LARGE WHEELING

大番車拳
LARGE WHEELING BOXING SET
黃漢勛師說明
text by Huang Hanxun [Wong Honfan]
韋漢生演式並書
performance and title calligraphy by Wei Hansheng
[published in Hong Kong within 新武俠 New Martial Hero (issues #42–48), autumn, 1971]

[translation by Paul Brennan, Jan, 2022]

黃漢勛《大番車拳》(1971) - calligraphy

螳螂派拳術之大番車拳
The Large Wheeling boxing set of the Mantis boxing art

演式者简介
A BRIEF INTRODUCTION TO THE PERFORMER

韋棣漢生乃中山翠微望族,亦即吾粵名拳師韋東暄之侄孫也。誕於漢皋,其尊人乃取名為「漢生」。距今三十八年,余受漢口精武體育會之聘為教員,斯時年僅十九耳!漢生於斯時參加精武隨余習螳螂拳,年僅少於余四歲;由於人地生疏,言語不暢,得此同鄉於左右,一切生活習慣俱感便利,且年紀相若更投契也。漢生待余如兄,余亦視彼如弟(因余無弟妹),抗戰後相繼來港迄今將四十年從無間言。廿二年前漢生先受聘於清韻硏藝社為武術教練,繼則設教塲於灣仔與西環,為人忠誠寡言頗獲學者愛戴。惟漢生竟於四年前即結束所有教務退出武林;古人云:「急流勇退」本無可厚非,惟以漢生正當盛年實不宜過早退休乃為之可惜耳!現為應「新武俠」命而檢出十餘年前所攝之「大番車」拳,是漢生所演式者。余以漢生國學比余為佳因囑寫說明,惟漢生以久疏拳技為題而婉却,余祇好自負其責焉。
一九七一年九月十日黃漢勛
Though born in Hankou, Wei Hansheng is from a distinguished family of Cuiwei Village in Zhongshan, and is also the grandnephew of the famous Guangdong boxing master Wei Dongxuan. Thirty-eight years ago [1933], when I was only nineteen, I was hired as an instructor at the Hankou Jingwu Athletic Association. Wei Hansheng joined Jingwu at that time and learned Mantis Boxing from me for the next few years.
  When one is surrounded by strangers in an unfamiliar place, one does not say much, but he was surrounded by people from his own hometown, by habits and customs that are normal, and so he found it easy to fit in there. Furthermore, he and I were of about the same age, so we got along very well. Hansheng treats me like an older brother and I likewise look upon him as a younger brother (because I have no younger siblings). After the war against Japan [1937–1945], he too came to Hong Kong. We have now known each other continuously for almost forty years.
  Twenty-two years ago, Wei was first hired as a martial arts instructor at the Elegant Charm Institute of Arts and then established teaching venues in the Wan Chai and Sai Wan districts of Hong Kong Island. Loyal and modest, he earned the love and respect of his students. Four years ago, he decided to end his teaching duties and withdrew from the martial arts community. An ancient man once said [from Su Dongpo’s “A Gift of Poetry for Xiang Chengjie”]: “Retire at the peak of your powers.” Therefore Wei is truly above reproach, though it seems a pity that he should retire so early since he is still in the prime of life.
  At the request of New Martial Hero Magazine, Wei’s performance of the Large Wheeling boxing set, photographed more than ten years ago, is now being presented. I think Wei would do a better job of writing movement explanations than I have, but he feels that too much time has passed and that his boxing skills have become too rusty, and so I have had to include my own text after all.
  - written by Huang Hanxun, Sep 10, 1971

大番車講義
LARGE WHEELING MOVEMENT EXPLANATIONS
一九五三年三月著 一九七一年九月重訂
(originally written March, 1953; revised Sep, 1971)

序言
PREFACE

「番車遠而螳螂近,番車速而螳螂拳密」斯乃螂術一要訣。前句乃指番車乃長手而可致遠;後句則指番車迅速,以輔以螳螂之手密是相得益彰也。雖有番車之剛強迅速而致遠,若無貼身近攻密如捶山之螳螂手法亦等於零而已!斯拳單從外表觀之稍似呆滯,惟運用之妙存乎一心,苟能變通之便不失為一套不可多得之拳藝也。
黃漢勛於螳螂樓
“The wheeling technique reaches far, whereas the usual Mantis techniques draw near. The wheeling technique is done with great speed, whereas the usual Mantis techniques put more emphasis on precision.” This is one of the secrets of Mantis Boxing. Such reaching techniques are a valuable supplement to the more compact techniques. Long-range and short-range techniques assist each other. Despite the wheeling being forceful, fast, and far, it would amount to nothing without the accompaniment of the short-range techniques. This set in particular may appear somewhat stiff, but the movements are ingenious. If you can adapt yourself to it, you will discover it to be a rare boxing skill.
  - written by Huang Hanxun at the Mantis School

第一式:中平雙提肘
Posture 1: STANDING STABLY, DOUBLE LIFTING ELBOWS

說明:
Explanation:
假定我選擇東方作起點,則應是右東、左西、背南、面北、雙足緊靠而直立,雙手握拳向上提起至與肩齊為度,如「定式」。
Standing in the eastern part of the practice space, facing toward the north, your back to the south, the east to your right, west to your left, feet together, your hands grasp into fists and rise up to shoulder level. See photo 1:

黃漢勛《大番車拳》(1971) - photo 1

功用:
Application:
雙拳緊握使其勢雄,抽高者使能集中於精神與氣力於一體,目注視西方乃俟敵也。
因下式為向左下方展開之故而使手部提高其勢至順也;練拳與搏擊皆以順為正,倘使逆轉則將授敵以隙,練者亦易陷於不知所措之境,故為拳家所不取焉。
Making fists gives you a heroic appearance. Drawing them up high causes you to focus your mind and strength. Your gaze will then turn to the west to await the opponent. In the following postures, you will move to the left. Lifting your fists in order to drop them will establish a flow for those movements. In both solo practice and fighting, flow is the standard. If there is a reversal of the flow, it will create a gap for the opponent to exploit, potentially putting you in a state of confusion which will only make the situation worse. That is why masters try to avoid reversals of flow.

第二式:中平雙墜捶
Posture 2: STANDING STABLY, DOUBLE DROPPING FISTS

說明:
Explanation:
循上式,原步不動,將旣已提高之雙拳向下直落,拳鋒微曲向內,如「定式」。
With your feet staying where they are, your fists drop straight down, the knuckles turned slightly inward. See photo 2:

黃漢勛《大番車拳》(1971) - photo 2

功用:
Application:
使雙拳有舒伸之機會;先有活動血脈之時間,使彼此交手時無牽強之弊也驟視之頗肖潭腿門「工力拳」之「雙鋒貫耳」與「雙投井式」,已其功用原則上亦祗在變通為用耳;除舒伸臂部活動外對上部攻來之「雙牛角捶」亦能予以有效之抵禦也。
This action stretches the arms and livens the blood circulation, keeping you from using undue strain when crossing hands with an opponent. The position resembles the posture of HANDS SPLASH INTO THE WELL from Gongli Boxing and is merely a variation of the same technique. Apart from stretching and livening, it can also be used to resist an attack of DOUBLE OX-HORN PUNCHES to the upper area.

