Xinyi Liuhe Quan - the secret art of Chinese Muslims

Part One - Brief History

by Jarek Szymanski

Text - Jarek Szymanski; photos - Jarek Szymanski and from author's collection

© J.Szymanski 2002

Xinyi Liuhe Quan (literally - Fist of Mind, Intention and Six Harmonies) is a martial art that has developed in Henan Province among Chinese Hui (Moslem) nationality. It is considered one of the most powerful and fighting-oriented styles among other Chinese Martial Arts, and for a long time it has been known for its effectiveness in fighting, while very few actually knew the practice methods of the style. Xinyi Liuhe Quan, along with Cha Quan and Qi Shi Quan (Boxing of Seven Postures), have been considered "Jiao Men Quan" ("religious - e.g. Moslem - boxing") meant to protect followers of Islam in China.

For more than two centuries the style had been kept secret and transmitted only to very few Moslem practitioners. Only at the beginning of this century first native Chinese (Han nationality) learnt the style, but still up to now the most skilful experts of Xinyi Liuhe Quan can be found within Hui communities in China.

Since the arts of Xinyi and Xingyiquan are generally divided into Hebei, Shanxi and Henan branches, the style is also called Henan Xinyi/Xingyi. In the West the style is often referred to as Ten Animals Xingyi.

The early history of the style is not very clear.

According to "Preface to Six Harmonies Boxing" ("Liuhequan Xu") written in 1750, the style was created by Yue Fei who "as a child learnt from a master of deep knowledge and became very skilful at spear play; (on this basis) he created a boxing method to teach his officers and called it "Intention Boxing" (Yi Quan); (the martial art was) marvelous and ingenious, unlike any other before. After the King (e.g. Yue Fei) (passed away), during Jin, Yuan and Ming dynasties the art was rarely seen. Master Ji, called Ji Jike, also known as Ji Longfeng living at the end of Ming and beginning of Qing dynasties in Zhufeng of Pudong (today's Zun Village in Shanxi Province), went to Zhongnan Mountains to visit teachers with deep knowledge there and received the boxing manual of King Wumu (e.g. Yue Fei) (...)".

The art of Xinyi Liuhe Quan was passed secretly among Chinese Moslems and has been known as

"the most cruel style among Chinese martial arts"

Above: Horse Shape - one of Ten Big Shapes of Henan Xinyi Liuhe Quan

According to "Ji Clan Chronicles" (Ji Shi Jiapu) Ji Longfeng's spear skill was extraordinary and he was known as "Divine Spear" (Shen Qiang). Ji (also known as Ji Jike) created a fist boxing using spear principles and taught in Henan.

These two texts talk about creating martial art on the basis of spear, although the first one attributes it to Yue Fei, while the other one - to Ji Longfeng.

Recently one of Chinese martial arts magazines published an article about a discovery of a new branch of Xinyiquan, related neither to Moslem nor Dai Family. The style is practiced only in a very small community in a small village in Henan Province. Many facts seem to support the thesis that the style is a "living remain" of Yue Fei's boxing from before Ji Longfeng's times. For example - one of the rules of that style does not allow to pass the boxing to people with the last name Qin - probably because Yue Fei was betrayed (which resulted in death sentence) by Qin Hui, minister in Song court. The style shows some similarity to other Xinyi branches, but its movements are more simple, methodology of Neigong (internal exercises) is practically non-existent and emphasis is put on practical fighting skills.

The first Moslem to learn the art and pass it to his disciples was Ma Xueli (about 1714-1790) of Luoyang in Henan Province.

The connection between Ma Xueli and Ji Longfeng is not completely clear and even Ma clan members did not know the name of Ma's teacher. A wandering master of unknown name who spent several years in Luoyang's Beiyao village was considered by them to be Ma Xueli's teacher. It is said that Ma's teacher for some reasons (one of them could be involvement in anti-Qing movement) wanted to keep his name secret.

On the other hand Moslem Xinyi Liuhe Quan practitioners in Lushan and other towns in Henan Province of lineages not directly related to that in Luoyang knew about Ji Longfeng and considered him to be Ma's teacher. This is probably because of the exchanges between one of Moslem Xinyi Liuhe Quan masters, Mai Zhuangtu, and Dai clan members.

A popular story says that Ma Xueli heard about Ji Longfeng and went to Ji's village in neighbouring Shanxi Province to study Xinyiquan. However since Ji did not teach martial art openly, Ma pretended to be deaf and dumb and was hired as Ji's servant. In this way Ma could observe Ji practicing Xinyiquan and within three years Ma not only learnt a lot but also became very skilful. After three years Ma was supposed to leave Ji's home and told his master about everything. Ma was asked to demonstrate what he had learnt and Ji realized he was very talented. Moved by Ma's sincerity Ji accepted Ma as his disciple and taught the complete art of Xinyiquan to him.The statue of Ji Longfeng in his

hometown - Zun Village in Shanxi Province

Further research into history and techniques of Xinyi Liuhe Quan suggests that the style could be a compilation of at least two styles - old Moslem style of Liuhequan (Six Harmonies Boxing; style different from Shaolin's Liuhequan; the name came from the name of six-cornered caps that Moslems used to wear) and Xinyiquan (Mind and Intention Boxing) coming - probably - from Ji Longfeng. Xinyi Liuhe Quan practised nowadays consists of two main parts - fist techniques (so-called "Ten Famous Fists" - Shi Da Ming Quan - originating from old Liuhequan) and movements imitating animals (Ten Big Shapes - of Xinyiquan origin).

Ma Xueli taught very few disciples and only three of them are known: Ma Xing, Ma Sanyuan, Zhang Zhicheng.

Currently the most important branches of Henan Xinyi Liuhe Quan are:

1. Luoyang Style, established by Ma Xing (also called Ma Style); 2. Lushan Style, coming from Zhang Zhicheng; the style was later developed by

Mai Zhuangtu and hence is also referred to as Mai Style;

Ma Xing was Ma Xueli's nephew; he learnt the system of Xinyi Liuhe Quan and later reorganized the original set of many single movements he inherited from Ma Xueli into less and more complex routines. Ma Xing's style has been secretly transmitted within Ma clan relatives and Moslem community of Luoyang and re-discovered in late 80s. It is known as "Luoyang branch of Xinyi Liuhe Quan" and is a relatively unknown martial art. Ma Xing passed the art to his son, Ma Meihu; Ma Meihu was born in 1805 and passed away in 1928, living 119 years. His disciple, Liu Wanyi, first learnt from Ma Xing and then continued martial art study under his cousin, Ma Meihu.

In Luoyang Style Xinyi Liuhe Quan single movements taught by Ma Xueli were combined

into short routines by Ma Xing

Once Liu Wanyi was invited to teach in Nanyang and immediately after arrival was challenged by a famous local fighter, Li Hu. Liu asked Li to attack first and Li striked with both fists to Liu's ears. Liu blocked the strike, and then immediately grasped Li's belt with one hand and pulled him at the same time hitting Li's head and breaking his backbone.

Liu's best disciple was Ma Mengle (Ma Mengluo), who taught many disciples in Luoyang, both Moslems and Hans (native Chinese).

Ma Sanyuan's skill was said to be very good, however Ma had bad temper and killed many people in fights. Later he became mentally sick and killed himself. Ma Sanyuan organized famous Siba (Four Seizes) routine into 36 movements so that it contained the essence of both fist and animal styles. Although generally Ma Sanyuan is considered to not have left any disciples, actually there are still practitioners who inherited Ma Sanyuan's style. They live in remote villages in central Henan's countryside.

The most thriving lineage of Henan Xinyi Liuhe Quan comes through another of Ma Xueli's disciples - Zhang Zhicheng. Zhang was from Nanyang in Henan Province and taught the art to very few disciples; only his nephew, Li Zheng of Lushan County, inherited the complete system.

　

There are many stories about Li Zheng - one says that Li escorted caravans and used to practice Chicken Step (Ji Xing Bu) in the meantime - he first chased the caravan until he caught up with it, then walked in the opposite direction for a while and then again chased the caravan. In this way his legs became very strong, footwork evasive and movements agile. In his late years Li's skill became very refined so that he was able to push the challenging opponents far away while keeping a bowl full of water in one hand. Even one drop of water was not spilled.

Although Li Zheng is also the person often held responsible for passing the art of Xinyi Liuhe Quan to Dai Longbang and his sons (which happened when Dais opened an inn in Shijiadian in Henan), it is actually not clear whether it was "this" Li Zheng (Zhang Zhicheng's disciple) or somebody else with the same name.

