A Detailed Look at the Theories of Xingyi, Bagua and Taichi (詳論形意八卦太極之原理) - Continuation and End

太極拳發明於張三丰祖師。盡人知之。惟練此拳之起點。當先求一個不偏不倚。不上不下。至簡至易之道。拳經云。抱元守一。而虛中。虛空而念化。實其腹而道心生。卽此意也。太極從無極而生。為無極之後天。萬極之先天。承上啓下。能與天地合德。日月合明。四時合序。與鬼神合其吉凶。練之到至善處。以和為體。和之中智勇生焉。極未動時。為未發之和。極已動時。為已發之中。所以拳術一道。首重中和。中和之外。無元妙也。故太極拳。要純任自然。不尚血氣。以蓄神為主。周身輕靈〔。不卽不離。勿妄勿助。內天德而外王道。〕將起點之極。逐漸推之。貫於周身。無微不至。易曰。黄中通理。正位居體。卽此意也。昔年曾聞之師云。此起點之極。與丹道中之元關相同。鄙人研究數十年。不敢云確有心得。然考其本源。實與形意八卦。其理相通。不過名稱與形式之動作不同耳。至若善養氣練神。則初無少異。譬之形意。地也。八卦天也。太極人也。天地人三才。合為一體。混然一氣。實無區分。練之久。而動靜〔自如。頭頭是道。又何形意。八卦。太極之〕有哉。至峨眉派。傳之梅花八式。志公禪師亦重氣養之功。兹不必更贅也。

孫祿堂

"Taiji Boxing was invented by Zhang Sanfeng, as everyone knows. At the beginning of practicing this art, you should first seek for the method of “neither leaning nor inclining, neither rising nor falling, acting with absolute simplicity and absolute ease”. A boxing text says [paraphrasing from the kestrel section in his own Xingyi manual]: “By embracing primal oneness, there is emptiness. With emptiness, there is transformation. Then with fullness in the abdomen, the Daoist mind is born.” It is this idea.
Taiji [“grand polarity”] comes from wuji [“nonpolarity”]. It is nonpolarity’s acquired state and the innate quality of all things, and thus the transition from nothing to everything, [again from his Xingyi manual:] “just as the sky and ground combine to make virtue, the sun and moon combine to make illumination, the four seasons combine to make the cycle of the seasons, and ghosts and spirits combine to make the foretelling of good or bad fortune.” If you practice it to a high level, harmoniousness will manifest, then from within harmoniousness, wisdom and courage will arise. Right before taking any action, there is the harmoniousness of not yet expressing. Once action is taken, there is the centeredness of having expressed.
Therefore the way of this boxing art most of all emphasizes centered harmoniousness. Without this centered harmoniousness, there would be nothing wonderful about it. Thus Taiji Boxing seeks to be purely natural and puts no value on vigor. It aims to store up spirit, making the whole body nimble, so that there is neither reaching nor separating, neither rashness nor rescuing, internally the virtue of Nature and externally the way of kings.
Right from the start, gradually work at it until a centered harmoniousness fills your whole body, reaching even to the smallest part. It says in the Book of Changes [hexagram 2 explanation]: “The gentleman takes yellow [the color associated with the center, i.e. centeredness] as his guiding principle, which corrects his behavior and affects his very being. [The beauty within this condition reaches to his extremities, making everything he does sublime.]” This is the idea.
My teacher [Hao Weizhen] once told me: “Right from the start, this art is the same as the ‘primal gateway’ of the elixirists.” I have been studying this art for several decades, but I would not dare to say that I have a true grasp of it. However, when considering its origins, it is truly interconnected with Xingyi and Bagua in terms of theory. It is only different in its movements and the names of its postures, while as for its qualities of nurturing energy and developing spirit, there is not the slightest difference.
By analogy, Xingyi is the ground, Bagua is the sky, and Taiji is mankind. The three substances of sky, ground, and mankind are merged into a single whole, mixed into a union with no meaningful distinctions. After practicing for a long time, there is fluency in both movement and stillness, and clarity as to the reasoning of the method. Ah, what a thing it is to have Xingyi, Bagua, and Taiji! As for the Emei school’s transmission of the Eight-Posture Plum Blossoms art, as well as Zen master Bai Zhi’s breathing exercises, it is not necessary to go into them here."

Translation by Paul Brennan of "A Detailed Look at the Theories of Xingyi, Bagua and Taichi" (詳論形意八卦太極之原理) by Sūn Lùtáng (孫祿堂), to be found in the Brennan Translation blog.

A Detailed Look at the Theories of Xingyi, Bagua and Taichi (詳論形意八卦太極之原理) - Continuation

八卦拳始於有淸咸同之季。直隸文海董海川先生。漫遊南省。於皖屬渝花山。得異人之傳。謂之八卦者。由無極而太極。太極生兩儀。兩儀生四象。四象生八卦。參互錯綜。拳卽運用八卦之理。何以言之。今腹為無極。臍為太極。腎為兩儀。兩臂膊與腿為四象。其生八卦者。兩臂與腿。曲之為八節。共生八八六十四卦者。兩手十指。每指三節。惟大拇係兩節。八卦共二十四節。加兩拇指四節。得二十八節。加兩足念八節。為五十六。又加兩臂兩腿之八節。為六十四節。故六十四卦，為拳之體。體為三百六十四爻。則互為其用也。每爻有每爻之意。陽極〔而陰。陰極而陽。逆中行順。順中用逆。求〕其中和。氣歸丹田。含有靜極而動。動極而靜之意。上下相通。是為內呼吸。此拳與道家工夫。相為表裏。不特此也。乾坤坎離。等卦。或為龍。或為馬。或為牛。皆取象于物。心在內。而理周於物。物在外。而理具於心。近取諸身。遠取諸物。奇正變化。運用不窮。而又剛柔相濟。虛實兼到。空而不空。不空而空。此八卦拳之妙用也。

