canonical texts of shaolin monastery

CANONICAL TEXTS OF SHAOLIN MONASTERY

(from http://www.kungfulibrary.com)

Ten Precepts of Shaolin Fighters

Combat Arts Precepts of the Shaolin Monastery have come down from generation

to generation. Not far from the Main Gate, there was a bronze plate with basic

combat precepts written on it.

1. First of all, it is necessary that the body would be agile, quick and energetic. For

instance, if you take a step, your hand should make a correspondent swift movement;

movements of all parts of the body must be coordinated. When you have to strike, try not

to look even at the shadow of your hand, i.e. do not attract your attention to the fist. You

must improve your skill all the time, only in this case you will be able to reach staggering

results.

2. The second precept: motion and rest of two arms and two feet must be in coordination and in supplement of each other.

Motion of the heart that controls the distribution of "chi" energy is born in the region of

cinnabar "dantian" field (approximately 3 to 5 cm below the navel). The activity of the

"chi" energy enforces the body to carry heroic struggle and to be valiant like a tiger or a

dragon. If force and energy are melted into a single whole in the body, it is demonstrated by the ability to exert astonishing sounds.

3. The third precept of combat arts is as follows:

During a fight all the five elements should represent a unique fusion. In order to

understand the interaction of the five elements of nature, one should observe Nature and

the arrangement of the Universe around us. If you perceive laws of the birth and the

surmounting of the five elements, you will understand the nicety of combat arts. Each of

the five elements originates with the single "chi" energy. This energy is the base of the

force which makes the body to act. If you understand their mutual transformation, you

could move things weighing thousand of jins (one jin is equal to about 600 g) with one

motion of your hand or foot. This precept also demands that blood and "chi" should be in

harmony with each other. If the blood and "chi" are in harmony and good health, the man

enjoys iron health and strength.

4. The fourth rule you must know demands the knowledge the eight-point theory of "ba

tiao". For instance, you move up and down, retreat, but your retreat appears to be an

advance. If you follow this law, your eight successes will become more impressive. Owing

to it your movements up will be energetic and your movements down will be pliable and

soft, and all the movements will be coordinated.

You must be prepared to meet an enemy who appears, disappears and appears again. Your

enemy can be as dangerous as a tiger released from its cage. However, if you are able in

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an instant to turn about to defend yourself from the front and from the rear, you would

look like a divine protector of combat arms who is always protected from all the sides. You

should be able to turn very quickly to face an enemy's attack from the left and from the

right. If you retreat, you should decoy your enemy into a trap. During an attack fury will be

helpful for you. In that case you will look like infuriated tigers and snow leopards. A small birdie which takes its chance can fly over a high mountain.

5. The fifth precept one should know about combat arts is: your gait must be as stout as

that one of gods. It is better to make five more steps than to make a mistake by one qun

(one qun is equal to 3.2 cm approximately). There are different types of movements during

a fight. Measured steps (qun bu) should be separated from each other by not more than

three chis (one chi is equal to 0.32 m). In a struggle your life is at stake all the time,

that's why you should step carefully and measurably. Steady steps should be separated

from each other by five chis, and a too big step is equal to two gongs (in the ancient

times one gong was equal to five chis). A quick step (kuai bu) is equal to one zhan (one

zhan is equal to 10 chis). As a matter of fact, it is a horizontal leap that is made with

energetic force of thighs and feet (i.e. by the whole leg). A spilling step (zhan bu) is a

great upward leap to be made, if you are rounded up and you have to break out of encirclement.

6. The six rule is the knowledge of arm and leg work during a fight. The special point with

Shaolin combat arts is fist work. The pugilistic methods are such that each punch must

pierce the enemy and cut him into pieces. The arm should bend without bending and

unbend without unbending so that the enemy could not follow your movements and could

never get sight of your punch. Your arms should separate your thorax with a speed of a

lightning. Activity and training of sinews determine the force of arms. The punch must be a

surprise, so the enemy could not avoid it. The arm must make an accurate cut, obediently

flying up and readily, if necessary, going down. Notwithstanding how your body is twisted

and your hands are bound by the enemy, there is always a chance to free yourself, like a

swallow has always a chance to find water springs. If in a close combat one of the hand is

pinned down or both hands are neutralized, you can punch with a stone elbow. Your punch

can be directed into the enemy's pudenda from below. Leg movements are more

mysterious. There are seven leg works: "qi" - uprising, "fan" - overturning, "lo" -

tumbling, "zhin" - advance, "ti" - kick, "qai" - kick, "zhuan" - kick. All the five natural

elements unite into one "chi", feet act in unison striking from the front and from the rear,

so it is impossible to approach you. Step by step and no any sound is heard except sounds

of punches of infuriated soles touching the ground after strikes. The legs are like ferocious tigers or dragons in the sky.

7. The seventh rule demands simultaneous advance of arms and legs, because during

the fight they act together and depend on each other. If you furiously use only your arms,

the result may be only satisfactory; the reason is: when you advance, your feet, arms and

torso should act in complete agreement.

One should aim at achieving the following qualities: mind, body obedience, manhood,

speed and fury. During an actual fight those five qualities will bring you miraculous results.

Mental work - "gong" means that during a fight one must more depend on one's mind.

Body obedience - "shun" means that one must train his body for a long time to make it

natural one. Manliness -"yong" means that one should work out bold plans and boldly

realize them. Speed - "ji" implicates that during the execution of methods of hand-to-

hand fighting one must act fast like a lightning. Fury - "hen" is required only at the

moment of your attacks.

You should keep a vigilant watch over enemy's stances and positions and clearly

understand them. You must easily find his weak points. You should not rashly start fighting

and deliver blows.

