Yang Style Taiji Sword According to Yin Qianhe

7/26/2019 Yang Style Taiji Sword According to Yin Qianhe

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YANG STYLE TAIJI SWORD ACCORDING TO YIN QIANHE

TAIJI SWORD

by Yin Qianhe

[published by Pole Star Press, No !", !#$%&

[translation by Paul Brennan, Dec, 2015]

by Yin Qianhe:

Taiji Sword

[calligraphy by] He Yingqin

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+he lourishing o our spirit as -ell as the gro-th o all our e.ucation an. enterprise is base. irst

o all upon the health o the bo.y/ +hereore i -e -ish to stan. both in.ii.ually an. together, an.

to succee. both in.ii.ually an. together, -e ust start by giing iportance to physical

e.ucation, training .aily an. lielong/ +his is -hat is eant by strengthening the sel/

+he rise or all o the people o a nation, the superiority or ineriority o their culture is

.epen.ent entirely on the strength or -eaness o the people/ +hereore i -e -ish to .eelopculturally an. rouse national prestige, -e ust populari3e physical e.ucation, establishing it in

organi3ations an. societies, cities an. rural areas/ +his is -hat is eant by strengthening the

asses/

+here are so any in.s o physical e.ucation, such as trac an. iel. eents or ball sports,

-hich are no- in ogue in our nation as they are in the rest o the -orl./ *t ight be appropriate

or us to train in such things, but i -e instea. choose to gloriy our nation by concentrating on our

custoary natie artial arts, they .o not require special equipent or speciic acilities, are not

restricte. by sche.ule or si3e o a group, nor .o they cost any oney, -hich eans that .ue to the

present straine. state o our econoy, they are signiicantly easier to populari3e/

$hinese artial arts attach iportance to the 4three unions6 in. unite. -ith intention,intention unite. -ith energy, energy unite. -ith po-er/ +his causes the in. to be al-ays stable

an. the spirit al-ays ocuse., an. thus it is sai. that sill approaches the 7ay/ 8artial irtue is

thereby put on a pe.estal, being in.e. to-ar. the public goo. an. to the .elierance o those in

.istress/ 'nce -e ae use o such a reali3ation, then the strengthening o onesel an. the

strengthening o the asses is all that is require. in the cause o protecting one9s hoe an.

.een.ing the nation/

Bet-een the 8u.en *nci.ent [%ep 1:, 1;, 1;],

* -as in charge o the a.inistration o the ilitary in ?ing.ao/ +hroughout that tie, the nation

-as un.er threat an. so -e built up the nation9s ilitary strength by prooting artial arts/ %oe

si@ty thousan. to-nspeople -ere traine. [4selte. in the urnace] in preparation to ight the

eney/ 7hen the 8arco Polo Bri.ge *nci.ent occurre., =apanese sol.iers an. ciilians -ere

orce. to hae .iploatic relations broen o an. leae because o the ission to burn nine large

=apanese cotton ills con.ucte. by the artial arts teachers (ao "ang@ian an. Yang ?ing@ian,

-ho each le. a tea o artial artists to accoplish this/ %oon they both receie. or.ers to tae

control o %han.ong, continuing the resistance against the =apanese/ Yin ?ianhe is a longAtie

artial arts a.ept -ho le. seeral hun.re. -arriors that he ha. traine. or the struggle against

=apan/ #t that tie, the aries throughout the -hole proince -ere being rigorously .rille. in

artial arts/ *n ighting the eney an. siting the ina.ers, (ao, Yang, an. Yin a.e an

especially large contribution, boosting coni.ence in the potential o artial arts to .een. the

nation/

+he people o ?ing.ao are loyal an. brae, honest an. sincere, an. so because o the shit inpo-er since the rebellion, any o the ollo-e. the goernent in its relocation to +ai-an/ Being


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in the ary, (ao, Yang, an. Yin cae along as -ell/ *n their spare tie, they still teach artial

arts/ *n recent years, Yin has been a schoolteacher an. a great any hae learne. ro hi/ He

.eci.e. to spen. his tie ater teaching classes to -rite about +aii %-or. an. Ba.uanin/ 'nce he

ha. coplete. these boos, he sought a preace ro e/ #lthough * hae loe. artial arts y

-hole lie, * hae actually not obtaine. uch in the -ay o sill, an. yet * a no- in y eighth

.eca.e but not at all a eeble an, an. so * a entirely conince. that * hae gaine. by it/

%cience is no- lourishing an. this is an era o .eelopent in -eaponry/ * -e -ish to -al

aong the great po-ers, -e nee. to engage in a.ance. scientiic research, an. -e especially hae

to soli.iy our cultural oun.ation in or.er to proote the health o the people/ *n this regar., the

easiest -ay is the populari3ation o $hinese artial arts, -hich cannot be oerlooe./ Yin

ceaselessly stries to iproe hisel, constantly eeping in in. the gran. principle o

strengthening the people an. .een.ing the nation, an. herein lies the reason or aing such

boos/ +o greatly beneit the sprea. o artial arts is -hy he is -riting this aterial .o-n/

-ritten by %hen Honglie o =ingling -hile isiting +ai3hong, Dec, 1;5>

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8artial arts are the ost characteristic part o $hinese culture, .istinctie sills -hich throughout

history hae brought the nation -ealth an. a.e its aries ori.able/ By oten .epen.ing on

such etho.s, theories becae prooun. an. techniques e@quisite, aboe an. beyon. the artial

arts o other nations/ 'n a larger scale, they can strengthen the asses an. .een. the nation/ 'n a

saller scale, they can a.. years to your lie/ Ho-eer, in the last e- .eca.es, the people o our

nation hae becoe inatuate. -ith 7estern e@ercises, ren.ering the seeralAillennia -orth o

cultural essence bequeathe. to us by our -orthy ancestors unable to lourish, thereby resulting in

our people becoing -ea an. hopeless, an. this is truly a pitiable situation/

+he s-or. art is the ost reere. o these sills in our nation9s history/ Cnortunately, because

it stresses personal en.eaor, ery e- boos hae been -ritten about it/ )ater generations o

stu.ents hae ha. little to consult, let to erely eel aroun. in the .ar/ Because o this, the

essence o the s-or. art has pretty uch .isappeare./ Yin ?ianhe, or Baiqia, o %han.ong is -ellA

rea. an. an e@pert in artial arts, an. he has inestigate. the .eeply, .eote.ly researching or

a long tie -ithout slacening/ #s he .eeply eels that our artial arts are in .aily .ecline, he

-ishes to put orth -hat he has learne. an. .iscoere. by -riting it .o-n in a systeatic -ay to

urther sprea. these teachings/ ecently he has -ritten Taiji Swordan.Fitness Techniques on a

Bed / Scientific Baduanjin/ +hey are rich in content, -ith theory clearly presente. an. -ith

unction ully .etaile., truly aing a great contribution to-ar. our artial arts/

* hae encourage. the practice o $hinese artial arts y entire lie, an. hae aintaine. y

abition to .o so since coing to +ai-an/ * -ish to sprea. such an e.ucation aong the peoplean. boost their health/ +he ai is to rescue the nation through strengthening the people/ &o- Yin


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has -ritten his boos, an. since he an. * are o the sae in., * a only too happy to ae a

preace or hi/

-ritten by $hen Panling at his hoe in +ai3hong, 'ct, 1;5:

