The Study of Taiji in the Sword (太極劍學) from the Study of Bagua Sword (八卦劍學)

太極劍學

太極者劍之形式也無極而生乾坤之母左轉之而為乾像右旋之而為坤形劍之旋轉是內中一氣之 流行也此理是一字而生這○自這○而又生Ф也這Ф當中之一竪是由靜極而生動在人謂之眞意在丹道謂之先天眞陽一氣為慧劍在形意拳中謂之先天無形之橫拳在八卦劍 中謂之太極此式初動內雖有乾坤之理外未具乾坤之象所以謂之太極劍也譬諸坐功由神氣定住再垂簾塞兌回光觀玄之時此時劍之初動是萬物之母是以此劍不必格外再用 內功之氣劍之動作規矩法則無不是內家拳術之道與丹道學之理丹書云慧劍可以消身內之魔寳劍可以辟世上之邪。

孫祿堂

"The grand polarity, as a sword posture, arises from nonpolarity and gives rise to the trigrams of Qian and Kun. Leftward circle walking corresponds to Qian. Rightward circle walking corresponds to Kun. The spinning of the sword is a continuous flow inside. To make an image of this principle: an empty circle. From an empty circle arises a divided circle. Within this divided circle, movement is generated by the extreme of stillness. People call it “truth”. Elixirists call it “innateness”. The authentic active aspect when it is continuous is the “sword of wisdom”. In Xingyi Boxing, it would be considered the innate shapelessness of the crossing technique. In Bagua Sword, it is called “grand polarity”. In this posture, at the beginning of the movement, although internally there is the theory of Qian and Kun, there is not yet such a shape externally, and so it is called the GRAND POLARITY POSTURE. It is like during seated meditation when mind enters void. This initial movement with the sword produces all that follows. Therefore with this posture it is not necessary to use another kind of internal energy. The standard for the sword movements is always the same as the ways of internal boxing arts and elixirism. The Elixir Book says: “The ‘wisdom sword’ can take away the body’s demons. The ‘precious sword’ can ward away the world’s evils."

起點先將腰塌勁頭往上頂住勁兩肩往下垂着勁舌頂上腭口似張非張似脗非脗鼻孔出氣呼吸要 自然不可着意兩足亦往上蹬勁諸處之勁皆是自然用意不要用拙力再將左手大拇指與二指中指伸直無名指與小指用力屈回稍節與中節根節直着與中指相倂五指屈伸用力 要均匀左手之式並非與他劍揑訣相同取其五指屈伸左手不必格外用力此式能助右手之劍屈伸往來變化之力亦並非一定不易之規矩有時亦可五指俱伸因劍之形式而定學 者不可膠執再將右足往裏扭直與左足成為四十五度之式兩手自中陰中陽皆與右足往裏扭時亦同時往外扭扭至兩手皆至太陰式停住兩胳膊仍靠着身子再將兩腿徐徐曲下 兩腿裏曲不可有死灣子如圖是也右手之劍亦與兩腿下曲時同時胳膊靠着右脇劍尖往着左足尖前平着伸去與左足尖前邊成一交會線手仍是太陰劍把劍尖與心口平左手亦 於劍動時手太陰着同時胳膊靠着左脇往右胳膊肘後下邊穿去手背挨着右胳膊左胳膊靠着心口兩眼望着劍尖看去將神氣定住頭頂兩肩下垂有往回縮之意皆是自然不可用 拙力方可得着中和之氣而注於丹田也。

"To begin, first get your waist to have an energy of sinking, your head to have an energy of pressing up, your shoulders to have an energy of hanging down. Your tongue touches your upper palate, your mouth is flat but not flat, pursed but not pursed. The breath is through your nose. The breathing should be natural and must not be concentrated upon. Your feet have an energy of pressing up. Everywhere the strength is natural, for you should use intention rather than awkward exertion. Then your left thumb, forefinger, and middle finger extend, while the ring finger and little finger forcefully bend inward from the middle knuckle, the section from root knuckle to middle knuckle lined up next to the middle finger. The fingers use the same degree of strength whether bending or extending. Your left hand’s posture is not really the same as the pinched swordsman’s hex of other sword sets. When your fingers bend and extend, your left hand does not need to use extra force. Its posture can assist the power of the sword’s bending and extending, coming and going, and transforming, rather than being a fixed and unchanging shape, for sometimes all five fingers can be extended, in accordance with the sword posture, and so you must not be obsessed with grasping. Then your right foot twists inward to point straight, making a forty-five degree angle with your left foot. As your right foot twists inward, your hands twist outward from their half passive positions until they are each in a full passive position, your arms still close to your body. Then your legs slowly bend downward, though it must not be a dead bend. It is like the photo. As your legs bend down, and with your right arm close to your right ribs, the sword extends with a flat blade in front of you and in line with your left toes, the hand still in its full passive position. The sword handle and sword tip are at solar plexus level. During the movement, your left hand, also still in its full passive position, is close to your left ribs and threads under and behind your right elbow, the back of the hand close to your right arm, the arm close to your solar plexus. Your gaze is toward the sword tip. Your spirit and energy stay stable. Your head presses up, but your shoulders drop down and have an intention of shrinking in. Everything should be natural and there must be no use of awkward exertion. Then you can have an energy of centered harmoniousness and concentrate it into your elixir field."

