LIUHE BOXING

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六合拳
LIUHE BOXING
萬籟聲
by Wan Laisheng
[from Chapter One of Wan’s 武術滙宗 Collection of Martial Arts Traditions, published Dec, 1929]

[translation by Paul Brennan, March, 2023]

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六合本門
LIUHE BOXING

余在少林為六合本門，屬韋陀門中，故本門有韋陀拳，韋陀杵之功夫；然所謂六合者，有內三合，有外三合，「精氣神」為內三合，「手眼身」為外三合，內外相合，始可練拳制敵也！是固不獨本門為然，卽任何門戶，亦莫不習此六合；故習武禦敵，需五行四梢合一處，放膽俱成功。五行卽金木水火土，應人身心肝脾肺腎；四梢者，牙為骨梢，舌為肉梢，渾身毛孔為血梢，手指足趾為筋梢也：又日：「眼與心合，心與氣合，氣與身合，身與手合，手與腳合，腳與胯合，」卽為六合！是不過六合之意義耳；顧今人稱武功家為八式者何也？蓋耳目手足，是為八式，習武功者，卽練此八式也！在拳式中之八式，分上四式與下四式，卽手上與腳下者，上四式為：「摟打騰封」；下四式為：「踢潭掃掛」！而八式之拳腳，又乃法下之八形，八形者何？卽；「貓穿狗閃，兎滾鷹翻；松子靈，細胸巧，鷂子翻身，跥子腳」也。（下四者皆鷹屬）！故文講八法，武講八式。八式已如上述，八法者，卽字上之八畫也。為：「點，橫，豎，鉤，拐，挑，撇，拉」是也。故字再寫至如何程度，亦不能出此八法。武功再練至如何境地，亦不能出此八式。是以文聖為孔夫子，武聖為岳武穆。本門六合，卽講騰閃刺扎，虛實巧打。不拘身上何部，均皆練習。本門拳腳凡二十四趟，通用者不過七八趟。而六合一趟，乃六合門之根基功夫，故詳為解述。餘者俟日後再印圖行世矣。本門動手為三尖對，卽上對鼻尖，中對手尖，下對腳尖。講「顧絆定，準穩狠」六字！「吞胸凹肚，緊𦡁抿胯」；「彼不動，己不動，彼一動，如山動」；「進打中，退打肢」；「腰是軸，手似輪」；「前輕後重，鹿楞獠行」；是皆本門之精義！本門師祖為滄州神鎗劉鏡遠先生，趙師乃其高足弟子也；故本門亦以鎗名，本編器械學中之鎗，卽本門六合楊家鎗法。本門尚有赤尻連拳，為猴拳式，所以習於應用者。兩人對打，一手分三手用法，茲攝一路於後，以為參考。蓋本門範圍最廣，是緣無論何門，如無六合，不克練習，人無六合，亦不克生存也；本門按三才，定五行，走七星，述八卦，說九宮。天有八風，地有八變，人有八式，卽四肢二目耳八方。打法凡八打，八封，八閉，八進，八退，八顧，八式，八變，八八六十四著。又有六把總拿法；此外猶有六合刀法；本門輩分，按下詩句每字為等級；劉師祖為仁字，趙師為厚字，余為尊字也。其詩曰：「仁厚尊家法，忠良報國恩，通經為世用，明道守儒真。」功成又有三愼五戒，三愼卽：「練藝要愼重，說話要愼重，比藝要愼重。」五戒為：一戒奸盜邪淫，二戒言無信實，三戒不仁不義，四戒以藝欺人，五戒藝不輕傳。」違者天誅地滅。器械猶有雙劍單鉤，為他門所未有。動手有六絕腿，卽：綑腿，轉環腿，連腿，截腿，踔腿，撩陰腿，均本門之精髓。兹將六合拳譜錄下，凡二十四手，苟能對圖摹練，當不無幾許補益也。
The type of Shaolin that I learned was the Liuhe art. It is part of the Wei Tuo [Skanda – a Buddhist guardian deity] branch, and therefore includes elements of training drawn from Wei Tuo Boxing and Wei Tuo Pole. The “six unions” [liu he] are divided into three internal unions – essence, energy, and spirit united with each other – and three external unions – hands, eyes, and body united with each other. Once the internal unions and external unions are merged together, then the art can be used to defeat opponents.
　　The concept of the six unions is a feature of not just this art, but of all Chinese martial arts. However, if the purpose of your training is actually to defend against opponents, you must also incorporate the “five elements” and “four antennas”, and then you will be sure to succeed. The five elements are metal, wood, water, fire, and earth, which correspond in the body to the lungs, liver, kidneys, heart, and spleen. As for the four antennas: the teeth are the antenna for the bones, the tongue is the antenna for the muscles, the pores all over the body are the antenna for the blood, and the nails of the fingers and toes are the antenna for the sinews. Another version of the six unions is: eyes united with mind, mind united with energy, energy united with body, body united with hands, hands united with feet, feet united with knees. This version is equally valid.
　　People nowadays talk of martial arts masters having “eight patterns”, which are based on the use of the two eyes, two ears, two hands, and two feet. In terms of boxing postures, these patterns refer to eight kinds of techniques, four above for the hands – pulling, striking, lifting, and sealing – and four below for the feet – kicking, snapping, sweeping, and swinging.