Double Seize (Shuang Ba) performed by Mai Zhuangtu's inheritor from Hebei Province - this

branch has been re-discovered only recently

　

Li Zheng's most famous Moslem disciple was Zhang Ju of Lushan in Henan Province.

According to one story Zhang owned a Moslem restaurant in Lushan and whenever Li Zheng was passing by Zhang invited him inside. Zhang treated Li with great respect and after ten years Li came to his restaurant and said to Zhang: "I know a high level neijia martial art and decided to pass it to you as you are a sincere man of high morals. You should practice it hard and in the future choose one or two students and teach them. If in your opinion none is worth teaching, keep it secret and do not teach it!". Later Zhang Ju achieved a very high level of skill in Xinyi Liuhe Quan.

Zhang had two disciples: Zhang Gen (his son) and nephew Mai Zhuangtu.

Zhang Gen studied the art since early childhood and at the age of 15 became an accomplished expert. He was called "Stove for Scrap" because he used to fight with many bandits proficient in martial arts and either kill or cripple them so that they could never fight again (this was called "taking the art back" and was a common practice in martial arts circles directed against students who did not follow the rules of Wude - Martial Virtue - and became bandits).

There is a story that once Zhang Ju's gongfu brother came to visit him. He sat on a wooden chair and asked about Zhang Gen's skill with disrespectful intonation in his voice. Zhang Gen told his gongfu uncle to watch him carefully and before the uncle was able to react Zhang Gen used Bear's Dan Ba (Single Seize, one of Xinyi Liuhe most famous techniques) to hit. Uncle was knocked out and it took him half a

day to regain consciousness. The chair he was sitting on collapsed under him after Zhang Gen's strike.

Zhang Gen used to teach in many villages around his hometown and was often coming back home late in night. Once in a forest on his way he saw a shadow of a man in the darkness and decided to attack him with a "Sparrow Hawk Flies into Forest" (Yaozi Ru Lin) technique. However what appeared to him to be a man was in reality a thick branch of a tree and Zhang died pierced by the branch.

Another famous disciple of Zhang Ju was Mai Zhuangtu, nowadays the most respected master of Lushan lineage.

Mai Zhuangtu (1829-1892), native of Lushan in Henan Province. Mai was doing leather trading business and often traveling across Henan and neighbouring provinces. He is responsible for spreading Xinyi Liuhe Quan to Zhoukou in Henan, which became the main center of the style in this century. Only recently it became known with "discovery" of Xinyi Liuhe Quan in Shanxi and Hebei Provinces that during his travels Mai visited also Qi County in Shanxi Province, Dai clan hometown, and taught some students there. This is probably where Mai heard about Ji Longfeng as the creator of Xinyi boxing. There are also some stories about visits of Taigu Xingyi masters to Mai's hometown, Lushan, which are inscribed on a memorial tablet at Black Tiger Bridge in Lushan. Technically Xinyi Liuhe Quan passed by Mai Zhuangtu shares many common features with Dai family Xinyi.

Generaly speaking Mai Zhuangtu made the following contributions to Xinyi Liuhe Quan:

　

Bao Ding (also known as Bao Xianting, 1865-1942) in a movement from famous Siba routine - "Bear's Posture of Tiaoling" (Tiaoling Xiongshi)

• simplified the old style 36-movements Siba routine into a four movement set which became one of the most essential training methods in Lushan branch of Xinyi Liuhe Quan;

• through exchange with Dai Family Xinyi practitioners probably incorporated some Dai branch practice methods into Moslem style (although the contents of this exchange and its influence on both Dai and Moslem branches would require further research);

• spread Xinyi Liuhe Quan all over Henan Province as well as in Shanxi and Shaanxi Provinces; Zhoukou in Henan with its Moslem community became the most influential center of the style;

Mai skills were legendary.

According to one of the stories Mai Zhuangtu was once sitting with his cousin, also Xinyi Liuhe Quan expert, Li Haisen (famous for his Dan Ba), discussing boxing methods. The cousin became very unhappy about the noise of sparrows sitting on a nearby tree and wanted to break the tree. Mai stopped him and while lifting the bamboo curtain covering the entrance, he caught the sparrow alive with the other hand. Another time, in Wuyang County, asked by Ding Zhaoxiang, local Imam, Mai demonstrated "Sticking to Butterfly Method" - he covered a flying butterfly with hand and was following it so that the butterfly could not escape from below Mai's palm. Mai was also famous for hitting his opponents so that they were pushed into the air, and then catching them so that they did not fall on the ground after the strike and hurt themselves.

Mai Zhuangtu had many disciples of whom the most famous were: Mai Xueli (son), Ding Zhaoxiang of Wuyang County, An Daqing of Chang'an (today's Xi'an; both Ding Zhaoxiang and An Daqing were Imams, Islam priests), Yuan Fengyi (Zhoukou) and Yuan Changqing (Zhoukou).

　

An Daqing's student, Bao Ding (Bao Xianting, 1865-1942) wrote first book on Xinyi Liuhe Quan published openly in 1931, "Xingyi Boxing Manual". His another book "Illustrated Explanation to Internal Method in Thirteen Parts" was published in 1927.

Yuan Changqing passed his art to Mai Jinkui of Zhoukou, who later moved to Wuhan in Hubei Province. Mai is said to fight a lot to survive in Wuhan (Hankou). Using his favourite weapon, heavy two-sectional staff only, Mai defeated many local gangs and became the head of harbor workers in Hankou.

Yuan Fengyi's four most famous students were: Shang Xueli, Yang Dianqing, Lu Song'gao (these three were called "Three Heroes from Zhoukou") and Song Guobin.

Lu Song'gao (?-1962) brought Xinyi Liuhe Quan from Henan's countryside to Shanghai - on the photo in "Dragon

Wraps and Strikes to the Side" (Long Xing Guo Heng) movement

　

Shang Xueli first learnt Chazi boxing (boxing emphasizing hardening skills) from Yuan Fengyi and became his disciple. Later, when Yuan was defeated by Mai Zhuangtu and became Mai's disciple, Shang Xueli started to learn Xinyi Liuhe Quan from both Mai Zhuangtu and Yuan Fengyi. Shang was Yuan's best disciple and won Leitai (free fighting) competitions in Kaifeng where he used a combination of "Back Power" (Bei Jin) and knee strike (Ti Xi) defeating Shaolin expert, Zhang Qilin (who died few days later of internal injury).

Lu Song'gao (?-1962) was the first one to popularize the art and teach it to non-Moslems. Lu killed a man in a fight in his hometown, Zhoukou, and had to flee. He first went to Wuhan where he met Tie family (Mai Zhuangtu's adopted daughter was married to Tie Bing), then to Anhui Province, where he stayed for some time with his gongfu brother Song Guobin. Finally Lu moved and settled down in Shanghai, where he defeated many famous martial artists. Later, along with more Moslem Xinyi Liuhe experts coming to the city, Shanghai became new center of the art.

　

SIMPLIFIED GENEALOGICAL TREE OF HENAN XINYI LIUHE QUAN

Yue Fei (1103-1142, born in Henan, died in Zhejiang) - ?

Ji Longfeng (also called Ji Jike, end of Ming and beginning of Qing dynasties; Zun Village, Shanxi Province)

Ma Xueli (1714-1790, Luoyang, Henan), Moslem Xinyi Liuhe Quan

Ma Xing (Luoyang, Henan), creator of Luoyang Style Xinyi Liuhe Quan

Zhang Zhicheng (Nanyang, Henan)Ma Sanyuan (Luoyang, Henan); his branch

has almost extincted

　

Ma Meihu (1805-1928, Luoyang, Henan) Li Zheng (Lushan, Henan) 　

　

Liu Wanyi (Luoyang, Henan) Zhang Ju (Lushan, Henan 　

　

Ma Mengle (also called Ma Mengluo, Luoyang, Henan)

Zhang Gen (Lushan, Henan)

Mai Zhuangtu (Lushan, Henan), creator of Lushan Style Xinyi Liuhe

Quan

　

　 　 　 　

　

Mai Xueli (Lushan, Henan)

Ding Zhaoxiang (Wuyang, Henan)

An Daqing (Chang'an, Shaanxi); his disciple, Bao Ding (Bao Xianting) wrote first book on Xinyi Liuhe Quan published in 1931

Yuan Changqing (Zhoukou, Henan); taught many disciples, of whom Mai Jinkui was the most famous;

Yuan Fengyi (Zhoukou, Henan), had four famous disciples: Shang Xueli, Yang Dianqing, Song Guobin and Lu Song'gao (who brought

Xinyi Liuhe Quan to Shanghai)

　

　

THE FOLLOWING BOOKS ON XINYI LIUHE QUAN ARE AVAILABLE THROUGH THIS SITE:

(Click on the title to learn more about the contents)

Book "Secret Classics of Xinyi Boxing" by Li Xinmin (X003B)

Book "Mind Intent Six Harmonies Boxing" by Tao

Zihong (X004B)

Book "Xingyi (Xinyi) Boxing Manual" by Bao Ding (Bao

Xianting) (X017B)

Book "Xinyiquan" by Ma Linzhang

　 　 　 　

End of "Xinyi Liuhe Quan - The Secret Art of Chinese Muslims - Part One - Brief History"; © J.Szymanski 2000-2002

Guo Weihan - missing link in the history of Xingyiquan found?

by Jarek Szymanski

Text and photos - Jarek Szymanski; © J.Szymanski 2002

While reading books written both in China and abroad, it often appears that what we know about the history of Xingyiquan is more a collection of tales and oral transmissions than true facts based on historical records. From time to time some "facts" so far considered to be obvious are questioned and only then we get closer to the truth, although seldom can actually know it completely.