第三式:撇捶右單鞭
Posture 3: SCYTHING FIST, RIGHT SINGLE WHIP

說明:
Explanation:
循上式,先提起左腳,右拳不動,左拳循左腳旁撇落,如「過渡式」。
Your left foot lifts as your left fist swings downward diagonally alongside your left thigh, your right fist not moving. See photo 3a:

黃漢勛《大番車拳》(1971) - photo 3a

再落左腳進右腳以成右登山步,右拳由後轉右橫抽過左上方,而左拳則置於後方,如「定式」。
Then your left foot comes down and your right foot advances to make a right mountain-climbing stance as your right fist arcs across to the right and whips inward to the left, your left fist placed behind you. See photo 3b:

黃漢勛《大番車拳》(1971) - photo 3b

功用:
Application:
彼自我中下路攻來,不論為手為腳,我先提腿避之,再以左手斜撇之,以消來勢。右拳再乘進馬之便橫掃其太陽穴,旣快速而又雄猛也。
The opponent attacks my middle or lower area with his hand or foot, so I lift my leg to evade his attack while swinging my left hand down to dispel it, then my right fist goes along with my advancing right foot by swinging across fast and fierce to attack his left temple.

第四式:登山大番車
Posture 4: MOUNTAIN-CLIMBING STANCE, LARGE WHEELING

說明:
Explanation:
循上式,原步不動,由右單鞭之拳向前直殺落,如「過渡式甲」;
With your stance not changing, your right fist smashes forward and downward. See photo 4a:

黃漢勛《大番車拳》(1971) - photo 4a

再將右拳由下轉過後方,左拳繼出,如「過渡式乙」;
Your right fist continues to arc downward to the rear as your left fist chops down. See photo 4b:

黃漢勛《大番車拳》(1971) - photo 4b

再輪流甲、乙、甲、乙、共為八著手,然後以右拳由前掃後以成單鞭之勢,如「定式圖」
Continue alternating your hands for a total of eight downward chops, then send your right fist sweeping across inward. See photo 4c:

黃漢勛《大番車拳》(1971) - photo 4c

功用:
Application:
此劈彼落,連環不息,使敵人無突入之機會,斯卽大番車之致遠而速也。
I chop down the opponent’s attacks relentlessly, keeping him from finding a way in. The large wheeling technique is performed at a full reach and very fast.

第五式:登山大番車
Posture 5: MOUNTAIN-CLIMBING STANCE, LARGE WHEELING

說明:
Explanation:
循上式,左右腳不變,全身向前跳進約一步之遙,仍為右登山式,手法與上式相同,如「定式圖」。
With your feet maintaining their position, your whole body darts a step forward, again making a right mountain-climbing stance, as your hands perform the same actions as in Posture 4. See photos 5a–5c:

黃漢勛《大番車拳》(1971) - photo 5a

黃漢勛《大番車拳》(1971) - photo 5b

黃漢勛《大番車拳》(1971) - photo 5c

功用:
Application:
與第四式同。
Same as in Posture 4.

第六式:登山大番車
Posture 6: MOUNTAIN-CLIMBING STANCE, LARGE WHEELING

說明:功用:
Explanation & application:
俱與第五式同。
Same as in Posture 5. See photo 6a–6c:

黃漢勛《大番車拳》(1971) - photo 6a

黃漢勛《大番車拳》(1971) - photo 6b

黃漢勛《大番車拳》(1971) - photo 6c

第七式:三撤轆轆捶
Posture 7: RETREATING WITH TRIPLE WINCHING

說明
Explanation:
循上式,由右登山步轉為右七星式,右單鞭之手先向下落復向上反手抽出,如「過渡式甲」;
Your right foot steps back, going across in front of your left foot, making a stealth-step position, as your right hand lowers and then whips out upward, your left hand slapping downward against your right arm as it rises. See photo 7a:

黃漢勛《大番車拳》(1971) - photo 7a

跟著偷步再抽,如此重覆共三次便成,如「定式」。
Continuing backward, your left foot steps back, your legs switching to a right big-dipper stance. (Repeat the actions in these two photos twice, performing them for a total of three times.) See photo 7b:

黃漢勛《大番車拳》(1971) - photo 7b

功用
Application:
雙手成輪,彼去此來連環不息者如車之輪也;單手而轉則為轆,雖不能如輪之旋轉,然由上而下,反下復上者其理亦如一也。
The opponent attacks continuously, so I step back with my arms whirling, both making clockwise circles like wheels turning over and over.

第八式:雙封手統捶
Posture 8: DOUBLE SEALING HANDS, THRUST PUNCH

說明:
Explanation:
循上式,將右七星之腳向前西方殿落再進左腳以成左登山式,雙手同時變為封手隨步封落,如「過渡式甲」;
Your right foot stomps down forward toward the west and your left foot advances to make a left mountain-climbing stance as your hands become sealing hands and seal off downward to the right. See photo 8a:

黃漢勛《大番車拳》(1971) - photo 8a

再將右手收腰際復化拳統出,如「定式」。
Then your right hand withdraws to your waist, becomes a fist, and thrusts out. See photo 8b:

黃漢勛《大番車拳》(1971) - photo 8b

功用:
Application:
我已連續後退數步,彼仍不捨追蹤而來,自我中路擬來一捶,我卽變馬搶封來手,復加一捶乃反擊也。
After I have already retreated several steps, the opponent continues to pursue and tries to send a punch to my middle area, so I switch to rushing forward and sealing off his incoming hand, then counterattacking with a punch of my own.

第九式:登山右劈捶
Posture 9: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING FIST

說明:
Explanation:
循上式,進右腳以成右登山步,左拳自右肘下穿出,以替囘右拳,再乘進馬之勢手隨步進,由右後方斜向左前自上劈落,如「定式」。
Your left fist threads out from below your right elbow and your right fist withdraws downward to the right rear, then your right foot advances to make a right mountain-climbing stance as your left fist withdraws to your waist and your right fist rises and chops down diagonally to the forward left. See photo 9:

黃漢勛《大番車拳》(1971) - photo 9

功用:
Application:
彼以手來招我統捶,我卽以左下手穿消之,並封閉來手,再進馬用右拳橫劈之,探長可劈其頸項,短亦可破其肘部。
The opponent sends out a hand to block my thrust punch, so I send out my left hand to meet it and seal it off, then advance and use my right fist to chop across at him. The chop at long range can be used to attack his neck, at short range to break his elbow.

