Taiji 4 Saber pair practice – 太極四刀對練 – Taiji Si Dao Dui Lian

4 Saber pair practice

1. 裏剪腕 – inward cutting wrist

2. 外剪腕 – outward cutting wrist

3. 挫腕 – obstructing wrist

4. 撩腕 – raising wrist

Left foot forward Left foot forward
劈肩 (Pī jiān) Shang bu pi dao (Spin vertically round on the right side for momentum) 里剪腕 (Lǐ jiǎn wàn) Step out to the right, step back with left foot, cut toward the opooents inside of the wrist
退步 Tui bu, dao to the right side to avoid the cut. RFF 跟步進步刺心 (Gēn bù jìnbù cì xīn) Follow step, forward step, thrust against the opponents heart (edge upwards). RFF
Kua bu 外剪腕(Wài jiǎn wàn). Step out to the left side, Sword goes above the opponets and the circle back in to cut the wrist from the outside. RFF Step to the left sword to the left to avoid the cutRFF
進步刺腰 (Jìn bù cì yāo) (thrust with edge upwards towards the side of the opponent) RFF 外挫腕 (Wài cuò wàn) Shang bu cuo. Step forward with the left foot, support the dao with the left hand and cut/block against the opponents wrist. LFF
退步 Tui bu hands down to avoid being cut. RFF 割喉(Gē hóu) Shang bu tuo dao. Right foot steps forward, blade towards the opponents throat, dao is pointing out to the right side. RFF
撩腕 (Liāo wàn) Shang jie dao. RFF 砍腿 (Kǎn tuǐ) Step back to the left, circle back to cut against knee. RFF
截腕 (Jié wàn) Lift leg to avoid the cut, circle back to cut the opponents wrist. turn around. LFF Turn around LFF

Tai Ji 13 Saber – 太极十三刀

  1. 按刀 (Àn dāo) – Downward Pressing Saber
  2. 青龙出水 (Qīnglóng chūshuǐ) – Green Dragon Emerging From Water
  3. 风卷残花 (Fēng juǎn cánhuā) – Reeling Wind Damages The Blossoms
    1. Divert to the left, drop and stab to the heart
    2. Block upwards and downwards
    3. shang bu beng dao
    4. tui bu zuo an dao
  4. 白云盖顶 (Báiyún gài dǐng) – White Clouds Cover The Moutain Top
    1. shang bu tuo dao (tong bei dao)
    2. jin bu zi dao (tong bei dao)
    3. shang bu zi dao
  5. 背刀 (Bèi dāo) – Carrying Saber
    1. tui bu bei dao
    2. tui bu jie dao
  6. 迎坟鬼迷 (Yíng fén guǐ mí) – Greeting the tomb to bewilder the ghosts
    1. jin bu – cut from knee to hip
    2. shang bu cut from hip to shoulder
    3. shangbu –  cut from shoulder to ear
  7. 履脚提刀 (Lǚ jiǎo tí dāo) – Brace Leg Lift Saber
    1. zhuan shen xia kan
    2. lift left leg and block to the right
    3. zhen jiao – cut inwards towards the knee
  8. 拨云望日 (Bō yún wàng rì) – Push the Clouds to View the Sun
    1. jin bu – cut from hip to shoulder
    2. shang bu – cut from hip to shoulder
    3. Zhuan shen bai lian jiao
  9. 避刀 (Bì dāo) – Evading Saber
    1. Shang bu shang liao, ti jiao
  10. 霸王举鼎 (Bàwáng jǔ dǐng) – Fuedal Lord Raises Urn
    1. Shang bu rao dao da pi dao
  11. 朝天一炷香 (Cháotiān yī zhù xiāng) – Single Incense To The Sky
  12. 拖刀败势 – (Tuō dāo bài shì) – Pull Saber Defeating Posture
    1. tuo dao
    2. wai jie dao
    3. bai shi
    4. zhuan shen pi dao (ling mao pu shu)
  13. 手挥琵琶 (Shǒu huī pípá) – Hand Playing the Lute
    1. che bu pi pa dao
    2. jin bu ji dao (lan zha yi)

FIVE CHARACTER POEM (五字诀)

