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Xingyiquan
Form-and-Will Shadow Boxing
A now generic term gathering all mimetic forms or styles like: Zui quan (drunkard boxing), Yingzhao quan (Eagle claws boxing), Tanglang quan (Praying mantis), Wusong Tuokao (Wusong Breaks Handcuffs), Hou quan (monkey boxing) ...
Xingyi quan (hsing I chuan) form and will boxing
According to the legend it comes from General Yue Fei (1103 - 1142) but most probably from Ji Jike (1602 - 1680) from Shanxi province, who almost certainly learn wushu at shaolinsi and named it xinyi quan (heart and will boxing). This same style is named Xingyi quan in Hebei.
There are 3 main substyles:
Hebei Xingyi quan
Shanxi Daijia Xinyi quan
Xinyi Liuhe quan, practised by Chinese Moslems.
Main features: Very linear motions, middle short range fighting, extremely power strikes generated by the motion and body placement.
Xingyiquan, also known as Form and
Will Fist, is a very ancient Chinese martial art and has held a very high
position in the martial art history of China. During the Qian Long Period of the
Qing Dynasty, Xingyiquan became very popular and quite famous in Henan, Shanxi,
and Hebei Provinces. Over the past one hundred years, Xingyiquan has had even
greater advancements in that the art has spread throughout the world. Xingyiquan
is lesser known than Taijiquan, but it too is one of the three major branches of
internal martial arts. Xingyiquan is a very effective self-defense system as
well as a way to generate internal energy (Qi) to promote health and longevity.
There are very few books, in the western world, written on the Xingyiquan style.
In general, the most informative Xingyiquan book out on the market has been
written by Master Liang Shou Yu and Master Yang Jun Ming. Besides this book,
there are very few documents that reference the philosophy and training methods
of this internal art. Most books discuss the five elements (metal, water, wood,
fire, and earth) and the twelve animals (dragon, tiger, monkey, horse,
alligator, chicken, hawk, sparrow, snake, Tai bird, eagle, and bear) which are
the basis of the style, but few describe other routines and training techniques
within the style. Many people do not know that Xingyiquan includes many
open-hand, two person, and weapon routines. Some open-hand routines include the
Five Element Linking Fist, the Five Element Creation and Destruction Fist
routines, Za Shi Chui, Ba Shi Chui, the Chicken Shape Fist, Si Ba Chui, Twelve
Hong Fist, Enter/Exit Cave Fist, Fighting Dragon and Tiger Fist, Eight Character
Method, the Upper, Middle, and Lower Eight Hands, the Great Continuous Fist,
etc.; some two person routines consist of Five Element Creation and Destruction
Fists, Three Hand Cannon, Five Flower Cannon, Peaceful Body Cannon, Nine Cycle
Fist, etc.; and some weapon routines include the Five Element Linking
Broadsword, Three Harmony Broadsword, Six Harmony Broadsword, Five Element
Linking Straightsword, the San Cai Straightsword, Walking Six Straightsword,
Five Element Linking Staff, Five Element Linking Spear, the Six Harmony Big
Spear, etc.
Health Benefits
Xingyiquan has many beneficial health promoting functions. It is very helpful in
the strengthening of the muscles within the body and towards increasing the
overall strength of the body. People who practice Xingyiquan can develop very
good muscle tone throughout the entire body. Xingyiquan masters call this type
of training "the architectural foundation" of the style. In the
movements of Xingyiquan the arms expand and contract while pressing against the
sides of the rib cage causing a massaging/rubbing action to occur in the various
muscle groups. When the arms rise and lower, there is first an outward spiraling
motion which drills upward and then an inward spiraling and twisting motion
which allows the muscles of the arms and shoulders to be massaged, toned, and
strengthened.
Xingyiquan has very strict requirements towards stance-work. An example of this
can be seen in the advancing step. The advancing step must be conducted with a
large step, the pace must be very fast, and the landing must be very firm,
stable, and rooted. Under these various demands, the legs will receive much
exercise and conditioning. In the practice of the Twelve Animal Forms, there are
various jumping, sinking, and quick paced movements which allow the muscles and
tendons of the body to obtain a complete workout.
