Xingyiquan (Chinese: 形意拳; pinyin: Xíng yì quán; Wade-Giles: Hsing I Ch'üan) is one of the major "internal" (nèijiā) Chinese martial arts. The word translates approximately to "Form/Intention Boxing", or "Shape/Will Boxing", and is characterized by aggressive, seemingly linear movements and explosive power. There is no single organizational body governing the teaching of the art, and several variant styles exist.A practitioner of xingyiquan uses coordinated movements to generate bursts of power intended to overwhelm the opponent, simultaneously attacking and defending. Forms vary from school to school, but include barehanded sequences and versions of the same sequences with a variety of weapons. These sequences are based upon the movements and fighting behavior of a variety of animals. The training methods allow the student to progress through increasing difficulty in form sequences, timing and fighting strategy.

Origins

Legend

The "Four Generals of Zhongxing" painted by Liu Songnian during the Southern Song Dynasty. Yue Fei is the second person from the left. This portrait is believed to be the "truest portrait of Yue in all extant materials."^[1]

The exact origin of xingyiquan is unknown. The earliest written records of it can be traced to the 18th century to Ma Xueli of Henan Province and Dai Long Bang of Shanxi Province. Legend, however, credits the creation of xingyiquan to the renowned Song Dynasty (960-1279 AD) general Yue Fei.

According to the book Henan Orthodox Xingyi Quan written by Pei Xirong (Chinese: 裴锡荣) and Li Ying’ang (Chinese: 李英昂), Xingyi Master Dai Long Bang "...wrote the Preface to Six Harmonies Boxing in the 15th reign year of the Qianlong Emperor [1750]. Inside it says, '...when [Yue Fei] was a child, he received special instructions from Zhou Tong. Extremely skilled in spearfighting, he used the spear to create fist techniques and established a skill called Yi Quan [意拳]. Meticulous and unfathomable, this technique far outstripped ancient ones."

"于乾隆十五年为“六合拳”作序云：“岳飞当童子时，受业于周侗师，精通枪法，以枪为拳，立法以教将佐，名曰意拳，神妙莫测，盖从古未有之技也。"^[2][3]

Throughout the Jin, Yuan and Ming Dynasties few individuals had studied this art, one of them being Ji Gong (also known as Ji Longfeng and Ji Jike) of Shanxi Province. After Yue Fei's death, the art was lost for half a millennium. Then, during the Ming and Qing Dynasties in Shaanxi Province's Zhongnan Mountains, Yue Fei's boxing manual was discovered by Ji Gong.

History

Yang Jwing-Ming argues that aspects of xingyiquan (particularly the animal styles) are identifiable as far back as the Liang Dynasty at the Shaolin Temple.^[4] Yue Fei, therefore, did not strictly invent xingyiquan, but synthesised and perfected existing Shaolin principles into his own style of gongfu which he popularised during his military service. Because this theory holds that Yue Fei based his style on existing Shaolin techniques, some consider Bodhidharma to be the originator of xingyiquan. Nonetheless, according to Yang, Yue Fei is usually identified as the creator because of his considerable understanding of the art (as shown in the work The Ten Theses of Xingyiquan, credited to Yue) and his cultural status as a Chinese war hero.

Other martial artists and Chinese martial art historians, such as Miller, Cartmell, and Kennedy, hold that this story is largely legendary; while xingyiquan may well have evolved from military spear techniques, there is no evidence to support that Yue Fei was involved or that the art dates to the Song dynasty. These authors point out that the works attributed to Yue Fei's role long postdate his life, some being as recent as the Republican era, and that it was common practice in China to attribute new works to a famous or legendary person, rather than take credit for oneself.^[5][6] One source claims that the author of the "preface" is unknown, since no name is written on the manuscript. Most practitioners just assume it was written by Dai Long Bang. Some researchers of martial arts believe that it was actually written in Shanxi during the final years of the 19th century.^[7] In addition, historical memoirs and scholarly research papers only mention Zhou Tong teaching Yue archery and not spear play.^[8][9] Yue historically learned spear play from Chen Guang (陈广), who was hired by the boy’s paternal grandfather, Yao Daweng (姚大翁).^[10][11]

With the late Ming-era and Ji Longfeng, evidence for the art's history grows firmer. Ji Longfeng's contributions to the art are described in the Ji Clan Chronicles (姬氏族谱; pinyin: Ji Shi Jiapu). Like the Preface, the Chronicles describes Xingyiquan as a martial art based on the combat principles of the spear. The Chronicles, however, attributes this stylistic influence to Ji himself, who was known as the "Divine Spear" (神槍; pinyin: Shén Qiāng) for his extraordinary skill with the weapon.

The master who taught xingyiquan to Ma Xueli is conventionally identified as Ji Longfeng himself. However, the traditions of the Ma family itself say only that Xueli learned from a wandering master whose name is unknown. Ji Longfeng referred to his art as Liu He, The Six Harmonies, a reference to the most highly developed spear style practiced in the late Ming military.