Li Yi Yu (1832–1892) was a nephew (sisters son) and foremost student to the Wu style founder Wu Yu Xiang. The following is a translation from Chinese of the version of “Five character poem” that Sun Lu Tang published in his book ”A study of Tai Ji Quan”. When the book was published it was the first time the poem reached a wider audience. Sun Lu Tang studied with Li Yi Yu’s foremost student, Hao Wei Zhen (1849–1920) and was given this poem by him. I (Per Nyfelt) studied with the daughter of Sun Lu Tang, Sun Jian Yun, between 1992 and 2003 (of which 3 years I was living in China). My translation is based on her explanations of the meaning of the text. The handwritten material of Li Yi Yu was published some years ago. I have compared the hand written version with the published one and found the text to be almost identical to the version in Sun Lu Tangs book with no difference in meaning. Li Yi Yu says the following about his poem in the handwritten text:

In the fiftieth year of the cycle during the reign of Emperor Xianfeng [i.e. 1853], when I was just over twenty years old, I started to learn this skill from my uncle [Wu Yu Xiang], who spared no effort in instructing me. Alas, I am really stupid, and after more than twenty years I have only obtained a superficial level. Yet I can see what is exquisite in it, and so I have written a piece which follows, called the “Five-Word Formula”, to remind myself what I have learned.

LiYiYu
HaoWeiZhen
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Li Yi Yu

Hao Wei Zhen

Sun Lu Tang

Sun Jian Yun

Still heart

When the heart is not still the mind (intention) lacks focus. When you then lift your hand there is no direction in any way, for this reason, the heart must be still.

The moment when you move is not decided by oneself.

The heart is still and you understand with your body.

The movements follow the opponent. Let the bent be followed by the extended. Don’t drop but don’t resist either. Bending and extending is not up to myself. If the opponent have force, I have force too but my force precedes.

If the opponent does not have force, I still have force by my intention (mind) precedes.

Pay close attention, your attention is where there is contact. By neither disconnecting or resisting it becomes possible to find the information. After having practised for some time, the body will be able to use this information.

This depends entirely on using intention and not on power. Eventually, the opponent will be controlled by me and I will not be controlled by others.

Agile body

When the body is stagnant one cannot move freely, therefore the body must be agile. When lifting the hand it must not be done insipidly.

When the opponents force has reached the hair of my skin, my mind has already reached his bones.

Both hands upholds the opponent and Qi penetrates throughout.

When the left is heavy it empties and the right moves (strikes); when the right is heavy it empties and the left moves (strikes).

Qi is like a wheel, the whole body follows in a coordinated way. When something is not following in a coordinated way, the body becomes scattered and powerless; the fault is then to be found in legs and waist.

First from the heart to the body1, you follow others and not yourself. Later the body follows2 the heart but still you follow others. To follow yourself is stagnant but to follow others is alive. When you can follow others you can discern with your hands. Then you can measure the size of the opponents power and distance with hair breadth precision. Forward and backward is then always in exact harmony.

The longer you practise the more skill you will get [if you adhere to the above].

Gathered Qi

When Qi is scattered there is no subtlety and the body is in disorder, gather the Qi in your spine instead.

Breathing is smooth and fills the entire body indiscriminately. Inhaling gathers and builds up, exhaling opens and expresses. Inhaling lifts naturally and holds the opponent while exhaling sinks down and is used to send the opponent away.

This is done by moving Qi through the intent, not by moving Qi through force.

Complete power

Successful practise means that body and power has been united.

Clearly discern empty and full.

In order to express power one need root. The force comes from the heel, is governed by the waist, manifested as movement in the fingers and is expressed through the back.

One must be alert so one finds the moment when the opponent is about to express force, but has not yet done so, so that my force can already meet the opponents – neither to early nor to late. As if the skin was on fire, like a fountain gushing forth.

Seek the straight in the bent, store and then issue power.

The direction is obtained by following the hands.

This is to borrow force in order to strike and also to use four ounces to deflect a thousand pounds.

Gathered spirit

Once you are sufficiently proficient in all four (above) then return to gathering the spirit.

When the spirit is gathered the Qi will be stimulated and forged. By training the Qi you return to the spirit.

Qi is active and expansive3.

When the spirit is focused, opening and closing is precise and empty and full clearly discerned.

When left is empty right is full; if right is empty left is full. Empty is not completely without power as Qi is moving powerfully. Full does not mean completely tight, the spirit must be carefully gathered.

The important places are in the middle of the chest and waist, its movement and use is not external.

Force is borrowed by others, qi is expressed through the spine. How can Qi be expressed through the spine? Qi sinks from the shoulders and gathers in the spine and concentrates in the waist. This is Qi from above and is called closing.

From the waist Qi moves upwards through the back and out in the arms and then manifested in the fingers. This is Qi from down to up and is called opening.

To close is to gather and to open is to release.

Once you understand opening and closing, you understand yin and yang.