Translation by Paul Brennan of "Study of Bagua Sword" (八卦劍學) 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 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.

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

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.

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.

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.

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.

The Study of the Smashing Fist in Xingyi (形意崩拳學) from The Study of Xing Yi Quan (形意拳學)

形意崩拳學

崩拳者，屬木，是一氣之伸縮，兩手往來之理也。勢如連珠箭，在腹內則屬肝，在拳中即為崩，所謂崩拳如箭，屬木者是也。其拳順則肝氣舒，其拳謬則肝氣傷。肝氣傷則脾胃不和矣。其氣不舒，則橫拳亦必失和矣。此拳善能平氣舒肝，長精神，強筋骨，壯腦力，故學者，當細研究也。

孫祿堂

"The smashing fist is classified with wood and it contains the unified Qi of stretching and contracting, and both hands going back and forth in order. The motion is like a succession of arrows, in the body it belongs to the liver, in boxing it is smashing. It is said it is like an arrow, its category is wood. When the boxing is appropriate, the Qi in the liver will be comfortable. If the boxing is irregular, it will injure the liver’s Qi. If the liver’s Qi is injured, the spleen and the stomach will not work with each other. An irregular Qi in the liver will put the crossing fist in disharmony. This fist can make an even Qi to unfold in the liver, enhance the vitality, strengthen the tendons and the bones, and fortify the brain. For these reasons students should study it in detail."

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.

Guiding principles for the Study of Wuji in Xingyiquan (總綱形意無極學) from The Study of Xing Yi Quan (形意拳學)

總綱形意無極學

無極者，當人未練之先，無思無意，無形無象，無我無他，胸中混混沌沌，一氣渾淪，無所向意者也。世人不知有逆運之理，但斤斤於天地自然順行之道，氣拘物蔽，昏昧不明，以致體質虛弱，陽極必陰，陰極必死。於此攝生之術，概乎未有諳也。惟聖人獨能參透逆運之術，攬陰陽、奪造化、轉乾坤、扭氣機，於後天中返先天，復初歸元。保合太和，總不外乎後天五行拳八卦拳之理，一氣伸縮之道。所謂無極而能生一氣者是也。
起點面正，兩手下垂，兩足為九十度之勢。此勢是順行天地自然之道，謂之無極形勢也。

孫祿堂

"Wuji means the state during the moment before practice when there is neither thought nor intention, neither shape nor form, neither self nor others, one’s mind is muddled in undistictive confusion, one’s qi is muddy, there is no intention towards any direction. Most people ignore the existence of the principle of inverse motion, and only know the ways of ordinary movement of heaven and earth. In this way Qi is restrained and this become hidden, the mind becomes unclear, the body gets week. They are unaware that extreme Yang leads to extreme Yin and extreme Yin leads to death. Alas, the method to keep fit is not well known. Only the sages can fully grasp the methods of inverse motion, to embrace the relationship between Yin and Yang, to control the natural principles, to reverse Heaven and Earth, to turn the Qi generation, to return from post-natal to pre-natal, to recover the original state of the beginning. To keep the whole in great harmony is nothing more than applying the applied principles of unified stretching and contracting from the Five Elements Boxing or Baguazhang. This is called the ability of generating the unified Qi from Wuji.
The starting point is upright, both hands hanging down, and keeping a 90 degree angle between the two feet. This posture follows the ordinary way of nature and is called the Wuji posture."