The Preface identifies Cao Ji Wu as a student of Ji Longfeng and the master who taught xingyiquan to Dai Long bang. However, other sources identify Dai's teacher variously as Li Zheng or Niu Xixian.

Xingyiquan remained fairly obscure until Li Luo Neng (also known as Li Nengran) learned the art from the Dai family in the 19th century. It was Li Luo Neng and his successors—which include Guo Yunshen, Li Cunyi, Zhang Zhaodong, Sun Lutang, and Shang Yunxiang—who would popularise xingyiquan across Northern China. Sun Lutang exchanged knowledge with Fu Chen Sung, who subsequently took this branch of the art to southern China.

Recent history

A simplified version of xingyiquan was taught to Chinese officers at the Military Academy at Nanjing during the Second Sino-Japanese War for close quarters combat. This included armed techniques such as bayonet and sabre drills alongside unarmed techniques.^[12]

Xingyiquan forms have been adapted to fit the needs of modern practitioners of the competitive sport of Wushu. The style is relatively rare in competitions because all wushu practitioners must compete in several mandatory events, which make xingyi a secondary priority in wushu circles.

Disputed history

Ancient Chinese texts, the source of xingyiquan knowledge, often contain characters whose meanings are obscure or have disappeared completely from the language. Specialised terms which describe historically-specific concepts (names of ancient weapons for example) are commonly interpreted with regards for their closest, modern linguistic equivalent. The results can be problematic, producing translations which are linguistically correct but inconsistent within a fighting or martial context.

Jargon from other martial arts seems to have entered the xingyiquan vocabulary through cross-training. For example, some schools refer to a training method of "Xingyi Push Hands" - a term more commonly in use in training taijiquan - which may be called by other schools "Five Elements Fighting"

The recognised founder of baguazhang, Dong Hai Chuan, was reputed to have fought Guo Yunshen with neither able to defeat the other - though it is possible that they were training together. It would have been controversial at the time for Dong Hai Chuan to have studied under Guo Yunshen, since Dong was the older of the two. The most neutral viewpoint would be to say that they trained together, which may explain the stylistic similarities between baguazhang and the xingyiquan monkey. Frantzis^[13] argues that this encounter never took place and that Guo and Dong had little contact with each other. Frantzis argues that a xingyiquan-baguazhang exchange was more likely to have occurred in Tianjin c. 1900 where xingyi masters Li Cunyi and Zhang Zhaodong, Bagua master Cheng Tinghua, and four other xingyi and bagua teachers lived together (Frantzis, 1998, p. 179). Sun Lutang states in his autobiography that the legendary fight between Guo Yunshen and Dong Hai Chuan never happened. The book states that the truth of the matter is that Guo Yunshen actually fought one of his older xingyi brothers and lost. Sun Lutang was a student of both Guo Yunshen and Cheng Tinghua so this stance on the subject seems to be one of the most accurate.

Treating the story of Dong Hai Chuan and Guo Yunshen as allegory, however, reveals a common training protocol among xingyiquan and baguazhang practitioners. Often, because baguazhang requires significantly more time for a practitioner's skill to mature, it is acceptable to learn xingyiquan first or simultaneously. Such a practitioner develops a tactical vocabulary that is more readily apparent than the core baguazhang movements.

The founder of Yiquan, Wang Xiangzhai studied under Guo Yunshen, and similarities in techniques between these arts can be seen. The primary standing postures of Yiquan trains separately what xingyiquan santishi (三體式) trains simultaneously.^{[citation needed]}

Characteristics and principles

Xingyiquan features aggressive shocking attacks and direct footwork. The linear nature of xingyiquan hints at both the military origins and the influence of spear technique alluded to in its mythology. Despite its hard, angular appearance, cultivating "soft" internal strength or qi is essential to achieving power in Xingyiquan.

The goal of the xingyiquan exponent is to reach the opponent quickly and drive powerfully through them in a single burst — the analogy with spear fighting is useful here. This is achieved by coordinating one's body as a single unit and the intense focusing of one's qi.

Efficiency and economy of movement are the qualities of a xingyiquan stylist and its direct fighting philosophy advocates simultaneous attack and defence. There are few kicks except for extremely low foot kicks (which avoids the hazards of balance involved with higher kicks) and some mid-level kicks, and techniques are prized for their deadliness rather than aesthetic value. Xingyiquan favours a high stance called Sāntǐshì (三體式 / 三体式), literally "three bodies power," referring to how the stance holds the head, torso and feet along the same vertical plane. A common saying of xingyiquan is that "the hands do not leave the heart and the elbows do not leave the ribs."

The use of the Santishi as the main stance and training method originated from Li Luo Neng's branch of xingyi. Early branches such as Dai family style do not use Santi as the primary stance nor as a training method.^{[citation needed]}

Overview

Five Element forms

Xingyiquan uses the five classical Chinese elements to metaphorically represent five different states of combat. Also called the "Five Fists" or "Five Phases," the Five Elements are related to Taoist cosmology although the names do not literally correspond to the cosmological terms.

