My Own View on Master Hong Junsheng
    Ever since the year of 2001, I started learning Chen style Tai Ji Quan (shadow boxing) from my elder brother Mr. Jiang Jiajun. As my understanding of Tai Ji Quan gradually has become more comprehensive, my feelings about Master Hong Junsheng have been growing increasingly. The hardship of his life and his persistent pursuit of the art of Tai Ji Quan have left me great impression.
     In Mr. Jiang's residence, I was fortunate enough to witness the handwriting of master Hong's calligraphy, and respectfully read around a thousand letters that master Hong sent to Jiang, in those letters there were mainly Hong's explanations of the theories and methods of Chen style Tai Ji Quan, together with the heartfelt communications between the teacher and student. From the letters, I also saw the warning, enjoinder, sentiment, and expectation an old father had for his went-over son. According to Mr. Jiang, it was because he didn't live with his teacher, there wasn't day-to-day communication that he turned to writing letters for enlightenment whenever he got some doubts.
     I have stayed with Mr. Jiang day and night. With his formless but penetrating influence, I feel that I have known master Hong for several years. With a kind of intimacy burst out from inside, I have been keen in getting urged to know him. At our leisure, whenever time is on our hands, we would unconsciously talk about master Hong, on his experience in learning Quan (boxing), his achievement in practicing Quan, on his articles, calligraphy, life, interest and his personality, etc. Mr. Jiang's eyes would be helplessly filled with tears once something touching him had been discussed upon. From his eyes, I read his concernment, respect, admiration, and deep love for his teacher; from his eyes, I felt how kind and amiable master Hong was. My heart was overwhelmed by their affection as father and a son, as a teacher and a student. I thought I was in fact experiencing everything in person, and I would cry if they cried.
     Master Hong devoted all his life in studying 'Chen Style Tai Ji Quan Theory with Picture Explanations' written by Master Chen Xin. Hong explained the essences in the book with plain and simple words helping all the readers understanding the book easily. Particularly, he provided incisive and detailed explanations on the essence of Chen style Tai Ji Quan -- Chan Fa (the method of Chan), which got us to learn the basic rules of Chart Fa and its applications in Chen style Tai Ji Quan. He applied the rule that conflicts are controversial but unified and the principle of the lever into the study on the theory of Chen style Tai Ji Quan, and consequently made the theory of Tai Ji Quan more scientific and systematic. Master Hong tried his best and exhausted all he had learned, to blend the theories and methods of Quan passed down from his teacher, with his teaching experiences and understandings accumulated by decades, to finish the Book of the Practical Usage of Chen Style Tai Ji Quan. This book, designated the direction for the later generations to learn and practise Chen style Quan Fa, and paved a shortcut for the later generations to get a handle on the theories of Chen style Tai Ji Quan. It could be comparable to Chen Style Tai Ji Quan Theory with Picture Explanations, and may be more of a masterpiece.

MOVEMENTS OF EVERY SCHOOL OF CHINESE KUNG-FU (I)
    Many fans of Chinese Traditional Kung-fu around the world are paying very special attention to various movements of different schools of the Quan. Most people would be asking how the sets of movements the other had learned at the very beginning in normal conversation especially those beginners.
    Are the movements useful in learning Kung-fu?
    Yes.
    Could those be decisive factors in practicing Kung-fu well?
    Might be either correct or not.
    How one regards the functions of Kung-fu movements and, how he learns, practices and applies them in actual uses could reflect his Kung-fu level.
    I. “Po Jiao Ba Gen” in Shao Lin Combat Techniques
    Zhu Tianxi learning Shao Lin Quan is attributed to his love for Chinese Kung-fu. At quite a young age, he started learning traditional Kung-fu originated from the Yellow River basin being formed for thousands of years. The Kung-fu was later the various kinds of Shao Lin schools of boxing. In the earlier years of 1960s, Zhu Tianxi had apprenticed himself to Shi Degen, a contemporarily famous master in Shao Lin Temple, to practice Shao Lin Quan Fa (Kung-fu skills). He has been synthesizing all the essences from both Big Shao Lin (Chinese boxing from the Central Plains along the Yellow River basin) and Small Shao Lin (Chuan Quan movements ih Shao Lin Temple). Therefore, together with his hard work, all the factors make him a well-known exponent of Chinese Shao Lin schools of boxing.
    Zhu Tianxi sending his forces has astonished many people having seen or experienced his Kung-fu practices.
In this article, we would show you a specific movement called “Po Jiao Ba Gen”(kicking in a splash and pulling out the root of your opponent). It is one of the Quan movements of Shao Lin Quan.
Zhu Tianxi says:
  "This movement is one of the Di Tui (a skill to kick the part under your rival's knees) in Tui Fa (kicking movements) of Shao Lin Kung-fu. It is very easy to defeat your opponent by having a steady centre of your gravity, a fast speed as well as your great strength.
  In fighting of San Da (free fighting) nowadays, most people like to use Bian Tui (a flogging movement in kicking), they hold the idea that "hands resemble two doors, while your feet are used to fight." They think that Bian Tui is speedy and powerful being easier to overcome their opponents. However, they neglect that "lifting a foot in the air makes an half emptiness giving your opponent a great chance right to attack you." In the fighting of Shao Lin Kung-fu, once your opponent is kicking you with his foot up, you'd better shift quickly aside make a stride forward, and at the same time, attack his other foot with Po Jiao. In this case, there is no time for your opponent to change his movement but to be badly hit.
    During the process of Po Jiao, there is a speed when you shift aside and step forward, while you are making a stride forward, there is another speed produced. At this moment, the speed of Po Jiao is the combination of both the speeds in stepping forward and doing Po Jiao. In the fighting, the speedier you fight, the greater powerful your hitting will be. It is called the power of speed. Therefore, if we combine both shifting aside and Po Jiao in one, a stitch in time can save nine.
    Meanwhile, as you stride forward in oblique direction when you shift aside, you also send force obliquely when you do the Po Jiao movement. It will be more difficult for your opponent to defend. As coming straightly and thrusting across being the theoretical basis of Shao Lin Quan, people often gain the advantage over their opponents by using it.
  Notes:
    1. Chuan Quan movements of Shao Lin Temple are basically a collection led by people in different Dynasties.
    2. Po Jiao is a traditional saying among people in the central plain region of China. It means a foot sweeping movement. It is a kind of Shao Tui Fa (skills in kicking) in Shao Lin Temple.
    3.Ba Gen means to lift the root of your opponent, that is to say, to make him not able to stand steadily and fall to the ground because he would loss the centre of his gravity
    II. “Shuang Dang” of Wu Zu Quan
    When my opponent is trying to catch my shoulders with his hands or attacking my chest with his fists, I will have his movement away by moving my hands upward and then make use of this condition to attack his chest in a very agile way. This movement in Wu Zu Quan is used to move your opponent's attacking away and at the same time attack him in a flash without any pause. Applying this movement, you could attack any part of your opponent's body with Cun Jin (fierce force in a very short distance sent out in a flash) being the most common attacking in Wu Zu Quan.
    Shuang Dang: (open you hands and turn them round in a very agile way) in playing Wu Zu Quan is usually applied in the following situation.
    III. Classical Forms of Dai’s Xin Yi San in
    Che(withdrawing) Jian (trampling) Gu (pole) (Meng Hu Jie Zhua-a fierce tiger is cutting the opponent’s claws)
    When your opponent is moving forward and plunging into your heart with a pole held by his hands (Picture 1), you draw your Dan Tian (an acupoint located in your navel) back and your chest backward and, straighten your back to have your left foot in emptiness but keep a complete flexible stance, hold your pole with your fight hand and slide your left hand along it to attack your opponent's left wrist in order to get his pole swaying away from his left hand off. Taking an advantage of the opportunity, step your left foot forward and tow your right onward with the center of your gravity on your right one. Meanwhile, tread out your left foot forming a tiger stance and scrape your opponent's pole with yours in your left hand to make his attack overreached. Along with this, push your pole forward with your left hand to hit his right side of waist and rib region sweeping from the left side to the right.