第十式:登山左劈捶
Posture 10: MOUNTAIN-CLIMBING STANCE, LEFT CHOPPING FIST

說明:
Explanation:
循上式,進左腳以成左登山步,右拳收腰,左拳隨步而自上斜劈向右前方,如「定式」。
Your left foot advances to make a right mountain-climbing stance as your right fist withdraws to your waist and your left fist chops down diagonally to the forward right. See photo 10:

黃漢勛《大番車拳》(1971) - photo 10

功用:
Application:
彼退步卸開我右劈,再擊來一捶,我亦跟進以左拳劈消之。
The opponent retreats to evade my right chop and then attacks with a punch, so I advance and use my left fist to dispel his attack.

第十一式:登山右直統
Posture 11: MOUNTAIN-CLIMBING STANCE, RIGHT THRUST PUNCH

說明:
Explanation:
循上式,原步不動,收左拳,右拳直統而出,如「定式」。
With your stance not changing, your left fist withdraws to your waist as your right fist thrusts out. See photo 11:

黃漢勛《大番車拳》(1971) - photo 11

功用:
Application:
我連劈兩次使其手被封閉,隨而直統右拳自其面部擊入。
I have sent out two continuous chops, thereby sealing off his hands, so I now follow this by sending a right thrust punch to his face.

第十二式:馬式偷心捶
Posture 12: HORSE-RIDING STANCE, HEART-STEALING PUNCH

說明:
Explanation:
循上式,左右步不變,祗全身稍為標前轉為騎馬式,右拳由前落下轉歸後方,再繞上頭頂橫架,左拳自腰直統而出,如「定式」。
With your feet maintaining their position, your whole body darts forward into a horse-riding stance, your torso turning to the right, as your right fist lowers, arcs to the rear, and then upward to block over your head, the fist sideways, and your left fist thrusts out from your waist. See photo 12:

黃漢勛《大番車拳》(1971) - photo 12

功用:
Application:
彼坐馬避過我右直統捶,更乘機偷打一拳,我卽將右拳撇下消解之,再用偷心法直取去心房焉。
The opponent sits down into a horse-riding stance to duck away from my thrust punch while also taking advantage of the opportunity to punch me below, so I fling my right fist down to dispel his attack, then send out a “heart-stealing” punch to attack his solar plexus.

第十三式:登山左劈捶
Posture 13: MOUNTAIN-CLIMBING STANCE, LEFT CHOPPING FIST

說明:
Explanation:
循上式,由向西方循右轉至東方以成左登山步,右手先封向右後方,隨而左拳由上斜劈落,如「定式」。
Your body turns around to the right and your left foot advances to make a left mountain-climbing stance as your right hand seals off and withdraws to your waist and your left fist chops down diagonally to the forward right. See photo 13:

黃漢勛《大番車拳》(1971) - photo 13

功用:
Application:
與第十式同,祗方向之別耳。
Same as in Posture 10, except in a different direction.

第十四式:登山右劈捶
Posture 14: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING FIST

說明:
Explanation:
循上式,進右腳以成右登山式,左拳收腰,右拳由後而前,斜向左前方劈落,如「定式」。
Your right foot advances to make a right mountain-climbing stance as your left fist withdraws to your waist and your right fist chops down diagonally from the right rear to the forward left. See photo 14:

黃漢勛《大番車拳》(1971) - photo 14

功用:
Application:
與第九式同,祗方向之別耳。
Same as in Posture 9, except in a different direction.

第十五式:登山左直統
Posture 15: MOUNTAIN-CLIMBING STANCE, LEFT THRUST PUNCH

說明:
Explanation:
循上式,原步不動,收右拳於腰,左拳直統而出,如「定式」。
With your stance not changing, your right fist withdraws to your waist as your left fist thrusts out. See photo 15:

黃漢勛《大番車拳》(1971) - photo 15

功用:
Application:
與十一式同,祗左右之別耳。
Same as in Posture 11, except with left and right reversed.

第十六式:馬式偷心捶
Posture 16: HORSE-RIDING STANCE, HEART-STEALING PUNCH

說明:
Explanation:
循上式,左右腳不變原來方向,祗全身標前以成騎馬式,左拳自前落下轉過後方,再橫架於頸上,右拳自腰直出,卽成偷心捶,如「定式」。
With your feet maintaining their position, your whole body darts forward into a horse-riding stance as your left fist lowers, arcs to the rear, and then upward to block over your head, the fist sideways, and your right fist thrusts out from your waist. See photo 16:

黃漢勛《大番車拳》(1971) - photo 16

功用:
Application:
與第十二式,祗左右之別耳。
Same as in Posture 12, except with left and right reversed.

第十七式:登山右劈捶
Posture 17: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING FIST

說明:
Explanation:
循上式,再轉身往西方為右登山式,右前自後劈前,如「定式」,亦同第九式。
Your body turns around to the right and advances to make a right mountain-climbing stance as your left hand seals off and withdraws to your waist and your right fist chops down diagonally to the forward left, same as in Posture 9. See photo 17:

黃漢勛《大番車拳》(1971) - photo 17

功用:
Application:
與第九式相同。
Same as in Posture 9.

第十八式:登山左直統
Posture 18: MOUNTAIN-CLIMBING STANCE, LEFT THRUST PUNCH

說明:
Explanation:
循上式,原步不動,右拳收腰,左拳自腰直統而出,如「定式」。
With your stance not changing, your right fist withdraws to your waist as your left fist thrusts out. See photo 18:

黃漢勛《大番車拳》(1971) - photo 18

功用:
Application:
與第十五式同,祗方向之別耳。
Same as in Posture 15, except in a different direction.

第十九式:馬式偷心捶
Posture 19: HORSE-RIDING STANCE, HEART-STEALING PUNCH

說明:
Explanation:
循上式,左右腳不變,祗全身標前化為騎馬式,左拳轉下反上架頭頂,右拳自腰部直出,如「定式」。
With your feet maintaining their position, your whole body darts forward into a horse-riding stance as your left fist lowers, arcs to the rear, and then upward to block over your head, the fist sideways, and your right fist thrusts out from your waist. See photo 19:

黃漢勛《大番車拳》(1971) - photo 19

功用:
Application:
與第十六式同祗方向之別耳!
Same as in Posture 16, except on the other side.

