Xin Yi Qusn si Ba Chui of Henan Li Zijun style
    The succession relationship of Xin Yi (minding and intending) Quan of Li Zijun style is as follow. Li Zijun learned the Quan from Master Shang Xueli and passed it down to his prentices, Li Shuling and Li Xinmin. The two then passed it down to Lai Qingxin, Zhang Duxin. and some others. Zhang Duxin taught his son Zhang Yunxiao, Wang Peng, Wang Kun and other fews the Quan as well.
    Si Ba Chui (four seizing routine) is an important set of movements in Xin Yi Quan. It is derived from its mother Quan named Si Quan Ba Shi (four styles of fists and eight postures) requiting you to practice the Quan set in stretching out or drawing back, turning back or on the side, crouching and pouncing, jumping up or down like a spring. The Quan movements and postures are simple but quite powerful in real attacking. Si Ba Chui is regarded highly as a requisite training in achieving and issuing the unique sudden bursts with your inner strength in practicing it, generally called as the king of Short-range Xin Yi Quan. There are no any dazzling posture in Si Ba Chui, with its transitional movement being the beginning or the end of another one. Doing any movement would be potentially effective in wounding your rival. Take the technique of Guo Bu Jian Cuan (across stepping like an arrow flying in a flash) for example, it would a big mistake to practice it as Er Qi Jiao (twice-raising step) or Kuas Bu (striding step), or simply regarding it as a transitional movement. In Quan scripture there is a stepping formula for ten methods which goes like that" doing Jian Bu (bouncing step) means that you should swiftly rush forward like a horse prancing or a tiger scuttling on but not jumping up. You should rush up fiercely with both your legs and feet stepping fast forward with one foot followed by another. This is called stamping with your foot by foot to bounce." Many writers of Xin Yi didn't mention this point ever before. The real reason is that to keep this unique Kung-fu secret within a certain style of Xin Yi Quan had been a rule in our school before.
    I remember Mr. Liang Weiming once said that "when you are watching some one playing Quan, you should not focus on movements but observe if their transferring between movements conforming to the normal standards. As details reveal the truth, the real thing is always apparent in subtleties." The movement of "Guo Bu Jian Cuan" is an important technique. It can especially show itself extremely powerful when it is applied to a numerically imbalanced fighting as you are the single one. It requires you to raise your leg as if to kick your rival forcefully, advance your foot as if to stride, put down your foot as if to trample. Raise your foot followed by the other, move forward with the one followed by the other. Practicing the Quan techniques, you should keep your entire body in one but not separated with a 10t of breaks. Your forces should be concentrated, your strength would be sufficient with your hardness and softness complemented together while your Yin and Yang attracted each other. Only when you concentrate you mind can you achieve the higher level. You have to control the transition between your hardness and softness alternated with fast and slow paces. Breathe naturally following your intent, and perform physical movements in accordance with your Qi (inner breathing and strength). There should be no disconnection in transiting your movements, intents, breathes and shapes. Take easy in your breathing and relax your shoulders and Release your chest, extend your back, close your crotch, protect your buttocks, uplift your head by mind, raise your private parts, loose your shoulders, droop your elbows, and perform your Yin and Yang, emptiness and firmness clearly. Meeting the above requirement, you could practice the Quan well.
    Emptiness might be explained as Yang while firmness, referred to Yin. Yin and Yang are both contradictory and united since they complement each other, infiltrate and cooperate mutually. In short, it's Yang when you are mainly confronting your rival, Yin, protecting yourself. You can strike in a situation of Yang, and hide, of Yin. The Quan technique in essence is to adjust your Yin and Yang in unlimited changing to harmonize you all movements systematically. It's better to alternate between your stillness and motions according to the actual situation. However, there are no fixed rules for doing so.
    I would like to share with you some practicing techniques, and show you some photos accordingly.
    1. Xiong Chu Dong (a bear leaves the cave) Put your left foot forward, move your body leftward and squat down with your knees bent. Cross your hands by your chest. Sink your shoulders and droop your elbows, relax your chest and pull your back up straight like beating a pan on your back. Raise your anus and have your tongue touched your palate. Look forward
    2. Hu Pu(tiger’s pouncing on)
Stride forward with your left foot forming a left bow-shape stance, spread all your fingers apart and press down with your right palm downward and left palm rightward. Move your right palm in front of your crotch and put your left palm down to the inside flank of your left leg. Keep your nose tip, knee top and tiptoes in line.
