見二叟危坐石邊。舉手着棋。意極瀟洒。隱逸之士也。每遇必寒温。惟言不多談。內有一年長者。鬚髮蒼白。精神矍鑠。睹吾師勤苦鍛鍊。不厭不倦。深嘉許之。久而詢其名姓籍貫。談及拳理。頗多精深之學。所謂經典以外傳授之法。心法玄妙也。甚感其奇。問其姓字。潘致和先師之弟子陳鶴侶也。陳師為心意八法之翹楚。隱居保陽。不期而遇。陳師以吾師苦其心志。所學尚未能盡其善。因係嫡傳。一系同門。願完成其志。使所學得以健全。吾師遂贄之為弟子禮。復從之教。經两載。術益進。更非乎凡可能為。亦不偶然也。先生寄居京師多年。凡都門名家拳術。往來甚殷。向無偏無倚。不分門宗派别。最重武德。以躋大同耳。
Wu Yihui was born to the northeast in Tieling, lived for a long time in Beijing, and passed away at the age of seventy-seven [in Shanghai]. He was born into a scholarly family in a China that was still a semi-feudal world. He was forthright and chivalrous, reverent toward his teachers. He was very talented and very focused, as well as elegant and amiable. He was unusually skilled at calligraphy and painting, and yet he went unknown for these things and never sought to gain recognition. Zhang Zhijiang admired his refinement and invited him to the Central Martial Arts Institute to be the dean of studies, as well as head of the written instruction committee. Yihui in his later years was also known as Yisou [“leisurely old man”]. Below I present a brief history of his own martial arts education.
　　In the 21st year of the reign of Emperor Guangxu [1895], Yihui traveled with his father to Kaifeng, where his father was put in charge of a river engineering project for Sanjiao Village at Black Mound Cove on the northern bank of the Yellow River, just over two miles away from the river. Once there, his father hired Zhang Ruyan, known as the “Pen Minister”, to privately tutor his three sons: Peiqing the eldest, followed by Donggao, and Yihui himself being the youngest. Though Yihui was at that time only nine years old, he learned literature from Zhang with an innate intelligence. By the time he was just eleven, he was already well-versed in the classics and histories, and was able to write poetry and essays.
　　Having a steadfast temperament, Yihui found delight in boxing arts and sword arts. Throughout Hebei, Henan, and Shandong, there were many dedicated martial artists. The martial traditions of the cities, towns, and villages of these provinces were a spectacle to behold. Seeing such sights everywhere he went affected him enormously and increased his esteem for martial arts. He often went with his classmates to the Iron Buddha Temple, where they watched the monks practicing boxing and staff techniques, which had a great influence upon him.
　　Unfortunately during those later years of the Qing Dynasty, it was literary studies that were held in the highest regard, while martial training was trivialized. Teachers were usually scholars with frail bodies who stuck to giving long-established lectures, and for centuries ever since the Ming Dynasty, there was little tolerance for altering this tradition. Yihui’s father was an example of the typical cultured gentlemen who had no taste for martial arts and did not understand how they could be of any use. Yihui therefore missed this opportunity to learn boxing arts, but still had the ambition to do so.
　　In the winter of the twenty-second year of the reign of Emperor Guangxu [1896], there was a birthday celebration for Yihui’s father, so Yihui and his friends came to offer congratulations. In attendance was Fan Guguo, a government scholar during the Qing Dynasty, who was considerate and polite, skilled in astronomy and mathematics, and an expert at martial arts. Yihui’s father was his close friend and helped subsidize his income. While drinking tea after a meal, they brought up boxing arts and Fan discussed the different principles between the northern and southern systems. He had great ability to describe the secrets of these arts, his explanations being authoritative and detailed. Although Yihui’s father allowed Fan to instruct Yihui in scholarly pursuits, he still would not permit the boy to learn boxing arts. It is hard to see why he was so stubbornly conservative on this point, so prejudiced against the idea of his son developing martial skill.
　　Yihui was at that time a young man entering adulthood and was firm in his ambition to learn boxing arts. Unable to wait any longer, he introduced himself to Fan Guguo and asked to become his student. Fan smiled and told him to be patient. “Boxing arts are a means of cultivating the temperament. The purpose is to develop health and self-defense for the body and mind. And so never be hasty about choosing a teacher. Wait for the right one to come along.” Fan then politely declined to accept him as his student, but also left him with a further remark: “And be sure not to devote yourself to a famous master who teaches bizarre nonsense.” And with that, Yihui’s quest again went into limbo.
　　When Yihui’s father had completed his work on the river, he went back to Kaifeng and moved into a home on Laoguan [“old officials”] Street, planning to take a position in provincial government. He was there introduced to Yan Guoxing of Guangshan County. Yan had several colleagues – Hu Fengxiang, Chen Fucheng, Zhang Jishun, and Han Yuchun – who were all famous martial artists from Hebei, an illustrious assembly now gathered in one place. Yihui’s father visited each of their homes and discovered they were all masters of saber, sword, spear, and staff. He began to understand from them that traditional martial training had some value after all. Yihui at last had his opportunity to train in martial arts.
　　Yan discussed martial arts theory endlessly, explaining in profound detail their function for attack and defense, and for health and fighting, as well as the principles of hardness and softness working together, and of the passive and active aspects complementing each other. His knowledge and skill greatly impressed Yihui’s father, and therefore in the winter of the twenty-second year of the reign of Emperor Guangxu [1896], Yihui began learning Weituo Gong, Twelve Animals in Three Levels, Liuhebafa Boxing, and trained in both short weapons and long weapons, sword and saber, staff and spear. Yihui’s father now knew that literary studies also need to have martial training right alongside, that the defense of the nation requires equal ability in civil and military matters, and hence he never again opposed his son’s ambition.
　　In the twenty-fourth year of the reign of Emperor Guangxu [1898], Fan Guguo brought his colleague Chen Guangdi from the northern bank of the Yellow River to the Fan household at Kaifeng in order to then visit Yihui’s father. Over the course of conversation with him, Chen discovered that Yan Guoxing had been teaching their art to Yihui. He then did not want to discuss any boxing theory with Yan, due to the deep prejudice between boxing masters of different lineages, but once he had witnessed Yihui’s boxing skill – gathering and releasing with precision, advancing and retreating smoothly, his movements already exhibiting a peerless subtlety – he could not stop praising what he saw. He then eagerly sought discussion with Yan, they got on well together, and he asked if he too could learn from him more of the Xinyi art of Chen Xiyi of Mt. Hua. This was joyous for both of them, for though they had learned from different teachers, it was still the same art, and they both ended up achieving a more profound understanding of it.
　　Chen then stayed in Kaifeng, where he and Yan shared the teaching duties. They both taught Yihui patiently, in hopes that he would have a great achievement in the art. Yan then went away on an official trip to Huangchuan County, and so Chen sincerely attended to Yihui himself. Yihui trained hard every day from dawn to dusk, meticulously studying the material. He made tremendous progress, gradually becoming more and more capable of adapting to situations through an understanding of the principles, making him increasingly captivated by what he was learning.
　　In the autumn of the twenty-seventh year of the reign of Emperor Guangxu [1901], Yihui went with his mother and brothers back to Beijing, taking with him what he had learned from Yan and Chen. He continued to work at it intensively until he suddenly understood the use of mixing orthodox and unorthodox techniques, and of alternating between states of emptiness and fullness, and thus he obtained the wonder of having unending newness in his actions.
　　The last days of the Qing Dynasty were precarious times, both of domestic chaos and foreign threat. Yihui once commented: “In such times, it’s better to be a stupid soldier than a feeble scholar.” In the thirty-first year of the reign of Emperor Guangxu [1905], he left Beijing to enter the Baoding Military Academy. In his spare time after classes, he never forgot to practice his boxing art. Every weekend, he took a walk in the countryside surrounding the city to the Guanyin Temple, where it was quiet and secluded, and persevered in his martial training, making use of this serene place to fulfill his long-cherished wish.
　　During the end of spring and the beginning of summer, under the shade of green trees, in view of the clear sky, and amidst the freshest air, he saw two old men sitting at either side of a rock and playing chess on it. Their minds seemed so free, these reclusive hermits. Whenever he encountered them, they gave him soulless greetings [“cold warmth”], but rarely conversed with him. One of the old men had a hearty spirit inside despite his white hair. He observed Yihui’s diligent and tireless training and gave him strong praise. After a while, the old man asked him his name and where he was from. Then they discussed boxing theory and Yihui found that he had deep knowledge, remarking that he possessed that mysterious kind of wisdom that cannot be gained through studying literary classics. Feeling that he must be someone special, he asked him his name. It turned out the man was Chen Helü, student of Master Pan Zhihe.
　　Chen was a master of Xinyi Liuhebafa who had been living in seclusion. After meeting by chance, Chen was impressed by Yihui’s fortitude, but recognized that he not yet reached the peak of his potential. Since they both practiced the same boxing art, Chen wanted to help him complete his training and perfect his knowledge. Yihui then formally became his student and learned from him for two years, during which his skill progressed to even higher levels. His extraordinary ability was therefore no accident.
　　Yihui then lived in Beijing for many years. The boxing masters of the capital all visited him with sincerity, for he had no prejudices about which style is better, emphasizing martial virtue so that all types of practitioners can improve together.

[Part 3 (by Wu Yihui)]

自道咸間。燕趙魯豫。拳師鑣客。及相卒而宗。雖其間變遷互異。然各地巨手名家。參合融化同出一宗。各具高妙。不可以剛柔快慢而判定是非也。夫拳勇之為術。萬匯分流。皆朝宗於大海。其理皆一。神而明之。超乎寰中得其象外也。內養心性。外修形體。八法為先天之學。主於誠。至理之學。誠則明。所謂心正而意誠。意誠可以通神明。習之有却病健身之功。返老還童之效。謹以六合八法之根源。畧述大槪。而貢後學者之參考。
During the reigns of Emperor Daoguang [1820–1850] and Emperor Xianfeng [1850–1861], there were many masters of the art throughout Hebei, Henan, and Shandong, and although there were differences between their versions, these masters from various places came together in agreement, each having his own special skills and yet refraining from judging what was better for another, be it hardness or softness, quickness or slowness. The skills of individuals are distinct, but they are all a part of the great ocean of martial arts as a whole. Their underlying theories were all basically the same, insights that transcend the outward appearance of their postures.
　　This boxing art internally develops the temperament, externally develops the body. The eight methods are innate wisdom, built upon sincerity. Studying this boxing theory thus leads from sincerity to clarity. With the mind upright and the intention sincere, the results will be magical. Practicing the art will bring about the effects of ridding illness and strengthening the body, and of reversing age and restoring youth. This is but a brief outline of the origin of Liuhebafa, provided as a reference for students.

[Below are two further examples of calligraphy by Wu Yihui which both present material from the text above, the first an undated document, the second an inscription made in the autumn of 1945 and also including a poem to honor Chen Xiyi.]

先生無樂亦無憂
憩睡能將萬事休
七竅得非混沌死
一身真已逍遥游
百年易盡露和電
千載上希聃與周
高隱華山絕聞見
心情總被白雲留
He was without excessive joy, and so he was also free of excessive grief.
Sleep can make all things disappear.
The senses switch off, bringing an end to chaos.
With the whole body in perfect stillness, the spirit is at last free to roam.
A hundred years races by so easily, like an evaporating dewdrop or a flash of lightning.
To have a thousand years is the higher hope of the Daoists.
High atop Mt. Hua, hidden from view,
the mind lingers on within the clouds.

–

拳學五字訣（李東風先師寫于鹿邑隱山）
BOXING SECRETS IN FIVE-CHARACTER LINES (written by master Li Dongfeng at Mt. Yin, near Luyi County)

1–4
心意本無法　有法是虛無
虛無得自然　無法不容恕
The mind is fundamentally empty of any methods,
for the true method lies in emptiness.
With emptiness, there is naturalness,
and freed from methods, there is nothing holding you back.

5/6
放之彌六合　包羅小天地
Express to all six directions [forward/back, left/right, up/down],
but be contained within your own small universe.

7/8
釋家為圓覺　道家説無為
Buddhists describe this state as “perfect enlightenment”.
Daoists just call it “non-doing”.

9/10
有象求無象　不期自然至
Seek to go from form to formlessness,
but do not expect this to happen according to a schedule, for it will instead develop naturally over time.

11/12
要學心意功　先從八法起
If you want to learn the Mind & Intention art,
start from the eight methods.

13/14
養我浩然氣　遍身皆彈力
Be like Mengzi [Mengzi, chapter 2a]: “I am good at nurturing my noble energy, making it is vast and strong.”
Your whole body should be like a coiled spring.

15/16
見首不見尾　無象亦無意
The opponent is aware of only one part of your body at a time and confused about the rest,
unable to interpret your shape or detect your intention.

17/18
收放勿露形　鬆緊要自主
Gathering and releasing should not be telegraphed.
Loosening and tensing should be deliberate actions rather than unconscious reactions.

19/20
策應宜守默　不偏亦不倚
You should keep your strategy hidden,
and thus you should not lean in any direction.

21/22
視不能如能　生疏莫臨敵
Look upon your lack of ability as though you do indeed have ability.
However, if you are still inexperienced in the art, do not try your luck against opponents.

23/24
動時把得固　一發未深入
While moving, maintain stability.
When issuing, do not overcommit.

25/26
審機得其勢　乘勢擊與顧
While looking for opportunity, get into the best position,
then you will be ideally placed to take advantage of any gap as soon as you spot it.

27/28
剛在他力前　柔乘他力後
The time for hardness is the moment before he expresses power.
Softness takes advantage of the moment after he expresses power.

29/30
彼忙我靜待　攻守任君鬥
He is in a hurry, whereas you are calmly awaiting him.
Amidst the attacking and defending, allow him to do all the fighting.

31/32
步步占先機　時時要留意
With every step, take control.
At every moment, pay attention.

33/34
蓄力如弓圓　發勁似箭直
Store power like drawing a bow.
Issue power like loosing an arrow.

35/36
悟透陰陽理　剛柔互參就
Thoroughly understand the theory of passive and active,
the way that hardness and softness complement each other.

37/38
調息坎離交　上下中和氣
Regulate your breath so that water trigram ☵ and the fire trigram ☲ combine [to produce the hexagram of After Completion ䷾: water on top of fire, thereby representing something cooking].
Cycling upward and downward in this way [up your back and down your front], the flow of energy becomes harmonious.

39/40
守默如卧禪　動似蟄龍起
In stillness, be as though in sleeping meditation.
In movement, be like a hibernating dragon awakening.

41/42
虛靈含有物　窈窈溟溟趣
There is something contained within naturalness:
a deep and hidden delight.

43/44
忽隱又忽現　息息任自然
Suddenly conceal and suddenly reveal,
but still allowing every breath to be natural.

45/46
避免敵重力　原來自我始
As long as you avoid the opponent’s full power,
what happens next is up to you.

47/48
雙單可分明　陰陽見虛實
Distinguish between double pressure [i.e. getting stuck on both sides] and single pressure [letting one side release].
The passive and active aspects manifest as emptiness and fullness.

49/50
虛引敵落空　欲收放更急
Lure him in to land on nothing.
Just as you are about to withdraw, instead suddenly throw him away.

51/52
两腿似弓彎　伸縮腰着力
Your legs each bend like a bow.
Extending and withdrawing is driven by the waist.

53/54
臂脊須圜抱　內外混元氣
Your arms and spine should encircle.
Inside and out, there is primal energy.

55/56
息念要集神　仿彿臨大敵
Stop thinking and focus.
Imagine you are facing a formidable opponent.

57/58
目光如流電　精神顧四隅
Your gaze should seem to be full of electricity.
Your mind monitors in all directions.

59/60
前四後佔六　掌握三與七
Your front leg carries only 40% of the weight, your rear leg 60% of the weight.
Your front hand wields 30% percent of the power, your rear hand 70% of the power.

61/62
形動如浴水　若履雲霧霽
Move as though immersed in water.
Step as though emerging from fog.

63/64
飄飄乎欲仙　浩浩乎清虛
The movement is delicate, as though you are on the cusp of becoming an immortal,
and the energy is vast, reaching into the clarity of emptiness.

65/66
意動似懼虎　氣靜如處子
The movement of intention is like a terrifying tiger,
while the stillness of energy is like a shy maiden.

67/68
犯者敵卽仆　五總九節力
Once you attack, the opponent immediately falls,
because you use the power of the five allies and nine joints combined.

69/70
欲學持有恒　升堂可入室
If you want to learn the art, maintain an attitude of perseverance.
You can only enter the palace after you have climbed all the stairs.

71/72
顯隱無與有　凝神尋真諦
Appear and disappear, manifesting and vanishing.
Focus your mind and seek the true meaning of this.

73/74
妙法有和合　離塵空虛寂
These ingenious methods possess a true harmoniousness,
and thus this is a practice of transcending the material world, bringing you to a liberating emptiness.

75/76
拳拳得服膺　道理極微細
With each technique, have complete faith in it,
even though the principles are very subtle indeed.

77/78
欲動似非動　靜中還有意
When you are about to move, there seems to be no movement,
and yet within that stillness, there remains intention.

79/80
息念氣自平　默默守太虛
Stop thinking and your energy will naturally settle.
Quietly maintain this state of emptiness.

81/82
元根築基法　蘊藏皆珠玉
The first thing to do is build a foundation.
The next thing is to hide away all your precious gems [i.e. skills].

83/84
説難亦非難　看易本非易
It sounds difficult but is not that difficult.
It looks easy but is not that easy.

85/86
有志事竟成　世間無難事
With ambition, everything is achievable,
nothing in the world impossible.

87/88
欲學果有誠　久恒與智慧
If you want to learn the art, you have to be sincere,
persevering, and smart.

89/90
華嶽希夷門　力行最為貴
In the boxing art of Chen Xiyi of Mt. Hua,
devoted practice is the most important thing.

91/92
神意要集中　推動轉輪器
With your mind concentrated at the central axis of your movement,
your actions proceed like the rotating of a wheel.

93/94
一觸力卽發　使敵難廻避
As soon as there is contact, power issues,
giving the opponent no time to evade.

95/96
欲鬆似非鬆　欲緊未着力
Loosen without relaxing.
Tighten without tensing.

97/98
運使求均衡　螺旋循環氣
Strive to have evenness in your movements
by moving energy in spirals and circles.

99/100
逢敵莫惶張　開闔收與放
When you encounter an opponent, do not get flustered,
just open and close, gather and release.

101/102
見形尋破綻　絲毫不相讓
Observe his shape and seek out flaws in his structure,
while at the same time denying him admittance to even the tiniest ones in yours.

103/104
腕肘肩胯膝　足踏手脚齊
Elbow moves in unison with knee, shoulder with hip,
hand with step.

105/106
節節力貫串　處處無乘隙
Joint by joint, power courses through,
nowhere leaving a gap to take advantage of.

107/108
呼吸細綿綿　升降緩而急
Breathe continuously,
whether rising or lowering, moving slow or fast.

109–112
得法可應變　有術方為奇
法術二而一　缺一不能立
Equipped with the methods, you will be able to respond adaptively.
Equipped with the techniques, you will be able to adapt ingeniously.
The methods and the techniques are two aspects of one thing.
Lack either, lose both.

113/114
两手輕輕起　曲伸無斷續
Your hands move with a lightness,
bending and extending without pause.

115/116
轉移有曲折　形似游龍戲
Twisting and turning,
look like a dancing dragon at play.

117/118
縱橫與起伏　陰陽運行數
Crissing and crossing, rising and lowering,
the passive and active aspects express in many ways.

119/120
意動氣相隨　闗節含蓄力
Where your intention goes, energy follows,
your joints containing power stored in readiness.

121/122
舒筋活血脈　榮衞得適宜
Loosen your sinews, liven your blood,
rouse your defensive energy, and then all your actions will be appropriate.

123–126
[These four lines are “How to Practice in Sixteen Characters” expanded to twenty characters in order for each line to now have five characters, the additional characters adding nothing to the meaning.]
一吸氣便提　氣氣可歸臍
一提氣便咽　水火得相見
When you inhale, energy rises,
which then returns to your lower abdomen.
Once energy rises, it is swallowed back down
so that fire and water can meet.

127/128
精硏內外功　心虛腹要實
Work intensively at both the internal and external training,
getting your mind to become empty and your elixir field to become full.

129/130
率然取其勢　首尾不相離
Swiftly seize control of his position,
never separating from him once you have engaged.

131/132
奇正得相生　動靜隨心欲
Use both orthodox and unorthodox actions,
applying movement and stillness as you please.

133/134
麤成五字訣　後學莫輕視
This completes the “Boxing Secrets”.
Do not think little of it.

–

題詞（鉄嶺逸叟敬題）
INSCRIPTION (by Wu Yisou [Yihui] of Tieling)

拳學一篇　繽繽燦爛　動靜內外　參差互見
五字真言　金錢一串　熟讀細閲　武道大觀
有緣於此　幸勿輕慢　身體力行　同登彼岸
In the study of this boxing art, there is a certain piece of writing
that is full of brilliant ideas.
A major theme is that movement and stillness, internal and external,
are opposites which reinforce rather than contradict each other.
　　The “Secrets in Five-Character Lines” are authentic words,
a whole string of gold coins.
Study it thoroughly, analyzing every detail,
and its martial principles will be a grand revelation.
　　Fate has brought you to this art,
and so I hope you will not treat it with disdain.
If you practice it with sincerity,
you will find it to be a means of ascending to enlightenment.

