San Ti Shi is fundamental but at the same time it is the basis for the entire art. San Ti is a stance but it is more than that. It is a series of alignments. These alignments are physical, energetic, and mental. It is a way to hold the body. It is a way to connect the body.

All the forms of Xing Yi Quan take San Ti as their fundamental position. This is the starting point. The stepping and moving through the postures usually ends with the release of power (Fa Jing) in the San Ti Stance. Sometimes Xing Yi is even described as moving San Ti. This is how important San Ti is.

By practicing San Ti the alignments become second nature. They get stored in the bones. The muscles build memory. The structure become integrated and powerful. As movement is trained, these alignments allow for power to be expressed outward. These alignments also allow for incoming force to be absorbed, transformed, or dissipated as an automatic response. Small circles and an attack. The defense is integrated with the counter attack. They are not two, but are one and the same.

San Ti allows for this high level of skill to develop. Without San Ti it is not possible. So San Ti is the most fundamental aspect of Xing Yi training. It allows for the proper use of the body, integrated with the intention and the internal energy. It is the most fundamental and advanced at the same time. As you continue to practice over time, your understanding of San Ti will change and deepen.

Sifu Franklin Fick was interviewed by MartialArtsReport.com

The interview covers:

• How Sifu Fick got started in the Martial Arts
• The differences, similarities, and characteristics of  Southern Shaolin, Tai Chi, Xing Yi, and Bagua
• More about Tai Chi Training
• More about Qigong

Tai Chi is not like other exercises. It is a moving mediation, a martial art, a method of energy cultivation, and so much more. Of course these aspects of the training can enhance other aspects of the practitioner’s life, but these are not what we will talk about today. Today we will talk about two fundamental aspects of the training that are not esoteric. They are coordination and awareness/mindfulness.

When we train Tai Chi we need to be coordinated. The Tai Chi classics state that when one part moves, all parts move and when one part stops, all parts stop. This is a basic requirement. It means that the whole body has to be coordinated and work together. By training this way we change the way we use the body. Instead of only using the arm, we engage the torso and the legs, with power from the ground. When we train this way we discover and make this more efficient way of movement our natural way to move. Once you discover a more efficient way to move the body then that should become the way you move. It is hard to go back to an uncoordinated and unconnected way of movement. This new connection will bleed over into everything that you do because in everything that you do you are using your body. So Tai Chi training can make you a better golfer, maybe help to improve your tennis game, and also many people who practice other martial arts report that Tai Chi training helps improve their martial arts drastically.

The second aspect of training that we will discuss is awareness/mindfulness. In order to train Tai Chi and be connected and coordinated you need to be aware and mindful of what you are doing. If you are not aware or mindful, then there is not way that you can ever improve with your Tai Chi Training. When you are training Tai Chi your awareness is focused on what your body is doing: shifting the weight, stepping, moving the body and arms. For many people this is a new thing, they are not aware that they never really paid any attention to these things before. Once this type of awareness is developed it is not something that can be turned off so to speak. After practicing Tai Chi for a while it is common for a student to have moments in their life where they become aware of how they are holding their body and adjust themselves to be more efficient. Maybe they are standing in line and realize that they are standing with tension and decide to adjust their posture so that they are using their body more efficiently and are in a greater state of relaxation.

Practitioners can also utilize awareness as a tool to enhance any other activity. Once a student realizes that they can be aware of their movements and improve themselves in Tai Chi practice it is not a large leap for them to start becoming aware of what they are doing in other tasks. They might start to analyze their body for tension and posture while sitting at the computer, while driving, carrying groceries, or during any other activity. This awareness and adjustment process can make any activity more efficient and coordinated.

The problem is that a newcomer to Tai Chi usually thinks that Tai Chi is like any other exercise that they have experienced before. That is why you see many practitioners just “going through the movements.” If you train Tai Chi correctly then it is much more then that and the benefits will be amazing.

So how are they similar? Well, I have been training martial arts for a while now. It is something that I do. It is part of who I am. So in a sense my house in this metaphor would be my body. Every house needs regular cleaning otherwise it would not be inhabitable. So the martial arts training functions as a way to keep the house inhabitable. The training works out the whole body, keeps the joints strong and flexible, and improves the health.

Much like cleaning the house, there are certain things that need to be done routinely and there are certain things that only need to be done sometimes. A good daily training routine takes care of the necessary stuff. This is like sweeping the floor and tidying up of any mess that is about. But there are other parts of the house that only need attention every so often, like the attic or the garage. But everyone knows that the longer you put these tasks off the more troublesome they become. This is akin to varying your training routine to take care of certain issues or thing you need to work on. If you put them off or ignore them, then later on they become more of an issue. It is always best to adjust your training routine to keep your development balanced and to keep on progressing.

