Reflection & Realization of “Kai He” & “Gu dang” in Playing Tai Ji Quan
    Master Li Jingwu said, "Qing Lin (cleverness) Huo Po (flexibility) Qiu Dong (aim at the understanding of one's strength and the capability to comprehend), Yin Yang Ji Ji (as long as the body system maintains its balance) Wu Zhi Bing (one will be without any infection of disease), Ruo Yao (if) Si Liang Bo Qian Jin (1 Liang=30 grams, 1 Jin=300 grams. Bo, moving away or lifting up. Here, the whole sub-sentence 'Ruo Yao Si Liang Bo Qian Jin' means if one wants to break this balance of huge staility by using tiny strength), Kai He (opening and closing with the exertion of one's interior strength) Gu Dang (moving upward and downward with the the exertion of one's breathing) Zhu Zai Ding (have the dominant role in determining whether the balance could be broken)." That is to say, only when one masters the ability of Kai He Gu Dang can one be addressed as competent to comprehend, to "Yin Jin Luo Kong He Ji Chu (sense the your movement and your opponent's being nearly the same both in strength and in direction, and you could lead his force into emptiness and transform it backward against him)."When you understand that practicing martial arts needs emphasizing Kai He either for playing Tai Ji Quan (shadow boxing) or for Xing Yi Quan (forming and intending) and Ba Gua Zhang (Eight Diagrams palms) as well, though "Kai He" had been addressed differently by the old Quan masters in the past. The comprehension of Kai He is the basic requirement for Nei Jia Quan (Interior Kung-fu). The capacity in energy of Kai He is a standard to measure whether the players' Nei Gong (interior Kung-fu) is great or not. The different Quan players with various Kung-fu levels would have got quite diversed understandings of Kai He.
    1. About 'Nei Kai He (the exertion of interior strength and breath)'
 What is Kai He? Kai He is the exertion of Nei Jin(interior strength) being a method to train your Kung-fu. Master Wang Peisheng's explanation is, "Dan Shu Yun (the book of Dan says), 'Xu Wu Yi Qi'(to form your inner breathing and strength in one from vanity) Nai (is) Tai Di Zhi Gen (the very base of existence), Yin Yang Zhi Zong (the forefather of the balance system), Wan Wu Zhi Zu (the ancestor of every living thing), Ji Jin Dan Shi Ye (that is, Jin Dan, the auric pill). The auric pill, with vanity and stability with emptiness in nature forming a sharp as your Yuan Qi, your basic spirit, strength, power and breathing. JIn Dan golden pills is the very Nei Jin of the Quan (boxing), and its mysterious essence."
    To practise Kung-fu is to train, breed, expand and fulfill your energy field as well as your info field. The prestigious Kung-fu masters in the past all started with the exertion of Kai He Gu Dang of "Tai Ji Yi Qi" to travelling and galloping around. Therefore, Kai He Gu Dang has always been a self-evident known-to-all mystery. That is why there lies a legend of 'Ning Chuan Shi Shou Bu Chuan Yi Kou (the preference to pass down Kung-fu by acts in stead of breathing or even speaking)". And thus, it is said that, Kai He is the exertion of Tai Ji, and also the way to practise the Quan.
    Tai Ji is a mixation of three treasures, Jing (spirit), Qi on those three. Shen is the most dominant, Qi serves as motivation and Jing is the very base. Qi derives from Shen; once highly concentrated, it will be accumulated; ad thus Tai Ji is achieved as Qi is accumulated. Tai Ji is the Qi of nature, once hidden, be vanity; once released, be power. If the practice of martial art is not accompanied with Dan Dao (the method of accumulation), everything turns into ashes even when one practises it all life long. Hence, the movements, the practices and all the functions would be as the Qi flowing through your soul and your body. This is a Kai and a He. Kai, not attributing to the physical opening and closing movements of your body but associating Kai He of the inner Shen and Qi.

Pengnan’s Description of the Origin of Wing Chun Quan
    There are many popular theories concerning how Master Peng Nansheng described the origin of Wing Chun Quan. And here releases the original version, as reference for practicers pertaining to the same school.
