Xingyiquan
| Xingyiquan (形意拳) |
|
|---|---|
 Sun Lu-t'ang standing in San Ti Shi |
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| Also known as | Xíng yì quán; Hsing I Ch'üan |
| Style | Internal (nèijiā) |
| Hardness | Non-competitive, or forms competition only |
| Country of origin |  China |
| Creator | Yue Fei (attributed) |
| Parenthood | disputed, possibly military spear techniques or Shaolin kung fu |
| Olympic Sport | No |
Xingyiquan (Chinese: 形意拳; pinyin: Xíng yì quán; Wade-Giles: Hsing I Ch'üan) is one of the major "internal" (nèijiā) Chinese martial arts. Xingyiquan translates approximately to "Form/Intention Boxing", or "Shape/Will Boxing", and is characterised by aggressive, seemingly linear movements and explosive power.
Its origins are traceable to the 18th century[citation needed]. There is no single organisational body governing the teaching of the art, and several variant styles exist.
A Xingyiquan fighter uses efficient coordinated movements to generate bursts of power intended to overwhelm the opponent, simultaneously attacking and defending. Forms vary from school to school, but include barehanded sequences and versions of the same sequences with a variety of weapons. These sequences are based upon the movements and fighting behaviour of a variety of animals. The training methods allow the student to progress through increasing difficulty in form sequences, timing and fighting strategy.
History
![The "Four Generals of Zhongxing" painted by Liu Songnian during the Southern Song Dynasty. Yue Fei is the second person from the left. This portrait is believed to be the "truest portrait of Yue in all extant materials."[1]](http://content.answers.com/main/content/wp/en/thumb/3/36/300px-Four_Generals_of_Song.jpg)
Although the exact origin of Xingyiquan is uncertain, the earliest written records of Xingyiquan can be traced to the 18th century to Ma Xueli of Henan Province and Dai Longbang of Shanxi Province. Legend, however, credits the invention of Xingyiquan to the renowned Song Dynasty (960-1279 AD) general Yue Fei. According to the book Henan Orthodox Xingyi Quan written by Pei Xirong (Chinese: 裴锡荣) and Li Ying’ang (Chinese: 李英昂), Xingyi Master Dai Longbang "于乾隆十五年为“六合拳”作序云：“岳飞当童子时，受业于周侗师，精通枪法，以枪为拳，立法以教将佐，名曰意拳，神妙莫测，盖从古未有之技也。"[2][3]
"...wrote the Preface to Six Harmonies Boxing in the 15th reign year of the Qianlong Emperor [1750]. Inside it says, '...when [Yue Fei] was a child, he received special instructions from Zhou Tong. Extremely skilled in spearfighting, he used the spear to create fist techniques and established a skill called Yi Quan [意拳]. Meticulous and unfathomable, this technique far outstripped ancient ones."
Throughout the Jin, Yuan and Ming Dynasties few had his art, one of them being Ji Gong [Ji Longfeng]. After Yue Fei's death, the art was lost for half a millennium. Then, during the Ming and Qing Dynasties in Shaanxi Province's Zhongnan Mountains, Yue Fei's boxing manual was discovered by Ji Longfeng (also known as Ji Jike) of neighbouring Shanxi Province.
Dr. Yang Jwing-Ming argues that aspects of Xingyiquan (particularly the animal styles) are identifiable as far back as the Liang Dynasty at the Shaolin Temple.[4] Yue Fei, therefore, did not strictly invent Xingyiquan, but synthesised and perfected existing Shaolin principles into his own style of gongfu which he popularised during his military service. Nonetheless, according to Yang, Yue Fei is usually identified as the creator because of his considerable understanding of the art (as shown in the work The Ten Theses of Xingyiquan, credited to Yue) and his cultural status as a Chinese war hero.
Other martial artists and historians of Chinese martial arts, such as Miller, Cartmell, and Kennedy, hold that this story is largely legendary; while xingyiquan may well have evolved from military spear techniques, there is no period evidence to support that Yue Fei was involved or that the art dates to the Song dynasty. These authors point out that the works describing Yue Fei's role or attributed to him long postdate his life (some being as recent as the Republican era), and that it was common practice in China to attribute new works to a famous or legendary personage, rather than take credit for one's self.[citation needed] One source claims that the author of the "preface" is unknown, since no name is written on the manuscript. Most practitioners just assume it was written by Dai Longbang. Some martial researchers believe that it was actually written in Shanxi during the final years of the 19th century.[5] In addition, historical memoirs and scholarly research papers only mention Zhou Tong teaching Yue archery and not spear play.[6][7] Yue historically learned spear play from Chen Guang (陈广), who was hired by the boy’s paternal grandfather, Yao Daweng (姚大翁).[8][9]
With the late Ming-era and Ji Longfeng, evidence for the art's history grows firmer. Ji Longfeng's contributions to the art are described in the Ji Clan Chronicles (姬氏族谱; pinyin: Ji Shi Jiapu). Like the Preface, the Chronicles describes Xingyiquan as a martial art based on the combat principles of the spear. The Chronicles, however, attributes this stylistic influence to Ji himself, who was known as the "Divine Spear" (神槍; pinyin: Shén Qiāng) for his extraordinary skill with the weapon.
The master who taught Xingyiquan to Ma Xueli is conventionally identified as Ji Longfeng himself. However, the traditions of the Ma family itself say only that Xueli learned from a wandering master whose name is unknown. Ji Longfeng referred to his art as Liu He, The Six Harmonies.
The Preface identifies Cao Ji Wu as a student of Ji Longfeng and the master who taught Xingyiquan to Dai Longbang. However, other sources identify Dai's teacher variously as Li Zheng or Niu Xixian.
