Xingyiquan: 10 Questions to Sifu

[Frederick_Chu]

Wow, this is a lot to digest. Thank you so very much, Sigung!

[Mark A]

Bonus

Dear Family Members,
I missed a question,so we have a bonus from Sifu . Enjoy


Question 4

In Xingyiquan students are introduced to, compared to our basic stances, quite new exotic stance like the Santi stance.

In Wuzuquan it happened that we were introduced to the Triangle stance (which is similar to yet different from the 4/6 stance) and the Dragon Riding stance (which is similar to yet different from the Bow-Arrow stance).

In Praying Mantis Kung Fu the Seven-Star stance seems to be quite often used.

Could you please elaborate on the advantages and disadvantages of stances like Santi Stance, Triangle Sstance, Dragon Riding stance and the Seven Star Stance compared to our basic stances?

Sifu Roland Mastel


Answer

In Shaolin Kungfu and Taijiquan, the basic stances are Horse-Riding, Bow-Arrow, False-Leg, Four-Six, Single-Leg, Unicorn and Goat.

While all these basic stances are also found in other kungfu styles, these other kungfu styles frequently use stances that have become characteristic of the styles, like the Triangle Stance and Dragon-Riding Stance of Wuzuquan, the Santi Stance of Xingyiquan, and the Seven-Star Stance of Praying Mantis.

In Wuzuquan, by far the most frequently used stances are the Triangle Stance and the Dragon-Riding Stance. It is worthy of note that the term “Dragon-Riding Stance” is our innovation. Wuzuquan practitioners of other schools would call it the Bow-Arrow Stance.

During the Wuzuquan course in December 2013 in Penang, I mentioned that as the Bow-Arrow Stance in Wuzuquan was quite different from the Bow-Arrow Stance we normally used in Shaolin Kungfu and Taijiquan, it might be a good idea to use a different term for this stance. Roland suggested “Dragon-Riding Stance”, and I found the suggestion excellent.

The Dragon-Riding Stance, which is similar to yet different from the usual Bow-Arrow Stance, is sometimes used for special situations in Shaolin Kungfu and Taijiquan. For example, in the pattern, Single Whip Saves Emperor, in Shaolin Basic Combat Sequence 15, the Dragon-Riding Stance is used. While the two feet n a Bow-Arrow Stance are in line, the two feet in a Dragon-Riding Stance are apart.

The Triangle Stance in Wuzuquan is slightly wider than the Four-Six Stance in Taijiquan. In Wuzuquan the Triangle Stance and the Dragon-Riding Stance are frequently used alternatively. When you ward off an opponent’s attack, you use the Triangle Stance. As you move forward immediately to counter attack, you use the Dragon-Riding Stance. If he counter-attacks, you sink back into the Triangle Stance.


Why are the Triangle Stance and the Dragon-Riding Stance frequently used in Wuzuquan instead of the more common False-Leg Stance and Bow-Arrow Stance found in Shaolin Kungfu and Taijiquan? As it was explained at the Wuzuquan course, it is because of certain advantages. Moving back into the False-Leg Stance to defend, and then moving forward again to the Bow-Arrow Stance to attack, would take more time. Just sinking back the body into the Triangle Stance, without moving the feet, and then shifting the body forward into the Dragon-Riding Stance, again without moving the feet, is faster.

Having the feet slightly apart in the Triangle Stance, instead of in a straight line in the False-Leg Stance, is to facilitate the sinking back of the body. If the feet are in a straight line, it is not only more difficult to sink back, it also places the exponent in a disadvantageous position.

As there is no movement of the feet but only shifting of the body, when a Wuzuquan practitioner counter strikes, he uses a Dragon-Riding Stance instead of a Bow-Arrow Stance. If he wants to use a Bow-Arrow Stance, he would have to move his front leg so that both his feet are in line. This will be slower than just shifting forward to the Dragon-Riding Stance.

The Dragon-Riding Stance would render an exponent’s groin exposed. This is the pro and con of the stance. It has the advantage of speed but the disadvantage of exposed groin. A good martial artist would know the pro and con of his techniques, and a great martial artist could change his disadvantage into his advantage. On the contrary, you can see that many martial artists expose their groin without even realizing it.

We aim to be great martial artists. So we shall change the disadvantage of the exposed groin to be an advantage. We use it as a false opening. When an opponent kicks at our groin, we break his kicking leg, fell him onto the ground or use any suitable counter we have prepared but will catch the opponent by surprise.

The Triangle Stance is also frequently used in Xingyiquan. With the hands in front like in the Separate Dragons Technique, but with the palms facing forward, it is called the Santi Stance or Santi Poise. “Santi”, which literally means “three bodies”, refers to the three external harmonies of feet, body and hands.

Like the Horse-Riding Stance in Shaolin Kungfu and the Three-Circle Stance in Taijiquan, the Santi Poise is the fundamental method in Xingyiquan to build internal force.

Besides remaining in a “focused mode” whereby one gently focuses on the dan tian, or in a “cosmic mode” whereby one thinks of nothing as in the Horse-Riding Stance and the Three-Circle Stance, Xingyiquan practitioners (if they have the chance to learn the secrets of past Xingyiquan masters) also employ the “correspondence mode” and the “expansion mode” in Santi Poise training. We shall practice these two modes during the Xingyiquan course at the UK Summer Camp 2013.

Why are the “corresponding mode” and the “expansion mode” used in the Santi Poise but not in the Horse-Riding Stance and the Three-Circle Stance? It is because it is suitable in the Santi Poise but not in the Horse-Riding Stance and the Three-Circle Stance.

This discovery from Xingyiquan classics that the Santi Poise employs the “correspondence mode” and the “expansion mode” to develop internal force helped me to resolve a problem I thought for some time in the past, i.e. why unlike in other kungfu styles where stances used to develop internal force are symmetrical, like the Horse-Riding in Shaolin and the Three-Circle Stance in Taijiquan, the Santi Poise used in Xinyiquan is not. I could not find the answer in Xingyiquan classics.

But while preparing myself to teach Xingyiquan at the UK Summer Camp 2013, I found the answer. The asymmetrical position of Santi Poise is necessary for the “correspondence mode” and the “expansion mode” in Santi stance training. In other words, if Xingyiquan practitioners use stances that are symmetrical, like the Horse-Riding and the Three-Circle, they would be unable to apply the “correspondence mode” and the “expansion mode”.


Why did Xingyiquan masters use the “correspondence mode” and the “expansion mode” to develop internal force? This is because the two modes effectively contribute to how force is being exploded in Xingyiquan techniques. Or reversely, because of the manner Xingyiquan techniques are applied in combat, the force derived from the “correspondence mode” and the “expansion mode” training method is very useful.

I am not sure which event came first in the historical development of Xingyiquan – whether Xingyiquan masters applied Xingyiquan techniques in combat first, then discovered the two modes of stance training to develop force for the techniques, or whether Xingyiquan masters used the two modes in their stance training first, then applied the force derived from the training to their techniques in combat. There was no mention of this development in Xingyiquan history. But I believe these two developments were connected as they complimented each other.

Besides using Santi Poise as the fundamental method to develop internal force, the fundamental method to explode the internal force derived from the stance training is the flow method. In other words, the Santi Poise is used to build internal force. The flow method is used to explode internal force. This philosophy is not found in Xingyiquan classics, at least not in the classics I have access to. I discovered this connection during my preparation to teach Xingyiquan, and articulate it here.

This does not mean that past Xingyiquan masters did not use the flow method to explode internal force. But they did not explain it or describe it explicitly. It was likely that they might not be aware of the flow method. Past masters did not make a distinction as we do between techniques and skills. They practiced the techniques over and over again diligently, and the skills evolved spontaneously probably without their conscious knowing. But if we understand the underlying philosophy and train accordingly, we can achieve the same result in much shorter time.

The Santi Stance is excellent for this purpose of exploding internal force. It is no co-incidence that all the five elemental fists of Xingyiquan are performed in the Santi Stance.

Not only the Santi Stance provides an ideal form to explode force effectively, combined with the drag-step and the roll-step, it is also excellent for fast, pressing movement for which Xingyiquan is famous. Had Xingyiwuan practitioners used the Bow-Arrow Stance or the sideway Horse-Riding Stance, the movement would not be as fast and pressing. The Santi Stance, combined with the drag-step and the roll-step, constitutes some excellent footwork to chase after opponents, giving opponents little or no chance to escape.

At the same time, the hand position of Santi Poise provides excellent cover against possible opponents’ attacks, as well as fast, powerful strikes onto opponents.