Also cleaning the house lets you enjoy the house more. When the house is dirty and in disarray, then you can not utilize the space to the best of your ability: you can’t relax, or entertain, or however else you could enjoy yourself. If you don’t train and take care of your body it is the same thing. Aches and pains can creep up on you. Stiff joints can keep you from doing the things you might enjoy.

Sometimes we get used to letting the clutter just sort of accumulate in the house. We have all done it. We say to ourselves “I will get to that later.” We can do the same thing with our training. We tell ourselves we are a little busy today. We will train tomorrow. Tomorrow turns into next week and before you know it ….. I am sure everyone can relate. It is important to just get back into. If it was your house that you were neglecting and the clutter had accumulated you would think nothing of just cleaning it up and afterward you would feel so much better. For training do the same thing. Just get back into it. You will feel better.

So remember to do some training today. Your house will thank you.

Before practicing traditional Chinese Kung Fu you should wait at least 45 minutes to one hour after eating. And, you should wait 45 minutes to an hour after practicing to eat. This ensures that your stomach is not full while practicing. This is important for several reasons.

The first reason why this is important is because, when you eat your body diverts energy away from other functions to focus on digestion. This means that other nonessential processes in the body take second stage to the important physiological process of digestion. When the body is in the process of digesting a meal it is not the best time to exercise, resources are already diverted and are not available for strenuous exercise.

In addition, when you eat your stomach becomes full. The process of digestion works to break down the food in the stomach and sends it further down the digestive tract. If the stomach is full moving around too much can hinder the process of digestion. In addition, when the stomach is full and you move around it can place stress and pressure on the surrounding organs and tissue.

So it makes sense not to eat before training, but why should we wait after we train for certain amount of time before we can eat? The answer is also simple, after we finished training the body is in a cool down period as it returns to the state of rest. During this time it’s important for the body to naturally go through this process, changing from works to rest. This process should not be interrupted. If you eat at this time, then naturally this process will be interrupted. Not only would it be interrupted by the physical addition of the food in the stomach, but the body will start to divert energy away from other processes and channel it to the process of digestion. This would basically hinder the body from going through its natural cool down process, which is important for normalizing the body’s systems, repairing damage, and making the body stronger.

Some people might forget that these prohibitions are important, especially if the practice time is devoted to something non-strenuous like Tai Chi or Qigong. Why keep these prohibitions if it doesn’t feel like you’re doing a strenuous exercise? The reasons are the same, and these prohibitions are just as important regardless of how strenuous the exercise is. It is very important to warm the body up before exercise and cool the body down after exercise. This process is physically interrupted if a meal is taken too close to training.

Now we must cover the other aspect of this provision which is not to train when feeling overly hungry. Similar to training on a full stomach, when you train on an empty stomach and you feel hungry the body is also not in its optimum state for exercise. Usually when the body is in a state of hunger and means that the body is lacking energy. This means you don’t have the resources to perform strenuous exercise. You won’t get benefit from exercise period because it’s like trying to drive a car without a gas, you just won’t get anywhere. In addition, if you exercise while in a state of hunger, then your body will not have the resources to cool down and repair itself after the exercise finished. If you feel hungry, it is better to eat something and then wait to do your training.

Something as simple as not eating too soon before and after exercise or not exercising when hungry can have a profound impact on the body’s state of health in the long run. Proper training can build the body over time, increasing your health and vitality. This simple prohibition can help make sure that you don’t damage yourself and that your body has the resources to become stronger and repair itself after strenuous training.

Every new student is usually first taught the basic stances such as: Horse Stance, Forward Stance, and Cat Stance. And usually during his first lesson, the student can’t wait to get to the good stuff. They want to learn the fancy movements, the high kicks, or the devastating fighting techniques.

Kung Fu Horse Stance

It isn’t until the student has trained for a long time that they fully appreciate the importance of stances. It seems so basic, in fact it’s taught in the first lesson, but it is the fundamental aspect of training that determines whether the practitioner has developed Kung Fu. Usually when a novice sees a Kung Fu performance they look at the hand motions. When an experienced practitioner views a performance they notice the stances and bodywork (Shen Fa) because are the things that drive the hand motions giving them power and effectiveness.

There are only a handful of stances.

• Horse Stance
• Forward Stance
• Cat Stance
• Twist Stance
• Drop Stance
• Crane Stance (Single Leg Stance)

That really is not that many. All other stances are basically variations of these stances. Of course some systems use different names for the same stance. For example the Forward Stance is also sometimes called the Bow Stance, the Bow and Arrow Stance, the Mountain Climbing Stance, and many other names.

The stances are important because they allow the practitioner to use the body effectively. All movement is basically just shifting or stepping through different stances. The stances provide a solid base for the body and hand techniques. Without proper stances the practitioner will never be able to coordinate the different parts of the body together or more effectively using the ground for power.

So if you’re taking your first lesson, make sure to pay attention to the stances. Don’t neglect them. If you are an experienced practitioner, you can still benefit by bringing mindfulness into what your body, your footwork, and your stances are doing. There is always room for improvement.