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 Study of the Cannon Fist in Xingyi (形意炮拳學) from The Study of Xing Yi Quan (形意拳學)

形意炮拳學

炮拳者，屬火，是一氣之開合，如炮忽然炸裂，其彈突出，其性最烈，其形最猛。在腹內則屬心，在拳中即為炮。所謂炮拳似炮屬火者是也。其氣和則心中虛靈，其氣乖則心中朦味，其人必愚矣。其拳和則身體舒暢，其拳謬則四體失和矣。學者務深究此拳也。

孫祿堂

"The cannon fist is classified with the element Fire and is the opening and closing of the unified Qi. It is like the sudden explosion of a cannon shooting its shell, its nature is the most vigorous, its shape the most fierce. In the body it belongs to the heart. In boxing it is like an explosion. This is why it is said that the pounding fist is like a cannon and belongs to fire. When its Qi is harmonius, one’s bosom is empty and alert. When its Qi is irregular, one’s bosom is muddled, one will necessarily be deceitful. When the boxing is harmonius, the body is comfortable. When the boxing is erroneous, it makes the four limbs lose their coordination. This fist should be carefully studied by practitioners."

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.

Excerpt from Report of Guō Yúnshēn Sayings (述郭雲深先生言) in Boxing Concepts Explained Authentically (拳意述真)

十一則

練拳術不可固執不通。若專以求力。即被力所拘。專以求氣。即被氣所拘。若專以求沉重。即為沉重所捆墜。若專以求輕浮。神氣則被輕浮所散。所以然者。練之形式順者。自有力。內裏中和者。自生氣。神意歸於丹田者。身自然重如泰山。將神氣合一化成虛空者。自然身輕如羽。故此不可以專求。雖然求之有所得焉。亦是有若無實若虛。勿忘勿助。不勉而中。不思而得。從容中道而已。

郭雲深

"When practicing boxing arts, you must not have so much determination that it obstructs you. If you are obsessed with seeking to have strength, you will get jammed up by it. If you are obsessed with seeking to have energy, you will get clogged up by it. If you are obsessed with seeking to be heavy, it will weigh you down. If you are obsessed with seeking to be light, your spirit and energy will wander off.
Therefore the way to go about these things is to practice the postures smoothly, and then naturally there will be strength. When there is neutrality within, it will naturally produce energy. When your spirit and intention return to your elixir field, your body will naturally be as heavy as Mt. Tai. When your spirit and energy merge into one and transform into emptiness, your body will naturally be light as a feather.
Thus you must not obsessively seek, even though there may be something to be gained through the seeking. Look upon that something as if it is nothing, treating its substantiality as insubstantial. Neither forget about it nor assist it. Do not strive for it and you will hit the target. Do not fixate on it and you will obtain it. Being patient and balanced is all you need."

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

The Study of the Chicken Form (雞形學) from The Study of Xing Yi Quan (形意拳學)

雞形學

雞形者，雞於世最有益者也。能以司晨報曉，又有單腿獨立之能，抖翎之威，爭斗之勇，故雞形拳中之功夫可謂甚大。在腹內而為陰氣初動，又為巽掛，在天為風，在人為氣，在拳中謂之雞形。又能起足根之勁上升，又能收頭頂之氣下降，又能散其真氣於四體之中。其拳順，則上無腦筋不足之患，下無腿足疼痛之憂。其拳謬則腦筋不足，耳目不靈，手足亦麻木不仁矣。學者於此雞形中最當注意。

孫祿堂

"The cock is the most useful of the animals there is. It is able to take charge for announcing the break of day, it is also able to stand on a single leg, the sternness of shaking the feathers and it is a brave fighter. Because all of this, it can be said that the chicken form within the martial arts is highly important within the martial arts. It is the beginning of the movement of the Yin Energy (Qi) in the body, it corresponds to the Wind Trigram (Xùn Guà), to wind in heaven, to respiration in man and in boxing it is called the chicken form. It can at the same time initiate the raise of the strength from the root in the feet, stop the decline of the energy (qi) from the top of the head and spread that real energy (zhen qi) through the core of the four limbs. If one complies with this boxing method, above the brain does not suffer from deficiency and below one does not worry about excessive pain in the legs. If one perform this boxing method erroneously then the brain will be deficient, the attention will be ineffective and the feet and hands will be apathetic. It is of greatest importance to take notice of the study of the chicken form."