     It is believed that in Kangxi Year 47 in Qing Dynasty (1708 A.D.), the leader of Zhejiang Tian Di Club, monk Yi Nian, together with his school uncle Jing Qing, and anti-Qing persons of righteousness, Gan Fengchi, Zhou Lu, Lu Tongyan, supported Zhu Hongzhu to revolt against Qing on Da Lan Mountain. Unfortunately, they were trapped and suppressed by the army dispatched from Qing court. Monk Yi Nian was wounded and captured, while his school uncle Jing Qing, Gan Yanchi, and Lu Tongyan escaped. Jing Qing fled to hide in Ling Xu Yan, Heng Mountain. It was not until the late Yongzheng year, when Gan Fengchi brought Chen Zhiming, the grandson of former Tian Di Club leader Chen Yonghua, to look for school uncle Jing Qing at Ling Xu Yan, Heng Mountain, hoping that Jing Qing would foster Chen Zhiming, to pass down the blood of Anti-Qing persons to the next generation. At that time, Chen Zhiming was only 11 years old. Jing Qing named him Yi Chen, and devoted himself to teaching Yi Chen Shao Lin Kung-fu. After Jing Qing passed away, Yi Chen created a new school of Quan on the basis of Shao Lin Kung-fu by absorbing the merits of other schools of Kung-fu. He named this school Wing Chun Quan, in commemoration of Yong Li emperor of South Ming Dynasty.
    Qianlong Year 59 (1794 A.D.), Zhang Wu, a mummer who played Wu Sheng, from Xiangku (later named Tan Shou Wu), went to Nanyu to worship god. He met an old monk at the foot of Peak Tianzhu, who seemed pretty much strong and vigorous. Zhang Wu begged the old monk for tutoring as he learned that the old monk was a Kung Fu master. Seeing that he really did sincerely want to learn, the old monk agreed to take him as his apprentice, and taught him Wing Chun Quan.
    Within the middle period of Qing Dao Guang Nian (1821-1851), mummer Zhang Wu (Tan Shou Wu), who played Kun Ju (dramas played in Yunnan province), went to Foshan Qionghua assembly hall to teach drama in Le Feng Nian (Celebrating an Abundant Year) troupe, and taught Wing Chun Quan there. His disciples include Yue Ju (dramas played in Guangdong province) actors Li Wenmao, Huang Huabao, Liang Erdi, Lu Jin (Da Hua Mian Jin). From then, Wing Chun Quan was rooted in Foshan. In addition, there were still elements of mixed bossy accents in Yue Ju, which were the work of Zhang Wu.
    Lu Jin (Da Hua Mian Jin), had always been a modest and honest person in all his life. He neither established any club nor taught any disciples. He went to live in the mansion of Lu Languan, his rich close friend, (in San Shui county) in the last days of Guangxu Year, and enjoyed his old-age living.
    Li Xiechi, from Foshan, loved martial arts ever since he was a little kid. He became a disciple of Chen Huashun, a disciple of Liang Zan, to learn Wing Chun Quan. After he got married, he assisted his father in business. Thus, he constantly went to San Shui county to take care of the matters concerning field renting. Fortunately, he met Wing Chun Quan's grand old man Lu Jin in Lu Languan's mansion, and the two became Jin Lan Zhi Yi (intimate friends) thereafter. As a young and honest man, Li Xiechi surely was the right man to practise martial arts. Considering this, Lu Jin taught him Wing Chun Quan, the skills, movements, Xin Fa (the practice of inner work) and secrets, etc.
     Pengnan, from Foshan, originally came from Hua county. He started to practicing martial art in his teenage, and established a Yi Wu club to teach Wing Chun Quan at Foshan in his youth. He gained the name of 'Kuai Shou Nan'. In the early 1950s, he became a disciple of Li Xiechi, practised Wing Chun Qun, and received Li Xiechi's devoted teaching. For 10 years, he practised hard, and all the hardwork eventually paid off. Provided with in-depth research and sorting on the basis of traditionalism and systematics, he created a school of his own with complete martial art academics system. His Kung Fu reached the stage of incomparable.