New students are usually very enthusiastic and this enthusiasm leads them to question and ponder in the hopes that they can learn everything about the art, style, or practice that has them so enthralled. But, the question “What is the best time to practice?” does not have a simple answer.

The day can be divided into nighttime and daytime. These two periods correspond to Yin and Yang. The night corresponds to Yin and the day corresponds to Yang. Traditionally the best times for practice were during the transition between these two periods. That makes the best time to practice around 6 AM and 6 PM. During these times you’ll notice that the quality of the day is different. The air is quiet and somehow it seems more peaceful. In traditional thought this is because the energy is changing from Yin to Yang or Yang to Yin. These two periods for practice also correspond to the rising and the setting of the sun. In the morning the sun (Yang) is rising ending the period of night (Yin). In the evening the sun is setting which is the ending of the Yang period of day and the beginning of the Yin period of night.

The Yin and the Yang periods can also be divided in half. At the halfway mark it is considered that the energy for that period has reached its maximum and will now go into a period of decline. This means at noon the Yang energy has reached its peak and at midnight the Yin energy has reached its peak. Some traditions say that these times are also beneficial for training. But a common prohibition in many arts is to avoid training at midday because the Yang energy at this time is too strong.

In addition to these large divisions of the day, traditionally the Chinese day is also divided into 12 periods. Each of these 12 periods is two hours long and each of these 12 periods corresponds to one of the 12 energy meridians. This means that for each of these two hour periods the energy is activated in one of the organs and its corresponding meridian. So training times can also be chosen based on this knowledge, but this type of consideration is beyond the scope of most practitioners.

In general the student should first choose a time that fits into their schedule, a time that is convenient for them to train or practice. The most important thing is to practice. Without practice there will be no benefit. The next thing the student can consider something more specific like is this time a beneficial time for practice according to traditional thought. Generally it is considered that in the morning or the evening is the best time to practice. This corresponds with the Yin Yang theory discussed previously. Any consideration taken beyond this point is usually not necessary. If it is, this is the type of knowledge that will be given to student by the teacher.

Before we get started with explanations we should first layout some of the common prohibitions. Some of these you may have heard before and some of them might be new. This list is not all-inclusive and should not be taken as such. These are just some general prohibitions that I can come up with off the top of my head while sitting in front of my computer.

• Don’t exercise when to full or too hungry.
• Empty the bladder and bowels before exercise.
• Wait at least one hour after meals to train and wait one hour after training to eat.
• Don’t expose yourself to wind as you practice or after you practice.
• Don’t practice when it’s raining or storming out.
• Don’t practice while under the influence of drugs or alcohol.
• During training or after training avoid drinking anything cold.
• Don’t practice when angry or upset.
• Don’t use the bathroom directly after practice.

So these are just some general prohibitions for practice. As you read the list I’m sure you can understand some and some might be a little confusing.

In the coming articles will go into each of these prohibitions and explain them a little bit more.

You must keep in mind that these are just general prohibitions. Certain arts or certain practices might have their own specific prohibitions depending on the nature of the training, the goal of training, and the origin of the practice or art.

It’s important to remember that even though we might not understand the reasoning behind a certain prohibition we must remember that there is a reason these rules were passed down. These prohibitions were passed down so that students could benefit and avoid certain dangers. Even though the origin of certain rules might not follow what we consider scientific knowledge today, we must remember that they were created based on observations and experience.

In Traditional Chinese Martial Arts the practice includes issuing and receiving force. The areas that are the most susceptible to injury can be considered the weak links in the body. It is especially important to know these areas and practice correctly to avoid any possible injury.

The three most common areas that receive injury are the knees, shoulders, and lower back. The knees are susceptible to misalignment and strain. The shoulders and the lower back are also susceptible to strain caused by misalignment during issuing or receiving force.

It’s important as you practice to keep the knees in proper alignment. The knees are a hinge joint and only function as such. Because many beginners are more focused on what their hands are doing, thinking about pre-forming a powerful block or a powerful punch, their awareness and attention is sometimes not on the proper alignment of the lower body. Even advanced practitioners can sometimes also have this problem. To avoid injury and also ensure that you are generating the most power is important to keep the knees in proper alignment. This will ensure a proper connection with the ground and is an important aspect of being able to generate whole body power.

The shoulders are also a common area of injury. This type of injury usually happens when the shoulders are misaligned while receiving force. This can happen during push hands or even during sparring. In this scenario what commonly happens is the body is an incorrect position to dissipate an incoming force and, while trying to adjust to transform the force, the shoulder is misaligned. When this happens the small muscles of the shoulder can be damaged because they are no match for the incoming force. This is why it is very important to practice slowly and softly at first. Then build speed and power. Shoulder injuries take a long time to heal so it is best to be careful and avoid them.

The third area that is a common site for injury is the lower back. It is easy to strain the lower back when the body is not correctly aligned while either issuing or receiving force. This type of injury like the shoulder strain can take a long time to heal from.