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training, receiing requent gui.ance ro y artial arts superior, $hen Panling, as -ell as

constant encourageent ro artial arts e@pert 7ang %huin an. to-n council eber %ong

Gianting/ #ter a class, * conteplate an. stu.y, an. -hateer * a .eling urther into, be it

%haolin, +aii, or -eapons, i it conors to the principles o health aintenance an. the

practicalities o sel .eense, * inariably -rite it all .o-n into boos/

' the internal arts, * hae -ritten Taiji Boxing, Taiji Sword, an.Fitting Techniques on a Bed /

Scientific Baduanjin/ ' the e@ternal arts, * hae -ritten Twelve!ine Tantuian.Tai"u !ong

Boxing/ #s or -eapons, * hae -ritten o spear, saber, s-or., an. sta/ 7hat * hae accuulate.

oer a long perio. aounts to a copen.iu o inoration/ ) Huoneng, a goo. rien. -ho has

learne. the arious postures, has .one e the aor o aing the photographs/ +he boo is no-

coplete. an. is being publishe. at the request o any colleagues to sprea. the inoration

-i.ely/

%eeing as * lie in +ai-an, * hae less access to boos * ought to be consulting, an. so or

eerything * hae e@plaine., * hae only relie. on y eory o -hat * -as taught an. -hat * hae

obtaine. through y o-n research, an. so there are boun. to be any errors an. gaps/ #s to -hat

* hae been able to publish, * ear * a ina.equate or the tas, so ar putting a ere t-o boos onthe sheles o booshops6 Taiji Swordan.Fitness Techniques on a Bed / Scientific Baduanjin/

7hat * hae publishe. is to supply y ello- stu.ents -ith reerence aterial/ * sincerely hope

that $hinese artial arts e@perts ro aroun. the -orl., gentleen an. countryen, -ill pic out

la-s to be i@e., or i you -oul. correct e -here * hae isse., * -oul. eel ortunate in.ee./

-ritten by Yin ?ianhe IBaiqiaJ o %han.ong in Khanghua, +ai-an, 'ct, 1;5:

.-LM

To co##e#orate this wor$ by Yin Qianhe:


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%S&irit []and strength []to the ut#ost []'(

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respectully calligraphe. by =iang 7eiguo

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To co##e#orate this wor$ by Yin Qianhe:

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%)ro#oting the essence of our culture*(

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[calligraphy by] (ao "ang@ian


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'ne6 (eneral *ntro.uction to $hinese 8artial #rtswk

+-o6 (eneral *ntro.uction to the %-or. #rt

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+hree6 Basic *ntro.uction to the +aii %-or.

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"our6 !@planations o the %-or. +echniques

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"ie6 8oral #ttitu.es to #.here to in 8artial #rts +raining

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%i@6 # "e- Pointers or Practicing +aii %-or.%V_

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8artial arts are the tra.itional culture o our nation/ +heir principles are prooun. an. their sills

are e@quisite/ +hey are steepe. in a spirit o loyalty an. chialry/ +hey can open close. in.s,

bolster the tii., an. strengthen the -ea/ !ery nation in the -orl. has its o-n bran. o physicale@ercises, an. they each hae their goo. points, an. -e shoul. allo- that their -ay o .oing such

things is right or the/ But or us in our current state o aairs, -e -ant soething that .oes not

require oney, special acilities, or speciic sche.uling, in or.er or people eery-here to be able to

train/ $hinese artial arts appear to be ar ore conenient than other types o physical e.ucation/

Presi.ent $hiang MaiAshe publicly .eclare. this o $hinese artial arts in his -ritings on

4!.ucation an. ecreation6 4$hina9s bo@ing arts are not erely ighting etho.s, they hae een

greater signiicance as physical e.ucation/ +he highest leel in bo@ing arts is cal, haronious,

intentA.irecte. po-er/ +he bo@ing arts o other nations hae been unable to atch this

achieeent, an. so -e call the our Nnational arts9/ +his is brie, to the point, an. all -e nee. to

rouse us/ $hinese artial arts .o not really .ii.e into %haolin an. 7u.ang, or the only thing o

iportance in either case is sill/ *n both schools, sotness contains har.ness an. har.ness

contains sotness, oeents shoul. transor unpre.ictably, an. techniques are to be applie.

-ithout eort/ %uccee.ing generations classiie. %haolin as the 4e@ternal school an. 7u.ang as

the 4internal school/ "urther .istinctions -ere a.e, or instance Hua %tyle as being .ierent

ro Hong %tyle, 4southern branch ersus 4northern branch, etc/ +he arious styles loo upon

each other -ith a sectarian bias, passing u.gent oer each other siply to proote their o-n

-ays/ 7heneer they encounter a piece o soething ro outsi.e their niche, they instinctiely

.eci.e it .oes not represent the 4true essence/ %uch people cherish their incoplete art,

stubbornly .een.ing their ignorance, eeping the contents o their o-n syste a secret -hile

in.lessly haering at eeryone else9s/ +hey -ill not actually get anything out o this, nor -ill

they help the nation truly pathetic/

+his era is a crucial tie o resistance against the counists an. soiets/ Please, y $hinese

artial arts colleagues, put asi.e your .ierences so -e ay -or together, unite. in purpose, an.

progress or-ar./ 'ne tas is to pro.uce teaching aterials or all leels so as to oster better

teachers an. proote iproe. teaching etho.s/ +he other tas is to tae the eery-here,

ro barracs to schools, ro cities to rural areas, prooting their sprea. o these arts/ *t is

essential or in. an. bo.y to be utually cultiate. in or.er to reach the point in -hich teachers

are .isplaying the con.ition o 4cal, haronious, intentA.irecte. po-er/ By aing $hinese

artial arts organi3e., scientiic, popular, an. ethically inluential, they -ill becoe a e.icine to

the sae the nation an. rescue the age/ * a not a ery bright person, but * hope to .o y bit to atleast -hip this horse into a trot/


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+he s-or. art is the ost highly esteee. sill in our nation9s history/ 7hat aes this particular

artial sill so a.ire. is that so any hae no-n about it but hae not really un.erstoo. it, an.

so it has .eelope. a ystique/ +he e- -ho possesse. consuate sill -ere seen asother-orl.ly an. they -ere oten un-illing to teach it to others/ "urtherore, there is a palpable

lac o -ritings about it or us to consult/ $onsequently, the essence o the s-or. art has been

ostly lost, ren.ering the ost aluable treasure in our culture incapable o being passe. .o-n,

truly a pity/

)ong ago there -as (ran. Due =iang9s ?ue, Ming 7en9s )u, Ming Helu9s (an =iang an. 8o Ye,

an. the Ming o $hu9s Dragon 7ell, +ai9e, an. Declarer o 7or/ +hese -ere all superb ancient

s-or.s/ Ho-eer, these ancient s-or.s coe .o-n to us only as naes, the .etails too .iicult to

eriy/

+here are entions in the histories an. classics/ $ao 8o graspe. his s-or. an. copelle. Due

Huan into copliance, preenting the state o )u ro being huiliate./ 8ao %ui hel. up hiss-or. an. rebue. the Ming o $hu into an alliance -ith the ing.o o Khao/ !peror (ao3u

lite. his threeAoot s-or. an. gae the House o )iu its oun.ation/ Ku +i .een.e. his ing.o o