Xingyiquan also has health promoting effects on the nervous system. The
movements of Xingyiquan stress that the eyes, hands, feet, and body start and
stop at the same time. The arms and legs must be regulated with the
concentration of the spirit in which the form and mind are in harmony. By doing
this, the mind leads the movements of the external body. This will allow the
brain to be under a controlled state of stimulation during practice and will
have beneficial healing effects on the central nervous system and the brain. For
those who over use their mind during work or other activities, Xingyiquan can be
a way to give the mind a needed rest.
Xingyiquan also has very beneficial effects on the internal organs. Xingyiquan
stresses that the chest be relaxed and empty and the abdomen be filled. In this
way, the internal energy will sink down to the lower Dan Tian. This increases
the oxygen capacity of the lungs and strengthens the up and down motion of the
diaphragm. The diaphragm, in turn, will massage the internal organs within the
torso leading to rejuvenation of the organs and cleansing of the body.
Self-defense Application
In terms of self-defense, Xingyiquan has an abundant array of fighting
techniques. Within the practice of the open-hand and weapon routines, there are
numerous stance, hand, and leg methods and weapon techniques which are practical
for developing self-defense skills. Some of these techniques can be directly
applied to fighting situations while other techniques can be used to enhance
training methods for self-defense. The following uses Beng Quan as one example
of Xingyiquan's ability as a self-defense style.
Beng Quan, also known as the Smashing Fist, is one of the five element fists
found within the Xingyiquan system. Beng Quan is associated with the wood
element. The fist is a very good example of the power that can be generated from
Xingyiquan. Beng Quan is a powerful fist technique that was used by many famous
masters throughout the history of the Xingyiquan system. Xingyiquan masters used
this fist to defeat numerous enemies.
Most martial artists know of Beng Quan's effectiveness, but few know the power
associated with its body posture, stance work, and hand methods.
There are many variations of the stance and application of Beng Quan in the
Xingyiquan system, but the most basic training method is called the Half-Step
stance. All other Beng Quan stances originate from this posture. The Half-Step
Beng Quan posture is called the "mother fist" of Xingyiquan. This
posture was created during the Qing Dynasty. The posture was developed by a
person who was imprisoned in jail where movement was limited to a small area.
The movement of the Half-Step Beng Quan Posture is as follows: Stand in the San
Ti Posture (Three Body Posture) with the left foot and fist forward. The right
fist is placed at the waist with the palm side facing upward. When advancing to
the front, the left foot takes a step forward and the right slides forward. At
the same time, the right fist punches to the front as the arm turns inward. The
palm of the fist will be facing to the left upon full extension of the punch.
The left fist is retracted as the right fist is extended. The left foot should
always be forward while executing this technique. The movement can be practiced
continuously with the left and right fist in a forward linear direction. The
movement will begin to resemble an arrow shooting out from a bow.
The stance of the Beng Quan uses the Half-Step to advance forward without the
legs ever crossing each other. When the front leg (left) advances forward, the
foot should rise up and then move forward. The movement should be like an iron
spade cutting forward. The rear leg (right) should spring forward following
behind the front leg. The springing action must use elastic force to push off
the ground like a bow shooting an arrow. The combined movement of both legs must
be fierce and with speed.
Most people consider that Beng Quan is conducted along a straight line; however,
this way of looking at it is actually a surficial characteristic. The analysis
of the fighting motion of Beng Quan shows that the motion is not along a
straight line. The process contains an arc-like motion. When the fist is
prepared to punch forward, the fist will move along the inside portion of the
front forearm. The inside portion of the arm being punched forward contains a
downward pressing force (Jin); the face of the fist has a forward pressing Jin;
and when the action produces "Fa Jin", the forearm has both a forward
and inward and a upward rising force (jin), simultaneously. Therefore, in order
to produce these forces within the movement, a straight line punch can not and
should not be produced if properly executed. Many famous Xingyiquan masters can
attest to the motion of Beng Quan. For example, in 1984 during a Japanese
martial arts troupe visit to Shanghai, there occurred a fight with a Chinese
martial artist. The Chinese martial artist used the chicken style Beng Quan of
Xingyiquan to knock the Japanese several feet into the air. From this we can see
that a simple straight line punch could not have knocked the person that high.