While the question "who was Li Laoneng's teacher" is not the topic of this article, I hope the information here will show some obvious problems with what so far has been accepted without questioning. Only because of such situations new claims are made, which indirectly let us learn about rare styles that otherwise would hardly be heard of.

As already mentioned in the article about the origins and development of Dai Family Xinyiquan, we are still not clear how Xinyiquan as taught by Dai Clan in Shanxi province was transmitted to Li Laoneng, who is considered the father of Xingyiquan.

The group of Guo Weihan's Xinyiquan practitioners whom I interviewed during my research trip to Shanxi. The noodles were delicious and local liquors strong but I wonder if all the material

presented in this article could have been collected without the help of Baijiu...

Li Laoneng's teacher - different opinions

1. Dai Longbang - Hebei Province Xingyi - the "only truth"?

Hebei Xingyiquan practitioners claim that Li Laoneng learnt from Dai Longbang and this version can be found in Sun Lutang's "The Study of Xingyiquan" published in 1916 where in "Author's Preface" Sun wrote:

"(...)Mister Dai Longbang transmitted (Xingyiquan) to Mister Li Luoneng (of Zhili i.e. today's Hebei Province)".

In 1923 Sun Lutang published his another book - "True Description of the Meaning of Boxing" ("Quan Yi Shu Zhen") where he gave detailed account of Li Laoneng's meeting with Dai Longbang and study under Dai:

"Mr.Li named Feiyu, styled himself Nengran, and was called Mr.Laoneng (...) went to Taigu in Shanxi (Province) in business; (he was) fond of martial arts. (There) he heard about Mr. Dai Longbang, living in the (Taigu) county who excelled in Xingyiquan and went to visit him. When they met, both the speech and manners (of Mr.Dai Longbang) were very elegant and refined, unlike of somebody who excels in martial arts, which surprised (Li Laoneng) so he left. On another day (Li Laoneng) through formal introduction became (Dai Longbang's) disciple. At that time Mister (Li Laoneng) was thirty seven. After receiving instructions (from Dai Longbang) (Li Laoneng) was practicing days and nights, but in two years' time he only learnt one part of Wuxing (Five Elements) - Pi Quan (Chopping Fist) and half of the Lian Huan Quan (Linked Fists) set. Although he did not learn much, but he did not look for more and was practicing with sincerity without break. One year Dai Longbang's mother was celebrating her 80 birthday and Mister (Li Laoneng) went to congratulate her on her birthday. The guests there were either relatives, friends and Mr. Longbang's disciples. After the birthday ceremony those who knew martial arts were demonstrating in the birthday hall, and each was showing everything what he knew. Mister (Li Laoneng) only demonstrated half of the (Linked Fists) set. Mr. Longbang's mother liked martial arts and knew all movements and principles of Xingyiquan; she then (after the demonstration) asked Mr. (Li Laoneng) why he demonstrated only half of the set, and Mister (Li Laoneng) answered "I only learnt this". (Dai Longbang's mother) immediately turned to Mr. Longbang ordering him "this man studied for two years but was taught so little; he looks very loyal and sincere, so this method can be taught to him with concentrated attention." Since Mr. Longbang was a dutiful son and besides received instruction from his mother in person, so he taught everything he learnt to Mister (Li Laoneng). Mister (Li Laoneng) was practicing meticulously and achieved high skill at the age of forty seven".

However the main problem is the time frame - Dai Longbang is believed to live between 1720 and 1809 (according to Cao Jizhi's "The Course of Dai Shi Xinyiquan"), while Li Laoneng - 1803 and 1888 (Meng Xianshi: "Detailed Explanation of Xingyiquan"; Li Laoneng

was employed by one of Meng ancestors to protect their property). Hence it seems impossible that Li learnt from Dai Longbang.

2. Dai Wenxiong - Shanxi Province Xingyi - very possible

On the other hand Xingyiquan practitioners from Shanxi Province, with the center in Taigu County, consider Dai Wenxiong, Dai Longbang's second son, as Li Laoneng's master.

The only "hard evidence" is the text of "Memorial Tablet of Mister Che Yizhai" written in 1925 - other texts, like "The Essence of Xinyi" ("Xinyi Jingyi") attributed to Li Guangheng, Li Laoneng's disciple from Shanxi, and said to be written in 1895, can hardly be considered evidence as nobody has been allowed to have a closer look at its contents (although recently a research team from Japan took photos of the cover and table of contents of the book).

The text on "Memorial Tablet of Mister Che Yizhai", which still stands in Taigu, says:

"Martial arts are the unique skills of China and are divided into Shaolin, Internal and External Schools. These arts were flourishing in our prefecture during the reigns of emperors Xianfeng (1851-1861) and Tongzhi (1862-1874) (and were practiced by) disciples of Wang Changle and Dai Wenxiong. (Wang) Changle was from Jiao (i.e. Jiaocheng County). Mister Dai had a nickname Er Lü and was from Qi (County). Dai Family Xinyiquan, passed within Dai Clan, belongs to Shaolin External branch, and was transmitted outside (the family) to Li Laoneng (...)"

Since Dai Wenxiong lived between 1769 and 1861, this claim seems more reasonable than that of Hebei.

Che Yizhai's Memorial Tablet in Taigu, Shanxi Province

Of these two "origin" versions the one from Hebei Province - Li Laoneng being Dai Longbang's disciple - was more popular and for a long time considered "the only truth". Shanxi practitioners were loyal to their transmission and have been trying to prove their point. However, with China's "revolutionary opening" to the outside world and as a result of Wushu Excavating and Sifting which took place in 1982/1983, more and more traditional martial arts came out into light. It was at that time when first articles about Dai Family Xinyiquan were published and the name of Guo Weihan as Li Laoneng's teacher was mentioned.

3. Guo Weihan - Dai Family Xinyiquan practitioners speak

Dai Family Xinyiquan practitioners claimed Guo Weihan was nephew of Dai Longbang's wife (her brother's son) and learnt early Xinyiquan from Dai Longbang. According to Cao Jizhi, author of "The Romance of Qing Dynasty Knights", a novel about Dai Clan and their family art, and unofficial "spokesman" for Dai Family Xinyiquan practitioners, Guo Weihan learnt only the martial art of the system and did not study the health preserving part, with Monkey Squatting method as its core. Cao in his another book - "The Course of Dai Family Xinyiquan" made several claims concerning Guo Weihan:

1. Guo was Dai Longbang's disciple and gongfu brother of Longbang's sons - Dai Dalü (Dai Wenliang) and Dai Erlü (Dai Wenxiong);

2. It was Guo Weihan who changed the name of the style from Xin (Mind) Yi (Intent) Quan (Boxing) into Xing (Form) Yi (Intent) Quan (Boxing)

3. Dai Family Xinyiquan practice methods were divided into Daoyin (Qigong for health preserving), with Squatting Monkey as its core, and fighting system; it was Dai Longbang who merged them together so that Dantian methods became basis for martial art techniques and its inseparable part. Guo Weihan

learnt only the fighting system - Yue's Family Boxing - and did not learn Daoyin;

4. Guo Weihan created San Ti Posture, the core of the modern Xingyiquan; he also changed "Ten Big Shapes" (Shi Da Xing) into "Twelve Shapes" (Shi Er Xing)

In 1998 I interviewed Dai Family Xinyiquan practitioners living in Guo Weihan's hometown and they confirmed that it was Guo who taught Li Laoneng. We did not go into details concerning how Guo Weihan's system really looked like and it became obvious that more information can be obtained only from the practitioners of Guo Weihan's style.