When you have reached this level, your skill will continually develop until you can do as you please.

1i.e. you use the mind to command the body what to do.

2i.e. follows naturally and spontaneouly by itself – no separation of “first this, then that” just moving as one.

3Very multifacted phrase: 气势腾挪. Qi Shi is also posture, air, charisma. Teng nuo is also manouvering and agile.

Theory

Taiji Quan Theory

Wang Zong Yue

Taiji Quan treatise (太極拳論)

Thirteen postures (十三勢)

Poem of pushing hands (打手歌)

Wu Yu Xiang

Taiji Quan treatise (太極拳論)

Poem of practicing the 13 postures (十三勢行工歌訣 )

Body methods (身法)

Essentials of pushing hands (打手要言)

Playing hands releasing (打手撒放)

Li Yi Yu

Five character poem (五字訣)

Secret to releasing (撒放密訣)

Essentials in practicing form and pushing hands (走架打手行工要言)

Four character secret (四字秘訣)

Ode to Taiji San Shou (太极拳散手赞)

Hao Wei Zhen

Realization of Taiji boxing (太極拳体悟)

Hao Yue Ru

Essential points of Taiji boxing (太极拳要点)

Taiji boxing form and playing hands (太極拳的走架打手)

Sun Lu Tang

Experience of boxing practice and the essential meaning of the three schools (练拳经验及三派之精意)

Boxing theory and the difference between internal and external families (论拳术内家外家之别)

Sun Jian Yun

Essentials of Taiji boxing (太极拳要点决)

General requirements on the body method of Taiji boxing (太极拳身法概要)

三才剑 – 孙氏太极剑 Three treasures sword – Sun Style Taiji Sword

上节:First section
1. 起式 (Qǐ shì) – Commencing form
2. 白鹤晾翅 (Báihè liàng chì) – White crane spreads wings
3. 双龙出水 (Shuānglóng chūshuǐ) – Twin dragons leaves the water
4. 鹞子翻身 (Yào zǐ fānshēn) – Hawk overturns body
5. 单举鼎 (Dān jǔ dǐng) – Single hand lifting the tripod
6. 仙人指路 (Xiānrén zhǐ lù) – Immortal guides the way
7. 青龙返首 (Qīnglóng fǎn shǒu) – Green dragon turns head
8. 太公钓鱼 (Tàigōng diàoyú) – Grandfather catches fish
9. 青龙抬头 (Qīnglóng táitóu) – Green dragon raises head
10. 单举鼎 (Dān jǔ dǐng) – Single hand lifting the tripod
11. 青龙献爪 (Qīnglóng xiàn zhǎo) – Green dragon presents his claw
12. 凤凰点头 (Fènghuáng diǎntóu) – Phoenix nods head
13. 天边扫月 (Tiānbiān sǎo yuè) – Sweep the moon at the horizon
14. 猛虎截路 (Měnghǔ jié lù) – Fierce tiger intercepts the road
15. 青龙缩尾 (Qīnglóng suō wěi) – Green dragon contracts tail
16. 黑虎出洞 (Hēi hǔ chū dòng) – Black tiger leaves cave
17. 平沙落雁 (Píng shā luòyàn) – Goose lands on the the flat sand
18. 青龙入海 (Qīnglóng rùhǎi) – Green dragon enters the sea