     Key Point: regardless your rival hitting or kicking you, you could just focus on the middle of his body, step forward and slash on his head and face with both hands. Then grab him downward to rip, drag, beat and press. Use multi-forms in striking suddenly and swiftly at the same time, ripping with your hands, striking with your shoulders and hitting with your head, to comer him unable to defense.
    3. Guo Bu Jian Cuan (crossing steps like a flying arrow)
    Strike forward with your right foot, and kick your rival with your elbows protecting your ribs, your hands protecting your chest.
    Key Point: when your rival is dodging backward, you could kick his abdomen and chest with your back foot by forcing the ground with your front one, change your palms into fists to strike him at the same time. It is a very fierce movement with all your strength concentrated in you leg, which could hurt your opponent heavily.
    4. Hou Shu Tun (a monkey is holding up its buttocks)
    Land your right foot next to your left foot, with your left tiptoe a little bit upward and your left heel slightly touch the ground. Droop your right fist by your right leg, change your left fist into palm and place it beside the inner part of your left calf. Squat down at your best with your right leg, keeping your foot arch, buttocks and heel at a right angle.
    5. Da Heng Quan (hit your rival sidelong)
    Stride forward with your left foot, with the fingers of your left palm apart, have your right fist struck your rival upward from the down. Join your left palm with your right fist, place them to the height of your chest. Look forward . 
    Key Point: the technique lies in hitting the private parts of your rival or his abdomen, chest and the chin.

Unique Features of Wang Qihe’s Tai Ji Quan 
    Three kinds of Kung-fu, the flexible one, the aesthesis and the internal strength, are the main stays and the outstanding features of all Tai Ji Quan. In Wang Qihe style Tai Ji Quan, these three kinds of Kung-fu have been further explored in both theory and appliance.
    I. Flexible (in looseness & softness) Kung-fu
    In Wang's Tai Ji Kung-fu, flexibility in looseness and relaxation in softness is highly valued. He thought then that the Tai Ji techniques of your hands and body movements, the supporting power of your feet and the strength arranging were the basic skills. The state of a round, flexible and sound state, the aesthesis and internal power together with those skills were all rooted in the flexibility in looseness, relaxation and softness. You should start the Tai Ji practices from "looseness".
    When you are starting to practice the Quan, do keep your feeling in complete "looseness" all the time. Every action should be done in the state of complete looseness, relaxation and softness under the guidance of your minding. Using this method to practice Tai Ji Quan will be slower in progress within certain period but it is the right way to in reality practice Tai Ji. Otherwise, the improper method in practicing the Quan will certainly lead you into a wrong way. Since "it is easy to learn Tai Ji Quan but hard to change its accustomed mistaken styles", only keeping yourself in looseness and softness can you burst out an unique Tai Ji strength of “extreme hardness forming extreme softness”.
    II. Aesthesis Kung-fu
    Aesthesis Kung-fu is what we have called "knowing your Jin (strength and forces)". It is based on the flexible Kung-fu in looseness and relaxation. Playing flexible Kung-fu, you should focus on knowing yourself while playing aesthesis Kung-fu, either knowing your rival. You should follow your tutor and improve yourself through doing Tui Shou (pushing hands), Wen Jin (detect the strength) and Ting Jin (feel the strength) practices. When you are practicing Tui Shou, remember that Wang's Tai Ji emphasizes on gaining the sense from no losing and no hard pushing. Staying in a state of looseness, collecting all the messages from your touching points to understand, imagine and judge all the situations will be the point in your fighting. You should reach the stage of measuring the attacking force sent by your rival and figuring his strong and weak points without any tiny mistake.