孫祿堂

"Bagua Boxing began during the reigns of Emperors Xianfeng [1850-1861] and Tongzhi [1861-1875]. Dong Haichuan of Wenhai, Hebei, was roaming through the southern provinces. At Mt. Yuhua in Anhui he was taught by an extraordinary man an art called Bagua [“eight trigrams”], as in [from the Book of Changes, Great Treatise, part 1:] “Nonpolarity generated the grand polarity, the grand polarity generated the dual aspects, the dual aspects generated the four manifestations, and the four manifestations generated the eight trigrams.” The eight then mix together intricately. The boxing art is the theory of the utilizing of the eight trigrams. What does this mean?
The abdomen represents nonpolarity. The navel is the grand polarity. The kidneys are the dual aspects. The arms and legs are the four manifestations. They generate the eight trigrams by way of the two joints of each limb [i.e. elbow/knee, wrist/ankle]. To then multiply this eight by eight and make sixty-four: the ten fingers each have three joints, except for the thumbs, which have only two, and this totals an additional twenty-four, then adding the four joints of the thumbs brings the additional total up to twenty-eight, then adding the same [twenty-eight] joints from [all of the toes of the] feet brings the additional total up to fifty-six, then with the initial eight limb-joints this makes sixty-four joints. The sixty-four hexagrams in this way make the basis of the boxing art.
Then the three hundred sixty-four [three hundred eighty-four] lines of the hexagrams [each hexagram of course having six lines] interact to produce effects. There is an intention of every line having the potential to become the other type of line [active lines (called “nines”) able to become passive lines (called “sixes”) and vice versa]. When the active aspect reaches its peak, there is the passive. When the passive aspect reaches its peak, there is the active. Within going against, there is the action of going along, and within going along, there is the function of going against.
Seek for a state of centered harmoniousness, energy returning to your elixir field. Contained within this is the idea that when stillness reaches its peak, there is movement, and when movement reaches its peak, there is stillness. This up and down switching of states [in the way that the trigrams composing a hexagram can be flipped above and below to produce a new hexagram] is called “internal breathing”.
This boxing art is interrelated with Daoist practices not only in this way. The trigrams are also each associated with animals, for instance the dragon [associated with the Zhen trigram], horse [Qian trigram], cow [Kun trigram], and so on, all represented by animals. “The mind is internal, yet its reasoning extends to all things. Things are external, yet their principles are all there in the mind.” “For what is near, examine within the self. For what is distant, observe all things.” There is limitless alternating between direct and indirect techniques. There is also hardness and softness assisting each other so that emptiness and fullness are mutually achieved, and you can be empty but not empty, not empty and yet empty. Such are the subtleties of Bagua Boxing."

Translation by Paul Brennan of "A Detailed Look at the Theories of Xingyi, Bagua and Taichi" (詳論形意八卦太極之原理) by Sūn Lùtáng (孫祿堂), to be found in the Brennan Translation blog.

A Detailed Look at the Theories of Xingyi, Bagua and Taichi (詳論形意八卦太極之原理)

詳論形意八卦太極之原理

拳術之犖犖大者。約分三派。一少林。二武當。三峨眉。其餘門類繁多。大半不出此三派之範圍，少林始於達摩之易筋、洗髓、兩經。至有宋岳武穆。始有形意拳之名。卽易筋之作用也。謂之形意。形卽形式。意卽心意。由心之所發。而以手足形容也。其拳有五綱十二目。五綱者。金、木、水、火、土，五行也。而拳中、有劈、崩、躦、炮、横、之五拳。十二目者。卽十二形也。有龍、虎、猴、馬、鼍、鷄、鷂、鴿、燕、蛇、鷹、熊、是也。其取此十二形者。卽取性能。而又能包括一切。所謂盡人之性。則能盡物之性。何以知其然也。劈拳屬金。在人〔屬肺。崩拳屬木。在人屬肝。鑽拳屬水。在〕人屬腎。炮拳屬火。在人屬心。横拳屬土。在人屬脾。練之旣久。可以袪五臟之病。此謂居人之性也。至若龍有搜骨之法。虎有撲食之猛。猴有縱山之靈，熊有浮水之性。推之其他八形。各有其妙。此所謂居物之性也。人物之性旣居。起落進退。變化無窮。是其智也。得中和。體物不遺。是其仁也。心與意合。意與氣合。氣與力合。為內三合。肩與胯合。肘與膝合。手與足合。為外三合。內外如一。成為六合。是其勇也。三者旣備。動作運用。上下相連。手足相顧。至大至剛。養吾浩然之氣。與儒家誠中。形外之理。一以貫之。此形意拳之大槪也。

孫祿堂

"The major boxing arts are generally divided into three schools: Shaolin, Wudang, and Emei. As for the rest, there is a great variety, but more than half can be classified under these schools. Shaolin began with Damo’s two classics – Sinew Changing and Marrow Washing. Then Yue Fei in the Song Dynasty started what was called Xingyi Boxing, applying his own Bone Changing Classic and calling his art Xingyi [“form” & “intent”]. “Form” means the shape. “Intent” means the mental intention. What is expressed from the mind manifests in the hands and feet.
This boxing art has “five cores” and “twelve imitations”. The five cores are the five elements – metal, wood, water, fire, earth – which make the five boxing techniques of chopping, crashing, drilling, blasting, and crossing. The twelve imitations are the twelve animals: dragon, tiger, monkey, horse, alligator, rooster, hawk, kestrel, swallow, snake, eagle, and bear. Strive for the instincts and abilities of these twelve animals, and to be able to incorporate within yourself everything they can do. Thus it is said [in the Zhong Yong]: “Giving full expression to human nature, one is thus able to give full expression to the nature of animals.”
What should we understand to be the nature of this art? The chopping technique corresponds to metal, and in the body to the lungs. The crashing technique corresponds to wood, and in the body to the liver. The drilling technique corresponds to water, and in the body to the kidneys. The blasting technique corresponds to fire, and in the body to the heart. The crossing technique corresponds to earth, and in the body to the spleen. After practicing for a long time, it can dispel the ailments of the five organs. This is called “ingraining human nature”.
As for the animals, the dragon has the method of shrinking its body, the tiger has the fierceness of pouncing on prey, the monkey has the nimbleness of bounding up hillsides, the bear [alligator] has the quality of floating on water, and the other eight animals each have their own ingenuities. This is called “ingraining the nature of animals”.
When both human and animal natures are ingrained, then lifting and dropping, advancing and retreating, transforming without limit, will all as a result be performed with resourcefulness.
Obtaining a state of centered harmoniousness, the essence of the animal does not get discarded and yet the result is humanity.
Mind is united with the intention, the intention united with the energy, and the energy united with the power. These are the three internal unions. The shoulder is united with the hip, the elbow united with the knee, and the hand united with the foot. These are the three external unions. The internal and external unions merged together makes the six unions, and the result is courage.
Once these three things [resourcefulness, humanity, courage] are prepared, then in every action and movement, upper body and lower will be coordinated with each other, hand and foot will be aligned with each other, and you will be [from Mengzi, chapter 2a:] “nurturing your noble energy… until it is vast and strong”. It is within the Confucian concept of sincerity that can be found the key to these external shapes, the [from the Lun Yu, 15.3:] “single principle running through the whole thing”. These are the main ideas of Xingyi Boxing."