Xingyiquan remained fairly obscure until Li Luoneng (also known as Li Nengran) learned the art from the Dai family in the 19th century. It was Li Luoneng and his successors—which include Guo Yunshen, Li Cunyi, Zhang Zhaodong, Sun Lutang, and Shang Yunxiang—who would popularise Xingyiquan across Northern China. Sun Lutang exchanged knowledge with Fu Chen Sung, who subsequently took this branch of h'sing yi ch'uan to southern China.
Characteristics and Principles
Xingyiquan features aggressive shocking attacks and direct footwork. The linear nature of Xingyiquan hints at both the military origins and the influence of spear technique alluded to in its mythology. Despite its hard, angular appearance, cultivating "soft" internal strength or qi is essential to achieving power in Xingyiquan.
The goal of the Xingyiquan fighter is to reach the opponent quickly and drive powerfully through them in a single burst — the analogy with spear fighting is useful here. This is achieved by coordinating one's body as a single unit and the intense focusing of one's qi.
Efficiency and economy of movement are the qualities of a Xingyiquan fighter and its direct fighting philosophy advocates simultaneous attack and defence. There are few kicks except for extremely low foot kicks (which avoids the hazards of balance involved with higher kicks) and some mid-level kicks, and techniques are prized for their deadliness rather than aesthetic value. Xingyiquan favours a high stance called Sāntǐshì (三體式), literally "three bodies power," referring to how the stance holds the head, torso and feet along the same vertical plane. A common saying of Xingyiquan is that "the hands do not leave the heart and the elbows do not leave the ribs." Another characteristic common to many styles of XingYi is a stance called "Dragon Body". This is a forward stance similar to a bow stance with a straight line from the head to the heel of the back foot and the front foot perpendicular to the ground. This is not so much a separate stance or technique in itself as a principle of movement to provide power to techniques.
The use of the Santishi as the main stance and training method originated from Li Luoneng's branch of Xingyi. Early branches such as Dai family style do not use Santi as the primary stance nor as a training method.
Overview
Five Element Forms
Xingyiquan uses the five classical Chinese elements to metaphorically represent five different states of combat. Also called the "Five Fists" or "Five Phases," the Five Elements are related to Taoist cosmology although the names do not literally correspond to the cosmological terms.
Xingyiquan practitioners use the Five Elements as an interpretative framework for reacting and responding to attacks. This follows the Five Element theory, a general combat formula which assumes at least three outcomes of a fight; the constructive, the neutral, and the destructive. Xingyiquan students train to react to and execute specific techniques in such a way that a desirable cycle will form based on the constructive, neutral and destructive interactions of Five Element theory. Where to aim, where to hit and with what technique—and how those motions should work defensively—is determined by what point of which cycle they see themselves in.
Each of the elements has variant applications that allow it to be used to defend against all of the elements (including itself), so any set sequences are entirely arbitrary, though the destructive cycle is often taught to beginners as it is easier to visualise and consists of easier applications. Some schools will teach the Five Elements before the Ten Animals because they are easier and shorter to learn.
| Chinese | Pinyin | |||
|---|---|---|---|---|
| Splitting | 劈 | Pī | Metal | Like an axe chopping up and over. |
| Pounding | 炮 | Pào | Fire | Exploding outward like a cannon while blocking. |
| Drilling | 鑽 | Zuān | Water | Drilling forward horizontally like a geyser. |
| Crossing | 橫 | Héng | Earth | Crossing across the line of attack while turning over. |
| Crushing | 崩 | Bēng | Wood | Arrows constantly exploding forward. |
It is perhaps unfortunate that the names used for the elements are used as fundamental names for applications of energy or jìn (勁), since it can be confusing to describe the "heng jin contained within pi quan". The jìn referred to by the five element names are not the only ones, there are many others.
Animal Forms
Xingyiquan is based on twelve distinct animal forms (形; pinyin: xíng). Present in all regional and family styles, these emulate the techniques and tactics of the corresponding animal rather than just their physical movements. Many schools of Xingyiquan have only small number of movements for each animal, though some teach extended sequences of movements. Once the individual animal forms are taught, a student is often taught an animal linking form (shi'er xing lianhuan) which connects all the taught animals together in a sequence. Some styles have longer, or multiple forms for individual animals, such Eight Tiger Forms Huxing bashi.
| Chinese | Pinyin | ||
|---|---|---|---|
| Bear | 熊 | Xióng | In Xingyi, "the Bear and Eagle combine," meaning that the Bear and Eagle techniques are often used in conjunction with each other. There is a bird called the "Bear Eagle," which covers the characteristics of both forms. |
| Eagle | 鷹 | Yīng | |
| Snake | 蛇 | Shé | Includes both Constrictor and Viper styles. |
| Tiger | 虎 | Hǔ | |
| Dragon | 龍 | Lóng | The only "mythical" animal taught. |
| Chicken | 鷄 | Jī | |
| Horse | 馬 | Mǎ | |
| Swallow | 燕 | Yàn | |
| Goshawk | 鷂 | Yào | This can mean 'Sparrowhawk,' though the more common word for "Sparrowhawk" used to be Zhān (鸇), which has fallen from use over the years. There are at least two different kinds of birds in China that can be translated as "Goshawk." One is, in Western terms, a Sparrowhawk; the other is same species called a Goshawk in the West. |
| Monkey | 猴 | Hóu |
| Chinese | Pinyin | |||
|---|---|---|---|---|
| Crane | 鶴 | Hè | ||
| Crocodile | 鼍 | Tuó | The animal it is meant to represent is the Yangtze River alligator. Sometimes referred to as a water-skimming insect, or water lizard. | |
| Tai | 鳥台 (
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