Five Element Creation Fist
This following describes the Five Element Creation Fist routine. The author had
the opportunity to study with Master Di Guo Yong while in Beijing, China in
1992. Master Di is a disciple of the late Ba Gua Zhang master, Li Zi Ming. He is
the vice-president and secretary general for the Xingyiquan Research Society and
Ba Gua Zhang Research Society which are a part of the Beijing Martial Arts
Association. Master Di is a national martial arts judge and martial arts coach
for the University of Beijing.
The Five Element Creation Fist follows the theory of the creation cycle of the
five elements. In other words, metal creates water, water creates wood, wood
creates fire, and fire creates earth. The creation cycle has been described in
many articles and books, but few have described the practical training method
for this cycle. Prior to learning this routine, however, one should become
familiar with the Five Element Fists and how each are independently performed.
Following the study of the Five Elements, one should either learn the Twelve
Animal Forms or the Five Element Linking Fist routine. Both of these routines,
again, have been described in various books and articles.
The following is a detailed explanation of the movements in the Five Element
Creation Fist routine:
Posture One - Three Body Posture (San Ti Shi):
The Five Element Creation Fist routine begins as with most Xingyiquan routines
in the Three Body Posture (San Ti Shi). The San Ti Shi is the most important and
most basic training method in Xingyiquan. All movements in the style do not
stray away from the principles of the San Ti Shi. There is a saying which states
that "ten thousand methods originate from the San Ti Shi". The San Ti
Shi is formed by first placing the feet together with body erect. The arms hang
down beside the body. The toes of the right foot turn out at a 45 degree angle.
The legs bend at the knees as the weight of the body shifts to the right leg.
The left arm rises up to the front of the chest with the palm facing down and
fingers pointing to the front. The right hand rises up directly above the left
hand (the right index finger is in line with the left middle finger). Both
elbows are bent. The left foot steps to the front with the two heels in line
with each other. The distance between the two feet should conform to the length
of the lower leg. To check the width of one's stance, place the knee of the
right rear leg down to the ground. The knee should fall directly next to the
left front heel. Should the distance be different, simply adjust the feet to fit
this width. The knees are bent with the weight distributed 60 percent on the
rear leg and 40 percent on the front leg. Consequently, this stance is often
referred to as the 60/40 stance. At the same time, the left hand straightens to
the front. The fingers point up with the palm facing out at an angle. The wrist
is at shoulder level. The elbow is bent at an angle of approximately 135
degrees. The wrist of the left arm should be directly above the ankle of the
left leg; the elbow of the left arm should be directly above the knee of the
left leg; and the left shoulder should be directly above the left hip (Photo 1).
The nose, the index finger
of the left hand, and the toes of the left foot should be aligned in a straight
line. The right hand lowers down to the front of the lower abdomen. The base of
the right thumb is pressed against the navel. The eyes look in the direction of
the left hand. The head should be held upright with the chin slightly tucked in.
The tail bone should be slightly curled under to allow the spine to become
straight. The chest should be hollowed and the abdomen should be filled. These
requirements should be maintained throughout the entire routine.
Posture Two - Splitting Palm (Pi Quan):
The left palm grabs in a downward motion to the front of the lower abdomen
gradually forming a fist. As this occurs, the waist turns slightly to the left
helping the left hand grab downward. The right palm changes to a fist without
moving from the abdomen. The palms of both fists should face the abdomen. The
shoulders and hips should be squarely aligned with upper body held upright. The
left fist spirals up and out towards the front of the body. The palm of the fist
faces up at an inward angle. The fist moves up to shoulder level in front of the
left shoulder. At the same time, the toes of the left foot turn out at a 45
degree angle. Draw the right foot up towards the inside of the left foot. The
right foot should not rise any higher than the ankle of the left foot. While
this is occurring, the right fist moves up to the inside of the left elbow. The
knuckle of the small finger touches the side of the left elbow. Following, the
right foot makes a large step to the front as the rear foot performs a follow
step forming a 60/40 stance. The right hand simultaneously spirals up and
forward changing to a palm as the two wrists pass each other. The right palm
continues moving up and then down in an arc to the front. The palm stops in
front of the right shoulder. The left hand forms a palm and moves down to the
front of the abdomen (Photo 2). The posture is identical to the San Ti Shi as
described in Posture One but is performed on the opposite side.