The disadvantages of the Santi Stance as compared with the Bow-Arrow Stance are that it is short-range and exposes the groin. As mentioned earlier, great martial artists change disadvantages to advantages.

The disadvantageous short-range of the Santi Stance is overcome by swiftly dragging the back leg forward to a T-Step, which is frequently used in Xingyiquan, and this complements Xingyiquan being a forceful, pressing art. The hand technique of pi-quan, or thrust-palm, not only prevents an opponent striking back but striking the opponent instead. It is an ingenuous technique.


It is also worth-noting that “pi-quan” literally means “chopping fist”, but here the technique is not a chopping fist, it is a thrust palm strike. Had it been a chopping fist, it would be less effective. A thrust-palm is excellent for the purpose. It is also worth-noting that pi-quan which is actually a thrust-palm despite its literal meaning, is the first of the five elemental fists. It being the first of the five important typical Xingyiquan techniques is no co-incidence.

The other disadvantage of the Santi Stance exposing the groin is changed to an advantage for being a trap. If an opponent kicks a Xingyiquan exponent’s groin or attack it with a low strike, the Xingyiquan exponent would break the leg or attacking arm with a chopping fist followed with heng-quan or diagonal fist to the opponent’s dan tian or groin. Alternatively, the Xingyiquan exponent could apply a snake-form to break the opponent’s leg or arm with a chopping palm followed with a swinging palm at the opponent’s groin or face.

These points regarding the Santi Stance alone, which manifest profundity in simplicity, are sufficient to justify Xingyiquan as kungfu for generals. But it needs great skills, besides technical knowledge, to apply them well, which was the mark of generals rather than ordinary soldiers.

Let us now move to the Seven-Star Stance which is characteristic of Praying Mantis Kungfu. Please take note that another different stance, which is lowering the Unicorn Stance to touching or almost touching the ground, is also called the Seven-Star in the Seven-Star Set of Northern Shaolin I learned from my sifu, Sifu Ho Fatt Nam. The same stance is used in the dragon-form of Xingyiquan, but is called Embrace-Dragon Stance.

Praying Mantis is famous for kicks, but Praying Mantis kicks are very different from the kicks in Taekwondo. Taekwondo kicks are obvious, and usually high. Praying Mantis kicks are purposely made to be inconspicuous and are often low.

Not many people, including modern Praying Mantis practitioners, know that the Seven-Star Stance is a formidable, low and inconspicuous kick meant to break an opponent’s shin while engaging or distracting him above with hand techniques.
Not many people can escape this devastating kick.

Indeed, I spent some time thinking why such an effective kicking technique was not adopted by other kungfu styles. One reason could be the exclusiveness of its teaching. This formidable technique was taught only to selected, trusted disciples. Other students had no chance to its teaching. In some schools of Praying Mantis, the technique was not even shown. The Seven-Star Stance was replaced with the False-Leg Stance, thus hiding the deadly kick.


Another possible reason why this formidable technique was not widely adopted was that there is a deadly counter, White Crane Steps on Snow, which becomes the nemesis of the Seven-Star Kick. If an opponent applies a Seven-Star Kick on you, and you counter with White Snake Steps on Snow, his shin, rather than your shin, will be fractured.

In the Seven-Star Kick the knee is straight, making it difficult for the attacker to retreat his kicking leg when being counter-attacked. Not wanting to take this risk resulted in the Seven-Star Kick not being adopted in other kungfu styles.

I have thought about this problem and have come up with some excellent solutions should an opponent use the nemesis, White Crane Steps on Snow, when you apply a Seven-Star Kick. One counter is found in both the Monkey Set and the Drunken Eight Immortal, another is found in the Monkey Set, a third is found in the Drunken Eight Immortal, and a fourth is found Shaolin Kungfu which I have shown a few times.

See if you can think out the solution yourself. If you can’t, you can contact our Agile Gorilla, Roland, who may give you an answer if he thinks you deserve to have access to these close secrets.

Not many people know the combat application of the Seven-Star Kick in the first place. Lesser people know its counter. But as a competent martial artist, we must know the possible counters to our attacks before we apply the attacks. Hence, if you wish to specialize on the Seven-Star Kick, which will be very useful in free sparring competitions (if the competition rules allow it), you should know what its likely counters are (even when in reality most of your opponents would not know how to counter) and what you are going to do when your opponents apply these counters.

The Seven-Star Stance is also effective for locking an opponent’s leg, tripping an opponent, and stepping on an opponent’s foot to prevent him moving away.

All these stances – Santi Stance, Triangle Stance, Dragon-Riding Stance, and Seven-Star Stance – are not only extra-ordinary from our basic stances, they also serve very special combat functions.

These special stances, as well as our basic stances, were not thought out from imagination by some smart Alex, but evolved from centuries of actual fighting. Early fighters did not use any stances, they fought instinctively.

Over time, those who fought frequently discovered that certain ways of using their feet, body and hands gave them certain advantages. When various effective ways of fighting became institutionalized as kungfu styles, improvements on these fighting methods were passed on from teachers to students as a tradition. Eventually, over many centuries these effective ways of fighting were formalized as stances, footwork, body-movement and hand techniques. We are very lucky to inherit this very rich tradition.

[Mark A]

One Question Left and Early Bird Discount

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Question 9

How does Xingyiquan compare to typical Southern Shaolin Kung Fu (such as the Flower Set) as far as philosophy and techniques are concerned?

Sifu Roeland Dijkema


Answer

Comparing Xingyiquan and Flower Set is both interesting and educational as these two arts manifest and represent vastly different philosophy and practice in fulfilling their goals. A comparative study of them will enable practitioners understand their own arts better even when they do not practice these two arts because the comparison spans a wide range from the simple to the sophisticated which includes many arts in between.

We should also note that Xingyiquan is a kungfu style by itself, whereas Flower Set is a kungfu set in a kungfu style, which is Southern Shaolin. In Xingyiquan there are only two major kungfu sets, namely Wu Xing Lian Huan Quan or Five-Element Continuous Fist, and Shi Er Xing Lian Huan Quan or Twelve-Animal-Form Continuous Fist, though there are many versions of these two sets.

Flower Set is one of many important and well known kungfu sets in Southern Shaolin. Southern Shaolin, as a kungfu style, is open to different interpretations. In its wide sense it includes all kungfu styles that issued from the southern Shaolin Monastery, like White Crane, Hoong Ka, Wing Choon, Choy-Li-Fatt.

Not many people know that there were two southern Shaolin Monasteries, or one but located at two different places, both in Fujian Province of South China. The first southern Shaolin Monastery, built during the Ming Dynasty by imperial degree and known to the public, was situated at the city of Quan Zhou. It was razed to the ground by the Qing Army led by the crown prince, Chen Long, assisted by Lama mercenaries from Tibet using the infamous “flying guillotines”. White Crane Kungfu issued from this monastery.

The second southern Shaolin Monastery, built by Chee Seen who escaped from the first southern Shaolin Monastery, was secretive and was situated on the None Lotus Mountain. It was also razed to the ground by the Qing Army, led by Pak Mei who originally escaped from the first southern Shaolin Monastery. Hoong Ka, Wing Choon and Choy-Li-Fatt issued from this second southern Shaolin Monastery.

In a narrow sense, Southern Shaolin as a kungfu style refers to the type of kungfu originally practiced at the southern Shaolin Monastery both at Quan Zhou and on Nine Lotus Mountain. Hence, depending on whether the wide or narrow interpretation of the term is used, Southern Shaolin may or may not be the same as kungfu styles like White Crane and Hoong Ka. This apparent confusion occurs only in English. In Chinese, where terms are used for convenience rather than as definite classification, such confusion is absent.

Thee are some interesting facts about Xingyiquan and Flower Set that are contrary to popular beliefs. Although Xingyiquan is frequently regarded as Wudang Kungfu, and Flower Set as Shaolin, Xingyiquan looks more like Shaolin Kungfu (in its narrow interpretation) than Wudang Kungfu. Xingyiquan was derived from Northern Shaolin, and had no connection with Wudang Kungfu, the style of kungfu practiced on Wudang Mountain and derivatives from it.

The classification of kungfu styles into Shaolin and Wudang was made only recently in the 19th century. Wang Jin Nan, a kungfu scholar, classified kungfu styles into two main categories, Shaolin and Wudang. He regarded Shaolin as external, and Wudang as internal. He listed Taijiquan, Xingyiquan and Baguazhang as Wudang Kungfu, and all the rest as Shaolin.