8. The eighth precept one should know about combat arts is all-round defense, its

distinct manifestations and timely pursuit. If a man keeps in harmony those rule in his

actions, he will become invincible. The rule of cover - "ting" consist in the necessity of

permanent protection in the front, from the behind, from the left and from the right.

Besides, one must not forget that the enemy can strike from above and from below. The

rule of opening - "kai" consist in the necessity of opening your weak or strong points

depending on the situation on the left or on the right and in the necessity of delivering and

receiving blows with the support of sinew force. Both fist and palm must be formed during

a spurt.

The rule of distinct manifestation - "zhe" is used for the work of arms, body, head and

heart. At the moment of an action there should be a clear and efficient manifestation. If

you act, you must be as fierce as a tiger, and if you manifest a sentiment, it must be a

frightening fury. Your shout should frighten your enemy. You should be able to win without

a fight, only with your loud laughter. This rule consisting of few hieroglyphs is more

precious than gold. The rule of pursuit - "zhui" consists in the following. You should use

any opportunity to pursuit your enemy and should not give him a chance to collect himself.

As soon as steps become faster, you should use this opportunity to rush to the enemy. If at that moment you act like lightning and thunder, you can take anyone by surprise.

9. The ninth rule which one should know about combat arts is as follows. Three human

elements - eyes, ears and heart intelligence must be in harmony. You should have

attentive and active eyes and follow any enemy's manipulations all the time. You must

prick your ears to sense movements and rest. You should have keen ears to hear voices of

tigers and snow leopards from the eight sides of the Universe. The eyes look, the ears

listen and they transmit the received information to the heart. If the heart is bright and eyes are alert, you will not commit mistakes.

10. The tenth rule for those who practice in combat arts is as follows. Use your sinews,

because "shen", the ability to use spiritual sources, allows to achieve a great success.

Sinews are chiefs of bones. If sinews tremble, "chi" energy is wasted. Furthermore, sinews

are transmitters of information of three senses (vision, hearing and mind). If you are in possession of them, it is a great success.

Those are the Ten Basic Precepts of Combat Arts. To achieve them, one must

work a lot. The most valuable quality for mastery of combat arms is persistence.

One must persistently engage in pugilistic arms and weapon use. In winter frost

and snow are not hindrances to it. In summer one should train himself

notwithstanding hot weather, when you are running wet with sweat. Even if you

have a headache, you should train your body to make it firm and strong. Do not

stop, even for a moment, your persistent efforts to preserve your life and destiny.

One should remember that only the noble men of high morals may be taught the

true combat art. On no account a bad man who does not follow true "dao" (the

way) should be taught.

Requirements to a Shaolin Fighter

The requirements are expressed in a form of sayings:

1. To be as graceful as a cat

This rule says that in a fight one should make light, easy and graceful movements like the

cat does.

2. To be as aggressive as the tiger

The tiger personifies courage and aggressiveness. The meaning of this saying is that in the

face of your enemy you should overrun his courage. Advance harshly, retreat without any

confusion, estimate the real situation and than heavily punch with a sharp rush to the

enemy.

3. To step like a dragon

The dragon in China is a symbol of strength and power, so steps should be strong, powerful

and resolute. If steps are not resolute, something wrong will be with fists. A non-confident

step means a slipshod fist. Thus, steps must be strong and confident. The step follows the

movement of the body. When one step is over, the movement of the body is over, too.

4. To act like a lightning stroke

One must be quick as a lightning stroke and instantly response to any changes. Punch in the

fight should look like flash of lightning. You should punch so quickly as not to feel the

striking moment. If your punch went home, you should not feel it.

5. To shout like thunder

In the fight the most powerful strikes are delivered with a shout to help more powerful

"effort-jin" emission.

6. To move like a gust of wind

One must move vehemently like a violent gust of wind. If you started fighting with a frontal

attack, use your force on the left and on the right to follow the principle "The fist is visible,

the strike is invisible" and "If you do not see your hand striking the enemy, you will

never see this enemy."

7. To stay like a nail

One must stay on a foot like a driven nail.

8. To be as heavy as a mountain

One should maintain stances like a mountain that can not be moved off. One should train in

"mabu" ("rider") stance and "pole standing" stance. Those two exercises are the most

important methods to train strong feet and to regulate your breathing.

9. To be as light as goose down

However, at the same time you must move around quickly and lightly and instantly response

to enemy's actions like goose down moves with the lightest whiff of the wind.

10. To be soft as cotton wool

Before full exposure of rigidity and its realization at a striking moment one must rear

internal slackness and vivifying void.

11. As hard as iron

With the help of some methods of physical conditioning body, arms and legs of the fighter

must become as hard as iron and in the contact with the enemy affect him like metal

objects.

18 Wonderful Methods of Shaolin Monks

Wonderful Method of Shaolin Monks

1 Striking around in the whirling horse stance

When anybody uses the "whirling horse stance", he whirls his body around its axis and

hails blows around aiming at the enemy's heart, gives violent backhand strokes at the

face, executes captures. One hand is moving after another, both hands are striking to the

left and to the right. You can see the results of those blows. The fighter strikes with his

foot forward and backward, turns somersault, moves during the fight. The hands move in

the front, as if a ferocious tiger jumps after his pray.

2 Wonderful Method of Shaolin Monks

Method called "The iron buffalo ploughs the field"

The iron buffalo ploughs the field and fists fly around freely. Long rapid steps, the hand

catches the tiger's eye, and body turns like "whirling horse", and circular foot movement

"a blue dragon wags its tail" are immediately executed, and then a new turn around the

axis... You are jumping, squatting, laying on the ground, delivering blows, as if with a flail,

rushing down to the enemy like an avalanche, delivering heavy punches and striking the

tiger's eye.