吾宗心意法為陳希夷門內養心性、外修形體，以平息萬有為行工之基、有形之軀、用則無形相佐、一氣之流行也、夫天地間非氣不運、非理不宰、理氣相合而不相離、故法以調息養氣為主，氣平心定、心定而後能靜、靜則動、動則通、通則久、久則變化無窮、易云寂然不動、感而遂通、釋曰圓覺、道曰金丹、儒曰太極一切事物之由來，靜定工夫不期然而自至、無極之真機寓矣
Our Xinyi art was passed down from Chen Xiyi. Internally it calms the temperament. Externally it toughens the body. The breath is universally the foundation of exercise and provides the framework for the postures. In application, the art is shapeless, a continuous flow. Like the universe itself, energy will move and principles will govern. The principles and the energy will merge together and never separate. The main method is to regulate the breath and cultivate the energy, thereby steadying the energy and stabilizing the mind. With your mind stable, you will have stillness.
　　From stillness comes movement, from stillness-based movement comes a more thorough understanding, from better understanding comes the motivation for perseverance, and from perseverance comes the ability for endless transformation. The Book of Changes [commentary section] says: “Change itself is silent and takes no action, but once it is set in motion, it affects everything.” Buddhists call it “perfect enlightenment”. Daoists call it the “pill of immortality”. Confucianists call it “grand polarity”. It is the source of all things. When in the midst of meditation, it will emerge by itself, waiting for the moment to arise from nonpolarity.

–

六合八法歌訣　李東風
SECRETS OF LIUHEBAFA (by Li Dongfeng)

六合八法始於心　心意源頭神主之　虛無自在靜中動　靜中養息調精氣
精氣相交依日月　行工火候崑崙頂　剛柔進退意相隨　趨動形骸無遲滯
往來順逆煉陰陽　綿綿密密在胎息　築基無欲養元神　學得此法永於世
無拘無朿得自然　我與乾坤為表裡　欲知有象原無象　固守虛無運坎離
The six unions and eight methods begin in the mind.
Intention is fueled by spirit.
From emptiness it naturally arises, a movement within stillness.
It is within stillness that the breath is nourished, and balance brought to essence and energy.
　　For essence and energy to merge together requires many days, many months.
Practicing to the point of mastery is like scaling the peaks of the Kunlun Mountains.
Use hardness and softness, advancing and retreating, always in coordination with intention.
Drive the entire skeleton, thereby not allowing any sluggishness in the movement.
　　Move back and forth, going along with and going against, refining the passive and active energies.
The continuousness and richness of the movement derives from breath control.
Concentrating on building a foundation without being greedy for more is what cultivates primordial spirit.
Learning this art is what keeps it alive in the world.
　　The art is unrestrained, achieving naturalness.
You and the universe itself form the interior and exterior.
A true understanding of form starts with formlessness.
Maintaining the quality of emptiness lies somewhere between being water and being fire.

李東風河南鹿邑縣隱山人在鹿邑縣東十二里李參一達遠為李東風再傳弟子東風先師得自劉守真遺法不悉何人所傳劉為河間人
(Li Dongfeng was from Mt. Yin, a few miles east of Luyi County, Henan. He taught this art to Li Canyi [a Daoist] and Dayuan [a Buddhist]. Li Dongfeng himself had learned the art from Liu Shouzhen [Wansu] of Hejian County, Hebei, though it is not known who Liu learned it from.)

–

六合八法名稱之意義
THE MEANING OF THE NAME LIUHEBAFA [“Six Unions & Eight Methods”]

吾宗心意法。六合為體、八法為用、
(The essence of our Mind & Intention art is that the six unions provide the theory and the eight methods provide the function.)

六合
The Six Unions

（一）體合於心
1. Body unites with mind.
（二）心合於意
2. Mind unites with intention.
（三）意合於氣
3. Intention unites with energy.
（四）氣合於神
4. Energy unites with spirit.
（五）神合於動
5. Spirit unites with movement.
（六）動合於空
6. Movement unites with the Void.

八法
The Eight Methods

（一）氣行氣集神
1. Energy: use concentration of spirit to direct the flow of energy.
（二）骨骨勁內歛
2. Bone: use your skeletal structure to store power.
（三）形化象模仿
3. Shape: constantly transform, mimicking [nature, animals, famous people, and so on].
（四）隨圓通策應
4. Follow: accommodate and go along with the opponent’s movements.
（五）提頂懸虛空
5. Ascend: suspend your headtop, producing a feeling of floating in midair.
（六）還往來返復
6. Return: go back and forth, reversing everything he is trying to do so that it rebounds upon himself.
（七）勒定靜守虛
7. Rein in: settle into quietude and maintain emptiness.
（八）伏隱現藏機
8. Conceal: disappear and hide what you are about to do.

開闔升降　化象虛空　神形清靈　動定靜通
Throughout opening and closing, rising and lowering,
transform your form into emptiness.
Let spirit take shape and the mind become clear.
In movement, be stable. In stillness, break through.

行功十六字
How to Practice in Sixteen Characters

一吸便提　氣氣歸臍　一提便咽　火水相見
When you inhale, energy rises,
which then returns to your lower abdomen.
Once energy rises, it is swallowed back down
so that fire and water can meet.

–

拳學五字訣詮釋
ELABORATING UPON THE “BOXING SECRETS IN FIVE-CHARACTER LINES”

拳以勁為上，以法為貴，懂勁知法者上乘，懂勁無法者中乘，無法而不懂勁者下乘也，懂勁難，知法亦難，故學拳難，知拳更難，應由練習時注意曲折，不在形勢而在精神轉換，切勿偏重理論，忽畧實踐，因學拳以動為先這種動是精神與肢體的運使，是精神合心意的支配，窈窈冥冥之謂也，以靜求動，雖動於形，而靜於心意，千變萬化，其理皆一貫，若非功深日久，則不能得心應手也。
五總九節力：卽肩，肘，腕，胯，膝，頸，脊，腰，足，為九節，掌心，頂心脚心，為五總，又名五心相印，力從脊出，是胸含腰聳，脊背力圓（心房固），肩鬆卽是脊力送，而後肘沉，力復達於腕底，其力發於掌指也，實與胯坐膝曲腰撑縮，足平踏，腰伸足指叩，頸頂豎立，合成為五總九節之力也。
時配中氣下行，集神氣沉，丹田根固，尾閭中正，始於心腎相交，坎離相合（卽心腎）先天與後天相接卽元陽達於氣海，氣海者（卽丹田）化合體肢而出，雖云是力，實氣之結晶，卽所謂發勁是也。
因九節有伸縮之能，彙合於五總，其彈力自生，而後法定，法定而後術行。
法者，是有規律之定法，要配合應變，審動靜之虛實，法雖有度，不為法所限，能用法，而不泥於法也，此上乘，善談法者下，若無法者謬矣。心意本無法，卽經典以外所傳者心法也。（為口傳心意）故不言法，（佛説有一切心，我有一切法此也）
術者，肢體鍛鍊，結構間架，合乎運行，使內之精氣，趨動形骸，不得有遲滯之虞，術以純熟，心手相忘，法有虛實，動靜裕如，應變有方，出奇制勝，人不能知，神妙莫測，故法術二而一，缺一不能立也。
In this boxing art, the most important thing is internal power, but there is also value in the methods. The highest level is to understand power and to know the methods. The middle level is to understand power but be without methods. The lowest level is to be without methods and have no understanding of power. Understanding power is difficult. Knowing the methods is also difficult. Therefore this boxing art is difficult to learn, but even more difficult to understand.
　　When practicing, pay attention to making curves. This is not a matter of shape, but of the changes of spirit. Do not become so obsessed with the theory that you neglect the reality. The primary kind of movement in this boxing art is that of spirit. Spirit governs the movement of the body and even the decisions of the mind, a profound concept indeed. Use stillness to seek movement. Although movement has to do with shape, stillness is a matter of intention. Endless transformation is the single principle running through the whole art. However, unless your skill has been deepened by long-term practice, you will not be able to perform at a high level of proficiency.
　　There are five allies and nine joints. The nine joints are: shoulder, elbow, wrist, hip, knee, ankle, waist, spine, and neck. The “five allies” (also called the “five centers”) are: the centers of the palms, the centers of the soles of the feet, and the center of the headtop. Power comes from the spine. The chest hollows and the waist curls in, rounding the back, and thereby protecting the heart. At the same time, the hips sit, the knees bend, and the feet settle. Then the shoulders loosen, sending the power from the spine, and the elbows sink, transmitting the power to the wrists, and the power expresses at the palm and the fingers, as the waist straightens and the feet press against the ground, the neck and head staying upright. This is the “power of the five allies and nine joints combined”. [See lines 67/68 of “Boxing Secrets”.]
　　When the time is ripe, energy moves downward. Once spirit gathers, energy sinks. With your elixir field full and your tailbone centered, your heart and kidneys will unite, the elements of fire and water working together. Your innate instincts and acquired habits will merge, and primal active energy will flood into your “energy sea” (another name for the elixir field), where it will be refined and then sent out to your limbs. Although this will be perceived as strength, it is actually energy manifesting, and the result is the issuing of power.
　　The nine joints can extend and contract. Joined with the five allies, a quality of springiness will naturally be produced [the shoulder, elbow, and wrist producing springiness at the palm; the hip, knee, and ankle producing springiness at the sole of the foot; the waist, spine, and neck producing springiness at the headtop]. The methods will thus be prepared and then the techniques will function.
　　The methods are the standard rules, but they have to be adaptable to the actual situation. Although the methods provide a standard, they are not intended to become limitations. Be able to make use of the methods, but do not get stuck in them. This is the highest level, whereas simply being able to talk well about the methods is a lesser level, and to be without the methods at all will lead to erroneous conclusions.
　　“The mind is fundamentally empty of any methods.” This means that the methods are not to be put into words [which are what get us stuck in fixed ideas rather than being free to the experience]. (This is usually presented in the written tradition in the sense of “mental methods” [i.e. intellectualizing something that can really only be physical/spiritual], but is passed down in the oral tradition in the sense of “mental intention”.) As the Buddha said: “When there is something in the mind, all things have being. When the mind is empty, all things are empty.” We can replace “mind” with “methods”. [See lines 1–4 of “Boxing Secrets”.]
　　The techniques can then train the body, building a structure that conforms to the demands of movement, causing the internal essence and energy to “drive the entire skeleton, thereby not allowing any sluggishness in the movement”. [See line 8 of Li’s “Secrets”.]
　　When you are skillful at the techniques, you no longer need to think about your hands. The methods possess both emptiness and fullness, a state of effortlessness between movement and stillness. There is a proper way to adapt: defeating the opponent by doing things he does not expect. When he has no idea what you are doing, your ingenuity is beyond measure. “The methods and the techniques are two aspects of one thing. Lack either, lose both.” [See lines 109–112 of “Boxing Secrets”.]

–

心意六合八法論架子和姿勢
A DISCUSSION OF THE XINYI LIUHEBAFA SOLO SET & ITS POSTURES

拳的架子，和運使動作之姿勢，全部在形勢上，與精神上密切之聯系，凡於練習時，可高可低，可大可小，亦無新舊之别，可單操，又能聯合次第作拳路演習，有循環伸縮，有螺旋起伏，有升降縱橫的變換，運使闗節，舒展筋骨，使血脈流通而停滯，用以開合伸縮作姿勢之聯系，其架子之形勢，與姿勢的動轉，務要聯絡一貫，不能斷續分開，勢分為上中下三盤，（卽三體）以意為主，以氣為輔，圓潤靈敏，行氣九轉，連貫九節，泯滅定象，使之不露圭稜，血流於內膜，氣行於闗節，所謂柔中之剛，練成剛中之柔，不浮滑，不凝滯，注重於姿勢與架式之中，及無意中之意，達到無拳無意，不期然而至之境，練有姿勢之架子，尋求無架子之姿勢，要琢磨架子之起點，和運使中之姿勢，及伸縮起伏縱橫收放的結構，分清了架子，是與姿勢動態有密切的闗係，那才能組成一個完全的拳式，這是拳術中極重要的一種闗鍵。
The movements in the boxing set are entirely a matter of integrating posture and spirit. When practicing, the stances may be high or low, the movements may be large or small, the version may be older or newer, and it can be done as individual techniques or as movements in a continuous sequence. The set contains the transformations of turning left and right, expanding and contracting, rising and falling, moving vertically and horizontally. In this way, it exercises the joints, stretches the sinews, and livens the blood circulation. Integrating the actions of opening and closing, of expanding and contracting, the postures of the set and the movements in the postures will form a continuous flow that cannot be interrupted. The postures are divided into the three levels of high, middle, and low.
　　Use intention to drive the movements, energy to assist. Energy has fullness and yet nimbleness, winding its way through all of the joints. Definable shapes are abandoned in favor of amorphous ones, causing corners and edges to disappear. Blood flows through the tissues, energy through the joints. There is hardness within softness, softness within hardness. The movements are neither flashy nor sluggish.
　　Work at getting the postures right without thinking about it and then eventually you will spontaneously achieve a state of being without techniques and without intentions. Practice the postures, seeking to be without postures. Contemplate the condition of being in the beginning posture and then put that condition into the rest of the postures. The set is composed of the actions of expanding and contracting, rising and falling, moving vertically and horizontally, and gathering and releasing. The set is constructed from postures that are made from such actions. This is the key to the whole art.

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六合八法內論
LIUHEBAFA’S INTERNAL THEORIES

道以誠而入。以默而守。以柔而用。用誠似愚。用默似訥。用柔似拙。夫如是。則可與忘形。可以忘我。可以忘忘。入道者知止。守道者知謹。用道者知微則慧光生。能知謹則聖智全。聖智全則慧光生。則與道一。是為真忘。惟其忘不忘。忘無可忘者。卽是真道。
[Quoting from the Jade Pivot Classic:] “Daoists study the Way with honesty, hold to the Way in silence, and apply the Way with softness. By being honest, one might seem foolish. By being quiet, one might be thought to be a mute. By using softness, one might be assumed to be clumsy. And yet through honesty, silence, and softness, one can forget one’s own existence to such an extent that one can forget there was even anything to forget in the first place. This is the skill of attaining emptiness.
　　“One who studies the Way understands sufficiency. One who holds to the Way understands sincerity. One who applies the Way understands subtlety. Understanding subtlety leads to illumination. Understanding sincerity leads to wisdom. Understanding sufficiency leads to tranquility. With tranquility comes wisdom. With wisdom comes illumination. With illumination, you will be one with the Way. This is the true forgetting. To forget but not forget, to forget without forgetting – this is the true Way.”

知神氣可以長生。固守虛無以養神氣。神行卽氣行。神住卽氣住。所謂意是氣焉。行止相隨。若欲長生。神氣相住。相住者卽是神氣不相離。心不動念。無來無去。不出不入。自然長住。
[Quoting from the Infant Breath Classic:] “One who understands spirit and energy can live a long life. Firmly maintain a state of emptiness in order to nurture spirit and energy. When spirit moves, energy moves. When spirit is still, energy is still. Intention is simply energy. Movement and stillness follow from each other. If you wish for long life, give attention to spirit and energy. This means keeping spirit and energy from separating with each other. Keep your mind from wandering from one distraction to another and you will naturally live a long life.”

元根論
The Primal Source

血始於心盡於腎、氣始於腎盡於心、心為離象、其中一陰、變化包藏之地、神血藏焉、腎為坎象、其中一陽、記悟包藏之地、精氣藏焉、故坎中一陽、與離中一陰交合、名曰旣濟。
Blood begins at the heart and finishes at the kidneys. Energy begins at the kidneys and finishes at the heart. The heart corresponds to the fire trigram ☲, which has one passive line in between two active lines. Adaptability is stored there, and thus it is the source of spirit and blood. The kidneys correspond to the water trigram ☵, which has one active line in between two passive lines. Memory is stored there, and thus it is the source of essence and energy. The active aspect within water mixes with the passive aspect fire, producing the After Completion hexagram ䷾ [hexagram 63, made of ☵ above and ☲ below (water over fire – i.e. a pot of water boiling)].

記悟論
Memory & Understanding

記性藏於腎經一陽、悟性藏於心經一陰、陰陽足則記悟足、陰陽不足則記悟不足、童子真陽足而真陰未足故記事易、悟事難、成童以後陰足而真陽又不足、故悟事易記事難、陽先足陰後足、陽先虧陰後虧，故記性與悟性，互為消長。
Memory is stored in the active aspect of the kidney meridian. Understanding is stored in the passive aspect of the kidney meridian. When the passive and active aspects are sufficient, memory and understanding will be sufficient. When the passive and active aspects are insufficient, memory and understanding will be insufficient. If the active aspect is sufficient but the passive aspect is insufficient, then memory will be easy but understanding will be difficult. If the passive aspect is sufficient but the active aspect is insufficient, then understanding will be easy but memory will be difficult. The active aspect will grow to sufficiency first, followed by the passive aspect. The active aspect will also shrink to insufficiency first, followed by the passive aspect. Therefore memory and understanding will wax and wane together.

論孔竅氣化
Caverns Where Energy is Transformed

心經一竅為萬物之靈、或明或暗、變幻莫測、化而為九其外八竅非有真孔穴、不過為靈氣所居、觸心動事、腎經一竅化而為二、一竅藏精名慾海、一竅注水、名曰水府、水府常開、慾海常閉、肝經二竅化而為三、主後天藏魂之地、號曰三魂、肝經十竅化而為七、主後天藏魄之地、號曰七魄。
The heart meridian is the cavern of the highest intelligence, sometimes showing it, sometimes hiding it, changing unpredictably, going all over the nine positions of the Luo River Diagram [shown below] and beyond. The “eight caverns” are not actual openings, they are simply places where energy resides, influencing the heart and rousing it to action. The kidney meridian splits into two paths. This is the cavern where essence is stored, and is thus called the “sea of passion”, and where water floods, and is thus called the “water mansion”. The water mansion is always open, the sea of passion always closed. The liver meridian also splits into two paths. In the diagram, it is the line of three on the left, the site reserved for the earthly soul, which is therefore called the “three soul”. In the diagram, it is the line of seven on the right, the site reserved for the ethereal soul, which is therefore called the “seven soul”.

龍虎論
Dragon & Tiger

肝與肺相對、肝属木、統東方震卦、震為龍象、洛書主三、為藏魂之地、號曰三魂、肺属金、統西方兑卦、兑為虎象、洛書主七為後天藏魄之地、號曰七魄、三魂七魄者、卽洛書三七相對也、魄属氣、氣歸於肺、魂属血、血歸於肝、是以有道之士煉龍虎丹者、乃煉肝肺二經之氣血也。
This describes the interaction between the liver and lungs. The liver corresponds to the element of wood, the direction of east, and the thunder trigram ☳. The thunder trigram is associated with the image of the dragon. In the diagram, it is the line of three on the left, the site reserved for the earthly soul, which is therefore called the “three soul”. The lungs correspond to the element of metal, the direction of west, and the valley trigram ☱. The valley trigram is associated with the image of the tiger. In the diagram, it is the line of seven on the right, the site reserved for the ethereal soul, which is therefore called the “seven soul”. The three soul and the seven soul are the line of three and line of seven placed across from each other in the diagram. The ethereal soul is associated with energy, which returns to the lungs. The earthly soul is associated with blood, which returns to the liver. This is what Daoists call “smelting the dragon & tiger elixir”, meaning the refining of the energy of the lung meridian and the blood of the liver meridian.

火水論
Fire & Water

心與腎相對、心属火統南方離卦、洛書主九為先天血脈之元、腎属水統北方坎卦、洛書主一為先天精氣之本心經主魂、肝經藏魂、腎經主魄、肝經藏魄、坎離交而魂魄合、是以有道之士煉水火者、乃煉心腎二經之魂魄也。
This describes the interaction between the heart and kidneys. The heart corresponds to the element of fire, the direction of south, and the fire trigram ☲. In the diagram, it is the line of nine at the top, the site reserved for blood circulation. The kidneys correspond to the element of water, the direction of north, and the water trigram ☵. In the diagram, it is the line of one at the bottom, the site reserved for vitality. The heart meridian stores the earthly soul. The kidney meridian stores the ethereal soul. With the interaction of water and fire, there is merging of the earthly soul and ethereal soul. Therefore the Daoist “smelting of fire and water” is the smelting of the earthly soul of the heart meridian and the ethereal soul of the kidney meridian.

元陽論
Primordial Active Energy

元陽属土太極之先始也、統轄十二經、掌生死之權、主性命之紐、卽元氣也、上係乎離、下係乎坎、故坎離交而精神魂魄性理通會矣、元氣絕者、坎離無所交、精神無所托、魂魄無所依、則死矣。
The primordial active energy is associated with the element of earth and the starting point of the Grand Polarity. It controls the twelve meridians and possesses the power of life and death, being the key to one’s very existence, which is one’s vitality. Placing the fire trigram ☲ above and the water trigram ☵ below makes the Before Completion hexagram ䷿ [hexagram 64 (water not yet put over the fire to boil)]. With fire and water then inverted and properly interacting, the essence and spirit, earthly soul and ethereal soul, temperament and rationality will all come together. However, if your vitality is exhausted and there is no cooperation between the water and fire within, no relying on essence and spirit, no depending on your earthly soul and ethereal soul, then you are doomed.

自然論
Naturalness

神者心經二陽之氣也、精者腎經一陽之氣也、陰陽交而精神合、性者心經一陰之竅也、理者腎經二陰之竅也、陰陽交而性理會、精神性理皆出乎先天之元氣也、精者自然之精、神者自然之神、性者自然之性、理者自然之理、精神性理動靜皆出自然。
Essence is a half active energy of the kidney meridian. Spirit is a full active energy of the heart meridian. Passive and active interact, merging essence and spirit. Temperament is a half passive feature of the heart meridian. Rationality is a full passive feature of the kidney meridian. Passive and active interact, merging temperament and rationality. Essence, spirit, temperament, and rationality all emerge from one’s innate primal energy. They are each of them natural in and of themselves, and all act therefore from a condition of naturalness.