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 Study of the Crossing Fist in Xingyi (形意橫拳學) from The Study of Xing Yi Quan (形意拳學) O Estudo do Punho que Cruza (形意橫拳學) do Estudo do Xíngyì Quán (形意拳學)

形意橫拳學

橫拳者，屬土，是一氣之團聚。在腹內則屬脾，在拳中即為橫。其形圓，是以性實，其氣順，則脾胃和緩。其氣乖，則脾虛胃弱，而五臟必失和矣。其拳順，則內五行和而百物生。其拳謬，則內氣必努力矣。內氣努則失中，失中則四體百骸無所措施，諸勢亦無形矣。其氣要圓，其勁要和，萬物土中生，所謂橫拳似彈屬土者是也。先哲雲：“在理則為信，在人則為脾，在拳則為橫。”
人而無信，百事不成，人傷在其脾，則五臟失調，橫拳不和，百勢無形。此言形名雖殊，其理則一也。橫拳乃形意之要著也，學者不可不慎詳之。

孫祿堂

"The crossing fist is affiliated to the earth and is reunion of the unified Qi. In the body it is in the same category as the spleen, in the boxing it is the crossing fist. As its form is round, its nature solid. When its qi is convenient; the spleen and the stomach are at ease. When its qi is abnormal, the spleen is depleted and the stomach feeble; therefore the five viscera will necessarily be in disharmony. When the boxing is convenient, the internal five elements are in harmony and all things develop. When the boxing is erroneous, the internal qi will certainly be strained. When the internal qi is strained, the center is lost. Loosing the center causes the limbs and the structure to loose their placements. All forms become shapeless. Its qi should be round and its strength should be soft. All beings grow from earth. The so-called crossing fist is round and affiliated with the earth. The ancient sages said: “It is like the faith in the principle, like the spleen in a man, like the crossing fist in boxing.”
A man without faith is unable to do anything. A person with a hurt spleen loses the harmony of the five viscera. When crossing fist becomes disharmonius, all forms become shapeless. These sentences appear different, their logic is the same. Therefore, crossing fist is important in Xingyi. Students should be attentive to all its details."

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.

"O punho que cruza é classificado com o elemento Terra e é a reunião do Qi unificado. No corpo, pertence à mesma categoria que o baço, nas artes marciais é o punho que cruza. Como sua forma é redonda, sua natureza é sólida. Quando seu Qi é adequado; o baço e o estômago ficam confortáveis. Quando seu Qi está desorganizado, o baço fica debilitado e o estômago fraco; deixando assim as cinco vísceras sem harmonia. Quando praticado convenientemente, os cinco elementos internos ficam em harmonia e tudo se desenvolve. Quando a prática é incorreta, a energia interna será estressada. Quando a energia interna é estressada, perde-se o centro. Perder o centro causa aos membros e à estrutura a perda do posicionamento. Todas as formas ficam sem forma. Seu Qi deve ser arredondado e sua força, suave. Todos os seres crescem da Terra. O punho chmado “punho que cruza” é arredondado e classificado com a Terra. Os sábios antigos diziam: “ é como acreditar em um pricípio, como o baço no homem, como o punho que cruza nas artes marciais.”
Um homem sem fé é incapaz de realizer o que quer que seja. Uma pessoa com um baço debilitado perde a harmonia das cinco vísceras. Quando cruzar perde a harmonia, todas as formas ficam sem forma. Essas sentenças pareceme diferentes, a lógica delas é a mesma. Assim, o punho que cruza é importante no Xingyi. Estudantes devem prestar atenção a todos os seus detalhes."

Do livro O Estudo do Xíngyì Quán (形意拳學), de Sūn Lùtáng (孫祿堂), baseado na tradução de Albert Liu e Dan Miller.

The Study of the Splitting Fist in Xingyi (形意劈拳學) from The Study of Xing Yi Quan (形意拳學) O Estudo do Punho que Parte (形意劈拳學) do Estudo do Xíngyì Quán (形意拳學)

形意劈拳學

劈拳者，屬金，是一氣之起落也。前四節三體重生萬笺張，三體總是陰陽相合。陰陽相合，總是上下內外合為一氣。故其形象太極，是三體合一，是氣之靜也。氣以動而生物。其名為橫，橫屬土，土生萬物，故內包四德。按其五行循環之數，是土生金也。故先練習劈拳。劈拳者，是氣之起落上下運用之，有劈物之意，故於五行之理屬金，其形象斧，在腹內則屬肺，在拳中即為劈。其勁順，則肺氣和；其勁謬，則肺氣乖。夫人以氣為生，氣和則體壯，氣乖則體弱，體弱必病生，而拳亦必不通矣。故學者不可不先務也。