Xingyiquan practitioners use the five elements as an interpretative framework for reacting and responding to attacks. This follows the five element theory, a general combat formula which assumes at least three outcomes of a fight; the constructive, the neutral, and the destructive. Xingyiquan students train to react to and execute specific techniques in such a way that a desirable cycle will form based on the constructive, neutral and destructive interactions of five element theory. Where to aim, where to hit and with what technique—and how those motions should work defensively—is determined by what point of which cycle they see themselves in.

Each of the elements has variant applications that allow it to be used to defend against all of the elements (including itself), so any set sequences are entirely arbitrary, though the destructive cycle is often taught to beginners as it is easier to visualise and consists of easier applications. Some schools will teach the five elements before the twelve animals because they are easier and shorter to learn.

The Five Elements of Xingyiquan

	Chinese	Pinyin
Splitting	劈	Pī	Metal	Like an axe chopping up and over.
Pounding	炮	Pào	Fire	Exploding outward like a cannon while blocking.
Drilling	鑽	Zuān	Water	Drilling forward horizontally like a geyser.
Crossing	橫	Héng	Earth	Crossing across the line of attack while turning over.
Crushing	崩	Bēng	Wood	Arrows constantly exploding forward.

It is perhaps unfortunate that the names used for the elements are used as fundamental names for applications of energy or jìn (勁), since it can be confusing to describe the "heng jin contained within pi quan". The jìn referred to by the five element names are not the only ones, there are many others.

Animal forms

Xingyiquan is based on twelve distinct animal forms (形; pinyin: xíng). Present in all regional and family styles, these emulate the techniques and tactics of the corresponding animal rather than just their physical movements. Many schools of xingyiquan have only small number of movements for each animal, though some teach extended sequences of movements. Once the individual animal forms are taught, a student is often taught an animal linking form (shi'er xing lianhuan) which connects all the taught animals together in a sequence. Some styles have longer, or multiple forms for individual animals, such Eight Tiger Forms Huxing bashi.

The ten common animals

	Chinese	Pinyin
Bear	熊	Xióng	In Xingyi, "the Bear and Eagle combine," meaning that the Bear and Eagle techniques are often used in conjunction with each other. There is a bird called the "Bear Eagle," which covers the characteristics of both forms.
Eagle	鷹	Yīng
Snake	蛇	Shé	Includes both Constrictor and Viper styles.
Tiger	虎	Hǔ	Features lunging with open-handed clawing attacks mimicking the pounce of a tiger
Dragon	龍	Lóng	The only "mythical" animal taught. In some lineages it is practiced separately from tiger because they are said to clash.
Chicken	鷄	Jī	Mimics the pecking movement of a chicken.
Horse	馬	Mǎ	Combination of Metal and a hand movement that mimics the action of a rearing a horse. Performed with tension, however.
Swallow	燕	Yàn	Follows the swift and random movements of the swallow by rotating position and circling the enemy with strong but quick foot movement. May refer to the Purple Swamphen (Rallidae)Coot.
Goshawk	鷂	Yào	This can mean 'Sparrowhawk,' though the more common word for "Sparrowhawk" used to be Zhān (鸇), which has fallen from use over the years. The Chinese word for "Goshawk" covers both the Goshawk and the Sparrowhawk. Note - in some lineages this animal is translated to mean the Grouse or small pheasant.
Monkey	猴	Hóu	Performed with light, empty movement, simple striking combined with parrying and deception of distance.

Other animals that may be present in a particular lineage

	Chinese	Pinyin
Crane	鶴	Hè
Crocodile	鼍	Tuó	The animal it is meant to represent is the Yangtze River alligator. Sometimes referred to as a water-skimming insect, or water lizard. The movements of a yangtze river alligator have been compared to those of a pig crossed with a dragon.
Tai	鳥台 (��) see note		This is a flycatcher native to Asia. Due to the rarity of this character it may be translated as ostrich, dove, hawk or even phoenix. The Chinese for this animal is a single character (��), not two (as written); this character is not in the earlier versions of the Unicode standard so not all computers are capable of displaying it.. For further information on this character, check the Unihan database for complete data on this character.
Blowfish	鮐	Tái
Turtle	龜	Guī	Represents the snapping turtle which uses quick head snapping motions to catch fish. Some schools will teach this in combination with Tuó (crocodile), considering them to be the same animal.
Ostrich	鴕	Tuó	Similar in stepping to Fire and Tiger, with counter-directional circling and double uppercuts. This animal represents the Chinese Ostrich, which some sources speculate could actually be the source of the Chinese Phoenix.

Branches

Xingyiquan has three main developmental branches:

• Shanxi
• Hebei
• Henan

However, the identification of three separate branches is tenuous because of the extensive cross-training that occurred across their lineages. This suggests that the branches did not evolve in isolation, thus diluting any major differences between them.