Posture Three - Drilling Fist (Zhuan Quan):
The right palm turns down and forms a fist. At the same time, the toes of the
right foot turn out 45 degrees. Next, advance the rear left foot next to the
inside of the right foot. The left palm, at the same time, changes to a fist and
moves directly above the back of the right fist. The palm of the left fist faces
up. Both fists should be at chest level. The next motion will be to step the
left foot forward to form a left 60/40 stance with a follow step from the rear
foot. While this occurs, the left fist will drill up and to the front similar to
an upper cut strike. However, the left fist will spiral and twist out as it
moves to the front. The final position of the fist is at nose level with the
joint of the little finger facing inward toward the body. The elbow should be
bent and sunk down. The wrist/ankle, elbow/knee, and shoulder/hip joints should
be correctly aligned. As the left fist drills up and to the front, the right
fist draws down to the front of the lower abdomen with palm side facing down to
the ground (Photo 3).
Posture Four - Smashing Fist (Beng Quan):
The left foot takes a half step to the front as the left fist lowers directly
down to upper abdomen height. The left foot remains pointing to the front. The
palm of the right fist turns to face up and moves near the side of the left
elbow. The right foot steps next to the inside of the left foot and then stomps
down directly beside the left foot. At the same time, the right fist follows
along the upper side of the left forearm with the palm side of the right fist
facing up. The palm side of the right fist turns to face to the left as it
passes over the left wrist. The fist continues to move out at chest level until
final extenuation as shown in Photo 4. The left fist draws back and down near
the front of the lower abdomen. Palm side faces in touching the body.
Posture Five - Pounding Fist (Pao Quan):
The left foot steps out at a 45 degree angle to the left as the right fist draws
back towards the lower abdomen. Palm side faces in towards the abdomen. At the
same time, the right foot steps next to the inside of the left foot. Following,
the right foot steps out to the right at a 45 degree angle as the left rear foot
conducts a follow step. This will form a 60/40 stance. While this occurs, the
right fist spirals out and moves up next to the right side of the head (one fist
away from the temple). The palm side of the right fist faces out. The left fist
punches out from heart level along the center line of the body (Photo 5). The
motions of the right and left hand should be conducted together in one motion.
Posture Six - Crossing Fist (Heng Quan):
The right foot takes an additional half step 45 degrees off the center line. The
left foot steps next to the inside of the right foot. At the same time, the
right fist circles to the rear and then down to the side of the body. The palm
side faces up as it passes the waist. The right fist continues moving until it
is directly below the elbow of the left arm. The palm side of the left fist
turns to face down while the arm remains stationary. Next, the left foot steps
to the left at a 45 degree angle from the center line as the rear right foot
conducts a follow step to form a 60/40 stance. While this occurs, the right fist
crosses underneath the left arm as it moves out to the front at shoulder level.
The left fist draws down towards the front of the lower abdomen with palm side
facing down (Photo 6).
In order to turn around and return to the original starting position, simply
hook the left foot over to the right corner to form a T-step with the right
foot. The body will turn to the right to face in the opposite direction. The
right foot turns out 180 degrees. The left foot steps next to the right foot as
the left hand moves next to the inside of the right elbow. The right arm remains
stationary in the Crossing Fist position. The left foot steps forward as the
left palm performs the Splitting Palm on the left side as described in Posture
One. Next, repeat Postures Two to Six to return to the starting position. This
completes the Five Element Creation Fist routine.
Once one side has been mastered, begin to practice this routine on the opposite
side to balance out both sides of the body. This routine can be performed in
various manners based upon one's physical condition. Younger, more energetic
individuals can practice the Five Elements with explosive force (Fa Jin) thereby
enhancing the strength of the body. Individuals who are physically weak and/or
those who are older can perform Xingyiquan much slower and with more relaxed
motions to enhance the flow of internal energy. Individual stances can also be
held for a set period of time to help strengthen the legs and as a meditation
technique to circulate the internal energy throughout the body.