Method called "Moving at night, hit the enemy"

You turn and punch, your hand strikes the enemy's palm. You make a step, catch the

enemy, throw and mutilate him. If, when catching the enemy, your hands interlace with

his hands, you have to punch the elbow from below ("the lightning of the iron door

flashes"), in order to punch the head, use your knees and shoulders. Just as a huge bird

Peng spreads its wings, you turn around and "catch the moon with both hands". You

strike at the heart, then ring the enemy round with both hands and after it you use method "the blue dragon wags its tail" and "the carp fish makes somersaults".


Method called "The golden pheasant stands in solitude"

"The golden pheasant stands in solitude" and works with a hand in the center. "He

presses the moon to his breast", lowers the face and makes a kick, then turns the

whole body around and makes a step; the fighter steps down the hall, squats and punches

the enemy's face. With high jumps to the right and to the left the legs work, vehemently

kicking crushing strokes. If the enemy tries to strike back, you catch his feet with both

hands. You have to take all-round defense by striking back. If you can, you punch like your

great ancestors did. Strike forward, rush backward, create insurmountable slashing and obstructions to the enemy.


The method called "Make a turn to tie a tiger"

You make steps, rock yourself to the left and to the right and sink for some time lower.

This method is executed at a low stance, you squat on the left or the right foot like a tiger

climbing a mountain. You strike around, make a step and turn to the right. The enemy

looses his heart and tries to escape. You feel absolutely safe.


The method called "Wonderful metamorphosis of the rider"

You make steps with your legs wide apart, as if you sit on a horseback and resort to

metamorphosis. Deliver a heavy blow at the ribs and hasten to defend yourself, with

completely natural movements you "come to the common spring". You punch at the

enemy's arm catch from the front, make wave backward and "burst into Yuzhou." Move

your foot, your hand comes back to its initial position. You whirl your body to evade a

blow. You take all-round defense and your ear-rings look like a coiled pythons ready to jump. A punch, as quick as a lightning, is called "tie up a packet".


"To sit on a horseback and to raise a cauldron" You attack your enemy, punch him with both hands and make him bend under your

charge. Move your body, work with hands, thrust at an enemy's knee. You firmly step,

your defense is insurmountable; you bump the enemy against your whole body. You face

all the sides and "enter the central gate"; thrust with your knees, strike at the face with

your palm and deal with your elbow and hands, mislead the enemy with deceptive

movements and "reach the sea bottom". You squat, work with your legs and chase the

running enemy. You make somersaults, go on advancing, step to the left and to the right

in a lower stance. You "cast a glance in the sky" and you are able to lift a thousand

jins (a measure of weight equal to 600 g appr.) with a jerk. You dodge blows, take false

steps, kick: "the two hammers punch, the feet follow them".


The method called "You hang your bow high on your back" You press hard the enemy, punch him and then give a strong kick into the enemy's

pudenda; on the left and on the right you use the method "the swallow picks its food".

Turn to the other side, make a step and put on a helmet. If you see that the enemy tries to

strike at your body, hasten to forestall him and strike first. Make your shattering blows

inside and outside, turn your whole body and kick around. Move and strike using the

method "the palm of the whirling horse". Clasp your hands and kick around. "Raise

your foot on a hill", deliver a blow, take a low stance and chase the enemy. Let your hands fly ahead to pave the way.


The method called "To kick just as with a sharp saw" You are kicking and circulating, both hands move above your head in a circles. You

circulate, turn to the left and to the right. You are moving steadily and without interruption

You step with your arms moving all the time, your blows "punch holes in the iron door".

You are making somersaults and are "picking up eggs under cart wheels"; bravely

meet any blows aimed at your face or probably at your back, then make a new turn and

work with your shoulders. Both hands are thumping, you are "chasing the moon on a cart". You make a step and come back to the initial position.


Method called "You sit on a horseback with a big sword" Strike with your hand, then protect yourself with your palm, make a step, raise your hand

and strike at the stomach. After it you intercept an enemy's blow, make a turn and swiftly

dash forward. With both hands coordinated you strike at an enemy's cheek. You are on

your guard and ready to deliver a blow in order to make the enemy drop his weapon. You

are making a false hand movement and a step at the same time: your hands are in

coordination with your elbow, you kick at the enemy's waist. Your kick is a cutting knife,

your art must be perfect. Then you execute the method called "the hawk tumbles in the

air" and fly forward. The movements of your arms and legs are coordinated and lead you to kick into the enemy's pudenda.


Method called "Give a horse the rein and work with a big sword" Punch with both hands simultaneously, crush and pierce through the enemy's defense with

various strikes with method "tie up a packet". Turn around your axis and strike with your

hand into the enemy's pudenda. Use the method "the golden pheasant stands in

solitude" and hit directly at the center. Made a side hook and take the stance "horse

sprint". Quickly draw yourself up, make a deceptive step and use the method "a magpie

takes wings". Parry a blow with your foot and strike back with your foot at the enemy's

bone. Squat, then strike in a jump with your two feet. After it you should take a steadfast

posture and punch.


The method called "Strike with a chisel and a hammer and repeal

attacks"

Strike with your hand at the brow, your palm goes down, make left and right clenches and

bound forward. One hand strikes after the other. Your arm makes a deceitful movement,

then you hit with your two elbows: "the yellow dragon somersaults in the air" and

make a clench. "The chief draws the bow" and hits with one hand. Then you remove

your shoulder, catch the enemy's hand and hit with your knee, jump forward, then swing

about and move backward, knocking the enemy to the ground with a hand blow. Quickly jump, raise your arm and deliver a blow called "the lock".