第二十式:三撤轆轆捶
Posture 20: RETREATING WITH TRIPLE WINCHING

說明:功用:
Explanation & application:
俱與第七式同。
Same as in Posture 7. See photos 20a & 20b:

黃漢勛《大番車拳》(1971) - photo 20a

黃漢勛《大番車拳》(1971) - photo 20b

第廿一式:轉身反抽捶
Posture 21: TURN AROUND, REVERSE WHIPPING FIST

說明:
Explanation:
循上式,先將七星步之右腳原地踏平,高舉右拳,如「過渡式甲」,
Your right foot comes down fully and your left leg advances to make a left mountain-climbing stance, your body turning around to the left, as your right fist rises high. See photo 21a:

黃漢勛《大番車拳》(1971) - photo 21a

再落右拳循右方殺向後方,而左拳則自肘下橫抽而上,同時右腳橫揪過左後方,如「過渡式乙」,
Then your right fist smashes downward, arcing away behind you, and your left fist whips out upward with the fist sideways as your right foot goes diagonally across to the forward left with a scooping kick. See photo 21b:

黃漢勛《大番車拳》(1971) - photo 21b

再循此式轉過左方,直至面向北為止,此時左拳橫架頭上,右拳斜斜垂於後方,右揪之腳自左腳之前落下至坐盤式,如「定式」。
Follow through from the kick by turning to the left until you are facing toward the north, your left fist still blocking across above your head, your right fist still hanging down diagonally behind you, and bring your right foot down in front of your left foot to make a sitting twisted stance, your left fist still blocking across above your head, your right fist still hanging down diagonally behind you. See photo 21c:

黃漢勛《大番車拳》(1971) - photo 21c

功用:
Application:
此式乃攔腰斜揪腿法,且可由此轉身易勢,誠一舉而數善俱備也。
This position follows through from the scooping kick, the foot cutting across diagonally, which smoothly turns your body. This embodies the principle of “from a single action come many benefits” [quoting from Ming History, bio of Liu Yingjie].

第二十二式:右抽左衝捶
Posture 22: REVERSE WHIPPING FIST, LEFT THRUSTING FIST

說明:
Explanation:
循上式,原步不變,祗高舉右拳,如「過渡式甲」,
Your right fist rises high, your left fist lowering, as your right foot lifts and stomps down and your left foot advances to make a left sitting-tiger stance. See photo 22a:

黃漢勛《大番車拳》(1971) - photo 22a

再將右腳提起殿落,進左腳以成左跨虎步,右拳自上向前反拳而落,直至後方斜垂於後,左拳如挫捶之狀向前衝出,如「定式」。
Your right fist comes down forward and arcs through to hang down diagonally behind you as your left fist thrusts out forward and upward with a subduing punch. See photo 22b:

黃漢勛《大番車拳》(1971) - photo 22b

功用:
Application:
彼以拳迎胸擊來,我先用高舉之右拳殺落以消解之,再以左擊如挫捶之勢兜擊其下頷焉。
The opponent punches to my chest, so I smash down with my right fist to dispel it and then send my left fist striking upward to his chin with a subduing punch.

第廿三式:登山右單鞭
Posture 23: MOUNTAIN-CLIMBING STANCE, RIGHT SINGLE WHIP

說明:
Explanation:
循上式,仍向北方演進,提左腳以成獨立式,右拳不動,左拳循左膝傍斜斜殺歸,如「過渡式甲」,
Continuing toward the north, your left foot lifts to make a one-legged stance as your left fist swings downward diagonally alongside your left thigh, your right fist not moving. See photo 23a:

黃漢勛《大番車拳》(1971) - photo 23a

再將提起之腳落下,進右腳以成右登山式,右拳自後向前橫抽而返,左拳反而收歸後方,如「定式」
Then your left foot comes down and your right foot advances to make a right mountain-climbing stance as your right fist arcs across to the right and whips inward to the left, your left fist placed behind you. See photo 23b:

黃漢勛《大番車拳》(1971) - photo 23b

功用:
Application:
與第三式同,祗方向之別耳。
Same as in Posture 3, except in a different direction.

第廿四式:登山大番車
Posture 24: MOUNTAIN-CLIMBING STANCE, LARGE WHEELING

說明:
Explanation:
循上式,仍向北方演進,原步不動,右單鞭之拳伸直,如「過渡式甲」
Continuing toward the north, with your stance not changing, your right fist smashes forward and downward. See photo 24a:

黃漢勛《大番車拳》(1971) - photo 24a

再落左拳,而右拳則垂於後,如「過渡式乙」,
Your right fist continues to arc downward to the rear as your left fist chops down. See photo 24b:

黃漢勛《大番車拳》(1971) - photo 24b

再甲、乙、甲、乙、甲、乙,共凡八記動作,然後復歸為單鞭之勢,如「定式」。
Continue alternating your hands for a total of eight downward chops, then send your right fist sweeping across inward. See photo 24c:

黃漢勛《大番車拳》(1971) - photo 24c

功用:
Application:
與第四式同,祗方向之別耳。
Same as in Posture 4, except in a different direction.

第廿五式:雙封手統捶
Posture 25: DOUBLE SEALING HANDS, THRUST PUNCH

說明:
Explanation:
循上式,仍向北方演進,殿右腳進左腳以成左登山式,雙手化作封手向前由上封下,如「過渡式甲」,
Continuing toward the north, your right foot stomps down forward and your left foot advances to make a left mountain-climbing stance as your hands become sealing hands and seal off downward to the right. See photo 25a:

黃漢勛《大番車拳》(1971) - photo 25a

再替囘右拳直統而出,如「定式」。
Then your right hand withdraws to your waist, becomes a fist, and thrusts out. See photo 25b:

黃漢勛《大番車拳》(1971) - photo 25b

功用:
Application:
與第八式同,祗方向之別耳。
Same as in Posture 8, but in a different direction.

第廿六式:登山右劈捶
Posture 26: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING FIST

說明:
Explanation:
循上式,仍向北方演進,進右腳以成右登山式,左拳自右肘下穿出,而復收囘腰部,右拳由後向前斜劈往左方,如「定式」
Your left fist threads out from below your right elbow and your right fist withdraws downward to the right rear, then your right foot advances to make a right mountain-climbing stance as your left fist withdraws to your waist and your right fist rises and chops down diagonally to the forward left. See photo 26:

黃漢勛《大番車拳》(1971) - photo 26

功用:
Application:
與第九式同,祗方向之別耳。
Same as in Posture 9, except in a different direction.

第廿七式:登山左直統
Posture 27: MOUNTAIN-CLIMBING STANCE, LEFT THRUST PUNCH

說明:
Explanation:
循上式,向北方演進,原步不動,收右拳於腰,直統左拳,如「定式」。
With your stance not changing, your right fist withdraws to your waist as your left fist thrusts out. See photo 27:

黃漢勛《大番車拳》(1971) - photo 27

功用:
Application:
與第十五式同,祗方向之別耳。
Same as in Posture 15, except in a different direction.

第廿八式:馬式偷心捶
Posture 28: HORSE-RIDING STANCE, HEART-STEALING PUNCH

說明:
Explanation:
循上式,仍向北方演進,左右腳方向不變,祗全身標前而成騎馬式,左拳垂下轉歸後方,再轉頭上,右拳由腰直出,如「定式」。
With your feet maintaining their position, your whole body darts forward into a horse-riding stance as your left fist lowers, arcs to the rear, and then upward to block over your head, the fist sideways, and your right fist thrusts out from your waist. See photo 28:

黃漢勛《大番車拳》(1971) - photo 28

功用:
Application:
與第十六式同,祗方向之別耳。
Same as in Posture 16, except on the other side.