These three areas can be considered the weak links of the body. The knees are very important for connecting the body with the ground. If the knees are not correctly aligned you cannot use the ground to issue or receive force. The shoulder is very important for directing force from the arms, through the torso, and into the ground. The shoulder is also important for issuing force from the ground, through the torso, and out. The lower back is extremely important as it connects the upper and lower.

It is important to pay attention to the alignment and the connection in the body. These are the most important. Speed and power will come later. Without alignment and connection true speed and power are not possible.

Authentic Xingyiquan as passed from:

Li Cun Yi

to

Chu Gui Ting

to

the Author Gong Zhong Xiang

This book offers a rare and detailed view of the theories and training of an authentic and traditional Xing Yi lineage.

Translators Introduction

It is with great pleasure that I am able to present this volume to the English speaking public. I would like to thank my teacher, Master Gong, for allowing me to translate and publish his book detailing the style of Xing Yi Quan that was passed down to him and that he has passed down and continues to teach to his students. This translation that you hold in your hand has been a work in progress for a number of years.

I feel the uniqueness of Master Gong’s transmission makes this work a worthy addition to the growing information now available in English about the Traditional Chinese Internal Martial Arts.

Master Gong is adept at all three of the internal styles of Chinese Kung Fu: Xing Yi Quan, Taiji Quan, and Gong Ting Bagua Quan.

Master Gong was a top disciple of Master Chu Gui Ting and learned Taiji Quan and Xing Yi Quan. Master Chu was himself a top disciple of Xing Yi Master Li Cun Yi and Yang style Taiji Master Yang Chen Fu.

Master Gong’s Gong Ting Bagua was passed to him from Master Wang Zhuang Fei, who himself was a direct student of Master Gong Bao Tien.

I hope this work is received well by the English speaking public and is able to be of benefit to many. I would like to thank Master Gong for his teaching. I would also like to thank all my Kung Fu brothers, teachers, and friends for their support over the years.

On the back cover of the original Chinese language edition of this book there are two famous saying rendered in calligraphy:

The sharpness of the sword comes from sharpening with stone.

The perfume of the plum blossom comes from the bitterness and the cold.

Xing Yi Quan

Xing Yi Quan is one of the Internal Styles of Chinese Kung Fu. It studies the inside and the outside, it is hard and soft communicating. It goes in accordance with our bio-rhythms and physical capabilities. It is an activity that benefits the health and in the long term can strengthen the constitution. Practice increases both the internal and external strength. It also trains the mind, boosts the spirit, increases the health of the mind and body, and is good for expelling disease and increasing longevity.

In addition, the strengths of Xing Yi Quan include that the practice and application are the same. Attacking and defense strategies work together. The attacking power of Xing Yi is distinctive. The fist or palm is released with full power. The attacks are direct and fast. Defense is careful and without openings. The method of the body and stepping is quick and agile. In usage one can fully adjust the power of the whole body. Head, shoulders, elbows, hand, hips, knee, and foot are the seven fists,. Used together and directed by the Yi, power is achieved. The hands are coordinated with the shoulders. The hand lowers as the knee begin moving . The foot lands and the arm arrives. Attack before the opponent or counter and attack after the opponent. The movements are intricate so it is hard for the opponent to figure out. This is enough to defend yourself and defeat the enemy.

The movements of Xing Yi Quan are moderate and solid. The hitting method has components of both soft and hard. The practice location can be big or small. Female male, elderly and children can all practice. The weak or the fragile can also practice. Chronically ill patients can choose the easier and gentler postures to practice.

Master Gong Zhong Xiang

Master Gong Zhong Xiang was born in 1924 in Jiang Su Provence, Jian Yi City, Hua Shi Town. Master Gong studied martial arts from a young age and had high expectations for his teachers. He had to have the most famous teacher in the whole country, with the most authentic art. He learned Xing Yi, Taiji, and Xing Yi Ba Gua, Taiji Push Hands, Da Lu, San Shou, Long and Short Weapons, etc from Master Chu Gui Ting who was the student of the famous Xing Yi Master Li Cun Yi and also Master Yang Chen Fu’s best student. Master Gong learned from Master Chu for the next 20-30 years. Master Chu knew he was a honest, straight-forward person, who respects his teacher and has great morals, and is loyal like a son. Because of this, Master Chu taught him differently than others, with more care and high expectations, so Master Gong could have all his skills accurately.

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Table of Contents

Introduction

Translator’s Introduction

Interview with Teacher Gong Zhong Xiang

Remembering Master Chu on the 100th Year Anniversary of His Birth

Calligraphy: Brief Introduction

A Brief Introduction of Master Gong

Master Gong Resume

Newspaper Clipping

Authentic Xing Yi Quan

Foreword

Introduction

My Teacher Master Chu Gui Ting

Chapter One

Section One: What is Xing Yi Quan

Section Two: Xing Yi Quan’s Origin and Development

Section Three: Xing Yi Quan’s Body Strengthening and Attacking Abilities.