This was incorrect, but his classification as well as its reasons have become established, and many people follow them without knowing the facts. Hence, although much of what we practice in Shaolin Kungfu is internal, others think of what we do as external. Although there is nothing internal in what most Taiji practitioners do, most people think of them practicing an internal art.


Yue Fei (1102-1143) was born to a poor family during the Song Dynasty. According to a legend, Yue Fei was the reincarnation of the garuda, da pang in Chinese, a legendary gigantic bird that provided shade and protected the Buddha. Seeing that the Song government was corrupt and was invaded by the Jurchens, the Buddha sent the garuda to protect the people.

Yue Fei’s father saw a big bird fly into the house just before Yue Fei was born. That was how Yue Fei got his name. “Fei” means “fly”, and referred to the flying big bird.

Unlike other babies, Yue Fei never cried. An immortal, disguised as a wandering priest, told Yue Fei’s father that when Yue Fei cried, the father should put the baby and the mother in a big earthen jar. A few days later the baby cried. This triggered off a huge flood that destroyed the village. But the floating earthen jar saved Yue Fei and his mother.

His mother tattooed the words “jin zhong bau guo”, which mean “extreme loyalty to repay the nation” on the back of Yue Fei. Yue Fei learned martial art and strategies from a great Shaolin master, Zhou Tong. His classmates were Lin Chong and Lu Jun Yi, two great kungfu masters who later joined the outlaws on Liang Mountain in the legends of the Water Margins.

Yue Fei joined the army, and due to his abilities and successful military campaigns rose from being a private to a marshal within a short time. The Jurchens from the north had sacked the northern Song Dynasty, established the Jin Dynasty and took the Song emperor and some loyal families as captives. One of the princes escaped and set up the Southern Song Dynasty. Yue Fei was determined to drive out the Jurchens and restore the Song.

Besides being highly skilled in martial art, Yue Fei was also a scholar Despite being very busy with military planning, training and campaigns, he still found time for his scholarly pursues. His favorite readings were Sun Tzu’s Art of War and Spring and Autumn Annals, especially Confucius’ commentaries. His calligraphy had special flowing characteristics of its own. He produced some poetic works.

Lines from his famous Man Jiang Hong, or The River is Fully Red, are frequently quoted still today, like the following.

Thirty years of work and fame are like dust and dirt.
Eight thousand miles of travel one can only see clouds and the moon.
But I won’t wait in idleness
When the hair of a young man has turn white
For empty sorrow

Yue Fei’s campaigns against the Jurchens were very successful. In between campaigns, Yue Fei taught Xingyiquan to his generals, and Eangle Claw Kungfu to his soldiers. His army was well disciplined and highly efficient in combat.

Once he had only 800 men, but defeated the enemy of 50,000. This led the Jurchen commander to commend that they could move Mount Thai, the highest mountain in China, but not Yue Fei’s armies.

Yue Fei and his generals were at the battlefront for years, dutifully fighting for the Song government despite knowing that many high ranking ministers were corrupted. Once a general asked Yue Fei when he thought there would be pease.

“When civilian officials do not love money and military officials are not afraid to die, peace will come naturally,” Yue Fei answered with much wisdom.

Yue Fei was about not only to drive the Jurchens completely out Song territories but also to capture the Jurchen capital. But he waited for permission from the emperor before taking action. He sent a detailed report to the emperor.

But imperial officials were corrupted. Both the emperor, Gaozong, and his prime minister, Qin Gui, were not keen to defeat the Jurchens, because the Jurchens would then have to release the captured former but rightful emperor, Gaozong’s father, who would then restore his reign. Gaozong and Qin Gui secretly made peace with the Jurchens, and ordered Yue Fei to stop his campaigns. Receiving the emperor's order one morning prompted Yue Fei to write

Thirty years of work and fame are like dust and dirt.

We in Shaolin Wahnam are very lucky in this aspect. Besides our core training in Shaolin Kungfu or Wahnam Taijiquan, we have a wide range of other kungfu styles to choose as selective, like Xingyiquan, Baguazhang, Wuzuquan, Tantui, Praying Mantis, Eagle Claw, Wing Choon Kungfu and Choy-Li-Fatt.

Even for those of our students who have not trained in any selective styles, they still have breadth and depth, though of course it is not as broad or as deep as those who have attended selective courses. Why? It is because all the selective styles were derived from, or are specialization of, Shaolin Kungfu. In other words, all the techniques of these selective styles can be found in Shaolin Kungfu. It is a matter of selecting them.

Our students may not have the knowledge and experience to select the right techniques. This is true, but their instructors and I have. We have made things easy for our students. We select the best techniques for the required purpose, arrange them in the best way, and teach them to the students. An example is free sparring against those who use Boxing techniques, which in practical terms means the great majority of all other martial artists regardless of the martial arts they practice.

If the students are smart, they follow instructions and get the best benefits. If they attempt to be smarter than their teachers, though they never mean to be disrespectful, they miss the benefits. A common example is that instead of following the sparring strategy that has been meticulously prepared for them, they think they are smarter by joining a MMA or Muay Thai class as a supplement and learn to fight like MMA or Muay Thai fighters.

In my preparation to teach Xingyiqian, I discovered a bafflingly simple sequence of Xingyiquan techniques that is excellent for this purpose. But before this discovery, I used the same philosophy and the same skills though the techniques are different, like pressing into opponents with Single Tiger, Black Tiger and Fierce Tiger.

What about those who practice Wahnam Taijiquan, will they also have the benefit of breath and depth since these selective styles were derived from Shaolin and not from Taijiquan? Yes, they still have. Actually Taijiquan was also derived from Shaolin, but the repertoire of Taijiquan is wide enough to provide for breadth and depth. For example, to handle Boxing techniques in free sparring our Taijiquan students can use Cloud Hands, Green Dragon and Fierce Dragon, which are Taijiquan counterparts of the Shaolin Single Tiger, Black Tiger and Fierce Tiger.

But students of Xingyiquan or other derivative styles in other schools will not have this advantage. It is because their path is from specialized to general, whereas ours is from general to specialized.

In daily life, for example, they work in the production section of a company and after many years are promoted to become managers. If a problem occurs which concerns accounting or marketing, they would be at a loss.

Our students work as general workers in the company involved in all aspects of accounting, production and marketing. When they are promoted as managers in any department, they can handle problems even when the problems deal with matters outside their departments.

Flower Set evolved from Shaolin Kungfu in the northern Shaolin Monastery also during the Song Dynasty. Like Xingyiquan, Flower Set was not taught to beginners; it was taught to practitioners who were already good at kungfu to enhance their performance further. While the goal is the same, namely combat efficiency, the mode of operation is different.

Xingyiquan techniques, like the thrust-palm and crushing-fist, are meant to kill or serious injure with just one strike, which served the need of generals in battles.

Xingyiquan practitioners should take note of the philosophical point. Each strike should have not only the force but also the intention to end combat. Hence, bouncing about or generously exchanging blows is out of the question. Not only you do not bounce about and exchange blows, you give no chance for your opponents to do so even when this is his normal way of fighting. If he tries to run away, you chase after him effectively and finish him off with just one strike.

This training will give you an ideal mind-set and strategy to win free sparring competitions. You are trained in the element of threat – both at the receiving and giving side. You know your opponents are not toying with you, but would kill you with one strike. You are also not toying with your opponents. You would finish him with just one strike, ensuring your own safety at all times.

Xingyiquan is not for the chicken-hearted. There is also no time for hesitation. Your purpose is already set before your enter combat. If you have a chance to strike an opponent decisively, but you hesitate, he will strike you decisively.

On the other hand, Flower Set techniques, like the dragon-hand used in dim mark and cross-hand grip used in chin-na, are meant to disable opponents giving them a chance to recover subsequently, which served the purpose of compassionate monks in the monastery.

You have a variety of choices on how to subdue your opponents. You may grip them with chin-na or dot their vital points with dim mark to disable their fighting ability but allow them to leave to seek remedial treatment. You may fell them onto the ground and place your fist at their head or your two fingers at their eyes telling them non-verbally that you could kill or injure them seriously if you wanted to, but you don’t. Or you could smash their groin or break their ribs and end combat immediately. Xingyiquan has done away with these choices.

To subdue your opponents mercifully you need to be of a higher level than them. You may also want to play around with them to demonstrate your combat superiority. Or you may want to trick them or amaze them. To achieve these purposes you need a great variety of techniques. Xingyiquan, born in a battlefield environment, has not time for such luxuries.