    Disciple Zheng Gencheng, local Guangzhou resident, has carefully studied and practised Pengnan Wing Chun Quan for more than 10 years. Therefore, he gained a round knowledge about the digestion, contents, methods and movements of Wing Chun Quan, which paved way for a solid basis. He was imparted this school of Pengnan Wing Chun Quan, with a considerable degree of typicality.

Pak Mei Cha Hua Shi Zi Quan Passed down by Zeng Huibo
    Zeng Huibo was a famous boxer taught by Master Zhang Liquan in Guangzhou during the period of the Republic of China. It was said that Zeng Huibo once came to Zhang Liquan for advice. Being deeply shocked by the power of Zhang Liquan's Pak Mei Kung-fu, he hence became one of Zhang's disciples in learning it. He had been also teaching boxing skills having got a great reputation in Guangzhou. Another famous boxer named Lu Xuan had also been one of the disciples of Zeng Huibo then.
    I like Chinese Kun-fu very much persistently all through and eager to learn practical Kung-fu skills in protecting myself now and then. In 1960, I was lucky to meet Master Lu Xuan and further respecting him as my teacher to learn Pak Mei Quan (white eyebrows boxing) as well as some San Shou (free fighting) skills by a very accidental opportunity. During that period, Master Lu Xuan usually went to Li Wan Lake Park discussing something about Kung-fu skills and practicing with his friends. As he had always fought against the evils for the puny, he had got a byname called "Hou Ye (monkey uncle)" vividly describing the great diversity and the high speed in his playing Pak Mei Quan in those real fighting.
    Master Lu Xuan was already in his fifties when I followed him learning Kung-fu. He had a great passion and never felt tired or impatient in teaching me hand to hand by him but, it is a pity that neither had I a weak savvy to understand his Kung-fu skills deeply nor to play the Quan well enough. I feel ashamed of it.
    Hereinafter I would like to give you a brief introduction to Cha Hua Shi Zi Quan, it is one of the styles of Pak Mei Quan passed down by Master Lu Xuan.
I have been learning Pak Mei Quan for many years, having realized that it is one of Nei Jia Quan (interior Kung-fu) styles focusing on exercising one's Jin (tendon), Gu (bones), Qi (interior strength and breathing), Jing (vigor), Qi (inner energy) and Shen (spirit). It takes the most prominent characteristic of animals in body shaping demanding having Xiong Yao (bear's waist), Hu Bei (tiger's back), Yuan Bi (ape's arm), Pao Tou (panther's head) requiring Chen Zheng (lower down your elbow), Chui Bi (droop your arm) and walking San Jiao Qian Yang Ma (walks in triangle pliers-ram- horse steps). When you are attacking, take Kylin Da Jian Bu (kylin hitting in arrow-like stepping) and form Hu Bu (tiger steps) with Tan Yao (spreading waist), then take Po Bu (compelled step).That is the so called "Bai Wen Bai Zhe (hundred times moving forward and hundred times turning over), Po Bu Nan Fang (hard for your rival to defend your compelled steps)". Regarding its Shou Fa (hand techniques) and Gong Fa (Kung-fu training skills), we have got Duan Qiao (short bridge), Ban Bian Qiao (half of the bridge) ,Cun Jing (inch strength), Su Jing (rapid strength) and Liu Jing (six strength). In the time of real fighting, you should always occupy the advantaged situation by following the principle of "Bu Ding Bu Ba (neither T-shape nor toe-outward), keep still in case your opponent does not move and send out your force in hitting in advance when your opponent is about to be attacking."

My Understanding of Yao, Ma & Qiao Shou in the South School Kung-fu
    Chinese Kung-fu is usually divided into two schools: North School and the South. However, the essences and theories of both schools are nearly the same. The only difference lies on the forms of Kung-fu in practicing or in people's understanding as a result of region and culture variety through the country.