19. 怀中抱月 (Huái zhōng bào yuè) – Embrace the moon
20. 鸿雁送书 (Hóngyàn sòng shū) – Swan sends a letter
21. 鹞子束身 (Yào zǐ shùshēn) – Hawk contracts body
22. 孤雁出群 (Gūyàn chū qún) – One goose leaves the flock
23. 蜻蜓点水 (Qīngtíng diǎn shuǐ) – Dragonfly touches water
24. 回头望月 (Huítóu wàngyuè) – Turn back to admire the moon
25. 败势 (Bài shì) – Retreating pose
26. 妙手背斩 (Miàoshǒu bèi zhǎn) – Indegenous hand cuts back
27. 大鹏展翅 (Dà péng zhǎnchì) – Great roc spreads wings
28. 猛虎截路 (Měnghǔ jié lù) – Fierce tiger intercepts the road
29. 推窗望月 (Tuī chuāng wàngyuè) – Push the window open to admire the moon
30. 顺势撩腕 (Shùnshì liāo wàn) – Smoothly lift-cut wrist
31. 蜻蜓点水 (Qīngtíng diǎn shuǐ) – Dragonfly touches water
32. 磨盘剑 (Mòpán jiàn) – Millstone revolving sword
33. 片膀撩腕 (Piàn bǎng liāo wàn) – Slice shoulder cut wrist
34. 青龙缩尾 (Qīnglóng suō wěi) – Green dragon contracts tail
35. 黑虎出洞 (Hēi hǔ chū dòng) – Black tiger leaves cave
36. 怀中抱月 (Huái zhōng bào yuè) – Embrace the moon
37. 鹞子翻身 (Yào zǐ fānshēn) – Hawk overturns body
下节: Second section
38. 单举鼎 (Dān jǔ dǐng) – Single hand lifting the tripod
39. 挤步黑虎出洞 (Jǐ bù hēi hǔ chū dòng) – Extrusion step black tiger leaves cave
40. 抽梁换柱 (Chōu liáng huàn zhù) – Change the bridge pillar
41. 外截剑 (Wài jié jiàn) – Intercepting sword to the outside
42. 怀中抱月 (Huái zhōng bào yuè) – Embrace the moon
43. 白蛇伏草 (Báishé fú cǎo) – White snake hides in the grass
44. 夜叉探海 (Yèchā tàn hǎi) – Concealed fork probes the sea
45. 封候挂印 (Fēng hòu guà yìn) – Seal the envelope
46. 鹞子束身 (Yào zǐ shùshēn) – Hawk contracts body
47. 孤雁出群 (Gūyàn chū qún) – One goose leaves the flock
48. 乌龙绞柱 (Wū lóng jiǎo zhù) – Black dragon warps around the pillar
49. 青龙缩尾 (Qīnglóng suō wěi) – Green dragon contracts tail
50. 挤步黑虎出洞 (Jǐ bù hēi hǔ chū dòng) – Extrusion step, black tiger leaves cave
51. 里截剑 (Lǐ jié jiàn) – Intercepting sword to the inside
52. 鹞子束身 (Yào zǐ shùshēn) – Hawk contracts body
53. 孤雁出群 (Gūyàn chū qún) – One goose leaves the flock
54. 蜻蜓点水 (Qīngtíng diǎn shuǐ) – Dragonfly touches water
55. 磨盘剑 (Mòpán jiàn) – Millstone revolving sword
56. 鹞子入林 (Yào zǐ rù lín) – Hawk enters forrest
57. 怀中抱月 (Huái zhōng bào yuè) – Embrace the moon
58. 片膀撩腕 (Piàn bǎng liāo wàn) – Slice shoulder cut wrist
59. 插花盖顶 (Chāhuā gài dǐng) – Stick the flowers on the roof
60. 鹞子翻身 (Yào zǐ fānshēn) – Hawk overturns body
61. 收式 (Shōu shì) – Closing form