Therefore, Xingyiquan techniques are simple, direct and effective. Flower Set techniques are also effective but they are sophisticated and elaborated. Whereas a Xinguyiquan practitioner will just thrust his palm or fist directly to defeat an opponent, a Flower Fist practitioner may first lock an opponent’s arms so that he could not escape before striking him.

There are a lot of kicks, felling attacks and chin-na in Flower Set, but Xingyiquan has done away with these other categories of attack and focus only on strikes. The rationale behind is that it takes more movements to apply a kick, felling technique or chin-na technique than to apply a strike. If you could successfully apply these preliminary techniques to accomplish one attack, you could have finish him off with one strike.

This is a relevant philosophical point for those who want to win free sparring competitions. It takes more time and more movements for an opponent to take you down onto the ground, to grip your neck to knee-jab you, or to grab your arms in an elaborated lock. While he is making these preliminary movements, you can finish him off with one decisive strike. You must have both the force and intention. If you hesitate, he will defeat you instead.

Xingyiquan was invented in the environment of the battlefield where combat was the first priority. Flower Set was evolved in a temple environment where spiritual cultivation was prominent. This historical background defined the form and direction of the respective arts.

Although our present environments have vastly changed from those when Xingyiquan was invented and Flower Set was evolved, their historical background influenced how the arts are being practiced today and what benefits we expect to get. For those wish to have spiritual cultivation while practicing a martial art, Xingyiquan would not be a good choice. They would attain their aims better by practicing Flower Set. Of course we are referring to the genuine arts.


Some people mistakenly think that Xingyiquan is a good art for spiritual cultivation. This mistaken view is probably due to Xingyiquan being regarded as an internal, Wudang art. Both terms, “internal” and “Wudang”, suggest spiritual cultivation.

The internal force of Xingyiquan is not used for spiritual cultivation, it is used for combat – to strike down an opponent quickly. The term “Wudang” is mistakenly applied to Xingyiquan. It was not connected to the Wudang Mountain in its development.

On the other hand, those who want to win free sparring competitions, Flower Set is not a good choice, but Xingyiquan is ideal. Unless they are already good at combat, Flower Set is too sophisticated; they are unlikely to have the knowledge and skills to use Flower Set techniques effectively.

Moreover, wearing of gloves, which is a common requirement in many competitions, will restrict the application of many Flower Set techniques. Thirdly, the sophisticated footwork, which is excellent for those who are well trained, may backfire as a liability for many people and make it easy for their opponents to fell them or kick them.

Xingyiquan is ideal. There are no elaborated techniques or footwork that may backfire as liabilities. The simple and direct techniques and footwork are excellent for present day competition situations. Wearing gloves would not limit their usefulness.

These limitations in Xingyiquan and Flower Set apply to most other people. They do not apply to us. We are elite. Because of breadth and depth we can change setbacks to strengths. We can do so because of many favorable reasons, especially that we understand the underlying philosophy and every time we practice it is a training of energy and mind.

Besides applying Xingyiquan internal force for combat, we can also use it for spiritual cultivation as well as for good health, vitality, longevity and mental clarity. After a typical Xingyiquan training we can go into a chi flow, which will overcome pain and illness, and contribute to good health, vitality and longevity. Or we can enter standing meditation, which contributes to mental clarity and spiritual cultivation.

Although Flower Set techniques are too sophisticated for most other people to apply effectively in combat, because of our understanding of combat principles we can select from the Flower Set techniques that are most suitable for various combat situations, ranging from simple ones like those commonly found in today’s free sparring competitions to advanced ones like combat between masters.

The thread-hand technique we now use in our basic application against fast Boxing jabs and crosses, for example, are taken from Flower Set. At masters’ levels, Flower Set provides techniques for chin-na and dim-mark.

Xingyiquan and Flower Set are great arts. Their philosophy and techniques are vastly different. A comparative study enhances our understanding and performance not only of these two arts but also other arts as well as daily living.

[LeeWeiJoo]

Thank you for posting the questions.

Thank you, Mark Sihing, for providing this opportunity.

Thank you Sifu for the illuminating and direct answers.

With Shaolin Salute,
Lee Wei Joo

[Mark A]

Mix Up

Dear Family members,
There was a slight mix in the Q+A 9. Parts 1,2 and 3 will be posted. Parts 4 and 5 will follow


Question 9

How does Xingyiquan compare to typical Southern Shaolin Kung Fu (such as the Flower Set) as far as philosophy and techniques are concerned?

Sifu Roeland Dijkema


Answer

Comparing Xingyiquan and Flower Set is both interesting and educational as these two arts manifest and represent vastly different philosophy and practice in fulfilling their goals. A comparative study of them will enable practitioners understand their own arts better even when they do not practice these two arts because the comparison spans a wide range from the simple to the sophisticated which includes many arts in between.

We should also note that Xingyiquan is a kungfu style by itself, whereas Flower Set is a kungfu set in a kungfu style, which is Southern Shaolin. In Xingyiquan there are only two major kungfu sets, namely Wu Xing Lian Huan Quan or Five-Element Continuous Fist, and Shi Er Xing Lian Huan Quan or Twelve-Animal-Form Continuous Fist, though there are many versions of these two sets.

Flower Set is one of many important and well known kungfu sets in Southern Shaolin. Southern Shaolin, as a kungfu style, is open to different interpretations. In its wide sense it includes all kungfu styles that issued from the southern Shaolin Monastery, like White Crane, Hoong Ka, Wing Choon, Choy-Li-Fatt.

Not many people know that there were two southern Shaolin Monasteries, or one but located at two different places, both in Fujian Province of South China. The first southern Shaolin Monastery, built during the Ming Dynasty by imperial degree and known to the public, was situated at the city of Quan Zhou. It was razed to the ground by the Qing Army led by the crown prince, Chen Long, assisted by Lama mercenaries from Tibet using the infamous “flying guillotines”. White Crane Kungfu issued from this monastery.

The second southern Shaolin Monastery, built by Chee Seen who escaped from the first southern Shaolin Monastery, was secretive and was situated on the None Lotus Mountain. It was also razed to the ground by the Qing Army, led by Pak Mei who originally escaped from the first southern Shaolin Monastery. Hoong Ka, Wing Choon and Choy-Li-Fatt issued from this second southern Shaolin Monastery.

In a narrow sense, Southern Shaolin as a kungfu style refers to the type of kungfu originally practiced at the southern Shaolin Monastery both at Quan Zhou and on Nine Lotus Mountain. Hence, depending on whether the wide or narrow interpretation of the term is used, Southern Shaolin may or may not be the same as kungfu styles like White Crane and Hoong Ka. This apparent confusion occurs only in English. In Chinese, where terms are used for convenience rather than as definite classification, such confusion is absent.

Thee are some interesting facts about Xingyiquan and Flower Set that are contrary to popular beliefs. Although Xingyiquan is frequently regarded as Wudang Kungfu, and Flower Set as Shaolin, Xingyiquan looks more like Shaolin Kungfu (in its narrow interpretation) than Wudang Kungfu. Xingyiquan was derived from Northern Shaolin, and had no connection with Wudang Kungfu, the style of kungfu practiced on Wudang Mountain and derivatives from it.

The classification of kungfu styles into Shaolin and Wudang was made only recently in the 19th century. Wang Jin Nan, a kungfu scholar, classified kungfu styles into two main categories, Shaolin and Wudang. He regarded Shaolin as external, and Wudang as internal. He listed Taijiquan, Xingyiquan and Baguazhang as Wudang Kungfu, and all the rest as Shaolin.

This was incorrect, but his classification as well as its reasons have become established, and many people follow them without knowing the facts. Hence, although much of what we practice in Shaolin Kungfu is internal, others think of what we do as external. Although there is nothing internal in what most Taiji practitioners do, most people think of them practicing an internal art.

Flower Set is a shortened and more popularly used term of Plum Flower Set, which is “Meihuaquan” and is shortened to “Huaquan” in Chinese. There is another kungfu style from Northern Shaolin written in Romanized Chinese as “Huaquan”.

Both the pronunciation and written Chinese characters of “Huaquan” as a kungfu set, and “Huaquan” as a kungfu style are different, though the Romanized Chinese spelling are the same. The former is pronounced in the first tone, and the latter in the second tone. “Huaquan” as a kungfu set literally means “flower Fist”, here “fist” meaning a kungfu set. “Huaquan” as a kungfu style means “Beautiful Fist”, here “fist” meaning a kungfu style.

Although Flower Set is regarded as Shaolin Kungfu, it looks more like Wudang Kungfu than Shaolin Kungfu. It is because Flower Set is relative soft and flowing. And although Flower Set is internal, as in the way we practice it in our school, it is generally regarded as external by the public. There are two reasons. First, most people regard Shaolin as external, and secondly most practitioners of Flower Set today practice it as an external art.