第廿九式:撇捶右單鞭
Posture 29: SCYTHING FIST, RIGHT SINGLE WHIP

說明:
Explanation:
循上式,由北方轉過南方演進,先提左後腳以成獨立式,左上捶沿脾旁斜斜殺落,如「過渡式甲」,
Your body turns toward the south and your left lifts to make a one-legged stance as your left fist swings downward diagonally alongside your left thigh, your right fist withdrawing to your waist. See photo 29a:

黃漢勛《大番車拳》(1971) - photo 29a

再落下左腳,右腳進過南方以成右登山式,右拳自後隨步掃前以成右單鞭之勢,如「定式」。
Then your left foot comes down and your right foot advances toward the south to make a right mountain-climbing stance as your right fist arcs across to the right and whips inward to the left, your left fist placed behind you. See photo 29b:

黃漢勛《大番車拳》(1971) - photo 29b

功用:
Application:
彼自我後方腰部擊來一拳,我卽提步消解其勢,再以手殺之,隨卽進馬用單鞭法橫掃其太陽穴。
An opponent behind me attacks with a punch so I lift my leg to evade his attack while swinging my left hand down to dispel it, then advance my right foot and swing my right fist across to attack his left temple.

第三十式:登山大番車
Posture 30: MOUNTAIN-CLIMBING STANCE, LARGE WHEELING

說明:
Explanation:
循上式,仍向南方演進,原步不動,右拳先伸直向前劈落,如「過渡式甲」,
Continuing toward the south, with your stance not changing, your right fist smashes forward and downward. See photo 30a:

黃漢勛《大番車拳》(1971) - photo 30a

繼而右拳垂後,左拳劈落,如「過渡式乙」,
Your right fist continues to arc downward to the rear as your left fist chops down. See photo 30b:

黃漢勛《大番車拳》(1971) - photo 30b

如此甲、乙、甲、乙、甲、乙共八次,再復變為單鞭之勢,如「定式」。
Continue alternating your hands for a total of eight downward chops, then send your right fist sweeping across inward. See photo 30c:

黃漢勛《大番車拳》(1971) - photo 30c

功用:
Application:
與一般大番車同。
Same as in Posture 4, except in a different direction.

第卅一式:雙封手統捶
Posture 31: DOUBLE SEALING HANDS, THRUST PUNCH

說明:
Explanation:
循上式,仍向南演進,殿右腳進左腳以成左登山式,雙手同時由上封落,如「過渡式甲」,
Continuing toward the south, your right foot stomps down forward and your left foot advances to make a left mountain-climbing stance as your hands become sealing hands and seal off downward to the right. See photo 31a:

黃漢勛《大番車拳》(1971) - photo 31a

再將右拳統出,如「定式」。
Then your right hand withdraws to your waist, becomes a fist, and thrusts out. See photo 31b:

黃漢勛《大番車拳》(1971) - photo 31b

功用:
Application:
與第八式及第廿五式同,祗方向之別耳。
Same as in Postures 8 & 25, but in a different direction.

第卅二式:登山右劈捶
Posture 32: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING FIST

說明:
Explanation:
循上式,仍向南演進,進右腳以成右登山式,左拳自右腋下穿出而復收於腰,右拳乘勢向左前方斜斜劈下,如「定式」。
Your left fist threads out from below your right elbow and your right fist withdraws downward to the right rear, then your right foot advances to make a right mountain-climbing stance as your left fist withdraws to your waist and your right fist rises and chops down diagonally to the forward left. See photo 32:

黃漢勛《大番車拳》(1971) - photo 32

功用:
Application:
與第廿六式同,祗方向之別耳。
Same as in Posture 26, except in a different direction.

第卅三式:登山左直統
Posture 33: MOUNTAIN-CLIMBING STANCE, LEFT THRUST PUNCH

說明:
Explanation:
循上式,仍向南演進,原步不動,收右拳,直統左拳,如「定式」。
With your stance not changing, your right fist withdraws to your waist as your left fist thrusts out. See photo 33:

黃漢勛《大番車拳》(1971) - photo 33

功用:
Application:
與第廿七式同,祗方向之別耳。
Same as in Posture 27, except in a different direction.

第卅四式:馬式偷心捶
Posture 34: HORSE-RIDING STANCE, HEART-STEALING PUNCH

說明:
Explanation:
循上式,仍向南演進,左右腳方向不變,祗全身標前以成騎馬式,左拳由上彎下復轉於額上,右拳自腰直出,如「定式」。
With your feet maintaining their position, your whole body darts forward into a horse-riding stance as your left fist lowers, arcs to the rear, and then upward to block over your head, the fist sideways, and your right fist thrusts out from your waist. See photo 34:

黃漢勛《大番車拳》(1971) - photo 34

功用:
Application:
與第廿八式同,祗方向之別耳。
Same as in Posture 28, except on the other side.

第卅五式:轉身反抽捶
Posture 35: TURN AROUND, REVERSE WHIPPING FIST

說明:
Explanation:
循上式,此式是由南方轉過西方之轉式;先由馬式轉為左登山式,舉起右拳,如「過渡式甲」,
Your body turns toward the north, your legs switching to a left mountain-climbing stance, as your right fist rises high. See photo 35a:

黃漢勛《大番車拳》(1971) - photo 35a

再將上拳殺落,下拳衝上,右腳由南斜斜抽過東北方,如「定式」。
Then your right fist smashes downward, arcing away behind you, and your left fist whips out upward with the fist sideways as your right foot goes diagonally across toward the northwest with a scooping kick. See photo 35b:

黃漢勛《大番車拳》(1971) - photo 35b

功用:
Application:
我正面對南方展開攻勢,彼突自我東北方擊來,我迅卽改前作後,先以左右拳互分其勢,再用揪腿法撼其馬,使其上下皆受我威脅也。
After I have dispatched the opponent in front of me, another suddenly attacks from behind me, so I quickly turn around, use my fists to split apart, and send out a scooping kick to destabilize his front leg, thereby putting him in peril both above and below.

第卅六式:撲腿低捕蟬
Posture 36: REACHING-LEG STANCE, LOW CATCHING-A-CICADA POSTURE

說明:
Explanation:
循上式,先將揪起之腳凌空轉往西方踏下,以成左撲腿之勢,身眼俱向正東方,雙手化成刁手斜倚於左旁,如「定式」。
Your right foot comes down toward the west to make a left reaching-leg stance, your body turning around to the left, your gaze turning toward the east, as your hands become hooking hands and hook across diagonally to the left side. See photo 36:

黃漢勛《大番車拳》(1971) - photo 36

功用:
Application:
當我揪腿時彼乃凌空跳起以求躱避,我掃而落空,彼乃乘隙突擊一拳,我卽撲腿避之,復以捕蟬法擒來手焉。
The opponent leaps away to evade my kick, then takes advantage of the gap in my position by suddenly sending out a punch, so I evade into a reaching-leg stance and seize his incoming hand with a “catching a cicada” maneuver.