 

三才对剑 – San Cai Pair Sword

 

上 – Shang 下 – Xia
单举鼎 (Dān jǔ dǐng) – Single hand lifting the tripod 单举鼎 (Dān jǔ dǐng) – Single hand lifting the tripod
青龙献爪 (Qīnglóng xiàn zhǎo) – Green dragon presents his claw
凤凰点头 (Fènghuáng diǎntóu) – Phoenix nods head
挤步黑虎出洞 (Jǐ bù hēi hǔ chū dòng) – Extrusion step black tiger leaves cave
天边扫月 (Tiānbiān sǎo yuè) – Sweep the moon at the horizon
猛虎截路 (Měnghǔ jié lù) – Fierce tiger intercepts the road
抽梁换柱 (Chōu liáng huàn zhù) – Change the bridge pillar
青龙缩尾 (Qīnglóng suō wěi) – Green dragon contracts tail
黑虎出洞 (Hēi hǔ chū dòng) – Black tiger leaves cave
外截剑 (Wài jié jiàn) – Intercepting sword to the outside
平沙落雁 (Píng shā luòyàn) – Goose lands on the the flat sand 怀中抱月 (Huái zhōng bào yuè) – Embrace the moon
白蛇伏草 (Báishé fú cǎo) – White snake hides in the grass
青龙入海 (Qīnglóng rùhǎi) – Green dragon enters the sea  夜叉探海 (Yèchā tàn hǎi) – Concealed fork probes the sea
怀中抱月 (Huái zhōng bào yuè) – Embrace the moon
鸿雁送书 (Hóngyàn sòng shū) – Swan sends a letter
 封候挂印 (Fēng hòu guà yìn) – Seal the envelope
鹞子束身 (Yào zǐ shùshēn) – Hawk contracts body 鹞子束身 (Yào zǐ shùshēn) – Hawk contracts body
孤雁出群 (Gūyàn chū qún) – One goose leaves the flock 孤雁出群 (Gūyàn chū qún) – One goose leaves the flock
蜻蜓点水 (Qīngtíng diǎn shuǐ) – Dragonfly touches water 乌龙绞柱 (Wū lóng jiǎo zhù) – Black dragon warps around the pillar
回头望月 (Huítóu wàngyuè) – Turn back to admire the moon 青龙缩尾 (Qīnglóng suō wěi) – Green dragon contracts tail
败势 (Bài shì) – Retreating pose
妙手背斩 (Miàoshǒu bèi zhǎn) – Indegenous hand cuts back
挤步黑虎出洞 (Jǐ bù hēi hǔ chū dòng) – Extrusion step, black tiger leaves cave
大鹏展翅 (Dà péng zhǎnchì) – Great roc spreads wings
猛虎截路 (Měnghǔ jié lù) – Fierce tiger intercepts the road
里截剑 (Lǐ jié jiàn) – Intercepting sword to the inside
推窗望月 (Tuī chuāng wàngyuè) – Push the window open to admire the moon 鹞子束身 (Yào zǐ shùshēn) – Hawk contracts body
顺势撩腕 (Shùnshì liāo wàn) – Smoothly lift-cut wrist 孤雁出群 (Gūyàn chū qún) – One goose leaves the flock
蜻蜓点水 (Qīngtíng diǎn shuǐ) – Dragonfly touches water 蜻蜓点水 (Qīngtíng diǎn shuǐ) – Dragonfly touches water
磨盘剑 (Mòpán jiàn) – Millstone revolving sword 磨盘剑 (Mòpán jiàn) – Millstone revolving sword
片膀撩腕 (Piàn bǎng liāo wàn) – Slice shoulder cut wrist 鹞子入林 (Yào zǐ rù lín) – Hawk enters forrest
青龙缩尾 (Qīnglóng suō wěi) – Green dragon contracts tail 怀中抱月 (Huái zhōng bào yuè) – Embrace the moon
黑虎出洞 (Hēi hǔ chū dòng) – Black tiger leaves cave 片膀撩腕 (Piàn bǎng liāo wàn) – Slice shoulder cut wrist
怀中抱月 (Huái zhōng bào yuè) – Embrace the moon 插花盖顶 (Chāhuā gài dǐng) – Stick the flowers on the roof
鹞子翻身 (Yào zǐ fānshēn) – Hawk overturns body 鹞子翻身 (Yào zǐ fānshēn) – Hawk overturns body
收式 (Shōu shì) – Closing form