With this background, which enriches our understanding and practice of the two arts, let us now compare Xingyiquan with typical Shaolin Kungfu represented here as Flower Set with reference to their philosophy and techniques.

Both Xingyiquan and Flower Set were devised for effective combat.

Xingyiquan was invented by the famous Song Dynasty marshal, Yue Fei, for general on the battlefront. He based his invention on the needs of the generals and drew inspiration and resources from Northern Shaolin Kungfu. As generals were more likely to fight with other generals individually rather than in mass combat with ordinary soldiers, Xingyiquan was geared toward this purpose.

This does not mean that Xingyiquan is ineffective for mass fighting. If a few opponents attack a Xingyiquan expert from all sides, he would be able to defeat them effectively using purely Xingyiquan techniques. But if he also knows other styles geared towards mass fighting, like Choy-Li-Fatt for example, he would be more cost-effective using these other styles. Here is an example of the benefit of breadth and depth.

Yue Fei’s generals who practiced Xingyiquan would not know Choy-Li-Fatt because Choy-Li-Fatt Kungfu was invented in the Qing Dynasty, 3 dynasties and 6 centuries later than the Song Dynasty. But the generals would use Shaolin styles like Luohanquan or Lohan Kungfu, and Taizuchangquan or First Emperor Long Fist, which were also very effective for mass fighting.

It is worthy of note that the generals were already expert in kungfu. Xingyiquan was taught to them as a supplement. Similarly students who will attend the Xingyiquan course are already good at kungfu. Xingyiquan is taught to them to enhance their kungfu further.

Xingyiquan practitioners should understand this point. If they are caught in mass fighting, they may still use Xingyiquan techniques to fight, but if they also know other techniques that are more suitable for mass fighting, they will be more effective employing these other techniques, though the fighting skills may come from Xingyiuan training. This is another example of the benefit of breadth and depth.

As in other aspects of our training, the philosophy here can be transferred to enrich our daily life. If you are trained as a manager, for example, when you wish to buy a car or go for an overseas holiday, you do not use the same techniques you use to manage your company, you use techniques of buying a car or going for a holiday. But you can transfer your skills as a manager, like planning and implementation, to operate the new chosen techniques.


We in Shaolin Wahnam are very lucky in this aspect. Besides our core training in Shaolin Kungfu or Wahnam Taijiquan, we have a wide range of other kungfu styles to choose as selective, like Xingyiquan, Baguazhang, Wuzuquan, Tantui, Praying Mantis, Eagle Claw, Wing Choon Kungfu and Choy-Li-Fatt.

Even for those of our students who have not trained in any selective styles, they still have breadth and depth, though of course it is not as broad or as deep as those who have attended selective courses. Why? It is because all the selective styles were derived from, or are specialization of, Shaolin Kungfu. In other words, all the techniques of these selective styles can be found in Shaolin Kungfu. It is a matter of selecting them.

Our students may not have the knowledge and experience to select the right techniques. This is true, but their instructors and I have. We have made things easy for our students. We select the best techniques for the required purpose, arrange them in the best way, and teach them to the students. An example is free sparring against those who use Boxing techniques, which in practical terms means the great majority of all other martial artists regardless of the martial arts they practice.

If the students are smart, they follow instructions and get the best benefits. If they attempt to be smarter than their teachers, though they never mean to be disrespectful, they miss the benefits. A common example is that instead of following the sparring strategy that has been meticulously prepared for them, they think they are smarter by joining a MMA or Muay Thai class as a supplement and learn to fight like MMA or Muay Thai fighters.

In my preparation to teach Xingyiqian, I discovered a bafflingly simple sequence of Xingyiquan techniques that is excellent for this purpose. But before this discovery, I used the same philosophy and the same skills though the techniques are different, like pressing into opponents with Single Tiger, Black Tiger and Fierce Tiger.

What about those who practice Wahnam Taijiquan, will they also have the benefit of breath and depth since these selective styles were derived from Shaolin and not from Taijiquan? Yes, they still have. Actually Taijiquan was also derived from Shaolin, but the repertoire of Taijiquan is wide enough to provide for breadth and depth. For example, to handle Boxing techniques in free sparring our Taijiquan students can use Cloud Hands, Green Dragon and Fierce Dragon, which are Taijiquan counterparts of the Shaolin Single Tiger, Black Tiger and Fierce Tiger.

But students of Xingyiquan or other derivative styles in other schools will not have this advantage. It is because their path is from specialized to general, whereas ours is from general to specialized.

In daily life, for example, they work in the production section of a company and after many years are promoted to become managers. If a problem occurs which concerns accounting or marketing, they would be at a loss.

Our students work as general workers in the company involved in all aspects of accounting, production and marketing. When they are promoted as managers in any department, they can handle problems even when the problems deal with matters outside their departments.

Flower Set evolved from Shaolin Kungfu in the northern Shaolin Monastery also during the Song Dynasty. Like Xingyiquan, Flower Set was not taught to beginners; it was taught to practitioners who were already good at kungfu to enhance their performance further. While the goal is the same, namely combat efficiency, the mode of operation is different.

Xingyiquan techniques, like the thrust-palm and crushing-fist, are meant to kill or serious injure with just one strike, which served the need of generals in battles.

Xingyiquan practitioners should take note of the philosophical point. Each strike should have not only the force but also the intention to end combat. Hence, bouncing about or generously exchanging blows is out of the question. Not only you do not bounce about and exchange blows, you give no chance for your opponents to do so even when this is his normal way of fighting. If he tries to run away, you chase after him effectively and finish him off with just one strike.

This training will give you an ideal mind-set and strategy to win free sparring competitions. You are trained in the element of threat – both at the receiving and giving side. You know your opponents are not toying with you, but would kill you with one strike. You are also not toying with your opponents. You would finish him with just one strike, ensuring your own safety at all times.

Xingyiquan is not for the chicken-hearted. There is also no time for hesitation. Your purpose is already set before your enter combat. If you have a chance to strike an opponent decisively, but you hesitate, he will strike you decisively.

On the other hand, Flower Set techniques, like the dragon-hand used in dim mark and cross-hand grip used in chin-na, are meant to disable opponents giving them a chance to recover subsequently, which served the purpose of compassionate monks in the monastery.

You have a variety of choices on how to subdue your opponents. You may grip them with chin-na or dot their vital points with dim mark to disable their fighting ability but allow them to leave to seek remedial treatment. You may fell them onto the ground and place your fist at their head or your two fingers at their eyes telling them non-verbally that you could kill or injure them seriously if you wanted to, but you don’t. Or you could smash their groin or break their ribs and end combat immediately. Xingyiquan has done away with these choices.

To subdue your opponents mercifully you need to be of a higher level than them. You may also want to play around with them to demonstrate your combat superiority. Or you may want to trick them or amaze them. To achieve these purposes you need a great variety of techniques. Xingyiquan, born in a battlefield environment, has not time for such luxuries.

Therefore, Xingyiquan techniques are simple, direct and effective. Flower Set techniques are also effective but they are sophisticated and elaborated. Whereas a Xinguyiquan practitioner will just thrust his palm or fist directly to defeat an opponent, a Flower Fist practitioner may first lock an opponent’s arms so that he could not escape before striking him.

There are a lot of kicks, felling attacks and chin-na in Flower Set, but Xingyiquan has done away with these other categories of attack and focus only on strikes. The rationale behind is that it takes more movements to apply a kick, felling technique or chin-na technique than to apply a strike. If you could successfully apply these preliminary techniques to accomplish one attack, you could have finish him off with one strike.

This is a relevant philosophical point for those who want to win free sparring competitions. It takes more time and more movements for an opponent to take you down onto the ground, to grip your neck to knee-jab you, or to grab your arms in an elaborated lock. While he is making these preliminary movements, you can finish him off with one decisive strike. You must have both the force and intention. If you hesitate, he will defeat you instead.

Xingyiquan was invented in the environment of the battlefield where combat was the first priority. Flower Set was evolved in a temple environment where spiritual cultivation was prominent. This historical background defined the form and direction of the respective arts.

Although our present environments have vastly changed from those when Xingyiquan was invented and Flower Set was evolved, their historical background influenced how the arts are being practiced today and what benefits we expect to get. For those wish to have spiritual cultivation while practicing a martial art, Xingyiquan would not be a good choice. They would attain their aims better by practicing Flower Set. Of course we are referring to the genuine arts.