第卅七式:竄跳囘身式
Posture 37: HOP AWAY, YOUR BODY WITHDRAWING

說明:
Explanation:
循上式,原式手步不變,全身向西方突跳而去,仍如前「定式」。
With your stance not changing and your hands remaining in their position, suddenly hop away toward the west. See photo 37:

黃漢勛《大番車拳》(1971) - photo 37

功用:
Application:
我旣捉其手當卽拖之歸後解決之,實不容其有所變化也。
Once I have seized his arm, I move back to drag him in, preventing him from adjusting his position.

第卅八式:登山右劈捶
Posture 38: MOUNTAIN-CLIMBING STANCE, RIGHT CHOPPING FIST

說明:
Explanation:
循上式,進右腳,標左腳以成右登山式,手與第十四式同,如「定式」。
Your right foot advances to make a mountain-climbing stance, your hands performing the same actions as in Posture 14. See photo 38:

黃漢勛《大番車拳》(1971) - photo 38

功用:
Application:
與第十四式同。
Same as in Posture 14.

第卅九式:登山左直統
Posture 39: MOUNTAIN-CLIMBING STANCE, LEFT THRUST PUNCH

說明:功用:
Explanation & application:
俱與第十五式同。
Same as in Posture 15. See photo 39:

黃漢勛《大番車拳》(1971) - photo 39

第四十式:馬式偷心捶
Posture 40: HORSE-RIDING STANCE, HEART-STEALING PUNCH

說明:功用:
Explanation & application:
俱與第十六式同。
Same as in Posture 16. See photo 40:

黃漢勛《大番車拳》(1971) - photo 40

第四十一式:登山右崩捶
Posture 41: MOUNTAIN-CLIMBING STANCE, RIGHT AVALANCHE PUNCH

說明:
Explanation:
循上式,自馬式變為右登山式,左手先向前由上封落,右捶自內反打而出,如「定式」。
Your legs switch to a right mountain-climbing stance as your left hand seals forward and downward and your right fist strikes out from inside with a backfist. See photo 41:

黃漢勛《大番車拳》(1971) - photo 41

功用:
Application:
我之倫心捶為彼消去,我卽轉手用高劈法之崩捶擊其上路。
The opponent dispels my heart-stealing punch, so I roll my forearm over and chop down with an avalanche punch to his upper area.

第四十二式:右閉門腿法
Posture 42: RIGHT DOOR-CLOSING KICK

說明:
Explanation:
循上式,將雙拳收貼胸部,踢出右腳,如「定式」。
Your fists withdraw in front of your chest as your right foot kicks out. See photo 42:

黃漢勛《大番車拳》(1971) - photo 42

功用:
Application:
崩捶閉門腳為螳螂拳之常用手法,亦卽腳去身離之妙著也。
The avalanche punch & door-closing kick combo is frequently used in Mantis Boxing, a clever maneuver of kicking out while retreating your body.

第四十三式:跨虎雙輾捶
Posture 43: SITTING-TIGER STANCE, SCISSOR FISTS

說明:
Explanation:
循上式,乘踢腳之便,往後跳返以成右跨虎步,左右兩拳各向中央曲肘殺去以成交叉形,如「定式」。
Making use of the momentum of your retreat, hop away and finish in a right sitting-tiger stance as your arms spread apart to the sides and then bend to bring your fists smashing inward into a crossed position. See photo 43:

黃漢勛《大番車拳》(1971) - photo 43

功用:
Application:
彼閃過我閉門腳,並自斜方迎胸打來一捶,我卽雙手合輾之,使其手有被折斷之可能。
The opponent evades my kick and then sends a punch from a corner angle, so I bring my arms scissoring together, which can break his incoming arm.

第四十四式:提腿左圈捶
Posture 44: LIFTED LEG, LEFT SWINGING PUNCH

說明:
Explanation:
循上式,踏落右腳,提起左腳以成左獨立式,左拳隨步橫掃過右方,撞擊右手以成「迫卜」之聲,右手旋卽將左手捉住,如「定式」。
Your right foot comes down fully and your left foot lifts to make a one-legged stance as your left fist swings across to the right and your right hand grabs it in the middle, colliding with your left wrist with an audible crack. See photo 44:

黃漢勛《大番車拳》(1971) - photo 44

功用:
Application:
彼脫去我輾手走過我右方,由上路打來一捶,我先用右手封之,再以左捶橫掃彼太陽穴。(右手將左手捉住者使左手易於發力,發出聲音則用以增加聲勢也。)
The opponent escapes from my scissoring arms, moves over toward my right side, and sends a fist striking down at me from above, so I first use my right hand to seal it off and then send my left fist sweeping across to his right temple. (In solo performance of the technique, your right grabs your left wrist, making it easier for your left fist to exhibit power, the collision of your hands producing a dramatic sound.)

第四十五式:封手右直統
Posture 45: SEALING HAND, RIGHT THRUST PUNCH

說明:
Explanation:
循上式,落左腳以成左登山式,左手向前封去,右捶直統而出,如「定式」。
Your left foot comes down to make a left mountain-climbing stance as your left hand goes forward with a sealing action and your right fist thrusts out. See photo 45:

黃漢勛《大番車拳》(1971) - photo 45

功用:
Application:
彼側首躱過我圈捶,隨卽由中路打來一拳,我先以左手封之,再出右拳直取其胸部焉。
The opponent ducks his head to the side to evade my swinging punch, then sends out a fist to attack my middle area, so I first use my left hand to seal it off, then send my right fist straight out to attack his chest.

第四十六式:統捶十字腿
Posture 46: THRUST PUNCH, CROSS-SHAPED KICK

說明:
Explanation:
循上式,將右拳化為封手,左拳與右腿齊出,如「定式」。
Your right fist opens, performs a sealing action, and then withdraws to your waist as your left fist and right foot go out in unison. See photo 46:

黃漢勛《大番車拳》(1971) - photo 46

功用:
Application:
我旣封去來手,卽用拳腿分擊其上下路,使其難於防禦也。
The opponent seals off my thrust punch, so I switch to attacking above and below simultaneously in order to make it more difficult for him to defend against.