　　There are also “eight shapes”: a cat charging, a dog dodging, a rabbit turning, an eagle pouncing, an evergreen standing proud, a hawk turning over, hollowing inward with your chest, stomping down with your foot. Having a tendency toward eight postures in martial arts is equivalent to the eight strokes in calligraphy: dotting stroke, horizontal stroke, vertical stroke, hooking stroke, twisting stroke, lifting stroke, left-curving stroke, and right-curving stroke. Whatever characters are being written, the calligrapher will not go beyond the eight basic strokes. Whatever the fighting scenario, the martial artist will not go beyond the eight basic techniques. The patron saint of scholars is Confucius. The patron saint of martial artists is Yue Fei.
　　The sky has eight kinds of weather, the ground eight changes of terrain, and a man has his eight key parts – his four limbs, and his eyes and ears. The fighting methods include eight strikes, eight sealings, eight closings, eight advancings, eight retreatings, eight shieldings, eight postures, eight changes. Eight by eight [i.e. the interactions of the these eight features with each other] equals sixty-four techniques.
　　In the Luihe art, attention is given to dodging aside, piercing through, alternating between emptiness and fullness, and skillfully striking. There are no restrictions as to what part of the body is used, all parts getting trained equally. The boxing and kicking techniques of this art are compiled into twenty-four training routines, only about seven or eight of which are commonly practiced. If you only learn one of them, make it the basic set, explained below. Perhaps someday I will publish the rest of them.
　　When engaging with an opponent, this art aligns at three points: nose to nose, hand to hand, foot to foot. The essence of this art can be summed up in these six sayings:
　　“Focused, determined, and grounded; precise, firm, and ruthless.”
　　“Hollow your chest and withdraw your belly. Squeeze your thighs and tuck your hips.”
　　“If he does not move, I do move. But as soon as he makes a move, I am like an avalanche.”
　　“Advance attacking his center, retreat attacking his limbs.”
　　“Waist like an axle, hand like a wheel.”
　　“Front foot light, rear foot heavy. Stare like a deer, engage like fangs.”
　　The founder of this art was “Divine Spear” Liu Jingyuan [Dekuan] of Cangzhou, who taught it to his top disciple Zhao Xinzhou. This art therefore might actually get its name from its spear set, the Liuhe Yang Family Spear.
　　The art also contains the “Meat Tenderizing” Continuous Boxing two-person set, which is a means of practicing application, and which is derived from Monkey Boxing. Two partners spar, a single technique dividing into several actions. It is presented below after the solo set for your reference.
　　This art has the broadest possible scope, because no martial art can be practiced without the six unions, and indeed no person can exist without the six unions. The art is based on the “three realms” [sky, ground, mankind], established by the “five elements”, moves in accordance with the “seven stars” [Big Dipper, i.e. revolves around specific principles], expresses the “eight trigrams”, and refers to the “nine palaces”.
　　There are additionally six kinds of grappling methods, as well as a Liuhe saber set.
　　We even have a poem expressing the art through the generations (in which Master Liu represents “compassion” [for creating the art], Master Zhao represents “generosity” [for teaching the art], and I represent “reverence” [respecting the art]):