Translation by Paul Brennan of "A Detailed Look at the Theories of Xingyi, Bagua and Taichi" (詳論形意八卦太極之原理) by Sūn Lùtáng (孫祿堂), to be found in the Brennan Translation blog.

Instruction on the Eight Words Workout (正門八字功) by Dǐ Guóyǒng (邸國勇)

The Proper Gate for the Eight Words Workout (正門八字功) attributed to Lǐ Cúnyì (李存義)

正門八字功

展：展者，寬之意，即拓張手足也。
截：截者，裁也，以裁退敵手也，此 節最見身法。
裹：裹者，圍裹也，裹 敵手使其失其效用也，身旋而力柔，有以柔克剛之妙。
跨：跨如跨馬之勢，是言其形也，實則托跨之勢。
挑：挑之力在肩与腿，与蛇形相类而手稍高。
頂：頂之力在頭，故此以挺頭垂肩為好。
雲：《說文》云，“從雨雲，象雲回轉之形”今所用者，即借其回轉之意，其兩掌皆如行云之飄忽焉。
領：領者，受也，順勢而領取也。

李存義

"Spread-out : To spread-out means a broad intention, to expand and open up hands and feet.
Intercept : To intercept also means to cut back. Use cut back to withdraw from the opponent, this saves most of what is visible in the posture.
Bind : To bind means to wrap all around the opponent so he loses his effectiveness. The body whirls in a circle and the power is soft. To use softness to conquer strength is clever.
Step across : Step across like one has the posture of straddling a horse, this is the shape meant by this words. In fact, to be supported with posture of the straddle.
Poke : The power of poking resides on the shoulder and the leg, together they are as if they were coiled and the hand is somewhat high.
Push Up : The power of pushing up resides at the head. Therefore an erect head and the hanging shoulders is the proper posture.
Cloud: the classics say, “when raining, the clouds appear to have a rotating shape”, today we employ this idea of rotation to mean both palms of the hand move swiftly like a cloud.
Receive: To receive means to bear, to seize an opportunity and obtain it.
"

Instruction on Nine Provinces Staff (形意九州棍) by Liú Dìngyī (劉定一)

The Study of the Snake Form (蛇形學) from The Study of Xing Yi Quan (形意拳學)

蛇形學

蛇形者，乃天地所賦之性，身體最玲瓏，最活潑者也。身形有撥草之能。二蛇相斗，能泄露天之靈機，能曲能伸，能繞能蟠。在腹內卻為腎中之陽，在易即為坎中之一也，在拳中謂之蛇形。能活動腰中之力，乃大易陰陽相摩之意也，又如易經方圖之中，震巽相接，十字當中求生活之謂也。其拳順則內中真陽透於外，如同九重天，玲瓏相透，無有遮蔽，人之精神如日月之光明矣。其拳謬則陰氣所拘，拙勁所綑，身體不能活潑，心竅亦不能通靈矣。學者於蛇形中勉力而行，久之自能有得。如蛇之精神，靈巧奧妙，言之不盡。

孫祿堂

"The snake is endowed with the most nimble and lively body in nature. It is able to move through the grass. The view of two snakes fighting exposes the ingenuity of nature: it can bend and stretch, coil and curl. Within the abdomen, it is the Yang aspect of the kidneys. In the Book of Changes, it is one with the trigram Kan. In boxing, it is called the snake form. It is the ability of a movable waist and therefore it means the rubbing of the Yin and the Yang from the Book of Changes, looking like the interlocking of the Zhèn and Xùn hexagrams in the square diagram, the crossover at the center that represent the generation of life. If the boxing is performed conveniently, then the real internal Yang aspect will reveal itself outwardly, like the nine levels of the sky delicately passing through each other without obstruction, one’s vitality like the radiance of the sun and the moon. If the boxing is performed erroneously, the Yin Qi will be restrained, the clumsy Jin will be tied up, one’s body will not be lively and the mind will not be able to perceive clearly. Students of the snake form that persevere may grasp it after a long time, and as in the vitality of the snake, they will be nimble beyond words."

From the book The Study of Xing Yiquan (形意拳學), by Sūn Lùtáng (孫祿堂), based on the translations by Albert Liu and Dan Miller and Brennan Translation Blog

Hán Xīngyuán (韓星垣)​ demonstrates Xíngyì Five Fists (形意五拳) and Twelve Animals Twelve Animals Forms (十二形)

The Fighting Methods (十) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第十章　十、交手法