"At night you are ready to meet surprises and catch the moon in her

flight with your both hands"

When you execute this method, you rush to the enemy and catch his hand, at the same

time you deliver blows at his knee and ribs with your foot and palm. Then you make a

step, slightly squat and strike the enemy between his legs. You surround the enemy with

hand blows so that he becomes panic-stricken and runs away. All hundred blows have run home. Your arms fulfil all the space - the mystery of all-crushing arms.


Method called "When kicking, you defend your heart" You make six successive turns and then eight steps - forward, backward, to the left and to

the right. All your movements are natural and light. You make eight steps at squat, make a

somersault on the ground and rise on your feet. You are ready to defend yourself at any

time, the sward shines on your back. The horse kicks to the left and to the right, and

so your feet do; you are ready to rush. Bludgeons flash, you have swept off all obstructions and burst through them. You use all methods and chances to get the aim.


The method called "Punching with long fists" Indeed, the long fist punching is worth of praise. You perceive the great mystery and are

able to see the wonders: you turn and somersault, hit the enemy's pudenda with your feet,

break his defense, always ready to attack and do your best not to commit a mistake. "The

iron buffalo sinks to the sea bottom, you squeeze the top of Taishan mountain

with your golden talons". You squat and thumps with the dragon head into the solar plexus and the enemy is defeated.


Method called "The knocking down foot and the whipping palm" You use this method when you are in a low stance, punch with a fist and thump with a foot

with all the force of your body. You turn your body, break through the defense with your

fists, bravely rush to the enemy, but at the same time you are ready to defend yourself at

any moment. You make a turn and a deceptive step to avoid a blow, sharply hit the

stomach and break through the enemy's defense. You always have to protect the lower

part of your stomach and try to strike with your hands: "you pick up flowers on the left

and on the right, swallows peck food, birds and dragons let out their talons". You

make three turns around the axis of your body, you stay firmly in "the central hall" and

strike with your hands.


The method called "Twist with hands and strike with palms"

This position is used for defense. You strike at the arm-pits and simultaneously swart the

enemy's attack, then came back to the method "Squeeze the top of Taishan

mountain". Your whole body turns about and you make one more turn "to pick up hen

eggs from the ground". Those are the mysteries of "six turns and eight stops". You

advance and retreat to the left and to the right and combine somersaults with strikes. You

strike with your hands all around and dexterously manipulate with a sward behind your

back. "Military spies roam on the left and on the right" - those are your feet. That is a

defense of "the advancing dragon", and when the enemy turns about and is running

away, chase him, like a tiger after his pray. Strike with an elbow at the enemy's heart -

"the arrow pierces the back". A strike with the first hand must be immediately followed

by another strike with the second hand. You can push with your elbows from the left and from the right.


The method called "Catch with hands and strike" This method is used at a low stance. Both fists are crossed and a side kick is made.. Many

times you dodge blows and then you start a crushing attack called "the white tiger

washes his face", "there are four doors below and above". You make deceptive

movements with your hands and avoid "to knock at the central door". You should

defend yourself from below and above. You must remember that when striking from above,

you must protect your lower part and when striking from below, do not forget about the upper part.

72 Secret Arts of Monks from the Shaolin Monastery

The 72 Shaolin Secret Arts are methods of preparing the body and the mind for action

under extreme conditions (first of all, in conditions of real-life hand-to-hand combat).

If you train only hand-to-hand techniques and do not pay attention to special training,

you will never achieve the highest mastery and your movements will lack the real force.

"The fists are like flowers, and the legs like embroidery needles", laugh the old

masters at such "techniques". The 72 Arts of Shaolin are the foundation of the utmost

mastery in all styles of Kung Fu.

"Seventy-two precious arts are kept in a brocade bag, they are kept like a great

treasure. Eighteen of them are the essence of the famous treatises on pugilistic

arts. Eighteen other arts describe in detail training methods with the use of

special tools and training equipment. Wonderful methods of attaining the

flexibility of the breath-chi, exercises in obtaining hardness and lightness,

clenching methods are written with the blood of monks in books that are kept

like a treasure in the brocade bag. One can seldom meet those who really want

to do exercises with zeal: to become a real hero, one must often feel bitter taste

of hard labour."

Seventy-two types of the Shaolin Arts represent an example of personal experience

of monks from the Shaolin Monastery in the Songshan Mountains. This experience

was obtained by hard exercises in combat arts during many epochs. The best samples of

those seventy-two arts are such effective methods as qigong (chi kung), breathing

exercises chi, exercises to obtain hardness yinggong and lightness qinggong, acupoint

massage dienxue, clenching arts qinna (chin na), the art of setting dislocations and

bones and others.

In all practices of the Seventy-two Arts at first the basic theory is studied and only

then exercises are done. At first those who practice the arts train the softness of their

sinews and bones and try to make agile all their joints and articulations. Then they set

into motion the main breath zongli, strengthen the internal organs fu, improve blood

state, consolidate body strength, control the cinnabar field and concentrate energy in

it, overcome their desires and requirements. The strength spreads on the four

extremities and the hundred joints and articulations, now a fighter is in command of

unlimited power and he can move off one thousand jins. Your arm weighing only ten

jins can move a thing weighing ten thousand jins with a stroke. Your arms are a

head, your legs are a tail. Everything is permeated with a single movement, the body

moves like a dragon. Teachers said: "Shaolin exercises develop forces of the whole

human organism, all joints and bones; you are capable of striking with all parts

of your body." There is one more saying: "The fist is the source of all arts and the

leg is the base, the root of the fist." Ordinary practice of pugilism consists of seventy

percent of leg training and thirty percent of fist training. If you acquire pugilism, you can

use eighteen types of weapon. If you resort to all ruses of pugilism, you can fight against

ten thousand fighters.