Schools of the Shanxi branch have a narrower stance, lighter footwork and tend to be more evasive. Schools of the Hebei branch emphasise powerful fist and palm strikes, with slightly different evasive footwork. Schools of the Henan branch are typically the most aggressive of the three^{[citation needed]}.

The Henan branch is known as the Muslim branch because it was handed down within the Muslim community in Luoyang to which its founder, Ma Xueli, belonged^{[citation needed]}. Henan branch is sometimes referred to by practitioners as Xinyi Liuhe Quan instead of simply xingyiquan. This may be attributed to the fact that the Muslim community of China was historically a very closed culture in order to protect themselves as a minority, thus retaining the older addition to the name of Xingyi. Liuhe means "Six Harmonies" and refers to the six harmonies of the body (hips, feet, knees, elbows etc.) that contribute to correct posture. This is not to be confused with the separate internal art Liuhebafa.

Both the Shanxi and Hebei branches use a twelve animal system with five elements while the Henan branch uses ten animals. Depending on the lineage, it may or may not use five elements. Due to the historical complexity and vagueness of the lineages, it is uncertain which branch would constitute the "authentic" Xingyiquan.

Weapons

Traditionally xingyiquan was an armed art. Students would train initially with the spear, progressing to shorter weapons and eventually empty-handed fighting. Xingyiquan emphasises a close relationship between the movements of armed/unarmed techniques. This technical overlap aims to produce greater learning efficiency.

Close up picture of the “Chicken-Sabre Sickle”

Common weapons:

• Spear
• Straight sword
• Sabre
• Large Sabre (used by infantry against mounted opponents)
• Long Staff
• Short Staff (at maximum length you could hold between the palms of your hands at each end - techniques with this weapon may have been used with a spear that had been broken)
• Needles (much like a double ended rondel gripped in the centre - on the battlefield this would mostly have been used like its western equivalent to finish a fallen opponent through weak points in the armour)
• Fuyue (halberds of various types)
• Chicken-Sabre Sickle. This weapon was supposedly created by Ji Longfeng and became the special weapon of the style. Its alternate name is "Binding Flower Waist Carry".^[14]

Weapon diversity is great, the idea being that an experienced Xingyi fighter would be able to pick up almost any weapon irrespective of its exact length, weight and shape.

Famous Figures

Since the validity of lineages are often controversial, this list is not intended to represent any lineage. Names are presented in alphabetical order using pinyin romanisation.

Famous Figures

Name	Chinese	Other Names	Notes
Cao Jiwu	曹繼武		Reported to have won first place in the Imperial Martial Examinations - sometime in the 17th or 18th century.
Chu Guiting	褚桂亭		One of disciples of Li Cunyi. He mastered Xingyi, Bagua and Taiji.
Dai Long Bang	戴龍邦		First student of the art from the Dai family.
Fu Chen Sung	傅振嵩		Chief instructor of baguazhang at the Nanjing Central Goushu Institute
Guo Yunshen	郭雲深		A legendary tale reports him as having been incarcerated for killing a man, and when confined to a prison cell only being able to practice Beng quan.
Hong Yixiang	洪懿祥		Founder of the Tang Shou Tao school in the 1960s
Ji Longfeng	姬龍峰	Ji Jike (姬際可)	Founder (or rediscoverer depending on how legendary you consider the Yue Fei tale.)
Li Luo Neng	李洛能	Li Nengran (李能然)	Nicknamed "Divine Fist Li"; popularizer of the art.
Li Tian Ji	李天骥	Li LongFei (李龙飞)	Author of "The Skill of Xingyiquan". Was the first Chairman of the Chinese Wushu Administration under Communist China. Helped to preserve Xingyiquan during the Cultural Revolution.
Li Cunyi	李存义		Famous Boxer. One of disciples of Guo Yunshen
Ma Xueli	馬學禮		Founder of the Henan or Muslim branch.
Shang Yunxiang	尚云祥		Founder of the Shang or "New Style" of the Hebei branch.
Song Shirong	宋世榮		Founder of the Song Family Style.
Sun Lutang	孫祿堂	Sun Fuquan (孫福全)	Author of several books on internal arts, also known for developing Sun style taijiquan.
Zhang Baoyang	张宝杨		*1921.Disciple of Wang Jiwu and Zhang Xiangzhai No.1.Founder and honorary president of the Beijing Xingyi Research Association.Author of the "Xing Yi Nei Gong",the book written with grandmaster Wang Jin Yu(†) together and also published in USA. Still has few high skilled disciples in Beijing.
Zhang Junfeng	張俊峰		Founded a major school in Taiwan in the 1950s.
Zhang Zhaodong	張兆東	Zhang Zhankui (張占魁)

Important Texts

A variety of texts have survived throughout the years, often called "Classics", "Songs" or "Theories".