[Mark A]

Q+a 9 Parts 4 and 5 cont

Some people mistakenly think that Xingyiquan is a good art for spiritual cultivation. This mistaken view is probably due to Xingyiquan being regarded as an internal, Wudang art. Both terms, “internal” and “Wudang”, suggest spiritual cultivation.

The internal force of Xingyiquan is not used for spiritual cultivation, it is used for combat – to strike down an opponent quickly. The term “Wudang” is mistakenly applied to Xingyiquan. It was not connected to the Wudang Mountain in its development.

On the other hand, those who want to win free sparring competitions, Flower Set is not a good choice, but Xingyiquan is ideal. Unless they are already good at combat, Flower Set is too sophisticated; they are unlikely to have the knowledge and skills to use Flower Set techniques effectively.

Moreover, wearing of gloves, which is a common requirement in many competitions, will restrict the application of many Flower Set techniques. Thirdly, the sophisticated footwork, which is excellent for those who are well trained, may backfire as a liability for many people and make it easy for their opponents to fell them or kick them.

Xingyiquan is ideal. There are no elaborated techniques or footwork that may backfire as liabilities. The simple and direct techniques and footwork are excellent for present day competition situations. Wearing gloves would not limit their usefulness.

These limitations in Xingyiquan and Flower Set apply to most other people. They do not apply to us. We are elite. Because of breadth and depth we can change setbacks to strengths. We can do so because of many favorable reasons, especially that we understand the underlying philosophy and every time we practice it is a training of energy and mind.

Besides applying Xingyiquan internal force for combat, we can also use it for spiritual cultivation as well as for good health, vitality, longevity and mental clarity. After a typical Xingyiquan training we can go into a chi flow, which will overcome pain and illness, and contribute to good health, vitality and longevity. Or we can enter standing meditation, which contributes to mental clarity and spiritual cultivation.

Although Flower Set techniques are too sophisticated for most other people to apply effectively in combat, because of our understanding of combat principles we can select from the Flower Set techniques that are most suitable for various combat situations, ranging from simple ones like those commonly found in today’s free sparring competitions to advanced ones like combat between masters.

The thread-hand technique we now use in our basic application against fast Boxing jabs and crosses, for example, are taken from Flower Set. At masters’ levels, Flower Set provides techniques for chin-na and dim-mark.

Xingyiquan and Flower Set are great arts. Their philosophy and techniques are vastly different. A comparative study enhances our understanding and performance not only of these two arts but also other arts as well as daily living

[wooden shoes]

Dear Sifu, Dear Mark,

Thank you for these amazing insights into these Arts. I am truly stunned. (And to think that there are 2 more parts too..just wow.)

Very best wishes,

Roeland

[Mark Blohm]

Dear Sifu,

It is amazing.

[Mark A]

The Last One !!!

Dear Family Members,
We have now reached the last questions and it is amazing . I personally cant wait for this course to come Sifu's knowledge, skill and experience has allowed him to see into the essence of this art as only a Grandmaster can.

This is going to be a course not to miss for many reasons

ONE really good one is that you will be able to ask as many questions as you can with Sifu in PERSON

Enjoy this last questions and maybe ask some more. Sifu is incredibly generous and may answer another one or two

Question 10

Can you please elaborate a little about the background and character of General Yue Fei, who is regarded as the God of Martial Art in China?

For people in leadership positions, what are the qualities that Xingyiquan will promote, enhance and strengthen?

Sifu Lee Wei Joo


In the English language, Yue Fei is often referred to as a great general, but in the Chinese language he is often referred to as a great marshal, which he was, with many generals under him. Hence, in Chinese we read and hear of Yue Yuan Shuai instead of Yue Jiang Jun, i.e. Marshal Yue instead of General Yue.

Yue Fei is deified as “wu sheng”. The other great warrior who is also deified as “wu sheng” is General Guan Yu of the Three-Kingdom Period, about 10 centuries before Yue Fei.

Guan Yu was also known as Guan Yun Chang. He is often referred to as Guan Gong, which means Lord Guan. He was famous for the use of Guan Dao, which is named after him and it means Guan’s Big Knife. Yue Fei, on the other hand, was famous for his metal spear as well as bow and arrows.

“Wu sheng” can be variously translated into English. “Wu” means “martial”, and may sometimes mean “war”. “Sheng” means “sage” and may also be translated as “god”.

The term “Da Sheng”, meaning “Great Sage”, is usually used to refer to the Monkey God, who was honoured by the Jade Emperor of Heaven as the “Great Sage Equal to Heaven”. Interestingly, the term “god’ or “shen” (note: not sheng) has never been used in Chinese to refer to the Monkey God, who is many levels higher in spiritual development than gods in Chinese culture.

Hence, “wu shen” may be translated as the “God of War”. That, in fact, is what Guan Yu is usually referred to, though I prefer to refer to him as the “God of Righteousness” because he is best known for righteousness and not for warfare though he was a great warrior. As this term was coined by me, not many people, at least not now, may have heard of the God of Righteousness.

Hence, Yue Fei, being wu sheng, may be referred to as the God of War too by English speaking people, though most of them when they hear of the term “God of War” would probably think of Guan Yu. But, in a moment of inspiration, I prefer to translate “wu sheng” in the case of Yue Fe as the God of Martial Art, as he was the first patriarch of three styles of Chinese martial arts, namely Xingyiquan, Eagle Claw Kungfu and Yue Family Kungfu. As in the case of the God of Righteousness, not many people, at least not at present, would have heard of the God of Martial Art.

It is also worthy of note that the concept of “god of war” is normally not in the mind of Chinese speaking people when they come across the term “wu sheng”. In other words, Chinese speaking people would not think of Yue Fei and Guan Yu as Gods of War. If Chinese speaking people wish to refer to a god of war in the Chinese language, they would probably use the term :zhan shen”.

The term “wu sheng” carries more respect and reverence than the term “zhan shen”. “Zhan shen” would give connotations of a fighter who brings destruction, often with disregard to those involved. “Wu sheng” gives connotations of a great warrior who fights for a noble cause, and would avoid destruction if possible.

This linguistic and cultural background is not only interesting but also beneficial. As I have mentioned in an answer elsewhere, a great language like English and Chinese is not merely a vehicle for communicating ideas and emotions, but also greatly influences the way we think and develop. This background knowledge not only reflects that Marshal Yue Fei was not a fighter who brought random destruction but a great warrior with principles, but also reminds us that our martial art training is not just to exchange blows but leads to our development of courage and righteousness. These qualities are very important for people in leadership positions.


Yue Fei (1102-1143) was born to a poor family during the Song Dynasty. According to a legend, Yue Fei was the reincarnation of the garuda, da pang in Chinese, a legendary gigantic bird that provided shade and protected the Buddha. Seeing that the Song government was corrupt and was invaded by the Jurchens, the Buddha sent the garuda to protect the people.

Yue Fei’s father saw a big bird fly into the house just before Yue Fei was born. That was how Yue Fei got his name. “Fei” means “fly”, and referred to the flying big bird.

Unlike other babies, Yue Fei never cried. An immortal, disguised as a wandering priest, told Yue Fei’s father that when Yue Fei cried, the father should put the baby and the mother in a big earthen jar. A few days later the baby cried. This triggered off a huge flood that destroyed the village. But the floating earthen jar saved Yue Fei and his mother.

His mother tattooed the words “jin zhong bau guo”, which mean “extreme loyalty to repay the nation” on the back of Yue Fei. Yue Fei learned martial art and strategies from a great Shaolin master, Zhou Tong. His classmates were Lin Chong and Lu Jun Yi, two great kungfu masters who later joined the outlaws on Liang Mountain in the legends of the Water Margins.

Yue Fei joined the army, and due to his abilities and successful military campaigns rose from being a private to a marshal within a short time. The Jurchens from the north had sacked the northern Song Dynasty, established the Jin Dynasty and took the Song emperor and some loyal families as captives. One of the princes escaped and set up the Southern Song Dynasty. Yue Fei was determined to drive out the Jurchens and restore the Song.

Besides being highly skilled in martial art, Yue Fei was also a scholar Despite being very busy with military planning, training and campaigns, he still found time for his scholarly pursues. His favorite readings were Sun Tzu’s Art of War and Spring and Autumn Annals, especially Confucius’ commentaries. His calligraphy had special flowing characteristics of its own. He produced some poetic works.

Lines from his famous Man Jiang Hong, or The River is Fully Red, are frequently quoted still today, like the following.