1. Strengthens the bone and the muscles.

2. Opens up the Qi and Blood Meridians increasing the health of Heart and the Circulatory System.

3. Clears the brain of fogginess and fatigue, regulates the function of the Central Nervous System.

4. Promotes metabolism and strengthens the Digestive System and Internal Organs

5. Increase Lung capacity, in turn benefit the function of the Respiratory System.

Section Four: Xing Yi Quan Main Specialty

1. Easy and Fast

2. Rooted, Full, and Steady

3. Tight-knit and Complete

4. Orderly and Harmonious

Section Five: How to Practice Xing Yi Boxing

Chapter Two: Xing Yi Quan’s Basic Movements and Postures

Section One: Xing Yi Quan’s Hand Method and Hand Position

1. Hand Posture (posture of hand in stillness and in movement)

2. Hand Methods (upper body turning and attacking method)

1- Splitting Fist or Palm (Pi Quan, Pi Zhang)

2- Bursting Fist (Beng Quan)

3. Drilling Fist (Zuan Quan)

4. Cannon Fist (Pao Quan)

5. Crossing Fist (Heng Quan)

6. Embracing Fist (Bao Quan)

7. Smashing Fist (Zha Quan)

8. Framing Fist (Jia Quan)

9. Supporting Fist or Palm (Cheng Quan, Cheng Zhang)

10. Flicking Fist or Palm (Tiao Quan, Tiao Zhang)

11. Hooking Fist or Palm (Kuo Quan, Kuo Zhang)

12. Separating Fist or Palm (Fen Quan, Fen Zhang)

13. Shaking Fist (Dou Quan)

14. Pushing Palm (Tui Zhang)

15. Ramming Palm (Zhuang Zhang)

16. Gathering Palm (Luo Zhang)

17. Covering Palm (Gai Zhang)

18. Pushing Palm (An Zhang)

19. Piercing Palm (Chuan Zhang)

20. Butting Elbow (Ding Zhou)

21. Covering Elbow (Yan Zhou)

22. Inward Rotation (Nei Xuan) and Outward Rotation (Wai Xuan)

Section Two: Stances and Stepping Method

1. Stances

1. Empty Stance (Xu Bu)

2. Bow Stance (Gong Bu)

3. Lower Stance (Pu Bu)

4. Horse Stance (Ma Bu)

5. Sitting Stance (Zuo Pan Bu) or Resting Stance (Xie Bu)

6. Raised Knee Single Leg Stance (Ti Xi Du Li Bu)

7. T Shape Empty Stance (Ding Xu Bu)

8. Aligned Stance (Shun Bu)

9. Reverse Stance (Ao Bu)

2. Stepping Method

1. Advancing Step (Jin Bu)

2. Retreating Step (Tui Bu)

3. Follow Step (Gen Bu)

4. Withdrawing Step (Che Bu)

5. Pad Step (Dian Bu)

6. Grinding Shin Step (Mo Jing Bu) or Lifting Step (Ti Bu)

7. Changing Step (Huan Bu)

8. Reverse Inserting Step (Dao Cha Bu)

9. Stomping Step (Ta Bu)

10. Coming Together Step (Bing Bu)

11. Swing Step (Bai Bu)

12. Hook Step (Kuo Bu)

13. Vertical Step (Zong Bu)

14. Vertical Jump Step (Zong Tiao Bu)

15. Jumping Change Step (Huan Tiao Bu)

Section Three: Kicking and Body Methods

1. Kick (Ti Tui)

2. Stomp Kick (Deng Tui)

3. Stepping Foot (Cai Zu)

4. Pointing Foot (Dian Zu)

Section Four: Essence of the Posture with Respect to All Parts of Your Body

1- Head Pushes Up (Tou Shang Ding)

2- Contain the Chest and Pull Up the Back (Han Xiong Ba Bei)

3- Shoulders and Waist Relaxed (Sink) (Jian Yao Song (Chen)), Sink the Elbows and Waist (Fall) (Zhou Yao Chui (Zhui))

4.Wrist Bends (Wan Yao Qu), Palm Props-up (Sink) (Zhang Yao Cheng (Ta))

5. Waist Sinks (Yao Yao Ta), Spine Straight (Ji Yao Zheng)

6. Kua Relaxed/Loose and Tight (Kwa Yao Song Yao Suo), Knee Hooks and Lifts (Xi Yao Kou Yao Huo)

7. The Fist Grasps Tightly (Quan Yao Jin Wo), The Foot is Steady and Level (Zu Yao Ping Wen), The Toes Need to Hook and Grasp (Zhi Zhi Yao Kuo Zhua)