孫祿堂

"The splitting fist is classified with the element Metal and contains the rise and fall of the unified Qi. The former four sections (of the book) explain how San Ti is generated and creates the ten thousand things, San Ti always conforms to the Yin-Yang. To conform with the Yin-Yang means that the high and low, the internal and external always combine in the unified Qi. Therefore it looks like Taiji, Santi is unified and the Qi is at rest. Life is created by the movement of Qi. This is called crossing, which is affiliated to earth. Earth gives birth to everything, within crossing there are the four virtues. According to the circulation of the five elements (Wu Xing), earth produces metal. This is the reason the first practice is the splitting fist. The qi of the splitting fist is to rise and fall, to put the high and low into use, there is the idea of a chopping object. In the the five elements (Wu Xing) system it is affiliated with metal, its image is an axe, it belongs to the lungs in the human body, in boxing it is defined as splitting. If the splitting fist energy flows naturally, there will be harmonius Qi in the lungs. If its energy is mixed-up, there will be perverse Qi in the lungs. Qi is the basis of life of the human body. From harmonious Qi follows a strong body, from perverse Qi debilitates the body. Debility necessarily generates illness and boxing will necessarily be blocked. Therefore the student should not study any other topic before (the splitting fist)."

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.

"O punho que parte é classificado com o elemento Metal e contém a ascensão e descida do Qi unificado. As primeiras quatro seções (do livro) explicam como o San Ti é gerado e como a partir dele são criadas os dez mil seres. O San Ti sempre está em conformidade com o Yin-Yang. Estar conforme com o Yin-Yang significa que o alto e o abaixo, o interno e o externo estão sempre combinados no Qi unificado. Assim é criada a aparência do Taiji, o Santi é unificado e o Qi está em repouso. A vida é criada pelo movimento do Qi. A isso se dá o nome de Cruzar, que é afiliado ao elemento Terra. A terra dá vida à tudo, no interior do Cruzar estão as quatro virtudes. De acordo com a circulação dos cinco elementos (Wu Xing), a Terra produz o Metal. Esta é a razão pela qual a primeira prática é o Punho que Parte. O Qi do Punho que Parte é subir e descer, colocar em prática o acima e o baixo, existe a idéia de um objeto cortante. No sistema dos cinco elementos (Wu Xing) ele é afiliado com o elemento Metal, a sua imagem um machado, é relacionado aos pulmões no corpo humano, na artes marciais é definido como partir (ou dividir). Se a energia de partir flui naturalmente, o Qi dos pulmões estará em harmonia. Se a energia está desorganisada, o Qi dos pulmões será prejudicial. Qi é a base da vida do corpo humano. Do Qi em harmonia resulta um corpo forte, o Qi prejudicial debilita o corpo. Debilidade gera doença, e a capacidade de boxear será necessariamente bloqueada. Em consequência, o praticance não deve estudar nenhum outro tópico antes (do Punho que Parte)."

Do livro O Estudo do Xíngyì Quán (形意拳學), de Sūn Lùtáng (孫祿堂), baseado na tradução de Albert Liu e Dan Miller.

The Study of the Tiger Form (虎形學) from The Study of Xing Yi Quan (形意拳學)O Estudo da Forma do Tigre (虎形學) do Estudo do Xíngyì Quán (形意拳學)

虎形學

虎形者，有伏虎離穴之勢，而又有扑食之勇也。在腹內為腎水清氣上升。丹書雲：“虎向水中升”是也。又為風，風從虎，在拳中而為虎形。臀尾（名督脈，又名長強）起落不見形，猛虎坐臥出洞中是也。其拳順，則清氣上升而腦筋足矣。其拳逆，則濁氣不降而諸脈亦不貫通矣。醫書雲：督脈為百脈之原，督脈一通，諸脈皆通，即此意也。學者務格其虎形之至理，而得之於身心，以通諸竅。

孫祿堂

"Within the tiger style there are the “lying tiger leaving its cave” posture and the boldness of a tiger catching its prey. Within the abdomen, the clear Qì ascend from the kidneys. The Dan Shu says that the tiger ascends towards the water. Wind follows tiger and, in boxing, wind represents the tiger form. Túnwěi, (also known as Cháng qiáng in the Governing Vessel), cannot be seen while going up and down; This is how a crouching tiger goes out of its cave. If boxing is performed mildly, clean Qi ascends and the brain is replenished. If boxing is performed adversely, the impure Qi does not descend and all channels are blocked. Medical books point out that the Governing Vessel is the source of all channes. The idea is that if the Governing Vessel it is clear all vessels are clear. Students should study this principle of the tiger form, as well as apply it properly to body and mind in order to clear all channels."