• Classic of Unification
• Classic of Fighting
• Classic of Stepping
• Classic of Six Harmonies

http://en.wikipedia.org/wiki/Xingyiquan

1. The Kung fu handbook by Peter Warr

Introduction -- History of Chinese martial arts (kung fu/wushu) -- What is involved? -- Warm-up exercises -- Kung fu stances -- Stance, fist & foot training -- Hand & foot techniques--northern style -- Hand & foot techniques--southern style -- Tan tui forms -- Tan tui for self-protection -- Xingyiquan (mind & will kung fu) -- The xingyiquan forms -- Xingyiquan for self-protection.

2. Combat techniques of Tai Ji, Xing Yi, and Ba Gua : principles and practices of internal martial arts / Lu Shengli ; translated and edited by Zhang Yun and Susan Darley.

"A comprehensive introduction to the essential fighting techniques of Taijiquan, Baguazhang, and Xingyiquan, presenting authentic training material that has survived the cultural revolution"--Provided by publisher.

3. Xingyiquan: theory, applications, fighting tactics and spirit by Liang, Shou-Yu & Yang, Jwing-Ming.

Xingyiquan (Hsing I Chuan) is one of the best known Chinese internal martial arts.

Xingyi means "Shape Mind", and Quan means "Fist" or "Style". The name derives from the style's imitation of the movements and inner characteristics of twelve animals. The style was created by Marshal Yeuh Fei, a famous general of the Chinese Song Dynasty.

The practice of Xingyiquan, like Taijiquan, improves Qi circulation in the body and maintains health. In addition, the training builds up an abundant level of internal Qi so that both the physical body and the mental body can be strengthened.

This book presents traditional Xingyiquan training, including two sequences with many of their martial applications, and the famous fighting set "An Shen Pao". The most unique part of this book is the discussion of Xingyiquan theories and principles, drawn from many of the ancient poems and songs. Understanding these will greatly speed your training.

* Deepen your Understanding for Great Xingyi.

* Inspiration and Advice for a Lifetime of Practice.

* For All Levels of Experience.

Tai Chi is a common sight every morning in the parks and gardens of the Chinese speaking world, where these graceful flowing exercises are practiced by groups and individuals. The Tai Chi form is a dance-like sequence of moves and postures looking sometimes like slow motion martial arts with an invisible opponent, which is what it actually is or at least was originally meant to be.

Why Tai Chi and Martial Arts?

Tai Chi is indeed derived from Chinese Martial arts and still is a system for self defence. All martial artists recognise the need to remain calm and focused. We will also talk about finding our root or being grounded, put simply remaining on our feet and not getting pushed over, which is some thing everyone wants, literally and metaphorically, Tai Ch does precisely this, which is why it has been shown to reduced falls and slips, in older civilians and alleviate arthritic conditions, whilst at the same time is practised by more athletic martial artists looking to hone their fighting skills. Push Hands (Tui Shou) >>

What does it mean?

The phrase T'ai C'hi Chüan or Taijiquan depending of systems of transliteration, means, starting with the "T'ai C'hi" bit, literally the supreme or grand ultimate and figuratively meaning the cosmos. The familiar Ying-Yang circle symbol is also known as the Tai Chi symbol, as it sums up the cosmos with the contrasting yet complimentary yin and yang aspects of all things. The chüan part refers to a method or balancing and usually relates to the use of the fist, and therefore can be translated as pugilism or boxing. So Cosmic fists, yin-yang boxing, the fists of the supreme ultimate, take your pick. Chinese Philosophy >>

The origins of Tai Chi Chuan

The story told of Tai Chi's origin, is usual the one regarding the hermit and alchemist Zhang San Feng, in about 1300 AD. He retired to a life of seclusion and contemplation on Wudang Mountain, here he witness or dreamt a fight between a snake and a crane or sparrow or magpie (the stories vary). Zhang was apparently a master of Shoalin Kung fu and the graceful movement of the snake evading the sharp beak of the bird and visa-versa, the crane evading the snakes bite, inspired him to create a new method of fighting based on soft and yielding moves as opposed to hard and quick attacking. Historical corroboration for this story is very thin on the ground, it does however resonant T'ai Chi Ch'üan principles and is adopted as a creation legend. More >>

Brian Kennedy & Elizabeth Guo

"Metal destroys wood, wood destroys earth, earth destroys water, water destroys fire and fire destroys metal; thus each of the five formed fists can conqueror and be conquered".Traditional teaching of Chinese martial arts

Metal and martial arts have long gone together. In modern times Mixed Martial Arts events like the UFC or PRIDE, have their contestants enter the ring to the ear shattering beat of some heavy metal tune. Beyond similar tastes in music, body piercings and tattoos are common to both heavy metal “head bangers” and to the “head bangers” who fight in full contact mixed martial arts events. But “metal and martial arts” is not just a recent phenomenon; in traditional Chinese martial arts there too has been a link between “metal” and “martial arts” albeit in a far different sense than metal music’s link with mixed martial arts.