占右進左，占左進右，發步時足根先著地，脚以十趾抓地，步要穩當，身要莊重，捶沉實而有骨力，去是撤手，著人成拳，用拳要卷緊，用把把有氣，上下氣要均停，出入以心為主宰，眼手足隨之去，不貪不歉，不即不離，肘落肘窩，手落手窩，右足當先，膊尖向前，此是換步，拳從心發，以身力催手，手以心把，心以手把，進人進步，一步一捶，一支動，百支俱隨，發中有絕，一握渾身皆握，一伸渾身皆伸，伸要伸得進，握要握得根，如卷炮，卷得緊，崩得有力，不拘提打，按打、烘打、旋打、斬打、冲打、錛打、肘打、膊打、胯掌打、頭打、進步打、退步打、順步打、橫步打，以及前后左右上下百般打法，皆要一氣相隨，出手先占正門，此之謂巧，骨節要對，不對則無力，手把要靈，不靈則生變，發手要快，不快則遲誤，舉手要活，不活則不快，打手要跟，不跟則不濟，存心要毒，不毒則不準，脚手要活，不活則擔險，存心要精，不精則受愚，發作要鷹捉勇猛，外皮膽大，機要熟運，還勿畏懼運疑，心小膽大，面善心惡，靜似書生，動如雷發，人之來勢，以當審察，脚踢頭歪，拳打膊體，窄身進步，仗身起發，斜行換步，攔打倒身，抬腿伸發，脚指東顧，須防西殺，上虛下必實著，跪敲指不勝屈，靈機自揣摩，手急打手慢，俗言即是其真的確，起望落，落望起，起落要相隨，身手齊到是為真，翦子股望眉斬，加上反背如虎搜山，三尺羅衣挂在無影樹上，起手如閃電，打下如迅雷，雨行風，鷹捉兔，鷂鑽林，鷄摸鵝，摸塌地，起手時，三心相對，不動如書生，動之如龍虎，遠不發手打，雙手雙心打，右來右迎，此為捷取，遠了便上手，近了便加肘，遠了便脚踢，近了便加膝，遠近宜知，拳打踢膀，頭歪把勢，審人能叫一思進，有意莫帶形，帶形必不贏，捷取人法，審顧地形，拳打上風，手要急，足要輕，把勢走動如貓行，心要正，目聚精，手足齊到定要贏，若是手到步不到，打人不得妙，手到步也到，打人如拔草，上打咽喉下打陰，左右兩肋在中心，前打一丈不為遠，近者只在一寸間，身動時如崩牆倒，脚落時如樹栽根，手起如炮直冲，身要如活蛇，擊首則尾應，擊尾則首應，擊中節而首尾皆相應，打前要顧后，知進須知退，心動快似馬，腎動速如風，操演時面前如有人，交手時有人如無人，起前手，后手緊催，起前脚，后脚緊跟，面前有手不見手，胸前有肘不見肘，如見空不打，見空不上，拳不打空起，亦不打空落，手起足要落，足落手要起，心要占先，意要勝人，身要攻人，步要過人，前腿似跏，后腿似鎮，首要仰起，胸要現起，腰要長起，丹田要運氣，自頂至足，要一氣相貫，膽戰心寒，必不能取勝，未能察言觀色者，必不能防人，必不能先動，先動為師，后動為弟，能叫一思進，莫教一思退，三節要停，三尖要照，四梢要齊，明了三心多一力，明了三節多一方，明了四梢多一精，明了五行多一氣，明了三節，不貪不歉，起落進退多變，三回九轉是一勢，總要一心為主宰，總乎五行，運乎二氣，時時操演，勿誤朝夕，盤打時而勉強，工用久而自然，誠哉是言，豈虛語哉。

岳飛

"Stand on your right foot to advance with your left, then stand on your left foot to advance with your right.
When stepping, first the heel comes down, then the toes grip the ground. The step should be steady. The body should stand sturdy.
A punch is heavy and vigorous, leaving with the hand loose, then contacting with a completed fist. When making the fist, it should roll up tight to grasp with energy.
Above and below, the energy should be even. Going out and coming back is dictated by your mind. Your eyes, hands, and feet go along with the movement, no part overemphasizing nor underemphasizing, nothing acting independently.
The elbow lowers and covers, then the hand lowers and covers.
Your right foot begins, the elbow going forward. This is the exchanging of steps.
Punch from the center, putting the power of your whole body into the hand. Your hand acts through your mind and your mind acts through your hand. Advance with body and step so that in each step and punch, when one part moves, all parts move along with it. The key to issuing power is that when one part grasps in, the whole body grasps in, and when one part reaches out, the whole body reaches out. Grasp in all the way to your root, and reach out all the way with an advance. It is like a cannon tightly wrapped, which shoots that much more powerfully.
Regardless of what kind of attack, be it lifting up, pressing down, scraping, spinning, slashing, thrusting, hatcheting, elbowing, using the forearm, hip-slapping, headbutting, or whether it is advancing, retreating, the front hand and foot the same, the front hand and foot opposite, or whether it be forward or back, left or right, up or down, the various means of attack should all flow continuously one after the other.
When your hands go forth and are the first to occupy the “main entrance”, this is called skill.
Your joints should be coordinated. If they are not coordinated, there will be no power. When grabbing, the hand should be nimble. If it is not nimble, there will be randomness. When attacking, the hand should be quick. If it is not quick, it will be too late. When lifting, the hand should be lively. If it is not lively, it will not be quick. When striking, the hand should be followed upon. If it is not followed, there will be no reinforcements. Your intent should be poisonous. If there is no poison, there will be no precision. Feet and hands should be lively. If they are not lively, it will be risky. Your mind should be shrewd. If it is not shrewd, you will get tricked.
When attacking, you should have the fierceness of a seizing eagle. All that is seen outside is your skin, but within there is boldness. When the moment comes, act with skill. Never fear nor hesitate. Be both careful and courageous. Show a kind face to mask your vicious intent. In stillness, be like a scholar. In movement, be like a thunderclap.
The opponent’s incoming attack should be carefully observed. Is he tilting his head when he kicks? Is he lifting his arm when he punches? Is he twisting his torso when he steps forward? Is he leaning his torso when he strikes? Is he stepping out at an angle when he switches his feet? Is he pushing himself away when blocking and striking? Is he over-straightening his leg in order to get to you?
When guarding to the east, you must prepare against danger to the west. When there is emptiness above, there will be solidity below. The fast technique defeats the slow technique. There are countless cunning ways to attack, but the best will come from your own contemplations.
The real stuff is to be found in the common sayings.
Lifting seeks to drop. Dropping seeks to lift. Lifting and dropping should follow each other.
When torso and hands arrive at the same time, it is correct.
Using your thighs like scissors [i.e. your thighs squeezing together as your rear foot follows your front foot], target [with your hand] the opponent’s brow.
When you turn around, it is like a tiger searching a hillside, then like a delicate robe hanging from a tree that gives no shade [i.e. Decisively look behind you, but then wait in ghostly stillness for the moment to act.].