Thirty years of work and fame are like dust and dirt.
Eight thousand miles of travel one can only see clouds and the moon.
But I won’t wait in idleness
When the hair of a young man has turn white
For empty sorrow

Yue Fei’s campaigns against the Jurchens were very successful. In between campaigns, Yue Fei taught Xingyiquan to his generals, and Eangle Claw Kungfu to his soldiers. His army was well disciplined and highly efficient in combat.

Once he had only 800 men, but defeated the enemy of 50,000. This led the Jurchen commander to commend that they could move Mount Thai, the highest mountain in China, but not Yue Fei’s armies.

Yue Fei and his generals were at the battlefront for years, dutifully fighting for the Song government despite knowing that many high ranking ministers were corrupted. Once a general asked Yue Fei when he thought there would be pease.

“When civilian officials do not love money and military officials are not afraid to die, peace will come naturally,” Yue Fei answered with much wisdom.

Yue Fei was about not only to drive the Jurchens completely out Song territories but also to capture the Jurchen capital. But he waited for permission from the emperor before taking action. He sent a detailed report to the emperor.

But imperial officials were corrupted. Both the emperor, Gaozong, and his prime minister, Qin Gui, were not keen to defeat the Jurchens, because the Jurchens would then have to release the captured former but rightful emperor, Gaozong’s father, who would then restore his reign. Gaozong and Qin Gui secretly made peace with the Jurchens, and ordered Yue Fei to stop his campaigns. Receiving the emperor's order one morning prompted Yue Fei to write

Thirty years of work and fame are like dust and dirt.


The Jurchens renegaded on the peace treaty and attacked the Song. Again Yue Fei pushed them back decisively. The emperor and the prime minister became anxious. They plotted to call back Yue Fei and kill him!

The emperor sent out an imperial degree in the form of a gold plate to call Yue Fei from the battle frontline back to the palace. Kungfu masters in the public knew about it and they intercepted the imperial degree.

The emperor continuously sent out the degree each time the earlier one was intercepted. Eleven imperial degrees on gold plates were intercepted at various times and places, but the twelfth got through to Yue Fei. This constitute the story of “The Twelve Gold Plates”.

Yue Fei himself and his generals knew about the plot to kill him. The generals begged Yue Fei not to return to the palace. Indeed, there was a tradition honoured by emperors of all dynasties that a marshal or a general at a battlefront had the right to reject an imperial degree.

Yue Fei took off his attire and showed his tattooed words to the generals, “extremely loyalty to repay the nation”. Yue Fei said he would rather he killed than disobeyed his mother’s words.

Sure enough, when Yue Fei, his eldest son, Yue Yun, and a general, Zhang Xian, walked into the palace over a trap, hidden palace guards pulled up trap ropes and tied them together. The three were brought before the prime minister, Qin Gui, who accussed them of treason and rebellion.

Indeed, Yue Fei’s army had become so huge that he could easily overthrew the Song government had he wanted to. But, of course, he was loyal to the emperor despite knowing that the emperor plotted to kill him.

A famous general, Nan Shi Zhong, asked Qin Gui what evidence he had for his serious accusations. Qin Gui replied that if the accusations were true, they would be in trouble. This expression, “if the accusations were true”, but without producing any evidence, or “mo xu you” in Chinese, has entered the Chinese language to mean a trumped-up charge.

No one could produce any evidence against Yue Fei. Qin Gui and his wife were sitting by their eastern window when his wife came up with a plot to poison Yue Fei, Yue Yun and Zhang Xian while they were in prison. Later this came to be called the Eastern Window Plot.

Yue Fei was only 39 when he was murdered.

The succeeding emperor, Xiaozhong, cleared all charges against Yue Fei and bestowed many honours posthumously on the famous marshal. A temple for Yue Fei was built at the beautiful West Lake in Hangzhou. Two iron statues of Qin Gui and his wife were made to kneel before the temple for thw wrong they did to Yue Fei. For centuries they were spat on and cursed by visitors.

Later Chinese pastry makers made from flour two figures to resemble Qin Gui and his wife, fried them in oil, and ate them. This has become a popular Chinese pastry called “youzhagui” or oil-fried Gui.

Yue Fei fought a total of 126 battles, but did not lose a single one! How did he achieve this incredible feat?

YueFei’s grandson, Yue Ke, provided a description of Yue Fei’s military methods;

1. Careful Selection

Yue Fei selected his soldiers carefully. He believed that one good soldier was better than a hundred mediocre ones. When a new army of soldiers joined his, he filtered out the weak and old and retained only the strong and fit.

2. Good Training

He provided good training to his soldiers. He taught his soldiers Eagle Claw Kungfu, and his generals Xingyiquan. These kungfu styles proved to be very effective in battle fields.

3. Rewards and Punishments

His rewards were handsome and punishments severe but both were clear and fair. Once he ordered his own son to be beheaded for falling from horseback. His son’s life was spared only when many generals knelt to beg for his mercy.

4. Clear Orders

His orders were always clear and easy for his generals and soldiers to carry out. Whoever failed to carry out the orders were severely punished.

5. Strict Discipline

Whenever the army crossed a countryside or passed a town or village, fields and properties were left intact. Everyone had to pay for good they bought.

6. Close Fellowship

Yue Fei maintained close fellowship with his generals and soldiers. He ate he same food as they, and often shared the same tent with his generals.

Yue Fei taught Xingyiquan to his generals. People in leadership positions today are also generals. Xingyiquan is effective in promoting, enhancing and strengthening qualities that generals of both classical times and modern times need.

A very important quality is decision making. Many top business executives have told me that making a wrong decision is better than not making any decision. Nothing, not even making a loss, is worse than dilly dallying in business.

Xingyiquan forces us not just to make a decision, but to make a good decision fast. Other kungfu styles also enable us to make good and fast decision, but Xingyiquan is especially suited for this purpose. Why is it so?

It is so because of the nature of Xingyiquan combat. In combat, Xingyiquan is simple, direct and powerful, and is almost always pressing forward.

When an opponent throws a Xingyiquan exponent a punch, because there are not many techniques to choose from, the Xingyiquan exponent’s decision in what counter to respond is likely to be faster than another exponent practicing a kungfu style with many choices, like Baguazhang for example.

The fact that in Xingyiquan, the exponent has to move forward will force him to make a fast decision in his response. If he practice an art that allows him to bounce back, like in Boxing, or to sink back, as in Taijiquan, he may delay his decision in making a response. He will not be hit even when his decision is slower because he has moved back from the attack.

But this is not the case with a Xingyiquan exponent. He is moving into the attack! If his decision is not fast, he will be hit.

The interesting fact is that as long as he has learnt Xingyiquan from a competent teacher, as long as he responds with a Xingyiquan technique, it will be a right response! Those who have not learnt Xingyiquan, or have not learnt it from a competent teacher, may not understand what is said here.

So the nature of Xingyiquan combat is such that a practitioner has to make a decision fast. And as long as he makes a fast decision, it will be a right decision!

For people in leadership positions, it is important to make decisions. Making a wrong decision is often better than not making any decision. In Xingyiquan, practitioners are trained to make good and fast decisions. Isn’t Xingyiquan good training for those who aspire to leadership positions?

This interesting quality applies to Xingyiquan but may not apply to other martial arts. In other martial arts, practitioners may make fast or slow decisions. Regardless of whether their decisions are fast or slow, they may not be right decisions, though it is better than not making any decisions. But in Xingyiquan, practitioners cannot chose to make slow decisions, they have to make fast decisions. When they make a decision, even when it is done very fast, it will be a right decision.

Hence, for people aspiring to leadership positions, if they do not have this quality of making fast and right decisions, practicing Xingyiquan will promote it. If they already have this quality, practicing Xingyiquan will enhance it. In Xingyiuan, as they move forward into combat, their decision making has to be faster and faster.

If it is enhanced, practicing Xingyiquen will strengthen it. In other martial arts, other practitioners may not employ this quality every time, like when they retreat or when they wait for their opponents to attack. In Xingyiquan, practitioners press in to attack relentlessly, thus strengthening their ability to make fast and right decisions.

Another very important quality for people in leadership positions is courage. Having made a decision, you must have the courage to carry it out.

Xingyiquan is excellent in providing this courage. It is more effective in this respect than many other martial arts. In some arts like Judo and Taijiquan, the lack of courage can be compensated by patience. If you are not courageous enough to go in to attack your opponent, you can patiently wait for opportunities. In Xingyiquan you are trained to courageously go in to strike down your opponent.

But courage must not be confused with bravodo. In some martial arts like Karate and Taekwondo, exponents charge in to exchange blows. This is bravado. Courage should be tempered with wisdom. You move in courageously but with the wisdom to ensure you are safe. As a person in leadership position, you move into the market courageously to gain profits, but you ensure your company will not lose due to carelessness.