Metal is one of the five “elements” or five “phases” that are a central part of traditional Chinese cosmology. In Chinese they are known as the wuxing and along with metal are wood, earth, fire and water. The wuxing are one of the fundamental ways of classifying things that has been a part of Chinese culture since very early on and the idea has much in common with classical Greek notions of the five elements of air, fire, water, earth and aether. The wushing are both the “stuff” of all reality as well as being the five basic processes through which all the things, the “ten thousand things” to put it in classical Chinese philosophical cant, of this world undergo change.

The wuxing concept figures in a whole range of traditional Chinese arts including traditional Chinese medicine, geomancy (fengshui), cooking, painting, fortune telling and martial arts. A good example of the latter is the use of the wushing concept in the traditional Chinese martial arts system known as Xingyiquan. Xingyiquan is a system of Chinese martial arts whose forte is hand strikes. The name literally means Form-Mind-Boxing. The implication of the name is that the mind gives rise to the “form” which the boxing takes. Put another way, the implication of the name is that the mind, more specifically the intent (“yi” in Chinese), is in harmony with the “form” (“xing” in Chinese) of the techniques. Xingyiquan, is one of the three major internal arts of China; the other two being baguazhang (8 Diagram Palm) and the well known taijiquan (Tai Chi Boxing).

Xingyiquan uses what they call the “5 Element Fist”, i.e. the “wuxing fists” as their core training method. The five fist forms are called splitting, drilling, crushing, pounding and crossing and the five fist are linked up to the wushing. Splitting, the first of the five fists, is metal. The image of metal being one of aggressiveness and strength, Xingyiquan teachers often tell their students that “metal fist is like an axe, rising and falling, breaking apart the opponent’ defense”. In contrast the next of the five fist is linked up with the water element of the wushing. It is flowing and soft and the idea is to dodge around the opponent’s attack. Next comes crushing fist which is tied to the element of wood, its “flavor” is being lively and aware and being able to react quickly to the opponent. Fourth is pounding fist which is linked to the element fire. The focus here is quick aggressiveness, charging in to cut off the opponent’s attack. The last of the five fists is crossing fist, which is the earth element. It is centered and calm and neutralizes the opponents attack.

Wuxing in Chinese martial arts is more than simply having five core movements, the concept of wuxing also carries with it the idea that each of the five core movements affects one of the five organ systems. In traditional Chinese medicine the wuxing idea also is used; for example there are five major organ systems or perhaps more accurately, five processes. In Xingyiquan each of these organ systems is strengthened by its corresponding fist form. Metal, which is splitting fist, strengthens the lung system. So what you have is a set of correspondences between the martial arts movement and the organ system.

Also too, the idea of the two cycles of wuxing figure into the idea’s use in martial arts. As the opening quote alludes to, in traditional Chinese thinking there is a cycle of creation and a cycle of destruction among the five elements. Metal for example overcomes wood (as an axe chops a tree), but in turn metal is overcome by fire (fire melting metal). This idea of mutual creation and destruction is carried over to the martial arts use of the wushing. Each of Xingyiquan’s five fists can conquer and be conquered by one of the other fist (see graphics).

So whether by music beats or by fist beats metal and martial arts go together.

Mr. Kennedy and Ms. Guo are the co-authors of Chinese Martial Arts Training Manuals published by North Atlantic Books in 2005. They also are regular contributors to Classical Fighting Arts Magazine.

http://taiwanease.com/features/martial-arts/metal-martial-arts.php

Here at wuxing wushu, Brighton (Five Elements Martial Arts) we are dedicated to the teaching of traditional Chinese skills, including taiji quan (tai chi chuan), shaolin gongfu (kungfu) and qigong (chi kung) at various venues in and around Brighton and Hove.
Authentic martial arts taught by a qualified, friendly Instructor.
These well-structured classes suit all abilities in a welcoming, non-intimidating environment.
Private lessons are also available.

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Wu Xing {pronounced wu-shing}, is actually the short form for “Wu Zhong Liu Xing Zhi Chi” or the five types of chi dominating at different times. As the earth rotates around the sun, 5 seasons are produced, late summer is counted as a season and is seen as a transitional time. These phases affect all life process on earth including the internal workings of the human body. The goal of our Healing Arts program to understand exactly how each of us are affected by this cycle and how to live harmoniously with it. It’s your choice whether you would like to study the Healing Arts on their own or become a Wu Xing Martial artist, where you combine the health system with the martial arts.

The 5 Animal System of Kung Fu is also referred to as Wu Xing: Dragon, Leopard, Snake, Tiger, Crane. {Tai Chi is considered Crane and Snake}. Each style has a different approach to movement and combat, and is ruled by it’s own psychology and personality. Together, they form a dynamic fighting system. By studying the various animal systems you will have the capacity to change your strategy as often as needed, putting you in harmony your opponent, turning your body into the ultimate weapon.