Gao Jiangheng's "Secret Methods of Xingyiquan Basic Practice" - the first and only written account on Guo Weihan's system

Some time later I had a chance to have a look at a very interesting book - "Secret Methods of Xingyiquan Basic Practice" (Xingyiquan Jiben Xinggong Mifa) written by Gao Jiangheng and published in 1935. In his book Gao Jiangheng recorded stories told by his teacher, Jia Dajun (Guo Weihan's disciple) as well as described basic practice methods of his style. The contents of the book was different from anything I had heard about Guo Weihan's system before.

1.Historical part of the book sheds completely new light on the early history of Xinyiquan as well as relations between Dai Longbang, his sons, Guo Weihan and Li Laoneng (this issue however will be further discussed in one of the next articles on this site).

According to Gao's book (chapter on "Origins") Guo Weihan was nephew of Dai Longbang's wife - although in the light of new "discoveries" this relation does not seem to be true but this question will be briefly discussed below - and learnt his martial art from Dai Longbang. In 1838 he went to Henan's Shijiadian together with Dai Wenliang and Dai Wenxiong to help in managing the inn Dai Longbang ran there and learn martial arts. In 1841 Niu Xixian (Niu Xixian was Niu Gao's descendant; Niu Gao was one of the general's in Yue Fei's army and Yue Fei's disciple) came to Shijiadian and Guo Weihan and Dai brothers became his disciples and learnt martial arts from him. Gao Jiangheng also mentions that there was an oral transmission of Dai brothers and Guo Weihan learning from Li Zheng while in Shijiadian.

In the generation chart in his book Gao places Guo Weihan on the same level (same generation) as Dai brothers, below Dai Longbang and Niu Xixian, but above Li Luoneng and Dai Wuchang, Dai Liangdong, Wen Laoliu, Jia Dajun (Gao's teacher) and others.

First movements of Six Combinations Stick (Liu He Gun) routine of Guo Weihan's system performed by Mr. Lϋ Hui, Fan

Jiayuan's student:

Since Guo went to Shijiadian in 1838 to help Dai Longbang manage Dai's business there, it not only puts the dates for Dai Longbang's life given by Cao Jizhi into question, but also makes it possible that Li Laoneng actually learnt from Dai. Some recent discoveries concerning Li Zheng (said to be one of Dai's teachers - please refer to this article) also seem to support the idea that Dai Longbang could have lived much later than Cao indicated.

2.Technical part of the book introduces the basic theory and practice methods of Guo Weihan's Xingyiquan (as Xingyiquan - Form-Intent Boxing - is the name Gao refers to his style):

1.Sixteen Core Methods (Shi Liu Ben)

2.Sixteen Powers (Shi Liu Jin)

3.Meditation Practices divided into three levels:

3.1.Method of Using Qi (Yong Qi Fa) - breathing/meditation method to attain calmness of mind so that Qi can move;

1

3.2.Heavenly Circle Method (Zhou Tian Fa) - on the basis of the "Method of Using Qi" one learns to lead Qi along Small Heavenly Circle;

3.3.Method of Achieving the Truth (De Zhen Fa) - high level meditation practice

4.Dantian Methods - divided into Dantian Practice in Standing (Zhan Dantian) and Dantian Practice in Movement (Ben Dantian):

4.1.Dantian Practice in Standing - is a method similar to Squatting Monkey method of Dai Family Xinyiquan, composed of two phases - opening and contracting of the body. The main difference is in the way arms are held in squatting position - according to Gao they should be crossed in front of the body with backs of palms kept close to chicks.

4.2.Dantian Practice in Movement - is a footwork method which should be, as Gao Jianheng writes in his book "(...) like shooting an arrow, where Dantian is a bow and Qi - the arrow. This is called Neigong (Internal Method). On the outside hands are like a bow, leg is like an arrow. (...) In the past Master Dai Erlü was able to attack the opponent from the distance of ten steps (...) it was the skill coming from Ben Dantian".

Gao Jiangheng gives detailed description of Dantian methods practiced within Guo Weihan's system, and the main one - Zhan Dantian - with slight differences is the same as Squatting Monkey method of Dai Family Xinyiquan. This is in contradiction with Cao Jizhi's claim that Guo's style does not include the Daoyin part - i.e. Squatting Monkey method - of Dai Family system.

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3

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Pi Quan (Splitting Fist) of Guo Weihan's system as introduced in Gao Jiangheng's book (Guo WeihanJia DajunGao

Jiangheng lineage):

5 4 3 2 1Chopping Fist Right

PostureEmbracing the Moon

Chopping Fist - Left Posture

Snake Form Six Harmonies Posture

Pi Quan You Shi Huai Zhong Bao Yue Pi Quan Zuo Shi She Xing Liu He Shi

• Drilling Fist (Zuan Quan): Six Harmonies Posture (Liu He Shi) - Snake Form (She Xing) - First Movement of Drilling Fist - Second Movement of Drilling Fist

• Crushing Fist (Beng Quan) - Six Harmonies Posture (Liu He Shi) - Low Posture (Xia Shi) - "Golden Rooster Stands on One Leg" (Jin Ji Du Li) - Crushing Fist

• Cannon Fist (Pao Quan) - Six Harmonies Posture (Liu He Shi) - Cannon Towards Heaven (Chong Tian Pao Chui) - Cannon Fist

All Five Elements Fists start from Six Harmonies Posture and the main linking movement is the "Embracing the Moon" (Huai Zhong Bao Yue) posture. They also contain animal movements (Snake Form, Chicken Form) as well as other techniques not included in animal forms (Cannon Towards Heaven). The techniques are usually performed in Bow and Arrow Stance (Gong Jian Bu), also referred to as Tiger Step (Hu Bu).

7.Twelve (Animal) Shapes (Shi Er Xing) - twelve sets of short, linked sequences; the movements that these sequences are composed of can also be practiced as single techniques. Twelve Shapes are: Dragon (Long), Tiger (Hu), Monkey (Hou), Horse (Ma), Nag (Tai), Cat (Mao), Swallow (Yan), Sparrow Hawk (Yao), Eagle (Ying), Chicken (Ji), Crane (He), Snake (She). Not only the Animals are different than those in Xingyiquan, but the specific movements are different as well - for example Dragon Shape is a set of the following movements: Wrapped Body and Hidden Hand of Dragon Shape Posture (Guo Shen Cang Shou Long Xing Shi) - Heart-dividing Palm (Fen Xin Zhang) - Dragon's Tail Posture (Long Wei Shi).

In his book Gao gives no information concerning weapons practiced within Guo Weihan's system.

Guo Weihan's system - what the current practitioners have to say...

In 1998 I made the first but not very successful attempt to meet Guo Weihan's style practitioners in Shanxi Province. I was only able to meet students of Ma Erniu (Dai Kui's disciple), Dai Family Xinyiquan practitioners, who lived in Guo Weihan's hometown. Although I did not see the style itself and still had no idea how it looked like, I was told interesting story about Li Laoneng coming to Shanxi, how he was rejected by Dai Clan and finally accepted by Guo Weihan as a disciple.

In May 2001 I had a chance to finally meet practitioners of Guo Weihan's style, not only talk to them, but also

Another photo of Xinyiquan practitioners from Guo Weihan's lineage. 'Shenzhou' of Guo clan hangs in the background

videotape some demonstrations as well as take photos. The following information was shared with me during conversations I had with Guo Weihan's style practitioners in Shanxi's countryside:

1.Guo Weihan and his disciples - facts and stories:

There is no doubt Guo Weihan really existed - his name appears on Shenzhou - sheet of fabric on which the names of the dead belonging to one clan are recorded and which is hang on the wall during main Chinese festivals so that the living can kneel in front of it and pay respect to the dead ancestors - of Guo Clan. However the only information recorded there is Guo's name, the fact that he was 15th generation of Guo Clan and that he had three wives - Fan, Yue and Li.

Enlarged fragment of 'Shenzhou' with Guo Weihan's name and

surnames of his three wives

Guo Weihan's aunt (father's sister) was married to Dai Longbang, so Guo Weihan and Dai's sons - Dai Dalü and Dai Erlü - were cousins. Guo Weihan studied Dai Family Xinyiquan from Dai Longbang. Guo spent some time in Henan escorting caravans together with Dai Longbang and his sons. After he came back to Shanxi he became the chief of his home village. Later he resigned and became a teacher teaching in one of the local private schools (Si Dian).