=in by getting up to practice eery orning as soon as the rooster starte. calling/

+hese are all e@aples o success by -ay o reliance on the s-or./ #s or the -ay those s-or.s

-ere a.e, it -as -ith a pure an. ocuse. attention, -oring on the by han., an. yet no other

s-or.s can copare to the/ +hey -ere use. by nobility as an e@pression o reineent, an.

thereore in ancient ties, both scholars an. -arriors oten -ore s-or.s at their -aist/

+he s-or. art accor.s -ith natural principles/ *n oeent an. posture, peror -ith your

han. -hat is in your in., an. -ith liitless a.aptability/ +he s-or. techniques generally .ii.e

into si@teen6 stabbing, chopping, cleaing, raising, carrying, iling, -iping, linging, blocing,

hanging, thrusting, t-ining, licing, paring, propping, an. clou.ing/ +he han.s, eyes, bo.y,

techniques, an. steps -or together, through all the t-isting an. turning, a.ancing an.

retreating, -ith intentA.irecte. po-er/ #ter practicing it oer a long perio., the s-or. art -ill

naturally be un.erstoo./

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*n the or.inary practice o s-or. arts, the oeents are usually ast/ Die lie a ish an. ly lie a

bir./ 8oe as ast as the chasing -in., su..en as a lightning bolt/ Your eyes shoul. be quic, your

s-or. shoul. be quic, an. your steps shoul. be quic/

+he si@teen techniques or the basis or using the s-or., an. they usually use har.ness to -in/

But practicing +aii %-or. is slightly .ierent/ !ery oeent has the taii concept, both in i.ea

an. shape, the s-or. tip typically .ra-ing taiiAcircle patterns/ *t is no .ierent ro +aii Bo@ing,

abi.ing by the taii theory o oeent an. stillness, an. its subtleties o eptiness an. ullness/

You shoul. concentrate your spirit an. stabili3e your energy/ Your han.s an. eet shoul.

coor.inate -ith each other/ Your intention goes orth an. the s-or. ollo-s/ Your in. shoul. be

at ease an. your han. shoul. be stea.y/

)et har.ness soten/ )et ullness epty/ Your upper bo.y an. lo-er shoul. correspon. to each

other/ #.ancing an. retreating shoul. be or.erly/ +o tae a.antage o gaps an. sei3e the chancesillully, obsere ho- the opponent a.apts/ * he -ants to rise up, he ust irst press .o-n, so

-atch or that cue/ * you only hae har.ness an. are -ithout sotness, the techniques -ill not be

liely an. the postures -ill not be nible/ +aii %-or. thereore uses stillness to oercoe

oeent, sotness to .eeat har.ness/ *n +aii Bo@ing there are the principles o sticing,

connecting, a.hering, an. ollo-ing, an. in +aii %-or. these are also ery iportant/

* hae or each posture in this boo6

[i] presente. its scholarly nae, -ith an e@planation o its signiicance to reeal its artistry,

[ii] then paraphrase. it -ith a technical nae so as to equip you -ith an application,

[iii] as -ell as supplie. a oeent .escription or easy reerence,

[i] an. also inclu.e. a photo in or.er to supply a o.el to practice by/ Practice on the basis o the si@teen s-or. techniques an. in accor.ance -ith the passie an.

actie aspects o the gran. polarity [the yin an. yang o the taii]/ %lo-ness an. quicness shoul.

copleent each other, a.ancing an. retreating shoul. be appropriate/ Cse both precision an.

nibleness/ +he oeents shoul. be continuous, unbroen, lo-/ +he countless transorations

o the s-or. shoul. neer .epart ro these principles/ 7hen these principles are erge. -ith

your practice, then the truth o the +aii s-or. art -ill eerge/

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itality o the s-or. art/ #s or the techniques, there are si@teen6

1/ %tabbing the s-or. tip goes .irectly or-ar./

2/ $leaing the s-or. bo.y attacs straight .o-n-ar./

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+o practice artial arts, you shoul. in all atters be unselish an. unbiase., air an. ipartial,

openAin.e. an. upright, an. you shoul. possess a spirit that cannot be intii.ate./

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5/ Practice -ith .iligence6

+o practice artial arts, you hae to -or at it in.ustriously an. unceasingly/ You ust not be

la3y/ *t is sai. [by Han Yu, 4#bout the $iil %erice !@ainations]6 48astery lies in har. -or,

-hereas ooling aroun. -ill aount to nothing, [an. success lies in ocus, -hereas ust .oing

-hateer you eel lie -ill ae it all all apart]/ 7ith .iligent practice your sill -ill naturally

.eepen/

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O/ $on.uct yoursel -ith honor6

+o practice artial arts, you shoul. hae a entality o loyalty an. chialry/ *t is sai. [by

$onucius,!un Yu, 2/25]6 4+o be a-are o -hat is right an. not .o it is co-ar.ly/ [#n. it is also

sai., by Han Yu, 4+he 'riginal 7ay Ieaning $onucianisJ6] 4+o behae as you ought to behae

is calle. honor/ +his eans .oing -hat shoul. .o an. neer arbitrarily giing in to .oing -hatyou shoul. not/

w.%?.ij^/ $herish copassion6

+o practice artial arts, base yoursel in copassion an. huaneness/ [*t is also sai. I+eng"i,

>aF5J6] 4[# gentlean is] copassionate to-ar. others an. huane to-ar. anials/ Be il.,

agnanious, in.hearte., an. hae a entality o uniersal loe/

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:/ (ie yoursel -ith loyalty6

# artial artist resolutely aoi.s getting into ights to proe hisel/ * you ight -ith others or

your o-n gain, you shoul. be utterly ashae. o yoursel, or you shoul. instea. be contributingyour sill, bo.y, an. in. to your nation an. your peopleQ

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1/ * you -ish to practice +aii %-or., the best thing to .o is start by practicing +aii Bo@ing,

because all o the oeents are in the anner o the taii circle/ Deote yoursel to eptyAhan.

sets to .eelop a oun.ation, an. then learning the s-or. art -ill be easy/ *n +aii %-or., the

oeents, intentions, shapes, posture, oot-or, an. energies are ostly the sae as in +aii

Bo@ing/ +hereore i you -ish to practice the s-or. set, irst practice the bo@ing set/

ktwcOq\mw\D~r

Us@Ato}u-;cvl

2/ *n eery tas you un.ertae, you hae to be perseering, inclu.ing the learning o a s-or. set/ #s

.iicult as it -ill be to learn it in the beginning, it -ill be still ore .iicult to ollo- it through to

the en./ You ust aintain a spirit o sincerity/ Dele into it -ith an open in., an. as you coe

to coprehen. it, conteplate urther/ Put all your eort into the stu.y o it, an. as you approach

perection, see to perect it een ore/ 7holehearte.ly -or at it, going ro -ellAerse. to

sillul, an. you -ill naturally obtain its -on.ers/

]wx*\+wx+y*wxx#zp

{|}~ /T%m(wc#7Jox%jm


13/64

l!llc`o^*\

J

F/ *n the beginning o practicing the s-or., it is best to start -ith a ae one a.e o -oo. or

baboo/ 7or -ith it until you hae the basic i.ea o the oot-or, bo.y aneuerings, an. han.

actions, then you ay s-itch to a real s-or./ +o .eterine the right s-or. length, hol. the han.le

in a reerse grip -ith your let han./ +he s-or. tip shoul. be at hea. leel/

HJ%V_

%!!&6 +#*=* %7'D P'%+C! !% *& %!?C!&$!