Lift your hand like a flash of lighting. Drop your hand like a crash of thunder. It is also like wind pushing aside rain, an eagle catching a rabbit, a hawk slipping through the forest, a rooster pecking away a goose, and like you are trying to [go through the opponent to] touch the ground.
When your hand lifts, the three centers are to be aligned with each other.
When you are still, be like one reading a book, and when you are in motion, be like a dragon or tiger.
When out of range to strike with your hands, both hands are to be guarding your ribs.
When attacked to your right side, meet it with your right side [and likewise for the left]. This will deal with an opponent quicker.
At a distance, strike with hand or foot. When close in, strike with elbow or knee. The two ranges should be understood when punching and kicking.
The direction of your head will compel the direction of your posture, but examine the opponent to be able to decide when to advance.
Do not outwardly reveal your intention, for if you do you are sure to fail.
To deal with an opponent quickly, consider the surrounding environment so as to strike from a superior position.
Your hands should be quick. Your feet should be nimble. The movements of the postures are like the steps of a cat. Your mind should be decisive. Your eyes should be focused. When your hands and feet act in unison, you are sure to win.
If your hand arrives but your step does not, your attack on an opponent will not have its full effect, but if hand and step arrive at the same time, the attack on the opponent will be like spreading grass aside.
When attacking above, go for the throat. When below, go for the groin. When to the side, go for the ribs. When to the middle, go for the solar plexus. When attacking forward, the range can be more than ten feet. When close in, it all happens within an inch.
When your body moves, it is like a wrecking ball going through a wall. When your foot comes down, it is like a tree planting roots.
Your hand lifts like a cannon shooting straight ahead. Your body should be like a writhing snake. “Attack its head, its tail counters. Attack its tail, its head counters. Attack its middle, head and tail counter together.” [Art of War, chapter 11]
When attacking forward, you must consider behind. To know how to advance, you must know how to retreat.
Your mind moves fast as a horse. Your spirit moves fast as the wind.
When you practice, there seems to be an opponent in front of you, yet when you fight an opponent, it is as though no one is there.
When your front hand lifts, your rear hand hastens after it, and when your front foot lifts, your rear foot closely follows.
You do not perceive your hands in front of you as hands, nor your elbows in front of your chest as elbows [because the key is the whole sum that they are merely parts of].
Neither attack nor advance just because you see a gap. [Control the opponent first, preventing him from covering his center when you attack, then go in.] Your fist is not to strike when you are lifting and dropping without purpose.
Once your hand lifts, your foot should come down. Once your foot comes down, your hand should lift.
Your mind should be ahead of the opponent’s, your intent should defeat him, your body should attack him, and your step should walk through him. What your front leg seems to add, your rear leg seems to further increase.
Your head should go up, your chest should go forward, your waist should lengthen, and your elixir field should wield energy. From headtop to foot, there should be a single energy running between them.
If you are afraid, you will lose. If you are unable to interpret his words or manner,you will be unable to guard against him, and you will certainly be unable to beat him to the punch.
The one who moves first becomes the teacher. The one who moves after becomes the student. The more you can give thought to advancing, the less you are being trained to retreat.
The three sections should be settled into place. The three points should align with each other. The four tips should be equal.
Understanding the three centers means more power. Understanding triple sectioning means more focus. Understanding the four antennas means more essence. Understanding the five elements means more energy. Understanding that none of the three sections are to be excessive or deficient means greater adaptability in lifting and dropping, advancing and retreating.
A posture is made by the “three turnings in nine revolutions” [the process of essence turning into energy, energy turning into spirit, spirit returning to void, exercised over and over again], and the mind should always be in charge. The cooperation of the five elements moves the two energies [passive and active – metal and water being passive, wood and fire being active, earth being a balance of both]. Practice constantly, never missing a day. When in a fight, there is struggle. But if you have been working at it for a long time, there will instead be naturalness.
These are words of conviction, not empty platitudes."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

The Study of the Drilling Fist in Xingyi (形意鑽拳學) from The Study of Xing Yi Quan (形意拳學)

形意鑽拳學

鑽拳者，屬水，是一氣之曲曲流行，無微不至也。鑽上如水在地中忽然突出，亦如泉水之上翻似閃。在腹內則屬腎，在拳中即為鑽。所謂鑽拳似閃屬水是也。其氣和則腎足，其氣乖則腎虛，腎虛則清氣不能上升，濁氣不能下降矣。其拳不順，真勁即不能長，而拙勁亦不能化矣。學者當知之。

孫祿堂

"The drilling fist is classified with water and its Unified Qi is bent and it spreads in every possible way. When drilling upwards, it is like water spurting suddenly out of the ground, as if the top of a spring flashes when turning over. In the body it belogs to the kidney, in boxing it is drilling. This is why it is said that the drilling fist springs up and is classified with water. When the Qi is harmonious, the kidney is full, when the Qi is irregular, the kidney is empty. An empty kidney means that a clean Qi cannon ascend, and the impure Qi cannot descend; the boxing is disturbed, real strength cannot be developed and the clumsy strength cannot be transformed. Practictioners are advised to be aware of this."

From the book The Study of Xing Yiquan (形意拳學), by Sūn Lùtáng (孫祿堂), based on the translation by Albert Liu and Dan Miller.

The Stepping Methods (九) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第九章　九、要論