    Internal strength is considered the most advanced Kung-fu in playing Tai Ji Quan especially in Wang Qihe's. Actually it never goes against the sayings with Tai Ji as "using softness to defeat hardness", "gently drive away a ton with a force in a gram merely" and, "borrow every power to hit your rival". Without the internal strength, you can only use some little tricks in Tai Ji Tui Shou or in fighting, facing a strong rival, you cannot even send out your force or get away off his attacking either. In case you have reached a high level of Tai Ji internal Kung-fu, your mind, body, breath and strength will be combined in one. You needn't prepare for long before using Tai Ji internal strength to throw your rival away. Master Wang Qihe used to lie on the bed and shoot out a grain with his belly upward to the roof. Most rivals in fighting with Master Liu Renhai (1904~1982), one of Master Wang's prentices, all felt extreme pain in their bones while Master Liu put his hand on their shoulders, bodies or even their hands merely. We could imagine how the predecessors did with the outstanding Tai Ji internal strength.
    III. Interior Strength Kung-fu
    In Wang Qihe’s Tai Ji Quan, Hun Yuan Jin(strength exerted harmoniously as a whole) is considered to be the fundamental element as well as the highest state of Tai Ji strength. "Fundamental element" means, Hun Yuan Jin would be consisted with every part of your body. Reaching the "highest state" of Tai Ji Kung-fu is your final goal to gain the sound union of all your Hun Yuan Jin, or there will be no Tai Ji Jin. Getting and possessing Hun Yuan Jin, you would have your heart going with your minding, your minding with your breathing and your breathing, with your strength while all your joints are connected smoothly with your Qi (interior breathing and strength) flowing. Your appearance would show at ease while all the internal of your body would contain flexibilities. It is the complete Tai Ji Gong Fa (the essence of Kung-fu), quite different from the limited skills and movements. There is a accurate description about it in Tai Ji Quan Pu (a guidance for practicing Tai Ji Quan) passed by Mr. Wang Qihe saying that "In all the movements of the Quan, having Hun Yuan Jin, you will keep your breathing flowing everywhere inside your body and spirit freely without any blocking. It could be sent out or hidden somewhere at will. The Jin would be endlessly changeable and never be used up." If you have mastered Hun Yuan Jin well, you will never be butting or losing in playing Tui Shou (pushing hands) with your opponent and letting him miss any or all chances to attack you. You can convert his force and send out your strength to hit him at will without his awareness. If you didn't master the Jin, you wold only attack your opponent with clumsy movement and violent force, which disobey the above strength principle.
    IV. The principle for practicing - what is practiced is what to be applied in actual fighting
Practicing Wang's Tai Ji, you have to focus on both its theory and practical uses in actual combating. It emphasizes on what is practiced is what to be applied. It has inherited and developed the elites of Wu's Tai Ji and the Yang's in both theory and practicing. What is more, it has formed a great deal of special training methods like: Li Dang (technique for crotch), Li Zhou (keeping your body upright) and Li Zhou (technique for elbows).
    Li Dang (technique for crotch) means when you practicing, avoid changing the center of your gravity sideways. It should be moved straight forever with the position of your crotch making your relaxed body sinking down.
    Guidance: your body should be in harmony first. Try to make each joint of yours loosen. Led by your minding, your Qi within Dan Tian should be turned around then sinking down you’re your Yong Quan (double acupoints in your soles). Lower your clavicles to make the posture of Han Xiong Ba Bei (have your chest inward sinking in a little and your back stretched). Let your Qi sink into your Dan Tian. Doing it, you are seemingly to just move your gravity center back or forward but actually you are sinking your body and spirit downward. Keeping your waist and your middle part circumvolved freely and actively, you could produce a special kind of springing force. You could have yourself balanced avoiding any separation in going forth and back. In this way, it could strengthen your bursting power and help you to melt any sudden attack easily.
    Li Zhou (keeping your body uptight) means when you are moving, all the joints of your waist should be relaxed and loosen but worked in one to form a straight standing bow like the axis of a door. Keep your Bai Hui.(an acupoint at the top point of your head) always being perpendicular to "Wei Lv" (the bottom of your tail cone). No matter how you move or turn your waist, do keep standing straight like an axis of a door, which could always keeps you in balance. It could also increase your integrated strength by moving with the guide of the waist.