=z'

1/ P!P##+*'& P'%+C!

2/ PH'!&*G %P!#D% B'+H 7*&(%


14/64

1O/ %P!#D +H! (#%% +' "*&D +H! %M!

1>/ %7'D H*DD!& 7*+H*& +H! "*%H9% B!))Y

1:/ +#BBY $#+ $#+$H!% +H! 8'C%!

1;/ PH'!&*G #*%!% *+% H!#D

H=J

20/ 7#%P !&+!% *+% &!%+ Part 1

=HJ

21/ 7#%P !&+!% *+% &!%+ Part 2

p

22/ %8#)) MC*G*&( P'%+C!

2HJ

2>/ )!"+ E *(H+ D#('& 8'!8!&+% 7*+H +*(! %+!P% Part 2

*+h>HJ

2:/ )!"+ E *(H+ D#('& 8'!8!&+% 7*+H +*(! %+!P% Part >

ro one step to another

==&C`;='z'''

1/ %ection 'ne o the oot-or chart goes ro Posture 1 P!P##+*'& P'%+C! to Posture

!*&*&( *& +H! H'%!/

C/z%&9=

2/ *n or.er to aoi. ootprints superiposing, this chart has been .ii.e. into t-o sections, but the

set is still to be perore. as a single lo-/v7{%CH>?@ABC ?=

?@ABC=

F/ # oot9s sall a.ustents or repeate. oeents are not sho-n here, but you can reer to the

e@planations an. photos/


17/64

z'

Beginning position o P!P##+*'& P'%+C!

L&

$ontinue. belo- in %ection +-o

=&R''

1/ %ection +-o goes ro Posture


18/64

+ *ight ear )et ear

+*ight )et

+& *&ight "ront )et "ront

&

"ront

&otes6

H=Jz'&k!"^Dv&*+V%$%>?

C%z'^bJb;

1/ +he P!P##+*'& P'%+C! aces or-ar./ 7hateer .irection you oe to-ar. "ront or

ear, )et or ight they are al-ays in accor.ance -ith this initial position/ +he -ritten

e@planation or eery posture is o.ele. upon this chart/ +he P!P##+*'& P'%+C! is

positione. at the cross in the center so you can clearly .eterine your orientation/

HJ$%bc$%c#vO>?@AB%

2/ *n the photos o the postures, soe postures -ill appear to be shite. ro their real orientation,

in -hich case you shoul. rely on the -ritten te@t an. the oot-or chart as the stan.ar./

wvO>?@ABCDEABCFGHIJ

+!&6 +H! %$H')#)Y !%, +!$H&*$#) !%, 8'!8!&+ D!%$*P+*'&%, #&D

PH'+'% '" +H! P'%+C!% Iinclu.ing ityAt-o photosJ

H=Jz'

1/ P!P##+*'& P'%+C!

=w$%Ivz-!9:z'

i/ +he signiicance o P!P##+*'& P'%+C!6

+his is the ost iportant posture at the start o the set, a preparation or oeent, aligning

bo.y an. in./

vO>? Y5~AB5

-5m wx

*+,o~o*+z_z'

ii/ 8oeent .escription6

Your hea. is upright, bo.y straight/ Your outh is close., teeth together/ !nergy sins to youreli@ir iel./ Your eyes are looing straight ahea./ You are in a natural stan.ing posture/ Your let

han. is .oing a reerse grasping o the s-or. [-hereas an ortho.o@ grasp -oul. hae the tiger9s

outh to-ar. the hilt], gripping the han.le -ith the ring inger, little inger, an. thub, -hile the

oreinger an. i..le inger are coering the rest o the han.le/ +he s-or. is stan.ing -ith the

bla.e hori3ontal, the tip pointing up-ar., touching the bac o the orear/ 7ith your right han.

pinche. to or a 4s-or.san9s he@, your han.s go to the si.es an. .iagonally e@ten. up-ar.

until near your hea.top, then slo-ly sprea. apart to the si.es, lo-ering to ae the

P!P##+*'& P'%+C!/

$%^b

iii/ +he posture is as in the photo belo-6


19/64

HJ

2/ PH'!&*G %P!#D% B'+H 7*&(%

=@A*+~voK^(

i/ %cholarly nae6 PH'!&*G %P!#D% B'+H 7*&(%

Your ars e@ten. leel to the let an. right/ During the oeent, you slightly rise up/ *t is lie

an iage o sprea.ing -ings, hence the nae/

w@~AXv+d*

ii/ +echnical nae6 B'+H #8% H'*K'&+#))Y !G+!&D

+his e@ercises the ars an. legs/ +he right leg stan.s oneAlegge., training its strength/

vO>?eZ

=

iii/ 8oeent .escription6

$ontinuing ro the P!P##+*'& P'%+C!, your ars e@ten. leel to the let an. right/ #t

the sae tie, your let leg lits, your right leg stan.s oneAlegge., the -eight shite. entirely onto

your right leg/ You are acing to the "ront/

h'vO$%^b

i/ +his posture inishes its oeent as in the photo belo-6


20/64

HJ

+wx*&o(

i/ %cholarly nae6 *88'+#) P'*&+% +H! 7#Y

8aing a stance o let leg a bo-, right leg an arro-, your right han. pinches to or a

s-or.san9s he@, going up-ar. to point to the )et "ront, ulilling the nae/

w@*+A^*+*&o

ii/ +echnical nae6 )!"+ BC%H*&(, *(H+ P'*&+*&(

)ie in +aii Bo@ing -hen * brush past y nee to y -aist area, * use y let han. to brush

past y nee as y right han. goes up-ar. to point a-ay to the )et "ront/

vO>?Zy*!

+wxoK*&o0+x*&H%+>#+)J


Your ars slightly rise up, then your let oot coes .o-n a.ancing a step to the )et "ront

into a bo- stance, your let han. brushing past your nee to be behin. the let si.e o your bo.y,

still hol.ing the s-or. close behin. the ar, your right han.9s he@ going up-ar. to point to the

)et "ront, your ga3e to-ar. your he@/ You are acing to the )et "ront/ I+his posture is in a right

arro- stance, eaning your right leg is pressing straight/J

h'vO$%^bi/ +his posture inishes its oeent as in the photo belo-6


21/64


22/64


23/64

HJ'

O/ P#%%*! E #$+*! $'8B*&*&(

=@'A*}=*o=*+

(

i/ %cholarly nae6 P#%%*! E #$+*! $'8B*&*&(

Your let oot lightly .ra-s a large arc along the groun. as your let han. aes a large arc

aboe, then your han.s close passiely [pal acing .o-n-ar.] an. actiely [pal acing up-ar.]

to-ar. each other, hence the nae/

w@L'A*o+o+z-'

ii/ +echnical nae6 +#M*&( +H! %7'D

Your let han. is aboe, the center o the han. coering .o-n-ar., an. your right han. is

belo-, the center o the han. acing up-ar./ 7ith passie an. actie closing to-ar. each other, the

s-or. s-itches into your right han., preparing you to peror -ith the s-or./vO>?Z=_&!*}o=

'+*L*+6+d*%


Your let han. goes ro behin. the let si.e o your bac, rising up to-ar. the "ront, an. .ra-s

a leel arc, lo-ering to be in ront o your chest/ #t the sae tie, your bo.y rises, your let oot

traces a hal circle along the groun., then lits, as your right han. -ith.ra-s belo- your let han.

to tae the s-or., your let han. s-itching it into your right han., the han.s staying oine., one

pushing .o-n, one propping up/ Your right leg aes a oneAlegge. stance/

h'vO$%^b



24/64

HJ%

>/ %H''+ +H! (''%!