今夫五官百骸，主于動，而實運以步，步乃一身之根基，運動之樞紐也，以故應戰對敵，皆本諸身，而實所以為身之砥柱者，莫非步，隨機應變在于手，而所以為手之轉移者，以在步，進退反側，非步何以作鼓蕩之機抑揚伸縮，非步何以示變化之妙，所謂機關者在眼，變化者在心，而所以轉彎抹角，千變萬化，而不至于窘迫者，何莫非步為之司令歟，而要非勉強以致之也，動作出于無心，鼓舞出于不覺，身欲動而步以為之周旋，手將動而步以早為之催逼，不期然而然，莫之軀而軀，所謂上欲動而下自隨之者，其斯之謂歟，且步分前后，有定位者步也，然而無定位者以為步，如前步進焉，后步隨焉，前后自有定位，若以前步作后，后步作前，更以前步作后之前步，后步作前之后步，則前后以自然無定位矣，總之，拳以論勢，而握要者為步，活與不活，以在于步，靈與不靈，以在于步，步之為用大矣哉，捶名心意，心意者，意自心生，拳隨意發，總要知己知人，隨機應變，心氣一發，四肢皆動，足起有地，膝起有數，動轉有位，合膊望胯，三尖對照，心意氣內三相合，拳與足合，肘與膝合，肩與胯合，外三相合，手心足心本心三心一氣相合，遠不發手，捶打五尺以內，三尺以外，不論前后左右，一步一捶，發手以得人為準，以不見形為妙，發手快似風箭，響如雷崩，出沒遇象園，如生鳥入群籠之狀，單敵似巨炮推薄壁之勢，骨節帶勢，踴躍直吞，未曾交手，一氣當先，既人其手，靈動為妙，見孔不打，見橫打，見孔不立，見橫立，上中下總氣把定，身足手規矩繩束，既不望空起，亦不望空落，精明靈巧，全在于活，能去能就，能柔能剛，能進能退，不動如山岳，難知如陽陰，無窮如天地，充實如太倉，浩渺如四海，炫曜如三光，察來勢之機會，揣敵人之短長，靜以待動有法，動以處靜借法容易上法難，還是上法最為先，交勇者不可思誤，思誤者寸步難行，起如箭攢落如風隈催烹絕手摟手，皆合暗迷中，由路如閃電，兩邊撾防左右，反背如虎搜山，斬捶勇猛不可當，斬梢迎面取中堂，搶上搶下勢如虎，好似鷹下鷄場，翻江倒海不須忙，丹鳳朝陽才為強，雲背日月天地變，武藝相爭見短長，步路寸開把尺，劈面就去，上右腿，進左步此法前行，進人要進身，身手齊至是為真，發中有絕何從用，解明其意妙如神，鹞之鑽林麻著翅，鷹捉四平足存身，取勝四梢要聚齊，不勝必因合射心，計謀施運化，霹靂走精神，心毒稱上策，手眼方勝人，何謂閃，何謂進，進即閃，閃即進，不必遠求，何為打，何謂顧，顧即打，打即顧，發手便是，心如火藥，拳如子，靈機一動鳥難飛，身似弓弦手似箭，弦向鳥落見神奇，起手如閃電，閃電不及合眸，打人如迅雷，迅雷不及掩耳，五道本是五道關，無人把守自遮欄，左腮手過，右腮手去，右腮手過去，左腮手來，兩手束拳迎面出，五關之門關得嚴，拳從心內發，向鼻尖落，從足下起，足起快向心火作，五行金木水火土，火炎上而水就下，我有心肝脾肺腎，五行相推無錯誤。

岳飛

"From your five senses to your many bones, your movement is presided over by your stepping. Your step provides the base for your body and the crux for its movement. When fighting with an opponent, it is always the case that you are to use your whole body. But without your step, your body really has nothing to stand on. Adapting according to the situation lies with your hands, but the capacity for your hands to maneuver lies with your stepping.
When advancing or retreating, turning around or to the sides, you will create no opportunity for power generation unless you step. When raising or lowering, expanding or contracting, you will show no ingenuity of adaptation unless you step. We say that operations are in your sight and adaptations are in your mind, and therefore you are to twist and turn in endless variations to stay out of danger, but this cannot happen without the step being in charge. However, it is crucial that you do not try to force this.
The movement begins mindlessly, its motivation arising unconsciously. When your body is about to move, your step [with the front foot] turns outward [to prepare]. When your hand is about to move, your step [with the rear foot] hastens to get ahead of it. This quality will happen in its own time, arriving without your driving it. When we talk of the upper body being about to move and the lower body naturally going along with the movement, this is what is meant.
Stepping divides into front and rear, fixed and unfixed. When the front foot advances and the rear foot follows, they are fixed [i.e. front foot remaining forward, rear foot remaining in the rear]. When the front foot becomes the rear foot or the rear foot becomes the front foot, whether it be because of the front foot becoming the rear foot by way of the rear foot stepping forward, or because of the rear foot becoming the front foot by way of the front foot stepping back, they are unfixed [i.e. front foot and rear foot switching roles].
It is always the case in boxing theory that the crucial thing to grasp is the stepping. Whether you are lively or not is a matter of stepping. Whether you are nimble or not is a matter of stepping. The function of stepping is a huge factor. [The specific theme of stepping now fades from the spotlight. The text from this point on was likely originally intended as part of the 10th section.]
This kind of boxing is called Mind & Intent [Xinyi – an older name for Xingyi]. It is called this because intent is generated by mind and the fist then expresses as dictated by the intent. You should always know both yourself and your opponent, and respond according to the situation. Mind and energy express as one. Your limbs act together. In lifting your foot, there is direction. In lifting your knee, there is degree. In turning around, there is position. Unify your forearms and aim with your hips. The three points are to align with each other. Mind [is united with intent], intent [united with energy], energy [united with power] – these are the three internal unions. Fist is united with foot, elbow united with knee, shoulder united with hip – these are the three external unions. The three centers – palm, sole, solar plexus – are united as a single energy.
Do not shoot your hands out from a distance. When the striking range is between three and five feet, whether going forward or back, left or right, step with each strike in order to strike the opponent with precision and to keep your technique wonderfully invisible to him.
Your hand shoots out fast as wind or an arrow, the sound like thunder or an avalanche. Come and go like a rabbit darting here and there, attacking like a hungry bird entering a crowded coop. When fighting an opponent, be like a huge cannon reducing a wall to rubble. With your joints readied to spring, leap straight in to consume him. Before there is contact, energy should go forth, but once your hands have connected, the ingenuity lies in quick action.
Do not attack just because you notice a gap, look for a way to deflect him aside and then attack. Do not seize the position just because you notice a gap, look for a way to deflect him aside and then seize the position. Above, middle, below, always the energy between them is kept consistent. Body, feet, and hands are bound by discipline. Do not seek to lift and drop meaninglessly.
Proficient skill is entirely a matter of fluency. Be able to both strike and stick, to be both hard and soft, to both advance and retreat.
When not moving, be like a mountain. Be as mysterious as duality, as limitless as the universe, as filled as a warehouse, as vast as the ocean, as dazzling as the sun, moon, and stars. While watching for the moment in which the opponent may attack, estimate his strong points and shortcomings. The superior method is to use stillness to await his movement. The baiting method is to use movement to occupy his stillness. The baiting method is easier and the waiting method more difficult, nevertheless start with the waiting method.
When fighting a courageous opponent, you must not worry about doing anything wrong, for if you do, you will seize up and not be able to do anything right. Lift like an arrow releasing, then drop like the wind. When pressed to frustration, stop his hand and draw it aside. Cloak everything you are doing, then emerge like lightning. Deflect to your sides, guarding both, and when you turn around, it is like a tiger searching a hillside. Swipe aside and strike fiercely, and he will not be able to withstand you. Swipe aside his limbs and go directly forward, and you will seize his center. Striking above or below, move like a tiger. Seem like an eagle descending on chickens in a coop. Having “diverted the river and turned back the sea” [signifying a stupendous achievement], you do not need to be in a rush. Because “the phoenix has landed on the sunny slope” [signifying the arrival of talent], your ability has become potent. When sun and moon go behind clouds, the world is changed. When martial artists clash, inferior and superior become apparent.
Step in this way: between your feet is an inch in width and a foot in length.
When chopping to his face, step forward with your right leg and follow with your left foot. Here is the method of moving forward: when advancing on an opponent, you must advance with your body. When body and hand act in unison, it is right.
There is a trick to issuing, and when you get the idea, it will seem miraculous. A hawk slips through the trees without a touch to its wings. A eagle catches prey without unbalancing its body.
To win, your limbs must act in unison. If you lose, it must be because you brought his aim to your center. Carry out your strategy adaptively, send out your spirit thunderously, consider viciousness to be the best plan, and your hands and eyes will then defeat him.
What are evading and advancing? Advancing is an evasion. Evading is an advance. It is not necessary to think about this too hard. What are attacking and defending? Defending is an attack. Attacking is a defense. Just shoot out your hand. Mind like gunpowder, fist like a bullet – just a nudge of the trigger [i.e. with the merest thought], and the bird cannot escape. Body like a bow, hand like an arrow – aim, and the bird falls like magic. Lift your hand like lightning flashing. When lightning flashes, there is no chance to close your eyes. Strike the opponent like thunder clapping. When thunder claps, there is no chance to cover your ears.
The five methods [the five elements techniques] are basically five ways of closing off an opponent. There is no one there to guard against because the blocking is an intrinsic part of it. As your left hand covers your left side, your right hand attacks from your right side, and then as your right hand covers your right side, it is your left hand’s turn. Each hand is wrapped into a fist and punches directly forward while the doorways of the five closings close tight. Your fist shoots from your center and lands upon his nose, while your foot lifts and steps quickly through his center like fire surging. Of the five elements of metal, wood, water, fire, and earth, fire blazes upward and water floods downward. We each possess a heart, a liver, a spleen, lungs, and kidneys. Our five elements urge each other on without error."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