72 types of Shaolin Arts

1 Mo zhang - the grinding palm

2 Feng zhang - the windy palm

3 Liuxin zhang - the rocket palm

4 Chuanso zhang - the shuttle palm

5 Tui shan zxang - the palm pushing a mountain

6 Pi chai zhang - the palm cutting wood

7 Chen zhuan zhang - the palm breaking bricks

8 Jin zhusa zhang - the palm with iron grasp

9 Jin gou shou - the iron hook-like arm

10 Wa yan shou - the hand tearing out eyes

11 Tanglang shou - the leg of an Mantodea

12 Bai she xin shou - the hand as accurate as a spittle of the white snake

13 Hei hou tiao shou - the black tiger jumps over a mountain

14 Heihu zhua lian shou - the claws of the black tiger grasping the face

15 She mao shou - the hand like a snake-shaped blade

16 Bai xin shou - the hand of eight wizards

17 Zhin cha zhi - the finger like a gold pin

18 Zhou zhi - the bamboo finger, the finger like a bamboo stick

19 Wu kua hongqian zhi - five fingers like red flower pistil

20 Zhin gong zuan zhi - the piercing finger as hard as a diamond

21 Cuan xin zhi - the finger piercing the heart

22 Tou gu zhi - the finger punching holes in bones

23 Yi zhi jin - the finger as hard as metal

24 Chan si zhou - the elbow with a cord wound on it

25 Go xin zhou - the elbow punching the heart

26 Po yin zhou - the elbow breaking Yin

27 Niu chan tui - the dislocated thigh

28 Pe zhu gan - a bamboo fighting pole

29 Gu shu pan gen - twisted roots of a dry tree

30 Te wu gen di - the iron buffalo ploughs soil

31 Fei mai qiao - the leg flying like a feather

32 Hei xian feng - the black water-spout

33 Tie sazou - the iron broom

34 Hou tiao qian - the monkey jumping over a wall

35 Yian qu shui - the swallow drinks water

36 Chang e bian yue - Sorceress Chan E ascends the moon

37 Tian gou chi yang - the Heaven's Dog eats the Sun

38 Ha mo zu tian - the toad drills the sky

39 Gang jin juan - the diamond fist

40 Shi kai hua - the stone blossoms out like a flower

41 Zuan xin chui - the hammer punching the heart

42 Lu kai hua - the skull blooming out like a flower

43 Duan mu zhuang - to break a wooden stove-couch

44 Ti jie shi - to break a stone with a leg

45 Fang feng Zhen - Zhen releases winds

46 Da shai dai - to strike at a sand bag

47 Fen mu guan - the coffin broken into pieces

48 Dai tie wa - to wear iron hoops

49 Diao shaku - to hang trousers with sand

50 Yue ying jian - to jump over a moon abyss

51 Feng xuan ai - the flight from a steep precipice

52 Go wu ji - to jump over a roof gable

53 Zuo liu xing - the rocket stance

54 Taishan zhuan - the pole like the Taishan mountain

55 Xin yi ba - the heart and mind clench

56 Qi wei chuan dong - the bristling hedgehog strikes a hole

57 Suang to yue - to embrace the moon

58 Tie gan tui - the leg like an iron pole

59 Kao re guo - the cauldron heated on fire

60 Zuai ti deng - to throw down a stool by a foot

61 Lu da gun - the ass's strike

62 Zhai she zu - the foot digging soil

63 Guang chuan tie bu shan - to put on an iron shirt on the naked body

64 Wu kong fan jin dou - Wu Kong fights against sinew dislocations

65 Tian bing xia fan - the Celestial Soldier descends the sky

66 Da murien - to strike a man of wood

67 Xie zi zou lu - the scorpion crawls along the road

68 Qian jintui - the leg weighing one thousand jins

69 Zha yan huan zuo deng - to change in an instant the stool

70 Luohan shen gong - Luohan's magic feat

71 Jiao long nu kong - the coiling dragon growls in wrath

72 Qi guan qi mao - the breath "chi" washes the hair on the skin

QIGONG ( Chi Kung ) - Secrets of the Use of Breath - Qi in Shaolin Practice

"A Lantern will light up in a Small Hall and it will burn during all the four seasons, the Meditation Chan will help this Lantern which burns due to the healthful breath Zhen Qi. Food and water moisten skin and muscles, but only the main breath Zong Qi makes Soul and Body truly strong and robust..."

/An excerpt from Treatise "The Secrets of Pugilistic Art of Shaolin Monastery"/

Teachers of the past have preserved the traditions of the Shaolin School of Qi

Gong. One should practice it day after the day, during thirty years,

notwithstanding if it is cold or hot. If you have got a will, you can acquire the

true mastery in it: due to your efforts an iron beam can be worn off to a needle.

THE CORRECT MOVEMENT OF DONG MAKES A FIGHTER FAST AND POWERFUL

LIKE THE TIGER AND GIVES THE STRENGTH TO MOVE OFF A MOUNTAIN...

Secrets of the use of Breath-Qi (Qi Gong, Chi Kung) in Shaolin Martial Practice

Breathing exercises (qi gong or chi kung) are one of the components the Shaolin

Martial Art and breathing practices are united with combat arts.

There is a saying: "Before a foot or hand strikes, comes Breath - Qi

which is transferred with blood and is the base of Courage and

Strength".