=@%A+y*wx,o~%^(

i/ %cholarly nae6

Your right han. hol.s the s-or., your let han. oring a s-or.san9s he@, an. [email protected]

.iagonally up-ar./ +he posture resebles the act o shooting a goose, hence the nae/

w@,oAX+ynR*nee%

ii/ +echnical nae6 ('*&( D*#('))Y CP7#D 7*+H # +HC%+*&( %+#B

7ith y right han. no- hol.ing the s-or., i an opponent attacs ro the let, * tae

a.antage o the situation by .oing a thrusting stab to his ace/

vO>?Z>_'+y*o*_+=

+>0*


$ontinuing ro the preious posture, your let leg steps out to the )et, coing .o-n into a

bo- stance, as your right han. hol.ing the s-or. goes up-ar. to the )et -ith a thrusting stab,

your let han. going along -ith your right han. to point out in the sae .irection/ Your right leg

aes an arro- stance/ Your ga3e is to the s-or. tip/ You are acing to the )et/



25/64

HJ'

:/ )#(! MC*G*&( P'%+C!

=@'A+y2^yR(

i/ %cholarly nae6 )#(! MC*G*&( P'%+C!

Your right han. hol.s the s-or., propping up hori3ontally, lie the statues o Mui@ing pointing

out -ho the top scholar is, hence the nae/

w@oAXGo'eee6oo

?Z!R.oo*'

+d**wxC0


$ontinuing ro the preious posture, your s-or. goes .o-n-ar., .ra-ing bac -ith a iling

cut, your bo.y going along -ith it by slightly leaning .o-n-ar./ +hen your s-or. carries up-ar.

ro belo-, the -rist turning oer, an. props up aboe your hea.top/ #t the sae tie, your let

leg lits an. your right leg stan.s oneAlegge., your let han.9s he@ place. belo- an. pointingto-ar. the s-or. tip/ Your ga3e is to-ar. the s-or. tip/

h'vO$%^b



26/64

HJE

;/ B)C! D#('& )!#!% +H! '$!#&

=@EAR!o(

i/ %cholarly nae6 B)C! D#('& )!#!% +H! '$!#&

+he s-or. tip goes slo-ly ro belo- an. behin. -ith a piercing thrust, the s-or. tip sticing

out higher than the hea.top, as in the iage suggeste. by the nae/

w@_%AXR+ee6o!R*,

o

ii/ +echnical nae6 %!*K*&( +H! 'PP'+C&*+Y, P*!$*&( +HC%+

#s an opponent attacs ro y right si.e, * cleae behin. -ith y s-or. an. press .o-n -ith

a iling cut/ +hen * t-ist y bo.y to .eal -ith the opponent attacing ro y let, going

.iagonally up-ar. ro belo- -ith a piercing thrust/

vO>?*G_'6!R!*

,o*wxo*+>o*H'

>)J


$ontinuing ro the preious posture, your s-or. cleaes behin., your let leg coing .o-n

into a bo- stance as the s-or. presses .o-n/ Your bo.y turning, the s-or. goes ro belo- an.behin. -ith a piercing thrust .iagonally up-ar. to the )et as a hori3ontal bla.e, your let han.9s

he@ guar.ing aboe your hea.top, your stance becoing let leg a bo-, right leg an arro-, the

s-or. stabbing out higher than your hea.top/ Your ga3e is to the s-or. tip/ You are acing to the

)et/ I# 4bo- stance eans the nee ben.ing/ #n 4arro- stance eans the leg pressing straight/J

h'vO$%^b



27/64

HJn

10/ +C& #'C&D, %+*M*&( #$'%% 7*+H +H! CPP! !D(!

=@nA!R*o+(

i/ %cholarly nae6 +C& #'C&D, %+*M*&( #$'%% 7*+H +H! CPP! !D(! [i/e/ 4center o

the han. acing up-ar.]

+-ist your bo.y an. turn aroun., the s-or. going ro up-ar. in the )et by cleaing across to

the ight, ulilling the nae/

w@AXe&'-*oceev!*

ii/ +echnical nae6 +C& #'C&D, )!!) $)!#*&(

*n the preious posture, as * thrust up-ar. to the )et, the opponent behin. e attacs again, so

* turn aroun. -ith a reerse cleaing, ie.iately bringing y s-or. across to preent hi/

vO>?Z=*_++

'*>+


$ontinuing ro the preious posture, t-ist your bo.y an. turn aroun., the s-or. changing

ro stan.ing up-ar. to the )et to cleaing across behin. you, your let han. ollo-ing close to

your right han./ #t the sae tie, your right leg changes to a bo- stance, your let leg to an arro-

stance/ You are turne. aroun. to be acing to the ight/



28/64

H=J*+H=J

11/ )!"+ E *(H+ ")*&(*&( %7!!P% Part 1

=@*+AR!*+!=(

i/ %cholarly nae6 )!"+ E *(H+ ")*&(*&( %7!!P%

7ith the s-or. hel. leel, it arcs in a s-eep all the -ay aroun. ro your let [right] to your

right [let], hence the nae/

wXen%!!2o%

%

ii/ +echnical nae6 Isae as the scholarly naeJ

7hen * peror +C& #'C&D, %+*M*&( #$'%% 7*+H +H! CPP! !D(!, the

opponent coers hisel, so * s-eep aroun. -ith an actie s-or., guar.ing y bo.y/ +he center o

the han. acing up-ar. is an 4actie s-or./ +he center o the han. acing .o-n-ar. is a 4passie

s-or./

vO>?EwR+!=+%O{+~*+.,!+0


7ith your let han. close to your right han., rotate the s-or. so the center o the han. is acing

up-ar. an. hol. the s-or. leel as you s-eep alost all the -ay aroun., turning ro the ight to

be again acing to the ight/ #t the sae tie, your eet piot, turning you until your legs are

crosse. an. slightly bent, the s-or. again [email protected] to the ight, your let han. touching your

right -rist, your bo.y .iagonally t-iste./ You are looing to the ight/

h'vO$%^b

i/ +he i..le o this posture9s oeent is as in the photo belo-6


29/64


30/64

HJ*+HJ

1?%**G=>*+.$%vO='1&bYour right -rist turns oer to ae an actie s-or., your let leg a.ancing a step to the )et, your

let han. -ith.ra-ing to touch your right -rist/ +he posture an. oeents are the sae as in

Posture 11/ eer to its photo/

HJp'

1F/ %8#)) MC*G*&( P'%+C!

=@p'A%4%p(

i/ %cholarly nae6 %8#)) MC*G*&( P'%+C!