Compassion, generosity, and reverence form the doctrine of our school.
To be loyal to others and serve one’s nation – that is what it means to be kind.
To study the classics and spread their wisdom to all – that is what it means to be useful.
To grasp Daoist philosophy and uphold Confucian traditions – that is what it means to be authentic.

Success also requires that attention be given to the “three warnings” and “five prohibitions”. The three warnings are: Be discreet in your training, discreet in your speaking, discreet in your fighting. The five prohibitions are:
　　1. Do not use the art to commit crimes.
　　2. Do not speak dishonestly.
　　3. Do not be uncompassionate or unjust.
　　4. Do not use the art to bully others.
　　5. Do not teach the art to people who will not obey these rules.
　　Violators of these rules will end up punished by Nature itself.
　　Further weapons in the art are double swords and single hook-sword, both absent from many other styles.
　　There are six kinds of kicks that express the essence of this art: snaring kick, encircling kick, linking kick, checking kick, jumping kick, and kick to the groin.
　　Below is presented the Liuhe boxing set, comprised of twenty-four techniques. If you can practice according to the photos and explanations, you will receive enormous benefit.

六合拳譜
List of postures in the Liuhe Boxing solo set:

滾手虎坐
[1] ROLLING HANDS, SITTING-TIGER POSTURE
上步對錘
[2] STEP FORWARD, FISTS FACING EACH OTHER
震腳通天炮
[3] STOMP, CANNON TO THE SKY
橫拳撩陰錘
[4] LEFT SIDEWAYS FIST, RIGHT RAISING PUNCH TO THE GROIN
摓手倒踢
[5] GRABBING HAND, REVERSE KICK
上步連環三錘
[6] STEP FORWARD, THREE CONTINUOUS PUNCHES
烏龍探海
[7] BLACK DRAGON SEARCHES THE SEA
栽錘
[8] PLANTING PUNCH
插打
[9] CHARGING PUNCH
白鶴亮翅
[10] WHITE CRANE SHOWS ITS WINGS
燕子掠水
[11] SWALLOW SNATCHES A BUG OVER THE WATER
三環套月
[12] THREE LOOPS TO TRY TO CATCH THE MOON
上步掖掌
[13] STEP FORWARD, CONCEALING HAND
下膛錘
[14] DOWN-THE-CHEST PUNCH
反面錘
[15] BACKFIST
進步連環三錘
[16] ADVANCE, THREE CONTINUOUS PUNCHES
要手撩陰腳
[17] GREEDY HAND, RAISING KICK TO THE GROIN
左右炮錘
[18] LEFT & RIGHT CANNON PUNCHES
摔掌穿掌
[19] THROWING PALM, THREADING PALMS
鷂子翻身
[20] HAWK TURNS OVER
恨地無環
[21] HATE THE WORLD BECAUSE THERE IS NO HANDLE TO CONTROL IT
掘子腳
[22] DIGGING KICK
打虎式
[23] FIGHTING-TIGER POSTURE
收式
[24] CLOSING POSTURE

（本門師兄有周亞靑，趙普霖，何忠桂三君，乃與余同就教於趙師者！而師昔日所授門徒，則不勝紀述矣。）
(For other sources of Liuhe Boxing who are surely better qualified than myself, these three gentlemen are elder students, all of us learning the art together from Zhao Xinzhou: Zhou Yaqing, Zhao Pulin, and He Zhonggui. The rest of his students from earlier days are really too numerous for me to list here.)