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

"No interior do estilo do tigre acham-se a postura do “o tigre deitado deixando a caverna” e a audácia do tigre capturando sua presa. No abdômen, o Qì puro sobe dos rins. O Dan Shu diz que tigre sobe em direção da água. O vento segue o tigre, e nas artes marciais, o vento representa a forma do tigre. Túnwěi, (também conhecido como Cháng qiáng no Vaso Governador), não pode ser visto subindo e descendo. Assim é a maneira que um tigre encolhido sai da caverna. Se executado suavemente, o Qì puro sobe e o cérebro é preenchido. Se executado incorretamente, o Qì impuro não desce e todos os meridianos se bloqueiam. A literatura médica indica que o Vaso Governador é a fonte de todos os meridianos. O princípio é que se o Vaso Governador está desbloqueado, todos os meridianos estão livres. Os praticantes devem estudar este princípio da forma do tigre e aplicá-la corretamente ao corpo e à mente para limpar todos os meridianos."

Do livro O Estudo do Xíngyì Quán (形意拳學), de Sūn Lùtáng (孫祿堂), baseado na tradução de Albert Liu e Dan Miller

The Study of the Dragon Form (龍形學) from The Study of Xing Yi Quan (形意拳學)

龍形學

龍形者，有降龍之勢，有伏龍登天之形，而又有搜骨之法。龍者真陰物也（龍本屬陽，在拳則屬陰），在腹內而謂心火下降。
丹書云：龍向火中出是也，又為云，雲從龍，在拳中而謂龍形。此形勢之勁，起於承漿之穴（即唇下陷坑之處，又名任脈起處），與虎形之氣輪回相接。二形一前一後，一升一降是也。其拳順則心火下降，其拳謬則身必被陰火焚燒矣。身體必無活潑之理，而心竅亦必不開矣。故學者，深心格緻，久則身體活潑之理，自然明矣。

孫祿堂

"Within the dragon style there are the “descending dragon” posture and the “hiding dragon ascending to heaven” form; in it lies also the method to circulate through the bones. Dragon belongs in reality to Yin, (originally it belonged to Yang, but in the boxing it belongs to Yin). It is inside the abdomen and is said to bring down the heart’s fire. The Dan Shu says it can rise from within the fire, it can also become a cloud and clouds are the substance of the dragon . This is called the dragon in boxing.
In this style, the strength begins from the point Cheng Jiang. It connects with the Qiof the tiger style. For those two styles, one is forward and ascendant, the other is backward and descendant. The boxing with the mild Qi can promote the internal fire going down: if performed erroneously the Qi will cause the body to be burnt in the Yin Fire. In the later case, the body will be with stagnation of the circulation of vital energy and a loss of flexibility. Students can realize this point through profound study and practice."

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

Sūn Lùtáng (孫祿堂) in Wújí Stance (無極势)

The Study of the Water Lizard Form (鼉形學) from The Study of Xing Yi Quan (形意拳學)

鼉形學

鼉形者，水族中之身體最靈者也。此形有浮水之能，在腹內則為腎，而能清散心火，又能化積聚，消飲食。在拳中則為鼉形。其形能活潑周身之筋絡，又能化身體之拙氣拙力。其拳順，則筋骨弱者能轉而為強；柔者能轉而為剛；筋縮者易之以長；筋弛者易之以和，則謂順天者存也。其拳謬，則手足肩胯之勁必拘束矣。拘束則身體亦必不輕靈，不活潑矣。不活潑，即欲如鼉之能與水相合一氣而浮於水面難矣。

孫祿堂

"From the group of water, the body of the water lizard is the most agile in the water. Its form has the ability to float, in the abdomen it belongs to the kidney, it can calm and disperse heart fire, it can also eliminate indigestion. In the boxing, it belongs to the water lizard form. This for can activate the tendons and sinews of the entire body; it can also transform the body’s clumsy energy and clumsy force. When performed appropriately, weak muscles and bones can be strengthened; the frail can be enforced; contracted tendons can be extended; and all slackened tendons can be adjusted; this is the meaning of following heaven. When performed erroneously, the strength of hands and feet, shoulders and hips will be restrained. The body will also be akward, not agile and not lively. “Not lively” means that if one desires to do replicate the water lizard’s ability of floangti and uniting with the surface of the water and unite with the qi, one will have difficulty."

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