+his posture is alost the sae as )#(! MC*G*&( P'%+C!, but the s-or. is hanging

.o-n, aing this pose appear saller, hence the nae/

w@'3AXR+!nee3'o4!

ii/ +echnical nae6 H#&(*&( CP%*D! D'7&, )*"+!D $H!$M*&(

+he opponent on y right attacs y lo-er bo.y, so * .ra- in y s-or. an. .o a paring action

to stop his attac, the s-or. hanging, lite. upsi.e .o-n, the tip hanging .o-n guar.ing y bo.y/

vO>?w~BE

=


+he s-or. s-ings, rotating, then lits up, hanging upsi.e .o-n, as your right leg a.ances to the

let an. then your let leg lits up, aing a oneAlegge. stance, your let han. staying close to the

insi.e o the s-or. bo.y/ You are acing to the )et/

h'vO$%^b



31/64

HYJ

15/ #*&B'7 +H'C(H +H! %C&

=@A)o^c(

i/ %cholarly nae6 #*&B'7 +H'C(H +H! %C&

+he s-or. points up-ar. into a ertical thrust, the s-or. oing lie a rainbo- that sees to

point to-ar. the sun, hence the nae/

w@o)AX!o? E=


Your right -rist turns oer up-ar., the s-or. correspon.ingly raising up-ar. to ae a

ertical line, your right leg reaining in its oneAlegge. stance, your let han. pointing up-ar. close

to your right ar/ You are acing to the )et/

h'vO$%^b



32/64

HJ

1O/ %P!#D +H! (#%% +' "*&D +H! %M!

=@ARo,o+^(

i/ %cholarly nae6 %P!#D +H! (#%% +' "*&D +H! %M!

+he s-or. .oes a .iagonal chop .o-n-ar. ro aboe, then a leel paring cut to the outsi.e o

your right oot, lie a la-no-er bla.e, hence the nae/

w@AXo_%%

ii/ +echnical nae6 P'C&$*&( %+#&$!, ")*&(*&( $H'P

"ro thrusting up-ar. -ith y s-or., * go into a pouncing stance an. sen. y s-or. into a

linging chop parallel -ith y [right] leg, using abun.ant strength an. aggressie po-er to sen.

the linging chop to-ar. the opponent9s oot/

vO>?5ZZ w

+*!*,o%


$ontinuing ro the preious posture, your let leg coes .o-n reaching out in ront o your

right leg, then your right leg goes in ront o your let leg to ae a pouncing stance pointing to the

)et "ront, as the s-or. rotates hal-ay an. goes parallel -ith your right leg in a linging chop,

continuing to the outsi.e o your right oot, your let han. pointing .iagonally up-ar. to your let

to assist the posture/

h'vO$%^b



33/64


34/64


35/64


36/64

H=JHJ21/ 7#%P !&+!% *+% &!%+ Part 2

=@A)&)*d*+o~)o^

(

i/ %cholarly nae6 7#%P !&+!% *+% &!%+

7ith both han.s hol.ing the s-or., sen. it or-ar., your let leg stan.ing oneAlegge., your

right leg liting [email protected]., slightly curling up-ar./ +he posture aes the other hal o the -asp

going to its nest, hence the nae/

w@!AXGo')+o*~%

ii/ +echnical nae6 (C#D*&( +H! B'DY, +C&*&( E %+#BB*&( [continue.]

$ontinuing ro the preious posture, -ith both han.s hol.ing y s-or., * stab to theopponent9s lo-er bo.y, y right leg liting an. reaching out to assist the posture/

vO>;Go'!o*%2-&&~)+

*!%*d*+\H!&,-


$ontinuing ro the preious posture, your bo.y slightly turns urther, your let oot pioting,

turning until you are acing squarely to the "ront, an. -ith both han.s hol.ing the s-or., the

s-or. [email protected] or-ar. alost leel, your right leg liting behin. you, your bac straightening to

assist the posture/ Your let leg stan.s oneAlegge., supporting your -hole bo.y/ You are acing to

the "ront, your hea. slightly lite./

h'vO$%^b



37/64


38/64

HYJ

25/ (#&D DCM! =*#&( "*%H!%=@A.{^/4(

i/ %cholarly nae6 (#&D DCM! =*#&( "*%H!%

Ben.ing at the -aist an. ben.ing your legs, the s-or. is hel. lie a ishing pole, the shape as

though you are angling or a ish, hence the nae/

w@3AXe^nee'3_o

.%Q%(l

ii/ +echnical nae6 B)'$M*&( $H!$M, !!%! #*%!

7hen * use CMH %P!#D% *+% 7*&(%, i the opponent attacs y belly, * .ra- in an. lit

y s-or. to bloc it, sen.ing y s-or. tip up-ar. -ith a reerse cleaing action, using the tip to

.o a tapping raising cut to his -rist/ +his posture is e@treely subtle/

vO>?1m 2 , e 3

E4Y0=


+he s-or. .ra-s in to-ar. your chest, liting an. blocing as you turn oer your -rist to s-ing

the s-or. tip out-ar. -ith a reerse raising action/ #t the sae tie, -ith.ra- your right leg to be

near your let leg, slightly ben.ing .o-n-ar., your let han. gathering in to touch the s-or.

han.le, the s-or. tip soe-hat high, an. your ga3e is to-ar. it/ You are acing to the ight/

h'vO$%^b



39/64


40/64


41/64


42/64

8y right leg steps out into a bo- stance, y s-or. stabs .o-n-ar., then * carry up-ar. to

preent the opponent ro attacing e aboe -ith his -eapon/

vO>?

?@=


Your right leg a.ances a step to the ear, aing a bo- stance, an. your bo.y leans or-ar.,

reaching .o-n-ar., the s-or. stabbing .o-n-ar., your let leg liting to be leel/ +hen your bo.y

lits up, the s-or. tip slo-ly rising up-ar. until aboe your hea.top, your bo.y no- stan.ing

upright, your let leg liting, your right leg stan.ing oneAlegge., your let han. pointing up-ar.,

parallel -ith the s-or./

h'vO$%^b$%Y'

i/ +he i..le o this posture9s oeent is as in the photo belo- Ibut the posture inishes its

oeent the sae as in Posture 15J6

H=J5

?d wB.=


43/64


44/64

HJ*+

+**+~*+

>&iii/ 8oeent .escription6

Your let leg retreats a step, your right han. linging across ro right to let -ith the center o

the han. acing up-ar./ Your right leg retreats a step, your right han. linging across ro let to

right -ith the center o the han. acing .o-n-ar./ Your let leg again retreats a step, your right

han. again linging across ro right to let -ith the center o the han. acing up-ar./ Your right

leg again retreats a step, an. no- your han.s each e@ten. hori3ontally to the si.es, the center o

your right han. acing .o-n-ar./ You are in a stance o let leg a bo-, right leg an arro-/ You are

acing to the "ront/

h'vO$%^b



45/64

HYJ

!&2o

ii/ +echnical nae6 ")*&( #$'%%, D#7 *& 7*+H # "*)*&( $C+

* a.ance to-ar. the opponent in ront o e, linging y s-or. across in ront o e, then

.ra- in -ith a iling cut until in ront o y chest/

vO>?Z=Z*+o

+;>}>%*{0)&-&


$ontinuing ro the preious posture, your right oot steps or-ar. into a bo- stance, your

bo.y reaching as the s-or. in your right han. lings across to the "ront/ Your let han. is no-

ebracing your right han., both han.s .ra-ing bac in ront o your chest, your right leg slightly

-ith.ra-ing into an epty stance, toes touching .o-n, aing a [hal] crouching posture, your

let leg slightly ben.ing into a squat, the s-or. tip pointing or-ar./ You are acing squarely to the

"ront/

h'vO$%^b



46/64

HJ

?I#%+5=+%

&)++5o**)+0&


7ith both han.s propping up the s-or., turn aroun. to the let, pioting on your let oot, your

right leg turning along -ith the oeent, the s-or. aing a large hal circle, until you are

acing to the ight/ 7ith.ra- the s-or. han.le in ront o your chest, 4reining in, the s-or.