8. Lift the Anus (Gang Yao Ti), Buttocks Tucks Under (Tun Yao Shou)

Xing Yi Quan Basic Boxing Method

1. San Ti Shi Zhan Zhuang Fa

Three Body Stance Standing Stake Method

San Ti Shi Actual Practicing Method

A few more tips for San Ti Shi Zhan Zhuang Method

2.. Five Element Boxing Practice Method

1. Pi Quan (Splitting)

1. Preparation Stance (also called San Ti Shi)

2. Pi Quan Left Rising Form

3. Pi Quan Right Sinking Form

4. Pi Quan Right Rising Form

5. Pi Quan Left Sinking Form

6. Pi Quan Turning Form

7. Pi Quan Ending Form

2. Beng Quan

1. Preparation Stance (San Ti Shi)

2. Right Beng Quan

3. Left Beng Quan

4. Beng Quan Turning Form

5. Beng Quan Ending Form

3. Zuan Quan

1. Preparation Stance (San Ti Shi)

2. Right Zuan Quan

3. Left Zuan Quan

4.Zuan Quan Turning Form

5. Zuan Quan Ending Form

4. Pao Quan

1. Preparation Stance (San Ti Shi)

2. Right Pao Quan

3. Left Pao Quan

4. Pao Quan Turning Form

5. Pao Quan Ending Form

5. Heng Quan 119

1. Preparation Stance (San Ti Shi)

2. Right Heng Quan

3. Left Heng Quan

4. Right Heng Quan

5. Heng Quan Turning Form

6. Heng Quan Ending Form

Chapter Three : 12 Animal Practice Method

Names of 12 Animal Postures

1. Dragon

1. Preparation Form

2. Dragon Right Falling Form

3. Dragon Left Rising and Falling Form

4. Dragon Turning Form

5. Dragon Ending Form

2. Tiger

1. Tiger

1. Preparation Form

2. Tiger Left Form (Left Tiger Pounce)

3. Tiger Right Form (Right Tiger Pounce)

4. Tiger Turning Form

5. Tiger Ending Form

2. Tiger Turning Body Form

3. Horse

1. Hoof Shape Form

1. Preparation Form

2. Horse Right Advancing Form

3. Horse Left Advancing Form

4. Horse Turning Form

5. Horse Ending Form

2. Horse Diagonal Advancing Form

1. Preparation Form

2. Horse Left Form

3. Horse Right Form (Diagonal Advancing)

4. Horse Turning Form

5. Horse Ending Form

3. Horse Straight Advancing Form

4. Monkey

1. Preparation Form

2. Monkey Climbs the Pole

3. Golden Monkey Scratches its Mark

4. Monkey Climbs the Pole

5. Golden Monkey Scratches its Mark

6. Monkey Climbs the Pole

7. Golden Monkey Bites the Rope

8. Monkey Ending Form

5. Tuo

1. Preparation Form

2. Tuo Left Form

3. Tuo Right Form

4. Tuo Turning Form

5. Tuo Ending Form

6. Snake

1. Preparation Form

2. Snake Right Form

3. Snake Left Form

4. Snake Turning Form

5. Snake Ending Form

7. Sparrow Hawk (Yao)

Sparrow Hawk Binds the Body

1. Preparation

2. Sparrow Hawk Binds the Body

3. Sparrow Hawk Enters the Forrest

4. Sparrow Hawk Drilling to the Sky

5. Sparrow Hawk Turning Form

6. Sparrow Hawk Ending Form

8. Tai

1. Preparation

2. Tai Left Form

3. Tai Right Form

4. Tai Turning Form

5. Tai Ending Form

9. Chicken

1. Preparation

2. Golden Chicken Stand on One Leg

3. Golden Chicken Lays an Egg

4. Golden Chicken Climbs the Tree

5. Golden Chicken Lays an Egg

6. San Ti Shi

7. Right Au Bu (Reverse Stance) Forward Punch

8. Chicken Turning Form

9. Chicken Ending Form

10. Swallow

1. Swallow Beginning Form

2. Right Lower Diagonal Pi Quan

3. Purple Swallow Shows its Wings

4. Swallow Skims the Water

5. Right Upward Palm

6. Aligned Stance Right Zuan Quan

7. Swallow Turning Form

8. Swallow Ending Form

11., 12. Eagle Bear Combination

1. Preparation

2. Eagle Right Falling Form

3. Bear Right Rising Form

4. Eagle Left Falling Form

5. Bear Left Rising Form

6. Eagle Bear Turning Form

7. Ending Form

Chapter Four: Solo Practice Combination Forms

1. Wu Xing Lian Huan Quan

1. Preparation Form

2. Advancing Step Right Beng Quan

3. Backward Step Left Beng Quan (Blue Dragon Exits Water)

4. Aligned Stance Right Beng Quan (Black Tiger Exits Cave)

5. White Crane Shows its Wings

6. Advancing Step Pao Quan

7. Wrapping Form

8. Reverse Stance Right Zuan Quan