General Requirements

During training it is necessary at first to reach tranquillity which should immediately turn

into movement. It is necessary to strengthen the Breath - Qi in the Cinnabar Field -

Dantien, to reach self-discipline and fast limpness in a moment. One should pay special

attention that the Mind would control the Breath - Qi which should function in unity with

the physical force - Li; the Breath - Qi should strengthen the physical force - Li and the

force Li should control the Breath - Qi.

As far as the Breath - Qi is concerned, it must not only make the man energetic

and his movements natural, permeate the four extremities and impregnate one

hundred joints of the human body; due to special practices the body must become

light and capable of doing high jumps so that the man could climb a cliff or get over an abyss.

The Basic Principles of the Breath - Qi (Qi Gong or Chi Kung)

"A Lantern will light up in a Small Hall and it will light during all the four seasons, the

meditation - Chan will help this Lantern which burns under the influence of healthful

breath of the organism Zhen - Qi. Food and water moisten skin and muscles, but only the

main Breath Qung-Qi makes the body strong. In training with the Breath Qi Gong (Chi

Kung) one must be guided by the following three instructions. First, one should keep

Tranquility, second, Limpness - Song, third, Smoothness and Thoroughness. The

Tranquility consists in heart emptiness; the heart keeps only the image of the entity, all

things fall into the void like stones sinking to the sea bottom. In the state of limpness your

muscles are quick as quicksand in which Blood smoothly follows the Breath - Qi.

Inhalation and exhalation must be deep, long, thorough and steady so that the duration

of inhalation and exhalation would not differ a bit."

Explanations

Tranquility

When practicing Qi Gong, your thoughts must be in a state of full concentration: "You do

not look at celestial aphthars and thoughts about dragons playing at your gate do

not appear in your head; you are not afraid of a sharp sword near your head, you

are as quiet as a junzi strolling in faraway mountains."

In other words, during training you must put an end to all extraneous thoughts and only

then you will be able to reach a state of mind concentration and as a result of it the brain

will keep tranquility. This state is achieved by mind concentration on Dantien - the Cinnabar Field".

They say: "The Cinnabar Field is a Sea of Qi, it can engulf each of one hundred

diseases." Thus, the concentration of the mind on Dantien, the Cinnabar Field, is the

main secret and the basic principle of Qi Gong practice. "When the tip of the tongue

raised to palate, the Breath Qi becomes healthy, and when the Breath Qi makes for the Cinnabar Field, the spirit - Shen - becomes strong."

During the Qi Gong (Chi Kung) practice the mind must concentrate on the Cinnabar

Field and the tongue must be raised to the palate (i.e., the tip of the tongue is bent up

and touches the upper palate); as a result of it the mind obeys the call of reason. Only in

such a way one can reach a state of tranquility, in this state the Breath Qi does not dissipate in the body.

The treatise "Nei-Zin" ("Canon on the Concealed") quoth: "The Breath Qi controls

the blood and the blood gives a birth to the Breath Qi." If the Breath Qi is obedient

and the blood moves freely, the blood will be healthy and the Breath Qi will be strong, the Breath Qi will be fast and the blood will be swift.

If you control the Breath Qi, it means you accumulate the force - Li; if you releases the

Breath Qi, so it means you makes an effort. If the Breath Qi comes, so the force Li will

come too; that's why the Breath Qi is of the highest value and at the same time a force.

Limpness

The muscles of the whole body must be limp. The "Secrets of Shaolin Pugilism"

quoth: "As a result of limpness the Breath moves freely; when the body contains

sufficient the Breath , the body is healthy". During training in combat arts it is

necessary to control and regulate the Breath , only in that case you will react accordingly

to all stances and techniques of the enemy who all the time during an attack delivers

various strokes with his hands and feet. The Breath must move alternately up and down,

from the left to the right, from the right to the left. Those transitions of the Breath are

called shift or switch-over of the Breath Huan-Qi. Before doing such a shift it should be

weakened, as without weakening it is difficult to shift the Breath. The Breath in a

weakened state freely enters all parts of the body, obeys instructions; orders direct the

Breath to a certain place. Such is the function of "Limpness" in Breathing Exercises Qi Gong ( Chi Kung ).

Smoothness and Thoroughness Yun Xi During Qi Gong (Chi Kung) exercises an inhalation and an exhalation must be deep and

long, they must be done smoothly and thoroughly. The "Secrets of Shaolin Pugilism"

say: "The Breath must go down up to the center of the foot and must go up to the

Kunlun mountain" (i.e, the brain). During an exhalation Breathe out completely; during

an inhalation Breathe in completely. Furthermore, it is necessary to Breathe smoothly

and thoroughly. One should not be careless and coarse. Pay sufficient attention to the

duration of Breath, do not do too short Breathes. It is necessary to monitor your Breath

all the time. Inhalations and exhalations must be of the same duration, one ought not to

do a long inhalation and a short exhalation or vice versa.

Persistency

Persistency is the most valuable thing in Qi Gong (Chi Kung) exercises. In spite of very

cold weather in winter or unbearable heat in summer, notwithstanding that you feel bad

or that you are seriously ill, in spite of other circumstances, it is necessary to do exercises

all the time with zeal and not to give way to laziness. Let four seasons last like an instant,

let several years pass like a day. If your life does not come abruptly to an end, do not

stop your exercises, engage in regular practice, do not pay attention to hurricanes and

weather extremities.