    The most distinguish feature between North School Kung-fu and the South is in the application of fighting techniques. In the North, people usually attack others by their kicking. It is ever clearly described in a saying "in any actual fighting, a fighter of the North will certainly use his hands only to protect his body like a gate. It is his kicking attacking his opponent completely." While in the South, a fighter is not so good in using his feet, instead, he would use the Yao (waist), Ma (stance), Qiao Shou(hand movements) to attack another in a short distance with instant and fierce force. This fighting technique emphasizes the application of Jin (tendon), Gu (skeleton), Qi (breathing), and the coordination of one's internal strength and his outside movements. You could defend yourself and attack another just in one movement. I was very keen on practicing South School Kung-fu when I was young and, has ever learnt Hong Quan, Pak Mei Quan and wing Chun Quan. Those Quan are the same in their essences but different in styles. They all possess the distinguish feature of South School Kung-fu: attacking other by Yao, Ma and Qiaoshou rather than by their feet in kicking.
   Yao, Ma and Qiao Shao are the most distinguish features as well as the most basic concepts in South School Kung-fu. In actual fighting, they will assist each other. They are connected with each other in a close way. In my own understanding with my experience in practicing Kung-fu for so many years, to master the basic technique of Yao, Ma and Qiao Shou is the only way to learn South School Kung-fu well. To practice Gong Fa is a vital point to learn Yao, Maad Qiao Shou well. To begin with, you should have a good understanding of the physiological construction of human body, as well as practicing Jin, Gu, Qi and Liu Jin (six forces). Liu Jin means the most basical original strength in the human body might be led to six different directions. Human beings develop the strength to six directions-upward, downward, leftward, rightward, forward and backward-in a natural way in the process of laboring or fighting. In actual practicing, you would know that when you are sending your force out to one direction, your body would unconsciously produce one kind of force to the opposite direction so as to keep your body in balance. You could get this experience when you are moving a heavy box forward or lifting a big bag upward in your daily life. This opposite force is the instinct and basic rule of human body. As a saying goes: "when you apply your force upward, outward and forward, there would be an opposite one accordingly downward, inward or backward." The great forefathers of Kung-fu had made full use of this rule of human body and developed it as a kind of forces and strength in Kung-fu through effective practicing ways for thousands of years of its development. When you are applying this forces in an actual fighting, you could better define yourself and attach others.
     Unfortunately, most of the essential practicing methods and theories created and issued by the grand masters have been lost today. However, we could still find out its trace in many sets of routines in traditional South School Kung-fu. It is especially seen in the sets of routine of Hong Zha Ma Tui Zhang (push the palms in horse-riding stance), your hands will be moved forward, backward, leftward, rightward, upward and downward driving your Jin, Gu, Qi inside your body to move accordingly. Some routines in Pak Mci Quan, such as Zhi Bu Quan (straight fist), Shi Zi Quan (crossed fist), Liu Jing Jiu Bu Tui Quan (pushing fist with six strength in nine stance), also reflect the uses of this rule of human body. Through effective training methods in extending muscles and bones with the application of your Liu Jing, you could enhance the functions of your joins and improve their moving ability. In the training process, you could keep your Qi in your abdomen, and drive your Jin, Gu, Qi moving inside your body so as to make Liu Jin move freely to any or all directions at your will. Thus, the six forces would be sent out in a rolling way getting much more powerful.
    Actually, your mind and understanding in practicing Kung-fu is certainly shown markedly in many South School Kung-fu, such as "Tie Xian Quan", "San Gong Fu Hu Quan "and "Shuang Gong Fu Hu Quan" in Hong Quan, "Zhi Bu Quan", "Shi Zi Quan", "San Men Ba Gua Quan", "Liu Bu Qiu Jing Tui Quan" and "Shi Ba Mo Qiao" in Pak Mci Quan. In my understanding, both of these two Quan apply my forces from a straight route to a round one, so as to improve my ability to move upward and downward, inward and outward, forward and backward. Thus I could really reach the level in sending out my forces in a round rolling way.
     How to practice Liu JIn in Yao, Ma and Qiao Shao? In my opinion, you should understand two forces well. You'd better practice the forces separately from six different directions: upward, downward leftward, rightward, forward and backward. Only in this way could you practice it well. You could practice the techniques of Yao, Ma and Qiao Shao together or even separately. The point is that you should have a clear purpose to practice and make sure that you have practiced it to the point, thus you could reach the goal in improving your Kung-fu as well.