NOTE:

At the end of March 2001 an important discovery was made - Dai Clan descendants revealed four volumes of their family chronicles (Dai Shi Jiapu) as well as their Shenzhou that had been kept hidden in Dai Longbang's mansion for at least a century. Both materials are under strict protection of the local authorities and only a few persons were allowed to see them. I had a long conversation with the head of the local Cultural Relics Bureau who is one of the persons responsible for the protection of the books and Shenzhou. According to the Chronicles Dai Longbang (Dai Xing'guo), 19th generation of Dai Clan, had two wives - Zhao and Liu. He had two sons - older Dai Wenliang (Dai Dalü) and younger Dai Wenxiong (Dai Erlü), who also styled himself Dai Yemeng.

Thanks to this discovery we can disregard the stories about two brothers - Dai Longbang and Dai Lingbang - that can be found in some of older Xingyiquan books. However at the same time the relation between Dai Longbang and Guo Weihan has to be corrected as well - since none of Dai Longbang's wives was of Guo family, Guo Weihan could not be the nephew of any of Dai Longbang's wives. There is a possibility that one of Dai Longbang's brothers could have been married to Guo Weihan's aunt, but this would have to be checked either with the Chronicles or Shenzhou.

Guo Weihan had eight main disciples, of which names of only five were mentioned to me: Guo San'er, Cheng Da, Cheng Er, Li Laoneng (of Shenzhou in Hebei Province) and Lü Haigen.

Guo Saner killed somebody during a fight in his hometown and had to flee to Beijing where he hid under assumed name Li. His Qing Gong (Light Skill) was very good and he was probably the renowned "Li the Swallow" famous in the capital city.

Fan Jiayuan, one of Lü Haigen's grand-students and main teacher of the current

practitioners of the style

Cheng Da and Cheng Er were brothers and Guo Weihan's boxing manual (Quan Pu) is still kept by their descendants.

Li Laoneng came to Shanxi and wanted to learn Dai Family Xinyiquan. Li bought some land and was growing vegetables there. At that time Dai Longbang already passed away and Dai Erlü, who was very respected locally and of high social status, did not agree to accept Li as a student. As a result Li decided to ask Guo, another of Dai Longbang's disciples, to teach him, but since he was afraid that Guo would not accept him either, he was everyday pushing a cart with vegetables to Guo's house and selling the vegetables to Guo. It was Lü Haigen, Guo Weihan's "page boy" (Shu Tong) who was always coming out and buying the vegetables from Li. After some time Guo finally came out. Li grasped two handles of the cart and lifted the heavy cart full of vegetables to let Guo choose them and at the same time to show him his strength. Guo chose the vegetables and gave Li a bronze coin to pay. Guo was holding the coin with three fingers and in spite of the efforts Li could not take it from him.

Then Guo broke the coin with his fingers. Seeing this Li wanted to cross hands with Guo, but Guo defeated him easily using Snake Form (She Xing). After the fight Li kneeled in front of Guo and asked to be accepted as disciple. Although Guo agreed to teach him, the style he taught was a changed version which was based on San Ti Shi, and which Guo called Xingyiquan - Form and Intent Boxing. After some time Dai Erlü heard that Guo was teaching the man from Hebei and became quite unhappy with him. Guo invited Dai Erlü to his house and while Li Laoneng was practicing the style he learnt from Guo in the courtyard, Dai, sitting inside the house, was taking a peep at him through a little hole in the window (windows at that time had no glasses, but a half-transparent paper was used instead). Dai Erlü was not worried anymore seeing that Li did not learn his family art. Li Laoneng spent three years studying Xingyiquan and then went to Taigu.

2.The transmission of Guo Weihan's art:

Guo Weihan also passed his art to Lü Haigen (1812-1904), who in turn taught Guo He (1872-1959, who started his studies under Lü at the age of 12). Guo He taught Fan Jiayuan (1909-1997). Fan's main disciples are: Yang Runsheng (1924-1996; the first disciple), Yang Liren, Fan Zhengming, Lü Hui (Lü Shuangniu), Guo Yingchang and Guo Yingsheng. The people I interviewed were mainly Fan Jiayuan's disciples.

Guo Weihan - missing link in the history of Xingyiquan found?

by Jarek Szymanski

Text and photos - Jarek Szymanski; © J.Szymanski 2002

CONTINUATION FROM THE PREVIOUS PAGE :

3.The contents of Guo Weihan's martial art:

The style Guo taught to his other disciples was Xinyiquan, the same as the art Dai Longbang taught. Its basics are:

• Dantian methods - Dantian Practice in Standing (Zhan Dantian) practiced in two versions - with

Zhan Dantian of Guo Weihan's lineage is basically the same as the one of Dai Family Xinyiquan

Opening Contracting

arms kept at the knees or near face in the squatting position - it is basically the same exercise as Squatting Monkey of Dai Family Xinyiquan; Pounding Dantian (Za Dantian), Discharging Dantian (She Dantian), Sitting Dantian (Zuo Dantian), Removing Dantian (Ban Dantian) and Sleeping Dantian

Standing in Tiger Stance is the main standing exercise in Guo Weihan's

system• Standing in Tiger Stance (Zhan Hu Bu;

Tiger Step is another name for Bow Step) and Walking with Chicken Leg (Zou Ji Tui) are also very important practice methods of the style - standing in Tiger Step emphasizes correct aligniment of the body so that nose, front knee and front foot are on one vertical line (for this reason Tiger Step is also called San Qi Bu - Three-in-one-Line Step); walking with Chicken Leg teaches how to move and change direction fast.

• After that one learns Five Elements Fists (Wu Xing Quan) - Chopping (Pi), Crushing (Beng), Drilling (Zuan), Cannon (Pao) and Horizontal (Heng) Fists and

Walking with Chicken Leg develops agile footwork (below)

• Twelve (Animal) Shapes (Shi Er Xing): Dragon (Long), Tiger (Hu), Monkey (Hou), Horse (Ma), Bear (Xiong), Eagle (Ying), Sparrow Hawk (Yao), Swallow (Yan), Tai Bird (Tai) which is probably another name for magpie, Tuo (Tuo) a kind of insect able to glide on the surface of the water, Chicken (Ji) and Snake (She)

During my stay in Guo Weihan's village I learnt that one of the last Dai clan members from the branch that practiced Xinyiquan lives there. I was amazed to see Dai Guilan, daughter of the late Dai Hongxun (who along with Dai Kui was one of the last Dai clan members actively teaching the art) who is 83 this year, jumped down from the kang (heatable brick bed) to greet me.

Below: rare photo of Dai Hongxun, who together with Dai Kui spread the art of Dai Family Xinyi outside Dai

clan.

Her fitness struck me and I wondered whether she still practiced the art (and was the only Dai clan member to carry it). She denied saying she used to see her father teach so she knew a bit about it but never learnt it herself.

Below: Dai Guilan, Dai Hongxun's daughter, in spite of her age is still very healthy and fit. Even if she practiced her family art the high

walls around her house would make it impossible for outsiders to know it...

Unfortunately the original photo was damaged when we tried to take it

from behind the glass which protected it Other people from the village said she had

never been seen practicing, and although she was often invited to watch local martial arts competition she never performed.

During the conversation I had with her she mentioned that her father taught Twelve (Animal) Shapes, although the lineage of Dai Kui, much more popular nowadays, mentions only Ten Big Shapes. It is possible that Dai Hongxun merged some of Small Shapes (Dai Kui's lineage has Seven Small Shapes) with Big Shapes in this way creating the set of twelve. In any case it is difficult to put the final word on who actually increased the number of Shapes into twelve.

Hence Cao Jizhi's claim that it was done by Guo Weihan can't be taken for granted.

Guo Weihan's system also contains other methods:

• Seven Cannons (Qi Pao): Heaven Opening Cannon (Tong Tian Pao) strikes upwards, Ground Digging Cannon (Wa Di Pao) strikes downwards, Whip-holding Cannon (Zhua Bian Pao) leftwards, Crossing-Out-with-a-Whip Cannon (Mo Bian Pao) rightwards, Ground Brushing Cannon (Ca Di Pao) strikes centrally, Head Cutting Cannon (Zhan Shou Pao) strikes through the back, Linked Cannons (Lian Zhu Pao) is a series of strikes.

• Shoulder Methods (Bang Fa)• Three Fists Three Sticks (San Quan San Gun) - Three Fists (three hand techniques, San Quan) are: Drilling (Zuan), Wrapping

(Guo) and Scissors (Jian); Three Sticks (three stick techniques, San Gun) are: Pounding (Pao), Carrying (striking upwards, Peng) and Through-the-Back (Fan Bei).