第四十七式:馬式右劈軋
Posture 47: HORSE-RIDING STANCE, RIGHT CRUSHING CHOP

說明:
Explanation:
循上式,右腳原勢踏落以成騎馬式,右拳自後向前劈出,如「定式」。
Your right foot comes down into a horse-riding stance as your right fist rises up to the rear and chops down forward. See photo 47:

黃漢勛《大番車拳》(1971) - photo 47

功用:
Application:
彼欲坐馬捉我腿,我卽落步由上劈。
The opponent sits down into a horse-riding stance and tries to catch my kick, so I bring my foot down and chop down at him.

第四十八式:十字左統捶
Posture 48: LEFT CROSS-SHAPED THRUST PUNCH

說明:
Explanation:
循上式,撐直右腳以成左登山式,背東面西,左平拳直向西統出,右拳直垂於後,如「定式」。
Your head turns to face behind you and your right leg presses straight to make a left mountain-climbing stance as your left fist thrusts out toward the west, your right fist lingering behind you. See photo 48:

黃漢勛《大番車拳》(1971) - photo 48

功用:
Application:
我見彼忽走往我後方,不管其動作如何,我先以拳跟蹤統之,是取去疾捷也。
I notice an opponent is suddenly coming up behind me, but I am not aware of exactly what his attack is going to be, so I send out a thrust punch at him to slow him down.

第四十九式:跨虎左單鞭
Posture 49: SITTING-TIGER STANCE, LEFT SINGLE WHIP

說明:
Explanation:
循上式,拉起左腳以成左跨虎步,左拳往後一彎便成為「定式」。
Your left foot pulls back to make a sitting-tiger stance as your left arm bends to whip the fist inward. See photo 49:

黃漢勛《大番車拳》(1971) - photo 49

功用:
Application:
彼擬以手來招我直統之拳,我乃向內一曲,便可漏手圈其太陽穴道矣。
The opponent sends out a hand to try to block my thrust punch, so I bend my left arm inward to slip away from his hand, an action which can also be used to swing inward with a strike to his right temple.

第五十式:中平雙提肘
Posture 50: STANDING STABLY, DOUBLE LIFTING ELBOWS

說明:
Explanation:
循上式,左腳往右拍齊以成立正式,右拳一曲以配合完拳,如第一式,亦見「定式」。
Your left foot stomps down next to your right foot to make a position of standing at attention as your right arm bends to bring the fist into a position matching your left fist, restoring the position of Posture 1. See photo 50:

黃漢勛《大番車拳》(1971) - photo 50

功用:
Application:
與第一式同。
Same as in Posture 1.

第五十一式:中平雙墜捶
Posture 51: STANDING STABLY, DOUBLE DROPPING FISTS

說明:功用:
Explanation & application:
俱與第二式同。
Same as in Posture 2. See photo 51:

黃漢勛《大番車拳》(1971) - photo 51

全拳完
(This completes the entire set.)

– – –

[Included below is an article by the performer.]

我的初學拳術和雜談 韋漢生
MY EXPERIENCE OF LEARNING BOXING ARTS AND OTHER RAMBLINGS by Wei Hansheng