Féng​ Zhèng​bǎo​ (馮正寳) on Xīnyìlùhéquán (心意六合拳)

The Body Methods (八) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第八章　八、要論

身法維何，縱橫高低，進退反側而已，縱則放其勢，一往而不返，橫則裹其力，開拓而莫阻，高則揚其身，而身若有增長之勢，低則抑其身，而身若有攢捉之形，當進則進，殫其身而勇往直冲，當退則退，領其氣而回轉伏勢，至于反身顧后，后即前也，側顧左右，使左右無敢當我，而要非拘拘焉為之也，必先察人之強弱，運我之機關，有忽縱而忽橫，縱橫因勢而變遷，不可一概而推，有忽高而忽低，高低隨時以轉移，不可執格而論，時而宜進，故不可退而餒其氣，時而宜退，即當以退，而鼓其進，是進固進也，即退而亦實以賴其進，若返身顧后，顧其后而以不覺其為后，側顧左右，而左右以不覺其為左右矣，總之機關在眼，變通在心，而握其要者，則本諸身，身而前，則四體不令而行矣，身而却，則百骸莫不冥然而處矣，身法顧可置而不論乎。

岳飛

"What are the methods for the body? To release and rein in, to go high and low, to advance and retreat, to turn and incline.
To release is to express power, sending it all in one direction so it does not get turned back. To rein in is to bind up power, building it up so no one will be able to resist it.
To go high is to raise the body up so it seems to be lengthened. To go low is to bow the body down so it seems to be squeezed in.
When it is time to advance, I advance, springing with my body, valiantly charging straight in. When it is time to retreat, I retreat, leading my energy so that it reverses me into a crouched posture [i.e. prepared to spring forward again].
When turning around to face behind, what is behind becomes what is in front. When facing to the left and right, I ensure no one dare attack me from the side.
It is important that these points not be turned into a restrictive formula.
I must first observe an opponent’s strengths and weaknesses, which will give me my strategy. I suddenly release and suddenly rein in, adjusting according to the situation, for I must not be stubborn about when to use one or the other. I go suddenly high or suddenly low, adapting as circumstances demand, for I must not hold to a preconceived pattern.
When it is appropriate to advance, I must not retreat and thereby make myself timid. When it is appropriate to retreat, I should retreat, and yet with a readiness to advance. Therefore, advancing is a matter of advancing whole-heartedly, and retreating is also actually a matter of advancing.
When I turn around to face behind me, I have no notion of it as being behind. When I face to either side, I have no notion of them as being a left or a right. To sum up, operations are in your sight and adaptations are in your mind. [To clarify the summing up, your view of the situation is always forward and your sense of your changing surroundings is always inside you.]
Once the essentials have been grasped, they become the basis for the whole body. When going forward, every limb moves uncommanded, and when withdrawing, every bone arrives without a thought. However, these things cannot be considered without being described."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.

Excerpt from Report of Liú Qílán (劉奇蘭) Sayings (述劉奇蘭先生言) in Boxing Concepts Explained Authentically (拳意述真)

三則

道藝之用者。心中空空洞洞。不勉而中。不思而得。從容中道。而時出之。拳無拳。意無意。無意之中。是真意。心無其心心空也。身無其身身空也。古人云。所謂空而不空。不空而空。是謂真空。雖空乃至實至誠也。忽然有敵人來擊。心中並非有意打他。無意即無火也隨彼意而應之拳經云。靜為本體。動為作用。即是寂然不動。感而遂通。無可無不可也。此是養靈根而靜心者所用之法也。夫練拳至無。拳無意之境。乃能與太虛同體。故用之奥妙而不可測然能至是者鮮矣。。

郭雲深

"The function of the Daoist arts is to empty the mind within. When there is no effort, there is centering. When there is no expectation, there is obtaining. Follow the easy balanced way and the moment will emerge. [It says in the Boxing Classics:] “The boxing is without boxing. The intention is without intention. Within no intention is true intention.”
The mind is without mind, for the mind is empty. The body is without body, for the body is empty. An ancient man [Kumarajiva in his commentary to the Diamond Sutra] described this as: “Empty but not empty, not empty but empty – this is known as true emptiness.” Even though you are empty, you thereby achieve perfect genuineness and sincerity. Suddenly an opponent attacks you, but within your mind there is no intention of striking him (no intention meaning no anger), and you follow his intention along and respond to it. It says in the Boxing Classics: “Stillness is the fundamental form. In movement lies the function.” By being silent and still, then upon sensing anything, you connect with it, and everything you do will be right. This is the method of “nurturing your virtue by bestilling your mind”.
When you have drilled the boxing to the point of nothingness, then you have in the boxing the condition of no intention, and then you can be one with the “grand emptiness” [the universe in its essence]. Thus you will act with such subtlety that you cannot be fathomed, and you will then have become a rare one indeed."