Pi Quan (Splitting Fist) of Guo Weihan's system (Guo WeihanLü HaigenGuo HeFan Jiayuan lineage) perfomed by Mr. Lϋ Hui, Fan Jiayuan's student:

3 2 1

Empty hands routines practiced within Guo Weihan's style are:

• Si Ba (Four Seizes) - Guo Weihan added two movements to the routine that originally had only four movements, so it is also called General Formula of Six

Gates (Liu Men Zong Jue); • Five Sets of Breaking Postures Hammers (Wu Tang Za Shi Chui)

• Twelve Linked Hammers (Shi Er Lian Chui) - the importance of this routine in Guo Weihan's system was very much emphasized by my interlocutors and it is

considered the trademark of the system; single movements (like "Leopard Climbs Tree" and "Sun Behind Clouds") are practiced first on both sides, and only then

they are linked into one routine. • Kicking Mastering Linked Fists (Jing Tui Lianhuan Quan) is a set almost lost

which emphasizes low kicks.

There are over twenty weapon routines in Guo Weihan's style. They can be generally divided into single routines (practiced by one person) and matched routines (by two and

more practitioners). These are all short routines which are performed for less than a minute.

The weapons are:

• Broadsword (Dao) - the routines are Six Combinations Broadsword (Liu He Dao), Dragon's Tail Broadsword (Long Wei Dao), Thirteen Broadswords (Shi San Dao)

• Stick (Gun) - a short stick, also called Thirteen Seizes Stick (Shi San Ba Gun); the main routine is Six Combinations Stick (Liu He Gun)

• Steel Chopsticks (Tie Kuaizi) • Emei Daggers (Emei Ci) - unlike in Dai style, in Guo's style the routine is

practiced with one weapon only (in Dai style - with a pair of weapons) • Sword (Jian) - the routine is Twelve Shapes Sword (Shi Er Xing Xiang Jian)

• Tiger-head Hook (Hu Tou Gou)

• Eyebrow-level Stick (Qi Mei Gun), Three-sectional Whip (San Jie Bian), Two-

sectional Staff (Shaozi Gun), Spear (Qiang) are weapons used in matched (two persons, weapon vs weapon or empty hands vs weapon) routines

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The way techniques are practiced differs depending on the season of the year:

• In Spring - Agile Power (Ling Jin) - in a light, fast fashion • In Summer - Soft Power (Rou Jin) - slowly, like Taijiquan • In Fall - Light Power (Qing Jin) - in a light, slow fashion • In Winter - Hard Power (Gang Jin) - to exercise tendons, bones and skin

All these powers put certain requirements on the practitioners.

Hard Power (Gang Jin) requiries Hard Skill (Ying Gong). To develop Hard Skill Xinyiquan practitioners of Guo Weihan lineage practice standing upside down on their hands. Those who already have some skill use only three fingers of each hand to support the body. In more advanced version of this exercise one has to walk on hands while upside down - this is called "Scorpio Covers Its Tail" (Xiezi Yan Wei). It is said the Guo He when 70 was able to walk like this over a distance of 700 meters. This skill however has to be learnt at young age, before one gets married (Tong Zi Gong)

Light Power (Qing Jin) requiries very good flexibility of the body, especially legs and waist. It is said that "one is like a blind demon if one

Mr. Lü Hui, 58, can still touch foot with his chin. Flexibility is very important part of Guo Weihan's Xinyi basic training

practices martial arts without stretching". Those who wanted to learn Guo Weihan's Xinyiquan had first to acquire basic skills and good flexibility was indispensary. Young kids would start from jumping and stretching for the first years of their martial arts study. It also gave their teacher an opportunity to see whether the student really deserves to learn the advanced art of Xinyiquan. Only once he decided they qualified for further study they would learn Zhan Dantian (Squatting Monkey).

Mr. Lü Hui started his practice at the age of 11/12 from basic exercises, including stretching, jumping, general conditioning. At the age of 40 he was still able to touch his chest with the tips of his toes - even today, at the age of 58 he can still touch his chin (Pic. on the right). He can still stand upside down supporting himself with three fingers of each hand as well as perform "Scorpio Covers Its Tail" over a distance of several meters. His gongfu brothers also said that he was able to jump with a somersault over three big (one meter in diameter) water vats.

The table below compares three styles - Dai Family Xinyiquan, Guo Weihan's Xinyiquan and Xingyiquan. It is obvious that Guo Weihan's system is more closely related to Dai Family Xinyi than to Xingyiquan. Its main differences with Xingyiquan are in the way the body is used - it is trained through Squatting Monkey, not San Ti, hence Shu-Zhan (Contracting-Opening) are its main features. At the same time it is Bow Stance based - a stance which allows for more complete turn of Dantian than San Ti and full use of rear leg's pushing power (Deng Jin), which is considered a key element required in issuing power in all Xinyi and Xingyi systems. On the other hand Guo's Xinyiquan includes routines which share same names as those of Xingyi system. The basic material of the system is very similar as well - Five Elements and Twelve (Animal) Shapes. However it has to be pointed out that not only Five Elements fists but also the Animals in both styles are performed differently. Another thing is that there are differences within Guo's system. While Pi Quan (as the drawings and photos above show) is very similar, the Animals are not exactly the same - Jia Dajun's system includes Crane (He) and Cat (Mao), while Fan Jiayuan's (coming from Guo through Lü Haigen and Guo He) has Tuo insect and Bear (Xiong) instead.

A brief comparison of Guo Weihan's system, Dai Family Xinyiquan and Xingyiquan:

Dai Family Xinyiquan Guo Weihan's system Xingyiquan

Basic Internal Methods:Squatting Monkey (in

movement)

Zhan Dantian (in movement), Standing in Tiger Stance (still), Six Harmonies Posture (still)

San Ti Standing (still)

Basic Body Method Contracting and Opening Contracting and Opening

Qi-Zuan-Luo-Fan

Rising-Drilling-Descending-Overturning

Basic Stance Bow Stance (front weighted) Bow Stance (front weighted)San Ti (usually back-weighted

with weight distribution of 3-7, 4-6 or 5-5)

Basic Techniques Five Elements Five Elements Five Elements

(Animal) Shapes

Ten Big Shapes + Seven Small Shapes (Dai Kui)

Twelve Shapes (Dai Hongxun)

Twelve Shapes Twelve Shapes

Main Single Routines Si Ba (Four Seizes), Four Four Seizes (Si Ba), Five Advancing and Retreating Five

Routines of Za Shi Chui (Breaking Postures Fists),

Routines of Breaking Postures Fists (Za Shi Chui), Twelve

Linked Fists (Shi Er Lian Chui), Excellent Kicks Linked Fists

(Jing Tui Lianhuan Quan)

Elements Linked Fists (Jin Tui Wuxing Lianhuan Quan), Mixed

Form Strikes (Za Shi Chui)

Main Weapons Short Stick Short Stick Spear

As it appears one would hardly call Guo Weihan's system a missing link between Dai Family Xinyi and Xingyiquan. Not only because of general technical characteristics, but also because of uncertain transmission (as indicated in the beginning of this article). However during the conversation with Guo Weihan's Xinyiquan practitioners another interesting information came out. I was told that that Guo Weihan also practiced Tongbeiquan of He Family, style which was also referred to as "Ape" (Yuanhou) Tongbeiquan. This fact was not only mentioned by the practitioners of Guo Weihan's style, but also other people I met in his home village. It is quite interesting that the latter did not seem to be aware of the fact that Guo also practiced Xinyiquan.

It is possible that the secret of transformation from Dai Family Xinyiquan into Li Laoneng's Xingyiquan was through He Family Tongbeiquan. Detailed analysis of Xingyiquan movements and powers not only shows many similarities with its "mother art" of Dai Family Xinyiquan, but also between Xingyiquan and northern long fist styles like Tongbeiquan. On the other hand we do not really know how Dai Family Xinyiquan looked like in the days of Li Laoneng...

On the other hand the book "Famous People and Famous Styles of Shanxi Wushu" compiled by Zhang Xigui and Guan Bin mentions Li Gong of Pingyao in Shanxi Province who excelled in Tongbeiquan. In 1920 Li Gong passed the art to Guo He of Qi County. As we already know Guo He was also a Xinyiquan student of Lü Haigen. This would suggest that the combination of Xinyi and Tongbei took place decades after Guo Weihan. This is another question that remains unanswered...

The main idea for this article was to introduce Guo Weihan's style for the question who Li Laoneng's teacher was and why Xingyiquan differs so much from Dai Family Xinyi requires more thorough research on the history of both styles and martial arts in general as well as comparative studies of theory, training methods and techniques of the styles. While attempting to explain the relation between Shanxi Xinyi (Guo Weihan's and of Dai clan) and Xingyiquan new questions were raised. I sincerely hope the information in this article will help other researchers to find answers to these questions.