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pointing straight ahea. to the ight, your right leg ollo-ing or-ar. to stan. ne@t to your let leg/

You are acing to the ight/ Your ga3e is or-ar. to-ar. the s-or. tip/

h'vO$%^b


HJ

AXe&e%+G=>~)

ii/ +echnical nae6 #D#&$!, )!!) %+#B

7ith the opponent in ront o e, * ae use o y reine.Ain posture, a.ancing -ith y right

oot an. [email protected] y ars to sen. the s-or. stabbing straight ahea. to his chest/

vO>?ZD J 5 "Z=

=


Your let leg a.ances a step Ito the ightJ, your let leg ollo-s, your ars e@ten., an. the

s-or. reaches out ro in ront o your chest/ You are acing to the ight/

h'vO$%^b



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49/64

HJ*+HJ

F0/ )!"+ E *(H+ BC%H*&( '"" DC%+ #(#*&%+ +H! 7*&D Part 2=@*+A}&'79&'!*'9!+

i/ %cholarly nae6 )!"+ E *(H+ BC%H*&( '"" DC%+ #(#*&%+ +H! 7*&D

+his is generally the sae as in the preious posture, e@cept in that case you -ere oing to

your let, -hereas in this case you are oing to your right/

w@+AX!+>n%

ii/ +echnical nae6 *(H+ +#PP*&( $H'P

8y s-or. tip, coor.inating -ith y step, .oes a tapping chop to y right/ +he technique has a

posture o .estroying things in eticulous succession, as -ell as o a bo- being .ra-n/

vO>?w- 5

~;.


+he s-or. raises up-ar. to your let, rotating hal-ay, your right oot a.ances a stri.e to your

right, ben.ing .o-n-ar., an. your let leg ollo-s or-ar. to stan. ne@t to it, both legs ben.ing

.o-n-ar., the s-or. going along -ith the .irection o your right leg9s a.ance -ith a tapping

chop, the s-or. stan.ing .iagonally/ You are acing to the ight ear/

h'vO$%^b


H=J*+HJ

F1/ )!"+ E *(H+ BC%H*&( '"" DC%+ #(#*&%+ +H! 7*&D Part


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51/64

HYJ

F5/ !+!#+*&( 7H!!)*&(

=@A$%!*+(

i/ %cholarly nae6 !+!#+*&( 7H!!)*&(

7hile using a retreating posture, the s-or. tip circles to your let an. right, hence the nae/

w@>!AX!;!*+H!

ii/ +echnical nae6 !+!#+, (C#D*&( +H! B'DY

8y legs -ith.ra- as y s-or. tip circles to y let an. right to guar. y -hole bo.y/

vO>?1mTB6 #QRS

#QRSUBD"Z;d==


$ontinuing ro the posture o !8B#$! +H! 8''&, irst your let leg retreats, the s-or. tip

turning oer, going .o-n-ar., then .ra-ing a circle up-ar./ +hen your right leg retreats, the

s-or. tip going .o-n-ar. to your right an. rear, then .ra-ing a circle up-ar./ +he tip hangs

.o-n, aing a posture o reerse hanging, your let han. in ront o your chest, your let oot

aing a liely step bac, touching .o-n eptily/ You are acing to the ight/h'vO$%^b


HJ

FO/ 8!+!'% $H#%*&( +H! 8''&

=@A=o=%2=>(

i/ %cholarly nae6 8!+!'% $H#%*&( +H! 8''& +he s-or. turns oer an. chops, then chops again/ 7ith both o these continuous chops coes

a retreating step an. an arcing s-or., ulilling the nae/

w@%sAX*^=IBo="7

e

ii/ +echnical nae6 $'&+*&C'C% $H'PP*&(

+he opponent coes in -ith an attac, so * retreat y let leg, turning oer y s-or. an.

chopping .o-n-ar./ * this action .oes not -or, * threa. y other leg through -hile chopping

again, eeping hi ro nearing e/

vO>?"ZQ[S

*!*+o=>*0{'os+*

%*~


52/64


$ontinuing ro the preious posture, your let leg retreats a step, the s-or. going along -ith it

by liting until in ront o your chest, the tip turning up-ar. ro belo-, .ra-ing a circle an.

chopping .o-n-ar. to the right, your let han. pointing to your let/ Your right leg then retreats a

step an. squats .o-n behin. your let nee, the s-or. -ith.ra-ing lite., again turning oer to

carry up-ar., .ra-ing a circle, an. chopping .o-n-ar., your let han. at the sae tie coiling a

circle along -ith the s-or. an. again [email protected] to the )et/

h'vO$%^b


HJ

F>/ PH'!&*G &'D% *+% H!#D +H!! +*8!%

=@A>`=%`(

i/ %cholarly nae6 PH'!&*G &'D% *+% H!#D +H!! +*8!%

+he s-or. tip oes along -ith your steps, each tie coing to a halt, this action continuing

three ties, hence the nae/

w@>AXee)e=>=%``

CD?"Z V.

WXG=>Ro%t`


$ontinuing ro the preious posture, your let leg retreats a step to the )et an. your right leg

a.ances a step past your let leg, your s-or. liting in ront o your chest, turning oer an. raisingup ro belo-, then chopping .o-n-ar. an. slightly halting/ Your let leg again retreats a step

an. your right leg again a.ances a step past your let leg, your s-or. liting in ront o your chest,

turning oer an. raising up ro belo-/ +he action is perore. continuously or a total o three

ties/

h'vO`$%^b$%^b

i/ #s each oeent in this posture coes to a slight halt, it is as in the photo belo-6


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HJ!

F:/ H#7M +C&% '!

=@!AGo'!!(

i/ %cholarly nae6 H#7M +C&% '!

$ontinuing ro the preious posture, +-ist your -aist an. turn aroun., your s-or. going

along -ith your bo.y by turning oer into a .o-n-ar. chop, hence the nae/

w@EAXGo'9E%e7Fe-!,7

T

ii/ +echnical nae6 %!*K*&( *$+'Y "'8 7*+H*& D!"!#+

$ontinuing ro the preious posture, * appear to be in .eeat, the opponent chasing e

-ithout letting up, so * turn all the -ay aroun. an. chop .iagonally .o-n-ar., .eeating hi bycatching hi o guar./

vO>?9YBZ[ # %+

Ro,*o*'+>+


$ontinuing ro the preious posture, ro an appearance o retreating in .eeat, t-ist your

-aist an. turn your bo.y all the -ay aroun., the s-or. going along -ith your bo.y9s turning by

raising up-ar./ 7ith your right oot slightly liting an. your let oot pioting, turn until you acing

to the ight, the s-or. going along -ith the oeent by chopping .iagonally .o-n-ar. ro

aboe, your let han. guar.ing aboe your hea.top, your legs in a stance o let leg a bo-, right leg

an arro-/ You are acing to the ight/

h'vO$%^b



54/64

HJE%

F;/ (#'KC %)#Y% +H! %!P!&+

=@EAG7(b!@EbAc=%*+y+H

+d*(

i/ %cholarly nae6 (#'KC %)#Y% +H! %!P!&+

+here is a story o the Han !peror (ao3u [also no-n as )iu Bang] behea.ing a snae, an.

there are .epictions o it that sho- hi in such a pose/ Your let han. is pointing, your right han.

hol.s the s-or. to .een. un.er your right ribs, an. your right leg stan.s oneAlegge., thus

ulilling the nae/

w@ZAX.'?\*+5*

{+o+G=>*'d*%!+H*x&0&


$ontinuing ro the preious posture, your [right] -rist turns oer, the s-or. liting an.