Crane

Develops strength in the tendons and ligaments, regulates the liver and helps with anger. This style improves concentration, balance and accuracy. The crane overcomes the opponent by remaining calm, it studies the weaknesses of the opponent and moves faster.

Dragon

Develops strength in the heart, cultivates joy and improves mental alertness. This powerful style is light, evasive and unpredictable.

Leopard

Strengthens the stomach and spleen and helps with worry and anxiety. This style builds strength and flexibility and cultivates agility.

Snake

The practice of this style builds strong internal energy, strengthens the lungs, develops sensitivity, and cultivates the skill of yielding to force; allowing the practitioner to take on opponents who are much stronger. Through time the body becomes like a chain or a whip. Snake style helps control grief in the body.

Tiger

This style builds deep strength in the bones and muscles, invigorates the kidneys and helps control fear by developing courage.

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五 行 手 Wu-Xing Hand Techniques

Wu-Xing Hand Techniques are the basic five hand techniques practiced throughout our six crane forms and in all movements. Wu-Xing Hand techniques are Wood-Hand Technique, Fire-Hand technique, Earth-Hand technique, Metal-Hand technique, and Water-Hand technique as illustrated here:

Wood-Hand 木手

Shui-Hand 水手

Huo-Hand 火手

Jin-Hand 金手

Tu-Hand 土手

Wu-Xing Hands are also used throughout 6 Hand-Positions Practice, 12 Hand Techniques on Qi Practice, and 18 Two-Person Techniques Practice.

Why those hand techniques were named in our white crane system may not be obvious; however, by tracing the meaning of Wu-Xing, it may provide us some clue how each hand movement is named and matches the characteristics/functions of the name Wu-Xing.

Wood-Hand 木手: the characteristic of Wood is "straight," so Wood-Hand trusts straight through fingers.

Fire-Hand 水手: the characteristic of Fire is "expanding upward," so Fire-Hand points fingers upward, and Qi goes out at the heel of the palm.

Earth-Hand 土手: the characteristic of Earth is "receiving," so the fist-like Earth-Hand can take punishment and deliver power to strike the opponent's body.

Metal-Hand 金手: the characteristic of Metal is "changing," So metal-Hand changes in form, can be used to block or counter-attack.

Water-Hand 水手: the characteristic of Water is "flow downward," so Water-Hand flows or flushes downward.

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陰 陽 五 行
Yin-Yang-Wu-Xing

自 然 界							五 行	人 體
五音	五味	五色	五化	五氣	五方	五季		五臟	六腑	五官	形體	情志	五聲	變動
角	酸	青	生	風	東	春	木	肝	膽	目	筋	怒	呼	握
微	苦	赤	長	暑	南	夏	火	心	小腸	舌	脈	喜	笑	忧
宮	甘	黃	化	溼	中	長夏	土	脾	胃	口	肉	思	歌	嘒
商	辛	白	收	燥	西	秋	金	肺	大腸	鼻	皮	悲	哭	咳
羽	咸	黑	藏	寒	北	冬	水	腎	膀胱	耳	骨	恐	呻	栗

Five Movements	In Nature
	Five Seasons	Five Directions	Five Energy	Five Transformation	Five Colors	Five Tastes
Wood	Spring	East	Wind	Birth	Green	Sour
Fire	Summer	South	Heat	Growth	Red	Bitter
Earth	Late-Summer	Center	Wet	Transforming/ Flowering	Yellow	Sweet
Metal	Autumn	West	Dry	Harvest/ Collect	White	Pungent
Water	Winter	North	Cold	Retain (Store-up)	Black	Salty

Five Movements	In Our Bodies
	Organs	Sense Organs	Body	Emotions
Wood	Liver	Eyes	Tendons	Anger
Fire	Heart	Tongue	Vascular System	Joy
Earth	Spleen	Mouth	Muscles	Thinking
Metal	Lungs	Nose	Skin	Grief
Water	Kidneys	Ears	Bones	Fear

Yin-Yang-Wu-Xing 陰陽五行
Chinese culture is a culture of Yin and Yang. In their intricately intertwined relationship, it is not known whether the ancient culture spawned the Yin-Yang theory or the theory created the culture; however, ancient Chinese people, through their empirical experience, think that the world is not made of "solid" materials, in contrast to the modern thinking, but the "movement" or "flow" of two Qi/energy called "Yin" and "Yang." As harmonized Yin and Yang breeds the "ten-thousand things," that is, everything, so everything has a Yin and Yang.

However, though Yin and Yang "two" Qi is used in the language, the primal Yin and Yang are not two but one inseparable two phases of the primal energy called Yuan-Qi 元氣. Yuan-Qi, the life force, is pure energy; it contains the properties of "contraction" and "expansion."