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六合八法拳各勢次序及名稱
LIUHEBAFA BOXING POSTURE NAMES IN SEQUENCE

1 停車問路
STOPPING THE CARRIAGE TO ASK THE WAY
2 臨崖勒馬
APPROACHING THE CLIFF EDGE, REIN IN THE HORSE
3 閉門推月
CLOSE THE DOOR AND PUSH AWAY THE MOON
4 撥雲見日
SPREADING THE CLOUDS TO SEE THE SUN
5 臨崖勒馬
APPROACHING THE CLIFF EDGE, REIN IN THE HORSE
6 摘星換斗
PLUCK THE STARS TO PULL THE DIPPER OUT OF PLACE
7 鴻雁雙飛
A PAIR OF WILD GEESE IN FLIGHT
8 閉門推月
CLOSE THE DOOR AND PUSH AWAY THE MOON
9 孤雁出群
WILD GEESE LEAVES THE FLOCK
10 野馬追風
WILD HORSE CHASES THE WIND
11 川流不息
THE RIVER FLOWS UNCEASINGLY
12 伏虎聽風
CROUCHING TIGER LISTENS TO THE WIND
13 聲東擊西
THREATEN TO THE EAST AND THEN ATTACK TO THE WEST
14 青龍探爪
BLUE DRAGON EXTENDS ITS CLAWS
15 丹成九轉
PRODUCING ELIXIR OVER AND OVER
16 撥雲見日
MOVE THE CLOUDS TO SEE THE SUN
17 順水推舟
GOING ALONG WITH THE CURRENT TO PUSH THE BOAT
18 圖馬囘頭
MIGHTY HORSE TURNS ITS HEAD
19 瓶花落硯
POURING WATER FROM THE FLOWER VASE ONTO THE INKSTONE
20 高山流水
WATER FLOWING DOWN A TALL MOUNTAIN
21 童兒送書
BOY SENDS OUT LETTERS
22 樵夫擔柴
WOODCUTTER CARRIES FIREWOOD
23 天官指星
CELESTIAL MINISTER POINTS TO THE STARS
24 五雲捧日
FIVE CLOUDS HOLD UP THE SUN
25 托天蓋地
PROP UP THE SKY AND COVER THE GROUND
26 燕子抄水
SWALLOW TAKES UP WATER
27 朝陽貫耳
SUNS RISING INTO THE EARS
28 截手雙推
INTERCEPT, DOUBLE-HAND PUSH
29 薰風掃葉
WARM BREEZE SWEEPS THE FLOWERS
30 燕子啣泥
SWALLOW PECKS MUD
31 靈猿摘菓
NIMBLE APE PLUCKS SOME FRUIT
32 猛虎囘頭
FIERCE TIGER TURNS ITS HEAD
33 旋轉乾坤
SPINNING THE SKY & GROUND
34 風擺荷葉
WIND SWAYS THE LOTUS LEAVES
35 掩手衝拳
COVERING HAND, THRUST PUNCH
36 琵琶遮面
HOLDING THE LUTE IN FRONT OF YOUR FACE
37 流星趕月
METEOR CHASES THE MOON
38 燕子斜飛
SWALLOW SLANTS ITS WINGS IN FLIGHT
39 丹鳳朝陽
PHOENIX LANDS ON THE SUNNY SLOPE
40 翻江攪海
DIVERT THE RIVER AND TURN BACK THE SEA
41 倒騎龍背
TURN AROUND TO RIDE ON THE DRAGON’S BACK
42 狸貓撲蝶
LEOPARD POUNCES ON A BUTTERFLY
43 抽樑換柱
REMOVING THE ROOF BEAM TO REPLACE THE PILLAR
44 風捲殘雲
WIND CURLS AWAY THE CLOUDS
45 蟄龍現身
HIBERNATING DRAGON EMERGES
46 烏龍擺尾
BLACK DRAGON SWINGS ITS TAIL
47 平分秋色
EVENLY SPREADING AUTUMN COLORS
48 走馬觀花
CATCH A GLIMPSE OF THE FLOWER WHILE GALLOPING PAST IT
49 魁星獻斗
KUIXING SHOWS THE BIG DIPPER
50 燕子穿雲
SWALLOW FLIES THROUGH THE CLOUDS
51 提手七星
LIFTING HANDS, BIG-DIPPER POSTURE
52 雁字橫斜
WILD GOOSE FLIES WITH ITS WINGS SLANTED
53 黃龍轉身
YELLOW DRAGON TURNS AROUND
54 五聖朝天
FIVE SAGES LOOK TO THE SKY
55 葉底藏蓮
LOTUS FLOWER CONCEALED UNDER THE LEAVES
56 鳳凰展翅
PHOENIX SPREADS ITS WINGS
57 白鶴啄食
WHITE CRANE PECKS AT FOOD
58 月掛松梢
THE MOON HANGS IN THE PINE BRANCHES
59 倒揭牛尾
STEP BACK AND TEAR OFF THE OX’S TAIL
60 童子抱琴
BOY CARRIES THE ZITHER
61 犀牛望月
RHINO GAZES AT THE MOON
62 鷂子穿林
HAWK FLIES THROUGH THE FOREST
63 赤龍攪水
RED DRAGON CHURNS THE WATER
64 風動浮萍
WIND MOVES THE DUCKWEED
65 氣升崑崙
MIST RISING IN THE KUNLUN MOUNTAINS
66 存氣開關
STORING THE ENERGY

右六十六式名稱為亳之陳希夷所遺傳六合八法之第一路築基初步
(These sixty-six posture names are teachings passed down from Chen Xiyi of Bozhou, forming the basic boxing set in the Liuhebafa art.)

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六合八法拳圖解（上段）
LIUHEBAFA BOXING SET ILLUSTRATED (PART ONE)

[Follow along with Chen Yiren himself in this film footage.]

起勢預備式
PREPARATION POSTURE

（壹）此式為靜定未動之勢，頭宜正，頸宜直，涵胸，拔背，腰胯稍鬆，全體各部皆不用力，兩臂從容下垂，目平視，息之於鼻，呼吸於腹，氣沉丹田，中橛不依，感象而動，應物自然，兩足間之距離，以肩為度。
1. This is a position of stillness before movement commences. Your head should be upright, your neck straight. Hollow your chest and round your back. Loosen your waist and hips. Let there be no exertion anywhere in your body. Your arms hang down leisurely. Your gaze is level. Breathe through your nose and from your lower abdomen. Energy sinks to your elixir field. Be like an immovable wooden stake that has been planted upright in the ground. The feeling should be natural. Your feet are standing shoulder-width apart. See photo 1:

（二）兩手並不用力，仰掌由前面半弧形向上提起，以與頂之兩側為度。
2. Without any exertion, your hands turn over so that the palms are facing upward and lift forward and upward in an arc to be in line with the sides of your head. See photos 2 & 3:

（三）兩手復由頭頂之側，俯掌沉肘，循上式半弧形路，徐徐按下，分置左右胯旁，目視前方。
3. Your elbows sink and your palms turn to be facing downward as your hands go forward and downward along the same arc as before. See photo 4:

（四）起式一如上圖，只是俯掌沉肘，按照正式半弧形路綫，徐徐按下而已。此勢雖是六合八法的起式之一，含蓄着無窮變化；運用得宜，自能得心應手。
4. Then your hands slowly push down until they are beside your hips. Your gaze is forward. (Although this movement is merely a part of the opening sequence, it contains endless transformations. If it is done properly, it will naturally produce a high level of efficiency.)

（五）左手由腹前提起至胸際，高與肩平，指尖微垂，掌心下向，右手置於胯側，掌心向上。
5. Your left hand lifts from in front of your belly until at shoulder level, the palm facing downward, the fingertips slightly drooping, as your right hand is placed beside your right hip, the palm facing upward. See photo 5:

（六）左手微往後撤，指尖朝上，右手同時由胯旁循正中直上，如抱球狀，右手稍超於左手。
6. Your left hand slightly withdraws, the fingertips pointing upward, as your right hand goes upward along the centerline, and slightly passes your left hand so that your hands are positioned as though they are holding a ball. See photo 6:

（七）右手往右擰轉，由肩至肘及腕成半月形，五指分開自然，拇指與食指小指成三角形，虎口要圓手心要凹，左手附於右肘尖下，不可用拙力，形如流水，呼吸平均。
7. Your right hand arcs to the right, the palm rotating to be facing outward, your arm from shoulder to elbow to wrist forming a semicircle, the fingers spread naturally, the thumb, forefinger, and middle finger forming a triangle, the tiger’s mouth rounded, the palm concave, your left hand placed below your right elbow. There must be no awkward exertion, instead move like flowing water. Your breath should be even. See photo 7:

（八）兩手順前勢往下摟，循復前作半圓形移往右邊，高與肩齊，右手抱圓曲肘，左手直而微曲，眼視左方。
8. Your hands pull downward and then arc across to the left, drawing a semicircle passing in front of you at shoulder level, your right arm bending as though holding a sphere, your left arm extending straight ahead and slightly bent. Your gaze is to the left. See photo 8:

停車問路
[1] STOPPING THE CARRIAGE TO ASK THE WAY

（九）身體和腰胯微向左轉，重心在於右腿，左足尖着地，右手往右繞半弧形撤至腰際，成為仰掌，左手同時撤囘，俯掌橫按胸前。
1. Your body slightly turns to the left, the weight going onto your right leg, your left foot touching down with the toes, as your right hand draws a half circle that arcs to the right and down to your waist, the palm turning over to be facing upward, your left hand withdrawing and pushing down in front of your chest with the palm facing downward and the hand placed sideways. See photo 9:

（拾）兩足照上式不動，右手在腰際由胸前上鑽，左手微往下按。
2. With your feet not moving, your right hand drills upward, passing in front of your chest, as your left hand slightly pushes downward. See photo 10:

（十一）右足曲膝微坐，左足開步，左手跟步往前，右手趁左手往前之餘勢，微拉囘身旁，復循左臂正中推出，虎口朝上，左手徐徐撤囘右肘內側，當右手推出時，左腿變為弓形，右腿蹬直，眼觀前方。
3. Your right leg bends, your torso slightly sitting onto it, and your left foot steps forward as your right hand slightly pulls back beside your body, and then your right hand pushes out along your left arm into the centerline, the tiger’s mouth facing upward, your left hand slowly withdrawing to the inside of your right elbow, as your left leg bends, your right leg pressing straight. Your gaze is forward. See photo 11:

臨崖勒馬
[2] APPROACHING THE CLIFF EDGE, REIN IN THE HORSE

（十二）右足尖微向右移動，體重在右腿，崧胯下坐，左足微曲，（卽左足佔四右足佔六）右拉囘而含有棚意，左手從右肘旁豎掌向左方掠出，兩手作拉弓形，轉向左角，目視左掌前。
Loosen your hips and sit down onto your right leg, your right toes shifting slightly outward to the right, your left leg staying slightly bent (your left foot accounting for forty percent of the weight, your right foot sixty percent), as your right hand withdraws, maintaining an intention of warding off, and your left hand sweeps out to the left, your hands making a shape like drawing a bow, your torso turning to the left corner. Your gaze is forward past your left palm. See photo 12:

閉門推月
[3] CLOSE THE DOOR AND PUSH AWAY THE MOON

（十三）（左式）承上式右足尖微向左移，左足踏實成弓形，左手向左擰轉，掌心向面，右手在左肘徐徐按下，置於肘底，上下手相會合，成為斜掌。
1. Your left leg bends, the weight going onto it, your right foot slightly turning inward, as your left hand turns over so that the palm is facing inward and your right hand slowly pushes down until below your left elbow, your palms diagonally aligned with each other. See photo 13:

（十四）（右式）左足尖往右微移右脚提起至左脚脛骨旁，旋卽徐徐往右角前進，前脚宜弓，左脚宜直，右手背循左肘下鑽上，左手則循右臂上緩緩按下，置於右肘內底。
2. Your left foot slightly pivots inward to the right and your right foot lifts, goes beside your left shin, and slowly advances to the right corner, the knee bending, your left leg straightening, as your right hand drills upward, the back of the hand moving along the underside of your left arm and then turning over so that the palm is facing upward, your left hand slowly pushing down, turning over so the palm is facing downward and moving along the top of your right arm to be placed below your right elbow. See photo 14:

撥雲見日
[4] SPREADING THE CLOUDS TO SEE THE SUN

（十五）照上式不移動步法，右足尖移正向前，左足尖微向左移，曲膝坐胯，右手順勢撥至胸前成俯，左手趁勢翻為仰掌，手背上下相對，左右平分，以胸前圓滿為度，左手畧高於右手，目視前方。
1. With your feet staying where they are, your legs bend and your hips sit back, your feet slightly pivoting to the left, as your right hand deflects downward until in front of your chest, the palm facing downward, your left hand rising with the palm facing upward, the backs of the hands facing each other above and below, and then your hands spread apart to the side, your left hand slightly higher than your right hand, your arms rounded. Your gaze is forward. See photo 15:

（十六）照上式不移動步法，仍前四後六，右手作半弧形由下提起至正中，左手同時俯掌由左囘臍前下按。
2. With your feet staying where they are, the weight still sixty percent on your rear leg and forty percent on your front leg, your right hand arcs upward and inward until on the centerline as your left hand pushes inward and downward until front of your navel, the palm turning over to be facing downward. See photo 16:

（十七）兩足照前式不動，左手由下鑽上，成為立掌，掌心內向，右手循左手背後徐徐下按，目視前方。
3. With your feet staying where they are, your left hand drills upward from below as your right hand goes along the back of your left hand and slowly pushes down, your left hand finishing with the palm upright and facing inward. Your gaze is forward. See photo 17:

（十八）接上式右脚彎曲如弓，左足撑直，右手同時前進，指尖向前，左手趁右手往前之餘勢，微微拉至耳旁，復循右臂正中推出，此時右手徐徐撤囘左肘內側，目視前方。
4. Your right leg bends, your left leg pressing straight, as your right hand goes forward, the fingers pointing forward, your left hand slightly pulling back beside your left ear, and then your left hand goes forward along your right arm, pushing out into the centerline, your right hand slowly withdrawing next to the inside of your left elbow. Your gaze is forward. See photo 18:

臨崖勒馬
[5] APPROACHING THE CLIFF EDGE, REIN IN THE HORSE

（十九）右足尖向右微移動，重心落在左腿，崧胯下坐，右足微曲，（卽右足佔四左足佔六）左手由中拉囘，右手從左內肘豎向右方掠出，兩手作拉弓形，目視右掌前。
1. Your left toes shift slightly outward to the left, the weight going onto your left leg, your hips loosening and settling, your right leg staying slightly bent (the weight distribution being sixty percent on your left leg, forty percent on your right), as your left hand pulls back and your right hand sweeps out to the right with the palm upright, your hands making a bow-drawing shape on the other side. Your gaze is forward past your right palm. See photo 19:

摘星換斗
[6] PLUCK THE STARS TO PULL THE DIPPER OUT OF PLACE

（二十）右脚同時屈膝囘復弓步，身體和視綫亦隨同轉向右角，此時右掌往上推，左掌隨之而上，兩掌心外向。
1. Your right knee bends to bring you back into a bow stance, your body and gaze turning toward the right corner, as your hands push upward, your left hand moving upward to be alongside your right hand, the palms facing outward. See photo 20:

（廿一）承上勢右脚不動，左脚提前一步，雙足並立，兩膝微曲，兩手輕輕向上提起如摘物狀，虎口要圓，掌心向外，兩脚隨勢站直，目視上方。
2. Your left foot steps forward to stand next to your right foot, your legs straightening, as your hands gently rise up as though about to pull something down, the tiger’s mouths rounded, the palms facing outward. Your gaze is upward. See photo 21:

（廿二）承上式兩手左右分展，待臂與肩平，兩膝屈曲再下坐，兩足續往下塌腕，挺頸項，提谷道左右抱掌（卽左手虎口附於右腕間）此式若功深日久，則覺腹中泊泊有聲，一氣直達丹田，臍輪似覺燃燒。
3. Your hands spread apart to the sides until your arms are at shoulder level and then continue downward, the wrists settling, and come together in front, your left tiger’s mouth covering your right wrist, as your knees bend, your body sitting, your tailbone tucking in, your upper body bending forward, your neck staying straight. (After practicing this posture for a long time, you will feel a gurgling within your belly, meaning that energy is reaching your elixir field, and there will be a feeling of heat in your sacral chakra.) See photo 22:

（廿三）照上式不移動步法，方向不變，身腰徐徐領起，兩手由中綫抱圓上提，待至前胸時，復換勁向前上擠，眼要隨手上視。
4. With your feet staying where they are, your body slowly straightens up as your hands rise up along the centerline until in front of your chest, the arms rounded, then press forward and upward. Your gaze goes upward toward your hands. See photo 23:

（廿四）承上式兩足同時彎曲，變左實右虛，兩手俯掌在胸前先抹後按，右手居前，左手在後，前後兩掌互對。
5. Your legs bend, the weight going onto your left leg, your right foot going slightly forward, touching down with the toes, as your hands push down until in front of your chest, the palms facing downward, your right hand forward, left hand behind, the palms in line with each other forward and back. See photo 24:

（廿五）右腿向右方移動成弓形，用腰帶兩手循右下方平移，至左右膝前，身體向兩手均轉偏向右方。
6. Your right leg shifts to the right to make a bow stance, your body turning to the right, your waist pulling your hands across and downward to the right until your right hand is in front of your right knee and your left hand is in front of your left knee. See photo 25:

（廿六）承上式提左脚上步，置於右脚旁脚尖着地成虛步，由偏右方轉向偏左方，左脚同時屈膝囘復弓步，身體和視綫亦隨同轉向左方，兩手同時上提，待臂與肩平，左手屈肘（虎口向上）右手掌心上托。
7. Your left foot comes forward beside your right foot, touching down with the toes, and then steps out to the left, the knee bending to make a bow stance, your torso and gaze turning to the left, as your hands lift until your arms are at shoulder level, your left elbow bent, your left tiger’s mouth facing upward, your right hand propping up. See photo 26:

鴻雁雙飛
[7] A PAIR OF WILD GEESE IN FLIGHT

（廿七）循上式左膝微曲，足尖輕向右移，提右足至左足旁，足尖微落成虛步。
1. Your left knee slightly bends, the toes slightly shifting to the right, as your right foot lifts and steps beside your left foot, the toes lightly touching down to make an empty stance. See photo 27:

（廿八）循上式足尖微落成虛步之後，復卽進前改為弓步，右手腕帶意向右外棚，兩手再緩緩前推，在餘勢未盡時，兩手變為俯掌伸前棚起，隨勢縮囘下按至腹前。
2. Before the momentum of the previous movement has finished, your right foot advances to make a bow stance as your wrists brace outward, your palms turn over to be facing outward, and your hands slowly push forward and upward. See photo 28:

（廿九）承上式坐胯換步，全身後轉，此時左足成虛步，左手斜豎在前，高不過肩，右手在後，兩掌前後斜斜相對。
3. Your hands withdraw and push downward until in front of your chest, then you sit onto your right leg and your body turns around, your left foot touching down with the toes, as your left hand is placed forward, diagonally upright, and your right hand is placed behind it, your hands diagonally aligned with each other. See photo 29:

（三十）承上式，左足踏實曲膝坐胯，右足上前半步成虛式，右手從左掌下斜斜穿上，左手附於肘旁，前手斜高與肩齊。
4. Your left foot comes down and the leg bends, the weight going onto it, and your right foot advances a half step, touching down with the toes, as your right hand threads diagonally upward from below your left palm until at shoulder level, your left hand placed beside your right elbow. See photo 30:

（三一）承上式右足踏實，左足上前半步變成虛式，右臂上提，左手曲肘平直而出，身軀隨勢直立。
5. Your right foot comes down and your left foot advances a half step, touching down with the toes, your body straightening up, as your right hand lifts up and your left hand reaches out, the elbow bent. See photo 31:

（三二）隨勢左脚跟踏實，脚尖轉向後方，右脚尖亦順勢由後轉為前方，身體也隨之轉為同一方向，右手由上抄下，左手隨勢上提居於頭上，與右手上下同一直綫。
6. Your left foot comes down with the toes turned inward, your body turning around to the right, and your right foot turns outward, touching down with the toes, as your right hand scoops downward and your left hand lifts up over your head, your hands placed along a vertical line. See photo 32:

（三十三）右腿曲膝踏實，扭身轉腰，左脚尖着地，成交叉步，左手由上而下，搭靠於右掌背上，亦成為交叉手，此時順勢兩腿下坐，兩掌亦同時下按，趁餘勢未盡時，左足與身體同時提起，雙手亦順勢提至胸前。
7. Before the momentum of the previous movement has finished, your torso turns further to the right, your feet pivoting to make a twisted stance, your legs sitting downward, your left foot lifting its heel to be touching down with the toes, as your left hand lowers onto the back of your right hand, your hands crossing, and your palms push downward. See photo 33:

（三十四）循上式右下坐，兩手由胸前落下，左右手由下分開，當分開時兩掌由下而上，要含有棚起之意，同時左步從左邊而進，兩臂微曲，不要完全伸直，兩掌平俯，眼視左方。
8. Your body sits onto your right leg and your left foot comes forward next to your right foot, as your hands rise up in front of your chest, the arms slightly bent, the palms facing downward. See photo 34:

（三五）附圖所示，是承上勢而演變之招式也。茲再複述如下：循上式兩手由胸前落下，左右手由下分開。當分開時，兩掌由下而上，要含有供起之意。同時左步從左邊而進，兩臂微曲，不要完全伸直，兩掌平俯，眼視左方。
9. Without pausing, your hands lower, spread apart to the sides, and rise up with the arms slightly bent, the palms facing downward, as your left foot advances to the left. Your gaze is to the left. See photo 35:

[8] 閉門推月
CLOSE THE DOOR AND PUSH AWAY THE MOON

（三六）照原式不動，眼囘視右手，是時右手微動往右繞一半弧形，緩緩拉囘腰際，左手成為側豎掌往右臉側橫撥，同時右手由腰部往前推進，左手趁右手去勢時，緩緩畧囘轉於右手肘部，左脚換為弓式，右脚蹬直。
With your feet staying where they are, your right hand draws a half circle outward to the right and then slowly drawing in to your waist, your left hand deflecting across to the right with the palm upright, then your right hand pushes forward, your left hand slightly withdrawing next to your right elbow, as your left leg bends and your right leg presses straight. Your gaze is toward your right hand. See photo 36:

孤雁出群
[9] WILD GEESE LEAVE THE FLOCK

（三七）右腿下踞，全身重心，移於右足，左膝微曲，兩手變為俯掌，交叉成十字形向兩外側分開。
1. Your right leg bends and the weight shifts onto it, your left knee staying slightly bent, as your hands cross, the palms turning over to be facing downward, and spread apart to the sides. See photo 37:

（三八）原式不動，左腿曲膝成弓步，右腿蹬直，左手在側面向中撥按，右手順勢徐徐撤囘胯前。
2. With your feet staying where they are, your left leg bends to make a bow stance, your right leg pressing straight, as your left hand deflects toward the centerline and pushes down, your right hand slowly withdrawing beside your right hip. See photo 38:

（三九）右脚上前，弓膝，左腿蹬直，右手沿左肘下以螺旋式向前穿上，高不過眉，左手亦以螺旋式循中綫撤囘至右肘下，兩手前後斜斜相對。
3. Your right foot steps forward and the knee bends, your left leg pressing straight, as your right hand threads out forward and upward until at eyebrow height, the palm rotating to be facing upward, your left hand withdrawing along the centerline to be below your right elbow, the palm rotating to be facing downward, your hands aligned with each diagonally. See photo 39:

（四十）左足上前，弓膝，右腿蹬直，左手沿右肘下以螺旋式向前穿上，高不過眉，右手亦以螺旋式循中徹至左肘下，兩手前後斜斜相對。
4. Your left foot steps forward and the knee bends, your right leg pressing straight, as your left hand threads forward and upward from under your right elbow until at eyebrow height, the palm rotating to be facing upward, your right hand withdrawing along the center until below your left elbow, the palm rotating to be facing downward, the palms aligning with each other diagonally. See photo 40:

（四一）承前式右足上步，弓膝，左腿蹬直，左手成為俯掌，右手沿左掌背面伸前，左手緩緩撤於右肘下，眼觀前方。
5. Your right foot steps forward and the knee bends, your left leg pressing straight, as your left palm turns over to be facing downward and your right hand extends forward over the back of your left hand, your left hand slowly withdrawing until below your right elbow. Your gaze is forward. See photo 41:

（四二）接上式左右腿同時向左往後轉移，右脚曲膝踏實，左脚畧斜成半虛實步，兩臂如弧形，雙掌皆仰，指尖互對如抱球，循心前平移往後，到終點時，兩掌平衡前向。
6. Your body turns around to the left, your feet pivoting to the left, your right leg bending, most of the weight going onto it, your left leg slightly bending and taking not quite half the weight, as your palms turn over to be facing upward, the fingers pointing toward each other, the arms rounded as though holding something, and your hands arc across to the left in front of your chest. See photo 42:

野馬追風
[10] WILD HORSE CHASES THE WIND

（四三）右脚稍微曲先轉向右方，繼續身體和腰胯再旋轉至不能旋轉為止，左脚也隨勢移動，兩膝與兩脚尖成一方向，屈膝作為騎馬式，身體正直，坐腰鬆胯，當腰胯旋動時，左右兩掌亦要同一時間而動，右掌心向內由右方微帶鑽意而起，旋至正面時，卽將掌心轉為外面立掌，左手指端下垂，掌心外向，藏於右掌之下。
1. Your body turns around to the right, your feet pivoting to the right, your legs making a right bow stance, your hips loosening, your body staying upright, as your right hand drills upward in front of your face, the palm upright and turning to be facing outward, your left hand lowering to below your right hand, the fingers drooping, the palm facing outward. See photo 43:

（四四）承上式右手繼續往右方半圓形下沉，變為側垂掌，左手同一時間平撥至右肘內旁，再變掌心向裏，微帶鑽意而變為立掌，右手附於左手之下指尖垂落，左掌旋至正面時，卽將掌心轉為外向豎掌。
2. Your right foot pivots outward and your left foot advances, your knees bending to make a horse-riding stance, your body turning around to the right, your right hand turning outward. See photo 44:

（四五）此式與上式成為背後相向，當左手鑽上時，左足先轉向左方，繼續再旋轉至不能旋動為止，右脚亦隨勢而移。（定式與前式相同）
3. Your left hand drills upward with the palm facing inward until in front of your face, then turns over so that the palm is facing outward, your right hand arcing to the right, downward, and then to the left until below your left hand, the palm facing outward with the fingers drooping down, as your left foot pivots outward as far as it can and then your right foot advances, your body turning around to the left, your knees bending to make a horse-riding stance. (The final position is similar to the previous posture, except with the hands reversed.) See photo 45:

（四六）承上式右手由下循中穿上，左手隨勢畧起，身腰也順勢徐徐偏左，兩臂曲彎如弧，指尖相對抱圓至頂前，此時右足踏實左脚尖着地。
4. Your right hand threads upward along the centerline, your left hand slightly rising, as your body turns around to the left, your right foot turning inward, the weight going onto your right leg, your left foot shifting to the left and touching down with the toes, the fingers pointing toward each other in front of your head. See photo 46:

（四七）兩足原地不動，上身向右微轉，兩掌從頂而下，循左脇經胸前，向右側橫推，掌心外向，右掌橫撑，左掌側豎，當兩掌橫推時，左脚進前一步，右脚曲膝，成為前四後六步。
5. With your feet staying where they are, your upper body slightly turns to the right as your hands lower past your chest to your left ribs, then your hands push out to the right with the palms facing outward, your right palm sideways, left palm upright, as your left foot advances a step, your right knee bending (the weight distribution forty percent on your left leg, sixty percent on your right leg). See photo 47:

川流不息
[11] THE RIVER FLOWS UNCEASINGLY

（四八）兩足原地不動，上身微移左方，左掌從右旋變為掌心向裏，隨向左側斜斜穿上，此時左脚尖稍向左移，右掌隨轉左肘之下，掌心外向而垂，左脚成為弓形。
1. With your feet staying in their location, your upper body slightly turns to the left, your left toes slightly shifting to the left, your left leg bending, as your left hand threads diagonally upward to the left, the palm turning over to be facing inward, and your right hand arcs below your left elbow, the palm turning over facing outward, the fingers drooping. See photo 48:

（四九）承上式右脚提起至左腿內側成為虛步，復卽從右進，曲膝踏實，成為弓式，右掌在左臂內旋，變為掌心向裏，循左臂內穿上右方，左掌旋將掌心外向而下，輔於右肘之下，掌心外向而垂。
2. Your right foot shifts to the inside of your left foot, touching down emptily, then advances to the right, the leg bending, the weight going onto it, making a bow stance, as your right palm turns over to be facing inward and goes along the inside of your left arm to thread upward to the right, your left palm going downward to assist below your right elbow, the palm turning over to be facing outward, the fingers drooping. See photo 49:

（五十）循上式兩脚照原式不動，轉腰反手平撥往左，左手趁右手去勢時，變為俯掌，循右臂下經右腕底往左橫穿，與肩為度，目視左方。
3. With your feet staying where they are, your waist turns to the left as your hands deflect across to the left, your left hand threading out under your right wrist at shoulder level, the palm turning over to be facing downward. Your gaze is to the left. See photo 50:

（五一）循上式承餘勢未盡，左手再變為側豎掌，循頰前向右頰側平撥，右手撤囘腰際，掌心朝上。
4. Before the momentum of the previous movement has finished, your left hand deflects across to the right, the palm now sideways and upright, as your right hand withdraws to your waist, the palm turning over to be facing upward. See photo 51:

（五二）循上式右腿隨曲伸直踏實，左腿上步與右脚並齊，右手循胸前穿上，左手在右手背外俯掌徐徐下按至胸前。
5. Your right leg straightens, the weight going onto it, and your left foot steps forward to stand next to your right foot as your right hand threads upward in front of your chest with the back of the hand facing outward, your left hand slowly pushing downward past the back of your right hand until in front of your chest, the palm facing downward. See photo 52:

（五三）循上式繼續再轉腰反右手平撥往左，左掌趁勢循右臂下經右腕底往左橫穿。
6. Your waist turns to the left as your right hand deflects across to the left, your left hand going along the underside of your right arm and threading out across to the left from below your right wrist. See photo 53:

（五四）循上式兩膝同時曲立，胸畧涵，身體和右腿往右移進，左脚成弓式，此時右手指尖循左臂下經左腕底向右上轉移，身體和兩手指均轉偏向右方。
7. Your knees bend, your chest slightly hollows, your torso turns to the right, and your right foot advances to the right, your left leg staying bent, as your right hand goes along the underside of your left arm and upward to the right from below your left wrist, your torso and the fingers of both hands pointing to the right. See photo 54:

伏虎聽風
[12] CROUCHING TIGER LISTENS TO THE WIND

（五五）循上式右脚隨卽屈膝變為弓步，左脚蹬直，左手在右臂肘內反旋成仰掌在胸前上穿，右手在左手背後徐徐下按。
Your right knee bends to make a bow stance, your left leg pressing straight, as your left hand passes along the inside of your right elbow and threads out upward in front of your chest, the palm rotating to be facing upward, your right hand passing along the back of your left hand and slowly pushing down. See photo 55:

聲東擊西
[13] THREATEN TO THE EAST AND THEN ATTACK TO THE WEST

（五六）循上式左脚尖朝左，坐左腿承担體重，右脚照原式使為斜立，左手變為俯掌，旋腰朝左平掠，右手隨勢移置胸前，位置則左高右低。
1. Your left foot turn foot turns outward to the left and the weight goes onto your left leg, your right foot staying where it is but pivoting inward, your waist turning to the left, as your left hand turns over to be facing downward and sweeps across to the left, your right hand shifting in front of your belly, your hands placed with your left hand high and right hand low. See photo 56:

（五七）循上勢兩脚原式不動，右臂向右提靠，左手順勢移置胸前，位置則右高左低。
2. With your feet staying where they are, your right arm lifts to the right and your left hand shifts in front of your belly, your hands placed with your right hand high and left hand low. See photo 57:

（五八）循上勢兩脚原式不動，左臂復向左提靠，右手移置胸前，位置則左高右低。
3. With your feet staying where they are, your left arm lifts to the left and your right hand shifts in front of your belly, your hands placed with your left hand high and right hand low. See photo 58:

青龍探爪
[14] BLUE DRAGON EXTENDS ITS CLAWS

（五九）右足上前弓膝，左足蹬直，右手沿左肘下以螺旋式向前穿上，高與肩齊，左手循中撤至腹前，兩手前後斜斜相對。
1. Your right foot steps forward, the knee bending, your left leg pressing straight, as your right hand threads forward and upward from under your right elbow until at eyebrow height, the palm rotating to be facing upward, your right hand withdrawing along the centerline until in front of your belly, the palms aligning with each other diagonally. See photo 59:

（六十）左足上前，弓步，右腿蹬直，左手沿右臂下螺旋形向前上穿，高與眉齊，右手亦以螺旋形循中撤至腹前，兩手前後斜斜相對。
2. Your left foot steps forward, the knee bending, your right leg pressing straight, as your left hand threads forward and upward from under your right arm until at eyebrow height, the palm rotating to be facing upward, your right hand withdrawing along the center until in front of your belly, the palm rotating to be facing downward, the palms aligning with each other diagonally. See photo 60:

（六一）循上式兩足原式不動，右手循中而上，左手變為俯掌緩緩而下至腹前，兩掌前後遙遙相對。
3. With your feet staying where they are, your right hand goes out upward along the centerline as your left hand turns over for the palm to be facing downward and slowly moves down until in front of your belly, the palms spreading apart front and back. See photo 61:

（六二）循上式右脚提起，足尖朝地，左足獨立，左手隨勢循中穿上，右手徐徐撤囘腹前，兩手俱處中綫。
4. Your right foot lifts up, the toes pointing toward the ground, your left leg standing one-legged, as your left hand threads out upward, your right hand slowly withdrawing in front of your belly, both hands moving along the centerline. See photo 62:

丹成九轉
[15] PRODUCING ELIXIR OVER AND OVER

（六三）依上式身步旣定之後，胯卽徐徐鬆下，全身下沉，右脚退後踐出，全體隨勢旋後，右足變弓，左足蹬直，右手從後向上抄提，屈肱橫架胸前，而左手亦乘勢上提，兩掌指尖朝左。
1. Your hips slowly loosen, your body sinking, and your right foot retreats, your body turning around to the right, your right leg bending, your left leg pressing straight, as your right hand scoops up and blocks across in front of your chest, the arm bent, your left hand also lifting up, the fingers of both hands pointing to the left. See photo 63:

（六四）循上式左足上前半步，足尖着地，成為虛步，兩手亦照原式不動，當左足上步時，身腰向右偏轉，而兩臂亦隨勢轉移。
2. Your left foot advances a half step, touching down with the toes to make an empty stance, as your torso turns to the right, your arms shifting to the right along with it, your hands maintaining their position. See photo 64:

（六五）循上式勢未盡時，卽將前面之左足踏前半步，放平地面，而左臂畧為後撤，右臂向前隨翻隨進，循中綫下按。
3. Before the momentum of the movement has finished, your left foot advances a half step, the weight going onto it, as your right hand goes forward, the hand turning over, and pushes downward along the centerline, your left arm slightly withdrawing. See photo 65:

（六六）循上式右足移至左足側成虛步，左右手隨縮隨翻，轉小臂至終點時，兩掌心互相抱對，左掌居上，右掌居下。
4. Your right foot advances beside your left foot, touching down with the toes, as your hands roll over so that your left hand is above, right hand below, the palms facing toward each other as though holding something. See photo 66:

（六七）循上式兩手勢定之後，右手隨右足同時前進，左足蹬直，左手徐徐往上伸展。
5. Your right foot advances and your left leg presses straight as your right hand goes forward and your left hand spreads away upward. See photo 67:

撥雲見日
[16] MOVE THE CLOUDS TO SEE THE SUN

（六八）接上勢（動作不停）左脚進前曲膝，左手由上下按，右手緩緩撤至小臂內側。
1. Your left foot advances and the leg bends as your left hand pushes down and your right hand slowly withdraws next to the inside of your right elbow. See photo 68:

（六九）循上式左足彎膝，膝盖不前於足尖，以免身體前傾，身軀正直，兩足尖微向右移，左手變為豎掌，靠於右掌側，用腰帶兩手向右方平移，直至腰部不能再旋為止。
2. Your left leg bends, the knee not going beyond the toes in order to keep your body from leaning too far forward, and your body turns around to the right, your feet pivoting to the right, as your hands arc across to the right, driven by your waist, your left hand becoming an upright palm and placed near the edge of your right palm. See photo 69:

（七十）循上式左足曲坐，右足微曲，兩手循中綫推前，上下翻成掌背相對，左手在額前，右手在腹外，立身中正不偏，輕靈圓活，沉着穩重，三者相結合。
3. Your left leg bends, the weight going onto it, your right leg staying slightly bent, as your hands push forward along the centerline, the palms turning over so that the backs of the hands are facing each other, and spread apart above and below to place your left in front of your forehead and your right hand in front of your belly. (Your body stands upright rather than leaning, is lively and rounded, and is also calm and stable. Your arms, legs, and torso are all working in unison.) See photo 70:

（七一）循上式向左轉腰，左掌由額前向後翻擰，畫半圓形由上而下，右手循右下方畫半圓形而上，當腰體旋動時，左足撤囘右足內側，成為虛步。
4. Your torso turns around to the left as your left palm draws a half circle upward, to the left, downward, and to the rear, your right hand drawing a half circle upward, your left foot withdrawing next to the inside of your right foot, making an empty stance. See photo 71:

（七二）循上式左足往前墊步，右足蹬直，右手由上蓋下，左手循右掌背上穿上，此勢務須純熟，其拳不順，真勁卽不能長，而拙勁亦不能化矣。
5. Your left foot advances a step and your right leg presses straight as your right hand covers downward and your left hand threads upward over the back of your right hand. (This posture has to performed with skillfulness. If the technique is not done smoothly, the correct energy will not develop and it will always feel awkward.) See photo 72:

順水推舟
[17] GOING ALONG WITH THE CURRENT TO PUSH THE BOAT

（七三）循上式左足承担體重，右足移經左足內側，向右方前進一步，兩掌合擰，向懷中帶囘，左指尖向上，右指尖向下，隨勢沿右方推出。
1. The weight goes onto your left foot and your right foot shifts next to the inside of your right foot as your hands withdraw toward your chest, your left fingers pointing upward, your right fingers pointing downward, and then your right foot steps forward as your hands push out to the right. See photo 73:

（七四）循上式右足承担體重，左足移經右足內側，向左方前進一步，兩掌擰合，向懷中帶囘，左指尖向下，隨勢沿左方推出。
2. Your left foot shifts past the inside of your right foot, the weight going onto your right leg, and advances a step to the left as your hands come together, rolling over so that your left fingers are pointing downward and your right fingers are pointing upward, withdrawing toward your chest, and then push out to the left. See photo 74:

圖馬囘頭
[18] MIGHTY HORSE TURNS ITS HEAD

（七五）循上式原式不動，左足變為弓前，右足蹬直，兩手徐徐上提，曲肱沉肘，橫架胸前，目視前方。
1. With your feet staying where they are, your left leg bends, your right leg pressing straight, as your hands slowly lift up in front of your chest, blocking across to the right with the arms bent and elbows sinking. Your gaze is forward. See photo 75:

（七六）循上式右足進前至左足內側，足尖点地，復卽進前一步曲膝成弓，兩手稍移正面，翻掌虎口圓對，向前徐徐推出。
2. Your right foot comes forward to the inside of your left foot, touching down with the toes, then goes forward a step, the knee bending, as your hands slightly shift into the center, the palms turning over so that the tiger’s mouths are facing each other, and slowly push out forward. See photo 76:

（七七）循上式兩手推出之後，卽將左足曲膝踏實，兩手變為橫掌，徐徐移囘左肩之前，肘微曲而沉，兩手復循移囘之路線橫掌推出，前足隨勢換為弓步。
3. Your left leg bends, the weight going onto it, as your hands become sideways palms and slowly withdraw in front of your left shoulder, your elbows slightly bending and sinking, and then your hands push back out along the same path, as your right leg bends, the weight going back onto your right leg. See photo 77:

（七八）循上式兩脚原式不動，左手俯掌由左向中橫按，當左手移動時，右手隨卽往右挽一斜平圈先撤至腰側，復再循左掌面平斜而上。
4. With your feet staying where they are and your hips sitting back, your left hand moves inward to the centerline and pushes down, the palm facing downward, and your right hand arcs to the right, withdraws to your right hip, and then threads out diagonally upward over the back of your left hand. See photo 78:

（七九）循上式全身旋後，提左足旋後，在右腿之前輕輕点地，復再從左側進步，曲膝成弓，右足蹬直，兩臂亦同時畧向左外微提，左手曲肱橫架當胸，右手與左手遙遙相對。
5. Your body turns around to the left, your left foot lifting, lightly touching down in front of your right foot, then advancing to the left, the leg bending, your right leg pressing straight, as your arms slightly lift and your hands block across to the left until in front of your chest, your left arm bent, your right hand extended in line with your left hand. See photo 79:

瓶花落硯
[19] POURING WATER FROM THE FLOWER VASE ONTO THE INKSTONE

（八十）循上式右足進前至左足內側，復卽進前一步，足尖点地，左足曲膝，右手半弧形由上抄轉而下，左手趁勢向右側平撥，豎掌於右肩之前，
1. Your right foot draws in next to your left foot and then advances a step, touching down with the toes, your left knee bending, as your right hand draws a half circle, scooping to the right, downward, and inward, and your left hand deflects across to the right until in front of your right shoulder with the palm upright. See photo 80:

（八一）循上式右脚踏實，曲膝成弓，在後之左脚順勢上前一步，膝微曲脚尖点地，兩手在胸前緩緩左右分開，右手稍高於左手，要胸微含腰帶聳，不要低頭或仰首。
2. Your right foot comes down, the leg bending, the weight going onto it, and your left foot advances a step, touching down with the toes, the knee slightly bent, as your hands slowly spread apart to the sides until at chest width, your right hand slightly higher than your left hand. (Your chest slightly hollows and your waist straightens up, but you should not let your head droop forward or loll back.) See photo 81:

（八二）循上式兩足原式不動，身軀囘復正直，用腰帶腕，兩手同一時間轉移，右手俯掌從右側往中微抹帶按，左手仰掌而旋，隨旋隨撤至腰際。
3. With your feet staying where they are, your body straightens up and your waist slightly turns to the left as your right slightly wipes inward and pushes down along the centerline, the palm turning over to be facing downward, your left hand withdrawing to your waist, the palm turning over to be facing upward, your waist leading your wrists into place. See photo 82:

（八三）循上式餘勢未盡時，退左步踏實右脚虛步，胸含腰聳，兩手左右徐徐分開兩臂與胸之距離，務宜圓滿為度。
4. Before the momentum of the previous movement has finished, your left foot retreats and the weight goes onto the leg, your right foot touching down with the toes, your chest hollowing, your waist loosening, as your hands spread apart to chest width, your arms rounded. See photo 83:

（八四）循上式兩足原式不動，身軀囘復正直，用腰帶腕兩手同一時間轉移，左手俯掌從左側往中微抹帶按，右手仰掌而旋，隨旋隨撤囘腰際。
5. With your feet staying where they are, your body straightens up and your waist slightly turns to the right as your left hand slightly wipes inward toward the centerline and pushes down, the palm turning over to be facing downward, and your right hand withdraws to your waist, the palm turning over to be facing upward, your waist leading your wrists into place. See photo 84:

（八五）循上式餘勢未盡時，退右步踏實，左脚虛步，脚尖輕輕点地，右手從胯際循左手背前穿出，至兩手背互對時，隨卽徐徐上下分開。
6. Before the momentum of the previous movement has finished, your right foot retreats and the weight goes onto it, your left foot making an empty stance, touching down lightly with the toes, as your right hand threads out forward along the back of your left hand, and once the backs of the hands are facing each other, your hands slowly spread apart, right hand upward, left hand downward. See photo 85:

高山流水
[20] WATER FLOWING DOWN A TALL MOUNTAIN

（八六）循上式之勢未盡時，兩手上下呼應同時翻轉，左手指尖微翹，掌心向內循中線穿上，置於面前，右手斜豎，掌心外向，順勢亦循中線下按，置於胸前，兩足原位不動，胸宜微含，目視前方。
1. With your feet staying where they are, your palms turn over to be facing each other, then your left hand threads upward along the centerline until in front of your face, the fingers slightly lifted with the palm facing inward, and your right hand pushes downward along the centerline until in front of your chest, the fingers slightly lifted with the palm facing outward, your chest slightly hollowing. Your gaze is forward. See photo 86:

（八七）循上式兩足原位不動，胯坐膝曲，胸含項豎，兩手循中線推出，而寓有上提之意，隨勢兩手翻合，前後斜對，左俯右仰，旋卽同時下按。
2. With your feet staying where they are, your hips sit and your knees bend, your chest hollowing and the back of your neck lengthening, as your hands push out along the centerline with an intention of lifting up and then turn over so that your left hand is facing downward, right hand facing upward, and push downward. See photo 87:

（八八）循上式兩手下按後，身軀囘復正直，右手趁勢往上提起，立掌蓄勢，左手緩緩下垂，兩足依舊不變。
3. Your body again straightens up, the position of your feet not changing, as your right hand rises up with the palm upright and storing power, your left hand slowly continuing downward, the fingers hanging down. See photo 88:

（八九）循上式右手翻成俯掌，左手指尖穿上，兩手同時左上右下，至胸前使兩手背會合，隨卽右手推前，左手提起，同時左步進為弓式，右腿蹬直，手足同一時間到達終点。
4. With your right hand turning over so that the palm is facing downward and your left hand turning over so that the fingers are pointing upward, your left hand rises and your right hand lowers until both hands meet in front of your chest with the backs of he hands facing each other, then your right hand pushes forward and your left hand lifts as your left foot advances and the leg bends, your right leg pressing straight. See photo 89:

（九十）循上式右手推出後，右足移前成虛，身軀囘復正直，右手續往上提，幷畧移小臂，立掌蓄勢，右手緩緩下垂。
5. Your right foot comes forward, touching down with the toes, your body straightening up, as your left hand continues upward, the forearm slightly shifting inward, the palm upright and storing power, and your right hand slowly hangs down. See photo 90:

（九一）循上式左手翻為俯掌，右手指尖穿上，兩手同時左下右上，至胸前使兩手背會合，隨卽左手推前，右手提起，同時右步進為弓式，左腿蹬直，手足要同一時間到達終点。
6. With your left hand turning over so that the palm is facing downward and your right hand turning over so that the fingers are pointing upward, your right hand threads upward and your left hand lowers until both hands meet in front of your chest with the backs of he hands facing each other, then your left hand pushes forward and your right hand continues to lift as your right foot advances and the leg bends, your left leg pressing straight. See photo 91:

（九二）循上式左手推出後，左足移前成虛，身軀囘復正直，右手續往上提，幷畧移小臂，立掌蓄勢，左手緩緩下垂。
7. Your left foot comes forward, touching down with the toes, your body straightening up, as your right hand continues upward, the forearm slightly shifting inward, the palm upright and storing power, and your left hand slowly hangs down. See photo 92:

（九三）循上式右手翻成俯掌，左手指尖翻上，兩手同時左上右下，至胸前使兩手背會合，隨卽右手推前，左手提起，同時左步進為弓式，右腿蹬直，手足要同一時間到達終点。
8. With your right hand turning over so that the palm is facing downward and your left hand turning over so that the fingers are pointing upward, your left hand threads upward and your right hand lowers until both hands meet in front of your chest with the backs of he hands facing each other, then your right hand pushes forward and your left hand continues to lift as your left foot advances and the leg bends, your right leg pressing straight. See photo 93:

童兒送書
[21] BOY SENDS OUT LETTERS

（九四）循上式在後之右脚上前足尖輕踏，身體緩緩挺起，偏右角移動，左手續往上提，用腰帶右手握拳下垂，斜置膝前。
1. Your right foot advances, touching down lightly with the toes, your body slowly rising up and turning to the right corner, as your left hand slowly continues upward and your right hand becomes a fist and hangs down to be placed diagonally in front of your right knee. See photo 94:

（九五）循上式右足進前一步，曲膝成弓，蹬直後腿，迅卽用腰帶左肩旋右斜角，順勢右拳循胸前屈肱翻拳掛出，再徐徐撤囘腰際，左手當右手撤囘時，隨卽俯掌下壓。
2. Your right foot advances and the knee bends to make a bow stance, your left leg pressing straight, as your right fist rolls over, goes out with a backfist strike, and then withdraws to your waist, and your left hand presses down with the palm facing downward, your waist driving your left shoulder toward the right corner. See photo 95:

（九六）循上式左掌續再前旋，變成仰掌，此時右手俯掌循左臂斜斜穿上，左臂趁右手往前之餘勢，緩緩撤囘右臂內側，左腿微曲坐實。
3. Your left hand continues forward, turning over so that the palm is facing upward, then your right hand goes along your left arm and threads diagonally upward with the palm facing downward, your left hand slowly withdrawing to the inside of your right elbow, as your left leg bends, the weight going onto it. See photo 96:

（九七）循上式鬆胯縮腰坐右腿，然後再用腰帶兩掌同時旋轉，至兩虎口朝上時，復卽循中線撤囘腹前，目視兩手。
4. Your hips loosen and sit back onto your left leg, as your palms rotate so that the tiger’s mouths are facing upward and pull back along the centerline until in front of your belly. Your gaze is toward your hands. See photo 97:

（九八）循上式左足上前一步與右足幷立，兩手向右上推出，此時身軀順勢囘復正直，右手變為仰掌，左掌側豎於右掌之旁。
5. Your left foot advances a step to stand next to your right foot, your body straightening up, as your hands push out upward to the right, your right palm turning over to be facing upward, your left palm standing upright beside your right palm. See photo 98:

（九九）循上式不移動步法，兩腿微彎，將上身向左畧俯，不要低頭或仰面，兩掌上下互抱，用腰帶全身移往左方，目視前手。
6. With your feet staying where they are, your legs slightly bend and your upper body slightly turns to the left, your head neither drooping forward nor lolling back, as your hands spread apart above and below as though holding something. Your gaze is toward your left hand. See photo 99:

（壹零零）循上式用腰旋往左角之後，兩掌同時旋動至兩手虎口朝上時，再循正中之路線緩緩拉囘復前，目視兩手。
7. Your palms rotate so that the tiger’s mouths are facing upward and then slowly pull back in front of your belly. Your gaze is toward your hands. See photo 100:

（一零一）循上式左足進前曲膝弓步踏實，兩手向左角上斜斜推去，右手豎掌，左手成為仰掌。
8. Your left foot advances, the knee bending to make a bow stance, as your hands push out diagonally upward to the left corner, your right palm standing upright, your left palm facing upward. See photo 101:

（一零二）循上式右足進步和左脚並立，兩腿微彎，先將上身向右角畧俯，兩掌上下呼應互抱，再用腰帶全身移往右角，目視兩手。
9. Your right foot comes forward to stand next to your left foot, your legs slightly bending, and your upper body slightly turns to the right corner as your hands spread apart above and below as though holding something. Your gaze is toward your hands. See photo 102:

（一零三）循上式用腰旋向右角之後，兩掌旋轉至兩手虎口朝上時，再復正中之路線緩緩拉囘腹前，目視兩手，兩足仍照原式不動。
10. Your palms rotate so the tiger’s mouths are facing upward and slowly pull back along the centerline until in front of your belly. Your gaze is toward your hands. See photo 103:

（一零四）循上式右腿復卽進前一步，曲膝坐實，蹬直左脚，是時兩手向右角斜斜推進，當推出時左掌變成豎掌，右手成為仰掌。
11. Your right foot advances and the knee bends to make a bow stance, your left leg pressing straight, as your hands push out diagonally upward to the right corner, your left palm standing upright, your right palm facing upward. See photo 104:

樵夫担柴
[22] WOODCUTTER CARRIES FIREWOOD

（一零五）循上式先將微俯之全身提起，然後左腿上前半步，脚尖輕置地上，兩手由右側變俯掌平繞半弧形至中線，微微平按。
1. Your body slightly rises and your left foot advances a half step, touching down lightly with the toes, as your hands arc across in a half circle from the right side to the centerline and slightly push down, the palms facing downward. See photo 105:

（一零六）循上式左脚橫進半步曲膝，跪右腿成交叉，足尖点地，兩掌趁勢下垂，左手蓋置右掌之上，目視前方，上身微俯。
2. Your left foot comes down with the foot turned sideways and the knee bends, your right leg kneeling inward to make a twisted stance, the heel lifted so that the foot touching down with the toes, as your palms droop, your left hand on top of your right hand, your upper body slightly slouching forward. Your gaze is forward. See photo 106:

（一零七）循上式在後之右脚上前半步，足尖輕輕点地，左脚曲膝踏實，隨將微俯之身提起，兩手同時用腕力緩緩循中線而昇，至腕骨高與肩平。
3. The weight goes onto your left leg, the knee bending, and your right foot advances a half step, touching down lightly with the toes, as your body slightly lifts up and your wrists slowly rise along the centerline until at shoulder level. See photo 107:

（一零八）循上式右脚再上前半步屈膝成弓，蹬直左脚，隨卽展臂伸腰，右手往前推進，左手徐徐上提。
4. Your right foot then goes forward a half step, the knee bending to make a bow stance, your left leg pressing straight, as your arms spread apart, your waist stretching, your right hand pushing forward, your left hand slowly lifting up. See photo 108:

（一零九）循上式右脚移往右角，弓右腿，跪左腿，胸含胯坐，兩脚交叉，兩手同時由上左右分開，各繞半圓形至腰際，旋為仰掌，蓄勢待進。
5. Your right foot turns out toward the right corner and the leg bends, your left leg kneeling inward to make a twisted stance, your hips settling, your chest hollowing, as your hands spread apart to the sides, each drawing a half circle that brings it to your waist with the palm facing upward, storing power in readiness to go forward. See photo 109:

（一一零）循上式將在後之左脚先移至左足內側，不着地隨卽向左角進步，兩手從左腿進步之時間，一齊由胸前穿起，至越過頭上，則左右分開落下，左手稍高於右手。
6. Your left foot shifts to the inside of your right foot without touching down and then advances to the left corner as your hands in unison thread upward in front of your chest, going higher than your head, and spread apart, lowering to the sides, your left hand slightly higher than your right hand. See photo 110:

天官指星
[23] CELESTIAL MINISTER POINTS TO THE STARS

（一壹一）循上式先將上身微傾左角，上右脚半步，足尖輕扣地上，左脚曲膝支持體重，右手抄轉經腰際而循左臂下穿上，兩肱宜曲，掌，肘，肩，要成三角形。
1. Your left leg bends, the weight going onto it, your upper body slightly turning toward the left corner, and your right foot advances a half step, touching down lightly with the toes, as your right hand passes by your waist and threads upward from below your left arm, your arms bent to make a triangle shape of hand, elbow, and shoulder. See photo 111:

（一一二）循上式先將右足尖左移踏實，左脚提起變為虛步，用腰帶全身後轉，右手此時續往上穿，左手旋為仰掌，置於右肘內側。
2. Your right foot turns inward, the weight goes onto the leg, and your left foot lifts to be touching down with the toes, your body turning around to the left, as your right hand continues to thread upward, your left hand placed at the inside of your right elbow, the palm turning over to be facing upward. See photo 112:

（一一三）循上式卽將左腿從左則進步，右腿承担體重，當進左腿時，左手仰掌由上而下，摟至左膝之前，右手亦同一時間續往上穿。
3. Your left foot advances to the left, the weight settling onto your right leg, as your left hand goes downward until in front of your left knee, the palm facing upward, your right hand continuing to thread upward. See photo 113:

（一一四）循上式身軀稍偏往右，卽將左脚變為半弓斜立，右脚微蹬，在膝前之左掌順勢從左泛起經正面豎掌右撥，右手俯掌撤囘腰下。
4. Your upper body slightly turns to the left and your left leg bends to almost make a bow stance, your right leg slightly straightening, as your left hand lifts and deflects across to the right, passing in front of your face, the palm upright, your right hand withdrawing to your waist, the palm facing downward. See photo 114:

（一一五）循上式身步變換之後，左脚曲膝與脚尖平，右脚直蹬，右手循左掌背面上穿右角，肘要微曲而沉，左手順勢緩緩而下至右肘內側。
5. Your left knee bends and the toes turn slightly to the left, your right leg pressing straight, as your right hand threads over the back of your left hand and upward to the right corner, the elbow slightly bent and sinking down, your left hand slowly lowering to the inside of your right elbow. See photo 115:

五雲捧日
[24] FIVE CLOUDS HOLD UP THE SUN

（一一六）循上式先將左脚尖移左踏實，全身帶腰擰轉往左，右脚上前一步，虛步而立，左手是時泛起往左，位於額前，右手由右上而下抄至左方，位於腹前，兩手俯仰互抱。
1. Your left toes shift to the left, the weight goes onto your left leg, your torso turns to the left, and your right foot advances a step, touching down with the toes, as your left hand rises to the left until in front of your forehead, your right hand lowering and scooping to the left until in front of your belly, the palms facing each other as though holding something. See photo 116:

（一一七）循上式右脚上前一步，屈膝成弓，左脚直蹬，右手隨肩擰動，揮掌抄起，左手掌趁勢旋為仰勢兩手抱圓，身體微向前傾。
2. Your right foot advances a step and the knee bends, your left leg pressing straight, as your right shoulder drives your right hand upward and your left palm scoops up, the palm turning over to be facing upward, your arms rounded as though holding something, your body slightly leaning forward. See photo 117:

（一一八）循上式隨卽提起左腿上前半步，足尖輕輕点地，右腿曲膝踏穩，隨用腰力引左手循中抄起，右手此時續往上揮，兩手與步，要同一時間到達終点。
3. Your left foot lifts and advances a half step, touching down gently with the toes, your right leg bending with the weight settling onto it, as your left hand scoops up along the centerline and your right hand continues on its path of swinging upward, your hands driven by power from your waist, your hands and your legs all reaching their final position at the same time. See photo 118:

（一一九）循上式兩掌心旋轉往外，沉肘豎掌微微鬆肩，緩緩直下至指尖與肩平，兩掌隨卽前後分推，左脚要同時進步，蹬直後脚。
4. Your palms turn to be facing outward, your elbows sink, your shoulders slightly loosen, and your hands slowly lower until the fingertips are at shoulder level with the palms upright, and then they spread apart, pushing out to the front and rear, as your left foot advances and the knee bends, your right leg pressing straight. See photo 119:

托天蓋地
[25] PROP UP THE SKY AND COVER THE GROUND

（一二零）循上式在後之右脚踏前，脚尖輕微点地，重心置於左腿，右手從掌下穿上，曲肱掌斜，左手同時經右掌而下，與前掌斜對。
1. Your right foot advances, touching down with the toes, the weight going onto your left leg, as your right hand threads upward from below your left palm, the arm bent, your left hand lowering past your right palm, the palms aligned with each other diagonally. See photo 120:

（一二一）循上式用腰帶全身旋轉往後，先將虛步之右脚支持體重，左脚微曲，脚尖点地，此時右手續向上穿過頂，由後而前蓋下，左手由左往中旋為仰掌，橫置腹前。
2. Your body turns around to the left, your right foot turning inward, the weight going onto your right leg, your left foot touching down with the toes, the leg slightly bent, as your right hand continues to thread upward, over your head, and covering downward in front, your left hand placed sideways in front of your belly, the palm turning over to be facing upward. See photo 121:

（一二二）循上式先將虛式之左脚提起，輕移往左，曲膝坐實，膝要和脚尖相合，蹬直右脚，右手隨卽蓋下後，左手順勢從正中穿上。
3. Your left foot lifts and lightly steps to the left, the weight going onto it, the knee bending, your right foot pivoting inward, the leg pressing straight, as your left hand threads out upward along the centerline and your right hand covers downward behind it. See photo 122:

（一二三）循上式先將右脚移右，踏上半步虛式，左脚亦同時移動，曲膝坐實，全身皆向右移，左手上旋變為俯掌，置於頂前，右手旋為掌，橫置腹前。
4. Your right foot shifts to the right, advancing a half step, touching down the toes, your left foot turning to the left, the leg bending, the weight going onto it, your torso turning to the right, as your left hand arcs upward and is placed in front of your head, the palm turning over to be facing downward, your right hand placed sideways in front of your belly, the palm turning over to be facing upward. See photo 123:

（一二四）循上式先將右脚踏實，左脚續再進前，屈膝成弓，在上之左手緩緩蓋下，右手同時穿上。
5. Your right foot comes down and your left foot advances, the knee bending to make a bow stance, as your left hand slowly covers downward and your right hand threads upward. See photo 124:

燕子抄水
[26] SWALLOW TAKES UP WATER

（一二五）循上式先將左脚踏實，提右脚轉身往後，到後面正中時，復向右進步，上身亦隨之旋轉，繼乃移身坐於左腿，兩手畧向上擰轉，掌心外向。
1. Pivoting on your left foot, your body turns around to the right, your right foot lifting and then advancing once your body has turned around, your torso still sitting onto your left leg, as your hands rise up, turning over so that the palms are facing outward. See photo 125:

（一二六）循上式左腿轉後曲膝坐實，蹬直右腿，兩掌前後相對，用腰帶肩引兩手從上而下，翻身往後，目視兩手。
2. Your torso turns to the left, your left leg bending, the weight going onto it, your right leg pressing straight, as your hands go downward and to the left, aligning with each other front and back. Your gaze is toward your hands. See photo 126:

（一二七）循上式翻身往後，在後之右脚，隨卽進前一步，順勢將趾尖擰移後轉，曲膝踏實，左脚變為虛步，兩手同時由下翻上，束勢於右肩外側。
3. Your body turns around to the right and then your left foot advances, touching down with the toes, the knee bent, as your hands go upward to the outside of your right shoulder. See photo 127:

（一二八）循上式提左腿移往後面，曲膝成弓，右脚蹬直，當左腿移動時，兩手由上循中線而下，到終点時，兩手復從下抄起，兩肱微曲，腕骨起而指尖垂。
4. Your left foot shifts to the rear, your body turning around to the left, and the leg bends, your right leg pressing straight, as your hands lower along the centerline and then scoop up, the arms slightly bent, the wrists rising, the fingers drooping. See photo 128:

朝陽貫耳
[27] SUNS RISING INTO THE EARS

（一二九）循上式身軀微向右移動，左脚坐實，鬆胯縮腰，在後之右脚踏前一步，與左足幷立，足尖輕輕点地，同時兩手循兩脅前，含有拉按之意撤囘胯側。
1. Your torso slightly turns to the right, the weight going onto your left foot, your hips loosening, your waist folding in, and your right foot advances to stand next to your left foot, touching down lightly with the toes, as your hands pull back in front of your ribs and push down beside your hips. See photo 129:

（一三零）循上式兩手撤囘之後上先將右脚進前，續將左脚進步，前弓後箭，是時兩手繞出兩側，左右泛起握拳，高及耳根之時，卽屈肱將兩拳向正中攏入。
2. First your right foot advances and then your left foot, making a stance of front leg a bow, rear leg an arrow, as your hands arc away to the sides and upward, becoming fists, and continue toward each other in front of you at ear height, your arms bending. See photo 130:

截手雙推
[28] INTERCEPT, DOUBLE-HAND PUSH

（一三一）循上式擰身後轉，兩脚左實右虛，右拳微微下垂，左拳徐徐向右上昇，至中線勢定時，兩拳上下互對。
1. Your body turns around to the right and the weight goes onto your left foot, your right foot making an empty stance, as your right fist slightly hangs down and your left fist slowly rises up, both fists moving inward to the centerline to be vertically aligned with each other. See photo 131:

（一三二）循上式先將右脚踏實，左脚上前半步，虛式点地，兩手趁左脚進步之時，順勢翻轉，撤囘胯旁。
2. Your right foot comes down fully and your left foot advances a half step to make an empty stance as your hands withdraw to your hips, the palms turning over to be facing upward. See photo 132:

（一三三）循上式先將虛支之左腿踏實，右脚進前，兩手同時向前按出，身亦畧為前移，右脚成弓，左腿蹬直。
3. Your left foot comes down fully and your right foot advances, the leg bending, your left leg pressing straight, as your hands push out forward, your body also slightly shifting forward. See photo 133:

薰風掃葉
[29] WARM BREEZE SWEEPS THE FLOWERS

（一三四）循上式先將腰胯鬆囘，左腿變為微曲，用意帶腰移左，兩掌俯斜先朝左角斜進，再指尖緩緩下垂至足前。
1. Your hips loosen and draw in, your left leg bending, and your waist turns to the left as your hands go forward and diagonally downward to the left rear, the fingers slowly lowering to point downward in front of your left foot. See photo 134:

（一三五）循上式兩手指尖緩緩下垂之後，順勢由下抽撤而上，是時左腿提起，右脚踏實，目視左手。
2. Your arms withdraw upward as the weight goes onto your right foot, your left foot lifting. Your gaze is toward your left hand. See photo 135:

（一三六）循上式兩手由下抽撤而上之後，趁餘勢未盡時，左脚復卽往原位進步，兩手此時順勢齊往下推。
3. Before the momentum of the previous movement has finished, your left foot advances back to where it was as your hands push out downward in unison, right palm upright, left palm facing outward with the fingers hanging down. See photo 136:

（一三七）循上式向右撇身，右脚尖隨着向右移動，微彎平踏，坐實於左腿，身體微向後轉，右手徐徐向膝部橫摟，左手乘勢在原處提起，置於左肩之上。
4. Your body turns to the right, sitting onto your left leg, your right toes turning outward to the right, the leg slightly bending, as your right hand slowly brushes across toward your right knee and your left hand lifts up to be placed above and beside your left shoulder. See photo 137:

（一三八）循上式卽鬆腰往後，而坐於左腿，轉身變步之際，右腿迅卽提起，此時右手泛起內旋握拳翻轉，而變為垂掌，護於膝上。卽前脚落地腰身換，掌復出擊守丹田。
5. Your waist loosens, your torso sits back onto your left leg, slightly turning to the right, and your right leg quickly lifts up as your right hand rises, arcing inward, becoming a fist, and rolls over, again becoming a palm, the palm facing outward with the fingers hanging down, to be placed over your right knee and guarding your elixir field, your left hand moving forward along with the turning of your torso, also rotating so that the palm is facing outward. See photo 138:

（一三九）循上式右足提起之後，卽行落下，左手在原位由上循中下按，同時右手亦復左手背面上穿。（卽形意拳之擘拳式）
6. Your right foot comes back down as your left hand pushes down along the centerline and your right hand threads out over the back of your left hand (similar to Xingyi Boxing’s chopping technique). See photo 139:

（一四零）循上式右足前進之後，左手順勢進前，至手腕與右指尖合並時，上身和右足尖稍偏右移動，兩足屈膝下坐成交叉式，然後再用腰帶兩手撤囘腹前。
7. Your left hand goes forward until the wrist is next to the fingertips of your right hand as your upper body and right toes slightly turn to the right, then your hands withdraw in front of your belly, driven by waist, as your knees bend and you sit into twisted stance. See photo 140:

（一四一）循上式用腰帶兩手撤囘腹前之後，隨卽左足進前一步，踏實成弓，左手旋為掌心向裏，兩手同時向前推出。
8. Your left foot advances to make a bow stance, the weight going onto it, as your left hand rotates so that the palm is facing inward and both hands push out forward. See photo 141:

（一四二）循上式腰胯鬆囘，右足微曲，左足踏實，左手旋為俯掌，右手泛起在左肘上，兩手同一時間循右側平挽半弧形而下，至兩手護膝為度。
9. Your hips loosen and draw in, the weight going onto your left leg, your right leg slightly bending, as your left hand turns over so that the palm is facing downward, your right hand rising over your left elbow, and your hands arc across to the right and downward, guarding your right knee. See photo 142:

（一四三）循上式兩手護膝之後，先將左腿曲膝踏實，提起右腿，兩手隨勢循右腿上由下抽起，帶含牽引之意，目視右手。
10. Your left leg bends, taking all the weight, and your right foot lifts as your hands lead upward from below with an intention of drawing in. Your gaze is toward your right hand. See photo 143:

（一四四）循上式兩手由下抽撤之後，趁餘勢未盡時，右足隨卽萬進一步，兩手順勢齊往下推。
11. Before the momentum of the previous movement has finished, your right foot advances a step as your hands push out downward in unison, left palm upright, right palm facing outward with the fingers hanging down. See photo 144:

（一四五）循上式向右撇身，左脚尖隨着向左移動，微彎平踏，坐實於右腿，上身微向後傾，左手曲肱徐徐向膝部橫摟，右手乘勢在原處提起置於右肩上側。
12. Your body turns to the left, sitting onto your right leg, your left toes turning outward to the left, the leg slightly bending, your upper body slightly leaning back, as your left hand slowly brushes across toward your left knee and your right hand lifts up to be placed above and beside your right shoulder. See photo 145:

（一四六）循上式卽鬆腰往後，而坐於右腿，轉身變步之際，左腿迅卽提起，此時左手泛起內旋，握拳翻轉，變為垂掌護於膝上。
13. Your waist loosens, your torso sits back onto your right leg, slightly turning to the left, and your left leg quickly lifts up as your left hand rises, arcing inward, becoming a fist, and rolls over, again becoming a palm, the palm facing outward with the fingers hanging down, to be placed over your left knee, your right hand moving forward along with the turning of your torso, also rotating so that the palm is facing outward. See photo 146:

（一四七）循上式左足提起之後，卽行落下，右手在原處下按，而左手亦從右手背面穿出。
14. Your left foot comes back down as your right hand pushes down along the centerline and your left hand threads out over the back of your right hand. See photo 147:

燕子啣泥
[30] SWALLOW PECKS MUD

（一四八）循上式卽鬆胯往後，坐右腿，兩手從中線撤至腹前，再往右平繞一弧形泛起至正面，此時左脚微曲，右腿順勢踏進一步，成兩足並立。
1. Your hips loosen and you sit back onto your right leg as your hands withdraw along the centerline until in front of your abdomen, then your hands arc to the right and rise up until above and in front of you as your left leg slightly bends and your right foot advances to stand next to your left foot. See photo 148:

（一四九）循上式兩手由上循左而下，經腹前復朝右往，繞一半弧形順勢握拳，此時左脚迅卽撤至右脚內側，足尖点地而成虛步。
2. Your hands arc to the left, downward, and across to the right, passing in front of your belly, becoming fists, as your left foot draws in next to your right foot, touching down with the toes, making an empty stance. See photo 149:

（一五零）循上式先將虛点之左足提起摩轉，朝左進步，兩手同時向上泛起，繞一圓圈朝左拋出，到終点時，兩掌放開。
3. Your left foot advances to the left as your hands rise up and draw an arc that swings out to the left, finishing with the palms spread apart. See photo 150:

（一五一）循上式右足進前和左足曲膝並立，足尖着地，身體微俯，不要低頭，右手指尖曲垂下揷，到終点時兩手同時握拳。
4. Your right foot advances to stand next to your left foot, touching down with the toes, your knees bending, your body bending slightly forward, but without your head drooping, as your right hand pokes downward, the fingers bending in, your hands both becoming fists upon reaching their final position. See photo 151:

（一五二）循上式兩手握拳後，將右脚尖轉移後方，全身也繼之移轉，兩手卽由原位繞一大弧形往後拋出，到終点時兩掌放開。
5. Your right foot steps to the rear with the toes turning outward, your whole body turning around to the right, your left foot turning inward, as your hands draw a large arc, throwing out behind you, finishing as palms and spread apart. See photo 152:

靈猿摘菓
[31] NIMBLE APE PLUCKS SOME FRUIT

（一五三）循上式先將右脚向右擰轉，踏實成為弓右腿，跪左腿兩足交叉，左足豎掌向右平抹，右手撤囘胯側。
1. Your right foot twists out to the right and the weight goes onto it, the leg bending, your left leg kneeling downward to make a twisted stance, as your left hand wipes across to the right with the palm upright, your right hand withdrawing to your right hip. See photo 153:

（一五四）循上式兩足原式不動，右手循左臂內向上直穿，左手徐徐落下至右肘內側，眼視右手。
2. Your left foot advances and the leg bends, your right leg pressing straight, as your left hand threads upward along the inside of your right arm and your right hand slowly lowers next to the inside of your left elbow. Your gaze is toward your right hand. See photo 154:

（一五五）循上式兩足原式不動，兩手旋動變為掌心外向，此時用腰帶兩手緩緩而下。
3. With your feet staying where they are, your hands rotate so that the palms are facing outward and slowly lower, driven by your waist, your left hand still placed at the inside of your right elbow. See photo 155:

（一五六）循上式身步移動往左，右腿上前一步虛点，和左腿合並，而坐於左腿，在上右步時，右掌繞一小弧形由右泛起往左，左手順勢撤囘胯側。
4. Your body turns to the left, sitting onto your left leg, your left foot turning outward, and your right foot advances to stand next to your left leg, touching down with the toes, as your right palm arcs across from right to left, your left hand withdrawing beside your left hip. See photo 156:

（一五七）循上式右足上前一步，身體也隨之移前，而坐於右腿，左足直蹬，左手順勢循右臂內側上穿，右手同時緩緩落下至左肘內側。
5. Your right foot advances a step and your torso shifts forward, sitting onto your right leg, your left leg pressing straight, as your left hand threads upward along the inside of your right arm and your right hand slowly lowers next to the inside of your left elbow. See photo 157:

（一五八）循上式兩足原式不動，兩手旋為掌心外向，此時用腰帶兩手徐徐落下，右手位於左肘內側。
6. With your feet staying where they are, your hands rotate so that the palms are facing outward as they slowly lower, driven by your waist, your right hand still placed at the inside of your left elbow. See photo 158:

猛虎囘頭
[32] FIERCE TIGER TURNS ITS HEAD

（一五九）循上式兩足原式不動，卽將腰胯鬆囘，兩手亦隨之抽囘往後，立卽坐實右腿，兩手由右平挽一弧形至左，將到終点時，左足也隨勢變為弓步。
1. Your hips loosen and your torso turns to the left, your feet pivoting to the left, your left leg bending, right leg straightening, as your hands arc across to the left. See photo 159:

（一六零）循上式身步旣定之後，腰卽徐徐鬆囘，坐實右腿，上身右旋，兩手由原位平挽一弧形，經過小腹，再兩掌下垂往右。
2. Your waist slowly loosens and sits back onto your right leg, your torso turning to the right, as your hands arc downward and across, passing in front of your belly, the palms drooping to the right. See photo 160:

（一六一）循上式兩手往右之後，先坐實左腿，身體轉移後面，當移動時，全身也隨之緩緩昇起，兩掌亦順勢旋為掌心內向。
3. The weight shifts to your left leg and your torso turns to the left, your body slowly rising up, as your hands slowly rotate so that the palms are facing inward. See photo 161:

（一六二）循上式先將在後之右腿收囘與左腿幷立，兩手俯掌由上徐徐落下。
4. Your right foot draws in to stand next to your left foot as your hands slowly push down with the palms turning over to be facing downward. See photo 162:

（一六三）此式是囘復起式之原勢。
5. You have now returned to the same position in the beginning posture, except turned to the left. See photo 163:

–

六合八法拳圖解（下段）
LIUHEBAFA BOXING SET ILLUSTRATED (PART TWO)

旋轉乾坤
[33] SPINNING THE SKY & GROUND

（一六四）兩足原式方向不變，而將上身微微左移，兩手由原處漸漸向左側泛起，從左而右繞兩弧形。
1. With your feet staying where they are, your upper body slightly shifts to the left as your hands slowly rise to the left, then your hands arc to the right, your upper body again slightly moving along with them. See photo 164:

（一六五）循上式兩手繞兩個弧形之後，兩掌亦逐翻往右，斜架於右肩前側，此時右腿微曲，左腿足尖指地。
2. Your hands arc through a complete circle and then continue to arc to the right to block diagonally in front of and beside your right shoulder as your right leg slightly bends, your left foot touching down with the toes. See photo 165:

風擺荷葉
[34] WIND SWAYS THE LOTUS LEAVES

（一六六）循上式先將右足曲坐，再進左脚曲膝弓式，兩手曲肱緩緩循中線側掌橫推，中間距離甚邇。
1. First you sit onto your right leg, the knee bending, then your left foot advances and the knee bends to make a bow stance as your arms bend and your hands slowly push out along the centerline with sideways palms, the fingers of both hands pointing to the right, the hands very close together. See photo 166:

（一六七）循上式兩手復從右側泛起，向左挽一弧形，斜架於左肩前側，當兩手旋動時，身體稍為先昇後含，在後之右足，也隨勢進前和左脚幷立，足尖点地。
2. Your hands rise up and arc to the left, blocking across diagonally in front of your left shoulder, as your body slightly rises and then your waist bends inward, your right foot coming forward to stand next to your left foot, touching down with the toes. See photo 167:

（一六八）循上式右足上前一步，曲膝，右足蹬直，兩臂曲肱緩緩循中線橫掌平推。
3. Your right foot advances a full step, the knee bending, your right leg pressing straight, as your arms bend and your hands push out along the centerline with the palms sideways, the fingers of both hands pointing to the left. See photo 168:

掩手衝拳
[35] COVERING HAND, THRUST PUNCH

（一六九）循上式先將左手俯掌平按，右手平挽半弧形握拳撤至胯旁，剛兩手動作時，左足踏進一步，和右足並勢而立。
1. Your left hand pushes down and your right hand withdraws in a half circle to your right hip, becoming a fist, as your left foot advances to stand next to your right foot. See photo 169:

（一七零）循上式兩足並立之後，左脚迅卽進前一步弓式，右拳從正面出，左手置於右臂內側。
2. Your left foot advances a step to make a bow stance as your right fist thrusts out forward, your left hand placed to the inside of your right arm. See photo 170:

琵琶遮面
[36] HOLDING THE LUTE IN FRONT OF YOUR FACE

（一七一）循上式上身稍往後移坐實右腿，左手豎掌循右臂下挑起，右手微向後撤，兩手當胸而立，前後互對。
1. Your upper body sits back, the weight going onto your right leg, as your left hand becomes an upright palm and carries upward, going along the underside of your right arm, your right hand slightly withdrawing, both hands upright in front of your chest, lining up forward and back. See photo 171:

（一七二）循上式左腿曲膝，右腿蹬直，左手是時續再上提，右手順勢從中推出，目視前方。
2. Your left knee bends, your right leg pressing straight, as your left hand continues to lift up and your right hand pushes out along the centerline. Your gaze is forward. See photo 172:

（一七三）循上式移身後坐，兩手翻為左俯右仰平按而下，緩緩微撤，前後兩掌相對。
3. Your body sits back as your hands push downward, your left palm turning over to be facing downward, right palm turning over to be facing upward, slowly and slightly withdrawing. See photo 173:

（一七四）循上式身體畧向左偏，左脚曲膝，左手撤左胯側，右手豎掌向左側橫撥。
4. Your torso slightly turns to the left, your left knee bending, as your left hand withdraws beside your left hip and your right hand deflects across to the left with the palm upright. See photo 174:

（一七五）循上式右手豎掌向左側橫撥，隨卽進右步轉身後旋，右實左虛，左手順勢豎掌穿上，右手俯掌由上落下。
5. With your right palm already deflecting across to the left, quickly advance your right foot and turn around to the left, the weight going onto your right foot, your left foot emptying, as your left hand threads upward with the palm upright, your right hand lowering from above, the palm facing downward. See photo 175:

流星趕月
[37] METEOR CHASES THE MOON

（一七六）循上式兩足原式不動，祗左掌微移往右，右掌旋為仰勢向左肘下托，如抱球狀。
1. With your feet staying where they are, your left hand slightly shifts across to the right, your right palm turning over to be facing upward, propping up below your left elbow as though holding a ball. See photo 176:

（一七七）循上式先將左脚尖提起往右，再將身往右搖旋往後，轉一個大圓圈，到終点時，兩臂徐徐棚開，指尖橫對，目視前方。
2. First your left foot lifts and shifts across to the right, then your body spins all the way around, your right foot now touching down emptily, and your arms slowly prop away, the fingers pointing toward each other. Your gaze is forward. See photo 177:

燕子斜飛
[38] SWALLOW SLANTS ITS WINGS IN FLIGHT

（一七八）循上式兩足原式不動，身體先微移左方，是時兩手向左泛起，經正面往右斜架於右肩前。
1. With your feet staying where they are, your torso slightly shifts to the left as your hands rise up to the left and then shifts to the right as your hands move across to the right, passing in front of your face, to block diagonally in front of your right shoulder. See photo 178:

（一七九）循上式兩手架於右肩前之側，先將右脚退後一蹬，兩手迅卽由上側而下向中線雙掌橫推，左脚趁勢變成曲膝。
2. Your right foot retreats, the leg straightening, your left knee bending, as your hands quickly lower and push out along the centerline with the palms sideways, the fingers of both hands pointing to the right. See photo 179:

（一八零）循上式兩脚原式不動，而腰身畧向左偏，兩手用腰牽移由上斜下至左腰前，旋為兩腕合攏，兩掌張開。
3. With your feet staying where they are, your waist turns slightly to the left as your hands shift diagonally downward until in front of the left side of your waist, rotating into place with the wrists together and the palms spread open. See photo 180:

（一八一）循上式先將左脚尖擰右，右脚變為曲膝，身腰隨之右旋，兩手同時順勢左右分開，右手稍高於左手。
4. Your left foot pivots to the right and your right knee bends, your torso turning to the right, as your hands spread apart to the left and right, your right hand slightly higher than your left hand. See photo 181:

（一八二）循上式趁餘勢之未盡時，隨卽移步轉身往後，兩手原式不變，當身步將定時，左手畧高於右手。
5. Before the momentum of the movement has finished, your body turns to the rear, your stance switching the bent leg and straight leg, your hands mostly maintaining their position, your left slightly rising and your right hand slightly lowering so that your left hand is a little bit higher than your right hand. See photo 182:

單鳳朝陽
[39] PHOENIX LANDS ON THE SUNNY SLOPE

（一八三）循上式身軀囘復正直，兩手順勢前後撤囘右肩上側，同時左腿亦同一時間撤囘右足之前，足尖輕点於地。
Your body straightens up, your hands drawing in beside you over your right shoulder, as your left foot withdraws in front of your right foot, touching down lightly with the toes. See photo 183:

翻江攪海
[40] DIVERT THE RIVER AND TURN BACK THE SEA

（一八四）循上式微將胸稍含身軀畧俯，左手原勢不變，右手指斜垂，目視前方。
1. Slightly hollow your chest and bend your torso forward as your right hand droops its fingers diagonally downward, your left hand maintaining its position. Your gaze is forward. See photo 184:

（一八五）循上式右手指尖斜垂之後，續往下揷，此時左手在右手肘下同時分攪，前後伸展而出。
2. Your right hand continues downward with a poking action and your left hand goes forward from below your right elbow, your hands spreading away forward and back as your left foot steps forward to make a bow stance, your right leg pressing straight. See photo 185:

倒騎龍背
[41] TURN AROUND TO RIDE ON THE DRAGON’S BACK

（一八六）循上式左腿原式不動，在後之右腿上前一步，足尖点地，與左腿相並立，右手從後經腹前斜挑而上，左手同一時間撤於胯側。
1. Your right foot steps forward to stand next to your left foot, touching down with the toes, as your right hand passes in front of your belly and carries diagonally upward, your left hand withdrawing beside your left hip. See photo 186:

（一八七）循上式右脚再進前一步，弓式踏實，左脚直蹬，卽將左手從右臂下斜斜穿上，右手輔於左臂內側。
2. Your right foot steps forward and the leg bends to make a bow stance, your left leg pressing straight, as your left hand threads out diagonally upward, your right hand placed to the inside of your left arm. See photo 187:

（一八八）循上式先將右手指尖垂下往右，緩緩摩旋泛起，左手同時指尖先往下揷，再而旋至指尖朝上，卽將左脚提起。
3. Your right hand lowers, the fingers drooping down, goes to the right, and slowly rises up, your left fingers also poking downward and then turning over to point upward, as your left foot lifts up. See photo 188:

（一八九）循上式左脚提起之後，將腰身擰轉，提左脚騎往後面，左脚踏落時，右脚曲膝，左手順勢往下向膝外橫摟，右手趁勢徐徐提昇。
4. Your body turns to the left, your left foot coming down to the rear, your right knee bending, as your left hand brushes across downward to the outside of your left knee, your right hand slowly rising up. See photo 189:

（一九零）循上式左手下摟之後，復往後繞一大半弧形由後而上至頂前，右手亦同一時間由上垂指下揷，左脚弓式，右脚蹬直。
5. Your left hand arcs through a large semicircle to the rear, upward, and in front of your head, your right hand poking downward from above, the fingers hanging down, as your left leg bends to make a bow stance, your right leg pressing straight. See photo 190:

狸貓撲蝶
[42] LEOPARD POUNCES ON A BUTTERFLY

（一九一）循上式左脚曲膝不動，右脚上前虛点地上，左手垂指由上而下向右腕外側下揷，隨揷隨旋而為俯掌再往前下按，右手順勢抽囘，虎口朝上。
1. Your left knee bends and your right foot advances to make an empty stance as your left hand pokes downward to the outside of your right wrist, the fingers drooping down, then flattens out so the palm is facing downward, pushing forward and down, your right hand pulling back with the tiger’s mouth facing upward. See photo 191:

（一九二）循上式先將左脚上前半步虛式，左臂曲肱，腕起而手指斜垂，微微將腕骨提起，復卽下沉，右手順勢從左腕外側下揷，隨揷隨旋成為俯掌，再往前下按，左手順勢抽囘。
2. Your left foot advances a half step to make an empty stance as your left arm bends, the wrist slightly lifting so that the fingers are hanging down, then sinks down, the hand withdrawing, and your right hand goes along the outside of your left wrist, poking downward, then pushes down forward with the palm turning over to be facing downward. See photo 192:

抽樑換柱
[43] REMOVING THE ROOF BEAM TO REPLACE THE PILLAR

（一九三）循上式先將左脚撤囘，復卽再向左側進步，右脚踏實成弓，右手泛起，左手變仰，兩手互抱，隨卽左右同時分開。
1. Your left foot draws in and then advances to the left corner, your right leg still bent with the weight mostly on it, as your right hand rises up and your left palm turns over to be facing upward so that your hands are making a position of holding something, and then your hands spread apart to the sides. See photo 193:

（一九四）循上式左脚曲膝，右脚先撤囘，復卽往右角進步，左手同一時間先往右撥，右手側垂掌往下，兩手互抱，隨卽左右分開。
2. Your left knee bends and your right foot draws in and then advances to the right corner, your left leg still bent, as your left hand deflects to the right, your right hand lowering with the palm facing upward so that your hands are again making a position of holding something, and then your hands spread apart to the sides. See photo 194:

風捲殘雲
[44] WIND CURLS AWAY THE CLOUDS

（一九五）循上式兩手左右分開之後，右手續再泛起旋為俯掌，目視右手。
1. Your right hand continues upward, turning over so that the palm is facing outward. Your gaze is toward your right hand. See photo 195:

（一九六）循上式右手掌變為俯之後，進左步左手卽從右臂下穿上，而右手則循臂上落下。
2. Your left foot advances as your left hand threads upward from below your right arm, your right hand lowering over your left arm. See photo 196:

（一九七）循上式左腿曲膝坐實，轉身往後，此時右手反轉循膝外撑下，左手順勢向上伸展。
3. Your left leg bends further, the weight going onto it, and your body turns around to the rear, your right leg slightly bending, as your right hand braces downward to the outside of your right knee, your left hand spreading away upward. See photo 197:

（一九八）循上式身步旣定之後，右手曲肱腕起，左手順勢由上向右肘內側下揷，右足變成弓式，左腿蹬直。
4. Your right arm bends to send the wrist lifting up, your left hand slipping under the inside of your right elbow, as your right leg bends to make a bow stance, your left leg pressing straight. See photo 198:

（一九九）循上式左手下揷之後，兩手隨之翻轉左俯右仰，兩掌微微握拳橫架胸前，當兩手轉動時，左脚隨卽進步，曲膝踏實。
5. Your palms slowly become fists and block across to the left in front of your chest, your right hand turning over so the palm side is facing upward, as your left foot advances, the knee bending, the weight going onto it. See photo 199:

蟄龍現身
[45] HIBERNATING DRAGON EMERGES

（二零零）循上式右脚進前一步，足尖点地，兩手握拳循中線劈下。
1. Your right foot advances a step, touching down with the toes, as your fists chop down along the centerline. See photo 200:

（二零一）循上式先將虛点之右脚進前落下踏實，左脚蹬直，兩拳鬆開，右手翻起橫架頂前，右手向前上穿出。
2. Your right foot advances and the weight goes onto it, your left leg pressing straight, as your fists open, your right hand turning over and propping up in front of your head with the palm facing forward, your left hand threading out forward and upward. See photo 201:

（二零二）循上式卽將腰胯鬆囘，左腿曲坐，右腿微彎，此時兩手旋為俯掌下按，指尖微向上翹。
3. Your hips loosen and sit back, your left leg bending, your right leg staying slightly bent, as your palms turn over to be facing downward and push down with the fingertips slightly lifted up. See photo 202:

（二零三）循上式兩手下按之後，右腿曲膝，左脚蹬直，左手往右上撥，右手順勢撤囘胯旁。
4. Your right knee bends, your left leg pressing straight, as your left hand deflects upward to the right, your right hand withdrawing beside your right hip. See photo 203:

（二零四）循上式左脚上前一步，足尖点地而成虛式，此時上身復坐實後腿，乃將右手徐徐向右側平撥，同時左手順勢撤至胯側。
5. Your left foot advances to make an empty stance, touching down with the toes, your body sitting onto your right leg, as your right hand slowly deflects across to the left side, your left hand withdrawing beside your left hip. See photo 204:

（二零五）循上式右脚上前一步，足尖点地而成虛式，此時上身復坐實於左腿，卽將左手循右臂內穿上，右手亦隨之徐徐下按。
6. Your right foot steps forward, touching down with the toes to make an empty stance, your body sitting onto your left leg, as your left hand moves along the inside of your right arm and threads upward, your right hand slowly pushing downward. See photo 205:

（二零六）循上式先將右腿踏實，在後之右腿迅卽上前半步，變為虛步，在變換步法時，將上身趁勢轉腰，徐徐轉臂反掌向左翻外，斜架於左肩前。
7. Your right foot comes down fully and then your left foot quickly advances a half step to make an empty stance, your upper body twisting to the left, as your arms slowly arc to the left, your left palm turning to be facing outward, blocking diagonally in front of your left shoulder. See photo 206:

（二零七）循上式趁勢轉腰之後，右腿再上前一步，轉身向左，兩脚曲膝騎馬式，是時右手循左臂上劈出，左手徐徐下按。
8. Your right foot steps forward, your body turning to the left, and your knees bend to make a horse-riding stance as your right hand goes along the top of your left arm and chops out, your left hand slowly pushing down. See photo 207:

（二零八）循上式身步旣定之後，兩手隨卽握拳循中線拉撤，左脚同時退後一步，手步要同一時間動作
9. Your hands become fists and pull back along the centerline as your left foot retreats a step. See photo 208:

烏龍擺尾
[46] BLACK DRAGON SWINGS ITS TAIL

（二零九）循上式身稍前傾，使右腿坐實，後脚直蹬，兩手卽向胸合攏，兩臂微曲，掌心相對。
1. Your right foot advances and the weight goes onto it, your left leg pressing straight, as your hands come together in front of your chest, palms facing each other, arms slightly bent, your upper body slightly leaning forward. See photo 209:

（二一零）循上式先將腰胯鬆囘坐於左腿，右腿微曲，兩手隨卽緩緩翻轉，至雙掌互對時，旋卽左右分開，左手畧高於右手。
2. Your hips loosen and sit back onto your left leg, your right leg staying slightly bent, as your hands slowly turn over, the palms still facing each other, and suddenly spread apart to the sides, your left hand slightly higher than your right hand. See photo 210:

（二一一）循上式兩手分開之後，左手卽從右泛起向中推進，右手隨勢撤囘胯側，兩腿則右弓左直。
3. Your left hand rises up and pushes out along the centerline, your right hand withdrawing beside your right hip, as your right leg bends to make a bow stance, your left leg straightening. See photo 211:

（二一二）循上式將腰胯稍囘，重心坐於左腿，右手復卽泛起向中推擊，左手順勢撤至胯側。
4. Your hips slightly sit back, the weight going onto your left leg, as your right hand rises up and pushes out along the centerline, your left hand withdrawing beside your left hip. See photo 212:

（二一三）循上式右腿撤囘一步，和左腿成平行步，脚尖点地，兩膝微曲，右手由原位循中落下，至小腹前翻手握拳，左掌直竪頰側。
5. Your right foot pulls back to stand next to your left foot, touching down with the toes, both knees bent, as your right hand lowers along the centerline until in front of your belly, turning over and becoming a fist, your left palm going straight up beside your left cheek. See photo 213:

（二一四）循上式兩脚原式不動，將已俯之身體徐徐昇起，而成立身，右臂翻繞一弧形由下掛上，左手護於肘內。
6. With your feet staying where they are, your body slowly straightens up as your right arm rolls over, sending the fist upward and out with a backfist strike, your left hand guarding to the inside of your left elbow. See photo 214:

（二一五）循上式右手掛出後，順勢落下往後，再由後繞一大弧形由上壓下，當右掌壓下時，右脚迅卽後退一步，左脚曲膝。
7. Your right hand then draws a large circle downward, to the rear, upward, forward, and downward again with the palm pressing down, as your right foot retreats a step, your left knee bending. See photo 215:

（二一六）循上式右腿改變為實，左腿微曲，右手從原位挑起架於頂上，同時左手竪掌亦向前而進。
8. The weight shifts onto your right leg, your left leg slightly bending, as your right hand carries upward, blocking over your head, and your left hand goes forward with the palm upright. See photo 216:

平分秋色
[47] EVENLY SPREADING AUTUMN COLORS

（二一七）循上式旋身後轉，隨用腰力帶右手向上翻鑽，左手先向下垂，到終点時左手復從左泛起，右手再從右落下，兩腿成交叉步。
1. Your body turns around, your feet pivoting to make a twisted stance, as your right hand drills upward, goes to the right, and lowers, your left hand hanging down and then rising up in front of you. See photo 217:

（二一八）循上式左手向上翻轉往右而下，右手往右泛起由右往左，當兩手抵達終点時，右腿微曲踏實，在後之左腿，往前向右橫踢，須含有鈎提之意。
2. Your left hand arcs upward, to the left, and downward, your right hand arcing to the right, upward, and to the left, as your right leg slightly bends, the weight going onto it, and your left foot kicks across forward to the right with an intention of hooking inward. See photo 218:

走馬觀花
[48] CATCH A GLIMPSE OF THE FLOWER WHILE GALLOPING PAST IT

（二一九）循上式先將左腿撤囘，復卽從左進步，此時左手在右肘抱掌，再左右隨卽分開。
1. Your left foot draws in and then advances to the left as your left hand scoops under your right elbow and then your hands spread apart. See photo 219:

（二二零）循上式兩手左右分開之後，右脚踏至左脚側，兩足並立右手趁勢向左徐徐推上，目視左手。
2. Your right foot steps forward next to your right foot as your right hand slowly pushes upward to the left. Your gaze is toward your left hand. See photo 220:

（二二一）循上式提右脚轉身往後，左脚踏實，右脚微曲，右手沿左繞一圓形由後往上，經正面下按，左手置於左肩上側。
3. Your right foot steps to the rear, your body turning, the weight staying on your left leg, your right leg slightly bent, as your right hand draws an arc to the left, upward, to the rear, and pushing downward in front of your face, your left hand placed above and beside your left shoulder. See photo 221:

魁星獻斗
[49] KUIXING SHOWS THE BIG DIPPER

（二二二）循上式右脚踏實，在後之左脚進前一步，兩足合攏，左手由上按下，右手同時撤至胯側。
1. The weight goes onto your right foot and your left foot advances to stand next to it as your left hand pushes downward and your right hand withdraws beside your right hip. See photo 222:

（二二三）循上式進左步，右手此時從胯旁徐徐上進，左手順勢撤囘胯側。
2. Your left foot advances as your right hand goes slowly forward and upward, your left hand withdrawing beside your left hip. See photo 223:

（二二四）循上式兩脚原式不動，左手再從右肘上穿，右手微微撤囘。
3. With your feet staying where they are, your left hand threads out over your right forearm, your right hand slightly withdrawing. See photo 224:

（二二五）循上式兩手迅卽握拳沿中線往右，右腿曲坐，左腿撤囘半步微曲点地。
4. Your hands quickly become fists on the centerline and then go out to the right as your right leg bends, the weight going onto it, and your left foot withdraws a half step, touching down with the toes, the leg bent. See photo 225:

（二二六）循上式兩手握拳沿中線往右之後，兩拳順勢泛起，左拳直竪胸前，右拳置於右肩前側，兩足原式不變。
5. With your feet staying where they are, your fists rise up so that your left fist is placed in front of your chest with the forearm upright and your right fist is placed in front of and beside your right shoulder. See photo 226:

燕子穿雲
[50] SWALLOW FLIES THROUGH THE CLOUDS

（二二七）循上式左脚進前半步，右手先由上徐徐落下，左手俯掌微囘，在餘勢未盡時復再前進，右手亦隨勢緩緩下按。
1. Before the momentum of the previous movement has finished, your left foot advances a half step as first your left hand withdraws with the palm facing downward, your right hand slowly lowering from above, and then your left hand continues forward, your right hand slowly pushing downward. See photo 227:

（二二八）循上式右脚進前，左脚蹬直，右手續再上進，左手置於右肘內側。
2. Your right foot advances and your left leg presses straight as your right hand goes forward and upward, your left hand placed to the inside of your right elbow. See photo 228:

（二二九）循上式先將兩掌平俯，右指尖擰轉往後，由上推旋後移，此時身體亦隨勢轉動，目視指前。
3. Your body turns around to the left as your hands push down and out to the left. Your gaze is toward your left fingers. See photo 229:

（二三零）循上式左脚隨卽提起，沿右撤後踏實成弓，右脚微曲，當左腿提起時，將身一擰，向右繞一圓形，到終点時，右手在左肘下隨轉帶穿而上。
4. Your body turns all the around to the right, your left foot stepping behind your right foot, your left leg bending, the weight going onto it, your right leg slightly bent, as your right hand threads upward from below your left elbow. See photo 230:

提手七星
[51] LIFTING HANDS, BIG-DIPPER POSTURE

（二三一）循上式先將左脚擰轉往後，隨用腰力全身也繼之轉移，右手指尖下垂側掌向左側橫架，左手則順勢往右頰側微撥。
1. Your left foot turns to the left, your body turning around to the left, your right foot turning inward, as your right hand blocks across to the left with the palm sideways and the fingers hanging down, your left hand slightly deflecting toward your right cheek. See photo 231:

（二三二）循上式兩手原式不動，上身微微曲腰，在後之右脚踏上一步，虛式而立。
2. With your hands maintaining their position, your waist slightly bends inward and your right foot advances to make an empty stance. See photo 232:

（二三三）循上式先將右脚踏實，左脚上前半步，足尖点地，然後將微俯之上身與手，一齊提舉，右手則由下而起，左手則撤胯旁。
3. Your right foot comes down and your left foot advances a half step, touching down with the toes, as your body straightens up, your right hand rising up, your left hand withdrawing beside your left hip. See photo 233:

（二三四）循上式左脚復再進前，身帶微曲，但不可低頭，右手由上循胸前垂掌而落，左手同時徐徐往右頰側斜斜上撥。
4. Your left foot advances, the weight going onto it, and your body slightly bends forward, though your head does not droop, as your right hand lowers, passing in front of your chest, the fingers hanging down, and your left hand slowly goes diagonally upward to deflect beside your right cheek. See photo 234:

（二三五）循上式左脚原式不動，在下垂之右手先向上挑起，同時在後之右脚，亦同一時間踢上，左手趁勢握拳貼近胯側。
5. Your right hand carries upward as your right foot also kicks up, your left hand becoming a fist and going beside your left hip. See photo 235:

（二三六）循上式右脚落下，左脚進前弓步，左手握拳冲前，右手側竪肘內。
6. Your right foot comes down and your left foot advances to make a bow stance as your left hand becomes a fist and thrusts forward, your right hand placed at the inside of your left elbow with the palm sideways and upright. See photo 236:

雁字橫斜
[52] WILD GOOSE FLIES WITH ITS WINGS SLANTED

（二三七）循上式左拳冲出之前，將拳沿右而左繞一小圈，兩手順勢撤囘胯側，身體順勢旋右，同時左腿先撤囘左足內側，復往右進半步，虛式足尖点地。
1. Your left fist draws a small arc to the left and then both hands withdraw to your hips as your body turns to the right, your left foot withdrawing next to your right foot and then advancing a half step to the right, touching down with the toes. See photo 237:

（二三八）循上式右脚上前半步踏實，左脚續再進半步虛式，和右脚並立，兩手此時從胯往中穿上，雙掌放開。
2. Your right foot advances a half step and the weight goes onto it, then your left foot continues forward to stand next to your right foot emptily, touching down with the toes, as your fists open and your hands thread upward along the centerline and then spread apart. See photo 238:

（二三九）循上式兩手高舉之後，左腿往左進步，兩手隨卽由上左右同時分開，兩肘微曲，目視左手。
3. Your left foot advances to the left as your hands spread apart to the left and right from above with the elbows slightly bent, your left hand slightly higher than your right hand. Your gaze is toward your left hand. See photo 239:

黃龍轉身
[53] YELLOW DRAGON TURNS AROUND

（二四零）循上式右脚隨卽上步，曲膝向前成弓，左脚蹬直，右手先向原位撤至右胯側，再沿左掌上穿出，左手徐徐落至右臂內側。
1. Your right foot steps forward and the leg bends to make a bow stance, your left leg pressing straight, as your right hand draws in beside your right hip and then threads out upward over your left hand, your left hand slowly lowering to the inside of your right elbow. See photo 240:

（二四一）循上式坐後腿，身俯曲腰，兩手俯掌由上循中線抽囘。
2. Your body sits back, your torso leaning forward, bending at the waist, as your hands withdraw from above along the centerline, the palms facing downward. See photo 241:

（二四二）循上式兩手抽囘之後，右腿曲膝，卽將右手變仰穿上，再兩掌同時推前，身體微向前俯。
3. Your right leg bends as your right hand threads upward, the palm turning over to be facing upward, and both hands push forward, your body slightly leaning forward. See photo 242:

（二四三）循上式坐後腿，前腿微彎，右手反轉下揷，掌心外向，左手同時擰轉掌心向裡，從左側上提。
4. Your body sits back onto your left leg, your right leg staying slightly bent, as your right hand turns over and pokes downward, the palm facing outward, and your left hand lifts up to the left, the palm twisting to be facing inward. See photo 243:

（二四四）循上式右腿曲膝踏實，左手由上繞圓而下，再經腰際往前抄托，此時右手亦同一時間托起置於頂上。
5. Your right leg bends, the weight going onto it, as your left hand arcs downward, passes your waist, and scoops up in front, your right hand propping up over your head. See photo 244:

（二四五）循上式當右手抄上之後，左脚先踏上一步，用腰帶引全身翻轉，左脚屈膝成弓，右脚斜曲而立，足尖點地，當身體翻轉時，右手由上按下，左手趁勢提起。
6. Your left foot steps forward and your body turns around to the right, your left leg bending, your right foot touching down with the toes, the leg slightly bent, as your right hand pushes down and your left hand lifts up. See photo 245:

五聖朝天
[54] FIVE SAGES LOOK TO THE SKY

（二四六）循上式右脚踏前半步，變成弓式，左脚伸直，左手由上從胸前下按，右手撤囘胯旁。
1. Your right foot advances a half step to make a bow stance, your left leg pressing straight, as your left hand pushes downward until at chest level, your right hand withdrawing beside your right hip. See photo 246:

（二四七）循上式左脚曲膝坐實，右脚微曲，此時右手向中線穿出，左手亦徐徐撤至右肘內側。
2. Your left leg bends, the weight going onto it, your right leg also slightly bending, as your right hand threads out along the centerline, your left hand slowly withdrawing until next to the inside of your left elbow. See photo 247:

（二四八）循上式兩手握拳斜斜垂下，抽撤至腹前，此時在前之右脚，迅卽撤至左足內側，足尖点地與左足並立，兩腿微曲，含胸竪項，目視前方。
3. Your hands become fists and lower diagonally, pulling back in front of your belly, as your right foot quickly pulls back next to the inside of your left foot, touching down with the toes, your legs slightly bent, your chest hollowing, your neck straightening. Your gaze is forward. See photo 248:

（二四九）循上式兩脚原式不動，將微俯之上身提起，兩手從中線一齊鑽上，側竪於肩頂上。
4. With your feet staying where they are, your body slightly rises up as your hands drill upward along the centerline to be placed above your left shoulder. See photo 249:

（二五零）循上式左腿曲膝坐實，右腿微曲，右手從上向前下按，左手則續往上提。
5. Your left leg bends and you sit onto it, your right foot going forward, the leg slightly bending, as your right hand pushes down along the centerline, your left hand continuing upward. See photo 250:

（二五一）循上式右脚原式不動，左脚進前一步，與右脚並立，足尖点地，是時左手徐徐前進，右手順勢撤囘胯旁。
6. Your left foot advances to stand next to your right foot, touching down with the toes, as your left hand slowly goes forward, your right hand withdrawing beside your right hip. See photo 251:

（二五二）循上式左脚進前一步，膝曲踏實，右脚伸直右手徐徐前進，左手順勢撤囘右肘內側。
7. Your left foot advances and the leg bends, the weight going onto it, your right leg straightening, as your right hand slowly goes forward and your left hand withdraws next to the inside of your right elbow. See photo 252:

（二五三）循上式兩手握拳斜垂，復抽至腹前，此時在前之左脚，迅卽撤至右足內側，足尖点地，兩腿微彎，胸含項竪，目視前方。
8. Your hands become fists and lower diagonally, pulling back in front of your belly, as your left foot quickly pulls back next to the inside of your right foot, touching down with the toes, your legs slightly bent, your chest hollowing, your neck straightening. Your gaze is forward. See photo 253:

（二五四）循上式兩脚原式不動，將微俯之上身提起，兩手循中線鑽上，側竪於右肩頂上。
9. With your feet staying where they are, your body slightly rises up as your hands drill upward along the centerline to be placed above your right shoulder. See photo 254:

（二五五）循上式右腿曲膝坐實，左腿微曲，左手從中線下按，右手順勢上提，置於右肩上側。
10. Your right leg bends and you sit onto it, your left foot going forward, the leg slightly bending, as your left hand pushes down along the centerline, your right hand continuing upward. See photo 255:

葉底藏蓮
[55] LOTUS FLOWER CONCEALED UNDER THE LEAVES

（二五六）循上式兩脚原式不動，右手從上向左肘下揷，是時左手微微提起，向右側斜撥，兩手上下斜斜相對。
1. With your feet staying where they are, your right hand pokes down below your left elbow as your left hand slightly lifts and deflects across to the right, your hands aligning with each other above and below diagonally. See photo 256:

（二五七）循上式先將左脚尖右移身體也隨之偏右移動，此時用意引腰由右旋後，右手順勢在左肘下半弧形泛起旋右斜撥，左手則置於右臂內側。
2. Your left foot turns inward and your body turns around to the right as your right hand arcs from below your left elbow, rising up and deflecting diagonally to the right, your left hand placed to the inside of your right elbow. See photo 257:

鳳凰展翅
[56] PHOENIX SPREADS ITS WINGS

（二五八）循上式右脚踏穩曲膝成弓，在後之右脚上前半步，足尖点地，是時左掌微向右肘內側斜斜而下，右掌同時亦微向左平撥，兩手到中線時順勢翻轉掌心外向，隨卽左手同時分開。
The weight goes onto your right leg, the knee bending, and your left foot advances a half step, touching down with the toes, as your left hand goes to the right below your left elbow, your right hand deflecting across to the left, and then your hands spread apart upward with the palms facing outward. See photo 258:

白鶴啄食
[57] WHITE CRANE PECKS AT FOOD

（二五九）循上式兩脚原式不動，兩膝微曲，用小臂擰轉兩掌，旋為掌心內向，曲腰帶兩手微微撤後，左手在前，右手在左肘內側。
1. With your feet staying where they are, your knees slightly bend as your forearms rotate so that your palms are facing inward, your waist bending and slightly drawing back your hands, your left hand in front, your right hand next to the inside of your left elbow. See photo 259:

（二六零）循上式右脚踏上半步成虛，和右脚並立，卽將右手進前握拳，左手在下，兩手上下相對。
2. Your right foot goes forward a half step to stand next to your left foot as your right hand goes forward over your left hand, both hands becoming fists, your right fist turning over inward so that the centers of the fists are facing toward each other. See photo 260:

月掛松梢
[58] THE MOON HANGS IN THE PINE BRANCHES

（二六一）循上式兩手握拳之後，提右脚擰左腿，整體偏向右移成為騎馬式，右手順勢拋起往右繞半弧形由上抄下，左手則由下泛起往右，置於頰側。
Your right foot lifts up and your left foot pivots inward, your body turning to the left, your legs making a horse-riding stance, as your right hand arcs upward, to the right, downward, and scoops up, your left hand arcing upward and to the right to be placed beside your right cheek. See photo 261:

倒揭牛尾
[59] STEP BACK AND TEAR OFF THE OX’S TAIL

（二六二）循上式身體畧為提起，擰身左移，腰亦徐徐轉正，兩手同時翻轉，左手在前用後三指緊扣，右手泛起繞半弧形在左腕之後，在姿勢變換時，右腿摩轉往左，左腿提起，撤囘半步，成為虛式。
1. Your body rises and slowly turns to the left, your right foot turning inward, your left foot withdrawing a half step, touching down with the toes, as your hands roll over, the little finger, ring finger, and middle finger of your left hand hooking inward, your right hand arcing upward and forward until over your left wrist. See photo 262:

（二六三）循上式提左腿移往左後方，變虛為實，身亦畧向後移，坐於左腿，右手俯掌向右肩前橫進，左手亦同時在左腰落下。
2. Your left foot lifts up and steps to the left rear, the weight going onto it, your body sitting back, as your right hand moves forward and across until in front of your right shoulder, the palm facing downward, and your left hand lowers toward the left side of your waist. See photo 263:

（二六四）循上式全身緩緩昇起，卽將右掌翻轉，緊扣後三指，左手從左泛起往中，俯掌蓋於右掌腕後，動作變換時，右腿虛步撤囘半步，左腿曲坐。
3. Your right palm turns over, the little finger, ring finger, and middle finger hooking inward, and your left hand rises to the left and arcs inward to the centerline, the palm facing downward over your right wrist, as your right foot withdraws a half step, touching down with the toes, the weight going onto your left leg, your body slowly rising. See photo 264:

（二六五）循上式提起右腿向右後方，變虛為實，身亦畧向後移，坐於右腿，左手隨勢向左肩前俯掌橫攔而進，右手握拳往右肩後上拉。
4. Your right foot lifts up and steps to the right rear, the weight going onto it, your body slightly sitting back, as your left hand goes forward and blocks across to the left, the palm facing downward, your right hand making a fist and pulling back above your right shoulder. See photo 265:

童子抱琴
[60] BOY CARRIES THE ZITHER

（二六六）循上式兩脚原式不動，先將右手放開，眼囘視右手，左手隨卽變為握拳。
1. With your feet staying where they are, your right hand opens as your gaze goes toward your right hand, your left hand correspondingly closing into a fist. See photo 266:

（二六七）循上式左手變為握拳之後，右手緩緩摩動撤至腰際，復握拳沿中線經小腹前轉往右角斜斜冲上，左手同時落置右肘內側，兩足則變成左弓右箭。
2. Your right hand slowly withdraws to your waist, then becomes a fist, passes in front of your belly, and thrusts diagonally upward to the right corner, your left fist placed to the inside of your left elbow, as your legs switch to a stance of left leg a bow, right leg an arrow. See photo 267:

（二六八）循上式右脚先上前一步虛支，續卽進前一步，漸漸踏實，上身亦前移而坐右腿，左足則蹬直，右拳由原位經面前向左側橫撥，左拳迅卽同一時間循右臂下泛起轉往左角斜斜冲上。
3. Your right foot comes forward next to your left foot, touching down with the toes, then continues forward a step and the leg bends, your torso gradually sitting onto it, your left leg pressing straight, as your right fist deflects across to the left and your left fist quickly rises from below your right arm with a diagonally upward thrust to the left corner, your right fist lowering to the inside of your left elbow. See photo 268:

（二六九）循上式左拳冲上之後，卽將兩拳放開變掌，緩緩向中按下，左臂畧為舒直在前，右臂則畧為肱曲於後。
4. Your fists open to become palms and slowly push down toward the centerline, your left arm slightly extending forward, your right arm slightly bent behind. See photo 269:

（二七零）循上式先將兩手變為握拳，循中線撤至腹前，隨卽翻轉復成為仰掌，右手緩緩進前，左手撤胯側，當右手進前時，上身徐徐塌下，右脚尖順勢右移，左腿則橫脚踐步，跪右腿成交叉式。（此式越低越好）
5. Your hands become fists and arc downward, withdrawing along the centerline until in front of your belly, then roll over and open so that the palms facing upward, your right hand slowly going forward, your left hand withdrawing to your left hip, your left hand going forward, as your body slowly lowers and your right foot steps forward with the foot sideways, your right leg kneeling downward to make a twisted stance. See photo 270:

（二七一）循上式身體昇起，右脚進前一步曲膝，右脚直伸，右手往前旋為俯掌，左手趁右微撤餘勢之未盡時，循右手背上前穿，右手再畧向胸前後撤。
6. Your body rises and your right foot advances, the knee bending, your left leg straightening, as your right hand slowly goes forward with the palm turning over to be facing downward and then slightly withdraws, your left hand threading out upward over the back of your right hand. See photo 271:

（二七二）循上式左手前穿之後，兩脚尖旋左續往後移，左手向上翻轉往後蓋下，是時身體也隨勢轉移，右手同時上提，置於右肩上側。
7. Your body turns around, your feet turning to the left, as your left hand arcs upward and to the rear, then covers downward, your right hand lifting up to be place above and beside your right shoulder. See photo 272:

（二七三）循上式兩手同時握拳翻轉由上而下，復卽循中線撤至腹前，隨卽放開變為仰掌，左手緩緩進前，右手順勢撤囘，當左手進前時，身體徐徐塌下，左脚尖也順勢轉移，右脚則橫步踐前，跪左腿成交叉式。（越低越好）
8. Your hands become fists and arc downward, withdrawing along the centerline until in front of your belly, and then roll over and open so that the palms are facing upward, your left hand slowly going forward, your right hand withdrawing to your right hip, as your body slowly lowers and your right foot steps forward with the foot sideways, your left leg kneeling downward to make a twisted stance, the lower the better. See photo 273:

（二七四）循上式右脚進前一步，曲膝踏實，右脚蹬直，左手徐徐往前變為俯掌，右手趁左手餘勢未盡時，循左臂上穿，左手順勢向胸前微撤。
9. Before the momentum of the previous movement has finished, your left foot advances a step, the leg bending and the weight going onto it, your right leg pressing straight, as your left hand slowly goes forward with the palm turning over to be facing downward and then slightly withdraws in front of your chest, your right hand threading out upward over the back of your left hand. See photo 274:

犀牛望月
[61] RHINO GAZES AT THE MOON

（二七五）循上式先將上身右旋，步亦隨之旋轉，至正面之時，坐於右腿，兩足成交叉式，此時右手卽由原處環繞而上，經面前轉右，挽成一大圓形，而緩緩由上壓下，同時左手亦從原處泛上，置於左肩上側。
Your body turns around to the right until you are facing the same direction as in the beginning posture, your feet pivoting until your legs are making a twisted stance, as your right hand draws a large arc upward, to the right, passing in front of you, and slowly pressing down, your left hand rising up to be placed above and beside your left shoulder. See photo 275:

鷂子穿林
[62] HAWK FLIES THROUGH THE FOREST

（二七六）循上式先將右脚踏實，提左腿至右腿內側，隨卽復往後退一步，膝曲踏實，右腿同時亦退半步置於左腿之前，足尖微微点地，是時左手由上蓋下，右手順勢挽一斜平圈至腰間，再循左臂下斜斜穿出。
1. The weight goes onto your right foot and your left foot goes next to the inside of your right foot, then your left foot retreats a step, the knee bending, the weight going onto it, and your right foot retreats a half step in front of your left foot, touching down gently with the toes, as your left hand covers downward, your right hand arcing inward past your waist and then threading out diagonally from under your left arm. See photo 276:

（二七七）循上式身步旣定之後，右脚續再進前，步落卽將足尖旋左，曲膝踏實，左脚隨卽進前半步，置於右腿之前，足尖点地，是時右手挽一斜平圈至左則，左手順勢由右臂下斜斜穿出。
2. Your right foot retreats with the toes turned inward, the knee bending, and then your left foot retreats a half step in front of your right foot, touching down with the toes, as your right hand arcs across to the left and inward, your left hand threading out diagonally from under your right arm. See photo 277:

（二七八）循上式右脚續再進前，步落卽將足尖旋右，曲之踏實，右腿隨卽進前半步置於左腿之前，足尖点地，是時右手挽一斜平圈至右側，右手順勢由左臂下斜斜穿出。
3. Your left foot advances, coming down with the toes turned slightly to the left, the weight going onto it, and then your right foot advances a half step in front of left foot, touching down with the toes, as your left hand arcs across to the right and inward, your right hand threading out diagonally from under your left arm. See photo 278:

（二七九）循上式右脚續再進前半步，步落卽將足尖移正，曲膝踏實，右脚隨卽進前半步，置於右腿之前，足尖指地，是時右手繞一斜平圈至正面，左手順勢在右臂下斜斜穿出。
4. Your right foot continues forward a half step, coming down with the toes turned slightly to the right, the leg bending and the weight going onto it, and then your left foot advances in front of your right foot as your right hand arcs across to the left and inward, your left hand threading out diagonally from under your right arm. See photo 279:

赤龍攪水
[63] RED DRAGON CHURNS THE WATER

（二八零）循上式上身右旋往後，順勢坐實左腿，而右足漸漸往右進步，右手轉過小腹前，從右脅抄起，左手同時亦畧為上提。
1. Your body turns around to the right, the weight going onto your left leg, and your right foot slowly advances to the right as your right hand passes in front of your belly and scoops up to the right, your left hand slightly lowering. See photo 280:

（二八一）循上式右腿曲坐，左腿趁勢撤至右腿內側，和右腿並立，兩手卽隨之收囘，屈肱竪於胸前，右掌心貼於左掌背面。
2. The weight goes onto your right leg and your left foot draws in to stand next to your right foot as your hands gather in, your arms bending until your forearms are upright in front of your chest, your right palm against the back of your left hand. See photo 281:

（二八二）循上式兩手屈肱竪於胸前之後，兩手向上漸漸移動，同時往上泛起，兩手左右漸移漸分，是時左脚曲坐，右脚當兩手分開時，順勢進前一步，足尖指地。
3. Your hands slowly go upward and spread apart to the sides as the weight goes onto your left leg and your right foot advances a step, touching down with the toes. See photo 282:

風動浮萍
[64] WIND MOVES THE DUCKWEED

（二八三）循上式左脚曲膝踏實，右脚撤囘半步，足尖点地，此時腰身畧向左移，右手隨卽翻轉成為仰掌，從左面橫掠，左手卽從原位撤囘胯側。
1. Your left leg bends, the weight going onto it, and your right foot withdraws a half step, touching down with the toes, your torso slightly turning to the left, as your right hand sweeps across to the left, the palm turning over to be facing upward, your left hand drawing in beside your left hip. See photo 283:

（二八四）循上式右脚曲膝踏實，左脚撤囘半步，足尖点地，此時腰身畧向右旋而起，左手順勢翻成仰掌，鬆腰徐徐坐下，向右橫掠，右手同時翻為俯掌，撤至右胯側。
2. Your right foot comes down and the leg bends, the weight going onto it, and your left foot goes forward a half step, touching down with the toes, your hips slowly settling, your torso turning slightly to the right and straightening up, as your left hand sweeps across to the right, the palm turning over to be facing upward, your right hand withdrawing to your right hip, the palm turning over to be facing downward. See photo 284:

（二八五）循上式右脚原式不動，腰身稍向左移，左手是時翻為俯掌，向左側橫掠，右手順勢變仰撤囘胯側。
3. Your left foot advances, your waist slightly turning to the left, as your left hand sweeps across to the left, the palm turning over to be facing downward, and your right hand withdraws to your waist, the palm turning over to be facing upward. See photo 285:

氣升崑崙
[65] MIST RISING IN THE KUNLUN MOUNTAINS

（二八六）循上式左脚原式不動，在後之右脚上前一步，足尖点地，上身偏向左移，此時兩手向左側泛起，左手置於肩旁，右手放在右頰前側。
1. Your right foot advances a step, touching down with the toes, your upper body turning to the left, as your hands rise to the left, your left hand placed above and beside your left shoulder, your right hand placed in front of and beside your left cheek. See photo 286:

（二八七）循上式兩手泛起至肩外之後，進右腿曲膝，左腿蹬直，兩手緩緩下抄，轉中線過小腹，再經正面而上，在當面抱成圓形。
2. Your right foot advances, the knee bending, your left leg pressing straight, as your hands slowly scoop down and arc forward and upward along the centerline, passing in front of your belly, the arms rounded as though holding something. See photo 287:

（二八八）循上式左脚上前半步虛式，全身隨勢徐徐起立，兩手亦同時上提。
3. Your left foot steps forward a half step to make an empty stance, your body slowly rising, as your hands lift up, passing in front of your face. See photo 288:

（二八九）循上式左脚實，右脚虛，身移往右，兩手先移往右，右手置於肩上，左手在右肘內側。
4. Your left foot comes down fully and your right foot empties, your body turning to the right, as your hands shift to the right, your right hand placed above and beside your right shoulder, your left hand going to the inside of your right elbow. See photo 289:

（二九零）循上式兩手向右泛起至肩外之後，進左腿曲膝，右腿實踏，兩手緩緩抄下，轉中線過小腹而起，在胸前抱成圓形
5. The weight goes onto your right leg and your left foot advances, the knee bending, as your hands slowly scoop downward, pass in front of your belly, and rise up along the centerline until in front of your chest, the arms rounded. See photo 290:

（二九一）循上式右脚上前一步虛式，全身隨勢起立，兩手同時上提圓抱。
6. Your right foot steps forward to make an empty stance, your body rising up, as your hands continue upward with the arms rounded. See photo 291:

存氣開關
[66] STORING THE ENERGY

（二九二）循上式兩脚尖移左，正身端立，兩手復上昇至頂前，指尖互對。
1. Your feet pivot to the left, your body straightening up, as your hands rise up to be in front of your head, the fingertips pointing toward each other. See photo 292:

（二九三）循上式兩足原式不動，兩手先往右移經左肩徐徐下按，循小腹往右泛起與肩平，目視兩手。
2. With your feet staying where they are, your hands go to the left, slowly pushing down past your left shoulder. Your gaze is toward your hands. See photo 293:

（二九四）循上式兩手原式不動，祗右腿撤至右脚內側，與右足相並而立，脚尖指地。
3. Your hands continue downward, go to the right, passing your belly, and rise until at shoulder level as your left foot draws in to stand next to your right foot, touching down with the toes. See photo 294:

（二九五）循上式上身轉移左側，兩脚尖移動往左，進左步，右脚踏實，左手徐徐向下橫攔，右手順勢上提，在兩手動作之際，身卽後移而坐右腿。
4. Your torso turns to the left, the weight settling onto your right leg, and your left foot advances to the left, as your left hand slowly blocks across to the left, your right hand lifting up. See photo 295:

（二九六）循上式兩脚原式不動，右手泛起從頭上下揷，左手同一時間撤囘胯側。
5. With your feet staying where they are, the weight going onto your left leg, your right hand smoothly progresses over your head and inserts downward, your left hand withdrawing beside your left hip. See photo 296:

（二九七）循上式左脚曲膝踏實，在後之右脚上前半步，足尖点地，是時左手循右掌前穿出，右手順勢撤囘左肘內側。
6. Your left knee bends, the leg supporting all of your weight, and your right foot advances a half step, touching down with the toes, as your left hand threads out past your right palm, your right hand withdrawing until next to the inside of your left elbow. See photo 297:

（二九八）循上式左脚原式不動，而將前面之右足收囘退後一步，上身與左手畧向左移，右手旋為仰掌，置於左肘下。
7. Your right foot retreats a step as your upper body and left hand slightly shift to the left, your right hand rotating so the palm is facing upward below your left elbow. See photo 298:

（二九九）循上式左脚撤囘半步，全身也隨之右移而囘復正面，兩手合抱胸前。
8. Your left foot withdraws a half step as your torso turns to the right, turning to be facing forward, and your hands embrace in front of your chest, left hand on the inside, right hand on the outside. See photo 299:

（三零零）循上式兩手再向上泛起，分向左右肩上。
9. Your hands float upward and spread apart to the sides until above your shoulders. See photo 300:

（三零一）循上式兩手向上泛起，分向左右肩上之後，續徐徐俯掌經兩脅前下按，臂垂直為度，掌心向下，囘復起式之原勢。
10. Your hands slowly push downward past your ribs until your arms are hanging down, the palms facing downward, returning you to your original position in the beginning posture. See photo 301:

收式還原
CLOSING POSTURE

（三零二）習至此勢，須心無雜念，靜中氣平，一塵不染，萬慮皆空，用陰陽顚倒之法，一吸便提，一提便咽，使水火旣濟，則與道合一也。
Having reached this point, you must now rid your mind of any distracting thoughts, becoming centered and stable, pure and empty. Use the method of the passive and active aspects switching places: inhale, lifting energy [up the Du meridian], then swallow it [down the Ren meridian], causing internal water and fire to work together. In this way, the art conforms to Daoist practices. See photo 302:

接上述格勢，學者須循序而行，每日習之，先自一式起，以後逐漸遞加，務求悉依規矩，不可貪多，在初學之時，各勢自不能不斷，以後當漸求其連貫一氣，習之純熟，則可將後天之拙力化盡，而先天自然之內勁漸長，則無不稱意矣。
This series of postures must be performed in the proper sequence and practiced every day. Learn one posture at a time, slowly adding more. You have to strive to fully understand each posture and must not be greedy to learn many postures quickly. In the beginning, you will naturally be coming to a slight pause with each posture, but later you will more and more be seeking to link them together into a single flow. Once you have become very familiar with this set of movements, you will gradually be able to transform an acquired habit of effort back into an innate naturalness of energy, and then everything will go as you please.

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六合八法拳跋
POSTSCRIPT

亦人先生。因國術館長張之江之介。拜列吳翼翬門牆。得六合八法之技。翼翬夙擅拳技。為時所稱。今亦人本其師承。著六合八法拳術一書。用廣師傳。以永宗祚。厚心而履善。書成。問跋於子。以輔翼其序文。使上下相承。步履如轍。其意良善。吾諗。
夫武術之道。以拳勇為先。而拳法提綱。首重練筋運氣。調神馭力。故學斯藝者。能出手踏步。子午勿差。久之自能氣不上湧。力日以强。而身體亦陰陽和濟。永得康樂。至於解化敵勢而後出擊。則或封或避。或洗或卸。使敵雖强而失其功。而我乃得從容進取。使敵為我困者。而益善其去取。此古人論兵。致人而不致於人。取其間而無所禦之道也。此又以柔克剛。用强勝弱之理。拴乎其間者也。
夫所謂六合者。首與脊合。脊與腰合。腰與胯合。胯與腿合。腿與脚合。脚與手合。八法者。則不外橫直勾斜。起伏上下。然天下之圓者。三寸之規可以推理。天下之方者。五寸之矩可能盡其用矣。雖法八不盡有其形。而八法之意賅矣。法八之形有過之者。亦可於八法箕疇之內以求之矣。此天下之達道也。此天下之外形也。若心意之聯繫。虛實之互變。進退如一。神而行之。求而明之。存乎其人。此又在玄之又玄之外。而法中又生妙法也。在學者善參而已。吾知天賦者上也。力學者次之。天賦之外。吾意當求力學。天下多聰明人。吾知力自鐫鍥。當必有所成而登春臺。以成功於咫尺也。跂予望之矣。
丁未上己後三日吳肇鍾跋於白鶴草堂
Through the introduction of Zhang Zhijiang, director of the Central Martial Arts Institute, Chen Yiren became a student of Wu Yihui and learned the art of Liuhebafa. Wu was highly renowned for his boxing skill. Chen has now written a book about the Liuhebafa boxing art based on Wu’s teachings. This will bless the art with longevity due to Chen’s extensive knowledge, his generosity for sharing it, and the quality of the work. After completing his manuscript, he asked me to write a postscript to complement the prefaces. Because I heartily support this project, I agreed.
　　Martial arts are first of all for fighting, and so let us start with an outline of boxing principles. The most important things to emphasize are training the sinews, moving the energy, regulating the spirit, and developing the strength. Then when learning the techniques, the hand movements and stepping will be done correctly. After a long time, your energy will stop rising up and your strength will increase by the day. In your body, the passive and active aspects will be working in harmony, and the result will be long-term health. As for neutralizing an opponent’s attacks and then counterattacking, whether you are sealing off or evading, sweeping aside or retreating, he will fail even if he is strong, and then you will be able to leisurely advance upon him, and since he is having so much difficulty dealing with you, his best option will be to flee. This embodies the ancient military maxim [Art of War, chapter 6]: “Control the opponent and do not be controlled by the opponent.” Find his timing and he will have no way to defend. The core of this art is the use of softness to defeat hardness, applying the concept of weakness overcoming strength.
　　Another version of the “six unions” is: the head is united with the spine, the spine is united with the waist, the waist is united with the hips, the hips are united with the legs, the legs are united with the feet, and the feet are united with the hands. The “eight methods” cover every angle. The roundness of the world can be shown with a draftsman’s compass. The squareness of the world can be revealed with a carpenter’s square. The eight methods may seem incomplete in terms of appearance, but they are comprehensive in terms of concept. Any apparent external flaws can be corrected internally. This is the way of the things. As long as you can integrate mind and intention, alternate emptiness and fullness, smoothly advance and retreat, make your thoughts into actions, turn your seeking into finding, then with all of these qualities residing within you, your subtlety of skill will go beyond subtlety itself and all the way into ingenuity.
　　It is entirely a matter of your own dedication. Natural talent may be best, but hard work is the next best thing. Without natural talent, there is no choice but to put in the hard work. There are many smart people in the world, but real ability comes from perseverance. Put in the necessary effort and then achievement will be ever closer. I look forward to your success.
　　- written by Wu Zhaozhong at the White Crane Cottage, 44th year of the cycle, three days after the Double Third Festival [i.e. April 15, 1967]

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