In August 2001 I visited Shanxi again to watch International Xingyiquan Competition in Pingyao. It was there where I was given a thin brochure written by one of Guo Weihan's Xinyi practitioners. The brochure introduced history, development and technical contents of the style. However brief look at the contents of the brochure makes the reader realize that at least a part of the material presented there has simply been made out and is not reliable. It is not a pleasant feeling to witness an attempt to create history, but such materials are common traps that everybody who digs in the history of martial arts in China often comes against.

Ode to Che Style Xingyiquan

by Che Xiangqian

Translated from Chinese by Jarek Szymanski, © J.Szymanski 1999-2002, photos: J.Szymanski and courtesy of Mr. Bu Bingquan

Prof.Che Xiangqian explains details of Che style Xingyiquan

Prof. Che Xiangqian was the first president of Taigu Che Yizhai Xingyiquan Society (currently acts as its honorary president) and for many years acted as president of Shanxi Province Taigu County Martial Arts Association. Che started his Xingyiquan studies under Che Caizao (Bu Xuekuan's disciple) in 1950. In his articles Prof.Che actively promotes development of traditional art of Xingyiquan. He has greatly contributed to demystifying of Xingyiquan, explaining the principles, practice and applications of the art in simple and easy to understand manner.

ODE TO CHE STYLE XINGYIQUAN

Che Style Xingyiquan with Che Yonghong as its main representative, is a crystallization of collective wisdom and experience of Che Yonghong and vast numbers of his disciples with Li Fuzhen and Bu Xuekuan as key figures; it is a branch of Xingyiquan that was formed through practice as a summary of rich and varied experience of its practitioners, with Li Luoneng’s Xingyiquan as the base and by assimilating strong points of other styles; this combination of health preserving exercise and fighting art created by master Che, master Li and master Bu can be used as a criterion for judging real value of any martial art.

I have studied and practiced Che Style Xingyiquan for 49 years, and am very fortunate to express its unique style in a poetic form of this ode!

1. Historical Personages

Che Style Xingyi became famous because of Che Yonghong from Taigu; While Li Fuzhen and Bu Xuekuan were excellent succesors respecting the teacher and the art;

Explanation:

Che Yonghong (1833-1914), also called Che Yizhai or Second Master Che (Che Er Shifu) was born in Taigu in Shanxi Province. Coming from a poor family he first worked as a carter. In 1848 started his martial arts studies of Shaolin boxing under Wu Hongpu and Wang Changdong. In 1856 Che was accepted by Li Laoneng as a student and learnt Xingyiquan. Che was a very good fighter, especially skilfull at hitting with fourteen parts of body (Shi'er Chu Dafa). He changed and reformed Xingyiquan to form his own branch, famous for narrow stances and refined power - Che style Xingyi. After becoming a proficient master, Che worked as a guard of rich mansions in Taigu for over thirty years, everyday practicing free fighting with his disciple, Li Fuzhen. Most of those, who went to challenge Che, were defeated by Li Fuzhen. In 1988 Che went to Tianjin where he crossed swords with a japanese master and defeated him. His most famous disciples were Li Fuzhen, Bu Xuekuan, Lü Xuelong, Fan Yongqing, etc.

Che Yonghong (1833-1914)

Li Fuzhen ( 1855-1930), also called Changyou Master (Changyou Shifu), started to study Xingyiquan under Che Yonghong at the age of thirteen. Later Li Fuzhen worked for many local banks as a guard.

Li was very famous for his fighting skills, always defeating challengers. However once he was kicked by a martial artist, Wei Changyi (Chuojiao Fanzi Quan expert from Hebei province), and, surprised by Wei's skill, asked him for teaching. Later Li changed what he learnt from Wei into Xingyi's Eighteen Kicks (Shi'ba Tui), also called Mandarin Duck Kicks (Yuanyangjiao).

Li Fuzhen (1855-1930)

Bu Xuekuan (1876-1971) started Xingyiquan study at the age of sixteen under Che Yonghong. He also learnt Yuanyang Jiao (Mandarin Duck Kicks) together with Li Fuzhen and Taijiquan and Baguazhang from Sun Lutang.

Bu Xuekuan (1876-1971)

Bu compiled set of health preserving exercises "Marrow Washing Classic" (Xisuijing), Xingyi practice with partner (Xingyi Duilian), Linked Hands (Lianhuanshou) and famous technique he became famous for, "Lion Swallows Hand" (Shizi Tun Shou). In 1913 Bu started to accept students, of whom the most famous were Sun Deyi, Zhang Yongyi, Yan Yuewu, Wu Chaoxiang (who took Xingyi to Brasil) and Li Ying'ang (who taught in Guatemala). Bu Xuekuan became president of Taigu Sports Association in 1918 and martial arts coach at Taigu Mingxian School (the school was established in Taigu by Americans) in 1932.

Later Bu was also director of Taigu County Guoshuguan (Martial Arts Academy). After liberation (1949) Bu Xuekuan was actively promoting Xingyiquan in Shanxi Province as well as taking part in political life. Bu died at the age of 96. His youngest son, Bingquan, was born when Bu was 70.

2. Aim of Learning Martial Art

One is health preserving, second is self-defense, spare time hobby; Learn the rules of the school, practice routines, but it only counts when you know “Si Pa”;

Explanation:

Che Yonghong's inheritors practice Xingyiquan not for fame or personal benefit, but for good health, fighting skills and out of interest. One learns the rules of the school before learning martial art, and the core rules are "good health, self-defense, loyalty (to friends, gongfu brothers, etc)". However, the main goal one should pursue is fighting skill, which in Taigu dialect is called "Si Pa".

3. Cultural Features

The principles of the martial art should be understood, the method should be correct, simple and practical, wins by clever moves; It has living examples, is easy to practise, the harmony between Form and Intention can be examined;

Explanation:

Bu Xuekuan in "Picking Flowers Posture" (Cai Hua Shi)

One can only practice martial art well if the principles are clear; knowing movements, routines, applications is not enough. Since martial art is a practical science, it has many examples showing its methods and principles. The requirements in Che style regarding movements, postures, coordination, rhythm, breathing, use of Intention (Yi) have specific expressions in Che style routines. The harmony between Form (Xing) and Intention (Yi) means relation between external movements and internal intention, e.g. the idea kept in mind while performing the movements. These two should be united. Old saying says"Once he stretches his arm, it is clear if he has it or not", which means once a martial arts practitioner makes a move, it can be seen whether his Form and Intention are united or not.

4. Important Points on Practice

Hardening exercises are forbidden, do not practice too much of still methods, Qi and Strength should combine so that Internal and External are connected; Do not practice until exhaustion but be persistent with it; the skill should grow but good health be preserved, so balance your practice with Tuna (breathing) exercises.

Explanation:

Hardening exercises like hitting sand bags (Da Shadai), lifting weights (Ju Shisuo), hitting wooden targets (Zhuang Mutou), Iron Sand Hand practice (Tie Sha Zhang) are forbidden in Che style Xingyiquan. Still methods like sitting meditation (Jing Zuo), standing practice (Zhan Zhuang) should be practiced but not for extended periods of time. For example Santi standing should be done for 5 to 10 minutes, while Qigong practice (sitting/lying) up to 40 minutes a time. This differs Che style from Hebei Xingyi branches, which stress importance of Santi standing over long periods of time. One of the meanings of combination between Qi and Li is coordination between breath and power, which is related to certain body structure. Only then Internal (breath) and external (movements) can be in harmony (connected). Che style Xingyiquan stresses "Internal and External are unblocked and balanced by breathing exercises"; one should neither practice to exhaustion (because it will only lead to bad quality of movements and wrong habits as a result) nor practice when tired. It is better to practice more often for shorter periods of time. Although very hard training can improve one's skill, but it is very easy to overstrain and hurt oneself. Best skill is good for nothing if you are not healthy.

5. Practice of Routines

Traditional boxing, self-defense art, art of defeating enemy with three pieces; Broadsword and sword are short weapons, spear and stick are long ones, reach the position in two steps, do not confront hard with hardness;

Explanation:

As already many times stressed, martial art should first of all be the art of self defence and fighting ability is the key skill. In Che style Xingyiquan routines can be divided into three categories: traditional ones, for self-defense and for actual fighting (most advanced). In the last category many kicks are added to hand movements, so often one would use both hands and a kick at the same time - this is called "striking enemy with three pieces" (San Jian Da Ren). This is also one of Che style features. While using weapons, one should with first step neutralize or break opponent's attack, and strike with the second step - this is called "reaching position with two steps". The weapons routines that express this feature are "Liu Qiang Dianzi" (spear) and "Bagua Dao" (broadsword).