-ith.ra-ing, .electing -ith a iling cut, your let han. -ith.ra-ing to guar. at the s-or. han.le,

your right oot -ith.ra-ing, your let oot ollo-ing, both legs squatting .o-n/ [+his uch o the

oeent is lie Posture F o the %tartlingAainbo- %-or. set/] +hen your right leg a.ances a

step to the ight an. your let leg lits, aing a oneAlegge. stance, the s-or. bo.y hal hi..enbelo- your right ribs, your let han.9s he@ pointing or-ar./ Your ga3e is or-ar. to-ar. the

opponent/

h'vO$%^b



55/64

HYJ4

50/ 7*))'7 7!!P*&( B!H*&D

=@4A!4*_%^I4(

i/ %cholarly nae6 7*))'7 7!!P*&( B!H*&D

+he s-or. tip hangs .o-n behin. you, your let han. ollo-ing along -ith the posture/ *t is lie

a -illo- -ith its branches hanging .o-n, hence the nae/

w@oAXe-0!e+!7Q

! ii/ +echnical nae6 $#Y*&( CP7#D, !!%! %+#B

7hile y attention is upon stabbing to the lo-er bo.y o the opponent in ront o e,

an opponent behin. e su..enly attacs, an. since it is too late to turn aroun., * sen. y s-or.

tip stabbing through behin. e/

vO>?>]>eZ 5A

)BU^_*d*%


$ontinuing ro the preious posture, your let leg coes .o-n a.ancing a step, the s-or. tip

stabbing .o-n-ar./ +hen the s-or. carries up-ar. an. stabs through behin. you, your right leg

liting or-ar. to assist the s-or.9s po-er, your let han. going along -ith the s-or.9s action by

also hanging behin., your hea. .iagonally tilting bac to glance to-ar. the s-or. tip, your let leg

stan.ing oneAlegge./

h'vO$%^b

i/ +his posture inishes its oeent as in the photo6


56/64

HY=JH=J

51/ %7#))'7 !&+!% *+% &!%+ Part 1

=@A!:%5v(

i/ %cholarly nae6 %7#))'7 !&+!% *+% &!%+

+he t-isting your bo.y, -aing o your ar, an. bran.ishing o your s-or. is lie the s-aying

oeent o a s-allo- entering its nest, hence the nae/

w@!AXoKo!o

ii/ +echnical nae6 +C& #'C&D, P'P CP 7*+H # "*)*&( $C+

8y s-or. raises up an. turns oer into cleaing at the opponent, then goes along -ith the

turning o y bo.y by linging .o-n-ar. into a lo- raising, propping up -ith a iling cut/vO>?.# I +!*_

+.{o*{o&


Your right leg retreats a step, the s-or. raising up, turning oer into a .o-n-ar. chop, then

goes along -ith the turning o your bo.y by .oing a lo- raising action an. propping up -ith a

iling cut/ #s your bo.y turns aroun. to the right, your let nee ollo-s the bac o your right nee,

your legs crossing an. squatting .o-n, the s-or. propping up leel aboe your hea.top, your let

ar slightly bent, the ingers pointing up-ar./ You are acing to the "ront/

h'vO$%^b



57/64


58/64

HYJD

5


59/64

HYJG

5F/ P'*&+*&( +' +H! %C&*%!

=GM0cMG

i/ %cholarly nae6 P'*&+*&( +' +H! %C&*%!

+he s-or. in.icates the rising sun, your ga3e to-ar. the s-or. tip, the iage being o

-elcoing the sunrise/

w@NAGo'!+eoneeN&

ii/ +echnical nae6 D#7*&( B#$M 7*+H # "*)*&( $C+, P'PP*&( CP

$ontinuing ro the preious posture, y bo.y rises an. * stab out to y right/ * the opponent

.elects y s-or. an. attacs e, y s-or. .ra-s bac -ith a iling cut, propping .eensiely in

ront o y chest, an. * -atch or -hat he -ill .o ne@t/

vO>?>b c

8"ZdeY=


$ontinuing ro the preious posture, your bo.y rises, your right leg a.ances a step to the

ight, the s-or. stabbing out to the ight/ +hen -ith.ra- your right oot to stan. ne@t to your let

heel, your legs squatting .o-n, your right han. hol.ing the s-or. hori3ontally in ront o your

chest, your let han.9s he@ assisting at the s-or. han.le [poel accor.ing to the photo]/ Your

ga3e is to-ar. the s-or. tip/

h'vO$%^b



60/64

HYYJF

55/ !)#&( $#*!% +H! 8'C&+#*&

=@FA+n**+~^(

i/ %cholarly nae6 !)#&( $#*!% +H! 8'C&+#*&

+he s-or. an. your let han. e@ten. leel to the )et an. ight, lie a an carrying soething

on his shoul.ers, hence the nae/

w@zAXH~)z++~)+Od*'

ii/ +echnical nae6 %P!#D*&( H#&D%, )!!) %+#B

8y han.s sprea. apart, [email protected] leel, y s-or. stabbing leel to y right, y right leg

aing a oneAlegge. stance/

vO>?vB

Z=


$ontinuing ro the preious posture, your han.s sprea. apart, your let han. [email protected] leel

to the )et, the s-or. [email protected] leel to the ight, your let leg liting, your right leg stan.ing oneA

legge./ You are acing squarely to the "ront/h'vO$%^b

i/ +his posture inishes its oeent as in the photo6

HYJ2=

5O/ H')D CP # %+*$M '" *&$!&%!

=@2=A*-)o*7G*o(

i/ %cholarly nae6 H')D CP # %+*$M '" *&$!&%! +he s-or. goes to your let, both han.s hol. the s-or. han.le, an. the s-or. tip stan.s straight

up -ithout leaning in any .irection, place. aboe your let nee, ulilling the nae/

w@)*AX**)0*

ii/ +echnical nae6 B#)#&$*&( +H! +*P CP*(H+

8y s-or. chops .o-n-ar. to the )et -ith a iling cut an. stan.s upright, y ga3e to y let/

vO>?/.!*)

*o*0


$ontinuing ro the preious posture, your let leg a.ances a step to the )et, changing to a

stance o let leg a bo-, right leg an arro-, the s-or. going ro the )et to the ight, chopping.o-n -ith a iling cut, the s-or. bo.y stan.ing upright, both han.s hol.ing the s-or. han.le,


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Documents

Yang Style Taiji Sword According to Yin Qianhe