Triple practice

It is necessary to exercises at dawn, it is necessary to do exercises late in the night, it is

necessary to do exercises at noon. Training is carried out three times a day. "The

Secrets of Shaolin Pugilism" quoth: "When you exercise in the morning, you

remove from your body the spent Breath Qi and get a new one; when you

exercise at noon, you help free movement of the Breath Qi and semen "Jing"

accumulated in the body; if you exercise late in the night, you train your Breath

Qi and make it so keen and fine that you can pierce a wooden board with your finger like a straw mat".

On the Necessity to follow the True Methods

It is necessary to follow techniques during training. The old tutor Su Xi says: "A good

tutor brings up a good disciple." If you rely only on hard toil and persistency, but do

not follow the rules, you may turn into sideways and spend efforts equal to efforts of nine

buffaloes and two tigers, but all the same you will not attain perfection. Therefore, it is

necessary to do the true exercises and for this purpose you should ask a good tutor to

admonish you and persistently do exercises with due regard to the admonishments of

elders. You must correct your own shortcomings and persistently perfect yourself, in that

case you will enjoy success without fail.

On Importance of Mind concentration on the Cinnabar Field

Control your breath and concentrate at the frontier post of Guan Yan, try to come back to

the initial point in the Cinnabar Field. The mind guides and propagates the breath into

the four extremities so that the weakest man is able to lift the Taishan mountain and to

move a thousand zins with both hands and feet. It is the Cinnabar Field where the

source of force located. When the mind guides the breath, the weakened press strains and

you feel warmth; an effort is made with movement and thus force is borne. It means the

Breath Qi leaves the cinnabar Field.

The Law of the Cinnabar Field is the base of Breathing exercises, the force emanated

from the Cinnabar Field is equal to the tiger's force!

The Breath Qi Rushes from the Cinnabar Field

When your mind guides the Breath Qi, the Breath sinks into the Cinnabar Field and

slowly accumulates in it. As a result of it the abdomen goes inside, the Guarding Breath

Wei-Qi and the Initial Breath Yuan-Qi are preserved in it. If you take actions and make

rapid movements after it, the Breath Qi rushes from the Cinnabar Field. The hieroglyph

with the meaning "to rush" implicates that it is a directed effort. When the right side

moves, the rushing effort reaches the right side at once; during the movement of the left

side the rushing effort reaches the left side at once. If it is an up-movement, the rushing

effort also moves up, if it is a down-movement, the rushing effort moves down. All

hundred joints of the body move together, the rushing effort is erupting like a

volcano; that motion permeates all joints and articulations, its force is like a

thunder strike, its speed is like a lightning.

Connection of Outer Movement with Inner Rush

Movements and Rushing Efforts propagate simultaneously and they are closely

connected with each other. However, that connection can get success only after a long

practice. At first the hand starts moving, then the foot moves. After several days of

practice you can move your thigh, elbow and knee. Then you train the body and muster

jumps. Exercises during a long time give a great strength. Gradual training of the hands

results in the ability to break a tile with a hand and a brick with a palm, the ability to

pierce a wall with a finger. The ability to do the exercise called "The diamond fist"

and "The metal finger" appears. After it you can pass to such exercises for feet and

thighs as "I carry iron tiles" and "Sand bags hung up to legs". You master jumps,

flights, soaring up to roofs and flights across abysses that are executed easily and

naturally after training.

A secret of setting into Motion the Breath Qi You set into motion the Breath Qi. When it moves down, it reaches the center of the foot,

and when it move up, it reaches the top of the Kunlong Mountain. The legs move forward

and backward, the feet move hither and thither, the torso rotates to the left and to the

right, raising and lowering with opening and closing - all is connected with the Breath Qi,

body movements copy the life, arms and legs move according common laws.

It is also necessary to comprehend the position of the eyes and the arms, unite inhalation

and exhalation to do movements harmoniously. As the most important thing in the

movement of Breath Qi is smoothness, the most important thing in the use of the

Breath Qi is sharpness. When you returns outside, you should exhale, when you

accept, you should inhale. Your body moves like a rolling wave and your arms

take wing, as if waves roll. When you strike, even the shadow is not seen; one

must quickly defend, one must quickly strike back. So, the great secret of the art of movement lies in the unity of inhalation and exhalation.

When a movement is done, the tongue touches the palate, the main Breath Zun-Qi of

the whole body is concentrated inside. The Breath Qi is set into motion and reaches the

top of the Kunlong and then very smoothly goes down, reaching the center of the foot.

Raising and lowering, opening and closing - all is permeated with the single Breath Qi,

upper and lower, left and right parts of the body are interconnected. The Breath Qi leaves

the Cinnabar Field - Dantien and reaches the tips of the fingers. The Breath Qi returns to

the lung, the arms and the legs become tensile. A quick movement of a hand, and the

Breath Qi with its all-crushing force goes out. The body moves quickly, the Breath Qi is

collected and preserved in its movement. The secret of Shaolin Technique Qi Gong ( Chi

Kung ) lies in exercises. If you persistently train for a long time, your strength like a

wave will be able to raze a mountain!

The technique of inhalation and exhalation in connection with movement and tranquility

One of the ancient treatise on the secret tradition of Shaolin Pugilism quoth: "Inhalation

and exhalation are the Breath-Qi, movement and tranquility are the heart. One

movement of the heart corresponds to one inhalation. In that case a force is not applied,

the position is void. When in the process of a heart movement an exhalation is done, the

force is applied and the complete position is held. However, the base of tranquility is

concentration and the base of a movement is Jingshen, the Spirit of Essence.

Inhalation will be strained and sharp and exhalation diligent and dissipated.

The Heart is the primary commander, the Breath Qi is an advance, the Eyes are

standards and banners. If the eyes grow dull, the vision is not concentrated, so you do

not see clear indications and as a result of it movement and tranquility loose the right

sequence, the regular sequence of the input and output is upset, hence the disposition will be destroyed and the position lost.