6. Fighting Strategy

Iron triangle, linked hands, whole body is fist, step with Tiger Step; Body is like a wind, fists like water, "mobile war" where you neither go against opponent's power nor loose contact with him;

Explanation:

Santi Shi (Three Bodies Posture) is the most basic body posture in Xingyiquan and main combat position. In Che style it is divided into static Santi Shi, which is, generally speaking,

Bu Xuekuan's son, Bu Bingquan, in Che style San Ti Stance

the same for all Xingyi branches, and dynamic Santi Shi, characteristic only to Che style. This dynamic Santi Shi is called "iron triangle". In fighting movements of both hands should be well co-ordinated, as if both hands were linked. Tiger Step (Hu Bu) is a footwork composed of three steps: Ce Bu (Surveying Step) done with front foot; Shang Bu (Step Forward) with rear leg forward; Gen Bu (Following Step) with rear leg. This footwork is very usefull in fighting - Ce Bu "roots" body, and next two steps immediately follow to reach the opponent. This is different from Hebei Xingyi where emphasis is put on Ji Bu (Chicken Step) - front leg is "rooted" when rear leg moves and stops at the inside of front leg's ankle. Che style requires the body to move like a wind, be in a constant movement (in Hebei style body is required to be "firm like Mountain Tai"), hit the opponent in movement; fists (e.g. shoulders, elbows, forearms, hands, hips, knees, shanks, feet) should strike like water filling all gaps (e.g. parts of opponent's body that are not protected); fighting should be based on guerilla tactics, always in movement, sticking to the opponent, never using power directly against his power;

7. Postures and Movements

Waist is the axle, steps are roots, combined in eight directions, rhythm is clear; body posture is low, stances large, keep the Middle, stand single weighted, be like a "top";

Explanation:

The power should be rooted in steps and directed by the waist; eight directions - front and rear ( e.g. front and rear hand or foot), left and right (e.g. left and right arm or leg), up and down (up are shoulders, elbows, hands; down are hips, knees, feet), opponent and I (two adversaries) - should be combined, in harmony (in case of "opponent and I" - one's movements should be chosen according to opponent's movements, not preconceived). Rhythm of movements should be clear, fast and slow separated. Both practice and fighting should have distinct rhythm: in practice Che style demands "practicing movement after movement", correctly; fighting also requires certain composition, one should not move in a disorderly fashion. In practice one should use low and large body postures to build up strength.

One of main streets in Taigu, center of Shanxi Province Xingyiquan Keeping the Middle (Shou Zhong) has two meanings: first is

that in all movements one should hollow the chest and straighten the back, hands should be kept close to heart (chest) and elbows close to ribs; here "keeping the middle " actually means "guarding the center"; the second meaning is applied to fighting - one should stand in the middle and the opponent should move around him - in Taigu this is called "standing in the middle of the millstone".

Keeping the Middle does not mean focusing on dantian. Body is single weighted when most of the body weight rests on one leg only - the weight distribution can be 4:6, 3:7, 2:8, 1:9, but when body weight is equally distributed on both legs, then it is considered double weighted; similar situation is with hands, which are also divided into "solid" one and "empty" one - are single weighted. Top is a popular toy, that can be rotated either by twisting it with fingers or using a whip.

Top, in Taigu called "Nian Ba'er" was often used by Che Yizhai to explain Xingyiquan principles.

8. Power and Fighting Methods

Power should be soft and elastic, strength explosive, line of softness and point of hardness, circle connected with straight line; know obvious and hidden, be able to change and link, do not be in a rush or panic when you break opponent's defense or defend yourself and attack.

Explanation:

The power developed during practice and used in fighting should be soft and relaxed, elastic, neither stiff nor completely loose. Only then in fighting one can strike with explosive strength. Soft power moves in lines, both straight and round, like a circle and its chord - this is called "circle connected with straight line". Hard power is used in explosive manner for a very short time, that's why it is called "point of hardness". "Line of softness and point of hardness, needle hidden in cotton, circles and straight lines mutually transforming, like wind or water" - these metaphors describe well Che style Xingyiquan. Obvious (Ming) and hidden (An) mean obvious and hidden applications of certain techniques. Typical example of hidden technique is strike to a temple in Pao Quan (Cannon Fist). One of most important skills in fighting is ability to change according to opponent's reaction, only then one will be able to control situation and not be in a rush or panic dealing with the opponent.

9. Battle Formation and Using Soldiers

Protect yourself, take a favorable position, it is closer and faster when "soldier" goes only half way; avoid "muzzle of the rifle", use straight to attack slant, use entire to strike dispersed, strong beats weak;

Explanation:

During fighting one must first of all protect oneself, then using agile footwork take a favourable position, usually on opponent's side. Striking with fist, elbow, other part of the

Old Xingyiquan experts from Taigu practice applications

body (here called "soldier") will be faster if one stands near the opponent in a position in which one's "soldier" has shorter distance to reach target than opponent's "soldier". One should always avoid the main power of the opponent's attack, the "edge of weapon". "Use straight to attack slant" means one's frontal attack at the opponent' side; "use entire to strike dispersed" means using one's whole body power against part of opponent's body. "Strong beats weak" means striking hard against opponent's weak and vital part, e.g. using fist against opponent's pit of stomach or kicking his groin.

10. Battle Essentials

When you attack, he will protect himself; when you give, he will take, linked attack should be based on a plan; the opponent attacks to the West, you should strike to the East, "besiege Wei to rescue Zhao", highly value initiative;

Explanation:

While fighting one should make some fake movements to cause certain reaction of the opponent; for example, a strike to the head will force the opponent to protect his head; on the other hand, if one's hands are kept down, then the opponent will probably try to attack one's head, e.g. not protected part of the body. This is the meaning of "when you attack he will protect himself; when you give he will take". One can plot a plan to defeat the opponent using these principles that should be followed by strikes in a linked way. One's attacks should always be responses to opponent's movements. However, opponent's movements shall be reactions to one's movements, that's why initiative is so important and crucial. "Besiege Wei to rescue Zhao" is an idiom based on facts from Chinese history. "Chronicles of the Historians - Biographies of Sunzi and Wu Qi" (Shi Ji - Sunzi Wu Qi Liezhuan) note that during the period of Warring States (475-221 B.C.) Wei soldiers besieged Handan, the capital of Zhao State. Zhao unable to protect itself asked Qi State for help. Qi generals, Tian Ji and Sun Bin, knowing that Wei main forces are outside the country and Wei State is not protected, attacked and destroyed Wei's capital, Daliang. Wei army immediately went back after having learnt about it. However, they were stopped at Guiling and defeated by Qi forces. Today this idiom indicates military strategy based on raiding enemy's back in order to force the enemy to withdraw its main attack. This emphasizes the importance of initiative in fighting.

11. Actual Combat Circumstances

Within one second, on a distance of one inch, the most important is to be accurate when you attack quickly in a linked manner; do not be afraid to loose, you will not be defeated, it is a comprehensive competition of virtue, wisdom, physique and technique;

Explanation:

In real combat the strikes should be issued within very short time and on a very short distance. However, fastest and shortest strike will not be effective unless it accurately reaches its target. Once it fails, then it should be followed by another movement in a linked, smooth way. One should also be mentally prepared for fighting, not be afraid of defeat but rather have the spirit of a winner. Martial Arts competitions are divided into two categories: routine and free fighting. In both of them Virtue (De), in martial arts called Warrior's Virtue (Wu De), is very important. The Virtue of judges is expressed in a fair and unbiased way they give points; competitors show their Virtue by following the rules. Competition is not the place for death and life fight but rather for making friends in martial arts community. When two highly skilled martial artists meet, their strikes are not destroying but rather pointing at a certain part of opponent's body and this is enough for the opponent to recognize own defeat. When Che Yizhai and Guo Yunshen met, Che did not hit Guo, Guo did not hit Che either, but the result of the fight was recognized by both of them.

12. Direction of the Path

Noble warrior's virtue, strong skill in martial art, seek truth from facts, make many friends among martial artists; stress science, love people, there will be spring of ten thousand years in the forest of Chinese martial arts;

Explanation:

This is the last part of the "Ode". Martial skill has no value without Warrior's Virtue (Wu De), that's why Virtue should precede the skill. The truth about martial arts should not be sought in novels and anecdotes, but in facts. Only through scientific research, without superstition, by making friends and exchanging knowledge of Martial Arts with generosity, Chinese Martial Arts will flourish and develop further.

End of "The Ode to Che Style Xingyiquan"; © J.Szymanski 1999; © J.Szymanski 1999-2002