我初學拳術的時候,忘記是否在一九三五、六年,好像是初冬的季節裏,大約是一個十七八歲的年靑小夥子,我的哥哥着我去學功夫。年靑的我,對於各樣的運動都非常愛好的,而且在華中的武漢三鎭,武術是非常普遍的,師傳是廣東人,而且很年靑,敎的是北派,我當時聽了覺得很驚奇。我是在十一二歲已經看了不少舊式的武術小説,北方的拳術是了不起的,和另一個想法,常見跑江湖賣藝的,都是由北方南下的,這位師傳膽敢由南方北上,一定有相當的功夫,所謂藝高人膽大,當年的登門較技的,是常有的事,南方叫做踢盤。
第二天早上,哥哥帶着我去見師傳,這才知道師傳是姓黃的,順德縣人,連才就敎我學習八式,南方叫做剳馬八式是八個步法,經過幾日才能弄淸楚,半個月後才開始學習基本手法。這個月來,就覺沒有甚麼味兒,曾經對我哥哥説,有退學的意思,經哥哥的督促,和老師的鼓勵,只知道羨慕人家,是不對的,要實際的練才有好功夫,所謂千里之行,始於足下,不能只作臨淵羨魚,這種想法,大約一般初學拳術的同學們的弊病吧!萬事起頭難、基礎沒有造好,就像做戲的老倌,行來行去,好看不切實用,所謂花拳繡腿的棚面功夫,這是我初學貪多的弊病吧!
專心的練習,冬季裏,苦寒中,常常在零度和零下幾度,是常有的,每朝不停地練。同學們,我們雖然知道練功夫,功夫,是無影無形的,功夫究竟是甚麼東西呢!我知道的,大約是站在最辛苦的角度,和時間,譬如,剳馬企立在地上,能算是剳馬嗎?剳馬是有他一定的高低和角度,是一個最辛苦位置,和時間,站得長久些時候,覺得更加辛苦了,這是其中的一個例子,我們能將各式的最辛苦的,練到不覺辛苦,這才算是下過苦功吧!才有些基礎。
冬去春來,我的拳套也多了,師兄們也熟落了,自然興趣也提高了,每朝練完應做功夫,總是由黃師請食早餐的,兩人約食一二角大洋,就覺很豐富了,這是卅多年前的事。這樣地學了幾個月下來,又遇些麻煩的事來了,提起了練拳,就覺手軟無力,早晨不願起來,時常缺課了,就給老師和哥哥知道了,查問起來,才知道有上述的情况,原來是一個好現象,這是常有的,這叫做換力,換力的時候,自己是不知道的,由這樣地懶惰下去,不知不覺地離開了武術的圈子裏,同學們:覺得有這種感覺嗎?若果有這種感覺的時候,那麼,我們就加緊的練習,這是本身的功力,又進了一步了,這種情形是時常發生的,是沒有規定的,有些很快的,有些很長久才發生,同學們,我們時常注意這事的發生,就是我們又進了一步的時候。
我們的同學中,經過一二年的練習的時候,是一個危險的時期,不要以為自己的功夫了不起的,我們學習武術,是鍛鍊身體的,有强健體魄,做事有精神,更加要知道武術的修養,明白是非,有良好的武風,才是武界中的一個好榜樣,若果相反的話,造成了羣毆,獨鬥,世世代代的仇視,到底上代的結怨的事,怎樣產生的,也不知道,報仇,報仇,彼此報復是沒有了期的,那些無謂閒氣,所謂初而口角,繼之動武,有些更要不得的事,學了一二年,或兩三年的時候,不知道自己的功夫有沒有用,(使唔使得意思),就想出外試試,是不是這一招的用法好,或那一招的好用,不覺的出外撩事鬥非,造下了一些武鬥的風氣,同學們,我們到了一定的程度,就可練習搏擊法,不必出外試招了,按着我們的程度,一級一級的練下去吧!
在我們學習拳術和練習,常常在生活上有抵觸的,個人是愛好武術的,往往為着生活不能夠按時練習,這也失去了不少的武術好人材,言之可歎!可謂生活弄人了!
我們時常接觸很多的事,有些是會務的,慶祝、叙餐,旅行等等,這些工作都是集體的,開始的時候,彼此都非常高興,但在討論如何進行的時候,各有各的意見提出,大家都明白,少數服從多數,這個一定的方式,但有時對自己的意見不贊成,那千萬不要存些不妥的心理,更加不要有報復的想法,或者約幾個合心意的同學,集成一個小組,或幾個小集團,造成各種不愉快的氣氛,一些小事,討論,拖延很長時間,總不能决斷一些小事,或較大的事,就可能危害整個集體了。
我從學習醫術後,對於拳術方面疏懶了,非常慚愧,沒有好好的將拳術發揚,或多些見聞提供給同學們,今天得黃師榮休特刋,並囑我寫些文字,借此篇幅,畧寫我的初學和雜談,只限我沒有高深的文學,未能表達出我的心意萬一,這些淺膚的想法寫出了見笑了高明的人士呢?
I started learning boxing arts in about 1935 or 1936. I think it was during the early part of winter. I was a young man of seventeen or eighteen. My older brother sent me off to learn martial arts. In my youth, I was in love with every kind of exercise. Martial arts were especially widespread throughout Wuhan. My teacher, also a young man at the time, came there from Guangdong in the south, and yet what he taught was a northern art. At that time, what I was learning amazed me. By the time I was just eleven or twelve years old, I had already been given the impression from reading old-fashioned martial arts fiction that northern boxing arts were incredible. I also often watched street performers, all of whom had come down from the north. My teacher dared to break this pattern, coming up from the south. He was just as skillful as the northerners, and was considered talented and bold. Visitors often came to his home to challenge him, what southerners call “kicking the tray”.
  One morning, my older brother took me to meet Master Huang. This was when I first learned what his name was and that he came from Shunde County. It was also when I started to receive instruction, starting with the “eight postures”. Southerners call them the “eight horse postures”, meaning the eight kinds of stances. After a few days of practice, they all made sense to me. Then after a couple weeks had passed, I started to learn the basic hand techniques. But by the end of a full month, I started to lose my inspiration and I mentioned to my brother that I felt I ought to quit. Due to my brother’s urging and Master Huang’s encouragement, I discovered that merely admiring the abilities of others was not good enough and that doing the actual practice is the only thing that will bring good skill. In the same way that “a long journey starts with a single step” [Daodejing, chapter 64], working at something is better than wishing for it, and to imagine otherwise is probably a common mistake among beginners.
  The beginning is the difficult part, because if you do not take the time to build a good foundation, you will end up no better than an actor putting on a show. Moving this way and that, what are doing may look pretty, but it is of no practical use, in the category of “a flowery arrangement of punches and an embroidery of kicks”. This is due to the error of beginner’s greed. Practice with total devotion. Even during the most oppressive days of summer or the bitterest days of winter, no matter if the temperature goes below zero, practice every morning without fail.
  Fellow practitioners, although we know how to train gongfu, it is not a thing of physical substance, and yet it certainly is something. My understanding is that gongfu is most of all a matter of the hard work of standing in certain positions for long periods of time. This is not as simple as standing on your toes. The stances have particular heights and angles, making them hard work from the start. The longer you stand, the harder the work. If you can put enough work into them, you will eventually reach the point that you feel it is no longer hard work. Therefore the hardest work is building the foundation.
  Winter passed, spring arrived. By that time, I had absorbed quite a few boxing sets. Gradually catching up with the more senior students naturally boosted my interest. After finishing practice each morning, Master Huang always treated me to breakfast. Since these meals were on the pricey side, it made me feel rather wealthy. This was more than thirty years ago. After continuing in this way for a several months, another problem arose in my training. I felt that my hands lacked strength, I did not want to get up in the morning, and I was often absent from the classes. When Master Huang and my elder brother noticed this, they started asking what had happened to me. They then explained to me that this situation is actually a good sign, a very normal thing called “plateauing”. When this occurred, I did not understand it, I simply became demoralized and lazy, unconsciously distancing myself from the martial arts community. Fellow practitioners, have you had this experience too? When this happens, it is necessary to increase your practice in order to progress. Plateauing does not happen according to a schedule. Some plateau sooner, some later. But pay attention to it when it happens, for it is actually the best opportunity to progress.
  Among our fellow practitioners, getting through the first year or two of training is a dangerous time, dangerous because one is liable to think of one’s skill as being much better that it is. We learn martial arts as a means of exercise, developing a strong physique and a determination to get things done. But we also need to understand the self-cultivation aspect of martial arts, developing a refined moral sense and embodying virtuous martial customs in order to set a good example within the martial arts community. If we do the opposite of this, we will turn into rowdy hooligans who love to get into fights, and future generations will hate our kind forever.
  How does such a situation come about? By not understanding the endless cycle of revenge: avenging an insult, then getting revenge for the avenging, then getting revenge for that revenge, and so on. Someone gets upset by something that should not be that upsetting anyway. Then there’s a quarrel, which turns into a fight, which escalates from fighting to killing. For the first couple years of the training, you will not yet really know if your gongfu is applicable or just meaningless display. You might wish to go out and give it a try, to see if this or that technique will work in a fight, and subconsciously stir up trouble to have an excuse, which will give your training an atmosphere of violence rather than virtue. Fellow practitioners, once you reach a certain level, it will be time to practice sparring, and so if you feel a need to go out and test things, please just wait until you are ready to spar.
  To learn and practice a boxing art often clashes with everyday life. Attending to other commitments means that people who love martial arts frequently cannot find the time to do the training. This causes many talented martial artists to fall by the wayside, a great pity. Alas, life treats us like toys. We often have a lot of things to do as a part of a group, such as meetings, parties, meals, travel, and so on. Everybody starts out happy, but once we begin discussing how to carry out these occasions, everyone expresses a different opinion. Everyone understands the principle that the majority overrules the minority, but what they decide can sometimes conflict with one’s own viewpoint. It is not worthwhile to fixate on these disagreements or try to argue your position forcefully. Sometimes those who feel the same way about things will form small factions, and then an ugly atmosphere forms between these factions. The factions will initially put off discussing certain petty disagreements between them, but they can eventually end up unable to make decisions together about large matters too, which would only threaten the cohesion of the larger group as a whole.
  Once I started studying medicine, I became lazy in my martial practice. I felt ashamed that I was not doing my part to help promote boxing arts or supply more knowledge to my fellow students. Now that Master Huang is retiring, I have been asked to write some words for the occasion. In response, I produced this piece briefly describing my experience as a beginner as well as some other ramblings. But I am not a highly literate man, and so I am no good at conveying my ideas. These superficial thoughts of mine will probably just make scholars laugh.

This entry was posted in Books by Wong Honfan. Bookmark the permalink.