Therefore, first of all, it is necessary to determine the position of the eyes to

comprehend this technique. If the vision is normal, it means that the Breath - Qi comes to

the eyes. The Will Zhi must rush here. If the Will rushes to the eyes, the Breath Qi

follows it. One movement of the heart - and the whole body obeys the order; Jingshen,

the Spirit of Essence becomes cheerful, the wave of valour heaves. It is the only right

explanation of movement and tranquility. All movements of the body, the legs and the

arms must be agile, this agility is obtained through training the Breath Qi. A quick

movement - and the Breath Qi rushes ahead. If you have no need to fight, everything is normal. If it is a fight, you win."

"...Inhalation and exhalation are called the Breath Qi in the speech, movement and

tranquility, in the first place, say about the heart. The heart did a movement, Breathed

Qi and force disappeared; if there is no force and the stance is empty, you have no

sufficient strength. Then the heart moves, there is a Breathe-out and force appears; if

there is force, your position is filled and you have sufficient strength.

The heart is the marshal of the body and the Breath Qi is the dignitary who goes

in advance. The eyes are standards and banners; if they are clouded, you loose

orientation, do not comprehend the meaning of enemy's disposition and can not determine

movement and tranquility. If the sequence of inhalation and exhalation is mixed up, you

are threatened with a defeat during a fight. That's why you should pay more attention to the position of eyes.

Eyes are of great importance in the practice of combat arts. Improve the ability of

your vision of the disposition and the arrangement of your enemy, because your will

follows the movement of your eyes. A heart movement must set into motion all hundred

joints of the body and the essence of the man's strength comes from the lungs. In

this case the body is full of the tiger's energy; in a glorious fight you will be able to shake seas and to move mountains.

It is necessary to control and regulate the sequence of inhalation and exhalation,

movement and tranquility by taking inside the Breath Qi and concentrating it in a bundle.

Each movement of the body is permeated with the single Breath Qi, as a result of it both

arms and legs become quick and strong like those of a monkey. The man moves like the

lightning in the sky and joyfully he triumphs after victories in all combats!"

Instructions on how to do "external" exercises

During the fourth watch one must stretch joints and remove from the body Breath Qi,

raise up nine times, step down nine times and strengthen his members. An exhalation is

like a vulture catching fish with its talons and inhalation is like a huge bird Fen

spreading its wings. During the hour zhi persistently and tenaciously do the exercise

called "The wind waves a willow", the exercise called "The diamond fist" should be done during the hour hai.

After your meal do exercise called "Metal finger" many times, then break a man of

wood with the edge of your palm. With the open heart train the exercise "I use my

crown" to break a brick and afternoon break a stone with your elbow. When the

Breath Qi reaches the top of Kunglun, do the exercise called "Diamond foot". Walk one

thousand li's (li is a Chinese measure of length equal to about 600 m) with small bags

with sand and stones hung up to your legs; when your Breath Qi leaves the

Cinnabar Field, sweep the yard.

When the Breath -Qi accumulates in the Cinnabar Field, raise up and crush trees like

a gush of the Black Wind. When the Breath - Qi leaves the Cinnabar Field and reaches

the point Baihui, the wind moves down, rushes through the market and draws the bow.

You, like a bow, bend forward and punch in the stance of the tiger, concentrate your Breath Qi, return to your heart and direct it to the base of your feet.

The Breath Qi permeates both feet and you stand like a rider on a horse, as steady

as the mountain of Taishan, as if a ladder to the sky. If you transform your Breath Qi,

you will become an arrow flying in the fight. You use subtle spiritual force and fly

over with the speed of the wind as if unsolved mystery...

On the unity of inhalation and exhalation in a fight

The body must be energetic and the activity of arms and legs coordinated. You should

realize the position of the eyes and distinguish the direction of arm movements; one

should observe the degree of remoteness, one should take into consideration the age

and the build; if they move towards you, you move together with them, if they retreat, you chase.

Unify inhalation and exhalation and attain your aim in one motion. However, one should

be attentive: when you put to motion the Breath Qi, smoothness is preferable; when

you use the Breath Qi, speed is preferable. If the motion originates in you, it is better to

do it during exhalation; if the motion is accepted by you, it is better to inhale. The body

must be quick and livid. The arms must be quick and fast. If you punch with your fists,

nobody should see their movements. One must quickly attain speed, that is the

highest true secret which essence lies in unified input and output.

The ways to understand the necessity of keeping the Breath Qi

The Breath Qi is a sequence of input and output. Keeping means the ability to keep and

to accumulate internal resources inside the body. Understanding means to understand the

nature of Breath Qi so that it would not upset its sequence and that everything would not

go upside down. The way is the route of one single input and output which must follow

their way and one should but follow them. This follow-up is done according to a certain

method. Control and slackness of the body, gaits steadiness, arm movement, advance

and retreat, up and down movement - all those factors are permeated with the single

process of the Breath Qi.

If you accept some action, you must do it during inhalation, in that case the inhalation is

carried out correctly. If you give back some action, you should do exhalation, in that

case the inhalation will be appropriate. It is a moment of acceptance that

determines a victory or a defeat; at no account you must permit discord in your

actions. That's why all who tried to get the mastery of Pugilistic Arts since ancient times

till nowadays had to perceive the sources of the Breath Qi in the human body and only

then they should try to understand the principles of Breath and Activity - Lianqi Xin-

Gong - and the principles of retaining the Breath. Only in such a way it is possible to

improve actions of the human body.

canonical texts of shaolin monastery

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