9. Reverse Stance Left Zuan Quan

10. Jumping Step Double Pi Quan (Racoon Climbs the Tree)

11. Advancing Step Right Beng Quan

12. Turning Form (Racoon Climbs Down the Tree)

13. Ending Form

2. Wu Xing Sheng Xiang

1. Aligned Stance Right Pi Quan (Metal generates Water)

2. Aligned Stance Left Zuan Quan (Water generates Wood)

3. Reverse Stance Right Beng Quan (Wood generates Fire)

4. Reverse Stance Left Pao Quan (Fire generates Earth)

5. Reverse Stance Right Heng Quan (Earth generates Metal)

6. Turning Form

7. Ending Form

3. Ba Shi Chui

1. Beginning Form

2. Sparrow Hawk Binds the Body

3. Sparrow Hawk Enters the Forest (Aligned Stance Left Pao Quan)

4. Horse Form

5. Reverse Stance Left Heng Quan

6. Aligned Stance Right Beng Quan (Black Tiger Exits Cave)

7. Right Reverse Stance Beng Quan (Golden Chicken Pecks Rice)

8. Aligned Stance Left Splitting (Pi) Palm

9. Aligned Stance Right Pao Quan

10. Reverse Stance Left Heng Quan

11. Dragon and Tiger Crossing (Left Kick and Right Punch)

12. Aligned Stance Left Beng Quan

13. Aligned Stance Right Beng Quan (Black Tiger Exits Cave)

14. The Distinguished White Crane Shows Wings

15. Turning the Body Pao Quan

16. Aligned Stance Right Zuan Quan

17. Turn the Body Left Zuan Quan

18. Sparrow Hawk Turns the Body

19. Aligned Stance Left Pao Quan (Sparrow Hawk Enters the Forest)

20. Horse Form

21. Reverse Stance Left Heng Quan

22. Black Tiger Exits Cave

23. Reserve Stance Right Beng Quan (Golden Chicken Pecks Rice)

24. Aligned Stance Left Spitting (Pi) Palm

25. Reverse Stance Right Pao Quan

26. Reverse Stance Left Heng Quan

27. Dragon and Tiger Crossing (Left Kick and Right Punch)

28. Aligned Stance Left Beng Quan

29. Aligned Stance Right Beng Quan

30. The Distinguished White Crane Shows Wings

31. Turning the Body Pao Quan

32. Aligned Stance Right Zuan Quan (Black Dragon Pours Water)

33. Aligned Stance Left Zuan Quan

34. Sparrow Hawk Binds the Body

35. Sparrow Hawk Enters the Forest (Aligned Stance Left Pao Quan)

36. Aligned Stance Right Heng Quan

37. Aligned Stance Right Heng Quan

38. Aligned Stance Left Heng Quan

39. Ending Form

4. Shi Er Hong Chui

1. Beginning Form

2. Sparrow Hawk Binds the Body

3. Left Aligned Stance Pao Quan (Sparrow Hawk Enters the Forest)

4. Aligned Stance Right Heng Quan

5. Aligned Stance Right Heng Quan

6. Aligned Stance Left Heng Quan

7. Reverse Stance Left Beng Quan

8. Aligned Stance Right Beng Quan (Black Tiger Exits Cave)

9. White Crane Shows Wings

10. Reverse Stance Left Pao Quan

11. Aligned Stance Left Pao Quan

12. Double Mountain Fists

13. Tiger Supports with Palm

14. Left Snake Form

15. Advancing Step Right Zuan Quan (Sparrow Hawk Drills to the Sky)

16. Aligned Stance Left Zuan Quan

17. Sparrow Hawk Turns the Body

18. Raised Foot (Ti Bu) Right Beng Quan

19. Aligned Stance Left Pao Quan

20. Aligned Stance Right Heng Quan

21. Aligned Stance Right Heng Quan

22. Aligned Stance Left Heng Quan

23. Ending Form

5. Zha Shi Chui

1. Beginning Form

2. Sparrow Hawk Binds the Body

3. Sparrow Hawk Enters the Forest

4. Cat Washes Face (Right)

5. Cat Washes Face (Left)

6. Black Dragon Pours Water (Aligned Stance Left Zuan Quan)

7. Show Single Wing (Step Back Lower Smashing Fist)

8. Sleeping Dragon Appears (Reverse Stance Left Beng Quan)

9. Black Tiger Exits Cave (Aligned Stance Right Beng Quan)

10. White Crane Shows Wings

11. Reverse Stance Left Pao Quan

12. Aligned Stance Left Pao Quan

13. Cat Washes Face (Right)

14. Cat Washes Face (Left)

15. Aligned Stance Left Zuan Quan

16. Sparrow Hawk Turns the Body

17. Sparrow Hawk Enters the Forest

18. Step Forward Right Beng Quan

19. Blue Dragon Exits Water (Reverse Stance Left Heng Quan)

20. Black Tiger Exits Cave