Master Zhang Yulin performs the movement in taking up the opponent’s position & making him lose the center of his gravity
    The Xing Yi Quan Circle attaches importance to exercises in generating, focusing and sending out force with the whole body. Every Xing Yi Quan practitioner gains much experience of such exercises for the sake of hitting the opponent with power in his own most proper method.
    Master Zhang Yulin's Kung-fu experience is brilliant in his simple but direct way to strike his opponent.
    In his opinion, there are four steps.
     l. The position. It means making a physical connection with the opponent. Moving into the opponent's position with a strike is the point.
     2.The angle. It refers to the angle formed in the hand-to-hand combat when both sides are exerting their forces. The opponent is easy to be thrown away if you are standing at a right angle, or else. The angle reflects a kind of skill as well as the mechanical theory.
     3.The actual situation. Knowing the real situation of the opponent who can't make head or tail of the fighter is of ability. The fighter enables to seize the good opportunity in taking the opponent down due to such ability.
4. The unity of inside and outside strength. Because the practitioner should possess considerable power, he needs to have the basic conditions, which are the unity of inside and outside strength.
     The fundamental theories above are far beyond a real skill. In fact, only practice, mainly two-person combats, can help one to master the skills.

Mark Shim
    Most activities in one's childhood are normally brief moments of discovery and diversion. When I first saw martial arts, I immediately knew this was something I wanted to learn. My first interest in martial arts was dismissed by my mother, since she did not want me getting into any rough sports. But when curious children with short attention spans seem to come back to the same questions, it becomes inevitable that they will find a way to follow their curiosity. I did so following what the media and my friends encouraged then. I tried contacting several different martial arts throughout my youth, but there were two main styles that I had practiced. As a child I learned in a structured leveling environment which is good for children, and I achieved a relatively high rank. Later, I noticed that I had better technique, but typically lost to brute force. From here on, I became interested in martial ideas that used less brute force and capitalized on intelligent geometries and I found another style which I practiced for quite some time.
    I began teaching, which was natural for me, to pass on what I had learned. But in courses of my teaching also allows me to discover new questions which would not be discovered on my own with my own training. I had always been modest and I knew that I had something to teach, but also had a lot to learn. I felt certain boredom coming up with my own training. An experienced martial artist will be familiar with the steps like progress in his skills. I have found that my physical skills and mental comprehension have not improved at the same rate in my Kung-fu practicing, so creating some periods of uneventful training.
    By chance, a friend and I noticed among a display of business cards a very special understated card that said, "White Eyebrows Kung-fu", with an address and phone number. The card was strikingly simple; no logo, or slogan. I decided to visit and investigate this organization.
    When I met Master Sam Choi he was attending to other diversions and made little time for me yet entertained conversation as long as I was willing to wait around. I remember something making him smiled, and then he said he would be willing to accept me as his student. I hadn't realized that I was making an application for membership. In an instant I was conflicted. You don't look for new books when you have access to a large library. Also, I knew that practicing a new style meant abandoning everything I knew before but to practice with an open mind. I thought quite simply, "What have I got to lose?"
     I have found that Pak Mei Kung-fu is so rich with its ideas and skills that I have a lifetime of information to teach, and yet a lifetime of various ideas to discover. Years later I am amused by a casual fortuitous event happened then that had been changing my whole life.