Tai Ji Quan

  1. 起式 (Qǐ shì) – Commencing form – Begynnande/Uppstigande form
    無極式 (Wújí shì) – Ultimate emptiness form – Yttersta tomhetens form
    太極式 (Tàijí shì) – Ultimate fullness form – Yttersta fullhetens form.
  2. 懶扎衣 (Lǎn zhā yī) – Not bothering to tuck in robes – Strunta att stoppa in särken. (För lat för att stoppa in särken)
  3. 開手 (Kāi shǒu) – Open hands – Öppna händerna
  4. 合手 (Hé shǒu) – Close hands – Stäng händerna
  5. 單鞭 (Dān biān) – Single whip – Enkel piska
  6. 提手上式 (Tí shǒu shàng shì) – Lifting hand – Lyft upp handen
  7. 白鹤亮翅 (Bái hè liàng chì) – White crane spreads wings – Vit trana sprider ut vingarna.
  8. 開手 (Kāi shǒu) – Open hands – Öppna händerna
  9. 合手 (Hé shǒu) – Close hands – Stäng händerna
  10. 摟膝抝步 (Lǒu xī ǎo bù) – Brush knee with reverse step – Borsta knät med omvänt steg
  11. 手揮琵琶 (Shǒu huī pípá) – Hands play the lute – Händerna spelar på luta
  12. 進步搬攔捶 (Jìnbù bān lán chuí) – Advance, deflect, parry and punch – Gå fram, flytta undan, blockera (och) slå
  13. 如封似閉 (Rú fēng shì bì) – Apparent close up – Skenbar avslutning.
  14. 抱虎推山 (Bào hǔ tuī shān) – Embrace tiger and push mountain – Omfamna tigern (och) knuffa berget.
  15. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  16. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  17. 摟膝抝步 (Lǒu xī ǎo bù) – Brush knee with reverse step – Borsta knät med omvänt steg.
  18. 懶扎衣 (Lǎn zhā yī) – Not bothering to tuck in robes – Strunta att stoppa in särken. (För lat för att stoppa in särken)
  19. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  20. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  21. 單鞭 (Dān biān) – Single whip – Enkel piska
  22. 肘下看捶 (Zhǒu xià kàn chuí) – Fist under elbow – Titta på knytnäven under armbågen.
  23. 倒輦猴, 左式 (Dào niǎn hóu, zuo shi) – Retreat and repulse monkey, left – Bakåtsteg och mota bort apan, vänster. (gå bakom och jaga apan)
  24. 倒輦猴, 右式 (Dào niǎn hóu, you shi) – Retreat and repulse monkey, right – Bakåtsteg och mota bort apan, höger. (gå bakom och jaga apan)
  25. 手揮琵琶 (Shǒu huī pípá) – Hands play the lute – Händerna spelar på luta
  26. 白鹤亮翅 (Bái hè liàng chì) – White crane spreads wings – Vit trana sprider ut vingarna.
  27. 開手 (Kāi shǒu) – Open hands – Öppna händerna
  28. 合手 (Hé shǒu) – Close hands – Stäng händerna
  29. 摟膝抝步 (Lǒu xī ǎo bù) – Brush knee with reverse step – Borsta knät med omvänt steg
  30. 手揮琵琶 (Shǒu huī pípá) – Hands play the lute -Händerna spelar på luta
  31. 三通背 (Sān tōng bèi) – Three cleansing shoulders – Tre rensande skuldror
    – 按式 (Àn shì) – Downward press – Press nedåt
    在右通背掌 (Zuo yòu tōng bèi zhǎng) – Left and right cleansing shoulder – Vänster och höger rensande skuldra
    通天炮 (Tōngtiān pào) – Canon through the sky – Kanon genom himlen
  32. 懶扎衣 (Lǎn zhā yī) – Not bothering to tuck in robes -Strunta att stoppa in särken. (För lat för att stoppa in särken)
  33. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  34. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  35. 單鞭 (Dān biān) – Single whip – Enkel piska
  36. 雲手 (Yún shǒu) – Cloud hands – Molnens Händer
  37. 高探馬 (Gāo tànmǎ) – High pat on horse – Hög klapp på hästen
  38. 右起脚 (Yòu qǐ jiǎo) – Right lifting kick – Höger lyftande spark
  39. 左起脚 (Zuǒ qǐ jiǎo) – Left lifting kick – Vänster lyftande spark.
  40. 轉身蹬脚 (Zhuǎnshēn dēng jiǎo) – Turn around and pressing kick – Vänd runt och tryckspark
  41. 踐步打捶 (Jiàn bù dǎ chuí) – Step in and strike – Steg in och slå
  42. 翻身二起 (Fānshēn èr qǐ) – Turn over and double kick – Vänd runt och dubbelspark – Hoppsparks variant
    Alt. 翻身右起脚 (Fānshēn yòu qǐ jiǎo) – Turn over and right lift kick – Vänd runt och höger lyftande spark. -Lyftsparks variant.
    Both variations are preceeded by 撇身捶 (Piē shēn chuí) – Skim body strike – Skumkroppsslag
  43. 披身伏虎 (Pī shēn fú hǔ) – Turn round and subdue tiger – Vänd runt och betvinga tigern
  44. 左起脚 (Zuǒ qǐ jiǎo) – Left lifting kick – Vänster lyftande spark.
    Alt. 左踢脚 (Zuǒ tī jiǎo) – Left lift kick – Vänster lyft spark
  45. 轉身右蹬脚 (Zhuǎnshēn yòu dēng jiǎo) – turn around and right pressing kick – Vänd runt och höger tryckspark
  46. 上步搬攔捶 (Shàng bù bān lán chuí) – Advance, deflect, parry and punch – Steg fram, flytta undan, blockera (och) slå.