21. White Crane Shows Wings

22. Reverse Stance Left Pao Quan

23. Aligned Stance Left Pao Quan

24. Cat Washes Face (Right)

25. Cat Washes Face (Left)

26. Blue Dragon Extends Claw

27. Wrapping Form

28. Push the Window to Look at the Moon

29. Three Basins Fall to the Ground (Horse Stance Double Pressing Palm)

30. Lazy Dragon Rests on the Road (Sitting Stance Lower Piercing Palm)

31. Black Dragon Crosses the River (Step Forward Left Heng Quan)

32. Reverse Stance Right Beng Quan

33. Dragon and Tiger Crossing (Left Punch and Right Kick)

34. Black Tiger Exits Cave

35. White Crane Shows Wings

36. Reverse Stance Left Pao Quan

37. Sparrow Hawk Enters the Forest (Aligned Stance Left Pao Quan)

38. Cat Washes Face (Right)

39. Cat Washes Face (Left)

40. Aligned Stance Left Zuan Quan

41. Show Single Wing (Step Back Lower Smashing Fist)

42. Sleeping Dragon Appears (Reverse Stance Left Beng Quan)

43. Black Tiger Exits Cave (Aligned Stance Right Beng Quan)

44. Wind Shakes the Lotus Leaves (Turn the Body Double Palm)

45. Left and Right Eagle Seizing Form

46. Black Tiger Exits Cave (Aligned Stance Right Beng Quan)

47. Sparrow Hawk Enters the Forest

48. Aligned Stance Right Heng Quan

49. Aligned Stance Right Heng Quan

50. Aligned Stance Left Heng Quan

51. Ending Form

6. Ji Xing Si Bai

1. Preparation Form

2. Reverse Stance Right Piercing Palm

3. Aligned Stance Left Piercing Palm (Golden Chicken Stands on One Leg)

4. Reverse Stance Right Beng Quan

5. Step Forward Left Pi Quan

6. Left Zuan and Right Pi Quan

7. Golden Chicken Pecks Rice (Reverse Stance Right Beng Quan)

8. Golden Chicken Flaps its Wings, Chicken Turning Form (Turn the Body Left Pressing Palm)

9. Golden Chicken Upward Block (Single Leg Stance Downward Piercing Palm)

10. Golden Chicken Announces the Dawn (Step Forward Right Flicking Palm)

11. Aligned Stance Left Splitting (Pi) Palm

12. Step Forward Right Splitting (Pi) Palm

13. Golden Chicken Pecks Rice

14. Golden Chicken Flaps its Wings, Chicken Turning Form (Turn the Body Left Pressing Palm)

15. Golden Chicken Upward Block (Single Leg Stance Downward Piercing Palm)

16. Golden Chicken Announces the Dawn (Step Forward Right Flicking Palm)

17. Aligned Stance Left Splitting (Pi) Palm

18. Ending Form

Chapter Five: Paired Practice Routines (Shuang Da)

1. Wu Xing Xiang Ke

1. Preparation Form (San Ti Shi)

2. B: Step Forward Right Beng Quan.

A: Step Back Left Stroke

3. B: Step Forward Left Beng Quan

A: Right Splitting (Pi) Palm

4. B: Aligned Stance Right Pao Quan

A: Left Zuan Quan

5. B: Aligned Stance Left Heng Quan

A: Step Forward Right Beng Quan

6. B: Step Back Left Stroke

A: Step Forward Left Beng Quan

7. Ending Form

2. An Shen Pao

Chapter Six: Additional Material

Brief Explanation of Ba Zi Gong (Eight Word Skill)

Ba Zi Gong

1. Zhan

2. Jie

3. Guo

4. Kua

5. Tiao

6. Ding

7. Yun

8. Ling

Theory of the Four Ends

1. Ending of the Blood

2. Ending of the Muscles

3. Ending of the Tendons

4. Ending of the Bones

Eight Word Poem

1. Three Push Ups

2. Three Suppresses

3. Three Rounds

4. Three Poisons

5. Three Holdings

6. Three Sinkings

7. Three Bendings

8. Three Straightening

Nine Songs

1. Body

2. Shoulder

3. Arms

4. Hands

5. Fingers

6. Thighs

7. Feet

8. Tongue

9. Anus

Xing Yi Quan Lineage Chart

Introduction to Gong Ting Bagua

Bagua Quan Eight Big Shapes and Sixty Four Palms

Eight Big Mother Palms

Walking Palms Basic Training: Four Major Essentials

Eight Methods

Sixty Four Palms

1. Dragon Shape Palm (Qian Gua)

2. Phoenix Palm (Kun Gua)

3. Tiger Palm (Gen Gua)

4. Swallow Palm (Xun Gua)

5. Snake Palm (Kan Gua)

6. Eagle Palm (Li Gua)

7. Horse Palm (Zhen Gua)

8. Monkey Palm (Dui Gua)

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