六合拳圖解
Hand positions:

拳式
[1] FIST

此為通用錘法。名為平錘，亦名方錘。
This is a common fist position, called a “straight fist” or a “square fist”. See photo 1:

掌式
[2] PALM

此為通用掌法，名為柳葉掌！直出卽插手也。
This is a common palm position, called a “willow-leaf palm”. It charges straight out. See photo 2:

鉤式
[3] HOOK

此為通用之鈎式。
This is a common hook shape. See photo 3:

舒筋法
Stretching methods:

打躬式一圖
[4] DEEPLY BOWING – Part 1

兩手交叉，自上向下緩緩伸之，膝不可屈，久之自能抵地！
Your hands interlink their fingers and slowly extend downward. Your knees must not bend. After a long time, you will naturally be able to touch your palms to the ground. See photo 4:

打躬式二圖
[5] DEEPLY BOWING – Part 2

由一式可變為上式，兩手抱兩腳跟，以胸能緊貼膝部為功。
Developing further, grab your ankles and pull your chest in until it eventually can touch your knees. See photo 5:

打轆轤式
[6] WORKING THE WINCH

兩手成平錘抱肋下，弓箭步站穩，兩拳同時緩緩向上，成掌式前向
Place your fists at your waist and step out into a bow& arrow stance. Your fists in unison slowly rise up, become palms, and push out forward as in photo 6:

抓回，一如打轆轤，十數次卽可，則全身筋骨皆靈動矣，練完可並步收式。
Then your hands grab and pull back to your waist. The whole motion looks like a winch turning. Before the action ten times. Finish by withdrawing your front foot so that your feet are together [and then perform the exercise on the other side]. This exercise stimulates the sinews and bones of your whole body.

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六合拳解
LIUHE BOXING SOLO SET

滾手虎坐
[1] ROLLING HANDS, SITTING-TIGER POSTURE

兩手成掌分開，右掌前向不變，左掌後向變為鈎，而同時出左腳如右圖；此卽前輕後重，緊𦡁抿胯之義！
Your hands spread apart, your right hand going forward as an upright palm, your left going to the rear as a hooking hand, as your left foot goes out. Your left foot is light, the weight on your right foot, your thighs pinching together. See photo 7:

（附注）凡所解圖相，均自上式變化而出，故需參上式而摹擬之！
(Note: Each posture throughout these explanations transitions directly from the posture that precedes it. Therefore a posture will only make sense in the context of the preceding posture.)

上步對錘
[2] STEP FORWARD, FISTS FACING EACH OTHER

先上左腳半步，再上右腳一步，再上左腳並步如上圖！惟上步時，兩掌自懷裏外向成拳相對，不可提肩，氣往下沈。
Your left goes forward a half step, your right foot steps forward, and your left foot comes forward to stand next to your right foot, your hands at the same time going outward from your chest area and then swinging inward toward each other as fists. Do not lift your shoulders up. Let your energy sink down. See photo 8:

震腳通天炮
[3] STOMP, CANNON TO THE SKY

右拳向外，再繞裏，同時震右腳，起左腿，而右拳上向舉之，目向左視。
Your right fist arcs outward, downward, and inward as your right foot stomps down, then your left leg lifts as your right fist shoots upward. Your gaze is toward the left. See photo 9:

橫拳撩陰錘
[4] LEFT SIDEWAYS FIST, RIGHT RAISING PUNCH TO THE GROIN

下左腳，橫左拳，舉過眉頭，右拳同時向後自下撩起，不要牟腰，頭需頂住勁。
Your left foot comes down as your left fist lifts up past eyebrow level, the forearm placed across, and your right fist lowers to the rear and raises in front. Do not twist at your waist instead of turning your hips. Your headtop must have an energy of pressing upward. See photo 10:

摓手倒踢
[5] GRABBING HAND, REVERSE KICK

左手拿住右腕，右肘裏向平起，與前左腳尖成垂直線，
Your left hand grabs your right wrist as your right elbow bends in and shifts across inward to the left, the elbow making a vertical line with your left toes. See photo 11:

再右掌拍右腳外踝下處，過步變成下式。
Then your right foot goes out forward with a snapping kick, your right palm slapping the outside of your right ankle on the way, the foot then coming down forward, taking you into the next posture.

上步連環三錘
[6] STEP FORWARD, THREE CONTINUOUS PUNCHES

由前式過右步，再上左步出左錘，復出右錘，撒回成馬𦡁式，右肘需平，腰椎需直。
Continuing from the previous posture, your right foot comes down forward, then your left foot steps forward as your left fist punches out, then your right fist, then your left fist again as you settle into a horse-riding stance, your right elbow withdrawing straight behind you. Your back should be upright. See photo 12:

烏龍探海
[7] BLACK DRAGON SEARCHES THE SEA

左拳成掌上提，同時虛上右步出右錘，為斜身點肘式。
Your left fist becomes a palm and lifts up as your right foot steps forward, no weight going onto it, and your right fist punches out, the fist turned over inward. Your torso is angled to be facing toward the forward left corner and your left elbow is pointing away behind you. See photo 13:

栽錘
[8] PLANTING PUNCH

左掌撫右肩，右拳外向砸下，同時收回右步。
Your right fist smashes down at your right side, your left palm going to your right shoulder, as your right foot withdraws. See photo 14:

插打
[9] CHARGING PUNCH

開右步，攞右手，再上左步，攞左手，打右錘如上式，左拳則在右脅下。
Your right foot steps out as your right hand reaches out to grab, then your left foot steps out as your left hand also reaches out to grab, and then your right fist punches out as before [Posture 6], your left fist withdrawing to your right armpit. See photo 15:

白鶴亮翅
[10] WHITE CRANE SHOWS ITS WINGS

先擺左步，左向轉身，左手拍右腳裏面，兩手上向交叉，再平伸之，兩手成掌狀，步成馬𦡁。
First your left foot turns outward, and your right foot swings inward, your left hand slapping the inside of your right foot, your body spinning around to the left, then your hands cross above you and spread out to the sides as palms, your legs settling into a horse-riding stance. See photo 16:

燕子掠水
[11] SWALLOW SNATCHES A BUG OVER THE WATER

右腿與右手向前傾，如拾物然，左步不動，而以右步靠攏，前出右手為掌，稍屈，後向左手成鈎，需直。
With your left foot staying where it is, your right hand scoops up forward as if picking something up, your right leg going forward with it, your right thigh pinching toward your left thigh. Your right hand in front is a palm, the arm slightly bent. Your left hand is behind you as a hooking hand, the arm straight. See photo 17:

三環套月
[12] THREE LOOPS TO TRY TO CATCH THE MOON

右手與右腿，右向擺正，同時上左步雙手攞之，前拳仰，後拳覆如上式，
Your right arm and right leg swing out toward the right, then your left foot goes forward as your hands grab, the palm side of your left fist in front facing upward, the palm side of your right fist behind it covering downward. See photo 18:

再按此式上右步攞之，至第三次，卽變為下式。
Then the movement repeats on the other side, your right foot going forward, hands grabbing, right fist in front, and then again with your left foot going forward, hands grabbing, left fist in front, the movement thus performed a total of three times.