  47. 如封似閉 (Rú fēng shì bì) – Apparent close up – Skenbar avslutning
  48. 抱虎推山 (Bào hǔ tuī shān) – Embrace tiger and push mountain – Omfamna tigern och knuffa berget
  49. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  50. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  51. 摟膝抝步 (Lǒu xī ǎo bù) – Brush knee with reverse step – Borsta knät med omvänt steg.
  52. 懶扎衣 (Lǎn zhā yī) – Not bothering to tuck in robes – Strunta att stoppa in särken. (För lat för att stoppa in särken)
  53. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  54. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  55. 斜單鞭 (Xié dān biān) – Angled single whip – Sned enkel piska
  56. 野馬分鬃 (Yěmǎ fēn zōng) – Part the wild horse mane – Dela vildhästens man
  57. 懶扎衣 (Lǎn zhā yī) – Not bothering to tuck in robes – Strunta att stoppa in särken. (För lat för att stoppa in särken)
  58. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  59. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  60. 單鞭 (Dān biān) – Single whip – Enkel piska
  61. 右通背掌 (Yòu tōng bèi zhǎng) – Right cleansing shoulder – Höger rensande skuldra
  62. 玉女穿梭 (Yùnǚ chuānsuō) – Jade woman shoots through shuttle – Jade kvinnan skjuter igenom skytteln
    Last movement is also called 对心脏 (Duì xīnzàng) – Hand through hearth – Handen mot hjärtat
  63. 懶扎衣 (Lǎn zhā yī) – Not bothering to tuck in robes – Strunta att stoppa in särken. (För lat för att stoppa in särken)
  64. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  65. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  66. 單鞭 (Dān biān) – Single whip – Enkel piska
  67. 雲手 (Yún shǒu) – Cloud hands – Molnens Händer
  68. 雲手下勢 (Yún shǒuxià shì) – Cloud hands low posture – Molnens händer låg position
  69. 金雞独立 (Jīnjī dúlì) – Golden rooster stands on one leg – Gyllende tupp står på ett ben
  70. 倒輦猴 (Dào niǎn hóu) – Retreat and repulse monkey – Mota bort apan
  71. 手揮琵琶 (Shǒu huī pípá) – Hands play the lute – Spela på luta
  72. 白鹤亮翅 (Bái hè liàng chì) – White crane spreads wings – Vit trana sprider ut vingarna
  73. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  74. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  75. 摟膝抝步 (Lǒu xī ǎo bù) – Brush knee with reverse step – Borsta knät med omvänt steg.
  76. 手揮琵琶 (Shǒu huī pípá) – Hands play the lute – Spela på luta
  77. 三通背 (Sān tōng bèi) – Three cleansing shoulders – Tre rensande skuldror
    – 按式 (Àn shì) – Downward press – Press nedåt
    在右通背掌 (Zuo yòu tōng bèi zhǎng) – Left and right cleansing shoulder – Vänster och höger rensande skuldra
    通天炮 (Tōngtiān pào) – Canon through the sky – Kanon genom himlen
  78. 懶扎衣 (Lǎn zhā yī) – Not bothering to tuck in robes – Strunta att stoppa in särken. (För lat för att stoppa in särken)
  79. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  80. 合手 (Hé shǒu) – close hands – Stäng händerna.
  81. 單鞭 (Dān biān) – Single whip – Enkel piska
  82. 雲手 (Yún shǒu) – Cloud hands – Molnens Händer
  83. 高探馬 (Gāo tànmǎ) – High pat on horse – Hög klapp på hästen
  84. 十字擺蓮 (Shízì bǎi lián) – Cross hands and sweeping lotus – Korsa händerna och svepande lotus
  85. 進步指裆捶 (Jìnbù zhǐ dāng chuí) – Step forward and punch crotch – Steg in och slag mot skrevet
  86. 懶扎衣 (Lǎn zhā yī) – Not bothering to tuck in robes – Strunta att stoppa in särken. (För lat för att stoppa in särken)
  87. 開手 (Kāi shǒu) – Open hands – Öppna händerna.
  88. 合手 (Hé shǒu) – Close hands – Stäng händerna.
  89. 單鞭 (Dān biān) – Single whip – Enkel piska
  90. 單鞭下勢 (Dān biān xià shì) – Single whip low posture – Enkel piska låg position
  91. 上步七星 (Shàng bù qīxīng) – Step up with seven stars – Steg fram med sju stjärnor
  92. 退步跨虎 (Tuìbù kuà hǔ) – Step back to ride the tiger – Steg tillbaka och rid tigern
  93. 转身擺连 (Zhuǎnshēn bǎi lián) – Turn around and sweeping lotus – Vänd runt och svepande lotus
  94. 灣弓射虎 (Wān gōng shè hǔ) – Bend bow to shoot tiger – Spänn bågen och skjut tigern
  95. 雙撞捶 (Shuāng zhuàng chuí) – Double crushing fists – Dubbel krockande nävar
  96. 陰陽混一 (Yīnyáng hùn yī) – Yin and yang unite as one – Yin och yang förenas till ett
  97. 無極還原 (Wújí huányuán) – Return to original emtiness – Återgå till ursprungliga tomheten
    alt. 收式 (Shōu shì) – Closing form – Avslutande form