    Li Zhou (technique for the elbows) means you should ease your shoulders and lower your elbows with your all fingers relaxed. With your body uptight, round your chest, straighten your back, ease your shoulders, lower your elbows and wrists, relax your fingers and palms. Your may feel your body is being pulled longer with great strength in your forearms. It could help to increase the strength of your elbows, wrists, arms and shoulders, being easier in protecting your head, neck, chest and ribs and attacking agilely.
    Li Dang, Li Zhou and another Li Zhou are close related with each other and associated together. When you combine them well, you will find that every part of your body is full of strength, just like an arrow going to be sent out.

The Study of “Wo Shun Ren Bei”
    The phase of "Wo Shun Ren Bei" (You are in favorable position while you rival is losing controlling of his stableness and strength) is quoted in Wang Zongyue in his book of Tai Ji Quan Lun (the theory of Tai Ji Quan)". The original version of its first line to the fourth is excerpted as follows:
     Tai Ji derived from the primitive one, causing the existence as well as the transition of all the activities and the quiet in the universe, being the origin in producing Yin and Yang and their endless transformations.
     The movements in dividing are derived from acting, while the results in associations, from keeping calm.
     Keeping balance, in ease control either in dividing or combining, will be focused; keeping in line with the situation is quite adaptable, being forward if the other party is backing off.
     If your opponent is competitively strong, I would then be flexible and soft. It is called to disperse the other party’s hardness. If I'm in favorable position while my opponent has lost his control in keeping his stableness and strength, I will then override him.
     ...(the following twenty lines are omitted)
Judging from the book Tai Ji Quan Lun, we could know that Wang Zongyue was a Tai Ji super master in real fighting. He explained in his book simply and clearly the guiding idea and techniques in actual fighting rather than movement practicing. Tai Ji Quan Lun, with less than three hundred words, has played a significant role as a metrology, guiding all the Tai Ji study and research for hundreds of years.
     Tai Ji Quan Lun has put forward a very important attacking concept -You being positive and your opponent, negative.
     Usually, there will be four cases occurred while two parties entering into getting Tui Shou (pushing hands):
      1. You being positive and your opponent, negative (when both of you are in preparation posture and haven't send out strength toward the other)
     2. You being negative and your opponent, negative (when you are of comparable competence restricted by the other)
3. You being negative and your opponent, positive (When you are controlled by your opponent)
4. You being positive and your opponent, negative(When your opponent is controlled by you)
Analyzing these four, the first two cases would be describing the two parties are of nip and tuck being stalemated. Following these two situations, there would appear the third case "you being negative and your opponent, positive" being not favorable for you or the fourth "you being positive and your opponent, negative" while you are I taking the initiative.
    When the third situation is taking place, the better way is to move away" as said "if the other party is competitively strong, then be flexible and soft. It is called going along to disperse the attacking force". When the fourth situation emerges, the smart countermeasure is following the attacking sent by your rival in sticking as described that "you should be proactive in priority while your rival has lost his control with his stableness and strength." When experienced Tai Ji players are fighting each other, each one would try to avoid the emergence of the third situation. Once it is emerged, one would try to disperse the other party's attacking force in going along and in melting in a hope to regain the initiative. In the fourth situation, the best way is to override the coming force in melting or, to remain your proactive state just by holding onto the state in priority by touching, sticking, connecting and going along.
    How to live up to the rule of "touching, sticking, connecting and going along"? (this is a basic requirement and a supreme state in practicing Tai Ji Quan) It says that "whenever a Tai Ji player has practiced the Quan for several years but still got incapable in exerting his force, the point mostly lies in his incompetence but being controlled by his rival. He has not yet understood the lesson of Yin and Yang balanced named "double heaviness".
    What on earth does "double heaviness" mean then? Somebody considers it as the external movements of his feet's "firmness and emptiness", or the primary and secondary" of hand movements. Some others assume it as "breathing" and "spirit and intention" as a kind of inner Kung-fu. Others presume the bad state in Tui Shou of "stalemate" and "refuse to budge". There are some elements of truth in these above statements, but each is only partially true. The correct understanding is that, in the process in exerting strength to attacking or defending, you should always keep the balance of Yin (negative and softness) and Yang (positive and hardness) so that the state of the two parties enter into a stalemated situation wouldn't take place. It says that "to avoid this awkward situation, you have to understand the lesson of Yin and Yang. Sticking functions same as moving away. Yin and Yang should be combined together and associated, that is the real understanding of strength". The most of the sophisticated philosophies usually can't be spoken out clearly but to be thought out or the more mistakes would be made then.