上步掖掌
[13] STEP FORWARD, CONCEALING HAND

由前式之第二次，變為右手攞，則身已成正面，至第三次，卽左手下壓同時過左步，再上右步，右拳自左拳裏穿出，成斜式，右步站立，左肩不可起，目向左注。
Continuing from the previous posture, your left hand presses down as your left foot steps forward, then your right foot steps forward and your right fist threads out over left fist [as though your left hand is hiding something], the arm making a diagonal line, as you rise up to stand one-legged on your right leg. Your left shoulder must not lift up. Your gaze is turned around to the left. See photo 19:

下膛錘
[14] DOWN-THE-CHEST PUNCH

下左步，橫左拳，右錘自上貫下，頭不可低。
Your left foot comes down forward as your left fist blocks upward with the forearm placed across and your right fist punches through downward from above. Your head must not dip downward. See photo 20:

反面錘
[15] BACKFIST

反身右錘與右腿同時右向扁出如上式。
With a rightward turn of your torso, your right fist and right foot swing outward in unison. See photo 21:

進步連環三錘
[16] ADVANCE, THREE CONTINUOUS PUNCHES

卽進左步出左拳，再出右拳正身成馬𦡁，一如上步連環三錘式，惟前式先過右步耳。
Your left foot advances as your left fist punches out, then your right fist, then your left fist again as you settle into a horse-riding stance. It is the same as before in Posture 6, except that in that case your right foot first came down from a kick. See photo 22 [repeat of photo 12]:

要手撩陰腳
[17] GREEDY HAND, RAISING KICK TO THE GROIN

右手拿左腕外向擰回，再踢右腳，係用腳尖直出，腰椎需正。
Your right hand grabs your left wrist as it twists outward, then your right foot kicks out with the toes pointing straight. Your lower back should be upright. See photo 23:

左右炮錘
[18] LEFT & RIGHT CANNON PUNCHES

下右步橫右錘，勁坐左腳而出左錘，
Your right foot comes down and you sit strongly onto your left leg as your right fist rises up with the forearm placed across and your left fist shoots out. See photo 24:

再外向開右腳半步，右拳放下，與左拳平，復打炮錘如此式，此乃先右後左各一炮錘也。
Then your right foot turns outward and steps out a half step, your right fist lowering, and then your left foot goes out forward as your left fist rises with the forearm placed across and your right fist shoots out, thereby performing the posture on both sides.

摔掌穿掌
[19] THROWING PALM, THREADING PALMS

由前式撤回，開右步摔出右掌如上式，
Continuing from the previous posture, everything withdraws, and then your right foot steps out as your right palm flings out forward. See photo 25:

再上左步，左掌自右掌心穿出，復不動步再穿右掌，則左掌在右掌之下，而左步在前矣。
Then your left foot steps forward as your left palm threads out over your right palm, and then without stepping again, your right palm threads out over your left palm.

鷂子翻身
[20] HAWK TURNS OVER

右步擡起，右手外向翻轉，同時身軀隨擰轉之，則左掌在右掌脅下如上式。
Your right foot lifts up and comes down turned outward as your body turns around to the right, your right hand swinging outward to the right, your left palm placed at your right armpit. See photo 26:

恨地無環
[21] HATE THE WORLD BECAUSE THERE IS NO LEVER TO CONTROL IT

開左步，上右步，再偸左步，同時兩手向懷裏攞之，左拳覆，右拳仰，卽陰陽手也。
Your right foot steps out, your left foot steps forward, and your right foot comes forward into the position of a stealth step behind your left foot as your hands grab and pull in toward your chest, your hands in a passive & active position, the palm side of your right fist facing upward, the palm side of your left fist covering downward. See photo 27:

掘子腳
[22] DIGGING KICK

橫出右腿，右向自下蹬出，勁在腳後跟，同時兩掌前後打出如上式。
Your right leg presses out with the foot sideways, power expressing at the heel, as your palms strike out to the front and rear in unison. See photo 28:

打虎式
[23] FIGHTING-TIGER POSTURE

落右步右拳自下掄起置眉梢，左拳虎口裏向置左膝頭，勁坐右腿，左腳虛。
Your right foot comes down and your sit strongly onto your right leg, your left foot emptying, as your right fist swings up from below to be placed beside your right eyebrow and your left fist is placed on your left knee with the tiger’s mouth facing inward. See photo 29:

收式
[24] CLOSING POSTURE

退右腳半步，兩拳開掌自下外向翻上而覆壓之，氣貫丹田，兩腳拼攏，頭左向，定神收式。
Your left foot withdraws a half step to stand next to your right foot, your body rising up, as your fists become palms, lower, spread away to the sides, lift up, and lower again, pressing downward. Your head is turned to the left. Letting energy course through back down to your elixir field, stabilize your spirit. See photo 30:

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赤尻連拳圖解
“MEAT TENDERIZING” CONTINUOUS BOXING TWO-PERSON SET

裁手開式
[1] ENGAGING HANDS, OPENING POSTURE

連拳凡分甲乙二人，先動手者為甲（卽右向者為余弟籟平），乙為余也。此卽本門與人較手之三尖對式！乃上對鼻尖，中對手尖，下對腳尖也。前手大指揑食指成空拳仰將，後手握拳抱肋下，前腳虛，後腳實，前手為靜，後手為動，心為主帥，眼為藍旗也。
This set involves two people: Person A (facing toward the west) and Person B (facing toward the east), A being the initial attacker. (In these photos, my younger brother Laiping performs the role of A, B being myself.) Two-person exercises in this art align partners at three points: nose to nose, hand to hand, foot to foot. Both hands are fists, one pointing forward, the other pulled back below the ribs, the palm side of both fists facing upward, the thumb of the front fist pressing on the forefinger instead of folding over the middle finger, making the second joint of the forefinger poke out. The front foot is empty, rear foot full. The front hand is still, the rear hand ready to act. The mind is the general, and the eyes are the bannermen. See photo 31:

甲點人中穴
[2] A STRIKES B’S RENZHONG ACUPOINT

面西者為甲，先躍進右步，同時右手駢中食二指，自下上向穿起，點乙鼻下水溝之人中穴，如上式。
A lunges his right foot forward as his right hand threads out upward with a double-finger jab, the forefinger and middle finger extended together, attacking B’s renzhong [shuigou] acupoint [GV 26], located between the nose and upper lip. See photo 32:

乙點肩井穴
[3] B STRIKES A’S JIANJING ACUPOINT

面東者為乙，卽余也，以左手撥開其右手，卽以右手指點其膂項間之肩井穴。
B uses his left hand to block aside A’s right hand and uses his right fingers to jab B’s jianjing acupoint [GB 21] between the neck and shoulder. See photo 33:

甲斬童子骨
[4] A CHOPS TO B’S SHOULDER

甲以左手鈎開乙之右手，而以右掌斬其童子骨。（卽飯匙骨。）
A uses his left hand to hook aside B’s right hand then uses his right palm to chop to B’s shoulder joint. See photo 34:

乙點魚脊穴
[5] B STRIKES A’S YUFU ACUPOINT

乙抽回右手，鈎開甲之斬掌，而甲卽回身，以右腿倒踢乙之下陰穴，乙卽駢回左步，以左手成雞心錘，點其腳肚之魚脊穴，但右錘則在右眉梢，腰需坐正。
B pulls back his right hand and uses it to hook aside A’s chopping palm. A turns his body away and sends out his right leg with a kick to B’s groin. B pulls back his left leg to obstruct A’s kick and sends out his left hand, using a “chicken heart” fist [striking with the mid-knuckle of the middle finger], to strike the yufu acupoint [BL 57] on A’s right calf, his right fist pulling back beside his right eyebrow, his waist upright. See photo 35:

乙復點掛膂穴
[6] B STRIKES TO A’S SHOULDER BLADE

甲因踢乙未著，反為乙所乘，故卽抽回右腿，是以左步在前，而乙則不俟其站穩，卽上右步點其掛膂穴。
Because A’s kick did not connect, B now has the advantage, so A pulls back his right leg for it to be behind his left leg, turning around to the left, but B does wait for him to settle into a stable position, right away stepping forward with his right foot and striking to A’s shoulder blade before he can finish turning all the way around. See photo 36:

甲手點曲池腳踢氣門
[7] A STRIKES TO B’S QUCHI ACUPOINT AND KICKS TO B’S QIMEN ACUPOINT

甲急起左錘，反點乙右手曲池穴，而左腳亦同時踢其右肋之氣門。（非胸前之氣門穴，此指大部分而言！）
A quickly lifts up his left fist to strike the quchi acupoint [LI 11] at B’s right elbow, at the same time sending his left foot to kick the area around the qimen acupoint [EX-CA 8] at A’s right ribs. See photo 37:

乙拍踝骨穴之過步式
[8] B SLAPS A’S ANKLE AND STEPS IN

乙以左手拍甲踝骨穴，同時右腳向左腳上過一步，故右腳仍在前，而以左拳接甲之著數，但在甲方，亦同時過一步追去矣。
B uses his left hand to slap away A’s foot at the ankle, then steps his right foot to the forward left to crowd A and sends out his left fist to connect to A’s left arm. See photo 38:

甲乙互擊式一
[9] MUTUAL ATTACKS – Part 1

甲進右步踢乙足三里穴，以右手點乙下頦之井泉穴，乙則退右步，以右手鈎住甲之右手腕，向懷拉之，而以左手指，點其右部牙腮穴。
A sends his right foot forward with a kick to the zusanli acupoint [ST 36] on B’s right leg, at the same time sending his right hand to strike the jingquan [lianquan] acupoint [CV 23] under B’s chin. B retreats his right foot at the same time using his right hand to hook A’s right wrist, pulling it in toward his chest, and sending out his left fingers to jab the yasai [daying] acupoint [ST 5] on the right side of A’s jaw. See photo 39:

甲乙互擊式二
[10] MUTUAL ATTACKS – Part 2

甲以右手奪回，起右肘架開乙之左手，卽以右指點乙左肋之血門，而乙急下左拳格之。
A pulls back his right hand, lifting his right elbow to block aside B’s left hand, then sends out his right fingers to jab the xuemen acupoint [EX-CA 3] at B’s left ribs. B quickly brings down his left fist to block this attack. See photo 40:

甲乙互擊式三
[11] MUTUAL ATTACKS – Part 3

甲以左手鈎住乙之左錘，而以右拳翻打乙之中臍，乙則以右手鈎住其腕矣。
A uses his left hand to grab B’s left fist and uses his right fist to counterstrike to B’s navel area. B uses his right hand to grab A’s right wrist. See photo 41:

甲乙互擊式四
[12] MUTUAL ATTACKS – Part 4

甲復以右錘上翻打其鼻樑穴，乙仍不鬆右手，亦翻左錘報之，甲急以左手鈎住之。
A then sends his right fist upward to try to strike B’s biliang acupoint [EX-HN 3] between the eyebrows, but B refuses to let go with his right hand and uses his own left fist to do the same attack in response, which A quickly tightens his grip on. See photo 42:

甲乙互擊式五
[13] MUTUAL ATTACKS – Part 5

甲撒右步，乙撒左步，兩人回身互錘腰眼穴，乃適相碰而架格之矣。
A withdraws his right foot, B withdraws his left foot, both turning around, and both punch at the same time toward each other’s nearest yaoyan acupoint [EX-B 7] at the lower back on either side of the spine, thereby blocking each other. See photo 43:

收式
[14] CLOSING POSTURE

甲撒右步，乙亦撒右步，而均成伏虎聽風式。
Both A and B withdraw their right foot and form the posture of CROUCHING TIGER LISTENS TO THE WIND. See photo 44:

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