Dao Yin Nei Gong 导引内功

This Dao Yin sequence was developed by Per Nyfelt over 20+ years based on Dao Yin exercises taught to him by Kent Williamsson, Di Zhao Long, Sun Jian Yun and Xin Li Tian. It contains most of the exercises in Ba Duan Jin, an ancient form of Dao Yin originating sometime in the 11:th century. Variations of the other movements exists in many other branches of the martial arts of Xing Yi Quan and Ba Gua Zhang suggesting that they have been practiced for at least several generations of nei gong practitioners who determined them to be valuable to develop health and internal power and hence passed them on to the next generation.

  1. Shrug the shoulders
  2. Look up and down
  3. Ear to shoulder
  4. Look to the side (look back, 后瞧) 4:th brocade in Ba Duan Jin.
  5. Bamboo bends in the wind
    Stretch out rather than just bend to side.
  6. Rub the knees and squat
  7. Lift heels and toes. Distant relative to 8:th brocade in Ba Duan Jin
    Very good exercise to strengthen the knees and improve balance. 
  8. Circle the feet and shake the legs
  9. Monkey offers peach, push the clouds, tiger embrace head (not shown in video below)
  10. Turtle turns head (not shown in video below)
  11. Push open the window to admire the moon 推窗望月 (aka Dragon roams in the clouds) (not shown in video below)
  12. Swimming dragon
  13. Arch and bend the back (alternative to Monkey offers peach…)
  14. Look behind the legs from side to side (alternative to Push open the window to admire the moon…)
  15. Turn to heaven with straight arms
    Keep the spine straight and open the heart while turning.
  16. Hold up the heaven and bow to earth (hold the feet) 托天攀足
    Hold up heaven stimulates the “Triple Warmer” and bow to earth strengthens the kidneys and waist according to Ba Duan Jin (this is combination of 1:st and 6:th brocade). Massage kidneys after each bend.
  17. Circle arms and open hips
    Make sure knees are above the feet – misalignment could cause knee problems.
  18. White snake spits out tongue 白蛇吐信
    Stretching the achilles and calf as well as the front thigh/hip.
  19. Eagle soars upward, bear stretches shoulders
    When eagle sours upward the shoulder blades touch each other but chest is not protruding out. When bear stretches shoulders the shoulder blades move out but the back is not hunched.
  20. Pointing to heaven and transform earth (指天化地). Same as 3:rd brocade (双臂举) in Ba Duan Jin where it is said to especially stimulate the stomach.
  21. Remove the helmet from behind 脑后摘盔
    90% weight on the standing leg.
  22. Draw the bow to shoot the vulture 开弓射雕. 2:nd brocade in Ba Duan Jin where it is said to exercise the waist area, focusing on the kidneys and spleen.
  23. Forward bend with lifted toe
    Keep the spine straight. The chin is longing for the toes.
  24. Sway the head and wiggle the tail 摇头摆尾. 5:th brocade in Ba Duan Jin where it is said to regulate the function of the heart and lungs. Its primary aim is to remove excess heat (or fire) (xin huo) from the heart. Dont move the legs up and down but stand firmly. Hands are only resting gently on each knee – dont use the hands to aid the movement.
  25. Monkey turns around 原猴转身
    Be very careful not to twist the knees and to keep a straight vertical line between hip and shoulder.
  26. Iron crutch Li admires the moon 拐李望月
    Look slightly upward and open the front side of the body.
  27. Massage the shoulders
  28. Tap arms and legs
  29. Large heavenly circulation 大周天

A video with most of the movements below:

Note: The movements that are omitted in the video above requires detailed personal instruction to be performed correctly. If done correctly they are excellent exercises but can be harmful if done incorrectly so hence I skipped them in the video.

Sun style Ba Gua Quan

In most other forms of Cheng style Ba Gua there are three forms. The first one contains fixed postures. The other one focuses on body changes and the third one on eight animals. In Sun style Ba Gua these are all contained in a single form as follows:

There are three ways to practice the form:

    1. Ding shi – each movement is clearly separated and distinguished from each other.
    2. Lian Huan or Huo Bu – one is constantly walking and changes flows smoothly from one to the other
  1. You Shen or Bian Zhang – constantly flowing, changing and improvizing without any particular order or set way of practising (except for adhering to the fundamental principles).

Some branches of Sun style created formalized sets of longer forms such as 64 palms and a separate static postures set etc. Even though most (if not all) of these movements where taught by Sun Jian Yun when she was teaching You Shen Zhang, she did not teach any other formal set of movements except the one listed above.

Sun Lu Tangs book on Ba Gua Quan

Paul Brennans translation of the same book