   In the situation that the two parties are consistent to form a circle, if you are not in a superior state, your rival wouldn't be in an inferior state, if you are the superior, he must be the inferior. When you are practicing Tai Ji or Tui Shou, it is crucially important to find and reinforce the feeling of "in superiority". Getting this feeling, you should pose proper movement with your body uptight and balanced, hold your breathing smoothly and naturally, completely relaxed and balanced with your minding guiding you Qi. In such state, you will have great courage that would help you win in Tui Shou and actual fighting.
                                 

The Cause-effect Relationship of Rising, Dropping, Transferring & Continuing
    Practicing Wang Qihe Style Tai Ji Quan all those masters stress on the techniques of following a forward step closely and, retreating with a backward step. You should have your three limbs including two arms and one foot in emptiness and the other foot, in firmness. It has absorbed the characters of stretching-out and continuous manipulation from Yang style Tai Ji and flexible and artfully practical gait from Wu style. Combining the merits of the two styles into one, Wang's Tai Ji earns another particular style as well. As a result, it manifests both the majestic bearing of Yang Style and the orderly fist-applying method of Wu Style emphasizing either stretching-out movements or coherent manipulations. Their movements of rising, dropping, transferring and continuing in coherent continuity represent the uniqueness of Wang Qihe Style Tai Ji Quan.
    "Rising", is a beginning form of the Quan and "dropping", a closing one. "Transferring" refers to the linked movement between different forms, while "continuing", to continuity of a succeeding posture to its previous one. Performing the above four, the Quan player would form his Quan frame well corresponding with the chains of cause-effect relationship in philosophy system. Rising, the beginning form, acts as a cause while dropping, the closing form, as an effect. The effect of the closing form is becoming the cause of the next. Hence the transformation of various causes and effects lead the Tai Ji movements to be linked in chains performed continuously.
    With the cause-effect relationship, the beginning form and the closing actually play in one as a very important part in practicing Tai Ji. The beginning form includes many basic requirements running through the whole Tai Ji practicing process, such as sinking the shoulders and hanging the elbows, rounding the chest, lifting the back up, gently leading the energy of the apex upward, loosing the crotch and relaxing the waist and, lightening and softening the whole body and etc. Therefore, the beginning form has a direct effect on the quality of Quan Jia performance. A Quan beginning form in high quality will lead to better performance of other succeeding forms. The closing form implies that all thoughts should be submitted to one as the harvest or a result. At the end of the Quan practice, your Qi and energy is to be preserved in your body then.
    The previous form is referred to as cause and the succeeding one, as effect generated near the end of the pervious one. The next form is generated before the succeeding one is finished. In this way, the chains of movements circle will move marvelously as a whole. To acquire the mastery of it, you should be taught carefully by a good master.
    "Transferring" and "continuing" also play a key role in the cause-effect relationship and, have important function in actual fighting. It requires you to relax every part of your body joint by joint to perform the movements of "rising", "dropping", "transferring" and "continuing" well. The application could be embodied in such a way: it's easy for a Quan player to knock down a chair with his fists, but rather hard to knock away a bag of com, for the disassembling grains of the corn would absorb and detract the striking force, just like the bump-proof design for an automobile to dispel, assimilate and abate the coming force. Reaching the sophisticated level of Kung-fu, you will attack as to dispel, to dispel as to attack, the two different intents can be combined and converted into one act being carried out by your minding only in a flash.
    It is most apparent to make out the cause-effect relationship from Tai Ji Yin-Yang picture, which is the direct portrait of cause-effect relationship in Tai Ji. Besides, the transformation between hardness) and softness, opening and closing, emptiness and firmness, stillness and motion, as well as Yin and Yang, also reveals the interconvertible cause-effect relationship.