Excerpt from the translation by Paul Brennan, to be found in the Brennan Translation blog.

Zhào Yǒngchāng (趙永昌) demonstrating Sòng Style Xíng​yì​quán (宋氏形意拳)

Excerpt from Report of Liú Qílán (劉奇蘭) Sayings (述劉奇蘭先生言) in Boxing Concepts Explained Authentically (拳意述真)

二則

形意拳經云。養靈根而靜心者。修道也。固靈根而動心者。敵將也。敵將之用者。起如鋼銼。落如鈎竿。起似伏龍登天。落如霹雷擊地。起無形。落無踪。起意好似捲地風。束身而起。長身而落。起如箭。落如風。追風趕月不放鬆。起如風。落如箭。打倒還嫌慢。打人如走路。看人如蒿草。胆上如風嚮。起落似箭鑽遇敵要取勝。四稍具要齊。是內外誠實如一也。進步不勝。必有胆寒之心也。此是固靈根而動心者。敵將所用之法也。

郭雲深

"It says in the Xingyi Boxing Classics: “To nurture your virtue by bestilling your mind is a matter of cultivating the Way. To solidify your virtue by rousing your mind is a matter of dealing with opponents.”
As for how to deal with opponents: “Lift like a steel file. Drop like a hooking pole… Lift like a hidden dragon climbing to the sky. Drop like a thunderbolt striking the ground. Lift without a shape. Drop without a trace… Send your intention out like wind rolling over the ground… Bind your torso when lifting. Hide your torso when dropping. Lift like an arrow and drop like the wind. Chase the wind and pursue the moon without letting up. Lift like the wind and drop like an arrow. Knock him down, bewaring of being too slow… Fight opponents as if you are taking a stroll, looking upon them as if they are but weeds. Your courage rises like the wind whipping up. Lift and drop as if arrows are drilling in. When encountering an opponent, you should seek to win, and so your limbs should all work in unison.”
Now inside and outside are truly as one, and “if you advance and lose, it must be that you lost your nerve.” This is the method of “solidifying your virtue by rousing your mind” in order to deal with opponents."

Excerpt from the translation by Paul Brennan, to be found in the Brennan Translation blog.

CCTV4 Experiencing Real Kungfu: Documentary on Shēn​zhōu Yìquán​ (深州意拳)

Excerpt from Report of Liú Qílán (劉奇蘭) Sayings (述劉奇蘭先生言) in Boxing Concepts Explained Authentically (拳意述真)

一則

劉奇蘭先生云。形意拳術之道。體用莫分。自己練者為體。行之於彼為用。自己練時。眼不可散亂。或視一極點處。或看自己之手。將神氣定住。內外合一。不可移動。要用之於彼。或看彼上之兩眼。或看彼之中心。或看彼下之兩足。不要站定成式。不可專用成法。或掌或拳。望着就使。起落進退。變化不窮。是用智而取勝於敵也。若用成法。即能勝於人。亦是一時之僥倖耳。所應曉者。須固住自己神氣。不使散亂。此謂無敵於天下也。

郭雲深

"In the method of the Xingyi boxing art, there is no distinction between form and function, except that what you practice on your own is the form and what you do to an opponent is the function.
During solo practice, your eyes cannot be wandering around. Either look to a distant point or toward your own hand. Firmly consolidate your spirit and energy, inside and outside merging into one and never shifting apart.
When acting upon an opponent, you should either watch his eyes above, his middle section, or his feet below. Do not get stuck in an established pattern or focus on using an established method. Whether using palm or fist, observe the reason for it. In lifting and dropping, advancing and retreating, adapt limitlessly. You are thereby using your intelligence and seeking victory based on the opponent. If you use an established method, then you can be defeated by the opponent or even just by bad luck. Knowing this, you must consolidate your spirit and energy, and not let them be in disarray. This is what it means to be invincible."

Excerpt from the translation by Paul Brennan, to be found in the Brennan Translation blog.

Zhào Yǒngchāng (趙永昌) demonstrating Sòng Style Xíng​yì​quán (宋氏形意拳) Twelve Animals (十二形)

Seven Advancing as One (七) from The Essentials of Yue Fei's Boxing Art (附岳武穆形意拳術要論)

第七章　七、要論

頭為六陽之首，而為周身之主，五官百骸，莫不惟此是賴，故頭不可不進也，手為先行，根基在膊，膊不進而手則却而不前矣，此所以膊貴于進也，氣聚中腕，機關在腰，腰不進，而氣則餒而不實矣，此所以腰貴于進也，意貫周身，運動在步，步不進而意則堂然無能為矣，此所以步必取其進也，以及上左必須進右，上右必須進左，其為七進，孰非所以著力之地歟，而要之未及其進，合周身而毫無關動之意，一言其進，統全體而俱無抽扯游移之形。

岳飛

"[1 – head] Your head is the source of the six active meridians and is the commander of your whole body, from senses to bones. There is no part that does not rely on it, therefore the head must advance.
[2&3 – hand & forearm] The hand is the first to go forth, but it is rooted in the forearm. If the forearm does not advance, the hand cannot go forward. This is why it is important for the forearm to advance.
[4&5 – energy & waist] Energy gathers in the wrist, but its engine lies in the waist. If the waist does not advance, the energy will not have enough energy to manifest. This is why it is important for the waist to advance.
[6&7 – intent & step] Intent courses through the whole body, but movement lies in the stepping. If the step does not advance, the intent is unable to proceed. This is why it is essential for the step to advance. Further, when going forward with your left, you must advance your right, and when going forward with your right, you must advance your left.
These are the seven parts that advance. Which of them is not therefore involved in the effort? The key is that before you advance, you unify your whole body so there is not the slightest notion of any isolated action. When you then decide to advance, no part is truantly doing its own thing."

Excerpt from the translation by Paul Brennan of "The Art of Xingyi Boxing" (形意拳術) by Lǐ Jiànqiū​(李劍秋), to be found in the Brennan Translation blog.