If you lack courage but aspire to leadership positions, Xingyiquan will promote this quality in you. If you already have courage, Xingyiquan will enhance it. Then Xingyiquan will strengthen your quality of courage.

Besides courage, to move in effectively to gain victory in martial art as well as in leadership positions, you also require mental clarity and internal force. Xingyiquan is excellent in promoting, enhancing and strengthening these two qualities.

Two other qualities that people in leadership positions need are loyalty and responsibility. Loyalty is not directly learnt by practicing Xingyiquan, but its first patriarch, Yue Fei, certainly inspires us with loyalty. Responsibility can be learnt from practicing Xingyiquan, but the story of Yue Fei enhances and strengthens our sense of responsibility.

Loyalty is not just upward, but downward as well. Yue Fei was extremely loyal not just to the emperor above him, but also loyal to his general and soldiers below him as well as the Song people in general. His loyalty was firmly established in the words, “Extremely Royalty to Repay the Nation”, permanently tattooed on his back.

It is often debated whether Yue Fei was loyal to the emperor to a fault, whether it would be better and righteous if he placed priority of his loyalty to the people below instead of to the emperor above in the demonstration of his extreme loyalty to the nation.

In debating this question, one should also consider the perspective of time. In Yue Fei’s time, nation was symbolized by the emperor. To people in the modern age nation is generally symbolized by the people

Practicing Xingyiquan will promote a sense of responsibility if a practitioner does not have it initially, and will enhance and strengthen it if it is already present. Unlike some kungfu styles where many techniques are compassionate, every Xingyiquan technique is combat-ending. Xingyiquan practitioners have to use their Xingyiquan with much responsibility.

Some external martial arts are brutal, but being brutal is not the same as being combat-ending. Indeed, Xingyiquan is elegant though combat-ending if the practitioner executing the technique wishes to, otherwise he may hold the technique just before hitting, which manifests his sense of responsibility.

On the other hand, these external martial artists do not hold their strikes. In fact they often increase their brutality by working themselves into a frenzy, as if to lose whatever sense of responsibility they may have so as to punish their opponents brutally. But their brutal strikes, while being destructive physically as well as spiritually to their opponents as well as to themselves, are not combat-ending, or else they would not continue to exchange blows. This type of training is not suitable for those who aspire to leadership positions.

Xingyiquan is combat-ending because of its tremendous internal force, for which Xingyiquan is famous. What would be the case if a Xingyiquan practitioner does not have internal force? Then he is not practicing Xingyiquan correctly. It is like a manager without authority. Both the bogus Xingyiquan practitioner and the bogus manager are making a mockery of themselves. What they do is counter-productive to leadership positions.

A sense of responsibility, or the lack of it, is famously manifested in the story of Yue Fei. Qin Gui, the prime minister, accused Marshal Yue Fei for rebellion and treason, but Qin Gui had no evidence to substantiate his accusations. His justification was if the accusations were true, it would be big trouble. This concept of “if the accusations were true” is now established in Chinese idiom as “mo xu you” and reminds us of our responsibility.

If you merely hear about accusations and join in to contempt the accused without sufficient evidence, you show a lack of responsibility. If you strongly accuse someone without sufficient evidence, it is worse. It does not mean that the accusations cannot be true, but it is being responsible to make accusations only when you have sufficient evidence and are ready to show it. This is a mark of people in leadership positions.

The historical background and the character of Marshal Yue Fei are inspiring. He was deified as “Wu Sheng”, which is often translated as “God of War” but I translate it as “God of Martial Art”.

Xingyiquan was developed by Yue Fei and taught to generals t the battlefront. Practicing genuine Xingyiquan promotes, enhances and strengthens quailities of decision-making, courage, loyalty and responsibility which are very important for people in leadership positions.

[LeeWeiJoo]

Dear Sifu,

Thank you for your wise and generous answer. This answer to my question was definitely a whole lot more than I asked for.

Namo Guan Shi Yin Pu Sha
Namo Guan Shi Yin Pu Sha
Namo Guan Shi Yin Pu Sha

With Shaolin Salute,
Lee Wei Joo

[Mark Blohm]

“youzhagui”. It's good with soy milk or almond milk

[Andy]

Dear Sihing,

Thanks for enabling this series.

Dear Questioners,

Thanks for the great range of questions.

Dear Sifu,

Thank you for the comprehensive wisdom and insight of your answers!

Shaolin Salute,

[Claudien S]

Dear Sifu,

Thanks for these amazing answers.

Dear Mark Siheng,

Thanks for posting these questions and answers.

I'm so looking forward for this course.

Best regards,
Claude

[Mark A]

Commentary

Dear Family Members,
What I would like to do is to go through the questions that Sifu has kindly answered and start out commentary on them.

There are a couple of reasons for doing this

1) This will start a great discussion and we may be able to tempt Sifu into expanding on his already deep answers

2) This will deepen our understanding of the answers and let us develop our questions for the Xingyi course

Please let me know your thoughts

Peace

Mark

[Guest]

Hello,

Dear Mark Siheng, I think that would be a great idea. I hope alot of us will make use of this opportunity (!).

If I could be so bold to go into something Sifu mentioned (in post 59), about Chuo Jiao, a style Yue Fei was the 2nd successor from, and why it maybe was noticable absent from Xingyiquan.

I would also like to add some notes on Chuo Jiao and the connection to Xingyiquan.

I am doing Chuo Jiao in chi flow, not only in chi flow, but for example having drunk a few beers by myself, feeling the flow of the alcohol, or/ and listening to my favourite music (fierce heavy metal), I can sometimes let go and flow into Chuo Jiao patterns. In a very fierce way.

Looking up videos, or pictures of Chuo Jiao Kungfu, I am very honest to say my movements became first, then later the recognition came from those videos.

Kicking is a trade mark of Chuo Jiao, but the fists/ hands are very present as well. If you look up into Fanziquan, it says it is a straight forward style with fists like "hammering meteorites". From my experience, there are alot of similarities in the straight forward style of Xingyiquan with Chuo jiao Fanziquan.

The big difference would be (in my experience) that Chuo Jiao Fanzi Quan has a one leg root alot of times (not always), while Xingyiquan seems very stable rooted in a continues way on the two legs. With the one legged root, I mean that one leg is rooted, and also used as pivot, being able to change into all directions, charging to any side you want. Very smoothly, and usually first (low) kicking comes out, combined with straight forward fist work, and feet.

The straight forward shooting out of fists is very similar sometimes as in Xingyiquan, it is impossible to not recognize the same "family" Xingyiquan is derived from. The fists goes forward, very fast or hammer down (like a wheel hammering down), blow out from the sides, in an ever changing flow in Chuo Jiao Fanzi Quan.

It is truly amazing and fascinating. Combined with a fierce kicking that basically is constant, or ready to shoot out. That's how I experience this. It is a very straight forward style, but simultaneously kind of similar to the drunken Immortal style as well, in that attacking can change in an out of way form just in an instant. I had no idea what spiral force means, but I learnt it from chi flow in Chuo Jiao in shooting out low kicks, "turning" kicks (but unlike round house kicks).

Some thoughts why the great Marshal Yue Fei choose not to incorporate Chuo Jiao into Xingyiquan:
- the armor could limit the body movements in Chuo Jiao
- Xingyiquan (being already perfect) is easier to pass on to Yue Fei his generals
- in warfare usually the opponent has a weapon in hand, in Xingyiquan it would be more "simple", and it seems incorporated, to take over or disable that weapon in an attack

Another thing that came to mind, but probably doesn't apply to a super great as Yue Fei, is that as Yue Fei his generals needed to keep their ground,
ie. when moving forward, Yue Fei his generals needed to keep their place line after line (and maybe this way of moving forward in Xingyiquan being added to crushing the morale of the opponent). Unlike Chuo Jiao, there would be no going backwards in Xingyiquan. (Although going backwards isn't really a good term in describing a Chuo Jiao fighting flow). But Xingyiquan looks like a "tank" moving forward, Chuo Jiao would be more "free" (even though Xingyiquan is not limited to just moving forward). If that makes any sense.

My guess would be also, it would be more "simple" for his generals, and cost effective, in battlefields, to use Xingyiquan.

Just some thoughts. I had an amazing glimpse of Chuo Jiao Fanzi Quan just recently, and thought about a few times what I just wrote here, that I thought it would be good to share and write it down as it has been mentioned here in the thread.

My best wishes,
Tim