According to ancient Chinese legend, before the beginning, as it is not recognizable, the world is known as Hun-Tun, chaos. As the Yuan-Qi flows, it splits into two Qi; the one with properties of contraction is called "Yin," and the other is called "Yang." Yin [Qi] contracts and forms the earth, and Yang [Qi] floats and forms the sky. And the interaction of the sky and earth gives rise the "world" phenomenon, as the harmonized Yin and Yang breeds everything.

The way of Yin and Yang breeding everything is through a process called Wu-Xing. Wu-Xing reflects five different "movements"/"flows" of Yin and Yang. Before the world is formed, the movement of Qi cannot be recognized, so it's pure Yin. The movement, the beginning of Yang, liquefies the extreme Yin and forms the "Water" (moist). The initial Yang is strong, and is manifested as "Fire" (heat). Nourished by "Water" and "Fire," "Wood" grows (warm). As Yang continues to expand, it cools, and the Yin-Yang condenses, "Metal" forms. As the Yin and Yang tug (moist, heat, warm, and cool), a balance is reached in the end, "Earth" forms. The five movements produce the five elements, which are thought to be the fundamental building materials of the whole "world," the world comes to existence. And that's the world of Yin-Yang-Wu-Xing.

Yin-Yang-Wu-Xing is matured and fully developed in TCM (Traditional Chinese Medicine). In TCM, the human life and forms are viewed as a microcosm of the whole world, also reflect the way of Yin-Yang-Wu-Xing.


(The following is paraphrased from "Traditional Chinese Medicine Fundamental Theory," Shanghai Scientific Technology Publishing.)


The characteristics/properties of Wood are (like a tree) to grow, to expand [like a tree], to channel, and etc.
The characteristics/properties of Fire are (like fire) to heat, to move upward, to expand [like fire], and etc.
The characteristics/properties of Earth are (like earth/dirt) to support, to transform (grow), to receive, and etc.
The characteristics/properties of Metal are (like metal [changing states]) to refrain, to condense, to contract, and etc.
The characteristics/properties of Water are (like water) to irrigate, to cool, to move downward, and etc.

Based on these characteristics/properties, five movements/elements are also developed as characteristics for ancient Chinese people to relate themselves to their environments:

In nature:
Wood -- to season: spring; to direction: east; to Qi/energy: wind; to transformation: birth; to color: green; to taste: sour.
Fire -- to season: summer; to direction: south; to Qi/energy: heat; to transformation: growth; to color: red; to taste: bitter.
Earth -- to season: late-summer; to direction: center; to Qi/energy: wet; to transformation: transformation/convert; to color: yellow; to taste: sweet.
Metal -- to season: autumn; to direction: west; to Qi/energy: dry; to transformation: harvest/collect; to color: white; to taste: pungent.
Water -- to season: winter; to direction: north; to Qi/energy: cold; to transformation: retain (store-up); to color: black; to taste: salty.

(These phenomenons are quite obvious if one lives in the central Mainland China.)

In our bodies:
Wood -- to organ: lever; to sense: eyes; to body: Tenders; to emotion: anger.
Fire -- to organ: heart; to sense: tongue; to body: Vascular system; to emotion: joy.
Earth -- to organ: spleen; to sense: mouth; to body: Muscles; to emotion: thinking.
Metal -- to organ: lungs; to sense: nose; to body: Skin; to emotion: grief.
Water -- to organ: kidney; to sense: ears; to body: Bones; to emotion: fear.

(It should be clear that "organs" are not only meant the organs of modern counterpart but a whole system which converts/transforms the five elements (based on the 5 characteristics/ properties) to generate a life force which substantiates the life.)

The 5 elements/characteristics also interact/relate to each other in an elaborated relationship.

The basic enhance/reduce relationships are:

Wood enhances Fire,
Fire enhances Earth,
Earth enhances Metal,
Metal enhances Water,
Water enhances Wood,

and,
Wood reduces Earth,
Earth reduces Water,
Water reduces Fire,
Fire reduces Metal,
Metal reduces Wood.

With each element/characteristic control and being controlled by each other, life thrives in the balance. When the life-force flows vigorously, life is said to be strong and healthy, Yin-Yang-Wu-Xing thus provides a foundation for TCM.

"Five movements are the substance of Yin and Yang, and Yin and Yang are the Qi (energy) of five movements. Qi without substance cannot stand (exist), substance without Qi cannot move (transform), and the transformation is what makes Yin and Yang (life) flow."--"Lei-Jing-Tu-Yi," 類經圖翼-- That's to say, in the view of ancient Chinese, Yin-Yang-Wu-Xing provides them explanation not just a cosmos view of how do the "nature" and we human come about, but also how these two entities are related to each other, and consequently presents a totally different view/form of life--a life phenomenon that is not fixed in mind and body configuration but the fluidity of Yuan-Qi, where Yin-Yang is the energy and Wu-Xing provides the rhythm and the life force flows vigorously in the balance. And that is the life of Yin-Yang-Wu-Xing.

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